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\lll.lfl(.W<^'^^t
THE LIBRARY
UNIVERSITY OF CALIFORNIA
LOS ANGELES
PARIS
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PARIS
AND
ENVIRONS
WITH
ROUTES FROM LONDON TO PARIS
HANDBOOK FOR TRAVELLERS
BY
KARL BAEDEKER
WITH 12 MAPS AND 3G PLANS
FOURTEENTH REVISED EDITION
LEIPSIC : KARL BAEDEKER, PUBLISHER
LONDON:' Dt/L AIT AND CO., 37 SOHO SQUARK , W.
t'.HHI
'Go, little book, God send thee good passage.
And specially let this be thy pray ere
Unto them all that thee will read or hear,
Where thou art wrong, after their help to call,
Thee to correct in any part or all I '
THE LIBRARY
UNIVERSITY OF CALIFORNIA
LOS ANGELES
PREFACE,
STACK ANNtX
'•J v
The chief object of the Handbook for Paris, which is now
issued for the fourteenth time, and corresponds with the
fourteenth 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 bestow^ed, 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 b'^e found materially to facilitate reference, as it ob-
viates the necessity of unfolding a large sheet of paper at
each consultation.
There is probably no city in the world which ever
underwent such gigantic transformations in its external ap-
pearance as the French metropolis during the reign of Na-
poleon III., and few cities have ever experienced so appal-
ling a series of disasters as those which befel Paris in 1870-71.
Many squalid purlieus, teeming with poverty and vice,
were swept away under the imperial regime, to make room
for spacious squares, noble avenues, and palatial edifices.
The magnificent metamorphosis of Paris 'from brick to
marble' was nearly complete when the gay, splendour-
loving, pleasure-seeking city w\as overtaken by the signal
calamities occasioned by the Franco-Prussian war and the
Communard rebellion. During that period the city sustained
many irreparable losses, but since the restoration of peace it
has in most respects resumed its former appearance, the
vi PREFACE.
government having done its utmost to restore everything as
far as possible to its former condition.
A short account of the routes from London to Paris, and
of the principal towns of Northern France, with their magni-
ficent Gothic churches, will be acceptable to most travellers.
In the Handbook are enumerated both the first-class
hotels and those of humbler pretension. The latter may often
be selected by the 'voyageur en gargon' with little sacrifice
of real comfort, and considerable saving of expenditure.
Those which the Editor has reason to believe most worthy
of commendation are denoted by asterisks; but doubtless
there are many of equal excellence among those not so distin-
guished. It should, however, be borne in mind that hotels
are liable to constant changes, and that the treatment expe-
rienced by the traveller often depends on circumstances
which can neither be foreseen nor controlled.
The Editor begs to tender his grateful acknowledgments
to travellers who have sent him information for the benefit of
the Handbook, and hopes that they will continue to favour
him with such communications, especially when the result
of their own experience. Hotel-bills, with annotations showing
the traveller's opinion as to his treatment and accommodation,
are particularly useful.
To hotel-proprietors, tradesmen, and others the Editor
begs to intimate that a character for fair dealing and courtesy
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.
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; rfmts. = refreshments ; pens. = pension (i.e. board and
lodging) ; ca. = circa, about ; carr. = carriage ; fr. = franc ; c. =
centime. The letter d after a name, with a date, indicates the year
of the person's death.
Asterisks
are used as marks of commendation.
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. Bibliograpliy xxxii
VII. Remarks on Northern France xxxiii
Sketch of French Art, by Br. Walther Gemet . . . 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 30
11. Shops and Bazaars 38
12. Booksellers. Reading Rooms. Libraries. Newspapers . . 45
13. Baths, Physicians, Maisons de Sante 47
14. Divine Service 49
15. Embassies and Consulates. Ministerial Offices. Banks . 50
16. Preliminary Drive 52
17. Distribution of Time. Diary 53
i^Q^tg Right Bank of the Seine.
1. The Palais-Royal, Rue de Rivoli , Bastille, and Boule-
vards 59
I. The Palais -Eoyal and thence to the Hotel de Ville. —
St. Germain -TAuxerrois. Tour St. .Tacques. Place du
Chatelet. St. Merri 59
II. From the Hotel de Ville to the Bastille. — St. Gervais.
St. Paul et St. Louis. Colonne de Juillet GO
viii CONTENTS.
Route Page
III. The Boulevards from the Bastille to the Madeleine. — Place
de la Republique. Porte St. Martin. Porte St. Denis. The
Opera 72
IV. From the Madeleine to the Palais-Royal via the Place de
la Concorde. — Colonne Vendome. St. Roch .... SI
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 SO
Asiatic Museum 9".)
Egyptian Museum 401
Mediaeval and Renaissance Sculptures ID.]
Modern Sculptures 1()G
Picture Gallery 10')
Galerie d'Apollon 1.57
Salle des Bijoux 140
Collection La Caze 141
Ancient Bronzes 142
Collection of Drawings 143
Smaller Slediseval, Renaissance, and Modern Objects 144'
Antique Pottery 148
Musee de Marine 150
Mus^e Ethnographique 150
Muse'e Chinois l.TO
Salle des Boites 151
Musee de Chalcographie 151
Collection Grandidier 151
III. The Tuileries 151
Arc de Triomphe du Carrousel. Jardin des Tuileries 151
3. Champs-Elysees and Bois de Boulogne 155
I. From the Place de la Concorde to the Place de TEtoile. 155
II. From the Place de TEtoile to the Bois de Boulogne. —
Hippodrome de Longchamp. Jardin d'Acclimatation . . 160
4. The Trocadero, Passy, and Auteuil 163
I. From the Place de la Concorde to the Trocadero. Musee
de Gallie'ra. Muse'e Guimet. Musses du Trocade'ro . . 163
II. Passy and Auteuil (Bois de Boulogne) 170
5. Halles Centrales, Conservatoire des Arts et Metiers , and
Pere-Lachaise 172
I. From the Palais-Royal to the Halles Centrales. — St. Eu-
stache 172
II. From the Halles Centrales to the Conservatoire des Arts
et Metiers and the Place de la R^publique 175
III. From the Place de la R^puhlique to Pere-Lachaise . . 179
6. Neighbourhood of the Exchange and Quartiers de la
Chaussee-d'Antin and de I'Europe 187
I. From the Palais-Royal to the Bourse. — Bibliotheque
Rationale 187
II. From the Bourse to Notre-Dame-de-Lorette , La Trinite',
and the Gare St. Lazare 194
III. From the Gare St. Lazare to St. Augustin and the Pare
Moneeaux. — Les Batignolles 197
7. La Vlllette and Montmartre 200
I. From the Boulevards to La Villette. — St. Laurent. Gare
de TEst. Gare dn Nord. Buttes-Chaumont. Market and
Abattoirs at La Villette 2C0
CONTENTS. ix
Route Page
II. Montmartre. — St. Vincent-de-Paul. Butte Montmartre.
Cemetery of Montmartre 203
8. The Quartier du Temple and Quartier du Marais . . . 210
Archives et Imprimerie Nationales. Mus^e Carnavalet.
Place des Vosges 210
The Cite and the Left Bank of the Seine.
9. The Cite and the Quartier de la Sorbonne 219
I. Palais de Justice and Sainte-Chapelle. Notre-Dame. —
Tribunal de Commerce. Pont-Neuf, Hotel-Dieu ... 220
II. From the Cit^ to the Musde de Cluny. — Fontaine St. Mi-
chel. St. Severin. Ecole de Medecine 228
III. From the Musee de Cluny to the Pantheon. — Sorbonne.
College de France. Bibliotheque Ste. Genevieve. St. Eti-
enne-du-Mont - 23S
10. Quarters of St. Germain and the Luxemhourg .... 245
I. Institut. Hotel des Monnaies. Ecole des Beaux-Arts . . 245
II. From the Ecole dea Beaux-Arts to the Luxembourg. —
St. Germain-des-Pres. St. Snlpiee 252
III. Palace, Gallery, and Garden of the Luxembourg . . . 255
11. The Jardin des Plantes and the Gobelins 263
I. From the Louvre to the .lardin des Plantes 263
II. Jardin des Plantes 264
III. From the Jardin des Plantes to the Gobelins .... 267
12. The Invalides and the Champ-de-Mars 270
I. From the Tuileries to the Invalides. — Chambre des De-
putes. Ste. Clotilde 271
II. Hotel des Invalides. — Musee d'Artillerie. Eglise des
Invalides. Tomb of Napoleon 1 273
III. The Champ-de-Mars. — Eiflfel Tower. Galerie des Ma-
chines. Ecole Militaire 282
13. The Southern Quarters 284
I. From the Luxembourg to the Observatoire and the Cem-
etery of Montparnasse 2S4
II. From the Carrefour de TObservatoire to the Pare
Montsouris 288
Environs of Paris.
14. St. Cloud, Sevres, and Meudon 291
I. From Paris to St. Cloud 291
II. From Paris to Sevres 296
III. From Paris to Meudon 298
15. Vincennes and its Environs 299
I. From Paris to Vincennes direct 299
II. From Paris to Vincennes via Charenton 301
III. Vincennes 303
16. Versailles 307
I. From Paris to Versailles 307
II. Versailles 308
17. St. Germain-en-Laye 326
I. From Paris to St. Germain by railway 326
II. From Paris to St. Germain bysteam-tramway . . 328
III. St. Germain-en-Laye . . . • 320
X CONTENTS.
Route Pap.
18. St. Denis, EngMen, and Montmorency 333
I. From Paris to St. Denis 333
II. From St. Denis to Enghien and Montmorency .... 339
III. From EngMen to Paris via Argenteuil 341
19. The Valley of the Oise 342
I. From Paris to Pontoise 342
1. Via St. Denis or Argenteuil and Ermont .... 342
2. Via Argenteuil and Conflans-Ste-Honorine . . . 343
3. Via Maisons-Laffitte and Aclieres 343
II. From Pontoise to Beaumont 345
III. From Beaumont to Paris 347
1. Via Montsoult. — From Montsoult to Luzarches . 347
2. Via Valmondois and Ermont. — Abbaye du Val 348
20. Sceaux, Chevreuse, Montlhery, etc 349
I. From Paris to Sceaux 349
II. From Paris to the Valley of Chevreuse. Valley of the
Bievre. Limours. — From Massy-Palaiseau to Versailles;
to Valenton ; and to Juvisy 352
III. From Paris to Montlhery. Arpajon 355
21. From Paris to Fontainebleau 359
22. Chantilly and its Environs 368
I. From Paris to Chantilly . ^ c68
II. From Chantilly to Paris via Creil and Beaumont . . . 376
III. From Chantilly to Paris via Senlis and Crepy-en-Valois 377
Routes from London to Paris.
23. By Folkestone, Boulogne, and Amiens 381
24. By Dover, Calais, and Amiens 387
25. By Newhaven, Dieppe, and Ronen 388
26. By Southampton, Havre, and Rouen 396
List of Artists 399
Index 408
List of Maps and Plans.
A. Maps.
1. Railway Map of France, at the end of the book.
2. Bois de Boulogne, p. 160.
3. Immediate Environs of Paris, p. 290.
4. Asnieres, Rueil, and Bougival, p. 292.
5. St. Cloud and Sevres, p. 294.
6. Forest of Meudon, p. 298.
7. Vincennes and its Environs, p. 303.
8. Environs of St. Germain-en-Laye, p. 332.
9. St. Denis and Pontoise, p. 334.
10. Remoter Environs of Paris, p. 342.
11. Forest of Fontainebleau, p. 366.
12. Forest of Chantilly, p. 375.
CONTENTS.
B. Flans.
1. Key-Plan of Paris.
2. Plan of Paris in three sections.
3. Special Plan of Arc de I'Etoile and Champ-de-Mars District.
4. ., ., ,, Champs -Elys^es, Western Boulevards, and
Louvre.
5. „ ., .. Eastern Boulevards.
G. ., ., Hotel des Invalides and Palais du Luxem-
bourg District.
7. ., ., ., Cite, Place de la Bastille, and Jardin des
Plantes.
B. Omnibus and Tramway Plan of Paris.
9. Historical Plan of the Louvre and Tuileries, p. 88.
10, 11, 12. Galleries of the Louvre, pp. 90, 103, 150.
l.S. Conservatoire des Arts et Metiers, p. 176.
14. Pere-Lachaise, p. 180.
15. Bibliotheque Nationale, p. 188.
IG. Cemetery of Montmartre, p. 207.
17. 18. Musee Carnavalet, pp. 214, 215.
19. Palais de .Justice, p. 220.
20. Muse'e de Cluny, p. 230.
21. Ecole des Beaux-Arts, p. 248.
22. Musee du Luxembourg, p. 257.
23. Jardin des Plantes, p. 264.
24. Hotel des Invalides, p. 274.
25. Town and Park of Versailles, p. 308.
26. Chateau de VersaiUes, p. 310.
27. St. Germain-en-Laye, p. 330.
28. Fontainebleau, p. 366.
29. Chateau of Chantilly, p. 370.
30. Park of Chantilly, p. 375.
31. Boulogne, p. 380.
32. Amiens, p. 384.
33. Calais, p. 38G.
34. Dieppe, p. 389.
35. Rouen, p. 390.
36. Le Havre, p. 396.
INTRODUCTION.
I. Language. 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 ; hut 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
Gold coins are of the value of 100, 40, 20, 10, and 5 francs ;
Silver coins of 5, 2, 1, 1/2^ ^^d 1/5 franc; Bronze of 10, 5, 2, and
1 centime (100 centimes = 1 franc). ^Sou' is the old name, still
in common use, for 5 centimes ; thus, a 5-franc piece is sometimes
called 'une piece de cent sous', 2 fr. = 40 sous, 1 fr. = 20 sous,
1/2 fr. = 10 sous. Italian, Belgian, Swiss, and Greek gold coins are
also received at their full value, and the new Austrian gold pieces
of 4 and 8 florins are worth exactly 10 and 20 fr. respectively.
Belgian, Swiss, and Greek 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 0-lira pieces, should be refused.
The stranger should also be on his guard against counterfeit silver
coins, and should refuse obsolete coins such as those with heads of
Louis Philippe or of Napoleon without the laurel wreath. The only
foreign copper coins current in France are those of Italy, but others
are frequently accepted without demur.
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, visits the theatres, drives in
I. SEASON, etc. xiii
the parks and environs, and finally Indulges in suppers a la carte,
be must be prepared to spend 30-40 fr a day or upwards. Those,
however, who visit Paris for the sake of its monuments, its galleries,
its collections, and not for its pleasures, will have little difficulty,
with the aid of the information in the Handbook, in limiting their
expenditure to 15-20 fr. a day.
Season. Spring and autumn are the best seasons for a visit to
Paris, the former perhaps deserving the preference as having fewer
rainy days. The long days of summer are in some respects admir-
ably adapted for sight-seeing; but the heat is often excessive, and
the absence after June of a large proportion of the ordinary resi-
dents deprives the city of one of its most characteristic features.
Passpokts are now dispensed with in France, but they are often
useful in proving the traveller's identity, procuring admission to
museums on days when they are not open to the public, obtaining
delivery of registered letters, etc.
Foreign Office passports may be obtained through C. Smith and Sons,
63 Charing Cross; Buss, 440 West Strand; E. Stanford, 26 Cockspur St.,
Charing Cross ; or W. J. Adams, 59 Fleet St. (charge 2s.,- agents fee Is. Gd.).
Custom Housb. In order to prevent the risk of unpleasant de-
tention at the 'donane' or custom-house, travellers are strongly re-
commended to avoid carrying with them any articles that are not
absolutely necessary. Cigars, tobacco, and matches are chiefly sought
for by the custom-house officers. The duty on cigars amounts to
about 13s., on tobacco to 6-lOs. per lb. Articles liable to duty
should always be 'declared'. Books and newspapers occasionally
give rise to suspicion and may in certain cases be confiscated. —
The octroi is a duty on comestibles levied at the entrance of Paris
and other large towns, but travellers' luggage is usually passed on
a simple declaration that it contains none.
n. Railways.^
The fares per English mile are approximately: 1st cl. 18 c.,
2nd cl. 12 c., 3rd cl. 8 c., to which a tax of ten per cent on each
ticket costing more than 10 fr. is added. Return -tickets (Billets
d' alter et retour) are issued by all the railway-companies at a reduc-
tion of 20-25 per cent; those issued on Sat. and the eves of great
festivals are available for three days. On some of the suburban lines,
t Railway - station , la gave (also Vembarcadire)\ booking-office, le
guichet or bureau; first, second, or third class ticket, unhillet de premiire,
de seconde, de troisihne classe ; to take a ticket, prendre un billet; to
register the luggage , /a»re enregistrer les bagages; Inggage-ticket, bulletin
de bagage; waiting-room, salle d'^atfente: refreshment-room, le ^wife^ (third
class, la buvette)\ cloak-room, lu consigne; platform, le quai ., le trottoir;
carriage, le wagon; compartment, le compar/iment, le coupi; smoking com-
partment, fumeurs; ladies' compartment, dames settles; guard, conducteur ;
porter, facteur; to enter the carriage, monter en wagon; take your seats I
era voiture! to alight, descendre; to change carriages, changer de voiture ;
express train to Calais, le train express pour Calais, Vexpress de Calais.
xiv II. RAILWAYS.
however, there is no reduction on return-tickets. Tickets are usu-
ally collected at the 'sortie'. The mail trains ('■trains rapides'j
generally convey first-class passengers only , and the express trains
(drains express'), first-class and second-class only. The carriages
are inferior to those in most other parts of Europe. The trains are
not always provided with smoking carriages, but in the others
smoking is allowed unless any one of the passengers objects.
Before starting, travellers are generally cooped up in the close
and dusty waiting-rooms, and are not admitted to the platform until
the train is ready to receive them ; nor is any one admitted to the
platform to take leave of friends without a platform-ticket (10 c.)
which may be obtained from the ticket-checker or in some cases
(e.gf. at the Gare de Lyon) from an automatic machine.
Travellers vidthin France are allowed 30 kilogrammes (66 Engl,
lbs.) of luggage free of charge; those who are bound for foreign
countries are allowed 25 kilogr. only (55 lbs.); 10 c. is charged
tor booking. At most of the railway-stations there is a consigne,
or left-luggage office, where a charge of 10 c. per day is made for
one or two packages, and 5 c. per day for each additional article.
AVhere there is no consigne, the employees will generally take care
of luggage for a trifling fee. The railway-porters (facteurs) are not
entitled to remuneration, but it is usual to give a few sous for their
services. The occasionally extortionate demands of the Parisian
porters should be firmly resisted. — Dog Tickets cost 30 c. for 20 kilo-
metres (121/2 M.) or less, and 5 c. for each additional 3 kilometres
(I3/4M.), with 10 c. for 'registration'.
Railway Restaurants (usually dear and often poor) are found at the
principal stations, but the stoppages of the trains are usually so short
that travellers are advised to carry the necessary provisions with them.
Sleeping Carriages ( Wagons - lits) and Restaurant Carriages ( Wagons-
restaui'ants) are run in the chief night and day expresses respectively.
De'j- 31.2-0, D. 4V2-T fr. (wine extra), according to the line-, 2nd cl. on cer-
tain lines in Normandy, dej. 21/4, D. 31/2 fr. — Pillows and Coverlets may
be hired at the chief stations (1 fr.).
The most trustworthy information as to the departure of trains
is contained in the Indicateur des Chemins de Fer, published weekly
(85 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 cyclisfs wants are
everywhere fairly well provided for. The highroads between Paris and
the coast are good, though often destitute of shade. Cyclists entering
III. HISTORY. XV
France with their machines must deposit a sum equal to the doty on the
latter (22 fr. per 10 kilogrammes or 22 lbs.), which is returned to them
on quitting the country. Members (jf the Cyclists'" Touring Club (47 Vic-
toria St., London, S.W.) or of the Touring Club de France (10 Place de la
Bourse, Paris) are, however, spared this formality on presentation of their
card of membership.
An annual tax of 6 fr. is imposed on every cycle in France, but
strangers remaining in the country not more than three months receive
a dispensation from this tax ('permis de circulation') on application at the
oflice ofr the cnstoni-house by which they arrive (60 c.). Every cycle in
France must be furnished with a lamp (to be lighted at dusk) and a bell
or horn (audible at a distance of 50 metres).
Cyclists will find it advantageous to join the Touring Club de France
(see above), the annual subscription to which is 6 fr. (5*.), 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. 38.
III. Outline of History.
a. History of France.
Merovingians. Clovis, son of Childeric, King of Tournal,
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.
Carlovingians. Pepin (Le BrefJ, who became King of France
in 752 , was the founder of the second or Carlovingian Dynasty.
Chaklemagne, 768.
Louis I. (Le Debonnaire), 814.
Charles II. (Le Chauve), 840. France separated from Germany
and Italy by the Treaty of Verdun, 843. — The subsequent monarchs
were unable to defend their country against hostile attacks. The
dynasty was deposed in consequence, and the crown given in 887
to Count Odd, or Eudes, who had been instrumental in repelling
the Normans.
Capetians. Hugh Capet, grand-nephew of Eudes, was the
founder of the third or Cap etian Dynasty (987).
Robert II. (Le Pieux), 996.
Henri I., 1031.
Philip I., 1060. William, Duke of Normandy , conquers Eng-
land, 1066. First Crusade under Godfrey de Bouillon, 1096.
Louis VI. (Le Gros), 1108. Suger (p. 334), the king's minister.
Louis VII. (LeJeune), 1137, takes part in the Second Crusade
(1147). His divorced wife, Eleanor of Guienne and Poitou, marries
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 111. (Le UardiJ, 1270, acquires ProNeiice by inheritance.
Philip IV. (Le Bel), 1285, convokes the Etats-Generaux for
the first time. He causes the papal residence to be transferred
to Avignon, and in 1307 abolishes the order of Knights Templar.
Louis X. (Le Rutin), 1314.
Philip V. (Le Long), 1316.
Chables IV. (LeBel), 1322, dies without issue.
House of Valois. Philip VI., 1328. War with England, 1337
('Guerre de Cent Ans', 1337-1453). Battle of Crecy, 1346.
John (Le Bon), 1350; defeated and taken prisoner by the
English at Poitiers, 1356. Peace of Bretigny, 1360.
Charles V. (LeSage), 1364. The English expelled by Bertrand
du Guesclin.
Charles VI., 1380; becomes insane twelve years afterwards.
The French under the Constable d'Albret defeated by Henry V. of
England at Agincourt, 1415. Paris occupied by the English, 1421.
Charles VII., 1422. The siege of Orleans raised by Joan of
Arc, 1429. Coronation at Rheims. Joan burned at Rouen, 1431.
Louis XL, 1461, after suppressing the Ligue du Bien Pubtic,
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 VIH., 1483, acquires Brittany by his marriage with
Anne de Bretagne. Conquest of Naples, 1495.
Louis XII. , 'Le pere du peuple*, 1498, first king of the
younger branch of the House of Valois , conqueror of Milan and [in
alliance with the Spaniards) of Naples. Having quarrelled with his
Spanish allies, he is defeated by them on the Garigliano in 1503.
The League of Cambrai is formed for the purpose of expelling the
Venetians from the mainland of Italy. The Venetians 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 V. for the
possession of Burgundy and Milan. Francis defeated and taken
prisoner at Pavia, 1525. The royal power becomes more absolute.
Henri II., 1547, husband of Catherine de Medicis, accidentally
killed at a tournament (p. 68). Metz, Toul, and Verdun annexed
to France, 1556. Final expulsion of the English.
Francis II., 1559, husband of Mary Stuart of Scotland.
Charles IX., brother of Francis II., 1560. Regency of Cathe-
rine de Medicis, the king's mother. Beginning of the Religious
Wars. Louis de Conde, Antoine de Navarre, and Admiral Co-
ligny, leaders of the Huguenots ; Francois de Guise and Charles
de Lorraine command the Roman Catholic army. Massacre of
St. Bartholomew, 24th August, 1572.
111. HISTORY. xvii
Henbi III., 1574, brother of his two predecessors; flies from
Paris, where a rebellion had broken out, by the advice of his
mother, Catherine de M^dicis (d. 1588); assassinated at St. Cloud
by Jacques Clement, a Dominican friar.
House of Bourbon. HenkiIV., 1589, firstmonarch oHheHouseof
Bourbon, defeats the Roman Catholic League at Arques in 1589, and
at Ivry in 1590, becomes a Roman Catholic in 1593, captures Paris in
1594. Sully, his minister. Religious toleration granted by the Edict
of Nantes (1598). Henri, divorced from Margaret of Valois in 1599,
marries Marie de Me'dicis the following year ; assassinated by Ra-
vaillac in 1610. Paris greatly embellished during this reign.
Louis XIII., 1610; his mother Marie de Medicis, regent; she
is banished to Cologne, where she dies in 1642. Richelieu, his
minister (d. 1642). English fleet defeated at Re, 1627; La Ro-
chelle taken from the Huguenots. France takes part in the Thirty
Years' War against Austria.
Louis XIV. , 1643 , under the regency of his mother, Anne
of Austria. Ministers: Mazarin (d. 1661), 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 Nordlingen, 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 lays claim to the
Spanish Netherlands. Turenne conquers Hainault and part of Flan-
ders, 1667. Cond^ occupies the Franche Comte. Peace of Aix-la-
Chapelle, in consequence of the Triple Alliance, 1668.
War with Holland, Passage of the Rhine, 1672. Occupation
of the provinces of Utrecht and Guelderland. Victories of Turenne
over the Imperial army at Sinzheim, Ensisheim, MUlhausen (1674),%
and Turkheim (1675). Death of Turenne at Sassbach, 1675.
Admiral Duquesne defeats the Dutch fleet near Syracuse, 1676.
Marshal Luxembourg defeats William of Orange at Montcassel, 1677.
Vedice oi Nymwegen, 1678. Strassburg occupied, 1681. Occupation
of Luxembourg. Revocation of the Edict of Nantes, 1685. Devas-
tation of the Palatinate, 1688. Marshal Luxembourg defeats the
Imperial troops at Fleurus (1690) and Steenkerke (1692), and Wil-
liam of Orange at Neerwinden, 1693. The French fleet under Ad-
miral Tourville defeated by the English at La Rogue, 1692. Peace
of Ryswyck, 1697.
Spanish war of succession, 1701. Victory of Vendome at Vittoria
(1702), and of Tallard at Speyer (1702). Taking of Landau, 1702.
Baedekek. Paris. 14th Edit. ^
xviii III. HISTORY.
Victory at Hochstddt (1703); defeat at Hbchstadt , or Blenheim
(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, 1713. Peace of
Rastadt, 17 U.
During this reign French literature attains its zenith : Cor-
neille, Racine, Moliere, La Fontaine, Boileau, Bossuet, Fenelon,
Descartes, Pascal, La Bruyere, Mme. de Se'vigne, etc.
Louis XV., 1715 ; eight years' regency of the Duke of Orleans.
Marries Marie Lesczinska of Poland (1725). Austrian war of suc-
cession (1741-48). Defeat at Dettingen by George II. of England
(1743). Defeat of the Dutch and English 3it Fontenoy (1746), of the
Austrians under Charles of Lorraine at Rocoux (1746), and of the
Allies near Laeffelt ( Law f eld) in 1747. Taking of Maastricht and
Peace of Aix-la-Chapelle, 1748. Naval war against England.
Seven years' war with England (1756 63). Duke of Cumberland
defeated 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). The French defeated by Marshal
Broglie aX Bergen, 1760. — French possessions in N. America sur-
rendered 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. Rbvolution. 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. 325), 20th June.
Storming of the Bastille, 14th July. The 'Femmes de la Halle' at
Versailles, 5th*0ct. Confiscation of ecclesiastical property, 2nd Nov.
1790. Fete de la F^d^ration in the Champ-de-Mars (p. 282).
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
III. HISTORY. xix
of time introduced, 22nd Sept. +- 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). Dibectoey established, 27th Oct.
1796. Bonaparte's successes in Italy ( Montenotte , Millesimo,
Lodi, Milan, Mantua, Castiglione, Bassano, and Areola).
1797. Victory at Rivoli, 14th Jan. Taking of Mantua, 2nd
Feb. The Austrians commanded by Archduke Charles , at first
victorious, are defeated by Bonaparte. Peace of Campo Formio,
17th Oct. Change in the Directory on 18th Fructidor (4th Sept.).
1798. Bonaparte in Egypt. Victory of the Pyramids, 21st July.
Defeated by Nelson at the battle of the Nile, 1st Aug.
1799. Bonaparte invades Syria. Acre attacked. Victory of
Aboukir, 25th July. Fall of the Directory, 9th Nov. Establishment
of the Consulate, 24th Dec. Bonaparte First Consul.
1800. Bonaparte's passage of the St. Bernard, 13-16th May.
Victories at Piacenza, Montebello, Marengo, and Hohenlinden. At-
tempt to assassinate Napoleon at Paris, 23rd Dec.
1801. Peace of Luneville with Germany, 9th Feb.
1802. Peace of Amiens with England, 27th March. Bona-
parte (with Cambaceres and Lebrun) elected Consul for life.
First Empire. 1804. Napoleon I. proclaimed Emperor by the
Senate, 18th May; crowned by Pope Pius VII., 2nd Dec.
1805. Renewal of war with Austria. Capitulation of Vim, 17th
Oct. Defeat of Trafalgar, 2ist Oct. Battle of Austerlitz, 2n(i Dec.
Peace of Pressburg, 26th Dec.
1806. Establishment of the Rhenish Confederation, 12th July.
War with Prussia. Battles of Jena and Auerstddt, 14th Oct. Entry
into Berlin, 27th Oct. Continental blockade.
1807. War with Russia and Prussia. Battles of Eylau and Fried-
land. Treaty of Tilsit, 8th July. Occupation of Lisbon, 30th Nov*
+ The year had 12 months : Vendemiaire (month of the vendangc,
or vintage) from 22nd Sept. to 21st Oct., Brumaire (6r«mc, fog) 22nd Oct.
to 20th Nov., and Frimaire (/rimas, hoar-frost) 21st Nov. to 20th Dec, were
the three autumn-months; — Nivose {neige , snow) 21st Dec. to 19th Jan.,
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 (/fe«r , flower) 20th April to 19th May,
and Prairial {prairie, meadow) 20th May to 18th June , spring-months ; —
Messidor (moisson, harvest) 19t.h 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 III. HISTORY.
1808. War in Spain, in order to maintain Joseph Bonaparte on
the throne. Code Napoleon.
1809. Conquest of Saragossa. Renewed war with Austria.
Battle of Eckmiihl. Vienna entered, 13th May. Battles of Aspern,
or Essling, and Wagram. Peace of Vienna, 14th Oct. Abolition of
the temporal power of the pope.
1810. Marriage of Napoleon with Marie Louise , daughter of
Francis II. of Austria, 11th March.
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, Grossbeeren, Dresden, Katz-
bach, Kulm, Leipsic (16-18th Oct), Hanau, etc.
1814. Battles of Brienne, La Roihiere, Montmirail, Laon, Arcis-
8ur-Auhe, and Paris. The Allies enter Paris, 31st March. Abdica-
tion of the Emperor, 11th April. His arrival at Elba, 4th May.
i Bestoration. 1814. Louis XVIII. proclaimed King, 6th April.
First Peace of Paris, 30th May.
1815. Napoleon's return from Elba; ^t 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.
Second Peace of Paris, 20th Nov. Napoleon banished to St. Helena,
where he dies (5th May, 1821).
1823. Spanish campaign, to aid Ferdinand VII. , under the
Due d'Angouleme, son of Charles X.
1824. Charles X.
1830. Conquest of Algiers. — Revolution of July (27th-29th).
House of Orleans. 1830. Louis Philippe elected King, 7th
Aug. Continued war in Africa; consolidation of the French colony
of Algeria.
1832. Capture of Antwerp.
1840. Body of Napoleon transferred from St. Helena to Paris.
1848. Revolution of February (23rd and 24th).
Second Bepublic. 1848. Sanguinary conflicts in Paris, 23rd to
,26th June. Louis Napoleon, son of the former King of Holland
and nephew of Napoleon I., elected President, 10th Dec.
1851. Dissolution of the Assemblee, Coup d'Etat, 2nd Dec.
Second Empire. 1852. Napoleon III., elected emperor by pie-
biscite, 2nd Dec.
1854. War with Russia. Crimean campaign. — 1859. War with
Austria. Battles of Magenta (4th June) and Solferino (24th June}.
Peace of Villafranca, 11th July. — 1862. Mexican expedition. —
1867. Dispute with Prussia about Luxembourg.
1870. War with Prussia. Declaration of war, 19th July. Battles
in August : Weissenburg (4th), Worth (6th), Spichern (6th), Bomy,
Rezonville, and Gravelotte (14th , 16th , 18th), Beaumont (30th).
Battle of Sedan, 1st Sept. Surrender of Napoleon UI.
III. HISTORY. xxl
Third Republic proclaimed, 4tli Sept. Capitulation of Strasshurg,
27th Sept., and of Afefz, 27th Oct. Battles near Orleans, 2nd-4thDec.
1871. Battle of St. Quentin, 19th Jan. Capitulation of Paris,
28th Jan. The Germans enter Paris. 1st March.
CoMMUNAKD 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, I6th 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. Gr^vy, 3rd Dec. — 1894. Assassination of
President Carnot, by the Italian Caserio, 24th June. M. J. Casimir
P^rier 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. — 1899. Death of M. Faure (Feb. 17th). M. Emile
Loubet succeeds him (Feb. 18th). Dreyfus Trial.
b. History of Paris.
At the time of the conquest of Gaul by Julius Caesar, the Paridi
were a tribe settled on the banks of the Sequana or Seine, and their
chief village was Lutetia^ situated on the present Island of La Cite.
In course of time Lutetia gradually increased in importance and
became the occasional residence of several Roman emperors, among
whom were Constantius Chlorus (2o0?-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. Genevieve, 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
xxii Til. fflSTORY.
this epocli, of which, almost the only building now left is the church
of St. Germain- ies-Pres.
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 Gros (1108-37), while the names of Peter Lom-
bard and Abelard conferred fame upon it as a school of learning. —
The reign of Louis VII. (1137-80) witnessed the establishment of
the order of Knights Templar at Paris and the foundation of Notre-
Bame.
With Philip II. (1180-1223) a new era dawned for Paris. This
monarch erected aqueducts, fountains, markets, etc., paved the
principal streets, organized police, continued Notre-Dame, built a
chateau on the site of the Louvre, and constructed the third zone of
fortifications round the expanding city. The schools of Paris were
henceforth known as a University and the trading corporation of the
Parisian Hansa was organized.
Under Louis IX. or St. Louis (1226-70), who built the Sainte-
Chapelle^ Paris obtained various municipal privileges; and the Sor-
bonne was founded by Robert Sorbon, the king's chaplain. The
great annual fair which took place in the extensive plain between
Paris and St. Denis (Foire du Landit) and the famous Commercial
Code drawn up by Etienne Boileau in 1258 afford proof of the early
commercial importance of Paris. The population was then about
120,000.
Philip IV., Le Bel (1285-1314), founded the 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 Chaeles 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 was followed by a plague, of which 50,000 persons died
(1437-38), and by a famine. The three following reigns, however,
afforded the city time to recover, that of Louis XI. (1461-83) being
marked by the introduction of printing and the erection of the Hotel
de Cluny.
III. HISTORY. xxili
Feancis I. (1515-47) adorned and improved Paris, at that time
a city of 300,000 inhabitants. He began the present palace of the
Louvre, the Hotel de Ville^ and the church of St. Eustnche; and col-
lected a Libriry -which was the nucleus of the Bibliotheque 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 Buke 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 Tuiteries, and the Pont
Neufvfeie continued, the Hotel de Vilie was completed, and the
Place Roy ale , the modern Place des Vosges, was built. Under
Louis XIII. (1610-43) the process of embellishment was continued.
The Luxembourg , the Palais-Royal, the churches of St. Roch, Val-
de-Grace, etc., were built; six new Quays constructed 5 and the
Jardin des Plantes laid out. Ste. Eustache was finished with the
exception of the portal; and the Royal Printing Works and the
Academie Fran^aise were founded.
Though at the beginning of the reign of Louis XIV, (1643
-1715) Paris suffered from the civil war of the Fronde, and though
its municipal institutions were sacrificed and itself abandoned by the
court, the metropolis continued to make great strides. The streets
began to be regularly cleansed, lighted, and watched. Visitors began
to crowd into the capital and the French nobles to erect town-man-
sions or 'hotels'. Paris gradually attracted to herself the skill and
talent of the whole country. The decorative arts in particular re-
ceived a great impulse, and began to extend their influence over
the whole of Europe, while, as we have said, French literature now
reached its zenith. This reign saw the foundation of the Hotel
des Invalides, various Libraries and Academies , the Observatory,
the Gobelins Manufacture, the Comedie Fran^aise, the Opera, etc.
The old fortifications were levelled and the Boulevards converted
into promenades, adorned with four triumphal arches, of which the
Porte St. Denis and the Porte St. Martin still remain. Similar
promenades were begun on the left bank. The Colonnade of the
Louvre, the Pont Royal, several Quays, the Place Vendowe, Place
des Victoires, Place du Carrd\isel, 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 Mazarin (Institut), Ecole de Me-
dicine etc, were built, and the Place de la Concorde laid out.
xxiv III. HISTORY.
The tempest wMch 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 FmuQais^ the Conservatoire des Arts et Metiers,
the Archives Rationales ^ the Inslituf^ 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-
LigisLtitif, began the Arc de I Etoile, the Bourse, the Fonts d'Amter-
litz, des Arts, d Una, 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 Lamartine began their
respective careers; the 'Romantic School' attained high importance ;
and Paris became the recognised headquarters of Oriental studies
and a number of other important sciences. Civic improvements pro-
gressed comparatively slowly, though the Chapelle Expiatoire, Notre-
Dame-de-Lorette, St. Vincent-de-Paul, and the Fonts des Invahdes,
de VArcheveche. and dArcole date from this period, while the intro-
duction of gas-lamps, omnibuses, and foot-pavements also took place.
Under Louis Philippe (1830-48) building was resumed with
fresh vigour. The Madeleine and the Arc de I'Etoile were finished;
the Obelisk and the Colonne de Juillet ^ere 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
underweTit an almost entire transformation, on a scale of magni-
III. HISTORY. XXV
flcence hitherto unparalleled. Dense masses of houses and num-
bers of tortuous streets were replaced by broad boulevards, spacious
squares, and palatial edifices. Ste. Ctotilde. St. Augustin^ La Triniti^
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 Alna, du Point-du-Jour, and au Change;
the Opera and several Theatres; and numerous other public and
private edifices date from this reign. The Chewin de Fer de Celn-
ture, the Sewtrs, 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 fortiflcatinns were incorporated with the city, iii'-reas-
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 sket-hed (pp. xx, xxi).
The siege of Paris in 1870-71 ranks amoiiL ''■he most remarkable oc-
currences in the annals of modern warfare. Atter 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 Oen-
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. 359). 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. 309). Meanwhile the army of the Meuse had occupied the ground
on the right banks of the Seine and Marne, thus completing the investi-
ture. The aim of the besiegers was the reduction of the city by famine,
while the only course of defence practicable to the besieged was to pierce
the investing lines and establish communication with the relief army on
the Loire.
The first important sortie took place on 30th Sept., when General Vinoy,
with 10.000 men, made an ineffectual effort to break the German lines at
Villejuif (p. 3i7), to the S. of Paris. A second attempts in the direction of
Clamart (p 296) on 13th Oct., and a third on La Malmaison and Biuenval
(pp. 329 295) 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 Bouvget (p. 379). The Germans,
however, succeeded in recapturing it on the 31st. after prolonged fighting
and heavy loss. The besieged did not again assume the offensive till
30th Nov. , when Generals Trochu and Ducrot led large bodies of troops
against the German positions to the S.E. of Paris. For three days the
xxvi 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 Ger-
man artillery, and from 5th Jan., 1871, onwards an active cannonade was
directed against the city from almost every point of its environment. The
distress of the besieged now reached its climax. The hopelessness of the
situation was recognised by all military authorities , 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
Valirien. The French were once more driven back, with immense loss,
on l9th January.
Resistance was now at an end. On 23rd Jan. Jules Favre 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 Insuerection entailed a second siege of Paris
(April 2nd-May 21st), more disastrous than the first, followed by a
tierce and sanguinary week of street-fighting. The T.uileries and
the Hotel de Ville 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 VOp&ra 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,
and the equally brilliant Exhibition of 1900.
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 -Seme, which flows
through it from S.E. to S.W., forming a bold curve to the N. The
population in 1896 was 2,536,834, including about 187,000 for-
eigners, 50,000 Protestants, and 50,000 Jews. 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 i860, 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, lies in a basin of tertiary form-
IV. GENERAL REMARKS. • xxvii
ation, the borders of which are about 200-300 ft. above the level
of the river and 420 ft. above that of the sea. The most elevated
points in or adjoining the city are the heights of Charonne^ Menil-
montant, 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
part of the Seine within the city is about 7 M. long and is crossed
by 31 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 diflference
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 far
as the boulevards to the S. of the garden of the Luxembourg.
Outside the Great Boulevards lie the Old Fauboukgs 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
to Paris. The Faubourg St. Honor^ and the Champs-Elyse'es are
xxviii • IV. GENERAL REMARKS.
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 Anxexebs, 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 ChapelUj and Montmartre, the principal quarters of
the working classes and the seat of the largest workshops ; Les Ba-
tignolles, with the studios of numerous artists and many handsome
private houses (on the side next the Park of Monceau); Passy and
Auteuil, with their villas ; Grenelle, with iron foundries and chemical
works ; Vaugirard, Montrouge, etc. , inhabited by persons of moderate
means, small shopkeepers, and artisans, and containing numerous
large market-gardens.
The Administration of Paris is shared between a Prefect of the
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, OOOi.]. The city is subdivided
into twenty Arrondissbments, separated from each other by thb
principal arteries of traffic, and each governed by a Maire and two
councillors: 1. Louvre; 2. Bourse; 3. Tempie ; 4. Hotel de Ville ;
5. Pantheon; 6. Luxembourg; 7. Palais- Bourbon; 8. Elysee ; 9.
Opera ; 10. Enclos St. Laurent (between the Rue dn 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 i.). T]ie 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 Briche, Double Couronne du Nord, and de VEst; on the
E., Fort d'Aubervilliers, near Le Bourget, Forts de Romainville, de
Noisy, de Rosny , de Nogent , and de Vincennes, and the redoubts
de la Faisanderie and de Gravelle; on the left bank of the Marne
lies Fort de Charenton ; to the S. , on the left bank of the Seine,
IV. GENEKAL REMARKS. xxix
Forts d'lvry, de Bicetre, de Montrouge, de Vanves , and d'hsy; on
the W., the Forteresse du Mont Val rien. Most of these were entire-
ly destroyed in 1870-71 , hut have since heen rehuilt. A second
line of forts, at a greater distance from the ramparts, has also heen
constructed on the heights commanding the valley of the Seine.
On the right hank of the Seine: the Forts de Cormeilles, de Mont-
lignon, de Domont, Montmorency, d'Ecouen, de Stains^ deVaujours,
de Chelles, de VilUers, and de Villeneuve -St- Georges ; on the left
hank: the Forts de Chdtillon, de la Butte- Chaumont, de Palaiseau,
de Villeras, deHaut-Buc, de Saint- Cyr, de Marly, deSainte-Jamme,
and d'Aigremont. The area included within this elaborate system
of fortifications is 400 sq. M. in extent, and besides the capital it-
self embraces the seven towns of Versailles, Sceaux, Villeneuve-
St-Georges, St. Denis, Argenteuil, Enghien, and St. Germain-
en-Laye.
The general appearance of Paris is more uniform than that of
most other towns of its size, partly owing to the mixture of classes
resulting from the Great Revolution, but principally on account of
the vast schemes of improvement carried out in our own days.
The stranger is almost invariably struck by the imposing 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 paved with asphalt
or wood, Paris is a far less noisy place than many other large cities.
Its comparative tranquillity, however, is often rudely interrupted
by the discordant cries of the itinerant hawkers of wares of every
kind , such as 'old clothes' men , the vendors of various kinds ot
comestibles, the crockery-menders , the 'fontaniers' (who clean and
repair filters, etc.), the dog-barbers, and newspaper-sellers. As a
rule, however, they are clean and tidy in their dress, polite in man-
ner, self-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
the short vowels are either pronounced in a very light and airy
XXX IV. GENERAL REMARKS.
fashion or altogether omitted. Another characteristic, though moderi: ,
feature in the street-noises of Paris consists of the hoarse blasts of
the horns of the tramway-cars.
As a rule the Parisian may be said to Invite and deserve the
confidence of travellers. Accustomed by long usage to their pre-
sence, he is skilful in catering for their wants, and recommends
himself to them by his politeness and complaisance. In return the
traveller in France should accustom himself to the inevitable *s'j7
vous plait\ when ordering refreshments at a caf^ or restaurant, or
making any request. It is also customary to address persons even of
humble station as ^Monsieur\ ^Madame\ or ^Mademoiselle*.
The Sergents de Ville, or Gardiens de la Paix, who are to be
met with in every street and public 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 ''Bottin\ which may be consulted at the principal hotels and
cafes and also (for a fee of 10-15 c.) at various book-shops, will often
be found useful by those who make a prolonged stay at Paris. It con-
sists of two huge volumes, one of which 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, m Quai des Orfevres (Palais de Jusiice), 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
there have been periods when it was more generally admitted to be
V. WEIGHTS AND MEASURES. xxxi
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.
(1
n use
since
L799.)
"S
9i
«
S
! s
1
1
•3)
1
|4
1
£
cS
o
1
S
a
2
-4)
fl
a
^
a
0
o
s
«
o
W
«
^
»
M
Ui
M
w
<
ffl
S
<
1
H^
i
3,28
1
1,61
1
0,62
1
0,40
1
2,47
2
0,61
2
6,56
2
3.22
2
1,24
2
0,81
2
4,94
3
0,91
3
9.84
3
4.83
3
i:86
3
121
3
7,41
4
1,22
4
13,12
4
6 44
4
2,48
4
1.61
4
9,8S
5
1,52
5
16 40
6
8,04
6
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
2M
8
26,25
8
12,87
8
4,97
8
3,23
8
19,77
9
2 74
9
•29,63
9
14.68
9
5,6)
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
4,86
12
29,65
13
3,96
13
42,65
13
20,92
13
8,07
13
6,25
13
32,12
14
4,27
14
45,93
14
22,53
14
869
14
566
14
34,59
15
4,57
15
49,21
15
24,13
15
9,31
15
6106
15
37.05
16
4,88
16
62,49
16
2.0,74
16
9,98
16
6.46
16
39,53
17
5.18
17
66,78
17
27 35
17
10,55
17
6,87
17
42,00
18
^*^
18
59 06
18
28,96
18
11,18
18
7,27
18
44,47
19
6,79
10
62,34
19
30,67
19
11,80
19
7,67
19
46.96
20
0,10
20
65,62
20
32,18
20
12,42
20
8.08
20
49,42
V. THERMOMETRIC SCALES.
The English equivalents of the French weights and measures
are given approximately.
Millier = 1000 kilogrammes = 19 cwt. 2 qrs. 22 lbs. 6 oz.
Kilogramme , unit of weight , = 21/5 lbs. avoirdupois =
2Violts. troy.
Quintal =10 myriagrammes = 100 kilogrammes = 220 lbs.
Hectogramme (Vio kilogramme) = 10 decagrammes = 100 gr.
s= 1000 decigrammes. (100 grammes = 31/5 oz.; 15 gr.
= V2 oz- ; 10 gr- = V3 oz- ; 71/2 gr. = V4 oz.)
Hectolitre = 1/10 cubic metre = 100 litres = 22 gallons.
_ cubic metre = 10 litres = 2^/5 gals,
unit of capacity, = 1^/4 pint; 8 litres = 7 quarts.
Decalitre = 1/100
Litre,
Thermometric Scales.
_^
u
'S
u
-3
u
'S
1
u
•s
s
A
9
X3
0
A
0
A
a
B
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to
a
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3
s
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s
u
'5
s
u
'S
u
«S?
.2
<s
Xi
c8
A
(8
A
a
^
'3
v
^
ti
"3
va
ti
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26,67
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61
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4.44
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5,56
29,33
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36,67
20,89
79
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60
15,56
4,00
41
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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
53
14.44
8.11
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3,89
28,00
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35,00
19,56
76
24,44
11,11
57
18,89
2,67
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,S9
IS. 67
74
23.33
10,22
55
12,78
1,78
36
2,22
26,67
92
33 33
18.22
73
22,78
9,78
54
12.22
1,33
35
1.61
26,22
91
32,78
17,78
72
22,22
9.33
53
11.67
0,89
34
1,11
25,78
90
32.22
17,33
71
21,87
8,89
52
11,11
0.44
33
0,56
25.33
89
31,67
16,89
70
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8.44
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24.89
88
31,11
16,44
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20,56
8.00
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24,44
87
30,56
16,00
63
20,00
7,56
49
9,44
0,89
30
1,11
24,00
86
3ii,00
15,56
67
19,44
7.11
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8,89
1,33
29
1,67
23,56
85
29.44
15,11
66
18.89
6,67
47
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28
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23,11
84
2S,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
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7 22
2,67
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3 33
22,22
82
27,78
13,78
63
17,22
5,33
«
6',67
3,11
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3,89
VI. Bibliography.
The following is a very brief list of recent and easily accessible
English books on Paris, which will be found useful supplements
to this Handbook.
The S'ones of Paris ia History and Letters, by B. E. and G. if. Martin
(2 vols., illustrated; London, 19 0).
Historical Guide to Paris, by Grant Allen (London, 1898).
Paris, by Augustus J. C. Bare (^ vols, i 2nd ed., London, 1900).
Vn. REMARKS ON NORTHERN FRANCE. ixxiii
Days near Paris, by Aug. J. C. Hare (London, 1887).
Memorable Paris Houses, by Wilmot Harrison (illus.; London, 1893).
An Englishman in Paris (London, 1892).
Some Memories of Paris, by F. Adolpfws (Edinburgh, 1895).
Old and New Paris, by H. Sutherland Edwards (2 vols. ; illus. ; London, 1893).
Paris in Old and Present Times, by Fhilip Gilbert Hamerton (folio, illus. ;
London, 1885).
The 'Annuaire Statistique de la Ville de Paris' and 'Hachette's Al-
manac' will often be found of service.
VII. 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 cafe's,
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, ofi"er 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 fall to be
impressed by the gems of Gothic architecture, such as St. Ouen at
Baedeker. Paris, i4th Edit. c
xxxiv VII. REMARKS ON NORTHERN FRANCE.
Rouen, or tlie 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 ^very modern
comfort are found in such towns only as Havre, Rouen, Dieppe, and
Tours, where the influx of visitors is very great, and where the
charges are quite on a Parisian scale. In other places the inns
generally retain their primitive provincial characteristics, which,
were it not for their frequent want of cleanliness, might prove
rather an attraction than otherwise. The usual charges at houses
of the latter description are — R. 2 fr., L. 25-50 c, A. 50 c.
The table d'hote dinner (3-4 fr.) at 5. 30 or 6 o'clock is generally
better than a repast procured at other places or hours. The dejeuner
(11/2-2 fr.) at 10 or 11 o'clock will be regarded as superfluous by
most English travellers , especially as it occupies a considerable
time during the best part of the day. A slight luncheon at a cafe,
which may be partaken of at any hour , will be found far more
convenient and expeditious. In southern districts, as on the
Loire , wine is usually included in the charge for dinner. In
Normandy a kind of cider is frequently drunk in addition to, or
as a substitute for wine. The usual fee for attendance at hotels
is 1 fr. per day , if no charge is made in the bill ; if service is
charged, 50 c. a day in addition is generally expected. At the cafe's
also the waiters expect a trifling gratuity, but the obnoxious system
is not carried to such an extent as in the metropolis.
The Churches, especially the more important, are open the
whole day ; but , as divine service is usually performed in the
morning and evening, the traveller will find the middle of the day
or the afternoon the most favourable time for visiting them. The
attendance of the sacristan, or 'Suisse', is seldom necessary;
the usual gratuity is 50 c.
Considerable English communities are resident in many of the
towns mentioned in the Handbook, and opportunities of attending
English churches are frequent {e.g. at Calais, Boulogne, Dieppe,
Havre, and Rouen).
The Museums are generally open to the public on Sundays
and Thursdays from 12 to 4 o'clock, when they are often crowded.
Visitors may always obtain access at other times for a gratuity
(1 fr.). Catalogues may be borrowed from the concierge.
A fuller account of N, France is given in Baedeker's Handbook
to Northern France.
Sketch of French Art
by
De. Walther Gensel.
Tlie earliest achievements of art in France, as'illnstrated in the
historical museum at Saint- Germain -en- Laye , possess but little
interest for the majority of visitors to Paris; even the monuments
of the Gallo-Roman period and of the Merovingian and Carlovingian
epochs are of real importance only to the professed archjeologist.
The ordinary art-lover finds little to attract him in French art before
the close of the 9th century. About the year 1000, however, its
Romanesque churches and sculptures placed France in the front
rank of artistic nations; a century and a half later Gothic ait arose
in Northern France, where it speedily attained its earliest and
finest perfection ; during the Renaissance period French aitists
produced works, notably in the domains of profane architecture
and sculpture, which need not shrink from comparison with Italian
works of the same date; in the 17th and 18th centuries Paris
was the home of an imposingly gorgeous decorative art, whifh com-
pelled the admiration and emulation of the rest of Europe; and
since the Revolution the dominant currents of modern art have
flowed trom the same centre. The course of the vast development
thus indicated abounds in vicissitudes, and it is the object of the
following sket'-h to throw some light upon the various stages. For
the study of French architecture Paris by itself is insufficient; but
for painting and sculpture an exceptionally rich field of study is
afforded by the Louvre, the Luxembourg, the Trocadero, and the
Muse'es de Cluny, Carnavalet, and Gallie'ra, supplemented by Ver-
sailles, St. Denis, and Chantilly in the immediate environs, and
Fontainebleau and Compipgne a little farther off.
Among the many causes that contributed to the development of
Romanesque Architecture may be noted the enormous growth in
the power of the church; the need of providing fitting shrines for
the relics brought home iDy the numerous p'lgrims; the necessity
of rebuilding the churches burned by the Northmen, and the effort
to make the new churches larger and more lasting than their pre-
decessors; and, perhaps, also the relief experienced all over Christen-
dom on the lapse of the year 1000, which had been uni\ersaliy
expected to bring the end of the world. Romanesque architecture
adhered in general to the fundamental forms of the Roman basilica,
though at the same time it developed these and incorporated with
them Byzantine, French, and Saracenic elements. In the North at
xxxvi FRENCH ART.
least the arrangement of a nave betwixt lower aisles, with the former
supported by pillars instead of columns , is practically universal.
The transepts project but slightly beyond the aisles , and, in the
French examples, almost invariably terminate in a straight line.
The simple apse is developed into a choir, frequently with radiating
chapels. Many churches possess a vestibule, in some cases forming
practically an anterior nave. The edifice is crowned by a square,
an octagonal, or (more rarely) a circular tower, rising above the cross-
ing, or on one side of the choir, or in the centre of the fagade.
Occasionally two, three, or even six towers are found. But the main
distinguishing feature of the fully developed Romanesque style is
the vault. The tunnel- vaulting of antiquity is universal in South
Eastern France and was there most persistently adhered to ; but in
Burgundy and Northern France, where at first the choir and aisles
only were vaulted, the nave receiving a flat roof, a transition was
made at an early period to the groined vault, the full importance of
which, however, was not at first recognized. Finally, in South
Western France we find domed structures, recalling San Marco at
Venice, the most prominent of which is the church of St. Front at
Perigueux. The most celebrated Romanesque churches in France are
St. Sernin at Toulouse and Ste. Foy at Conques in the S., Notre-Dame-
du-Port at Clermont-Ferrand and St. Paul at Issoire in Auvergne,
St. Philibert at Tournus and Ste. Madeleine at Vizelay in Burgundy,
St. Etienne and the Trinite at Caen in the North West, Notre-
Dame at Poitiers in the West, and Ste. Croix at Bordeaux in the
South West.
The substitution of heavy stone vaulting for the earlier wooden
roofs involved a substantial increase in the thickness of the walls
and a very great reduction in the size of the windows and other
light-openings. The result was somewhat heavy and sombre, and
an endeavour to relieve this effect was made by the free use of
painting and sculpture. In the interior, sculptures were chiefly
placed on the capitals of the pillars; on the exterior, at first in the
pediment, or tympanum, over the portal, but later on the entire
facade. Byzantine influence manifests itself in Southern France not
only in the exaggerated length of the figures and in the peculiar
arrangement of the folds of the drapery , but also in the preference
shown for chimseras, dragons, quadrupeds with human heads, and
similar monsters. The sculptors of Burgundy and Auvergne, however,
early developed a certain measure of independence and began to
utilize the native flora and fauna as patterns for carvings. The exe-
cution is still generally clumsy, but the dignity of the general result,
the feeling for decorative effect, the rich play of fancy, the profound
sincerity and delightful abandon of the sculptors, all lead us to
prize these 'Bibles in stone^ as the significant heralds of a great art.
Every lover of art will be richly repaid by a close study of the por-
tals and capitals of St. Gllks, St. Trophime at Aries, the monastery
FRENCH ART. xxxvii
of Moissac , and the clmrclies o{ Autun, Charlieu, and Vezelay ^ for
which an opportunity is afforded by the casts in the Trocad^ro Museum.
The original paintings in the Romanesque churches have utterly
disappeared, with the exception of a few fragments at Tours ^ Poi-
tiers, Liget. and some other spots; hut numerous miniatures of the
period have been preserved. Industrial art was at a comparatively
low ebb during the Romanesque period; but a promising beginning
may be detected in the work of the goldsmiths and in the allied art
of enamelling, as M-ell as in the embroidering of tapestry
We have seen how the employment of the Romanesque vaulting
led to the darkening of church-interiors. However welcome this
may have been in the vivid sunlight of the south, it suited ill with
the misty climate of the north. An escape from this disadvantage
was found when the architects realized that they might build their
naves as wide and as high as they chose and pierce their walls with
as many windows as they desired, if only the piers that supported
the vaulting were sufficiently strengthened from without, above the
aisles. The invention of ordinary and flying buttresses led to the
rise of a new architecture, that was to prevail in the north for over
three centuries ; and that invention was made in the Isle de France, in
the centre of Northern France. The French, therefore, have some show
of reason on their side when they attempt to displace the originally
contemptuous name of Gothic Abt in favour of the title 'French
Art'. Light could now be admitted so freely that the churches
seemed almost 'built of light', to borrow a phrase once applied to
the Sainte Ghapelle at Paris. The huge windows were now univer-
sally and naturally set in the pointed arches originally borrowed
from the East; and their gradual adornment with richer and richer
tracery ; the embellishment of the buttresses with bosses and crockets,
and of the pediments with finials; the prolongation of the nave into
the choir and of the aisles into the ambulatory; and the enhanced
size and importance accorded to the crossing and the transepts are
all characteristic features of the Gothic style that were practically
inevitable.
The extraordinarily rapid and rich development of the new art
was most powerfully fostered by the contemporaneous growth in
the power of the towns , which is evidenced by the fairs of Trorjes,
Beaucaire, and St. Denis, and by the rise and progress of the trade-
guilds. Just as the French Romanesque churches arose chiefly in
connection with the monasteries (especially Oistercian and Cluniac
monasteries) and bore a priestly stamp, so the Gothic cathedrals
typify the strength and prosperity of the towns and , in spite of all
their heavenward aspiration, breathe the joy of mundane life. No
town was willing to lag behind the rest, so the wondrous buildings
arose in every quarter.
Whether Gothic art attained its highest development in France
is a somewhat unfruitful question, for every answer mnst be more
xxxviii FRENCH ART.
or less dictated by personal taste. There is, however, no doubt that
in France it reached its earliest period of bloom. And the earliest
examples, in which there are evident traces of a mighty struggle,
naturally attract the student first and retain his interest longest.
The transition from Romanesque to Gothic may be traced in the
abbey church of St. Denis, consecrated by Abbot Suger in the
year 1140. The earliest purely Gothic cathedral of large size is that
ol Laon, with its incomparably spacious interior. Notre Dame at
Paris and the cathedral of Chartres were both founded in the 12th
century, while Kheims and Amiens belong wholly to the 13th. In all
these, as contrasted with later buildings, the horizontal line is strongly
emphasized. The facade of Notre Dame rises in five distinct stories.
One cannot too much admire the taste and skill with which the
architect has graduated these, from the elaborate portals lying closest
to the eye, up to the severely simple towers. Unfortunately much of
the original effect has been lost, owing to the ill-advised modern
isolation of the church, which deprives it of its foil, and also owing
to the erection of huge modern piles in the neighbourhood. All the
same, Notre Dame and the cathedrals of Chartres, Rheims, and
Amiens attain the high-water mark of early Gothic. The older
bell-tower and the spacious interior of Chartres produce a sin-
gularly impressive effect, while Rheiins is imposing from the bound-
less wealth of its sculptures; but Amiens is, perhaps, the most
harmonious of the large cathedrals and one of the most perfect
buildings of the middle ages , in the consistency and the uni-
formity of its construction and in its union of boldness with self-
restraint, of dignity with grace. Amongst the other chief mon-
uments of this fabulously active period we may mention the
cathedrals of Beauvais, Rouen, Le Mans, Tours, Bourges, Troyes,
Auxerre, and Dijon. The most famous examples of late-Gothic
('style rayonnant' ; 14th cent.) are the church of St. Ouen at
Rouen in the North, and the cathedral of Albi in the South. Free-
dom has been fully achieved; the general effect suggests a consum-
mate mastery over the difficulties of the forms. The horizontal
line seems to have disappeared from view; the building towers
towards heaven as if detached from earth. But this development
concealed within itself the germ of decline. The cleverest arith-
metician became at last the greatest builder , works of art degene-
rated into artful devices, over-elaboration usurped the place of
simple delight in richness, and the loving handling of detail sank
into pettiness and pedantry.
Secular architecture developed more slowly and therefore enjoyed
a longer period of bloom than ecclesiastical. The most imposing
Gothic castles belong to the 14th century : vis. the palace of the Popes
at Avignon and the castle of Pierrefonds , so successfully restored
by VioUet-le-Duc. No other civic palace can bear comparison with
the noble Palais de Justice at Rouen , founded as late as the close
FRENCH ART. xxxix
of the 15th century. The most heantiful private mansions are the
Hotel Jacques Coeur at Bourges (details at the Trocadero^ and
the Parisian residence of the Abbots of Cluny (now the Mus^e de
Cluny) at Paris.
As the 13th century marks the zenith of Gothic architecture in
France, so it also marks the first great period of French Sculpture.
'I am convinced', says the Marquis de Laborde, 'that the Gothic
sculptors would have advanced to the ideal beauty, and even to the
boldest study of the nude, had that been the object sought by their
contemporaries; but the desire then was for typical forms of search-
ing truth, suffering and mystic in aspect, clad with the conventual
shyness that was the fashion of the time.' These works are not at
first easily understood by those who approach them direct from a
study of the antique or of the Renaissance. We must lose ourselves
in contemplating them, before they will begin to speak to us. These
Christs, Madonnas, and Apostles are monumental figures in the
truest sense of the phrase , with their supramundane expression of
countenance, their simple yet significant gestures, and the scanty
folds of their robes, which adapt themselves so wonderfully to the
architecture. The Death of the Virgin in Notre Dame at Paris, the
figures on the facade of Chartres, and the 'Beau Dieu' of Amiens
are among the most pregnant sculptures of all time (casts at the
Trocadero). But so strict a feeling of style cannot maintain itself
long. Either it will degenerate into a system of empty foimulse, or
it will be broken down by the victorious pressure of realism. The
latter was the case here. The Naturalistic Reaction which set in
in the 14th century exercised a destructive effect upon ecclesiastical
sculpture, but on the other hand wrought for good on the sepulchral
monuments, as may be traced in the crypt of St. Denis. It may,
however, be questioned whether, left to themselves, the French
sculptors could have attained the high level on which we find this
new tendency at the close of the 14th century. Salvation came from
the north, the same north in which a little later the painters Van
Eyck produced their masterpieces. A number of Flemish artists were
then working at the court of the French kings — Pepin of Huy near
Liege, Beauneven of Ysilenciennes, Paul of Limbtirg, Jacquemnrt of
Hesdin. The most renowned, however, was the Burgundian school,
with Clnux Sillier at its head. The Moses fountain, the statues on
the facade of the Chartreuse near Dijon, and the tomb of Philip the
Bold, which Sluter executed in 1387 et seq. with the aid of bis
pupils Jean de Marvil'e and Claux de Werwe, may be boldly placed
beside the works of Donatello, who flourished more than a genera-
tion later. The famous stati ettes of 'Pleureurs' from the tomb of
Philip, well-known from numerous reproductions, may be compared
with the larger mourners from the contemporary tomb of Philippe
Pot in the Louvre. The latter tomb and the wonderful altar at Aix are
now usually attributed to Jacques Morel, who is supposed to have
xl FRENCH ART.
been tlie sculptor of the unfortunately mutilated sepulchral statues
of Charles I. of Bourbon and his consort at Souvigny. Casts of most
of these works may be seen at the Trocadero.
Decorative Sculpture naturally found its most favourable
field for development in the cathedrals , especially In the choir-
apses. In late-Gothic (Flamboyant Style; 15th cent.) the work of
the stone-carver overshadowed and almost smothered that of the
architect. The rood-screens at Troyes and Limoges and ^the library
staircase in Rouen may be mentioned among famous works in the
interior of cathedrals. Side by side with sculpture in stone advances
wood-carving , which manifests its finest results in the fagades of
private houses, on screens and chests, but above all on choir-stalls
(Amiens). Finally some good carving in ivory was also achieved,
e.g. the Coronation of the Virgin in the Louvre.
The extraordinary poverty that prevailed in the department of
Painting at this time stands in curious contrast to the well-being
enjoyed by sculpture and architecture, though this remark must be
limited to fresco-painting and easel-painting. While the Van Eycks,
^'an der AVeyden, and Memling were busily engaged in Flanders,
and while in Italy the quattrocento beheld these branches of painting
advancing from stage to stage, we can discover in France only a
few names and almost fewer works. On the other hand the long-
established art of miniature-painting now reached its highest point.
The MSS. illuminated about 1400 for the Duke of Berri, the cruel
but no less splendour-loving third son of John II., are veritable
gems. The finest of these, now one of the most precious treasures
at Chantilly, is beyond question the Livre d'Heures, with its land-
S(;apes, views of castles, and genre-scenes. But even in this case
the artists were 'Franco-Flemings' — the above-mentioned Beau-
neveu^ Jacquemart, a^ad Paul. Glass Painting also enjoyed a brilliant
development in the Gothic period. The illumination pouring from all
sides into the churches through the tall upright lights and the great
rose-windows that had been developed from the ancient 'oculi', re-
quired to be subdued, while the windows themselves had to be
embellished. The finest stained glass of the 12th century in France is
in the windows of the W. facade of Chartres, and the finest of the
13th century is in the rose-windows of Notre Dame (north portal),
Rheims^ Bourges, and Tours, and in the windows of the cathedrals
of Le Mans and Chartres and of the exquisite Sainte Chapelle at Paris.
The connection between glass-painting and painting proper is, how-
ever, not very close ; the glass-painters are more concernedwith the
colour-effect of the whole than with accuracy in the drawing and
colouring of details ; they think nothing of giving a man yellow hair
and a green beard. The more technically perfect the painting be-
came at a later period, the more completely was the naive sense of
colour lost.
The art of Enamelling is another branch of painting that was
FRENCH ART. xli
carried to a high point of perfection in this period, especially
at Limoges. The 12tb and 13th centuries saw the zenith of 'Email
Champleve', in which the artist engraves the designs upon the metal
plate and fills in the lines or grooves with enamel (Ital. smalto; Fr.
email); while the 14th and 15th centuries saw the perfection of
'Email Translucide', in which the entire plate is covered with a thin
coating of enamel, allowing the engraved design to shine through.
Finally, the weaving of Tapestry attained to great perfection during
the 15th century in the workshops of Arras^ Aubusson, and Paris.
The finest example of this period now to be found in Paris is the
series illustrating the romance of the Lady and the Unicorn, in the
Musee de Cluny.
In spite, however, of the fact that some artists produced great
works during the first half of the 15th century, signs of exhaustion
had already begun to appear. Gothic architecture continued, indeed,
to be practised after the beginning of the 16th century, as is
proved by the choir-apses at Amiens and Chartres. the Grosse Horloge
at Rouen, and the Tour St. Jacques and the church of St. Merri at
Faris; but on the whole it had by that time outlived its mandate,
and even Franco-Flemish art had said its last word in the works of
Sluter. What L. Courajod calls a 'relaxation of realism' awakened
a strong desire for beauty and nobility of form — a desire that
could be satisfied only from the South. As early as 1450 the
greatest artists were under the influence of the Italian Renais-
sance. Elements from both the North and the South are found
strangely mingled in Jean Foucquet of Tours (b. 1415), the most
important French painter of this period, who had spent several years
in Italy and painted the portrait of Pope Eugenius IV. The Livre
d'Heures painted by Foucquet for Etienne Chevalier, and now at
Chantilly, is one of the most exquisite creations in the whole range
of miniature -painting; while the portraits of the Chancellor des
Ursins and Charles VII. in the Louvre proclaim the same artist as
a great portrait-painter. Two of his younger contemporaries — Jean
Bourdichon, who painted the famous Heures of Anne cf Brittany,
and Jean PerreaL — had also visited Italy. The centre of French
art ;it this period was Tours, and here also worked Michel Colombe
(d. 1512), the most celebrated sculptor of the time. Colcmbe's chief
work is the tomb of Francis II., Duke of Brittany, in Nantes, and
some authorities are inclined to ascribe to him also the expressive
Entombment at Solesmes. Casts of both these works are at the Tro-
cade'ro, while the Louvre contains an original work of Colombe (St.
George and the Dragon).
The relations of the court, but more particularly the Italian cam-
paigns of the French kings, turned the scale. Charles VIII. brought
back with him not only paintings but painters, and under Louis XI.
began that great immigration of Italian artists into France which
culminated under Francis I. In li07 Andrea So'ario painted the
xHi FRENCH ART.
chapel of Chateau Gaillon ; in 1516 Leonardo da Vinci came to France,
in 1518 Andrea del Sarto, in 1530 Rosso, in 1531 Primaiiccio.
The result, the Fkexch Renaissance, did not wholly come up
to expectation — least of all in the domain of painting. The plant,
which in Italy itself had passed its best, opuld put forth only a few
feeble blossoms when transplanted to a foreign soil. The freely
restored paintings by Rosso, Primaiiccio, and Niccolo dell' Abbate at
Fontainebleau (School of Fontainebleau) reveal, it may be, a strong
sense of decorative effect, but in the details they are steeped in af-
fectation. The Frenchman Jean Cousin, whose Last Judgment in
the Louvre has been extolled beyond its merits, was really little
more than a skilful master of foreshortening. The only really at-
tractive painters of this century are Jean Clouet (d. ca; 1540) and
his son Fran<;ois Clouet (d. 1572), surnamed Jancf , and both are
remarkable for having remained almost entirely free from Italian
influence, manifesting a certain early-French dryness in their por-
traits (Bibliotheqne Nationale, Louvre, Chantilly).
The fate of Aechitectube was more fortunate. The native art,
instead of simply abdicating in favour of the foreign mode, was strong
enough to combine with it to form a new and distinctive style. The
architectural styles under Francis I. and Henri II. have a character
of their own. If an error was formerly made in ascribing all the
sumptuous buildings of Francis I. to Italian architects, such as Fra
Giocondo and Boccadoro, modern criticism seems to have overshot
the mark in denying these foreigners almost any share in them Some
buildings indeed, such as Fontainebleau. seem now to have been
definitively restored to native architects, but in the case of others,
e.g. the Hotel de Yille at Paris, it is still uncertain whether the
'maitre ma^on' mentioned in the original documents was not merely
the builder or the successor of the Italian 'architecte'. Among the
most illustrious names of the French Renaissance are those of Pierre
Lescot (Louvre, Musee Carnavalet), Philibert de I'Orme (Chateau
d'Anet, the portal of which is now in the court of the Ecole des
Beaux-Arts ; Tuileries), PierreChambiges (Fontainebleau and St.Ger-
main-en-Laye), Jean Bu^^anf (Chateau d'Ecouen ; Chantilly), and
the Ducerceau family, headed by the famous theorist and draughts-
man of that name. Building was most actively carried on in Tou-
raine, where there arose in rapid succession the chateaux of Cham-
bord, Chenonceaux, and Blois, with its trans cendently beautiful
staircase. The chateau of Gaillon near Rouen, now utterly demol-
ished, must have been one of the finest castles of its time.
Ecclesiastical architecture claims few important works at this
period, with the exception of St. Eustache at Paris, the church of
Gisors, and the noble choir of St. Pierre at Caen, the masterpiece
of Hector Sohier. The Hotel Bourgthe'roulde at jRouen (partly Gothic)
and the Maison Francois Premier in Paris are conspicuous examples
of domestic architecture. Under Francis I. traces of the old native
FRENCH ART. xliii
architecture arc still abundant; turrets and corner-pavilions, lofty
chimneys, round and elliptical arches, all occur in conjunction
■with columns and pilasters. But the style of Henri H. has already
passed wholly into the region of the classical orders, albeit with a few
modifications in the earlier French taste. A calm and measured
regularity has taken the place of the former gay fancy.
The number of Italian Sculptors engaged in France at the be-
ginning of the 16th century is almost larger than that of the architects.
Girolamo delta Bohhia embellished the Chateau de Madrid (now
destroyed) on t"he confines of the Bois de Boulogne ; Cellini, who
sojourned in France in 1537 and again in 1540-45, there chiselled
his great Nymph of Fontainebleau (now in the Louvre) ; and there
were others only less famous. The three Juste (property Betti)
were Florentines, who flourished at Dol about 1500 but afterwards
succeeded to the inheritance of Michel Colombe at Tours. Their
chief work is the tomb of Louis XU. at St. Denis, with two re-
presentations of the deceased (nude recumbent figure below; kneel-
ing figure clad in ermine above), bas-reliefs, and allegorical figures
at the corners. This arrangement was the model for many later
tombs. But the three greatest sculptors of the French Renaissance
are Frenchmen — Pierre Bontemps, Jean Goujon, and Germain
Pilon. To Bontemps, less well-known than his contemporaries
but certainly not inferior to them, is due the exquisite urn contain-
ing the heart of Francis I., and perhaps also the execution of
most of the tomb of that king at St. Denis, designed by Phil, de
rOrme. No lover of art will forget Gonjon's bas-reliefs or his
charming nymphs on the Fontaine des Innocents at Paris, whose
slender forms with their masterly drapery harmonize so vronderfully
with the space allotted to them. His caryatides in the Louvre are
perhaps the most beautiful works in all modern art. The famous
'Diana' in the Lonvre is especially characteristic of his style as well
as of the taste of the period. Finally we may mention the 'gisant'
on the monument of Cardinal de Breze at Rouen, as a wonderfully
realistic youthful work by Goujon. The magnificent counterpart of
this monument (which was executed by Jean Cousin) is the adja-
cent tomb of the two Cardinals d'Amboise , the bewilderingly rich
architecture of which was designed by Bolland Leroux (1520-25).
Pilon's name is inseparably connected with the tomb of Henri II.
at St. Denis, though he was not the only artist employed upon it.
The poignantly realistic 'gisants', and the powerful kneeling bronze
statues of the royal pair are equally admirable. The kneeling figure
of the chancellor Birague and the Dead Christ in the Louvre are
also full of character, whereas the three Cardinal Virtues supporting
the urn with the heart of Henri IT. are distinctly inferior to similar
figures by Goujon.
Amongst the productions of industrial art at this period our at-
tention is specially aroused by the Enamels and the Fayexce. The
xliv FRENCH ART.
art of enamelling entered iipon a new stase with the invention of
enamel painting and became secularized; i.e. instead of enamelled
altir-pieces, paxes, and reliquaries we find plates, vases, and cups.
The nevf Limoges School was founded by Monvaerni and Nardnn Peni-
caud and reached its zenith under Leonard Limousin, Pierre Rey-
mond, and Jean Penicaud the Younger. The now growing inclination
towards portraits in enamel and the reproduction of entire pictures
cannot but seem a mistake, and even the above-mentioned masters
were most successful when they restricted themselves to purely de-
cOxative work. While Italian influence soon made itself evident
amongst the enamels, ceramic art remained purely French, The
products of Gubbio, Deruta, or Urbino have little in common with
the elegant ivory- like fayeuce of Saint Porchaire., or with the
dishes decorated with monsters, fish, and the like by Bernard Palissy
(d. 1690), unique both as a man and as an artist, or with the pot-
tery of Rouen, Nevers, or Moustiers. We now also meet with ad-
mirable works in the domains of cabinet-making, goldsmith's work,
and tin work (Fr. Briot; d. after 1600), as well as among bronzes
and medal?, while the arts of glass-painting {Pinaigrier and Jean
Cousin; in St. Oervnis, ST. E ienne-du-Mont , etc.) and tapestry-
weaving show no falling off. The Renaissance nobly continued the
traditions of the Gothic period in investing even the humblest ob-
jects with an artistic charm, and that in a higher degree than ever
before.
The Reigns of Henei IY. and Louis XIII. were not very rich in
great works of art. The ecclesiastical Architecture of the period
is characterized by the facade of St. Gervai^, in which the colonnades
of different orders placed one above the other suggest a grammatical
exercise. Salomon de Brosse, its builder, was also the an^hitect
of the Palais du Luxembourg, which is imposing in spite of its
heaviness. De Brosse was older than the two more celebrated ar-
chitects. Jacques Lemercier, builder of the Palais Cardinal (now the
Palais Royal) the church of St. Roch, and the Sorbonne, and Man-
sart, who designed the older portion of the Bibliotheqe Nationals
and the dome of the Val-de-Grace. though his reputation is chiefly
as a builder of palaces (Maisons near St. Germain, etc.). Mansart
was the inventor of 'mansard' roofs. The oldest parts of Paris now
existing owe their characteristic appearance to this period, from
which also date a considerable number of the older private man-
sions, with fagades uniformly rising from enclosed courts entered
by lofty gateways. A characteristic survival of the period is the
Place des Vosges, which presents an exceedingly monotonous effect
In spite of the alternation of brick and stone.
The most influential Sculptors were now Jean Bologne or Gio-
vanni Bologna (b. at Douai; d, 160S) and his pupils (Franche-
ville, De Vries. Duquesnoy, Van Opsfat), all of whom were com-
pletely Italianized. A more individual and a more French style
FRENCH ART. ieIv
was shown by Barthelemy Pri€ur(d. 16H ; Montmorency monument
in the Louvre) and by Pierre Biard (d. 1609), to whom we find a
difrtculty in attributing two such different works as the elegant
rood-loft in St. Etienne-du-Mont and the energetically realistic
Goddess of Fame in the Louvre. In the succeeding generation these
were followed by Simon Guillain (d. 1658; bronze statues from the
Pont au Change, in the Louvre), JacquesSarrazin (d. 1660 ; caryatides
in the Louvre), Gilles Guerin (d.l678), and finally, and aboveall, the
brothers FranQoi^ and Michei Anguier (d. 1669 and 1686). The chief
works of Francois, which vary in excellence, are his numerous tombs
{e.g. those of De Thou and Longueville in the Louvre); Michel's
best work is now to be seen in the external and internal embellish-
ment of the Val-de-Gra(^.e (the Nativity is now in St. Roch) and in
the sculptures on the Porte St. Denis. Almost all the sculptors of
thj 'Sii'M-le Louis XIV.' studied the works of these sculptors, who
themselves saw the beginning of that age.
Practically only one of the Court Painters of this time has re-
tained his fame through the succeeding centuries, viz. SimonVouet
(d. 1649), who formed himself in Italy on Paolo Veronese and
Guido Reni. The scanty remains of Vouet's decorative painting re-
veal a love of bold colour and considerable skill in dealing with large
surfaces, but his religious easel-pictures are for us devoid of all at-
traction. Nicolas Poussin (1594-1665) and Claude Lorrain (1600-
1682), the two greatest painters, worked in Rome, far from France
and the French court. It is not easy to mete out justice to the works
of Poussin, at one time extravagantly over-praised and now fre-
quently under-estimated. The elegant expression of a high-bred
sentiment was his chief aim, and in contrast to the superficiality
of most of his contemporaries, this effort is doubly gratefal. P.ut
his religious pictures seem cold to us, owing to his frequent borrow-
ings from the antique and the Renaissance, and the over-elabor-
ation of his composition , in which we might almost inscribe
geometrical figures. His landscapes, such as the 'Orpheus", the
'Diogenes', and the 'Seasons', are more inspiring, though their colour-
ing has unfortunately faded. Claude Lorrain's scene-paintings are
as indifferent to us to-day as his petty mythological figures. But
he depicted atmospheric phenomena with a boldness, and blended
local colours into a general tone with a skill, that had no rivals un-
til the days of Turner and Corot. The modern cry for 'atmosphere
and light' is here clearly uttered for the first time. The works of
Eustachele Sueur (1617-55), the 'French Raphael', appeal to us as
more essentially religious than Poussin's. A deep and true piety
breathes from the 'Life of St. Bruno'. The age of the wars of religion
was also the age of Francois de Sales, the apostle of love, and of Vin-
cent de Paul, the friend of the sick and the poor. We may compare
the too sentimental paintings of Le Sueur with the vigorous works
of Philippe de Champaigne (of Brussels, 160*2-74), who was connected
xlvi FRENCH ART.
with the convent at Port Royal. The latter is, however, more
attractive as a portrait-painter.
It is difficult to select the right standpoint to view the Art op
Lons XIV. After the king's assumption of the reins of government
(1661), a thoroughly monarchic art begins. Opposition to all inde-
pendent efforts, and an abrupt hostility to everything foreign and
even to the mass of the people at home distinguish this 'golden age'.
The 'Roi Soleil' is a Roman Imperator, the heroes of the tragedies
are Romans, art also must be Roman. The 'Academie' founded in
1648 developed in sharpest contrast with the 'maitrises', or old
guilds. Everything was reduced to formulae. But this cold and
pompous art had some thing grand in its uniformity, its self-con-
fidence, and its deflniteness of aim ; and the effect was heightened
not only by the personalities of the king and his minister Colbert,
but still more by the art-dictatorship of Charles Le Brun (1619-90).
However unmoved Le Brun's paintings may leave us, there is
something singularly imposing, almost recalling the universal
geniuses of the Renaissance, in the manner in which he designed
the mazniflceut decorations of the Galerie des Glaces at Versailles
and the Galerie d'ApolIon in the Louvre, sketched groups in bronze
and marble for the sculptors, and painted and drew patterns for his
Manufacture des Gobelins, whii'h then included nearly every branch
of industrial art. The bronzes by Coyzevox^ the cabinets by Boulle,
the mirrors by Cucci, the arabesques by Berain all harmonize
with Le Brun's ceiling-paintings, just as these harmonize with the
buildings of Mansart and the gardens of Le Notre, and as the entire
creative art of the period harmonizes with the tragedies of Racine.
Art as a whole must be regarded as a setting for the court of
Louis XIV., but it is a decorative art of the very highest rank.
The AB-CHiTBcrujaE of the period is much less satisfactory.
Perraulfs famous colonnade at the Louvre now excites as little
enthusiasm as the fatiguing facade of the palace at Versailles by
Hardouin and Mansart (1645-1709) or as the Palais des Invalides by
Bruant. The great dome of the Invalides by Mansart and that of
the Val-de-Grace, now at last completed, are, however, honourable
exceptions to the rule. With Painting it is much the same. Who
now cares for La Fosse, Jouvenet, or Coypel? The portrait-painters
Mignard, Largilliere /^a.nd Rigaud — all admirably represented at
the Louvre — are, however, still interesting. Sculptuee occupies
a much higher position. However absurd Voltaire's dictum may
now appear, that Francois Girardon (1628-1715) had 'attained to
all the perfection of the antique', we cannot refuse our admiration
to that sculptor's tomb of Richelieu (in the church of the Sor-
bonne), his ''Rape of Proserpine' and statues of rivers, and above
all to his charming leaden relief of 'Diana at the bath', in the park
of Versailles. With him may be named a crowd of others: Legros,
Le Hongre, the two Marsy, Desjardins^ Lepautre, Van Cleve, Tuby^
FRENCH ART. xlvii
Theodon, Mazeline, a.T\i Hurtrelle. A more important name than
Girardon's is that of Charles Antoine Coyzevox (1640-1720). His
most prominent works are his large tombs, especially those of Cardinal
Mazarin (now in the Louvre) and Colbert (in St. Eustache) ; but
his other works merit close inspection for their masterly treatment
and their union of charm and elegance of conception. Among these
may be mentioned the horses in the Place de^la Concorde, the bronze
statue of Louis XIV. (MuseeCarnavalet), the 'Nymph with the shell',
and numerous busts (in the Louvre). Nicolas and Guillaume Coustou
(1658-1733 and 1677-1746), his pupils, who assisted him in the
execution of the 'Vow of Louis XIII. ' in Notre Dame, belong partly
to the following epoch. Among the chief works of Nicolas Coustou
rank the figures of the Rhone and Saone at the Tuileries and the
Caesar in the Louvre ; among those of Guillaume are the admirable
Marly horses in the Place de la Concorde and the tomb of Cardinal
Dubois in St. Roch. Of the sculptors of the 17th century, however,
the French themselves think most highly of Pierre Puget (1622-94),
who studied under Bernini and worked at Toulon, His compositions,
notably the 'Milo of Croton' in the Louvre , produce a strong im-
pression, in spite of their exaggerated pathos.
The reaction against this stiff and grandiose art was not long of
coming. Louis XIV. was succeeded by Louis XV., the pious Mme.
de Maintenon was followed by the dissipated Regent and a little later
by Mme. de Pompadour. We may date the prevalence of the art called
by the French 'Dix-Huitieme', from the beginning of the Regency
(1715) to the death of the Pompadour (1764). It was a super-
ficial, gallant, and dissipated art , the charm of which , however,
cannot be denied. It is the faithful reflection of the age. Everything
harmonizes: the gorgeous but comfortable apartments, in the decorat-
ion of which Oppenordt and Meissonier excelled; the charming villas
for gallant rendezvous ; the pale blue, sea-green, and rose-pink paint-
ing; the cabinets with their rich bronze ornaments; the chairs and
sofas, with their gilt carvings and luxurious silken upholstery ; the
terracottas and the porcelain statuettes from the factory at Sevres ;
and indeed even the costumes of the pleasure-loving, immoral,
yet charming society, with its powder and patches. Everything
that was formerly straight is now bent in the most wanton manner
and embellished with all manner of flourishes and scrolls (^Wococo^
from rocaille, shell); every door-knob seems to be designed for the
pressure of a delicate feminine hand. After a brief reign (for as
early as 1763 Grimm writes that everything was then made 'a la
grecque') the rococo style gave place to the Style Louis XVI.,
which in France at least always retained delicate and graceful
forms. The cabinets of this period (by Oeften, Riesener, Beneman,
and others), decorated with the daintiest inlaid designs, are now
almost more highly prized than the earlier works by Cressant and
Caffieri.
xlviii FRENCH ART.
The earliest and also the greatest painter of the 'Dix-Huitieme' is
Antoine Watteau (1684-1722), who came to Paris in his eighteenth
year to assist in the decoration of the Opera House and speedily
rose to fame by his representations of ^ Fetes Galantes\ In his scenes
of rural festivals and in his figures from Italian comedy ('Embark-
ation for Cythera'; 'Gilles'; both in the Louvre) this master is
unapproached. In both , he is the faithful mirror of his age , but
his magical colouring sheds such a poetic glamour, that we seem to
be transported into a fairyland full of roguish grace and pleasant
dalliance. His successors, Lancret and Pater, are skilful and charm-
ing artists , but are seldom inspired by even a breath of the poetry
of Watteau. The truest representative of the Pompadour epoch is
Francois Bouclier (1703-70). A study of his numerous pictures in
the Louvre is not enough for a proper estimation of this artist, for
it is chiefly as a decorative painter, in his ceilings and panels, that
he reveals his character. Next to Boucher rank ^Frago' (Honore
Fragonard) and Baudouin, whose drawings especially are prized.
The 18th century was rich in portrait-painters also, the first place
being claimed by the pastel painter Quentin de La Tour (1704-88),
'the magician', as Diderot calls him. The strikingly lifelike and
characteristic portraits by this master are the chief boast of the
musee of St. Quentin, his native town; while the charmingly grace-
ful female portraits by Nattier are among the attractions of Versailles.
Here also reaction set in early. Boucher himself lived to hear
the thundering philippic of Diderot, who re-christened the 'painter
of the graces' as the 'painter of demireps'. But this verdict was
moral, not aesthetic. Emotionalism was simply the transition from
frivolity to the Spartan virtue of the Revolution. Diderot had found
a man after his own heart in Jean Baptiste Greuze (1726-1805),
whose 'Rustic Bride' and 'Prodigal Son' practically synchronized
with Diderot's 'Natural Son' and Rousseau's 'Helo'ise'. Greuze re-
mains to this day a popular favourite, not, however, on account of
these moral pictures with their hard colouring, but on account of
his paintings of girls ('The Broken Pitcher'; the 'Milkmaid', etc.),
in whose grace there are still traces of the sensuous charm of the
preceding epoch. More important as a painter is Greuze's elder
contemporary Jean Baptiste Simeon Chardin (1699-1779), one of
the best painters of still-life that ever lived, an excellent portrait-
painter, and an acute, amiable, and original observer of simple
domestic scenes ('Grace before Meat'; the 'Industrious Mother', etc.}
in the Louvre). The true forerunners of the later classicism were,
however, at this period Vien , the teacher of David, Cochin, and
Hubert Robert, with his views of Roman ruins.
The rococo style never thoroughly permeated the art of Sculp-
ture. Allegrain, with his nymphs, and Clodion, with his sensuously
animated terracotta groups of Bacchantes, Satyrs, and Cupids, touch
upon its outskirts in the soft grace and 'morbidezza' of their methods
FRENCH ART. xlix
of treatment; but side by side with them stand such artists as
Bouchardon, the 'French Phidias', with his Grenelle Fountain,
which may almost be termed severe. Figalle (1714-85) pays un-
restrained homage to the pictorial taste of the period in the tombs of
Marshal Saxe (Strassburgj and the Comte d'Harcourt(>'otre Dame),
as well as in the monument of Louis XV. at Rheims, but he also
expresses its philosophical ideas in his allegorical compositions, and
makes his bow to the antique in the nude statue of Voltaire. The
amiable Pajou (1730-1809) vacillates between antique severity and
French grace, between frivolity and sentiment, in his Pluto, Bac-
chante, and statue of Queen Maria Lesczynska as Caritas (in the
Louvre). A similar vacillation is shown by Falconet, who may be
better studied in St. Petersburg than in Paris. Lemoyne (Louvre,
Versailles) and Caffierl (d. 1792; busts of Rotrou, La Chauss^e,
J. B. Rousseau, etc.) are admirable portrait-sculptors, but both are
far excelled by Jean Antoine Houdon (1741-1828), whose seated
statue of Voltaire is one of the masterpieces of realistic portraiture,
and whose 'Diana' (bronze replica in the Louvre of the original
marble in St. Petersburg) is among the most perfect nude figures
in modern art.
The transition to classicism was most easily accomplished in
Architbcturb. To be convinced that at least in the case of great
religious and secular edifices the frivolous fashionable taste was left
far behind, we need glance only at the fagade of St. Sulpice by
Servandoni (17o3) , the portal of St. Eustache by Mansart de Jouij
(1755), the Ecole Militaire (1756), the buildings on the Place de la
Concorde by Gabriel (1772), and the Pantheon, begun by Souf/Iot
in 1764. The writings of the Jesuit Langier (1753) , the architect
Blondel (1756), and the archaeologists Mariette and Caylus, and
finally and above all the excavations at Pompeii and Herculaneum
and the reports of visitors to these spots , speedily assisted the
classical tendency to gain a decided victory.
Thus the appearance of Jacques Louis David (1748-1825) does
not signalize a complete revolution, as was at one time assumed, but
the close of a decade of development ('Belisarius', 1781; 'Oath of
the Horatii'. 1785). His significance lies in the fact that he deduced
the logical consequences and elevated them with adamantine strict-
ness into a law of universal application. Individuality was once more
repressed , and all art once more reduced to a formula. The fruits
of this new Renaissance are before us everywhere to this day. Even
the most famous pictures (David's 'Leonidas' and 'Rape of the Sabines')
look like painted copies of bas-reliefs. The artist is in touch with us
only when he is unfaithful to his own principles, as in the 'Coronation
of Napoleon' (Louvre), the sketch of 'Marat after death' (Carnavalet),
and his lifelike portraits. It is the same with the architecture of the
Revolution and the Empire. 'The Arc de Triomphe du Carrousel',
says Saint-Paul, 'is a copy of the arch of Septimius Severus , the
Baedekek. Paris. 14th Edit. d
1 FRENCH ART.
Yendome Column is a reproduction of Trajan's Column, and the
Madeleine is a temple -which might he dedicated -without alteration
to Jupiter Capitoliiius'. Gra'^e as such seemed to be hani^^hed from
ait. Greuze and Clodion died in penury, and Fragonard spent his
last days in painting large allegorical and decorative pieces.
At first glance the Nineteenth Cextury presents the appearance
of a veritable chaos. In previous times the architect either adapted
the prevailing style to the altered circumstances or developed a
new one from it. Now, however, he builds in the Greek style to-
day, in the Renaissance to-morrow, or passes unconcernedly from
Gothic to baroque. In the same way the painter imitates the Greeks
or the Italians , Rubens or Rembrandt, the Pre-Raphaelites or the
Japanese. In the realm of sculpture we find ourselves at onetime
face to face with the most exalted idealism, at another with the
most uncompromiL'ing realism. Our judgment, too, is rendered all
the more difficult because many of the artists still stand so near us
in point of time, that we cannot wholly free ourselves from the
influence of personal inclinations or antipathies.
In the first quarter of the century the controlling influence in
the sphere of Painting was that of David. In the year 1800 Guerin
(d. Ih33), the most thorough-going pupil of David, attained an extra-
ordinary snccess with his 'Marcus S-^xtus'. Afterwards he devoted
himself mainly to the painting of tragic scenes. Girodet^d. Ib2i"), it is
true, selected romantic subjects (tbe 'Deluge', 'Burial of Atala'), but
adhered to the relief-! ke execution and statuesque repose of his
master. Girard (d. 1637), who appeals to us mainly by his attractive
portraits of women , is somewhat freer in style. His 'Cupid and
Psyche' naturally excited universal admiration in a generation for
whom Cauova's group of the same subject was the hit:hest expression
of art. Gros (d. 1835) passes for a forerunner of romanticism; but
the warmer colouring and livelier movement of his battle-scenes do
not blind us to his numerous weaknesses. An except onal position
is occupied by Prudhon (d. 1823), who, in his charming 'Psyche'
and his dramatic 'Revenge and Justice', produced a novel and pleas-
ing effect by combining the artistic traditions of the 18th century
with suggestions borrowed from Correggio.
The first great innovator, the first romanticist properly so called,
was Theodnre GericauU (1791-1824), whose paintings of soldiers
and horses announce, still more clearly than his 'Raft of the Me-
dusa', the dawning of a new conception. There is practically no
sense in the expression 'Rcmintic. School^ unless we translate
'romanticism' as meaning simply 'love ofliberty'. A better appel-
lation is School of 1830. The one common bond among the masters
of this period, many of whom carried on violent feuds with each
other, was their passion for independence. With few exceptions,
however, they sought for freedom in form and colour only; they
did not dare to take their subjects from the life around them, but
FRENCH ART. li
found them in the history and legend of the middle ages, iu the
pages of the poets (Dante, Tasso, Shakespeare, Goethe, Byron),
or in the scenes of the distant Orient. Raphael "was the model for
one set, Rnbens and Veronese for another.
Eugene Delacroix (1798-1863) and Jean Augusta Dominique
Ingres (1780-1867) are not only the two greatest masters of this
period but also repiesent its opposite poles. For Delacroix every
picture assumed the form of a brilliant symphony of colours, so that
his enemies asserted that he painted with 'an intoxicated broom' ;
Ingres, on the contrary, considered that the 'integrity of art' depended
upon the drawing. While the former honoured Rubens above all
other masters, the latter saw in the great Fleming 'something of a
butcher' and held it bla-phemy to compare Rembrandt with Raphael.
The eternal antithesis between colouring and drawing was, perhaps,
never so forcibly emphasized as now. Our taste has deciled the
controversy in favour of Delacroix. "We feel keen admiration for the
vigorous colouring of 'Dante's Boat' (1822), the 'Massacre of Chios',
the 'Barricade', and the 'Crusaders', and count the paintings of the
Palais Bourbon and St. Sulpice as among the greatest monumental
works of the century. The 'Apothesis of Homer', on the other hand,
leaves us cold in spite of its admirable drawing; the beautiful figures
of 'O^Mipus' and 'The Source' excite but a half-hearted admiration j
and it is only in his portraits that Ingres makes any strong impression
on us. Perhaps, however, the time will come when this master will
be again accorded a more prominent place.
The fame o^ Horace Vernet (d. 1863), Paul Delaroche (d. 1856),
Deveria (d. 1865), Couture (d. 1879), and the other historical
painters of the period has paled very considerably. The recon-
struction of a historical scene, such as the 'Death of Elizabeth' or
'Raphael in the Vatican', can satisfy ns only when the immediate
effect causes the artificiality of the process to be forgotten; but none
of these masters had the strength to accomplish this. The longest
life will d oubtless belong to Vernet's pictures of contemporary history
at Versailles. Among other masters of the period may be men-
tioned the somewhat sentimental ^ry Sc/ie/fer (d. 1858); Leopold
Robert (d. 1835), who died prematurely but not before he had
received universal admiration for his cheerful but rather too spick-
and-span scenes of Italian life ; Decamps (d. 1860), who painted
glowing pictures of Oriental life and found excellent followers in
Fromentin, Marilhat, and others; and Chenavard (d. 1880), the
author of the philosophical cartoons in the Picture Gallery of Lyons.
A special meed of honour must be paid to Hippolyte Flandrin (d.
1864), a pupil of Ingres and perhaps the only religious painter of
modern times whose works reveal a genuinely pious spirit.
Contemporaneously with this development there arose in France
a new conception of landscape painting, the so-called Paysagb In-
time. The aim was to reproduce the play of light and the atmo-
d»
lii FRENCH ART.
spheric effects of the fondly noted, though often simple motives of
one's native land. Theodore Rousseau (d. 1867) is par excellence the
great painter of trees ; Jules Dupre (d. 1889) depicted nature in her
stormy moods ; Charles Dauhigny (d. 1878) loved to paint the peace-
ful banks of the Oise; Narcisse Diaz (d. 1876) revelled in rustling
forest glades threaded by glittering beams of sunlight. The greatest
poet of this group, generally known as the School of Barbison,
is Jean Baptiste Corot (d. 1875). No other painter either before
or since has regarded nature with such an intimate and genial gaze.
In his pictures the meadows rustle, the birds twitter, the bees
hum, and the sunbeams glance and play. Lovely nymphs dance in
morning dew to the music of soft-breathing flutes. Other members
of the Barbison group are Constant Troyon [i. 1865), vying with
Rosa Bonheur (d. 1899) as the greatest of the French animal-paint-
ers , and Jean Francois Millet (d. 1875), the vigorous painter of
peasant-life, who incarnates so powerfully the spirit of the text 'in
the sweat of thy face shalt thou eat bread'.
Under the Second Empire a number of new tendencies made
themselves felt. The historical painters, such as Sylvestre and Lu-
mlnais, tickled the jaded palates of their contemporaries with scenes
of horror like 'Nero and Locusta'. Hamon, Gerome, and the other
'Neo-Greeks' painted genre-scenes in antique costume, which al-
lowed them to display their masterly treatment of the nude.
Cabanel (d. 1889), the more talented Baudry (d. 1886; decoration
of the Opera House) and Delaunay (d. 1891), and the still living
Henner and Lefebvre sought for fame in the most finished portrayal
of the female form divine. Contemporary military life was illustrated
by De Neuville (d. 1885) and Regnault, the latter of whom fell in
the Franco-German war (1871). The great popular favourites were,
however, Ernest Meissonier (1813-91) and Alfred Stevens (born 1828)
of Belgium , two painters of the fine and minute who can be con-
fidently ranked with the Dutch masters of the 17th century. The
former loved to depict the heroes of his tiny canvases in the more
brilliant costume of by-gone days; the latter gave a faithful picture
of the dress and manners of the fashionable women of his own time.
An important event for the development of art in the following
period was the appearance of Gustave Courbet (1819-77), who
revealed an extraordinary power of realism in his 'Burial of Ornans'
and other scenes of common life, as well as pre-eminent colouristic
talents in his great 'Studio', but who nevertheless did not possess
one spark of poetry.
Between 1870 and 1890 four artists are specially prominent:
Edouard Manet (1833-83), Jules Bastien- Lepage (1848-84), Pierre
Puvis de Chavannes (1824-98), and Gustave Moreau (1826-98).
Manet made a skilful combination of what he learned from Velaz-
quez and from the Japanese, and in his vigorous portraits and
sketches of Paris life became the most zealous protagonist of the
FRENCH ART. liii
impressionist school, wMch exerted a deep and beneficial influence
in spite of its aberrations. Bastien- Lepage applied the prin-
ciples of impressionism to his powerful pictures of peasant-life.
Puvis de Chavannes adopted the colouring of the primitive Italians
and represented an ideal humanity in a series of solemn and broadly
conceived mural paintings (Sorbonne, Pantheon, Amiens, Rouen,
Poitiers, Lyons, Marseilles). Moreau presented mystic legends in
a style of which th.e delicate colouring glows like a jewel (Muse'e
Moreau, Luxembourg).
A survey of the multiform activity of the Painting of To-Day
may be obtained in the course of visits to the Hotel de Ville, the
Sorbonne, the Mairies, the Luxembourg, the annual Salons, and the
smaller exhibitions. Here we give only a few hints. The academic
school, which seeks its end mainly by a conscientious study of form,
is represented by Laurens (historical paintings), Detaille (battle-
pieces), C'ormon (frescoes in the Jardin desPlantes), Bonnat, Carolas-
Duran, Humbert^ Benjamin- Constant, and others. In the sharpest
contrast to these stand the impressionists Deyas, Monet^ Pissarro,
Renoir, RaffaelU, and their friends, whose aim is to reproduce a
momentary effect (Salle Caillebotte at the Luxembourg, Galerie
Durand-Ruel). Other representatives of impressionism are lioll,
Gervex, Rocliegrosse, and the brilliant colourist Besnard (Ecole de
Pharmacie). Cazin^ BiUotte, Pointelin, Menard, and others devote
themselves to producing melancholy twilight landscapes. Jules
Breton and Lhermitte are attractive delineators of rural life. Dagnan-
JSouveret and the younger masters, Cottet, Simon, and Wtry, depict
the picturesque scenes of Brittany. Symbolism has also found
numerous disciples among the younger generation.
To go into the matter of the Graphic Arts would take us too
far afield. Be it enough to chronicle that recent activity in this
sphere has been both great and successful , not only in engraving
{Gaillard, Waltner, Fatricot , etc.), which reproduces the ideas of
others, but still more notably in the original arts of etching in black
and white or in colours (Bracquemond, F. Rops , Legrand, Lephre,
Legros, Tisaot, Raffaeili) and lithography (Fantin-Latour, Carritre ;
the posters of Cheret).
The Sculpture of the 19th cent, runs , on the whole, a course
parallel with that of painting. Here also the antique style was at
first all-powerful. Canova, who made many visits to Paris, was the
master whom all admired and imitated. Few sculptors attained
anything higher than a frosty correctness. We may name Chaudet
(d. 1810 ; 'Paul and Virginia', in the Louvre), Lemot (d. 18'2T;
Henri IV. on the Pont Neuf), Dupaty (d. 1825; 'Death of Biblis",
in the Louvre), the exuberantly fertile Bosio (d. 1845) , and Cortot
(d. 1843 ; 'The Messenger of Marathon'). To the academic school
also belongs the once very popular James Pradier (1792-1852),
known for his Graces at Versailles, his works on the Arc de I'Etoile
Uv FRENCH ART.
and the Moliere Fountain, and his Victories at the Dome des In-
valides; but this master possesses a certain grace and vivacity of
conception "which still exercise their charm. Romanticism proper
played a very subordinate role in sculpture, where the decisive
part was undoubtedly that taken by realism. Three masters here stand
in the forefrout: Fr. Rude. P. J. David d' Angers, and A, L. Barye.
Fran9ois Rude (1784-1855) is the strongest nature of the three;
he invariably interests, even it' he does not always satisfy us. Most
of his creations are tainted with something a little too unquiet, too
theatrical. Alongside his most expressive statue of Monge at Beaune
stands the restless Ney of the Place del'Observatoire; his admirable
Oavaignac in Montparnasse Cemetery contrasts with the very
questionable figure of 'Napoleon awaking to immortality' at Fixin,
near Dijon. His most famous work is the 'March Out' on the Arc de
I'Etoile, which breathes the most fiery enthusiasm. The 'Fisher
Boy' and 'Joan of Arc' in the Louvre also deserve special remark.
His religious efforts are the least pleasing ('Baptism of Christ' at the
Madeleine). — Pierre Jean David d'Angers (1783-1856 ; thus named
from his native town, in contradistinction to the painter J.L. David),
unlike Rude, always retains a certain air of sober reality. He has
much in common with Ranch, and like him was fond of representing
generals in their uniforms and scholars and artists in ideal costume.
His busts and medallions occur by the hundred at Pere-Lachaise and
elsewhere, but it is impossible for us to share the enthusiasm with
which they were regarded by his contemporaries. The fame of the
great animal sculptor Antoine Louis Barye (1796-1875) has, on the
other hand, steadily increased. His larger works, such as the 'Lion
and Serpent' in the Garden of the Tuileries, have become popular
idols ; and the original casts of his small bronzes fetch nearly their
weight in gold. His most successful followers are Frimiet (Jardin
des Plantes), Cam (Tuileries), and Gardet (^Luxembourg, Chantilly,
etc.). By far the most eminent pupil of Rude is Jean Baptiste
Carpeaux (1827-75), who died at a comparatively early age. His
'Triumph of Flora' at the Louvre, his 'Ugolino' at the Tuileries,
his vivacious busts, and, most of all, his group of 'Dancing', at the
Opera, which is inspired by a truly Bacchic gust of existence, and
his 'Quarters of the Globe' on the Fontaine de I'Observatoire assure
him one of the highest places in the history of modern sculpture.
(The last can be best studied in the models at the Louvre, which
clearly reveal the feverish energy of the hand that made them.)
With the great public the gentle maidens of his contemporary Chapu
(1833-91) are still more popular (tomb of Regnault in the Eoole
des Beaux-Arts). Among the pupils of David may be mentioned
Carrier- Bel' euse, Cavelier, Maindron, and Aimi Millet.
As we walk to-day through the Luxembourg Gallery, the public
parks, the cemeteries, and the exhibitions we find, it is true, much
academic conventionality, but there is also abundant evidence of a
FRENCH ART. Iv
strong effort to rise a"bove convention and to permeate works of art
with personal feeling, besides a technique brought to a hi^h state
of perfection. The most conspicuous sculptors are Paul Dubois (h.
1823), whose marvellously finished forms show the influence of the
early Italians; Falguitre (b. 1831), whose fiery Provencal nature
produces such admirable works as the 'Pegasus' of theSqnare de
I'Opera at the same time as such doubtful productions as the great
figure in the Pantheon; and MercU [b. 1845), with his 'Gloria Victis'
In the Hotel de Ville and his 'Quand Meme' in the Tuileries Garden.
Among the many who might be signalized along with these we name
Ernest Br;mas (^'First Funeral', in the Hotel de Ville), GuUlaume
(monument to Ingres, in the Ecole des Beaux- Arts), Crauk (mon-
ument to Adm. Coligny), Boucher ('At the Goal', in the Luxembourg
Garden), St. Marceaux^ and Puech. Dalou has been more inclined to
adopt the pictorial methods of \he 18th century. His latest and much
criticized works are the Monument of the Republic (Place de la
Nation) and the Monument to Alphand (Avenue du Bois-de-Bou-
logne). The extreme of individual ty in art is represented by the
highly gifted Auguste Rodin, whose works, however, are often open
to criticism ('The Kiss', 'Victor Hugo', 'Balzac', 'Mouth of Ht-ll').
Desbois and others suggest themselves in the same connection. Per-
haps the most striking plastic work of modern days is Bariholom'-'s
'Monumentaux Morts',inPere-Lachaise. Roty^ Chaplain^ Daniel Du-
puis, and others have brilliantly resuscitated the art of the medallist.
On Architecture a few words must suffice. Under the First
Empire tlie classical spirit was supreme (Madeleine, Exchange),
under the Restoration it was relaxed only so far as to allow the
addition of the basiii a (Notre-Dame-de-Lorette, St. Vincent-de-
Paul). Under Louis Philippe, however, a great revival of Gotb'c took
place, headed by VvAlet-le-Duc^ Lassns^ and others (restorations of
Notre Dame, the Sainte Chapelle, and Pierrefonds; Ste. Clotilda),
and this was followed by a general ecle'ticism. Among the lew
really original works of the century honourable mention may be
made of the Ecole des Beaux-Arts, by Duban-^ the chuich of St.
Augustin, by Ballard; the Trocade'ro, built by Davioud and Bourdais
in 1878; the church of the Sacr^ Cceur, by Abadie; and tiie Opera
Housc-jby ( har'es Gamier ^ the iuton or of which is especially effective.
VioUet-le-Duc's 'Eiitret ens sur I'Architecture' first broached the
important principle that the extsrior of a building must indicate its
uses and adapt itself to the altered methods of construction. The
reading-room of the Bibliotheque Naiionale, by Labrouste , is an
admirable example of the adaptation of iron-construction to the needs
of a large room.
The Industrial Arts reached the lowest deep of degradation
under Louis Philippe, but the Count de Laborde's classic report on
the London Exhibition of 1851 induced a great improvement, which
at first took the form of a reversion to earlier styles. It was not until
Ivi FRENCH ART.
later that a really modern industrial art sprang up, in conjunction
■with the United States, England, and Belgium, and under the in-
fluence which the products of Japan began to exert in Paris about
1867. The visitor to Paris will enjoy tracing this development in
the w orks of the pewterer (Deshois^ Baffter)^ the glass-maker [Gallt
of Nancy), and the potter ( Delaherche, Dalpeyrat, Biyot)^ as well as
in furniture, tapestry, textile fabrics, and ornaments (Lalique). This
field also is the scene of a varied and promising activity.
PAEI8.
PRELIMINARY INFORMATION.
1. Axrival in Paris.
Railway Stations, see p. 25. — On arrival the traveller should
hand his small baggage to a porter (facteur, commissionnaire ;
40-50 c). follow him to the exit, where an octroi official demands
the nature of its contents (see p. xiii), and call a cab (voiture de
place). The cab then takes its place in the first row, which is re-
served for engaged vehicles. After receiving the driver's number
(numero), the traveller, if he has any registered luggage, tells him
to wait for it (Westez pour attendre les bagages"). Hand-bags and
rugs should not be left unguarded in the cab, at any rate not without
making the driver notice the number of articles , as there are
numerous thieves always on the look-out for such opportunities.
The traveller next betakes himself to the Salles des Bagages
(Douane), which is opened 10-15 min. after the arrival of the train.
The custom-house examination is generally lenient (comp. p. xiii).
For carrying a trunk to the cab the porter again receives 40-50 c,
or even more for heavy luggage. The octroi official has again to be
assured that the contents include nothing eatable. As a rule, the
through-passenger from England will not be able to leave the station
until V2^'"' after his arrival. If preferred, however, he may tell the
porter to carry his hand-baggage direct to one of the hotels near the
railway stations (see p. 9) and return afterwards for his trunk.
The fare from the railway station to the town is 1^2 ^r. for a
two-seated cab (at night 21/4 fr.); large articles of luggage, one piece
25 c, two pieces 50 c, three and more pieces 75 c; pourboire 26 c.
(comp.Appx., p. 36). If the cab has to wait more than V4^'^' (which
will probably be the case more often than not) the time-tariflf comes
into force: 2 & 2^/2 fr. per hour by day, 2'/.2 & 23/4 fr. by night. It
is also advisable to hire by time when the traveller is uncertain
whether he can obtain rooms at the hotel of his choice. The tariff
is printed on the 'numero'; see also the Appx., p. 36.
At the Gare du Nord and the Gare de VEst travellers with extra heavy
luggage may hire a Luggage Cab, with a rail ou the top (Voiture Spiciale
avec galtrie pour bagages), which are stationed behind the omnibases (see
the placards); fares, per drive, including luggage, for 4 pers. 2Va 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. — Families or large parties may hire a Railwat Omnibus
Baedeker. Paris. 14th Edit. 1
2 2. HOTELS. Preliminary
(Omnibus special or de famille)., which contains from 6 to 12 seats. The
tariff varies at the different stations, but naay be reckoned at about 1 fr.
per seat. About 60 kilogr. (135 lbs.) of luggage is carried free for l-3Jper8.,
100 kil. (225 lbs.) for 4-10 pers'-, excess 1 c. per kil. — These vehicles have
to be ordered in advance, and to secure certainty about 6 hrs. law should be
allowed. The order may run as follows: (M. le Chef du) Service des Voitures
Sp4ciales or des Omnibus Spiciaux, Gare du ^""ord (de I' Est), Paris. Priere de
/aire prendre — personnes au train de (hour of arrival); signature. Tele-
grams of .this nature are forwarded free by any station-master on the route.
2. Hotels and Pensions.
Alphabetical List at the end of the Book, after the Index.
For the duration of the Exhibition of ISOO the Syndicat des Grands
Hdtels de Paris has established a Bdbeau of iKFosMAXioy at No. 14, Rue
Jean-Jacques; Rousseau (PI. E,, 20, 21; //), where trustworthy details are
given gratis as to disengaged rooms, charges, and so forth.
The large hotels of the first class are, of course, provided with
all modern comforts,, such as electric light, passenger elevators or
lifts, steam or hot-water heating, and baths. Many of them are very
luxuriously furnished. The charges correspond to the accommodation.
The traveller who arrives in Paris in the evening, without having
previously secured rooms by letter or telegram (with paid reply),
will probably find the best chance of accommodation at one of the
largest hotels, with their hundreds of rooms. He should ascertain
the price of the room before allowing his luggage to be carried up-
stairs. These hotels have also the advantage that one pays for what
he consumes at the time, without being bound down to regular meals.
The prices given below have been furnished by the landlords or
managers, and refer to one person for one day. The double-bedded
rooms are invariably the best, and the charge made for them is not
always double that for a single room. If desired, breakfast is served
in the visitors own room, at an extra charge of 50c. or more.
Luncheon (dejeuner; 12 to 1.30 or 2) and dinner {diner; between
6 or 6.30 and 8 or 8.30) are served in the newer hotels of the first
class at separate tables, while in the older and smaller houses the
long 'table d'hote' is still in vogue. Li the winter-months (Dec-
March), prices are lowered at many houses. — The prices given
below will undoubtedly be raised during the Exhibition, those for
rooms probably as much as 30-50 per cent. Arrangements 'en pen-
sion' will be entirely discontinued. — When not otherwise in-
dicated, R. (room) in the following pages includes attendance (A.)
and lights (L.).
The most fashionable hotels are to be found mostly in the Place
Tendome, the W. part of the Rue de Rivoli, the Avenue de I'Opera,
and the Champs-Elysees.
To facilitate a choice we have arranged the hotels mentioned
below in various groups. Though the largest and most aristocratic
houses have been named first, it has been found impossible to follow
any strict order of merit in the arrangement of the list. Thus many
Information. 2. HOTELS. 3
hotels in the later sections might with equal propriety appear in the
earlier ones; while there are doubtless many deserving houses left
entirely unmentioned.
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.
Hotels of the Highest Class. '^Bristol Hotel and '^Hotel du Rhin,
Place Vendome 3 and 4 (Plan, Red, 18; special plan //"i"), two long
established and aristocratic houses, patronized by royalty; suites
of rooms (dining-room, drawing-room, 2-4 bedrooms, and bath
40-120 fr., dej. or D. 12 fr. or a la carte; pension for servants 9-10 fr.).
— *Ritz Hotel, Place Yendome 15 (PI. R, 18; //), opened in 1898;
admirable cuisine and cellar. — ^Elysee Palace Hotel, Avenue des
Champs-Elyse'es (PL R, 12; 7), opened in 1899, with 400 rooms;
R., L., & A. in the entresol 12-20, first floor 8 40, second, third,
and fourth floors from 7, fifth floor from 6 fr. ; B. 2, dej. 6, D. 8 fr. —
*H6t. de VAihenee, Rue Scribe 15, near the Opera House (PI. R, 18; //),
a favourite resort of Americans. — *H6t. Continental, Rue de Castig-
lione 3, corner of the Rue de Rivoli (PI. R, 18; It), opposite the
Garden of the Tuileries, with 600 rooms; R., L., & A. from 6, B. 2,
dej. 5, D. 7 fr. — ^Grand Hotel, Boulevard des Capucines 12
(PI. R, 18; II), adjoining the Opera House, with about 900 rooms;
R., L., & A. 5-30, B. 2, dej. (incl. wine) 5, D. (incl. wine) 8 fr. —
"■'Hot. Meurice, Rue de Rivoli 228 (PI. R, 18; II), long frequented
by British travellers, with 250 rooms; R., L., & A. from 8, B. 2,
D. 8 fr., dej. a la carte. — *H6t. Chatham, Rue Daunou 17, to the
S. of the Place de TOpera, another old favourite of British trav-
ellers, with 160 rooms from 7, B. IV2. dej. 4, D. 6 fr.
Hotels of almost Equal Rank. In the Inner Town : *H6t. Ter-
minus, Rue St. Lazare 110, at the Gare St. Lazare (PI. B, 18), some-
what out of the way for pleasure-visitors, with 500 rooms; R. on
first floor 8-18, second floor 7-16, third floor 6-14, fourth floor
5-12, fifth floor 4-7 fr. (cheapest room in each case looking on the
court), A. 1, L. 11/2, B. 1 1/25 dej. with wine 5, D. with wine 6, pens.
16-22 fr. — '^Hot. du Louvre, Rue de Rivoli 172 and Place du Palais-
Royal (PL R, 20; 77), with 300 rooms ; R., L., & A. from 61/2, B. 1 1/2,
dej. (with wine) 5, D. (do.) 6, pens, from 15 fr.
In or near the Place Vendome (PL R, 18; 77): Hot. Vendome,
Place Vendome 1, a high-class family hotel, with twelve suites. —
Hot. Mirabeau and Hot. Westminster, Rue de la Paix 8 and 11, two
good family hotels; Hot. de Hollande, Rue de la Paix. 18, with 100
rooms, R., L., & A. from 7, B. l'/2, D. 7, at separate tables 8 fr. ;
Hot. des lies- Brit anniques, Rue de la Paix 22, Place de I'Opera 1, and
t For explanation of references to Plan, see end of the book, before
the index of streets. The italicised Roman numerals (//) refer to the
special or district plans. The streets parallel with the Seine are numbered
from E. to W., while the numbers of the cross-streets begin at the end
next the river*, the even numbers are on the right, the odd on the lelt.
1»
4 2. HOTELS. Preliminary
Avenue de I'Op^ra 49, a family hotel, E. from 7 fr., meals a la carte.
— To the S. of the Place Vendome : *H6t. Castiglione , Rue de
Castiglione 12, \Nith 100 rooms, R., L., & A. from 6, B. IV2, dej. 5,
D. 6, pens. 15 fr.; *H6t. de Londres^ Rue de Castiglione 5, with 80
rooms, R., L., & A. from 5, B. II/2, de'j. -4, D. 6, at separate tables 7,
pens, from 16 fr. — Hot. Windsor, Rue de Rivoli226, -with 150 rooms,
R. from 5, B. IV2, dej. 41/2, I>- 7, pens. 15 fr.; Hot. Briyhton,
Rue de RivoH 218, R., L., & A. 6-8, B. IV2, dej. 5, D. 7 fr. —
*H6t. de Lille et d' Albion, Rue St. Honore' 223, to the N. of the Rue
de Rivoli, with 180 rooms; R., L., & A. 5-8, B. 13/^, dej. 4, D. 6,
pens. 15-18 fr.; *H6t. de France et Choiseul, Rue St. Honore 239,
R., L., & A. 8, B. 2, dej. 4, D. 6, hoard 10 fr. — *T/i€ Normandy,
Rue de I'Echelle 7 and Rue St. Honore' 256; *H6t. Binda, Rue
de I'Echelle 11 , near the Avenue de I'Ope'ra, these two frequented
hy the English, R., L., & A. 5-12, B. IV2, D- (with wine) 6 fr. —
To the S.E. of the Place de I'Opera : *Hdt. de Bellevue, Avenue de
rOpe'ra39, R., L., & A. 6-12, B. 11/9, de'j. 4. D. 6, pens. 14-20 fr.;
'^Hot. des Deux-Mondes, Avenue de I'Opera 22 (PI. R, 18, 19), with
200 rooms from 6, A. 1, L. 1/2, B. 2, dej. 4, D. 6 fr. — ''Hot. Scribe,
Rue Scribe 1 , adjoining the Opera House (PI. R, B, 18; II), with
100 rooms ; R., L., & A. from 8, B. 2, dej. (with wine and coflfee) 5,
D. (with wine) 8, pens, from 20 fr.
In or near the Champs-Elysees : *H6tel Beau-Site, Rue de Pres-
bourg 4, Place de lEtoile (PI. B, 12; 1), a fashionable family hotel
with 50 rooms; R., L., & A. 10-15, B. 21/2. dej. 7, D. 10, board
16 fr. ; all meals served in private rooms. — *H6t. Campbell, Avenue
de Friedland 45 and 47, family hotel with 100 rooms, R., L., & A.
5-8, B. 1Y2> dej. 4, D. 6, pens, from 15 fr. ; '^Hot. dUena, Avenue
d'Ie'na26, with 225 rooms at 4-10, B. IV2, d. j. 4, D. 6, pens. 12 fr.
— Hot. Imperial, Rue Christophe Colomb 4. — *Hdt. d''Albe, Avenue
des Champs-Elysees 101 and Avenue de I'Alma 55, R., L., & A.
8-10, B. 2, de'j. 4, D. 6, pens. 18 fr. — *H6t. Meyerbeer, Rue Mon-
taigne 3, near the Rond-Point (PI. R, 15; II), R., L., & A. 6-15,
B. 172* de'j. 4, D. 6, pens, from 15 fr. — More to the S., in the
direction of the Seine: *E6t. de la Tremoille, Rue de la Tre'moille 14
and Rue Boccador 12, to the E. of the Ave. de I'Alma (PL R, 12; I),
R., L., & A. 5-15, B. 2, dej. 5, D. 6, pens. 12-25 fr.; Langham
Hotel, Rue Boccador 24.
The Orands-Hotel du Trocadero, consisting of four buildings in
the Rue Alboni, to the W. of the Trocade'ro, between the Quai de
Passy and the Boulevard Delessert (PI. R, 8 ; I), have been opened
for the duration of the Exhibition by the Compagnie Internationale
des Wagons-Lits. They contain 1600 rooms, with accommodation
for 2800 guests.
The International Sleeping Car Co., witli central offices in Paris (Place
de 1 Opera 3) and London (14 Cockspur St., S.W.), has numerous agents
in the principal cities of Great Britain, the United States, and Con-
tinental Europe. A detailed prospectus of the hotels may be obtained on
Information. 2. HOTELS. 5
application from any of these. The terms per week are ICO fr. for a
single person, 300 fr. for two persons in one room. This sum include
full pension, transport to and from the railway station, 14-20 Exhibition
ticket=', and other privileges. A small reduction ii made for a stay of
two or more weeks.
The large Terminus Hotel of the new Gate d'Orl^ans (PI. R, 17 ; //},
Rue de Lille, may also be named here.
Other Hotels (First and Second Class). The hotels in this section
are arranged topographically, and their situation and charges will
give a rough idea of their relative excellence. Comp., however, the
remarks at pp. 2 and 3.
1. Hotels in the W. Part of the Inner Town.
To the S. of the Place Vendome , in the Rue de Castiglione
(PL R, IS; 11): No. 4, Balmoral; No. 6, ""Metropole, R. from 3,
B. 11/2' d^j. 3^25 ^' 5, pens, from 12 fr. ; No. 7, Dominici, pens.
15 fr. ; No. 11, Liverpool, a family hotel with suites of rooms.
In the Rue db Rivoli (PI. R, 18; //), adjoining the Louvre and
the Garden of the Tuileries, a favourite English quarter : No. 208,
^Wagram, R. 5-6, B. IV2, dej. 31/2, D- 5. pens. 12 fr. ; No. 202,
*St. James et d' Albany, with 250 rooms, R. 4-6, L. 1/21 A. 1, B. IV2,
dej. 4, D. 5, at separate tables 6, board 9, pens. 15 fr. — Hot. Re~
gina, Place de Rivoli 2, with 200 rooms; R. 5-8, B. 2, dej. 3,
D. 4, pens. 12-15 fr. — In the side-streets between the Rue de
Rivoli and the Rue S'.. Honore (PI. R, 18; //): Hot. de CaHille, Rue
Cambon 37, R. 6-12, B. li/o, dej. 4, D. 5, pens. 20 fr.; *Hdt. de la
TamUe, Rue d'Alger 4, R. 3-12, B. IV2, dej. 3'/2, D. 41/2, board
from 8 fr. ; *H6t. d' Oxford et de Cambridge, Rue d'Alger 13 and Rue
St. Honors 221, R. 4-12, B. IV2, dej. 31/2, D. 4, at separate tables
41/2 (wine included), pens. 10-14 fr. ; Hot. de Paris et d' Osborne, Rue
St. Roch 4, R. 2-10, B. ll/g, dej. 3, D. 3, at separate tables 31/2.
pens. 9-17 fr. — For other hotels near the Louvre, see p. 8.
Near the Rue de la Paix, to the N. of the Place Vendome (PI. R,
18; //), between the Avenue de I'Opera and the Boulevard des
Capucines: Hot. de Calais, Rue des Capucines 5, R. 5-6, B. i^Jo,
de'J. 3, D. 4, board 9-12 fr. In the Rue Daunou : No. 4, Hot. Rastadl,
R. 4-7, L. 1/.,, A. 1, B. 1 «/.,, de'j. 4, D. 5, pens. 15 fr.; No. 7, Hot. de
VEmpire, R. 472-12, B. 11/2-2, dej. 4, D. 5 fr.; No. 6, Hot. d' Orient,
R. 0-8, B. l'/2, dej. 4-5, D. 5, at separate tables 6 fr. ; *H6t. Louis-
le-Grand, Rue Louls-le-Grand 3, R. from 3. B. 1 1/9, de'j. 3, D. 4 fr. ;
Hot. des Etats-Unis, Rue d'Antin 16, R. 3-12, B. IV4, d^j. 3, D. 4,
pens. 8-18 fr.; Hot d'Antin, Rue d'Antin 18, R. 37.2-10, B. ll/.j,
dej. cwith wine) 372, D. (do.) 4, pens. 10 fr.
Near the Boulevard des Italians , to the E. of the Avenue de
rOpe'ra (PI. R, 21; //): Hot. de Port-Mihon, Rue de Port-Mahon 9,
unpretending, R. from 272, B. IV4, dej. (with wine) 272, D. (do.)
3 fr. — Grand-Hotel de la" Neva, Rue Monsigny 9, R. 3-6, B. I72,
6 2. HOTELS. Preliminary
d^j. (with wine) 3, D. (do.) 4, pens, from 11 fr. ; Hot. de Manchester,
RuedeGrammont 1, R. 4-15, B. IV2, dej- (with wine) 31/2, !>• {.^o.)A,
pens. 12-15 fr. ; Hot. Favart, Rue Marivaux 5, adjoining the Opera
Comique, R. 7, B. 11/4, dej. (with wine) 3, D. (do.) 4, "board 13 fr.
In the Boulevards des Capucines and dbs Italiens and their
side-streets (PL R, G, 18, 21 ; II): * Grand-Hotel des Capucines, Boul.
des Capucines 37, R. 5-16, dej. 4, D. 4, pens. 15-25 fr. ; Maisons
meuhlees (R. andB. only), Boul. des Capucines 25 and 29; *Gr. Hot.
de Bade, Boul. des Italiens 32 and Rue du Helder 6, R. from 5, B.
11/2) cle'j. (with wine) 3, D. (do.) 5, pens, from 14 fr. ; *H6t. de Russie,
at the E. end of the Boul. des Italiens (Nos. 2-4), at the corner of the
Rue Drouot, R. from 7, B. 1^/9, dej. 3, D. at separate tables A^/o,
pens. from 16 fx.—Adelphi Hotel, Rue Taithout 4, adjoining the Boul.
des Italiens, R. from 5. B. IV2, de'j. 31/), D- 41/2- pens, from 10 fr.;
*H6f. du Tibre, Rue du Helder 8, R. 6-18, B. 1 1/2, dej. 4, D. 5, at sepa-
rate tables 6, pens. 15-25 fr. ; Hot. du Helder, Rue du Helder 9, R.
5-8 fr. ; *H6t. Richmond, Rue du Helder 11, a family hotel, R, 3-12,
L. 1/9, A. V'>, B. 11/0, de'j. 4, D. 5 fr. (wine in each case); *H6t. de
VOpSra, RueduHeld'erl(3, R.4-12, B.IV2, dej. 31/2, D-4, pens. 12fr.
— *H6t. Byron, Rue Laffltte 20, combined with the Grand-Hotel de
VEurope, Rue Le Peietier 3, R. 3-5, B. I'/o, dej. (with wine) 31/2,
D. (do.) 4, at separate tables 41/2, pens. 8V2-IOV2 fr. ; Hot. des Pays-
Bas, Rue Laffltte 32, a Dutch house, R. 4-8, B. IV4, dej. 3, D. 4
(both with wine), pens. 9-15 fr. ; Hot. Laffitte, Rue Laffltte 38,
R. 4-12, B. 11/4, dej. 3Vo, D. 4 fr.; Grand-Hotel Le Peietier, Rue
Le Peietier 27, R. 3V2-IO, B. 1, D. 3 fr.; *HoL Rossini, Rue Ros-
sini 16, R. from 4, B. I74, de'j. (with wine) 3, D. 4, pens. 15 fr.
To the N.E. of the Place de I'Ope'ra (PI. B, 21; II): Grand-
Hotel Suisse, Rue Lafayette 5, R. from 4, B. i^/o, dej. (with wine)
31/2, D- (do.) 41/2, pens. 9Vo-15 fr.; Victoria Hotel, Cite' d'Antin 10,
R. 4-10, L. 1/2, B. 11/2, dej. (with wine) 3, D. (do.) 4, pens. 10-15 fr. ;
Hot. de France, Cite' d'Antin 22, R. from 3, B. 1, dej. (with wine)
21/9. D. (do.) 31/2 fr-; Hot. St. Georges, Rue St. Georges 18, R. from
5, B. 11/4, dej. (with wine) 31/0, D. (do.) 4, pens. 12 fr. — Farther
to the N. : Hot. de Berne, Rue de Chateaudun 30, R. 3-12, B. IV4 fr.,
no hot meals.
Near the Madeleine, to the W. of the Boulevard des Capucines
(PI. R, G, 18 ; II). Roe Caumartin, between the Boul. des Capucines
and the Boul. de la Madeleine : No. 14, Grande Bretagne, R. from 4,
B. 11/2, dej. 4, D. 5 , pens, from 12 fr.; No. 33, St. Petershourg,
mainly English customers, R. 5, B. IV2, de'j. 3, D. 4, at separate
tables 5, pens, from I2V2 fr. — Hot. de Seze, Rue de Seze 16, un-
pretending, R. 3-8, B. lV2fr., restaurant a la carte.
To the S.E. of the Madeleine: Hot. Burgundy, Rue Duphot 8,
English house, R. 3-8, B. I72, de'j. (with wine) 3, D. (do.) 4, pens.
8^2-14: h.; * Hotel- Pension Rapp et Duphot, Rue Richepanse 15,
R. 5, B. 11/2, d^j. (with wine) 4, D. (do.) 5, pens. 121/2^.; Hot. de
Information. 2. HOTELS. 7
la Concorde, Rue Richepanse 6, R. 6, B. II/2, dej. (with wine) 31/2?
D. (do.) 4, pens. 15 fr.
To the S.W. of the Madeleine: *H6t. Perey, Cit^ du Retire 5
(entr. Rue Boissy-d'Anglas 35 and Rue du Faubourg-St-Honore 30),
quietly situated, R. from 4, B. II/2J dej. 3, D. 4, pens, from 9 f r. ;
*H6t.-Pen8. The, Cite du Retiro 9, R. from 4, B. 11/4, dej. 21/2,
D. 372> pens. 8-11 fr. — Farther to the S., near the Place de la
Concorde and the Champs-Elysees : Hot. Vouillemont, Rue Boissy
d'Anglas 15, R. 6-12, B. 2, dej. 4, D. 6, pens, from 15 fr.
To the N.W. of the Madeleine: Hot. de Paris, Rue de la Ville
rEveque 28, R. 3-10, B. 1 , D. (with wine) 31/2, pens. 10-12 fr. ;
Hot. de I'Elysee, Rue des Saussaies 12, R. from 4, B. II/4, dej. (with
wine) 3, D. (do.) S'^fr.; Hot. Malesherbes, Boul. Malesherbes 26,
R. 4-7, B. 172, dej. 4, D. 5, pens. 14 fr. — In the side-streets of
the Boul. Malesherbes: Hot. Bedford, Rue de I'Arcade 17, R. 5-10,
B. IV2, dej. 4, D. 5, at separate tables 6, pens. I21/2-I8 fr.; ^d(. de
I'Arcade, Rue de I'Arcade 7, R. from 4, B. 1, de'j. 3, D. 31/21 pens,
from 8 fr.; Hot. Buckingham, Rue Pasqnier 32, R. from 3, B. i^o^
dej. 3, D. 4fr. ; Grand-Hotel Alexandra, Rue de la Bienfaisance 16,
English, R. 4-10, B.IV2, dej. (with wine) 3, D. (do.) 4, pens. 11-17 fr.
2. Hotels in the Champs-Elysees and their Environs.
To the N. of the Rond-Point des Champs-Elyse'es (Pl.R, 15;/i):
Hot. Montaigne, Rue Montaigne 30, R. from 4, L. 3/4, B. 11/2- dej.
31/2' !)• 4 fr. — Near the N. end of the Avenue d'Antin : Bradford,
Rue St. Philippe-du-Roule, Rue d'Artois 14, R. from 4, B. IV2,
d^j. 4, D. 5, pens, from 12 fr. — To the S. of the Rond-Point:
*H6t. de Rivoli, Avenue d'Antin 23, family hotel, R. from 4, B. II/9,
dej. 272-31/2, D. 5-6 fr. ; *H6t. du Palais, Cours-la-Reine 28, R.4-f,
B. 172, dej. 4, D. 5, pens. 14 fr.
To the W. of the Rond-Point, in the side-streets of the Avenue
de I'Alma: Grosvenor, Rue Pierre-Charron 59, R, from 5, B. 172.
dej. 37'7, D. 472, pens, from 10 fr. ; Clement- Marot. Rae Cle'ment-
Marot 7. R. 5-6, B. I72, dej. (with wine) 4, D. (do.) 6, pens. 14 fr.
To the N.W. of the Place de I'Etoile : Splendide Hotel, Avenue
Carnot Ibis; — to the E. of the Place: *Royal Hotel, Avenue Fried-
land 33, R. 6-12, B. 2, dej. 4, D. 0, pens, from 15 fr.; Lord Byron,
Rue Lord Byron 16, R. 4-7, B. I'/o. dej. 370, D. 41/2, pens. from
12 fr.; Hot. des Champs-Elysees, Rue Balzac 3, only 'en pension',
6-10 fr.; Beaujon, Rue Balzac 8, R. from 4, B. I72, dej. 272, D. 31, o,
pens, from 8 fr. — Farther to the E. : Haussmann, Boul. Haussmann
192, R. 3-7, B. 11/4, dej. (with wine) 3, D. (do.) 372, pens.8-12 fr.
To the S. of the Place de I'Etoile : Hot. International, Avenue
d'lena 60, R. 5-10, B. I74. dej. 3, D. 4, pens. 10-15 fr. ; Hot. Co-
lumbia, Avenue Kle'ber 16, R. 5-7, B. II/2, dej. 4, D. 6, pens. 15 fr. ;
Hot. Ferras, Rue Hamelin 32, R. 4-15, B. I1/2, de'j. 4, D. 5, pens,
from 10 fr. •, Hot. Florida, Rue L^o-Delibes 5, R. 5-8, pens. 9-13 fr.
8 2. HOTELS. Preliminary
3. Hotels in the E. Part of the Inner Town.
The hotels in the Central Boulevaeds and their S. side-streets,
from the Rue de Richelieu to the Place de la Republiqne (PI. R, 21,
24; ///), are also convenient, though somewhat farther from the
tourist centre. In the Boul. Montmartre : No. 3, Orand-Hot. Bore,
R. 3-16, B. 11/2 fr-. restaurant a la carte ; No. 10, Hot. Ronceray (Ter-
rasse Jouffroy), R. 4-8, dej. (with wine) 3, D. (do.") 5 fr. In the
Boul. Poissonniere : No. 30, Benu-Sejour; No. 16, Rougemont. —
*Edt. Modeme, Place de la Republique, a first-class house with 420
rooms from 3, B. IV2. dej. 3, D. 4, pens. 12 fr.
To the N. of the Boul. Poissonniere : JSot. de France^ Citi Ber-
gere 2bi3, R. 3 -8, L. V'2, A. % B. IV4, de'j. 21/9, D. 3 fr.; Hot. de
la Cite Bergere et Hot Bernaud, Cite Bergere 4, R. 4, B. IV4, de'j.
(with wine) 23/4, D. (do.) 31/0, pens. 10 fr.; '^ Grand- Hotel Bergere,
Rue Bergere 32, R 3-10. L. 1/2, A. 1, B. 1% dej. (with wine) 4,
D. (do.) 5, at separate table 6. pens, from 11 V2 ^^- In t^e l^^^ de
Trevise : No. 7, Hot. de Belgique et de Hollande, R. from 4, B. 1 fr.;
No. 10, Hot. de Cologne. R. 3-5, B. 1 fr., no other meals served;
No. 18, Hot. de Trevise, R. 3-5, B. 11/4, dej. (with wine) 3V2, D.
(do.) 4, pens, from 7 fr. ; Grand- Hotel Richer, Rue Richer 60, R.
3-5 fr. ; *Grand-H6tel de Paris et de Nice. Rue du Faubourg-Mont-
martreSG, R. 3V4-63/4< B. li/o, dej. (with wine) 3. D. (do.) 4,
pens. 10-13 fr. ; Grand-Hotel de Baviere. Rue du Conservatoire 17,
R. 5-7, B. 11/2^ de'j. (with wine) 31/2- I>- (do.) 41/2, at separate
tables 5, pens. 12-15 fr. ; Hot. de Lyon et de New York, Rue du
Conservatoire 7, R. 41/0-11, B. li/o, de'j. (with wine) 31/2, D- (do.)
41/2, pens. 10-15 fr.
To the N. of the Boulevard Bonne-Nouvelle: Grand-Hotel du
Pavilion, Rue de I'Echiquier 36, R. from 4, B. IV2, de'j. 3, D. 4,
pens, from 10 fr. ; Grand-Hotel Violet. Passage Violet 4-10, between
the Rues du Faubourg-Poissonniere and d'Hauteville, R. 3-8, B. 11/2,
de'j. (with wine) 3V2; ^- (do.) 5, pens. 12-15 fr.; Hot. d'Autriche,
Rue d'Hauteville 377R. 5-8, B. IV2, de'j. 4. D. 5, pens. 15 fr.
To the S. of the Boulevard Montmartre and near the Exchange:
Hot. Vivienne, Rue Yivienne 40, R. 3-10. A. V2- L- * 2, B. 1 fr., re-
staurant a la carte; Grand-Hotel d' Angleterre. Rue Montmartre 56,
R. 3-5, B. 1, de'j. (with wine) 3, D. (do.) 31/2, pens. 9 fr. ; Hot. des
Colonies, Rue Paul-Lelong37, off the Rue Montmartre, R. from 3'/2i
pens, from 9fr. ; Hot. des Palmiers, Rue Greneta 39, a little to the
S. W. of the Conservatoire des Art=; et Me'tiers, R. 3-6 fr.
Near the Louvre (Pl.R, 21 ; II, III). *Grand-Hdtel du Palais
Royal et de VEurope, Rue de Valois 4, to the E. of the Palais-Royal,
R. from 5, B. lis- E>- (with wine) 4, pens. 12 fr. ; Grand-Hotel du
Rhone, Rue Jean- Jacques-Rousseau 5, R. from 2^ 9, L- V4' B. 1,
de'j. (with wine) 21/2, ^- (do.) 3, pens, from 8fr. In the Rue Croix-
des-Petits-Champs: No. 10, Hot. de iTnivers et du Portugal, well
spoken of, R. 3-6, B.l, dej. (with wine) 3, D. (do.) 31/2) at separate
Information. 2. HOTELS. 9
tables 4, pens. 8-10 fr.; No. 4, Hot. du Globe, li. 2-6, B. IV4, de'j.
(with wine) 3, D. (do.) 3V2 fr-; *-ff'5^- Siinte- Marie, Rue de Rivoli83,
R. 3-91/2, B. 1V4< de'j. (with wine) 3, D. (do.) 4 fr. Farther to the
E. : Hot. Britannique, Avenue Victoria 20, R. IV2-6, L. I/2. A. ^/-r
dej. IV2-2, D. 3, pens. 6-8 fr.
Near the Bibliotheque Nationale (P].R,21; //, ///). *Grand-
Hotel Louvois, Place Louvois and Rue Lnlli 3, R. 4-77-;, B. IV2'
d^j. (with wine) 4, D. (do.) 41/9, pens. 12-16 fr.; '^Hot. de Malte,
Rue de Richelieu 63, R. 4-6, B. V/2, dej. 3, D. 4. pens. 12-13 fr.;
Hot. de Valois, Rue de Richelieu 69, R. 3-6,
dej. (with wine) 3, D. (do.) 5, pens. 11-12 fr.
4. Hotels near the N. Railway Stations.
By the Gare du Nord (PI. B, 23, 24) : Grand Hotel du Chemin
de Fer du Nord, Boul. de Denain 12, first-class, R. 5-15, B. 1^/2,
dej. (with wine) 5, D. (do.) 6, pens. 15 fr. ; Hot. Cailleux , Rue
St. Quentin 37, corner of the Rue de Dunkerque, R. 4-10, B.
11/4, de'j. (with wine) 41/2, D. (do.) 572- pens. 12 fr., these two
opposite the exit from the station ; Hot. de la Gare du Nord, Rue St.
Quentin 31, R. 3-10, L. Vo, B. 174fr.; New Hotel, Rue St. Quentin
40, R. 3-8, B. 1, dej. (with wine) 572 fr. — By the Gare de l'Est
(PI. B,34): Hot. Fran^ais, Rue de Strasbourg 13, to the right on
leaving the station, R. from 372 fr- ; *H6t. de VEurope, Boul. de
Strasbourg 74, opposite the station, R. 372-5V2j S- IV4, de'j. 272,
D. 3, pens. 10 fr,; Grand-Hotel de Strasbourg, Boul. de Stras-
bourg 78 and Rue de Strasbourg 7, R. 272-6 fr. ; Grand-Hotel de
France et de Suisse, Rue de Strasbourg 1, R. from 3, B. 1, dej. (with
wine) 3, D. (do.) 372, pens. 8-12 fr.; Ville de New York, Boul. de
Strasbourg 5. R. 4, B. 1, dej. or D. (with winel3, pens. 10 fr.; Hot.
des Voyageurs, Boul. de Strasbourg 93, R. 2-6, B. 1 fr.; Hot. du
Chemin de Fer, Boul. de Strasbourg 11, R. 3-6, B. I74 fr. — By the
Gare St. Lazare (PI. B, 18): Terminus, see p. 3; Hot. de Londres
et de New York, Pla^^e du Havre 15, opposite the station, R. 4-6,
B. 172, de'j. 3, D. 4, pens. IO-I272 fr.; Hot. Cosmopolite, Rue de
I'Arcade 62, R. 4-8 fr.
5. Hotels on the Left Bank of the Seine.
These hotels are less frequented by the pleasure-visitor to Paris,
though those in the N. part of the Quartier St. Germain are con-
venient for the Louvre. Those in the Quartier Latin are frequented
almost exclusively by students of some kind or another.
Iq the Quartier St. Germain (PI. R, 17, 16): Hot. du Quai
Voltaire, Quai Voltaire 19, near the Pont du Carrousel, R. 4-7, de'j. 3,
D. 372- pens. 9-12 fr.; Hot. des Amhassadeurs, Rue de Lille 45,
R. 3-10, B. 17^4. d^j. 372, D. 4 (wine included), pens, from 9 fr.;
HJt. de France et de Lorraine, Rue de Beaune 5, R. 3-8, B. 1, d^j.
(with wine) 272, D. (do.) 372, pens. 10-15 fr.; *H6t. de Londre-^,
10 2. PENSIONS. Preliminary
Rue Bonaparte 3, R. 2-5, B. 1, dej. 21/2, D. 21/2-3 fr. (with wine),
well spoken of; Hot. Bonaparte^ Rue Bonaparte 61, near St. Sulpice
and tlie Luxembourg, R. 2 - 6 fr. ; Hot. des Saints-Peres , Rue des
Saints-Peres 65, R. 3-5, L. 1/2, A. 1/2, B. IV2, dej. (with wine)
31/9, D. (do.) 4, pens, from 11 fr. ; *H6t. du Bon-Lafontaine, Rue
de Grenelle 16, R. from 3, B. II/4, de'j. (with wine) 31/2- D- (do.)
4 fr., these two frequented by the clergy. To the E., towards the
Quartier Latin: Hot. Jacob, Rue Jacob 44, R. 3-6, B. 1, dej. (with
wine) 2, D. (do.) 21/2- pens. 6V2-IO fr.; Hot. d'Isly, Rue Jacob 29,
unpretending, R. 1 1/2-6 fr.; Hot. de Seine, Rue de Seine 52, R. 3*/2?
B. 1, de'j. (with wine) 2, D. (do.) 2V2, pens. 8 fr.
In the Qdaetier Latin (Pl.R, 19; F). Grand-Hotel d'Harcourt,
Boul. St. Michel 3, R. from 4, B. 1, dej. 3, D. 4 fr.; Cluny Square,
Boul. St. Michel 21, R. 3-7 fr.; Hot. du Midi, Rue du Sommerard 22,
R. 41/9. B. 3/4, d^j. or D. (with wine) 21/2, at separate tables 3, pens,
from 10 fr.; Hot. des Carmes, Rue des Carmes 5. R. 2-4 fr., B. 80 c,
dej. or D. (with wine) 3, at separate tables 31/2, pens. 8-10 fr.;
St. Pierre, Rue de l'P2cole-de-M^decine 4, unpretending, R. 1^/2-4,
B. 3/4, de'j. or D. (with wine) 3 fr. ; Hotel de Suez, Boul. St. Michel 31,
R. 8, pens. 14 fr. ; Hot. des Etrangers (pension de famille), Rue
Racine 2, R. 21/2-5 (monthly 30-80), B. 1, D. (with wine) 21/2 fr- ;
Hot. Dacia, Boul. St. Michel 41, R. 3V2-5, B. 1, de'j. or D. (with
wine) 2^/2, pens. 9 f r. ; *H6t. de Constantine, Rue Cujas 18, R. 5,
B. 1 fr.; Hot. du Mont St. Michel, Rue Cujas 19.
Near the Luxbmbourg. Hotel Corneille, Rue Corneille 5, ad-
joining the Odeon, R. 3-5 fr., dej. (with wine) 2, D. (do.) 21/2, pens.
8-10 fr.; Hot. Malherbe, Rue de Yaugirard 11, R. 2-5, B. 3/^, de'j.
(with wine) 2, D. (do.) 21/2 fr. ; Hot. du Luxembourg (meubM), Rue
de Vaugirard 54, opposite the Luxembourg garden.
Near the Gabb Montparnassb (PI. B, 16) : *H6t. de France ^ de
Bretagne, Boul. Montparnasse 68-70; Hot. de la Marine et des Co-
lonies, Boul. Montparnasse 59, R. from 4, B. II/4, d^j. (with wine)
3, D. (do) 31/2, pens. 11 fr.
Pensions. A bedroom, with full board, may be obtained in
Paris from 6-12 fr. per day. The Editor has reason to believe that the
following boarding-houses are at present (1900) fairly comfortable.
Near the Arc de TEtoile and Champs-Elysees : Mine. Bellot- Carol,
Rue Boccador 24; Govars, Rue Lalo 6, near the Boulevard Lannes
(6-7 fr.); Miss Wood, Avenue de la Grande- Armee 21 ; Mme. Ducreux,
Rue Cardinet 52; Pension Bevies, Rue Chateaubriand 18; Pens. Inter-
nationale, Rue Lubeck 22bis (8-15 fr.); Villa Marceau , Avenue
Marceau 37; Pension de Famille, Rue de Mirom^nil 79 (8-12 fr.);
Pens, de la Houpliere, Rue de Berri 16 (10 fr.); Morand, Rue Wash-
ington 13 (5-6 fr.); Villa Balzac, Rue Balzac 4 (9-12 fr.); Hawkes,
Avenue du Trocadero 7 (8-12 fr.); Lamartine, Avenue Victor
Hugo 175, near the Bois de Boulogne (10-20 fr.); Chailley, Avenue
Information. 3. RESTAURANTS. 11
de Neuilly 168bis (7-12 fr.). — At Passy (p. 170) : Mme. Nicolo, Rue
des Belles-Feuilles 33 ; Villa Nicolo, Rue Nicolo 42 (Ti/o-lO fr.);
Piscot, Rue Lafontaine 53, for ladies only. — At Batignolles (PI, G,
12, 11, 14): Brenzinger, Boulevard Pereire 69 (from 150 fr. per
mouth).
In the Inner Town : Pension de Famille , Rue Montesquieu 2,
near the Louvre (7-9 fr.); Pension de Famille, Cite Bergere 12, near
the Boul. Poissonniere (from 6 fr.); Grosbodt^ Rue Baudin 7, near
the Square Montholon.
On the left bank of the Seine: Van Pelt, Boul. Latour-Mau-
bourg 4 ; La'ille, Rue des Ecoles 41 (7-10 fr.); Blondeau, Rue Gay-
Lussac 33 (from 200 fr. per month).
Lady students are received by Mrs. Edward Ferris (Amer.).
97 Boulevard Arago, and at the Franco-English 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 lEtoile, 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, and has also single rooms for visitors to
the Exhibition. In the Latin Quarter a single room may be obtained for
30-50 fr. a month.
3. Bestaurants.
Alphabetical list at the end of the Book, after the Index.
Paris is indisputably the cradle of high culinary art. As the
ordinary tables d'hote convey but a slender idea of the perfection to
which the art is carried, the 'chefs d'ceuvre' must be sought for in
the first-class restaurants, where, however, the prices are correspond-
ingly high.
The following list endeavours to mention most of the better
restaurants in the quarters chiefly frequented by strangers. Even
in the more modest establishments, however, which our space for-
bids us to enumerate, the visitor will often be struck by the dainty
and appetizing way in which meals are served.
^Gar^on, Vaddition, s'il vous plaitT 'Waiter, the bill!' The
waiter then brings the account from the '■dame de comptoir', and
on receiving payment expects a 'pourboire' of at least 5 c. for each
franc of the bill. When three persons dine together, it is sufficient
to double the above pourboire. In the chief restaurants and cafe's
the waiters receive no wages, and in some cases have to share their
gratuities with the proprietors.
At all but the most fashionable restaurants a whole bottle of the
ordinary red table-wine, or vin ordinaire, is generally placed on the
table for each person. If, however, the traveller expressly states
that he only wishes half a bottle, he has to pay only for what he
consumes, while a half-bottle of a better quality may be obtained
12
3. RESTAURANTS.
Preliminary
instead in cases where the price of the meal includes wine. At the
smaller restanrants it is often advisable to mix the vin ordinaire
■with water or mineral water; the hest-known varieties of the latter
are Eau de Seltz (siphon or demi-siphon), Eau St. Galmier, Eau de
Vals, Eau de Vichy, and ApolUnaris.
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 'lilet de boeuf, and in the preparation of 'fri-
candeans', 'mayonnaises', and sauces.
1. PoTAGEs (Soups).
Potage au vermicelle. vermicelli soup.
Pdte (fltalie, soup with maccaroni.
Potage h la Julienne, soup containing
finely-cut vegetables.
Consommi aux ceufs pochis , broth
with poached eggs.
Potage d la print ani^re ^ soup made
with early vegetables.
CroHie au pot, broth with pieces of
toast.
Bisque, crab or lobster soup.
Potage St. Oermam., pea soup.
Potage Parmentier, potatoe soup.
Oseille liie^ soup flavoured with sorrel.
Cressoni^re, soup with water-cress.
Soupe aii'chovx, sonp wit'i bread and
cabbage.
Soupe d, Voignon, soup with onion,
br'^ad, and grated cheese.
2. Hoes d'ceuvee.
Andouille, beef-sausage.
Goncombref, cucumber salad.
CojTiichons, pickled cucumbers.
Hareng Sauer, smoked herring in oil.
Than, tunny-fish.
Radis, radishes.
fftdtres, oysters.
Saucisson, sliced sausage.
Escargots, snails.
Grenouilles, legs of frogs.
3. B(EDF (beef).
Boeuf au naturel, or houilK, boiled
beef.
Boeuf h la mode, stewed beef.
Beefsteak, or biftek aux pommes. beef-
steak with potatoes (bien cult,
well-done ; saignant, underdone).
Chdteaubriand, Porterhouse steak.
Filet aux truffes, fillet of beef with
truflfles.
Bosbif, roast beef.
Aloyeau, sirloin of beef, well doue.
4. MouTON (mutton).
Cdtelette panie , cutlets with bread-
crumbs.
Selle d''agneau, saddle of mutton.
Oigot de mouton or de pri-sali, leg
of mutton.
Ragout de mouton or Navarin aux
pommes, mutton with potatoes and
onion-sauce.
Blanquette d'a<7n«aM, fricassee of lamb.
5. Veau (veal).
Ris de veau, sweetbreads.
Fi'icandeau de veau, slices of larded
roast-veal.
Blanquette de veau, fricassee of veal.
Foie de veau, calfVliver.
Rognons de veau, veal kidneys (d, la
brochelte, roasted on a skewer).
Veau r6ii, roast veal.
Tt-te de veau, calfs-head : & la vinai-
grette, with oil and vinegvr.
Ris de veau, sweetbrea-is.
Cervelle de veau au beurre noir,
calfs-brains with brown sauce.
6. PoEC (pork).
Pieds de pore d la Ste. Menehould,
pig's pettitoes seasoned.
Pore rdti, roast pork.
7. VoLAiLLE (poultry).
Chapon, capon.
Poulet, chicken, prepared in various
ways. Un quart de poulet, enough
for one person, and even for two
persons at the large restaurants.
{Vaile ou la cuissef the wing or
the leg? the former being rather
dearer).
Croquette devolaille,CToq}iette of fowl.
Canard aux navets, duck with young
turnips.
Caneton, duckling.
Caneton h 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. dinde, turkey 5 dindonneau,
young turkey ; farci^ stuffed.
Pigeon, pigeon.
Information.
3. RESTAURANTS.
13
8. GiBiEB (game).
Perdrix, partridge {aux choux, with
cabbage and sausages).
Perdreaux^ young partridges.
Caille, quail.
Filet de chevreuil, roast venison.
Civet de litvre. jujiged hare.
Sanglier, wild boar.
Lapin de gavenne^ wild rabbit.
9. Patissebie.
Pdti^ meat-pie.
Pdti de foie graa aux truffex. a kind
of paste of goose-liver and truffles.
Vol-au-Vent. light pastry with meat,
fowl, oysters, etc.
10. PoissoN (fish).
fiaumon, salmon ; fum4, smoked.
Sole, sole (,/j'ile, fried ; au via blanc,
with wine sauce 5 au gratin, baked).
Limande, a kind of flat fish.
Brocket, pike.
Carpe, carp.
Anguille, eel.
Turbot, turbot.
Rate, skate (au beurre noir , with
brown sauce).
Goujon, gudgeon.
Eperlans, smelts.
Merlan, whiting.
Rouget, red mullet.
Maquereau, mackerel.
Truite, trout; truite saumonie , sal-
mon-trout.
Matelote d'anguilles, stewed eels.
Morue, cod.
Monies, mussels.
JEcrevisses, crabs.
Homard, lobster.
Crevettes, shrimps.
11. Salades (salads).
Salade de saison , salad according to
the season.
Laitue (pommie), lettuce-salad.
Chicorie. endive-salad.
Cresson, water-cress.
Pissenlit, dandelion salad.
Pom.7nes de terra d, tJiuile, potatoe salad.
Salade romaine, Etcarole, mi.xed sala-ls
i/aireja salade, make the salad).
12. L6GDMES (vegetables).
Lentilles, lentils.
Asperges, asparagus.
Artichauts, artichokes.
Petits pois.gTQQxi peas (aw iewrrc, with
butter-sauce purie de pois, mu.sh-
ed peas).
Haricots verts, small green beans,
French beans -, haricots blancs, flag-
eolets, or soistons, white beans.
Ghoux. cabbages; choux fleurs, c&nM
flowers ; choux fleurs au gratin, bak-
ed cauliflower with grated cheese,
etc.; choux blancs. white cabbages;
choux raves, kohl-rabi; choux de
Bruxelles, Brussels sprouts ; chou-
cvoute , pickled cabbage {garnie,
with lard and sausages).
Aubergine, mad-apple, egg-plant.
C'epes, Champignons, mushrooiud.
Pomme.<, potatoes (it is not customary
to add de terre).
Pommes /rites, fried potatoes.
Pommes sauties , potatoes stewed in
butter.
Pommes d la maitre d''h6tel, potatoes
with butter and parsley.
Purde de pommes, mashed potatoes.
Epinards, spinach.
Oseille, sorrel.
Garottes, carrots.
Navets, turnips.
Betteraves, beetroot.
Oignons, onions.
Tomaies, tomatoes.
13. Entremets SucrAs (sweet dishes).
Omelettes of various kinds (au naturd,
au Sucre, soufflie , aux confitures,
aux fines herbes, au rhum, &ic.).
Beignets, fritters.
Charlotte de pommes, stewed apples.
Gr'eme a la vnnille, vanilla-cream.
Nougat, candied almond-cake.
Tarte, tart.
14. Dessert.
Various kinds of fruit.
Meringue d, la crime, cream-tarts.
Parfait au cafi, coffee-ice.
The usual varieties of cheese are :
Fromage (it la crtme) Suisse or Ger-
vais, Coeur crime, cream-cheese.
Fromage de Gruytre, Gruyere cheese.
Fromage de Neufchdtel (Xormandy),
Keufchatel cheese.
Fromage de Roquefort (Aveyron),
green cheese made of a mixture
of sheep's milk and goafs milk.
Camembert, Paul VEvfque, kinds of
cheese made in Normandy.
15. Wines.
The finer wines principally in vogue
are: — Red Bordeaux or Claret:
SI. Emilion and St. Julien (3-4 fr. ),
I Chateau Larose , Ch. Latour , ami
14 3. RESTAUEANTS. Preliminary
Ch. LaffitU (6-8 fr.). White Bor-
deaux: Graves (3-5 fr.), Sauternes
(3-4 fr.), Chateau dYquem (6-10 fr.).
— Red Burgundy : Beuune (2V2-4 frj,
Pommard, Voliiay^ Nuits (4-5 fr.),
Romanie and Chambertin (5-8 fr.).
White Burgundy : Chablis (IV2-
21/2 fr.), MeursauU (3-4 fr.), Mont-
7'achei (ifr.). and Hermitage (6 fr.).
Tisane de Champagne^ a light kind of
champagne , iced and served in
carafes during warm weather.
Vin frappi^ wine in ice.
Carafe frappie^ carafe of iced water.
The bread of Paris is excellent and has been famed since the 14th century.
a. Eestaurants of the Highest Class.
In the most fashionable restaurants meals are served only h la
carte, and evening dress is expected. The portions are generally
so ample, that one portion suffices for two persons, or two portions
for three. The visitor should, therefore, avoid dining alone. It is
even allowable to order oTie portion for three persons. The waiter
is always ready to give information on this point, as well as to
facilitate a selection from the voluminous bill of fare by naming
the '"plats du jour\ The ^hors d'auvre' placed on the table at the
beginning of a meal , while the soup is being prepared , generally
add 1-2 fr. per head to the bill, if not expressly declined. The
exquisite fruit offered for dessert is also a costly luxury, as much
as 3-5 fr. being sometimes charged for a single peach or pear.
Various 'specialties' and rarities are also very expensive. — The
restaurants mentioned immediately below enjoy the highest re-
putation for their cuisine and cellar. The bill for a small dinner
for three persons, consisting of soup, fish, entre'e, roast, salad, and
dessert, with a couple of bottles of fair wine, will probably amount
to at least 40-50 fr.
In the Western Boulevards and the streets between them and
the Rue de Rivoli: *Paillard ^ Rue de la Chausse'e-d'Antin 2 and
Boul. des Italiens 38 (PI. R, 21; II)\ *Ritz Hotel (p. 3j , Place
Vendome 15; *Cafe Anglais, Boul. des Italiens 13, S. side; *Re-
staurant de Marivaux (Joseph) , Rue de Marivaux 9, opposite the
Op^ra Comique (PI. R, 21 ; //); *Voisin, Rue St. Honore' 261 and
Rue Cambon 16 (PI. R, 18; II\ a long-established house, excellent
wine; Maison Doree, Rue Laffitte 1, at the corner of the Boul. des
Italiens (PI. R, B, 21) ; *Durand, Place de la Madeleine 2, E. side
(PI. R, 18; //); *Cafe de Paris, Avenue de I'Opera 41, W. side;
*Cafe de la Paix, Boul. des Capucines 12, N. side (PI. R, 18; //);
*Laru€, Place de la Madeleine 3, W. side; *Cafe Riche, Boul. des
Italiens 16, N. side (PI. R, 21 ; //) ; *Maire, farther to the E.,
Boul. St. Denis 14-18 and Boul. de Strasbourg 1 . — The *Restaurant
Prunier, Rue Duphot 9, to the S. of the Madeleine (PI. R, 18; //),
is famous for its oysters (closed in summer).
The restaurants in the Champs-Elysees and the Bois de Bou-
logne are chiefly frequented in summer. — Champs-Elysees : *Pa-
villon Paillard, a branch of the house above mentioned (PI. R, 16 ;
//) ; *Laurent^ adjacent; ''' Restaurant du Rond-Point (ChevillardJ,
Information. 3. RESTAURANTS. 15
Rond-Point des Champs-Elys^es 4 (PI. R, 15; II) \ *Ledoyen, to the
E. of the Petit Palais des Beaux -Arts; Restaurant des Ambassa-
deurs, opposite the last. — Bois de Boulogne: *Cafe de Madrid,
hy the Porte de Madrid (p. 162); *PaviUon d' ArmenonviUe, to the
E. of the main entrance of the Jardin d'Acclimatation, pleasantly
situated; Cafe de la Cascade, near the Cascade (p. 161); Pavilion
Chinois, near the Poite Dauphine , at the end of the Avenue du
Bois-du-Boulogne.
b. Other Restaurants.
The following list contains many restaurants nearly or quite as
good as those above mentioned, along with others of a lei^s preten-
tious character. The best Restaurants d, la Carte are described below
as 'first-class'. Those who prefer it may procure a whole meal,
including wine (claret, sauterne, or Burgundy), at a fixed charge in
one of the Restaurants a Prix Fixe, the prices of which are generally
posted up outside. In some instances tickets for the meal are bought
at the door on entering. As quantity rather than quality has to be
attended to in those resorts , the cuisine , though often very fair,
does not vie with that of the cL la carte houses. At these table d'hote
meals, the dishes are apt to be fresher and more appetizing the
earlier one goes within the prescribed hours (see below).
The Bouillons Duval and Bouillons Boulant 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 (fiche), on which the account is afterwards marked.
Usual charges: serviette 5, bread 10, carafon of wine 20,
V2 bottle 50, 'demi-siphon' of aerated water 15, soup 25, meat, fish,
etc., 30-60, vegetables 25 c; the charge for an ordinary dinner
will, therefore, amount to 2-2V2 fr. or upwards. A fee of 15-20 c.
is left on the table for attendance ; the bill is then paid at the desk
and receipted, and is finally given up to the 'controleur' at the door.
Beer is not usually served at restaurants , except those known
as Brasseries or Tavernes (comp., however, pp. 20, 21).
Dejeuner is generally served from 12.30 or 12 to 1 or at latest 1.30 p.m. ;
Dinner (Diner) from 6.30 or 7 to 8 or 8.30 p.m. At other hours little cuu
be had except cold viands.
1. Restaurants in or near the Boulevards.
We begin at the Place de la Concorde and follow the Boule-
vards from W. to E. — In the Rue Royale (PI. R, 18; /i) : No. 3,
Maxim^s Bar, an elegantly fitted up restaurant, frequented mainly
16 3. RESTAURANTS. Preliminary
at night (for gentlemen only); No. 21, * Weber's Cafe- Restaurant
Anglais (also English beer) ; No. 25, Taverne Royale (Munich beer)}
No. 31, Bouillon Duval; No. 41, *Cafe de Paris, these all on the
W. side. No. 14, E. side, at the corner of the Rue St. Honore,
Darras ('prix fixe'; de'j. 3, D. 5 fr.). — Lucas le Grand, Place de
la Madeleine 9, first-class ; *Lucas le Petit (or Taverne Anglaise),
Rue Boissy-d'Anglas 28. — Bouillon Duval, Boul. de la Made-
leine 21, E. side of the Place de la Madeleine.
Boulevard des Capucines (PI. R, 18; //): No. 39, S. side.
Bouillon Duval; No. 3, S. side. Restaurant Julien; No. 14, N. side.
Grand Cafe; No. 4, N. side, Cafe Amiricain. — To the S. of the
Boul. des Capucines: Taverne de V Opera (Munich beer). Avenue de
I'Ope'ra 26; Brasserie Universelle (Munich beer), at the comer of the
Rue des Petits-Champs, good and moderate; Restaurant Gaillon,
Rue St. Augustin, to the E. of the Avenue de I'Opera. — To the N.
of the Boul. des Capucines: Sylvain (Tavernier), Rue Hale vy 12
and Rue de la Chaussee-d'Antin 9.
Boulevard des Italiens (PI. R, 21 ; //) : No. 14, N. side, Ta-
verne Pousset (Munich beer); No. 29, S. side, Bouillon Duval;
No. 27, D7ner FranQais {Talle d'Hote Excoffier; de'j. 3, D.4fr.);
No. 9, Grand Restaurant Universel (de'j. 2, D. 3fr.). — To the S. of
the Boul. des Italiens: Edouard (Taverne de Londres), Place Boiel-
dieu 1, adjoining the Ope'ra Comique; *Noel-Peters, Passage des
Princes 24-30, near the Rue de Richelieu; Restaurant Richelieu,
Rue de Richelieu 104, with summer and -winter gardens (dej. 2^0,
D. 3 fr.).
Boulevard Montmartrb (PI. R, 21; ///): No. 21, S. side,
Bouillon Duval; No. 12, N. side, *Diner de Paris, an old-established
house (dej. 21/2, ^- 3V2 ^r.; also a la carte); No. 10. N. side, by the
Passage Jouffroy, Restaurant de la Terrasse Jouffroy (dej. 3, D. 5 fr.);
No, 8, '^Restaurant de Vichy (dej. 3, D. 31/2 fr.) ; No. 6, Brasserie
Muller et Blaisot (Munich beer) ; No. 1, Bouillon Boulant. — To the
N. of the Boul. Montmartre : Taverne Montmartre (see p. 21). —
To the S. of the Boul. Montmartre: Restaurant de la Bourse (dej.
IV2, D. '2 fr.). Restaurant des Finances (dej. I3/4, D. 3 fr.), Rue Vi-
vienne 47 and 45; Chawpeaux (Catelain), Place de la Bourse 13,
opposite the Exchange, first-class, with garden; Restaurant du Com-
merce, Passage des Panoramas 25 (1 fr. 25, 1 fr. 60 c. and 2 fr.);
Table d'Hote Bouillod, Passage des Panoramas, Galerie Montmartre 6
(dej. 2, D. 3 fr.); Aldegani (Italian cuisine and wine), Passage des
Panoramas, Galerie Montmartre 10; Ville de Paris, Rue Montmartre
170 (de'j. 13/4, D. 3 fr.); Taverne d'Artois, same street 166 (de'j. 21 '0,
D. 3 fr.).
Boulevard Poissonxieee (PI. R, 21 ; III) : No. 24 , N. side,
Bruneaux (dej. 3, D. 4 fr.); No. 16, *Rougemont, at the corner of
theRueRougemont; No. 2, Restaurant Pols sonniere (Duflos), along-
Information. 3. RESTAURANTS. 17
established house ; No. 11, S. side, Bouillon Duval; No. 9, Restau-
rant de France, good and moderate.
Boulevard BofNE-NouvELLE (PI. R, 24; ///), No. 36, N. side,
*Marguery, adjoining the Theatre du Gymnase, a first-class restau-
rant a la carte, frequented by merchants ; No. 26, Restaurant Bcnne-
Nouvelle (Reneaux ; dej. 134, D. 3 fr.) ; No. 35, S. side, Brasserie
Muller et Blalsot (Munich beer). — To the N. of the Boul. Bonne-
Nouvelle : Widermann, Rue d'Hauteville (Vienna beer and cuisine) ;
Restaurant Jung, Rue des Petites-Ecuries 37 (the third street
parallel with the Boulevard).
2. Restaurants near the Jardin des Tuileries and the Louvre.
In the Rue de Rivoli (PL R, 18, 20 ; //), beginning at the W. end :
No. 3, *R€Staurant de VHotel Continental (p. 3j, corner of the Rue de
Castiglione, handsomely fitted up, with cafe (de'j. 5, D. 7 fr.) ; No. 172,
corner uf the Place du Palais-Royal, ^Restaurant du Gr. Hotel du
Louvre (p. 3; de'j. 5, D. 6 fr., incl. wine) ; No. 194, at the corner of
the small Place des Pyramides, Bouillon Duval. Brasserie des Pyra-
mides (Munich beer), Rue des Pyramides 3, near the last.
In the Place du Palais-Royal (entr. Rue St. Honore' 202, 1st
floor), *Leon, a large but unpretending 'prix fixe' house, with
reading and writing room (de'j. li/2> ^- 2, with a glass of cham-
pagne 3 fr.).
Palais-Royal (p. 60; PI. R, 21, //). In the first half of the
19th century the restaurants here were the most fashionable in Paris.
Their importance has, however, long since disappeared, though
their proximity to the Louvre still attracts a number of strangers.
— Galerie Montpensier (W. side, pleasantest on summer afternoons,
because in the shade) : No. 12, Cafe Corazza-Douix (Delabre), first-
class ; No. 23, Restaurant de Paris (L. Catelain ; de'j. 2, D. 2V2 t'r. J ;
No. 40, Vidrequin, unpretending but very fair (de'j. 1 fr. 15 or 1.25 c,
D. 11/0 or 2fr.). — Galerie Beaujolais (N. side, near the The'atre
du Pafais-Royal) ; No. 79, Grand Vefour (de'j. 3, D. 5fr.). — Galerie
de Valois (E. sidel: No. 105, Table d'Hote Philippe, very fair (de'j.
1 fr. 60 , D. 2 fr. 10 c); No. 108 , Vefour Jeune (de'j. 3, D. 4 fr. ;
also a la carte) ; No. 142, Tavernier Ami {^Arviset; de'j. 2, D. 21/2 tr-^ ;
No. 173, ^Restaurant Valois (de'j. 3, I). 4fr.). — Galerie d'Orleans
(S. side) : Cafe d'Orleans.
To THE E. OF the Palais-Royal (PI. R, 21 ; //, 111) : *rlu Boeuf
h la Mode, Rue de Valois 8, at the K. exit of the Galerie d'Orleans ;
Bouillon Duval, Rue Montesquieu 6 (the chief house of this com-
pany, and the only one with male attendants).
3. Restaurants to the £. and N.E. of the Louvre.
The following restaurants are convenient for visitors to the H6tel
de Ville, the Muse'e Carnavalet, the Conservatoire des Arts et Me-
tiers, etc.
Baedekeb, Paris. 14th Edit. 2
18 3. RESTAURANTS. Prel
unmary
To THE E. OF THE LouvRE , towards tlie Place de la Bastille:
Bouillons Duval, Rue du Pont-Neuf 10, Rue deRivoli47, and Rue
St. Antoine 234; Brasserie Dreher, Rue St. Denis 1 (Place du Chate-
let); Restaurant de Paris, Boul. de S^bastopol 30 (dej. 1 fr. 80-
2fr. 25 c, D. 2-2V2fr.); Taverne Gruier , Boul. Beaumarcliais 1,
near the Place de la Bastille {J). 3 fr., with coffee).
To THE N.E. OF THE LotJVRB , towaids the Place de la Repub-
lique: Bouillons Duval, Rue de Turhigo 3 (near the Halles Cen-
trales), Rue de Turbigo 45 (near the Rue St. Martin), and Place de la
RepubliquelT; Bonvalet, Boul. du Temple 29-31 (de'j. 2^/4, D. 3V2fr. ;
also a la carte). Near the Conservatoire des Arts et Me'tiers : Restau-
rant du Plat-d'Etain, Rue St. Martin 326, a long-established house,
frequented by provincial merchants. — Boulevard St. Martin : No. 15,
Restaurant du Cercle (dej. 1^/4, D. 21/2^1.); No. 55, Grand Restau-
rant de la Porte- St~ Martin (de'j. 1 fr. 15 - 1 fr. 50 c. , D. 1 1/4 - 2 fr.).
— Lecomte. entrance Rue de Bondy 48, on the N. side of the Boul.
St. Martin (de'j. 2^/2? ^' 3 fr., with coffee; also a la carte).
4. Kestaurants near the Eailway Stations.
Gare St. Lazare (PL B, 18): Railu-ay Refreshment Rooms, ad-
joining the Cour du Havre; ^Restaurant du Terminus, at the hotel
(p. 3 ; de'j. 5, D. 6 fr.) ; Cafe Scossa, Place deRome (de'j . 21 '0, D. 3 fr.) ;
Restaurant de fEurope, Rue Pasquier (de'j. 1 fr. 90, D. 2 fr. 25 c);
Restaurant Moderne, Rue du Havre 11 (de'j. 2, D. 21 2fr.); Blottier, at
the corner of the Rue St. Lazare and Rue d' Amsterdam (dej. 2, D.
21/2 fx.); Restaurant du Havre, Rue St. Lazare 109 and Place du
Havre (dej. I3/4, D. 2 fr.) ; Bouillons Duval, Place du Havre 12, and
at the corner of the Rues de Rome and de la Pe'piniere ; Au Regent.
Rue St. Lazare 100 (dej. 1 fr. 60 c, D. 2 fr.). — Brasserie Mollard
(^Munich beer). Rue St. Lazare 115, opposite the Terminus Hotel.
Gare dij Noed (PL B, 24): Railway Refreshment Rooms, to the
right of the main entrance ; Lequen, Boulevard de Denain 9 ; Barbotte^
Rue de Dunkerque25, opposite the station, well spoken of; Bouillon
Duval^ at the comer of the Boulevard Magenta and the Rue Lafayette.
Gare de l'Est (PL B, 24): ^Restaurant Schaeffer, at the Hotel
Frangais (p. 9), Rue de Strasbourg 13; Bouillon Duval, Rue de
Strasbourg 6.
Gare Montparnassb, see p. 19.
5. Restaurants in the Champs-Elysees and the Bois de Boulogne.
Besides the first-class establishments (p. 14) the following less
pretentious restaurants may be mentioned.
In or near the Champs-Elysees: Taverne du Cirque^ Avenue
Matignon 1, near the Rond-Point; *Restaurant d'Albe, Avenue des
Champs-Elysees 101 , corner of the Avenue de I'Alma (dej. 4 and 5,
D. 6 and 7 fr.); Cafe-Restaurant du Rocher ^ Avenue de I'Alma 2,
Place de I'Alma (de'j. 21/2, D- 3 fr.).
Information. 3. RESTAURANTS. 19
In or near the Bois de Boulogne : *Grande Brasserie de I'Es-
perance, Avenue de la Grande-Arm^e 85 (d^j. 2^/2, D. 81/2 fr.);
Restaurant Gillet, Avenue de Neuilly 25, near the Porte Maillot,
with caf^; Cafe Dehouve, Avenue de Neuilly 93 (d^j. 21/2, D. 3 fr. ;
also a la carte); Chalet du Touring Club, near the Porte Maillot
(d^j. 31/2? D. 4 fr.); Cafe -Restaurant of the Jardin d' Acclimatation
(p. 162) ; Chalets du Cycle, to the E. of the Hippodrome, near the
Pont de Suresnes, a great resort of cyclists.
6. Bestauiants on the Left Bank.
In the QuAETiER St. Germain (p. 219 ; PI. R, 17, II, IV) : *Re-
staurant Blot, Rue de Lille 33, near the Rue du Bac. — In the
Boulevard St. Germain: No. 229, Cafe-Restaurant des Ministeres,
adjoining the Ministry of War (dej. 3 fr., D. 3 and 4 fr.); No. 262,
opposite the last, Cafe- Restaurant de la Legion d'Honneur (dej. 2i/2>
D. 3fr.); No. 90, Bouillon St. Germain (dej. IV4, D. 2fr.). — Re-
staurant Ste. Clotilde, Square Ste. Clotilde, unpretending (de'j.
1 fr. 60 or 2fr. 10 c, D. I3/4-2V4 fr.). — Restaurants of the Ex-
hibition of 1900, see our special guide.
Near the Garb Montparnasse (p. 288; PI. G, R, 16) : ^Lavenue,
Rue du Depart 1, to the left of the station, first-class ; Cafe-Restau-
rant de Versailles, Rue de Rennes 171, opposite the station (dej. 21/2,
D. 3 fr.); Restaurant Leon, Rue de Rennes 161 (de'j. 1 fr. 30 c.,
D. 3 fr.); Restaurant de Bretagne, same street 146 (dej. 21/2, D- 3 fr.).
In or near the Quartier Latin (p. 219; PI. R, 19, F): Taverne
du Palais, Place St. Michel 5 (dej. 21/2, D. 3 fr.) ; ^Laperouse, Quai
des Grands- Augustins 51 , near the Pont-Neuf. — Boulevard St.
Michel: No. 25, E. side, Cafe-Restaurant Soufflet; No. 61, Restau-
rant Moret (dej. 1 fr. 15 c. , D. 2 fr.) ; No. 26 , W. side , Bouillon
Duval; No. 34, Bouillon Boulant. — Near the Luxembourg: *Foyot,
Rue de Vaugirard 22 bis and Rue de Tournon 33, flrst-class, much
frequented after the performances in the Theatre de I'Ode'on ; Cafe-
Restaurant Voltaire, Place de I'Od^on 1 (dej. 3, D. 4fr.),
In the vicinity of the Jardin des Plantes and the oldGared'Or-
leans: *Restaurant de la Tour-d' Argent , Quai de la Tournelle 15
and Boulevard St. Germain, first-class ; Cafe de V Arc-en- del, Boule-
vard de I'Hopital 2 (a la carte and a prix fixe ; D. 3 fr.).
4. Cafes. Brasseries. Confectioners.
Gaf^s form one of the specialties of Paris, and some of them
should be visited by the stranger who desires to see Parisian life in
all its phases. An hour or two may be pleasantly spent in sitting
at one of the small tables with which the pavements in front of the
caf^s on the Boulevards are covered on summer - evenings , and
watching the passing throng. Most of the Parisian men spend their
evenings at the caf^s, where they partake of coffee, liqueurs, and
ices, meet their friends, read the newspapers, or play at billiards
2*
20 4. CAFJilS. Preliminary
(50 c.-l fr. 20 c. per lir.) or cards. The cafes on the Grands Bonle-
Tards, however, with the exception of the Grand Cafe in the Boul.
des Capucines, generally have no billiard-tables. Letters may also
be conveniently written at a cafe, the waiter furnishing writing-
materials on application (^pour ecrire, s^il vous plait' ; fee). Most
of the cafes are well furnished with French newspapers, but foreign
ones are scarce. As a rule the cafes are open until 1 a.m., some
even longer.
The best cafes may with propriety be visited by ladies, but some
of those on the N. side of the Boulevards Montmartre and des Ita-
liens should be avoided, as the society there is far from select. —
Cafes- Concerts, see p. 36.
When coffee is ordered at a cafe dnring the forenoon the waiter
brings a large cup {une tasse, or vne grande tasse, with bread, 3/4-11/7 fr. ;
waiter's fee 10 c). In the afternoon the same order produces a small cup
or glass (un mazagran) of cafi nou\ which costs 30-75 c. (waiter 10 c). The
waiter, however, often asks whether cream is wanted ('Monsieur prend de
la creme' ?)• A bottle of cognac is usually brought with the coffee un-
ordered, and a charge made according to the quantity drunk. At the more
fashionable cafes a petit verre of cognac^ kirsch, rhum, Curasao, or char-
treuse costs 30-40 c, Jine champagne 60-75 c. — The prices of the 'consom-
mations' are generally marked on the saucers on which they are served.
Tea is generally sold in portions only (thii complet) , costing I-IV2 fr.
Dejeuner may be obtained at nearly all the cafes for 21/4 fr., and cold meat
for supper.
Beer may also be procured at most of the cafe's, 'wn bock^ costing
30-40 c, 'wra double' or '■une canette'' 50-80 c.
Liqueurs (40-75c.), diluted with water, are largely consumed as '■apiritifs"
or 'appetizers" before meals. Among these are Absinthe. Vermouth, Menthe
(white or green), Bitters or Amers, Anisette, and Quinquina. — Siropt 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
almouds), etc. Sorbet (water-ice) and ices (half 75 c, whole I'^-l'/s fr-)
are also frequently ordered.
We here mention a very small selection of the thousand cafes
that Paris contains.
Place de la Madeleine 2, corner of the Rue Royale, Cafe Durand,
also a restaurant, like many others of those mentioned below.
Boulevard des Capucines. N. side: No. 14, *6Tand CafS , ele-
gantly fitted up ; No. 12, *Cafe de la Paix, on the groundfloor of the
Grand Hotel (foreign newspapers); No. 4, *Cafe Americain (fre-
quented to a very late hour). — S. side : No. 3, Julieni No. 1, Glacier
Napolitain, noted for ices.
Boulevard des Italiens. N. side: No. 16, Cafe Biche. S. side:
Nos. 1 & 3, Cafe Cardinal.
Boulevard Montmartre, S. side: No. 9, Cafe des Varietes, patro-
nized by actors and journalists; No. 5, de Suede. — Boulevard
Poissonniere , No. 14, Cafe du Pont-de-Fer. — Boulevard Bonne-
Nouvelle. N. side: No. 30, *Cafe de la Terrasse (Chauvet), well
supplied with newspapers, recommended for dejeuner. S. side:
No. 39, Dejeuner de Richelieu, noted for chocolate (75 c). — Boule-
vard St. Denis 9, corner of the Boul. de Sebastopol, Cafe de France;
Information. 4. BRASSERIES. 21
Boul. St. Denis 12, corner of Boul. de Strasbourg, Cafe Frangaia. —
Place de laR^publique : No. 23, Grand Cafe de Paris ; No. 10, Grand
Cafe Americain. — Boulevard du Temple, No. 31, Cafe du Jardin-
Turc (Bonvalet).
In the garden of the Palais-Royal (p. 60; N. side) : Pavilion de
la Rotonde, much frequented when the band plays, — Rue St. Ho-
nor^, opposite the Avenue de I'Op^ra: No. 161, *Cafe de la Regence,
a famous rendezvous of chess-players (Scandinavian newspapers).
LbftBank. Cafe Voltaire, Place de I'Od^on 1. — The numerous
cafe's in the Boul. St. Michel are chiefly frequented by students and
'etudiantes' : No. 25, Soufflet, at the corner of the Rue des Ecoles;
No. 63, Taverne du Pantheon, a handsome establishment at the corner
of the Rue Soufflot; No. 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 or Tavernes. Some of the brasseries are handsomely fitted
up in the old French or Flemish style, with stained-glass windows
and quaint wainscoting and furniture. Those which furnish warm
meals are also named among the restaurants (p. 15). A small glass
of beer (un quart) costs 30-50 c, a large glass (un demi) 50-60 c;
hrune, blonde, dark and light beer.
In or near the Boulbvaeds: Boul. des Italiens 14, *Pousset^
handsome establishment (Munich beer). — Boul. Montmartre : No. 18,
*Zimmer; No, 16, *Mazarin (Munich beer, foreign newspapers),
handsomely fitted up ; No. 13, Ducastaing; '^o.S, Muller et Blaisot. —
Avenue de I'Opera: No. 26, *rfe V Opera (Bavarian beer), No. 31, Uni-
verselle (Munich beer), two haadsome establishments. — Boul. des
Capucines 43, Taverne Tourtel. — Rue Royale25, Taverne Royale. —
Rue St. Lazare : Nos. 115 & 117, opposite the station, Mollard (Munich
beer); No. 119, Jacqueminot- Graffs a tasteful establishment in the
Alsatian style. — Rue du Faubourg-Montmartre 61 (corner of Rue de
Chateaudun), Taverne Montmartre. — Rue Montmartre 149, Taverne
du Coq-d'Or, another handsome establishment. — Boul. Poissonni^re :
No. 32, Taverne Brebant; No. 25, Brasserie Gutenberg (Munich beer);
No. 13, Gruber (Strassburg beer). — Boul. Bonne-Nouvelle : No. 31,
Ducastaing; No. 35, Muller (}lumch. beer at these two). — Boul.
St. Denis: No. 15bis^ Taverne Gruber; No. 17, Taverne du Negre. —
Boul. de Se'bastopol: No. 137, near the Boul. St. Denis, Taverne
Flamande (Pilsener beer); No. 135, Toumier (Bavarian beer). —
Boul. de Strasbourg 2, La Capitale (Munich beer). — Rue du Pont-
Neuf: No. 17, Brasserie du Pont-Neuf (Culmbach beer); No. 21,
Taverne Henri Quatre. — Rue St. Denis 1, Place du Chatelet, Grande
Brasserie Dreher. — Boulevard Beaumarchais 1, Gruber (restaurant,
see p. 18). — Rue des Pyramides 3, near the Tuileries garden,
Brasserie des Pyramides (Munich beer).
22 4. CONFECTIONERS. Preliminary
The Wine Shops (Dibits de Vint), which are very numeroas , 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. — The Automatic Bars at Boul. des Ita-
liens 15 and Boul. St. Denis may be mentioned.
Confectioners.
There are two classes of confectioners at Paris , the Pdtissiers
(pastry-cooks) and the Confiseurs (sellers of sweetmeats; see p. 42).
The best patissiers are : Julien, Rue de la Bourse 3 ; Favart, Boule-
vard des Italiens 9 ; Frascati, Boul. Montmartre 21 ; Patisserie da
Grand-Hotel, Place de I'Gpera; Chiboust, Rue St. Honor^ 163,
Place du Theatre-Fran^ais; Bourbonneux, Place du Havre 14; Gage,
Avenue Victor Hugo 4, near the Etoile ; A la Lame Blanche, Boul.
St. Germain 196. The Boulangeries-Pdtisseries are less pretending:
Laduree, Rue Royale 16; Cateloup, Avenue de I'Opera 27; Wanner
(Viennese), Rue de la Chaussee-d'Antin 3, etc.
Mention may also be made of the Petites Patisseries^ or stalls fur 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 Cambon4; Neafs Tea Rooms, Rue
de Rivoli 248; Kardomah Tea Rooms, Rue de Rivoli 184; The Tea
Cosy (Miss Nowers), Rue St. Placide 18, near the Bon Marche (the
only tea-rooms on the left bank of the Seine) ; Champs-Elysees 26 ;
Rue St. Honore 248; Rue des Mathurins 40.
5. Cabs.
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 ; closed in winter), or victorias, with seats for
two (a deux places). Closed cabs (voitures fermees), including all
those with four seats (p. qunire 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
(which is practically a matter of course). Only vehicles with four
inside seats are provided with a railing on the top for luggage {voi-
tures h galerie; comp. p. 1), but the drivers of the others never re-
fuse to carry a reasonable amount of luggage on the box. Landaus,
which may be opened at pleasure, have 4 seats ; their fares are higher
than that of ordinary cabs. The carriage-lamps are coloured dif-
ferently 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 Arc de Triomphe
d^pot have white lamps; Popincourt-Belleville (N.E.), blue; Pois-
sonni&re-Montmartre (central), yellow ; Passy-Batignolles (W.), red;
Invalides-Observatoire (S.), green.
Information. 5. CABS. 23
Vhe Course is a single driven i I'heure, by time, in which case the hirer
shows his watch to the driver. The hirer should, before starting, obtain
the driver's number (voire num^ro.'), which is a ticket containing the tariff
of fares and the number, and keep it in ca<fe 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. 36. The Voitures h Compteur (with
a dial inside showing time, distance, and fare of the drive), a few of
which have been tried, seem to have disappeared. There are also a few
Automolile Cabs.
If a cab is sent for and kept waiting more than V-« ^r., the driver is
entitled to charge by time; if it is sent back at once, half a course., or if
after 1/4 hr., a whole course must be paid for.
If the cab be hired for a cottrse. the driver may select his own route;
if a Ihenre, 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
to\vn-charges by time can alone be exacted; in the reverse case, the in-
creased rate is paid from the time when the fortifications are passed.
Cabs whose drivers wear white hats are usually the most comfortable
and the quickest. India-rubber tires are indicated by small bells on the
horse's neck.
Those who are desirous of exploring Paris expeditiously and com-
fortably are recommended to hire a Voiture de Grande Remise (without a
number) by the day (30 fr.), or by the week. Application should be made
at the offices of the Compagnie Qdnerale des Voitures, Place du Theatre
Francais 1, Boul. Montmartre 17, Boul. des Capucines 22, or Rue du
Havre 9 ; or at the office of the Compagnie Urbaine, Rue Taitbout 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 Duphot , Rue de Duphot 12; Orouls,
Rue d'Enghien 42; Peltier, Rue Chalgrin 3; Lalanne^ Rue Troyon 12; or
Hensman, Avenue Bugeaud 55 (the last three near the Bnis). The charge
for a ride of 3 hrs. is 10-20 fr. — Horses and Carriages are sold at
Tattersal, Rue Beanjon 24.
6. Omnibuses and Tramways. Biver Steamboats.
The Parisian omnibus, tramway, steamboat, and railway services
for city and suburban communication are well arranged, and, if
properly used, enable the visitor to save much time and money.
They run, however, too seldom and hence are often crowded. The
plan of omnibus-lines in the appendix to the Handbook will be
found useful, but its perfect accuracy cannot be guaranteed, as
changes are constantly taking place. The traveller is, therefore,
advised to purchase the latest Itineraire des Omnibus et Tramways
dans Paris (1 fr.) at one of the omnibus-offices.
Omnibuses and Tramways. Omnibuses and tramways cross the
city in every direction from 7 or 7.30 a.m. till after midnight , and at
many points a vehicle passes every five minutes. There are also
24 6. OMNIBUSES AND TRAMWAYS. PreUminary
tramway-lines to Versailles, St. Cloud, and other places in the
Buburhs (see Plan in the Appendix).
There are about 40 different lines oi Omnibuses, distinguished by
the letters of the alphabet (see Appx.). With the exception of a few
running in connection with the railways, all the omnibuses belong
to the Compagnie Oenerale des Omnibus.
The Tramways are, with a few exceptions, divided at present
into the Tramways de la Compagnie des Omnibus, the Tramways
Nord, now called Tramways de Paris et du Departement de la Seine,
and the 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 cumbrous vehicles,
with room for about 50 passengers. Those on the other lines re-
semble the cars of most other towns, and most of them also have im-
p^riales or outside places. Hitherto most of the cars have been
drawn by horses , but the use of electricity has lately been much
extended, and many new electric lines are in construction or con-
templation (see Appendix, pp. 31, 32).
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. 24-32.
Passengers may either hail and stop the omnibus in the street
as in England, or wait for it at one of the numerous omnibus-offices.
In the latter case, if there are other intending passengers, it is usual
to ask for a numbered ticket (numero; no charge) for the line re-
quired. As soon as the omnibus appears, places are assigned to the
ticket-holders in order, the conductor calling out the numbers;
when the omnibus is 'complef it drives off, and the disappointed
ticket-holders have to wait for the next. Tramways stop only at the
recognized stations.
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 pria; 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 iu 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
Information. 6. RIVER STEAMBOATS. 25
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 6 fr. extra) ; Cook's coach from Place de TOpera 1 (same
time and fares) ; 'Magnet' Coach from Avenue de TOpe'ra 49, daily at 10.45
a.m. (same fares).
Waggonettes and Brakes or Chart-ii-banc ply through the boulevards and
other streets during the days of the races to convey passengers to the
racecourse.
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 move quickly and afford a good
view of the quays and banks of the river; but being small, they are
apt to be crowded.
There are three different services, belonging, however, to the same
company (Bateaux Parisiens) : (1) From Charenton to Auteuil, by
the left bank of the river within Paris ; (2) From the Pont d'Auster-
litz to Auteuil, by the right bank; (3) From the Pont-Royal to
Suresnes, also by the right bank. Comp. the Appendix, p. 35.
The Charenton steamboats may be recognized by the benches
placed across the deck; those for Suresnes by their larger size. In
the latter boats the fares for the whole or any part of the distance are
the same. Metal tickets (jetons) are taken on board and given up
on disembarking. Fares (which are liable to vary): From Charen-
ton to Pont d'Austerlitz 10 c, on Sun. and holidays 15c.; from
Charenton to Auteuil 20 and 25 c. ; Pont d'Austerlitz to Auteuil
10 and 20 c. ; Pont Royal to Suresnes 20 and 40 c.
A half-hourly service (from 7 a.m. to 6 p.m.) plies on Thurs., Sun.,
and holidays from the Quai du Louvre to Ablon via CTioisy-le-Roi ; see p. 357.
7. Railway Stations. Chemin de Fer de Ceinture. Railway Offices
and Agents.
The seven railways radiating from Paris start from ten 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(j^. xiv) give complete information regarding all
trains. — Hotels and Restaurants near the termini, see pp. 9, 18.
26 7. RAILWAY STATIONS. Preliminary
I. Chemins de Fer du Nord. Gabe du Nord, Place Roubaix 18
(PL B, 24; comp. p. 200), for the Lignes de Banlieue to St. Denis,
Enghien, etc. ; and for the Lignes du Nord to England via Calais
or Boulogne^ Belgium, Germany vid 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. — Oare,
de la Ceinture et des Trains -Tramways, to the right of the main station.
n. Chemins de Fer de I'Est. Two Stations.
(1). Gabe de l'Est, or de Stbasbourg, Place de Strasbourg (Pl.B,
24 ; p. 200), for the lines to Nancy, etc., to Germany vid Melz, to
Switzerland vid 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). Gabe de Vincennes, Place de la Bastille (PI. R, 25; 7),
for the line to Vincennes.
III. Chemins de Fer de I'Ouest. Three Stations.
(1). Gabe St. Lazare (buffet; comp. p. 196), between the
Rue St. Lazare, the Rue d' Amsterdam, and the Rue de Rome (PI. B,
18), for the Ligne de Petite Ceinture (see below); the Ligne du
Cham p -de- Mar Sf the Lignes de Banlieue , serving 5f. Ciowd, Ver-
sailles (right bank), St. Germain, Argenteuil, and Ermont; and the
Lignes de Normandie (England vid Dieppe or Le Havre). — The
railway-omnibuses (for railway-passengers only) start from the Place
de la Republique , the Pointe St. Eustache, the Bourse de Com-
merce (Halles), the Hotel de Ville, and the Square du Bon-Marche'
(fares 20, 25 c).
(2). GareMontparnasse, Boulevard Montparnasse 44 (PL G, 16 ;
p. 288), for the Ligne de Banlieue to Sevres and Versailles (left bank),
the Lignes de Bretagne, and the Chemins de Fer de VEtat. The book-
ing-offices for the line to Versailles and for the suburban stations are
situated downstairs, to the left; those for the main lines are above,
reached by a staircase and by an outside inclined plane. Buffet on
the groundfloor. Omnibus between this station and the Bourse, 30 c.
(3). Garb des Invalides (PL R, 14; //), a new station in the
Esplanade des Invalides, at present used only for the Ligne des
Moulineaux and St. Cloud (see p. 291), but intended ultimately, after
the completion of the section from Paris via the Bois de Meudon
and Chaville to Versailles (p. 291), to serve as the starting-point
of the Lignes de Bretagne.
IV. Chemins de Fer d'Orleans. Three Stations.
(1). NouvELLE Gabe d'Obleans, Quai d'Orsay (PL R, 17, II ;
p. 271) ; for the lines to Orleans, Tours, Bordeaux, the Pyrenees,
Spain, etc.
(2). Gabe d' Austeblitz or Ancienne Gare d'Orlians (PL G, 25 ; F),
connected with the preceding by a loop-line , and still the Paris
Information. 7. RAILWAY OFFICES. 27
terminus for certain trains. A railway-omnibus plies between this
station and the office of the railway, Rue de'.'Londres (Trinite)} fare
30 c, without luggage.
(3). Garb du Luxembourg, at the corner of the Boulevard St.
Michel and the Rue Gay-Lussac (PL R. 19; V), near the Jardin du
Luxembourg (p. 262), for the lines to Sceaux and Limours. Luggage
cannot be registered at this station but must be taken to the old
Gare de Sceaux (PI. G, 20). The line is to be prolonged to unite at
the Place St. Michel with that from the new Gare d'Orle'ans.
V. Chemins de Fer de Paris k Lyon et k la ]ff6diterran6e.
Gare de Lyon (buffet), Boulevard Diderot 20 (PI. G, 25, 28).
Trains to Fontainebleau, Dijon, Chdlon-sur-Saone , Macon, Lyons,
Marseilles, Switzerland vid Pontarlier, Macon, and Lyons, Italy via
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 (with a
branch to the Champ -de- Mars), 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 frequency of the
stoppages the circuit is not performed in less than l'/2 hr. For details,
see the table in the Appendix, p. 34. Trains run in both directions every
10 minutes. The chief station of arrival and departure is the Gare St. La-
zare (p. 26), but trains also run from the Gare du Kord (p. 26). 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 iO 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 be-
tween walls or through deep cuttings and tunnels. The seats on the out-
side ('impe'riale') are not to be recommended; they are very draughty,
and exposed to dust and smoke.
VII. Metropolitain. This is a new electric railway begun in
1898, which runs mostly underground and is to comprise a circular
line along the Outer Boulevards (p. 73) and three transverse lines,
with an aggregate length of about 40 M. Over the section open for
traffic in 1900, extending from the Cours de Vincennes (PL R, 34)
to the Porte Maillot (PI. B, 9; about 6^/4 M.), with branches to the
Trocodero (PI. R, 8 ; /) and the Porte Dawphine (PI. R, 6), trains
run every 4-5 minutes (uniform fares 25 c, 15 c). The stations
are below the level of the streets, like those of the Metropolitan and
District Railways in London. — Routes and list of stations, see
Appendix, p. 33.
The Chemin de Fer de Grande Ceinture, which forms a wide circle
round Paris, connecting the Chemins de Fer de I'Est, de Vincennes, de
Lyon, and d'Orl^ans, is of little interest for the tourist except for the trip
from Versailles to St. Germain (p. 326) and for the excursion to the val-
ley of the Bifevre (p. 352).
Kailway Offices. All the lines have sub-offices (Bureaux Succurtales)
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
28 8. POST OFFICE. Preliminary
take their tickets, at these sub-offices, which, however, they must generally
reach 1 hr. before the departure of the train. Parcels, see p. 29. The
offices are open from 7 a.m. to 8 p.m. on week-days, from 7 a.m. to noon on
Sun. and holidays.
Cfiemin de Fer du Nord: 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; Quai de Valmy 33; Rue du Faubourg-St-An-
toine 21; Place St. Sulpice 6. — Est: 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 Chausse'e-d'Antin 7; Rue
Ste. Anne 6; Rue de TorbisoSS. — Quest and Etat: Rue de TEchiquier 27;
Boul. and Impasse Bonne-Nouvelle ; Rue du Perche 9; Rue du Bouloi IT;
Rue du Quatre-Septembre 10 ; Rue de Palestro 7; Rue St. Andre-des-Arts 9;
Place de la Ba'^tille, at the Gare de Vincennes; Rue Ste. Anne 6. — Orlians
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. Martia 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 Compagnie Internationale des Wagons-Lits (sleeping
carriage,s) is No. 3, Place de TOpera. The South Eastern Railway and the
London^ Chatham^ and Dover Railway have also offices in Paris (Boulevard
des Italiens 30).
Steamboat Offices. The Paris offices of some of the principal steamship
companies are as follows: Allan Line, Rue Scribe 7. — American, Rue Scribe
5. — Anchor, Rue du Helder 4. — Chargeurs Rdunit, Boul. des Italiens 11;
Compagnie Oin4rale Transatlantique , Rue Auber 6 and Boul. des Capucines
12. — Cunard, Avenue de TOpera 38. — Dominion, Rue des Marais 95. —
Fraissinei, Rue de Rougemont 9. — Hamburg-American Linie, Rue Scribe 3.
— Messageries Maritimes, Rue Vignon 1. — Peninsular d: Oriental Co., Boul.
des Italiens 30. — Royal Mail Steam Packet Co., Avenue de TOpe'ra 38. —
North- Oer man Lloyd, Rue Scribe 2bis. — White Star, Rue Scribe 1.
Railway Agents. Cook, Place de TOpera 1 ; Gaze, Rue Scribe 2; Voyages
Economiques ., Rue du Faubourg-Montmartre 17 and Rue Auber 10; Lubin,
Boulevard Haussmann 36; Clark, Rue Auber 1; Dtichemin, Rue de Gram-
mont 20; Voyages Pratiques., Rue de Rome 9; Desroches. Montmartre 21.
Goods Agents. Wheatley db Co., Rue Auber 12 ; Pitt dt Scott, Rue Scribe 7
and Rue Clement Marot 12 (also storage of luggage, etc.); American Ex-
2>ress Co. (for America), Rue Halevy 6 and Rue des Petites-Ecaries 47;
Thos. Meadows d- Co., Rue Scribe 4.
8. Post and Telegraph Offices.
Post Office. The Poste Centrale, or General Post Office, is in
the Rue du Louvre (PI. R, 21 ; ///) ; comp. p. 173. There are also
in the different quarters of the town about a hundred branch-offices,
distinguished at night by blue lamps, besides auxiliary offices in
shops, with blue placards.
The following are the Bukeacx d'Aeeondissement, or District Of-
fices. (Meaning of the asterisks, see below.)
1. Arrond. (Louvre): **H6tel des Postes (p. 173); **Avenue de I'Op^ra
2; *Rue des Capucines 13; *R. Cambon 9; *R. St. Denis 90; 'R. des Halles
9. — 2. Arrond. (Bourse): **Place de la Bourse 4 and R. Feydeau 5; **R.
de Clery 25; ""R. Marsollier2; *R. de Grammont 16. — 3. Arrond. (Tem-
ple) : *R. Re'aumur 47 ; *Boul. St. Martin 41 ; 'R. des Haudriettes 4 ; etc —
4. Arrond. (Hotel de Ville) : "Hotel de Ville ; *Tribunal de Commerce;
*Rue de la Bastille 2; etc. — 5. Arrond. (Pantheon): *R. dePoi83y9; etc.
— 6. Arrond. (Luxembourg) : 'R, des Saints-Peres 22, and R. de I'Univer-
Information. 8. POST OFFICE. 29
site 1; R. de Rennes 53 ^ R. de Vaugirard 36 (Luxembourg); etc. —
7. Arrond. (Palais Bourbon) : *Boul. St. Germain 195 ; *R. de Bourgogne 2
(Chambre); *R. de Grenelle 103; etc. — *. Arrond. (Elysee): "R. d'Amster-
dam 19 ; *Boul. Malesherbes 6; R. Boissy d'Anglas 3 (PJace de la Concorde) ;
Avenue des Champs-Elysees 33; etc. — 9. Arrond. (Opera): *Boul. des Capu-
cines (Grand-Hotel); *R. de Provence 54; *R. Milton 1; *R. Lafayette 35;
•R. Bleue 14; etc. — 10. Arrond. (St. Laurent): *R. d'Enghien 21; R. de
Strasbourg 8 (Gare deFEst); 'Gare du Nord; etc. — 11. Arrond. (Popin-
court): Place de la R^publique 10; -Boul. Beaumarchais 68; etc. — 16.
Arrond. (Passy) : Avenue Marceau 29; Place Victor Hugo 8; Rue de la
Pompe43; etc". — 17. Arrond. (Batignolles-Monceau): Boul. de Courcelles 73;
Avenue de la Grande -Arm^e 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 9 p.m. (4 p.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 foste 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-paste) may also be purchased.
Postage of Letters, etc. Ordinary Letters within France, including
Corsica. Algeria, and Tun's, 15c. per 15 grammes prepaid; for countries
of tbePi'Stal Union 25 c. (The silver franc and the bronze sou each weigh
5 grammes.) — Registered Letters (lettres recommandies) 25 c. extra. — Post
Cards 10 c. each, with card for reply attached, 20 c. — Letter-Cards^ 15 c.;
for abroad 25 c.
Fast Office Orders (mandats de posie) are issued for most countries in
the Postal Union at a charge of 25 c. for every 25 fr. or fraction of 15fr.,
the maximnmj being 500 or 1000 fr. ; for Great Britain, 20c. per 10 fr.,
maximum 252 fr.
Printed Papers (impritnis sous bande): 1 c. per 5 grammes up to the
weight of 20 !jr. ; 5 c. between 20 and 50 gr. ; above oO gr. 5 c. for each
50 gr. or fraction of 50 gr. ; to foreign countries 5 c. per 50 gr.
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
30 8. TELEGRAPH. Preliminary
per parcel up to 5 kil., 40c. above that weight, or 65 and 70c. 'centre
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. (6V5 lbs.), 80 c. up to
5 kil., and IV4 fr. for heavier parcels, delivered at a railway-station or
post-office; 25 c. extra delivered at a private address. Parcels may be sent
'contre remboursement' up to 500 fr. for an extra fee of 60 or ^5 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. 27).
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 con-
veyed at a uniform rate : viz. to Germany, Belgium, Switzerland, 1 fr. 10 c. ;
Spain, Italy, 1 fr. 35c.; Great Britain, Austria, Netherlands, 1 fr. 60c.
These parcels must be sealed.
Telegraph. The telegraph-offices at the district post-offices are
open to 9 p.m. The following amongst others are open till 11 p.m. :
Avenue des Champs-Elysees 33 ; at the Grand Hotel ; Gare du Nord ;
the Luxembourg; Place de la R^publique 10; Rue des Halles 9.
The offices at Avenue de I'Op^ra 2, 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-
bourg, Switzerland, and Belgium 12V2 c. : Germany 15 c. ; Netherlands 16 c. ;
Austria-Hungary , Portugal , Italy , and Spain 20 c. ; Denmark , 24' /a c. ;
Sweden, 28 c.; Roumania, Servia, etc., 281/2 c; Norway 36 c.; Russia in
Europe 40 c. % Turkey 53 c; Greece 53V2-57 c.
Telegrams marked urgent, taking precedence of ordinary telegrams,
are charged thrice the ordinary rates.
Telegraphic Orders (mandats telegraphiques) for not more than
5000 fr. are issued between French offices, and for not more than
500 fr. between France and a few foreign countries (e.g. Germany,
Austria, Belgium, Netherlands, Italy, Switzerland).
There is also a system of Pneumatic Tubes ( Telegraphic pneu-
matique) for the transmission of messages within Paris, at the rate
of 20 c. for open cards (cartes telegrammes ouvertes) , 30 c. for
closed cards (cartes telegrammes fermies), 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
5 min.) from central offices, of which the chief are at Rue Guten-
Information. 9. THEATRES. 31
berg, near the Central Post Office, and Boul. St. Germain 183.
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.J, 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 generally on Thursdays also. Many of the principal
theatres are closed in summer.
An intimate acquaintance with colloquial French, such as can be ac-
quired only by prolonged residence in the country, is absolutely necessary
for the thorough appreciation of the acting ; visitors are therefore strongly
recommended to purchase the play {la pihce; 1-2 fr.) to be performed, and
peruse it beforehand. Dramatic compositions of every kind are sold at
the Librairie Tresse d: Stock. Theatre Francais 8-11, by Ollendorff^ Rue de la
Chaussee-d'Antin 50, at the Magasin Th^dtral, Boulevard St. Martin 12, etc.
The plays may also be procured in most instances at the theatres themselves.
Play-bills (le programme, le programme ditailU), or theatrical newspapers
with the programme of the evening {VEntre-Acte, VOrchestre, and others),
are sold in the theatres.
The best seats are the fauteuils d'orchestre, or seats next to the
orchestra, behind which are the stalles d'orchestre. The fauteuils
d' amphitheatre in the Opera House may also be recommended, but in
most other theatres the amphitheatre is indifferent both for seeing
and hearing. The fauteuils de balcon, or de la 'premiere galerie,
corresponding to the English dress-circle, are good seats, especially
for ladies. The centre seats in the two following galleries (loges des
premieres, des secondes de face) come next in point of comfort. The
avant-scenes or loges d^avant-scenes are the stage-boxes, which may
be du rez-de-chaussee (on a level with the stage), de balcon, etc.
Baignoires, or loges du rez-de-chaussee, are the other boxes on the
groundfloor of the theatre. At many of the theatres ladies are
not admitted to the orchestra stalls, the space between each row
of seats being so narrow, that even gentlemen have some 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
32 9. THEATRES. Preliminary
in the different theatres, but in all of them the side-seats and the
two upper galleries should he 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 often cost 72-2 fr. more than au bureau, i.e. at the door,
but the purchaser has the satisfaction of knowing that his seat is
numbered and reserved. Box-places, however, cannot thus be ob-
tained in advance except by taking a whole box (4-6 seats). Places
may also be secured beforehand at one of the theatrical offices in the
Boulevards, but the booking-fee demanded there is often 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 nnmbered, and do not give the
purchaser a right to any particular seat in the part of the house to which
they apply. The door-keeper will direct the visitor to one of the un-
engaged places ; but if any unfair play be suspected, visitors may demand
la feuille de location, or list of seats booked for the night , and choose
any seats which do not appear on this list.
The Claque C- Chevaliers du Lustre''), or paid applauders, form an an-
noying, 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 succis 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 banc) for ladies, for
which they expect a gratuity of 10-25 c. In some theatres opera-glasses
are placed in automatic boxes attached to the backs of the seats and opened
by dropping half-a-franc in the slot.
A list of the most important Parisian theatres is here annexed,
with the prices of the seats 'au bureau' (p. 32).
The Opera, or Academie Nationale de Musique [PI- B, R, 18 ; //),
seep. 78. The admirable performances of the Parisian opera take
place on Mon., Wed., and Frid., in winter on Sat. also. Mon. and
Frid. are the fashionable evenings. The ballet and the mise en
scene are unsurpassed. Evening-dress de rigueur in the best seats.
Avant-scenes and premieres loges de face IT; fauteuila d'amphi theatre,
baignoires, and premieres loges de cote 15; fauteuils d'orchestre, loges de
face deuxiemes, and baignoires de cote 14; deuxiemes loges de cote 10;
troisiemes loges de face 8 ; stalles de parterre 7; avant-scenes des troisiemes 5;
Information. 9. THEATRES. 33
fauteuils de quatrieme ampliith^atre 4 ; loges des quatriemes de face 3 and
272; quatriemes de cote and cinquiemes 2 fr.
The The&tre Francais (PI. li, 21 ; //), or Comedie Franfaise,
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 Theatre Franc.ais
was burned on March 8th, 1900; during its reconstruction, the per-
formances of the Comedie rrau(;aise will take place at the Odeon
(see below). Evening-dress as at the Opera. — For a description
of the edifice itself, see p. 61.
Avant-scenes des premieres loges 10; loges du rez-de-chaus^e, premieres
(first gallery), avant-scenes des deuxiemes, and baignoires de face 8: fau-
teuils de balcon 8-10; fauteuils d'orchestre 8; loges de face de deuxieme
rang 6; loges decouvertes de deuxieme rang 5; loges de face de troisieme
rang 81/2; loges de'couvertes de troisieme rang 3; parterre 2V2; troisieme
galerie et fauteuils de la quatrieme 2 fr.
The Opera Comique, Place Boieldieu (PI. R, 21, II; see p. 77),
rebuilt after the fire of 1887, was intended for the performance of
the lighter operas, but has latterly been devoted to the more ambi-
tious operas and to lyrical dramas. Evening-dress as at the Ope'ra.
Avant-scenes du rez-de-chausse'e and de balcon 10-, loges de balcon,
baignoires, fauteuils d'orcbestre, 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 fr.
The OdeonJ, Place de I'Odeon (PI. R, 19; IV), near the Palais
du Luxembourg (p. 263), ranks next to the Theatre Francais, and
is chiefly devoted to the performance of classical dramas. During
1900 the performances of the Comedie Frangaise will take place
here (see above), while the actors of the Odeon will play at the
Gymnase (see below). Ladies are admitted to all seats except the
parterre. Evening-dress usual in the best seats.
Avant-scenes des premieres and du rez-de-chaussee 12; baignoires
d'avant-scene 10; premieres loges de face 8; fauteuils d'orcbestre 6; fau-
teuils de la premiere galerie 6 and 5; stalles de la deuxieme galerie 31/2;
deux, loges de face 3; parterre 2V2 fr.
The Gymnase (PL R, 24 ; ///), Boulevard Bonne-Nouvelle 38,
chiefly for comedies, is one of the best theatres in Paris. Scribe
wrote most of his plays for this theatre. Vict. Sardou, Alex. Dumas
the Younger, Emile Angler, and Octave Feuillet have also achieved
great successes here.
Avant-scenes du rez-de-chaussee and de balcon 15; baignoires, fauteuils
d'orcbestre, loges, and fauteuils de balcon 10; fauteuils de foyer 7; loges
de foyer 6 and 5; avant-scenes de foyer 5; loges de deuxieme galerie 3
and 2V2; stalles de deuxieme galerie 2 and IV2 fr., etc. — The prices 'en
locatiim' (p. 32) are the same.
The VaudeviUe (PI. R, 18, 21; II), at the corner of the Rue
de la Chaussee-d'Antin and the Boulevard des Capucines, is chiefly
destined for dramas and comedies. Ceiling painted by Mazerolle.
Mme. R^jane plays here.
Avant-scenes du re'/-dc-chausse'e and des premieres (4 seat«) 15 fr. each
seat; premieres loges (6, 5, and 4 seats) 12; baignoires (6, 5, and 4 seats)
10; fauteuils de balcon, premier rang 12; deuxieme rang and fauteuils
Baedekks. Paris. 14th Edit. 3
34 9. THEATRES. Preliminary
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 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) 12; baig-
noires C6, 5, and 4 seats) and loges de premiere galerie (6 and 4 seats) 10;
fauteuils de balcon 12 and 10; fauteuils d'orchestre 20 and 7; fauteuils de
foyer 5 and 4 ; deuxieme galerie 4 and 3 fr.
Theatre du Falais-Eoyal, at the N.W. corner of the Palais Royal,
Rue Montpensier 74 (PI. R, 21 ; //), a small but very popular the-
atre, -where vaudevilles and farces of broad character are performed.
Ladies are not admitted to the orchestra.
Avant-scenes and fauteuils de balcon premier rang 8; premieres
loges, baignoires, fauteuils de balcon and d'orchestre 7; deuxiemes loges,
fauteuils de galerie, deuxiemes de face, and stalles d'orchestre 5; dexixiemes
loges and fauteuils de galerie 4; stalles de la deuxieme galerie 2^/2 fr.
Thea.tre de la Porte St. Martin (PI. R, 24; ///}, Boulevard St.
Martin 16. Dramas, such as 'Cyrano de Bergerac' Coquelin aine
acts here.
Avant-scenes du rez-de-chaussee and du premier etage, baignoires and
premieres loges de balcon 10; fauteuils de premier balcon 10 and 8; fauteuils
d'orcbestre 8; avant-scenes and fauteuils d'orchestre 6; fauteuils and loges
de premiere galerie 4 and 8; deuxieme galerie 2 fr.
The§.tre Lyrique de la Eenaissance (PI. R, 24; 777), next door
to the preceding. Comic operas.
Avant-scenes du rez-de-cbaussee and balcon 10; baignoires 8; loges de
balcon and fauteuils de balcon (1st and 2nd rows) 7; other rows and
fauteuils d'orchestre 6; fauteuils and loges de premiere galerie 4 and 3;
deuxieme galerie 2 fr.
Theatre Antoine (PI. R, 24; 777), Boul. de Strasbourg 14, for
modern comedies. Excellent performances.
Avant-scenes du rez-de-chausse'e and de balcon 8 fr. ; loges 7 fr. ;
baignoires 6 fr. ; fauteuils d'orchestre and fauteuils de balcon (first row)
5fr.; fauteuils de balcon (other rows) 4fr. ; loges des foyer and fauteuils
de foyer (first row) 3 fr. ; avant-scenes de foyer 2V2 fr. — The prices en
location (p. 32) are the same.
The&tre de la Gaite (PI. R, 24; 777), Square des Arts-et-Me'-
tiers. It has several times changed its name and its specialty;
at present comic operas, spectacular pieces, etc., are given.
Avant-scenes du rez-de-chaussee and de premiere galerie and baig-
noires 10; fauteuils and loges de premiere galerie 8; fauteuils d'orchestre
7; avant-scenes, loges. and fauteuils de deuxieme galerie 5; stalles d'or-
chestre 4; stalles de deuxieme galerie 3 ; de troisieme galerie 2V2 and 2 fr.
The&tre du ChS-telet, Place du Chatelet (PL R, 24 ; F), a very
roomy edifice, specially fitted up for spectacular pieces and ballet.
Loges (6 and 8 seats) and baignoires (4 seats) 71/2 fr. ; fauteuils de
balcon 8; fauteuils d'orchestre 8 and 6; stalles de galerie 5; premier am-
phitheatre 3; deuxieme amphitheatre 21/2 fr.
Theatre Sarah Bernhardt (PI. R, 23 ; F), Place du Chatelet,
opposite the preceding, for dramas and comedies, under the manage-
ment of the celebrated actress.
Avant-scenes du rez-de-chausse'e and de balcon, 15 fr.; baignoires,
loges, and fauteuils de balcon premier rang 12; fauteuils de deuxieme rang
Information. 9. THEATRES. 35
and d'orchestre 10; loges de premiere galerie 7; fauteuils de premiere
galenic 6; avant-scenes de premiere and de deuxieme gal. 4-, stallea de
parterre 372 ; fauteuils de deuxieme galerie 21/2 fr. — The prices en loca-
tion (p. 32j are the same.
Theatre des Nouveautes (PI. R, 21), Boulevard des Italiens28;
for operettas, vaudevilles, etc.
Avant-scenes da rez-de-chanssee and des premieres (4 seats) IQ'/s fr. ;
baignoires and loges de balcon (5 and 4 seats) 85 avant-scenes de deuxieme
galerie 8; fauteuils d'orchestre and de balcon 7; loges and fauteuils de
deuxieme galerie 4; stalles de troisieme galerie 3 fr.
Bouffes Parisiens (PI. R, 21 ; 7/), a small theatre in the Passage
Choiseul, the specialty of which is operettas.
Avant-scenes du rez-de-chausse'e (5 seats) 10; baignoires and loges de
balcon (0 and 4 seats) 8; avant-scenes de deuxieme galerie 8; fauteuils
d'orchestre and de balcon 7; loges and fauteuils de deuxieme galerie 4;
stalles de troisieme galerie 2 fr.
Ambigu-Comique (PI. R, 24; III), Boulevard St. Martin 4;
dramas, melodramas, and 'patriotic' pieces.
Premieres avant-scenes 9; premieres loges 8; fauteuils d'orchestre 7,
6, and 6; fauteuils de foyer 4 and 3 fr.
Opera Populaire (PI. R, 27 ; ///), Rue de Bondy 40, near the
Boulevard St. Martin.
Fauteuils de balcon 5 fr.; fauteuils d'orchestre 4 and 3; stalles 2;
premiere galerie 1 fr. 50; deuxieme galerie 1 fr. and 75 c.
Among the best of the other theatres are the following : —
Theatre de Cluny, Boul. St. Germain 71, near the Musee de
Cluny, the 'Gymnase' of the left bank (seats 1-6 fr.). — Athenee, Rue
Boudreau, Square de I'Ope'ra (PI. R 18, //,• U/o-S fr.). — Dejazet,
Boul. du Temple 41 (i/o-^ f^^O- — Theatre de la Republique^ Rue
de Malte 50, near the Place de la Republique (1/2-6 fr.).
The Theatre Robert Houdin, Boulevard des Italiens 8, for con-
juring of all kinds, may also be mentioned here. Admission 2 to 5 fr.
Equestrian Pbeformances , accompanied by acrobatic feats,
pantomime, etc. , are exhibited at the following circuses : —
Nouveau Cirque, Rue St. Honore 47 (PI. R, 18; //), with an
arena which may be flooded at a moment's notice for aquatic spec-
tacles. The floor is formed of perforated planks covered with mat-
ting; at a given signal the matting is rolled up, the planking
descends, and water gushes in on all sides. Performances from 1st
Oct. to 30th June. Adm. 5, 3, and (promenade only) 2 fr.
Cirque Palace (formerly Cirque d'Ete; PI. R, 15, //), Avenue
Matignon, near the Rond-Point des Champs-Elys^es. Performances
every evening from April to October. Seats for 3500. Admission
10, 6, and 3 fr.
Cirque d'Hiver (PI. R, 27; ///), Rue de Crussol 6. Performances
from 1st Nov. to 30th April. Adra. 1/2-2 fr.
Cirque Medrano (PI. B, 20), Rue des Martyrs 72»er. Admis-
sion 75 ('-. to 3 fr.
Hippodrome (PI. B, 171. Rue Caulainconrt 3, near the Cemetery
of Montmartre.
3*
36 9. BALLS. Preliminary
Music Halls. The Folies - Bergere, Rue Richer 32 (PL B, 21;
///) , 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 Folies-Marigny, Avenue Marigny (PI. R, 15 ; //), in
summer only (adm, 3-8 fr.); the Olympia (adm. 7 fr.), Boulevard
des Capuciues 28 ; and the Casino de Paris (2-5 fr.), Rue de Clichy 16
(PI. B, 18), are establishments of the same kind. Some of the Cafes-
Concerts 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 ^/^-b fr. , according to the
seat and the reputation of the place. — The following may be
mentioned. In summer : Cafe des Ambassadeurs (V2-5 fr.), in the
Champs-Elysees, the first on the right; the Alcazar d'Ete i}!^-^ fr.),
the second on the right ; and the Jardin de Paris, on the left. In
winter (a few open also in summer) : the Scala, Bowl, de Strasbourg
13, with a handsome saloon, unroofed in summer (adm. 1-6 fr.) ; the
Eldorado, No. 4, nearly opposite; Parisiana, Boul. Poissonniere 27
(adm. 2-6 fr.) ; Concert Parisien, Rue du Rue Faubourg-St-Denis 37
(V2-3 fr.) ; Petit Casino, Boul. Montmartre 12 (I1/2 and 1 fr., with a
'consommation'); Bataclan, Boul. Voltaire 50 (3/4-4 fr.); Le Grand-
Guignol, Rue Chaptal 20bis. La Cigale, Boul. Rochechouart 122
(3'4-5fr.); the Ga7te Rochechouart, Boul. Rochechouart 15; Divan
Japonais. Rue des Martyrs 75 (^/4-0 fr.); La Pepiniere, Rue de la
Pepiniere 9, near the Gare St. Lazare (80 C.-272 fr.).
Cabarets Artistiques. The establishments that have attained a certain
celebrity under this name are a kind of cross between the cafe-concert
and thecafe-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' Am Rouge,
Avenue Trudaine 28 ; Le Mirliton, Conservatoire de Montmartre, Boul. Roche-
chouart 84 and 108: Le Carillon, Rue de la Tour d'Auvergne 43; Cabaret
de VEnfer and Cabaret du del. Cabaret du Mant . Cabaret des QuaPz-Arts,
Boul. d'e Clichy 53, 34, and 62; La Roulotte, Rue de Douai 42; Le Triteau
de Tabarin, Rue Pigalle 5S.
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
Information. 10. CONCERTS. 37
ladies had better take a box. During the Carnival masked balls are
held in the Olympia (p. 36), the Casino de Paris (p. 36), etc.
Salles de Daxse. The 'balls', which take place all the year
round at these public dancing-rooms, may be regarded as one of the
specialties of Paris. Many of these entertainments, however, have
for some years past been to a great extent 'got up' for the benefit of
strangers, numbers of the supposed visitors being hired as decoys by
the lessee of the saloon. It need hardly be said that ladies cannot
attend these balls. The chief of these places of amusement on the
right bank is perhaps the Moulin Rouge, Boul. de Clichy 88 (PI. B, 17),
opposite the Rue Fontaine , which is also a kind of music-hall
(adm. 2 or 3 tr. according to the entertainment). — The Bal Bul-
lier, Avenue de I'Observatoire 33 (PI. G, 19 ; p. 286), in the Quar-
tier Latin, is noted as a resort of students (adm. 1 or2fr. , chief
days Sun. and Thurs.). — The dances of the Moulin de la Galette,
Rue Lepic 79, Montmartre, and of the SalleWagrarn (1 fr.), Avenue
de Wagram 39bi8, near the Arc de Triomphe, are also popular.
Panoramas. The Battle of Jena, with 10 dioramas, by Poilpot,
Boulevards Delessert 1, near the Trocadero [V\. R, 8; /). The
Bastille, also by Poilpot, Place Diderot or Mazas (PI. R, 25; T").
Several at Montmartre (religious subjects) near the church of the
Sacre'-Cceur (p. 205). Adm. I/2-I fr.
The Musee Grevin, Boul. Montmartre 10, 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 de la Porte St. Denis. Boul. St. Denis 8 (50 c),
and the Nouveau Miisee^ Boul. Montmartre 14 (50 c).
Phonographs: Salon des Phonographes (VsLthe^ Boulevard des
Italiens 26; Columbia, Boulevard des Italiens 34.
10. Concerts, Art Exhibitions, Sport, and Clubs.
Concerts. The concerts of the Conservatoire de Musique (p. 76),
Rue du Faubourg-Poissonniere, which enjoy a European celebrity,
take place every Sunday from January to April. The highest order
of classical music is performed with exquisite taste and precision.
As all the seats are taken by subscription, admission for strangers is
possible only when tickets are returned by subscribers (apply 9-ii a.m. to
the office, Rue du Conservatoire 2). — Premieres loges and stalles de
galerie 15 fr. ; stalles d'orchestre 12 fr. •, loges du rez-de-chaussee 10 fr. ;
denxiemes loges 9fr. ; troisiemes loges and stalles d'amphith^atre 5 fr. :
amphitheatre 4 fr.
The Concerts Lamoureux, for classical and Wagner music, also
take place on Sunday afternoons in winter in the Theatre de la
Re'publique (p. 35). Adm. II/2-8 fr.
Similar to the last are the Concerts Colonne, which are held on
Sun. afternoon in winter in the Theatre du Chatelet, and on Thurs.
afternoon in the Nouveau Theatre, Rue Blanche 15 (adm. 2-8 fr.).
38 10. SPORTS. Preliminary
Besides the above regular concerts, others are given occasionally at
the concert-rooms of ^rrt/'d, Rue dii Mail 13; Pleyel, Kue Rochechouart 22;
and other places. See bills and newspaper advertisements (adm. 5-20 fr.).
Open-air concerts in summer at the Jardin d' Acclimatation
(p. 162). Military Bands also play (4-5 or 5-6 p.m.) in the gardens
of the Tuileries (Snn., Tues., and Thurs.), the Palais-Royal (Sun.,
Wed., and Frid.), the Luxembourg (Sun., Tues., and Frid.), and
in several other parks and squares ; the favourite isthat 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 Triniti (p. 196), Notre-Dame (p. 224), and St. Sulpice (p. 253).
Art Exhibitions. A number of exhibitions of art take place
annually in Paris towards the end of winter and in spring, of which
particulars are advertised in the 'Chronique des Arts' (every Sat.)
and other newspapers. The annual exhibitions of the Societe des
Beaux Arts and the Societe des Artistes FranQais are to be held from
1901 onwards in the Grand Palais des Beaux-Arts (p. 157). In
1900 the show of the last-named society is established in temporary
quarters in the Place Breteuil (PI. R, 13 ; IV). Exhibitions are also
organized by the Cercle Artistique et Litteraire (p. 39) and by the
Union Artistique (p. 39). Smaller exhibitions are held in the Galerie
Georges Petit, Rue de Seze 8; the Galerie Durand-Ruel^ Rue Laf-
fltte 16; the Art Nouveau (Bing), Rue de Provence 22.
Horse Baces (Courses) take place from February to Novem-
ber, at Auteuil (p. 161); Longchamp (p. 162), where the Grand
Prix, the chief French race, is decided, usually on the second Sun-
day after the English Derby ; Chantilly (p. 369) ; Vincennes (p. 305) ;
Neuilly-Levallois (PI. B, 4; trotting-matches); La Marche (p. 327) ;
Enghien (p. 339); Maisons-Laffltte (p. 344); St. Ouen (p. 209);
Colombes (p. 342), etc. Full details in the newspapers. — Members
of the English Jockey Club are admitted to all the privileges of
the French Jockey Club (p. 39).
Boating is a favourite summer-recreation, the chief starting-
points being Asnieres (p. 291), Argenteuil (p. 341), Chatou (p. 327),
and Bougival (p. 329) on the Seine, and Joinville-le-Pont (p. 305)
and Nogent (p. 306) on the Marne. Regattas are frequently held.
Cycling is one of the favourite amusements of the day, and is
largely patronized by ladies, many of whom wear 'rational' dress.
For police-regulations, etc., see p. xv.
The largest cycling clubs in France are the Touring Club de France., Place
de la Bourse 10 (75,0t0 members), and the Union Vilocipidique de France.,
Rue des Bons Enfants 21 (20,000 members). Comp. the 'Annuaire General
de la Ve'locipedie'', published annually in Paris.
Cycles may be hired (1 fr. per hr., 3 fr. per half-day, 5 fr. per day) at
almost all the cycle shops, especially those in the Avenue de la Grande-
Armee. — Cycle-tracks : VHodrome Municipal dii Bois de Vincennes (p. 305),
where the 'Grand Prix de Paris' is competed for in June; Vilodrome du Pare
des Princes^ at Auteuil; etc. — Dealers, see p. 42. — Maps, see p. 43.
Information. 10. CLUBS. 39
Automobiles are also now much 'en vogue' in France. The
Automobile Club de France (see below) ranks among the first French
clubs. The Parisian calls the machine 'Teuf teuf , and the drivers
'Chauffeurs' and 'Chaufleuses'.
Skating (Patinaye) is much practised in Paris , the favourite
resort being the artificial ponds in the Bois de Boulogne. There is a
Skating Club^ for which one of the ponds is reserved (see p. 162),
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 lakes of the Bois de Boulogne. A portion of the canal is reserved
(adm. 1 fr.). Military band on Sun. afternoon. — Skating on arti-
ficial ice is practised from October to the end of April at the Palais
de Glace in the Champs-Ely sees (PI. R, 15, II] adm. in the morning
and evening 3, afternoon 5 fr. ).
Other amusements are Football, played especially in the Bois de Bou-
logney near the lakes; Cross-Country Runs or Paper-Chases ('rallye-papers'J,
in the woods in the direction of St. Cloud, Ville d'Avray, and Meudon;
Betels, with clubs in the Bois de Boulogne and Bois de Vincennes ; Polo,
in the Bois de Boulogne, near the Pont de Suresnes; Cricket; Latcn Tennis.
There is a Golf Course at Maisons-Laffitte (p. 344).
Clubs (Cercles). 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 I'Opera ; Cercle National., Avenue de I'Ope'ra 5 ; Union
Artistique (TEpatant'), Rue Boissy-d'Anglas 5 ; Cercle de la Rue
Royale, Place de la Concorde 4; Cercle de C Union, Boulevard de la
Madeleine 11 ; Cercle Artistique et Litteraire, Rue Volney 7; Yacht
Club, Place de I'Op^ra 6; Automobile Club, Place de la Concorde 6;
Grand Cercle Republicain, Rue de Grammont 30 ; Cercle des Capu-
cines, Boul. des Capucines 6; Sporting Club, Rue Caumartin 2; Cercle
des Chemins de Fer, Rue de la Michodiere 22; Cercle de VEscrime,
Rue Taitbout9; Grand Cercle, Boul. Montmartre 16; Cercle Central,
Rue Vivienne 36 ; Cercle Agricole, Boul. St. Germain 284 ; Cercle de
la Librairie, Boul. St. Germain 117; Club Alpin Fran<;ais, Rue du
Bac 30; Touring Club, Place de la Bourse 10. — Gaming is practised
extensively in most of the clubs.
11. Shops and Sazaars.
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 TOpe'ra,
Rue Royale, 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
40 11. SHOPS. Preliminary
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 Magasixs db Nouvbautbs, large establishments
for the sale of all kinds of materials for ladies* dress, trimmings,
laces , etc. , form a very important feature of modern Paris , and
owing to the abundant choice of goods they offer are gradually
superseding the smaller shops. Perhaps the most important of these
establishments is the Bon Marche, Rue du Bac 135 and 137, and
Rue de Sevres 18-24 (PI. R, 16; IV), rather distant from the centre
of the town, with which may be mentioned the Grands Magasins
du Louvre, in the Place du Palais-Royal [PL R, 20, II; p. 59),
with reading and writing rooms , and a buffet where refreshments
are dispensed gratis. Of a similar character are: Le Printemps,
at the comer of the Eoul. Haussmann and the Rue du Havre; the
Petit St. Thomas, Rue du Bac 27-35 ; A la 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 Se'bastopol 9-13 ; the Samaritaine, Rue du Pont-Neuf and
Rue de Rivoli, moderate. The prices affixed to articles in the
windows and at the doors of these establishments are often no crite-
rion 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. Perhaps the most attractive of the former is
the large Basar de VHotel-de- Ville, Rue de Rivoli 50-54, beside
the Hotel de Ville. The Menagere Bazaar, Boul. Bonne-Nouvelle
20, has lately been rebuilt. Of a similar character are the Xouvelles
Galeries, Avenue de Clichy 43. Among the others may be mentioned
the Bazar de VOuest, Rue d'Amsterdam, near the Gare St. Lazare,
the Galeries Meiropole, Rue du Faubourg -Montmartre 16 & 18,
and the Bazar du Chateau d'Eau , Rue du Faubourg-du-Temple 2.
Antiquities and Curiosities: Laurent, Rue Meyerbeer 2. first
floor ; Stettiner, Rue St. Georges 7 ; Lowengard^ Boul. des Capu-
cines i; A la Croix de ma Mere, Quai Malaquais 19; Jamarin, Rue
de Clichy 35; Seligmann, Place Vendome 23 (Rue de la Paix). —
Chinese and Japanese Goods : Dai-Nippon, Boul. des Capucines 3 & 5.
'Articles de Voyage': Bazar du Voyage and Moynat, Avenue
de rOpera 3; Au Depart, same street 29; Goyard, Rue St. Honore
223 ; and at the Bazaars (p. 40). English goods at Old England,
Boul. des Capucines 12.
Bootmakers f&of^jer, cordonnier; boots and shoes, c/iawsswrea^-
Information. 11. SHOPS. 41
Poivret, Rue des Petits-Champs 32 ; Pinet^ Boul. de la Madeleine
1 and Rue de Paradis 44 ; Delail^ Passage JoulTroy 46 ; Bacquart,
Passage Jouffroy 35. — For Ladies: A la Merveillense, Avenue de
rOpera 24 ; A la Gavotte, same street 26; Ferry, Rue des Pyramides
9. — Ready-made boots and shoes may be procured in almost every
street : Au Prince Engine, Rue de Turbigo 29 ; Raoul, Boul. des
Italiens 22; and many others. — English boots and shoes at Boule-
vard Montmartre 3, 15, and 21 ; Boul. des Capucines 8.
Bkonzes (bronzes dCart): *Barbedienne, Boul. Poissonniere 30;
*T/i<e6auf, Avenue del'Opera 32; Siot-Decauville^ Boul. des Italians
24; Ardavani, Boul. des Italiens 27; Boudet, Boul. des Capucines
43; Caisso c5' Cie., Boul. de la Madeleine 1; Colin, Boul. Mont-
martre 5; Susse Freres, Place de la Bourse 31. — Church bronzes
and ornaments in the vicinity of St. Sulpice (p. 253).
Chemists and Druggists: Pharmacie Normale, Rue Drouot 19 ;
Ferrij 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 de Castiglione
2 and 12 ; Roberts c^- Co. (Shorthose), Rue de la Paix 5; W. D. Hogg,
Avenue des Champs- Elysees 62 [the last four are English).
Chocolate, Tea, etc. : Compagnie Coloniale, Ave, de I'Op^ra 19 ;
F. Marquis, Passage des Panoramas 57-59, Rue Yivienne 44, and
Boul. des Capucines 39; Lombart, Boul. des Italiens 11; Masson,
Boul. de la Madeleine 9, Rue de Rivoli 91, and Rue du Louvre 8 ;
Pihan. Rue du Faubourg-St-Honore 4; Guerin-Boutron, Bon\. Pois-
sonniere 29; Potin, see Delicacies. See also Conflseurs.
Cigars. The manufacture and sale of tobacco ('caporal ordi-
naire' and 'superieur') and cigars is a monopoly of government.
The shops, called debits de la regie, are distinguished by their red
lamps. The prices and quality are the same everyvrhere. 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 e. each, and upwards) may be pnrcbased at
the principal depot, Quai d'Orsay 63, at the Place de la Bi.urse 15, at Kue
St. Honore 157 ('A la Civette'), or at the Grand-Hotel. The home-made cigara
usually smoked are the Bordelais at 5 c. each, Etrangers at 10 c, Demi-Londres
15 c, MMianitos at 20 c. Regalias and Cam(-Has at 25 c, Londres at 30 c,
and Lovdris extra at 85c. 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., capm'al supirieur), sold in packets of
40 grammes at 50 and 8Uc. There are also much more expensive varietie.s.
Passers-by may avail themselves of the light burning in every tobacco
shop without making any purchase.
CoNFiSEURS (comp. p. 22): Boissier, Boul. des Capucines 7;
Gouache, Boul. des Italiens 18; Siraudin (L. Marquis), Place de
rOpera 3 and Boul. des Capucines 17 ; Rebattet, Rue du Faubourg-
St-Honore' 12 ; Bonnet, Rue Vivienne 31, Place de la Bourse; Seug-
not, Rue duBac28 ; Fuller (American confectionery), Rue Daunou 4.
42 11. SHOPS. Preliminary
— Preserved Fruits (fruits confits) are sold in these shops and in
most large groceries. Price about 5 fr. per kilogramme [21/5 lbs.).
Cycles. Clement- Humher, Rue du Quatre-Septembre 19 ; Rochet,
same street 29; American Cycles, Rue Halevy 16; 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'): Corcellet,
Avenue de I'Opera 18 ; Potel S^ Chabot, Boul. des Italiens 25 and Rue
Vivienne 28; F. Potin, Boul. de Se'bastopol 99-103, Boul. Males-
herbes 45-47, and Faubourg-St-Antoine 99 (also 'English- American
grocer'); Testot, Rue de la Chaussee-d'Antin 15; Faguais, Avenue
des Champs-Elysees 42, Winterborn, same avenue 73 (these tw^o
'English- American' grocers). — Salted Provisions : Maison du Jam-
bon d'York (Olida), Rue Drouot 11.
Dressmakers, Milliners, etc. 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. It is generally possible to reduce the prices by a little bar-
gaining. The Grands Magasins (p. 40) have lower charges and
employ skilful modistes; while ready-made clothing lean also be
obtained there, as well as in the shops mentioned under Tailors.
Engravings (estampes, prrarwresj and Photographs : *6oupil
4^ Cie., Boul. des Capucines 24; *Braun, Avenue de I'Ope'ra 43 and
Rue Louis-le-Grand 18 (photographs of paintings; comp. p. 109);
E. Hautecoeur , Avenue de I'Ope'ra 35 (views of Paris); Martinet,
Boul. des Capucines 12, at the Grand Hotel, and Rue de Rivoli 172.
Fancy Articles, see 'Articles de Voyage', Toy Shops, Bronzes,
Leather; also Bazaars (p. 40).
Fans (eventails): Faucon, Avenue de I'Opera 38; Kees, Boul. des
Capucines 9; Duvelleroy, Boul. des Capucines 35.
Furniture (artistic) : Jansen, Rue Royale 6 ; Viardot, Avenue de
I'Ope'ra 28; Jdrac, Boul. Haussmann 19; Levieil, Rue Taitbout 38;
Dager, Rue Vivienne 47. — English furniture : Maple, Square de
I'Opera and Rue Boudreau.
Furriers : Revillon Freres , Rue de Rivoli 77-81 ; Compagnie
Russe, Rue de la Chaussee-d'Antin 26 ; Grunxcaldt, Rue de la Paix 6 ;
Rufin, Avenue de FOpera 30; A la Ville de Bombay, Boul. des
Capucines 35 ; Bougenaux-Lolley, Rue St. Honore 249.
Glass (porcelain, etc.): Boutigny , Passage des Princes (Boul.
des Italiens) and Peristyle Montpensier, to the W. of the Galerie
d'Orle'ans (Palais-Royal) ; A la Paix, Avenue de I'Opera 34 ; Lnion
des Grands Fabricants, same avenue 12 ; Grand Depot, Rue Drouot 21.
— Venetian Glass (Salviati), Avenue de I'Opera 16. — Art Pottery
Information. 11. SHOPS. 43
(fayence) : Deck, Rue Halevy 10. — Golfe Juan Pottery, Avenue de
rOpera 86. — Earthenware : Delaherche, Rue Halevy 1 ; Produits
Ceramiques MuUer, Rue Halevy 3.
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 TOpera 45 ; Persin, Passage Jouffroy 24-26 ; Au
Roi d'Yvetot, Pass. Jouffroy 29-31 ; Grands Magasins (p. 40).
Goldsmiths and Jewellers : very numerous and tempting,
especially in the Rue de la Paix, the Rue Royale, and the Avenue
de rOpe'ra. All genuine gold and silver articles bear 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 barbe' 20-30 c. , 'friction' (shampoo) 50 c. — 'Coiffeurs'
for ladies: Auguste, Rue de la Paix 7; Dubois^ Rne Daunou 20;
Autard, Rue de Castiglione 6 (2-5 fr.); Gabriel, Rue St. Honore 229;
and Cotreau, Rue Royale 18 (courtyard).
Hatters (chapeliers): Delion, Boulevard des Capncines 24 and
Passage Jouffroy 21-25; A. Berteil, Rue dn Quatre-Septembre 10,
Rue de Richelieu 79, and Boulevard St. Germain 134; Gibus (in-
ventor of the folding hat), Rue du Quatre-Septembre 11; Pinaud
^^ Amour, Rue de Richelieu 89 ; Rene Pineau, Rue de Richelieu 94.
Hosiers and Shirtmakbrs. Doucet, Rue de la Paix 21 ; Roddy
(also tailor), Boul. des Italiens 2; Chemiserie du Palais Royal, Rue
St. Honore 167 (shirt 8-1372 f^O 5 Chemiserie Speciale, Boul. de
Se'bastopol 102 (31/9-14:72 fr.)"; Maison des 100,000 Chemises, Rue
Lafayette 69 and Rue Madame 1; the Grands Magasins (p. 40), etc.
Leather Wares (maroquinerie) : Maquet, Avenue de rOpe'ral9 j
Brentano, same avenue 37. See also 'Articles de Voyage'.
Maps. Barrere (Andriveau-Goujon), RueduBac4; Baudoin,
military bookseller, Rue Dauphine 30 (1st floor); Delorme, Rue
St. Lazare 80; ChaUamel, Rue Jacob 17 (charts).
Maps of the Environs of Paris. The Army Ordnance Department has
published a coloured map on a scale of l:20,0(jO (36 sheets at 85c. each)
and another uncoloured, 1:40000 (9 sheets at 40c.). Barrire has issued
maps of the W. and N.W. districts (1:5000) for 2 fr. (uncoloured), of the
department of the Seine (1 : i2,000) in 12 sheets at 2 fr., and of the en-
virons of Paris (1 : 50,(XJ0) in 4 or 9 sheets in colours at 1^2 or ^l\ fr. —
Cyclist maps : Neal, Rue de Rivoli 248 (Plan-Velo series).
Music: Heugel (Au Menestrel), Rue Vivienne 2'^^^; Noel, Passage
des Panoramas 22; Choudens , Boul. des Capucines 30; Quinzard,
Rue des Capucines 24 ; Durand, Place de la Madeleine 4 ; Hamelle,
Boul. Malesherbes 22 ; Grus, Place St. Augustin.
Musical Instruments. Pianos : *Erard, Rue du Mail 1 3 ; *Pley€l,
Rue Rochechouart 22; Herz, Rue St. Lazare 20; Gaveau, Rue
Blanche 32-34, Boul. St. Germain 230, etc. ; Bord, Boul. Poisson-
44 11. SHOPS. Preliminary
niere 14tis; Kaps, Boul. de la Madeleine 17. — Organs: Cavaille-
Coll, Avenue du Maine 15; Merklin^ Rue Delambre 22. — Har-
moniums: Alexandre, Rue Lafayette 81.
Opticians (spectacles, des lunettes ; opera-glass, des jumelles ;
eye-glasses, pince-nez): Chevalier^ Galerie de Valois 158 (Palais-
Royal); Fischer, Avenue de I'Opera 19; Hazebroucq, Cam, Rue de
laPaix, Nos. 23, 24; Armand, Franck- Valery , Boul. des Capu-
cines 12, 25; Comptoir Central d'Optique, Rue Vivienne 26, mode-
rate; Derogy, Quai de I'Horloge 33; Iseli, Boul. St. Germain 149 ;
Meyroioitz, Rue Scribe 3 (American eye-glasses).
Pekfumery : Violet, Boul. des Italiens 29 ; Plnaud, Place Ven-
dome 18 and Avenue de I'Opera 7; Fiver, Boul. de Strasbourg 10;
Gelle Freres, Avenue de I'Opera 6 ; Lubin, Rue Royale 11 ; Ouer-
lain, Rue de la Paix 15; Agnel, Avenue de I'Opera 16; Eimmel,
Boul. des Capucines 9 ; Botot , Rue de la Paix 17 , and Rue St.
Honore229; 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.
Photographers: Braun, Rue Louis-le-Grand 18; iVadar, Rue
d'Anjou 51; Liebert^ Rue de Londres 6 (25-500 fr. per doz.);
Walery, same street, 9 ; Pirou, Rue Royale 23 and Boul. St. Ger-
main 5; Benque, Rue Royale 5; Boyer, Boul. des Capucines 35;
Roze , Boul. des Italiens 39 ; Tourtin, Ladrey - Disderi , Boul. des
Italiens, Nos. 8, 6; Reutlinger, Ogereau, Boul. Montmartre, Nos. 21,
18; Chalot, Rue Vivienne 18; Pierre - Petit , Place Cadet 3. —
Photographic Apparatus: Photo-Hall, Rue Scribe 5; Photo-Opera.^
Boul. des Capucines 8; L. Reusse, Rue des Pyramides 21; H. Ca-
rette, Rue Laffitte 27; Agence Centrale de Photogrophie , Rue de
Chateaudun 2; Office Central de Photographie , Rue de Rennes 47.
For sellers of photographs, see Engravings.
Pictures and Sculptures. At the galleries of Durand-Ruel and
Georges Petit (p. 38) ; at GoupiVs (see above, under Engravings) ;
Goldscheider (sculptures) , Avenue de I'Ope'ra 28; Btrnheim (pic-
tures) , Av. de rOpe'ra 36 and Rue Laffitte 8. — Ancient Pictures
at Ch. Sedelmeyer's, Rue de la Rochefoucauld 6.
Tailors. The general remarks under Dressmakers (p. 42) may
be repeated here. There are several good tailors in the Boulevard
des Italiens , Avenue de TOpe'ra , Rue Auber , etc. The following
are said to be average prices in the Grands Boulevards: suit 200-
400 fr., overcoat 150.-200, dress- 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 18 and 20; A Reaumur, corner of the Rues
Reaumur and St. Denis ; A la Grande Fabrique, Rue de Turbigo 50 ;
A St. Joseph, Rue Montmartre 115-119.
Information. 12. BOOKSELLERS. 45
Toy Shops : Au Nain Bleu., Boul. des Capucines 27 ; Mayasin
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.
Watchmakers: Leroy et Cie.y Boul. de la Madeleine 7 (chrono-
meters); Rodanet, Rue Vivienne 36; Breguet, Rue de la Palx 12;
Detouche, Boul. Poissoniere 18; Au Negre , Boul. St. Denis 19 (also
jewellery) ; Gamier^ Boul. Haussmann 17. — Lepaute (clocks),
Rue Halevy 5; Planchon, Rue de la Chaussee-d'Antin 5.
Those who desire to transmit purchases direct to their destin-
ation should procure the services of a goods-agent (p. 28).
Flower Markets. Quai aux Fleurs (PI. R, 23; F), on Wed. and Sat.
(a bird-market on Sun.); Place de la Ripublique (PI. R, 27; ///), on Men.
and Thurs. ; Place de la Madeleine (PI. R, 18: //), on Tues. and Frid. ;
Place St. Sulpice (PI. R, 16-19; IV), on Mon. and Thurs.; etc. There are
heautiful flower-shops in the boulevards and elsewhere; e.g. Labrousse, Boul.
des Capucines 12; Lachaume., Rue Royale 10; Bories, Avgustin, Boul. St. Ger-
main 108, 77.
Commissionnaires, or messengers, are to be found at the corners of
some of the chief streets (no tariff; 1-2 fr. according to distance J. Many
of them are also Shoeblacks (20 c).
12. Booksellers. Eeading Rooms. Libraries. Newspapers.
Booksellers. Galignanis Library, Rue de Rivoli 224, with library
(see p. 46) ; Neal, Rue de Rivoli 248, with library and reading-room
(see p. 46); Brentano, Avenue de I'Opera 37 ; these three are English
and American booksellers.
Ollendorff, Rue de la Chausse'e-d'Antin 50 (general agent for
Baedeker's Handbooks). Flammariont, Boul. des Italiens 40, Boul.
St. Martin 3, Galeries de I'Odeon, etc. ; Arnaud, Avenue de TOpera
26 ; iSeum, Boul. des Italiens 8 ; Dentu, Avenue de I'Ope'ra 3Gbi8
and Boul. de Sebastopol 73. — Haar S,' Steinert, Rue Jacob 21, Le
Soudier, Boul. St. Germain 174, Vieweg, Rue de Richelieu 67, and
Ch. Eitel, Rue de Richelieu 18, for German books; Boyveau, Rue
de la Banque 22, English and German books. — Rare books : Mor-
gand, Passage des Panoramas 55; Rouquette, Passage Choiseul 69;
Conquet, Rue Drouot 5. The famous house of Eachette cj' 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 bookshops near the Sor-
bonne may also be mentioned.
Reading Rooms. Neal, Rue de Rivoli 248 (adm. 25 c, per week
1 fr.), well supplied with English newspapers and English and
American magazines. — Reading Room of the New York Herald,
Avenue de I'Ope'ra 49 (adm. gratis), well supplied with American,
English, and French newspapers. Both of these are frequented by
ladies. — Salon 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
46 12. NEWSPAPERS. PreLiminary
tlie same kind at the Librairie. de Paris, Bonl. Moiitmartre 20. —
These reading-rooms are convenient places for letter-writing.
Circulatuig Libraries. Bihliotheque Cardinal, Place St. Sulpice,
to the right of the church ; Neal, Rue de Rivoli 248 (from 1 fr. per
month) ; Galignani, Rue de Rivoli 224 (from 2 fr. per month) ;
Bihliotheque Universelle. Rue Tronchet 4 ; La Lecture Universelle,
Rue des Moulius 5 (2 fr. per month, 10 fr. per annum); Librairie
Internationale, Rue Chauveau-Lagarde 14; Delorme , Rue St. La-
zare 80 ; Bihliotheque Oilier, Rue Bonaparte 76.
Newspapers. The oldest Parisian newspaper is the 'Gazette de
France', which was founded in 1631 hy Renaudot (p. 224). No fewer
than 150 new journals appeared in 1789, 140 in 1790, and 85
in 1791 , but most of these were suppressed at various times by
government, Napoleon finally leaving only thirteen in existence.
On the restoration of the monarchy about 150 newspapers and period-
icals were published, but only eight of these concerned themselves
with political matters. Since then the number has been constantly
on the increase, and now amounts to about 2600. The political
papers number over 150, and are sold in the streets or at the
'kiosques' in the Boulevards (p. 74). The larger papers cost 10
or 15 c, the smaller 5 c.
Morning Papers. Republican : Le Petit Journal (largest circulation) ;
Le Matin, La Libre Parole (antisemitic) ^ U Intransigeant (Henri Rochefort) ;
Le Journal, UEcho de Paris (these two more literary than political);
L' Eclair; Le Petit Parisien; La Lanterne; Le Radical; Le Puipjyel; L\Evene-
ment; Le Steele; La Pt^iite Repuhlique; L'Aurore; La Fronde. — Conser-
vative : Le Gaulois , Le Soleil (these two Orleanist) ; L^Autoritd (Bona-
partist); UUnivers, La Croix (both clerical); Le Moniteur Universel. The
Figaro, the most widely circulated of the larger papers (15 c), may also
be called Conservative, but is rather a witty literary sheet than a serious
political journal. — Unclassified : Le Journal Officiel.
Evening Papers. Republican: Le Journal des Debats (10 c; one of the
best Parisian papers); Le Temps (15 c. ; well edited and influential); La Ri-
pubUque Franqaise; Le Soir (15 c.) ; La Liberti ; La Patrie ; Le Petit Bleu;
La Presse. — Conservative: La Gazette de France (royalist).
Reviews and Periodicals: La Revue des Deux Mondes (the oldest);
Nouvelle Revue (Republican); Le Correspondant (Conpervative); Revue Bri-
tannique; Revue Illvsirie (artistic^; Revue des Revues; Revue Gdnirale des
Sciences; Revue Scientifique; La Nature; Revv£ Bleue, Revue Blanche (both
literary); Revtie Larousse (general); Revue de Paris.
Illustrated Jocknals: L'' Illustration; L'Univers Illustr6; Le Journal
Amusant; Le Charivari; La Vie Parisienne; Le Tour dii Monde. 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
Information. 13. BATHS. 47
of Paris. The English and American places of worship (p. 49) are
enumerated every Saturday. — The European edition of the New
York Herald (office, Avenue de TOpe'ra 49) is a daily paper of a
similar kind (price 15 c, Sun. 25 c). — The American Register
(office, Boul. Haussmann 39), with lists of American travellers in
Europe and general news (30 c), and the English <.y American Ga-
zette (20 c.) are puhlished every Saturday.
Strangers desiring to learn Frencli or other languages will find ample
facilities at the Berlitz School of Languages ^ Avenue de TOpera 7, 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
Polyglotte, 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 examinations 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. — Girls who wish to com-
bine the comforts of an American home with excellent opportunities for
the study of French, historv, and art will find these at the 'Study Home""
of Mrs. Edward Ferris, 97 Boulevard Arago.
13. Baths. Physicians. Maisons de Sante.
Baths. Warm Baths in the floating establishments on the Seine,
and in many others in different parts of the town. Charges: 'Bain
complet', 11/2-2 fr. 5 'bain ordinaire' ^'o-^ ^^-t towels extra. De la
Samaritaine, below the Pont-Neuf, right bank (PI. R, 20; ///);
de Diane, Rue Volney 5 ; Vivienne, Rue Vivienne 15 ; Ste. Anne,
Rue Ste. Anne 63 and Passage Choiseul 58 ; de la Madeleine, Rue
duFaubourg-St-Honore30, Cite du Retire (80 c. -3 fr.); deJouvence,
Boul. Poissonniere 30 and Rue du Faubourg-Montmartre 4 ; de la
Chaussee-d' Antin, Rue de la Chaussee-d'Antin 46 ; Ventadour, Rue
des Petits-Champs 48, near the Avenue de TOp^ra; Chantereine,
Rue de la Victoire 46 and Rue de Chateaudun 39 ; du Passage de
I' Opera, Passage de TOpe'ra (Boul. des Italiens 10); de la Bourse,
Rue St. Marc 16; Piscine Montmartre, Rue Montmartre 163 ; St. De-
nis, Rue du Faubourg-St-Denis 50 (with swimming-bath); St. Ger-
main-des-Pres, Boul. St. Germain 180; Racine, Rue Racine 5; du
Colisee, Rue du Colisce 14 (Champs-Elysees).
Turkish, Vapour, and other baths: Le Hammam, Rue des
Mathurins 18, corner of the Rue Auber (entrance for ladies, Boul.
Haussmann 47), very handsomely fitted up (Turkish bath 5 fr.);
Balneum, Rue Cadet 16bis, of the same category (2 fr.); Hammam
Monge , Rue Cardinal-Lemoine 63 , on the left bank (bath 1 1/0-
21/2 fr.)- — Piscine Rochechouart, Rue de Rochechouart 65 (l'/4 fr. ;
reserved for ladies on Frid.). — Bains Guerhois, Rue du Bourg-
I'Abbe 7. — Bains de Fumigations, Rue de Dunkerque 56. — Bains
d'Air Comprime (compressed-air baths), Rue des Pyramides 17.
48 13. PHYSICIANS. Preliminary
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 du Pont-Royal (entered from
the Quai Voltaire) ; Henri IV. (entrance near the statue on the Pont-
Neuf); Ouarnier, Quai Voltaire, Bams de Fleurs, Quai du Lonvre,
to the right of the Pont-Neuf, both for ladies also.
The nsual charges at these cold baths are: admission 20-60, swim-
ming-drawers and towel 25, fee to the 'garcon' 10 c. — It should be ob-
served that one-half of each bath is generally very shallow, being intended
for non-swimmers, while the other half is often not more than 6-9 ft. in
depth. Divers should therefore use great caution.
Physicians. Should the traveller require medical advice during
his stay in Paris, he should obtain from his landlord the name of
one of the most eminent practitioners in the neighbourhood of his
hotel or lodgings. Information may also be obtained at the English
and other chemists' shops (p. 41}, or at Galignanis (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 British and American physicians may be
mentioned: —
British: Dr. Herbert, Rue Duphot 18; Dr. J. Faure-Miller, Rue
Miromenil 8; Dr. Anderson, Avenue des Champs -Elyse'es 121;
Dr. Barrett, Avenue de la Grande-Armee 12; Dr. Cree. Rue Vol-
ney 9; Dr. Dupuy, Avenue Montaigne 53 ; Dr. B. Faure-Miller. Rue
Matignon 28 ; Dr. Oscar Jennings, Avenue Marceau 74 ; Dr. Mercier,
Avenue MacMahon 15; Dr. Pellereau, Rue du Faubourg-St-Honore
170; Dr. Riviere, Rue des Mathurins 25 ; Dr. Leonard Robinson^
Rue d'Aguesseau 1 ; Dr. Warden, Rue Volney 9.
American: Dr. Austin, RueCambon24; Dr. Beach, Rue Wash-
ington 21 ; Dr. Boyland. Rue Vernet 15; Dr. Clarke, Rue Camba-
ceres2; Dr. Deering , Rue Godot - de - Mauroi 3; Dr. H. Fischer,
Avenue Matignon 5 ; Dr. Good , Avenue du Bois-de-Boulogne 23 ;
Dr. Gros, Rue Clement Marot 18 ; Dr. Hein, Avenue Victor Hugo
37; Dr.Magnin, Boulevard Malesherbes 41 ; Dr. Pike, Rue Francais
Premier 31 ; Dr. Turner, Avenue Victor Hugo 152.
Oculists: Dr. Loubrieu, Rue de Savoie 12; Dr. Bull (Amer.),
Rue de la Paix 4; Dr. Meyer, Boul. Haussmann73; Dr. de Wecker,
Avenue d'Antin 31.
Dentists : I. B. ^ W. S. Davenport , Avenue de I'Ope'ra 30 ;
J. Evans, Avenue de I'Ope'ra 19; T. W. Evans, Rue de la Paix 15;
Didsbury, Rue Meyerbeer 3 ; Barrett, Avenue de I'Opera 17 ; Dabollj
Avenue de I'Opera 14 ; Duchesne , Rue Lafayette 45 ; Dugit, Rue
du 29 Juillet 6; Rossi-Hartwick, Rue St, Honore' 185; Ryan, Rue
Scribe 19 ; Rykert, Boul. Haussmann 35 ; Weber, Rue Duphot 25,
Hospitals. Maisons de Saute. In case of a serious or tedious
illness, the patient cannot do better than take up his quarters at one
of the regular sanatory establishments. There are many well-con-
ducted houses of the kind in Paris and the environs, where patients
Information. 14. DIVINE SERVICE. 49
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-
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 Reliyieuses Augustines de Meaux, Rue Oudi-
not 16 (for women; 300-500 fr. per month); Etablissement Hydro-
therapique d'Auteuil, Rue Boileau 12; Beni-Barde , Rue de Miro-
mi'nil 63 ; Maison Rivet., at St. Mand^, Grande Rue 106, for ladies.
The *Hkrtfoed 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 by the late Sir Richard
Wallace. It has accommodation for between thirty and forty patients,
and is surrounded by a large garden. — Mention may also be made
of the Protestant Hospice Suisse (for men ; apply at the Swiss Em-
bassy, Rue Marignan 15) and the Maison des Diaconesses Pro-
testantes (for ladies), Rue de Reuilly95. — Sick Nurses may be ob-
tained at the *Hollond Institution for English Hospital-trained Nurses,
Rue d' Amsterdam 25.
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. 471, or the Universal Tourist (every
Thurs., 15 c). At present the hours of service are as follows: —
Episcopal Church : — English Church , Rue d'Aguesseau 5,
Faubourg St. Honore, opposite the Britisli Embassy; services at
10.30, 3.30, and 8. — Christ Church. Boul. Bineau 49, Neuilly ;
services at 10.30 and 3. — St. George^s Church (Anglican), Rue
Auguste-Vacquerie? (Avenue d'lena); services at 8.30,10.30, and
8. — Church of the Holy Trinity (Amer.), Avenue de I'Alma 19^"'s;
services at 10.30 and 4. — St. Lukes American Chapel, Rue de la
Grande Chaumiere 5, near the Boulevard Montparnasse ; services
at 8.30, 10.30, and 8.
English Congregational Services, Rue Royale 23, at 10.45
a.m.; also at the Taitbout Chapel^ Rue de Provence 42 (behind the
Grand Opera) at 2.30 p.m.
St. Joseph's Roman Catholic Church, 50 Avenue Hoche,
mass on Sundays at 6, 7, 8, 9, 10, and 11.30; sermons at 10 and
3.15. Confessions heard daily, 6-9.
American Church, Rue de Berri 21 ; service at 11 a.m.
Church of Scotland , Rue Bayard 17, Champs-Elysees ; ser-
vices at 10.30 and 4.30.
Weslkyan Methodist Church, Rue Roqu^pine 4, Boulevard
Baedeker. Paris. 14tli Edit. .[
50 14. DIVINE SERVICE. Preliminary
Malesherbes; services at 11 and 8. — Service also at 3.30 p.m. on
Sun. at Rue Demours 16, Asnieres.
Baptist Church : Rue de Lille 48; French service at 2 p.m.;
English service at 4 p.m.
Nbw Jerusalem Church, Rue Thouin 12 (near the Pantheon);
service at 3 p.m.
French Protestant Chnrches (Temples Protestants). Calyinist :
L'Oratoire, 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. — Eglise de VEtoile, Avenue de la Grande- Armee 54;
services at 10 and 4. — Temple des BatignoUes , Boul. des Batig-
nolles 46 (10.15 and 4). — Eglise de Pentemont^ Rue de Crenelle 10b
(10.15 and 4). — St. Esprit, Rue Roque'pine 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).
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 Churchy Boulevard Ornano 19 (2.30).
Free (Lihres): 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).
Missions. For those interested in home mission work the following
notes may he of service. The M<^All 2Iission has now between 30 and
40 stations, of which the most important are at Rue Royale 23, Bonl.
Bonne-Nouvelle 8, and Eue St. Antoine 104; meetings every week-day at
S p.m. Sunday meetings at 4.30 p.m. at Eue Royale 23 and at 8.15 p.m.
at Rue du Faubourg-St- Antoine 142 and Rue Rationale 157. The offices
of the mission are at Rue Godot-de-Mauroi 36 ; chairman and director, Rev.
Chus. E. Gi-eig, D. D. — Anglo-American Young Men's Christian Association,
E,iie Montmartre 160 (10 a.m. -10. 30 p.m.). — Miss de Broen''s Mission., Rue
Clavel 3, Belleville ; 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 Gifls^
Friendly Society, Rue de Provence 48, afiords cheap lodgings. — SociM Cen-
trals de la Mission Intt^rieure : agent. Pastor J. Pfender., Rue Labruyere 46.
The Universal/ Hall (sec, Mme. Chalamet), Boulevard St. 3Iichel 95, is
a home and club for students, somewhat on the lines of the University
Settlements of Great Britain and America.
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, Albemarle Percy Inglis, Esq., Rue d'Aguesseau 5 (11-3);
vice-consul, G. Q. F. Atlee, Esq.
Information. 15. EMBASSIES AND CONSULATES. 51
United States : Ambassador, Qeneral Horace Porter.^ Kue de
A'illejust 33. — Consul General, Col. J. K. Oowdy, Avenue de
I'Opera 36 (10-3); vice-consul general, Edward P. MacLean^ Esq.
The following are the present addresses of the Blinisters and Consuls
of other countries, but changes of residence sometimes take place. — The
offices are generally open from 1 to 3.
Austria, Rue de Varenne 57. — Consulate : Rue Rossini 3 (11-1).
Belgium, Rue du Colisee 38 (1-3). — Consulate, Rue de la Pompe 88.
J)enmar/Cy Rue Pierre-Charron 27 (1-3).
Oermani/, Rue de Lille 78 (10-12 and 2-3-, also consulate).
Greece, Rue Clt'ment-Marot 18 (2-4).
Ita-i/, Rue de Grenelle 73 (12-4).
Japan, Avenue Marceau 75.
Mexico, Kue Daru 14.
Netherlands, Villa Michon 6, Riie Boissiere (2-4).
Russia, Rue de Grenelle 79 (2-4).
/Spain, Biml.de Courcelles 34. — Offices and consulate, Rue Bizet 6.
Sweden and Norway, Avenue d'lena 50 (1-3).
Switzerland, Rue de Marignan 15bis (10-3).
Turkey. Rue de Presbourg 10 (2-4).
Vatican, Rue Legendre llijis (iU-12 and 5-7).
Ministerial Offices. The days and hours of admission are fre-
quently changed. Consult the 'Bottin'.
Affaires Etrangeres, Quai d'Orsay 87 and Rue de TUniversite 130
(PI. R, 14; //). — Agriculture, Rue de Varenne 78 (PI. R, 14; IV).
— Colonies, Pavilion de Flore, Tuileries (PL R. 17; //). — Com-
merce, Industrie, Posies et Telegraphes, Rue de Varenne 80 (PI. R,
14; IV) and Rue de Grenelle 99-105. — Finances, at the Louvre,
Rue de Rivoli (PI. R. 20; II). — Guerre, Boul. St. Germain 231
and Rue St. Dominique 10-14 (PI. R. 17; II, IV). — Instruction
Publique, Beaux- Arts, et Cultes, Rue de Grenelle 110 (PL R, 17 ; IV).
— Interieur, Place Beauvau, Rue Camhaceres 7-13, and Rue des
Saussaies 11 (PL R, 15; //) ; Rue de Grenelle 103, and Rue de
rUniversite'176. — Justice, Place Vendome 11 and 13 (PL R, 18; 77).
— Marine, Rue Royale 2 (PL R, 18; IJ). — Travaux Publics, Rue de
Grenelle 244-248 (PL R, 17; 71).
Banks. Banque de France, Rue de la Vrilliere 1 and Rue Croix
desPetits-Champs 39 (PI. R,21 ; 7/) and Place Ventadour (PL R, 21 ;
annexe for bonds); Caisse des Depots et Consignations, Rue de
Lille 56 ; Caisse d'Epargne, Rue Coq-He'ron 9 ; Credit Fonder, Rue
des Capucines 19; Credit Lyonnais, Boulevard des Italians 19, with
30 branch-offices; Societe Generale, Rue de Provence 54 and 56,
with 52 branches ; Comptoir National d'Escompte, Rue Bergere 14,
with 18 branches; Rothschild Frlrcs, Rue Laflitte 21-25. — Eng-
lish AND American Banks. Munroe ^' Co., Rue Scribe 7; Morgan,
Harjes, t^ Co., Boul. Haussmann 31.
Money Changers (chamjeitrs) are found in almost every part of Paris,
particularly in the Palais-Koyal, near the Exchange, the Boulevards, the
Rue Vivieune, and the other streets frequented by strangers. That at the
Cridit Lyonnais (see above) may be recommended.
Stami-s. 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 by many tobacconists (p. 4!).
4*
52 16. PRELIMINARY DRIVE. Preliminary
16. Preliminary Drive.
After a preliminary study of the 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 omnibns 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.
Cab Drive. The Palais-Royal (p. 60) is chosen as a convenient
starting-point. Thence we drive to the E. through the Rue de Ri-
voli (p. 61), passing the Tour St. Jacques (p. 63) and the Hotel
de Ville (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. 155) to the Arc de TEtoile (p. 158). Then
we drive to the Pont de I'Alma (p. 165) , and across it to the
Champ-de-Mars (p. 282) and Hotel des Invalides (p. 274); Rue de
Grenelle, Ste. Clotilde (p. 273), Boulevard St. Germain as far as
St. Germain-des-Pre's(p. 252), RueBonaparte to St. Sulpice(p. 253),
and on to the Palais du Luxembourg (p. 255); the Rue de Me-
dicis, at the end of which is the Rue Soufflot leading to the Pan-
theon(p.240). Thence down the Boulevard St. Michel (p. 228), passing
the Sorbonne [p. 238) and Hotel de Cluny (p. 229) on the right,
and the Fontaine St. Michel (p. 228) on the left; next traverse the
Boulevard du Palais and the 'Cite', where Notre-Dame (p. 224) is
observed on the right, at some distance, and the Palais de Justice
(p. 220) 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 Sebastopol 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 Vincennes ; 15 c.)
to the Hotel de Ville (p. 65), and hence proceed by an omnibus of
line C (Hotel de Ville-Porte Maillot) as far as the Arc de Triomphe
de I'Etoile (p. 158). 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 Panthe'on (p. 240), without
correspondance. Walk thence by the Boulevard St. Michel to the
Inforinallon 16. PRELIMINARY DRIVE. 53
Jardin du Luxembourg (p. 262} and the Odeon (p. 263). Here take
the Ode'ou and Batiguolles-Clichy line H as far as the Palais-Royal
(p. 60); or, better still, walk (in about 10 min.) from the Ode'on
by the Rue Racine to the Boulevard St. Michel, and take there a
tramway of the Montrouge and Gare de I'Est line to the Rue de
Rivoli (p. 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 Re'pub-
lique (about 2 M. from the Opera) ; from the Hotel de Ville to the
Place de la Concorde (about IY2M.); from the Luxembourg to the
Rue de Rivoli (nearly 1 M.), or to the Boulevards (2/4 M. farther).
A good general view of the city may be obtained from the Towers
of Notre Dame (p. 227), but for this purpose clear weather is
necessary, and that occurs seldomer than might be supposed. Even
when the sun is shining, the middle distance is frequently in-
distinct, a fact which may also be noticed from the ground in the
longer streets. The best views are obtained when the weather is
clearing just after a shower, and on dry windy days; but in the
latter case the wind is often disagreeable on the top of the towers.
A general survey from another point of view is afforded by a visit
to the Butte Montmartre (p. 204). View from the Arc de Triomphe,
see p. 159. The Eiffel Tower (p. 282) 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. Distribation 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 de'tours, but they may easUy 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, wMch mnst be looked for in the
index. Parks, public gardens, cemeteries, and the like are also
omitted, as they are practically always open. The days and hours
enumerated, though correct at present, are liable to alteration ; and
the traveller is therefore referred to The Daily Messenger (p. 47),
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.
Every day
Every day
except
Monday
Sunday (
i. Palais Royal, Rne de '
Rivoli, Bastille, and j
Boulevards (p. 59j. |
3. Champs-Elysees and
Boia de Boulogne
(p. 155).
14. St. Cloud, Sevres,'
ileudon (p. 291). \
15. Vincennes (p. 303). [
18. St. Denis , Enghien, |
Montmorencv, Argen-
teuil (p. 333).
19. Valley of the Oise
fp. 342).
20. Sceaux, Chevreuse,
Montlhe'ry , etc. i
(p. 349).
21. Fontainebleau(p.362). I
2. Louvre and Tuileries
(p. 86).
9. The Cite and Sor-
bonne quarter(p.219).
10. Quarters of St. Ger-
main and the Luxem-
bourg (p. 245).
16. Versailles (p. 307).
1, 2, 3, 9, 10, 14-16, 18-21, 1
as above. i
4. Troeade'ro,Passy, and {
Auteuil(p. 164).
5. Halles Centrales, Arts
et Metiers , Pere-La- 1
chaise (p. 172). j
8. Quartiers du Tem-
ple and du Mara is
(p. 210).
11. Jardin des Plantes, ii
Sunda
but not the Gobelins
(p. 26S).
12. Invalides and Champ
de Mars (p. 270).
17. St. Germain-en-Laye
(p. 326).
22. Chantilly and its En-
virons (p. 363).
f 1,3.14,1.5,18-21, as above.
)nday I 7. La Villette and Mont-
l martre (p. 2C0).
Tuesday <
Wednesdav
Thursday
Fridav
Saturdav
2, 3, 5, 9, 10, 11,
14-21, as above.
Quartiers de la Bour-
se, de la Chauss^e-
d'Antin, and de TEu-
rope (p. 187).
Outlying quarters to
the S.
1,2,3,9,10, 14-16,18-21,
as above.
11. As above, except the
natural history gal-
leries (p. 266).
1, 2, 3, 4, 5, 7, 8-22, as
above.
1, 2, 3, 6, 9, 10, 11, 14-16,
18-21, as above.
1,2,3.6,9,10,11,13,14-
16, 18-21, as above.
11. Jardin des Plantes
and the Gobelins (p.
263).
Information. 17. DISTRIBUTION OF TIME.
55
Visit of Three "Weeks.
Beginning
on —
c3
a
>->
a
0
CQ
1
1
2
1
00
Beginning
on —
CO
1
1
>>
1
a
1
fa
3
00
( 1,3 3
Sunday . . | 8 15
|lTjl8
Monday • • { lo ' 14
2
9 4
10
11
Wednesday/ 8 1 14
13
16 17 18
21
5
14 12
6
16
(continued) \ 22 1 20
19
;
13
2
21 22
314
19
6
20
11
Thursday I g
7
14
5
12
9
16
l,c4
10
13
2
6
18
11
15
21
5
10 13 ie
15
1 22
2U
17
19
17
18 ! 21 20
19
^ -A J 4
1,3
2
I 22
1
14
5
9
7
k
10
1,3
2
4 111
9
Friday . . ^ g
117
15
12
16
13
IS
11,13
7
h
10
0 ilo
13
20
21
19
22
Tuesday . ^g
I22
14
12
18
17
21
20
Saturday <! g
1,3
19
(
7 1 2
q
5
6
lU
_
1.R
2
R
9
15' 12
16
13
14
11
4
7
5
10
12
15
11
1
17
18
21
20
22
19
Visit of a Fortnight.
Be-
ginning
on —
3
CO
a
IS
§
eg
1
2
fa
1
05
Be-
ginning
on —
C
3
03
1
a
0
s
3
H
S
1
1
CQ
3
fa
3
1
s,.. {f
3
2
9
4
6
10 1 f
11,15 Thurs.
9 , i
1,3
2
13,18
1348
5
16
12
14
4
5
6
9
7
10
11,15
Men. I 8
\i4
1,3
2
13,18
4
6
8
14
12
16
7
5
lU
12
16
11,15
i
—
—
—
—
—
1,3
Tues. I 5
Is
_
1,8
2
4
13 IS
9 1 Frid. \
4
13,18
5
9
■?
6
11,15
7
10
16
12
6
11,15
I
8
14
10
16
12
14
r —
—
—
1,3
2
13,18
9
Sat. J
—
—
—
—
—
—
1,3
Wed. I 4
7
5
10
12
6
11,15
4
13,18
2
9
5
10
11,15
I
8
15
16
8
7
6
16
12
14
Note. St. Denis (18) might be visited on the morning of the day
at St. Cloud (14). St. Germain- en- Lay e (17), Fontainehleau (21), and
tilly (22) each require an additional day.
spent
Clian-
Visit of
a Week
eg
3
OO
§
eg
-3
1
1
1
fa
Saturday
Beginning
on —
fl
3
OQ
1
^
%
§
^
1
9)
1
2
3
Friday
Saturday
Sunday 1,12
~U
2,4
9,3
5,8
16,14
10,11
Thura- f -
day 15,8
Friday {g-g
1,4
2,3 i 9,11
Monday{^Q^2
Tues- / —
day \ 10,12
1,3
7,6
2,4
1,4
9,11
2,3
5,8
5,8
16,14
16,14
7,6
9,11
7,6
776
10,12
10,12
16,14
9,11
16,14
1
1,3 2,4
Wed- f -
1,3
5,8
2,4
9,11
Satur- f —
- 1,3
nesday \
10,12
7,6
16.14
day t
6,8
7,6
10,12
9,11
2,4
16,14
56
17. DISTRIBUTION OF TIME. Freliminary
lis
and
holidays Monday | Tuesday
Archives Nationales (p. 210)
Arts tk Metiers, Conservatoire des
(p. 1T5)
Beaux- Arts, Ecole des (p. 248) . . .
Bihliotheque Nationale, Exhib. (p. 1--7)
Bourse (p. 193)
Chambre des Ddputes (p. 272) ....
Chantilly., Chateau de (p. 370) . . .
Foniainebleau, Palais (p. 362) ....
Gobelins, Manuf. des (p. 26S) ....
Hdtel de Ville ^saloons; p. 65). . . .
Jmprimerie Nationale (p. 213) . . .
J?ivalides, Hotel des (p. 274)
Jar din des Plantes, Minagerie (p. 264)
, Conservatories (p. 266) ....
, Nat. Hist. Collections (p. 266)
Luxembourg, Palais du (p . 255) . . .
— , Mus&e du (p. 25G)
Monnaie, Musee d- Studio (p. 247). .
J/ttse'e Carnavakt (p. 213)
— Cernu^cU (p. 199)
— d'Artillerie et de VArmee (Inva-
lides; p. 275)
— de Cluny (p. 230)
— de Galliira (p. 166)
— de Minir. et Giolog. (p. 284) . .
— du Conserv. de Mu,siqu^ (p. 76). .
— d? Ethnograp?iie(Tvoc3.A^TO ; p. 170)
— du Garde-Meuble (p. 281) ....
— du Louvre, Paintings <t Antiqi/it'es
(p. 89)
, Salle des Boites (p. 151) . . .
, Other Collections (p. 148). . .
— Forestier (Vincennes; p. 305) . .
— Guimet (p. 167)
— de Sculpture Compar^e {TTOcaLdero;
p. 170)
— Social (p. 273)
Notre-Dame, Treasury (p. 237) . . .
Palais de Justice (p. 22 J)
Pantheon (p. 240)
St. Denis, Tombs (p. 333).
St. Germam, Museum (p. 330) . . .
Ste. Chapellt (p. 221)
Salon, Exposition du (p. 33) . . . .
Sevres, Workshops (p. 297)
— , Mus^e (p. 297)
Sorbonne, Amphitheatre (p. 239) . .
Tobacco Matiufactoi-y (p. 281). . . .
Tomb of Napoleon I. (p. 280). . . .
Versailles, Palais A 7'ria?io?!5 (p . 310)
— , Jeu-de-Paujne (p. 325)
12-3
10-4
12-4
)-5, 6
1-0
10-5
10-4
12-3
9-5, 6
10-5
2-3
10-4
10-4
10-4
12-3
9-5, 6
10-5
2-3
12-4
12-4
12-4
11-4, 5
11-4, 5
11-4, 5
_
1-4
11-3
—
11-3
9-5, 6
9,5, 6
10-4
9-5
9-5
12-3
11-4, 5
—
11-4, 5
10-4
—
10-4
12-4
12-4
11-4
_
11-4, 5
12-4
—
12-4
—
—
1-4
12-4
12-4
12-4
10-4
—
10-4
10-4
9-5
9-5
2-5
11-4
11-5
11-5
10-4, 5
12-4, 5
12-4, 5
—
12-4, 5
11-4, 5
_
11-4. 5
9-6
9-6
—
10-4
10-4
1 11-4
11-4
10-4, 5
10-4, 5
10-51/2
10-51/2
10-51/2
IOV2-4
11-4, 5
—
101/2-5
11-4, 5
—
8-6
12-6
8-6
12-4, 5
I 12-4, 5
12-4, 5
12-4, 5
12-4, 5
12-4, 5
10-1
1
— ■
12-8, 4
12-'3^ 4
12-3, 4
11-4, 5
_
11-4, 5
12-4
—
, 12-4
Information. 17. DISTRIBUTION OF TIME.
57
Friday | Saturday i
Admission free except where
otherwise stated.
10-4 10-4
— 10-4
12-3 12-3
9-5, 6 I 9-5, 6
1-5 ' —
10-5 \ 10-5
2-3 2-3
2.30
12-4 I 12-4
11-4, 5 ! 11-4, 5
— 1-4
11-3 , 11-3
9-5, 6 9-5, 6
9-5 9-5
— I 12-3
11-4, 5
12-4
10-4
— Director's permission required on Thursday.
10-3
12-3
9-5, 6
10-5
1-3
2-3
12-4
11-4, 5
1-4
11-3
9-5, 6
9-5
11-4, 5
12-4
1-4
On other days by special permission.
Special permission required on week-days.
During the vacation. Fee.
From 15th April to 15th Oct. Closed during
the races.
11-4 in winter (Oct. 1st- April 1st).
By ticket issued gratis.
By permission of the director.
Botanic Garden open all day.
By ticket obtained at the otlice.
On Tues., Frid., & Sat. by ticket obtained at
the office.
j Closed on certain holidays.
j 10-4 in winter (Oct.lst-April 1st).
! By special permission.
12-3 in winter (Xov.lst-Jan. 31st).
Closed on the chief holidays (p. 5£
— 'On other days (e.xcept Mon.) on application ; fee.
10-4
9-5
2-5
11-5
9-5
2-5
lt-5
12-4, 5
12-4, 5
11-4, 5
9-6
11-4. 5
9-fe
10-4
10-4
11-4
10-4, 5
10-51/2
11-4. 5
8-6
12-4, 5
12-4, 5
11-4
10-4, 5
10-51/2
11-4, 5
8-fe
12-4, 5
12-4, 5
12-3, 4
-
11-4. 5
12-4
11-4, 5
12-4
j 10-4 in winter (Oct. Ist-April 1st).
I 2-4 in winter (Oct. Ist-April 1st).
j 11-4 in winter (Oct. Ist-April 1st).
! One-half closed on alternate days.
Adm. i/j fr.
Dome and vaults by special permissou.
10 till dusk in winter.
101/2-4 in winter.
Closed on chief holidays.
From May Ist-June 30th only.
Special permission required.
11-4, 5 ! Trianons till 6 p.m. in summer.
58 17. DISTRIBUTION OF TIME.
Most ofthe public collections and mnseums are closed on Monday,
and also on the principal holidays, viz. Ascension Day, Jnly 14th.
Assumption (Aug. 15th) and All Saints (Nov. Ist), unless these
happen to fall on a Sunday. The Louvre, Luxembourg, and some
others are closed also on Shrove Tuesday.
LiBRABiEs are open on week-days from 9 a.m. to 4,5, or 6 p.m.;
some of them also in the evening and on Sunday.
Churches are usually open from morning till dusk, but the
afternoon is the best time for a visit, as no service is then held.
It should be noted that many churches are so dark that the
works of art cannot be properly seen except by gas-light. The
Madeleine (p. 81) is not open to visitors till 1 p.m., and sev-
eral other churches are closed at 5 p.m. Sundays and festivals
are not, of course, suitable days for inspecting the works of art
in the churches, but they frequently offer opportunities of hearing
excellent music and good preachers. See p. 38, and the notices
of the principal churches. The hours of service are announced on
boards in the interior of the buildings. High mass is usually at
10 a.m. The masses at midday and 1 p.m. are especially attended
by the fashionable world ; and the scene on the conclusion of ser-
vice at the Madeleine (p. 81) and other leading churches is both
interesting and characteristic. Chairs within the churches are let for
5 c. each; on festivals 10 c.
The traveller should always be provided with his passport, or at
least visiting-cards , which will often procure him admission to col-
lections on days when the public are excluded.
RIGHT BANK OF THE SEINE.
The modern business and fashion of Paris are chiefly confined
to the quarters on the right bank of the Seine, which contain the
principal Boulevards, the handsomest streets, and the most attract-
ive shops, cafes, and restaurants in the city. Here, too, are situ-
ated the most important Tftgaires, the Bourse, the Bank, the Palais-
Royal, the Hotel des Pastes, and the Halles Centrales. The Hotel
de Ville, the headquarters of the municipal authorities, and the
Tuileries, once the seat of the court but now entirely demolished, are
the great centres around which the whole of modern French history
has been enacted ; and in the same region of the city is the Louvre,
containing the greatest art-collection in France.
The following routes or itineraries are arranged to suit travellers whose
stay in Paris is of some duration, and it is taken for granted that they
devote the entire day to sight-seeing. Some of these daily itineraries are
necessarily rather long, but others (e.g. those on the left bank) are com-
paratively short. Those who are pressed for time may omit the portions
described in small type.
1. The Palais-Royal, Rue de Rivoli, Bastille, and
Boulevards.
If the preliminary drive recommended at p. 52 has been taken, the
visitor need not return to the Bastille, but may proceed to the Place de
la Republique by a more direct route. Another way of returning from
the Bastille is indicated ai p. 218 — Luncheon may be taken at one of
the Bouillon.^ Duval, Rue du Pont-Xeuf 10 (near the Rue de Rivoli). Rue
de Rivoli 47, and Rue St. Antoine 234; at the Or. Brasserie Breher. Rue
St. Denis 1, Place du Chatelet; at the Restaurant de Paris. Boul. de Se-
bastopol; or at the Gr. Taverne Gruber, Boul. Beaumarcliais 1, near the
Place de la Bastille.
I. THE PALAIS-ROYAL AND THENCE TO THE HOTEL DE VILLE,
St. Germain-l'Auxerrois. Tour St. Jacques. Place du Chatelet. St, Merri.
The small Place du Palais-Royal (PI. R, 20 ; IT) +, enclosed
by the Palais-Royal on the N. and the Louvre (p. 86) on the S,,
+ With regard to the arrangement of our Plan of Paris , see note
preceding the list of streets. The three sections of the tripartite plan,
coloured respectively brown, red, and gray, are referred to in the text by
the corresponding letters B, R, and G. If the place sought for is also
to be found in one of the five special plans of the more important
quarters of the city, that plan is indicated by a Roman Italic numeral.
The above reference therefore indicates that the Place du Palaia-Boyal
is to be found in the Red Section, Square 20, and also in the Special
Plan No. II.
60 1. PALAIS-ROYAL.
occupies almost the centre of Paris, and is one of the best starting-
points for exploring the city (station of the Metropolitan Railway,
see Appendix, p. 33). The means of communication between this
point and other quarters are very numerous, and visitors who live
near the Opera may reach it by a pleasant walk along the handsome
*Avenue de I'Opera, which dates mainly from 1878. This avenue
has been left without trees , so as not to interfere with the view of
the opera-house (p. 78 ).
The Palais-Royal ( PL R. 21 ; II) is formed of two quite distinct
parts, — the Palace properly so called, with its facade in the square,
and the Garden surrounded with Galleries, the most interesting
part, behind.
The Palace is at present occupied by the Conseil d'Etat, and
is not open to the public.
This palace was erected by Cardinal Richelieu in 1619-36, and named
the Palais-Cardinal. After his death it was occupied by Anne of Austria,
the widow of Louis XIII., with her two sons Louis XIV. and Philip of
Orleans, then in their minority, and since then the building has been
called the Palais-Royal. Louis XIV. presented the palace to his brother
Duke Philip of Orlean*. whose son, Philip of Orleans (d. 1723), regent
during the minority of Louis XV., afterwards indulged here in those dis-
graceful orgies which are described by his contemporary the Due de St.
Simon. Philippe Egalitit who was beheaded in 1793, grandson of the regent,
led a scarcely less riotous and extravagant life than his grandfather. In
order to replenish his exhausted cofTers, he caused the garden to be sur-
rounded with houses, which he let for commercial purposes, and thus
materially improved his revenues. The cafe's on the groundfloor soon
became a favourite rendezvous of democrats and malcontents. It was
here that Camille Desmoulins called the populace to arms on l2th July,
1789, two days before he led them to the capture of the Bastille (p. 70).
The building was now called the Palais-Egalite, and subsequently, when
!Napoleon assembled the Tribunate here in 1801-7, the Palais du Tribunai.
On the Ptestoration of the Bourbons in 1815 the Orleans family regain-
ed possession of the Palais-Royal, and it was occupied by Louis Philippe
down to the end of 1830. On '24th February, 1848, the mob made a com-
plete wreck of the royal apartments. After this the building was styled
the Palais- Xation al ; but its original name was restored by IKapoleon III.,
who assigned the S. wing, opposite the Louvre, as a residence for his
uncle, Prince Jerome Napoleon, the former King of Westphalia (d. 1860).
After the death of the latter it was occupied by his son (d. 18911. who
bore the same name. On 22nd May, 1871, the Communards set the Palais-
Royal on fire, and the S. wing, together with the greater part of the
buildings of the Cour d'Honnenr, became a prey to the flames.
The Palais-Royal, long a favourite rendezvous of visitors to Paris, is
now becoming gradually more and more deserted. Like the Place des
Vosges (p. 217), which formerly acted the same part, it is being super-
seded by newer and more elegant quarters farther to the W. ; while
its unobtrusive entrances, accessible only to foot-passengers, are not cal-
culated to attract strangers. The site is admirably adapted for a central
railway-station, still a desideratum in Paris.
The principal entrance to the *GALLEHrEs and the Garden is to
the left of the facade, between the Palais and the Theatre Fran^ais
(p. 61). The first gallery to the left is the Galerie de Chartres.
To the right is the handsome Galerie d" Orleans, dating only from
1830.
1. THEATRE FRAN^AIS. 61
The gTOundfloor of the arcaded block of buildings inclosing the
garden was formerly occnpied almost exclusively by jewellers' and
similar shops; now there are several shops 'to let\ Restaurants ?i la
carte and a prix fixe, see p. 17. — The E. side of the square is
called the Galerie de Valois, the W. side the Galerie Montpensier
(with the Theatre du Palais- Royal, p. 34), and the N. side the
Galerie Beaujolais.
The Garden, 250 yds. in length and 110 yds. in breadth, and
hardly deserving of the name , is scantily shaded by a quadruple
row of small trees. In the centre is a circular basin of water,
near which a military band generally plays in summer (p, 38).
The garden is embellished with several sculptures, viz., from S. to
N. : Eurydice bitten by a serpent, by Nanteuil ; Mercury, by Cugnot;
the Snake Charmer, by Thabard; Boy struggling with a goat, by
Lemoine; the Versailles Diana, after the antique; and a Youth
bathing, by Esparcieux (d. 1840). The chairs are let at 10 c. each;
the benches are free.
To the W. of the palace is the small Place du Thidtre-Fran^ais,
at the end of the Avenue de I'Ope'ra (p. GO). It is embellished
with two handsome modern fountains by Davioud, with nymphs in
bronze by Carrier-Belleuse and Moreau.
The Theatre Francais (PI. R, 21; //) was founded in 1786-90,
and has been used for the performances of the Comedie FrariQaise
since 1799. In March, 1900, it fell a prey to the flames, but, for-
tunately, the exterior escaped practically unscathed, and the damage
to the interior is being rapidly made good.
Most of the sculptures wliicli it contained have been saved?* and are
now exhibited at the Louvre, in a room adjoining the new Salle Carpeanx
(p. 108), whence they will be transferred to their former position after the
reconstruction of the theatre. Among them are statues of Talma, the
tragedian (d. 1826), by David d'Angtrs, and of the celebrated actresses Mile.
Rachel (d. 1S5SJ, as -Pha-dra^ by Dure/, and Mile. Mars (d. 1S4;), as 'Celi-
mene" (in Moliere"s 'Misanthrope'), by Thomas; a famous *Statue of Voltaire
(d. 17T8), by Hovdon; a statue of George Sand (d. 1876), by Clhinger ; a
chimney-piece with a relief representing comedians crowning the figure of
Moliere, by Lagiterre; and bu>ts of celebrated French dramatists (3Ioliere,
by Boudon). — The performances of the Come'die Francais are being pro-
visionally given in the Odeon (p. 33), but the The'atre Francais will prob-
ably be re-opened in the antxmm of 1900.
Between the Place du Palais-Royal and the Louvre passes the
*Rue de Rivoli (PL R, 18, 20, 23; i/, ///, F), one of the most
important streets in Paris after the Boulevards, constructed between
1802 and 1865 and named in honour of Napoleon's victory over the
Austrians at Rivoli in 1797. Leaving the Place de la Concorde, it
runs parallel with the Seine for i^/i M., and ends at the Rue St.
Antoine, which forms a prolongation connecting it with the Place
de la Bastille. It passes the Garden of the Tuileries, the Louvre,
and the Place du Palais-Royal, this part of the street as far as the
Rue du Louvre being flanked by arcades on the N. side, upwards of
62 1. ST. GERMAIN-L'AUXERROIS.
1/2 M. in length, where there are many attractive shops and hotels
of the highest class. We follow it to the left from the Palais-Royal,
with our backs to the Place de la CSucorde. On the right rises the
Palais du Louvre (p. 86); on the left the Magasins du Louvre
fp. 40). To the left, farther on and partly concealed hy the arcades,
is the Temple de VOratoire, a church erected by the priests of the
Oratoire in 1621-30, but now used as a Protestant place of worship
(p. 50). A statue of Admiral Coligny^ one of the victims of the Night
of St. Bartholomew (p. 87), by Crauk, was erected here iu 1889 ; it
represents the admiral between his Fatherland and Religion.
At this point the arcades terminate, and the Rue de Rivoli is
intersected by the Rue du Louvre (station of the Metropolitan Rail-
way, see Appendix, p. 33). The tirst building to the right in the
Rue du Louvre is the Vieux Louvre, with the famous Colonnade by
Perrault (p. 88). Opposite rises the Mairie of the 1st Arrondissement
(Louvre), which tries, somewhat unhappily, to secure harmony of
effect by giving, though in moditied Renaissance, an 'echo of the
Gothic ideas' in the adjoining church of St. Germain-l'Auxerrois.
The 'Salle des Mariages' in the Mairie is adorned with paintings by
Besnard.
The church of *St. Germain-l'ATixerrois(Pl. R, 20 ; III), founded
in the 6th century, dates in its present form from the 13-16th
centuries. The facade, which is pierced with a rose-window of rich
Flamboyant tracery and flanked by two hexagonal turrets, is preceded
by a porch surmounted by a balustrade and adorned in the interior
with frescoes, now sadly defaced. When the gate is closed, visitors
are admitted by the right side-entrance. — The signal for th^
massacre of St. Bartholomew (Aug. 24th and 25th, 1572) was given
from the little bell-tower of this church, to the right of the transept.\
The "^Iktekiob, to which the lowness of the roof gives a depressed char-
acter, consists of nave and double aisles, and is surrounded with chapels.
The pillars of the nave were converted into fluted columns in the 17th cent.,
and the handsome woodwork of the 'Banc dGEuvre' (in the nave, to the
left) dates from the same period.
The walls are covered with modern frescoes, the finest of which is
a Descent from the Cross, in the S. transept, by Ouichard (1845). The
large chapel to the right of the entrance (seldom accessible) is closed by
handsome woodwork, and contains a Tree of Jesse, in stone, of the 14th
cent., a Gothic altar designed by M. Viollet-le-Duc, several paintings, and
stained glass by Amaury- Duval. The marble Basin, for holy water in the
S. transept, designed by Mme. de Lamartine and executed by Jouffroy. is
surmounted by a finely-sculptured group of three angels around a cross.
— The fourth "chapel of the choir beyond the Sacristy contains ' ilonuments
in marble to the chancellor Etienne 'd''Aligre (d. 163oj and his son (d. 1674).
— The chapel beyond that of the apse contains two statues from a mauso-
leum of the Rostaing family (16th cent.). The next chapel but one con-
tains a monument to St. Denis, who is said to have been interred at this
spot after his martyrdom (p. 205). The chapel adjoining the N. transept
contains an altar-piece in wood in the Flamboyant style, representing
the history of Christ and the Virgin.
Between the Mairie and the church is a square tower with a
chime of bells, constructed by Ballu to fill up the gap. — From the
1. TOUR ST. JACQUES. 63
end of the Rue du Louvre we obtain a good view of the Poiit-
Neuf witli the statue of Henri IV. (p. 223), and of the dome of
the Pantheon (p. 240} rising in the background.
Beyond the Ptue du Louvre the Rue de Rivoli intersects the
Rue duPont-Neuf, leading from the bridge of that name to the
Halles Centrales (p. 173). Farther on. to the left, diverges the
Rue des Halles. To the right, beyond the Rue des Lavandieres, is
the Station du ChCttelet of the Metropolitan Railway (see Appx.,
p. 33). We then cross the Boulevard de Sebastopol [p. 75), which is
terminated on the S. by the Place du Chatelet (see below).
In a small square to the right rises the *Tour St. Jacques (PI.
R, 23 ; ///, F), a handsome square Gothic tower, 175 ft. in height,
erected in 1508-22, a relic of the church of St. Jacques de la
Boucherie, which was sold and taken down in 1789. The tower was
purchased by the city in 1836 and subjected to a process of restor-
ation. In the hall on the groundfloor is a statue (by Cavelier) of the
philosopher Pascal (1623-62), who is said to have repeated on the
summit of this tower (or, according to other authorities, on the
tower of St. Jacques du Haut-Pas. p. 285) his experiments with
regard to atmospheric pressure originally made on the Puy de Dome.
The *ViBW from the summit of the Tour de St. Jacques is one of the
finest in Paris, as the tower occupies a very central position, but
the public are not allowed to ascend except with a permit obtained
gratis at the Hotel de Ville (Direction des Travaux) daily 11-5,
except Sun. and holidays, though sometimes an application to the
keeper of the square (fee) is sufficient. — The Square de la Tour
St. Jacques is embellished with bronze sculptures of the Bread-
bearer, 'Ducks and Drakes' ('Le Ricochet'), andCyparissus, by Cou-
tan, Vital Cornu, and H. Pie.
The Squares of Paris, like the great majority of the other promenades
of the city, are both useful and ornamental. Though they have been con-
structed on the model of the London squares, the enjoyment of the gardens
with which they are laid out is by no means confined to a few privileged
individuals, but is free to all-comers. The formation of squares of this sort
has been a prominent feature of the modern street improvements of Paris.
The modern AvenueVictoria^ which skirts the S. side of the Square
de la Tour de St. Jacques, leads hence to the Hotel de Ville (p. 65).
The Place du Ch&telet (PI. R, 20, 23 ; 7), the site of which
was occupied till 1802 by the notorious prison of that name, lies at
the S. end of the Boulevard de Selaastopol, on the bank of the
Seine. The Fontaine de la Victoire, designed by Bosio, and erected
here in 1807, commemorates the first victories gained by Napoleon I.
It is adorned with four figures representing Fidelity, Vigilance,
Justice, and Power, and surmounted by the 'Colonne du Palmier',
on which are inscribed the names of 15 battles. On the summit is
a gilded statue of Victory. The monument originally stood farther
from the Seine, but was removed entire on the construction of the
Boulevard de S^astopol in 1855, and re-erected here on a pedestal
64 1. SEWERS.
adorned with four sphinxes (restored in 1899-1900). On this side
of the fountain is the mansion of the Chambre des Notaires, with a
plan of the Chatelet on the facade. On the right and left of the
Place du Chatelet are situated the Thedtre du Chatelet (p. 34) and
the Thedtre Sarah Bernhardt respectively (see p. 34).
In the Place du Chatelet is one of the usual entrances to the vast
network of Sewers (EgouU) by which Paris is undermined. They are
generally shown to the public on the second and fourth Wednesday of each
month in summer. Written application should be made in advance to the
Prifet de la Seine, on a stamped paper costing 60 c, mentioning the number
of visitors and enclosing a stamp for the reply, which wDl determine the
time and place of starting. The visit, in which ladies need have no hesi-
tation in taking part, lasts about 1 hr., and ends at the Place de la Made-
leine. Visitors are conveyed partly on comfortable electric cars, partly in
boats, so that no fatigue is invulved.
The system of drainage in Paris is very complete and has had a most
beneficial effect on the health of the population. The total length of the
network of sewers of Paris is now about 620 M., not reckoning the drains
radiating to private houses. IS'ot less than 150 M. remain still to be made.
In 1^37 there were only 40 M. of sewers and in 1856 only 100 M. The
average cost of these huge works is 100 fr. per metre (nearly il. per
yd.). The basin in which the city lies is divided into four parts by
two large sewers at right angles with the Seine, and running under the
Boul.de Sebastopol and Boul. St. Michel respectively. These, which flow,
not into the river, but into 8 channels parallel with it (known as Egouts
CoUecieurs). are augmented by 12 or 15 tributaries, which in their turn
receive the contents of numerous smaller drains.
The 'collecteurs' of the right bank empty themselves into the Collecteur
Giniral cfAsni^res . below the Place de la Concorde , which conducts
the water far below Paris, to be there used for irrigation (p. 291). This
main drain carries off about 340,000 cubic feet of water per hour, but is
capable of passing twice that quantity. In consequence, however, of. the
popular abuse of the convenience of the drains, it was foiind necessary
to construct a second and larger main drain, the Collecteur Q4n4ral de
Clichy, which al=o begins at the Place de la Concorde. The 'collecteurs'
of the left bank and of the islands in the Seine are connected with the
rest of the system by means of siphons passing under the bed of the
river. The smallest sewers are about 7 ft. high and 4 ft. wide, the largest
16 ft. high by 18 ft. wide. All the drains are constructed of solid masonry,
and lined w"ith hydraulic cement. The 'collecteurs' are flanked with pave-
ments or ledges, between which the water runs, and above one or both
of which is a pipe for pure water. All these channels communicate with
the streets by numerous iron ladders, and each is furnished with its dis-
tinctive mark and the name of the street above.
The cleaning of those sewers in which there is a channel flanked
with ledges is effected by a very ingenious system. There are boats or
waggons of the same width as the channel, each provided with a vertical
gate or slide, which when let down exactly fits the channel. When the
slide is adjusted the boat is propelled downwards by the force of the
stream, scraping clean the bottom and sides of the sewer as it advances.
The Pont an Change leads from the Place du Chatelet to the
Cite (p. 219). The bridge, which is one of the most ancient and
renowned in Paris, was entirely rebuilt in 1858-59. Its name is
derived from the shops of the money-changers and goldsmiths with
which the old bridge was flanked.
The bridge commands a fine view. Opposite lies the Cite, with the
Palais de Justice and the Tribunal de Commerce: higher up the river are
the Hotel Dieu and Xotre Dame; to the left the Hotel de Yille and the
Tour de St. Gervais-, down the river appear the Pont I^euf, the Louvre, etc.
1. HOTEL DE VILLE. 65
In the Rue St. Martin, a little to the N. E. of the Tour St.
Jacques, rises the church of St. Merri (PI. R, 23 ; IIP), formerly
St. Mederic, in the hest Gothic style, although dating from 1520-
1612. It possesses a beautiful though unfinished portal in the Flam-
boyant style.
The Interior was disfigured in a pseudo-classical style by Boffrand
(18th ceut.). who was also the architect of the large chapel on the right.
Among the most noteworthy contents are a large marble crucifix, by
Dubois, at the high-altar; two good pictures by C. Van Loo (d. 1765), at the
entrance to the choir (to the left, St. Carlo Borromeo); and a painting
(Reparation for sacrilege) hy Belle (d. 1SU6), in the left transept. The chapels
of the ambulatory are adorned with fine frescoes by Cornu, Lehmami,
Amat(ry - Duval ^ C'hassdriau, Ldpanlle, ifatout, Glaize^ Lafon, and others,
which, however, are very badly lighted. — The stained-glass 'Windows of
the choir date from the 16th century.
We now return to the Rue de Rivoli, and soon reach the Hotel
de Ville , in a small Place (p. 68J to the right, between that street
and the Seine.
The *H6tel de Ville (PL R, 23; 7), or town-hall of Paris, in
many respects one of the finest buildings in the city, was erected in
1876-84 by Ballu and Deperthes as an enlarged and enriched replica
of the old Hotel de Tille. burned by the Communards in 1871.
The construction of the old Hotel de Ville was begun in 1533, but
was not completed till the beginning of the following cent., in the reign
of Henri IV. The original plans seem to have been hj Domenico Boccadofo
da Cortona J though the building was legun under Ihe superintendence of
Pierre Chamhiges (comp. p. 87), a Frenchman. It was afterwards enlarged
several times, the latest additions being completed in 1841.
The Hotel de Ville has played a conspicuous part in the dififerent re-
volutions, having been the usual rallying-place of the democratic party.
On 14th July, 1789, the captors of the Bastille were conducted in triumph
into the great hall. Three days later Louis XVI. came in procession
from Versailles to the Hotel de Ville under the protection of Bailly and
other popular deputies, thus publicly testifying his submission to the will
of the l^ational Assembly. The king was accompanied by a dense mob,
to whom he showed himself at the window of the Hotel de Ville wearing
the tri-coloured cockade, which Lafayette had just chosen as the cognis-
ance of the new national guard. On 27th July, 1794 (9th Thermidor),
when the Commune, the tool employed by Robespierre against the Con-
vention, was holding one of its meetings here, Barras with five battalions
forced his entrance in the name of the Convention, and Robespierre, to
escape arrest, attempted to shoot himself, but only succeeded in shatter-
ing his jaw. Here was also celebrated the union of the July Monarchy
with the bourgeoisie, when Louis Philippe presented himself at one of the
windows, in August, 1830, and in view of the populace embraced Lafay-
ette. From the steps of the Hotel de Ville, on 24th Feb., 1848, Louis
Blanc proclaimed the institution of the republic. From 4th Sept., 1870.
to 28th Feb., 1871, the Hotel de Ville was the seat of the 'gouvernement
de la defense nationale', and from 19th March to 22nd May, 1871, that of the
Communards and their 'comity du salut public".
The Hotel de Ville having been doomed to destruction by the leaders
of the Commune, heaps of combustibles, steeped in petroleum, and barrels
of gunpowder were placed in various parts of the building. At the same
time every approach to the building was strongly barricaded. On the morn-
ing of 24th May a fearful struggle began in the Place de THotel-de-Ville,
and it was protracted without intermission until the following morning. As
the insurgents were gradually driven back, they gave vent to their rage
and despair by setting on fire many of the surrounding buililiug.s and liually
Bakdkkkk. Paris. 14th Edit. n
66 1. HOTFJ, DR VTTXR.
iguUed llic combustibles in the Hotel de Villu, altbougU about OUO of their
party were still within its precincts. The troops , now masters of the
whole neighbourhood and granting uo quarter, directed an incessant fire
against the unhappy occupants, all of whom perished. It was, however,
impossible to save the devoted l)uilding.
The new Hotel de Yille is a magnificent structure in the French
Renaissance style , with dome-covered pavilions at the angles (re-
calling the mediaeval towers), mansard windows, and lofty decor-
ated chimneys. The building is entirely detached and is surrounded
by an area with a railing, affording light to the sunk floor. The ground-
floor is adorned with pilasters, and the first floor with engaged pillars
of the composite order. Above the first floor is a kind of entresol,
while the pavilions have an extra story.
The *Main Facade is divided into three approximately equal
parts. That in the centre, projecting beyond the others, has three
entrances, two of which are carriage-archways with pavilions. In
front of the third are bronze statues of Science, by Blanchard^ and
Art, by Marqueste. In the niches of the principal stories (and also
on all the pavilions) are statues of celebrated men of all ages, while
on the cornices are allegorical groups and figures representing the
chief towns of France. The facade is farther adorned with a hand-
some clock surrounded with seven statues , a graceful Campanile^
and (on the roof) ten gilded figures of heralds (the taste of which,
however, has been criticised). Including a few statues in the courts,
there are about 200 Statues and Groups on the exterior of the Hotel.
Most of these are explained by inscriptions.
The other facades, which differ from each other, are also worthy
of inspection. The small garden on the side next the Seine con-
tains a bronze Equestrian Statue ofEtienne Marcel (p. xxii), by Idrac
and Marqueste. The entrances on the rear side are guarded by bronze
lions, by Ca'in and Jacquemart.
Visitors may at all times walk through the Hotel de Yille and
inspect the handsome courts.
In the *Intekioe, are various Offices , open for business only ;
the Salle du Conseil Municipal, in the middle of the first floor next
the Place, to which the public are admitted during the council
meetings, onMon., Wed., and Frid. at 3 p.m. (tickets from the
concierges); the Apartments of the Prefect of the Seine; and the Re-
ception Saloons, which are open to the public daily, except on holi-
days and days immediately preceding or following a public reception
Tickets to view the interior are obtained gratis between 2 and 4 p.m.
in the secretary's office, in the N. court (to the left as we approach from
the Place), staircase D (to the left), first floor above the entresol. Visitors
then proceed to the Salle des Prevots, to the right of the archway, where
they are met by an official who escorts them over the building (1/2 hr. : fee)
We first enter a gallery containing two groups in marble: the
'First Burial', by E. Barrias, and 'Paradise Lost', by Gautherin. In
the central court is another group, 'Gloria Victis', by Mercie. We
skirt this court to the right to reach the staircases to the first floor.
1. h6tel dk ville. 67
On the groundfloor, at the back, is the large Salle St. Jean (not
nsnally shown), for large meetings, above -which are the Sallen des
Fetes, approached by two magnificent marble staircases.
I'he galleries and rooms on the first floor are richly decorated,
and the ceilings and walls are adorned with paintings by modern
artists. — The Vestibules and Corridors at the top of the staircases
are painted with landscapes and -views of Paris and its environs.
Between the corridors is the Salon des Cariatides, with paintings by
Carolvs-Duran and a large vase of red and green jasper from the
Ural Mts., presented by the Czar of Russia in memory of the recep-
tion of Russian naval officers and seamen at Paris in 1893, —
The Salon d' Arrive e Nord contains a large painting by Roll, repre-
senting the Pleasures of Life. This room has a fine cassetted ceiling,
like all the other rooms that have not ceiling-paintings. The Salon
d' Introduction Nord and the Portique Nord have ceiling-paintings by
Bouis and F. Barrias. — Then follows the main hall, or ^Grande
Salle des Fetes, 164 ft. long, 42 ft. wide, and 42 ft. high. On the
side of this hall next the Place Lobau is a gallery, above which is
another smaller gallery, continued also on the remaining three sides.
Ceiling Paintings: Progress of Music, by Gervex; Perfume, by 0. Fe.r-
rier; Paris inviting the world to her fetes, by Benj. Constant; Flowers,
l)y G. Ferrier; the Progress of Dancing, by A. Moi'ot. Above the doors are
representations of the old provinces of France (names inscribed above), by
Weerts, F. Humbert, Ehrmann, and P. Milliet. — The sculptures, especially
the caryatides and the groups in high relief, by various artists, should be
noted. In the panels of the side-g;illery are paintings (scenes from the.
history of Paris) by Clairin, Cazin, Berte.aiix, Bn/tclouin, and Blanchon. ;nid
the small cupolas contain frescoes by Ptcavd and Rislev.
At the other end of the Salle are the Portique Sud, decorated by
H. Levy [Hours of the Night and Day), and the Salon d' Introduction
Sud, decorated by H. Martin (Apollo and the Muses; on the frieze.
Music, Sculpture, Painting, and Poetry). — We now enter the
'''Salle h Manger de Reception , which has three ceiling-paintings by
Georges Bertrand {^Agx\c\)M\\re , Harvest, Vintage), and six marble
statues: Hunting, by E. Barrias; the Toast, by Idrac ; Fishing, by
Falguiere; Wine, by A. Crauk ; Song, by Dalou; and Harvest, by
Chapu. — At the angle of the side next the Seine is the *Saloii
Lobau, with paintings by J. P. Laurens: Louis YI. granting the first
charter of Paris; Etienne Marcel protecting the Dauphin; Repres-
sion of the revolt of the Maillotins (1352); Anne Dubourg protesting
in Parliament before Henri II. against the oppression of the Hugue-
nots (1559); Arrest of Broussel (1648); Pache, Mayor of Paris ii\
1793; Turgot; Louis XVL at the Hotel de Ville (1789), a com-
position known as the 'arch of steel'.
In the S. wing, next the Seine, are a number of rooms, some of
which are usually inaccessible.
Premier Salon de Passage : Louis XL entering Paris, by Tattegrain. -^
*Salon i>es Sciences. Paintings. On the ceiling: Apotheosis of the Sciences,
Meteorology, and Electricity, by Bernard; two friezes by Lerolle., Science en-
lightens, Science leads to fame: twelve corner-pieces by Carriire, symholi?-
68 1. HOTEL DE VILLE.
ing the sciences*, above the doors, Physics, Botany, by Duez; eight panels
on which are the Elements, by Jeanniot, Rixens, Buland, and A. Berlon,
and "Views of Paris, by F. Vauthier^ L. Loir, Lvpine^ and E. Barau. Sculp-
tures, notably the chimney-piece, by J. P. Cavelier. — ''Salon des Arts.
Paintings. On the ceiling: Glorification of Art, Truth, and the Ideal, by
Bonnat; friezes. Music and Dancing, by L. Glaize; corner-pieces by Chartran;
four medallions by Rivey ; on the panels, Painting by Dagnan- Bouveret^
Music by Ranvier, Sculpture by Layraud, Architecture by T. Robert- Fleury,
and Views of Paris, by Frangais, Bellel, G. Collin, and Lapostolet. — Salon
DES Lettees . Paintings. On the ceiling: the Muses of Paris, Meditation,
Inspiration, by /. Lefebvre; History of Writing, two friezes by Cormon;
twelve corner-pieces by Maignan, representing the Great Works of Litera-
ture; four medallions by Mile. Forget; above the doors. Philosophy freeing
Thought, History gathering the lessons of the Past, by U. Bourgeois; on
the panels, Eloquence, by H. Leroux, Poetry, by R. Collin, History, by
E. Thirion, Philosophy, by Callot^ and Views of Paris and the environs,
by Berihelo7i, Guillemet, H. Saintin, and Lansyer. Sculptures by G. J. Thomas,
notably the chimney-piece. — Galerie de la Colr do Sdd. Sixteen small
cupolas with paintings of Trades (inscriptions), by Galland.
The Salon d'Arrivee Sud, through T^-hich we pass to the great
S. staircase and the exit, contains paintings of Summer, AVinter, etc.,
hy Puvis de Chavannes.
The *Escaliee d'Honneur, or Grand Staircase, is not shown to ordinary
visitors, but may be seen by those present at fetes or having business in
the Cabinet du Prefet, in the angle of the facade next the Seine. Sculptures:
on the groundfloor, Mounted herald, bronze by Fr^miet; Monument of Ballu,
the architect (bronze), by E. Barrias and Coulan; Justice and Security, by
Merci4 and Delaplanche; on the first floor. Art and Comma-ce, by the same.
Literature and Education, by Schoenewerk, Sciences and Public Benevolence,
by M. Moreau, etc. Paintings by Fuvis de Chavannes: Victor Hugo dedicat-
ing his lyre to Paris: in the spandrels, Virtues.
In the Salle de la Commission du Budget, to the left of the council
hall (p. 66) is an older painting, the Conquerors of the Bastille, by F.
Delaroche. In the same room, the Puddlers, by Rixens.
The Place de I'Hotel-de-Ville (PI. H, 23.; F), once named
Flace de Greve ('bank of the river'), has also witnessed many a tra-
gedy. Thus in 1572, after the massacre of St. Bartholomew, Catherine
de Medicis doomed the Huguenot chiefs Briquemont and Cavagnes to
perish ignominiously by the gallows in this Place ; and in 1574 she
ordered the Comte Montgomery, captain of the Scottish guard, to be
executed here for having accidentally caused the deatt. of her hus-
band Henri H. at a tournament (p. 217). From that period down to
1789, the Place de Greve witnessed the execution of the numerous
victims of a despotic government, as well as criminals ; and in the
July of that year Foulon, general comptroller of finance, and his
son-in-law Bertier, were hanged by the mob on the lamp-posts of
this Place. Among the famous criminals who have here paid the
penalty of their misdeeds are Ravaillac, the assassin of Henri IV.
(1610), the Marquise de Brinvilliers and 'La Voisin', the poisoners
(1676 and 1680), Cartouche, the highwayman (1721), and Damiens,
who attempted to assassinate Louis XV. (1757).
The Place de IHotel-de-Ville is connected with the Cite by the Pont
d'Arcole, affording a view of the Hotel-Dieu and Notre-Dame.
To the N. of the Hotel de Ville begins the Rue du Temple, an old and
busy street, which passes the Temple and joins the Rue de Turbigo near
the Place de la R^publique (p. 74).
1. ST. GERVAIS. 69
II. FROM THE HOTEL DE VILLE TO THE BASTILLE.
St. Gervais. St. Paul et St. Louis. Golonne de Juillet.
In the Place Lohau (PI. R, 23; F), at the back of the Hotel de
Ville, are the Caserne Napoleon^ which can accommodate 2500 men,
to the left, and the Caserne Lohau, to the right, now used as an an-
nexe of the Hotel de Ville. On the N. side is a station of the Metro-
politan Railway (Station de I'Hotel de Ville), see Appendix, p. 33.
The church of St. Gervais (PI. R, 23; v), or St. Gervais et St.
Protais, which stands at the end of the Place between the two
barracks, was begun in 1202, but was completely remodelled in the
14th cent. ; it now presents a combination of the Flamboyant and
Renaissance styles. The portal was added by Dehrosse in 1616,
and, though inharmonious with the rest, is not without interest; it
illustrates the Doric, Ionic, and Corinthian orders, one above the
other, together with triangular and semicircular pediments.
The Interior is remarkable for its height. Pt. Gervais is rich in
paintings and other works of art, most of which are, however, as is usual
in the churches of Paris, very badly lighted. The names of the various
chapels are sufficiently explanatory of the subjects of their mural paintings.
Chapels on the right side: 3rd, Frescoes by Jobhi-Duval; 4th, by Oendron;
5th (opposite the altar). Painting by Couder (St. Ambrose and Theodosius);
6th & 7th (ambulatory), stained glass of the ICth cent. ; 8th, Frescoes by
Glaize; 9th, Mausoleum of Michel le Tellier (d. 1685), minister of state under
Louis XIV., by Mazeline and Burirelle, frescoes by Al. Hesse (SS. Gervais
and Protais), and (on the altar) a Statue of the Virgin (14th century). The
Lady Chapel has stained-glass windows by Pinaigrier or /. Covsin (16th cent.),
paintings by Belorme, and a Madonna by Oudini. The vault and pendentives
should be noticed. Chapels to the left as we return : 1st and 2nd, Pieta
by Ncmteuil and Cortot, paintings by Xorhlin and Guichard; 3rd, beyond
the clock-tower, Martyrdom of Ste. Juliette, a painting by Eeim, above
it a Passion painted on wood, attributed to Aldegviivey ; 7th, Reredos re-
producing the facade of the church. — The candelabra and a bronze cru-
cifix on the high-altar are good works of the ISth cent, brought from the
abbey of Ste. Genevieve. The choir-stalls (16th cent.) have fine misericordi?p.
Above the stalls of the clergy is a medallion of God the Father, by Ptivn-
gino, belonging to an altar-piece of the Ascension (the chief panel of which
is at Lyons). Organ of the ITth cent., with organ-loft in stone.
To the N. of St. Gervais, behind the Caserne Napole'on, is the
small Place Baudoyer, with the Mairie of the 4th Arrondissement
(Hotel-de-Ville), an edifice in the style prevalent at the end of the
16th century. The Salle des Mariages and Salle des Fetes are
embellished with paintings by Cormon and Comerre.
We here regain the Rue de Rivoli, which is succeeded a little
farther on by the Rue St. Antoine.
In this neighbourhood are various ancient buildings of more or leas
interest, dating from the period when this was the centre of Paris. Among
these are No. 82 in the Rue Francois Miron, which leads out of the Rue
St. Antoine on the right, and several others in the same street, including
the Ildiel de Beauvais (No. 68), dating from 166"), with a particularly fine
*Court. The Rue do Jouy and! the Rue Geoffroy TAsnier , both to the
left, also contain several good specimens, the finest being the 17th cent.
Hdtel de C/ialon-LvxetJibourg, No. 26 in the latter street.
In the Rue St. Antoine, on the right, is the former Jesuit church
of St. Paul et St. Louis (PI. R, 25, 26 ; V), erected in 1627-41 , by
70 1. PLACE DE LA BASTILLE.
Pere Derrand. The handsome late-Reuaissance portal was added by
Ftre Marcel Ange. The dome of this church was one of the earliest
in Paris. The architecture of the church is obviously inspired by
Italian works of the 16th cent. , and retains the distinguishing
characteristics of most Jesuit churches. The general effect is impos-
ing, but the style is somewhat florid and the decoration overdone.
The portal is inferior to that of St. Gervais. The nave is lofty and
the aisles have galleries. The best of the numerous paintings in the
interior is a Christ in the Garden, an early work of Eug. Delacroix
{ 1819), in the left transept. — The building behind, to the right,
formerly a Jesuit college, is now the Lycee Charlemagne.
A short distance from this chnrch, to the N., is the Rue du Roi-de-
Sicile (P\. E, 23; F), once containing the famous Priton de la Force, in
which the 'vSeptembriseurs' committed their assassinations in 1792.
In the Rue Sevigne, which begins opposite the church of St. Paul, is
the Muse'e Carnavalet (p. 213).
On the left in the Rue St. Autoine, No. 143, is the old Hotel
de Bethune or de Sully, built in the 16th cent, for Maximilien de
Bethune. better known as the Due de Sully and minister of Henri lY.
The architect was either Jacques Androuet du Cerceau or his son,
Jean Baptiste. The facades in the court are adorned with elaborate
sculptures, including large bas-reliefs of the sea^ns, etc. — Beyond
the Rue de Birague, which leads to the Place des Vosges (a little
farther on, to the left), is the Hotel de Mayenne oi d'Ormesson,
Rue St. Antoine 212, built by J. du Cerceau.
Farther on in the Rue St. Antoine, to the right, is the Calvinist
Eglise de la Visitation or Temple Ste. Marie, constructed in the 17th
rent, by Fr. Mansart for a convent of Visitandine nuns. Then, to
tbe left, is a Statue of Beaumarchais (1732-99), the author, by
Chausade (1897). — The Rue St. Antoine terminates in the Place
de la Bastille (station of the Metropolitan Raiiu- ay , see Appx., p. 33 ).
The Place de la Bastille (PI. R, 25; F), or simply La Bastille,
as it is usually called, was formerly the site of the Bastille St. Antoine,
a castle which was left standing when the boulevards were levelled
in 1670 (p. 72). This stronghold, which was erected in 1371-83
by Kings Charles V. and VI., was afterwards used as a state-prison,
chiefly for the confinement of persons of rank who had fallen victims
to the intrigues of the court or the caprice of the government, and
attained a world-wide celebrity in consequence of its destruction
on 14th July, 1789, at the beginning of the French Revolution.
— A line drawn on the ground in 1880 between the Boulevard
Henri IV. and the Rue St. Autoine, indicates the exact site of the
fortress so far as it is not now built over.
'With its massive walls, 10 ft. in thickness, and its eight heavy,
sombre towers, it rose just at the entrance of the city; and the cannon
on its battlements commanded the adjoining suburb of St. Antoine , the
quarter occupied by the artizan classes. It formed the standing cogni-
sance of despotic power under the old monarchy, and presented a formi
dable barrier to the advancing tide of the Revolution. Ere long, there-
1. COLONNE DK JUILLET. 71
tni'p, the popular ilr.siro tor inilepeudpncc, ••oinciding with the desigu^ ul
the demagogues, raised the cry, which speedily resounded throughout the
whole of Paris, — Down with the Bastille! Notwithstanding the moats,
the walls, and the guns with which the <astle was defended, the exe-
cution of the scheme presented no great difficulty. The garrison con-
sisted of 138 men, one-third of whom were Invalides ; their provisions
consisted of a couple of sacks of flour; they were unable to prevent the
stoppage of their supply of water •■, and all hope of aid from without was
cut off. From the suburbs an interminable multitude of armed men
converged towards the entrance ; and from the city came several com-
panies of the regiments which had gone over to the Revolution, headed
by the French guards. De Launay, the commandant, however, refused
to capitulate, and the struggle began. A number of the citizens, with
reckless bravery, succeeded in cutting the chains of the drawbridge, and
the first court' of the castle was speedily taken ; but to the excessive
exasperation of the assailants their attack on the second court was
repulsed with great loss. The courage of the garrison was now exhausted.
The Invalides desired to capitulate, and De Launay, who had been pre-
vented by his officers from blowing up the castle and its inmates , let
down the second bridge on being promised a free retreat. The victorious
crowd immediately poured into the ancient building , some of them
enthusiastic in the cause of Liberty, others bent on murder and destruc-
tion. The lives of the garrison were now in great jeopardy. The French
guards succeeded with difficulty in saving the common soldiers ; but De
Launay and his officers, in spite of the long and heroic attempts of the
leaders of the populace to protect them, were slain, and their heads cut
off as trophies'. — //. von Sybel, Period of the Revolution.
Some of the stones of the Bastille were afterwards employed in the
construction of the Pont de la Concorde. The Place is also a noted spot
in the annals of two subsequent revolutions. In June, 1848, the insur-
gents erected their strongest barricade at the entrance to the Rue du Fau-
bourg-St-Antoine, to the E. of the Place, and it was only with the aid
of heavy artillery that this barrier was demolished. On 25th June, the
third day of the contest, Archbishop Affre (p. 206), while exhorting the
people to peace, was killed by an insurgenfs ball. In May, 1871 , the
site of the Bastille was one of the last strongholds of the Communists, by
whom every egress of the Place had been formidably barricaded , but it
was captured after a desperate struggle by the Versailles troops on the
'J5th of the month.
The Colonne de Juillet, which now aflorns the Place, by Alavoine
and Z>uc, was erected in 1831-40 in honour of the heroes who fell
in the Revolution of July, 1830. The total height of the monument
is 154 ft. , and it rests on a massive round substructure of whitr,
marble , originally intended for a colossal fountain in the form of
an elephant contemplated by Napoleon I. for this site. On this rise.s
a square basement, on each side of which are six bronze medallions
symbolical of Justice, the Constitution, Strength, and Freedom, and
on the basement is placed the pedestal of the column. On the W.
side of the pedestal is represented a bronze lion in relief (the astro-
nomical symbol of July), by Barye (d. 1875), under which is the
inscription ; on the E. side are the armorial bearings of the city
and the dates of the decrees sanctioning the erection of t^e column ;
on the N. and S. sides are the dates of the conflicts in which the
'July heroes' fell. At each of the four corners is seen the Gall ic cock
holding garlands. The column itself is of bronze , 13 ft. in thick-
ness, and fluted. It is divided by four bands into ftvc sections . on
which the names of the fallen (615) arc emblazoned in gilded let^
7 2 1. BOULEVARDS.
ters. The capital is surmounted by a kind of lantern, crowned with
the Genius of Liberty standing on a globe, by J. Dumont (d. 1884).
The Interior (adm. gratis) contains an excellent staircase of 238 steps
leading to tbe top, where a fine view is enjoyed.
The Vaults (fee), to which a visit may also be paid, consist of two
chambers, each containing a sarcophagns, 45 ft. in length and 7 ft. in
width, with the remains of the fallen. In the same receptacles were
afterwards placed the victims of the Revolution of February , 1848. In
May, 1871, during the Communist reign of terror, these vaults were filled
with gunpowder and combustibles by the insurgents for the purpose of
blowing up the column and converting the whole neighbourhood into a
heap of ruins. The powder, however, was afterwards withdrawn for use
in the defence of the Place (see p. 71), so that no serious damage was done.
To theN. of the Place de la Bastille is the wide Boulevard Richard
Lenoir (PI. R26,27), running above the Canal St. Martin, which is
vaulted over for a distance of nearly I1/4 M., and is lighted by means
of shafts among the shrubberies in the boulevard. To the left of
this boulevard are the Boulevard Beaumarchais, which we follow,
and the Rue St. Antoine, leading to the Rue de Rivoli (p. 61). To
the S.W., at the end of the Boulevard Henri- IV. (p. 218), in the
distance, rise the fine dome of the Pantheon (p. 240) and the tow-
ers of the churches of St. Etienne du Mont and Ste. Genevieve.
Farther to the left, in the old moat of the Bastille, is the Gare de
V Arsenal, a basin of the Canal St. Martin, which here joins the Seine
opposite the Jardin des Plantes (p. 264); then, to the S.E., the Gare
de Vincennes (p. 26), and the Rue du Faubourg -St- Ante ine (p. 300).
— Omnibuses and tramways, comp. Plans in the Appendix. Re-
staurants, see p. 18.
III. THE BOTTLEVARDS FROM THE BASTILLE TO THE MADELEINE.
Place de la Republique. Portes St. Martin and St. Denis. The Opera.
The omnibus (Line E) may, in case of fatigue, be taken from the
Bastille as far as the Place de la Eepublique, or the whole way. Best
view from the top, on the right side.
The Boulevards of Paris are divided into four classes : the Old
or Inner Boulevards, the Outer Boulevards, the New Boulevards,
and the Boulevards d'Enceinte or Lines.
(1) The Old or Inner Boulevards ('B. Interieurs') derived their
name from having been constructed in the reign of Louis XIV. on the
site of the ancient boulevards ('bulwarks') or fortifications, which
formerly surrounded the city. They are divided by the Seine into a
northern and a southern half. The northern half, the 'Boulevards
Interieurs du Nord', or 'Great Boulevards', commonly known par
excellence as ^The Boulevards', extend in a semicircle from the Bastille
(PI. R, 25 ;• V) to the Madeleine (PI. R, 18 ; /i), a distance of 21/2 M.,
and are never less than 33 yds. in width. These Boulevards consist of
the following 11 subdivisions: Boulevard Beaumarchais, B. desFilles-
du-Calvaire, B. du Temple, B. St. Martin, B. St. Denis, B. Bonne-
Nouvelle, B. Poissonniere, B. Montmartre, B. des Italiens, B. des
Capucines, B. de la Madeleine. The more westerly of these imposing
1. BOULEVARDS. 73
streets are nowhere surpassed in the briskness of their traflic and the
attractiveness of their shops. The Great Boulevards are continued on
the left hank by the Boulevard St. Germain. — The 'Boulevards
Interieurs du Sud'. forming the southern half, extend in another
semicircle (41/2 M. long) on the left bank of the Seine , from the
Pont d'Austerlitz to the Pont des Invalides , but are now scarcely
distinguished from the following.
(2) The Outer Boulevards ('B. Ext^rieurs'), originally skirting
the octroi wall of Louis XVL, still retain their name, though it has
been less appropriate since 1860, when the suburban districts (ban-
lieue) were annexed to Paris. The northern line of these, from the
Pont de Bercy to the Trocadero, is 9^/4 M. long, while the southern
half, also beginning at the Pont de Bercy, but uniting at places with
the old Boulevards Interieurs, is 5'/2 M. in length.
(3) The New Boulevards ('Nouveaux B.') have been laid out
since 1852. Of these the most Important are tlie following : — B.
de Strasbourg, B. de Sebastopol, B. St. Michel, B. de Magenta, B.
Voltaire, B. St. Germain, and B. Haussmann. With this class of
Boulevards , which have no connection with 'bulwarks' or forti-
fications either ancient or modern , may be ranked numerous Avenues,
such as the Avenues del'Opera, des Champs-Elysees, de Friedland,
Hoche, Wagram, de la Grande-Armee, du Bois de Boulogne, Mala-
koff, Victor Hugo, Kleber, d'lena, Marceau , du Trocadero, Henri
Martin, de I'Alma, Montaigne, d'Antin, de Suffren, de la Bourdon-
nais, Rapp, Bosquet, delaMotte-Picquet, Victoria, delaRepublique,
des Gobelins, and Daumesnil.
(4) The Boulevards d" Enceinte, skirting the inside of the present wall of
Paris, take the place of the former military road which was divided into
19 sections.
Many of the boulevards, as well as some of the avenues and other
principal streets, are paved with wood. The side- walks for foot
passengers are of asphalt. The trees with which the boulevards and
many important thoroughfares are flanked are a source of constant
trouble to the municipal authorities, being frequently killed by the
gas. When dead they are skilfully replaced by full-grown substitutes,
and gaps are very seldom visible.
A Walk along the Great Boulevards , from the Place de la
Republique to the Madeleine will be found both interesting and in-
structive by the visitor to Paris. The streets arc least crowded be-
tween 9 a.m. and midday, but the brilliantly lighted shops and cafes
add to the interest in the evening. In the afternoon the top of an
omnibus (taking ^2 ^i^* to traverse the boulevards) is a good point
of observation. The traffic is immense, especially at the ends of the
Boulevard Montmartre, the Place de TOp^ra, and other points where
the streets intersect (comp. p. 77). At several of the crossings 're-
fuges' have been erected for pedestrians, and the police are intro-
ducing the London system of arresting the traffic from time to time.
The principal Cafe's and Brasseries (pp. 20, 21) place chairs
74 1. BOULEVARDS.
outside their doors in sunuuer, whence customers may survey the
busy passing throng at their leisure. — Restaurants, pp. 16, 21 ;
Theatres, pp. 33-35; Shops, p. 39,
The small glass stalls where newspapers and flowers are sold, and
which are also covered with advertisements, are called ''Kiosques'. Besides
these there are offices for the regulation of the cabs, pillars covered with
theatrical announcements, etc. Chairs are placed for hire (chaise 10c.) in
the broadest parts of the boulevards; there are also numerous benches for
the free use of the public.
The Boulevard Beaumarchais (PI. R, 26 ; III, V], named after
Caron do Beaumarchais (p. 70), who owned a considerable part of
the E. side of the street, is the longest of the Great Boulevards, being
820 yds, in length. To the left diverges the Rue des Vosges, lead-
ing to the Place of that name (p, 217).
The Rue St, Claude, also diverging from the Boulevard to the left,
leads to the church of St. Senis du Saint-Sacrement, in the Rue de Turenno.
The church, an unimportant edifice in the neo-classic style dating from
1893-35, contains a Descent from the Cross, by Eug. Delacroix (in the chapel
to the right of the entrance), a fine statue of Ste. GeneviPve by Ferra^'d
(1868), and paintings in the choir by A. de Pujol.
The Boulevard des Filles-du-Calvaire (PI. R, 26; III), which
adjoins the Boulevard Beaumarchais, is 230 yds. long and derives
its name from an ancient nunnery. At its N. end, to the right, is
the Cirque cVHiver (p. 35).
The Boulevard du Temple (PI. R, 27 ; 77/), 440yds, in length,
is named from its proximity to the old Temple quarter (p. 210). It
was at one time the fashionable promenade of the citizens, when the
centre of Paris lay more to the E. than at present, and contained nu-
merous theatres (conip, the paintings in the Musee Carnavalet,p.'i1 6).
No. 42, situated at a bend of the street, occupies the site of the house,
from which Fieschi on 28th Jiily, 1835, discharged his infernal machine
at Louis Philippe. The king escaped unhurt, but Marshal Mortier and
fourteen other persons were killed.
The Boulevard du Temple terminates in the *Place de la Re-
publique, formerly called the Place du Chdteau-d^ Eau (PI. R, 27; 777),
one of the finest squares in Paris (310 yds. long). The centre is
embellished with a bronze Statue of the Republic, by the brothers
Morice, erected in 1883, which is 32 ft. high to the top of the olive-
branch. The stone pedestal, 50 ft. in height, is surrounded with
seated bronze figures of Liberty, Equality, and Fraternity, and adorn-
ed with 12 bas-reliefs in bronze, by Dalou : Taking the oath in the
Jeu de Paume ; Capture of the Bastille; Renunciation of privileges ;
Festival of the Federation; Volunteers enrolling; Battle of Valmy;
Meeting of the Constituent Assembly; Combat of the 'Vengeur';
Resumption of the tricolor in 1830 ; Provisional Government of
1848; September 4th, 1870; National Fete, July 14th, 1880, In
front is a bronze lion with the urn of 'suffrage universel'.
Streets diverge from the Place de la R^publique in every direction.
To the S.E. is the Boulevard Voltaire (p. 179); to the E. runs the Avenue
de la Ripuhlique , leading to the Pere-Lachaise (p. 179); to the N.E. the
Rue du Faubourg du-Temple lead,<! to Belleville (p. 202), and is traversed
by a cable- tramway (10 c). At the point ^'^he^e it cro.s.'eg the Canal
1. I'.OULEVAKD.S. 75
St. Martin i» a bust of Fred. Leinaitre (1800-76), the author, by Granet, To
the N.W. diverges the Boulevard de Magenla^ which leads past the Gare
de TEst and the Gare du Nord (p. 24) to Montmartre. To the S.W. arc
the old Rue du Temple., leading to the Hotel de Ville, and the wide Rue
de Turbigo, niore to the right, descending to the Hallee Centrales (p. 173).
Between the Bonl. Magenta (to the left) and the Bonl. St. Martin i.-'
the Bourse du Travail, erected in 1889-90 by the city of Paris, and placed
at the disposal of the trade councils (-syndicats professionnels'), with a
view to superseding the private 'registry' offices.
Beyond the Place de la Republique we next reach the Boulevard
St. Martin (PI. R. 27, 24; III), 490 yds. long. The carriage-way
was lowered in 1845, to facilitate traffic, while the foot-pavements
retain their original height. Several theatres (see p. 34) are situated
on the right side of this boulevard, viz. the Opera Populaire, Ambign-
Comique, Theatre de la Porte St. Martin, and Theatre de la Renaissance .
The Porte St. Martin (PI. K, 24; 111), a triumphal arch, with
three openings , 57 ft. in height, designed by Pierre Bullet, was
erected by the city in honour of Louis XIV. in 1674. The reliefs,
on the S. side by Le Hongre and Legros the Elder and on the N. side
by M. Dujardins and G. Marsy, represent the Capture of Besan^on,
the Capture of Limburg, and the defeat of the Germans, Spaniards,
and Dutch. On 31st March, 1814, the German and Russian armies
entered Paris by the Barriere de Pantin and the Rue du Faubourg-
St-Martin, and passed through the Porte St. Martin and the Boule-
vards to the Place de la Concorde ( p. 82~).
The 'Mairie of the 10th Arrondissement (PI. P, 24: UJ) with its con-
spicuous tower, in the Rue du Faubouvp-St-Martin , about 300 yds. from
the Porte, is a tasteful structure of 1892-96, designed by E. Rouyer in a
Renaissance style not unlike that of the Hotel de Ville. In the interior,
the staircase and the gallery in three stories may be mentioned. The Salle
des Fetes, on the first floor, to the back, contains a large alto-reli<"f by
Dalou, representing the brotherhood of nations.
Beyond the Porte St. Martin begins the short Boulevard St. De-
nis (PI. R, 24; III), 230 yds. in length.
The handsome streets which diverge here to the right and left
are the Boulevards de Strasbourg and de Sebastopol, which, con-
tinued on the S. by theBoul. du Palais (p. 220) and Boul. St. Michel
(p. 228), intersect Paris from the Gare de I'Est (p. 200) on the N. to
the Observatoire (p. 286) on the S., a distance of 21/2 M. At the
end of the Boulevard de Strasbourg, to the right, is the Gare de
I'Est. To the left, at the end of the Boulevard de Sebastopol, rises
the dome of the Tribunal de Commerce (p. 223). About 200 yds. to
the left of this boulevard is the Square des Arts et Metiers, in front
of the Conservatoire of that name (p. 175).
We now reach the Porte St. Denis, another triumphal arch, de-
signed by Blondel , with sculptures by the brothers Anguier from
the designs of Girardon, and erected two years before the Porte St.
Martin, to commemorate the victories of Louis XIV, in Holland and
the district of the Lower Rhine. It is 81 ft. high and has a single
archway. The piers are adorned with two obelisks in relief covered
76 1. BOULEVARDS.
with military trophies. At the bases of the obelisks are represented,
on the left, vanquished Batavia (Holland) with a dead lion, and on
the right the river-god of the Rhine. The relief above the arch on
the same side represents the Passage of the Rhine in 1672; the
relief on the other side, the Capture of Maestricht. Nearly all the
sculptures were restored in 1886-87.
Both these triumphal arches were the scene of sanguinary con-
flicts in July, 1830, June, 1848, and May, 1871.
The Porte St. Denis stands between the Rue St. Denis and the
Rue du Fauhourg-St-Denis, together forming one of the most an-
cient, and still one of the most important lines of streets in Paris.
As we proceed westwards the traffic becomes brisker, and the shops
more handsomely built and richly stocked.
The continuation of the Boulevard St. Denis is the Boulevard
Bonne-Nouvelle (PI. R, 24; ///). which is 380 yds. in length. On
the right are the new premises of La Menagere (p. 40), the Restau-
rant Maryuery (p. 17), and the Theatre du Gymnase (p. 33). The
Rue d' Hauteville, at the end of which the church of St. Vincent-
de-Paul (p. 203) is seen, diverges on the same side.
The ancient streets to the left of the boulevard lead in a few minutes
to Notre-Dame-de-Bonne-Nouvelle, a church of the 17th and 19th cent., of
little interest in itself, but containing a handsome large marble group in
high relief by Ch. Uesvergnes. representing the Memory of the Dead (1895;
in the lirst chapel on the right). The large chapel of the Virgin, to the
left of the nave, is painted in fresco by Awj. Hesse.
At the point where the Rue du Faubourg-Poissonniere diverges
to the right and the Rue Poissonniere to the left, begins the Boule-
vard Poissonniere (PI. R, 21 ; ///), which is also 380 yds. long.
In the Rue du Faubourg-Poissonniere, No. 15, is the Conserva-
toire de Musique et de Declamation (PI. B, 21, 24; ///), which,
however, is about to be removed elsewhere. The Conservatoire,
founded in 1784 for the purpose of training singers and actors for
the national stage, has a teaching-staff of over 70 and about 750
pupils. Pupils are admitted by competition and receive their train-
ing gratuitously. Winners of the Grand Prix are awarded an annual
allowance of about 4000 fr. for four years, during which they visit
Italy and Germany for the purpose of perfecting themselves in their
art. The most distinguished students are entitled to an engagement
in one of the subsidized theatres. The Conservatoire possesses a
valuable Collection of Musical Instruments and an extensive Musical
Library. Concerts, see p. 37,
The Collection of Musical Instruments, in the second court, next
the Rue da Conservatoire, from which it may be entered, is open to vis-
itors on Mon. and Thurs., 12-4. It contains numerous instruments remark-
able for their antiquity, rarity, excellence, artistic beauty, or historical
a.'^sociations. The glass-cases in the centre contain the finest instruments.
A little farther on, at the corner of the short Rue Ste. Cecile and the
Rue du Conservatoire, is the church of St. Eugene, a Gothic edifice, built
in 1854-55 from the designs of L. A. Boileau. The interior is supported
by cast-iron columns and is embellished with paintings and stained glass
in the style of the 13th century.
1. BOULEVARDS. 77
Farther on, to the right of the Boulevard, diverges the small Rue
de Rougemont, at the end of which is seen the Comptoir National
cfEscompte, rebuilt in 1882-83. Its fa(;ade, surmounted by a dome
■with a small spire, has a fine doorway in the form of a triumphal
arch, decorated v^ith symbolic statues by A. Millet.
On the right of the Boulevard Poissonniere, No. 30, is the at-
tractive shop of Barbedienne d^ Co., dealers in bronzes (p. 41); on
the left is the Cafe-Concert Parhianu (p. 30).
At the point where the Rue Montmartre diverges to the left
and the Rue du Faubourg- Montmartre to the right, we reach the
Boulevard Montmartre (PI. R, 21 ; 7/7), which is 235 yds. in
length. The point where these three streets intersect, called the
Carre four Montmartre, is perhaps the busiest in Paris.
At No. 3, Uue Feydcau, to tbe right of the Rne Montmartre, is the
0/,fice National de t'ohiiin'rce . established tn I'acilitatc and eucuuraire the
intercourse of French manufacturers and merchants with foreign coun-
tries. — Beyond the Rue Feydeau begins the Rue Notre-Damedes-Victoires,
which passes behind the Exchange (p. 193). The Eue Montmartre ends at
the Halles Centrales (p. 172).
On the left stands the Theatre des Varietes (p. 34). On the same
side is the Passage des Panoramas, and opposite to it the Passage
Jouffroy.
On the left, farther on, the Rue Vivienne diverges to the [3 min.)
Bourse (p. 193) and the Palais-Royal (p. 60). — The Boul. Mont-
martre ends at the Rue de Richelieu (p. 186) and the Rue Drouot
(p. 194).
The *Boulevard des Italiens [PI- R, 21 ; 777, 77), 465 yds. in
length, which we next enter, is the most frequented and fashion-
able of the boulevards. It derives its name from the old Theatre
des Italiens. — Near the beginning, on the right (N.), is the double
Passage de I' Opera (now almost deserted), so named from the old
opera-house, burned down in October, 1873, which stood at the N.
end. To the left of the Boulevard is the Passage des Princes, lead-
ing to the Rue de Richelieu.
Farther on are the Rue Favart and the Rue Marivaux, between
which is the Opera Comique (PI. R, 21, 77; p. 33). The theatre,
which was burned in 1887, was rebuilt in 1893-98, by Bernier.
with its farade in the Place Bo'ieldieu, as before. The caryatides and
ornamental heads on the exterior are by Allar, G. Michel, and Pey-
not. In niches are statues of Poesy and Music by Cuilheri and Puech.
Inside, at the foot of the staircase, are marble statues of Lyric Opera
and Comic Opera, by Falyiiii r<- and McvrU'. The ceiling-painting in the
auditorium, by Benj. Constant, represents the chief figures in the operas
performed Lere (Carmen, Manou Leseaut, Mignon, Lothario, etc.), above
which are Harmony, Poetry, Song, and Glory. On the two grand stair
cases are panels by L. 0. Mevson (Poetry, Music, Song, Elegy, Hymn)
and Fi'. Flameng (liallet. Tragedy, Satirical Comedy). The decorations in
the vestibule of the foyer are by Jos. Blanc. The ceiling-painting in the
foyer is hj Albert Maicjnan ('La Eoude des Notes). In the adjoining rooms
are paintings by Raph. Collin (Inspiration, Truth animating Fiction) and
Toudouze (Musical Pastoral of tbe 13th cent., Glorification of Mu<ic).
78 1. OPERA HOUSE.
On the right of (he Bouhivard, I'artlier on, are the Rue Le Peletier,
where Orsini attempted to assassinate Napoleon HI. in 1858, and
the Rues Laffitte^ Taitbout^ and de la Chaussee-d' Antin. At the
corner of the Rue Le Peletier is the *Cafe. Riche (p. 14), rebuilt in
1897-99 in the style of Louis XV. On the same side, at the corner
of the Rue Laffltte, is the Maison Doree Restaurant, with, interesting
sculptures; at the end of this street is the church of Notre-Dame-
de-Lorette (p. 195), beyond which a glimpse is obtained of the
Butte Montmartre (^p. 204), with the Church of the Sacr^-Coeur,
and the reservoir (p. 205). Nearly opposite, on the left, is the
imposing building of the Credit Lyonnais. No. 28, on the right, is
the Theatre des Nouveautes (p. 35 ), behind which, in the Rue Tait-
bout, begins the Boul. Haussmann (p. 197). On the S. side of the
boulevard we next observe the Pavilion de Hanovre, No. 33, built
by Marshal de Richelieu in 1760 (partially rebuilt in 1888), now
containing the principal depot of the 'Orfevrerie Christofle' (p. 44).
Beyond the Rue de la Chansse'e-d'Antin (on the right), at the
end of which rises the church of La Trinity (p. 196), begins the
handsome *Boulevard des Capucines (PL R, 18; II), 450 yds. in
length. On the right are the Theatre du Vaudeville (p. 33), and
several handsome shops.
We next reach the *Place db l'Op^^ra (PL R, 18 ; //), which is
intersected by the Boulevard des Capucines, and where five other
broad streets converge. To the S. run the Rue de la Paix, with
its tempting shops and the Vendome Column in the background
(p. 84), the handsome *Avenue de VOpera, leading to the Place du
Th^atre-Fran^ais (p. 61), and the Rue du Quatre-Septembre, lead-
ing to the Bourse (p. 193). To the N. , on the left and right of the
Opera, are the Rue Halevy and the Rue Auber, the latter leading to
the Gare St. Lazare (p. 196). Continuation of the Boulevard, p. 80.
The *Opera House, a sumptuous edifice bearing the inscription
^Academie Nationale de Musique\ designed by Chas. Gamier, was
begun in 1861, and completed in 1874. It is now the largest theatre
in the world, covering an area of 13,596 sq. yds. (nearly three
acres); but it contains seats for 2156 persons only, being less than
the number accommodated by the opera-house at Vienna or the vast
theatres of La Scala at Milan and San Carlo at Naples, No adequate
idea of its vast dimensions can be obtained without walking round
the exterior, or viewing it from some elevated position.
The site alone cost 420,000^ and the cost of building amounted to
l,460,OOOr The site had to be excavated to a depth of cOft. below the
level of the lirst surface-water, and a copious stream was struck which
necessitated the employment of eight steam pumps night and day for seven
months. Very little wood has been employed in the construction of the
building, but there is hardly a variety of marble or costly stone that has
not been used.
The *Pbincipal Facade , which, notwithstanding the richness
of its ornamentation, has a somewhat heavy and depressed appear-
1. OPERA HOUSE. 79
ance, is approached by a broad flight of steps, and consists of three
stories. On the groundfloor is the Portico with its seven arches,
the piers of which are embellished with four large groups of statu-
ary and four statues, viz., from left to right : Lyric Poetry by Jouff-
ray, Music by Ouillaume, Idyllic Poetry by Aizelin, Declamation
by Chapu ^ Song by Dubois and Vatrinelle , Drama by Falyuiere,
Dance by Carpeaux, and Lyric Drama by Perraud. The group by
Carpeaux, though admirably executed, has been severely and justly
criticised for the sensuality of its style. Above the statues are medal-
lions of Bach, Pergolese, Haydn, and Cimarosa. Above the portico
is the Loggia, with thirty Corinthian monolithic columns, sixteen
of which, 33 ft. in height, are of stone, while the fourteen smaller
columns are of red marble, with gilded bronze capitals, and form
a kind of frame to the windows with balconies of green Swedish
marble. In the intervening spaces are medallion busts, in gilded
bronze, of the great musical composers. Above the loggia the facade
terminates in a richly sculptured attic, embellished with gilded
theatrical masks, and with colossal gilded groups by Gumery, one on
each side, representing Music and Poetry attended by the Muses and
Goddesses of Fame. In the centre of the building rises a low dome
(visible from a distance only), and behind it a huge triangular ped-
iment, above the stage , crowned with an Apollo with a golden lyre
in the middle, by Millet, and flanked with two Pegasi by Lequesne.
— There is also a pavilion in the centre of each of the Lateral Fa-
cades, that on the left side ('Pavilion d'Honneui') having a double
carriage -approach. The pavilion on the other side, in the Rue
Halevy, is the entrance for regular subscribers. The lateral facades
are adorned like the principal one with busts of composers and alle-
gorical figures. — Performances, see p. 82.
*Intbriob. Passing through the gilded gates, we first enter
the Vestibule, containing the ticket -offices, and adorned with
statues of LuUy, Rameau, Gluck, and Handel. Opposite to us is
the '^-^ Grand Staircase ('Escalier d'Honneur), the chef-d'ceuvre of
Gamier. Visitors who take their tickets at the door have to ascend
to their places by side-staircases, but may inspect the Grand Stair-
case in the 'entr'actes'. The steps are of white marble, aiul the
balustrades ot rosso antico, with a hand-rail formed of Algerian onyx.
Thirty coloured monolithic marble columns rise to the height of the
third floor. The ceiling-frescoes by Pits, beginning on the right, re-
present the Gods of Olympus, Apollo in his Chariot, the Instrur-
tiveness of the Opera, and the Triumph of Harmony. The hand-
some door on the first landing, flanked by bronze caryatide figures
of Tragedy and Comedy with drapery of coloured marble, and the
bronze groups supporting the lamps should also be noticed.
Below the grand staircase, in a room reached from the subscribers'
entrance (see above), are the Bassin de la Pythie, a fountain with a priestess
of Apollo in bronze, seated on a tripod, by Marcello (a pseudonym of the
80 1. OPERA HOUSE.
Duchess of Colonna di Castiglione) , and a marble statue of Music , by
Delaplanche. — Public 'Foyer'', see below.
The *AuDiTOEiuM , or 'Salle', fitted up in the most elaborate
style, is rather overladen with decoration, which, however, has al-
ready begun to fade. There are five tiers of boxes. The spring of the
arches, the 'avant-scenes', etc., on the fourth tier are adorned with
fine figures and heads. Above are a handsome frieze, and numerous
small windows in the shape of lyres. The ceiling-paintings, by Lenep-
veu, represent the different hours of the day and night, allegorised.
The Stage is 196 ft. in height, 178 ft. in width, and 74 ft.
in depth. Communicating with it is the Foyer de la Danse, or ball-
room, the end of which is formed by a mirror 23 ft. broad and 33 ft.
high. This foyer has portraits of celebrated 'danseuses' and other
paintings by Boulanger (not open to the public).
The *FoYER T)u Public, one of the most striking feature of the
Opera House , is entered by the 'Avant-Foyer', the vaulting of
which is adorned with mosaics designed by Curzon, and executed
by Salviati, representing Diana and Endymion, Orpheus and Eury-
dice, Aurora andCephalus, and Psyche and Mercury. The Foyer itself
is 175 ft. long, 42 ft. wide, and 59 ft. in height. Five windows and
two doors lead from the Foyer to the Loggia (view). Opposite the
windows are huge mirrors, 23 ft. high, separated by twenty columns
bearing statues emblematical of the qualities required by an artist.
At the ends are also two monumental chimney-pieces with Carya-
tides of coloured marble. The fine but somewhat faded paintings
are by Baudry. On the ceiling are Melody and Harmony in the cen-
tre, with Tragedy and Comedy at the sides. Over the chimney-pieces
are Mount Parnassus and the Poets of Antiquity. The other paintings
represent the Muses, with the exception of Polyhymnia, the Music
of different nations, and Dancing.
To the left, as we quit the hall, is a buffet, decorated with tapestry
designed by MazeroUe, representing Wine, Ices, Pastry, and Fishing.
The Pavilion d'Honneur (p. 79), Rue Auber, conlains a ^fonuiaent to
Gurnier. the architect (1S25-98), with a bust by Carpeaux : a Library^ be-
longing' to the Opera: and the small Mvsie de VOpira. The la.st, open
on week-days 11-4, contains sketches of the priacipal paintings in the
Opera House, models of scenery, busts and portraits of stage celebrities,
MSS. of well-known composers, Spontini's pianoforte, old play-bills (1658,
1660, etc.), and the like.
The small Square de VOpvra^ near the Opera to the W. (reached by
the Piue B(nidreau, which diverges from the Rue Auber to the left), is
embellished with a Pegasus in bronze, by Falguiere.
In the Boulevard des Capucines we next observe on the right
(N.) the Grand Hotel (p. 3), with the Cafe de la Paix (p. 20) ; beyond
which is the Rue Scribe, containing the offices of several Atlantic
steamship companies (p. 28) and (farther on) the Olympia (p. 30).
We now reach the Boulevard de la Madeleine (PI. R, 18 ; /i),
which is 285 yds. in length, and leads hence to the church of that
name, where the Great Boulevards on the right bank come to an end.
1. MADELEINE. 81
The *Madeleine, or Church of St. Mary Magdalen (VIB., 18; //),
is built in the style of a late-Roman adaptation of a Greek temple.
The construction lasted from 1764 till 1842, the chief architects of
the building being Coutant d'Jvry, P. Vignon, and Euve. Napoleon I.
wished to convert it into a 'Temple of Glory', while Louis XVIII.
desired to make it an expiatory church with monuments to Louis XVI.,
Marie Antoinette, etc. The church is 354 ft. in length, 141 ft. in
breadth, and 100 ft. in height. It stands on a basement about 23 ft.
in height, and is surrounded by an imposing colonnade of massive
Corinthian columns. The building, which is destitute of windows, is
constructed exclusively of stone. The niches in the colonnade contain
thirty-four modern statues of saints. The relief in the tympanum of
the principal facade (S.), by Lemaire (d. 1880). represents the Last
Judgment. The bronze Doors, 34 V'2 ft. in height and 16 ft. in breadth,
are adorned with illustrations of the Ten Commandments by Triqueti.
The ^Interior (open to visitors from 1 to 6 p.m. ; when the front gate
is closed, entrance by the choir) forms a single spacious hall, with side-
chapels, behind which are colonnades bearing galleries. The ceiling con-
sists of three cupolas and a hemicycle. In the spandrels are figures of
the Apostles, by Fradim\ Rude, and Foyatier.
Sculptures and paintings in the chapels : to the right, Marriage of the
Virgin, by Pradier ; to the left, Baptism of Christ, by Rude: right, Ste.
Amelie, by Bra; left, St. Viuceut-de-Paul, by Raggi; right, The Saviour,
by Buret; left. The Virgin, by Seurre; right, rfte. (Jlotilde, by Barye; left,
St. Augustine, by Etex. In the lunettes are scenes from the story of Mary Mag-
dalen, painteil by Schnetz, Couder, Bouchot, Cogniet, Abel de Pujol, and Signol.
On the High Altar is a fine group in marble by Alarocheiti, represent-
ing Mary Magdalen being borne into Paradise by two angels. — At the
back of the altar, in the apse, is a mosaic by Gilbert- Mar tin representing
Jesus Clirist and personages from the New Testament. Above is a large
fresco by Ziegler. representing Christ in the act of receiving and blessing
the chief champions of Christianity in the East and West ; below is
Napoleon receiving the imperial crown from the hands of Pope Pius VII.
The Madeleine is famed for its sacred music and orchestral perform-
ances on great festivals and during Passion Week. The Organ, with five
manuals, is one of the best in Paris. The church is much used by the
Bonapartists for their funeral masses.
Behind the church is a Statue of Lavoisier {ilAS-Q A), the chem-
ist, by E. Barrias. A monument (by Fre'miet) is to be erected to
Jules Simon (1814-96), the author, on the small Place to the left
of the church. — For a description of the Boulevard Malesherbes,
St. Angustin, etc., to the N.W. of the Madeleine, see p. 197.
IV. FROM THE MADELEINE TO THE PALAIS-ROYAL VIA THE
PLACE LE LA CONCORDE.
Colonne Vendome. St. Roch.
The broad Rue Royale leads from the Madeleine to the Place
de la Concorde, beyond which, on the opposite bank of the Seine,
rises the Chambre des De'put^s (p. 272).
The Rue Royale was the scene of some of the most violent outrages
of the Communards in May, 1871. Six houses here were deliberately set on
fire, together with several neighbouring houses in the Rue du Faubour?-
St-Honore, and 27 persons perished in the tlames. Some firemen, bribed
Baedekkr. Paris. 14th Edit. 0
82 1. PLACE DE LA CONCORDE.
by the Commune, even went so far as to replace tlie water in their pnmps
by petroleum. — Palais de TElysee, in the Rue du Faubourg-St-Honor^,
see p. 156; Eue St. Honore, see p. 85.
The **Place de la Concorde (PI. R, 15, 18; 71), the most beautiful
and extensive place in Paris , and one of the finest in the world,
covers an area 390 yds. in length, by 235 yds. in width, bounded on
the S. by the Seine, on the W. by the Champs-Elysees, on the N. by
the Ministere de la Marine and the Hotel Crillon-Coislin (p. 83),
and on the E. by the garden of the Tuileries. It received its pre-
sent form in 1854 , from designs by Hittorff (d. 1876). From the
centre of the square a view is obtained of the Madeleine (p. 81),
the Palais de la Chambre des Deputes, the Louvre, and the Arc de
Triomphe de I'Etoile.
In the middle of the 18th cent, the site was still a desert. Louis XV.
'gratified' the municipal authorities of Paris by permission to erect a
statue to him, and Gabriel, the architect, constructed the present pavilions
and balustrades, behind which ditches were dug, which remained unfilled
until 1852. The statue, which was not erected until 1763. was an equest-
rian figure of the king by Bouchardon (model, see p. lOS), surrounded
by figures emblematical of Strength, "Wisdom, Justice, and Peace, by
Pigalle. Soon after the erection of the statue the following pasquinade
appeared on the pedestal: —
' 0 la belle statue .' 6 le beau piidestal !
Les vertus sont d pied, le vice est h cheval.^
A few days later was added the sarcasm: —
'■II est id comme d. Versailles,
II est sans coeur et sans entrailles.''
A third scribbler called the monument a '■statua stainae\
On lith August, 1792, the day after the capture of the Tuileries, the
statue of the king was removed by order of the Legislative Assembly,
melted down, and converted into pieces of two sous. A terracotta figure
of the 'Goddess of Liberty' was then placed on the pedestal, and deri.s-
ively styled ^La Liberty de Boue\ while the Place was named Place de la
Revolution. In 1795 the name was changed to Place de la Concorde, and
after the restoration of the Bourbons, when it was proposed to erect an
expiatory monument here, it was known successively as Place Louis XV.,
and Place Louis X7I. After 1830 the name Place de la Concorde was
revived.
In 1792 the guillotine began its bloody work here and Louis XVI. was
executed in the Place on Jan. 21st, 1793." On 17th July Charlotte Corday
was beheaded; on 2nd October Brissot, chief of the Gironde, with twenty-
one of his adherents; on 16th Oct. the ill-fated queen Marie Antoinette;
on 14th jS'ov. Philippe Egalite, Duke of Orleans, father of King Louis Phi-
lippe ; on 12th May , 1794 , Madame Elisabeth, sister of Louis XVI. On
14th March, through the influence of Danton and Robespierre, Hebert,
the most determined opponent of all social rule, together with his parti-
zans, also terminated his career on the scafiold here. The next victims
were the adherents of Marat and the Orleanists; then on 8th April Dan-
ton himself and his party, among whom was Camille Desmoulins; and
on 16th April the atheists Chaumette and Anacharsis Cloots , and the
wives of Camille Desmoulins , Hubert , and others. On 28th July, 1794,
Robespierre and his associates, his brother, Dumas, St. Just, and other
members of the '■comiti du salut public" met a retributive end here; a few
days later the same fate overtook 82 members of the Commune, whom
Robespierre had employed as his tools. Lasource, one of the Girondists,
said to his judges: Ve meure dans un moment oii le peuple a perdu sa rai-
ion; V0U8, vous rnourrez le Jour oii il la retrouvera\ Between 21st Jan.,
1793, and 3rd May, 1795, upwards of 2800 persons perished here by the
guillotine.
1. PLACE DE LA CONCORDE. 83
In March, 1871, the Place de la Concorde and the Champs-Elys were
occupied by the German army. In May of the same year the Place was the
scene of fierce conflicts between the Versailles troops and the Communards,
who had erected a barricade at the end of the Rue Royale commanding
the Place.
The * Obelisk, which rises in the centre of the Place, was
presented to Louis Philippe by Mohammed Ali, Viceroy of Egypt.
This is a monolith, or single block, of reddish granite or syenite,
from the quarries of Syene (the modern Assuan) in Upper Egypt.
It is 76 ft. in height, and weighs 240 tons. The pedestal of Breton
granite is 13 ft. high, and also consists of a single block, while the
steps by which it is approached raise the whole S^o ^^' above the
ground. The representations on the pedestal refer to the embarka-
tion of the obelisk in Egypt in 1831 and to its erection in 1836 at
Paris, under the superintendence of the engineer J. B. Lebas. —
Cleopatra's Needle in London is 70 ft. in height, and the Obelisk
in the Piazza di San Giovanni in Laterano at Rome is 104 ft. high.
Ramses 11., King of Egypt, better known by his Greek title of Sesostris
the Great, who reigned in the 14th cent, before Christ, erected a huge
'pylon' gate and a colonnade before a temple which his great ancestor
Amenhotep III. (Amenophis or Memnon of the Greeks) had built in the E.
suburb of Thebes, the site now occupied by the poor village of Luxor. In
front of this gate stood two beautiful obelisks, and it is one of these that
now embellishes the Place de la Concorde. Each of the four sides of the
obelisk is inscribed with three vertical rows of hieroglyphics, the middle
row in each case referring to Ramses II, while the others were added by
Ramses III., a monarch of the succeeding dynasty.
Each of the *Fountain8 beside the obelisk consists of a round
basin, 53 ft. in diameter, above which rise two smaller basins,
surmounted by a spout from which a jet of water rises to a height
of 28 ft. In the lowest basin are six Tritons and Nereids, holding
dolphins which spout water into the second basin. The fountain on
the S. side is dedicated to the Seas.^ the other to iht Rivers.
The two imposing edifices of nearly uniform exterior on the N.
side of the square, separated from each other by the Rue Royale
(p. 81), were erected in 1762-1770, from Gabriel's plans, for the re-
ception of ambassadors and other distinguished personages. That to
the right is now occupied by the Ministere de la Marine:, that to the
left, the Hotel Crillon-Coislin^ is now divided into four parts, of
which one is occupied by the Cercle de la Rue Royale (p. 39).
Upon lofty pedestals placed around the Place rise eight stone
figures representing the chief towns of France : Lille and Strassburg
by Pradier, Bordeaux and Nantes by Callouet, Rouen and Brest by
Cortotj and Marseilles and Lyons by Petitot. The Strassburg is
usually hung with crape and mourning garlands, in reference to the
lost Alsace. The square is lighted at night from twenty bronzed
rostral columns on the surrounding balustrades.
The Pont de la Concorde [PI. R, 15, 14; //), which crosses the
Seine from the Place to the Chambre des De'putes, was built by
Perronet in 1787-90, the material for the upper part being furnished
84 1. PLACE vend6me.
by the stones of the Bastille. The piers are in the form of half-
columns, and under the first empire were adorned with statues of
generals, which were subsequently replaced by the statues of great
men now in the Cour d'Honneur at Yersailles (see p. 312).
The view from the bridge is very fine. It includes the Place de la
Concorde, the Madeleine, and the Chamber of Deputies; then, upstream,
to the left, the Tuileries Garden, a pavilion of the Tuileries and one of
the Louvre, the Pont Solferino and the Pont Royal; to the right, the
new Gare d'Orldans, in front of which is the little dome of the Palais de
la Legion d'Honneur; farther off are ihe dome of the Institut, the towers
of Xotre Dame, the spire of the Sainte Chapelle, and the dome of the
Tribunal de Commerce. Downstream, to the right, appear the two Palais
des Beaux Arts and several buildings of the Exhibition of 1900 ; then the
new Pont Alexandre III., and, farther off, the towers of the Trocadero ;
to the left the Ministry of Foreign Affairs and the inevitable Eiffel Tower,
The dome of the Invalides can be seen only from a little below the bridge,
to the right of the Chamber of Deputies, and the spires of Ste. Clotilde to
the left, above the houses.
Below the bridge is the monumental main entrance to the Exhibition
of 1900. — Chambre des Deputes, see p. 272 ; Boulevard St. Germain, p. 229 ;
Garden of the Tuileries, p. 153; Champs-Elysees, p. 155. — Omnibusea,
tramways, and steamboats, see the Appendix.
We finish our circular walk by re-entering the Rue de Rivoli
(p. 61), at the N.E. corner of the Place de la Concorde, and follow-
ing it to the E., skirting the Tuileries Garden and the wing of the
palace still existing on this side. On the left are several sumptuous
hotels, beginning with the Hotel Continental {jp. 3), which occupies
the site of the former Ministere des Finances, destroyed by the
Communards in 1871. A tablet on one of the pillars of the railing
of the Garden of the Tuileries, nearly opposite this spot, records
that here was situated the famous riding-school (Manege) used as
a place of meeting by the Constituent Assembly, the Legislative
Assembly, and the National Convention.
The Rue Castiglione , at the corner of which the Hotel Conti-
nental stands, leads to the Place Vendome (PI. R, 18; II), partly
constructed by the celebrated architect J. H. Mansart (the Younger,
d. 1708). The Place was once embellished with an equestrian statue
of Louis XIV. by Girardon. This was removed at the Revolution,
and the name of the square changed from Place des Conquetes to
Place des Piques. It owes its present name (assigned to it by Na-
poleon I.) to a palace erected here by Henri IV. for his son, the Due
de Vendome. In the centre of the Place rises the —
*Colonne Vendome, an imitation of Trajan's column at Rome,
142 ft. in height and 13 ft. in diameter. It was erected by the
architects Denon, Gondouin, and Lepere, by order of Napoleon I.
in 1806-10 , to commemorate his victories over the Russians and
Austrians in 1805. The column is constructed of masonry, encrusted
with plates of bronze (designed by Bergeret') forming a spiral band
nearly 300 yds. in length , on which are represented memorable
scenes of the campaign of 1805 , from the breaking up of the camp
at Boulogne down to the Battle of Austerlitz. The figures are 3 ft.
1. ST. ROCfl. 85
in height, and many of them are portraits. The metal was obtained
by melting down 1200 Russian and Austrian cannons. At the top is
a statue of Napoleon in his imperial robes, after Ckaudet. Visitors
are no longer permitted to ascend.
The vicissitudes of the Vendome Columu reflect the political history
of France. In 1814 the statue of Napoleon was taken down by the Royal-
ists, and was replaced by a monster fleur-de-lis surmounted by a white
flag. The metal was used in casting the equestrian statue of Henri IV.
(p. 223). In 1831 Louis Philippe caused a new statue of the emperor, in a
greatcoat and three-cornered hat, to be placed on the summit, but Napo-
leon III. caused this to be replaced in 1863 by one resembling the original
figure. The Column was overthrown by the Communards in May, 1871, at
the instigation of the painter Courbet (d. 1878); but as the fragments were
preserved, it was re-erected in 1875.
The street prolonging the Rue Castiglione on the W. side of
the Place is the Rue de la Paix, mentioned at p. 78. — We,
however, retrace our steps along the Rue Castiglione to the Rue
St. Honore, the first cross-street, where we turn to the left.
In this street, to the right, are the Nouveau Cirque fp. 35) and the Church
of the Assumption (sometimes closed), a building of the 17th cent., with a
somewhat heavy dome. On the cupola is an Assumption by Ch. de la Fosse.
St. Roch (PI. R, 18; II\ in the Rue St. Honor^, between the
Place Vendome and the Palais Royal, was erected in 1653-1740 from
designs by Jacques Lemercier. but the facade, with its two rows of
Doric and Corinthian columns , one above the other, was designed
by Robert de Cotte, and executed by his son Jules de Cotte.
Interior. The chapels of the aisles were decorated in the early part
of the 19th cent, with paintings, now faded and visible only in bright
weather. The subjects of the paintings are indicated by the names of
the chapels; viz., on the left, Chapelle des Fonts, St. Nicolas, de la Com-
passion, Ste. Suzanne, St. Denis, St. Vincent de Paul, St. Joseph, St.
Francois Xavier, and St. Carlo Borromeo; on the right, as we return,
Chapelle Ste. Madeleine, Ste. Catherine, Ste. Theresa, Ste. Clotilde, Ste.
Genevieve, of the Apostles, St. Stephen, and Chapelle des Monuments. The
most important paintings in the church are those in the transepts: to the
left, St. Denis preaching, by Vim (d. 1809), master of David, in the
academic style; to the right. He ding of the Leper, by Doyen (d. ISOo), a
somewhat theatricil composition. In the 1st chapel to the left: "Baptism
of Christ, a group in marble, hj Lemoine. — 2nd Chapel: Mater Dolorosa,
by Bogino. — 4th Chapel: Monument of the AbM de VEpie (1712-1789),
founder of the Deaf and Dumb Asylum (p. '285), by Priault. — In the
transepts, from left to right: St. Augustine, by (THuez; St. Andrew, bv
Pradier; Agony in the Garden, hy Falconet:, St. Roch, by Coustou, etc. The
other side-chapels contain large reliefs, by Deseine^ representing scenes
from the history of the Passion.
To the left and right, behind the high-altar, are paintings, hj Lethiire
and Restout, of Christ appearing to Mary Magdalen and the Presentation
in the Temple. — Upon the altar of the 1st chapel of the retro-choir :
Nativity, a group in marble by Michel Anguier. — In the ambulatory are
paintings by Schnetz, Thomas, Delorme, and RestoiU. — The Chapelle du
Calvaire (the 2nd), which is separate from the other two, is decorated
after designs by Falconet and contains three well -executed groups: the
Crucifixion, by Duseigneur, Christ on the Cross, by Mich. Anguier, and the
Entombment, by Deseine. The kneeling Magdalen in the centre, by Le-
moyne, belonged to the monument of the painter Mignard and bears the
features of his daughter, Mme. de P'euquieres.
In the last chapel but one, as we return towards the entrance: *Mon-
ument of Marshal Due de Criquy (d. 1687), by Coyzevox and Coustou. — Last
86 2. LOUVRE.
chapel: Monuments of 'Cardinal Dubois (d. 1729), by 0. Cottstou, and of
Comte cfHarcourt (d. 1666), by Renard; busts of the painter Mignard (d.
1695), by Besjardins, and of the landscape-gardener Le Ndtre (d. 1700), by
Goyzevox the Elder; monument of the astronomer Maupertuis (d. 1759),
by d^Huez; bust of the Due de Lesdiguiires (d. 1626), by Coustou^ and sev-
eral medallions. — St. Roch is noted for its music (10 a.m. on Sun.).
It was in the Place in front of St. Roch, extending at that time as
far as the Tuileriea Garden, that the Royalists who attacked the Conven-
tion on 5th Oct, 1795, placed their best battalions ^ whilst others ad-
vanced on the side of the river. Napoleon Bonaparte, however, brought
the latter under a cross-fire from his batteries, which he had hastily sum-
moned, while by a vigorous attack he overwhelmed the soldiers of St.
Roch, this stifling the counter-revolution in its birth.
The Rue des Pyramides , to the right of St. Roch , leads to the
Rue de Rivoli , passing the small Place de Rivoli, with a mediocre
equestrian statue of Joan of Arc, in bronze, hy Fr^miet.
Following the Rue de Rivoli to the left we now soon reach the
Nouveau Louvre and the Place du Palais-Royal (p. 59).
2. Palace and Galleries of the Louvre. The Tuileries.
I. THE PALACE OF THE LOUVRE.
The **Louvre (PI. R, 17, 20; 11), the most important public
building at Paris, both architecturally and on account of its treasures
of art, is a palace of vast extent, rising between the Rue de Rivoli
and the Seine.
The Louvre perhaps derives its name from an ancient rendezvous of
wolf-hunters, known as the Lupara, Lupera, or Louverie. It is usually
supposed that Philip Augustus (1180-1223) erected the first castle here; it
is at any rate certain that, when that monarch was constructing the new
city-walls, he also built the massive corner-tower of whicb the founda-
tions were discovered in 1885 in the cellar below the Museum of Anti-
quities (p. 90). The plan and extent of the mediaeval chateau were made
plain by the excavations of 1865 and are now indicated by a white line
on the ground in the S.W. corner of the Cour du Louvre. It was not,
however, until the time of Charles V. (1364-80), who removed his treasury
and library to it, that the chateau was fitted up in the handsome style
appropriate to a royal residence. No trace of these buildings now re-
mains. In 1527 Francis I. (d. 1547), an indefatigable builder, tore down
the old tower and modernized the chateau, and a little later he undertook
tn rebuild it entirely. The growth of the building may be traced in the
Historical Plan^ facing p. 87. The works were directed by the architect
Pierre Lescot\ during the reign of the spleudour-loving Henri II. (1547-59),
and under subsequent monarchs. After the death of Henri II. his widow,
Catherine de Midicis (d. 1589), during the reigns of her sons Francis II.
(d. 1560), Charles IX. (d. 1574), and Henri III. (d. 1589), continued the
erection of the S. wing, and in 1566 also proceeded to build the so called
'Petite Galerie", a wing of one story over which the Galerie d'Apollon
(p. 137) was afterwards constructed. — Like his predecessors, Henri IV.
(1589-1610) devoted much attention to the continuation of the Louvre. He
constructed the 'Galerie d'Apollon' and completed the 'Galerie du Bord
de TEau', or S. gallery, the entire W. portion of which, however, was
rebuilt on a different plan under Napoleon III. Henri IV. 's architects are
said to have been Thibauld Mitezeau and Louis Mitezeau., besides whom
Jacques and Jean Baptiste Androuet, surnamed du Cerceau, were also employed.
■h For details regarding the artists, see List at the end of the Handbook.
2. LOUVRE. 87
Pierre Chambiges^ or Chambicfie (comp. p. 65), is also named as one of tne
architects. Under Louis XIII, (1610-43) the works were suspended for
a considerable time, but in 1624 he entrusted Jacques Lemercier with the
completion of the buildings begun by Lescot. The extent of Lescot's design
was quadrupled, and what had formerly been the N. pavilion (Pavilion
Sully, or de THorloge) was now made the centre of the W. wing. The
construction of the N., S., and E. sides, barely begun by Louis XIII., was
continued by his successor Louis XIV. (d. 1715), Levau being the architect
who succeeded Lemercier in 1660. The building was suspended under
Louis XV. and Louis XVI. and during the Revolution; but was resumed
in 1805 by Napoleon I.., whose architects, Fercier and Fontaine, began the
construction of a N. gallery parallel to that on the S. Finally, after another
interruption, the old plan of the French kings and the first emperor for
the junction of the Louvre and the Tuileries was completed in 1852-1857
under Napoleon III., whose architects were Visconti and Le/uel. The
parts built under Napoleon III. include the E. half (220 yds. long) of the
N. gallery, and also the inner galleries on both N. and S., nearly as long,
which with their transverse galleries at right angles, and the gardens in
the square, were intended to conceal the want of exact parallelism between
the N. and S. wings and between the Vieux Louvre and the Tuileries.
The older part of the Louvre has been the scene of many memorable
historical events. On 19th Aug., 1572, the marriage of Princess Margaret
of Valois with the King of Navarre, afterwards Henri lY. of France, was
solemnised here, most of the Huguenot chiefs being present on the occa-
sion. Five days later, on the night of 24th Aug., the signal was given
here for the massacre of the Huguenots. The guards immediately issued
from the palace-court where they had been assembled, and proceeded
first to the residence of Admiral de Coligny^ who became the first victim
of the fearful Night of St. Bartholomew. According to a tradition, repeated
by Mirabeau and other orators of the Revolution, Charles IX. himself on
this occasion fired on his subjects from one of the S. windows of the
palace, where the inscription, 'Cest de cette fenetre que Tinfame
Charles IX., d'execrable m^moire, a tire sur le peuple avec une carabine',
was accordingly engraved in 1795. Six years later, however, the words
were erased , as it was discovered that that part of the palace was not
built till the reign of Henri IV.
On 24th May, 1871, the whole building with its immense treasures of
art was seriously imperilled by the incendiarism of the Communards. The
part of the connecting wing next to the Tuileries was much damaged by
the fire, and the imperial library of 90,000 vols, and many precious MSS.
was destroyed. The Versailles troops fortunately arrived in time to arrest
the progress of the flames and prevent incalculably greater losses.
The palace of the Louvre consists of two main divisions, the
Vieux Louvre, or Old Louvre, and the Nouveau Louvre, or New Louvre.
The Vieux Louvbe is the large quadrangle of buildings at the
E. end of the opposite historical plan, enclosing a court of harmon-
ious design. The finest parts, however, are the S. half of the
W. side facing the court and the W. half of the S. side, next the
Seine, both by P. Lescot ^ the most distinguished master of the
earlier French Renaissance style; the other portions, as indicated
above, being merely reproductions. The rich facade of the "W. wing,
rising in three stories and decorated by Jean Goujon and Paolo
Ponzio, is justly admired as the most perfect example of the style
of the period of Francis I. The central pavilion was originally of
two stories only ; the story subsequently added is adorned with ca-
ryatides by J. Sarazin. These domed pavilions, like the lofty deco-
rated chimneys , form a genuine peculiarity of the French Renais-
88 2. LOUVRE.
sance, as we have already noted at the Hotel de Ville (p. 66). The
attic story of the remaining three sides was added under Louis XIY.
The exterior facades are similar, except on the E. side, opposite
St. Germain I'Auxerrois. That facade, 190 yds. long and 90 ft. high,
was erected by CI. Perrault, physician and architect, whose hand-
some Colonnade, consisting of 28 Corinthian columns in pairs, has
oeen somewhat overrated. The dimensions of the colonnade were
so Tinskilfully calculated, that it is not only longer than the main
building, but was also too high until the attic story was added.
The gardens on the outside of the Vieux Louvre are adorned with
monuments of artists. To the left, in front of the colonnade, is an eques-
trian statue of Velazquez (159&-1660), by Fre'miet; farther to the left is the
monument of Fr. Boucher (1703 70), by Auber, then that of Raffet (1804-60),
with the drummer from his 'Review of the Dead'; and beyond that is a
monument to Meissonier (1815-91), by Mercie.
The NouvEAu Louvrb, which is much larger, extends to theW.
from the Vieux Louvre to beyond the Arc de Triomphe du Car-
rousel, where it unites with two wings of the former palace of the
Tuileries. It includes a few ancient portions, as indicated above,
but the most interesting parts are the additions of the 19th cent.,
especially those in the inner square. The heavy and showy facades
of these new buildings, with their pavilions roofed with domes, their
Corinthian half-columns, their caryatides, their portico, colossal sta-
tues (representing 86 eminent Frenchmen), and groups of sculp-
ture [63, of an allegorical character), harmonise in their general
characteristics only with the architecture of the earlier parts of the
palace. It is scarcely more practicable to enumerate the sculptures
that adorn the exterior of the Nouveau Louvre, than to enumerate
those on the Vieux Louvre. The pediments and caryatides of the
six chief pavilions, from left to right, beginning at the Place du
Carrousel, are by the following artists : Guillaume (next the Place)
and Cavelier; Buret (pediment), Bosio, Polet^ and Cavelier; Vilain
(two pavilions); Simart (pediment), Briant the Younger. Jacquot,
Oitin^ and Robert; Jouffroy (next the square) and Lequesne.
The Louvre and Tuileries together cover an area of about 48
acres, forming one of the most magnificent palaces in the world. The
effect of the whole is harmonious, in spite of the lack of unity; and
the pile is considered perhaps the best work of French architecture.
Since 1793 the whole of the Old Louvre has been used as a Mu-
seum. The E. half of the S. wing of the New Louvre also contains
collections, while the N. wing is occupied by 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. 153) to the Place de la Concorde (p. 82), or along the quays on the Seine
to the Pont-Keuf (p. 223), or even as far as the Palais de Justice (p. 220).
The Galleries cannot be properly seen in one day. — Dejeuner may he
taken at the Palais-Royal (see p. 17) or at one of the Dnval Restaurants,
Rue Montesquieu 6 and Eue de Rivoli 194 (Place de Rivoli. p. 17).
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2. LOUVRE. 89
II. THE GALLERIES OF THE LOUVRE.
The Louvre Collections are open gratis to the public daily, except
Mondays and certain holidays (see p. 5S); 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 visitor."! are to be found ofl" the Galerie Mollien and ER. 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 Mushs^ the office of M^hich 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 l6th 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 /'rawcis /. His efforts, however, were but partly successful ;
for the School of Fontainebleau, as the group of Italian masters employed
by him and by Henri II. is usually called, exercised no permanent in-
fluence on the character of French art. In the reign of Louis XIV.,
who purchased the collections of the banker Jabach and of Charles I. of
England, it again became the fashion to make collections of treasures of
art, both with persons of the highest rank (such as Cardinal Mazarin) and
members of the middle class (like Crozat). The royal collections, how-
ever, known collectively as the 'Cabinet du Roi\ were inaccessible to the
public. To the Revolution the collections of the Louvre are chietly 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 palace."!, in churches, and in the
suppressed monasteries were united here in 1793. At length, when the
French armies returned to Paris from Italy, the Netherlands, and Ger-
many, laden with treasures of art, the Louvre Collection became par
excellence the museum of Europe and wa=i so celebrated under the name
of the 'Musee XapoMon', 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.
The First Floor contains the Pictures, the Smaller AntiquitieSy
the Mediaeval, Renaissance, and Modern Art Objects, the Drawings,
and various small collections.
The Second Floor contains the MusSe de Marine, another room
with Paintings, the Musee Ethnographique , the Musee Chinois, and
the Supplementary Saloons of Drawings.
Visitors who have only a short time to devote to the Galleries
should begin with the Antique Sculptures (p. 90) and the Pictures
90 2. LOUYRE. Ancient
(p. 110), which are the first to be opened in the morning (see p. 66).
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 hy going twice over the same ground. Changes
in the arrangement are not infrequent; and at the time of going to
press it was impracticable to give definite details as to the position
of the pictures (comp. p. 114), 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 General Director of tbe Louvre Collections is Mr. A. Kaempfen.
The Dep irtmental Keepers are Messieurs Ant Hiron de Villefosse (Grf^k
and Roman Antiijuities), Paul Pierret (Egyptian Antiquities), L. A. Heu^e-j
(Oriental Antiquities and Ancient Ce amies), A. Michel (Mediaeval, Renais-
sance, and Modern Sculptures), G. Lafenestre (Paintings), E. Molinier (Indu-
strial Art), and Vice-Admiral P. E. Miot (Marine Department).
The authorities caution visitors, by means of numerous notices, not to
employ the guides who assail the public at the entrances to the Galleries.
Entrances. Most of the Galleries have special entrances (see
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. 109 begin here.
A. GROUND FLOOR.
The ** Collection of Ancient Sculpture (Musee des Marbres An-
tiques), though inferior to the great Italian collections, boasts of a
number of works of the highest rank. We begin our enumeration
at the end next the Pavilion Denon (comp. above).
The brief official catalogue of the antique sculptures, by A. H. de Ville-
fosse, with illustrations and indexes (1896) , costs 1 fr. 8o c. The new
numbers appear on the left side of the sculptures, but are sometimes
lacking. It may also be noted that the labels give the origin of the speci-
mens in large letters in the first line, not the subject of the sculpture.
In the Vestibule is a cloak-room (optional; comp, p. 89). — To
the right is the Galerie Mollien, which contains ancient statues,
more or less mutilated and of inferior value, a large Byzantine
mosaic, found near Tyre, in Phoenicia, two antique sarcophagi, etc.
At the end is a staircase ascending to the French department of
the Picture Gallery (PL K; see p. 131).
Opposite the entrance to the left is the Salle des Moulages, formerly a
riding-fchool, containing a collection of casts for the use of students (visi-
tors may proceed through this room to the Chalcographie and the Collection
Grandidier, p. 151).
We turn to the left in the vestibule and enter the —
Galekie Denon , where copies of bronzes from the antique,
executed in the 16-18th cent, at Fontainebleau and Rome, sar-
cophagi, and mutilated antiquities are exhibited.
Bronzes. To the right and left, Amazon (Vatican), Commodus ;»,s
Hercules (Vatican), Centaurs, from the Capitol ; right, Boy extracting a
thorn from his foot (Capitol); left, Mercury (Florence), Cnidian Venus
(Vatican), Ariadne (Vatican), Antinous (Capitol); right, Laocoon (Vatican),
MUSEES DU LOUVRE.
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Sculptures. 2. LOUVRE. 91
the Arrotino or knife-grinder (Florence); left, Faun (Madrid), Young
Athlete; to the right, Medicean Venus; at the end, Diana 'a la biche'
(Louvre) and Apollo Belvedere (Vatican).
Four large Sarcophagi are also placed here: 2120, with scenes from
the life of Achilles (one side modern); 2119, with a battle of the Amazons,
and two recumbent sepulchral figures on the lid; 1335, with Endymion
and Selene; 1336, with Bacchus and Ariadne. Between the last two is a
large lion, in limestone.
We next reach the Grand Escalibb, or Escaliek Daku, which
ascends to the Picture Gallery (p. 109). The ceiling of this stair-
case is decorated with mosaics after Lenepveu, referring to Antiquity
and the Renaissance, which are represented by allegorical figures
of the principal countries , and by medallions and the names of
their most illustrious artists. — At the top stands the Nike of
Samothrace (p. 109).
The room to the right of the staircase contains Antiquities from
Northern Africa, including sculptures (mostly much mutilated),
inscriptions, mosaics, Roman lamps, terracottas, etc. Among the
most notable are: 1888 (left, under glass), Bust of Ptolemy, King of
Mauretania; 1783. Head of Medusa in profile; 1838 (entrance-wall,
to the right), Relief with three Elements.
To reach the sculpture-gallery we now descend either side of
the staircase. On the left side of the staircase: 1339. Tutor and
Niobid (from Soissons). Below the Escalier Daru is the —
Salle des Prisonniers Barbabes, in which are collected the
sculptures in coloured marble. 1056. Seated figure of Minerva,
restored as Roma, in red porphyry, the fleshy parts in bronze gilt
(modern); 1381, 1383, 1385. Statues of captive barbarians; 1354.
So-called African Fisherman, in black marble, wrongly restored as
Seneca; 438. Porphyry bath; 1389. Chair in red marble. In the
middle is a large Roman mosaic with rustic scenes and occupations.
RoTONDE , with decorations in stucco by Michel Anguier (1653)
and ceiling-paintings by Mawjaisse, representing the Creation of Man.
In the centre, *866. Borghese Mars (formerly called Achilles). In the
first window-niche, fine Greek reliefs. Between the 1st and 2nd win-
dows, 890. Statue of Diomede. By the 2nd window, 666. So-called
Astrological Altar from Gabii, with the heads of the twelve Olympian
deities and the signs of the zodiac. Farther on, 889. Archaic statue
of a pugilist; 884. Archaic Apollo. By the entrance to the Salle
Grecque, 867. Female head, a Greek original of the Phidian age;
931. Head of Ares; 926. Sepulchral statue of a woman, Greek.
To the right of the entrance to the next room . *922. Silenus
with the Infant Bacchus, known as the 'Faune ^ I'Enfant', of the
end of the 4th cent. B.C., perhaps after Lysippus.
This is one of the most attractive of those representations from the satyr
world which were so much in vogue during the later period of Greek art.
The guardian seems to be pacifying the child by his looks and kindly
gestures, while the child smiles to him and raises his left hand caressingly.
An air ot perfect repose and content pervades the whole group, and
the effect is enhanced by the admirable ease and finish of the execution.
92 2. LOUVRE. Ancient
To the right of the Silenns, *919. Roman portrait-head of an
old man.
Turning to the right, we now enter a suite of apartments in the
wing erected by Catherine de Medicis (p. 86). The archway leading
to the first room is embellished with a relief by Chaudet, represent-
ing Painting, Sculpture, and Architecture.
Salle dbMecbne, with ceiling-paintings by i¥ei/nier (the World
receiving from Hadrian and Justinian laws dictated by Nature, Jus-
tice, and Wisdom); the arches by Biennoury ['Sculpture'). To the
right and left. Reliefs, including several from Roman sarcophagi;
in the middle, antique fountain. To the right, 975. Roman altar-
frieze, with relief of the sacrifice of the Suovetaurilia, from a Temple
of Neptune built at Rome ca. 35 B.C. By the first window, to the
left: 996. Colossal head of the Emp. Caracalla, found in Mace-
donia. By the second window, 1003. Colossal bust of Maecenas.
The next four rooms chiefly contain sculptures of the Roman
imperial epoch and are comparatively unimportant. The ceiling-
paintings, however, are noteworthy.
Salle des Saisons, with ceiling by Romanelli (1617-62; Diana
with Apollo, Actaeon, or Endymion; Apollo and Marsyas ; the Sea-
sons). In the centre, 1121. Statue of Julian the Apostate (found at
Paris). To the right, 1021. Bust of Constantine the Great (?). 1023.
Slaying of a bull in honour of Mithras^ found at the Capitol ; Mithras,
god of day among the Persians, was identified among the Romans
with the god of the sun. Sarcophagus-reliefs.
Salle de la Paix, with ceiling by Romanelli (Peace as the
fruit of War; Peace and Agriculture). Door of 1658. In the centre,
1075. Statue of Mammaea^ mother of Alexander Severus. — The
eight granite columns at the entrance and exit of this room belonged
to the part of Aix-la-Chapelle Cathedral built by Charlemagne, and
were brought to Paris in 1794.
Salle de Septimb Severe, with ceiling by Romanelli (Poetry and
History celebrating the warlike fame of Rome ; Rape of the Sabines ;
Continence of Scipio; Cincinnatus; Mucins Scsevola). Extensive
collection of busts of Roman emperors and empresses from Marcus
Aurelius to Caracalla, named with the help of coins and medals.
In the middle, 1009. Roman married pair in the characters of Mars
and Venus. Several Roman reliefs with sacrificial scenes; among
them, 1088. Procession of seven adults and two children (fragment
of the Ara Pacis erected by Augustus at Rome in B.C. 13-9; other
fragments at Rome and Florence).
The Salle des Antonins is mainly occupied with busts and
statues of Trajan, Hadrian, Antoninus Pius, Marcus Aurelius,
Commodus, yElius Caesar, and Lucius Verus, some of them in several
dififexent styles. In the middle: 1133. Colossal statue restored as
Marcus Aurelius. To the left, 1171. Colossal head of Lucilla, wife
of Lucius Verus, found at Carthage in 1847.^ — The ceiUng'
Sculptures. 2. LOUVRE. 93
paintings of the first division, by Romanelli, represent Religion and
the Theological Virtues, Genii, Judith, Moderation, Prudence, etc.
Those of the second division are the French Hercules, hy Hennequin ;
Victory and the Arts, by LethVere ,• Esther and Ahasuerus, by Roma-
nelli ; Study and Fame, by Peyron, etc. — To the right is the —
Salle d'Auguste, -with ceiling-painting by Matout (Assembly
of the gods), executed in the reign of Napoleon III. Busts and sta-
tues of the early Roman emperors are exhibited here. In the middle
row: *1204. Head of a Hellenhtic Ruler (probably Antiochus III.;
not Julius Ctesar). — *1205. Colossal Bust of Antinous. The expres-
sion of the youth is grave and pensive, and the elaborately-arranged
hair is adorned with Bacchanalian attributes; the eyes were ori-
ginally of gems or enamel. — *1207. Roman Orator^ formerly called
Germanicus, of ideal conception, though realistic in execution. It
is inscribed with the name of the sculptor Cleomenes of Athens (on
the tortoise at the foot) and belongs to the period of the revival of
Greek art under the early Roman emperors. — 1208. Bust of
Agrippa; 1209. Colossal bust of Roma, with Romulus and Remus,
on the sides of the helmet, each suckled by a she -wolf. In the
middle of the end-wall : *1212. Statue of Augustus (head not be-
longing to this statue), with finely executed draperies; in front,
1210, 1211. Two Young Romans with the Bulla. Along the sides of
the hall : Busts of the Julian emperors and their families ; some of
the female heads are executed with great delicacy.
We now return to the Rotonde (p. 91) , whence we enter the
other rooms to the right.
The *Salle Ge-ecque contains works of the culminating period
of Greek plastic art, and that immediately before and after it (5th
cent. B.C.). Everything here is worthy of careful inspection, though
for the most part sadly mutilated.
In the centre, three mutilated statues, in the archaic style:
*686. Juno, from Samos, probably of the 6th cent.; 687, 688. Two
figures of Apollo, from Actium. Also, under glass, 691. Head of Apollo
(after an original of the 5th cent. B.C.) and, opposite, 695. Archaic
head from Athens, with wreath and curled hair (6th cent. B.C.).
To the right, below , by the wall next to the Rotonde : *696.
Three Reliefs from the Island of Thasos, found in 1864.
These three reliefs originally formed one whole, which, as we learn
from the ancient inscriptions, belonged to a sanctuary sacred to Apollo, the
Charities (Graces) , and the Nymphs. The inscription in larger letters at
the top is of later origin, and refers to the use of the reliefs in adorning
a tomb in the Roman period. From each side of the central niche step
four goddesses, holding garlands and blossoms in their hands; those on
the left are accompanied by Apollo, those on the right by Hermes. In
form and movement the sfiflness and angularity of the archaic school are
still visible, but the vitality and variety of the motives, as well as the
fine arrangement and execution of the drapery, betoken the period of
transition to a more perfect style. The work thus probably dates from
the end of the 6th or the beginning of the 5th cent. B.C.
94 2. LOUVRE. Ancient
Above : *738. Fragment of the Frieze of the Parthenon, the cel-
ebrated temple of Athena on the Acropolis at Athens, exeented by
Phidias and his pupils.
The frieze, which ran round the walls of the temple within the colon-
nade , represents the festive procession which ascended to the Acropolis
after the Panathensean games for the purpose of presenting the goddess
with the peplos, or robe woven and embroidered by Athenian virgins.
The rest of the reliefs are in London and Athens. The fragment preserved
here represents young Athenian girls with vessels, and two priests, advan-
cing in solemn procession.
Still higher: *736. Metope from the Parthenon (much mutilated),
representing a Centaur carrying off a woman.
Adjacent, to the right, 716. Hercules subduing the Cretan Bull,
and to the left, 717. Athena sitting on a rock, two metopes from
the Temple of Zeus at Olympia, excavated by the French in 1829,
and in tolerable preservation. Compared with Attic sculptures,
these works, dating from about 460 B.C., are somewhat deficient
in grace, but they are full of freshness and vigour.
Below, to the left : *854. Attic relief of Hermes^ Orpheus, and
Eurydice, an admirable example of the simple and yet majestic
style of the best period of Greek art.
'Orpheus was permitted to bring back his wife Eurydice from the
infernal regions to the light of day on condition that he should not look
at her on the way; but he failed to fulfil the condition. Hermes, the
leader of the dead, gently, but firmly grasps the hand of Eurydice to con-
duct her back to the empire of shades. In this simple and beautiful com-
position are traceable a whole series of different phases of hope and pain.
The advance of the procession, the turning round of Orpheus , the confi-
dential communing of the pair, the halt, and the impending return of
Eurydice are all distinctly pourtrayed'. Kikuli. — There are replicas of
the work at Naples and Rome. The inscription 'Zetus, Antiope, Amphion'
over the figures is of the Renai?8ance period.
To the right of the first window on the side next the Seine :
*766. Tomb Relief of Philis, daughter of Cleomedes, from Thasos.
The deceased is here represented, as was the custom on Attic steles,
in a scene of daily life, with a jewel-case in her hand. A peculiar charm
is lent to this relief by the faint lingering characteristics of archaic Greek
art and by the simple and natural feeling of the representation.
Above, 701. Tomb -relief of two girls with flowers (from Phar-
salus).
This work Stands on the border between the archaic and the developed
style. It is marked by a tender and naive naturalism, but is inferior in
delicacy of execution to contemporary Attic works.
697. Archaic relief from the arm of a throne, with Agamemnon
and his heralds, Talthybius and Epeius (from Samothrace). Glass-
case containing fragments from the temple at Olympia (ca.
460 B.C.). — Between the windows : 835. Torso of a youthful hero,
formerly called Alexander the Great or Inopus (a river-god on the
island of Delos, where the statue was found). 692. Head of Apollo.
In the middle, in front of the second window, Tablets with Athenian
decrees; on the walls, votive bas-reliefs ; to the right, 857. Lion
pulling down a bull. By the third vnndow: Funeral bas-reliefs.
Sculptures. 2. LOUVRE. 95
In front of the end-wall, 765. Sepulchral Couch, found in
Macedonia.
On the side next the court, to the left of the entrance: 850.
Head of a youth (from Cos) ; 849. Colossal head of Demetrius
Poliorcetes (more probably Seleucus Nicator); 848. Bust of a veiled
woman (so-called Aspasia); 847. Minerva from Crete (perhaps copy
of a statue by Alkamenes, a pupil of Phidias"). By the window : In-
scriptions, including a Marble Stele (No. 831), brought from Athens
by Choiseul-Gouffler, with inscriptions, recording the sums spent by
the treasurers of the Parthenon in the 3rd and 4th years of the 9'2nd
Olympiad (B.C. 410-409). Above, relief of Athena, the sacred olive-
tree, and the Archon Glaucippus. — Then: 830. Bust of a Greek
athlete, called Theseus (?) ; 829. Female figure (not a daughter of
Niobe); architectural fragments from Macedonia and Epirus.
Paintings on the ceiling and walla: Diana and Jupiter, by Prucfhon;
Hercules receiving from Diana the stag with the golden horns, by Gar-
nier; Diana restoring to Aricia Hippolytus resuscitated by ^sculapius, by
Mirimie. Sculptures: Bas-reliefs by Cartellier, Esparcieu, and Foucou;
casts of Jean Goujon'i sculptures on the Escalier Henri II. (p. 99).
"We proceed in a straight direction, leaving the Salle des Cari-
atides (p. 98) on the left, and the Salle du Tibre (p. 97) on the right.
Corridor de Pan. To the right, near the end : 266. Sitting
figure fif Pan^ of poor workmanship, and freely restored.
Salle du Sabcophage de Medbe. To the right: *283. Sarco-
phagus adorned with a representation of the myth of Medea. *285.
Resting satyr (bas-relief).
Salle de l'Hermaphrodite de Velletri. In the window
recess : 323. Hermaphrodite of Velletri (comp. p. 98). To the right,
324. Wounded Gaul, replica of a Pergamenian work.
Salle du Sarcophage d' Adonis. To the right: 342. Roman
sarcophagus with Tritons and Nereids. Upon it, 343. Statuette of
Euripides, with a list of his works. On the wall above : 347. Front
of a sarcophagus, with reliefs in three scenes, representing Adonis
starting for the hunt, being wounded by the boar, and dying in
presence of the mourning Aphrodite. — In the entrance to the next
room, to the left, 366. Statue of Aphrodite in Coic raiment, pro-
bably after Praxiteles (inscription on the base).
Salle de Psyche. To the right : 379. Psyche (freely restored),
between busts of the youthful Hercules (378; wrongly called Om-
phale) and Perseus, King of Macedonia (? 381). To the left, two
fine marble chairs. 387. Athlete anointing himself with oil. 375.
Victorious Athlete.
Salle de la Venus db Milo, dedicated to the ** Venus of Milo^
the most celebrated of the treasures of the Louvre (No. 399). 'This
is the only statue of Aphrodite handed down to us which re-
presents her not merely as a beautiful woman, but as a goddess.
The form is powerful and majestic, and yet instinct with an in-
describable charm of youth and beauty, while the pure and noble
96 2. LOTJYRE. Ancient
expression of the head denotes the goddess's independence of all
human requirements and the calm self-sufficiency of her divine
character. The fact that this beautiful work , notwithstanding its
great excellence , is not one of those which have been specially
extolled by ancient authors , affords us an approximate idea of the
beauty of those lost masterpieces which formed the great marvel of
antiquity' (Luhke).
The statue was found in 1820 by a peasant in the island of Melos,
now Milo, at the entrance to the Greek Archipelago, and sold for 6000 fr.
to the French government. It is the work of a school which was con-
temporary with the schools of Praxiteles and Scopas (4th cent. B.C.), but
had a very different style from either. On the ancient monuments Aphro-
dite and Nike, in attitudes similar to that of this work, are each repre-
sented singly, holding a shield; and the same attitude is observed in
groups of Aphrodite with Ares. The weight of evidence in the present
case is in favour of the view that the goddess stood alone, holding a shield
as a symbol of victory in her hand Among various fragments found
along with the statue were part of a left arm and a left hand, the closed
fingers of which hold an apple (now preserved in a glass-case by the
first window to the left) ; and this has naturally led some of the French
savants to suppose that this Aphrodite held an apple in her uplifted left
hand and her drapery with the right. The hand is. however, of inferior
workmanship to the torso, so that it is probably either altogether un-
connected with it, or belonged to an ancient attempt to restore the work.
Salle db Melpomene. By the wall at the back: 411.
Melpomene, one of the largest ancient statues in existence (13 ft.
in height), from Rome, and probably from Pompey's Theatre. —
The large mosaic in front, by FranQois Belloni (after Gerard), re-
presents the genius of Napoleon I. (in the character of Minerva)
gaining victories that she may inaugurate peace and plenty (1810).
— To the right and left of Melpomene : 420, 414. Statues of Venus
restored as Euterpe (a type of the Phidian era). To the right, by
the back-window, 421. Replica of the head of the Cnidian Venus
of Praxiteles. To the right of the exit, *419. Ideal Female Head.
Salle de la Pallas de Velletri. In the centre : *436. Bust of
Alexander the Great, probably after a portrait; *439. Venus of Aries,
found in 1651 at Aries in Provence, and perhaps a replica of an early
work by Praxiteles. — *440. Head of Homer (upper part of a herma),
of the well-known type ; the sunken features, sightless eye-balls,
and slightly-opened month are all characteristic of the ancient con-
ception of the inspired singer in his old age.
*441. Apollo Sauroctonus, 'the lizard-slayer', a copy of a work
by Praxiteles ; the right hand originally held a dart, with which he
was about to transfix the reptile.
The easy attitude, the charming abandon of the figure almost femi-
nine in its forms, the ideal beauty of the countenance, ihe perfect pro-
portion of the limbs are so many distinctive maiks of the genius of the
great Athenian sculptor'. (Froehner.)
442. Vase of Sosibius, with a curious representation of a festive
dance of Satyrs and Maenads round a sacrificial altar, approached by
Diana, Apollo, Hermes, and Bacchus.
To the right, in retracing our steps : 475. Sarcophagus of the
Sculpture.^. 2. LOUYRE. 97
Muses, on whicli are represented the Nine Muses in the following
order, from left to right: Clio, Thalia, Terpsichore, Euterpe, Poly-
hymnia, Calliope, Erato, Urania, and Melpomene. On the right
end are a philosopher or poet and a Muse ; on the left, Socrates and
a Muse; on the top, a festival. — *464. Pallas of Vdletri, whence
the saloon derives its name, a Roman copy of a Greek bronze orig-
inal of the 5th cent. B.C., found in 1797 at Velletri near Rome. In
the right hand was a spear, in the left perhaps a cup or a small Nike
[Victoria). — 459. Sarcophagus with reliefs of the legend of Actseon.
444. Statue restored as Urania. — By the window-wall, 508. Circular
base with representations of Luna and Oceanus. In the window-
niche to the left, 510. Ideal female head (Greek). — At the entrance
to the next room, 522. So-called Atalanta, more probably a wrongly
restored Diana.
Salle du Hiebos Combattant. In the centre: *525. Venus
Oenetrix (so named from a medal), a good Roman copy of a Greek
work of the 5th cent, attributed to Alkamenes. 526. Hercules or
Theseus. — *527. Borghese Gladiator ('Heros Combattant'), found
at Antium near Rome, in one of the imperial palaces. The inscription
records that it was executed by ^Agasias^ son of Dositheos of Ephe-
sus', a sculptor of the 1st cent. B.C., who seems to have here repro-
duced a work of the end of the 4th century.
'The statue is rather to be regarded as that of a hero fighting. The
right arm is modern, while the left arm and the strap of the shield are
preserved. Opposite the hero we must suppose an Amazon on horseback
or standing on a rock above, against whom the hero is defending him-
self with his shield by a movement of his left arm, while with his right
he is directing the stroke of his sword with eager look. The mouth is
open, as if the hero, like Homer's warriors, were shouting to his adver-
sary. The expression of the face is indicative of a supreme and yet con-
trolled effort of strength. The distinctness with which the simultaneous
acts of defence and attack are expressed in this master-work has led to
the belief that the figure did not originally stand alone, but was placed
opposite some antagonist, without whom the hero's attitude would be
comparatively meaningless.' Welcker.
528. Head of a young satyr, known as the ^Faune di la tache\
— *529. Diana of Gabii, a charming work, probably a copy after
Praxiteles. — To the left , in retracing our steps : 573. Mercury
(the 'Richelieu Mercury') ; 562. Borghese Centaur, or Centaur sub-
dued by Cupid, resembling one of the Capitoline Centaurs; 552.
Wounded Amazon (freely restored). On the other side : 530. Mi-
nerva Paciflca; 535. Fine head of Ganymede or Paris; 536. Cupid
and Psyche ; *542. Marsyas, bound to the trunk of a tree, in order to
be flayed alive at Apollo's command ; in front. 539. Sarcophagus of
Meleager (modern!, on which lie the fragments of a Grseco-Egyptian
map of the stars ( 540) ; *544. Admirabfe Greek Bust, of the time of
Lysippus; 545. Cupid.
Sallb du Tibre. In the centre : 588. Unknown Greek poet. —
*589. Diana d. la biche or Diana of Versailles, probably a replica of a
work of the time of Praxiteles and Scopas.
Baedekee. Paris. 14th Edit. 7
98 2. LOUVRE. Ancient Sculptures.
The goddess, walking fast, seizes an arrow. She is looking round as if
in search of fresh game. The expression of face is grave, the forehead high
and severe, the eyes eager. The roe running heside her heightens the
impression of the rapid strides of the goddess.
*593. Colossal God of the Tiber, 16011111136111, with Romulus and
R6mus and the she-wolf by his side, probably a work of the early
Roman empire, an admirable companion to the celebrated group of
the Nile in the Vatican (reproduction in the Tuileries Garden, p. 154).
On the left and right: 595, 594. Flute-playing Satyrs. — Behind,
597-600. Four colossal Satyrs bearing a frieze.
To the left, on the window-side: 677. Bust of a satyr ('Faun of
Aries'). — By the second window, *672. So-called Altar of the Twelve
Gods, a large triangular base.
Each of the three sides is divided into two equal parts, the upper part
containing four figures, the lower, three. First side: Jupiter, Juno, Nep-
tune, Ceres 5 the Three Graces. Second sideQeft): Mars, Venus, Mercury,
Vesta; the Three Fates. Third side: Apollo, Diana, Vulcan, Minerva;
three Hours or Seasons.
By the last window : *664. Fragment of a replica of the Resting
Satyr of Praxiteles ; 665. Smaller copy of the same torso. In the
recess to the left of the entrance: 660. So-called Zingarella, a statue
of Diana, with head, arms, and feet in bronze (modern). — In front of
the window : 2240. Crouching Venus, from Vienne (another opposite).
— Rear wall: 622. Resting Bacchus; 639. ^sculapius; 636. Head
of a youth, archaic; 640. So-called 'Talleyrand Zeus', archaistic.
We now turn to the right, cross the Corridor de Pan (p. 95),
and enter the —
Salle ues Cariatides, so called from the caryatides at the other
end, originally an ante-chamber ('Salle des Gardes') of the apart-
ments of Catherine de Medicis.
Here, on Aug. 19th, 1572, the Princess Jlargaret of Valois, sister of
Charles IX., was married to the young Protestant King of Navarre (after-
wards Henri IV. of France). Admiral Coligny and many other Huguenot
leaders were present at. the ceremony. Five days later, on the Eve of
St. Bartholomew (Aug. 23rd), Charles IX., at the instiga'ion of his mother,
Catherine de Medicis, gave the order for the massacre of the Huguenots
(p. 87) and the arrest of King Henry. It was in this saloon that the Ligue
held its meetings in 1593, and that the Due de Guise (reconciled with
Henry owing to the latter's renunciation of Protestantism) caused four of
its most zealous members to be hanged the following year. The hodv of
Henry lay in state here after his assassination in 1610. In 1659 the room v, -
used as a theatre by Moliere, who acted here in his own inimitable plays.
"We first enter a kind of vestibule, which contains, by the
farther wall, a chimney-piece executed by Percier and Fontaine
in 1806. In front of the chimney-piece : 75 Hercules, with Ms son
Telephus and the hind by which the latter was suckled. — To the
left, by the window, 2Si. Borghese Hermaphrodite, of the latest
Greek period, and too sensuous in style. The mattress is an un-
happy idea of Bernini (17th cent.).
In the Salle proper, between two pillars : *78. Jupiter of Versailles,
a colossal torso on a modern stand; 'no extant ancient statue of the
ruler of Olympus produces a more impressive effect than this' (Freeh-
Asiatic Museum. 2. LOUVRE. 99
ner). To the right, 80. Statue of a Greek philosopher (Posidonius ?).
To the left, 79. Seated philosopher, with a head of Demosthenes
from another statue.
In the centre : 81. Orestes and Pylades (Mercury and Apollo?),
of the school of Pasiteles (1st cent. B.C.); 82. Ancient basin of
Sicilian alabaster, so placed that the faintest whisper uttered at its
edge is distinctly audible to an ear at the edge of the similar basin
(90) at the other end ; 83. Hermes in the act of fastening his sandals;
85. Reposing Bacchus; 86. Borghese Vase, with Bacchanalian re-
presentations; *87. Young Dionysics (the 'Richelieu Bacchus'); 89.
Discobolus. — The four *Caryatides bearing the gallery at the end
were executed by Jean Goujon (p. 104). Above it is a cast of Cellini's
Nymph of Fontainebleau (p. 106).
Round the walls, from right to left : 149. Large Candelabrum re-
constructed by Piranesi in the 18th cent, from ancient fragments;
53. Venus in the Bath, crouching so as to allow a nymph to pour
water over her back (freely restored); 40. Boy with a goose; 91.
^Minerve au collier\ a mediocre reproduction of the type of Phi-
dias's Athena Parthenos ; 18. Crouching Venus f' Venus h la coquilW).
Antique Bronzes^ see p. 142; Terracottas^ Vases^ etc., p. 148.
The Escalier Henri II., in the Pavilion de I'Horloge, adjoining
the Salle des Cariatides, ascends to the principal collections on the
first floor (see plans, pp. 86, 87; Collection La Caze, p. 141). It
is, however, better to ascend by the grand staircase, reached by
returning through the Salle des Cariatides, and turning to the right.
The Escalier Henri II. is decorated with sculptures by Jean Goujon.
Visitors who have time to spare should pass out, by the side
of the Escalier Henri II., into the Court of the Old Louvre, in order
to inspect the following collections, ^.Mch are open daily from 11.
The *Asiatic Museum (Musie des Antiquites Asiatiques) contains
one-half of the yield of the excavations made on the site of the an-
cient As5wr and Nineveh by M. Botta and Sir A. H. Layard (the other
half being in the British Museum), and also antiquities collected
by scientific missions and private individuals in other parts of Asia.
— The entrance is in the passage under the colonnade (p. 88), to
the left in coming from the Cour du Louvre (B on the Plan, p. 87).
Room I (Grande Galerie) : Assyrian Antiquities. The kingdom of
Assyria or Assur, the land of the Nimrod of the Bible, lay on the left
bank of the Tigris, its capital being Assur, and afterwards Nineveh.
The Assyrians conquered the Babylonian empire about B.C. 1250,
and afterwards extended their supremacy as far as Asia Minor. The
excavations have brought to light remains of extensive palaces, the
chambers of which were lined with alabaster slabs, bearing scenes
from the lives of the Assyrian monarchs, similar to those on the
Egyptian monuments, and still more lifelike. Hunting-scenes,
7*
1 00 2. LOUVRE. Asiatic Museum.
battlefields , and sieges alternate with others representing the king
in his court or among his guards , and accompanied by figures of
fantastic monsters. The inscriptions are in cuneiform character, or
wedge-shaped and angular signs placed horizontally and obliquely.
Most of the sculptures exhibited here belonged to the palace of King
Sennacherib (B.C. 722-705) at Khorsabad, to that of Nimrod (10th
cent.), or to that of Sardanapalus V. at Nineveh (7th cent.).
Most of the gigantic * Winged Bulls come from the palace reared at
the modern Khorsabad by Sennacherib or Sargon. These were placed,
like the Egyptian sphinxes, at the entrances to great buildings, and their
human heads wearing a tiara seem to leave no doubt that they were
personifications of kings. Like the sphinxes, too, these animals symbolized
the union of strength and intelligence •, and wings are frequently found
as the emblem of power on Assyrian monuments. — The Colossal Figures
at the back-wall also adorned the entrance to the palace. The figures
who, without apparent effort and without passion, are crushing lions
against their breasts represent the Assyrian Hercules. lu the spaces
between these figures are bas-reliefs of royal corteges, a king and a priest,
a king sacrificing an antelope to a god, etc. The details on these and
other reliefs have an important historical value; while certain portions,
especially the horses, are of admirable workmanship. In the centre of
the room': Nine headless statues, two heads, and other Chaldean anti-
quities; finely-designed Door Frame.
Visitors who are pressed for time may pass hence immediately
to the Egyptian Museum (p. 101).
Rooms II & III: Phoenician Sarcophagi, in black and white
marble. — In the middle : Basalt Sarcophagus of King Esmunzar
of Sidon, with the longest known Phoenician inscription.
The Phoenicians, whose chief settlements were on the Syrian coast,
possessed important colonies on every part of the Mediterranean, and were
the earliest traders between the East and West. To them we are indebted
for our modern system of writing, as they were the first to reject the
cumbrous Egj ptian style and to adopt a simple sign for each simple sound.
They also exercised no small influence on the earlier stages of Greek art. —
Comp. 'Kotice sommaire des monuments pheniciens', par E. Ledrain (75 c).
Room IV, to the left, contains Phoenician antiquities and others
from Syria and Cyprus. Among these are a Vase, 12 ft. in diameter,
from Amathus in Cyprus, hewn out of a single block of stone, and
seven statues from the same island. — The —
Sallb i)e Milet contains sculptures from Miletus and Heraclea
in Asia Minor, and also fragments from the Temple of Apollo at
Didyma. In the centre : Two colossal bases of columns from the
same temple. At the back: Statues (headless) which adorned
the theatre, in the Greek style. Mutilated statues from the Necro-
polis , in the Assyrian style. On the upper part of the walls , Bas-
reliefs from the temple of Assos, in Mysia, specimens of primitive
Ionian art. — The —
Salle de Magkesie du Meandre contains fragments of the
Temple of Artemis Leucophryene ('Diana of the white eyebrows')
at Magnesia, near Ephesus, of a late period. The *Frieze, one of the
most extensive relief-compositions of ancient times, about 88 yds.
in length, represents wild contests between Greeks and Amazons.
Egyptian Museum. 2. LOUVRE. 101
We also observe a Vase from Pergamus, with reliefs of young Greeks
on horseback ; and a statue of Diana from Phrygia.
The Sallb Judaique, to the right, under the staircase, contains
Jewish antiquities from Palestine and the neighbouring countries,
such as sarcophagi from the Tombs of the Kings, architectural frag-
ments, reliefs, pottery, Moabite sculptures, and inscriptions. In the
centre of this room is the famous basalt Stele of King Mesa of Moab,
whose battles with the Jews in B.C. 896 are recorded by the inscrip-
tion. This is the oldest known example of alphabetic writing. Comp.
'Notice des monuments provenant de la Palestine' , by A. Heron de
Ville fosse (50 c). — Adjacent is a small Salle Punique, with an-
tiquities from Carthage.
Opposite, under the colonnade, is a Gallery of Casts of sculptures
discovered by the Ecole Francaise of Athens in the course of excavations
at Delphi and Delos. These include an Antinous, a replica of the Dia-
dumenos of Polycletns, two heads of Caryatides, friezes, metopes, two
archaic figures of Apollo, a seated Sphinx, etc.
Continuation of the Asiatic Collections^ on the first floor, to which
the adjoining staircase ('Escalier Asiatique') ascends, see p. 145.
The *Egyptiaii Museum (Musee des Antiquites EgyptiennesJ, one
of the most important collections of the kind in Europe, affords, so
far as is possible without the appropriate architectural surroundings,
an almost complete survey of the religion, customs, and art-life of
the most ancient of civilised nations. The exhibits are provided with
explanatory labels. 'Description Sommaire' by E. de Rouge ^ with
illustrations, 1 fr. 55 c. Entrance, opposite that of the Asiatic Mu-
seum , to the right when approached from the court (A on the
Ground-plan).
We first enter the Sallb Henri IV., which contains the largest
objects in the collection. Among these are the Sphinxes, fantastic
figures with lions' bodies and human heads , which represented the
kings and were usually erected in pairs on the avenues leading to
the temples ; Monuments commemorating special events ; Steles, or
votive stones erected to the memory of deceased persons , bearing
inscriptions and representations of the infernal deities (Osiris) , to
whom, as well as to the deceased themselves, ofi"erings were pre-
sented by the bereaved relatives ; Statues, from tombs or temples ;
Bas Reliefs ,• and Sarcophagi.
Egyptian chronology being scarcely an exact science, the monuments
of this collection are dated merely by dynasties , some of which were
only 70 years in duration while others lasted for 450 years. This mode
of reckoning rests on the authority of the Greek writer Manefhos, wh > reckons
thirty-one such dynasties between the beginning of Egyptian history and
the conquest of Egypt by Alexander the Great The first, dynasty may be
placed at about 30.0 B.C., though autiiorities differ on this point. Mariette
referring it to 5000 B.C.. Lepsins to 38ii2 B.C. The fourth dynastv flourished
about 2500 B.C.. the 12th about 19915-1783, the Ibth about l.o45-1350, the
19th about 1350-1';00B.C. Exact dates begin to be possible with the accession
of Psammetichus I. in 663 B.C. l26th dynasty).
102 2. LOUVRE. Egyptian Museum.
The large Sphinx in pink granite at the entrance is in better preserv-
ation but is not so interesting as its pendant at the other end of the room.
To the right, Kos. A 18, A 19. Foot and head of a colossal statue of
Amenhotep (or Amenophis) III., the Memnon of the Greeks. *D9. Sar-
cophagus of Taho, a 'masterpiece of the later Egyptian sculpture' (26th Dyn.) 5
the scenes and inscriptions on this, as on other sarcophagi, refer mainly
to the nightly voyage of the ship of the sun through the lower regions,
in -which the dead take part. — To the left, D 8. Sarcophagus of another Taho
of the reign of Psammetichus I. (26th Dyn.). Farther on, A 20. so-called
Statue of Ramses 11.^ belonging to a king of the middle empire (12th or
13th Dyn.), usurped by Ramses. In the middle, the capital of a column
in the form of a double head of Hathor, from the temple at Bubastis,
and (to the right) a fragment of a clustered column with a lotus -bud
capital. In front of the large capital, ' B 7. Painted bas-relief of Seti I.
(Sesostris; 19th Dyn.) and the goddess Hathor, found in Seti's tomb at
Thebes; 'the lean and elongated form of Seti may be taken as a genuine
type of the proportions aimed at by the artists of that time'. Left, A 24.
Colossal Statue of Seti II. (ead of the 19th Dyn.), in red sandstone, with
the double crown on his head and holding a flag-staflf on which the royal
name and titles are engraved. Farther back, D 31. Portion of the base of
the obelisk of Luxor (p. 83), with four cynocephali (dog-faced baboons)
adoring the rising sun. Above, D 38, Cast of the Zodiacal Frieze of Den-
dera (p. 190). A 24. Statue of Harua., Steward of Amenertais, Princess of
Thebes (25th Dyn.); several statues of the lion-headed goddess Sekhmet;
D 1. Colossal Sarcophagus of Ramses III. (20th Dyn.l, 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 AmasiSy monolithic votive chapel
in pink granite (6th 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 Thutmosis III., the most powerful of Egyptian kings
(18th Dyn.). Higher up is an alabaster statue (freely restored) of Ram-
ses II (A 22). Also a glass-case with shoes.
To the left, at the foot of the staircase, is the Salle d'Apis, cou-
taining the objects found hyMariette intheSerapeum or large mauso-
leum of the Apis hulls at Memphis, chiefly statues and monuments.
The Apis was the animal sacred to Ptah , the god of Memphis. The
bull to be thus honoured required to be black in colour, to have a white
triangle on his forehead, a white mark on his back resembling an eagle,
and an excrescence under his tongue in the shape of the sacred scarabseus
beetle. After his death the sacred bull was interred with great pomp in
the vaults known to the Greeks as the 'Serapeum', a word derived from
'Osiris Apis', which the Egyptians applied to the dead Apis.
In the middle of the ro'm, S98, large Figure of Apis.^ on which the
marks of the sacred bull are distinctly vi-ible. At the side are several
Canopi., or stone vessels in the shape of the heads of the patron-gods of
the deceased and containing the entrails of the embalmed bulls. 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, atfording a valuable clue to Egyptian chrono-
logy. Opposite is a statuette of Bes, a grotesque Egyptian divinity. 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. A door leads
hence to the rooms containing the Renaissance Sculptures (p. 103).
Another gallery, for monuments of tha Old and iliddle Empires
(■ith-18thDyn.),has been opened under the colonnade beside the Salle d'Apis.
Media€>;al Sculptures. 2. LOUVRE. 103
The staircase mentioned at p. 102 ascends to thefirst floor, on which
are the Remaining Egyptian Collections, to the left (p. 14(3), 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 (PI. D ; p. 87) ;
but it may also be reached via the small room under the staircase
at the end of the large room of the Egyptian antiquities (p. 102).
The first room is next the latter entrance. — Illustrated 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 jSo. *216, 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 (1477-83). By the window
towards the Seine, *219. Flemish Calvary, in wood (16th cent.).
At the window towards the Place is the brass of a Catalan merchant
(1400). In the centre, 94. Tomb-figure of Blanche de Champagne,
in embossed copper (14th cent.).
Salle du Moyen Age (II). Other French tomb-statues of the
14th century ; three figures of the Virgin, Christ, and bas-reliefs of
the same period. 48. Statue of Childebert, King of France
(13th cent.). *372. Gothic Door from a house in Valentia in Spain
(loth cent.). Sculptured fragments, including four from the rood-
loft of the cathedral of Bourges and another from Notre-Dame at
Paris (in the centre)-, capitals, etc., of the ll-13th centuries.
Salle de Michel Colombb (III), the works in which show the
French school of sculpture uninfluenced by Italian art. By M. Co-
lombe or Michault Cclumb (1431-1514), the chief representative of
the Loire school of his period, from whom the room takes its name :
opposite the entrance, *226. Relief of St. George and the Dragon.
Below, *262. Entombment, ascribed to G. Pilon. To the right, *143.
Virgin, of the 16th cent., and 199. Relief of the Death of the Virgin
from the church of St. Jacques-la-Boucherie. In the middle : 276.
Mercury and Psyche, bronze, by A. de Vries (1593); 225. Mercury,
a replica of the bronze statue in Florence by Giou. da Bologna, an
imitator of Michael Angelo , and a native of Douai in Flanders ;
224bis. Fame, by P. Biard, a bronze figure from the tomb of the
Due dEpernon, at Cadillac. Behind and at the sides, sepulchral
statues and bas-reliefs of the 15-16th cent., including the mon-
uments of Philippe de Comines (1445-1509) and his wife (*12G;
Paris , beginning of the IGth cent.). 274. Statue of Henri IV.,
ascribed to B. Tremblay and 0. Gissey. Busts of Martin Fremiuet
(180; d. 1619), Jean d'Alesso (173; d. 1572), and Giov. da Bologna
(462; by P. Tacca). To the right, *144. Virgin from Ecouen (16th
104 2. LOUVRE. Renaissance
cent.); 160. Bronze bust of Francis I. ; 149. Tomb-statue of Roberte
Legendre (d. 15*20), by 0. Regnault; *220. Tomb of Jean de Cro-
mois, abbot of St. Jacques, at Liege (d. 1525). By tbe second
window, 153. 'La Mort St. Innocent', a skeleton from the former
Cimetiere des Innocents ; fine bas-reliefs, including a Holy Family
(277), after Diirer, attributed to Hans Daucher.
Salle de Jean Goujon (IV), named after the most distinguished
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 No. *228, 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. 105.) In the
middle of the room are also placed a marble group (255) 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
(250) representing the Four Cardinal Virtues (destined as the sup-
porters of a reliquary), works by Germain Pilon (d. 1590), showing
the same style as the Diana. — Round the room from right to left :
168. Statue of Charles de Maigny (Paris, 1556); 260. G. Pilon, Bust
of a child ; 258. Etflgy, genii, and reliefs from the tomb of the wife
of Chancellor Rene de Birague ; *229. J. Goujon, Five reliefs from
the old rood-loft of St. Germain-l'Auxerrois ; 256. G. Pilon^ Mater
Dolorosa, in painted terracotta; 268. B. Prieur, Column and three
figures from the tomb of Anne de Montmorency; 261. G. Pilon,
Chimney-piece, with bust of Henri II. (227) ; 235. Et. Le Hongre,
Fragments of the mausoleum of the Cosse-Brissac family; G. Pilon,
253. Bust of Henri III., *257. Bronze statue of the Chancellor de
Birague (d. 1583); 137. Statue of Admiral Phil, de Chabot (d.
1543) ; 230. J. Goujon , Fountain-nymphs from the Fontaine des
Innocents. — At the third window: 270. Jean Richier (?), Daniel
come to judgment (relief); 271. Ligier Richier, Infant Jesus; 162.
Ft. Roussel (?), Nymphs awakened; G. Pilon, 241, 240. Faith and
Strength (reliefs), 252. Bust of Charles IX. At the second window :
266, 267. B. Prieur, Statues from the tomb of Constable Anne de
Montmorency (see above) and his wife; 245. G. Pilon, Entombment
(bronze relief). At the first window : 246. G. Pilon , Fragments of
a pulpit. — The —
*Sallede Michel- Ange (V), containing Italian sculptures of the
15-1 7th cent., is named from the marble statues of the two **Fettered
Slaves (279, 280), by Michael Angelo Buonarroti (1475-1564).
These figures vrere 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
Sculptures. 2. LOUVRE. 105
abandoned, presented them to Roberto Strozzi, by whom they were sent
to France. The younger dying slave, with the pained expression of coun-
tenance, is of great beauty •, the other figure is in a somewhat constrained
and unpleasing attitude.
These statues stand on the right and left of the entrance to the
next room, consisting of a *Portal (329) of the end of the loth cent. ,
removed from the Palazzo Stanga in Cremona, and attributed to the
brothers Rodari. The reliefs represent scenes from the life of Her-
cules, the mythical founder of Cremona, and from that of Perseus ;
also the daughter of Herodias with the head of John the Baptist.
In the middle of the room are a marble fountain from the chateau of
Gaillon [333 ; p. 250), and a bronze bust of Michael Angelo (308),
two Italian works of the 16th century. Adjacent are a *Bust of
Filippo Strozzi (396) and another, both by Benedetto da Majarto.
Beside the entrance: to the right, 403. Bust of John the Baptist as
a child, by Mino da Fiesole; 386. Julius Caesar, bas-relief by Dona-
teWo(?); Six Virgins, by unknown artists of the 15-16th cent., and
one (460) by Sansovino; several busts; 323. Wood-carving of the
Venetian school of the 15th century. High up: * BSi. Benvenuto
Cellini, the 'Nymph of Fontainebleau', a large relief in bronze exe-
cuted in 1543 for an archway in the Palace at Fontainebleau, and
mentioned in the master's autobiography.
By the back-wall: Jason, and Hercules slaying the Hydra, two
bronze statues of the 1 6th cent. ; 334. Equestrian figure in high-relief
of Rob. Malatesta, captain-general of the papal forces (end of loth
cent.) ; 336, 337. Virgin and the angel Gabriel, in wood (Florentine
school of the end of the 14th cent.) ; Busts of a man and woman
(15th cent.); Virgin in painted terracotta attributed to Andrea della
Robbia; Three other Virgins and a Pieta in high relief (15th cent.).
By the first window: 303. 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-Renais-
sance*Bronzes by the windows includes eight bronze reliefs(414-421)
'by Andrea Br iosco, surnamedi2<cc«o (1480-1532). Originally belong-
ing to the tomb of Marcantonio della Torre, these reliefs illustrate
the life and death ofthatcelebrated physician in a thoroughly antique
style. Also, six bas-reliefs of the Virgin, three of which (399-401)
are by Mino da Fiesole. At the second window : 310. Statue of a
negro, after the antique (17th cent.); 395. Bronze medallion of
Charles V., by Leone Leoni of Arezzo(VJ, and other medallions.
Salle Italienne (VI). Virgin and Child, group in painted and
gilded wood (Florentine or Sienese school of the 15th cent.); 383.
Bust of John the Baptist by DonafeZfo; alto-relief of a funeral, in
imitation of the antique. At the window : Relief of a child, in the
style oi Donalello; ornamental sculptures, etc.
Sallb des Robbia (VII). This room contains numerous terra-
cottas by the Della Robbia and their school (Florence ; 15th cent.)
106 % LOUVRE. Modern
and also reliefs of the 12-15th centuries. To the right of the en-
trance, 407. Statue of Louis XIL, by Lot. da Mugiano. To the left,
408. Friendship, hy P. P. Olivieri; 463. Nature, by Triholo (at the
end). In the middle of the room, 464. St. Christopher, in painted
and gilded wood, by Vecchietta. By the window to the left, Bust of
Card. Medici, by Bernini; by the right wall, Bust of Ferdinand I. of
Aragon, King of Naples (1424-94), etc.
Vestibule, next the entrance from the Court. Reproduction of
a fountain-group from Fontainebleau, with a bronze Huntress Diana,
after the antique (p. 97), and four bronze dogs of the French school
of the 17th century. — The —
Salle des Antiquites Che,etiennes , to the right, contains
sarcophagi, reliefs, a mosaic, and inscriptions, chiefly of the 4th
and 5th centuries, from S. France, Italy, Algeria, etc. — To the
left is the —
Salle des Nouvelles Acquisitions, where recent acquisitions
are kept until their ultimate places in the collection are assigned to
them. Among the objects shown here in 1900 were a crucifix of the
12th cent., several interesting French statues of the 13-16th cent.,
two Italian brasses (15-16th cent.), and several Madonnas, one of
the school of Jacopo delta Querela. By the windows, busts by Le-
moyne (*Trudaine), Chinard^ Houdon (*Lavoisier), and Pajou (*Le-
moyne). In the middle, Crown of Thorns (French, ca. 1500); Youth-
ful Christ (Florence, 15th cent.); *Bust of the young Louise Brong-
niart by Houdon. In the glass-case are models and other statuettes.
The *Collection of Modern Sculptures (Musee des Sculptures
Modernes), which forms a continuation of the Renaissance collection,
occupies the W. portion of the Vieux Louvre. Entrance by the
second door to the right of the Pavilion d'Horloge (PI. E), opening
into the —
Sallb de Puget (II), named after Pierre Paget of Marseilles
(1622-94), the most famous of the French followers of the theatrical
school of Bernini, which aimed exclusively at effect. Among his
works are, in the middle : 795. Perseus and Andromeda(1684) ; 793.
Hercules reposing (1660); *794. Milo of Croton attacked by a lion,
the best-known and most admired of his works (1682). On the wall
to the left, 796. Paget, Diogenes requesting Alexander the Great to
stand out of his light, a bas-relief with masterly treatment of the
vulgar types of the attendants ; *552. Coyzevox (see p. 107), Monu-
ment of Cardinal Mazarin, the allegorical figures of which are
also noteworthy. By the window: 880. Theodon, Atlas. Between
the windows, 754-757. P. Legros^ Hermse of the Seasons. By the
second window, the large 'Vase de Marly', of the French school, to
which also belong the two vases in the centre. 691, 692. Girardon,
Bronze model and a foot of the equestrian statue erected to
Sculptures, 2. LOUVKE. 107
Louis XIV. in the Place Vendome in 1699. — By the next window :
831. Theodon, Phaethusa converted into a reed. To the right : 487.
Fr. Anguier, Monument of Jacques de Thou (d. 1617^, with statues
of his two wives, that to the right by B. Prieur; 702-704. Sim. Gil-
Lain^ Louis XIIL, Louis XIV. as a child, Anne of Austria, bronzes
from the old monument on the Pont-au-Change. By the window,
764. Lemoyne, Bust of Mansart; Qbd.Desjardins, Bust of Colbert. —
The door on the left of the entrance leads to the —
Sallb de Coyzevox (I), named after Charles Antoine Coyzevox,
one of the ablest masters of the same school, especially happy in his
portrait-busts. In the centre: 485. Ft. Anguier^ Monument of Due
Henri de Longueville ; 699,700. G. Guerin, Efflgies of the Duke
and Duchess of Vieuville. On the wall to the right, named from
right to left: Coyzevox, 558. The Rhone, 555. Nymph with a shell,
561. Duchess of Burgundy as Diana, 560. Shepherd playing on the
flute, 556. Venus, 554. Le Brun, 559. Marie Serre, 562. Le Tellier,
563. Bossuet. Between the windows, 686. Remains of the old monu-
ment to Henri IV. on the Pont Neuf, by P. Francheville or Franqve-
ville. On the side next the entrance: 491. Mich. Anguier, Amphi-
trite; 687. R. Fremin, Flora; 684. Francheville , Divid and Goliath;
488. Ft. Anguier, Jacques de Souvre; 701. S. Guillain, Charlotte
de la Tremoille ; %^'^. Francheville, Orpheus; 688. Frernin, Diana;
512. Bourdin, Amador de la Porte; Bust of Colbert; 841. Wariii,
Louis XIIL; 660. Desjardins, Bust of Mignard; Bust of Richelieu.
— To the right of the entrance is the —
Sallb des Coustou (^III), in which are assembled the plastic
masterpieces of the pleasure-loving age of Louis XV. In the centre :
548. Nicolas Coustou, Adonis resting from the fatigues of the chase
(1710). Behind, Cupid with his dart, by F. G. (^Fr. Gillet ?; below is
the inscription by Voltaire : 'Qui que tu sois, voici ton maitre, il
Test, le fut, ou le doit etre'). 481. L. S. Adam, Lyric Poetry; 483.
Allegrain, Venus and Diana bathing. To the left, 672. Falconet, Mu-
sic; 549. Nic. Coustou, Caesar; 543. Guillaume Coustou the Elder,
Maria Lesczinska of Poland, queen of Louis XV. (1731) ; 7b'2.Pajou,
Statue of the same queen as Charity. Between, 520. Bust by
Caffieri ('?). By the first window. Bust of N. Coustou by G. Coustou.
Opposite, 550. Nic. Coustou, Louis XV. On the other side of the
door, 828. Slodtz, Hannibal ; 780. J. P. Pigalle, Mercury fastening
his sandals, a leaden statue formerly in the Luxembourg gardens.
Above, on the wall : 653-658. Martin Desjardins, Six bas-reliefs in
bronze from the statue of Louis XIV. in the Place des Victoires
(p. 192), now replaced by another. — Then the —
Salle de Houdon (IV), dedicated chiefly to Antoine Houdon
(Versailles, 1741-1828). By Houdon, in the centre of the room :
716. Bronze statue of the nude Diana, executed first in marble
for the Empress Catherine II. of Russia (1781). — To the right of
the entrance, and farther on to the right, Pajou , 111. Psyche
108 2. LOUVRE. Modern
(1790), 775. Baccliaiite. In a niche, 509. Bouchardon, Cupid car-
ving a bow out of the club of Hercules ; 681 . Francin (after Hou-
don), Bust of Gluck. — 750. P. Julien, Amalthea. — The following
busts are also by Houdon: Mlrabeau (two), Washington, Rous-
seau (bronze), Abb^ Aubert, Buffon, Diderot, Franklin, and Voltaire
(bronze). Pajou, Busts of Mme. Dubarry (774), Buffon (773), etc.
— Opposite the window: 782. Pigalle, Love and Friendship; 511.
Bouchardon, Model of the statue of Louis XV. that stood in the
Place de la Concorde, in bronze.
The Sallb de Chaudbt (V) 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 : 537. Clodion^ Bacchante ;
534. Chaudet, Cupid with a butterfly; 80d. Roland, Homer; 538.
Cortot, Daphnis and Chloe ; 650. Delaistre, Cupid and Psyche; 804.
Roman, Nisus and Euryalus. In the centre: 503. Bosio, Aristseus,
god of gardens; 651. Deseine, Mucins Scsevola; *524. Canova, Cupid
and Psyche; 748. Julien, Ganymede; 533. Chaudet, The young
ffidipus rescued by the shepherd Phorbas. — Round the hall, as we
return: 539. Cortot, Soldier of Marathon ; IQO. Lemire, Cupid; 514.
Bridan, Epaminondas ; 753. Legendre- Herat, Giotto ; *523. Canova,
Cupid and Psyche with the butterfly ; 667. Dupaty, Biblis changed
into a fountain; 506. Bosio, the Nymph Salmacis; 817. Ruxthiel,
Psyche borne by Zephyr (1814); 826. Sergell, Drunken faun. —
Beyond the door: 540. Cortot, Victory (bronze); 504. Bosio, Hyacin-
thus; 521. Caldelari, Narcissus; 648. Bebay, Mercury; *806. Statue
of Cato of Utica, begun by Roman, and finished by Rude.
The Salle de Rude (VI), named after the sculptor Francois
Rude (1784-1855), contains the most modern works admitted to
the Louvre (comp. p. 256). In the entrance and by the windows
are numerous medallions by David d' Angers. From right to left :
678. Foyatier, Spartacus; *747. Jaley, Louis XL; *493-495. Barye,
Bronze animals. Centaur and Lapith; 810. Rude, Mercury, in
bronze; 779. Perraud, Despair; Rude, *811. Maurice of Saxony,
*813. Joanof Arc, 815. Napoleon I. awakening to immortality (model),
809. Young Neapolitan fisher with a tortoise ;|789. Pradier, Sappho ;
David d' Angers, *566. Philopcemen wounded with a spear, 667.
Bust of F. Arago; 814. Rude, Christ; *670. Buret, Young fisher-
man dancing the tarantella, bronze; opposite, 746. Jaley, Prayer;
787. Pradier, Psyche; 800. Ramey, Theseus and the Minotaur, a
colossal group; 770. Nanteuil, Eurydice; *671. Duret, Neapolitan
Improvisatore, in bronze; *778. Perraud, Childhood of Bacchus;
661. Dumont, Genius of Liberty, a model of that on the July
Column (p. 71) ; opposite, 786. Pradier, Child of Niobe (after the
antique), 788. Atalanta's toilet.
The new Salle Carpeaux (adjoining the Salle de Rude) con-
tains works of Carpeaux : 531. Four quarters of the globe supporting
the sphere, model of the group on the Fontaine de TObservatoire
■■>-
MUSEE9 m LOUVRE.
PREMIER ETAGE.
. i;.r<,A«- &//>7 X ! P W" '■scalias d„ t' elagr
iE'T; D V [i O U VRK 1-
Sculptures. 2. LOUYRE. 109
(p. 285); *579. Dance, model of the group at the Op^ra (p. 79);
models of busts, etc.
The sculptures of the 'Mns^e Moliere', rescued from the burn-
ing Theatre Fran^ais (see p. 61), are temporarily exhibited in an
adjoining room.
To reach the Picture Gallery hence we turn to the right on leaving and
pass through the first pavilion, to the principal entrance of the New
Louvre, or we ascend the Escalier Henri II. (.<ee below), to the left in
the pavilion.
B. FIRST FLOOR.
The most important collection on the first floor of the Louvre is
the Picture Gallery, which occupies nearly the whole of the S. con-
necting gallery between the Old Louvre and the Tuileries (Galerie
du Bord de VEauJ, 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. 142), the Drawings (p. 143), the Mediaeval, Renais-
sance, and Modem Works of Art (p. 144), the Ancient Vases and
the Smaller Antiquities (pp. 147-149), the Jewels (p. 140), and
the Gems, Enamels, and Gold Ornaments (p. 138).
The Principal Entrance to the first floor is by the Pavilion
Denon (where sticks, etc., may be left), whence the Escalier Daru
(p. 91) ascends to the picture-gallery.
Ihose who wish may ascend the Escalier Henri II. (comp. p. 99), whence
they proceed to the right to the Collection La Caze (p. 14l), or to the left
to the Ancient Bronzes (p. 142) and the Drawings (p. 143).
On the landing of the Escalier Daru are a portion of the collection
of Etruscan terracottas (p. 148) and also (2369) the *Nike of Samo-
thrace, on a pedestal representing the prow of a trireme. This figure,
found in 1863, was originally erected in memory of a naval victory
won by Demetrius Poliorcetes about 305 B.C. 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 con-
ception 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). In a case to the left is a
Samothracian coin, showing a Victory in the attitude of the statue.
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; or we may ascend the seven steps to the right of the Nike
and reach a colonnaded vestibule and the Salle Duehatel (p. 114),
at the end of which is the Salon Carre (p. 115).
The Vestibtile 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 9'/2 in., cost 5 fr. Cheaper photographs
(10-20 fr. per doz.) are sold by the ordinary dealers (p. 42).
110 2. LOUVRE. ricture
**Picture Gallery.
At least Three Visits are necessary for even a superficial idea of the
importance of the gallery. We should be-in with the Salon Carre (p. 115),
next inspect the Italian pictures in the Salle Duchatel (p. 114), the Salle
des Primitifs (p. 117) , and the Grande Galerie (first part) , and finish the
visit with the Spanish works in the middle of the Grande Galerie. The
second day may be spent among the Flemish, Dutch, German, and British
pictures. The third day should be devoted to the French schools.
The impending opening of fourteen new rooms has occasioned such
extensive alterations in the arrangement of the pictures that we must con-
fine ourselves for the most part to a general critical review and an alpha-
betical enumeration of the chief works. — The large scientific catalogue
is at present out of print, but there is a Catalogue Sommaire for the entire
muse'e (1899 5 1 fr. 20 c.).
The Picture Gallery of the Louvre, the saloons of which have
an aggregate length of over 1/2 M. , comprises ahont 2500 se-
lect works , almost every school being represented by nnmerous
masterpieces. There are indeed some masters whose acquaintance
can be satisfactorily made in the Louvre alone. We recommend the
tourist to read the following general review of the most important
works, as well as the various incidental notices of particular pictures
by Mr. Crowe and other distinguished authorities, before proceeding
to view the gaUery itself.
Most visitors to the Louvre will of course be chiefly interested in
the Italian Painters. The works of the 14-15th cent, are all recent
acquisitions. Those of the Florentine School first attract our notice.
The gallery possesses one authentic work of Cimabue (No. 1260)
and one of Giotto [No. 1316). 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 Gozzolis Glory of St. Thomas
Aquinas (No. 1319; p. 118) affords an instance of the inveteracy
with which the artists of that age clung to mediaeval ideas. Fra
Filippo Lippi is admirably represented by a Madonna and Child
(No. 1344; p. 118); and Domenico Ghirlandajo by his powerfully
conceived Visitation, of the year 1491 (No. 1321 ; p. 118). Sandra
Botticelli is worthily illustrated by a charming Madonna of his early
period (No. 1296) and by the noble frescoes from the Villa Lemmi
(Nos. 1297, 1298). A Madonna and Child (no number) is attributed
to Piero delta Francesco, but many authorities dispute the correctness
of this ascription. Lorenzo di Credi's Madonna (No. 1263) may appear
to some rather sentimental. The strong and tonic art of Luca Signo-
relli may, perhaps, be almost better studied in the fragment of a large
composition (No. 1527) than in the Adoration of the Magi (No. 1526).
— Among the Ferrarese works we note the Court of the Muses by Lo-
renzo Costa (No. 1261) and the realistic but deeply felt Pieta of Cosimo
Tura (No. 1556). — Perugino, the chief master of the Umbrian school,
is well represented by an important early work, a round picture of
the Madonna with SS.'Rose and Catharine (No. 1569), by the Conflict
Gallery. 2. LOUVRE. HI
between Cupid and Chastity (1505; No. 1567J, by tlie St. Sebastian
from the Sciarra Gallery (No. 1566 a^, and by several other works.
— The Lonvre also possesses several important creations of Andrea
Mantegna, a master of Upper Italy : Mt. Parnassus (No. 1375) is
perhaps the most harmonious of these, but the Victory of Minerva,
the Madonna della Vittoria, and the small Crucifixion (Nos. 1376,
1374, 1373) deserve careful study. — The evolution of Venetian
painting may be traced in the San Giovanni Capistrano and St. Bernard
of Vivarini and Crivelli (Nos. 1607, 1268), the ably individualized
Condottiere of Antcnello da Messina (No. 1134), the fine double-
portrait of Gentile Bellini (No. 1156), the Madonna of Giovanni Bellini
(No. 1158), the St. Stephen of Carpaccio (No. 1211), and the Ma-
donna of Cima da Conegliano (No. 1259).
In pictures of the great Italian masters of the 16th cent. ('Cinque-
cento') the Louvre is richer than any other gallery on this side of the
Alps. Many of these were acquired by Francis I. In the first place
stands Leonardo da Vinci, whom the French are inclined to claim
as one of their own artists. It is true that the authenticity of some
of the works attributed to him here is contested. The small An-
nunciation of his early period (No. 1602a) is one of these. Another
is the 'Vierge aux Rochers' (No. 1599), which many critics hold to
be a copy, executed under the artist's supervision, of the picture
in London. The vigorous St. Anna (No. 159S) has also long passed
for a cartoon executed by a pupil, but there is a growing tendency
to hold all these works genuine. The great work of Leonardo in the
Louvre is, however, his Mona Lisa (No. 1601 ; p. 115), the most
celebrated female portrait in the world, the Sphinx-like smile of
which has exercised the wits of generations of poets and artists and
still fascinates in spite of the darkened condition of the canvas.
The portrait known as 'La Belle Ferronniere' (No. 1600) is better
preserved. A characteristic illustration of the state of religion in
Leonardo's time is afforded by the fact that he has used the same
model, and almost in the same attitude, for John the Baptist and for
Bacchus (Nos. 1597, 1602). — Among the numerous excellent pic-
tures of Leonardos school, those of Bernardino Luini (frescoes in the
Salle Duchatel) and Andrea Solario merit especial attention.
No gallery in Europe is so amply supplied with works of Raphael
as the Louvre. To his earlier period, before he had shaken off the
influence of Perugino's school, belong the charming little pictures
of St. George and St. Michael, which he is said to have painted for
the Duke of Urbino (Nos. 1503, 1502, p. 120). A gem of his Floren-
tine period is the 'Belle Jardiniere', painted in 1507 (No. 1496;
p. 116). To his early Roman period belongs the 'Vierge au Voile'
(No. 1497; p. 120). His last and ripest period is illustrated by the
portrait of Castiglione (No. 1505), the large Holy Family (No. 1498),
and the St. Michael conquering Satan (No. 1504). The last two works
however, painted in 1518 by order of Leo X. , as a gift for the king and
112 % LOUVRE. Picture
qneen of France, were executed ■witli considerable haste and witli
the help of pupils; the St. Michael, moreover, has heen transferred
to canvas and freely retouched. The famous portrait of the beautiful
Johanna of Aragon (No. 1507) appears to have been chiefly executed
by Giulio Romano. Thus, on the whole, it can hardly be said that
the works in the Louvre give an adequate impression of Raphael's
development and greatness. — Andrea del Sarto and Fra Bar-
tolomeo are well represented, the former especially by his celebrated
Caritas (No. 1514), the latter by a large Holy Family (No. 1154).
Correggio is seen at the Louvre in two works only,. but both of
these are fine : the Marriage of St. Catharine (No. 1117) and Jupiter
and Antiope (No. 1118).
Of all the great masters Titian is, perhaps, the most brilliantly
represented in the Louvre. The religious scenes are the most im-
portant. The Madonna with the rabbit and the Rest on the Flight
into Egypt (Nos. 1578, 1580) reveal the artist as a sympathetic delin-
eator of domestic idylls. The Christ at Emmaus (No. 1581) rather
approaches the genre style, but is lifelike and pleasing. The En-
tombment (No. 1584), perfect alike in lighting and colouring, in
grouping and action, and the imposing Christ crowned with thorns
(No. 1583) are full of the most effective and dramatic pathos. 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,
formerly known as the Venus del Pardo (No. 1587). Titian's unri-
valled skill in the delineation of vigorous manhood and womanly
beauty is illustrated by the picture known as Titian and his Mistress
(No. 1590), the Portrait of Francis I. (No. 1588), the Young man
with the glove (No. 1592, 'L'homme au gant'), and the allegorical
work referring to the departure of Alphonso Davalos, Marchese del
Vasto, the famous general of Charles V. (No. 1589). — Palma Vecchio
is represented by a fine Adoration of the Magi (No. 1399). An
injustice would be done to Giorgione, if we judged him by the
Rustic Festival (No. 1136), highly as this work has been praised.
— For the study of Paolo Veronese the Louvre is second only to
Venice. His large banqueting scenes and his Christ at Emmaus
(No. 1196) have stamped an indelible impression on Delacroix and
through him on the whole of modern French art.
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 were known only
in limited circles. However, the Louvre still contains more Spanish
works than any other gallery out of Spain. Among these are the
magnificent portrait of Philip IV. (No. 1732) and two celebrated
Infantas (Nos. 1731, 1735) by Velazquez. Murillo is still better re-
presented. The most famous of his works in this collection is the
Conception' (No. 1709), while the brilliant 'Nativity of the Virgin'
(No. 1710), the 'Cuisine des Anges' (No. 1716), the Beggar Boy
Gallery, 2. LOUVRE. 113
CNo. 1717), and tlie Holy Family (No. 1713) are also admirable
specimens of his power, Ribera is well represented, and a fine fe-
male portrait ty Goya has recently been acquired.
The Louvre is unusually rich in paintings of the Flemish School,
mainly of its later period. Among the earlier works the most note-
worthy is Jan van Eyck's Madonna revered by the Chancellor Rollin
(No. 1986). With this may be ranked Memling's large Madonna in
the Duohatel Collection (No. 2026), a Descent from the Cross by
Rogkr van der Weyden (No. 2196), and the Banker and his wife by
Quinten Matsys (No. 2029). The late-Flemish school is magnificently
represented by Rubens , by whose brush the gallery possesses 21
large scenes from the life of Marie de Medicis (Nos. 2085-2105 ;
pp. 126, 127). These large decorative works, remarkable for their
richness of colouring, their lifelike vigour, and their strangely effec-
tive combination of allegory and realism, were originally painted
for the Luxembourg Palace and have recently had their proper effect
restored by being assigned to a room by themselves. The other
pictures by Rubens, though somewhat inferior to those at Antwerp,
Munich, and Vienna, afford ample opportunity for a study of the
great painter. The broad humour of his FlemishFair (No. 2115)
exhibits him to us in an entirely new light. — The large and
splendid portrait of Charles I. of England (No. 1967) is the best of
the many fine works of Van Dyck which the Louvre possesses. —
The collection of 34 pictures by the ever-green David Tenters, on
whom Louis XIV. looked with contempt, now forms one of the chief
boasts of the gallery. More than half of them were presented by La
Gaze (p. 141) in 1869. — Snyders and Jordaens are also well re-
presented. — For Philippe de Champaigne, who died in Paris, see
the Introduction (p. xlv).
The Dutch Masteks 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. Rem-
brandt contributes no fewer than twenty works. The best of the
religious paintings are the Christ at Emmaus (No. 2539) and the
Angel of Tobias (No. 2536), a work of marvellous poetry and un-
excelled in lighting and harmony of motion. The two Philosophers
and the 'Carpenter's Family' (Nos. 2540-42) are charming interiors;
the Woman bathing (No. 2549) is another excellent though realistic
piece. The portraits are mostly of his later period. The most effective
is, perhaps, that of himself, painted in 1660 (No. 2552). The por-
traits of a young man and young woman (Nos. 2545, 2547) and
the portrait of a man from the La Caze collection (No. 2551) are also
admirable examples of his later period. The best manner of Frans
Hals is illustrated in his portraits of theBeresteyn family (Nos. 2386-
88), the portrait of Descartes (No. 2383), and the Laughing Girl
(No. 2384 ; 'La Boh^mienne'). Van der Heist is also well represented
by his Guild Masters (No. 2394; p. 129). — The most famous of the
Babdeker. Paris. 14th Edit. 8
114 2. LOUVRE. Picture
small genre pictures is Dow's Woman with tlie dropsy (No. 2348), but
this is excelled in technical delicacy hy Terburgs Officer and Girl
(No. 2587), Metsus Officer and Lady (No. 2459), and the marvellous
Interiors hy P. de Hooch (Nos. 2414-15). Jan Steens Tavern Festival
(No. 2578) is an admirable specimen. — Among the numerous ex-
cellent landscapes of the Dutch School the palm may be given to
J. van Ruysdael's Stormy Sea and Sunlight (Nos. 2568, 2560) and
Hoibema's Mill (No. 2404).
The only Early German painter adequately represented in the
Louvre is Holbein^ the best of whose eight portraits are those of
Kratzer the Astronomer, Erasmus, Abp. Warham of Canterbury, and
Anne of Cleves. Notice may also be taken of the table-top painted by
Sebald Beham and the Descent from the Cross of the Cologne School.
There are but twenty British Pictures in the Louvre. The
attentive student of the landscapes of Wilson^ Gainsborough^ Con-
stable, and Bonington, and of the portraits of Raeburn, Hoppner, and
Lawrence, may nevertheless form an idea of the singular role played
by this school as in some measure the connecting link between
French art of the 18th cent, and the school of 1830.
Our notes on the French School will be found in the Intro-
duction (p. xxxv).
Arrangement of the Pictures. As indicated \i pp. 90 & 110,
it is not at present practicable to describe the pictures in the exact
order in which they are distributed throughout the various saloons.
Only a few rooms were ready at the time of going to press. For the
rest we simply give alphabetical lists of the most important
pictures, arranged by schools, and indicate the rooms in which they
will in all probability be placed. As labels, with the names of the
artists and the subjects of the paintings, have also been placed on
the frames, there should be no great difficulty in finding the works
selected below. The painters' family names, and not the names
by which they are more commonly known, are given j thus,
Sanzio (more correctly Santi) instead of Raphael, Vecellio instead
of Titian, etc.
From the Vestibule (p. 109) we enter the —
Salle Duch&tel, which contains five paintings' bequeathed in
1878 by the Comtesse Duchatel, viz. : 421. Ingres, (Edipus solving
the riddle of the Sphinx (1808); *422. Ingres, The Spring, the
artist's masterpiece, finished in 1856; *2026. Memling, Madonna
and Child, with SS. James and Dominic, and the donors, a work of
solemn dignity and appropriate colouring ; *2480, *2481. Ant. Moro
(Sir Anthony More), Portraits, probably Louis del Rio, an official of
Brabant, and his wife.
This room also contains several frescoes of Bernardino Luini,
transferred to canvas; 1357, 1358, 1359, *1360, *1361. Two boys
with vine-foliage, Nativity, Adoration of the Shepherds, and Christ
pronouncing a blessing.
Gallery. 2. LOUVRE. 115
Oil our first visit to the gallery it is, however, advisable to traverse
the Salle Duchatel without stopping and begin our inspection with
the —
**Salon Carr6, which, like the Tribuna in the Ufflzi at Florence,
contains the gems of the collection. The ceiling is richly sculptured
by Simart.
To the right of the entrance: *2113. Rubens, Helena Fourment,
second wife of the artist, and two of her children (unfinished);
*1505. Raphael, Portrait of Count Baldassare Castiglione, a poem
regarding which still exists, painted about 1516, with masterly
management of the different shades of colour (comp. p. Ill);
**1117. Correggio, Betrothal of St. Catharine, 'with a celestial ex-
pression in the faces', says Vasari.
**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'.
Leonardo worked four years on tMs painting, and then left it un-
finished. Any one desirous of seeing how far art can succeed in imitating
nature should examine this beautiful head, says Vasari.
*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. *2547. Rembrandt, Portrait of Hendrickje Stoffels
(1652).
*1590. Titian, 'La Maitresse du Titien', a girl at a toilet-table,
with a man behind her with two mirrors, perhaps Laura Dianti and
Duke Alphonso of Ferrara, painted shortly after 1520.
'The light is concentrated with unusual force upon the face and bust
of the girl, whilst the form and features of the man are lost in darkness.
We pass with surprising rapidity from the most delicate silvery grada-
tions of sunlit flesh and drapery, to the mysterious depth of an almost
unfathomable gloom , and we stand before a modelled balance of light
and shade that recalls Da Vinci, entranced by a chord of tonic harmony
as sweet and as thrilling as was ever struck by any artist of the Vene-
tian school." C. & C.
Above: *1193. Paolo Veronese, Christ in the house of Simon
the Pharisee, painted in 1570-75. — 1464. Tintoretto (Jac. Robusti),
Susannah and the Elders; 1221. Annibale Carracci, Pieti.
**1498. Raphael, 'Holy Family of Francis I.' (painted at Rome
in 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.
Above (no number), Guido Reni, Hercules and Achelous.
*741, N. Poussin, Diogenes tlirowing away his bowl. Above,
1427. Jac. da Ponte (Bassano), Descent from the Cross. *1731.
Velazquez, Infanta Margaret, afterwards wife of Leopold L of Austria
(*a child, but a royal child, destined to be a queen').
319, 320. Claude Lorrain, Sea-piece, Landscape.
116 2. L OUTRE. Picture
**1496. Raphael, Madonna and Child -^ith 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
gestnres 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' (Springer:
'■Raphael d- Michael Angela').
1644. Italian School of the 16th cent., Portrait of a youth,
formerly ascribed to Raphael, perhaps by Franciahigio. Above,
437. Jouvenet f^le Grand'), Descent from the Cross (1697). Above
the door: 1150. Barocci, Virgin enthroned; *1134. Antonello da
Messina, Portrait of a man, generally known as the Condottiere
(1475).
*1598. Leonardo da Vinci, Madonna and Infant Christ with
St. Anne.
This cartoon was bronght to France by Leonardo and was probably
executed by himself. It, however, afterwards found its way back to Italy,
where Eichelieu bought it in 1629. The drapery of the Madonna has lost
its colour. — There are several sketches for this picture at Windsor.
No number, Guido Reni, Hercules on the funeral pyre.
*288. Foucquet, Portrait of Guillaume Juvenal des Ursins, Chan-
cellor of Charles VII. and Louis XI. ; *1190. Paolo Veronese, Holy
Family : *743. Poussin, Portrait of the artist in his 56th year. Above,
1143. Guercino, Patron-saints of Modena.
**1192. Paolo Veronese, Marriage atCana, finished in 1563,
a perfect 'symphony in colours'. This is the largest picture in the
collection, being 32 ft. long and 21 ft. high, and occupying nearly
the whole S. wall.
lu all probability it celebrates the marriage of Eleanor of Austria to
William Gonzaga in 1561. Hence the numerous portraits, the identity of
which has been much canvassed. The musicians are portraits of Venetian
painters of the day. Paolu Veronese himself, in white, plays on the viol,
behind him Tintoretto with a similar instrnment. on the other side Titian
with a bass-viol, and the elder Bassano with a flute.
*1592. Titian, Young man in black, holding a glove, or 'L'Homme
au Ganf, an admirable portrait of his middle period (comp. p. 112) ;
1354. B. Luini. Infant Christ asleep. *1588. Portrait of Francis I.
of France, painted about the year 1530 from a medal, and yet re-
producing the characteristically quaint features and royal bearing
of that monarch. Above, 1219. Annilale Carracci, The Madonna
appearing to St. Luke and St. Catharine.
*1504. Raphael, St. Michael the conqueror of Satan, painted in
1518 for Francis I. of France, but often retouched; a work of sub-
lime poetical character and strikingly sudden in the action (comp.
p. 111). Above (no number), Guido Rent Hercules and the hydra.
Above the door to the Galerie d'Apollon (p. 137) : 1242. After
Pontormo (Jacopo CarrucciJ, Visitation.
Oallery. 2. LOUVRE. 117
*1584. Titian, Entombment of Christ, painted for the Duke of
Mantua about 1523.
A picture of marvellous effectiveness in form and expression. The
charm of its colouring culminates in the contrast between the high lights
of the heads and the sombre gradations of the background.
Above, *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.
**1583. Christ crowned with thorns, painted about 1560.
'The pictures of this period show various allusions to antiquity. Ti-
tian seems to have been specially interested in the Laocoon. The im-
pression produced on him by that work is most worthily utilised in the
chief figure in his 'Crowning with thorns', although the master's efforts
to attain fidelity to nature have led him into exaggerations foreign to
antiquity. — Strangely enough, though warm and golden in general tone;
the picture has less variety and more uniformity of colour than usual.'
C. dt C.
Above, 1538. L. Spada, Concert.
*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.
Above, *1154. Guido Rem, Dejanira carried off by the Centaur
Nessus. — Over the entrance to the Salle Duchatel : 723. Nic.
Poussin, St. Francis Xavier resuscitating a dead woman in Japan,
painted in 1641.
We may now pass through the door nearly opposite and enter
the Grande Galerie (p. 119); but in order to obtain a better chrono-
logical survey of the Italian School, it is advisable first to visit the
so-called Salle des Primitifs, the first saloon on the right.
The Salle des Primitifs (formerly known as the Salle des Sept
Metres'), or Room VII, contains an admirable collection of pictures
of the earlier Italian School, particularly by Florentine masters of
the 15th century.
On the right: 1268. C. Orivelli, St. Bernardino of Siena; 1400.
Palmezzano, Body of Christ supported by angels; *1211. Carpaccio,
St. Stephen preaching at Jerusalem; *1259. Cima da Conegliano,
Madonna and Child; 1394. Montagna, Concert of children; Gentile
Bellini and his School, *1156. Portraits, 1157. Reception of a Vene-
tian ambassador at Cairo; *1158. Giov. Bellini {f), Madonna with
SS. Peter and Sebastian; 1384. Massone, Nativity, with saints and
donors. — The following four pictures were painted for 'II Paradise',
a room of Isabella d'Este, Duchess of Mantua (see photograph of II
Paradise at the entrance of this room): 1261. Lor. Costa, Court of
the Muses, held by Isabella d'Este, an attractive allegory; Andrea
Afan«65rna,*l 375. Mount Parnassus, 1376. TheVices banished by Wis-
dom, companion to No. 1375 ; 1567. Perugino, Conflict between Cupid
and Chastity. — Between Nos. 1375 and 1376 is No. *1374. Madonna
della Vittoria, one of iWanfey/ia's last works, painted about 1495 for
Giov. Franc. Gonzaga, Duke of Mantua. — Above, 1556. Cosimo
118 2. LOUYRE. Picture
Tura^ Pieta, a crude work, but charged with feeling; 2721. North
Italian School (c. 1500), Annunciation and saints. — Perugino^
1566a. St. Sebastian (a late work), 1566. St. Paul, 1565. Holy
Family with angels; 1279, 1278. Gentile da Fahriano, Scenes from
the life of the Virgin.
*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 flesb tone.'
Crowe d- Cavalcaselle.
1665. Sienese School, Mt. Calvary; 1383. Simone Martini, Christ
on the way to Calvary.
On the wall at the end: *1312. Giotto, St. Francis of Assisi re-
ceiving the stigmata; below, Vision of Innocent III., the same pope
confirming the statutes of the order of St. Francis, and St. Francis
preaching to the birds : a genuine, signed picture, painted for the
Pisans. — *1260. Cima&ue, Virgin and angels, a strange composition
resembling a Russian icon. — 1151. Bartolo, Presentation in the
Temple.
The door in this wall (generally closed) lead:? to the upper'landing of the
Escalier Daru, where a few fine early-Italian pictures are kept (comp. p. 137).
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;
Fra Angelica daFiesole, 1293. Martyrdom of SS. Cosmas andDamian,
1291. Daughter of Herodias dancing. — Above, 1273. Paolo Vccello,
Battle.
*1319. Benozzo Gozzoli, Triumph of St. Thomas Aquinas.
Above is Christ, with Paul. Moses, and the Evangelists. In the centre
of the glory is the celebrated theologian between Aristotle and Plato ; at
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 Angelica da Fiesole, Coronation of Mary, with acces-
sories, extolled byVasari, 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 (an early work); *1296. Botticelli, Madonna with the
Child and John the Baptist (a fine youthful work); *1343. Fra
Filippo Lippi, Nativity. D. Ghirlandajo, 1322. Portraits of a man
and a boy; *1321. Visitation, fine alike in colouring, line, and ex-
pression. *1263. Lor, di Credi , Madonna and Child with saints ;
1167. Fr. Bianchi, Madonna enthroned, between SS. Benedict and
Quentin; 1607. B. Vivarini, San Giovanni da Capistrano. — Above
the door: 1512. Lo Spagna (v not Raphael), God the Father and two
angels, frescoes removed from the Villa Magliana near Rome. —
*1373. Mantegna, Crucifixion, one of the predelle of the large altar-
piece of San Zeno at Verona.
Gallery. 2. LOUVRE. 119
The*Grande Galerie, or Room VI, 1230 ft. in length, is divided
into six bays, marked A, B,C, D, E, F, on the dividins; arches. The
first sections contain the works of the Italian Schools of the
Rbnaissanue ('Cinquecento'), so far as these have not found a place
in the Salon Carre'.
Albani, 1111. Diana and Actceon.
AlberUnelU, *1114. Madonna and Child, with SS. Jerome and
Zenohius.
Amerighi (Michelamjelo), see Caravaggio.
Bagnacavallo, 1438. Circumcision.
Barbarelli (Giorgio), see Giorgione.
Barbieri, see Guercino.
Barocci (Fed.), 1149. Circumcision.
Bartolomeo (Fra), 1153. Annunciation. — *1154. Holy Family
(1511).
'Christ gives the ring to the kneeling Catherine of Siena. This charming
idea, rendered with Leonardesque elegance, conveys a sense of great affec-
tion and veneration towards Christ on the part of his mother, expressed
chiefly by movements emulating those of the Bella Giardinlera in softness."
C. d: C.
Bassano (Jacopo da PonteJ, 1425. Wedding at Cana.
Berrettini (Pietro), 1163. Madonna; 1165. Romulus and Remns.
Boltraffio, *1169. Madonna of the Casio Family.
Bonifazio, 1170. Resurrection of Lazarus; 1171, 1172. Holy
Family.
Bordone, 1179. Portrait; 1180. Man and child.
Borgognone (Ambr.), 1181. Presentation in the Temple; 1182.
St. Peter of Verona and a kneeling woman.
Bronzino (Agnolo), 1183. Christ and the Magdalen; 1184. Por-
trait of a sculptor.
Calcar (Johann von), 1185. Portrait of a young man.
Caliari (Paolo), see Veronese.
Canaletto (Antonio Canale), *1203. Grand Canal at Venice.
Caravaggio, *1121. Death of the Virgin; 1122. Fortune-teller;
1123. Concert; *1124. Portrait of Alof de Wignacourt, Grand Master
of the Knights of Malta (1601).
Carracci (Annibale), 122 L Martyrdom of St. Stephen; 1232.
Fishing; 1233. Hunting.
Carrucci (Jacopo), see Pontormo.
Cesari, surnamed Cavaliere d'Arpino, 1256. Diana and Aeticon.
Domenichino, *1613. St. Cecilia; 1610. Triumph of Love.
Dosso Dossi, 1276. St. Jerome.
Fasoli (Lorenzo di Pavia), 1284. Holy Kinship.
Feti, 1237. Melancholy ; 1238. Country life.
Francia (Francesco), 1435. Nativity ; *1436. Crucifixion.
Garbo (Raffaelino del), 1303, Coronation of the Virgin.
Garofalo, 1553. Holy Child asleep.
Ghirlandajo (Benedetto), 1323. Christ on the way to Golgotha.
120 2. LOUVRE. Picture
Ghirlandajo (Ridolfo), 1324. Coronation of the Yirgin.
Giorgione, 1135. Holy Family.
Grimaldi. 1327. Washerwoman.
Guardi. 1330-1333. Venetian fetes.
Guercino, 1139. Raising of Lazarus; 1146. Hersilia separating
Romulus and Tatius.
Guido Rem, 1439. David with the head of Goliath; 1447. Ecce
Homo; 1450. St. Sebastian.
Luini (Bernardino), 1353. Holy Family ; *13o5. Salome with the
head of John the Baptist; 1356. Forge of Vulcan.
Manfredi, 1368. Fortune-teller.
Maratta (C), 1379. Portrait of Maria Maddalena Rospigliosi.
Marco da Oggiono, 1382. Holy Family; *1382a. Madonna.
Mazzola, see Parmiyiano.
Mola (Pier Francesco), 1390. Preaching of John the Baptist;
1392. Vision of St. Bruno.
Palma Vecchlo, *1399. Adoration of the Shepherds.
Panetti (Dom.), 1401. Nativity.
Panini (Giov. P.J, 1402. Banquet; 1408. Interior of St. Peter's
at Rome; 1409. Concert at Rome.
Parmiyiano, 1385, 1386. Holy Families.
Pellegrini (Arit.), 1413. Allegory.
Perugino (not Raphael), *1509. Apollo and Marsyas.
Piero di Cosimo, 1416. Coronation of the Virgin.
Pinturicchio, 1417. Madonna and Child.
Piombo (Sebastiano del), 1352. The Salutation (Rome, 1521 ; un-
finished), a most impressive picture.
Ponte, see Bassano.
Pontormo, 1240. Holy Family; 1241. Portrait of an engraver.
Primaiiccio (copy of), 1433. Concert.
Raiholini, see Francia.
Ramenyhi, see Baynacavallo.
Raphael, *1497. Madonna with the veil, also called the Virgin
with the diadem (p. HI); 1500. John the Baptist in the wilderness,
probably genuine, but completely ruined; *1501. St. Margaret,
painted, according to Vasari, almost entirely by Giulio Romano;
*1502. St. Michael (an early work); 1503. St. George and the dragon;
*1506. Portrait of a young man, painted after 1515 (long erroneously
regarded as a portrait of himself); *1507. Portrait of Johanna of
Aragon, painted in 1518 (the head only, according to Vasari, by
Raphael, the rest by Giulio Romano) ; 1508. Portraits ; 1509a (?),
Head of St. Elizabeth. — ibii. School of Raphael, St. Catharine
of Alexandria ; 1513. After Raphael, Madonna of Loretto (original
lost).
Rerti, see Guido Reni.
RicciareUi, surnamed Daniele da Volterra, 1462. David as con-
queror of Goliath.
OalUry. % LOUVRE. 121
Riccio (Ft.), 1463. Holy Family.
Rohusti fJac), see Tintoretto.
Romano (Giulio), *1418. Nativity ; 1420. Triumph of Titus and
Vespasian; 1421. Venus and Vulcan; 1422. Portrait.
Rosa (Salvator), 1478. Saul and the Witch of Endor; *1479.
Cavalry engagement; 1480. Scene in the Abruzzi, with soldiers.
Sacchi, *1488. The four great Church Fathers.
Santi (Sanzio)^ see Raphael.
Sarto (Andrea del), *1514. Charity (painted in 1518); 1515,
.1516. Holy Family.
Savoldo, 1518, 1519. Portraits.
Signorelli (Luca), *1526. Adoration of the Magi; *1527. Frag-
ment of a large composition.
Solario (Andrea), *1530. 'Madonna with the green cushion' (rich
and radiant in colouring, with a beautiful landscape); *lo31. Por-
trait of Charles d'Amboise; *1532. Crucifixion (1503; full of ex-
pression and fascinating in colour) ; 1533. Head of John the Baptist.
Solimena, 1534. Heliodorus expelled from the Temple.
Spagna, 1539. Nativity.
Strozzi, 1542. Madonna; 1543. St. Anthony of Padua.
Tiarini, 1546. Repentance of St. Joseph.
Tiepolo, 1547. Last Supper.
Tintoretto, *1465. Paradise; 1467. Portrait; 1468. Susannah and
the Elders; 1469. Madonna and Child, with saints and donors;
1470. Pietro Mocenigo ; 1471, 1472. Portraits.
Titian, *1577. Madonna and Child, with saints. — *1578. 'La Ma-
donna delConiglio', or the Virgin with the rabbit, painted in 1530.
'A master-piece in which Titian substitutes for the wilds of Bethlehem
the lovely scenery of the Isonzo and Tagliamento. He represents the
Virgin seated on the grass with her hand on a white rabbit, and St. Ca-
therine by her side stooping with the infant Christ : a charming group in
the corner of a landscape, — a group on which all the light of the picture
is concentrated , whilst the broad expanse behind with the wooded
farmstead in its right, the distant village, the chain of hills, and the
far-off mountains lost in blue haze, lies dormant under the shade of a
summer cloud. St. Catherine and the Virgin are both portraits.' — C. d- C.
1579. Holy Family (perhaps not entirely by the master's own
hand); *1580. Flight into Egypt.
*1581. Christ and the two disciples at the Supper of Emmaus,
painted about 1547.
'A genre picture in monumental setting, a mixture of the common-
place and the sublime, forming a kind of precursor to that naive and
piquant mode of rendering the sacred narrative which was afterwards
rendered almost classical by Paolo Veronese." C. tt C.
1582. Christ on the way to Golgotha; 1585. St. Jerome (in a
fine moonlit landscape) ; 1586. Council of Trent.
**1687. Jupiter and Antiope, known as the 'Venus del Pardo',
painted in 1574. Comp. p. 112,
'Though injured by fire, travels, cleaning, and restoring, the master-
piece still exhibits Titian in possession of all the energy of his youth.
122 2. LOUVRE. Picture
and leads ns back involuntarily to the days when he composed the
Bacchanals. The same beauties of arrangement, form, light, and shade,
and some of the earlier charms of colour are here united to a new scale
of eflfectiveness due to experience and a magic readiness of hand. . . . The
shape of Antiope is modelled with a purity of colour and softness of
rounding hardly surpassed in the Parian marble of the ancients."
C. d' G.
*lo89. Allegory, painted for Alphonso Davalos, Marchese del
Vasto, representing that general taking leave of Ms wife when
summoned by the emperor to Vienna in 1532 to fight against the
Turks (see also p. 112).
'As an allegorical creation and as a work of a potent master of colour,
Titian's canvas is one of the most entrancing that was ever created.
There is such perfect sweetness of tone, such a rich strain of harmony
in tints, such a solemn technical mastery — that we can do no more than
look on and wonder." C. <& C.
*1591. Portrait of a man in black, resembling No. 1588 (see
p. 116), and painted at the same period; 1593, 1594. Portraits.
Tisi (Benvenuto), see Garofalo.
Turchi^ 1560. Death of Cleopatra.
Vecelli, see Titian.
Veronese^ 1187. Destruction of Sodom; 1188. Susannah and the
Elders; 1189. Swoon of Esther (very lifelike and dramatic); 1191.
Holy Family; 1194. Bearing of the Cross (unfinished); 1195.
Golgotha; *1196. Christ at Emmaus (to the right, portraits of the
painter, his wife, and his brother); 1199. Young mother.
Vinci (Leonardo da), 1597. John the Baptist (comp. with No.
1602). — *1599. Holy Family, known as *La Vierge aux Rochers',
a work of the highest merit (the light on the flesh-tints is still bril-
liant, but the shadows have become very dark; comp. p. 111). —
*1600. Female portrait.
'It was formerly, without any authority, called La Belle FerronnUre
(a mistress of Francis I.), but is probably the portrait of Lucrezia Crivelli,
the mistress of Ludovico Sforza , and must, therefore, have been painted
at Milan. The figure is remarkable for its graceful and noble bearing,
and attractive owing to the gentle tinge of melancholy which pervades
the features.' Kugler.
1602. (school-piece), Bacchus, originally composed as John the
Baptist in the Wilderness ; 1602a. Annunciation. — 1603. Marco da
Oggiono (?), Copy of Leon, da Vinci's fresco of the Last Supper
(at Milan), one-third smaller than the original; 1604. School of
Leon, da Vinci (perhaps Cesare da Sesto\ Madonna with the scales;
1605. School of Leonardo da Vinci^ Portrait.
Zampieri^ see Domenichino.
Florentine School (15th cent.), 1661. Madonna and saints.
Venetian School (16th cent.), 1672, 1673. Portraits.
The central part of the Grande Galerie is devoted to the Spanish
School.
Collantes, 1703. Moses and the Burning Bush.
Gallery. 2. LOUVRE. 123
Goya, 1704. Guillemardet, French ambassador at Madrid ; no
number, *Portrait of a woman.
Herrera^ 1706. St. Basil expounding his doctrines.
Murillo, *170S. Immaculate Conception. — **1709. The Imma-
culate 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. — **1710. Birth of the
Virgin (1655) ; 1712. Madonna with the rosary (early work); *1713.
Holy Family (the light and the harmonious colouring are of great
beauty); 1714. Christ in Gethsemane; 1715. Scourging of Christ,
on marble (a singular mixture of mysticism and realism); .*1716.
Miracle of St. Diego, known as the 'Cuisine des Anges' (a poor
convent provided with food by angels); *1717. Beggar-boy 'cher-
chant k d^truire ce qui I'incommode' (the intent expression is full
of life and the light admirable).
Spagnoktto (Ilihera)^ *1721. Adoration of the Shepherds, with
charming Madonna of the Spanish type ; 1722. Entombment ; *172.8.
St. Paul the Hermit.
Velazquez, *1732. Philip IV. of Spain, in a simple but majestic
style ; *1734. Thirteen portraits , including Velazquez himself and
Murillo (left).
Zurharan, *1738. Conference of St. Peter of Nola and St. Ray-
mond of Penuaforte; 1739. Funeral of a bishop.
Next to the Spanish pictures come those of the British School.
Beechey, 1801. Brother and sister.
Bonington, 1802. Francis I. and theDuchesse d'Etampes; 1803.
Card. Mazarin and Anne of Austria; *1804. View at Versailles;
1805. View of Venice; 1805a. The old governess.
Constable, 1806. Village; 1807. The rainbow; *1808. Weymouth
Bay; 1809. Hampstead Heath ; 1810. The Glebe Farm (spoiled).
Gainsborough, 1811, 1812. Landscapes.
Hoppner, *1812a. Countess of Oxford.
Laicrence, *1813. LordWhitworth; 1813a. Julius Angerstein and
his wife"; no number, *Portrait of a lady (sketch).
Morland, 1814. The halt.
Opie, 1816. The woman in white.
Philips, no number, Portrait of Lamartine.
Baeburn, 1817. Naval pensioner.
Bamsay (Allan), 1818. Charlotte Sophia, Princess of Wales.
Bomney, no number, Sir John Stanley.
Wilson, *1819. Landscape.
German School. Beham (Hans Sebald), •2701. Table -top
painted with four scenes from the life of David (in the second field.
124 2. LOUVRE. Picture
portrait of Abp. Albrecht of Mayence, for whom the table was painted
in 15345 in the fourth, portrait of the artist).
Cranach the Elder, 2703. Venus in a landscape; *2703a. Portrait.
— School of Cranach, no number, Portrait.
Denner, 2706. Old woman, of unrivalled finish.
Dietrich, 2708. Woman taken in adultery.
Dilrer, *2709. Head of an old man; 2709a. Head of a child (both
a tempera; under glass).
Elsheimer, 2710. Rest on the flight into Egypt; 2711. The Good
Samaritan.
Glltlinger, *2711a. Adoration of the Magi.
Heinslus, 2712. Princess Victoire, daughter of Louis XV.
Holbein the Younger, *2713. Portrait of Nic. Kratzer of Munich,
astronomer to Henry VIIL of England, dated 1528, the finest Hol-
bein in the Louvre; *2714. William Warham, Archbishop of Canter-
bury, at the age of seventy, dated 1528; *2715. Erasmus of Rotter-
dam, exceedingly lifelike and admirably executed, with marvel-
lously expressive hands (replicas at Longford Castle and Bale) ;
2716. Portrait of an elderly man; 2717. Sir Thomas More, the English
Chancellor, a small and spirited picture, probably painted soon after
the painter's arrival in England (1526); *2718. Anne of Cleves,
fourth wife of Henry VIII., a late work ; 2719. Portrait of Sir Richard
Southwell, a replica, or perhaps a skilful copy of the picture at
Florence; 2720. Portrait.
Kauffmann (Angelica), *2722. Portraits of Baroness Kriidener
and her daughter.
Mengs (Raphael), 2723. Queen Maria Amelia Christina of Spain.
Mignon, *2724. Chaffinch's nest; 2725-2729. Fruit-pieces.
Pencz (?), 2730. St. Mark.
Rottenhammer, 2732. Death of Adonis.
Wyrsch [Melchior; Swiss), 2751, 2752. Portraits.
Master of the Death of the Virgin, (Cologne), 2738. Last Supper,
Preparation for the Entombment, and St. Francis receiving the stig-
mata.
German School of the 15th cent., 2736bis. Madonna.
German School of the 16th cent., *2741. 2743. Portraits.
Cologne School of the 1 5th cent., *2737. Descent from the Cross.
The Flemish School occupies the last part of the Grande Galerie,
and also the VanDyck Eoom and the Rubens Gallery. The arrange-
ment of these rooms was not completed at the time of going to press,
so that we still adhere to an alphabetical list.
Bril (Matthew), 1906, 1907. Stag-hunting.
Bril (Paul), 1908. Landscape with duck-hunters ; 1909. Diana
and her nymphs.
Brouwer, 1912. Dutch tavern; 1913. Tavern scene; 1914. The
writer; 1915. The operation; *1916. The smoker.
Gallery. 2. LOUVRE. 125
Brueghel (Pieter, the Elder; ^Peasant Brueghel')^ 1917a. Parable of
the Seven Blind Men.
Brueghel (Jan; 'Velvet BruegheV), 1919. The Earth, or the Ter-
restrial Paradise 5 1920. Air; 1921. Battle of Arbela; 1922-24. Small
landscapes; 1925. The bridge of Talavera.
Champaigne (Phil, de), 1927. Christ at the house of Simon the
Pharisee; 1928, 1929. Last Supper; 1930. Crucifixion; 1932. Pieta;
*1934. The nuns Catherine Agnes Arnaud and Catherine de Ste.
Suzanne, the painter's daughter (to the right), praying for the re-
covery of the latter from paralysis; 1937. Louis Xni. crowned by
Victory ; 1938-47. Portraits, most of them excellent.
Cocx or Coques (Gonzales), 1952. Family festival.
Grayer (G.de), 1953. Ecstasy of St. Augustine; *1954. Equestrian
portrait of Ferdinand of Austria, Stadtholder of the Netherlands.
David {Gerard'^), 1857. Wedding at Cana.
Duchdtel, 1960. Equestrian portrait.
Dyck, see Van Dyck.
Jan van Eyck^ *1986. The Chancellor Rollin revering the Vir-
gin, with a beautifully-executed landscape.
The spare and big-boned head of the chancellor is one of the most
fascinating of Van Eyck's male portraits. The Virgin possesses neither youth
nor beauty, and yet there is about her a solemn and even imposing ir,
Francken the Younger, 1990. The Prodigal Son; 1991. Passion.
Fyt, 1992. Game and fruit; 1993. Game in a larder; 1994. Dog
and game; 1995. Game and hunting gear.
Gossaert (Jan), see Mabuse.
Hemessen, 2001. Tobias restoring his father's sight.
Euysmans (C), 2002-2009. Landscapes.
Jordaens, 2011. Christ driving the money-changers out of the
Temple, somewhat trivial in composition but masterly in its realistic
vigour; 2012. The Evangelists; 2013. Infancy of Jupiter; 2014.
Bean-feast; *2015. Concert after supper; *2016. Admiral de Ruyter;
2017. Mythological banquet.
Mabuse, 1997-1998. Diptych, with Madonna and Chancellor
Carondelet; 1999. Benedictine.
Matsys ox Metsys (Quinten), *2029. Money-changer and his wife;
2030. Christ blessing.
Meel, 2022. Halt; 2023. Travellers' meal.
Memling, *2024. John the Baptist; *2025. Magdalen; *2027,
2027a. Betrothal of St. Catharine, with John the Baptist and the
donor; *2028. Triptych, with the Martyrdom of St. Stephen, Re-
surrection, and Ascension.
Metsys (Jan), *2030a. David and Bathsheba.
Meulen (A. van der), 2031-2050. Scenes from the reign of
Louis XIV.
Oost the Elder (J. van), 2067. San Carlo Borromeo administering
extreme unction to the plague-stricken.
Pourlus the Younger (F.), 2068. Last Supper; 2069. St. Francis
126 2. LOUVRE. Picture
of Assisi receiving the stigmata; 2070, 2071. Henri IV. of France ;
2072, 2073. Marie de Medicis; 2074. Guillaume du Vair, keeper of
the Great Seal.
Rubens, *2075. Flight of Lot, signed and dated (1625) ; *2076.
Elijah in the wilderness (painted as a pattern for tapestry); 2077.
Adoration of the Magi ; 2078. Madonna; 2079. Madonna in a garland
of flowers; 2080. Flight into Egypt (sketch) ; 2081. Raising of La-
zarus; 2082. Crucifixion ; 2083. Triumph of Religion (for tapestry) ;
*2084. Tomyris, Queen of the Scythians, causing the head of Cyrus
to he dipped in a vessel full of hlood.
*2085-2105. Series of 21 large paintings, all hut three in the new
Ruhens Gallery. Marie de Medicis, widow of Henri IV., for a time
regent for her son Louis XIII. , and afterwards exiled, returned to
France in 1620, and resolved to emhellish her Luxembourg Palace
with paintings on a very extensive scale. Rubens, to whom the task
was entrusted, came to Paris in 1621, where he painted the sketches
(eighteen of which are now at Munich), after which he returned to
Antwerp and executed the pictures there with the aid of his pupils.
In 1625 the completed works were brought to Paris, where they
received a few final touches from Rubens himself. The scenes are
as follows : — 2085. The three Fates spin the fortunes of Marie de
Medicis. — 2086. Birth of Marie (1575, at Florence); Lucina, the
goddess of births, is present with her torch; Florentia, the goddess
of the city, holds the new-born infant; on the right is the river-
god of the Arno. — 2087. Her education, conducted by Minerva,
Apollo, and Mercury; on the right are the Graces. — *2088. Amor
shows the portrait of the princess to Henri IV. ; above are Jupiter
and Juno; beside the king appears Gallia. — 2089. The nuptials;
the Grand Duke Ferdinand of Tuscany acts as proxy for his niece's
husband. — 2090. The queen lands at Marseilles, — 2091. Wedding
festival at Lyons; Henri IV. in the character of Jupiter, and Marie
de Medicis in that of Juno ; in the chariot in front the patron-
goddess of Lyons. — 2092. Birth of Louis XIII.; behind the queen
is Fortuna ; the infant is in the arms of the genius of Health. —
2093. Henri IV., starting on his campaign against Germany (1610),
entrusts the queen with the regency. — *2094. Coronation of the
queen by Cardinal de Joyeuse at St. Denis ; the king is observed
in a gallery above. — *2095. Apotheosis of Henri IV. ; below are
Victoria, in a yellow robe, and Bellona with a trophy; on the right
is enthroned the mourning queen between Minerva and Wisdom ;
at her feet are Gallia and noblemen. — *2096. Regency of the
queen under the protection of Olympus ; Mars , Apollo (a copy
of the antique Belvedere), and Minerva drive away the hostile
powers ; Juno and Jupiter cause the chariot of France to be drawn
by gentle doves. — 2097. The queen in the field during the civil
war ; she is crowned by Victoria. — 2098. Treaty between France
(on the right) and Spain (left) ; princesses of the allied courts are
Gallery. 2. LOUVRE. 127
mutually destined to marry the heirs to the two thrones. — *2099.
Prosperity prevails during the regency ; the queen enthroned hears
the scales of justice; on the right are Minerva, Fortuna, and
Ahundantla; on the left Gallia and Time; helow are Envy, Hatred,
and Stupidity. — *2100. The queen commits the rudder of the ship
of the state, rowed by the virtues, to Louis XIII. on his majority.
— 2101. Flight of the queen (1619). — 2102. Reconciliation of
the queen with Louis XIII. — 2103. The queen is conducted into
the temple of peace. — *2104. Marie de Medicis and Louis XIII.
in Olympus ; below is the dragon of rebellion. — *2105. The god
of time brings the truth to light; above is the king giving his
mother a chaplet of peace.
2106. Portrait of Francesco de Medicis, father of Marie; 2107.
Johanna of Austria, his wife ; 2108, 2109. Queen Marie de Me'dicis
as BeUona and as Gallia; 2110. Sketches for Nos. 2035 and 2105;
*2111. Baron Henri de Vicq, Netherlandish ambassador at the French
court; 2112. Elisabeth of France, daughter of Henri IV. ; *2114.
Portrait of a lady of the Boonen family; *2115. Flemish Fair (see
p. 113); *2116. Tournament, a spirited sketch; 2117. Landscape.
Also a number of sketches.
Ryckaert, 2137. Studio.
Seghers, 2140. St. Francis of Assisi.
Snyders, 2141. Earthly Paradise; 2142. Noah's Ark; 2143. Stag-
hunt; 2144. Boar-hunt ; 2145. Fishmonger; 2146. Dogs in the pantry ;
2147. Fruit and animals.
Teniers the Younger ( David) ^ *2155. Peter's Denial (among the
soldiers at the table is the artist himself); *2156. The Prodigal
Son; *2157. The Works of Mercy ; *2158. Temptation of St. Anthony;
*2159. Village fete; 2160. Tavern by a brook ; 2161. Rustic dance;
*2162. Tavern with card-players; 2163. Tavern scene; 2164. Hawk-
ing; 2165. Smoker; 2166. Knife-grinder; 2167. Bagpipe player;
2168. Portrait of an old man; 2169. Blowing soap-bubbles; 2170.
Village fair; 2171. The duet; 2172. Tavern; 2173. Interior; 2174.
Village fete ; 2175. Tavern ; 2176. Temptation of St. Anthony ;
2177. Tavern; *2178. Guitar player; 2179. The alms-collector;
2180. Bowls; 2181. Drinker and smoker; 2182, 2183. Summer and
winter; 2184. Chimney-sweep; 2185-88. Landscapes.
VanDyck (AnUionij), 1961. Madonna and Child; *1962. Virgin
and donors; 1963. Pieta; 1964. St. Sebastian ministered to by
angels; 1965. Venus demanding arms for ^Eneas from Vulcan; *1966.
Rinaldo and Armida. **1967. Portrait of Charles I. of England, with
his horse held by an equerry ; a truly kingly portrait, executed with
'respectful familiarity' and marked by aristocratic bearing, unself-
coiisciousness, beauty, and the most refined 'joie de vivre'. *1968.
Children of Charles I. ; *1969. Duke Charles Louis I. of Bavaria
(full-face) and his brother Robert, Duke of Cumberland; 1970.
Infanta Isabella , Regent of the Netherlands, as a Clarissine nun ;
128 2. LOUVRE. Picture
*1971. Equestrian portrait of Francisco de Moncade; 1973. Portraits
of a man and a child; *1974. Lady and her daughter; *1975. Duke
of Richmond; 1976, 1977. Portraits; *1979. Head of an old man;
1983. Por.rait of the artist. — *1985. Van Dyck or Euhens{i),
President Richardot of Brussels and his son.
Veen or Venius (Otho van), 2191. The artist and his family.
V^eyden (Rogier van der), *2195. Virgin and Child; *2196. Pieta.
Flemish School of the 15-16th cent., 2197. Holy Family; *2198.
Spiritual instr action; *2201. Mater Dolorosa ; *2202. Angels appear-
ing to the Shepherds; 2202a. St. Jerome; *2202b. Madonna, with
donors (triptych); 2203. Pieta; 2204, *2205. Portraits.
Flemish School of the 1 7th cent., 2208. Old woman.
Flemish ox Dutch School of the 16th cent., 2212. Adam; 2213. Eve.
Some Smaller Booms, adjoining the Rubens Gallery, are de-
voted to the Dutch Schools.
Aelst (W. van), 2298. Grapes and peaches.
Aertsen, no number, Fishermen.
Bakhuisen, 2304-2309. Sea-pieces.
Bega (Corn.), 2312. Rustic interior.
Berchem, 2313. Environs of Nice; 2314, 2318-23. Landscapes
with cattle; 2315. Ford; 2316. Watering-place; 2317. Ferry.
Bergen (D. van), 2325. Landscape with cattle.
Bloemaert, 2327. Nativity.
Bloot, no number, Ford.
Bol (Ferd.), *2330. Mathematician; 2331. Portrait.
Bosch (Hier on.), surnamed Van Afcm(?}, no number, Last Judg-
ment (perhaps the right wing of Dierick Bouts's Resurrection at
Lille).
Both, 2332, 2333. Landscapes.
Brekelenkam, 2337. The consultation.
Craesbeeck, 2340. The artist painting a portrait.
CuypfAlh.), *2341. Landscape; *2342. Two riders; *2343. The
promenade; 2345. Sea-piece.
Decker, 2346. Landscape.
Dou (Gerard), *2348. The dropsical woman, one of his greatest
works : a successful composition, in which the grief of the daughter
is touehingly pourtrayed ; most elaborately finished, although un-
usually large for this master (1663). 2350. Village-grocer; 2351.
Trumpeter; *2352. Dutch cook; "^2353. Girl hanging up a cock at a
window; 2354. Weighing gold; *2355. Dentist; 2356. Reading the
Bible, a very attractive, fpeaceful, domestic scene; 2359. Portrait
of the artist.
Duck, *2360. Guard-room (his masterpiece); 2361. Marauders.
Dyck (Philip van), 2362. Sarah, Abraham, and Hagar; 2363.
Abraham dismissing Hagar and Ishmael.
Everdingen, 2365, 2366. Landscapes.
Fictoor, 2371. Girl's portrait.
Gallery. 2. LOUVRE. 129
Flinck (GovaertJ^ 2372, Auiiunciation to the Shepherds; *2373.
Child's portrait.
Goyen (Jan van), 2375, 2377. Dutch river-scenes ; 2376, 2379.
Dutch canals; 2378. Sea-piece.
Hagen (J. van der)., 2380-82. Dutch landscapes.
Mali (Dirk), '^2389. Rustic festival (pearly work: ca. 1616).
Hals(Frans), *2383. Portrait of Descartes; *2334. Laughing gipsy
('La Bohe'mienne' ; ca. 1630); 2385. Portrait of a woman; *2386,
*23S7, *2388, Portraits of the Van Beresteyn family of Haarlem.
Heem (J. D. de), 2391, *2392. Fruit and tahlc equipage.
Heemskerck, 2393. Interior.
Heist (Bart, van der), *2394. Masters of the Guild of St. Se-
bastian, a small and well-preserved replica of the Amsterdam paint-
ing; 2395, 2396. Portraits.
Heyden (J. van der), 2399-2402. Dutch views and buildings.
Hobbema, *2403. Forest-scene; *2404. Mill.
Hondecoeter. 2405-07. Poultry scenes.
Honthorst^ 2409. Concert.
Hooch (Pieter de), *2414. Court; *2415. Interior with company.
Huymm (J. van), 2420-2425 a. Flowers (*2420 the best).
Jardin(Kareldu), 2426. Golgotha; 2427. Italian juggler; 2428.
Ford; 2431-2435. Landscapes with cattle.
Kolf, 2436. Interior of a cottage.
Keyser (Th. de), 2438a. Portrait.
Lieven?, 2444. Visitation.
Lingelbach^ 2447. Vegetable-market at Rome; 2450, Landscape.
Maes ('.Yic.;, *2454. Saying grace.
Meer (J. van der; Vermeer) of Delft, 2456. Lace-maker,
Mefsu, 2547. Christ and the adulteress ; 2458. Market at Amster-
dam; *2459. Officer saluting a young lady, a gracefully conceived,
and delicately-coloured work; 2460. Music-lesson; 2461. Chem^ist;
2462. Dutch woman; 2463. Dutch cook; 2464. Admiral Tromp.
Mierevelt, 2465. Portrait of Oldenbarneveldt.
Mieris the Elder (Frans van), 2469. Portrait; 2471. Tea-party;
2472. Flemish family.
Mierh(W. van), 2473. Soap-bubbles ; 2474. Game-dealer ; *2475.
Cook.
More (Sir Anthony). 2478. Portrait; *2479. Court- dwarf of
Charles V.; 2481a. Edward VI. of England.
Moucheron, 2482. Starting for the chase.
Neer (Aert van der). *2484. Village-?treet by moonlight.
Netscher. 2486. Singing-lesson; 2487. Lesson on the bass-viol.
Mckelen (Van). 2490. Vestibule of a palace.
Os (Van), 2492, 2493. Flowers.
Ostade (Adr. van), *2495. Domestic scene, supposed to repre-
sent the two 0>tades and their families; *2946. The Schoolmaster,
dated 1662 (the dramatic force and warm golden tone are character-
Baedekek. Paris. 14th Edit. 9
130 2. LOUVRE. Picture
Istic of the master's most finished style); *!2497. Fish-market;
*2498. Interior of a hut; 2500. Smoker; 2502. The drinker; 2503.
The reader; 2504, 2505. Reading, The newspaper.
Ostade( Isaac van), *2508,2o69. Travellers halting; 2510,2511.
Ice-hound canals; 2513. Pig-sty; 2515. Winter-landscape.
Poelenburgh (Corn, van), 2519. Pasture; 2520, 2521. Women
bathing; 2522. Ruins at Rome; 2524. Nymphs and satyr.
Potter (Paul), *2527. Cows; 2528. Grey horse.
Pynacker, *2532. Sunset scene.
Ravesteyn, 2534. 2535. Portraits.
Rembrandt , *2536. Family of Tohias revering the departing
angel, painted in 1637; very characteristic of the master's easy and
genial mode of rendering Bible scenes, and admirable for its warm
and harmonious colouring and its poetry of chiaroscuro. — *2537.
The Good Samaritan (dated 1648); 2538. St. Matthevr (1611).
*2539. The Supper at Emmaus, dated 1648, from the collection
of his friend the Burgomaster Six. As in the picture of Tobias, a
subdued red is here the predominating colour, and the whole work
is pervaded with a warm and hazy glow (Vosmaer).
*2540, 2541. Philosophers in profound meditation.
'The A-enerable countenance of tbe old man, tbe faded colour of his gar-
ments, the reverential atmosphere, the gentle light, and the Iransparency
of the shadows all combine to shed an inexpressible poetic radiance ovei-
this picture.' (E. Michel.)
*2542. Holy Family at Nazareth, known as the 'Carpenter's
Family', signed 1640.
This family scene is one of those idyllic pieces by means of which
Rembrandt and other Dutch masters endeavoured to familiarise the spec-
tator with incidents from the Old and New Testament by transplanting
them to tTie 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.
2543. Venus and Cupid (portraits), an early work; 2544. Old
man (dated 1638) ; *2545, 2546. Portraits of a young man and young
woman ; 2548. Carcase in a butchers shop ; *2549. Woman after the
bath (so-called Bathsheba; 1654); *2550. Woman bathing; *2551.
Portrait; 2552, *2553, 2554, *2555. Portraits of himself (1633,
1634, 1637, 1660).
Ruysdael (J. van), *2557. River in a wood, with figures by Ber-
chem, an important work of the master's best period; *2558. Stormy
sea on the Dutch coast, a work of marvellous poetry, striking effect,
and masterly treatment ; *2559. Autumnal landscape ; *2560. Moun-
tain-landscape , with a sunbeam shining through the parting clouds
(figures by Ph. Wouverman; poetically rendered and masterly in its
silvery greenish-grey tone) ; *2561 a. Margin of a wood.
Ruysdael (Salomon ?), no number, Ford.
Santvoort, 2564. Christ at Emmaus.
Sorgh, 2571. Kitchen.
Gallery. 2. LOUVRE. 131
Steen (Jan)^ *2578. Merry company (1674; rich iu happy mo-
tives and full of humour); *2579. The repast; 2580, Bad company.
Steenwyck, 2581. Jesus at the house of Lazarus.
Terburg, *2587. A handsome officer sitting in a room with an el-
egantly-dressed girl, to whom he offers money : the heads full of
life, admirably drawn, and of a delicately-hlended silvery tone; one
of his finest works. *2588. Music-lesson (a work of very delicate
characterisation); *2589. Concert; 2590. Assembly of ecclesiastics
during the congress at Miinster; *2o91. Reading-lesson.
Velde (Adr. van de), *2593. Scheveningen ; 2594-96. Landscapes
with cattle (*2596 the best) ; 2597. Shepherd's family; 2598. Winter
scene (1668).
Velde ( Willem van de), 2600. Sea-piece.
Venne (Adr. van de), 2601. Fi'te champetre, with allegorical al-
lusions to the peace of 1609 between Archduke Albert and the Dutch.
Verkolje, 2602. Interior.
Vliet (H. van), 2605. Portrait of a young man.
Vols (Ary de), 2606. Portrait.
Weenix (J. B.), 2609. Defeat of the corsairs.
Weenix (Jan), 2610. Game and hunting-gear; *2(311. Spoils of
the chase ; 2612. Seaport.
Wouverman (Philip), *2621. Dutch carnival scene; 2623. Starting
for the chase ; 2625. Stag-hunt ; 2626. Riding school ; 2628, 2629.
Cavalry skirmish; 2632. Bivouac; 2634. Pilgrims.
Wouverman (Pieter), 2635. Tour de Nesle at Paris about 1664.
Wynants, 2636. Edge of a forest, with accessories by A. van de
Velde.
Dutch School of the 17th cent., 2642. Literary society.
The French Booms , which contain more than 1000 pictures,
have lately been entirely re-arranged. The chronological order begins
in the Grande Galerie, in the section most directly reached by the
staircase in the Pavilion Mollien and the Galerie MoUien (comp. Plan).
Rooms IX, X, and XI are devoted to the older French School.
Rooms XII and XIII are mainly occupied by the two cycles by
Le Sueur.
Room XIV contains masters of the 17th century. — The E. door
of this room opens on the head of the Escalier Daru (see p. 137).
Room XV (in the Pavilion Denon) contains a collection of por-
traits of artists (p. 137).
In Room XVI (to the E. of the last) are paintings of the 18th
century.
Room VIII, a large room to the S. of the Portrait Room, contains
most of the paintings of the second and third quarters of the 19th
century.
Room III {Salle des Sept Cheininee.^, p. 140) contains many works
of the end of the 18th, and the beginning of the 19th century, and
9*
132 2. LOLVRE. PictuTe
will probably be unaffected at present by the new arrangement. - -
Jhe pictures in tbe Salle Duchatel (p. 114) also remain unchanged.
The following alphabetical list of imp jrtant paintings gives a fair survey
of the French section of the Louvre Gallery, so far as not described in the
Salle Duchatel, the Salle Henri Deux, the Salle des Sept Chemine'es, and
the La Gaze Collection. The Roman figures in the brackets indicate the
rooms in which the pictures will probably be placed.
Aved (J. A. JJ, 9. Mirabeau (XVI) ; 10. Cazes, the painter (XVI) ;
11. J. F. deTroy (XYI).
Boilly, 28. Arrival of the diligence (XYI).
Boucher (Fr.) ^ 30. Diana quitting her bath (XVI); 31. Venus
begging Vulcan for arms for yEneas (XVI); 32-35, 45. Pastoral
scenes (XVI); 36. Vulcan giving Venus arms for ^'Eneas; 42. Cupid's
target (XVI) ; 43. Toilette of Venus (XVI) ; 44. Venus disarming
Cupid (XVI) ; 50a. Family scene.
Bouchot. 50bi8. Fall of the Directory in 1799.
Boulogne (Bon), 52. St, Benedict resuscitating a child (XVI).
Boulogne (Jean de, surnamed Le Valentin), 56. The chaste Su-
sannah (XIV); 57. Judgement of Solomon (XIV); 58. The Tribute
Money; 59. Concert (XIV).
Bourdon, 75. Gipsies (XIV); 76. Beggars (XIV).
Chardin (J. B. S.), *91. The busy mother (XVI); *92. Saving
grace (his masterpiece; XVI); 97. The antiquarian ape (XVI); *99.
Housekeeper (XVI); several excellent still-life pieces. — Ascribed
to Chardin (?), 117. Return from school (XVI).
Chintreuil, 123. Space (VIII); 124. Roes grazing (VIII).
Claude Lorrain (Gellte). *310. Harbour at sunrise, figures by
J. Miel (XIV); 311. Campo Vaccine at Rome (XIV); *312. Land-
scape with peasants, 313. Harbour at sunset, these two painted in
1639 (XIV) ; *314. Mark Antony receiving Cleopatra at Tarsus (XIV) ;
315. Anointing of King David (XIV); *316. Ulysses restoring
Chryseis to her father, figures by Fil. Lauri (XIV); *317. Harbour,
of great vigour and depth of colouring (XIV) ; 318. Seaport (XIV);
*321. Landscape (XIV ); 322. Ford (XIVJ ; *323. Mouth of a harbour
(XIV) ; 324. Siege of La Rochelle (XIV; ; 325. Louis XIII. forcing
the pass of Susa, near Turin, in 1629 (XIV).
Clouet (Francois), 128. Charles IX.; *129. Elizabeth of Austria,
wife of Charles IX.
Clouet (Jean;-!), 126, 127. Francis I.
Cochereau. 135. David's studio (III).
Corot(J. B. C), *138. Morning; 139. Roman Forum (VIII);
140. Colosseum (Vm); *141. Landscape (VIII); *141a. Castel
Gandolfo (Vill).
Courhet, 145. Stags fighting (VIII); 146. Roe-deer in a thicket
(VIII); 147a. The wave (VIII).
Cousin (Jean^, 155. Last Judgment.
Couture, *156. Romans of the Decadence, a once highly admired
eoniposition (VIII),
Gallery. 2. LOUVRE. 133
Coypel (Ant.)., 168. Athaliah expelled from tlie Temple (^XVJJ;
170. Esther before Ahasuerus (XVIj.
Coypel (Ch. Ant.), 180. Perseus and Androme.la (XVI).
Danbi^y^ *184.Viiitage in Burgundy (VIII); *185. Sprin*(VIlI).
David (J. L.) , 189. Oath of the Iloratii: 191, Lictors briniring
Brutus the body of his son (VIII); 194. Paris and Helen (XVI);
*199. Mme. Recamier, a work (not quite finished) of classic dignity,
painted in tender grey tones (VIII); lf)9a. Mme. Chalgrin; *'200a,
Mme. Morel de Tangry and her daughters, full of life (VllI).
Delacroix (Ferd. V. E.;, *207. Dante and Virgil ferried by
Phlegias over the Lake of the Inferno, a youthful work, full of emotion
(1822); =^208. Massacre of Chios; *209. The Barricade, July 28th,
1830; 210. Algerian women; 211. Jewish wedding in Morocco; 212.
Don Juan"s shipwreck (Byron's 'Don Juan', II, 75); *213. Capture
of Constantinople by the Crusaders.
Delaroche (P.), 21G. Death of Queen Elizabeth of England (VIII) ;
217. The sons of Edward IV. in the Tower (VIII).
De Marne, 222. Fair (XVI).
Desportes, 224. Huntsman; 225-248. Hunting scenes. Animals,
Still-life (XVI) ; 249. His own portrait (XIII).
Deveria, 250. Birth of Henri IV.
Diaz de la Pena, *251-253. Forest-scenes (VIII).
Droiiais^ 266. Charles X. and his sister in their childhood (XVI).
Flandrin (Hippolyte), 282. Study (VIU); 284. Girl (VHI); 285.
Mme. Vinet (VIII).
Foucquet^ *289. Charles VII. of France, a highly suggestive portrait
of this ugly au'l wicked king (painted about 1450).
Fragonard, 291. Music-lesson (XVl).
Freminet^ 304. Mercury charging .Eneas to abandon Dido.
Froment, 304bis. King Rene' and his second wife.
Fromenlin. 305. Hawking in Algeria; *306. Arab camp (VIII).
GelUe, see Claude Lorrain.
Gleyre, *363. Lost illusions (VIII).
Greuze (J. J5.;, *369. The Marriage Contract.
The success of this work was immediate and enoinious. The public
.shut its eyes to the want of harmony in the colouring, to the discord of
the tones, and to the inequality of the execution; it was dazzled, fascinated,
and thoroughly satisfied by the drama, the thought, and the feeling which
spoke in the picture.' (De Goncoiirt.)
370. The Father's Curse, 371. The Repentant Son. These are
characteristic examples of the 'bourgeois' dramas with a 'moral",
which Greuze was so fond of painting. — *372. The Broken Pitcher,
the most pleasing and most popular of his works ; no number, Milk-
girl, a charming picture of a similar character, bequeathed in 1899
by the Baroness Nathaniel de Rothschild; 374, 375. Heads of girl^:
881. Portrait of himself (XVI).
Gros, *389. Napoleon on the tield.of Eylau, Feb. 9th, 1807O'lli).
Gutrin, 393. .Eneas telling Dido the woes of Troy (XVI).
134 2. LOUVRE. Picture
Huet (J. BJ, 411. Dog attacking geese (XVI).
Huet (P.), 412. Inundation at St. Cloud; 413. Quiet morning.
Ingres (J. A. DJ, 415. Peter receiving the keys of Heaven ; *417,
Apotheosis of Homer, the artist's masterpiece, painted in 1827 for
a ceiling; 418. Cheruhini; 419. Ruggiero liberating Angelica; 423.
Bather; 426, 427. M. and Mme. Riviere; 425, 4*28. Portraits; no
number, Odalisque, a masterpiece of his early period; *428 his.
Bertin the Elder, founder of the 'Journal des Dehats', the most
lifelike of the master's portraits (VIII).
Jouvenet, 433. Miraculous Draught of Fishes; 434. Raising of
Lazarus (XIV).
La Berge, 443. Arrival of a diligence in Normandy (VIII).
La Hyre , 456 Pope Nicholas V. at the tomb of St. Francis of
Assisi in 1449 (XIV).
Lancret, *462-465. The Seasons (XVI); 468. Music -lesson
(XVI); 469. Innocence (XVI).
Largillitre, *483. Count de la Chatre (XIV).
Le Brwn fC/mries J, 494-504. Religious scenes and personages:
505. Mary Magdalen, said to be a portrait of Mile, de la Valliere,
mistress of Louis XIV. (XIV). *509-513. History of Alexander the
Great, painted as designs for Gobelins tapestry (1660 et seq.). 514.
Meleager and Atalanta (XIV); 515. Death of Meleager (XIV).
Lefebvre, *529. Master and pupil (XIV); 530. Portrait (XIV).
Le NainfAntoine. Louis, and Mathieu). 539. Manger; 540. Smith;
541. Rustic meal; 542. Return from the hay-fleld; 543. Portraits;
*543a. Family gathering; *544. Procession in a church; 547. Denial
of St. Peter (all in R. XIV).
Le Sueur (Eustache), 553-563 (XII). Scenes from the Bible
and the Acta Sanctorum, among which may be selected the follow-
ing : 556. Bearing of the Cross ; *560. St. Paul at Ephesus, one of
the artist's masterpieces , the main figure after Raphael (1649). —
564-585 (XII). Life of St. Bruno, painted in 1645-48 for the Car-
thusians of Paris, whose order was founded by this saint; the best is
*584. Death of St. Bruno.
'The liglit of a single candle falls on the white cowls, which resemble
grave-clothes, and on the walls, which are white as those of a tomb. An
inexpressible sadness streams fi-om this almost monochrome painting.''
(Gautie7\)
591-603 (XIII). Mythological scenes from the Hotel Lambert
tp. 228).
Lorrain^ see Claude Lorrain.
Marilhat, 615. Mosque of Caliph el-Hakim at Cairo (VIII).
Mignard, *628. 'La Vierge k la grappe^ (XIV); 630. Christ on
the way to Calvary (XIV); 634. St. Cecilia (XIV); 638. The 'Grand
Dauphin', son of Louis XIV., and his family (XV).
Millet (J. F.J, *641. Church of Gre'ville in Brittany (VIII); 643.
Spring (VIII); *644. Gleaners,. in the poetic yet realistic style of
the still more famous 'Angelus' (VIII).
Gallery. 2. LOLVRE. 135
Moreau, 650. View near Paris (XVI); 651. View of Meudoii
and St. Cloud (XVI).
Nattier, 657. Magdalen; *658. Mnie. Adelaide, fourth daughter
of Louis XV.
Owr/ry, 666, 668, 671. Dogs; 670. Farmyard,
Parrocel, .678. Louis XIV. crossing the Rhine in 1672 (XVI).
Pater, 669. Fete Ohampetre (XVI).
Perrier, 694. Acis and Galatea.
Pe7,s, 702. Rouget de lisle singing his 'Marseillaise' for the lirst
time at the house of the Mayor of Strassburg (VIII).
Poussin (Nicholas), *704. Eleazer and Rebecca; 705, 706. Moses
in the ark of bulrushes; 707. The infant Moses spurning the crown
of Pharaoh with his feet; 708. Moses turning Aaron's rod into a ser-
pent; 709. The Israelites gathering manna in the wilderness (Rome,
I639j; 710. The Philistines struck with pestilence (painted at
Rome about 1630); *711. Judgment of Solomon; 712. Adoration
of the Magi; 713,714. Holy Family; *715. The blind beggars of
Jericho (1651, one of the best of his religious pieces); 716. The
Woman taken in adultery; 717. Last Supper; 718. Assump-
tion; 719. Virgin appearing to St. James the Greater; 720. Death
of Sapphira; 721. John the Baptist; 722. Vision of St. Paul;
724. Rape of the Sabine women; 726. The young Pyrrhus, son of
the King of Molossus, rescued from the pursuit of his rebellious
subjects by two faithful followers of his father; 730. Bacchanal ;
781. Narcissus and Echo; 732. Triumph of Flora; 733. Concert;
*734. Three Arcadian shepherds and a maiden surrounding an old
tombstone which they have found and which bears the inscription
'£t in Arcadia ego' (a simple, harmonious, and much admired
composition); 735. Time delivering Truth from the attacks of Envy
and Discord, executed as a ceiling-painting for Card. Richelieu
in 1641; *736. Spring, or the earthly paradise; 737. Summer, or
Ruth and Boaz; 738. Autumn, or the Spies returning with grapes
from the Promised Land; *739. Vi^inter, or the Deluge; *740. Land-
scape, with Orpheus and Eurydice; 742. Apollo and Daphne, un-
finished, the master's last work (XIV).
Prud'hon (Pierre), 74i. Crucifixion, the artist's last work (1822),
in a sombre viok't tone (VIII); 748. Meeting of Napoleon and Fran-
cis II. after the battle of Austerlitz (VIII); several small and fine
portraits.
Raffet, 761bis, Soldier of the First Republic.
Eegnault , 770. Equestrian portrait of General Prim (VIII).
Riesener, 799. Ravrio, the maker of bronzes (III).
Rigaud y Ros , 780. Presentation in the Temple (the painter's
last work, 1743); *781. Louis XIV. (1701); 7b2. Philip V. of Spain
(1700); 783. Bossuet, the celebrated preacher; *784. Marie Serre,
mother of the painter: 788, 789. Portraits; *790. Robert de Cotte,
the architect (XIV).
136 2. LOUVRE. Picture
Robert (Hubert), painter of idealized landscapes, generally with
ancient ruins from South France or Rome : 797. View at Orange ;
798, 799. Nimes; 802. Arch of Marcus Aurelius at Rome ; 803. Por-
ticus of Octavia at Rome.
Robert (Leopold), 816, Arrival of the reapers in the Pontine
Marshes; 817. Return of the pilgrims to the Madonna dell' Arco at
Naples (VIII).
These two lively representations of the life of the people in Italy excited
great admiration on their first exhibition (1830) and were praised by Heinrich
Heine.
Roslin, 820. Girl decorating the statue of Capid (XVI).
Rousseau (Theod.), *(~'27. Forest of Fontainebleauat sunset (VIII);
*830. Marsh in the Landes (Garonne), a work of marvellous delicacy
of aerial perspective (VIII).
Scheffer (Ary), 840. Temptation of Christ (VIII) ; 841. St. Au-
gustine and his mother Monica (VIII).
SuUeyras, 853. Mary Magdalen at the feet of Jesus (XVI).
Tocque^ 867. Marie Lesczinska, vrife of Louis XV. (XVI).
Troy (J. F. de), 884, 885. Toilette and Swoon of Esther (XVI).
Troyon, *889, *890. Oxen going to , and returning from their
day's work (VIII).
These two pictures are equally superb in their lighting, in their laud-
scape, and in the drawing and characterisation of the patient steers. No. 8S9
is, perhaps, the finest animal-painting of the 19th century.
Van Loo (Carle), 899. Hunters resting (XVI); 900. Queen Marie
Lesczinska (see above; XVI).
Van Loo (J. B.), 896. Diana and Endymiou (XVI).
Van Loo (L. M.), 902. Soufilot, the architect (XVI).
Vernet (Claude Joseph), 912-954. Sea-pieces and landscapes, 14
of them in the Marine Museum (p. 150), the rest mainly in R. XVI.
Vernet (Horace) , 957. Judith and Holofernes (VIII) ; 958.
Raphael and Michael Angelo in the Vatican (VIII); 958a. Isabey,
the painter.
Vien, 965. Sleeping hermit (XVI).
Vouet (Simon), 971. Presentation in the Temple (XIV).
Watteau (Jean Antoine) , *982. Embarkation for the island of
Cythera (XVI ; replica in the Palace at Berlin).
'What words can reproduce this delicale, fragrant, ideal colouring, so
aptly selected for a dream of j^outh and happiness V" (Gautier.)
French School of the 15th cent., 995. Martyrdom of St. Denis
(perhaps by J. Malouel and H. Bellechose); 99b. Descent from the
Cross; 1004, 1005, SS. Peter and John, with Peter IL and Anne of
Burgundy (1488).
French School of the 16th cent., 1007. Francis L; 1035. Ball at
the couit of Henri III. on the wedding of the Due de Joyeuse with
Margaret of Lorraine in 1581.
School of FontaineUeau , 1013. Diana; 1014. Continence of
Scipio; 1014a. Toilette of Venus.
Gallery. 2. LOUVRE. 137
III the Pavilion Deiion, between UK. XIV and XYl of the French
School, Is a lofty saloon with vaulted ceiling, called the —
Salle des Portraits, which contains a collection of portraits of
artists, founded in 1887 on the model of the collection at Florence.
The most interesting are as follows, from right to left :
373. Et. Jmurat^ by Grenze; 525. Jos. Vernet., by Mnie. LeBnin-, 640.
P. Mignard, by himself; *214. Delacroix., by himself; 524. Hubert Robert.,
by Mme. Le Brun; *2552. Rembrandt (the portrait with the gold chain), 1148.
Guerchio, by themselves; 1944. F, Mansart and CI. Perrault, by Phil, de
Champaigne; 1380. Maratta, by himself; 476. J. L. David, bv Langlois: 482.
LeBrun, by Largilliere; 760. P. Puget, by Fr. Pu-et; 147. Courbet. '521. Mme.
Le Brun, 183. Ch. Coypel., by themselves; 492. Nic. Coustou, by Largilliere:
*1272. Giotto, Paolo Uccello , Donatello ., Brunelleschi, and Giov. Manetti, by
P. I'ccello. — Busts of 'David., by Rude, and of Rude, by Becquet.
The ceiling is embellished with paintings by Charles Midler
illustrative of the history of art in France : St. Louis and the Sainte
Chapelle, Francis I. in the studio of one of his artists, Louis XIV.
beginning the Louvre, Napoleon I. ordering its completion.
The E. door of Room XVI opens on the upper landing of the
Escalier Daru (p. 91), where some important early-Italian pictures
are exhibited.
*i297, 1298. Sandra Botticelli, Frescoes from the Villa Lemmi at Florence,
said t ) have been painted for the marriage of Lorenzo Albizzi and prio-
vanna Tornabuoni, and representing the Bride with the Graces and the
Bridegroom with the Arts snd Sciences; '129-i. fra Angelico, Crucifixion,
from the old Dominican convent at Fiesole ; portraits of philosophers.
From the Escalier Daru we pass through the door to the left
of the Nike of Samothrace (p. 109), into the —
Rotonde d'ApoUon, adorned with ceiling-paintings by Blondel
(Fall of Icarus), Couder (the four Elements), and Mauzaisse. In the
centre is a handsome marble vase, imitated from an antique vase
in the Vatican, and surrounded with a modern mosaic by F. Belloni.
A line wrought-lron door of the 17th cent, on the right leads to the —
*Galerie d'ApoUon. This saloon, which is over 200ft. in
length, was constructed in the reign of Henri IV., burned down
under Louis XIV. in 1661, and rebuilt from designs by Charles Le
Brun, who left the decoration unlinished. It was then entirely
neglected for a century and a half, but was at length completed in
1848-51 by Felix Duban. It is the most beautiful hall in the Louvre,
and is considered one of the finest in the world. The name dates
from the time of Le Brun, who had intended a figure of Apollo to be
the central point of his decorations, in honour of the 'Roi Soleil', but the
present central ceiling-painting by Delacroix, representing 'Apollo's
Victory over the Python', a fine work both in composition and colour-
ing,.was not executed until 1849. The four other large ceiling-paint-
ings depict the periods of the day (beginning at the S. end): Aurora
or Dawn, by Ch. Muller (1850), after Lebrun; Castor or the Morning
Star by A. Eenou (1781) ; then, beyond the Apollo (which represents
Noon), Morpheus or Evening, \i2:ht or Diana, both by Lc Brun. In
138 2. LOUVRE. Galerie
lour other fields, next those in the centre, are the seasons (end of
the 18th cent.}, while twelve medallions in grisaille represent the
months. On the vaulting above the entrance is the Triumph of Cy-
hele or Earth, with Bacchantes, by J". Guichard, after LeBrun (1849).
In the vaulting over the window, Triumph of the Waters (Neptune
and Amphitrite), by Le Brun (about 1665). The panels of the walls
are adorned with portraits of twenty-eight French kings and artists,
in modern Gobelins tapestry.
The beautiful tables and other furniture in this room date
chiefly from the reign of Louis XIV. The glass-cases contain
*Objects of art, gems, etc. The collection of enamels is the most
extensive and valuable in the world (p. 233). No catalogue.
Table I. '^Reliquary of St. Fotentian, a German work of the 12th century.
Case I. (in the centre). On the top shelf: at each end. enamelled Ven-
etian basins; reliquary (12th cent.), for an arm of Charlemagne; casket
(13th cent.), known as the 'colfret de St. Louis''; enamelled casket of the
14th cent.; *Amazon on horseback, Centaur carrying off a woman, two
works in silver-gilt of the i6th century. — On the middle shelf: next
the windows. Enamelled croziers of the middle ages; paxes of the loth
and 16th cent. : reliquary of St. Francis of Assisi, from a church in 3Iajorca
(Limoges enamel; Idth cent.); silver reliquaries in the form of lit;ures of
the Madonna (15th cent.) ; cylindrical silver monstrance of the 15th cent. ;
ciborium of the 13th cent. ; cylindrical monstrance of the 15th century. —
Bel6w: Tw^o reliquaries in the form of angels, and other objects in silver-
gilt, from the Chapel of the Order of the Holy Ghost in the Louvre, but
dating from the 15th cent, and therefore anterior to the founding of the
order by Henri 111. (1579). Small Romanesque enamelled reliquaries;
chalices, including one of the 13th cent. ; holy-water basin in agate and
silver-gilt (16th cent.) : rock-crystal cross mounted in silver-gilt (loth cent.).
— On the other side of the case are enamelled vases, reliquaries, etc.
Case 11. Chiefly objects ot the 16th century. *Pax, wdth enamels
and rubies, from the Chapel of the Holy Ghost; *Ciborium of crystal,
with silver-gilt base and cover, adorned with chasing, cameos, and gems ;
*Rings; 'Ornaments; cups of sardonyx; vessel of rock-crystal, shaped
like a chimsera; urns formerly in the possession of Cardinal Mazarin.
Case III. Similar objects. On the top shelf : "Epergne of the time of
Louis XIV., consisting of a boat in lapislazuli mounted in gold and enamel;
Goblets in rock-crystal and • Vesstls^ beautifully chased (translucent, best
seen from the other side ; the handle of one is set with enamels and rubies) ;
caskets of Hungarian jade. — On the middle shelf, returning: "Vessel of
sardonyx, with enamelled mounting; busts of the Cfesars, the heads of
crystal or precious stones; '"Agate cup, with cameos; cups of various kinds,
richly mounted. — Below : *Vessel of agate ; goblet of sardonyx, with ena-
mel mounting; incense vessel of green jasper adorned with enamels; vase
of red jasper, with dragons as handles, attributed to Benvenuto Cellini:^
at the end, antique *Vase, with very fine mountings; to the right, '^Cup of
sardonyx, the handle in the shape of a dragon studded with diamonds,
rubies, and opals; to the left, a similar cup.
Case IV. contains the Crown Jewels retained when the rest were
sold in 1887. Among these are : the ^Regent., perhaps the finest diamond
in the world, weighing 136 carats and worth 12-15 million francs; to the
right, the *3fazarin, a rose-diamond of immense value, and the '^Cdte 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 XIV. by
d'Apollon. "2. LOLYKE. 139
the Dey of Al-ieis^ pearl dragon-brooch and elephant of the Danish ordtr
of the Elephant. — To the left, Chatelaine of Catherine de M^dicis, 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.). — In the middle: Antique
vases in porphyry and sardonyx, remounted in the 12th cent. ; Vase of
Eleanor o/Aquilaine, wife of Louis VII. of France and afterwards of Henry II.
of England (I2th cent.), in antique rock-crystal, remounted in the 12th cent. ;
in front, Chalice in enamelled silver (I4th cent.), and Paten of the Abbot Suger
of St. Denis (12th cent.); to the right, *Eeli(iuary for an arm oi St. Louis
of Toulouse, enamelled, on the hand a sapphire ring (14th cent. I; reliquary
of St. Henry (i2th cent.); French reliquary cross (12th cent.) and silver
plaque (11th cent.).
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 "Escritoire formerly in
the possession of Louis XV., by Riesener, with bronze ornaments by
Hervieux.
The cabinets along the wall opposite the windows, and the glass-cases
in front of the windows, chiefly contain 'Enamels.
Like majolica-p;dnting 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, Lionard Limousin. 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 (cloisona) 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 Transj^arents when the design is incised on
the plate and covered with transparent enamel; and. Painted (peints) when
the entire surface of the plate is covered with coloured enamel. Cloisonmi
and champleve enamels were made by Byzantine and medieval artists, but
the translucent process was not invented until the 15th century.
By the First Wixdow, near the entrance: Transparent enamels of
the 14-15th cent.; -Binding of a Prayer Book, with filigree ornamentation,
enamels (symbols of the Gospels), and embossed gold reliefs (Crucifixion),
a Byzantine work. — Second Window: Champlevi Enamels of the 12th
cent., from the Rhine; Limoges Enamels of the 13th century. — Thikd
AND FouETH WINDOWS : *Enamels ('Emaux Peints") by the Pt^nicauds. —
Fifth Window: •Goldsmiths' work : snuff-boxes, bonbonnieres, caskets,
etuis, medallions with miniatures, rings, chains, crosses, pendants, and
other ornaments enamelled or set with pearls and gems; cameos; intaglios.
— Sixth Window: Limoges Enamels (16th cent.). — Seventh Window:
Articles used at the coronation of the French kings: sword of the end of
the 12th cent. ; buckle (l4th 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 Mt'dicis, 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. Rey-
mond, P. Courteys, and L. Limousin (in the 2nd and 3rd), and other Limoges
enamels. In the last case also is goldsmith's work : "SJiield and 'Helmet of
Charles IX. (d. 1574) in gold and enamel; silver ewer and platter in repousse
and chased work, re;iresenting the expedition of Emp. Charles V. against
Tunis in 1536.
140 0. LOUVKE. S<iUe des Bijoux.
We return to the Kotonde, and turn to the rooms of tlie Old
Louvre on the right, first entering the —
Salle des Bijoux Antiques , which is adorned with a ceiling-
painting by Mauzaisse^ representing Time showing the ruins that he
causes and the works of art he brings to light; below, Seasons,
Elements, etc. The room contains an extremely valuable collection
of ancient ornaments, jewels, and enamels.
1st Cen'teal Case. At the top : Three gold crowns, including a Grseco-
Etruscan *Diadem (uniquej. Gilded iron helmet (Gallo - Roman) , with
enamel ornamentation (found in the Seine near Rouen) 5 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. In one of the following
cases : *Collar and two ear-covers in the Greek stj-le, from Olbia (see below).
— 2xD Cestkal Case. "Treasiire of Bosco Eeale, consisting of 94 silver
articles discovered in 1895 on the site of a house destroyed by the eruption
of Mt. Vesuvius in 79 A. D. These objects are Alexandrian, Greek, and
Roman works of the 1st cent., though some are in such admirable preser-
vation as to seem modern. — "Wall Cases. Silver objects: *Ceres, with
movable arms : Etruscan earrings ; rings of Greek and Roman workmanship.
Side next the Cocet. Small Window Case: Gold Tiara of Saitapharnes,
presented to the king of that name by the Greek colony of Olbia in Sar-
matia, with flm reliefs, 3rd cent. B.C. (? authenticity disputed). — Cases to (he
Right and Left: Buckles, gold and bronze bracelets, rings, collars, earrings, etc.
Side next the Seine. 1st Case. Intaglios. Gold and bronze rings,
bracelets. — 2nd Case. Cameos; intaglios; 'phalerEe' or ornaments for
horses, etc. — 3rd Case. Gold rings, with and without precious stones;
gold necklaces and earrings ; bronze buckles. — 4th Case. Gold necklaces ;
plaques of beaten gold; earrings. — 5th Case. Silver vessels found at Notre-
Dame-d'Alencon, near Brissac (1836).
Proceeding in a straight direction, we next enter the —
Salle des Sept Cheminees, or Room III, containing pictures of
French Masters of the End of the 18th and Beginning of the 19th
Century, or of the Empire and the Restoration.
Beginning on the left : *188. David, The Sabine women inter-
posing between the Romans and the Sabines ; in front Romulus
about to hurl his spear at Titus Tatius (the artist's masterpiece;
1799). Above, 187. David, Leonidas at Thermopylae, finished in
1814. To the left and right : Gericault, 339. Officer of chasseurs ;
341. Wounded cuirassier. — 360. Girodet- Trio son, The Deluge
(1814). Prudhon, 751. Empress Josephine; *747. Crime pursued by
Justice and Divine Vengeance, a work of tragic earnestness, painted
in 1808 for the Criminal Court. Above, *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); 392a. Gros, General Fournier-Sarloveze;
746. Prudhon, Assumption; *202a. David, Coronation of Napo-
leon I. (1807); ^b2% Mrne. Le Brun, Portrait of the artist and her
daughter; 391. Gros, Bonaparte at Arcole; *19S. David, Portrait of
Pope Pius VII. (1805); 348. Gericault, Epsom Races in 1821; 526.
Mme. Le Brun. Mrne. Mole'-Raymond , of the Comedie Fran^aise
SnUe Henri II. 2. LOUVRE. 141
(1786); 343. Gericault, Carabinier; *33T. Gerard, Portrait of the
Marchesa Visconti.
*328. Gerard, Cupid and Psyche (1796); 391a. Gros, Portrait of
Mme. Lucien Bonaparte; 393. Guerin^ Return of Marcus Sextus
(an imaginary incident); *756. Prudhon, Rape of Psyche, a work to
which the artist largely owes his title of 'the French Correggio';
*362. Girodet-Trioson, Burial of Atala (from a story by Chateau-
briand; 1808). Above, *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). This room also con-
tains numerous small portraits by David, Gerard, Prudhon, Ingres, etc.
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, or War and Peace.
To the right: 834. St. Jean, Fruit-gathering; *17. Benouville,
The dying St. Francis of Assisi carried to Santa Maria degli Angeli;
*83. Brascassat, Landscape with cattle; 125. Chintreuil, Sun and
rain; 143. Courbet, The burial at Ornans; 257. Diaz, 'No admis-
sion'; 833. St. Jean, Flowers among ruins; 420. Ingres, Joan of
Arc at the coronation of Charles VII. ; 82. Brascassat, Bull ; several
sketches by Ingres; 361. Girodet-Trioson, Endymion; *120. Chas-
seriau, Tepidarium ; 359. Giraud . Slave-dealer; above the door,
622. Constance Mayer, A dream of happiness; 217a. P. Delaroche,
The youthful martyr; 12a. Bellange and Dauzat, Review at the
Tuileries (1810); 416. Ingres, ^Madonna; 771. Regnault, Execution
without trial. — xV fine view is obtained from the window at the V>\
end of this room. — 206. Decamps, Dogs ; 119. Charlet, Grenadier.
Collection La Caze. This collection, which was presented to
the museum in 1869, forms in several respects a valuable comple-
ment to the Louvre galleries. It chiefly comprises French paintings
of the time of Louis XIV. and of the rococo period of the 18th cen-
tury. The Dutch and most of the Flemish pictures were removed
in 1900 to the cabinets mentioned at pp. 128-131.
Beginning on the right : 2707. Denner, Portrait of an old woman,
executed with great delicacy; Boucher, 46. Venus and Vulcan, 50.
Young woman ; 335. Gerard, Empress Marie Louise; Largillihre,
488. Portrait of President de Laage , 490. A magistrate, *491.
Portraits of the painter and his wife and daughter, 485. Young
lady as Diana, 484-86. Portraits. Above, 1468. Tintoretto, Su-
sannah and the elders. 461. lestier, 887. De Troy, Portraits; 537.
Lemoine, Hercules and Omphale; 174. .4. Coypel, Democritus ;
794. Rigaud, Portrait of an old man; 1946. Ph. de Champaigne,
Portrait (16531; 548. Le Nain, Rustic meal; above, 1311. Lura
Giordano, Death of Seneca; 77. Bourdon, Interior; Bigaud, *792.
142 2. LOUVKE. CoLL La Caze.
Portrait of the Due de Lesdiguieres as a child, *793. Portrait of
President de Berulle, 791. Portrait of Cardinal de Polignac; 1945.
Ph. de Champaigne, Mayor and syndics of Paris; ahove, Tintoretto,
1469. Virgin and Saints, 1472, 1471. Portraits.
Tc the left, in retracing our steps: Greuze , 378, 382, 392.
Portraits. 376. Girl's head ; Fragonard, 292. Pastoral scene, 297.
Study, 298. Inspiration; 2135. School of Rubens, Horse attacked
by a lion; *659. Nattier, Portrait of Mile. deLamhesq, with the
young Count de Brionne (1732); ahove, 769. J. B. Regnault, The
Three Graces; Lancret, 471. Boldness rehuked, from Lafontaine,
470. Actors of the Italian comedy ; 765. Raoux, Girl reading a letter ;
ahove. 1702. Juan Carreno, St. Ambrose distributing alms ; Nattier,
660. Knight of St. John, 661. Daughter of Louis XV. as Vestal;
Watteau, 985. 'Slyboots' ('La Finette'), 984. Indifference, 986.
Gay company in a park , *983. Gilles and other characters of the
Italian comedy, 987. Conjurer, 991. Jupiter and Antiope; Pater,
691. The toilette, 690. Actors in a park; 117. Chardin (?), The
return from school; *1041, French School (18th cent.). Portrait;
Chardin. 104. Monkey as painter, 103. The house of cards , *93.
Grace, 105-116. Still-life; above, 888. De Troy, Portraits ; 5nj/dcrs,
2148. Fishmonger. 2149. Game- dealer. 1735. J. B. del Mazo
(pupil of Velazquez), The Infanta Margaretha; Velazquez, 1733.
Philip IV., 1736. Portrait; Ribera (Spagnoletto), 1724. Madonna,
*1725. Boy with a club-foot (16521 ; Murillo, 1719. Duke of Ossuna,
1718. Quevedo, the poet; 1471. Tintoretto, Venetian senator ; 1596.
School of Titian, Holy Family; 1674. Venetian School (16th cent.),
Portrait. — In the centre two Sevres vases (1878).
The exit leads to the staircase (Escalier Henri IL, p. 99) of
the Pavilion de VHorloge or Pavilion Sully, through which we may
quit the Louvre. Beyond this staircase, to the left, is the —
Saloon of the Ancient Bronzes. The saloon, formerly the palace
chapel, contains a valuable collection of implements, weapons, sta-
tuettes, etc.
In the vestibule, in front of the window, is a lifesize gilded bronze Statue
of Apollo, in good preservation, found near Lillebonne, in Normandy.
Central Glass Case : Etrnscan cists, the largest of which were found
at Palestrina, near Rome; buckles, collars, and bracelets; surgical and
mathematical instruments; metal ornaments in relief; Greek mirrors ; Byr
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.
By the middle window , Admirable head of a youth, found at Benevento
(a Greek work; the eyes were inlaid). Glass-cases with Greek and Etruscan
mirrors. — Glass Cases to the eight, as we return: Statuettes and busts,
ch'.efly of deities. — 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.
Drawings. 2. LOUVRE. 143
The staircase to the left beyond this hall leads to the second
floor fMnsee de Marine, see p. 150). We next enter the —
*Collection of Drawings (Musee des Dessins), rivalling the great
Florentine collection in the L'ffizi, and numbering 37,000 in all,
among -w^hich are 18,200 by Italian masters (358 by Ann. Carraccil,
87 by Spanish, 800 by German, 3150 by Flemish and Brabant, 1070
by Dutch, and 11,800 by French (2389 by Le Brun). Only about
2300 of these drawings are exhibited, under glass. — The ceiling
paintings of the first rooms , by Blondel , Drolling. Mauzaisse, and
others, are explained by the fact that the Conseil d'Etat formerly
met here.
I. Room. Old Italian masters. Mnntegna, ''Lorenzo di Credi, * Signonlli,
PintnriccMo, Perugino^ etc. The walls of this and the following rooms
are covered with large coloured cartoons by Giulio Romano. — **1I. Eoom.
Italian. Drawings by the most celebrated masters : Leonardo da Vinci,
Michael Angelo, Raphael, Titian, and Andrea del Sarlo. By the central
window is a sumptuous casket containing an address from the town of
St. Petersburg to 'la nation amie'. — III. Room. Italian. Drawings by
Primaticcio and Correggio , including two in gouache, by ''Correggio: Vice
and Virtue. — IV. RooJi. Bolognese School. — V. Room. Flemish, Dutcli,
etc. : ~Ruhens, "Rembrandt, Pottar, Berchem, Tenters, 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 Jlichael Angelo
(not extant). In the revolving stand by the window are drawings by
Poussin, Claude Lorrain, Ostade, and Brouwer, and by Giricatilt and other
modern French artists. In the centre is a line silver vase with reliefs by
A. Vechte. — Fine vases on the chimney-piece. — From the passage between
this and the next rooms a small staircase (closed) ascends to the left to
the Mus^e de Marine fp. IcO), on the second floor. On the other side is
a corridor with architectural drawings.
VI. Room. Chalk drawings, chiefly portraits, by Vivien, Mme. Gujard, etc.
VII-XIV. Rooms. Drawings of the French School, fine furniture, and
fragments of ancient stained glass fin the windows). R. VII. Drawings
and admirable ^Miniatures of the 14-lTth centuries. — R. VIII. Varying
collections. — R. IX. Drawings by Poti^sin and Claude Lorrain. — ' R. X.
French School of the 18th cent., notably some fine works by Watteau and
others by Fragonard, Moreau, the br^ithers St. Aubin, etc. — R. XI contains
the coloured cartoons for the stained glass in the chapel of the Orleans
family at Dreux and in the Chai)el of St. Ferdinand (p. 159), by Ingres.
Also, fine drawings by PrudThon and Ingres. — A large unfinished oil-paint-
ing by David (d. 1825) preserved in R. XII represents the E evolutionary
meeting at the Jeu de Paume (p. 325). One of the four finished heads is
that of Mirabeau. The painting was ordered by the National Convention
in 1790. Other specimens oi David, Gerard (fine portraits). Gros, etc. —
R. Xin. Drawings by Giricault , Ddacroix , Millet. Euet, etc. — R. XIV.
Crayons by "Chardin (No. 679. his portrait, with spectacles), Vivien, "Qnentin
de la Tour (819. Mme. de Pompadour), Rosalba Carriera, Roh. Nanteitil,
etc. The glass-cases contain the greater part of the *Lenoir Collection
(Don Lenoir), which includes 204 snuff-boxes and bonbonnieres, 3 enamels,
74 miniatures, etc. The paintings compri/.e works by Aygv^tin. Blaren-
berghe. Hall, Isabey, Petitot. Van Pol, Van Spaendonck, etc. In the centre
of the room are a collection of miniatures from various sources and some
fine paintings in gouache by Isabey and Baur.
The Collection Thiers,' a collection of works of art bequeathed to the
Museum by the ex-president of the Republic , occupies the two following
rooms. Of the 1470 very miscellaneous objects (catalogues) the majority
are small, and few are of much importance. In the first room is a por-
trait of Thiers, by Bonnat.
Next follow the Drawings of the German School, amongst which may
144 2. LOUViiE. Modem Collection.
be noted the first two, by E. S. (1466), 3 by Schongauer, 24 by '■'Dilrer., 7 by
Holbein, and 5 by H. Baidung Orien.
Adjoining is the Donation His de la Salle., a valuable collection of up-
wards of 300 drawings by old masters. This gallery leads to the end of
the following collection.
Adjoining the Collection of Drawings is the * Collection of
Smaller Mediaeval, Renaissance, and Modern Objects of Art
(Musee des objets d'art du Moyen Age, de la Renaissance, et des
Temps Modernes), which may also he reached by a staircase ascend-
ing from the 4th room of the Asiatic Museum (p. 101).
I. Room (8th from the other end). Glass of the 15-18th cent.,
chiefly Venetian and German. On the -walls, mosaics, including, to
the left, the Lion of San Marco, by Ant. Fasolo of Murano (16th cent.).
Ebony Renaissance cabinet. Oaken Gothic door.
II. Room. ^Ivory Carvings of the 6-19th cent., some very
valuable (catalogue by Molinier, 1896; 6 fr.).
In four cabinets: Bacchanals by G. van Opstal; several figures of the
Madonna and Christ: caskets (one of the 9th cent.); diptychs; triptychs,
including a By;'antine example of the 10th or 11th cent., and {-'So. 141) a
Florentine specimen of the 15th cent., believed to have once belonged to
Slatthew Corvinus : book-bindings; tablets: chessmen and draughtsmen;
mirror-cases; comb?; fans. Loving-cups ('Vidrecomes''). Powder-flasks.
In the central glass-case : 116. Ivory harp (15th cent.), perhaps once in
the possession of Duchess Yolande of Savov ; 2-44. Descent from the Cross
(13th cent.); 39, 52. Saddle-bow and cantle (Itnl. ; 13th cent.), the former
with ligures of women upon horses and camels; 50. "Coronation of the
Virgin (painted : 13th cent.) : 12. Byzantiue triptych (10th cent.). Between
the window^s: ll2. Altar-piece of Poissy, about 7 ft. in height, executed
at the end of the 14th cent, in horn jmd mosaic: 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.
By the first window, to the right: Eound ivory casket from Cordova,
made in 967 for Almogueira, son of Abd-er-Eahman III. — Opposite are
a Gothic oaken chest and a 'Flemish tapestry (Loth cent.), representing
St. Luke painting the portrait of the Virgin (after Rogier van der Weyden).
At the side?, four other fine Flemish tapestries (15-16th cent.).
III. Room. Flemish and German Earthenware of the 16-17th
centuries. Pottery by Palissy and in his style.
IV. Room. French Fayence, including specimens of the famous
work of Bernard Palissy (d. 1089), vehich 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'Oirou' (specimens in the centre case) ; it was
manufactured in the 16th cent, at Oiron in Poitou.
V. Room. French Industrial Art of the 18th Century. On the
■walls hang Tapestries: *Marriage of Roderigo and Angelica, after
( 'oypel (in admirable preservation) ; Toilet and Work of Sultanesses,
after Van Loo. Padels and Gouaches. Magnificent * Cabinets in the
style of Louis XVI. , by Riesener. Beneinann, Levasseur, and others ;
large terracotta Sphinx, with a woman's head; Child and bird-cage,
an alabaster group by Pipa^^e; large casket with nymphs, by Clo-
dion(^!). The central glass-case contains large specimens of Chinese,
J)resden, and Sevres Porcelain, some with beautiful bronze decora-
Asiatic Antiquities. 2. LOUVRE. 145
tions "by Thomire^ Gonthitre, etc. ; t;harmiiig terracottas by C/o-
dion, etc.
YI- VIII. Rooms. Oriental Bronzes^ vases, and utensils, including
a Moorish bo^vl, known as the Baptistere of St. Louis (13th cent.),
used at the christening of French princes. Oriental and Hispano-
Moorish Fayence. 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.
From Room VIII a staircase ascends to the 2nd floor (p. 149). — For
the Remainder of the Renaissance and Modern Objects of Art^ see below.
Leaving Room VIII by the door at the end we reach the top
of the staircase leading to the Asiatic Museum (p. 101). We turn
to the right and enter the rooms of the East Wing.
Salles de la Colonnade , three rooms containing Asiatic Anti-
quities, from Smiana and Chaldaea.
I. EooM (6th of this collection; four rooms on the groundfloor, 0th the
staircase; comp. p. 101). 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
Eniemema, with engravings, dating from before the 30th cent. B.C., from the
excavations of Sarzec at Tello (Chaldeea). 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 ; Chaldsean
cylinders and bas-reliefs.
II. EooM. 1st Section: in the middle, plana of the tumuli in Susiana
and Chaldasa 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 Artaxerxea Mnemon, also in terracotta;
on the partition-wall, the crowning-orn.iments of the pylons of this palace,
with lions in the same material; on the right side, fragments of a bath
and terracotta vases. — 2nd Section : At the back, 'Capital of one of the
36 columns (each 6S 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, Chalda;;i, and Assyria; rings; medals, including a fine silver
tetradrachma of Eucratides (second case on the left).
III. Room. Continuation of the above crdlection. 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 Sp .in in 1897.
IV. Room or Salle du Domb. Continuation of the Renaissance
and Modern Objects of Art (comp. above). To the left, *Armour
of Henri 11. 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 and Dejanira, Geometry, Venus; Sperandio,
Equestrian statuette of G. J. Gonzaga; Barye, Equestrian statuettes
(4th case). Then, interesting armour and weapons. — Cases at the
windows : clocks of the 16-17th cent. ; French and German medals;
cutting weapons of the 15-16th cent, and a hunting-horn of Fran-
cis I. By the first window, Italian medals. A small cabinet con-
Baedekee. Paris. 14th Edit. 10
146 2. LOUVRE. Egyptian
tains bronzes: P. Vischer, Portrait of himself ; Riccio, Arion, St. Se-
bastian; School of Donatello, John the Baptist. — In the glass-
cases in the centre : reliefs in metal ; paxes ; locks, keys, etc. ;
cutlery, spoons, etc.; medallions in coloured wax.
V. Room. Italian Majolica or Fayence. The finest specimens,
dating from the 16th cent., were made at Deruta, Faenza, Forli,
Venice, Gubbio, Pesaro, Urbino, and Castel Durante. 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 spe-
cimen and that in the next room are the only carvings of the royal
apartments now extaut. — 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, 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. In the centre of the wall, Charles V.,
in high-relief (German ; 16th cent.). The benches should also be
noticed.
VII. Room, with alcove, in whicli Henri IV. breathed his last.
The Venetian state-bed (16th cent.) did not originally belong to
this room. The wood-carving is from the rooms of Henri II. in the
Louvre, and was restored in the reign of Louis XIV. Fine chests
and two Renaissance choir-stalls.
VIII. Room. Portraits of Louis XIII. and his queen Anne of
Austria, by Phil, de Champaigne (y) ] three large vases of Sevres
porcelain ; silver statue of Peace, by Chaudet.
On leaving Room VII we find ourselves at the top of the stair-
case of the Mus^e Egyptien, which is continued on the landing and
in the rooms to the right (comp. PL of first floor, p. 89).
Egyptian Museum (continued). — The rooms to the right con-
tain the smaller Egyptian antiquities.
I. Salle Historique , with a ceiling-painting by Gros, 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 sur-
rounded by an octagonal glass-case, Statuette of Psammetichus II., in
green basalt. In front, bronze statuette of a man; behind, bronze "Statuette
of Queen Karomama (22nd Dyn.), richly damascened (restored). — Glass-
case: sepulchral statuettes, scarabsei; golden *Ornaments coated with col-
oured vitreous paste, golden 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.).
II. Salle Civile, with a ceiling-painting by fl". Vernet: Bra-
mante, Raphael, and Michael Augelo before Pope Julius 11. (1827).
Museum. 2. LOUVRE. 147
In the centre, ^'^' Statuette of an Egyptian Scribe, painted red, with eyes
inserted (5th or 6th Dyn.), probably the best example of ancient Egyptian
sculpture. To the right and left of the entrance, two fine heads of the
best (Saitic) period. — 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 hus-
bandry; emblems and miscellaneous utensils; weapons, musical instru-
ments; finely-woven 'Garments; statuettes; box of games.
III. Salle Funeraire, 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 Kgyp-
tians, 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 souFs condition after death is chiefly derived from the
'Book of the Dead' and the 'Book of the Future Life', which contain
hymns, prayers, and instructions for the use of the deceased. The papyri
hung on the walls contain a number of these passages, sometimes illustrated
by paintings in wonderfully good preservation. The finest is in Room V.
— Above the fire-place hangs a large picture, of the Graeco-Roman period,
representing a departed soul, supported on the left by Osiris and received
by Anubis. In the centre. Mummy-cases, covered with paintings. 1st Glass-
case: objects in bone and ivory, toilet-articles in carved wood, fayence,
enamels, glass, seals, ornaments. Statuette in bronze of the hawk-headed
Horus, ofl'ering a libation to his father Osiris. 2nd Glass-case: symbols,
amulets, and scarabaei. — Other 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.
IV. 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: ^Wooden statuette of Toui, a priestess of Min, the god
of Coptos (20th Dyn., i.e. ca. 12th cent. B.C.), acquired in 1S94 for 10,0(X) fr.
The adjoining *Glass-case contains a magnificent collection of jewels, tiold
ornaments, statuettes in gold and enamel, other cloisonne enamels, seals,
engraved cornelians, enainelled vases, etc. The contents of this giass-case
is calculated to be worth about 1,000,100 fr. ; the 'golden group of Osiris,
Isis, and Horus (22nd dyn.), on the window-side, alone cost 25,000 fr.
Then, a bronze statuette of Mesu. Above the fire-place, Hobs (?), Sekhmet,
Ammon , Osiris, and Isis nursing Horns. In the other cases, numerous
statuettes of deities in bronze (a good selection in Case K).
V. Salle des Colonnes , adorned with an allegorical ceiling-
painting by Gros (in the centre, True Glory leaning upon Virtue;
to the left, Mars crowned by Victory and restrained by Moderation ;
to the right, Time placing Truth under the protection of Wisdom).
This room contains various objects for which a place could not be
found in the preceding rooms.
Wooden mummy-cases, covered with paintings. In the glass-cases near
the entrance are mirrors, bronze weapons, and bronze knives. Wooden
.statuette of the ancient empire (about 3000 B.C.) and a chair inlaid with
ivory. In the cabinets are deities, bronze implements, papyri, etc. — By
10*
148 2. LOUVRE. Antique Pottery.
the window i8 the so-called •Royal Papyrus, a splendid and well-preserved
specimen of the hieroglyphic 'Book of the Dead", about 25 ft. long, and
not less than 3000 years old. — In the middle and by the windows, three
cases containing recent acquisitions.
Collection of Antique Pottery (Musie de la Ceramique Antique).
— This collection, the nucleus of which was the Campana Collection^
purchased from tlie papal government in 1861, is one of the most
complete of its kind and affords an admirable survey of the develop-
ment of vase-painting among the ancients. — Arranged chronologic-
ally, the earliest specimens are in the room entered from the Salle
des Sept Cheminees through the door to the right (comp. Plan, p. 89).
The ceiling-paintings date from the middle of the 19th cent., when
the paintings of the French School were still exhibited here.
I. Room or Salle A. Ceiling -painting by Alaux: Poussin being pre-
sented to Louis XIII. by Cardinal Richelieu ; to the left Truth, to the right
Philosophy. — Earliest representations of figures in terracotta and limestone.
In the glass-cases in the centre : Golden ornaments, terracottas, A'ases, and
cuneiform inscriptions. In the other cases; on the left wall, Chaldfean
statuettes, below; Phoenician statuettes, above; numerous Grseco-Baby-
lonian statuettes of Venus. By this wall and the rear- wall, series of
warriors' heads, from Cyprus, in the Phoenician-Greek style, interesting
from their resemblance to archaic Greek types. Right wall. Egyptian
terracottas, from the period of Greek influence in Alexandria. Terracottas
from Rhodes, with primitive ornamentation. By the central window, Gold
ornaments from Rhodes.
II. Room (B). Ceiling-painting by Steuben: Battle of Ivry, with Henri IV.
as a magnanimous victor. G7'eek Terracottas from Athens, Magna Grsecia,
and the necropolis of Myrina, near Smyrna, some cf great artistic worth.
Left wall : Figurines of Greek women, some with hats, some seated, mostly
elegant and graceful in bearing. Among the bas-reliefs are several vintage
scenes and a *Bacchic dance. — Rear wall: Cinerary urns with painted
reliefs. In the centre of the exit -wall. Two warriors arming, with a
mother and child between them.
III. Room (C). Ceiling-painting by Eug. Dev4ria : Louis XIV. Inspecting
Pugefs marble group of the Milo of Croton (p. 106). — Etruscan Pottery
of the earliest type, black, with engraved designs ; earliest attempts at reliefs
(found in tombs).
IV. Room (D). Ceiling-painting by iVasroward; Francis I. receiving pic-
tures and statues brought by Primaticcio from Italy. — Etruscan Terracottas.
In the centre: 'Sarcophagus from Cerveteri, on which are two painted life-
size figures of a man and woman on a couch, clumsy in execution, but
not without a certain naive humour. — Left wall: in front, Athena and Her-
cules (painted relief); 'funeral couches' and funeral banquets. — Rear-wall:
Vases with painted figures and geometrical ornamentation. — Exit-wall:
Fragment of a mural painting, representing the gods, etc., in the most
artless fashion.
In the adjoining passages are antefixse, heads, and vases.
V. Room (E). Ceiling-painting by ^etm; The Renaissance in France. —
Vases in the Corinthian Style, found in Greek islands and in Italy. By the
central door, Vase with the mourning for Achilles. The sixth vase farther
on represents Hercules and Cerberus. — To the right of the exit, Perseus
slaying the Gurgon.
To the left opens the Salle des Colonnes (p. 147) through which we may
reach the rooms overlooking the court, which contain another portion of
the collection (see below).
Another short passage , with archaic Greek vases , leads in a straight
direction from Room E to the —
VI. Room (F). Ceiling-painting by Fragonard: Francis I. knighted by
Bayard. — Qreek Vases with Black Figures. The finest are in the centre of the
NavaL Museum. 2. LOUVRE. 149
room, some of them 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.
VII. Hoom (G). Ceiling-painting by Schnetz: Charlemagne and Alcuin,
the founder of the university of Paris. — Greek Vases icith Tied Figures^ many
of which bear the name of the maker and most of which are noteworthy.
To the left, '-The-!eus, Amphitrite, and Athena, by FAtphro(nios). Third
vase in the lower row: ".Sphinx, with meditating Greeks. Bacchic scenes.
In the middle of the rear-wall, small vase, with three Greek ladies.
VIII. Room (H). *Ceiling-painting by Drolling: Louis XII. hailed as
father of the people by the Estates at Tours. — Graeco-Italic Vases. By the
walls, Arezzo ware, of purely archrrological interest, and a few Greek
vases of the deciidence. In the centre are Rhyta or goblets in the form
of horns, with heads and other ornaments.
IX. Room. Ceiling painting by Ze'on Co^me^. • Bonaparte in Egypt. Mural
Paintings from Herculaneum and Pompeii. To the lett, on a gold ground,
Apollo and the 3Iuse3. Below, decorative painting with a large cameo. —
To the left of the exit, Woman with dark-coloured vase. To the right, on
the same wall, *Faraily of twelve, with names in Greek characters. —
Rear-wall : Ladies playing with a goat. River god between two nymphs. —
In the glass-cases in the centre and by the windows: rich collection of
Ancient Glass, some of inimitable technique.
The exit-door leads to the rooms containing the small Egyptian an-
tiquities (p. 146), whence we reach the nearest staircase to the second floor
by re-traversing the rooms to the left (p. 146).
To conclude our inspection of the collection of pottery, we retrace our
steps to Salle E, whence we pass through the Salle des Colonnes (p. 147),
to the left, to the adjoining rooms on the side next the court.
Rooii M. Ceiling-painting by Picot: Cybele saving Pompeii and Hercu-
laneum from total destruction. — Pottery with black and violet painting,
including Panathenseic amphorse. In the central case: Terracottas from
Tarsus in Cilicia. Entrance-wall: to the right. Vase with Croesus on the
funeral-pj re. Exit-wall : to the right, Birth of Athena.
Room L. Ceiling-painting by Meynier: The Nymphs of Parthenope (Naples)
arriving at the Seine. Wall Cabinets: Greek terracottas from Tanagra in
Bijeotia: to the right of the entrance, "Dancing Cupids, "Figures of women,
with blond hair. On each side of the chimney-piece, Athenian lecythi or
oil-vases. The central octagonal glass-ca^e contains terracottas from the
Necropolis at Athens and from Libya (the Roman province of Cyrenaica)-,
"Amphora with the contest of the gods and the giants.
Room K. Ceiling-painting by Heim: Jupiter delivering to Vulcan the
fire for the destruction of Herculaneum and Pompeii. Vases, some of
large size.
Salle de Clarac. Ceiling-painting after Ingres : Apotheosis ot Homer
(original, see p. 133). Small Greek sculptures and fragments of others.
By the left window, draped figure of a girl. In the central cases: Antique
ivory carvings; Greek terracottas and wood-carvings, etc.
The door of exit leads into the Salle des Sept-Cheminees (p. 140).
C. SECOND FLOOR.
The second floor of the Louvre, which contains the Marine and the
Ethnographical Museums 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
Medifeval, Renaissance, and Modern objects (p. 146), which is reached
from the groundfloor by a staircase near the Asiatic Museum; (2) From
the opposite end (p. 143), leading to the Galerie des Pirogues (p. 150); and
(3). In the Pavilion de FHorloge or Pavilion Sully (see p. 142), beside the
Salle des Bronzes.
150 2. LOUVRE. Ethnograph. Museum.
The *Mu8ee de Marine is a very valuable collection of objects
and models connected -with ship-building and navigation. Most of
the exhibits have full descriptive labels.
EooM I. Models illustrating the French navy from 1789 to 1824. —
Rooii II. Models of sailing-vessels of the 18-I9th cent, j screw-yacht of
1885. Behind is the model of a frigate being repaired at Tahiti 5 to the
right, model of the Ocean', a man-of-vpar of the I8th cent.: the 'Rivoli''
leaving the harbour of Venice with the aid of 'chameaux'' or rafts to aid
it over shallows. — We now enter, to the left of the staircase, —
Rooii XIII. 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. — Room XII. Models of sailing-ships.
Busts of the famous seamen Ducouedic, Tcurville, Jean Bart, and Forbiu.
Two marine paintings by Gudin. — Eoom XI. Models of steam-packets.
Model of the 'Fram' and of various objects from Nansens polar expedition
(1893-96). In the narrow Corridor behind Eooms XIII-XI (Galerie des
Navires Marchandes) are models of merchant vessels. — Rooii X. Fire-
arms of various calibres. — Room IX. Weapons. Three marine paintings
by Jos. Vernet. — Room YIII. 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. — Salle des Cuirasses (at the end of
R. VIII). Models ot iron-clads, turret-ships, and torpedo-boats-, submarine
boat 5 planetarium moved by clock-work. Marine paintings — Room VII.
Models of antique vessels and of transports. Planetarium. — Room VI.
Machine for adjusting the masts of a ship. Representation of the interior
of the turret-ship 'Marengo' (1867). Relief-plan of the island of Tahiti.
Parts of a ship; cables; rigging. — Room V. Models of pumps and
machinery; telegraphs, lighthouses. — Room IV. Large geographical
globe in MS. Navigating instruments. Models of xebecs or galleys refitted
for sailing. — Room III. To the right, small vessel in ivory. Models of
galleys and ships of war of the 17th ce'ntury. The original carving in
gilded wood by Puget, on the wall, decorated the second of these galleys.
The Ethnographical Museum (Musee Ethnographique) begins
with the two rooms immediately following the Musee de Marine, and
also occupies the large saloon at the end. In the former are models
of dwellings of savages, scenes of savage life, portraits of American
Indians, war-suits, and implements of various kinds. The large sa-
loon is devoted almost exclusively to curiosities brought home by
French navigators and the spoil captured in the course of military
expeditions in India, China, and Japan. Much better collections of
the same kind may be seen at the Musee Guimet (p. 167) and the
Trocadero (p. 170).
The Corridor behind Rooms I-VI , the Galerie des Firognes , contains
small models of Arab. Indian, Chinese, Australasian, and Polynesian 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 Muse'e Guimet (p. 167), while its porcelain
is far inferior to that of the Collection Grandidier (p. 151).
Leaving the last room, we enter a corridor, which is adjoined
MUMSS^ DU LOUVRE
^"ilelres.
Rue de Rivoli
U R
^ i
or L 0 r V R E r -
A. d. Pet its escaUers.
SECO:SD ETAGE.
B. Gfa/z^Z escaHer.
Chalcographie. 2. LOUVRE. 151
by the Salle des Boltes on tlie right. This saloon and the corridor
contain the most valuable drawings by Raphael (18 ; and an au-
tograph), Michael Angela (6j, Leonardo da Vinci, Titian, Poussin
(18), a.nd 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. 142).
Two other collections have been arranged in a kind of second entresol
on the side next the Seine, viz. the Chalcographie and the Collection Grandi-
dier. The principal entrance to these is by the Forte Jean-Goujon, opposite
the Pavilion Denon, but there is 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 I8th and iOth cent., in frames and on two radiating
stands, statuettes, bronze vases and sword-hilts, combs, caskets, lacquered
screens, etc.
III. THE TUILERIES.
Arc de Triomphe du Carrousel. Jardin des Tuileries.
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, was restored in 1863-68
and again after the fire of 1871, in which it sustained little damage.
It is at present partly occupied by the Colonial Office. The right
wing, in the Rue de Rivoli, with the Pavilion de 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. 88), 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 Philihert Dclorme, 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 I,, Louis XVIIL, Charles I., Louis Philippe, and
Napoleon III. On 5th. Oct., 1739, Louis XVI. was brought bv the Dames
de la Halle' from Versailles to the Tuileries, and in June, i791, he was
again forcibly installed here after the arrest of his flight at Varennes.
152 2. PALAIS DES TUILERIES.
On 20th July, 1792, tlie anniversary of the meeting in the Jeu de Paume
(p. 325), 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 Manhge^
or riding-school (see p. 84), where the legislative assembly held its meetings.
The national guard then dispersed, but the Swiss guard and aboux
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 furnitiire and fittings,
and stole or carried to the Hotel de Ville numerous objects of value.
The retreating Swiss guard were almost all shot down in the garden,
and the rest by order of Louis gave up their arms to the national guard
in the hall of the national assembly. The Revolution was victorious.
Of the hitherto existing state-structure not one stone was left on another.
Royalty lay prostrate in the dust, and the legislative assembly continued
to exist merely in name. — The king and his family spent the night in
a small room in the Manege, and on 13th Aug. he was conveyed as a
prisoner to the Temple Tower (p. 210). whence he was only released to
be led to the scaflbld on Jan. 21st, 1793.
From lUth May, 1793, to 4th Nov., 1796, the Conventions^ and afterwards
the Council of Elders down to 1799, held their meetings in the N. wing.
On Feb. 1st, 1800, N'^apoleon, as 'First Consul", took up his quarters here,
and the palace also became the official residence of the Restoration and
July monarchies. On 24th Feb., 1B48, Louis Philippe abandoned the pal-
ace to the mob without resistance. !J\apoleon III. resided here from
1852 to 23rd July. 1870, when he quitted Paris to take the command of
the army of the Rhine. The history of the Tuileries as a royal residence
closes with the departure of the Empress Eugenie after the battle of Sedan.
On 20th May, 1871, the Communards, aware of their desperate position
and the impending capture of the city by the government troops, deter-
mined at one of their secret meetings to wreak their revenge by setting
all the principal public buildings on fire. The orders which they issued
for this purpose, signed by Delescluze, Dombrowski, Eudes, and other
ringleaders, professed to emanate from the ' Comiti du Salut Public 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.
The open space between the Louvre and the Tuileries, with the
exception of the part beyond the Arc de Triomphe du Carrousel, was
2. PALAIS DES TUILERIES. 153
occupied doYin. 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 IIL, and the spare 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 Place du Carkousbl (PI. R, 17, 20; //), formerly much
smaller than now, derives its name from a kind of equestrian ball
given here by Louis XIV. in 1662. On this site Napoleon I. directed
his architects Fontaine and Percier to erect the *Arc de Triomphe
du Carrousel, in imitation of the Arch of Severus at Rome, to
commemorate his victories of 1805 and 1806. The structure, which
was formerly the principal entrance to the Tuileries, is 48 ft. in
height, 631/2 ft. in width, and 21 ft. in thickness, but in conse-
quence of the immense clearance that has taken place since its
erection it is now too small to harmonise with its surroundings.
(The Arch of Severus is 75 ft. in height and 82 ft. in width.)
The arch is perforated by three arcades and embellished with Corin-
thian columns of red marble with bases and capitals in bronze supporting
marble statues representing soldiers of the empire.
The Marble Reliefs on the sides commemorate the achievements of the
Emperor and the French army. In front: on the right, the Battle of
Austerlitz; on the left, the capitulation of the Austrian general Mack at
Ulm. At the back: on the right, the conclusion of peace at Tilsit; on
the left, entry into Munich. On the N. end, the entry into Vienna; on the
S. end, conclusion of peace at Pressburg.
The arch was originally crowned with the celebrated ancient Quadriga
from the portal of St. Mark's in Venice, brought thence as a trophy, but
sent back to Venice by Emperor Francis in 1814. It was afterwards re-
placed by order of Louis XVIII. by a Quadriga designed by Bosio, and
intended to represent the 'Restoration'.
The Monument of Gambetta, opposite the arch, consists of a
lofty stone pyramid with a group in high relief representing Gam-
betta (1838-82) as organiser of the national defence, in bronze by
Aube. At the sides are decorative statues of less importance repre-
senting 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 political speeches.
On the pillars outside the large archways leading from the Place
du Carrousel towards the Seine, are statues of Naval and Merchant
Shipping, hy Jouffroy. At the top is a bronze relief, hy Mercie.
representing the Genius of the Arts. — Pont du Carrousel, see
p. 263. The next bridge is the Pont Royal (p. 271), whence the
sculptures on the S. facade of the Pavilion de Flore, especially those
by Carpeaux, are best seen.
The *Jardin des Tuileries (PL R, 18, 17; //), 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-
154 2. JARDIN DES TUILERIES.
pying the actual site of the former palace. The older portion retains
the same general features as when first laid out by the celebrated
landscape-gardener Le Notre in the reign of Louis XIV. ; but the
parts between the 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 drum. The gardens may be
entered from the Rue des Tuileries, the Rue de Rivoli, the quays,
or from the Place de la Concorde at the W. end. At the W. end,
beyond the flower-beds, is a shady grove of large trees. On the N.
and S. sides the garden is enclosed by terraces, called the Terrasse
des Feuillants and the Terrasse du Bord de VEau. The first derives
its name from a Monastery of the Feuillant Order (reformed Cister-
cians), founded here in 1587. 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
Alice des Grangers, which skirts the terrace, is adorned in fine
weather with two rows of orange-trees in tubs, forty-one of which
date from the time of Francis 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, embellished with marble statues and vases.
In the new part, on the site of the palace proper, central walk: in
the centre, •Quand-meme'. by Mercii; to the right, Ganymede, by Bar-
thilemy ^ 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
Belaplanche ; Exiles, by M. Moreau; Velleda, by Maindron; Snzanne, by
Gain. On the right, Agrippina with the ashes of Germanicus, hj Mailkt;
Judith, by Lanson; Penelope, by Maniglier; Magdalen, by /*(^erae; and Faun,
by Becquet.
To the W. of the Rue des Tuileries, central walk, on the right:
Omphale, by Eude; ^neas carrying his father Anchises from the flames
of Troy, by P. Lepauire; a Bacchante, by Carrier-Belleuse; behind, Venus
with the dove, and Nymph with the quiver, by Guill. Coustou ; Lion
and crocodile, bronze by Cain. In the allee before the rondel: Diana
and the Xymph of Fontainebleau, "by E. Liveque. On the left: a Corybante,
by Cugniot; Lucretia and Collatinus, by Lepauire; Xew Year's Day, by
Beaugeault; behind. Flora and Zephyr, by Coyzevox; on the lawn, Lioness and
peacock (bronze), by Cain. Xear the central basin: to the right and left,
Orithyia carried off by Boreas, by Duqiiesnoy and O. Mavsy. Cybele carried
off by Saturn, by Regnaudin ; then from right to left, Cassandra and 3Iinerva,
by A. Millet; Alexander the Great, by Dieudonni; Prometheus, by Pradier;
Soldier tilling the ground (from Virgil), by Lemaire; the Oath of Spartacus,
by Barrias; Cincinnatus, by Foyatier; Alexander lighting, by Lemaire; Rape
of Dejaneira, hj Marqueste; Pericles, by Dehay. In the transverse walk to
the left: Comedy, \ij Roux; the Grinder, after the Florentine antique; Phi-
dias, by Pradier. In the walk to the right: Comedy, by Christophe; Aurora,
bronze figure by Magnier; Ugolino, in bronze, by Carpeaux; Silence, by
Legros. — At the beginning of the Allee des Orangers: Return from the
hunt, bronze, by Ant. Carles (18SS); at the flight of steps opposite the street
2. JARDIN DES TUILERIES. 155
leading to the Vendume Column (p. 84), two groups of animals, by Catn\ at
the end, Hercules subduing the Hydra, in bronze, by Bosio. Other sculptures
are placed in the grove, etc. On the Terrasse du Eord de TEau, near the
Orangerie, *Lion and serpent (bronzej, one of the principal works of Barye.
Under the trees of the small grove, on the right and left of the
broad central walk, are two marble semicircular platforms called
the Carres d'Atalante, constructed in 1793, in accordance with the
instructions of Robespierre, for the accommodation of the council
of old men who were to preside over the floral games in the month
of Germinal (21st March to 19th April). On that to the right is a
group of Atalanta and Hippomenes by 0. Coustou , and on that to
the left, Apollo and Daphne by Theodon. — In summer a military
band plays near this spot on 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 hour). 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 O. Coustou, and the Tiber by Van Cleve. The Nile is
after an antique in the Vatican, the Tiber after one in the Louvre
(p. 98). At the ends of the terraces are, to the right a Tennis Court
(ball-room), to the left, an Orangery.
A Dog Show is held in May on the Terrasse du Bord de TEau (to the
left) and a Flower Show a 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 be performed on
foot or in a cab hired by the hour. Those who Avish to go direct to the
Bois de Boulogne may proceed by the Chemin de Fer de Ceinture or the
Metropolitan Railway, or they may take the omnibus (see p. 160 and Appx.).
Ou days, however, when races or reviews are held, and even on fine Sun-
days, 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-Elyse'es or in the Bois (see pp. 18, 19).
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 *Cliamps-ElyBees (PI. R, 15; 11), under which name is
now included not only the small park adjoining the Place, about
156 3. CHAMPS-EL YS^ES.
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, l^/a M. in length, hy 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 in the
afternoon, when numerous carriages, riders, and pedestrians are on
their way to and from the Bois de Boulogne. Cafes-concerts, see
p. 36. 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 (p. 155). The small and tasteful drinking - foun-
tains, which we notice in the Champs-Elysees and elsewhere in
Paris, were erected by Sir Richard Wallace [d. 1890).
To the right, separated from the Champs-ElTse'es bv a large garden,
is the Palais de lElysee (PI. R, 15; //), erected' by Mo'let in 171S for the
Comte d'Evreux. but rebuilt on a larger scale by Lacroix in 1850. It is
now the official residence of the President of the Republic (no admission).
The entrance is at No. 55 Rue du Faubourg-St-Honore. During the reign
of Louis XV. this mansion was the residence of Madame de Pompadour,
from whose heirs it was purchased by the king to form a residence
for the foreign ambassadors. Under Louis XVI. the palace acquired the
name of Elysie Bourbon from its prolonged occupation by the Duchesse
de Bourbon. During the Revolution the 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, Napoleon I., Louis Bonaparte, King of Holland, and his queen
Hortense, Emperor Alexander I. of Russia, and the Due de Berry. The
building was left uninhabited after the Revolution of 1830, until Napo-
leon III. took possession of it as President of the French Republic, enlarging
and improving it considerably.
Considerable alterations have been made on the S. side of the
Champs-Elysees for the universal exhibition of 1900, and the view
of the Seine (Cours la Reine, p. 164) is now built up. The Palais
de rindustrie, which was erected in 1855 for the first Great Ex-
hibition at Paris and afterwards used for the 'Salon', or annual
exhibition of modern paintings and sculptures , was demolished in
1897 to make way for the new Palais des Beaux- Arts , between
"which the Ai-enue Xicolas Deux runs towards the new Pont Alexan-
dre m. (p. 165).
The *Petit-Palais (PI.R,15; 7i), on the left side of the Avenue
Nicolas II. as we approach the Pont Alexandre III, (p. 165), was
built in 1897-1900 and is, in spite of its name, a large building,
covering an area of about 9500 sq. yds. It was designed by Charles
Girault^ in a style suggestive of the 17- I8th cent, and harmoniz-
ing with the adjacent structures in the Place de la Concorde and
the Place des Invalides. It is in the form of a one-storied trape-
;). GRAND-PALAIS. 157
zium, on an elevated basement, and is, perhaps, more successful
than its larger neighbour. The main fagade, turned towards the
avenue, is adorned with two graceful colonnades, one on each side
of the central dome, which contains the principal entrance, with a
flight of steps and a portico with a semicircular pediment. At the
angles are two lower pavilions, with domes and triangular pedi-
ments; and there are two other domes in the rear. On the lateral
facades, between the windows, are niches for statues. The roof is
concealed by a parapet. There are statues between the columns of
the main facade, and relief-friezes within the colonnades. On each
side of the central dome there is a large hall, and beyond is a semi-
circular court, with colonnade and galleries. — During 1900 the
Petit-Palais will contain an 'Exposition Retrospective' or historical
collection; thereafter it is to be used as a municipal museum.
The *Grand-Palais (PI. R, 15; //), opposite the Petit-Palais,
was built at the same time by Louvet, Deglane, and Thomas. Its
dimensions, covering an area of about 38,000 sq. yds., are impos-
ing. It consists of a large front building, united with a smaller one
in the rear by a transverse gallery. The style is composite, but
mainly reminiscent of the 17th century. The facade is adorned with
a double colonnade, rising to a height of two stories; and there are
three monumental entrances in the central pavilion. The sculptures
of the central portico, representing the Beauty of Nature, and Mi-
nerva and Peace, are by Gasq, Boucher, Verlet^ and Lombard. Those
to the right represent Sculpture, Painting, Architecture, and Music,
and are by Cordonnier, Lefehvre, Carles, and Labcitut. To the left
are the Arts of Cambodia, Egypt, Greece, and Rome, by Bureau,
Suchet^i Beguine, and Clausade. On and under the colonnades are
friezes of Amoretti, holding the attributes of the arts. At the top
are a balustrade, allegorical groups on the abutments, by Seysses and
Greher, and bronze quadrigcTe, by Recipon. In the middle of the
principal building rises a depressed dome. The rear-facade, in the
Ave. d'Antin, is embellished with colonnades, sculpture, and friezes
in polychrome stoneware, made at Sevres (Ancient and Modern Art).
— In 1900 this building is to be used for contemporary and centen-
nial exhibitions. Afterwards it is to be the scene of the annual
exhibitions of paintings and sculptures, horse shows, agricultural
fairs, and the like. Its destination explains the peculiarities of its
internal construction. The roof is a
of glass 10 ft. long and 3 ft. wide.
The Pasteur Monument, by Falguiere, showing Fame crowning the il-
lustrious chemist (p. 2-^8), in bronze-gilt, is to be erected at the beginning
of the Avenue Nicolas II. — Pont Alexandre III., see p. 165.
Beyond the Grand Palais des Beaux -Arts, to the left, is a
former panorama, converted into a Palais de Glace, with a floor of
real ice for skating (p. 39). On the other side of the avenue are the
Cirque Palace (p. 35), the Restaurant Paillard (p. 14), and the
Theatre Marigny (p. 36).
158 3. ARC DE L'ETOILE.
The park or Carre des Champs-Elysees extends as far as the
Rond-Point des Champs-Elysees (PL 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 I'Etoile.
Two avenues descend hence to the Seine : the Avenue d'Antin,
leading to the Pont des Invalides (p. 165), and the Avenue Mon-
taigne^ leading towards the Pont de I'Alma (p. 165).
To the N. of the Rond-Point the Avenue d'Antin is prolonged to the
church of St. Philippe du Roule (PI. B, 15 ; //), 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.
Farther on, to the left of the Champs-Elysees, extends the mod-
ern Quartier Marbeuf, consisting of handsome private residences.
The Trocadero, about ^/^ M. from this point, may be reached by an
omnibus traversing the Rue Pierre-Charron. ' — The Avenue des
Champs-Elysees, in which the vast Elysee Palace Hotel (p. 3) is
conspicuous, ends at the —
*Place de l'Etoile (PL B, 12; /), so named from the star
formed by the twelve different boulevards or avenues which radiate
from it (see p. 159). This Place occupies a slight eminence, on the
summit of which rises the —
*Arc de Triomphe de I'Etoile, the largest triumphal arch in exist-
ence , and visible from almost every part of the environs of Paris.
Begun by Napoleon I. in 1806, it was completed by Louis Philippe
in 1836, from designs by Chalgrin(^dL. 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, 'Rising of
the people in 1792 at the summons of the Genius of War, 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 surrendering 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 vrith 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-
3. NEUILLY. 159
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 coffin of Victor Hugo (d. May 22nd , 1885) lay in state beneath
the arch on June 1st, 18S5, before its transference to the Pantheon.
The Platform, to which a spiral staircase of 263 steps ascends,
commands a noble *Prospect [adm. 10 till dusk, free, but a small
fee, for a charitable object, is expected by the attendant). Best
view in a W. wind after rain.
To the E. the Champs-Elysees and the Louvre, beyond which rise
the Hotel de Ville and (to the right) the towers of Notre Dame; farther
to the right, the lofty dome of the Pantheon. To the S.E. is the gilded
dome of the Invalides ; to the S. the Eitfel Tower, the Trocadero, and the
Exhibition Buildings. To the left of the Louvre (N.E.) appear the low
dome of the Bour.se, the Vendome Column, the green roof of the Made-
leine, the tall central portion of the Opera House, and the church of St.
Augustin. Farther to the N. is the white church of the Sacre Coeur on
Montmartre, and in the distance, the cathedral of St. Denis. To theW.,
to the left of the Avenue of the Gninde Aruie'e, we see Mont Valerien,
with the hills of St. Cloud and Meudon farther to the left. At our feet
stretches the Avenue du Bois de Boulogne,
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. 156; then, to the left, the Avenue Hoche, leading to the Park
Monceaux [770 yds.; see p. 198); the Avenue de la Grande- Armee
(p. 160), continuing the Avenue des Champs - Elyse'es towards
Neuilly (see below); the Avenue du BoiS'de-Boulogne{^. 160); the
Avenue Kleber, 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).
To the right of the arch (in coming from the Champs-Elyse'es) is a
station of the Metropolitan PmUwciij (see Appendix, p. 33). Steam-tramway
(o St. Germain-en-Laye, see p. 328.
Neuilly, which lies to the N. of the Bois de Boulogne (Jardin d'Accli-
matation; p. 162), and is traversed by the wide avenue of the same name,
forming a prolongation of the Avenue de la Grande-Armee, is now a suburb
with 32,730 inhabitants. The chateau of Neuilly, once the favourite resi-
dence of Louis Philippe, was totally destroyed by the mob on 25th Feb.,
1848, and the park was afterwards parcelled out into building-sites, on
which numerous tasteful villas have been erected. — The Fair of Neuilly,
beginning about June 24th and lasting two or three weeks, is very
characteristic and attracts large crowds from Paris.
In Neuilly, near the line of fortifications, on the right side of the Route
de la Revolte, is the Chapel of St. Ferdinand (PL B, 9), a cruciform
mausoleum in the Romanesque style, erected on the spot where Ferdinand,
Duke of Orleans, the eldest son of Louis Philippe and father of the Comte de
Paris, breathed his last on 13th July, 1842, in consequence of a fall from
his carriage. Admission daily; visitors ring at No. 13, nearly opposite the
chapel (fee). Over the high-altar is a Descent from the Cross, in marble,
by Triqueti. To the left is the Monument of the Duke, also by Triqueti.
from a design by Ary Scheffer, with a fine praying angel by the prince's
sister, Marie cC Orlians {i.. 1839). The windows are filled with good stained
glass designed by Ingres. The sacristy contains a picture by Jacquand
representing the death of the prince.
Farther to the W., at the Eond-Point d'lnkermann, are the new Ro-
manesque Church of St. Pierre (PL B, 5), and a bronze Statue of Pcrronet
160 3. BOIS DE BOULOGNE.
(170S-94), builder of the Pont de IJeuilly, Pont de la Concorde, etc. Close by
are a handsome Mairie (PL B, 5), built in 1882-85, and a bronze Statue
of Pannentier (1737-1813), who made his first experiments in the cultivation
of the potato at iS'euilly. Both statues are by Gaudez. From K^euilly a
handsome Bridge (1766-1772) crosses the Seine to the N.E., 2 M. from the
Arc de Triomphe (p. 158). On the opposite side of the river, to the right, is
Gourhevoie (p. 291), and to the left is Puteaux (p. 292), which are connected
by another avenue. 1/2 M. in length, continuing those above mentioned as
far as the Monument de la Defense (p. 292).
II. FROM THE PLACE DE L'ETOILE TO THE BOIS DE BOULOGNE.
Hippodrome de Longchamp. Jardin d'Acclimatation.
The Chemin de Per de Cdnture (see p. 27) has stations at the Porte
Maillot, in the Avenue du Bois- de-Boulogne (see below), at Pa«sy (p. 171),
in the Avenue Henri-Martin (Trocadero, p. 171), and at the Porte d'Auteuil
(see beluw). — There are stations of the Metropolitan Railway (see Appx..
p. 33) at the Porte M;dllot and the Porte Dauphine (see below). — Omnibus
from the Hotel de Ville to the Porte Maillot, see Appx., p. 24. — The Chemin
de Per du Bois de Boulogne skirts the Bois from the Porte Maillot to the
Porte de Suresnes (p. 292; 35 and 25 c.) and crosses the bridge to the W,
to Suresnes (p. 292). — There is also a small Horse Tramway from the Porte
Maillot to the Jardin d'Acclimatation.
Visitors who wish to see the Bois de Boulogne with the least pos-
sible expenditure of time should engage a cab by the hour (special tariflF,
see Appx., p. 36). The principal points may thus be visited in 2-3 hrs.
Those who do not wish to keep the cab waiting for the return-journey should
finish their drive in the Bois before visiting the Jardin d'Acclimatation. —
Restaurants^ see p. 19.
The Avenue de la Grande-Armee, prolonging the Avenue des
Champs-Elysees beyond the Arc de I'Etoile (p. 158), leads to the
Porte Maillot (which is named from the 'Jeu de Mail' formerly
played here), at the beginning of Neuilly (p. 159) and near the
Jardin d'Acclimatation, the nearest entrance to the Bois de Boulogne.
The Avenue du Bois-de-Boulogne (PI. B, R, 9, 6), leading from
the Arc de I'Etoile to the W. , is the usual route followed by the
fashionable crowds in carriages, on horseback, or on foot proceeding
from the Champs-Elys^es to the Bois de Boulogne. The avenue is
about 140 yds. in breadth (including the side-alleys and the divid-
ing strips of turf) and is 3/^ M. long to the Porte Dauphine (PL R,
6). In the distance the Mont Valerien (p. 292) is seen rising above
the Bois. To the right, near the beginning of the avenue, is the
Monument of Alphand (p. 186); to the left (No. 59) is the new
Musee d'Ennery^ containing a collection of objects from E. Asia, left
by A. Ph. d'Ennery, the dramatist.
The *Bois de Boulogne is a beautiful park covering an area of
2250 acres, bounded by the fortifications of Paris on the E. (see
p. xxviii), the Seine on the W., Boulogne (p. 293) and the Boulevard
d'Auteuil on the S., and Neuilly (p. 159) on the N. It is a fragment
of the extensive old Foret de Rouvray (from Lat. Woveretum\ the
chene rouvre, i.e. holm-oak), which also comprised the Park of
St. Ouen (p. 209). This forest was long in evil odour, being the re-
sort of duellists, suicides, and robbers. On its skirts, however, were
3
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3. BOIS DE BOULOGNE. 161
several princely residences, as well as the famous Abhaye de Long-
champ (p. 162). The forest received little attention until IBo'i,
when 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 become
a favourite promenade of the Parisians. — 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. Motor-
cars and cyclists are prominent amidst the throng of vehicles.
We enter the Bois by the Porie Dauphine (p. 160), in the En-
ceinte, or lines of fortifications (p. xxviiij, which are, however, more
or less disguised. The broad Route de Suresnes or du Lac^ which
diverges to the left, leads in about 10 min. to the Carrefour du
Bout des Lacs (see below). The Route de la Porte des Sablons, to
the right, leads to (Y3 M.) the Jardin d'Acclimatation (p. 162),
crossing the large Ailee de Longchamp or des Acacias, which leads
to the left to the racecourse (see below). This alle'e is the chief
scene of the Fete des Fleurs, held for a benevolent object about the
same time as the 'Grand Prix' at Longchamp (p. 162).
The Carrefour du Bout des Lacs is one of the finest points in
the Bois de Boulogne. It lies at the lower end of two artificial lakes,
the Lac Inferieur (2/3 M. in length and 100 yds. in width), and the
Lac Superieur (1/4 M. in length and 60 yds. in width), which are
fed by the Canal de I'Durcq (p. 201) and the Artesian Well of Passy
(p. 171). 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 whif^h is
a oafe-restaurant in the form of a Swiss Chalet. Between the two
lakes is the Carrefour des Cascades, and at the S. end of the Lac
Superieur is the Butte Mortemart. The vacant space hero has
been converted into the Champ de Courses d^Auteuil, with three
racecourses (comp. the Plan), for steeplechases and hurdle-races.
The race-stands, whence there is a fine view of Boulogne and St. Cloud ,
are situated on the 'butte'; adm. as at Longchamp (p. 1621. The
(frand Steeplechase (value 4800^1 is run at the end of May or
beginning of June and the Prix du Conseil Municipal (4000Z.) in
October. — Auteuil, see p. 171.
On arriving at the upper extremity of the Lac Supe'rieur we turn
to the right and walk along the margin of the lake to the Carrefour den
Cascades (see above). Hence we follow the Avenue de f Hippodrome
to the left, or the walk at the side (see Plan), both of which cross the
Raedeker. Parifi. 14th Edit. 11
162 3. HIPPODROME DE LONGCHAMP.
wide Allee de In 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 in front of it,
which affords a fine view of the valley of the Seine ; to the left, on the
opposite bank, lies St. Cloud with its modern church; nearer is the
Hippodrome de Longchamp (see below) ; opposite us are a mill and
two towers of the ancient Abbey of Longchamp (p. 161), with the
village of Suresnes beyond them ; to the right, a little farther off,
is''Mont' Valerien (p. 292). A path descends the hill to the interior
of the grotto and the foot of the fall.
The Hippodrome de Longchamp is the principal racecourse for
flat races in the neighbourhood of Paris (see p. 38). The races (cour-
ses or reunions) here take place in spring, summer, and autumn,
the days being advertised in the newspapers and handbills. They
attract vast crowds and are worth seeing. The 'Premiere de
Longchamp', at the beginning of April, opens the spring season,
and the new spring fashions then appear in all their glory. The
principal race at this meeting is the 'Cadran', worth 1200i. The
Grand Prix, of 250,000 fr. (10,000Z.), is competed for about the
middle of June, and may be styled the 'French Derby'. It may also
be said to inaugurate the summer season, as after it the fashionable
world of Paris prepares for its annual migration to the country or the
seaside. 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 racecourses (1, 172, and 1^/^ M.) and one straight course
(5 furlongs). — Reviews take place here occasionally.
Behind the race-stands are the Chalets du Ci/cle, a cafe freqnented by cy-
clists, and the chief statinn of the Chemin de Fer du Bois de Boulogne (p. 160).
The Seine may be crossed here either via the Pont de Swesnes
(p. 292), or by a 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. 159), at the opposite end from the racecourse,
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 the
property of the heirs of Sir Richard Wallace (d. 1890) and not accessible.
— The part of Neuilly adjoining this side of the Bois de Boulogne is known
as Madrid, a name derived from a chateau which once stood in this
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. 292. At the Porte de Madrid is a Restaurant. To the right of the
Route de Madrid is the Cercle des Patineurs (skating club); to the left lie
the Mare de St. James and the Jardin d'Acclimatation (see below).
The wide Allee de Longchamp (side -alleys preferable) leads
straight from the Hippodrome, passing the Cascade on the right,
to the (2 M.) Porte Maillot (p. 160). Near the end of the Alle'e 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.
3. JARDTN D'ACCLTMATATION. 163
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
1854 'in order to introduce into France and acclimatise foreign
plants and animals suitable for domestic or ornamental purposes'.
It covers an area of 50 acres.
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
.Tardin is higher . and 1 fr. more must be paid as 'indemnity de retour'
fsee Appx.)- Miniature tramway from the Porte Maillot to the (V2 M.l
entrance of the Jardin 20 c.. to the lake in the Jardin 35 c. The C'hemin
dc Fer du Bois de Boulogne (p. 160) has a station at each end of the fcarden.
The Jardin d'Acclimatation is open the whole day. Admission
1 fr. (greenhouses included); on Sundays and holidays 1/2 fr.; carriago
3 fr., in addition to the charge for each person in it; no charge for
coachman. Children under seven enter free.
The principal entrance is on the E. side, near the Porte des Sa-
blons, but there are others to the left (at thePalmarium; see below),
and at the end near the Porte de Neuilly. — The following itiner-
ary includes most of the objects of interest. Comp. the Plan, p. 160.
On entering, we find ourselves in a handsome walk, 11 yds. wide,
which runs round the whole garden. On the left are the Grande
Serve (PI. 15), or winter-garden, and the *Palmarium (PI. 14), in
which the orchestra (p. 164) plays in bad weather (seats 2, 1, ^2 f'"-)-
The building includes a Cafe-Restaurant.
Opposite, or to the right as we enter, are two Small Hothouses,
the Offices (PL 1) of the company, and a Museum (PI. 2) illustrating
hunting and fishing, adjoined by the sale rooms and the Vivarium,
a small room reserved for rare animals. Farther on, to the right, is
the Singer ie, or winter monkey-house (PI. 3).
To the left are the Storks, Flamingoes, Cranes, Herons, Ostriches,
Marabouts, and other long-legged birds. Behind are Aquatic Birds
(^Swans, Geese, Ducks of all kinds) and the Pigeon House, in which
carrier-pigeons are reared. Then, a pavilion with caymans, turtles,
a python, and other serpents. To the right of the walk is the
Faisanderie (PI. 4), in front of which is a statue in white marble
of the naturalist Dauhenton (d. 1799), by Godin. This building
contains parroquets, herons, ibises, mandarin ducks, and several
other kinds of birds, besides the pheasants. Next follow the Alpaca.^ •
Antelopes; Llamas; Taks; various kinds of foreign Goats; and, be-
hind, the Poulerie (PI. 5), a semicircular concrete building.
At the W. 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 25-50 c). The adjoining lawn is used in
summer for camps of foreign tribes and the like.
11*
164 3. JARDIN D'ACCLIMATATION.
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 of the Transatlantic Fleet in
the Roads of Havre (PI. 7; adm. 50 c), by Poilpot, 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, arc
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. The Aqua-
rium (PI. 10) is not very interesting. Behind are a Seal, the Pen-
guins, the fish-ponds, and the Myopotami.
Farther on is a Cafe-Buffet (PI. 11 ; closed in winter), opposite
which is the summer Kiosque des Concerts, where the band plays at
3 p.m. on Sun. & Thursday. Then come the Deer Paddocks, and (in.
summer) the Parrots. Finally, to the right, is the Kennel (PI. 13),
containing thoroughbred dogs, whose pedigrees are carefully recorded.
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 Ceintuve (p. Tt) or the Metropolitnn
Raihcay (p. 27), or return via the Trocad&ro (p. 169).
4. The Trocadero, Passy, and Auteuil.
(Bois de Boulogne.)
The following public vehicles ply in this direction from the Place
de la Concorde : the Tbamwats from the Louvre to Passy (TJ),to St. Cloud,
Sevres, and Versailles (TAB), and from the Madeleine to Auteuil (TAB).
The omnibus from the Gare de TEst to the Trocadero (B) is also con-
venient. The Stearnboats on the Seine and the Metropolitan Railway may
also be used.
I. FROM THE PLACE DE LA CONCORDE TO THE TROCADERO.
Musee de Galliera. Musee Guimet. Musees du Trocadero.
The Musee Gallie'ra, the Musee Guimet, and the two Musees at tbc
Trocadero are open at the same hours only on Sun. and Thurs. ; thougli
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 I'Alma. ,
Place de la Concorde, see p. 82. The direct route to the Tro-
cadero is by the Colb.s-la-Rbine (PI. K, 15, 12- //, /), a fine avenue
formed by Marie de Medicis in 1616, and traversing the Quai de la
Conference from e.nd to end. The quay derives its name from an
old gate through which the Spanish ambassadors entered Paris in
1660, to confer with Mazarin on the betrothal of the Infanta Maria
Theresa with Louis XIV. — At present both the Avenue and the quay
are occupied by buildings in connection with the Exhibition of
1900 (comp. p. 274), which has one of its chief entrances here (Place
de la Concorde, p. 84). The public thoroughfare runs provisionally
along the bank of the Seine and under the Pont Alexandre III. To
the right are the two new Palais des Beaux- Arts (pp. 156, 157).
4. MAISON DE FRANCOIS I. 1 65
To the left is the new *Pont Alexandre III. (PI. R, 15; II),
the largest and handsomest bridge in Paris, constructed in 1896-
1900 by Resal and Alby ^ the engineers, and Casden- Bernard and
C'oussm, the architects. The foundation-stone was laid by the Czar
Nicholas II. The bridge consists of a flat steel arch 352 ft. in lengtli,
130 ft. in width, and 25 ft. above the level of the water. At each
end is a massive pylon , 75 ft. high , derorated with bronze-gilt
groups, representing France at different epochs of its history, by
Lenoir, G. Michel, Coutan, and Marqueste; the winged horses are by
Fremiet, Granet, and Stelner, tlie lions by Gardet and Dalou. The
parapets are in bronze and copper, and bear tasteful lamp-posts. —
On the left bank is the Esplanade des Invalides, see p. 273.
Farther on, to the left, is the Pont des Invalides (PI. R, 14,
if); //), adorned with Victories by Dieboldt and Vilain.
To the right, at the corner of theCours-la-Reine and the Rue Bayard,
is the house known as the *Maison de Francois Premier (PI. R, 15; //).
a very pleasing example of the domestic architecture of the Renais-
sance. Francis I. caused this building to be erected at Moret, near
Fontainebleau, in 1527, for the reception of Diane de Poitiers, or
according to others for his sister Margaret of Navarre, and in 182G
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 I'Alma (PI. R, 11, 12; i), 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 Amaud. From the bridge the Avenue Montaigne
leads to the N.W. to the Rond-Point des Champs-Elysees (p. 158).
To the right from the Avenue Montaigne diverges the Rue Jean-Ooujon
(PI. K, 12; J), which attained a luelaucholy celebrity in May, 1897, owing
to a terrible fire at a charity bazaar, in which 132 persons perished. A
memorial chapel, called Xotre Damf d. Consolation (PI. R, 12; //), has been
built, from Guilbert's dt'signs, on the site of the disaster (19L0).
The next quay, the Quai Dehilly, leads to the foot of the Tro-
cad^ro Park. During the Exhibition this quay will be flanked by
'Old Paris', a picturesque reproduction, by Robida, of the Cite' and
adjoining quarters as they were in the 16th century.
The Avenue du Trocade'ro ascends to the N.W. to the upper part
of the Trocadero Park. In this avenue, on the right, is the —
166 4. MUSJ&E DE QALUMA.
*Mu8ee de Galliera (PI. R, 12 ; i), iu tlie Italian Renaissance
style, by Oinain, built by the mnniflcence of the Ducbesse de Gal-
liera (d. 1888 • comp. pp. 296, 299). The facade towards the avenue
is embellished with statues of Sculpture, Architecture, and Paint-
ing, by Cavelier, Thomas, and Chapu. There are other sculptures
at the sides : to the right, Pan and a bear, by Becquet, The Earth,
by A. Boucher; to the left, Education of Bacchus, by Perraud,
Patronage and the Future, by Icard. — The entrance, which is in
the Rue Pierre-Charron (No. 10), is preceded by a small square with
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 con-
tains the nucleus of a municipal museum of art and industry. Open
free daily, except Mou., 12-4. Catalogue in preparation.
CouET. In the arcades ou each side are sculptures: ou the right,
E. Chatrousse^ History recordiufj the centenary of the Kevolutiou; Huc/ues,
f otter; A. d'Houduia^ A\'ar; Cordonnier, Maternal happiness; on the left,
Vital Cor/iu, Archimedes j B. I'tyvol-, The combat; E. Chutrousse, The Nurse;
Girard, Iphigeneia.
Vestibule. Five marble statues: Guilhert, Daphnia and Chloe; Vital
Cornu (to the right), A woman; Roufosse, The first shiver; Biguine, Sor-
ceress; Fontaine, Fascination. — Lakge Saloon. This and the following
rooms chiefly contain 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
ot the Gobelins (p. 268), and represent the flagellation of the saints, after
Le Sueur; their execution, after S. Bourdon; the translation of their relics,
their appearance to St. Ambrose, and the discovery of their relics, after
Ph. de Champaic:ne. In the upper row also are: Rape of Helen; Ulysses
recognizing Achilles among the daughters of Lycomedes (Brussels). Below,
Irom right to left: Achilles armed and consoled by Thetis (Brussels; ca.
1775); Gipsy camp, The falconer (Beauvais ; 1770 and 1774); Bivouac, Break-
ing up camp (Gobelins; 1763); Snares of Marriage, Repast (Faubourg St. Mar-
cel; c.i. 1600); Swoon of Armida (Gobelins, 1739). — The glass-cases contain
modern articles: porcelain and earthenware by Chaplet and Delaherche;
glass by L. Tiffany ; enamels; chased silver casket with enamels by A. Point;
pewter articles by Baffler., Desbois ., Charpentier . and Ledru; damascened
casket by G-'awiJi/i; chased silver casket by .Sarr^. Sculptures: in the centre,
A. Buucher, Diana; in the corners, B. de la Vingtrie, Pandora: JJ. FU,
Wood-echo: J. A. Pezif.n.v. Youth; Vital Cornu., Sweet lassitude. Busts:
Turcait . Huudun: J. Baffler., Jeannette : Dulou, Armaud Renaud : 'lludin,
\'ictor Hugo. — Next Galleev. Ancient Tapestry : in the middle, ^March
(Faubourg St. Marcel); To the right. The Eudaugered Slumber and Pan
and Amvmone (Gobelins). Sculptures: Labutut, Cato of Utica; Demaille,
Love; i^er/'rtw, Wreck; Barreau. Matho and Salambo ; Leiasscur, The pearl;
Boisseau, Fruits of war; M. Moreau. The future; Gaspari , Desolation;
Fouques, Hound. Numeruus drawings by Pm^w de Chacunnes. — The Small
Rooms at the ends contain two Tapestries: Autumn and Summer (Gobelins)
after paintings by Mignard (1678), destroyed with the palace of St. Cloud.
Sculptures: Hercule., Turenne as a boy; Gaudez. Sully a^ a hoy; Valton,
Wolf; Gardet., Danish wolf-hound. — Last Room, next the "vestibule.
Tapestries: Summer and a Pastoral Scene (Gobelins). Sculpture: Hercule^
Primroses; JJebois., Bust; A. Moncel, Ivy. Pewter fountain, by Charpentier.
Also water-colours, wood-carvings, enamels, engraved glass, cameos, etc.
All Equestrian iSlaiue of Washmyton (p. 169), by Pan. French,
is to be erected in 1900, at the cost of some American ladies, in
the Place d'le'na, to the W. of the museum. A few yard.s farther on,
4. MUS^E GUIMET. 167
to the riglit, rises tlie haudsome *Mu8ee Guimet (Fi. K, 12; i), less
richly decorated but not devoid of originality, with a rotunda at the.
angle, surmounted by a colonnade and cupola. It contains the ex-
tensive and valuable collections presented to the state in 1886 by
M. Em. Guimet of Lyons, consisting mainly of a Museum of the Re-
ligions of India and Eastern Asia, but including also a Library and
collections of Oriental Pottery and of Antiquities. — The museum
is open daily, except Mon., from 12 to 4 or 5 (see p. 66), but only
one of the three divisions (grounrlfloor, 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 grouudfloor be open on
Tues. in any particular week, the 1st floor will be open on the next
Tues., and the 2ud floor on the Tues. following. The chiet objects
only are noticed here. Explanatory labels are attached to the ex-
hibits. Short illustrated catalogue (^1897), 1 fr. Sticks and umbrellas
must be given up (no fee). Keeper, M. L. de Milloue. — Public
Lecture;} are given here at 2.80 p.m. on Sun. in winter.
Ground Floor. The Rotdnda containa a few Roman sculptures and
iiia.sks found in Antinoe (Egypt).
Galekie DlfeNA, to the right: * Chinese lottery. — lat Section: Develop-
ment of the manufacture. Case 1. Seladon (the earliest specimens); pale-
green porcelain from Naukiu (15th cent.). Case 2. Pottery manufactured
at a high temperature (marbling, etc.). Case 3. 'Crackle' porcelain. Cases 4(1'0.
Modern ware from Nankin and Canton. Case 6. Imitations of ancient
porcelain. — 2nd Section: DeveUpment of colour. Case 7. Earthenware
('boccaros'). Cases S-13. White, blue, red (oxide of copper) and gold, green,
violet (masnesium). yellow (cadmium), and pink varieties. — 3rd Section:
Chronological collection from the 10th to the end of the ISth cent., the
tinest dating from the time of Khien-Long (1736-96; Case 17).
Galerie EoissiSee, to the left: ^Japanese Pottery and Bronzes^ arranged
as far as possible according to artists and provinces. — 1st and 2nd Sections :
Case 1. Corean pottery. Case 2. Articles used in the ceremony of making
and serving tea. The ritual of this ceremony dates from the 16th cent.,
and the various gestures and expressions may be used only over the tea
In the centre is the master of ceremonies (Tschadjiu). Case 3. Seto. Case 4.
Corea and Soma. Cises 5-9. Tukiu, Owari, etc. In the centre are a bronzf
temple lamp and large lacquered vases from the province of Hizen. —
3rd & 4th Sections: "'Dagoba' or bronze reliijuary, of the 16th cent.; va^es
and kakemonos (paintings un silk). Cases A-X. in the centre, contain a
collection of 2100 'ki>rus\ or incenses -boxis. — 5th Section: Case 1^1
Fayence by the artist Gouzaemon. Cases 14 it 15. Province of Kagu. Case 16.
'Raku' fayence; large lacquered vase in fayence. — 6th Section: modern
ware from Kioto ; Bizen stoneware in imitation of bronze. — 7th Section:
fayence made by ladies and other amateurs; Kioto ware; works by the
potter Ninsei (18th cent.) ; bronze lamp.
The CouKT, reached by a door under the staircase, contains casts of
the large door of a Buddhist temple at Sanchi.
The Galekie suk Couk contains Collections from Siam and Cambodia.
Room I. Reproduction of an elephant (Siam); Anamite temple and palace;
Indian processional carriage. — Room II. Sandstone statues of Brahmanic
deities. — Room III. Model of tbe gate of the citadel of Augkor-tom;
cinerary urns. — Room IV. Collection of Buddha -padas (fooipriu's ol'
Buddha). On the walls of the last three rooms is the cast of a frie/e of
a royal procession, from Angkor-vat.
First Floor. In the Rotunda is the Library. At the entrance are sta-
tues of Mondshu and Fughen. the twu chief disciples of Buddha, upon ;i
lion and au elephant; and two reliquaries. The Paint\n(js in the Rotunda
168 4. MUSl&E GUIMET.
and following galleries, by Begamey, represent Oriental scenes, religious
ceremonies, priests, etc.
The Sallk des Paesis to the left of the entrance to the Galerie d'lena,
contains a model of the tower of the dead, at Bombay, in which the
Parsees (followers of Zoroaster) expose their dead to be devoured by vul-
liiresj groups of Parsees at the ceremony of the 'Yasna'5 and so forth.
Galkbie d'Ikna, to the right, as we face the staircase: "Religions of
India and China. — Room I. Vedic religion, Brahminism, and the modern
Hind a religion (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 services; representations of
temples. In the centre is a bronze figure of Lakshmi, the Indian Venus
(16th cent.); to the left, Vishnu in black basalt; representations of temples.
— Room II. Buddhism, the worship of Sakya-Mooni or Buddha, the 'per-
fect sage\ 1st Section: In the centre, bronze '-'Statue in a halo of flames.
In Case 8, Ganessa, god of science, with four arms and an elephant's head.
Cases 9-11. Statuettes, vases, goblets, bronze bells, sacred books, and other
articles used in worship. Case 12. Sect of the Jains , a Buddhist sect
allied to Brahmauism. Case 13. Marionettes and ornaments from Java. —
2nd Section: to the left, Lamaism, or Thibetan Buddhism, in which spirits,
demons . and magicians play a prominent part. Case 14. Mandala , or
lepresentation of the world in bronze-gilt. Cases 15 and 16. Statuettes :
.Jigsbyed, a god with ten heads, thirty-four arms, and sixteen legs, holding
a woman wuth three eyes ; Dakinis, goddess of evil . with a lion's head
and fiery hair. To the right. Religions of China. Case 17. Buddha in
his three states (birth, penitence, traiisfiguration) ; Kouanyin, goddess of
charity, fwith twelve arms. Case 18. *Dra wings dating from 1081, illus-
trating the legend of Hariti, the devourer of children. Case 2J. Trans-
formations of Kouanyin. Case 21 and 8rd Section : Taoism , or Chinese
pantheistic idolatry; statuettes. MSB., coloured drawings, geomantic com-
passes (for soothsaying). Case 21. Fine bnmze statue of the philosopher
Lao-Tse, founder of this religion, on a buff'alo (16th cent.). Cases 22, 23.
Inferior deities and spirits. Case 24. "Eleven boxwood statuettes (18th cent.),
representing celestial deities; paintings on silk; Chinese coins, the most an-
cient, in the shape of bells, dating from 2300 B. C. Case 25. Indian deities.
(Jase 26. Beautiful urns used in ancestor-worship. Case 27. Confucianism,
the imperial religion in China, involving ancestor-worship. — Room III.
'Salle de Jade or Gem Room, with numerous articles of jade, a stone
highly prized in China, many of which come from the imperial Summer
Palace in Pekin. The glass-cases at the back contain sceptres of man-
darins and other valuables.
Galerie sue Couk. Inio-China Collections. 1st Section: Cambodia (mixed
Brahminism and Buddhism). — 2ud and 3rd Sections: Laos, Burma, Siam
(pure Buddhism), Auam and Tonkin (mixture of Taoism and Buddhism).
Statues, statuettes, MSS., books, musical instruments, fans, coins, etc. —
4th Section: Shamanism; Siberian Buddhism; and religion of the island
of Amoy (marionettes for mystery-performances). — Rotunda. *Model of a
temple in Amoy ; religious scenes ; marionette-theatre. — We traverse a
room with specimens of Japanese industrial art: combs, comic statuettes,
medicine-boxes, sabres and hilts, lacquered boxes, etc. — 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 prayer and peace. 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 dift'erent sects; statues, statuettes, priests' vestments; fine bronze
statuettes and kakemonos (Cases 5 and 7). At the end of the 2nd section
are two statues of the god of travellers, and two bronze vases, with
representations of the death and ascension of Buddha. — Room II. Model
uf 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 their transformation into beings whose end
4. TROCADfiRO. 169
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.
By the walls are seven large statues on pedestals and twelve figures iu
carved w(jod, representing the hours ol' the day and the signs of the Zodiac.
— Boom III. Ist Section: Japanese and Chinese legends. Curious statuettes,
often of admirable execution: Case 14, aged devil iu the ^uise of a monk;
bell-bearer with long legs ; fox as priest-, in Case 15, the philosopher Tekiui
breathing forth his soul; in Case 17, god of good fortune. — 2nd Section :
statue of Yiso, guardian deity of children; historical articles, very interest-
ing statuettes; lion and lioness as guardians of a temple (13th cent.); wood-
en statue of a pilgrim (to the left). — Room IV. Chapel in gilded wood;
statues of Amida, one of the immortal 'buddhas'. In the centre, curious
ligure of the philosopher Dharma rising from bis tomb. Behind, bronze
statues (18th cent.) including the philosopher as beggar (the little flag in his
mouth represeuts his soul); men with long legs and long arms.
Second Floor. The Eotunda, supported by caryatides, contains Paint-
ingt of religious scenes in China, Ceylon, and elsewhere, by Regamey.
Galeeie D'IfiNA : Japanese Paintings^ drawings, albums, and engravings
(chiefly 18th and 19th cent.). Graeco - Roman Antiquitiet: Statuettes of
Bacchus, Apollo, Juno, and iEsculapius ; busts (flne Greek head by the
window to the right); terracottas; vases. — Galeeie sdk Couh. Gallo-
Itomiiu bronze vessels from Vienne; gold ornaments, cameos, and iu
taglios; Etruscan vessels iu black clay; votive statuettes in brouze. Ob-
jects from tombs in Cappadociu and elsewhere. Objects from Corea.
Galebie Boissiere: Egyptian Antiquities. Coffins with mummies; ob-
jects found in graves; reproductions of sepulchral paintings (ca. 600U B. C);
luarble statue of Diana of Ephesus (modern); small bronzes; historical
articles; sacrificial table; statue of Isis ; Assyrian cylinders and seals:
-Mexandrian deities.
A little to the right of the Muse'e Guimet the Avenue d'le'na
passes the Place des Etats- Vnis (PI. R, 12 ; I), at the other end of
which is a brouze *Qroup of Washington and Lafayette, by Bartholdi,
presented by several Americans iu 1895 in commemoration of tlie aid
of France in securing the independence of the United States.
The Avenue du Trocadero (p. 165) and the Avenue Kleber,
leading from the Arc de I'Etoile, end at the —
Place du Trocadero (PL R. 8 , 9 ; /; Metropolitan Railway,
tramways D, J, and AE, omnibus-line B), which bears the name of
one of the forts of Cadiz captured by the French in 1823. The Place,
which lies behind the Palais of the same name, contains the Mada-
gascar section of the Exhibition of 1900.
The Palais du Trocadero (PI. R, 8; i), which occupies a height
above the Seine, is a huge buildiug in the Oriental style, designed
by Davioud and Bourdais for the lilxhibitiou of 1878. The central
portion consists of a circular edifice 63 yds. iu diameter and 180 ft.
in height, surmounted 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.
iu 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
adorned with thirty statues representing the arts , sciences , and
various industries. The dome itself is surmounted by a colossal
statue of Fame, by A. Mercie.
170 4. TROOADilRO.
Concerts are often given in the elaborately- decorated Salle des Fetet,
which contains an immense organ by Cavaille-Coll and has seats for 6000
persons (adm. at other times by urder from the secretary of the Beaux-
Arts, Rue de Valois 3). The Galleries (cafii-buffet) and Balconies command
an admirable 'View of Paris (best at sunset). Visitors may ascend by a
lift (50 c, on Sun. 25 c.), in the N.E. tower.
The Palais du Trocadero contains important museums of Comparative
Sculpture (casts) and of Ethnography. — The *Musee de Sculpture Comparee
occupies the left wing and part of the right wing of the building. The
<:asts are mainly illustrative of the chief tvpes of monumental sculpture
since the middle ages, but, for the, sake of comparison, there are a ii'.w
casts of ancient and other works of a diflerent class. The sculptures are
arranged chronologically. Explanatory labels are attached to each cast.
Director, M. E. Harancourt. Catalogue (18,.0) 1 fr. ; Illustrated Catalogue of
the Mouumeuts of the 14-15th cent. (1892) 4 fr. Admission, see p. 56.
The Ethnographical Museum is on the first floor of the central building.
To reach it we ascend the staircase nearly opposite the entrance to. the
Museum of Casts. Explanatory labels. Directors, MM. Humy and Lundrin.
Admission, see p. 56. — The staircase is embellished with line stained-
glass windows. The museum consists mainly of objects from America, the
islands in the Pacific Ocean, and Africa, besides specimens from the N. and
E. of Europe. The collection of French provincial cf>stames, in the room
to the right, is highly interesting.
The Pahc du Trocadero is not large , but it is tastefully laid
out and well kept up, though at present it has been greatly altered
for the Colonial Section of the Exhibition of 1900. The terrace in
front of the central building of the Palais is embellished with six
figures in gilded bronze: Europe, by Schoenewerk, Asia by FalguVere,
Africa by Delaplanche, N. America by Eiolle, S. America by Millet,
and Australia by Moreau. Below the terrace gushes forth a large
*Cascade, which descends to a huge basin, 196 ft. in diameter, sur-
rounded by a bull, a horse, an elephant, and a rhinoceros in bronze,
by Cain, Bouillard, Fremiet, and Jacquemart. Under the arches
flanking the cascade are allegorical figures of Water, by Cavalier,
and Air, hy Thomas. — At the corner of tlie Rue Lenotre is a Pano-
rama of the Battle of Jena, by Poilpot, with 11 dioramic views of
scenes of the Revolution, the Consulate, and the Empire.
Below the middle of the park the Seine is crossed by the Pont
d'lena (PI. R, 8 ; /), constructed in 1809-13 to commemorate the
victory of that name (1806) and enlarged in 1900. 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. 282),
with the Eiffel Tower, the Grande Roue, and various buildings con-
structed for the Exhibition of 1900.
II. PASSY AND AUTEUIL (BOIS DE BOULOGNE).
Passy, in which the Trocadero is situated, is one of the com-
munes annexed to Paris in 1860. 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-
de'ro, many of them built since the last two exhibitions here.
4. PASSY. 171
The Avenue Hi;ne,i AlAaxiN (fl. K, 8, 9, 6 ; tramway N), coii-
tiuuing the Avenue du Trocad^ro, leads straight from the Trocade'ro
to the Bois.
On the height to the left, near the palace, is the Cemetery of Passy
(PI. R, 8; /), 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 BashkirUtff
(d. 1884j, 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.
Bashkirtseti; with a MS. vol. of her diary, her palette, and other relics.
The Avenue Henri Martin passes near the Lycie Janson de Sadly
(on the right; 2000 pupils) and, a little farther on, the Mairieof'the
I6th Arrondissement (on the left), the latter of which contains paint-
ings by Ch. Chauvin. Farther on, to the right, between this Avenue
and the Avenue Victor Hugo, is a square with a Statue of Lamartint
(1790-1869), in bronze, by Yasselot, adjoining which is the copious
Artesian Well of Passy (covered). 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 the Ligne du Champ-dc-Mars diverges to the left. It is
mostly underground, and passes under the heights of Passy by means of
a covered gallery and two tunnels (275, 37.o, and 300 yds. in length).
There are stations in the Rue Boulainvillers (PI. R, 5). between the tunnels,
and on the quay of the right bank. The line then crosses the Seine to
the lie des Ci/(jne6, by the bridges mentioned on p. 172. and goes on along
the Ligne des Moulineaux to the Champ-de-Mars (p. 282j.
In the Rue Singer, at the curuer nf the Rue Raymond fPl. R, 5), is a
tablet with an inscription to the effect that Benjamin Franklin lived bere
in 1777-85, whtni envoy tu France, and placed on the hnu.sf the. first
lightniug conductor ever made in France.
The Porte de la Muette, not far from the great lake (p. 1(31), 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.W. 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 (1621-95), 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 Cailli; to the right, a Fisherman, with the head and the
lyre of Orpheus, by Longepied; 'Fugit Amor', by Dame, etc. A
military band plays here on Thurs. in summer (see p. 38).
Auteuil, annexed, like Passy, to Paris in 1860, a quiet suburban
district with numerous villas, lies to the S.AV., 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. 161 )
and the racecoiuse of Auteuil (p. 161 ). it may also be reached from
172 5. BOURSE DE COMMERCE.
the station of Passy via the handsome Bxte Mozart (1 M. j PI. R, 5, 4),
which is traversed by a tram\vay. From the station of Anteuil, near
the Bois (PL R, 1), tramways run to the Madeleine, St. Sulpice,
and Boulogne (p. 293). Here also begins the immense * Viaduct
of the Chemin de Fer de Ceinture, 1 74^- long, constructed through-
out of masonry, with several galleries for foot-passengers beneath
the line, and 234 arches. It ends with the *Pont d' Auteuil (PI. G. 4),
where the viaduct proper rises between two carriage-roads.
In the Rue d' Anteuil rises the Romanesque church of Notre
Dame d' Auteuil, 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 with statues by In-
jalbert (1895-97), crosses the Seine at the end of the Rue Mirabeau.
The central arch has a span of over 300 feet.
To the S.W. of the Porte d'Auteuil. on the S. margin of the Buis de
Boulogne, lies the Etuhlissement Horticole or Fleuriste , a large municipal
nursery -garden for the supply of plants fur the public promenades ol"
Paris (open daily, 1-6, in the second half of April, when the azaleas are
in blossom; at other times bv permission of the director, M. Bouvard,
Hotel de Ville).
We may return from Auteuil either by the Chemin de Fer de Cein-
ture (see the Appx., p. 34), by tramway (p. 160), or by steamer (Appx.
p. 35). — At the lower end of the Be des Cygnes, on the Pont de Orenellt
(PI. R, 4, 7), is a reduced copy in bronze of the statue of Libert;' fit-
Ughtming the World, by Bartholdi, in Is'ew York Harbour.
5. Halles Centrales, Conservatoire des Arts et
Metiers, and Pere-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 at one of the following restaurants : Bouillons Duval, Rue de
Turbigo 3 (near the Halles Centrales), Rue de Turbigo 45 (near the Rue
St. Martin), and Place de la Re'publique; Bouvalet, Boul. da Temple 29 'dl -,
Jhi Cerch and Des A^'ations , Boul. St. Martin 15 and 47, S. side-, Lecomte,
Rue de Bondy 48 (N. side of the Boul. St. ilartin) ; Flat-d'Etain , Rue St.
Martin 326, near thf Conservatoire des Arts et Metiers.
I. FROM THE PALAIS-ROYAL TO THE HALLES CENTRALES.
ST. EUSTACHE.
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; ///), which was prolonged to the N. in 1888
as far as the Rue Etienne Marcel and the Hotel des Postes (p. 173).
In a circular space to the right rises the Bourse de Commerce
(PI. R, 20 ; III), formerly the Halle au Ble or corn-exchange, con-
verted to its present use in 1888-89 by Blondel. The nucleus is
a rotunda, 46 yds. in diameter, 106 ft. high, with an iron roof,
originally built in 1662, burnt down in 1802, and rebuilt in 1811.
Fronting the Rue du Louvre is a new facade, with four Greek col-
5. HALLES CENTRALES. 173
mnns, 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 East,
"West, North, and South, by Clairin, Liiminais, 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 Me'dicis, for the purpose, it is said,
of astrological observations. — Behind the Bourse de Commerce
are the Halles Centrales (see below).
The Hdtel des Postes [PI. R, 21 ; III), rebuilt in 1880-84, to
tlie right of the Rue du Louvre, a little farther on, cannot lay claim
to great architectural importance. It is, however, of immense size,
occupying the whole of the area enclosed by the Rue Etienne-Marcel
on the N., the Rue du Louvre on the W., the Rue Gutenberg on
the S., and the Rue Jean-Jacques-Rousseau on the E. The main
public entrance is in the Rue du Louvre. Most of the offices in
direct communication with the public are united in a large colon-
nade or hall ; the Poste Restante and telegraph offices are in a
separate room, to the right. 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. — Postal regulations, etc., see p. 28.
In the adjacent Rue Gutenberg is the Hotel des Telephones,
built of glazed bricks like those of the monuments from Susiana and
Chaldsea in the Louvre (p. 145). — Place des Victoires, etc., sec
p. 192.
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 twelve pavilions, between which run
covered streets, 48 ft. wide and 48 ft. in height, and they are inter-
sected by a boulevard 105 ft. in width, descending towards the Rue
de Rivoli. The whole market covers 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
Perger contain municipal electric motors. The front pavilions are
occupied by retail-dealers, those behind by wholesale merchants,
whose business also extends into the neighbouring streets in the
early morning-hours.
The provisions for the daily market begin to arrive on the previona
evening, and bv 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 3 till 8 a.m. in summer (4-0 in wirfer)
after which the retail traffic bofiins. About 500,000 fr. per day arc realised
174 5. ST. EUSTACHE.
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
«24,400,000 lbs. of bread, 456,000,000 quarts of wine, 53^,700.000 lbs. of
meat, and 67,500,000 lbs. of fish, of the value of fully a milliard of francs.
Thus the daily bill of Paris for meat, wine, and bread alone amounts to
about 3 million francs or 120,000Z.
The *Chnrch of St. Eustache (PL R, 21 , 20 ; III), situated at the
Pointe St. Eustache, to the N.W. of the Halles Centrales and at the
end of the Rue Montmartre and Rue de Turbigo, is one of the most
important churches in Paris. It was erected In 1532-1642, 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 ponderous W, portal,
■with its Ionic and Doric columns, was added in 1755. The funeral
rites of Mirabeau were solemnised in 1791 in this church, from
which the body was conveyed to the Pantheon; and here was cel-
ebrated 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 loftv 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 marble relief of the Marriage of the Virgin, by Tri-
queti, and the latter an Ecce Homo by Etex and a figure of Resignation by
Chatrouste. — In the S. transept are bas-reliefs by Devers, six statues of
Apostles by Bebay, and frescoes by Signal. — Farther on are five chapels
adorned by Lariviire, Vaugelet, Lazerges, Cornn^ 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. Genevieve), and FHix Barrias
(St. Louis). — The short N. 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 Hutson. Above a b^nitier is a fine group of
Pope Alexander I., by whom the use of holy water was introduced. —
Handsome N. portal, which faces a lane leading to the Rue Montmartre.
Beyond the transept is the chapel of St. Eustache, who was a Roman general
5. CONSERTATOIRE DES ARTS ET M^.TTERS. 175
under the Emp. Titus, with frescoes by Le Hinaff. Lastly, four chapels
with paintings by Basset (restorations), Riesener^ Marquis, and Olaize.
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 March^ des Innocents, which -was
once adorned -with the Fontaine des Innocents, a tasteful Renais-
sance work by Pierre Lescot, but frequently altered. The fountain
now occupies the centre of a square to the S.E. (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 Goujon,
the three new Naiads by Pajou. 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 REPTJBLiaTJE.
The Rue de Turbigo (PI. R, 21 ; IIP), a handsome new street
about 3/4 M. long, beginning at the Pointe St. Eustache, at the end
of the Rue Montmartre, leads to the Place de la Republique (p. 74).
It soon crosses the Rue Etienne-Marcel (p. 172), 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 Si-
bastopol, which we follow to the left. At the end of a side-street,
on the right, rises St. Nicolas-des-Champs (p. 17S). Farther on,
also on the right side of the boulevard, is the pleasant Square dbs
Arts et Mi^tiers (PI. R, 24; III). In its centre rises a column
surmounted by a Victory in bronze, by Crauk, with a pedestal bearing
the names of the Crimean victories. On each side are small basins,
adorned with bronze figures of Agriculture and Industry, by Gumery,
and Commerce and the Arts, by Ottin. On the S. side of the square
is the Theatre de la GaUt (p. 34).
The *Conservatoire des Arts et Metiers (PL R, 24; ///), the
great industrial museum of Paris and also important as a teaching
institution, was founded by decree of the Convention in 1794. The
first idea of such an institution is attributed to Descartes (1596-
1650), and it was put in practice by the celebrated engineer Vau-
canson, who bequeathed to the state in 1783 his collection of ma-*
176 5. CONSERVATOIRE DES ARTS ET MfiTIERS.
chines, instruments, and tools, for the instruction of the working
classes.
Since 1799 the collection has occupied the former Cluniac Priory
of St. Martin des Champs^ bnilt in 1060 on the site of an earlier abbey
and secnlarized in 1789. The building, though restored, altered, and
completed in 1845, is not yet qnite disengaged from other edifices.
The former church and refectory are the most interesting of the extant
ancient parts. A small portion of the fortified enceinte (12th cent. )
still stands on the N., but can hardly be seen ; one of its towers has
been re-erected to the left of the facade towards the Rue St. Martin.
Beside this tower is the Fontaine du Vertbois, dating from 1712.
The facade of the former Church, an interesting structure of the
ll-13th cent., to the S., may be seen from the Rue St. Martin,
through the railing. In front of it 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-Cha-
pelle (p. 221). The Library (over 40,000 vols.) which it contains
is open on Sun., 10-3, and on weekdays, except Men. 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 *Mtjseum, is a handsome modern
addition, but so planned that the visitor has to ascend twenty-two
steps and descend twenty -four before reaching the groundfloor.
Beside the first staircase, to the right, is a bronze Statue of Papin
(1647-1714), discoverer of the elasticity of steam, by Millet ; to the
left, one of Nic. Leblanc (1742-1806), the inventor of the process
of extracting soda from sea-salt, by HioUe.
Admission, see p. 56. Sticks and umbrellas need not be left. —
The exhibits ^upwards of 14,000) are divided into 24 categories,
distinguished by capital letters, each category embracing several
sub-divisions denoted by small letters. All the articles bear expla-
natory labels. The accompanying plan will enable the visitor 1o
choose his own course; and only the main divisions of each part
are here mentioned. — Director, M. G. Tresca.
Ground Floor. — The Vestibule; or ^ Salle de VEcho\ contains
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. The acoustic properties of the
SaUe de I'Echo resemble those of the AVhispering Gallery at St.
Paul's in London: words spoken quite softly in one corner of the
saloon are distinctly audible in the angle diagonally opposite.
West Wing (Mining und Metallurgy). Salle 1. Models of mines;
tools, machinery, and apparatus for sinking mines. Round the room,
specimens of minerals. — Salle 2 (to the right of Salle 1). Model of
' *4 rpliysilii"! '■'■'S-'
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5. CONSERVATOIRE DES ARTS ET METIERS. 177
the iron-works of Creusot; models of artillery, turret- forts, etc, —
Sallb 3 (next S. 1). Models of iron-works and foundries; cabinets
containing ore, raw iron, etc. — Sallk 4. Apparatus for forging
and welding iron. — Salle 5 (parallel to S. 3j. Iron and steel
rolling and forging. — Salle 6. Models of workshops of various
kinds. — Salle 7 (next S. 4). Wood Industries.
A passage, with agricultural implements, leads to the —
FoKMER Church (Grarxde Salle des Machines). In the nave are
various large machines, printing-machines, cycles; also a diagram
showing the coal-production of France in 1789-1888. Opposite the
entrance are a pendulum invented by Foucault. showing the move-
ment of the earth on its own axis, and a glass globe about 5 ft. in
diameter. In the choir, Cugnot's steam-carriage (^1770); ploughs.
South Galleb.t (to the right as we return). Agriculture. Valu-
able collection of ploughs and other agricultural implements ; heads
of cattle ; anatomical specimens ; samples of grain and fruit.
East Wixg. This whole wing, known as the 'Galeries Vau-
canson', contains models of buildings and technical constructions of
all kinds (Constructions Civiles). — Room 1. Agricultural buildings
and apparatus; heating and ventilating apparatus; baths. — Central
Room II. Social economy, provident institutions. — Room III.
Models of locks and harbours ; railway and bridge construction; large
model of the Viaduct of Garabit (Cantal). — Room IV. Excavating
machines and dredgers; cranes; models of the bridge of El Cinca in
Spain and of two lighthouses.
Noeth G.^llery. Several rooms and a parallel corridor are occu-
pied by building materials, tools, and models of factories. — Two
rooms are devoted to geometry and drawing (Gtometrie descriptive'.
— The corner room and the N. portion of the adjoining —
West AVing (Geodesy, Astronomy, and Horology) are devoted to
instruments of precision, chronometers, clocks, and watches. — The
last room, on a lower level, contains Weights and Measures, ancient
and modern, French and foreign. — We now regain the Salle de
I'Echo (p. 1T6), and ascend the staircase to the —
First Floor. Central Room, or Salle d'Honneur, at the top of
the staircase. Apparatus made by Lavoisier, the chemist, or used
in his laboratory ; original machines and apparatus.
West Wing (to the right). Mechanical Recipients of force, such
as wind-mills, water-wheels, turbines, etc. Steam Engines and parts
of steam-machines. Railway Collection, including a model of the
first locomotive with a tubular boiler, constructed by Marc Seguin
in 1827. — Last Room : Mechanics.
The staircase at the S. end of this wing ascends to two new rooms on
the Second Floor^ containing lamps, electric machines, and the like.
South Wing. General Physics. Apparatus for the investigation
of fluid and gaseous bodies; Electricity, Magnetism, Heat. — Room
at the end : Meteorology.
Baedeker. Paris. 14th Edit. 12
178 5. CONSERVATOIEE DES ARTS ET METIERS.
East Wing ['Galeries Vancanson'). Room I. (Physics). Acoustics
and Optics; farther on, Telegraphy, Telephones. — Central Boom II.
Turning-lathes and specimens of turned work. Several machines by
Vaucanson. — Room III. Tools and Machine Tools; motors, pumps,
hydraulic machines. The last room on this side and the —
North Wing (Verrerie, Ceramique) are devoted to Glass and
Pottery. In Room III are the 'Coupe de Travail', a large vase in Sevres
porcelain designed by Die'terle, and a porcelain statue of Bernard
Palissy. — Salle IV ( Chemical Arts). Manufacture of chemicals;
dyeing and printing of textile fabrics and of wall-papers. — To
the right is the N. portion of the —
West Wing (Industrial Chemistry)^ where the arts of brewing,
soap-boiling, candle-making, distilling, etc., are illustrated.
Straight on from the N. wing we enter the —
North Transverse Building. Rooms I-llI (Papeterie). Paper
Making: raw materials, machinery, and finished products. The
windows to the right afford a view of the old fortified enceinte of the
abbey. — Rooms IY and V. Typography, Engraving, and Litho-
graphy: tools, apparatus, machinery, and products. — Rooms YI and
YII: Photography : apparatus and specimens; various applications.
The W. wing (see above) is adjoined by the —
SoLTH Transverse Building (Tiisage, Filature). Spinning and
Weaving. — Section 1. Raw materials ; tools and machines for the
preparation of textile fabrics. — Section 2. Spinning and weaving
looms; in the middle, to the right, Fawcanson'« Loom (1745), in-
tended 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, model of JacguarcCa Loom (1804). Specimens
of woven fabrics. — Section 3. Silk fabrics; tapestry from the Gobe-
lins and Beauvais.
Courses of free Pcblic Lectures, embracing the variuns provinces of
industrial activity, are delivered at the Conservatoire in the evening (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
Porte/euiUe Indusiriel (open daily, 10-3, except Mon.), where drav^ings 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 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 Conservatoire runs the Hue Reaumur (PI. R,
24-21 ; 111), which begins at the Square du Temple (p. 210), and
is continued in the direction of the Bourse, where it joins the Rue
du Quatre-Septembre, thus forming an important thoroughfare parallel
with the boulevards. To the right in this street, near the Conser-
6. ST. NICOLAS-DES-CHAMPS. 179
which was enlarged in the 15th cent., Avith a choir reconstructed
in the Renaissance style. The handsome portal is flanked with a
square tower on the right. The high-altar-piece is an Assumption
by Vouet. The woodwork of the organ is also worthy of mention.
The Rue Reaumur, to the left of the church, leads us back to
the Rue de Turbigo, about 500 yds. from the Place de la R^publique.
At the end of a short side-street to the left is the large Ecole Cen-
trale des Arts et Manufactures (PI. R, 24; ///), 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 in-
dustrial subjects. The pupils are admitted by competitive examina-
tion, 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. Elisabeth, and soon
reaches the Place de la Republique [p. 74).
III. FROM THE PLACE LE LA REPUBLiaUE TO PilRE-LACHAISE.
The Cemetery of Pere-Lachaise is nearly IV2M. distant from the Place
de la Republique, and may be reached thence either by Cab ^ or by
Electric Traniwatj (Romainville, see Appx. , p. 32) to the Boulevard de
Menilmontant (p. 186), a few hundred yards to the N. of the main entrance.
— Luncheon, eee p. ITi; the restaurants near the cemetery are inferior.
The shortest route from the Boulevards to Pere-Lachaise is
afforded by the Avexue de la Republique (PI. R, 27, 30; electric
tramway, see above"), which was begun under Napoleon III. and
finished in 1892. It crosses the N. end of the Boulevard Richard
Lenoir (p. 72), but is on the whole uninteresting. At its E. end,
to the left, is the large Lycee Voltaire. — In the Bonl. Richard
Lenoir, at its intersection with the Boulevard Voltaire (which also
begins at the Place de la Republique), stands the Monument Bc-
billot, erected to the memory of French soldiers killed in Tonkin
in 1883-85, with a bronze statue, by Aug. Paris, of Sergeant Bo-
billot, who fell at Tuyen-Quan. — A little farther to the S.E.
in the Boul. Voltaire, rises the handsome Romanesque church of
St. Ambroise (PI. R, 29), erected by Ballu in 1863-69. The fa(;ade
is flanked by two fine towers, 2"23 ft. high. Mural paintings in the
interior by Lenepveu and stained glass by Marechal.
To the E. of St. Ambroise, between the Rue Lacharriore and the Rue
Rochebrune (PI. R,29), is the Square Paumi:stier, embe]li?hed with several
statues, viz. The Conqueror of the Bastille, by Choppin ; The Straw-binder,
by Perrin ; and '■>;on omnes morimur', by Pezieux,
From the Place de la Bastille the Rue de la Roquettb (PI. R,
25,26, 29) leads to Pere-Lachaise. About halfway, to the left, lies
the Place Voltaire, with the Mnirie of the 11th ArrondisHmtnt and
a statue of Ledru-RoUin (1807-74), 'the organiser of universal
suffrage', by Steiner. Farther on, to the right, is the Prison de la
Roquette, in which condemned convicts awaited their execution or
12*
180 5. PfeRE-LACHAISE.
deportation. On the left is a Reformatory (^Petite Roquette')^ now
disused. Between these two prisons, soon to he pulled down, is the
former puhlic place of execution, marked hy five oblong'pavlng-stones.
On 24tli May, 1871, during the Communard 'reign of terror', the Prison
de la Roquette was the scene of the murder of the venerable Msgr. Darboy,
Archbishop of Paris, the President Bonjean, the Abbe Deguerry, and three
other priests, who had been seized by the Commune as 'hostages'. On
26th and 2Tth 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 Pioqnette 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 XIV., whose country-seat occupied the site of
the present chapel. In 1804 the ground was laid out as a cemetery,
the precincts of which have since been greatly extended, and it now
covers an area of about 110 acres. It is the burial-place of the
inhabitants of theN.E. part of Paris, but persons of distinction from
other parts of the city also are generally interred here.
On 30th March, 1814, the cemetery was the scene of an engagemen
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. 206j, and Montpamasse (p. 287).
— A Concession Tt'entenaire, providing that the grave shall remain undis-
turbed for 30 years , costs 3i(X) fr. •, a Concession Temporaire^ for 5 years,
costs 50 fr. A Concession a perpituiU^ or private burial-place, may be
secured for 1000 fr. These spaces are very limited, being about 227? sq. ft.
only. The charge for a larger space is augmented in an increasing ratio,
the price of each square metre (about ll'/a sq. ft.) beyond six being 3000 fr.
All burials within the Department of the Seine are undertaken by the
Compagnie des Pompes Funibres, Rue d'Aubervilliers 104, whose charges
are regulated by tariff, varying from 3 fr. to 7184 fr., exclusive of the
price of the coffin f44-60 fr.) and the fee of the officiating clergyman. A
'civir interment costs from 9 to 2215 fr. The poor are buried gratuitously,
mostly in the. cemeteries outside the precincts of the city.
Cemeteries open at 7 a.m. and close at 4.30-7 p.m. according
to the season, Half-an-hour before the closing of the gates a bell is
rung, and the custodians call out, ^ On ferme les portes\ allowing
ample time for visitors to reach the gates. Visitors are not permitted
to carry anything out of the cemetery without a ^laisser-passer.
5. p£re-lachaise. 181
It may be observed here that it is the invariable custom for men
to take off their hats on meeting a funeral procession, whether in
the cemetery or in the public streets.
Conducteurs will be found at the small building to the right on
entering, but their services (5-6 fr., or less, according to agreement)
are rendered unnecessary by the accompanying plan, unless the
visitor is much pressed for time.
Even a superficial survey of the most interesting monuments
in the cemetery will occupy 2-3 hours. On All Saints' Day (Jour
de la Toussaint) and All Souls' Day (Jour des Morts; November
1st and 2nd) it is visited by about 130,000 people. The number
of monuments in this vast necropolis amounts to about 20, 000, many
of which are deeply interesting as memorials of illustrious persons,
while others are noteworthy on account of their artistic excellence.
Well-shaded walks and avenues intersect each other in every direc-
tion, and many of them afford an admirable view of the city.
Avenue Peincipale, To the left, Rich. Pineyro (d. 1875), the
marble monument of a child, with a figure of Hope. We continue to
follow this avenue, ascending on the left, and descending on the
right side. At the corner of a side-avenue, Eugene Berge (d. 1882;
aged 15 years), monument with beautifully sculptured floral and
other ornamentation ; Visconti^ father (d. 1818), philologist, and son
(d. 1853), architect; Dantan[i. 1842), sculptor; Rossini (^i. 1868),
composer (whose remains, however, were removed to Florence in
1887) ; Alfred de Mussel (d. 1857), poet (beautiful lines inscribed
on the monument, written by the deceased); Ph. Beclard (d. 1864),
ambassador, with statue of Grief, by Crauk; Clement- Thomas and
Lecomte (d. 1871), the first victims of the Commune (p. 205), with
sculptures by Cugnot; Lebas (d. 1873), the engineer who erected
the obelisk in the Place de la Concorde; *Paul Baudry (d. 1886),
painter, with bronze bust and statue by A. Mercie. In the middle
of the avenue is the *Monum€nt aux Morts, by Bartholome (1899);
a troop of mortals, with varying expressions of hope and grief, press
towards the open portal of a tomb, already crossed by two of their
number. A monument to Felix Faure (d. 1899), with a recumbent
statue by St. Marceaux, is to be erected to the right. — Chapel and
upper part of the cemetery, see pp. 183 et seq.
Descending on the other side : Th. Couture (d. 1879), painter,
with a bust and genii in bronze by E. Barrias ; Ledru-Rollin (p. 179),
with a bronze bust by Garraud ; Victor Cousin {&. 1867), the philo-
sopher; Auber (d. 1871), the composer, with a bust by Dantan;
Em. Baroche (d. 18701, killed at Le Bourget, with a bust by Courtel ;
P. J. Baroche (d. 1870), the politician; Lefebure-Wely (d. 1869).
musical composer; Perdonnet (^i.. 1867), engineer, with a statue
and medallion by Dubray ; Fr. Arago (d. 1853\ the astronomer, with
a bust by David d'Angers; Mouton.^ with a fine bas-relief by Menu.
We now enter the Avbnub du Puits, to the left, — In the side-
182 5. PfiRE-LACHAISE.
walk to the left : Paul de St. Victor (d. 1881), the author, bust by
Guillaume ; behind, Berthelier (d. 1882), bust by Rougelet. Farther
on, to the left: P. L. Dulong {^. 1838), chemist and physician,
obelisk with medallion by David d'Angers.
We here turn to the right to visit the Jewish Cemetery. To
the right, Elke Rachel (d, 1858), the tragedian. Farther on, to the
left of the walk, the chapel of the Rothschild family. At the end,
Mme. Fould (d. 1839), well known for her benevolence. — Then,
to the left, —
*Abelard (d. 1141) and Helolse (d. 1163), sarcophagus with re-
cumbent statues, beneath a Gothic canopy, reconstructed from the
fragments of old monuments by Lenoir (p. 248), and lately restored.
— We now follow the Chemin Serre, to the right, to the monument
of L. Cogniet (d. 1830), the painter, with medallion, then retrace
our steps and ascend to the left by the Chemix Lebrun. On the
right : Baron Desbassayns (d. 1850). with a weeping figure by Ricci.
On the left : Fr. Lebrun (d, 1824), Duke of Piaeenza, Third Consul
after the 18th Brumaire, and translator of Homer and Tasso, as in-
dicated by the genii. On the right: Victims of June, 1832. In front,
Lapomeraye, the physician, with bust and relief by Fontaine. On
the left : Marshal Lauriston (d. 1823).
Grand Rond, from which five avenues radiate. — In the centre:
*Casimir Perier [d. 1832), minister of Louis Philippe, statue by
Cortot. To the N., *Raspail (d. 1878), the famous democrat and
physiologist, with a fine relief by Etex, in memory of the death of
Raspail's wife during his imprisonment in 1848. — Behind, to the
right: *Crusol d'Uzes[di. 1815), general; handsome allegorical bas-
reliefs. Farther on, to the left, Monge (d. 1820), mathematician and
member of the Convention in 1793.
We skirt the Rond to the S., passing the grave of the *Moreau-
Vauthier family, with a fine statue of a mourner by the sculptor
Moreau-Vauthier , then enter Division 13, between the Avenue
Perier and the Avenue de la Chapelle, and descend the Chemin
Me'hul to the Chemin Dbnon. In the last, to the right: *Chopin
(d. 1849), the composer, with medallion and the figure of a mourn-
ing Muse, by Cle'singer. Behind: Wilhem (d. 1842), composer,
medallion by David. To the left, at the foot of a small flight of steps,
Gareau, with a beautiful figure of a weeping woman. To the left,
Oohier (d. 1830), president of the Directory, medallion by David;
*Denon (d. 1825), director of museums under Napoleon I., statue
by Cartellier. On the right: C/i€ru6mi (d. 1842), the composer, bas-
relief by Dumont. We now ascend to the right and, opposite the
grave of Talma (d. 1826), the famous tragedian, we enter the so-
called 'artists' division', one of the oldest in the cemetery. To the
left: the two Brongniarts , the mineralogist (d. 1847), and the
architect (d. 1813); on the right, '^Tamberlick (d. 1889), the tenor,
with an angel strewing flowers, by Godebski. At the end of the
5. PfiRE-LACHAISE. 183
allee, Delille (d. 1813), the poet, a neglected but very picturesque
tomb. Behind: Bellini (d. 1835), the composer, whose remains
have been removed to Catania, his native place; Oretry (d. 1813)
and Boleldieu (d. 1834), composers.
Ascending now to the Avenue de la. Ciiapelle, we follow it to
the left (N.W.). On the left, a little before the open space: Geri-
cault (d. 1824), the painter, statue and bronze relief by Etex. In
front of the chapel, whence we have a fine view of Paris, is the
Monument de Souvenir^ a truncated column surrounded with wreaths.
Just to the W., David (d. 1825), the painter, with medallion.
The Cemetery Chapel itself contains nothing noteworthy. — To
the right is the monument of Ad. Thiers (d. 1877), the celebrated
statesman, consisting of a large and elaborate chapel by Aldrophe.
Above the fine bronze doors is a relief of the Genius of Patriotism,
by Chapu. The interior contains a group, by Mercie, representing
Thiers rising to answer the summons of Immortality, and reliefs by
Chapu, of the Liberation of French Soil, and the Genius of Im-
mortality. The sarcophagus rests in an open crypt. — To the left:
Befter (d. 1880), professor at the Conservatory of Music; relief of
Music. Adjoining: Baron Taylor {d. 1879), traveller and author,
marble statue by Thomas. Then,to the right : Count Deaeze^i. iS2S'),
one of the defenders of Louis XVI. ^Cartellier (d. 1831), sculptor;
bust by Rude, bas-reliefs by Seurre.
Avenue Feuillant , to the left of the chapel. On the left, Re-
naissance chapel of the Urth family; to the right, farther on, Tirard
(d. 1893), statesman, with a relief of Duty, by St. Marceaux, — In
the walk behind the cemetery chapel : *Guerinot (d. 1891), architect,
statue of a weeping woman, by Barrias.
\ye now follow the Chemin Bertholle, then take the Chemin du
Bassin on the left, and farther on, the Chemin MoLii:RE et Lafon-
TAiNE. At the beginning, to the left, Pradier (d. 1852), the sculptor.
Farther on, to the right, Gay-Lussac (d. 1850), the chemist. To the
right of the Chemin Laplace, which begins nearly opposite : Laplace
(d. 1827), mathematician. A little way back: Count d'Aboville
(d. 1843), general, with two cannon. Farther on, Gros (d. 1835),
painter; and, farther off, the large obelisk of Countess Gemont. To
the left of the path : Count de Valence (d. 1822^, general. Behind :
Daubigny (d. 1878), painter, with a bust. Corot (d. 18751, painter,
with bronze bust. — A little farther up the Chemin Moliere, on the
left, the sarcophagi of Lafontaine [i. 1695), fabulist, and Moliere
(d. 1673), dramatist, transferred hither in 1817.
We return to Pradier's monument and turn to the E. into the
CHEnrx DU Dragon. To the right. Buret (d. 1865"), sculptor, with
bas-relief and medallion ; to the left, at a corner, Gaudin (d. 18411,
Duo de Gaete, minister; to the right the superb mausoleum of the
*Demidoff Umily ;* Geoffrey Saint- Hilaire (d. 1844), naturalist, med-
allion by David; to the left. Admiral Bruat (d. 1855); to the right,
184 5. PfiRE-LACHAISE.
Borne (d. 1837), German poet, "bust and "bas-relief by David; to
the left, *Foy (d. 1825), a general and celebrated orator; statue and
reliefs by David; behind, Daunou (d. 1840), historian, medallion
by David. Behind the three columns is the common grave of Manuel
(d. 1827), popular deputy, and Beranger (d. 1857), the poet, with
bronze medallions. Farther on : to the right, *Baron Oobert^ a general
killed in Spain in 1808, and his son (d. 1833), a group and bas-
relief by David. Opposite : Beaumarchais (d. 1799), dramatist. To
the right. Winsor (A. 1830), promoter of gas-lighting; to the left,
Marshal Massena (d. 1817), monument by Bosio and Jacques; Marshal
Lefebvre (d. 1820) ; to the right, General Ruty (d. 1823) ; to the left,
Marshal Sachet (d. 1826). Opposite tlie end of the path, to the right,
Eugene Scribe (d. 1861), dramatist.
We here ascend the steps to the left, near the top of which, on
the right, begins the Avenue Pacthod, which soon crosses the Avenue
Transversale No. IT. At the corner : *Clara Bancroft (d. 1882), bronze
relief by Chapu. Farther on in the Avenue Pacthod : left , Aigon
(d. 1884), sculptor; Boussingault (d. 1887; p. 176); *Lenoir', right,
Br. Reliquet (d. 1894); Eugene Delaplanche (d. 1891), sculptor.
There are few more tombs in this direction beyond the Avenue Trans-
versale No. Ill, except below to the right and at the corner of the cem-
etery, beside the Muv des FM^res^ against which the Communards taken in
the cemetery with arms in their hands were shot in 1871 at the end of the
insurrection. Demonstrations annually take place here on the anniversary
of the event, and numerous red wreaths are hung on the wall.
We return to the Avenue Transversale No. II, and proceed
to the W. Right, A. QUI [A. 1887), caricaturist, bronze bust by
L. Coutan. Fred. Cournet, journalist, bronze bust by Syamour. Left,
Moris, sculptor, bronze statue by himself. Right: *A. Terry (d. 1886),
a handsome Renaissance chapel, with four statues by A. Lenoir. A
few paces behind, Vuidet (d. 1891), composer of sacred music, with
bronze statue by Aube. Beyond Terry, * Victor Noir^ journalist killed
in 1870 by Prince Pierre Bonaparte; recumbent statue by Dalou.
*De Ycaza (d. 1890), another fine Renaissance chapel, with a group
of statues inside and a bas-relief outside, by Puech. In the next
side-avenue (Avenue Carette) to the left : right, *A. Blanqui (d. 1881),
revolutionary; recumbent statue by Dalou. [To the E., beyond the
Avenue Transversale No. Ill, left, *Le Royer (d. 1897), president of
the senate, statue by d'Hondain ; close by, in the Avenue Trans-
versale No. Ill, Alize Ozi. with an allegorical statue by Dore'.] Farther
on in the Avenue Transversale No. II, to the left, E. Eudes (d. 1888),
revolutionary, bronze bust by T. Noel ; ^Josephine Verazzi (d. 1879),
marble group by Malfatti.
To the right is situated the Crematorium, opened in 1889, but
as yet little used (admission by special permission only).
To the right, near the W. end of the Avenue Transversale No. II,
stands the magnificent *Chapelle Yakovleff, in the Byzantine style,
with paintings on a gold ground, by Fe'doroff, and opposite is the
5. PfiRE-LACHAISE. 185
grave of the *Ruel family, with a group and medallion by Deschamps.
The adjoining door leads to a public Garden, laid out in 1890 on the
hillside, between the cemetery and the Avenue Oambetta, which ends a
little farther on to the right, near the Place Garabetta (p. 186).
The Avenue de la. Nouvelle Entree, near the Crematorium,
leads back towards the centre of the cemetery. At a little distance to
the left, Marquis de Casariera, a large chapel containing a statue.
Kardec (d. 1869), 'fondateur de la philosophie spiritiste', a monument
in the form of a dolmen, with a bronze bust by Capellaro. To the left :
Mme. Rouvier (d. 1888), better known as Claude Vignon , bronze
bust by herself. — We now follow the Chemin du Quinconce, on the
right of Kardec , to the Chemin des Anglais , at the beginning of
which, on the left, is *Triqueti (d. 1874), sculptor, bas-relief by him-
self. Raising of Lazarus. Farther on, right : Admiral Sir Sidney Smith
(d. 1840), who defeated Napoleon at St. Jean d'Acre in 1799. — We
retrace our steps to Triqueti, turn to the left, and re-enter the —
Avenue Teansvbrsale No. I. At the end : Felix de Beaujour
(d. 1836), a conspicuous pyramid 105 ft. in height, visible from the
Arc de I'Etoile, and commonly called the 'pain de suore', erected
by himself at a cost of 100,000 fr. — Nearer the path : Bias Santos ;
a lofty pyramid with sculptures by Fessard (1832). — To the right,
General de Wimpffen (d. 1884), bronze bust by Richard; farther
down, A. Florens (d. 1885), fine bas-relief by Boussard.
We return and follow the path on the other side of the 'pain de
Sucre'. On the left: Beauce (d. 1875), painter. Right: Em.
Souvestre (d. 1854); Balzac (d. 1850), with bronze bust by David;
left: Nodi€r(^d. 1844); C. Delavigne (d. 1843): four well-known
authors. At the corner to the right : Mme. de Faverolles, with sculp-
tures by V. Dubiay; Delphine Camhaceres, with bust by Jouandot;
Lachambeaudie (d. 1872), fabulist; Soulie(d. 1847), novelist.
At the Rond-Point is an obelisk to the municipal workmen
killed by accidents (Victime-i du Devoir). The paths which radiate
from this point in all directions contain many interesting tombs,
besides forming a kind of museum of modern sculpture. — We begin
with the Chemin Delavigne, to the right of the monument Delavigne
(see alove). To the left: H. Chenavard (d. 18^0), painter; A. L.
Barye (d. 1875), sculptor; E. Delacroix (d. 1864), painter. On the
other side as we return, Andrianoff (d. 1857), Russian 'danseuse'
(in a side -walk, Crozatier, sculptor; d. 1855); Buloz [d. 1877),
editor of the 'Revue des Deux Mondes' ; Delpech (d. 1863), engineer ;
*Michelet(d. 1875), the historian, high-relief by Mercie. — Chemin
DU Bastion: '^ Chaplin (d. iS2i)^ painter, monument by Puech; Belloc
(d. 1806), painter, bust by Itasse. — In front, adjoining the Rond-
Point, *Duc de Morny (d. 1865), politician and minister, a natural
brother of Napoleon III., chapel designed by VioUet-le-Duc. —
Chemin db Montlouis: to the right, Maquet (d. 1888), collabora-
teur of Dumas, bronze medallion by Allar; farther on, to the left,
186 5. Pi:RE-LACHAISE.
*Barbedienne (d. 1892), manufactiiier of bronzes, with a bust by
Cbapu and three figures by A. Boucher.
Avenue des Ailantes: to the left, E. Adam (d. 1877), bust in
bronze by A. Millet. Th. Barriere (d. 1887), author, with marble
bust; Ricord (d. 1889), physician, a fine Renaissance chapel;
^Countess d'Agoult (d. 1873), who wrote as ^Daniel Stern\ with
sculptures by Chapu. — By the Eond-Point: ^'Dorian (d. 1873),
minister during the siege of Paris, bronze statue by A. Millet.
We now quit the Rond-Point by the Avenue Cail. To the left,
Desclee (d. 1874), actress. At the fork, on the right, *Croce-SpineUi
and Sivel (d. 1875), victims of a balloon accident ; recumbent figures
in bronze, by Dumilatre. — We here turn to the left and enter the
Avenue Circulaire : to the left, Cleray [i. 1882), bronze bust by
Taluet; Bazillet (d. 1873), gardener to the city of Paris ; to the right,
*Jean Raynaud (d. 1863), philosopher and publicist, with figure of
Immortality by Chapu and bronze medallion by David. Ch. Rosslgnol
(d. 1889), rich Renaissance chapel, with marble bust, statuettes,
cross, and ornaments by Boisseau. Opposite, Cail (d. 1858), en-
gineer, a large domed chapel. To the right, National Guards killed
at Buzenval [iQth. J a.n., 1871), and *Soldiers who fell at the siege in
1870-71 ; a pyramid of granite with four bronze statues of soldiers
by Schrceder and Lefevre, To the left, Bernard, marble angel by
Durand; ^-Carvalho (d. 1897), director of the Opera Comique, and
Mme. Molan-Carva'.ho fd. 1895), the singer, his wife, monument by
Mercier. Farther on : ^Anjuhault (d. 1868), mechanician ; a 'pleu-
reuse' by Maillet. "^Walewski (d. 1868), statesman; a large and
handsome mausoleum. Opposite : Carlier family, bronze group by
E. Carlier. To the left, Ch. Floquet (d. 1896), statesman, bust by
Dalou; Anatole de in Forge (d. 1892), defender of St. Quentin in
1870; bronze statue byE. Barrias. Alphand (i. 1891), city engineer,
bronze bust by Coutan ; H. Cernuschi (d. 1896; p. 199), stele with
bas-relief by A. Carles.
From this point we may follow the Avenue Circulaire to the
Avenue Principale and the main entrance.
The Avenue Qamhetta is prolonged to the W. of Pere-Lachaise, skirt-
ing the cemetery (garden; p. 185). to the Place Gambetta, fonnorlythe
Place des Pyr^nies, in which is the ifairie of the 20th Arronditsemeni f3Ienil-
montant; PI. Pi,, 32), with paintings by Glaize and Bin. From the Edpital
Tenon (918 beds) the Mairie is separated by a square, embellished with a
bronze group, by L. Michel, representing the Lame and the Blind. The
Avenue Gambetta is continued, to the left, to the Reservoirs de la Dhuis
fp. 187). — The Place Gambetta is parsed by the tramway from the Cours
de Vincennes to St. Augustin (TAD), bv which we may procceed to the
Buttes Chaumont (p. 201).
About V2 M. to the X. of Pere-Lachaise, on a height to the right of the
Boulevard de Me'nilmontant, rises the conspicuous church of Xotre-Dame-
de-la-Croix (PI. R, 30i, a fine Romanes lue edifice, built in 1865-70 by Heret,
with a spire rising above the portal.
Near this church is a station of the Chemin de Fer de Ceinlure (see Appx.,
6. FONTAINE RICHELIEU. 187
p. 34), and the omnibus-line 0 (from Mt'nilmontant to the Gare Montpar-
nasse) passes it. Other lines of omnibuses and tramways, see the Appendix.
The Rue M^nilniontant and Rue St. Fargeau lead to the E. from the
church to (1/4 hr.) the Reservoirs de la Dhuis (PL R, 36l, which supply
the E, quarters of Paris with water. The Dhtiii is a tributary of the Sur-
melin, which itself joins the Marne, near Chateau-Thierry. The water
is coaducted a distance of 80 M., with a fall of only 60 ft., and reaches
Paris at the height of 350 ft. above sea-level or 260 ft. above the quays.
The reservoirs (visitors admitted 5 entrance, Rue St. Fargeau 86) resemble
those of the Vanne (p, QCOj.
6. Neighbourhood of the Exchange and Quartiers de
la Chaussee-d'Antin and de I'Europe.
The following walk should be taken on a Tuetday or a Friday^ as the
Bibliotheque Nationale is open on these days. Spare time, before the li-
brary is open, may be spent in visiting the Church and Place des Victuires.
The Exchange may be visited daily from 12.30 to 3 p.m. — Restaurants
at the Palais-Royal or on the boulevards, see pp. 16; 17.
I. FROM THE PALAIS-ROYAL TO THE BOURSE.
Bibliotheque Nationale.
The Rue de Richelieu (Y\. R, 21; //) , a street 1000 yds. in
length, which passes on the W. side of the Palais-Royal, leads direct
from the lower end of the Avenue de I'Ope'ra (p. COJ to the 'Grands
Boulevards'.
We first observe on the left, at the corner of the Rue Moliere,
the Fontaine Moliere, erected in 1844 to the memory of the famous
dramatist, who died in 1673 at No. 40 Rue de Richelieu (not No. 34
as frequently stated). The monument is in the Renaissance style,
51 ft. high and 21 ft. wide, and was designed by Visconti. The
statue of Moliere is by Seurre, while the muses of serious and light
comedy are by Pradier.
Farther on , the Rue de Richelieu crosses the Rae des Petits-
Champs, leading to the right to the Place des Victoires (p. 192).
Then to the right is the Bibliotheque Nationale, opposite the prin-
cipal entrance to which (farther on) is the *Fontaine Richelieu, or
Louvois, in bronze, by Visconti, with statues by Klagmann repre-
senting the Seine, the Loire, the Garonne, and the Saone. It stands
in the small Square Louvois, on the site of the old Grand-Opera, on
leaving which the Due de Berri was assassinated in 1820, and which
was taken down in consequence.
The *BibIiotheque Nationale (PI. R, 21; IT), formerly called
the Bibliotheque du Koi, and afterwards the Bibliotheque Imperiale,
will, on the completion of the portion in the Rue Vivienne (comp.
PI., p. 188), occupy the entire block of buildings bounded by the
Rues de Richelieu, des Petits-Champs, Vivienne, and Colbert. The
library stands on the site of the palace of Cardinal Mazarin (d. 1661),
the powerful minister of Louis XIII. and Louis XIV., but almost
every trace of the old building has been removed in the process of
188 6. BIBLIOTHllQUE NATIONALE.
extension and alteration. The handsome facades in the Rue Vivienne
and the Rue des Petits-Champs are modern.
The library may, perhaps, be dated back even to the MSS. collected
by the Carlovingiaas. St. Louis (d. 1270) had a library in a side-chamber
of the Sainte Chapelle (p. 221). More important was the collection of
Charles V. ('Le Sage'), which, however, was sold to the Duke of Bedford
in 1425. The real founder of the present library may be recognized in
Louis XL fd. 1515), who collected the books of his predecessor, Charles VIII.,
in the Chateau of Blois, and acquired the libraries of the Sforza of Milan
and of the Gruthuuse family of Bruges. Francis I. (d. 1517) removed the
collection (consisting of about 1900 vols.) to Fontainebleau and busied
himself in its enlargement. It was he who decreed that a copy of every
work printed in France should be furnished to the royal library, though
it was long before this requirement was properly observed. A little later
the library was removed to Paris. Henri IV. (d. 1610) deposited it in the
suppressed Jesuit College de Clermont, and used the proceeds of the con-
fiscated property of the Order to provide the books with handsome bind-
ings. Under Louis XIV. (1643-1715) the library was greatly enlarged by
the purchase of several valuable collections. In 1774, in the reign of
Louis XV.., the library was hnally, on the suggestion of the librarian Ahhi
Bignon^ accommodated in the Hotel Mazarin. At the Revolution the books
of the religious orders were united with the Ivational Library. The library
now contains upwards of 3,000,000 volumes. Its book-shelves arranged in
line would extend to a distance of 35 M. A General Catalogue is in pre-
paration, but so far only two volumes have appeared. — The present General
Director is M. Leopold Delisle.
The Bibliotheque Nationale, probably the most extensive in the
world, is divided into four departments: (1) Printed Books and
Maps (Imprimis et Cartes); (2) MSS. ( Manuscrits) ; (3) Engravings
(Estampes); (4) Medals and Antiques (Medailles et Antiques).
The Salle Puhlique de Lecture (public reading room ; entrance
by No. 3 Rue Colbert) is open daily from 9 a.m. till 4, 6, or 6 p.m.
(according to the season), with the exception of the nine days from
Palm Sunday to Easter Monday. The Salle de Travail (hall for
study; entrance in the Rue de Richelieu) is open at the same hours,
except on Sundays, holidays, and the two weeks before Easter; it
is, however, reserved for persons provided with a reader's ticket by
the 'administration' (p. 189).
The Salle de Travail contains seats for 334 persons. On entering the
visitor receives a slip of paper ('bulletin''), on which he writes his name
and address and the number of the seat he has selected. At the bureau,
to the right and left of which are catalogues of the acquisitions since 1884,
he receives smaller slips, which he fills in with the titles of the books
desired and then returns, along with the larger slip, to the librarians.
He then waits till the book is brought to him. No applications are re-
ceived within one hour of the hour of closing. On returning the books,
the reader receives the larger bulletin back , stamped and bearing the
titles of the books. He gives it up to the official at the exit. Visitors are not
permitted to quit either of the Salles with books, papers, or portfolios in
their hands, without a 'laisser-passer' from one of the librarians. For
farther details, see the notices affixed to the doors of the diflferent saloons.
— Foreign scholars and students visiting the library receive the most
cordial reception and assistance.
The most interesting books, MSS., engravings, and medals are
exhibited in special rooms, to which the public is admitted free on
Tuesday and Friday, 10-4.
BIBLIOTHEQUE NATIONALE
Hue
C o I 1) e -r t
Salle de I.ectaire (L^^et
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s^
Entre e TOiocip ale
h ' 'i Salle Q* I ^
^apres JLPa
Qr^r^f p; '.Topri^tie T)a2- "^VaeTier tDe'bPS. Leipzig
6. BIBLIOTHfiQUE NATIONALE. 189
Under the archway leading to the principal court (Cour d'Hon-
neur) from the Rue de Richelieu are statues of Printing, by Labatut,
Writing, by Coutan, Copper-Plate Engraving, by J. Hugues, and Die
Cutting, by J. Becquet. In the middle, directly in front, are the
offices of the Administration. To the right is a short flight of steps,
acsending to the lower vestibule, where a Sevres vase has been placed
to commemorate the share of the French savants in the observations
of the Transit of Venus in 1884. Opposite the entrance is the Salle
de Travail. To the right is a small refreshment room. The stair-
case to the left, at the end of the vestibule, leads to the first floor.
To the right is the entrance to the —
Dbpartementdes Estampbs, which contains more than 2,500,000
plates bound up into volumes (14,500) or arranged in portfolios
(4000). A number of the most interesting are exposed to view at
the same hours as the printed books and manuscripts (comp. p. 188).
The staircase ascends to the upper vestibule , containing the
drawings made during Napoleon's expedition to Egypt (1798) and
some Phoenician inscriptions. Facing the staircase is the small
Galerie des Charles. To the right is the department of MSS.
(100,000 volumes). To the left are the department of Maps (Cartes)
and the —
Salles d Exposition des Imprimis et des Manuscrits (admission,
see p. 188). They contain the chief treasures of the library, some
of them beautifully illuminated and magnificently bound. These
two rooms are on the first floor, facing the Rue Vivienne. The
second, the Galerie Mazarine, is a remarkably fine saloon, belonging
to the original palace of Card. Mazarin All the objects are la-
belled ('Notice des Objets exposes', 5 fr.).
Room I. In the centre, the French Parnassus, a group in bronze
representing the chief French authors and artists of the 17th cent. , by
Louis Gamier. In the glass-cases I-lII, V, superb bindings, with the arms
of the kings of France from Francis I. downwards. In Case IV., by the
window: 369. Christianismi Eestitutio, by Michael Servetus. a work which
led to the author's death at the stake in Geneva (1553); 371, 372. Hippo-
crates and Theophrastus, with the autograph of Rabelais ; 373. Philo Juda'us,
with Montaigne's signature; 374. Sophocles, annotated by Racine; 376.
Manuscript music by Rousseau.
Room II. This large saloon, called the ^'QaleiHe MazaiHne, has a fine
ceiling-painting by Eomanelli (1617-62) representing heroic and legendary
scenes. On ihe walls are busts of benefactors of the library.
The cabinets and glass-cases contain (1st half of the saloon) early
works printed in France, Holland, Germany, Italy, and Spain. — In
Case IX. are a copy of the first printed Bible (dated 1456 and perhaps
from the press of Gutenberg) and a psalter by Fust and SchOffer (1457j. —
XXVII-XXIX. : books printed at Paris, many of them with miniatures. Case
VI, in the middle of the room, contains a collection of costly bindings,
made for the Kings of France and celebrated bibliophiles. Many are from
the library of Jean Groner (d. 1565), who introduced the Italian love of
artistic binding into France.
Second half of the gallery : MSS. from the 5th to the 15th century. Cabinet
X. (to the right): Portrait of John II., le Bon (d. 1364); below, 4, Roll
with the oldest catalogue of the library (time of Charles V.). — XI. French
MSS.: 176. Nithard's History., containing the text of the kings' oath taken
190 6. BIBLIOTHfeQUE NATIONALE.
at Strassburg in 842, the oldest monument of the French language (lOlh
cent.); 187. Alhum of Villars d'Eonnecouri ^ the architect (I8th cent,);
191. Acta of the Templar Trial of 13uy-, 196. Acta of the trial of Joan of
Arc. — XII. MSS. of Italy, Spain. England, and Germany: 139. Genoese
Annals of Caffaro {12-13tii cent.); iU. Fetr arch's 'De viris illus'ribus' (Uth
cent.); 147. Dante's 'Divina Commedia' (14th cent.). — XIII. Latin MSS.:
102. Livy (5th cent.) ; no number, wax tablets with accounts of the 13-14th
centuries. — XIV. Mexican MSS. — XV. Oriental and American MSS. —
XVII. Greek MSS. — XIX. Illuminated MSS. — XX. MSS. formerly
belonging to kings and queens of France, including the Gospels of Chai^le-
magne, Louis the Pious, and Lothawe. — Cases XVI XVIII, nnd XXXII.
Autographs: 308- Mary Stuart; 303. Bu Gueschn; 839. HenrilV.; 342. Pascals
'Pense'es sur la Keligiou'; 314. Bosstiet (Sermons'); 315 Finelon ('Tele-
maque'); Rousseau; Voltaire; Mme. de Sivigni ; Racine ; Moliire ; CorneHle. —
XXX, XXXI. Sumptuous bindings of the middle ages, adorned with
ivory, jewels, bronze, and chains.
At the end, to the right, is the work-room of the Section des
Cartes et Collections OeograpMques.
The *Cabinet dbs Mbdailles bt Antiques (admission, see
p. 188} has an entrance of its own in the Rue de Richelieu, the door
beyond the police-station when approached from the Boulevards,
and the first when approached from the Palais-Royal (visitors ring).
It contains an extensive collection of Medals (200,000) and Antiques,
comprising gems, intaglios and cameos, small works of art, glass,
vases, arms, and other curiosities.
Vestibule. On the wall at the back: Zodiacal Monument from the
Temple of Bend era ^ Egypt, a work of the Roman empire. On the left the
Chamber of the Kings from Karnak, constructed by Thotmes III. (18th Dy-
nasty), with important inscriptions.
On the Staircase and in the Anteroom (if closed, visitors ring) at the
top: Stelse, and Greek and Latin, Coptic and Phoenician inscriptions. —
On the left is the —
Grande Galerie. The glass-cases in the centre are subdivided into
sections, from left to right. Case I. Cylinders with cuneiform inscriptions,
and cut gems from Assyria, Chaldsea, and Persia; also antique intaglios.
In the centre of the last division, second row : '1815. Achilles playing the
lyre, in amethyst, signed Pamphilos. — Case II. : Intaglios and cameos
of ancient, mediaeval. Renaissance, and modern times, most of them in
sardonyx and of considerable artistic value. Some of them are in settings
of gold or enamel, dating from the time when they were regarded with
veneration as religious amulets. Among others, from left to right: 3rd
Division, 2391. Jupiter enthroned, between Mars and Mercury, in cornelian ;
2396. Abundance and Peace, crowned by genii, in sardonyx; 2404. Jugurtha
delivered to Sulla; 2337 (fifth row, to the left), Cornelian with Baccha-
nalian device, said to have been used as a seal by Michael Angelo (?).
4th Division, third row: Engraved portraits by Guay, engraver to Mme.
Pompadour: cornelian seals. 5th Division, ''402. Analogies of the Old and
New Testaments, a cameo of the 16th cent. ; 405. Adoration of the Magi, a
Flemish work of the i5th cent.; 4'-5. Venus reHsHng Cupid (modern). 6th Di-
vision, 687. Augustus 7th Division, 59d. Negro king; 765. Heliogabalus ;
643-645 Battles; 612. Fountain of Wisdom; 624, 625. Alleged Bracelets of
Diana of Poitiers, each composed of eight cameos, Renaissance work. 8th
Division. 780. Francis I ; &26 Louis XV., by Guay; 944. Seal of Louis XV.,
with portrait of Mme. de Pompadour inside; above Francis I . 92', 788.
Louis XV. and Htnri IV. in an emerald setting from a biacelet of Mme. de
Pompadour; 7i6. Henri IV.; to the lefr, *789. Henri IV. and Marie deMidicis,
shell on sardonyx; above, 977. Charles V. and Ferdinand I.; \)&\ow, Louis
XIII ; ^'Ib. Louis XIV. — Case III (continuation of the cameos): 1st Divi-
sion, *8(j8. Triumph of Licinius ; 274. Claudius. 2Qd Division, IdS, Augustus.
4th Division, 79. Bacchus and Ariadne, in a setting enriched with pearls.
6. BIBLIOTHfeQUE NATION ALE. 191
Case VI, at the window, which should be inspected next, contains the
best antique cameos, placed here for the sake of the light. 1st Division:
"22(3. Alexander the Great, with Athena ; 242, 244. Julia, daughter of Augustus •,
between, 2i"0. A<,rippina the Yovnger; 276. Cluudivs and Alessalina, as Tripto-
lemus and Ceres, in a chariot drawn by two dragons ^ 243. Julia, daugliter
of Augustus, with the attributes of Ceres; *25l. TU-erins; 270. Claudius;
*220. Alexander the Great,, with helmet, translucent agate in a roainilicent
l8th cent, mounting of enamelled gold; 2i7. Mtsaalna with her children;
260. Drusus the Elder; '289. Trajan; -300. Septimius Severus and his Fa mil p ;
'■265. Apotheosis of Germanicus. — 2nd Division (mythological ."^uhjects) :
*1. Jupiter^ one of the most valuable cameos in tLe collection, with a
magnificent mounting of the 14th cent. ; above, *11. June, notable for
delicacy of workmanship and beauty of material; below, *27. Dispute
between Minerva and Neptune. To the left, 8. Euvopa on the bull ; '14S.
Horses of Ptlops; ''IT. Minerva; "115. Amphitrite on a marine monster; 31.
Diana. To the right, 97. Centaur, '184. Bull; 111. Mercury; 41. Apollo and
Marsyas; 43. Venus in the bath.
Case IV, in the centre of the hall, contains the greatest treasures of
the collection. Goblet of sardonyx, known as the Cup of the Ptolemies, with
Bacchic reliefs, from the treasury of St. Denis; twelve antique gold
medals; Cup of Chosroes /., King of Persia (d. 579), composed of medallions
of rock-crystal and glass colours, with Chosroes enthroned in the centre,
also from the treasury of St. Denis, where it was known as the 'Cup of
Solomon"; Roman necklace and medallions, in gold; Tr4sor de Oourdon,
a tray and flagon of massive gold (6th cent), found at the village of Gour-
don (Cote dUr), an interesting memorial of early Christian times. Augustus,
antique cameo in medieeval setting. "Apotheosis of Germanicus ('Came'e de
la Ste. Chapelle), the largest cameo in the world, consisting uf a sardonyx
nearly 1 ft. in height, with twenty-six figures. "Medal of Eucratides. Greek
king of Bactriana, found in 1867, the heaviest coin known; weighing 6 oz.
or twenty times the weight of a Greek stater. Antique Ship in sardonyx,
with mediseval mounting ; Julia, daughter of Titus, aquamarine in mediseval
setting. ^Patere de Rennes. a cup of massive gold, found near Eennes in
1774, with reliefs representing the drinking-contest of Bacchus and Her-
cules (triumph of wine over strength), and bordered with sixteen medallions
of Roman emperors of the family of the Antonines from Hadrian to Geta,
son of Septimius Severus. Two small Roman busts in agate and gold;
Golden ornaments from Etruria ; Btist of Constantine I. (?) in agate ; Trisor de
Tavse, four gold medals. The remaining divisions of the case contain
antique gold trinkets, cameos ('44. Judgment of Paris), gold aeala, and
Italic and early Roman coins.
A Case (unnumbered) at the adjoining window contains a map with
early French coins arranged on it geographically.
Cases VII, VIII (in the middle). Koman andByzantine medals, Roman
and Italic copper coins. Greek ciins and medals from Lower Italy, Greece,
and Egypt. — Case IX. Interesting coins of the middle ages, the Re-
naissance, and modern times. — Case X. Small Bronzes: 815. Warrior;
1009. Negro boy; 316. Hermes; 426. Dancing Satyr; 1157. Cow.
The cabinets ranged along the wall opposite the windows contain
a fine series of Bronze Statuettes and other Small Bronzes (including antique
utensils and arms), specimens of ancient Glass, and a choice collection of
Greek Painted Vases (the largest in the middle, with an archaistic Athena).
— The cabinet on the following wall contains small Greek Terracotta
Figures. Iso. 702. '■Caillou Michaux\ an ovoid stone with cuneiform inscrip-
tions, the most valuable Babylonian monument of the kind (1120 B.C.).
Silver disc, nearly 2V2 ft. in diameter, known as the 'Bouclier de Scipion\
with reliefs representing the abduction of Briseis. It was found in the
Rhone, near Avignon, in 1656. and probably dates from the fourth cent, of
our era. Another smaller disc, representing Hercules slaying the Nemean
lion. — Case V (in frcnt) cont: ins the recent acquisitions.
The Salle du Due de Luynes (see p. 354) . to the right of the ante-
chamber, contains a choice collection of antique coins, intaglios, cameos,
weapons, and terracottas, bequeathed by the duke, who was a celebrated
192 6. BlBLIOTHfiQUE NATIONALE.
antiquarian (d. 1867). In the centre, a beautiful torso of Venus in
Parian marble. Cabinet to the right: antique weapons and a handsome
Moorish sword of the end of the 15th cent., said to have belonged to
Boabdil, the last king of Granada. — Adjacent is the —
Salle de la Renaissance. Cabinet I, to the right: interesting Objects
in Ivory , consular diptyehs (presented by consuls to senators) , of the
5-6th cent. 5 large French medals ; sword of honour of the grand-master
of the Maltese order, with enamelled gold hilt (16th cent.); medallion of a
woman, by Mino da Fiesole (15th cent.); bronze Moorish vases — Central
Case, above: ivory bridal coffer (Italian; 14th cent.); two enamelled
croziers of the 13th and 15th cent. ; enamelled cup, by J. Courtois of
Limoges ; silver-gilt ewer of the 16th cent. ; wood-carving of St. Anthony,
by Lucas van Leyden ; silver casket of Franz von Sickingen, with reliefs
(early 16th cent.); rook, said to have belonged to a set of chessmen sent
by Haroun-al-Easchid to Charlemagne ; seals of the University of Paris
(i;3th ceut.), of Louis XII., etc.; ornaments and enamels, including fine
hat-ornaments of the 16th century. Behind, large and fine medals of the
16-I7th cent., and articles found in 1653 in a tomb conjectured to be that of
Childeric I. (d. 481). — Cabinet II. Medallions by David d' Angers; an-
tique and Byzantine ivory carvings ; the large 'Sobieski Vase', with ivory
carving of the battle of Vienna in 1683. On the other side of the room
the so-called Throne of Dagoiert, claiming to date from the 7th century. —
The last room is the —
Salle des Donateurs, containing the Collections Janzi^ Oppermann, and
Fauvert de la Chapelle^ consisting of ancient statuettes in bronze, terracotta,
a few vases, and cameos. Among the chief objects in the Collection Janze,
to the right of the entrance, are: 623. Aristseus; below, 124. Statuette
of a dancing girl, in terracotta: 927. Small replica of the Diadumenos of
Polycletus; 128. Artemis; 536. Hercules. — The large octagonal glass-ca=e
in the centre contains a chronologically arranged collection of French med-
als; also, the ^Treasure of Bernay , consisting of 67 silver vessels and
two statuettes of Mercury, of different periods and varying value, from a
sacellum dedicated to Mercury, found at Berthouville (Eure) in 1830. The
two -Goblets with Bacchic processions and other two with single figures
are among the best-preserved specimens extant of ancient 'silver-work.
Above, Bronze head of the Town-goddess of Paris, found at Paris in 1675.
The Rue des Petits- Champs, which skirts the Bibliotheque on
the S., or the side next the Palais-Royal, passes the end of the Rue
Vivienne and of the Passage Vivienne, also on the left, and termin-
ates at the Rue de la Banque (p. 193).
In the Rue de la Vrilliere, leading to the right beyond the Rue
des Petits-Champs, is the Banque de France, enclosed by four dif-
ferent streets. It was formerly a private mansion (Hotel Vrilliere)
and contains a handsome apartment of the 18th cent, called the
Galerie Doree^ which may be visited on application.
The Bank of France is not a state-institution, but, like the Bank of
England, is a private joint-stock bank, though subject, of course, to the
control of the government. It has the sole right of issuing notes in France,
and transacts all ordinary banking business on a very extensive scale. The
cellars contain bullion, diamonds, and other valuables, worth in all sev-
eral milliards of francs. These repositories are constructed in a very mas-
sive style and are guarded with most elaborate precaution. The Bank of
France ranks among the first establishments of its kind in the world.
The business transacted here in 1899 amounted to the sum of 17 milliards
of francs (nearly 700,000,0(X);.).
A narrow side-street leads from the Bank to the small circular
Place des Victoires (PI. R, 21 ; ///), about 85 yds. in diameter,
designed by J. H. Mansart^ and constructed in 1685. It was ori-
6. NOTRE-DAME-DES-VICIOIKES. 193
giually called the 'Place Louis XIV.', and was embellished in
1686 with a gilded statue of that monarch , with the inscription,
^viro immortali\ The monument, with the exception of the groups
now at the Invalides (p. 274), was destroyed in 1792, and replaced
by a pyramid inscribed with a list of victories gained by the re-
publican army, from which the Place derives its present name.
The pyramid was in its turn displaced in 1806 by a statue of
General Desaix (d. 1800), which in 1814 was melted down along
with others to furnish materials for the statue of Henri IV. on the
Pont-Neuf (p.223). The present clumsy monument, an Equestrian
Statue of Louis XIV, ^ in bronze, which is too large for the Place,
was erected in 1822 by Bosio. The rider is garbed as a Roman
general, with a wig, and the horse, in a rearing attitude, rests on
the hind-legs and tail, in imitation of Peter the Great's monument
at St. Petersburg. The reliefs on the pedestal represent the king's
passage of the Rhine, and the distribution of military honours.
To the E. of the Place des Victoires the Rue des Petits-Champs is
prolonged by the FMe ElUnne- Marcel ^ which crosses the Eue du Louvre,
skirts the central post office (p. 173), and is continued to the Boul. de
Sebastopol.
A few paces to the N.W. of this Place is the church of Notrfi-
Dame-des-Victoires , erected in 1656-1740 to commemorate the
taking of La Rochelle, the chief stronghold of the Huguenots, It is
now the seat of a monastic fraternity. The altar of the Virgin to
the right of the choir, which is the object of special veneration, was
despoiled of its chief treasures by the Communards, hut has been
richly re-decorated. The walls of the chapels are covered with vo-
tive inscriptions on marble. The choir contains well -executed
carved woodwork and two pictures by C. Van Loo (d. 1745) : an Alle-
gory of the capture of La Rochelle, and scenes from the life of St.
Augustine. In the second chapel to the left is the tomh of LuUi
(1633-87), the composer, by Cotton.
The Rue de la Banque, a little beyond the church, to the right
as we quit the latter, leads to the Bourse. This street contains three
handsome modern edifices : the Mairie of the 2nd Arrondissement
(Bourse) and the Caserne de la Banque on the right, and the Hotel
du Timbre on the left. The Salle des Mariages of the Mairie con-
tains paintings by Moreau de Tours.
The *Bourse, or Exchange (PL R, 21; ///), a handsome building
in the Graeco-Roman style, surrounded by a series of 64 Corinthian
columns, is an imitation of the Temple of Vespasian in the Fo-
rum at Rome. It was begun in 1808 by Brongniart (d. 1813), and
completed in 1826 'by Laharre (d. 1833). Length 75 yds., width
45 yds., height 100 ft.; columns 33 ft. high, and 31/3 ft. thick.
The edifice is enclosed by a railing, and approached by a flight of
sixteen steps at each end. At the corners in front are allegorical
statues of Commerce by J. Dumont (d. 1844), and Consular Jus-
Baedekeb. Paris. 14th Edit. 13
194 6. THE BOURSE.
tice by Buret (d, 1865); at the back, Industry by Pradier (d. iSoT),
and Agriculture by Seurre (d. 1858).
The hall of the Bourse , which is 35 yds. in length, and 19 yds. in
width, is opened for business daily, except on Sundays and holidays, at
12 o'clock. A few minutes before "that hour the Place begins to present
a busy scene. Xumerous vehicles, chiefly private carriages, drive up, and
the money-seeking throng hurries into the building. Business, however,
does not fairly begin till about half-past twelve. Even under ibe Peristyle
outside (known as the Coulisse des Valeurs en Banqiie)^ business is animated,
though nothing in comparison with the scene within the hall. The parquet^
at the end of the hall, is a railed-off space which the sworn brokers, or
agents de change^ are alone privileged to enter. In the centre of this part
of the hall is the corbeille^ a circular railed-off space, round which they
congregate, making their oflers in loud tones. Various groups in different
parts of the hall, but especially near the parquet, are occupied in taking
notes, or concluding sales or purchases, the prices being regulated by the
transactions going on in the parquet, while other persons are seen handing
instructions to the brokers within the parquet. To the right, not far from
the 'corbeille', is the MarcM au Compiant for cash transactions 5 and to
the left, at the end of the gallery, is the Coulisse de la Pienie.
The tumultuous scene is best surveyed from the gallery, reached from
the vestibule by two staircases ascending to the right and left of the large
hall. The deafening noise, the vociferations, and the excited gestures of
speculators, produce a most unpleasant impression. Amidst the Babel of
tongues are heard the constantly recurring words, ''Tat . . . ; qui est-ce qui
a . .1 ; je pi' ends ; je vends f
The visitor should not omit to observe the 'grisailles' on the vaulting,
by Abel de Pujol (d. 1861) and Meynier. They represent the Inauguration
of the Bourse by Charles X., France receiving tribute from every part of
the globe, the Union of commerce with the arts and the sciences, and
the Principal Cities of France. The paintings in imitation of reliefs are
very skilfully executed.
At 3 o'clock the business of the stock-exchange terminates, the brokers
assemble and note the prices realised in their transactions, and in ac-
cordance with these they adjust the share-list for the day, which is then
immediately printed and issued. The hall remains open till 5 o'clock for
the transaction of other mercantile business. The annual amount of business
transacted in the Bourse has been calculated at 100 milliards of francs or
4,003,030,OCO;. Telegraph and telephone office, see p. 80.
Adjacent is the Boulevard Montmartre (see p. 77). — The wide
Eue Reaumur (PI. R, 21, 24 ; III) leads to the S.E. to the Conserva-
toire des Arts et Metiers (p. 175).
II. FROM THE BOURSE TO NOTRE-DAME-DE-IORETTE, LA TRINITE
AND THE GARE ST. LAZARE.
From the Place de la Bourse the handsome Rue du Quatre-
Septemhre leads to the W. to the Place de TOpera (p. 78), and the
Rue Reaumur to the E. towards tbe Conservatoire des Arts et Me-
tiers (p. 175). The Rue Vivienne, running from the Palais-Royal
(p. 60) past the front of the Bourse, continues in the same direction
to the Boulevard Montmartre (p. 77). Turning to the left, we reach
the Boulevard des Italiens in a few minutes, whence we enter the
Rue Brouot, to the right.
No. 9 in this street is the Hotel des Venies Mohilitres, a large
public auction-room, the 'Christie and Manson's' of Paris, where
extensive sales of works of art take place in winter at 2 p.m. Con-
6. NOTRE-DAME-DE-LORETTE. 195
siderable experience is necessary to make purchases here with
advantage, and the stranger is warned against entering into com-
petition with the brokers, who are always ready to unite against
the common enemy. — The chief Book Sales take place in the Salie
Sitvestre^ Rue des Bons-Enfants 28, near the Palais-Royal.
No. 26 in the Rue Drouot, to the right, is the HoteL du Figaro^
or 'Figaro' office, in the style of the Spanish Renaissance. The
statue of Figaro is by Amy.
We then cross the handsome modern Bue Lafayette or la Fayette^
1^/4 M. in length, which, with its continuation, the Rue d'Alle-
magne (1 M. ; p. 201), leads straight from the Opera to the N.E.
quarters of Paris.
On the right of the Rue Lafayette, near this point, is the office of the
'•Petit Journal (No. 61), which claims to have a daily circulation of 1,100,000,
i.e. the largest in the world.
A little farther on the street passes the pretty Square Montholon
(PI. B, 21), embellished with two bri)nze groups: Eagle and vulture con-
tending for the carcase of a bear, by Cain; and a Mountebank with a
monkey CMonnaie de singe'), by Rolard.
A little beyond the Square 3Iontholoa, to the right, diverges the Rm
de Chabrol, which became so notorious in 1899.
A few yards straight on is the junction of the Rue de Chateau-
dun and Rue de Maubeuge, two other modern streets. The Rue de
Maubeuge leads hence to the Gare du Nord (p. 200). We follow
the Rue de Chateaudun to the left.
The church of *Notre-Dame-de-Lorette (PI. B, 21), close to the
'Carrefour de Chateaudun', is situated at the N. end of the Rue
Laffltte, which leads to the Boulevard des Italiens. It was erected in
1823-36 by Hipp. Lehas in the simple style of an early-Christian
basilica. The tympanum of the Corinthian portico is adorned with
figures of Faith, Hope, and Charity, by Foyatier^ Lemaire, and Laitie.
The Interior is more elaborately decorated than the character of
a basilica would warrant. The "^Frescoes in the four corner-chapels are,
however, admirable in their chissical restraint. To the right are the Bap-
tistry, by A. Roger (ca. 1S34), and the Chapel of the Eucharist, by Perin
(1852); to the left are the Mortuary Chapel, by Blondel, ami the Chapel of
the Virgin, by Orsel. — The smaller chapels contain paintings by Hesse^
Johannot, Deviria^ Schnetz, and others. — The frescoes in the nave and on
the triumphal arch represent the Four Major Prophets and scenes from
the life of the Virgin, by Dvbois, Monvoisin, and others. — In the choir:
on the left, Presentation in the Temple, by Heim:, on the right, Jesus
teaching in the Temple, by i>roiiiHgf. In the apse: Madonna enthroned and
(dome) Coronation of the Virgin, by Picol. In. the spandrels, the Evan-
gelists, by Delorme. — Fine music at the evening-services in May (the Ma-
donna's month).
Between the churches of Notre-Dame-de-Lorette and La Trinite, in
the Rue de La Rochefoucauld, No. 14, is the Mtisie Gustave Moreau. con-
taining about 700 paintings (some of them uulinished) and AVOO drawings by
the painter of that name" (not yet open to the public, but shown on appli-
cation on Tues., Thurs., and Sat.).
The Rue de Chateaudun leads from Notre-Dame-de-Lorette
to the W. to the Square de la Trinity (p. 196), traversing the N,
of the Quartier de la Chaussee-d'Antin, one of the handsomest cen-
13*
196 6. LA TRIN1TJ&.
tral districts of the city, with the Opera House, several of the prin-
cipal banks, and some of the large hotels. It owes its name to the
Rue de la Chaussee-d'Antin, between the church of La Trinite and
the Boul. des Capucines.
*La Trinite (PI. B , 18) , a church in the latest Renaissance
style, was built by Ballu in 1861-67. In front of it is the small
Square db la Trinite, adorned with three fountains and statues
of Faith, Hope, and Charity, executed by Lequesne from designs by
Buret. The facade has a porch with three large arches, above which
rises an elegant story with a gallery and a rose of open-work , sur-
mounted by a clock-tower 206 ft. in height , flanked with two lan-
terns. Over the doors of the porch are enamel-paintings by Bake.
The Interior consists of a large nave with two low aisles flanked with
chapels. Nave and aisles are separated by handsome columns alternating
with pillars, which are embellished with statues of the Apostles. The
gallery over the aisles projects into the choir, below which is a crypt.
Over "the high-altar rises a tasteful canopy. The apse is occupied by a
large chapel richly decorated; Bladonna (in marble) by F. Dubois, paint-
ings by Em. L^vy and Elie Delaunay, and stained glass by Oudinot. The
nave and the other chapels are also adorned with paintings; those in the
nave are by Johh4- Duval; those in the chapels on the right by Brisset
(Intercession for the souls in Purgatory, Depositon in the Tomb). Lecomte
du Nouy (St. Vincent de Paul), F. Barrias (St. Genevieve), and Laug4e
(St. Denis) ; those on the left by Bug. Thirion (Childhood of Jesus), Rom.
C'azes (Christ and saints), Mich. Dumas (Plata and Prayer to the Madonna),
and L. Frangais (Baptism of Christ, Expulsion from Eden). Near the side
entrances are elegant 'benitiers'', surmounted with marble statues of In-
nocence and Purity by Gumery. — La Trinite has a good choir and organ.
M. Guilmant is the organist.
The Rue de Clichy, to the left of the church, runs to the Place de
Clichy (p. 209), passing the Casino de Paris (p. 36).
The Eue St. Lazare, continuing the Rue de Chateaudun beyond
La Trinite, leads in a few minutes to the Gare St, Lazare.
The Eue de Londres, to the N.W. of the Place, leads almost straight
to the Pare Monceaux (p. 19^), via the curiously shaped Place de V Europe
(PI. B, 18), formed by the junction of six streets above the line of the
Chemin de Fer de I'Ouest, behiad the Gare St. Lazare.
The Gare St. Lazare (PI. B, 18), which is reached from the
Boulevards more directly via the Rue Auber and Rue du Havre,
is a large and handsome building, remodelled in 1886-89 on
plans by Lisch. It consists of two main parts, connected by a long
waiting-room, and of the Hotel Terminus [p. 3) in front, facing the
street, and concealing the rest. The pavilion in the Rue d' Amster-
dam is for the main line traffic, the other part, in the Rue de Rome,
for the Chemin de Fer de Ceinture and for the Lignes de Banlieue.
6. CHAPELLE EXPIATOIRE. 197
III. FROM THE GARE ST. LAZARE TO ST. AUGUSTIN AND THE
PARC MONCEAUX.
Les Batignolles.
We now follow the Rue du Havre, opposite the station on the
Rue d' Amsterdam side, to the Boulevard Haussmann. To the left
in the Rue du Havre are the Lycee Condorcet, and, farther on, the
handsome Magasins du Printemps (p. 40).
The Boulevard Haussmann (PL B, 18, 15; 11), one of the im-
posing modern thoroughfares of Paris, owes its name to Baron Haus-
■inann, prefect of the ^-^elne in 1853-69 and chief promoter of the
grand transformation of modern Paris. It is continued to the
(13/4 M.) Arc de Triomphe de lEtoile (p. 158) by the Avenue de
Friedland. If continued for 300 yds. in the other direction to the
Boulevard Montmartre, between the Rue Taitbout and the Rue
Drouot, it would form the most direct route from that neighbourhood
to the Bois de Boulogne. We follow the Boul. Haussmann to the
right as far as a square, in the middle of which stands the —
Chapelle Expiatoire (PI. B, 18 ; //), erected in 1820-26, from
designs by Percier and Fontaine, to the memory of Louis XVI. and
Marie Antoinette, on the site of the old cemetery of the Madeleine,
where their remains lay from 1793 to 1815, when they were removed
to the royal vault at St. Denis. In front of the chapel is a court
flanked with galleries in imitation of ancient tombs, and intended as
a monument to other victims of the Revolution. The chapel is in the
form of a Greek cross, with a portico, and is covered with a dome.
The entrance is in the Rue Pasquier; best time for a visit 12-4 (fee).
The Intekior contains two groups in marble. That on the right, by
Bosio^ represents Louis XVI. and an angel who addresses him with the
words, 'Fils de St. Louis ^ montez au del T Below is inscribed the king's
will. The group on the left, by Cortot^ represents the Queen supported
by Religion, a figure which bears the features of 3Iadame Elizabeth, the
king's sister, who was guillotined on 12th May, 1794. Inscribed on the
monument is the last letter addressed by the queen to her sister-in-law
(comp. p. 212). — Over the portal is an allegorical relief by Lemaire, re-
ferring to the removal of the ashes to St. Denis. — Staircases on each
^ide of the altar descend to a crypt, which occupies the ground where
Louis XVI. was originally interred.
Farther on, the Boul. Haussmann intersects the Boulevard Males-
herbes, another imposing street , extending from the Madeleine to
the fortifications (1^/4 M.). — To the right in this boulevard rises
the church of St. Augustin (PL B, 15), built by Baltard in 1860-
68, in a modernised Romanesque style. The building is in the form
of an irregular triangle, towards the base of which rises a dome
80ft. in diameter and 165 ft. in height, crowned with an elegant
lantern, and flanked with four dome-covered turrets. The portal con-
sists of three arches surmounted by a kind of gallery containing
statues of Christ and the Apostles, by Jouffroy, above which are a
rose-window and a triangular pediment. The pillars are also em-
bellished with statues of prophets and doctors of the church.
198 6. PARC MONCEAUX.
Interior. The church has no aisles , properly so called. The nave
preserves its width the whole way back, while the increasing width of
the triangle is filled with chapels increasing in depth as they approach
the choir. Above are galleries , which are continued under the dome.
The nave is covered with a flat ceiling, borne by' arcades of open
iron-work, and the columns terminate in figures of angels. The high-
altar, standing beneath a sumptuous canopy, is placed above a crypt,
which also runs under the nave. The very short transepts terminate in
chapels. la the nave are two paintings by D. Maillart: Baptism of St.
Augustine (on the left). Death of St. Monica (on the right). The mural paint-
ings are by Signol (in the cupola), Bouguereau, and Brisset; the stained
glass by Marichal and Lavergne. — The organist is M. E. Gigout.
In front of the church is a Monument to Joan of Arc by Paul Diihois.
Adjacent is a bronze group by Mambur, representing 'A Rescue'.
About 500 yds. farther on, the Boul. Malesherbes passes to the
right of the Pare Monceaux, before reaching the outer Boulevards.
The park may also be reached by returning to the Boul. Haussmann
and folio-wing it to the right, to the Avenue de Messine, which leads
the N.W. towards the Pare Monceaux. A bronze statue of Shake-
speare, by Paul Fournier (1883), stands at the point of divergence.
The *Parc Monceaux, or Pare de Monceau (Pi. B, 15). enclosed
by a very handsome railing, has four entrances (see Plan), the chief
of which is in the Boul. de Courcelles, where a small rotunda, from
the former Barriere de Chartres, has been placed. This park has
no pretension to vie with the Bois de Boulogne, or even the Buttes-
Chaumont, but it affords a pleasant and refreshing oasis in the
midst of a populous quarter of the city.
The park owes its name to a property bought in 1778 by Philippe
d'Orleans, surnamed Egalite, father of Louis Philippe, who laid it out
in so novel and attractive a style that it soon became one of the most
fashionable resorts of the 'beau monde'. Balls, plays , and fetes of the
most brilliant description were celebrated here. The Revolution converted
the park into national property. Napoleon I. presented it to his chan-
cellor Cambaceres, who, however, soon restored it to his imperial master,
on account of the great expense in which it involved him. At the Re-
storation it again became the property of the house of Orleans, and was
employed in 1848 for the 'national ateliers'. At length it was purchased
by the city of Paris, and upwards of 25 acres of it were sold by the
municipality for building purposes, while the remaining 22V/2 acres were
converted into a public park, tastefully laid out in the English style.
The park retains a few relics of its old attractions , such as the
Naumachie, an oval piece of water, flanked with a semicircular
Corinthian colonnade , and adorned with a statue of Hylas , in
bronze, by Morice. Not far off is a Monument to Guy de Maupassant
(1850-93), the author, by Verlet. Among the other sculptures with
which the park is embellished are the Young Faun, by F. Charpen-
tier; the Abandoned, by Corna-^ to the right of the main walk. Boy
playing with marbles, by Lenoir -^ to the left, the Snake-Charmer,
hy B. de la Fm^ir^e; Wounded lioness, by Valtcn] farther on, to
the right, Wounded Cupid, by Mabille; to the left, the Sower, by
Chapu; to the right, the Mower, by Gumery; behind, the Reaper,
by Gaudez: Montiments are also to be erected here to Amhr. Tho-
mas (1811-96), the composer, by Falguiere; to Gounod (1818-93),
6. BATIGNOLLES. 199
the composer, by Mercie; to Chopin (1809-49), the composer; and
to Corot [1796-1825), the painter.
From the gate of the Pare Monceaux facing the Avenue Hoche, at the
end of which the Arc de TEtoile is visible, we observe the gilded domes
of the "Russian Church (PI. R, 12), in the Rue Daru. This church was
built in 1859-61 in the Byzantine-Muscovite style, from a design by Kouz-
mine., and is in the form of a Greek cross. The handsome porch is covered
with a gilded dome and surmounted with five pyramids, that in the centre
being 156 ft. in height, and all of them terminating in gilded cupolas with
Russian crosses. The church is open on Sun. and Thurs., 3-5 o'clock.
The figures which adorn the 'ikonostas', representing Christ, the Virgin,
and several Russian saints, were painted by the brothers Sorokine and by
Bronnikoff. The rest of the church is adorned with paintings of Scriptural
subjects by the same artists and of prophets by Vassilieff.
At No. 7 Avenue Velasquez, which leads from the park to the
Boulevard Malesherbes, is the Musee CernuscM, bequeathed along
with the house containing it to the city of Paris by Mons. II. Cer-
nuschi (1821-96), a Milanese financier. The museum consists of a
valuable collection of Chinese and .Japanese works of art, including
upwards of 2400 bronzes. Keeper, M. Causse. — Admission, see p. 56.
From the entrance we ascend the staircase to the left, leaving sticl^a
and umbrellas. In the hall are a few bronzes.
First Flooe. Koo>n I contains a portrait of the founder, furniture,
kakemonos, a large vase, and other bronzes. — Room II. Figure in 'bizen'
(imitating bronze) and other pottery, porcelain. In the glass-case in the
middle are picture-books. — Room III. ?mall objects in ivory, bric-a-brac,
masks. — Room IV. In the middle is a seated figure of Buddha, 14 ft.
high, from near Tokio. In front, an enamelled censer and a desk-case
with artistic sword-guards. On the window-side are three statues of
Buddha and a large censer in the form of a dragon. Round three sides of
the room, on stands, are fine Chinese and Japanese bronzes, some of great
antiquity. The oldest pieces are at the beginning of the 4th wall. The
smaller bronzes are in the glass-cases of the gallery. On the rear-wall is
a beautifully carved wooden balustrade. — Room V. In the middle is a
porcelain pagoda. Vases and plates in coloured porcelain. — Room IV.
Bronzes. — A side-staircase now descends to the Gkocnd Floor, where
two rooms contain Chinese and Japanese porcelain and stoneware.
The BatignoUes quarter, to the N. of the Pare Monceaux, is a fa-
vourite residence for artists, and contains many handsome and tasteful
private residences, presenting a pleasing contrast to the monotonous
architecture of the ordinary streets of Paris. The traveller will find it
worth while to inspect the Rue Prony^ opposite the principal entrance
to the park, and several of the side-streets such as the Rues Fortuny
and Montchanin^ and lastly the Avenue de ViUiers and part of the
Boul. Malesherbes. In the Place Malesherbes (PI. B, 14) is a hand-
some mansion in the style of the 16th century. In the gardens flank-
ing the avenue are bronze figures of the Genius of Music, by Bailly,
and the Grief of Orpheus, by Verlet, Farther on is a bronze Statue of
Dumas the Elder (1824-1870), designed by Gustave Dore'; the fine
group in front represents Reading, and behind is a Musketeer.
In the neighbouring Rue de Tocqueville is the Ecole det Hautes Etudes
Commei'ciales, in front of which is a small square with a bronze statue,
by Moncel, of Alain Chartiej- (13S3 1449), the poet.
No. 145 in the Boulevard Malesherbes is the Lyc^e Carnot, formerly
the Ecole Monge (PI. B, 11-11). an cstabli^hm'^nt founded in 1S69- to prepare
200 7. ST. LAURENT.
pupils for the goverament schools. Farther to the N. is the Place Wagram
(PI. 11), embellished with a bronze statue, by F. de St. Vidal, of A. de
Neuville (1835-1^85), the military painter. The Place is situated above the
Chemin de Fer de Ceinture, not far from the station of Courcelles Cein-
tare (PI. B. 11). A statue, by A. Boucher, is to be erected in the vicinity
to Eugene Flachat (1SU2-73), the engineer.
T.J the E.. near the station of Batignolles, is the Square des Batignolles
(PI. B, 14), one of the largest in Paris. It has two fountains and bronze
figures of Circe, by Michel, *Le Belluaire\ by Ferrary^ etc.
In the outer boulevards, to the E. of the Pare 31onceaux, we pass on
the right the College Chaptal or Goubaux (PI B, 14, 15). a building con-
structed by Train in 1866-72, of stone and bricks of diflerent colours, and
tastefully decorated. Fitrther on is the Place de Clichy (p. 209).
7. La Villette and Montmartre.
Visitors who are interested in the market at La Villette will see it to
most advantage on Monday or Thursday morning (omnibus line M;
tramway to Pantin and Aubervilliera; Chemin de Fer de Ceinture), and
may afterwards visit the Buttes-Chaumont and other adjacent points. —
Luncheon may be obtained near the Gare du Nord or Gare de FEst (see
p. 18). at the Buttes-Chaumout, in the Rue d'Allemagne, near the market
{e.g. No. 188), or in the restaurant at the market.
I. FROM THE BOULEVARDS TO LA VILLETTE.
St. Laurent. Gare de I'Est. Gare du Nord. Buttes-Chaumont. Market
and Abattoirs at La Villette.
We leave the Grands Boulevards beyond the Porte St. Denis
(p. 75), and follow the Boulevard de Strasbourg (p. 75), to the
left, to the Gare de I'Est. On the right is the Eldorado, and on the
left the Scala, two 'cafes-concerts' (p. 36). Before reaching the
station we cross the Boulevard de Mayenta, about 1/2 ^- from the
Place de la Republiqiie (p. 74).
The church of St. Laurent [PI. B, 24), immediately to the right,
was founded in 593, but has been repeatedly rebuilt and restored.
It was finally remodelled in 1865-66, when two bays were added to
the nave, and a handsome Gothic facade with a spire was con-
structed towards the boulevard. The choir was decorated by Blondel
(d. 1853), and the high-altar by Lepautre. In the S. transept is a
Martyrdom of St. Lawrence, by Qreuze\ opposite, St. Lawrence
among the poor, by Trezel.
The Gare de I'Est, or de Strasbourg (PL B, 24), practically re-
built in 1895-99, is situated opposite the end of the Boulevard de
Strasbourg. The pavilions projecting on each side are connected
by a colonnade, on the balustrade of which is a clock-dial with statues
of the Seine and the Rhine. Trains, hotels, etc., see pp. 26, 9.
The Rue de Strasbourg, leading to the W. past the front of the
station, joins the Boulevard de Magenta, which brings us in 5 mln.
to the wide and handsome Rue Lafayette (p. 195).
The Gare du Nord (PI. B, 24), a railway-station constructed in
1863-64 by Hittorff, is situated a short distance to the right. The
7. BUTTES-CHAUMONT. 201
principal part of the extensive facade, which is 170 yds. in length,
is surmounted by a pediment crowned with statues of Paris (in the
centre) and of eight important foreign cities connected vith Paris
by the Ligne du Nord. — To the right is the recently rebuilt Station
of the Ceinture (p. 27). Lines starting hence, see p. 26; hotels
in the vicinity, see p. 9.
The church of S(. Vincent-de-Paul (p. 203) is near the station; its facade
is turned towards the Rue Lafayette.
We regain the Rue Lafayette by following the street that leads
to the E. in front of the station, and continue in a straight direction,
crossing the railway from the Gare de I'Est.
The Rue Lafayette ends at the Boulevard de la Villette, near
the Canal St. Martin. On the left we observe a Rotunda, in which
is the Custom House, a relic of an old gateway erected at the end
of last century by Ledoux. To the right, behind the houses, is
the Bassin de la Villette [PL B, 26, 27), a harbour and reservoir
(16 acres), 75 ft. above the lowest water-level in the Seine. It is
formed by the Canal de VOurcq , which connects the Ourcq, an
affluent of the Marne, with the Seine. This canal, 54 M. long, cuts
off a long curve formed by the river, while the Canal St. Denis,
272 M. long, a ramification towards the N.E., shortens the water-
route between the Upper and Lower Seine by 10 M. The Canal St.
Martin (p. 72), 4 M. long, continues the Canal de TOurcq to the S.
The basin is surrounded by extensive warehouses, which serve to con-
vey an idea of the commerce carried on by these waterways of Paris. About
12(J0 loaded barges enter tlie basin monthly, and two-thirds of these obtain
return-cargoes.
The basin is crossed by a lofty Foot Bridge, the single arch of which
has a span of 310 ft. At the other end, in the Rue de Crimee, is a hy-
draulic Draw Bridge, worked by the water of the canal.
We now follow the Rue d'AUemagne as far as the broad Avenue
de Laumiere, which leads to the right to the Buttes-Chaumont. On
the left, at the end of this avenue, is the large Mairie of the 19th
Arrondissement, a modern building in the style of Louis XIII., by
Davioud and Bourdais. The Salle des Mariages is embellished with
paintings by Gervex and Blanohon.
The park of the *Buttes-Chaumont (PL B, 30, 29) lies on the
N.E. side of Paris, at the W. end of the hill of Belleville. It extends
in the form of an irregular crescent over an area of about 55 acres,
but does not cover the whole of the 'buttes' (hills), part of which is
still a barren waste ('calvi montes'). On the summit of these
hills once rose the gibbet of Montfaucon, where numerous crim-
inals and others were hanged. The gallows was removed in 1761,
and the place afterwards became notorious as a haunt of malefactors.
About the year 1865 the authorities, induced by sanitary consider-
ations, began to remove the heaps of rubbish accumulated here, and
it was resolved to convert this ill-favoured locality into a park
for the benefit of the artizans of this quarter of the city. The
peculiar nature of the ground afforded an opportunity of laying it
202 7. BUTTES-CHAUMONT.
out in a novel and picturesque manner, and the task was skilfully
executed by M. Alphand (d. 1891), the engineer, and M. Barillet
(d. 1874), gardener-in-chief of Paris, at an outlay of 3,412,620 fr.
The quarries formerly worked here have been transformed
into a rocky wilderness surrounded by a small lake, while the ad-
jacent rugged surface is now covered with gardens and walks shaded
by trees. A cascade falling from the height of 100ft. into an arti-
ficial stalactite grotto (formerly the entrance to the quarries) is
intended to enhance the attractions of the scene. The highest rock
(290 ft.) is surmounted by a miniature Corinthian temple, which
commands an admirable view in the direction of St, Denis ; the best
*View of the city itself, with its ocean of houses, is obtained from
the second summit (330 ft.) to the S. An iron cable bridge, 70 yds.
in length, crosses from one of the rocks to another, while others are
connected by means of a stone arch, so as to facilitate access to the
different points of interest. The temple may also be gained by a
path among the rocks, reached by a boat across the lake (5 c). Here
and there are bronze sculptures : on the side next the main entrance,
The Rescue, by F. Rolard; Eagle-hunter, by Desca^ on this side of
the large bridge; Corsair, by Oge, near the great waterfall ; Wolf
Hunt, by Hiolin^ in the upper part of the park ; nearer the side
towards the city, 'Egalitaire' ('Time, the Leveller), by Captier;
beside the small cascade beyond the restaurant, The Ford, by C. Le-
fevre. — The Chemin de Fer de Ceinture (p. 27) is carried through
the E. end of the park by a cutting and two tunnels; in the vicinity,
the Belleville- Villette station (see Appx., p. 34).
There are three Cafis-Restaurants in the park; one near the suspension-
bridge, one on the S. side of the hill (with view of Paris), and one above
the railway cutting. A military band plays here on Sun. and Thurs. in
summer.
In 1871 the Buttes-Chaumont was one of the last positions occupied
by the insurgents, who held their ground here till May 27th, when they
were driven out by an incessant cannonade from Montmartre.
In the Belleville quarter, to the S.E. of the Buttes-Chaumont, is the
handsome church of *St. Jean-Baptiste (PI, B , 33), built in the Gothic
style of the 13th cent, by Lassus (d. 1857), and consecrated in 1859. The
chief portal is flanked by two towers, 190 ft. in height, which are con-
spicuous from every part of the city. Mural paintings in the transept by
Leloir and Maillet. — A cable-railway descends hence to the Place de la
Re'publique (p. 74; 10 c).
The Rue d'Allemagne (p. 201) leads to the fortifications of the
city, where it terminates at the Porte de Pantin (p. 203). To the
left, within the 'enceinte', about ^^M. from the Buttes-Chaumont,
is situated the Marche de la Villette (PI. B, 31), the only cattle-
market in Paris. Visitors are freely admitted to the market, which
presents a busy scene , especially on Monday and Thursday morn-
ings. It consists of three large pavilions, like those of the Halles
Centrales, constructed by Baltard and Janvier, and covers an area
of ten acres. The central hall is capable of containing 5080 oxen,
that on the right about 2000 calves and 5800 pigs, and that on the
7. ABATTOIRS DE LA VILLETTE. 203
left 31,300 sheep. Most of the cattle arrive by a branch of the
Ceinture railway, on theE. side. Behind the market are stables
and offices, at the back of which runs the Canal de I'Ourcq.
Over 2'/2 million head of cattle annually enter the market. The bull-
ocks come chiefly from Normandy, Anjou, and Poitou ; the cows from the
Ile-de-France; the calves from Orleanais and Champagne ; the sheep from
various provinces and from aliroad; and the pigs from Maine, Poitou,
and Brittany.
Visitors are also usually permitted to visit the adjoining Abat-
toirs de la Villette, or slaughter-houses, beyond the canal. The
chief entrance to them is in the Rue de Flandre, on the N.W. side,
beside which are two sculptured groups of animals, by A. Ltfeuvre
and Lefevre-Deslongchamps. The busiest time here is also in the
morning, but the scene is not one which will attract many visitors,
though the premises are kept scrupulously clean. The buildings in-
clude about '20 courts, with 250 scalding-pans. About 1200 bullocks,
500 calves, and 800 sheep are slaughtered here daily; sometimes
even more. The butchers of the abattoirs are not retail dealers, but
sell the meat wholesale here or at the Hallos Centrales to the but-
chers of the town. The slaughter-house for pigs (about 1000 daily)
is by itself, next the fortifications. At the end next the market
are a Refrigerator and an Electric Factory. — The market and
abattoirs together have cost the city about 60 million francs.
On the left bank of the Seine is another large slaughter-house (24 acres),
established in 1897, between the Rue de Dantzig and the Rue Brancion
(PI. G, 11).
The neighbouring quarters of Aubervilliers (27,300 inhab.), Pantin
(25,600 inhab.), and Le Pr^- St- Gervaii (doOO inhab.) are uninteresting. The
new Mairie at Pantin (PI. B, 31. 34) is built in the Renaissance style. —
About 1^/4 M. to the right, on the hill behind Le Pre-St-Gervais, to which
a small tramway plies (5 c.), is the village of Les Lilas (7500 inhab.), with
another tasteful mairie. This village lies on the electric tramway to
Romainville (see the Appx.).
II. MONTMARTRE.
St. Vincent-de-Paul. Butte Montmartre. Cemetery of Montmartre.
Those who have already inspected the Bassin de la Villette and
the Buttes-Chaumont may take a cab to the Gare du Nord, which
is about 2 M. from the Abattoirs, or they may use the tramway com-
ing from Aubervilliers, leaving it at the Rue du Faubourg-St-Denis,
near the station. From the Gare du Nerd (p. 200) we descend the
Rue Lafayette for a short distance to the churcii of St. Vincent-de-
Paul, which may be reached from the boulevards by ascending the
same street or the Rue d'Hauteville.
*St. Viiicent-de-Paul(Pl. B, 24), erected in 1824-44, by Lepere
and Hittorff^ is in the form of a Latin basilica, with a projecting
portico of twelve fluted Ionic columns and two somewhat feeble
towers 138 ft. in height. In the pediment is a relief by Lemaire,
representing St. Vincent-de-Paul, between Faith and Charity. Over
204 7. ST. VINCENT-DE-PAUL.
the bronze doors are reliefs by Farochon (d. 1871), representing the
symbols of the Evangelists.
Interior. The church consists of a nave flanked with double aisles,
the latter being partly occupied by chapels, and partly by galleries. The
roof is borne by h6 Ionic stuccoed columns. The open roof is tastefully
decorated. The windows of the aisles are filled with stained glass by
Mar6chal and Grignon.
The nave is adorned with a celebrated *Frieze by Hippolyte Flandrin,
executed in lh50-5i and conceived in the manner of the early -Christian
mosaics at Ravenna. It repieseuts the nations of the earth advancing in
solemn procession towards the gates of Heaven. Over the entrance are
SS. Peter and Paul, preaching tbe gospel. To the ri^ht are two groups
of believers, one with St. Louis in its midst. Farther on a^e bish-p'', St.
Jerome and the other Fathers of the < hurch, martyrs, Chri^tian herues,
popes, and so forih. To the left are Mary and Joseph, groups of holy
women, and female martyrs.
In the dome of the choir is another fresco, by Picot (d. 1868), re-
presenting St. Vincent- de- Paul kneeling before ( hrist on his throne, and
presenting children to him. The frieze, also by Picot, represents the seven
sacraments. The high-altar is adorned with a h^ndsume Crucilixion in
bronze, by Rude (d. 1865). The chapeJ of the Virgin at the back of the
choir contains a fine group of the Virgin and Child by Carrier-Belleuse^
and eight scenes from the Kew Testament by Bouguereau.
The Rue St. Vincent-de-Paul, behind the church, intersects
the Boulevard de Magenta, and ends at the Hopital Lariboisiere
(PL B, 23), erected in 1846-53, and called after the countess of that
name, who bequeathed 2,900,000 i"r. to the poor of Paris. Visitors
are admitted on Sun. and Thurs., from 1 to 3 p.m. The chapel
contains the tomb of Mme. de Lariboisiere (d. 1851), by MarocheUL
A little to the N. of the hospital, beyond the Boul. de la Chapelle, is
the handsome church of St. Bernard (PI. B, 23), with its fine spire,
erected in 1858-61 , by Magne , in the Gothic style of the 14th century.
The paintings, pulpit, stations of the Cross, stained glass by Osell- Laurent,
and two good altar-pieces in the transept may be inspected. In the square
in front of the church is a pretty bronze figure of a woman feeding poultry.
The Boul. de Magenta ends at the Boulevards Exterieurs, be-
tween the Boul. de la Chapelle and the Boul. de Rochechouart. To
the N. it is continued to St. Ouen (p. 209) by the Boulevard Barbea
and the Boulevard Ornano.
The conspicuous dome rising a little to the left of the Boulevard
Barbes belongs to the Magasins Dufayel, a large establishment for the sale
of furniture, etc., on the system of payment by instalments. A visit to the
interior is not uninteresting. The facade on the other side, in the Rue de
Clignancourt, near the Butte Montmartre, is noteworthy; the sculptures
are by Falguiere and Dalou.
A little to the W. , in the Boul. de Rochechouart, is the College
Rollin (PL B, 20), a large edifice, finished in 1876. It is adjoined
by the Square d'Anvers, which is embellished with a column bear-
ing a bronze Statue of Armed Peace, by Coutan, and with bronze
statues of Sedaine (1719-1797) and Diderot (1713-1784), by Le-
cointe.
The Butte Montmartre, near the top of which we have now
arrived, is a hill famous in the annals of Paris, rising to a height
of 330 ft. above the Seine, and containing ancient quarries of gyp-
7. EGLISE DU SACR^-CCEUR. 205
sum (from which, when calcined, is obtained 'plaster of Paris').
According to tradition, St. Denis, the first bishop of Paris, and his
companions suffered martyrdom here in 270, and the name of the
hill is supposed to have once been Mons Martyrum. Others derive
the name from Mons Martia, from a temple of Mars which is said
to have stood here. This point can be reached only by a long detour
or by flights of steps. The most direct of the latter, leading to the
left from the Place St. Pierre^ has 266 steps. A lift is to be con-
structed, and the whole slope is to be laid out as a public park
(Square de la Butte-Montmartre), with a waterfall.
The heights of Montmartre veitnessed the final struggle between the
French troops and the Prussian and Russian allies on 30th March, 1814,
and also played an important part in the sieges of 1870-71. On 18th
March, 1871, the insurgent soldiers, having assassinated the generals
Clement-Thomas and Lecomte, took possession of the cannon on the
3Iontmartre, which had been entrusted to a body of the National Guard.
Thus began the Communard rebellion of 18th BJarch to 28fh 3Iay, 1871.
The insurgents were dislodged by the victorious troops on QAth May, and
the batteries of Montmartre were then directed against the Communards
who occupied the Buttes-Chaumont (p. 201) and Pere-Lachaise (p. 180).
The Eglise du Sacr6-Coeur (PI. B, 20), crowning the summit
of the hill, though still unfinished, has been used for service since
1891 . It is an imposing edifice in the Romanesque-Byzantine style,
from designs by Abadie, and is to be surmounted by a large dome,
about 260 ft. in height, with a clock-tower 360ft. high behind. The
progress of the building has been slow, for very extensive substruc-
tions were required, costing 3,500,000 fr., and though 30,000,000 fr.
have already been expended, much has yet to be raised by subscrip-
tion. The approach is at present by the little Rue delaBarre, behind
the church.
To the right, in front of the chief facade, is the ticket-office for
the crypt, the bell, and the ascent of the dome (see below). The
crypt (adm. 25 c. ; entrance to the E. of the vestibule) extends
below the whole church. lu a temporary shed is the huge bell known
as the ^Savoyarde\ presented by the province of Savoy (adm 50 c,
25 c. on Sun. and holidays). It is 10 ft. high and 19 tons in weight
without the tongue, dimensions exceeded only by those of the great
bell of Moscow (19 ft. high and 200 tons in weight). — The entrance
to the Doine (50 c.) adjoins the W. door of the church. It affords a
magnificent "'View of Paris, and of the country to the S., W., and E. of it.
The principal features from left to right, seen from the corner of the
street, are as follows -. in the foreground, St. Vincent-de-Paul and the Gare
du Nord ; farther off, the Buttes-Chaumont , the two towers of Belleville,
the tower of Me'nilmontant, and Pere-Lachaise with its 'sugar-loaf and cre-
matorium; to the right, nearer us, the Mairie of the 10th arrondissement;
beyond St. Vincent-de-Paul, the campanili of St. Anibroise, the Colonne de
Juillet, and the dome of St. Paul's; in front, the Chapelle des Arts et
Metiers; more remote, still to the right, the dome of La Salpetriere;
St. Gervais, the Hotel de Ville, Notre Dame, Tour St. Jacques, St. Etienne-
dii-Mont, and the Pantheon; next, St. Eustache and the Halles Centrales,
vnth the domes of the Sorbonno , the Val-de-Grace, and the Observatory;
nearer, the twin towers of St. Suljiice, the tower of St. Germain-des-Pres,
and the Louvre; in the distance, the tower of Montrouge; then comparatively
206 7. CEMETERY OF MONTMARTRE.
near, to the right, the imposing Opera House, above which rise the spires
of Ste. Clotilde; to the left, the Vendome Column-, agnin to'the right, the
dome of the church of the Assumption, the gilded cupola of the Invalides,
the buildings of the Exhibition of 1900 in the Esplanade , the Champs-
Elysees, and the Champ-de-Mars, the Great Wheel, and the Eiffel Tower
to the left; nearer, to the right, the two Palais des Beaux- Arts in the
Champs-Elysees, the campanile of La Trinite, and the Madeleine ; then the
dome of St. Augustin, the towers of the Trocadero, the Arc de Triomphe de
TEtoile, and the fort of Mont Valerien. On the horizon rise the hills of
Chatillon, Clamart, and Meudon.
To the W. of the church is a very large Reservoir (2,420,000 gal.)
with three stories. The water in the first story is pumped up from
another reservoir at the foot of the hill, whither it is brought from
Bercy. The upper stories are destined for spring-water. Visitors
apply to the keeper, to the left. — Behind the reservoir lies the old
church of St. Pierre-de-Montmartre, a relic of a Benedictine mon-
astery founded in 1147, by Louis VI. Beside it is a Mount Cal-i
vary, from the old convent of Mont Vale'rien (adm. 25 c.}.
In front of the reservoir and on the other side of the new church
are several Panoramas (adm. 1 fr.. on Sun. and holidays 60 c).
At the foot of the Butte, to the N., at some little distance from the
Sacre-Cceur, are the church of Notre- Dame-de-Clignancourt (1859-63) and
the handsome E,enais.«ance Mairie of the ISth Arrondissement (1888-92).
Descending once more to the Boulevards Exterieurs, we follow
them to the W. for about 3/^ M., to the Cemetery of Montmartre. At
the end of the Boul. de Rochechouart, where it is joined by the
Rue des Martyrs, is the little Cirque Medrano (p. 35), The Boul.
de Rochechouart is continued westwards by the Boul. de Clichy,
leading past the Place Pigalle and the Place Blanche. The short
Avenue Rachel leads to the right (N.) to the cemetery. This approach
was lowered in 1888, when the Viaduc Caulaincourt, about 200 yds.
long, was carried over the cemetery, uniting the Rue Caulaincourt,
to the N. of the Butte Montmartre, with the Boul. de Clichy.
The Cemetery of Montmartre, or Cimetiere du Nord(V\. B, 16,
17), the second burial-ground of Paris, though inferior to Pere-
Lachaise, is also worthy of a visit. Hours of adm., see p. 180.
We follow the main avenue in a straight direction, pass under
the viaduct, and reach the —
Carkefour de la Croix. Beneath the cross are interred the
victims of the 'coup d'etat' of 1852. To the left, on the side next the
principal avenue, is the vault of the *Cavaignac Family, to which
belonged the author Godefroy (d. 1845) , and the general Eugene (d.
1857), president of the republic in 1848. The recumbent figure of
the former, in bronze, is by Rude. To the right, under the viaduct:
J. Duprato (d. 1892), composer, bronze medallion and lyre by
J. Thomas; Castagnary ( A. ibSS'), the author, bronze bust by Rodin;
Beyle (Stendhal; d. 1842), author, medallion after David d'Angers.
Farther on, in the Avenue Dubuisson : *Feyen-Perrin (d. 1888),
painter, with a bronze bust and a statue of a fisher -girl strewing
flowers, by Guilbert. Jean Gerome (d. 1891), with a statue of Grief
7. CEMETERY OF MONTMARTRE.
207
by J. L. Gerome. On the wall at the end, *Ad. Porlier (d. 1890),
with a bronze statue of a woman strewing flowers, by L, Morice.
At the beginning of the Avenue de la Cloche (p. 203): Meilhac
(d. 1897), the dramatist, monument by Bartholomo.
The Jewish Cemetery is a little farther on, to the right of the
Avenue Cordier. To the left, near the entraiice, *Osiris Family, with a
colossalstatue of Moses, after Michael Angelo, At the end of the walk,
on the left, *Halevy, the composer (^d. 1862), with a statue by Duret.
We proceed straight on, and, regaining the principal cemetery,
follow the Avenue Montbbbllo, one of the most interesting in the
cemetery. To the left, Miecislas Kamienski, a Polish volunteer who
fell at Magenta in 1859, with recumbent bronze figure by Franceschi.
P.Chouvaloff, a child's tomb with angel by R.Carnielo. — Left, *Rohart
Family, with angel in bronze. Farther on is a large block of marble
marking the grave of Paul Delaroche (d. 1856), the painter. Behind,
Chas. Maury (d. 1866), the composer. — Right, Marshal Lannes
CIMETIERE MONTMARTRE.
Avenues et Qieminspriiicipaux
avcc iL'S
(d. 1809), Duo de Montebello. *Princess Soltikoff(^A. 1845), a chapel
covered with gilding and painting. — Left, Horace Vernet (d. 1863),
the painter; a marble sarcophagus. About 50 paces along the
Avenue des Carrieres, on the right, reposes Hectcr Berlioz (_d. 1869),
the composer, with a medallion by Godebski.
We now enter the Avenue du Tunnel. To the right, Leon Fou-
cault (d. 1868), the natural philosopher. A little farther on, *A. de
Neuville (d. 1885), battle-painter; monument representing the gate
of the cemetery at St. Privat, near Metz, with a bust of the deceased
and a figure of France, by Fr. de St. Vidal.
We retrace our steps for a few yards and turn to the right into
208 7. CEMETERY OF MONTMARTRE.
the AvBNUB CoRMBB. Left, Murger (d. 1861), author of the 'Vie
de Boheme', with a statue of Youth by Millet. Left, *Louise Thouret
(d. 1858), with recumbent figure in marble, by Cavelier. Right,
Gozlan (d. 1866), the author. Adjacent, on the left, is the tomb of
*Theophile Gautier (d. 1872), the poet, a sarcophagus with a figure
of Calliope, by Godebski, bearing, among others, the following in-
scription: —
'"L'oiseau s'en ««, la feuille tornbe^
L"" amour s^iteint, car c'est Vhiver;
Petit oiseau^ viens sttr ma tombe
Chanter quand I arbre sera verf.
Farther on, to the right, *Oust. Guillaumet [d. 1887), the painter,
with allegorical figure and bronze medallion by E. Barrias.
We now ascend by the grave of Gozlan and proceed towards the
right to the Avenue db Montmobbncy. Right : Duchesse d'Abrantes
[d. 1838), wife of Marshal Junot, and their son ; medallion by David
d' Angers. Adjacent, Ary Scheffer (A. 1858), the painter; a chapel
in which also rests Ernest Renan (d. 1892), author and critic,
Scheffer's nephew. In the centre, * Alexandre Dumas the Younger
(d. 1895), with recumbent statue by St. Marceaux, under a canopy.
— Left : Cl, Rousset (d. 1895), with a bronze bust.
"We here turn to the left and follow the Avenue de la Cloche.
On the right: * Victor Masse (d. 1884), composer, with bronze
ornamentation. To the left: De Braux dAnglure (d. 1849); a bust
and bas-relief in bronze. In the avenue, on the right, in the second
row of graves, repose Heinrich Heine (d. 1856), the poet, and his
wife Mathilde (d. 1883), monument and bust, by Hasselriis, erected
in 1900. In the first row, close by: Greuze [d. 1805), the painter.
— Farther on, to the left, Viollet-le'Duc (d. 1879), architect.
Opposite is the Chemin Due, crossing the Chemin Teoyon,
which traverses the most interesting part of the cemetery. Left:
*Frederic Lemaitre [d. 1876), the actor, with bronze bust by Gra-
net ; right : Troyon (d. 1865), the painter. Among the trees, to the
left : R. Deslandes (d. 1890), dramatist, bust by Guilbert. Ne/ftzer
(d. 1876), chief editor of 'La Presse' and founder of 'Le Temps',
with a bronze statue of Grief, by Bartholdi. Farther on, Carlotta
Patti (d. 1889), singer; medallion by Lormier. — In the main walk,
beyond Troyon, to the right: Agla'e Didier (d. 1863), author. Left:
Clapisson (d. 1866), composer; H. Storks (d. 1866), recorder of
Cambridge, marble monument, with medallion. *Mery (d. 1866),
author; statue of Poetry, in bronze, by Lud. Durand. — In the
Chemin Baudin, to the right, *Baudin, 'mort en defendant le droit
et la loi, le 3 d^c. 1851 : ses concitoyens, 1872' ; a handsome recum-
bent figure in bronze, by Millet (the remains were removed to the
Pantheon in 1889). At the end, Thiboust (d. 1867), the dramatist,
marble relief. A little to the right, Martin Bernard (d. 1883),
'representative of the people' ; medallion by Meusnier. — To the
right of the Chemin Troyon : Rouviere (d. 1865), tragedian ; medallion
7. PLACE DE CLICHY. 209
and bas-relief by Preault, representing the deceased as Hamlet.
Left: *Chaudey (d. 1871), editor of the 'Siecle', shot by the Com-
munards; an expressive medallion by Renaudot, with a quotation
from the journal. Right: *Ward Family, with a large Christ in
bronze. Left: Mine (d. 1879), sculptor. Right: *Rostan (d. 1866),
professor of medicine ; marble figure in high-relief, by Schrceder.
Left : Marc-Lejeune ; a chapel, surmounted by a sarcophagus with
four symbolical statues.
We have now again reached the Avenue de Montmorency (see
p. 208). Left: Duchesse de Montmorency -Luxembourg [d. 1829), a
large obelisk. Right : Polignac (d. 1863), officer ; a large and rich
chapel.
Those whom time permits may descend to the Avenue Samson by the
flight of steps a little farther on. Right: ^Samson (d. 187 IJ, actor; bronze
bust by Crauk. Farther on, beyond the Avenue du Tunnel, to the rigut:
Dupotet de Bennevoy^ 'Chef de llicole magnetique moderne', with a fine
marble bust by Bracony. Adjacent, to the left: Gustave Eicard (d. 1873),
painter, wiih a marble bust by Ferru; to the right, Ch. Fourier (see below),
the socialist.
At the end of the Avenue des Anglais, the first diverging to the right
from the Avenue Samson, reposes Jacques Offenbach (d. 1881), under a rich
monnment of porphyry with a bronze bust, lyre, and palm. Not far off
lies Lio Delibes (d. 1891), with a medallion by Chaplain.
Farther on in the Avenue Samson: to the right, Ducange{A. 1833), the
author. In the Avenue Travot; to the right, General Travot (d. 1830), marble
bust by Dantan. — To the right of the pari of the Avenue Montmorency
on the right : the brothers Goncourt (d. 1870 and 1896), sarcophagus with
medallions.
From the cemetery we return to the Boul. de Clichy, and, follow-
ing it to the right, pass a bronze statue of Charles Fourier (1772-
1837), by E. Derre (^1899), and soon reach the Place de Clichy or
Place Moncey (PI. B, 17), in which rises the Monument of Moncey,
erected in 1869. This colossal group in bronze, by Doublemard,
19 ft. in height, on a pedestal 26 ft. high, adorned with bas-reliefs,
represents Marshal Moncey (d. 1842) defending Paris, with a dying
soldier beside him, in reference to the fact that the marshal distin-
guished himself in the defence of the capital in 1814.
Opposite the monument of Moncey the Avenue de Clichy ascends to
the N., and farther on bends to the left, while the Avenue de St. Ouen
turns a little to the right. To the left of the latter is the little Square
des Epinettes (PI. B, 16), with monuments to Marie Deraismes (d. 1894), by
E. Barrias, and to Jean Leclaire (18t>l-7'2), by Dalou. Leclaire was the fir!^t
employer of labour lo introduce the piofit-sharing' system with his work-
men; Mde. Deraismes was a champion of the cause of woman's rights. —
Clichy (33,9UU inhab.) and St. Ouen (30,700 inhab.) are uninteresting. The
chateau of St. Ouen, where Louis XVllI. signed his famous declaration
of 2nd Mav, 1814, no longer exists, and the park is now a Racecourse.
A little beyond the Place de Clichy, to the left of the Rue de Clichy,
which leads to La Trinite (p. 196), is the Square Vintimille, where a bronze
Statue of Berlioz (1803-1869), by Alf. Lenoir, was erected in 1886.
The outer boulevards lead on to the W. from the Place Clichy to
(V2 M.) the Pare Jlonceaux (p. 198) and (1 M.) the Arc de Triomphe de
TEtoile (p. 158).
Baedeker. Paris. 14th Edit. 14
210
8. ftuartier du Temple and ftuartier du Marais.
Archives and Imprimerie Nationales. Musee Carnavalet.
Place des Vosges.
The traveller who purposes visiting the Archives, the Imprimerie Ka-
tionale, and the Musee Carnavalet on one day must, of course, choose a
day (Thurs.) on which they are open, and should be provided with the
necessary orders (see p. 211). On Sun. orders are not required for the
Musde Carnavalet or the Archives. The former should be visited first, as it
is opened earlier. — Luncheon, at the Place de la Bastille (see pp. 13, 16).
The Quartier du Temple, to the S.W. of the Place de la Re'-
publique (PI. R, 23, 24, 26, 27; III), owes its name to the chief
stronghold of the Knights Templar in France, a relic of which, the
Tour du Temple, the prison of the royal family in 1792 and 1793,
stood here until 1811. — The site of the Temple is now occupied by
a square and a market.
The Square du Temple is embellished with five bronze statues :
Beran^cr (1780-1857), by Doublemard; the 'Retiarius', by Noel;
'This age is pitiless', by Schoenewerk; the Harpooner, by J. Richard ;
and Diogenes, by Marioton. The handsome modern building at the
E. end is the Mairie of the 3rd Arrondissement (du Temple).
The MarcM du Temple was at one time important, and before its
reconstruction in 1863-65 was a picturesque old -cloth-fair'. Now only a
part of it is occupied by clothes-dealers. The Carrecm, or exchange for
second-hand dealers and old-clothesmen ('chineurs"), is on the first floor,
reached by staircases from the square (open 9-12; adm. 5 c).
To the right, between the Rue du Temple and the Rue de Tur-
bigo, is the church of Ste. Elisabeth, dating from the 17th cent,
but enlarged in 1826. The font in white marble , to the right of
the door, was erected in 1654. The small cupola of the choir
is adorned with an Apotheosis of St. Elizabeth, by Alaux, and there
are paintings by Biennoury, Hesse, Roger, and Lafon , in a chapel
to the left of the entrance. The fine wood -carvings of Biblical
scenes (16th cent.) were brought from a church at Arras.
The Ruedu Temple leads towards the Hotel de Ville. We follow
it as far as the (10 min.) broad Rue de Rambuteau , leading to the
Halles Centrales (p. 173), and to the left to the —
Archives Nationales (PI. R, 23; ///), established in the old
Hotel de Soubise. This building occupies the site of the mansion
of the Conne'table de Clisson, erected in 1371, of which there still
exists in the Rue des Archives, to the left of the facade, a handsome
gateway flanked with two turrets (restored in 1846). Down to 1696
the mansion belonged to the powerful Guise family , after which it
came into the possession of the family of Soubise. The present
Palais des Archives chiefly consists of buildings erected by G. Boff-
rand for Francois de Rohan, Prince de Soubise, at the beginning of
the 18th cent., and others added or reconstructed in the 19th century.
The entrance is in the Rue des Francs-Bourgeois. The court is sur-
rounded by a handsome Corinthian colonnade by Lamer ; the pedi-
8. ARCHIVES NATIONALES. 211
meiit, with its Corinthian and composite columns, is adorned with
sculptures by R. Lelorrain. The decorations of some of the rooms
are among the best examples of the style of Louis XV. in Paris.
The national archives were deposited here in 1808. They are
divided into four departments — the 'Secre'tariat', the 'Section
Historique', the 'Section Administrative', and the 'Section Legis-
lative et Judiciaire'. There are in all about 400,000 documents, the
oldest dating from the Merovingian period. Visitors are admitted
for purposes of research daily, 10-3 o'clock, except on holidays, on
previous application at the Bureau des Renseignements. The 'Mus^e'
consists of a collection of the chief treasures of the Archives, but
several documents are represented only by facsimiles.
TheMusee des Archives, iir Musie Pal^ographique, is generally open to the
public on Sun., 12-3, and on Thurs., during the same hours, by permission
obtained from the director. The principal objects are labelled, and the
catalogue (1 fr.) also contains interesting information about the building.
The mu?e'e is not heated in winter. There is no 'vestiaire".
Grocnd Flook. — isalle I. Seals, arranged in 18f'9 in sixty-four glass
cases numbered from left to right round the room and then returning by
those in the centre: Cases 1-5. Royal seals; 6. Seals of French princes;
7-9. of exalted dignitaries; 10-17. of great feudatories; 18-35. of seigneurs;
36. of bourgeois; 37. of peasants; 3S-41. of courts and tribunals; 42. of
offices; 43, 44, of towns; 45. of guilds and professions; 46-64. of ecclesi-
astics. — Salle II. Earliest Do cummts (627-1641), in sixty glass-cases num-
bered as in the preceding room. There are also some early di cuments on
the first floor (see below). Cases 1 and 2. Merovingians; 3-9. Carolingians
(monogram of Charlemagne at !No. 34) ; 9-60. Capetians. Some of the doc-
uments are remarkable for their caligraphy or drawings and miniatures
as well as for historic interest. In Case 16 is a funeral scroll of Vital, Abb6
de Savigny, with verses attributed to H^loise (1122-23); in Case 17 is the
will of Abbe Suger (1137). beautifuUv written. Case 30: No. 383. Char-
les V. Case 33: No. 401. Charles V. Case 35: Nos. 411, 412. Duke and
Duchess of Berry (13S9; 1402). Case 39: No. 447. Figure of Joan of Arc,
Case 65. Edict "of Nantes signed by Henri IV. (1598).
Salle III. Continuation of the Seals. Reproductions of the finest seals
in the Archives; seals of provinces, communes, foreign sovereigns, princes,
and noblemen, etc.; stamps from stamped papers; dies for coins. Also
an allegorical painting of little artistic value, but historically celebrated.
It dates from the reign of Henri IV., and represents the vessel of the
Church on its voyage towards the harbour of Salvation, surrounded with
boats bringing believers to it, and with others containing assailants. It
was discovered in a church of the Jesuits, and afforded an argument
against them when the order was suppressed in 1762.
Salle IV. Treaties a.T\di Foreign Documents., in 69 glass-cases. Cases 1-14.
Treaties of alliance and peace, from the treaty between Richard Coeur-de-
Lion and Philip Augustus (1195) to the Conventions of Erfurt (I'-O^);
15-17. Great Britain. This room, formerly a salon, is decorated like the
other apartments from designs by 0. Boffrand ; on the wall are fine panels,
above which are reliefs by Lamb. Sigisb. Adam and /. B. Lemoine.
Salle V. Foreign Documents, continued. Ca«es 18-22. Belgium; 23, 24.
Netherlands; 25-28. Germanv; 29. Sweden; 30. Denmark: HI, 32. Nor%vav;
33-36. Austria-Hungary; 37-43. Spain; 44, 45. Portugal; 46-48. Italy ; 49-57.
Papal See; 58, 59. Russia; 60-63. Eastern Europe; 64-68. African and Asiatic
states; 69, United States of America.
First Floor. — The modern staircase has a ceiling-painting by Johbi-
Duval. A copy of the large plan of Paris, known as 'Turgofs plan' (1734-
1739), is shewn here; also busts of keepers of the archives. Salle 1. or former
"Bed Chamber of the Princess de Soubise, is richly decorated with carved
panels (mythological subjects) and paintings. A gilded balustrade (restored)
14*
212 8. MONT-DE-PI^TE.
marks the spot where the bed stood-, but the two original cbimney-pieces
are no longer extant. The two pastorals, at the back of the chimney-piece
to the right and above the door to the lett, are by Fr. Boucher; the other
paintings by Trimoli'ereg. — Glass-cases 61-65, behind the balustrade, con-
tain ancient documents of unusual size or otherwise remarkable (minia-
tures). Cases 66-75, in the centre: documents of the 17-18th cent., includ-
ing 832. Treaty of the Pyrenees fl659j; 879. Declaration of the Clergy of
France in 1682'; 887. Eevocation of the Edict of Nantes (1685) by Louis XIV.
(these two in case 69) ^ letters from celebrities of the period.
Salle II, or ''Salon, also handsomely decorated, with eight cartouches
and ornamented ceiling. The former, the chief work of Ch. Natoire (painted
1737), represent the story of Psyche. — Glass-cases 78-83, from right to
left: Documents of the end of the 18th Century, including the Oath taken at
the Jeu de Paume (in case 79), papers relating to the Bastille (81), Con-
stitutions of 1791. 1793. 'an \11\ and 'an Vlll'. — Cases 84-86, at the end:
Papers relating to Marie Antoinette; the will of Louis XVI., executed at
the Temple on 29th Dec, 1792, and the last letter of Marie Antoinette,
written in the Conciergerie on 16th Oct., 1793. (The authenticity of these
two documents is, however, doubtful-, the letter does not bear i)i& queen's
signature.) Journal of Louis XVI., speech delivered by him before the
Convention, letter of Louis XVI. Before the fireplace is a table from
the cabinet of Louis XVI.. on which Robespierre, when wounded, was
brought before the 'Comite du Salut Public' at the Tuileries.
Salle III. Continuation of Documents of the reigns ofLouisXV. and Louis
XVI. Cases 87-116. From 1715 to 1792. — Paintings by 5o«cAer (at the entrance
and at the end, to the right), Tr^moUeres. Restout^ and C. Van Loo.
Salle IV. Documents of the end of the ISth Cent, and 1800-1815. Cases
117-152. Paintings by Boucher (to the right), Restoui, and C. Van Loo.
The Ecole des Chartes, which formerly adjoined the Archives, was
removed to the Sorbonne (p. 238) in 1897.
The Palais des Archives is situated wltliin the old Quartier du
Marais, which extends from the Rue du Temple to the grand boule-
vards and to the Rue de Rivoli and Rue St. Antoine. Once a fashion-
able quarter with several still handsome mansions, it is now quite
given over to trade and manufactures.
Opposite the Archives is the Mont-de-Piete, or great pawnbrok-
ing establishment of Paris, which enjoys a monopoly of lending
money on pledges for the benefit of the 'Assistance Publique'.
The loans are not made for less than a fortnight, but articles may be
redeemed within that time oa payment of the fees. Four-fifths of the
value of articles of gold or silver, two-thirds of the value of other articles,
are advanced, the maximum lent being 10.000 fr. at this establishment,
and 500 fr. at the branch-offices. The interest and fees, which before 15^85
were as high as 9V'2 per cent, are now reduced to 7 per cent, with a minimum
of 1 fr. The pledges are sold after fourteen months from the time when the
borrower has failed to redeem them or to renew his ticket-, but within
three years more the excess of the price realised over the sum lent may
still be claimed. The Mont-de-Pie't6 lends about 50,000,000 fr. annually
on about 2 million articles. The sale of unredeemed pledges produces
about 4,000,000 fr. annually. Loans upon deeds up to 500 fr. were author-
ized in 1892.
Adjacent to the Mont-de-Pie'te' is the church of Notre-Dame-
des-Blancs-Manteaux , the insignificant relic of a convent which
stood on the site of the pawn-office. In the Rue des Francs-Bour-
geois, farther on, at the corner of the Rue Yieille-du-Temple, rises
a Gothic tower with arcades and a grating, perhaps a relic of the
Hotel Barbette, where Louis of Orleans was assassinated in 1407
8. mus£e carnavalet. 213
by order of Jean sans Peur, Duke of Burgundy. — To the left, a
little farther up the Rue Vieille-du-Temple, is the —
Imprimerie Nationale (PI. R, 23; III), or government print-
ing-office, established in the old Hotel de Strasbourg (18th cent.),
which once belonged to the Dukes of Rohan, four of whom were Arch-
bishops of Strassburg. The first court is adorned with a copy in
bronze of the statue of Gutenberg by David d' Angers at Strassburg ;
and in the second court is a fine relief (Watering horses) by Lelor-
rain. The printing-office employs about 1200 workpeople of both
sexes. The types are cast, the paper made, and the binding executed
within the same building. Oriental characters are particularly well
represented. The chief business consists in printing official docu-
ments of all kinds, books published at the expense of government,
geological maps, and certain playing-cards (viz. the 'court cards'
and the ace of clubs, the manufacture of which is a monopoly of
the state). Visitors are admitted on Thurs. at 2 p.m. precisely, with
tickets obtained from the director. The 'Cabinet des Poin^ons' and
the 'Cabinet des Singes' are decorated with paintings by Boucher
and Huet. The inspection takes I-IV2 '^r.
A little to the ^\ of the Imprimerie, in the Rue Chariot, la the 17th
cent, chnrch of St. Jean-St-Francois (PI. R, 2ci; ///), formerly a Ca-
puchin chapel. It contains a number of paintings (badly lighted), among
which is St. Louis visiting the plague stricken, by Ary Scheffer (first to the
left, in the nave). There are also eight tapestries referring to a 'Bliracle of
the Hosf that took place in Paris in 12[)0. At the entrance to the choir are
statues of St. Francis of Assisi (by G. Pilon) and St. Denis (by /. Sarrazin).
Lower down the Rue Vieille-du-Temple. to the S. of the Rue
des Francs-Bourgeois, is the Hotel de Hollande (No. 47), a hand-
some edifice of the 17th cent., once occupied by the Dutch ambas-
sador to the court of Louis XIV. The gateway is adorned with fine
sculptures (heads of Medusa^, and the court contains a large bas-
relief of Romulus and Remus, by Regnaudin.
Beyond the Rue Vieille-du-Temple the Rue des Francs-Bourgeois
passes on the right the old Hotel Lamoignon, dating from the 16th
century. Farther on, to the left, in the Rue Se'vigne, is the —
*]tfu8ee Carnavalet (PI. R, 26; V), or Musee Historique de la
Ville, containing a collection illustrating the history of Paris and
of the Revolution. The name is a corruption of Kernevalec^ a Breton
family of that name having once owned the mansion, which was af-
terwards the residence of Mme. de Sevigne for eighteen years
(1677-96). The building was begun in 1544 from designs \>y Lescot
and Bullant, and enlarged in 1660 by F. Mansart, who built the
principal facade in the Rue Sevigne. The portal, however, with
sculptures attributed to Jear^ Goujon, is earlier. The house was
purchased by the city in 1869, and thoroughly restored.
The Museum (Director, M. Cain) is open to the public on Sun.. Tues.,
and Thurs., 11-5 (4 in winter). Sticks and umbrellas must be given up.
Descriptive labels everywhere. Those whose time is limited should pa.-s
quickly through the gronndfloor of the right wing and ascend at once to
the first floor by the main staircase in the central building (p. 214).
214 8. MUS^E CARNAVALET.
The archway, under which, to the right, is the entrance to the
museum, leads to a Court, in the centre of which is a fine bronze
Statue of Louis XIV., by Ant. Coyzevox, brought from the old Hotel
de Ville. The sculptures of the Seasons, on the facade facing the
archway, are attributed to Jean Goujon. To the left is a staircase
to the first floor.
j ' ' ' __! ;^ ' L I iji^ — :
Rjfe. des France- Bntirrjaois
'i £_ -r . . ^i" :i ieti-e s
Ground Floor. Right Wing (entrance beneath the areliway): Niiu Small
Rooms (PI. I, II) containing prehistoric, Roman , and Merovingian anti-
quities. Among the Roman relics are stones from the Amphitheatre in
the Rue Monge (p. 270), architectural fragments, sarcophagi, reliefs, mill-
stone?, and mile-stones.
The Main Building, to the left as we come from the preceding rooms,
contains Four Booms with additional Antiquities; fragments of Gallo-Roman
buildings; 16th cent, chimney-piece; earthenware, glass, bronzes, and
coins, found in Gallo-Roman, Merovingian, and mediSBval tombs; tomb-
inscriptions. — Beyond the last room, to the left, is the principal staircase,
ascending to the first floor; to the right is a door to the garden, behind
the Hotel Camavalet proper.
The Garden is surrounded on the three other sides with constructions
not belonging to the Hotel Carnavalet. In the middle, to the left, the Arc
de Nazareth (16th cent), a gateway from the old street of that name in
the Cite, with sculptures by Jean Goujon, and a tasteful modern gate.
Opposite, to the right, the Pavilion de Choiseul (end of the 17th cent.). In
the galleries, to the right and left, are Fragments of Parisian Buildings of
the Middle Ages, the Renaissance, and the 17th and 18th centuries. Under
the Pavilion de Choiseul are an equestrian relief of Henri IV., by Lemaire
(1838), from the old Hotel de Ville, statues by Fr. Anguier, and statues of
Apostles, of the school of G. Pilon.
The building on the remaining side of the garden has a facade brought
from the old Gvildhouse of the Drapers (by L. Bruant ; 17th cent.), and con-
tains Three Rooms with memorials of Paris during the 19th century, the
inspection of which, however, is better postponed. The entrance is on the
right (the Pavilion de Choiseul side), through a vestibule, whence another
staircase ascends to the anteroom of the Galerie de la Revolution, on
the first floor (p. 215). The first of these Paris rooms is the Salle du Palais
Royal (No. ix). In the centre is a model of the Palais Royal, executed
in 1843-4S. At the sides. Medallions of his contemporaries, by David d Angers.
Views and paintings. Model of a diligence. — Room VIII (Salle de I'Hdtel
de Ville) contains relics of the old Hotel de Ville; fragments of an altar
of 1542; fine old d'^ors. — Room VII (Salle de 1830). In the centre.
Caricature Statuettes and Busts of celebrities of the time of Louis Philippe,
8. MUSEE (JARNAVALET.
215
by Dantan the Younger. To the right, Glaas-case containing numerous
relics and memorials of 1830 and of the period 1814-30. By the back wall,
bust of Beranger. and the chair in which he died (1857). By the wall next
the garden, two portraits of George Sand (one in masculine dress) ; death-
masks of Beranger and Ste. Beuve. By the exit, bronze bust ?nd various
memorials of President Carnot (d. 1894); door of Balzac's hedr0"m.
From the garden we return to the main buiJding and ascend the prin-
cipal Staircase (p. 214) to the first floor. On the staircase are facsimiles
of ancient plans of Paris.
%Y^\ ) - I— -~-»^'J?
First Floor. Rooms I-V: Views of Paris, arranged more or less chron-
ologically, and illustrations of by-gone manners, including interesting works
by H. Robert and Jeaurat ('Dispute at the Fountain'; left wall in Room II),
drawings by the brothers St. Aitbin. and others. — Room VI contains the con-
tinuation of this collection. Also: Tea-service of the Revolutionary period,
with views of Paris; collection of 208 snuff-boxes of historic interest (1789-
1848). — Room VII (Salle Dangeau). Ceiling-painting (attributed to Lebrun)
and gilded panelling brought from the former Hotel Dangeau (time of
Louis XIV.). Two ancient tapestries. Wax portrait of Henri IV. modelled
by Michael Bourdin on the day after the king's assassination (1610). — The
following rooms are devoted to the Historical Collection. Room VIII
(Salle de la Ligue). To the left, the Procession of the Ligue (1590), a curious
representation; by the next window, collection of miniatures, plates, etc.,
referring to the history of balloons; portraits of Card. Dubois and the Duke
of Orleans, attributed to Jouvenet; tapestry of Louis XIII. By the window
on the right. Revolutionary porcelain and stoneware, including the inkstand
of Camille Desmoulins. — From the following small Vestibule, with old
shop-signs, wood-carvings, etc., a staircase descends to E. XXIII (p. 214).
Room IX. (Galerie de la Revolution). On the wall are portraits of the
period (De Launay, Louis Philippe Egalite, Chenier, Marat, Danton,
Robespierre); above, revolutionary Porcelain, made in almost every case
at Xevers (whence the yellow instead of red). In the glass-cases to the
left are official badges, medallions, miniatures, etc.; in the third case,
Tasse a la Guillotine', in Berlin porcelain. The glass-cases by the windows
cimtain coins and medals; above, busts, statuettes, etc.; to the right of
the exit, painted mask of Voltaire. — Room X has fine panelling and
ceiling of the 18th century. On the chimney-piece, decimal clock and Sevres
vases of the Revolutionary period. Opposite, glass-case containing various
relics (Marat's snuff-box, etc). To the left, bust of Delille (d. 1813), by
Pajou; harp in carved wood. To the right, Voltaire's arm-chair. —
Room XI {Galerie de la Rivolution continued). Among the portraits are
those of Desmoulins, Mir.ibeau, St. Just, Marat after his assassination (by
David), Philippe Egalite (by Sir Joshua Reynolds) ; also, the Oath in the Jen
de Paume, completed reduction of the painting sketched by David (p. 143),
216 8. MUS^E CARNAVALET.
and Prisoners at St. Lazare during the Terror, by Hubert Robei'i. In the
glass-cases to the left are a clock satirizing the Revolution, def orations,
miniatures, fans, watches, baton of an 'officier de paix' under the Directory,
revolutionary buttons, and so forth. In the cases to the right are interest-
ing autographs, illustrated with miniatures or medals of the writers \ in
the first case, documents relating to the execution of Louis XVI.
Room XII (Salle de la Bastille). In the centre, Model of the Bastille,
made from a stone of that building. In the glass-case surrounding it,
relics of various kinds connected with the Bastille; lettres de cachet;
Louis XVI. 's autograph order for the defenders of the Tuileries to cease
firing (Aug. 2nd, 17b2). Hanging from the ceiling is a banner of the
Emigre's , with the arms of France and the Allies and the Hydra of the
Revolution. By the entrance- wall : Glass-case containing playing-cards
and bindings of the Revolution including a copy of the Constitution of
1793 bound in human skin: above, Declaration of the Rights of Man; cabinet
with carved representation of the fall of the Bastille ; weapons. By the
next wall: Cabinet adorned with revolutionary emblems; glass-case with
portraits, including one of 'La Veuve Capef fMarie Antoinette), by Prieur,
and a miniature of Cbarlotte Corday. Fireplace-wall: Weapons; instru-
ments of punishment; portrait of Latude, who incurred the displeasure
of Mme. Pompadour and was confined for thirty-six years in the Bastille;
below are the rope-ladder and tools that aided his ultimate escape.
Fourth wall: Cabinet decorated with patriotic scenes; swords of honour
of La Tour d^Auvergne (1743-1800) and Garibaldi (1807-82); sabre of
General Gardanne (1766-1818).
Room XIII (Salle de VEmpire) is devoted to the Napoleonic period.
At the end, to the left, is Napoleon's t: eld-desk and dressing-case, the con-
tents of which are shown in the adjoining glass-cases. On the walls are
numerous portraits. Bust of the Prince Imperial (son of Napoleon III.),
by Carpeaux. Glass-case with a death-mask of Napoleon 1. and other
relics. — A staircase, to the left, ascends hence to the second floor (p. 217).
The next eight rooms, formerly occupied by Mme. de Sevigne, have, with
the exception of R. XVI, been adorned with panelling and wood-carvings
from ancient mansions in Paris, illustrating various styles of decoration.
— Room XIV (Salle Dehucourt), with panelling in the style of the Regency,
contains several of the best paintings in the collection. From left to
right: Boilly, Standard-Bearer (17^8), Departure of the Paris conscripts
in 1807, The Pont Royal in 1800 (on glass). Portrait of himself; Hubert
Robert, Destruction of the church of the Feuillants (p. 154); above the
fireplace, Pesne, Mariette, the author; at the sides, drawings by Watteau^
St. Aubm, and others; '* Debucouvt., Federation in the Champ-de-Mars on 14th
July, 1790 (water-colour) ; C. Vernet, Longchamp in 1800. On the table is a
terracotta bust by Caffieri. — Room XV (Salle des Cos'umes). Glass-case
at the end, Rich costumes from the reign of Louis XIV. to the Empire;
above, statuettes of the principal personages in Italian comedy. Theglass-
ca=!es at the sides contain coloured engravings of costumes of the Con-
sulate, Directory, and Empire. Central glass-case: cap of liberty, cockades,
shoes, buttons, etc. ; christening-robe of the Prince Imperial (1856); above,
elaborately dressed wax dolls of the time of Louis XV. ; small coloured
figure representing Voltaire in his study; behind, fine collection of tor-
toiseshell combs (18-19th cent.). — Room XVI (Salle des ThMtres). Theatrical
portraits, caricatures, autographs, and personal relics of actors. On the
wall, painting of the old Boulevard du Temple, destroyed in 1^62, with
its seven theatres. — Corridor XVII ((Valerie Luden Faucou). Paintings:
Lagrenie^ Transference of Voltaire s body to the Pantheon (1<91); Van der
Meulen, Inauguration of the Dome des Invalides. Cabinet with medallions
by Aug. Dupri. Two cabinets of coins; in the first, memorials of Marietta
Albani (d. 1894), the singer. — Room XVIII (Salle A. de LiesvUle) is decorated
in the style of Louis XV. Among the paintings are a portrait of Jeaurat.,
by himself, and a drawing competition by Cochin. The central glass-case
contains statuettes in biscuit porcelain, medals, medallions, portraits, etc.,
chiefly of the ISth century. — Room XIX is known as the Salon Chinois
from its rococo panelling painted with Chinese subjects. — Room XX (Salle
8. PLACE DES VOSGES. 217
de SMgni), formerly the salon ofMme. de Sevign^ (p. 216), decorated in
tbe style of Louis XIV. On the entrance-wall is a copy of Mignard's
portrait of Mine, de Sdvign^-, below, gla<!S-case containing a letter written
by her. Several large works by H. Robert. Fans of the 17tb century. —
Room XXI, a small recess opening off the preceding room on the riiiht,
contains a valuable collection of porcelain bequeathed by M. de Liesville.
Iron railing of fine workmanship at the entrance. Several of the other
rooms contain other portions of the Liesville collection. — Room XXII
(Galerie des Echevins). Portraits of magistrates and engravings, medals,
etc., connected with the municipal history of Paris. Portrait of Voltaire
at the age of 24 (by Largillitre) and engravings referring to Voltaire.
We now return to Room XIII and ascend the staircase to the —
Second Floor. Six small rooms here are devoted to the Siege of Paris
in 1870-71 and the Commune (Slarch-May, 1871). Room I. Paintings, draw-
ings, and sketches, by Gnillier. MSS. ; uniforms; weapons. — Room II
(to the right). In the middle is a model of the environs of St. Germain-
en-Laye (battlefield of Jan. 19th, 1371). Memorials of Gambetta, including
a death-mask. Uniforms and weapons worn by Meissonier, Claretie. Dubois,
Carolus-Duran, and other well-known men as Narional Guards. — Room III.
Remains of a balloon in which a plenipoteutiary of the government in
Paris escaped to Austria. Representations of the ambulance-service. Letters
sent by pigeon-post; diminutive newspapers; lists of provisions; passes. —
Room IV. Specimens of foods and substitutes for food. Death mask of
the painter Regnault (p. 251), who fell in a sortie at Buzenval. This
room and Rooms F and VI also contain satirical paintings and newspapers;
weapons ; busts. Cabinet with fused glass and metal and other relics of con-
flagrations.
At Xo. 29 Rue de Sevigne, a little beyond the Musee Camavalet, is the
Bibliotheque de la Ville, founded in 1871, to replace the library destroyed
in the Hotel de Ville. It already consists of about 90,000 vols, and 50,000
engravings and charts, all illustrative of the history of Paris and the
Revolution. It is open to readers on week-days, 10-4 in vvinter, and 11-5
after Easter (closed in Easter week and Aug. 15th-0ct. 20th).
The building in front of the library is the Lyc^e Victor Hugo, a high-
school for girls.
A little farther on the Rue des Francs-Bourgeois ends at the
Place des Vosges (PI. R, 26 ; V), formerly called the Place Roy ale.
The garden in the centre, planted with limes and plane-trees, and
enclosed by a railing, is adorned with an Equestrian Statue of
Louis XIII., in marble, by Dupaty and Cortot, which was erected
in 1829 to replace a statue erected by Richelieu in 1639 and
destroyed in 1792. The angles of the square are adorned with
fountains. — A house on the S. side, at the corner of the Rue Bi-
rague, is marked by a tablet as the birthplace of Mme. de Se'vlgne
(1626-1696).
The Place des Vosges occupies the site of the court of the old Palais
des Tournelles, where the tournament at which Henri II. was accidental-
ly killed took place in 1559. Catherine de Medicis caused the palace
to be demolished, and Henri IV. erected the square which still occupies
its site. The houses, uniformly built of brick and stone, with lofty roofs,
are flanked with arcades on the groundfioor. It is difficult to believe
that this sequestered nook was the fashionable quarter of Paris in the
reign of Louis XIII., when the 'place' may be said to have been the Palais-
Royal of the period. The Place des Vosges was first so named after the
Revolution, in honour of the department of that name, which had been
the first to send patriotic contributions to Paris, and this name was revived
in 1848 and again in 1870.
218 8. ECOLE MASSILLON.
The Rue du Pas-de-la-Mule, to tlie N.E. of the square, leads
direct to the Boul. Beaumarchais (p. 74), near the Bastille (p. 70).
An interesting return-route from the Bastille to the centre of
the town leads via the Boulevard Henri IV. (p. 72) and the quays
on the right hank.
To the left of the Boulevard Henri IV. rises the Caserne des
Celestim, on the site of a celehrated convent. Beyond it diverges
the Rue de Sully, in which is situated the valuable Bibliotheque
de V Arsenal (PI. R, 25; V), occupying part of the old arsenal of
Paris, which extended from the Seine to the Bastille. The library
is open daily, 10-4, except on Sundays and holidays and during the
vacation (15th Aug. to 1st Sept.). After the Bibliotheque Nationale
it is the richest library in Paris, especially in ancient works and in
theatrical literature (454,000 vols. ; 9654 MSS.).
The Boulevard Henri IV. crosses the two arms of the Seine and the
E. end of the He St. Louis (p. 232) by means of the Font Sully, built in
1874-1876. On the right bank, upstream, between the river and the Bou-
levard Morland, is the former lie Louviers, united with the quay in 1840.
Here are situated the Magasins and Archives de la Ville.
On the right bank, near the bridge, at the beginning of the Quai
des Celestins, is the old Hotel la Valette^ now the Ecole Massillon, a
handsome building of the 16th cent., with a monumental facade
recently restored. On the Quai des Celestins are shown the sub-
structions of a tower of the Bastille (''Tour de la LihtrW)^ which
were discovered in the Rue St. Antoine (p. 69) in excavating the
Underground Railway (p. 27).
Farther on, at the corner of the Rue de I'Hotel-de- Ville and Rue
Figuier, rises the old Hotel de Sens^ or palace of the archbishops of
Sens when they were metropolitans of Paris. It is a Gothic building
of the 15th cent., with turrets and a donjon in the court (now private
property).
The Quai de I'Hotel-de- Ville leads hence to the Hotel de Ville
in 5-6 min. (pp. 63-65).
THE CITE AND THE LEFT BANK OF THE SEINE.
The Cite (PI. R, 20, 23, 22; F), as already observed (p. xxi),
IS the most ancient part of Paris. Here lay, in the time of Caesar,
the Gallic town of Lutetia Parisiorum ; and the Paris of the Romans
and the Franks was confined to the same site, with the addition of a
small settlement on the left bank of the Seine, surrounded by forests
and marshes. Under the Frankish monarchs the Church established
her headquarters here. At a later period the town gradually extended
on the right bank, but the Cite still retained its prestige as the seat
of the old Royal Palace and of the cathedral of Notre-Dame. On
one side of Notre-Dame rose the Episcopal Palace and the Hotel-
Dieu, originally an asylum for pilgrims and the poor ; on the other
side was the CloUre Notre-Dame, or house of the Canons, who play
so prominent a part in the history of the university. In the Cite the
predominant element in the population was the ecclesiastical, while
the burgesses and the men of letters chiefly occupied the districts to
the N. (right bank, la Ville) and S. (left bank, VUniversite^ respect-
ively. — The Cite has long ceased to be the centre of Parisian life,
but it possesses the two finest sacred edifices in Paris, the Cathedral
of Notre-Dame and the Sainte-Chapelle. The Hotel-Dieu still exists,
hut the site of the royal palace is occupied by the Palais de Justice.
The semicircular part of Paris which lies on the left bank of the
Seine forms fully one-third of the whole city, its distinctive feature
consisting of numerous learned institutions , the chief of which is
the Sorbonne, or university, in the Quartier Latin. The adjoining
Faubourg St. Germain is the aristocratic quarter, where ministers,
ambassadors, and many of the nobility reside ; and at the W. end of
this part of the town are the Chambre des Deputes, the Senate, and
several large military establishments. The chief objects of interest
on the left bank are the Palais du Luxembourg with its gallery of
modern works of art, the Pantheon, the Musee de Cluny, the Jardin
des Plantes, the Hotel des Invalides, and the Champ-de-Mars.
9. The Cite and the Quartier de la Sorbonne.
Any day but Monday should be chosen for a visit to this district, for
on that day the Sainte-Chapelle, the Muse'e de Cluny, and the Panthe'on are
closed. — Luncheon may be taken in the Place du Chatelet. the Boul.
St. Germain, the Boul. St. Michel, or near the Ode'on (comp. pp. 18. 19)
220 9. PALAIS DE JUSTICE.
I. PALAIS DE JUSTICE AND SAINTE-CHAPELLE. NOTRE-DAME.
Tribunal de Commerce. Pont-Neuf. Hotel-Dieu.
The Cite is approached from the right bank of the Seine by the
Pont au Change fp. 64) and the Boulevard du Palais, or by the
Pont-Neuf (j^. 223).
The *Palais de Justice (PI. R, 20 ; F) occupies the site of the an-
cient palace of the kings of France, which was presented by Charles
VII. in 1431 to the Parlement, or supreme court of justice. In 1618
and again in 1776 the palace was so much injured by fire, that nothing
of it now remains except the Tour de VHorloge, at the N.E. corner,
near the Pont au Change, the Tour de Cesar and the Tour de Mont-
gomery on the N, side, the pinnacled Tour d^ Argent, the Samfe-
Chapelle or palace-chapel, the Salle des Gardes, and the Kitchens
of St. Louis. The clock in the Tour de VHorloge, adorned with two
figures representing Justice and Piety, originally by Pilon, is the
oldest public clock in France. It was constructed in 1370 by Henri
de Vic, a German clockmaker, and has been several times repaired,
the last after its destruction by the Communards in 1871. The
wanton destruction of a great part of the building on 22nd May, 1871,
forms another of the numerous crimes of which the Commune was
guilty. The damage has since been repaired.
The Palais is open daily, except Sundays and holidays, and visitors may,
of course, enter the courts (in session 11-4) where they may have an oppor-
tunity of hearing some of the famous pleaders. The great size of this build-
ing and its complicated arrangement (comp. annexed Plan) render a visit
somewhat perplexing to strangers. Besides the main entrances in the Boule-
vard du Palais and the Place Dauphine there are various side-entrances.
Most of the courts are on the first floor. The Court of First Inttance, with
most of its offices, lies to the right of the Salle des Pas-Perdus (see below ;
civil courts) and to the left of the court of the Ste-Chapelle (see below ;
Police Correctionnelle). The Cour de Cassation is beyond the Salle des
Pas-Perdus and the Appeal Court beyond the court of the Ste-Chapelle
(p. 221).
The principal entrance is by the Cour du Mai or Cour d'Honneur,
adjoining the Boulevard du Palais, and separated from it by a hand-
some railing. The Doric pediment of the facade is adorned with
statues of France, Plenty, Justice, and Prudence, and is covered
with a quadrangular dome.
The first vestibule of the Palais, called the Galerie Marchande,
is also used by the members of the bar as a 'vestiaire'. The
advocates in their black gowns are frequently seen pacing up and
down the different galleries whilst the courts are sitting (from 11
to 4 o'clock). The staircase in the middle, adorned with a statue of
Justice, leads to the rooms of the Cour d'Appel, which present no
attraction.
Turning to the right, at the extreme end of the gallery, we enter
the *Salle des Pas-Perdus, serving as a vestibule to most of the seven
Civil Chambers constituting the Court of First Instance. This hall
(restored since 1871), one of the largest of the kind in existence,
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9. SAINTE-CHAPELLE. 221
is 240 ft. long, 90 ft. in width, and 33 ft. in height. It consists of
two vaulted galleries, separated by arcades with Doric pillars. Many
historical reminiscences attach to this part of the building. Before
the fire of 618, this was the great hall of the palace, where the
clergy of the ^basoche (a buriesque translation of basilica, or royal
palace) were privileged to perform moral plays and farces. On the
right side is a monument erected by Louis XVIII. in 1821 to the
minister Malesherbes, who was beheaded in 1794, the defender of
Louis XVI. before the revolutionary tribunal ; the statue is by J. Du-
mont, the figures emblematic of France and Fidelity are by Bosio,
and the bas-relief by Cortot. Nearly opposite, a similar monument
was erected in 1879 to Berryer [d. 1868), a celebrated advocate,
with a statue by Chapu, between figures of Eloquence and Fidelity.
To the right of the Galerie des Prisons, which begins between
the vestibule and the Salle des Pas-Perdus, are the halls of the
Cour de Cassation. The first of these is the Chambre Criminelle,
with a richly-carved ceiling. Adjoining it is the Galerie St. Louis,
adoTi\ed with a statue of St. Louis and frescoes by Merson. The
second hall is the Chambre des Requetes, also with a fine ceiling ; the
third, the Chambre Civile, recently completed and still more mag-
nificent, has a painted and gilded cassetted roof and is adorned with
a painting of Christ, by Henner, and others by Baudry.
At the end of the gallery is the Vestibule de Earlay, on the
side next to the Place Dauphine, the facade of which is seen on
the way to the Pont-Neuf. This hall is embellished with statues of
four monarchs who were eminent as legislators: St. Louis and Phi-
lip Augustus on the N., and Charlemagne and Napoleon I. on the
S. side. The staircase in the middle, with a figure of Justice by
Perraud, leads to the left to the Cour d^ Assises, and to the right to
the Chambre des Appels de la Police Correctionnelle.
The Galerie de la Sainte-Chapelle , parallel to the Galerie des
Prisons, leads from the Vestibule de Harlay to the new parts of the
Palais. To the right, about halfway along the gallery, is the 1st
Chambre de la Cour d^Appel, handsomely decorated like those of the
Cour de Cassation, with a ceiling-painting by Bonnat. At the
end are a mediaeval Crucifix, and two gilded Renaissance scutcheons,
with allegorical figures. Farther on, the gallery brings us to the
Galerie Marchande and to the neighbourhood of the Sainte-Chapelle,
which however, is not entered from this side (see below).
Turning to the right, we proceed to the four Chambres de Police
Correctionnelle, Nos. 8 and 9 on the first floor, Nos. 10 and 11 on the
second. We may also reach this point from the Galerie Marchande by
other corridors. The special entrance to these courts is in the Cour
de la Sainte-Chapelle.
The ** Salute - Chapelle , the most interesting portion of the
Palais de Justice , lies to the left of the main entrance , in the
same court as the Police Correctionnelle. It is open to the public,
222 9. SAINTE-CHAPELLE.
11 to 4 or 5 daily, except Men. and holidays. It is seen to advantage
only in briglit weather. This was the ancient palace-chapel, erected
in 1245-48 during the reign of St. Louis by Pierre de Montereau
for the reception of the sacred relics, now at Notre-Dame (p. 227),
which St. Louis is said to have purchased from Jean de Brienne,
King of Jerusalem, and his son-in-law Baldwin, Emperor of Con-
stantinople, for 3 million francs. The chapel (115 ft. long, 36 ft.
wide), which was restored in 1866-70, is a perfect gem of Gothic
architecture, but unfortunately is partly concealed by other por-
tions of the Palais. In 1871 it narrowly escaped destruction, as it
was almost entirely surrounded by a blazing pile of buildings. The
only service now performed here is the 'Mass of the Holy Ghost',
celebrated annually on the re-opening of the courts after the au-
tumn vacation. The interior consists of two chapels, one above the
other.
The LowEE Chapel (Chapelle Basse), consisting of nave and
aisles, was used by the domestics of the palace. In the floor are
tombstones of numerous canons of the Ste-Chapelle. A spiral stair-
case ascends to the —
Upper Chapel, in \shich the court attended divine service.
The proportions of this chapel, which is 66 ft. in height, are
remarkably light and elegant. Nearly the whole of the wall-surface
is occupied by 15 large windows (49 ft. by 13 ft.), with magnificent
stained glass framed in beautiful tracery. The stained glass, part
of which dates from the time of St. Louis , has been restored.
The subjects are from the Bible and the lives of saints. The glass
in the rose-window, dating from the 15th cent., represents sub-
jects from the Apocalypse. The polychrome decoration of the walls
harmonises well with the coloured windows. Against the pillars
are placed statues of the Apostles. Behind the handsome altar is
the Gothic canopy, in wood, where the sacred relics were formerly
preserved. One of the two small spiral staircases here, in gilded
wood, was executed in the 13th cent. ; the other is modern. — We
quit the chapel by the portal of the upper church, turn to the right,
and pass through a glass-door (opened by the custodian) into the
first vestibule of the Palais (p. 220).
Quitting the Palais by the principal entrance, we observe to the left
of the flight of steps one of the entrances to the Conciergerie (PI. R, 20;
7), a prison famous in the annals of France, which occupies the lower
part of the Palais de Justice adjoining the Seine. (Open on Thursdays.
Visitors enter from the quay. Permission must be obtained from the
Prefet de Police, at the Prefecture, Rue de Lutece, opposite the Palais,
between 10.30 a.m. and 3 p.m.) Most of the political prisoners of the first
Revolution were confined here before their execution. Profound interest
attaches to the small chamber or cell in which Marie Antoinette was
imprisoned, now converted into a chapel. Adjoining this chamber, and
now connected with it by an archway, is the cell in which Robespierre
was afterwards confined. Beyond these is the Hall of the Girondists, now
a prison-chapel. — The so-called Cuisines de St. Louis are also situated in
this part of the building. (Permission, see above.)
9. TRIBUNAL DE COMMERCE. 223
Opposite the Palais de Justice , on the E. side of the Boul. du
Palais, rises the Tribunal de Commerce (PI. R, 20; V), built by
Bailly in the Renaissance style in 1860-66. It is surmounted by
an octagonal dome, 135ft. high, -which, being in the line of the
Boulevard de Sebastopol , is visible from the Gare de I'Est. The
interior, open to the public on week-days, deserves a visit. A grand
staircase ascends to the Audience Chamber and the Bankruptcy
Courts. On the first landing are statues of Industrial Art by Pascal,
Mechanical Art by Maiudron , Commerce by Land by Cabet , and
Maritime Commerce by Chapu ; and at the top are Caryatides by
Dubut. Enclosed within the building is a quadrangle surrounded
by two colonnades, one above the other, above which are Caryatides
by Carrier-Belleuse supporting the iron framework of the glass-
covered roof. The Salle cf Audience on the first floor, to the left of
the staircase , wainscoted with oak, is adorned with panels in imi-
tation of porcelain painting, and with pictures by Fleury. The chief
hearings are on Monday.
The chief Flower Market in Paris is held on Wed. and Sat. behind the
Tribunal. On Sun. there i3 a Bird Market.
Leaving the Tribunal de Commerce, we cross the boulevard to
the Tour de I'Horloge, and skirt the Quai de I'llorloge, on the left
side of which are entrances to the Conciergerie (p. 222), and the
Cour de Cassation (p. 221).
The W. Facade of the Palais de Justice^ towards the Place Dau-
phine, was constructed by Due in 1857-68. The gravity of the style
accords well with the purpose of the building. Eight engaged Doric
columns and two corner-pillars support the rich entablature. The
six allegorical figures below the windows represent Prudence and
Truth, by Dumont ; Punishment and Protection, by Jouffroy ; Strength
and Justice, by Jaley. Three inclined slopes ascend to the entrance
of the Vestibule de Harlay (p. 221).
The *Pont-Neuf (PL R, 20; V), farther on, at the W. end of
the island, a bridge 360 yds. in length and 25 yds. in width, cross-
ing both arms of the Seine, is, in spite of its name, the oldest
bridge in Paris. It was constructed in 1578-1604, but was remod-
elled in 1852, while the end next the left bank was restored in
1886. The masks supporting the cornice on the outside are copies
of those originally executed by J. B. du Cerceau. On the island,
halfway across the bridge, rises an * Equestrian Statue of Henri IV.,
by Lemot, erected in 1818 to replace one which had stood here from
1635 to 1792, when it was melted down and converted into cannon.
By way of retaliation Louis XVIII. caused the statue of Napoleon
on the Vendome Column, another of the emperor intended for the
column at Boulogne-sur-Mer, and that of Desaix in the Place des
Victoires to be melted down in order to provide material for the
new statue. The Latin inscription at the back is a copy of that on
the original monument. At the sides are two reliefs in bronze, which
224 9. HOTEL-DIEU.
represent Henri IV. distributing bread among the besieged Parisians,
and causing peace to be proclaimed by the Archbishop of Paris at
Notre-Dame.
In the 16tli cent, the Pont-Neuf was the scene of the recitals of
Tabarin, a famous satirist of the day, and it was long afterwards the
favourite rendezvous of news-vendors, jugglers, showmen, loungers, and
thieves. Any popular witticism in verse was long known as 'un Pont-Neuf '.
The bridge commands an admirable *View of the Louvre. The
large edifice on the left hank is the Monnaie (p. 247), and beyond
it is the Institut (p. 245).
In returning to the Boul. du Palais by the Quai des Orfevres, on
the left bank, we pass the S.W. portion of the Palais de Justice,
occupied by offices of the 'prefecture de police'.
The Prefecture de PoUce (PI. R, 19, 20-, V; office-hours 10-4)
occupies the old municipal barracks and two 'hotels d'etat-major'
in the Boul. du Palais, adjoining the Pont St. Michel (p. 2*28).
From this point radiate all the threads which constitute the network
of police authority that extends over the whole city. There are three
main departments, those of the central administration, the market
police, and city police. The offices are open from 10 to 4. The
Lost Property Office is at Quai des Orfevres 36, beside the Palais
de Justice.
When an article is lost the best plan is to write to the Prefet de Police
(no postage-stamp necessary), furnishing as full details as possible.
In the Rue de Lutece , opposite the Palais de Justice, is the
modern hronze statue, by A. Boucher, of TA. i?ena«<io< [1536- 1653),
philanthropist and publisher of the first newspaper in France (1631 ).
The Hotel -Dieu (PI. R, 22; F), a little farther on, with its
facade towards the Place du Parvis-Notre-Dame (see helow), was
erected on this site in 1868-78, by Diet , at a cost of 45 million
francs, of which nearly one-half was paid for the site. This hospital
is admirably fitted up, with 828 beds, and three medical chairs in
connection with it. This, the oldest hospital in Paris, was originally
a nunnery and afterwards an asylum for paupers and pilgrims.
This establishment is one of ihe twenty hospitals of the 'Assistance
Publique', which have an aggregate of upwards of J2,000 beds. The number
of patients annually discharged includes 45-50,000 men, 36-40,000 women,
and 16-18.000 children; the average annual deaths in the hospitals include
about 7000 men, 5000 women, and 3000 children. The Assistance Publique
expends annually about 36,000,000 fr. on its various benevolent institutions,
which assist about 467,000 persons each year.
The Place du Parvis-Notrb-Dame (PL R, 22 ; F), in front of
the Cathedral, on the S. side of which the Hotel-Dieu was formerly
situated, is embellished with an Equestrian Statue of Charlemagne,
in bronze, by Rochet.
The ^Cathedral of Notre-Dame (PL R 22, V; admission, see
p. 226), founded in 1163 on the site of a church of the 4th cent.,
was consecrated in 1182, but the nave was not completed till the
9. NOTEE-DAME. 225
iSth century. The building has since been frequently altered, and
has been judiciously restored since 1845 ; but the general effect is
hardly commensurate with the renown of the edilice. This is owing
partly to structural defects, partly to the lowness of its situation^
and partly to the absence of spires. It is, moreover, now surrounded
by lofty buildings which farther dwarf its dimensions; and, lastly,
the adjacent soil has gradually been raised to the level of the pave-
ment of the interior, whereas in 1748 the church was approached by
a flight of thirteen steps.
During the Revolution the cathedral was sadly desecrated. A decree
was passed in August, 1793, devoting the venerable pile to destruction, but
this was afterwards rescinded, and the sculptures only were mutilated.
On 10th Nov. in the same year, the church was converted into a 'Temple
(if Reason', and the statue of the Virgin replaced by one of Liberty, while
the patriotic hymns of the National Guard were heard instead of the usual
sacred music. On a mound thrown up in the choir burned the 'torch of
truth', over which rose a Greek 'temple of philosophy', adorned with
busts of Voltaire, Rousseau, and others. The temple contained the en-
throned figure of Reason (represented by Maillard, the ballet-dancer), who
received in state the worship of her votaries. White-robed damsels, holding
torches, surrounded the temple, while the side-chapels were devoted to
orgies of various kinds. After 12th May, 1794, the church was closed, but
in 1802 it was at length re-opened by Napoleon as a place of divine worship.
In 1871 Notre-Dame was again desecrated by the Communards. The
treasury was rifled, and the building used as a military depot. When the
insurgents were at last compelled to retreat before the victorious troops,
they set fire to the church, but fortunately little damage was done.
The *Facadb, the finest part of the cathedral, dating from the
beginning of the 13th century, and the earliest of its kind, has
served as a model for the facades of many other churches in the
N.E. of France. It is divided into three vertical sections by plain
buttresses , and consists of three stories, exclusive of the towers.
The three large recessed portals are adorned with sculptures, which,
so far as they have survived the ravages of the Revolution, are fine
specimens of early-Gothic workmanship. Those on the central portal
represent the Last Judgment; the noble modern figure of Christ on
the pillar in the middle is by G. Dechaume. The portal on the
right (S.) is dedicated to St. Anne , and that on the left (N.), by
which the church is generally entered, to the Virgin, both being
adorned with appropriate sculptures. The relief representing the
burial of the Virgin is noteworthy. This story is connected with
the one above it by the Galerie des Rois, a series of niches con-
taining modern statues of twenty- eight Jewish kings replacing
those destroyed during the Revolution. Above the gallery, in the
centre, rises a statue of the Virgin, with two angels bearing lights,
to the right and left of which are figures of Adam and Eve. —
The centre of the second story is occupied by a large rose-win-
dow, 42 ft. in diameter, with the simple tracery of the early-Gothic
style. At the sides are double pointed windows. — The third story
is a gallery composed of pointed arches in pairs, about 26 ft. in
height, borne by very slender columns, each double arch being
Baedeker. Paris. 14th Edit. j^5
226 9. NOTRE-DAME.
crowned with an open trefoil. Above this gallery runs a balustrade,
surmounted with figures of monsters and animals ; and the facade
then terminates in two uncompleted square towers , each pierced
with a pair of pointed windows, about 54 ft. in height. The lateral
portals also deserve inspection. The S. door of the transept is em-
bellished with fine iron-work. The spire above the cross, 147 ft. in
height, and constructed of wood covered with lead, was erected in
1859. The exterior of the choir has a charmingly light and elegant
effect, with its bold flying buttresses and windows surmounted by
pediments.
The Interiok is open to visitors the whole day, and the choir
from 10 to 4 ; tickets admitting to the sacristy, treasury, and chap-
ter-house are procurable on week-days from the verger, at the en-
trance to the choir in the right aisle (see p. 227). On Sundays and
festivals the choir is closed after divine service.
The church, which consists of a nave and double aisles, crossed
by a single transept, is 139 yds. long and 52 yds. broad. The double
aisles are continued round the choir, affording the earliest example
of this construction. The choir is semicircular in form, as in most
early - Gothic churches. The chapels introduced into the spaces
between the buttresses of the aisles and choir are in a late-Gothic
style. The vaulting, 110 ft. high in the nave, is borne by 75 pillars,
most of which, unlike those in other Gothic buildings, are round.
Above the inner aisles runs a triforium borne by 108 small columns,
and the clerestory is pierced with 37 large windows. The ancient
stained glass of the roses over the principal and lateral portals is
worthy of inspection. To the right of the S. portal are two marble
slabs in memory of 75 victims of the Commune (p. 179). The
pulpit, designed by Viollet-le~Duc, and executed by Mirgen, is a
masterpiece of modern wood-carving. In the transept, by the pier
on the S. side of the choir, is a mediaeval statue of the Virgin, the
real 'Notre Dame de Paris', held in high veneration by the faithful.
The Choir and Ambulatory are separated from the nave by very
handsome railings. The choir- stalls and the reliefs in wood, chiefly
representing scenes from the history of Christ and the Virgin, should
be noticed. In the sanctuary are a modern high-altar (1874), a
Pietk in marble by N. Coustou (known as the Vow of Louis XIII.),
and statues of Louis XIII. and Louis XIV., also by Coustou.
The ambulatory is entered from the S. transept. The choir-screen
is adorned with twenty -three interesting ^Reliefs in stone, re-
presenting scenes from the life of Christ, by Jean Ravy and his
ne^heyv Jean Le Bouteiller , completed in 1351, and once richly
gilded. These are notable achievements of Gothic sculpture, vary-
ing somewhat in the execution (which was spread over a series of
years), but all marked by monumental dignity, calm, and beauty.
The choir-chapels contain a number of monuments, chiefly of former
archbishops of Paris. Beginning at the sacristy: Archb. Afre {^A. 1849: sec
p. 71), by Debay; Archb. Sibour (d. 1757), by 'Dubois; "Comte cfHarcourt
9. ILE ST. LOUIS. 227
(d. 1718), representing a dead man rising from the tomb, by Pigalle-, Archb.
Darhoy (d.l671), byBonnassienx ; Cardinal ifoWo<(d. 1863), by Lescornel ; fiiVfto/)
Matiffas de Bucy (d. 1304). behind the high altar; Cardinal, de Belloy (d.l806).
a group in marble by Deseine. representing the prelate at the age of ninety-
nine giving alms; 'Archh. de Quelen (d. 1839), by G. Dechaume; Cardinal
de Nouilles (d. 1729), by the same, in a chapel adorned with frescoes by
Maillot; Avchh. de Juiffui (d. iSlll, by Cartellier; Archb. de Beaumont {A. 1781):
monument of Marshal Guebriant (d. 1643), and his wife Renie du Bec-Cripin.
The Organ., built in 1750 and restored and enlarged by A. Cavaille-Cull
in 1868, is one of the finest instruments in Europe, with 6000 pipes (the
largest about 32 ft. in height), 10 uctaves, 86 stops, 110 registers, 5 manuals.,
and ped lis with 22 pedal-combinations. The choir of Notre-Dame has a
reputation for its 'plain song'.
At the beginning of the retro-choir, on the right (S.) side, is the en-
trance to the Sacristy (adm . 10.30 to 4, 5, or 6 ; 1 f r.), erected in 1846-48
by Viollet-le-Duc in the same style as the cathedral. In this and in the
adjoining Chapter House is the —
Teeasckx, most of the objects in which are modem and of little art-
istic value. A sacristan shows and explains the various objects , with
the usual unsatisfactory haste of such guides. The communion vessels,
in the medieeval style, presented by Napoleon III., are noteworthy. The
ancient objects include a large Greek cross, enamelled (12th or 13th cent.),
silver busts of SS. Denis and Louis (14th cent.), and various chalices, re-
liquaries, and vestments of the 13-16th centuries. Among the objects of
historical interest are the coronation robes of Napoleon I. and the blood-
stained clothes and other mementoes of the archbishops Affre (p. 71),
Sibour, and Darboy (p. 180).
Towers. The *View from the towers of Notre-Dame (223 ft. in
height), one of the finest in the city, embraces the course of the Seine
with its numerous bridges and the principal public edifices in the
environs. The entrance to the towers is outside the church, by the
N. tower, to the left of the portals. The ascent may be made in
summer from 9 to 4 or 5, on payment of 50 c. (including the bells).
The platform on the summit is reached by 397 steps. In the S. tower
hangs the great Bourdon de Notre-Dame, one of the largest bells in
existence, weighing 15 tons; the clapper alone weighs nearly half-
a-ton. Another bell here (not used) was brought from Sebastopol.
At the back of the Cathedral is another 'place', occupying the site of
the old archiepiscopal palace, in the centre of which rises the tasteful
Gothic Fontaine Notre-Dame.^ designed by Vigoureux, and erected in 1845.
At the 8.E. end of the He de la Cite, not far from the fountain just
described, stands the Morgue (open daily), a small building re-erected in
1864, where the bodies of unknown persons who have perished in the
river or otherwise are exposed to view. They are placed on marble
slabs, kept cool by a constant flow of water, and are exhibited in the
clothes in which they were found. The process of refrigeration to which
the bodies are subjected makes it possible to keep them here, if necessary,
for three months. The bodies brought here number 700-800 annually.
The painful scene attracts many spectators, chiefly of the lower order.s.
■the He St. Louis (PL R, 22; T'), an island above that of the
Cit^, with which it is connected by means of the Pont St. Louis, a
few paces to the N. of the Morgue, contains some interesting build-
ing of the ITth century. — The Church of St. Louis-en-VIle, on the
right of the principal street, dates from the 17-i8thceut.; it contains
some interesting paintings (mostly modern) and some small bas-
reliefs of the 15th century. — At the end of the street, to the loft
ib*
22S 9. ST. .SiVERIN.
(No. 2), stands the handsome Hotel LAMBBEr, built in the 17th cent.
by Levau for Lambert de Thorigny, and decorated with paintings by
Le Brun and Le Sueur. The ceiling-painting ol' the "Galerie Le
Bron' represents the marriage of Hercules and Hebe. Voltaire -was
once the guest of Mme. Duchatel here. The mansion now belongs
to Prince Czartoryski, who a 'mits Tisitors. Near by, on the Quai
d'Anjou (No. 17), is the Hotel Lauzun (1657), purchased by the city
in 1900 and soon to be opened as a municipal museum of art. —
The adjacent Boul. Henri IV. (p. 72) crosses to the right bank by
the Pont Sully. Beside the bridge is the Monument of Barye (1795-
1875), the famous animal sculptor, with reproduction of his most
celebrated works: the Centaur (p. 108), Lion and Serpent (p. 155),
and War and Peace. The medallion is by Marqueste.
II. FROM THE CITE TO THE MUSEE DE CLUNY.
Fontaine St. Michel. St. Severin. Ecole de Medecine.
Approaching the left bank from the Cite by the Boul. du Palais
de Justice (p. 220), we cross the narrower arm of the Seine by the
Pont St. Michel (PL R, 19 ; F), a handsome bridge, rebuilt in 1857,
which commands a fine view of Notre-Dame. At the S. end of the
bridge we reach the Boulevard St. Michel, the chief street of the
QuARTiBR Latin, where the ways of the French ^student may be
studied in or in front of the numerous cafes. It forms a link in the
line of boulevards traversing Paris from the Gare de I'Est to the
Carrefour de I'Observatoire (p. 285). To the left, below the Quai
St. Michel, is a station of the Oile'ans line (p. 27).
On the right, in the Place St. Michel, we observe the Fontaine
St. Michel, a fountain 84 ft. high and 48 ft. in width, erected in
1860. The monument, which stands against a house, consists of
a triumphal arch in the Renaissance style, containing a group of
St. Michael and the dragon in bronze, by Buret, placed on an artifi-
cial rock, from which the water falls into three basins flanked with
griffins. At the sides of the niche are columns of red marble bear-
ing allegorical bronze figures (1860).
The Hue de la Hvchette, beginning to the E. of the fountain, and ihe Rue
)^t. Siverin, to the left beyond the fountain, penetrate one of the dirtiest
and most intricate, but at the same lime most interesting and best preserved
quarters of old Paris. Here lies the church of *St. Severin (PI. R, 19; F),
one of the oldest in Paris, dating from the ll-16th centuries. It consists
of a nave and double aisles flanked vpith chapels. The facade is now
composed of a portal of the 13th cent., brought from a church in the Cite
which was taken down in 1837, with a handsome tower of the 15th^ent.
rising above it. The Intekiok is also worthy of inspection. The spacious
nave has two rows of windows. The 'Stained Glass in the large upper
windows dates from the 15th and 16th cent., that in the other windows
and in the chapels is modern. Handsome modern high-altar (1893). The
modern mural paintings in the chapels are by Ileim, Signal, Schneiz^ Hippoltjte
Flandrin, Hesse, and olhers: but all are faded and rendered obscure by
the stained-glass Avindows. The chapels at the end, dedicated to Notre
Dame de I'Espe'rance and Notre Dame des Sept Douieurs, contain sculp-
tures and votive offerings.
9. HOTEL DE CLUNY. 229
A little farther on , near the Rue La^raus^e, is the small and ancient
church of St. Julien-le-Pauvre (PI. R, 19-22; V), the chapel of the former
Hotel-Dieu. It is an unassuming edifice in the Gothic style of the 12th cent.,
without portal or tower, but the choir and side-apses are interesting. It is
now occupied as a Greek church (opt-n 8-10 a.m.); services on Sun. and fe.s-
tivals at 10 a.m. In the left aisle is a statue of Montyon (1733-1820), the well-
known philanthropist (p. 24G). The entrance is "No. 11 in the Kue St. Juliefa-
le-Pauvre, through a narrow and dirty court, which is to be improved.
Returning to the Boul. St. Michel, we next cross the Boulevard
St. Qermain, near the Tlieruies and the Hotel de Cluny (see below).
This modern boulevard forms, with the Boulevard Henri IV., a thor-
oughfare on the left bank from the Place de la Bastille to the Place
de la Concorde, a distance of 23/^ M. Though these streets are by
no means so important as the Grands Boulevards, their point of
junction is one of the busiest spots in Paris.
A few paces to the right, in the Boul. St. Germain, is the Ecole
de Medecine (^Pl. R, 19; V), a huge block of buildings of the 18th
cent., between the boulevard and the Rue de I'Ecole-de-Medecine.
The modern facade towards the boulevard, by Ginain, is in the same
severely plain style as the W. facade of the Palais de Justice and
the facade of the new Hotel des Postes. The two caryatides, by
Crauk, represent Medicine and Surgery. The handsome court is
flanked with an Ionic colonnade , at the end of which rises a bronze
statue of Bichat, the anatomist (d. 1802), by David d' Angers.
On the opposite side of the street is a large new addition, con-
taining the Ecole Pratique or laboratories. Adjacent, to the left, is
the refectory of an old Franciscan monastery, where the revolution-
ary 'Club des Cordeliers' held its meetings, now occupied by the
Musee Dupuytren, a valuable pathological - anatomical collection,
open to students and to visitors furnished with a permit, daily, except
Sun. and holidays, from 11 to 4. On the fourth floor of the same
building is the Mu.'Ste d'Anthropologle Broca (skeletons, skulls, etc.).
The Library (90,000 vols.) is open to students and medical men daily,
except on Sundays, holidays, and in vacation (Sept. and Oct.), 11-6 and
7.30-10.30 o'clock. The Ecole also possesses a Museum of Comparative
Anatomy, named Musie Orfila after its celebrated founder (d. 1853)-, it is
open on the same conditions as the library.
In the open space to the W. of the Ecole de Me'decine are bronze
stataes of P. Brocu (1824- 18S0), surgeon and anthropologist, by P. Choppin,
and of Danion (1759-1794), as 'organiser of the national defence', by A. Paris.
The *H6tel de Cluny (PI. R, 19; F) occupies part of the site
of a Roman palace supposed to have been founded by the Emperor
Constantius Chlorus, who resided in Gaul from 292 to 306. Julian
was proclaimed emperor by his soldiers here in 360 ; and this was
the residence of the early Prankish monarchs until they transferred
their seat to the Cit^ (p. 219). The only relics of the palace still
existing are the ruins of the Thermes, or baths once connected with
it (p. 237).
About 1331 the abbots of the wealthy Benedictine Abbey of
Cluny (near Macon, in Burgundy), who owned much real estate
230 9. MUSfiE DE CLUNY,
in Paris, acquired the ruins of the Roman palace and seem to have
erected a building here. The present Hotel de Cluny, a remarkably
fine specimen of the late-Gothic style, was built by Abbot Jacques
d'Amboise at the end of the 15th cent, and retains its original ap-
pearance almost unaltered.
The Revolution converted this estate into national property,
and in 1833 the Hotel de Cluny came into the possession of M. Alex.
du Sommerard^ a learned and indefatigable antiquarian. On his
death in 1842 the edifice with its valuable collections was purchased
by government, and united with the Thermos, which had hitherto
belonged to the municipality of Paris. The collection has since
been largely extended.
The *Musee de Cluny comprises a most valuable collection of
mediaeval objects of art and products of industry. As there are
upwards of 11,000 objects, a single visit will hardly afford an idea
of even the most important. Director, M. Edm. Saglio.
Admission. The Muse'e de Cluny et des Thermes is open to the public
every day except Mon. and certain holidays (p. 56), from 11 to 4 on Sun.
and to 5 on week-days in summer (April Ist-Oct. 1st) , and from 11 to 4
in winter. Catalogue in paper covers 4 fr., in boards 5 fr. Explanatory
labels are attached to many of the exhibits. Large selection of photo-
graphs for sale. Sticks and umbrellas must be given up (no fee).
The entrance is at No. 14, Rue du Sommerard, adjoining the
new square of the Sorbonne. We enter the enclosed court by a large
gate or by a vaulted postern, both adorned with sculpture. The main
building and projecting wings have Gothic windows with stone mul-
lions, an open-work parapet, and graceful dormer-windows. In the
middle of the facade rises a short and massive tower. The left wing
has four large Gothic arcades. In the right wing is the entrance to
the garden (p. 238). The door of the museum is at the right corner
of the main building.
Ground Floor. /. Room. Railing, panels, chests, and statues
in wood, of different dates. Weights and measures; mortars.
7/. Room. To the right and left of the entrance, Gothic benches
with canopies, now fitted with shelves on which are busts of saints,
statuettes, and small groups of saints in wood of the 15th and 16th
centuries. In the glass-cases, an extensive collection of shoes from
various parts of the world. On the walls are farther wood-carvings.
Between the windows on the right, a marriage-chest of the 16th
cent. (No. 1337). Similar chests on both sides and by the fire-
place. — The stone chimney-piece is adorned with high-reliefs
dating from 1562.
///. Room. Entrance-wall : *709. Large carved altar-piece in
gilded and painted wood, of the end of the 15th cent. ; to the right,
*712. Flemish altar-piece (16th cent.); to the left, 816, 788. Holy
Women and Mater Dolorosa (i6th cent.). In the centre : 1422. Ger-
man Gothic candelabrum, of the end of the 15th cent.; radiating
frame with miniatures and reproductions of prints of the 'Couronne
S' M 1 (• h o 1
V XL i\ X n '1 P ^ 1^ H
9. MUSfiE DE CLUNY. 231
de LumiSre' of Aix la Chapelle (12th cent.). By the windows on
both sides: medals. On the other wall: no number, *Altar-piece,
larger than and as fine as that opposite; to the right, 715. Calvary,
triptych in carved wood (i6th cent.); to the left, *710. German
triptych in carved wood, painted and gilt, of the end of the
15th cent., upon a French credence of the 15-16th centuries. Sev-
eral fine Gothic cabinets.
IV. Room. Furniture of the 16th and 17th centuries. Medals and
counters relating to the history of France and Paris ; small plaques
and medals of the 15-16th centuries. The chimney-piece, with a
bas-relief representing Actaeon changed into a stag, dates from the
16th century.
V. Room. Collection Audeoud, presented to the museum in
1885. This consists of Italian and Spanish works of art of the 17th and
18th cent., amongst which we first notice a Presepe or Crib, com-
posed of ai)Out 50 statuettes in rich costumes, with expressive faces
and well arranged (Neapolitan, 17th cent.). In the corner to the
right is a similar but smaller work. Then a large glass-case con-
taining painted statuettes and groups of the Massacre of the Inno-
cents and the Last Supper, etc. At the back, richly sculptured and
gilt Tabernacle, from the top of an altar, a Spanish work of the
17th century. Carved, inlaid, and painted furniture. Richly framed
mirrors. Portions of a Spanish bed; leathern hangings.
Corridor. Italian paintings (14- 16th cent.); panels from a
Spanish altar-piece of the 15th cent.; another altar-piece of the
same date and provenience.
VI. Room (on the right), lighted from the roof, with a door to
the Thermes (p. 237 ; to the left), and, like the following room, sur-
rounded with a gallery , which is accessible from the first floor
only. Sculptures, es-pechWy religious statues, bas-reliefs, and orna-
ments. By the entrance. Virgin and St. John at Calvary, Flemish
works (15th cent.). In the centre, several figures of the Madonna and
of saints (14-15th cent.); Virgin at Calvary (16th cent.; painted);
Angel of the Annunciation, a Pisan work (14th cent."). To the
right, monuments of the Grand Masters of the order of St. John of
Rhodes. By the walls, several altars of the 13-1 5th cent. ; statues
and alabaster-reliefs of the 14th century. On cabinets to the left,
interesting groups and statuettes, including a Coronation of the
Virgin (15th cent.), five *Statuettes of mourners from the tomb of
Philippe le Hardi, by Claux Sluter, at Dijon (end of 14th cent.),
and a marble Presentation in the Temple (14th cent. ; No. 485).
Above, tapestries of the 15th century.
VII. Room^ to the left of the corridor, opposite R. VI. GaUery, see
above. On the walls are three admirable pieces of *Flemish tapestry,
of the beginning of the 16th cent., belonging to a series often pieces,
representing the history of David and Bathsheba. In the glass-cases,
ecclesiastical vestments and ornaments, lace, antique stuffs, girdles.
232 .9. MVStE DE CLUNY.
Around are interesting sculptures : to the right of the entrance,
282. Astronomy, 284. Grammar, on a frieze in high relief; farther on,
*460. Flora, a caryatid (all these of the 16th cent.); *448. Marhle
group of the Fates, attributed to 0. Pilon, with a relief of the school
of Jean Goujon on the pedestal; *251. Madonna and Child (I6th
cent.). To the right of the door to the next room, 449. Ariadne
deserted (16th cent.); 466. Sleep; 450. Venus and Cupid, hy
J. Cousin. Then, 453. Bearing of the Cross, 454. Entombment, 455.
Ascension, three bas-reliefs of the 16th century. — On the other
side of the doorway : 479. Entombment, an Italian work of the 17th
cent. ; 457. Christ appearing to Mary Magdalen, Flemish high-relief
of the 16th century. In front of the door are two radiating frames
with specimens of textile fabrics. Hanging from the ceiling, Vene-
tian lantern (16th cent.).
VIII. Room. Continuation of the tapestry, ecclesiastical vest-
ments, lace, etc.; *Draperies, mantles, and collars of the Order of the
Holy Ghost, founded by Henri III. in 1579 (comp. p. 138). In the
centre, *Lantern of a Venetian galley (16th cent.); two handsome
monolithic columns (16th cent.) supporting two statues (15th cent.).
To the right of the entrance : 463. Queen of Sheba ; 494. Genius
from a tomb, by O. Pilon or Giac. Ponzio ; bas-relief from the
Chateau d'Anet; 493. Shepherd. To the left of the entrance: 487.
Venus and Cupids (17th cent.); 735. Gilded wooden statuette, a
German work; 462, 464. Judgment of Solomon ; Virgin in high relief
(No. 273) and other sculptures of tlie 16th cent.; 291. Portion of a
chimney-piece by C. de Vriendt. At the end, sculptured fragments
from the old Hotel de Ville.
IX. Room. Sumptuous State Carriages of the 17th and 18th
cent., sledges, rich trappings, Sedan chairs.
First Floor. We return to the corridor between Rooms VI.
and VII. and ascend a wooden staircase with the arms of Henri IV.,
formerly in the Palais de Justice.
In the Corridor are weapons and suits of armour.
1st Room, to the left. French, Flemish, German, and Dutch Fayence^
Porcelain, and Earthenware of the 16 -18th centuries. 1st Glass
Case, to the left : French fayence and glazed earthenware. 2nd Case
(opposite): Porcelain from Dresden, Vienna, Ludwigsburg, and
Frankenthal. 3rd Case: Earthenware from Germany and Limburg.
Beside it, two charming terracottas by Clodion (1783). 4th Case:
*Palissy and Oiron fayence (16th cent.). 5th Case (opposite):
Fayence from Lorraine ; other works by Clodion ; 1303-6. Medallions
of Franklin and others by Nini, of Nevers ; statuettes, etc. 6th Case :
Specimens from Sceaux, Paris, Niedervillers, Strassburg, Marseilles,
Alcora (Spain), and Moustiers. 7th Case : *Rouen. 8th Case : Nevers.
9th Case: Rouen and Sinceny. 10th Case: Dutch fayence (Delft).
11th Case: Aprey and Lille. 12th Case: German fayence. Tiles.
2nd Room, opposite. Magnificent collection of ^Italian Fayence
9. MUSEE DE CLUNY. 233
of the 15-18th cent., classed according to schools, iu eight glass
cases. From right to left: Case I. Faenza; II. Caflaggiolo and
♦Deruta; III. *Deruta ; IV. *Gubbio (majolica) and Castel Durante;
V-VII. Urbino ; VIII. Venice, CasteUo, and Castelli. — Above and
beside Cases VI and VII are bas-reliefs in painted terracotta by
Luca della Robbia and his school (15th cent.).
3rd Room (to the right of II. 1). *Tapestries of the 15th cent, ;
those in the lower row are known as the 'tapestry of the lady and
the unicorn'; those above represent the history of St. Stephen and
the discovery of his relics. Fine carved chimney-piece (legend of
tlie Santa Casa of Loretto) and ceiling from a house in Rouen (IGth
cent.). Handsome oaken doors. Works in Gold, Silver, Glass, and
and ^Enamel (chiefly from Limoges ; comp. p. 138).
Case 1, near the windows: *Ecclesiastical work in gold, reliquaries,
book-covers, crosses, croziers, etc., with champleve enamels (12-13tli cent.j.
— Case 2: *Limoges enamels (15th cent.) by the Penicauds; *4578. Calvary,
by Nardon Pinicaud (1503); 4576. Pieta, by Monra,rnti, the earliest master
kuuwn by name. — Case '6: "Limoges enamels (16-17th cent.); 4617-4630.
Large oval medallions representing scenes from the Passion (1557) •, 4579.
Eleanor of Austria, wife of Francis I., and portraits (on each sidej of the
Duke and Duchess of Guise, all hy Ldonard Limousin; 4591, 4593-96, 4603,
4611, 4612. Cups, plates, and writing apparatus, hy Pierre Reymond, Jean
Courieys, F. O. Mouret, etc. — Case 4: '4589. Piciiquary of Catherine de
Medicis (by Martin Didier'!), and upwards of thirty smaller enamels, by
Pinicaud, Courteys, Limousin, Couly Noylier, Suzanne Court, etc. — Case 5:
4639-54. Sixteen scenes from the life of the Virgin and the Passion, hy P.
Reymond. Enamels by P. Courteys, the Laudijts, and the jVoyliers. Above,
4610. Enamelled plate (.Judgment of Paris), by /'. Revmond; 4090. Pope
Clement Vil., by Couly XoyUtr {■;)■, 4606. 'Plat de ]Moi3e\ by P. Pinicaud ;
large plaques by M. Didier.
In the two cases in the second row: German loving cups and a lamp
from a mosque (13th cent.); Italian gla.ss, gilded and engraved (14th cent.) :
Then a collection of wood carvings from cabinets. At the back two other
cases with glass; in the case to the right, Venetian glass: 4779-4782. Plates
(16th cent.), with paintings of Psyche and Proserpine, Delilah and Sampson,
.Tunc and Isis, Birth of Bacchus. In the case to the left: French glass!
Between these cases: 'Venetian marriage-chest (16ih cent.); 'German altar-
piece in beaten copper (12th cent.), and two candelabra from Limoges
(13th cent.). On the wall, nine large plaques of enamel on copper, re-
presenting divinities and allegorical subjects, by Pierre Courteys, brought
from the old Chateau de Madrid in the Bois de Boulogne (p. 161). These
are the largest enamels known (5 ft. 6 in. x 3 ft. 4 in.). Beside the doors
are interesting cabinets and statues of the 15-17th centuries.
4th Room. *Hispano- Moorish Fayence with metallic glazing
(14-17th cent.) and *Rhodian Fayence of the same period, made
by Persian workmen. A few bronze vases are also placed here. In
the windows, old stained glass.
5th Room. Objects illustrating the Jewisli religion (the gift of
Baroness Nathaniel Rothschild): furniture, goldsmith's work, jewels.
MSS., embroideries. The chimney-piece dates from the 15th century.
6th Room. Case 1 : Musical instruments, psaltery, mandolins,
'kits or pocket-violins used by dancing-masters, violin by Amati.
Case 2: Collection of caskets. By the wall : in the centre, Florentine
cabinet, with costly mosaics (17th cent.) -. Flemish cabinet (16th cent.) ;
234 9. MUS^E DE CLUISY.
three Italian writing-taWes inlaid with tin (all of the 18th cent.);
and a * Venetian Cabinet of the 16th cent., representing the facade
of a palace, adorned with plaques of ivory and mother-of-pearl,
paintings, and bronze-gilt statuettes. Near the windows, Cabinets
of the 16th century.
7th Boom. Flemish cabinets of the 17th cent. ; two ancient Chin-
ese vases in cloisonne enamel. The ceiling-painting was executed
in the 17th century.
8th Room. State-bed of the time of Francis I. (16th cent.); to the
right and left, 1431, 1432. French cabinets (16th cent.). — To the
right of the chimney-piece : 1424. Cabinet from Clairvaux Abbey,
time of Henri II. (16th cent.). — Opposite the windows : 1426, 1425.
Cabinets (16th cent;). Central glass-case: MSS. with miniatures
of the 13-16th cent., including portraits of Columbus (No. 1817)
and Palissy (1818). Above, statuettes; 743. Wooden figure of the
Virgin (15th cent); *855. Wood-carving representing two women
fighting. At the 1st window, moulds for pastry (16-18th cent.). At
the 2nd window: tobacco-graters (17th cent.) in carved wood; sets
of draughtsmen, ivory snuff-boxes, pepper-boxes, nut-crackers
(16-17th cent.).
9th Room. Works in Ivory. — 1st Glass Case to the right:
1081. Italian triptych of the 14th cent., with bas-reliefs of scenes
from the Gospels; no number, German hunting-horn (llth cent.);
to the left, 1058. Pastoral staff in boxwood and ivory (13th cent.);
to the right, 1088. Fragment of a triptych of the 14th cent. ; no
number, book-cover (9th cent.). — 2nd Case on the right: 1042,
1041. Plaque carved on both sides with mythological and Christian
scenes (iO-llth cent.); 1033. Book-cover (10th cent.); no number,
*Plaque of a consular diptych (5th or 6th cent.) ; 1039, 1048. Reliefs
of the 10th and of the ll-12th cent.; to the right, 1035. Marriage
of Emperor Otho II. and Theophano, daughter of the Greek emperor
Romanus II., in 973; 1033, 1034. Fragments of boxes of the
6th cent.; no number. Byzantine casket (9th cent.), Latin plaque
of the 6th cent. ; 1036 and no number. Plaques of the 17th cent-
ury. — Large Glass Case: 1052. Reliquary of St, Yved in ivory,
12th cent.; 1037. Madonna, 10th cent.; six Madonnas, 12th, 13th,
14th. and 17th cent. ; 1106. St. Catharine, 15th cent.; 5296-97. Two
lions' heads of rock-crystal, 3rd or 4th cent., found in a tomb on the
Rhine, together with an ivory statuette (1032) with the attributes
of several deities (between the lions' heads). At the back : 1087.
Madonna (14th cent.); 1060. Reliquary with 51 bas-reliefs of Scrip-
tural subjects (14th cent.); 1090. Coffer of the same style and
period ; several other coffers ; portable altar (German ; 15th cent.),
with ivory carvings of the 12th century. — 1st Glass Case to the
left : Powder-horns , graters , snuff-boxes , knives and forks with
ivory handles (17th cent.). 2nd Case to the left: Wax medallions
and medals. — On the side next the entrance, 1461, 1462. Carved
9. MUSfiE DE CLUNY. 235
ebony cabinets of the 17th cent, and portions of others of the same
period (others opposite). Case between the cabinets: Ivory carv-
ings and wooden statuettes ; no number, Adam and Eve, by Franche-
ville (? 17th cent.); to the right, 1153. Figure resembling the Man-
neken Pis at Brussels and by the same artist, Duquesnoy (1619).
1113. Virtue chastising Vice, attributed to Oiovanni da Bologna,
on a round pedestal of the 19th cent.; below, 1056, 1057. Venetian
coffers (13th cent.). — First window towards the garden: Carved
distaffs and spindles (16th cent.) ; girdle of chastity. Between the
•windows and by the back -wall: 1458, 1457. Ebony cabinets
(17th cent.). In the adjoining glass-cases, statuettes, busts, medal-
lions, ivory carvings of the 16-18th centuries. — First window
towards the court: Parcel -gilt plaques from a coffer of the late
15th cent. ; several other plaques in ivory (14-15th cent.), some per-
forated and of great delicacy, e.g. 1177. Diptych of the 17th cent.,
with tablets no larger than a nutshell, containing 102 figures. Be-
tween the windows, on the right: 1079. Oratory of the Duchesses
of Burgundy, 14th century. — Second window : in the centre, no
number. Fine triptych in high-relief (14th cent.); 1062, 1063-66
(to the right). Scenes from the Passion and legends of martyrs
(14th cent.) ; to the right and left, leaves of diptychs of the 14th and
15th cent., with Biblical scenes ; 1055, 1069-73. Boxes with mirrors
of the 14th century.
10th Room. Works in iron, locksmith's work, bronzes.
Case 1, on the side next the court: Locks, knockers, etc. (15-17th cent.);
iron coflfer inlaid with gold and silver (17th cent.). — Case 2 : Locks, flat
bolts, etc. (14-l?'th cent.) — Case 3, by the end-wall: Keys. — Case 4
(above Case 3): 5708. Stirrups of Francis I.; 5003, above, Statuette of
St. Catharine of Bologna (17th cent.); censers. — 1409. Credence-table of
the 16th cent.; above, no number, Bronze Statuette of Joan of Arc
(1412-31). 5114. Florentine mirror mounted in damascened iron (16th cent.).
— Case 5: Huntsman's kit of knives and instruments (16th cent.). — Case
6 (above): 5189. 5190. Pewter ewer and basin, by Fr. Briot; 5131. Silver
ijoblet (16th cent.) in the shape of a lady in the costume of the period. —
Case 7, on the side next the garden: Locks, bolts, and knockers (16th cent.).
— Case 8: Small plaques; bosses from horses' bits (16th cent.); cork-
screws, pincers (17-l-5th cent.). — Case 9. 6599. Double girdle of cha.stity
(Italian). — On a credence-table of the I6th cent.: 1271. Italian relief in
iron of the Wise Virgins (16th cent.). — Case 10: 'Locks and 'Keys of the
16th cent. (2nd key to the right in the first row made by Louis XVI.). —
Cases 11 (t 12: Statuettes and other bronzes. — Case 13, in front of tho
chimney-piece: Iron coflers. To the right, bronze measures. To the left:
Italian andirons (16th cent.); serpents of the 17th century. — Case 14:
Bronze knockers; bolt and lock of the 15th cent.; 6126. Penitential belt.
At the sides of this case : Bell-metal font from a church near Hamburu
(14th cent.); leaden baptismal basin (14th cent.); hmge-t)rnaments froui
Notre Dame; roasting-jack; smoothing irons. Italian celestial globe (1502).
'Goldsmith's bench and tool.*', German work of 1565, inlaid and carved,
the iron portions delicately engraved. 6054. Large and handsome chest in
forged iron (17th cent ). Hanging from the roof. Lantern of the 16th cent.,
with the arms of Lorraine. — The chimney-piece dates from the 16th
century,
11th Room. *Objects in the precious metals. Case to the right
of the entrance next the garden : Large collection of spoons, forks.
236 9. MUSEE DE CLUNY.
knives, scissors, cases of instruments of various kinds, of the
16-17th cent.; 5129. Mirror (closed) of the 16th century. Next
case: Church ornaments of the 13-17th cent., including 5014. Re-
liquary in the shape of a Madonna, in beaten and gilded silver (15th
cent.), and four other reliquaries of the same period. Following
case: Various objects in gold and other precious metals, partly
enamelled; snuff-boxes, etc. 5278. Portrait of Francis I. On the
wall: 5068. Abbot's crozier, 16th cent.; 5069. Crozier of the 17th
cent. ; 5070. Processional banner (i5th cent. ), representing a 'mir-
acle of the Host' that occurred at Paris in 1290 ; 5066. Crozier of the
14th century. On the same wall and opposite, Six pieces of Flemish
tapestry, of the beginning of the 16th century.
Central cabinet: **4979-87. Nine gold crowns, found at Guar-
razar near Toledo in 1858 and 1860, the largest of which , inlaid
with pearls. Oriental sapphires, and other jewels, is said by the in-
scription (probably added when the crown was converted into a
votive offering) to have belonged to the Visigothic king Recceswind
(649-72). — 1st Glass Case on the left, next the garden : *5005.
Golden rose of Bale, presented by Pope Clement V. to the Prince-
Bishop of Bale (14th cent.); 5016, 5017. Reliquaries of the same
treasure, 15th cent. ; 5029, 5021, r)022. Reliquaries and monstrances,
also of the 15th century. — 2nd Glass Case on the same side : 5042.
Large double cross in gilded copper, forming a reliquary, richly
decorated with filigree- work and jewels, a valuable Limoges work of
the 13th cent. ; *5044. Processional cross, in silver, gilded, engrav-
ed, and enamelled, with statuettes at the ends representing the
Virgin, St. John, St. Peter, Mary Magdalen, etc., a very interesting
Italian work of the 14th cent.; 5043. Archiepiscopal cross in silver-
gilt filigree, lavishly enriched with jewels, pearls, and antique cut
gems, and containing eight small reliquaries (Limoges, 13th cent.);
5025, 5026. Italian shrines (15chcent.); 5007. Italian reliquary
(14th cent.); no number, Italian monstrance (15th cent.).
By the first window : to the left, *5104. Ship in gilded and enam-
elled bronze, with movable figures of Charles V. (in gold) and his
dignitaries, a piece of mechanism executed in the 16th century. —
Glass Case : *5299. Chess-board with men of rock-crystal, a German
work of the 15th cent. ; other objects in precious metal or gems,
chiefly of the 15-17th centuries. — Between the windows: Silver
ornaments of the 15th and 17th cent. ; German drinking-horn (15th
cent). — By the second window : Gallic torques and other objects,
in massive gold, found near Rennes in 1856; 4989. Merovingian
military ornament, in gold (end of a sword-belt): 4990. Merovingian
scabbard, mounted in gold; 1040. Cover of a book of the Gospels,
ivory with gold filigree, 10th cent. ; 5076. Silver clasp, gilded and
enamelled, a German work of the 14th cent. ; no number. Coffer in
silver-gilt filigree work, embellished with pearls and gems; 5041.
Double cross, in silver-gilt, adorned with precious stones, filigree
9; THERMES. 237
work, and reliefs (13tli cent.), *6103. Prize for erossbow-shootiDg.
in silver-gilt, embossed and chased (German, 16th cent).
Glass Case by the end- wall : French seals, with coats-of-arms
(17-18th cent.). *4988. Golden antependium presented by Emp.
Henry II. (d. 1024) to the cathedral of F.ale, 3 ft. high and 51/2 ft.
wide, with embossed reliefs, a most interesting specimen of the
goldsmith's art, probably executed by Lombard artists under By-
zantine influence. The tapestry and carpet also come from Bale
(16-17thcent.).
In the adjoining case, next the garden : Astrolabes, compasses,
clocks of the 16-17th cent. ; set of instruments of a German archi-
tect of the 16th century. — Next case: Covers of a Gospel; Last
Supper in chased and gilded copper with enamels, Limoges work of
the 12th and 13th cent. ; vessels used as hand-warmers (13th and
16th cent.l; opposite the window. Reliquary of St. Anne, by Hans
Greiff, a famous Nuremberg goldsmith (1472); abbots' croziers
(12 -14th cent.). — Case by the window: Watches of the 17th
and 18th cent., girdles, chains, ornaments, collar of the order of
the Holy Annunziata.
We return to Room 8. On the right is the —
12th Room. State-bed (17th cent.). To the left, English astro-
nomical clock (17th cent.). On the chimney-piece: 937. The
Child Jesus in an attitude of benediction, a statue by Duquesnoy.
At the window: Collection of book-bindings (16-18th cent.).
We next enter the rich Gothic *Chapel, which is borne by a
pillar in the centre. To the left, Large Flemish altar-piece, 15th
century. Opposite, Gothic chairs and stalls. On the site of the altar,
in a projecting apse, Large wooden reliquary (15th cent.). In front,
large copper reading-desk. At the end: Christ, a wooden statue of
life-size, 12th cent.; statues of the Virgin and St. John, from an
Italian 'Calvary', 13th cent.; wooden doorway (15th cent.).
From this chapel a staircase descends to a small garden-cnurt, afifording
a view of the exterior of the chapel-apse. Immediately to the left, at the
foot of the staircase, is a door leading into K. VI (p. 2^3), from which the
Thermes are entered.
The Thermes, or ruins of the baths once belonging to the an-
cient palace of the emperors (p. 229), are on the side adjoining the
Boul. St. Michel. The fact that the largest hall, which was the
Frigidarium, or chamber for cold baths, is 65 ft. in length, 37^/2 ft-
in breadth , and 59 ft. in height , will serve to convey some idea
of the imposing dimensions of the ancient Roman palace. The archi-
tecture is simple, but the masonry is so substantial that the weight
and moisture of a garden whicli lay above it for many years down
to 1810 have left it uninjured. The vaulting is adorned with ships'
prows, in allusion to the fact that Lutetia lay on a navigable river,
whence the modern armorial bearings of Paris are said to be derived.
A number of the Roman antiquities found at Paris are preserved
here, but they will not interest ordinary visitors. To the left is a
238 9. SORBONNE.
statue of the Emp. Julian (comp. p. 92). Opposite, in the lower
part of the hall, originally occupied by the piscina or swimming-
hath, is a mosaic of the Gallo-Roman period. The Tepidarium, or
warm bath, was in the part adjoining the boulevard, now destitute
of vaulting.
The * Garden^ or Square Clunp, the only entrance to which is through
the court of the 'hotel' (p. 229) contains interesting mediseval sculptures
and architectural remains, including a large Romanesque portal from the
Benedictine church at Argenteuil. Facing the Hotel de Cluny is a cast of
the fine 31 douna of Xotre-Dame at Paris.
About 3U0 yds. beyond the Hotel Cluny, the Boul. St. Germain reaches
the Place Maubert, with a monument to Etienne Dolet (p. 245).
III. FROM THE MUSEE DE CLTJNY TO THE PANTHEON.
Sorbonne. College de France. Bibliotheque Ste. Genevieve. St. Etienne-
du-Mont.
Opposite to the entrance of the Hotel de Cluny is the small
Square de la Sorbonne, laid out in 1899 and containing a group of
sculpture (Tro Patria Morituri') by T. Noel. Beyond, in the Rue
des Ecoles, rises the facade of the new Sorbonne (see below).
The Sorbonne (PI. R, 19; F) , a building erected in 1629 by
Cardinal Richelieu for the Theological Faculty of the University of
Paris, is now mainly devoted to the Faculties of Literature and
Science (des Lettres et des Sciences). The two other faculties belong-
ing to the university (jurisprudence and medicine) occupy separate
buildings (pp. 240, 229).
The Sorbonne was originally a kind of hostel founded by Robert de
Sorbon, the confessor of St. Louis, in 1253, for the reception of poor stu-
dents of theology and their teachers; but it soon acquired such a high
reputation that it became the centre of the scholastic theology , and_ its
name came to be applied to the theological faculty itself This establish-
ment has exercised considerable influence on Catholicism in France. While
violently hostile to the Reformation, the Sorbonne was hardly less strongly
opposed to the Jesuits: and for a long period it rejected the authority of
the 'Unigenitus' bull directed against the Jansenists (1713). The faculty
next came into collision with the philosophers of the 18th cent., of whose
witticisms it was frequently the butt, until it was abolished by the Re-
volution.
In 1808 the Sorbonne was made the seat of the 'Universite' de
France' (under which term the French included the authorities who
superintend the education of the whole country), but in 1896 it
once more became the University of Paris, the various provincial
Academies being raised, at the same time, to the rank of independ-
ent universities. The total number of students in the five faculties
is about 12,000, including 3-400 women. The lectures are open to
the public gratis.
Since 1885 the Sorbonne has been practically rebuilt (the
church excepted), from plans by Nenot. The edifice is a vast pile,
270 yds. long and 110 yds. broad, having been considerably ex-
tended to the N. and S. The main part is now on the N., present-
ing a huge facade to the Rue des Ecoles, with two pediments
0. SORBONNE. 239
(Science, by Mercie; Literature, by Chapu) and eight statues:
Chemistry (to the left), by Injalbert; Natural History, by Curlier;
Physics, by Lefeuvre; Mathematics, by Suchetet; History, by Cor-
donnier; Geography, by Marqueste,- Philosophy, hy Longepied ; and
Archaeology, by Paris.
The vestibule on this side contains statues of Homer, hy Delaplanche.
and Archimedes, by Falguihre. In the centre are the principal entrance
and the staircase to the galleries of the great amphitheatre (see below:
shown by the concierge on Thurs. or Sun. afternoons; fee). The upper
vestibule is adorned with mural paintings illustrating Literature, by
Flameng (to the right of the principal door), and Science, by Chartran
(to the left). Flameng's paintino^s represent: Founding of the Sorbonne;
Abelard and his school; Jean Heysselin establishing the first printing-
press at the Sorbonne; Etienne Dolet, Amyot Ronsard, Marot, Eabelais,
Ramus, La BoiJtie, Brantome, Budajus, L'Estoile, and Montaigne; Riche-
lieu laying the foundation of the Sorbonne chapel; the Rector of the
Sorbonne and Henri IV.; Moliere, Racine, Lafontaine ; La Rochefoucauld,
Rollin, principal of the College de Beauvais (at Paris); Quinet. Villemain,
Guizot, Michelet, Cousin, and Renan. At the side, a statue of the Republic,
\>Y Delhomme. Chartran's paintings, also beginning at the door, represent:
Louis IX. studying mathematics; Ambroise Pare tying arteries; B. Palissy
teaching mineralogy; Buflfon writing his 'Histoire Naturelle'; Pascal ex-
plainin;; to Descartes his theories of atmospheric pressure; Lavoisier
expounding his pneumatic theory to Berthollet; Cuvier studying anatomy;
Laennec, inventor of the stethoscope; Arago teaching astronomy. — The
Large Amphitheatre^ which holds 3500 persons, is frequently the scene of
meetings and public functions. It contains six statues: Sorbon by Crauk\,
RictiClieu by Lamon^ Descartes by Couian, Pascal by E. Barrias, Rollin by
Chaplain, and Lavoisier by Dalou. The end of this hall is decorated with
a large allegorical 'Tainting ('The Sacred Grove") by Puvis de ChavanneSy
the painters masterpiece and perhaps the finest decorative painting of
modern times (in the middle the Sorbonne to the left the Historic Sciences,
to the right the Exact Sciences). The cupola is by Oalland. The other
rooms (not shown to the public) have paintings by Wencker^ Benj. Constant^
Lerolle, Cazin, Jobbi-Duval. Lhermitte, Roll, and liaph. Collin.
The Church of the Sorbonne, the usual entrance of which is
in the Place de la Sorbonne, is the only part of the original building
that has been preserved. It was built by Card. 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), minister of Louis XVIII.
The right transept contains the History of Theology, a large picture
by Timbal, and the marble *Tomb of Cardinal Richelieu (d. 16-4'2),
designed by Le Brun, and executed by Girardon in 1694. The car-
dinal is represented in a semi-recumbent posture, supported by
Religion, while Science sits by in an attitude of grief. The last
statue has been particularly admired. In the left transept is a
Scourging of Christ, in marble, "by Ramey the Younger. The spandrels
of the dome are painted by Phil, de Champaigne.
Opposite the church of the Sorbonne is the small Place de la
Sorbonne, beyond which, in the Boul. St. Michel, is the Lycee St.
Louis, formerly the College d'Harcourt, founded in 1280.
A little farther on, to the right of the Boul. St. Michel and beside the
Luxembourg Garden (p. 262), is the little Place il^dicis, in which a Siaitie
240 9. PANTTmOT^.
of Fasteur (p. 288j, by Falguiere, Is to be erected. Tiie Eue Sou^lct leads
hence to tbe Pantbeon (see below).
Behind the Sorboniie, in the Rue des Ecoles, is the College de
France (PI. K, 19; 7), founded hy Francis I. in 1530, entirely re-
huilt 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 about
50 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 are a statue otBudaeus
{Bude; 1467-1540), one of the learned founders of the institution,
by M. Bourgeois , and some bronze busts. The marble statue of
ChamjyoUion (1790-1832), the Egyptologist, in the vestibule, is by
Bartholdi.
Farther on, the Rue des Ecoles passes the Square Monge (p. 244j and
ends behind the Halle aux Vins (p. 267), near the Jardin des Plantes (p. 264).
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- Grand (rebuilt by Le Cceur in 1887-96), formerly the Col-
lege de Clermont 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 w'ide and handsome Rue Soufflot, which
leads to the Jardin du Luxembourg (p. 262) and to the Pantheon.
The *Pantheon (PI. R, 19, V; admission, see p. 241) 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 removed about the middle
of last century. The present edifice, designed in the classical style
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, 'Amx 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
9. PANTHEON. 241
more consecrated in 1851, it was finally secularised in 1885 for the
obsequies of Victor Hugo.
Admission. The Panthdon is open daily, except Men., 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), for which
applicition should be made in writing. The vaults are open to the public
on All Souls" Day (Nov. 2nd), but are then uvercroA ded.
ExTBRioR. The edifice is of most imposing dimensions, and its
form is that of a Greek cross, 370 ft. long and 276 ft. wide, sur-
mounted by a dome 272 ft. in height and over 75 ft. in diameter.
The dome rests on a lofty cylinder or drum enclosed by an open
Corinthian colonnade, and is crowned with a lantern. A huge
colonnade consisting of twenty -two fluted Corinthian columns,
81 ft. in height, resembling that of the Pantheon at Rome, forms
the portico, to which eleven steps ascend. The tympanum, 117 ft.
long and 23 ft. high, contains a fine *Group of sculptures by David
(V Angers (d.l856), illustrative of the inscription mentioned above.
The principal figure, 16 ft. in height, represents France, between
Liberty and History, distributing wreaths to her sons.
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 eacb 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. 242). The paintings in the spandrels, by Carvalho,
after Oerard, represent Death, France, Justice, and Glory.
The decoration of the Panthe'on was originally entrusted to Paul
Chenavard of Lyons, but his cartoons (1848-51), now in the Lyons
picture-gallery, were never executed. The mistake was then made
of giving the commission to various artists of very diverse tenden-
cies 5 and the natural result is a sad want of harmony in the general
effect.
Beside the principal door are statues of St. Denis, hy'Perraud,
and St. Remigius, by Cavelier. On the wall of the nave, to the right,
Preaching of St. Denis, by Galland; *Childhood of Ste. Genevieve, by
Puvis de Chavannes (1877). On the left, Martyrdom of St. Denis, by
Bonnat; Attila on the march to Paris, and Ste. Genevieve encourag-
ing the Parisians during the approach of Attila, by Delaunay (d.
1891) and Coiircelles- Dumont. Above these and the following paint-
ings are smaller compositions, more or less related to the lower
Baedekee. Paris. 14th Edit. 16
242 9. PANTHEON.
scenes (here, French saints). At the first pillars, to the right and
left, statues of St. Germain, by Chapu , and St. Martin, hy Cabet
and Becquet. Right transept : Coronation of Charlemagne, and Char-
lemagne as restorer of literature and science, by H. Levy ; 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 Jos. Blanc. To
the light of the choir, Death of Ste. Genevieve, by J. P. Laurens,
and a statue of the saint, by GuUlaume. By the pillar, statues of
St. Gregory of Tours, by Fr'miet, and of St. Bernard, by Jouffroy.
Paintings on the left side, by Puvis de Chavannes: Ste. Genevieve
bringing provisions to the beleaguered Parisians; *Ste. Genevieve
watching over the sleeping city (1898). In the apse is a model
of a curious colossal statue of Liberty by Falguitre. On the vault
is Christ showing to the Angel of France the destiny of her people,
a mosaic by Hebert. Left transep*;: St. Louis as a boy, as ruler,
and as captive of the Saracens, by Cabanel. To the right: Joan of
Arc at Domremy, before Orleans, at Rheims, and at the stake in
Rouen, "by Lenepveu; at the end. Prayer, Labour, Patriotism, De-
votion, by Humbert, and a piece of tapestry, 'Pro Patria'. — By the
pillar, statues of St. Jean de Matha, by Hiolle, and of St. Vincent
de Paul, by Falguitre.
The Dome (adm. by order only, see p. 241) 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 painting in the second section , executed by Gros, 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 magnificent view of the city and environs,
but less interesting than tbat from the Tour St. Jacques or Notre-Dame, as
its position is not so central.
The entrance to the Vaults (Caveavx), 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, v^^ho fell in 1793 by the hand of Charlotte
Corday; but their bodies were afterwards removed by order of the Con-
vention.
To the right of the entrance is a monument, in poor taste, erected to
/. J. Rousseau (1712-1788). On the other side, to the left, is a monument
to Voltaire (1694-1778), with his statue after Houdon. — Opposite Voltaire's
tomb is that of Souffloi (1713-1781), the architect of the Panthe'on, 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 Camoi
(1753-1823), 'organizer of victory', member of the Convention, and those of
President Carnot (1837-1894). General Murceau (1769-1796), La Tour d'Auvergne
(1743-1800: the biave soldier who refused promotion and was named by
Napoleon 'the first grenadier of France"), and Baudin (1811-1851), represen-
tative of the people (p. 208). On the other side are the tombs of Victor
Hugo (1802-55), Marshal Lannes (1769-1809), Lagrange (1736-1813), the mathe-
matician, Bougainville (1729-1811), the circumnavigator, and a number of
senators of the First Empire. In these vaults a remarkably loud echo may
9. BIBLIOTHfcQUK STE. GENEVlfeVE. 243
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 Pantheon, to the left, are the Mairie
of the 5th Arrondissement, erected in 1849, and the bronze Statue of
J. J. Rousseau (1712-1778) , by P. Berthet, erected in 1889. On
the right are the old buildings of the Ecole de Droit (p. 240), begun
by Soufflotin 1771.
A little to the left, in the Rue d'Ulm CNo. 45), is the Ecole Normale
Sup4rieure (PI. G, 19; F), founded in 1794 for the training of teachers for
the 'lyce'es'. 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. — Xot far off is the Val-de-Grace (p. 28o). — A visit to the Rue
Mouffetard and other parts of the poor quarter to the S.E. of the Panthe'on
may be recommended to levers of Old Paris.
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 was founded by Cardinal de la Rochefoucauld in
1624 in the Abbey of Ste. Genevieve, and greatly augmented by the
library of Cardinal Le Tellier, archbishop of Rheims, in 1710. The
library now contains 2392 MSS. (on the lower floor), of the Uth
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 Baize,
of EaphaeFs School of Athens in the Vatican. At the sides are allegorical
medallions (also by Baize), and busts of La R<ichefoucauld and Labrouste.
At the entrance to the hall is a line piece of Gobelins tapestry, Study sur-
prised by night, after Baize.
The 'Reading Room (Salle de Lecture) on the first floor, is very skil-
fully constructed. The vaulting is borne by seventeen iron girders, sup-
ported in the centre by sixteen slender columns; and 420 readers can be
accommodated. It is open to the public daily, except in the vacation (Ist
to 15th Sept.), from 11 to 4, and from 6 to 10 p.m. ; in the evening it is
frequented almost exclusively by students. On the tables to the right are
about 3()0 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 ; F), a late-Gothic church,
the choir of which was begun in 1517. The incongruous Renaissance
16*
244 9. ST. ETIENNE-DU-MONT.
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 *IxTERioE, perhaps the finest of all the churches of Paris,
consists of a nave and aisles of almost equal height. Slender round
pillars, twelve on each side, united by a gallery halfway up, bear
the lofty vaulting, from which spring the ribs terminating in pendent
keystones. The choir is separated from the nave by a *Ju6e, or
rood-loft, of exquisite workmanship, by Biard [1600-05), round the
pillars of which two graceful spiral staircases ascend. — The Pulpit,
hy Lestocart, from designs hy Lahire (d.l655), is borne by a Samson,
and adorned with numerous statuettes. — The admirable stained
glass (restored) dates from the 16th and 17th cent.; the finest is
ascribed to Pinaigrier (1568).
The 5tli Chapel on the right contains a 'Holy Sepulchre' with lifesize
figures in terracotta, dating from the end of the 16th century. Farther on,
to the right, on the wall of the choir-ambulatory, are three large pictures,
two of them being votive ofl'erings to Ste. Genevieve presented bv the citv,
by Largillih-e (1696) and De Troy (1726). and the third, the Stoning of S't!
Stephen, by Abel de Pujol. — The 2nd Chapel on the same side contains
the Tomb of Ste. Genevieve (p. 240), with a sarcophagus, which is said to
date from the period of her death, but is probably not earlier than 1221.
On the fete of Ste. Genevieve (3rd Jan.) numerous worshippers flock to
St. Etienne-du-Mont.
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 Lyce'e
Napole'on), 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 da Ecossais (Scots College), the great seat
of Scottish continental learning from the 14th cent, and latterly a
centre of Jacobite influence. The building, dating from the 17th
cent., is now occupied by the Institution Chevalier, a private school.
The Chapel of St. Andrew, on the first floor, contains the tomb of
the beautiful Duchess of Tyrconnel and a memorial erected by the
Duke of Perth to James II. In an adjoining room are portraits of
Prince Charles Stuart and his brother. Visitors are admitted on
application to the concierge (fee).
Nearly at the back of St. Etienne , to the N.E. , is the Ecole
Polytechnique (PL R. 22 ; F), 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 Hotel de Yille, etc.
10. INSTITUT. 245
A little lower down, to the right of the Rue Monge, is the Ey-
lise St. Nicolas-du- Chardonnet , huilt in 1656-1709. It contains
paintings hy Desgofife and Caret, and the monuments of J. Bignon
(d. 1656), by Girardon, and of the painter Le Brun (d. 1690) and
his mother, by Coyzevox and Tuby. Beyond this are the Boul. St.
Germain and the Place Maubert, where a bronze statue, by Guilbert,
was erected in 1889 to Etienne Dolet^ a printer burned in 1546, iu
the reign of Francis I., for 'impiety and atheism'. The reliefs re-
present Paris restoring Freedom of Thought, and the Arrest and Exe-
cution of Dolet. The inscription on one side reads : 'non Dolet ipse
dolet, sed pia turba dolet'.
The Rue Lagrange leads straight on to Notre-Dame (p. 224), passing
behind St. Julieu-le-Pauvre (p. 229). The Boul. St. Germain leads, on the
left, to the Boul. St. Michel, and, on the right, to the quays near the Halle
aux Vins (p. 267).
10. Quarters of St. Germain and the Luxembourg.
I. INSTITTJT. HOTEL DES MONNAIES. ECOLE DES BEATJX-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; hut 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, 16).
The Pont des Arts (PI. R, 20; IV), 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 both up and down the
river.
The Palais de I'lnstitut (PI. R, 20; IV), 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 facjade 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 tne education of youths from the
newly-acquired provinces of Roussillon, Pignerol, Flanders, and
Alsace , and was named the College Mazarin, but was popularly
known as the Colllge 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 strangers 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.
246 10. INSTITUT.
The Institut de France embraces five different academies : the
Academic Fran^aise^ the Academie 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 Frangaise have honorary , cor-
responding, and foreign members. Each ordinary member receives
a salary of 1200 fr. Vacancies are filled by the votes of the members
in whose departments they occur , subject to the approval of
government.
The history of these ancient coi-porations is not very perspienous.
The oldest is the Academie Fraiigaise, which originated about 1629 in the
meetings of a group of learned men who came together to discuss questions
of literary and scientific interest. It received state recognition from
Cardinal Richelieu in 1634-35. Its main function is to perfect the French
language by the revision of the Dictioiinaire de V Academie^ the publica-
tion of a Dictioiinaire Historiqne de la Langue Francaise ^ and so forth.
Ever since the Regency it has been the highest ambition of every French
author to become one of the 40 members of the Academy and so join the
'Immortals'.
The Academie des Inscriptions et Belles-Lettres^ an offshoot (1663) of the
Acade'mie Francaise, was incorporated in 1701 and reorganized' in 1?03.
It is chiefly deVoted to the study of ancient and Oriental languages and
to •• rcheeological research (inscriptions, coins, monuments, etc.). It publishes
periodical M^ moires.
The Academie des Sciences, founded in 1666, cultivates the study of
mathematics and natural science. Its publications consist of Mimoires and
Comptes-Rendus des Stances.
The Academie des Beaux-Arts, for the promotion of painting, sculpture,
architecture, and musical composition, originated in the Academie Royale
de Peinture et de Sculpture, founded by Le Brun in 1648, and the Academie
Royale d' Architecture, founded in 1671.
At the Revolution the existing Academies were all suppressed (179R)
and replaced by an Institut National, divided into three classes. The first of
these was the Academie des Sciences Physiques et MatMmatiqites ; the second
consisted of the newly founded Academie des Sciences Morales et Politiques,
for the study of philosophy, history, and political economy; the third
comprised the Academie de la Litterature et des Beaux-Arts. In 1805 the second
class was divided into two sections, and the class of Histoire et Litterature
Ancienne (corresponding to the old Academie des Inscriptions) was added.
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 annual meetings of the different
sections take place respectively in 3Iay, July, December, October, and
April. The grand meeting of the five departments combined is held on
25th October. Tickets of admission to this and to the other annual meet-
ings 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 an annual value of some millions of francs.
Thus the Acade'mie Fx-ancaise awards the Prix Montyon (19,0C0 fr.) snd other
good conduct prizes of the aggregate value of 50,000 fr. Another Montyon
prize of the same amount is awarded to the author of the literary work con-
sidered most useful to the cause of public morality. The Prix Oohert
(10,000 fr.) rewards the most eloquent work on the history of France. Tbe
Academie des Inscriptions awards the Prix Gamier (for travelling; 15,(XX) fr.),
the Prix Plot (17,000 fr.), and another Prix Gohert. The Academie des
Sciences awards the Prix Briant (lC0,0l-0 fr.). Ihe Academie des Sciences
10. HOTEL DES MONNAIES. 247
Morales is entrusted with tlie distribution of the five Prix Nobel (each
worth 420,0C0 fr.), for discoveries in physics, chemistry, and physiology,
for 'a literary work of an ideal tendency', and for a work on fraternity,
the abolition of militarism, and the promotion of peace. Other prizes are
given by the different Academics in turn.
The important ^cac?«'/;iie de MMecine, founded in l8i(J, 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 Frix
Audiffret (24,OlO fr. per anntirn), to be bestowed on the discoverer of an
efficacious cure for tuberculosis. This Academy has its present seat at
No. 16 Rue Bonaparte (see p. 252).
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
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 Cyclopean 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 Mtis^e de Mme.
de Cain (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-
ly 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 muaee,
which now contains a considerable number of paintings , sculptures, and
architectural designs.
The Hotel des Monnaies (PI. R, 20; IV), or La Monnaie, the
Parisian Mint, is a large building to the left of the Institut and
near the Pont-Neuf (p. 223), erected in 1771-75 by J. D. Antoine.
The fa(jade , which is 132 yds. in length , and adorned with Ionic
columns, is surmounted by allegorical figures by Le Comic, Pigalle,
and Mo achy.
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-
248 10. ECOLE DES BEAUX-ARTS.
eluding a Chinese coin of B.C. 1700), and another of Medals of various
kinds.
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, afford 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
engraving 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 16 to 22V2 cwt. of metal, worth 160,000 to
240,000 francs. The machines invented by M. Thonnelier are highly in-
genious, sixty pieces of money being struck by each of them per minute,
while the whole of them in operation at once are capable of coining no
fewer than two million francs per day. In the Monnaie are also performed
all the operations of assaying and stamping the gold and silver wares of
the jewellers. The 'Atelier du Monnayage' contains a marble figure of For-
tune, by Mouchy.
Returning to the Institut, we soon reach the Rue Bonaparte, the
second street to the left beyond that building. No. 14 in this street
is the —
Ecole des Beaux -Arts (PI. R, 17, 20; IV), or Palais des
Beaux- Arts, founded in 1648, for the teaching of painting, sculpture,
engraving, gem-cutting, and architecture (open to the public on
Sun., 12-4, 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 ('grands prix de Rome')
in the different departments are sent to Rome at the expense of
government for four years. The works they send home are ex-
hibited here annually in summer. The school has a staff of 40 pro-
fessors, and is attended by upwards of 1250 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 Debret 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, 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-Roraan period down to the 16th century.
These are the remains of the Musee des Monuments founded her(
at the time of the first Revolution by the painter Alex. Lenoir
(d. 1839), and consisting chiefly of tombstones and reliefs rescued
from the ruins of churches and chateaux. In 1816 Louis XVIII.
dispersed the collection , and ordered most of the objects to be
0 It a i M a I a g ^u_aj_s^
■M
cycle
Z BiblioiheqLce il^etagei
3 Salic de Louis XI\^ (l^kcuge-
4 Salle cUi Conseil (I'Fetofle )
a Tetes d'Fzcprcssiun
6 Grraids Pri.'c de Sculpiure
7 Gixuids Pr-Lf de Feinture
v^ et ImjjriTne pai-
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10. ECOLE DES BEAUX-ARTS. 249
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. 119). To
the right is the celebrated and beautiful portal of the Chateau d'Anet,
which was erected for Diana of Poitiers by Philibert Delorme and
Jean Goujon in 1548, by order of Henri II.; it now forms the en-
trance to the old abbey-chapel (see below). At the end is the facade
from Gaillon (p. 250).
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.
In a kind of vestibule are exhibited copies of the frescoes by Oiotlo
in the church of the Madonna dell' Arena at Padua, of a Calvary bj- Fra
Angelica , of the battle of Heraclius against the Persians by Piero della
Francesco , 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 the Bargello 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. Cupid, and other works of Michael Angelo, and of Ohiberti^s doors of the
baptistery at Florence. In the centre : Dying Adonis and Virgin and Child. —
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 Zore«2e«o, and others; Last Judg-
ment of Michael Angela, by Sigalon ; in front of it, cast of the statue of
Gaston de Foix from his tomb, by Bamhaja (1515), and casts of statues at
St. Denis and in the Louvre, that of Daria del Caretto by Jac. della Quercia
(1377-1438). — On the other side, Bas-reliefs, by Jean Gotijon; the Graces,
by Germain Pj7o« (16th cent.. Louvre); heads from the Well of Moses and
statuettes from the tomb of the dukes of Burgundy (Dijon; 16th cent.),
by 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.); female bust of the school ofStrassburg (15th
cent.; original lost); two Madonnas from Notre-Dame at Paris; nnmerous
casts of ivory carvings; fonts from Ilildesheim. In the middle are nu-
merous bas-reliefs: Descent from the Cross, by Niccolb Pisano; behind,
Madonna and Child, by Desiderio da Seitigtiano, and St. Cecilia by Donatello;
at the side, Perseus, ty Ben. Cellini ; behind, Madonna and Child with St. John
and other saints, by Mhio da Fiesole; reliquary from Aix-la-Chapelle ; font
from Siena, by Ghiberli . Donatello, Michelozzo , Giac. della Queixia, and
Turini di Sano; reliquary of St. Zenobius, by Ghiberti; Jliraclos of St. An-
thony, by Donatello; tomb of the children of Charles VIII., finished by
Jean Juste. — Besides the copies of paintings already mentioned: (right)
P. della Fvancesca, Discovery of the True Cross ; Melozzo da Forli. Platina
at the feet of Sixtus IV.; Fr. Penni, Clemency and Justice; Raphael,
Venus, Juno, and Ceres; Poetry, Jupiter, and Cupid. Left, in returning:
Raphael, Sibyls; Mantegna, St. James conducted to martyrdom; Qhirlan-
dajo, Adoration of the Magi; Sodoma, Goths destroying the monastery of
Monte Cassino; Raphael, Sistine Madonna.
The Second Court is separated from the first by part of the fa-
cade of the chateau of Gaillon (p. 403) which was erected in 1500
250 10. ECOLE DES BEAUX-ARTS.
by Guilt. Senault and Pierre Fain of Rouen for Cardinal d'Amboise,
minister of Louis XII. and one of tbe cMef promoters of tbe Renais-
sance in France. It is in a mixed Gothic and Renaissance style,
affording a good idea of tbe character of the chateau, which was
destroyed during the Revolution. 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 Vestibulb 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. At the back,
to the left, an antique statue, the Athena Medici, from the Villa
Medici, a good Roman copy of a Greek work from the time of Phidias.
— 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 Castor and Pollux at Rome (er-
roneously known as the temple of Jupiter Stator). — In the corridor
opposite the entrance to the inner court is the Monument of Duban,
the architect (p. 248), 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 figures (13 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) Romanesque, and Renaissance art. 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. —
The Walters Gallery at Baltimore contains a reduced replica of this work
(see Baedeker's United States).
Opposite the Hemicycle is a large painting by Ingres^ represent-
ing Romulus victorious over Acron, King of the Sabines. — In an
adjoining room, to the left as we quit the Amphitheatre, are casts of
the sculptures of the temples of Zeus at Olympia and Nike Apteros at
Athens, of the statue of Mausolus (now in London), etc.
Next follow a corridor and a gallery, with casts of Greek sculp-
tures. The corresponding corridor and gallery on the other side,
10. ECOLE DES BEAUX-ARTS. 251
also containing casts, are not open to the public. — A staircase, to
tiie right of the entrance to the inner court, ascends to the —
First Floor. 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.
1st Room, or Salle flu Conseil : Portraits; busts; copies of three scenes
from the life of St. Ursula, by Carpaccio (others in the under-mentioned
passage); eight torch-holders in wood (time of Louis XIV.); clock in the
style of Boule. — The following passage contains small copies, and beyond
it is a gallery affording a good survey of the He'micycle of P. Deluroche. —
2ad Room. Copies of paintinK-^, beginning to the left: Van Dyck^ Children
of Charles I. ; Remb>-andt, Soldier of fortune ; Velazquez, Surrender of Breda ;
Correggio , ^fadonna and Child with Mary Magdalen and St. Jerome; P.
Veronese, Venice receiving Justice and Peace 5 Van der Heist, Banquet of
Civic Guards; P. Veronese, Martyrdom of St. George; Poussin , Death of
Germanicus; Velazquez, Olivarez; Turner, Building of Carthage; P. Veronese,
Triumph of Venus (on the ceiling). Also drawings, engravings, photo-
graphs, and busts. Among the last (named frum left to right) are Dubois
by Falguiere, Gi'rome by Carpeaux, Lenepveu by Injalbert, Gamier by
Carpeaux, and Henner by Dubois. — We return to the entrance by the
N. gallery.
On the left side is the Library , open for students only. Per-
mission to use 'it may he obtained by written application to the
Director of the Ecole.
The Vestibule des Ecoles, beside the chapel, contains a Monu-
ment to Ingres, with his bust in bronze, and medallions of Flandrin
and Simart by Guillaume. We next enter the —
CouR Du MuRiBR, with galleries containing sculptures executed
at Rome by former pupils and casts of ancient bas-reliefs. At the
end is the Monument of Henri Reg nault, 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 atPistoja, by Andrea and Luca della Robhia
(15th cent.).
Opposite this wall is another vestibule containing several copies,
next to which is the Salle ue Melpomene , occupied with the
remainder of the Mus^e des Copies and used for the exhibition of
competitive works. On Sun. and on the occasion of such exhibitions
this room may also be entered from the Quai Malaquais (PI. 10). The
rooms on the first floor on this side are also used for exhibitions.
The vestibule next the Cour du Miirier contains copies of six frescoes
by Oiotlo in Santa Maria delT 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; Corregyio, Madonna and Child with Mary Magdalen an.l
252 10. ST. GERMAIN-DES-PRfiS.
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; Ben. 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, 'Dispufa'', 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 (PI. 7) are prize-
works in sculpture and engraving. — Third Room (PI. 8) : prize-works in
painting since the end of the 17th century. — Vestibule next the Quai Mala-
quais: Copies of Michael AngeWs frescoes in the Sistine Chapel at Rome;
casts from the antique and reproductions in marble.
The new Academic de Medecinc (p. 247), by Rochet, is being
erected to the S. of the Ecole des Beaux-Arts.
II. FROM THE ECOLE DES BEAUX-ARTS TO THE LUXEMBOURG.
St. Germain-des-Pres. St. Sulpice.
The Rue Bonaparte leads in 3 min. from the Ecole des Beaux-
Arts to St. Germain-des-Pres (PL R, 19; IV), one of the most
ancient churches in Paris. It belonged to the powerful abbey of
St. Germain, founded in 542 or 543 by King Ohildebert, the abbots
of which were sometimes cardinals and even kings , as in the case
of Hugh Capet and Casimir V. of Poland. The abbey was originally
dedicated to St. Vincent, but afterwards to St. Germain, a bishop
of Paris, and was once surrounded by meadows, including the famous
'Pre-aux-Clercs'. The nave is a relic of an edifice 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-manu-
factory, and fell into a very dilapidated condition, but it was restored
in 1824-36.
The Interior was redecorated in 1852-61 with gilding and polychrom-
atic paintings, and with admirable *Mural Paintings, by Eippolyte Flandrin
(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 :
the Sale of Joseph and the Betrayal of Christ; the Oflfering of Isaac and
the Death of Christ ; Jonah issuing from the whale's belly and the Resur-
rection; the Scattering of the nations and the Dispersal of the Apostles;
the Ascension and Preparations for the Last Judgment (the last executed
by Hippolyte's brother Paul).
The Choir is embellished with two large paintings on a golden ground,
begun by H, Flandrin : on the left the Entry of Christ into Jerusalem ; on
10. ST. GEKMAIN-DES-PR^S. 253
the right the Bearing of the Cross. Then, above the arcades, the Prophets
and Apostles, and the angel, lion, bull, and eagle, the symbols of the
Evangelists.
Choie Chapels. The first 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 tombstone of the poet Boileau (d. 1711),
whose remains were brought here from the Sainte-Chapelle. — The follow-
ing chapel contains a monument of William, Earl of Douglas (d. IGll).
The S. Tkansept 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 Coniu (d. 1871). This transept
also contains a statue of St. Francis Xavier, by G. Coustou, and the monu-
ment of Casiinir V. (d. 1672), King of Poland, who was at first a Jesuit,
then a cardinal, and in 1648 succeeded his brother on the Polish throne,
but abdicated in 1668 and resumed his cowl as abbot of St. Germain-des-
Pre's. On the wall of the N. aisle, opposite the pulpit, is the monument
of Hippolyte Flandrin (d. 1864). painter of the frescoes mentioned above.
Near the door, in the K. aisle, is a marble statue of the Virgiin (Xotre
Dame de Consolation) presented to the Abbess of St. Denis by Queen
.Teanne d'Evreux in 1340.
To the left of the church of St. Germain is a small square with the
'Bakers', a lifesize high-reliefin enamelled terracotta, by A. Char-
pentier and E. Midler. Farther on (No. 3) is the Palais Abbatial,
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. 144), after E. Barrias.
The S. side of the church adjoins the Boul. St. Germain (p. 229),
in which is a Statue o/"Djdero< (1713-84), in bronze, by Gautherin.
To the S.W. runs the handsome Rue de Rennes, leading to the
Gare Montparnasse (p. 288). We continue to follow the Rue Bona-
parte, to the left, and in a few minutes more reach the Place St.
Sulpice.
*St. Sulpice (PI. R, 19; IV), situated in the Place of that
name, is the richest and one of the most important of the churches
on the left bank of the^eine. The rebuilding of the church was
begun in the reign of Louis XIV. and finished in 1749, chiefly after
the plans of Levau and Servandoni. The church is remarkable for its
imposing dimensions (length 462 ft., width 183 ft., height 108 ft.).
The facade, by Servandoni, which is considered one of the best of
the early part of the 18th cent., consists of a Doric and an Ionic
colonnade, placed one above the other. It is flanked with two towers,
the highest of which, rebuilt by Chalgrin, and 224 ft. high, is alone
finished. When the gate in front is closed, visitors enter by the S.
portal or by a small door to the left behind the choir.
254 10. ST. .SULPICE.
The Interior 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 {tri-
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. "Ist Chapel: Jacob wrestling with the Angel; Heliodo-
rus expelled from the Temple; on the ceiling, St. Michael-, all by Engine
Delacroix (1861). — *2nd Chapel: Religion solacing a dying man; Efficacy
of prayer for the dead; by Heim. — 3rd Chapel: St. Roch praying for the
plague-stricken; Death of the saint in the prison of Montpellier; by Abel
de Pujol (1821). — 4th Chapel: Scenes from the life of St. Maurice, by
Vinchon (1822). — 5th Chapel: Marble monument of the cure Languet
(d. 1870), by Slodiz.
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 ('Soeurs de la ^'isitation'), by Hesse (1860). — 3rd Chapel: St. Paul's
Conversion, and St. Paul on the Areopagus, by DvolUngiiWd). — 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 Guillemot (1825).
Transept. Left arm : Betrayal by Judas, and the Crucifixion. Right
arm : Resurrection and Ascension, and Prophets. These are all by Signal
(1874-76). On the pavement here a Meridian Line was drawn in 1743. It is
prolonged to an obelisk of white marble which indicates the direction of
due N., 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, N. or left side. 1st: Martyrdom and Triumph of St.
John the Evangelist, by Olaize (1859). — 2nd: San 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 Ch. Landelle. — 4th: St. Louis, King' of France, carrying a dying man
during the plague, and The King administering justice under the oak of
Vincennes , by Matout (1870). — Above the side-entrance : Death of the
Virgin, by Bin (1874).
Choir Chapels, S. or right side. 1st: St. Denis preaching to the
heathen Romans , and Condemnation of the saint, by Jobhi-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 (1864). — Above the side-entrance:
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 a^as designed by Chalgrin^
with statues by Olodion. The fine organ, origirillly 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. Sulpicb in front of the church is adorned with the
handsome Fontaine St. Sulpice , designed by Visconti , and erected
in 1847. The fountain consists of three concentric basins , one
above the other , and is embellished with statues of the four most
celebrated French preachers of the 17th and 18th cent.: Bossuet,
Fenelon, Massillon, and Fle'chier. The long building on the S. side
of the Place is the Seminaire de St. Sulpice, for the education of
10. PALAIS DU LUXEMBOURG. 255
priests. On the W. is the Mairie of the Gth Arrondissemenl; the
ceiling-painting in the Salle des Fetes is by H. L^vy,
The Rue Ferou, to the left of this building, leads straight to
the Musee du Luxembourg (p. 266). Or we may follow the Rue
St. Sulpice, to the left of the church, and take the Rue de Tournon,
the second cross-street to the right, which ascends to the Palais du
Luxembourg.
III. PALACE GALLERY, AND GARDEN OF THE LUXEMBOURG.
1. Palais du Luxembourg.
The Palais du Luxembourg (PI. R, 19; 77), now the seat of
the French Senate, was erected in 1615-20 for Marie de Medicis^
widow of Henri IV., by Salomon Debrosse, one of the ablest French
architects of the beginning of the 17th centuxy. It occupies the
site of the old Hotel de Luxembourg, a mansion from which it
derives its name. In the employment of rustica pilasters and in
the treatment of the court, it bears some resemblance to the Pitti
Palace at Florence, Marie's ancestral home , but at the same time
it preserves an unmistakably French character, especially in the
corner-pavilions with their lofty roofs. The principal facade, nearly
100 yds. long, which notwithstanding many restorations still reveals
the original design, looks towards the Rue Vaugirard on the N. side,
opposite the Rue de Tournon. Important 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 fagade towards the
garden, formerly similar to the principal front, was restored under
Louis Philippe in 1831-34 by A. de Gisora, who adhered as far
as possible to the style of the original building. — During the First
Empire the palace was occupied by the senate, and styled Palais
du Senat-Conservateur . After the Restoration, and under Louis
Philippe, the Chamber of Peers met here. From 1852 to 1870 it
was named Palais du Senat, that body having again sat here during
the Second Empire. It was next occupied by the offices of the Pr^fet
de la Seine, after the destruction of the Hotel de Yille in 1871 ; but
in 1879, on the return of the Chambers to Paris, the senate re-
sumed its old quarters here.
The Interior Centrance in the Rue de Vaugirard) is shown only when
the senate i3 not sitting. We cross the court to the foot of the staircase
in the corner to the left, where one of the custodians is to be fimnd
(gratuity). — Visitors are admitted during the sittings of the senate by-
special tickets (comp. p. 56).
First Floor. The dome of the Libkakt is adorned with fine paintings
by Eughie Delacroix^ representing the infernal regions according to Dante
(strong light necessary). — Salle des Seances. The colonnade behind the
president's seat is adorned with statues of Turgct (d. 1781) d'A'^uessoau
(d. 1751), I'Hopital (d. 1573), Colbert (d. 1683), Mole (d. 1855), Malesherbes
(d. 1794), and Portalis (d. 1855). On each side of the president's seat is
a pjiinting by Blonde?: the Peers ofTcring the crown to Philip le Long, and
the Estates of Tours conferring on Louis XH. the title of "father of the
256 10. PALAIS DU LUXEMBOURG.
people'. At the beginning of the larger semicircle is a statue of Charle-
magne, by Eiex^ and one of St. Louis, by Dumont. — Bdvette (refreshment-
room). Paintings: Caminade, The Chancellor de I'Hopital returning the
seals to Charles IX.; VincTion., Achille de Harlay rejecting the proposals of
the Due de Guise; Champmartin, Charlemagne; H. FUmdrin, St. Louis;
Decaisne, Allegorical ceiling-paintings. — The Salle des Pas-Perdds was
fitted up as a throne-room by Napoleon III. in 1856 and handsomely deco-
rated in the Louis XIV. style. On the vaulting, in the centre, the Apo-
theosis of Napoleon I. by Alaux ; at the sides, Peace and War, by Brune;
at the ends, the Apotheosis of the kings oi¥v&\xcQ.hj Lehmann. Handsome
chimney-piece of 1880.
In the E. wing is the Geande Galeeie, for which Rubens painted his
series of scenes from the life of Marie de Medicis (p. 126). The ceiling is
adorned with an Aurora by Calht (18th cent.) and the Months by Jordaens.
Descending to the groundfluor, we visit, in the W. part of the palace,
the small Chambre de Marie de Medicis, adorned with paintings by Ru-
bens's pupils, Van Thidden, Van Euden, and Van Eoeck. The Apotheosis
of the queen on the ceiling is attributed to Van Hoeck. — The Chapel,
restored in 1842, is i-ichly decorated with paintings by Gigoux^ Abel de Pujol,
JaUy. and others.
To the W. of tlie palace is a wing kuown as the Petit-Luxem-
bourg, now the residence of the president of the senate. It also
was prohahly built for Marie de Medicis. Her chapel, which is seen
from the Rue Vaugirard, was built in 1622-31 and belonged originally
to to the nunnery of the Filles du Calvaire. Since 1893 it has been
used by the Maronite community.
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 Fe'rou.
The *Musee du Luxembourg (PL R, 19; IV), a collection of
Works of Contemporary 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 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, Hagar and Ishmael, hy Sicard, and a statue
of Bailly, by Aube; to the left, Hero and Leander, by Oasq, Vulture
on the the head of a sphinx, by Cain, and Dogs, by Fremiet and
Lami. In the pediment, Fame distributing crowns and palm-
branches to the plastic arts, by Crauk.
The arrangement of the works is so often changed that to prevent
confusion we shall enumerate the most important of them in the
alphabetical order of the names of the artists, that being also the
10. MUS^E DU LUXEMBOURG.
257
order in which they are arranged in the catalogue (75 c. ; illustrated
41/2 fr.). Keeper, M. Ltonce Benedite. P^ach work bears the name
of the artist.
Sculptures.
427. Aizelin, Hagar and Ishmael. — 429. AUar, Death of Al-
cestis. — 1063. Allouard^ Farfrom the world.
Barrias (E.J, 431. Young girl of Megara; 432. Mozart as a boy
(bronze). — Becquet, 434. Ishmael; 435. St.
Sebastian. — 436. Bertaux (Mme.), Psyche. —
Block, 1065. Martyr (wood) ; 1060. Bust of a man
(wood). — 437. Bonnassieux , Meditation. —
Boucher (Alfred), 438. Rest; 1007. In the fields.
1068. Captier, Despair. — Carles, 440.
Youth; 441. Abel. — 442. Carlier, Gilliat
seized by the octopus (Victor Hugo). — Car-
rier-Belleuse, 443. Hebe asleep; 1069. Bac-
chante. — 446. Cavelier, Mother of the Gracchi.
— Chapu, 449. Mercury inventing the caduceus ;
450. Joan of Arc at Domremy. — 1070. F. Char-
pentitr, Illusion. — 452. Chatrouase, Girl read-
ing. — 454. Christophe, The supreme kiss. —
455, 456. Cordier, Busts of a negro and negress.
— 457. Cordon-
f
IT
U 1 J, 1
^ A A
Jardin du Liixemboiu'g
■^"■^""ri nier, Joan of Arc.
I '" I " i ■ - 458. Coutart, Cu-
pid.— 460. Crauk,
Youth and Love. —
461. Croisy, The
^ 'o =^0 ^> *o 'O MeiJ-cs ^^^}'^
10^2. Dagonet,
Eve. — Dampt, 464. St. John ; 465. Grandmother's kiss. — Dela-
planche, 469. Eve before the Fall; 470. Virgin with the lily; 471.
Dawn. — 1073. Desbois, Leda. — Dubois (Paul), 473. Infant St.
John, in bronze; 474. Narcissus; 475. Florentine singer of the
15th cent., bronze gilt.
Falguiere, 477. Tarcisius the Martyr; 478. The victor in a
cock-fight, in bronze; 479. Bust of Baroness Daumesnil. — 480.
Franceschi, Fortune. — 482. Frimiet, Pan with bear-cubs.
1074. Gardet, Panthers fighting. — Girome (J. Lj, 486. Tana-
gra, painted marble; 1077. Bonaparte (bronze-gilt equestrian sta-
tuette). — Guillaume, 487. Anacreon; 488. The Gracchi, in bronze.
1078. Hannaux, Death of Orpheus. — 491. Hiolle, Arion seated
on the dolphin. — 1079. Eugues, G^dipus at Colonos.
Idrac, 493. Mercury inventing the caduceus; 494. Salammbo
(from Flaubert). — 495. Injalbert, Hippomenes. — 496. helin,
Young Roman. — No number, Itasse, Bust of Belloc, the painter.
Raedekek. Paris. 14th Edit. 17
258 10. MUS^E DU LUXEMBOURG.
499. Lanson , Age of iron. — 502. Lemaire (H.)^ Morning. —
503. Lenoir, John the Baptist. — 505. Longepied, Immortality.
Marqueste^ 507. Cupid; 508. Galatea; 509. Perseus wrestling
with the Gorgon. — 1081. Mathurin-Moreau, Spinner. — Mercie,
510. David, in bronze ; 511. Souvenir. — Xo number, Meunier,
Industry (bronze relief). — 512. Millet (Aime), Ariadne. — Moreau-
Vauthier (Aug.)^ 513. Boy drinking: 1087. Bacchante. — 514. Mou-
lin, A Pompeian discovery.
515. Oliva, Bust of a priest.
518. Petre, Marechal, maireofMetz, bust. — 519. Peynot, Tro
Patria'. — Puech, 520. Muse of Andr^ Chenier (beheaded during
the Revolution); 521. Siren.
Rodin, 523. John the Baptist, in bronze; 524. Bust of a woman;
525. Danaid; 1091. Bust of a man, bronze.
Saint- Marceaux, 527. Youth of Dante; 528. Genius guarding
the secret of the tomb. — 530. Salmson (Jean Jules), Skein- winder,
in bronze. — 533. Soules, Rescue of Iphigeneia.
534. Thomas, Virgil. — 536. Turcan, The blind and the lame.
1094. Vernhes, Breton girl (wax bust).
Outside, on the terrace next the garden, and visible from the
garden only, are a number of bronzes: Houssin, Phaethon; Tournois,
Bacchus inventing comedy; Laoust, Indian singer; Christophe, Fate;
Maniglier, Engraver; Charpentier, Improvisatore; Steiner, Shepherd
and satyr; Barthelemy, Young faun and goat; Guillaume (EJ, The
Mower; P. Victor, Lion and mouse.
The sculpture gallery and the first room of the picture gallery
contain (in glass-cases) a highly interesting *Collection of Modern
Medals, by Chaplain, Roty, Dan. Dupuis . Dubois, and others;
fayence and pottery by B/gof. Carries, Chaplet, Dalpeyrat , Dela-
herche, Massier, and others; Sevres porcelain; glass by Galle, Koep-
ping, Leveille, and Tiffany ; enamels by Thesmar ; objects in tin by
Brateau, AL Charpentier, Deshois, etc. ; cameos ; and other bric-a-
brac. Here also are pieces of Gobelins tapestry, ancient and modern,
and a bust of Gallia, in ivory, gold, and silver, with topazes, by
Moreau-Vauthier (goldsmith's work by Falize').
To the right of the sculpture gallery are two small rooms added
in 1897. That to the right contains the Legs Caillehotte, a collection
of pictures by the 'impressionist' painters Cezanne, Degas (Dancers,
Singer, Figurantes), Manet (Balcony, Olympia), Monet (Luncheon,
Gare St. Lazare), Pissarro, RaffaUli, Renoir (Moulin de la Galette,
Girl playing the piano), and SisleyA
The room to the left is devoted to the works of foreign painters,
T A better survey of the activity of this scbool maybe obtained at the
Galerie Dwand-Buel fRue Laflitte 18-, p. 38) and in the private collection
of M. Durand-Ruel (Rue de Rome 35), which is open to visitors on Wed.,
2-4 p.m. (.fee to servant).
10. MUS^E DU LUXEMBOURG. 259
which, owing to lack of space, are exhibited by turns in three
divisions (British and American, German and Scandinavian, Bel-
gian and Dutch). The following are the most important: Alexander^
Portrait; 974. Baertsoen, Old Flemish canal; Bashkirtseff (Marie),
296. The Meeting, 414,415. Portraits (pastel) ; 975. Baud-Bovy
(Geneva), Serene sky; 976. Bra/i^iri/n (English), A trade on the
beach ; no number, Burnand^ Apostles; Claus^ Sunshine; 298. Dan-
nat {W. D.; Amer.), Lady in red; 300. Edelfelt (Alb.; Finland).
Divine service on the shore; Frederic. The ages of labour; Gay
(^Walter; Amer.), 977. Saying grace, 302. Las Cigarreras; Gilsoul,
Evening; 304. Hamilton (J. M.; Amer.), Rt. Hon. W. E. Glad-
stone; 306. Ilarriion {Alex.; Amer.), Solitude; 978. Hawkins
(\7.,- English), Orphans; Kroyer, Fishing; 308. Kuehl, A difficult
question; did. Liebermann^ Beer-garden; 9Si. Lorlmer (J.H.; Scot),
Grandmother's birthday ; 983. Melchers, Young mother; 310. Mes-
dag, Sunset; 984. Meunier, The Black Country; 312, 313. De Nittii,
Place des Pyramides and Place du Carrousel, Paris ; 314. Salmson
(H), Swedish children; 315. Sargent (J. S. ; Amer.), Carmencita;
316. Skredsvig (Chr.), Villa Baciocehi at Ajaccio; 986. SoroUa y
Bastida, Return of the fishermen; Stevens (Alf.), 318. Impassioned
song, 987. After the ball; Stevens (J.), Tortures of Tantalus; Thau-
low, 319. "Winter in Norway, 425. Old factory in Norway (pastel);
321. Vhde, Christ blessing the meal of a peasant; 990. Walden
[Lionel; Amer.), Docks at Cardiff ; 323. Watts (G. F.J, Love and
Life; 324. Whistler (J. M.), The artist's mother; 326. Zorn, Fisher-
man; Zulaoga, Portrait.
Paintings by Fbbnch Masters.
1. Adan (Em.), Ferryman's daughter. — 891. Agache, The aged
conqueror. — 3. Aman-Jean, Portrait of a young woman.
892. Bail, The housewife. — 7. Barrias (FeL), Exiles of Tibe-
rius. — 8. Bastien- Lepage, Haying (Les Foins). — Baudry, 9.
Fortune and the child; 10. Truth; 11, 895. Portraits. — 896. Ben-
ner, St. Jerome. ■ — Bernard, 15. Woman warming herself; 329. An
engraver; 898. Harbour of Algiers at sunset. — Binet, 17. Evening;
900. Sunlight. — 901. Bompard, Prayer to the Virgin (Venice).
— 19. Bonheur (Rosa), Husbandry in Nivernais, with masterly
animals and charming details. — Bonnat, 20. Le'on Cogniet, the
painter; 21. Job; 23. Cardinal Lavigerie. — 28. Boudin, Sea-
piece. — 903. Boudot, The golden season of the year. — Bouguereau,
29. Triumph of martyrdom (St. Cecilia); 30. The Virgin as consoler;
31. Youth and Love. — 905. Boulard, Father of the artist. — 35.
Breton (Em.), Falling leaves. — Breton (Jxdes), 36. Blessing the crops ;
37. Gleaners. — 40. Brown (J. L.), Before the start. — 41. Bu-
land (Engine), Crossbow-men. — 44. Butin, Burial of a sailor in
Normandy.
17*
260 10. MUS^E DU LUXEMBOURG.
Cabanel, 45. Birth of Venus; 46. Portrait of an architect. — 47.
Cabat^ Yille-d'Avray. — Carolus-Duran^ 48. Lady with a glove;
914. Portraits of the painter's daughter and her children. — Carriere
(Eug.)^ 916. Family; 52. Maternity. — 53. Cazin, Ishmael. — Chap-
lin^ 55. Remembrances; 56. Girl. — 59. Chenavard^ The Divine
Tragedy. — 60. Collin, May ['Flora'al'). — Constant, 62. The last
rebels; 919. Portrait of his son. — Cormon, 63. Cain; 921. The forge;
920. Lehoux, the painter. — No number, Cottet, The farewell
(triptych). — 66. Courbet, Landscape.
69. Dagnan-Bouveret, The sacred wafer. — 71. Damoye, Marsh.
— 72. Dantan, Sculptor's studio. — 74. Daumler, The thieves and
the donkey. — Delaunay, 78. Plague at Rome; 79. Diana; 80. Portrait
of his mother. — Demont (Adr.), 81. Night (landscape) ; 82. Abel. —
83. Demont-Breton (Virginie), Beach. — 88, 89. Desgoffe, Still-life.
— 90. Destrem, Close of the day. — 91. Detaille, The Dream. — Dinet,
94. Terraces of Laghonat (Algeria) ; 923. Morning after Ramadan. —
Duez, 96. St. Cuthbert, a triptych; 925. Ulysse Rutin, the painter.
— 97. JDufour, View of Avignon In December. — Dupre (Jules),
98. Morning; 99. Evening.
Fantin-Latour, 103. Studio of Manet, the painter; 927. Night.
— 106. Feyen-Perrin, Oyster-fishers of Cancale. — 109. Flameng,
Sea-piece. — Fran^ais, 115. End of winter; 929. The artist's father.
— 118. Friant, All Saints' Day.
930. Gagliardini, Roussillon (Provence). — 121. Gaillard, Mgr.
de Segur (blind). — 124. Geoffroy, Visiting-day at the hospital. —
126. Georges-Bertrand , 'La Patrie' (study for the picture mentioned
at p. 319). — 127. Gerome, Cock-fight. — 129. Gervex, Jury. —
Gigoux, 131. Lieut.-Gen. Dwernicki; 133. Ch. Fourier (founder of
the Phalanstere). — 350. Gilbert, Renovating tapestry (crayon). —
933. Girardot, Port of Tangiers. — 135. Glaize, Ancient Roman con-
spirators. — 935. Guignard, Cattle by a pond. — Guillaumet, 139.
Laghouat; 140. Biskra. — Guillemet, 142. View of Bercy in winter;
936. Paris. — 143. Guillou, At the 'Pardon de Ste. Anne'.
146. Hareux, Night in August. — 148, 149. Harpignies, Land-
scapes. — Hebert, 150. Malaria; 152. The Cervarolles (Roman Cam-
pagna). — Henner, 156. The chaste Susanna; 157. Naiad; 158. St.
Sebastian. — 938. Humbert, Portrait of a woman.
162. Isabey, Embarkation of De Ruyter and De Witt.
166. Jacque, Flock of sheep. — 167. Jalabert, Portrait. — 940.
Jeanniot, Women.
941. Lang.on, Portrait of his father. — 175. Lansyer, Environs
of Mentone. — Laurens (J. P.), 178. Excommunication of King
Robert of France ; 179. Deliverance of the prisoners of Carcas-
sonne; 942. Inquisitors. — 943. Lebourg, Herblay. — 184. Leftbvre
(Jules), Truth. — Legros, 185. 'Amende honorable'; 994. Dead Christ.
— 189. Lenepveu, Martyrs in the Catacombs. — Lerolle, 190. In
10. MUSEE DU LUXEMBOURG. 261
the country ; 946. Portrait of a lady. — 191. Leroux (Euytne)^ The
new-horn infant. — No numher, Leroy, Bath. — Levy (H.)^ no
numher, CEdipus and Antigone; 198. Sarpedon. — 200. Lhermitte,
Reapers' pay-day. — 949. Lomont (EugJ, The song.
201. Maignan, Apotheosis of Carpeaux. — 951. Martin, Inspi-
ration. — 952. Mathey, Engraver. — MeAssonier, 205. Napoleon III.
at Solferino, a good example of this master, who excels in individ-
ualising his figures on a very small scale ; 454. Portrait of Alexandre
Dumas the Younger; landscape and sketches. — Menard, 955. Por-
trait; 1041. Autumn (pastel). — 216. Montenard, The transport
'Correze' leaving Toulon. — 217. Monvel (Boutet de) , Deserted
house. — 218. Moreau (Gust.), Greek maiden with the head and
lyre of the murdered Orpheus. — 219. Morot, Rezonville. — 957.
Muenier, The workmen.
Neuville (Alph. de), 222. Le Bourget (1870); 223. Street-fight
(sketches).
229. Ferret (Aime), Priest bearing the viaticum to a dying man,
a scene in Burgundy. — 963. Petitjean, Harbour of Rochelle in bad
weather. — Pointelin, 231. September evening; 232. Cotes du Jura,
seen from the plain. — 964. Prinet, Bath. — 233. Protais, Battalion
in square (1815). — 234. Puvis de Chavannes, The poor fisherman.
235. Quignon, Cornfield.
Renard, 242. The Grandmother ; 243. A christening. — Ribot, 247.
St. Sebastian; 248. Good Samaritan; 249. Christ and the Scribes.
— 250. Ricard, Portrait. — 966. Richon- Brunei, Bull-ring at Seville.
— Rohert-Fleury (J. N.), 253. Conference at Poissy, in presence of
Catherine de Me'dicis and Charles IX. (1561); 254. Galileo before
the Inquisition ; 255. Columbus after his return from America. —
Rohert-Fleury (Tony) , 256. Old women in the church of Santa Maria
della Pace (Rome); 257. Last Days of Corinth. — 967. Rochegrosse,
Knight of the Flowers. — Roll, 258. Forward; 259. Milk-maid. —
262. Rousseau (Ph.), The hermit rat.
468. Sahatte,IntenoT of St. Germain-des-Pres. — 266. Sautai,
Eve of an execution (Rome). — 270. Simonnet, Ville-d'Avray in
winter. — 272. Sylvestre, Locusta testing the poison intended for
Britannicus.
273. Tanzi, Evening. — 274. Tassaert, Distressed family. —
9M. Tattegrain, Disembarkation of field-workers. — 276. Tissot,
Fau.st and Margaret. — 972. Tournes, A confirmation.
279. Vnladon, Portrait of a young woman. — Vollon, 283. Cu-
riosities ; 284. Fish.
278. Weerts, Death of Jos. Bara (comp.p. 353). — 289. Wencker,
Artemis.
292. Ziem, View in Venice. — 294. Zuber, Hollandsch Diep.
The last room but one to the right is devoted to 'one man' exhibitions
of drawings, ctchinjis, engravings, or lithographs (in 19^:0 Pui-is de Cha-
t-annes, Alph. Legros, and J. Buhot). In the last room is the Collection of
262 10. JARDIN DU LUXEMBOURG.
M. Hayem (1898), including the following pictures : several water-colours
by Gust. Moreau (Apparition, Phaethon, Bathsheba, Calvary, Death & the
Young Man, etc.); E. Mvy, Barbey d'Aurevilly, the author; Bastien-Lepage^
Franck, the s holar; Delcmnay., M. Hayem', Cazin^ Winter-scene; Rihot^
Still-life ; Vollon^ Flowers ; drawings by Dagnan-Bouveret^ Fantin-Latour^
ihermitte^ Pointelin, Raffaelli^ Pdbot. and Rops.
3. Jardin du Luxembourg.
The *Garden of the Luxembourg (open daily from early morning
till 10 or 11 p.m.) is the only remaining Renaissance garden in Paris.
A military hand plays here, to the left under the trees, in summer on
Tues., Frid., and Sun., from 4 to 5, or from 5 to 6 (comp. p. 36).
The principal entrances are on the sides next the Boul. St. Michel
and the Odeon (p. 263), hut there is another on the W. side, close
to the exit from the Luxembourg Gallery.
The garden contains few lawns and not many flowers; but
amongst the clumps of trees and the open spaces for children's
games there are numerous sculptures. On the terrace of the Mu-
seum are statues belonging to it [p. 258). Behind the Museum:
Sculpture, by A. Millet; Painting, by Franceschi; After the contest,
by Levasseur; At the Goal, by A.Boucher. Farther on is the Monu-
ment of Eugene Delacroix [1798-1863), the painter, by Dalou. It
consists of a fountain with a bronze bust, and bronze figures of
Time bringing fame to the artist and the Genius of Art applauding
him. — In the W. part of the garden: Triumph of Silenus, bronze
group by Dalou ; Hercules, by Ottin. In the S. part, the former
'Pepiniere': Family Joys, by Daillon; Bust of Sainte-Beuve (1804-
69), by Puech (1898); *Monument to Watteau (1684-1721), by
Gauquie, The last consists of a bust of the painter, in pewter, with
a lady (in marble) of the time of Louis XV. offering him flowers
(1896). Then, Eustache Le Sueur, by Husson; Wrestlers (bronze), by
Ottin; Stags, by Leduc; Orlando Furioso (bronze), by Duseigneur ;
Lion and Ostrich, by Cdin^ etc.)
In the centre of the garden , in front of the palace , is a large
space surrounded by a terrace and balustrade and embellished with
an octagonal fountain-basin, and various statues : on this side of the
fountain, as we return, Archidamas about to throw the disc, by Le-
maire ; to the right, Vulcan, by Bridan the Elder ; Marius amid the
ruins of Carthage, by V. Vilain; in front of the Palace, Explosion, by
H. Greber, etc. — The dome-covered building visible at the end of
the avenue leading from the basin is the Observatory (p. 286). To
the left of the garden rises the Ecole des Mines (p. 284); to the
right, the schools mentioned at p. 285.
The terraces around the parterre are embellished with twenty
modern statues in marble of celebrated Frenchwomen (brought from
the Park of Sceaux, p. 351), the stiffness of which does not harmon-
ise well with the garden. Their names are inscribed. At the end,
to the left, is Toil, a bronze statue by Gautherin. Among the other
sculptures in this part of the garden are a Dancing Faun, in bronze,
10. THEATRE DE L'ODEON. 263
by Lequesne^ the 'Marchand de Masques', by Astruc (tbe 12 masks
are portraits of celebrated contemporaries), and a Bu8t of Leconte
de Lisle (1818-94), the poet, by Puech.
The *FoNTAiNB DB Medicis , by Debrosse , in the Doric style,
with imitations of stalactites, rises on the same side. Three niches
between the columns contain sculptures by Ottin; the group in the
middle represents Polyphemus surprising Acis and Galatea. At the
back of this fountain is a ^Fontaine de Leda\
P'arther on : Adam and his family, a marble group by Oarraud
(1851); Bust of Th. deBanw^ie (1823-91), the poet, by J. Roulleau;
Monument of Murger (1822-61), author of the 'Scenes de la Yie de
Boheme', by H. Bouillon; and Bacchu?, by Crauk.
The Theatre de I'Odeon (PI. R, 19; /F;, a second Theatre Francais,
opposite the E. part of the garden of the Luxembourg but facing in the
opposite direction, is a building in the classic style founded in 1782, but
rebuilt or restored iu 1808 and 1818. The arcades which surround it are
partly occupied by booksellers' shops. — In the square in front of the
Odeon is a Monument to Emile Augier (1820-80), the dramatic poet, con-
sisting of his bust and bronze statues of Comedy, the Aventuriere (one of
Augiers plays), and a Child brandishing the whip of satire, all by E. Barriat,
In the vicinity, No. 70 Rue de Vaugirard, is St. Joseph-des-Carmea,
the former chapel of the monastery notoi-ious for the massacres of Sept.
1792. The crypt (open on Frid. and Sept. 2nd-llth) still shows traces of
these atrocities and contains the tombs of the victims. Adjoining is the
Insiitxii Catholique, a kind of free university, established in 1875.
FantMon, Sorbonne., Musie de Clumj, see pp. 240, 238, 230; Observatory^
Cemetery of Montpanutsse, Pare Montsouris^ see pp. 286 et seq.
11. The Jardin des Plantes and the Gobelins.
I. FROM THE LOUVRE TO THE JARDIN DES PLANTES.
Saturday is the only day on which it is possible to visit both the
Jardin des Plantes, with its galleries, and the Gobelins. As the latter is
closed at 3 p.m., the best plan is to interrupt the visit to the Jardin des
Plantes and return to it later. On Wed. the Natural History Galleries are
closed, on Sun, and Thurs. they are open to the public, and on Tues. and
Frid. on application; but on these days there is no admission to the
Gobelins. The visit to the Gobelins may also be combined with R. 13.
— Steamboats, see p. 25. — Chemin de Fer d Orleans, from the new station,
see p. 26. Omnibus to the Gobelins direct, see p. 268. — Luncheon should
be taken before starting, or at one of the following restaurants near the
Jardin de'' Plantes: Tow-d' Argent, Quai de la Tournelle 15, cor. of Boul.
St. Germain, first-class; Arc-en-Ciel, Boul. de IHopital 2 (p. 19), D. 3 fr.,
also a la carte.
The pleasantest way of reaching the Jardin des Plantes is by
steamboat (see p. 24), but the omnibus-lines G and K or the
tramway-line TM may also be found convenient. The piers nearest
the Louvre are at the Pont des Arts (p. 245) and the Pont-Royal
(p. 271), on the right bank, and near the Pont du Carrousel or
Pont des Saints-Peres., on the left bank. This handsome bridge,
which connects the Place du Carrousel (p. 153) with the Rue des
Sts. Peres, was constructed in 1832-34 by Polonceau. It is em-
264 11. JARDIN DES PLANTES.
bellished with colossal statues in stone after Petitet : Plenty and
Industry on the right bank, the Seine and the City of Paris on the left.
From the steamboat we observe on the left the Lonvre and the
tower of St. Germain-l'Auxerrois (p. 62) , and on the right the
Institut (p. 245). Beyond the Pont des Arts the Monnaie lies on
the right. We next observe the statue of Henri IV. on the right,
and pass under the Pont-Neuf. On the right rises the Palais de
Justice ; on the left is the Place du Chatelet, with its fountain and
theatres. Beyond the Pont au Change the Tribunal de Commerce
is on the right, and beyond the Pont Notre-Dame we observe the
extensive Hotel-Dieu on the same side. * We next pass under
the Pont d'Arcole. On the left rises the Hotel de Ville, and on
the right, on the other side of the island, Notre-Dame (p. 224).
On the left we next observe St. Gervais (p. 69), and in the dis-
tance the dome of St. Paul and the Colonne de Juillet (p. 71). We
next have the He St. Louis (p. 227) on the left and the Cite on the
right, passing under the Pont St. Louis. To the right, the Morgue
(p. 227). Farther on, the Pont de la Tournelle, the Pont Sully
(p. 218), and the monument to Barye (p. 228). On the right are
the Halle-aux-Yins and the Jardin des Plantes. We disembark
at the Pont d' Austerlitz^ which was enlarged in 1884-85 to a width
of 100 ft. Near the bridge, on the left bank, is the old Gare d' Or-
leans, whence the Orleans line is now prolonged along the quays to
the new terminus on the Quai d'Orsay (p. 271).
II. JARDIN DES PLANTES.
In the * Jardin des Plantes or Museum d'Eistoire Naturelle
(PI. G, R, 22, 25; F), which lies at the E. end of the quarters
of the city on the left bank , are concentrated most of the Parisian
institutions connected with natural science. Besides the zoological
and botanical garden, it comprises natural history collections, la-
boratories, and a library. Lectures on natural history, to which
the public are admitted gratuitously, are also given here in the
Amphitheatre, a hall capable of containing 1200 persons.
The professors of the Museum organize Scientific Excursions in summer
to different points in the environs of Paris, concerning which information
may be obtained in the laboratories. A Tourists'' Course in natural history
is also held in summer.
Among the scientific men of European celebrity who have taught
here may be mentioned the botanists De Jussieu (Bernard d. 1776,
Laurent d. 1836, Adrien d. 1858), the mineralogists Daubenton (d.
1799) and Haiiy (d. 1822) , and the zoologists Buffon (d. 1788),
Lacepede (d. 1826), Lamarck (d. 1829), Cuvier (d. 1832), and
Geoffroy St. Hilaire (d. 1844).
The Jardin des Plantes, in the wider sense, is open daily from an early
hour till dusk, but the Menagerie, the Collections, the Hothouses, and the
Library are shown at certain hours onlv. The Minagerie is open daily from
11 to 5 (6 on Sun.) from 1st March to 30th Sept., and from 11 to 4 (4.30 on
Sun. in Oct.) during the rest of the year. The Qaleries des Animaux Vivants
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11. JARDIN DES PLANTES. 265
are open to tlie public on Thurs., 1-5 (1-4 in winter), when the animals are
not outside, and on other days by tickets obtained from the 'Administration"
(p. 266). — The Oalleries of Natural History are open to the public on Sun.
and Thurs. 11-3 (till 5 in Aug. & Sept.) and on Tues., Frid., and Sat. by ticket.
— The Hothouses { Serves) are shown by ticket only, on Tues., Frid., and Sat.,
1-4. The Grande Serre, however, is open daily except Mon. and Sat., 1 o.
The Qalerie de FaUon'ologie is open on Tues.. 1-i. The Library is open
daily from 10 to 4, except on Sun. and holidays, and during the vacations
(Sept. and a fortnight at Easter). — From the above it will be noted that
everything may be seen on Tues. ; the tickets, which are readily granted
to strangers, are available for 5 persons. On Sun. the Menagerie and Tssl-
tural History Galleries are open free.
The Jardin des Plantes, projected in 1626, was founded by Guy de La-
brosse, one of the most eminent botanists of his time, about 1635, when
he laid out the Jardin Royal des Plantes Midicinales. After several years
of mismanagement by the court physicians, the celebrated Buffon was
appointed director of the gardens in 1732. He entirely remodelled them,
founded collections in every department of natural history, and gave the
whole establishment the name of Jardin du Roi. Buffon was succeeded by
Bernardin de Saint-Pierre, who transferred hither the royal menagerie of
Versailles in 1793, and opened the library in 1794. The garden was then
called Museum d^Histoire Naturelle, by which name it is still officially known.
Under Napoleon I. the collections were considerably enlarged. In our own
times the garden was long under the charge of M. Chevreul, the celebrated
chemist and centenarian (1786-1889), if. E. Fremy (1814-1894). and Aljihonse
Milne-Edwards (1835-1900).
The Jardin des Plantes (see annexed Plan) , which covers an
irregular quadrilateral area of 75 acres, is divided into two distinct
parts. (1) The Jardin Botanique, extending from the principal
entrance in the Place Valhuhert to the Galeries de Zoologie at the
other end. (2) The Menagerie, or zoological department, to the
right (N.) of the first, ending at an eminence, 80 ft. high, called
the Labyrinthe. — We shall first describe the second and more fre-
quented of these parts. The annexed plan will enable visitors to
find their way without difficulty. The scientific names of the ani-
mals, as well as those of the plants, and their place of origin are
marked in each case.
Menagerie. — Entering from the Place Valhubert , we turn to
the right and proceed to visit the cages of the Animaux Feroces.
Admission to the houses when the animals are inside, see p. 264.
The surrounding enclosures are occupied by the Animaux Paisibles,
including numerous antelopes, deer, and other animals of the kind.
A little to the W. of the Animaux Feroces is the Palais des
Singes, or monkey-house, the inmates of which are an unfailing
source of amusement. A little farther to the W. are numerous other
graminivorous or 'peaceable' animals, and on the left we observe the
Rotonde des Grands Animaux, containing elephants, young hippopo-
tami, rhinoceroses, camels, etc. — A few paces to the S. of the Ko-
tonde is the Fosse aux Ours, or bears' den, adjoining the botanical
garden. — To the N. and N.W. of the rotunda are the cages of the
Birds of Prey, the Grande Voliere, or aviary, the Faisanderie, and
the Reptile House, which is specially interesting. Adjacent is the
Crocodile Pond (_in summer). — Proceeding hence to the S.. we
266 11. JARDIN DES PLANTES.
reach the former Anatomical Gallery (see below) on the right, and the
basin of the Ottaries or Sea Lions (fed at 3 p.m.) on the left. Behind
this is the Orangery (shown by ticket only like the other hothouses,
see p. 264). Farther on are the Amphitheatre, or lecture-hall, and
the office of the ^Administration\ where the tickets mentioned at
p. 264 are obtained.
The Labyrinthe (PI. 2), the artificial mound at the N.W. corner
of the garden, is intersected by numerous paths, which at one time
formed a maze. On the N.E. side of the hill is a magnificent Cedar
of Lebanon (PI. 4), 10 ft. in circumference, planted here in 1735 by
the elder Jussieu. A little higher up, almost hidden in the shrub-
bery, is a monument to the memory of Daubenton (d. 1799 ; Pi. 5),
an eminent naturalist and director of the Jardiu des Plantes.
A gate beyond the labyrinth leads into the Rue Linne, in which rises
the Fontaine Cuvier, erected' in 1840 from designs by Vigoureux. It consists
of a niche with a statue of Jfature sitting on a lion, and holding a tablet
with the inscription -rerum cognoscei'e causas\
On the other side of the labyrinth are the hothouses for tropical
plants (Sevres Temperees and Serres Chaudes); adm., see p. 264.
Galleries (admission, see p. 264). The natural history galleries
of the Jardin des Plantes are among the most extensive in existence.
The Galleries of Zoology are arranged in a handsome build-
ing, completed in 1889, on the W. side of the Botanical Garden.
The facade is embellished with a figure of Science in high-relief,
by E. Guillaume, and medallions of famous naturalists. We enter
from the right side.
Grodnd Flock : Mammals, including a rich collection of Quadrumana,
and Fishes. At the foot of the X. staircase to the first floor are the tomb
of Guy de Labrosse (p. 265), a bronze group by F. Caveliet\ aad a marble statue
uf Buffon (p. 265). At the foot of the S. staircase to the first floor, is the
bust and tomb of Victor Jacquemont (1801-1831), traveller and collector for
the museum. On the balustrade, a fine bronze group by J. Thomas. —
First Floob: Birds., Reptiles., Batrachians, Molluscs, and Zoophytes. The
collection of birds is especially fine.— Second and Thied Floors. Insects
(fine butterflies) and Crustacea.
The adjoining buildings, on the S. side of the garden, contain the gal-
leries of geology and botany and the library.
The Galleey of Geology and Mineralogy contains statues of
Georges Cuvier (1769-1832), by David d' Angers, and of Rene Haiiy
(1743-1822), the mineralogist, by Brion, and is embellished by
large landscape paintings by Biard.
The Gallery of Botany contains interesting specimens of
exotic plants, reproductions of fruit in wax, etc. In the vestibule
is a statue of Adrien de Jussieu (1686-1758), by Legendre-He'ral.
The herbaria on the upper floor are open to students only. The American
herbarium presented in 1805 by Ale.vander von Humboldt is preserved here.
In 1885 the collection was enriched by the herbarium of Lamarck., re-
purchased from the University of Rostock.
The Library contains nearly 175,000 vols., 2180 MSS., 18,700
original drawings, and 3800 maps.
The *Gallbry of Comparative Anatomy, at the E. end of the
11. JARDIN DES PLANTES. 267
S. side, occupies a building (completed in 1898), designed as the
first part of a palatial range that is to extend to meet the above-
mentioned galleries, at the other end of the garden. In the pediment
above the entrance, at the W. end, the three kingdoms of Nature, by
Allar; on the longer facade are four bronze-reliefs of contests be-
tween men and beasts and eight small marble reliefs of animal
life. In front are placed two bronze statues by Fremiet: The Stone
Age and the First Artist.
In the vestibule, to ibe right, is a Combat between a man and a gorilla,
a marble group by Frhniet. — The interior contains Anthropological and
Palccontological Collections in addition to the Collection of Comparative Ana-
tomy^ founded by Cuvier, in which all the races of mankind wiih their
varieties are illustrated by skeletons, skulls, and casts. In the Amphitheatre,
or lecture-room, are a ceiling-painting by Cormon, representing 'he pro-
gress of mankind towards enlightenment, and ten paintings of primaeval
subjects.
The Pavillon Geobges Ville , behind the Galleries to the W., con-
tains a small museum illustrating the phvsiology of plants (open Sun., Tues.,
& Thurs., 1-4J.
The Botanic Garden Is divided into quadrangular beds by a
number of handsome avenues. Many of the trees and flowers now
common in Europe have been introduced and naturalised by the
directors of the Jardin desPlantes. Adjoining the Me'nagerie is the
Ecole de Botanique, open daily except Sun. and holidays, 6-11 a, m.
and 1-6 p. m. The red labels indicate the classes to which the plants
belong, the yellow labels the families, and other labels the genera
and species. The edible herbs are denoted by green bands on the
labels showing the species, medicinal plants by red, poisonous plants
by black, those used in the industrial arts by blue, and ornamental
plants by yellow. At the end next to the quay are the Aquatic Plants;
and the distribution of the other plants is shown on the accompany-
ing plan. Within the garden is the Ecole des Arbrisseaux d'Orne-
ment, which contains the first acacia ('Robinia pseudacacia") intro-
duced into Europe. It was brought to France by Robin in 1601, and
planted here in 1636. Lastly, a little farther to the E., are the nur-
series of apples, pears, nuts, and stone-fruit.
In addition to the facilities it offers for study on the spot, the .Tardin
Botanique distributes seeds, plants, and specimens to educational estab-
lishments, to other botanical gardens aud st)cieties, and also to stuiients,
botanists, artists, and workmen.
To the N, of the Jardin des Plantes is the Halle aux Vins (open from
6 a.m. to 6p.m.); and near the S.W. angle is the large Hopital de la Pitii
(730 beds).
III. FROM THE JARDIN DES PLANTES TO THE GOBELINS.
The Gobelins is nearly 1 M. to the S.W. of the Place Valhubert
(tramway, see Appx.). We follow the Boul. de IHopital, which runs
between the Jardin des Plantes and the Gare de TEst (p. 200), and
is so called from the Hopital or Hospice de la Salpctriere on the left.
This vast establishment, originally an arsenal, built by Louis XIII.,
has been converted into an asylum for aged and insane women.
268 11. THE GOBELINS.
with a department for the treatment of nervous diseases. It includes
45 blocks of building, with 4682 windows and 3800 beds. In front
is a Statue of Dr. Pmei (1745-1826), an eminent benefactor of
the insane, by Durand, and near the entrance is a Statue of Dr.
Charcot (1825-93), the nerve-specialist, by Falguiere. The first court
contains busts of Dr. Falret (1807-70) and Dr. Bailtarger (1809-90).
The large amphitheatre of the institution contains a painting by
Rohert-Fleury^ in which Dr. Pinel is represented as delivering
the insane from torture.
The Boulevard St. Marcel diverges here to the right , passing a
Market for horses, carriages, dogs, and bicycles, and a bronze <Stafwc
of Joan of Arc, by Chatrousse. We then follow the Avenue des Go-
belins to the left and soon reach the manufactory on the right (No. 42).
The Gobelins may be reached direct by the Omnibuses from Notre
Dame-de-Lorette to the Boul. St. Marcel (K) "and from the Place de la Re-
publique to Montsonris {U):, and by the Tramways from the Halles to the
Porte d'lvry (TQ), from the Chatelet to Vitry, and from Montparnasse to
the Bastille.
The Gobelins (PI. G, 23) , the state-manufactory of the famous
tapestry of that nam.e, contains an interesting collection of ancient
tapestries. The manufactory is open to the public on Wed. and
Sat., 1-3 o'clock. Director of factory and museum, M. Guiffrey.
Tapestry -weaving was introduced into France by Francis I., who
established a factory at Fontainebleau, with Flemish workmen. Henri IV.
greatly fostered the industry, and about IGOl assembled in Paris a number
of weavers from both Italy and the Netherlands. About 1630 the manu-
factory was installed in an establishment formerly occupied by the Gobelin
family, an old-established firm of wool-dyers, whose name has ever since
been applied to the new industry; and about the same date a manu-
factury of carpets with Oriental patterns was transferred to an old soap-
factory (Savonnerie) at Chaillot. Louis XIV. purchased the works in
1662 at Gilbert's instigatiin, and placed them under the management of
Charles Le Brun., the painter (d. 1690; p. 134), who was succeeded by P. Mig-
nard (d. 1695 j. After a brief interregnum during the Revolution, the manu-
factory was finally established as a public institution by Napoleon I. in
1804. At first (down to 1695) not cnly tapestry, but embroideries, furni-
ture, mosaics, bronzes, and goldsmith's work were produced, all being ex-
clusively reserved for the decoration of the royal palaces or for royal gifts,
just as to-day the products of the Gobelins are employed for public pur-
poses only. The success of the institution continued unbroken so long as
painters like Noel Cot/pel (d. 1707), Mich. Corneille (d. 1708), Jean Jouvenet
(d. 1717), /. B. Fr. Letroy (d. 175'i) and C. Van Loo (d. 1765) composed de-
corative works expressly as models for tapestry. Under the influence,
however, of J. B. 0\i.dry (d. 1755) and Fr. Boucher (d. 1770), attempts,
entirely out of harmony with the true character of the art of tapestry-
weaving, were made to represent all possible shades of colour by means
of wools of lOOU different hues, each in 12 dift'erent shades. Increasing
mastery of technique enouraged the evil custom of minutely copying pictures
painted without any reference whatever to such reproduction, until finally
tapestry-weaving degenerated in'o a mere bastard kind of painting. Quite
recently some efforts h^ve been made to retrieve the error, but the. good
old tradi'ion cann<:t hastily be regained.
Ihe loim' are of the kind known as 'high-warp'' looms (Tapi'serie de haute
lisse), in which the warp-threads are vertical, as compared with 'low-warp'
looms (Tapisserie de basse lisse) in which the warp-threads are horizontal.
Only three looms are now engaged in producing Gobelin Tapestry proper.
At these the reverse side of the tapestry is turned towards the workman,
11. THE GOBELINS. 269
with the outline of the design drawn in black crayon on the stretched
threads. At the workman's side are the picture to be copied and a basket
with wools of every colour and shade (about 14,000 tones in all). The
weft-threads are inserted by means of shuttles held in the hand. In weaving
the 'lapis de la Savonnerie' the workman has the copy in front of him
and works on the ritjht side of the tapestry. The weft threads in this case
are tied and then cut, producing a velvet pile. — The number of workmen
(tapiss'ers artistes) now employed at the <;obelins is about 40. Be'-''nners
receive about 1'2(0 fr. per annum, si<illed w rkmen as much as ^ 300 fr.,
besides free dwellings; foremen receive 4000-5000 fr. Some families have
been empl lyed for generations in this industry. The work requires the
utmost patience and the most practised eye. A" skilful workman can com-
plete 3 or even 4 square yds. in a year , but the average annual task is
about IV2 yds. Many y^ars are, therefore, sometimes requisite for the
execution of the larger designs, which when complete are worth 2C00t.
and upwards.
We first visit the Exhibition Rooms, on the left side of the
court. (The former chapel at the hack of the court contains repro-
ductions of two of the Raphael tapestries, woven at Brussels in
1816-19, of which there are other sets at Berlin, Dresden, and Rome.)
The four exhibition-rooms contain a collection of ancient, and
a few modern tapestries, placed here in 1878. In 1871 the Com-
munards hurned a great part of the factory and about 70 of the
most valuable tapestries.
1st Room. To the right: Crossing the Ponte Blolle (Raphael). Abra-
ham's sacrifice (Sim. Vouet); Louis XIV. receiving Cardinal Chigi, the
papal legai.ie(LeBrun); Tnrenne (Le Brun) ; Louis XIV. visiting the Gobelins
Manufactory (LeBrun); Players at 'tiquet', part of a curtain by Gombaut
and Mace (17th cent.); Triumph of Pallas (If. Coi/pel); on an easel,
Louis XIV. (Rigaud); Repast of Syphax ( Giulio Romano ) ; View of the old
Chateau of St. Germain-en-Laye; Marriage of Alexander the Great (Coypel);
Autumn (Le Brun); Ascent of l-:iijah (Sim. Vouet); Herma (LeBrun). 'Busts
of painter^; bronze statue of Colbert, by Aubi ; fragments of Coptic ta-
pestries (lst-6th cent.), etc.
2nd Room. To the right: The Flemings demanding peace from Clevis
(Brussels tapestry; 17th cent.); to the left: Blood-hound (Oudry). At the
end: Two bulls (F. Besportes). Temporarily here are two tapestries from
St. Remi at Rheims, one restored, the other to be restored.
The 3rd Room, to the left of the last, contains tapestry of the 15-lSth
cent, from different manufactories. To the right : Calydonian Boar (ISth cent.) ;
Kiss of Judas fl6th cent.); Louis XI. raising the sieges of Dole and .^alins
(Bruges; loOl) ; Miracle of the 'Landit' fair (I5th cent.); Annunciation,
Dead Christ, Adoration of the Magi (Flemish); above the Christ, in the
middle of the room and at the door, Fine pieces of ancient Persian tap-
estry. On the other wall, four pieces of Flemish tapestry, after Raphael:
Elymas struck with blindness, Healing the paralytic, Death of Ananias,
and Sacrifice at Lystra. Then, Death of Joab (A. du Cerceau).
4th Room (adjoining R. 2j. Flora, of the Fontainebleau school (?) of
the 16th cent.; the Concert, French tapestry of the beginning of the 16th
cent.; Grotesque figures of the Months (Audran); Aubusson tapestry (16th
cent.) ; various fragments.
We next visit the Workshops (ateliers). The works on the
looms are, of course, liable to change; visitors are therefore referred
to the inscriptions for information. Gobelins proper is made in the
first room. The visitor who has seen nothing but faded old Gobelins
tapestry or inferior kinds will be struck by the beauty and brisrht-
ness of the colours and the delicacy of the shading.
270 IJ. THE GOBELINS.
We now traverse a corridor hnng with antique tapestry, and
descend a staircase to another part of the building, containing the
workshop of the Savonnerie. Here we see carpets in process of man-
ufacture. Also three ancient tapestries : Turkish embassy sent to
Louis XV. (Parrocel); Esther's swoon (Beiroy)\ Don Quixote (Ch.
Coypel).
We leave the Gobelins by a court to the left, with the old Chapel,
containing 17th cent, tapestry after paintings by Raphael: Ma?8 of Bol-
sena; Heliodoms expelled from the Temple. Also some small copies of
antique tapestry and small painted models.
The Avenue des Gobelins leads to the S. to the Place d'ltalie (PI. G,
23), v?here five other boulevards or avenues converge. In the centre is
a fountain. On the N. side is the Mairie of the 13th Arrondissement^ built
in 1867-77. In the Salle des JMariages are paintings by D. Boulanger. At
No. 18 Boul. d'ltalie is the Ecole Estienne , a technical school connected
w^ith the book- trade. — In the vicinity, to the S., is the Artesian Well of
the Butte-avx-Cailles (PI. G, 23), bored in 1864-98. It attains a depth of
1920 ft. and alTords d;,ily at least 2,700.000 gallons of excellent water.
For /fry, Bicetre, Villejuif^ Vitry, and Choisy-Ie-Roi, all reached by the
tramways passing the Place d'ltalie, see pp. 301 and 366.
The Boulevard Arago, forming a prolongation of the Boulevard St.
Marcel (p. 268), passes the Hdpital de Lourcine or Broca (for skin-diseases
of women) and the extensive Prison de la Santi^ a little beyond which it
terminates in the Place Denfert-Eochereau (p. 288). — The Boulevard de
Port Royal, leaving the Avenue des Gobelins to the N. of the Boulevard
Arago, leads past the Val-de-Grace (p. 286) to the Carrefour de TObserva-
toire (p. 285).
At the N. end of the Avenue des Gobelins rises the church of
St. Medard (PI. G, 22; 7), of the 15-17th cent., the burial-ground
of which is now a garden, with a figure of 'Haymaking' by Barrau.
In the 18th cent, it contained the 'wonder-working' tomb of the
Jansenist deacon Abbe Paris (d. 1727). Pilgrimages to the tomb were
at length prohibited by Louis XV. in 1732, which gave rise to the
witticism : —
'/)e pa)' le Rot, dSfence ct Dien,
De faire miracle en ce lieu.''
The unfortunate son of Louis XVI. is said to be also buried here.
The Rue Monge at the back of the church leads to the Boulevard
St. Germain (tramway), passing the Place Monge, in which is a
bronze statue of Louis Blanc (1811-82), the historian and socialist,
by Delhomme. In the vicinity are the scanty remains of the Arenes
de Lutece, at the corner of the Rue de Navarre, to the right. These
consist of a few tiers of seats (much restored) round the arena, which
has been laid bare.
12. The Invalides and the Champ- de-Mars.
The best day for a visit to the Invalides is Tues. or Thurs., when
the tomb of Napoleon and the Museums are open (comp. p. 273). The
Museums close at 3 or 4. — The Esplanade des Invalides, the Champ de
3rars, and the quai between them, were all covered in ItOO by buildings
connected with the Exhibition.
i% FAUBOURG ST. GERMAIN. 271
I. FROM THE TUILERIES TO THE INVALIBES.
Cbambre des Deputes. Ste. Clotilde.
"We cross to the left bank by the old Pont Royal, which was
constructed in 1685 from plans by Gabriel and Mansart. From the
bridge we obtain a good view of the sculptures on the Pavilion de
Flore (p. 151). At the S. end of the bridge begins the Rub du Bag
(PI. R, 17, 16; IV), which traverses the Faubourg St. Germain,
the aristocratic quarter, where the principal streets are the Rue de
Lille, Rue de Verneuil , Rue de I'Universit^, Rue St. Dominique,
Rue de Grenelle, and Rue de Varenne, all running parallel to the
Seine, Most of the houses in these streets are private mansions, and
the quarter presents a dull and deserted appearance, especially in
summer and on Sundays and holidays. Among the public edifices
here are several embassies and government offices, etc.
In the Rue du Bac , to the left, is the Petit St. Thomas fp. 40), with
an attractive facade. Bevond, in a small square, rises the church of
St. Thomas d'Aquin (PI. R, 17 ; /F), erected in 1682-1740. The portal was
not completed till 1787. The interior contains some interesting frescoes
and other paintings.
At the intersection of the Rue du Bac and Boul, St. Germain is a
bronze statue, by Dame, of Chappe (1763-1805), inventor of the aerial
telegraph.
The Rue du Bac then crosses the Boul. St. Germain and the Rue de
Grenelle, in which, to the left, rises the Fontaine de Grenelle (PI. R, 17;
IV), erected in 1738 from designs by Boiichardon (d. 1762). It consists of
a crescent 31 yds. in diameter and 38 ft. in height. In the centre is a
small Ionic portico, adorned with an allegorical group in white marble
representing the City of Paris with the Seine ana the Marne. In niches
at the sides, are statues of the Seasons with appropriate reliefs.
Near the S. end of the Rue du Bac, on the right, is the Seminaire
des Missions Etrangeres (PI. R, 16; IV), for the training of Roman Catho-
lic missionaries. A melancholy sight is afforded here by the Chambre des
Martyrs (shown during the vacation?, except Wed., from 1 to 4 or 5, and
on Suu. and holidays from 1 to 2.30), which contains numerous instru-
ments, especially from China, used in torturing and killing Christian
martyrs, blood-stained clothes of missionaries, and other relics.
Farther on, at the corner of the Rue du Bac and the Rue de Sevres,
are the extensive magazines of the Bon-Marchi (p. 39), which also look
into the Rue de Babylone and the Square des Minages (so called after an
old hospice of that name) , with a marble group of Sleep by M. Aforeau.
The Bon-Marche has about 4000 employees. Parties of visitors are con-
ducted over tue establishment at 3.30 p.m.
Farther on in the Rue de Sevres (to the W,) are the Hdpital Lainnec,
the Sick Children's Hospital, the Hdpital Xecker, the Blind Asylum, and the
Avenue de Breteuil, with its Artesian Well (p. 281).
On the Qual d'Orsay, between the Pont Royal and the Pont Solfe-
rino, rises the recently completed Gare d' Orleans (PI. R, 17; //),
which is connected (mainly by a tunnel) with the former terminus
of that name (p. 26) near the Jardin des Plantes (p. 264), a distance
of 11/4 M.
Lower down the river, near the Pont de Solfe'rino, rises the
tasteful Palais de la Legion d'Honneur (PI. R, 17; II), erected in
1786 by Prince Salm-Kyrburg, and interesting as the scene of Mme.
de Stael's reunions during the Directory.
272 12. CHAMBRE DES Dl^PUT^S.
The adjoining Pont de Solferino was constructed in 1858-59.
The large and low square tower in the Boul. St. Germain, at the end
of the Rue de Solferino, helongs to the Ministere de la Guerre,
Lower down the river, on the Quai d'Orsay, at the end of the Boul.
St. Germain (p. 270), and opposite the Place and the Pont de la
Concorde (p. 83), rises the —
Chambre des Deputes (PL R, 14 ; /i), otherwise known as the
Palais du Corps Legislatif or Palais Bourbon,, which was begun in
1722 by Girardini for the dowager Duchess of Bourbon. The Prince
de Conde afterwards expended about 16 million francs on the
building, which in 1790 was declared national property. After
having been used for various purposes, it was set apart for the sit-
tings of the Council of Five Hundred, and afterwards for those of
the Corps Legislatif or Chamber of Deputies, which has 581 members.
The original facade is on the side farthest from the Seine. The
little square in front of it is embellished with a marble statue of
'Law', by Feucheres (1855). The facade towards the river, built by
Poyet in 1804-7, is in the style of a Greek temple, with a handsome
Corinthian colonnade of twelve columns. To the right and left of
the flight of steps are placed statues of Themis and Minerva, and on
massive pedestals in front are seated figures of D'Aguesseau, Colbert,
L'Hopital, and Sully. On each side of the portico are reliefs by
Rude and Pradier (Liberal Arts and Public Education), and in the
tympanum a group by Cortot , which represents France with the
constitution, between Liberty and Order, summoning Commerce,
Agriculture, and Peace to her aid.
Intebiob. When the Chamber is sitting visitors are admitted only
to the Salle des Seances, for which they require a ticket from the 'se-
cre'taire de la questure', to whom application shonld be made by letter
or through an ambassador. At other times the building is open to the
public from 9 to 5. The public entrance (before 2 p.m.) during the sittings
is in the small building to the right of the grand staircase which ascends
from the quay. Visitors at other times apply to the left in ihe court
behind, entered from the Rue de I'Universite; they are escorted by an
attendant (fee). The Salle des Pas-Peedus has a ceiling-painting (Peace)
by Horace Vernet. — The Salle des Seasces, or Assembly Hall, is semi-
circular in form, and is borne by twenty marble columns, behind which
are the public galleries. The hall is embellished with a reproduction in
tapestry of Eaphael's School of Athens, and with marble statues of Li-
berty and Public Order, by Pradier. — The Salle des Confebences con-
tains a ceiling-painting by Heim, representing the history of legislation in
France, and several pictures : President Mole arrested during the Fronde,
by Viii'-ent; Opening of the States General by Philippe le Bel, by Vinchon;
•Self-sacrifice of the burgh°rs of Calais, hj Ary ScMffer. — The Librakt is
adorned with ceiling-paintings by Eug. Delacroix (in the cupolas, Poe«y,
Theology, Legislation. Philosophy, and the Exact Sciences; in the lunettes
at the ends, Attila and Orpheus). In the S.alle des Distributions are scenes
in grisaille by Abel de Pujol. The Salle Casimir-Periee is embellished
with statues of Mirabeau and Bailly by Jaley Perier by Buret, and Gt^neral
Foy by Beprez, and bas-reliefs by Triqveti and Balou. The Salle dc Troxe
contains paintings of Justice, "War, Industry, Agriculture, and the Seas
and Elvers of France, by Eug. Belacroix.
The residence of the president of the Chamber is to the right of the
1'2. STE. CLOTILDE. 273
building. Adjacent to it, and facing the quay, is the Ministere des Af-
faires Etrang'eres (PI. R, 14 ; II), a handsome edifice built in 1845 by
Lacorm'e and restored since 18? 1. Immediately beyond this build-
ing is the Esplanade des Invalides (see below). — We now retrace
our steps, pass the Chambre des Depute's, and follow a street to the
right, skirting the E. side of the building, A little farther to the
S. we follow the Rue St. Dominique to the left and soon reach —
*Ste. Clotilde (PI. R, 14; /F), one of the finest modern
churches in Paris, erected in 1846-59 by Gau and Ballu in the
Gothic style of the 14th century. The facade consists of three por-
tals, richly sculptured, and flanked with two towers, which terminate
in slender spires, rising to a height of 216 ft.
The Interior is simple and dignified, being decorated with marble
reliefs only. 3Iagnificent stained-glass windows. The two small chapels
of the aisles are adorned with paintings by Delaborde. Under the windows
of the aisles and in the transept are bas-reliefs by Buret and Pvadier^
forming a 'Chemin de la Croix'. — The chapel of Ste. Valere, the martyr
of Limousin, to whom a church was once dedicated on this site , is in
the right (\V.) transept. It contains scenes from her history by Lenepveu.
The choir- screen is adorned with bas-reliefs by Ouillaume , two on the
right representing Ste. Valere, and two on the "left Ste. Clotilde. — The
choir-chapels are embellished with mural paintings: 1st on the right (St.
Remi), by Pils and Laemlein; 2nd (St. Joseph), by Bezard\ 3rd (Virgin),
by Lenepveu-^ 4th (Ste. Croix), by B)'isset\ 5th (St. Louis), by Bougueveau.
— In the left transept are two large compositions by Laugie: St. Clotilde
succouring the poor, and the Baptism of Clovis. — The carved choir-stalls
and the high-altar, which is enriched and inlaid in the mediaeval style,
also deserve inspection. — The grand organ is by Cavaille-Coll, and the
electric organ in the choir by Merklin.
The square in front of the church is adorned with a handsome
group in marble, by Delaplanche, representing Maternal Instruction.
To the right as we quit Ste. Clotilde runs the Rue La-Cases, No. 5 in
which, near the other end, contains the Musee Social, founded by the Cumte
de Chambrun (adm. daily, except Sun., 9-12 & 2-6). The o!jec"t of the in-
stitution is to place at the gratuitous disposition of the public, docunient.%
models, plan?, rules, con.'titutions, etc., of social institutions intended to
ameliorate the position of the working classes. Lectures are c ften delivered
here, and there are special meetings also.
The Rue de Grenelle passes near the back of Ste. Clotilde, and
leads thence to the W. in a few minutes to the Invalides.
II. h6tel des invalides.
Musee d'Artillerie. Eglise des Invalides. Tomb of Napoleon I.
The Hotel des Inv.\lides is shown 12-4 on week-days, 9-1 on Sun.
(no admission to the dormitories, kitchens, or refectories)-, the JIuseums
are open to the public on Tues., Thurs., and Sun., 12-4 (in winter till 3),
and the Emperor's Tomb on Mon., Tues., Thurs.. Frid., and Sun., 12-4.
No fees. — The Hotel des Invalides may be reached by means of the omni-
buses from the Porte St. Martin to Grenelle ( 10, from the Quai de Valmy
to the Porte Kapp (A J>), and from the Gare St. Lazare to Grenelle (-1//;.
The omnibuses traversing the Place de la Concorde, the tramways on bi th
banks, and the river-steamers also pass near the Hotel.
The handsome Esplanade des Invalides (Pi. R, 14; //, IV), about
550 yds. in length, and 270 yds. in width, embellished with several
Baedeker. Paris. 14th Edit. 18
274 12. HOTEL DES INVALIDES.
rows of trees, lies between the Seine and the Hotel des Invalides.
The new Pont Alexandre III (p. 165) places it in direct communica-
tion with the Charaps-Elysees. On both sides of the esplanade, near
the bridge, is the new Gare des Invalides, the terminus of the rail-
way from St. Cloud ('Ligne des Moulineaux') along the bank of the
Seine, which is to be connected with the new Gare d"Orle'ans (p. 271).
The Esplanade is included in the grounds of the Exhibition of
1900. — In the grounds to the left of the open space in front of
the Hotel des Invalides is a bronze statue of a wounded warrior
repairing his sword, by Chretien.
The Hotel des Invalides (PI. R, 14; IV), with its conspicuous
gilded dome, a vast establishment occupying an area of about 30
acres, was founded in 1670 by Louis XIV. , 'pour assurer une
existence heureuse aux militaires qui, vieillards mutiles ou inflrmes,
se trouveraient sans ressources apres avoir blanchi sous les drapeaux
ou verse leur sang pour la patrie'. The building was begun in 1671
by Liberal Bruant, and completed in 1675 by Mansart. The estab-
lishment was intended to accommodate 7000 inmates, but there are
now less than 175, and the number is decreasing, as only soldiers
absolutely incapacitated for work are nosv admitted. Parts of the
building have been devoted to other purposes; and in 1898 the head-
quarters of the governor of Paris were transferred hither.
A railing separates the Place from the outer court of the Invalides,
which is now a garden enclosed on three sides by a dry moat.
The guides who assail visitors at the entrances to the Hotel des In-
vaiides are unnecessary. They are quite unofficial, in spite of their mil-
itary-looking caps.
A 'Batterie Triomphale' placed behind the moat is used in firing
salutes on grand occasions.
It consists of eight guns and a mortar on each side, besides which there
are several unmounted pieces on each side, including 16 Algerian cannons
with Arabic inscriptions, a Cochin-Chinese, and two Chinese cannons. — On
the right, as we face the Seine, are two Austrian cannons, one cast at Vienna
in 1681, the other in 1580, with the inscription in German, ' When my song
resounds in th.e air, many a wall will fall before rne\- four Prussian guns,
cast at Berlin in 1708, captured there by the Austrians in 1757, and
brought by Is'apoleon from Vienna after the Battle of Austerlitz along
with 2333 other cannon; a Dutch piece, captured at the siege of Antwerp
in 1832; a rifled cannon from Sebastopol; a mortar from Algiers. — On
the left: a long swivel-gun from WurtemlDerg, a masterpiece of its kind,
decorated with a serpent and allegorical figures; a Venetian piece, of
1708; the remaining pieces correspond to those on the right side.
The garden is adorned with a Statue of Prince Eugene de Beau-
harnais (1781-1824), in bronze, by Dumont.
The Facade of this vast edifice is about 220 yds. in length. The
three stories are surmounted with trophies in stone. At the principal
entrance are an equestrian figure of Louis XIY. in bas-relief, and
statues of Mars and Minerva, in bronze, all by Coustouthe Younger,
In front of the wings are placed four groups in bronze, hy Desjardins,
emblematical of four conquered nations. They formerly belonged to
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the statue of Louis XIV. in the Place des Victoires (p. 193j, but were
brought here in 1800.
The building is open to visitors daily; but there is little to see
beyond the external decorations, the church, and the museums.
The Cour d'Honneur , the first court, is enclosed with arcades,
parts of which are adorned with paintings by B. Masson^ representing
scenes from the epochs of Charlemagne, St. Louis, Louis XIV.,
and Napoleon I. Opposite the entrance is the church (p. 279) ; on
the right the Mus^e d'Artillerie ; on the left, the Muse'e de I'Arme'e
(p. 279).
The *Musee d'Artillerie (admission , see p. 273) occupies a
considerable part of the W. wing of the building. This interesting
collection consists of 10,000 specimens of weapons of all kinds, both
ancient and modern. Sticks and umbrellas need not be given up.
Tlie Catalogue (by L. Robert; 1889-95) is in 5 vols.: 1 (A-F), Nucleus
of the museum, antique arms, 75 c. 5 2 (G-I), Defensive armour, helmets,
shields, Ifr. ;3(J-L), Arms of otTence, steel weapons, etc., 11/4 fr. ; 4 (M)
Portable firearms, IV4 fr. ; 5 (N-P). Artillery and miscellaneous objects, 75 c.
Appendix by F. Bernadac, the present director, EO c. — Explanatory labels
are attached to the exhibits.
The 1st Galerie des Armures, to the right of the main entrance,
is decorated, like the following room, with mural paintings of mil-
itary subjects contemporaneous with the founding of the Hotel. To
the right is a collection of armour and weapons of the lo-17th cen-
turies. Opposite: G. 178-180. Italian armour for combats in the
lists; the suit in the middle belonged to one of the Medici family;
German jousting armour, including a suit 'a tonne' for fighting on
foot. On the right side are historical suits of armour and eleven
suits of German workmanship (early 16th cent.), known as 'Maxi-
miliennes'. At the end of the saloon is a model of the Chateau of
Pierrefonds. Behind, portraits of General Lariboisiere (d. 1812)
and his son, by Gros. In the middle, as we return, juvenile armour.
— Then firearms , steel weapons, shields, helmets, etc. Some of
these are beautifully ornamented with precious stones, ivory, re-
pousse' work, engraving, chasing, inlaid work, damascening, etc.
Cask I. M 37. Arquebuss belonging to Richelieu; M 1648. German
pistol (17th cent ); M70. Wheel-lock arquebuss. — Case II. *M640 and 1752.
Rifle and pistols made at Rotterdam by command of Napoleon I. for the
Shereef of Morocco; M 2262. Greek pistol belonging to General M. Bot/.aris
(d. 1823); M 1781, 1713. Valuable pistols of the 18-19th centuries. — Cask III.
Swords and sabre (late 16th cent.); G 246. Gorget (17th cent.); German
firearms (16-17th cent.); M 63. French arquebuss (16lh cent); 159. Italian
gala shield, with the Triumph of Galatea, after Raphael (16th cent.). —
Case IV. LG6. Flemish or German cross-bow adorned with ivory carvings
(ca. 1500); gala shields and Italian shields of the 16th cent. (Nos. *I 77,
*J82); G599. .lou-ting chanfron (end of the 16th cent.). — Case V. M 35.
Matchlock musket (1629); J 233 and 240. Spanish rapiers: M 82. Wheel-
lock arqucbu.'s (;6-lah cent.); G 6e6. Ni).«e-band of a Gorman bridle (16th
cent); H50 and (on the other side) 1151. Jousting hcliiu-ts ('Maximilian'
style); H 263. German gala helmet (i7th cent.); H 114. Chased and gilded
helmet (16th cent.); G 93. Armour of the early 17th cent.; M'JU2, 126.
Wheel-lock musket and arquebuss (German). — Case VI. M 127. 1619, 1044.
18*
276 12. MUSEE D'ARTILLERIE.
German wheel-lock petronel and pistols (16-17 tli cent.)j M 362. German
cross-bow 'a pied-de-biche' (i.e. with butt shaped like a deer's hoof)',
G 597 and (at the back) *G 593. Chanfrons, the latter formerly in the pos-
session of Philip II. of Spain. — Case VII. Fine French, Italian, and
Spanish swords ('16-17th cent.). — Case VIII. J 26. Sword of the Constable
of France (end of the 15th cent.); M 2135, 2136. German cartridge-boxes
(late 16th cent.). — Cases IX-X. Daggers-, hunting weapons; sets of in-
struments.
Aljove and against the walls are French flags and standards,
originals to the right, copies to the left. The second on the left is
the red Oriflamme of St. Denis 5 the ninth is the white standard of
Joan of Arc , enriched with fleurs-de-lys. Also, cross-bows and
thrusting weapons.
The "2nd Oalerie des Armures contains a splendid collection of
armour worn by horsemen and foot-soldiers, chiefly of the 15th and
16th centuries. In the glass-cases are pieces of armour and steel
weapons and firearms of greater interest than those in the other
gallery. — In the centre, among other suits of armour: in the second
row, *G 38. German suit (16th cent.); *G 166. Jousting-armour of
Maximilian I. ; G 40. Suit of a prince of Bavaria (1533); G717.
Saracen suit of the 16th cent. ; G 41. Another Bavarian suit; *G 117.
Armour of Francis I. ; G 52 and 53 (at the sides), German armour
of the 16th cent.; *G 118-125. Armour of the kings of France from
Henri II. to Louis XIV.; G 196. Juvenile suit of Louis XYI. (?);
G 197. Suit of the Duke of Burgundy, grandson of Louis XIV.
Case I. 'J 376-385. Swords of Francis I., Henri II., Charles IX.,
Henri IV. (37fl, 380. Marriage-swords), Louis XIII., Louis XIV. (382, 383),
Louis XVI. (coronation-sword), and the Dauphin Louis XVII. ; H 143 and
193. Burgonet, helmet, andbrassarts of Henri II.; G249. Gorget of Louis XHL;
H 280. Juvenile helmet of Louis XIV. ; K 50. Blace of Henri II. ; L 115.
Cross-bow of Catherine de Medicis; G 657, 515, 4'25. Spurs, stirrups, and
gauntlets of Louis XIV. ; M 95, 86, 96. Muskets of Louis XIII. ; M 410. Musket
of Louis XIV. — Cases II-IV. *H 257. Helmet in the antique style ('a la
chimere') ; H 253 , 155. Italian helmets of the 16th century. — Case V.
*G51. Italian armour of the 16th cent., enriched with bas-reliefs of ad-
mirable composition and execution; '162. Italian buckler; *H 254. Italian
helmet in the antique style ; -J 95-97. Italian swords (16th cent.) ; *G 50.
Italian armour, known as the 'armure aux lions' (16th cent.). — Case VI.
'H 184. Italian morion; other Italian helmets of the 16th cent.; G 239.
Gorget of the time of Henri IV. ; I 7. Round shield of Matthew Corvinus,
King of Hungary (d. 1490) ; K 58, 56. Maces (16th cent.) ; 'J 112, 74, 111. Italian
shoulder-belts and girdle (16th cent.); J 119. Sabre of Stephen Bathory,
King of Poland (d. I586j ; K 49, 47. Maces; *G 6()9. Nose-band of a bridle
(1567). — Case VII. Italian helmets of the 16th cent. , including *H 149.
Burgonet and -H 251. Helmet; H 261. Polish helmet; P 575. Hunting-horn
(12th cent.); P 567. Thumb-.^crews of the 16th cetit.; J 380. Sabre of Stan.
Poniatowski (? d. 1762) ; J 389. Sword of Charles XII. (d. 1718) ; I 86. Ju-
venile shield of the Duke of Burgundy, grandson of Louis XIV. ; M 367,
359. Wheel -lock muskets (German; 16th cent.). — Case VIII. Italian
lielmets and buckler (I 63) of the IGth cent.; powder-flasks, cartridge-boxes,
etc. ; mace; German pistols, Avith thebutts ending inballs; German muskets.
Round the room, in chronological order, are arranged specimens
of armour from the middle of the 15th cent, to the middle of the
17th, when steel was superseded by buff-coats. Above, on the walls,
are foreign flags. Between the suits of armour on the left side are
12. MUSliE D'ARTILLElilE. 277
specimens of thrusting-weapons, such as halberds (K 272, etc.),
partisans (K 378, etc.) , spontoons (K 596, 597). Also steel wea-
pons and panoplies. — A Room on the Right contains numerous
helmets and bucklers, coats-of-mail, boots, etc.
A door at the end of the Salle des Armures leads into a passage,
beyond which are the four rooms of the * Ethnographical Gallery^ an
interesting collection of 78 wax and wooden figures of savages in
their war-costumes.
Returning to the vestibule, we follow the Corridor, to the left,
passing the staircase to the second floor (p. 278) and the entrance
to the courts (p. 278), and enter the —
Salle Orientale. 1st Section: in the middle, to the right and left,
steel weapons (J 1273, Chinese sabre) and firearms (M 2182, 2183,
to the left, Turkish rifles). By the windows are more steel weapons;
on the walls are firearms. On the wall to the right as we enter is a
rich sabre captured at Hue (Annam) in 1885.
2nd Section. Rich Oriental saddles, captured in Egypt by Napo-
leon I. Continuation of weapons.
Case to the Right. H 445, 4G0. Helmets of Bajazet II. (d. 1512) and
Mongolian helmet; .7 1235. Cingalese sabre; J 1200, 1198, 1201. Indian
poignards; J 1238, 1237. Javanese swords ; J 1176, 11?0, 1178. Swords of
Indian Mahommedans; J 1248, 1249. Malay creeses; M 2349. Gilt powder-
flask with gems (ITth cent.); bows and quivers. — Case to the Left.
H 452, 451. Tartar and Russian helmets (16th cent.); J 1215, etc. Hindoo
khuttars; J 1048. Equipment of the grand-master of the seraglio; J 1067,
10G6. Khanjars from the Balkans; J 1173. Sabre of Indian Mahommedan ;
J 1205. Indian poignard.
By the pilasters : to the left, Arab rifles; to the right, Chinese
and Japanese sabres ; Japanese helmets.
3rd Section. Two Oriental saddles. Glass Case to the right :
Models of Japanese armour. Glass Case to the left : Turkish rifles.
G 738. Persian cuirass (16th cent.) ; H 466. Circassian cuirass. Case
at the end : *G 749. War-costume of an emperor of China, captured
in the summer-palace during the expedition of 1860 ; K 1158, 1159,
948, 949. Commander's batons, battle-axe, and a kind of halberd,
also from China. At the sides, Japanese armour.
1st Galerie des Armes Blanches et Armes h Feu, to the right of
the preceding. Weapons with wooden shafts, a collection of steel
weapons from the 12th, and of firearms from the 15th cent., down
to the present day. The most interesting objects are in glass-cases.
To the left: firearms of the earliest types; saddles of the 15-16th
cent. ; portions of harness. Against the wall of the entrance is a
cabinet with specimens of French orders, military rewards, and
marshals' batons.
Cases with Thecsting Weapons (K). Partisans (495, etc.), spontoons
(567, etc.) ; 22. Battle-hammer (15th cent.) ; spears, including two with pistols
(659, 658); 84. Battle-axe of Edward IV. of England (d. 14S3); halberds,
including a German specimen with two pistols (262); 1.26. Italian halberd;
607, 603. Lintstocks. — Next this case: M 1. 2. Firearms of the earliest
kind, known as 'scopettes\ — Cases with Firearms (M). 9, 10, 5. Matcli-
lock muskets and petronel; 417. Large wheel-lock musket (perhaps once in
278 12. MUSfiE D'ARTILLERIE.
the possession of James II. of England); 953. German arquebuss with snuff-
box (16th cent.); then wheel-lock arquebusses. remarkable for their work-
manship, chiefly German; those in the upper row are mainly hunting-weap-
ons, of the kind known as 'a pied-de-biche' (p. 276).
2nd Galerie des Arnus Blanches et Armes a Feu, "beyond tlie Salle
Orientale. This gallery contains pistols, modern rifles, and otlier
firearms, besides a collection of cross-bows, some armour, and an-
cient thrusting weapons. At the end are modern helmets and
military headdresses. On tbe left side are prehistoric weapons (some
casts and imitations); on the right side are ancient weapons, originals
and models.
Right Wall, near the entrance: 'grenadiers' used in the 18th cent, for
throwing grenades; rifles of the same period; revolving rifles (31431.
dating from the 17th cent.); siege-rifles. — Cases by the Partition. Dress-
pistols of the 16-I8th cent., those with the butt ending in a ball are nearly
all German; then ornamental rifles of the 16-19th cent., less interesting
than those in the other gallery.
The breech-loading weapons are in the left section of the gallery,
by the partition; and between the windows on the same side is part
of the collection of modern foreign weapons. At the end, specimens
of helmets and shakos.
Last Room, at the end, to the left. Drums, kettle-drums, sappers'
axes, etc; ornamental saddles and weapons; honorary weapons, and
weapons of historic interest; marshals' batons and decorations.
Souvenirs of Napoleon I. : bench from St. Helena ; camp-bedstead ;
grey coat ; coat worn by Napoleon at Marengo ; dressing-gown ; hat,
etc. Saddles of Louis XIV. (G 624), Charles X. (626), and Napo-
leon I. (625).
The remainder of the collection is placed under the gates and
in the courts on each side of the passage. On the right is the Cour
de la Victoire, containing modern cannon, models of naval cannon,
Chinese gun-carriage, a Russian gun and carriage from Sebastopol,
and several cannon recovered in 1872 from Spanish gaUeons which
foundered iu the Bay of Vigo in 1701; armour plates pierced by
cannon-shots. — On the other side is the Cour d^Angouleme, where
among other pieces is placed the Griffin, a culverin captured at
Ehrenbreitstein on the Rhine in 1797, cast in 1528, and weighing
nearly 13 tons. Bronze statue of J. B. Gribeauval (1715-1789),
first inspector-general of ordnance, by Bartholdi. By the wall here
is a chain 190 yds. long, and 31/2 tons in weight, used by the Turks
at the siege of Vienna in 1683 for the purpose of barricading an arm
of the Danube. Under the carriage-entrance is a chain with fifty
iron collars for prisoners, captured in the Morocco camp after the
battle of Isly in 1855.
The Second Flooe is reached by the staircase from the corridor
mentioned at p. 277. Four rooms on the left contain a very interesting
collection of 72 "Costumes de G'oerre^ including prehistoric, Gallic, Greek,
and Roman costumes, and French costumes from the time of Charlemagne
down to the end of the 18th century. — The gallery on the right is oc-
cupied by a valuable collection of small ModUes d'Artilleric from the earliest
12. EGLISE DES INVALIDES. 279
period down to the present day. The field-artillery is in the centre and
on the left; the siege-artillery next the windows.
Tlie Musee de I'Armee, in the Cour d'Honneur (p. 275), opposite
the Musee d'Artillerie, and open at the same hours (p. 273), is a
recent foundation, occupying at present only two of the six rooms
that have been set apart for it. The Musee d'Arme'e is devoted to
souvenirs of the French army, and may be regarded as the comple-
ment of the preceding collection.
To the right of the vestibule is the Salle Turenne., the former officers'
mess-room, with mural paintings contemporary wiih the foundation of the
Hotel. Facing the door: souvenirs of Turenne, including the hall that
killed him at Sasbach (1675). Then, to the right and in the centre: battle-
scenes, representations of uniforms, etc. To tlie left : representations of old
French flags and standards. A glass-case contains some sabres and bullets,"
recently found relics of the passage of the Beresina (Xov. 2e-29th, 1812).
Farther on are uniforms of the French army since the First Republic;
dresses and souvenirs of various mar-hals and generals: pistols of Napo-
leon I., bridle of his horse at Waterloo, his three-cornered hat, table and
chair owned by him as a lieutenant, memorials from his tomb at St. Helena,
souvenirs of the Due de Reichstadt, son of Napoleon I., etc. Behind, to
the left, the waggon that brought Napoleon's coffin for embarkation at
Jamestown ; to the right, golden wreath presented by Cherbourg when his
remains were brought to France. By the middle of the rear-wall is the
pall that covered the sarcophagus before it was placed in the Hotel des
Invalides.
To the left of the vestibule is the Salle Bugeattd, the former soldiers'
mess-room, the walls of which are covered by mural paintings with old
plans of fortresses. The room contains pictures, uniforms, and other re-
miniscences of the conquest of Algeria (1830), the sieges of Antwerp (18^2)
and Rome, the wars in the Crimea, Italy, China, and Mexico, the Franco-
German war, and various Colonial expeditions.
TheEglise des Invalides consists of two distinct parts, the Eglise
St. Louis, and the Dome.
The Eglise St. Louis is entered from the S. side of the
Cour d'Honneur. The nave is adorned with banners captured in
Algeria, the Crimea, Italy, China, and Mexico.
On 30th March, 1814. the evening before the entry of the Allies into Paris,
about 1500 flags, the victorious trophies of Napoleon I., were burned in the
court of the Invalides to prevent their falling into the hands of the enemy.
The sword brought by Napoleon from the tomb of Frederick the Great
at Potsdam in 1806 was destroyed on the same occasion. A numberof
other flags captured during the wars of the Republic and the first Empire
were accidentally burned" during the funeral obsequies of Marshal Se-
bastiani in 1S51.
The columns of the church bear a number of monuments and tablets
in memory of former governors of the Hotel des Invalides. Four bronze
tablets record the names of the marshals and officers interred in the vaults
of the church. Behind the high-altar i^ a large window filled with modern
staineil glass, below which is a door leading into the Dome, but gener-
ally closed.
The *D6me dbs Invalides has an entrance of its own on the S.
side, in the Place Vauban , at the back of the Hotel, which may be
reached by the Corridor de Metz to the left of the church (comp.
the Plan). Admission, see p. 273. Sticks and umbrellas must be
left at the entrance (no charge).
This second church was built by J. II. Mnnsart in 1676-170^
280 12. TOMB OF NAPOLEON I.
not only as an effective crowning feature for the entire pile of build-
ings, but also as an arena ('Eglise Royale") for the pompous ceremo-
nial that took place when the king attended divine service in his
capacity as 'protecteur des Invalides'. It is entered by a portal with
two series of columns, Doric and Corinthian, placed one above the
other, and adorned with statues. The church is a square pile, 198 ft.
in breadth, surmounted by a circular tower with twelve windows and
a lofty dome, above which rise a lantern and cross , 344 ft. in height.
The dome, 86 ft. in diameter, gilded during the first Empire, and
again , by the electro-plating system , in 1861 , is constructed of
woodwork covered with lead, and is embellished with reliefs re-
presenting military trophies.
The *Tomb of Napoleon I., constructed by Visconti, and situated
beneath the dome, is an open circular crypt, 20 ft. in depth and 36 ft.
in diameter. On the mosaic pavement, which represents a wreath
of laurels and is inscribed with the names of battles (Rivoli, Pyra-
mids, Marengo, Austerlitz, Jena, Friedland, Wagram, and Moscova),
rises the sarcophagus, 13 ft. long, 61/0 ft. wide, and 141/2 ft. high,
consisting of a single huge block of Siberian porphyry weighing
upwards of 67 tons. The twelve colossal Victories surrounding the
sarcophagus were among the last works of Pradier [d. 1851). The
six trophies consist of sixty flags captured in battle by Napoleon.
The walls of the crypt, behind the Victories, are of polished slabs of
granite, adorned with ten marble reliefs by Simart (d. 1858) : Re-
storation of public order, the Concordat, the Reformed Administra-
tion, the State Council, the Code, the University, the Chamber of
Finance, the Development of Commerce and Industry, Public Works,
and the Legion of Honour.
The entrance to the crypt (closed) is at the back of the high-altar.
It is flanked by two sarcophagi, bearing the names of Duroc and Ber-
trand, the emperor's faithful friends. The former fell at the battle of
Bautzen in 1813; the latter (d. 1844) was the emperor's constant com-
panion throughout his wars and his captivity, and followed his remains
when brought by Prince Joinville from St. Helena in 1840 to their pre-
sent resting-place. Above the entrance are these words from the em-
peror's will : ' Je desire que mes cendres reposent sur les bords de la
Seine, au milieu de ce peuple francais que j'ai tant aime'. On each side
is a colossal Atlas in bronze, by Buret, one bearing a globe, the other a
sceptre and crown.
Above the crypt, at a height of 160 ft., rises the lofty dome in
two sections. The first of these is divided into twelve compart-
ments, painted with figures of the Apostles by Jouvenet (d. 1717).
The upper section is adorned with a large composition by Ch. de Lafosse
(d. 1716): St. Louis offering to Christ the sword with which he
had vanquished the foes of Christianity. The Evangelists in the
spandrels are by the same artist. The paintings above the high
altar are by N. Coypel. The faint, bluish light admitted from above,
and the sombre appearance of the crypt and its surroundings greatly
enhance the solemn grandeur of the scene.
Two lofty chapels on each side of the crypt contain the menu-
12. TOBACCO MANUFACTORY. 281
ments of Vauban (d. 1707) and Turenne (d. 1675), with recumbent
figures. The former, by Etex, -was erected in 1847; the latter, by
Tuby and Marsy, was brought from St. Denis.
The chapel to the left of the entrance contains the tomb of
Jerome Bonaparte (d. 1860), once King of Westphalia, with a bronze
statue by Guillaume, a smaller sarcophagus with the remains of his
eldest son, and another containing the heart of his wife. The chapel
to the right of the entrance contains the sarcophagus of Joseph Bona-
parte (d. 1844), once King of Spain. These chapels are decorated
with paintings by Bon and Louis Boulogne, the others with paint-
ings by Bon Boulogne and Mich. Comeille.
The Place Vauban^ in front of the Dome, is the destined site for a
cnlossal monument, by Gaudez, to suldiers who have fallen in the colonial
armies of France. In the Avenue de Bretevil , which begins here, is seen
the tower (lOS ft.) of the Artesian Well of Grenelle, which is 1800 ft. deep.
Nearer the Place Vauban, to the left, are the towers of the church of
St. Francois Xavier, erected in 1861-75 by Lusson and Uchard in a pseudo-
Renaissance style. It is adorned with mural paintings by Lameire, E.
Delaunay, Gazes, aad Bouguereau, a Virgin by Bonassieux, and stained
glass by Mar^chal. The arrangement of the interior is somewhat peculiar.
Farther on in the same direction, at the end of the Boulevard des
Invalides, on the right, is the Blind Asylum, or Inttitution des Jeunes
Aveugles (PI. R 13, /7; admission by permission of the director, except
during the vacation in Aug. and Sept.). This handsome edifice was erected
in 1839-43. The relief in the tympanum, by Jouffroy, represents Valentin
Haiiy (d. 1822), founder of the institution, instructing his pupils under the
protection of Religion. In the court is placed another statue of the founder.
— The asylum contains ihe, M'isie Haiiy {atlm. on Wed., 2-5, with the per-
mission of the Director), containing articles manufactured by or for the
use of the blind.
The quay to the E. of the Esplanade des Invalides (p. 273) is also in-
cluded within the Exhibition of 1900. Here rises the extensive Manufacture
des Tabacs (PI. R, 14), Quai d'Orsay 63. Alsitors are admitted on Thurs-
days on applying shortly before 2 o'clock. This extensive establishment,
known as 'du Gros-Caillou, is worthy of a visit, but the pungent smell of
the tobacco saturates the clothes and is not easily got rid of. About 22(X)
workpeople are employed here, and over 19 million lbs. of tobacco are
annually manufactured. — The Inginieurs aiix Tabacs^ or higher officials,
are educated at the Polytechnic School, and study two years at the 'Ecole
d'application pour les Tabacs'. There are several other government
manufactories of tobacco in France, all dependent on that of Paris, vield-
ing a net revenue of 366,000,000 fr.
Farther on towards the Champ-de-Mars, at No. 103, Quai dTrsay,
is the temporary Garde Meuble de I'Etat (PI. R, 11; /). It contains an
interesting collection of furniture, tapestry, bronzes, and other objects of
artistic and historical value. This museum is open to the public daily,
except Mon., 10-4 o'clock ; visitors write their names in a book on entering.
Two large rooms to the right contain furniture, bronzes, tapestry, vases,
etc.; and a smaller room to the left contains porcelain and small objects
of art. The catalogue (IVo fr.) contain.^ 910 numbers, of which onlv about
400 are exhibited: Xos. ol-109. Style of Louis XIV.; 131-242. Louis XV.;
279-419. Louis XVI.; oOO 5-6. First Republic; 6C0-615. First Empire;
700-707. Restoration; 750-759. Louis Philippe; 800-811. Second Empire;
850-855. Modern times; 900-910. Various.
282 12. CHAMP-DE-MARS.
III. THE CHAMP-DE-MARS.
Eiffel Tower. Galerie des Machines. Ecole Militaire,
The Champ-de-Mars may be reached by the Chemin de Fer du Champ-
de-Mars, from the Gare St. Lazare (p. 26); by Steamboat (see p. 25); by
the Tramways from the Louvre to St. Cloud, Sevres, and Versailles (TAB)^
from the Bastille to the Porte Kapp (TL), or from St. Philippe-du-Rnule
to the Porte dOrle'ans (T^F), by those running to' the Trocade'ro (p. 169);
and by Omnibus from the Porte St. Martin to Grenelle (Tj, from the Quai
de Valmy to the Porte Rapp (AD), or from the Gare St. Lazare to Grenelle
(AE) or "to the Trocadero.
The *Chainp-de-Mars (PL R, 8, 10, 11 ; /), a little to the W.
of the Invalides, the chief scene of the Exhihition of 1900, was,
until 1889, a large sandy space, 1100 yds. in length and 550 yds.
in breadth, nsed for military mano&uvres
Down to 1855 it was enclosed by embankments, 15-20 ft. in height,
which were planted with trees, and in the formation of which no fewer
than 60,000 Parisians of both sexes and all classes participated in the
year 1790. These banks were then furnished with tiers of seats, which
enabled hundreds of thousands of the people to witness the Fete de la
Fiddration, which took place on 14th July of the same year. In front of
the Ecole Militaire was erected the Aute'l de la Patrie , where the king,
the national assembly, and the representatives of the army and the pro-
vinces, swore fidelity to the new constitution. Talleyrand, Bishop of
Autun, with 400 of the clergy, robed in white, officiated in the religious
part of the ceremony. The rejoicings on this occasion were universal,
as it was believed that the Revolution was now happily terminated. A
similar festival, the famous Champ de ifai^ was celebrated here with the
utmost pomp bj Napoleon on 1st June, 1815. Here too, in August, 1830,
Louis Philippe presented colours to the National Guard, and in 1852 Napo-
leon III. distributed to the army the eagles which were to replace the
Gallic cock. The Champ-de-Mars was the site of the '■Expositions Univer-
selles" of 1867, 1878, and 1889, and is again occupied by that of 190).
The *Eiffel Tower (Tour Eiffel or Tour de Trois Cents Metres),
close to the Seine and opposite the Trocadero, naturally the most
conspicuous object in view, was built by M. Gust. Eiffel (b. 1832
at Dijon) in rather less than two years (1887-89). This enormous
structure is the loftiest monument in the world, attaining a height
of 984 ft., or not far short of twice the height (555 ft.) of the
Washington Column at Washington (tower of Ulm cathedral 528 ft.,
Cologne 511 ft., Rouen 495 ft.. Great Pyramid 449 ft., St. Paul's in
London 404 ft.). At the same time it is an interesting specimen
of bold and accurate skill in design and of the marvellous scientific
precision of modern engineering. Owing to the effect of perspective
the tower, when seen close, appears to be lower than it really is.
The foundations were laid by means of iron caissons, sunk to a
depth of 46 ft. on the side next the Seine, and 29 V2 ft. on the other
side, compressed air being used to expel the water. Concrete was
then poured in to form a bed for four massive foundation- piers of
masonry, 85 ft. thick, arranged in a quadrangle 112 yds. square.
Upon this base, which covers about 27.3 acres of ground, rises the
extraordinary yet graceful structure of interlaced iron-work. The
four uprights have an initial inclination of 54°, and beneath the
12. EIFFEL TOWER. 283
first platform are united with each other by round spans, form-
ing a kind of huge triumphal archway, higher than the Nelson
Column in Trafalgar Square. Above the first platform the four
uprights are still distinct, but they gradually approach each other
as they ascend, and finally coalesce into a single shaft at a height
of about 590 ft. The iron girders and beams used are hollow, while
the upright standards are each 2 ft. in breadth. The successive
platforms may be reached either by means of the staircases or by
hydraulic lifts (fare, see below).
The First Platform is 190 ft. above the ground and has an area
of about 5860 square yards. — The Second Platform, 32 yds.
square, at the height of 380 ft., is occupied by a glass-covered hall,
and the reservoir of the hydraulic lifts. At 680 ft. is a kind of
landing-place or floor. Even as it approaches the top the tower is
33 ft. square. — The Third Platform, at the foot of the double
lantern which terminates the tower, 904 ft. from the ground, sup-
ports a glass pavilion, 54 ft. square, capable of holding 800 people.
The Lantern rises 79 ft. higher. A staircase ascends within it to
a circular balcony, iQ^.j^^- ^^ diameter, above which again is the
electric light, which is seen at night for a distance of 45 miles. —
There are in all 1792 steps from base to summit: to the first plat-
form 350 (7-8 min.), thence to the second 380 (10 min.), and
thence to the top 1062.
Tbe Ascent of the tower is recommended only in clear weather. The
tower is open daily from 10 a.m. till dusk, from March to November (in
winter, see below). It contains two restaurants (bargain advisable), a
'brasserie', bufi'ets Ton the 2nd and 3rd platforms), a theatre, etc Visitors
ascend to the second platform by staircases or lifts (atcenteurs) ; beyond
that by the lift alone. The staircases to the first platform are in the
W. and E. legs of the tower; those to the second platform in the others.
The Charge is the same for the staircases or lifts : to each of the first
two platforms 1, to the 3rd 2 fr. (i.e. in all 4 fr); on Sun. and holidays
1/2 and 1 fr. ; children half-price on week-days only. On Sun. and holidays
there is no guarantee that all visitors can ascend to the top. — The terrace \
of the 4th story is open to the public on Sun., Mon.. Wed., and Thursday. — L.^
— In winter visitors are allowed to ascend the staircases to the fir^t two *
platforms, daily from 12 till dusk (1 fr.).
The *VieiD from the top is very extensive, but varies greatly with the
state of the atmosphere. In certain directions it extends foT 55 31. in a
direct line, i. e. beyond the limits to the N. and S. of the map at p. 350.
To the S.W., for example, we may see as far as Chartres, to the K.E.
as far as Villers-Cotterets. The view from the first two platforms is
hounded by the hills surrounding Paris.
The Champ-de-Mars between the Eiffel Tower and the Galerie
des Machines is now occupied by buildings of the Exposition Uni-
verselle de 1 900.
The old Galerie des Machines, at the end of the Champ-de-Mars,
is an enormous hall built by Dutert and Contamin for the Exhibition
of 1889. It is 450 yds. long, 165 yds. broad, and 160 ft. high, and
its glass-roof has a span of 374 ft. The central part, which was
altered for the Exhibition of 1900, originally consisted of a single
nave 125 yds. in width, between two galleries of two stories. At
284 12. ECOLE MILITAIRE.
present the centre is occupied by a Salle des Fetes with accommo-
dation for 25,000 persons. In front, towards the Champ-de-Mars,
is the Palais de I'Electricite' mentioned in the Appendix. The ribs
of the roof of the Galerie des Machines spring from the ground,
where their lower ends rest upon cast-iron sockets, embedded in
masses of masonry resembling the piers of a bridge. The main
entrance is on the side next the Hotel des luvalides, and there are
other entrances at both ends.
The Ecole Militaire (Pl.R, 10 ; 7), an imposing edifice by Gabriel,
situated a little to the S.W. of the Invalides and covering an area of
26 acres, was founded in 1751 by Louis XV., 'pour y elever cinq cents
gentils-hommes dans toutes les sciences necessaires et convenables
I un offlcier'. In 1792 it was converted into barracks, but it is now
the seat of the Ecole Superieure de Guerre. The principal part, on
the N. W. side, presents a palatial appearance and is 1/4 M. in length.
The Corinthian portico in the centre is surmounted by a quadran-
gular dome. The wings were added in 1855. The chapel resem-
bles that of the palace of Versailles. The public are not admitted
to the Ecole without special permission.
13. The Southern duarters.
Tuesday, Thursday, and Saturday are the best days for this excursion
for those who wish to visit the collections in the Ecole Supe'rieure des
Mines, whither we may proceed from the cemetery of Montparnasse. On
Saturday a visit to the Gobelins may be included ; and in that case we
may avail ourselves of the public conveyances plying along the Rue Gay-
Lussac and the Boul. Montparnasse and from the Porte Royale (comp. PI.
in the Appx.). — Or we may proceed direct to the Cimetiere Montparnasse
(Omnibus F) or to the Pare" Montsouris (tramways to Montrouge). — With
a visit to the Pare Montsouris an excursion on the Ligne de Sceaux (p. 350)
may also easily be combined. — Luncheon may be taken near the Gare
Slontparnasse or near the Luxembourg (p. 19j.
I. FROM THE LUXEMBOURG TO THE OBSERVATOIRE AND THE
CEMETERY OF MONTPARNASSE.
Palais du Luxemlourg, see p. 255. Continuing to ascend the
Boul. St. Michel beyond the Luxembourg Garden, we pass on the
right the Ecole Superieure des Mines (PI. G, 19 ; IF), which possesses
a valuable *Musee de Mineralogie^ de Geologic, et de Paleontologie
(open on Tues., Thurs., and Sat,, 1-4).
The entrance is in the middle, by the second iron gate. In the vesti-
bule are fine carved specimens of Siberian graphite. The staircase is
adorned with paintings of places of geological celebrity, by Eugard.
The two small rooms adjoining the entrance and a third beyond the
staircase to the second floor make a small mineralogical museum of them-
selves, forming a 'resume' of the large collection. Some artificial minerals
are also exhibited here. In the second room, at the end opposite the
entrance, is a Cape diamond embedded in a fragment of rock.
The mineralogical and geological collections occupy fifteen rooms or
sections on the first floor. The glass-cases are numbered from the S.
13. FONTAINE DE LOBSERVATOIKE. 285
end (left on entering), and the principal objects are labelled. The first
3 sections are devoted to geology. The unnumbered cabinets round the
walls contain special collections illustrating particular districts and large
unclassified specimens. A room to the right of the 3rd section contains
the Delessert Collection, another resume of the general collection. The
mineralogical collection, in the 8 following sections, is classified in the
order of the composition of the specimens , beginning with silica and
ending with the metals. In the glass-cases round these rooms is an im-
portant collection of French natural products (arranged by departments),
used in manufactures. — Among the more interesting specimens may he
mentioned the fine samples of Siberian graphite; in ihe section next the
entrance, Cases 18-23: emeralds, garnets, tourmalines, and topazes-, oppo.'ite
the staircase to the 2nd floor, Cases 39, 40: sapphires, rubies, and cymo-
phanes; in the last section but one, Cuses 15 and 10 of the series by the
windows : specimens of sulphur and diamonds.
The palteontological collection, on the second floor, is arranged zoologi-
cally, and contains many interesting and valuable curiosities.
The garden of the Luxembourg has been considerably reduced
in extent since 1867. The central Allee de VObservatoire, however,
has been reserved and converted into a promenade, embellished with
marble groups representing Dawn (by Jouffroy), Day (by Perraud),
Evening (by Crauk), and Night (by Gumery), On the right, near
the garden, is the Lycee Montaigne. At the corner is the Ecole Colon-
iale, built in the Moorish style in 1895-96. Farther on are the Eco/e
de Pharmacie, by Eug. Rigault (with statues of Yauquelin and Par-
mentier and frescoes by Besnard in the corridor of the groundfloor),
and the Clinique d' Accouchement.
At the S. end of the promenade rises the handsome *Fontaine
de I'Observatoire or du Lvxembovrg (PL G, 19), erected in 1874
from designs by Fremiet, adorned with eight sea-horses, a group
of four allegorical figures bearing an armillary sphere, by Carpeaux,
and water-spouting dolphins and tortoises. To the E. is the cupola
of the Val-de-Grace (p. 286).
In the Carrefouk de l'Observatoire (PL G, 19) is a monu-
ment, by Puech, to Francis Gamier (1839-73) , the explorer and
conqueror of Tonkin. The Statue ofNey, to the right of the Carrefour,
marks the spot where the marshal was shot on 7th Dec, 1815, in
accordance with the sentence pronounced by the Chamber of Peers
on the previous evening. The statue in bronze, by Rude, erected
in 1853, with its forced attitude and open mouth, is not a successful
work. To the left are a station on the new branch of the Ligne de
Sceaux (p. 350), which passes below the Boulevard, and the Bal
Bullier (p. 37), gaudily fitted up in terracotta, with the appropriate
inscription: 'Saltavit et placuit'.
In the Rue St. Jacques, on the other side of the Boul. St. Michel, is the
church of *S^ Jacques-du-Haut- Pas (PI. G, 19; F), of the 17th century.
Adjoining this church is the Institution des Sourds-Muets (admi.^^sion
on Tues., 2-4 p.m., by permission of the director), the court of which
contains a statue of the Abb(i de I'Epie, the founder, by Fe'lix Martin, a,
deaf-mute, and an elm-tree, lUO ft. high, said to have been planted in 1605,
and probably the oldest tree in Paris. The institution contains a small
special museum.
286 13. OBSERVATOIRE.
The Rue de rAbbe-de-l'Epee leads between the cburch of St. Jacques
and the Deaf and Dumb Institution to the Rue Gay-Lussac , No. 41 in
which is the Mutie PMagogique, open on Thurs. from 10 a.m. to 4 or 5 p.m.
It comprifes a Mus^e des Poiqyies^ showing the costumes of the ancient
provinces of France and of several foreign countries.
In the Rue St. Jacques, farther on, we observe the —
Val-de-GrS.ce(Pl. G, 19), formerly a Benedictine nunnery, found-
ed by Anne of Austria, mother of Louis XIV., in accordance with
a vow, but converted into a military hospital in 1790. The Church,
designed by Fr. Mansart, and erected in 1645-66, is a handsome
building. The court in front of it is embellished with bronze statues
of the two Barons Larrey (father and son), the famous surgeons, by
David d' Angers and Falguiere. Above the facade, with its Corinthian
and composite columns, rises the handsome dome, a reduced copy of
that of St. Peter's at Rome, 53 ft. in diameter, and 133 ft. in height,
flanked with four towers which also terminate in domes. — The
Interior is somewhat bare. The cofl'ered vaulting and the high-
altar, with its canopy borne by spiral columns, are copies of those of
St. Peter's at Rome. On the dome is painted a celebrated, but badly
preserved, fresco by Pierre Mignard (d. 1695), representing the glory
of the blessed. The marble group on the high-altar is a copy of
Mich. Anguiers group in St. Roch (p. 85), which was formerly
here. — This church contains the tomb of Queen Henrietta, wife
of Charles I. of England, over whose remains a famous funeral
oration was pronounced by Bossuet. It was also the burial-place of
members of the royal family of France and princes of Orleans.
A little farther on, the Rue St. Jacques crosses the Boulevard
de Port-Royal, in which are the Maternity Hospitals of Baudelocque
and La Maternite^ and the Hopital du Midi or Ricord. In front of
the last is a Statue of Dr. Ph. Ricord (1800-1889), by E. Barrias.
Beyond the Carrefour de I'Observatoire the Avenue de VOhser-
vatoire leads to the observatory.
The Observatoire (PI. G, 19, 20), an institution of great repu-
tation, occupying a building which has repeatedly been enlarged, was
founded in 1672. The meridian of Paris (2° 20' 9" E. of Greenwich)
runs through the centre of the building, and the latitude of the S.
facade is held to be that of Paris (43*' 50' N.). The copper dome,
to the left , containing a large parallactic telescope , is 42 ft. in
diameter, and is constructed so as to revolve round its vertical axis.
The Astronomical Museum is shown on the first Saturday of each
month at 2 p.m. precisely, by permission of the director (obtained
on written application, with stamp for reply). — In front of the
facade is 3i Statue ofLe Ferricr (181 1-77), the astronomer, by Chapu.
From the Carrefour we follow, to the right, the Boulevard
Montparnasse, which leads to the station of that name, crossing the
Boulevard Raspail, which when complete will run from the Boul.
St. Germain (PI. R, 17; IV) to the Place Denfert-Rochereau (p. 288),
13. CEMETERY OF MONTPARNASSE. 287
skirting the Cemetery of Montparnasse. In this street, to the left,
at the corner of the Boulevard Edgar-Quinet, is a bronze statne, hy
Morice, of Ra-^pall (1794-1878), the famous chemist and democrat.
The Cemetery of Montparnasse, or Cimetitre du Sud{V\. G, 16),
has its principal entrance in t)ie Boulevard Edgar-Quinet. This is
the third of the great Parisian burial-grounds. It was laid out in
1824, but is uninteresting compared with the cemeteries of Pere
Lachaise and Montmartre. Adm., see p. 180. It is divided into
two parts by the Rue Gassendi, which runs from the corner of the
Boiil. Edgar Quinet to the Square de Montrouge.
The cemetery is divided by walks into large oblong sections, so that
the visitor will easily find his way. The chief walks are the Avenue
Principale, beginning at the entrance ; the Avenue du Boulevard and Avenue
du Kord, the first and second transverse avenues ^ then the Avenue Trans-
versale properly so-called-, the Avenue du Midi, at the end; and the Ave-
nues de rOuest and de TEst, at the sides. A plan of the cemetery may
be seen at the beginning of the main avenue, to the left.
Near the entrance, on the left Aristide Boucicaut (d. 1879), founder of
the Bon-3Iarcbe'; on the right, family oi Henri Martin {A. 1883), the historian.
Behind it, a space enclosed by a railing is the burial-place of the sisters
of charity, among whom lies Soeur Rosalie Rendu, who was decorated
by the Legion of Honour in recognition of her devoted labours in the
Crimea. General Petit (d. 1856), sarcophagus with column and bronze
bu«t, by Boitel. — At the beginning of the Avenue du 2ford, to the right,
Pierre Larousse (d. ISTo), author of the 'Dictionnaire Universel du dixneu-
vieme siecle', a handsome monument with a bronze bust by Perraud.
In the main walk, at the corner to the left, Ldontine Spiegel (d. 1S60),
with a statue in white marble. At the corner, before we reach the second
walk beyond the last monument: Henri Grigoire (d. 1831), deputy to the
States General, one of the first of the clergy who swore fidelity to the
new constitution in 1790, afterwards Bishop of Blois. member of the Council
of Five Hundred in 1795. In 1815 he was deprived of his bishopric by
Louis XVIII., and excluded from the Institut (p. 245), of which he was
a member, and on his death the Archbishop of Paris refused his remains
Christian burial, as he had declined to retract his oath.
At the Rond-Point, a Mo-numeni de Souvenir, commemorating those
who have no other monument. Then, on the right: Desenne (d. 1827),
designer, a bronze bust-, Dcseine (d. 1822), the sculptor; Orfila (d. 1853),
f e physician, with a medallion.
Farther up, to the right of the principal avenue: Chaudet (d. 1810),
sculptor, a chapel. The tower at the end, to the right, is an old mill,
belonging to a convent of Freres de St. Jean-de-Dieu. — Beside the avenue,
near the Rond-Point, to the right as we return : Mme. de Miissy (d. 1880).
Between a Gotliic chapel and the avenue, Gerard (d. 1837), painter, pyramid
with a medallion and bas-reliefs. Then, "Rude (d. 1855), sculptor, with
a bust and bas-relief by Cabet.
Transverse avenue on the same side, on the left: Ottavi (A. 1841), de-
puty, with a bust; to the right, Besnard (d. 1842), theologian, with a
medallion by David d'Angers.
Avenue de TEst: H. de Mylius (d. 1866), general; a large monument
with a bust in bronze. Farther up, to the right: Le Verrier (d. 1877),
the astronomer. The walk at the end, to the left, also contains some inter-
esting monuments; Dumont (d. 1884), sculptor, with bust by C. J. Thomas.
The newer part of the cemetery is on the other side of the Rue Gassendi
(see above). Towards the centre, at the corner of the Ave. Thierry and
the Ave. Transversale, rises a large monument to Soldiers who have died
in defence of France. Opposite is one to Firemen who have perished in
the execution of their duties. In re-descending the Avenue Thierry, to
the right: Col. Herbinger (d. 1886); bust and relief by Etex. To the left.
288 13. CEMETERY OF MONTPARNASSE.
G. Jundt (d. 188i), the painter, with bronze bust and statue by Bartholdi.
We return to the older part of the cemetery, and follow the Avenue
du INord. On the left, /. Moulin^ French consul in Saloniki (murdered in
1876). On the right: Th. Olivier (d. 1853), founder of the Ecole Centrale
des Arts et Manufactures, with a medallion. In the centre of the plot,
Alh. Dumont (d. 1884), archeeologist; stele and bust, by Thomas.
In the adjoining part of the Avenue de PEst, to the right, rises a
rock with a medallion, marking the grave of Aug. Dorn^s^ 'representant
du peuple', who was killed by the insurgents in June, 1848. To the
left, Boulay de la Meurlhe (d. 1840), member of the Council of Five
Hundred, president of the legislative section of the Conseil d'Etat, and
minister under Napoleon I., with a bust by David; Boulay (d. 1858), son
of the last, deputy, vice-president of the republic in 1849, president of
the Conseil d'Etat, and senator. Then, in the Avenue de TEst, on the
right: Hipp. Lebas (d. 1867), architect. — At the end of the Avenue de
TEst, to the right: *'Mme. Collard-Bigi (d. 1871), a Renaissance temple
with a statue by Franceschi. Adjacent: Duban (di. 1870), architect, with a
medallion; opposite, Caruelle d'Aligny (d. 1871), painter; bust by Etex.
Between the avenues, near the office at the entrance, "Comte de Gas-
part (d. 1879), consul in Venezuela, with a bronze bust; PeiTaud (d.l8T6i,
sculptor, with bust. In the Avenue du Nord, to the left, Jacques Lisf ran c
(d. 1S47), surgeon and professor, with a bust and reliefs by Elshoecht.
There are also several interesting monuments on the other side of
the principal avenue. Not far from the entrance is a division set apart
as a Jewish Cemetery; there is another in the S.E. corner of the other
part of the cemetery. — In the Avenue de TOuest, near the middle, on
the right: Dumont d''Urville (d. 1842), a distinguished admiral.
The Pare Montsouris may be reached direct from the cemetery by
turning to the right and skirting the cemetery to the Place Denfert-
Rochereau (see below). Those bound for the Gobelins return to the Boul.
Montparnasse (tramway to the Bastille).
The Gare Montparnasse (Pi. G, 16), in the boulevard of the same
name, lies not far from the cemetery (comp. p. 26j. — To the E.,
on the N. side of the boulevard, stands the church of Notre-Dame-
des-Champs, built in 1867-75 in a pseudo-Romanesque style.
In the Rue Dutot, about 1/2 M. to the S.W. of the Gare Montparnasse,
is the Pasteur Institute (PI. G, 13), founded by the eminent scientist of
that name for the study of microbes and protective vaccination. Patients
are treated for hydrophobia daily after 10.30 a.m. on simple application.
Virus against diphtheria is prepared at a branch-establishment at Ville-
neuve rEtang (p. 327) and is sold by chemists. In front of the Institute
is the statue, by Truffot, of Jupille, the shepherd, struggling with a mad
dog. (Jupille is now the concierge of the establishment.) Pasteur (1822-90)
is buried beneath the platform in a spacious crypt, adorned with marble
and mosaics; visitors are admitted on the 1st and 3rd Sat. in each month
from 1 to 4 p.m. Opposite are a new Insiiiute for InfecUous Diseases and a
large Biological Laboratory belonging to the Pasteur Institute.
II. FROM THE CARREFOUR DE L'OBSERVATOIEE TO THE PARC
MONTSOURIS.
From the Avenue de I'Observatoire the Rue Denfert-Rochereau
leads to the S., passing the Hospice des Enfants Assistes (found-
lings), to the Place Denfert-Rochereau, formerly Place d'Enfer (PL
G, 17), adorned with a huge lion in black, hammered copper, by
Bartholdi, a replica of that erected at Belfort. Here also converge
the Boulevard Raspail (p. 286), to the right (N.W.), leading to the
cemetery of Montparnasse; to the left the Boulevard Arago, run-
13. THE CATACOMBS. 289
niiig to the E. to the Avenue des Gobelins (p. 270), and the Boule-
vard St. Jacques, which is continued by the Boulevard d'ltalie to
the Place d'ltalie (p. 270j. In the Boul. Arago is a bronze statue,
by Oliva, of Fran(^o>s Arago (1786-1853), the astronomer.
The Place Denfert-Rochereau still contains two pavilions belong-
ing to the old city 'barriere'; their friezes are worthy of notice. In
the square beside the pavilion on the left is a statue, by Al. Char-
pentier, of Charlet (1792-1845), the painter. — Tn the court of that
on the right is one of the chief entrances to the Catacombs.
The Catacombs were formerly subterranean quarries, worked as far
back as the Roman period, and yielding a soft kind of limestone which
hardens on exposure to the air. Visitors are admitted to the Catacombs
at intervals (generally the 1st and 3rd Sat. of each month) by the special
permission of the Directeur des Travaux, Hotel de Ville. Each visitor must
carry a torch, which may be bought at the entrance (50 c), with a guard
of cardboard to protect the clothes from the melting wax. Overcoats and
thick shoes are desirable. The visit occupies about 1 hr., and the exit is
made at No. 92, Rue Dareau, near the Avenue Montsouris (PL G, 17-20).
The Catacombs extend under a great part of the quarters on the left bank.
Several streets in the S. quarters of Paris, situated above these quarries,
having begun in 1774 to show symptoms of sinking, steps were taken by
government to avert the danger by constructing piers and buttresses where
the upper surface was insufficiently supported. About the same time the
Council of State ordered the removal of the bodies from the Cemetery of
the Innocents, and others, which were closed at that period, to these sub-
terranean quarries. The quarries were accordingly converted into a vast
charnel-house, and called Catacombs. During the Revolution and the
Reign of Terror, immense numbers of bodies and bones brought from
various quarters were thrown in confused masses into these cavities ; but
in 1810 a regular system was organised for the more seemly disposition
of these remains and the preservation of their resting-place. The galleries
and diflferent compartments are completely lined with human bones and
skulls, carefully arranged, and representing, it is said, six million bodies.
The other chief points of interest are the foundations of the Aqueduct of
Arcueil (p. 350); a spring called the 'Fontaine de la Samaritaine'; a crypt
with an altar; a small monument known as the 'Sepulchral Lamp'; the
Tomb of Gilbert, a cenotaph; and various inscriptions.
Beyond tlie pavilions is the Gare de Paris- Denfert^ formerly
called the Gare de Sceaux, but no longer the chief station in Paris
for the line to Sceaux (see pp. 25, 358).
From the Place Denfert-Rochereau the Avbnub Montsoukis leads
past this station direct to the Pare de Montsouris (see below). A
more interesting, though slightly longer, route follows the Avenue
d^ Orleans to the right, along which the tramway runs. This traverses
the Montrouge quarter, properly called the Petit-Montrouge. The
Grand- Montr ouge is a village outside the fortifications.
The second street to the right leads from the Avenue d'Orle'ans to the
Sqdake de Montrouge (PL G, 17), with the Mairie of (he 14th Arron-
dissement. The square is embellished with a marble bust of the Republic,
by Baffier; and with bronze figures of a Torch Bearer by Steiier, a Horse
attacked by a tiger by Fratin, and an Auvergnat Peasant by Monibiir.
Farther on, at the corner of the Avenue d'Orleans and the Avenue
du Maine, is the church of St. Pierre-de- Montrouge (PI. G, 17), a neo-Ro-
mauesque edilice, with a lofty tower terminating in a lantern.
The Pare de Montsouris (PI. G, 21), completed in 1878, affords
Bakdekeb. Paris. UthEdit. 19
290 13. PARC MONTSOUEIS.
an attractive public promenade for the S. side of the town, but is
smaller and less picturesque than the Buttes-Chaumont on the
N.E. side. It is about 40 acres in area, adjoins the fortifications,
and is intersected by the Sceaux and Ceinture lines of railway. On
the highest ground stands a reproduction of the Bardo, or palace of
the Bey of Tunis , a picturesque Moorish edifice , now used as an
observatory. At the foot, at the entrance from the avenue, is a
bronze figure representing '1789', by Aug. Paris. Higher up are
the Straw Binder and a Desert Drama, bronzes by Louis Pierre and
Gardet. To the left, near the Sceaux railway, is an Obelisk erected
to Colonel Flatters and his companions, slain by the Touaregs in
1881, while making surveys with a view to the construction of a rail-
way through the Sahara. At the foot of the hill is a lake fed by a
small cascade. Above the lake, in front of a pavilion, is a marble
group by Etex ('Les Naufrag^s') ; and to the E. of the Observatory is
the Old Mother, a bronze group by J. Escoula. The park commands
an extensive view of Paris, particularly of the hill of Ste. Genevieve
(Panthe'on) and the valley of the Bievre. Beyond the precincts of
the city, to the S.E., are the Hospice and Fort de Bicetre. — A mil-
itary band plays in this park on Sun. in summer (p. 38).
To the W., by the principal entrance to the park, lies the large
Eeservoir de la Vanne, T^/o acres in area, with sides built of solid
stone, 10 ft. thick, and capable of holding nine million cubic feet
of water. Fully one-third of the quantity is supplied daily by a
conduit, 7 ft. in diameter and about 100 M. in length, which brings
to Paris the water of the Vanne, a stream rising in Champagne,
about 9 M. from Troyes. Visitors are admitted to inspect the re-
servoir; entrance in the Rue de la Tombe-Issoire.
The reservoir has two stories, the upper one containing the principal
supply, the lower a reserve supply. The latter is shown by one of the
employees (fee), but as the vast interior is illuminated only by the light
carried by the guide, the visitor receives but an imperfect idea of the
boldness of the gigantic construction, with its massive walls and in-
numerable piers supporting the weight of thousands of tons of water.
The top of the reservoir is vaulted over and oovered with turf : the visitor
may ascend to see the water issuing from the upper basin in a copious
stream, the purity of which is secured by bringing it direct from the
source through the covered conduit.
About 250.000.009 fr. (10,G00,0C0i.) have recently been spent on the water-
supply of Paris, and 5(>,000,000 fr. are still to be spent. The reservoirs of
the Vanne, of the Dhnis (p. 187 1, and of the Avre (p. 295) afford in or-
dinary times a supply of 22 gallons per head of the population; but in
summer there is aa occasional scarcity, and an addition to the supply is
about to be obtained from the Loing and the Lunain, a tributary and
sub-tributary of the Seine. The plan of having recourse to the Lake of
Geneva has been mooted.
The Rue Beaunier, opposite the entrance to the reservoir, leads back
to the Avenue d'Orleans, which it joins near a station of the tramway
(TG) to the Gare de TEst (p. 26) and also near the Montroiige Station on
the Chemin de Fer de Ceinture (Appx., p. 34).
We may now return by the Chemin de Fer de Ceinture from Montrouge
or the Pare Montsouris via Auteuil, to the Gare St. Lazare (comp. Appx..
p. 34), in the centre of the town.
^
-r.:
^
^^. ,^
_ 1
1^ L
ENVIRONS OF PARLS.^
14. St. Cloud, Sevres, and Meudon.
I. FROM PARIS TO ST. CLOTJD.
By Railway. — The Ligne des Moulineaux, running in a loop betwicn
the Gare St. Lazare (PI. B, 18) and the new Gave des Invalides (Pi. K,
14; //), is recommended owing to the convenient situation of its stations
at St. Cloud and Sevres. Trains start hourly or oftener from one or other
of the above termini; to St. Cloud, 30-45 min. (fare 75 or 50 c), to Sevres,
30-45 min. (90 or 60 c). — The Ligne de Versailles Rive Droite has its
station less conveniently situated in the upper part of St. Cloud (comp.
Plan, p. 294): 9V2 M., in 21-3imin.; fare 75 or 50 c. ; no reduction on re-
turn-tickets.
LiGNH UBS MouLiNBAUx, from the Gare St. Lazare. The train
passes under the bridge of the Place de I'Europe. To the right
is the goods - station , on the level of the bridge, to which the
trucks are raised by elevators. We pass through a short tunnel.
To the left is the Chemin de Fer de Ceinture. The fortifications are
then traversed. — 3 M. Clichy-Levallois. Clichy, to the right, with
numerous factories, has 33,900 inhab. ; Lev(tUois-Perret, to the left,
adjoining Neuilly, has 47,300 inhab,, largely workmen and employees.
Racecourse, see p. 38 and Plan of Paris (B, 4-7). The train crosses
the Seine.
3^/4 M. Asnieres {Cafis and Restaurants at the bridge and at the
station), a village on the left bank of the Seine, with 24,300 inhab.,
is a favourite resort for boating and other amusements in summer.
The lines to Argenteuil (p. 341), St. Germain-en-Laye (p. 326),
and Rouen (p. 396) diverge here to the right, and the St. Cloud
line describes a wide curve to the left.
Tramways. — Two tramway-lines lead from the Place de la Madeleine,
at Paris, to Asnieres. One, running to the N.E. of Levallois-Perret (see
above), crosses the bridge near the railway, and halts in the centre of
Asnieres. The other runs through Clichy (see above) and crosses the
second bridge below the railway-bridge, 1/2 )I. from the centre of Asnieres.
This second line is continued to Gennevilliers (7400 inhab.), in the pen-
insula of that name. Part of the liquid brought hither by the great sewers
of Paris (p. 64) is used as manure for the market-gardens here, the rest
being carried under the Seine to be utilized for a similar purpose in the
di.-^trict between the river and the forest of St. Germain fp. 333). — The tram-
way from Levallois-Perret halts on the opposite bank and communicates
with Asnieres by means of a steam-ferry (5 c.), above the railway-bridge.
41/2 M. Becon-les-Bruyeres. Branch to La Garenne (p. 326) via
Les Vallees.
5 M. Courbevoie, a town with 20, 100 inhab., contains numerous
laundries, like other places on the Seine near Paris. The long
+ This section may be detached from the rest of the volume by opening
the latter sharply before the Map and after the Inde.x and running a sharp
pen-knife down the gauze to which the sheets are fastened.
19*
292 14. SDRESNES. From Paris
"building to the left of the station is a harrack erected by Louis XV.
for his Swiss Guards. Beyond the station the line crosses an avenue
that forms the direct continuation of the Avenue de Neuilly (p. 155).
The Arc de Triomphe appears, 21/2 M. distant. A rondel near the
railway is emhellished with a bronze group by Barrias, commem-
orating the Defence of Paris. Courbevoie is united with Paris by
special tramways and the tramway to St. Germain-en-Laye (comp.
Appx. and p. 328).
6 M. Puteaux, with 19,950 inhab. , chemical and dye-works,
artillery works, etc., is united by a bridge across the Seine with the
Bois de Boulogne and Neuilly. — The Ligne des Moulineaux diver-
ges here from the line to St. Cloud and Versailles (see below). We
obtain a comprehensive view of Paris , the Bois de Boulogne , and
the Seine. To the S. are the woods of Meudon and Clamart. The
line descends to the Seine, traversing a short tunnel.
71/2 M. Suresnes- Long champ is the station for Suresnes and the
racecourse of Longohamp in the Bois de Boulogne (p. 162). Suresnes
[Cafes-Restaurants at the bridge), a village with 9050 inhab., at the
base of Mont Vale'rien, was the scene of the conferences result-
ing in the adoption of Roman Catholicism by Henri IV. A 'Rosiere'
is crowned here on the Sun. nearest Aug. 21st. The handsome
Mairie (1887-1889) is in the Rue du Mont- Vale'rien. A bridge
crosses from Suresnes to Longchamp (p. 162). There is another
station on the line from St. Cloud to Versailles (^4 hr. ; see
below).
Mont Valerien is crowned by the most important of the defensive forts
around Paris , 650 ft. above the Seine. In 1870-71 Mont Valerien played a
prominent part in both the sieges of Paris. Admission to the fort, which
commands a tine panorama, is granted by order only. We ascend by the
Rue du Moiit-Vale'rien, take the Rue des Bourets to the right, and then
the turning to the left. From the upper station of St. Cloud we ascend
by the road below the station. Photographing or making notes forbidden.
91/2 M. St. Cloud, station Pont-de-St-Cloud (p. 294).
The line passes through a tunnel and a cutting, passes Boulogne
(to the left), and skirts the park of St. Cloud (on the right), in
which the cascade is visible. — 10 M. Sevres (p. 297), station
Pont-de- Sevres, in a cutting near the porcelain-factory (p. 297). —
The station of Bellevue-Funicidaire lies at the foot of a small cable-
railway to Bellevue (p. 298). — 11 M. Bas-Meudon (p. 298).
12 M. Les Moulineaux^ a dependency of Issy (p. 296), on the
left bank opposite Billancourt.
To the right are Issy and the new line to Versailles via Virofiay.
"We now pass under the Chemin de Fer de Ceinture, enter Paris,
and stop at the stations of Javel (at the Pont d'Auteuil; p. 172),
Pont Miraieau (p. 172), Pont de Grenelle (p. 172), Avenue de la
Bourdonnais (station for the Champ-de-Mars), and Pont de VAlma.
Then , beyond a deep cutting (covered during the Exhibition of
1900), we reach the Gare des InvaUdes (p. 274).
^«^
"^^
1 7 *»
to St. Cloud. 14. BOULOGNE. 293
LiGNE DE Versailles (Rivb Dboite) from the Gare St. Lnzare.
— To (6 M.) Puteaux, see p. 292. — 71/2 M. Suresnes (p. 292);
the station is in the upper part of the village, nearer Mont Valerien.
91/2 M. St. Cloud, station Montretout[ip. 294). The station is
situated ahove the town, which is reached by steep streets, near the
new quarter of Montretout (p. 295).
By steamboat. This route is pleasant in fine weather. Steamers
start every 1/4 hr. in summer, but less frequently at other seasons. The
journey takes 1 hr. with and IV* hr. against the stream 5 fare 20 c., on
Sun. and holidays 40 c.; from Suresnes to St. Cloud (2 M.) on Sun., 25 c.
The hour at which the last steamer starts is posted at the piers. — Tra-
vellers who start in the afternoon should visit the factory at Sevres on
the outward journey.
The steamboat starts from the Pont-Royal, on the Louvre side.
Table of stations, etc., in the Appendix. For the principal build-
ings on the banks within the city, see the Plan in the Appendix.
On both sides rise the buildings of the Exhibition of I'JOO ; to the
right, below the Pont de I'Alma, is 'Old Paris' (p. 165). — At the
lower end of the lie des Cygnes is Bartholdi's statue of Liberty en-
lightening the world (p. 172). Fine view to the left, on quitting
Paris, of the hills of Meudon and St. Cloud. — To the left is the
Eigne des Moulineaux, with Issy (p. 302) beyond it. We pass the
lie St. Oermain, with its military stores. Les Peupliers and Billan-
court, to the right, adjoining Boulogne (see below). To the left, Les
Moulineaux (p. 292). The steamer steers between the He St. Ger-
main and the lie Seguin, on which is a pigeon-shooting ground. —
Bas-Meudon (pier); ascent to Meu'lon, see p. 305. — Funiculaire-
Bellevue (pier), see p. 298, Sevres (p. 303). To the left, beyond
the bridge, is the Porcelain Factory (p. 303). Boulogne (pier), to
the right (see below) ; then the Grande Cascade, and the bridge and
pier of St. Cloud (p. 294). — The steamboat goes on to Suresnes
(Bois de Boulogne ; p. 292).
By Tramway. 6 M. From the Quai du Louvre by the united lines to
lit. Cloud and to Sevres and Versailles {TAB; see Appx.), starting every
'/2 hr. or oftener, in 40min.; fare, inside 50 c., including correspondance,
outside 35 c. At the Point-du-Jour the cars separate, the front car going
on to St. Cloud, the rear-car to Sevres. This tramway-line has correspon-
dance with the Paris omnibuses, but the cars are usually quite full on
Sun. and holidays, and in summer on these days it is sometimes diflicnlt
to find a seat even at the starting-point of the tramway.
For some distance the road skirts the Seine , passing the Troca-
dero (p. 169) and the suburbs of Passy and Auteuil (pp. 170, 171),
with the *Pont-Viaduc d' Auteuil (ip. 172). It then intersects the
fortifications (the line to Sevres and Versailles diverges to the left),
traverses Billancourt, and turns to the right towards —
Boulogne, a town with 37,400 inhab., which possesses a hand-
some church of the 14th and loth cent., restored in 1863 and pro-
vided with a spire. In an adjoining square is a statue of Bernard
294 14. ST. CLOUD.
Palissy (1510-1589), by E. Barrias. Electric tram"ways run hence
to Yincennes and to Montreuil. — The tramway-car now crosses the
Seine. To the right, beyond the attractive mansions on the quay,
we have a fine view of St. Cloud and Mont Valerien (p. 292). Lower
down the river, at the Bois de Boulogne (p. 162), is the foot-
bridge of the aqueduct descending from the reservoir of Montretout
(p. 295). The terminus is in the Place d'Armes, near the bridge.
St. Cloud. — Caf£s-Restal'eants, many of them expensive: Pavilion
Bleu^ Place d'Armes ; Cafi-Bestcmrant du Chateau^ Place d'Armes and Avenue
du Chateau, dej. 3, D. 31/2 fr.^ de la Gave, Place d'Armes, dej. 21/2, D.
3 fr. ; Belredire, Quai President Carnot 12, moderate.
St. Cloud, a small town with 6375 inhab., which owes its name
to a monastery founded here by St. Clodoald , grandson of Clovis,
and its importance to its ancient chateau , destroyed in the war of
1870, rises in an amphitheatre on the left bank of the Seine.
The Palace was erected in 1572 by a wealthy citizen. In 1658 it
was purchased and rebuilt by Louis XIV., and presented by him to
his brother the Duke of Orleans. In 1782 it was bought by Louis XVI.
for Marie Antoinette. In one of the saloons of the chateau, called the
Salle de TOrangerie, the Council of Five Hundred once held their
meetings. On 9th Nov., 1799, Bonaparte with his grenadiers dispersed
the assembly , and three days later caused himself to be proclaimed
First Consul. To these reminiscences of the first rise of his power was
probably due the marked preference which the emperor always mani-
fested for St. Cloud. On 3rd July, 1815, the second capitulation of Paris
was signed at the chateau, in which Bliicher's headquarters were estab-
lished. Here, too, on 25th July, 1880, Charles X. issued the famous pro-
clamations abolishing the freedom of the press, dissolving the Chambers,
and altering the law of elections, which caused the revolution of July.
St. Cloud afterwards became the principal summer-residence of Napo-
leon III. The town and palace , occupied by the Germans during the
siege of Paris in 1870, suffered severely; the chateau and many of the
houses were burned down in October, 1870. — Henri III, when besieging
Paris in 1589, pitched his camp at St. Cloud, and was assassinated here
by Jacques Cle'ment.
From the Place (VArmes, at the bridge, two avenues lead to the
left, and two streets to the right. One avenue leads to the lower
end of the park, the other to the upper end, passing the site of the
palace. The streets lead to the town and church. The cafes in the
Place d'Armes are frequently visited, especially on Sat. afternoons,
by wedding-parties of the humbler classes from Paris.
The *Pakk of St. Cloud, 965 acres in area, is the great attraction
of the town, and affords a quiet and peaceful retreat from the bustle
of Paris. In the lower part is the Grande Cascade^ designed by Le-
pautre and Mansart, and adorned with statues of the Seine and the
Marne by Adam. The fountains generally play in summer from 4 to 5
or 4.30 to 5.30 on the Sundays on which the Grandes Eaux at Versailles
(p. 321) do not play. The 'Jci Giant\ or great jet, to the left of
the cascades, rises to the height of 136ft. A military band plays
in the park on Sun. and Thurs. in summer, from 8 to 4 or 3.30 to
4.30 p.m. Carriages are not allowed to enter the park without a
ticket (I fr.), to be obtained at the tobacconist's near the bridge.
IS^CLOUD t SEVRES
,,,MJrJ, J».lrll,>,,.
^^^' ^--gr>- Ali|
14. ST. CLOUD. 295
The Palace formerly stood at the top of the Avenue du Chateau,
to the right as we ascend beside the cascade. A few unimportant
remains are all that are left. The site was converted in 1893 into
a terrace with gardens. It commands a good view of Paris (see below) ;
another good view is obtained from the Trocadero , or old private
garden, on the height to the right. — Rest of the park, see below.
The Church of St. Cloud is a handsome modern edilice, by Dela-
rue, in the Gothic style of the 12th century, with a lofty spire. The
choir is adorned with mural paintings by J. Duval-le-Camus , re-
presenting scenes from the life of St. Clodoald. The church also
contains some fine stained glass.
Opposite the church are the remains of the abbey where St.
Clodoald was interred, and adjacent is a handsome modern Hdtel de
Ville.
A little above the church is the Hospice in a little square, whence we may
reach the station of St. Cloud-Montretout (p. 293) by a large flight of steps
to the left or by making a slight de'ti.ur to the right, passing the post-office.
On the plateau beyond the station lies Montretout, an extensive and
handsome modern suburb of St. Cloud.
To the right of this quarter is the place of the same name, known in
connection with the last grand sortie of the garrison of Paris, on Jan.
19th, 1871. A redoubt, established here by the Germans in connection
with the heights of Buzenval, was captured by the assailants, who even
occupied some of the houses of St. Cloud; but they were unable to effect
anything against the main position of the Prussians at Garches and La
Bergerie , and were compelled to evacuate the redoubt the same evening,
after suffering heavy losses.
At the end of Montretout nearest to Suresnes, to the left of the Boule-
vard de Versailles, is the Reservoir de Montretout or de VAvve^ a gigantic
work resembling the Reservoir de la Vanne at Paris Cp. 290). The aque-
duct which feeds this reservoir begins near Verneuil (Eure), 63 M. distant,
and for 16 M. of its length runs in subterranean galleries, some of which
are 230 ft. below the level of the ground. The water is conveyed to
Paris by a Subterranean canal, crossing the Seine beneath the new foot-
bridge between St. Cloud and Suresnes.
The Alice du Chateau , which ascends in the Park of St. Cloud
to the S. of the terrace on the site of the palace, leads to the sum-
mit of a small hill (5 min. from the palace), which commands an
admirable *View. Far below flows the Seine; to the left is the bridge
of St. Cloud; beyond it the Bois de Boulogne, higher up the river
is the small town of Boulogne ; to the right is Meudon; in the back-
ground is Montmartre, with the Church of the Sacred Heart; from
among the houses of Paris rise the Arc de TEtoile, St. Vincent-de-
Paul, the dome of the Invalides, the Palais du Trocadero, the Eiffel
Tower, the Great Wheel, St. Sulpice, thePanthe'on, the dome of the
Yal-de-Grace, and other buildings.
The broad central avenue (right) which diverges from the top of the
hill leads to (Vi M.) Ville-d'Avray , a station on the Versailles railway
(p. 293). The Alle'e du Chateau, which we have been following, leads
in 5 min. more to the small town of Sh-res. Visitors to the porcelain-
manufactory take the footpath descending to the left (S.E.). — About halt-
way down is the Pavilion de Bretetiil, seat of the 'Commission Internatio-
nale du Metre' (no admission).
From St. Cloud to Si. Germain via Marhi-le-Roi. see p 327.
296 14. VILLE-D'AYRAY. From Paris
II. FROM PARIS TO SEVRES.
By Railway. — Ligne des Moulineaux^ preferable to the following
(comp. below), 10 M., in 30-45 min. \ fare 90 or 60 e. — Ligne de Versailles
Rive Oaiiche^ starting from the Oare Montparnasse (p. 26), 6M., in 25-30 min.;
fare 75 or 50 c. The station of this line at Sevres is in the upper part
of the town (comp. the Map), and it is therefore better to alight at Bellevue
(same fares), between Sevres and Meudon, which is nearer the porcelain
factory. — Ligne de Versailles Rive Droite (Gare St. Lazare), IOV2 M., in
26-40 min. ; fare 90 or 60 c. The station for Sevres is at Ville-d'Avray, at
the top of the part of Sevres to the W. of the park of St. Cloud, about
1 M. from the porcelain factory.
Ligne des Moxjlineaux, from the Gare St. Lazare, pp.291, 292.
Ligne de Versailles Rive Gauche. — This line crosses and
corresponds with the Chemin de Fer de Ceinture at the (IV4 ^0
Quest- Ceinture station (see Appx.). — 2 M. Vanves-Malakojf, be-
tween Vanves, to the right (see below), and Malakoff (p. 349). On
the left and right of the line rise the forts of Vanves and Issy.
3 M. Clamart. The station is Y2 M. to the N. of the village,
to which a tramway plies (10 c).
Clamart is also connected with Paris by a tramway-line (terminus in
the Place St. Germain-des-Pres). This tramway passes Issy-Les-Moulineaux
(14,000 inhab.), with the Hospice des Menages, some religious houses, and
a small ruined chateau. The Champ de Manoeuvres d^Issi', for the garrison
of Paris, lies towards the Seine, near the Ligne des Moulineaux. [Steam-
boats, see p. 293.] The tramway then skirts the Lyc4e Michelet, in a
chateau of the Condes, built in 169S, and traverses the village of Vanves
(8740 inhab.).
Clamart, a village with 6300 inhab. and numerous country-houses , is
comparatively uninteresting. The Hospice Ferrari, a large establishment
for old men, is due to the munificence of the Duchess of Galliera (d. 1888;
p. 299). A monument in the Place Marquis commemorates the founders of
the Hospice Schneider here. The Bois de Clamart is part of the Bois de
Meudon (p. 29.J). It may be reached direct from the end of the village
(Map, p. 298).
The line skirts the hills above the Seine. Fine view , to the
right, of Paris and the river a little before Meudon and at Bellevue.
The train crosses the river by a viaduct 120 ft. high.
41/2 M. Meudon, see p. 298. — 51/2 M. Bellevue, see p. 298. —
61/4 M. Sevres (see p. 297).
Ligne de Versailles Rive Droite. — To (91/2 M.) St. Cloud-
Montretout^ see p. 293. — The train passes through several tunnels.
To the right diverges a branch to Marly-le-Roi (p. 327). Tunnel.
101/2 M. Sevres-Ville-d' Avray . Sevres, see p. 297. The village
of Ville-d' Avray (^^Restaurant de la Chaumiere, rather expensive)
is charmingly situated to the right. The Villa des Jardies, once
occupied by Balzac and the scene of Gambetta's death , is near
the railway. A monument, by Bartholdi, with a statue of Gambetta
and figures of Alsace and Lorraine , has been erected here , and
contains the heart of Gambetta. The Church contains models of
statues by Pradier, Rude, and Duret, a St. Jerome and several
small pictures by Corot, an Ecce Homo by Aug. Hesse, etc. In
the middle of the village stands a Chateau, dating from the end of
to Sevres. 14. S}<:VRES. 297
the 18th century. Near the end of the Rue de Versailles, to the
left, are the picturesque Ponds, a Monument to Corof (1796-1875),
in whose paintings they figure so often, and the above-mentioned
Restaurant de la Chaumicre. Comp. the Map, p. 298.
By Steamer, as for St. Cloud, p. 293.
By Tramway, 71/2 M., in 43 min., fare 50 or 85 c. From the Quai du
Louvre by the united lines io St. Cloud and to Sevres and Versailles (TAB;
see Appx.), see p. 293. — The terminus at Sevres is at No. 96 Grande Rue,
3/4 M. from the porcelain factorv, and at the corner of the road to («/2 M.)
Ville-d^Avray (p. 296).
The tramway-route as far as the fortifications has been described
at p. 293. We then diverge to the left from the St. Cloud line,
traverse Billancourt (office, Route de Versailles, No. 39), and cross
the Seine to Shares.
Sevres. — Cafi5:s-Restatjrants (all unpretending). Ca/i de la Terrasse,
Grande Rue 27, at the Avenue de Bellevue, dcj. 21/2, I>. 3 fr. ^ Esiaminet
Parisien, Grande Rue 61, oppo.site the Hotel de Ville 5 Ca/i- Restaurant du
Nord. near the porcelain factory, dej. 2V2, D. 3 fr.
Sevres, with 7300 inhab., is situated on the left bank of the
Seine and on the road to Versailles. The celebrated —
*PoRCBLAiN Manufactory has been the property of government
since 1759, and now occupies a building at the S.E. corner of the
park of St. Cloud, near the bridge. At the entrance is a bronze
statue, by Barrias, oi Palissy, a reproduction of the statues in Paris
(p. 253) and Boulogne (p. 294).
The Workshops are open to visitors on Mon., Thurs., & Sat. (12 to
4 or 5), by tickets obtained on written application to the Secretariat
des Beaux-Arts, Rue de Valois 3 (Palais-Royal), Paris, or to the
manager at the factory ; but those without tickets are generally able
to join a party. The Exhibition Rooms and the Musee Ceramique are
open to the public daily (12 to 4 or 5). The entrance is on the side
next the Seine. Sticks and umbrellas must be given up (no fee).
The Workshops are on the whole uninteresting, for the processes of
painting, moulding, and enamelling are not shown. A few workmen in a
special room give the visitors an idea of the principal operations in the
manufacture, and some of the furnaces are shown. — The manufactory
has exercised a highly beneficial effect on the ceramic industry in France.
Various new processes, new tints, and new varieties of porcelain have
been invented here; and the secrets of these discoveries are freely com-
municated to other factories in Franco.
The four '■ Erhihition Rooms (Exposition des Froduits de Sivres), to the
right of the vestibule, contain products of the manufactory which are for
sale. The large vases and the copies of paintings are specially admired.
The 'Musee Ceramique (catalogue 6 fr. •, short guide 1 fr.) occupies the
first floor of the main building. On the staircase is a bronze figure repre-
senting 'Porcelain'', by Guillaume. The chief hall, which we enter first,
contains the largest and most remarkable vases made at Sevres and four
pieces of Gobelins tapestry; and also a glass-case with some extremely in-
teresting specimens of smaller objects. The collection is arranged in the two
galleries at the sides, beginning on the right. The exhibits bear explanatory
labels. The specimens of early Sevres ware, in thg room to the left, are
specially noteworthy.
298 14. MEUDON.
Farther on in the Grande Rue, to the left, is the Old Manufac-
tory, now restored as a Normal School for female teachers. A little
farther on are the Church, and, to the right, the Hotel de Ville, formerly
the mansion of the Dukes of Brancas. containing some interesting
wood-carvings, paintings, and sculptures (restored in 1892).
The Avenue de Bellevne, near the manufactory, soon hrings us
to Bellevue (rail, station and cable-railway, see below), which owes
its origin to a chateau of Mme. de Pompadour, of which little is
left. The handsome villas, recently erected here, unfortunately too
often interrupt the fine views of the Seine. The best point of view
is at the N.E. end of the Avenue Melanie, from a terrace above the
former park of the chateau, which has been subdivided. Near this
point is the Hotel-Restaurant de la Tcte Noire; and farther to the
S.E., near the cable-railway (see below), are the Hotel Pavilion de
Bellevue and a tasteful bronze fountain by C. Theunissen.
The Grande Rue de Bellevue , which crosses the last-named avenue,
leads to the railway-station, 174 31. from the main street of Sevres, beyond
which begins the Avenue de 3Ieudon (see below).
III. FROM PARIS TO METJDON.
By Railway. — Ligne de Versailles Rive Gauche (Gare Montparnasse),
5 M. , in 20 min.; fare 60 or 40 c. — Ligne des Moulineaux (p. 291) to Bat-
Meudon or Bellevue- Ftmiculaire (p. 292), 11 M., in 3/4 hr. •, fare 90 or 50 c.
By Steamboat. To Bas-Afeudon or Sevres, as for St. Cloud (p. 293).
A Cable-Railway (650 ft.) was opened in 1893 between the stations of
the railway and steamers at Bas-Meudon and Bellevue (see above); fare 10 c.
up or down, on Sun. up 20 c., down 10 c.
Meudon. — Cafes-Restadrants: at Meudon, in the Avenue de
Meudon and at the upper station. In the wood: at the Ermitage de Ville-
hon, 11/2 M. from the terrace; and at the Capsulerie (p. 299).
Meudon, a small town with 8900 inhab. , consists of Meudon
proper, on the slope of the hill which is crowned by the chateau ; of
a new quarter near the station of Meudon, with numerous prettily
situated villas; of Bas-Meudon, on the bank of the Seine, with
several manufactories ; of Le Val, to the E. ; a little higher up ; and
of Fleury , with its large orphanage (p. 299), on the slope of the
Bois de Clamart (see pp. 296 and 299).
The first chateau at Meudon belonged in the 16th cent, to the Duchesse
d'Etampes, mistress of Francis I., and after changing hands several times
was bought by Louis XIV. It then became the residence of the Dauphin,
who, however, built a second chateau in the neighbourhood, though the
former one was not finally demolished till 1803. The second chateau,
afterwards occupied by the Empress Marie Louise, the King of Rome,
and lastly Prince Xapoleon, was set on fire by a shell and reduced to a
heap of ruins during the Prussian bombardment of Paris in 1871. It has
since been partly restored.
The Terrace and the Bois are the chief attractions of Meudon.
At the intersection of the Avenue Jacqueminot, which leads from the
station, and the Rue de la Republique, which traverses old Meudon,
is a Bronze Bust of Rabelais ri483-1553), 'cur^ de Meudon' (?), by
Trupheme. The Avenue Jacqueminot ends at the Avenue de Meu-
Ve I- s allies '
1 1*
^P^
%M-
Y-^r-r
«•.
14. MEUDON. 299
don (or du Chateau), bordered by four rows of lime-trees, ^vhich be-
gins at Bellevue (p. 298), beyond the railway on the left bank, about
1/2 M. from the terrace. At the beginning of the latter is a Monu-
ment du Centenaire, a symbolical bronze bust by Courbet (1889).
The *Terrace of Meudon, supported by huge walls, commands a
beautiful * View of Paris. The public are not admitted to the re-
mains of the chateau, now an Observatory.
The Bois de Meudon (Maps, opposite and p. 300), part of which
is enclosed as the Park of the chateau, lies on the heights between
Meudon and the valley of Sevres, Chaville, and Viroflay, and on the
heights on the other side of the valley of Meudon, this latter part
being also named the Bois de Clamart. The wood is intersected by
pleasant paths (finger-posts), but otherwise has been left pretty
much in a state of nature. The ground is hilly between the parts
known as the Bois de Meudon and Bois de Clamart and on the skirts
of the wood, except to the S., where it is bordered by a plain on
the other side of which is the Bois de Verrieres (p. 352).
From the terrace the wood is reached by means of an iron staircase
against the wall farthest from Paris and a walk traversing the Park,
the rest of which is not open to the public. From the lower end of
the Avenue de Meudon or from Bellevue , we ascend by the Pave'
des Gardes and join the routes from Sevres at the Capsvlerie. From
Meudon, or from the exit from the garden at the end of the terrace,
we may either follow the valley straight on to the part of the wood
beyond the park, or follow the Rue des Vertugadins to the left, to
the Bois de Clamart.
Between the last two paths lies the Fare de Chalaie , in which is the
School of Militury Aerostatics (no admission).
On the N. verge of the Bois de Clamart, above the hamlet of Fleury,
is the large and conspicuous Oiyhanage of St. Philippe, founded by the
late Duchesse de Galliera (p. 2%).
15. Vincennes and its Environs.
The chief point of interest here is the Bois de Vincennes, somewhat
in the style of the Bois de Boulogne, reached either via Vincennes, to the
N., or via C liar en ton , to the S. The Chdieau of Vincennes is closed to
the public, and only the outside can be seen (p. 303).
I. FROM PARIS TO VINCENNES DIRECT.
By Tramway. 5 M. From the Place du Louvre to Vincmnes (TC; see
Appx.. p. 26), in 1 hr.; fares, inside 40 c. (including correspondance),
outside 20 c. The remarks on the St. Cloud tramway (p. 293 1 are appli-
cable to this line also. — The tramways from the Louvre and from St.
Augustin to the Cours de Vincennes stop at the fortifications, l'/4 M. from
the chateau •, but the tramway from Nogent (p. 306) mav be taken thence
to the chateau (15 or 10 c).
The Tramway from the Louvrb to Vincennes runs by the
Quays, which command views of the Palais de Justice, the Tribunal
de Commence, the Hotel-Dieu, and Notre-Dame on the Cite, to the
300 lb. PLACE DE LA TnATION.
right ; and of the Place du Cliatelet with its theatres and fountain,
the Tour St. Jacques, the Hotel de Yllle, etc., to the left. It then
turns to tho left into the BouL Henri IV. (p. 72), passes the Place
de la Bastille (p. 70), and follows the i?Me du Faubourg -St- An-
toine. In the quarter traversed hy this street the principal in-
dustry is the manufacture of furniture, for which there is even a
special school, viz. the Ecole Boulle, Rue de Reuilly 25 (PI. R, 28).
On the right in the Rue du Faubourg-St-Antoine are the Hopital
Trousseau (for children), the Hopital St. Antoine, and the Orphan-
age for Workmen's Children.
The Place de la Nation (PI. R, 31), formerly the Place du Trone,
at the end of this street, forms the E. extremity of Paris, while the
Place de I'Etoile forms the N.W. end, upwards of 41/2 M. distant. A
bronze group by Dalou, representing the Triumph of the Republic,
was unveiled in the centre of the 'place' in Nov., 1899; the figure
of the Republic is seated in a chariot drawn by lions and escorted
by the genius of Liberty, while to the right and left are personifi-
cations of Labour and Justice; behind is the goddess of Abundance.
The surrounding buildings are uninteresting, with the exception
perhaps of the Ecole Arago, a superior municipal school opened in
1880. About a dozen different streets radiate from this point, but
the traffic is insignificant. In 1660, after the conclusion of the
Peace of the Pyrenees, Louis XIV. received the homage of the
Parisians on a throne erected here, and from that event the 'place'
derived its former name. The two lofty fluted Doric columns erected
here on the site of the old barriere were begun in 1788, but not
completed till 1847. Each is adorned with two bas-reliefs by Des-
boeufs and Simart. Those next the town represent Commerce and
Industry, those on the other side Victory and Peace ; and they are
surmounted with bronze statues of St. Louis, by Etex, and Philippe
le Bel, by Dumont. Beyond the columns begins the Cours de Vin-
cennes, a broad avenue leading direct to Vincennes (to the chateau
13/4 M.).
The Foire au Pain d''Epiceg, or 'gingerbread fair', held in the Place
de la Nation and in the Cours during three weeks after Easter, always
presents a very lively scene.
Tramwav-lines run from the Place de la Nation to St. Augustin, La
Villette, the Place Valhubert (Jardin des Plantes), and Montreuil (p. 304).
The Vincennes tramway next traverses the Boul. de Picpus and
the Avenue de St. Mande, passing the station of that name on the
Vincennes railway.
To the S. of the Avenue de St. Mand^, Rue de Picpus 35, is the small
Cemetery of Picpus (PL G, 31 ; adm. 50 c), which contains the tombs of
members of some of the oldest families in France. In one corner is the
tomb of Lafayette (d. 1834-, the guardian keeps a visitors' book). At the
end is the 'Cimetiere des Guillotines', where 1300 victims of the Revolu-
tion, executed at the Barriere du Trone, are interred. Among these are
the poet Andri CMnier, the chemist Lavoisier, General Beauharnais, and
representatives of many noble families.
At St. Mande, to the S., a village with 13,370 inhab., are two
15. BERCY. 301
asylums for old men, and a cemetery containing a statue in bronze,
by David d" Angers, of Armand Carrel (d. 1836), who was killed in
a duel by Emile de Girardin. About 2 min. from the station is the
pretty Lac de St. Mande (p. 304). The tramway then runs near the
Bois de Vincennes, skirts the railway, turns to the right into Vin-
cennes, and, passing the cliateau, halts in theCours Marigny (p. 303).
By Railway, 3^4 M. Chemin de Fer de Vincennes from the station at
the Bastille (PI. K, 25), in about 1/4 hr. ; fare 45 or 30 c. Trains every V4 hr.
The railway is carried on arches alongside the Avenue Daumesuil
and passes two stations within the fortifications, viz. Reuiliy , near
the Place Daumesnil (see below), and Bel-Air, at the junction with
the Chemin de Fer de Ceiiiture (correspond. ; see Appx. p. 34). The
next station is St. Mande [see above), near the wood (comp. Map).
33/4 M. Vincennes. The station is in the Rue de Montreuil,
which leads, on the right, to the chateau (p. 303). The Rue du
Midi, opposite the station, leads to the Cours Marigny (p. 303). —
Continuation of the railway along the wood, see p. 306.
II. FROM PARIS TO VINCENNES VIA CHARENTON.
By Tramway. 1. From the Quai du Louvre to Charenton (TK); fare,
inside 50 c, including correspondance, outside 25 c. — 2. From the Place
de la Bipuhlique to Charenton (TY); same fares. — 3. From the Bastille to
Charenton {Tt. Sud; electric), fares 35, 30 c., with correspondance 45, 40 c.
The Tbamway from the Louvre to Charenton follows the Rues
de Rivoli and St. Antoine (pp. 61, 69), passes the Bastille (p. 10^,
then turns to the right, skirts the Bassin de V Arsenal, formed by
the Canal St. Martin (p. 72), and reaches the quays on the right
bank at the Pont d'Austerlitz (p. 264). On the opposite bank are
the Jardin des Plantes (p. 264) and the Gare d'Orle'ans (p. 26).
Farther on are the Fonts de Bercy and de Tolbiac, and on the right
bank the huge Wine Stores of Bercy (PL G, 28, 29), larger than
those near the Jardin des Plantes. Passing the Pont National, half
of which is used by the Chemin de Fer de Ceinture, we reach the
fortifications, beyond which , also on the right bank, are the Ma-
gasins Oeneraux des Vins (PI. G, 33). Then the Pont d'lvry or Pont
de Conflans, crossing the Seine to Ivry (p. 358). Conflans and Les
Carrieres, which we next pass, are parts of Charenton (see p. 302).
The tramway-terminus is in the lower part of the village, less than
1/2 M. from the entrance to the Bois (p. 304).
The Tramway from the Place de la Republique to Charenton
follows the Orands Boulevards to the Bastille (p. 70), turns to the
left by the Faubourg St. Antoine, then to the right by the Rue Cro-
zatier, passing the rear of the Hopital St. Antoine, and follows the
Rue de Charenton. Outside the city the line skirts the Bois de Vin-
cennes (p. 304). The terminus at Charenton is in the Place des
Ecoles (PI. G, 36), nearer the Bois than the preceding.
The Tramway from the Bastille to Chare.nton follows the
Avenue Daumesnil to the right of the railway as far as the Place
302 15. CHARENTON.
Daumesnil, which is adorned with a bronze fountain with lions.
We enter the Bois between St. Mande (p. 300) and the Lac Daumes-
nil (p. 305) , and halt in the upper part of Charenton [see below).
By Steamer. Steamers between Auteuil and Charenton^ from any pier
on the left bank within the city (exceptions, see Appx. , p. 35) to Cha-
renton; fare 20 c. on week-days, 25 c. on Sun.; from the Pont d'Austerlitz
only, 10 or 15 c.
To the Pont d'Austerlitz [Jardin des Plantes), see p. 264. The
steamboat journey is pleasant in fine weather, especially in summer,
but offers no particular features of interest. Bridges and warehouses,
see p. 301. Beyond the Pont de Conflans (p. 301) we finally quit
the Seine for the Marne , near a lateral Canal, pass under the Pas-
serelle d' Alfortville and the Lyons line, which has a station at Cha-
renton (see the Map), touch at Alfortville (see below), and reach
the Pont de Charenton.
Charenton (Ca/e de la Terrasse, Cafe du Pont, both at the bridge) ;
^Restaurant Barat, Rue de St. Mande 64, unpretending), situated
between the Bois, the Marne, and the Seine, a place with 16,800
inhab. (including Conflans and Les Carrieres), is now chiefly known
for its Lunatic Asylum (see below). Its most interesting part is
near the Bois.
In 1606 a Protestant church was erected at Charenton with the sanc-
tion of Henri IV., but it was destroyed in 1685, after the Revocation of
the Edict of Nantes.
A little farther on is St. Maurice, with the Lunatic Aiylum of Charen-
ton, an extensive building dating from 1830, with arcades and roofs in
the Italian style, rising picturesquely on the slope of the plateau occupied
by the Bois de Vincennes. It is rather more than 1/4 M. from the bridge.
In the Place de la Mairie is a Monument to Eugene Delacroix (1798-1863),
the painter, who was born at St. Maurice; bust by Dalou. Tramway,
see below.
On the left bank is Alfortville (11,630 inhab.), with the Veterinary
College of Alfort.
From Chakenton to St. Madk (La Varenne)^ 21/2 M., tramway pro-
pelled by compressed air. The line, which goes on to (33/4 M.) La Varenne
(p. 307), is divided into four sections (fares 15 or 10 c. per section). Pretty
scenery, dotted with country villas. The principal stations are Gravelle,
adjoining St. Maurice (see above) and not far from the racecourse at
Vincennes (p. 305; steep ascent); St. Maur-Port-Criteil, near the railway
station of St. Maur (p. 3C6) and about I1/4 M. from Cre'teU (see below).
Tramway to Joinville-le-Pont (p. 305) and Vincennes, see p. 303. —
St. Maur-des-Fosses or les-Foszis (pop. 20,500) occupies, with its depend-
encies, the loop. 8 M. long, formed by the Marne beyond Joinville (p. 305),
and is supposed to be the spot where Maximian crushed the rebellious
Gallic peasants in 286. — The next stations are Adamville and La Va-
renne-St-HHaire, dependencies of St. M ur, opposite Chennevieres and not
far from Champigny (p. 307).
From Charenton to Creteil, 2V4 M., tramway (25 or 15 c.), passing
behind Alfortville, the fort of Charenton, and Maisons- Alfort. — Creteil,
an ancient but uninteresting village, not fjr from the Marne and St. Maur
(see above*, lies about 3 M. from Choisy-le-Roi (p. 3:8).
Vincennes lies about 3 M. from the steamboat-pier at Charenton.
The road leads through the Bois, passing near the (^/4 M.) Lac
Daumesnil (p. 305), to the left.
ViTlp-T^^T.^Trl v Bfy- g^j--\Ia
K4 .
15. VINCENNES. 303
III. VINCENNES.
CAFiiS-RESTACRANTs. — Qafi de la Paix^ Cours Marigny, near the tram-
way-terminus, dej. 2V2, D. 3 fr. ; Continental. Rue de Paris, 30, with a small
garden, below the chateau, similar charges (also beds) ; Frangait^ in front
of the chateau; Caf ^-Restaurant de la Porte Javne, in the wood, p. 804.
Tramwats. 1. To Paris, see p. 301. — 2. From Ihe Cours de Marigny
to Nogent-sur-Marne (Pont de Mulhouse; in ^ji hr., 50 or 33 c. \ p. 306), Ville
Evrard (p. 305), Bry-sur-Marne (p. 306), and Rosny (p. 306), with various
intermediate stations (15 and 10 c). — 3. To Joinville-le-Pont (2V2 M.;
p. 305), St. Maur (p. 302), and Champigny (p. 307).
Post and Telegraph Office in the Rue de THotel de Ville.
Vincennes, a town \vith 27,450 inhab., is a place of no import-
ance except as one of the fortresses in the outskirts of Paris. The
only object of interest in the town is the Statue of Gen. Daumesnil
(1776-1832), by Rochet, in the Cours Marigny, near the tramway-
station. The attitude of the figure is an allusion to the anecdote
that when the general, who defended the chateau in 1814 and 1815.
was called on to surrender, he replied that he would not do so till
the Allies restored to him the leg he had lost at the battle of "Wag-
ram. At the end of the Cours is the modern Renaissance Mairie,
The Chfi-teau de Vincennes was founded in the 12th cent, and
afterwards gradually enlarged. It was used as a royal residence till
1740, and afterwards served various purposes. In 1832-44, under
Louis Philippe, the chateau was strongly fortified and transformed
into an extensive artillery depot, with an 'Ecole de Tir'.
An order from the minister of war is necessary to view it ; but the
chapel is public at the services on Sun. and holidays. 8, 10. and 11.15 a.m.
During the Exhibition of 1900 the keep and the chapel will be open daily
without order.
The chateau was used as a Slate Prison from the days of Louis XI.
(1461-83) onwards. Among many illustrious persons who have been con-
fined within its walls mav be mentioned the King of Navarre (1574). the
Grand Conde (1650). Cardinal de Retz (1652), Fouquet (1661). Count Mirabeau
(1777), the Due d'Enghien (1804). the ministers of Charles X. (1830), and
the conspirators against the National Assembly (15th May, 1848).
A melancholy interest attaches to the fortress froni its having been
the scene of the execution of the unfortunate Due d'Enghien, the last
scion of the illustrious Conde family. On the suspicion that he was
implicated in a conspiracy against the emperor, he was arrested by order
of Napoleon on 14th March, 1804, on German territory, conveyed to Vin-
cennes , and there condemned to death by a court-martial. The sentence
was executed on 20th March , and the body of the duke interred in the
fosse where he was shot. In 1816 Louis XVIII caused his remains to be
removed to the chapel, where he erected a monument to his memory.
The Chapel, with its tasteful Gothic facade, begun in 1379 under
Charles V., and completed in 1552 in the reign of Henri 11., has
recently been restored. The lofty vaulting and the stained glass by
Cousin are worthy of notice. The monument of the Due d'Enghien.
now in the old sacristy, is a poor work by Deseine.
The Donjon , or Keep , in which state-prisoners were formerly
confined, is a massive square tower of five stories, 170 ft. in height,
with four smaller towers at the corners. The platform commands a
fine view.
304 15. VINCENNES.
Vincennes is adjoined on the N. by Montreuil (pop. 27,000), a place
celebrated for its peaches, but otherwise uninteresting. It is connected
with Paris by a tramway (TX) starting at the Place du Chatelet. The
peach-orchards cover an area of 780 acres, with about 345 M. of walls
with the trees trained against them*, and about 1774 million peaches are
annually yielded. — About IV2 M. farther to the N. is the uninteresting vil-
lage of Rotnainville, lying partly on the fortified hills to the E. and N., and
commanding an extensive view. An electric tramway runs from the Place de
la R^publique at Paris (PI. B. 36) to Eomainville Via Les Lilas (PI. B, 36),
another village (pop. 744()), with a a tasteful modern mairie. Le Pri-St-Oer-
vais to the ^'.E. of Les Lila«, see p. 203. — Romainville lies 13/4 M. to
the E. of ttie fortifications of Paris. Less than 1 M. to the N.E. is Noisy-
le-Sec, a station on the Chemin de Fer de FEst and on the Ligne de Grande
Ceinture (p. 839). The tramway is to be prolonged to this point.
The Bois de Vincennes, a 'beautifiil park, mucli less frequented
than the Bois de Boulogne, is of scarcely inferior attraction, though
unfortunately disfigured hy the plain in the centre. The park was
once a forest, where Louis IX. (d. 1270) used to hunt and to ad-
minister justice ; but it was entirely replanted by Louis XV. in
1731. In 1860-67 it was successfully transformed into a public
park by Vicaire and Bassomplerre. It is more natural than the Bois
de Boulogne, and contains fewer exotics. It covers an area of about
2275 acres, including the Champ de Manceuvres (1/2 M. wide) in
the middle, and the artillery Tolygone'.
The Rue de Paris is continued beyond the fort by a road that
enters the forest to the right and there forks , the left branch lead-
ing towards Nogent-sur-Marne (p. 306), the right branch towards
Joinville-le-Pont (p. 305). Tramways, see p. 303.
The street to the right of the chateau soon brings us to the
Esplanade and the most frequented part of the Bois. To our left is
the Plaine de Gravelle , which divides the Bois into two distinct
parts. The plain extends from this point to the chateau, nearly 2 M.
distant, and is at places nearly 1 M. in width. At the beginning, on
the right , are large new Barracks. On the left lies the Champ de
Manoeuvres, used for infantry drill; and farther distant, on the
left, is the Polygone de VArtillerie. At a crossway in the Champ
de Manoeuvres rises an Obelisk, restored in 1871 , where an oak
under which St. Louis administered justice is said to have stood.
The first walk on the right leads to the Lac de St. Mande, near
the village of that name (p. 300), the smallest but prettiest of the
lakes in the Bois, with beautifully wooded environs, affording
charming walks. The Avenue Daumesnil, which also begins at the
Esplanade and may be reached by various paths to the left of the
lake, is a continuation of the street of the same name in Paris. The
route diverging to the left, at the point where the tramway from
the Bastille also turns fp. 301), leads towards Charenton (p. 302).
At the end of the Avenue Daumesnil nearest Paris fNo. l^'is) is a
School of Arboriculture and Oardening., open to the public on Sun., Tues.,
and Thurs., from noon to 5 or 6 p.m.
15. VINCENNES. 305
The Lac Daumesnil or de Charenton, the largest lake (60 acres)
in the Bois, contains two pretty islands, which are connected witli
each other and with the mainland on the Charenton side by bridges.
From the Avenue Daumesnil they may be reached by a ferry (10 c).
Boats on the lake, V2-2 fr. per hr., according to tariff. On one of
the islands are an artificial grotto, with a temple above it, and a
cafe'. On the other the Pavilion dea Forets^ at the Trocadero during
the Exhibition of 1889, has been re-erected, and contains a *Musee
Forestier, consisting of the interesting collections previously ex-
hibited in it (adm., see p. 56).
The Museum consists of a collection of Specimens of Wood and Wooden
Articles, admirably arranged and furnished with explanatory labels. Several
specimens are placed in the exterior galleries. — Gkocnd Flock. Between
the tree-trunks acting as columns in the large saloon are grouped speci-
mens of wood of all kinds, with articles made from them. Some tools
are also exhibited here, and, in tlie centre, unclas-'ified specimens and
machines. — An annexe contains a Diorama, representing the inundation
works and afforestation of the valley of the Kiou-Bourdiux, an Alpine
torrent. — First Floor, reached by a staircase to the right of the entrance.
The rooms at the angles of the gallery contain farther specimens of wood;
al3'>, timber-framework, two paintings (inundation-works on the Bonrget,
in the Alps, and the Pe'guere, in the Pyrenees), specimens of rocks, pro-
ducts derived from wood, preserved fruits, curiosities, injuries caused by
insects, naturalized animals, etc.
A little to the S.W. of the lake (comp. the Plan of Paris and the
Map) is the Municipal Velocipede Track; subscription per month 5, six
months 15, year 25 fr. ; admission on Thurs. after 1 p.m., 50 c.
The Avenue de Gravelle, to the left before Charenton (p. 302)
as we come from the Lac Daumesnil, traverses the S. part of the
Bois. A little to the right are the Asile de Vincennes for patients of
the artizan class, and the Asile Vaaissy, for the victims of accidents in
Paris. About i^/o M. from Charenton this avenue ends at the Lac
de Gravelle, a small lake fed by means of a steam-pump on the bank
of the Marne, and drained by streams flowing into the other lakes.
A few paces from the lake is the Rond-Point de Gravelle, command-
ing an admirable survey of the valleys of the Marne and Seine.
The Kace Course of Vincennes, a little to the left, is the largest
racecourse near Paris, as well as one of the oldest and most im-
portant. There are six racing tracks, for flat races, hurdle-races, etc.,
including a trotting-course specially intended to promote the breed-
ing of military chargers.
Farther on, to the right, we pass the Redoubts of Gravelle and
La Faisanderie, two forts ending the wood on this side and com-
manding the loop of the Marne (see p. 306). Between them is a
Model Farm, worked by the Ecole d'Alfort (p. 302) and the Institut
Agronomique of Paris.
The road on this side of the farm leads to Joinville-le-Pont (Cafi-
liestaurant de la Tete-Noire, on the quay), a village (pop. 6000) situated on
the right bank of the Marne, and a station on the Chemin de Fer de
Vincennes (p. 301). Tramway, see p. 303. Joinville is the chief boating-centre
on this side of Paris, as Asnieres ip. 291) is on the Seine. The subter-
ranean Canal de St. Maur, which begins here, 660 yds. in length, constructed
Baedeker. Paris. 14th Edit. OQ
306 15. NOGENT-SUR-MARNE.
in 1825, enables barges to cut off a circuit of 8 M. described by the Marne.
— Tramway to St. Maur-des-Fosses (p. 302j and to Ciiampigny (IV2 M. ;
p. 307).
Beyond the Redoute de la Faisanderie, with its Ecole Militaire
de Gynnastique, we have three roads before us. That to the left
leads direct to Yincenaes, passing between the camp and the Lac
des Minimes (see below") ; that in the middle also leads towards
the lake; while that to the right leads to Nogeut-sur-Marne.
Nogent-sur-Marne {Ca/i- Restaurant du Moulin Rouge^ on the Marne,
near the viaduct ; others near the station) is a village with 9400 inhab.,
on a hill above the Marne, with a station on the same line as Joinville,
another on the united lines of the Grande Ceinture and the Belfort railway,
and reached also by a tramway from Vincennes (p. 303). The second of the
above railway-lines has its station at Le Ferreux. It crosses the Marne
here by means of a curved viaduct, V2 M. in length, known as the 'Pont
de ?lulhouse\ Below the viaduct is a new bridge between Kogent and
Champigny (p. 307). Nogent has numerous country-houses on the side
next the Bois, and to the N. , towards Fontenay-sous-Bois (see below),
is the Fort de Nogent. Champigny (p. 307) is 21/2 M, from Nogent by the
Grande Ceinture — The tramway from Vincennes is continued via Neuilly-
sur-Marne to (33/4 M. from Nogent) Ville-Evrard, where there is a large
lunatic asylum.
A branch of this tramway goes also to Bry-sur-Mame, a village on
the left bank of the Marne. In the church, behind the high altar, i^ a
curious illusive painting, conveying the impression of a spacious Gothic
choir This work is due to Daguerre ^p. 343 1, who died at Bry, where a
bust has been erected to his memory. The street to the right of the
church is c mtinued bv the road to (272 M.). Joinville-le-Pont (p. 305) and
(IV2 M.) Champigny (p. 307).
Another branch runs tu the N. to Neuilly- Plaisance and Rosnt/sous-Bois,
the last a village on the Chemin de Fer de FEst.
The Lac des Minimes was formed in 1857 on ground which
belonged to the order of that name till 1784. The lake is 20 acres
in area, and contains three islands. The smallest of these, the
lie de la Porte-Jaune at the N. end, is connected with the main-
land by a bridge and contains a Cafe- Restaurant. The others,
though united with each other, can be reached only by boat, which
may be hired (Y2 hr. 50 c. each person) on the W. side, near the
keepers' houses. At the E. end are the small Cascades, on the two
streamlets by which the lake is fed. Round the lake, at some
distance from its banks, runs the Route Circulaire, and an avenue
also skirts the bank [a circuit of 30-40 min.).
Opposite the lie de la Porte-Jaune begins an avenue leading to Fontenap-
sous-Bois, a village and railway-station about Vs M. to the N.E., with a
number of pleasant villas (5836 inhab.).
The Lac des Minimes is about 72^- ^rom the fort or 11/4 M.
from the entrance to the Chateau of Vincennes.
Fhom Vincennes (Paris) to Brie-Comte-Robert, 19 31., railway in
1>A br. (fares 2 fr. 25, 1 fr. 55 c, return-tickets 5 fr. 4(1, 2 fr. 40 c ). Beyond
Vincennes the line skirts the Bois de Vincennes for some distance. —
IV4 M. Fontenau-sout-Bois (<ee above); 1^/4 M. Nogent-sur Marne (see above).
— Fine view of the Marne Vdllev to the left. — 3 M. Joinville- le- Pont, see
p. 305. — 41/2 M. St. Maur-Port-Cviteil, see p. 302. — 5 M. Pare de St. Maur.
15. CHAMPIGNY. 307
6 M. Champigny {Caf^s-Restaurants near the bridge) is a village f5300
inhab.) on the left bank of the Marne, here steep and prettily wooded.
The station is at Champignol, on the right bank. The Chemin de Fer
de Grande-Ceinture, which joins the Ligne d Est via Nogent-snr-.Mame
(p. 306), has another station at Le Plant- Champigny , on the left bank,
near the site of the new bridge to Nogent (p. 306j. Champigny is mem-
orable as the scene of the battles of 30th Kov. and 2nd Dec, 1870, at
which Generals Trochu and Ducrot vainly endeavoured to force a passage
through the German lines. A monument on the hill behind Champigny,
1/4 hr. from the Mairie, marks the site of a crypt containing the remains
of the French and German soldiers who fell on that occasion. The crypt
is open free daily from noon till 5 p.m.; it contains inscriptions, flags,
and wreaths. The spots where the Germans are interred are marked by
tablets bearing the letter A ('Allemands'). — Tramway to Joinville, see
p. 30.").
Fine views of the valley of the Marne, Vincennes, and Paris are ob-
tained from the places on the hills beyond Champigny, such as Chennevih'es
(2 M.; with a view superior to that from St-Germain-en-Laye, at least by
morning light), Sucy-en-Brie (2'/2 M.), and Boissy-St-L4ger (21/2 M.). These
localities are reached from the stations of La Varenne-Chenneviiret C/* M.),
beyond which we cross the Marne, Sucy-Bonneuil (3/4 M.), and Boissy-
,St-Liger (1/3 M ). From Sucy-Bonneuil a branch of the Grande-Ceinture leads
to Valenton (2V2 M.) and Villeneuve-St-Georges (2 M.). At Boissy-St-Leger,
to the left of the railway, is the Chdteau du Piple, with a Protestant normal
school for girls. About I1/4 M. beyond the village is the fine Chdteau de
Gros-Bois (I8th cent.), with a large park. Adjacent is an inn. Less than
2 M. to the W. is the Chdteau de la Grange, dating from the same period.
We can descend from here to (3 M.) Brunoy (p. 360j or to Villeneuve'
St-Georges (p. 359). — The following stations are of no interest.
19 M. (221/2 M. from Paris) Brie-Comte-Robert (EStel de la Gvdce-de-
Dieu, Rue de Paris), a very old and decayed little town, formerly capital
of the Erie Fraacaise, was founded in the 12th cent, by Comte Robert,
brother of Louis \'II. The Rue de la Gare, the Rue de Paris (to the left),
and the Kue Gambetta (to the right) lead to the Place du Marche, whence
we ascend to the left to the Church, a handsome building of the 12-16th
cent., with fine but much damaged decorations. The interior is worth a
visit. In the adjoining Rue des Halles is an interesting Gothic facade of the
13th cent., belonging to an old hospital. Farther on are the ruins of a
chateau of the 12th century.
The railway goes on from Brie to (11 M.) Verneuil-V Etang . where it
joins the line to Troyes and Belfort. See Baedeker^s Northern France.
16. Versailles.
Those who can pay only one visit to Versailles should start early and
visit the gardens before the opening of the palace. A second visit, in sum-
mer, may be combined with a pleasant afternoon-excursion to Rambouillet
(see Baedeker's Northern France).
I. FROM PARIS TO VERSAILLES.
By the Ligne de la Rive Droite, Ui '•.> M. , in 33-50 min. ; fares 1 fr. 50,
1 fr. 15 c. (no reduction on return-tickets). The trains start from the
Gare St. Lazare (booking-office and waiting-rooms to the left) every hour
or oftener. There are also several additional trains, particularly on Sun-
days and holidays (see Indicatenr). — Best views to the left.
Some trains go to and from the Gare des Chantiers (see p. BOS), without
passing the station of the right bank; fares, 1 fr. SO, 1 fr. 20 c.
To (97-2 M.) St. Cloud aii(l(10V2 -^^O Sevres -Ville-d'Avray, see
pp. 291, 296. — 12 M. Chaville, near the Bois de Ville-d'Avray,
Fausses-Reposes , and Chaville (seethe Map, p. 298). — 13 M.
20*
308 16, VERSAILLES.
Viroflay. To the left, farther on, is seen theViaduct which crosses the
highroad and unites the lines of the right and left banks. The trains
to the Gare des Chantiers cross this viaduct. — l^r^/o M. Versailles
(Gare de la Rive Droite), or 15 M. Gare des Chantiers (see below).
By the Ligne de la Rive Gauche, 11 M.. in 30-40 m in. ; fares 1 fr. 35.
90 c. The trains start from the Gare Montparnasse fPl. G, 16; pp. 26), 286)
and from the Gare des Invalides (PI. R 14, //,- p. 274) almost every half-
hour (oftener on Sun. and holidays). Best views to the right.
From the Gare Montparnasse to (6 M.) Sevres , see p. 296. —
8 M. Chaville. To the right is the line on the right bank with its
viaduct (see above). 81/2 M. Viroflay.
From the Gare des Invalides the line crosses a long viaduct near
Issy and MouUneaux (p. 296), passes under the above line from
Montparnasse, runs between Meudon and FLeury (p. 299), and
beyond a tunnel, 31/4 M. in length, joins the Montparnasse line at
Viroflay.
11 M. Versailles (Gare de la Rive Gauche or Gare des Chantiers ;
see below).
By Tramway, 12 M., in IV2 hr.; fares, inside 1 fr. (including correspond-
ance), outside 85 c. We take the united lines from the Quai du Louvre to
St. Cloud z,nA to Sevres and Versailles (TAB; see Appx.) to the Point-du-Jour,
whence the rear car of every alternate train (i.e. those starting at 35 min.
past each hour) goes on to Versailles. Return from Versailles at 15 min.
past each hour. Comp. remarks on the St. Cloud tramways (p. 293).
To Sevres, see pp. 293, 296. — Then Chaville (office No. 84)
and Viroflay (No. 33). "We pass under the above-mentioned viaduct,
40 ft. in height, and enter the long avenue from Paris , which ends
at the Place d'Armes, opposite the palace of Versailles.
By Mail Coach, see p. 25.
II. VERSAILLES.
Arrival. The Station of the Rive Droite Line is about 'A M., the
Station of the Rive Gauche Line about V2 M., and the Gare des Chantiers
1 M. from the palace. The terminus of the Paris Tramways is near the
Place d'Armes, at the end of the Avenue de St. Cloud.
Hotels. *H6tel des RfiSERvoiRS, Rue des Reservoirs 9, D. 5 or 6 fr. ;
. Hotel Vatel, Rue des Reservoirs 26-285 Hotel Suisse, near the latter,
Jx. Rue Petigny and Rue Neuve; Hotel DE_f bancEj Rue Colbert 5, on the N.
side of the Place d'Armes; Hotel de la Chasse, Rue de la Chancellerie
6, on the S. side of the Place d'Armes.
Cafes -Restaurants (generally expensive). At the Hotels, see above;
Restaurant de Neptune^ Rue des Reservoirs 22, dej. 3, D. 4 fr. ; Cafi-Re-
staurant du Dragon, l\o. 19 same street, dej. 3, D. 4 fr.; Restaurant du Musie,
No. 2 same street, near the palace, dej. 3 fr., unpretending; Cafi Anglais,
Rue du Plessis 49, near the station of the Rive Droite, dej. 3, D. 5 fr. ;
Cafi Amiricain, Rue du Plessis 47, de'j. 3, D. 4 fr. ; Lion d'Or, Rue du
Plessis 38, to the left of the station, 2'/4-2V2 fr. : Hdtel du Sabot d'Or. Rue
du Plessis 23, dej. 21/2, D. 01/2 fr. ; Cafi Eoche, in the Place Hoche, dej.
2-21/2, D. 3-31/2 fr. ; Maihi, Rue Colbert 7, dej. or D. 2V2 fr. ; Brasserie
Muller, at the corner of the Avenue St. Cloud and the Rue de la Pompe ;
Caf4 de la Place d'Armes, corner of the Rue Hoche.
Cabs. Per drive, with one horse 11/4, two horses IV2 fr. ; after mid-
night 2 or 21/2 fr. ; per hr., 2 or 21/2 fr. ; on Sun. and holidays 3 or 31/2 fr.
Tramways. To Paris, see above. In the town: from the Rue de
Bithune, on the N., via the Gare de la Rive Droite, to the Avenue de
Milt »T PARC
VERSAILLES
16. VERSAILLES, 309
Jhcardie, on the E. ; from Olatigny^ farther to the N., via the stations of
both banks, to Grandchamp^ at the end of the Rue Royale ; from Qlatigny
to the Orangerie (Palace gardens); from Le Chemay^ on the N. (Carrefour
St. Antoine) to the Gare det C/iantiers^ on the S.E. ; from Clagni/, on the
N.E., to the Place d'Arynes and to Trianon, via the Gare de la Kive Droife.
Fare 15 c., 20 c. vrith correspondance; double tare after 9 p.m. — Aho:
from the Avenue Thiers (Gare de la Rive Gauche) to (:-{ M.) St. Cyr (p. 320 ;
35-25 c.t; and from the Rue du Plessis (Gare de la Rive Droiie) to Mavle,
via Le Chesnay, Rocquencourt, Bailly, Noisy-le-Roi (p. 326), Mareil, etc.
Fountains in the Palace Garden, p. 321.
Post and Telegraph Office: Rue St. Julien, near the S. wing of the
palace (see Plan), and Rue de Jnuvencel, behind the Prefecture.
English Church, Rue du Peintre Lebrun, corner of Rue de la Pompe-,
services at 11 a.m. and 4 p.m. Chaplain, Rev. J. W. Browne.
Versailles, the capital of the Seine-et-Oise department, with
55,000 inhab., is indebted for its origin to Louis XIV. During the
first years of his reign that monarch , like his predecessors , had
resided at St. Germain in summer, but is said to have conceived a
dislike to it as it commanded a view of the tower of St. Denis
(p. 334), the royal burying-place.
The site of Versailles vras hardly favourable for a town, and still less
so for a park, as the water for its ornamental ponds had to be conveyed
to it from a great distance at a vast expense. The town was called by
Voltaire '■Vabime des d('penses\ its palace and park having cost the treas-
ury of Louis XIV. the enormous sum of 500 million fr., while its annual
maintenance also involved heavy expenditure. The accounts handed down
to us regarding the erection of this sumptuous palace and the laying out
of its grounds almost border on the fabulous. Thus no fewer than 36,000
men and 6000 horses are said to have been employed at one time in form-
ing the terraces of the garden, levelling the park, and constructing a road
to it from Paris and an aqueduct from Maintenon, a distance of 31 M.
from Versailles. This aqueduct was intended to bring the water of the
Eure to Versailles, but was discontinued owing to the great mortality
among the soldiers employed. The waterworks of Marly (p. 329) were
afterwards constructed, and a farther supply of water obtained from the
ponds on the plateau between Versailles and Rambouillet.
After the year 1682 Versailles became the permanent headquarters of
the court, and is therefore intimately associated with the history of that
period. It witnessed the zenith and the decadence of the prosperity of
Louis XIV. ; and under his successor the magnificent palace of the 'grand
monarque' became the scene of the disreputable Pompadour and Du Barry
domination. It was at the meeting of the Estates held here in 1789 that
the 'Tiers Etaf took the memorable step, — the first on the way to the
Revolution, — of forminu; itself into a separate body, the Assembl^e Ra-
tionale, which afterwards became the Assemble'e Constituante. The in-
judicious fete given by the court to the Garde du Corps in the palace-
theatre a few months later precipitated events. On Oct. 6th the unfortun-
ate Louis XVI. saw the palace of Versailles sacked by a Parisian mob,
which included many thousands of women ('les dames de la halle'), and
since that period it has remained uninhabited. During the Revolution it
narrowly escaped being sold. Napoleon neglected it owing to the great
expense which its repair would have entailed, and the Bourbons on their
restoration merely prevented it from falling to decay and erected the
pavilion on the S. side. Louis Philippe at length restored the building,
and converted part of it into an historical picture-gallery.
From 19th Sept., 1870, to 6th March, 1871, the palace was the head-
quarters of the King of Prussia, and a great part of the edifice was then
used as a military hospital, the pictures having been carefully covered to
protect them from injury. An impressive scene took place here on 18th
310 16. VERSAILLES.
Jan., 1871, when the Prussian monarch, with the unanimous consent of
the German states, was saluted as German Emperor. The house No. 1,
Boulevard du Roi, was the scene of the negociations hetween Prince
Bismarck and Jules Favre on 23rd-24th Jan. and 26th-28th Jan., which
decided the terms for the capitulation of Paris and the preliminaries
of peace. After the departure of the German troops (12th Mar., 1871),
Versailles became the seat of the French government, and it was from
here that Marshal Macmahon directed the struggle against the outbreak
of the Commune. It was not till 1879 that the government and the cham-
bers transferred their headquarters to Paris.
On the way from the station of the Rive Droite to the palace,
we turn to the right in the middle of the Marche Notre Dame, and
follow the Rue de le Paroisse, in which is the Church of Notre Dame,
erected hy Mansart in 1684-86. The Rue Hoche leads hence, to
the left, to the palace, passing a Statue of General Hoche (1768-97)
by Lemaire. In front of the palace extends the spacious Place
d'Armes, at the end of the wide Avenue de St. Cloud and of the two
other chief streets of Versailles, the Avenue de Paris and the Avenue
de Sceaux, which lead from the other two railway-stations. The two
harracks fronting the palace were originally its stables.
Guides to the collection are rendered quite unnecessary by the follow-
ing explanations and the inscriptions on the pictures themselves.
The *Palace of Versailles owes its present extent almost wholly
to Louis XIV. , who. about 1665, began the huge additions, the ob-
ject of which was to provide not only an imposing seat of govern-
ment, but also a permanent residence for the entire court, and to
surround it with everything that art could supply or luxury demand
in the pursuit of pleasure. The central part (the present 'Cour de
Marbre') dates from the original chateau of Louis XIU., built by
Lemercier about 1624-26. Louis Levau (d, 1670), Louis XIV. "s first
architect, erected only the small additions to the E. ; but J, H.
Mansart^ who succeeded Levau in 1676 and added a story to his
additions, built the Galerie des Glaces, in front of the upper story
of the garden-facade of the original chateau in 1679, and erected
the long S. wing, as a residence for the ministers and secretaries of
state. After the king transferred his residence to Versailles in 1682,
the chateau was found to be too small , and Mansart accordingly
added the great N. wing in 1684-88. The palace, as thus trans-
formed, had room for 10,000 inmates; its longer facade, towards
the garden , is 630 yds. in length and is pierced with 375 win-
dows. The pavilions in the neo-classic style , on each side of
the Cour Royale , were erected respectively by Gabriel, under
Louis XV., and by Dufour under Louis XYIII., and seriously mar
the uniformity of the whole as seen from the Cour d'Honneur.
Gabriel also built the theatre (Opera), at the end of the right or
N. wing (1753-70).
The CouE d'Honneur is separated from the Place d'Armes by a
railing. The groups which adorn the pillars at the entrance are em-
blematical of the victories of Louis XIV. over Austria (the eagle) and
c H A T E A u p E r:.^T^S'""' ]'^ ^ = ^ s* ' ^^^'
I'UI
t-^ [ ufr^iii "1^ illli'jKjT *^i^i 4. -;
►:f ;K., ♦-li-4— —4 . - ;
Rea-de-CHaussee ( Aile du Midi
m
kf AiJ} Rez-de-Chaussee lAileduNord
j:iiLixnaa;;mxi:i:i.in:i 5|!
:^^-»^et:s
^
311
Key to the Plan of the Palace of Versailles.
Ground Floor.
North Wing. — 1. Vestibule (p. 312). — 2-12. Historical
Paintings from Clovis to Louis XVI. (p. 313). — 13. Staircase. —
10. Sculptures (p. 313). — 17-21. Salles des Croisades (p. 313).
Main Edifice. — 22-30. Less important sculptures and paint-
ings. — 32. Vestibule of Louis XIIL's time. — 33. Most recent
acquisitions (p. 320). — 34. Views of Royal Chateaux (p. 320). —
37. Corridor to the Escalier de Marbre (p. 320). — 8«. Vestibule
(^entrance to the new rooms, p. 320). — 42-50. Dauphin's Apart-
ments and 18th century rooms (p. 320). — 61. Galerie Basse. —
52-59. Busts and Statues of French Marshals (p. 320).
South Wing. — 66. Vestibule. — 67-80. Paintings of the Re-
public and First Empire (p. 319). — 81. Sculptures of the same
periods (p. 320).
First Floor.
North Wing. — 83. Salon de U Chapelle (p. 814). — 84-93.
Historiral Paintings : 1794-1830 (p. 314). — 94. Staircase to Second
Floor (p. 315). — 95. Sculptures (p. 314). — 98-101. Modern
Historical Paintings (p. 314). — 102. Paintings of the Crimean and
Italian Campaigns (p. 314). — 103, 104. Paintings of the Algerian
Camraiijns (p. 3 i4).
Main Edifice, — 105-111. Appartements du Roi (p. 315). —
112. Salon de la Guerre (p. 316). — 113. Gal rie des Glaces
(p. 316). — 114. Salon de la Paix (p. 317). — 115-117. Grands
Appartements de la Reine (p. 317). — 118. Salle des Gardes de la
Reine (p. 318). — 119. Escalier de Marbre (p. 320). — 120. Salle
des Gardes du Roi (p. 317). 121. Premiere Antichambre du Roi
(p. 317). — 122. Cabinets de la Reine Marie Antoinette (p. 317). —
123. Snlle de Y(¥A\ de Bcenf (p. 317). — 124. Bedchamber of
Louis XIV. (p. 317). — 125. Cabinet du Conseil (p. 317). —
126-130. Cabinets Inte'rieurs de Louis XV. et de Louis XVI.
(p. 317). — 135. Modern Staircase (on the site of the staircase
used by ambassadors under Louis XIV,). — 136. Vestibule. —
136, 137. Rooms with crayons and modern paintinss (p. 315). —
140. Grande Salle des Gardes (p. 318). — 144, 145. Anterooms
with pa ntings of 1792.
South Wing. — 147. Escalier des Princes (p. 318). — 148.
Galerie des Batailles (p. 318). — 149. Salle de 1830 (p. 319). —
150. Sculpture Gallery (p. 319).
312 16. VERSAILLES.
Spain (the lion). Around the court are placed sixteen colossal Statue$,
some of -which stood on the Pont de la Concorde until 1837.
On the right: Cardinal Richelieu (d. 1642), regent of France nnder
Louis XIII.; Bayard (d. 1524), the 'chevalier sans peur et sans reproche' ;
Colbert (d. 16S3), the able finance minister of Louis XIV.; Marshal Jourdan
(d. 1833); Marshal Masse'na (d. 1817); Admiral Tourville (d. 1701); Admiral
Dugay-Trouin (d. 1736); Marshal Tnrenne (d. 1675). On the left: Suger
(d. 1152), Abbot of St. Denis and regent under Louis VII.; Bertrand du
Guesclin (d. 1380), Connetable of France ; Sully (d. 1641), the celebrated
minister of Henri IV.; Marshal Lannes (d. 1809); Marshal Mortier (d.
1835); Admiral Suffren (d. 1788); Admiral Duquesne (d. 1687); the Great
Conde (d. 1686), general of Louis XIV., by David d' Angers.
In the centre stands a hronze Equestrian Statue of Louis XIV. ^
the horse by CartelUer (d. 1831), the figure by Petitot (d. 1862).
The collections at Versailles embrace two sections : l.The **State
Rooms and Private Apartments of Louis XIV. and his successors,
forming a museum of decorative art unique of its kind. 2. The
*Musee Historique, founded by Louis Philippe, and since then
continually added to. Under the present curator (M. Pierre de Nol-
hac) the paintings and sculptures are being re-arranged so as to
afford an intelligent and comprehensive survey of the various
epochs, and in the process the so-called historical paintings of the
time of Louis Philippe, -which possess no historical and little artistic
value, are retiring more and more into the background.
Visitors who can afTord two days for Versailles should first inspect the
royal apartments and then proceed at once to the park and the Trianons,
which are in admirable keeping witli the former. The historical museum
may then be visited on the s<:'C0nd d y. In the former case visitrrs are
reommended to begin with the Escalier de Marbre (p. 320; entrance on
the left side of the Cair de iMarbre), turn to the left at the top and skirt
the balustrade t> the Salle de'' Garde- fp. 317), and thence enter the apart-
ments (if Louis XrV. The Peiits Appartements du Roi (c 3l7j and the Petits
Appartements de la Pteine (p. 8l7) are vi ited next, after which we p oceed
tljroui;h the Galerie dex Glaces ip. 316) and the Salon de la Paix (p. 317) to
the Grands Appartements de la Peine (p. 317), then return through the Galerie
des Glaces to the SaUm de la Guerre (p. 3i6), and proceed through the ad-
joining rooms to the Chapel (p. 3l3).
The principal Entrance to the Mus^e (open daily, except Mon.
and the holidays mentioned at p. 58, 11-5 in summer, 11-4 in
-winter) is from the Vestibule., to the right, at the W. end of the
Cour de la Chapelle, bet-ween the Pavilion Gabriel (p. 310) and
the Chapel. The exterior of the latter , with its high-pitched roof
and numerous statues of apostles and saints, should be noticed. —
The order of the following description should be adhered to, so that
no objects of special interest may be overlooked and no time -wasted
on those of secondary consideration. The descriptions of the latter
are printed below in smaller type.
Ground Floor of the N. Wing.
Vestibule. "Wet umbrellas must be left in the custody of an
attendant (10 c). Catalogues (vol. i out of print, vol. ii, 2 fr., vol. iii,
3 fr.), Nolhac and Pe'rate's admirable illustrated Description of the
16. VERSAILLES. 313
Palace and Museum (1896; 6 fr.), photographs, views, etc., may be
purchased here. — To the right is an entrance to the Chapel (usually
closed ; fee).
The *Palacb Chapel, erected in 1699-1710, produces a hetter
impression when seen from the first floor (p. 314) , as its propor-
tions were calculated from the galleries. It is richly adorned with
sculptures and paintings. Over the entrance-door is the royal gal-
lery , above which is a Descent of the Holy Ghost , by Jouvenet
(1709). The Resurrection over the high-altar is by Charles de
Lafosse. The large *Paintings in the vaulting of the roof , with
God the Father in the centre, are by Coypel. On the ceilings of the
side-galleries are the Apostles, by Louis and Bon Boulogne.
In the vestibule of the chapel is a large relief by Coustou of the
Passage of the Rhine under Louis XIV. To the left we enter the —
Sallbs DBS Tableaux d'Histoirb dbplis Cloyis jusql'a
LoLis XVI. (PI. 2-12), containing historical paintings by Ary
Scheffer, Schnetz, Vinchon, etc. (explanatory labels). — From the
Staircase (13) we enter (to the right) the Galbbie db Pierre (16),
a long corridor containing casts of funereal monuments. The most
interesting are in the middle: Tombs of Ferdinand fd. 1516) and
Isabella of Castile (d.l504) ; Charles the Bold (d. 1477) and Mary of
Burgundy (d. 1482). — To the left (open the door if closed) is the
entrance to the five —
*Sallbs DBS Croisadbs, remarkable for their sumptuous de-
coration (arms of crusaders). They contain a number of good paint-
ings of the time of Louis Philippe : —
1st Saloon (PI. 19). Gallait (1847), Coronation of Count Bald-
win of Flanders as Greek Emperor (1204) 5 Lariviere, Battle of As-
calon (1177). —2nd Saloon (PL 20). Jacquand, Taking of Jerusa-
lem by Jacques de Molay, Grand Master of the Templars (1299).
— 3rd Saloon (PI. 21 ). The armorial bearings on the pillars are
those of Frederick Barbarossa, Richard Cceur-de-Lion, and other
celebrated Crusaders. A mortar from the island of Rhodes, and
the gates of the hospital of the knights of St. John, from Rhodes,
presented by Sultan Mahmoud to Prince Joinville in 1836, are also
preserved here. Horace Vernet. Battle of Las Navas de Tolosa
(Spain; 1212); Schnetz, Procession of Crusaders round Jerusalem
(1099); Lariviere, Raising of the siege of Malta (1565); Odier, Rais-
ing of the siege of Rhodes (1480); aher Delacroix (original, see
p. 133), Capture of Constantinople (^1204"); Blondel, Surrender of
Ptolemais to Philip Augustus and Richard Coeur-de-Lion(1191). —
4th Saloon (PL 18). Signol, St. Bernard preaching the Second Cru-
sade at Vezelay in Burgundy (1146); Schnetz, Battle of Ascalon
(1099). — 5th Saloon (PL 17). Signal, Taking of Jerusalem (1099) ;
Oallait, Taking of Antioch (1098).
We now return to the S. end of the Galerie de Pierre and ascend
by a small staircase, in the vestibule, to the left of the chapel.
314 16. VERSAILLES.
First Floor.
North "Wing. — "We first enter the Salon db la Chapelle
(PL 83), a vestibule "VPhose white marble walls with figures of
Piety and Faith contrast strikingly with the gay decorations of the
royal apartments (see below). Richly ornamented doors admit hence
to the royal gallery in the chapel. After viewing the interior of
the chapel from this gallery (p. 313), we enter the —
Salles des Tableaux d'Histoike db 1791 1 1830 (PI. 84-93).
The following are the most noteworthy works: 2nd Room (PI. 85),
Gerard, Coronation of Charles X. at Rheims (1825). 3rd Room
(PI. 86). Cros, Louis XVIII. quitting the Tuileries on the night
of 19th March, 1815, on being apprised of Napoleon's approach.
6th Room (PI. 89). Gautherot, Napoleon wounded on the battle-
field of Ratisbon (1809). — From the Staircase (PI. 94) we enter,
to the right, the Galekie de Sculpture , a corridor containing
several fine marble statues by Duseigneur^ Debay the Elder^ Nanteuil,
Fr. Anguler (Monument of Henri Chabot, d. 1653), Foyatier, Jaley,
Lehongre^ Etex, Valois, Foucou, and Seurre. In the centre are several
works by Pradier, the best of which is the monument of the Duke
of Orle'ans (p. 159), with reliefs relating to the sieges of Antwerp
and Gonstantine. — At the end we turn to the left and enter the —
Salles des Tableaux d'Histoire Contempobaine (PI. 98-101),
with large historical paintings from the reigns of Louis Philippe
and Napoleon III., many of which include interesting portraits.
A few other pictures are also temporarily placed here. — Room I
(PI. 98); Gerome, Napoleon III. receiving ambassadors from Siam
(1861). — Room II (PI. 99): Yvon, Retreat from Russia (Ney
in the rear-guard). The three large rooms chiefly contain battle-
pictures, including several fine works by Horace Vernet. Room to
the right (PI. 104) : * Vernet^ Taking of the Smalah of Abd-el-Kader
by the Due d'Aumale (16th May, 1843), a magnificent picture 71 ft.
in length and 16 ft. in height, containing numerous portraits, to
which the sketch below it is a key.
The '•Smalah'' of Abd-el-Kader consisted of his camp, his itinerant
residence, his court, harem, and treasury, and upwards of 20,000 persons.
Vernet, Battle of Isly (1844). Central Room (PL 103). Vernet,
Siege and capture of Constantino in 1837 (three paintings); Attack
on the Mexican fort St. Jean d'Ulloa by Admiral Baudin, 1838;
Storming of the pass of Tenia Mouzaia, 1840 ; Siege of the citadel
of Antwerp, 1832. — Room to the left (PI. 102) : Paintings of the
Crimean and Italian campaigns. P/7s, Battle of the Alma (1854);
Yvon, Storming of the Malakoff (1855), Battle of Solferino (1859).
In the remaining two small rooms we may mention: (in PL 101),
Couder, Oath taken in the Jeu de Paume (20th June, 1789); (in
PL 100), Vinchon, Departure of the National Guard for the army
(1792) ; a L, Muller, RoU-call of the last victims of the Reign
16. VERSAILLES. 315
of Terror (1794), containing many portraits (the seated figure iu
the middle is Andr^ Ch^nier, the poet).
From the S. end of the Sculpture Gallery a staircase ascends to the
Second Floor, which cont:iins an immense collection of portraits of cel-
ebrated pers<in8 of all countries from the 14th to the 19th century. Most
of these are of little artistic value. The rooms also contain a few casts
and medals. — The seci'nd floors of the other wings of the palace are
undergoing restoration, which will not be finished until 1901.
We return to the Salon de la Chapelle, and thence enter the —
Main Edifice. The royal apartments in this part of the palace
no longer contain their original furniture and pictures, but most
of the ceiling, the gilded stucco ornamentation, the panelling, etc.
remain practically unaltered and convey an admirable idea of the
elaborate 'Louis Ouatorze' style of decoration. They therefore repay
a somewhat close inspection. Visitors should note the repeated
occurrence of the sun-disk, the emblem of the 'Roi Soleil'. The
walls formerly occupied by the tapestries representing the 'Histoire
du Roi', produced under Le Bruns direction, are now hung with the
paintings that were used as patterns for these compositions. On the
other walls are battle-pieces by Van der Meulen^ Parrocel, etc., and
portraits. We first enter the —
Salon d'Hbrculb (PI. 105), with the Apotheosis of Hercules on
the ceiling, lay Lemoine, including 142 figures. Mignard, Louis XIV.
on horseback. The frame now enclosing Louis XIV. 's Passage of
the Rhine, after Le Brun, originally belonged to Veronese's great
Banquet at the house of Simon the Pharisee, now in the Louvre
(p. 117).
The following room is the first of the *Grands Appartbmbnts
nu Roi (PI, 106-111). The ceiling-painting, hy Houasse, is em-
blematical of royal abundance or magnificence.
Rooms Nos. 137 and 138 (adjoining the last, see Plan) contain drawings
in crayon ('gouaches') from the campaigns in the Netherlands in 1745-46
and a frieze by Boulanger, representing the Procession of the States General
to the Church of Notre-Dame at Versailles on 4th May, 1789. Also, Couder,
Opening of the Conseil d'Etat, 1789; A. 3forot, Battle of Reichshofen; A.
de Neuville, Battle of Champigny (1870), fragment of a panorama. Statue
of Baill}, by St. Marcemtx.
Room 107, with a ceiling-painting by Howasse, representing
Venus subduing all the other deities. Statue of Louis XIV. by J.
Warin. — Room 108 (Billiard Room), with ceiling -painting by
Blanchard, representing Diana as goddess of hunting and naviga-
tion. On the vaults, paintings by Audran and Lafosse, Busts of
Louis XIV. by Bernini, of Vauban by Coyzevox, etc. — Room 109
(Ball and Music Room), with a fine ceiling adorned with paintings
by Audran (Mars in a chariot drawn by wolves), Houasse (Horrors
of war), and Jouvenet (Benefits of war). Above the doors are two
paintings from the Histoire du Roi (see above, by S. Vouet) : Coro-
nation of Louis XIV., and Meeting of Louis XIV. and Philip IV.
(in the retinue of the former appear Mazarin, Conti, Turenne, etc.,
in that of Philip is Velazquez). — Room 110, with ceiling by
316 16. VERSAILLES.
J. B. de Champagne; Mercury in a chariot drawn by two cocks. —
Room 111 (Throne Room), with ceiling by Ch. de Lafosse: Apollo
in a four-horse chariot, escorted by the Seasons.
We now enter the *Salox de la Gubrre (PI. 112), so called from
its allegorical ceiling-paintings by LeBmn; in the cupola, France,
hurling thunderbolts and carrying a shield with a portrait of
Louis XIV; in the spandrels, Bellona, Spain, Germany, and Hol-
land cowering in terror. The walls are lined with parti-coloured
marbles and embellished with bronze reliefs. On the entrance-wall
is a huge equestrian relief of Louis XIV., by Coyzevox. Six porphyry
busts of Roman emperors.
*Galbrie DBS Glacbs or DE Louis XIV. (PI. 113), a superbly
decorated hall, 240 ft. long, 35 ft. wide, and 42 ft. high, commands
a beautiful view of the garden and its ornamental sheets of water.
The chief decorations are the paintings, executed hy Charles LeBrun,
who was assisted by the most famous artists of the day; thus, e.g.
the twenty-three figures of children and some of the trophies are
by Coyzevox. Opposite the seventeen large arched windows are as
many mirrors (enormously costly at that date), set in elegant frames
by Cucci, The capitals (of the 'French order') are an invention of
Le Brun. The subject of the large central ceiling -painting is
'Le roi gouverne par lui-meme' (1661): Mercury announces the
royal resolve to Germany, Holland, and Spain; on the side next
the garden, 'L'ancien orgueil des puissances voisines de la France'.
The achievements of the king from 1661 down to the Peace of
Nymwegen (1678) are exhibited in the remaining eight large cir-
cular and semicircular paintings and in the eighteen medallions
and imitations of reliefs. The former are concerned with the warlike
exploits of 1670-78, the latter with the military and civil events of
1661-69. The subjects of the large paintings are as follows:
Alliance of Holland with Germany and Spain (1672); at the other
end, Holland abandoning this alliance and accepting peace (1678).
On the ceiling, beginning from the Salon de la Guerre: side next
the garden, Passage of the Rhine (1672) and Capture of Maastricht,
Land and naval armaments; on the other side, Louis ordering four
fortresses in Holland to be attacked (council of war with the Duke
of Orleans, Conde', and Turenne) ; on the other side of the central
painting: Resolution to make war on Holland (1671), Franche-
Comte conquered for the second time, Capture of Ghent and the
fruitless efforts of the Spaniards after that event (1678). The four
statues in the niches are modern; to the left, Venus, by Dupaty,
Minerva, by Cartellier ; to the right, Apollo and Mercury, by Jacquot.
— King William of Prussia was proclaimed German Emperor in
this hall in 1871. — Salon de la Paix, etc., see p. 317.
We may now inspect the apartments parallel with the Galerie
des Glaces, which, with two others behind them by which they were
16. VERSAILLES. 317
eutered, also belonged to the 'Grands Appartements' of the king.
The Cabinet dv Consbil (PI. 125), to the N., was formed in 1755
by uniting the powdering-room and the study of Louis XIV. and
-was decorated by A. Rousseau. It contains a time-piece with very
ingenious mechanism, by Morand (1706), a handsome table, and a
Holy Family, by Poussin (on an easel).
The Cabinets Lntekiecks de Louis XV. et de Lucis XVI. (PI. 126-130),
to the left, are shown by one of the custodians (fee). They are elegantly
decorated by Veyberchf, but the clocks are now almost the only remains
of the original furniture. The first room (PI. 126) is the Bedchamber of
Louis JiV.^^in which he died on May 10th, 1774. The Salon des Pendttles
(PI. 127) contains an astronomical clock by Passentent in a handsome case
by Caffieri., and an English clock taken at Algiers in 1830.
The *Bbdchambbk of Loris XIV. (PI. 124) retains practically
the original decorations and furniture of 1701. The chimney-pieces
date from Louis XY. The richly adorned bed of the king, who died
in it on Sept. 1st, 1715, was restored under Louis Philippe; the
magnificent railing should be noticed. The goddesses of fame and
the figure of Gallia are by iV. Coustou, the four Evangelists by Valentin.
The remaining pictures are of recent introduction. — We now enter
the^
Sallb db L'ffiiL DB BffiUF (PI. 123), SO called from its oval win-
dow, where the courtiers used to await the Hever' of the king, and
celebrated as the scene of numerous intrigues. The rich frieze of
gilded stucco, with putti, is by Van Cleve and others. One of the
paintings, by Nocret, represents Louis XIV. and his family with
the attributes of the pagan deities.
The Cabinets de la Reine Marie Antoinette (PI. 122; apply to an
attendant; fee) are sometimes entered from this room. These remarkably
small apartments are tastefully decorated. Thence we may reach the
Escalier de Marbre (p. 820).
To the left are the Premiere Antichambrb (PI. 121) and the
Salle des Gardes du Roi (PI. 120), containing pictures of battles
and views of Versailles in 1688. Farther on is the Escalier de Marbre
(pp. 312, 320).
We now return to the Galerie des Glaces, adjoining which, to
the left, is the *Salon de la Paix (PI. 114), with ceiling-paintings
hy Le Brun : in the centre is France, surrounded by Abundance and
other allegorical figures j on the spandrels, Spain, France, Holland,
and Germany rejoicing in the peace. On the exit-wall: Lemoine,
Louis XIV., with the helm of state. — The handsome rooms on the
S. side of the main edifice, overlooking the garden, are the —
Grands Appartements db la Reinb (PI. 115-117), the de-
corations of which are more interesting than the pictures. The
Chambrb de la Reine (PI. 115) has a tasteful ceiling in gray and
gold, with grisailles by Boucher and paintings by Natoire and De
Troy. Paintings: Testel'm (after Le Brun), Betrothal of Louis XIV.
and Maria Theresa; After Watteau, Birth of the Dauphin; Dieu,
Betrothal of the Dauphin ; Mme. Le Brun^ Marie Antoinette ; yattier^
318 16. VERSAILLES.
Marie Lescszynska. — The Salon db la. Rbine (PI, 116), also
called Salon des Nobles, has a ceiling-painting by Michel Corneille:
Mercury protecting Science and A.rt. Paintings by Dulin, Be Seve,
and Christophe. — The Salon du Gkand Couvebt, or Antichambre
DE LA Keine (PI. 117), has fine ceiling-decoration, after Le Brun,
representing Darius at the feet of Alexander. Below: Le Brun,
Louis XIV. on horseback; Le Brun and Van der Meulen, Defeat of
the Spaniards at Bruges by Turenne (1567) ; Gerard (1834), Portrait
of Philip of France, Duke of Anjou, proclaimed King of Spain as
Philip V. (1700). — In the Salle des Gaedes de la Reinb
(PI. 118), the walls of which are lined with marble, are busts of
Louis XVI. and Marie Antoinette, etc., and a portrait of the Du-
chess of Burgundy, by Santerre. This room was invaded by the mob
in 1789, when three guards sacrificed themselves to save the queen.
The ceiling-paintings by iVoei Coypei represent Jupiter accompanied
by Justice and Peace, Ptolemy Philadelphos, Alexander Severus,
Trajan, and Solon. Doors in this and the following room lead to the
Escalier de Marbre (p. 320).
The Ge-andb Salle des Gaedes (PI. 140) was used by the king's
body-guard. The ceiling-painting by Callet is an allegorical re-
presentation of the 18th Brumaire. Pictures: to the left. Roll,
Centenary Festival of the States General at the Bassin de Neptune
(p. 324) in 1889. To the right, David (1810), Napoleon distributing
Eagles to the Army in 1804; behind, *Gros (1806), Battle of
Aboukir (1799). In the centre : *Last Moments of Napoleon I., by
Vela, a sitting figure in white marble.
Oa Maundy Thursday the king used to perform in this room the
ceremony of washing the feet of thirteen poor children, in presence of the
clergy. Here also the National Guard, under Lafayette, took the oath of
fidelity to Louis XVI. on Oct. Gth, 1789.
The next two rooms are anterooms leading to the S. wing of the
palace. In the first (PI. 144) are battle-scenes from the campaigns
of 1792-94 ; in the second (PI. 145) are portraits of celebrated
soldiers, represented according to the rank they held in 1792. In
the latter also are a painting by Cognlet (Departure of the National
Guard to join the army in 1792) and a column in Sevres porcelain,
embellished with paintings, and crowned with a statue of Victory,
which was presented by the city of Paris to Napoleon I. , on the
occasion of his maniage with Marie Louise.
South Wing. — Quitting Room 145, we cross the landing of
the Escalier des Princes (PI. 147), on which are placed a beautiful
group of the Three Graces, by Pradier, and a statue of Napoleon I.,
by Cartellier. We then enter the —
*Galerie des Batailles (PI. 148). This is a magnificent hall,
132 yds. in length, and 14 yds. in width, and is divided into two
parts. It contains 33 admirable compositions by modern painters,
and busts of 80 celebrated warriors who have fallen in battle, while
the names of others are inscribed on tablets.
16. VERSAILLES. 319
Left : Ary Scheffer (1837), Battle of Tolbiac, near Cologne (496),
in front of which is *'La Patrie', by Georges Bertrand. Then, on the
left side: *Steuben (1836), Battle of Tours (732); *Ary Scheffer
(1836), Submission of the Saxon Duke Wittekind to Charlemagne
(785); Horace Vernet, Philip Augustus victorious over the Barons
at Bouvines (1214); *Eug. Delacroix (1837), Battle of Taillebourg
(1242) ; Gerard^ Henri IV. entering Paris (1594). — Adjoining room,
see below.
On the other side , in returning : *H. Vernet (1828), Battle of
Fontenoy, in which the English were defeated by Marshal Saxe
(1745); Couder^ Siege of Yorktown in America, conducted by Gen-
erals Rochambeau and Washington (1781). — Philippoteaux ^ Battle
of Rivoli, Bonaparte defeats the Austrians (1797); Bouchot, Battle
of Ziirich (1799); Gerard. Battle of Austerlitz (1805). Vernet, Na-
poleon addressing the Guards before the Battle of Jena (1806) ;
Battle of Friedland (1807); Battle of Wagram (1809).
The following Salle de 1830 (Tl. 149), devoted to the 'July Monarchy',
also contains a few paintings of other subjects. To the left: E. G'ei-vtu\
President Carnot distributing the prizes after the Exhibition of 1889 ; behind,
/. G. Vibert, Apotheosis of Thiers (d. 1ST7). Court, The King distribut-
ing colours to the National Guard in the Champ-de-Mars (p. 282). G6ravd,
The declaration of the deputies read, and the Duke of Orleans proclaimed
Mieutenant-general du royaume'. Ary Scheffer, Louis Philippe at the Bar-
riere du Trone , receiving his eldest son the I)uc de Ohartres, afterwards
Due d'Orleans , at the head of his regiment of hussars, 4th Aug., 1830.
Parallel with the Galerie des Batailles is a Sculptcee Gallery (PI. 150),
containing statues and busts of eminent persons of the 17th and iSth cen-
turies. Mo,«t of these are by B. Prieur, G. Guirin, Bra, Eoudon, ifmnot.
Bridan, Dijoux, Mouchy, Lemaire, Roland, Pajou, Duvet, A. Dumont, Seurre,
and other modern sculptors.
We now return to the Escalier des Princes, whence we may
descend, either to leave the palace or to visit the S. wing and cen-
tral part of the groundfloor.
Ground Floor of the S. Wing and Main Edifice.
This section of the collection is not specially interesting, and visitors
who are fatigued or whose time is limited may omit it and proceed direct
to the gardens (p. 320).
South Wing. We first enter tlie —
Galebibs db la Republique et bu Pbemter Empibb (PL 67-
80), containing paintings dealing with campaigns between 1796
and 1810. The most interesting are here mentioned.
5th Room (PI. 71): Sdrangeli, Napoleon at the Louvre after his coro-
nation, receiving deputations from the army. — 8th Room (PI. 74): Meynier,
Marshal Ney restoring to the 76th Regiment of Foot its colours found in
the arsenal at Innsbruck. Debret, 'Napoleon rend honneur au courage mal-
heureux', the words used by the emperor in saluting a waggon containing
wounded Austrians in Italy. — 9th Room (PI. 75): Girodel-Trioson, Napoleon
receiving the keys of Vienna. Gros, Interview of Napoleon with the Em-
peror Francis 1. of Austria during the bivouac on the day after the battle
of Austerlitz, 3rd Dec, 1805. 'Je vous recois dans le seul palais que j'habite
depuis deux mois', were the words with which Napoleon addressed Francis.
Vous tirez si bon parti de cette habitation, qu'elle doit vous plaire', was
320 16. VERSAILLES.
the reply. — 10th Room (PI. 76): Meynier , The French army entering
Berlin, 27th Oct., 1806. Berthon, Napoleon receiving the deputies of the
senate in the palace at Berlin (1806). — 11th Room (PI. 77); Gosse, Inter-
view of Napoleon with the King and Queen of Prussia, at Tilsit. Dthret^
Napoleon presenting a dei-oraiion to a soldier of the Rus.^ian army. —
12th Room (PI. 78): Regnault ^ Marriage of Prince Jerome with the Prin-
cess Frederica of Wurtemberg. — 13th Room (PL 79): Bebret, Napoleon
adressing his German troops before the battle ot Abensberg (1809). Rouget,
Marriage of Napoleon with the Archduchess Marie Louise of Austria, 1810.
— 14th Room (PL 80): Thdvenin, The French army crossing the St. Ber-
nard (1800).
The Galleet of Scclptdees (PI. 81), parallel with the above gallery,
chiefly contains Statues and Busts of celebrities of the first republic and
empire; e.g.^ by the entrance, General Hoche, by IJilhomme.
To the right of this gallery is the former Chambke des Dfipcifis,
constructed in 1875 out of an interior court of the palace, and still used
for the Congress, i.e. the joint meeting of the senate and the chamber
of deputies. It may be visited on application to a custodian (fee; entrance
in the Cour des Princes, see below).
The Ground Floor of the Main Edifice contains farther a number
of portraits and views, some of which are interesting, and a few
sculptures. — "We enter by a door in the E. part of the Cour de
Marbre, whence the Escalier de Marbre ascends to the royal apart-
ments on the first floor (p. 315).
The Vestibule (PI. 38) contains Sculptures and Casts, includ-
ing two statues of the Empress Josephine , by Vital Dubray and
Lagrange, and one of Elisa Bonaparte, l^y Bartolini. The adjoining
Corridor (PI. 37) is empty. The next Room (PI. 34) contains views
of royal residences by Martin, Allegrain, and £f. Robert. The Recent
Acquisitions of the museum are exhibited in the following Room
(Pi. 33). Among these are : Bronze statue of Napoleon L, by Seurre ;
busts of Lamartine by D'Orsay and of President Carnot, by Chapu ;
a portrait of Berlioz, the composer, by Daumier; silver statuettes of
Henri IV., by Bosio, and of Bonaparte at Brienne, by Rochet; also
several paintings.
The following suite (PI. 42-50) was mostly included in the 18th
cent, in the *Appaetemekts du Dauphin, and was occupied by the
son of Louis XV. and father of Louis XVL, who died in 1765. The
original decorations have been partly preserved. Some of the best
portraits of the 18th cent, have recently been hung here : by C. and
Mich. Van Loo, Mme. Le Brun, Nattier, Tocque, Drouais, and Rigaud.
The *Portraits of French princesses, by Nattier, are among the most
attractive female portraits of the period. A fine piece of Gobelins
tapestry (portrait of Louis XV., after M. Van Loo) is also shown here.
In tbe middle of the main edifice, beneath the Galerie des Glaces, is
the Galekie Basse (PL 51), looking upon the garden, and containing
historical paintings. — Farther on are the Salle des Maeechacx de
Feaxce (PL 55-58), with busts and statues, etc.
The *Gardens (comp. Map, p. 308), at the back of the Palace of
Versailles, with their small park and ornamental sheets of water,
are partly at least in the same condition as when first laid out by
16. VERSAILLES. 321
Le Notre (d. 1700), the most famous landscape-gardener ot liis time.
Some authoritie?, however, ascribe them to Boisseau. A more artifi-
cial style can hardly be conceived. The chief object seems to have
been to subject nature to the laws of symmetry, and to practise geom-
etry, architecture, and sculpture upon lawns, trees, and ponds. On
the other hand the grounds are interesting on account of their quaint,
solemn, old-fashioned appearance, which harmonises admirably with
theheavy and formal architecture of the palace, and is in perfect keep-
ing with the notions of art which prevailed in the time of Louis XIV.
The greater part of the grounds, which are not very extensive, may
be surveyed from the terrace of the palace. They are adorned with
numerous statues and vases, some of which are copies from cel-
ebrated antiques, and others originals of the 17th and 18th centuries.
Several of the most interesting 'bosquets'" are closed in winter (1st
■Nov.-SOth April); these are marked below by the words 'in summer'. —
The gardens are shut at dusk, a bell being rang 1/4 hr. previously.
The playing of the *Gkandes Eaux always attracts vast crowds of
spectators. This imposing spectacle, which it costs 8-10,000 fr.
to exhibit, generally takes place on the first Sun. of every month
from May to October, and frequently also on the third Sun. in
June, July, and August, and is always advertised long beforehand
in the newspapers. The Petites Eaux play on Sun. and Thurs. from
May to October. The best way to avoid the crush is to proceed to
Versailles early, and to leave it immediately after the playing of
the fountains, as most of the spectators remain till a later hour.
The fountains play between 4 and 5 o'clock, but not simultaneously.
The order is as follows (marked by a red line on the Plan, p. 310).
First the Petites Eaux — viz. those of the Bassin de Latone, the ^Salle
des Rocailles (PI. 1), the *Bosqiiet de la Colonnade (PL 3), the Bassin d'Apol-
lon, the Bassin d'Eneelade (PI. 4), and the -Bains d'Apollon (PI. 5). Next
the Grandes Eaux, which begin to rise about 5 o'clock, — viz. those of
the All^e d''Eau, the Bassin du Dragon., and the Bassin df Xcplune. The
jets of these are about 74 ft. in height, but they do not play for more than
20 minutes. A good place should it' possible be secured in time. The
visitor unacquainted with the grounds had better follow the crowd.
Among the principal sculptured groups are those in the Parterre
d'Eau, in front of the palace, and the Parterres du Midi and du Nord
{p. 323), to the right and left. Beneath the parterres are cellars,
15 ft. in height, with the pipes used to feed the various sheets of water.
On the terrace in front of the palace are two vases, that to the N. by
Coyzevox, that to the S. by Tuby , with reliefs referring to the defeat of
the Turks by the imperial troops aided by Louis XIV., and to Louis XIV. 's
victories in Flanders. Airainst the palace- wall are bronze statues of Bacchus,
Apollo, Antinous, and riilenus. These and the others mentioned below
without the sculptors' names are copies from the antique. The two basins
in the Parterre d'Eau are surrounded by fine groups and by statues of
river-gods, by Coyzevox., Le Hoiigre, Begnandin, Tuby, etc.
Near the steps descending to the lower part of the garden, are
two large basins, the Fontaine de Diane to the right, and the Fon-
taine du Point du Jour to the left, both adorned with groups of ani-
mals in bronze and other good sculptures.
Baedeker. Paris. 14th Edit. 21
322 16. VERSAILLES.
To the right: Two lions fighting with a boar and a wolf, by Van
CUve; Noon or Veuus, by G. Marsy ; Evening or Uiana, by Desjardint;
Air, by Le Hongre. To the left: Bear and tiger, Stag and dog, by Houzeati;
Daybreak, by G. Marty; Spring, by Magm'er; Water, by Legros.
This point commands a survey of the huge, monotonous facade
of the palace, 456 yds. in length. Beyond the Parterre du Midi two
flights of marble steps, 103 in number, and 22 yds. in widtb, descend
to the Orangery, built in 1684-86 by Mansart. The orange-trees,
about 1200 in number , are dispersed throughout the gardens in
summer. One of them is said to date from 1421. Farther on is the
large Piece d'Eau des Suisses , excavated by the Swiss guards of
Louis XIV. At the end is a poor equestrian statue of Louis XIV.,
by Bernini, transformed by Girardon into a Marcus Curtius. Beyond
the pond extends the Bois de Satory.
The former Potager or vegetable-garden, near the Piece des Suisses, on
the side next the town was converted in 1873 into a School of Horticulture.
At the foot of the steps which descend opposite the Parterre
d'Eau is situated the large *Bassin de Latone, constructed by
B. Marsy, consisting of several steps of red marble, on which
there are gilded frogs, lizards, and tortoises spouting water against
a fine group in white marble of Latona with Apollo and Diana.
According to the myth, Latona having besought Jupiter to chastise
the peasants of Lycia for having refused her a draught of water,
the god metamorphosed them into frogs (Ovid's Metamorph. vi.
313-381).
The Statues in the Pourtour de Latone are among the finest in the gar-
den. On the right as we approach from the palace is a singular statue
representing Melancholy, by La Perdrix, the book, purse, and bandaged
mouth being allusions to the proneness of scholars, misers, and taciturn
persons to this mood. Then Antinous, Captive Barbarian, a Faun, Bacchus,
Faustina as Ceres. Commodus as Hercules, Urania, and Ganymede. In
front, Nymph with a shell, after Coyzevox. On the other side, as we
return towards the palace, are the Dying Gladiator, Apollo Belvedere, Urania,
Wercurj'^, Antinous, Silenus , Venus Callipygos, Captive Barbarian, Fire,
and Lyric Poetry.
To the right and left are bosquets with other basins (see below).
AVe proceed straight on by the Tapis-Vert, a long lawn leading to the
Bassin d'ApoUon (see below).
Next the bosquets are marble Hermee. Before the Tapis- Vert: to the
right, Papirius and his mother, Laocoon ; to the left, Castor and Pollux,
Wounded Gaul and his wife (so-called Arria and Pgetus). — Statues at the
sides of the Tapis -Vert: to the right, Roguery, by Leconte; Juno, Her-
cules, and Telephus; Venus de Mddicis; Cyparissa, by Flamen; Artemisia
with the ashes of Mausolus, by Lefevre and Desjardins. To the left (be-
ginning at the top). Fidelity, by Lefevre; Venus quitting the bath; Faun
and kid; Dido on the funeral pyre, by Poultier ; Amazon ; Achilles in the
dress of a woman , by Vigier. — At the Bassin d'Apollon to the left, Ino
and Melicertes, byGranier; to the right, Arista?a and Proteus, by Slodtz;
then Hermse, Silenus (Faun and Child from the antique), and Bacchus.
The Bassin d'Apollon^ with a group of the sun-god in his chariot,
environed with tritons , nymphs, and dolphins (popularly known as
the 'Char Embourb^'), is one of the chief of the 'Petites Eaux'
(p. 321). The figures, by Tuby, after Le Brun, are in lead. — The
16. VERSAILLES. 323
cnicifonn Canal to the W. of the basin of Apollo , about I M. in
length, extends to near the Grand Trianon fp. 324).
To reach the Grand Trianon hence we follow the avenue immediatply
to the right of the railing; the others are not open all the way. Tho statues
between the basin and the canal are mach mutilated and of little interest.
There are several other basins and groups of statuary in different
parts of the grounds, which are worthy of a visit when the foun-
tains play. On the S. side, on our left as we leave the Bassin do
Latone, is the Quinconce du Midi (concerts given here in summer;
terminal figures after Poussin). A little farther up is the Salle de
Bal or des Rocailles (PI. 1 ; in summer^ with a cascade and a group
of Cupid and a Satyr. In the broad avenue descending hence is a
basin with a Bacchus and small satyrs , in lead , by the brothers
Marsy. On our left is the Bosquet de la Reine (in summer), where
the affair of the diamond necklace is said to have taken place. Far-
ther down, in the broad side-walk, is a basin with Saturn and chil-
dren, by Girardon. To the left is the Bassin du Miroir. with two
Vestal Virgins , an Apollo , and a Venus (all restored antiques).
Then the Bosquet or Jardin du Roi^ with the Farnese Hercules and
Flora, etc. On the other side of the Allee de Saturne, the Salle des
Marronniers (PI. 2), with statues of Antinous and Meleager, and
antique busts. Still nearer to the Tapis-Vert is the *Bosquet de
la Colonnade (PI. 3 ; in summer), containing several basins of marble
beneath a marble colonnade of 32 columns and adorned in the centre
with the Rape of Proserpine, in marble, by Girardon, after Le Brun.
On the N. side, or to the left of the Tapis Vert as we re-ascend,
are the Bassin d'Encelade (PI. 4), where the giant (by G. Marsy),
half-buried beneath Etna, spouts forth'a jet of water 74 ft. in
height; and the Obelisk (PL 4), a fountain deriving its name from
the form of the Cent Tuyaux, or hundred jets of water. In the
walk ascending in the middle is a basin with Flora and Cupids,
by Tuby. Next the Tapis-Vert lies the Bosquet des Domes. Farther
up is the Quinconce du Nord , with terminal figures after Poussin.
The second basin in the walk ascending in the middle has a Ceres
and Cupids, by Regn ludin.
The *Bosquet des Bains d'Apollon (PL 5; in summer), to thi
right, the most interesting of all , was remodelled in 1778 after
Hubert Robert. A grotto in it contains a group of Apollo attended
by nymphs, by Girardon and Regnaudin. The two groups of the
Steeds of Apollo, at the sides, are by Guirin and the brothers Marsy.
The Etoile, to the left of the walk and almost opposite this hosquot,
has four antiques: Mercury, Urania, a Bacchante, and Apollo; a Ganymede
after the antique; and a Minerva by Bertin. In the Rond-Vert, higher up,
are four antiques: Faun, Pomona, Ceres, and Hygieia.
We now return to the Parterre du Nord, beside the Parterre
d'Eau (p. 321). It contains two small basins, and a fountain (L<i
Pyramide), by Girardon, near the Alle'e d'Eau (p. 324).
At the staircase, at the top, are a Crouching Venus and a Knife Grinder,
bronze copies of the antique. By the Bosquet d'ApoUon, beginning at the
21*
324 t6. VERSAILLES.
fountain of Diana (p. 321) at the top : Europe, ]>}■ Mazeline ; Africa, hy Cornit ;
Night, by Raon; The Earth, by Masson ; Pastoral Poetry, by Granicr. At
the foot,' and skirtinij the parterre: Five terminal figures; then, Autumn,
by Regnaudin; America, by Oueriii ; Summer, by Ilutinot; Winter, by
Girardon; Satiric Poetry, by Biiyster; Asia, by Roger; Phlegm, by Les-
pagnandelle ; P'pic Poetry, by Drouilly.
Beyond the Parterre du Nord, to the N., is another sloping
parterre, at the beginning of which is the Bath of Diana^ a square
basin, with lead-reliefs of *Diana and her nymphs bathing, by
Girardon; adjacent are statues of Choler, by Houzeau, and a Flute
Player, by Jouvenet. Then the Allee d'Eau or des Mnrmousets,
consisting of 22 groups, with three children in each, in basins, and
supporting goblets whence the water descends into the Bassi7i du
Dragon (the dragon by the brothers Marsy, restored in 1890 by Tony
iYoe7), and thence to the *Bassin de Neptune , the largest in the
grounds. The latter, restored in 1889, is the fountain that plays
last; evening displays, with coloured lights ^ are sometimes given
here. It is adorned with five groups in metal : Neptune and Amphi-
trite, by the elder Adam; the Ocean, by Le Moyne; Proteus guard-
ing the flocks of Neptune, by Bouchardon, and two dragons, each
bearing a Cupid, by Girardon. When the 'grandes eaux' play, this
fountain is a veritable hydraulic marvel, with jets issuing in every
direction, from the groups, from the 22 vases on the ledge of the
wall, from pipes placed in and near the basin, from the grotesque
heads, from tlie shells beneath the vases, etc.
Near the Bas«in de Ts^eptune is the Bosquet de VArc de Trioin2)he (PI. 6;
in summer), with a s+atue of France between Spain and Germany, by
Coyzerox and Tiihy. Also , ^sop and Cupid ; Sleleager slaying the Caly-
donian boar; etc.
To the E. of the Bassin de Neptune is an exit giving on the Rue
des Reservoirs (p. 308 ; tramway to the railway-stations, see p. 308) ;
to the W. is an exit to the Avenue de Trianon (tramway to the
AUe'e de St. Antoine, see p. 809).
The Trianons.
The AvBNUB DB Trianon is the principal approach to the Tria-
nons, which adjoin the park of Versailles on the N., 8/4 M. from the
palace and I1/2 ^f- f^'om the station of the Ligne de la Rive Droite
(tramway, see p. 309).
The Grand Trianon, a handsome villa of one story, in the form
of a horseshoe, was erected by Louis XIV. for Madame de Main-
tenon in 1687-88, from plans by Mansart. It occupies the site of
the hamlet of Trianon, purchased by the king in 1663. Tlie villa
is open at the same times as the Palace of Versailles (p. 312; but
in summer until 6 p.m.), but visitors are conducted through it by
an attendant, whose attempts at hurrying should not be yielded to.
It contains several richly-furnished apartments , paintings by Mig-
nard, Le Brun, Boucher, Rigaud, Van Loo, Coypel, etc., and other
works of art.
16. TnETRIANONS. 325
To the right of the Grand Trianon is a *MtJsfeE des Voitubes (open
at the same times as the Trianon). It contains eight state-carriages, viz.
those used by Napoleon I. at his coronation, as first consul, and at his second
marriage 5 coronation-carriage of Charles X., restored by Napoleon III. for
the baptism of the Prince Imperial (1856; on which occasion all the
carriages were used); carriage used at the baptism of the Comte de Cham-
bord and the marriage of Napoleon III.; carriage used at the baptism of
the King of Home; ambassador's state-carriage; carriage used by the Czar
and Czarina in Paris in 1S96. Round the room are historic sledges and
gala-harness, etc.
The Petit Trianon, a little to the N.E. of the other, erected by
Louis XV. from the plans of Gabriel, was a favourite resort of Marie
Antoinette. Admission as to tiie Grand Trianon,
It contains paintings by Natoire, Fitter, WaUeatt., etc., which, however,
there is no time to inspect. A tasteful staircase ascends to the first floor.
In the 3rd room, to the left, is a fine jewel-cabinet, once belonging to
Marie Antoinette; in the 5th (Boudoir) is a bust of the queen in Sevres
china, shattered at the Revolution and afterwards restored ; in the 6th
(Bedchamber) is a portrait of the Dauphin Louis XVII., by Mme. Le lirun.
A visit sliouLl be paid to the *Jab.din du Petit Trianon, which
is laid out in the P^nglish style and contains some line exotic trees,
an artificial lake, a 'Temple of Love', and a ^EamleV of nine or ten
rustic cottages, where the court-ladies played at peasant life.
The walk on the other side of the lake leads back to the vicinity
of the chateau, where there is a 'Salon de Musique', with an orna-
mental pond, rockeries, etc.
Beyond the adjoining mound is a gate, to the right from which lies
the garden of the Grand Trianon, and to the left, the exit.
To the S. of the Place d' Amies fcomp. PI. p. 308) is the Salle
DU Jeu de Paume, or tennis-court, in which the members of the Third
Estate met in June, 1789 (p. 309), after they had found the as-
sembly-room closed against them, and where, on the motion of the
deputy Mounier, they took a solemn oath, 'de ne jamais se se'parer,
de se rassembler partout oil les circonstances I'exigeront, ju'squ'k
ce que la constitution du royaume soit ^tablie et affermie sur des
fondements solides'.
In 1883 a Musie de la Revolution was established in this famous hall
(open daily, except Mon., 12-4). Opposite the entrance is a marble statue
of Bailly, the president of the sitting above mentioned, by St. Marceaux.
On the walls are the names of the 7(X) persons who signed the minutes of
the meeting. On the end-wall is a copy in grisaille of David's 'Oath of
the Jeu de Paume' (p. 143). The glass-cases contain portraits, engravings,
and other relics of the same period.
A little to the S. of the Jeu de Paume is the Eglise St. Louis,
or cathedral of Versailles, a heavy and ungraceful building of 1743-
1764. In the square in front of it is a Statue of Abbe de VEpee, in
bronze by Michaut. In the 4th chapel on the right is a monument
to the Due de Berri (d. 18*20), by Pradier , and the apse has
stained-glass windows made at Sevres, from designs by Deveria.
In a square at the end of the Rue du Plessis, beyond the station
of the right bank, is a Statue of floudon, the sculptor (1741- 18'28),
by Tony Noel, unveiled ii\ 1891.
326 16. ST. CYR.
From Versailles to the Valley of tfie Biivre, see p. 353 ; to Rambouil-
lel^ Chartres, and Ureux, see Baedeker's Northern France. I
Feom Versailles to St. Germain-en-Laye. — 1. By the Chemin de
Fer de Gra7ide-Ceinture , 14 M. , in 3/4-I hr. (fares 2 fr. 5, 1 fr. 60, 1 fr.
25 c). — The train starts from the Gare des Chantiers (p. 308), threads
a short tunnel, and passes near the Piece d'Eau des Suisses (p. 322). Fine
view of the palace from behind.
4 M. St. Cyr (4200 inhah.), with a celebrated military school founded
in 1806, attended by 750-800 pupils from 16 to 20 years of age and fur-
nishing 350 officers to the army every year. The school occupies the
'3Iaison d'Education' established here by Mme. de Maintenon, for which
Racine composed his 'Esther' and 'Athalie'. St. Cyr is also reached by
tramway from Versailles. — 572 M. Baillij. — Beyond (7 M.) Noisij-le-Roi
the train enters the forest of Marly (p. 327). Short tunnel, beyond which
a^ junction -line diverges to the right to the railway to St. Germain via
Marly-le-Roi (p. 327). — At (8V2 M.) St. Nom-La-Bret^che-Foret-de-Marly
we join the line from Paris to St. Germain via Marly (p. 327).
2. By the Chemin de Fer de V Quest, as far as Be'con (comp. p. 291),
and thence by the line to St. Germain (see below) , in IV2 hr. (through-
fares 1 fr. 60, 1 fr. 35 c).
17. St. Germain-en-Laye.
Comp. the Maps, pp. 298, 300, Sil.
St. Germain should be visited on Tues., Thurs., or Sun., as on these
days the museum is open free. — The Steamboat Journey from Paris is
pleasant but rather long (3^/2 hrs., return 4 hrs.); fare 3, in the reverse
direction 2, return-fare 4'/2 fr. Dej. on board 4 or 6, D. 5 or 7 fr. The
steamer, named the '■ Touriste'' , starts in summer from the Pont-Royal (left
bank) at 10.30 a.m., and leaves Le Pecq at 5p.m. (in Sept. 4p.m.).
I. FROM PARIS TO ST. GERMAIN BY RAILWAY.
Two lines unite Paris with St. Germain, the Direct Line and a line via
Marly-le-Roi. The latter, though longer and a little more expensive than
the other, afl'ords a pleasant variation.
A. By the Dikect Line.
13 M. Chemin de Fer de VOuest. Trains start from the Gare St. Lazare
(p. 24 ; booking-office upstairs in the central portion) every hour, or oftener.
— The journey occupies 30-50 minutes. Fares 1 fr. 50, 1 fr. 5 c.; no reduc-
tion on return-tickets, which, however, are available for the line via Marly-
le-Roi.
From Paris to Asnieres, see p. 291. From this point to (61/2 M.)
La Garenne- Bezons there are two distinct lines, with different
stations, which the trains follow alternately. To the left diverges
the line to Versailles, to the right those to Argenteuil (p. 341) and
to Rouen, Havre, and Dieppe (see p. 396). The St. Germain rail-
way passes numerous villages and country-houses.
71/2 M. JS'anterre is a vUlage (11,950 inhab.), where, according
to tradition, Ste. Genevieve, the patron-saint of Paris, was born in
422 (p. 240). About 1/2 M. from the station, by the main street, to
the left, is the church, near which, in the courtyard of a school, is
the Well of St. Genevieve, at one time believed to be of miraculous
virtue. A 'Rosiere' festival is held here on Whit-Sunday. In the
Place de la Fete is a fountain with a bronze figure of a reaper in
17. MARLY-LE-ROI. 327
memory of J. B. Lemaitre, a benefa. tor of the town. Steam-tram-
way, see p. 328.
33/4 M. Eueil (p. 328). The station is about 1/2 M. from the town
(steam-tramway, p, 328). — The train crosses the Seine, which is
divided here by an island into two arms.
9^2 M. Chatou is also the station for fl M.) the modern village
of Croissy (omnibus in summer to Bougival, 2 M. ; see p. 329). —
1072 ^- Le Vesinet is a picturesque village with numerous villas.
To the left of the railway is the Asile du Vesinet^ a convalescent home
for women. — ll"^/4 M. Le Pecq. In the cemetery (more conveniently
reached from St. Germain) is the monument of the composer Filicien
David (1810-76), with a bust and a statue of Music, by E. Millet
and Chapu. — The train now recrosses the Seine, here divided into
two arms by an island, and ascends a steep gradient (1:29), passing
over a viaduct and through two tunnels, to (13 M.) St. Oermain-en-
Laye (p. 329).
B. Via. Marly-lb-Roi.
24 M. Chemin de Fer de VOuesi, from the Gare St. Lazare, a.s above,
in l-l'/zhr. (fares 1 fr. 80, 1 fr. 20 c). Return-tickets, see p. 326.
From Paris to (91/2 M.) St. Cloud, see pp. 291, 292. — The St.
Germain line, which diverges from the Versailles line in the park of
St. Cloud , is uninteresting , but it afterwards affords a pleasant
view of the Seine and St. Germain. Beyond (IO1/2 M.) Garches
(p. 295) the train passes the chateau of Villeneuve-l' Etang (now a
branch of the Institut Pasteur, p. 288), the racecourse of La Marche,
and the Hospice Brezin, an institution for aged workmen. Tunnel.
— 121/2 M« Vaucresson. Then a tunnel. To the left, the stud-farm
of M. Ed. Blanc and the Chateau of Beauregard. "We then obtain a
good view to the right. — 14 M. Bougival-la-Celle-Si- Cloudy pret-
tily situated near a small wood. Bougival, see p. 329. To the left
is the Aqueduct of Marly (see below). — 15 M. Louveciennes , a
village with numerous large villas. — The train now passes through
a tunnel and some cuttings, and crosses the road and tramway-line
from Rueil to Marly-le-Roi (p. 329) by a viaduct 930 ft. long and
145 ft. high. Good view of St Germain.
16 M. Marly-le-Roi, with a celebrated chateau, built by Louis XIV.,
and destroyed in the Revolution. The remains include the Abreuvoir,
a large basin near the tramway-station, and parts of the extensive
garden- walls. The small Park, the nearest entrance to which is at
the end of the avenue ascending to the right from the Abreuvoir,
affords a pleasant walk. The main avenue, crossing the site of the
chateau and commanding a fine view , ascends to the Aqueduct of
Marly, constructed under Louis XIV. to bring to Versailles the
water raised by the hydraulic machine at Marly (p. 329). It is
700 yds. long and 75 ft. high. On the other side is Louveciennes
(see above).
The N.E. half of the Forest of Marly, beyond TEtang-la-Ville (p. 328),
also atVords picturesque walks. Tlie part adjoining Marly is too bare, the
328 17. RUEIL.
underwood being kept down for the shoc ting-parties of the President
of the Republic. It contains a fort and several batteries. The entire
forest, 6 M. long and 2V2 M. broad, is surrounded with walls. There are
gates at the top of the park and at the end of the village, beyond the
church. To the right of the latter s the Villa Montmorency^ belonging to
Victorien Sardou, the dramatist, with ten sphinxes of red granite at the
entrance.
171/.2 M. UEtang-la-Ville , a small village situated in a valley.
We reach the Forest of Marly from this point in 1/4 hr. by turning
to the left; but the next station, (I8V2 ^^^0 'Sf. Nom-La-Breteche-
ForU-de-Marly^ is within the forest itself. Here the line joins the
Grande Ceinture line. Fine view of St. Germain to the right. —
201/2 M. Mareil-Marly. Beyond the next station, Fourqueux, to the
W., is the Forest of St. Germain. From (221/2 M.) 5f. Germain-
Grande- Ceinture ^ 1 M. from the chateau, the line makes a wide
curve to (24 M.) St. Germain-Ouest^ the terminus, beside the chateau
(p. 330).
II. FROM PARIS TO ST. GERMAIN BY STEAM TRAMWAY.
11 ','2 M., in IV2 hr. (fares 1 fr. 65, 1 fr. 15, return 2 fr. 7U, 1 fr. 85 c). The
cars start regularly from the Place de TEtoile, to the right, beyond the
Arc de Triomphe, at 15 and 45 min. past each hour, returning from St. Ger-
main at 14 and 44 min. past each hour. To Rueil, ^/i hr. (fares 85, 55 c.);
Bougival, 1 hr. (fares 1 fr. 20, 80 c, return 2 fr. 5, 1 fr. 35 c.) : to Marly-
le-Eoi, I'/z hr. (fares 1 fr. 60, 1 fr. 10, or 2 fr. 65, 1 fr. 80 c). — We may
also take the train to Eueil, and thence proceed by tramway in connection
with the above. — Besides the tramway-stations mentioned below, there
are 24 other points at which the cars stop if desired. — This route is slow
and tedious, especially on Sundays.
The steam-tramway quits Paris by the Avenue de la Grande
Arme'e and the Porte Maillot (p. 160), traverses Neuilly [-p. 159)
by the Avenue de Neuilly , crosses the Seine, and at the top of the
Avenue de la D^fense-de-Paris turns to the left. — 2 M. Courbevoie
(p. 291), near the Pont de Neuilly. — 21/2 M. Rond-Point de la Di-
fense, near the Monument de la Defense de Paris, by Barrias. Turn-
ing to the left, the tramway crosses the railway to Versailles vi^
St. Cloud. — 31/2 M. Rond-Point des Bergtres, a stopping-place not
far from the railway-station of Puteaux (p. 292). We cross the plain
to the N. of Mont Valerien(p. 292), with an extensive view to the right.
We stop at [43/4 M.) Nanterre (p. 326), to the S.E. of the village.
— 51/2 M. Eueil (Cafe- Rtstaurant Matte) ^ a small town with
9940 inhab., lies 1/2 M. to the S. of the station. The Empress Jo-
sephine is interred in the little church, restored in 1857 in the
Renaissance style, in which a monument was erected to her memory
by her children Eugene Beauharnais (d. 1824), and Queen Hortense
(d. 1837), mother of Napoleon III. The statue, by Cartellier, re-
presents the empress in a kneeling posture. Queen Hortense is also
interred in this church, and a monument of similar design, executed
by Bartolini of Florence, was erected to her in 1846. The hand-
some organ-loft, by Baccio d'Aynolo of Florence (15th cent,), was
presented by Napoleon III.
17. BOUGIVAL. 329
Railway Station, to the N.W., see p. 327. A branch Steam Tramway
runs thence to connect with that from Paris.
6'/2 M. La Malmaison, with the chateau in which the Empress
Josephine resided after her divorce in 1809 and where she died in
1814. After the battle of Waterloo, Napoleon retired to the chateau
of Malmaison, but quitted it on the approach of the Prussian troops
on 29th June, 1815. The grounds are now subdivided, and the
chateau is private property. In the distance to the right is the
Aqueduct of Marly (p. 327).
7M. LaJonchere. A road (1^/2 M.) ascends hence td the right to La
Celle-St-Cloud (p. 327), skirting the chateau of La Jonchere, which
belonged to Louis Bonaparte. The tramway next passes a fine grove
of chestnuts, and a wood (to the left) with the Etang de St. Cucufa.
8M. Bougival [Hotels-Restaurants Pignon and de tUnion^ on the
quay), a prettily-situated village, ou the left bank of the Seine, much
frequented by rowing parties. Part of the Church, which possesses a
handsome Romanesque bell-tower (restored 1893), dates from the
13th century. On the opposite bank of the Seine are Croissy and
Chatou (p. 327). — Railway-station, see p. 327.
81/2 M. La Machine, a suburb of Marly, is named from the hy~
draulic machine by which Versailles and St. Cloud were supplied
with water. The old machinery, constructed by a Dutchman named
Ranneken at a time (1685) when mechanical science was in its in-
fancy, is said to have cost 4 million francs. This apparatus was re-
placed in 1855-59 by a stone dyke, 6 iron wheels, and 12 forcing-
pumps, by means of which the water is driven up in a single volume
to the reservoir, situated 2/4 M. from the river and 505 ft. above it.
At (91/2 M.) Port-Marly the tramway-line quits the banks of
the Seine.
A branch of the steam-tramway to (IV4 M.) Mavly-le-Roi (p. 327) ascends
to the S., passing under the Tiaduct of Marly (p. 327J.
The main line follows the highroad to St. Germain , on the S.
side of which it ascends, traverses the Place Royale and the Rue
Gambetta, turns to the left into the Rue Thiers, skirting the palace,
and halts In the Place du Chateau. — H V2 M. St. Germain~en-Laye.
III. ST. GEEMAIN-EN-LAYE.
Hotels-Restaurants. 'Pavillon Henri IV. et de la Terkasse (PI. 9;
F, 4), at the beginning of the terrace (p. 332), of the first class, with a
beautiful view, Pavillon Louis XIV. et Continental (PI. a; E, 2), Hue
d'Alsace, at the beginning of the forest, of the first class (closed in winter);
Colbert (PI. b; E, 3), Kue de la Surintendance, with view, dtfj. 3'/2, D-
4 fr. ; Princk de Galles (PI. c; E, 4), to the right of the church: Angk-
Gardien (PI. d; E,4), dej. 21/2, D. 3 fr.
Restaurants. Targe, Rue au Pain 83, at the corner of Hie Rue de la
Republique, dej. or D. 21/2 fr. (also pastry-cook); Reunion, Place Thiers 4,
dej. 2fr., unpretending but clean.
Cafes. Crenier. at the Gare de TOuest (PI. E, 8); Frangois Premier,
at the Hotel du Prince de Galles.
Cabs. Within the barriers, per drive l'/4 fr., on Sun. and holidays
l'/-'fr-; per hour 2 and 2'/-' f"". Heyoud iLe barriers, witliin a radius of
330 17. ST. GERMAIN-EN-LA YE.
91/2 M., 2'/2 and 3 fr. per liour ; 'indemnity' for return if the carriage be
dismissed outside the barriers.
Post & Telegraph Office (PI. 10; D, 3), Rue Francois-Bonvin; branch
office opposite the theatre in the Place du Chateau.
Frotetiant Church (PI. E, 2), Avenue des Leges.
St. Germain, a quiet town with 16,500 inhab., is indebted for
its importance to the fact that it was long a favourite summer
residence of the kings of France, who were first attracted to the spot
in the 12th century by the beauty of its situation. Its lofty and heal-
thy site and its attractive walks render it a favourite summer-resort,
and have induced a number of English families to reside here.
The Chateau (Pl.E, 3) was formerly known as the Vieux Cha-
teau, in contradistinction to the Chateau Neuf, of which the Pavil-
ion Henri IV. (PI. 9; F, 4) is now the sole relic. Early in the
middle ages the French kings possessed a fortress on this site com-
manding the Seine. The chapel, which is still in existence, was
built by St. Louis. During the wars with England the castle
was destroyed. It was restored by Charles Y., but the present build-
ing , whose gloomy strength contrasts strikingly with the cheer-
ful appearance of other contemporaneous edifices, dates from the
time of Francis I., who here celebrated his nuptials with Claudia,
daughter of Louis XII. Henri II. built the adjacent Chdteau Neuf,
which continued to be a favourite royal residence till the time of
Louis XIV., who was born here in 1638. After Louis XIV. had
established his court at Versailles (p. 309) the chateau was occu-
pied for 12 years by the exiled king James II., who died here in
1701 and was interred in the church. The Chateau Neuf was al-
most entirely taken down in 1776. Napoleon I. established a school
for cavalry-officers in the old chateau, and it was afterwards used
as a military prison. Since 1868 the chateau has been undergoing
a restoration in accordance with the original plans of Ducerceau, the
architect of Francis I.
The *MusEB DBS Antiquites Nationalbs , which the chateau
now contains, embraces an interesting collection of objects dating
from the dawn of civilisation in France down to the period of the
Carlovingians. These are suitably arranged, and provided with ex-
planatory notices. The museum is open to the public on Sun. from
10.30 a.m., on Tues. and Thurs. from 11.30 a.m., to 4 or 5 p.m.,
and to strangers on other days(Mon. excepted) by special permission.
Curator, Mons. A. Bertrand. — Below we give a short summary of
the most interesting objects, referring for details to the excellent
catalogue by Sal. Reinach (1 1/2 fr.)- There are also illustrated cata-
logues (5 fr.) with pictures of the objects marked by small squares
of tinsel. The usual entrance to the museum is by the first door to
the left in the court, but in wet weather and in winter by a small
door to the left of the vestibule, which leads to Room S (p. 331).
Those who wish to follow a strictly chronological order must begin
with the first floor.
17. ST. GERMAIN-EN-LAYE. 331
Ground Floor. Roonis S and R, to the left of the principal entrance:
Casta of medallions and bas-reliefs from the Arch of Constantine at Rome ;
casts of statues of Gauls ; models of Roman engines of war (others farther
on), etc. — Rooms A, B, and C, to the right of the entrance : Casts of
bas-reliefs from the Arc d'Orange and the Julian tomb at St. Remy, near
Aries. Room B also contains a medallion of a mosaic found at Autun in
1830, representing Bellerophon and the Chimeera. — We now return to
the entrance, and ascend the handsome brick and stone staircase to the
entresol. Rooms D, E, and F are not yet open.
Entresol. Room XIX. Gallic milestones and geographical inscription?.
— Room XX. Celtic and Roman inscriptions; sepulchral stones. — Room
XXI. Gallic mythology ; altars, statues, and reliefs, of rough workman-
ship, but great historical interest. — Room XXII, on the other side of
the staircase. Sculptures relating to the Roman legions in Gaul. By the
pillars to the left, tombstones. — Room XXIII. Building materials, etc.
— Room XXIV. and adjoining passages. Funeral urns, coffins, etc. —
Rooms XXV d- XXVI. Sculptures illustrating Gallic costumes, arts, and
pursuits. In the passages are early-Christian monuments. — Room XXVI I
is not yet open.
First Floor. Rooms I-III , to the right, contain objects of the pre-
historic or bone and flint period. Room I: Cut flints of immense antiquity,
and fossilised bones of animals either altogether extinct or no longer found
in France. Cases 1-15 contain objects found in alluvial deposits and
the open country ; Cases 16-33 contain tools and ossifications from cav-
erns, the first shelter of primetval man. In Case 12, between the second
and third windows, are difierent types of flint implements (from St. Acheul,
from Moustier in Dordogne, etc.). In the middle, casts of the heads of
the rhinoceros (r. tichorinus), tiger (fells spelsea), great cave-bear (ursus
spelfeus), urus (bos primigenius), the long-haired elephant (18-20 ft. high),
and the so-called Irish elk (Megaceros hibernicus; 9-10 ft. high); also a
tusk and a molar of the mammoth (elephas primigenius); farther on a
Norwegian elk. — Room II. Models of dolmens and 'menhirs' (V20 of the
real size); implements of the polished-ilint period; plan of the Allies de
Carnac, in Brittany; bone implements and ornaments. — Room III. Dolmen
from the tumulus of Gav'rinis (Morbihan), Brittany, and casts of the un-
explained characters from the tumulus. To the left of the mantelpiece
is placed an interesting collection of flint arrow-heads.
Adjoining this room is the Galerie de Mars or Salle des Fetes, occupy-
ing the whole height of the first and second stories. It has not yet been
restored. This room is also called the Salle de Comparaison, as it contains
objects (mainly copies) from different countries. At present, however, it
is mainly devoted to objects to be afterwards placed in the other rooms.
Near the entrance are Roman, Gallo-Roman, and Merovingian antiquities :
pottery, iron, bronze, and silver objects, vases, and glass. Then, foreign
antiquities: Italian specimens, including articles found in the necropolis
of Golasecca, with a reproduction of one of the tombs; pre-Roman and
Roman bronzes. To the left, articles from N. and S. Germany; to the
right, articles from Sweden and Denmark; farther on, specimens from
Persia, Russian Armenia, the Caucasus, Cyprus, Greece, Asia Minor,
America, Oceania, and N. Africa. — At the end is the Return from the
Hunt, a painting of a scene in the primitive period, by Cormon.
Returning to Room III , we ascend thence by a short staircase ad-
joining the Galerie de Mars (open the door) to the" —
Second Floor, where we begin on the side next the station. — To
the left, in the turret, is the Salle de Numismatique^ containing Gallic, Gallo-
Roman, and Merovingian coins, trinkets, Merovingian pottery and arms,
etc. In the first case to the left, in the middle, are •Ornaments in gold
and silver. The corresponding case on the other side contains Merovingian
fibulae and other objects in bronze, gold, and glass. Characteristic features
of the barbaric art of this epoch are the inlaying of gold on glass and
the use of precious stones. — Room IV. Lacustrine and flint period (epuoh
of the lake-dwellings): polished flints, polished bone implements, objects
in wood, vases. By the secoml window to the right: bread, grain, fruit.
332 17. ST. GERMAIN-EN-LA YE.
and cloth found in the lake-dwellings on the Lake of Constance. — Room V.
Objects of the bronze period. In the glass-case in the centre are about a
thousand different articles found in a vault at Larnaud (Jura). The most
characteristic types are exhibited in the other glass-cases. The weapons in
the cases next the outer wall should be specially noticed. — Room VI.
Gallic antiquities of the early historic period. Weapons in iron and bronze
objects of other kinds, found in burial-places (tumuli), including fragments
of war-chariots. In the 2nd case, Gallic helmets; in the 20th (in the
middle), fine bronze vases, bracelets, necklaces (torques), etc.
Room VII, on the other side of the staircase. Continuation of the
Gallic antiquities: objects from the burial-places of iheifarne; bracelets,
rings, necklaces, brooches, vases, and belts in bronze ; weapons and knives
in bronze; weapons, etc., of iron; black, brown, and grey terracotta
vessels. — Room VIII. Objects from the burial-ground of Chassemy, in the
department of Aisne; vases; weapons. — Room IX. Specimens of Gallic
tombs; reconstruction of a Burial in a chariot, found in 1875 at ia Gorge
Meillet (Marne), with the chief below and an attendant above. The orig-
inal objects found in this tomb are in Case 2, to the left. — Room X. Gallic
tomb from La Cheppe (Marne), with a skeleton and vases. Pottery. —
Rooms XI and XII are not yet open. — We now return to the —
First Flock. Room XIII. Roman conquest of Gaul. To the left,
Roman soldier armed with the pilum ; in the centre, large relief-plan of
Aliie (Alesia), and of the siege of that town by Ceesar ; farther on, models
of Caesar's besieging-works and of objects found in the excavations at Alise.
Models of other works of Caesar: bridge on the Rhine, works before Uxel
lodunum (perhaps the modern Puy dissolu in Lot) and before Avaricum
(PiOurges) ; model of a Gallic wall and articles found at Mont-Beuvray, the
Bibracte of Cfesar, to the E. ofAutun; arms, projectiles, and other articles
relating to Roman warfare; medals, etc. — Room XIV. Gallo-Roman pot-
tery; vases and figures in white clay. — Room XV. Pottery; vases with red
glazing and reliefs; extensive collection of glass; large collection of fibulie
and other bronze articles, including pincers, needles, etc., in the turret at
the corner. — Room XVI. Pottery. Objects in hone, etc. — Pt.oom XVII,
Pottery. Originals and casts of Roman bronzes; antique pins, needles,
and thimbles of bone and bronze; statuettes and vases. At the right end
of the first large central glass-case is a fine head of a river-god, with
horns. Then, small objects in iron, knives, keys, etc. — Room XVIII
is not yet open.
The Church of St. Germain , situated opposite the chateau,
contains a simple monument in white marble, erected by George IV.
of England to the memory of James II. (p. 330). The monument
was afterwards restored by order of Queen Yictoria.
In the small Place to the right of the facade of the chateau is a
Statue of Thiers (PI. E, 4), by Mercie'. Thiers (1797-1877) died at
St. Germain.
The Hotel de Ville (PL 7; E, 3), in the Rue de Pontoise, near
the station, contains a small library and collection of unimportant
pictures on the second floor (open daily, except Mon., 10-12 and
1-4). — In the adjoining square, next the railway- station, is a
Statue of the Republic, by Granet.
The *Terrace (PI. F, G, 2, 1) of St. Germain extends for y^M-
along the E. slope of the vine-clad hill at a height of 200 ft. above
the Seine, and commands a magnificent survey of the valley, the wind-
ing river, and the well-peopled plain. The middle distance resembles
a huge park sprinkled with country-houses. The nearest village
is Le Pecq, beyond which is Lc Ve'sinet. Montmartre is visible on the
Pa.xe etvnrpTimr p
^''airnrr X r-tr--. Lripxig
17. ST. GEUMAIN-EN-LAYE. 333
huri/oii, and to the riglit, the Eiffel Tower, but the rest of Paris is
concealed by Mont Valerien. Farther to the right, on the hill, is
the aqueduct of Marly (p. 327). To the left, on the bank of the
Seine, are the new buildings of the 'Petite Roquette', a prison
intended to supersede the 'Maison des Jcunes Detenus' in Paris
(p. 179). Beyond Le Vesinet are the hills on which lies Montmorency.
Near the end of the terrace is Carrleres-sous-Boi<, about 2 M. from
Maisons-Laffitte (p. 344). — A band plays in the kiosk on the terrace
on Sun. in summer at 3.30 p.m.
The beautiful Forest of St. Germain , occupying nearly the
whole of a peninsula formed by the windings of the Seine, is about
11,000 acres in extent, being 6 M. long from S.W. to N.E., and
21/2-4V2 ^' broad from S.E. to N.W. It is kept in admirable order,
and affords pleasant and shady walks in every direction. Numerous
direction-boards. The popular Fete des Loges, which takes place in
the forest on the Sunday nearest Aug. 30th and on the nine follow-
ing days, derives its name from Les Loges, a country-seat 2 M.
distant from the town, erected by Anne of Austria, wife of Louis XIII.,
and now a school for daughters of members of the Legion of Honour.
The most frequented part of the forest lies to the right, before Les
Loges is reached. The Pontoise road, striking to the right beyond
Les Loges, leads to (3 M.) Achlres (see below and the Map). It
crosses the road from Poissy to Maisons [p. 344), which lies about
2 M. to the right of the point of intersection. Fine view on quitting
the wood. The part of the forest next the Seine is less interesting.
and a number of market-gardens have been laid out here to utilize
the sewage of Paris, conducted hither by the new conduits men-
tioned at p. 342.
Fkom St. Geujiain to Maisons-Laffitte (^rp'en^eMtf; Maps, pp.333, 334),
101/2 M., railway (Grande Ceinture) in 35-45 min. (fares 1 fr. 90, 1 fr. 80,
95 C.J. A tramway also plies to (3i 4 M.) Poissy (fares 60 c, 45 c), with
a branch to (41/4 M.) Maisons-Laffitte (7U c), etc. — The railway describes
a wide curve through the Forest of St. Germain. — 2V2 M. St. Germain-
Grnnde- Ceintuve (p. 326). — 5 M. Poissy (Hdtel de liouen); the station is
to the E., at the opposite end of the town to that of the Rouen railway
(p. 404). — S M. Achkres, see p. 344. Our line now coincides with the
Rouen line (p. 396) till the Seine is crossed. — lOV-2 M. Maisons-Laffitte,
see p. 344. The railway continues to the left to Argenieuil (p. 341).
From St. Germain to VevsaiUes, see p. 326.
18. St. Denis, Enghien, and Montmorency.
The trains between Paris and these places follow the Ligne Circulare
between the Gave du Nord and the Gare St. Lazare (18 M.). Through-
tickets are issued at low rates but do not allow of a break in the journey.
I. From Paris to St. Denis.
4V2 M. Chemin de Fer dd Kord, in 8-14 min. (fares 80, 50, 35 c. ;
return-tickets 1 fr. 20, 85, 55 c). Trains start from the Gare du Nord in
the Place Roubaix (see p. 26), 4 times an hour or oftener (three Mrains-
tramways').
334 18. ST. DENIS.
Tramways. Five lines run to St. Denis , tl»e l.-it starting from the
Opdra^ Rue Scribe (PI. R, 18; //), the 2nd from the Madeleine (PI. R, IS;
//), the 3rd from the Place du Chdtelet (PI. R, 20-23 ; F1, the 4th from the
Square de la TriniU (p. 196; going on to Epinatj, p. 339); and the 6th from
Keuilly (Porte Maillot, p. 160). These lines are very convenient, as they
have 'correspondance' with the Paris omnibuses (see Appx.), but the routes
are uninteresting. The journey takes about 3/4 hr. : fares 60 or 30 c. There
is also a steamer-service to Epinay and to Asnieres-Suresnes (p. 291).
I1/4M. La Chapelle- Nord-Ceinture, also a station on the Chemin
de Fer de Ceinture (p. 25). The huge goods station of the Chemin
de Fer du Nord is situated here. A little beyond the fortifications the
Soissons railway diverges to the right. — 21/9 M. La Plaine-Voyageurs.
The 'trains-tramways' also stop at Le Landy and Pont de la Revolte.
41/2 ^I- St. Denis. — Hotel du Grand-Ceef, Rue de Paris 29 and
ria*;^ aux Gueldres, with restaiirant a la carte ; Hotel de France , Rue
de la Republique 60, with restaurant, dej. 2, D. 2^1? fr. — Cafi de V In-
dustrie, Rue du Chemin-de-Fer 27. — The terminus of the first two tram-
ways above mentioned is in the Rue de Paris; that of the third in the
Place aux Gueldres. — Post & Telegraph Office, Rue de la Republique 61.
St. Denis, a prosperous industrial town with 54,450 inhab., is
situated on the right bank of the Seine and on the Canal de St. Denis
(p. 2013. It is chiefly celebrated as the burial-place of the kings of
France.
The importance of the town dates from the foundation of its Ben-
edictine abbey by Dagobert I. (d. 638). Under the Carlovingian dynasty
the monks of St. Denis are found concerning themselves with political
as well as with spiritual matters. When Pepin the Little took possession
of the throne of France in 751 he sent Fulrad, Abbot of St. Denis, to
Rome, to procure the papal confirmation of his title. Three years later Pope
Stephen II. too^i-Teiugehere from the Lombards, and anointed Pepin's sous
Charles and Charlemagne. Here, in presence of his nobles, Pepin handed
over his dominions to his sons before he died. The members of the
house of Capet also favoured this abbey. Louis VI., whose best adviser
was the penetrating, sagacious, and liberal abbot Suger (1121-52), solemnly
adopted the On^amme ('auriflamma'. from its red and gold colours). or standard
of St. Denis, as the banner of the kings of France. It was suspended above
the altar, whence it was removed only when the king took the field in per-
son. Its last appearance was on the unfortunate day of Agincourt (p. xvi).
Ahilard (p. 181) dwelt in this abbey during the 12th cent., until he became
abbot of Paraclete near Nogent-sur-Seine. During the absence of Louis VII.
on a crusade in the Holy Land (1147-49) Suger became the administrator
of the kingdom, and used his power to increase the dependence of the
nobility on the throne. Among the other merits of this renowned abbot,
is that of having collected and continued the chronicles of the abbey.
The Maid of Orleans hung up her arms in the church of St. Denis in 1429.
In 1593 Henri IV. abjured Protestantism in this church . and in 1810
Napoleon I. was married here to the Archduchess Marie Louise.
The railway-station is 3/^ M. from the cathedral (omnibus, 10 c).
To reach the latter we cross the Canal de St. Denis (p. 201) and
follow the Rue du Chemin de Fer, and then the Rue de la Re-
publique. At the beginning of the latter stands a Parish Church, in
the style of the 13th cent., built by Viollet-le-Duc in 1864-68. We
then cross the Rue de Paris, which intersects the town from N. to S.
To the left is the Hotel de Ville, in the Renaissance style, built in 1883,
The cathedral is open the whole day. The royal tombs are shown on
week-days every 1/2 ^^- between 10 a.m. and 5.30 p.m. (except at 11.30
18. ST. DENIS. 335
and (luring service). Admission to the interior of the church is free;
to the treasury and crypt '/^ fr., but the attendants also expect a small
gratuity. Admission is entirely free during the church festival, Oct. 9-l4t]i.
"Visitors should read the follov?ing description before entering the church,
for very little time is given to examine the monuments. The efforts of
the attendants to hurry the visitor should not be implicitly yielded to.
The church is so dark in the late afternoon that it is then scarcely worth
while to enter it.
The *Cathedral or Basilique of St. Denis , converted into
a parish church in 1895 , traditionally occupies the site of a
chapel erected ahout the year 275 above the grave of St. Diony-
sius , or St. Denis, the first bishop of Paris (p. 205). Dagobert
J. (p. 334) substituted a large basilica for the chapel, and handed
it over to the Benedictine monks, for whom he also built an abbey
at the same place. Of this church but little remains, the greater
part of the present edifice having been built by Suger (p. 334).
Suger's building marks the beginning of the Gothic tendency in
architecture, the development of which from the Romanesque style
can be traced here, though perhaps not in all details. The facade,
completed in 1140, shows the round arch still maintaining its
ground along with the pointed arch which afterwards entirely
replaced it. The choir, consecrated in 1144, is surrounded by
radiating chapels, a feature of the Romanesque style, and at the
same time exhibits the Gothic buttress system in an advanced stage
of development. A thorough restoration was carried out from 1230
onwards by the abbots Eudes Clement and Matthieu de Vendome, in
the pure Gothic style then dominant. The upper part of the choir,
the whole of the nave, and the transept were entirely rebuilt. Dur-
ing the 14th cent, additional chapels were erected in the N. aisle.
Ruined during the Revolution, the church was at first restored in-
effectually and in bad taste ; but under Napoleon III., who entrusted
the work of restoration to VioLlet-le-Duc, one of the greatest
Gothic architects of modern times, it regained much of its ancient
magnificence.
The West Facade formed part of the building consecrated by
Abbot Suger in 1140. It contains three recessed portals decorated
with sculptures, which, however, have been freely and somewhat
unskilfully restored. Those of the S. portal represent the Months,
and St. Dionysius in prison, after a painting in the Louvre (p. 136) ;
those of the central bay, the Last Judgment, and the Wise and
Foolish Virgins; and those of the N. portal, St. Dionysius on his
way to Montmartre and the signs of the Zodiac. The battlements
along the top of the facade were erected for defensive purposes
during the 14th century. Behind them rises the high-pitched roof
of the nave, surmounted by a statue of St. Dionysius. On the right
and left are two towers, above the side-portals. That on the right
rises for two stages above the battlements and is crowned by a lofty
square roof; that on the left is on a level with the top of the facade,
its tall spire having been shattered by lightning in 1887. — ' The
336 18. ST. DENIS.
statues of kings of Judah and the Martyrdom of St. Dionysius on
the portal of the N. transept are in better preservation, but it is
impossible to obtain a near view of them.
The Interior consists of nave and aisles, crossed by a simple
transept. Length 354 ft., breadth 130 ft. The dim twilight of the
Vestibule^ which dates from Suger's time, and is borne by heavy
columns, forms a striking contrast to the airy and elegant Nave
of the 13th cent., with its thirty-seven large windows, each 33 ft.
high, its handsome triforium-gallery , and its lofty columns. The
stained-glass windows are nearly all modern.
The High Altar is a modern Imitation of the style of the 13th
century. Eehind it stands the altar of St. Denis and his fellow-
martyrs (p. 337).
The Church of St. Denis is chiefly important and interesting as
the Bdbial Church of the French Kings, nearly all of whom from
Dagohert I. (d. 63Sj are interred here with their families. The numer-
lons monuments of the early period have perished during the frequent
alterations or rebuilding of the church. Louis IX. (1226-70) erected
a numher of mausoleums and monuments with recumbent figures in the
choir to the memory of his ancestors , and from his time down to
Henri IV. (d. 1610) monuments were erected to all the monarchs , as
well as to several princes and eminent personages. After Henri's death
the coffins of his successors were merely deposited in the royal vault.
When the Eevolution broke out, the Convention destroyed the royal tombs
for the sake of the lead and bronze, and the bodies of the illustrious
dead were thrown into ''fosses communes'' dug in the neighbourhood. In
1817 Lovis XVIII. caused the remains of his ancestors, as well as those
of Louis XVI. and Marie Antoinette (p. 197), to be replaced in the crypt.
At the same time the monuments that remained were replaced with many
arbitrary alterations and restorations, while numerous monuments from
other churches preserved in the Musee Lenoir were also erected here.
During the work of restoration under M. Viollet- le -Due they were all
placed as nearly as possible in their original positions, but there are still
several monuments not properly belonging to St. Denis. There are now
fifty tombs and ten other monuments, besides statues, urns, columns, and
bas-reliefs.
We now proceed to inspect the monuments in detail, beginning
with those in the left or N. transept.
N. Side. Tombs of the Family of St. Louis. — *Tomb of
Louis XII. (d. 1515) and his consort Anne de Bretagne (d. 1514),
probably executed in the first half of the 16th cent, by Jean
Juste of Tours. The king and queen are represented on the sar-
cophagus in a recumbent posture , executed in a rude, realistic
manner, and again in a kneeling attitude above. The monument is
surrounded by twelve arches, richly decorated, beneath which are
statues of the Twelve Apostles. At the corners are allegorical figures.
On the pedestal are small reliefs of the entry of Louis XII. into Milan
(1499), his passage of the Genoese mountains (1507), his victory
over the Venetians at Agnadello (1509), and their final submission.
— Then, to the right, a fine spiral column by Barth. Prieur,
commemorating Henri III. (d. 1589). From this point we see, to
the right of the high-altar, the tomb of Dagohert I. (d. 638), an
18. ST. DENIS. 337
interesting monumeut of the 13th cent., with curious allegorical
reliefs representing the king's soul leaving his body and its reception
in heaven, a recumhent statue of Dagohert (modernj , and erect
statues of Sigebert, Dagobert's son (modern), and Queen Nantilde
(13th cent.). — To the left, *Tomb of Henri II. (d. 1559) and his
queen Catherine de Medicis (d. 1589), the masterpiece of Germain
Pilonj executed in 1564-83. This fine work consists of white
marble, adorned with bronze statues of the four cardinal virtues at the
corners. The deceased are represented twice, by nude marble figures
on the tomb, and by bronze figures, full of vitality, in a kneeling
posture above the entablature. Behind are monuments of the family
of Valois, to see which properly we ascend some steps. — To the left,
another monument to Henri II. and Catherine de Medicis (see above) j
recumbent marble figures on a bronze couch. It is said that in her
old age the queen disapproved of the nude figures on the other mon-
ument, and caused these robed and elderly effigies to be executed.
The chapels round the choir, which we now pass, contain no
monuments ; but the chapel of the Virgin has ancient stained-glass
windows, a mosaic pavement dating from the IQth cent., and
sculptured scenes from the life of Christ. We now pass behind
the altar of St. Denis and his fellow-martyrs, SS. Rusticus and
Eleutherus, known as the Confession de St. Denis, another piece
of modern workmanship, containing reliquaries. On one side is a
representation of the Oriflamme (p. 334).
The Sacristy, to tlie S. of the choir, is adorned with ten modern
paintings relating to the history of the abbey.
The Treasuky is contained in a room adjoining the Sacristy on the
left. Of the valuable articles which were formerly kept here St. Denis
itself now possesses none. The greatest artistic value among the remain-
ing objects is possessed by a copper altar-piece, in repousse work, of the
13th cent., on the right wall. On the right wall are a gilt copper cross
(divided lengthwise into two sections, which are hung apart from each
other), dating from the 13th cent., and another silver altar, of the period
of Louis XIV. In the glass-case is a large modern monstrance, in the
style of the 13th century.
S. Side. Opposite the Sacristy: The interesting Tomb of Fre-
degonde (d. 597), which was formerly in the Church of St. Ger-
main-des-Pres. The figure of the queen is represented by a kind
of mosaic , formed of small pieces of differently coloured marble
mingled with minute pieces of copper. The hands and feet are
of the colour of the stone itself, the shape being indicated only
by the lines of the mosaic , and seem to have been originally paint-
ed. Some authorities consider the tombstone contemporaneous
with the queen, while others, with more probability, refer it to the
11th or 12th century. — We now descend a flight of steps, to the
right of which is the entrance to the crypt.
The Crypt, which was built by Suger for the bones of the three holy
martyrs, lies immediately under the apse, and has a choir encircled with
chapels corresponding exactly with those of the church above. The cen-
tral part of the crypt, under the sanctuary, is occupied by the burial-
Bakokkku. Paris. I4th Edit. '2'2
338 18. ST. DENIS.
vault of the Bourbons, which was formed by Henri II. and now contains
the coffins of the following royal and princely personages: Louis XVI.,
Marie Antoinette., Louis XVIII., Adelaide and Victoire de France; the Due
de Berri and two of his children-, Louis Joseph and Louis Henri Joteph,
the last two princes of the house of Conde; lastly, Louis VII., formerly
in the Abbey of Barbeau near Jlelun , and Louise of Lorraine, wife of
Henri III., from the Eglise des Capucins in the Place Vendome. The
remains brought back in 1817 from the 'fosses communes' (p. 336j are
placed in a vault at the end of the ambulatory. — Adjacent is the 'Caveau
Impe'riar, constructed by Napoleon III. as the burial-vault of his dynasty,
but quite untenanted. — In the crypt-chapels and by the external wall of
the central part of the crypt are a few indifferent statues, including a
Statue of Marie Antoinette, a kneeling figure in a ball dress, by Petitot;
a Statue of Louis XVI.. by Gaulle; a Statue of Diana of France, of the
16th cent. ; four colossal allegorical figures intended to form part of a
monument to the Due de Berri ; and monuments to Henri IV., Louis XIII.,
Louis XIV., Louis XV., etc.
On the other side of the flight of steps, to the right of the choir :
Monument of Du Guesclin, 'comte de Longueville et Coiinestable de
France' (d. 1380), one of France's most heroic warriors in her
contests with England. In the left eye is indicated the wound
which the constable received in battle. The tomb of his compan-
ion-in-arms, the Constable Louis de Sancerre (d. 1402} is close by.
— Statue of Charles V. (d. 1380), formerly in the Eglise des Ce'les-
tins, a master-work of the 16th century. — Tomb ofRenie de Longue-
ville (d. 1515), a daughter of Francois II, Duke of Longueville,
who died at the age of seven years; also from the Eglise des Ce-
lestins. — In the choir, to the right, are several less important
monuments ; and on the other side of the altar, the Monuments of
Blanche and Jean, children of St. Louis, of enamelled copper, the
figures in repousse work, probably executed at Limoges; Blamhe's
monument formerly stood in the abbey of Poissy, Jean's in that of
Royaumont. — ■ To the left, *Monument of Francis J. (d. 1547), with
kneeling figures of the king, his wife Claude, and their three child-
ren on the entablature, and scenes from the battles of Marignano and
Ceresole, in relief, on the pedestal. This monument is in the same
style as that of Louis XII., and is still finer. It is said to be the
joint production of Philibert Delorme, Pierre Bontemps, Marchand,
and other artists. — *UTn, containing the heart of Francis I.,
originally destined for the Abbey des Hautes Bruyeres near Ram-
bouillet, a masterpiece in the Renaissance style by Pierre Bon-
temps. — Monument of Louis d'Orlians (d. 1407) and Valentine de
Milan (d. 1408], erected by their grandson, Louis XII., in the Eg-
lise des Celestins, and Monument of Charles d'Etampes (d. 1336),
a masterpiece of the 14th century, with statues of the deceased and
24 statuettes of apostles and martyrs.
The extensive building which adjoins the church was erected
by Louis XIV. and Louis XV. on the site of the old Abbey. Since
1815 it has been the seat of the '■Maison d'Education de la Legion
d'Honneur, a school affording a free education to daughters of
officers on active service down to the rank of captain, and of civilian
18. ENGHIEN-LES-BAINS. 339
members of the Legion of Honour occupying a corresponding social
position. The privilege is granted only for one daughter of each
member, but the other children, or the granddaughters, sisters,
nieces, and cousins of those entitled to the privilege, are admitted
for an annual payment. The pupils, who number upwards of 500,
are uniformly dressed in black, and the discipline is of an almost
military character. Strangers are not admitted.
Near the Place aux Gueldres, on the side of the town next Paris,
is an old 13th cent, church known as the Petite- Paroisse, converted
with the adjoining Carmelite convent into a law-court in 1896.
Princess Louise Marie of France (d. 1787), daughter of Louis XY.,
was abbess of this convent, which she entered in 1770.
la the Seine, beyond the railway, is the lie St. Denis, and on the
opposite bank is the Plaine de Gennevilliers^ with the village of that name,
2V2 M. from St. Denis (p. 291).
II. From St. Denis to Enghien and Montmorency.
Railway to (3 M.) Engliien in 10-15 min, (65,45, 30 c.); from Enghien
to (2 M.) Montmorency in 7 min. (50 or 35 c). Tramway, see below.
A short way beyond St. Denis the main line of the Chemin de
Fer du Nord (R. '22) diverges to the right. Our line passes the
Fort de la Briche. To the left flows the Seine. — 6 M. (from Paris)
Epinay, a village of 2860 inhab., connected with Paris (Square de la
Trinite) by an electric tramway, and with St. Denis, Asnieres, etc.
by steamboat. — Railway to Beaumont, see pp. 348, 347.
Fkom Epixay to Noisv-le-Sec, S M., Grande Ceinture Railway. The
chief station is (51/2 M.) Le Bourget (p. 379). — At Ncisy-le-Sec (8100 inhah.)
the Grande Ceinture Railway joins the Chemin de Fer de TEst. See
p. 304 and Baedeker's Northern France.
The Grande Ceinture Railway also runs from Epinay to (3'/2 M.) Ar-
genteuil (p. 341), skirting the Seine.
7M. La Barre-Ormesson, two 'dependances' of Epinay, to the
right and left.
71/2 M. Enghien-les-Bains. — Hotels-Restaurants. Des Bains, at
the Etabliasement; Quatke- Pavillons , opposite the lake; Hot. dk la
Paix, Grande-Rue 50, at these three, dej. 4, D. 5 fr. ; Gr. Hot. d'Enghien,
Grande-Rue 73, dej. 3-4, D. 4-5 fr.
Cafe. Kiosque Chinois, on the banks of the lake. — Casino, adjoining;
15 fr. per mouth, 45 fr. per season; 2 pers. 25 or 80 fr. ; 3 pers. 30 or
90 fr.
Mineral Water, 10 c. per glass ; subscription for a fortnight 31/2 fr. ; sul-
phur-baths 2-5, douche l'/^^-* 4 fr. ; less for subscribers. — Small Boats
on the lake, 2 fr. per 'course' (Q'/s fr. on Sun.) and 1/2 fr. additional for
each pers. more than one; ferry across the lake l'/2 fr.
Cabs at the station: per hr. 272 fr. (3 fr. on Sun. and holidays); to
Montmorency, 2^/4 or 2^/2 fr.
Electric Tramway, every 10 min. from the station: 1. To St. Gratien
(p. 340), via Enghien and the lake (25 and 30 c ); 2. To Montmorency
(p. 340; 25 and 30 c.). The latter line ends aboiit 5 min. to the E. of the
Place du jMarche, which is reached by the Rue Clairvaux and Rue Carnut.
The stopping-places at the Orangerie (15 and 25 c.) and St. Valery C-O and
30 c.) are nearer the church.
Po.sT &i Tei.k.gkai'u Okkk.k. Grande-Rue 83.
00 *
340 18. MONTMORENCY.
Enghien^ a pretty little modern town with 3330 inhab., is pleas-
antly situated on the banks of a wooded lake (72^- long, 74^-
broad), and near the forest of Montmorency. It enjoys some repu-
tation for its cold Sulphur Springs, discovered in 1776, but its proxim-
ity to Paris has prevented it becoming so fashionable as the more
distant spas. The Etablissement, at the end of the Grande-Rue, is
a modern and well-organized building. The Church is modern.
St. Gratien^ a village situated about 1 M. beyond the lake, to the right,
is uninteresting. The church contains a modern monument to Marshal
Catinat fl637-1712) and two prettv groups of children in bronze. Tramwav,
see p. 339.
About 3/^ M. to the N.W. of Enghien is the Race Course (adm.
3 fr. for a pedestrian), which is served by a special railway-station.
The distance from Enghien to Montmorency in a direct line is only
1 M., but the train makes a de'tour and passes La Pointe Raquet and Soisy.
Fine views. — Walkers from Enghien to Montmorency follow the Rue du
Chemin-de-Fer, on the other side of the railway, and then take the first
turning on the left and the second on the right, opposite the Protestant
Church.
Montmorency. — Hotels. Hotel de France, at the station, R., L.,
& A. 31/2, B. 1, dej. 21/2, D. 3, pens. 10 fr. ; de la Gare, opposite the
station, dej. 2, D. 21/2 fr. ; du Cheval Blanc, Place du Marche. — Cafes-
Restaurants. Chalet des Fleurs, at the station, dej. 2V2, D- 3 fr. ; Trois
Mousquetaires, at the Hermitage, with a casino.
Horses 172-4 fr. per hr., bargaining advisable on Sun. and holidays.
Asses I-2V2 fr. per hr. — Comp. the Map, p. 334.
Montmorency, an ancient town with 5000 inhab., is charmingly
situated on a hill covered with orchards. It is another favourite
summer-resort of the Parisians, chiefly owing to its beautiful forest.
Montmorency has given its name to an illustrious family, which has
counted among its members 6 constables of France, 12 marshals, 4 ad-
mirals, several cardinals, etc. The town was once the residence of
Rousseau, who spent two years (1756-58) in the house called the '•Ermitage
de Jean Jacques Rousseau", and there wrote his Nouvelle Heloise. This
unpretending abode was fitted up for the philosopher's use by the Countess
d'Epinay, in order to prevent his return to Geneva. During the Revolution
the Hermitage became national property, and was for a time occupied by
Robespierre. In 1798 it was purchased by the composer Griiry, who died
here in 1813.
The old town, with its steep and winding streets, is the part
nearest to Enghien. Here stood the chateau, plundered in 1814
and afterwards destroyed. Turning to the left (Orangerie) and then
to the right, by the Rue du Temple, we pass an interesting Renais-
sance House, with flue sculptures. A little farther on is the Church,
with its small but conspicuous spire, which dates from the 14th cent,
and contains the tombs of two Polish generals. The Rue du Marche,
the continuation of the Rue du Temple beyond the church and the
Hotel de Ville [on the left), ends at the Place du Marche, which is
connected with the tramway-terminus by the Rue Carnot. From the
Marche the handsome Avenue Emilie leads through a better modern
quarter to the station. On the opposite (S.) slope lies the quarter
of Les Champeaux. The Boulevard de I'Ermitage leads direct from
the station to (3/4 M.) the site of Rousseau's Hermitage, now oc-
18. MONTMORENCY. 341
cupied by an electric factory. To the left is the Chdtaigneraie^ a fine
group of chestnuts.
A small Rousseau Museum was opened in 1899 beside the new schools,
situated near the tramway-terminus, on the right as we come from the
market-place via the Rue Carnot and Rue Clairvaux,
The FoBBST OF Montmorbncy, which begins to the S.E. of the
Chataigneraie and extends to the N.W. for a distance of 5^/2 M., with
a breadth of 1V4"2V2 ^-j covers a very irregular tract, the highest
point of which is 600 ft. above the sea. The forest consists mainly
of chestnuts and has been left to a great extent in a natural state,
a fact which adds to its attractions but makes it difficult for the
stranger to find his way. Some of the higher points command charm-
ing views. The pleasantest route, well-marked and easy to follow,
ascends beyond the station and skirts the S. slopes, which afford
fine views, to Andilly, i^/o M. to the N.W. From the hill just above
this village, the prospect extends to the heights of Montmartre,
Mont Valerien, and St. Germain-en-Laye. On this plateau stands
the Fort of Montlignon^ named after a neighbouring village. Riders
generally prolong the excursion to the Croix Blanche (restaurant),
a point a little farther to the N., which may also be reached direct
from Montmorency. About 3/^ M. farther on in the same direction
is the village of Domont (p. 347), and to the right of the road is the
fort of the same name. From the Croix Blanche we may descend
to the W. to the (15-20 min.) Carre four du Pont d'Enghien (cafe'-
restaurant), whence a path to the right leads to (10 min.) the
Chateau de la Chasse, with the scanty ruins of a castle of the 14th
cent., surrounded by ponds and moats. This spot is about 4 M. to
the N.W. of Montmorency and nearly in the centre of the forest.
III. From Enghien to Paris vi& Argenteuil.
IOV2 M. Railway in 46-50 min. ; fares 1 fr. SO, 1 fr. 20, 80 c.
The train passes the Lac d'Enghien on the left and the race-
course of Enghien (p. 340) on the right. Fine view on the same
side. On a height in the distance rises the tower of the Chateau
de la Tour, above St. Prix (1 M. from St. Leu, see p. 348). — 8 M.
(from Paris) St. Gratien. — 9^2 M. Ermont. Railway to Pontoise
and to Valmondois, see R. 19.
The line now turns to the S. Beyond (10 M.) Sannois the
train descends, between the hills of Orgemont on the left and of San-
nois and Cormeilles on the right, to the valley of the Seine.
111/2 M- Argenteuil (Soleil d'Or, with restaurant, near the
bridge; Cafes-Restaurants, at the station), an ancient town with
15,120 inhab., lies on the right bank of the Seine and is the head-
quarters of pleasure-boat sailing on that river. The wine of Ar-
genteuil is mediocre, but its asparagus is justly celebrated. Ad-
jacent to the Gare de I'Ouest, in the N.W. of the town, lies the
station of the Ligne de Grande Ceinture (for Maisons, Epinay, etc.:
342 IS. ARGENTEUIL.
see pp. 389, 3.-i3 (. The -road to the left from the exit of the statiou
leads to the Seine, that straight in front to the interior of the town.
The Church, near the other end of the town, is a modern Ro-
manesque structure by Ballu, with a lofty tower.
This church boasts of possessing the seamless coat of Our Saviour
(distinct from the seamkss robe or upper garment at Treves), said to have
been presented by Charlemagne to a convent at Argenteuil of which his
daughter Theodrada v^'as abbess. The relic is preserved in a large modern
reliquary above the altar in the right transept, and is usually displayed
on Frid. (at other times on application).
Beyond Argenteuil, farther down the river, a new Aqueduct
Bridge carries part of the liquid sewage of Paris across the Seine.
On the left hank a Pump raises the sewage to the top of the plain
of Argenteuil, whence it flows towards Herhlay (p. 343), near which
part of it recrosses the Seine by means of a siphon to fertilize the
fields of Acheres, while the rest is distributed elsewhere.
A little beyond the bridge is Colombes (see below), on this side of
which is its Eace Course. From Colombes the latter is reached either by
the road descending towards Argenteuil or by the road leading to the new
bridge (comp. the Map.)-
We now cross the Seine. 131/2 M- Colombes (16,800 inhab.);
14 M. Bois-de-Colomhes (10,500 inhab.); 15 M. Asnieres (p. 291).
— 18 M. Paris (Gare St. Lazare, p. 26).
19. The Valley of the Oise.
I. From Paris to Pontoise.
18-22 M. Railway in 3/4-IV4 hr. (fares 3 fr. 55, 2 fr. 65 , 1 fr. 95 c), either
from (1) the Oare du Nord, via St. Denis, Enghien, and Ermont; or from
(2) the Oare St. Lazare. via Argenteuil andErmont; or from (3) the Gare
St. Lazare, via Argenteuil and Conflans- Ste- Honorine; or from (4) the
Gare St. Lazare, via Maisons-Laffitte and Acheres. The return-tickets (4 fr.
80, 3 fr. 50, 2 fr. 30 c.) of the Ligne du Nord are also available via Ar-
genteuil and Ermont and vice versa, but not by the other routes. Those
who have time should go on as far as Beaumont and return by one of
the two lines described farther on. Comp. the Jlap, p. 334.
Maisons Laffitte may also be reached by a tramway starting at the
Porte des Ternes (PI. B, 9), and running via lieuilly (p. 159), the Pont Bi-
7ieau, Courbevoie (p. 291), La Garenne (p. 326), Bezons (p. 326), Houilles (p. 343),
anA SartrouviUe {^p. 344); but this route is uninteresting. — The racecourse
at Maisons is served by special trains from Paris via St. Germain-en-
Laye (fares 4, 3, or 2 fr.).
1. Via St. Denis ob, Argenteuil and Ermont. — For the two
routes from Paris to (91/9 M.) Ermont, beyond which they are iden-
tical, see pp. 333-341. Ligne de Valmondois, see p. 348.
To the right is seen the chateau of La Tour, rising from the
Forest of Montmorency on a height in the distance ; to the left, the
Hills of Cormeilles (p. 343). — 10 M. Cernay. — ii^/iM.Francon-
ville. The village is about 1/2 ^- to the S. of the station, and 1 M.
from Cormeilles (p. 343). We next see the Fort of Cormeilles, at
the "W. end of the chain of hills. — 13 M. Montigny-Beauchamps .
Montigny, about 11/2 M. to the S.W., is more conveniently reached
19. CONFI.ANS-STE-HONORINE. 343
by the following line. — 15 M. Pierrelaye. Farther on, a jmirtion
line branches oflf to the right towards Beaumont (p. 34(3 ). — 18 M.
St. Ouen-V Aumune (p. 345). — On the right we have a fine view
of Pontoise. To the left our line is joined by that from AchSres fsee
p. 344). The train crosses the Oise. — l8'/2 M. Pontoise (p. 344).
2. Via Arqbntbuil and CoNFLANs-SAiNXB-HoNOnrNE. — From
Paris to (6 M.) ArgenteuiL see p. 341. This railway then crosses
the Ligne de Grande Ceinture, and diverges to the left from the
Ermont line, making a wide carve to the N. in a deep cutting, and
again approaching the Grande Ceinture. It then turns again to the
N.W, and runs along a high embankment among the vineyards of
Argenteuil. To the right stretch the fortified heights of Sannois
(440 ft.) and Cormeilles (545 ft.), commanding a fine view, to the
W., of the valley of the Seine. In the distance is the hill of the
Hautil (p. 344), between the Seine and the Oise. — IOY2 M. Cor-
meilles-en-Parms, a large village picturesquely situated on the S.W.
slopes of the hill of the same name. Near the church (13-l5th cent, ;
modern tower) is a bust of Daguerre (1787-1851), a native of Cor-
meilles (comp. p. 306). We traverse another deep cutting and two
viaducts above the valley in which lies the village of La Frette, on
the bank of the Seine. To the right are the curious Butte de 1 1
Tuile (390 ft.) and Montigny (another station, see p. 342), prettily
situated at the end of the heights of Cormeilles, about 1 M. from
Herblay. The church of Montigny contains some good wood-carvings
of the time of Louis XV. — I2V2 M. Herblay, a large village with
a conspicuous church (12th cent.), on the steep right bank of the
Seine, opposite the wood of St. Germain-en-Laye.
151/2 M. Conflans- Saints -Honorine {Cafe -Restaurant on the
Quai) is a large village picturesquely situated on the steep right
bank of the Seine. On the height are a square Tower, the relic of
a castle, and the Church (12-16th cent.), behind which is a handsome
modern Chateau. The confluence of the Seine and Oise, from which
the village takes its name, is about 1/2 M. lower down, near the
station of Conflans- Fin-d' Oise (see p. 344).
The continuation of the line to Mantes (see Baedeker s Northern
France) here diverges to the left, while our line turns to the N. —
17'/2 M. Eragny-Neuville, on the left bank of the Oise. Here we
join the following route.
3. Via Maisons - Laffitte and Acheres. — From Paris to
(51/2 M.) La Garenne-Bezons, see p. 326. Here the line to St. Ger-
main-en-Laye (p. 329) diverges to the left. To the right is the
asylum of Petit-Nanterre, and farther on are Argenteuil and the
heights of Montmorency, Sannois, and Cormeilles; to the left,
Mont Valc'ricn. We again cross the Seine. — 8 M. Houilles-
Carriires-St-Denis. The former of these villages lies near the rail-
344 11). MAISONS-LAFFITTE.
way, to the right, the latter about IV2 M. to the left on the Seine,
about halfway to Chatou. The church of Carrieres contains an
interesting stone altar-piece (12th cent,). To the left, we see St.
Germain with its terrace. From this point to Acheres our line
coincides with the Ligne de Grande-Ceinture (p. 333). — 10 M.
Sartrouville is prettily situated on the right bank of the Seine,
1/2 M. to the right. It may also be reached by the Ligne de Grande
Ceinture (p. 333), or, most conveniently, by the tramway at the
bridge of Maisons. To the right is the chateau of Maisons. We
again cross the Seine.
10 V2 M. Maisons-Laffitte. — Hotel du Soleil-d'Oe, at the end
of the Avenue Longueil. — Cafes-Restadrants: Pavilion du Eorloge, at the
end of that avenue-, du Pare, behind the preceding, at the entrance to
the park; CafS de la Station. — Post d- Telegraph Office, Avenue Longueil.
— Tramway, near the station. — Railicay to the Race Course, see below.
Maisons-Laffitte, a town with 5600inhab., is finely situated
near the forest of St. Germain, on the left bank of the Seine. The
broad Avenue Longueil, beginning near the station, leads past the
Mairie (1890) to the entrance to the Park, which was parcelled out
in building-lots by M. Laffitte, the banker , and is now studded
with the villas of Parisian financiers and artists. The Chateau
(visitors admitted), to the right, was erected by Mansart in the
17th cent, for Rene de Longueil, Surintendant des Finances. It
contains some ancient sculptures, some handsome furniture, and a
room once occupied by Voltaire. — In the vicinity are an important
Race Course, on a special branch-line, and a Golf Course.
From Maisons-Laffitte to St. Germain- en- Lave and Argenteuil by the
Grande-Ceinture. see p. 333. — St. Germain is 4 M. from Maisons by the
road leading via Le Mesnil, Carrieres-sous-Bois, and the Forest.
We next pass through the lower part of the forest of St. Ger-
main. — At (I31/2 J^-) Acheres (buffet) our line diverges to the
right from those of the Grande-Ceinture and Rouen, both of which
pass (3 M.) Poissy (p. 333). Farther on is a station for the village
of Acheres, beyond which we again cross the Seine, near its con-
fluence with the Oise. To the left is the hill of the Hautil or Hautie
(555 ft.: fine view). Fine view of Conflans to the right.
16 m. Conflans- Fin-d'' Oise. about 72^- from the village (p. 343).
Near the station the Oise is crossed by a suspension-bridge (toll 5 c.).
To reach (I1/2 ^0 Andresy. we cross the bridge and turn to the left.
— Our line again follows for a short distance the left bank of the
Oise, passing under the lofty viaduct of the line to Mantes. The
river a little farther on makes a detour of 6 M. — 19 M. Eragny-
Neuville, where we join the line from Paris via Argenteuil and
Conflans (p. 343). Then St. Ouen-VAumone (see p. 345). To the
right is the Nord line to Paris and Beaumont; to the left the line
to Pontoise, crossing the stream.
22 M. (19 M.) Pontoise [Hotel de la Oare, Hotel de Pontoise,
both at the station), a town with 8000 inhab., picturesquely situated
19. PONTOISE. 345
on a height on the right bank of the Oise. The town dates from
the days of the Romans, and from an early period played a somewhat
important part in French history, owing to its position as capital of
the Vexin (Veliocasses) and its proximity to Paris. It was frequently
involved in the wars of the kings of France with the kings of Eng-
land and the dukes of Normandy, and also in the civil struggles of
later date. The only remains of its fortifications are the walls of the
ancient chateau, which protected the town on the side next the river.
On leaving the station, we see facing us, on an eminence, the
Church of St. Maclou, with a handsome flight of steps in front of it.
At the top of the steps is a marble statue, by Lemot, of General
Leclerc (1772-1802), brother-in-law of Napoleon I. and a native of
Pontoise. The church is a Gothic edifice of the 12th cent., recon-
structed in the 15-16th centuries. The most striking features of
the exterior are the tower, terminating in a lantern in the Renais-
sance style, and tlie beautiful Flamboyant rose-window in the W.
facade. The Chapelle de la Passion, to the left on entering, contains
a *Holy Sepulchre, in the style of the Renaissance, with 8 statues
and groups of the Resurrection and the Holy Women. The Stained-
glass Windows also date from 1545, with the exception of those ad-
joining the tomb, which are modern. Opposite the pulpit is a De-
scent from the Cross, byJouvenet, and the choir contains some rather
heavy wood-carvings of the Renaissance.
In the Rue Lemercier, not far from the Hotel de Ville, which
is on the side next the valley of the Oise, is a Mu^ee, recently estab-
lished in a small 15th cent, mansion, formerly used as a law-court.
The road to the left, at the end of the square, leads to the
Promenade, at the end of which is a mound commanding a fine
view. — The Church of Notre- Dame, in the lower part of the town,
dating from the 16th cent., contains the tomb of St. Gautier (Wal-
ter), a curious monument of 1146, with a statue of the saint. —
Above the station is a Stone Bridge, commanding a good view of
the town and connecting it with St. Ouen-l'Aumone (see below).
Between the two bridges is a large Hospital, the chapel of which
has a good picture by Phil, de Champaigne of the healing of the
lame man.
From Pontoise to Dieppe , via Oisars, comp. p. 396 and see Baedeker's
Northern France.
U. From Pontoise to Beaumont.
121/2 M. Railway in 30-35 min. efares 2 fr. 25, 1 fr. 50 c, 1 fr.).
The train recrosses the Oise and enters (1/2 M.) St. Ouen-V Aumone.
Farther on, to the right, is the Chateau de Maubuisson, on the site
of the notorious Cistercian abbey of that name. It includes a huge
barn and a tower of the 13th or 14th cent, (at one corner of the
park). — 11/4 M. Epluches. We a.gain cross the Oise. — 21/2 M.
Chaponval. — 41/2 M. Auvers, a prettily situated village with an
interesting church of the 12-13th cent, (interior restored). About
346 19. L'I8LE-ADAM.
1 M. to the right, on the other bank of the river, lies Mery (p. 348).
— 6 M. Valmondois, the junction of a line to Paris via Ermont
(see p. 348). — Meriel and the Abbaye du Val^ see p. 348.
A brancb-line runs hence through the valley of the Sausseron to (4 M.)
Nesles, with an interesting church of the 12th cent., and to (15 M.) Marines,
a little town %vith an old chuteau, about 3 M. from the station of Us-
Marines, on the line from Pontoise (7 M.) to Dieppe.
8 M. L'lsle-Adam [Ecu de France^ near the bridge}, a pleas-
ant little town of 3540 inhab., on the left bank of the Oise, which
here forms two islands. The station is at Parmain. on the right
bank, connected with the town by two stone bridges. L'Isle-Adam
owes its name to the larger of the islets, on which stood a chateau
belonging latterly to the Prince de Conti (see below). The fine
avenue to the left, beyond the church and the Hotel de Villc,
ascends to a wood of the same name.
The Church, in a straight line with the station, is a Renaissance
edifice, with a handsome portal of 1537, lately restored and flanked
with a tower of the same date. The *Pulpit, executed by a German
artist in 1560, is richly adorned with statuettes and inlaid work.
The choir, the aisles, and the new Lady Chapel (to the right)
contain some good modern stained glass. The stalls, dating from
the 16th cent., have curious reliefs on their misericords. In a chapel
to the left is an altar-piece in carved wood, representing the Passion
(15th cent.). An adjoining chapel, opposite the Lady Chapel, con-
tains the remains of the monument of Prince de Conti (1717-76),
destroyed, like his chateau, at the Revolution. The beautiful figure
of a weeping woman is a plaster reproduction of one by Moitte. —
The Hotel de Ville, alongside of the church, and the Clergy House^
at the back of it, are handsome modern buildings in a similar style.
The small Chateau, which has replaced that of the Prince of Conti,
contains some interesting paintings, including what is said to be the
original of the small Holy Family by Raphael, that in the Louvre
(p. 116; No. 1499) being thus a copy.
A fountain with a bust by Marqueste has been placed as a monument
to Mies Dupri (1812-89), the landscape-painter, in front of the house for-
merly occupied by him.
The Wood of VIsle-Adam, covering a chain of hills with a maximum
height of 620 ft., affords numerous pleasant walks. The railway from
Beaumont to Ecouen (see p. 347) skirts its other side, the nearest stations
being Preslet (4 M.) and Montsoult (6 M.).
The valley now expands and ceases to be picturesque. — 8^2 M.
Jouy-le-Comte. — The church of (IO72 M.) Champagne has a fine
spire of the 13th century.
121/2 M. Beaumont [Hotel des Quatre-Fils-Aymon, facing the
bridge), a small town with 3450 inhab., picturesquely situated,
1/2 M. from the railway, on a height on the left bank of the Oise.
The *Church^ reached by a lofty flight of steps, is an interesting
building of the 13th cent., with double aisles surmounted by gal-
leries. The pillars are round, like those of Notre-Dame at Paris, and
19. ECOUEN. 347
have tine foliaged capitals. The choir is much smaller than the
nave. The lateral tower terminates in the Renaissance style.
Passing the churcli-tower , following the streets to the right,
and turning again to the right at the Hotel de Ville, we reach the
Place du Chateau or Promenade, adjoining which is part of the old
wall of the chateau, with round towers at the corners. The Promen-
ade affords an extensive view of the valley of the Oise.
From Beaumont to Creil, see p. 377; to Hermes^ see Baedeker''s Northern
France,
III. From Beaumont to Paris.
1. Via Montsoult.
23 M. Railway in yt-V/t hr. (fares 4 fr. 15, 2 fr. 80, 1 fr. 80 c).
This is part of the direct line from Paris to Beauvais and Amiens.
The train crosses the Oise and ascends the picturesque valley of one
of its affluents. — 2 M. Nointel.
To the left is the Forest of Carnelle, affording numerous pleasant walks.
The Poteau de Carnelle (690 ft.), its highest point, is about IV4 M. from
Nointel and 1^/4 M. from Presles (see below). The 5th avenue to the ri^ht in
Cuming from Nointel (the third from Presles) leads to the S.E. to {^/t M.)
the Poteau de St. Martin (about 2/4 M. from the village of that name; see
below). About 1 M. to the S.W. is the Pierre Turqnaise or Turquoise, a
kind of leafy arbour, 38 ft. long and 10 ft. wide (to the left; sign-post).
About 1/2 M. lower down is a wide alley leading to the right to (3/4 M.)
the station of Presles. To reach the (IV2 M.) Chateau de Franconville (see
below) from the Pierre Turquaise, we retrace our steps to (7 min.) a
footpath leading to the right to (7 min.; sign-post) the plain of St. Martin.
31/4 M. Presles (Hot. Paillard). To the left is seen the magnif-
icent * Chateau of Franconville-sous-Bois, rebuilt in 1877 by the
Due de Massa. The nearest station to it is (1 M.)Belloy, on the Lu-
zarches line (see below). To the right is the wood of L'Isle-Adam
(p. 346). — 7^2 M. Montsoult, the station for the two villages of
Montsoult and Maffliers, situated about 2/3 M. to the "W. and to the
N.W., at the beginning of the wood of Lisle-Adam. There is also
an interesting chateau at Montsoult, commanding a fine view.
From Montsoult to Luzarches, 7 M. , railway in 25 min. (fares
1 fr. 35, 90 J 60 c.). — 2V2 M. Bellop- St- Martin. Belloy, to the right,
contains an interesting church dating from the 15ih century. St. Martin-du-
Terire, to the left, is picturesquely situated on an eminence on the S.E.
border of the forest of Carnelle (see" above). To the left is the Chateau de
Franconville, mentioned above. — The train now enters a cutting, beyond
which we have a fine 'View to the left of the valley of the Oise. — About
l>/-2 M. to the N. of (41/2 M.) Viarmes (Cheval Blanc) are the remains of the
Abbey of Royaumont, dating from the 13th cent., now occupied as a convent,
and not open to visitors. — 7 BI. Luzarches (H6tel St. Damien), a small
town in a pleasant situation. A little to the N.E. is the forest of Cove
which extends to the forest of Chantilly (p. 376). The road passing the
statiim leads through the town and then ascends to the S. through a wood,
immediately beyond which is the (1-V4 M.) Chateau of Champldtreux, built
in the 17th and 18th centuries.
97-2 M. Bouffemont. — 10 M. Domont, on the N. slope of the
forest of Montmorency, is commanded by a fort.
12 M. Ecouen-Ezanville. The C/m/mw of Ecouen. to the left, is
a handsome edifice of the IGth cent., built by Jean BuUant for the
348 19. ST. LEU.
Constable Aiine de Montmorency, like the oldest part of the chateau
at Chantilly (p. 370). It is now used as a school for daughters of
members of the Legion of Honour of lower rank than are provided for
at St. Denis (p. 338). Visitors are not admitted. The park and a fort
occupy the top of the hill on which the town is situated. The road on
the other side, commanding a fine view in the direction of Paris, de-
scends to Villiers-le-Bel (p. 368) and (2 M.) Sarcelles.
13V2 M. Sarcelles-St-Brice. — 14 M. Oroslay. — 151/2 M.
Deuil-Montmagny. — At (17 M.) Epinay, we join the Pontoise
line to St. Denis and Paris (see p. 339).
2. Via Valmondois and Ermont.
25 M. Railway in I'^-lVz hr. (same fares).
From Beaumont to (61/2^0 Valmondois, see p. 346. Beyond Val-
mondois the train quits the Pontoise line and crosses the Oise. To
the left a view of the park of the chateau oi Stors. — 7^/2 M- Meriel.
The ruined Abbaye du Val, 1 M. to tbe E., presents various features
of interest to archeeologists and others. It is reached by the road which
ascends the Oise, traversing the village, and then skirting the small railway
used to transport the stones from the quarries higher up to the left. We
then turn to the left, and '/« M. farther on follow the road leading to the
left across the fields. At the lowest point we turn to the right, through an
arched gate, and reach the abbey just beyond a small house, where per-
mission to view the interior of the ruin is obtained. The abbey, like many
others, was suppressed in 1791, and was afterwards converted into a manu-
factory. The chief remains consist of an imposing edifice of the 12th cent.,
successfully restored , containing the refectory and chapter-house on the
groundfloor and the dormitory above, the last a large vaulted apartment,
divided into two by a row of fine columns. At one side is an octagonal
turret, in front of which is one of the walks of the old cloisters. On the
elevated ground opposite are the remains of two vaulted structures, the
larger by the side of the road. Beyond the fields and hills (now stripped
bare) of the abbey extends the wood of L'lsle-Adam (p. 346).
91/2 ^I- Miry, with a splendid view; the village lies 1/2 M. be-
low the station. The extensive market-gardens here are enriched
by the sewage of Paris. — 10 M. Sognolles; 101/2^- Frepillon;
11 M. Bessancourt. — I21/2 M. Taverny, to the left, at the foot and
on the slope of a hill joining the forest of Montmorency and com-
manding a fine view. The Church, halfway up the hill, dates from
the 13th and 15th cent, and is one of the handsomest in the environs
of Paris. Above the S. portal is a fine rose-window in the Flamboyant
style. The interior contains a handsome stone altar in the style of
the Renaissance and wood-carvings of the same period [by the S.
door), representing the martyrdom of St. Bartholomew. — 13 M.
Vaucelles.
131/2 M. St. Leu. The chateau of St. Leu, once belonging to Louis
Bonaparte, King of Holland, and afterwards occupied by the last
Prince of Conde (d. 1830), has disappeared; its site is marked by
a simple monument to the prince. The modern Church, much im-
proved by Napoleon IIL, contains the tombs of Carlo Bonaparte
20. FONTENAY-AUX ROSES. 349
(d. 1783), father of Napoleon I. , Louis Bonaparte (d. 1846), and
two sons of the last. The monument of Louis is in the apse, be-
hind a railing,
141/4 M. Gros-Noyer. — 15 M. Ermont-Halte. — 151/2 M. Er-
mont. From Ermont to Paris, see pp. 342-333.
20. Sceaux, Ghevreuse, Montlhery, etc.
The following excureions are recommended in favourable weather to
all lovers of nature, especially to those who are good walkers. At least an
afternoon should be devoted to a visit to Sceaux and Eobinson (see below).
I. From Paris to Sceaux .
a. By Tramway.
The tramway-cars start at present from the Place St. 6ermain-des-Pri$
(p. 252j, but will eventually start from the Place des Victoires (p. 192), either
of which is easily reached with 'correspondance' from any part of Paris
(comp. the Appx.). The terminus is at Fontenay-aux- Roses (see below). The
distance is 672 M., traversed in 1 hr. 5 min.; fares 60 or 35 c. On Sun.
and holidays the cars are often overcrowded. From the terminus we have
fully 1 M. to walk to Sceaux by a pleasant road. A tramway is planned
from the Chanip-de-Mars to CMtenay via Montrouge (p. 289), Bagneux (see
below), Fontenay-anx-Roses, and Sceaux.
The tramway follows the wide Rue de Rennes to the Gare Mont-
parnasse (p. 288). It then turns to the left into the Boul. Mont-
parnasse and immediately afterwards to the right into the Boul.
Raspail, which skirts the Cemetery of Montparnasse. Beyond the
Place Denfert-Rochereau (p. 288), we traverse the Avenue d'Orleans
to the church of St. Pierre - de - Montrouge (p. 289), and then the
Avenue de Chatillon, by which we quit Paris. — Outside the gate
lies Malakoff, a village with 11,000 inhabitants.
Cftafiifon (3100 inhab.) lies at the foot of a plateau, which com-
mands a good view of Paris. A little to the "W. is Clamart (p. 296).
About 3/4 M. to the E. of Chatillon lies Bagneux (1750 inhab.), with
numerous villas and an interesting church, dating in part from the I3th
century. Chatillon and Bagneux were both included in the German lines in
1870-71. On 13th Oct., 1870, the French made a vigorous attack on the
German troops posted here, and after a sharp contest succeeded in taking
possession of Bagneux, which, however, they evacuated on the same evening.
Monuments in memory of those who fell on this occasion have been erected
both at Bagneux and at Chatillon. — Steam-tramway, see p. 855.
Fontenay-aux-Roses (5350 inhab.), 1 M. to the S.E. of Chatil-
lon, has a station on the railway to Sceaux, and is the terminus of
the tramway-line. It is surrounded with fields of strawberries and
violets, in both of which it carries on a brisk trade. A fine view of
Paris is enjoyed from the N. side of the large Place de la Mairie
where the car stops.
To reach the railway-station (p. 350) we descend the Rue Bou-
cicaut farther on. To the right, as we descend the street, is the
former Maison Boucicaut, a handsome modern structure ; to the left
is Ste. Barbe-des-Champs, a small dependency of the college of that
350 20. ARCUEIL.
name in Paris. Farther on, beyond a Normal School for female
teachers, the road forks. The right branch leads to (1 M.) Sceaiix
(p. 351) via the (1/2 M.) station of Fontenay (p. 349); the left
to (IV2 M.) Bonrg-la-Reine (p. 351).
The direct route to (IV4 ^1-) Robinson (p. 351) diverges to the
right from the road from Chatillon, before the Place in which the
tramway-offlce is situated. [Or we may follow the narrow street
descending opposite the tramway-office, and turn to the right at the
end.] At the first fork we may either take the Rue de Chatenay to
the left, which joins the road near the station of Sceaux-Robiuson
(p. 351), or the Rue du Plessis-Piquet to the right, whence another
road, diverging to the left, leads direct to Robinson.
The little village of Le Plessis-Piquet, prettily situated on the side of
a hill not far from the above*-mentioned fork, is separated from the Bois
de Meudon by the small plain through which runs the road to Chatillon.
b. By Railway.
71/2 M. Ligne de Sceaux ei Limours. The station is near the Luxem-
bourg, Boulevard St. Michel 69, at the corner of the Rue Gay-Lussac
(PI. R, 19; V). Luggage, however, is not registered here but must be
taken to the old station in the Place Denfert-Rochereau. Trains leave
Paris every 1/2 hr. Fares 1 fr. 35, 90, 60 c. ; return-tickets 2 fr., 1 fr. 45, 95 c.
The line, which will eventually begin nearer the quays, is
carried by a tunnel under the Boul. St. Michel to the station o{ Port-
Royal, situated at the Carrefour de I'Observatoire (p. 285) but named
after the adjoining boulevard. Thence another tunnel takes it
beneath the Avenue de TObservatoire and the Rue and Place Den-
fert-Rochereau (p. 288) to the station of Paris-Denfert, the former
Gare de Sceaux [PI. G, 20). The railway then crosses several via-
ducts and traverses the park of Montsouris (p. 290). 1^/4 M. Sceaux--
Ceinture, the junction for the Chemin de Fer de Ceinture (see Appx.).
To the left, outside the fortifications, are Fort Bicetre and the large
lunatic asylum and hospice of that name. Numerous quarries and
market-gardens on both sides. The small pyramidal wooden struc-
tures cover the mouths of deserted quarries, in which mushrooms
are now cultivated. — 21/2 M. Gentilly, an old village to the left
(pop. 6150), on the tramway from Boulogne to Vincennes (p. 294).
— 3 M. Laplace. To the left is the Aqueduct of Arcueil, beneath
the W. end of which our line passes.
31/2 M. Arcueil, a village (7000 inhab.) in the valley of the
Bievre, with a church of the 13-1 5th centuries. The Ecole Albert-le-
Grand, in the Grande-Rue, an ecclesiastical establishment, was
managed in 1870-71 by Dominican monks, several of whom were
massacred by the Communards. It contains a mortuary chapel, with
a statue of Pere Captier, by Bonnassieux. — Steam-tramway from
Paris to Arpajon, see p. 355.
To the left, visible both on reaching and quitting the station, is the
large 'Aqueduct of Arcueil, consisting in fact of two aqueducts, one above
the other, with a total height of 135 ft. The name of the village is derived
20. SCEAUX. 351
from an ancient aqueduct (Arculi) constructed here by the R.omans, on the
site of which Salomon Debrosse (1613-24J built another aqueduct, 440 yds.
long, for the purpose of conveying water from the village of Rung is to the
garden of the Luxembourg. In 1S68-T2 a second aqueduct was placed on
the top of this, and, though the masonry is not so good as that of Debrosse,
it is still a notable piece of engineering. — A road to the left of the Aque-
duct ascends to Villejuif (p. 357).
Beyond Arcueil the fortified heights of Villejuif (p. 357 ; Redoute
des Hautes-Bruyeres) come into sight. Farther on Bagneux (p. 349j,
Fontenay-aux-Roses (p. 349), and the fort of Chatillon (p. 349)
are seen to the right. To the left are L'Hay and Chevilly^ also scenes
of contests during the siege of Paris.
572 M. Bourg-la-Reine {Restaurant-Cafe Perdereaux , in the
Place), a modern village with 3650 iuhab., is a favourite summer
residence. In the Place Condorcet, about 3 min. from the station,
is a marble bust, by Trupheme, of Condorcet, who died here in 1794.
— Steam-tramway to Paris, see p. 355.
The Sceaux line here diverges to the right from the line to
Limours (p. 352). To the left is the Lycee Lakanal, to the right
Fontenay-aux-Roses and the heights of Chatillon, while behind, to
the right, appear the Aqueduct of Arcueil and the heights of Villejuif.
61/4 M. Sceaux [see below). The railway now describes a curve
to the N., passing (68/4 M.) Fontenay-aux-Roses (p. 349). — 71/2 M.
Sceaux-Robinson, a station between the town of Sceaux and Robin-
son (see below).
Sceaux {Hotel de VEtoile-du-Nord; Restaurant du Pare, near
the church), a small town with 4000 inhab., pleasantly situated
upon a hill amid charming scenery. The Chateau of Sceaux, built
by Colbert, afterwards became the property of the Due du Maine,
son of Louis XIV. and Mme. de Montespan. During the first half
of the 18th cent, it was celebrated for the brilliant fetes given here
by the Duchesse du Maine to the little court of wits and 'grands seig-
neurs' she assembled around her. The chateau was destroyed at the
Revolution. A small piece of the Park has been preserved and is
open to the public. It is reached from the station of Sceaux by the
road straight in front for a short distance, then to the right and by
the Rue Penthievre, the first turning to the left ; from the station
of Sceaux-Robinson, at the W. end of the town, we turn to the left
and pass through the town. The Church, near the park, contains a
Baptism of Christ, by Tuby. Beside it are monuments to Florian
(1755-94), the poet and fabulist, who is buried in the cemetery of
Sceaux, to the Provencal poet Aubanel (1828-86), and to the author
t*aul Arene (1843-96). About 1/4 ^^'- farther on is the Lycee Lakanal,
a handsome building in a pretty part of the park, not far from Bourg-
la-Reine (see above).
Eobinson ( Cafes- Restaurants in the chestnut-grove and at the
station, de'j. 21/2, !>• 3 fr.), about 1/4 M. to the W. (right) of the
station of Sceaux-Robinson, charmingly situated at the foot of a
wooded hill, is onu of the pleasantest spots near Sceaux. It possesses
352 20. BifiVRES.
numerous garden-cafes, with platforms placed amid the branches of
the large chestnut-trees, and in fine weather it is thronged with
pleasure-seekers. Horses and asses may he hired at Robinson (horses
2-3 fr. per hr., asses 1-1 i/o fr.).
On a height a little beyond Robinson is a house with a tower
from in front of which we command an admirable view of the valley
of the Bievre.
Fbom Robinson to the Bois de VfiERiftRES is a favourite excursion.
Riders usually make it by the road passing the above-mentioned house
v^ith the tower. The first part of the route is, however, monotonous and
devoid of shade, and the route by the lower road is preferable for pedes-
trians. The lower road leads from Robinson towards the S. and passes
(1/2 M.) Aulnay^ where Chateaubriand had a country-house, and (IV2 M.)
Chdtenay (1560 inhab.), which some authorities name as the birthplace of
Voltaire. Tramway to Paris, see p. 349. Just beyond the latter village
we reach the highroad from Versailles to Choisy-le-Roi, which descends
to the left to the railway station of (IV4 M.) Berny (see below) and ascends
to the right to the BoisAe Verrierea, The Bois de Verrieres covers a small
plateau which commands the valley of the Bievre on the E. and S. Its
main axis, from Chatenay to Bievre, is not above 21/2 M. long. Various
points in it afford charming views of the valley. Equestrians generally
proceed to Malabrij (inn), about \}U M. from Chatenay, and thence to the
so-called '■Obelisk\ a circular clearing in the wood, where the chief forest-
paths converge. Walkers reach this point directly by ascending from
Chatenay along the road to Igny and then turning to the left. Proceeding
in the same direction beyond the clearing, we reach the margin of the
plateau, where it overlooks the most attractive part of the valley. On the
other side we obtain a view of a pretty little side- valley, with the ruins
of the old Abbaye aux Bois. To the right of the above-mentioned road to
Igny lies the village of Bitvret, where we descend into the valley (see below).
n. From Paris to the Valley of Chevreuse.
Valley of the Bievre. Limours.
Railway from Paris to St. Remy-Us-Chevreute, 2OV2 M., in 50-75 min. •
(fares 3 fr. 70, 2 fr. 50, 1 fr. 65 c.-, return-tickets 5 fr., 4 fr., 2 fr. 60 c). —
Chevreuse is about 11/2 M. from the station, and 2V2 M. farther on is Dam-
pierre., to both of which places public conveyances ply (see below). Let
Vaux-de- Cernay lies about 3 M. from Dampierre. 'Correspondance'' for
Chevreuse 30 c, for Dampierre, 70 c. — Steam-tramway from Paris to An-
tony, see p. 355.
Those who do not wish to walk far and who do not object to public con-
veyances may make this excursion as follows . leave Paris about 10 a.m.,
and on arriving at St. Remy take the omnibus to Chevreuse; after visiting
the ruined chateau, take the railway-omnibus, which starts about 1.30 p.m.,
quit the vehicle at Dampierre, walk thence to (3 M.) Les Vaux-de- Cer-nay^
and return in time to catch the omnibiis starting from Dampierre at 8 p.m.
for St. Remy, in connection with the last train to Paris. Visit to the
chateau at Dampierre, see p. 354. — Hurried visitors may regain Paris at
an earlier hour by taking the omnibus about 5 p.m. from Cernay to the
station of BouUay-les-Troux (fare 50 c. : p. 353). Another omnibus leaves
Dampierre about 4.30 p.m. for Laverriere, a station on the line from Paris
to Chartres.
From Paris to (0^/2'M.) Bourg-la-Reine, see pp. 350,351. Short
tunnel. To the left are the Prisons of Fresnesijp. 356). — 7 M. Berny;
l^j-i M. Antony (2500 inhab.), prettily situated. To the left is a
branch of the Chemin de Fer de Grande Ceinture; to the right we
obtain a view of the Bois de Verrieres. — 9'/2 M. Massy is situated
20. PALAISEAU. 353
oil a hill facing the upper part of the valley of the Bievre, of -whioh
it commands a fine view. — IOI/2 M. Massy-Grande-Ceinture.
From Massy- Grande- Ceintdke to Versailles, 91/2 M., in 30-35 min.
(fares 1 fr. 70, 1 fr. 15, 75 c)- — This section of the Ligne de Grande-Ceinture
traverses the prettiest part of the Vallet of the BifivEE, with its verdant
meadows and luxuriant woods. The valley is attractive to pedestrians
except on the side next the Bois de Verrieres (to the right), where the
roads are frequently flanked by high walls. — 1^/4 M. /gny, to the left, with
the large Ecole Si. Charles, managed by monks. — 3 M. Bi'evres (Chai-iot d"Or),
to the right, is beautifully situated on the slope of a plateau to the N.W.
of the plateau of Verrieres. A road between these plateaux ascends to
(IV* M.) Le Petit- Bicetre, on the road from Versailles to Choisy. not far from
the Bois de Meudon (p. 299). Among the fortified hills to the left of the
valley lie the Etang de Saclay, the Etang du Trou-Sali, and other ponda
which furnish the water for the fountains at Versailles. — 41/2 M. Vau-
hoyen; 6V2 M. Jouy-en-Josas. Farther on the train turns to the right and
ascends by a lofty viaduct. To the left is the Aqueduct of Buc, 530 yd.=.
long and 70 ft. high, built in 1686 to convey water to Versailles from the
ponds between the valleys of the Bievre and the Yvette. Soon after our
line joins the Ligne de Bretaune. — 9V2 M. Versaill^, Gare des Chantier.s
(p. 308).
From Massy-Grande-Ceinture to Valenton, II1/2 M. This somewhat
uninteresting section of the Ligne de Grande-Ceinture has stations at Wistovs
(p. 366), Rungis (p. 351), Orly, and Villeneuve-le-Roi, beyond which it crosses
the Ligne d'Orleans, the Seine, and the Ligne de Lyon. 'Valenton is a junction
near the last-named line, at which this section of the Ligne de Grande-
Ceinture joins that from Champigny (p. 307) and Sucy-Bonneuil (p. 307;
2' '2 M.) to Villeneuve-St-Georges, which is situated 2 M. to the S. (see p. 359).
From Massy-Grande-Ceinture to Juvisy, 9 M.. railway in V3-'/2hr.
(fares 1 fr. 70, 1 fr. 15, 75 c). — 2 M. Champion. — 3 M. Longjumeau (p. 356).
— 31/2 M. CMlly-Mazarin (p. 356); 5 M. Gravigny; 6 M. Petit- Vaux. — 71/2 M.
Savigny-iur-Orge (p. 858). — 9 M. Juvisy (p. 35S) is also a station on the
Ligne de Grande-Ceinture, which runs hence to (4 M.) Villeneuve-St-Georges
(p. 359).
11 M. Palaiseau (Ecu de France, Grand' Rue 148), an ancient
place which owes its name to a royal palace ('palatiolum'), now
destroyed. In the Place de la Mairie is a bronze statue of Joseph
Bara, a boy- volunteer killed by the Vende'ens in 1793. The Church,
behind the Mairie, dates from the 12-13th centuries.
Beyond a cutting Palaiseau and Massy are seen on the left. The
train now enters the pretty Valley of the Yvette, which is flanked by
wooded hills, and stops at Le Rocher, station for Villehon, to theE.
— 13 M. Lozere. We cross the Yvette to Le Guichet. — 15 M.
Or say ^ a large village to the left. — 15Vo M. Bures. — 177_> ^^^
Gif. — Then to the right, before the next station, the ruins of
Chevreuse chateau become visible. — 2072 M. St. Remy-lhs-Chev-
reuse, the station for Chevreuse, Dampierre, and Vaux-de-Cernay.
The railway, turning to the S., now quits the valley of the Yvette and
ascends another picturesque vale to (3 M.) Boullay-les- Troux, whence an
omnibus plies to (4 M.) Cernay-la-Ville (p. 355). The terminus is reached
at (2V2 M. farther on) Limours, a place of little importance.
The road, passing through the village of St. Remy, crosses the
Yvette and turns to the left. A shorter and pleasanter footpath
leads along the railway-line to the left, passes the Chateau de Cour-
betin, and soon comes in sight of the ruins.
Baedekbk. Paris. 14th Edit. 23
354 20. DAMPIERRE.
Chevrense {Hotel du Grand- Courrier, Rne de la Mairie 23), a
small and poorly-built place, is the capital of a barony, afterwards
a duchy, various holders of -which have distinguished themselves as
soldiers, courtiers, or scholars.
The Ruined Chateau is quite unimportant in itself, but it lends
picturesqueness to the distant views of the town and valley, while
its terrace commands a fine survey in the direction of Dampierre.
The ruins occupy the extremity of a small plateau, 260 ft. above
the town, whence they are reached by a fatiguing, sandy path. They
consist mainly of a massive donjon of unhewn limestone and two
towers of hewn stone, now covered with ivy. The smaller tower is
not seen from the foot of the hill or from the terrace. The interior
is uninteresting.
The Church, built, like many of the edifices of the district, of
rough limestone, has a tasteful interior, with some fair mural
paintings by M. de Courbetin. Opposite the S. portal is an ogival
Romanesque doorway and a few other remains of a Priory, now
used as a storehouse.
The road from Chevreuse to Dampierre, though picturesque, is
almost entirely destitute of shade. On the right rise wooded hills,
and on the heights to the left is the handsome modern Chateau de
Bevillers. The Chateau de Mauviere, near the left side of the road
farther on, dates from the 18th century. We now turn to the right,
skirt the long wall concealing the chateau of Becquencourt, and,
beyond a mill on the Yvette, reach the village of Dampierre.
Dampierre {Hotel- Restaurant St. Pierre; omnibus, see p. 352) is
noted for its magnificent *Chdteau, belonging to the ducal family of
Luynes, which has obtained an honourable distinction from the rich
archaeological collection now in the Bibliotheque Nationale at Paris
Tp. 191). The chateau, built for the most part in the 17th cent, by
J. H. Mansart and restored in 1840 by Duban, is a huge structure of
brick and stone, rising between a fine 'cour d'honneur' and an ex-
tensive park in a small valley, the confining hills of which limit the
view in every direction. Admission to the chateau and park may
be obtained on Fridays, from 1 to 5 o'clock, on written application
to the Duchesse de Luynes, who usually spends the summer at the
chateau (address before July, 51 Cite de Varenne, Paris). Among
the art-treasures retained in the chateau are an ivory, gold, and sil-
ver statue of Athene by Simart (a quarter-size reproduction of the
colossal chryselephantine statue of Athene in the Parthenon), the
celebrated Sleeping Penelope by Cavelier, and a silver statue of
Louis XIII. by Rude. — The neighbouring Church contains the
burial vault of the Dues de Luynes, in a closed chapel to the left
of the choir.
The route to Les Vanx-de-Cernay, leaving the chatean in the
direction of the church, and passing to the right of Senlisse and its
chateau, ascends the valley of the streamlet of Les Vaux to the S.
'20. CERNAT-LA-YILLE. 355
In less than 1^4 M- we diverge from the road, and continuing in a
straight direction, pass the hamlet of Games. At the (1/2 ^^O Moulin
des Rockers we reach another carriage-road, which leads tirst to the
left, then to the right, not far from Cernay-la-Ville (see below), and
follows the other side of the valley. Walkers, however, find a shorter
and pleasanter path leading along the bank of the stream. In 7 min.
we reach the Petit-Moulin (rfmts.), near a little waterfall. On the
opposite bank is the Hotel des Cascades or Leopold^ a favourite resort
of artists, in the lower part of Cernay-la-Ville (lO rain.; see above).
An omnibus starts here for BouUay-les-Troux (p. 353). The foot-
path on the left bank now becomes less interesting. In 6 min. more
we reach the Grand Moulin, at the lower end of the long Etany de
Cernay. In the vicinity is a Monument to Pelouse (d. 1892), a land-
scape-painter who drew attention to the beauties of this valley. We
may either rejoin the carriage-road here, or proceed straight on
through the woods for 25 min. to the picturesquely-situated hamlet
of Les Vaux-de~ Cernay, on the Etang des Vaux. The Abbaye des
Vaux-de- Cernay, situated near the pond, was founded in 1128.
The ruined church, in the Romanesque style, with its portal and S.
aisle, the vaulting of which is still entire, is the most interesting
part extant. Visitors are admitted by special permission only.
The village of Cernay-la-Ville C^()^ei de la Poste, in the Grand' Place;
lies Cascades, see above), on the hill to the S., with a steeple dominating
the valley near the Eiang de Cernay (see above) is of little interest. Om-
nibus to Roullay-les-Troux, see p. 353.
III. From Paris to Montlhery. Arpajon.
a. By the Tramway d' Arpajon.
19 M. Tkamway in 1 hr. 50 min.; fares 1 fr. 90, 1 fr. 25 c. This
tramway starts at Rue de Medicis 13, near the Luxembourg, every 40 min.
in sunjmer, and every IV4 hr. in win'er for Antiny. and every 2 hrs.
and 21/2 hrs. for the whole distance. 'Correspondance' with the oranibnse«
and tramways A, H, J, Z, AF, TO, and Til (cump. Appx ).
The route within Paris is the same as that of the tramway to
Montrouge, via the Boul. St. Michel, the Carre four and Avenue de
fObservatoire (p. 286), the Rue and Place Denfert-Rochereau (p. 288),
and the Avenue d' Orleans (church of Montrouge, p. 289). — The
Tramway d' Arpajon proper begins outside the city, at the Porte
d" Orleans (PI. G, 18), where the horses are replaced by a steam-
engine. The tramway follows the Orle'ans road, via Le Grand-Mont-
rouge, an uninteresting manufacturing village (three stations'^, Arcueil
(Vaohe Noire), and La Croix -d' Arcueil, to the W., near the extrem-
ity of the village (p. 350). To the right is the Fort de Montrouge,
beyond which is the extensive Cemetery of Bagneux. Fine view, to
the right, of Bagneux and Fontenay-aux-Roses; to the left, the
double aqueduct of Arcueil. — Grange d'Ory. — l^/o M. Bagneux;
the village (p. 349) lies about 3/4 M. to the W. To' the right are
Sceaux, and beyond the Tiigne de Sceaux, the Lyc^e Lakanal. Thp
23*
356 20. MONTLH^RY.
line descends rapidly to La Fdiencerie, a station just outside Bourg-
la-Reine.
3 M. Bourg-la-Eeine (p. 351), station in the Place Condorcet. —
In the upper part of the town, not far from the Lyce'e Lakanal (to
the right) is the station of Petit- Chambord (Sceaux; p. 351). —
31/2 M. La Croix-de-Bemy , a group of houses at the point where
the tramway intersects the road from Versailles to Choisy-le-Roi,
Ahout IY4M. to the E. is Fresnes-les-Eungis, with the large prisons
(1500 cells) built in 1898 to supersede some of those in Paris. The
place of staircases in these buildings is throughout taken by lifts.
— Farther on is Antony (p. 352), where the tramway has a stopping-
place before reaching the (5 M.) principal station. Some of the cars
go on hence, crossing the Bievre, to the station of Pont d' Antony.
The tramway continues to ascend the Orleans road, crossing the
Ligne de Grande-Ceinture, to Le Petit-Massy, a station I1/4 M. to
the left of Massy (p. 352). Fine view of the valley of the Bievre.
We here turn to the left and cross a plain. — 6^/4 M. Wissous has a
church part of which dates from the 12th century. Beyond Morangis
with its large modern chateau, the line descends towards the valley
of the Yvette. Near the station of Chilly -Mazar in (p. 353) formerly
stood a chateau of the Due de Mazariu, nephew of the famous car-
dinal. Station of Chilly-Grande- Ceintnre.
101/2 M. Longjumeau [Hotel St. Pierre, Grande Rue; Du Cadran,
near the tramway-station), an old town with 2440 inhab., noted for
the peace concluded in 1568 between the Roman Catholics and the
Protestants (the 'Pais Boiteuse'). In the Place de la Mairie, reached
by the Grande Rue, rises a monument, by P. Foumier, to Ad. Adam
(1803-56), composer of the opera 'The Postilion of Longjumeau'.
Farther on is the Church (13-14th cent.).
12 M. Saulx-les-Chartrexa lies to the E. of the wooded hills
beyond which isPalaiseau (about 13 '4 M.; p. 353). At the station of
Ballainvilliers the tramway returns to the Orleans road. — I41/4 M.
La Grange- aux-Cercles; 15 M. La Ville-du-Bois. To the left
appears the tower of Montlhery. The station of Longpont is nearly
11/4 M. to the W. of the village of Longpont, the old priory-church
of which is an interesting Romanesque building, largely restored in
the original style.
151/2 M. Montlhery [Hotel du Chapeau-Rouge, Rue de la Cha-
pelle ; Soleil d'Or, Rue des Juifs ; Cheval Blanc, at the station ; Cafes,
near the ruins), an ancient and picturesque town of 2320 inhab., is
situated on the slope of a hill crowned by a massive tower. Mont-
lhery possessed a celebrated mediaeval fortress, which afterwards be-
came a stronghold of robbers, who successfully defied the kings of
France until the 13th cent., while the castle itself was not destroyed
until the religious wars.
The Rue Luisant, leaving the Orle'ans road a little beyond the
station, ascends to the town, passing the Place du March^. Farther
20. ARPAJON. 357
on is the Rue des Juifs, with the Rue de la Chapelle to the left and
the Grande Rue to the right. The Church, to the right, is largely
Romanesque. Still farther on is the Porte Baudry, dating from the
11th and 16th cent., but otherwise uninteresting.
The Ruined Castle^ to which we ascend to the right of the church,
consists mainly of the Keep, 100 ft. high (13th cent.), three other
smaller towers, and a few shattered walls. Visitors are permitted
to ascend the keep (10 c.) to enjoy the view, which, however, is
nearly as good from the foot.
The railway-station of St. Michel-sw-Orge (p. 359) lies to the E. of
Montlhery, the side farthest from the tramway-route.
A branch-tramway runs hence to the W. to (13/4 i^I) Marcoussit , a
large village with a chateau and limestone-quarries. — The main Tramwav
goes on via Linas (which adjoins Monflh^ry and possesses an interesting
church), Leuville, and St. 0 er main-la- Nor ville, to (3V2 M) Arpajon (^Lion
dfArgent, Fontaine, G-rande Rue 97 and 95), a town of 30(K) inhab. on the
Orge. The narrow Rue deClo^ leads straight from the tramway terminus
to the middle of the single long street (Orleans road), ot which Arpajon
mainly consists. The boulevards to the left of the terminus lead to the
(3/4 M.) railway-station on the line from Paris to Dourdaa (p. 359). On
an island in the Orge stands a tasteful modern H6tel de Ville. To the
right in the main street is the Church (12th aad 15th cent.), of which the
belfry and the choir should be noticed. In the other part of the town,
to the left as we return by the Grande Rue, are some ancient timber
constructions.
b. Via Choisy-le-Roi and St. Michel-sur-Orge.
Tramway, Railway, and Omnibus. — Tramway from the Chatelet
(Square St. Jacques) to Choisy, V/2 M., in 1 hr. 20 min. (fares 65, 40 c.).
This tramway, starting every 40 min., has 'c )rrespondance' with the city
tramways and omnibuses. — Railway from the Gare dOrl^ans to Choisy,
BV4 M.. in 15-20 min. (fares 1 fr. 10, 65, 50 c, return-tickets 1 fr. 70, 1 fr. 5,
80 c ); to St. Michel, 18 JI., in a/^l hr. (fares 3 fr. 25, 2 fr. 20, 1 fr. 45 c,
return-tickets 4 fr. 85, 3 fr. 50, 2 fr. 30 c). — Omnibus from St. Michel to
MontlMry, IV2 M., in 20 min. (fare 30 c.; free to holders of through rail-
way-tickets).
Steamboats ply every half-hour from the Q.uai du Louvre to <Ablon
(p. 358) on Thurs., Sun., and h didays in .summer (in 13/4 hr. ; fare 40 c,
on Thurs. 30c.), touching at the Pont d Austerlitz (left bank), Pont National
(1.), Les Carri^res (r.), Vitry (I.), Alfortville- Barrage (r. ; change steamers),
Choisy-le-Roi (1.), Villeneuve- Triage (r.), and Villeneuve- St-Oeorges (r).
I. By Tramway, to Choisy. The line runs via the Hotel de Ville,
Notre-Dame, the Rue Monge, the Gobelins (p. *?68), and the Plact
d'Jtalie (p. 270), where the line to Bicetre and Villejuif diverges to
the right and the line to Ivry-sur-Seine (p. 357) to the left. Our
line quits the city by the Avenue and the Porte de Choisy (PI. B, 27)
and passes between Bicetre and Ivry. To the right is the Cemetery
0/ Ivry; on the hill is the Hospice de Bicetre for aged and insane men
( 3150 beds); farther on, the Fort de Bicetre. To the left appears Ivry
(p. 357). To the right, farther on, on a hill, lies Villejuif, a village
of 5200 inhab., commanding a fine view, to which a road ascends
in about ^4 hr. from Vitry, via the Moulin Saquet, which played an
important part in the siege of Paris in 1870-71. — The tramway
neit reaches Vitry, an old village with 8000 inhab.. and an interest-
358 20. JUVISY.
ing Church (13-14111 cent.). Railway-station, see below. — Theuc(
we follow the Avenue de Paris to Choisy-le-Roi (see below).
b. By Railway. — Gare d'OrUans, see p. 26. Beyond (1^/4 M.)
Orlinn'i-Ceinture. where we pass beneath the Ligne de Petite-Cein-
ture, we quit Paris. To the right is Ivry^ a manufacturing suburb
with 25,000 inhab,, a modern Mnirie, a large Hospital for Mfurables
(2029 beds), and a fort. Tramway to Paris and from Boulogne to
Vineennes, see Appx., p. 31. — 51/2 M. Vitry; the station is V2 M.
from the centre of the village (see above). The railway now ap-
proaches the Seine.
6^/4 M. Choisy-Ie-Roi {Hotel des Voyageurs, at the end of the
Rue du Pont; ReHnurant Pomvndour, on the right bank, near the
bridge), a pleasant town with 9900 inhab., and the scanty remains
of a chateau buiit by Louis XV. as a shelter for his debau«^heries.
Near the bridge, before the station, on the left bank, is a bronze
Statue of a Fighting Sailor, by Hercule, commemorating the combats
at the 'Gare aux Boeufs' in 1870. — The Rue du Pont p?isses a little
to the left of the former Buildings of the Chateau, now occupied by
a porcelain manufactory, as is also the portion of the chateau at the
end of the Avenue de Paris. The Mairie and the Church, on the
right of the street farther on, date from the same period as the chateau.
At the point where the street ends in the handsome Avenue de Paris
is a bronze statue, by L, Steiner, of Rouget de Lifle, author of the
'Marseillaise", who died at Choisy in 1836. The Avenue (traversed
by the tramway from Paris, p. 357) ends a little farther on beside
the railing of the old chateau. — Steamboat, see p. 357.
From the Avenue to Sceaux (p. 351). 51/4 M.; to La Croir-de-Berni/ (p.3b6),
5 M. From the bridge to Cr^teil (p. 302), 3 M.; to Bonneuil (p. 307), 83/4 M.
Beyond Choisy the railway passes under the Ligne de Grande-
Ceinture. — 91/2 M. Ahlon, a village about IV4 M. to the S.W. of
Villeneuve-St-Georges (p. 359) by the left bank of the Seine. Steam-
boats to Paris, see p. 357. — The Seine is seen on the left. —
101/2 M. Athis-Mons. To the right are wooded hills dotted with
tasteful villas; to the left is the railway from Paris to Montargis via
Corbeil (see Baedeker's Northern France').
121/2 M. Juvisy-sur-Orge (Hotel Belle-Fontaine), a town with
2900 inhab., and a station used by both railways. The park of the
old Chateau was laid out by Le Notre. — Our line now ascends the
pretty valley of the Orge, which is crossed by the Pont des Belles-
Fontaines, consisting of two bridges one above the other, built in
the 18th century.
131/2 M. Savigny-sur-Orge has a fine 15th cent. Chateau (to the
left). A little farther on is a branch of the Ligne de Grande-Cein-
ture, running towards Palaiseau (p. 353). — We cross a viaduct
both before and after the (15 M.) picturesquely situated Epinay-aur-
Orge. In the distance, to the right, is the tower of Montlh^ry (p. 366).
21. VILLENEUVE-ST-GEORGES. 359
16 M. Perray-Vaucluse is the station for the extensive lunatic
asylum of Vaucluoe, belonging to the city of Paris, The buildings
rise in tiers on a hill to the right. — 18 M. St. Mirhel-sur-Orge.
The railway gets on to Br^tigni/, where it forks, the left branch running
W Etampe^, OrUans., Tours, etc , the right branch to Arpajan (p. 357;
^ M. from Pa is), Dourdan, 'lours, etc. See Baedeker's Northern France.
The road from St. Michel to Montlhery passes, on the right, the
handsome Chateau de Lormoy. Farther on, nearly 1 M. from the
station, a road diverges to the right to (V2 M.) Longpont (p. 356),
whicii is united with Montlhery by a cross-road. We may reach the
ruined castle of Montlhery without entering the town, by a parh to
the left at the first houses, in continuation of the route from Long-
pont. — Montlhery., see p. 356.
21. From Paris to Fontainebleau.
37 M. Chemin de Fer de Lton. The journey occupies l-l'/* hr. (fared
6 fr. 60, 4 fr. 45, 2 fr. 90 c. ; return-tickets 9 fr. 90, 7 fr. 15, 4 fr. 65 c.). —
Those who visit Fontainebleau should devote a whole day to the excursion,
leaving Paris by an early train (views on the left side).
At (I1/4M.) Bercy-Ceinture, a station within Paris, we cross the
Ligne de Ceinture. — Beyond (3 M.) Charenton [p. 302), we cross
the Mame, near its confluence with the Seine. To the left is the
Hospice de St. Maurice (p. 302). On the left bank of the Marne lies
Alfortville (p 302). To the left rises the Fort of Charenton, com-
manding the Seine and the Marne. 41/2 M. Maisons-Alfort, a village
with 9500 inhab., some distance beyond which we cross the Ligne
de Grande- Ceinture (pp. 27, 353).
9V-2 M. Villeneuve-St-Georges (Cafes at the station), a village
with 6485 inhab., and a suspension-bridge over the Seine, is pic-
turesquely situated on the slope of a wooded hill to the left. Above
the village is a fort. A monument in the Square de la Mairie
commemorates Victor Duruy (1811-94), statesman and historian.
Villeneuve is also a station on the Ligne de Grande-Ceinture
(p. 353). Steamboat to Paris, see p. 357.
From Villeneuve-St-Geokges (Parisl to Melun via Corbeil, 261/2 M.,
railway in I'/^-l'/s hr. (fares 4 fr. 93, 3 fr. 35. 2 fr. 15 c). This line, 8 M.
longer than the direct route, turns to the right and crosses the Veres. —
Beyond (I3/4 M ) Draveil-Vigneux it crosses the Seine and run.s parallel with
the line to Orleans, — 41/2 M. Juvisy (p. 3n8) is ulso a station on the Or-
leans railway. Our line now diverges to the left from the latter and as-
cends the valley of the Seine. — 7 M. Ris-Orangis. On the opposite bank
are Champrosay, long the residence of Alphdnse Daudet, and the Forest of
Sinart. The latter abound" in Liame, but the shooting-enclosure.'? reduce
its attractions for walkers; iht Ermitage, with two restaurants, V2 hr. from
the station, is the mo.-^t frequented spot. — 9V2 M. Ei^ry-PetH-Bourg. To
the left are DecauvilleVs iron-work.« fplant for narrow-gau^e railways, etc.).
IIV4 M. Corbeil {Hdtel de la Belle Image, to the left, before the mill?;
Bellevue, on the right bank, by the bridge"!, with 9180 inhab., is situated
at the confluence of the Seine and the Essonne. The avenue in front of
the station leads to the Moulins de Corbeil, the largest flour-mills in France
(no admission). A little beyond this are the H6tel de Ville and the hand-
360 1i. MELUN.
some Qalignani Monument^ by Chapu, commemorating the well-known Paris
publishers (d. 1873 and 1882), who were substantial benefactors of Corbeil.
The Rue Notre Dame and Rue St. Spire lead thence past the fine Gothic
Porte St. Spire (15th cent.) to the church of St. Spire., a Gothic building
of the 12th, 13th, and 15th centuries. In the first chapel to the right are
the tombs ofHaymon, Count of Corbeil (d. 957), and Jacques de Bourgoiu
de Corbeil (d. 1861), founders respectively of the church and of the college.
The former church of St. Jean-enllle now contains a small Musfe. —
About 1 M. to the S.W. lies the village of Essonnes, with a large paper
mill (3000 workmen). — From Corbeil to Montargis, see Baedeker's Northern
France.
The Melun line diverges to the right from the Montargis line, then
passes under it, and, beyond (13 M.) Villabi and a bridge over the Essonne,
enters a tunnel Vs M. in length, finally emerging on the picturesquely
wooded left bank of the Seine. — ■ 15V2 M. Coudray-Montceaux ; 18 M. St.
Fargeau- Seine- Port. Seine-Port, on the right bank, is reached by a ferry from
the station. — 2OV2 M. Ponthievry-Pringy., with a bridge over the Seine. —
Beyond (23V2 M.) Vosves., where we skirt the park of the Chateau de Be-
lombre, our line rejoins the direct line from Paris.
26V2 M. Melun, see below. — The line from Corbeil crosses the Seine
at Melun and proceeds along the right bank to (22^/2 M.) Montereau (see
Baedeker^s Northern France). Beyond Champagne., the 6th station on this
extension , we see the Forest of Fontainebleau on the left bank, while
(IOY2 M.) Vulaines., the 5th station, is only 1^4 M. from the station of
Fontainebleau and 11/4 M. from the Tour Denecourt (p. 367).
Beyond Villeneuve-St-Georges the beautiful green dale of the
Teres, a small but deep river, bordered with rows of willows and
poplars, is traversed. — Between (11 M.) Montgeron and (13 M.)
Brunoy, the train crosses the Teres. The chain of hills and the plain
are studded with innumerable dwellings. The train now crosses a
viaduct 413 yds. long and 100 ft. in height, commanding a beautiful
view, and then enters the plain of the Brie. — 161/4 M. Combs-la-
Ville. — 191/2 M. Lieusaint. — 24 M. Cesson. Near Melun the Seine
is again reached and crossed. To the right is the line from Paris
via Corbeil (see above).
28 m. Melun (Grand Afonar^ue, RueduMiroir, R. 21/2,0- 2i/2fr.;
du Commerce, Rue Carnot, both near St. Aspals), the capital of the
D^partement de Seine et Marne, is an ancient town with 13,650 in-
hab., picturesquely situated on an eminence above the Seine.
Blelun is the Melodunum mentioned by Cfesar as having becL captured
by his lieutenant Labienus. The Normans also laid it waste five times in
the 4th cent.-, and after it had become a royal residence it was again
several times captured: by Charles the Bad of Navarre in 1353; by Du Gues-
clin in 1359; by the English in 1420, after an obstinate resistance by the
inhabitants, who succeeded in expelling the invaders ten vears later; and
l.y Henri IV. in 1590.
The Rue de la Gare, to the left, and the handsome Avenue Thiers,
to the right, lead from the station to the old town, partly built on
an island in the Seine. A monument to the victims of the war of
1870-71 was erected in 1899 at the corner of the Avenue Thiers and
the Boulevard St. Ambroise. On the island, to the right, rises the
ChurcJi of Notre- Dame, built in the ll-12th cent, but afterwards
remodelled and restored in the 19th century. The transepts are sur-
mounted by two Romanesque towers. The interior, the most interest-
21. MELUN. 361
iag portion of which is the choir, contains some excellent old paint-
ings : in the right aisle, Descent from the Cross, by Jordaens, after
Rubens ; Infant Moses, by Primaticcio ; Ecce Homo, by Seb. Franck ;
ill the choir, an early copy of Raphael's large Holy Family. In the
right aisle there is also a good funeral monument (15th cent.).
The principal street on the other side of the island skirts the
back of the Church of St. Aspais (10th cent.), on the apse of which
is a modern medallion of Joan of Arc, by Ciiapu, erected to com-
memorate the expulsion of the English in 1430. The exterior is
richly decorated, while the interior deviates from the usual form iu
having double aisles terminating in apses. The choir has some fine
old stained glass and six handsome marble medallions of apostles
and church-fathers, dating from the 17th century. The right aisle
contains two ancient paintings , a Last Supper and the Hebrew
Children in the Fiery Furnace ; in the left aisle is a large modern
painting of Christ, by H. Schopin. Fine organ-case.
In front of St. Aspais is a tasteful new Savings Bank. The Rue
(lu Miroir ascends thence to the upper part of the town, in which
are situated the Belfry of St. Barthelemy, erected in the 18th cent,,
and the modern Prefecture, in the style of Louis XIII. — To the
left, as we ascend, is the Boulevard Victor-Hugo, in which is a
Monument to Pasteur (1822-90), with a bust and group in bronze by
A. d'Houdain.
To the right, beyond St. Aspais, is the Rue de I'Hotel de Vllle,
in which is the JSotel de Ville, a handsome Renaissance edifice, part
of which is ancient. In the interior is a small Museum, comprising
local antiquities, paintings, and casts of the works of the sculptor
Chapu (1833-91), who was born in the neighbourhood (apply to
the concierge). The court is embellished with a Statue of Amyot
(1513-93), a native of Melun, bishop of Auxerre and translator of
Plutarch. Behind the Hotel de Ville lies a tasteful public garden.
By the Rue de I'Hotel-de -Ville we reach the Place St. Jean, with
its ornamental modern fountain.
Farther on, on an eminence above the right bank of the Seine, lies the
park of the Chdteau de Vaux-le-Pinil (18th cent.), which affords pleasant walks.
The Chateau de Vaux-Praslin or Vaux-le- Vicomte, a gorgeous structure
of the 17th cent., lying about 4 M. from Melun. in the same direction, is
reached by the road ascending to the right from the Place St. Jean. The
chateau, which is surrounded by an immense park, was erected at a cost
uf 720,000/. by Nicolas Fouquet, 'surintendant des finances' under Louis XIV.
The owner was in the habit of entertaining the king here at costly fetes,
which eventually led to his ruin, as the enormous expenses could only be
met by a dishonest use of the public funds. The interior, which contains
paintings by Le Brun and Mignard, valuable tapestries, etc., may be in-
spected on application to the proprietor.
A steam-tramway plies from Blelun to Barbison (p. 368) in ^l\ hr., pass-
ing Danmarie and Chuillii.
Railway from Paris to Monlereau via Corbeil and Melun, see p. 359.
Beyond Melun we see the Chateau de Vaux-le-P^nil (see above)
on the left. Then, after affording severa.1 picturesque glimpses of
362 21. FONTAINEBLEAU.
the valley of the Seine on the same side, the train enters the forest
of Fontaineblean. — 31V2 M. Bois-le-Roi (Hot. de la ValMe-de-la-
Solle, Soleil d'Or, both near the station) lies to the N.E, of the
forest (comp. the Map). In the new cemetery is the monument of the
composer Olivier Me'tra (d. 1889), with a bust by Lud. Durand.
37 M. Fontainebleau. — The station is about IV2 M from the palace
(electric tramway 30 c). Visitors who arrive before lunch-time should
proceed direct from the station to the Tour Denecourt (p, 367). The oflfers
of cabmen to drive the visitor to all the places of interest at an inclusive
charge should be declined.
Hotels. De France et d'Angletebke , de l'Aigle Noir, and db
i.'EDEOPE (R. 4-6 fr.), all near the palace (arrange prices on ordering);
DE LA ViLLE DE Lyon ET DK LoNDRES, Rue Roy:ile 21, in the same style;
Lion d'Or. Rue des Bons-Enfants 25, R., L., & A. 4, B. 1, dej. SVz, D. 4,
pens. 10-12 fr. ; de la Chanoellerie. Rue Grande 2, near the palace. D.
3 fr. ; DU Cadran-Bleo. Rue (rrande 9. R., L., & A. 2V2-8, B. 1. d^j. 3,
D. 3V2. pens. 10 fr. ; Hot. dd Ctgne, Rue Grande 34, R. 2-5, d^j. 2V2, D. 3,
pens. 8 fr. ; Hotel-Pension Lacnuy, Buul. de Magenta 37, well spuken of,
R. 3-5, L. 1/2, B IV*, dej. 31/2, D- 41/2, pens. 10-13 fr.; Hotel-Pension Victoria,
Rue de France ll'i.
Restaurants. At the hotels; also, Mgrin, Rue Grande 112, de'j. 2-
2^/2, D 2Vi-3 fr.; numerous less pretending establishments. — Cafes. Jfau-
din. Rue des Bons-Enfants 33; Henri J J., Rue Grande 65; Cadran Bleu,
see above; de VH6tel-de-VilU. Rue Grande 23.
Gabs. Per drive in the town, 1 fr. ; to the station, 2 fr. (I/2 fr. extra
'demandee a domicile"'); from the station to any address in the town. 2 fr.
Per hour: in the town 3 fr. ; in the forest, according to arrangement.
Luggage 30 c. per 66 lbs. (30 kil.).
Post and Telegraph Office, Place Denecourt and Rue de la Chanoellerie.
Fontainebleau^ which, like Versailles, owes its origin chiefly to the
palace, is a quiet place with broad, clean streets, and 14,000 inhabit-
ants. It is now a fashionable and expensive summer-resort. Ex-
cept the palace, the only building of any importance is the Hotel de
Ville in the Rue Grande. A little farther on is a monument to Presi-
dent Carnot (1837-94), with a bronze bust and a statue of France,
by Peynot. In the Place Centrale, at the back of the church, is a
bronze statue, by Godin, of General Damesme, a native of Fontaine-
blean, who was killed at Paris in June, 1848.
*Palace. The chateau or palace of Fontaineblean, situated on
the S.W. side of the town, is said to occupy the site of a for-
tified chateau founded by Louis VII. in 1162. It was Francis I.
(d. 1547), however, who converted the mediaeval fortress into a
palace of almost unparalleled extent and magnificence. The exterior
is less imposing than that of some other contemporaneous edifices,
but the interior, which was decorated by French and Italian artists
(Fontaineblean school, see p. 89) in the style of Giulio Romano, is
deservedly much admired. Henri IV. (d. 1610) made considerable
additions , but since that period it has undergone little alteration.
It was a favourite residence of Napoleon /., but after the Restora-
tion it was much neglected. Louis Philippe and Napoleon III. spent
large sums of money in restoring it.
Several historical associations attach to the Palace besides those
relating to Napoleon, Pius VII., and Queen Christina which are men-
21. FONTAINEBLEAU. 363
tioned afterwards. Francie I. received Cbarlea V. at Fontainebleau in 1639.
Louis Xlll. was born here in 1601. On 4lh June 1602. Henri IV. caused
his companion in arms Warsba) Biron to be arrested here on a charge ol
high trea.son, to be beheaded in the Bastille a munth later. Here, in 1685.
Louis XIV. signed the Revocation of the Edict of Isantes , by which
Henri IV. bad granted toleration to the Protestants in 15'. 8. The Grand
Oonde died here in 1686. and it was in this palace that the sentence of
divorce was pronounced against the Empress Josephine in 1809.
The palace is shown daily from 10 to 5 o'clock in summer and
from 11 to 4 in winter, gratis. The custodian who shows the apart-
ments is to he found at the entrance, or in the principal court, or in
the offices to the left of the railing. The visit occupies about 1 hr.
The Cour du Cheval Blanc, by which we enter, derives its name
from a statue it once contained. It is sometimes called the Cour des
Adieux from having been the scene of Napoleon's parting from the
grenadiers of his Old Guard on 20th April, 1814, after his abdication.
Here, too, on 20th March, 1815, on his return from Elba, the em-
peror reviewed the same troops before marching with them to Paris.
The central part of the palace is approached by the massive
Escalier du Fer-d-Cheval, so named from its horseshoe form. Vis-
itors generally enter here, on the left side, and we shall briefly
describe the route usually followed by the custodians.
The Chafelle de la TrinitS, on the groundiloor to the left, has
a line ceiling, painted by Freminet, an imitator of Michael Angelo.
The altar-piece (Descent from the Cross) is by J. Dubois; the statues
by 0, Pilon. In this chapel Louis XV. was married in 1725, and
the Due d'Orleans [p. 159 ) in 1837, and Napoleon III. was baptised
here in 1810.
A broad staircase ascending thence leads to the first floor, where
we begin with the Apartments of Napoleon I., or the Gallery of
Francis I. (p. 365). or sometimes the Galerie des Assiettes (p. 366j
and the other apartments on the front, which are reached through
the Vestibule du Fer-a-Cheval.
The Appartements de Napoleon I., on the side of the garden next
to the Orangery, consist of an antechamber, with paintings above
the doors by Boucher^ Scipio, by Vien, Roman women offering their
jewels for the public service, by Brenet^ etc. ; secretary's room, with
other paintings ; *Bath Room, with mirrors adorned with paintings
by Barthelemy^ brought from the apartments of Marie Antoinette at
the Petit-Trianon ; room in which Napoleon signed his abdi(tation on
4th April, 1814, on the small round table in the centre ; study, with
a ceiling by Regnault, representing Law and Justice; bedroom with
a chimney-piece of the time of Louis XVI., Napoleon's bed, a clock
adorned with antique cameos (given to Napoleon by Pius VII.),
large cabinet belonging to Marie Louise, and other fine furniture
and bronzes.
To the left is the *Salle du Conseil, of the period of Louis XV.,
decorated by Boucher, and containing furniture covered with
tapestry-work from Beauvais. Large table, the top of which is a
364 21. FONTAINEBLEAU.
single piece. — Then the *SaUe du Trone, with a handsome ceiling,
containing a chandelier in rock crystal and wainscoting executed in
the reigns of Louis XIII. and Louis XIV. — We next enter the
Appartements de Marie Antoinette : her boudoir, with two line ivory
vases ; her *Bedroom, adorned with silk hangings presented by the
city of Lyons and containing the cradle of the King of Rome; rooms
containing vases and a table from Sevres and a jewel-case of Marie
Louise; the music-room, with a small round table in Sevres porce-
lain ; saloon of the ladies-in-waiting.
We now reach the Galerie de Diane, or de la Bibliotheque, a hall
88 yds. in length, constructed under Henri IV. and restored by
Napoleon I. and Louis XVIII. It is adorned with paintings repre-
senting mythological scenes, by Blondel (d. 1853) and A. de Pujol
(d. 1861), a portrait of Henri IV. yiy Mauzaisse, etc. It contains
the library (30,000 vols.) and a number of curiosities, including
Monaldeschi's sword and coat-of-mail. At the end are a magnificent
vase in 'biscuit' Sevres, and a glass-case with finely bound books.
Under the Galerie de Diane is the old Oalerie des Cer/s , which is
nut shown to visitors. It was in this room in 1657 that Queen Christina
of Sweden, while a guest at the French court after her abdication (1654),
caused her unfortunate equerry and favourite Count Monaldeschi to be
put to death after a pretended trial for treason. Louis XIV. expressed
his strong disapprobation of this proceeding, but took no farther steps
in the matter, and Christina continued to reside at Fontainebleau for two
years longer. Monaldeschi is interred in the small church of Avon^ a
village on the E. side of the park, about 1 M. from the palace.
We are next conducted to the Salons de Reception, overlooking the
Cour Ovale (p. 366). The antechamber is embellished with Gobe-
lins tapestry, and the following apartment with tapestry from Flan-
ders (myth of Psyche). The chamber of Francis I., which contains
a handsome chimney-piece of the 16th century and some ebony
cabinets of the 16th and 17th cent., is also adorned with Flemish
tapestry. — The Salon Louis XIII., in which that king was born, is
adorned with paintings by Ambroise Dubois (1543-1614 or 1615)
from the story of Theagenes and Charicles, and contains two carved
ebony cabinets of the time of Louis XIII. In the panelling at the
end is a mirror of Venetian glass, said to be the earliest mirror in-
troduced into France. The Salle St. Louis contains fifteen pictures
relating to the life of Henri IV., a marble relief, by Jacquet, of
Henri IV. on horseback, etc. — In the Salon des Jeux is a clock
of Louis XIV., with Apollo's chariot (from the Bassin d'Apollon at
Versailles; p. 322). — The Salle des Gardes^ the last of this series,
contains a handsome chimney-piece, partly by G. Pilon, adorned with
a bust of Henri IV. and statues of Power and Peace, an ancient ceil-
ing, and a fine modern flooring. A passage to the left leads to the —
Escalier duRoi, or grand stairc.ase, occupying the site of a former
bedroom, adorned with paintings by iVic. deW Abbate slIiA Primaticcio
and restored by A. de Pujol. The subjects are from the life of
Alexander. The Cour (;)vale (p. 3661 is well seen from the landing.
21. FONTAINEBLEAU. 365
The Appartements de Mme. de Mainfenon, which we next enter
are less interesting. In the salon is a fire-screen worked by the
ladies of St. Cyr, a *Table by BouUe, and chairs covered in tapestry.
— Thence a passage leads to the —
*Galerie de Henri II., or Salle des Fetes, constructed by Francis I.,
richly decorated by Henri II., and successfully restored by Louis
Philippe. The mythological frescoes by Primaticcio and his pupil
Nic. delV Abbate have been restored by Alaux, and have thus lost
much of their originality. At the end of the hall is a handsome
chimney-piece. The windows afford a pleasant survey of the gardens.
Retracing our steps to the Salon St. Louis, we turn to the left
into the Oalerie de Francois Premier, which runs parallel with the
apartments of Napoleon I. on the side next the Cour de la Fontaine
(p. 366). To the left of the entrance is a jewel-casket in Sevres, of
the time of LouisPhilippe. The gallery is embellished with fourteen
large compositions by Rosso Rossi, representing allegorical and
mythological scenes relating to the history and adventures of Francis I.
The paintings are separated from each other by bas-reliefs, caryat-
ides, trophies, and medallions. The salamander, being the king's
heraldic emblem, and his initial F frequently recur.
The Vestibule d'Honneur, between the Escalierdu Fer-a-Cheval
and the Galerie Francois ler^ possesses two handsome oaken doors
of the time of Louis XIII., and four modern doors in the same style.
— To the left are the Appartements desReines Meres and of Pius VII.
They were once occupied by Catherine de Medicis; by Anne
of Austria (d. 1666), mother of Louis XIV.; and afterwards by
Pius VII., who was a prisoner here from June, 1812, to Jan., 1814.
We pass through an antechamber with chairs and hangings in
Cordovan leather and a magnificent Louis XIII. chest, a second
antechamber with tapestry (Story of Esther) of 1740, and a room with
Gobelins tapestry and furniture covered with stuffs from Beanvais, to
the bedroom of Anne of Austria, which is also hung with Gobelins
tapestry. Beyond this are two small rooms (portrait of Pius VII.
after David, in the first), the pope's bedroom, and two apartments
with Gobelins tapestry. We then enter an antechamber, with Sevres
porcelain, and the 'Galerie des Fastes', so called from a project of
decorating it with paintings of the history of Fontainebleau. It con-
tains a few ancient pictures of secondary importance.
Lastly we reach the Galerie des Assiettes, which is sometimes
shown to visitors first. It derives its name from the quaint style in
which it was decorated by order of Louis Philippe with plates of por-
celain bearing views of royal residences, etc. It is also called Galerie
desFresques from the frescoes by A. Dubois which have been trans-
ferred hither from the Galerie de Diane.
On the groundfloor, to the right, in the main building is a
*Chinese Museum, open at the same hours as the palace. The en-
trance is in the Cour de la Fontaine (p. 36G), reached by a large^
366 -21. FONTAINEBLEAU.
archway to the right of the Fer-k-Cheval staircase. The collectiou,
which is valuable, vras hegun after the French expedition to ChinA
in 1860.
Room I. Perfume- censers-, jardiniere in cloisonne enamel: lustre;
copper dragons and pagoda; lac^ner panels; elephants' tusks. In the glass-
cases: crown of the king of Siam; handsome ewer. — Room 11. Wooden
pRgoda; valuable jewels, including a belt presented to Louis XV. by the
Siamese ambassadors: jewel of the order of the elephant: mandarin's collar
in jade This room also con'ains statues by Schoenewerk and Cordier, and
portraits by C. Van Loo of Louis XV, and Maria i^esczinska. — Room III.
Palanquin; gongs : weapons and armour; flags.
Gardens. The principal entrance is by the Cour de la Fontaine,
to the right of which there is a Pond with a pavilion. The carp in this
pond are still a source of interest and amusement to visitors.
On the right lies the Jardin Anglais, planted under Napoleon I.
On the left, beyond the pond, rises the Porte Doric, dating from
the reign of Francis I., as the salamander in the armorial bearings
indicates. It is adorned with old frescoes, now restored. This forms
one of the entrances to the Cour Ovale, or du Donjon, a court 80 yds.
long and 34 yds. in width, the oldest in the palace. This court has
undergone various alterations and has lost its original form, but
is still interesting on account of its fine colonnades of the early
French Renaissance; the capitals of the pillars are especially fine.
It is not open to the public. To the E. is a curious gate, covered
with a dome, called the Porte Dauphine, or the Baptistere, from the
fact that Louis XIII. was baptised here. It may be entered from
the Parterre, farther on, to the left. The Cour Henri IV., opposite,
and other portions of the palace are now occupied by the Erole d'Ap-
plicaii' n de VArtillerie et du Genie, removed hither from Metz.
Beyond the pond is the Parterre, a second public garden, de-
signed by Le Notre in the reign of Louis XIV., containing a square
pond and a round one. Farther on is the Canal (1320 yds. long),
formed by order of Henry IV., with bronze and marble statues and
groups in front of it. To the left is the Park, with a Labyrinth and
the famous Vinery of the palace.
The *Forest of Fontainebleau, which is about 50 M. in circum-
ference and covers an area of 42,500 acres, is justly regarded as the
most beautiful in France. On the N.E. side it is bounded by the
sinuosities of the Seine. The ground here is of a very varied
character, the rock formation consisting chiefly of sandstone, which
yields most of the paving stones of Paris. The magnificent timber
and pictuiesque gorges of the forest afford numerous pleasant walks,
and there are good paths in every direction. The forest is a favourite
resort of artists, their chief colonies being at Barbison (p. 368), to
the N.W., and Marlotte (p. 368), to the S.
The best plan of the forest is the admirable Carte topographique de la
forei et des environs de Fontainebleau (IV2 fr) by Denecourt (d. 1874), a local
celebrity, who spent a considerable part of his life and of his patrimony in
exploring and studying the forest, and in rendering its finest points ac-
2i. FONTAINEBLEAU. 367
ceflsible by footpaths. The map in the Handbook is a reduced copy of
Denecourt's. All points where paths cross each other are provided with
finger-p '•^ts It should be obs'^rved that the blue and red marks, which
M. Denecourt caused to be placed on trees and rocks, indicate the way
to the most pictur -siue points. The small red r^^dangles are connected
witb the forest itdmimstrati -n, and point in the direction of the town. —
Those who stray from the beaten paths should be provided with ^alcali
volatir for use in the case of adder-bites.
The finest point of view near Fontainebleau is the *Tour Dene-
court, reached in 1/2 ^r- from the railway-station. We ascend the
road to the left at the station, cross the railway, follow it to the
right, soon turning to the left at a laboratory of vegetable biology,
and follow the broad, sandy path, leading to the height on which
the tower is situated. This belvedere (^rfmts.), built in the form of a
miniature fortress, commands a picturesque view for nearly 40 miles
round. The Eiffel Tower in Paris is seen. From Fontainebleau we
reach the belvedere in about 3/^ hr., via the Rue Grande, the Melun
road, and the [i^U M.) Chemin de I'ontaine-le-Port, to the right,
where a post indicates the way to the Tour Denecourt (comp. the
Map). — Nearer the town, to the right of the Melun road, is the Croix
du Culvaire, commanding a *View of Fontainebleau, which is not
visible from the Tour Denecourt. — Between that road and the road
from Paris (see below) are the Nid de I'Aigle and the O'ros Fouleau^
two of the finest groups of trees in the forest (1' 4M. from the town).
Visitors seldom extend their excursion beyond the Rjchers et
Gorges de Franchard, 2^ 2 M. from the town (carr., p. 362). At the
N.W. end of the Rue de France, which leads to the right from the
Rue Grande at the tramway-terminus, we follow the broad road
diverging to the left from the highroad to Paris (which leads to the
Gros Fouteau and the Nid de I'Aigle, see above). Carriages turn to
the left at the Route Ronde. Pedestrians quit the road after 8-10
min. by a bridle-path to the left (Route du Cedre), which leads in
about 1/2 ^^- to the Croix, de Franchard. Thence the carriage-road
leads straight on in 5 min. more to the Restaurant de Franchard (d^j.
3, D. 3^2^^-i arrange prices), the most frequented spot and the
only restaurant in the Forest.
The celebrated Bochers et Gorges de Franchard, a rocky basin
overgrown with trees and bushes, about 2V2 M. in circumference,
begin about 5 minutes' walk to the W., at the Rocher des Ermites
and the 'R che qui pleure\ a little beyond the ruins of an ancient
monastery (now a forester's house). A forest-fire in 1897 destroyed
much of the beauty of this spot, and water no longer trickles from
this 'weeping rock'. The top of the rock commands a good survey
of the gorge, which, however, has lost some of its picturesqueness
owing to fires and the recent planting of young pines. Hurried
visitors may engage one of the guides to be found here, taking care
to make a distinct bargain (usually 1^2 fr-)* '^^^ visitor returns to
the town by the same route.
An excursion to the Gorges d'Apremont and the fine timber '>('
368 21. FONTAINEBLEAU.
the neiglibouring Bas-Briau is not less interesting than the above
(comp. the Map). It requires 4-5 hrs. from Fontainebleau and about
1 hr. less from the Gorges de Franchard. Between the Rochers
d'Apremont and the Monts Girard^ another chain of hills, extends
the Dormoir, a plain partly -vrooded, and partly covered with rocks
and heath, one of the most beautiful parts of the forest, and a fa-
vourite sporting -rendezvous. In the upper part of the Gorges
d'Apremont is situated the Caverne des Brigands^ said once to have
been the haunt of bandits. The man who lives in a rustic hut here
sells refreshments at high prices, and also souvenirs of the forest.
Farther to the N. is the highroad to Paris, already mentioned, which
leads, in the direction of Fontainebleau, past the Hauteurs de la
Solle to the Gros Fouteau (p. 367), etc. — The Bas-Breau is near
the terminus of the steam-tramway from Melun to Barbison (p. 361).
— Barbison (Hotel de la Foret; Hot. des Artistes, with a dining-
room containing wall-paintings by various artists; Hot. de I'Ex-
position; pens. 6-8 fr.), about ^/^ M. to the W., was a favourite
resort of Th. Rousseau and Millet, bronze relief-busts of whom, by
Chapu, have been let into a rock in the vicinity. It still contains a
colony of artists. Tramway to Melun (see p. 361).
Among the interesting points in the S. part of the forest may be
mentioned the Rocher d^Avon, near the palace-park, between the
Toad to Moret and that to Marlotte, and the Gorge aux Loups and the
Long-Rocher, near the verge of the forest. — The village of Mar-
lotte (Hotel Mallet, pens. 6-8 fr.), 3/^ M. farther on and 51/2 M.
from Fontainebleau, is, like Barbison, a favourite resort of artists.
The nearest station is Montigny^ on the line to Montargis, ^/^ M.
to the E., whence we may return to Fontainebleau via Moret. —
About 3/^ M. to the W. of Marlotte, and also near the forest, is
Bourron (Hot. de la Paix, pens. 6 fr.), suitable for a stay of some
time, with a station at the junction of the lines from Montargis
and Malesherbes. — For Moret, see Baedeker s Northern France.
22. Chantilly and its Environs.
I. From Paris to Chantilly.
25V2M. Chemin de Fer du JTord (station, P1.B,24; see p. 2Gl, in 40-75
min. (fares 4 fr. 60, 3 fr. 10 c. , 2 fr. 5 return - tickets 6 fr. 90, 4 fr. 95,
3 fr. 25 c). Excursion return-tickets are also issued (ticket-office No. 21)
on the days when the chateau is open, for 6 fr. 40, 4 fr. 30, 2 fr. 80 c. ;
but they are available for certain trains only.
As the chateau at ChantillT is open only on Sun., Thurs., & Sat. after-
noon, those who wish to combine with this excursion visits to points in
the valley of the Oise (R. 19) must begin with the latter. Including the
return via Senlis and a visit to Ermenonville, two days are required.
From Paris to (41/2 M.) St. Denis, see p. 334. Branch-line to
Enghien (Montmorency, St. Leu, etc.), see p. 339. Beyond the canal
of St. Denis (p. 201) rise the Fort du Nord and the Fort de la Briche.
— 7 M. Pierrefitte-Stains . Beyond Pierrefltte, to the left, is the
22. CHANTILLY. 369
fortifled Butte Pinion, occupied by the Germans in 1870-71. To
the right, farther on, is the fort of Stains or Garges.
91/2 M. Villiers-le-Bel-Gonesse. VUliers-le-Bel, 2 M. from the
station, with which it is connected hy a steam-tramway (30 c),
lies at the foot of the hill of Ecouen (p. 347} and IV4 M. from
Sarcelles-St-Brice (p. 3-48). A tramway also runs hence to (IV2 ^l-)
Gonesse, which has a fine church of the 12-13th centuries. — 12^/2 M,
Goussainville. — 15 M. Louvres. — 19 M. Survilliers.
A diligence (1 fr.) plies hence to Mortefontaine (Hdt. de la Providence),
a village 41/2 M. to the E., with a C/uiteau and fine Park, which belon'/ed
at one time to Joseph Bonaparte. Visitors are admitted on Sun. to the
chief portion of the park, called. Domaine de ValHeret, now separated fmm
the old chateau. Mortefontaine is 6 M. from Ermenonville (p. 379), 8 M.
from Senlis (p. 377), and 9V2 M. from Chantilly (see below).
The train now enters the Forest of Coye. — 22^/2 M. Orry-Coye,
11/4 M. from Orry -la- Ville [ommhns) to the S.E., and i^/4 M. from
Coye, to the N.W. From the station we may walk through the wood
to (15-20 min.) the Etang de la Reine-Blanche (p. 376; comp. the
Map), and thence to Chantilly.
The train crosses the valley of the Theve by a handsome stone
Viaduct of 15 arches, 330 yds. long, and 130 ft. high, commanding
a fine view. To the right are the Etang and the Chateau de la Reine-
Blanche (p. 376). Farther on the train enters the Forest of Chan-
tilly (p. 376). — To the right, as we reach (251/2 M.) Chantilly, we
notice the extensive siding for the special trains on race-days.
25^2 M. Chantilly. — Hotels. Hotel-Eestalrant dd Graxd-Condk,
on the N. side of the racecourse, R. from 6, B. I1/2, dej. with wine 5,
D. with wine 7, oinn. 1 fr. ; Hotel d'Angleterre, Grande Rue and Riie
dt Paris, dej. or D. 5 fr. ; Lion d'Oe, Grande Rue 44; Lefokt, Place de
rilospice-Condo , at the beginning of the Grande Rue. less pretending;
Petit-Louis, A.venue de la Gare 21; de la Gare, du Nord, opposite the
station. All these hotels, though most of them are small, claim to be of
the lir-st class ; visitors therefore should ascertain prices beforehand. —
Cafes. Cafi de Pan's, Rue de Paris; others at the station.
Cabs should be engaged only after a distinct arrangement as to fare.
The drivers usually demand IV2 fr. to the town, and 8 fr. to the chateau,
which is 10 min. drive from the station.
Post and Telegraph Office beside the Hotel de Ville.
English Church (iSt. Peter's); chaplain. Rev. George H. Moxon. —
Wesleyan Chapel , Grande Rue. — Institute for English Stable Boys (of
whom there are 600 at Chantilly).
Chantilly, a town with 4211 inhab., was famous especially in
the 17th and 18th cent, as the residence of the Condes. The town
presents a thronged and fashionable scene during the race-meetings,
which are held in May and October. It contains large establishments
for the breeding of raoe-horses, in connection with which a con-
siderable English colony has settled in the town. The silk lace to
which the name of Chantilly is given is now made chiefly in the
department of Calvados.
Quitting the station, we cross the Paris and Amiens road, which
leads, to the left, to the Grande Rue. As the town, however, con-
tains nothing noteworthy, we may proceed at once to the (IV4 ^^-^
Baedeker. Paris. 14th Edit. 24
370 22. CHANTILLY.
Chateau, by the Route du Bois-Bourillon (beyond the 'barriere' op-
posite the Rue de la Gare), which brings us in 1/4 hr, to the Pelouse,
or racecourse, about 125 acres in area, lying between the forest
and the town. To the right we see the Grand Stands, to the left,
farther on, the Stables (p. 375). — The Avenue de I'Aigle, which
leads from the station behind the Grand Stands, is an alternative
and easier route (oomp. the Map).
The *Ch&,teau, separated from the racecourse by a small arti-
ficial lake, consists of two main divisions: the Chdtelet or Capitainerie,
built about 1560, probably by Jean Bullant, close to the border of
the lake, and the Grand Chateau, behind the latter, erected in 1876-
1882 (see below). Separated from the Chateau proper by a broad
slope leading to the park is the Chateau d'Enghien, a heavy-looking
erection of the 18th cent., built to accommodate the numerous
guests of the Condes. — : A visit to the chateau with its valuable
contents, known as the Musee Conde, is one of the most interesting
excursions from Paris, and should on no account be omitted if time
permit. The Chateau is open only between 1 and 5 p.m. on Sun.
and Thurs. (free) and Sat. (1 fr.), from April 16th to Oct. 15th,
with the exception of race-days and of certain other days devoted
to cleaning. Director, M. J. A. Gruyer. Guide ('itineraire') for the
chateau and park 75 c. ; catalogue of the paintings l'/2 f^-j illustrated
edition 6-8 fr. — The Park is open on Sun., Thurs., and Sat. all
the year round (except race- days), but only from 1 to 4 (winter) or
5.30 p.m. (summer). Dogs are not admitted.
The history of the mediaeval castle of Chantilly dates back (o the
9th century. In 1495 it came by inheritance to the Montmorency family
(p. 34S), and the Constable Anne de Montmorency (1493-1567), who shared
the campaigns and the artistic tastes of Francis I., employed Pjerre Cham-
higes (p. xlii) to erect a chateau in its place, to which the Chtitelet (see
above) was afterwards added. Duke Henry of Montmorency, Anne's grand-
son, was executed in 1632 for his connection with the rehellious duke of
Orleans, and his possessions passed to his brother-in-law, Prince Henry II.
of Bourbon- Conde'. Under Louis II. of Condi (1621-86), known as the 'Grand
f'onde' for his wit as well as for his warlike exploits in Alsace, the Nether-
lands, and S. Germany, Chantilly became the scene of magnificent fetes,
which were suspended by the banishment of Conde' in 1654 for his com-
plicity in the war of the Fronde, only to be renewed with fresh splendour
after his return in 1660. Mme. de Se'vigne in her letters describes the
gorgeous reception given here to Louis XIV. in 1671. Embellished by
Mansart and surrounded by a park laid out by Le Kdtre in 1663, Chan-
tilly at this time rivalled the most sumptuous royal palaces, while Racine,
Voltaire, La Fontaine, Fe'nclon, and Eoileau were amongst its most fre-
quent quests. Of the buildings planned by Loii>s Henry of Boiirbon Condi
(1692-1740), minister of Louis XV., only the stables (p. 375) were com-
pleted. Ihe Chateau d'Enghien dates from the time of his son Louis Joseph
(1736-1818). During the Revolution , the Grand Chateau was demolij^hed.
The heir of the last of the Condes, who died in 1830. was Henriy Due
d'Aumale (1822-97; fourth son of Louis Philippe), to whom a decree of the
National Assembly in 1872 gave back the pr^^perty of which he had been
deprived during the Second Empire. He caus^rd the present Grand Chateau
to be built by Dnumet in 1ST6-1882, and in 1886 pres nted the entire Chateau
with its magnificent coHecti ns to the lustitut de France, on conditii^n that
it should be open to the public.
1 Orand Vpstibnle \2 Salle Chjx>line
2 Rotonde ^ Cabinet Gonet
3 Vpstibule thiAhisee jla Santzmrio
t Galeric du Logels 16 Cabinet des C^mmes
5 Prtite Galercedii Logi.4:Yl Antichmnbre
^Vestibule diiLoc/is ^ Salle des Garde.";
7 S(d[e de la Snialah 19 Cfuunbre
% Sail eclel/L Miner ve "20 (^rrind Cabinet
Cabinet clesAntigues2X. Salon des Sirwes
0 Cabinet du GtoUo l22 Grand ZscaUer \
1 Salie IsabeUe 23 Gfderie de la ChapeUK\
2 Salon d 'Orleans-
et iTrtprinie p
''^llecl'HoTme
Warner A ■Deb'^s Leipzig
22. CHANTILLY. 371
Tlie Entrance Gate ('grille d'honneur'; comp. Plan) is precede'l
by a bridge spanning a moat filled with ancient carp. Thence "we
ascend a slope to a raised terrace, on uhich is a bronze equestrian
statue, by P. Dubois, of the Constable Anne de Montmorency (jp. 370).
To the right and left are bronze dogs and stags, by Cain.
The Porte de la Herse^ on the left, which is flanked by reproduc-
tions of Michael Angelo's 'Slaves' (p. 104), admits us to the Cour
d^Honneur, where we are confronted by the Peristyle^ the entrance
to the building. Beyond the peristyle, where umbrellas, etc., are
given up, we enter the Geanu Vestikulk (PI. 1), to the left of
which is the grand staircase (p. 374); the Chatelet is in front, and
the Grand Chateau, with the principal collections, on the right.
We ascend the steps to the last.
Grand Chateau. Galebik dks Cerfs or Dining Room , de-
corated witli eight *Tape3tries of the 17th cent., after Van Orley ('the
Hunts of the Emperor Maximilian'). Above the fire-plare and the
doors : 540. St. Hubert, 537. Venus, 588. Diana, by Baudry.
*PiCTUKE Gallery, to the right. To the right and left of the
door: Stag-hunt, by Barye, Boar-hunt by A/ene (bronzes). Paintings.
Poussin, 298. Infancy of Bacchus, 302. Landscape with nymphs.
Above the door, 63. CarraccA, Sleeping Venus. Then to the right:
515. Meissonier, Cuirassiers (1805); *545. A. deNeuville, Skirmish
on a railway (1870); *523. Fromenf in, Hawking; 375. Nattier, Mile,
de Clermont at the mineral springs of Chantilly; 504. J. Buprr,
Sunset; 426. Gerard, The three ages; 428. Gros, Bonaparte in the
plague-hospital at Jafta (sketch for the picture in the Louvre) ;
476. Decamps, Turkish children at a fountain ; *456. DcZacroix,
The Foscari; 809, 303. De Champaiyne, Mazarin, Richelieu; 474.
Decamps, Turkish sentinel; 448. Corot, Open-air concert; 395.
Drouais, Marie Antoinette as Hebe; 145. Sir J. Reynolds, Philippe
Egalite, Duke of Orle'ans, father of Louis Philippe (comp. p. 215);
383. Lancret, Luncheon-party ('dejeuner de jambon'). — On the
left wall, beginning at the entrance: 301. Poussin, Landscape with
Numa Pompilius and the nymph Egeria; *35. Palma Vecchio, Ma-
donna with SS. Peter and Jerome (1500); 40. Penni, Madonna of
Loretto (after a lost original by Raphael); 305. Poussin^ Massacre of
the Innocents; *59. Scipione Gaetano , Portrait; 17. Francia,
Annunciation; 32. Titian, Ecce Homo; 9. Sienese Master of the
lf)ihcent.. Dancing angels; 366. De Troy, Luncheon-party ('dejeuner
dhuitres' ). — At the end of the picture-gallery is the Rotunda (PI. 2),
in the Tour Senlis. The floor is paved with mosaic fromHerculaneum.
The *Ceiling Painting, the last work of Baudry, represents the Apothe-
osis of Psyche. By the window, Joan of Arc, by Chapu, a replica of
the marble statue mentioned at p. 257. The walls are hung with
water-colours and drawings by A/emonJer (513), Delacroix, Decamps
(483-485), Marilhat (501), Ostade, Watteau, Ruysdael (139), and
Rembrandt. 102. Otho the Great (Rhenish miniature of the 10th cent.).
24*
372 22. CHANTILLY.
The Vestibule bu Musee (PI. 3), to tlie left of the picture-gallery
as we quit the Rotonda, contains three bronze Japanese vases. —
Galeeie du Logis (PI. 4). Portrait-drawings, chiefly of the 16th
cent., including specimens of Lapjicau, Dumoustier, Nanteuil and
De Champaigne. The Petite Galbrie du Logis (PI. 5), parallel
■with the last, also contains drawings (by Rigaud, Oudry, Van Loo,
Greuze, Isabey, J.B.Euet, and Guerin), besides ivory- carvings and
coins. — Vestibule du Logis (PI. 6). Drawings by Raphael (Monk -,
three heads from the cartoon of the Calling of Peter, now^ in London),
Leonardo da Vinci (alleged cartoon of the Gioconda, p. 115), Peru-
gino^ Giulio Romano, and Tiepolo. Bust of the Due d'Aumale, by
Dubois (1896).
Salle de La Smalah (PI. 7; comp, p. 314), to the left. Drawings
and water-colours of scenes from the life of the Due d'Aumale;
157. Lawrence, Francis II. of Austria; 331. Detaille, Major Lepic at
Eylau (1807). — Salle de la Minerve (PL 81, in the E. tower
(Tour du Connetable). Central Glass Case: *Minerva (to the right),
Dancing Satyr, Jupiter, three Greek bronzes; Vase from Nola;
Tanagra figurines; coins. Six panels with Cupids, by Baudry.
Drawings by *Prudhon (frieze of the seasons), Pousnn, Ingres, etc.
— Cabinet des Antiques (PI. 9). Three large Greek bronze vases ;
articles found at Pompeii; water-colours and drawings. — Cabinet
DU Giotto (PI. 10). Small Italian paintings, including 1. Giotto,
Death of the Virgin; 14. Rosselli, Madonna. — Salle Isabelle
(PI. 11). Landscapes by Ruysdael (138). Van de Velde (140), Tk.
Rousseau (506), Daubigny (519), DiLpre (503), etc. Paintings by
Decamps, Delacroix (457), Ingres (434. Francesca da Rimini), Ge-
rome (533. Duel after the masked ball), Meissonier (514), etc.
Salon d'Orleans (PI. 12). Collection of drawings and engrav-
ings in portfolios, including about 600 portraits of the 16th cent.,
480 by Carmontelle (18th cent.), and 600 drawings by Raffet. On
the walls: 552. Bonnat, Portrait of the Due d'Aumale in 1880; 521.
Jalaberl, Marie Amelie, wife of Louis Philippe ; 554. Mile. Cogniet,
Adelaide of Orle'ans, sister of Louis Philippe ; several Italian paint-
ings. — Salle Caroline (PI. 13). Portraits of the Orleans and
Conde' families, hy Mignard, Largilliere(33i. Elizabeth Charlotte of
the Palatinate). Nattier, etc. Also: 136. Van Ever dingen, Tempest;
Greuze, 394. Surprise, 391, 393. Heads; 371, 372. Small works by
Vi^atteau. — Cabinet Clouet (PI. 14). Chiefly portraits, including
works by Aldegrever (114. Himself), F. Pourbus (122. Henri IV.),
Mierevelt, Teniers (130. The Grand Conde', 1653), Le Nain, Francois
and Jean Clouet, Barth. de Bruyn (113. Catharine von Bora), and
Mme. Vigee-Lebrun. — We then pass through the door on the right,
cross the picture gallery, and enter the —
Galerie de Psyche. *Stained-glass windows (grisaille) illus-
trating the story of Cupid and Psyche, from the 'Golden Ass' of
Apuleius, in 44 designs executed in 1541-2 for the Chateau d'Ecouen
22. CHANTILLY. 373
after cartoons of the School of Raphael (Michael Coxie?). The in-
scriptions are copied on the adjoining walls. On the opposite wall
are numerous portraits of the 16 - 17th cent., and drawings by
Giulio Romano^ Raphael^ and Van Dijck. Also a copy after Michael
An^gZo'^ Last Judgment. At the end, wax bust of Henri IV., by
G. Dupre (1610).
*Santuae.io (pi. 15), the small room to the right. **39. Raphael,
'Madonna of the Orleans family', in admirable preservation (1506) j
*19. FilippinoLippi, Esther and Ahasuerus, a panel from a marriage-
chest; *38. Raphael, The Three Graces, a small work, purchased for
645,000 fr. in 1885; *201-240. Jean Fouquet, Forty miniatures
from a book of hours, painted in 1452- CO for Estienne Chevalier,
treasurer of France under Charles VII.
*Cabinet of Gems (PI. 16), in the Tour du Trcsor, at the end
of the Galerie dePsyche. The glass-cases contain enamels, miniatures,
porcelain, fayence, medals, goldsmiths' work, jewellery, weapons,
and historical relics. Case lxy : *Cross from the treasure of Bale
(15th cent.); *Monstrance from P>raga, in Portugal (16th cent.) ; five
enamelled plates by Pierre Courtois and a cnp by L. Limousin. Table
Case at the central windows: *Rose diamond, known as the 'Grand
Conde'; Abd-el-Kader's dagger, etc. — To the right we enter the —
*Tribunb. At the top of the walls are views of the various seats
of the Dnc d'Aumale. Paintings, beginning to the left: 158. S. W.
Reynolds, Bridge of Sevres; *146. Sir Joshua Reynolds, Lady
Waldegrave and child; 450. P. Delaroche , Assassination of the
Duke of Guise; *445. Ary Scheffer , Talleyrand (1S28); E. Dela-
croix, Sketch for the painting of the Crusaders (p. 132). — 300.
Poussin, Theseus finding his fathers sword ; Watteau, 370. Pastoral,
369. Cupid disarmed; 310. P. de Champaigne , Abbess Angelica
Arnaud (p. 125); 125. Van Dyck, Gaston de France, Duke of Or-
le'ans; 314. Mignard, Mazarin. — 36, Mazzolino, Ecce Homo; 24.
Luini , Salvator Mundi ; 3. Lorenzo di Piccolo , Coronation of the
Virgin; 15. Perugino , Madonna between SS. Jerome and Peter;
*107, 108. Memling, Jeanne de France and Crucifixion (a diptych");
10. Pietro di Sano , Mystic marriage of St. Francis of Assisi to
Chastity, Poverty, and Obedience. — 29. Fdippino Lippi or Botti-
celli, Madonna; *13. Poi^ojuo/o, Simonetta Vespucci ; 11. Filippo
Lippi, Madonna and saints; i()4:. Flemish School (J. van Eyck?),
Portraits; 16. Botticelli, Autumn; 106. Flemish School of the I5th
cent. (Dierick Bouts?), Translation of the shrine of St. Perpetua
(1466); *105. Flemish School of the 15th cent. (Rogier van der
Weyden, Van der Goes , or Memling ?), Antony of Burgundy, half-
brother of Charles the Bold; *313. Mignard, Moliere ; Ingres, 430.
Portrait of himself, 433. Venus Anadyomene, 432. Stratonice, 431.
Mme. Devan^ay; 425. Gerard, Bonaparte as First Consul. — 112.
Holbein (?), Bugenhagen; portraits by Fr. Clouet, etc.
We now return to the Grand Vestibule, and turuing to the right,
374 22. CHANTILLY.
enter tlie Chatelet, or the Appartement de M. le Prince. — Ante-
chamber (PI. 17): 378, 379. Huntiug-scenes, by Oudrij; 380, 381.
Dogs, by Desportes; 147. Hunting-scene, by Hackert. To the left
a cabinet with a mineralogical collection presented in 1774 by
Gustavus III. of Sweden. At the end, Chinese and French porce-
lain and stoneware. — Salle des Gasues (PI. 18). At the entrance,
*126, *127. Portraits by Van Byck; 132. Portrait of the Grand Conde,
by J. van Egmont ; four *Portraits in enamel by Leonard Limousin.
The glass-cases at the sides contain old flags, weapons, and souvenirs.
Over the fireplace, Rape of Europa, a mosaic from Herculaneum.
The furniture in this and several of the other rooms is upholstered
in valuable *Beauvais tapestry. — Bedroom (PI. 19), with decorative
paintings by J. B. Huet and Rebell; *Commode by Riesener, with
bronze decorations by Hervieu. — Grand Cabinet (PI. 20). Fur-
niture of the 18th cent., with Beauvais tapestry; bronze equestrian
statuette of the Grand Conde, by Fremiet. — Salon dbs Singes
(PI. 21), so called from the decorative paintings of apes, etc., at-
tributed to Chr. Huet.
Galerie du Prince. 361-363. Paintings by S. Lecomte, illustrat-
ing the battles of the Grand Conde (1686-92; inscriptions). In the
centre is a trophy of arms, with a portrait (No. 307; by Stella') and
a medallion (by Coyzevox') of the prince (1686). The banner was
taken at Rocroi (1643) and is the oldest military trophy in France.
Statuettes ; busts.
Library, entered from the antechamber (see above). The gallery
contains about 13,000 volumes. Some of the most interesting MSS.
are exhibited in Case 16 : near the middle, Breviary of Queen Jeanne
d'Evreux (ca. 1330); below, Psalter of St. Louis (1214); Heures of
the Due de Berri (ca. 1395); also fine bindings. On the chimney-
piece is a terracotta bust of the Grand Conde, by Coyzevox.
To the S. of the Grand Yestibule is the Grand Staircase (PL 22),
descending to the groundfloor, which is not shown: iron and copper
balustrade, of admirable workmanship, by the brothers Moreau;
two Gobelins tapestries (Jason and the bull, after De Troy, and a
Pastoral, after Boucher)] four light-holders by Chapu. The ceiling-
painting, representing Hope, is by Maillart. — Gallery leading
TO THE Chapel (PL 23): to the right, two antique chasubles and
two antique dalmatics; to the left, drawings by Diirer, Domenichino,
Seh. del Piombo, and Raphael. — The —
*Chapbl, a sumptuous structure in the Renaissance style, con-
tains an altar by Jean Bullant and Jean Goujon, brought from the
Chateau d'Ecouen, and embellished with a marble relief of Abra-
ham's offering. The inlaid panelling (partly dating from 1548) and
the stained glass (1544), representing the family of the Constable
Anne, were also brought from the Chateau d'Ecouen. In the apse
(Tour de la Chapelle) behind the altar is the mausoleum of Henri II.
de Conde, father of the Grand Conde', by J. Sarrazin, with 6 bronze
Jt.jlp , ilr- ^'nie -^
OixY t) Chipene ea'Ser
'Vaana- iDebes.Leipzi
22. CHANTILLY. 375
statues or groups and l.'i bas-reliefs (1662); at the back is a cippus
containing the hearts of several princes of Conde'.
Tlie *Park (adm., see p. 370) was laid out by Le Notre, who
afterwards designed the gardens of Versailles in the same style, and
is embellished with numerous statues and ornamental pieces of
water. Th*' chief of the latter is the Canal de la Manche, formed by
the Nonette. A good view of the central parts of the park is obtained
from the terrace beside the statue of Anne de Montmorency (p. 371).
To the E. of the terrace we enter the 'Pare de Silvie', with its
numerous shady avenues affording beautiful vistas. In about 8 min.
from the terrace (guide-boards) we reach the charming little Maison
de Silvie^ which contains portraits, tapestries, furniture, hunting-
scenes, etc. ] also two paintings from the history of the house, by
0. Merson.
The poet TMophile de Viuu (1590-1626), condemned to death in 1623,
was here concealed by Marie Felice des Ursins, Duchess of 3Iontmorency,
whi.m he afterwards celebratt d in his verscS under the name of 'Silvie'.
The house, whiih was restored by the Grand Conde in 1684, was the scene
of the romantic amnurs of Mile, de Clermont and M. de Melun , who was
killed by a stag while hunting in 1724.
Thence we proceed in a N. direction, crossing the Canal de^i
Morfondus, to (8 min.) the Hamlet, resembling the Petit-Trianon at
Versailles; during the last quarter of the 18th cent, this was the
scene of many rustic fetes. — The portion of the park on the other
side of the Canal de la Manche, with the little chateaux of La Nonette
and St. Firmin and the 'Vertugadin', is not accessible to the public.
We follow the S. bank of the Canal des Morfondus to the central
part of the park, with a circular basin round which are placed the
best statues in the park: Le Notre and Moliere, by T. Noel; Bos-
suet, by Guillaume ,• Conde, by Coyzevox ; La Bruyere, by Thomas ;
Bacchus and Hebe, by Deseine; Pluto and Proserpine, by Chapu;
Grand Conde, by Coyzevox.
Le Notres park originally extended on the W. as far as the town
of Chaiitilly, but about 1820 an English Garden was laid out here,
presenting a pleasant contrast to the other parts of the park. It in-
cludes a Temple of Venus, an Island of Cupid, and other erections
of the 18th century. In this direction (placards) is a building known
as the Jeu de Paume (1757), which contains a considerable number
of paintings, drawings, and sculptures; tapestries; gala carriages;
military souvenirs; Abd-el-Kader's tent (comp. p. 314); two leaden
dogs brought from Orleans House at Twickenham, referred to by
Pope in his poem 'The Alley'; and other curiosities. — After 3.30 p.m.
visitors may quit the park by the adjoining gate.
Immediately outside is the Forte St. Denis, an imfinished gate-
way, through which we enter the main street of the town. Here, to
the left, are the C/atrc/i (^lG87-90) and the extaiiiUe Stables ( Ecu ries )
of the Conde's, which date from 1719-35, and have accommodation
for 260 horses. They are empty at present, but may be visited at
376 22. CHANTILLY.
the same hours as the Chateau (entr., No. 15, Grande Rue). — An
equestrian statue of the Due d'Aumale, by Gerome, was erected
in 1899 to the W. of the stahles. The bronze reliefs on the pedestal
represent the Submission of Abd-el-Kader (1847) and the Capture
of the Smalah (1843).
A pretty view of the park with the chateau in the background is
obtained from the Senlis road, about ^/tM. from the church ofChantilly:
we take the road to the N. opposite the church, turn to the right beyond
the Canal de la Mancbe, and proceed to the W., between the houses of
Vineuil and the N. wall of the park, to a point above the Vertugadin.
The FoBBST OF Chantilly, which covers an area of 6125 acres,
is well kept and provided with numerous guide-posts, but it occupie s
for the most part a flat site, and most of the roads and paths are
covered with a thick layer of sand that renders walking disagreeable
and fatiguing. The paths skirting the railway to (1 hr, from the
station) the Etang de Comelle (see below) are, however, better. The
paved Route de Louvres and another road to the right lead in about
1 hr. from the chateau to the Carrefour de la Table, an open space
where 12 roads meet, with a large stone table in the centre. The
Route du Conn^table, starting from the racecourse near the chateau,
is very sandy, and is purposely kept soft by the horse-trainers. The
entrance to the avenue is embellished with two lions, by Guillaume
Coustou. Pedestrians will be able to find the more agreeable paths
with the aid of the annexed map. — The Etang de la Reine Blanche
or de Comelle is a long-shaped sheet of water, fed by the Theve, a
small tributary of the Oise, lying between the Forest of Chantilly
and the Forest of Coye. Near the lower end is the Chateau de la
Reine Blanche, a small modern Gothic hunting-lodge on the site of
an ancient chateau once occupied by Queen Blanche, mother of St.
Louis. A little farther on is the large railway- viaduct, mentioned
at p. 369.
At (3 M. from Chantilly) St. Leu-d'Esserent we may join the railway
from Creil to Paris via Beaumont (see below). To reach it we follow
first the road from Paris to Amiens, afterwards diverging to the left (comp.
the Map).
n.' From Chantilly to Paris vi&. Creil and Beaumont.
At (6 M.) Creil we change carriages, and join the railway descending
the valley of the Oise. From Creil to Beaumont, 19 M.; thence to Paris
23 M. via Montsoult, 25 M. via Valmondois-Evmont, or 29 M. via Pontoise-
Ermont. From Ermont we may also take a ticket to the Gare St. Lazare.
Beyond Chantilly the train crosses the valley of the Nonette by
a Viaduct, 484 yds. in length and 72 ft. in height, consisting
of 36 arches, and commanding a fine view. To the left, the Chateau
de Laversine, belonging to Baron G. de Rothschild. The train then
passes through a cutting, traversing the quarries of St. Maximin,
which yield excellent building-stone, and soon crosses the Oise. To
the right is a handsome modern chateau, also belonging to a member
of the Rothschild family. To the left is the line to Beaumont (see
22. CREIL. 377
below) ; and in the same direction are seen the church of St. Leu-
d'Esserent (see below), and the village and manufactories of Monta-
taire (6000 inhab.), commanded by a church of the 12th and 13th,
and a chateau of the 15th century.
32 M. (from Paris) Creil (Buffet; Hotel du Chemin de Per; da
Commerce, Rue de la Gare), a town with 8500 inhab., is an im-
portant station on the Chemin de Fer du Nord, being the junction
of five different lines (see Baedeker's Northern France'). The town,
prettily situated on the Oise, is reached by a tubular bridge at the
end of the street leading from the station. Beyond the bridge, on
an island to the right, are the ruins of the Church of St. Evremont
(12th cent.), and the scanty remains of an ancient royal chateau.
Farther on, to the left in the main street, is the Church, an irre-
gular building with double aisles, mainly in the Flamboyant style.
The stained-glass windows are good; and in a Gothic recess on
the left side is a high-relief of the Madonna with SS. Dominic and
Catharine.
The line to Beaumont and Paris, identical for a short distance
with that from Chantilly, afterwards follows the right bank of the
Oise. — 10 M. St. Leu-d'Esserent, a large village with important
stone-quarries. The conspicuous church is chiefly of the 12th cent. ;
the largest of the three towers is Romanesque. — 12^2 M. Pricy;
15 M. Boran; 17 M. Bruyeres.
19 M. Persan-Beaumont. — Beaumont and thence to Paris,
see R. 19.
III. From Chantilly to Paris viS, Senlis and Crepy-en-Valois.
To Senlit, 8 M. ; thence to Cr4py-en-Valois, 14 M., where carriages are
changed. From Crepy to Parit (Gare du Nord), 38 M.
This line diverges to the right of that to Creil beyond the viaduct
over the valley of the Nonette (p. 376). The train stops at St. Maxi-
min, to the S. of the village of that name (p. 376), and at Vineuil,
to the N. of the park of Chantilly (p. 375). — 41/2 M. St. Firmin,
to the N.E. of the village, which also lies near the park. The tower
of Senlis cathedral appears to the right.
8 M. Senlis (^Hotels du Grand Cerf, du Nord, de France, Rue de
la Re'publique, Nos. 21, 28, 27), the Roman Civitas SyLvanectensium,
situated on the Nonette, is a pleasant little town with 7200 inhab.,
which is frequently mentioned in mediaeval history. Until the Re-
volution it was the seat of a bishopric founded by St. Rieul or Regulus.
On quitting the station we cross a handsome boulevard to the
right and reach the Rue de la Re'publique, the principal street,
which forms part of the road from Paris to Lille (comp. the Map,
p. 375). To the right appear the belfry of the cathedral and the
remarkable tower of St. Pierre (p. 378).
The second turning to the right leads us direct to the *Cathedral,
378 22. SENLIS.
a handsome Gothic building of the 12-1 6th centuries, with a fine
facade. The *Tower to the right (250 ft. in height) is justly ad-
mired for its light and elegant form. The usual turrets at the base
of the spire are here replaced by dormer-windows with high pedi-
ments, recalling at a distance the style of some belfries in the S.E.
of France. The side-portals are in the Flamboyant Gothic style.
The vaulting in the interior, especially that of the chapel to the left
of the nave, is worth inspection. In the same chapel is an antique
marble bas-relief. The windows are modern.
Opposite the portal is a house in the grounds of which are some
remnants of the Roman Walls (towers) and of the Royal Palace of
the Merovingians. A partial view of these may also be obtained
from the side^street to the right. To the left of the house, farther
on, on the right, is an ancient Gothic portal, the former entrance to
the palace.
The former Bishop's Palace, with an ancient early-Gothic chapel,
lies to the right of the choir of the cathedral.
In the neighbourhood, to the right, is the former Church of
St. Frambourg, now a riding -school. The nave is a fine Gothic
edifice of the 12th century. The neighbouring Church of St. Pierre
(12-16th cent.) is now a market; one of its towers is surmounted
by a spire, the other by a dome.
The Rue de la Republique descends towards the ISonette. On
the left is the large Palais de Justice, behind which is a small Musee
Municipal^ in a street to the left, which leads also to the theological
College de St. Vincent, which has superseded the abbey of that name.
The abbey-church (chiefly 12th cent.) has been preserved.
Traces of a Roman Amphitheatre were discovered in 1863 near the
town, to the left of the road to Chantilly.
Ermenonville (p. 379) lies 8 M. to the S.E. of Senlis.
The train beyond Senlis passes seven stations, of which the chief
are (I2V2 M.) Barbery and (I6V2 M.) Auger-St- Vincent.
22 M. Crepy-en-Valois {Hotel des Trois Pigeons, unpretending),
a town with 4380 inhab., was the ancient capital of a district which
belonged from the 14th cent, to a younger branch of the royal family
of France.
Quitting the station we pass through one of the Toivn Gates
(18th cent.), and proceed straight on to the small Place du Paon,
in which is an ancient Gothic house. The Rue Nationale, straight
in front, is the chief street of the town.
The street descending to the left (gateway) from the Place du
Paon affords a general view of the remains of the ancient Chateau
(11 -13th cent.), situated on a hill. — By following the Rue
St. Lazare (gateway) to the right from the Place, and then the Rue
de I'Hospice to the left, we reach the interesting old collegiate
church of St. Thomas (begun in 1183 and dedicated to Thomas a
Becket), of which the fa(;ade (13th cent.) and a tower and spire
22. cr6py-en-valois. 379
(15th cent.) still remain. — The Rue St. Thomas, opposite, ends at
the Rue Jean-Jacques Rousseau, which leads to the left (gateway)
to the Rue Nationale. On the opposite side begins the Rue Jeanne-
d'Arc, leading to the Place de la Hante, in -which (to the left) is a
handsome Portal of 1537. The street to the left, farther on, ends
at the foot of the chateau (p. 378). That to the right leads to a
little valley at the base of the hill on which the chateau stands.
The Rue du Lion, diverging to the right from this street, brings us
to the parish church oi St. Denis, in the Romanesque and Gothic
styles, with a modern belfry. In the interior of this church the choir
(15th cent.), the pulpit, and the other ancient wood-carvings should
be noticed. — In the Rue St. Denis, which leads hence back to the
centre of the town, are some quaint houses.
Railway's to Soissans and to CompUgne via Verberie, see Baedeker^s
Northern France.
251/2 M. Ormoy; 30 M. Nanteuil-le-Haudouin. — M M. Le
Plessis-Belleville.
From Le Plessis-Belleville a diligence (1 fr.) plies to Ermenonville
(Croix cfOr), a village 3 M. to the N.W. , near the forest of the same
name. It is known as the spot where J. J. Rousseau died and was buried
in 1778, six weeks after his arrival to enjoy the retreat offered to him by
the Marquis de Girardin. The Chdtemi, now the property of Prince Radzi-
will, is at the E. end of the village, and is shown by special permission
only. The Park^ intersected by the road which continues the principal
street of the village, was one of the finest laid out in the 18th cent., and
is more in the English style than in that of Le Notre. The most interest-
ing part is the Grand Pare, to the left of the road and in front of the
chateau; it is open to the public on Sun. and Thurs., and visitors are
admitted also on other days on application. The lie des Peupliers, in a
lake here, contains the empty tomb of Rousseau, his remains having been
removed to the Panthe'on (p. 242) in 1794. — The road passing in front of
the chateau leads to Senlis (p. 377), 8 M. to the N.W. Mortefontaine (p. 369)
lies 6 M. to the W. of Ermenonville.
38 Y2 Bammartin; the small town lies 2'/2 M. to the N.W. on a
hill (omnibus 40c.). About 1^/4 M. to the S. (omnibus 30 c.) is the
College de Juilly, founded in the 17th cent, by the fathers of the
Oratory. Among its alumni have been many celebrated men.
"We next pass the stations of [AO^/i) }^l.') Thieux- Nantouillet,
(4IV2 M.) Compans, (43V2 M.) Mitry-Cl'iye, and (461/2 M.) Ville-
parisis, and skirt the Canal de tOurcq (p. 201). 48 M. Vert-Galant.
Between (^49 M.) Sevran-Livry and (51 M.) Aulnay-les-Bondy^ the
Foret de Bondy appears on the left.
From Aulnay-les-Bondy a branch-line runs to (12 M.) Bondy, on the
line to Nancy; see Baedeker's Northern France.
54 M. Le Bourget-Drancy. Le Bourget, to the right, was the
scene of sanguinary struggles between the French and Germans on
Oct.28-30thand Dec. 24th, 1870, in which the former were repulsed.
A monument to the French soldiers has been erected. We here cross
the Ligne de Grande-Ceinture. — 55 M. Le Font Blanc. — 56 M.
Aubervilliers-la-Coumeuve. Aubervilliers, an uninteresting village
to the right, is connected with Paris by a tramway (see Appx.). Its
380 22. AUBERVILLIERS.
churcli was destroyed by fire in April, 1900. — To the right of
(56Y2 M.) Aubervilliers-Rue-St-Denis appears St. Denis (p. 334).
— At (57 M.) Pont de Soissons, we join the main Ligne dn Nord. —
58 M. La Plaine- St- Denis. Then the station of La Chapelle-Nord-
Ceinture.
60 M. Paris (Gare du Nord, pp. 26, 200).
BOU LOGN E 3 M
ROUTES FROM LONDON TO PARIS.
23. By Folkestone, Boulogne, and Amiens.
255 M. By Express Trains (see advertisements in 'Bradsliaw'), from
Charing Ci'oss or Cannon Street, in 8-10 hrs., average sea-passage 2i, 4 hrs. ;
fares 21. 10s., II. 14s. 8d., and 11. 2s. 9d. (3rd cl. by afternoon service
only); return-tickets valid for one month il. Is. iOd., 3l. 3s., and il. ilt. bd.
Passengers with single tickets may break their journey at the principal
stations, and spend seven days on the route. Registered luggage is not
examined before arrival at Paris.
By Steamboat from London to Boulogne (see 'Bradshaw'). Bennett Steam-
ship Co., thrice weekly, in 9-10 hrs. (6 hrs\ river-passage)', fare 10s., return
17s. lOcf. ; New Palace Sttamers Co., four times weekly during the season;
return-fares l^s. 6d.. lis. Qd. This route is pleasant in favourable weather;
but the trains from Boulogne to Paris (p. 384) do not correspond with
the steamers.
Boulogne - sur - Mer. — Hotels. Near the baths: Hotel des Bains
i)E ilEB (PI. a; D, 1); Solth-Easterx Hotel (PI. a; D, 1); de la Plagb
(PI. a; D, 1); DE LA MARINE (PI. b; D, 2), all in the Boul. Ste-Beuve;
DE Folkestone fPl. c; D, 2), de Paris (PI. d; D, 2), Windsor (PI. e;
D, 2), Q\iai Gambetta C^oa. 74, 66, & 62). In the towTi : Hotel des Bains
ET DE Bellevce (PI. f ; E, 8). Quai Gambetta and Rue Victor-Hugo; Mel-
rice ET DE lTnivers (PI. i, h; E, 2, 3), Continental fPl. m; E, 3), Rue
Victor-Hugo CN^os. 26,85); British Hotel (PI. 1; E 3), Rue Faidherbe 27;
DU LoLVBE (PI. n; D, 3), near the station R., L., & A, at these 2V2-7V2,
d^j. 2V2-4i,2, D. 3-7, pens. 8-20 fr., wine generally extra. — There are also
numerous maisons meubUes. pensions, and furnished apartments.
Restaurants. Casino (de'j. 4, D. 5 fr.) ; Edtel de Flandre. Quai Gam-
betta 52 (dej. 2, D. 21/2 fr.); Bdtel du Port. Quai Gambetta 34 (de'j. 2V2,
D. 3 fr.)5 also at most of the above-named hotels and at the railway-
stations.
Cafes. Grand Cafi de Boulogne, Continental, Rue Adolphe-Thiers 68 and
53; others in the Rue Monsigny and elsewhere.
Gabs. From 6 a.m. to midnight, per drive lV2fr., per hour 2 fr. ; from
midnight to 6 a.m. 2 fr. and 2V2 fr. 5 outside the town, per hr. 2'/2 fr.
Tramway to the Etablissement de Bains from the Place Dalton (PI.
F, 3), 15 c. ; from the Coin-3Ienteur (PI. E, 3), 10 c.
Casino. Admission per day 1 fr., week 10, fortnight 17, month 29 fr. ;
double t'ckets 19, 32, or 54 fr. Adm. to Theatre, 4 fr. See the gratuitous
'Guide Programme'.
Baths. Sea Baths 1 fr., including machine and towels; subscription
for 12 baths 9 fr. ; at the Ec'ole de Natation (enclosed basins) 50 c. and
5fr. 50 c.; ffot Baths 1 fr.
Post and Telegraph Offices, Rue du Pot-d'Etain 12 (PI. E, 3).
British Vice-Consul, if. F. Fanner, Esq., Rue Wissocq 14. — American
Agent, William Hale, Rue de la Gare 8. — Bankers, Adam d- Co.. Rue
Victor-Hugo 6 (also Lloyd's agents). — ifenidew^s Librarv, Rue Victor-
Hugo 60.
English Churches in the Rue du Temple, Rue de la Lampe, and Rue
des Vieillards. — New Wesleyan Methodist Church, 70 Grande Rue.
t For farther details, see Baedeker's Northern France.
382 Route 23. BOULOGNE-SUR-MER. From London
Boulogne~8ur-Mer, so called to distinguisli it from Boulogne-snr-
Seine near Paris, the Bononia (?) or Gessoriacum of the Romans, is
an important seaport and the largest town in the D^partement Pas-
de-Calais, situated at the mouth of the Liane, with a population of
46,800, of whom over 1000 are permanent English residents. Its
numerous schools enjoy a high reputation. The town is divided into
the Haute -Ville, or old town, on the height to the E., and the much
lAXger Basse -Ville, including the harbour. The part of the Basse-
Ville on the left or W. bank of the Liane is known as Capecure.
The Harbour, especially the E. part near the Douane (PI. D, 2),
presents a very busy scene. Boulogne stands next to Marseilles,
Havre, and Bordeaux among the seaports of France. Its commer-
cial importance is increasing, and in 1879 extensive operations
were begun with the view of enlarging the port, but their completion
has been deferred owing to lack of funds. Vessels are now able to
enter and clear at low water. The WestFier stretches into the sea
for a distance of 765 yds.
The Gare Maritime (PL D, 2), on the quay of the Folkestone
steamers, is connected with the Grande Gare, or principal railway
station (PL D, E, 4), by a short branch-line. On the right bank of
the Liane, immediately beyond the Pont Marguet (PL E, 3), is a
bronze statue, by Lafrance, of Frederic Sauvage, who is regarded
by the French as the inventor of the screw-propeller. Thence the
Quai Gamhetta runs to the N. to the Halle (PL E, 3) and the
Douane (PL D, 2). Near the Halle is a statue of Jenner, the dis-
coverer of vaccination, by Eug. Paul.
The Fish Market is held early in the morning in the Halle. The
fishermen and their families occupy a separate quarter. La Beurn'&re, on
the W. side of the town , and form one-tenth of the population. They
partly adhere to the picturesque costume of their ancestors, and differ
somewhat in character and customs from the other inhabitants of the town.
The Etablissement de Bains, with its Garden and handsome
Casino (PL D, 1, 2), lies farther to the E. Adm., see p. 381.
The garden is always open to visitors, but non-subscribers pay 20 c.
for admission on concert-days. — Between the shadeless beech and
the cliffs runs the Boulevard Sainte-Beuve (PL D, 1, 2), named in
honour of the famous critic (1819-55), who was a native of Boulogne.
The East Pier, or Jetee de VEst (PL B, C, 1, 2), which extends
650 yds. into the sea, is a favourite evening-promenade. — On the
cliff is the ruined Tour d'Ordre ('Turris Ardens' ; PL D, 1), a Roman
beacon tower built under Caligula in 40 A. D.
We now return to visit the town. The Rue Victor-Hugo (PL
E, 3) and its continuation the Rue Nationale contain the principal
shops. The Rue Adolphe-Thiers, parallel to the Rue Victor-Hugo,
begins at the Place Dalton (PI. F, 3), in which rises the church of
St. Nicholas (17-18th cent.). The Grande Bue ascends from this
point to the Haute -Ville.
The Museum (PL F, 3), in the Grande Rue, contains ethnograph-
to Paris. BOULOGNE-SUR-MER. 23. Route. 38^^
ical and historical collections, some Egyptian antiquities, and a
picture gallery (open in summer daily, except Tues., 11-4; in
winter on Sun., Wed., Thurs., and Sat.). The Public Library, on
the second floor, contains 55,000 vols, and some interesting MSS.
(open daily, except Frid., 10-4).
At the top of the Grande Rue, on the left, is the Sous-Prefec-
ture (PI. F, 3), in front of which is a colossal bust of Henri II.,
by David^ commemorating the restoration of the town to France by
the English in the reign of that monarch (1550). In the Boulevard
Mariette, farther on (PI. G, 2), stands a bronze statue of Mariette
Bey^ the eminent Egyptologist, who was a native of Boulogne
(1821-81). A little to the N. is a public park known as Lea Tintel-
leries (PI. F, 2 ; concerts in summer). Close by is the Boulogne-
Tintelleries Station (p. 388) on the railway to Calais.
The Haute- ViLLE (PI. F, G, 2, 3), enclosed by ramparts (13th
cent.), is entered by three gateways: the Porte des Dunes, the Porie
de Calais , and the picturesque Porte Gayole. The Hotel de Ville
(PI. G, 3) was erected in 1734 on the site of an ancient castle, where
the crusader Godfrey de Bouillon was born in 1065.
The church of Notre-Dame (PI. G, 2), a building in the degraded
Italian style, erected in 1827-66, occupies the site of a Gothic church
which was destroyed in 1793. Handsome high -altar in mosaic
work, and richly ornamented Lady Chapel. Curious crypt (adm.
1 fr.). The lantern which surmounts the dome is crowned with a
colossal statue of the Virgin , which forms the most conspicuous
point in the whole town. Extensive *yiew, comprising the 'dunes',
the plateau traversed by the railway to Calais , in the foreground
Napoleon's Column, and in the distance, in clear weather, the white
cliffs of the English coast. The entrance to the staircase is by a
door to the right, at the S. portal (adm. 1 fr.).
The Chateau (PI. G, 2), in which Louis Napoleon was confined
after the attempted insurrection of 1840, is the ancient citadel of
Boulogne, and dates from the 13th century. It is now converted
into barracks (no admission).
The Cemetery of the Haute -Ville (beyond PI. G, 2) contains the
graves of Sir Harris Nicolas, Basil Montague, and numerous other
ICnglishmen.
In 1804 ^'apoleon I. assembled an army of 172,000 infantry and 9000
cavalry on the table-land to the N. of Boulogne , \inder the command of
Marshals Soult, Ney, Davoust and Victor, and collected in the harbour
a flotilla of 2413 craft of various dimensions, for the purpose of invad-
ing England and establishing a republic there. The troops were ad-
mirably drilled, and only awaited the arrival of the fleets from Antwerp,
Brest, Cadiz, and the harbours of the Mediterranean, which had been in
the course of formation for several years for this express purpose. Their
union was prevented by the British fleet under Sir Robert Calder; and
the victory of Nelson at Trafalgar, on 2'2nd Oct., 1S05 , completed the
discomfiture of the undertaking.
Napolkon's Column, or the Colonne de la Orande-Armie, a Doric column,
172 ft. in height, constructed by Marquise, situated 2 M. from Boulogne on
384 Route 23. ABBEVILLE. Fru^n London
the road to Calais (comp. PI. G, 1), was founded in 1804 to commemorate
the expedition against England , the first stone being laid by Marshal
Soult in the presence of the whole army. The first empire left the
monument unfinished, and in 1821 Louis X\1II. caused the work to be
resumed, intending that the column should commemorate the restoration
of the Bourbons \ but it was not completed till 1841 , when its original
destination was revived. The summit is occupied by a statue of the
emperor, one of Bosio'^s finest works. The pedestal is adorned with
reliefs in bronze, representing emblems of war. The view from the top
resembles that commanded by the dome of Notre-Dame (custodian 1/2 fr.).
From Boulogne to Paris.
159 M. Chemin de Fee du Noed. Express in 3V4-33/4, other trains in
6-7'/2 hrs. (fares 28 fr. 45, 19 fr. 20, 12 fr. 50 c).
Quitting the handsome station of Boulogne, the train traverses
the valley of the Liane. At (I1/4 M.) Outreau the line from the
Grande Gare joins that from Boulogne-Tintelleries (p. 383). The
country soon "becomes fiat and uninteresting. Several large cement-
works are passed. 3 M. Pont-de-Briques ; 51/2 M. Hesdignetd (junc-
tion for St. Omer).
Beyond (1772 J^O Etaple3 the train crosses the Bale de la Canclie
"by a viaduct. 20 V2 M. St. Josse; 321/2 ^L Rang du Fliers- Verton,
the station for the (4 M.) small sea-bathing place of Berck; 28 M.
Conchil-le- Temple ; 34 M. Rue. — 4OY2 ^- Noyelles is situated in
the midst of a dreary expanse of sand. In the vicinity the Somme
was crossed hy Edward III. before the battle of Crecy in 1346.
Branch-line to the right to (8^ 2 M.) Cayeiix, via (4 M.) St. Vah'ry-sitr-
Somme., whence William the Conqueror set out for England in 1066. An-
other branch-line runs to (5 M.) Le Crotoy.
49 M. Abbeville (Hot. de France ; Hot. de la Tete-de-Boeuf ; *H6t.
de la Gare) is a cloth-manufacturing town, with 19,670 inhab., on
the Somme, and connected with the sea by means of a canal. The
principal building is the Gothic Church of St. Wolfram, founded in
the 15th century. The Flamboyant portal of the Church of St. Gilles
is also interesting. The Musee Boucher-de- Perthes contains pre-
historic antiquities, old furniture, china, and a few pictures, while
the Musee d' Abbeville et du Ponthieu has objects of natural history,
paintings, and antiquities. In the Place St. Pierre is a bronze statue
ot Lesueur, the composer (1760-1837). by Rochet; and the Place
Courbet is embellished with a flue statue, by Falguiere and Mercie,
of Admiral Courbet (1819-85), who was born at Abbeville.
From Abbeville branch-lines run to (5SV2 M.) B^thune, via St. Riquier;
to (19 M.) Bompierre-sur-Authie., via Crecy-en-Foiiihieu; and to (28 31.) Eu;
eee Baedekei'^s Northern France.
The scenery becomes more picturesque as the train ascends the
fertile valley of the Somme. — 541/2 M. Pont-Remy. — From
(591/2 M.) Longpre branch-lines diverge to Le Treport and Canaples.
— 64 yi.Hangest; 681/2 M. Picquigny, with the ruins of a strong-
hold of the 16th cent.; 71 1/2 M. Ailly-sur- Somme; 721/2 M. Dreuil;
751/2 M. St. Rock. — The train now threads two short tunnels.
tn Paris. AMIENS. 23. Route. 385
7672 M. Amiens. — Hotels. Hotel de l'Univers (PI. a; G, 4), i)v
Rhin (PI. b; G, 4), Rue Noyon and Place St. Denis, E. 3-7 fr. ; de Franck
ET d'Angletekre (PI c; E, F, 4), Rue de la Republique 9, nearer the
centre of the town, R.2i 2-5 fr. ; Ecu de France (PI. f; G,4), Rue de Noyun,
R. from 272 fr. ; lk P.vrts (Fl. d; G, 4), Rue de Xoyon, pens. T'/e tV.,
iucl. wine 5 BoissT (PI. g; E, ii), Rue Ste. Marguerite; dd Cojimerce (PI. e-,
F, 4J, Rue des Jacobins; de la Paix (PI. h; E, 4), de Rouen (PI. i : E, 4).
Rue Dum^ril 17 and 42 ; Croix Blanche, Rue de Beauvais 44 (PI. Ei, 4).
Cafes. Dufourmantelle., Rue des Trois-Cailloux 34. and others in the
.same street.
Cabs. For 1-2 pers. , per drive 75 c, per hr. l^/j fr. ; 3-4 pers. 1 fr.
and 2 fr. ; each V4 hr. extra 50 c.
Amiena , the ancient capital of Picardy, now that of the Depart-
ment of the Somme, with 88,730 inhab., and one of the principal
manufacturing towns in France , is situated on the Somme and its
affluents the Arve and the Selle. These streams form numerous
canals in the lower part of the town, the industrial quarter. The
principal manufactures are linen, woollen stuffs, silk thread, cash-
meres, and velvet. The central part of the town is surrounded by
handsome boulevards on the site of the former fortifications, of
which the Citadel (PI. E, 1) is the only relic. In 1802 the Peace
of Amiens between France and England was concluded here. On
20th Nov. , 1870, the Prussians defeated the French near Amiens,
and entered the town on the following day.
The exit from the station is in the boulevards, opposite the Hue
de Noyon, which we follow to the Place St. Denis (PI. F, G, 4), em-
bellished with a bronze statue of Ducange, the eminent philologist
(bom at Amiens in 1610; d. 1688). The Rue Victor-Hugo leads
hence to the right, passing the modern Palais de Justice, to the —
*Cathedkal(P1.F, 3), one of the most imposing Gothic churches
in Europe, erected in 1220-1288 by the architects Robert de Lu-
zarches, Thomas de Cormont, and his son Renault. Length 470 ft.,
length of transept 213 ft., width of nave 144 ft. The heaviness
of the building is insufficiently relieved by the lofty spire over the
transept, 392 ft. in height, or 145 ft. above the roof, re-erected in
1529. The two uncompleted towers of the W. facade belong to the
13th and 15th cent., the former being 181 ft., the latter 210 ft. in
height, but like the central spire they are too small for the edifice.
The principal W. portal, one of the finest parts of the building, was
completed towards the end of the 14th century.
The "Facade contains three lofty recessed porches , richly adorned
with reliefs and statues. The 'Beau Dieu d Amiens." is an admirable figure
of the Saviour which separates the doors of the central portal. Above
the portals are a handsome gallery, niches containing twenty -two col-
ossal statues of kings of Judah, a magnificent rose-window iJS ft. in dia-
meter, and still higher a gallery connecting the towers.
The "Interior consists of nave, transept, aisles, and choir, all flanked
with chapels. The nave rises to the very unusual height of 147 ft., being
surpassed in this respect by the cathedral of Beauvais alone. The
vaulting is borne by 126 remarkably bold columns, tapering towards the
top. The stained glass in the rose-windows, triforium , and choir is
ancient. The organ-loft dates from 1425, but ha*i been modernised. The
Baedeker. Paris 14th Edit. 25
386 Route 23, AMIENS. From London
bronze Monuments of the two bishops who founded the church, one on
each side of the nave, are fine works of the 13th century. The wall of
the choir is adorned with *Reliefs representing, on the N. side the history of
John the Baptist, on the S. side the life of St. Firmin, sculptured in 1489
and 1530. Behind the high-altar is the '■En/ant Pleureur\ a much admired,
but overrated weeping angel, by Blasset. At the entrance to the choir
are large marble statues of St. Vincent de Paul and San Carlo Borromeo.
The transept contains some interesting reliefs, painted and gilded (beginning
of the 16th cent.).
The 'Choir Stalls, 110 in number, are fine specimens of carving exe-
cuted in 1508-22. There are no fewer than 3650 figures. The subjects
are mainly Scriptural, but also represent difterent worldly occupations.
The traveller should not neglect to visit the Triforium, which com-
mands a good survey of the interior of the church, and ascend thence to
the external galleries and the tower.
At the back of the ctiiirch rises a statue in bronze of Feter the Her-
mit (PI. F, 3), or Pierre of Amiens, the promoter of the first crusade.
The Hue Rohert-de-Luzarches leads to the S. from the cathedral
to the Rue des Trois-Cailloux, with the best shops and the Theatre
(PI. F, 4). From the Place Gamhetta (PI. E, 3, 4), with a gilded
clock-tower, at the E. end of the Rue des Trois-Cailloux, the Rue
de la Republique runs to the S. to the boulevards; while the Rue
Delambre leads to the N.W. to a square in which rise the Belfry
(PI. E, 3), an eccentric edifice of 1748 (restored in 1865), and the
Hotel de Ville (PI. E, 3), lately enlarged and almost entirely rebuilt.
The *Musee de Picardie (PI. E, 4), in the Rue de la Republique,
is open on Sun., Tues., & Thurs., 12 to 4 or 5 (at other times for a
fee). The collections on the groundfloor include medijeval carvings ;
Roman antiquities (tomb-reliefs, leaden coffins, bronzes, glass); a
fine mosaic found at Amiens in 1857, with interesting arrangement
of colours; fayence from Nevers and Beauvais; a few Greek antiqui-
ties (statue of Diana; mosaic of Apollo); and a collection of modern
sculptures. In the Grande Salle Centrale and on the first floor are
about 250 French paintings, chiefly of the beginning of the present
century (David, Gerome, etc.). The staircase is adorned with mural
paintings by Puvis de Chnvannes. ■ — In the same street is the Biblio-
theque Comrnunale (Pi. E, 4).
In a street running parallel with the Boul. du Mail, to the N.,
is a monument called the Illustrations Picardes (PI. F, 4), consisting
of a figure of Picardy, surrounded with statues and busts of eminent
natives of that province. — On the AV. side of the town is the
pleasant Promenade de la Hotoie (PI. A-C, 2, 3). The churches of
St. Gerynain (PI. E, 3) and St. Leu (PI. F, 2) are Gothics structures
of the 15th cent., with elegant towers.
A branch-line connects Amiens with Rouen (in 2-4 hrs.).
Beyond Amiens we cross the Arve. 7972 M- Longueau (bufi'et),
junction of a line to Arras (Lille). Near (827-2 M.) Boves is a ruin-
ed chateau in which Henri IV. often resided with the beautiful Ga-
brielle d'Estr^es. Fine view of the valley of the Noye. — 89 M.
AiUy-sur-Noye. — 9372 M. La Faloise. At the village of Folleville,
to Paris. CLERMONT, 23. Route. 387
13/4 M. to the S.E., are the mins of a c.hatean, and a late-Gothic
church containing a monnment by Ant. della Porta. — From
(99'/2 ^^0 Breteuil-Gare a branch-line leads to the (41/2 M.) small
town of lireteuil (3100 Inhab.).
104 M. St. Just-en-Chaussee, the centre of a hosiery-mannfac-
tnring district, and the junction of lines to Beanvais and Douai.
1171/2 M. Clermont de I'Oise (Hotel St. Andre, well spoken of),
a town with 57i'0 inhab., pleasantly situated on a hill, is commanded
l)y an ancient castle now used as a prison for women. The church
of St. Sdmson, of the 14th and 16th cent., has recently been restored.
The Hotel de Ville, built in 13*20 and restored in 1887, is said to be
the oldest in the N. of France. The country here is well-peopled
and picturesque. Branch-lines to Compicgne and to Beanvais.
1221/2 M. Liancourt- sous - Clermont (Ifot. dn Chemin-de-P'er-
du-Nord), a manufacturing town with 4170 inhab., contains the
ruined chateau (17th rent.) of the dukes of Rochefoucauld-Liancourt
and a Statue of Duke Frederic Alexandre (1747-1827), distinguished
for his philanthropy and his encouragement of agriculture. The
chnrch contains two good marble monuments.
127 M. Creil , beyond which the train skirts the Oise. T>arge
porcelain-factory on an island in the river.
From Creil to (159 M.) Paris, see R. 22.
24. By Dover, Calais, and Amiens.
2S3 M. By Express (see 'Bradshaw'), starting from Charing Cross, Can-
non Street, Victoria, Holborn Viaduct, and St. PauFs stations, in 7' '2-IO hrs.;
sea-passage V/i-i^^ hr.; fare 21. I65. 2d., 1/. 19s. 2d., and U. bt. Qd. (3rd
cl. by night service only) ; tickets available for seven days, with option of
halting at Dover, Calais, and Amiens; return-tickets, valid for one month,
4^ lis. 9rf., 3/. 8s. iOd., and 2l. — Luggage should be registered before
leaving England, to avoid examination at Calais.
Calais. — Hotels. Grand-Hotel, Place Richelieu (PI. B,4); Terminus.
at the Gare Maritime (PI. C, 2); Bdffet-Hotel , at the Central Station
(PI. B, 5); DE Flandre, Rue Leveux (PI. B, 4); Dessin, Rue Amiral
Courbet 5 (PI. C, 3) ; Salvage; Hotel du Commerce; de Londres, Rue
de la Cloche 7. — Cafes: Bellevue, de France, du Glohe, Place d'Armes;
Grand Cafi, corner of the Boul. Jacquart and the Rue Lafayette. — Sea-
bathing: to the N. of the Bassin de Ketenue.
Cabs. For 1-2 pers., per drive 90 c, per hr. IV2 fr. ; 3 pers. 1 fr. 20 c,
2 fr. ; 4 pers. 1 fr. (50 c, 2 fr. 50 c. ; double fare after 11 p.m.
British Consul, C. A. Fayton, Esq.; Vice-consul, E. H. r.lomefield, Etq.
(also Lloyd's agent). — United States Consul, Jumtfs B. Milner, Esq.
English Church, Rue du Moulin-Brul^. — Wt-sleyan C/iapi-!, Rue du
Temple.
Calais, a town with 56,940 inhab., including St. Pierre-lh-
Calais, and a fortress of the first class, derives its chief importance
from its harbour and its traffic with England, to which it is the lu^arest
port on the French coast. Dover is 18 M. distant. About 200,000
travellers pass through the town annually. The loOO English resi-
dents are chiefly engaged in the extensive tulle-nianufactories.
25*
388 Route 24. CALAIS.
The Harbour, which is accessible at all states of the tide,
has been doubled in size by extensive new works, recently com-
pleted at a cost of 2,400, OOOi. The Old Harbour, with the former
railway-station, lies nearest to the Place d'Armes ; the imposing
*N€W Harbour farther to the E. The new Gare Maritime (PI. C, 2),
where passengers from England find the train for Paris waiting, is
situated on the N.E. side of the Avant-Port (PI. B, C, 2), and is
connected by a short branch-line, skirting the new harbour, with
the Oare CentraU (see below).
The old Hotel de Ville (PI. B, C, 3), in the Place d'Armes, the
handsomest edifice in the town, was erected in 1740 on the site of an
earlier building of which the tower still remains (15th cent.). It is
adorned with busts of the Due de Guise, 'lib^rateur de Calais en
1558', and Richelieu, the founder of the citadel in 1634. — The
church of Notre- Dame , on the E. side of the town, dating from the
12th and (chiefly) 14th cent., has been modernised. The handsome
marble altar, an Assumption by Seghers (1628), and a Descent from
the Cross by Rubens (?) may be inspected.
At the end of the Rue de Guise, leading S. from the Place d'Armes,
is the Hotel de Ouise (Pl.B, C,4), in the English Tudor style, orig-
inally founded by Edward III. as a guildhouse for the wool-staplers.
The Oare CentraU (PI. B, 5) lies between Calais proper and
St. Pierre. Near it, on the St. Pierre side, are a pretty Park and the
Place Centrale (PL C, 5).
St. Pierke-les-Calais is the industrial and commercial part of
Calais. Its prosperity is due chiefly to its extensive manufacture
of tulle , an industry which was introduced from Nottingham in
1818. The Church of St. Pierre (PL D, 7), built in 1862-70, and
the Hotel de Ville are both situated in the Place Crevecoeur.
From Calais to Boulogne. — i^/^ M. Calais -Ville (central
station, see above) ; 8 M. Fontinettes, still within the new fortifica-
tions of Calais. 5 M. Frethun; 11^/4 M. Caffiers. — 17 M. Marquise^
a small town with marble quarries, is 7 M. from Cap Oris Nez, the
nearest point to the English coast, and the proposed starting-point
of the submarine tunnel between France and England.
26 M. Boulogne, and thence to Paris, see R. 23.
The express trains from Calais to Paris do not enter Boulogne itself,
but touch at the suburban station of (25 31.) Boulogne-Tintelleries (p. 383).
25. By Newhaven, Dieppe, and Rouen.
248 M. By Express from Victoria and London Bridge stations (see
'Bradshaw') in 9 (day-service) or 10 hrs. (night -service); single tickets,
available for seven days, 34s. Id., 2os. Id., 18s. Id.; return-tickets, available
for one month, 58s. 3d., 42s. 3d., 33s. 3d., available for 2 months, 63«. 2d.,
46*. Id., 36«. 3d. ; sea-passage 31/2-41/2 hours. Luggage should be registered at
London or Newhaven in order to avoid examination at Dieppe ; in returning,
luggage registered to London ia examined at Newhaven. This route from
London to Paris, the shortest in actual mileage though not in time, is
also one of the cheapest and most interesting.
I ^ ri r; M M .-i jvi ^ H M »-: C-: -; M ri -i M I
DIEPPE. 25. Eoute. 389
Dieppe. — Hotels. Hotel RoiAL (.PI- a i *-',l^ tlKAND Hotel Fkancais
(PI. b; B, 1), Geand Hotkl M£tbopole et des Bains (PI. d ; D, 1), des
Eteangeks (PI. f; D, i), Geand Hotel (PI. g; E, i), all in the Rue Aguado,
facing the sea (R. from about 4, ddj. 4-5, D. 5-6 fr.). — *H6tel de Pabis
(PI. m; G, 1), Place de Cimille Saint-Saens, opposite the Casino; d' Albion
ET DO TtHMiNua (PI. h; E, 2), Quai Henri IV., opposite the ateamboat-
wharf; DE LA Paix (Pl.j; C,2), Grande Rue 212; Chaeiot d'Ob (PI. k; 0,2),
Rue de la Barre; deb Familles (PI. 1; C, 2), Rue de rHotel-de-Ville 29.
— Hot. du Globe et Victoria (PI. o; r>, 2), Rue Duquesne 8; on Com-
MEBCE (PI. n; D, 2), Place Nationale; dd Khin et de Newhaven (PI. e;
C, 1), Rue Aguado; Soleil d"Ob, Rue Gambetta 4. — Travellers are recom-
mended to ascertain the prices beforehand. — Furnished Apartments are
also easily found in the Rue Aguado.
Restaurants. Cafi-Restaurant du Casino, on the beach, see below (de'j.
4, D. 5 fr.); Au Faisan Dori^ Grande Rue 74 (d^j. 2, D. 21/2 fr); Hdtel
des Arcades., Arcades de la Bourse, de'j. l','*, D. 2 fr. Buffet, at the Gare
Maritime.
Cafes. Ca/^ <SM!Sse, Grande Rue 1, and in the Arcades; Cafi de Rouen,
L'afi des Trihunaux, both at the other end of the Grande Rue.
Cabs with seats for two pers. IV4 fr. per drive (after midnight 21/2 fr.),
IVi or 31/2 fr. per hr. ; with four seats 1V2-3 and 2-4 fr. respectively.
Baths. Sea-Bath, including tent and foot-bath, 75 c. Hot Bath, fresh
water 1, with towels, etc., IV2 fr. ; salt water, I1/2, with towels, etc., 2V4 fr.
British Vice-Consul, H. W. Lee-Jortin, Esq., Rue du Faubourg-de-la
Barre 2. — United States Consular Agent, M. R. Bourgeois, Quai de Lille 8.
— Lloyd's Agent, M. R. Delarue-Leion.
English Churches in the Rue Asseline and the Rue de la Barre.
The Carved Ivory and Lace of Dieppe are specialties of the place.
Dieppe, with 22,4-10 inhab. , is situated in a valley formed by two
ranges of lofty white chalk - cliffs , at the mouth of the Arquen,
which forms a harbour capable of containing vessels of consider-
able size. In spite of the vicinity of Havre, Dieppe still carries on
a considerable trade in coals with England and in timber with
Norway and Sweden. Fish is, however, the staple commodity of the
place. Dieppe is also a fashionable watering-place, being annually
visited by numerous English, as well as French families,
The Gare Maritime (PI. E, 2) and the Steamboat Quays are on
the N. side of the Avant Port, or outer harbour. To the S. W., beyond
the Bassins Duquesne and Berigny, lies the Central Station (PI. C, 31 ;
and to the E., between the Bassin Duquesne, and the suburb of J.e
Pallet (PL E, 3), inhabited by sailors and fishermen said to be of
Venetian origin, are several basins opened in 1887.
Along the N. side of the town, between the sea and the Rue
Aguado, in which are the principal hotels, stretches La Plage (PI. C,
D, E, 1), a handsome marine park or promenade, 2/3 M. long. At its
W. extremity is the Casino or Etablissement de Bains (PI. C, 1), the
principal attraction for visitors, a handsome brick and glass structure
replete with every convenience and including a small theatre (adm.
in the forenoon 50c., afternoon 1 fr., evening or whole day 3fr. ; less
for subscribers). In front of it are placed about 200 small tents, used
as dressing-rooms, from which the bathers descend into the water,
accompanied by a guide-baigneur, if necessary. In fine weather the
scene is very aTnnsing. and novpl withal to the English visitor.
\
390 Route 25. DIEPPE. From London
On a precipitous white cliff at the W. extremity of the Plage rises
the handsome Castle (PI. B, 1, 2), with its massive walls, towers,
and bastions, erected in 1435 as a defence against the English. In
1694, however, it was unable to resist the cannonade of the English
fleet, then returning from an unsuccessful attack on Brest, and the
unequal contest resulted in the total destruction of the town. The
view from the castle is very extensive.
The church o[ St. Eemj/(P1. 5; C, 2), not far from the castle,
in a mixed style of the 16th and 17th cent., contains huge round
columns and some good sculptures. — The church of St. Jac-
ques (PI. 4; C, D, 2), the patron-saint of fishermen, in the Place
Nationale , is an interesting florid Gothic edifice dating from the
12- 16th centuries. It contains numerous rich sculptures and stained-
glass windows. Near the church is the Statue of Duquesne (PI. 15 ;
D, 2), erected in 1844, a celebrated admiral and native of Dieppe
fd. 1687^. — To the E. of the entrance to the harbour is the modern
Gothic church o{Notre-Dame-de-Bon-S'ecours{'P\.¥,2'). The Musee
(Pi. 11 ; C, 1) contains local antiquities, a natural history collection,
and a few pictures, besides a collection of art and a library re-
cently presented by Saint-Saens, the composer, a native of the town.
The most interesting point in the environs of Dieppe is the ruined castle
of Arques {H6lel du Chateau; Henri IV., unpretending), situated 4 M. to
the S. E., and memorable as the scene of a victory gained by Henri IV.
over the League in 1589. The excursion may be made by train or by omni-
bus (there and back 2 fr.). The "View from the castle embraces the val-
leys of the Ai'ques.1 the Bithune, and the Eaulne.
Other excursions may be made to Varangeville, Puyt, Citi de Limes or
Camp de Cdsar, and Berneval, all on the coast.
From Dieppe to Paris.
125 M. Railway via Rouen in 3'/2-6V4 hrs. (fares 18 fr. ?0, 12 fr. 80,
8 fr. 30 c). — Another line leads via Neufchdtel, Oournav, Oisors, and
Pontoise (in 3'/4-53/4 hrs. ; fares the same).
Soon after quitting Dieppe the train passes through a tunnel,
upwards of 1 M. in length, and then enters the valley of the Scie,
which it crosses 22 times. After passing several unimportant stations,
it reaches (32 M.) Malaunay (p. 398; Engl. Ch. service by the
Kouen chaplain), where the Rouen-Havre and Dieppe lines unite.
From this point to Rouen the district traversed is cheerful and
picturesque, abounding in cotton and other factories.
38m. Bouen. — Hotels. Gband Hotel d'Angleterre (PI, a; C, D,
3, i), Cours Boieldieu 7-8; *H6t. du Noed (PI. c; C, 3), Rue de la Grossc-
Horloge 91-, de Paris (PI. d; D, 4), Quai de Paris 51; 'Hot. de France
(PI. e; 1), 2), Rue des Cannes 09; all these of the first class, R. 41/2-12 fr.
(enquiry should be made beforehand), dej. a la carte, D. S'/z-B fr. — Hotel
de la Poste (PI. f ; C, 2), Rue Jeanne-d'Arc 72, R., L., & A. from 3, D.
31/2 fr. — Hotel d'Albion (PI. b; C, 4), Quai de la Bourse 16; do Square,
Rue Jeanne d'Arc 91, pens. 6'/2 fr., well spoken of; du Dadphin et
d'Espagne (PI. i; D, 3), Place de la Republique; de la C6te-de-Baleine
(PI. g; D, 3), Rue du Bac 18-20; Lisieux (PI. h; D, 3), Rue de la Savon-
nerie 4; nu Chemin-de-Fek de Dieppe (PL k; C, 1); ViCTOPaA (PL j; C, 1),
RueVerte, near the station on the right bank, unpretending.
/
/ /
to Paris. ROUEN. 25. Route. 391
Restaurants. Tosla/'rant Fran<;a>s., Rue Jacqncs-le-Lieur 10, bchiii'l
the Hotel d'Aogleterre, high charges i Pomef, Quai de Paris 34; E6Cel dti
Dauphin, see above; ^4 In Forte de Pnris, Quai de Paris, d^j. 2V2, !>• 2V.J fr. :
de Paris, Rue de la GroBse-Horloge 95 (dej. I'/z, D. l»/4-2 fr.).
Cafes. De la Bourse, Boieldieu, Vicior, in tho Cours Boieldieu ; Houdard,
Quai de Paris 58; du Commerce, Qnai de Paris. — Bratterie-Resiauranl de
VEpoque, Rue Guillaume-le-Conquerant 11 (PI. C. 2, 3), with a small garden
Electric Tramways traverse the principal streets and also extend to
the fluburbB : fares 10-50 c.
Cabs. Per drive, I'/z fr., per hour 2 fr. ; at night (12-6 a.m.) 2V2 or
3 fr. — Each trunk 20 c.
Steamboats to La Bouille (80 c, 60 c), Oistd (40 c), Dieppedale (30 c),
to Honfteur and Le Havre (7hr3.; 6fr., 4 fr.), etc.
Post and Telegraph Offices, Rue Jeanne d'Arc 45 (PI. C, 2).
British Consul, M<>vAn<jv.e E. Loflits, Esq. — American Vice -Consul,
M. Ddkpianr. — Lloyd's Agent, John Davis Wake.
English Church Service in All Saints' Chvrch, lie Lacroix, by the stone
bridge. Wesleyan Church in the Rue Grand Pont.
Rouen, the Roman Rotomagus, formerly the capital of Normandy,
now that of the Department of Seine-Infe'rieore, with 113,200 in-
hab., exclusive of the suburbs, is a very important cotton manu-
facturing place, sometimes not very aptly called the Manchester of
France. It is the richest of French cities in mediaeval architecture,
though within the last forty years the construction of handsome
streets like those of Paris has swept away most of the quaint old
houses that abounded in the former crooked and picturesque but not
very healthy streets. The old walls of the town, which bade defiance
to Henry V. of England in 1415 and to Henri IV. of France in 1592,
have been converted into boulevards planted with trees.
Quitting the Gare de la Rive Droite (PI. C, 1) we turn to the
left by the Rue Verte, cross the boulevards, and enter the handsome
Rue Jeanne-d'Arc, which runs in a straight line to the Seine. To
the left is the Tour de Jeanne d'Arc (PI. G, 1), the donjon of a castle
which was the scene of the trial of Joan of Arc ; the tower in which
she was imprisoned was pulled down in 1809. — On the E. side
of the Jardin Solfirino (PI. 0, 2), farther on, is the Musee (p. 393).
The *Palai8 de Justice (PI. C, D, 2, 3), in the late florid
Gothic style, resembles the handsome town-halls of Belgium, al-
though consisting of two stories only. The central part of the
edifice and the projecting wings form an entrance-court, enclosed
by a railing. The left wing, the Salle des Procureurs or des Pas-
Perdus, erected in 1493, is a spacious hall with a high-pitched
waggon-roof, once used as an exchange. The central part was
erected six years later, for the Cour de VEchiquier, the supreme tri-
bunal of Normandy, which under Francis I. was styled 'parlemcnt'.
The assizes are now held here. The concierge lives in the right
wing, a modern addition.
Returning to the Rue Jeanne-d'Arc, we descend it to tlie first
street on the left, which leads to the Tour de la (irossc Horlo(ic or
Be/frol (Belfry; PI. (\ 3), erected in 1389 and restored in 189':.
— Opposite the end of the Rtie dc la Grosse Horloge rises the —
392 Route 25. ROUEN. From London
** Cathedral, or Notre- Dame [Fi. D, 3), the principal parts
of which date from 1207-80, one of the grandest Gothic edifices
in Normandy, although remarkably unsymmetrical in plan. The
central portal of the *W. Fa<;ade, towards the Place, was erected by
Cardinal d'Amboise , the favourite minister of Louis XII. , at the
beginning of the 16th cent. , and profusely decorated in the florid
style. The two unfinished towers of the facade are of unequal height.
The *Tour de Beurre, the loftier and more beautiful, 252 ft. in
height, derives its name from having been erected with the money
paid for indulgences to eat butter during Lent. The other, the Tour
St. Romam, is 245 ft. high ; with the exception of the highest story,
it dates from the 12th cent., and is thus the oldest part of the
whole building. The Central Tower, over the crossing, is surmounted
by an incongruous iron spire (since a fire in 1822), which reaches
the height of 465 ft. A spiral staircase ascends to the summit (1-4
pers. 2 fr.). The two side-portals, dating from the 15th cent., are
of great interest, especially that on the N., called the *Portail des
Lihraires from the book-stalls that once occupied the court.
The Intebiob of the church (447 ft. in length; transept 177 ft. in
length; nave and aisles 105 ft. in width; 92 ft. in height) is in the early
pointed style, and possesses three fine rose -windows in the nave and
transepts. Part of the stained glass dates from the 13th century. The first
chapel on the right, in the Tour de Beurre, contains a large altar-piece,
representing the Crucifixion and the Martyrdom of St. Stephen, and also
several monuments of the 13th and 14th centuries. The last chapel on the
S. side of the nave contains the tomb of Rollo (d. 927), first Duke of >Jor-
mandy, and the corresponding chapel on the N. side that of his son William,
Longue-Ep4e (d. 943). — From the N. transept a beautiful Gothic staircase,
with cpeu tiacery, ascends to the chapter-library. — In the S. ambulatory
is an ancient mutilated figure in limestone, 7 ft. in height, of Richard Coeur-
de-Lion (d. 1199), discovered in 1838; his heart is interred below. Its ori-
ginal resting-place in the choir is indicated by a small marble tablet. In
the X. ambulatory is a corresponding (mcdernj figure of Henry II. (d. 11S9),
who also is buiitd in the choir.
To the right in the beautiful 'Lady Chapel is the magnificent 'Monu-
ment of Cardinal George d'Amboise and his nephew, who was also a car-
dinal, by Roland Leroux, erected in 1525. To the left is the handsome
'^Monument of the Due de Brizi (d. 1530), grand-seneschal of Normandy,
erected by his widow, the celebrated Diana of Poitiers (d. 1566), mistress
of Henri II., and attributed to Jean Cousin and Jean Goujon (p. IC'-i). —
The altar-piece, an Adoration of the Shepherds, is by Ph. de Champaigne.
*St. Maclou (PL E, 3), to the W. of the cathedral, beyond the
Rue de la Republique, 'un diminutif de St. Ouen', as it has been
called, is a very rich example of the florid Gothic style of the 15th
century. The modern spire was completed in 1869. The exquisitely
carved reliefs on the wooden doors are ascribed to Jean Goujon.
The Rue de la Republique descends to the Seine, which is here
upwards of 300 yds. in breadth and separates Rouen from the sub-
urb of St. Sever (PL C, D, E, 4, 5). The Quays extend along the
bank for II/2 M. The Pont Corneille or Pont de Pierre (PL D, 4), con-
structed in 1829, passes over the lower end of the lie Lacroix, where
there is a statue of Corneille (p. 393), by David d' Angers. Farther
down the river is the Pont Bo'ieldieu (PL D, 4), a handsome iron
to Pans. ROUEN. 25. Route. 393
bridge, erected in 1885-88, nearly opposite which is a statue of the
composer Bo'ieldieu (d. 1834). Adjacent are the Theatre des Arts
(PI. 12; D, 3, 4) and the Bourse, which comprizes also the Tribunal
de Commerce. Still farther down is a 'Pont Transbordeur\ or moving
bridge slung from two lofty towers.
The Rue Jeanne-d'Arc (p. 391) leads from the quay into the
town, passing the church of St. Vincent (PI. C, 3), a pretty Gothic
building of the 16th cent., with a 17th cent, tower and fine stained-
glass windows (16th cent.). Farther on is the handsome Tour
St. Andre (PI. C, 3), a relic of an old church of the 15-16th centuries.
The Rue des Ours leads to the W. from this point to the Place
de la Pucelle (PI. C, 3), the traditional scene of the burning of
Joan of Arc in 1431. It is believed, however, that the exact spot of
the execution was a little higher up, in the Place du Vieux-Marche
( PI. C, 3), where the Theatre Fran^ais now stands. The house in
which Corneille (1606-1684) was born is No. 4, Rue de Corneillc,
beyond the Place (PL B, 3).
The *H6tel du Bourgth^roulde (PI. C, 3), on the W. side of the
Place de la Pucelle, erected at the close of the 15th cent. , in the
i«tyle of the Palais de Justice, is adorned with a number of reliefs,
some of which represent the interview on the 'Field of the Cloth of
Gold' (1520). The graceful hexagonal tower is decorated with sculp-
tures. The building is now occupied by a bank, but the court is
open to the public on week-days (on Sun. apply to the concierge).
From the Vieux Marche (see above) the Rue Guillaume le Con-
querant leads back to the Rue Jeanne-d'Arc, which we follow to the
N. to the Jardin Solfe'rino. Here stands the —
Musee-Bibliotheque (PLC, 2), containing a collection of Italian,
Dutch, and modern French pictures, besides sculptures and a ceramic
collection. The Musee is open daily from 10 (on Mon. from 12) to 4
or 5; gratis on Thurs., Sun., and holidays, other days 1 fr. — The
Municipal Library (open daily, 10-5), in the building at the back of
the Muse'e, contains lb'2,000 printed vols., 3500 MSS., 2700 coins
and medals, and about 2000 portraits of eminent natives of Normandy.
The adjacent church of St. Laurent (PL D, 2; 15-16th cent.),
with a fine tower, has been converted into shops. The church of
St.Oodard (PLD,2), behind St. Laurent, partly of the 16th cent., con-
tains admirable modern stained-glass windows and mural paintings.
From the Muse'e the Rue Thiers leads to the E. to the Place de
C Hotel -de-Ville. Here stands —
**St. Ouen (PL D, E, 2), one of the most beautiful Gothic churches
in existence, surpassing the cathedral both in extent and in ex-
cellence of style. xMost of it was built in 1318-39, but the W. Portal,
flanked by two towers 282 ft. in height, was erected during the
present century. The *Tou-€r over the transept, 268 ft. in height,
is surmounted by an octagonal open-work lantern, terminating in a
gallery (*View). The N. facade has no lateral portal, but the S.
394 Route 25. ROUEN. From London
'*^Portail des Marmousets-, so called from the Leads with which it
is adorned, deserves minute inspection. The reliefs over the door
represent the Death and Assumption of the Virgin. Above this
portal is a magnificent rose-window, still higher is an arcade with
six statues, and the whole is crowned with a pediment bearing a
statue of St. Ouen (d. 678), Archbishop of Rouen.
The proportions of the interior (453 ft. in length, 84ft. in width-,
transept 138 ft. in length ; lOG ft. in height) are remarkably pleasing.
The walls appear to be almost entirely displaced by the numerous
windows, 135 in number, all filled with stained glass. The unusually
lofty triforium is exceedingly beautiful. In the nave and transepts are
three fine rose-windows, also filled with stained glass.
The verger (fee) shows the choir- chapels, and points out several
spots which command fine views of the interior. The whole of the
interior is reflected in the be'nitier near the W. door. The visitor should
ascend to the triforium and to the outer gallery (1 fr. each person).
At the back of -the church and the adjoining Hotel de Ville is a
pleasant garden to which the public are admitted. The Chamhre aux
Clercs^ a Norman tower of the ilth cent., adjoins the church on
this side, and probably formed part of an earlier church.
The Hotel de Ville (PI. D, E, 2), on the N. side of the church,
a building in the Italian style, was formerly part of the monastery
of St. Ouen. In front of the edifice rises an Equestrian Statue of
Napoleon I., by Vital-Dubray.
We now ascend the Rue de la Re'publique to the N., at the top
of which is the large *Fontaine Ste. Marie (PI. D, 1), by Falguiere
and Deperthes. To the left is an old convent, now containing the
*Mu3ewn of Antiquities (open daily, 10 to 4 or 5, except on Mon.
and Sat.) and the Museum of Natural History (open daily, 10 to 4
or 5; on Mon. from 12).
The church of St. Patrice (PL C, 2), a little to the W. of the
Jardin Solf^rino, contains magnificent stained-glass windows, some
dating from the 16-17th centuries. The allegorical window at the
end of the N. aisle, attributed to Jean Cousin, is considered the
best. — St. GervaisiFl. A, 1), about 3/^ M. farther to the "W., is a
Romanesque church rebuilt in 1872-74, with a curious old crypt of
the 4th century. William the Conqueror died here in 1087.
An interesting excursion may be made, either by steamer to Eauplet
(15 c.) and thence by cable-railway (80 c. up and down) , or direct from
Rouen by electric tramway (50c.), to the pilgrimage-church of Notre-Dame-
de-Bon-Secours , or simply *Bon-Secours as it is usually called , situated
on the lofty bank of the river, 2 M. above Rouen. The interior is lavishly
adorned with painting, gilding, marble, and stained glass. Beside the
church is the Monument of Joan of Arc (adm. 2oc.i closed 12-1.30), which
consists mainly of three elegant little E-enaissance buildings by Lisch,
connected by a platform. The -View from the platform embraces the
city, the course of the river for many miles above and below Rouen, and
in the distance the rich and verdant pastures of Normandy.
A pleasant steamboat-excursion may be taken to La Bouille , a small
but busy town, 12V2 M. below K,ouen. The Chateau de Robert le Diabhy the
scanty ruins of which occupy the top of a neighbouring height, afi"ords
a charming view of the wooded hills, the valley of the Seine with its
white chalk hills, and in the distance Rouen with the cathedral.
to Paris. LES ANDELYS. 'J5. Route, 395
Fkom Koukn to Pakis. The train passes through two long
tunnels and crosses the .Seine, affording a beautiful view of Rouen
to the right. To the left, on the hills which rise from the river,
stands the church of Bon-Secours. 39^4 M. Sotteville. From (44 M.)
Oissel a branch-line runs to f^iftew/" [Grand-Hotel ; Univers), 6 M.
distant, a cloth -manufacturing town, with 21,400 inhabitants.
Beyond Oissel the train crosses the Seine. — 481/2 M. Pont de
I'Arche {*R6t. de Normandie) , where the Seine is again crossed,
above the influx of the Eure , is the junction of a line to Oisors ;
it possesses a fine church of the 15-16th centuries. — 56 M.
St. Pierre-du-Vauvray , whence a branch-line diverges to Louviera
(Hotel du Moutou), a town of 9979 inhab. with large cloth-factories.
Another branch - line runs hence to (10 M.) Les Andelys (JI6t. dc
Pans; Chaine (V Or ; Grand Cerf), near which, on the right bank of the
Seine, are the ruina of the castle of Gaillard, erected by Richard Coeur-
de-Lion to command the navigation of the Seine and protect Normandy
against the French monarchs. It was destroyed by Henri IV. in 1663.
The train now penetrates the chalk-hills by means of two tunnels.
The station of (64 M.) Oaillon (Hot. d'Evreux) lies opposite the
village of Courcelles. The chateau of Gaillon , erected in 1500, and
now used as a prison, was one of the finest in Normandy, and a fa-
vourite residence of Francis I. The lofty facade has been removed
to the court of the Ecole des Beaux- Arts at Paris (p. 249).
751/2 M. Vernon (Hotel d'Evrcuxl, with 8288 inha"b., once a
strongly-fortified town, possesses a conspicuous tower, erected in
1 123 by Henry I. of England. The Church of Notre-Bame is an inter-
esting bnilding of the 12-15th centuries. Branch-lines to Giaora
and to Pacy-sur-L'Eure diverge here. To the left are the ruins of
the castle of Chateauneuf, constructed by Philip Augustus.
The long tunnel between (82 M.) Bonnieres and RoUeboise cuts
off the wide circuit which the river describes here.
At the chateau of (84 M.) Rosny, Sully, the celebrated minister
of Henri IV., was born in 1559. It was afterwards the property of
the Duchesse de Berrl, who resided in it from 1818 to 1830.
921/2 M. Mantes (Hotel du Grand Cerf), a picturesque town with
8000 inhab., is surnamcd 'La Jolie\ The lofty towers of the Gothic
church of *Notre-Dame, dating from the end of the 12th cent., are
conspicuous objects in the town. The portal is richly sculptured.
The old tower of St. Maclou, 14th cent. , is also interesting. It
was at Mantes that William the Conqueror received by a fall from
his horse the injury of whicli he afterwards died at Rouen (1087).
— Line to Paris via Argenteuil, see p. 343.
The line continues to skirt the banks of the Seine, and fre-
quently commands fine views. Several unimportant stations.
108 M. Poissy (Buffet; Hotel de Rouen), a town with 7000 in-
hab. , was the birthplace of St. Louis (1215-70) , who frequently
styled himself 'Louis de Poissy'. Here in 1561 a conference was
assembled by order of the States General, with a view to adjust the
396 Route 25. POISSY. From London
tiiffereiices between the Roman Catholic and Protestant parties.
Their deliberations , however, led to no resnlt, owing to the strong
condemnation of the Calvinists by the Sorbonne. — The principal
chnrch is a fine building of the transition-style of the 12th century.
Poissy is also a station on the Ligne de Grande Ceinture (p. 333).
( 111 M. Acheres, in the forest of St. Germain (p. 533), the junc-
^ tion of the direct line to Dieppe (via Pontoise, p. 344). At (114 M.)
Maisons-Laffitte (p. 344) the Seine is again crossed. Near (l20 M.)
Colombes the line recrosses the Seine. St. Germain with its palace
is a conspicuous object on the hill to the right.
The Seine is crossed for the last time at Asnieres (_p. 291), where
the lines to Argenteuil and Versailles diverge. The train passes Clichy,
intersects the fortifications of Paris, and beyond a short tunnel under
the Place de I'Europe reaches the Gare St. Lazare at —
125 M. Paris. Conveyances, see p. 1.
26. By Southampton, Havre, and Rouen.
342 M. By Railway from Waterloo Station to Southampton in 13/4-2V4
hrs. ('boat-train'' at 9.50p.m. ; see advertisements in 'Bradshaw'); by Steam-
boat to Havre every night (except Sun.) in 7-8 hrs. ; by Expeess from
Havre to Paris in 3'/2hrs. (quick trains, 41/2 hrs. ; ordinary' trains, 6-7 hrs.).
Omnibus from the quay to the station at Havre included in the fare. Single
tickets, available for seven days, 33s. lO^Z.and 24*. lOd. ,- return-tickets, avail-
able for one month, 56s. Sd. and 40». 8c?. Luggage may be registered direct
to Paris. — This route is pleasant in fine weather.
Le Havre. — Hotels. Gkand Hotel Fbascati (PI. B, 4), on the
beach, far from the centre of the town, E. from 4, d^j. 4, D. 5 fr. ; Manor
House (PI. a; B, 4), Rue Jeanne-d'Arc 3^ Continestal (PI. b; C, 4), op-
posite the .Jetee, these three of the first class; de Bordeaux (PI. d; C, 3),
Place Gambetta; de Noemandie (PI. e. ; C, 3), Rue de Paris 106; d'Ang-
leteree (PI. f ; C, 2), Rue de Paris 124; Tortoni (PI. g; 0, 3), Place Gam-
betta; Richelieu (PI. h; C, 3), Place Richelieu, near the office of the
railway-omnibus; Aigle d'Oe (PI. j; C, 4), Rue de Paris 32, R. 2-5 fr. ;
de Dieppe, Rue de Paris 76 ; de8 Inues, Grand Quai 65 ; des Abmes de la
ViLLE (PI. k; C, 4), Rue d'Estimauville 29.
Restaurants. At the ffdt. de Bordeaux, see above ; Tortoni, in the Ar-
cades of the Place Gambetta, dej. 3, D. 4 fr., incl. wine; Boi. de l" Aigle
d'Or, see above; Plat d'' Argent, Place Richelieu, d^j. I3/4, D. 2V4 fr., beer
or cider included.
Cafes. Tortoni, see above; Cafi de VHdtel Froicati, see above; Inter-
national, Guillaume Tell, Place de rH6tel-de-Ville; de Paris, Place Richelieu.
Cabs. In the town, per drive 1 fr. 25 c, per hr. 2 fr. (after midnight 2
and 3 fr.); on the heights as far as the octroi-limits, per drive 13/4, per hr.
2V4 fr. (after midnight 2'/2 and 3 fr.); to Ste Adresse (Le Carreau), per
drive I3/4, per hr. 2V4 fr. (3 fr. at night). Trunks, 20, 30, or 50 c.
Electric Tramways in the principal streets and to the environs. —
Cable Railways from the lower station, Rue Gustave-Flaubert (PI. D, 1),
to the upper station, Rue de la Cote 44 (fare 10 c), and from the Rue
de Normandie to the Cimetiere Ste. Marie.
Post and Telegraph Office (PI. C, D, 2), Boul. de Strasbourg 108 and 110.
Steamboats, starting from the Grand Quai (PL C, D, 4), to Honfleur,
Rouen, Trouville, Caen, Southampton, London, Kew York, etc.
British Consul-General, E. Cecil Hertslei, Esq.; Vice-Consul, J.S.Rowell,
Esq. (also Lloyd's agent). — American Consul, Alex. M. Thackara, Esq.
English Church (Holy Trinity), Rue de Mexico. - WetUyan Methodist
Chapel, Place Gambetta.
to Parh. LE HAVRE. 2^. TloxUe. 397
Le Havre, formtirly called Havre-de-Grilce, from a chapel ol'
Notre-Dame-de-Grace founded by Louis XII. in 1509, was fortifle-l
by Francis I. in 1516. It is now the seaport for Paris, and next to
Marseilles the most important in France (119,470 inhab.). The
buildings and the commercial prosperity of the town, which is mainly
derived from its ship-building yards and sugar-reflneries. are of very
recent origin.
The Rue de Paris, beginning at the W. end of the Orand Quai
(PI. C, 4), where passengers from England disembark, and inter-
secting the town from S. to N., is the centre of traffic. The quay
is continued to the W. by the Chauss^e des Etats-Unis, terminating
in the *Jetee du Nord (PI. B, 5), or N. pier, near the Hotel Fras-
cati, which commands a fine view, and is a favourite promenade.
At the S. end of the Rue de Paris rises the Musie-BihUoihtque
rPl. C, 4), built in 1815 (open on Sun., Tues., and Thurs., 10 to
4 or 5), containing a collection of paintings, sculptures, casts, coins,
etc., and a library of 50,000 volumes.
Farther up the Rue deParis, on the right, is the church oiNotre-
Dame (PI. C, 4), built in the 16th cent, in a transition style.
Farther on is the Place Oambetta (PL C, 3), bounded on the W. by
the Grand Thedtre, and embellished with statues by David d' Angers
of Bemardin de St. Pierre (1737-1814), author of 'Paul and Virginia',
to which the reliefs refer, and Canmir Delavigne (1794-1843), the
dramatist, both natives of Havre. — At the W. end of the Rue de
Paris is a Jardin Public, beyond which is the handsome modern
Hotel deVille (PI. C, 2).
The former Palais de Justice, in the Vieux Marche' (PI. C, 4). to the
left of the Rue de Paris, now contains an important Museum of Natural
Hittory (open on Sun. and Thars., 10 to 4 or 5).
The Boulevard db Strasbourg (PI. F-A, 2), which passes in
front of the Hotel de VlUe, stretches from the Railway Station (PI.
F, 2), on theE., to the sea, on theW., passing the Palais de
Justice, the Sous-Prefecture, and the Bourse, a- fine Renaissance
edifice on the S. side of the Place Carnot (PI. D, 2).
The extensive Harbour and Docks (PI. C-G, 2-5) deserve a
visit. Between 1837 and 1887 over 5 000,000/. \vere spent upon
them, and extensive additions are projected. The oldest dock is the
small Bassin du Roi, excavated in 1669. The largest is the Bassin
de I'Eure (PI. E, F, 3, 4, 5), 70 acres in area, constructed in 1846-56,
where the huge Transatlantic steamers lie. The Canal de Tancarville
was constructed to connect the Seine directly with the harbour, and
to enable ships to escape the 'barre' or tidal wave in the estuary.
As Havre itself contains little to interest travellers , those
who have a few hours at their disposal may ascend the C6te dUn~
youville (cable-railway, p. 396), on the N. The *View is specially
fine at sunset and at night when the town and harbour are lit up.
— An electric tramway (p. 396), starting from the Rond-Point, runs
398 Route 2G. r.E HAVRE.
to Ste. Adresse (JUdtel Marie-Christine ; n6tel des Pharea), a favourite
little bathing-place 272 M. to the N.W. Visitors should alight at the
'Qnatre Chemins' or the Rue des Bains, and proceed to the light-
house, Phare de la Heve, which commands a line view.
Steamers ply three or four times daily from Havre in '/4-I lir. (fares 3 fr,,
1 fr. 60, 85 c.) to Trouville-sur-Mer (Jldtels des Rocftes-Noires, de Parity Belle-
rne, de la Plage, on the beach ; Tivoli, Bras d'Or, in the town), pleasantly
situated at the mouth of the Tonqnes and now the most fashionable water-
ing place on the coast of Normandy. Pi)p. 63tX). The season lasts from Jnne
to Oct., and is at its height in Aug., when living here is extremely ex-
pensive. The^ Cnsinn or f^alon is a large and handsome structure, with
concert-rooms, ball-rooms, and a line terrace on the shore. The beach is
excellent. .\ number of handsome vi]la,s have sprung up in the environs.
— Deativille (Hotel du Casino) and a number of less pretending watering-
places sprinkled along the coast also afford good summer-quarters (see
Baedfler' s Korfhcrn France).
From Havek to Paris.
142 M. Railway in ^^Ii-VJa hrs. (fares 25 fr. 55, 17 fr. 25, 11 fr.
25 c). — Steamboat up the Seine to Rouen daily 6-7 hrs. (fares 6 and
4 fr.), tedious, but scenery very pleasing at places.
The railway -station at Havre is near the Conrs de la R^pnh-
lique. On quitting the station we observe Graville, with its curious
church of the 11th cent., on the high ground to the left.
3'/2 ^- Harfleur (Hot. des Armes), the first station, once an im-
portant seaport, has long since yielded up its traffic to Havre. Its
old harbour has been filled up by the deposits of the Lezarde ; the
new harbour, 1/2 M* away, is connected with the Canal de Tancar-
ville (p. 397). In 1415 the town was taken by Henry V. of England,
to whom the foundation of the fine Gothic church is attributed. From
Harfleur a branch-line runs to (21/4 M.) Montivilliers , an industrial
town with an old abbey-church. — Beyond (15^2 ^-l Beuzeville-
Breaute, from which a branch-line runs to (872^0 Lillebonne (Ho-
tel de France), the train crosses a lofty viaduct.
191/2 M. Bolbec-Nointot is the station for Bolbec^ a thriving manu-
facturing town with 12,240 inhab., 2 M. to the S.
31 M. Yvetot (Hotel des Victoires) is another manufacturing
place, with 7545 inhab., the ancient counts or soi-disants kings of
which are playfully described by Beranger.
36 M. Motteville is connected with the Dieppe railway by a
branch-line to Cleres (16 M.). Another branch runs to (20 M.) St.
Valery-en-Caux, frequented as a bathing-place. — The pleasant vil-
lage of (4272 M^O P<Jvilly is commanded by the restored chateau of
Esneval. The train quits the undulating and fertile table-land of
the Pay a de Caux, and descends to the viaduct ofBarentin, 570 yds.
in length, and 100 ft. above the level of the valley. From (44 M.)
Barentin a branch-line runs to (18 M.) Caudehec. The train soon
enters a tunnel, nearly I72 M- if' length, beyond which it reaches
(^49 M.) Malaunay, where the Dieppe line diverges. From this point
to (55 M.) Rouen, and to Paris (142 M. from Havre), see pp. 390-396.
LIST
of the most important Artists mentioned in the Handbook, witli a
note of the schools to which tliey belong.
Abbreviations: A = arcbitect; P. = painter; S. = sculptor; c, ca.
= circa, about; Ft. = French; Bui. = Bolognese ; Flor, = Florentine;
Ferr. = Ferrarese; Lomb. = Lunibardic; Neap. = Neapolitan; Rora. =
Roman; Ven. = Venetian, etc.
The Arabic numerals enclosed within brackets refer to the art notices
throughout the Handbook, the Roman figures to tbe Introduction.
Khhale, Nic. dell\ Lomb. P.; 1512-71.
Adam^ Jean-Vict., Fr. P., Paris, pupil
of Meynier &. Regnault; 180i-GG.
— , Lamb.- Sigisb., Fr. S., Nancy;
1700-59.
Aizelin., Eug.., Fr. S., Paris, pupil of
Ramey & Dumont; b. 1821.
Alaux., Jean., Fr. P., Bordeaux, pupil
of Vincent; 1786-1SG4.
Albano, Franc, Bol. P., pupil of Car-
racci; 1578-1660.
Alhertinelli, Mariolto., Flor. P., pupil
of Rosselli and Fra Bartolommeo -,
1474-1515.
AUegrain. Gcibrid - Christ. .. Fr. S.;
1710-95.
Allegriy see Correggio.
Arnaur!/-Duval, Eug.-Einm.., Fr. P.,
Paris, pupil of Ingres; 1808-85.
Ainerighi, see Caravaggio.
Androuet., see Ducerceau.
Angelica (Fra), da Fiesole, Flor. P. ;
1387-1455.
A7igo, Roger., Fr. A.; 15-16tb cent.
Anguier, Franqois, Fr. S., Eu ; 1604-
1669.
--, Michel, Fr. S., brother of the last;
1612-86.
Autonello, see Messina.
Audra7i , Gerard, Fr. engraver,
Lyons; 1640-1703.
— , Claude, Fr. P., brotlierof thela.st ;
17th cent.
Bakhuisen, Ltidolf, Dutch P., Emden,
pupil of A. van Fverdingen; 1631-
1708.
Rallu, Theodore, Fr. A.,Pari.s ; 1817-85.
lialtard, Victor, Fr. A., Paris ; 18U5-74.
Baize, Jean- FA. -Paul, Fr. P., pupil of
Ingres; 1815-84.
— , J ean-Ant.-Raymond, Fr.P., brother
of the last; b. 1818.
Barbarelli, see Giorgione.
Burbieri., see Guercino.
Baroccio, Fedeviuo, Rom. P.; 1528-
1612.
Barrias, Filix-Jos., Fr.P., Paris, pupil
of L. Cogniet; b. 1822.
— , Louis-Ernest, Fr. S., Paris, pupil
of Cavelier &. .Touffroy; b. 1841.
Bartholdi, Fvdd.-Aug.. Fr.S., Colmar ;
b. 1834.
Bartolomeo (Fra), Baccio delta Por-
ta, Flor. P. ; 1475-1517.
Barye, Ant. -Louis, Fr. S., pupil of Bo-
sio and Gros ; 1796-1875.
Baahldrtspff, Marie, Russ. I'. ; 1860-84.
Bassano, Jacopo (da Ponte), Ven. P. ;
1510-92.
Bastien-Lepage, J., Fr. P., Damvil-
lers (Meuse); 1848-85.
P.Kitdoin, Pitrre- Anl. , Fr. v., Paris,
pupil of Boucher: 1(23-69.
Baudry, Paul-Jacq.-Aimi, Fr. P., La
Roche-sur-Yon, pupil of Sartoris
& Drolling; 1828-86.
Beham, Hans Sebald, Ger. P., Nurem-
berg; 1500-50 V.
Bellangi, Jos. -Louis-Hipp., Fr. P.,
pupil of Gros; 1800-66.
Bellini, Gentile, Ven. P.; 1421?-1507.
— , Giovanni, Ven. P., brother of the
last; 1426-1516.
Beltraffio or Boltraffio, Giov.-Ant.,
Milanese P., pupil of L. da Vinci ;
1467-1516.
Benouville, Frang.-L^on,FT. P., Paris,
pup. of Picot; 1821-59. — (p. xliii).
JWraud, .han, Fr.P., St. Petersburg:
b. 1849.
Btrchem or Berghem,Nic., Dutch P.,
Haarlem; 1620-83.
Berrettini, see Cortona.
Bi'rlin,Frau^ois-Edo2iard, Fr.P., Paris ;
1797-1871.
r„'snard, Paul-Albert, Fr. P., Paris;
b. 1849.
Bida, Ah'V., Fr.P., Toulouse, pupil
of Delacroix; 1813-95.
400
LIST OF ARTISTS.
Blondtl^ ilert't/Jos., Fr. P., Paris,
pupil of Regnault ; 1781-1853.
Boilly, Louis Liop., Fr. P. •, 1761-1845.
Bol^ Fei-d., Dutch P., Dordrecht,
pupil of Rembrandt; 1611-81.
Bologna, Oiov. da, also called Jean
(Boullogne) de Douai, S,, Douai.
pupil of Michael Angelo ; 1524-1608.
Bonheui\ Eosa, Fr. P., Bordeaux;
1822-99.
Bonifazio or Bonifacio, three Ven.
painters; ca. 1540-1580.
Bonington. Richard Parses, Eugl. P.;
1801-28.
Bonnassieux, Jean-Marie, Fr, S., pupil
of Dumont; 1810-92.
Bonnat,L6on-Joseph-Florentin,¥r. P.,
Bayonne, pupil ofCogniet; b. 1833.
BonUurips, Pierre, Yc. S.. Paris: 16th
cent.
Bordone, Paris, Ven. P.; 1500-70.
Borgognone, Ambrogio da Fossano,
Lonib. P.; d. 1523.
Bosio, Fr. Jos., S., Monaco, pupil of
Pajou; 1769-1845.
Botticelli, Aless. or Sandro (Filipepi),
Flor. P.; 14461510.
Bouchardon, Edme, Fr. S., Chaumont;
1698-1762,
Boucher, Fran^. , Fr. P., pupil of
Lemoine; 1704-70.
Bouguereau, Ad.- Will., Fr. P., La
Rochelle, pup. of Picot ; b. 1825.
Boulogne, Bon. or de Boullongne, Fr.
P., Paris; 1649-1717.
— , Louis, Fr. P., brother of the last;
1654-1733.
BonlU , Charles- Andre , Fr. cabinet-
maker, Paris; 1642-1732.
Boullongne, see Valentin.
Bonrgeois,Charles- Arthur, YT.^.,Y)i^or\:
1838-87.
Brascassat, Jacques-Raymond, Fr. P.,
Bordeaux; 1804-67.
Breton, Jules- Adolphe, Fr. P., pup. of
Drolling; b. 1827.
— , Em.-Adilard, Fr. P., brother and
pupil of the last; b. 183'.
Breughel, see Brueghel.
Brion, Gustave, Fr. P., Alsace ; 1824-
1877.
Briosco, Andr., surn. Rlccio, Ital. S.,
Padua; 1470-1531
Brongniart, Alex.-Thiod., Fr. A.,
Paris; 1739-1813.
Bronzino, Angelo di Cosimo, Flor. P.,
pupil of Pontormo ; c. 1502-72.
Brouwer, Adr., Flem. P., Oudenaerde.
pupil of Fr. Hals ; c. 1605-3S.
Bruant, Ltbiral, Fr. A.; d. 1697.
Brueghel, Peeter, or Brueghel the Elder
(^Peasant Brueghel), Flem. P.,
Breda; c. 1520-69.
Brueghel, Jan, surn. ' Velvet BruegheV,
Flem. P., Brussels, son of the last ;
1568-1625.
Bullant, Jean, Fr. A., S.; d. 1578.
Buonarroti, see Michael Angelo.
Cabanel, Alex., Fr. P., Montpellier,
pupil of Picot ; 1823-89.
Cabat, Louis, Fr. P., Paris, pupil of
Flers; 1812-93.
Caffieri, J. -J., Fi-.S., Paris; 1812-93.
Cain, Aug., Fr. S., pupil of Rude;
1822 91.
Calcar, Johann von, P. of the Ven.
School, pupil of Titian; 1510-46.
Caliari, see Veronese.
Canaletto, Ant. Canale, Ven. P.: 1697-
1768.
Canova, Ant., Ital. S. ; 1757-1822.
Caravaggio , Michelangelo Amerighi
da. Lomb. & Rom. P.; 1569-1609.
Carolus-Duvan, Fr. P., Lille, pupil of
Souchon; b. 1837.
Carpaccio, Vittore , Ven. P.; 1470?-
1519.
Carpeaux, Jean-Bapt., Fr. S., Valen-
ciennes, pupil of Rude & Duret;
1827-75.
Carracci, Lodovico, Bol. P., pupil of
Tintoret ; 1555-1619.
— , Agostino, Bol. P.; 1558-1601.
— , Annibale, Bol.P., brother of Agosti-
no, pup. of Lodovico; 1560-1609.
— , Ant., Bol. P., son of Agostino,
pup. of Ann. C. ; 1583-1618.
Carrier-Belleuse, Alb.-Ern., Fr. S.,
pupil of Dav. d'Angers; 1824-87.
Carried, see Pontormo.
Cartellier, Pierre, Fr. S., Paris ; 1757-
1831.
Cavelier, Pierre-Jules, Fr. S., Paris,
pupil of David d^Angers; 1814-94.
Cadn. Jean-Charles, Fr. P., Samer:
b. 1841.
Cellini, Benvenuto, Flor. S. and gold-
smith; 1500-72.
Cesari , Jos., sum. II Gitiseppino or
Cavaliere d'Arpino, Rom. P.; c.
1560-1640.
Chalgrin, J.-Fr.-Thir., Fr. A., Paris,
pup. of Servandoni; 1739-1811.
Champaigne,Phil. de, Fr. P., Brussels;
1602-74.
Chaplain, Charles- Jo.'^uah, Fr. P., Les
Andelys: 1825-91.
Chapu,Henri-Mich.-Ant.,VT.B.,-pn^.oi
Pradier & Duret ; 1833-91.
Chardin, J.-B. Simion. Fr. P., Paris;
1699-1779.
Charlet, Nicolas, Fr.P., Paris ; •17P''-
1S45.
ChoKsiriau, Thiod., Fr. P., pupil of
Ingres; 1819-56.
LIST OF ARTISTS.
401
Chatrousse, E., Fr, S., Paris ; pupil o
Rude; 182J-96.
Chaudet. Ant.-Benis. Fr. S., Paris:
1763-lSlO.
Chenavard,Paul, Fr.P., Lyons ; 1808-80.
C/tintreuil, Ant., Fr. P. 5 1816-73.
Cigoli. Luigi Cardi da. Flor. P.; 1559-
1613.
Cima, see Conegliano.
Cimabue, Oiov., Flor.P.; 1240(?)-1302(?).
CUsinger., J.-B.-Aug., Fr. S., Besan-
con; 1814-83.
Clodion, Claude-Michel, Fr. S., Nancy:
1738-1814.
Clouet or Cloet, Fran^., sum. Jehannet,
Fr. P., Tours; 1500V-T2?.
Cogniet, Lion, Fr. P. , pupil of Guerin :
1794-1881.
Coignet, Jules-Louis- Philippe, Fr. P.,
Paris, pupil of Bertin ; 1798-1860.
Colombe, Michel, Fr. S. ; 1430?-1512?.
Comte, Ch., Fr. P., Lyons; b. 1815.
Conegliano, Cima or Giov. Batt, da.
Yen. P.; d. 1517?
Constable, B. A. J., Engl. P.; 1776-
1836.
Constant, Benjamin,VT. P., Paris, pupil
of Cabanel ; b, 1845.
Comu, Sib.-Melch.. Fr. P., Lyons,
pupil of Ingres; 1804-71.
Corot, J.-B. Camille, Fr. P., Paris;
1796-1875.
Correggio, Ant. Allegi'i da, Lomb. P.;
1494?-1534.
Cortona, Pietro Berrettini da, Flor. A.
and P. ; 1596-1669.
Cortot, Jean-Pierre, Fr. S., Paris ;
1787-1843.
Costa, Lor., Ferr. P.; 1460-1535.
Couder, Louis-Ch.-Aug., Fr.P., Paris,
pupil of David <fe Regnault; 1789-
1873.
Courbet, Gustave, Fr. P. ; 1819-77.
Court, Jos.-Dis., Fr. P., Rouen, pupil
of Gros ; 1798-1865.
Courtoit, Jacq., le Bowguignon, Fr.
P.; 1621-76.
Cousin, Jean, Fr. P., S., A., & en-
graver; d. ca. 15S9.
Coustou, iVjc, Fr. S., Lyons; pup. of
Coyzevox; 1658-1733.
— , Quill., Fr. S., Lyons, brother of
the last and pup. of Coyzevox ;
1678-1746.
— , Guill., Fr. S., Paris, son of the
last; 1716-77.
Couture, Thomas, Fr.P., Senlig, pupil
of Gros (fe P. Delaroche ; 1815-79.
Coypel, Noel, Fr. P., Paris; 1628-1707.
— , Ant., Fr. P., son of the last ; 1661-
1722.
— , Noil-Ant., Ft. P., son of Noel C;
1692-1734.
Bakdekkh. Paris. 14th Edit.
Coyzevox, Ant., Fr. S., Lvons ; 1640-
1720.
Craesbeke, Joost van, or Craesbeeck,
Flera. P.; 1603-41.
Craeyer or Crayer, Gasp.,de, P., Ant-
werp; 1582-1669.
Cranach, Lucas, the Elder, Ger. P.;
1472-1553.
Crauk, Gust.-Ad.-D4s., Fr. S., Valen-
ciennes, pup. of Pradier; b. 1827.
Credi, Lor. di, Flor. P. ; 1459-1537.
Cuijp or Cuyp , Aalbert , Dutch P.,
Dordrecht; 1605-91.
Curzon, Paul-Alf.de, Fr.P., Poitier.s,
pupil of Drolling & Cabat; 1820-96,
Dagnan-Bouveref, Pascal- Adolphe- Jean,
Fr. P., Paris; b 1852.
Dalou, /., Fr. P., Paris; b. 1838.
Daubigiiy, Ch.-Fvang., Fr. P., Paris,
pupil of Delaroche; 1817-78.
Duuzats. Adrien. Fr. P., pupil ofGue :
1804-68.
David,Jacques-Louis,YT.V., Paris, pup.
of Vien; 1748-1825.
David d^ Angers, Pierre- Jean David,Fr.
S., Angers; 1789-1856.
David de Bruges, Girard.V.-, 1450?-1523.
Davioud, G.-J.-A., Fr. A., Paris;
1.^32-81.
Debay, J.-B., Fr. S., pupil of Chaudev ;
1779-1863.
Debrosse. Jacques, Fr. A. ; d. 1621.
Debucourt, L.-Ph., Fr. P., Paris; 1755-
Decamps, Alex.-Qdbr., Fr. P., Paris;
1803-60.
Degas, Edgard, Fr. P., Paris ; b. 1834.
Delacroix, Ferd.-Vict.-Eug., Fr. P.,
Charenton , pnpil of P. Guerin ;
1799-1863.
Delaplanche, Eug., Fr. S., Paris, pupil
of Duret ; 1836-90.
Delaroche, Paul, Fr. P., Paris, pupil
of Gros ; 1797-1856.
Delaunay, Julet-Elie, Fr. P., Nantes,
pup. of Flandrin; 1828-91.
Delorme, Philibert, Fr. A., Lyons;
1518? -77?.
Denner, Balth., Ger. P., Hamburg;
1685-1747.
Desbois, Jules, Fr. S., Parcay; b. 1851.
Deseine, Louis-Pierre, Fr. S., Paris;
1759-1822.
Detjardins, Martin (van den Bogaerl),
S.; 1640-94.
Desportes, Francois, Fr.P,; 1661-1743.
— , Claude-Franc., Fr. P., son and
pupil of the last; 1695-1774.
Detaille, Edouard, Fr. P., Paris, pup.
of Meissonier; b. 1848.
Dev4rxa, Eug., Fr. P., Paris, pup. of
Girodet; 1805-65.
26
402
LIST OF ARTISTS.
Diaz de la Pena, Narcisse^ Fr.P., Bor-
deaux ; 1807-76.
Dieboldt, Oeorges, Fr. S., Dijon, pupil
of Ramey & Dumont; 1816-61.
Domenichino, Domenico Zampieri, Bol.
P., pup. of theCarracci; 1581-1641.
Donatello, Flor. S. ; 13S3-1466.
JDori, Gust.-Paul. Fr. P. & designer,
Strassburg; 1832-83.
Dosso, Giov. Luiero, also called Dosso
Dossi, Ferr. P. ; c. 1479-1546.
Dou or DoiD, Ger.. Dutcli P., Leyden:
1598-1675.
Douai, Jean de, see Bologna.
Brevet, Pierre, two engravers, father
and son, of Lyons; 1664-1739,1697-
1739.
Broiling , Martin , Fr. P. , Alsace i
1752-1817.
— , Michel Martin, Fr. P., son of the
preceding and pupil of David : 1786-
1851.
Brouais , Fr.-Euh. , Fr. P. , Paris :
1727-75.
Buban, Fil.-Louis-Jacq., Fr. A., Paris:
1797-1870.
Buhoie, Paul, Fr. S. , Nogent-sur-
Seine; 1829-18S3.
Bubufe, Louis-Edouard, Fr. P., Paris,
pup. of Delaroche ; 1820-83.
Buc, Jos.-Louis, Fr. A.; 1802-79.
Bucerceau or du Cerceau , Jacques
Androuet, Fr. A.; 1540-?.
Bucq or Buc, Jean le, Dutch P., The
Hague; 1636-95.
Buez, E., Fr. P., Paris; 1843-96.
Bujardin or du Jardin, Karel, Dutch
P., Amsterdam; 1622-78.
Bumont, Jacques-Edme, Fr. S., Paris,
pupil ofPajou; 1801-84.
Bupri, Jules, Fr. P., Nantes ; 1812-89.
Buquesnoy, Francois, Flem. S., Brus-
sels; 1594-1646.
Buran, see Carolus-Duran.
Burer, Alb., Ger. P., Nuremberg ; 1471-
1528.
Buret, Francisque, Fr. S., Paris, pup.
of Bosio; 1804-65.
Buval-le- Camus, Jules-Alex., Fr. P.,
Paris, pup. of Delaroche & Drol-
ling; 1817-77.
Bj/ck, Antonius van. P., Antwerp,
pupil of Rubens; 1599-1641.
'Etex, Ant,, Fr. S., Paris, pupil of
Dupaty & Pradier; 1810-88.
Ei/ck, Jan van, early Flem. P. ; 1390?-
1441.
FabiHano, Gentile, da, Umbr. P. ; c.
1370-1450.
Falconet, Maurice - Etienne , Fr. S.,
Vevey; 1716-91.
Falguih'e, Jean- Alex. -Jos. Fr. S., P.-
Toulouse; 1831-1900.
Firon, Firmin-Eloi, Fr. P., Paris,
pupil of Gros; 1802-76.
Ferrari, Gaudenzio, Lomb. P. ; 1471-
1546.
Feti, Bom., Rom. P.; 1589-1624.
Feyen-Perrin, Aug., Fr. P., pupil of
L. Cogniet & Yvon; 1826-88.
i^tcfoo)-orFjc<oor. /aw, Dutch P., pupil
of Rembrandt ; ca, 1620-72.
Fiesole, Fra Angelico da, see Angelico.
— , Mino da, Flor. S.; 1431-84.
Filipepi, see Botticelli.
Flameng, Franc, Fr. P., Paris, pupil
of Cabanel, J. P. Laurens, etc.: b.
1856.
Flandrin, Hippolyte, Fr. P., Lyons,
pup. of Ingres; 1809-64.
Flinch, Govaert, Dutch P., Cleve; pu-
pil of Rembrandt; 1610-60.
Fontaine, Pierre-Frang.-Lion., Fr. A.,
Pontoise; 1762-1853.
Fouquet or Foucquet, Jean, Fr. P.,
Tours; c. 1415-77? or 83.
Foyatier, Benis, Fr. S. ; 1793-1863.
Fragonard,Jean-Hon.. Fr. P., Grasse,
pupil of Boucher ; 1732-1806.
— , Alex.-Evariste, Fr. P., son of the
last; 1783-1850.
Frangais,Frans. -Louis, Fr.P., Plom-
bieres , pupil of Corot <fe Gigoux ;
1814-97.
Franceschi, J., Fr. S. , Bar-sur-Aube,
pupil of Rude; 1825-93.
Francheville or Franqueville, Pierre,
Fr. S., Cambrai, pup. of Giov. da
Bologna; 1548-1618?
Francia, Franc. (Raibolini), Bol. P. :
1450-1517.
Franciabigio, Francesco Bigio, Flor. P.;
1482-1525.
Franck, Fr., the Elder, Flem. P.;
1544-1616.
— , Fr., the Younger, Flem. P., son
and pupil of the last; 1581-1642.
Frimiei, Emm., Fr. S., Paris, pupil of
Rude; b. 1824.
Friminet or Friminel, Martin, Fr. P.,
Paris; 1567-1619.
Fromentin, Eug., Fr. P., La Rochelle ;
1820-76.
Fyt, Jan, P., Antwerp; 1606-61.
Gabriel. Jacques- Ange, Fr. A.; 1710-82.
Gardet, Georges. Fr. S., Paris ; b. 18G3.
Gamier, Jean- Louis- Charles, Fr. A.,
Paris; 1825-98.
Garofalo, Bent. Tisio , Ferr. P.;
1481-1559.
GelUe (CI.), see Lorrain.
Girard, Frang., Baron, Fr. P., pupil
of David; 1770-1837.
LIST OF ARTISTS.
403
OMcauli , Jean-Louis- Andri-TJiiod.^
Fr. P., Rouen, pnpil of Gue'rin ;
1791-1824.
Oirdme, Jean-Lion. Fr. P., Vesoul;
b. 1824.
Gervex," Henri, Fr. S., Paris; b. 1852.
Ohirlandajo or GHllandajo^ Dom. del,
Flor. P. ; 1449-94.
— , Ben., Flor. P., brother and pupil
of the last; 1458-97.
— , Ridolfo, Flor. P., son of Dom. G. ;
1483-1561.
Oigoux, Jean-Frang., Fr. P., Besan-
con; 1809-94.
Giordano, Luca, sum. Fapresto. Nea-
pol. P., pup. of Ribera and Cor-
tona; c. 1632-1705.
Giorgione, Giorgio Barbarella, Ven.
P., pup. of Bellini; 1477?-1510.
Givardon . Frang., Fr. S., Troyes ;
1628-1715.
Giraud, Pierre-Frang.-Eug., Fr. P.,
Paris.pupilofHersent & Richomme:
1806-81.
— , Sib.-Ch.. Fr. P.. Paris; 1819-92.
— , Victor, Fr. P., Paris, pupil of Picot
& Pierre G. (his father); 1840-71.
Girodet-Trioson (Anne-Louis Gir. de
Roucy-Trioson), Fr. P., Montargis,
pup. of David : 1764-1824.
Glaize, Aug.-Barth., Fr. P., Mont
pellier, pup. of Deveria ; 1812-93.
— , P. P. Lion. Fr. P., son of the
preceding, pupil of his father and
of Ge'rome; b. 1842.
Gleyre, Charles- Gabriel, Fr. P., Che-
villy (Switzerland), pup. of Her-
sent; 1807-1874.
Gossaert, see Mabuse.
Goujon, Jean, Fr. S. <fe A., Paris;
1520 ?-72?
Goyen, Jan van, Dutch P., Leyden ;
1596-1656.
Gozzoli^ Benozzo, Flor. P.; 1420-97.
Greuze, J.-B., Fr. P. ; Tournus ; 1725-
1805.
Gros, Ant.-Jean, Baron, Fr. P., Paris,
pupil of David; 1771-1835.
Gudin, Thiod., Fr. P., Paris, pupil
of Girodet ; 1802-80.
Ouereino, II (Giov. Franc. Barbieri),
Bol. P.; 1591-1666.
Guirin, Pierre-Narc, Baron, Fr. P..
Paris, pupil of J.-B. Regnault;
1774-1833.
Guido Reni, Ital. P.; 1574-1642.
Guillain, Simon, Fr. S. & engraver,
Paris; 1581 or 92-1679.
Guillaume, Claude- J. -B.-Eug., Fr. S.,
Montbard , pupil of Pradier ; b.
1822.
Quillaumet, Gust., Fr. P., Paris, pup.
of Picot and Barrias ; 1840-87.
Gumery, Ch.-Alph.
1827-71.
Fr. S.. Paris
Kals , Frans , Flem. P., Malines;
1584-1666.
Hamon, Jean-Louis, Fr. P., St. Loup
(Brittany), pup. of Delaroche 6i
Gleyre; 1821-74.
Harpignies , Henri, Fr. P., Valen-
ciennes, pup. of Achard; b. 1819.
Hibert, Em. -Ant. -Aug., Fr. P., Gre-
noble, pupil of Delaroche ; b. 1817.
Heem , Jan Davidz de. P., Utrecht :
1606(?)-1683-84.
Heim, Frang.-Jos., Fr. P., Belfort,
pupil of Hersent ; 1787-1865.
Heist , Barth. van der, Dutch P.,
Haarlem; 1611-70.
Henner, J. -J., Fr. P.. Alsace, pupil of
Drolling & Picot ; b. 1829.
Herrera. Franc, the Elder. Span. P.:
1576-1656.
Hersent, Louis, Fr. P., Paris, pupil
of J.-E. Regnault; 1777-1860.
Hesse, Nic.-Aug.., Fr. P., Paris, pupil
of Gros; 1795-1869.
— , Alex.-J.-B., Fr. P., Paris, pupil
of Gros ; 1806-79.
Heyden (Heijde). J. van der., Dutch
P., Gorkum; 1637-1712.
Hiolle, Ern.-Eug.. Fr. S., Valen-
ciennes, pup. of JoufiFroy; 1833-87.
Hittorff .Jac.-Ign.,k., Cologne, pupil of
Fr.-Jos.BellangerinParis;1793-1867.
Hobbema, Meindert, Dutch P.: 1638-
1709.
Holbein, Hans, the Younger, Ger. P.,
Augsburg; 1497-1543.
Hondecoeter, ilelchior d', Dutch P.,
Utrecht; 1636-95.
Honthorst, Ger. van, Dutch P. ; 1590-
1656.
Hooch or Hoogh, Pieter de, Dutch P.;
1630-77.
Houdon, Jean-Ant., Fr. S., Versailles ;
1741-1828.
Huet, Jean-Bapt., Fr. P., pupil of Le-
prince; 1745-1811.
— , Paul, Fr. P., Paris, pupil of
Guirin and Gros; 1804-69.
Humbert, Ferdinand, Fr. P., Paris:
b. 1842.
Ingres, J.-A.-Dom., Fr. P., Montau-
ban, pupil of David ; 17S0-1S67.
Isabey, Louis- Gab.-Eug., Fr. P., Pari.^^,
pupil of his father, J.-B. Isabev,
the designer; 1804-86.
Jacquemarl, Mile JVclie, Fr. P., Paris:
pnpil of Cogniet; b. 1845.
Jobbi-Duval,Armand-Marie- Felix. Fr.
P., pup. of P. Delaroche ; 182l-l^■Sy.
26*
404
LIST OF ARTISTS.
Jordaens, Jac.,P.,Antwerp ; 1593-1678.
Jouffroy^ Fraii^., Fr. S., Dijon, pupil
of Ramey the Younger ; 1806-82.
Jouvenet, Jean, Fr. P., Rouen; 1644-
1717.
Jundt, Gustave, Fr. P., Strassburg:
b. 1830.
Juste de Tours, Jean^Fr. S. ; d. ca. 1535.
THauffmann, Angelica. Ger. P., Coire ;
1741-1807.
Keller, two brothers of Zurich, bronze-
founders at the court of Louis XIV.
"Ldbrouste, Pierre-Frang.-Eenri, Fr.
A.; 1801-75.
Lafosse or La Fosse, Gh. de, Fr. P.,
Paris; 1636-1716.
Lahire or La Hiire, Laurent de, Fr. P.,
Paris; 1606-56.
Lancret, Nicolas, Fr. P., Paris; 1690-
1743.
Langlois, Jeun-Ch., surnamed Le Co-
lonel, Fr. P., pupil of Girodet, Gros,
and H. Vernet-, 1789-1870.
Largiimre, Nic, Fr. P., Paris; 1656-
1746.
Lainviire, PMl.-Ch. de, Fr. P., Paris,
pupil of Gue'rin, Girodet, & Gros:
1798-1876.
Lassus, J.-B.-Ant., Fr. A., Paris:
1807-57.
La Tour, Quentin de, Fr. P. ; 1709-88.
Laurens, Jean-Paul, Fr. P. ; b. 1838,
Le Brun or Lebrun, Ch., Fr. P., Pa-
ris, pupil of S. Vouet; 1619-90.
— , Elise-Louise Vigie, Fr. P., Paris;
1755-1842.
Lefebvre, Jules- Jos., Fr. P. ; b. 1836.
Lefuel, Hector Martin, Fr. A., Ver-
sailles ; 1810-81.
Lehmann, Ch.-Ern.-Rod.-Eenri , P.,
Kiel, pupil of Ingres; 1814-82.
Lehoux, P., Fr. P., Paris; 1844-96.
Leleux, Adolphe, Fr. P. . Paris ; 1812-91.
— , Arrnand, Fr. P., Paris, brother of
the last and pupil of Ingres ; 1818-85.
Lemaire, Phil.-Henri, Fr. S., Valen-
ciennes, pupil of Cartellier; 1798-
1880.
Lemercier, Jacques, Fr. A., Pontoise;
1590-1660.
Lemot, Frangois-Frid&ric, Fr.S., Lyons;
1773-1827.
Lemoyne, J-B., Fr. S., Paris ; 1704-48,
Lenain, Louis, Antoine, and Mathieu,
Fr. P. of the 17th cent,
Lenepveu, Jules-Eug., Fr, P., Angers,
pupil of Picot ; b. 1819.
Le Ndtre or Lendtre, Andri, A. and
landscape-gardener, Paris; 1613-
1700.
Lepire, J.-B., Fr. A., Paris ; 1762-1844.
Leprince, A.-Xavier, Fr. P., Paris ;
1799-1826,
Lescot, Pierre, Fr, A,, Paris; 1510-71.
Le Sueur, or Lesueur,Eustache, Fr. P.,
pup. of Vouet; 1617-55.
Lethiere, Guill.-Guillon, Fr. P., pupil
of Doyen ; 1760-1832.
Levau, Louis, Fr. A.; 1612-70.
Livy, Em., Fr. P., Paris, pupil of A.
de Pujol and Picot ; b. 1826.
Lhermitte, L^on, Fr. P., Mont-St-Pere
(Aisne); b. 1814.
Libri, Girolamo dai , Ven. P.; 1474
1556.
Lievens or Livens, Jan, Dutch P.,
Leyden; 1607-72 (?),
Lippi, Fra Filippo, Flor. P. ; 1412-69.
Loison, Pierre, Fr. S,, pupil of David
d'Angers; b, 1821.
Loo, van, see Vanloo.
Lorrain. Claude G elide, sum. CI. le L.,
Fr. P., studied in Italy; 1600-82.
Lotto, Lor., Ven. P. ; 1480-1554 (?).
Lui7ii, Bern., Mil. P.; 1470(?)-1530(?).
Luminais,E. F.,Fr,P., Nantes ; 1821-96.
J&abuse, Jan van or Gossaert, Flem.
P., Maubeuge; 1470-1541.
Maes, or Maas, Aert or Arnold van,
Flem. P., Gouda; 1620-64.
Maillet, Jacques-Lion., Fr. S., Paris,
pupil of Pradier ; 1823-94.
Mainardi, Bastiano, Flor, P, ; d, 1515 ?
Maindi'on, Et.-Hipp., Fr, S., pnp. of
David d'Angers; 1801-84.
Majano, Ben. da, Flor. A. & S. ;
1442-97.
Manet, Edouard, Fr. P., Paris ; 1833-83.
Mansard or Mansart, Frang., Fr. A.,
Paris; 1598-1666,
— , Jules-Eardouin , Fr. A., Paris,
nephew of the last; 1645-1708.
Mantegna, Andrea, Ital. P., Padua;
1431-1506.
Marcellin, Jean-Esprit , Fr. S., Gap,
pup. of Rude ; 1821-84.
Marchal, Ch.-Frang., Fr, P,, Paris,
pupil of Drolling ; 1825-77.
Marilhat, Prosper, Fr, P., Auvergne,
pupil of Roqueplan; 1811-47,
Marochetti , Ch.. S,, Turin, pupil of
Bosio; 1805-67.
Marqueste, Laurent, Fr.S,, Toulouse;
b. lt:50.
Marsy , Balth. & Gasp., two Fr.
sculptors of Cambrai; 1624-74 &
1628-81.
Matout, Louis, Fr. P., Charleville;
1813-88.
Matsys or Massy s, Quiiiten or Q/uen-
tin, Antwerp P.; 1466-1531,
Mauzaisse, J. B., Fr. P., pupil of
Vincent; 1784-1844.
LIST OF ARTISTS.
405
Meer, Jan van der. of Haarlem. Dutch
P.; 1628-91.
— , J. van der, of Delft , Dutch P. :
1632-75.
Meissonier, Jean-Louis-Ern.^ Fr. P.,
Lvons; 1815-91.
— , 'Juste- AiirUe, A.. S., & P., b. 1695
at Turin, d. 1750 at Paris.
Memling, Hans, early Flem. P. ; ca.
1430-95.
MercU. Antonin, Fr. S., Toulouse, pup.
of Jouffroy & Falguiere ; b. 1845.
Messina. Antonello da, Neapol. P.;
d. 1493 (?).
Metsu, Gabriel, Dutch P., Leyden;
1630-67.
Meulen, Ant.-Fr. van der, Brussels,
P. of battle-scenes to Louis XIV. 5
1634-90.
Meynier, Ch., Fr. P., Paris, pupil of
Vincent; 1768-1832.
Michael Angelo Buonarroti, A., S., ii
P., Florence; 1475-1564.
Mieris, Frans van, the Elder, Dutch
P., Leyden; 1635-81.
— , Willem van, Dutch P.. Leyden,
pupil of the last; 1662-1747.
Mignard, Pierre, Fr. P., Troyes;
1610-95.
Millet, Jean-Franq., Fr. P., pup. of P.
Delaroche; 1815-75.
— , Aimi, Fr, S., Paris, pupil of Da-
vid d' Angers; 1819-1891.
Mino da Fiesole, see Fiesole.
Montagna, Bartolommeo, Ven. P. ; d.
1523.
Montereau, Pierre de, Fr. A. ; d. 1266.
Mor, Moor, or Mora, Antonis de (Sir
A. More), Dutch P., Utrecht; 1512-
1576/8.
Moreau, Gusfave, Fr. P., Paris; pup.
of PLcot; 1826-98.
— , Louis- Gabriel, Fr. P., Paris ; 1740-
1806.
— , Mathurin, Fr.S., Dijon, pupil of Ra-
mey (feDumont; b. 1822.
Moreau-Vauthier, Aug., Fr. S., Paris ;
1831-93.
Moretto da Brescia (Aless. Bonvicino),
P., Brescia; 1498-1555.
Mo'.tez , Victor-Louis , Fr. P., Lille,
pupil of Picot; 1809-92.
Midler, Ch. Louis, Fr. P., Paris, pupil
of Coguiet and Gros; 1815-1892.
Murillo, Bartolomi-Esteban. Span. P.;
1616-82.
"Santeuil (Ch.- Frang.- Leboeuf), Fr.
S., Paris ; 1792-1865.
— , Robert, engraver, Reims; 1630-
1698.
Natoire, Ch.-Jos., Fp.P., Nimes, pupil
of Lemoine; 1700-77.
Fr. P.. Paris;
Nattier, Jean - Marc ,
1685-1766.
Neer, Aart van derj^Dutch P., Am-
sterdam (?); 1603-77.
Neuville , Alphonse de , Fr. P., St.
Omer, pup. of Picot; 1835-85.
Oggiono, Marco da, Lomb. P., pup.
of Leon, da Vinci; 1470(?)-153U(?).
Ostade, Adr. van, Dutch P. ; 1610-85.
— , Izack van, Dutch P., brother and
pupil of the last; 1621-49.
Ottin, Aug.-Louis-Marie, Fr. S., Paris,
pup. of David d'Angers ; 1811-90.
Oudry, J. B., Fr. P., Paris ; 1686-1755.
Vagnest, A.-L.-Claude, Fr. P.; 1790-
1819.
Pajou, Augustin, Fr. S., Paris, pupil
of Lemoine ; 1730-1809.
Palissy, Bern., potter; 1510 ?-89.
Palma Vecchio, Jacopo, Ven. P.;
1480-1528.
Panini, Giov.-Paolo, Lomb. P. ; 1695-
1768.
Papety, Dom.-Louis-Firiol , Fr. P.,
Marseilles; 1815-49.
Pater, J.-B., Fr. P., Valenciennes;
1696-1736.
Percier, Ch., Fr. A., Paris; 1764-1838.
Perraud, Jean- Jos., Fr. S., pupil of
Ramey & Dumont; 1821-76.
Perrault , Claude , Fr. A., Paris :
1613-88.
Perugino (Pietro Vannucd), Umbrian
P.; 1446-1524.
Philippoteaux, Henri-Emm.-Filix, Fr.
P., Paris; 1815-84.
Picot, Frang.-Ed., Fr. P., Paris, pupil
of Vincent; 1786-1868.
Pigalle, J.-B., Fr. S., Paris ; 1714-85.
Pilon, Germain, Fr. S. ; 1515 ?-90?
Pits, Isid.-Adr.-Aug., Fr. P., Paris,
pupil of Picot ; 1813-75.
Pinturicchio (Bernardino Betti), TJm-
brian P.; 1454-1513.
Piombo, Sebast. del (Sebast. Luciani),
Ven. P. ; 14S5-1547.
Pippi, see Romano.
Pisano or Pi.tanello, Vitiore, Veronese
P. ; ca. 1380-1451.
Pointelin, Auguste- Emmanuel, Fr. P.,
Arbnis ; b. 1839.
Ponce or Ponzio, Paolo, Flor. S. of
the 16th century.
Pontormo, Jacopo Carrucci da, Flor.
P., pup. of A. del Sarto; 1494-1557.
Potter, Paul, Dutch P. ; 1625-54.
Pourbus or Porbus, Frans, the Younger,
Antwerp P.; 1569-1622.
Poussin, Gaspard, properly 0. Dughet.
Fr. P., Rome, nephew and pup. oi
the following; 1613-75.
406
LIST OF ARTISTS.
Povisin, Nicolat^ Fr. P., Les Andelys,
Normandy; 1594-1665.
Pradier, J.-J.. Fr. S., Geneva, pup,
of Lenaot; 1786-1852.
Prdault. Ant.-Augustin. Fr. S., Paris :
1809-79.
Prieur, Barth., Fr. S. ; d. 1611.
PHmaticcio^ Franc. ^ Bol. P. ; 1504-70.
Protait., Paul-Alex.. Fr. P., Paris:
1825-90.
Pi-udhon. Pierre-Paul, Fr. P., Cluny:
1758-1823.
Puget, Pierre, Fr. S., Marseilles;
1622-94.
Pujol, Alex.-Denis-Ahel , Fr. P., Va-
lenciennes, pupil of David : 1785-
1861.
Puvis de Chavannes, Pierre, Fr. P.,
Lyons, pupil of H. SclieflFer & Cou-
ture; 1824-98.
"Raffaelli, Francisqve-Jecm, Fr. P.,
Paris; b. 1815.
Eafet, Denis, Fr. P., Paris, pupil of
Charlet and Gros ; 1804-60.
Eaibolini, see Francia.
Eamey,Claude,FT.S. ,mjon ; 1754-1838.
Eaphael (Eaffaello Santi da Urhino).
Ital. P. ; 14S3-1520.
i?e^7ia«K,/.-5.,Fr.P., Paris; 1754-1829.
— , Henri., Fr. P., Paris, pupil ot Ca-
banel; 1843-71.
Rembrandt Harmensz van Eyn, Dutch
P., Leyden ; 16C6-69.
Reni, see Guido.
Eenoir, Firmin-Auguste, Fr. P., Lim-
oges ; b. 1841.
Ribera, Josd de, sarn. Spagnoletto,
Span.-Neap. P.; 1588-1656.
Eibot, Augustin-TModule, Fr. P., Bre-
teuil, pupil of Glaize ; 1823-91.
Ricard, Louis- Gust., Fr. P., Marseil-
les ; 1824-73.
Eiccio, see Brioscc.
Eichier, Ligier, Fr. S., St. Mihiel,
pup. of Michael Angelo; 16th cent.
Eigaud, Hvacinthe, Fr. P., Perpignan ;
1659-1743.
Eobbia, Luca, Andr.. & Giov. della,
three Flor. sculptors of the 15-16th
centuries.
Robert, Hubert, Fr. P.; 1733-1808.
— , Louis -Liop., P., La Chaux-de-
Fonds, pupil of Gerard & David ;
1794-1835.
Robert- Fleury, Jot.-Nic., Fr. P., Pa-
ris, pup. of Girodet, Gros, & H.
Vernet; 1797-1890.
— , Tony. Fr. P. , Paris , son of the last
& pupii of Delaroche; b. 1837.
Eobusti, see Tintoretto.
Eochegrosse, Georges. Fr. P., Versail-
les; b. 1859.
Rodin, Auguste, Fr. S., Paris; b.l840.
Eoll, Alfred-Philippe, Fr. P., Paris;
b. 1847.
Romano, Giulio (Pippi), Rom. P.;
1492-1546.
Eosa, Salvator, Neap. P.; 1615-73.
Rosso. Giovanbattista, Flor. P. ; 1496-
1541.
Rottenhammer, J.. Ger. P., Munich;
1564-1623.
Eoty, Oscar, Fr. medallist; b. 1846.
Rousseau, Theodore. Fr. P., Paris;
1812-67.
Eubens, Peter Paul, Antwerp P.;
1577-1640.
Eude, Franc, Fr. S., Dijon; 1784-
1855.
Euytdael or Euisdael , Jacob van,
Dutch P., Haarlem; c. 1628-82.
— , Izack van, Dutch P. ; d. 1677.
— , Salomon van, Dutch P., Haar-
lem; d. 1670.
Saint-Jean, Simon, Fr. P., Lvons;
1808-60.
Saint-Marceaux, Eeni de, Fr. S.,
Rheims; b. 1845.
Santerre, J. B., Fr. P., pupil of Bon
Boulogne; 1650-1717.
Santi, see Raphael.
Sarrazin, Jacques, Fr. S. ; d. 1600.
Sarto, Andrea del (Andrea Vannucchi),
Flor. P. ; 1487-1531.
Sassoferrato . Giov.-Bait. Salvi da,
Rom. P.; 1605-85.
Scheffer, Ary, P., Dordrecht, pupil of
Guerin; 1795-1858.
Scheffer, Henri, P., brother of the
last and pupil of Guerin; 1798-1862.
Schnetz , Jean -Victor, Fr. P., Ver-
sailles, pupil of David, Regnault,
Gerard, & Gros; 1787-1870.
Servandoni, Jean- Nicolas , Fr. A.,
Lyons; 1H95-1766.
Sesto, Ces. da, P., Milan, pupil of
Leon, da Vinci; d. after 1524.
Seurre, Ch.-Marie-Em., Fr. S., Paris,
pupil of Cartellier; 1798-1858.
Sigalon, Xavier, Fr. P., Uzes, pupil
of P. Guerin ; 1790-1837.
Signol, Em., Fr. P., pupil of Gros;
1804-92.
Signoi'elli, Luca, Tuscan P. ; 1441-1523.
Simart, Pierre-Ch., Fr. S., Troyes,
pupil of Dupaty & Pradier; 1807-
1857.
Slingelandt, P. van, Dutch P., Ley-
den, pupil of Dou; 1640-91.
Snyders,Frans, Antwerp P.; 1579-1657.
Solario, Andrea, Lomb. P., pupil of
Leon, da Vinci; c. 1460-1515 (?).
Soufflot, Jacques- Germain , Fr. A.;
1714-81.
LIST OF ARTISTS.
407
Spada, Lionello, Bol. P.; 1556-1622.
iSpagna, Oiov. di Pietro, sum. lo
Spagna, Span.-Umbr, P.; d. 1529?
Spagnoletto^ see Ribera.
Sleen.Jan, Dutch P.,Leyden ; 1626?-79.
Steuben, Ch., P., Mannheim; 1791-
1856.
Stevens, Alfred, BeJg. P. at Paris:
b. 1828.
Subleyrat, Pierre, Fr. P., Uzes ; 1699-
1749.
Sueur, Le, see Le Sueur.
Tassaert, Octave, Fr. P., Paris; 1800-
1874.
Teniers, David, the Elder, Antwerp
P., pupil of Rubens ; 1582-1649.
— , David, the Younger, Antwerp P.,
son & pupil of tbe last; 1610-90.
Ter Borch or Terhurg, Oer., Dutch
P., Zwolle; 1617-81.
Thulden, Th. van, Flem. P., pupil of
Rubens ; 1607-76.
Timbal, Louis-Ch., Fr. P., Paris, pupil
of Drolling &i Signol; 1822-80.
Tintoretto, Jacopo Robusti, Yen. P.,
pupil of Titian; 1519-94.
Titian (liziano Vecellio da Cadore),
Yen. P. ; 1477-1576.
Tocqu4, Louis, Fr. P., 1696-1772.
Triqueti, Henri, Baron de , Fr. S.;
1802-74.
Troy, J. F. de, Fr. P., Paris ; 1679-1752.
Troyon , Constant, Fr. P., Sevres;
1810-65.
Tuby or Tubi, J.-B., S. ; 1630-1700.
Ucce«o, Paolo, Flor. P.; 1397-1475.
"Valentin, sum. Jean de Boullongne,
Fr. P., Coulommiers; 1591-1684.
Vanloo or van Loo, Jacob, Dutch P. ;
1614-70.
Vanloo, Jean-Bapiiste, Fr, P., Aix:
1684-1745.
— , Ch.-Andri, Fr. P., Nice, brother
and pupil of the last; 1705-65.
— , Louis-Michel, Fr. P., Toulon, son
of .Jean-Baptiste; 1707-71.
Vannucchi, see Sarto.
Vannucci, see Perugino.
Vasari, Giorgio, Flor. P. & art-histo-
rian; 1512-74.
Vecelli, see Titian.
Vela, Vine, Ital. S. ; 1822-91.
Velazquez, Don Diego Rodriguez de
Sylva y V., Span. P.; 1599-1660.
Velde, Adr. van de, Dutch P., Am-
sterdam; 1635-72.
— , Willem van de, the Younger, P.,
Amsterdam; 1633-1707.
Ver Meer, see Meer.
Vernet, Claude-Jos., Fr. P., Avignon;
1714-89.
— , Ant.-Ch.-Hor., sum. Carle, Fr.
P., son of the last; 1758-1835.
— -, Horace, Fr. P., son of Carle;
1789-1863.
Veronese, Paolo (P. Caliari) , Yen.
P.; 1528-88.
Victoor, see Fictoor.
Vien, Jos.-Marie, Fr. P., Jlontpellier ;
1716-1809.
Vinchon , Aug.-J.-B., Fr. P., Paris ;
1789-1855.
Vinci,Leonardoda, Flor. P.; 1452-1519.
Viollet-le-Duc, Eug.-Emm., Fr. A.,
Paris; 1814-79.
Viscoiiti, Louis, A., pupil of Percier;
1791-ia54.
Vollon, Ant., Fr. P., Lyons; b. 1833.
Volierra, Daniele Ricciarelli da, Flor.
P.; 1509-66.
Vouet, Sim., Fr. P., Paris; 1590-1649.
Warin, Jean, Fr. medallist, Liege ;
1604-72.
Watteau, Ant., Fr. P., Yalenciennes ;
1684-1721.
Weenix, J.-B., Dutch P.; 1621-60.
Weyden, Rog. van der, Flem. P.,
Tournai; c. 1399-1464.
Wouverman, Phil., Dutch P., Haar-
lem; 1619-68.
— , Pieter, Dutch P., brother and
pupil of the last; 1623-82.
Wynants, Jan, Dutch P.; 1641-79.
Yvon, Ad., Fr. P., Eschweiler, pupil
of P. Delaroche; 1817-93.
Zampieri, see Domenichino.
Ziegler, Claude-Louis.'FT.'P., Langres,
pupil of Ingres; 1804-56.
Ziem, Filix, Fr. P., Beaune ; b. 1821.
Zurbaran, Francisco, Span. P., 1589-
1662.
INDEX.
Abbaye anx Bois 352.
— du Val 348.
Abbeville 384.
Ablon 858.
Acberes 333. 344. 396.
Adamville 302.
Ste. Adresse 398.
Ailly-sur-Noye 386.
— sar-Somme 384.
Alfort 302.
Alfortville 302.359. Appx.,
p. 31, 32.
Amiens 385.
Andelys, Les 395.
Andilly 341.
Andresy 344.
Antonv 352. 356.
— (Pont d ) 356.
Apremont 367.
Arcueil 350. 355.
Argenteuil .841. 313.
Arpajon 357.
Arques 3S0.
— , tbe 389.
Arras 386.
Arve, the 385.
Asnieres 291. 326.342. 396.
Athis-Mons 358.
Aubervilliers-la-Cour-
neuve 379.
— . Rue-St-Denifl 380.
Auger-St-Vincent 378.
Aulnay 352.
— les-Bondy 379.
Auteuil 171. Appx., p. 34.
Auvers 345.
Avon 368.
Bagatelle 162.
Bagneux 349. 355.
Bagnolet seeAppx.,p.32,
Bailly 326.
Ballainvilliers 356,
Barbery 378.
Barbison 368.
Barentin 398.
Barre-Ormesson, La 339.
Bas-Breau 368.
— Meudon 292. 293. 298.
Beauchamps 342.
Beaumont 346. 377.
Beauregard (cbat.) 327.
Becon-les-Bruyeres 291.
Bel-Air301; Appx., p. 34.
Belles-Fontaines (Pont
des) 358.
Bellevue 298.
— Funiculaire 292. 293.
Belluy 347.
Berck 384,
Bercy-Ceinture 359.
Bergerie, La 295.
Berneval 390.
Berny 352.
— , La Croix de 356.
Bessancourt 348.
B^tbune 384.
Beuzeville 398.
Bevillers (Cbat.) 354.
Bezons 326. 343. Appx.,
p.32.
Bicetre 357.
— , Fort 350. 357.
Bievre, tbe 350. 353.
Bievres 352. 353.
Billancourt 293. 297.
Appx., p. 31.
Bois-de-Colombes 342.
le-Roi 362.
Boissy-St-Leger 307.
Bolbec 398.
Bendy 3T9; Appx., p. 31.
Bonneuil-sar-Marne, see
Appx., p. 31.
Bonnieres 395.
Bon-Secours 394.
Boran 377.
Bouffemont 347.
Bougival 327. 329.
Bouille, La 390.
Boullay-les-Troux 353.
Boulogne-sur-3Ier 381.
— sur-Seine 293-, Appx.,
p, 31.
Bourg-la-Reine 356. 851.
Bourget, Le 379.
Bourron 368.
Boves 386.
Breant^ 398.
Breteuil 387.
— , Pav. de 295.
Bretigny .359.
St. Brice 348.
Bricbe,Fortdela339.368.
Brie, La 860.
— Comte-Robert 307.
Brunoy 360.
Bruyeres 377,
Bry-sur-Marne 306.
Buc, Aqueduct of 353.
Bures 353.
Butte-Pincon 369,
Buzenval 295.
Caffiers 388.
Calais 387.
Camp de Cesar 390.
Canaples 384.
Canche (Baie de la) 38i.
Carnelle, Forest of 347.
Carrieres, Les 301. 302,
— St, Denis 843.
Caudebec 398.
Caux, Pays de 398,
Cayeux 384.
Celle-St-Cloud. La 327.
Cernay 355. 342.
Cesson 360.
Chailly 361.
Cbalais (Pare de) 290.
Champagne 346. 360.
Champignolle 307.
Cbampigny 307,
Cbamplan 353.
Cbamplatreux 347.
Cbamprosay 359.
Chantilly 369,
Cbapelle-Nord-Ceinture,
La334. 380. Appx., p.34
Chaponval 345,
Cbarenton 302. 359.
Appx., p. 31.
Cbaronne, see Appx. p,34.
Cbasse (Chateau de la)
3U.
Cbateauneuf 395.
Chatenay 352; Appx.,
p, 31.
Cbatillon 349.
Chatou 327.
Chaville 307. 303.
Chennevieres 307.
Chevilly 351,
Chevreuse 354.
Chilly Grande Ceinture
356.
IN EX.
409
Chilly Mazarin 353. 356.
Choisy-le-Roi 338.
Cite de Limes 390.
Clamart 286.
Cleres 398.
Clermont-de-rOise 387.
Clichy 209. 291. 896.
Appx., p. 34.
St. Cloud 294.
— Montretout 293.
Colombes 342, 396.
Combs-la-Ville 360.
Comelle. Etang de 376.
Compans 379.
Conchil-le-Temple 281.
Con flans 301.
— Fin-d'Oise 344.
— St. Honoiine 343.
Corbeil 359.
Cormeilles 341. 342. 343.
— en-Paris is 343.
Coudray 360.
Courbetin (Chat, de) 353.
Courbevoie 160. 291. 328.
Appx., p. 32.
Courcelles 395: Appx.,
p. 34.
Coye 369.
Creil 377. 387.
Crepy-en-Valois 378.
Craeil302; Appx., p. 31,
Croissy 327.
Croix-d'Arcueil, La 355.
Crotov, Le 384.
St. Cucufa (Etan- de)
329.
St. Cyr 326.
Dammartin 379.
Dampierre 354.
Danmarie 361.
Daume.snil. Lac 305.
Deativille 398.
Denecourt (Tour) 367.
St. Denis 334.
— , He 339.
Deuil 348.
Dieppe 389.
Domont 347.
Dompierre-sur-Authie
3Si.
Dormoir, the 368.
Donai 387.
Dover 387.
Prancy 379.
Draveil 359.
Dreuil 384.
Eauplet 394.
Kcouen 347.
Elbeuf 395.
Ensihien-les-Kains 339.
— , Lac d' 341.
^Epinav 339. 348. Appx.,
I p. 32.
— sur Orge 358.
jEpluches 345.
Eragny-Neuville 343. 344.
Ermenonville 379.
lErmont 341. 342. 349.
JEsneval 398.
Essonnes 360.
Etampes 3o9.
|Etang-la-Ville, L' 328.
iEtaples 384.
lEvry 359.
lEzanville 347.
Faiencerie, La 356.
Faloise, La 388.
St. Farseau 360.
St. Firmin 377.
Fleurv 298. 299.
Folkestone 381.
Folleville 386.
Fontainebleau 362.
Fontenay-aux-Rnses 349.
— sons-Bois 3l6: Appx.,
p. 31.
Fontinettes 3S8.
Fourqueux 328.
Franchard 867.
Franconville 342. 347.
Fre'pillon 348.
Fresue.<'-les-Run£is 356.
Frethun 388.
Frette, La 343.
Gailion 395.
Garches 295. 327.
Garenne, La 326. 343.
Appx., p. 32.
Games 355.
Gennevilliers 291. 339.
Gentilly 350: App.x.,
pp.31, 34.
St. Germain, He 293.
— en-Laye 329.
— Gr.-Ceint. 328. 383.
— la-Norville 357.
Gif 353.
Girard, Mnnts 368.
Gisors 390. 395.
Glaciere (La), see Appx.,
p. 34.
Gonesse 369.
Gournay 390.
Goussainville 369.
Grange, Chat, de la 307
— aux-Cercles, La 356.
— d'Ory 355.
St. Gratien 340. 341.
Gravelle 302. 304. 305.
Gravigny 353.
Graville 398.
Greuelle,see .\ppx., p. 34
Gris-Xez, Cap 383.
Gros-Bois, Chat, de 807.
— Fouteau 367.
— Noyer 349.
Groslav 348.
Guichet, Le 353.
Hangest 384.
Harfleur 493.
Hautes-Bruyeres (Re-
doute des) 351.
Hautie or,
Hautil, the 344.
Havre, Le 396.
Hay, L' 351.
Herblay 343.
Hesdigneul 384.
nouille3 343i Appx., p. 32.
Igny 353.
Ingouville 397.
Isle-Adam, L^ 346.
Issy 296; Appx., p. 31.
Ivry 358; Appx., p. 31.
Javel 292.
Joinville-le-Pont 305.
Jonchere, La 329.
St. Josse 384.
Jouv-en-.Tosas 353.
— le-Comte 346.
.luiUy (College de) 379.
St. Just-en-Chaussee
387.
Juvisy 358. 353. 359.
Landy, Le 334.
Laplace 350.
Laversine ^Chat.) 376.
St. Len-d'Esserent 377.
— Taverny 348.
LeuviUe 857.
Levallois-Perret 291;
Appx.. p. 34.
Lezarde, the 398.
jLiancourt 287.
jLiane, the 382.
iLieusaint 360.
ILilas,Le3 203. 304. Appx.,
p. 32.
Lillebonne 398.
|Limours 358.
iLinas 357.
Loges, Les 333.
Longchamp 162. 292.
Longjumeau 356 353.
ILongpont 356. ':'59.
Longpre 384.
iLongueau S8G.
Lormoy (Chat, de) 359.
iLouveciennes 327.
Louviers 395.
Louvres 309.
410
INDEX.
Lozere 353.
Luzarches 347.
MacMne, La 329.
Maffliers 347.
Maison-Blanche , La, see
Appx., p. 34.
Maisons-Alfort 302. 359.
Appx., p. 31.
— Laffitte 344. 396.
Appx., p. 32.
Malabry 352.
Malakoff298. 349. Appx.,
p. 31.
Malaunay 380. 398.
Malmaison, La 329.
Manclie, Canal de 1 1 375.
St. Mande 300; Appx.,
pp. 31. 32.
— , Lac de 304.
Mantes 395.
Marche, La 327.
Marcoussis 357.
Mareil 3'28.
Marines 846.
Marlotte 3(38.
Marlv-le-Roi 327.
— , Forest of 327.
Marne, the 302. 359.
Marquise 388.
St. Martin-du-Tertre 347.
Massy 352. 353.
Maubuisson, Chat, de 345.
St. Maur-des-Fosses 302.
— Port-Creteil 302.
— , Canal de 305.
St. Maurice 302.
Mauviere (Chat.) 354.
St. Maximin 376.
Melun 360.
Meriel 348.
Merv 346. 348.
Meudon 298
St. Michel-sur-f)rge 359.
Minimes, Lac des 308.
Mitry-Claye 379.
Money ii. xii.
Montataire 377.
Montceaux 360.
Montereau 360.
Montgeron 360.
Montignv 342. 343. 368.
Montivilliers 398.
Montlhery 356.
Montlignon 341.
Montmagny 348.
Montmorency 340.
Montretout 295.
Montreuil 304; Appx.,
p. 31.
Montrouge 289 ; Appx.,
p. 34.
— (Grand) 355.
Montsoult 356. 346.
Morangis 356.
Moret 368.
Mortefontaine 369.
Motteville 39S.
Moulin des Rochers 355.
Monlineaux, Les 292. 296.
Appx., p. 31.
Nanterre 326. 328.
Nanteuil 379.
Nesles 346.
Neufchatel 390.
Neuilly 159. 328.
— sar-Marne t06.
— Plaisance 3U6.
Neuville 343.
Newhaven 388.
Nid de TAigle 367.
Nogent-sur- Marne 306.
Nointel 347.
Nointot 398.
Noisy-le-Roi SIG.
— Ie-Sec339;Appx.,p.32.
St. Nom-la-Bret. 326. 328.
Nonette. the 376.
Nord, Fort du 363.
Noye, the 386.
Noyelles 384.
Oise,the343. 344. 376.387.
Oissel 395.
Orangis 359.
Orge. the 357.
Orgemont 341.
Orle'ans-Ceinture 358.
Orly 353.
Ormesson 339.
Ormoy 379.
Orry-Coye 369.
— la-Ville 369.
Orsay 353.
St. Ouen 209 ; Appx. ,p.34.
— rAum6ne343.344.345.
Ourcq, Canal de V 201.
379.
Outreau 384.
Pacy sur TEure 395.
Palaiseau 353.
Paris 1.
Abattoirs 203.
Academie Franc. 246.
— de Me'deciue 252.
Alcazar d'Ete 36.
St. Antoine, Faubourg
xxvii. 300.
Apartments 11.
Aquarium 164.
Arc de Triomphe du
Carrousel 151.
de TEtoile 158.
Archives Nationales
210.
Paris :
Archives de la Ville
218.
Arenes de Lutece 270.
Arrival 1.
Arrondissements
xxviii.
Art Exhibitions 38.
Arts et Metiers, Con-
servatoire des 175.
Aubervilliers 203.
Autenil 171; Appx.,
p. 34.
Automobiles 39.
Avenue d'Antin 158.
— du Bois-de-Boulogne
159. 160.
— de Breteuil 281.
— des Champs-Elyseeji
159. 156.
— de Clichy 206. 209.
— Daumesnil 301.
— Gambetta 186.
— des Gobelins 268.
— de la Grande-Ar-
mee 159. 160.
— Henri Martin 171.
— Hoche 159.
— d'lena 159.
— Kleber 159.
— Montsouris 2S9.
— Montaigne 158.
— Nicolas II. 156.
— de rObservatoire285.
286.
— de rOpera 78. 60.
— d' Orleans 289.
— de St. Ouen 209.
— Rachel 206.
— de la R^publique 74.
179.
— du Trocadero 165.
— Victor-Hugo 159.
— Victoria 63.
— de Villiers 199.
— de Vincennes , see
Appx., p. 34.
Bagatelle 162.
Bal Bullier 37. 285.
Balls 36.
Banks 51.
Banque de France 193.
Bardo 2e0.
Barracks 69. 193. 218.
Bassin delaVillette201.
— de TArsenal 301.
Bastille, Place de la 70.
Baths 47.
Batignolles 199.
Bazaars 40.
Beer Houses 21.
Bel-Air, see Appx.,
p. 34.
INDEX.
411
Paris :
Belleville 203; Appx.
p. 34.
Bercy 301. 359.
Bibliotheque Nationale
187.
— de TArsenal 218.
— Ste. Genevieve 243
— Mazarine 247.
— de la ViUe 217.
Bicetre 290.
Bird Market 223.
Blind .\sylum 271. 281.
Boarding Houses 10.
Boating 38.
Bois de Boulogne 160.
— de Vincennes 304.
Bon Marche 40. 271.
Book Sales 194.
Booksellers 45.
Botanic Garden 267.
Bottin (directory) xxx.
Bouffes Parisiens i
Boulevards, the Old or
Inner 72.
— . the Outer 73. 204.
— , the New 73.
— d'Enceinte 73.
Boulevard Arago 283.
270.
— Barbes 204.
— Beaumarchais 74.72,
— Bonne-Nouvelle 76.
— des Capucines 78.
— St. Denis 75.
— des Filles-du-Cal-
vaire 74.
— St. Germain 229.
— Haussmann 197.
— Henri IV. 72. 218.
— des Italiens 77.
— de la Madeleine 80.
— de Magenta 75. 200.
— Malesherbes 197.
— St. Marcel 268.
— St. Martin 75.
— St. Michel 228.
— Montmartre 77.
— Montparnasse 286.
— Ornano 204, and
Appx., p. 34.
— du Palais 220.
— Poissonniere 76.
— de Port-Royal 286.
270.
— Raspail 286. 288.
— Richard-Lenoir 72.
179.
— de Sebastopol 75.
175.
— de Strasbourg 75.
200.
— du Temple 74.
Paris :
Boulevard Voltaire 74.
179.
Bourse, la 193.
— de Commerce 172.
— du Travail 75.
Brasseries 21.
Bridges, see Ponts.
Butte aux Cailles 270,
— Montmartre 204.
— Mortemart 161.
Buttes-Chaumont, Les
201.
CabaretsArtisliques 36.
Cabinet des Medailles
et Ant. 190.
Cabs 22; Appx. p. 36.
Cafe's 19.
— Concerts 30.
Canal St. Denis 201.334.
— St. Martin 72. 201.
— de rOurcq 201.
Carriages 22.
Casernes 69. 193. 218.
Casino de Paris 36. 37.
Catacombs, the 289.
Cattle Market 202.
Cemetery of Mont-
martre 206.
— Montparnasse 287.
— of Passy 171.
— of Pere - Lachaise
180.
— of Picpus 3l0.
Cercles 39.
Chambre des Depute's
272.
— des Notaires 64.
Champ-de-3Iars 282.
— , Ligne du 171.
Champs-Elys^es 155.
Chapelle Expiatoire
197.
— St. Ferdinand 159.
— , Sainte 221.
Charonne Appx., p. 34
Chaussee d'Antin,
Quartier 195.
Chemins de Fer de
Ceinture 27. Appx.,
p. 34.
Chemists 41.
Church-music 38.
Churches 49. 58.
St. Ambroise 179.
American Church 49.
Assumption 85.
St. Augustin 197.
Baptist 50.
St. Bernard 204.
Billettes, des 50.
Calvinist 50.
Ste. Clotilde 213.
Paris :
Churches :
Congregational 49.
St. Denis-du-St. Sa-
crement 74.
Ste. Elisabeth 210.
English 49.
Episcopal 49.
St. Etieune-du-Mont
243.
St. Eugene 76.
St. Eustache 174.
St. Francois -Xavier
281.
Free Churches 50.
St. Germain -TAu-
xerrois 62.
— des-Pre's 252.
St. Gervais 69.
Invalides 279.
St. Jacques-du-Haut-
Pas 285.
St. Jean-Baptiste202.
— et St. Francois
213.
St. Joseph-des-Car-
mes 263.
St. Julien-le-Pauvre
229.
St. Laurent 200.
St. Louis 279.
— en-rile 227.
Lutheran 50.
Madeleine 81.
Ste. Marie 50. 70.
St. Medard 270.
St. Merri 65.
St. Nicolas - des-
Champs 178.
St. Nicolas-du-Chap-
donnet 245.
Notre-Dame 224.
Notre - Dame - d'Au-
teuil 172.
— des-Blancs-Man-
teaux 212.
— de Bonne-Nouvelle
76.
— des-Champs 288.
— de Clignancourt
206.
— de ConsolationlG5.
— de-la-Crolx 186.
— de-Lorette 195.
— des-Victoires 193.
Oratoire 50. 62.
Pantheon 240.
St. Paul et St. Louis
69.
St. Philippe-du-
Roule 168.
St. Pierre 159.
— de-Montmarfre206,
412
INDEX.
Paris:
Churclies :
St. de-Montrouge 289.
Protestant 50.
Redemption 50.
St. Roch 86.
Russian 199.
Sacre Coeur 205.
Sainte-Chapelle 221.
Scotland, Chnrch of
49.
St. Severin 228.
Sorbonne 239.
St. Sulpice 253.
St. Thomas -d'Aquin
271.
Trinite 196.
Val-de-Grace 286.
St. Vincent-de-Paul
203.
Visitation, Church of
the 70.
Wesleyan Chapel 49.
Cigars 41.
Circulating librarie346.
Circuses 35.
Cirque Palace 35. 157.
— d'Hiver 35. 74.
— Medrano 35. 20b.
— Nouveau 35. 85.
Cite, island 219.
Clichy 209.
Clinique d' Accouche-
ment 285.
Clubs 89.
Cluny, Hot. et Musee
de 229.
Coaches 25.
Collections,seeMusees.
College Chaptal 200.
— Ecossais 244.
— de France 240.
— Goubaux 200.
— Mazarin 245.
— des Quatre Nations
245.
— Rollin 204.
Colonial Office 151.
Colonne de Juillet 71.
— Vendome 84.
ComedieFrancaise. 61.
Commissionaires 45. 1.
Communes Annexees
xxviii.
Compagnie des Pompes
Funebres 180.
Comptoir d'Escompte
77.
Concerts 36. 37.
Conciergerie 222.
Confectioners 22. 41.
Conservatoire des Arts|
et Metiers 175. I
Paris :
Conservatoire de Mu-
sique 76. 37.
Consulates 50. 51.
Corps Legislatif 272.
Cour d'Assises 221.
Courcelles, see Appx.,
p. 34.
Cours-la-Reine 164.
— de Vincennes 300.
Credit Lyonnais 78.
Cuisines de St. Louis
222.
Custom-house xiii. 1.
Cycling xiv. 38.
Deaf and Dumb Insti-
tution 285.
Dentists 48.
Dhuis, Reservoir de la
187.
Diaconesses Protestan-
tea, Maison des 49.
Diary 54.
Directory xxx.
Distribution of Time
53.
Divine Service 49.
Dog Show 155.
Dome des Invalides279.
Douane 1. xiii.
Drainage 64.
Druggists 41.
Duval, Bouillon? 15.
Ecole Arago 300.
— d'Arboriculture 304.
— des Arts et Manu-
factures 179.
— des Beaux-Arts 248.
-— de Botanique 267.
— Boulle 300.
— Coloniale 285.
— de Droit 240.
— Estienne 270.
— des Hautes Etudes
Commerciales 199.
— Massillon 218.
— de Medecine 229.
— Militaire 284.
de Gymnastique
306.
— Normale Superieure
243.
— de Pharmacie 285.
— Polytechnique 244.
— Pratique 229.
— Superieure de
Guerre 284.
des Mines 284.
— Turgot 179.
Egouts 64.
Eiffel Tower 282.
Eldorado 200.
Elysee, Palais de 1' 156.
Paris :
Embassies 50. 5i.
English Churches 49.
Esplanadedes Invalides
273.
Etablissement horti-
cole 172.
Exchange 193.
Exhibition of 1900, 2S3.
Faubourgs xxvii.
Faubourg St. Germaip
270.
St. Ferdinand, Cha-
pelle 159.
Fete des Fleurs 161.
Fiacres 22.
Figaro Office 194.
Fleuriste de la Ville
172.
Flower Markets 45. 223.
— Show 155.
Folies-Bergere 36.
— Marigny 36. 167.
Fontaine Cuvier 266.
— de Grenelle 271.
— des Innocents 175.
— Louvois 187.
— du Luxembourg 258.
— de M^dicis 263.
— St. Michel 228.
— Moliere 187.
— Notre-Dame 227.
— de rObservatoire
285.
— Richelieu 187.
— St. Sulpice 254.
— de la Victoire 63.
Football 39.
Fortifications xxviii.
Foundling Hospital
288.
Franco-English Guild
11. 47.
Furnished Apartments
11.
Galerie Durand-Ruel
3S. 258.
Garde-Meuble 281.
Gardiens de la Paix
xxx.
Gare de I'Arsenal 72.
— d'Austerlitz 26.
— de TEst 26. 200.
— des Invalides 26. 274.
— St. Lazare 26. 19G.
— du Luxembourg 27.
— de Lyon 27.
— Montparnasse 26.
288
— du Nord 26. 200.
— d'Orleans 26. 271.
— deParis-Denfert289.
— de Sceaux 289.
INDEX.
413
Gare de Strasbourg 26,
200.
— de Vincennes 26. 72,
St. Germain, Faubourg
271.
Gobelins, the 268.
Golf Course 39.
Goods Agents 28.
Grand-Montrouge 289.
Grands Magasins 40.
Grenelle, ArtesianWell
of 281.
Halle au Bl^ 172,
— aux Vins 267.
Halles Centrales 173.
Hertford Hospital 49.
Hippodrome 35.
— de Longchamp 162-
History xxi.
Hopital Broca 270.
— Laennec 271.
— Lariboisiere 204.
— de Lourcine 270.
— du Midi 286.
— Necker 271.
— de la Piti^ 267.
— Eicord 286.
— dela Salpetriere267.
— Tenon 186.
— duVal-de- Grace 286.
Horse Races 38. 162.
Hospice de Bicetre 290.
— des Enfants-Assis-
tes 288.
— Wallace 49.
Hospitals 48. 49. 224.
270. 286. 800. 301.
Hotels 2.
Hotel Barbette 212.
— de Beauvais 69.
— de Bethune 70.
— de Chalon- Luxem-
bourg 69.
— de (Jlunv 229.
— Crillon-Coislin 83.
— Dieu 224.
— du Figaro 196.
— de HoUande 213.
— des Invalides 274.
— Lambert 228.
— Lamoignon 213.
— Lauzun 228.
— de Mayenne 70.
— des Monnaies 247.
— de Nesle 245.
— d'Ormesson 70.
— des Postes 28. 173.
— de Sens 218.
— de Soubise 210.
— de Sully 70.
— des T^ldphones 173.
— du Timbre 193.
Paris:
Hotel la Valette 218.
— des Ventes 194.
— de Ville 65.
He de la Cit^ 219-
— des Cygnes 172. 293.
— St. Louis 227.
— Louviers 218.
Imprimerie Nationale
2l3.
Institut Catholique 263.
— de France 245.
— Pasteur 49. 288.
— Polyglotte 47.
— Rudy 47.
Institution Chevalier
244.
— des Jeunes Aveugles
281.
— des Sourds-muets
285.
— Ste. Ferine 172.
Invalides, Hotel des
274.
Jardin d'Acclimatation
162.
— botanique 267.
— du Luxembourg 262.
— des Plantes 264.
— des Tuileries 153.
Jeu de Paume 325.
July Column 71.
Lafayette's Tomb 300.
Lectures, Public 178.
Letters 29.
Libraries , public, see
Bibliotheques.
Longchamp 161. 162.
Lost Property Office
224.
Louviers, He 218.
Louvois, Font, et Place
187.
Louvre 86.
African Antiquities
91.
Asiatic Museum 99.
145.
Bronzes, Ancient
142.
Chalcographie 151.
Chinese Museum 150.
Collection of Draw-
ings 143.
— Campana 148.
— His dela Salle 144.
— La Caze 141.
— Grandidier 151.
— Thiers 143.
Egyptian Museum
101. 146.
EscalierDaru 91.109.
— Henri II. 99. 109.
Paris :
Louvre :
Ethnographical Mu-
seum 150. ^
Galerie d'ApoUon 137.
— Denon 90. -^
— Mollien 90.
Grande Galerie 119.
Jewish Museum 101.
3Iarine Museum 150.
Mediaeval, Renais-
sance and Modern
Objects of Art 144.
Pavilion Denon 90.
109.
— derHorloge(Sully)
142.
Picture Gallery 110.
Pottery, Antique 148.
Rotonde d'Apollon
137.
Salle des Bijoux An-
tiques 140.
— des Roites 151.
— Duchatel 114.
— Henri U. 141.
— des Moulages 90.
— des Portraits 137.
— des PrimJtifs 116.
— des Prlsonniers
Barbares 90.
— des Sept Che-
minees 140.
Salles de la Colon-
nade 145.
— Franfaises 131.
Salon Carr6 115.
Sculptures , Ancient
90.
— , Mediaeval and Re-
naissance 103.
— , Modern 106.
Lunatic Asylum 302.
Luxembourg, Palais du
255.
— , Muse'e du 256.
— , Jardin du 262.
Lyc^e Carnot 199.
— Charlemagne 70.
— Condorcet 197.
— Henri IV. 244.
— Janson de Sailly
171.
— Louis-le-Grand 240.
— St. Louis 239.
— Montaigne 285.
Machines, Galerie de^
283.
Madeleine 81.
Madrid 162.
Magasins 40. 62.197.204.
218, etc.
Mail Coaches 25.
414
INDEX.
Paris :
Mairie of the 1st Arron-
dissement 62.
— 2nd — 193.
— 3rd — 210.
— 4th — 69.
— oth — 243.
— 6th — 254.
— iOth — 75.
— 11th — 179.
— 13th — 270.
— 14th — 239.
— 16th — 171.
— 18th — 206.
— 19th — 201.
— 20th — 186.
Maison Blanche . La,
see Appx., p. 34.
— Chardon-Lag. 172.
— d'Education de la
Legion d'Honneur 33S.
— de Francois I. 165.
— Rossini 'l72.
Maisons meublees 6. 10.
11.
— de sante 48.
Manege 84.
Maps 43.
Marais, Quartier du
212.
Marheuf, Quartier 153
Marche aux Bestiaux
202.
— aux Fleurs 223.
— du Temple 210.
— de la Villette 202.
Market, Central 173.
Maternity Hospitals
286.
Menilmontant 186. 187
Appx., p. 34.
Metropolitan Railway
27. Appx., p. 33.
Ministere des Aflaires
Etrangeres 273. 51.
— des Finances 51.
— de la Guerre 272. 51
— de la Marine 83. 51
Ministerial Offices 51
Mint 247.
Missions 50.
— Etrangeres 271.
Monceaux, Pare 198.
Money ii. xii.
— Changers 51.
Monnaie, La 247.
Montmartre 204.
— , Cemetery of 206.
Montparnasse, Ceme-
tery of 287.
Mont-de-Piet^ 212.
Montrouge 289 ; Appx.,
p. 31.
Paris:
Montsouris, Park of
289.
Monument of Alphand
160.
— of Augier 263.
— of Barve 228.
— Bobillot 179.
— of Boossineaultl76.
— of Chopin 199.
— of Corot 199.
— of Daubenton 266.
— de la De'fense de
Paris 292. 328.
— of Delacroix 262.
— of Dolet 238.
— of Col. Flatters 290.
— of Gambetta 151.
— of Gounod 198.
— of La Fontaine Hi
— of Leclaire 209.
— of Lemaitre 75.
— of Marie Deraismes
209.
— of Maupassant 198.
— of Moncey 209.
— of Murger 263.
— of Simon 81.
— of Thomas 198.
— of Watteau 262.
Morgue 227.
Mortemart, Butte 161.
Moulin Rouge 37.
Muette, La 171.
Musee d'Anatomie 229.
— d"Anthropologie
Broca 229.
— des Antiquites Ra-
tionales 330.
— des Archives 211.
— de PArme'e 279.
— d'Artillerie 275.
— Astronomique 286.
— Carnavalet 213.
— Ceramique 297.
— Cernuschi 199.
— de Cluny 230.
— des Copies 249.
— DupuTtren 229.
— d-Ennery 160.
— Ethnographiquel70.
— Forestier 305.
— de Galliera 166.
— du Garde -Meuble
281.
— Gr^vin 37.
— Guimet 167.
— GustaveMoreaul96.
— Haiiy 281.
— d'Histoire Naturelle
264.
— Historiqne (Ver-
sailles) 312.
Paris :
Musee Historique de la
ViUe 213.
— Industriel 175.
— du Louvre 89.
— du Luxembourg 256.
— deMme. de Caen 247.
— des Medailles 190.
— de Mineralogie 284.
— Monetaire 247.
— des Moulages 170.
— de Musique 76.
— de rOpe'ra 80.
— Orfila 229.
— Pal^ographique 211.
— Pedagogique 286.
— des Poupe'es 286.
— de la Revolution 325.
— de Sculpture Com-
paree 170.
— Social 274.
— des Thermes 23a
— des Voitures 325.
Music Halls 36.
Napoleon I.'s Tomb 280.
Natural History Mu-
seum 264.
Neuilly 159.
Newspapers 46.
Notre-Dame 224.
Nurses 49.
Obelisk of Luxor 83.
Observatoire 286.
Oculists 48.
Odeon 33. 263.
Office de Commerce 77.
Old Paris 165.
Olympia 36. 37. 80.
Omnibuses 1. 23.
Appx., pp. 24-30.
Opera 32. 78.
Opera Comique 33. 77.
— Populaire 75.
St. Ouen 209; Appx.,
p. 34.
Ouest-Ceinture 296;
Appx., p. 34.
Palais des Beaux-Arts
156. 157.
— Bourbon 272.
— de Castille 159.
— du Corps Leeislatif
272.
— de TElysde 156.
— de Glace 39. 157.
— de rinstitut 245.
— de Justice 220.
— de la Legion d'hon-
neur 271.
— du Louvre 86.
— du Luxembourg 255.
— des Machines 283.
— Royal 60.
INDEX.
415
Paris:
Palais des Tournelles
217.
— du Trocad^ro 169.
— des Tuileries 151.
Panoramas 37. 170. 206.
Pantheon 240.
Pantin203;Appx.,p.33.
Pare 3Ionceaux 193.
— Montsouris 289.
Parcels 29.
Parisiana (Cafe-Con-
cert) 77.
Passage Jouflfroy 77.
— de rOpera 77.
— des Panoramas 77.
— des Princes 77.
— Vivienne 192.
Passports xiii.
Passy 170 ; Appx., p. 24.
Patisseries 22.
Pavilion de Hanovre 78.
Pensions 10.
Pere-Lachaise, Ceme-
tery of 180.
Petit-Montrouge 289.
Phonographs 37.
Physicians 48.
Picpus, Cemetery 300.
Picture Gallerv
(Louvre) 110.
— (Luxembourg) 259.
— (Versailles) 312.
Place de la Bastille 70.
— Blanche 206.
— de la Bourse 193.
— du Carrousel 153.
— du Chateau d'Eau
74.
— du Chatelet 63.
— de Clichv 209.
— de la Concorde 82.
— Daumesnil 302.
— Denfert - Rochereau
288.
— des Etats-Uuis 169.
— de rEtoile 158.
— de TEurope 196.
— Gambetta 186.
— de Greve 68.
— de riiotel-de-Ville
68.
— d'ltalie 270.
— Lobau 69.
— Malesherbes 199.
— Maubert 238. 245.
— M^dicis 239.
— St. Michel 228.
— Moncey 209.
— Monge 270.
— de la Nation 300.
— de rOp^ra 78.
— du Palais-Royal 59.
Paris :
Place du Parvis-Xotre'
Dame 224.
— St. Pierre 205.
— Pigalle 206.
— des Pyrenees 186.
— de la R^publique
74.
— de Rivoli 86.
— de la Sorbonne 239
— St. Sulpice 253. 254.
— du Theatre-Fran-
$ais 61.
— du Trocadero 169.
— du Trone 300.
— Vauban 281.
— Vendome 84.
— des Victoires 192.
— Voltaire 179.
— des Vosges 217.
— Wagram 189.
Point-du-Jour, see
Appx., pp. 34, 35.
Pointe St. Eustache 176
Policemen xxx.
Pont Alexandre in.
165. 274.
— de TAlma 165.
— d'Arcole 68.
— des Arts 245.
— d'Austerlitz264.302
— d'Auteuil 172. 293.
— deBercy 801; Appx.,
p. 34.
— du Carrousel 263.
— au Change 64.
— de la Concorde 83.
— deConflans301.302.
— de Flandre, see
Appx., p. 34.
— de Grenelle 172.
— d'lena 170.
— divry 301.
— des Invalides 165.
— St. Louis 227.
— St. Michel 22S.
— Mirabeau 172.
— National 301 ;
Appx.. p. ;35.
— Neuf 223:
— Royal 153.
— des Sts. Peres 263.
— de Solf^rino 272.
— Sullv 218. 22s.
— de Tolbiac 301.
Population xxvi.
Porte Dauphinel60.161.
— St. Denis 75.
— Maillot 160: Appx.,
pp. 31, 34.
— St. Martin 75.
— de la Muette 171.
— dOrleans 355.
ans:
Post Office 28. 173.
Prefecture de Police
224.
— de la Seine 66.
Preliminary Drive 52.
Prd-St-Gervais 203.
Prison de la Concier-
gerie 222.
— de la Force 70.
— de la Roquette 179.
— de la Sante 270.
Private Apartments 11.
Protestant Churches 50.
Quai Debilly 165.
— delaConfe'rencel64.
— des Orfevres 224.
Quartier de la Chaussee
d'Antin 195.
— St. Germain 219.271.
— Latin 10. 219. 223.
— du Marais 212.
— Marbeuf 158.
— 'du Temple 210.
Race Courses 38. 161.
162.209.305.340.342.
344. 370.
Railways xiii.
Railway Agents 23.
— Offices 27.
— Omnibuses 1.
— Stations 25.
Ranelagh, the 171.
Reading Rooms 45.
Reservoirs 187. 206.
290. 295.
Restaurants 11.
Roman Baths 237.
Rue d'Allemagne 201.
— St. Antoine 69'. 72.
— du Bac 271.
— de la Banque 193.
— de Chabrol 195.
— de Chateaudun 195.
— dela Chaussee-d'An-
tin 78.
— St. Denis 76.
— Drouot 77. 194.
— Etienne-Marcel 193.
— du Faubourg -St-An-
toine 72. 300.
St-Denis 76.
Montmartre 77
Poissonniere 76.
du-Temple 74.
— de Grenelle 271.
— d'Hauteville 76.
— St. Honors 86.
— Jean Goujon 165.
— Lafayette 196.
— Laffitte 78.
— St. Lazare 196.
— du Louvre 62. 172.
416
INDEX.
Paris :
Rue de Maubeuge 196.
— Monge 244. 270.
— Montmartre 77.
— Mozart 172.
— de la Paix 78.
— Le Peletier 78.
— Poissonniere 76.
— Prony 199.
— des Pyramldes 86.
— duQnatre-Septembre
78. 194.
— R^aumnr 178. 194.
— de Rennes 253.
— de Richelieu 77. 187.
— de Rivoli 61. 84.
— de la Roquette 179.
— de Rougemont 77.
— Royale 81.
— Scribe 80.
— Soufflot 240.
— Taitbout 78.
— du Temple 68. 75.
210.
— des Tuileries 154.
— de Turbigo 75. 175.
— Vivienne 77. 194.
Saddle Horses 23.
Sainte-Chapelle 221.
Salle Silvestre 195.
— Wagram 87.
Salles de Danse 37.
Salon, the 38.
Savonnerie, la 268.
Scala 36. 200.
Scots College 244.
S^minaire de St. Sul-
pice 254.
— des Missions Etran-
geres 271.
Sergents de Ville xxx.
Sewers 64.
Shops 39.
Sick Children's Hos-
pital 271.
Skating 39.
Slaughter-houses 203.
Sleeping Car Co. 4,
Sorbonne, the 238.
Sports 38.
Square d'Anvers 204.
— des Arts et Metiers
75. 175.
— des Batignolles 200.
— du Carrousel 153.
— Cluny 238.
— des Epinettes 209.
— Louvois 187.
— des Menages 271.
— Monge 244.
— Montholon 195.
— de Montrouge 289.
— de rOpdra 80.
Paris:
Square Parmentier 179.
— du Temple 210.
— de la Trinity 196.
— Vintimille 209.
Stamps 51.
Statue of the Abbe de
1 Epee 2:55. 325.
— of Arago 289.
— of Beauharnais 274.
— of Beaumarcbais 70.
— of Beranger 210.
— of Berlioz 209.
— of Bernard 240.
— of Bichat 229.
— of Louis Blanc 270.
— of Boucher 88.
— of Broca 229.
— of Budd 240.
— of Champonion240.
— of Chappe 271.
— of Charcot 268.
— of Charlemagne 224.
— of Charlet 289.
— of Chartier 199.
— of Coligny 62.
— of Condorcet 247.
— of Dante 240.
— of Danton 229.
— of Daubenton 163.
— of Daumesnil 303.
— of Diderot 204. 253.
— of Dolet 245.
— of Dumas 199.
— of Flachat 200.
— of Fourier 209.
— of Gambetta 151.
— of Gamier 285.
— of Gutenberg 213.
— of Henri IV. 223.
— of Joan of Arc 86.
268.
— of Lafayette &
Washington 169.
— of Lamartine 171.
— of Larrey 2S6.
— of Lavoisier 81.
— of Leblanc 176.
— of Ledru-Rollin 179.
— of Le Verrier 286.
— of Liberty 172.
— of Louis XIII. 217.
— of Louis XIV. 193.
214.
— of Marcel 66.
— of Meissonier 88.
— of Moliere 187.
— of Moncey 209.
— of Napoleon 84.
— of Neuville 200.
— of Ney 285.
— of Palissy 253.
— of Papin 176.
Paris :
Statue of Parmentier
160.
— of Pascal 63.
— of Pasteur 240.
— of Perronet 159.
— of Pinel 268.
— of Raffet 88.
— of Raspail 287.
— of Renaudot 224.
— of the Republic 74.
245.
— of Ricord 286.
— of Rousseau 243.
— of Sedaine 204.
— of Shakspeare 198.
— of Velazquez 88.
— of Villon 244.
— of Voltaire 244. 247.
— of Washington 166.
— of Washington &
Lafayette 169.
Steamboat Offices 28.
Steamboats 25 \ Appx.,
p. 35.
Swimming-baths 47.
Synagogues 50.
Tabacs , Manufacture
des 281.
Tables d'Hote 16.
Tea Rooms 22.
Telegraph Offices 30.
178.
Telephones 30. 173.
Temple, Faubourg du
xxvii.
— , Quartier du 210.
Theatres 81.
Theatre de TAmbigu
Comique 35. 75.
— Antoine 34.
— de TAthenee 35.
— des Bouflfes Pari-
siens 35.
— du Chatelet 34. 64.
— de Cluny 35.
— de la Comddie fran-
caise 33. 61.
— Dejazet 35.
— Francais 33. 61.?
— de la Gaite 34. 175.
— du Gymnase 33. 76.
— Marigny 36. 157.
— , Nnuveau 37.
— desNouveautds 35 78.
— de rOdeon 33. 263.
— de rOpdra 32. 78.
~ de rOpera-Comique
33. 77.
— de rOpdra-Popu-
laire 35. 75.
— du Palais-Royal 34.
61.
INDEX.
417
Paris: IPierrefitte 368.
Theatre de la Porte-St. Pierrelaye 343.
Martin 34. 75,
— de la Renaissance
34. 75.
— de la Repulilique 35.
— Marigny 157.
— Robert Houdin 35.
— Sarah Bernhard 34.
64.
— des Variet^s 34. 77.
— du Vaudeville 33. 78.
Theatre Offices 32.
Thermes 237.
Tobacco Manufactory
281.
Topography xxvi.
Tour Eiffel" 282.
— St. Jacques 63.
— de Jean sans Peur
175.
— de la Liberie 218.
— du Temple 210.
Tramways 24 ; Appx.,
pp. 24-32.
Tribunal de Commerce
223.
Trocad^ro, Palais du
169.
— , Pare du 170.
Tuileries, the 151.
— , Jardin des 153.
University 238.
— Hall 50.
Val-de-Grace 286.
Vanne, Reservoir de la
290.
Vendome Column
Villette, La 202.
Voitures 1. 22.
Weights xxxi.
Zoological Garden 162.
264.
Paris-Denfert 350.
Parmain 346.
Passy 170; Appx.. p. 34
Pavilly 398.
Pecq, Le 327.
Perray-Vauclnse 359.
Perreux, Le 306.
Persan- Beaumont 377.
Petit-Bicetre, Le 353.
— Boarg 359.
— Chambord 356.
— Mas^y, Le 356.
— Nanterre 343.
— Vaux 353.
Peupliers, Les 293.
Picquigny 384.
Pierre Turquaise 347.
St. Pierre-les-Calais 387-
— du Vauvray 395.
Piple, Chat, du 307.
Plaine-Voyageurs, La
33*
— St! Denis, La 3S0.
Plant-Chumpigny, Le307.
Plessis-Belleville , Le
374
Piquet, Le 350.
Point-du-Jour. see Appx.,
pp. 34, 35.
Pointe-Raquet, La 349.
Poissy 395.
Grande-Ceinture 333.
Pont d'Antony 356.
— de lArche 3 5.
de Briques 384.
— de Flandre, see Appx.,
p. 34.
Remy 384.
de la Revolte 33i.
de St. Cloud 292.
de Sevres 292.
de Soissons 380.
Ponthierrv 360.
Pontoise 344. 390.
Port-Creteil 302.
— Marly 329.
— Roval 850.
Precy 377.
Presles 346. 347.
St. Prix 341.
Puteaux 292.
Puys 390.
Raincy (Le), see Appx.,
p. 32.
Rang du Fliers -Verton
384.
Rape'e Bercy (La), see
Appx. p. 34.
Reine Blanche, Chat, de
la 376. 369.
, Etang de la 376
St. Remy-les-Chevreuse
353
Reuiliy 301.
St. Riqnier 384.
Ris-Orangis 359.
Robinson 351. 350.
St. Roch 384.
Rocher, Le 353.
Rolleboise 395.
Romainville 3J4; Appx.,
p. 32.
Rond-Point des Bergeres
328.
de la Defense 328
Rosny 395; Appx., p. 32
— sous Bois 306.
Rouen 390.
Royaumont 347,
Baedekkr. Paris. 14th Edit.
Rue 328. 384.
Rueil 327.
Rungis 351.
Saclay (Etang de) 353.
Sannois 341. 343.
Saquet (Moulin) 857,
Sarcelles 348.
Sartrouville 344; Appx.,
p. 32.
Saulx-les-Chartreux 356.
Sausseron, the 346.
Savi^ny-sur-Orge 358.
Sceaux 351,
— Ceinture 350.
Se'guin. He 293.
Seine-Port 8C0.
Selle, the 385.
Se'nart, Forest of 359.
Senlis 377.
Senlisse 854.
Sevran-Livry 379.
Sevres 297.
SognoUes 848.
Soisy 340.
Solle, la 368.
Somme, the 385.
Sotteville 395.
Southampton 396.
Stains 368.
Stors 348.
Sucy-Bonneuil 307.
— en-Brie 307.
Suresnes 292.
— Longchamp 292,
Survilliers 369.
Taverny 348.
Theve, the 369.
Thieux-Xantouillet 379.
Touques, the 398.
Tour, Chat, de la 341.
35i
Tr^port, Le 334.
Trianon, Grand and Pe-
tit 324.
Trou-Sal^ (Etang du)
363.
Trouville-sur-Mer 498.
Tuile, Butte de la 843.
TJs-Marines 346.
Val, Abbave du 348,
— , Le 298"
Valenton 353.
Valerien, Mont 292.
St. Vale'ry-en-Caux 398.
— sur-Somme 384.
Vallees, Les 291.
Valmondois 346. 348.
Vanves296; Appx., p. 81.
Varangeville 390.
21
418
HOTELS.
Varenne-St-Hilaire, La
302.
— Chennevieres, La 307,
Vauboyen 353.
Vaucelles 348.
VauclQse 359.
Vaucresson 327.
Vaugirard, see Appx.,
p. 34.
Vaux-de-Cernay 355.
— le-Penir (Chat.) 361.
— Praslin (Chat.) 361.
— le-Vicomte (Chat.)
361.
Verneuil-PEtang 307.
Vernon 395.
Verrieres, Bois de 352.
Versailles 303.
Vert-Galant 379.
Vesinet, Le 327.
Viarmes 347.
Vigneux 359.
Ville-d'Avray 296. 295.
— du-Bois, La 356.
— Evrard 306.
Villabe 360.
Villebon 353.
Villejuif 851. 357.
Villemomble, see Appx.
p. 32.
Villeneuve-St-Georges
359. 353.
Villeneuve TEfang 327.
— le-Roi 353.
Villeparisis 379.
Villiers-le-Bel 348. 369.
— , Bois de 304.
Vincennes 303.
Vineuil 377.
Viroflav 808.
Vitry 357. 858.
Vosves 360.
Vulaines 360.
Wissous 356.
Teres, the 359. 360.
Yvetot 398.
Yvette, the 353.
Alphabetical List of the Hotels, Restaurants, and
Cafes of Paris mentioned in the Handbook.
The words Hotels Restaurant, etc., are omitted for the sake of brevity.
Adelphi, 6.
Albe (d), 4.
Alexandra, 7.
Ambassadeurs (des), 9.
Angleterre (d'), 8.
Antin (d'). 5.
Arcade (de V), 7.
Athenee (de T), 3.
Autrlche (d'), 8.
Bade (de), 6.
Balmoral, 5.
Baviere (de), 8.
Beaujon, 7.
Beau-Sejour, 8.
Beau-Site, 4.
Bedford, 7.
Belgique & Hollande, 8.
Bellevue, 4.
Bellot-Carol, 10.
Bergere, 8.
Berne (de), 6.
Blondeau, 11.
Bonaparte, 10.
Bon-Lafontaine (du), 10.
Bradford, 7.
Brenziuger. 11.
Brighton. 4.
Bristol, 3.
Britanniqne, 9.
Buckingham, 7.
Burgundy, 6.
Byron G.
Hotels and Pensions.
Oailleux. 9.
Calais (de), 5.
Campbell, 4.
Capucines (des), 6.
Carmes (des), 10.
Castiglione. 4.
Castille (de), 5.
Chaillev, lU.
Champs-Elyse'e? (de.^), 7.
Chatham, 3.
Chemin de Fer (du). 9.
Chemin de Fer du Nord
(du). 9.
Cite Bergere & Bernaud
(de la), 8.
Clement-Marot, 7.
Cluny Square, 10.
Cologne (de), 8.
Colonies (des), 8.
Columbia, 7,
Concorde (de la), 7.
Constantine (de), 10.
Continental. 3.
Corneille. 10.
Cosmopolite, 9.
Dacia, 10.
Deux-Mondes (des), 4.
Devies. 10.
Dominici, 5.
Dore, 8.
Ducreux, 10.
Elysee (de 1'), 7.
Elyse'e Palace, 3.
Empire (de Tj, 5.
Etats-Unis (des), 5.
Etrangers (des), 10.
Europe (del'), Bonlev. de
Strasbourg, 9.
Europe (de T), R. Le Pe-
letier, 5.
Famille (Pensions de), 10,
11.
Favart, 6.
Ferras, 7.
Ferris. 11, 14.
Florida, 7.
Foyot, 7.
Francais, 9.
France (de), Cite d" Antin,
6.
— . Cite Bergere, 8.
France & de Bretagne
(de). 10.
France et Choiseul (de), 4.
France & de Lorraine
(de), 9.
France & de Suisse (de),
9.
Gare du Nord (de la), 9.
Globe (du), 9.
Govars. 10.
Grand Hotel, 3.
HOTELS.
419
Grande Bretagne (de la),
6.
Grosbodt, 11.
Groavenor, 7.
Harcourt (d'), 10.
Haussmann, 7.
Helder (du), 5.
Hollande (de), 3.
HoupJiere (de la), 10
lena (d'), 4.
lies Britanniques(de3), 3.
Imperial, 4.
International, 7.
Isly (d^), 10.
Jacob, 10.
Laffitte, 6.
Laille, 11.
Lam .rtine, 10.
Langham, 4.
Le Peletier, 6.
Lille & d' Albion (de), 4
Liverpool (de), 5.
Londres (de), R. Bona-
parte, 9.
Londres (de) , R. Casti-
glione, 4.
Londres & de New-York
(de). 9.
Lord Byron, 7.
Louis-le-Grand, 5.
Lonvois, 9.
Louvre (du), 3.
Luxembourg (du), 10.
Lyon & de New York
(de), 8.
Maisons Meublees, 6, 11.
Malesherbes, 7.
Malberbe, 10.
Malte (de), 9.
Manchester (de), 6.
Marine & des Colonies
(de la), 10.
M^tropole, 5.
Meurice, o.
Meyerbeer, 4.
Mirabeau, 3.
Moderne, 8.
Montaigne, 7.
Mont-St-Michel (du), 10
Morand, 10.
N^va (de la), 6.
New, 9^,
colo, 10, IL
Normandy, 4.
Opera (de T), 6.
Orient (d'), 5.
Oxford & de Cambridge
(d'), 5.
Palace, 3.
Palais (du), 4.
Palais-Royal & de
rEurope (du), 8.
Palmiers (des), 8.
Paris (de), 7.
— & de Nice (de), 8.
— <fc d'Osborne (de), 4.
Pavilion (du). 8.
Pays-Bas (des), 6.
Perey, 7.
Port-Mabon (de), 5.
Q,uai- Voltaire (du), 9.
Rapp & Dupbot, 6.
Rastadt (de), 5.
Regina, 5.
Rhin (du), 3.
Rhone (du), 8.
Richer, 8.
Richmond, 6.
Ritz, 3.
Rivoli (de), 7.
Ronceray, 8.
Rossini, 6.
Rougemont, 8.
Royal, 7.
Russie (de), 6.
St. Georges, 6.
St. James, 4.
St. James & d'Albany, 5.
St. Petersbourg, 6.
St. Pierre, 10.
Ste. Marie. 9.
Saint3-Pere3_(des), 10
Scribe, 4.
Seine (de), 10.
Seze (de), 6.
Splendide, 7.
Strasbourg (de), 9.
Suez (de), 10.
Suisse, 6.
Tamise (de la), 5.
Terminus (Gare St. La-
zare), 3.
'(Gare d'Orle'ans), 5.
Tete, 7.
Tibre (du). 6.
Tre'moille (de la), 4.
Tr^vise (de). 8.
Trocade'ro (du), 4.
Univers & du Portugal
(de D, 8.
Valois (de), 9.
Van Pelt, 11.
Vendome, 3.
Victoria. 6.
Villa Balzac, 10.
Villa Marceau, 10.
Ville de New York (de
la), 9.
Violet, 8.
Vivienne, 8.
Vouillemont. 7.
Voyageurs (des), 9.
Wagram, 5.
Westminster, 3.
Windsor. 4.
Wood. 10.
Bestaurants and Caf^s.
Albe (d'), 18.
Aldegani, 16.
Ambassadeurs (des1, 36
Americain, 16. 20. 21.
Anglais, B. d. Italiens,
14.
— , R. Royale, 16.
Arc-en-Ciel (de P), 19.
Armenonville (Pavilion
d'), 15.
Artois (Tav. d'), 16.
Barbotte, 18.
Blot, 19.
Blottier, 18.
Boeuf a la JJode (an), 17.
Bonne-Nouvelle, 17.
Bonvalet, 18.
Bouillod (Table d'hote).
16.
Bouillons Duval, 15. 16.
17. 18.
— Boulant, 15. 16. 19.
Bouillons St. Germain, 19.
Bourse (de la), 16.
Brasseries, 21.
Brebant, 21.
Bretagne (de), 19.
Oapitale, La, 21.
Cardinal, 20. u
Cascade (de la), '15.
Cercle (du), 18.
Chalets du Cycle. 10.
07*
420
RESTAURANTS AND CAFfiS.
Champeaux, 16.
Chaumard, 16.
Cirque (du), 18.
Commerce (du), 16.
Continental, 17
Coq-d'Or (Tav. du), 21.
Corazza-Douix, 17.
Darras, 16.
Dehouve, 19.
Dreher. 18. 21.
Ducastaing, 21.
Duflos, 16.
Durand, 14. 20.
Duval (Bouillons), 15. 16.
17. 18. 19.
Edouard, 16.
Esp^rance (Brass, de T),
19.
Europe (de T), 18.
Excoffier (Table d'Hote),
16.
Finances (des), 16.
Flamande (Tav.), 21.
Foyot, 19.
Francais (Diner), 16.
— (Cafe). 21.
France (Cafe de),'20.
— (Rest, de), 17.
Gaillon, 16.
Gillet, 19.
Glacier Xapolitain, 20.
Grand Cafe, 16. 20.
Gruber, 18. 21.
Gutenberg (Brass.), 21.
Havre (du), 18.
Henri-Quatre, 21.
Jacqueminot-Graff, 21.
Jardin Turc (Cafe du), 21.
Julien, 16. 20.
Jung, 17.
Lap^rouse, 19.
Larue, 14.
Laurent, 14.
Lavenue, 19.
Lecomte, 18,
Ledoyen, 15.
Legion d'Honneur (de la).
19.
L^on, 17. 19.
Lequen, 18.
Londres (Tav. de), 16.
Lucas (le Grand), 16.
— (le Petit), 16.;
Madrid (Cafe de), 15.
Mahieu, 21.
Maire, 14.
Maison Dorde, 14.
Marguery, 17.
Marivaux (de), 14.
Maxim's Bar, 15.
Mazarin, 21.
Ministeres (des), 19.
Moderne, 18.
Mollard, 18. 21.
Montmartre(Tav.), 16.21.
Moret, 19.
Muller, 21.
Muller etBlaisot,16.17.21.
Negre (Tav. du), 21.
Noel-Peters, 16.
Opera (Tav. de T), 16. 21.
Orleans (d'), 17.
Paillard, 14.
Paix (de la), 14. 20.
Palais (du), 19.
Pantheon (Tav. du), 21.
Paris (Caf^ de), 14. 16.
Paris (Diner de), 16.
Paris (Ptest. de), au Palais
Eoval, 17.
Paris' (de), Boul. de S^-
bastopol. 18.
— . PI. de la Republique,
21.
Pavilion Chinois, 15.
Philippe, 17.
Plat-d'Etain (du), 18.
Poissonniere, 16.
Pont de Fer (du), 20.
Pont-Neuf (Brass, du).21.
Porte St. Martin (de la),
18,
Pousset, 16. 21.
Prunier, 14.
Pyramides (Brass, des),
17. 21.
R^gence (de la), 21.
Regent (au), 18.
Riche, 14. 20.
Richelieu (Dejeuner de),
20.
Richelieu (Rest.), 16.
Ritz, 14,
Rocher (du), 18,
Rond-Point (du), 14.
Rotonde (de la), 21,
Rougemont, 16,
Royale (Tav.), 16. 21.
Ste. Clotilde, 19.
Bchaeffer, 18.
Scossa, 18.
Soafflet, 19. 21.
Suede (de), 20.
Sylvain, 16,
Tavernier Ain^, 17,
Terminus (du), 18.
Terrasse (de la), 20.
Terrasse Jouffroy (de la)
16.
Tour-d' Argent, 19.
Touring Club (du), 19.
Tournier (Brass.), 21.
Tourtel, 21.
TJniversel, 16.
Universelle (Brass.), 16.
21,
Valois, 17,
Varietes (des), 20,
Vefour (Grand), 17,
Jeune, 17.
Versailles (de), 19.
Vichy (de), 16,
Ville de Paris (de la), 16
Voisin, 14.
Voltaire, 19. 21.
Weber, 16.
Widermann, 17.
Zimmer, 21.
Leipsic. Printed by Breitkopf & Hartel.
^
^
INDEX OF STREETS
AND
PLANS OF PARIS.
CONTENTS.
1. List of the principal streets, public buildings,
etc., of Paris.
2. General Plan of Paris, showing the divisions
of the large plan and the limits of the spe-
cial plans.
3. Large Plan of Paris, in three sections.
4. Five Special Plans of the most important quarters
of the city.
5. Lists of the omnibus and tramway lines, and of
the stations of the Metropolitan Railway, the
Chemin de Fer de Ceinture, and the river
steamboats.
6. Cab Tariif.
7. Plan of the omnibus and tramway lines.
This cover may be detached from the rest of the book by
severing the yellow thread, v^hich vrill be found between
Nos. I. and II. of tho special plans.
Bt y£
List of the Principal Streets, Squares, Public
Buildings, etc.
with Reference to the accompanying Plans.
The lar-ie Plan of Paris, on the scale of 1 : 20,0C0, is divided into three
sections, of which the nppermost is coloured brown, the central red, and
the lowest (/reij. Each section contains 36 numbered squares. In the
accompanying index the capital letters B, R, G, following the name of a
street or building, refer to the difl'erent sections, while the numbers cor-
respond with those on the squares in each section. When the name re-
quired is also found on one of the special plans, this is indicated by an
italicised Roman numeral. Thus, Rue de TAbbaye will be found on the
red section, square 19: and also on the fourth special map.
Names to which Ancienne, Petit, Saint, etc., are prefixed, are to be
sought for under these prefixes. It should also be observed that the names
of streets in Paris are frequently altered. In the special maps some of
the house-numbers are inserted at the corners of the longer streets, especi-
ally in those cases in which the consecutive odd and even numbers arc
locally some distance apart. See also footnote at p. 1.
The numbering of the squares is so arranged, that squares in different
sections bearing the same number adjoin each other. Thus, square 18 on
tlie brown section finds its continuation towards the S. in square 18 on
the red section.
The squares will also be useful for calculating distances, each side
of a square being exactly one kilometre, while the diagonals if drawn
would be 1400 metres or f-^/s kilometre.
The word Riie is always omitted in the following index for the sake
of brevity; the other contractions will present no difficulty.
B. R. G. B.R.G.
Abattoirs (Villette) ....
— (rive gauche)
Abbaye (de V) . ... IV
— aux-Bois IV
Abbe-de-rEpee (de Y] IV, V
— Gr^goire IT
— Groult (de 1)
Abbesses (des)
Abbeville (d')
Abel-Leblanc (passage) . .
Aboukir (d') ///
Acacias (des)
Accouchement (clin. d) . .
Adolphe-Adam V
Affaires Etrang.(min.des) //
AGfre
Agrippa-d'Aubignc ....
Aguesseau (d') .... //
Alain-Chartier
Albert
Alboni /
Albony ///
Alcazar d'Ete //
Alembert (d')
Alesia (d^)
Alexandre III (punt). . II . 14
Alexandre-Cabanel 10
— Dumas .31
Alfred-de-Vigny 12
Alger (d') // . |l8
Alibert /// I . l27
Bakdekkk. Paris. 14th Edit.
23
271
Alienes (asile clinique d')
Aligre (cour d") . . . . ///
Aligre (rue et place d') . .
Allemagne (d')
Alleray (rue &. place d'), .
Alma (avenue, place, dr pont
deD
Alonibert Ill
Alouettes (des)
Alpes (place des)
Alphan (passage)
Alphand (bnul.)
Alphonse
— de-Neuville
Alsace (d")
Amandiers (des)
Ambassade d'Allemague //
— d'Angleterre .... //
— d'Autriche //
— de Russie //
Ambassadeurs (cone, des) II
Ambigu (th. de T) . , ///
Amboise (d') ///
Ambroise-Pare
— Thomas
Amelie (rue <fe passage) IV
Amelot ///, V
Amiral-Courbet (de Y) . /
— Monchez
— Roussin
Ampere
30
20
LIST 0¥ THE PRINCIPAL STREETS,
B.
R.
G.
B.
R.
o.
Amsterdam (d)
18
Arts (pont des) . ... IV
20
Amvot V
22
Arts-et-Metiers (sq. des) ///
.
24
Auatole de la Forge ....
9
Asile-Popincourt (rue & pas-
Anatomie (amphitheatre d')
Ancienne-Com^die (de V)
00
sage de 1')
'>H
Asnieres (porte d') ....
11
IV, V
19
Assas (rue d') IV
16
19
Ancre (passage de T) . ///
24
Assomption (de V)
5
Andral (hopital)
'->«
— (eglise de T) . . . . //
Astorg (d^) //
IS
Andre-Chenier ///
24
15
— del-Sarte
20
Athenes (d')
18
Anglais (des) F
22
Atlas (de n
30
— (passage des)
'iy
Auber II
18
Angouleme (d') . ... Ill
2/
Aubervilliers (d')
26
Anjou (d^) //
18
18
— (porte d')
25
— (quai d') V
22
Aubriot ///
23
33
Aubry-le-Boucher . . . ///
Aude (de V)
23
Annelets (des)
Annonciation (de V) ...
38
M>
5
Auguste Comte . . . IV, V
.
19
— (egl. de n
s
— Lancon
21
Antin (d^ J I
21
— Vacquerie /
.
12
— (avenue d') //
15
Aumaire Ill
24
— (cite d') //
'21
Aumale (d')
21
Antoine-Dubois . . IV, V
19
Austerlitz (quai & pont d') V
.
2o
Antoinette
20
Auteuil (rue, gare, porte d')
i
Anvers (place d')
2U
— (place et pont d') ...
4
Apennins (des)
Aqaeduc (de V)
IB
Avre (de 1')
1(1
'^fi
8'1
on
(ecole) . . .
S1
Arbalete (de T)
22
Babylone(de) IV
16
Arbre-Sec (de T) . . . Ill
2U
Bac (du) II, IV
17
Arc de triomphe dn Car-
rousel (PI. du Carr.). //
8
17
Bagneux (de) IV
16
— de rEtoile /
P
Bagnolet (de)
89
Arc-de-triompbe (de V) . .
12
— (porte & route de) . . .
86
Arcade (de V) //
18
18
Baillet ///
20
Archeveche (quai et pont
Bailleul ///
20
de D V
22
Baillif //.///
21
Archives (des) ///
98
Baillou
1/
Archives Rationales . . ///
23
Bailly ///
24
Arcole (pont & rue d') . V
23
Balagny
16
Arcueil (rue et porte d'j ,
Ardennes (des)
'>1
■^h
29
Ballu
17
Arenes deLutece (sq. des) V
22
Baltard ///
20
ArgensoH (d') //
15
Balzac (de) /
12
Argenteuil (d^) .... //
21
Banque (de la) ... . ///
21
Argonne (rue <fe place de T)
28
Banque de France . //, ///
.
21
Argout (d') ///
Armaille (d')
01
2.-
9
Bara
16
Armand-Carrel
29
Barbanegre
28
Armorique C^e V)
13
Barbes (boul.)
23
Arquebusiers (des) . . ///
26
Barbet-de-Jouy . ... IV
13
Arras (d') V
22
Barbette ///
2b
Arriv^e (de V)
Ifi
Bardinet
14
Arsenal (biblioth. de Y) V
25
Bargue (rue & passage) . .
13
— (rue & place de T). . V
2b
Baron
16
Arsene-Houssaye
12
Barouillere (de la) . . IV
13
Artnierie (muse'e d'). . IV
Artistes fdes)
Artois (d^)
11
2J
'
Oj
(naa )
2c
15
Barre (de la)
20
Arts (des)
4
Barres (des) V
,
'26
SQUARES, PUBLIC BUILDINGS, etc.
B.
R
G.
B.
R.
G.
Barthelemy IV
Basfour (passage) . . . ///
13
24
29
12
18
25
25
5
23
4
27
10
31
18
34
25
13
Benard
17
Benedictines (couv, de) IV
13
6
27
25
Bas-Meudon (porte du) . .
Bassano I
Basse -du-Renapart . . //
Bassompierre V
Bastille(pl.,b. etr.de la) V
Batignolles (boul. & r. des)
— (square des)
Baucbes (des)
17
14
Beranger Ill
Bercy (de) V
— (boul. & pont de) . . .
— (entrepots , quai , port ,
28
28
Berger ///
Bergere (rue et cite). . ///
Bergers (des)
21
20
21
7
Baudelique
Baudin
Baudoyer(pl.)(r. deRivoli) V
Baudricourt
22
24
B^rite IV
18
18
15
12
20
13
16
22
16
12
Berlin (de)
Bernardins (des) . . . . F
Bernard-Palissy . ... IV
Berne (de)
Berri (de) /
Berryer .
Berthe
Berthier (boulevard) . . .
Berthollet.
Baume (de la) II
Bausset
15
Bayard . II
Bayen
Beam (rue & impasse de) V
Beaubourg ///
Beauce (de) ///
Beau-Grenelle (place) . . .
Beauharnais (cit^)
Beaujolais (de) . . //, ///
Beaujon (rue & hopital) .
Beaulieu (pass.)
12
12
15
26
23
23
7
31
21
19
Bertin-Poir^e ///
Berton /
Bertrand IV
— (cit^)
20
8
13
30
22
Berz^lius
Bessieres (boulevard) . . .
Bestiaux (marche aux). . .
Bethune (quai de) . . . F
Beudant
Beuret
13
16
31
14
Beaumarchais (boul.) Ill, V
Beaune (de) IV
Beaunier
26
17
Beauregard ///
Beaurepaire ///
Beaus^jour (boulevard) . .
Beautreillis V
Beauveau (place) . . . II
Beaux-Arts (des). . . . IV
— (ecole des) IV
— (palais des) II
Beccaria
•
24
27
5
25
15
20
17
15
28
8
31
29
36
13
22
17
14
9
30
10
Bezout
17
Bibliotheque Mazarine IV
— Nationale. . . . //,///
Bicetre (porte de)
Bichat ///
— (hopital)
Bidassoa (de la)
27
16
20
21
27
33
22
.
23
12
26
25
30
9
12
24
Bienfaisance (de la) ... .
Bievre (de) F
Billancourt (rue & porte de)
Billettes (temple des) ///, F
Billy (quai de) /
Biot
Birague (de) F
Biscornet F
Bisson
15
17
Becquerel
Beethoven /
Bel-Air (avenue du) . . .
— (station du)
Belfort (de)
20
1
Belgrand
Bellart IV
Bellay (du) V
Bellechasse (de) . . II, IV
— (place de) //
Bellefond
Belles-Feuilles (des) ... 7
Belleville (de)
— ("boulev. de)
21
30
Bitche (place de) . . . . /
Bizet /
Blainville F
Blanche (cite)
22
— (rue & place)
Blancs-Manteaux (des). . .
Bleue
17
21
23
24
24
Bellevue (de)
Belliard
33
22
Bleus (cour des) ...///
Blomet IV
Blondel ///
Blottiere
Bellievre
in
Bellini /
8
Belloni . .
1 \
Bellot .
26
24
12
Bobillut
23
Belloy (de) /
Belzunce (de)
Boccador /
Bochart-de-Saron
20
12
LIST OF THE PRINCIPAL STREETS,
B. R. G.
//
Boetie (la) ....
Boi'eldiea (place)
Boileau
Bois (des)
Bois-de-Boulogne (av. du) /
— (passage du) .... ///
Bois-le-Vent
Boissiere /
Boissonnade
Boissy-d'Anglas .... II
Boiton (passage)
Bolivar
Bonaparte IV
Bondy (de) ///
Bon-Marche (magas. du) IV
Bonne-Nouvelle (boul.) ///
Bons-Eufants (des) . //, ///
Borda ///
Borr^go (du)
Borromee
Bosquet (avenue) /
Bossuet
Botzaris
Bouchardon ///
Boucher ///
Boudon (avenue)
Boudreau //
BouflFes-Paris. (theatre des)//
Boufflers (avenue) ....
Bougainville IV
Boulainvilliers (de) ....
Boulangers (des) . . . . F
Boulard
Boulay (rue & passage) . .
Boule
— Rouge (de la) . . , III
Boulets (des)
Bouloi (da) ///
Bouquet-de-Longch. (du) /
Bourbon (passage)
— (quai) V
— le-Chateau IV
Bourdon (boulevard) . . V
Bourdonnais (av. de la) . /
— (des) ///
Bouret
Bourg-r Abbe (r. & pass) . ///
Bourgogne (de) . . //, IV
Bourgon
Bourg-Tibourg (du) . . . F
Boursaalt
Bourse (palais de la) . ///
— (rue <fe place de la) //, ///
— de Commerce. . . . ///
— du Travail ///
Boussingault
Boutarel F
Boutebrie V
Bouvines (avenue & rue de)
Boyer
Brady (passage) .... ///
30
24
21
Brancion (r. et porte) . . .
Brantome 77/
Braque (de) 777
Brea 7F
Breche-aux Loups (r. de la)
Breda (rue <fe place) . . .
Breguet F
Br^montier
Bretagne (de) 777
Breteuil (av. & place de) 7F
Bretonvilliers 777
Brey
Brezin
Bridaine
Brignole (de) 7
Brillat-Savarin
Brisemiche 777
Brissac F
Broca (rue et hSpital) . . .
Brochant
Brosse (de) F
Broussais
— (hopital)
Bruant
Brune (boulevard)
Brunei
Bruxelles (de)
Bucherie (de la) . . . . F
Buci (de) 7F
Bud^ F
Buffon V
— Oycee)
Bugeaud (avenue) .... 7
Buiason-Saint-Louia (du) .
Buot
Burnouf
Burq
Butte-aux-Cailles (de la). .
Buttes-Chaumont (pare des)
Buzenval (de)
777
777
Cabanis
Cadet
Cafarelli ....
Cail
Caillaux (impasse)
Cailli^
Cailloux (des)
Caire (pi. & rue du) . 777
Caisse des Depots ... 77
Calais (de)
Cambac^res 77
Cambon 77
Cambrai (de)
Cambronne (r. &pl.) . . .
Camille-Douls
Camou 7
Campagne-Premiere ....
Campo-Formio (de) ....
Canal St-Denis
SQUARES, PUBLIC BUILDINGS, etc.
B.
R.
G.
B.
R.
G.
Canal St-Martin (& rue
du)
29
27
Cbamp-de-Mars (stat. du) /
8
— de FOurcq ....
Champerret (porte de) . .
Championnet
8
Canettes (des)
IV
19
19
Canivet (du)
JV
27
19
Champollion V
19
Capiat
23
Champs-ElysL'es(av.des)/,//
15
Capron
17
Chanaleilles (de) . . . IV
18
Capucinea(boul. &r. des) //
IH
Chanez
1
Cardinale
IV
19
Change (pont au) .... 7
20
Cardinal-Lemoine . . .
22
Chanoinesse V
22
Cardinet
14
Chantiers (des) V
'22
Cannes (des)
. V
22
Chanlilly (de)
21
Carnavalet (muse'e) . .
. V
2H
Chanzy
'28
Carnot (avenue) . . .
12
Chapelle (boulevard de laj
23
1-1
— (cit^ & place de la) . .
— (r. & Stat, de la) . . . .
— Expiatoire //
'>3
Caroline
17
26
22
18
Caron
. V
Carpeaux
. .
16
Chapon ///
.
'24
Carrieres (des) ....
. .
82
Cbappe
20
— fles) . .
Hf)
Chaptal .
18
Carrousel (place & pont du)
— (college)
15
//
IV
20
Charbonniere (de la) ...
23
33
Charcot
2(
Casimir-Delavigne . .
IV
19
Chardin /
8
Casimir-Perier ....
IV
14
Charente (quai de la) . . .
'28
Casino de Paris
18
16
Charenton .
3h
Cassette
IV
- (de) V
28
2.^
Castellane
IT
18
— (porte dej
m
Castex
. V
25
Charite (hopital de la) IV
17
Castiglione (de) . .
II
18
Charlemagne (lycee) . , V
23
Catacombes (entre'e des]
. .
17
— (rue et passage) . . . V
28
Catinat
///
21
Charles V V
2b
•^0
Charles-Dallery
'^S
Caumartin
rr
18
18
— Divry
n
Cav^
23
29
22
\>-
— Nodier
Chariot Ill
20
26
Cdlestins (qaai des) . .
. V
Cels
16
Charolais (da)
Cendriers (des)
30
Charonne (de)
32
Censier
9,2
— (boulevard de)
31
Cerisaie (de la) ... .
, V
95
Charras //
18
C^risoles (de)
. /
12
Chartres (de)
23
7
Chasseloup-Laubat ....
Chateau (du)
'-•(I
Chabanais
•^1
r
Chabrand (cit^) . . .
18
Chateaubriand /
12
Chabrol (de)
24
Chateau-d'Eau (du) . . ///
'24
24
Chaillot (de)
12
— (th(^atre du) . . . . Ill
.
2<
Chaise (de la)
16
Chateau-des-Rentiers (du) .
2L
Chalet (du)
27
Chateaudun (de)
21
Chalgrin
9
Chateau-Landon (de) . . .
26
Chaligny
'AS
Chatelain
.
1
Chalons (de)
28
Chatelet (pi. & theatre dn) V
20
Chamaillards (des) . .
27
Chatillon (avenue de) . . .
lb
Chambertin
'AS
— (porte de)
It
Chamb^ry (de) ....
11
Chauchat //, ///
21
Chambiges
12
Chaudron
26
Chambre des d^put^s .
14
Chaufourniers (des) ....
27
Champagny
14
Chaumont (porte)
32
Champ-de-rAlouette (d
i) .
20
Chanssee-d'Antin (de la) //
18
21
— de Manoeuvres d'Iss\
f)
— de la Muette
b
— de-Mars
U
Chausson (passage) . . ///
'A4
(da)
11
Chauveau Lagarde . . . II
li
LIST OF THE PRINCIPAL STREETS,
B.
R
G.
B.
R.
Q.
Chauvelot
18
Clos (du)
35
Chanvin (passage)
.
26
Clotilde V
19
Chazelles
12
Clovis V
22
Chemin-Vert (du) . . , . F
Cherche-Midi (du) . .,17
n
Cloys (des)
19
16
18
Cluny (r. & musee de) . V
19
Cherubini //
21
Cochin 7
22
Cheval-Blanc (passage da) V
Chevaleret (r. & chemin du)
Vh
''0
29
Coetlogon IV
16
Chevert JV
14
Colbert (rue & pass.) //, ///
21
Chevreuse (de) (B. du M.-P.)
16
Coligny (de) , V
25
— (Issy)
6
Colisee (du) //
College de France . . . F
lb
19
Chine (de la)
8B
Choiseul (rue & passage) //
21
Collette
16
Choisy (avenue & porte de)
2?
Colombe (de la) . . . . F
23
Chomel IV
16
Colonel-Oudot (du) ....
34
Choron
21
Colonies (minist. des). //
17
Christian!
23
Colonnes (des) . . //, ///
21
Christine JV, V
20
12
— du Trone
31
11
Christophe-Colomb . . . I
Combes /
Cimarosa /
9
Comete (de la) .... /F
14
Cimetiere du Mont-Parnasse
16
Commandant-Riviere (du) .
15
— du Pere-Laehaise ....
82
Commandeur (du)
17
— Montmartre
17
Commerce (Bourse de) ///
20
Cinq-Diamants (des) . . .
28
— (Chambre de) , . . ///
21
Cirque (du) //
Cirque Palace //
IP)
— (Ecole de)
. an
•
15
— (Minist. du) . . . . /F
17
— d'Hiver ///
27
— (Tribunal de) . . . F
20
— Fernando
20
Commines ///
26
— Nouveau //
18
Compans (rue & impasse) .
83
Ciseaux (des) IV
19
Comptoir d'Escompte . ///
21
Cite (lie de la) V
20
Conciergerie F
.
20
— (r. & quai dela). . . V
28
Concorde (pi. (fepont dela) //
.
18
Citeaux (de)
28
— (rue de la)
82
Civiale
30
Condamine (de la) ....
17
Civry (de) . . .
1
Conde (de) .... IV, V
Condorcet
19
Clairault
17
21
Clapeyron
17
- Oycee) //
18
Claude-Bernard
19
Conference (quai de la) /, //
15
31
1
S6
'IS
— Pouillet
14
Conseil d^Etat //
20
— Tinier
31
— de Guerre IV
Conservatoire (du) . . ///
21
16
- Vellefaux ///
27
Claasel
21
— de Musique . ... Ill
24
Clavel
80
— des Arts et Metiers ///
24
Clef (de la) V
.
22
Constantine (de). . 77, 7F
.
14
Clement IV
19
Constantinople (de) ....
15
— Marot /
12
Conti (quai) . . . . 7F, F
,
2(J
Cler /
11
Contrescarpe (place). . . F
22
Clery (de) ///
24
Convention (de la) ....
4
7
Clichy (coram. & porte de).
18
Copernic 7
9
— (rue de)
IS
13
— (av. & place de) . . . .
17
Coq (av. du) F
23
— (boul. de)
20
Coquilliere 777
21
Clignancourt (de)
28
Corbeau 777
2?
Clignancourt (porte de) . .
19
Corbes (passage) .... 777
.
32
Clisson
26
'>S
Cloche-Perce V
28
Cordelieres (des)
23
Cloitre-Notre-Dame (du) V
22
23
31
Cloitre-St.-Merry (du) . ///
Corneille IV, V
19
Clopin V
22
Cortambert
8
SQUARES, PUBLIC BUILDINGS, etc.
B.
E.
G.
B.]
EL.
0.
Cortot
Corvisart
20
23
28
35
18
30
15
17
23
26
19
18
25
21
9
25
21
21
10
16
20
13
18
17
14
7
11
26
23
22
17
19
24
11
Danube (place du) ....
Darboy
32
17
27
36
18
20
6
26
Cossonnerie (de la) . . HI
Darcet
Darcy
Cotte (de)
20
':>(1
Cottin (passage)
Darn
12
Daubenton
')0
Daubigny
Daumesnil (av. & pi.) . . .
— (porte & lac)
Daunou //
Dauphine(pl.,r.,pass.)/F, F
(porte) - -
14
17
32
i
11
15
16
31
Courbevoie
Courcelles (de)
— (boulevard de)
Cour des Comptes, . . //
Couronnes (r. & imp. des)
Cours-la-Reine ... /, //
Courty (de) //
Coutellerie (de la) . . . V
Contures-St-Gervais(des)///
Coysevox
Crebillon IV, V
Credit Foncier //
35
Dautan court
Daval
David-d'Angers ....
Daviel
'. V
0(1
16
9
5
34
26
12
12
9
20
Davout (boulevard) ....
Davy
Debarcadere (du)
— Lyonnais //
Cr^mieux V
Debelleyme
DebiUy (quai)
Debrousse
Decamps
III
Crillon . V
29
Crime'e (de)
Croc(5-Spinelli ........
Croissant (dn) ///
Croix - des - Petits - Champs
//, ///
Croix-Nivert
Dechargeurs (des) . . .
Decheroy
III
14
14
Deguerry . . - -
27
27
Dejazet (theatre) . . .
Delambre r . ....
III
16
Croix-Rouge (earr. de la) IV
Cronstadt (de)
Delbet
14
Delessert (boul.) . . .
. I
33
23
U
24
8
Crouin (passage)
Croulebarbe . .
Delta (du)
28
27
19
22
23
7
21
4
•k
26
4
19
Crussol (rue & cite de) , ///
Cugnot
Cujas V
Cure (de la)
25
i
25
23
17
17
19
20
Denain (boul. de) . . .
Denfert-Rochereau .
— (place)
'iv
19
17
Denoyez
30
17
Depart (du)
16
Cuvier V
Cygne (du) ///
Cygnes (allee des) . . . . /
Daguerre
Dalayrac //
Dames (des) .
D^partement (du)
Depotoir (du)
Depots et Cons, (caisse) //
Deputes (chambre des) //
Desaix /
26
32
8
2i
14
10
i
22
14
17
Desbordes-Valmore . .
Descartes
' V
— de TAssomption ....
- St-Michel V
Desgenettes
Desir (passage du) .
II
III
S
Damiette (de) ///
Damoy (passage) . . . . F
Damremont
Dancourt (place & rue) . .
14
Desrenaudes
Deux-Ecus (des) . . .
Deux-Gares (des) . . .
Deux-Ponts (des) . . .
Dhier (passage) ....
Diderot (boul. et pi.) .
Didot
ill
.' V
12
13
20
22
'25
Dante (du) F
Danton . . . .
4
25
Dantzis (de)
17
LIST OF THE PRINCIPAL STREETS,
B. E. G.
B.K. Q.
///
Dieu
Dijon (de)
Docteur-Blanche (du) . . .
Domat V
Dombasle
Dome (du) /
Dominicainee de la Croix
Domremy (de)
Dore (cite)
Dorian
Dosne
Douai (de)
Douane (hot. & rue de la) ///
Doubles (pont aux) . . . V
Doudeauville (rue et pass.)
Dragon (rue et cour du) IV
Drevet
Droit (ecole dej . . . . V
Drouot 11, III
Dubail (passage). . . . ///
Duban
Dubois (passage)
Ducange
Ducouedic
Duee (de la)
Dufrenoy
Dugommier
Dnguay-Trouin . ... IV
Duguesclin /
Dubesme
Dulac (passage)
Dulaure
Dulong
Dumas (passage)
Dameril
Dumont-d'Urville . , . . I
Dunkerque (de)
Dunois
Duperre
Dupetit-Thouars . ... Ill
Duphot //
Dupin IV
Dupleix (place et rue) . /
Dupont (cite)
Dupont-des Loges . . . . /
Dupuis ///
Dupuytren IV. V
Duquesne (avenue) . . IV
Durance (de la)
Duranti
Durantin
Duras (de) //
Duret /
Duris
Duroc IV
Dusfloubs ///
Dutot
Duvivier L IV
Eanx (passage des)
Eble
20
29
31
IV
IV
. V
Say
.' V
. V
Echaude (de T) . . . .IV
Echelle (de V) .... //
Echiquier (de Y) . . . HI
Ecluses-Saint-Martin (des) .
Ecole Centrale .... ///
— ColoDiale IV
— d' Architecture
— de Droit V
— de Medecine V
(rue et place de V) V
— de Pharmacie . . , IV
— des Beaux-Arts . . . IV
— des Hautes-Etades comm.
— des 3Iines IV
— des Ponts-et-Cbauss. IV
— d'Etat-Major ....
— Militaire
— iNormale supe'rieure
d'Auteuil et J.-B.
— — d'lnatitutrices . .
— Polvtechnique . . .
(«3e D
— Pratique IV
Ecoles (des) V
Ecosse (d') V
Ecouffes (des) V
Edgar-Quinet
Edimbourg (d')
Edmond-Valentin
Egalite (de T)
Eginbard V
Eglise (de r)
Elysee (pal. & rue de F) //
— (passage de T)
— Montmartre
Elzevir ///
Emeriau /
Emile-Allez
Eufants-Assiste's (bosp. des)
— Malades (bop. des) . IV
— Rouges (marcbe d.) Ill
Enfer (passage d')
Engbien (hospice d") . . .
— (d^) Ill
Entrepot (de V) . . . . Ill
Entrepreneurs (des) ....
Envierges (rue, cit^, & pas-
sage des)
Epee-de-Bois (de V) . . . .
Eperon (de 1') V
Epinettes (rue <fe squ. des).
Erard
Erlanger
Ermitage (rue & villa de T)
Ernestine
Esperance (de T)
Esquirol
Est (de D
— (gare de T)
Estrapade (rue & pi. de T) V
Estrees (d'l /, V
SQUARES, PUBLIC BUILDINGS, etc.
B.R.G.
Etats-Unis (place des) . /
Etex
Etienne-Dolet
— Marcel Ill
Etoile (de T) /
— (rond-point de T) . . /
Etuves (des) ///
Eugene-Delacroix
— Gibez
— Labiche
— Sue
Euler /
Eupatoria (d'j
Europe (pi. de T)
Evangile (de V)
Exelmans (boulevard) , .
Exposition (de V) . . . I
Eylau (avenue tP). ... 7
II
III
III
. V
III
II
Fabert
Fabre-d'Eglantine
Fagon
Faidherbe (a v. &. rue). , .
Faisanderie (de la) ... .
Fallempin (passage) ....
Faraday
Faubourg -du- Temple (du)
III
— Montmartre (du) .
— Poissonniere (du).
— St-Antoine (du) .
— St- Denis (du) . .
— St-Honore (du) .
— St-Jacques (du) ....
— St-Martin (du)
Fauconnier (du) . . . . F
Favart //,///
Favorites (des)
Fecamp (de)
Federation (de la) ... 7
Felicien-David
Felicite (de la)
Ftinelon (citd)
— (lycee) F
Fer-a-Moulin (du)
Ferdinand-Berthoud . . 777
Fermat
Fermiers (des)
Ferou 7F
Ferronnerie (de la) . . 777
Ferrus
Fessart (rue & impasse) . .
Fetes (rue &. place des) . .
Feuillade (de la) . 77, 777
Feuillantines (des) . . . V
Fftutrier
Feydeau 777
Fidelite (de la) ... . 7/7
Figuier (du) F
Filles-Dieu (des) . . . Ill
Filles-du-Calvaire (boul. iV
rue des) 777
— Dieu (<iesj 777
— St-Thomaa (des) 77, 777
Finances (min. des) . . 77
Flandre (de)
— (pont & route de) . . .
Flandrin (boulevard) . . .
Fleurs (cite des)
— (quai aux) V
Fleurus (de) 7F
Florence (de)
Foin (du) V
Folie-Me'ricourt (de la) 777
Folie-Regnault (de la) . . .
Folies-Dram. (th. des). 11/
— Ber^ere UI
— Marigny //
Fondary
Fontaine
Fontaine-au-Koi .... 7/7
— aux-Clercs (de la) . . .
— du-But (de la)
— Mulard (de la)
Fontaines (des) .... 777
Fontarabie (de)
Fontenoy (place de) ....
Forest
Forez (du) 777
Forges (des) 777
Fortin (avenue)
Fortuny
Fosses-St-Bernard (des) . F
— St-Jacques (des) . . . F
Fouarre (du) F
Four (du)
Fonrcroy
Fourcy (de) F
Fourneaux (r. & ch. des) 7F
Foyatier
Francais (theatre)
Francaise 77/
Fniiiche-Cnnite (de) . . 7/7
Francoeur
Francois-Bonvin
— Gerard
— Miron F
Francois I®"" (maison de) 77
— (rue <fe place). . . 7, 77
Francs-Bourgeois(des) 777, F
Franklin /
Fr^micourt
Freres (Institut des) . . 7F
Fresnel 7
Freycinet 7
Friant
Friedland (av. de)
Frocbot
Froidevaux
Froissart ///
Froment
10
LIST OF THE PRINCIPAL STREETS,
B. B. G.
B.S.O.
Fromentel V
Fromentin
Fulton
Furstenberg (r. & pi.) /F
Fartado-Heine
//
Gabon (du) ....
Gabriel (avenue) ,
— Lame
Gabrielle
Gaillard
Gaillon //
Gaite (rue & impasse de la)
— (theatre de la) . . . ///
Galande F
Galette (moulin de la) . .
Galilee /
Galli^ra (r. & mus^e de) .
Galvani
Gambetta (avenue) ....
— (place)
Gambey ///
Ganneron
Garanciere IV
Garde-Meuble /
Gardes (des)
Gare de TEst
— de Lyon
— de Sceaux
— de Vincennes
— d^'Orleans
(nouvelle) .... //
— du Luxembourg . . F
— du Nord
— Montparnasse
— St-Lazare
— (boul. de la)
— (porte de la)
— (qaai de la)
— (de la)
Gares (des Deux-)
Garibaldi (boul.)
Gassendi . ,
Gaston-de-St-Panl . . . . /
Gatbois (passage)
Gatines (des)
Gauthey
Gavarni 1
Gay-Lussac F
Gaz (rue & impasse du)
Gazan
G^n^ral-Appert
— Blaise
— Brunet (du)
— Foy (du)
— Lasalle (du)
Gentilly
— (porte et statiou de) . .
Geoffroy-Didelot
— Langevin ///
— Lasnier F
25
25
23
. 23
Geoflroy-Marie .... ///
— St-Hilaire F
George Sand
Gerando
Gdrard
Gerbert
Gerbier
Gerbillon IV
Gergovie (de)
G^rmain-Pilon
Gijsvres (quai de) . . . . F
Ginoux
Girardon
Gironde (quai de la) . . .
Git-le-Coeur F
Glaciere (de la)
Glaisiere (de la)
Gluek II
Gobelins (av., rue, & man.
des)
Godefroy-Cavaignac
Godot-de-Mauroy . . . .II
Goethe /
Gomboust II
Gourgaud (avenue) ....
Goutte-d'Or (de la) ....
Gouvion-St-Cyr (boulevard)
Gozlin (rue & place) . IV
Gracieuse F
Grammont (de) //
Gran d-Gerf (passage du) ///
Grand-Prieure (du) . . ///
Grande- Arm^e (avenue dela)
Grande-Chaumiere (de la) .
Grande-Truanderie (d.l.)///
Grandes-Carrieres (ch. des)
Grandg-Augustins (rue & quai
des) F
Grands-Champs (des) . . .
— Degr^s F
Grange-aux-Belles . . . ///
Grange-Bateliere (de la) ///
Gravelle (avenue de) . . .
Gravilliers (des). . . . ///
Grefifulhe //
Gregoire-de-Toura . . . IV
Grenelle (de) . . . . I,IV
— (boul. de) /
— (gare et quai de). . . .
— (pont et stat. de) . . .
Gren^ta ///
Grenier-St-Lazare . . . Ill
Grenier-sur-rEau . . . . F
Gretry //
Greuze /
Gribeauval IV
Gros
Grotte (de la)
Guadeloupe (de la) ... .
Gudin
Guen^gaud IV, V
SQUARES, PUBLIC BUILDINGS, etc.
11
B.
R.
G.
B.
E.
G.
Guenot (cite) 1
^1
Guerin-Boissean . .
. . ///
24
(des) ///
23
Guerre (min. de la)
II, 17
17
Hotel-Colbert (de V) . . . F
22
Guersant
5
'>9
Hutel-Dieu F
Hotel de Ville F
Hotel-de-Ville (r., quai, & pi.
de T) V
23
23
Guichard
Gnilhem
Gnillaume-Tell . .
11
23
Guillemites (des) .
. . ///
2:h
3(1
Guimet (mus^e) . .
. . ./
Houdon
20
Guisarde
. . IV
12
Huchette (de la) . . . . F
19
Gustave-Courbet .
y
19
Humboldt . . ....
W
Gutenberg
Gny-Labrosse . . ,
. . ///
Huygens . .
16
. . . F
21
Guyot
11
22
lena (av. & place d') . . 7
12
Guy-Patin
23
— (pont d') /
8
Gymnase (theatre du) . ///
24
Immaculee-Conc. (coll.de T)
8
Immeubles Industriels (des)
31
Haies (des) ....
35
Imprimerie Nationale . ///
23
Hainaut (du) . , .
32
Ingres (avenue)
5
Hal^vy
. . //
18
Innocents (des) .... //
20
nalle
17
Institut(pal. &placeder)/F
— Agronomique
'>()
Halle-aux-Vins . .
.
22
22
Halles - Centrales .
. . ///
20
— Catholique IV
16
Halles (des) ....
. . ///
20
— Pasteur
13
Hambourg (de) . .
18
Instruction Publique (minis-
Hameau (du) . . .
8
tere de T) IV
17
Hamelin
9
Interieur (min. de T) . //
15
Hanovre (de) . . .
. . //
21
Invalides (boul. des) . . IV
13
Harlay (de) ....
20
— (hotel des) IV
14
Harpe (de la) . . .
19
— (espl. & pont des) //, IV
14
Harvey
^6
Irlandais (des) F
19
Haudriettes (des) .
. . ///
23
Islettes (des)
23
Haussmann (boulevard) //
18
Isly (de D II
18
Hautefeuille. . . .
. . . F
19
S
Hauteville (d') . .
. . ///
. . . F
24
24
22
Issy
6
Haut-Pav^ (du) . .
Italie (avenue & porte d')
24
Hautpoul (d') . . .
....
29
— (boulevard & place d') . .
.
23
Havre (du) ....
. . //
18
Italiens (boul. des) //, III
21
Haxo
36
25
36
3(1
Hubert (place). . .
— (av. & porte d') . . . .
27
Helder (du) ....
. . //
21
H^ene
17
Jabach (passage) . . . Ill
2;-i
Henri-Chevreau . .
33
9
Jacob IV
Jacquemont
17
22
20
— Martin (av.) . .
. . . /
— Lepage (cit^) . .
. . . /
12
.lacques-Coeur IV
25
— Pape
')4
Janson de Sailly (lycee) . .
Jardin d'Acclimatation . .
Q
Henri IV (boul. et
<iuaij V
25
3
— (lycee)
22
18
— de Paris II
— des Plantes F
15
Henri-Regnault . .
22
Hericart
7
Jardinet (du) . . . . IV, V
19
Hermel
19
Jardiniers (des)
32
Harold
. . ///
21
Jardins-Saint-Paul (des) . F
22
Herr
7
19
Jarente (de) F
26
4
4
Herschell ....
. . IV
. . . F
19
Hirondelle (de V) .
Javel (quai de)
4
Hocbe (avenue) . .
12
Javel (de)
7
7
Honore-Chevalier .
. . IV
16
Jean-Baptiste-Dumas . . .
8
Hopital(boul. & pi.
de D F
25
- Bart IV
16
Hopital-Saint-Louia
(de D
27
— Beausire (r. & imp.) . F
26
Horloge (quai de V
). . . F
20
— de-Beauvais F
19
Hospices (des). . .
27
— B.ilogne
5
12
LIST OF THE PRINCIPAL STREETS,
B. R.G.
B. R. G.
Jean-Cottin
— Francois-Lepine ....
— Goujon /. //
— Jacq. -Rousseau. . . ///
— Lantier //
— Leclaire
— Mace
— Nicot //
— Robert
— Tiaon ///
Jeanne
Jeanne-d'Arc (r. & pi.) . .
Jemmapes (quai de) . . ///
Jenner
Jessaint (rue & place) . . .
Jeu-de-Boule (pass, du) ///
— de-Paume //
JeunesAveugles(inst.des)/ V
Jeunes Detenus (prison des)
Jeuneurs (des) .... ///
Joinville (de)
Jonquiere (de la)
Jonquoy
Joseph-Dijon
Joubert //
Jouffroy
— (passage) ///
Jour (du) ///
Jourdan (boulevard) . . .
Jouvenet
Jouy (de) V
Jnge ...
Juifs (des) V
Juillet (colonne de) ....
Jules-Cesar V
— Sandeau (boul.) ....
Julie
Julien-Lacroix
Juliette-Lambert
Jura (du)
Jussienne (de la) . . . ///
Jussieu (r. & pi. de) . . V
Justice (palais de) . . . . F
Justice (min. de la) . . . .
Keller
Kellermann (boulevard) . .
Keppler /
Kldber (av.) /
Kuss
//
Labat
Labie
Labois-Rouillon ....
Laborde (r. et sq. de)
Labrouste
La Bruyere
Lacaille
Lacaze
Lac^pede V
LacLarriere
23
20
30
24
24
Lacordaire
Lacroix
Lacuee V
Laennec (bopital) . . . IV
Lafayette //
— (place)
Laferriere (passage) ....
Laffitte //,///
Lafontaine (de)
Laghouat (de)
Lagny (de)
Lagrange V
Lahire
Lakanal
Lalande
Lallier
Lamarck
Lamartine
— (square)
Lamblardie
La Motte-Piquet (av. de) /
Lancette (de la)
Lancry (de) ///
Landrieu (passage) . . . /
Languedoc (de)
Lanneau (de) V
Lannes (boulevard) ....
Lannois
Lantier
La Perouse /
Laplace V
Lappe (de)
Lard (au) ///
Lariboisiere (bopital) . . .
La Rochefoucauld (hospice)
— (de) .
Laromiguiere V
Las Cases (de) . ... IV
Laterale
Latour-Maubourg (boulev.)
//, IV
Latran (de) V
La Tremoille (de) . . . /
Laugier
Laumiere (avenue) ....
Laurent-Pichat /
Lauriston /
Lauzun
Lavandieres (des) . . . ///
Lavoisier //
Lazaristes (des) . ... IV
Leblanc
Lebouis
Lebouteux
Lebrun
Lecluse
Leconte-de-Lisle
Lecourbe IV
Lecuirot
Ledion
Ledru-Rollin (avenue). . V
SQUARES, PUBLIC BUILDINGS, etc.
1:3
B. R. G.
I. R. G.
Lefevre (boulevard) ....
Lefort
Legendre
Ldgion d'Honneur (pal.) //
Le Goff V
Leibnitz
Lemaignan
Lemaire
Lemarrois
Lemercier
Lemoine (passage) . . ///
Lemoult
Le Notre /
L^o-Delibes
L^on
— Cladel ///
L€onard-de-Vinci . . . . I
L^once-Eegnaud , . . . /
Lepage (cit6)
Le Peletier . ... II, III
Lepic
Leregrattier V
Leriche
Lesage
Lesdiguieres V
Lesseps (de)
Lesueur
Letellier
Letort
Levallois-Perret
Levee (passage)
Levert
L^vis (rue & place de) . .
Lbomond 7
Liancourt
Liberte (de la)
Lilas (des)
Lille (de) 11,1V
Lincoln /
Lingerie (de la) ... . //
Linn^ V
Linoia
Lions (des) F
Lisbonne (de)
Littre IV
Lobau (place) V
Lobineau IV
Logelbach (de)
Loire (quai de la)
Lombards (des) .... ///
Londres (de)
Longchamp (de) I
Loos (de) ///
Lord-Byron /
Lorraine (de)
Louis-Blanc
— Braille
— David
— le-Grand II
— le-Grand (lycee) . . . F
— Philippe F
30
26
Louis-Thuillier F
Lourcine ou Broca (hop. de)
Lourmel
Louvois //, ///
Louvre (pal., quai, &ruedu)
//. ///
Lowendal (av. de). . . IV
Lubeck (de) /
Lulli //
Lune (de la) //
Lun^ville (de)
Lutece (de) 7
Luxembourg (du)
— (palais & jardin du) IV
— (gare du)
Lyannes (des)
Lyon (de)
— (gare de)
Mabillon IV
Mac-Mahon
Macdonald (boulevard) . .
Madame IV
Madeleine (boul., egl., mar-
che, &pl. dela)
Mademoiselle
Madone (de la)
Madrid (de)
— (porte de)
Magasins Generaux . . . .
Magdebourg (de)
Magellan /
Magenta (boulevard de) III
Mail (du) ///
Maillot (boulevard) . . . .
— (porte)
Main-d'Or (cour de la)
Maine (avenue du) .
— (place & rue du) . .
Mairie du ler arrondiss.
— du ne - - . .
IV
— du Ille - - .
— du IVe - - .
— du Ve - - .
— du Vie ...
— du vile - - .
— du VIIIc - - .
— du IXe - - .
— du Xe - - .
— du Xle - - .
— du xn« - - .
— du Xllle - - .
— du XlVe - - .
— du XVe - - .
— du XVIe arrondis'^.
— du XVIIe - - .
— du XVIIIo - - .
— du XIXe - - .
— du XXe - - .
Maison-Dieu (de la) .
Maistre (de)
//
///
III
14
LIST OF THE PlllNCIPAL STREETS,
B. R. G.
B.R. G.
Maitre-Albert V
Malakoff
— (avenue de) /
— (porte de)
Malaqnais (quai) . . . IV
Malar /
Malebranche V
Malesherbes (boulevard) //
— (place
Malher F
Malmaisons (des)
JIalte (de) Ill
Malte-Brun
Mandar ///
Manin
Mansart
Manuel
Manutention (de la). . . /
Maraichers (dcs)
Marais (rue & imp. des) ///
Marbeau
Marbeuf (avenue & rue) /
Marc-Se'guin
Marcadet
Marceau (avenue) . . . . I
Marche-aux-Bestiaux . . .
— des Blancs Manteaux ///
— de-Montrouge (pi. du) .
— Neuf (quai du) ....
— Saint-Honore (du) . . //
DLare (de la)
Marengo (de) ...//, ///
Margueritte
Marguettes (des)
Marie (pont) V
Marie-et-Louise .... ///
Marie-Stuart ///
Marie-Therese (hosp.) . . .
31arignan (de) /
31arigny (avenue) . . . II
Marine (min. de la) . . //
jiariniers (sentier des) . .
Marivaux //
Maroc (rue &. place du) . .
Maronites (des)
Marronniers (des)
Marseille (de) ///
MarsoUier //
Martel ///
Martignac (rue & cite) / V
Martin-Bernard
Martyrs (des)
Massena (boulevard). . . .
Masseran IV
Massillon V
Masson
Maternite (hospice de la) .
Mathis
Mathurin-Regnier
Mathurins (des) .... //
Matignon (rue & avenue) //
12
26
24
34
Maubert (place) F
Maubeuge (de)
Maublanc
Mauconseil ///
Maure (du) Ill
Maurice (passage)
Mauvais-Garcons (des) . . F
Mayet. . . .' IV
Mayran
Mazagran (rue & imp.) ///
Mazarine IV
Mazas (place) F
Mazet F
Meaux (de)
Mechain
Me'd^ah (de)
M^decine (ecole de) . . F
MMicis (de) IV,V
Megisserie (quai dela) ///, F
Mehul //
Meinadier
Meissonier
Manages (square des) . IV
M^nars //,///
Menilmontant (boul. de) .
— (porte de)
— (de)
Mercosur
Merimee
Merlin
Meslay ///
Mesnil /
Messageries (des)
Messine (avenue de). , . .
Metz (de)
Meuniers (ruelle des) . . .
Meyerbeer II
Mezieres (de) IV
Michal
Michel-Ange
— Bizot
— Hidalgo
— le-Comte ///
Michodiere (de la). . . .//
Midi ou Ricord (hopital du)
Mignon F
Mignottes (des)
Milan (de)
Militaire (ecole) . ... IV
Milton
Mines (dcole de) .... IV
Minimes (des) F
Ministere de TAgriculture
IV
— de la Guerre . . //, IV
— de la Justice .... //
— de la Marine. . . . II
— de rinstructionPubl. IV
— de rinterieur . . . II
— des Affaires Etrang. II
— des Colonies .... //
SQUARES, PUBLIC BUILDINGS, etc.
15
B.
K.
G.
B.
R.
G.
Ministere du Commerce et
Mont-Parnasse (cimet.)] • .
15
de rindustrie . ... IV
14
- (gare) IV
16
— des Finances .... //
.
20
Montpensier //
21
— des Travaux Publics / V
17
Montreuil (porte de) ...
34
MioUis ....
10
— (de)
31
Mirabeau (rue et pont) . .
Miracles (cour desj . . ///
Mirbel (de)
\
Montrouge
Of\
— (porte de) . ....
18
9.9.
?1
Mirom^nil (de) .... //
15
15
Mont-Thabor (du) . . . II
18
Missions-Etrangeres . . IV
16
Montyon (de) ///
21
Mogador //
Moines (des)
Moliere (fontaine & rue) //
1H
3(1
16
Morard .
U
21
Moreau V
25
rivc^e^
f)
Morere
18
1
Moret
30
90
Moaceaux (de)
— (pare de)
1p)
Morgue (la)
15
Morillons (des)
11
Moncey
18
Morland (^boulevard) . . V
'io
— (place) ou pi. Clichy . .
17
Mornay V
2b
Mond^tour ///
'Z-i
Mortier (boulevard) ....
36
36
Mondovi //
18
Moscou (de)j
18
Monge (ecole)
14
Moselle (de la)
29
- (r. & pi.) V
22
Mouffetard V
')')
— (square) F
22
Moulin-de-Beurre (du). . .
13
Monjol
27
— de-la-Pointe (du) ....
•24
Monnaie (de la) ... . ///
20
— d.is-Pres (du)
•23
Monnaies (hotel des)/F, V
Monsieur IV
'HI
Moulinet (du)
'■•.l
13
Moulins (des) //
21
Monsieur-le-Prince . IV,V
19
Moulin-Vert (rue & imp. du)
17
Monsigny 11
21
Moussy (de) .... ///, V
23
Montagne-Sainte-Genevieve
Mouton-Duvernet
I"
(de la) V
22
Mouzaia (de)
33
Montaigne //
15
Mozart
5
- (av.) /, //
12
Muette (chat, et porte de la)
5
— (lycee) IV
19
Mulhouse (de) . ... Ill
21
Montalivet II
15
Muller
20
17
Murat (boulevard) ....
Murillo
15
1
1
Montcalm
19
Mont-Cenis (dn)
19
Murs-de-la-Roquette (des) .
29
14
23
Musset (de)
1
Mont-de-Pie'te ///
Myrrha
•23
Mont-Dore (du)
17
Montebello (quai de) . . V
Montempoivre (porte de) .
Montenotte (de)
')')
Nanettes (des)
;h(i
'
84
T^ansouty
•'1
12
Kantes (de)
2^
Montesquieu . . . II, III
20
Naples (de)
15
Montessuy (de) /
11
Napolcn I. (tomb, de) . IV
14
Montfaucon IV
19
Nation (de la)
23
Montgallet
31
31
Montgolfier ///
24
National (boulevard) . . .
13
Montholon (rue <fe square)
Montiboeufs (des)
01
— (pont)
o<
36
32
Nationale
%
Montlouis
N ativite (place <fc e'glise de la)
•M
Montmartre 112
21
Navarin (de)
21
— (boulevard) . ... Ill
21
Navarre (de) V
.
•2*.
— (cim.)
17
16
Navier
16
Montmorency(av.(feboul. de)
1
16
Necker V
■2e
- (de) ///
23
16
— (hospice) IV
13
Montorgueil ///
21
Ih
Nemoors (de) IV
27
Mont-Parnasse (du) . . IV
16
Nesle (de) IV. V
20
— (boul. du)
.
16
Neuf (Pont). . . . ///, V
,
20
16
LIST OF THE PRINCIPAL STREETS,
B. B,. G.
R.G.
Neuilly (av. de)
2
OpL'ra (passage de T). . //
21
— (porte de)
3
— (theatre & pi. de 1') //
18
Neuve-des-Boulets
80
— Comique (tb. de T) //
.
21
~ Popincourt
31
Oran (d')
'>3
Neva (de ]a)
12
Oratoire(r.&egl.der)//,///
20
Kevers (de) IV, V
20
12
Ordener
19
Newton /
Orfevres (quai des) . . . V
20
Ney (boulevard)
22
Orfila
33
Nice (de)
r?'>
Orillon (rue & impasse de T)
Orleans (av. d')
SO
— la-Frontiere (de) ....
11
17
H'>
— (gares d') ....//, F
— (porte d')
25
Nicolas II (avenue) . . //
iri
18
Nicolas-Chuqnet
LI
— (quai d') F
22
— Flamel ///
23
Orme (de T)
14
Nicolet
20
fi
31
Ormesson (d') F
Ornano (boulevard) ....
Niel
11
22
Nil (da) ///
24
Orsay (quai d') . . . /, //
11
Nitot /
12
Orsel (d^)
20
Noisy (de) ...
M(i
Orteaux (des)
?>^
Nollet
17
92
Oudinot IV
Oudry
•
13
Nonnains-d'Hyeres (des) V
2^
Nord (gare da)
24
Ouest (rue <fe impasse de Y)
13
Normandie (de) .... ///
23
Ourqc (de r)
28
Norvins
■>u
— (canal de T)
29
Notre-Dame (eglise) . . . F
22
Oars(aax)(Et.-Marcel) ///
24
— (pont) V
23
— de -Bonne - Noavelle
24
Paix (de la)
18
(eglise & rue) .... Ill
Pajol
26
— de-Clignancourt (egl.) .
19
Palais (boulevard du). . F
20
— de Consolation . . . . /
12
Palais-Bourbon (place du) //
14
— de-la-Croix (egl.) ....
30
— des Arts Liberaux . , /
11
— de-la-Gare (egl.) ....
26
— des Beaux-Arts. . . . I
11
— de-Lorette (rue et e'glise)
'k
— des Machines . . . . /
12
— de-Nazareth . ... Ill
24
Palais-Royal //
21
— de-Recouvrance . . ///
24
— (place du) //
20
— des-Blancs-Manteaux III
23
Palatine IV
19
— des-Champs(r.etegl.) /F
16
16
Palestine (de)
33
— des-Victoires (rue, place,
Palestro (de) ///
24
& eglise) ///
9.\
Palikao (de)
30
Nouveaa Cirque . ... II
ia
Palmyre
2n
Nonveaute's (th. des) . . .
21
Panoramas (r.(fe pass.des)/^/
21
Nouvelle-Californie ....
12
Panoyaux (des)
Panthe'on F
•
30
19
Oberkampf ///
30
— (place du) F
19
Oblin ///
20
Pantin
31
Observatoire
19
— (porte de)
32
— (avenue & carrefour de V)
19
Paon-Blanc (du) F
23
Octave-Feuillet
5
Pape-Carpentier . . . . IV
16
Odeon (place, rue & th. del")
Papillon
21
/F, V
19
Paradis (de) ///
24
Odessa (d') IV
16
Parcheminerie (de la) . . F
.
19
Odiot (cite) /
12
Parc-Royal (du) . ... Ill
26
Offemont (dl
14
Paris (de)
34
36
Oise (quai de 1')
28
Parme (de)
18
Oiseaux (anc. mais. des) IV
.
13
Parmentier (avenue) . ///
.
30
Olier
s
Partants (des)
83
Olive 0')
25
Parvis - Notre - Dame (place
du) F
22
Olivier-de-Serres
11
Omer-Talon
29
21
Pascal
Pas-de-la-Mule (du) . . . F
m
Opera (av. de T) . . . . //
. '26
SQUARES, PUBLIC BUILDINGS, etc.
17
B. K. O.
O.
Pasqaier 18
Passy (pont et quai de) . /
— (rue & place de) . . . I
— (station de)
Pasteur (boulevard) . . IV
— (Institut)
Pastourelle ///
Patay (de)
Paul-Baudry /
— Bert
— Lelong ///
— Louis-Courier , . . IV
Pauquet /
Pav^e 7
Payen (impasse)
Payenne ///
P^clet
Pel^e (ruelle) ///
Pelican (da) ... 77, 777
Pelleport
Penthievre (de) .... 77
P^piniere (de la) ... 77
Perceval
Perchamps (rue & place des)
Perche (du) 777
Percier (avenue) ...II
Perdonnet
Pereire (boulevard & place)
Pere-Lachaise
Pergolese
Perignon IV
Perle (de la) 777
Pernelle 777
Pernetty
Perranlt 777
Perr^e 777
Perret (pass)
Perronet IV
P^tel
Petiet
Petit
Petit-Musc (du) V
Petit-Pont V
— (rue du) V
Petite-Pierre (de la). . . .
Petite Rue d£ Paris. . . .
Petites-Ecuries (rue <fe pas-
sage des) 777
Petits-Carreaux (des) . 777
— Champs (des). . 77, 777
— Hotels (des)
— P^res (r. ApLdes) 77, 777
P^trarqae 7
P^trelle
Penpliers (avenue des) . .
— (rue & poterne des) . .
Phalsbourg (de)
Pharmacie (^cole de) . IV
Philippe-Augnste (avenue).
Philippe-de-Girard .... '26
Piat 30
Baeukkkk. Pari.'!, lltb Edi
Picardie (de) 777
Piccini
Picot
Picpus (de)
— (boulevard de)
— (cim., orat., & s^min. de)
Pierre-au-Lard .... 777
— Charron 7
— Guerin
— Larousse
— le-Grand
— Leroux IV
— Lescot 777
— Levee 777
— Nys
— Picard
— Sarrazin V
Pigalle (r. & pi.)
Pinel (rue & place) ....
Pitie (bop. & rue de la) V
Pixerecourt
Plaine (de la)
— (poterne de la)
Plaisance (porte de). . . .
Plancbat
Planche (de la) . . . . 7F
Plantes (des)
Plat-d'Etain (du) . . . 777
Platre (du) 777
Plumet
Point-du-Jour (boul. du)- .
— (rue du)
Pointe-d'Ivry (de la) . . .
Poissonniere 777
— (boul.) 777
Poissonniers (des)
Poissy (de) V
Poitevins (des) V
Poitiers (de)
Poitou (de) 777
Poliveaa (de)
Polonceau
Polytechnique (ecole) . . V
Pomereu (de)
Pommard (de)
Pompe (de la) 7
Ponceau (rue & pass. du)777
Poncelet
Pondicbe'ry (de)
Poniatowski (boulevard) .
Pont (du)
Pont-aux-Choux (du) . 777
Pont-de-Lodi (du) . . . . V
Ponthieu (de) ....1,11
Pont-Louis-Philippe . . F
Pont-Neuf (du) . ... Ill
Pontoise (de) V
Ponts-et-Chaus. (e'c. des) 7 V
Popincourt
Portalis (avenue) . . . II
P..rte F..in 777
II
18
LIST OF THE PRINCIPAL STREETS,
B. R. G.
B.R. G.
Porte-St-Martiu (th. de la) ///
Port-Mahon (,du) . . . II
Port-Royal (bonl. de) . . .
Possoz (place)
Postes (direction des) . IV
— (administr. des) . . ///
Pot-de-Fer (du) F
Poteau (duj
Poterie (de la) ... . ///
Pouchet
— (porte)
PotQet
PouUetier F
Ponssin
Pradier
Prairies (des)
Pre-aux-Clercs (du) . . IV
— St-Gervais (le)
(rue du)
(porte du)
Precheurs (des) .... ///
Prefecture de la Seine //
— de Police V
Presbourg (de) /
Presentation (de la) ... .
Presles (de) ......./
Pressoir (du)
Pretres - St - Germain- T Aux.
(des) ///
Pretres-St-Severin (des) . F
Prevost (passage)
Prevot F
Pr^voyance (de la) ... .
Priestley
Princes (passage des) //, ///
Princesse IV
Procession (de la)
Prony
Proudhon
Prouvaires (des) . . . ///
Provence (de) . . . //, ///
Providence (de la) ....
Prud'hon (avenue)
Puits-de-rErmite (du) . . F
Puteaux
Py (de la)
Pyramides (des) .... //
Pyrenees (r. & place des) . .
Quatrefages F
t^uatre-Fils (des) . . , ///
Quatre-Septembre (du) . II
Q,uatre- Vents (des) . . IV
l^uinault
t^uincanapoix ///
Quintinie (de la)
Quinze-Vingts (bospice des)
Rabelais //
Racbel (avenue)
Kacine IV, V
30
22
Racine (Ivcde)
Radzivill //, ///
Raffet
Raguinot (passage) ....
Rambouillet (de)
Rambuteau (de). . . . ///
Rameau //
Ramey
Rampon ///
Ramponneau
Ranelagh (av. & rue du) .
Raoul (passage)
Rapee (quai de la) . . . F
Raphael (avenue)
Rapp (avenue) /
Easpail (boul.) . ... IV
Rataud F
Ravignan
Raynaud (cite)
Raynouard /
Reaumur ///
Rebeval
Recollets (des) .... ///
Reculettes (ruelle des) . .
Regard (du) IV
Regis IV
Regnault
Reille (avenue)
Reine (Cours la) . . I.^ II
Reine-Blanche (de la) . . .
— de-Hongrie (passage de
la) ///
Rembrandt
Remusat (de)
Renaissance (de la) ... /
— (theatre de la) . . . ///
Renard (du) ///
Rendez-vous (du)
Rennequin
Rennes (de) IV
Republique (av. de la) ///
— (place de la) . . . . ///
— (theatre de la) . . . ///
Reservoirs (des) . . . . /
Rdtiro (cite du) ... II
Retrait (du)
Reuilly (boulevard de) . .
— (porte de)
— (de)
— (station de)
Reunion (passage de la) ///
— (rue (fe place de la) . .
— (villa de la)
Reynie (de la) .... Ill
Rhin (du)
Ribera
Riblette
Richard-Lenoir
— (boulevard) . . . ///, F
Richard-Wallace (boulevard)
Richelieu (de). . . 77, 777
SQUARES, PUBLIC BUILDINGS, etc.
19
B. R. G.
B.R. G
Richelieu (square) . . . II
Richepanse //
Richer ///
Richerand (avenue) . . ///
Richomme
Ricord (hopital)
Rigny (de) //
Rigoles (rue et cit^ des). .
Rimbaut
Riquet
Riverin (cite) ///
Rivoli (de) . . //, ///, V
— (place de) //
Rochebrune
Rochechonart
— (boul. de)
Rocher (du)
Rocroy (de)
Rodier
Roger
Rohan (de) //
Roi-de-Sicile (du)/. . . F
Roi-Dore (du) ///
Rollin F
— (college)
Romainville (r. & porte de)
Rome (de) //
Ronce (passage)
Rondelet
Ronsard
Roquepine //
Roquette (de la)
— (prison de la)
Roses (des)
Rosiers (des) V
Rossini //, ///
Rotrou V
Rottembourg
Rouelle /
Rougemont (rue & cite) ///
Rouget-de-risle . ... II
Roule (du) ///
— (avenue du)
Roassel
Rousselet IV
Rouvet
Roy //
Royal (pont) //
Royale //
Royer-CoUard (r. ife imp.) F
Rubens
Ruisseau (du)
Rungis (pi. de)
Raty
Ruysdael (avenue) ....
Sabliere (de la)
Sablonniere (de la) . . . .
Sablons (des) /
— (porte des)
Sablonville
33
28
22
Sabot (du) IV
Sacrd-Coeur (couv. du) IV
— (eglise du)
Saida (de la)
St-Amand
St-Ambroise (^gl. <fer.) . .
St-Anastase ///
St-Andr^-des-Arts (rue &
^ place) IV, V
St-Antoine F
— (hopital)
St-Augustin //
— (^gl.)
St-Benoit IV
St-Bernard (eglise) ....
— (quai) F
— (rue & imp.)
St-Blaise
St-Bon ///
St-Bruno
St-Charles /
St-Claude ///
St-Cloud (avenue de) . . .
— (porte de)
St-Denis IJI
— (boul.) ///
- (canal)
— du-St-Sacrement (eglise)
///
St-Didier /
St-Dominique . ... /, //
— (passage) /
St-Esprit (sem. du) . . . F
St-Etienne-du-Mont (rue &
eglise) F
St-Eugene (eglise"*. . . Ill
St-Eiistache (e'glise, place, &
impasse) (Halles) . . ///
St-Fargeau
St-Ferdinand (chap., rue, &
place)
St-Fiacre HI
St-Florentin //
St-Francois-de-Sales (egl.) .
— Xavier (pi. & egl.) . IV
St-Georges (eglise) ....
— (rue & place). . . . II
St-Germain(boul.)//, /F, F
— (He)
— (march^) IV
— de-Charonne (e'glise) . .
— des-Pres (eglise & pi.) IV
— r Auxerrois (egl. & r.) ///
St-Gervais (eglise) ....
St-Gilles ///
St-Gothard (du)
St-Gnillaume IV
St-Hippolyte
St-Honore (cloitre) //, ///
— (rue) //
— (marchei //
TT*
20
LIST OF THE PRINCIPAL STREETS,
B.
B.
G.
B.
B.
Q.
St-Jacques V
19
19
St-Severin (rue & eglise) V
19
2U
St-Simon IV
St-Sulpics (rue, pi., & egl.)
•
17
— (squ. & tour). . . . Ill
23
— du-Haut-Pas (egl.) . . V
19
IV
19
St-Jean-Baptiste-de-Belle-
— (seminaire de)
.
6
ville (eglise)
83
St-Thomas-d'Aquin (eglise.
de-Grenelle (eglise) .
7
rue, & place) . ... IV
17
St-Jean-de-Dieu (Freres) JV
.
13
St-Victor V
.
22
St-Joseph ///
21
St- Vincent, Montmartre . .
20
— r^el 1 . ...
27
— de-Paul (Eglise & rue) . .
— de-Paul (soeurs de) . IV
24
16
— des Allemands
27
— (chap, angl.)
St-7iiHpn-le-Panvre V
1'-!
St- Yves .
IK
90
Ste-Alice . .
17
St-Lambert
7
Ste-Anne (eglise)
24
St-Laurent (eglise) ....
10
— (rue & pass.) . . . II
.
21
— (ifassage) ///
24
— Popincourt (pass.) . . .
.
'21
St-Lazare (prison) ....
24
Ste-ApoUine ///
24
— (rue & gare) .... II
18
Ste-Avoye (passage) . . ///
23
St-Leu (eglise) . ... Ill
23
Ste-Barbe (college) . . . V
19
St-Loui3 (hopital) . . ///
27
Ste-C^cile ///
'k
— (lie et pont) V
22
Ste-Chapelle (pal. de just.) V
.
20
— (lycee) V
19
Ste-Clotilde (eglise) . . IV
.
14
— anx-Invalides (Eglise) IV
14
Ste-Croix-de-la-Bretonnerie
— d'Antin (eglise) . . //
18
(rue & pass.) . . . ///. V
23
— en-rile (rue & eglise) V
22
Ste-Elisabeth (r. & ^gl.) ///
27
St-Mand^ (av. & porte de)
34
Ste-Eugenie
28
St-Marc //, ///
21
Ste-Euphrasie
19
St-Marcel (boul. <fe ^gl.) . .
22
Ste-Felicit^ (impasse) . . .
.
10
St-Martin ///
23
Ste-Foy (rue <k pass.) . ///
24
— (boul. & porte) . . . ///
24
Ste-Genevieve (eglise) . V
19
— (canal)
27
27
— (place) V
22
— (marehe) ///
24
Ste-Marguerite (r. & egl.) .
28
St-Maur-Popincourt . . ///
27
29
Ste-Marie
20
St-M^dard (r. & eglise) . V
.
22
— (cour & passage) ....
2/
St-Merry (r. <fe ^gl.) F, ///
23
— des-BatignoUes (Eglise) .
14
St-Michel(boul.). . IV, V
19
19
Ste-Marthe ///
2/
— (hospice)
34
Ste-Opportune (r. (fepl.) ///
20
— (pont, place, <fe quai) V
19
Ste-Pelagie (prison) . . . V
22
St-Nicolas (port) . . . II
20
Ste-Perine (institut. de) . .
4
— des-Champs (eglise) . .
24
Saintonge (de) .... ///
26
— du-Chardonnet (eglise) .
22
Saints-Peres (des) . . . IV
17
St-Ouen (av. & porte de)
16
— (pont des) . . . .11, IV
20
St-Paul (rue & pass.) . . V
— Saint-Louis (Eglise) . V
''5
Salneuve
1^
25
Salomon-de-Caus . . . ///
24
St-Petersbourg(de) ....
17
Salpetriere (de la) ....
26
St-Philibert (avenue) . . .
5
— (hopital de la)
'2b
St-Philippe ///
24
Sambre-et-Meuse (de) . . .
2?
— du-Roule (Eglise). . //
St-Pierre-de-Chaillot(egl.) /
15
Samson . . ...
'>3
12
Sante (rue et prison de la)
.
20
— de-Montmartre (place &
Eglise)
Santeuil
'>'>!
9.0
Sarette
18
— de-Montrouge (eglise) .
17
Sauffroy
16
— du-Gros-Caillou (egl.) /
12
Saules (des)
20
— du-Temple (pass.) . ///
26
Saulnier (passage) . . Ill
21
— St-Antoine (passage) . V
.
2fa
Saumoa (du) ///
21
St-Placide IV
16
Saussaies (des) .... //
lb
St-Roch (egl. & rae) . . //
IS
14
16
'>')
St-Sabin ///, V
26
Sauval ///
21
St-Sauveur ///
21
Savoie (de) V
20
St-Sebastien ///
26
Saxe (avenue de) . . . IV
13
SQUARES, PUBLIC BUILDINGS, etc.
21
B. K. G.
Scala (la) ///
Sceanx (anc. gare de). . .
Sceaux-Ceinture (stat. de)
Scheffer /
Schomberg F
Schomer
Scipion (rue <fe place) . . .
Scribe //
S^bastopol (boulev. de) ///
Secr^tan
Sedaine V
Sedillot /
Seguier V
S^gur (avenue de) . . IV
Seine (de) IV
— (quai de la)
S^nat (palais du) . . . IV
S<fnegal (da)
Sentier (dnj ///
Sergent-Banchat (du) . . .
Serpente 7
Serurier (boulevard) . . .
Servan
Servandoni IV
Seveste
Sevign^ V
Sevres (de) IV
— (porte de)
Seze (de) //
Sfax (de) /
Siam (de)
Sibuet
Simart
Simon-le-Franc .... ///
Simonet (passage)
Simplon (du)
Singer
Smala (de la)
Soeur-Rosalie (avenue) . .
Solf^rino (rue <fe pont de) //
Solidarite (de la)
Solitaires (des)
Sommerard (du) . . . . V
Sontay (de) /
Sorbier
Sorbonne V
— (pi., r., (fe pass, de la) V
Sonfflot V
Soult (boulevard)
Sourdiere (de la) . . . //
Sonrdis ///
Sourds-3rnet8(instit. des). F
Soyer
Spontini
Stanislas (rue (fe passage) IV
— (college) JV
Steinkerque (de)
Stemler (cit^)
Stendhal
Stephenson
Stinville (passage)
32
20
22
24
23
23
31
Strasbourg (rue <fe gare de)
— (boulevard de). , . ///
Suchet (boulevard) ....
Sud (passage du)
SufFren (avenue de) . . . /
Suger F
Suisses (passage des) . . .
Sully (de) F
— (pont) F
Surcouf //
Surene (de) //
Surmelin (du)
Sycomores (avenue des) , .
Tabacs (manufacture des) II
Tacherie (de la) . , . . F
Tage (du)
Taillandiers (des)
Taillebourg (avenue de) . .
Taillepain ///
Taitbout II
Talma
— (cite)
Tanger (de)
Tanneries (des)
Tarb^
Tardieu
Taylor ///
Teheran (de) //
Telegraphe (du)
Temple (du) ///
— (boul. du) ///
— (marcbe du) .... ///
— (square du) .... ///
Teniers
Te'non (hopital)
Ternaux
Ternes (pi. des)
— (av., cite, & porte des).
Terrage (du) .......
Terrasse (de la)
Terre-Neuve (de)
Terres-au-Cure (des) . . .
Tertre (place du)
Tesson
Texel (du) .
Thann (de)
Theatre (du)
Theatre Antoiuc. ...///
Th. D^jazet ///
Th. de rAmbigu . . . Ill
Th. de la Gaite . . . ///
Th. delaPorte-vSt-Martin///
Th. de la Republiquo III
Th. de la Renaissance ///
Th. de rOde'on .... F
Th. de rOpera .... II
Th. de rOpe'ra-Comique //
Th. desBouffes-Parisiens //
Til. des Folies-Dramat. Ill
Th. des Folies-Marigny //
22
LIST OF THE PRINCIPAL STREETS,
B. £. G.
BR.G.
Theatre des Kouveaut^s //
Th. des Varietes . . . ///
Th. du Chatelet . . . . V
Th. du Gymnase . . . ///
Th. du Palais-Royal . . /
Th. du Vaudeville . . //
Th. Francais //
Thenard ' V
Theodule-Ribot ......
The'ophile-Gautier . . . •
Therese //
Thermopyles (passage des)
Thery
Thibaud
Thiboumery
Thierr^ (passage)
Thionville (de)
Tholoze
Thorel ///
Thorignv (de) ///
Thouin '. V
Tiers
Tilleuls (avenue des) . . .
Tilsitt (de)
Timbre (hotel du) //, ///
Tiphaine
Tiquetonne ///
Tiron 7
Titon
Tlemcen
Tocqueville (de)
Tolbiac (de)
— (pont de)
Tombe-Issoire (de la) . . .
Torcy (rue & place) . . .
Torricelli
Toullier F
Tour-d'Auvergne (de la). .
Tour-des-Dames (de la) . .
Tour (de la), Passy . . . I
Tourelles (des)
Tourlaque
Tournefort F
Tournelle (quai & pont dela)
F
Tournelles (des). . ///, F
Tournon (de) IV
Tourtille (de)
Tourville (avenue de) 1,1V
Toussaint-Feron
Tracy (de) ///
Traktir (de) /
Traversiere F
Treilhard
Tremoille (de la) .... /
Trevise (rue et cite) . Ill
Trezel
Tribunal de Commerce . F
Trinite (passage de la) ///
— (r. (fe egl. de la) . . . .
Trocadero (av. du) . . . I
22
Trocadero (stat. del'av. du)
— (pal. <fe pi. du). . . . /
Trois-Bornes (des)
— Couronnes (des) ....
— Freres (des)
— Portes (des) F
Tronchet //
Trone (avenue du) ....
Trousseau (hopital & rue) .
Troyon
Trudaine (avenue) ....
Truffault
Tuileries(jard., palais,quai,
& rue des) //
Turbigo (de) ///
Turenne ///, F
Turgot (rue & place) . . .
Turin (de)
TJlm (d') F
Union (passage de V) . II
Universite (de D /, //, IV
Ursins (des) F
Ursulines (des) F
Usines (des)
Uzes (d') ///
Val-de-Grace (hopital du) .
Valence (de)
Valenciennes (de)
Valette F
Valhubert (place). . . . F
Valmy (quai de) . . . ///
Valois (rue & place de) //
Vandal
Vandamme
Van-Dyck (avenue) ....
Vaneau IV
Vannes (de) ///
Vanves
— (de)
— (porte de)
Varenne (rue & cite de) / F
Vauban (place) . ... IV
Vaucanson Ill
Vaucouleurs (passage) . .
Vaugelas
Vaugirard (de) . . . IV, V
— (boul. de) IV
— (place de)
— (station de)
Vauquelin
Vauvilliers ///
Vavin IV
Vega (de la)
Velasquez (avenue) ....
Velpeau IV
Vendome (passage) . . ///
— (place) //
Vendrezanne
Venise (de) ///
SQUARES, PUBLIC BUILDINGS, etc.
23
B. E. O.
B. R. O.
Ventadonr //
Ventes (hot. des) . . . ///
Vercingetorix
Vergniaud
Vernet /
Verneuil (de) IV
Vernier
Vero-Dodat (passage)//, ///
Veron
Verrerie (de la) . ///, F
Versailles (avenue de). . .
—- (porte de)
Versigny
Vertbois (du) ///
Verte (allee) ///
Vertns (des) ///
Vezelay
Viala
Viarmes (de) ///
Vicq-d'Azir
Victoire (de la)
Victoires (place des) . ///
Victor (boulevard) ....
— Considerant F
— Cousin F
— Hugo (av.) /
(place)
(lycee) F
— Massd
Victoria (av.) . . . ///, F
Vieille-du-Temple ///, F
Vienne (de)
Viete
Vieux-Colombier (du) . /F
Vigan (passage du) . . ///
Vignes (des)
Vignolles (des)
Vignon //
— (passage)
Vilin
Villa Longchamp . . . . /
Villars (avenue de) . . / F
Villedo //
Ville-Hardonin . ... Ill
Villejuif (de)
Villejust (de) /
Ville-rEveqne (rue & place
de la) //
Villeneuve (de la). . . ///
Villersexel (de) . ... 17
Villette (de la)
^ (bassin de la)
20
23
Villette (boul. de la)] . . .
— (porte de la)
Villiers (av. de)
— (porte de)
Villiot
Vinaigriers (des) . . . ///
Vincennes (bois de) ....
— (cours & porte de) . . .
— (gare de) (Bastille) . . F
Vincent
Vineuse /
Vingt-Neuf-Juillet (du) //
Vintimille (rue & place) .
Violet (passage) . . . ///
— (rue & pi.), Grenelle . .
Virginie
Visconti lY
Vistule (de la)
Vital
Vitruve
Vitry (porte de)
Vivienne (r. &pass.)//, ///
Voie-Industrielle
Voie-Verte (de la) ....
Volney //
Volontaires (des)
Volta ///
Voltaire (boul. & place) ///
— (quai) IV
Vosges(pl. & rue des) . . F
Vouille (de)
Voute (de la)
Vrilliere (de la) . //, ///
Wagram (av. de)
— (pl. de)
Washington /
— et Lafayette (monument
de) /
Watt
Watteau
Wattianx (passage) ....
Wattignies (de)
Wilhem
Wurtz
Xaintrailles
Yvette (de Y) . .
Yvon-Villarceau.
Zacharie . . . .
Omnibus and Tramway Routes with their Gorrespon-
dances.
(Comp. the following Tables and Plan, and p. 23 of the Handbook.)
List of the Omnibus Lines.
Lines
Offices ('Correspondances', see p. 29).
A. Place- Clichy-Carref our des
Ftuillantims (PI. E 1 & F 5).
B. Trocadiro-Gare de VEst
(PI. C3(feG2).
C. Porte Mailloi-Hdtel de Yille
(PL C 2 & G 4).
Cbis, £i oile- Palais E opal (Fl.
C 2 & F 3).
D. Let Ternes-Boul. des Fil-
les-du-Calv. (PI. C2(feH8).
Dbis, as D from the Place des
femes.
E. Madeleine - BasUlle (PI. E
2-3 & H 4).
F. Place Wagram - Bastille
(PI. D 1 (fc H 4).
G. Square des Batignolles-
Jardin des Plantes (PI. El
& G5).
H. Batignolles-Clichv -Odion
(PI. E 1 (fc F 5).
I. Place Pigalle- Halle aux
Vins (PI. F 1 & G5; Boiil.
St. Germain 14).
J. Montmartre- Place St. Jac-
ques (PI. F 1 (fc F 6).
TL. Notre- Dame-de-Lorette-Boul.
St. Marcel (P\. Gl(feG6).
L. La Villetie-St. Sulpice (PI.
H 1 (fe F 4).
M./ Buttes - Chaumont - Palais
Royal (PL Kl & F 3).
N. Belleville- Louvre (PL I 2
(fc F3).
Place Clicby and thence to the Odeon as in
Line H (see below); then Boul. St. Michel
(Rue Souftlot), Rue Gay-Lussac, Carrefour
des Feuillantines.
Trocadero, Champs-Elysees, 62; St. Phil.-du-
Roule, St. Augustin, St. Lazare, Trinite, R.
Chateaudun, Sq. Montholon, Gare de LEst.
Porte Maillot, Place de I'Etoile, Champs-Eiy-
se'es, 62-, Palais Royal, Louvre, Chatelet,
Hotel deVille.
From the Etoile as line C, with detour via
Rue Francois I.
Les Ternes, beyond the railway. Place des
Ternes, Boul. Haussmann, 175; St. Philippe-
du-Roule, Madeleine, Palais Royal, Louvre,
Ha]le.s Centrales, Boul. de S^bastopol, .nd
Boul. des Filles-du-Calvaire.
Madeleine, Boul. des Italiens, Porte and Boul.
St. Denis and St. Martin, PL de la R^pu-
blique, Boul. des Filles du-Calvaire, Bastille.
Place Wagram, R. Legendre, Boul. des Bati-
gnolles, St. Lazare, Bourse, PL desVictoires,
Halles Centrales, R. Rambuteau, 36 ; Bastille.
Square des BatignoUes, PL Clichy, Trinity,
Palais Royal, Louvre, Chatelet, Boul.St.Ger-
main, 14. Halle aux Vins, Jardin des Plantes.
Av. de Clichy, 143: PL Clichy, R. de Chateau-
dun, Boul. des Italiens, 8; Palais Royal,
Quai des Tuileries (Pont du Carrousel),
St. Germain-des-Pres, St. Sulpice, Ode'on.
PL Pigalle, R. de Chateaudun, Boul. des Ita-
liens, 8; Bourse, PL des Victoires, Louvre,
PL St. Michel, PL Maubert, Halle aux Vins.
Rue Ordener, 72; Boul. Rochechouart, Sq.
Montholon, Halles Centrales, Chatelet, PL
St. Michel, Square de Cluny, R. Soufflot,
Boul. St. Jacques.
Rue de Chateaudun. Halles Centrales, Chate'et,
Halle aux Vins, Boul. St. Marcel.
R. de Flandre (Abattoirs), Boul. de la Vil-
lette, Gare de LEst, Boul. (fe Porte St.Martin,
Rue de Rambuteau 36, PL St. Michel, Sq.
de Cluny, St. Sulpice.
R. Manin, R . de Meaux, R. Bolivar, R. de Stras-
bourg, Porte St. Denis, Bourse, Palais Royal.
R. de Belleville, 2-5; R. Bolivar, BouL de
Belleville, PL de la Re'publique, Boul. and
Portes St. MaHiu and St. Denis, PL des Vic-
toires,^^Louvre.
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OMNIBUS ROUTES.
Lines
Offices ('Correspondances', see p. 29).
N'l'S Lac St. Fargeau-Louvre
(PI. IK2 & F3).
0. Minilmontant-Gare Mont-
parnasse (PI. I 3 & E5).
P. Charonne-Pl. d'ltalie (PI.
KB & G6).
Q,. Plaisance- Hdtel de Ville
(Pl.D6(feG4).
R. Gave de Lyon-St. PMlippe-
du-Roule (PI. l5(feD 2).
Rijjs. Bastille-Place de la Con-
corde (PI. H 4 & E 3).
T. Boul. de VH6pital- Square
Montholon (PL H 6 & G 2).
U. Montsourit-Pl. delaRipuh-
lique (PI. F G 6 & H 3).
V, Boul.diiMontparnasse-Oare
du Nord (PI. D E 6 & G 1).
V'^'s. Rite de VouilU- Bourse
(PI. D6 & F3).
X. Vaugirard-Oare St.Lazare
(PI. C6ifeE2).
Y, Grenelle- Porte Si. Martin
(,Pl.G5(fe G2-3).
Z. Grenelle- B(Utille (PI. C 5
AH 4).
AB. Passy-La Bourse (PI. B 4
& F 3).
AC. Gare du Nord -Place de
VAlma (PI. G 1 & D 3).
ACbis. Petite Villette-Place de
la Concorde (PI. 1 1 & E 3).
AD. Quai de Valmy - Champ -
de-Mars (PI. H2 & C4).
AE. Montrouge-Gare de Passy
(PI. C 6 & B 4),
AF. Pantheon- Place Cortr-
celles (PI. F G 5 & C 1).
AG. Porte de Vefsailles-Louvre
(PI. C6 & F3).
AH. Grenelle (Javel)- Gave
St. Lazare (PI. C5(feE2).
Lac St. Fargeau, near the Porte <le Romaiii-
viUe (tramway, see p. 32); R. Bolivar 1.
PL Gambetta, BouL Menilmontant, 150; Boul.
Voltaire, 38; BouL des Filles-du-Calvaire,
Sq. St. Jacques, St. Germain-des-Pr^s, Gare
Montparnasse.
R. de Bagnolet, 158 & 129; Pere Lachaise, PL
Voltaire, Bastille, Gare d"Orldans,Pl.dltalie.
R. de Vanves 198 (Plaisance) , Gare 3Iont-
parnasse, St. Sulpice, Sq. de Cluny, PL
St. Michel, Chatelet, Hotel de Ville.
Gare de Lyon, Bastille, Chatelet, Louvre,
Palais Royal, St. Philippe-du-Roule.
Bastille and as the preceding line to the Rue
Royale ; then to the Place de la Concorde.
R. Jenner (Boulevard), Gare d'Orleans, Halle
aux Vins, Quai de l"H6tel-de- Ville, K. du
Bourg-Tibourg, R. de Rambuteau , Boul.
& Porte St. Denis, Sq. Montholon.
Station de Gentilly, R. Claude-Bernard 5 (R.
Pascal); Halle aux\ ins, Pl.de la Republique.
Boul. du Jlontparnasse, R. de Sevres, 65; R.
des S ts. Peres, 7S ; St. Germain-des-Pre's, Lou-
vre, PL des Victoires, Bourse, Gare duXord.
R. de Vouille (corner of R. Labrouste). Boul.
du Montparnasse, etc. (as line V).
R. Blomet, 108; R. de Sevres, 65; Boul. St.
Germain, 207 ; Madeleine, Gare St. Lazare.
R. du The'atre, Av. Duquesne, Boul. St.
Germain, 225; Quai des Tuileries (Pont des
Sts. Peres), Palais Royal, Boul. St. Denis.
Kglise de Grenelle, PL Cambronne, R. de
Vaugirard, 162; Gare Montparnasse, Ode'on,
Sq. Monge. Halle aux Vins, Bastille.
Porte de la Muette, Av. Henri-Martin, PL de
LEtoile, Boul. Haussmann , 175; St. Phi-
lippe-du-Roule, Madeleine, Bourse.
R. Lafayette, 158; Gare du Nord, Sq. Mont-
holon, 11. de Cbateaudun, Madeleine, PL
de la Concorde, PL de TAluia.
R. de Hurcq (Ceinture), Boul. de la Villetto,
Gare du Nord, etc. , as the preceding line
to the PI. de la Concorde.
Quai de Valmy, PL de la Republique, Sq.
St. Jacques, St. Germain-des-Prds, R. des
Sts. Peres, 78; Av. Duquesne, Av. Eapp.
Montrouge (Eglise), R. de Vouille, Pont de
Grenelle, Gare de Passy.
Pantheon, R. Soufflot, Ode'on, St. Sulpice, R.
des Sts-Peres, 78; Boul. St. Germain, 207
& 225; Concorde, Madeleine, St. Augustin.
Boul. de Courcelles.
R. de Vaugirard, 162; R. de Sevres, 65; R.
des Sts. Peres, 78; St. Germain-des-Pres,
Quai des Tuileries, Palais Royal, Louvre.
Rond-point St. Charles, Av. Duquesne, Palais
Bourbon, Concorde, Madeleine, Gare St.
Lazare.
26
OMNIBUS ROUTES.
Lines
Offices ('Correspondances', see p. 29).
AHbis. Gave St. Lazare-Ecole
Militaire.
AI. Gave St. Lazare-Place St.
Michel (PI. E 2 & F 4).
AT. Pare Monceaii-La Villeite
(PL D 2 (fe 1 1).
AK. Gare St. Lazare-Gare de
Lyon (PI. E 2 & 1 5).
AL. Gare des Batignolles- Gare
Montparnasse{V\. E 1 & E5).
AM. Montmartre-St. Germain-
des-Fres (PI. F 1 & F 4).
AN. Abattoir de Vaugirard-
Les-HallesiV\.T)%&GZ).
AO. Boulevard de la Vilhttc-
Boulevai'd de Bercy (PI. HI
& K6).
As the preceding line, in inverted order, as
far as the Place Duquesne.
Gare St. Lazare (PI. de Rome), Palais Royal,
Louvre, Chatelet, PI. St. Mic el.
Pare Monceau, R. Legendre, PI. des Batig-
nolles, R. Ordener, 72; Boul. Barbes, R. de
la Chapelle, 55; R. de Flandre.
Gare St. Lazare (PL de Rome), Boul. des Ita-
liens, 8; Boul. & Porte St. Denis, Porte
St. Martin, PL de la Re'publique, Boul.
Voltaire, 38; Bastille, Gare de Lyon.
Gare des Bati|inulles, Gare St. Lazare, Made-
leine, Concorde, Boul. St. Germain, 225 and
207; R. de Sevres, 65; Gare Montparnasse.
R. Ordener, 72 ; PL Clichy, St. Lazare, Palais
Royal, Quai des Tuileries (Pont da Car-
rousel), St. Germain-des-Pre's.
R. des Morillons, R. de Vouille, St. Germain-
des-Pre's, Quai des Tuileries (Pont du Car-
rousel), Louvre, les Halles.
Boul. de la Villette, on Canal and the Rue
deMeaux; Boul. Voltaire, 130 (PL Voltaire),
Bastille, Boul. de Bercy.
List of the Tramway Lines.
TC. Louvre- Vincermet (PL F4
& K 5).
TD. Etoite-Laruiette (PI. C2
& H 1). — In part the same
line as TP and. Tpbis.
TE. La Villette -Place de
Nation (PL H 1 & K 5).
la
Comp. the Plan, p. 24 of the Handbook, and pp. 31, 32 of the Appendi.x.
Tramways belonging to the Compagnie des Omnibus.
Louvre, Chatelet, Quai de rHotel-de-Ville,
Bastille, PL de la Nation, Vincennes.
PL de LEtoile, PL des Ternes, Boul. de Coar-
celles, 98; Pare Monceau, Boul. des Bati-
gnolles, 5; PL Clichy, Boul. Magenta, PL
de la Chapelle, Boul. de la ViHette.
Boul. de la Villette, Boul. de Belleville, Bo\iL
de Me'nilmontant, 150; Pere-Lachaise, PL
de la Nation.
PL de la Nation, PL Voltaire, BouL Vol-
taire, 38; PL de la Republique, Boul. Se-
bastopol, 77; Halles Centrales, Louvre.
Av. d'Orleans aud de LObservatoire, R. Souf-
flot, Sq. de Cluny, PL St. Michel, Chatelet,
Boul. Sebastopol, 77; Boul. St. Denis, Gare
de LEst.
R. de la Chapelle, 184; PL de la Chapelle,
R. Lafayette. Gare de TEst, BouL St Denis,
Boul. Sebastopol, 77; Chatelet, PL St. Mi-
chel, Sq. de Cluny, Sq. Monge.
Porte de Clignancourt, Boul. Barbes", BouL
de ]a Chapelle, de Magenta (R. Lafayette)
and de Strasbourg (Gare de TEst), PL de
la Rdpublique, Bastille.
Hotel de Ville (Av. Victoria), Chatelet, Louvre,
Quai des Tuileries (Pont dn Carrousel),
Place de la Concorde, PL de PAlma, PL
de Passy, La Muette.
TF. Court de Vincennes- Louvre
(PL K 5 & F 3) or to Rue
Etienne- Marcel before 10a.m.
TG. Montroiige-Gare de VEst
(PL EF6 & G2).
TH. LaChapelle- Square Monge
(PL G 1 & G 5).
TI. Porte de Clignancouri-
Bastille (PL Gl & H 4).
TJ. HSIel d^ VUle-Passy (PL
G 4 & A 4).
TRAMWAY ROUTES.
27
Lines
Offices ('Correspondances', see p. 29).
TK. Louvre- Charenton (PI. Fi
& 16).
TL. Bastille -Porte Rapp
(Champ-de-Mars; PI. H4
& C4).
TM. Gare de Lyon-Place de
VAlma fPl. I 5 & D 3).
TN. Rue Taitboui-La Muette
(PI. F2 & A 4).
TO. Auteuil-Boulogne.
TP. Trocadiro-La Villette (PI.
C 3 & H 1).
TPb«8. Gare du Trocadii-o-Pl.
Pigalle (PI. C 3 cv F 1).
TO,. Holies -Porte d'lvry
(P1.G3&GH6).
TR. Boulogne-Let Moulineaux.
TS. Charenton-Criteil.
TU. Gore de Sceaux-Place de
la Nation (PI. F 6 & K 5).
TV. Opira-Pantin{V\.F.V2
(fe IK 1).
TX.Chdtelet-Montreuil (PI. G 4
<feK4).
TY. Place de la Ripublique-
Charenton (PI. H 3 & K 6).
TZ. Chdtelet-St. Denis (PI. G4
& Gl).
TAB. Louvre- St. Clond or
,Sc ires -dud Versailles (PI. F3
& A 6).
TAG. Anleuil-St. Sulpice (PI.
A 5 & F 4).
TAD. Cours de Vincennes-St.
Augustin (PI. K 5 «fe E 2).
TAE. Auteuil- Madeleine (PL
A 5 & E 2).
TAP. Montrouge-St. Philippe-
du Route (PI. E 6 & D 2).
TAG. Porte Maillot- Opira
(PI. R 2 & E F 2).
TAH. Boul. de Vaugirard-
Gare du Nord (PI. E 5 & G 1).
T AI. Gare d' Orleans- Gare du
Nord (PI. H 5 (fe G 1).
Louvre, Chatelet, R. du Bourg-Tibourg, Bas-
tille, PI. Mazas, Pont de Bercy.
Bastille, PI. Maubert, Sq. de Cluny, St. Ger-
main-des-Pr^s, Boul. St. Germain, 207 &
225; Palais-Bourbon, Porte Rapp.
Gare de Lyon, PI. Mazas, Gare d'Orle'ans,
PI. de la Concorde, PI. de TAlma.
R. Taitbout, Opera, R. deRome, St. Augustin,
Boul. Haussmann, 175; PI. de TEtoile, Av.
Victor-Hugo, Gare du Trocade'ro, La Muette.
Auteuil (Gare; PL A 5) , Eglise and Rond
Point de Boulogne.
Trocad^ro, PL de lEtoile, thence as TD.
Gare du Trocadero, Av. Henri Martin, and
as TP as far as PL Pigalle.
Halles Centrales, PL du Chatelet, PL St.Michel,
Boul. St-Marcel, PL d'ltalie.
Church of Boulogne, Les Moulineaux.
See p. 302.
Boul. St. Jacques, PL d'ltalie, Pont de Bercy,
PL de la Nation.
Opera, Sq. Montholon, Gare du Kord , R.
Lafayette, 158; Boul. de la Villette, Pantin.
Chatelet (Av. Victoria), E. du Bourg-Tibourg,
Bastille, PL de la Nation, Montreuil.
PL de la Republique, Boul. des Filles-du-
Calvaire, Bastille, R. Crozatier, R. de
Charenton, PL des Ecoles in Charenton.
Chatelet, Boul. Seba^topol, and St. Deni.";,
Gare de FEst, R. Lafayette, 15S; PL & R.
de la Chapelle, St. Denis.
Louvre, Quai de Tuileries (Pont du Car-
rousel), PL de la Concorde, PL de TAlma,
Pont de Grenelle, Point-du-Jour, etc.
Auteuil (Gare), Pont de Grenelle, PL Cam-
bronne, R. de Sevres, 65; R. des Sts. Peres,
78; St. Sulpice.
Cours de Vincennes (R. des Pyrenees), R. d'A-
vron <fc de Bagnolet, PL Gambetta, Boul. de la
Villette, R. Lafayette, 158; Gare du Nord, Sq.
Montholon, Trinitc', St. Lazare, St. Augustin.
Auteuil (Gare), la Muette, PL de Passy, Tro-
cadero, PL de I'Etoile, Boul. Haussmann,
175; St. Augustin, R. de Rome. Madeleine.
Av. dOrleans, PL du Maine, Boul. du Mont-
parnasse (Gare & R. de Sevres), Av. Du-
quesne, St. Philippe-du-Roule.
Pnrte Maillot, PL de LEtoile, Boul. Hauss-
mann, 175; R. de Rome, Opera.
PL du Maine, Gare ^lontparnasse. St. Germain-
des-Pre's, Boul. St.MicheL2l ; PL St. Michel,
T'l. du Chatelet, Boul. Sebastopol, 77 A 141;
Gare de TEst, Gare du Nord.
Gare dH»rle;in8, Gare de Lyon, PL de la Bas-
tille, Boul. des Filles-dn-Calvaire. PL de la
Ke'publique. Gare de I'Est, Gare du Nord.
28
TRAMWAY ROUTES.
Tramways North and Tramways South.
Lines
Offices ('Correapondances', see p. 29).
TNA. Etoile-Courbevoie (Sur-
esnes; PI. C 2 & A 1).
TNAB. Madeleine- Courbe-
voie (Pont de Neuilly ; PI.
E 2 & A 1).
TNB. Madeleine - Courhevoie
(Neuilly, Pont de la Jatte).
— 55 & 30 c., or 65 & 35 c.
TNBA. Madeleine -Neuilly
(Pl.du Chateau). — 45 & 25c.
TNBE. Porte Maillot-St. Ouen-
St. Denis. — 50 & 30 c.
TNC. Mad.-Levallois-Perret
(quid Michelet) . — 50 & 25 c.
TND. Madeleine-Asni^res-Gen-
nevillierg.—W &25, 65 & 35c.
TNDa. Madeleine- Asnih'es- Co-
lombes. — 55 & 3J, 60 & 35 c.
TNE. Madeleine- St. Ouen-St.
Denis. — 40 & 20, 60 & 30 c.
TNF. Opira-St. Denis. — 60
ct 30 c.
TNG (feH. Place de la Ripubl.-
Aubervilliers d- Paniin.
PI. del'Etoile, Porte Maillot, Pont de Iseuilly.
— 40 <fe 20 c. — From Courbevoie to Suresnes:
20 & 10 c.
Madeleine, St. Augustin, Pare Monceau, Porte
de Champerret, etc.
Line outside the fortifications, via the Route
de la Revolte, etc. (PI. G 9, 8, 11, 10, 13).
Offices in Paris as TNAB as far as PI. Pereire,
then Porte de Courcelles, etc.
Madeleine, R. de Rome, PI. Clichy, etc.
Madeleine, R. de Rome, Porte d'Asnieres, etc.
Offices in Paris as TND. — Small Tramway
in St. Ouen, 5 c.
R. de Chateaudun, PI. de la Chapelle, etc.
PI. de la Republique, Gare de TEst, R. La-
fayette, 158; Boul. de la Villette. 45 & 25 c.
TS 1. St. Germain-des-Prfs-
Fontenay-aux-Roses. — 40 &
60, 20 <fe 35 c.
TS 2. St. Germain -des-Pr is-
Clamart. — 60 & 30 c
TS3. Etoile-Montparnasse. —
30 & 15 c.
TS4. Montparnasse- Bastille.
— 30 & 15 c.
TS5. St. Philippe-du-Roule-
Vanves. — 40 & 20 c.
TS 6. Chdtelet- Vitry-Choisy-le-
Roi. — 50 & 30, 65 <fe 40 c.
TS 7. Bourse du Commerce-
Petit-Ivry. — 50 & 25 c.
TSS.Chdtelet-Bicetre- Villejuif.
— 40 & 25,50 & 30c.
TS9. Oare d'OrUans-Place de
la Nation. — 30 & 15 c.
TSIO. Bastille- Charenton. —
— 35 & 20 c.
St.Germain-des-Pre's, Gare Montparnasse, Gare
de Sceaux. Porte d'Orle'ans, etc., via Mont-
rouge and Chdtillon.
St.Germain-des-Pre's,GareMontparnas8e,Porte
de Versailles, etc., via Vanves.
PI. de rEtoile, PI. de TAlma, Av. Duquesne
(Ecole MDit.), Gare Montparnasse.
Gare Montparnasse, Ohservatoire, Boul. St-
Marcel, Gare d'Orleans, Bastille.
St. Philippe-du-Roule, Av. Duquesne (Ecole
Militaire), Boul. du Montparnasse, etc.
Chatelet, PI. Maubert, Boul. St. Marcel , PI.
d'ltalie, etc.
R. Coquillere, Halles Centrales, Chatelet, and
thence as line TS 6.
Same 'correspondances' in Paris as line TS 6.
Gare d'Orle'ans, PI. Daumesnil, PI. do la
Nation.
Bastille, PI. Daumesnil, St. Mande', Charenton
(Rue de St. Mande).
Tramway d'Arpajon (p. 357).
R. de Medicis, 13 (Odeon, P1.D5); R. Soufflot,
Av. de rObservatoire, PI. Denfert-Roche-
reau, Porte d'Orleans, etc.
Otfier Tramways., see p. 31.
29
Correspondances of the Omnibuses and Tramways.
See p. 24 of the Handbook. Liues running in the same direction have,
of course, no 'correspondances'' with each other. — Where there are several
offices, one of the employees should be asked.
In the following table the single letters and AB to AO indicate Om-
nibuses; letters or series of letters preceded by T indicate Tramways. T.Arp.
i3 the Tramwaij d'ArpaJon.
Offices and Correspondances.
Alma (Place de V): A, AC, AP; TA,
T.I, TM, TAB, TS3.
Auteuil: A; TO, TAG, TAE.
Avron (Rue d'): TX, TAD.
Bagnolet (Rue de) 149: P; TAD.
BarUs (BouL): AJ; TI.
Bastille (Place de la) : 3 offices ; E, F,
P. R, Z, AK, AO; TC, TI, TK, TL,
TX, TY, TAI, TS4, 10.
Batignolles (Boul. des) 51: F; TD,
TP, TP^is.
Batignolles (Square des): G, AJ.
Belleville (Boul. de): M; TE.
Bercy (Boul. de): AO; TU, TY.
Bercy (Bridae of): TK, TU.
Bolivar (Rue, V) (R. de Belleville) : M,
Boulogne (Church of): TO, TR.
Bourg-Tibourg (Rue du): R, T; TK.
Bourse (The): F, I, M, V, AB.
Cambronne (Place): Z; TAG.
Champ-de-Mars (Av. Rapp) : AD ; TL.
Champs- Ely s^es 62: B, G, Obis.
Chapelle (Place de la): TD, TH, TI,
TP, TNF.
Chapelle (Rue de la) 184 : A J ; TH, TZ.
Charenton (Rue de) : TU, TY.
Chdteaudun (Rue de): A^^is b, H. I.
TAD, TNF.
Chdtelet (Place du) (two offices) and
Rue St. Denis: C, G, J, K, O, <^,
R, AD, AI; TC, TG, TH, TJ, TK,
T(^ TX, TZ, TAH, TS6, 7, 8.
Claude- Bernard (Rue) (R. Pascal):
U; TQ.
Clichy (Place): Abis, G, H, AM; TD,
TP, TPbis^ TND, TNE.
Cluny (Square de): J. L, Q; TG, TH,
TL, TM, TQ, TAH.
Concorde (Place de la): C^is ^ Rbis^
ACbiB^AC,AF,AH,AL; TA,T.J.TAB.
Courcelles (Boul. de) 98: AF; TD,
TP, TPbis.
Crozatier (Rue) (Boul. Diderot): TX,
TY.
Daumesnil (Place): TS9, 10.
Benfert-Rochei-eau (Place) : TG ; TSl ;
T.Arp.
Diderot (Place) or Place Mazas. TK,TM.
Ihiquestie (Aniiue) (Kcole Militaire) :
Y, AD, AH; TAF, TS3, f).
Offices and Correspondances.
Est (Gare de V): B, L, M ; ,TG, TH,
TI, TZ, TAH, TNG, TNH.
Eloile (Place de V) : 3 offices; C, Cbis,
AB; TD, TN, TP, TPbis, TAE,
TAG, TNA: TS3.
Faubourg - St - Honors (Boul. Hauss-
mann): D, Dbis^ AB; TN.
Filles-du-Calvaire (Boul. des): D, Dbis,
E, O; TY, TAJ.
Gambetia (Place) (Place des Pyrenees) :
0 ; TAD.
Gay-Lussac (Rue): Abis. TQ.
Gvenelle (Bridge of) : AE ; TA, TAB,
TAG.
Halles (Centrales): D, Dbis, F, J, K,
AN ; SF, TQ, TS7.
Eatissmann (Boul.) 175 (Rue du Faii-
bourg-St-Honore): D,Db»s^ aB;TN;
TAE, TAG.
Henri-Martin (Avenue): AB, TPbis
TAG.
Hotel de Ville (Quai or Ave. VictoiHa) :
C, Q; TG, TJ.
Italie (Place d' ) : P ; TU, TQ ; TS6, 7, 8.
Italiens (Boul. des) 8: Abis, e, H, I,
AC, AK.
Lafayette (Rue), 140 and 158 (Rue du
Faubourg -St -Denis): V, AC ; TH,
TJ, TV, TZ, TAD; at 158 onlv,
TNG, TNH.
Legendre (Rue): F, A J.
Louvre (Rue and Quai du): Suffices;
C, D, Dbis, G, I, N, R, V, AG, AI,
AN; TA, TC, TF, TJ, TK, TAB.
Lyon (Gare de): R, AK ; TM, TAI.
Madeleine (Place de la), 5 offices, on
each side of the church and behind
it, to the left: A, D, Dbis, e, X,
AB, AG, ACbis, AF, AH, AL; T.\E,
TNAB, TNB, TNC, TND, TND",
TNE.
Magenta (Boul.) at the Boul. Roche-
chouart: TD, TI ; at the Boul. de
Strasbourg, as at the Gare the TEst.
Maine (Place du): TAF, TAH.
Maubert (Place) : I ; TL, TM ; TS6, 7, 8.
Afazas (Place) or PI. Diderot : TK, TM,
TS4.
M^nilmontant (Boul. de) 150: 0; TE.
Monceuu (Pare): A J ; TD, TP, TPbis,
TNAB, TNB, TNG.
30
OFFICES AND CORRESPOND ANCES.
Offices and Correspondances.
Offices and Correspondances.
Monge (Square): Z; TH.
Montholon (Square): B, J,T,AC, AC^Jis;
TV, TAD.
Montparnasse ( Gare) : 0, Q, Z, AL ;
TAF, TAH; TSl, 2, 3, 4.
Montparnasse (Rue de Sevres): V, X;
TAF, TAH, TS5.
Montrouge (Church): AE; TG.
Muetie (La): AE; TJ, TN, TAE.
Nation (Place de la): TC, TE, TF,
TQ, TX; TS9.
Kord ( Gare du) : V, AC, AC^is • JH, TI,
TV, TZ, TAD, TAH, TAI.
Ohservatoire(Av.deV):TG;1Si-^T.A-T^.
Odeon: Abis, H, Z, AF; T.Arp.
Opira (B.Haussmann), TX. TV. TAG.
Ordener (Rue) 72: J, AJ, AM; TI.
Orlians (Avenue d'): TG, TAI, TSl;
T. Arp.
Orleans (Gare d') (Place Valhubert):
P, T; TM, TAI; TS4, 9.
Palais-Bourbon (Quai): AF, AH, AL;
TL, T3I.
Palais-Royal (3 oflices) : A^Js, C, Cbis,
D, Dbis^tG, H, M, R, y, AG, AI, AM.
Passy (Place de): A. AB; TJ, TAE.
P^re-Lachaise: P; TE.
Pigalle (Place): I; TD, TP, TPbis.
Porte Maillot: C; TAG, TNA, TNAB,
TXBA.
Pyrenees (Rue des), 62; TX.
Ramhuteau (Rue de) 36 : F, T.
Rapp (Avenue) (Champ-de-Mars) : AD ;
DL.
Riptihlique (Place de la) (several of-
Jices): E, N, V. AD, AK ; TF, TI,
TY. TAI, TNG, TNH.
Rochechouart (Boul. de): J; TD, TP.
P>.ome (Rue de) (Boul. Haussmann):
TN, TAE. TAG, TXD, TNDa, TNE.
St. Augustin: D, AF; TN, TAD, TAE,
TAG, TNAB, TNB, TNG.
St. Denis ( Boul .) d.-ad-'BouX. Sebastopol :
E, L, M, N, T, Y, AK ; TG, TH, TZ,
TAH.
St. Denis (Porte): E, N, T.
St. Germain (Boul.) : 14, G, I. K, T,
V, Z ; TL, TM. - 207 (Rue du Bac) :
X, AF, AL ; TL, TM. — 225 (Rue de
Bellecliasse) : Y, AF, AL; TL, TM.
St. Germain-des-Prds: A^is, H, L, O,
V, AD, AG, AM, AN; TL, TM,
TAU ; TSl, 2.
St. Jacques (BoiU.): J, TU.
St. Jacques (Square) : C, G, J, K, O, Q,
R, AD, AI; TC, TG, TH, TK, TQ,
TX, TZ; T66, 7, 8.
St. Lazare ( Gare) (Place deRome): B,
F, X, AH, AI, AK, AL, AM ; TAD,
TND, TNE.
St. Marcel (Boul.) (Avenue des Gobe-
lins): K; TQ; TS4, 6, 7, 8.
St. Martin (Porte): E, L, N, T, Y;
TG, TH.
St. Michel (Boul.) 21: G, J, L: TG,
TH, TQ, TAH.
St. Michel (Boul.) 65, see Rue Soufflot.
St. Michel (Place): I, J, L, Q, AI; TG,
TH, TQ, TAH.
St. Philippe-du-Roule : B, D, D^is, R
AB: TAF; TSo.
St. Sulpice: Abis, H, L, Q, AF ; TAC.
Sts. Pires (Rue des) 78 : V, AD, AF, AG ;
TAC. — Bridge, see Tuileries.
Sceaux (Gare de): TU, TSl.
S^bastopol (Boul.) (Rue Turbigo) : D,
Dbis; TF, TG, TH, TZ.
Sevres (Rue de) 65: V, X, AG. AL;
TAC, TAF.
Sourflot (Rue) (Boul. St. Micliel) : A, J,
AF; TG, TQ; T.Arp.
T ernes (Avenue des): D.
Terfies (Place des): D, Dbis; TD, TP,
Tpbis,
TMdtre'(Rue du): Y, AH.
Triniti (La): B, G; TAD.
Trocadh'o ( Gare du) : TN, TPbis, TAG.
Trocadiro ( Place du): A, B; TJ, TP,
TPbis, TAE, TAG.
Tuileries (Quai des) (Pont du Carrousel
or des Sts. Peres): Ab's, H, Y, AG,
AM, AN; TA, TJ, TAB.
Vaugirard (Rue de) 162: Z, AG.
Vicloires (Place des) (Rue Croix-des-
Petits-Champs): F, I, N, V.
Victor Hugo (Place) : AB ; TN.
Villette (Boul. de la) (Canal) : L, ACbis .
AG; TD, TE, TP, TV, TAD, TNG.
TNH.
Villette (Boul. de la) (Rue de Meaux):
M, AG; TE.
Voltaire (Boul.) 38 (Rue Oberkampf):
0, AK; TF. TI.
Voltaire (Boul.) 130 (Place Voltaire):
P, AG; TF.
Vouilli (Rue de). corner of Rue La-
brouste: V^is, AE, AN.
31
other Independent Tramways.
The following list consists of suburban lines, belonging to in-
dependent companies and not 'corresponding' with the lines already
mentioned. They are almost all new (some not yet finished) and
are propelled by different systems of electric motive power. (Tram-
way d'Arpajon, see p. 28.) — The page -references given in the
fullowing list apply to the text of the handbook.
Names
Routes. — Fares : 15 and 10 c. in Paris,
5 c. per section outside the walls.
Place de VEtoile-8t. Germain-
en-Laye, see p. 328.
Porte Maillot - Val-d" Or (Stires-
nes-, pp. 160 and 292).
Boulogne - Vincennes (pp. 293
aud 303), through the South-
ern suburbs.
Boulogne - Montrenil (pp. 293
and 304), through the South-
ern quarters of Paris.
Billancourl - Champ - de. - Mars
(pp. 282 and 293).
Vanves- Cfium]>de-Afar.<i{\)i> .296
and 282).
Chdtenay - Champ - de - Mars
(pp. 352 and 282).
Bonneuil sur Marne-Pont de la
Concorde (pp. 307 and 83).
Maisons A l/orl-ChdteleKpp.d^yi
and 63).
Fontenay sous Bois-Place de la
Fu'publiqueipp. 306 and 74).
Along the Bols de Boulogne, to the N. (Neuilly),
then to the W., near the Seine and Long-
champ (race-course), and via Suresnes till
about halfway to St. Cloud.
Porte de Boulogne, Billancourt (p. 293), Les
Moulineaux (p. 296), I.^sy (p. 296), Vauves
(p. 296), Malakoff (p. '^96). aiontrouge (p.2S9),
Gentillv (p. 350), Ivry (p. 358), Alfortville
(p. 302), Charenton (p. 3<:»2), Bois de Vin-
cennes (p. 304), St. Jlande (p. 300).
Billancourt (see above), Porte de St. Cloud
(Paris i PI. G, 1), Rue Slichel-Ange, R. Mo-
litor, ctc.^ PontMirabeau (p.l72). Rues «le
la Convention, de Vouille, d'Alesia and de
Tolbiac, Pont de Tolbiac, R. de Wattignies,
R. Michel-Bizot, Cours de Vincennes-, St.
Mande (p. 300) and Vincennes (p. 303).
Les Moulineaux and Issy (see above); Porte
de Versailles (Paris ; PI. G, 8) ; Rues de
Vaugirord, de la Convention and de la
Croix-Nivert, Avenues de Lowendal, Suff-
ren, la Motte-Picquet and la Bourdonnais.
Rue de Paris (Vanves), Porte Brancinn (Paris \
PI. G, 11); Rues Brancion, des Morillons,
Labrouste, and des Fourneaux, Boul. Pas-
teur aud Ave. de Suftren. Thence to Le
Raincy (Appx., p. 32).
Sceaux (p. 351 ), Fontenay-aux-Roses (p. 349),
Bagneux (p. 349; cemetery), Montrouge
(p. 289), Porte de Jlontrouge (Paris; PI. R,
18), R. Friant, Ave. de Chatillon, Rues
d'Alesia, de Vouille , Labrouste, and des
Fourneaux, Boul. Pasteur and Garibaldi,
Avenues de Sutl'ren, de Se'gur, Duquesne,
and de la Bourdonnais.
Croteil (p. 302), Alfortville (p.302), Ivry (p. 358),
Porte de la Gare (Paris ; PI. G, 29-30), Quais
de la Gare, dAusterlitz, etc.
Line from the Bastille to Charenton (see p. 27
of the Appendix), prolonged iu both direc-
tions.
E. extremity of Montreuil (p. 3^4), Vincennes
(p. 303), eto. (see above).
32
TRAMWAY ROUTES.
Names
Routes. — Fares: 15 and 10 c. in Paris,
5 c. per section outside the walls.
Rosny- Place de I Oph'a (p. 395).
//« Raincy-Place de la Ripnb-
lique (p. 74)
Le Raincy-Sceaux (p. 351 J.
Noisy -le- Sec- Square du Temple
(pp. 339 and 210).
Bondy-Place de V Optra f pp . 379
and 78).
Bondy-Place St. Michel (pp. 379
and 228).
Pantin-Ivry (pp. 203 and 358).
8t. Ouen - Champ - de - Mars
(pp. 209 and 282).
Epinay-La Triniti (pp. 339
and 196).
Maisons -Laffitte -Xeuilly-Par
(pp. 344 and 159).
Boundary of Montreuil and Fontenay (pp. 304,
306), Vincennes (p .303), St. Mande (p. 300),
Cours de Vincennes (Paris; p. 300), Ave.
Philippe -Auguste, Boul. de 3Ienilmontant,
Ave. de la Re'publique, Rues du Temple,
Reaumur and Quatre Septembre.
Villemomble,Rosnyrp.395), Montreuil (p. 304),
Fontenay- sous -Bois (p. 306), Vincennes
(p. 303), St. Mande (p. 300).
Villemomble, Noisy-le-Sec (p. 339), Romain-
ville fp. 804), Bagnolet, Porte de Bagnolet
(Paris; PL R, 36), R. Belgrand, Ave. Gam-
betta, R. du Chemin-Vert, Ave. Parmen-
tier, Ave. Ledru-RoUin, Boul. de THopital,
Boul. St. Marcel; Boul. Arago, Avenue and
Route dOrleans.
Les Lilas (p. 304), Porte de Menilmontant
(Paris; PI. E, 18), Rues St. Fargeau, de
Menilmontant, Oberkampf, Commines, de
Turenne, de Franche-Comte,and de Picardie.
Xoisy-le-Sec (p, 339), Romainville (p. 304), Les
Lilas (p. 304), Porte de Romainville (Paris;
PI. B, 36), Avenues Gambetta and de la
Re'pubUque, Rues du Temple, Reaumur,
and du Quatre Septembre.
Noisy- le- Sec (p. 339), Romainville (p. 804),
Les Lilas (p. 304), Bagnolet, Porte de Bag-
nolet (Paris; PI. R, 36), K. de Bagnolet,
de Charonne, Keller, and de la Roquette,
Place de la Bastille, Boul. Bourdon, R.
Mornay, R, de Schonibert, Pont Sully, and
the quays.
Quatre- Chemins (Aubervilliers), Le Pre-St-
Gervais (p. 203), Les Lilas (p. 304), Montreuil-
sous-Bois (p. 304), Vincennes (p. 303), St.
Mande (p. 300). Bois de Vincennes (p. 304),
Charenton (p. 302), and Alfortville (p. 302).
Boul. Victor Hugo (St. Ouen), Porte d"As-
nieres (Paris; PI. B, 10, 11), Boul. Pereire,
Ave. Niel and MacMahon, Place de lEtoile,
Ave. Marceau, Pont de lAlma, Ave. Bos-
quet, and thence to the Gare Montparnasse.
St. Denis (p. 209), St. Ouen (p. 334), Poterne
de Montmartre (Paris; PI. B, 19), R. Dam-
re'mont and Caulaincourt, Bonl. -nd R. de
Clichy, or R. d'Amsterdam and de Londres.
Sartrouville (p. 344), Houilles (p. 343), Bezons
(p. 326), La Garenne (p. 326), Courbevoie
(p. 828) and via Neuilly to the Porte des
Ternes at Paris (PL B, 9).
Funiculaire de Belleville (p. 203), a cable-tramway from the Place de la Re-
publique(PL H 3) to the church of St. Jean-Baptiste (PL K 2), does not
C(jrrespond with any other omnibus or tramways line. — 10 c.
33
List of the Stations of the Metropolitan Railway.
Comp. p. 27 of the Handbook and the annexed Plans.
,,., Stations and points of interest near them. — Uniform fares:
^^''^^ 25 c. and 15 c.
1
IV2
2V4
22/3
3
3'/.
373
4
41/3
42/3
5'/5
51/3
5V5
6V.-,
6V2
63/4
Porte de Vincennes (PI. R, 34). Cours de Vincennes (p. 300), which
the line passes by a tunnel.
Place de la Nation (p. 3U0). Then by a tunnel under the Boul. Di-
derot,
Ene de Renilly.
Gave de Lyon fp. 27). Thence to the N.W., under the Rue de Lyon.
Place de la Bastille (p. 70), where the line crosses the Canal
St. Martin in the open air. Gave de Vincennes. July Column
(p. 71). Grands Boulevards (p. 12). — Then under the Rue
St. Antoine.
St. Paul. Church of St. Paul & St. Louis (p. 69). Mus4e Carnavalet
(p. 213). Place des Vosges (p. 217). — We now follow the Rue de
liivoli (tunnel).
Hotel de Ville (p. 65). Notre Dame (p. 224).
Chatelet (p. 63). Palais de Justice (p. 220).
Louvre, at the Rue du Louvre (p. 86). St. Germain - V Auxerrois
(p. 62). Ealles Centrales (p. 173). Si. Eustac'ie (p. 174). Bolel des
Posies (p. 173).
Palais Royal (p. 60). Louvre (p. 86). Avenue de VOpira (p. 78).
Ribliothrqne Naiionale (p. 187).
Tuileries (Paie du 29 Juillet). Jardin des Tuileries (p. 153). Place
Vendome (p. 84).
Place de la Concorde, near the Rue Royale (p. 82). Jardin des
T)tileries{p.i''S). Madeleine and Grands Boulevards (p. Si). Champs-
Elys^es (p. 155). Exhihition (p. 283). Chamhre des Deptttis (p. 272).
Champs-Elysees, under the Avenue des Champs-Elyst'es and at the
entrance of the Ave. Nicolas 11. Palais des Beaux-Aris (p. 156).
Exhibiiion (p. 283).
Ene Marheuf., still under the Ave. des Champs-Elysoes.
Avenue de I Alma. The line here attains a depth of 90 ft.
Place de lEtoile (p. 158). Arc de Triomphe (p. I08;. Avenues menti-
oned at p. 159. — Branchlines to the Trocadero, via the stations
des Bas.nns and Ene Boissiere, and to the Por'ie Dauphine (Bois
de Boulo.sne, p. 160), via the Place Victor Hugo.
Rue dObligadOy on the main line, below the Avenue de la Grande
Amu e.
Porie Maillot (p. 160), at the beginning ofNeuilly (p. 159) and near
the Bois de Boulogne (p. 160).
Baedekeb. Paris, 14th Edit.
34
List of the Stations of the Chemin de Fer de Ceinture.
(Comp. the annexed Plans and p. 27 of the Handbook.)
Gare St. Lazare (p. 26). Place de TEurope (p. 196). Tunnel.
Les Batignolles ^ where the St. Germain, Normandy, and Ver-
sailles lines diverge.
Courcelles- Ceinture (PL B, 11). At this station the two ends of the
line encircling the city nnite.
Courcelles-Levallois. Passengers for Clichy or Belleville change here,
ascending the staircase opposite the exit. No time to lose. —
Branch to the Champ-de-Mars^ see p. 171.
Neuilly-Porte-Maillot, the station for Neuilly (p. 159). Tunnels.
Avenue du Bois de Boulogne^ at the Porte Dauphine (p. 160).
Avenue du Trocadiro^ V2 M from the Palais du Trocadero (p. 169)
and near the Bois (p. 160). Two short tunnels.
Passy (p. 170). To the right \he Ranelagh (p. 171). Handsome villas,
Auteuil , at the S. end of the Bois de Boulogne, near the race-
course (p. 161). Then the ^Viaduct mentioned at p. 172. On
the right are the Bois de Boulogne, St. Cloud (p. 294), the
wooded heights of Sevres and Meudon (p. 29S), the viaducts of
the Versailles lines. Issy (p. 296), etc. On the left the city
itself with the Eiffel Tower, Champ-de-Mars, Trocade'rO, etc.
Point-du-Jour. *View still more picturesque. The Seine is now
crossed by an imposing -Viaduct (p. 172).
Grenelle. where a branch diverges to the Champ-de-Mars and an-
other to Les Moulineaux (p. 292). Embankment. View.
Vaugirard- Ceinture. To the left, the Jesuit college. Tunnel.
Quest- Ceinture , where the line passes under the Rive Gauche
railway; carriages changed for Versailles (see p. 296).
Montrouge. The next tunnel intersects the Catacombs.
Pare de Montsouris, where passengers for the Sceaux railwav alight
(p. 351). To the left is the Pare Montsouris (p. 289)." Goods
station.
La Maison Blanche. To the right is the Hospice de Bicttre., for old men.
OrUans-Ceinture, junction for the Orleans railway. The train
now crosses the Seine bv the Pont National. To the left the
Wine Stores of Bercy (p. 301).
La Rapie-Bercy. The train crosses the Lyons line and the Aven.
Daumesnil by a viaduct, near the Bois de Vincennes (p. 304).
Rue Claude-Becaen, the most convenient station for this Bois.
Bel-Air, where carriages are changed for Vincennes. St. Mande,
to the right, see p. 300.
Avenue de Vincennes. On the left lies the Place de la Nation (p. 3C0).
Charonne. Long tunnel on the E. side of Pere-Lachaise (p. 180).
Minilmontant. A long tunnel passes under part of Belleville, and
a cutting intersects a corner of the Buttes-Chaumont (p. 201).
Belleville- Villetie. To the right, the cattle-market and 'abattoirs' of
La Villette (p. 203). We cross the Canal de VOurcq (p. 201).
Pont-de-Flandre., the station for the 'abattoirs'. Docks. Gas-works.
Ett- Ceinture. Exclusively for passengers by the Ligne de TEst,
La Chapelle-Si-Denit . the junction for the trains coming from
the Gare du Nord, via the station of Pont Marcadet, in the
Rue Ordener. To the left, Montmartre (p. 204).
Boulevard Ornano, near the cemetery of St. Ouen.
Avenue de St. Ouen. St. Ouen village. Adjacent is a racecourse (p. 209).
Avenue de Clichy. Open view. The train passes under the Ouest line.
Courcelles- Ceinture. Passengers returning to (23 '^l.) St. Lazare
alight here (no time to lose), and enter the St. Lazare train at
the adjacent Courcelles-Levallois station (see above).
35
River Steamboats.
(Cuinp. p
. 25
of the Handbook an
d th
e annexed Plan.)
Charenton-Auteuil.
^
Pont d'Aust.-Aut.
^ Pont-Roy.-Suresnes. .^
(10 c ; Sun. and
c
si
, (10 c; Sun. and
c ' "
(20c. ; Sun. and 5
holidays, 20 c)
i
holidays, 20 c.)
^
holidays, 40 c.) ^
Chakenton (p. 302)
Alfortville (p. 302)
r.
Les Carviives
1.
Quai d'lvry
r.
Magasins Gin&raux
1.
Font National r.
Pont de Tolbiac , r.
Pont de Bercy 1.
Pont d'Austerlitz r.
Pont d'Austeelitz
Jardin des Plantes, r.
Jardin des Plantes
1.
inascendinL'(p.'264) 1.
(p. 264),2Ddpier.
Pont de la Tournelle i 1.
Pont SuUu
r.
Boul. St. Germain |
1
Boulev. Henri IV
Pont St. Louis
ile
ile
H6tel deVille{\>.%) r.
lie St. Louis (p. 227)
Pont-Neuf (p. 223) 1.
Chdtelet
Pal.de Just. (p. 220)
Quai du Louvre
r.
Pont des Sts. Plres 1.
Louvre (p. 86)
r.
Beaux-Arts (p. 248) |
Pont-Royal (p. 271) 1.
Pont-Royal (p. 271)
r.
PONT-ROTAL (p.271)
r.
Rue du Bac (p. 271)
Tuileries (p. 151)
Tuileries (p. 189)
Pont de la Concorde ' 1.
Pont de la Concorde
r.
Pont de la Concorde r. |
Chamlire des Dep.
Place de la Cone.
Place de la Cone.
(p.272)-PontAlex-
(p. 82), Champs
(p. 82)
andre III (p. 165)
Elys^es (p. 155)
Pont des Intalides 1.
Pont det InvaUdet
r.
(p. 165)
(p. 165)
Pont de VAlma 1.
Pont de I' Alma
r.
Pont de VAlma r.
(p. 165)
(p. 165)
(p. 165)
Pont d'luia 1.
Trocadiro (p. 169)
r.
Champ-de-Mars
Quai de Pasty
Pas.ty-Grenelle ile
Trocadero (p. 169)
r.
Quai de Passy r.
Pont de Grenelle ile
Pont de Grenelle
r.
Trocadero (p. 169) r.
Ile des Cygnes
lie des Cygnes
(P- 172)
(p. 172)
Quai de Javel 1.
Pont Miraheau
(p. 172).
r.
Quai d'Aiitenil r.
AuTECiL (Point-du-
r.
Quai d'Auteuil
POINT-DU-JOUR :
Jour)
(Appx., p. 84)
Les Peupliers r.
BiUancourt v.
Bas-Afeudon (p. 29S) r.
Bellevtie Funiculaire . 1.
(p. 29S)
Sivres (p. 297) 1.
Boulogne (p. 293) 1.
St. Cloud (p. 294) r.
Longchamp (on race
davs; p. 162) r.
SnRBSNES(15&25c.
1
1
from St. CI; p. 292. 1-
m*
36
Cab Tariff.
(Comp. also pp. 22, 23 of the Handbook.)
Within the City.
From 6 a.m. in summer
(3Ut March to 1st. Oct.),
and from 7 a.m. in winter
Xlst Oct. to 31st March),
\ till 12.30 at night:
From 12.30 at night
till 6 a. m. in summer
(31gt March to 1st Oct.),
and till 7 a. m. in winter
(1st Oct. to 31st March) :
Cab hired in street or at a
station :
Ordinary Cabs for 2 pers.
Ordinary Cabs for 4 pers.
Landau for 4 pers. . . .
Per Drive
Per Hour
Per Drive
Per Hour
fr. c.
fr. c.
fr. c.
fr. c.
1 50
2 —
2 25
2 50
2 -
2 50
2 50
2 75
2 50
3 -
3 -
3 50
Beyond
From 6 a. m. till 12 at night in summer, or from 6 a.m.
till 10 p. m. in winter.
the
Fortifications.
When the hirer | When the hirer
returns to the does not return, he
town in the same must make addi-
cab : tional payment of:
When the cab is
hired outside the
town :
Ordinary Cabs for
2 pers
Ordinary Cabs for
4 pers
Landau for 4 pers. .
Per Hour
fr. c.
2 50
2 75
3 -
Return Money
fr. c.
1 -
1 —
2 -
Per Hour
fr. c.
2 —
2 50
3 -
Luggage, one trunk 25 c , two 50 c, three or more 75 c.
There is no tariff-charge for drives beyond the fortifications at night; a special
agreement should be made in each case. Drivers are not bound to convey pass-
engers beyond the fortifications between midnight (or in winter 10 p.m.) and 6 a.m.
In engagements by time one hour at least must be paid for; after the first
hour the payment is calculated by fractions of five min. each. Cabmen are bound
to drive at ttie rate of not less than 8 kil. (5 M.) per hr. , except wtien otherwise
directed by the hirer.
Any free cab may be hired in the street or on a cab-rank, no matter what
position it occupies on the latter.
Articles left in cabs should be given up by the cabmen at the Prefecture de
Police, where application should be made for them (p. 224).
Drivers may refuse to convey dogs or other animals.
Gratuities may not be demanded by the drivers, but it is usual to give 25 c.
per drive, or 25-30 c. per hour, in addition to the fare.
Leipsic: Printed by Breitkopf & Hartel.
US.TRAI
E srOuenejS^Dp I
L E G E N D E .
Omnibus jtuuies (cfeli, yzJZatr)-
OrrmUnia hruna (brcaot, IrrawnJ.
Onuubus Terts ( qrii/v, qreav ) .
(hnnibnts ileus ( bleat,, iUte.) .
OMNIBUS.TRAMWAYS et BATEAUX
LEIPSIC: KAIiL BAEDEKEE.
1900.
V!V^'^
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