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yM g PROPERTY OF ^m
mim
Mums.
» 81 7
ARTES SCIENTIA VERITAS
.. . 1.
PARIS
■->
MONEY-TABLE.
(Oomp. p. xi.)
Approximate Equivalents.
French
1
American
English
German
Austrian
Fr.
Cent.
DoU.
Cts.
L.
8.
D.
Mk.
Pfg-
K
;*
5
1
Va
4
5
25
5
2Va
20
24
60
10
5
—
40
48
—
75
15
—
7V4
60
72
1
—
20
—
93/4
80
—
96
2
—
40
1
7V4
1
60
1
92
8
60
2
5
2
40
2
88
4
—
80
8
2V8
8
20
8
84
6
— -
—
4
4
5
4
80
6
20
—
4
98/4
4
80
5
76
7
40
5
7V8
5
60
6
72
8
—
60
6
5
6
40
7
68
9
80
—
7
2V8
7
20
8
64
10
2
—
8
8
10
9
60
11
2
20
—
8
98/4
8
80
10
56
12
2
40
9
7V«
9
60
11
52
18
—
2
60
10
5
10
40
12
48
14
^—
2
80
—
11
2V«
11
20
18
44
16
—
8
—
12
12
15
14
40
16
8
20
—
12
9»/4
12
80
15
86
17
8
40
18
Tit
18
60
16
82
18
—
8
60
14
5
14
40
17
28
19
8
80
15
2V8
15
20
18
24
20
—
4
16
16
20
19
20
25
—
6
_^
1
20
25
24
100
^—
20
~~"
4
___
81
96
'
PARIS
AND ENVIRONS
WITH
EOUTES PROM LONDON TO PARIS
HANDBOOK FOR TRAVELLERS
BY
KARL BAEDEKER
• I •"» -(V
WITH 14 MAPS AND 42 PLANS
EIGHTEENTH REVISED EDITION
LEIPZIG: KAKL BAEDEKER, PUBLISHER
LONDON: T. FISHER UNWIN, 1 ADELPHI TERRACE, W.O.
NEW YORK : CHARLES SCRIBNER'S SONS, 153 FIFTH AVE.
1918
^Go, little book, God send thee good passage,
And specially let this be thy prayere
Unto them all that thee will read or hear.
Where thou art wrong, after their help to call,
Thee to correct in any part or all.'
PREFACE.
The chief object of the Handbook for Paris, which made its
first appearance in 1865 and is now edited and brought up to date
for the eighteenth time, is to render the traveller as far as pos-
sible independent of the services of guides, commissionnaires, and
hotel-keepers, and to enable him to employ his time and his money
to the best advantage.
The Handbook not only takes account of the chief transforma-
tions that the external aspect of the great city has undergone of
late, but is specially concerned with its history, its science, and
its art, in which departments the Editor has had the valuable
guidance of several specialists. As, however, changes in the ar-
rangement of collections and museums, in the tramway services,
and in many minor matters are constantly taking place, the Editor
would respectfully remind his readers that he has done his utmost
to ensure accuracy of statement down to the moment of going to
press.
The text of this volume is divided into three parts, mz. pp. i-180,
181-346, and 347-491. These may be removed from the book and
used separately by breaking open the volume and cutting the gauze
at the back.
The Maps and Plans, upon which the utmost care has befen
bestowed, have likewise been brought up to date. Those of Paris
itself (a clue-map, a large plan, five special plans of the chief
quarters of the city, and an omnibus-plan) are contained in a sepa-
rate cover at the end of the volume, which may be severed from
the Handbook by cutting the yellow thread by which it is attached.
The subdivision of the Plan of the city into three sections of dif-
ferent colours will materially facilitate reference, as it obviates
the necessity of unfolding the whole Plan at each consultation.
A short account of the routes from London to Paris, and of the
principal towns of Northern France, with their magnificent 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 gar9on' with little sacrifice of comfort, and con-
vi PREFACE.
siderable saving of expenditure. The asterisks indicate those hotels
and restaurants which the Editor has reason to believe good and
reasonable. Houses of a more modest character, when good of their
class, are described as 'good* or *very fair*. At the same time the
Editor does not doubt that good quarters are obtainable at houses
both of the first and second class that he has not recommended or
even mentioned. It should, moreover, be borne in mind that hotels
are liable to constant changes, and that the treatment of travellers
often varies according to circumstances which cannot be foreseen
or controlled.
The Editor begs to tender his grateful thanks to travellers who
have sent him information for the benefit of the Handbook, and
hopes that they will continue to oblige him, especially with the
results of their own experience. Hotel-bills, with annotations
showing the traveller's opinion as to the accommodation, are par-
ticularly useful.
To hotel-proprietors, tradesmen, and others the Editor begs to
intimate that a character for fair dealing and courtesy is the sole
passport to his commendation, and that advertisements of every
kind are strictly excluded from his Handbooks. Hotel-keepers are
also warned against persons representing themselves as agents for
Baedeker's Handbooks.
Abbreviations.
Appx. = Appendix.
B. =:room, light, and attendance;
also = Route.
B. = breakfast.
D. = dinner.
L. = luncheon (dejeuner). ft. = Engl. foot,
pens. = pension, t.e. board with R. 1 kil. = kilom6tre.
rest. — restaurant. kg. = kilogramme,
rfmts. = refreshments,
omn. = omnibus.
Av. = Avenue.
Boul. = Boulevard. j comp. = compare
f r. = franc. I yr. = younger,
c. = centime. j attr. = attributed.
The letter d after a name, with a date, indicates the ^ear of the
person's death. The letter M. (miles) usually indicates the distance from
the starting-point of the route.
Asterisks are used as marks of commendation.
N. = north, northern, etc.
8. = south, etc.
E. = east, etc.
W. = west, etc.
M. = Engl. mile.
hr. = hour.
min. = minute.
ca. = circa (about).
CONTENTS.
Introduction.
Page
I. Language. Money. Expenses. Season. Passports.
Custom House xi
II. Railways xii
m. Weights and Measures xiv
IV. Outline of History xv
V. Greneral Remarks on Paris xxiv
VI. Remarks on Northern France xxx
Sketch of French Art, by Dr. Walther Gensel . . xxxiii
Bibliography liii
Preliminary Information.
1. Arrival 1
2. Hotels and Pensions 2
3. Restaurants 14
4. Caf6s. Pastry Cooks. Tea Rooms 23
5. Baths. Hairdressers. Lavatories . 26
6. Conveyances (cabs, motor-omnibuses, tramways, M6tro-
politain and JTord-Sud, steamboats, Ceinture) .... 28
7. Post and Telegraph Offices. Telephones 31
8. Theatres. Concerts. Art Exhibitions 33
9. Music Halls. Caf6s-Concerts. Circuses. Balls ... 39
10. Sport. Clubs. Tourist Agents 41
11. Embassies and Consulates. Banks. Physicians. Hospitals 44
12. Divine Service 47
13. Booksellers. Libraries. Newspapers 48
14. Shops and Bazaars 51
15. Distribution of Time. Preliminary Drive. Diary . . 54
Ri^ht Bank of the Seine.
Route
1. Place de la Concorde, Jardin des Tuileries, and Champs-
Elys^es 61
Petit Palais, 68. — Arc de Triomphe de I'Etoile, 78.
2. The Grands Boulevards 74
3. Prom the W. Grands Boulevards to the Louvre .... 83
Place VendSme, 83. — Palais-Royal, 86.
viii CONTENTS.
Route Pag^
4. Palace and Galleries of the Loavre 89
Ground Floor, 96. — First Floor, 117. — Second Floor, 168.
— Entresol, 171. — Pavilion de La Trdmoille, 172.— Pa-
vilion de Flore, 174. — Pavilion de Marsan, 176.
5. From the Louvre to the Place de la Bastille . . . . 181
Hdtel de Yille, 188.— MusSe Camavalet, 194.
6. Quarter N.E. of the Louvre, to the Boulevards (Place
de la R^publique) 201
Halles Centrales, 202. — Conservatoire des Arts et Metiers,
206. — Quartier du Temple, 208.
7. From the Louvre and Palais-Royal to the Boulevards
Montmartre and des Italiens 209
Biblioth^qne Nationale, 209. — Bourse, 216.
Qusurters to the N., the W., and the E. of the
Grands Boulevards.
8. Quarters to the N. of the Grands Boulevards . . . . 217
Montmartre, 222.— Les BatignoUes, 229.
9. Western Quarters, N. of the Champs-Elysees .... 229
Les Ternes, 282.— Neuilly, 282.
10. Western Quarters, S. of the Champs-Elys6es .... 233
Passy, 241. — Auteuil, 248.
11. Bois de Boulogne 244
12. North-Eastern Quarters 248
Buttes-Ohaumont, 248.
13. Eastern Quarters 250
P&re-Lachaise, 261. — Faubourg St-Antoine, 260.
14. Vincennes 262
The Cit^ and the Left Bank of the Seine.
16. The Cit6 and the He St-Louis 267
Palais de Justice, 269. — Notre-Bame, 274. — lie St-Louis, 277.
16. Quartier Latin 278
Mus6e de Oluny, 280. — Sorbonne, 289. — Panth6on, 291.
17. Faubourg St-Germain 296
18. H6tel des Invalides. Champ-de-Mars 310
Musde del'Arm^e, 811.— D6me des Invalides, 818. — Eiffel
Tower, 821.
19. The Luxembourg 322
20. The Jardin des Plantes 334
21. Southern Quarters 338
The Gobelins, 389. — Cimeti&re Montparnasse, 848.
Environs of Paris.
22. Prom Paris to Sevres and St-Cloud. Meudon . . . 347
By Railway, 847. — By Steamboat, 852.
23. From Paris to Versailles 356
Palace, 860. — Gardens, 875. — Trianons, 878. — From Ver-
sailles to St-Germain-en-Laye, 380.
CONTENTS. ix
Bonte Page
24. From Paris to St-Germain-en-Laye 380
By direct railway, 880. — By railway vift Marly-le-Roi, 882.
— By Bteam-tramway, 888. — La Malmaison, 883. — From
St-Germain to Maisons-Iiaffitte, S89.
25. From Paris to St-Denis and Enghien. Montmorency . 389
26. From Paris to Pontoise 399
From Pontoise to Beaumont, 403.
27. From Paris to Beaumont-sur-Oise 403
Direct line vill MontsoTilt, 403; vi& Ermont and Yalmon-
dois, 404.
28. From Paris to Chantilly 406
From Chantilly to Senlis and CrSpy-en-Valois, 416.
29. From Paris to Cr6py-en-Valois, vii Dammartin . . . 417
30. From Paris to Sceaux 419
31. From Paris to Chevreuse, Dampierre, and Les Vaux-de-
Cemay 422
32. From Paris to Montlh^ry 424
By the Arpajon steam-tramway, 424. — By railway to St-
Michel-8ur-0rge, 426.
33. From Paris to Vemeuil-rEtang 428
34. From Paris to Fontaineblean 430
Routes from London to Paris.
35. By Folkestone, Boulogne, and Amiens 441
36. By Dover, Calais, an'd Amiens 448
37. By Newhaven, Dieppe, and Ronen 450
38. By Southampton, Le Havre, and Rouen 458
39. By Southampton and Cherbourg 460
List of Artists 465
Index 476
The Appendix contains lists of the streets and squares, of
the M6tropolitain, Nord-Sud, and Petite-Ceinture stations, of the
omnibus and tramway routes, of the conveyances passing important
points, and of the steamboat piers, and also the cab-tariff.
List of Maps and Plans.
Maps.
1. Bois de Boulogne (1 : 20,000), p. 245.
2. Bois de Vincennes (1 : 50,000), p. 263.
3. Immediate Environs of Paris (1 : 200,000), with figures in-
dicating the pages of the special Maps, p. 347.
4. Asni^res, Rueil, and Bougival (1:75,000), p. 348.
5. Bois de Meudon (1 : 50,000), p. 351.
6. St-Cloud and Sfevres (1 : 25,000), p. 352.
7. Environs of St-Germain-en-Laye (1 : 75,000), p. 388.
>
&
H
X MAPS AND PLANS.
8. Enghien and Montmorency (1 : 25,000), p. 397.
9. St-Denis to Pontoise (1 : 60,000), p. 399.
10. Remoter Environs of Paris (1 : 800,000), p. 403.
11. Forest of Chantilly (1 : 100,000), p. 413.
12. Clamart, Sceaux, and Villejuif (1:50,000), p. 419.
13. Forest of Fontainebleau (1 : 100,000), p. 433.
14. Railway Map of France (1 : 7,000,000), at the end of the book.
Plans.
1. Key-Plan of Paris (1 : 66,600).
2. Plan of Paris (1:20,000), in three sections.
3. Champ-de-Mars, Trocad^ro, and Champs-Elys^es
(1 : 12,500).
4. Champs-Elysees, Louvre, and W. Grands Boulevards
(1 : 12,500).
5. E. Grrands Boulevards and the Halles (1 : 12,500).
6. Invalides and Luxembourg (1 : 12,500).
7. Cit6, Jardin des Plantes, and Bastille (1 : 12,500).
8. Railway and Tramway Plan of Paris (1 : 32,000).
9. Petit Palais, p. 69.
10. Historical Plan of the Louvre and Tuileries (1 : 6150), p. 89.
11-13. Gralleries of the Louvre. Ground Floor, p. 95. — First
Floor, p. 117. — Second Floor, p. 168.
14. Mus6e des Arts D^coratifs, p. 177.
15, 16. Mus^e Carnavalet, pp. 195, 197.
17. Conservatoire des Arts et Metiers, p. 206.
18. Biblioth^que Nationale, p. 211.
19. Cemetery of Montmartre (1 : 5000), p. 225.
20. Cemetery of P^re-Lachaise (1 : 5000), p. 251.
21. Palais de Justice, p. 269.-22. Notre-Dame, p. 275.
23. Musee de Cluny, p. 281.
24. Ecole des Beaux-Arts, p. 299.
25. H6tel des Invalides, p. 310.
26. Mus6e du Luxembourg, p. 324.
27. Jardin des Plantes, p. 335.
28. Town and Park of Versailles, p. 358.
29. Palace of Versailles, p. 361.
30. St-Germain-en-Laye, p. 385.
31. St-Denis, p. 391.
32. 33. Chateau and Park of Chantilly, pp. 409, 413.
34. Fontainebleau, p. 433. — 35. Boulogne, p. 441.
36. Amiens, p. 445. — 37. Calais, p. 448.
38. Dieppe, p. 450. — 39. Rouen, p. 452.
40. Le Havre, p. 458.
41. Cherbourg, p. 460.— 42. Caen, p. 463.
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, which is perhaps the most at-
tractive treasury of art and industry in the world, some acquain-
tance with French is indispensable. The metropolis of France, it
is true, possesses English hotels, English professional men, Eng-
lish 'valets de place*, and English shops; but the visitor who is
dependent on these is deprived of many opportunities of becoming
acquainted with the most interesting characteristics of the city.
Money. The decimal Monetary System of France is extremely
convenient in keeping accounts. The Banque de France (p. 87)
issues Bank Notes of 1000, 500, 100, and 50 francs, which are
the only bank-notes current in France. The French Gold coins
are of the value of 100, 50, 40, 20, and 10 francs; Silver coins of
5, 2, 1, and ^/g franc; Nickel of 25 centimes; Bronze of 10 and
5 centimes (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 pi^ce de cent sous*, 2 fr. = 40 sous; 1 fr. = 20 sous;
i/g fr. = 10 sous. Belgian, Swiss, Italian, and Greek gold and
silver coins (except Swiss coins with the seated figures of Helvetia
and Italian and Greek coins of a value less than 5 f r.) are current at
full value. Austrian gold pieces of 20 crowns and Russian 5-rouble
pieces (worth 21 fr. and 13 fr. 25 c. respectively) are accepted also.
The stranger should refuse all Roumanian, Spanish, and Papal
silver coins, and also French coins of 2 fr., 1 fr., and ^/j fr. earlier
than 1866, with the head of Louis Philippe or with that of Napo-
leon III. without the laurel wreath.
English bank-notes, gold, and even silver are generally received
at the full value. The table at the beginning of the book shows the
comparative value of the French, American, English, German, and
Austrian currencies, when at par.
The traveller should always be provided with small change
(petite monnaie) for 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'hdte, visits the theatres, drives in the
parks and environs, and indulges in suppers d la carte, he must
xii I. SEASON. PASSPORTS. CUSTOM HOUSE.
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 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 well adapted for sight-
seeing; but the heat is often excessive, and after June most of the
theatres are closed and the wealthier citizens are in the country,
so that the city then lacks some of its most characteristic features.
Passports are now dispensed with in France, but they are often
useful in proving the traveller's identity, procuring admission to
museums on days when they are not open to the public, obtaining
delivery of registered letters, etc.
Passports may be obtained direct from the Foreign Office (fee 2«.),
or through the usual agents. — In the United States applications for pass-
ports should be made to the Bureau of Citizenship, State Department,
Washing^ton, D.O.
Custom House. In order to prevent the risk of unpleasant de-
tention at the *douane' or custom-house, travellers are strongly re-
commended not to carry with them any articles that are not absol-
utely necessary. Matches, unauthorized editions, and playing-cards
are entirely prohibited. Ten cigars and twenty cigarettes are ad-
mitted free of duty. The maximum number of cigars that may be
introduced is 500, the maximum amount of tobacco 1 kg.; duty is
charged at the rate of about 18«. per lb. on cigars and cigarettes,
and 12-208. per lb. on tobacco. Articles liable to duty should always
be declared. Luggage registered to Paris is examined on arrival
there. — 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.t
The Indicateur Chaix dee Chemins de Fer et de la Naviaation is
published every Saturday (price 1 fr. 25 c). There are also special LivreU-
Chaix (50-60 c.) for each of the great companies, publishea monthly, and
handier than the full Indicateur. One of these is the lAvret-Chaix des
Environs de Paris (50 c. ; green cover).
t Railway station, laaare; booking-office, le gnichet or bureau; first,
second, or third class ticKet, un billet de premiere, de seconde, de troi-
si^me classe; to take a ticket, prendre un billet; to register the luggage,
faire enregistrer les bagages; luggage-ticket, bulletin de bagage; waiting-
room, saUe d'attente; refreshment-room, le buffet; cloak-room, la con-
signe; platform, le quai, le trottoir; carriage, le wagon; compartment,
le compartiment, le coup6; smoking compartment, fumeurs; ladies' com-
partment, dames seules; guard, conducteur; porter, facteur; to enter the
carriage, mrOnter en tuagon; take your seats, en voiture! to alight, des-
cendre; to change carriages, changer de voiture; express train to Calais,
Vexpress de Calais,
11. BAILWAYS. xiii
The five great lines converging in Paris are those of the Nord,
the Est, the OrUanSy the Paris- Lyon-Mediterran^e, and the
Ouest-Etat. The first four are private companies, the fifth, pur-
chased in 1909, belongs to the state. These lines have ten large
stations within the city. The *C6te du Depart' is almost invariably
on the left side of the station.
The fares for long distances per English mile are approximately:
1st cl. 18 c, 2nd cl. 12 c, 3rd cl. 8 c, to which is added a tax
of 10 c. on each ticket costing more than 10 fr. ; but the distance
for which the fare is calculated does not always tally exactly with
that actually traversed. Return-tickets (billets dialler et retour)
are issued by all the railway-companies, for one, two, three, or
more days at a reduction of 20-25 per cent; those issued on Sat.
and the eves of great festivals are available for at least three days.
On some of the suburban lines, however, there is no reduction on
return-tickets. The mail trains (Hrains rapides*) generally convey
first-class passengers only; the express trains (Hrains ex^press ),
have first, second, and occasionally third class carriages. On the
great express routes it is advisable to secure seats in advance (1-2 fr. ;
at the tourist agencies or at the stations). The first-class carriages
are good, but the others are mostly very inferior to those in other
parts of Europe. The trains are not always provided with smoking
carriages, but smoking is usually allowed unless any one of the
passengers objects.
Before starting, travellers are often 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
(as at the Gare de Lyon) from an automatic machine.
Travellers within France are allowed 30 kilogrammes (66 Engl,
lbs.) of luggage free; those who are bound for foreign countries
are allowed 25 kg. only (55 lbs.); in every case 10 c. is charged
for booking. Luggage unaccompanied by the traveller may be
forwarded according to a special tariff. At most of the railway
stations there is a consigne, or left-luggage oflSce, where a charge
of 10 c. per day is made for one or two packages, and 5 c. per day
for each additional article. Where there is no consigne^ the em-
ployees will generally take care of luggage for a trifling fee. The
railway-porters (facteurs) are not entitled to pay, but it is usual to
give them a few sous for their services. The other porters who
take the traveller's luggage to the douane, and thence to the cab or
omnibus, are entitled to 60 c. or more.
Buffets (dear and often poor) are to be found at the principal
stations, but the stoppages of the trains are usually so short that
travellers had better carry the necessary provisions with them.
XIV
III. WEIGHTS AND MEASURES.
SUepimg-Ccvn (u)agons4UB) and Beita$irant'Oar$ (w»g<m$^e9t<Mur<MirU8)
are ran on the chief night and day ezpreasea. L. V/4-^t D. 8^/1-6 fr. (wine
extra). — Pillows and Rugs may be hired at the chief stations (lfr.)» bat
they must not be removed from the carriages.
Railway or West-European time, also that of Paris, has been
the same as that of Grreenwich since 1911, and is 1 hr. behind Mid-
European time (for Germany, Switzerland, and Italy). The reckon-
ing of time from 1 to 24 o'clock was introduced in 1912 on the
French railways; thus, 13 o'clock corresponds to our 1 p.m., 20 to
8 p.m., 0.10 to 12.10 a.m., etc.
in. Weights and Measures.
(In
nse since 1799)
-M
•*»
00
•
00
S
0)
9
4}
«
a>
4}
BA
«
en
00
■0
a>
-a
d
i
n
0
n
0
a
00
0
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1
«
«
1
0,80
1
8,28
1
1,61
1
0,62
1
0,40
1
2,47
2
0,61
2
6,56
2
8,22
2
1,24
2
0,81
2
4,94
8
0,91
8
9,84
8
4,88
8
1,86
8
1,21
8
7,41
4
1,22
4
18,12
4
6,44
4
2,48
4
1,61
4
9,88
5
1,52
5
16,40
5
8,04
5
8,10
5
2,02
5
12,S5
6
1,88
6
19,69
6
9,65
6
8,78
6
2,42
6
14,82
7
2,18
7
22,97
7
11,26
7
4,85
7
2,88
7
17,80
8
2,44
8
26,25
8
12,87
8
4,97
8
8,28
8
19,77
9
2,74
9
29,58
9
14,58
9
5,59
9
8,68
9
22,24
10
8,04
10
82,81
10
16,09
10
6,21
10
4,04
10
24,71
11
8,85
11
86,09
11
17,70
11
6,88
11
4,44
11
27,19
12
8,66
12
89,87
12
19,81
12
7,45
12
4,85
12
29,65
18
8,96
IS
42,65
18
20,92
18
8,07
18
5,25
18
82,12
14
4,27
14
45,98
14
22,58
14
8,69
14
5,66
14
34,59
15
4,57
15
49,21
15
24,18
15
9,81
15
6,06
15
87,06
16
4,88
16
52,49
16
25,74
16
9,98
16
6,46
16
89,58
17
5,18
17
55,78
17
27,85
17
10,55
17
6,87
17
42,00
18
5,49
18
59,06
18
28,96
18
11,18
18
7,27
18
44,47
19
5,79
19
62,84
19
80,67
19
11,80
19
7,67
19
46,95
20
6,10
20
65,62
20
82,18
20
12,42
20
8,08
20
49,42
1 gramme = ^/^s oz.
1 kilogramme = 1000 g = 2^/5 lbs.
1 quintal = 100 kg. = 220 lbs.
1 millier = 1000 kg. = ^^^ ton.
1 litre = 1^/4 pint.
1 decalitre = 10 litres =: 275 gallons.
1 hectolitre = ^/j© cubic mStre = 100 litres = 22 gal.
m. THERMOMETRIC SCALES.
Thermometric Scales.
XT
♦»
•♦*
•♦a
•♦a
0)
g
•53
^
3
•s
s
CD
s
§
1
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1
00
d
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^
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S
^
00
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•f-<
00
1
00
•«
08
JO
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6
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a>
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eS
9i
M
^
o
«
^
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P^
O
P^
P4
o
+80^2
4-100
4-37,78
4-21,78
4-81
4-27,22
+13,88
4-62
+16,67
+4,89
+48
+6,11
29,78
99
87,22
21,88
80
26,67
12,89
61
16,11
4,44
42
5,56
29,38
98
86,67
20,89
79
26,11
12^
60
15,56
4,00
41
5,00
28,89
97
86,11
20,44
78
25,56
12,00
59
15,00
3,56
40
4,44
28,44
96
85,56
20,00
77
25,00
11,56
58
14,44
3,11
89
8,89
28,00
95
85,00
19,56
76
24,44
11,11
57
13,89
2,67
88
3,33
27,56
94
34,44
19,11
75
28,89
10,67
56
13,38
2,22
87
2,78
27,11
93
33,89
18,67
74
23,33
10,22
55
12,78
1,78
86
2,22
26,67
92
33,33
18,22
73
22,78
9,78
54
12,22
1,38
35
1,61
26,22
91
82,78
17,78
72
22,22
9,38
53
11,67
0,89
34
1,11
25,78
90
82,22
17,88
71
21,67
8,89
52
11,11
0,44
33
0,56
25,33
89
31,67
16,89
70
21,11
8,44
51
10,56
0,00
32
0,00
24,89
88
31,11
16,44
69
20,56
8,00
50
10,00
-0,44
81
-0,56
24,44
87
30,56
16,00
68
20,00
7,56
49
9,44
0,89
80
1,11
24,00
86
30,00
15,56
67
19,44
7,11
48
8,89
1,33
29
1,67
23,56
85
29,44
15,11
66
18,89
6,67
47
8,83
1,78
28
2,22
28,11
84
28,89
14,67
65
18,38
6,22
46
7,78
2,22
27
2,78
22,67
83
28,33
14,22
64
17,78
5,78
45
7,22
2,67
26
8,83
22,22
82
27,78
18,78
68
17,22
5,38
44
6,67
8,11
25
3,89
IV. Outline of History.
The history of Paris is intimately involved with that of the whole
of France ; the following sketch therefore touches on great historical events
of general as well as local interest.
At the time of the conquest of Gaul by Jvlius CsRsar (B.C. 58-
51), the Parisii were a tribe settled on the banks of the Sequana
or Seine, and their chief village was Lutetian situated on the pre-
sent island of La Cit6. In course of time Lutetia gradually in-
creased in importance and became the occasional residence of several
Roman emperors, among whom were Constantius Chlorus (293-
306), who built the palace of the Thermx, and Julian the Apostate
(361-363), who once called it his 'dear Lutetia'. Gratian was de-
feated and slain by Maximus in the vicinity (383).
Christianity was introduced by St. Denis (p. 222) about 250
A.D. ; and in 360 a council was convened in the town under the
name of Parisea CivitaSj whence the modern name is derived. In
the 4th cent. France was invaded by the Franks, the Burgundians,
and the Visigoths ; the Roman power collapsed and feudalism began.
Merovingian Dynasty. — Clovis I. (481-511), son of Chil-
dericy king of the Ripuarian Franks of Tournai, finally expelled
Syagrius, son of the last Roman governor, embraced Christianity,
xri ir. HISTORY.
and united all the Franks under the Merovingian Dynasty, which
was so named from Meroveus or Merwig, grandfather of Clovis.
During this reign lived St. Grenevi^ve, patron-saint of Paris (p. 291).
This dynasty, however, rapidly degenerated, the Frankish kingdom
was several times divided, while bitter rivalry arose between Aus-
trasia, the kingdom of the E. Franks, and Neustria, that of the W.
Franks. The descendants of Pepin of Heristal, the chief nobles of
Austrasia and mayors of the palace in that kingdom and afterwards
in Neustria and Burgundy also, seized the supreme power. In 732
Charles Martel defeated the Saracens at Poitiers.
Carlovingfian Dynasty. — Pepin, leBref (7 52-7 QS), son of
Charles Martel, founded the second dynasty, the greatest member
of which was Charlemagne (768-814). Charlemagne warred suc-
cessfully against the Saracens, the Longobards, the Saxons, and the
Avars, and was crowned emperor by the pope in 800. On the death
of his son Louis I., le D^bonnaire (814-840), his possessions were
divided by the Treaty of Verdun (843). France fell to the share of
Charles II., le Chauve (840-877), while Louis the German be-
came king of Germany, and Lothaire received Italy, Burgundy,
and Lorraine. Charles le Chauve was succeeded by Louis II., le
B^gue (877-879), Louis III. and Carloman (879-882), then by
Carloman alone (882-884), all of whom proved unable to defend
their country against the incursions of the Normans. Charles III.,
le Gros, son of Louis the German and German emperor, was invited
in 884 to succeed Carloman. He, however, left the defence of Paris
to Count Odd, or JEudes, in whose favour he was deposed in 887.
Charles III., le Simple (898-923), son of Louis le B^gue, succeeded
Eudes and founded the duchy of Normandy, but had to yield his
throne to Robert (922-923), brother of Eudes, who was followed
by his son-in-law Raoul (923-936). The last three Carlovingians,
Louis IV., d'Outremer (936-954), Lothaire (954-986), and Louis V.,
le Fainiant(9S6'9S7)j were less powerful than the Dukes of France,
Hugh the Great, son of Robert, and Hugh Capet.
Capetian Dynasty. Hugh Capet was the founder of the third
or Capetian Dynasty (987). He began the construction of the old
royal palace on the site of the present Palais de Justice (p. 269).
—Under Robert II., le Pieux (996-1031), Henri I. (1031-60), and
Philip I. (1060-1108), France suffered from internal discord and
from wars with the Dukes of Normandy. The First Crusade was
headed by Godfrey de Bouillon, 1096. — Louis VI., le Gros
(1108-37), encouraged the establishment of 'communes', as a check
on the power of the nobles. His minister was Suger, Abbot of
St-Denis (p. 392). This king built a palace on the site now occu-
pied by the Louvre. — Louis VII., le Jeune (1137-80), took part
in the Second Crusade (1147). His divorced wife, Eleanor of Guienne
and Poitou, married Henry Plantagenet, afterwards Henry II. of
IV. HISTOKY. xvii
England.— Philip Augustus (1180-1223) headed the Third Cru-
sade, in company with Richard Cceur-de-Lion, 1189. On his re-
turn he attacked the English possessions in France, and defeated
the English, Flemish, and German troops at Bouvines in 1214.
Paris was considerably extended in this reign and enclosed with a
wall (p. 89).— Louis VIII., te Lion (1223-26).
Louis IX., St. Louis (1226-70). This reign may be regarded as
the golden period of the mediaeval history of France. None of the
four recognized estates — king, barons, church, municipalities —
was unduly strong. Architecture (Grothic style) and poetry flour-
ished. Seventh and Eighth Crusades (to Egypt and Tunis). Foun-
dation of the Sainte-Chapdle (p. 271), of the Sorbonne (p. 289),
and of the Hospice des Quinze-Vincfts (p. 189). — Philip III., le
Hardi (1270-85), acquired Provence by inheritance. — Philip IV.,
le Bel (1285-1314), continued the struggle against England, and
conquered Flanders. Financial difficulties, complicated by disputes
with Pope Boniface VIII., led to the transference of the papal resi-
dence to Avignon, and the suppression of the order of Knights
Templar. Public authority ('pouvoir public*) takes the place of
feudal and ecclesiastical jurisdictions. The Etats-G^n^ratix were
convoked for the first time. — Louis X., le Hutin, or le Qtterelleur
(1314-16). — Philip V., le Long (1316-22).— Charles IV., le Bel
(1322-28), dies without issue.
House ofValols.— Philip VI. (1328-50). War with England,
1337 ('Guerre de Cent-Ans', 1337-1453). Battle of Cr^cyy 1346.
John II., le Bon (1350-64), defeated and taken prisoner by
the English at Poitiers, 1356. Etienne Marcel, Pr6v6t des Mar-
chands, extends the fortifications of Paris and organizes the citizens
for its defence, but is slain by an adherent of the Dauphin (1358).
Peace of Britigny, 1360.
Chaklbs v., Zei&a^rc (1364-80). The English expelled hy Bertrand
du GuescUn. Foundation of the BibliotMqtte Nationale (p. 209)
and the Bastille (p. 188). Extension and refortification of Paris.
Chables VI., le Bien-Aimi (1380-1422), becomes insane in
1392. The Flemings are defeated at Eosbecque, 1382. Paris,
like the rest of France, is torn by the factions of the Armagnacs.
The French under the Constable d'Albret are defeated by Henry V.
of England at Agincourt, 1415. Paris occupied by the English, 1421.
Charles VII., le Victorieux (1422-61). The siege of Orleans
is raised by Joan of Arc , 1429. Coronation of Charles at Rheims.
Joan burned at Rouen, 1431. Calais was now almost the only Eng-
lish possession in France.
Louis XI. (1461-83) , after suppressing the Ligue du Bien Public,
succeeded in establishing administrative and territorial unity. Bur-
gundy, Franche-Comt6, Artois, and Provence are added to the French
crown. Introduction of printing and establishment of a post-office.
Babdeker's Paris. 18th Edit. b
xviii IV. HISTORY.
Chablbs VIII., V Affable (1483-98) acquires Brittany by his
marriage with Anne de Bretagne. Conquest of Naples, 1495. Paris
scourged by famine and plague.
Louis XII. (1498-1516), ^le p^e du peujple\ first king of the
younger Valois branch (Valois-OrUans), conqueror of Milan and
(in alliance with the Spaniards) of Naples. Having quarrelled with
his Spanish allies, he was defeated by them on the Garigliano
(1503), in a battle in which Bayard was engaged. The League of
Cambrai is formed for the purpose of expelling the Venetians from
the mainland of Italy. The Venetians are defeated at AgnadeUo
(1509), but they succeed in destroying the League, and defeat the
Spanish at Ravenna, 1512.
Francis I. (1515-47), of the second branch of the House of
Valois (Valois-Angoulgme), defeats the Swiss at Marignano and
recovers 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 king, a patron of art (comp. p. 93),
adorned and improved Paris. The palace of the Louvre (p. 90) and
the Hotel de Ville (p. 183) were begun in this reign, many new
buildings erected, churches restored, and fortifications extended.
Henri II. (1547-59), husband of Catherine de Midicia, was
accidentally killed at a tournament (p. 200). Metz, Toul, and Ver-
dun annexed to France, 1556. Final expulsion of the English.
Francis II. (1559-60), husband of Mary Stuart of Scotland.
Charles IX. (1560-74), brother of Francis II. Regency of
Catherine de M^dicia, the king's mother. Beginning of the Reli-
gioua Wars. Louis de Cond6, Antoine de Navarre, and Admiral
Coligny, leaders of the Huguenots; Frangois de Gruise and Charles
de Lorraine command the Catholic army. Massacre of St. Bar-
tholomew, 24th August, 1572 (p. 103). Building of the Tuileries
(p. 65).
Henri III. (1574-89), brother of his two predecessors, flies
from Paris (where a rebellion had broken out), by the advice of
his mother, Catherine de M6dicis (d. 1589); he is assassinated at
St-Cloud by Jacques CUment, a Dominican friar.
House of Bourbon. — Henri IV. (1589-1610), first monarch
of the House of Bourbon, defeats the Catholic League at Arqy£S
in 1589 and at Ivry in 1590, becomes a Catholic in 1593, and
captures Paris in 1594. Sully, his minister. Religious toleration
granted by the Edict of Nantes (1598). Henri, divorced from Mar-
garet of Valois in 1599, marries Marie de Medicis the following
year; assassinated by Ravaillac in 1610. Paris greatly embellished
during this reign; the Pont-Neuf (p. 267) completed, and the
Loumre enlarged (p. 90).
Louis XIII. (1610-43), a weak monarch, under the regency of
his mother, Marie de Medicis, and the influence of his favourites,
IV. HISTORY. xix
Ooncini and De Luynes, until 1624, when Card. Richelieu (d. 1642)
becomes minister. English fleet defeated at Ri^ 1627 ; La RocheUe
taken from the Huguenots. France takes part in the Thirty Years'
War against Austria. Embellishment of Paris continued ; bridges,
quays, and streets constructed, the Acad6mie Frangaise (p. 297)
founded, and the Jardin des Plantes (p. 335) laid out.
Louis XIV., le Grand (1643-1715), under the regency of his
mother, Anne of Austria. Ministers: Mazarin (d. 1661) ; Lauvois
(d. 1691), who reorganized the military forces and established the
standing army; and Colbert (d. 1683), who reformed all branches of
the administration. Generals: Turenne (d. 1675), Cond€ (d. 1686),
Luxembourg (d. 1695).
War of the Fronde against the court and Mazarin. Cond6 (Due
d'Enghien) defeats the Spaniards at Rocroi in 1643, and at Lens
in Holland in 1648. Turenne defeats the Bavarians at NbrdlingeUy
1644. The Peace of Westphalia (1648) assigns Alsace to France,
with the exception of Strassburg. Submission of the Fronde. Peace
of the Pyrenees, with Spain, 1659. Louis marries Maria Theresttj
daughter of Philip IV. of Spain, 1660.
Death of Mazarin, 1661. The king governs alone. After the
death of his father-in-law, Louis lays claim to the Spanish Nether-
lands. Turenne conquers Hainault and part of Flanders, 1667.
Oond6 occupies the Franche-Comt^. 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 Gruelderland. Victories of Turenne
over the Imperial army in Alsace, 1674. Death of Turenne at
Sassbach, 1675.
Admiral Duquesne defeats the Dutch fleet near Syracusey
1676. Marshal Luxembourg defeats William of Orange at Mont-
cassel, 1677. Peace of Nymwegen, 1678. Strassburg and Luxem-
burg occupied, 1681. Revocation of the Edict of Nantes, 1685.
Devastation of the Palatinate, 1688. Marshal Luxembourg defeats
the Imperial troops at Fleurus (1690) and Steenkerke (1692), and
William of Orange at Neerwinden, 1693. Catinat defeats the Duke
of Savoy at Marsaglia, 1693. The French fleet under Admiral
Tourville defeated by the English at La Hogue, 1692. Peace of
Ryswick, 1697.
Spanish war of succession, 1701-14. Victory of Gen. Vend6me
at Luzzara (1702), and of Marshal Tallard at Speyer (1702).
Capture of Landau, 1703. Victory at Hochstddt (1703); defeat at
Blenheim (1704), by the Duke of Marlborough and Prince Eugene
of Savoy. Marshal Villars defeated by Prince Eugene at Turin
(1706), and by Marlborough and the Prince at Ramillies (1706);
Venddme defeated at Oudenarde (1708), Villars at Malplaquet
(1709). VendSme defeats the Imperial army at Villaviciosa (1710),
b*
XX IV. HISTORY.
and Villars defeats them at Denain (1712). Peace of Utrecht ^
1713. Peace of Rastadt, 1714.
Louis XIV. carried the doctrine of absolute power to an extreme
(*rEtat, c'est moi'), but he endeavoured to justify it by the exact
discharge of his kingly duties. He aimed at conferring a homo-
geneous administration upon France and distributing the burden of
taxation more justly, and he favoured industry and commerce, thus
laying the foundations of the future prosperity of the country.
Le BruUf the painter, to whom was entrusted the decoration of the
royal palaces, was as absolute in the domain of art as the king in
that of government. The Acad^ies des Beaux- Arts, des Inacrip-
tions, and des Sciences (p. 298) were founded in this reign, and
French literature also attained its zenith : ComeiUe, Racine, Mo-
lore, La Fontaine, Boileau, Bossuet, F6ndon, Descartes, Pascal,
La Bruyire, Mme. de S&ngn6, etc. — More than eighty streets
and thirty-three churches were added to Paris; the Hotel des In-
valides, the Observatoire, and the Colonnade of the Louvre were
completed (pp. 310, 342, 90); the ColUge Mazarin, the Gobdins,
and several triumphal arches were begun (pp. 297, 339, 81), and
the fortifications were converted into boulevards (p. 76). The
Palace of Versailles was enlarged (p. 360).
Louis XV. (1715-74), great-grandson of Louis XIV. Eight years'
regency of the Duke of Orleans. The king marries Marie Les-
czinska of Poland (1725). He took no interest in public affairs, but
abandoned himself to a life of pleasure. After the regency. France
was governed successively by the Due de Bourbon (1723-26),
Cardinal Fleury (1726-43), the minions of Mme. de Pompadour
(1745-62), the king's mistress, the Due de Choiseul (1758-62), and
the creatures of Mme. Du Barry, another royal mistress (1769-74).
Austrian War of Succession (1741-48). Defeat at Dettingen by
George II. of England (1743). Defeat of the Dutch and English at
Fontenoy (1745), of the Austrians under Charles of Lorraine at
Rocoux (1746), and of the Allies near Lawfeld in 1747. Taking
of Maastricht and Peace of Aix-la-ChapeUe, 1748. Naval war
against England.
Seven years' war with England and Prussia (1756-63). Duke
of Cumberland defeated by Marshal d'Estr^es, 1757. The French
under Prince de Soubise defeated the same year by Frederick the
Great at Rossbach, and in 1758 at Crefeld, by the Duke of Bruns-
wick. The French defeated at Minden (1759). — French possessions
in N. America surrendered by the Peace of Paris, 1763. — Acqui-
sition of Lorraine (1766) and Corsica (1768). — From this reign
date the Pantheon, the Ecole MiLitaire, the Palais-Bourbon, the
Mird (pp. 291, 320, 306, 299), and other important buildings.—
VoUaire, Rousseau, and Diderot the most influential writers.
Louis XVI. (1774-93), married to Marie Antoinette, daughter
IV. HISTORY. xxi
of Francis I. and Maria Theresa, 1770. American War of Indepen-
dence against England, 1777-83. Exhaustion of the finances of
France ; Vergenne8y Turgot, Necker, De CaUmne, De Brienne, and
Necker (a second time), ministers of finance.
1789. Revolution. Assembly of the States General at Ver-
sailles, 5th May. Their transformation into a National Assembly ^
17th June. Oath of the Jeu de Paume, 20th June. National Guard
established, 13th July. Storming of the Bastille, 14th July. The
'Femmes de la Halle' at Versailles, 5th Oct. Confiscation of ec-
clesiastical property, 2nd Nov. — 1790. F§te de la F^d^ration in
the Champ-de-Mars.
1791. The Emigration. The royal fanlily escapes from Paris,
but is intercepted at Varennes, 22nd June. — Oath to observe the
Constitution, 14th Sept. — AssembUe Legislative.
1792. Storming of the Tuileries, 10th Aug. — The king arrested,
13th Aug. — Massacres in Sept. — The National Convention open-
ed, and royalty abolished, 21st Sept.
First Republic proclaimed, 21st Sept., 1792. Custine enters
Mayence, 21st Oct. — Battle of Jemappes against the Austrians,
6th Nov. — Conquest of Belgium.
1793. Louis XVI. beheaded, 21st Jan. — Republican reckoning
of time introduced, 5th Oct.f. Reign of Terror. The queen be-
headed, 16th Oct. — Worship of Reason introduced, 10th Nov.
1794. Robespierre's fall and execution, 27th and 28th July
(9th and 10th Thermidor).
1795. Conquest of Holland by Pichegru. Bonaparte commander
of the troops of the Convention against the Royalists, 4th Oct.
(13th Vend^miaire). Dibbctoby established, 28th Oct.
1796. Bonaparte's successes in Italy. Peace of Campo Formio,
17th Oct.
1798. Bonaparte in Egypt. Victory of the Pyramids, 2l8t 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. (18th Brumaire).
Establishment of the Consulate. Bonaparte First Consul, 24th Dec.
1800. Bonaparte's passage of the St. Bernard, 13th-16th May.
Victories at Marengo and Hohenlinden. Attempt to assassinate
Napoleon at Paris, 23rd Dec.
f The year had 12 months : Yend^miaire (month of the vendange, or
. vintage) from 22nd Sept. to 2l8t Oct., Brumaire {brumes fog; Oct.-Nov.))
Frimaire (frimaSf hoar-frost : Nov.-Dec), NivSse {neige, snow ; Deo.-Jan.),
Pluvidse (i>itt«6, rain: Jan.-Feb.), Ventdse (vent, wind; Feb.-March), Ger-
minal (germe, germ; March- April), Flor^al (fieur, flower; April-May), Prai-
rial (prairiej meadow; May -June), Messidor {moissonj harvest; June- July),
TheimiAoT (therme, warmth ; July- Aug.). Fructidor(/V«<t, fruit ; Aug.-Sept.).
— The republican calendar was discontinued by a decree of 9th Sept., 1805.
xxii TV. HISTORY.
1801. Peace of lAtn^viUe with Germany, 9th Feb. — Concordat,
15 th Ai}g.
1802. Peace of Amiens with England, 37th March. Bonaparte
elected Consul for life, 2nd Aug.
1803. War with England renewed (18th May).
First Empire. 1804. Code Civil published, 2l8t March. —
Napoleon I. proclaimed emperor by the Senate, 18th May; crowned
at Notre-Dame by Pope Pius VII., 2nd Dec.
1805. Renewal of war with Austria. Capitulation of Zflm,
17th Oct.— Defeat of Trafalgar, 21st Oct.— Battle of Austerlitz,
2nd Dec. — Peace of Pressburg, 26th Dec.
1806. Rhenish Confederation, 12th July. War with Prussia.
Battles of Jena and Auerstedt, 14th Oct. Entry into Berlin,
27th Oct.
1807. War with Russia and Prussia. Treaty of Tilsit, 8th July.
Occupation of Lisbon, 30th Nov.
1808. War in Spain, to maintain Joseph Bonaparte on the throne.
1809. Renewed war with Austria. Battle of EckmilM, 19th-
23rd April. Vienna entered, 13th May. Battles of Aspem, or Ess-
ling, and Wagram. PeaCe of Vienna, 14th Oct. — Napoleon divorced
from Josephine de Beauharnais, 16th Dec. — The temporal power
of the pope abolished. The Concordat reserves his spiritual su-
premacy.
1810. Marriage of Napoleon with Marie Louise, daughter of
Francis I. of Austria, 11th March. Napoleon at his zenith.
1812. Renewed war with Russia. Battle of the Moscova or
Borodino. 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, Leipzig (16th-18th Oct.).
1814. Battles of Brienne, La Rothi^e, Laon, Arcis-sur-Aube,
and Paris. The Allies enter Paris, 31st March. Abdication of the
emperor, 11th April. His arrival in the island of Elba, 4th May.
The frightful devastation caused by the Revolution was at least
beneficial in sweeping away the overgrown conventual establish-
ments, which occupied the best sites in the city. The MiLs6e of
the Louvre was founded under the Directory, while extensive im-
provements in Paris were undertaken under Napoleon (p. xxviii).
Kestoration. 1814. Louis XVIII. (1814-24) proclaimed king,
6th April. First Peace of Paris, 30th May.
1815. Napoleon's return from Elba. 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 ban-
ished to St. Helena, where he dies (5th May, 1821).
1823. Spanish campaign, to aid Ferdinand VII., under the
Due d'Angoulgme, son of Charles X.
IV. HISTORY. xxiii
1824. Charlbs X. (1824-30).
1830. Conquest of Algiers. — Ordinances of St-Cloud (26th
July), abolishing the liberty of the press and dissolving the cham-
ber. Rbvolution op July (27th-29th). Fall of the Bourbons.
House of Orleans. 1830. Louis Philippb (1830-48), son
of the Due d'Orleans (Egalit6), elected king, 7th Aug. — Continued
war in Africa ; consolidation of the French colony of Algeria.
1832. Capture of Antwerp.
1836. Fieschi's attempt on the life of the king, who had failed
to satisfy the demands of the democratic party.
1840. Body of Napoleon transferred from St. Helena to Paris.
1848. Revolution op February (23rd and 24th).
Second Republic. 1848. Sanguinary conflicts in Paris,
23rd to 26th June. Louis NapoleoUj son of the former King of
Holland and nephew of Napoleon I., elected President, 10th Dec.
1861. Dissolution of the Assembl6e. Coup d^Etat, 2nd Dec.
Second Empire. 1852. Napoleon III. (1852-70) elected
emperor by pUhisdte, 2nd Dec.
1853. Marriage of Napoleon III. to Eug&nie, Countess of
Montijo (b. at Granada in 1826). — The wholesale transformation
of Paris is now begun.
1854. War with Russia. Crimean campaign. — 1856. First Uni-
versal Exhibition at Paris. — 1866. Peace of Paris, 31st March.
1857-68. Expedition to Annam (Cochin-China). — 1859. War with
Austria. Battles of Magenta (4th June) and Solferino (24th June).
Peace of ViUafranca, 11th July. — 1860. Nice and Savoy annexed
to France. Expeditions to China and Syria. — 1861-65. Mexican
expedition. — 1867. Dispute with Prussia about Luxemburg.
Second Universal Exhibition.
1870. WarwithPrussia, 19th July. Battles in August : Weissen-
burg (4th), Wdrth (6th), Spichem (6th), Borny, RezonviUej and
Gravelotte (14th, 16th, 18th), Beaumont (30th). Battle of Sedan^
1st Sept. — Surrender of Napoleon III., 2nd Sept.
Third KepubUc proclaimed, 4th Sept., 1870. Capitulation
of Strassburgy 27th Sept., and of MetZy 27th Oct. — Battles near
Orleans, 2nd-4th Dec. — 1871. Battle of St-Quentin, 19th Jan.
— Capitulation of Paris, 28th Jan. — The Germans enter Paris,
1st March.
CoHMi7NASD Insurrection, 18th March. Seat of government
removed to Versailles, 20th March. Second siege of Paris, 2nd April
to 25th May. Upwards of 238 public and other edifices were
destroyed by the Communards. — Pea^e of Frankfort, 10th May.
— Thiers, chief of the executive since 17th Feb., appointed Pre-
sident of the Republic, 31st August.
1878. Death of Napoleon III., 9th Jan. — Marshal MacMahon
appointed president instead of M. Thiers, 24th May. Final evac-
xxiv V. GENERAL REMARKS.
uation of France by the German troops, 16th Sept. — MacMahon*s
tenore of the presidency fixed at seven years, 20th Nov.
1875. Republican Constitution finally adjusted, 25th Feb.
1877. Reactionary ministry of 16th May (Broglie-Fourtou). —
1878. Third Universal Exhibition.
1879. Jules Grdvy becomes president in place of Marshal
MacMahon. The Chambers of the Legislature return to Paris.
1881. Expedition to r^ww. — 1882-85. Expeditions to To7ig-
king and Madagascar. — 1885. Peace with China j 9th June.
Peace with Madagascar y 17th Dec.
1887. Sadi Carnot succeeds Jules Gr6vy as president, 3rd Dec.
— 1889. Fourth Universal Exhibition. — 1894. Assassination of
President Carnot by an Italian anarchist, 24th June. J. CoMmir-
P4rier elected president, 26th June.
1895. Resignation of Casimir-P^rier and election of Filix
Faure. Expedition to Madagascar and annexation of that island.
— 1897. Alliance with Russia.
1899. Death of F61ix Faure. Emile Loubet succeeds him. The
Waldeck-Rousseau cabinet. Dreyfus case. — 1900. Fifth Universal
Exhibition. — 1902. The Combes cabinet. — 1903. EdwardVII.of
England visits Paris. M. Loubet visits London. — 1904. Religious
controversies. Treaty with England. — 1905. Separation of Church
and State (abrogation of the Concordat, p. xxii).
1906. M. Armand Falli^es elected president. Morocco Con-
ference at Algeciras. The Clemenceau cabinet.
1909. The Briand cabinet. — 1910. Great floods in Paris.
1911. The Moroccan question again becomes acute. Agreement
with Germany, 4th Nov.
1912. The Poincar6 cabinet.
1913. M. Raymond Poincar6 elected president.
V. General Remarks on Paris.
Paris, the capital and by far the largest city of France, is
situated in 48°50'N. lat. and 2°20'E. long, on the Seine, which
flows through it from S.E. to S.W., after receiving its chief affluent,
the Marne, just above the city. The height of Paris above sea-level
varies from 100 ft. at Passy to 420 ft. at Belleville. The city covers
an area of nearly 20,000 acres, of which 1780 are occupied by the
river. The climate is mild and healthy. The average annual tem-
perature is Sl^Fahr.; in winter it is 38°, in spring 50°, in summer
65°, in autumn 52°. The annual rainfall is 23 in., distributed over
about 200 days. Snow and frost are rare. The Seine never freezes
unless the thermometer falls below 12° Fahr.
Early in the 13th cent, the population was nearly 200,000;
^ 1675, under Louis XIV., it reached 540,000; in 1789 it was
y. OENEBAL REMABKS. xxv
600,000; in 1821 it was 763,000; in 1836 it was 868,000; in
1852 it had reached 1,053,262; in 1860, after the inclusion of the
faubourgs, 1,525,255 ; in 1870 it was 1,825,274; and in 1901 no less
than 2,714,068. The censns of 1906 showed a total of 2,763,393,
including 170,000 foreigners (of whom 25,831 were Germans,
11,287 were of British, and 8520 of American nationality). The
census of 1911 showed a total of 2,888,110. If we add the population
of the environs, which practically form part of the capital, we find
that the whole city contains about 3,350,000 inhabitants, so that
it is the most populous city in Europe next to London.
The part of the Seine within the city is about 7 M. long and is
crossed by 31 bridges. It contains two considerable islands, the
lie St' Louis and the lie de la Citiy each formed by the union of
several islets. Paris is thus naturally divided into three parts;
the quarters on the right bank, the Oit^ with the island of St-Louis,
and the quarters on the left bank. The former distinctions between
Old Paris, the Faubourgs, and the Communes Annex^es have dis-
appeared, but the traffic is busiest in the central quarters. A glance
at the Plan will show the limits of Old Pabis, bounded by the
first circle of boulevards, the so-called Grands Boulevards (p. 75).
On the left bank, however, the old city of Paris extended as far as
the boulevards to the S. of the garden of the Luxembourg. Outside
the Grands Boulevards lie the Old Fauboubos or suburbs, whose
names are still preserved in those of the chief streets radiating from
the centre of the city. The Faubourgs themselves 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 Fau-
bourgs St-Antoinej du Temple, St-MartiUj St-Denis, Poisson-
nUre, Montmarire, and SUHonor6, Those on the left bank are
less known, with the exception of the Faubourg SUGermain,
which from an early period formed part of the old city. The Fau-
bourgs of 8t-Antoine and the Temple are the great industrial dis-
tricts, the former being noted for the manufacture of furniture, and
the latter for that of the various fancy articles known as 'articles
de Paris' (real and imitation jewellery, artificial flowers, toys,
articles in leather and carved wood, etc.). The Faubourgs of
St-Martin, St-Denis, and Poissonni^re are rather commercial than
industrial, and form the centre of the wholesale and export trade
of the capital. The streets near the centre of the town, parti-
cularly the Grands Boulevards, contain many of the finest retail
shops in Paris. The Faubourg Montmartre and the quarters of the
Bourse, the Palais-Royal, and the Op^ra are the financial quarters
of the town, and also provide for the comfort and entertainment of
visitors. The Faubourg St-Honor^ and the Champs-Elys^es are
largely occupied by the mansions of the wealthy, while the Fau-
bourg St-Germain is more or less sacred to the aristocracy of
xxvi V. GENERAL REMARKS.
blood, and contains most of the embassies and ministerial offices:
The Quartier Latin or Qttartier des Ecolea, which adjoins the
Faubourg St-Germain on the E., owes its name to the Uniyersity
and many of the scientific institutions of Paris. It contains also
several of the chief libraries.
The principal Oommitnes Annex^ses, or outlying districts within
the fortifications, but not incorporated with the city till 1860, are
the following, from E. to W. : Bercy^ with its extensive wine and
export trade; Charonne, Minilmontant, Belleville, La ViUeUe,
La ChapeUe, and Montmartre, the chief quarters of the working-
classes and the seat of the largest workshops ; Les Batignollts,
with numerous studios and 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 many market-gardens.
The Administration of Paris is carried on by the Prefect of
the Seine, appointed by government, and a Town Council (ConseU
Municipal), elected by the citizens. The annual budget amounts
to 15,200,000 Z. The city is divided into twenty Arrondisse-
MENTS, each governed by a Maire and two assessors: 1. Louvre;
2. Bourse; 3. Temple; 4. H6tel de Ville; 6. Panih^on; 6. Luxem-
hourg; 7. Palais-Bourbon; 8. Elysie; 9. Op&ra; 10. Enclos-St-
Laurent; 11. Popincourt; 12. Reuilly; 13. Gobelins; 14. Obser-
vatoire; 15. Vaugirard; 16. Passy; 17. Batignolles- Monceau ;
18. Butte- Montmartre ; 19. Buttes-Chaumont ; 20. M^niknontant,
The Fortifications of Paris, constructed in 1840-44, were
greatly extended after 1871. The inner Enceinte, 20^8 M. in
circuit, is defended by bastions, a moat, and a glacis. A series of
seventeen Forts Ditach^, or outworks, forms a second enceinte
about 2 M. from the city, while another girdle of forts, still farther
off, has been constructed on the heights commanding the valley of
the Seine. The area included within this elaborate system of forti-
fications is 400 sq. M. in area, and embraces the capital itself, be-
sides the seven towns of Versailles, Sceaux, Villeneuve-St-Georges,
St-Denis, Argenteuil, Enghien, and St-Germain-en-Laye. The outer
girdle of forts is 77 M. in length, and Paris has the most extensive
system of fortifications in the world. — The garrison of Paris con-
sists of 18 regiments of infantry, 6 of cavalry, and 6 of artillery.
As a rule the Parisian may be said to invite and deserve the
confidence of travellers. Long used to their presence, he is skilful
in catering for their wants, and recommends himself by his polite-
ness and complaisance. In return the traveller in France should
accustom himself to the inevitable ^sHl votLS plait*, when ordering
V. GENERAL REMARKS. xxvii
refreshments, or making any request. It also is customary to ad-
dress persons even of humble station as ^Monsieur^ ^Madame% or
^Mademoiselle'.
The Sergents de VillCf or Gardiens de la Paixj who are to be
met with in every stireet and public resort, 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 mid-
night. They should also be on their guard against the army of
pickpockets and other rogues, who are quick to recognize the
stranger and skilful in taking advantage of his ignorance. Among
these may be mentioned the card-sharpers sometimes met with in
the suburban and other trains, while the French metropolis shares
with other large towns many other dangers to person and purse.
The Parisian directory, published annually, and familiarly
known as the ^BoUin% may be consulted at the chief hotels and
caf6s and also (for a fee of 10-16 c.) at various book-shops. It will
often be found useful by those who make a prolonged stay at Paris.
It consists of two huge volumes; one contains a list of the streets
and their inhabitants; the other gives the addresses of important
persons in the provinces, and even of a number of persons in foreign
countries.
All strangers intending to settle in Paris mast make a Declaration
of their intention, with proof of their identity, within fifteen days, at
the Prefecture de Police, 86 Quai des Orffevres (Palais de Justice), be-
tween 10 and 4. Foreigners who intend to practise any trade, business,
or profession in Paris or other part of France must also make a decla-
ration to that effect within a week.
Paris, 4a Ville-Lumi^re', is not only the political metropolis
of France, but also the centre of the artistic, scientific, commer-
cial, and industrial life of the nation. Almost every branch of
French industry is represented 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 repute apply to modem times only ;
as early as the 12th cent, the 'Twelve Masters of Paris' played in
mediseval poetry a r61e analogous to that of the Seven Sages in an-
cient Greece. For its early cosmopolitan character the city was
chiefly indebted to its University, to which students of all nation-
alities flocked in order to be initiated in the mysteries of the
scholasticism taught here by its most accomplished professors. At
the same time industrial and commercial pursuits made such rapid
strides that the population increased rapidly, and an extension of
xxviii V. GENERAL REMARKS.
the municipal boondaries was repeatedly rendered neoessary. The
early economic development of Paris is farther attested by the
great ^Foire da Lendit', which was held every June in the plain
between Paris and St-Denis, and by the famous 'Livre des M^tiers^
or trades-regulations, edited by Etienne Boyleau in 1258. Of the
great buildings of that period little now remains but a few reli-
gious edifices, such as Notre-Dame, the Sainte-ChapeUej and the
Tour St'Jctcques (pp. 274, 271, 181). Towards the close of the
middle ages the adverse fortunes of the French kings frequently
compelled them to abandon their residence in the capital ; but the
municipal element continued all the more steadily to develop itself,
giving birth in particular to that 'esprit parisien' which finds ex-
pression in French literature. *
With the beginning of the Renaissance at the end of the 15th
cent., art threatened for a time to desert Paris; numerous lordly
ch&teaux were built in the provinces, especially in Touraine. But
by the middle of the 16th cent, the capital had regained its prestige.
The Louvre, the Tuileriea, and the old Hdtel de ViUe (pp. 89,
65, 183), three masterpieces of the second Renaissance and the
centres of political life, date from this period, as do also the Palais
du Luxembourg (p. 322) and the Palais-Cardinal (now the Palais-
Royal; p. 86).
The zenith of the monarchy under Louis XIV. (p. xix) was
naturally favourable to the extension and embellishment of the
capital. If the king was in a position to say 4'Etat, c'est moi',
Paris no less truly absorbed all the vital forces of the nation. Many
of the finest buildings in Paris date from this reign, including the
Colonnade of the Louvre, the Place Venddme, the Hdtel des
Invalides (pp. 90, 83, 310), and upwards of thirty churches.
Characteristic of this period also are the great 'hdtels' or mansions
of the nobility, which stand back from the streets and carry into
the very heart of the city some of the majestic isolation of a coun-
try-seat. Aiming at no external effect, but sumptuous and luxurious
within, they contrast strongly with tiie Italian palazzi. A typical
example of these mansions is the Hotel Lambert (p. 277). — The
PanOUon and the Palais-Bourbon (pp. 291, 306) are among the
chief buildings of the 18th century.
During and immediately after the Rbvolution (1789-1804) the
artistic predominance of Paris received a temporary check from
the political disorganization of the day ; but under the Dibbctobt
(1795), and particularly during the First Empibe (1804-14), the
city regained its pre-eminence. The treasures of art and other
booty of the Napoleonic campaigns were devoted to the embellish-
ment of the capital, while the emperor sought to distract the rest-
less political spirit of the Parisians by a feverish activity in the
construction of public edifices. He began the N. wing uniting the
IV. GENERAL REMARKS. xxix
Loavre and the Taileries, laid oat the Rue de Rwoli (p. 88), and
built the Bourse (p. 216). Under his orders new squares, bridges,
and quays were everywhere begun, though most of them were left
unfinished.
During the less glorious, but not unimportant period of the
Rbstobation (1814-30), Paris enjoyed a golden era of prosperity.
France had entered upon the enjoyment of the rich heritage be-
queathed by the Revolution and the First Empire, without feeling the
heavy sacrifices that it had cost. The blessings of peace appeared
doubly desirable after their long absence. At this epoch liberal
politicians achieved their greatest triumphs, French literature and
art did their utmost to resume their world-wide sway, and French
society exhibited itself in its roost refined and amiable aspect. In
several of the sciences too, and notably in Oriental studies, Paris
held a foremost rank.
The July Monarchy (1830-48) pursued the same course, though
with less success. Louis Philippe resumed with new ardour the
completion of the modem Paris begun by Napoleon. Over 100 mil-
lion francs were spent in his reign on new streets, churches, public
buildings, bridges, sewers, squares, etc.
But under Napoleon III. (President of the Republic in 1848,
Emperor 1852-70), Paris underwent a transformation of unparal-
leled magnificence. Napoleon appointed Georges Eug&ne Hauss-
mann (1809-91) to be Prefect of the Seine, and under his directions
dense masses of houses and many tortuous streets were replaced by
broad boulevards, spacious squares, and palatial edifices. The first
great arteries of traffic constructed from N. to S. were the Boule-
vards de Strttsbourg and de S^bastopol (p. 217) on the right bank,
and the Botdevards du Palais (p. 268) and St-Michel (p. 278) in
the He de la Cit6 and on the left bank. These were followed by
the Botdevards Haussmann (p. 229) and de Magenta (p. 82) on
the right bank, the Boul. St-Germain (p. 307) on the left bank,
the prolongations of the Rues de Rivoli (p. 181), de Turbigo, de
La Fayette, etc., and the magnificent quarter around the park of the
Ckamps-Elysies, The Louvre (p. 91) and the Bibliothiqtte Natio-
nale (p. 209) were enlarged ; the HaUes Centrales (p. 202) and the
Tribunal de Commerce (p. 272) were built; and the Op&ra (p. 77)
was begun. Haussmann was ably seconded by the engineer Ad.
AVphand (1817-91), who was entrusted with the care of the parks
and public gardens. To Alphand's skill are due the laying out of
the Bois de Boulogne (p. 244), the Bois de Vincennes (p. 264), the
Fare Monceau (p. 231), the Buttes-CfummoTd (p. 248), and many
of the squares.
The enormous municipal debt which this building mania en-
tailed was further increased by the war of 1870-71 and by the ex-
cesses of the Commune. This accounts for the slackened activity
MX VI. REMARKS ON NORTHERN FRANCE.
of the Third Republic. Tet Paris was not content with adequately
completing works already begnn, such as the Op^a; important
new streets were laid oat, the Hdtel de Ville (p. 183) was rebuilt
on an enlarged scale, and the Palais du Trocad&ro (p. 239), the
new Sorbonne (p. 289), and many educational buildings were erect-
ed. The BasUique du Sacr^-Cceur at Montmartre (p. 222) is the
most imposing church of this period. The Pare de Montsotvris
(p. 346), many new squares, and the important underground rail-
way's (p. 29) also date from this period. Lastly the public parks
and gardens have been converted into a kind of museum of modem
art by the erection of the Sculptures purchased by the city at the
annual exhibitions (p. 38).
Modem Paris has been criticized for the monotony of its general
appearance. But the more closely the city is studied, the more
striking becomes its extraordinary variety. Some quarters, with
their sombre and deserted palaces, are vaguely reminiscent of old
Italian towns ; others are noisy and gay with an outdoor life recall-
ing the sunny south ; others again (such as the Rue de Yenise, the
Rue des Francs-Bourgeois, etc.), picturesque or gloomy, carry us
back to the middle ages. The Seine, with its flotilla of merchant
ships and barges, conveys, especially after dark, the impression of
a seaport. The boulevards at night, with their electric lights and
brilliant illuminations, suggest a city of pleasure, always en f$te,
while the beautiful environs, with the woods of Boulogne, Vin-
cennes, Meudon, and Montmorency, add a final touch to the variety
that is one of the great charms of the capital.
The beauty of Paris has been extolled by French writers of all
ages and by many foreigners. We may conclude by quoting Mon-
taigne, whose quaint and picturesque language is thus translated
by John Florio: 'Paris hath my hart from my infancy, whereof it
hath befalne me as of excellent things: the more other faire and
stately cities I have scene since, the more hir beauty hath power
and doth still usurpingly gaine upon my affection. 1 love her so
tenderly, that even hir spotts, her blemishes, and hir warts are
deare unto me'.
VI. Remarks on Northern Prance.
Visitors to Paris will find little to interest them in the pro-
vinces 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 improve-
ment, so strongly developed in Paris, has manifested itself also in
the provincial towns. Broad, straight streets with attractive shop-
windows are rapidly superseding old and crooked lanes; whole
VI. REMARKS ON NORTHERN PRANCE. ixxi
quarters of towns are being demolished, and large squares taking
their place ; while the ramparts of old fortifications have been con^
verted into boulevards, faintly resembling those at Paris. It is
much to be regretted, however, that the few remnants of antiquity
which survived the storms of the Huguenot wars and the great
Revolution, and have hitherto resisted the influence of the metro-
polis, are now rapidly vanishing.
The towns of France, as a rule, present less variety than those
of most other countries. They rejoice in their boulevards, glass-
arcades, ^jardins des plantes', theatres, and caf6s, all of which are
feeble reproductions of their great Parisian models. Each also
possesses its natural history museum, its collection of casts and
antiquities, and its picture-gallery, the latter usually consisting of
a few modem pictures and some mediocre works of the 17th and
18th centuries.
Many of these towns, however, possess magnificent churches. The
Gothic style, which originated in France, has attained high perfec-
tion in the northern provinces, especially in Normandy, which was a
region of great importance in the middle ages. Architects will find
abundant material here for the most interesting studies, and even
the amateur cannot fail to be impressed by the gems of Gothic ar-
chitecture, such as St-Ouen at Rouen, or the Cathedral of Chartres,
notwithstanding the alterations which most of them have undergone.
The Huguenots made deplorable havoc in the interiors of the chur-
ches, and the Revolution followed their example and converted the
sacred edifices into 'Temples of Reason'. The task of restoring and
preserving these noble monuments has been begun and is now every-
where progressing.
HoTBiiS of the highest class, fitted up with every modern com-
fort, are to be 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 lack of cleanliness, might prove rather
an attraction than otherwise. The usual charge for a room at houses
of the latter class is 272-3 fr. per day. The table d'h6te dinner
(3-4 fr.) at 5.30 or 6 o'clock is generally better than a repast pro-
cured at other places or hours. The dejeuner (2-3 fr.) at 10 or 11
o'clock will be regarded as superfluous by most English travellers,
as it cuts up the best part of the day. A slight luncheon at a cafe,
which may be had at any hour, will be found far more convenient.
In southern districts, as on the Loire, wine is still sometimes in-
cluded in the charge for dinner. In Normandy cider is frequently
drunk in addition to, or as a substitute for wine. The usual fee
for attendance at hotels, if no charge is made in the bill, is 1 fr.
per day; if service is charged, 50 c. a day in addition is general!''
xxxii VI. REMARKS ON NORTHERN PRANCE.
expected. At the caf^s also the waiters expect a trifling gratuity,
but the obnoxioas system is not carried to sach 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 best time for visiting them. The attendance
of the sacristan, or 'Suisse' (50 c), is seldom necessary.
English communities reside in many of the towns mentioned in
the Handbook, and have their own English churches {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 are admitted at other times for a gratuity (1 fr.). Cata-
logues may be borrowed from the concierges.
A fuller account of N. France is given in Bctedeker^s Handbook
to Northern France.
Sketch of French Art
by the late
Dr. Walther G-ensbl.
The earliest achievements of art in France, as illustrated in the
historical mnseum at Saint-Germain-en-Layo, have little interest
for the majority of visitors to Paris; even the monuments of the
Gallo-Roman period and of the Merovingian and Carlo vingian epochs
are important only for the professed archeeologist. 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 art arose in Northern
France, where it speedily attained its earliest perfection; during
the Renaissance period French artists produced works, notably in
profane architecture andsculpture, which compare not unfavourably
with Italian works of the same date; in the 17th and 18th centuries
Paris was the home of a gorgeous decorative art, which compelled
the admiration and emulation of the rest of Europe; and since the
Revolution the dominant currents of modem art have flowed from
the same centre. For the study of French architecture Paris alone
is insufficient; but for painting and sculpture an exceptionally rich
field of study is afforded by the Louvre, the Luxembourg, the
Trocad6ro, and the Musees de Cluny, Carnavalet, and Galliera,
supplemented by Versailles, St-Denis, and Chantilly in the environs,
and by Fontainebleau and Compifegne a little farther off.
Among the many causes that contributed to the development of
Romanesque Architectdrb may be noted the enormous growth in
the power of the church ; the need of suitable shrines for the relics
brought home by numerous pilgrims; the necessity of rebuilding
the churches burned by the Northmen, and the eff'ort to make them
larger and more lasting than their predecessors; and perhaps also
the relief experienced throughout Christendom at the end of the
year 1000, which had been expected to bring the world to its close.
Romanesque architecture adhered in general to the fundamental
forms of the Roman basilica, with which, however, it incorporated
Byzantine, French, and Saracenic elements. In the North at least
the arrangement of a nave between lower aisles, and supported by
pillars instead of columns, is practically universal. The transepts
project but slightly beyond the aisles, and in the French examples
they almost invariably terminate in a straight line. The simple
apse is developed into a choir, frequently with radiating chapels.
Baxdekbb's Paris. 18th Edit. c
xxxiv FRENCH ART.
Many churches have a vestibule, practically forming in some cases
an anterior nave. The edifice is crowned by a square, an octagonal,
or (more rarely) a circular tower, rising above the crossing, or on
one side of the choir, or in the centre of the facade. Occasionally
two, three, or even six towers occur. But the main feature of the
fully developed Romanesque style is the vault. The tunnel- vaulting
of antiquity is universal in South-Eastem France and was there
consistently adhered to; but in Burgundy and Northern France,
where at first the choir and aisles only were vaulted, while the
nave had a flat roof, a transition was made at an early period to
the groined vault, the full importance of which was not at first
recognized. Lastly, in South-Western France we find domed struc-
tures, recalling San Marco at Venice, the most prominent of which
is the church of St-Front at P&rigueux. The most famous Ro-
manesque churches in France are St-Semin at Toulouse and Ste-Foy
at Conques in the South, Notre-Dame-du-Port at dermont-JFer-
rand and St-Paul at Issoire in Auvergne, St-Philibert at Tovmus
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-('roix at Bordeaux in the South- West.
The substitution of heavy stone vaulting for wooden roofs
involved a substantial increase in the thickness of the walls and a
great reduction in the size of the windows and other light-openings.
The result was somewhat heavy and sombre, and an endeavour to
counteract this effect was made by the free use of painting and
sculpture. In the interior the sculptures were chiefly placed on
the capitals of the pillars; outside they were placed at first in the
pediment or tympanum, over the portal, but afterwards on the
entire facade. Byzantine infiuence manifests itself in Southern
France not only in the exaggerated length of the figures and in the
peculiar arrangement 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, how-
ever, soon developed a certain independence and began to utilize
the native flora and fauna as patterns for carvings. The execution
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 ns to
prize these 'Bibles in stone' as heralds of a great art. Every lover
of art will be richly repaid by a study of the portals and capitals
of St'GilleSy St-Trophime at Aries, the monastery of Moissac, and
the churches of Autun, CharlieUj and Vizday, for which an op-
portunity is afforded by the casts in the Trocad^ro Museum.
The original paintings in the Romanesque churches have dis-
appeared, except a few fragments at Tours, Poitiers, Ldget, and
elsewhere ; but numerous miniatures of the period have been pre-
FRENCH ART.
XXXV
served. Industrial art was at a comparatively low ebb during the
Romanesque period; but a promising beginning is observable in
the work of the goldsmiths and in the allied art of enamelling, as
well as in the embroidering of tapestry.
We have seen how the use 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 was unsuitable in
the gloomier climate of the north. As an escape from this disad-
vantage the architects found that they might build their naves as
wide and as high as they chose, and pierce their walls with many
windows, if only the piers that supported the vaulting were suf-
ficiently strengthened from without. The invention of ordinary
and flying buttresses led to the rise of the new architecture that
was to prevail in the north for over three centuries ; and this in-
vention was made in the Isle de France, in the centre of Northern
France. The French, therefore, have not unreasonably attempted
to displace the once somewhat contemptuous name of Gothic Akt
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-Chapelle at Paris. The huge
windows were now universally and naturally set in the pointed
arches originally borrowed from the East; and their gradual adorn-
ment with ever 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 of the crossing
and the transepts, are all characteristic of the French Gothic style.
The rich and rapid development of the new art was powerfully
fostered by the contemporaneous growth in the power of the towns,
and by the rise and progress of the trade-guilds. As the French Ro-
manesque churches arose chiefly in connection with the monasteries
(especially the Cistercian and Cluniac) and bore a sacerdotal stamp,
so the Gothic cathedrals testify to the strength and prosperity of
the towns and, in spite of their heavenward aspiration, breathe
the joy of mundane life. As no town was willing to lag behind
the rest, these wondrous buildings arose in every quarter.
Whether Gothic art attained its highest development in France
is a question that must be answered in accordance with personal
taste. There is no doubt, however, that in France it reached its
earliest 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 Roman-
esque 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 of Laon, with its remarkably
spacious interior. Notre-Dame at Paris and the cathedral otChartres
c*
xxxvi FRENCH ART.
were both founded in the 12th century, while the cathedrals of
Bheirns and Amiens belong wholly to the 13th. In all these, as
contrasted with later buildings, the horizontal line is strongly
emphasized. The fa<^ade of Notre-Dame rises in five distinct stories.
One cannot but admire the taste and skill with which the architect
has graduated these, from the elaborate portals lying nearest to the
eye, up to the severely simple towers. Unfortunately much of the
original effect has been lost, owing to the ill-advised modem iso-
lation of the church, which deprives it of its foil, and also to the
erection of huge modem piles around it. Yet Notre-Dame and the
cathedrals of Ohartres, Rheims, and Amiens attain the high-water
mark of early-Gothic. The older bell-tower and the spacious interior
of Chartres are singularly impressive, while Rheims is imposing
from the boundless wealth of its sculptures; hut Amiens is, perhaps,
the most harmonious of the large cathedrals and one of the most
perfect buildings of the middle ages, owing to the consistency and
uniformity of its constmction and its union of boldness with self-
restraint, of dignity with grace. Amongst the other chief memorials
of this wonderfully active period we may mention the cathedrals
of BeauvaiSy 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 Rotten in the
North, and the cathedral of Albi in the South. Freedom has been
fully achieved; the general effect suggests a consummate 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 the germ of
decline. The cleverest arithmetician became at last the greatest
builder, works of art degenerated into artful devices, over-elabora-
tion usurped the place of simple delight in richness, and the loving
treatment of detail sank into pettiness and pedantry.
Secular architecture developed more slowly, and enjoyed a longer
period of bloom than ecclesiastical. The most imposing Grothic
castles belong to the 14th cent. : viz. the palace of the Popes at
Avignon and the castle of Pierrefonds, successfully restored by
Viollet-Ie-Duc. No other civic palace can compare with the noble
Palais de Justice a.i Rouen, founded at the close of the 15th century.
The most beautiful private mansions are the Hdtel Jacques-Ooeur at
Bourges (details at the Trocad6ro) and the 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 Sculptukk.
^I am convinced', says the Marquis de Laborde, Hhat 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-
FRENCH ART. xxxvii
ing for tmth, suffering and mystic in aspect, clad with the con-
ventual 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 appeal to us. These
Christs, Madonnas, and Apostles are monumental figures in the truest
sense, with their unworldly expression, their simple yet significant
gestures, and the scanty folds of their robes, which adapt themselves
so wonderfully to the architecture. The Resurrection of the Virgin
at Notre-Dame at Paris, the figures on the fa<jade of Chartres, and
the ^Beau Dieu' of Amiens are among the most striking sculp-
tures of all time (casts at the Trocad^ro). But so strict a feeling
of style cannot maintain itself long. Either it will degenerate into
a system of empty formulae, or it will be broken down by the vic-
torious pressure of realism. The latter was the case here. The
Naturamstic Reaction of the 14th century had a destructive effect
on ecclesiastical sculpture, but benefited the sepulchral monuments,
as may be observed in the crypt of St-Denis. It may, however, be
questioned whether the French sculptors could themselves have
attained the high level which this new tendency attained at the
close of the 14th century. Salvation came from the north, where
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: P^pin of Huy near Li^ge, Beauneveu of Valen-
ciennes, Paul of Limburg, and Jacqiiemart of Hesdin. The most
renowned school, however, was the Burgundian, with Claux Sluter
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 with the aid of his pupils Jean de Mar-
viUe and Claux de Werwe, may be confidently placed beside the
works of Donatello, who flourished more than a generation later.
The famous statuettes 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
been the 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 Trocad^ro.
Dbcorativk Sculpture naturally found its most favourable
field in the cathedrals, especially in the choir-apses. In late-Gothic
(flamboyant Style; 15th cent.) the work of the stone-carver over-
shadowed and almost concealed that of the architect. The rood-
screens at Troyes and Limoges and the library staircase at Rouen
may be mentioned among famous works in the interior of cathe-
drals. Side by side with sculpture in stone comes wood-carving,
xxxviii FRENCH ART.
which shows to the best advantage in the facades of private houses,
on screens and chests, but above all on choir-stalls (as at Amiens).
Lastly some good carving in ivory also was produced, such as the
Coronation of the Virgin in the Louvre.
The extraordinary poverty of Painting at this period, or at
least of fresco and easel painting, contrasts strangely with the
wealth of sculpture and architecture. While the Van Eycks, Van
der Weyden, and Memling were busily engaged in Flanders, and
while in Italy the quattrocento saw these branches of painting
advancing, we can discover in France but few names and even 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 splendour-loving
third son of John II., are veritable gems. The finest of these, now
one of the chief treasures at Chantilly, is beyond question the Livre
d'Heures, with its landscapes^ views of castles, and genre-scenes.
But even in this case the artists were the ^Franco-Flemings' Beau-
neveu, Jacqv>emarty and Pavl. Glass Staining also enjoyed a
brilliant development in the Gothic period. The light pouring into
the churches through the tall upright lights and the great rose-
windows, developed from the ancient ^oculi', required to be sub-
dued, while the windows themselves had to be embellished. The
finest stained glass of the 12th cent, in France fills the windows of
the W. facade of Chartres; the finest of the 13th cent, is in the
rose- windows of Notre- Dame (north portal), Bkeims, Bourges,
and Tours, in the windows of the cathedrals of Le Mans and
Chartres, and in those of the exquisite Sainte-Chapelle at Paris.
But the connection between glass-staining and painting is slight;
the glass-painters are more concerned with colour-effect than with
accuracy of drawing and details. The more technically perfect the
staining became at a later period, the more completely was the
naive sense of colour lost.
The art of Enamblling, a branch of art akin to painting, was
carried to high perfection in this period, especially at Limoges.
The 12th and 13th centuries saw the zenith of ^email champlev6',
in which the artist engraves the designs upon the metal plate and
fills in the lines or grooves with enamel (Ital. smalto ; Fr. 6mail) ;
while the 14th and 15th centuries saw the zenith of ^email trans-
lucide', in which the entire plate is thinly coated with enamel, al-
lowing the engraved design to shine through. Lastly, the weaving
of Tapestry attained great perfection during the 15th cent, in the
workshops of Arra^, Auhusson, and Paris. The finest example of
this period is the series illustrating the romance of the Lady and
the Unicom, now preserved in the Musee de Cluny in Paris.
Although several artists produced great works during the first
half of the 15th cent., signs of exhaustion had already begun to
FRENCH ART. xxxix
appear. Gh>thio architectare continued, indeed, to be practised after
the beginning of the 16th cent., as is proved by the choir-apses at
Amiens and Chartres, the G-rosse-Horloge at Rouen, and the Tour
St- Jacques and the church of St-Merry in Paris; but the Gothic
style had by this time outlived its mandate, and even Franco-
Flemish art had practically ended with 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 Renaissance. Elements from both North and South are
found strangely mingled in Jean Fouquet 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 Fouquet for Etienne Chevalier, and now
at Chantilly, is one of the most exquisite creations of miniature-
painting; while the portraits of the Chancellor des Ursins and
Charles VII. in the Louvre proclaim him a great portrait-painter.
Two of his younger contemporaries — Jean Bourdichon, who
painted the famous Heures of Anne of Brittany, and Jean Perr6al
— had also visited Italy. The centre of French art at this period
was Tours, and here also worked Michel Colombe (d. 1512), the
most famous sculptor of the time. His chief work is the tomb of
Francis II., Duke of Brittany, at Nantes, and some ascribe to him
also the impressive Entombment at Solesmes. Casts of both these
works are to be seen at the Trocad^ro, while the Louvre contains
an original work of Colombe (St. George and the Dragon).
The relations of the French kings with Italy mark a new epoch.
Charles VIII. brought back with him both paintings and painters,
and under Louis XI. began that great immigration of Italian artists
into France which culminated under Francis I. In 1507 Andrea
Solario painted the chapel of Chateau Gaillon;-in 1516 Leonardo
da Vinci came to France, in 1518 Andrea del Sarto, in 1530
Rosso, in 1531 Primaticcio.
The resulting French Renaissance was somewhat disappoint-
ing, especially in the domain of painting. The plant which in Italy
itself had passed its prime could put forth but a few feeble blos-
soms when transplanted to a foreign soil. The freely restored
paintings by Rosso, Primaiiccio, and Niccolo delV Ahbate at Fon-
tainebleau (School of Fontainebleau) reveal a strong sense of de-
corative effect, but in the details they are steeped in affectation.
Jean Cousin, a French artist, whose Last Judgment in the
Louvre has been unduly extolled, was little more than a skilful
master of foreshortening. The only really attractive painters of
this century are Jean Clouet (d. 1541) and his son Frangois
Clouet (d. 1572), surnamed Janet; and both remained almost
entirely free from Italian influence, manifesting a certain early-
xl FRENCH ART.
French dryness in their portraits (Biblioth^que Nationale, Lonvre,
Chantilly).
The fate of Architecture was more satisfactory. The native
art, instead of abdicating in favour of the foreign, was strong enough
to combine with it to form a new and distinctive style. The archi-
tectural 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 critics seem to have overshot
the mark in denying these foreigners any share in them. Some
buildings indeed, such as Fontaine bleau, seem undoubtedly to have
been due to native architects, but in the case of others, such as
the old H6tel de Ville at Paris, it is still uncertain whether the
'maitre magon' mentioned in the original documents was himself
the builder or the mere successor of the Italian ^architected. Among
the most famous names of the French Renaissance are those of
Pierre Lescot (Louvre, Mus^e Carnavalet), Philibert Delorme (Cht-
teau d'Anet, the portal of which is now in the Ecole des Beaux- Arts ;
Tuileries), Pierre Chambiges (Fontainebleau and 8t-Germain-en-
Laye), Jean Bullant (Chateau d'Ecouen; Chantilly), and the Du-
cerceau family, headed by the famous theorist and draughtsman of
that name. Building was most actively carried on in Touraine,
where there arose in rapid succession the chateaux of Chambord
and Chenonceaux, and that of Blois, with its superb staircase. The
chateau of Gaillon near Rouen, now demolished, must have been
one of the finest 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 choir of St-Pierre at Ca^n,
the masterpiece of Hector Sohier. The H6tel du Bourgtheroulde at
Rouen (p. 454; partly Gothic) and the Maison de Francois Premier
in Paris (p. 234) are conspicuous examples of domestic architec-
ture. Under Francis I. traces of the old native architecture are
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 II. has already passed wholly
into the region of the classical orders, albeit with a few modifica-
tions in the earlier French taste. A calm and measured regularity
has taken the place of the former gay fancy.
The Italian Sculptors in France at the beginning of the 16th
cent, were almost more numerous than the architects. Girolamo
delta Rohhia embellished the Chateau de Madrid (now destroyed)
on the confines of the Bois de Boulogne; Benvenuto Cellini, who
sojourned in France in 1537, and again in 1540-45, there chiselled
his famous Nymph of Fontainebleau (now in the Louvre) ; and there
were others besides. The three Juste (properly Betti) were Floren-
tines, who flourished at Dol about 1500, but afterwards succeeded
FRENCH ART. xli
Michel Oolombe at Tours. Their chief work is the tomb of Louis XII.
at St'Denis, with two figures of the deceased, bas-reliefs, and alle-
gorical figures at the comers. This was the model for many later
tombs. But the three greatest sculptors of the French Renaissance
are Frenchmen: Pierre Bontemps, Jean Goujon, and Ger-
main Pilon. To Bon temps, less known than his contemporaries
but certainly not inferior, is due the exquisite urn containing the
heart of Francis I., and perhaps also the execution of the greater
part of the tomb of that king at St-Denia, designed by Ph.
Delorme. No lover of art will forget Goujon's bas-reliefs or his
charming nymphs on the Fontaine des Innocents at Paris, whose
slender forms with their masterly drapery harmonize so wonder-
fully with the space allotted to them. His caryatides in the Louvre
are perhaps the most beautiful of all the works of modern art. The
famous 'Diana' in the Louvre is specially characteristic of his style
as well as of the taste of the period. Lastly we may mention the
'gisant* on the monument of Cardinal de Br^ze at Motien, as a
wonderfully realistic early work by Goujon. The magnificent
counterpart of this monument (executed by Jean Cousin) is the
adjacent tomb of the two Cardinals d'Amboise, the bewilderingly
rich architecture of which was designed by RoUand Le Itoux
(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
on it. The highly realistic 'gisants', and the kneeling statues of
the royal pair in bronze 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 um with the heart of Henri II. are distinctly
inferior to similar figures by Goujon.
To the industrial art of this period belong especially Enamels
and Fayencb. The art of enamelling entered on a new stage with
the invention of enamel painting and became secularized; i.e., in-
stead of enamelled altar-pieces, paxes, and reliquaries, we find
enamelled plates, vases, and cups. The new Limoges School, founded
by Monvaerni and Nardon Pinicaud, reached its zenith under
Leonard Limousin, Pierre Peymond, and Jean P&nicaud the
Younger. The growing inclination for portraits in enamel and the
reproduction of pictures cannot but seem a mistake, and even the
above-named masters were most successful in purely decorative
work. While Italian influence soon affected the enamels, ceramic
art remained purely French. The products of Gubbio, Deruta, or
Urbino have little in common'with the elegant ivory-like fayence
of Saint'Porchaire, or with the dishes decorated with monsters,
fish, and the like by Bernard Palissy (ca. 1610-89), unique both
as a man and as an artist, or with the pottery of Rov>en, Nevers, or
Moustiers. We now also meet with admirable specimens of cabinet-
xlii FRENCH ART.
making, goldsmith's work, and pewter work {Fh'angois Briot;
after ca. 1550-1616), as well as bronzes and medals, while the arts
of glass-staining (Pinaigrier and Jean Cousin; in SUGervais,
St'Etdenne-du-Mont, etc.) and tapestry-weaving show no falling
off. The Renaissance nobly continued the Gothic traditions in in-
vesting even the humblest objects with artistic charm.
The Reigns op Henry IY. and Louis XIII. are not rich in great
works of art. A typical example of the ecclesiastical Architbcturb
of the period is the fagade of St-GrervaiSj the colonnades of which
suggest a grammatical exercise. Salomon Debrosse, its builder, was
also the architect of the Palais du Luxembourg, which is imposing
in spite of its heaviness. Debrosse was followed by the two more
famous architects, Jacques Lemercier, builder of the Palais-
Cardinal (now Palais-Royal), the church of St-Roch, and the Sor-
bonne, and Mansart, who designed the older part of the Bibliothdque
Nationale and the dome of theVal-de-Grftce, though his reputation
is chiefly as a builder of palaces (Maisons near 8t-Germain, etc.).
Mansart was also the inventor of 'mansard' roofs. The oldest parts
of Paris owe their characteristic appearance to this period, from
which date also a number of private mansions, with facades rising
from courts entered by lofty gateways. A survival of the period is
the Place des Vosges, which is exceedingly monotonous in spite of
the alternation of brick and stone.
The chief Sculptors were now Giovanni Bologna or Jean Bo-
logne (b. at Douai ; d. 1608) and his pupils (IVancheville, De VrieSy
Duquesnoy, Van Opstaljy all completely Italianized. Greater
individuality and a more French style were shown by Barth^-
lemy Prieur (d. 1611; Montmorency monument in the Louvre) and
by Pierre Biard (d. 1609), to whom it is difficult to attribute two
such different works as the elegant rood-loft in St-Etienne-du-Mont
and the vigorously realistic Goddess of Fame in the Louvre. These
masters were succeeded by Simon Gruillain (d. 1658; bronze sta-
tues from the Pont au Change, in the Louvre), Jacques Sarctzin
(d. 1660; caryatides in the Louvre), Gilles Gu&rin (d. 1678), and
lastly, above all, the brothers Frangois and Michel Anguier (d.
1669 and 1686). The chief works of Frangois, which vary in ex-
cellence, are his numerous tombs {e.g. those of De Thou and Longue-
ville in the Louvre) ; Michel's best works are the external and in-
ternal embellishment of the Val-de-Grftce (the Nativity is now in
St-Roch) and the sculptures on the Porte 8t-Denis. These sculptors
were the chief prototypes of the *Si6cle Louis XIY'.
Almost the only Court Painter of this period who retained his
fame in succeeding centuries was Simon Vouet (1690-1649), who
based his style on Paolo Veronese and Guido Reni. The scanty re-
mains of Vouet's decorative painting reveal a love of bold colour
and skill in dealing with large surfaces, but his religious easel-
FRENCH ART. xliii
pictures are devoid of attraction. Nicolas Foussin (1594-1665)
and Claude Iiorrain (1600-1682), the two greatest of French
painters, worked in Rome, far from France and the French court.
Poussin, at one time extravagantly over-praised, is now frequently
under-estimated. The expression of lofty sentiment was his chief
aim, in contrast to the superficiality of most of his contemporaries.
But his religious pictures seem cold to us, borrowing too frequently
from the antique and the Renaissance, and over-elaborate in com-
position. His landscapes, such as the ^Orpheus', the ^Diogenes',
and the ^Seasons*, are more inspiring, though unfortunately faded.
Claude Lorrain*s scenery is as indifferent to us nowadays as his
petty mythological figures. But he depicted atmospheric phenomena
with a boldness, and blended local colours with a skill, that were
unrivalled until the days of Turner and Corot. The modem cry for
^atmosphere and light* is here clearly uttered for the first time.
The works of Eustache Le Sueur (1617-55), the ^French Ra-
phael', 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 that of Francis of Sales, the
apostle of love, and of Vincent 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,
1602-74), who was connected with the convent at Port-Royal, but
who is more attractive as a portrait-painter.
It is difficult to form a true estimate of the Abt of Louis XIV.
After the king's assumption of the reins of government (1661), a
thoroughly monarchic art begins. Opposition to all independent
effort, and hostility to everything foreign, and even to the mass of
the French people, distinguish this ^golden age'. The 'Roi Soleil'
is a Roman Imperator, the heroes of the tragedies are Romans, art
also must be Roman. The ^ Academic' founded in 1648 contrasted
strongly with the 'maltrises', or old guilds. Everything was reduced
to formulse. Tet this cold and pompous art had something grand
in its uniformity, its self-confidence, and its defiiniteness of aim;
and the effect was heightened not only by the personalities of the
king and Colbert his minister, but still more by the art-dictator-
ship of Charles Le Brun (1619-90). Little as we are moved by
Le Brun's paintings, there is something imposing, almost recalling
the geniuses of the Renaissance, in his designs for the magnificent
decorations of the Galerie des Glaces at Versailles and the Galerie
d'Apollon in the Louvre, in his sketches of groups in bronze and
marble for the sculptors, and in his paintings and patterns for the
Manufacture des Gobelins, which then included nearly every branch
of industrial art. The bronzes by Coyzevox, the cabinets by Boule,
the mirrors by Cueci, and the arabesques by B&rain all harmonize
with Le Brun's ceiling-paintings, just as these harmonize with the
xliv FRENCH ART.
buildings of Maiisart aud the gardens of Le Ndtre, and as the en-
tire creative art of the period harmonises with the tragedies of
Racine. The art of the period must be regarded as a setting for
the court of Louis XFV., but it is a decorative art of the highest rank.
The Abchitbcturb of the period is inferior. Perratdt^s famous
colonnade at the Louvre now excites as little enthusiasm as the
fagade of the palace at Versailles by J. Hardouin-Mansart (1645-
1708), or as the Palais des Invalides by Bruant. The great dome
of the Invalides by Mansart and that of the Yal-de-Gr&ce are,
however, honourable exceptions. With Painting the case is much
the same. Lafosse, Jouvenet, and Coypd are almost forgotten.
The portrait-painters Mtgnard, LargUli^e, and Rigaud, all well
represented at the Louvre, are, however, still interesting. Scui.pturb
occupies a much higher position. However absurd Voltaire's dic-
tum may now appear, that Franpois Girardon (1630-1715) had
'attained to all the perfection of the antique', we cannot but admire
his tomb of Richelieu (in the church of the Sorbonne), his 'Rape of
Proserpine' and statues of rivers, and above all his charming leaden
relief of 'Diana in the bath', in the park of Versailles. With him
may be named a crowd of others : Legros, Le Hongre, the brothers
Marsy, Desjardins, Lepavtre, Van Cleoe, Tuby, Thiodon, Maze-
line, and Hurtrelle. A greater name than Girardon's is that of
Charles Antoine Coyzevox (1640-1720). His chief works are
his large tombs, especially those of Cardinal Mazarin (now in the
Louvre) and Colbert (in 8t-Eustache) ; but his other works are
masterly both in design and execution. Among these may be men-
tioned the horses in the Place de la Concorde, the bronze statue
of Louis XIV. (Mus6e Carnavalet), the 'Nymph with the shell',
and Dumerous busts (in the Louvre). Nicolas and Guillaume
Coustou (1656-1733 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 Rhdne and Sa6ne at the Tuileries
and the Caesar in the Louvre; among those of Guillaume are the
Marly horses in the Place de la Concorde and the tomb of Cardinal
Dubois in St-Roch. Of the 17th cent, sculptors, however, the most
highly esteemed by the French is Pierre Pug^t (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.
This stiff and grandiose art was soon followed by a reaction.
Louis XIV. was succeeded by Louis XV., the pious Mme. de Main-
tenon was followed by the dissipated Regent, and a little later by
Mme. de Pompadour. We may date the art called by the French
'Dix-HuiTifeME', from the beginning of the Regency (1715) to the
death of Mme. de Pompadour (1764). It was a superficial, gallant.
FRENCH ART. xlv
dissipated art, yet not without charm. It is the faithful reflection
of the age. Everything harmonizes: the gorgeous but comfortable
apartments, in the decoration of which Oppenord and Meisaonier
excelled; the charming villas for gallant rendezvous; the pale blue,
sea-green, and rose-pink painting; the cabinets with their rich
bronze ornaments; the chairs and sofas with their gilt carvings
and silken upholstery ; the terracottas and the porcelain statuettes
from the factory at Sevres ; and even the costumes of the pleasure-
loving, immoral, yet charming society, with its powder and its
patches. Everything straight is now bent in the most wanton
manner and embellished with flourishes and scrolls {^rococo' from
rocaille, shell); every door-knob seems designed for a delicate
feminine hand. After a brief reign the rococo style gave place to
the Style Louis XVI, with its delicate and graceful forms. The
cabinets of this period (by CEhen, Riesener, Benemann, and others),
with the daintiest inlaid designs, are now almost more highly
prized than the earlier works by Cressant and Caffieri.
The earliest and greatest painter of the 'Dix-Huiti6me' is
Antoine Watteau (1684-1721), who came to Paris in his
eighteenth year to assist in the decoration of the Opera House and
speedily rose to fame by his ^Fites Galarde8\ 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
unrivalled. In both cases he is the faithful mirror of his age,
while his magic colouring sheds a poetic glamour, full of roguish
grace and pleasant dalliance. His successors, Lancret and Pater,
are skilful and charming artists, but are seldom inspired by the
poetry of Watteau. The truest representative of the Pompadour
epoch is Franpois Bouoher (1703-70), of whom there are
numerous examples in the Louvre; but it is chiefly as a decorative
painter, in his ceilings and panels, that he reveals his character.
Next to Boucher rank Fragonard and Baudouin, whose drawings
especially are prized. The 18th cent, was rich in portrait-painters
also, of whom the foremost in rank was the pastel-painter Quentin
de La Tour (1704-88), 'the magician', as Diderot calls him. The
lifelike portraits by this master are the chief boast of the mus6e
of St-Quentin, his native town; while the charming female por-
traits by Nattier are among the attractions of Versailles.
In this case also a reaction soon set in. Boucher himself lived
to hear the thundering philippic of Diderot, who rechristened
the 'painter of the graces' as the 'painter of demireps'. But this
verdict was moral, not sesthetic. 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 (1725-1805), whose 'Rustic Bride' and 'Prodigal Son' prac-
tically synchronized with Diderot's 'Natural Son' and Rousseau's
xlvi FRENCH ART.
^H^loYse\ Greaze remains to this day a popular favourite, not on
account of these moral pictures with their hard colouring, but on
account of his paintings of girls ('The Broken Pitcher'; the
'Milkmaid', etc.), still showing traces of the sensuous charm of
the preceding epoch. Greuze's elder contemporary, Jean BaptLste
Simeon Chardin (1699-1779), was 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',
the 'Industrious Mother', etc., in the Louvre). The true precursors
of the later classicism were, however, Vien, the teacher of David,
Cochin, and Hubert Robert, with his views of Roman ruins.
The rococo style had little influence on the art of Sculpture.
AUegrcdn, with his nymphs, and Clodion, with his terracotta
groups of Bacchantes, Satyrs, and Cupids, touch on its outskirts
in the grace and sensuousness of their style, but their contemporary
Bouchardon, the 'French Phidias', with his Grenelle Fountain,
and other sculptors may almost be called severe. PigaUe (1714-85)
pays homage to the pictorial taste of the period in the tombs of
Marshal Saxe (Strassburg) and the Comte d'Harcourt (Notre-Dame),
and in the monument of Louis XY. at Rheims, but he also expresses
philosophical ideas in his allegories, and his love of the antique
in the nude statue of Voltaire (p. 298). The amiable Pajou (1730-
1809) vacillates between antique severity and French grace, be-
tween frivolity and sentiment, in his Pluto, his Bacchante, and his
statue of Queen Marie Lesczinska as Caritas (in the Louvre).
Similar vacillation is shown by Falconet, whose best works are in
St. Petersburg. Lemoyne (Louvre, Versailles) and Caffieri (d. 1792 ;
busts of Rotrou, La Chaussee, J. B. Rousseau, etc.) are admirable
portrait-sculptors, but both are far surpassed by Jean Antoine
Houdon (1741-1828), whose seated statue of Voltaire (p. 86) is
one of the masterpieces of realistic portraiture, and whose 'Diana'
(bronze replica in the Louvre of the original marble in St. Peters-
burg) is one of the most perfect nude figures in modem art.
The transition to classicism was easiest in Architecture. That
the frivolous and fashionable taste was abandoned is proved by
the facade of St-Sulpice by Servandoni (1733), the portal of
St-Eustache by Mansart de Jouy (1754), the Ecole Militaire
(1756), the buildings on the Place de la Concorde by Gabriel
(1772), and the Pantheon, begun by Soufflot in 1764. The writings
of the Jesuit Langier (1753), the architect Blondel (1756), and the
archaeologists Mariette and Caylus, and above all the excavations
at Pompeii and Herculaneum, all contributed to the victory of the
classical tendency.
Hence it is that Jacques Iiouis David (1748-1825) does
not mark a revolution, as once supposed, but rather the close of a
decade of development ('Belisarius', 1781; 'Oath of the Horatii',
FRENCH ART. xlvii
1785). His significance lies in the fact that he was severely logical.
Individuality was repressed, and art reduced to a mere formula.
The fruits of this new Renaissance are everywhere in evidence.
Even the most famous pictures (David's 'Leonidas' and *Rape of
the Sabines') look like painted copies of bas-reliefs. The artist
moves us only when he is unfaithful to his own principles, as in
the ^Coronation of Napoleon* (Louvre), the sketch of *Marat after
death* (Camavalet), and his lifelike portraits. It is the same with
the architecture of the period. *The Arc de Triomphe du Carrousel*,
says Saint-Paul, 4s a copy of the arch of Septimius Severus, the
Venddme Column is a reproduction of Trajan's Column, and the
Madeleine is like a temple to Jupiter Capitolinus*. Grace being
out of fashion, Greuze and Clodion died in penury, and Fragonard
spent his last days in painting allegorical and decorative pieces.
At the first glance the Nineteenth Century seems to present
a veritable chaos. In former periods the architect either adapted
his style to the altered circumstances or developed a new one; but
now he builds in the Greek style at one time and in the Renaissance
at another, or he passes with unconcern from Gothic to baroque.
So too the painter imitates the Greeks or the Italians, Rubens or
Rembrandt, the Pre-Raphaelites or the Japanese. In the realm of
sculpture we at one time meet with the most exalted idealism, at
another with uncompromising realism. Many of the artists, more-
over, being our contemporaries, we cannot wholly free ourselves
from personal inclinations or antipathies.
In the first quarter of the century the controlling influence in Paint-
ing was that of David. In 1799 Gu&rin (d. 1833), his chief pupil,
attained extraordinary success with his 'Marcus Sextus' (p. 153). He
afterwards devoted himself mainly to the painting of tragic scenes.
Girodet (d. 1824) selected romantic subjects (the 'Deluge', 'Burial
of Atala'), but adhered to the relief-like and statuesque style of his
master. G&rard (d. 1837), who painted attractive portraits of
women, is somewhat freer in style. His 'Cupid and Psyche' excited
universal admiration in an age which regarded Canova's group of
the same subject as the highest expression of art. Gros (d. 1835)
is regarded as a forerunner of romanticism; but the warmer
colouring and livelier movement of his battle-scenes do not blind
us to his weaknesses. An exceptional position is that of Prud'hon
(d. 1823), who, in his charming 'Psyche' and his dramatic 'Revenge
and Justice', produced a novel and pleasing effect by combining
the traditions of the 18th cent, with suggestions from Correggio.
A great innovator, the first romanticist properly so called, was
Theodore G^ricauU (1791-1824), whose paintings of soldiers and
horses, even more than his 'Raft of the Medusa', show the dawn of
a new conception. The expression 'Romantic School' is really
meaningless unless we translate 'romanticism' as simply 'love of
xlviii FRENCH^ART.
liberty*. A better name would be the School op 1830. The common
bond among the masters of this period, many of whom were at
daggers drawn, was their passion for independence. With few ex-
ceptions, however, they sought freedom in form and colour only ;
they did not venture to take their subjects from the life around
them, but found them in mediseval history and legend, in the pages
of the poets, or in scenes of the distant Orient. Raphael was the
model for one set, Rubens and Veronese for another.
Eugene Delacroix (1798-1863) and Jean Ingres (1780-
1867), the two greatest masters of this period, represent its oppo-
site poles. For Delacroix every picture formed a brilliant symphony
of colours, so that his enemies asserted that he painted with ^an
intoxicated brush'; 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 regarded him
as 'something of a butcher', and held it blasphemy to compare Rem-
brandt with Raphael. The antithesis between colouring and draw-
ing was, perhaps, never so forcibly emphasized as now. Our taste
has, however, decided the controversy in favour of Delacroix. We
cannot but admire the vigorous colouring of 'Dante's Boat' (1822),
the 'Massacre of Chios', the 'Barricade', and the 'Crusaders', and
regard the paintings of the Palais-Bourbon and St-Sulpice as among
the greatest monumental works of the century. The 'Apotheosis
of Homer', on the other hand, leaves us cold in spite of its ad-
mirable drawing; the beautiful figures of 'CEdipus' and 'The Spring'
excite but a halfhearted admiration ; and it is only in his portraits
that Ingres impresses us. In time, however, this master will per-
haps again receive higher recognition.
The fame of Horace Vernet (d. 1863), Paul Delaroche (d. 1856),
Dev&ria (d. 1865), Couture (d. 1879), and the other historical
painters of the period has paled considerably. The reconstruction
of a historical scene, such as the 'Death of Elizabeth' or 'Raphael
in the Vatican', can satisfy us only when the effect conceals the
artificiality of the process, but none of these masters had strength
to accomplish this. The longest-lived pictures will doubtless be
Vemet's scenes of contemporary history at Versailles. Among other
masters of the period may be mentioned the sentimental Ary
Scheffer (d. 1858); Leopold Robert (d. 1835), who received uni-
versal admiration for his scenes of Italian life; Decamps (d. 1860),
who painted glowing pictures of Oriental life and found excellent
followers in Fromentin and Marilhai; and Chenavard (1807-95),
the author of the philosophical cartoons in the Picture Gallery
of Lyons. Special honour must be paid to Hippolyte Flandrin
(d. 1864), a pupil of Ingres, and perhaps the only modem religious
painter whose works reveal a truly pious spirit (comp. p. 302).
At the same period there arose a new conception of landscape
FRENCH ART. xlix
painting, the so-called Paysaqe Intime. Its aim was to reproduce
the play of light and the atmospheric effects witnessed in one's be-
loved, though often homely, native land. Theodore Rousseau
(d. 1867) is par excellence the painter of trees; Jules Dupri
(d. 1889) depicted nature in her stormy moods; Charles Daubigny
(d. 1878) loved to paint the peaceful banks of the Oise; Narcisse
Diaz de la Petia (d. 1876) revelled in rustling forest glades threaded
by glittering sunbeams. The chief of this group, known as the
School op Babbizon, is Cctmille Corot (1796-1875). No other
painter has depicted nature in so faithful and masterly a style.
The meadows rustle, the birds twitter, the bees hum, and the sun-
beams glance and play. Other members of the Barbizon group are
Constant Troyon (d. 1865), vying with Rosa Bonheur (d. 1899)
as a great animal-painter, and Jean Francois Millet (1814-
1875), the vigorous painter of peasant-life, who so powerfully in-
carnates the text 4n the sweat of thy face shalt thou eat bread'
(see p. 176).
Under the Second Empire arise a number of new tendencies.
The historical painters, such as Sylvestre and L/aminais (d. 1896),
gave their jaded contemporaries scenes of horror like ^Nero and
Locusta'. Hamon (d. 1874), G&rdme (d. 1904), and the other 'Neo-
Greeks' painted genre-scenes in antique costume, which display
masterly treatment of the nude. Cahanel (d. 1889)-, the still abler
Baudry (d. 1886; decoration of the Opera House) and Delaunay
(d. 1891), Henner (d. 1906), and Lefebvre (d. 1912) sought for
fame in the portrayal of Hhe female form divine'. Military life
was illustrated by De NeuvUle (d. 1885) and by RegnauU, who
fell in the Franco-German war (1871). The popular favourites
were, however, Ernest Meissonier (1815-91) and Alfred Ste-
vens (1828-1906) of Belgium, two painters of the fine and minute,
who may be ranked with the great Dutch masters of the 17th
century. The former loved to depict the heroes of his tiny can-
vases in the brilliant costume of bygone days ; the latter pictures
the dress and manners of the fashionable women of his own time.
An important contributor to the development of art was Gustave
Courbet (1819-77), who is marvellously realistic in his *Burial
of Omans' and other scenes of common life, and pre-eminent as a
colourist in his great *Studio', but who entirely lacks poetry.
Between 1870 and 1890 four artists are specially prominent:
Edouard Manet (1832-83), Jules Bastien- Lepage (1848-84),
Pierre Puvis de Chavannes (1824-98), and Gustave Moreau
(1826-98). Manet skilfully combines what he had learned from
Velazquez and from the Japanese, and in his vigorous portraits
and his sketches of Parisian life became the chief protagonist of
the impressionist school, which has exerted a beneficial influence
in spite of its aberrations. Basti en-Lepage applied the same prin-
1 FRENCH ART.
ciples to his powerful pictures of peasant-life. Puvis de Chavaimes
adopted the colouring of the early Italians, and represented an
ideal humanity in his solemn and broadly conceived mural paint-
ings (Sorbonne, Panth6on, Amiens, Rouen, Poitiers, Lyons, Mar-
seilles). Moreau represented mystic legends in delicate and glow-
ing colours (Mus6e Moreau, Luxembourg).
A survey of Contbmporaby Painting may be obtained by vi-
siting the H6tel de Ville, the Sorbonne, the Mairies, the Luxem-
bourg, the annual Salons, and the smaller exhibitions. The aca-
demic school, which conscientiously studies form, is represented by
Laurens (historical paintings), Detaille (d. 1912; battle-pieces),
Cormon (frescoes in the Jardin des Plantes), Bonnatj Carohis-
Duran, Humbert^ Benjamin Constant, and others. Sharply con-
trasting with these are the impressionists Degas, Monet, Pissarro
(d. 1903), Renoir, RaffaMli, and others, whose aim is to reproduce
a momentary effect (Salle Caillebotte at the Luxembourg, Galerie
Durand-Ruel). Other impressionists are Roll, Gervex, Rochegrosse,
and the brilliant colourist Besnard. Cazin (d. 1901), BiUotte,
Pointelin, Menard, and others produce melancholy twilight land-
scapes. Jules Breton and Lhermitte are attractive delineators of
rural life. Dagnan-Bouveret and the younger masters, Cottet,
Simon, and W4ry, depict the picturesque scenes of Brittany. Sym-
bolism also has found many disciples among the younger generation.
To describe the Graphic Arts would lead us too far afield.
Suffice it to say that great success has of late been achieved, not
only in engraving {Gaillard, WaUner, Patricot, etc.), but notably
in the more original arts of etching in black and white or in col-
ours (Bracquemond, F. Rops, Legrand, Lep^e, Legros, Tissot,
Raifaj^lli) and lithography (Fantin-Latour, Carri^e, Ch&ret).
The history of Sculpture in the 19th cent, runs nearly parallel
with that of painting. Here also the antique was at first all-
powerful. Canova, who made many visits to Paris, was the master
whom all admired and imitated. But few sculptors attained more
than a frosty correctness. We may name Chaudet (d. 1810; *Paul
and Virginia', in the Louvre), Lemoi (d. 1827; Henri IV. on the
Pont-Neuf), Dupaty (d. 1825; *Death of Biblis', in the Louvre),
the prolific Bosio (d. 1845), and Cortot (d. 1843; *The Messenger
of Marathon'). To the academic school belongs also the once very
popular Jam£s Pradier (1792-1852), known for his Graces at
Versailles, his works on the Arc de PEtoile and the Moli^re Foun-
tain, and his Victories at the Dome des Invalides, works whose
grace and vivacity still exercise their charm. Romanticism played
a very subordinate rfile in sculpture, in which realism has gained
supremacy. Three masters here stand in the forefront: Fr. Rude,
P. J. David d^ Angers, and A. L. Barye. Frsmpois Rude (1784-
1855) is the strongest of the three; he invariably interests, if he
FRENCH ART. li
does not always satisfy us. Most of his creations are somewhat
unquiet and theatrical. Compare his expressive statue of Monge
at Beaune with the restless iTey of the Place de PObservatoire, or
his admirable Cavaignac in Montpamasse Cemetery with his ques-
tionable 'Napoleon awaking to immortality' at Fixin, near Dijon.
His most famous work is the 'March Out' on the Arc de I'Etoile,
which breathes fiery enthusiasm. The 'Fisher Boy' and 'Joan of
Arc' in the Louvre also deserve notice. His religious efforts are
less pleasing ('Baptism of Christ' at the Madeleine). — Pierre Jean
David d* Anglers (1789-1856; named after his native town, in
contradistinction to the painter J. L. David), unlike Rude, always
retains a certain sober reality. He has much in common with
Ranch, and like him was fond of representing generals in uniform
and scholars and artists in ideal costume. His busts and medal-
lions occur by the hundred at P^re-Lachaise and elsewhere, but
we cannot share the enthusiasm of his contemporaries. The fame
of the great animal sculptor Antoine Iiouis Barye (1796-1875)
has, on the other hand, increased. His larger works, such as the
'Lion and Serpent' in the Louvre, have become popular; and the
original casts of his small bronzes fetch nearly their weight in gold.
His ablest followers are Fr&miet (Jardin des Plantes), Cain (Tui-
leries), and Gardet (Luxembourg, Chantilly, etc.). By far the most
eminent pupil of Rude was Jean Baptiste Carpeaux (1827-75),
who died comparatively early. His 'Triumph of Flora' at the
Louvre, his 'Ugolino' at the Tuileries, his vivacious busts, and
above all his group of 'Dancing' at the Opera, which is inspired
with truly Bacchic gusto, and his 'Quarters of the Globe' on the
Fontaine de PObservatoire assure him a high place among modem
sculptors. (The last is best studied in the models at the Louvre,
which clearly reveal the feverish energy of their author.) Still
more popular are the gentle maidens of his contemporary Ckapu
(1833-91; tomb of Regnault in the Ecole des Beaux-Arts). The
pupils of David include Carrier-BeUeusej Cavdier, Maindron,
and Aim6 MiUet.
The Luxembourg Gallery, the public parks, the cemeteries, and
the exhibitions show indeed much academic conventionality, but
also abundant evidence of an effort to rise above .convention, to
permeate works of art with personal feeling, and to bring the
technique to high perfection. The chief sculptors are Paul Dubois
(1829-1905), whose marvellously finished forms show early Italian
influence; Falgui&re (1831-1900), whose fiery Provencal nature
produced such admirable works as the 'Pegasus' of the Square de
l'0p6ra, as well as such doubtful productions as the great figure
in the Pantheon; and Merely (b. 1845), with his 'Gloria Victis' in
the H6tel de Ville and his 'Quand-M§me' in the Tuileries Garden.
Along with these we may name Ernest Barrios (d. 1905; 'First
Hi FRENCH ART.
Fuueral', in the Petit Palais), GuUlaunie (d. 1905; monument to
Ingres, in the Ecole des Beaux- Arts), Crauk (d. 1906; monument
to Adm. Coligny), Boucher (*At the Goal', in the Luxembourg Gar-
den), Saint' Mar ceaux, and Puech. The sculptor Dalou (1838-
1902) was inclined to adopt the pictorial methods of the 18th cent;
his latest works are the Monument of the Republic (Place de la
Nation) and the Monument to Alphand (Avenue du Bois-de-Boulogne).
An extreme of individuality is shown by the gifted Auguste Rodin
(b. 1840), whose works, however, are often open to criticism ('The
Kiss', 'Victor Hugo', 'Balzac', 'Mouth of Hell'). Desbois and others
are of a similar tjrpe. Perhaps the most striking of all modern
plastic works is Bartholomews 'Monument aux Morts', in P^re-
Lachaise. Oscar Roty (1846-1911), Jules Chaplain (1839-1909),
Danid Dupuis (1849-1899), and others have brilliantly revived
the art of the medallist.
In Architecture, under the First Empire, the classical spirit
was supreme (Madeleine, Bourse), under the Restoration it was
relaxed so far as to add the basilica (Notre-Dame-de-Lorette, St-
Vincent- de-Paul). Under Louis Philippe a revival of Gothic took
place, headed by Viollet-le-Duc, La^ssus, and others (restorations
of Notre-Dame, theSainte-Chapelle, andPierrefonds; 8te-Clo tilde),
and this was followed by general eclecticism. Among the few
original works of the century we may honourably mention the
Ecole des Beaux- Arts, by Duhan; the church of St-Augustin, by
Baltard.; the Trocad^ro, by Davioud and Bourdais, 1878; the
Sacr6-Coeur, by Abadie; and the Opera House, by Charles Gamier ,
the interior of which is especially effective. VioUet-le- Due's
'Entretiens sur I'Architecture' first laid down the principle that
the exterior of a building should indicate its uses and adapt itself
to the methods of construction. The reading-room of the Biblio-
th^que Nationale, by Lahrouste, is an admirable example of the
adaptation of iron-construction to the needs of a large room.
The Industrial Arts reached their lowest degradation under
Louis Philippe, but the Comte de Laborde's classic report on the
London Exhibition of 1851 gave rise to great improvement, which
at first took the form of a reversion to earlier styles. It was only
later that a really modem industrial art sprang up, influenced by
the United States, Great Britain, and Belgium, and by the products
of Japan since about 1867. The visitor to Paris will enjoy trac-
ing this development in the works of the pewterer (Desbois, Baffler),
the glass-maker {GalU of Nancy), and the potter (Delaherche, Dal-
peyrat, Bigot), as well as in furniture, tapestry, textile fabrics,
and ornaments (Lalique). This industrial field is thus also one
of varied and promising activity.
liii
Bibliography.
EiTGLiSH Works.
Adolphus, F., Some Memories of Paris; Edinburgh, 1895.
AUen, Grant, Historical Guide to Paris; London, 1903.
Annesley, Maude, My Parisian Year; London, 1912.
Auvergne, E. B. d\ The Nightside of Paris; London, 1910.
BeUoc, Hilaire, Paris; London, 1907.
Cain, G. (see below). Nooks and Comers of Old Paris, translated
by F. Lawton (London, 1907) ; Walks in Paris, tr. by A. AUenson
(London, 1909); Byeways of Paris, tr. by Mrs. L. S. Houghton.
Conway, Joseph, Footprints of Famous Americans in Paris ; 2 vols.,
illus., London, 1912.
Edwards, H. Sutherlandy Old and New Paris; 2 vols., illus.,
London, 1894.
Hamerton, P. G., Paris in Old and Present Times; illus., London,
1885.
Hare, Attgustus J. C., Paris; 2 vols., new ed., London, 1900. —
Days near Paris; London, 1887.
Harrison, Wilmot, Memorable Paris Houses; illus., London, 1893.
Haynie, Henry, Paris Past and Present; 2 vols., illus.. New York,
1902.
Lfucas, E. v., A Wanderer in Paris; 7th ed., London, 1911.
Martin, B. E. and C. M., The Stones of Paris in History and
Letters; 2 vols., illus., London, 1900.
Oakey, Thos., Paris ; 'Mediaeval Towns' Series, London, 1906.
SheUey, Henry C, Old Paris; illus., London, 1912.
Strong, Rowland, Where and How to Dine in Paris ; London, 1900.
Whiteing, Richard, The Life of Paris ; London, 1900.
French Works.
Cain, G., Les Anciens Quartiers; 8 vols. — Anciens Theatres de
Paris; 1906. — Promenades dans Paris; 1907. — Nouvelles Pro-
menades dans Paris; 1908. — A travers Paris; 1909. — Les
Coins de Paris; 1909. — Les Pierres de Paris; 1910. — Le long
des Rues; 1912.
liv BIBLIOGRAPHY.
HaUays, A,, Autour de Paris; 1910.
Lendtre^ G., Paris R^volutionnaire ; 1896. — Vieilles Maisons,
Vieux Papiers; 2 vols., 1903.
Rial, G.J Paris, in the 'Yilles d'Art C^l^bres' series.
Mochegude, Marquis de. Promenades dans tontes les Rues de
Paris; 20 vols., 1910.
The Manual of French Law, by H. Cleveland Coxe^ is an alpha-
betical handbook to French law as it affects foreigners.
The chief Paris Directory is the ^BotUn^ (p. xxvii); ^Tout'Paris\
^PariS'Hachette\ and the ^Bottin-MondairC will also be found
useful.
Maps of the Snvirons of Paris. The Army Ordnance Depart-
ment ('Etat-Major') has published a coloured map (1906) on a scale of
1 : 50,000 (9 sheets at 1 fr. 60 c. each). The map of the Miniature de Vln-
tMeur (1:100,000) is in one coloured sheet (lV2fr.)« These can be ob-
tained through Barrfere (p. 49), who has also issued maps of the environs
(1:50,000) in 29 sheets in colours (1895-1902), at s/^ fr. — Cyclists' maps:
Taride, 18-20 Boul. St-Denis; Campbell, 24 Passage du Havre; Smithy 248
Rue de Rivoli (Plan-V61o series).
PARIS.
PEELIMINAEY INFOKMATIOK
1. Arrival.
Travellers from England yi& Calais or Boulogne (Routes 36, 35)
arrive at the Gave du Nord (p. 217); the trains from Dieppe, Le
Havre, and Cherbourg (Koutes 37, 38, 39) all arrive at the Gave
St-Lazare (p, 221). On arrival the traveller hands his small bag-
gage to a portfer (facteur; 26 c.-l^/j fr., according to weight and
number of packages), follows him to the exit (where an octroi
official asks the nature of its contents; see p. xii), and calls a cab
(voiture de place) or taxi-auto. After receiving the driver's number
(^votre num&ro, sHl votis platV; with the tariff on the back), the
traveller tells him to wait for the heavier luggage ('restez pour
attendee les hagages'). Hand-bags and rugs should not be left un-
guarded in the cab, at least not without making the driver note the
number of articles, as thefts are not unfrequent. — The traveller
may secure his registered luggage before calling a cab, thus avoid-
ing the slight expense entailed by waiting (see below), but if he
is visiting Paris for the first time he had better engage one at
once. In the event of his not finding quarters at the hotel he has
chosen, he can then at once proceed to another, with but a slight
increase of fare.
The Salle des Bagages (Douane) is opened 10-15 min.
after the arrival of the train. The custom-house examination is
generally lenient (comp. p. xii). The porter then conveys the lug-
gage to the cab, receiving 50 c. or more. The octroi official has
again to be assured that the luggage contains nothing eatable. As
a rule, the passenger from England will be unable to leave the
station until 20-25 min. after his arrival. If preferred, he may
get a porter to carry his hand-baggage (bargain advisable) direct
to one of the hotels near the stations (see p. 10), and then return
for his trunks.
The fare (course) by Taximeter Horse Cab (p. 28) depends
on the distance driven, with an addition of 50 c. at night; each
trunk 25 c, pourboire 25-50 c. If the cab has to wait, 10 c. must
be paid for every 3 minutes. For the fares of Motor Cabs (*taxi-
auto'), see Appx., p. 55.
Basdsksb's Paris. 18th Edit. 1
2 2. HOTELS. Preliminary
Travellers with heavy luggage are advised to telegraph, at least 6 hrs.
in advance of their arrival, for a Railway Omnibus (Coup4 or Omnibus
de famUle). The order may run thus : M. le Chef de Qdre Nord (Estf
etc.)j Paris. Prihre riserver voitvre pour . . . personnes a Varriv4e du
train de (hour of arrival); signature. Telegrams of this nature are for-
warded free by any station-master on the route. The chaises for such
omnibuses vary according to distance, but for a party of several persons
the cost will rarely exceed 1-2 fr. each. The railway companies own also
Automobile Coupes and Omnibuses. Further details will De found in the
Indicateur Ofaaix (p. xii), under the heading 'Renseig^iements G6i)6raux\
2. Hotels and Pensions.
(Alphabetical Lists at pp. 47 9^ 484.)
The first-class hotels, which are among the best in the world,
are provided with every modern luxury and comfort, such as elec-
tric light, passenger lifts, steam or hot-water heating, and baths,
and have corresponding charges. They are frequented by visitors
of all nations, but Americans and British predominate. The
following list includes many other more modest and even second-
class hotels, where good quarters may be obtained on more moderate
terms; but the list cannot possibly be exhaustive. The traveller
who arrives in Paris late will most easily find quarters at one of
the large hotels in the centre of the town, such as the Hdtel Con-
tinental, Grand-Hdtel, Terminus, H6tel du Louvre, which have
hundreds of rooms, and where moreover he is not bound down to
regular meals.
The charges given below, furnished by the landlords or the
managers themselves, are for each person per day. Though they
vary from time to time, they will at least serve as a guide to the
class of house. The dpuble-bedded rooms are invariably the best,
and the charge is not always double that for a single room. If
desired, breakfast is served in the visitor's room at an extra charge
of 50 c. or more. Luncheon (d^etiner; 12 to 2) and dinner {diner;
between 6.30 or 7 and 9) are served in the hotels of the first class
at separate tables. As a rule (especially since the bad vintage of
1910), wine is not included in the charge for dinner. In the winter-
months (1st Dec. to about the end of March) the charges are lowered
at many houses.
The most fashionable hotels are to be found chiefly near the
Place VendSme, within the area bounded by the Place de l'0p6ra
on the N., the Tuileries Gardens (Rue de Rivoli) on the S., and the
Avenue de I'Op^ra on the E. The pleasant hotels in and near the
Ohamps-Elys6e8 are rather far from the centre of attractions, but
that inconvenience is mitigated by the M^tropolitain (p. 29). In
other quarters besides there are many excellent hotels.
To facilitate a choice, the hotels are arranged below in groups,
but not in any strict order of merit. Many hotels in the later
• I
;infbrmaHon, 2. HOTELS.
sections might with almost equal propriety appear in the earlier
ones, while there are doubtless deserving houses left unmen-
tioned.
Hotels of the Highest Class.
Hotels de Luxe. ^Hdtel Ritz, 15 Place Venddme (PI. R, 18;
//), admirable cuisine and cellar, with 93 rooms and 61 bath-rooms,
R. from 15, B. 2^2 fr., L. & D. ^ la carte. — *Hdtel Bristol and
*H6tel du Rhin, 3 and 4-6 Place VendSme, two long-established,
aristocratic houses, patronized by royalty ; suites of rooms (dining-
room, drawing-room, 2-4 bedrooms, and bath) 40-120 fr., L. or D.
12 fr. or k la carte; pens, for servants 9 fr. — *H6t. Meurice, 228
& 230 Rue de Rivoli (PL R, 18; //), with roof-garden, 200 R. and
175 bath-rooms, R. from 12, with bath from 25, B. 2Y2 fr., L. and
D. k la carte. — *H6t. de CriUoriy 10 Place de la Concorde, comer
of Rue Boissy-d'Anglas, 250 rooms and 120 bath-rooms, R. from 10,
with bath from 18, B. V/^i L- 6, D. 8 tT.—*H6t. Majestic (PL R,
12; /), 19 Av. K16ber, with roof-terrace, 400 rooms and 200 bath-
rooms, R. from 10, B. 2, L. 4, D. 6, pens, from 18 fr. — *Hdt. Astoria
(Pl.B, 12; /), 129-131 Av. des Champs-Elys6es, comer of Rue
de Presbourg, 230 rooms and 100 bath-rooms, R. from 8, B. 2,
L. & D. in grill-room 6 and 10, board 14 fr., also rest, k la carte.
— *Hdt. Xott* ('LiverpooP and 'Domenici' united; opened in 1911),
7-9 Rue de Castiglione, 102 R. (each with bath) from 10, B. 2, L.
and D. k la carte. — *H6t. Venddmey 1 Place Vend6me, 70 R.
from 10, B. 2, L. 5, D. 8 tT.—*H6t. Mirabeau, 8 Rue de la Paix,
high-class family hotel, 150 R. from 10, B. 2, L. 7, D. 12 fr., or
k la carte, pens, from 30 fr. — * Westminster JSotel, 13 Rue de la
Paix, 125 rooms, 50 salons, and 100 bath-rooms, R. with bath from
15, B. 2, L. 7, D. 10, pens, in winter from 30 fr. — Carlton Hotel,
119-121 Av. des Champs-Elys^es, 125 R. from 15, B. 2, L. and D.
k la Q9xiQ.—*El/ys€e Palace Hotel (PL R, 12; /), 103-113 Av.
des Champs-Elys6es, 300 R. from 8, with bath from 16, B. 2, L. 6,
D. 10, pens, from 20 tT.—*H6t. de VAthMie, 15 Rue Scribe (PL
R, 18; //), near the Op6ra, 140 R. from 10, B. 2, L. 5, D. 7, pens,
from 22 fT.—*Hdt. Regina (PL R, 18; //), 2 Place de Rivoli,
400 rooms and 100 bath-rooms, R. from 6, B. 2, L. 4, D. 6, pens,
from 12 fr. —*MeTc€d^s Hotel, Place de PEtoile, 9 Rue de Pres-
bourg, 75 R. from 10, B. 2, L. 6, D. 8, pens, from 20 iv. — *H6t
Continental (PL R, 18; //), 3 Rue de Castiglione, comer of Rue
de Rivoli, 600 rooms and 300 bath-rooms, R. from 8, B. V-f^^ L. 5,
D. 7, board 12 tT.—*Gr and- Hdtd (PL R, 18; //), 12 Boul. des
Capucines, next the Op6ra, 800 R. from 8, B. 1^/4, L. 5, D. 7, pens,
from 20 fr. — *H6t Langham, 24 RueBoccador (Pl.R, 12; /), near
the Av. de PAlma, 60 R. and 20 salons, R. from 15, B. 2, L. 5, D. 8,
pens, from 25 fr.
1*
/
.2. HOTELS. BMUm4mary
■^ ^xrv-Y i^-^J^'y
f \
Hotels of the Highest Class in the Inner Town (see also
pp. 6 et seq.). Near the Place Vbnd6mb (PI. R, 18; //); Hdt de
HoUandey 18-20 Rue de la Paix, 80 R. and 30 bath-rooms, R.
from 7, with bath from 14, B. 2, L. 5, D. 7, pens, from 15 fr.; Hdt.
des Iles-Britanniques, 22 Rue de la Paix, a family hotel ; *H6t,
Chatham^ 19 Rue Daunou, 300 R. and 50 bath-rooms, B. 2, L. 5,
D. 7 fr. (rest., see p. 17) ; *Hdt des Capudnea, 37 Boul. des Capu-
cines, 90 R. ifrom 6, B. 1 1/2 > L- 4, D. 6, pens, from 15 fr. ; H6t,
Edouard VII {p, 76), to be opened in 1913.— To the 8. of the
Place Venddme: Hdt. de Castiglione, 12 Rue de Castiglione, 80 R.
from 10, B. 2, L. 6, D. 8 fr.; *Gr.'H6t. de Londres, 5 Rue de
Castiglione, 90 R. from 6, B. 2, L. 6-8, D. 8-10, pens, from 15 fr.
—H6t. Brighton^ 218 Rue de Rivoli, 90 R. from 7, B. 2, L. 6,
D. 7, pens, from 18 fr.; H6t. Wagram, 208 Rue de Rivoli, 140 R.
from 5, B. 2, L. 6, D. 7, pens, from 14 U.—*Hdt. de Lille & d'AU
hion, 223-225 Rue St-Honor6, between the Rues d' Alger and de
Castiglione, 160 R. from 6, B. 1^/4, L. 5, D. 6, pens, from 16 fr. —
^ *H6t. de France & Choiseul, 239-241 Rue St-Honor6, near the
■■)f Place VendSme. — * Normandy Hotel, 7 Rue de I'Echelle, a good
family hotel, 200 R. from 6, B. IV2, L. 5, D. 6, pens, from 15 fr. ;
Hdt. Montana, 11 Rue de PEchelle, near the Av. de POp^ra, 80 R.
from 8, B. 2, L. 5, D. 7, pens, from 18fr.— To the S.B. of the Place
de P0p6ra, well situated (PI. R, 18, 21 ; //) : *H6t. BeUemte, 89 Av.
de P0p6ra, near the Rue des Petits-Champs, 100 R. from 6, B. l^/j,
^ L. 4, D. 6, pens, from 15 f r. ; Hdt. Madison, 48 Rue des Petits-
Champs, comer of Av. de rOp6ra, 100 R. from 8, B. 2, L. 4, D. 6,
pens, from 16 f r. ; *Hdt. des Deux-Mondes, 22 Av. de l'0p6ra. —
Near the Palais-Royal: Gr.-Hdt. du Louvre (PI. R, 20; //), Place
du Palais-Royal, Place du Th^&tre-Fran^ais, and Rue de Rivoli,
300 R. from 5, B. 172? I^- 5» I>- 6, pens, from 15 fr.; Royal Palace
Hotel, PI. du Th6&tre-FranQais and 8 Rue de Richelieu, 80 R. from
6, with bath from 12, B. 1^2 » I^- 4, D. 6, pens, from 15 fr. — Near
the Op6ra: *Hdt. Scribe, 1 Rue Scribe, in the house of the Jockey-
Club (p. 43), 110 R. from 8, B. 2, L. 5, D. 7, pens, from 20 fr.—
Near the Madeleine: Hdt. Bedford, 17 Rue de I'Arcade, 100 R.
from 6, B. 1^2^ I^- 4, D. 6, pens, from 15 fr. — Farther S., near Place
de la Concorde and Champs-Elys6es : Hdt. VouUlemont, 15 Rue
Boissy-d*Anglas, 125 R. from 6, B. V/^, L. 4, D. 6, pens, from 15 fr.
In or near the Ohamps-Elys^es (see also p. 7 ; frequented by
English and Americans) : *H6t. d^Albe, 55 Av. de PAlma and 101
Av. des Champs-Elys^es, 150 R. from 8, B. 2, L. 5, D. 7, pens, from
18 fr.— -Rond-Point and 2 Rue Montaigne (PL R, 15; //): *Hdt.
Meyerbeer, 80 R, from 7, B. 2, L. 5, D. 6, pens, from 15 fr.
Near the Place db l'Etoile (PI. B, 12; /): *Hdt. Beau-Site,
4 Rue de Presbourg, a good family hotel, 50 R. from 10, B. 2, L. 6,
D. 8, pens, from 20 fr.—* Hdt. Campbell, 45-47 Av. de Friedland,
IfsfbrmaUon. 2. HOTELS. 5
108 B. from 5, B. IVj, L. 6, D. 6, pens, from 14 fr. — Mac-Mdhan
Palace Hotel, 29 Ay. Mac-Mahon, family hotel (opened in 1911), 80
R. from 5, B. 2, L. 5, D. 7, pens, from 12 fr. — *H6t. d'l6na, 28-32
Av. d'I6na, near Place d'I6na, 300 R. from 5, B. V/^, L. 4, D. 6,
pens, from 12 fr.
On the Left Bank of the Seine: *Palai8 d'Orsay, at the
Oare du Qnai-d'Orsay (PI. R, 17, //; see p. 805), 9 Qnai d'Orsay,
not far from the Louvre, mnch frequented, 400 R. from 6, B. I*/,,
L. 5, D. 6, pens, from 15 fr. (rest., see p. 23). — Hdt Lutetia (PI.
R, 16; IV), 43 Boul. Raspail, comer of Rue de Sevres, opened in
1910, with 230 R. and 90 bath-rooms, R. from 5, with bath from
12, B. 2, L. 4, B. 5, pens, from 15 fr.
Other Hotels (First and Second Class).
The hotels in this section are arranged topographically. Their
charges will give some idea of their rank. Oomp. remarks on pp.
2 and 3.
1. Hotels in the "W. Fart of the Inner Town.
Between the Place de la Concorde and the Madeleine on the W. and
the Palais-Royal and Bonl. Montmartre on the E. *•
H&tels Meubles, see p. 11.
In the Rub de Rivoli (PI. R, 18; //), near the Louvre and the
Garden of the Tuileries, a favourite English quarter: No. 202 (and
211 Rue St-Honor6), Hdt St-James & d' Albany, 200 R. from 5,
B. l^/j, L. 4, D. 5, pens, from 12 fr.
Between the Rues de Rivoli and St-Honor6 (PI. R, 18; //) : Hdt
Md/ropolitain, 8 Rue Oambon, 80 R. from 5, B. Vj^i L. 5, D. 6,
pens, from 12 Vj fr. ; Hdt. de CastiUe, 37 Rue Cambon, 70 R. from 5,
B. iVs, L. 4, D. 5, pens, from 12 fr. (English and Americans). —
Hdt. LouiS'lS'Grand, 3 Rue Rouget-de-1'Isle, 75 R. from 4, B. lYa,
L. 3V2, B. 41/2, pens, from 10 fr.; H6t. Mont-Thabor, 4 Rue du
Mont-Thabor, 40 R. from 4, B. IV4, L. 3, D. 31/2, pens, from 9 fr.—
*HSt. de la Tamise, 4 Rue d' Alger, comer of Rue de Rivoli, 35 R.
from 3*/g, B. 1*/,, L. 3, D. 4, pens, from 10 fr. (patronized by ladies
travelling alone) ; Hdt. d^ Oxford <Sb de Cambridge, 13 Rue d' Alger,
50 R. from 4, B. V/^, L. 3, D. 4, pens, from 10 tT.—Hdt Tivol-
tier, 4 Rue du 29 Juillet, 60 R. from 31/2, B. IV4, L. 3, D. S^/^,
pens, from 10 fr., good. — Savoy Hotel, 1 Rue St-Roch, corner of
Rue de Rivoli, 60 R. from 5, B. IV2, L. S^/^, D. 5, pens, from 10 fr. ;
Hdt. de Paris <& d'Osbome, 4 Rue St-Roch, 53 R. from 3, B. l^^,
L. 3, D. 3Y2J pens, from 10 fr., well spoken of; Hdt. St-Romam,
5-7 Rue St-Roch, 60 R. from 4, B. I1/2, L. 31/2, D. 5, pens, from
10 fr., commended. — Other hotels near the Louvre, see p. 8.
To the N.W. and N.E. of Place Vrnd6mb (PL R, 18; //), be-
6 2. HOTELS. PreUminary
tween the Av. de I'Opera and Boul. des Capucines : H6t. de Rastadt,
4 Rue Daunou, 40 R. from 5, B. l^/a, L- 4, D. 5 fr. ; H6t, de VAmi-
rauti, 5 Rue Bannou, 40 E., Bimilar charges. — Rue d'Antin : No. 16,
H6t des EtatS'Unis, 55 R. from 4, B. IV2, L. SYat ^' 4? pens,
from 10 fr.; No. 18, H6t d'Antin^ 36 R. from 3, B. l^/g, L. 31/2,
D. 4, pens, from 9 fr. »
I To the E. of Avenue de l*0p6ra, near Boul. des Italiens (PI.
^ \ R, 21; //): Hdt Monsigny, 1-3 Rue Monsigny; H6t. de la N^a,
9 Rue Monsigny, 40 R. from 41/2? B- iVa^ ^' ^Va? •^- ^j pens, from
11 fr. — H6t. de Manchester, 1 Rue de Grrammont, 40 R. from 4,
B. IV2, L. 31/2, D. 4, pens, from 10 fr.; *H6t. du PMgord, 2 Rue
de Grammont, 50 R. from 4, B. 172? t. 3^/2, B. 4^/2 » pens, from
12 fr. — Hdt. Favart, 5 Rue de Marivaux, opposite the Op6ra-Co-
mique, a good family hotel, 50 R. from 4, B. l-lV2t ^- ^V** ^' 4V»»
pens, from 12 fr.— To the S., near the Palais-Royal (PI. R, 21 ; //) :
Hdt. Ste-Anne, 10 Rue Ste-Anne, 110 R. from 5, B. l^/j, L. 3, D. 4,
pens, from 13 fr.
In the Boulevards des Capucines and des Italiens, and side-
streets (PI. R, B, 18, 21; //): Boul. des Italiens, No. 22 (entrance,
4 Rue Taitbout), *Addphi Hotel, 70 R. from 5, B. IV2, L. 21/2-
3Y|, D. 3Y2-5, pens, from 10 fr.; Nos. 2-4 (entr., 1 Rue Drouot),
*Hdt. de Hussie, 106 R. from 6, B. I72, L. 31/2, D. 41/2, pens, from
14 fr. — To the S. of the Boul. des Italiens: Hdt. Cvsset, 95 Rue de
Richelieu. — To the N. of the Boul. des Italiens: 8 Rue duHelder,
Hdt du Tibre, 60 R. from 7, B. iVg, L. 4, D. 5, pens, from 14 fr. ;
Nos. 7-9, Hdt. du Helder; No. 11, Hdt. Richmond, a family hotel,
70 R. from 6, B. IV2, L. 4, D. 5, pens, from 14 fr.; No. 16, *Hdt.
de V0p4ra, a. quiet family hotel, 40 R., B. 11/2, L. 3721 I>- ^72,
pens, from 13 fr.; Hdt. des Pays-Bos, 32 Rue Laffltte.
To the N.E. of the Place de l'0p6ba (PI. B, 21 ; //) : Hdt. Suisse,
5 Rue La Fayette, a good family hotel, 50 R. from 5, B. 172? I^* 372?
D. 472, pens, from llfr.— flo^. Victoria, 10 Cite d'Antin, 40 R.
from 4, B. I74, L. 372, I>. 4, pens, from 9 fr. — Hdt. St-Georges
6 de Barcelone, 18 Rue St-Georges, 40 R. from 4, B. 174, L. 3725
^' 472? pens, from 12 fr. — Farther on: Hdt. Franklin & du Bri-
sil, 19 Rue Buffault, near the Rues de Chateaudun and La Fayette,
45 R. from 4, B. 174, L. 3, D. 3, pens, from 8 fr.
Near the Madeleine (PI. R, B, 18; //), to the N. of the Boule-
vards : 14 Rue Caumartin, *Hdt. de la Grande-Bretagne (rebuilt in
1910), 80 R. from 6, with bath from 12, B. 172, L. 4, D. 5, pens, from
14 fr.; Nos. 33-35, Hdt. St- Peter shourg, 150 R. from 5, B. 17^,
L. 3, I) .4, pens, from 13 fr. — No. 26, Rue des Mathurins, Hdt. de
Florence, 32 R. from 4, B. 172, L. 3, D. 4, pens, from 9 fr. ; No. 50,
Hdt. de Sydney, 34 R. from 4, B. 17^, L. 372* I>- 4, pens, from
8 tT.—*Hdt. Vignon, 23 Rue Vignon, 50 R. from 372, B. 172, L. 3,
D. 4, pens, from 10 fr.
InfomuxHon, 2. HOTELS. J/ f 7
To the S.E. of the Madeleine (PI. R, 18; //): Hdt. Burgundy,
8 Rue Duphot, 100 R. from 4, B. V/^, L. 31/2, D. 41/2 fr., good.—
Hdt Bichepanse, 14 Rue Richepanse, 40 R. from 5, B. l^/g, L. or
D. 3-5, pens, from 10 fr.
To the S.W. of the Madeleine (PI. R, 18; //), Cit6 du Retiro
(entr., 35 Rue Boissy-d'Anglas and 30 Rue du Faubourg-St-Honor^),
quietly situated: No. 5, Hdt. Perey, 37 R. from 4, B. IY2, L. 3,
D. 4, pens, from 9 fr.; No. 3, Hdt. de la CU^-du-Retiro, family
house, 28 R. from 4, B. IV4, L. 21/2, I>- 31/2, pens. from 71/2 fr.
To the N. W. of the Madeleine (PI. R, B, 18 ; //) : Hdt LaHisien,
4 Passage de la Madeleine, 40 R. from 3, B. IV4, L. 372? I>- 4,
pens, from 10 fr. — Florida Hotel, 12 Boul. Malesherbes, 60 R.
from 5, B. IV2, L- ^^U, I>. 41/2, pens, from 12 fr.; No. 26, H6t
Malesherbes, 60 R. from 4, B. 11/2, IJ- 4, D. 41/2, pens, from I2Y2 fr-
— Hdt. de V Arcade, 7 Rue de I'Arcade, family house, 60 R. from 4,
B. V/2, L. 3, D. 4, pens, from 8 fr. — H6t. Buckingham, 32 Rue
Pasquier, 50 R. from 4, B. 1^4, L. 3V2» ^' 4, pens, from 10 fr.
2. Hotels in the Champs-Elys^es and Environs.
To the N. of the Rond-Point (PI. R, B, 15 ; //) : Hot. Montaigne,
30 Rue Montaigne, Dutch, 50 R. from 4^21 B- IVzj ^' 3? ^- 4, pens,
from 10 fr. — Hdt. Avenida (opened in 1911), 41 Rue du Oolis6e,
65 R. from 4, B. l^/g, L- ^^U, I>. ^^k-, P^ns. from 11 h.—Hot.
Bradford, 10 Rue St-Philippe-du-Roule, 50 R. from 6, B. 1 Va, L. 4,
D. 5, pens, from 12 fr. — Hdt. d^Angleterre, 91 Rue La Bo^tie,
40 R., B. 11/4, L. 3V2, I>. 41/2, pens, from 8 fr.
To the W. of the Rond-Point (PI. R, 12; /): H6t. Grosvenor,
59 Rue Pierre-Charron, 45 R. from 6, with bath from 15, B. 1^/2,
L. 4, D. 5, pens, from 12 fr. ; Hdt. West-End, 7 Rue C16ment-Marot,
Anglo-American, 50 R. from 5, B. l^/g, L. 3Y2J ^' 4, pens, from
10 fr. ; Hdt. Imperial, 4 Rue Christophe-Colomb, 60 R. from 5,
B. iVaj L- 4, D. 5, pens, from 12 fr.— To the S.W. of the Rond-
Point : ^Hdt. du Palais, 28 Cours-la-Reine, near Place de P Alma,
94 R. from 5, B. I72, L. 4, D. 5, pens, from 12 fr.; *Hdt. de La
TrimoiUe, 14 Rue de La Tremoille, 130 R. from 4, B. 11/2, I^- 4,
D. 5, pens, from 11 fr.
Near the Place de l'Etoilb (P1.B,R,9,12;/) : * Royal Hotel,
33 Av. de Friedland, 70 R. from 8, B. Vf^y L. 4, D. 5, pens, from
15 fr. (Americans); No. 19, The American Hotel, 50 R. from 5,
B. 2, L. 372, 1>. 4, pens, from 9 fr.— Splendid Hotel, 1^'« Av. Gar-
net, 60 R. from 5, B. I72, I^- 4, D. 5, pens, from 12 tr.—Gr.-Hdt.
des Acacias, 47-49 Rue des Acacias, 60 R. from 272? B. 1, L. 3,
D. 372? pens, from 9 fr. — Hdt. Mont-Meuri (opened in 1912),
21 Av. de la Grande-Arm^e, 50 R. from 4, B. 1721 I^- 4, D. 5, pens,
from 9 tr.—Hdt. Columbia, 16 Av. Kl^ber, 60 R. from 4, B. 172,
8 2. HOTELS. Pi-aiminary
L. 4, D. 5, pens, from 12i/j fr. — Hdt. des Champs- Ely sies, 3-5 Rue
de Balzac, corner of Rue Lord-Byron, with roof-terrace, Anglo-
American, 75 R. from 7, B. l^j, L. 4^2, D. 6, pens, from 16 fr. —
Farther to the E. : Hdt Hauasmann, 192 Boul. Haussmann, 38 R.
from 3, B. 1, L. 2Y27 ^' 3, pens, from 7 fr.
Near the Place des Etatb-Unis (PI. R, 9, 12 ; /) : ^H6t, Inter-
national, 60 Av. d*I6na, 80 R. from 5, B. 1*/*, L. 3, D. 4, pens,
from 10 fr. — H6t, Belmont & de BcusanOf 28-30 Rue Bassano,
family hotel (Americans), 60 R. from 6, B. 17j, L. 3, D. 6, pens,
from 12 fr., well spoken of. — To the W., towards the Av. KUber:
Hdt, Ferrets y 32 Rue Hamelin, 50 R. from 4, B. ly^, L. 4, D. 5, pens,
from 11 fr. — H6t. Baltimore j 88»>»« Av. Kl^ber, corner of Rue
L6o-Delibes, 130 R. from 5, B. IV2, L. 4, D. 41/2, pens, from 11 fr.
3. Hotels in the E. Fart o^ the Inner Town.
(To the £. of Rne de Richelieu and Rae Droaot.)
H6tels MeubUs, see p. 11.
Near the Louvbb (PI. R, 20, 21 ; //, ///) : Central Hotel, 40 Rue
du Louvre, near the Bourse du Commerce, 300 R. from 5, B. l^/j,
L. 31/8, B. 41/8 fr.— Rue Croix-des-Petits-Champs : No. 10, Hot
de V Univers & du Portugaly 72 R. from 3, B. 1 1/4, L. 31/4, D. 37^,
pens, from 8Y, fr., well spoken of; No. 27, Hdt. du Levant, 97 R.
from 3Vj, B. 1 1/4, L. 2V8, D. 3, pens, from 7 fr. —*H6t. Ste-Marie,
83 Rue de Rivoli, 60 R. from 3, B. 1^4, L. 3Vj, D. 4, pens, from
11 fr. —Farther E. (PI. R, 20, 23; ///, F): Hdt. Britannique,
20 Av. Victoria, patronized by English and Americans, 30 R. from
21/4, B. 11/4, L. 272, D. 3V8, pens, from 6 fr.
Near the Palais-Royal (PI. R, 20, 21 ; //, ///) : Hdt, d'OrUans,
17 Rue de Richelieu, 75 R. from 4^87 B. IV2, L. 3, D. 4, pens,
from llYa fr* — *Gr.-Hdt. du Palais-Royal, 4 Rue de Valois,
90 R. from 5, B. Vj^, L. 3, D. 4, pens, from 12 fr.
Near the Biblioth^que Nationalb (PI. R, 21 ; //, ///) : *Hdt,
Louvois, Square Louvois, 120 R. from 7, B. lY^, L. 4, D. 5, pens,
from 14 fT,—*Hdt. de MaUe, 63 Rue de Richelieu, 75 R. from 4,
B. 11/2, L. 3, D. 4, pens, from IV /^ fr.
The following hotels are not quite so central, but are still con-
veniently situated in the Grands Boulevards or their side-streets,
from the Rue de Richelieu E. to the Place de la R^publique. In
the BouL. MoNTMABTRE (PI. R, 21 ; ///) : No. 11, entered by 48 Rue
Vivienne, Hdt. des Grands-Boulevards, 60 R., incl. bath, from 5,
B. 1^2, L. 3, D. 4, board 7 fr.; No. 10, Hdt, Ronceray (Terrasse
Jouffroy; rest., see p. 19), 120 R. from 4, B. 1, L. 37a, D. 5, pens,
from 12 fr.
To the N. of Boul. PoissoNNriaB (PI. R, B, 21 ; ///) : *H6t.
Paris-Nice, 38 Rue du Faubourg-Montmartre, 120 R. from 378»
Infbrmation, 2. HOTELS. 9
B. 1*/,, L. 3, D. 4, pens, from 10 fr. — Hdt. de France, Hdt. de la
Cit^'Bergdre (well spoken of), and Hdt, Mondial, 2, 4, and 5 Cit6
Berg^re, all under the same management, 35, 50, and 80 rooms re-
spectively, B. from 3 or 4, B. 1, L. 3, D. 37j, pens, from 8 or 9 fr.
— *Gr.'H6t, Bergire & Maison Blanche, 32-34 Bue Bergire,
109 B. from 6, B. VL, L. 4, D. 5, pens, from 12 fr. —Hdt Prima
(formerly Hdt. de Belgiqne & de Hollande), 7 Bue de Tr^yise, 60 B.
from 3, B. 1, L. 3, D. 37j, pens, from 9 fr. —Hdt, deBaviire, 11 Bue
Bicher and 17 Bue du Conservatoire, 80 B. from 5, B. l^j, L. 3, D. 4,
pens, from 12i/j fr. (German visitors) ; Cecil Hotel, 7 Bue du Conser-
vatoire, 36 B. from 3, B. ly** L- 2Vji, B. 3, pens, from 9 fr., good.
Nos. 32-38, BouL. Bonnb-Nouvbllb (PI. B, 24; ///) : H6t, Mar-
guery (rest., see p. 20).
To the N. of Boul. Bonne-NouveUe (PI. B, B, 24; ///) : Gh-.-Hot.
IndO'HoUandais, 8 Bue d'Hauteville, 60 B. from 4, B. V/^, L. 3Vs,
D. 4, pens, from 10 fr. ; Hdt. d'Aviriche, 37 Bue d*Hauteville,
100 B. from 4, B. iVj, L. 3V8, D. 41/8, pens, from 12 fr., well
spoken of (Germans) ; Gr,-Hdt. du Pavilion, 36 Bue de PEchiquier,
125 B. from 4, B. 1*/,, L. 4, D. 5, pens, from 13 fr., well spoken
of (Germans).— -fi^. Violet, 11-12 Passage Violet, 60 B. from 4,
B. 11/2, L. 3Yj, D. 4^2, pens, from 12 fr. (Germans).
To the S. of Boulevards Montmartre and Poissonni^re (PI. B,
21 ; ///) : Hot. de Roiten, 13 Bue Notre-Dame-des-Victoires, 45 B.
from 3V8» B- 1V4> ^* ^V«» ^' ^» pens, from 8 fr., well spoken of. —
Hot. des Colonies, 27 Bue Paul-Lelong, 50 B. from 4, B. l^/^,
L. 2Ys» D- 2*/,, pens, from 10 fr. — Egli'a Hdt. International,
11 Bue Bachaumont, 90 B. from 3Yj, B. V/^, L. 3, D. 3, pens,
from 9 fr., well spoken of.
At the W. End op thb Boulevards: *Hdt. Moderne (PI. B, 27 ;
///), Place de la B6publique, 500 B. from 4, B. 1 1/4, L. 31/2, D. 41/2,
pens, from 12 fr. — Near the Conservatoire des Arts et Metiers:
Hdt. Europ6en, 67 Bue de Turbigo, 80 B. from 3, B. l^A, L. 3,
D. 31/2, pens, from 91/2 ^r. (Germans) ; Little Palace Hotel, 4 Bue
Salomon-de-Caus, Square des Arts-et-M6tiers, 68 B. from 4, B. 1,
L. 3, D. 3^2, pens, from 10 fr.
4. Hotels on the IJeft Bank,
These hotels are less suitable for the pleasure-seeker. The N. part
of the Pauboui^f St-Germain is fairly convenient for the Louvre. The
Quartier Latin is chiefly frequeuted by students.
Kdtels Meubl6s, see p. 12.
In the Faubourg St-Gbrmain (PI. B, 17, 16, 20; IV): * Palais
d^Orsay, see p. 5. — Hdt. du Quai -Voltaire, 19 Quai Yoltaire,
near the Pont du Carrousel, 38 B. from 31/2, B. iVs, L. 3, D. 3V2,
pens, from 10 fr., good. — Hdt. des Ambassadeurs, 45 Bue de Lille,
32 B. from 3, B. l*/*, L. 3V8, B. 4, pens, from 7 fr.; No. 91, Hdt
10 2. HOTELS. Praiminary
Solferino, 36 R. from 31/2, B. IV4, L. 3, D. 3V2, pens, from 9 fr.,
a good family hotel. — H6t. Jeanne-d'Arc, 59-61 Rue Vaneau,
100 R. from 3, B. 1, L. 3, D. 3V2, pens, from 9 tv.^Hdt des
SaintS'Pdres, 65 Rue des Saints-Peres, 46 R. from 5, B. V/2^ L. 31/2?
D. 47,, pens, from 11^2 ^r., good, Nos. 64-66, Hot. du Bon-La-
fontaine, 42 R. from 2V2, B. l^/^, L. 3, D. 37^, pens, from S^/^ fr.,
these two frequented by the clergy. — To the E., nearer the Quartier
V / Latin: Hot. d'OrUanS'St-Germain, 50 Rue Jacob, 88 R. from
31/2, B. 1, L. 21/27 I>. 3, pens, from 71/2 fr.; No. 58, Hat. du Da-
nube, 62 R. from 372, B- 1» ^- 272» ^' 3, pens, from 7 fr., well
spoken of. — Hot. de Seine, 52 Rue de Seine, 36 R. from 3, B. 1,
L. 272, D. 3 fr.
In the Quartier Latin (PI. R, 19; F) : H6t. de Suez, 31 Boul.
St-Michel, 60 R. from 30 fr. per month, B. 60 c, L. or D. 1 fr. 60-
2 fr. 10 c. — H6t. du Globe, 50 Rue des Ecoles, 52 R. at 372-6,
B. 1 fr. — H6t. du ColUge-de-France, 12 Rue de la Sorbonne,
35 R. at 272-5 fr. per day or 40-100 fr. per month, pens. 6-10 fr.,
well spoken of. — Hdt de V Observatoire, 107 Boul. St-Michel,
32 R. from 372, B. 1, L. 272? I>- 3» pens. from 7 fr., good.
Near the Luxembourg (Od^on; PI. R, 19, IV, V): H6t. Mal-
herbe, 11 Rue de Vaugirard, family hotel, 60 R. at 2^/2'^^/%, B.
7* f r. — Hdt. ComeiUe, 5 Rue Comeille, next the Od6on, 90 R.
from 3, B. 1, L. or D. 2727 pens, from 8 fr., well spoken of. —
Hdt St'Sulpice, 7 Rue Casimir-Delavigne, 45 R. at 272-5, B. s/^,
L. 2, D. 2727 pens. 6-8 fr. (Spanish visitors). — Hdt. Regnard,
4 Rue Regnard, near the Od^on, 35 R. at 2-5, B. 1, pens, from
6 tr. — Hdt. du S&naJt, 7 Rue de Tounion, 60 R. at 372-5, B. 1,
L. 274, B. 2727 pens, from 672 ^r. (Scandinavians and Germans).
— tidt. Jean-Bart, 9 Rue Jean-Bart, to the W. of the Luxembourg
Garden, 40 R. at 372-6, B. s/^-l, L. 2V4, D. 272, pens. 6-772 fr.
5. Hotels near the Bailway Stations and at Montmartre.
Gare du Nord (PI. B, 24). Opposite the exit: Hot. Terminus-
du-Nord, 12 Boul. de Denain, 300 R. from 4, B. 172, L. 4, D. 5,
pens, from 13 fr., well spoken of (rest., see p. 22) ; No. 6, Hdt.
Denain (meuble), 60 R. at 5-7, B. 172 fr- — New Hotel, 40 Rue
St-Quentin, corner of Rue de Dunkerque. — Hdt. Magenta, 129
Boul. de Magenta, corner of Rue de Dunkerque, well spoken of.
Garb de l'Est (PI. B, 24, 27). Hot. Terminus-Est, 5 Rue de
Strasbourg, built in 1911, 120 R. from 4, B. 174 fr., rest, k la carte.
— Boul. de Strasbourg, No. 76, Hdt Amiot (meuble), 80 R. from
472 fr. ; No. 74, Hdt. de V Europe, 40 R. from 4, B. 174, L. or D. 27o,
pens, from 10 fr. ; No. 72, Hdt. de Paris, 50 R. from 372, B. IV4 (y-
— FiX'Hdtel, 72 Boul. de Magenta and 11 Rue St-Laurent, 25 R.
from 5, B. 174 fr. — Hdt. du Centre (meubU), 4 Rue Sibour, opposite
the church of St-Laurent, 50 R. from 5, B. 1 fr. — Hdt de France
InfbrmaHon, 2. HOTELS. 11
(meubl6), 3 CiW Jarry (entrance at 67 Boul. de Strasbourg), 36 R.
at 3-6, B. 1 fT. — H6t. Caffarel (meubU), 46 Rue Albouy, 65 R.
at 2-5, B. 1 fr.
Garb St-Lazarb (PL B, 18, 21; //). *Gr.-H6t. Terminus,
108 Rue St-La«are, in front of the station, 500 R. from 6^25 B.
IYj? Ij- 5, D. 6, pens, from 15 fr. — Opposite the station: JSdt
de LoTidres & de New -York, 13-15 Place du Havre, 100 R.
from 4^2? B. 1^2, L. 3, D. 4, pens, from 10 fr. — H6t. Anglo-
Am&ricain, 113-117 Rue St-Lazare, 110 R. from 4, B. li/gj I^- 3V2»
D. 4, pens, from 10 fr.; H6t. de Normandie, 4 Rue d'Amsterdam,
comer of Rue St-Lazare, 70 R. from 3, B. 1, L. 3, D. 4, pens,
from 10 fr., good; Hdt. du Temps, 29 Rue d'Amsterdam, 70 R.
from 3, B. 1, L. 3, D. 3725 pens. from 7 fr. — British Hdtel (formerly
H6t. Cosmopolite), 62 Rue de I'Arcade, comer of Rue de Rome. —
Hdt. Joubert, 3 Rue Joubert, near the Op6ra. — H6t. de Touraine
(meubl6), 73 Rue Taitbout, comer of Rue de Chftteaudun, 24 R. at
3-6, B. 11/4 fr.
At MoHTMARTRE (PI. B, 17). T'eTTOss^ Hotel, 12 Rue de Maistre,
comer of Rue Caulaincourt, with roof-garden, R. from 3, L. 3, D.
3V2 fr., new.
Garb Montparnasse (PL G, 16; IV). H6t. Lavenue, 1-3 Rue
du Depart (rest., see p. 23). — Hdt. de la Marine & du Terminus
(meubl6), 69 Boul. du Montparaasse, 65 R. from 4, B. 1^4 fr.
Gare de Lyon (PL G, R, 28). Hdt. Terminus du Chemin-de-
Fer-de-Lyon, 19 Boul. Diderot, 60 R. from 4, B. IV27 L- 4, D. 5 fr.
— Palym-Hdiel (meubU), 4 Rue Emile-Gilbert, opposite the sta-
tion, 50 R. from 4, B. 1^4 fr., good.
The hotel at the Garb du Q,uai-d*Orsay (see p. 5) is not far from
those on the left bank named at the beginning of section 4, p. 9.
Hdtels Meubl^s.
In the W. Part op the Inner Town (PL R, B, 18, 21; //):
Hdt. Paris-Centre, 11^" Rue Sainte-Anne, near the Av. de l'0p6ra,
32 R. from 5, B. lV4fr. — Hdt. Beaujolais, 15 Rue de Beaujolais,
Palais-Royal, 30 R. from 3, B. V/^ fr., good. — Hdt. Duminy-
LabiUe, 3 Rue du Mont-Thabor, 35 R. from 31/2, B. I1/4 fr.—
Maison MenhUe, 25 Boul. des Capucines, opposite the Grand-
Hdtel, 40 R. from 3, B. V/^fr. — Hdt. de Bade, 32 Boul. des
Italiens (rebuilt in 1912), 60 R. from 7, B. IV2 fr. — Hdt. Laffitte,
38 Rue Laffitte, 30 R. from 3, B. IV4 It. — Hdt. Rossini, 16 Rue
Rossini, 53 R. from 3, B. 1 It. — Hdt. de Berne, 30 Rue de Ch&-
teaudun, 33 R. from 3, B. V/^tr. — Hdt. de S^ze, 16 Rue de S^ze,
near the Madeleine, 24 R. from 5, B. 1^/2 fr.
In the E. Part op the Inner Town (PL R, 21, 24; ///): Gr.-
Hdt Dor6, 3 Boul. Montmartre, 80 R. from 4, B. IV2 fr. — Hdt.
12 2. PENSIONS. PreUminary
BeaU'S^owr, 30 Boul. Poissonni^re, 100 R. from 3Ys, B. l^/^tr.
— Hot. de la Havane, 44 Roe de Tr^vise, to the N. of BouL Pois-
sonni^re, 60 R. from 3, B. 1 fr. (Gennans). — H6t, Vivienney 40 Rue
Vivieiine, near the Bourse, 40 R. from 3Yj, B. 1 fr. — H6t. des
PcUmierSy 39 Rae Gren6ta, near Boul. de S^bastopol, 30 R. at 2-5,
B. ^/^-l fr. — Alhambrd's Hotd, 11^*" Rue de Malte, near Place de
la R^publique (opened in 1911), 60 R. from 3 fr. per day or from
50 fr. per month, B. 1 fr.
Left Bank of Sbinb (Pl.R, 19; V): Hot Taranne, 153 Boul.
St-Germain, Place St-Germain-des-Pr^s, 34 R. at 4Vj-6V8, B. 1 fr.
— Hdt d'Harc(ywrt, 3 Boul. St-Michel, 57 R. from 2 Vj, B. 1 V* f r. —
HOt.Dacia, 41 Boul. St-Michel, 34 R. at 3-6, B. 1 tr. — Hdt des
EtrangerSf 2 Rue Racine, comer of Boul. St-Miehel, 50 R. at 3-7,
B. 1 f r. — Maison MeuhUe Vetter, 9 Rue Du Sommerard, 40 R. at
2-4 or 30-70 fr. per month, B. y^tT.— -Select Hatdy 1 Place de la
Sorbonne, 60 R. from 4, B. 1-17, fr.
Hdtels Meubl^s near the stations, see pp. 10, 11.
Fenslons and Family Hotels.
Pensions and family hotels are, especially with English and American
visitors, becoming very popular, even for a short stay.
In the Ghamps-Elts^es district. Near the Place de PEtoile,
to the N. of the Av. des Champs-Elys6es (PL B, 12): H&t. CeeUia
(Thayer), 11 Av. Mac-Mahon (50 R. ; pens, from 10 fr.); Dominion
Hotel J 28 Av. de Friedland (60 R.; from 15 fr.); Miss CahUly
ll'>»» Rue Lord-Byron (25 R.; 8-I2V2 fr.); Hdt Lard-Byron,
16 Rue Lord-Byron; Hdt. Balzac, 4 Rue de Balzac (46 R.; 10-
12 fr.); Celtic Hotel and Hdt. BeaulieUj 6 and 8 Rue de Balzac;
Pens. WoodviUe, 21 Rue Washington (15 R.; 71/2 -10 fr.). — To
the N.E. of the Rond-Point (PI. B, 15; //): Franklin's House
(Mme. Meyer), 26 Rue de Penthi^vre (23 R.; 8-13 fr.). — To the S.
of the Av. des Champs-Elys6es (PL R, 12, 9; /): Pens. Francis,
3 Rue Robert-Estienne (22 R.; 6V2-10fr.); Mme.Gondat, 18 Rue
C16ment-Marot (30 R. ; 7-12 f r.) ; Mme. BeUot-Carol, 4 Rue Bocca-
dor, comer of Av. Montaigne (26 R. ; IOV2-I5 fr.) ; Mme. Beymond,
41 Av. Marceau (30 R. ; 878-13 fr.) ; Hdt-Pens. Simonet, 5 Rue
Bassano (33 R.; 9-15 fr.); Pens. Keppler, 12 Rue Keppler (24 R.
8-12 fr.); Pens. GaliUe, 41-43 Rue Galilee (60 R.; 8-14 fr.); H6t
BooseveU, 63 Av. d'I6na, near the Etoile (30 R.; 12-17 fr.); Pens
Hawkes, 7 Av. du Trocad6ro, near Place de P Alma (25 R. ; 8-12 fr.)
Miss Bligh, 15 Rue Pierre-Charron (4 R.; 6-7 fr.).— At Passy
(PL R, 8, 5 ; /) : Pens. Frangaise, 10 Rue Scheffer (9 R.; 8-11 fr.)
Hdt. Gavarni (meubl6), 5 Rue Gavarni (32 R. at 27,-5; B. 1 fr.)
ViUa Violette, 22 Rue Raynouard (21 R. ; 7-12 fr.); New Private
Pension, 12 Av. Jules- Janin, near La Muette (12 R.; 9-11 fr.)
Inf&rmation. 2. PENSIONS. 13
S6t. Beaus&jour, 99 Rue da Ranelagh, corner of Rue Mozart (40 R.
from 10 fr.). — To the S.W. and W. of the Etoile (PI. R, B, 9; /)
IVtvate Hotd (Misses Kirker and Gray), 3 Roe C^imarosa (17 R,
10-15 fr.) ; Mme. Verdin, 100-102 Av.Victor-Hngo (57 R. ; 7-12 fr.)
Pens. IntemaHonale, 114 Av. Victor-Hngo (12 R.; 6V8-8V2 fr.)
Pens. Lamariine, 175 Av. Victor-Hngo (15 R. ; 7-10 fr.) ; PrivcUe
Hotel (Mme. La Torre), 155 Rne de la Pompe (20 R.; 9-12 fr.);
The Avenucy 157 Rue de la Pompe (34 R. ; from 10 f r.) ; ViUa SUUa,
16 Rue Ohalgrin (26 R.; 87,-14 fr.); Pern. Gaigneau, 81 Rue
Buret (25 R.; 6-7 fr.); MUe. Tison, 8 Rue Lalo (ladies only; 4 R.
7-8 fr.); Mme. de la Ponterie, 11 Av. de la Grand e-Arm6e (14 R.
6-12 fr.). — To the N.W. of the Etoile (Temes quarter; PI. B, 9)
VtUa St'GeorgeSf 6 Rue Demours (30 R. ; 6-14 fr.).
Near Placb db Clicht (PL B, 17): Bichard^s Family Hotels
22 Rne Darcet (12 R.; 8 fr., per month 200 fr.) ; Clavnnont House
(Edouard Poy), 16 Rue de Calais (30 R.; from S^/^ fr.).— ilfr«.
Kirk, 31 Cit6 des Pleurs, Av. de Clichy (67,-81/2 fr.).
Ltt the Centre op the City (PL B, R, 18, 21; //, ///): The
Marlboro* (Mme. Wallis), 24 Rue des Capucines, comer of BouL
des Capucines (80 R.; 10-14 fr.); Mme. Gruet, 26 Av. de P0p6ra
(13 R.; 8-16 fr.); Mme. Foltzer, 4 Rue Sainte-Anne, near Av. de
P0p6ra (7 R. ; 8-12 fr.) ; Mm>e. Doueerain, 12 Rue Caumartin (9 R. ;
87^ tr.) ; H6t. Le Gcd, 12 Cit6 Bergire, near BouL Poissonni^re
(30 R.; from 6 fr.); Boizard, 11 Rue Montholon (25 R.; 6-8 fr.).
Near the Gabe du Nobd (PL B, 24) : Cosmos-Pension (Crosier),
14 Rue Lentonnet, between Rues P^trelle and Condorcet (50 R. ;
7-15 fr.).
In the Cit6 (PL R, 20; F) : Mme. Barbier, 20 Rue de Harlay
(6 R.; 7-8 fr.).
Left Bank. Near the Pont de PAlma (PL R, 11 ; /) : Pens. La-
fayette (Gu6bin), 191 Rue de PUniversit6 (14 R.; 8-10 fr.).— Near
the Hdtel des Invalides (PL R, 14; IV): H6t. Dyscert (Mile. Ros-
tand), 4 Square La Tour-Maubourg (60 R.; from 15 fr.); Mme.
Schenkel, 170^- Rue de Grenelle (12 R.; 8-I27, fr.).— In the
Faubourg 8t-Germain (PL R, 17; IV): MUe. SuiUet, IV>^* Impasse
de la Visitation, Rue 8t-Simon (10 R.; 67,-10 fr.).— To the N. of
the Luxembourg (PL R, 19; /F, F): Hdt.-Pens. de VOdion (Mme.
Rouget-West), 3 Rue de l'Od6on (33 R.; 5-77, fr.).— To the W. of
the Luxembourg (PL R, G, 16, 13; IV): Pens. Bajou, 23 Rue de
Vaugirard (10 R.; 5-9 fr.); Mme. Barr4, 70 Rue d'Assas (12 R.;
67,-77, fr.); Mme. Gleize, 276 BouL Raspail (12 R.; 6-12 fr.);
Mme. Reinburgy 4 Passage Stanislas (10 R. ; 8-10 fr.) ; Pens. St-
Romain, 16 Rue St-Romain (20 R.; 7-15 fr.).; Pens. Kerambrun,
146 Rue de Rennes, near the Gare Montpamasse (20 R.; 7-10 fr.).
—To the E. of the Luxembourg (PL R, G, 19; F) : Maison L<Mle,
41 Rue des Bcoles (80 R. ; 7-10 fr., per month 180-250 fr.) ; Mme.
14 3. RESTAURANTS. Preliminary
Chopard, 11^^" Rue de Cluny (14 R.; b-S^/^tr., per month 150-
250 fr.); Mile. Guillier, 21 Rue Valette, near the Pantheon (26 R.;
6V2-8 fr.); Hot-Pens, du Pantheon, 11 Place du Panth6on (40 R.;
from 672 fr.» per month 140-240 fr.); Mme. Blondeau, 8 Rue Gay-
Lussac (12 R.; 7-10 fr.). — To the S. of the Luxembourg: Mme.
Lance J 6 Rue Cassini, near the Observatoire (8 R. ; 5-6 fr.).
Women-students are received at the International GuUd,
6 Rue de la Sorbonne (see p. 51), from 150 fr. per month in July-
Sept., or on moderate terms during the scholastic year; also at the
Student Hostel, 93 Boul. St-Michel (25-40 fr. per* week).
Furnished Apartments are easily obtained in the chief
quarters of Paris. In winter a furnished room costs 50-100 fr. per
month, a small suite of rooms 150-250 fr., according to situation;
in summer the charges are lower. In the Quartier JLatin a single
room may be obtained for 30-50 fr. a month.
The following are the French names of the ordinary articles of
nnderolothiiig, etc. Shirt (linen, cotton, woollen), chemise (de toile, de
coton, de fianelle); night-shirt, chemise de nuit; woollen undershirt,
qUet de fianelle; pants, ccdeqmis; collar, col; cuflFs, manchettes; stock-
ings, bos; socks, chaussettes; handkerchief, moucJwir; petticoat, jupon;
drawers, pantalons.
3. Restaurants.
(Alphabetical List at p. 486.)
As the ordinary tables d'hSte in Paris convey but little idea
of the perfection to which the culinary art is carried, the *chefs
d'oeuvre' must be sought for in the first-class restaurants, but at
correspondingly high charges. The following list mentions most of
the better restaurants in the quarters chiefly frequented by stran-
gers. Even in the more modest houses, which our space forbids us
to enumerate, the visitor will often be struck by the dainty and
appetizing way in which meals are served.
The carte des vins usually shows a great variety of wines at
high prices. The table- wine (vin ordinaire), red or white, often
somewhat diluted, is generally very fair. Owing, however, to the
failure of the vintage of 1910, prices have risen very considerably
while the quality has deteriorated. The drinking-water of Paris
should be avoided, especially in summer. At the smaller restau-
rants it is often advisable to mix the wine with soda-water (Eau
de SeUz; siphon or demi-siphon) or mineral water (Eau de St-
Gcdmier, Vals, Evian, Vichy, Perrier, or Apollinaris).
In restaurants k la carte, 25-50 c. (or more in the fashionable
restaurants) is usually charged for the *couvert'. The waiter, on
demand (^Gargon, V addition s'U vous plaitP), brings a written
bill, and expects Apourboire of 8-10 c. for each franc of the amount.
Information.
3. RESTAURANTS.
15
If several visits are paid to the same house the effect of good Hips'
is very apparent.
The usnal hours for dejeuner or luncheon are from 11.80 to l.SO, and
for dinner between 6.80 and 9 p.m.; at other hours little or nothing but
cold meat is to be had. Several of the best restaurants, however, provide
supper for theatre-goers between midnight and l.SO a.m.
The following list comprises all the commonest dishes. The
triumphs of Parisian culinary skill consist in the different ways
of dressing fish and 'filet de boeuf, and in the *fricandeaus', 'mayon-
naises', and sances.
1. H0B8-D*<EUVRK.
AncJioiSj anchovies. Hareng Saur,
pickled herring. ThoUf tunny-
nsh. Radis, radishes. Foie graSj
goose's liver. Huitres, oysters.
Saticissonj sliced sausage.
4. Entri^bs.
2. POTAOKS (soups).
Potage an vermicellej vermicelli
soiip. Pdte d'ltaliej soup with
macaroni^ etc. Potage Jmienne^
clear, with v^etables. Potage
PaysannejVegetible hioth. Or oute
au pot, broth with toast. Bisque^
made irom crayfish. Potage 8t-
Germainj green pea soup. Ores-
aonnilre, cress-soup. IHirieatix
croutons f pea-soup with toast-
dice. Potage Parmentierf potato-
soup. Pomge aux poireaux et
pommeSf potato-soup with leeks.
Oseille lUe, soup flavoured with
sorrel. Soupe aux choux, soup
with bread and cabbage. Soupe
d Voignon, soup with onions,
bread, and grated cheese.
8. PoissON (fish).
Anguillej eel. J3ar, hake. Brocket,
pike. Carpe, carp. Crevettes,
shrimps. Ecrevisses, crayfish.
Eperlan, smelt. Ooujon, gudgeon.
Homardf lobster. Langouste, sea-
crayfish, resembling lobster. Li-
mande. dab. Maquereau, mack-
erel. Matelote d^an^uiUes, stewed
eels. MerlaUf whiting. Morue,
ood (holkmdaise J with potatoes
and white sauce). MouleSf mussels.
RaiC) skate (aM beurre noir, with
browned butter). Rouget, red
mullet. Saumon, salmon; fum^f
smoked. Sole, sole (frite, fried;
au vin blanc, with wine sauce;
au gratin, baked with bread-
crumbs). Tnnte, trout; truite
iaumonie, salmon-trout.
HdchisPortugaiSy minced meat with
poached eggs. Escargots de Bour-
goqne, snails. OrenouUles, legs
of frogs. Vol-au-vent, light pastry
with meat, fowl, oysters, etc.
5. BtEUF (beef).
B(euf au naturd, or bouiUi, fresh
boiled beef. Bceuf d la mode,
with brown sauce. Bifteck,
beefsteak {bien cuit, well-done;
saignant, underdone). Entrecdte
resembles a thin rumpsteak.
Cfuzteaubriand, fillet-steak. Filet
aux truffea, fillet of beef with
truffles. Rosbif, roast beef.
Aloyau, sirloin of beef.
6. MouTON (mutton).
Blanquette d^agneau, fricassee of
lamb. Gigot de mouton, or de
pri-sali, leg of mutton. Ragout
de mouton, or Navarin aux
pommes, mutton with potatoes
and brown onion-sauce. Sdle
d^agneaUf saddle of l&mh.Rognons
de inouton, sheep's kidneys.
7. Vbau (veal).
FHcandeau de veau, larded roast-
veal. Blanquette de veau, fri-
cassee of veal. Foie de veau, calf's
liver. Veau Marengo, stewed veal
with sauce. Escalopes de veau,
fried cutlets. Rognons de veau,
veal kidneys (d la brochette,
roasted on a skewer). Veau rdti,
roast veal. Tite de veau, calf's
head; d Vhuile or a la vinai-
grette, with oil and vinegar; e/i
tortue, with brown sauce. Ris
de veau, sweetbreads. CerveUe
de veau au beurre noir, calf's
brains with browned batter.
16
3. RESTAURANTS.
PreliminaT^
8. PoRC (pork).
Pieds deporCf pig's trotters. Pore
rdti, roast pork. Attdouillef chit-
terlings.
9. L&auMBS (vegetables).
AspergeSf asparagus. ArticTtautSt
artichokes. Petite poiSi green
peas {au beurrCf with butter-
sauce; pur4e de poiSy mashed
peas). Haricots verts, French
beans ; haricots blancs, fiageolets,
or soissons, white beans. Choiix,
cabbages ; cTMUx-fteurs, cauli-
flowers ; chouxdeBrvxeUeSy Brus-
sels sprouts; cTwucrotUCf saner-
kraut {gamiey with bacon and
sausages). Aubergine, mad-apple,
^;g-plant. Chpes, CJiampigmmSt
mushrooms. Pommes, pommes
de terrCf potatoes. Pommes d la
maitre Whdtd, potatoes with
butter and parsley. Pur4e de
pommeSi mashed potatoes. Epi-
nardSf spinach. OseiUe., sorrel.
Navets , turnips. Betteraves,
beetroot. Oignons, onions. To-
mateSi tomatoes.
10. VoLAii-LB (poultry).
Chapon, capon. Poulet, chicken,
prepared in various ways. Quart
ae poulet, enough for two persons
at the large restaurants {Vaile on
la cuisse 9 wing or leg ? the former
rather dearer). Croquette de vo-
laiUei croquette of fowl. Canard
aux navets J duck with younc
turnips. Canard sauvage, wila
duck. Caneton A la pr esse, duck-
ling cooked in presence of the
fuest, with juice squeezed out
y silver press. Oie (rem.), young
goose. Jjindonf dinde, tm-key;
dindonneau, young turkey ; farci,
stuffed.
11. GiBiEB (game).
Perdrix, partridge (aeMSC^ua;, with
cabbage and sausage-meat). Per-
dreauxy young partridges. CaiUe,
quail. ChevreuUf venison. Li^vre,
hare ; civet de liivre, ju^ed hare.
Sanglier, wild boar. Lapin de
garennCf wild rabbit.
The bread of Paris is excellent and
12. Saladss (salads).
Laitue, cabbage-lettuce. Bomaine,
lon^ lettuce. Chicor4e, Escarole,
endive. Cresson , water-cress.
IHssenlit, dandelion salad. Con-
combrCf cucumber. Oomic^ums,
gherkins. Pomm£S de terre d
l^huile, potato salad.
IS. Ehtbbmbts (sweet dishes).
Omelettes, various {au naturel, au
Sucre, souffl6e, attx confitures,
aux fines herbes, au rhum, etc.).
Beignets, fritters. Charlotte de
pomm^, stewed apples. Crhne
d la vaniUe, vanilla-cream. Gd-
teau, cake ; gdteau de riz, a kind
of rice pudding. Qlaces, Parfaits,
Bombes, and generally Timbales
are all names for ices.
14. Dkssbbt.
Pomme, apple. Poir«, pear. Fraises,
strawberries. PicTie, -pezoh, Men-
diant, almonds, raisins, etc.
The usual varieties of cheese are:
Fromage (d la crime) Suisse or
Gervais , Coeur, cream-cheese.
Fromage de Cmiyhre, Qruyfere
cheese. Fromage de Roquefort,
made of a mixture of sheep's
milk and goat's milk. Brie,
Camembert, Neufchdtel , Pont-
VEvSque, kinds of cheese made
in Normandy.
15. Winks.
The following are a few of the finer
wines : — Red Bordeaux or Olaret:
St-EmUion and St-Julien (8-4 f r.).
Chdteau Larose, Ch.Latour, ana
Ch. Laffltte (6-8 fr.). White Bor-
deaux: Graves (1-2 fr.), Sauteme
(8-4 fr.), ChdteauYquem (6-10 fr.).
— Red Burgundy: Beaune (2Vj-
4 fr.), Pommard, Volnay, Nuits
(4-5 fr.), Bom4in6e, Conti, Corton,
and Chambertin (5-8 fr.). White
Burgundy: Chablis (lyr^^Uti.),
Meursault (8-4 fr.), Montrachet
(4 fr.), and Hermitage (6 fr.).
Compared with other wines. Cham-
pagne is less drunk in France
than in England. Tisane (de
Ohampagne), light champa^e
with iced water, is a favourite
drink in hot weather.
Vin frapp4, wine in ice.
Carafe frappie, iced water.
has been famed since the 14th eentnry .
Infomuxtion. 3. RESTAURANTS. 17
a. Bestaurants of the Highest Class.
In the fashionable restaurants meals are served only Ci la carte,
and evening dress is usual. The portions are generally so ample
that one portion suffices for two persons, or two portions for three,
but the waiter is always ready to give information on this point.
The visitor should, therefore, avoid dining alone. As a rule, the
chief ^plats* only are priced in the bill of fare. The ^hors-d'oeuvre'
placed on the table at the beginning of a meal, before the soup is
served, 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, 3-5 fr. beiug sometimes charged for a single peach or pear.
Various specialities and rarities also are very expensive. — The
restaurants here mentioued enjoy the very highest reputation for
their cuisine and cellar. The bill for a dinner for three persons,
consisting of soup, fish, roast, salad, sweets, and dessert, with a
couple of bottles of fair wine, will probably amount to at least
40-50 fr.
In the Centre of the City (PI. R, 18, 21, 24; //, ///) : * Hotel
Ritz (p. 3), 15 Place Vendome; *Caf^ Anglais, 13 Boul. des Ita-
liens, S. side; *Caf4 de Paris, 41 Av. de I'Opera, W. side; * Pail-
lard (p. 79), 2 Rue de la Chaussee-d'Antin, corner of Boul. des
Italiens; * Larue, 3 Place de la Madeleine, W. side; * Henry, 30
Rue St-Augustin; *Voisin, 261 Rue St-Honore and 16 Rue Cam-
bon, an old house noted for its cellar; *Rest. Volney-Chatham,
at the Hot. Chatham (p. 4), 16 Rue Volney, near the Boul. des Capu-
cines; *Caf6 Riche (p. 79), 16 Boul. des Italiens, N. side; *Cafe
de la Paix (p. 76), 12 Boul. des Capucines, N. side. The Cafe de
Paris, Paillard's, and the Cafe de la Paix (comp. p. 25) arc
favourite places for supper after the theatre. — The *Rest. Pru-
nier, 9 Rue Duphot (much frequented; closed in July and August),
to the S. of the Madeleine, is noted for its oysters.
The restaurants in the Champs-Elysees and the Bois de Bou-
logne are most frequented in summer. — Champs-Elys^es (PI. R,
15; //): N. side, * Laurent; *Rest. des Ambassadeurs (caf6-con-
cert, see p. 39) ; * Pavilion de VElysie (p. 72) ; *Rest. de l^ Alcazar
(caf6-concert, see p. 39). S. side, *Rest. Ledoyen. — Bois de Bou-
logne (see Map, p. 245): * Pavilion d'Armenonville (p. 245), be-
tween the Porte Maillot and the Jardin d'Acclimatation, pleasantly
situated; *Rest. du Pre-Catelan (p. 245), at the Pre Catelan;
* Pavilion Royal, near the lakes; *Chdteau de Madrid (p. 246),
by the Porte de Madrid, open March-Nov., new (h6tel-rest., 40 R.,
with bath, from 20 fr.).
Baedskkb's Paris. 18th Edit. 2
18 3. RESTAURANTS. Preliminary
b. Other Bestaurants.
The following restaurants are nearly or quite as good as the
above, but are less pretentions. Visitors may also join the table
d'h6te at any of the large Hotels without being residents.
The Restaurants d la Carte are generally dearer than those
A Prix Fixe. The latter generally have their charges, inclusive of
table-wine, posted up outside. The viands are usually good and
the portions adequate. The luncheons or dinners, at 27,-372 fr. or
more, are of fair quality, though not always so well served as in a
hotel. The following list includes a number of such houses with
their respective charges.
The Bouillons Duval, Bovlard, Chartier, etc., are restau-
rants k la carte of a cheaper kind. The food is generally good, but
the portions are rather small, and the cost of a meal amounts to
2Y2-3 fr., including wine and coffee. The attendants are women.
These houses are very popular, and may without hesitation be
visited by ladies. Each guest on entering is furnished with a card
(ficJie), on which the account is afterwards marked. A fee (see
p. 14) is left on the table for attendance; the bill is then paid,
either at the desk or through the waitress, and receipted, and is
finally given up to the *contr61eur' at the door.
Many of the Brasseries and Tavemes are elegant restaurants
k la carte, while others have fixed prices. The tobacco-smoke in
the latter is sometimes objectionable. The usual beverage at these
establishments is beer, a small glass of which (quart de litre, less
than 7» piiit) costs 30-40 c, a larger glass (demi-litre) 50-60 c.
1. In or near the Boulevards, from the Madeleine
to the Forte St-Denis.
Those of the highest class are mentioned on p. 17.
In the Rub Royale (PI. R, 18; //). W. side: No. 3, Maxim's
Bar-Restaurant, frequented mainly at night (for gentlemeii only) ;
No. 25, Taveme Royale (Munich beer); No. 21, * Weber (Munich
beer). — Grand -Vatel, 275 Rue St-Honore, L. 5 fr. (oysters). —
Place de la Madeleine: W. side. No. 9, *Ijucas (le Grand), first-
class; E. side. No. 10, Bouillon Duval. — ^Lu^cas {le Petit; Tav.
Anglaise), 28 Rue Boissy-d'Anglas.
BouL. DE LA Madeleine (PI. R, 18; //): N. side, No. 8, *Rest.
Viel & dela Madeleine, first-class.
BouL. DBS Capucinbs (PI. R, 18; //). S. side: No. 43, Tav.
Tourtel; No. 39, Bouillon Duval; No. 35, Bouillon Boulant, N.
side: No. 28, Tav, Olympia, frequented at night (in the style of
Maxim's); No. 14, Grand-Caf6; No. 4, Cafd Am&ricain. — Rue
Daunou, near the boulevard: No. 22, ^Rest. Vian (Verdeil), No. 6,
InfomuUion. 3. RESTAURANTS. 19
*Ciro*8 Rest, opened in 1912, both first-class. — Av. de POp^ra:
No. 26, Tav. de V0p4ra (Munich beer), good; No. 31, * Brasserie
ZTniverseUe (Munich beer); also at No. 31, BouiUan Duval, —
To the E. of the Av. de rOp6ra: *Re8t. Droua/ni, 18 Rue Gaillon,
comer of Rue St-Augustin, much frequented (oysters). — To theN.
of Bonl. des Capucines, E. of the Op6ra: Sylvain, 12 Rue Hal^vy
and 9 Rue de la Chauss^e-d'Antin, good; Rest, de la Ratondej
2 Rue La Fayette, comer of Boul. Haussmann.
Bouii. DBS Italibns (PI. R, 21; //). N. side: No. 14, Tav.
J^ousset (Munich beer); No. 12, Passage de I'Op^ra, Rest. Italien
(Arrigoni; Ital. cuisine); No. 8, also in the Passage de I'Op^ra,
Rest. Saidnier, in the Duval style. S. side: No. 29, Bouillon
Duval; No. 9, Rest. Franco-Italien (Zucco); No. 5^*», *No'd'
Peters, 24-30 Passage des Princes, near Rue de Richelieu, first-
class; Nos. 1-3, *Caf 4 Cardinal, first-class. — To the N. of the
Bonl. des Italiens: Rest. Roblez (L^on), 14 Rue du Helder (Spanish
cuisine); Cafi-Rest. du Grand U, 11 Rue Taitbout, corner of
Rue des Italiens. — To the S. of the Boul. des Italiens: Rest. Wiber,
9 Rue Marivaux, near the Op6ra-Comique ; Rest. Italien Franco-
Am&ricain (Poccardi), 12 Rue Favart, comer of Rue St-Marc;
Rest. Richelieu (Robardet), opposite, 110 Rue de Richelieu, L. or
D. IV4-3 fr.; Rest. Maubert, 104 Rue de Richelieu; *Rest. Gau-
cUxir, 96 Rue de Richelieu, comer of Rue St-Marc.
Boul. Montmartrb (PI. R, 21; ///). N. side: No. 20, Caf6-
Rest, Viennois (Spiess); No. 18, Brasserie M4tropole, L. 3, D.
3Y2 'r. ; No. 16, Taveme Mazarin (Munich and Pilsen beer), L. 3,
D. 3V2 fr. ; No. 14, Brass, de la Grande-Max&oUle, L. 3^2 (incl.
cofifee), D. 372 fr.; No. 10, in Passage Jouffroy, Rest, de la Ter-
rasse-Jouffroy, L. 3 fr. (hotel, see p. 8) ; Nos. 8-6, Brass. Zimmer;
No. 2, Table-d'Hdte Blond, L. 1 fr. 60, D. 2 fr. 10 c. S. side:
No. 21, Bouillon Duval; No. 1, Bouillon Boulanl. — To the N. of
Boul. Montmartre: Rest. Lapr6 (Maurice), 24 Rue Drouot, good
(oysters) ; Rest, du Filet'de-Sole, 15 Rue du Faubourg-Montmartre,
good; Grande Taverne, 16 same street (1 fr. 90 and 2 fr. 25 c;
Munich beer); *Boilaive, 1 Rue Geoffroy-Marie, comer of Rue
Montyon (1st floor) ; Bouillon Duval, 48 Rue du Faubourg-Mont-
martre and 62 Rue La Fayette ; Bouillon Duval, 63 Rue La Fayette ;
Tav. Mordmarire, 61 Rue du Faubourg-Montmartre. — To the S.
of Boul. Montmartre: Tabarxfs Rest., 45 Rue Vivienne; *Rest.
Beaug^, 10 Rue St-Marc, Passage des Panoramas; *Cham'peaux,
13 Place de la Bourse, first-class, with summer and winter gardens,
D. 6 fr., or & la carte; Bouillon Duval, 1 Rue du Quatre-Septembre
and 7 Rue des Filles-St-Thomas ; Tav. du Coq-d'Or, 149-151 Rue
Montmartre, comer of Rue St-Marc, good.
Boul. Poissonni^rb (PI. R, 21; ///). N. side: No. 32, Tav.
Br€bant, at the hotel of that name (L. or D. 31/2 fr.) ; No. 14, Gafi-
2*
20 3. RESTAURANTS. Prdimhmry
Rest, du Pont-de-Fer. — S. side: No. 25, Brass. Gutenberg (Mu-
nich beer) ; No. 13, Tav. Gruher (Strassburg beer), L. or D. 3 fr.,
iDcl. coffee, good; No. 11, Bouillon Duval; No. 9 (1st floor), J?e«i.
de France, good.
BouL. BoNNE-NouvELLB (PI. R, 24; ///). N. side: No. 42^1%
Rest. Gardes^ L. or D. IV2-3 fr.; Nos. 38-32, *Rest. Marguery.
next to the Grymnase, a noted old house and a resort of merchants
(hotel, see p. 9) ; No. 30, Tav. Parisienne; No. 26, Bouillon Char-
tier. S. side: Nos. 37-35, Brass. Muller S Blaisot; No. 33, Brass.
Ducastaing (Munich beer), L. or D. 3 fr., incl. coffee. — To the
N. of Boul. Bonne-Nouvelle: Wiener Rest, 5 Rue d'Hauteville
(Viennese cuisine; Pilsen and Munich beer), good; Brass. Hans,
7 Cour des Petites-Ecuries (Munich beer).
2. Ne&r the Jardin des Tuileries and the Louvre.
Rue de Rivoli (PI. R, 18, 20; //) : *Rest. de VH6tel Continen-
tal (p. 3), 3 Rue dc Oastiglione, handsomely fitted up, with caf6,
L. 5, D. 7 fr^; No. 194, Rue de Rivoli, comer of Place de Rivoli,
Bouillon Duval; No. 172, corner of Place du Palais-Royal, *Rest.
du GrT.'Hdt. du Louvre (p. 4), 5 and 6 fr. — Place du Th6&tre-
Frangais: Nos. 3-5, Rest. Delpuech, 2^4 and 3 fr. — Rue St-Honor^
(PI. R, 20; //) : No. 161, in Place du Th^atre-Francjais, Cafe-Rest,
de la Regence (p. 25) ; No. 159, also in Place du Th^^tre-Franijais,
Caf6 de VUnivers; in the Gr.-H6t. du Louvre, corner of Place du
Palais-Royal, *Caf6 de Rohan; No. 202, in Place du Palais-Royal
(1st floor). Rest. L6on (from 1 fr. 60 c. to 3 fr.); Nos. 196-200,
Rest. Reneaux (from 1^/4 to 3 fr.). — Cafe-Rest, des Negocianis,
42 Rue du Louvre (PI. R, 20; ///), near the Bourse du Commence,
L. or D. 3 fr.
At the Palais-Royal (p. 86; PI. R, 21, //). N. side of the gar-
den, Pavilion de la Rotonde, L. or D. 3 fr., incl. coffee. — Galerie
de Valois (E. side, near Rue des Petits-Champs) : Nos. 105-113,
Vefour jeune, L. 3 fr., incl. coffee, D. 3 or 4 fr., good.
To THE E. OF THE Palais-Royal (PI. R, 21, 20; II, III): *Au
Boetif a la Mode, 8 Rue de Valois (suppers after the Th^atre-
Fran<;ais) ; Bouillon Duval, 6 Rue Montesquieu (the chief house of
this kind, and the only one with male waiters). — Rue des Petits-
Champs: No. 15, between the Palais-Royal and the Biblioth^que
Nationale, Bouillon Chartiei*; Nos. 36-38, Bouillon Dela^ourt.
3. In the Champs-Elysdes and the Bois de Boulogne.
Those of the highest class are mentioned on p. 17.
Caf^-Rest. dti Rond-Polnt (formerly Tav. du Cirque), at the
Roud-Point, 1 Av. Matignon; Cafe-Rest. Franco- Italien, 5 Av.
Informntion. 3. RESTAURANTS. 21
Matignon; * Grill-Room and Rest, de V Ely see Palace Hotel fp. 3).
— Place de I'Alraa (PI. R, 12; /): No. 7, Caf6-Rest. du Rocher,
L. 23/4, D. 31/4 fr.— Nos. 28-32, Av. d'lena, near the Place d'Wna,
*Re8t. de VHdt. d'lena (p. 5), L. 5, D. 7 fr. — Place du Trocadero
(PI. R, 8, 9; /): No. 2, corner of Av. Kleber, Brass, du Coq. —
Boul. Delessert, No. 23, comer of Rue de TAlboni, Tav. des Tou-
relles. — Rest. Camrn, 27 Av. Victor-Hugo (PI. R, 9; /).
Near the Porte Maillot (PI. B, 9): Red. L4on, 161 Av. de
Malakoff, L. 1 fr. 85, D. 2 fr. 40 or 3 fr. 25 c — Av. de la Grande-
Arm^e: Nos. 74-76, Rest, de la Terrasse (L. or D. 3 fr.) ; No. 89^",
Cafd'Rest. Watrin, comer of Av. de Malakoflf; No. 85, BouiUon-
Rest, de VEsperance (Rougeot) ; No. 81, Brass. Excelsior; No. 79,
Bouillon Duval. — Rest. Gillet (Duvilliers), 27 Av. de Neuilly,
with C2lU. — Near the Porte des Sablons (PI. B, 6): Leo^s Palace
(E. Bussat), 93 Av. de Neuilly, comer of Rue d'0rl6ans.
In the Bois de Boulogne (see Map, p. 245) : Chalet du Touring-
Club, near Porte Maillot, L. 5 fr., D. k la carte; Caf^-Rest. du
Jardin d'Acclimatation (p. 247), L. 5, D. 7 fr. (incl. coffee) in
summer, k la carte in winter; Pavilion de la Cascade, near the
Cascade (p. 245), first-class; Cafe du Pavillon-Chinois (p. 245),
near Porte Dauphine ; Chalet des Res (p. 245), on the N. island in
the lower lake; Ermita^ge de Longchamp (p. 246), behind the
Longchamp racecourse, near the Pont de Suresnes.
^
4. To the E. and X.E. of the Ijouvre, as far as the Bastille
and the Place de la B^publique.
The following are convenient for visitors to the Hotel de Ville, Musee
Camavalet, Conservatoire des Arts et Metiers, etc.
To theE. of the Louvre. Rue de Rivoli : No. 83, Rest, de VHot.
Ste-Marie (p. 8), L. 3721 ^- ^ ^r- ; N^o- 130, Brass, du Lion-Rouge ;
No. 124, Brass, de la Palette-d'Or. — Bouillons Duval, 10 Rue
du Pont-Neuf, comer of Rue de Rivoli, and at 47 Rue de Rivoli
and 3 Rue St-Antoine; Brass, du Pont-Neuf, 17 Rue du Pont-
Neuf, L. 2^/2, D. 3 fr. (Culmbach beer); Bouillon Chartier, 21
same street; Brass. Dreher, 1 Rue St-Denis (Place du Chatelet);
Tav. Zimmer, at the Chatelet Theatre. — Rue de la Bastille, Nos. 5-7,
Brass. Bofinger. — Boul. Beaumarchais: No. 1, Tav. Gruber, L.
or D. 3 fr. (incl. coffee). No. 3, Rest, des Qu^tre-Ser gents, both in
the Place de la Bastille.
To the N.E. of the Louvre: Bouillon Duval, 45 Rue de Tur-
bigo, corner of Rue St-Martin ; Bouillon Chartier, 31-33 Rue du
Temple. — Boul. St-Denis, S. side: No. 9, Caf4 de France, L. or D.
37, fr.; No. 11, Bouillon Duval; No. 15^*», Tav. Gruber, L. or
D. 3 fr., incl. coffee, good; No. 17, Tav. du N^gre, very popular,
L. or D. 3V2 fr., incl. coffee. N. side. No. 14, and 1 Boul. de Stras-
bourg, *Maire, of the highest class. — No. 2 Boul. de Strasbourg,
22 3. REBTAURANTS. Praiminary
Tav. Pachorr, very popular. — No. 137, Boul. de S^bastopol, near
Boul. St-Denis, Brass. A la Chope-d^ Alsace. — Boul. 8t-Martin:
No. 15, Best, du Cercle (1 fr. 30 to 2 fr. 50 c); No. 55 (1st floor).
Best, de la Porte- St- Martin (1 fr. 20 c. to 2 fr.).— N. side of the
Boulevard, Lecomte, entered by 50 Rue de Bondy, L. 2*/^, D. 3 fr.,
incl. coffee, good. — Tav. de Paris, 23 Place de la R6publique,
comer of Boul. St-Martin, L. 27s, D- 3 fr. ; No. 16, opposite, BouU-
Ion Chartier (E. Roui^re) ; No. 19, Brass, de VEsp&rance; No. 17,
Bouillon Duval; No. 10, at the H6t. Modeme (p. 9), Gr.-Caf^
Am&ricain (Gruber & Cie.), L. or D. 3 fr., incl. coffee. — Nos. 29-31 ,
Boul. du Temple, Bonvalet, L. or J). 3Vj fr., incl. coffee.
5. Near the Gares St-Lazare, du "Nord, de I'Est, and de Lyon,
and near the Butte Montmartre.
Garb St-Lazare (PI. B, 18; p. 221): Buffet, next the Cour
du Havre; *Best. du Terminus, at the hotel (p. 11), L. 5, D. 6 fr. ;
*Best. de Borne (Gamier), 17 Rue du Havre, comer of Rue St-
Lazare, first-class; *Brass. MoUard, 113-117 Rue St-Lazare, at
the H6t. Anglo-Ara6ricain (p. 11; Munich beer); Brass. Jacqtte-
minot-Graff, 119 Rue St-Lazare, a tasteful chalet in the Alsatiau
style; Caf6 Scossa, 14 Rue de Rome, corner of Rue St-Lazare
(L. or D. 3 fr.); Tav. des Augustins (grill-room), 1 Rue de I'Isly,
good; Splendid Best, 11 Rue du Havre, L. 3721 ^' ^^U ^r.; Rek.
du Havre, 109 Rue St-Lazare and Place du Havre, L. 2, D. 2^/4 fr.,
incl. coffee; Bouillons Duval, 12-14 Rue du Havre, and comer of
Rues de Rome and de la P6pini6re; Bouillon Chartier, 44 Rue
Pasquier.
Garb du Nord (PI. B, 24; p. 217): Buffet, to the right of
the entrance, good; Rest, de VHot. Terminus-du-Nord, 12 Boul.
de Denain (p. 10 ; L. or D. 3 fr.), good ; Cafi-Rest. Lequen (Aubry),
9 Boul. de Denain, both of these opposite the station; Rest, des
Departs (Barbotte), 25 Rue de Dunkerque, next door to the last,
good; Brass. DucaMaing, 4 Boul. de Denain; BouiUon Duval,
101-103 Boul. de Magenta, corner of Rue La Fayette.
Garb db l'Est (PI. B, 24; p. 217) : Brass. Bougeneaux, 9 Rue
de Strasbourg, corner of the boulevard ; No. 11, Rest. Schseffer, good ;
No. 13, Rest, de VHot. Frangais (Barbotte); No. 8, Co&urdoux^
plain, but good; No. 6, corner of Rue d'Alsace, Bouillon Duval;
No. 5, TerminuS'Est, at the hotel (p. 10). — Drouant, 79 Boul.
de Strasbourg, comer of Rue St-Laurent, a large and very popular
establishment (oysters).
Garb db Lyoit (PI. R, 25 ; p. 190) : ^Buffet on Ist floor (D. 5 f r.) ;
Cafi'Rest. Imart, 1 Rue de Lyon, comer of Boul. Diderot, L. or D.
3 fr. ; Gruber <& Cie., 21i'i» BouI. Diderot, D. 3 fr.
Near the Butte Monthartrb (PI. B, 17, 20). No. 14, Place de
Information. 3. RESTAURANTS. 23
Clichy, at the entrance to Av. de Clichy, Brass. Wepler. — No. 3,
Av. de Clichy, Tav. de Paris (paintings by Ch6ret, Abel Faivre,
L6andre, Steinlen, Willette, etc.) ; No. 9, Brass. MvUer <& Blaisot;
No. 6, Rest. Boimrij good ; No. 10, Rest. Jouanne (Norman cuisine,
good cider). — BouiUon Duval, 84 Rue de Clichy, near Place de
Clichy. — BouiUon BouLard, 22 Rue de Donai, comer of Rue
Duperr6, to the S. of Boul. de Clichy. — Tav. de VErmitage, 6-8
Boul. de Clichy, L. 28/*, D. 3 fr.
In and near Place Pigalle (PL B, 20) are several restaurants
similar to Maxim's (p. 18), which are fashionable resorts after the
theatres, such as the Ahhaye de ThiUme, the RaJt-Mort, and the
Resi. Pigalle, all three in Place Pigalle.
6. On the Iieft Bank.
Faubourg St-Gbrmain (PI. R, 17, //, IV; p. 296): *Rest. de
VHot. du Palais-d^Orsay (p. 5 ; 1st floor), first-class, L. 5, D. 6 fr. ;
equally good on ground-floor (4 and 5 fr.). — Boul. St-Germain:
No. 262, Caf6-Rest. de la Ligion-d^Honneur, L. 272? I>. 3 fr.,
good; No. 172, Caf6 de Flore; No. 170, BouiUon Duval, No. 151,
Brass. Lipp, both near the Place St-Germain-des-Pr6s. — No. 43,
Boul. Raspail, Rest, de VHot. Imtetia (p. 5) and Caf^-Brass. (en-
trance in Rue de Sevres; L. or D. S^/^ fr.). — Bouillon Duval, 67
Rue de Sevres, near the Bon-March6.
Near the Champ-de-Mars (PI. R, 10, 11, // p. 320): Tav.
Europdenne, 1 Av. Duquesne, opposite the Ecole Militaire, L. 27^,
D. 3 f r.
In or near the Quartieb Latin (PL R, 19, V; p. 278): Tav.
du Palais, 5 Place St-Michel; *Lap&rovse, 51 Quai des Grands-
Augustins, near the Pont-Neuf, an old house of the highest class;
Rest, des Societ^s-Savantes, 8 Rue Danton, near Boul. St-Germain,
L. 3, D. 4 f r. — Boul. St-Germain: No. 142, Bouillon Chartier
(H. Rougeot) ; No. 98, Bouillon-Rest, des Ecoles-R&anies (Char-
tier), No. 90, BouiUon St-Germain (Chartrain), L. or D. IV*-^ fr.,
both opposite Square de Cluny. — No. 49, Rue des Ecoles, Brass.
Balzar. — Boul. St-Michel. E. side: No. 25, Cafd-Rest. Soufflet,
good, No. 27, Cafd'Rest. Vachette, these two at corners of Rue des
Ecoles, L. 3, D. 31/2 fr.; No. 61, Rest, du Luxembourg (Moret),
IY4-2 fr.; No. 63, comer of Rue Soufflot, Tav. du Panthion, good.
W. side : No. 26, BouiUon Duval ; No. 34, BouiUon Boulant. —
Near the Luxembourg: *Foyot, 22*>*« Rue de Vaugirard and 33 Rue
de Toumon, a noted old house of the highest class; Cafi-Rest.
Voltaire (p. 25), 1 Place de I'Od^on, L. 3, D. 4 fr., good.
Near the Garb Montparnassb (PL G, R, 16, IV; p. 342) : *Cafi'
Rest. Lavenue, 1-3 Rue du Depart, in the H6tel Lavenue (p. 11),
first-class; Tav. des Brasseries Dumesnil fr^es, 73 Boul. du
24 4. CAFES.
Montparnasse , L. 3V4, I^- 3^/4 fr., incl. coffee; Rest, des Tria-
nonsj 5 Place de Rennes; Cafe-Rest de Versailles, 171 Rue de
Rennes (3 and S^U fr.), good; BovMon Duval, 169 Rue de Rennes.
— Farther on, Rest. Boudet, 213 Bonl. Raspail, Rest. Jouven,
124 Boul. dn Montparnasse, No. 138, Rest. Marre, these three
unpretending, but clean and not dear. — Natura Vigor, 13-15 Rue
Notre-Dame-des-Charaps, vegetarian.
Near the Jardin des Plantes (PI. R, 22, G, 25, V; p. 335) :
*Rest. de la Tour-d^ Argent, 15 Quai de la Toumelle and Boul.
St-Grermain, first-class; Cafi de V Arc-en-Ciel, 2 Boul. de PHdpital,
opposite the station (i la carte, also D. 2^2 fr-)-
4. Cafes. Pastry Cooks. Tea Rooms.
The Caf§8, one of the great features of Parisian life, number
about a thousand, but a few of the best only can be mentioned here.
An hour may be pleasantly spent at one of the small tables in front
of the caf^s on the Boulevards in watching the life of the streets.
Most of the Parisian men spend their evenings at the caf6s, where
they take coflfee, liqueurs, or beer, meet their friends, read the
newspapers (see p. 49), or play billiards (50 c.-l fr. 20 c. per hr.)
or cards. Letters also may be written at a caf6, the waiter bringing
writing-materials on application {*de quoi icrire, sHl votts platV;
fee). Most of the cafes are well supplied with French newspapers,
but foreign journals are scarce. As a rule the cafes are open
until 1 a.m.
The best cafes may be visited by ladies, though Parisiennes of
the upper class rarely patronize them. Some of those on thaN.
side of the Boul. Montmartre should, however, be avoided. — Good
bands play in the evenings at many of the cafes and brasseries,
especially on the boulevards. Caf^s-Concerts, see p. 39.
When coffee is ordered at a caf^ in the early forenoon the waiter
usually brings a large cup, with rolls and butter, which costs */4-lV« fr.
(fee 10 c). In the afternoon the same order produces a small cup or
flass of caf4 noir or caf^ nature, which costs 40-75 c. (waiter 10 c).
ced coffee (caf4 glad) costs 60 c. or more. Milk (cHme) is generally
offered at the same time. Gold coffee, served in a glass and diluted with
water Cun mazagran^J, will be found refreshing. With the coffee a bottle
of cognac is frequently brought unordered, and a charge made according
to the quantity drunk. At the more fashionable caf^s a 'petit verre' of
cognac, kirsch, rhum, curat^o, or chaHretise costs 80-60 c, fine cham-
pagne 60 c.-l fr. — The charges for the 'consommations' are generally marked
on the saucers on which they are served.
Tea costs «/4-l fr. ; more with rolls and butter (th4 complet). Dejeuner
(2V8-S ft.) and cold meat for supper may be obtained at nearly all the caf^s.
Beer also is to be had at most of the caf^s, ^un bock* costing 80-50 c. ;
the measure, however, is smaller than at the 'brasseries'. English beer
costs l-VJi fr. a bottle.
4. CAFilS. 25
Liqueurs (40-75 c.)j with water, are largely consumed as ^ap4ritif»'
01 'appetizers' before meals. Among these are absinthe, vermouth, menthe
(white or green), bitters or amers, anisette, and quinquina. — Strops, or
fruit-syrups, with water, are to be had in various flavours : sirop de gro-
seiUe, de framboise, de grenadine, orgeat (made from almonds), etc. Lemon-
squash ('un citron press^'), sorbet (water-ice), and ices (half 75 c, whole
I1/4-IV2 ir.) are also in vogue.
Grands Boulevards. — Boul. des Capucines. N. side : No. 14,
Grand'Caf6 (also a restaurant, like many of the other caf6s, see
p. 17) ; No. 12, Caf4 de la Paix (p. 17 ; foreign newspapers) ; No. 4,
Cafi Am&ricain (p. 18). 8. side: No. 1, Caf ^-Glacier Napolitain
(ices; L. 4V8 fr., incl. coffee). — Boul. des Italiens. S. side: Nos. 1-3,
Caf^ Cardinal (p. 19). N. side: No. 16, Caf^ Riche (p. 17). —
Boul. Montmartre. N. side: No. 20, Caf^-RestViennois (p. 19), etc.
— Boul. Bonne-Nouvelle : No. 39, Caf4 Pr&cost, noted for choco-
late after the theatre. — Boul. St-Denis, Nos. 9 and 12, corners of
Boul. de S6bastopol and Boul. de Strasbourg, Caf6 de France
and Caf6 Frangaia (commercial). — Boul. St-Martin: No. 2^*«,
Caf6 Balthazard, — Place de la Republique: No. 10, Gr.-Cafi
Am^ricain (p. 22).
AvENUB DB l'0p6ra: No. 41, Caf^ de Paris (p. 17).
Palais-Royal (comp. pp. 20, 86). In the garden: Pavilion
de la Rotonde (p. 20), most frequented during concerts. — Rue
St-Honor6, No. 161, in Place du Th^atre-Fran^ais, Caf^ de la
RdgencCf founded in 1718, a famous rendezvous of chess-players;
No. 159, Caf^ de rUnivers (p. 20). — No. 1, Place du Palais-
Royal, Caf^ de Rohan (p. 20).
QuARTiER Latin. The numerous caf6s in the Boul. St-Michel
are chiefly frequented by students and 'etudiantes' : No. 25, Caf^
Soufflet (p. 23), No. 27, Caf6 Vachette (p. 23), at the comers of
Rue des Ecoles; No. 20, corner of Boul. St-Germain, Caf6 du
Mua^e-de-Cluny ; No. 35, Cafd de la Source; No. 47, Cafd d'Har-
court; No. 65, (Jafi Mcdiieu, comer of Rue Soufflot. — Caf^ Vol-
taire, 1 Place de I'Od^on (p. 23; senators and professors).
The TVine Shops (Debits de Vins), very numerous, are chiefly fre-
quented bv the lower classes. The wine is usually drunk at the counter
(^zinc*). Outside some of these taverns (€.^. 88 Kue St-Honor^, corner
of Rue des Bourdonnais, p. 202) may be noticed finely wrought iron rail-
ings of the 18th cent, and earlier, to which riders used to attach their
horses.
Among the Automatic Bars may be mentioned the Express Bar,
15 Boul. des Italiens, and another at 26 Boul. St-Denis.
Pastry Cooks. — The most noted PdtisserieSj much frequen-
ted by ladies, are; Favart (Julien jeune), 9 Boul. des Italiens,
comer of Rue Favart; Frascati (Lesaflfre), 23 Boul. Montmartre;
Charvin, 40 Rue des Petits-Champs, Passage de Choiseul ; Gruer-
hois fils, 6 Rue Oroix-des-Petits-Champs; Ragiteneau, 202 Rue
St-Honor^, opposite the Magasins du Louvre; Chiboust, 163 Rue
St-Honor6, Place du Th6fttre-Pran(jais ; Rumpelmayer, 226 Rue de
26 4. TEA ROOMS. Preliminary
Rivoli; Bourhonnevx, 14 Rue du Havre; Potel & Chabot, 4 Av.
Victor-Hugo, near the Etoile; A la Dame Blanche, 196 Boul. St-
Germain (ices). — The Bovlangeries-Pdtisseries are less pretend-
ing: Ladurie, 16 Rue Royal e; Cateloup, 25 A v. de l'0p6ra;
Wanner (Viennese), 3 Rue de la Chaussee-d'Antin; R&my, same
street, No. 45; etc.
The Petites Pdtisseries are stalls for the sale of cakes, bans, etc.;
e.g. 18 Boul. St-Benis CA eoupe-tot0our8^)f and 6*'» Bool. Bonne-Non-
velle, at the beginning of Rue de la Lune ^ Brioche de la Lune^).
Tea Rooms. — Afternoon Tea (^/j-S fr., incl. cakes) has be-
come quite a fashionable institution of late years, chiefly between
4.30 and 6.30 o'clock. The favourite resorts vary from time to time.
Among them may be mentioned the Hdt. Ritz (p. 3) ; Rumpelmayer
(p. 25), 226 Rue de Rivoli; Colombin, 6 Rue Cambon; Grand-
Hdtel (p. 3); Elys^ Palace Hotel (p. 3); Hdt. Mirabeau (p. 3);
Carlton (p. 3) ; Volney-Ckatham (p. 17) ; Marlborough Tea Rooms,
5 Rue Cambon; Ricamier, 24 Rue du Mont-Thabor (L. 4 fr.) ; Lip-
ton, 37 Boul. Hanssmann; Topay, 55 Boul. Haussmann; A la Mar-
quise de S^vigni, 11 Boul. de la Madeleine and 47 Rue de Sevres;
Fourey-GaUand, 124 Faub. St-Honor6 ; J. RouUier fits, 10 Rue
des Pyramides, comer of Rue St-Honor6; W. H Smith & Sons*
Tea Rooms, 248 Rue de Rivoli (English reading-room) ; Kardo-
mah, 1 Rue de I'Echelle, corner of Rue de Rivoli ; Maison Ixe,
6 Rue HaUvy ; LUia, 44 Rue de la Chauss^e-d'Antin.
The Cr&meries or Laiteries are unpretending dairies which supply
breakfast. A cup of cofTee or chocolate costs 25-80 c, roll or cake 5-10 c ;
caf6 au lait, with two eggs, bread and butter, etc., 1 fr. Those at 146 Rue
de Rivoli and 2 Oarrefour de TOd^on (left bank) may be mentioned.
Confectioners (Confiseries), see p. 54.
Wine Stores: Bodega, 234 Rue de Rivoli, comer of Rue de
Castiglione; Turin, 12 Rue des Pyramides (Spanish wines). —
Liqueurs: Rocher fr^es, 2 Rue Hal6vy; Erven Lmcas Bols,
32 Rue Le Peletier.
5. Baths. Hairdressers. Lavatories.
BatliB. — Warm Baths (*bain ordinaire' ^/j-l fr., towels extra) :
Bains de la Samaritaine (p. 268), on the Seine, below the Pont-
Neuf , right bank ; B. des Tuileries, near the Pont-Royal, Quai Vol-
taire; B. Vivienne, 15 Rue Vivienne; B. Ste-Anne, 63 Rue Ste-
Anne, and 58 Passage Choiseul; B, Chantereine, 46 Rue de la
Victoire; B, Gymnasium, 19 Passage de P0p6ra (80 c.-5 fr.) ; Pis-
cine Mordmartre, 163 Rue Montmartre, near the boulevard (bath
l^A ^r*); -B. du Colis6e, 14 Rue du Colis6e, near the Champs-
Elys6es; B. Camhac&ris, 28 Rue Cambac6r6s; Swimming Palace,
Information. 5. HAIRDRESSERS. 27
26 Rue de Chazelles (more expensive) ; B, Racine, 5 Rue Racine ;
B. de V Observatoirey 169 Boul. de Montparnasse and 126 Rue
Notre-Dame-des-Champs.
TuBKiSH, Vapoub, and OTHER Baths: Hammam, 18 Rue des
Matharins, comer of Rue Auber (entrance for ladies, 47 Boul.
Haussmann ; Turkish bath 5^2 ^r.) ; Balnium, 16^*« Rue Cadet (2 fr.).
Cold Baths in the Seine (20-60 c. ; towels and drawers extra),
open from 1st May to 30th Sept.: Grande Ecole de Natation^
Quai d'Orsay, near the Pont de la Concorde, one of the best of its
kind ; Bains du Pont-Royal (entered from Quai Voltaire) ; B. du
Louvre, near the Pont des Arts; B. du Pont-Neuf, Quai de la
M^gisserie; B. du PoTd-Solf&rino (for ladies), Quai des Tuileries.
Hairdressers (coiffeurs) are to be found in nearly every
street, often in the entresol of the house. The ordinary charge for
haircutting (taille de ch&oeux) is 50 c. to 1 fr., shaving (barbe)
20-30 c; shampooing, 'frictions* (dry shampoo), and such extras
are generally dear. Offers of perfumery, etc., should be declined, as
the prices are higher than at the shops. Many of the coiffeurs have
ladies' rooms (l-lVs ^^•)' Among hairdressers for men are those
at Nos. 21, 19, and 11, Boul. Montmartre; 12 and 23 Boul. des
Italiens; 4 Rue Le Peletier; 2 Rue Marengo, near the Louvre; 3
Rue du Helder, etc. ; also 24 Boul. des Capucines (Antonin)., and
at the Grand-H6tel; 180 Boul. St-Germain; 36 Boul. St-MicheL —
Coiffeurs for ladies: Auguste (Petit), 28 Place VendSme; Aviard,
6 Rue de Castiglione (2-5 fr.) ; Gabriel, 229 Rue St-Honor6 ; Cotreau
& Duprat, 18 Rue Royale, in the court These are expensive (up
to 20 fr.), especially if they attend customers at home.
Iiavatories, etc. — The Chalets de N6cessit6, or Cabinets, are
generally well kept (5-15 c). — At the Place du ThddJtre-FranQais,
155 Rue St-Honor6; in the Palais-Royal, at 78 Peristyle Joinville,
near the theatre. In the Square Louvois, opposite the Biblioth^que
Nationale. In the Jardin des Tuileries, at each end of the A116e
des Grangers, next the Rue de Rivoli. By the Louvre, in the Rue
Jean-Tison, near the intersection of the Rues de Rivoli and du
Louvre. In the Place de la Madeleine, next the church, by the
Boul. de la Madeleine, and on the opposite side. — In or near the
Boulevards: Passage de rOp6ra, 9 Galerie du Baromfetre; 14^*«
Passage des Princes ; 43 Passage Jouffroy, near Boul. Montmartre ;
40 Boul. Bonne-Nouvelle (in front of the Gynmase). At the foot of the
Champs-Ely s6es, on the right. Avenue Grabriel; also farther up, on
the right By the I/uxembourg: in front of the entrance from Place
M^dicis; behind the Od6on; in the gardens, behind the Ecole des
Mines, and near the entrance from Rue de Fleums. — In the Parr
Monceau: in the rotunda, Boul. de Courcelles.
28
6. Conveyances.
Bureau d'ohjets trouv4s, 86 Quai des Orfevres (see p. 275).
Paris has led the way in modern modes of transport. In 1662,
if not earlier, under Louis XIV., coaches, called 'fiacres', plied for
hire, the name being derived from the Auberge de St-Fiacre, in the
street of that name. An attempt to organize a service of omnibuses
also was made at that period, but success was not achieved until
1827-28. London followed suit in 1829. Since 1900 many new elec-
tric railways and tramways have been opened, in particular the
Metropolitain and the Nord-Sud railways (p. 29).
Cabs (Voiturea de Place ; see Appx., pp. 55, 56) are mostly for
two persons only, with a small strapontin or bracket-seat for one
or two more. The pace at which they are driven, even in the busiest
streets, is remarkable. The taximeter-cabs fToxiw^fres orHaxis^)
have indicators showing the fare due for each drive, thus obviating
risk of dispute. The driver expects a gratuity of 25-50 c. in addition
to the fare, according to distance. Late at night, after the theatre
for example, the drivers may decline to go anywhere outside of their
own quarter. Yellow lamps indicate that their quarter is the centre
of the city; red indicates the W., green the left bank, and blue the
N.E. part of the town. Complaints may be made to an 'agent de
police', and the driver may be asked for his number.
Motor-cabs (Taxi-autoa), of which there were 6500 in the sum-
mer of 1911, are rapidly increasing in number. Both the ordinary
and the motor cabs can carry a reasonable amount of luggage.
The so-called Voiiures de Grande Remise, which may be hired
by the half-day, day, or week, but have no fixed tariff, are more
suited for sight-seeing or paying visits than the ordinary fiacres or
taxi-autos. They have stands near the Op6ra, Madeleine, etc., and
often wait at night outside the chief places of amusement. The
usual charge is 25-30 fr. for half-a-day, or 30-40 fr. for a whole day
(from 9 or 10 a.m. till 7 or 8 p.m. or from 2 p.m. until after the
theatre). Short drives according to bargain (3-5 fr.). Voitures Auto-
mobiles de Grande Remise may be hired at 35 fr. for half-a-day
or 50 fr. for a whole day. Carriages required for a longer period
should be engaged through the hotel or at the Comp. G6n^rale des
Voitures, 1 Place du Th^atre-Fran^ais, and 22 Boul. des Capucines.
Circular trips, see p. 56.
Motor Omnibuses (Autobvs) and Treonways cross the
city in every direction from about 6 a.m. till 12.30 a.m.; at the
most frequented points a vehicle passes every 3-5 minutes. To pick
out the required line from the long list (see Appx., pp. 37-52) is a
tedious process, but the task will be considerably facilitated by a
reference to the Itinerary Plan at the end of the Appendix (on
•"'"ich the tramway-lines are marked in red) and to the list of
6. 0MNIBUSE8 AND TRAMWAYS. 29
conveyances passing the most important points (Appx., pp. 53-55).
Most visitors will be content to note those that pass near their hotel.
Information as to the others may be obtained at the nearest om-
nibus or tramway bureau, or from an *agent de police'.
The hoTse-omnibus is now a thing of the past in Paris. All the
motor - omnibases belong to the Compagnie U^n^rale des Omnibus,
founded in 1855; offices at 3-5 Rae Pierre-Haret. Its monopoly ended in
1910. bnt has been renewed for a period ending in 1950.
The various electric and other tramway companies are enumerated in
the Appendix, pp. 44-52. The tramway-lines belonging to the Gomp. G6n6-
rale des Omnibus are now (1913) in course of electrification; they will
then be distingnished by numbers instead of letters. — Note also the Funi-
culaires (cable-tramways) of Belleville (p. 249) and Sacr^-CoBur (p. 222).
On the tramways the interior and the platform form the first
class, and the 4mp^riale* (outside) the second. The omnibuses have
no *imp6riale*, but large platforms which are reckoned as second-
class. Every vehicle bears the names of its destination and its
route. All the omnibuses and most of the tramways have distin-
guishing letters; the other tramways may be recognized by the
colours of the cars and of their lamps. Additional vehicles, marked
by a stroke through the distinguishing letter, are run over the
busiest portions of the route. In certain cases, when two routes
overlap in such a way that one forms the continuation of the other,
the omnibuses, bearing the distinguishing letters of both lines,
run in the evening from the beginning of one route to the end of
the other.
The omnibuses and tramways stop at fixed points only. The
compulsory stations (arrets ohligatoirea) are indicated by red no-
tices or placards attached to the lamp-posts, the optional stoppages
(arrits facultatifs) by pale green notices. Below these notices
are placed, at the most frequented points, files of numbers (num^ros
d'ordre) for the various directions. By taking and presenting one
of these numbers, intending passengers secure seats in the order
of their arrival. When all the places are filled, the fact is an-
nounced by a placard with the word ^ complete Those who wish to
get in at an arrSt facuUcUif must make a sign to the driver. The
conductor must of course be notified, or a bell rung, when the pass-
enger wishes to alight.
The fares on all the omnibus and tramway lines within Paris
are 15 c. per section 1st class, and 10 c. 2nd class; for two or more
sections, 1st class in omnibuses 25, in tramways 20; 2nd class 15 c.
in every case. The fares to places beyond the fortifications are
5-15 c. per section Ist class, and 5-10 c. 2nd class, in addition to
the city fare.
The 'Mi6tropolltaiD.(^M^tro') and Nord-Sud are underground
electric railways, opened in 1900 and 1910 respectively. They now
form the most important means of communication in Paris. See
Appx., pp. 31-36, and Itinerary Plan at the end, where the lin
30 6. RIVEB STEAMBOATS.
are marked in bine. Their average cost has amounted to 193,0002.
per mile. Both lines run through vaulted and well-ventilated tun-
nels, about 23 ft. in breadth, and partly over viaducts. The stations
are about Y3 M. apart. Some of them are provided with moving
staircases or with ascenseurs (lifts).
Trains run every 3-6 min. between 5.30 a.m. and 12.30 a.m.
They are often crowded, and the stoppages are short. The first-
class car is in the middle of the train. Uniform fares: Istcl. 25 c,
2nd cl. 15 c. (2nd cl. return-ticket before 9 a.m., 20 c). Every
ticket is available for any station on the lines of either company,
so that it is unnecessary to mention at the booking-office the name
of one*s destination. At certain stations 1st cl. passengers take
precedence of others.
Blver Steamboats. The Bateaux-Omnibus, or small screw-
steamers plying on the Seine, are recommended in fine weather,
as they afford a good view of the quays and banks of the river.
There are two lines (5 or 6 a.m. to 8.30 or 8 p.m.) : (1) From
Charenton'St'Maurice to Auteuil; (2) From the TuUeries (Pont-
Royal) to Suresnes. The stations (Appx., pp. 56, 57) are marked on
the large Plan of Paris; the sign # denotes the piers of the Charen-
ton- Auteuil line; Q indicates those of the Tuileries-Suresnes line.
Fares are paid on board, the passenger receiving a metal check
which he gives up on disembarking. In summer (15th March-14th
Nov.) the fare on the Charenton- Auteuil line is 10 c. on week-days,
and 20c. on Sundays and holidays; in winter 10 c. on week-days
(5 c. from Pont National to Auteuil), and 15 c. on Sun. and holidays.
On the Tuileries-Suresnes line the fares in summer are 20 c. on
week-days (10 c. from St-Cloud to Suresnes), and 40 (25) c. on Sun.
and holidays; in winter the fares are 15 (10) c. on week-days and
25 c. on Sun. and holidays.
Chemln de Fer de Petite-Ceinture. This line, known as
'La Ceinture\ forms a circle of about 21 M. round Paris (with a
branch to the Champ-de-Mars, p. 321 ; through- trains), within the
fortifications , and * corresponds ' with the suburban railways. The
chief station is the Gare St-Lazare (p. 221). For details, see
Appx., p. 58.
Trains run in both directions every 10 minutes, and perform
the circuit in 1 hr. 40 min. (views only between Auteuil and Vau-
girard and at the upper crossing of the Seine). There is no third
class. The fares are 40 or 20 c. to the first or second station from
the point of departure (return 60 or 30 c), and 55 or 30 c. beyond
that distance (return 90 or 50 c). The seats on the outside ('im-
p^riale') are not recommended, as they are very draughty and ex-
posed to dust and smoke.
The Chemin de Fer de Grande-Oeinturef which forms a wide
circle round Paris, has few trains and is chiefly used for gooda-traffic.
31
7. Post and Telegraph Offices. Telephones.
Post Office. The Poste Centrales or General Post Office, is
in the Rue du Louvre (PI. R, 21, ///; see p. 201). There are also
120 branch-offices (Bureaux de poste), with blue lamps at night.
Among these we may mention: 4 Rae Ste-Anne, near the Av. de
rOp6ra; 4 Place de la Bourse; and 3 Rue Boissy-d'Anglas, near
the Place de la Concorde.
The offices are open on week-days from 7 a.m. (but from 1st
Nov. to 1st March from 8 a.m.) till 9 p.m. ; on Sundays and holi-
days certain offices only are open, and then till noon only.
Letters addressed poste restante, without specification of any
branch-office, go to the General Post Office (see above), where they
may be obtained any day between 8 a.m. and 9 p.m. ; but registered
letters are delivered only on proof of the addressee^s identity (usu-
ally by a passport, duly visi). It is preferable, however, to have
letters addressed to one's hotel or apartments.
Letter-boxes (Boites avx Lettres) are to be found outside most
of the tobacconists' shops (with red lamps), where also stamps
(timbreS'poste) may be purchased. The last clearance of the letter-
boxes for the evening mails takes place between 6 and 6.30 p.m.,
according to the distance from the head-office. Most of the offices
have a special 'bolte pour les levies supplementaires', where late
letters, with an additional 5 c. stamp, may be posted till 7.30.
Postage of Letters, etc. Ordinary Letters, in France, 10 c. up to
20 grammes, or 15 c. up to 50 grammes ; for every aaditional 50 gr., 5 c. ; for
countries in the Postal Union 25 c. up to 20 gr., and for every additional
20 gr., 15 c. (for Luxembu]» 10 c). — Post Cards 10 c. each, inland or foreign,
with card for reply attached, 20 c.
Commercial Papers (papiers d'affaires) 5 c. up to 20 gr. ; above 20 gr.,
letter-rates are charged ; tor abroad, 25 c. up to 250 gr. ; 5 c. for each 50 gr.
more (maximum weight 2 kg.).
Samples and Patterns (ichantiUons) 6 c. for each 60 gr. (maximum
500 gr.); for abroad, 10 c. up to 100 gr., 5 c. for every additional 60 gr.
(maximum 360 gr.).
Printed Matter (imprimis) 2 c. up to 15 gr., 3 c. up to 50 gr., 5 c.
up to 100 gr. ; for every additional 100 gr., 6 c. (maximum 3 Kg.); for abroad,
5 c. for each 60 gr. (maximum 2 kg.).
BegistraUon (recomTnaTidation) : for letters, 26 c. ; for printed matter
(within France), 10 c.
Post Office Orders (mandats de poste) within France cost 5 c. per 5 fr.
up to 20 fr.: for 20-50 fr., 25c.; for 50-100 fr., 50c.: for 100-800 fr., 75c.;
for 800-500 nr., Ifr.; afterwards 25 c. for every 500 ir. For most countries
in the Postal Union : 25 c. for every 50 fr. ; to England or the United
States 10 c. for every 10 fr. (maximum 1000 fr.).
Parcels, though known as ^Colis Postaux\ are not transmitted
by the French Post Office, but by the railway and steamship com-
panies subsidized for the purpose, or (in Paris) by a private firm.
The parcel must not contain anything in the nature of a letter.
Within Paris, Parcels must not exceed 10 kilogrammes (22 lbs.) in
weight. The charges are 25 c. per parcel up to 5 kg. ; 40 c. above that
32 7. POST OFFICE.
weight; or 65 and 70 c. 'centre rembonrsement' (i.e. for goods sent for 'pay-
ment on delivery'). Parcels should be handed in at one of the 650 d^pdts
(generally tobacconists' shops and branch post-offices). The central depdt
is at 23 Rue dn Louvre.
Provincial and Colonial Parcds, Parcels not exceeding 10 kg. (22 lbs.)
in weight may be forwarded at a charge of 60 c. u|> to 8 kg., 80 c. up to
5 kg., and 1 fr. 25 c. up to 10 kg., delivered at a railway station or post-
office ; 25 c. extra if delivered at a private address.
Foreign Parcels. Parcels not exceeding 1 kg. 860 gr. (8 lbs.) may be
sent to Great Britain at a charge of 1 fr. 60 c. ; not exceeding 8 kg. (7 lbs.)
for 2 fr. 10 c. ; not exceeding 5 kg. (11 lbs.) for 2 fr. 60 c. Charges for par-
cels up to 5 kg. : to (Germany, Belgium, Switzerland, 1 fr. 10 c. ; Spain,
Italy, 1 f r. 85 c. ; Holland, Austria-Hungary, Denmark, 1 fr. 60 c. ; Belgium
and Switzerland 1 fr. 50 and 1 fr. 60 c. up to 10 kg. The parcels must
be sealed.
Telegraph. On week-days telegrams are despatched up to
9 p.m. at any post-oflSce; on Sundays at certain post-offices only.
Of the offices open till a later hour the following are the most
conveniently situated for travellers: Till 11p.m., 33 Champs-
Elysees ; 10 Place de la R^publique ; 9 Rue des Halles ; 24 Rue de
Vaugirard; ITS**^" Rue du Faubourg-St-Denis (Gare du Nord).—
TiU Midnight, 4 Rue Sainte-Anne; 3 Rue Boissy-d' Anglas ; 19 Rue
d'Amsterdam (Gare St-Lazare); 31 Boul. Haussmann. — AU Night
(also Sun. and holidays), 103 Rue de Grenelle ; also^at the Bourse,
N. side.
TarifEl Telegrams within France and to Corsica, Monaco, Algeria,
and Tunisia are charged at the rate of 5 c. per word (minimum 50 c).
names of streets, towns, departments, etc., being counted as one word
each ; to Great Britain, 20 c. per word (minimum 5 words) ; to New York,
I fr. 25, Chicago Ifr. 55 c. per word. — Western Union Telegraph Co.,
II Rue Scribe.
The rates per word to other countries are as follows: to Luxem-
burg 10 c; Switzerland and Belgium 12V2C.; Germany and Spain 15 c.;
Netherlands 16 c.: Italy 17VaC.; Austria-Hungary. Denmark, Portugal,
20 c. ; Roumania, Servia, Sweden 25 c. ; Bulgaria ana Norway 80 c. ; Russia
in Europe and Caucasus 85 c. ; Greece 50 c. ; Turkey 521/2 c. ; Asiatic Russia
1 f r. 5 c.
Lettre8-T4l6gramme8. Ui^ent letters or messages may be sent at
night to places where the telegraph-office is open, and are delivered by
the first morning post (per word 1 c, minimum 50 c).
There are also Pneumatic Tubes (Tdlegraphiepneumatiqtte)
for messages within Paris and to certain places in the environs :
letters or cartes pneumatiques Cpetits bleua*), up to 7 gr. 30 c,
reply-paid 60 c; 7-15 gr., 50 c, reply-paid 80 c; 15-30 gr. (maxi-
mum), 1 fr. and 1 fr. 30 c. The post-offices have special letter-
boxes for the pneumatic post.
Telephone. Messages may be telephoned from the cabines at
nearly all the post-offices. Tariff: within Paris, 15 c. per 3 min. ;
outside Paris, 25 c. up to 3 fr. — Tariff for abroad: London, 10 fr. ;
Berlin, 6 fr. ; Brussels, 3 fr. ; Berne and Rome, 4 fr. ; at night (after 9)
the charge is reduced to 3 fr. 60 c. for Berlin, 2 f r. 40 c. for Berne
and Rome, and 1 f r. 80 c. for Brussels.
33
8. Theatres. Concerts. Art Exhibitions.
Paris has about 20 large theatres. Performances generally
begin between 8 and 8.45 p.m., and last till about midnight. At
most of the theatres matindes are given in winter on Sundays and
holidays, and often on Thursdays. On certain great festivals (as
on 14th July) gratuitous performances are given. Most of the
theatres (except the Opera and the The&tre-Frangais) are closed
in summer.
An acq.uaintance with colloquial French, acquired only by prolonged
residence in the country, is necessary for the appreciation of the acting;
visitors are advised to purchase the play (lapi^e, 1-2 fr.) to be performed
and to read it beforehand. The official programmes (often containing a
risume of the play) are sold only in the theatres themselves. ComcediUf
published daily (5 c), contains lists of the actors appearing the same even-
ing at the ditferent theatres.
The seats are neither arranged nor named alike in all the
theatres. Besides the floor of the house (rez-de-chaussde) there are
usually three or four galleries (balcon, galerie, or dtage); lerang
is the row. Strapontins are small bracket-seats, used only when
the other seats are all filled. Stage-boxes are called avant-sc^nes
{du rez'de-chaussde, de balcony etc.), parquet-boxes baignoires or
loges du rez-de-chaussee. The best seats are usually the fauteuils
d' orchestre, or seats next the orchestra, behind which are the stalles
d^orchestre, and farther back, the parterre. The side-seats and
those in the upper galleries should be avoided. The fauteuils de
balcon and the loges de face of the first or second gallery are
good seats, especially for ladies. Ladies are generally required
to remove their hats, especially in the fauteuils d'orchestre, the
fauteuils de balcon, and in the front rows of the galleries. They
are not admitted to the parterre (which answers to the English
*pit'). At the Opera House, between the fauteuils d'orchestre and
the fauteuils de balcon, which are the best seats for ladies, are
the stalles de parquet and stalles de parterre (both numbered
and reserved for gentlemen).
At the principal theatres and also at the fashionable 'theatres
d'i c6te' (see p. 37) evening dress is usual, especially during the
height of the season.
The charges for admission vary. Seats, numbered and reserved,
should be booked several days in advance at the office of the theatre
(bureau de location, generally open from 10 or 11 to 6 or 7), where
a plan of the interior is shown. Seats booked thus (en location)
cost Y2"2 ^^' niore than at the door (au bureau), but this extra
expense is advisable in the case of a popular piece. Box-places,
however, are mostly taken the same evening at the door, unless a
whole box (4-8 seats) is engaged. In most cases a tax of 10 ^/o over
and above the price of the ticket is exacted as the droit des pauvres
Baedeker's Paris. 18th Edit. 3
34 8. THEATRES. Preliminary
(for the benefit of the poor). Seats may also be secured before-
hand at the newspaper-shop at 15 Bool, des Italiens, oomer of Rue
de Grammont; but at the theatrical agencies in the Boulevards, the
Grrand-H6tel, Avenue de I'Opera, etc., the booking-fee demanded
is often 5 fr. or more. Strangers are cautioned against purchasing
their tickets from vendors in the street.
Tickets taken at the door do not always entitle the purchaser to a
reserved seat, but he may demand la feuille de location^ or list of seats
booked for the night, and choose any seat which does not appear on
that list.
Overcoats, cloaks, etc., may be left at the 'Vestiaire' or cloak-room
(fee 25-50 c, or more, for each person). Men often keep their hats on
till the cnrtain rises. The ouvreuse., who shows the spectators to their
seats and brings a footstool (petit banc) for ladies, expects a gratnity of
10-25 c. — In most of the theatres there is usually a troop or paid da-
queurSj who applaud vigorously on a sign from their chief. These hire-
lings are posted in one of the upper galleries.
The Op6ra (PI. B, R, 18, /// p. 77), which deservedly ranks
highest among the theatres, is the rendezvous of the Parisian beau
monde. The admirable operatic performances take place on Mon.,
Wed., and Fri., and in winter on Sat. also. Favourite days are Mon-
days and Fridays. The ballet and the mise en seine are unsurpassed.
Evening-dress is de rigueur in the best seats. The first recorded
operatic performances in France took place in the 16th century.
French works were first produced in 1669, by Pierre Perrin, and
after 1672 by G. B. Lulli, whose operas delighted the Parisians
for a whole century. From 1683 to 1787 the opera-house was at
the Palais-Royal, then at the Porte St-Martin, on the site of the
present Square Louvois (p. 209), and from 1821 to 1874 in the
Rue Le Peletier.
Avant-scfenes and premieres logos de face 17 fr.; fauteuils de balcon
(see p. 38). baignoires d'avant-sc^ne, and premieres loges de c6t6 15 fr.;
fauteuils d'orchestre (see p. 33), avant-sc^nes des deuxi^mes, denxi^mes
loges de face, and baignoires de c&t6 14 fr. ; stalles de parquet and deu-
xiemes loges de cdtS 10 fr. ; loges de face 8 fr. ; stalles de parterre (see
p. 33) and avant-sc^nes des troisi^mes 5 fr. ; fauteuils and stalles d'amphi-
th6atre des quatri^mes de face 3 and 2V2 fr.
The Th6&tre.Fran9ais (PL R, 21, //; p. 85), or Com^die-
Frangaise, Place du Th^atre-Fran^ais, near the Palais-Royal, is
the great home of classic art, and also of modem tragedy and comedy.
The 'Com^die-Fran^aise' owes its origin to the union in 1680 (by
command of Louis XIV.) of the actors at the Theatre Gu^n^gaud
(p. 299), directed by Moli^re's widow after his death (1673), with
those of the H6tel de Bourgogne (p. 204). The inaugural perfor-
mance on 26th Aug., 1680, was that of Racine's Phfedre. The theatre
was transferred in 1689 to the Rue des Foss6s-St-Germain, and in
1782 to the Theatre de la Nation (now the Od6on). The 'Th6&tre-
Frangais' dates from the French Revolution, when a group headed
by the great tragedian Talma removed to the Palais-Royal and
joined the Theatre des Vari6t6s-Amusantes. The theatre owes its
InformaHan. 8. THEATRES. 35
present organization to a decree issued by Napoleon at Moscow in
1812 (comp. p. 192).
Avant-sc^nes des 1«*« loges 10 fr. ; !>*• loges, avant-scftnes des 2~, and
baignoires 8 fr. ; f auteuils de balcon 10 and 8 fr. ; f ant. d'orch. 8 fr. ; loges
dc race du 2« rang 6 fr. ; loges d^couvertes du 2« rang 5 fr. ; Joges de cdt6 da
2* rang 4 fr. ; f aut. des S** loges 4 and 8 fr. ; 8«* loges and avant-scftnes
3 h-. ; parterre 2Vs fr. ; S« galerie and f aut. de la 4« 2 fr.
The Op^ra-Comique (PI. R, 21, //, ///; pp. 79, 182), Place
Boieldien, was intended for lighter operas, but has latterly been
'devoted to lyrical dramas. Excellent acting and scenery.
Ayant-8c6nes du rez-de-chauss^e and de balcon, loges and fant. do
balcon (Ist row) 12 fr.; baignoires and fant. d'orchestre and de balcon
(2nd and Srd rows) 10 fr. ; avant-sc&nes and loges de face des 2^ 6 fr. ;
rant, du S« Stage 4 fr. ; stalles de parterre SVa ^^-i avant-sc, loges, and
stalles da S* 6tage 3 fr.
The Od^on (PI. R, 19, IV,V; p. 332), Place de TOdSon, near
the Luxembourg, ranks next to the Thiatre-Frangais for classical
drama. Since 1906 it has been managed by the actor M. Antoine,
the founder of the Theatre Antoine (p. 36).
No charge f6r booking. Avant-sc^nes du rez-de-chau8s6e and de balcon
12 fr. ; baignoires 10 fr. ; l"* loges 8 fr. ; faut. d'orch. 7 fr. ; fant. de balcon 8
or 6 fr. ; faut. de 1" gal. 8Va or 2»/a fr. ; loges de 1" gal. 8 fr. ; parterre 21/2 f r.
ThS&tre des Champs-Ely s^es (p. 234), 13-15 Av. Mon-
taigne (PI. R, 16; /), to be opened early in 1913. Operas, specta-
cular pieces, etc.
The G^y^mase (PI. R, 24, ///; p. 80), 38 Boul. Bonne-Nouvelle,
founded in 1820, and called 'Theatre de Madame' in 1824-26 in
honour of the Duchesse de Berry, chiefly for comedies, is one of
the best in Paris.
No charge for booking; droit des pauvres included. Avant-sc^nes
du rez-de-chau8s6e and de balcon 16^/3 fr. ; faut. d'orchestre IS fr. ; faut. de
balcon 18 and 12 fr. ; loges de balcon 12Va fr> ; baignoires 12 fr. ; faut. de
foyer 8, 61/2, or 51/2 fr. ; avant-sc. de foyer 5V2 ^ r. ; stalles de 2« galerie 41/2
and 81/2 fr. ; avant-sc. de 2« galerie 21/2 rr. ; 3« galerie 21/4 and I8/4 f r.
The Vaudeville (PI. R, 18, 21, //; p. 79), at the corner of
Rue de la Chauss6e-d'Antin and Boul. des Capucines. Dramas and
comedies. Tastefully fitted up.
No charge for booking. Avant-sc6nes du rez-de-chaussSe and de balcon
(4 seats) 60 fr. ; 1"« loges (6, 5, and 4 seats) 72, 60, and 48 fr. ; baignoires
(6, 5, and 4 seats) 66, 56, and 44 fr. ; faut. de balcon, 12 and 11 fr. ; faut.
d'orchestre 11 fr.; faut. de foyer 7, 6, and 5 fr. ; loges de foyer de face
(5 and 4 seats) 30 and 24 fr. ; avant-sc. de foyer (6 seats) 80 fr; 8* gal.
4 and 2 fr.
The Renaissance (PI. R, 24, ///; p. 81), 18 Boul. St-Martin,
adjoining the Theatre de la Porte St-Martin. Comedies, dramas, etc.
No charge for booking; droit des pauvres included. Avant-sc^nes du
rez-de-chauss^e and de balcon 16 fr. ; baignoires and loges de balcon 12 fr. ;
faut. d'orchestre 12 fr. ; faut. de balcon 12 and 11 fr. ; faut. de 1" gal. 71/2
and 6fr. ; avant-sc. and loges de l^^gal. 6 fr.; 2« gal. 8, 2^/4, or i^l^ii.
Th^&tre B6jane (formerly Nouveau-Th^atre), 15 Rue Blanche
(PI. B, 18), managed by Mme. R6jane.
No charge for booking. Avant-sc6nes du rez-de-chaussee and de 1~
3*
36 8. THEATRES. Praiminary
15 fr. ; loges and baignoires 12 fr. ; f aut. de balcon 11, 10, and 8 fr. ; l*** loges
12 fr. ; faut. d'orch. 12 and 5 fr. ; faut. de foyer 6, 4, and 2 fr.
Th6&tre Sarah-Bemhardt (PI. R, 23, F; p. 182), Place du
Chatelet, managed by the great actress.
No charge for booking. Avant-sc^nes du rez-de-chaussde and de balcon
15 fr. ; baignoires and loges de balcon 12 fr. ; faut. de balcon 12 and 10 fr. ;
faut. d'orchestre 10 fr. ; avant-sc. and loges des I"" 7 fr.; faut. de 1«* gal.
6 fr. ; avant-sc. and faut. de 2« gal. 4 fr. ; stalles de parterre S^/g fr. ; stalles
de 2« gal. 2V8 fr. ; amphitheatre 1 fr.
Theatre Ajitoine (PI. R, 24; ///), 14 Boul. de Strasbourg,
for modern pieces, managed by the actor M. A. G6mier.
Droit des pauvres included. Avant-scSnes du rez-de-chanss^e and de
balcon 10 fr. ; loges and baignoires 10 fr. ; faut. de balcon 8 and 5Va ^'l
faut. d'orchestre 51/2 fr. ; loges de foyer and faut. de foyer (first row) 4 fr. ;
avant-sc. de foyer and faut. de foyer (2nd row) 8 fr. ; other rows 2Va fr-
The Porte St-Martin (PI. R, 24, HI; V 81), 16 Boul. St-
Martin. Dramas and comedies.
Avant-sc^nes du rez-de-chau8s6e, baignoires, avant-sc. and loges de
ler balcon 12 fr. ; faut. de l" balcon 12 ana 10 fr.; faut. d'orchestre 10 fr.;
2® balcon 6 fr. ; 8« balcon 8V2 f r< ; stalles d'amphith^eltre 2 and 1 fr.
The Vari6t6s (PI. R, 21, ///; p. 80), 7 Boul. Montmartre, ex-
cellent ior vaudevilles, farces, operettas, and lively pieces in French
taste. This theatre was founded in 1779, under the name of 'Vari6t68-
Amusantes', at the corner of the old Boul. du Temple and the Rue
de Bondy. From 1785 to 1789 it occupied the Theatre-Frangais
(p. 34), and in 1807 it was at length transferred to its present site.
Droit des pauvres included. Avant-sc6nes du rez-de-chau8s6e and des
1«*" (4 seats) 66 fr. ; baignoires (6, 5, and 4 seats) 66, 55, and 44 fr. ; loges
de 1«^ galerie (6, 4, and 3 seats) 78 or 66, 52 or 44, and 88 fr. ; faut. de
balcon 18 and 11 fr. ; faut. d'orchestre 11 fr. ; faut. de foyer 8, 6 and 5 fr. ;
2« galerie 5 and 8 fr.
The aait6 {Thedtre Lyrique Municipal ; PI. R, 24, //// p. 205),
Square des Arts-et-M6tiers, has been converted by the municipality
into a popular opera-house, at which actors from the Op6ra und
Op^ra-Comique appear.
Droit des pauvres included. Avant-sc^nes du rez-de-chauss6e and de
balcon, baignoires, loges and faut. de balcon 51/2 ^^ • > faut. d'orchestre 5 and
4 fr. ; faut. de 1" gal. 4 or 8 fr. ; 2^ gal. 2 and 1 fr.
The Atli6n6e (PI. R, 18, //; p. 76), Square de I'Opera; dramas
and comedies.
No charge for booking; droit des pauvres included. Avant-scenes du
rez-de-chauss^e and de balcon 16 fr. ; baignoires and logos de balcon 12 fr. ;
faut. de balcon 11 and 9 fr. ; faut. d'orch. 9 and 7 fr. ; fant. de foyer 5V2
and 4 fr. ; loges de foyer 4 fr. ; avant-sc. de foyer 3 fr.
The Palais-Royal (PI. R, 21, //; p. 87), a small theatre, 38
Rue Montpensier, N.W. corner of Palais -Royal, for vaudevilles
and farces, broad but laughable.
Droit des pauvres included. Avant-scfenes du rez-de-chauss^e and de
balcon 8 fr. ; I"' loges and baignoires 7 fr. ; faut. de balcon 8 and 6 fr. ;
faut. d'orch. 8 and 5 fr. ; faut. de foyer 5 and 4 fr. ; avant-sc. and loges
foyer 4fr.; gal. 2Vafr.
InfomuxHon. 8. THEATRES. 37
The Bouffes-Parisiens (PI. R, 21 ; //), a small theatre at
4 Rue Monsigny and Passage Cholseul; farcical and broad pieces.
No charge for booking. Avant-sc6nes du rez-de-chaus86e and de balcon
(5 seats) 82V2 fr. ; baignoires (6, 4, and 8 seats) 79 fr. 20, 52 fr. 40, and
39 fr. 60 c. ; loges de balcon (4 seats) 52 fr. 40 c. ; faut. d'orchestre and de
balcon 18 fr. 20 c. ; faut. de foyer 7 fr. 70 and 5 fr. 50 c. ; loges and avant-sc.
de foyer (4 seats) 17 fr. 60 c. ; 1" gal. 8 fr. 80, 2 fr. 20, and 1 fr. 65 c.
The Folies-Dramatiques (PI. R, 27, ///; p. 82), 40 Rue
de Bondy, near Place de la R6publique; light comedies, vaude-
villes, etc.
Droit des pauvres included. Avant-sc^nes du rez-de-chauss6e and
de balcon, loges de balcon 7 fr. ; faut. de balcon 7, 6, and 4 fr. ; faut.
d'orchestre 7, 5, and 4fr. ; faut. de l^^ gal. and avant-sc. de 2" gai. 2fr.
The CMtelet, Place du Chatelet (PI. R, 20, V; p. 182), very
roomy, for spectacular pieces and ballet.
Loges de balcon (8 and 6 seats) and baignoires (4 seats) 60, 45, and
•SO fr. ; faut. de balcon 10 and 8fr. ; faut. d'orch. 9, 7, and 5fr. ; faut. de
ire gal. 6 and 5 fr. ; parterre and !«•■ amphith^sLtre 8 fr.
The Ambigu (PI. R, 24, ///; p. 82), 2 Boul. St-Martin; melo-
dramas and patriotic pieces.
Droit des pauvrea included. 1"" avant-scfenes 10 fr. ; baignoires and
jres loges 8 f r. ; faut. de balcon 7 and 5 fr. ; faut. d'orch. 6 and 5 fr. ; 2«' avant-
scfenes and 2^^ loges de cote 4 fr. ; faut. de foyer 4 and 8 fr.
Among the small, but quite fashionable 'th6^tres d'a c6t6' are :
Thidtre des Capucines, 39 Boul. des Capucines (PI. R, 18, II;
faut. 12 fr.); Th. Michel, 38-40 Rue des Mathurins (PI. B, 18, II;
faut. 9-13 fr.); Gh^and-Gruignol, 20i>" Rue Chaptal (PI. B, 18, 21;
blood-curdling dramas; faut. 8 or 5 fr.); Comddie Roy ale, 25 Rue
Caumartin (PI. R, B, 18, //; faut. 10 fr.); Th, Imp&rial, 5 Rue du
Colisee (PI. R, 15, //; faut. 12 fr.), opened in 1912.
Other theatres deserving mention are the Th. des Arts, 78^'«
Boul. des BatignoUes (PIT B, 14; dramas and didactic plays; faut.
3-11 fr.); Th. Apollo, 20 Rue de Clichy (PI. B, 18; operettas; faut.
from 2 fr. 75 to 12 fr. 10 c); Th. Trianon- Lyrique (PI. B, 20;
p. 222), 80 Boul. de Rochechouart (operettas; 1-5 fr.); Th. de Cluny
(PI. R, 19; F), 71 Boul. St-Germain (broad farces; 1. fr. 65 to 5 fr.
50 c.); Th. D6jazet (PI. R, 27, ///; p. 83), 41 Boul. du Temple
(operettas, vaudevilles; Ya"^ ^r.).
ThJSjatres dk GuiGROii (marionettes, resembling 'Punch and Judy') :
in the Ohamps-Elys6es, right and left or Av. Marigny ; by the Tuileries;
near the Luxembourg; and in the Pare de Montsouris.
Concerts. The famous concerts of the Conservatoire de
Musique (p. 80), 2 Rue du Conservatoire, take place on Sun. at 2.15
p.m. from Nov. to April. Masterpieces of classical music. Con-
ductor, M. Andr6 Messager.
38 8. ART EXHIBITIONS. Prdimifiary
As all the seats are taken by snbsoriptioii, tickets retamed by sub-
scribers are alone available for outsiders. Apply at the office, 8 Bne du
Conservatoire, on Sat. at 1.80-S, or on Sun. at 1-2 p.m. ; adm. 4-15 £r.
The Concerts Lamoureux (office, 2 Rue Moncey), classical and
modern , take place on Sun. at 3 p.m., Oct. to April, in the Salle
Gaveau (see below; 2-10 fr.). Conductor, M. Camille Chevillard.
The Concerts Colonne are given on Sun. at 2.30 p.m., from
Oct. to April, in the Theatre du Chatelet (p. 37 ; adm. 1-8 fr.).
Conductor, M. Gabriel Piem6. Office, 13 Rue de Tocqueville.
The Concerts Sechiari are given on Sun. at 3 p.m., twice a
month from Oct. to April, at the Theatre Marigny (p. 39; adm. 3-
10 fr.). Conductor, M. Pierre Sechiari. Office, 69 Rue du Rocher.
The following concerts also are given regularly in winter:
Concerts de la Schola Cantorum^ 269 Rue St-Jacques (p. 338) ;
Concerts Rouge j 6 Rue de Tournon (1^/4-8 fr.) ; Concerts Touche,
25 Boul. de Strasbourg (1V4-3 fr.).
Chamber Music is performed in winter in the concert-rooms of
Gaveau (Pl.B, 15; IT), 45-47 Rue La Bo6tie; Erard^ 13 Rue du Mail;
Pleyelj 22 Rue Rochechouart ; Les Agriadteurs, 8 Rue d'Ath&nes, etc.
(See bills and newspapers.)
Open-air concerts in summer in the Jardin d^ AcclimcUation
(p. 246; Thurs. and Sun.); and from 1st May to 1st October. MUi-
tary Bands play, from 4 to 5 or from 5 to 6, in the gardens of the
Tuileries (Sun., Tues., and Thurs.), of the Palais-Royal (Sun., Wed.,
and Fri.), and of the Luxembourg (Sun., Tues., and Fri.), and in
other parks and squares.
The best Church Music is to be heard at the Madeleine (p. 75),
St-Roch (p. 84), La Trinity (p. 220), Notre-Dame (p. 274), and St-Stdpice
(p. 804).
Art Exhibitions. Several exhibitions of art take place
annually in Paris at the end of winter, in Spring, and in autumn (see
the ^Chronique des Arts', published on Sat., and the daily papers).
The Soci4t6 Nationale des Beaitx-Arts holds its exhibition (the
*Salon') in the Grand Palais (p. 72) from 16th April to 30th June
(8 a.m. to 6 p.m.; adm. 1 fr., on Sun. afternoon y^ fr., on the day
of the 'vernissage' 10 fr.) ; that of the SocUt6 des Artistes Fran-
gaisy in the same building, lasts from 1st May to 30th June (same
charges). The exhibitions of the SocUti du Salon d^Automne
(Oct.) and the Union des Femmes Peintres et Scvlpteurs (Feb.)
are likewise held in the Grand Palais. Other exhibitions are
organized by the Cercle Artistique et LiiUraire (p. 43) and by
the Union Artistique (p. 43). The Sociit6 des Artistes Ind^pen-
dants has an annual exhibition in spring (held in 1912 on the Quai
d'Orsay) ; that of the Socidtd des Artistes Humoristes is held in
the Palais de Glace (p. 42; from the end of April to 15th June).
Smaller exhibitions are held in the Galerie Georges Petit (p. 76 ;
InformaUon. 9. MUSIC HALLS. 39
1 fr.), 12 Rue Godot-de-Mauroy and 8 Rue de S^ze; the Galerie des
Champs-ElysieSy 72 Av. des Champs-Ely s^es; the Galerie Vollard
(impressionist painters, etc.), 6 Rue Laffltte; the Galerie Durand-
Ruel, 16 Rue Laffitte and 11 Rue Le Peletier; the Galerie Bern-
heimjeune, 15 Rue Richepanse; the Galerie Devambez, 43 Boul.
Malesherbes ; the Galerie Reitlinger, 12 Rue La Bo6tie ; the Galerie
des Artistes Modemes, 19 Rue Cau martin; the Galerie S. Bing
(Oriental art), 10 Rue St-Georges; the Galerie Havssmann, 67
BouL Haussmann.
9. Music Halls. Cafes-Conoerts. Circuses.
Balls.
Music Halls, mostly unsuitable for ladies. The Folies-Ber-
g&re (PL B, 21; ///), 32 Rue Richer, is fashionable (faut. 3-10,
promenoir 3 fr.), but the society is very mixed, especially in the
promenoir; Th^dire Marigny (PL R, 15, //; p. 72), Av. Marigny
(Champs-Ely s6es), with garden, open in summer only (faut. 7-11,
promenoir 3 fr.) ; Olympia (PL R, 18, //; p. 76), 26 BouL des Capu-
cines (4-10, promenoir 3 fr.). — Moulin-Rouge (PL B, 17; pp. 40,
224), Place Blanche (faut. 4-9 fr.; promenoir 3 fr.); Alhambra
(PL R, 27; ///), 50 Rue de Malte, near Av. de la R^publique, an
Anglo-American music-hall (promenade 2 fr. 20 c, faut. 3^/2-
51/2 fr.). Some of the caf^s-concerts provide similar entertainments.
Caf6s-Concerts. The music and singing at these are never
of a high class, and the audiences are often very mixed. The
amusements sometimes consist of vaudevilles, operettas, and farces.
The words ^entr6e lihre' are alluring, but the visitor is obliged
to order a ^consommation\ at a charge varying from ^4 to 3 f r. ;
where admission is charged the 'consommation' is not compulsory.
The most frequented in summer are in the Champs-Elys6es (PI.
R, 15; //). On the left. Jar din de Paris, covered in c'ase of rain
(adm. 5 fr.) ; the first on the right is the Cafe-Concert des Amhassa-
deurs (adm. l*^"^ ^r.) ; the second on the right is the Alcazar d'Et^
(promenade 2 fr.); restaurants, see p. 17. — The following are winter
resorts, but some of them are open in summer also : Scala (PL R,
24; ///), 13 Boul. de Strasbourg, with a hall unroofed in summer
(^revues'; faut. 3 fr. 85-7 fr. 70 c); La Cigale (PL B, 20), 120
BouL de Rochechouart ('revues'; faut. 2-10, promenoir 2 fr.); Con-
cert Mayol, 10 Rue de I'Echiquier, opposite Rue Mazagran (faut.
4-8 fr.); Eldorado (PL R, 24; ///), 4 BouL de Strasbourg (faut.
21/8-31/2 fr-; promenoir I8/4 fr.); Ba-ta-Clan (PL R, 26; ///), 50
BouL Voltaire (1-5 fr.); GaU^- Rochechouart (PL B, 23), 15 Boul.
de Rochechouart; Petit-Casino, 12 BouL Montmartre (l^/j and 1 fr.,
with a 'consommation') ; Etoile- Palace, 39^" Av. de Wagram.
41
10. Sport. Clubs. Tourist Agents.
Horse Races (Courses) take place from February to
December. Flat races at Longchamp (p. 246), ChantiUy (p. 408),
Madsons-Laffitte (p. 401), St-Clovd (p. 349; trotting-matches), and
Le Tremblay (p. 429); steeplechases at Auteuil (p. 245), Vin-
cennes (p. 265; half-bred horses), St-Germain-Ach^es (p. 389),
etc. Full details in the newspapers. Every year about 8 million
pounds change hands in bets through the official ^Pari-MutueV ;
of these bets 1 °/o is levied for a fund to encourage horse-breeding,
2®/o for the 'Assistance Publique', and 4"/o for expenses. Ad-
mission: *pelouse' 1 fr.; 'tribune' (covered stand) 5 fr. ; 'pesage'
(grand stand, incl. adm. to the weighing- stand) 20, ladies 10 fr. ;
carriages with one horse 15, carr. and pair 20 fr.
Longchamp. Frequent meetings, the first (early in April) a fashion-
able fixture, when the new spring fashions are seen in all their glory.
The 'Grand-Prix* (14,000L or more), the chief French race, is decided on
the last Sun. of June, and inaugurates the summer season. The 'Prix du
Conseil Municipal' (4000L) is decided in October. — Auteuil. Races in
Feb., March, June, July, Nov., and December. The 'Grand-Prix d'Auteuil'
(SOOOi.) is run on the Sunday before the Grand-Prix de Paris. — Chan-
tiUy. Races three days early in June and four days in September. The 'Prix
du Jockey-Club' (7000L), the French Derby, takes place in spring.
Saddle Horses may be hired of Duchonj 51 Rue Lhomond; Salomi
& Lamp, 79 Rue du Ranelagh : DupJiot, 12 Rue Duphot; Gougatid-, 8 Rue
Chalgrin; Lalanne, 12 Rue Troyon ; Vedey, 55 Av. Bugeaud. Ride of
8 hrs., 10-15 fr.
Motoring. On entering France the duty on motor-cars (vary-
ing according to size) must be deposited, but is refunded when the
country is left. A 'permis de circulation' (with a registered number
to be shown on the car) and a driver's certificate must be obtained
at the nearest prefecture {e.g. at Arras for motorists landing at Calais
or Boulogne). Members of the Royal Automobile Club, the Motor
Union, etc., may deposit the amount of the duty with their club in
England, in exchange for a document ('triptyque') which exempts
them from customs formalities in France. The rule of the road in
France, the reverse of that in England, is: keep to the right in
meeting, to the left in overtaking another vehicle. The motor-ex-
hibition at the Grand Palais {Salon de V Automobile; p. 72) is no
longer held regularly every year. — Avio7nobile-Club de France j
see p. 43.
Gkirages. Agence 04n4rale Charron, 45 Av. de la Grande- Armde ;
Auto-Palace, 77»>'«, same av. ; Garage des C7iamps-Eli/s6e8, 10 Rue du
Colisde and 34 av. des Champs-Elysees ; Auto-Rigence, 32 Rue Rennequin ;
Palais de VAutomohile, 218 Boul. Pereire; Auto-Stand, 20 Rue Duret;
Qaraae de Messine, 6'>'» Rue Treilhard; Garage de Montpamasse, 134i>'«
Rue de Vaugirard.
Aviation has made more rapid progress in France than in any
other country. Its headquarters are at the aerodrome of Port-
Aviation, near Juvisy-sur-Orge (p. 428). Fliglits may often be
42 10. SPORT. Preliminary
witnessed also in the Champ de Marwev/vres d^Issy (p. 350). The
Salon de VA^ronatUique is held every December at the Grand
Palais (p. 72). — A&ro-Club, see p. 43.
Cycling is popular in France. Cyclists entering France with
their machines must deposit a sum equal to the duty on the latter
(22 fr. per 10 kg. or 22 lbs.), which is returned to them on leaving
the country. Members of associations such as the Cyclists* Touring
Club (280 Euston Rd., London, N.W.) or the Touring-Club de
France (p. 43; subscription 6 fr.) are spared this formality. An
annual tax of 3 fr. is imposed on every cycle in France (12 fr. on
motor-cycles).
Cycles may be hired (1 fr. per hr., 5 fr. per day) at PeHVSj 28 Av.
des Cm amps-Ely sdes, aod at shops in the Av. de la Grande-Arm^e. —
Maps., see p. liv.
Boating (CanotageJ on the Seine is a favourite summer-recrea-
tion. The chief starting-points are Asni^res (p. 347), Argenteuil
(p. 399), Chatou (p. 381), Bougival (p. 384), etc.; also Joinville-le-
Pont (p. 429) and Nogent (p. 428) on the Marne. An eight-oared
race takes place at Suresnes in May; regattas are held at Asni^res
in July, Aug., and Sept., and the race for the 'Coupe de Paris* is
rowed near Le Perreux in September.
Skating (Patinage). The lakes in the Bois de Boulogne
(p. 245) are the favourite resorts. There is a Skating Club, for
which one of the lakes is reserved (see p. 246). The Grand Canal in
the park at Versailles (p. 377) is less crowded. — Skating on real
ice, under cover, is afforded from October to the end of April by
the Palais de Gla/ie in the Champs-Elys6es (PI. R, 15, //; p. 72;
adm. 2-7 p.m. 5 fr., from 9 p.m. to midnight, also the whole of
Sun. and holidays, 3 fr.).
RoLLSR Skatihq Rikks : 87 Rue St-Didier, near Place Yietor-Hngo ;
11 Rue d'Edimbonrg; Luna Park and Magic City (p. 40) ; Bal BtMier (p. 40;
in the afternoon), etc.
Fencing. This art is extensively practised in the best French
society. The chief 'salles d'escrime' are those of Kirchhoffer
(Salle Jean-Louis), 6 Place St-Michel; M^gnac p^e, 5 Rue Vol-
ney; M6rignac ftls, 48 Rue Monsieur-le-Prince; Breittmayer,
20 Rue Taitbout; Mondoloni, 40 Rue du Bac.
Boxing. The French 'boxe', or 'savate', is practised with the
feet as well as with the hands: CharlemonJt, 24 Rue des Martyrs;
Bayle, 25 Av. de Wagram ; Ca^t4r^s, 3 Rue Nouvelle (Rue de Clichy) ;
Leclerc frtres, 15 Rue de Richelieu.
Gk>lf. The best links are at La Boulie (p. 380), the course of
the Soci6t6 de Golf de Paris (18 holes), with a fine club-house.
Green fees (introduction necessary) : per day 5, per week 26, per
month 75 fr. (a couple, 7, 35, or 105 fr.); ladies, 60 fr. per month.
La Boulie is best reached from the Gare des Invalides ; train to Ver-
InfbrmaHon. lOi OLUBS. 43
sailles (Rive Gauche; p. 357), and thence by the Porchefontaine
tramway (p. 368). — Other conrses at ChantUly (p. 415), Fontaine-
Ueau (p. 434), Le Pecq (p. 381), and Compiigne (p. 415).
Crickbt and Football (Rugby and Association) are played by
the Racing-Club de France (p. 245), the Stade Frangais (La
Faisanderie, St-Cloud; p. 354), and the Standard Athletic Club
(Haras de Suresnes, near Rueil; p. 383). The Racing-Club and the
Stade Frangais have also sections for Hockey and Lawn Tennis. The
Sporting-Clvb, 2 Rue Caumartin, possesses covered lawn-tennis
courts. — Polo is played by the Sociiti duPolo on the Pelouse de
Bagatelle in the Bois de Boulogne (see p. 246 ; seasons, April-July
and Sept. - Oct. ; many English and American members). — Cboss-
CouNTBT Runs take place in the Bois, on the sides next St-Cloud,
Ville-d*Avray, and Men don. — Bowls are played on the grounds of
clubs in the Bois de Boulogne and Yincennes. — Pigeon Shooting
is practised at the He S6guin (p. 352), Bas-Meudon; in the Bois de
Boulogne (Av. des Acacias), etc.
Clubs (Cercles). The chief are the Jockey-Clvh, 1^^* Rue
Scribe, Cercle de V Union, 11 Boul. de la Madeleine, and Cercle de
la Rue-Moyale (p. 63), 4 Place de la Concorde; these three very
exclusive. — Also the Cercle Agricole, 284 Boul. St-Germain ;
Union Artistique (TEpatanf), 5 Rue Boissy-d' Anglas ; Cercle Ar-
tistique et £Mt4raire, 7 Rue Volney ; Travellers^ Club, 25 Av. des
Champs-Elys^es ; AutomobHe'Clvb de France (p. 63), 6 Place de
la Concorde ; Yacht-Cltd) de France, 82 Boul. Haussmann ; -4^0-
Club de France, 35 Rue PranQois-Premier ; Cercle Militaire, 49
Av. de P0p6ra; Cercle de VEscrime et des Arts, 5 Rue Volney;
Cercle Central des Lettres et des Arts, 36 Rue Vivienne ; Cercle
de la Librairie, 117 Boul. St-Germain; Touring-Club de France,
65 Av. de la Grande-Arm6e ; Clul) Alpin Frangais, 30 Rue du Bac.
Bbitish and American Clubs. British Club, 8 Boul. Males-
herbes (visitors 25 f r. per month) ; Clul> Anglais, 3*>*« Rue de la
Chauss^e-d'Antin ; Travellers^ see above; American Artists^ As-
sociaiion, 74 Rue Notre-Dame-des-Champs ; Island Club (social
and athletic). He du Pont, Neuilly. — Anglo-American Educa-
tional Club, 390 Rue St-Honor6 ; Club Am^cain de Demoiselles,
4 Rue de Chevreuse.
Tourist Agents. Thos. Cook & Son, 1 Place de I'Op^ra,
250 Rue de Rivoli, and 101 Av. des Champs-Elyse^s; Dean &
Dawson, 212 Rue de Rivoli; Raymond &Whitcomb, 5 Boul. des
Capucines (Sleeping-Car Co.'s offices); Voyages Universels, 17 Rue
du Faubonrg-Montmartre and 10 Rue Auber; I/ubin, 36 Boul.
Haussmann; Duchemin, 20 Rue de Grammont; Voyages Pratiquer
44 11. EMBASSIES. Prdiminary
5 Rue de Rome; Voyages Modernes, 4 Av. de I'Opera; Grands
Voyages (Le Bourgeois & Cie.), 1 Rue du Helder, comer of Boul
des Italiens.
Information Bureau. The Daily Mail Travel Bureau^ 12
Boul. des Capucines, furnishes free information on all subjects con-
nected with travel.
Rail"way Offices. Passengers may book luggage, order rail-
way-omnibuses (comp. p. 2), and in some cases take tickets, at the
Railway Parcels Offices in different parts of the city. They must
generally reach the oflSce 1 hr. before the departure of the train. —
There are also Inquiry Offices (Bureatix de Benseignements) at
the Gare St-Lazare and the Gare du Nord, and, for the Chemins de
Fer de I'Etat, at 42 Rue de Ch&teaudun. — The office of the Com-
pa^nie Internationale des Wagons-Lits (sleeping-cars) is 5 Boul.
des Capucines, near the Place de I'Op^ra. The company also has
ticket-offices at the Grand-HCtel (p. 3; entrance in Rue Scribe), at
the H6t. Continental (p. 3), and at the Elys6e Palace Hotel (p. 3;
entrance, 39 Rue de Bassano).
Steamboat Offices. The Paris offices of some of the chief
steamship companies are: Allan Line, 47 Rue Cambon. — Ameri-
can, 9 Rue Scribe. — Anchor, 10 Rue de la Chauss^e-d'Antin. —
Chargeurs Rdunis, 1 Boul. Malesherbes. — Compagnie Gen^rale
Transatlantique, 6 Rue Auber. — Cunard, 2^" Rue Scribe. —
Dominion, 9 Rue Scribe. — Fraissinet, 9RueRougemont. — Ham-
burg-American Line, 7 Rue Scribe. — Holland-American Line,
4 Rue Scribe. — Messageries Maritimes, 14 Boul. de la Madeleine
and 10 Place de la R^publique. — Peninsular S Oriental Co., 61
Boul. Haussmann and 95 Rue des Marais. — Boyal Mail Steam
Packet Co., Rue Hal6vy. — North German Lloyd, 2 Rue Scribe.
White Star and Bed Star, 9 Rue Scribe.
Goods Agents. Pitt & Scott, 47 Rue Cambon (also storage
of luggage, etc.); American Express Co., 11 Rue Scribe (Op6ra)
and 54 Rue des Petites-Ecuries; TTios. Meadows & Co., 62 Rue
du Faubourg-Poissonni6re ; Jankowsky & Maes, 3 Rue St-Laurent;
G. W. Wheatley & Co., 32 Rue Caumartin.
11. Embassies and Consulates. Banks.
Physicians. Hospitals.
Embassies and Consulates. — Great Britain: Ambassa-
dor, Bt. Hon. Sir Francis L. Bertie, 39 Rue du Faubourg-St-
Honor^ (PL R, 15, //; office-hours 11-3). — Consul-General, W. S.
Ilarriss-Gastrell, 6 Rue Montalivet (10-12 & 2-4).
InformaUon. H. PHYSICIANS. 45
United States : Ambassador, Hon. Myron T. Herricky 5 Rue
Francois-Premier; office, 18 Avenue KUber (10.30-12.30). — Con-
sul-General, Frank II. Mason, 36 Av. de POpera (10-4).
The addresses of the other ambassadors and consuls are easily
ascertained at the hotels or from the 'Bottin'.
British Chamber of Commerce^ 17 Boul. de la Madeleine.
— American Chamber of Commerce, 3 Rue Scribe.
Banks. Banque de France, 1 Rue de la Yrilliere and Rue
Croix-des-Petits-Champs (PI. R, 21, //; see p. 87), and Place Yen-
tadour (PI. R, 21, //; for deposits) ; Caisse d^Amortissement et des
Depots et Consignations (PI. R, 17; //, IV), 56 Rue de Lille;
Credit Foncier de France (PI. R, 18; //), 19 Rue des Capucines;
Credit Lyonnais (PI. R, 21, II; p. 79), 17-21 Boul. des Italiens;
Societe Generale, 54-56 Rue de Provence and 1 Rue HaUvy;
Comptoir National d^Escompte (PL B, 21, //// p. 80), 14 Rue
Berg^re (2 Place de I'Opera, 1st floor, for letters of credit) ; Cridit
Industriel et Commercial, 66 Rue de la Yictoire ; Rothschild fr^es,
21 Rue Laffitte; Banque Suisse et Frangaise, 20 Rue La Fayette;
Banque Franco- Americaine, 22 Place Yendome.
English and American Bankers : Munroe& Co., 7 Rue Scribe ;
Morgan & Co., 31 Boul Haussmann ; Boyd, Neel, & Co., 21 Rue
Daunou ; Lloyds (France), Ltd., 19 Rue Scribe ; Thos. Cook & Son
(p. 43).
Money Changers (changeurs) in all the principal streets. The most
satisfactory are those that post up the rates of exchange. The Credit
Lyonnais (see above) may be recommended.
Physicians. In case of illness the traveller should obtain from
his landlord the name and consultation hours of one of the best
practitioners near his hotel or lodgings. The usual fee (as to which
it is quite permissible to inquire) for a consultation is 10 fr., and
for a visit 20 fr., but specialists often charge more. Information
may be obtained also at the English and other chemists' shops
(p. 46), or at Galignani's (p. 48). In cases of emergency the address
of a practitioner on night-duty may be obtained at a police-station
(posts de police). The following British and American physicians
may be mentioned:
Dr. Austin, 20 Rue Chalgrin; Dr. du Bouchet, 48 Av. du Tro-
cadero; Dr. Chaussegros, 236 Boul. Raspail; Dr. Dupuy, 26 Rue
Franklin; Dr. Faure-Miller, 8 Rue Miromesnil ; Dr. Gros, 23 Av.
du Bois -de -Boulogne ; Dr. Jarvis, 81 Boul. Malesherbes ; Dr. Kmnig,
65 Rue de Miromesnil; Dr. Magnin, 121 Boul. Haussmann; Dr.
Mamiock, 20 Rue Lesueur; Dr. de Marville, 35 Rue de Chaillot;
Dr. L. Robinson, 28 Rue de Ponthieu; Dr. Suzor, 21 Rue du Fau-
bourg-Montmartre ; Dr. Tucker, 4 Rue St-Florentin ; Dr. Turner,
46 11. NURSING HOMES. Prdiminary
42 Rue de Villejust; Dr. Warden, 11 Av. du Bois-de-Boulogne ;
Dr. Whitman, 20 Rue de Lubeck.
Oculists: Dr. Landolt, 4 Rue Volney; Dr. de Lapersonne,
90 Boul. Malesherbes; Dr. Kalt, 50 Boul. Malesfaerbes; Dr. Gcde-
zowski, 4 Rue de la Paix; Dr. Svlzer, 22 Rue de Tocqueville.
Dentists: E. Breyer, 233 Faubourg St-Honor6; H. Bvmeiir
Hilst, 154 Boul. Haussmann; DahoU, 14 Av. de rOp6ra; Dids-
bury, 3 Rue Meyerbeer; Dugit, 60 Rue de la Chauss4e-d* Antin ;
/. Evans, 181 Rue de Rivoli; T. W. Evans, 37 Rue d^Amsterdam;
Dr. HaUy- Smith, 22 Place Venddme; G. B. Hayes, 17 A v. de
rOp6ra; Jordan, 26 Rue Cambon; Neech, 39 Boul. des Gapucines;
Dr. F. Robinson, 9 Boul. Malesherbes; Rossi-Hartwick, 16 Rue
des Pyramides; Ryan, 19 Rue Scribe; Society of American
Dentists, 16 Rue de la Paix; Dr. Solbeig, 15 Boul. Malesherbes;
Dr. Spaulding, 33 Boul. Malesherbes; Dr. G. Tavquery, 4 Boul.
Malesherbes ; Waller, 37 Boul. Haussmann ; Dr. H. Weber, 43 Boul.
Malesherbes; William-Rogers, 45 Av. des Temes; Dr. G. Wisner,
52 Rue Taitbout.
Chbmists and Druggists. English : Pharmacie Anglaise, 62
Av. des Champs-Elys^es ; Swann, 12 Rue de Castiglione; Beral
<fb Co., 194 Rue de Rivoli. — Pharmacie Normale, 17-19 Rue
Drouot and 15-17 Rue de Provence; Pharmacie Midy, 140 Faub.
St-Honor6 ; Pharma>cie Centrale des Boulevards, 178 Rue Mont-
martre, in the boulevard (open all night) ; No^l, 10 Place Ste-Oppor-
tune (open all night); Principale, 49 Rue Reaumur; Paitlard-
Ducatte, 8 Place de la Madeleine; Grignon & Co., 2 Rue Duphot;
Th. Leclerc, 10 Rue Vignon; Roberts cb Co., 5 Rue de la Paix. —
Homoeopathic: Bascourret, 21 Boul. Haussmann; Weber, 8 Rue
des Gapucines.
Nursiiig Homes (Maisons de SanU). In case of a tedious
illness, or if the patient is dissatisfied with his medical attendant
or with his hotel or apartments, he had better take up his quarters
at the Maison Municipale de SanU (PL B, 23, 24), 200 Rue du
Faubourg-St-Denis (6-20 fr. per day, incl. everything). For nervous
maladies there is the Etablissement Hydroth^apique d^AiUeuU
12 Rue Boileau (20-30 fr. per day). In the following (15-25 fr.
per day) doctor's fees are extra, and if desired the patient may have
his own doctor: Maison des Hospitaliers de St-Jean-de-Dieu
(PI. R, 13, IV, ' for men), 19-21 Rue Oudinot; Maison des ReU-
gieuses Augustines de Meawc, 16 Rue Oudinot (for women) ; Mai-
son des Soeurs Augustines, 29 Rue de la Sant6 (for women). Pro-
testant: Maison des Dames Diaconesses, 95 Rue de Reuilly
(for women) ; Maison Protestante de Sant6 (for men), 97 Boul.
Bineau (Neuilly) ; HopitaU Hospice de Rothschild, 76-82 Rue Pic-
pus (for Jews). — Sick Nurses may be obtained at the HoUond
Information. 12. DIYINE SERVICE. 47
InstittUion for English hospital-trained Nurses, 25 Rue d* Amster-
dam, the American Graduate Nurses, 6 Rue Freycinet, and at the
Nursing Institution, 190 Boul. Haussmann.
Hospitals. The Hertford British Hospital, or Hospice
Wallace (PI. B, 8), is a large Gothic edifice in the Rue de Vil-
liers, at Levallois-Perret, near Neuilly, built and endowed by
Sir Richard Wallace (d. 1890). It has room for 30-40 patients, and
stands in a large garden. Other private hospitals: Devonshire
House (Engl.), 46 Rue PergoUse, Av. du Bois-de-Boulogne ; Ameri-
can Hospital, Boul. du Chateau, Neuilly ; Holy Trinity Hospital
(Amer.), 4 Rue Pierre -Nicole.
The following are Hospitals of the ^Assistance Pabliqae' (see List
of Streets, etc., in Appx.): AndrcUj BeaujoUy Bichatj Boucicaut, and
Broca (p. 846); Broussais and de la Charit4 (p. 305); Cochin and Cochin-
Annexe (formerly Ricord, p. 839); des Enfants-Malades and H6tel-Dieu
(p. 278) ; LaSnnec (p. 808), Larihoiaihre (p. 218), I^ecker, and de la Nouvelle
Piti6 (p. 837), St'Antoine (p. 260), St-Louis (p. 248), de la ScUpetrih-e
(p. 837), Tenon (p. 259), Trousseau (p. 261), etc. — Visiting days, Thurs.
a San. 1-8.
The Institut Pasteur is at 25 Rue Dutot (PI. 0, 18), see p. 843.
Hdpital Pasteur, 218 Rne de Yaogirard.
12* Divine Service.
English Churches. See the Sunday number of the Daily
Mail or the New York Herald (p. 50).
Episcopal. British Embassy Church (PI. R, 15; //), 5 Rue
d^Aguesseau, opposite the British Embassy; services at 10.30, 3.30,
and 8; chaplain, Rev. A. S. V. Blunt, B.A.; assistant chaplain,
Rev. R. D. Chapman. — Christ Church (PI. B, 5), 81 Boul. Bineau,
Neuilly; services at 10.30 and 4; chaplain, Rev. H. T. R. Briggs. —
St. George's (PI. R, 12; 7), 7 Rue Auguste-Vacquerie (A v. d'I6na);
services at 10.30 and 6 ; chaplain. Rev. P. A. Garde w. — Holy Trinity
(American Episcopal; PI. R, 12, 7), 23 Av. de I'Alma; services at
10.30 and 5. — St. I/uke^s Chapel (Amer.), 5 Rue de la Grande-
Chaumi^re, near Boul. Montpamasse; services at 10.30 and 5.30;
Rev. I. VanWinkle. — H.C. at all these at 8.30 a.m., also at 10.30 a.m.
on the first and third Sun. in the month at Holy Trinity (choral),
and at noon in the Embassy Church and at St. George's (choral).
English churches also at Maisons-Lafptte (p. 401) and at Ver-
sailles (p. 359).
English Congrbgational Chapel, 48 Rue de Lille (PI. R, 17; /7),
at 10.45 a.m.; minister, Rev. S. H. Anderson; H.C. on the first Sun.
in the month.
St. Joseph's Church (PI. B, 12) for English-speaking Roman
Catholics. 50 Av. Hoche. Mass on Sun. at 6.30, 7, 8, 9, 10 (sermon),
11.30, and 12, on week-days at 6.30, 7, 8, and 9; benediction at
48 12. DIVINE SERVICE. Preliminary
3.30 on Sun. (sermon), Wed., and Fri.; confessions heard daily,
7-12 a.m. and 3-8.30 p.m.
American Presbyterian Church (PI. B, 12 ; /), 21 Rue de Berri ;
services at 11 and 8.30; minister, Rev. C. W. Hialt, D.D.
Church of Scotland (PI. R, 15; //), 17 Rue Bayard, Champs-
Elysees; services at 10.30 and 8; minister. Rev. A. J. Resting, B.D.
Wesley AN Methodist Church (PI. B, 15 ; //), 4 Rue Roquepine ;
services at 10.45 and 8; minister, Rev. W. J. Allen.
Baptist Church: 72 Rue de Sevres; services at 10.30 and 8.30.
Also at 123 Av. du Maine; French services at 2p.m.
First Church of Christ Scientist, Washington Palace, 14 Rue
Magellan; services on Sun. 11.15 a.m.. Wed. 8.30 p.m.
Missions. The McAll Mission has now between 30 and 40 stations ;
the chief are at 8 Boul. Bonne-Nouvelle (meetings week-days at 8.30 p.m.);
*Maison Verte', 129 Rue Marcadet, Montmartre (Sun., 8.80 p.m.); etc. The
offices are at 86 Rue Godot-de-Mauroy. — A7iglo-American Young Men's
Christian Association^ 160 Rue Montmartre (Sun., 5 p.m.). — Christian
Endeavour Society, 81 Boul. Raspail (Sun., 4 p.m.). — Young Women^s
Christian Association, 20 Rue Godot-de-Mauroy. — Girls' Friendly Society ^
60 Avenue d'I6na, affords cheap lodgings. — Ada Leigh Hornet 77 Av. de
"Wagram (Sun., 8 p.m.). — Salvation Army Meetings, 166 Rue Montmartre
(Sun. & Thurs., 8.30 p.m.).
French Protestfiuat Churches (Temples). The population of Paris
is almost entirely Roman Catholic. The department of the Seine numbers
only about 60,000 Protestants and 25,000 Jews.
Calvinist: Oratoire (PI. R, 20, //; p. 88), 147 Rue St-Honor6 (10.15 and
4).- Ste-Marie (PI. R, 25, V; p. 188), 17 Rue St-Antoine (10.15; in winter
at noon). — Temple de VEtoile, 54 Av. de la Grande-Arm6e (10.15 and 4).
— Eylise de Pentemont (p. 309), 106 Rue de Grenelle (PI. R, 17, IV; 10.30).
— Eglise du St- Esprit, 5 Rue Roquepine (PI. B, 15, //; 10.15). — Temple
Milton, 5 Rue Milton (PI. B, 21). — Temple de Passy (PI. R, 8), 19 Rue
Cortambert (near the Trocad^ro; 10.15).
Luthbran: Eglise des Billettes (PI. R, 28, V; p. 190), 24 Rue des Ar-
chives (service at 10.15; in German at 2). — Eglise de lu Redemption (PI.
B, 21; //, ///), 16 Rue Chauchat (at 10.15; in Swedish at 2.S0).~ Eglise de
St-Marcel, 2bi» Rue Pierre Nicole (PI. G, 19, V; 10.15). — Eglise de la Re-
surrection (PI. G, 10), 8 Rue Quinault (10 a.m.). — Eglise du Gros-Caillou,
19 Rue Am^lie (PI. R, 14; IV), near the H6tel des Invalides (10.15).
Fkke (Libres) : Chapelle Taitbout, 42 Rue de Provence (PI. B, 21, II;
service at 10.15). — Chapelle du Nord (PI. B, 24), 17 Rue des Petits-Hdtels
(10.15). — Chapelle du Luxembourg, 58 Rue Madame (PI. R, 16, IV; 10.30
and 8). — Chapelle duCentre, 115 Rue du Temple (10. 80). — Eglise Baptiste,
18 Rue de Lille (2.15).
Synagogues: 15 Rue Notre-Dame-de-Nazareth (PI. R, 24; ///); 44
Rue de la Victoire (PI. B, 21, II; p. 219); 21Wb Rue des Tournelles (PI. R,
26; F); 9 Rue Vauquelin (PL G, 19); 80 Rue BuflFault (PL B, 21 ; Portuguese).
13. Booksellers. Libraries. Newspapers.
Booksellers. Galignani, 224 Rue de Rivoli, with library
(p. 49) ; W. H. Smith & Son, 248 Rut de Rivoli, with library and
reading-room (p. 49); BrentanOj 37 Av. de I'Op^ra. These three
sell English and American books.
Informatum, 13. LIBRAKIES. 49
E. Flammcmon & A. VaiUant, 36»'i» Av. de I'Opera, 10 Boul.
des Italiens, 14 Rue Auber, 8 Boul. St-Martiu, Galeries de rOd6on,
etc. ; Arnaudy 26 Av. de l'0p6ra ; U. Floury, 1 Boul. des Capu-
cines; Eilq. Rey, 8 Boul. des Italiens; P. V. Stock, 155 Rue St-
Honore, opposite the Th^atre-Frangais (dramas); lAbrairie des
ChampS'Elysdes (Pierre Lafitte & Cie.), 88 Av. des Champs-Ely-
86es; Larousse, 17 Rue du Montparnasse and 58 Rue des Ecoles,
opposite the Sorbonne. German: Haar & Steinert, 21 Rue Jacob;
Le Sovdier, 174-176 Boul. St-Germain; W. Fischbacher, 33 Rue
de Seine; F. Vieweg, 67 Rue de Richelieu; Ch. Eitel, 18 Rue de
Richelieu. Various: Boyveau <Ss ChevUlet, 22 Rue de la Banque.
— Rare books: Ed. Rahir (late Morgand), 54-55 Passage des
Panoramas; Rouquette, 18 Rue La Payette; L. durieret & Cie.
(formerly Conquet), 5 Rue Drouot; Conard, 17 Boul. de la Made-
leine; A. Melet, 45-46 Galerie Vivienne. — Second-hand book-
stalls on the quays (see p. 268).
Maps (comp. p. liv). Barr^re, 21 Rue du Bac ; Chapelot &
Cie. (military booksellers), 30 Rue Dauphine (1st floor); Delorme,
80 Rue St-Lazare; Challamel (naval and colonial), 17 Rue Jacob.
Photographs. Braun <& Cie., 11 Boul. des Italiens (see also
p. 118); JwZes Hautecoeur, 172 Rue de Rivoli, corner of Rue de
Rohan ; E. Hautecceur, 35 Av. de l'0p6ra ; Kuhn, 220 Rue de Rivoli ;
Griraudon, 9 Rue des Beaux- Arts ; Neurdein fr^es, 52 Av. de
Breteuil. — Photographic Matbkials: Photo-Hall, 5 Rue Scribe;
J. Richard, 10 Rue HaUvy; Mackenstein, 7 Av. de l'0p6ra; Pou-
lencfrdres, 19 Rue du Quatre-Septembre ; Kodak, 5 Av. de POpera,
4 Place Vendome, and 6 Rue d'Argenteuil.
Reading Rooms and Circulating libraries. Smith,
248 Rue de Rivoli (adm. 25 c, per week 1 fr.) ; English and Ameri-
can newspapers and magazines. Also the rooms of the New York
Herald, 49 Av, de I'Op^ra; the Brooklyn Daily Eagle, 53 Rue
Cambon, and the Chicago Daily News, 10 Boul. des Capucines
(all gratis). Galignani, 224 Rue de Rivoli (English books; 25-75 c.
daily, 3-6 fr. monthly), also convenient for letter-writing. Public
Libraries, from 9 a.m. to 4 or 6 p.m., or later.
IN'e'Wspapers. The oldest Parisian newspaper is the 'Gazette
de France', founded in 1631 by Renaudot (p. 273); 150 newspapers
appeared in 1789 and 85 in 1791, but most of these were suppressed,
Napoleon I. allowing only thirteen. After the Restoration about
150 newspapers and periodicals were published, but only 8 of these
were political. Since then the number has constantly increased,
and now amounts to about 2600, of which about 150 are political.
The chief papers are sold in the streets or at the 'kiosques* in the
Boulevards (p. 75).
Babdskxb's Paris. 18th Edit. 4
60 13. NEWSPAPERS. Preliminary
MoRKiKG Papbrs. Le Figaro (10 c. ; see p. 219), sodal and literary
rather than political ; Le Qauloia (15 c.)? Conservative and social ; Le Gil
Bias (10 c), literary ; Le Matin (5 c. ; p. 80), Republican, well informed ;
Le Journal (5 c), Republican, but chiefly literary ; VEcho de Paris (5 c).
Nationalist and literary; Excelsior {IQ a.] illus.); Le Petit Parisien {h ^.'y
Radical) and LePet.it Journal (p. 218 ; Republican), popular organs ; UEUair
(5 c.), militarist; Le Soldi (5 c.), Orleanist; La JMire Parole {b g.\ anti-
semitic; VAutorite (5 c.), Bonapartist; U HumaniU (5c.), Socialist; La
Croix (5 c), clerical ; La Lanterne (5 c), anticlerical ; Le Radical and Le
Rappel (5c.) are Radical; U Action Frangaise (5c.), monarchist; Paris-
Journal (5c.), literary; LeSilcle (10c.) and La Petite Ripuhlique (5c.),
Republican-Socialist; U Aurore {b a.), Radical. — Also, Le Journal Offlciel
(5 c).
Evening Papers. Republican, etc : Le Temps (15 c. ; p. 79), well
informed and highly esteemed; the Journal des Dihats (10 c), founded
in 1789, moderige ; La Liberty (5 c), more Conservative ; La Patrie (5 c).
Nationalist and militarist; L Intransigeant (5 c.) and La Presse (5 c.),
Opposition; Le Soir {iba.', published at 9 p.m.), Republican ; La Gazette
de France (see p. 49), royalist.
Sporting Papers: VAuto; Le Monde Sportique; La Vie au Grand
Air (illus.); Le Jockey; Paris-Sport.
Reviews and Periodicals: La Bevue des Deux Mondes (the oldest);
La Bevue de Paris; La Nouvdle Revue (Republican); Le Correspondant
(Conservative); I/a Gra7ide Revue (Republican); Le Mercure de France;
V Opinion; Le Cri de Paris (satirical); La Revue Hebdomadaire (Con-
servative); La Revue (formerly Revue des Revues); La Revue G6n4rale
des Sciences; La Revue Scientiflque; La Revue du Mois (scientific); La
Nature; La Revue Bleue, La Revue Blanche (both literary); Les Annales
Politiques et Littiraires ; and many others.
IlxiUStrated Journals: U Illustration ; Le Monde Illu8tr4; La Vie
lUustrie; Patria (military); Gazette des Beaux-Arts ; Revue de V Art An-
cien et Modeme; VArt et les Artistes; UArt Dicoratif; Musica; Armi€
et Marine; Lectures pour Tous; Touche a Tout; Je sais tout; Femina;
La Vie Heureuse; Fermes et Chateaux; La Renue du Foyer-Franqcds ;
Le Journal Amusant; La Vie Parisienne; Le Charivari; DAssiette au
beurre; Le Rire; Le Sourire.
English, American, and other foreign papers are sold in the
kiosques in the Rue de Rohan and Place du Palais-Royal, near the
Grand-H6tel, and on the boulevards. — The continental edition of
the Daily Mail (15 c), daily including Sundays (office, 34 Rue du
Sen tier ; travel bureau, see p. 44), contains a summary of news from
England, the United States, and the Continent, and a list of the
sights and amusements of Paris. — The European edition of the New
York Herald (office, 49 Av. de I'Op^ra) is a similar daily paper
(15 c, Sun. 25 c). — The American Register (office, 24 Boul. des
Capucines), with lists of American travellers in Europe and general
news (25 c), is published every Saturday.
Those who wish to learn French well should take private lessons,
besides attending lectures, theatres, churches, etc. It is a difficult and
delicate language to which there is no 'royal road'. The addresses of the
various linguistic schools and societies, as well as of private teachers,
may be obtained from Galignani and the other booksellers. — The Bureau
de Renseignements., at the Sorbonne (p. 289), entered from the Rue des
£)coles, supplies information regarding its lectures, institutes, hospitals,
InformaHon. 14. SHOPS. 51
libraries, etc. — The Alliance Franfcdse (p. 808), 186 Bonl. St-Germain,
institutes in sammer courses of lectures for foreigners on French langni&ge
and literature.
The Intemationdl Chiild, 6 Rue de la Sorbonne, supplies full courses
of instruction in the French language, literature, and history for men and
women students, and prepares candidates for the Sorbonne and the Guild
examinations. Terms for full course, 820 fr. for the scholastic year. Bead-
ing-room and inquiry office, 10 fr. per annum.
14. Shops and Bazaars.
Objets d'Art. — Antiquitibs and Curiositibs : CaissoetCie,,
1 Boul. de la Madeleine; LaurerU-Perd/reaUy 2 Rue Meyerbeer (1st
floor) ; Stettiner, 8 Rue de S^ze ; Lowengard, 1 Boul. des Capu-
cines; Seligmanny 23-26 Place Venddme (Rue de la Paix); F.
SchutZy 25 Qua! Voltaire ; other shops in the Quai Malaquais, Rue
La Fayette, Rue Drouot, Rue Laffitte, Rue Le Peletier, near the
H6tel des Ventes Mobili^res (p. 80), Boul. Haussmann, etc.
Bkonzes: LeblanC'Barhedienne, 30Boul. Poissonni^re; TkU-
haul fr^es, 32 Av. de POp^ra; SioUDecauville, 24 Boul. des Ca-
pucines; H4hrard, 8 Rue Royale; Susse fr^es, 31 Rue Vivienne;
Colin <Sb Cie., 5 Boul. Montmartre.
Chinese and Japanese Goods: Galerie S. Bingy 10 Rue St-
Georges.
Engravings and Etchings: DanloSy 15 Quai Voltaire; Ra-
pilly, 9 Quai Malaquais; Sagot, 39^" Rue de Chateaudun; Hessdle,
54 Rue Laffitte ; Strodin, 27 Rue Laffitte; Pierrefortj 12 Rue Bona-
parte ; Arnouldj 7 Rue Racine.
PicTUEBs AND SCULPTURES : Dwand-Ruel (p. 39) ; Georges Petit
(p. 38) ; Bernheimjeune & Cie. (pictures; p. 39), 36 Av. de l'0p6ra
and 25 Boul. de la Madeleine. Ancient paintings at Ch, Sedel-
Tneyer's, 6 Rue de La Rochefoucauld. Many other shops in the
Rue Laffitte (p. 79). — Copies of the sculptures at the Louvre may
be seen at the Ateliers des Moulages dm Louvre (open till 4 p.m.
daily, exc. Mon.), entered by the Cour Visconti and Cour du Sphinx
(see Plan, p. 95). — Photographs, see p. 49.
Porcelain and Crystal: S&vres Ware (see also p. 354), 240
Rue de Rivoli, comer of Rue Rouget-de-l'Isle ; Haviland, 60 Rue du
Paub.-Poissonni^re; Bavdry, 86 Rue du Faub.-St-Denis ; Grand-
D^pdt, 21 Rue Drouot. There are stores of all the different French
wares in the Rue de Paradis. — Copenhagen China, 38 Av. de
rOp6ra.
Magaslns de Nouveaut^s. — The most important are the
Bon-MaireM (PL R, 16, IV; p. 808), 131-137 Rue du Bac and
20-24 Rue de Sevres, rather remote; the Grands-Magasins du
Louvre (PL R, «0, //, III; p. 87), Rue de RivoU and Place du
4*
52 14. SHOPS, _ Prdimvnary
Palais-Koyal, opposite the Louvre ; Le Printemps (PI. B, 18, //;
p. 221), 62-70 Boul. Haussmann. Also the Galeries Lafayette,
1 Rue La Fayette, 15-36 Rue de la Chauss^e-d'Antin, and 38-42
Boul. Haussmann; the Grands- Mag asins Dufayel (PI. B, 23;
p. 222), 22-34 Rue de Clignancourt ; the Samaritaine (PI. R, 20,
///; p. 181), Rue du Pont-Neuf and Rue de Rivoli. Then, Aux
Trois-QuartierSy 21-23 Boul. de la Madeleine; A la Place Clichyy
3 Place de Clichy; A la Ville de St-Denia, 89-95 Rue du Fau-
bourg-St-Denis; Pygmalion, 9-19 Boul. de S^bastopol, Rue de
Rivoli, and Rue St-Denis.
Bazaars, partly similar to the above, partly for household re-
quisites and cheap goods of every kind. Magasin des NouveUes
Galeries {A la M6nag^e; PI. R, 24, //// p. 80), 18-20 Boul.
Bonne-Nouvelle ; Bazar de V Hdtel-de-ViUe, 54-62 Rue de Rivoli,
near the H6tel de Ville. On the left bank, Grand-Bazar de la
Rue de Rennes, 136-138 Rue de Rennes.
Clothes, Articles de Paris, etc. — Boots (chatissures).
To measure: Poivret, 32 Rue des Petits-Champs; Pinet, 1 Boul. de
la Madeleine ; Edwards, 36 Rue Vignon ; A la Gavotte, 26 Av. de
l'0p6ra (more especially for ladies). — Ready-made: Raoul, 24 Av.
de l'0p6ra, 2 Boul. Montmartre, 21 Boul. St-Michel, 64 Rue de
Rennes, etc.; Fayard, 55 Rue de la Chauss^e-d'Antin, 36 Rue de
Rivoli, 126 Rue de Rennes, etc. ; Biset, 11 Av. de I'Op^ra, 136 Boul.
St-Germain, etc. ; Manfield & Sons, 3 Boul. Montmartre, 8 Boul.
des Capucines, etc.
Dressmakers and Ladies' Tailors. The most fashionable are
to be found near the Op6ra: Rue de la Paix {Mme. Paquin, No. 3;
Worth, No. 7), Rue Taitbout (Laferri^e, No. 28), Rue Louis-le-
Grand, Rue du Quatre-Septembre, Rue Auber, and in the Boule-
vards. All these are expensive. The Magasins de Nouveaid^s
(p. 51) are much cheaper.
Fans (&ventails): Faucon, 38 Av. de I'Op^ra; Marie, 9 Boul.
des Capucines and 2 Rue Rossini; DuveUeroy, 11 Boul. de la Ma-
deleine and 17-18 Passage des Panoramas; La/ihelin, 32 Av. de
I'Op^ra; Buissot, 46 Rue des Petites-Ecuries.
Furs: R&oiUon frtres, 77-81 Rue de Rivoli; Grunwaldt,
6 Rue de la Paix ; Rufin, 30 Av. de I'Op^ra ; Ruz^ & Cie., 26 Chaus-
s6e d'Antin; Valenciennes frdres, 17 Rue Vivienne.
Gloves (gants): Jouvin, 1 Rue Auber; Au Camaval de Venise,
3-5 Boul. de la Madeleine; Perrin, 45 Av. de rOp6ra; Jourdain &
Legeay, 14 Rue Hal6vy ; A la Petite Jeannette, 3 Boul. des Italiens ;
Persin, 24-28Passage Jouffroy; Busk, 25 Rue d'Enghien. Neckties
(cravates) and umbrellas (parapluies) also at most of these.
Hats. For men (silk hat, *top-hat', chapeau haut-de- forme ;
stiff felt-hat, cape; soft felt-hat, chapeatt-mou ; straw -hat, c^ de
Information. 14. SHOPS. 63
paiUe; cap, casqueUe) : Delion db Cie., 24 Bool, des Capncines and
15-25 Passage Jouffroy; A. Berteil & Cie., 79 Rue de Ricfaelien,
134 Boul. St-Germain, and 91 Boul. Haussmann; Sauvage (Qibus),
11 Rue du Quatre-Septembre ; Pinatid <fc Amour, 41 Av. de I'Op^ra ;
L^on, 21 Rue Daunou ; ^ravard, 47 Boul. St-Michel. — For ladies:
Carlier, 16 Rue de la Paix; Rebonx (Caroline) j 23 Rue de laPalx;
Lewis, 422 Rue St-Honor6; Esther Meyer, 6 Rue Royale; Alphon-
sine, 15 Rue de la Paix.
HosiBBs AND Shirtmakebs: Dovcet, 21 Rue de la Paix (also
ladles' tailor) ; Roddy, 2 Boul. des Italiens (also tailor) ; BrummeU,
50 Av. des Champs-Elys^es ; Au Gagne-Fetit, 21-23 Av. de l'0p6ra;
A la Cour Batave, 41-45 Boul. de S6bastopol ; Chemiserie Spi-
dale, 102 Boul. de S^bastopol; Maison des 100000 Chemises,
69-71 and 74 Rue La Fayette and 55 Rue de Rennes.
Jbwbllebt. Numerous and tempting shops in the Rue de la
Paix, Av. de l'0p6ra, the Rue Royale, and the Boulevards. Genuine
gold and silver articles bear the stamp of the mint.
Opticians (spectacles, lunettes; opera-glass, jumelles ; eye-
glasses, lorgnon) : Chevalier, 27 Av. de I'Op^ra ; Fischer, 12,
and Franck db Cie., 25 Boul. des Capucines ; Hazebroucq, 16, and
GrTOOters, 24 Rue de la Paix; Comptoir Central d^Optique, 26 Rue
Vivienne; Goerz, 22 Rue de PEntrepdt; Derogy, 31-33 Quai de
PHorloge.
Pekfumbrs : Houbigant, 19 Rue du Faubourg St-Honor6; Grtter-
lain, 15 Rue de la Paix; Roger db GaUet, 8 Rue de la Paix and
38 Rue de Hauteville; Pinaud, 18 Place Vendome; Lvbin, 11 Rue
Royale; Violet, 29 Boul. des Italiens; Oriza (Lear and), 11 Place
de la Madeleine; Fiver, 10 Boul. de Strasbourg; Gell^ fr&res, 6 Av.
de POp^ra; LerUh&ric, 246 Rue St-Honor6; J. GriraudfUs, 22 Rue
des Capucines.
Tailors. Clothing made to measure by a good tailor is 50 to
75 ®/o dearer than in England. The visitor should consult a resident,
if possible, before ordering. — Rbadt-made Clothes (or to mea-
sure) : A la BeUe Jardini^e, 2 Rue du Pont-Neuf and 1 Place de
Clichy; Marx (Coutard), 4-6 Boul. Montmartre; Old England,
12 Boul. des Capucines, comer of Rue Scribe; Barclay, 18-20 Av.
de l*0p6ra; Pa^in, Bertholle<&Cie., 43 Boul. des Capucines; fl^^-
Life Tailor, 12 Rue Auber and 112 Rue de Richelieu; West- End
(Choqu6), 16 Rue Auber; O. Strdm & fits, 16 Rue de la Chauss^e-
d'Antin for motorists, etc.). — Ladies* Tailors, see Dressmakers.
Toys : Au Nain Bleu, 27 Boul. des Capucines ; Au Faradis des
Enfants, 156 Rue de Rivoli, corner of Rue du Louvre.
Travelling Requisites : Moynat, 5 Place du Th^fttre-Frangais ;
at several shops in the Av. de l*0p6ra, and at the Bazaars (p. 52).
Watchmakers : L. Le Roy db Cie., 7 Boul. de la Madeleine
(chronometers); Br iguet- Brown, 12 Rue de la Paix; Gamier, 17
54 14. SHOPS. Praiminary
Boul. Haassmann ; Au CkronomHre de IVance, 11 Bool, des
Italiens.
Confectionery and Delioaoies. — Confbctionkes : Bois-
sier, 7 Boul. des Capucines; L. Marquis (Siraudin), 17-19 Boul.
des Oapacines; Rebattet, 12 Rue du Faubourg-St-Honor6 ; Seugnot^
28 Rue du Bac.
Chocolate, Tea, etc. : Compagnie Coloniale, 19 A v. de P0p6ra;
F. Marquis, 58-61 Passage des Panoramas and 39 Boul. des Ca-
pucines; Au Fiddle Berger (Lombart), 9 Boul. de la Madeleine;
Chiirin-Boutron, 29 Boul. Poissonni^re ; Masson, 91 Rue de Rivoli.
Delicacies (comestibles J: Voyenne & Belin (Potel & Chabot),
26 Boul. des Italiens; Corcellety 18 Av. de I'Op^ra; F. Potin,
97-103 Boul. de S^bastopol, 45-47 Boul. Malesherbes, 99 Rue du
Faub. St-Antoine, and 140 Rue de Rennes; Damoy, 31 Boul. de
S6bastopol; Sadla, 48 Boul. Raspail, corner of Rue de Sevres,
and 40 Boul. Voltaire; Epicerie de VHdtel Terminus (p. 11).
Tobaooo. — The manufacture and sale of tobacco and cigars
are a government monopoly. The shops, called Bureaux de la r^gie
des tabacs, have red lamps. The prices are the same everywhere.
Among the most important shops are: 63 Quai d'Orsay; 23 Boul.
des Capucines, opposite the Grand-H6tel ('Tabacs deLuxe*) ; 157 Rue
St-Honor6, opposite the Th^fttre-Fran^ais ('A la Civette'); 15 Place
de la Bourse. English and American tobacco and imported cigars
and cigarettes may be obtained at shops in the Rue de Rivoli, the
boulevards, and streets frequented by strangers.
The prices (marked on the open boxes) of the home-made cigars range
from 5 to 40 c. Cigarettes are sold in packets of twenty at 50 c. and
upwards. The common smoking-tobacco is sold in packets of 40 grammes
at 50 c. CaporcU doux, Maryland^ and Levant are milder, but mnch
dearer brands. Passers-by may use the light homing in every tobacco
shop without making any purchase. — Postage-stamps also are sold by the
tobacconists.
15. Distribution of Time.
At least a fortnight is required to abtain some idea of Paris
and its environs. The visitor should take a preliminary drive
(p. 55) or walk from the Pla>ce de la Concorde (p. 61) up the
VhampS'Elys^es (p. 67 ; view from the Arc de Triomphe, p. 73),
and along the Boulevards (p. 75), through the W. central quarter.
He should supplement this by a steamboat- trip on the Seine (p. 30),
landing at the Quai de I'Hdtel-de-Ville to visit Notre-Dame (p.
274; view from the tower). The great art-collections are at the
Louvre (p. 92), to which several days should be devoted; the
Luxembourg (p. 323; modern French art); the Hdtd de Cluny
(p. 280; industrial arts, mediaeval and Renaissance); the Musie
InformaUon, 15. DISTKIBUTION OF TIME. 55
Cama/valet (p. 194; historical sarvey of Paris); the Bibliothtque
NcUtanale (p. 209 ; rare books, bindings, medals, cameos, and small
antiques); and the Hdtd deslnvalides (p. 310; military museum).
Other interesting buildings are the Opira (p. 77), the Hotel de
ViUe (p. 183), the Archives NcUionales (p. 191), the Holies Cen-
trales (p. 202), the Bourse (p. 216), the Sainte-Chapelle (p. 271),
the S<yrbonne (p. 289), the Pantheon (p. 291), the Mnt (p. 299),
the Dome of the Invalides (p. 318), and the churches of the Made-
leine (p. 75), St-Germain-rAuxerrois (p. 88), St-Evstache (p. 203),
St'Vincent-de-Paul (p. 218), Sacr4-C(mr (p. 222), St-Germain-
des-Pr^.(p. 302), St-Sidpice (p. 304), and St-Etienne-du-Mont
(p. 294). An early start should be made so as to allow time for
objects of interest en rotUe. The late afternoon should be devoted
to the Bois de Boulogne (p. 244), P^e-Lachaise (p. 251), the.
Buttes-Chaumont (p. 248), and other parks (see p. 60), or to watch-
ing the busy life of the boulevards (p. 75).
Paris is pre-eminently a city of fine Vistas. Those which the
eye commands from the statue of 'Quand-mgme' (p. 65), near the
Arc de Triom/phe du Carrousel, from the Pont de la Concorde
(p. 63), looking towards the Madeleine, and from several of the
bridees (notably the Pont-Royal, p. 305, the Pont Alexandre-
Trots, p. 234, and the Pont d^Austerlitz, p. 334, looking down the
river), are singularly striking and impressive.
No less beautiful are the Views from certain points of vantage,
such as the top of the Arc de Triomphe de VEtoile (p. 73), the
towers of Notre-Dame (p. 276), the basilica of the Sa^ri-Coeur
de MontmaHre (p. 223), the Eiffel Tower (p. 321), the Tour
St-Jacqv/es (p. 181), ihQ Buttes-Chaunwnt (p. 248), and the terrace
of the park at St-Cloud (p. 356), or, lastly, the terrace of St-Ger-
main-en-Laye (p. 888), whence, however, the view of Paris itself
is limited.
In the Environs Versailles (p. 358) and ChantiUy (p. 407)
stand first in interest, the former for its park and palace of
Louis XIV. (now a historical museum), the latter as a modem
princely residence, with a park and the Musee Cond^. The Royal
Tombs at St-Denis (p. 393) make but a slight impression, as the
visitor is hurried through them. The palace of Fontainebleau
(p. 434), with its admirable Renaissance interior, is well worthy
of a visit, and the adjacent forest deserves a whole day.
The following Preliminary Drive will take 2^2-3 hrs. and
cost 6-10 fr. in a taximfetre or taxi-auto (see Appx., pp. 55,. 56).
From the Place de la Concorde (p. 61), through the Rue de Rivoli
(p. 88) to the E., past the Louvre (p. 89) and the Hotel de VUle
(p. 183) ; then through Rue St-Antoine to the Place de la Bastille
(p. 188), returning by the Grands Boulevards (p. 75) to the Place
de la Concorde; then up the Champs-Elysies (p. 67) to the Arc de
56 16. DISTRIBUTION OF TIME. Preliminary
Triomphe de VEtoile (p. 73 ; view), and down to the Pont del* Alma
(p. 235), which we cross to the Champ-de-Mars (p. 320), the Hdtel
des Invalidea (p. 310), and the Pardhion (p. 291). Thence down
the Boul. St-Michel (p. 278), past the Sorbonne (p. 289) and the
Hdtel de Cluny (p. 280) ; across the Pord St-Michel (p. 278) into
the 'Cit6', where we see the Palais de Justice (p. 269) on the left
and Notre-Dame (p. 274) on the right. We then regain the right
bank by the Pont d'Arcole (p. 183), at the Place de l'H6tel-de-Ville
(p. 182). "We may conclude the excursion with a steamboat-trip on
the Seine (see Appx., p. 56).
A good idea of Paris may be obtained also by taking the follow-
ing round on the tops of omnibuses and tramway-cars (Sun. should
be avoided), which would cost only 1-1 V2 ^r., but would take twice
as long as the drive by cab. "We first take the Madeleine-BastiUe
omnibus (Line E; 15 c.) along the Boulevards to the Place de la
Bastille (p. 188); thence by the Louvre-Vincennes tramway
(TC; 10 c.) to the Hdtel de Ville (p. 183), whence the Hotel de
ViUe-Porte de Neuilly 'autobus' (0; 15 c.) conveys us to the Place
de VEtoile (p. 73; ascend Arc de Triomphe; view). Returning by
the same means or by the 'M^tro' (Line 1) to the Place de la Con-
corde, we then take the Courcelles-Panth^on omnibus {AF; 15 c.)
to the Pantheon (p. 291). Thence we walk by the Rue Soufflot and
across the Boul. St-Michel to the Luxembourg Garden (p. 331), cross
it to the Place de I'Odeon (p. 332), and thence take the Oddon-Av.
de Clichy omnibus (Line H; 10 c.) to the Place du Carrousel
(p. 66; Louvre). Lastly we may go by Steamboat (see Appx., p. 56)
either up the Seine to the Pont d'Austerlitz (p. 334) or down to the
Pont d'Auteuil (p. 243).
The lines 2, 5, and 6 of the 'MStro' railway afford a slight glance at
the outer boulevards. (See Appx., pp. S2, 84, 85.)
In the summer Chars-d-bancs or Motor Vehides leave Cook's office,
1 Place de I'Op^ra, several times daily for drives round Paris and for
excursions to places of interest in the environs, including Versailles,
Fontainebleau, and Chantilly.
The following Diary, planned for a stay of three weeks, will
enable the visitor to regulate his movements and economize his
time. He must carefully note the days and hours at which the
collections and sights are accessible (see table, pp. 58, 59), and
must make free use of cabs (p. 28) or the M6tro (p. 29).
1st Day. Preliminary drive (see p. 55), combined with a visit
to Notre-Dame (p. 274; not on Sun.). Afternoon: Bois de Bou-
logne (p. 244) and Jardin d"* AcclimcUation (p. 246).
2nd Day. Louvre (p. 89) ; Jardin des Tuileries (p. 64). After-
noon: St-Cloud (p. 354) and S&ores (p. 353).
3rd Day. Palais de Justice and Sainte-Chapelle (pp. 269, 271).
Afternoon: Mus€e de Cluny (p. 280) and the He St-Louis (p. 277).
4th Day. Mus6e du Luxembourg (p. 323) ; Ecole des Beaux-
InformaHon, 15. DISTRIBUTION OF TIME. 57
Arts (p. 299; Sun. only) or the Mivt (p. 299; Tues. & Thurs. 1-3) ;
St-Germain-deS'Pris (p. 302); St-Stdpice (p. 304).
5th Day. Pcdais-Royal (p. 86) ; Holies Centrales (p. 202) and
St'Eustache (p. 203); Pdre-Lachaise (p. 251).
6th Day. Louvre (2nd visit); Madeleine (p. 75); Place
Venddme (p. 83). Afternoon: Jardin des Plantes (p. 335) and the
Gobelins (p. 339; Wed. & Sat. 1-3).
7th Day. Mus^e Victor-Hugo (p. 200) ; Musee Carnavalet
(p. 194); old houses in the Rue des Francs-Bourgeois (p. 190).
Archives Nationcdes (p. 191; Sun. & Thurs. 1-3); Quartier du
Temple (p. 208).
8th Day. Chamber of Deputies (p. 306) ; Hotel des Invalides
(p. 310); Eiffel Tower (p. 321).
9th Day. BibliotJidqu^ Nationale (p. 209) ; Bourse (p. 216) ;
Notre-Dame-de-Lorette (p. 219); Mus4eGustave-Moreau (p. 219) ;
La Trinity (p. 220) ; St-Augustin (p. 230).
10th Day. Versailles (p. 358).
11th Day. Miisie du Luxembourg (2nd visit) : Garden (p. 331)
and Palace (p. 322). Panthdon (p. 291); St-Etienne-du-Mont
(p. 294). Pare Monceau (p. 231); Mus6e Cemuschi (p. 230).
12th Day. Louvre (3rd visit). Afternoon: La Malmaison
(p. 383).
13th Day. Conservatoire des Arts et Metiers (p. 205) ; St-Vin-
cent-de-Paul (p. 218); Buttes-Chaumont (p. 248).
14th Day. ChantUly (p. 407; Sun., Thurs., and Sat., in summer).
15th Day. St-Denis (p. 390). Afternoon: Enghien (p. 396) and
Montmorency (p. 397).
16th Day. St-Germain-en-Laye (p. 385).
17th Day. PetU Palais (p. 68) ; Musses du Trocad&ro (p. 239),
Gruimet (p. 236), and Galli&ra (p. 235).
18th Day. Louvre (4th visit) ; Hdtel de Ville (p. 183 ; 2-4 p.m.).
Sacr^-Cceur (p. 222) and Montmartre Cemetery (p. 224).
19th Day. Re-visit Mus^e Carnavalet or Mus6e de Cluny ;
Vincennes (p. 263).
20th Day. Fontainebleau (p. 433).
Hours of Admission. The annexed table shows when the
collections and sights are open to visitors. As the days and hours
are liable to alteration the traveller is referred to the Daily Mail
(p. 50) and to the French newspapers. The museums and collec-
tions are apt to be crowded on Sundays and holidays.
Most of the collections are closed on Mondays, and also on
the principal holidays: New Year's Day, Ascension Day, 14th July,
and, unless they happen to fall on a Sunday, the Assumption (15th
Aug.), All Saints' (1st Nov.), and Christmas Day.
68
16. DISTRIBUTION OF TIME. Prdiminary
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'I
60 15. DISTRIBUTION OF TIME.
Applications for admission to special collections or to a meeting of
the Academy (^. 297) may be couched somewhat in the following terms:
'Monsieur,
Etranger de passage k Paris, je me permets de solliciter I'antori-
sation de visiter (d'assister k la prochaine stance de . . . .^
Veuillez agrder, Monsieur, avec mes remerciments anticip^, Tex*
pression de ma consideration tr^s distingude.'
A stamped and addressed enyelope for the reply should be en-
closed.
Churches are best seen in the afternoons of week-days, when
no service is held. The Madeleine (p. 75) is not open to visitors
till 1 p.m., and several other churches are closed at 5 or 6 p.m.
Sundays and festivals afford an opportunity of witnessing the relig-
ious ceremonies and often of hearing excellent music (see p. 38).
High mass is usually at 10 a.m. The masses at midday and 1 p.m.
are those chiefly attended by the fashionable world; and the scene
after service at the Madeleine and other leading churches is inter-
esting and characteristic.
Parks and Public Gardens are usually closed at dusk. The
hour of closing is announced by a crier or by a drum or bell.
Cemeteries open at 7 a.m. and close at 6.30 p.m. from Ist April
to 31st Aug. ; in March and from 1st Sept. to 15th Oct. they close
at 6, in Feb. at 5.30, from 16th Oct. to 15th Nov. at 5, from 16th
Nov. to 31st Jan. at 4.30. — It is forbidden to take cameras into
the cemeteries. A bell is rung half an hour before closing, and the
custodians call out, ^On ferme les porte8\ Visitors may not carry
anything out of the cemetery without a ^laissez-passer*. Note that
men always take off their hats on meeting a funeral, whether in
the cemetery or in the streets.
RIGHT BANK OF THE SEINE.
The modern basiness and fashion of Paris are confined mainly
to the quarters on the right bank of the Seine, which contain the
great BovlevardSj the finest streets and squares, the chief hotels,
cafes, and restaurants, the best theatres, and the most attractive
shops. Here, too, are the Louvre, with its magnificent treasures
of art, the Champs- Ely sies, with the palace of the President of
the Republic, the Hotel de Ville, several interesting churches, the
Trocad&ro, the Op4ra, the Pcdaia- Royal, the Bibliothique Natio-
nak, the Archives, the Bourse, the Banqv^e de France, the Hotel
des Posies, the Halles Centrales, the Conservatoire des Arts et
Mitiers, and P^e-Lachaise.
1. Place de la Concorde, Jardin des Tni-
leries, and Champs-Elysees.
MAtbopolitaik Stations (Line 1; Appx., p. 31): La Concorde and
Tuileries (p. 68).— Nord-Sdd: La Concorde (p. 68; Appx., p. 36).—
Omhibuses and Tbamwats, see Appx., p. 54.
The new-comer should begin by taking a walk from the Louvre
to the Place de la Concorde. On all sides are imposing views. From
the Pont de la Concorde we survey the river. From the Tuileries
Gardens, with the palace of the old French kings to the E., we
look N.W. towards the Champs-Elys6es, with the long vista beyond
the Obelisk, ending in the Arc de Triomphe. To the S.W. rise the
Eiffel Tower and the D6me des Invalides.
The **Place de la Concorde (PI. R, 15, 18; 77), the centre
of the fashionable W. quarters, between the Champs-Elys6es (p. 67)
and the Jardin des Tuileries (p. 64), is one of the largest and grand-
est squares in the world. It received its present form in 1854
from designs by Hittorff.
In the middle of the 18th cent, the site was almost a desert. Louis XV..
after the Peace of Aix-la-Ohapelle (1748; see p. xx), graciously allowed
the municipal authorities to erect an equestrian statue to him here, and
Oahriel, the architect, constructed the pavilions and balustrades. The
statue, executed in bronze from designs by Bouchardon (model, see p. 116,
No. 611), was not set up until 1768, when its erection called forth some
bitter epigrams (<I1 est id comme k Versailles, il est sans oobut et sans
62 Right Bank 1. PLACE DE LA CONCORDE.
entrailles'). The statue was removed in 1792, and the Place was named
Place de la Revolution. In 1795 the name was changed to Place de la
Concorde; after the restoration of the Bourbons, when it was proposed
to erect an expiatory monument here, it was again changed to Place
Louis XV and Pla4:e Louis XVI , and after 1880 the name Place de la
Concorde was revived.
The aspect of the Place has nreatly changed since the Revolutionary
period, when it lay almost outside of the lite and traffic of the city. Qt
the surroundings that met the last gaze of so many hundreds of noble
and humble victims under the Terror (1798-94), little now remains but
the huge facades of the Minist^re de la Marine and the H6tel Coislin
(p. 68), the equestrian statues by Ooyzevox, and the stone terraces of the
Tuileries Gardens, once separated jnrom the Place by a fosse and draw-
bridge. The precise spot on which the euillotine was erected *en per-
manence' is not quite certain, but it probably stood near the statue of
Liberty, which succeeded that of Louis XY., and whieh Madame Bolasd
is said to have apostrophized. The guillotine began its bloody work here
in 1792, and usually at six o'clock every afternoon, the file of tumbrels
entered the Place by the Rue Royale. Between 2l8t Jan., 1793, and Srd May,
1795, upwards of 2800 persons perished here, besides many executed else-
where during the Terror. For a short time (26th May to 9th July, 1794)
the guillotine was removed to the Place du Tr6ne {f. 261), where some
1300 persons perished ; many others were guillotined in the JPlace du Car-
rousel, and a few at the Bastille (one day only). So absolutely mechan-
ical and swift was the action of the terrible machine that forty to fifty
persons were often executed in as many minutes.
Louis XVI. was executed in the Place on 21st Jan., 1798. Later vic-
tims were Charlotte Corday, Marie Antoinette (16th Oct.), Brissot, chief
of the Gironde, with twenty-one of his adherents, and Philippe i^alitS,
Duke of Orleans, father of King Louis Philippe. In 1794 Hubert and
his partisans, the opponents of all social rule, mounted the scaffold. The
next victims were the adherents of Marat and the Orleanists ; then Dan-
ton himself and his party, Camille Dosmoulins, and the atheists Ghanmette
and Anacharsis Cloots, and the wives of (jamille Desmonlins, Hubert,
and others, and Madame Elisabeth, sister of Louis XYI. Then Robespierre
and his associates, his brother, Dumas, Saint-Just, and other members
of the 'comit6 du aaiut public^ met a retributive end here; a few days
later the same fate overtook 82 members of the Commune., mere tools of
Robespierre. Lasource, one of the Girondists, said to his judges: *Je
meurs datis un moment ou le petiple a perdu sa raison; tons, vous
mourrez le jour oit il la retrouvera\
Tlie ^Obelisk in the centre of the Place once stood in front of
a 'pylon', or gateway, erected by Ramses II. (13th cent. B.C.) in
front of the great temple at Luxor (Thebes) in Upper Egypt It was
presented to Louis Philippe in 1831 by Mohammed Ali, viceroy of
Egypt. It is a monolith, or single block, of reddish granite or syenite
from the quarries of Syene (the modem Assuftn). It measures 75 ft.
in height and weighs 240 tons. The pedestal of Breton granite,
also a single block, is 13 ft. high, while the steps raise the whole
31/4 ft. above the ground. The hieroglyphics on the sides narrate
the deeds of Ramses II. The scenes on the pedestal refer to the
embarkation of the obelisk in Egypt in 1831, and to its erection
in 1836 at Paris by the architect J. B. Lebas. (Cleopatra's Needle
in London is 68 ft. high, and the Obelisk of the Lateran at Rome
105 ft.)
Each of the ^Fountains flanking the obelisk consists of a basin
PLACE DE LA CONCORDE. Bight Bank l. 63
in granite, 53 ft. in diameter, above which are two smaller basins,
in bronze, adorned with statues of river (N.) and marine (S.) deities.
On the pavilions around the Place rise eight stone figures of
great cities: Lille and Strassburg by Pradier, Bordeaux and Nantes
by Callouetj Rouen and Brest by Cortotf and Marseilles and Lyons
by Petitot. The Strassburg statue is usually hung with crape and
mourning garlands, in reference to the lost Alsace.
The two nearly uniform edifices on the N. side of the square,
separated by the Rue Royale (p. 74), were erected in 1762-70, from
Gabriel's plans, for the reception of ambassadors and other dis-
tinguished persons. That to the right (No. 2), once the 'garde-
meuble*, or royal store-room, was restored in 1898-1900, and is
now occupied by the Minist^e de la Marine. That to the left
(No. 4), once the residence of the Marquise de Coislin (1776), is
partly occupied by the Cercle de la Rue-Roy ale (p. 43). Adjoining
it is No. 6, now the AutomohiU-Clvb (p. 43), formerly the house
of Rouill6 de PEstang (1775). To the right, at the beginning of the
Rue de Rivoli (p. 88), is 'La Concorde' station of the Nord-Sud
railway (Appx., p. 36). Farther on in the Rue de Rivoli are the
'La Concorde' and 'Tuileries' stations of the M^tropoUtain (Line 1 ;
Appx., p. 31), the former nearly opposite Rue de Mondovi, the latter
nearly opposite Rue du Vingt-Neuf-Juillet. At the comer of Rue
de Castiglione (p. 84) is the Hotel Continental (PI. R, 18, //; p. 3),
on the site of the Minist^re des Finances, destroyed by the Com-
munards in 1871. Opposite No. 230, adjoining the Garden of
the Tuileries, is an inscription marking the site of the famous
riding-school (Manege) used for the meetings of the Constituent
Assembly, the Legislative Assembly, and the National Convention
from 1789 to 1795, where the Republic was founded on 21st Sept.,
1792. Farther on, to the E., is the small Place de Rivoli (p. 85).
The Pont de la Concorde (PI. R, 15, 14; //), which crosses
the Seine to the Chambre des D6put^s (p. 306), was built by Per-
ronet in 1787-90, the upper part being built of the stones of the
Bastille. The piers, in the form of half-columns, were once adorned
with statues (now at Versailles, see p. 362).
The splendid *View from the bridge 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 de Solf^rino and the Pont-Royal; to the right, the Gare du
Quai-d'Orsay, in front of which is the little dome oi the Palais de la
Legion d'Honneur; farther off are the dome of the Institut, the towers
of Notre -Dame, the spire of the Sainte-Chapelle, and the dome of the
Tribunal de Commeree. Downstream, to the right, rise the palaces in the
Champs-Elys^es ; then the Pont Alexandre-Trois, and farther off the towers
of the Troeadiro; to the left the Ministry of Foreign Affairs and the
Eiffel Tower. The gilded dome of the Invalides is seen only from a little
above the bridge as we come from the city, to the left of the Chamber
of Deputies.
64 Right Bank 1, JARDIN DES TUILERIES.
The *Jardin des Tuileries (PI. R, 18, 17; II), on the
E. side of the Place de la Concorde, is entered by a gateway, the
pillars of which are adorned with statues of Fame and Mercury on
winged horses, by Coyzevox. The garden is open to the public,
but the railed-in part is closed in winter at 8 and in summer
at 11. The grounds retain the same general features as when laid
out by the famous landscape-gardener Le Notre in the reign of
Louis XIV. (1664). On each side they are flanked with terraces.
That on the N., called the Terrasse des FeuUlants, derives its
name from an old monastery of the Cistercians of Feuillant (near
Toulouse). Here in 1790-91 met the club of the moderate party
('Les Feuillants'), led by Lameth, Lafayette, etc., in opposition to
the more violent Jacobins (Manage, p. 63). In 1910, in a hemicycle
in front of the old 'Jew de Paume\ was erected a Monument to
Charles PerrauU (1628-1703), by G. Pech, a bust of the famous
story-teller surrounded by a group of children. Near it are
placed two arcades from the old palace of the Tuileries (p. 65). —
On the S. is the Terrasse du Bord de VEau, once the playground
of imperial and royal princes, with the Orangerie, near which, to
the S.E., towards the Seine, is a copy (in stone) of Barye's bronze
group of a lion and serpent (p. 116).
Between the two terraces, near the entrance, is a large octagonal
basin, with a fountain in the centre, where children sail small
boats. Around it are four groups of river-gods (17th-18th cent.):
the Loire and the Loiret, by Corn, van Cleve; the RhOne and
Sa6ne, by G. Coustou; the Nile, the Tiber, and four figures of
the Seasons. Farther on are modern sculptures. Among these, to
the left of the main walk, is Autumn, by Michel; Winter, by Des-
hois; the Good Samaritan, by Sicard. On the right. Evening, by
Lemaire; Summer, by Loiribard; Declining years, by Vemhes, To
the N., near the Terrasse des Feuillants, are several bronze groups
by Bosio and Cain.
In the middle of the garden is a grove of fine trees, where a
military band plays in summer on Sun., Tues., and Thurs. from 4
to 5 or from 5 to 6 (chair 15 c, arm-chair 20 c). The two marble
hemi cycles (Carres d'Atalante or Jar din de Robespierre) y on
each side of the broad walk, were constructed in 1793 for the old
men who were to preside over the floral games in the month of
Germinal (21st March- 19th April). In the hemicycles, right and
left, are Aristseus and Ceres by Gatteaux; in the carrd on the right
are Hippomenes, by G. Cotistou, and Atalanta, by Lepautre; in that
on the left, Apollo and Daphne, by N. and G. Coustou.
To the E. of the grove are well-kept flower-beds, adorned with
statues and vases, mostly modem. Round the circular basin in the
centre, from left to right: Oath of Spartaous, hy Barrios; Soldier
JARDIN DES TUILERIES. Right Bank l. 65
tilling the ground (from Virgil), by Lemadre; Prometheus, by
Pradier; Alexander fighting with a lion, by Dieudonni; Cas-
sandra and Minerva, by A. Millet. On each side of the railing:
mythological groups, of the end of the 17th cent.; then Pericles, by
J. B. Debay (1855); Rape of Dejanira, by Marqueste; Alexander
fighting, by Lemaire; Cincinnatus, by Foyatier, — In the broad
cross-avenue: next the Seine (right), Comedy, by J. Roux; (left)
Phidias, by Pradier; towards the Rue de Rivoli, (right) The Mask,
by E. Christophe; Aurora, by L. Magnier (bronze); (left) Medea,
by Gasq. — In the central walk farther on, beyond the railing, we
observe (left and right) Diana and the Nymph of Fontainebleau.
by E. LiiSvique; in a plot to the right, near the basin, rises the
monument to Waldeck-Rouaaeau (1846-1904), the statesman, by
L. Marqueste (1910); farther E. are a Corybante, by (Jugnotj and
'New Year and the Mistletoe' by Baujault; in the flower-bed on the
left, a Bacchante, by Carrier- Belleuse, These two beds also contain
mythological and other statues, by CoyzevoXj Coustou, and Le-
patUre, and animals in bronze by Cain. — To the N. of the plot on
the left, on a level with Rue St-Roch, is a monument to Jides Ferry
(1832-93), the statesman, by G. Michel (1910).
The Hue des Tuileries, laid out in 1878, forms the boundary
of the original garden. The grounds on the E. side of thi^ street
were laid out in 1889, on the site of the old Palais des Tuileries (see
below), burned down by the Communards in 1871, and they were pro-
longed on each side of the Arc de Triomphe du Carrousel (p. 66) in
1904-06. Here, in the central walk, we observe the 'Quand-meme'
of Mercie (1882), in marble, representing an Alsatian woman
seizing the gun of a dying soldier, in memory of the defence of
Belfort in 1870-71. In the plot on the left are Truth, by Cavelier,
and Ganymede, by Barthdlemy; in the plot to the right are-Flora
by Soldi-Colbert, the Exiles by M. Moreau, Velleda by Main-
dron, and Eve after the Fall by Delaplanche.
The ruins of the Tuileries Palace (see below) were removed
in 1883. Its only remains are the two pavilions terminating the
wings of the Louvre, but now much altered. The Pavilion de
Marsan (to the N.; p. 91), rebuilt in 1875-78, has contained since
1903 the Musee des Arts D6coratifs (p. 176). The Pavilion de Flore,
to the S., was rebuilt in 1863-68, and restored in 1875. This
pavilion, adorned on the side next the quay with fine sculptures
by Carpeaux, was occupied down to 1909 by the Minist^re des
Colonies (p. 320), and since 1910 has contained the Collection
Chauchard (p. 174).
The Palais des Tuileries (Plan, p. 89), founded by Catherine de M^dicis,
widow of Henri II., ww begun in 1564, beyond the city-walls of that
period, on the site of old tile-kilns (tuileries). The first architect, Phili-
oert Ddormet ^"as succeeded by Jean Bnllant. The Pavilions de Flore
Bakdkkrr's Paris. 18th Edit. 5
441 XfH^i tfu,*k t. PLArB DC CARSOUSEL.
^k4 Iv >(M<t«it \^t*rt« ittorwarrlB inuorp«r^e4 witii tke palace. Before
»^ <i><tunuu 'iu> '»«ia\t» wa» uoly ocuajsmaallT occupied by the French
x*«%^ 4xi^«fv. 'ut t % :ip^ ^t' ^t*nBaDt»Qt ratuiiraiee of ^SSasoIeoa I^ Lovis XVIII..
*.%».. X \ -i X *'H'lip(»f, and 5apoIeon ELL with tfce exception of
^ ix*». IV V ii<,' f». 'Ni,. rto t^iirtoe in Puis is so E«h in histor-
v^ t«4*«v'M<v^ 'tt xu <)t.t.. irM^. Ltmi* XVI. watt bnragkt from Yer-
^^.1' o^ •' "* ''^ '• ^x utu n Juai'. IT^U he wa» iguB isstalled here
^»v. •-- ,«'v. V ' >i*.r-v'^ i»tt ittth June, 1798, tiie ftaiuTersarv of
^ %•■« t "^ u it^ *AUJI1«^ p. tsv>^ the paiaee was attacked by
v«K^,> V, f\ M .'..^^ »it. fttt vu£. :tie «iea£fa-knelL of tiie moaareky was
^^^ ' • ""^ .1 ' u\L ^n^iMiy HMktM in the paLu.'e>yard and garden were
*-*^^ . V v,'> -t^' .u . ♦ti- oaimanUing ameer, who w^ put to death,
x,^M .* X * • 1 X '* ' t>t*»c*** '•*tiu itanwtB^ CT'paimd witk kis fanuhr to
^*v » ., -^.. V o > t "? ct <ti:'-4ativi» aHuembly wa« sittufr. The
'^^^^ .V » .. ^^ -. t."(mr' "'LiIentHK i at tile kia^ssenttke^ orders
^^ ..•**». ■*>». 'Aiiv»* vato "tii'i :ttvadtMi by tke assailaats,
•^•*'« * •". . * • fM Mkvtvtu ^t^ nuliiittcr^ — On 39tk Jvly, 1890,
*s . ^ wv ^. t^'t.-H4 \ "tie :Mf»uaL-e. and Ckarlcs X., the
v^^ ^ * .- x^, ^.'' .. 'taa .. -.-«*t -x) :tv. — r?ie new July Konarehy
■^^ * • t.-* '• .'.. >40v nrwn Lomis PhUtfpe kad to
>^^ ., .. • , * ^ s. .f. M/ticr«t »v tl»e LDsoz^cafii.. — Ik Maj,
>V" . . ^ • • - » ' • - .••«4;*fTU» Twwttuju miight t» wreak
'^- . » , . -^ » * i«* i^.-f «iL>liv* loiliiings^ Barrels of
"*'*♦>■ >-. -- >- --— 't** t tjcr^'uMUB TTeiw placed in the
'V^' •% • . . j>- M»< a. rrv- iK J^'»«^ and SSrd May,
\^ ^ ^ ' ^ :»< • -** 3t> :»Tv jmU Ilka cka IHtgl ae
- V -* . a ^*-^.tu,^t^.^*i Cali HMwr ^\ 1. 17: //. wkick
^"- " - -* • • », - -,.^ MT*^ V ic , *wat ^iraierfy tkf
^ '^ . ' ^ '.-^t^ t n.-*^ urattts sad is
^ T it- ,«K -a*, -st^ «strr
^ - ■ -^ * **^'*'*»^ *ir:^ TW iCTk WIS
^ .. - , • . - V • "1.— .ct • r"«ri3t lbrk*s
\
>•;>
CHAMPS-ELYSlfcES. RigM Bwnk i . 67
high relief, of Gambetta (1838-82), organizer of the national de-
fence, 'the monument is flanked with statues of Truth and Strength ;
on the top is Democracy (a maiden on a winged lion). The in-
scriptions are passages from Gambetta's speeches. The design is
by Boileau, the sculptures by Attbd. — The plot behind the monu-
ment has lately been adorned with sculptures in honour of the Arts.
In the centre is a bronze group by S^goffin (Mind victorious over
Time). Then, around this, beginning at the back of the monument,
we observe Architecture, by Landowski; to the left, Michel
Oolombe, by J. Boucher (bronze) ; Watteau, by H. Lombard; Paint-
ing, by A. Octobre; Corot, by R. Larche; Pierre de Montereau
(p. 271), by Bouchard; the Sons of Cain, by Landowski (bronze) ;
Poussin, by C. Roux; Houdon, by P. Gasq; P. Puget, by F. Sicard;
Hardouin-Mansart, by jEJ. Dubois (bronze). — In the second plot,
on a high pedestal, rises the Equestrian Statue of Lafayette
(1757-1834), by P. W. Bartlett, in bronze, presented in 1900 by
the school-children of the United States in memory of Lafayette's
share in the American War of Independence (1776-81). It is pro-
posed to unite these two plots, and to place the 'Seine and its
Affluents', by Larche, in the centre.
The entrance to the Louvre Galleries is in the Pavilion Denon,
to the S. of the Square du Carrousel (see p. 94).
Leaving the Place du Carrousel by the gates (*guichets') near
the Pont du Carrousel (p. 305), we notice the fine facades of the
Louvre (see p. 91). — The N. gates lead into the Rue de Rivoli
(p. 88), not far from the Palais-Royal (p. 86).
Mktro Stations in the Champs- Ely s^es (Line 1; see Appx., p. 31):
Champs- Ely 8^69 (p. 72), Marbeuf{-g. 78), and AlTna (p. 78). — Rbstauhants,
see pp. 17, 20.
To the "W. of the Place de la Concorde extend the Champs-
Elys6es, the entrance to which is flanked with two Horse Tamers,
by G. Coustou, brought from Marly in 1794. They now form a
counterpart to the winged steeds at the exit of the Jardin des
Tuileries.
The *Champs-EIys6es (PI. R, 15; //) were laid out at the
end of the 17th cent., but were altered after 1815. 'the lower part
forms a kind of park, 760 yds. long by 320-440 yds. wide, through
which the Avenue des Champs- Ely sies, nearly 174 M. long, leads
past the Rond-Point to the Arc de Triomphe (p. 73). The avenue
well illustrates the gradual shifting of the commercial centre of
Paris towards the W. What used to be a purely residential thorough-
fare is now encroached on more and more every year by shops and
hotels. The park and avenue are fashionable promenades, especially
from 3 to 5, 6, or 7 p.m. according to the season, whm numerous
6*
68 Bight Bank J, PETIT PALAIS. Champa-
carriages, motor-cars, and riders are on their way to and from the
Bois de Boulogne. At night the brilliantly lighted avenue, seen
from the Place de la Concorde, presents a very striking scene. The
remote side-walks should be avoided after dusk.
The Caf^s-Concerts and RetttaurarUs (pp. 39, 20) at the lower
end of the avenue are much frequented in summer. — The small
drinking-fountains in the Champs-Ely s^es and elsewhere in Paris
were erected by Sir Richard Wallace (p. 47).
To the right, 51 Rue du Faub.-St-Honor6, separated from the
Champs-Elys^es by a large garden, is the Falais de I'Slys^e
(PI. R, 15; //), the residence of the President of the Republic (no
admittance).
The Palais was erected in 1718 hyMolet for the Comte d'Evreux, but
remodelled in 1850. Under Louis XV. it was the residence of Madame
de Pompadour. Louis XVI. presented it to the Duchesse de Bourbon,
whence it became known as the 'Elysfie-Bourbon'. The palace was after-
wards occupied by Murat, by Napoleon I., by Louis Bonaparte, King of
Holland, and his queen Hortense, and lastly by Napoleon III., when
President of the French Republic.
On the S. (left) side of the Champs-Elys6es rise the Petit Palais
and the Grand Palais, built in 1897-1900. Between them passes
the Avenue Alexandre- Trois, which commands a fine view of the
Pont Alexandre- Trois (p. 234), backed by the Esplanade and Dome
of the Invalides (pp. 310, 318).
The *Petit Palais (PI. R, 15 ; //), or Palais des Beaux-Arts
de la Ville de PariSf on the left side as we descend towards the
Pont Alexandre III, is a finer building than its larger neighbour.
It was designed by Charles GirauU,m the style of the 17th-18th
centuries. The f agade is adorned with two graceful colonnades and a
dome above the entrance. On the right of the porch are the Seasons,
by L. Convers; on the left, the Seine and its banks, by Ferrary.
The tympanum and the base of the dome are adorned with statuary
by Injalbert and De Saint-Marceaux. Above the entrance are the
Hours, hyH. Lemaire, and Archaeology and History, hy Desvergnes.
The offices are at the back (open 9-5). This palace contains the
paintings and sculptures purchased by the city at the annual Salons
since 1875, the Collection Dutuit, bequeathed in 1902, and various
other donations. Frequent changes in arrangement. Labels every-
where.
The collections are open daily, except Mon., 10-5 (4 in winter), but
on Tues. from lonly; adm. Ifr. ; Sun. & Thurs. gratis. The Collection
Dutuit (p. 71) is always free. Cloaks an^ umbrellas must be given up
in wet weather (gratuity). Short catalogue (comp. p. 71) by H. Lapauze,
the curator, who has published also 'Le Palais des Beaux-Arts de la
Ville de Paris' (1909; 30 fr.).
In the Vestibule, or 'Rotunda', is a gilt bronze group by Fr^-
ndet (St. Creorge and the Dragon). The ceiling of the cupola is
adorned with four *Scenes by Alb. Besnard, representing Thought,
Matter, Plastic Art, and Mythology.
Elyaees.
PETIT 1»ALAIS.
Bight Bank 1 . 69
The Qttlerie de Sculpture de la Ville lies to the right and
left of the vestibule.
To the right of the vestibule. From right to left: Sicard, Hagar;
Vital'CornUfMme. Roland; Barrios f Bern. Palissy (plaster; comp. p. xli);
Baffler y Jeannette; Mme. Berteauxj Psyche (bronze); A. GauaeZy Lulli
as a child (bronze); M. Favre^ Regret. — Busts of Saint-Just and Houdon,
by David d' Angers (1848) and Turcan (1878); E. M6rite, Hallali (plaster);
O. DebriCj Redoubled efforts; H. AUouard, The spring; P. Landowskif
Hymn to Aurora. — In the centre: E, Fr6miet, Du. G-uesclin (plaster);
J. Boucher, By the sea; J. Cavetier^ Francis I. (bronze, 1869, from the
old Hdtel de Yille); A. Suchetet^ The rape; A. Boucher ^ The haymaker;
Th. Barraut Salammb6 and Math6 (from Flaubert's novel); R. Larc?ie,
Tempest (bronze). — The *Sallic Dalou (rotunda) contains busts and
numerous models and designs by DaloUf the sculptor (p. lii).
To the left of the vestibule. The ceiling is adorned with paintings
by F. Cormon (1911) of scenes from the history of France and of Paris.
Sculptures (from right to left) : P.Boger-Bloche^Hvingei(hTonze) ; G.Bareau^
Vision of the poet (Victor Uu^o); D. Puech, Bust of L. Dimmer; A, Comu,
The nest (wood); A, M. Maine, Bust of Marie Am^lie, consort of Louis
Philinpe ; R. C Peyre, Offering to Venus. — P. CuriUon, Filial affection ;
C* AXriphUippe, Lady with a monkey (sandstone and bronze); E. Cfuil-
laume, Orpheus; A. Boucher, Joan of Arc; R. Larche, Meadow flowers
(bronze); k. 2'ournierf Thejscout; L. Mathet, Oonsolatrix. — In the centre:
E. Fr4miet, Torch-bearer (plaster; original in the Hdtel de Ville, p. 188);
J. Labutid, The Levite of Mt. Ephraim; O. Cravk, The three Graces;
yiial'Duhray, Empress Josephine; J. B. Carpeaux, Model for a monument
d
70 Right Bank 1, PETIT PALAIS, ChampB-
to Gen. Moncey; H, AUouard, Riohelien (bronze); A, Octobref Remorse;
H. Daillion, Awakening of Adam. — The Salls OABBiics (rotnnda), at the
N. end of the gallery, contains artistic pottery by Jean Carrie (1855-94),
several very characteristic busts and heads (Gambetta, Vacqnerie, Jules
Breton, etc.), and a number of interesting models and designs, including
that 01 a monumental gateway (unfinished).
To the right of this rotunda, facing the Champs-Elysees, extends a
fallery destined for temporary exhibitions. In 1918 it contained the
Collection of Medals, illustrating the high level to which the French
have brought the numismatic art (comp. p. lii). The best are a wax-
medallion by Clodion^ terracotta-medallions by Chinard^ and a relief in
terracotta by an unknown artist (Ball at Mme. Tallien's). Ten Gobelins
tapestries, designed at Rome about 1690.
From the Sculpture Qnllery we enter, to the left, the G-alerie
de Peinture de la Villa, containing many fine modern works.
Left wall : Roll^ F§te du Quatorze-Juillet ; J. G. Gagliardiniy Church
of Santa Maria della Salute, Venice; Avy, *Bal blanc*; Ch. Cottet, Low
mass in Brittany ; L. Bonnat^ *St. Vincent de Paul ransoming galley-slaves ;
D48ir4-Luca8j Rustic meal; J. BaU^ A game of cards; L. Simon, A visit;
ChiiUonnetj Moorish wedding; J. E. Blanche, I. Zuloaga, the painter;
Lhermitte, The Halles.— Marbles: MonceH, Towards love, Ivy. — F. Hum-
bert, Col. Marchand; Cfuillem^t, Quai de Bercy; J. Adler, Soup of the
poor; Carolus-Duran, A. Falguifere, painter and sculptor; J. P, Laurens,
St. Bruno; E. Manet, *Portrait of M. Th. Duret; A. Legros, *Portr. of
E. Manet, the painter ; Henner, Portr. of F. Ravaisson-MoUien ; J. P. Ijaurens,
Proclamation of the Republic in 1848; Cabanes, Caravan in the desert.—
Rodin, *Bust of Victor Hugo; sketches and models by A. Falguikre;
Desbois, Head of a woman. — F. Thavlow, Village in Norway; A.Be8nard,
Portr. of F. Magnard; Roll, F. Thaulow, the painter, and his wife; L, Loir,
At Bercy, during the floods (1879); Dupuy, Boatmen at the Pont Henri IV;
Fantin-Latour,¥&xxst, Temptation of St. Anthony ; Cazin, *Evening at af gte;
Pointdin, The Jura Mts.; Ten Cate. Paris from the heights of Montmartre;
F. Houbron, Notre-Dame. — Bronze oust of A. Legros, by Rodin. — Gagliar-
dini. The happy shore ; Nozal, Bougival; DubufeMs, The nest; P. Chabas,
Bathers ; J. E. Blanche, Child with a doll, La Mandarine ; A. Falauihre, Last
Supper; RoU, Exodus; Bonnat, *Crucifixion; Gabriel- Ferrier, Paul D^rou-
Ifeoe; Cazin, Landscape; J. Bail, Cinderella; Benj, Constant, Death of the
emir; A. de ^ewvii/e. Battle at the lime-kilns of Champigny (1870). — At the
end: D6siri-Lucas, Procession at St-Cado; A. Truchet, JEsthetic soiree; Dt-
dier-Pouget, Heath. — On the wall to the right: E. Delaunay, Portr. of Bus-
nach ; 8. L4vine/Ihe Pont des Arts ; Dehodencq, The artist's children ; Corot,
Portrait of^H. Daumier, the painter; Jongkind, Road in the Nivernais;
H. Daumier, Chess-players, *Print-collector, Trio of amateurs; L. BoiUy,
Distribution of wine and food in the Champs-Elys^es in 1822 ; Jongkina,
♦Moonrise at Dordrecht; 8. Lipine, The Seine at Passy; RaJTa^Ui, Scottish
fishermen, H8tel des Invalides; G. La Touche, Park of Versailles ; A. Sisleu,
Sawyers; Claude Monet, *Sttnset atGavacourt; C. Pissarro, Pont-Royal;
Sisley, Church of Moret. — J5. Petitjean, Village of Gudmont; GuiU^met,
Paris seen from the heights of Belleville; RoU, In summer; GuiUemet,
The Seine at Conflans-Charenton ; H. Martin, Church-tower of La Dalbade,
Toulouse. — CorpeaMic, *Busts of G6r6me (in plaster) and of the Prince
Imperial (in marble). —G. Rochegrosse, Street-scene in Alexandria; H, G.
Darien, The Halles; E. Maxence, Angelus; H. Harpignies, Landscapes;
Roll, Portrait of Alphand (p. xxix); J.. Falguihre, The artist's country-
house; H. Gervex, The birth of Venus; H. Zo, Market at Seville. — E.
Ca/rrihre, Four paintings for the Mairie of the 10th Arrondissement (two
unfinished^, Motner and child; Baschet, Henri Rochefort, the journalist;
M6nard, Ancient ground; Aman-Jean, Young woman; Rixens, Foundry.
— In the centre are *Cabinets with drawings, water-colours, and pastels
by modem French artists. Sculptures: Paul Dubois, Eve (bronze);
my94e9. PETIT PALAIS. Bight Bcmkl, 71
Gautherini Paradise Loat; FcUgwikrej Cain and Abel, Combat of bacchanals ;
BarricUf ""First Funeral (p. li); Bousselj Pompeian dancer.
A small rotunda (next the Champs-Elysees) contains drawings by
Puvis de Chavannei and busts : Bonnat and Harpignies by S^goffiri' Ber-
thelot by Bemftamm; H. Renault by Barrios; Falgui6re by Boain. —
The staircase in this rotunda descends to the magnificent *Qallbrt or
MoDKBH Freroh Ekgbavihgb (works by BodiUy BuJtotf Lephre, Braque-
mond, Ch. Jacqnet Baffet, Fantin-Latour^ etc., and portraits of 100 fa-
mous men of the 19th cent.).
From the Rotunda we enter the Saixb Zibm, containing works (mostly
sea-pieces and views of Venice and Holland) by Filix Ziem^ the painter
(1821-1911). In the centre, Portrait of the artist, by Bicardf and hiH
bust in bronze, by Sfgofpfi. — Next comes a room set apart for portraits
of women by FcUguihre^ Bonnat j Fantin-Latour, Bicard (Marquise Lan-
dolfo Carcano), Qirard (*Mme. R^camier), Chaplin^ Hubert, Flameng, etc.
The following room is divided by a partition into two parts. "We first
enter the Sallk HEimxR: Paintings by J. J. ffenner (1829-1905; comp.
p. xlix), including Crucifixion and Eclogue. Bronze bust of Henner by
jP. Dubois. — The next room is the *Sall,i: Courbkt, with paintings by
Chistave Courbet (1819-77; comp. p. xlix) : Portrait of the artist's rather
(1875), Oirls bathing, portrait of M. Proudhon and his children (1865), the
Lovers, the Siesta, the *Young ladies of the banks of the Seine, the artist
with his dog (1844). His bust, in bronzed plaster, by Carrits. — The second
small rotunda, farther on, is adorned with mural paintings by Pillement
(18th cent.); Hubert Bobert, Medici Venus, Farnese Hercules. Stained-
glass windows of the 15th and 16th cent, from Parisian churches.
On the other side of the small rotunda is the entrance to the —
♦Collection Dutuit, formed by the brothers Eugfene and Au-
guste Datuit (d. 1886 and 1902), which includes paintings, rare
books, old prints, antiquities, and engravings. Short catalogue by
H. Lapauze (Ifr.; 1907). This collection, always free, may be
entered from the Cours-la-Reine on days when a charge is made
for admission to the rest of the Petit Palais (comp. p. 68).
To the right of the entrance, Tiepolo^ Alexander and Bucephalus. —
Right wall : Drawings hy *Fragonardj GrettzCj Guardi, Canaletto ; Boucher^
The happy mother; Pater, Park-scene; Oudry, Return from the hunt;
H. Bobert, Washerwomen in a park. On cabinets and in glass-cases
below, Clodion, ^Bacchanalian scenes (low-reliefs). Then, drawings by
WaUeau (heads) and Pmd'hon; landscapes by H. Bobert and J. Vemet;
Italian fayence; JansienSy The housekeeper; P. Neeff^y Church interior;
Buysdady Environs of Haarlem; Aert vcm der Neer, Sunset; *Terburgy
The betrothed; Berchem, Landscape; Wouvei^iaUy Horsemen resting; Adr.
van de VeldCy The trough; G. Metsiiy Young lady at the harpsichord;
Paiamedesz, Love-scene; A. Cuyp, Cows; Mieris, The interrupted song;
J, Steen, *The little collector; Teniers, Smokers; Adr, vcm de Veldef
Sea-piece, *Mercury and Argus ; WeeniXy Still-life ; Everdingeriy The storm ;
Hoboemay * Windmills; JordcienSy Diana resting; Gonzales CoqueSy ♦Com-
pany of artists (Brouwer, Coques, etc.); Hobbema, Water-mill, Path in
the forest; WeeniXy Dead hare; Brouwer, Drinking-song; Jan Steen, For-
tune-teller; N. MaeSy Lace-maker; J. van Ostade, *Farmyard; three small
pictures by A. van Ostade; Bubens, Rape of Proserpine; Buyadaei, Tor-
rent ; WeeniXy Holiday-makers ; Bembrandty ♦Portrait ot himself in Oriental
costume (1681); Van Goyen, Inn by the river; B. Pot, Portrait; Metsu,
The toilet. In glass-cases below : 'Drawings by Bembrandt, Van Mieris,
Van Ostadef Van VeHdey Boly Ph, KoninaCy Metsu, K. du Jardin, and
Ommeganck; small paintings by TenierSy SafUeveny SchoevardtSy etc.
Then a glass-case containing Italian fayence; drawings by Van Dyck,
Buysdael, etc. Paintings: Van der Meuten, Cavalry battles ; Pousain,
72 Bight Bank J. GRAND PALAIS. Champs-
Massacre of the Innoconts; F. Millet, Landscape; Claude Lorrtdn, Sanset.
Sculptures : Twilight and Night, after Michael Angelo, attributed to Oior.
Bologna; Statuette of a woman (in boxwood) from Champagne (16th cent.)*
In the centre, objects of industrial art. 1st Case: Watches; jewellery;
'pax'; small bronzes. — 2nd Case: Fayence by B. Palissy, from Rouen,
Sceaux, etc. — 8rd Case: Venetian glass. — '*'4tb Oase: Chandelier and two
feeding-bottles (in perfect preserration), 'Oiron ware', from St-Porchaire.
— 5th Case: LdmoRes enamels (16th cent.); triptychs by Pierre Beymond,
Nardon Perdcaud, and Martin Didier; salt-cellars by Pierre Beymond
and Pierre Courteys; jug, ewer, and basin, illustrating the story of Jason,
by J. CourteyB, — Furniture: Louis XVI. writing-desK; table in bronze-
gilt, with marble top (late 18th cent.; acquired in 1912); fire-screen of
carved and gilded wood (early 18th cent.). — *6th Case: Champlev^ enamels
(comp. p. 151); objects in ivory (Madonna, 18th cent.; rosaries, French,
14th cent. ; votive plaque, Byzantine, 11th cent. ; hunting-horn ; powder-
flask, Italian, 16th cent.); processional cross of Theodorus, in chased silver;
carved saddle-bow (German; 14th cent.). — 7th Case: Louis XV. silver-
plate; clock by I^paute; porcelain. — 8th Case: Screen, painted by J. de
jLajoue (1687-1761). — 9th Case: Objects in lacquer, jade, and c61adon (from
China and Japan). — 10th Case: Spanish-Mauresqne ana Chinese fayence.
Left wall (as we return): Landscapes by De Mame and J. Vemet.
On the cabinets, two Louis XIV. bronzes. In the ^lass-cas^ Chinese
porcelain; enamelled stoneware; on the wall, Italian pictures. Then three
low-reliefs of the Delia Robbia school; Virgin and Child (Florentine school;
early 16th cent.); two bronze fire-dogs (16th cent.). — In the passage, ig&ble-
ornament in faience (18th cent.), and three busts of the brothers Dutuit.
By the staircase to the right of the passage we descend to the gronnd-
fioor, containing the rest of the Collection Dutuit (Galsrik dbs Antiques):
Bronzes, notably those found at Les Fins-d'Annecy; terracotta vases;
Tanagra figurines; ornaments; glass; coins; tesserae for recording votes
(ostraca), etc. Next, Italian Renaissance medals : those of Henri IV . and
Marie de M6dicis. by G. Dupr^, and of Catherine de M^dicis, by G. Piloti.
Lastly MSS. ana books with artistic bindings. — Permission to see the
valuable Collection of Engravings and Books is readily granted.
The Courtyard contains frescoes by Baudouin (1910) and sculptures.
The Grand Palais (PI. R, 15 ; //), built by Deglane, Louvety
and ThomaSj extends W. to the Avenue d*Antin. The facade has
a double colonnade, and the building is crowned with low domes.
The sculptures of the portal are by Gdsq, Boucher, JR. Verlet,
Lombard, and others. Above the steps at the comers rise two
grand quadrigee (Harmony routing Discord, and Immortality van-
quishing Time), by Ricipon. Behind the colonnade is a frieze in
glass-mosaic, representing the Great Periods of Art, by G. Martin,
after Ed. Fowrnier. The cupola of the vestibule is richly painted
by Besnard. This palace is used for the annual exhibitions of the
various Salons (pp. 38, 41, 42), for the Concours Hippique, etc.
Near the Grand Palais, at the corner of the Av. des Champs-£lys^
and the Av. Alexandre-Trois, is the 'Champs-Elysdes' station of the Mitro
(Appx., p. SI).— Omnibuses and Tramways, see Appx., p. 58.
On the other side of the Av. des Champs-Elys6es is the PaviU.cn
de VElys^e (p. 17), in the grounds to the right of which stands a
marble Statue of Alphonse Daudet (1840-97), the novelist, by De
Saint-Marceaux (1902). — Beyond the Av. Marigny, on the right
side of the Champs-Elysees, is the Th^dtre Marigny (p. 39) ; on
the left is the Palais de Glace (p. 42).
ElyBiet. ARC DE L'ETOILE. Bight Bank i. 73
The Jardina des Champa-Elys^es extend from the Place de la
Concorde to the Bond-Point des Champs-Elys^es (PI. K, 15 ; //),
a circular space with flower-beds and six fountains, at the intersec-
tion of the Avefiue d'Ardin and the Avenues Matignon and Mon-
taigne.— In the Av. Matignon (right of the Rond-Point) is the house
(No. 3) where the poet Heine died in 1856 (comp. p. 227), with a
large balcony on the 5th floor, where he often sat. — To the S. the
Av. d*Antin descends to the Pont des Invalides (p. 234), and the
Av. Montaigne to the Place and Pont de PAlma (pp. 234, 235).
In the other direction (N.) the Av. d'Antin extends to 8t-FhiIippe-
du-Boule (PI. B, 16; //), a basilica in the classic st^Ie, built in 1774-84
from designs bv Ohalgrin. The vaulting of the choir is adorned with a
Descent from the Gross, by Ohass^riau.
Farther on, to the left of the Champs-Elys^es, is the Quartier
Marheuf, with its handsome new houses. Metro stations (see Appx.,
p. 31) : 'Marbeuf , at the comer of the Rue de Marignan (with under-
ground passage across the Champs-Elys^es) ; 'Alma', at the comer
of the Avenv>e de VAlma. A little farther up, on the left, is the
large Elysie Palace Hotel (p. 3); then the H6tel Astoria (p. 3),
beyond which lies the Place de I'Etoile.
The Place de I'Etoile (PI. B, 12; /), at the top of the hill
formerly called Montague du Roule, is so named from the twelve
avenues (p. 74) radiating from it. In the centre rises the —
*Aro de Triomphe de I'Etoile, the largest existing arch
of the kind. Begun by Napoleon I. in memory of his victories in
1805-06, from designs by Chalgrin (d. 1811), it was completed
by Louis Philippe in 1836. It consists of a vast arch, 95 ft. high
and 49 ft. wide, intersected by a lower transversal arch, 59 ft. high
and 27 ft. wide. The whole structure is about 164 ft. in height,
147 ft. in width, and 72 ft. in depth, and is richly adomed with
sculptures. — On the E. facade, towards the Champs-Ely s6es : to the
right, *Rising of the people,1792, with figure of Bellona, by Evde,
the finest of the four groups; above. Obsequies of Gen. Marceau
(1796), by Lemaire, — On the left, Triumph of Napoleon after the
Austrian campaign of 1810, by Cortot; above it, Mustapha Pasha
surrendering to Murat at the battle of Aboukir (1799), by Seurre
the Elder. — On the W. fagade: to the right, Resistance of the
French to the invading armies in 1814, by Etex; above it. Passage
of the bridge of Arcole (1796), by Feuch^es. On the left, the
Blessings of Peace (1815), by Etex; above it, the Taking of Alex-
andria (1798), by Chaponnitre. — The reliefs on the N. side, by
Gechter, represent the battle of Austerlitz (1805). On the S. side
is the battle of Jemmapes (1792), by Marochetti. — The figures of
Victory in the spandrels are by Pradier. Under the cornice runs
a frieze, the Departure and Return of the Armies. Then come the
names of 172 battles and of 386 generals, the names of those who
74 Right Bank 1. ARC DE L'ETOILE.
fell in battle being underlined.— The coffin of Victor Hugo (see
below) lay in state under the arch on Ist June, 1885 (comp. p. 293).
The Platform (adm. 10 till 4, 5, or 6; small fee), to which a
spiral staircase of 273 steps ascends, commands a noble **View
(best towards evening, and after rain). The taking of photographs
is forbidden.
To the E. the Ohamps-Elys^es and the Grand Palais (right); then
the Louvre, beyond which rise the Tour St-Jac^ues, the Hotel de Ville,
etc. To the right of the latter are seen the towers of Notre-Dame ana
the dome of the Pantheon, with St-£tienne-du-Mont on the left, and,
nearer, the dome of the Sorbonne ; in front, the belfry of St-Germain-des-
Pr6s; to the right, the two towers of St-Sulpice; nearer, the double spires
of Ste-OIotilde ; to the right, in the distance, the dome of the Yal-de-
Gr&ce; nearer, the dome of the Invalides; in the distance, the belfrv of
Montrouge; nearer, the Eiffel Tower and the Trocadero. To the left of
the Louvre (N.) appear the roof of the Bourse, the Vendome Column, the
green roof of the Madeleine, the heights of P6re-Lachaise and Belleville,
with the crematorium and the churches -of La Croix and Belleville; in
front, the Op^ra; then La Trinite and the dome of St-Augiistin. Farther
N., high up, is the Sacre-Coeur; in the distance, St-Denis, and, to the
left, the hills of Montmorency and Cormeilles, etc. To the W. are seen
the Avenues de la Grande- Armde and de Neuilly, Mont -Val^rien, the
Av. du Bois-de-Boulogne, and lastly the hills of St-Cloud and Meudon.
Of the twelve avenues which radiate from the Place de PEtoile
may also be mentioned the Av. de Friedland, to the N.E., with the
Monument of Balzac (1799-1850), by Falgui^re; the Av. Hoche,
leading to the Pare Monceau (820 yds. ; p. 231) ; the Av. de Wagram,
(M6tro stat.; p. 232); the Av. de la Grande-Arm^e (M6tro stat.),
continuing the Champs-Elys6es towards the Bois de Boulogne and
Neuilly (p. 232); the Av. du Bois-de-Boulogne (p. 244) and Av.
Victor-Hugo (Metro stat.), also leading to the Bois de Boulogne;
the Av.KUher (M6tro stat.), leading to the Trocadero (p. 239), and
the Av. MarceaUj leading to the Pont de I'Alma (p, 235).
The Av. Victor-Hugo crosses the Place Victor-Hugo (PL R, 9,//
M6tro stat., see Appx. p. 32), in which rises a Monument to Victor
Hugo, by E. Barrias. The poet (b. 1802) died at his house. No. 124
in the same avenue (then called Av. d'Eylau), on 22nd May, 1885.
Over the door is a relief-portrait of the poet, by Fouquereau.
In the Place de I'Etoile is one of the chief stations of the M4tro,
the junction of Lines 1, 2, and 5 (see Appx., pp. 81, 82, 84). — Omni-
buses and Tramways, see Appx., p. 55.
2. The Grands Boulevards.
Nokd-Sud: La Madeleine station (p. 76). — MAtbo: Op4ra (p. 76),
St-Denis (p. 81) , R^piiblique (p. 82) , and Bastille (p. 188). — Restau-
rants in the Boulevards,! see p. 18.
The broad Rue Royale, which was almost entirely destroyed
by the Communards in 1871, leads N. from the Place de la Con-
corde (p. 61) to the Madeleine, the starting-point of the Boul. Males-
herbes (p. 230) to the left, and of the Grands Boulevards (p. 76) to
MADELEINE. Right Bank 2. 7 5
the right. Near the church rises a marble statue, by Puech (1903),
of Jides Simon (1814-96), philosopher and statesman, in front
of his old house (No. 10, Place de la Madeleine).
The ^Madeleine, or Church of St. Mary Magdalene (PI. R,
18; //), built in the style of a Roman temple, was begun in 1806,
on the foundations of a church of the 18th cent., by Napoleon I.,
who intended it for a 'Temple of Glory'. The architect was P. Vi-
gnon, but the church was only finished in 1842 by Huv^. It mea-
sures 354 by 141 ft., and 98 ft. in height, and is surrounded by
a majestic Corinthian colonnade. The relief in the tympanum of the
facade, hj Lemaire (restored in 1904 hyGauquii)^ represents the
Last Judgment. The bronze door, 34^2 ^y I6Y2 ft., is adorned
with reliefs from the Decalogue, by Triqueti.
The *Ikti:kior (very dark; open to visitors from 1 to 6 p.m.; when
the front gate is closed, entrances near the choir) forms a single nave,
with side-chapels, above which are galleries. The ceiling consists of
three cupolas and a hemicycle (apse). In the spandrels are figures of the
Apostles, by Pradier, Rude, and Foyatier.
Sculptures in the chapels: to the right, Marrii^e of the Virgin, by
Pradier; left, Baptism of Christ, by Rtide; right, St. Amelia, by Bra:
left, St. Vincent de Paul, by Baggi. In the nave, between the 2nd and
3rd chapels, is a fine statue of Joan of Arc, by jB. Larche (1909). On the
right, the Saviour, by Buret; on- the left, the Virgin, by Senrre; right,
St. Clotilda, by Barye; left, St. Augustine, by Eteir. The lunettes con-
tain scenes from the legends of the Magdalene, by Schnetz, Couder, Bou-
chotf Cognietf A. de Pujol, and Si^ol.
On the high-altar is a group in marble by Marochetti, representing
the Ecstasy or Mary Magdalene. In the apse is a mosaic by Gilbert-
Martin, representing Chnst and New Testament characters. Above is a
la^e fresco by Ziegler, Christianity in the East and West; below is
Napoleon, crowned by Pope Pius VII.
The Madeleine is famed for its sacred music and orchestral perform-
ances on great festivals and during Passion Week. The organ, one of the
best in Paris, has five keyboards. Sendees, see p. 60.
Behind the church is a Statue of Lavoisier, the chemist (b.
1743, d. on the scaffold 1794), by E. Barrias (1900). The pedestal
is adorned with reliefs of Lavoisier working in his laboratory with
his wife, and on the other side lecturing to his pupils, Condorcet,
Lagrange, Laplace, Lamarck, Monge, etc. At the back are recorded
his discoveries.
At the~comer of Boul. de la Madeleine is a Nord-Sud station (Appx.,
p. 86). — Omnibuses and Tramways, see Appx., p. 54.
The *Qrands Boulevards, or the Boulevards 'par excel-
lence', which average 33 yds. in width, and extend in a semicircle
of about 2^4 M. round the old town, from the Madeleine to the
Place de la Bastille, owe their origin to the enlargement of the city
under Louis XIV. The name, which recalls the 'bulwarks', or forti-
fications, that surrounded the city in the middle ages, recurs in the
'Boulevards Ext6rieurs' that encircled the capital until 1860, and
in the 'Boulevards d'Enceinte', or 'Nouveaux Boulevards Exterieurs',
which skirt the fortifications on the inside. Since 1852 the name
76 RiffM Bcmk 8. PLACE DE L'OPl&RA. The Boulevards
has been applied to many other thoroughfares which have no con-
nection with the old 'bulwarks*. The 'Great Boulevards* form the
centre of Parisian life. A walk from the Madeleine to the Porte
St-Martiu about four o'clock in the afternoon affords an admirable
idea of the traffic. The pavements are then crowded, while carriages,
motor-cars, cabs, and omnibuses throng the roadway. The scene is
busiest and the shops best in the Boulevards de la Madeleine, des
Capucines, des Italiens, and Montmartre.
Most of the boulevards, avenues, and main streets are paved
with wood. The side-walks are paved with asphalt and flanked with
trees. When a tree dies, as often happens, the gap is speedily filled
by a full-grown substitute. Outside the caf6s and brasseries are
rows of chairs and little tables for the use of customers. Public
benches are placed at intervals along the pavement, while newspaper
and flower kiosques, advertising-columns, etc., abound. At several
of the crossings there are 'refuges' or 'islands', which enable walkers
to cross in safety.
The Botdevard de la Madeleine (PL R, 18; //) is the first of
the 'great boulevards'. In the Rue de Sfeze, diverging to the left.
No. 8 is the Gcderie Georges Petit (p. 38).
The *Boulevard des Capuoines (PI. R, 18, 21 ; //), which comes
next, extends to beyond the Place de l'0p6ra. To the left are the
Olympia (p. 39) and the Rue Edouard-Septj a superb new street,
which will be finished in 1913, and is to contain an equestrian
statue of the king and the new H6tel Edouard VII ; then the Grand-
Hotel (p. 3), on the ground-floor of which is the Caf6 de la Paix
(pp. 17, 26), one of the largest in Paris.
From the *Plaoe de l'Op6ra (PI. R, 18; //), which this boule-
vard crosses, radiate fine broad streets. To the S. runs the Mue de
la Paix (p. 83), with the Venddme Column in the background; then
the fine Avenue de VOp&ra (p. 85), forming an acute angle with the
Rue de la Paix ; and , to the left , the Rue du Quaire-Septembre,
leading to the Bourse (p. 216) and followed by Line 3 of the M6tro
(see Appx., p. 33). On the N. of the Place, to the right of the
Opera House, runs the Rue HaUvy; to the left, the Rue Auber,
leading to the Gare St-Lazare (p. 221; Line 3 of the M6tro, see
Appx., p. 33). On the left of the Rue Auber the Rue Boudreau
leads to the small Square de l'0p6ra, adorned with a Pegasus by
Falguitre and containing the ThAdtre de VAthen^e (p. 36).
In the centre of the Place de l'0p6ra is a M4tro station. Three lines,
one below the other, run under the Place (Lines 8, 7, and 8, the last
still unfinished; see Appx., pp. 88, 85). — Omnibuses and TramtcaySf see
Appx., p. 54.
Continuation of the Boul. des Capucines, see p. 79.
from W. to K OPERA HOUSE. RigM Bank 2. 77
The *Opepa House (PI. R, B, 18, /// p. 34), or Acadimie Na-
timicde de Musique, a sumptuous building designed by Ch. Gamier,
was erected in 1861-74. It is the largest theatre iu the world,
covering an area of 13,596 sq. yds. (nearly three acres), but seated
for 2158 persons only (La Scala at Milan, and the Ohfttelet, for
3600; Teatro Massimo at Palermo for 3200). No adequate idea of
its dimensions can be obtained without walking round it, or view-
ing it from a height. The site alone cost 420,000^ and the cost of
building amounted to 1,460,000Z. There is hardly a variety of
marble or costly stone that has not been used in its construction.
The Facade, approached by a broad flight of steps, consists of
three stories. On the ground-floor is the vestibule with its seven
arcades, the last two of which, on each side, form the main entrances,
flanked with four large groups of statuary, while four statues are
placed against the pillars. Left to right: Lyric Poetry by Jouffroy,
Music by GruiUaume, Idyllic Poetry by Aizelin, Declamation by
Chapu, Song by Dubois and Vatrinelle, Drama by Falguiire,
*Dance by Varpeaux, and Lyric Drama by Perraud. Above the
statues are medallions of Bach , Pergolese, Haydn, and Cimarosa.
On the first floor is a Loggia f 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 bronze-gilt cap-
itals, framing seven bays with balconies. In the intervening spaces
are medallion busts, in gilded bronze, of the great composers.
Above the loggia is a richly sculptured attic, with gilded theatrical
masks. At the angles are projecting wings with semicircular
pediments, crowned with gilded groups by Gumery, one on each
side, representing Music and Poetry with the Muses and the God-
desses of Fame. In the centre of the building, above the stage,
rises a low dome, and behind it a triangular pediment crowned
with an Apollo with a golden lyre , by A. Millet, and flanked with
two Pegasi by Lequesne. — The Lateral Fa<?ades also have pro-
jecting pavilions. On the right is the subscribers' pavilion; that
on the left side ('Pavilion d'Honneur') has a double carriage-
approach. In front is the gilded Bust of Charles Gamier, the
architect (1825-98), with a plan of the edifice, by Carpeaux (1903).
These faQades also are adorned with busts of composers, and with
allegorical figures in the pediments. On the right, in Rues Hal6vy
and Gluck, is a row of fine candelabra or torch-holders, in bronze,
designed by Carrier-Belleuse.
In the Vestibule are the ticket-offices and statues of Lulli,
Rameau, Gluck, and H&ndel. Opposite is the *Grand Staircase
CEscalier d'Honneur^), Garnier's chef-d'oeuvre. Those who take
tickets at the door ascend to their places by side-staircases, but
these communicate with the grand staircase on the first fioor. The
steps of the latter are of white marble, and the balustrades are
78 Right Bank ». OPERA HOUSE. The Boulevards
of ro88o anticOj with a hand-rail of Algerian onyx. This staircase,
which is 33 ft. in breadth at its base, is divided into two branches
on the first floor, on which is the entrance to the orchestra and the
amphitheatre. The handsome doorway here is flanked with cary-
atides of Tragedy and Comedy, and with bronse groups serving as
torch-bearers. Between the fifteen monolithic columns of coloured
marble, which rise to the third floor, are placed balconies on each
floor, affording views of the motley crowd. The ceiling-frescoes,
by PUSy represent (from right to left) Minerva fighting against the
Material Forces before the gods of Olympus, Apollo in his Chariot,
the Building of the Op6ra, and the Triumph of Harmony.
The *Sallb, or Auditorium, fitted up in the most elaborate
style, has five tiers of boxes. The spring of the arches and the
'avant-sc^nes' on the fourth tier are adorned with handsome figures
and heads. Above runs a fine frieze. On the ceiling are painted
the Hours of the day and night, by Lenepveu.
The Stage is 16 yds. (or, incl. the scenery, 60 yds.) in width
and 27 yds. in depth; its height is 47 ft., or from fioor to ceiling
198 ft. — It communicates with the Foyer de la J9a7wc (subscribers
only admitted), at the end of which is a mirror measuring 23 by
33 ft. The portraits of famous 'danseuses' and other paintings are
by Boulanger.
The *FoYKB Du Public, one of the marvels of the Opera House,
is entered by the *Avant-Foyer', the vaulting of which is adorned
with mosaics by Salviati, designed by De Curzon, representing
Diana and Endymion, Orpheus and Eurydice, Aurora and Cepbalus,
and Psyche and Mercury. The foyer itself measures 59 by 14 yds.,
and is 59 ft. in height. Glass doors lead to the loggia (*View),
and others to the grand staircase. By the main entrance are two
mirrors, 23 ft. high. On each side are ten double columns bearing
gilded statues of the Artistic Qualities. At the ends are monumental
chimney-pieces with caryatides, beyond which are other rooms.
The fine but damaged paintings are by Baudry. On the ceiling
are Melody and Harmony, between Tragedy and Comedy. Over the
chimney-pieces are Mount Parnassus and the Poets of Antiquity.
Then the Muses, the Music of different nations, and the Dance. By
the central window is a bust of Gamier, by Carpeaux (1904;
p. 77).
On the left of the exit from the Salle is the Buffety with Gobelins
tapestry designed by MazeroUe.
The Pavilion d'Honneur (p. 77), entered from Rue Anber, contains
(liit floor; to the right) the small Mus4e de V0p4ra (open daily, except
Mon., 1-4; closed for a week after Easter and in Joly and Aug.). It com-
prises theatrical costumes and models of theatres since the 17th cent.,
portraits, busts, MSS., and play-bills. There is also a Library (11-4).
from W. to E. 0P6RA-C0MIQUE. Right Bank i, 79
In the Boul. des Capucines , on the left, beyond the Op^ra, are
the Thddtre du Vaudeville (p. 35) and the Rtie de la Chatissie-
d^Antin, at the end of which the chnrch of La Trinity (p. 220)
may be seen.
The *Botaevard des Italiens (PL R, 21 ; //, ///) , the con-
tinuation of the BouL des Capucines, is the most fashionable of the
boulevards. It was so named in 1783 from the The&tre des Italiens,
which has been replaced by the Opera-Comique (see below). On
the left, at the comer of the Rue de la Chaussde-d'Antin, is the
Restaur ard Faillard (p. 17). No. 33, on the right, is the hand-
some Pavilion de Hanovre (on the ground-floor of which is the
shop of Christofle & Cie., the silversmiths), built in 1760, restored
in 1837, the sole relic of the H6tel d'Antin, which belonged to the
Due de Richelieu (1757). On the left, on the site of the ThMtre
des Nouveaut^s, begins the Rue des ItcdienSy still in course of con-
struction, with the new offices of Le Temps. On the right, nearly
opposite, is the Credit Lyonnais (p. 45). The Rue Lafptte (p. 219)
contains several shops for the sale of pictures and other objects of
art. At the comer facing the boulevard once stood the Maison-
Dor6e Restaurant^ on the site of the house of Mme. Tallien (1775-
1835) , now a post-office. At the end of the street is the church of
Notre-Dame-de-Lorette (p. 219), beyond which rises the Butte Mont-
martre, with the church of Sacr6-Coeur (p. 222). At the corner of
the Rue Le Peletier is the Cafi Riche (p. 17), fitted up in the
Louis XV. style.
On the right (S. side) of the boulevard, between the narrow
Rues Favart and Marivaux, is the Op^ra-Comique (PI. R, 21,
//, ///; p. 35), burned down in 1887, but rebuilt in 1893-98 by
Bernier. The fagade towards the small Place Boieldieu is adorned
with caryatides, medallions, and masks by Allar, G. Michel, and
Peynot. In the niches are statues of Music and Poetry by Pttech
and GuiVbert. — The *bureau de location' (box-office) is entered
from Rue Marivaux, near the boulevard.
The Interior is richly decorated. In the vestibule are statues (right
and left) of Lyric Comedy, by A. Mercii^ and Lyric Drama, by Fal-
guiere. — The paintings bn the grand staircase to the right are by Fr.
Flameng: Tragedy (Sophocles causing the (Edipns Goloneus to be recited
to his judges); Dance; and Vice fleeing before Truth and Comedy (on the
ceiling). Grand staircase to the left, paintings by L. 0. Merson: Poetry,
Music, and Song in the middle ages; the Elegy; and the Heroic Hymn. —
The vestibule or the foyer contains paintings by J. ^/aric. — Grand Foyer:
GerveXf 'Ballet de la Reine' at the Louvre, in presence of Henri III. and
Catherine de M^dicis; 'Th^eltre de Nicolet', at the fair of St. Lawrence
(comp. p. 217); Maignan^ Dance of the Notes (scenes from comic operas;
on the ceiling). — In the salon next Rue Favart (buvette): Touaouze,
Dance, Music, 'Robin et Marion' (the earliest French comic opera, performea
in presence of Charles of Anjou, ISth cent.), and Glorification of Music
(on the ceiling). — In the salon on the other side : Raph. CoUiti, Romance,
Ode, Inspiration, Truth animating Fiction (on the ceiling). — Ceiling-
80 Bight Banks. BOUL. MONTMARTRE. The BotUevards
painting in the auditorium, by BenJ. Constant; Fame, Symphony, Song,
and Poetry, with typical figures from comic operas.
The Boul. des Italiens ends on the E. at the Mite de Richelieu
(right; p. 209) and the Rue Drouot (left; PI. B, 21, //, ///). No. 6,
Rue Drouot, to the right, is the Mairie of the 9th Arrondissement
(Op6ra), once the Hdtel de Daugny (1750) ; No. 9 (on the left) is the
Hdtel des Ventes Mobiliires,
The Hdtel des Ventes STobilih'es, or Hotel Drouot^ is noted for sales
of works of art, chiefly between Jan. and May, generally at 2 p.m.
Strangers had better refrain from bidding, unless accompanied by an
habitu6. The sales are for cash, and a percentage is addea for expenses.
The Boulevard Montmartre (PI. R, 21; ///) continues, at
an obtuse angle, the Boul. des Italiens. To the right the Rue
Vivienne leads to the (3 min.) Bourse (p. 216) and the Palais-Royal
(p. 86). On the same side are the Passage des Panoramas and
the Thddire des Varidtis (p. 36). On the left is the Passctge
Jouffroy. From the end of the boulevard the Rue Montmartre
leads to the right (S.) to the Halles Centrales (p. 202) ; to the left
runs the equally busy Rue du Fauhourg-Mordniartre. The second
of these recalls the time when the boulevard formed the boundary
of the city.
The Boulevard Foissonni^re (PI. R, 21, 24; ///) owes its
name to the Rue Poissonnifere (see below), through which fish was
formerly brought to market. To the left diverges the small Rue
de Rougemont, at the end of which is the Comptoir National
d'Escompte (p. 45), rebuilt in 1883, with a facade crowned with
a dome. On- the same side, at the corner of Rue du Faubourg-
Poissonnitre (so called after the old suburb of that name ; comp.
above), are the offices of Le Matin, where photographs of notabje
men and events of the day are always on view. On the right is
the Rue Poissonni^e.
The Conservatoire National de Musique et de D6claination (PI. B,
R, 21. 24; ///), formerly at No. 15, Rue du Faubourg-Pol ssonni^re, was
transferred in 1911 to the Rue de Madrid (p. 221). The concerts (p. 37),
however, are still held in the old hall.
A little farther on, at the comer of Rues Ste-Cdcile and da Con-
servatoire, is the church of St-!Eugdne (PI. B, 21 ; ///), a Gothic edi-
fice, by L. A. Boileau (1854-55). The use of ir9n in its construction is a
novel feature.
The Boul. Poissonni^re is succeeded by the quieter and less
brilliant Boulevard Bonne-Nouvelle (PI. R, 24; ///). On the
left are the Thidtre du Gryninase (p. 35) , the Rue d'HautemUe
(at the end of which is St- Vincent-de-Paul, p. 218), and lastly the
large Magasin des Nouvelles Galeries {Minag^e; p. 52).
A few paces to the right (S.) of the boulevard runs the Rue de la
Lune, on the S. side of which rises the church of Notre-Dame-de-
Bonne-Nouvelle (PI. R, 24; ///), built in 1624 on the site of the
Chapel of Ste-Barbe (destroyed during the siege by Henri TV., 1598),
but rebuilt in 1828-30. In the first chapel on the right is the Souvenir
des Morts, a fine group in marble by Ch. Desvergnes. The chapel of the
from W. to E. PORTE ST-DENI8. Bight Bank 2. 81
Virgin, on the left, is adorned with frescoes by Aug. Hesse. The other
paintings are by SchnetZf Alaux, and A. de Pujol. — Andr6 Chenier, the
poet (1762-94), lived at No. 97, Rue de 016ry (inscription), near the church.
At the E. end of Boul. Bonne-Nouvelle, the Rue St-Denis, one
of the oldest and once busiest streets in Paris, diverges to the
right. To the left runs the Rue du Faubourg- St-Denis. Between
these two streets rises the —
Porte St-Denis (PI. R, 24; ///), a triumphal arch, erected
in 1672-73 by Fr. Blondel, on the site of an old town-gate, in
memory of the victories of Louis XIV. in Holland and Germany.
It is 82 ft. high. At the base of the obelisks in front are repre-
sented (left) the vanquished Holland and (right) the river-god of
the Rhine. The relief above the arch on the same side represents
the Passage of the Rhine by Louis XIV. in 1672; that on the other
side, the Capture of Maastricht (1673). The sculptures, designed
by Giratdon and executed by the brothers Anguier, were sadly
damaged during the riots of 1830, 1848, and 1871, but almost
entirely renovated in 1886-87.
Beyond the gate begins the Botilevard St-Denis (PI. R, 24;
///), which is crossed by the busy Boulevards de Strasbourg
(left) and de S^baatopol (right; see p. 217). At the end of the
Boul. de Strasbourg is seen the Grare de I'Est (p. 217). In line
with the Boul. de Sebastopol rises the dome of the Tribunal de Com-
merce (p. 272).
At the crossing is the 'St-Denis' station of the Mitro (Appx., p. 38).
— Omnibuses and Tramways^ see Appx., p. 65.
The Boul. St-Denis ends at the Porte St-Martln (PI. R, 24 ;///),
which rises between the Rue St-Martin (right; pp. 182, 204) and
Rue du Fauhourg-St- Martin (left). This second triumphal arch,
57 ft. in height, designed by Pierre Bullet, was erected in honour
of Louis XIV. in 1674-75, and was restored in 1907-09. The reHefs,
on the S. side, by Le Hongre and Legros pere, and on the N.
side by M. Desjardins and G. Marsy, represent the Capture of
BesanQon and of Limburg, and the Defeat of the Germans, Spaniards,
and Dutch.
At this arch once began the Boul. du Temple (p. 82). — A little to
the S. is the Conservatoire des Arts et Mitiers (p. 206).
The Mairie of the lOth Arrondissement (Enclos-St-Laurent ;
PI. R, 24, ///), with its conspicuous tower, in the Rue du Faubourg-St-
Martin, about SSO yds. from the Porte, is a tasteful structure (1892-96)
by E. BouyeTy in a Renaissance style like "that of the H6tel de Ville.
The Salle des Fdtes on the first floor contains a large high-relief by Da-
lou, Hhe Brotherhood of Nations'.
The Boulevard St-Martin (PI. R, 24, 27 ; ///) comes next.
On the left, at the beginning, are the TMdtre de la Renaissance
(p. 35) and the TMdtre de la Porte-St-Martin (p. 36), formerly
the theatre of the famous actor F. Lemaitre (p. 82). Farther on,
the roadway has been lowered in order to facilitate traffic, while
82 Right Bank 9. PLACE DE LA R]6PUBLIQUE.
the foot-pavements have retained their original height. On the left
is the Th^dtre de VAmbigu (p. 37), with a monument in front to
Baron Taylcyr (1789-1879), the author, by Tony-Noel (1907).
Then, in the Rue de Bondy, are the FoUes-Dramatiqiies (p. 37).
The Flaoe de la B^publique (PI. R, 27 ; ///), formerly Place
du Chdteau-d' EaUy where the Boul. St-Martin ends, occupies the
site of a bastion of the fortifications removed by Louis XIV., and
received its present regular shape in 1880. — On the N.E. side is
the Caserne du Chdteau-d* Eau, formerly Caserne du Prince Eugene
(1858), built by Napoleon III. to command the boulevards. Near
it is the Hotel Moderne (p. 9). In the centre of the square rises
a bronze Statue of the Bepublio, by the brothers Morice (1883),
31 ft. high to the top of the olive-branch. The stone pedestal, 51 ft.
in height, is flanked with figures of Liberty, Equality, and Frater-
nity, and adorned with twelve bas-reliefs in bronze, by Dalou:
the Oath in the Jeu de Paume; Capture of the Bastille; Renun-
ciation of privileges; Festival of the Federation; Abolition of the
monarchy and Proclamation of the republic ; Battle of Valmy ;
Volunteers enrolling; Combat of the 'Vengeur'; Resumption of the
tricolour in 1830; Provisional government of 1848; 4th September,
1870; National F6te, 14th July, 1880. In front is a bronze lion
with the urn of 'suffrage universel'.
Close by is the M4tro station 'R^publique' (Lines 3 and 6; Appx.,
pp. 32, 34). — Omnibuses and TramwaySf see Appx., p. 55.
Several important streets diverge from the Place ae la R^publiqtie. To
the S.E. is the Boul. Voltaire (p. 259); to the E. the Av. de la R4publiquf
(p. 250), leading to Pfere-Lachaise (p. 251). To the N.E. (Belleville, p. 249)
runs the Bue du Faubourg-du- Temple (see below). To the N.W. diveives
the Boul. de Magenta (M^tro; p. 217), which leads past the Gares de I'Est
and du Nord to Moutmartre (in line with a dome aavertising the position
of the Magasins Dufayel, p. 222). To the S.W. are the old Rue du Temple
(p. 209), leading to the Hotel de Ville (p. 183), and then, on the right, a
little lower down, the broad Btie de Turbigo (M^tro; p. 204), descending
to the Halles Centrales (p. 202). — At the intersection of the Rue du Fau-
bourg-du-Temple (see above) with the Oanal St-Martin stands, on the
left, a bust of Frdd. Lemmtrey the actor (1800-76; p. 81), by P. Granet;
opposite, on the right, at the beginning of the Avenue Jules-Ferry, is a
statue of the 'Grisette de 1830', as portrayed by the French Romanticists,
by Jean Descomps (1911).
At the beginning of the first side-street in the Boul. de Magenta, on
the left, is the Bourse du Travail (PI. R, 27; ///), desigaed by M.
Bouvard (1889-90), and placed by the ^ity at the disposal of the trade-
councils ('syndicats professionnels'), in order to supersede the private
registry offices. Socialist meetings are frequently held here.
The following boulevards, with their small shops and caf^s,
are uninteresting. The Boulevard du Temple (PI. R, 27 ; III) is
named from its proximity to the old Temple quarter (p. 208).
The name Boulevard du Temple was formerly applied to a favourite
promenade which extended to the Forte St-Martin (p. 81). This was opened
m 1670 by Louis XIV. ('Promenade dcs Remparts'). It soon came into
fashion and became the site of numerous theatres (see engravings in the
MuA^e Camavalet, p. 199). Down to about 1880 it was the resort both of
PLACE VENDOME. Right Bank 8. 83
the best and of the worst society. It was at lengfth demolished by Haass-
maim in 1862.— No. 41 is the ThMire D^azet {^.n)y founded by the
famous actress Yirginie D6jazet (1797-1875), and built in 1852.
The Boulevard des FUles-du-Calvaire (PL R, 26; ///), which
comes next, derives its name from an ancient nunnery (1633-1790).
— The Bovlevard Beaumarchais (PL R, 26 ; ///, V) is named
alter Caron de Beaumarchais (1732-99), the author, who owned a
considerable part of the street.
No. 99 (1 Rne St-Olande) was the honse of the famous adventurer,
Gagliostro (d. 1795).
At the corner of the Rue St-Glaude and the Rue de Turenne is St-
Denis-du-St-Sacrement (PL R, 26; //i), a church in the neo-classic
style (1826-35). In the chapel to the right of the entrance are a Piet^,
by DducroiXf and a statue of St. Genevieve, by Perraud (1868). Paint-
ings in the choir by A. de Pujol. — No. 54, Rue de Turenne (*de Gourgues';
now a school), dates from the early 18th cent. ; No. 56 was the residence
of Scarron (d. 1660) and his wife^ afterwards Mme. de Maintenon (p. 359).
At No. 41 is the tasteful Fontaine de Joveuse (1687), on the site of an
old mansion of that name. The court of No. 28, once the mansion of
Colbert de Villacerf (about 1660), deserves a visit. — No. 5, Rue de Thorigny
(nearly opposite the Rue St-Clande), is a fine mansion, with a grand
staircase of 1626.
The Boul. Beaumarchais ends at the Place de la Bastille (p. 188).
— Restaurants in the E. boulevards, see p. 21.
3. From the W. Grands Boulevards
to the Louvre.
The Place Vend6me, about midway between the W. part of the
Grands Boulevards and the Rue de Rivoli (p. 88), is reached from
the Place de l'0p6ra by the broad Rue de la Paix (PL R, 18; //),
called Rue Napoleon down to 1814. This fashionable street has
long been famous for its jewellers', perfumers', and dressmakers'
shops (comp. pp. 52, 53).
The Place Vend6me (PL R, 18; 77), once called Place des
Oonqu§tes, and afterwards Place Louis-le-Grand, was planned by
J. Hardouin-MaTisart (1708), and was adorned with an equestrian
statue of Louis XIV. by Girardon (comp. p. 114, Nos. 691, 692).
This statue was replaced at the Revolution by a statue of Liberty,
and the square was named Place des Piques. In 1800 the erection
of a column to the soldiers who fell in the first campaigns of the
Republic was contemplated, but in 1806 the Senate resolved to erect
the present column in honour of Napoleon I. The Place owes its
name, which never fell quite out of use, to the mansion of C6sar,
Due de Vend6me, erected here in 1603.
The Colonne Venddme, which rises in the centre of the
Place, an imitation of Trajan's column at Rome, is 143 ft. high and
13 ft. in diameter. It was designed by Gondouin and Lepirej and
Bakdbkkr's Paris. 18tb Edit. 6
84 ^W^t Batik 8. ST-ROCH. From the W. Boul^ards
erected by Denon. The masonry of the column is encrusted with
plates of bronze (designed by Bergeref)^ forming a spiral band, on
which are represented scenes of the campaign of 1805, from the
breaking up of the camp at Boulogne to the Battle of Austerlitz.
The figures are over 3 ft. in height, several of them being portraits
(reduced model at the Mint, see p. 299). The metal was yielded
by 1200 Russian and Austrian cannons. At the top is a statue of
Napoleon I.
In 1814 the statue of Napoleon, by Chaudety was taken down by the
Royalists, and the metal was used in casting the statue of Henri IV.
(p. 268). Under the Restoration the statue was replaced by a huge fleur-
de-lis. In 1883 Louis Philippe caused a new statue of the emperor, with
his traditional three-cornered hat, by Seurre, to be placed on the summit
(now at the Invalides, p. 311), but Napoleon III. replaced this in 1868 by
a copy of the original figure, by Dumont. The column was overthrown
by the Communards in 1871, at the instigation of Courbet the painter,
who was fined and imprisoned for it. The column was re-erected under
President MacMahon in 1875.
Beyond the Place is the Rue de Castiglione (PI. R, 18 ; //), pro-
longing the Rue de la Paix and leading to the Rue de Rivoli (p. 88).
The. first street crossing the Rue de Castiglione is the long Hue
St'Honori (PL R, 18, 21, 20 ; //, 77/), in the W. arm of which are
the Nouveau Cirque (p. 40) and the Church of the Assumption
(17th cent.). In the cupola is an Assumption by Ch. de Lafosse.
This church was once the chapel of the convent of the Dames de
I'Assomption (1670), which extended to the 'Orangerie' of the Tuileries.
Secularized in 1798, it became the barracks of the 'Cent-Suisses'. — Behind
the Church of the Assumption, in the Rue Cambon, are the new build-
ings of the Cour des Comptes (Audit Office ; PI. R, 18, II), designed by
Moyaux and finished in 1911. Since the destruction in 1871 of its former
home on the Q,uai d'Orsay (comp. p. 805), the Cour des Comptes had
been temporarily housed in the Palais-Royal. — Farther on in the Rue
St-Honore, No. 398 is the site of the house of the carpenter Dupl*y, where
Robespierre once lodged. No. 271, at the corner of Rue St-Florentin, is
the old tavern of the 'Saint-Esprit', famous under the Revolution, with a
fine wrought iron railing, adorned with a dove, the emblem of the Holy
Ghost.
St-Roch (PI. R, 18; 77), in the E. arm of the Rue St-Honor^,
built in 1653-1740, from designs by Jacques Lemercier, is the
finest church in the baroque style in Paris; but the facade, with its
Doric and Corinthian columns, was designed later by Robert de
Cotte and erected by his son Jules de Cotte. In front of it once
lay a large Place, extending to the Garden of the Tuileries, where
the Royalists who attacked the Convention on 5th Oct., 1795, posted
their best battalions. Bonaparte, however, by a vigorous attack
overwhelmed these troops, thus stifling the counter-revolution in its
birth. The marks of the bullets on the fagade of the church have
been filled up with mortar.
Ihtbrior. The vault over the nave is of great width. On the first
pillar to the left is a medallion of CoTneiUe (d. 1684), who is buried in
the church. The chapels of the aisles were decorated early in the 19th
cent, with frescoes, now faded and visible only in bright weather. The
/
to the Lonvre, THMlRE-FBANgAIS. JUght Bank 8. 85
Hubjects of the paintings are indicated by the names of the chapels: on
the left, Ohapelle des Fonts, with frescoes by ChassiHcm and the JBaptism
of Christ, in marble, by J. B, Lemoyne. The 4th chapel on the same
side contains the Monument of the Ahb6 de VEp4e (p. 3S8), by Priault.
The first chapel on the right eontains monuments brought from ruined
churches, and re-erected here: those of Marshal de Cr^quy (d. 1687), by
Coyzevox; of Card. Dubois (d. 1729), by Guill. Coustou, and Henri de
Lorraine, Comte d'Hareourt (d. 1666), by Renard; busts of Mignard (d.
1695), by DettjardinSf and Le Ndtre (d. 1700), by Coyzevox; monument of
Maupertuis (d. 1759), by D^Huez. In the 2nd chapel on the right is the
monument of another De Cr6quy, by Mazdine and HurtreUe.
The chapels of the ambulatory contain large reliefs by Deseine from
the history of the Passion. In the Chapel of the Virgin (behind the high-
altar), *Nativity, a group in marble by Michel Anguier. — In the ChapeUe
du CcHraire (small door on the left): Crucifixion, hy Duseigneur; Christ
on the Cross, by Mich. Anguier, with a Magdalene by J. B. Lemoyne
(representing the daughter of the painter Mignard, from whose monument
it was taken), and an Entombment, by Deseine.
St-Roch played a sinister r&le during the Revolution. As the tumbrels
containing the victims to be executed at the Place de la Concorde nearly
always came from the prisons by way of the Rue St-Houor6, the steps
and portico of St-Roch were among the chief points at which the mob
gathered to cast insults and filth on the unfortunate captives. A woman
of the people stood in the portico of this church as the tumbrel with Queen
Marie Antoinette slowly passed (16th October, 1793), and spitting into her
hand cast the saliva on the queen ; an incident that caused Marie Antoinette
to lose for a moment her heroic demeanour of contempt. 'This vile mob !'
she exclaimed, turning her back on her insulter.
St-Roch is noted for its music (10 a.m. on Sun.).
The RiLe des Pyr amides, to the E. of St-Roch, leads S. to the
small Place de Bivoli, with a fine equestrian statue of Joan of
Arc, in gilded bronze, by Fr^miet, beyond which is the Rue des
Tuileries (p. 65).
Farther E. the Rue St-Honor6 crosses the Places du Th^&tre-
Franfjais (see below) and du Palais-Royal (p. 87), skirts the Magasins
du Louvre, and ends near the Halles Centrales (p. 202). Observe
several old houses (p. 202).
The broad *Avenue de rOp6ra (Pl.R, 18,21; //), which runs
S. from the Opera, is flanked with attractive shops. It has been left
without trees, in order not to obstruct the view of the opera-house.
The Place du Th6Atre-Fran<?ai8 (PI. R, 21 ; //), at the S. end of
the Av. de I'Opera, is embellished with two handsome fountains by
Davioud, with nymphs in bronze by Carrier-Belleuse and Moreau,
and with a monument to the poet Alfred de Musset (1810-57),
supported by the 'Muse desNuits', byMercie (1906). — Omnibtbses,
see Appx., p. 55.
The Th^Atre-Pranpais (PI. R, 21, //; p. 34), restored by
Guadet after the fire of 8th March, 1900, was erected in 1785 by
Victor Lmiis for the *Vari6t6s-Anmsantes' (comp. p. 34). The
ntrance is adorned with marble medallions of Moli^re, Racine,
Comeille, and Victor Hugo, by D. Puech.
Vestibulk. Statue of Talma, tragedian (d. 1826), by David d^ Angers;
left and right, the famous actresses Rachel (d. 1858), as 'Phaedra , by
6*
86 Bight Bank 3. PALAT8-R0YAL. From the W. Boulevards
Duretf and Mars (d. 1847), as 'O^lim^ne', by Thomas; statue of George
Sand, the novelist (d. 1876), by CUsinaer. — The Staiboasb and Fotkb
are adorned with busts of great French oframatists. In the foyer : *Statue
Sand, the novelist (d. 1876), by CUsinger. — The Staiboasb and Fotkb
! great French ofri
of Voltaire (d. 1778), by Boud(yn (1781); chimney-piece representing the
crowning of Moli&re, by Lequesne; ceiling-painting, Triumph of Truth,
by Dtibufe fits. — The four caryatides in the Auditobium, to the right
and left of the stage, are by Thomas.
The theatre possesses furniture, etc., which once belonged to Moliere
and other dramatists, and a library (no adm.)*
The Th^atre-FranQais forms the S.W. wing of the Palais-Royal.
By the S. entrance to the latter is (on the left) a marble bust of
6r. Larroumet, the author (1852-1903), by Paul Roussel.
The Palais-Royal (PI. R, 21; //, ///), historically one of the
most interesting buildings in Paris, consists of two distinct parts:
the Palace, properly so called, and behind it the Garden f anked
with GaUeries. The palace, erected by Cardinal Richelieu in 1629-
34, from designs by J. Lemercier, was named Palais-Cardinal
until 1643. Richelieu, who died there in 1642, bequeathed it to
Louis XIII., after whose death (1643) it was occupied by Anne of
Austria (d. 1666) with her two young sons, Louis XIV. (b. 1638)
and Philip of Orleans (b. 1640). Since then the building has been
called Palais-Royal. It was afterwards enlarged by Fr. Man-
sartj and came into the possession of Philip of Orleans, whose son,
Philip of Orleans (1674-1723), regent during the minority of
Louis XV., afterwards held his notorious orgies here. After the
burning of the opera-house in 1763 several large new buildings,
mostly next the Place du Palais-Royal, were erected by P. L..Mo-
reau, the architect. Philippe EgaliU, grandson of the regent, led
a scarcely less riotous and extravagant life than his grandfather,
and in 1781-86 he caused the garden to be surrounded with houses,
which were let to gamblers and shopkeepers. The caf^s on the
ground-floor became a favourite rendezvous of democrats and mal-
contents. It was here that CamiUe Desmotdins (1760-94) called
the populace to arms on 12th July, 1789, two days before he led
them to the capture of the Bastille (p. 188). From 1801 to 1807
the palace was the seat of the Tribunate, which in 1804 conferred
imperial hereditary rights on the Consul Napoleon Bonaparte. In
1815-48 the Orleans family returned. Under the Second Empire
Prince Jerome Bonaparte, the former king of Westphalia (d. 1860),
and his son. Prince Napoleon, resided here. In 1871 the Com-
munards set the Palais-Royal on fire. Since its restoration it has
been occupied by the Conseil d^Etat.
Except on the S. side, the Palais-Royal is enclosed by houses,
through which there are several passages. Entering from the S.,
we cross the courtyard to the Galerie d'OrUans, in which is
the French Colonial Office, with a small commercial museum
(daily 2-5, except Sun., Mon., and holidays). Beyond it is the
Gabden, flanked on the W., N., and E. by the Galeries de Mont-
to the Louvre. PALAIS-ROYAL. Right Batik 8. 87
pensieTf de Beaujolais, and de Valois. It is shaded by a quadruple
row of small trees, and has a round basin of water and two flower-
beds. On the S. side is a statue of Camille Desmoulins (p. 86), by
Boverie (1905). In the centre is *Victor Hugo in Guernsey*, in
marble, by Rodin (1909). Between these sculptures is a small
cannon, flred exactly at noon by means of the sun's rays. Down
to the Second Empire a stream of people passing between the Cit6
(p. 267) and the W. boulevards used to walk through the garden,
from which carriages were excluded. The galleries then contained
several handsome shops and the most fashionable restaurants in
Paris; but now they are almost entirely deserted. In summer a
military band plays here on Sun., Wed., and Fri., 4-5 or 5-6. The
chairs are let at 10 c. each; the benches are free. — At the end of
the W. arcade, at the corner of the Rues de Montpensier and de
Beaujolais, is the Thidtre du Palais-Royal (p. 36), founded in
1784 and rebuilt in 1831.
To the N. of the Palais-Royal, in the Rue de Richelieu, is the
BibliotMque Nationale (p. 209).
On the E. of the Palais-Royal runs the Rue de Valois (PI. R, 21; //,
III). Here (Noa. 6-8) is the *H6tel M61usine', built by Richelieu, now
the BoBuf k la Mode Restaurant (p. 20), with a superb gilded balcony.
In the Rue des Sons -Enf ants j parallel with the Rue de Valois, No. 7,
is the dark Passage Henri lY, running through the old ThS&tre Moli6re.
Nearly opposite is (No. 8) one of the entrances to the old monastery of
St-Honore (interesting courtyard). No. 19, the 'Chancellerie d'0rl6ans*
(1700), restored by Boffrand, has some pretty reliefs of children above
the doors.
To the N.E. of the Palais-Royal, Rue de La Vrilli^re (Nos. 1-3),
is the great Banque de France (PI. R, 21; //,///), formerly
Hotel de La VriUitre, built by Mansart in 1635, restored by R.
de Cottey and subsequently remodelled. This was the residence of
the Princesse de Lamballe, and it still contains the superb Galerie
Doric (18th cent.), which is shown on written application to the
'Gouvemeur de la Banque de France' (comp. p. 60).
The Bank of France, founded in 1800, 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 ri^ht of issuing
notes in France (comp. p. xi). The cellars contain bullion, diamonds, and
other valuables, worth in all several milliards of francs, guarded with
the most elaborate precautions. — No. 2 Rue de La Yrilli^re is an old house
with turrets and a spiral balcony.
Near this is the Place des Victoires, see p. 215.
The Place du Palaia-Boyal (PI. R, 20; 11), in front of the
Palais, presents a busy scene, being the junction of many omnibus-
lines (Appx., p. 54). In the centre is the 'Palais-RoyaP station
of the Mdtro (Appx., p. 31). On the W. side is the Grand-Hotel
du Louvre (p. 4), to the E. are the Grands-Magasins du Louvre
88 Bight Bank 8, KUE DE RITOLI.
(p. 51), and to the S., on the farther side of the Rue de Riyoli,
is the Ministtre dea Finances, occupying part of the New Louvre
(p. 91).
The *Bue de BivoU (PI. R, 18, 20, 23; //, ///, F), one of the
main arteries of Paris, begun in 1811, was so named in honour of
Bonaparte's victory over the Austrians at Rivoli in 1797. It was
not completed until 1856, under Napoleon III. (p. 181). It runsE.
from the Place de la Concorde, parallel with the Seine, and is
continued by the Rue St-Antoine to the Place de la Bastille. The
houses in the W. part of the street (as far as the Rue du Louvre,
see below) are all uniform, with an arcaded gallery below and
balconies above.
Following the Rue de Rivoli to the E., we observe on the right,
beyond the Finance Ministry, the N. fagade of the Vievx Louvre
(see also historical plan, p. 89). To the left, farther on, is a new
annexe of the Magasins du Louvre (p. 87), adjoining which, and
partly concealed by the arcades, is the Temple de VOratoire^
erected by the priests of the Oratoire in 1621-30, but since 1811
a Protestant church (p. 48). In front of it rises a statue of Admiral
Coligny, one of the victims of the night of St. Bartholomew
(p. 103), represented between Fatherland and Religion, by Crank
(1889). The facade of the church is in the Rue St-Honor6 (p. 84;
No. 145), on the site of the H6tel du Bouchage, where Jean Chfttel
attempted to assassinate Henri IV.
A little farther on, the arcades terminate and the Rue de Rivoli
is crossed by the Rue du Louvre (PI. R, 20, 21; ///), which we follow
to the right. Opposite us, at the angle of the streets, is a station of
the M6tro (^Louvre*; Appx., p. 31). — The rest of the Rue de Rivoli
is described on p. 181, and the N. part of Rue du Louvre on p. 201.
The S. part of the Rue du Louvre, which ends at the Seine,
crosses an open space. To the right we have a good view of the
E. facade of the VievM Louvre, with its colonnade (p. 90). In the
gardens, at the S.E. angle, is the equestrian statue of Velazquez
(p. 92).
To the left rise the Mairie of the Ist Arrondissement (Louvre)
and the church of St-Grermain-l'Auxerrois. The rose-window in the
facade of the Mairie (1859) was once called by Viollet-le-Duc a
'caricature' of that of the church. The 'Salle des Manages' is
adorned with three fine paintings by Besnard (1887). The tower,
built to fill up the gap between the two buildings, contains chimes
which play at 11 a.m. and 4 p.m.
The Gothic church of *St-aermaiii-rAuxeprol8 (PI. R, 20;
///), founded in the 7th cent., dates in its present form from the
12th-16th. The flamboyant facade, pierced with a rose-window
and flanked with two turrets, is preceded by a porch (1435-39).
When the gate is closed, visitors enter by the lateral portal on the
LOUVRE. Bight Bank 4. 89
right. The signal for the massacre of St. Bartholomew (24th Aug.,
1572; p. 103) was given from the little bell-tower on this side.
The Intsrior consists of a nave and very low double aisles. The
large Chap, de la Vierge or des Oat^cbismes, to the right of the entrance,
closed in with a modern screen, contains a Tree of Jesse, in stone, of
the 14th cent., among the branches of which is a Madonna of the same
period. — The woodwork of the 'banc d'ceuvre' (in the nave, to the left)
-was executed by Fr. Mercier after the designs of Le Brun (1684). In
the chapel behind is a Gothic reredos of carved wood, with the Story of
Christ and the Virgin (early 16th cent. ; Flemish). — The fine marble b6ni-
tier in the S. transept is by Jouffroy. The pillars of the choir were convert-
ed into fluted columns in the 18th cent.; the fine railings date from 1767.
— The 4tb chapel to the right of the ambulatory, beyond the sacristy,
contains * Monuments to the Chancellor Etienne d'Aligre (d. 1635) and
his son (d. 1677), by Laurent Magnier. The 7th chapel contains two sta-
tues from a mausoleum of the Rostaing family (1582 and 1645).
From the right door of the facade a spiral staircase ascends to the
*CJia7nbre des Archives, formerly the treasury (apply in the sacristy,
fee). This room, dating from the 15th cent., and in perfect preservation,
is paved with coloured tiles and adorned with old furniture, a ceiling
of carved wood, and fine stained-glass windows (those facing the Louvre
hear traces of shots fired by the Communards in 1871); opposite the
windows is a large reredos in carved wood (early 16th cent.).
The Rue des Pratres-St-Germain-l'Auxerrois (PI. R, 20; III), to the
S. of the church, leads to the Place de VEcole. The gabled house here
(No. 5), with its king-post, dates from the time of Francis I.
From the S. end of the Rue du Louvre are seen the Pont-Neuf,
with the statue of Henri IV. (p. 268), and beyond it the dome of
the Pantheon (p. 291).
4. Palace and Galleries of the Louvre.
M±TRO Stations: Palais-Royal (p. 87) and Louvre (p. 88). Omni-
BUSBS and Tbamways, see Appx., p. 54. — Restaurants near the Louvre,
see pp. 20, 21.
The **IiOUvre (PI. R, 17, 20; II), the most important public
building in Paris, famous both for its architecture and its treasures
of art, rises 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 or LouveH^e. It is supposed that
JPkilip AugustiLS (1180-1223) erected the first castle here; it is at
least certain that when that king was building the new city-walls
he also erected the massive corner-tower of which the foundations
were discovered in 1885 in the cellars under the Museum of
Ancient Sculpture (p. 94). The plan and extent of the mediaeval
chftteau, made plain by the excavations of 1865, are now indicated
by a white line on the ground in the S.W. angle of the Cour du
Louvre. It was not, however, until Charles V. (1364-80) removed
his treasury and library to it, that the chateau was fitted up as a
90 Bight Bank 4. LOUVRE. History.
royal residence. Scarcely a trace of these buildings now remains.
In 1527 Francis I. (1515-47), a great builder, demolished the
old tower and modernized the ch&teau ; a little later he resolved to
rebuild it entirely. The works were directed by Pierre Lescot f,
one of the greatest architects of the early French Renaissance,
who was retained also by Henri II. (1547-59) and his successors,
until his death in 1578. To Lescot is due half the wing to the W.
and S. of the Vieux Louvre, facing the Seine, and also the adjacent
Pavilion du Roi on the S. These ^pavilions', typical of French
palaces, were placed either at the angles or in the centre of the
facade, and recall the mediaeval towers. The rich three-storied
^Fa^ade in the W. court, decorated by Jean Goujon and Paul
Ponce, is justly considered the most perfect monument of Fran-
cis I.'s time.
After the death of Henri II., his widow, Catherine de Midicii
(d. 1589), during the reigns of her sons Francis II. (1569-60),
Charles IX. (1560-74), and Henri III. (1574-89), continued the
erection of the S. wing, and in 1556-76 Pierre Chambiges built
by her order the Tetite Galerie', awing originally of one story next
the Seine. She next proceeded to build the *Grande Galerie' or
Galerie du Bord de I'Eau, probably designed by Thibaut MetezeaUy
which was to connect the Louvre with the old Palais des Tuileries
(p. 65), begun at the same period.
Henri IV. (1589-1610) employed Louis MHezeaUy the son of
Thibaut, to add a story to the *Grande Galerie' (extending to the
Pavilion Lesdigui^res) ; and the 'Petite Galerie' also was raised a
story by Fournier and Coing, under M6tezeau's directions. This
second story forms the present Grande Galerie and Galerie d'Apol-
lon. The extension of the gallery to the Pavilion de Flore was
likewise effected during the latter part of Henri IV.'s reign (see,
however, p. 91).
Operations on a grander scale were conceived by Louis XIII.
(1610-43). The original proportions of the palace were now to be
quadrupled. The king appointed Ja>cques Lemercier as his archi-
tect, and in 1624 he laid the foundation of the Pavilion de I'Hor-
loge, in the centre of the new W. wing. The eight caryatides
which adorn it were by J. Sarazin. Lemercier completed the W.
wing and began the N. wing.
Under Louis XIV. (1643-1715) Louis Le Vau (d. 1670), who
succeeded Lemercier in 1659, rebuilt the Galerie d'Apollon after
its destruction by fire in 1661. Various architects, among them
Bernini, who was summoned from Rome, were consulted as to the
design of the great E. facade. Eventually the work was entrusted
to Claude Perrault, a physician, whose imposing colonnade of
t For details regarding the artists, sec List on p. 465.
History. LOUVRE. Bight Bank 4. 91
twenty-eight Corinthian columns in pairs is scarcely in keeping
with the older parts of the edifice. Perrault designed also the
facade towards the Seine. The work was suspended in 1676, and
soon almost abandoned. The 'Grand Monarque' had lost interest
in everything but his palace of Versailles. His successors, too,
preferred Versailles or the Tuileries to the Louvre.
The completion of the Louvre was at length seriously resumed
by Napoleon I. In 1805 he ordered a thorough restoration of the
edifice, and directed his architects, Percier and Fontaine, to con-
struct a N. gallery between the Tuileries and the Louvre (Pavilion
de Marsan, see below). This wing had been completed as far as the
Pavilion de Rohan (p. 92) when the Emperor was deposed. In 1848,
after another period of inactivity, the plan of connecting the Louvre
and the Tuileries was again proceeded with. In 1852 Napoleon III.
undertook the erection of the new buildings, employing Visconti
(d. 1853) and then Lefuel, who completed the N. gallery in 1857,
at a cost of 1,440,000Z. Lastly, the S. gallery (next the Seine),
greatly enlarged and in its W. portion entirely remodelled (Pavilion
de Flore, see below), was completed (1863-68). The rich but
heavy fagades of the latter, with their domed pavilions, Corinthian
columns, porticos and caryatides, their 86 statues of famous men,
and their 63 groups of allegorical statues, harmonize with the
Vieux Louvre in their general arrangement only. The Pavilions
de Marsan and de Flore, burned down by the Communards, have
since been restored (see p. 65). All these buildings together form
the largest and most splendid palace in the world, covering an area
of about 49 acres, or three times as much as the Vatican including
St. Peter's. They consist of two main divisions : the Vieux Louvre,
the four wings of which enclose the large E. court, and the Nouveau
Louvre, comprising the two palaces to the N. and S. of the Square
du Carrousel and the wings extending W. to the pavilions of the
Tuileries. The N. wing of the New Louvre contains the Minist^e
des Finances (p. 88) ; all the other parts are used as a Mus6e.
A stroll, before or after visiting the Galleries, may be enjoyed
in the Jardin des Tuileries (p. 64). The magnificent *Vista of the
Place de la Concorde and the Champs-Elys6es (see p. 55) is well
seen from here. We also take a walk on the Quai du Louvre, to see
the S. facades of the Louvre. The central part, built by Catherine
de M6dicis in 1556-76, is the finest, embodying all the charm of the
early French Renaissance. The W. wing, too, towards the Pavilion
de Flore, has preserved features of Henri IV.'s time, in spite of
the alterations made under Napoleon III. (see above). The passage
('Guichets de Saints-Pores') between the Place du Carrousel and the
Pont du Carrousel, connecting the two blocks, was constructed under
Napoleon III. Flanking the entrance, opposite the Pont, are colossal
statues of the Mercantile Marine and the Navy, by Jouffroy; above
92 RightBcmk4. LOUVRE. Galleries.
is the Genius of the Arts, a bronze relief by Mercii. The opposite
entrance, in the Rue de Rivoli, facing the Rue de Rohan, is under
the Pamllon de Rohan, the facade of which is adorned with eight
statues of generals, including Marceau, by J. Thomas.
The small gardens outside the Vieux Louvre are adorned with
monuments of artists. On the N. side (Rue de Rivoli), L6on G6r6me
(1824-1904), painter and sculptor, modelling 'Les Grladiateurs', by
Aimi Morot (1909) ; at the S.E. angle is an equestrian statue of
Velazquez (1599-1660), by Frindei; to the S. (Quai du Louvre)
rises the monument of Pr. Boucher (1703-70), by Auhi; then that
of the draughtsman Raffet (1804-60), with the drummer from his
'Review of the Dead', by Frimiet; lastly that of the painter Meis-
sonier (1815-91), by Mercii. — The first window towards the quay,
as we come from the garden, has a fine gilded balcony with the
monogram of Louis XIII. and Anne of Austria. Near it is the window
whence Charles IX. is said to have fired on the Huguenots on the
night of St. Bartholomew, but which did not exist at the time.
For the Square and Place du Carrousel, see p. 66.
The ** Galleries of the Louvre.
The hours of admission have been frequently altered of late and are not
yet definitely fixed. The following regulations held good in Dec.,' 1912.
The galleries are open gratis to the public daily, except Mondays,
New Year's Day, Ascension Day, 14th July (P§te Nationale), and, unless
they happen to fall on a Sunday, Assumption (15th Aug.), All Saints
(1st Nov.), and Christmas Day. On exceptionally foggy days in winter
the galleries are closed. On Fridays they are not open until 1 p.m. —
The picture-galleries on the first floor, together with the Galerie d' Apollon,
Salle des Bijoux, Bronzes Antiques, and Collection Chauchard, are open
on week-days 10-4 (9-5 in summer, 1st April-SOth Sept.), on Sun. 10-4 (5).
The other collections on the first floor, the ancient sculptures on the ground
floor, and the picture-gallery on the second floor are open 11-4 (5), Sun.
10-4 (5), the other sculptures on the ground-floor 12.80-4 (5), Sun. 10-4 (5).
The few exceptions to these regulations are specially noted below.
Ground Floor. Antique Sculptures, p. 95. — Salle des Moulages
(p. 95), Wed. 12.80-4 (5), Fri. 1-4 f5). — Asiatic Antiquities, p. 104.—
Egyptian Antiquities, p. 106. — Mediaeval and Renaissance Sculptures,
p. 108. — Modern Sculptures, p. 118.
First Floor. Picture Gallery (p. 118): Salle Duchfttel, p. 122; Salon
Carr6, p. 123; Early Italian School, p. 124; Grande Galerie (Italian School,
p. 126; Spanish, p. 129; British, p. 180; (German, p. 180; Flemish, p. 181;
Rembrandt, p. 182); Salle Van Dyck, p. 188; Salle Rubens, p. 184; Small
Flemish and Dutch Rooms, p. 135; French (early, p. 141; 16th cent., p. 142;
17th cent., p. 148; 18th cent., p. 145; 19th cent., p. 147); Salle des Por-
traits, p. 144; Salle des Sept-Ciheminees, p. 152; Salle Henri II, p. 158;
Salle La Caze, p. 158.
Galerie d'ApoUon, p. 148. — Salle des Bijoux, p. 151. — Bronzes An-
tiques, p. 155. — Furniture of 17th- 18th Cent., p. 155. — Mus^e des Des-
sins, p. 158. — Collection Thiers, p. 158. — Museum of Mediaeval, Renais-
sance, and Modern Art, pp. 159, 162. — Donation Rothschild, p. 159. —
Continuation of Asiatic Ajitiquities, p. 161. — Continuation of Egyptian
Antiquities, p. 168. — C^ramique Antique, p. 165.
Second Floor. French School of I9th Cent., p. 168; Collection
Thomy-Thiery, p. 169. — Musee de Marine (p. 171), Sun. & Thurs. 1-4 (.^).
Galleries. LOUVRE. Bight Bank 4. 93
EntreeoL Mus^e de rExtrdme-Orient (p. 171), Wed. & Fri. 1-4 (6). ~-
Ohalcogiaphie (p. 178), week-days (ind. Mon.), 10-4 (5).
Pavilion de La Tr^moille (Wed. & Fri. l to 4 or 5) : Salle du
Mastaba, p. 172 ; Galerie de Morgan, p. 178.
Pavilion de Flore: Chaucbard Collection, p. 174.
Pavilion de Marsan (lO to 4 or 5; adm. week-davs, inch Mon.,
1 fr., bolidays i/a fr., Sun. free): Mus^e des Arts D^coratifs, p. 176; Col-
lection Moreaa-N61aton, p. 178.
The best time for yisiting the galleries is the early morning, as they
are often crowded in the afternoon, particularly on Sundays and in winter,
when many poor people take refuge in the Louvre for warmth (4e calorif^re
national*). — Sticks, umbrellas, and parcels must be left in the cloak-rooms
at the entrances (gratis). Visitors should notice where their belongings
are placed. Ten minutes after closing-time articles unclaimed are taken
to the foot of the Escalier Henri II (p. 108). — Lift (15 c.) in the Payillom
Sally (p. 117), near the Escalier Henri lY; another is to be installed in
the Pavilion Mollien (p. 148). — Conveniences for visitors are to be found
off the Galerie Mollien and Rooms YII and IX of the picture-gallery (comp.
Plans); keys kept by the custodians.
Persons desiring to copy in the Louvre or Luxembourg apply to the
Adminigtration des Mtisies, in the S.W. angle of the court of the Yieux
Louvre (PI. M). The regulations are posted up in the galleries.
The director of the National Museums is m. E. JPujalet. The Conser-
vateurs are MM. Ant. Hiron de VUlefosse (Greek and Roman Antiquities),
Qtorges Binidite (Egyptian Antiquities), P. Leprieur (Paintings, Draw-
ings, and Ohalcographie), E. Pottier (Oriental Antiquities and Antique
Pottery), Andri Michel (Mediasval, Renaissance, and Modern Sculpture),
Oaston Migeon (Objects of Art), and Jean Destrem (Marine Collection).
The history of the Louvre Collections dates from the French
monarchs of the Renaissance of the 16th cent., who were not only
intimate with Italy in their political relations, but paid enthusiastic
homage to Italian culture. Foremost among patrons of art and col-
lectors was Francis /., who summoned several Italian artists to
Ms court (comp. p. xxxix), and to whose favour the presentation of
some work of art was the best passport. More than once he essayed
to enlist the services of Michael Angelo, and he proposed to form
a collection of casts of antique masterpieces. His efforts, however,
were but partly successful. It was not until the accession of
Louis XIV., whose ambition it was to shine in every sphere, that
it became the fashion both with persons of rank and of the middle
class (like Crozat) to collect treasures of art. The royal collections,
or 'Cabinet du Boi', included even in the early 17th cent, some
very valuable pictures, but was greatly enriched by the purchase
of 647 paintings and 6000 drawings, once belonging to Card. Ma-
zarin and the banker Jabach. In 1710 the oil-paintings numbered
2403. The Revolution converted the Louvre into a museum, where
the art collections of the country were gradually to be centralized.
Various treasures from the royal palaces, churches, and suppressed
monasteries were united here, and the museum was opened in 1793.
At length, when the French armies returned to Paris from Italy,
the Netherlands, and Germany, laden with treasures of art, the
Louvre Collection became 'the museum of Europe*, and was so
94 ^igM Bank 4, LOUVRE.
famous under the name of the ^Mus^e Napoleon' that the Allies in
1814 did not venture to restore its treasures to their former own-
ers. Restitution was partly made in 1815, but many fine works
remained in Paris, and the collections of the Louvre are still the
largest and most valuable on the continent. Among the more re-
cent acquisitions are the Tochon and Durand Collections of an-
tique vases, in 1818 and 1825, and the Collections MevoU (1828)
and Campana (1862 ; 200 Italian paintings and many antique
vases). The galleries have been enriched also by gifts and bequests,
like those of Sauvageot, Thiers, Davillier, Lenoir, GrandidieTj
and especially La Coze (1869; 275 pictures). In 1902 the Adolphe
de Rothschild Donation (p. 159), in 1903 the Thomy-Thi&ry
Collection (p. 169), in 1905 the SaUe du Mastdba (p. 172) and
the Galerie de Morgan (p. 173), in 1906 the Moreau-NdaJton
Collection (p. 178), in 1910 the Chauchard Collection (p. 174),
and in 1911 the Camondo Collection (p. 143) were added. Lastly,
the Soci^t6 des Amis du Louvre, founded in 1897, has presented
several valuable works.
The rooms of the Louvre are so numerous that it takes two
hours to walk through them without stopping. The visitor should
note that the Ground Floob contains the Sculptures, Ancient,
Mediasval, and Modern, and the larger Egyptian and Oriental
Antiquities; the First Floor the Pictures, the Smaller Antiqui-
ties, the Mediasval, Renaissance, and Modern Art Objects, the
Furniture of the 11th and 18th Centuries, some of the Drawingi^
and other collections; the Second Floor the Thomy-Thi&ry Col-
lection, and the continuation of the French Paintings of the 19th
Century and Drawings; dlso the Musie de Marine. See the com-
plete list on pp. 92, 93.
Visitors who are pressed for time should begin with the Pic-
tures (p. 118), which are opened first, and the Antique Sculptures
(p. 95). It will save time to adhere to the following order of the rooms
and their contents, but some of the arrangements are often altered.
Thus, now that the Minist^re des Colonies has removed from
the Pavilion de Flore, important changes are impending (comp.
p. 174).
Entranoes. Most of the Galleries have special entrances, which
are shown on the Plans and mentioned in the text. The Grande
Entree to the Gallery of Antique Sculpture and to the First Floor
is in the Pavilion Denon (G on Plan, p. 95), in the Square du
Carrousel, S. side (p. 67). The descriptions on pp. 95 and 117
begin here.
The Souterrains (underground chambers) de VAncien Louwe are shown
on Mon., 1-8 p.m.. to visitors with tickets, for which previous written
application mast bo made (comp. p. 60) to the Secretariat des Mus^s
Nationaux (Conr du Louvre). We begin and end otir visit (i/« hr. ; fee)
at the Salle des Cariatides, and pass under the Salle de la Ydnus de Milo.
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LOUVRE. RigM Bank 4. 95
Ground Ploob.
The **Ancldnt Sculptures (Mu86e des Marbres Antiques),
though inferior to the great Italian collections, include many works
of the highest rank. The official Catalogue Sommaire (illus. ; in-
cluding over 3000 objects), by A. H6ron de Villefosse, costs 1 fr.
85 c. (1896). The numbers are usually placed on the left side of
the sculptures , but are sometimes lacking. The labels often give
the origin of the sculptures in large letters in the first line, but
not the subjects of the works.
In the Vestibule Denon is a cloak-room (see p. 93).— To the
right is the Galerie Mollien (XXVIII) : Byzantine mosaics of the
5th cent, from the church of Kabr Hiram, near Tyre, brought to
Paris in 1863 by E. Renan; two *6r8eco-Punic sarcophagi from
Carthage, with recumbent figures; numerous fragments of Roman
sarcophagi; copies of bronze antiques; busts; coloured marble
columns. The staircase at the end of the gallery, in the Pavilion
Mollien (K on the adjoining Plan; comp. p. 141), has been closed
for repairs since 1907.
Nearly opposite the entrance, to the left, is the Salle des Haulages,
containing casts from the antique. This was the riding-school of the
Prince Imperial under the Second Empire. We may go through this room
(when open) to the Mus6e de V Extreme- Orient and the Chalcographie
(pp.171, 172).
From the vestibule we enter, to the left, the —
G-alerie Denon (XXIV), where bronze copies from the antique,
sarcophagi, and several mutilated antiquities are exhibited. On the
left, 341. Cupids forging their arms; 438. Tritons and Nereids;
490. Prometheus creating Man; 85. Apollo and Marsyas; Combat
of Amazons ; Phaedra and Hippolytus ; Daedalus and Pasiphae ; Death
ofMeleager; Diana and Endymion. On the right (as we return),
Selene and Endymion, Myth of Actseon, Scenes from the life of
Achilles; 378. The Muses (on the lid. Banquet; right side, Muse
with a philosopher or poet; left side. Muse with Socrates); 240.
Bacchus and Ariadne ; 439. Tritons and Nereids.
At the end of the Galerie Denon is the Escalier Daru, or Grand
EscAUER, which ascends to the Picture GaUery (p. 118). At the
top is the winged Victory, from Samothrace (p. 117).
The Salle d'Afrique (XXV), to the right of the staircase, con-
tains Antiquities from N. Africa: Sculptures, inscriptions, fine
mosaics, Roman lamps. To the right of the entrance, 1838. Relief
with the three Elements (found at Carthage; there is a similar
relief, from the Ara Pacis, p. 96, at Florence); to the left, 1888
(under glass), Bust of Ptolemy, King of Mauretania; 1783. Head of
Medusa in profile; in the centre, Draped female figure (Cyrene).
Mosaics: opposite the 2nd window, Servants preparing a feast
96 BightBa7tk4, LOUVRE. Ground Floor:
(Carthage) ; nearly opposite the 3rd window, Triumph of Neptune
and Amphitrite (Constantine).
•On the right side of the staircase are fragments of Algerian arid
Tunisian sculptures; on the left side, 1339. Tutor and Niobid, freely
restored (found in 1831 at Soissons). Below the staircase is the —
Salle des Frisonniers Barbares (XX), containing inscriptions,
reliefs, sculptures in coloured marble, etc. Opposite the window,
seated figure of Minerva, restored as Roma, in red porphyry, with
modem head and arms in bronze gilt ; to the left, Minerva, in Oriental
alabaster (16th cent. ?); 1381, 1383, 1385. Captive barbarians; 1354.
So-called African fisherman, in black marble, wrongly restored as
Seneca. In the middle, 438. Porphyry bath; large Roman mosaic
representing rustic scenes and pursuits; large marble bath; chair in
red marble. By the window, 1367 (labelled 421), Colossal mask of
the Sun-god; 540. Fragment of a Grseco-Egyptian celestial chart.
Botonde de Mars (XIII), 1st Room next the court, with fine
decorations in stucco by Michel Anguier (1653) ; ceiling-painting
by Berthilemy and Mauzaisse, the Creation of Man. In the centre,
*866. Borghese Mars (formerly called Achilles), in Pentelic marble.
In the first window-niche, fine Greek reliefs, chiefly from Samo-
thrace ; 442. Vase of Sosibios, with a festal procession towards a
lighted altar (Hermes, Apollo, Ares, Artemis, three Meenads, and a
dancing Satyr). By the central window, 672. Borghese Tripod-
Base, or Altar of the Twelve Gods, archaistic, with the gods, the
Fates, the Graces, and the Hours. To the right, 884. Archaic Apollo;
to the left, 889. Statue of a pugilist (archaic). By the next window,
81. Hermes and Apollo; 673. Archaic Venus (?); 868. Nymph. At
the entrance to the Salle Grecque, 867. Female head, a Greek ori-
ginal of the age of Phidias; 931. Head of Ares (Mars).
By the entrance to the room on the right (XIV): 588. Greek-
Poet; to the right, 920. Draped figure ('Seneca' or 'Philetas of Cos').
We next enter the rooms in the wing built by Catherine de M^-
dicis (p. 90). The arcade above the entrance is adorned with a
relief by Chaudet: Painting, Sculpture, and Architecture.
Salle de M^cdne (XIV; formerly so called), with ceiling-paint-
ings by Meynier (the World receiving from Hadrian and Justinian
laws dictated by Nature, Justice, and Wisdom). Roman reliefs. In
the centre, a large altar which stood in front of a temple of Nep-
tune at Rome (built about 35 B.C.) ; the left side only, with a relief
of the sacrifice of the Suovetaurilia, is ancient; the other three sides
are casts from the frieze of the bridal procession of Poseidon and
Amphitrite in the Glyptothek at Munich. By the second window:
right. Fragment of triumphal relief from Alexandria, acquired in
1912 ; left, 1088. Procession of seven persons with two children,
a fragment of the Ara Pacis erected by Augustus at Rome in 13-9 B.C.
(other fragments at Rome and Florence).
Ancient Sculptures, LOUVRE. BigM Bank 4, 97
The next four rooms chiefly contain sculptures of the Roman
imperial epoch. Fine ceiling-paintings.
Salle des Saisons (XV) Ceiling by RomaneUi (1610 or 1617-
62; Diana and Apollo, Actaeon and Endymion; Apollo, Marsyas,
and the Muses; the Seasons). In the centre, 1121. Statite of Julian
the Apostate (p. 288). To the right, 1021. Bust of Constantine the
G-reat (?); 1023 (found at thtf Capitol in Rome), Mithras, the Pers-
ian god of the sun, slaying a bull.
Balle de la Paix (XVI). Ceiling and spandrels by RomaneUi
(Peace the fruit of War; Peace and Agriculture). Door of 1658.
In the centre, 1075. MamnuBaj mother of Alex. Severus, as Ceres.
— The eight granite columns at the entrance and exit, from the
portion of Aix-la-Chapelle Cathedral built by Charlemagne, were
brought to Paris in 1794.
Salle de S^v^re (XVII). Ceiling and spandrels by RomaneUi
(Poetry and History extolling the fame of Rome; Rape of the Sa-
bines; Continence of Scipio; Cincinnatus; Mucins Scsevola). Busts
of Roman emperors and empresses, from Commodus to Caracalla.
In the centre, 1009. Roman couple, as Mars and Venus. To the
right of this group, 1082. Bust of Antinous (see below; face partly
restored). By the 1st window to the left, 996. Colossal head of
Caracallay found in Macedonia.
Salle des Antonins (XVIII). In the centre, 1133. Colossal
statue restored as Marcus Aurelius. In front of it, *1205. Colossal
Bust of Antinous (the favourite of Hadrian, deified after drowning
himself in the Nile) as Osiris (from Villa Mondragone, near Fras-
cati), grave and pensive; holes in the serpentine crown and the
fillet for the insertion of the divine attributes. To the left, 1171.
Colossal head of Lucilla, wife of Lucius Verus, found at Carthage
in 1847. Also statues of Trajan, Marcus Aurelius, ^lius, Lucius
Verus, etc., and many busts. — Ceiling-paintings and spandrels,
first division, by RomaneUi: Religion and the Theological Virtues,
CTenii, Judith, Esther and Ahasuerus, Moderation, Prudence, etc.
Second division: French Hercules, by Hennequin; Victory and
the Arts, by Lethiere; Study and Fame, by Peyron, etc. — At the
entrance to the next room on the right: 1145, 1146, Young Romans
wearing the bulla (gold medallion worn by young patricians).
Salle d'Augniste (XIX, to the right), decorated under Napo-
leon III.; modem ceiling-painting by Matout: Assembly of the
gods. Busts and statues of early Roman emperors. In the centre,
*1204. Head of a Hellenistic Ruler (probably Antiochus III.; not
Julius Csesar); 1003. Colossal bust of Maecenas. *1207. Roman
Orator as Mercury, formerly called Germanicus or Julius Csesar,
by Cleomenes of Athens (name on the tortoise at the foot), dating
from the revival of Greek art under the early emperors. 1208. Bust
of Agrippa; 1209. Colossal bust of Roma^ with Romulus and
98 Bight Bank 4. LOUVRE. Ground Floor:
Remits on the sides of the helmet, each suckled by a she-wolf. In
a niche at the end of the room, *1212. AugustuSy with finely exe-
cuted drapery; in front, right and left, 1210, 1211. Two Young
Romans with the Bulla (p. 97). By the sides of the hall, Statues
and busts of the Julian emperors and empresses, some of the latter
executed with great delicacy.
We return to the Rotonde (p. 96)* and enter (right) the —
*Salle Greoque or de Phidias (XII), containing works of the
archaic and the golden periods of Greek plastic art, the age of
Phidias and that immediately after it (5th cent. B.C.), but for the
most part sadly mutilated.
On the vaulting and spandrels, Diana beseeching Jupiter, by Prud^hon;
Hercules obtaining from Diana the fawn with the golden horns, by Oar-
nier; Diana restoring Hippolytus, resuscitated by ^sculapius, to Aricia,
by Mdrim^. Reliefs by Uartdlier, EspercieuXj and Foucou.
In the centre, *686. Hera (Juno), from Samos (6th cent. B.C.),
bearing the name of the donor, Cheramyes.
This statue, now headless, illustrates the primitive type of idols,
carved in wood, with the arms close to the body, the lower part being
little more than a round column. The drapery alone imparts some life
to this rigid figure.
687, 688. Two male torsos (6th cent. B.C.), in the style of the
archaic statues of Apollo ('ephebos' standing with left leg ad-
vanced).— Under glass: 691. Head of Apollo; opposite, * Female
Head, formerly in Mr. Humphry "Ward's collection, and ascribed to
Calamis the Elder (ca. 475-450 B.C.).
To the right of the entrance: *738. Fragment of the Frieze
of the Parthenon at Athens, erected in the age of Pericles (447-432
B.C.), under the direction of Phidias.
The frieze, which ran round the cella-wall, within the peristyle,
represents the festive procession ascending to the Acropolis after the
Panathensean games to present the goddess with the peplos, or robe woven
and embroidered by Athenian virgins. The greater part of the frieze,
which was 176 yds. long, is now in London and at Athens. The fragment
preserved here, brought to Paris in 1787 by M. Choiseul-Gouffier. ambas-
sador at Constantinople down to the Revolution, represents Athenian
girls conducted by two priests.
Above: 716, 717. Hercules subduing the Cretan Bull, and bring-
ing to Athena one of the Stymphalian birds, two metopes from the
Temple of Zeus at Olympia (ca. 460 B.C. ; excavated by the French
expedition to the Morea in 1829). Other fragments of this temple
(found by the Germans in 1875-81) are now in the museum at
Olympia. Compared with Attic sculptures, these works lack grace,
but have greater freshness and vigour.
In front of the first window, Head of a Lapith, from one of the
metopes of the Parthenon (in the British Museum). In the embrasure,
tomb-steles (one representing two figures hand in hand) ; also a fine
sepulchral vase (loutrophoros) from the Piraeus. — Small sculptures
in the glass-case: 2519. Head of a youth; *Head of child from the
Irseus; Head of Sophocles; 2417. Sacred feast (relief).
Andmt SadptureB, LOUVRE. ^Uf^ Stmk 4. 99
In front of the seeond window, Archaic statue of Apollo. In
the embrasure, other fragments of steles; under glass, archaic
statuette of a woman (about 600-575 B.C.). In the next glass-case:
2712. Head of Dionysus; 2713, 2715. Archaic heads; above them,
Primitive idols from the islands of Pares and Keros.
In front of the third window, Archaic head, with fine wreath and
traces of colour (6th cent. B.C.); in the embrasure, a sepulchral
vase (lekythos) and steles (767. Greek family).
Next wall, *696. Reliefs from the Island of Thasos (found
in 1864).
These three reliefs once formed a whole, which, as we learn from the
old inscriptions, belonged to a sanctuary of Apollo, the Ohaiites (Graces),
and the Kymphs. The larger inscription at the top is of later origin,
when the reliefs were separated and were osed to adorn a tomb in the
Roman period. In the centre is a niche in the form of a door; on the left
are A^pollo and on the right Hermes, each accompanied b^ four goddesses,
carrying wreaths and flowers. The stiffness and ai^n^anty of the archaic
school are still visible here, bat the freer and easier execution of the
drapery shows archaic art at its best. The work thus probably dates from
the early 5th cent. B.O.
Above: *766. Tomb Belief of PhUiSj daughter of Cleomedes,
from the island of Thasos (first half of 5th cent. B.C.).
The deceased is represented, as was nsnal on Attic steles, in a scene
of daily life, with a jewel-case in her hand. The charm of this relief
consists in its archaic tinge and its simple and natural feeling.
To the right, 697. Archaic relief from the arm of a throne:
Agamemnon and his heralds, Talthybius and Epeius (from Samo-
thrace).
To the left, 701. Tomb-relief of two girls with flowers (from
Pharsalns), a work on the border between the archaic and the devel-
oped style, showing naXve naturalism, but inferior in delicacy of
execution to contemporary Attic works.
We retrace our steps. On the side next the window looking
into the court, and by the entrance to the Corridor de Pan (p. 100),
831. Marble Stele, brought from Athens by M. Choiseul-Gouffier
(p. 98), with one of the oldest Greek inscriptions in the Louvre.
It records the sums spent by the treasurers of the Parthenon in the
archonship of Glaucippus (410-409 B.C.). Above are Athena, the
sacred olive-tree, and a representative of the Attic people. — Then,
*Torso of a young hero, once supposed to represent the river Inopos
in Delos (where it was found), or Alexander the Great, a work of
the late 4th cent. B.C. — Above it, 857. Lion slaying a bull (a
relief). Then, 694. Head of Hermes; 829. Female figure (not a
daughter of Niobe); 828. Head of Demeter (Ceres). — By the next
window are reliefs, chiefly from Attica; fine loutrophoros (p. 98)
from Athens, acquired in 1912. — Farther on, 692. Head of Apollo ;
847. Athena from Crete (perhaps a copy of a statue by Alcamenes,
a pupil of Phidias) ; 695. Archaic head. Then two fragments of
metopes from the temple of Zeus at Olympia; *736. Metope from
Baxdkkicr's Paris. 18th Edit. 7
100 Right Bcmk 4. LOUTRE. Oround Floor:
the Parthenon (much mutilated), representing a Centaur carrying
off a woman, probably by a pupil who assisted Phidias in the
decoration of the Parthenon; tomb-stele from Athens (young man
with greyhounds).
Going straight on, we pass the Salle des Cariatides (left; p. 103)
and the Salle du Tibre (right; p. 102).
The Corridor de Fan (II) is a dark passage. To the right,
behind two columns: 266. Pan seated, poor, and freely restored.
Salle du Saroophage de M^^ (J-^^t ^o called from a sarco-
phagus once here (now in the Galerie MolUen, p. 95). By the right
wall, 285. Satyr playing with a young panther, a fine bas-relief in
the Greek style.
Salle de l'He^mapllro(^te de Velletri (IV). In the window-
recess, 323. Hermaphrodite of Velletri (comp. p. 103). *544. Fine
Greek Bust of a man, of the age of Lysippus; 324. Wounded
Gaul, replica from one of the groups of battles of Giants, Amazons,
Persians , and Gauls , erected on the Acropolis by Attieilus II. of
Pergamum. To the right, 345. Statuette of Euripides, with a list
of his works.
Salle du Saroophage d'Adonia (Y), named after a sarcophagus
depicting the story of Adonis which was once here. By the 1st
window, *854. Attic relief (little later than Phidias): Hermes,
Orpheus, and Ewrydice, an example of the best period of Greek
art (replicas at Rome and Naples).
Orpheus was allowed to brin^ back his wife Enrydice from the in-
fernal regions to earth 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 Eurvdice to conduct her back
to the realm of shades. In this simple and beautiful composition are
witnessed a whole series of phases of hope and grief : the advance of the
procession, the turning round of Orpheus, the confidential communing of
the pair, the halt, and the impending return of Eurydice. The inscription
'Zetus, Antiopa, Amphion' dates only from the Renaissance.
On the left, 358. Vase with Bacchic representations. On the
right, 59. Bust of Socrates; 349. Bust of Demosthenes. — In the
passage to the next room, to the left, 366. Statue of Aphrodite,
probably after Praxiteles (inscription on the base).
SaUe de Payclid (VI). Right, 378. Head of young Hercules
(not Omphale) ; 381. Head of Perseus, king of Macedonia. Between
these, *542. Marsyas bound to a tree, in order to be flayed by
order of Apollo. To the left, two fine marble seats. Between the
windows, 371. Psyche (freely restored). Bight and left of the
entrance, 387. Athlete anointing himself, 375. Victorious athlete
(with the palm). By the entrance to the end-room, 398. Venus of
Fcderona, in the pose of the Venus of Milo.
. Salle de la V^nus de Milo (VII) : **399. Venus of MHo, the
most famous of all the statues in the Louvre.
Ancient Setdpturet, LOUVRE. Sight Bank 4, lOl
'How greftt, bow beautiful and noble it this Venus 1 . . . What a
va£^e and divine smile rests on these parted lips; what a superhuman
glance is shed by this sightless eye I . . . The arms are missing, but it
seems as thoughi if they were found, they would mar our enjoyment by
masking this superb bust and noble bosom. And it was a small island-
temple that harboured this glorious masterpiece, worthy of the greatest
period of Hellenic art!' (Th^phiU Gautier.)
The statue was found in 1820 by a peasant in the island of MdoSf
now MHOf at the entrance to the Archipelago, and sold for 24/01, to the
Marquis de Bividre, French ambassador at Oonstantinople.
It is a work of the 2nd cent. B.O., by an unknown master, but is
evidently inspired by the schools of Praxiteles and Scopas (4th cent. B.O.),
though very different in style. Venus is supposed to have been holding
a shield and gazing at her reflection in the polished surface. Among
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 in a glass-case
behind the statue); and this has led to the supposition that this Aphrodite
(like the Venus of Aries, see below) held an apple (melon, a punning
reference to the island of Melos) in her uplifted left hand and her dra-
pery with the right. These fragments, however, are of inferior work-
manship to the torso, so that they are probably either unconnected with
it, or belonged to an ancient attempt to restore the work.
Salle de la Melpomene (VIII). At the end, 411. Melpomene,
one of tbe largest ancient statues in existence (13 ft. high), from
Rome, probably from Pompey's Theatre. — In front of it is a
mosaic, by Ft, BeUoni (after Gerard; 1810), of Minerva (sym-
bolizing the genius of Napoleon), Peace, and Plenty. — Right and
left of Melpomene, 420, 414. Statues of Venus (type of the period
of Phidias), restored as Euterpe. To the right, by the end- window,
421. Replica of the head of the Cnidian Venus of Praxiteles. Right
of the exit, *419. Female Heady finely executed.
Salle de la Pallas de VeUetri (IX). In the centre: 435.
Youth resting; 436. Alexander the Great, bust in the form of a
henues; 439. Vemis of Aries, found in 1651 at Aries in Provence,
perhaps after an early work by Praxiteles, spoiled by restoration
(by Fr. Girardon, d. 1715) ; **440. Head of Homer (upper part of
a hermes). — *441. Apollo Sauroctonos, *the lizard-slayer', after
Praxiteles; the right hand originally held a dart. — To the left of
the entrance, 444. Statue restored as Urania. — Next the wall, in
the centre, *464. Pallas of VeUetri, a Roman copy of a Greek
bronze of the 5th cent. B.C., found in 1797 at VeUetri near Rome.
The right hand (badly restored) held a spear, the left a bowl. By
the window-wall, 508. Round pedestal, with figures of Luna and
Oceanus. — >At the entrance to the next room, 522. ^At€danta%
probably a Diana, badly restored.
Salle du H^ros Oombattant (X). In the centre: *525. Venus
of Frijtbs (named * Venus Genetrix' from a medal), a good Roman
copy of a charming Greek work of the 5th century. 526. Hercules
or young Theseus (bust).
*527. Borghese Grladiaior, found near Antium (Anzio). The
inscription records that it was executed by ^Agasias, son of Dosi
7*
102 RigM BarOc 4. LOUVRE. Qrotmd Floor:
theos of Ephesus', of the 1st cent. B.C., who must have copied it
from a work of the late 4th cent B.C., as in style it resembles the
works of the school of Lysippus.
This statue more probably represents a hero engaged in conflict.
The right arm is modern; the left arm shows the strap of the shield.
Opposite the hero we must suppose a mounted enemy, against whom he
is defending himself with his shielded left arm, while his right is drawn
back to deal a heavier blow with his sword. The mouth is open, as if
the hero, like Homer's warriors, were reviling his adversary. The ex-
pression of the face indicates supreme, yet controlled effort. The simul-
taneous acts of defence and attack are admirably expressed.
528. Faun of Vienne (where it was found in 1820), or *Faune
a la tache'; traces of red pigment in the hair are still visible; the
forehead has two small horns. — *529. Diana of Gdbii, a charming
work, probably after Praxiteles, and perhaps a copy of his cult-
statue of Artemis Brauronia (B.C. 346). The goddess is fastening
her cloak at the shoulder.
To the left, next the windows: 552. Wounded Amazon (freely
restored); *562. Centaur subdued by Cupid; 573. Statue of Her-
mes, once in the possession of Card. Richelieu. To the right of the
entrance: 530. Minerva Paciflca; 535. Fine head of Ganymede or
Paris; 536. Cupid and Psyche. By the left wall: 544. Bust of
Pluto-Serapis ; 545. Cupid.
SaUe du Tibre (XI). In the centre: *922. SHenus and Bac-
chus, 'Faune k. TEnfant' (end of 4th cent., perhaps after Lysippus).
This is one of the most charming of those scenes from the salyr
world which were so popular in the later Greek art. Silenus holds the
child in his arms; the child smiles and offers him his left hand. An air
of repose and content pervades the whole group.
*589. Diane d la Biche, or Diana of Versailles, probably
after a work of the time of Praxiteles and Scopas. This statue
resembles the Belvedere Apollo, but is inferior to it in finish.
The goddess, walking with long strides, seizes an arrow. She looks
round as if for fresh game. Her face is grave, the forehead high and
severe, the eyes eager. The hind running beside her serves to mark the
rapidity of her steps.
At the end, *593. Colossal God of the Tiber, recumbent, with
Romulus, Remus, and the she-wolf, probably of the early Roman
empire, an admirable companiou to the famous group of the Nile
in the Vatican. Left and right, 595, 594. Flute-playing Satyrs.
— Behind, 597-600. Four Satyrs bearing a frieze (Greek).
By the 1st window : *664. Fragment of a replica of the Resting
Satyr of Praxiteles; 665. Smaller copy of the same. In the niche
to the right of the entrance, 660. ^Zingarella', a statue of Diana,
with head, arms, and feet restored in bronze. In front of the window,
2240. Crouching Venus, f rom Sainte-Colombe, near Vienne; another
opposite, behind No. 922, is from Tyre (on the back of each are
traces of a Cupid's hand). Left of 3rd window, 677. Head of satyr,
*Faun of Aries'.
Ancient Sculptures. LOUVKE. Right Bank 4. IQS
Wall of exit: 622. Bacchus resting; 639. ^scnlapius; 640.
Mupiter Talleyrand', archaistic.
We now turn to the right, cross the Corridor de Pan (p. 100),
and pass throngh the glass door opposite into the —
Salle des Cariatides (I). The caryatides are at the other end.
This was once an antechamber of the apartments of Catherine de
MMicis. Here, on 19th Aug., 1572, Princess Margaret of Yalois, sister
of Charles IX., was married to Henry of Navarre (afterwards Henri IV.
of France). Admiral Coligny and other Huguenot leaders were present.
Four days later, on the Eve of St. Bartholomew (2Srd Aug.), Chanes IX.,
at the instigation of his mother, Catherine de M6dicis, ordered the mass-
acre of the Huguenots and the arrest of Henri. In this room the Ligue
held its meetings in 1503, and here the Due de Guise (reconciled with
Henri, who had abjured Protestantism) caused four of the most zealous
Ligueurs to be hanged the following year. The body of Henri lay in
state here after his assassination in 1610. In 1659 the room was used as
a theatre by Moliftre, who acted here in his own plays.
We first enter a kind of vestibule, with a chimney-piece exe-
cuted by Perder and Fontaine in 1806, in front of which is
a Female torso, acquired in 1912; 75. Hercules^ with his son Tele-
pkus and the hind which suckled the latter. — To the left, by the
window, 231. Borghese Hermaphrodite, of the latest Greek peri-
od, too sensuous in style. The mattress was added by Bernini
(17th cent.).
Between the columns in the Salle, by the entrance, *78. Jupiter
of Versailles, a colossal torso on a modem stand. To the right,
sb. Greek philosopher (^PoatdowiW.^J. To the left, 79. Philosopher,
with the head of Demosthenes from another statue.
In the centre. Head of Apollo; 82. Ancient basin of alabaster,
with the striking acoustic property of transmitting voices to a
similar basin (No. 90) at the other end of the room; 83. Hermes
fastening his sandal; 85. Bacchus reposing; 86. BorgheseVase,
with Bacchanalian scenes; *S1. Richelieu Bacchus; 89. Discobolus.
The four *Caryatides bearing the gallery at the end are by Jean
Groujon (p. 109). Above it is a cast of Benv. Cellini's Nymph of
Fontainebleau (p. 111).
On the right, as we return: 113. Bacchus. By the Ist window,
Greek inscriptions; 2nd window, 149. Handsome Candelahrwm,
pieced together by Piranesi from ancient fragments in the 18th
century. — Next the court, 1st window (right), 53. Venus in the
Bath (freely restored; another. No. 5, by the last window) ; 2nd win-
dow, 40. Boy with goose ; in front of the central door, 91. ^Minerve
au collier\ imitation of the Athena of Phidias ; (right) 849. Deme-
trius Poliorcetes (or rather Seleucus Nicator); 3rd window, 18.
Vinus d la coquUle. Right of the exit, 32. *Bust of Diomedes*.
Antique Bronzes, see p. 165; Terracottas and Vases, p. 165.
The EscAiXBB Hbvsi II (J on Plan, p. 95), in the Pavilion Sully,
adjoining the Salle des Cariatides, ascends to the chief collections
104 Bight Bank 4, LOUVRE. Chround Floor:
on the first floor (Salle La Gaze, p. 153; Ancient Bronzes, p. 155);
but it is better to return through the Salle des Cariatides, turn to
the right, and ascend by the grand staircase. The Escalier Henri II
has two fine panels sculptured by Jean Goujon.
The exit leads into the passage of the Pavilion de PHorloge,
opposite the Modem Sculptures (p. 113) ; but, if time permit, we
cross the Court of the Old Louvre, to the right, to visit the follow-
ing collections.
The *Mu86e des Antiquit^s Asiatiques is entered by
the E. passage, under the colonnade, to the left as we come from
the court (B on Plan, p. 95). This museum contains the yield of
excavations made at Kouyunjik (Nineveh), in 1845-54, by French
and British explorers (Sir A. H. Layard), and antiquities from other
parts of Asia.
The Grande G-alerie Ohalddo-Assyrienne (I) chiefly contains
Assyrian Antiquities from the palaces of Oalah (the modem Nim-
roud; 9th cent. B.C.), Khorsabad (Sargon II.; B.C. 722-705), and
Nineveh (Sardanapalus Y . ; 7th cent. B.C.). The kingdom of AJssyr-
ia or Assur, the land of Nimrod of the Bible, lay on the left bank
of the Tigris, its capital being AsshuVj and afterwards Nineveh.
The Assyrians conquered the Babylonian empire about 1250 B.C.,
and afterwards extended their sway to Asia Minor. The excava-
tions have brought to light remains of great palaces, the chambers
of which were lined with reliefs of scenes from the lives of the
Assyrian monarchs. Hunting-scenes, battle-fields, and sieges alter-
nate with scenes of the king in his court, among his guards, or
accompanied by fantastic monsters. The inscriptions are in cunei-
form character, i.e. wedge-shaped and angular signs.
The gigantic * Winged Bulls at the ends of the hall come from
the palace of Sennacherib or Sargon II. These were placed, like
the Egyptian sphinxes, at the entrances to great buildings, and arc
provided with five legs as they were to be viewed either from the
front or from the side. Those with human heads symbolize the
union of strength and intelligence ; and wings frequently occur as
the emblem of power on Assyrian monuments. — The Colossal Fig-
ures opposite the windows also adorned the entrance to the palace.
The personages who, without apparent effort or passion, are crush-
ing lions against their breasts represent the Assyrian Hercules.
In the intervening spaces are bas-reliefs of royal processions. The
details on these and other reliefs have great historical value ; and
in part, especially the horses (by the windows) and the animals in
general, they are admirably executed. In the centre of the room :
Nine headless Statues, in greenish black diorite, and two Heads
from Ohaldaa (brought by the Sarzeo mission, 1877-88; supposed
AsiaUc Antiquities. LOUVRE. Right Bank 4. 105
to date from the 30th cent. B.C.), covered with inscriptions and
indicating a very advanced technique; Threshold of a Door, from
Nineveh. The two glass-cases near the windows contain terracottas
from Assyria, combs and reliefs from Chaldeea, etc.
The Salle de la Susiane (II) contains the chief objects dis-
covered in the ancient Susiana by M. de Morgan, director of the
French scientific mission in Persia (1897-1905), and dating mostly
from an earlier period than that of the Medes and Persians (see
also pp. 161, 173). In the centre is the famous *Stele of Hammu-
rapi(Khammurabi, Hammurabi), a block of diorite, on which are
engraved the laws of King Hammurapi, of the first Chaldsean dy-
nasty, the oldest code known (ca. 2200 B.C.). Above, the god Shamasb
giving the king a stylus with which to engrave the laws dictated
to him. On the right, mutilated statues. On the wall, other reliefs
from the Palace of Sargon II. ; under glass, * Stele of Nardm-Sin,
King of Agade (2750 B.C.), with reliefs of the king pursuing his
enemies. On the left, votive-image dedicated to Apollo of Didyma,
removed to Susa by Darius after the capture of Miletus (end of
6th cent. B.C.) ; obelisk and statue of King Manishtusu (ca. 4000
B.C.); broken steles; lions in enamelled terracotta (under glass) ;
boundary-stones (^kudurus', oval stones engraved with the names
of the properties and divine emblems).
Salle des Tombeaux Ph^niciens (III): Phcenician Sarco-
phagi in black and white marble, recalling the Egyptian sarco-
phagi (p. 107). In the centre. Sarcophagus of King Eshmunazar
of Sidon, with the longest known Phoenician inscription. It was
the Phoenicians who first invented our modern system of letters,
which they substituted for the cumbrous Egyptian symbols. They
also exerted great influence on the earliest Greek art. By the
window, Aramaic steles and Hittite monuments. — To the left is
the Salle Judalque (p. 106).
Salle Fh^nioienne et Ohypriote (lY), to the left of the stair-
case: 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; seven statues and carved
capitals from Cyprus. To the right of the entrance is a small
Votive Throne of Astarte (4th cent. B.C.).
Salle de Milet (XXXYI) : Sculptures from Miletus and Hera-
clea in Asia Minor; also fragments from the Temple of ApoUo
at Didyma. In the centre, Two colossal bases of columns from
the same temple and a fine male torso from the theatre. Mutilated
statues from the theatre and the necropolis. On the walls, above.
Bas-reliefs from the temple of Assos in Mysia, specimens of primi-
tive Ionian art (early 6th cent. B.C.).
Salle de Magndsie du Mdandre (XXXVII) : Fragments of the
Temple of Artemis Leucophryene at Magnesia, near Ephesus, of
106 Bight Bank 4. LOUVRE. Ground Floor:
a late period. The frieze, one of the largest of ancient reliefs, was
originally about 220 yds. long, but the part now in the Lonvre
(battles between Greek and Amazons) measures 75 yds. only. A
Vase from Pergamwm is adorned with a frieze of young Greeks
on horseback. Statue of Diana from Phrygia.
A small room (to the right, at the end) contains antiquities
from Spain (see p. 162, Room III), notably from Osuna.
Qoniinuatiom, of Asiatic Antiquities in the Galerie de Moi^n and
on the first floor, to which the adjoining 'Escalier Asiatiqne* ascends
(I on Plan, p. 06; see p. 161). On this staircase are Assyrian bas-reliefs,
casts and originals, and sarcophagi.
The Salle Judaique (IX), to the right, under the staircase,
contains antiquities from Palestine and adjacent countries, door
and sarcophagi from the Tombs of the Kings, architectural frag-
ments, reliefs, vases, pottery, and inscriptions. In the centre is
the famous Stele of King Mesha ofMoah (9th cent. B.C.), record-
ing his battles with the Jews. This is the oldest known example
of alphabetic writing. Catalogue of objects from Palestine, 50 c.
Salle Funlque (X) : Antiquities from Carthage.
*Mu8^e des Antiquit^s Egyptienues. Entrance opposite
the Asiatic Museum (in the E. passage, to the right when ap-
proached from the court; A on Plan, p. 95). One of the finest
collections of the kind in Europe, it affords an almost complete
survey of the religion, customs, and art of the most ancient of
civilized nations. The exhibits have explanatory labels. Short
illustrated catalogue (1897; 1 fr. 55 c).
The Salle Henri-Quatre (1st Room) contains the largest objects,
notably the Sphinxes, fantastic figures with lions' bodies and
human heads (gods or kings), symbols of power combined with in-
telligence, usually erected in pairs at the entrances to the temples;
Monuments and Steles, erected to the memory of deceased persons,
bearing inscriptions and figures of the infernal deities (Osiris), to
whom, as well as to the deceased, offerings were presented by
the relatives; Statues, from tombs or temples; Bas-Reliefs and
Sarcophagi.
Egyptian chronology being far from an exact science, the monuments
in this collection are dated merely by Dynasties, This mode of reckoning
is due to the Greek writer Manetho, who reckons thirty-one dynasties
between the beginning of Egyptian history and the conquest of Egypt by
Alexander the Great. Several dynasties are grouped together into 'empires' :
the Ancient Empire (2980-2475), the Middle Empire (2000-1580), and the
New Empire (1580-1090). The first dynasty is placed by Mariette at 5000B.C.
and by Lepsius at 8892 B.C. The fourth dynasty fiourished about 2750-
2100 B.C., the 12th about 2000-1788, the 18th about 1545-1815, the 19th
about 1816-1200 B.C. More precise dates begin with the accession of
Psammetichus I. in 663 B.C. (26th Dyn.).
The large Sphinx in pink granite at the entrance is in better
Egyptian Antiquities. LOUVRE. Right Bank 4. 107
preservation but less interesting than its fellow at the other end
of the room. To the right, Nos. A 18 and A 19. Foot and head of a
colossal statue of the 12th or ISth Byn., usurped by Amenophis
(or Amenhotep) III., the Memnon of the Greeks. *D9. Stircophagtts
of Taho, a masterpiece of later Egyptian sculpture (26th Dyn.) ;
the scenes on this, as on other sarcophagi, refer to the nightly
voyage of the ship of the sun through the lower regions, in which
the dead take part. — In the centre, wooden mummy-case from the
cofSn of Sopi (an ofBcial of the Middle Empire; comp. below). To
the left, D 8. Sarcophagus of Taho, of the reign of Psammetichus I.
(26th Dyn.). A 20. So-called Statue of Ramses II., in reality that
of a king of the Middle Empire, usurped by Bamses. In the centre,
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 capital. Below the capital, *Painted
bas-relief of Sethi I. (19th Dyn.) and the goddess Hathor (found
by Champollion). Left, A 24. Colossal Statue of Seti II. (end of
19th Dyn.), in red sandstone, with the double crown on his head
and holding a flagstaff with the royal name and titles. Farther
back, between two statues of Sekhmet (goddess with the lion's head,
18th Dyn.), D31. Part of the base of the obelisk of Luxor (p. 62),
with four cynocephali (dog-faced baboons) adoring the rising sun.
Above: D38. Cast of the Zodiac of Dendera (p. 212). A little far-
ther to the left: A 16. Statue of King Sebekhotep III. (13th Dyn.),
in pink granite; colossal Sarcophagus of Ramses III. (2(HhDyn.),
in pink granite (lid at Cambridge). — In the centre, painted sar-
cophagus of Sopi (comp. above). — To the right, D 10. Sarcophagus
of Hor, a royal ofScial ; in the interior are the 42 infernal judges
who assisted Osiris in judging the dead. In front and farther on
are mummy-shaped sarcophagi with fine reliefs. — To the left, by
the wall, C 48. Side of pink granite, in the form of a gate (18th Dyn.) ;
farther on, D 29. Na>os of Amasis, a sort of monolithic votive
tabernacle in pink granite, presented to a temple by King Amasis
(569-526 B.C.).
To the right, at the foot of the staircase (H on Plan, p. 95), is
an entrance to the 10th Room of the Renaissance sculptures (p. 112).
On the left wall of the staircase is part of the stone incrustation
of the Temple of Kamak, with a fragment enumerating the wars
of Thutmosis III. (18th Dyn.). Then, A 22. Statue of Ramses II.,
a fine work in alabaster (upper part restored). Landings, see p. 163.
The Salle d'Apis (2nd Room), at the foot of the staircase, on the
left, contains the statues, steles, and other objects found by Mariette
in the Serapeum (p. 108).
The Apis was the bull sacred to Ptah, the god of Memphis. It required
to be blaok in colour, to have a white triangle on its forehead, a white
mark on its back resembling an eagle, and an excrescence under its
108 Right Bank 4. LOUVRE. Ground Floor:
tongue in the shape of the sacred scarabaDns. After its death the sacred
bull was interred with great pomp in the vaolts known as the 'Sera-
penm*, a corruption of 'Osiris Apis', as the Egyptians called the dead Apis.
In the middle of the room, S 98. Figure df ApiSf bearing the
marks of the sacred bull. Opposite, S 962. Statuette of Bes, a
grotesque divinity. Around the room are Canopi, or stone vessels,
often in the shape of the heads of the deceased's patron-gods
(especially S 1151-1154) and containing the entrails of the em-
balmed bulls. By the window-side, Sphinxes (especially S 971,
972); farther on, Lion, of a late period (26th Dyn.), but ad-
mirably executed. Then, Steles, erected by devout persons in
the tombs of the bulls, giving the dates of their deaths with the
kings' reigns when they occurred; a valuable clue to Egyptian
chronology is thus afforded (see especially 8 2243, 2259).
Salle du S^rap^um (3rd Room). At the entrance is the gate-
way of the Serapeum (under glass), with inscriptions of the period
of the Ptolemies. Glass-case in the centre: Objects found in 1903
in the necropolis at Assist. A door leads hence to Room I of the
Renaissance Sculptures (see below).
Continuation of Egyptian Antiquities^ on the first floor (p. 168),
reached by the staircase mentioned above, and in the Salle dn Mastaba
(Pavilion de La Tr^moille; p. 172).
*Mu8^e des Sculptures du Moyen Age et de la Re-
naissance. This museum, following the Srd Room of the Egyptian
Antiquities (see above; entrance, see p. 106), enables us to study the
development of early French sculpture, and to compare French with
Italian art. Catalogue of mediseval, Renaissance, and modem sculp-
tures, illustrated, 1 fr. 75 c. (with supplement).
Salle Andr^ Beatinevea (I) contains statues and statuettes of
the French school of the 14th-15th cent., from tombs. Opposite the
entrance, *216. Monument of Philippe Pot, grand-seneschal of Bur-
gundy and favourite of Philip the Good, buried at the Abbey of
Clteaux; recumbent statue on a slab supported by eight mourners
(1477-83; attributed to Ant. Lemoiturier). To the left, by the
window: *Crown of Thorns (Champagne, early 16th cent.); 118,
119. Marble tomb-figures of Pierre d'Evreux (d. 1412) and his wife
Catherine d'Alengon (d. 1462). — On the wall and by the windows
towards the Seine : Madonnas (15th cent.) ; 275. G. Vhden, Anne
of Burgundy (d. 1432); 211. Mourner, in marble (Burgundy, first
half or middle of 15th cent.) ; Grod the Father, giving His blessing
(Chaumont, early 16th cent.); 120. Andri Beauneveu (f), Philippe
de Morvillier (d. 1438) ; French or FLem. Sch., Adoration of the
Shepherds (wood, second half of 15th cent.) ; 108. Tomb-statue of
Guill. de Chanac, Bishop of Paris (d. 1348) ; bas-reliefs in alabaster;
Recumbent figure of a woman (ca. 1400). — In the centre, 224.
Medimval Sculptures. LOUVRE. Right Bank 4. 109
Andri Beauneveu^ Tomb-statue of Philip VI. of Prance (ca. 1365) ;
*887, 888. King Charles IV. and his consort Jeanne d'Evreux, by
Jean de LUge (ca. 1370). Left and right of the exit, 122, 123.
Busts of Charles VII. of France (d. 1461) and his wife Mary of
Anjou (d. 1463).
Salle du Moyen Age (II) . Other French tomb-statues (14th cent.) ,
such as No. 110. Jean de Dormans (d. 1380); Virgins, bas-reliefs of
14th cent.; Gothic door (from a house in Valencia, Spain; 15th cent.),
which leads to Boom X (p. 112). Sculptured fragments (13th cent.):
four (Nos. 61-64) from the rood-loft of the Cathedral of Bourges;
one (78. Scene in Hades; in the centre) from Notre-Dame at Paris ;
capitals, etc., of the llth-13th centuries:
SaJle Miohel Oolombe (III), named after Michel Colombe or
MichavM Columb (1431 -after 1512), sculptor of the *St. George,
by the next door (No. 226, a large relief in marble; 1508-09). Below
it, *262. Tomb-figure (Dead Christ?), attributed to G. Pilon. To the
right, *143. Virgin (16th cent.) ; model for a tomb-statue of Cathe-
rine de M^dicls, by Giov. deUa Rohbia. By the chief wall, tomb-
statues and bas-reliefs of the 15th and 16th cent., notably No. 127.
Jeanne de Penthi^vre (d. 1614); *126. Philippe de Comines, the
chronicler (1445-1509), and his wife (Paris, early 16th cent.) ; 200.
Tomb, in bronze, of Albert of Savoy (1535). — Virgin and Child
(middle of 16th cent.); 148, 149. G^ill, RegnauU and Gv,iU.
CheUeveau, Tomb-statues of Louis de Poncher (d. 1521) and his
wife Roberto Legendre (d. 1520); between these, *144. Virgin
(16th cent.), from Ecouen; then, *220. Tomb of Jean de Cromois.
abbot of St-Jacques de Li6ge (d. 1525) ; *173. Bust of Jean d'Alesso,
in bronze (d. 1572). — By the 1st window. Madonna and Child, in
stone, attr. to Domenico Fiorentino (middle of 16th cent.); 174.
Death-mask of Henri II., in terracotta, by Fr. Clouet (1559; comp.
p. 182); 175. Head of Henri IV., in bronze (end of 16th cent.);
reliefs by Jacqtiety surnamed Grenoble (1599). Between the win-
dows, 274. B. Tr&mblay, Statue of Henri IV. By the 2nd window,
153. Skeleton, known as the *Mort St-Innocent', from the old Cime-
ti^re des Innocents (p. 203) ; fine reliefs in stone, from Munich, as
No. 277. Holy Family, after Dflrer, by Hans Daucher (16th cent.).
— In the centre, bronzes: 224*>*». Fame, from the tomb of Due
d'Epemon at Cadillac, by P. Biard; 276. Mercury and Psyche, by
A, de Vriea (1593) ; 225. Mercury, a replica of the statue in Flo-
rence by Griov. da Bologna, a native of Douai. By the entrance
to the next room : 160. Bronze bust of Francis I. ; 273. B. Tremhlay,
Bust of Henri IV. (early 17th cent.).
Salle Jean Goujon (IV), named after the most famous French
sculptor of the 16th cent., who took a leading part in decorating
the Louvre (see p. 90). His best-known work is No. *228. Diana
with the stag, in the centre of the room. Left and right, 255, 250
110 Sight Bank 4. LOUVRE. Oroiind Floor:
Grermain PUon, Marble group of the Three Christian Virtues (Faith,
Hope, and Charity), wrongly called the Three Graces (the gilded
urn which they are supporting was intended to contain the heart
of Henri II.); also the Pour Cardinal Virtues (Wisdom, Justice,
Fortitude, and Temperance), in wood, destined to support the
reliquary of St. Genevieve. — Round the room, from right to left:
260. G. PUon, Bust of a child; 269. B. Piiewr (f), Bronze figures
from the tomb of Christophe de Thou; 168. French Sch. of 16th
Cent., Charles de Maigny (Paris, 1556); 258. G. PUoUj EfBgy,
genii, and reliefs from the tomb of the wife of Chancellor Ren6 de
Birague (see below) ; above, *229. J. Goujon, Descent from the Cross
and the Evangelists, reliefs from the old rood-loft of St-Germain-
I'Auxerrois (p. 88; 1641). — 256. G. Pilon, Mater Dolorosa, in
painted terracotta; 268. B, Prieur, Column, three bronze figures,
and emblems from the tomb of Constable Anne de Montmorency
(p. 408); 261. G. PUon, Chimney-piece from Ch&teau de Villeroy,
with bust of Henri II. (227) by J. Goujon; 236. Le Hongre,
Mausoleum of the Coss^-Brissac family. — G. PUon, 253. Bust of
Henri III., *257. Bronze statue of Chancellor de Birague (d. 1583),
251. Bust of Henri II.; 137. French Sch. of 16th Cent, Stetue of
Admiral Philippe de Chabot (d. 1643); *230 (above), J. Goujon,
Reliefs from the Fontaine des Innocents (p. 203). — By the third
window: Studio of G. PUon, Charles IX. (?), a plaque in marble
(under glass); 271. lAgier Richier, Infant Jesus; Domenico Fio-
renUno and Jean Picart, Triumph of Claude de I^orraine, 1st Duke
of Guise (d. 1650), bas-relief from his tomb at Joinville (Hante-
Marne), and, opposite, various fragments from the same tomb;
162. French Sch. of 16th Cent., Nymphs awakened; 252. G. Pilon,
Bust of Charles IX. —Second window : 266, 267. B. Prieur, Statues
from the tomb of Constable Anne de Montmorency and his wife;
270. Jean Richier (f), Daniel come to judgment (relief); 245. G.
Pilon, Entombment (bronze relief). — First window: 246-249. G.
Pilon, Fragments of pulpit, from the Grands- Augustins, Paris.
Salle Miohel Ange (V) : Italian sculptures of the 15th-17th
cent. ; right and left of the monumental doorway, **379, 380. Fet-
tered Slaves, in marble, by Michael Angdo (about 1513-16),
intended for the mausoleum of Pope Julius II., where they were to
represent the Virtues fettered. The younger (left) is a beautiful
work. The head of the other is unfinished.
*They writhe magnificently, as if to burst their bonds. One of them,
feeling that his struggles are useless, throws back his head in despair,
and closes his eyes. Nothing can be more sublime than this figure of
impotent strength.' (Th. Gautier.)
Between these statues, *329. Portal, a superb work of the
16th cent, from the Palazzo Stanga in Cremona, by Antonio da Rhd,
with reliefs chiefly from the life of Hercules, the mythical founder
of Cremona, and from that of Perseus. — Above the Slaves: 384
RenaisHMee Sculptures. LOUYRE. Bight Bank 4. m
(left), 388 (right), Virgin and Child, reUefs by DonateUo and his
school (15th cent.). — In front of the doorway (left) *396. Bust of
Filippo Strozzi, by Benedetto da Maiano; (right) *369. Franc,
Laurana (P), Bust of a woman. — In the centre of the room, 333.
Fonntain-basin from the Ch&teau of Gaillon (p. 457), 308. Bronze
bust of Michael Angelo, Italian works of the 16th century.
By the entrance-wall, from right to left: 403. Bust of John the
Baptist as a child, by ]!dino da Fiesole; 332. Bust of Beatrix
d'Este (end of 15th cent.); 386. Julius Oeesar, bas-relief by Dona-
teUo (f); 323. Circumcision, a wood-carving of the Venetian school
of the 15th cent.; 389, 349. Bas-relief and high-relief of Madonna
and Child (15th cent.) ; above, to the left, Madonna, by Jax;. San-
sovino (TcM). High up, BeTvoenuto Cellini, **Nymph of Fontaine-
bleau', executed in 1543 for a tympanum in the palace at Fontaine-
bleau»
By the end- wall : 304. Jason, 354. Hercules slaying the Hydra,
bronze statues of the 16th cent.; above, 286. Pieti in high-relief
(15th cent.) ; 334. Equestrian figure in high-relief of Rob. Mala-
testa, papal captain-general (1484); 337, 336. The Angel Gabriel
and a Virgin, in wood (Florentine Sch., end of 14th cent.) ; at the
ends of the wall, 302, 302^^>. Busts of a man and woman (15th
cent.) ; above, Virgin in enamelled terracotta (medallion), attributed
to Andrea deUa Rohhia; Madonna, Florentine Sch. (15th cent.).
By the first window, 303. Romulus and Remus suckled by the
wolf, in coloured marble, Italian work (16th cent.). In the em-
brasures of this window and the next, small early -Renaissance
*Bronze-reliefs, the finest known out of Italy itself, notably Kos.
414-421. Eight, by Andrea BrioacOy sumamed Riccio of Padua,
from the tomb of M!arcantonio della Torre, depicting in the antique
style the life and death of that famous physician. Also six bas-
reliefs of the Virgin, three being by Mino da Fiesole. Second
window: 310. Polychrome statue of a negro, after the antique (17th
cent.) ; 395. Bronze medallion of Charles V., by Leone Leoni of
Arezzo (?), and other medallions.
Salle Italienne (VI). Opposite the entrance: 411*>**. Virgin
and Child, in painted and gilded wood by Ja<i. della Quercia (f),
on two consoles of the 16th cent. ; right and left of the entrance, and
opposite, 281-284. The four Cardinal Virtues (comp. p. 110; Ital.
Sch., 13th cent.) ; by the window-side, 383. Bust of John the Baptist
as a child, by DovMteUo (? rather Rossellino); 300. Funeral rites,
high-relief, imitation of antique. At the window: 351. Relief of a
child, in the style of DonateUo; several fine bas-reliefs, Madonnas,
and ornamental sculptures; by the exit- wall, 946. Madonna, in wood
(Pisan Sch,, end of 14th cent.).
Salle della Bobbia (VII) : About 50 bas-reliefs, statues, and
statuettes in enamelled terracotta of the Della Rohhia school
112 Right Bank 4, LOUVKE. Chround Floor:
(Flor^ce; 15th cent.); also reliefs of the 12th-15th centuries. —
Right of the entrance, 407. Statae of Louis XII., by Lor, daMugiano
(head and legs modern). On the back-wall, to the left, 408. Friend-
ship, by Paolo Olivieri. In the centre, 464. St. Christopher, in
painted and gilded wood, by Vecchietta. By the window to the
left. Bust of Card. Medici, by Bermni (f). By the right wall, 368.
Bust of Ferdinand I. of Aragon, King of Naples (1423-94). On a
stand, ^962. Madonna with angels, by Agostino di Duccio.
Salle des Antiquity Chi^tieimes (XXXYIII) : Small bronzes
(passage of 7th Boom), sarcophagi, reliefs, inscriptions, vases,
lamps, and mosaics (chiefly 4th and 5th cent.), found in S. France,
Algeria, and Italy.
Salle VujL (formerly a vestibule) : left, Pierre FranchenUle,
683. Orpheus, 682. Mercury, 684. David slaying Goliath, statuettes
in marble. In the centre, reconstructed bronze group from Fontaine-
bleau, with Diana in bronze, after the antique, and four dogs by
Baarth. Prieur (ca. 1603). Right wall: 929. St. Paul (French Sch.,
middle of 16th cent.); bas-reliefs of 16th cent.; *723. Kneeling
figure of Jeanne de Yivonne (end of 16th cent.). By the other wall,
462. Bust of Giov. da Bologna, by P. Tcuica, and several bas-reliefs.
Salle IX. On the right is a glass-case containing small sculp-
tures of the French school; also, 945. Virgin, by TSUmann Riemen-
Schneider (15th-16th cent.), and a bust of the Madonna, in wood
(from N. Italy; 15th cent.). By the back-wall: 875. St. Matthew,
in high relief (1st half of 13th cent.); Statue of Childebert I.
(middle of 13th cent.); 30. Crucifix (12th cent.); St. Genevieve
(13th cent.); Angel, in wood (2nd half of 13th cent.). — By the left
wall: 914, 912, 913. SS. Susanna, Anne with the infant Virgin, and
Peter, large statues in stone, from Chantelle (early 16th cent.);
above, 893-895. Angels with instruments of the Passion (reliefs in
wood; Sch. of Touraine, end of the 15th cent.). — By the window-
wall: 922. Tombstone of Jeanne de Bourbon, Countess of Auvergne
(d. 1521); 901. Female saint (alabaster; end of 15th cent.); 928.
Kneeling canon (alabaster; 1st half of 16th cent.); 934. GioA the
Father, 935. St. John (both in alabaster; end of 16th cent.); 873.
St. Michael and the dragon, relief in stone (1st half of 12th cent.).
— In the centre, *37. Virgin and Child, in wood, painted (2nd half
of 12th cent.); right and left, 872, 871. Carved columns from Cou-
lombs (Ist half of 12th cent.)^
Scille X, chiefly statues of the 14th -15th centuries. — On the
right, *889, *890. Statues of Charles V. of France (d. 1380) and
his queen Jeanne de Bourbon, from the church of the C61estins
at Paris (2nd half of 14th cent.); 876. Statue of a king (?),
in wood (end of 13th cent.). — 892. Wooden statue of St. John
from the church of Loch6 (Sch. of Touraine, middle of 15th cent.);
102. Virgin and Child (14th cent.) ; *219. Crucifixion, Flemish
Modem 8culpture». LOUVRE. Bight Bank 4. 113
wood-carving, from Nivelles (Belgium; early 16th cent.); below,
94. Tomb-figure of Blanche de Champagne (d. 1283), in embossed
copper (Limoges, early 14th cent.) ; Madonnas, on each side of the
door of Room II (see below). — *943. Eve, a painted wooden statue
(Franoonian Sch., early 16th cent.; by Veit Stoss ?); 95. Christ
appearing to Mary Magdalene (1st half of 14th cent. ; from 8t-Denis).
— By the window-wall, several Virgins ; 915. Christ praying (in
wood; early 16th cent.); 939. Apostle asleep, in wood (Franco-
Flemish; end of 15th cent.). — In the centre, 883. Madonna, in
coloured stone (1st half of 14th cent.) ; large cross from a cemetery,
from St-L6ger-Us-Troyes (early 16th cent.); two Madonnas, 13th-
14th centuries.
The door opposite the entrance leads into the Salle d'Apis
(p. 107), from which we reach the exit by crossing the large room
of the Egyptian antiquities to the left.
The ^Mns^e des Sculptures Modemes, continuing the
Renaissance collection, comprises for the most part French works
of the 17th-19th centuries. The entrance is in the Passage du
Pavilion Sully, N. side, to the right as we come from the court
(E on Plan, p. 95).
Vestibule (PI. E). On the right, a Lift (p. 93); on the left,
CoyzevoXj 555. Shepherd with a young satyr, 560. 'Nymphe i la
coquille*.
Salle Ooyzevox (I), named after Charles Antoine Coyzevox
(1640-1720), one of the ablest of French portrait-sculptors. From
right to left: *557. Coyzevox, Bronze bust of Louis II. de Bourbon,
the *Crrand Cond6* ; J. B. LemoynSy Bust of the painter N. N. Coypel,
in terracotta (1730); Coyzevox, 561. Duchess of Burgundy (mother
of Louis XV.) as Diana, Bust of the painter Ant. Coypel. — By the
Ist window, 834. G. van Opstal, Tritons, Nereids, nymphs, and
genii (reliefs); between the windows, 686. Remains of the old
monument to Henri IV. on the Pont-Neuf (see p. 268), by Pierre
Franchemlle; by the 2nd window, Coyzevox, 553. Bust of himself,
556. Crouching Venus. — 559. Coyzevox, Marie Serre, mother of
the painter Rigaud; 491. Mich. Anguier, Amphitrite; 660. Des-
jardins, Bust of Mignard ; 736. French. Sch. of 17th Cent, Bust
of Cardinal Richelieu. — 486. Fr. Anguier, Group from the tomb
of Jacques de Souvr6; 554. Coyzevox, Bust of Charles Le Brun;
1063. J. Sarrazin, Monument of Card, de B6rulle; 492. Mich.
Anguier (f). Bust of J. B. Colbert; 701. S. GuiUain, Charlotte de
La Tr^moille, Princess of Cond6.— 699, 700. G. Gu&rin, Effigies
of the Duke and Duchess of La Vieuville; 841. Warin, Bronze bust
of Louis XIII. — In the centre: 485. Fr. Anguier, Monument of the
Dukes of Longueville.
114 Right Bank 4, LOUYRE. Ground Fibor:
SaUe Paget (II), named after Pierre Puget (1622-94), the
most famous French artist of the 17th century. In the centre, *794
(the most admired of his works), Milo of Croton attacked by a lion
(1682) ; 793. Hercules reposing (1660) ; 796. Perseus and Andro-
meda (1684). Between these, 745. Two fine vases from St-Cloud,
by Fr, Girardon. By the pillars, 754-757. P. Legros, Hermse of
the Seasons. To the right of the entrance: 562. Coyzevox, Bronze
bust of M. Le Tellier (p. 186) ; ^796. Puget^ Diogenes and Alexander,
showing the vulgar type of the attendants ; 563. French Sch^, Bust
of Bossuet.— By the 1st window, K Friminy 687. Flora, 688.
Diana; 833. Van CUve, Polyphemus (1681). Between the windows,
693. GirardoUj Bust of Boileau; *558. Coyzevox, The Rhone.
By the 2nd window, 65 9> Desjardins, Bust of Colbert; 532. Cayot,
Death of Dido(1711); 764. J. L. Lemoyne,BvL8i of Mansart(1703).—
*703, *704, *702. Sim. GuiUaiUy Anne of Austria, Louis XIV. as
a child, and Louis XIII., bronzes from an old monument on the Pont
au Change (1647; p. 268); *487. Fr. Anguier, Monument of J. de
Thou (d. 1617), President of the Parlement, with statues (488, 489)
of his two wives, that to the right (489) attributed to B* Prieur. —
Side next the square: by the 1st window, 512. Bourdin, £ffigy of
Amador de la Porte; by the 2nd window, 691, 692. Girardon,
Bronze model and a foot of the equestrian statue once erected to
Louis XIV. in the Place Venddme (p. 83) in 1699; 490. Michd
Anguier, Hercules and Atlas (terracotta) ; 744. French Sch.^ The
large 'Vase de Marly'; 797. Puget, Alexander the Great as a con-
queror; by the 3rd window, 830. Th^odon, Atlas. — *552* Coyze-
voXf Tomb of Card. Mazarin, with allegorical figures (1692).
Salle des Coustou (III), named in honour of the brothers
NicolasCousUm (1656-1733) and GuiUatAmeCoustou (1677-1746),
and of the latter 's son GmUavme CousUm (1716-77). From right
to left: 543. Gruill. Comtau jpdre, Marie Lesczinska, queen of
Uuis XV. (1731); 520. Caffierij Bust of Van CUve, the sculptor;
J. B. LemoynCf 1044. Bust of Trudaine, 1046. Model for a mon^
ument of Louis XV. (bronze). — By the Ist window, 1001. Guill.
Comtou filsy Nic. Coustou (terracotta); 519. Caffieri, Nivelle de
la Chauss^e, the poet (terracotta); 785, 1055. PigaUe, Bronze busts
of Gu6rin, the surgeon, and of Diderot (1777) ; Hoiidon^ *Bust of
Diderot; between the windows, 781. PigaUe, Mercury, a leaden
statue from the Luxembourg Garden; by the 2nd window, Cafperi,
Bust of Pingr6, the astronomer, in terracotta; 780. PigcMe^ Mer-
cury (1744); 763, 762. J. B. LemoynCy Busts of Louis XV. and of
Gabriel, the architect (p. 362). — 675. Falconety Cupid (1757);
Caffieriy *Bu8t of the philosopher Helv^tius (1773), acquired in
1912; 550. Nic. CoustoUy Louis XV.; 828. S. Slodtz, Hannibal
(1722) ; Caffieriy Bust.— *483. 0. G. AUegrain, Venus; 481. L. S.
Adam, Lyric Poetry; 484. C. G. Allegrain, Diana at the bath. —
Modem Sculptures, LOUVRE. Bight Bank 4, 115
672. Falcmet, Music ; 545. GwU. Cmstou fils, Vulcan (1742) ; 549.
Nic. Coustou, Julius Oasar (1722). — In the centre, Fr. GiUet (f)y
Cupid ; 548. Nic, CoMtoUy Adonis resting (1710) ; 482. N. S. Adam,
Prometheus (1762). On the walls, above, 653-658. Martin Dea-
jardinSy Six bas-reliefs in bronze, from the pedestal of the statue
of Louis XIV. formerly in the Place des Victoires (p. 215).
SaUe Houdon (TV), dedicated to Jean Ant. Houdon (1741-
1828). In the centre, ^716. Bronze statue of the nude Diana, ex-
ecuted for Empress Catherine II. of Russia (1781). — To the right
and left of the entrance, PigaUe, *Child and bird (1784), *Child
and bird-cage. On the right, farther on, 782. PigaUe, Love and
Friendship (1758); Houdon, Vestal. — In a niche, 509. Bouchar'
don, Cupid earring a bow out of the club of Hercules ; left and
right, ^1034, *1035. Houdon, Original models of busts of Mme.
Houdon and Sabine Houdon; two glass-cases containing models,
mostly by Houdon; terracotta bust of Mme. Favart, by Defernex.
— 783. Mouchy, Bust of Marshal de Saxe ; *775. Pajou, Bacchante ;
681. G, Francin (after Houdon), Bust of Gluck; 507. Bouchar-
don, Copy of the Barberini Faun (Munich) ; *1029. Houdon, Bust
of Voltaire; 772. Pqjou, Marie Lesczinska as Charity. — By the
window: Houdon, ^Busts of Rousseau (711; bronze), Abb6 Aubert
(710), Lavoisier (1031; terracotta), Malesherbes (marble; acquired
in 1912), Diderot (708; terracotta), Mirabeau (717; terracotta),
Franklin (713; terracotta), Duquesnoy (1030), Buflfon (714), Vol-
taire (712; bronze), Washington (715; terracotta) ; Alex, and Louise
Brongniart (1033, 1032); also, 709. Houdon, Morpheus; 511.
Bouchardon, Model of the old statue of Louis XV. in the Place
de la Concorde (p. 61), in bronze; 1024. Falconet, Portrait-study
(terracotta) ; 773. Pajou, Bust of Buffon (bronze). — In the passage,
1061. Bronze bust of Lemoyne, by Pajou.
Salle Ohaudet (V): Sculptures of the end of the 18th and
beginning of 19th cent., when the classical style was revived. From
right to left: 1050. L. de Montigny, Bust of Mirabeau; *777.
Pajou, Psyche abandoned; 802. Mdand, Bust of Pajou; 760.
Lemire, Cupid stringing his bow; 750. P. Julien, Amalthea; 537.
Foucou^ Bacchante. — Cortot, 639. Soldier of Marathon, 540. Vic-
tory (bronze), 538. Daphnis and Chloe. — *523. Canova, Cupid and
Psyche; 667. Dupaty, Biblis changed into a fountain; Chaudet,
536. Bust of Napoleon in bronze, *634. Cupid with a butterfly;
Giraud, 697. Design for a tomb (wax), 696. Dog; 506. Boaio, The
nymph Salmacis ; 994. Chinard, Bust of a man (terracotta) ; 604.
Bo8io, Hyacinthus; Chincard, Bust of young woman (1802); 817.
Buxtkiel, Psyche borne by Zephyrus. — 804. Roman, Nisus and
Euryalus; 650. Delaistre, Cupid and Psyche; Ramey, Napoleon I.
(1813). — 648. Deba/y, Mercury ; 803. Roland, Homer ; 805. Roman ,
Innocence; 801. Roland, Bust of Suv6e, the painter (terracotta).
Basdbksb's Paris. 18th Edit 8
116 Right BanfOc 4. LOUVRE. QrotmA Floor.
— In the centre, from left to right: 503. Bosio, Aristaeus; 651.
DeseinCy Mucins ScsBvola; *524. Cariova, Cupid and Psyche; 748.
P. JuLien, Ganymede ; 533. Chaudetj CEdipus rescued by the shep-
herd Phorbas.
Salle Bnde (VI), continuation of 19th cent, (see also pp. 323-
326). By the entrance and near the windows, medallions by David
d* Angers. Prom right to left: JcUey, Due d'OrUans (1844). —
David d^ Angers, 567. Arago, 1004. Cuvier; 1023. Duseigneur,
Orlando Purioso (bronze) ; above, 1058, 1059. Pr^atdt, Virgil and
Dante (bronze medallions); 786. Pradier, Niobid; 814. Rude,
Crucifixion; 806. Roman, Cato of Utica (finished by Rude) ; 1003.
David d^ Angers, B6ranger ; glass-case with medallions, by Priault.
— Rude, *811. Marshal de Saxe, 815. Napoleon I. awakening to
immortality (model for the monument at Pixin, C6te-d*0r) ; 747.
Jaley, Louis XI. — 812. Rude, Head of Monge (model for mon-
ument at Beaune) ; 566. David d' Angers, Philopoemen ; 746. Jaley,
Prayer; 787. Pradier, Psyche; 800. E. Ramey, Theseus and the
Minotaur; 770. Nanteuil, Eurydice; small sculptures. — 567*»*«.
David d^ Angers, Child with grapes; Rude, 816. Bust of Mme.
Cabet, *813. Joan of Arc, 808. Bust of J. L. David, the painter. —
In the centre: 788. Pradier, Atalanta's toilet; Rude, 810. Mercury
(bronze), *809^*". Young Neapolitan fisher.
Salle Carpeaux (VII), containing numerous models by Car-
peaux. Also, from right to left: 1025. Feugtre des Ports, Death
of Abel; Foyatier, 678. Spartacus, 1026. Siesta; 1054. Perraud,
Farewell (large relief). — 525. Carpeaux, Bronze bust; 729. Pra-
dier, Sappho ; 526. Carpeaux, Bronze bust. — 661. Dumont, Genius
of Liberty, reduction of that on the July Column (p. 188); 527.
Carpeaux, Bust of a man; 1064. Schosnett^erk, Girl at a fountain;
778. Perraud, Childhood of Bacchus; 1042. Jouffroy, The first
secret; *976. Carpeaux, Bust of Princess Mathilde Bonaparte. —
671. Duret, Vintager as an improvisatore (bronze); *529. Car-
peaux, Dance, model for the group at the Op6ra (p. 77); 670.
Duret, Fisherman dancing the tarantella (bronze). — In the centre:
Carpeaux, Flora (1873; on loan), *531. Four quarters of the
globe supporting ihe sphere (model of the group on the Fontaine
de rObservatoire, p. 333), *974. Ugolino (1860; a bronze group
once in the Jardin des Tuileries)*
Then come two rooms, the arrangement of which was not yet
completed in Nov., 1912: the Salle Barye (VII; formerly Salle
Modern e) and the Salle Ohapu. — The former will contain bronzes
by Barye: *Lion and serpent (1832; once in the Tuileries Garden,
p. 64), *494. Centaur and Laplth, 495. Jaguar devouring a hare,
Tiger and alligator; also War, Peace, Order, and Force, models for
the groups adorning the Pavilions Denon and Richelieu, and the
model of the equestrian statue of Napoleon I. at Ajacoio.
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First Floor.
The chief collection on the first fioor of the Louvre is the
Picture GaUeryj occupying more than half of the S. gallery
which extends along the river-side between the Old Louvre and
the Tuileries, the whole of the inner gallery of the New Louvre
parallel with that gallery, and also several rooms in the Old Louvre.
These last contain also the Arusient Bronzes (p. 155), FurnUure
of the nth and 18th Cent. (p. 155), Drawings (p. 158), Mediaeval,
Renaissance, and Modem Works of Art (p. 159), AncierU Vases
(p. 166) ySmaUer Asiatic and Egyptian Antiquities (pp. 161, 163),
Jewels (p. 151), and the Gems, Enamels, and Gold and Silver
Plate (pp. 149-151).
The Main Entrance to the first floor is by the Pavilion Denon
(p. 94; cloak-room), whence, turning to the left, we pass through
the Galerie Denon (p. 95) to the great Escalier Dam. There
are two other entrances in the PaviUon SuUy or de VHorloge
(passage on the W. side of the Cour da Louvre). One of these is
to the S., by the Escalier Henri II (J on Plan, p. 95 ; see p. 103) ;
the other is to the N., by the Escalier Henri IV (p. 155; G on Plan,
p. 95 ; lift, see p. 93). Both of these staircases lead to the Ancient
Bronzes (p. 155).
The Escalier Daru has a cupola adorned with allegorical
mosaics representing the civilized races of antiquity and the Re-
naissance, and medallions of famous artists, after Lenepveu. On
the landings are Casts of sculptures excavated at Delphi and Delos
by the Ecole Frangaise of Athens (1892-98): Friezes from the
treasuries of the Sicyonians and the Cnidians; two ApoUos in the
archaic style; an Antinous; a replica of the Diadumenos of Poly-
cletus; the curious Sphinx of Naxos; two heads of caryatides;
very interesting capitals, etc. On the top-landing: **2369. Nike
of Samothrace, found in the island of Samothrace in 1863, erected
in memory of a naval victory won by Demetrius Poliorcetes about
305 B.C. The mutilated statue of the goddess stands on a pedestal
in the form of the prow of a trireme, sounding the signal for battle
on her trumpet. In dignity of conception and in masterly handling
of drapery, this is perhaps the finest existing work of early-Hellen-
istic art. — In front of the door on the right. Victorious Charioteer,
a votive offering of Polyzalos, cast from a bronze statue (ca.475B C.)
found at Delphi. — On the landing to the left is a reproduction of
the facade of the Treasury of the Cnidians at Delphi (latter half of
6th cent. B.C.).
Thence we may enter a rotunda (p. 148) by the door to the left
of the Nike, and pass into the Room of Antique Jewellery (p. 151),
opposite; or pass through the Galerie d'Apollon (p. 148), on the
8*
118 Bight Bank 4. LOUVRE. Firtt Floor:
right, leading to the 8alon Carr^ (p. 123). — It is usual to begin
at the colonnaded vestibule (door on the right).
This Yestibulb formed part of a staircase before the Louvre
was extended. Its ceiling, painted by Meyniery represents France
as Minerva receiving homage from the Fine Arts. — Photographs
of the pictures, drawings, and sculptures, by Braun (p. 49), are
sold here.
In the adjacent Salle Duchdtel (p. 122) begins the picture-
gallery.
**Pioture Gallery.
It requires three visits at least to form even an approximate idea of
the treasures of this gallery. The first visit should be devoted to the
Salon CarrS (p. 128), to the Italian and the Spanish paintings ; the second
to the Flemish, Dutch, German, and British scnools ; tne third to the French
works.
Illustrated Catalogue Sommaire des PeirUureSt Ecole firangaise (1909),
VI4 f r. ; that of the Ecoles Hranghre$ is in preparation. L^ PeifUurety
lea Dessins et la Chalcographies by Jean Gfuilrrey (1909), S^/a fr.
The Picture GaUery of the Louvre (Mu84e de PeintureJ com-
prises about 3000 works, including many masterpieces of almost
every school. There are indeed some masters whose acquaintance
can be made in the Louvre alone. The later Flemish school can
scarcely be studied elsewhere to such advantage, while the French
school is admirably complete. Italian and Dutch art also are fully
represented. (See Ust of artists, with dates, etc., at the end of this
Handbook, p. 465.)
Italian School. — The works of the 14th-15th cent, are all
recent acquisitions. Those of the Florentine School first attract
notice. Giotto is represented by one signed picture (No. 1312). An
excellent example of the tender and saintly style of Fra Angelico
da Fiesole is his Coronation of the Madonna (No. 1290). Benoaso
GozzoWs Triumph of St. Thomas Aquinas (No. 1319) clings to
mediaeval ideas. Fra FiUppo Lippi is well represented by a
charming Madonna between two saintly abbots (No. 1344), and
Ghi/rlandaio by his Visitation (of 1491; No. 1321). BotttceUi is
illustrated by a beautiful Madonna and Child with St. John, of his
early period (No. 1296), and by the noble frescoes from the Yilla
Lemmi (Nos. 1297, 1298). The Madonna (No. 1263) of Lorensso
di Credly Yerroechio^s great pupil, is regarded as his masterpiece.
The authenticity of Piero deUa Francesca'a Madonna (No. 1300b)
is contested. The vigorous style of his pupil, Luca SignoreUi,
the foremost of the Tuscan -Umbrian school, may, perhaps, be
better studied in the small but luminous Nativity of the Virgin
(No. 1525), and in the fragment of a large composition (No. 1527),
^an in the Adoration of the Magi (No. 1526), a work of his old age.
— Perugino, chief of the Umbrian school, has here an importast
Picture GiOUry, LOUVBE. Bight Bank 4, 119
early work, a Madonna with SS. Bose and Catharine (No. 1564) ;
also the Conflict between Cupid and Chastity (1505; No. 1567), and
St. Sebastian from the Sciarra Gallery (No. 1566 a). — The Louvre
has also several fine works by Andrea Mantegnaj one of the fore-
most masters of Upper Italy : his Mt. Parnassus (No. 1375) is perhaps
the most harmonious of these, but the Victory of Minerva, the
Madonna della Yittoria, the small Crucifixion (Nos. 1376, 1374,
1373), and the recently acquired St. Sebastian (p. 128) deserve careful
study. — The evolution of Yenetian painting may be traced in the
San Giovanni Capistrano and San Bernardino of Ba/rt. Vivarini
and Carlo CriveUi (Nos. 1607, 1268), the *Condottiere' of Anto-
neUo da Messina (No. 1134), the fine double-portrait ascribed to
Gentile Bellini (No. 1156), the portrait of a man by Griovanni
BeUini (brother of Gentile; No. 1158a), the Preaching of St.
Stephen by Carpaccio (No. 1211), and the Madonna by Cima da
Conegliano (No. 1259), with its superb Alpine landscape. — Among
the Ferrarese works we note the realistic but emotional Piet& of
Cosifno Tura (No. 1556) and the Court of the Muses by Lorenzo
Costa (No. 1261).
In pictures of the great Italian masters of the 16th cent. (^Cinque-
cento*) the Louvre is the richest gallery on this side of the Alps.
Many of these were bought by Francis I. Moreover Leonardo da
Vinci spent the latter years of his life in France (1516-19), and
the Louvre contains four of his recognized eleven authentic works.
The small Annunciation (No. 1602a; about 1481), a charming pic-
ture of his earliest period, was painted at Florence ; the *Yierge
aux Bochers' (No. 1599; 1491-94) dates from the master's first stay
at Milan. During his second stay at Florence (1503) Leonardo
painted his Gioconda (Mona Lisa), the most famous female portrait
in the world, rendered still more famous by its mysterious dis-
appearance from the Louvre in Aug., 1911. At Florence likewise,
in 1501, he composed the masterly sketch of the St. Anne, but the
picture itself (No. 1598) seems to have been painted between 1507
and 1513 at Milan, perhaps with the aid of a pupil. It was at
Milan, about 1509-10, that Leonardo, probably with the assistance
of a pupil, painted also his St. John (No. 1597). *La Belle Fer-
ronni^re* (No. 1600) is now attributed by some critics to BoUraf/io.
The Bacchus (No. 1602) is only a copy from a lost original. —
Among the many and in some cases excellent pictures of Leonardo's
school are Boltrafflo^s Madonna of the Casio family (No. 1169) and
the works of Bernardino Luini (frescoes in the Salle Duch&tel)
and Andrea Solario (Nos. 1530-1533).
Baphael is represented by so many pictures in the Louvre that
the various phases of his development may be studied here to ad-
vantage, although few of the works exhibited are entirely froni
his own brush. To his earlier period, under the influence of Peril-
120 BigMBafdc4. LOUVBE. First Floor:
gino^s school, belong the charming little pictures of St. George and
St. Michael (Nos. 1503, 1502) ; the latter may date even from the
time when he worked with Timoteo Yiti. A gem of his Florentine
period is the 'Belle Jardiniere*, painted in 1507 (No. 1496). The
expression of maternal joy is here most happily rendered. To his
early Boman period belongs the *Vierge au Voile* (No. 1497). His
best period is illustrated by the portrait of Count Castiglione
(No. 1605), painted about 1516. The Holy Family (No. 1498) and
the large St. Michael (1518; No. 1504) belong to BaphaePs last
period, when he aspired to rival Michael Angelo in dramatic con-
ception, relying for colour-eflfects on violent contrasts. These two
works, however, presented by Pope Leo X. to the king and queen
of France, were largely executed with the help of pupils. The
famous portrait of Johanna of Aragon (No. 1507) appears to have
been chiefly executed by Giulio Bomano. — Andrea del Sarto is
represented by his famous Caritas (No. 1514), and IfVa Bartolomeo
by a large Holy Family (No. 1154).
Correggio is seen at the Louvre in two early paintings, both of
great merit: St. Catharine (No. 1117) and Jupiter and Antiope
(No. 1118).
Titian is represented by the most brilliant and varied works.
His religious scenes are the most important. The Madonna with
the rabbit (No. 1578) is an idyllic scene full of sentiment, and his
Christ at Emmaus (No. 1581) is a most lifelike genre picture. The
Entombment (No. 1584), admirable in its light and colouring, in its
grouping and action, and the Christ crowned with thorns (No. 1583)
are full of effective and dramatic pathos. A work over which the
master has shed an antique and poetic halo is the Jupiter and Antiope
(No. 1587). As in the 'Madonna with the rabbit*, the background
here is formed by a beautiful landscape. In the St. Jerome (No. 1585)
the landscape, with its grand and striking twilight, has practically
become the chief element in the composition. But the genius of
Titian is also conspicuously displayed in his portraits, such as those
of Alfonso of Ferrara and Laura de' Dianti, usually known as Titian
and his Mistress (No. 1590), his Portrait of Francis I. (No. 1588),
and the Young man with the glove (No. 1592). That of Alfonso
d*Avalos, Marchese del Yasto, the famous general of Charles Y.
(No. 1589), is allegorical in treatment. — The only work ot Palma
Vecchio is his Adoration of the Magi (No. 1399). The Bustic
Festival (No. 1136), now generally ascribed to Giorgionej has been
too freely retouched to convey an idea of the master*s power. —
For the study of Pa>olo Veronese the Louvre is second only to
Venice, though several of the thirteen canvases here attributed to
him are by pupils. His great banqueting scenes and his admirable
Christ at Emmaus (No. 1196) greatly influenced Delacroix and,
through him, all modem French art.
Picture CfaUery. LOUVRE ^ig^ Sank 4, 12I
Spavish School. — The renown of the Spanish pictures in the
Louvre dates from the time when the treasures of Madrid and Seville
were little known. The Louvre, however, contains more Spanish
works than any gallery out of Spain. The portrait of the Infanta
Margaret (No. 1731) and that of the Infante (No. 1735) are undoubt-
edly genuine examples of Velazqiiez, and C. Justi ascribes to him
also the small sketch (No. 1734) of thirteen figures. — MwrillOj on
the other hand, is more fully represented. The most famous of his
works here is the 'Immaculate Conception' (No. 1709); the Nativity
of the Virgin (No. 1710), the 'Cuisine des Anges* (No. 1716), and
the Beggar Boy (No. 1717) are admirable works also. — Ribera and
Zurharan are well represented. — The portrait of Ferdinand of
Aragon by Domenico Theotocopuli (el Greco), who has achieved
a tardy celebrity, is an interesting work, revealing the master's
Italian training, while his Christ on the Cross shows both his merits
and his defects. — Francisco Goya, the greatest of the Spanish
realists of the late 18th and early 19th cent., is represented by three
portraits (Nos. 1705a, 1705b, 1704).
Flemish School. — The Louvre is rich in paintings of this
school, but mainly of its later period. Among the earlier works the
most noteworthy is Jan van Eyck^a Virgin and donor (No. 1986).
Then Memling^s large Madonna in the Salle Duoh&tel (No. 2026),
a Descent from the Cross by Roger van der Weyden (No. 2196),
and the Banker (No. 2029) and the Madonna (No. 2030 a) by QmnJten
Matsys, — The late-Flemish school is grandly represented by Ru-
bens, from whose brush the gallery has 21 large scenes from the
life of Marie de M^dicis (p. 134). These works, which once adorned
a room in the Palais du Luxembourg, are remarkable for their
richness of colouring and their strange combination of allegory and
realism. The other pictures by Eubens, though inferior to those
at Antwerp, Munich, and Vienna, afford ample opportunity for a
study of the great painter. The broad humour of his Flemish Fair
(No. 2115) shows him in an entirely new light. — The splendid
portrait of Charles I. of England (No. 1967) and that of Francisco
de Moncada (No. 1971) are the best of the many fine works of Van
Dyck in the Louvre. — There are also good examples here of Snyders
and Jordaens. The collection of 34 pictures by the versatile David
Teniers the Yo-unger, whom Louis XIV. despised ('Stez-moi tous
ces magots'), now forms one of the chief boasts of the gallery. More
than half of them were bequeathed by La Caze (p. 153).
Dutch School. — The Louvre gallery has specimens of the work
of most of the great masters of this school. Rembrandt contributes
no fewer than twenty-two works (hung in the Grande Galerie;
p. 132). The finest of his religious paintings are the Christ at
Emmaus (No. 2539; of striking power) and the Angel and Tobias
(No. 2536), a work full of poetry, and unsurpassed in its light and
122 ^^ Bank 4. LOUYRB. ^rgt FUwr :
life. The two Philosophers and the ^Carpenter's Family* (Nos. 2540,
2541, 2542) are charming interiors; the Bathsheha (No. 2549) is
an excellent though realistic female study. The portraits are chiefly
of his later period, the most effective being perhaps that of himself,
painted in 1660 (No. 2555) . The portraits of a Toung man (No. 2545)
and of Hendrikje Stoffels (No. 2547) are admirable examples of
this period. — The vigorous brush of IVana Hals is illustrated in
his portraits of the Beresteyn family (Nos. 2386-88), the portrait
of Descartes (No. 2383), and the Gipsy Girl (No. 2384). Barth,
van der Heist also is well represented by his Award of the prize
(No. 2394). — The most famous of the small genre pictures are
Terhwg'8 Officer and Girl (No. 2587), Metsu's Officer saluting
a lady (No. 2459), Doti'* Woman with the dropsy (No. 2348), Jan
Steen's Tavern Interior (No. 2578), A. van Ostade^a charming
Schoolmaster (No. 2496), and admirable Interiors by P. de Hootm
(Nos. 2414, 2415). —The bequest of Baron Rothschild in 1904 added
several superb landscapes by J, van Ruysdad and Hobhema to
those already in the Louvre. Salomon van Ruysdad has only
recently been worthily represented.
The only Earlt German painter well represented is Holbein,
the best of whose eight portraits are Nic. Eratzer the astronomer
(No. 2713), Erasmus (No. 2715), Archbp. Warham of Canterbury
(No. 2714), and Anne of Cleves (No. 2718). Note also the Descent
from the Cross (No. 2737), by the Master of St. Bartholomew.
There are only about thirty-five British Pictures in the Louvre.
The student of the landscapes of Wilson, Gainsborough, Constable,
and Bonington, and of the portraits of Reynolds, Rizebum,
Hoppner, and Lawrence, may yet form an idea of the rdle played
by this school as a link between French art of the 18th cent, and
the school of 1830.
French School, see pp. xxxviii et seq.
From the Vestibule (p. 118) reached by the Escalier Daru we
enter (opposite) the —
Salle Duoh&tel (Y). Ceiling-painting (Apotheosis of Poussin,
Le Sueur, and Le Brun), by Meynier. Several frescoes of Bernar-
dino Luini, transferred to canvas : 1357, 1358. Two boys with
vine-foliage, 1359. Nativity, *1360. Adoration of the Magi, *1361.
Christ blessing. Paintings bequeathed by Comtesse Duchfttel:
Ingres, 421. CEdipus solving the riddle (1808), *422. The Spring,
the artist's masterpiece (1856); *2026. Mending, Madonna and
Child, with the donors; *2480, *2481. Ant. Moro (Sir Anthony
More), Portraits (probably the Brabant official Louis del Rio and
his wife). On the stand, drawings by Italian masters, from the His
de la Salle Collection (p. 158).
Picture Gallery. LOUVRE. iWpW Bank 4, 123
*Salon Carr6 (IT). This is the place of honour assigned to
the Italian School and notably to the great Venetian decorators.
Ceiling richly sculptured by Simart.
To ihe right of the entrance : *1136. Giorgione, Rustic festival,
with charming colouring, golden flesh-tones, and a rich landscape
(comp. p. 120).
*1597. Leon, da Vinciy John the Baptist (comp. p. 119).
**1117. CorreggiOy Betrothal of St. Catharine of Alexandria;
*so beautiful are the faces that they seem to have been painted in
Paradise*, says Vasari.
*1505. Raphael, Portrait of Count Baldassare Castiglione (who
wrote a poem on this picture), painted about 1516, with masterly
drawing and colour (comp. p. 120).
**1589. Tt^taw,Allegory painted for Alfonso d'Ayalos,Marchese
del Vasto (d. 1546): the general taking leave of his wife, sister of
Johanna of Aragon, when summoned by the emperor to Vienna in
1532 to flght against the Turks.
*1731. Velazqiiez, Infanta Mary Margaret, afterwards wife of
Leopold I. of Austria.
*1690. Titian, 'La Maltresse du Titien*, a girl at a toilet-table,
with a man behind her with two mirrors, probably Laura de* Dianti
and Duke Alfonso of Ferrara, painted shortly after 1520.
Above: *1193. Paolo Veronese, Christ in the house of Simon
the Pharisee (1570-75). — *1464. Tintoretto, Susanna in the bath.
— Above, 1221. Ann. Caracci, Pieti.
♦1498. Raphael, *Holy Family of Francis I.» (Rome, 15*8;
comp. p. 120). — Above, 1455. 6rwido i?em, Hercules and Achelous.
*741. N. Poussin, Diogenes casting away his bowl, a serene
and luminous work. — Above, 1427. J. daPonte (Ba88ano),De8cent
from the Cross. — 1673. Venetian Sch. (16th Cent.), Portrait of
a young woman.
**1496. Raphael, Madonna and Child with St. John, *La Belle
Jardiniere* (1507; comp. p. 120).
*1644. Italian Sch. (16th Cent.), Portrait of a youth, attributed
successively to Raphael, Francia, Ridolfo Ghirlandaio, Francia-
bigio, Bugiardini, Albertinelli, and Bacchiacca. — Above, 437.
Jouv€7iet, Descent from Cross (1697). Over the door: 1150.
Barocci, Virgin enthroned.
*1598. Leon, da Vinci, Madonna, the Child, and St. Anne (comp.
p. 119). This picture was brought to France by Leonardo. After
his death it was sent back to Italy, where Richelieu bought it in
1629. The drapery of the Madonna has lost its colour. — There are
several sketches for this picture at Windsor.
Above, 1463. Guido Reni, Hercules on the funeral pyre.
On the other wall: 1179. Paris Bordone, Portrait of a man. —
124 Right Bank 4, LOUVRE. First Floor:
*1190. Paolo Veronese, Holy Family. — 1184. BronzinOy Portrait
of a sculptor. — Above, 1143. Guercino, Patron-saints of Modena.
**1192. Paolo Veronesey Marriage at Cana (1563), ^symphony
in colours*, the largest picture in the collection, 32 ft. long and
21 ft. high, occupying nearly a whole wall.
It probably celebrates the marriage of Eleanora of Aastria to Ga-
flielmo Gonzaga in 1561. The identity of the nomeroas portraits has
een much canvassed. The musicians are Venetian painters of the day.
Veronese himself, in white silk, pl<0^s on the viol; so does Tintoretto
behind him; on the other side are Titian with a bass-viol and Bassano
with a Ante.
*1592. Titian, *L'Homme au Gant', a portrait in his best style.
— 1354. B. Jbuiniy Infant Christ asleep.
*1588. Titian, Portrait of Francis I. of France, painted about
1538 from a medal, yet reproducing the quaint, bold, mocking,
sensual features of that monarch. — Above, 1219. Ann. Caracci,
The Virgin appearing to St. Luke and St. Catharine.
^1504. Raphael, St. Michael overthrowing Satan, painted in
1518, frequently restored, yet still very striking (comp. p. 120). —
Above, 1457. Guide Rent, Hercules slaying the Lemsean hydra.
Above the door to the Galerie d'Apollon (p. 148) : 1242. After
Pontormo (Jacopo Carrucci), Visitation.
**1584. Titian, Entombment of Christ, marvellously effective,
painted for the Duke of Mantua about 1525 (comp. p. 120).
Above, *1198. P. Ferone«e, Jupiter hurling thunderbolts against
the Crimes, once a ceiling-painting in the Doges' Palace at Venice.
To the left of No. 1584, *1583. Titian, Christ crowned with
thorns (about 1560; comp. p. 120). — Above, 1538. L. Spada,
Concert.
*1118. Correggio, Antiope with Jupiter as a satyr, painted
about 1518. Above, 1454. Guido Rem, Dejanira carried off by
the Centaur Nessus.
Over the entrance: 723. Nic. Poussin, St. Francis Xavier re-
suscitating a dead Japanese girl (1641).
We now pass through the door opposite to the Grande Galerie
(p. 126), and to the right of its entrance reach the —
Salle des PrimitifB ItaUens (VII), also called SaUe des
Sept'MHres, which contains a fine collection of pictures, notably
by Florentine masters of the 14th-15th centuries.
Right of the entrance: 1416b. Piero di Cosimo, Marriage of
Thetis and Peleus; 1566. Perugino, St. Paul.
Right wall: 1323. Benedetto Ghirlandaio, Christ on the way
to Golgotha; ^1263. Lor. di Credi, Madonna and Child with saints
(comp. p. 118) ; 1528. Sch. of Signorelli, Madonna and Child; 1482.
Cosimo Rosselli (more probably Francesco Botticini), Madonna
enthroned; Ltica SignoreUi, *1527. Fragment of a composition,
1625. Nativity of the Virgin; 1661. Florentine Sch, (15th Cent.),
HdweGtOlery, LOUVRE. SigMBcmkd, 126
Madonna and saints; 1415. Francesco PeseUo (PeseUino ; ^rohsibly
by Fiorenzo di Lorenzo f), Eesurrection of Christ and two legend-
ary scenes; (farther on) 1414. St. Francis receiving the stigmata,
SS. Gosmas and Damian.
*1319. Benozzo Gozzoli, Triumph of St. Thomas Aquinas.
Above is Ohrist; below him are St. Paul, Moses, and the Evangelists.
In the centre, St. Thomas Aquinas between Aristotle and Plato; at his
feet, convinced by his eloquence, is Gnillaame de St-Amour, a professor
of the Sorbonne, an opponent of the mendicant orders ; below, the assembly
at Anagni, presided over by Pope Alexander IV.
Fra Angelico, 1291. Beheading of John the Baptist; *1290.
Coronation of Mary, with predella, *the colouring worthy of an
angel's hand' (Vasari; p. 118) ; 1293. Martyrdom of SS. Cosmas and
Bamian. Above, 1348. Lorenzo Monaco, SS. Lawrence, Agnes, and
Margaret (triptych) ; 1422^^». Antonio (not Vittore) Pisano, sur-
named Pisanello, Ginevra d'Este (after 1435); 1279. Gentile da
Fdbriano (probably, according to Ricci, by Jac. Bellini), Madonna
with Lionello d'Este; 1278. Gentile da Fahriano, Presentation in
the Temple; *1383. Simone Martini, or Memmi, Christ on the
way to Golgotha (ca. 1340).
End- wall: 1151. Bartolo (Sienese Sch.), Presentation in the
Temple; 1302. Taddeo Gaddi, Beheading of John the Baptist,
Mt. Calvary, Christ and Judas Iscariot, and Death of a martyr
(triptych); *1260. Cimahue (f). Madonna and angels, from San
Francesco at Pisa (freely restored). *1312. Giotto, St. Francis of
Assisi receiving the stigmata. Vision of Innocent III., the same
pope confirming the order of St. Francis, and St. Francis preaching
to the birds; a signed picture, from San Francesco at Pisa. — The
door, sometimes closed, leads to the Escalier Daru (p. 117) and
the French Rooms, to the left (XVI ; p. 145).
Left wall; 1301. Taddeo Gaddi, Annunciation; Loremzo Mo-
naco, Christ at Gethsemane and the holy women at the tomb. Then,
1313-1317. Five interesting works of the Sch. ofGioUo; 1345.
Sch. of Fra Filippo Lippi, Virgin and Child; 1273. Pa>olo di
Bono (or P. UcceUo), Battle of San Romano in 1432; Florentine
Sch. (15th Cent.), Virgin and angels; *1272. Paolo UcceUo, Por-
traits of Giotto, Uccello, Donatello, Manetti, and Brunelleschi ; 1658.
Jac. del Sellaio (?), St. Jerome; Fra Fil. Lippi, *1344. Madonna
and Child with two sainted abbots, *1343. Nativity (studio-piece?) ;
1643 a. Florentine Sch., Esther and Ahasuerus; 1300a (b in the
catalogue), Piero delta Francesca (probably Alessio Baldovinettt),
Madonna; Dom. Ghirlandaio, *1321. Visitation, a powerful work
(1491), *1322. Portraits of an old man and his grandson; 1367a.
Bastiano Mainardi (rather Sch. of Verrocchio), Madonna; *1296.
Botticelli, Madonna, Child, and St. John (a fine early work); 1300a.
Sch. of Botticelli, Madonna and Child; 1667. Mainardi, Madonna;
126 ^W Bcmk 4. XOUVRB. ^«< Floor:
1663. FUyrentine Sch. (IdihCent,)^ Portrait of a man ; above, 1663a.
N. Italian Sch., Portrait of a man.
Entrance-wall: 1416a. Ptero di CasimOy Marriage of Thetis
and Peleus. 1295. BotticeUi, The Magnificat. Above the door:
1512. Lo Spagna (? ; not Raphael), God ^e Father and two angels,
fresco from the Villa Magliana near Home.
The Grande Galerie (VI; see Plan, p. 117), 410 yds. long,
to which we retam, is divided into six bays. It contains other
works of the Italian Schools, the Spanish, British, Gbrman, and
some of the Flemish pictures, and those by Rembrandt.
Bay A: Italians (continued).
Right wall: 1372. Giannicola di Paolo Manni, Holy Family;
PeruginOf 1567. Conflict between Cupid and Chastity (see below.
No. 1261), 1565. Holy Family; Francia, *1436. Crucifixion, 1435.
Nativity, 1437. Virgin and Child (study). Above, 1261. Lor. Costa,
Court of Isabella d'Este, from the Taradiso', Isabella's palace at
Mantua (so also Nos. 1375, 1376, 1567) ; 1241. Pontonm (Jac. Car-
rucci), Portrait of an engraver; 1417. Sch, of Pinturicchio, Ma-
donna and Child; 1422. Giulio Romano, Portrait of a man; above,
1556. Cosimo Tura, Pieti, a vigorous work; 1167. Francesco
Bianchi-Ferrari (f), Madonna and Child, between SS. Benedict and
Quentin; 1676 (formerly 2721). N, Italian Sch. (ca. 1500; Lod.
Brea of Nice?), Annunciation (triptych); *1\1^. Mariotto Alberti'
nelli. Madonna and Child between SS. Jerome and Zenobius; 1436 a.
Francia, Madonna and saints; 1608. Paolo Zacchia il Vecchio,
Portrait of a musician; 1516. Andrea del Sarto, Holy Family;
1264. Lor. di Credi, Christ and Mary Magdalene (Noli me tangere) ;
1651 a. Andrea del Sarto, Portrait of Andrea Fausti, counsellor
of the Medici; above, 1603. Copy of Leon. daVinci^s Last Supper,
probably by his pupil Marco da Oggiono, one-third smaller than
the original; 1240. Pontormo, Holy Family; 1174. Bart. Bononi,
Virgin and Child ; *1418. Giulio Romano, Nativity^
Left wall, beginning at the entrance: *1526. Luca SignoreUi,
Adoration of the Magi; 1303. Raffa^Uino del Garho, Coronation
of the Virgin; *1677. N. Italian Sch., Figures in front of a portico;
1416. Piero di Cosimo, Coronation of the Virgin; 1133. Michel-
angelo Anselmi, Virgin between SS. Stephen and John; FVa Bar-
tolomeo, *1153. Annunciation, 1154. Holy Family; 1183a. ^^no^
Bronzino, Holy Family ; And. del Sarto, 1515. Holy Family, 1514.
Caritas, 1517 (above). Annunciation; 1384. Massone, Altar-piece
in three parts; above, 1285. Gaud. Ferrari, St. Paul; Borgognone,
1182 a. St. Augustine and donor, 1181. Presentation in the Temple,
1182. St. Peter of Verona and kneeling lady. Below, *1602a (for-
merly 1265), Leon, da Vinci, Annunciation (comp. p. 119); *1488.
Sacchi, The four Church Fathers (or the Evangelists?); *1355.
Picture Oallery. LOUVRE. Bight Bank 4, 127
Bernardino Luini, Salome; *1699. Leon, da Vinci, *La Vierge
anx Bochers*, a work of high excellence though darkened by age
(comp. p. 119); *1600. Sch. of Leon, da Vinci (perhaps by
BoUraffio), Portrait, presumed to be that of Lncrezia Crivelli,
formerly called *La Belle Ferronniire* (mistress of Francis I. ; the
ornament she wears on her forehead is a *f erronnl^re^) ; 1602. Same
Sch. (Cesare da Sestof), Bacchus. 1382 (above No. 1600), Marco
da OggionOj Holy Family. Andrea Solario, *1531. Portrait of
Charles d'Amboise, governor of Milan under Louis XIL, ^1532.
Crucifixion (1503), fascinating in colour, 1530. Madonna with
the green cushion (beautiful landscape), 1533. Head Of John the
Baptist. Bernardino Luinij 1356. Forge of Yulcan, 1353. Holy
Family ; 1604. Sch. of Leonardo (Cesare da Sestof), Madonna with
the scales; *1169. BoUraf^, Madonna of the Casio Family (1500).
At the end of Bay A, on a stand, 1462. Danide da VoUerra,
David and Goliath (on each side of a slab of slate). In Bay B, on
a similar stand, 1549. Sketches by Tiepolo.
Bay B: Italians (continued).
Left wall: *1376. And. Mantegna, The Vices banished by Wis-
dom, with charming putti (see No. 1261, p. 126); 1168. Sch. of
Giov. BeUini, Madonna with SS. Peter and Sebastian (false si^a-
tare); above, 1268. Carlo Crivelli, St. Bernardino of Siena; And.
Mantegna, *1374. Madonna della Vittoria, one of his last works,
painted for Giov. Franc. Gonzaga, Duke of Mantua, in memory of
the battle of Taro (1495) ; *1373. Crucifixion, one of the predelle
of the large altar-piece of San Zeno at Verona (1459; the other two
are at Tours). Above, 1607. Bart. Vivarini, San Giovanni da Ca-
pistrano ; *1375. A. Mantegna, Mt. Parnassus (see No. 1261, p. 126) ;
*1158 a. Giov. Bellini, Portrait of a man ; *1166. Gentile BeUini(f),
Portraits; *1134. AntoneUo da Messina, Portrait of a Condottiere,
the vigorous head of a young man (1476); 1157. Sch. of Gentile
BeUini (rather Fiwccnzo diBiagio, sumamed Catena), Reception
of a Venetian ambassador at Cairo; *1211. Vittore Carpaccio,
Preaching of St. Stephen; *1259. Cima da Conegliano (f). Ma-
donna and Child; above, 1351. Zkw. Lotto, Holy Family; *1399.
Palma Vecchio, The Shepherds receiving the glad tidings (damaged) ;
1318. Girolamo dai Libri (rather Gian Franc. Caroto), Virgin and
Child; 1135. Giorgione (Palma Vecchiof), Holy Family; 1519.
8a/ooldo, Portrait of a man; 1252a. Vincenzo di Biagio (Catena),
Portrait (on the back, coat-of-arms with an allegory) ; *1352. Seb.
dd Piombo, The Visitation (Rome, 1521 ; unfinished), most impress-
ive; below, 1394. Bart. Montagna, Juvenile trio; 1350. Lor.
Lotto, St. Jerome, in a beautiful rocky landscape, an early work
(1500); Titian, 1594. Portrait of a knight of Malta, 1577. Ma-
donna and Child with saints; above, Alessandro Bonvicino (Mo-
retto), 1176. SS. Bonaventura and Anthony of Padua, 1175. SS. Ber-
128 BigMBank4, LOUVRE. First Floor:
nardino of Siena and Louis of Toulouse; above, 1180a. Paris
Bordone, Female portrait; 1393. B. Montagna, Ecce Homo;
1464biB, Tintoretto , Dead Christ and two angels ; in front of the
curtained window, A. Mardegna, *St. Sebastian (from the church
of Aigueperse, Puy-de-D6me), bought in 1910 for 8000Z.
Also on the left is a series of excellent works of the Venetian
School. Titian, 1579. Holy Family (perhaps not entirely by the
master), *1580. Holy Family. Above, 1395. Moroni, Portrait of
an old man. Titian (comp.p. 120), 1581. The Disciples at Emmaus
(painted about 1555), *1578. »La Vierge au Lapin' (1530), 1593.
Portrait of a man, 1585. St. Jerome. Above, 1674d. Sont/azto,
Madonna with SS. John, Paul, Joseph, and Ursula.
*1196. Paolo Veronese, Christ at Emmaus (to the right, por-
traits of the painter, his wife, and brother) ; *1591. Titian, Portrait
of a man; above, 1674 e. Venetian Sch. (16th Cent.; Tintoretto f),
Madonna enthroned; 1586. Titian (?), Council of Trent; Tinto-
retto, 1467. Portrait, *1465. Paradise; above, 1171. Bonifazio,
Holy Family.
Paolo Veronese, 1199. Young mother, 1195. Golgotha; above,
1217. Ann. Caracci, Madonna *aux cerises'; 1185. Johann von
Calcar, Portrait of a young man; above, 1180. Bordone, Man and
child.
Right wall (beginning from Bay B) : Pa^lo Veronese, 1187.
Destruction of Sodom, 1194. Bearing of the Cross (unfinished),
1188 (above), Susanna and the Elders. 1582. Titian (f), Christ on
the way to Golgotha. Below, 1423. Bassano(Ja>c. daPonte), The ani-
mals entering the Ark; 1349. Lor. Lotto, Christ and the adulteress.
**1587. Titian, Jupiter and Antiope, known as the 'Venus del
Pardo', painted about 1560 (comp. p. 120).
^Though injured by fire, travels, cleaning, and restoring, the master-
piece still exhibits Titian in possession of all the enei^ of his yoath,
and leads us back ifivoluntarily to the days when he composed the Bac-
chanals. The same beauties or 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.' (Crotoe
<fe CavcucaseUe.)
Tiepolo, *Sketch for a ceiling-painting, 1547. Last Supper.
Above, 1574. Padovanino (Varotari), Venus and Cupid; 1413.
Ant. Pellegrini, Allegory. Guardi, 1331, 1333, and (farther on)
1334, 1330. Venetian fStes. *1203. Canaletto (Ant. Canale),Yie^
at Venice. Above, 1425. Bassano(Ja>c. da Pon^j, Marriage at Cana.
*1328, 1332, 1329. Guardi, Views in Venice ; 1189. Paolo
Veronese, Swoon of Esther, lifelike and dramatic.
Farther on, to the right, beyond the door of Room VIII (p. 147) :
1197. Pa^lo Veronese, St. Mark crowning the Christian Virtues.
Panini, 1408. Interior of St. Peter's at Rome, 1409 (above), Concert
Picture Odllery. LOUVBE. ^*9M Bank 4, 129
at Borne; 1149. Barocci, Circumcision; 1232. Ann. Caracci,
Hunting; above, 1235. Ant. Caracci, The Flood; Gruido, 1460.
St. Sebastian, 1439 (above), David with the head of Goliath; 1233.
Ann. Caracci J !l?ishing; farther on, *1613. Domenichino , St.
Cecilia ; 1163. Pietro da Cortona, Madonna; above, 1139. Guercino,
Raising of Lazarus; 1288. Feti, Melancholy.
Bay C: Italians (Raphael).
To the right: *1564. Perugino, Madonna and Child, with two
angels, SS. Rose and Catharine, a youthful work, 1566 a. St. Se-
bastian, a late work. Above, 1511. Sch. ofBaphael, St. Catharine
of Alexandria; 1639. Lo Spagna, Nativity.
To the left: 1513b. After Raphael, Madonna with the carna-
tion, copy of a lost original; above, 1613a. Raphael f.*^, Vision of
Ezekiel (Grod the Father above the symbols of the Evangelists);
Raphael, 1508. Portraits, 1600 (above), John the Baptist in the
wilderness; 1668a. Umbrian Sch., St. Sebastian; Raphael (?),
1509»>i». Head of St. Elizabeth, *1506. Portrait of a young man,
painted after 1515 (long regarded as a portrait of himself); *1509.
Peritgino (not Raphael), Apollo andMarsyas. Raphael (seep. 120),
*1497. Madonna with the veil, or *Virgin with the blue diadem',
1501 (above), St. Margaret (by a pupil), *1603. St. George (1504?),
*1499 (above). Holy Family, *1507. Portrait of Johanna of Aragon,
painted in 1518 (head only, according to Vasari, by Baphael, the
rest by Giulio Bomano), *1602. St. Michael (early work). Above,
1420. Giulio Romano, Triumph of Titus and Vespasian.
Bat D : Italian, Spanish, British, and German Masters.
To the right: 1289. Feti, Guardian Angel; Caravaggio, 1122.
Fortune-teller, *1124. Alof de Wignacourt, Grand Master of the
Order of Malta (1601), 1123. Concert, *1121. Death of the Virgin;
1368 (above No. 1123), Manfredi, Fortune-teller ; Salvator Rosa,
1480. Scene in the Abruzzi, with soldiers, 1478. Saul and the Witch
of Endor, *1479. Battle. — A few more Italian pictures in Room IX
(p. 141).
Beyond the door of Boom IX is the Spanish School. Attr. to
Dalmau (15th cent). Virgin presenting St. Ildefonso with a cha-
suble; *1716. Mwrillo, Miracle of St. Diego, known as the 'Cuisine
des Anges*, a singular mixture of mysticism and realism ; El Greco
(comp. p. 121), *Crucifixion with two donors; MuriUo, 1714. Jesus
in Gethsemane, 1716. Scourging of Christ.
To the left, 1706. Herrera the Elder, St. Basil expounding his
doctrines; El Greco, *Portr. of Ferdinand of Aragon; above, 1703.
CoUantes, The Burning Bush; Ribera, *1723. St. Paul the Hermit,
1722. Entombment, *1721. Adoration of the Shepherds (beautiful
Virgin of Spanish type; 1650); 1734. Velazquez, Party of thirteen
180 Bight Bank 4, LOUTRB. First Floor:
persons (sketch) ; *1708. MuriUo, Immaculate Conception ; Spanish
Sch. of nth Cent. J Head of a man.
^1709. MwrUlo, The Immaculate Conception, one of his great-
est works (1678) : the *woman clothed with the sun, and the moon
under her feet, and upon her head a crown of twelve stars' (Kev.
xii. 1). The picture was bought in 1852 for 24,6122.
MuriUo, *1710. Birth of the Virgin, a masterpiece of wonder-
fully fresh colouring (1655), *1717. Beggar-boy ^cherchant k d6-
truire ce qui Tincommode* (full of life, the light admirable), *1713.
Holy Family; 1732. Velazquez, Philip IV. of Spain (original at
the Prado) ; 1739, *1738. Zurharan, Two scenes from the legend
of St. Bonaventura (1629); Goya (comp. p. 121), 1705 (between
the last two), Young Spanish woman, 1704a. Lady with fan, *1704.
Guillemardet, ambassador at Madrid (1798), 1705 b. The minister
Perez de Castro.
British School. To the right, in front of the curtained window,
Baebunij Portrait of Capt. Hay of Spot; 1805^*". Bonington, The
old governess; above. Constable, 1810. The glebe farm (damaged),
*1808. Weymouth Bay; above, 1816. Opie, Woman in white;
1812^1". Hoppner, Countess of Oxford; above, 1819. E. Wilson,
Landscape; one not numbered, also 1805, *1804 (beyond), Boning-
ton, Landscapes; 1817. Baehum, Naval pensioner; above, 1818.
Allan Bamsay, Charlotte Sophia, Princess of Wales; 1806. Con-
stable, The cottage; above, Wm. Etty, Woman bathing; Lawrence,
*Portr. of a man, 1813 (above). Lord Whitworth, *Portr. of Mary
Palmer; Turner (f). The Pont-Neuf. — Then the German School
(see below).
To the left, beginning again: Bonington, 1803. Card. Mazarin
and Anne of Austria, 1802. Francis I. and the Duchesse d'Etampes;
Constable, 1809. Hampstead Heath, The mill; above, 1818a. Bom-
ney, Sir John Stanley; Beynolds, *Portrait of a woman; above,
Hoppner, Mother and son; *1813a. Lawrence, The painter Jules
Angerstein and his wife (1792); Beynolds, *Master Hare; above,
Baeburn, *Portrait of Mrs. Maconachie with her child; Gains-
borough, Fish and game (acquired in 1910) ; 1801. Beechey, Brother
and sister; 1817a. Baeburn, Anne More; above, 1816a. Phillips,
Portrait of Lamartine.
German School, to the right. No. 2706. Denner, Old woman;
2712. Heinsius, Princess Victoire, daughter of Louis XV.; 2752,
2751. MehhiarWyrsch (Swiss), Portr. of Mme. and M. Wey ; *2722.
Angelica Kauffmann, Baroness Erfldener and her daughter; 2723.
Mengs, Maria Amalia Christina of Saxony, Queen of Spain; 2736.
Seybold, Portr. of himself; 2703. Lucas Cranach the Elder, Venus
in a landscape; 2736a. German School of 15th Cent., Virgin and
Child; DUrer, *2709. Head of an old man, 2709a. Head of a child;
2740. German Sch. of 16th Cent., Portr. of Emp. Maximilian;
Piciure Gallery. LOUVRE. ^^^ Bank 4. 131
2738d (above) and 2738 c (farther on), Master of St. Severin (Co-
logne; 16tJi cent.), Scenes from the life of St. Ursula; *2745a. Ger-
man Sch. of 16th Cent., The Flagellation; 2724. Mignon, Chaf-
finch's nest; 2745. German Sch. of 16th Cent., Judgment of Paris;
2705. L. Cranach the Elder, Portr. of a man.
To the left, Holbein the Younger, *2713. Portrait of Nic.
Kratzer of Munich, astronomer to Henry VIII. of England (1528),
2719. Sir Bichard Southwell, a good copy of the picture at Florence,
*2718. Anne of Cleves, wife of Henry VIII., *2715. Erasmus of
Rotterdam (1523), *2714. William Warham, Archbp. of Canterbury
(replica of the picture at Lambeth; 1527); above, 2732. Rotten-
hammer, Death of Adonis; *2737. Master of St. Bartholomew
(Cologne Sch. of 15th Cent.), Descent from the Cross; 2741.
German Sch. of 16th Cent., Portrait of a man; Holbein, Sir Henry
Wyatt, 2720. Portrait of a man; 2711a. G. GiUinger, Adoration
of the Magi ; 2703a. L. Cranach the Elder, Portrait of a man.
Bay E : Flemish School.
Right: 1911, 1910 (farther on), PaulBril, Landscapes; Pourbus
the Yr., 2070, 2071. Henri IV., 2068 (above). Last Supper; 2033
and (farther on) 2047, 2048, etc., A. F. van der Meulen, Scenes
from the wars of Louis XIV. ; 2054. P. van Mol, Descent from the
Cross ; above, 1908. P. Bril, Landscape ; Ph. de Champaigne, 1944.
The architects Mansart and Perrault, 1938. Card. Richelieu, *1947.
Portr. of himself, 1943. Portr. of a woman, *1934. The nuns Cathe-
rine Agnes Arnauld and Catherine de Ste-Suzanne (the painter's
daughter; on the right) praying for the recovery of the artist, at
the Abbey of Port-Royal; 2069 (above No. 1947), Pourbus the Yr.,
St. Francis receiving the stigmata; 2044 (above No. 1934), A. F.
van der Meulen, View of the Ch&teau of Fontainebleau; 2074.
Pourbus the Yr., Guillaume de Vair, keeper of the Great Seal under
Louis XIII.; Ph. de Champaigne, 1941. Portrait of a little girl,
1930. Crucifixion, 1937. Louis XIII. crowned by Victory, 1939.
Robert Arnauld d'Andilly (1588-1674), 1940. Portrait of a man.
A. F. van der Meulen, 2045. Ch&teau of Vincennes, 2035. Louis XIV.
and Queen Marie Th^r^se entering Arras in 1667; 1903a. F.
BoiMcqttet, Standard-bearer; 1960. Fr. Duchdtd, Portrait of a
cavalier; Ph. de Champaigne, 1932. Pieti, 1927. Christ at the
house of Simon the Pharisee; 2169. Teniers the Yr., Soap-bubbles.
Left: *2015. Jorda,ens, Concert after supper; above, 2142. FV,
Snyders, Animals entering the ark; 2078. Rubens, The Virgin;
*2014. Jordaens, Twelfth Night; above, 1959. A. van Diepenbeeck,
Portraits; Rubens, 2075. Flight of Lot (1625), *2113. Portr. of
Helena Fourment, his second wife, and two of his children (un-
finished); above, 2145. Snyders, Fishmongers; Rubens, *2116.
Tournament at sunset, *2077. Adoration of the Magi (1626-27);
Babdekbr's Paris. 18th Edit. 9
132 RigMB(mk4. LOUVRE. Firgt Floor:
2131. tSch. of Rubens y Landscape; RubenSy *2111. Baron Henri
de Yicq, ambassador of the Netherlands to the court of France,
*2115. Village fair (1635-36; comp.p. 121); above, 2011. Jordaem,
Christ driving the money-changers out of the temple. Rubens j 2081.
Raising of Lazarus, *2114. Portrait of a lady of the Boonen family
(probably Suzanne Fourment, sister-in-law of the artist), *2084.
Tpmyris, Queen of Scythia, causing the head of Cyrus to be dipped
in blood; Jordaens, *2016. Admiral De Ruyter, 2013. Infancy of
Jupiter; 2144. Snyders, Boar-hunt; *1985. VanJDyck (or Rubens)^
Portraits of J. Grusset-Richardot (?), President of the Privy Council
of the Netherlands, and of his son. RubenSj2in. Landscape, 2110.
Sketches for Nos. 2085 and 2105 (pp. 134, 135), 2112. Elizabeth of
France, daughter of Henri IV. (more probably Anne of Austria, wife
of Louis XIII.) ; 2130. Rubens (f), Diogenes searching for a man;
2118. Rubens, Landscape ; 2012. Jordctens, The Evangelists ; above,
2141. Snyders, Earthly Paradise.
Bay F: Salle Bembrandt.
The twenty-two canvases by Rembrandt in the Louvre are hung
together here, with a few Flemish and German works more or less
connected with the Dutch master.
Between the columns, at the entrance, 2072. Fr. JPourbus the
Yr.j Marie de M^dicis; opposite, 2444. Lievens, Visitation.
Left: Rembrandt (comp. p. 121), *2548. Carcase in a batcher's
shop, a famous study, often imitated (1655); 2555a. Supper at Emmaus
(about 1661); 2554. Portrait of himself with a cap (^k la toque';
1637) ; 2543. Venus and Cupid, charming portraits of mother and
child (Hendrikje Stoffels and her daughter), a late work (ca. 1662);
*2541a. Hermit reading (1630; Kaempfen bequest); 2552. Portr.
of himself (bare-headed; 1633).
*2539. Supper at Emmaus (1648). As in the picture of Tobias,
subdued red is here the chief colour; the pale and mysterious fea-
tures of Christ are admirable, and the whole work is pervaded with
a warm and hazy glow.
2538. St. Matthew (1661) ; *2536. Tobias and the departing angel
(1637), full of emotion inspired by the Bible scene, and admirable
for its warm and harmonious colouring and poetry of chiaroscuro;
*2547. Portrait of Hendrikje Stoffels (ca. 1652) ; *2549. Bathsheba
bathing (1654),2551.Portr.of aman (1657), *2550. Woman bathing,
study for the Susanna now at Berlin (ca. 1647), these three from
the Collection La Caze (p. 153) ; *2555. Portrait of himself at an
advanced age (1660); *2553. Rembrandt 'a la toque et k la chaine
d'or' (1633).
*2542,Holy Family at Nazareth, the 'Carpenter's Family' (1640).
This family scene is one of those idyllic pieces by which Rembrandt
and other Dutch masters sought to familiarize the spectator with incidents
from the Bible by transplanting them to the present. The simplicity and
Picture OaUery. LOUVRE. -Bt^^i Bank 4, 133
deep sentiment which peivade the picture may be r^arded as the badges
of the Protestant spirit of the 16th-17th centuries.
*2541, *2540 (farther on), Philosophers meditating (ca. 1633).
'The venerable countenance of the old man, the reverential atmo-
sphere, the serene light, and the transparency of the shadows all combine
to shed a poetic radiance over this picture.' (E. Michel.)
*2537. The Good Samaritan (1648); 2546. Portrait of a Jew in
a fur cap (ca. 1645); above, 2544. Study of an old man (about
1633); *2545. Portrait of a young man (1658).
Right: 2328. Ferd. Bol, Philosopher meditating; above, 2559a,
Cornelius Drost (17th cent.), Bathsheba; 2564. Dirck van Sant-
voorty Christ at Emmaus; 2371. Jan Victors, Portrait of a girl
(1640) ; 2356. Gerard Dou, Reading the Bible (the old woman is
Rembrandt's mother) ; above, 2329. F. Bol, Portr. of a young Dutch
prince ; 2364. 6r. van den JEec/choid, Hannah dedicating her son
Samuel to the Lord; above, 2708. Dietrich, The woman taken in
adultery; *2373. Gov. Flinck, Portrait of a little girl (1641);
2555b. JRoghman, Verge of the forest; 2370. J, Victors, Isaac
blessing Jacob; *2330. Ferd. Bol, Mathematician; above, 2443a.
Lastman (Rembrandt's teacher), Abraham's sacrifice; 2457. Ga-
briel Metsu, The woman taken in adultery (1653) ; above, 2426.
K. du Jar din, Grolgotha; 2711. Adam Elsheimer, Good Samaritan ;
2498. Adr. van Osiade, Interior of a cottage (1642). G. Dou,
*2348. The dropsical woman, his greatest work, most elaborately
finished (1663), also 2355. Dentist. 2710. Adam Elsheimer, Flight
into Egypt; above, 2408. Van Honthorst, Pilate washing his hands ;
2372. Gov. Flinck, Annunciation to the Shepherds; above, 2331.
F. Bol, Portrait.
Salle Van Dyck. From left to right. Van Dyck, 1968.
Children of Charles I., 1963. Pieti; 2107. Rubem, Johanna of
Austria, wife of Francis of Tuscany (see below) ; 1970. Van Dyck,
Isabella of Austria; above, 2147. Fr. Snyders, Fruit and game;
2082. Rubens, Crucifixion; 1978. Van Dyck, Portr. of a man;
above, 1994. Fyt, Game and fruit; Rubms, 2106. Grand-Duke
Francis of Tuscany, father of Marie de M^dicis, 2108. Marie de
HMicis as Bellona; G. de Crayer, 1954. Equestrian portrait of
Infante Ferdinand of Spain, Stadtholder of the Netherlands, 1953.
Ecstasy of St. Augustine. — Then a fine series of pictures by Ant.
van Dyck: *1962. Virgin- and donors; *1971. Equestrian portrait
of Francisco de Moncada, commander in the Netherlands; *1969.
Duke Charles Louis of Bavaria (full-face) and his brother Robert,
Buke of Cumberland; above, 1961. Madonna; *1974. Lady and her
daughter; 1976. Portr. of a man; above, 1965. Venus demanding
arms for iEneas from Vulcan; **1967. Portr* of Charles I. of Eng-
land, a m<MBt distinguished and charmingly finished work (ca. 1635) ;
*1977. Portr. of a man; above, 1964. St. Sebastian; 1973. Portraits
9*
134 Right Sank 4. LOUVRE. First Floor:
of a man and child; 1972. Half-length portrait of Francisco de
Moncada (see p. 133, No. 1971). 2369 (above No. 1972), Sir Peter
LeI/y (f), Portrait of the Duchess of Bedford, after Van Dyck.
Van Dyck, 1966. Rinaldo and Armida, 1983. Portr. of the artist,
1976 (above), Duke of Richmond; 2080 (above No. 1966), Rubens,
Flight into Egypt (sketch). Then three large pictures by ^Rvbens,
being part of the series mentioned below: 2086. Birth of Marie
de M^dicis (1573, at Florence; Lucina, the goddess of births, is
present with her torch, Florentia, the goddess of the city, holds the
new-bom infant, and on the right is the Amo); 2096. Regency
of the queen under the protection of Olympus (Mars, Apollo, and
Minerva drive away the hostile powers) ; 2087. Education of Marie,
conducted by Apollo (playing the violoncello), Minerva, and Mer-
cury, with the Graces on the right.
We now descend the steps to the —
*Salle Rubens, once a ^Salle des Etats', built at the end of
the Second Empire (see p. 91), but unfinished. Since 1900 it has
contained eighteen large paintings by Peter Paul Rvbens, forming
part of those ordered by Marie de M^dicis, widow of Henri IV.,
for the Luxembourg Palace (p. 323). Rubens came in 1622 to Paris,
where he painted the sketches (eighteen of which are now at Mu-
nich) ; he then returned to Antwerp and executed the pictures there
with the aid of his pupils. In 1625 the works were brought to
Paris, and received a few final touches from Rubens himself. The
effect of the paintings is enhanced by the tasteful decoration of
the room and the favourable light from above. The chronological
sequence of the series is completed by the three large paintings in
the Salle Van Dyck (see above).
Left, 2085. The Fates spin the fortunes of Marie de M^dicis.
(Picture opposite. No. 2105, see p. 185.)
On the walls, left and right alternately. Left, 2088. Henri IV.
receives the portrait of the princess; beside him is France; above
are Jupiter and Juno.
Right, 2089. Marriage by proxy; Grand-Duke Ferdinand of
Tuscany, her uncle, puts the wedding-ring on her finger (1600).
Left, 2090. The queen lands at Marseilles (1600).
Right, 2091. Wedding at Lyons (1600); Henri IV. as Jupiter,
and Marie de Medici s as Juno; the patron-goddess of Lyons in the
chariot in front.
Left, 2092. Birth of Louis XIII. at Fontainebleau (1601) ; behind
the queen is Fortuna; the infant is in the arms of Health.
Right, 2093. Henri IV., starting on his campaign against Austria
(1610), entrusts the queen with the regency.
Left, 2094. Coronation of the queen by Card, de Joyeuse at
St-Denis (1610) ; the king is in a gallery above.
Picture Gallery. LOUVRE. Bight Bank 4. 135
Right, 2095. Apotheosis of Henri lY. (assassinated in 1610) ;
below are Victory, in a yellow robe, and BeUona with a trophy;
on the right is the queen between Minerva and Wisdom ; at the foot
are courtiers; on the left, France.
Left, 2097. The queen's expedition to Ponts-de-C6 (Anjou) to
put down the insurgents.
Right, 2098. Treaty between France and Spain (1615); prin-
cesses of the allies (Elizabeth of France and Anne of Austria) are
to marry the heirs to the two thrones (Philip IV. of Spain and
Louis XIII. of France).
Left, 2099. Prosperity of the regency; the queen enthroned
bears the scales of justice; on the right Minerva, Fortune, and
Abundance; left, France and Time ; below. Envy, Hatred, and Malice.
Right, 2100. The queen commits the ship of the state, rowed
by the virtues, to Louis XIII. on his majority.
Left, 2101. Flight of the queen from the Chateau of Blois (1619).
Right, 2102. Reconciliation of the queen with Louis XIII.
Left of the exit, 2103. Conclusion of peace.
Right of the exit, 2104. Marie de M6dicis and Louis XIII. in
Olympus; below is the dragon of rebellion.
The door leads to a passage connecting Ihe Comer Rooms XXVII
and XXVIII (p. 188), opposite the Collection Chanchard (p. 174).
"We return to the entrance, where the series ends with No. 2105 :
Triumph of Truth (above, Louis XIII. gives his mother a crown).
We ascend the steps and then descend to the right. In the
passage (XIX): left, 2327. Abr. Bloemaert, Nativity; right, 2067.
J. van Oost the EldeVf San Carlo Borromeo ministering to the
plague-stricken.
The Small Rooms, round the Rubens Gkillery, called after
the masters chiefly exhibited, contain other Flemish and Butch
pictures.
Salle Frans Hals (XX). Right: 2466. MiereveU, Portrait of
a woman; 1912. Adr. Brouwer, Dutch tavern; 2662. Saftleoen,
Portr. of a painter; *2383. Frans Hals, Descartes, the philosopher
(1655) ; 2339a. Pieter Codde, The toilet; 2303a. D. BaiUy, Portr.
of a young man; above, 2642. Dutch Sch. of 17th Cent., Literary
society (^Rederijkamer') ; 2467. MiereveU, Portr. of a man. — 1905.
Van Breda, Military camp; 2525. Hendrik Pot, Charles I. of
England; *2388. R Hals, The Beresteyn family; 2577. Staveren,
Savant in his study.— *2386, *2387. F. Hals, Portraits of Nic.
van Beresteyn and his wife, founders of a 'b6guinage' at Haarlem,
where these pictures were kept until 1884; *2464. G. Metsu, Ad-
miral Tromp; Van Honthorst, 2409 (above No. 2464), Concert,
2410, 2411 (above the doors). Elector Palatine Charles Louis and
his brother Rupert of Bavaria, Duke of Cumberland.
136 Rig^i Ba^ ^' LOUVRE. ^»*»* Floor:
SaUe Albert Ouyp (XXI). Right: *2414. Pieter de BoocK
Batch interior; 2595. Adr. van de Velde, Landscape with cattle;
*2343. A. Cuyp, Promenade; 2637. J. Wynante, Landscape, figures
by Adr. van de Velde. — 2463. Gabrid Metsu, Dutch cook ; 2381.
Van der Hagen, Landscape; *2341. A. Cuyp, Landscape; 2462.
Gabriel Metsu, Dutch woman ; 2428. K. du Ja/rdin, The ford. —
A. Cuyp, 2344. Portraits of children, *2342. The departure ; *2415.
P. de iJooc^, Dutch interior; 2596. Adr. van de Velde, Landscape
with cattle.
Salle Jan Steen (XXII). Right: *2456. Jan van der Meer,
Lace-maker; 2434. K. du Jardin, Portr. of a man ; *2587. Terburg,
The gallant, this painter's masterpiece, of exquisite finish and
silvery tone; 2612^^". Jan Weenix, Still-life (game); 2399. Jan
van der Heyde, Town-hall of Amsterdam ; Verspronjck, Portr. of
a woman; 2602. Jan Verkolje, Interior; 2568. Van SlingeLandt,
Dutch family ; 2610. JanWeenix, Game and implements of the chase.
— 2471. Fr. van Mieris the Elder, Tea-party; 2312. Camelis
Bega, Rustic interior ; Jan Steen, *2578. Flemish feast at a tavern,
a work full of spirit and humour (1674), 2580. Bad company;
2606. Ary de Vols, Portr. of a man; above, 2345. A. Cuyp, Sea-
piece. — 2022. Jan van der Meer, Entrance of a tavern ; 2487.
C.Netscher, Lesson on the bass-viol; *2459. Gabriel Metsu, Officer
saluting a young lady, a delicate and refined work; 2486. C. Net-
scher, Singing-lesson; Th. de Keyser, Portr. of a man; above,
2425*>*«, 2424. J. van Hu/ymm, Flowers; 2609. J. B. Weenix,
Defeated pirates.
Salle Van Qoyen (XXIII). Above the door, 2604, Simon de
Vlieger, Calm sea. — Right: *2508. /. van Ostade, Halt at an
inn; 2643. Dutch Sch. (1627), Portr. of a man; C. van Poeien-
burgh, 2519. Pasture, 2520, 2621. Women bathing, 2522. Ruins
of the imperial palaces and of the 'Temple of Minerva Medica* at
Rome; 2378. J. van Goyen, Sea-piece; above, 2332. J. Both,
Landscape; 2483. Aert van der Neer, Dutch canal; 2465. Miere-
veU, Oldenbameveldt, grand-pensionary of Holland. — 2561.b. Sal.
van Ruysdael, The ferry; 2438^i». Th. de Keyser (f), Portr. of a
man; 2605. H. van Vliet, Portr. of a young man; J. van Goyen,
2375. Dutch river-scene, 2376. Dutch canal; 2636. TFyw«nfe, Edge of
a forest, accessories by A. van de Velde; 2576. Gerard Sprong,
Portr. of a woman ; 2605 a. H. van Vliet, Portr. of a man. — *2389.
Dirck Hals, Rustic festival (early work; ca. 1616); 2586a. A, van
den TempeL, Portr. of a woman; 2377. Van Goyen, River-scene;
*2392. J. D. de Heem, Fruit and dishes; 2340. Craesbeeck, The
artist painting a portrait; 2515a. A. Palamedesz, Portr. of a man;
over the door, 2327a. P. Bloot, The ford.
Salle Van Ostade (XXIV). Above the door, 2623. Ph, Wouver-
man. Starting for the chase. Right: *2495. A van Ostade, The
Picture OaUery. LOUVRE. ^^9^ Bank 4. 137
painter's family ; 2338. J. van Ceulen, Portr. of a man ; 2510. /. van
Ostade, Frozen canal; Ph. Wouverman, 2629. Cavalry-charge,
Cavaliers halting; 2451. J. VanloOj Portr. of Michel Comeille,
the painter. — 2484. Aert van der Neer, Village-street by moon-
light; *2561c. Sal, van Ruysdael, The great tower; 2635. Pieter
Wouverman, Tour and Porte de Nesle at Paris (about 1664);
2490. /. van Nickelen, Vestibule of a palace; 2298. W.van AeUt,
GFrapes and peaches. — 2509. /. van Ostade, The halt; A, van
Ostade, 2500. Smoker, 2501. Drinker; *2561d. Sal.van Ruysda^el,
Banks of a river; 2350. Gerard Dou, Village shopkeeper; *2496.
A. van Ostade, Schoolmaster; above, 2396, 2395. B. van der
Heist, Portraits; 2511. /. van Ostade, Frozen canal. — Over the
exit, 2317. Nio. Berchem, Ferry.
Salle Buisdael (XXV). Right: ^2559. Jac. van Ruysdael,
Thicket; 2436. Kalff, Interior of a cottage; 2590. G. Terhurg,
Meeting of ecclesiastics during the congress at MfUister in 1648;
2499. A. van Ostade, Merchant in his cabinet; J. vanBuysdael,
*Forest; above, 2365. A. van Everdingen, Landscape; 2561. J.
van Ruysdael, Landscape; ^2497. A, van Ostade, Fish-market;
*2561a. J. vanBuysdael, Margin of a wood. — 2401. Jan van
der Heyde, Village on a canal; 2391. J. D, de Heem, Fruit and
dishes; *2558. J. van Ruysdael, Storm on the Dutch coast, a
work of rare- perfection; above, *2611. Jan Weenix, Spoils of the
chase; 2400. Jan van der Heyde, Dutch town; 2464a. Gabriel
Metsu, Still-life. — *2588. Terburg, The music -lesson, a work
of great delicacy (1660); 2571. H. M. Sorgh, Kitchen; Gen^aa-d
Dou, 2359. Portrait of himself, 2354. Man weighing gold; J. van
Ruysdael, *2560. Sunbeam effect (figures by Ph, Wouverman;
poetically rendered, in silvery grey tones) ; *2557 (above). Forest-
scene (figures by Berchem) ; Gabriel Metsu, 2461. Chemist, 2460.
Music-lesson, 2458. Vegetable-market at Amsterdam; above the
exit, 2436 a. Kalff, Still-life.
Salle Hobbema (XXVI). Paul Potter, 2529. The Bosch at the
Hague, 2526. Horses at a cottage-door, ^2527. Meadow (1652),
2528. White horse with black spots; 2430. K. du Jardin, Wood;
above these, *2894. Barth, van der Heist, Award of archery-prize,
a small, well preserved replica of the Amsterdam painting (1653) ;
2207. Flemish Sch, of 17th Cent,, Landscape; *2360. J, A Duck,
Guard-room (his masterpiece). — *2589. Terburg, Concert; 2315.
Nic, Berchem, Ford ; 2598. A, van de Vdde, Frozen canal (1668) ;
2638. Wynanlts, Landscape; *2404. Hobbema, The mill; 2594. A
van de Vdde, Landscape with cattle; 2432. K. du Jardin, same
subject; 2626. Wowoerman, Riding- school; 2361. J. A.^Duck,
Marauders; above, 2305. Bakhuisen, Sea-piece. — 2429. K. du
Jardin, Pasture; 2600. W, vcm de Velde and Bakhuisen, Sea-
pieces ; Hobbema, ^Landscape ; 2452. J, Vanloo, Study of a woman ;
i
138 Right Bank 4i LOUVBE. First noor:
2593. A. van de Vdde, Beach at Scheveningen (1660); 2427.
K. du Jardin, Italian jugglers; *2403. Hobbemay Landscape.
Comer Boom (XXVII). Right: 2346. I>ecA;er, Landscape ; Ph.
van Dyck (the ^ Little Van Dyck'), 2363. The expulsion of Hagar,
2362. Hagar and Abraham ; 2448. lAngelbach, Italian port ; above,
2304. Bakhuisen, Port of Amsterdam. — Left: 2334, 2335a. Breen-
berghf Campo Vaccino at Rome, Roman ruins; Nic. Berchem,
2318. Environs of Nice, 2323 (above), 2318. Landscapes with cattle.
Corner Boom (XXYIII), opposite, beyond the entrance to the
Galerie Chauchard (p. 174) : Dutch works, mostly later, by lAngd-
bach (2447. Roman vegetable-market). Van der Werff, Verkolje,
etc. Also small pictures by Ph, Wouverman (to the left, 2630.
Hunters and riders halting); 2612. Jan WeeniXy Seaport (1701);
right, above, 2405. M. d'Hondecoetety Two eagles in a poultry-yard.
Salle Van Byck (XXIX). Right: *2202. Flemish Sch. of
Idth Cent., The Angelical Salutation; 1967. Gerard David (f).
Marriage at Cana; above, 2001. J. vanHemessen, Tobias restores
his father»s sight (1555) ; 2202b. Flemish Sch. of early 16th Cent.,
Virgin with donors (triptych); Jan van Scord, Paracelsus (?). —
*2196. Roger van der Weyden (rather Dierick Bouts), Descent
from the Cross; 2028a. Hans Mending, Portr. of a monk; 2195.
R. van der Weyden, Virgin and Child; 2200. Flemish Sch, of
16th Cent., Christ; *1986. Jan van Eyck, Chancellor Bolin
revering the Virgin, with an admirable landscape (ca. 1426) ; above,
Colin de Coter, 1952a. The three Maries, *1952b. The Trinity;
Hans Mending, *2027. Betrothal of St. Catharine, *2025. Mary
Magdalene, *2024. John the Baptist; 1051. Brabant School of 16th
Cent., Female saint or donor reading; above, Flemish Sch. of 16th
Cew*., Bead Christ. — 1997, 1998. Jan Gossaert (Mabuse), Virgin
and Child (diptych), with portr. of J. Carondelet, Chancellor of
Flanders; Flemish Sch. 2198. Religious instruction (15th cent.),
*2204a. Portr. of an old man (early 16th cent.), Philip le Bel (15th
cent.) ; Hans Mending, *2028. Triptych, Martyrdom of St. Sebas-
tian, Resurrection, and Ascension, and *Portr. of an old woman;
2205b. Flemish Sch. of 15th Cent., Charles V.; 2067 a (above
No. 2028), Barend van Orley, Holy Family; *2298a. Flemish
Sch. of 16th Cent, Hell.
Salle Quentln Matsys (XXX). Over the door, 2300 a. Arent
Arentsz, or Cabel, Landscape. Right, *2029. Quentin Matsys,
Banker and his wife; above, 2742. Grerman Sch., Portr. of a man;
1917. P. Brueghel the Elder, Beggars; 1999. Jan Gossaert, Bene-
dictine monk; *2563a. Geertgen tot Sint Jans, or van Haarlem,
Raising of Lazarus; above, 2030a. Jan Matsys, David and Bath-
sheba ; 2203. Flemish Sch. of early 16th Cent. , Pieti ; 2030a. Quen-
tin Matsys, Virgin and Child. — 2300. Aertgen van Leyden (f))
Abraham's sacrifice; 1050. Antwerp Sch. of 16th Cent, St. Jerome ;
Picture QaUery, LOUVRE. Bight Bank 4. 139
*2738. Master of the Death of Mary (Cologne Sch.; ca. 1520), Last
Supper, Descent from the Cross, and St. Francis of Assisi ; Flemish
Seh., 2197. Holy Family (16th cent.), 2205. Portrait (16th cent.).
— 2641b. Dutch Sch, of 16th Cent., Portrait; *1917a. P. Brue-
ghel the Elder, Parable of the seven blind men ; left and right of
the last, Flemish Sch. (1507), Adam and Eve; above, 2640. L. F.
Zustris, or Suster, Venus and Cupid ; Flem. Sch. of 15th Cent,
Virgin and Child; 2788a. Master of ike Death of Mary, Monk
offering his heart to the Infant Jesus; 2702. B. Bruyn(f), Portrait.
Salle Anthony Mor (XXXI). Right: 2601. Adr. van de Venne,
Festival ; *2479. Sir Anthony More, Court-dwarf of Charles V. ;
1923. Jan Brueghel, Landscape; 2168. David Teniers the Yr.,
Portr. of an old man; 2079. Rubens, Virgin, Child, and angels in
a garland of flowers; 1924. Jan Brueghel, Landscape; 2167. Teniers
the Yr., Bagpiper; above, 1902. V. de BaeiUeur, Interior of a
picture-gallery; 1990. Fr. Francken the Yr., Parable of the pro-
digal son; 2478. Sir A. More, Portr. of a man. — Dutch Sch. of
16th Cent, 'PTeseniiition in the Temple, Marriage at Cana; Jan
Brueghel, 1920. The Air (1621), 1919. The Earth, or the Earthly
Paradise (1611) ; 1991 a. Fr. iVancken the Yr., The Passion; above,
2191. 0. van Veen (Vaenius), The artist and his family. — 2581.
Hendr, van Steenwyck the Yr., Christ at the house of Martha and
Mary (1620) ; 2064, 2063 (farther on), P. Neeffs the Elder, Church
interiors; P. Brueghel the Elder, 1918^*». Rustic dance, 1918.
Village; 1922. Jan Brueghel, Tivoli; *2481a. Sir A. More, Ed-
ward VI. of England; 2299. Aertgen van Ley den (f). The ascent
to Calvary; 1921. Jan Brueghel, The battle of Arbela.
ScOle Teniers (XXXII). Right: David Teniers the Yr. (comp.
p. 121), 2163. Tavern scene, 2165. Smoker, *2159. Village ffite,
2166. Knife-grinder, 2155. Peter's denial (among the soldiers at
table is the painter himself); 2194a. Seb. Vrancx, Sack of a
village; 2019. Jan Med, The beggar; 2358. Gerard Dou, Portr.
of an old woman; 2567. G. Schalcken, Old man writing; 2006.
Huysmans, Landscape; 2020. Jan Meel, Neapolitan barber;
F. Francken the Yr., Ulysses recognizes Achilles. — Tenters the
Yr., *2156. The Prodigal Son (1644), 2158. Temptation of St. An-
thony, 2162. Tavern interior, 2160 (above). Inn by the river. —
2137. D. Ryckaert III., Interior of studio ; 2485. E. van der Neer,
Fishwife; Teniers the Yr., 2161. Rustic dance, 2163a. Landscape
with interior of farm, 2167. The works of mercy, 2164. Heron-
hawking; 2140a. Jan Siberechts, Rustic scene; Van Slingelandt,
Kitchen utensils; 2336. Van Brekelenkam, Monk writing; 1962.
Gonzales Coques, Family party. Above the doors, Teniers, Tavern
scene, Landscape.
First Dutoh Boom (XXXIII), with the following two rooms,
contains pictures from the La Caze Collection (p. 163). 2507.
140 Bight Bank 4, LOUVRE. First Floor:
A. van Ostade, Interior of a school; 2591. Terhurg, Reading-
lesson ; 2402. Jan van der Heyde, Landscape ; W, Kalff, 2437.
Still-life, 2438. Household utensils ; 2505. A. van Ostade, Reading
the newspaper; 2514. /. van Ostade, Interior; 2468. Mierevelt,
Portr. of a woman; 2357. Gerard Dou, Old man reading; 2599.
Adr. van de Velde, Landscape with cattle; 2309. Bakhuisen, Sea-
piece. — 2337. Van Brekelenkam, Consultation; 2407. Honde-
coeter, Poultry; *2454. Nic. Maes, Saying grace. — 2620. Van
der Werff, Half-figures ; 2535. Van Ravesteyn, Portr. of a woman ;
2393. Heemskercky Interior; 2506. A, van Ostade, Tavern; *2579.
JanSteen, Family repast; 2406. Hondecoeter, The white turkey;
2513. /. vafi Ostade, Pig-sty; 2517. E. van der Pod, Cottage;
1914. Adr. BrouweTy Man cutting his pen; 2573. H, M. Sorgh(f)y
Tavern interior; *2208. Flemish or Dutch Sch, (17th Cent.), Old
woman. — Above the door, 2533. Pynacker, Landscape.
Second Dutch Boom (XXXIV; pictures from the La Caze Col-
lection, comp. p. 139): 2515. /. van Ostade, Winter-scene; 2382.
Van der Hagen, Plain of Haarlem; 2572. H. M. Sargh, Flemish
interior; *1916. Adr.Brouwer, Smoker; above, 2339. VanCeulen,
Portr. of a woman; 2634. Ph. Wouverman, Pilgrims; 2435. JT. du
Jardin, Landscape; 2413. G. van Honthorst, Lute-player. — 2502.
A. van Ostade, Drinker; 2379. Van Goyen, Banks of a canal;
2397. Nic. van HeU-Stocade (not Bart, van der Heist), Hendrik
Heuck, the inventor of floating bridges, and his wife, at Nymwegen;
2503. A. van Ostade, The reader; 2366. AUart van Everdingen,
Landscape. — 2534. Van Ravesteyn, Portr. of a woman; 1913. Adr.
Brouwer, Tavern-scene; 2512. /. van Ostade, Interior; *2384.
Frans Hals, *La Boh6mienne' (ca. 1630) ; 2489. 0. Netscher, Prin-
cess; 1915. Adr. Brouwer, The operation; 2504. A. van Ostade,
The reader; *2385. Frans Hals, Portr. of a woman. — By the
window, Marble bust of Louis La Caze by Barrias.
Flemisli Boom (XXXV; pictures from the La Caze Collection,
comp. p. 139) : 1982. Van Dyck,VoTtT. of a woman (grisaille) ; 2055.
P. van Mol, Head of a young man; Teniers the Yr., 2179. Alms-
collector, 2184. Chimney-sweep, 2173. Interior (grisaille); 1925.
Jan Brueghd, Bridge of Talavera; above, 1995. Jan Fyt, Game
and hunting-gear; 1926. Jan Brueghel, Landscape; Teniers the
Yr., 2170. Village fair (signature forged?), 2177. Tavern; *1979.
Van Dyck, Head of an old man ; 2174. Teniers the Yr., Village ffete ;
above, 2152. Snyders, Fruit. — Rubens, 2109. Marie de Mddicis as
France; left and right, 2120. Abraham's sacrifice, 2121. Melchi-
sedeoh and Abraham (sketches). — To the left are smaller pictures
by Teniers the Yr. (2175. Tavern-scene; 2171. The duet; 2176.
Temptation of St. Anthony). Then several sketches; 1981. Van
Dyck, Martyrdom of St. Sebastian; 2119. Rubens, Landscape.
In the passage (XXXVI): 2011a. Jordaens, Last Judgment
Picture OaUery. LOTTTRE. Bight Bank 4. 141
Crossing the Salle Van Dyck (to the left; p. 133), we return to
the Grande Galerie, and by the door to the left in Bay D enter —
Boom rx, the first of the Petites SaUes. The late-Italian works
here continue those in Bay D of the Grande Galerie (see p. 129).
Left, 1401. Dom. PaneUi, Nativity; 1553. Garofalo, Holy Child
asleep; 1386, 1385. Parmigianino (Franc, Mazzola), Holy Fami-
lies. — Guido Bent , 1448. Mary Magdalene, 1447. Ecce Homo ; 1287.
Dom, Feti, Country life; 1562. Franc. Vamd, Martyrdom of St.
Irene; above, 1252. CastigUone, Animals. — Above, 1560. Turchi,
Death of Cleopatra. — Left of the window, 1379. Carlo Maratta,
Portr. of Maria Maddalena Rospigliosi. — We next enter the —
*Freiicli Booms. French art (see pp. xxxviii et seq.) is
represented in the Louvre by more than 1000 pictures. The chrono-
logical order begins in Boom X, next to Room IX (see above). The
direct approach to these rooms is by the Escalier MoUien (E on the
Plan, p. 117), but that staircase was closed in 1912 (comp. p. 95).
Boom X. Earliest Frenoh Schools (Primitifs Frangais). —
Left: 995. Attr. to J, Maloud &n& H. BeUecJiose (1415-16), Martyr-
dom of St. Denis; Maltre de Motdins (end of 15th cent.), *1005a.
Mary Magdalene and donor, 1004. Peter II., Duke of Bourbon,
son-in-law of Louis XL, with St. Peter, 1005 (farther on), Anne of
France, his wife, with St. John; 996. J. Malouel (f), Dead Christ;
*1000. Unknown Master of 1456 (formerly ascribed to J. Fouquet),
Portrait, 'I'homme au verre de vin'; above, 999. Sch. of 16th
Cent,, Portr. of Jean Juvenal des Ursins, President of the Parlement
(d. 1431), and family; *1001b. Sch. of Avignon, 15th Cent., Pieta,
from the Chartreuse of Villeneuve-1 6s- Avignon. — 998 (formerly
No. 1049) , Sch. of 16th Cent., Mt. Calvary and the legend of St. George ;
below, *1342^*». Altar-piece, presented to the Cathedral of Narbonne
by Charles V. of France (14th cent.) ; 13 a. Jean BeUegambe (f),
St. Adrian. — *288. J. Fouquet, Portr. of Guillaume Juv6nal des
Ursins, Chancellor of France under Charles VII. and Louis XL;
End of 16th Cent., Child praying; *998d (formerly No. 1048, and
ascribed to Jean Perr6al), Sch. of 15th Cew^, Virgin between two
donors; above, 997 (labelled 998), End of 14th Cent., Entombment;
*998 a. Large altar-piece, 'Le Christ du Parlement\ painted about
1475, formerly in the Palais de Justice, representing Mt.Calvary,
with St. Louis (portr. of Charles VII.) and John the Baptist on the
left, St. Denis and Charlemagne on the right, and, in the background
(left to right), the Tour de Nesle (p. 297), the Louvre, Jerusalem,
and the Palais de Justice. 304 a. Nic. Froment, King Ren6 and his
second wife; 1001 d. Sch. of Valenciennes (ca. 1480), St. Helena
and the miracle of the True Cross; *289. Jean Fouguet, Charles VII.
of France (ca. 1450) ; 998 c. Sch. of 15th Cent., Descent from the
Cross, with a view of Paris. — Between the windows: 1001c. Sch,
142 ^*fir*« Sank 4. LOUVKE. First Floor:
of Avignon, 16th Cent, Christ, St. Agricola, and donor (from the
church of Boulbon); below it, 997b, and farther on 997a. Bur-
gundian Sch. of 15th Cent., Portraits of Philip the Good and Jean
Sans-Peur, Dnkes of Burgundy. — In the corners, Franco- Spanish
Sch. of 15th Cent, Scenes from the life of St. Greorge (four panels).
— In the centre, drawings and miniatures.
Boom XL French Schools of 16th Century. — Left, 1007a
(formerly 1012), About 1525, Portr. of Baron Guillaume de Mont-
morency; 16th Cent., 1030. Catherine de M^dicis, 1035. Ball at the
court of Henri III., at the wedding of the Due de Joyeuse with
Margaret of Lorraine in 1581, also 1015. Francis of Lorraine, Duke
of Guise; 1485. Rosso, Pieti; 155. Jean Cousin, Last Judgment;
1433. After Primaticcio, Concert ; 1007. 16th Cent., Francis I. ; 88 a.
Simon de Chdlons, The doubting St. Thomas. — 1024. 16th Cent.,
Diane de France; 304. Mart. Fr^minet, Mercury charging JEneas
to abandon Dido; 16th Cent., 1017. Chancellor Michel de I'Hdpital,
1032. Henri III. — Several small portraits. 16th Cent., Portr. of a
man; 271. Attr. to Dubois or Dubreuil, Chariclea undergoes the
trial by fire; 126, 127. Attr. to J. Clouet, Portraits of Francis I.;
attr. to Frang. Clouet, 128, 130. Charles IX. of France and his wife
Elizabeth of Austria, 129. Henri 11. ; *127a. Frang. Clouet, Portr.
of Pierre Quthe (1562) ; above, 1034. 16th Cent, Ball at the court of
Henri III. ; 272. Attr. to Dubois or Dubreuil, Baptism of Clorinda.
— Sch. of Fontainebleau, 1014a. Toilet of Venus, 1014 (above).
Continence of Scipio, 1013 (between the windows), Diana. 16th Gent,
1036, 1031, 1021. Portraits. After Frang. Clouet (f), 133. Eliza-
beth of Austria, wife of Charles IX., 131. Francis of Lorraine, Duke
of Guise, 132. Charles IX. — Second window on the right, in the
corner: 16th Cent., 1007b. Coronation of a pope, 1022. Francis,
Duke of AlenQon, as a child, 1023. Louise of Lorraine, wife of
Henri Til. — In the centre, twenty drawings by Primaticcio,
Boom XH. — Paintings by Le Sueur, notably 19 large scenes
from the life of St. Bruno, painted in 1645-48 for the Carthusians
of Paris. The finest is *584. Death of St. Bruno.
PI Boom XIII. — Left, 586. Le Sueur, St. Bruno and his com-
panions giving their goods to the poor; above, 3. E. AUegrain,
Landscape. Brothers Le Nain, 545. Henri II., Due de Montmo-
rency, 544. Procession in a church, 543. Portraits with interior
(1647), 546. Card-players, 543 a. Family circle, 542. Return of
haymakers, Portr. of a woman, 540. The smithy, Portr. of a boy,
547 (above the door). Denial of St. Peter. Above, left to right, Le
Sueur, 554. Departure of Tobias, 590. Company of artists, 558.
Christ appearing to Mary Magdalene. By the window, 574, 587.
Two paintings of the St. Bruno series.
PJ During the alterations on the Escalier Mollien (comp. p. 95) a narrow
passage leads past the staircase to Boom XIV (p. 143). — The staircase,
Picture Qattery. LOUVRE. BigUBarik4. 143
on which a Lift is to be installed, leads to the second floor, the rooms
of which, above the Petites Salles Fran^aises (pp. 141, 142), will contain
the Ooliection Ceunondo (bequeathed in 1911; Italian and French
bronzes, French pictures of the 19th cent., Japanese curios, etc.).
Galerie Fraii9aise du XVII® Si^ole, or Galerie Mollien
(Room XIV). Right: 715. Nicolas Poussin, The blind beggars of
Jericho (1651) ; 78. S6h. Bourdon, Descartes. — 319. Claude Lor-
rain (GelUe), Sea-piece; Le Valentin (Jean de Boulongne), 57.
Judgment of Solomon, 56 (after No. 742), Acquittal of Susanna;
742. Nic. Poussin, Apollo in love with Daphne (his last work, un-
finished) ; S. Bourdon, 75. Gipsies' halt; 684. Patel fits, January;
above, 513. Charles Le Brun, Entry of Alexander into Babylon,
painted, like Nos. 509-512 (see below and p. 144), as designs for
Gobelins tapestry (1661); 562. Le Sueur, The Virgin appearing
to St. Martin, Bishop of Tours; Poussin, 718. Assumption, 713.
Holy Family; 556. Le Suev/r, Bearing of the Cross, Houching in
its sweet and profound melancholy* ; 494. Le Brun, Adoration of
the shepherds; Poxissin, *740. Orpheus and Eurydice (1659), 'a
model historical landscape'; 709. The Israelites gathering manna
(Rome, 1639), 710. The Philistines stricken with pestilence (Rome,
ca. 1630), 706. Moses in the ark of bulrushes; 461. Martin Lam-
bert, Portraits of two painters; above, 502. Le Brun, Dead Christ;
434. Jouvenet, Raising of Lazarus (1706); 735. Poussin, Time
saving Truth from the attacks of Envy and Discord (for a ceiling;
painted in 1641 for Card. Richelieu); 560. Le Sueur, St. Paul
preaching at Ephesus (1649); 730. Poussin, Bacchanal; CI. Lor-
rain, *313. Port at sunset, *312. Village fgte (both painted in 1639) ;
59. Le Valentin, Concert; 726. Poussin, Rescue of the young
Pyrrhus; 1277. G. Dughet, Landscape ; above, 433. Jouvenet, Mira-
culous Draught of Fishes; 724. Pov>ssin, Rape of the Sabines; 497.
Le Brun, Angels ministering to Christ; 529. Claude Lefebvre,
Master and pupil; CI. Lorrain, 323. Mouth of a harbour, 315.
Samuel anointing King David; 456. Laurent de La Hire, Pope
Nicholas V. by the body of St. Francis of Assisi ; 322. CI. Lorrain,
The ford; 790. Rigaud, Robert de Cotte, the architect; 557. Le
Sueur, Descent from the Cross; above, 510. Le Brun, Battle of
Arbela (comp. above) ; *317. CI. Lorrain, Harbour with the sun
veiled in mist, of marvellous colouring.
Between the doors : 847a. L. de Silvestre, St. Benedict resusci-
tating a child; 555. Le Sueur, The Salutation.
Continuation of left wall: 318. CI. Lorrain, Seaport; 738.
Poussin, Autumn, or the Grapes from the Promised Land ; H. Ri-
gaud, 784 (above the last). Two portraits of Marie Serre, mother
of the painter, 780. Presentation in the Temple, a luminous picture
(the painter's last, 1743) ; Poussin, 737. Summer, or Ruth and Boaz,
743. Portr. of the artist, 736. Spring, or the Earthly Paradise, 731.
144 Bight Bank 4, LOUVKE. • Pirst Floor:
Echo and Narcissus, 739. Winter, or the Flood; 787, 789. Rigaud,
Portraits ; above, 512. Le Brun, Alexander and Poms (comp. p. 143);
CI. Lorrain, 325. Louis XIII. forcing the pass of Susa, near Turin,
in 1629, and 324. Siege of La Bochelle by Louis XIII. in 1628;
Foussin, 722. Vision of St. Paul, 720. Death of Sapphira; 788
(above 722), Rigaud, Portraits; 320. CI. Lorrain, Landscape;
782. Rigaudj Philip V. of Spain, aged seventeen (1700); Patissin,
716. The woman taken in adultery, 714. Holy Family; above, 515.
Le Brun, Death of Meleager; *314. CI. Lorrain^ Cleopatra land-
ing at Tarsus; 977. S. Fowet, Riches; Poussin, *Poet's inspiration;
above, 595. Le Sueur , Cupid bids Mercury proclaim his authority
to the world (from the Hotel Lambert, p. 277); *316. CI. Lwraiuy
Ulysses restoring Chryseis to her father, figures by FH. Lauri;
978. Vouetj Faith (companion to No. 977); above, 559. Le Siteury
SS. Gervasius and Protasius refuse to sacrifice to Jupiter; *734.
Foussin, Arcadian shepherds finding a tombstone inscribed ^et in
Arcadia ego' (damaged); *628. Mignard, Tierge k la Grappe';
*781. Rigaudj Louis XIV. (1701); 705. Foussin, Moses in the ark
of bulrushes; 452. L. de La Hire, Madonna and Child (1642);
above, 639. Mignard, Fran^oise d' Aubign6, Marquise de Maintenon ;
LeBrun, 514 (above), Hunt of Meleager and Atalanta, 498. Christ
entering Jerusalem ; above, 971. Fowet, Presentation in the Temple;
*796b (formerly 783), Rigaud and Ch. Sevin de la Fennaye,
Portr. of Bossuet; 530. Lefebvre, Vorir. of a man (1667); 153. Le
Bourguignon, Skirmish of cuirassiers with Turkish cavalry; 311.
CI. Lorrain, Campo Vaccino at Rome; 732. Foussin, Triumph of
Flora; *310. CI. Lorrain, Harbour at sunrise; 69. S. Bourdon,
Presentation in the Temple; *441. J. Jouvenet, Portr. of Fagon,
physician of Louis XIV.; Mignard, 634. St. Cecilia (1691), 630.
Christ on the way to Calvary (1684); above, 509. Le Brun, Alex-
ander crossing the Granicus (comp. p. 143); 483. LargiUi^re,
Count de La Chatre. — *704. Foussin, Eleazer and Rebecca (one of
the master's most charming works) ; 499. Le Brun, Christ bearing
the Cross. — In the centre, drawings and engravings.
The gallery is adjoined by a lofty rooin with a cupola, the —
Salle des Portraits (XV), containing Portraits of Artists,
paintings and busts, collected in 1887. In the cupola are paintings
by Ch. L. Milller, illustrative of four periods of French art: St.
Louis founds the Sainte-Chapelle (p. 271) ; Francis I. visits a studio;
Louis XIV. begins the Louvre; Napoleon I. orders its completion.
Above, eight fine pieces of Gobelins tapestry.
The most interesting portraits are (right to left) : 873. Et. Jeaurat,
by Greuze; 625. Jo8. Vemetj by Mme. Vig^e-Lebnin ; 640. P. Mignardf
by himself; 175a (formerly 179), Ant. Cojfpel, by himself; 4a. Bon Boulr
lognei by G. Allou; 200. Mongez and his wife, by David; 624. H, Bobert,
by Mme. Vig6e-Lebnin ; 612. DrouaU, at the ago of fifteen, by Lusnrier;
476. J. L. David, by Langloisj 1148, Ouercino, 1466. Tintoretto, by them-
selves J 482. Cfh. Le Brunf by LargiUiire. -- 760. P. Fuget, by Fr. Puget (?) j
Picture OaUery, LOtTVUE. ^ight Bank 4, 145
821, 822. M, and Mme. Vien (Marie Beboul), by Roslin; *147. G, Courbet,
by himself (The man with the leather belt). — *621. Mme. Vigie-Lehrurij
with her daughter, 826. Roslin^ 796. H. Bigaud, 302. Fragonard (probably
by himself), 904. L, M. VanloOj 1380. Maratta^ all by themselves. — 272 a.
Ph. BousseaUf by E. Dabufe; 166. NoSl Coypely 619. C%. Le Brun, by them-
selves.— 533. Hall^f by J. Legros. — 902. Sauffloty the architect (with two
of his drawings), by L. M. Vanioo; 381. J. B. Greuze, by himself; 492. Ntc.
CaustoUf by Largilli^re ; 871. GcUlocfie, by Tocque ; 80. Bourdon^ by him-
self; 958 a. J, B. Isabey, by H. Yernet; 407. Mme, C. A, Haudebourt-
Lescot, by herself; 778a. Heilbuthy by Bicard. — Bust of Davidy by Rude.
On the easels arc Nkw Acquisitions. In the centre : Corotj View of
Rome; LaHvihre, Portr. of his sister; G^ricatUt, Horse-race at Rome;
Davidj Portr. of Oath. Tallard (1796). — On the right: Bellini, Christ
blessing, between two wings of an altar-piece by Bart. Bruyn the Elder,
Donor and his wife, with their children (1545); behind, Perronneau, Portr.
of Abraham van Robais; drawings. — On the left: L. Cranach the Elder,
Portr. of a girl; Master of the Holy Kinship (Cologne; 15th cent.), Present-
ation in the Temple, Adoration of the Magi, Christ appearing to His
mother; behind, Th. Rousseau, *A venue of chestnut-trees; drawings. —
Behind the easels, Ph. de Champaigne, Portr. of the Due de Roannez (?),
Portr. of the nun Ang^lique Amauld.
Before visiting the large lateral Room VIII (Modem "Works ;
p. 147), we enter the —
Galerie FraiiQaise du XVIII® Si^ole, or Gcderie Daru
(No. XYI). Right, J. B. Greuze, 873c. Portrait of Gluck (?), 372 e.
Terror. — 180. Ch, Ant. CoypeL, Perseus delivering Andromeda;
Deaportes, 232, 235. Sporting-dogs and feathered game^ 224. Sports-
man, 231. Louis XIV.'s dogs, 249. Portrait of himself, 226 (above).
Boar-hunt; 372c. Greuze, Dead bird; 622b. Ph. Mercier, The
epicure; L. M, Vardoo, Portr. of Diderot (1767); 373b. Gremej
Dr. Duval; 869, 868a. Tocqu^, Portraits; 536. Fr. Le Moyne,
Juno, Iris, and Flora; 170. A. Coy pel, Esther before Ahasuerus;
447. Ch. de Lafosse^ Triumph of Bacchus; 290. J. H. Fragonard,
The high-priest Coresus giving his life for Callirrhoe; 689. Pater,
P§te champgtre (1728); 45b. Boucher, Lion-hunt; 265. Drouais,
Portr. of Le Lorrain, the sculptor; 450. Lagreni^e, Melancholy;
897. 0. A. VanLoo, Marriage of the Virgin; above, 402. HalU,
Autumn; 183. A. Coypel, Portr. of himself; Lancret,46b. Winter,
464. Autumn; 935, 936. Jos. Vernet, Castle of Sant' Angelo and
Ponte Rotto at Rome; 375, 374. Greuze, Girls' heads; 657. J. M.
Nattier, Mary Magdalene; 896. J. B. Vanloo, Diana and Endy-
mion; 867. L. Tocqu^, Marie Lesczinska, Queen of France; 549a.
LipicH, Carle Vernet, the painter, as a child; Lancret, 463.
Summer, 462. Spring; Boucher, 30. Diana leaving the bath, 31.
Venus begging Vulcan for arms for ^neas; 969. G. Voiriot, Portr.
of the painter J. M. Nattier; BotbcheTf *45. Pastoral scene, 32.
Shepherdess asleep; 877. TortebaJt, Portr. of Houasse, the painter;
666, 671. Oudry, Dogs; 665. OUivier, Tea at Prince de Conti's;
Boitcher, *50a. Dejeuner, 33. Bag-piper; 535. Z/c ilibyne, Olympus
(sketch for a ceiling); 863. TaravaL, Triumph of Amphitrite; 668.
Otbdry, Dog and game; 651, 650. L. G. Moreau, Landscapes;
146 -Btflr^e Bank 4, LOUVRE. ^^^ Floor:
H. Robert, 809. Cascade, 810. Interior of a park ; 959. A, Vestier,
Portr. of his wife ; 549. L6picU, Farmyard; 261. Drolling, Kitchen ;
372b. Greuze, Two friends; BoiUy, 28. Arrival of the diligence,
Isabey's studio; 916. J. Vernei, Sunset; 222. De Marne, Pair;
824 b. Roslin, Marmontel, the author.
Back- wall: 194. David, Paris and Helen; above, 922. J.Vemet,
Return from fishing; Greuze, 370. Paternal curse, 371 (beyond
the door), Repentant son, both more striking in subject than
execution.
The door opens on to the upper landing of the Escalier Daru
(p. 117), where a few early Italian pictures are hung: *1297, 1298.
Botticelli, Frescoes from Villa Lemmi near Florence, said to have
been painted for the nuptials of Lorenzo Albizzi and Giannina
Tornabuoni, representing Giannina with the Graces and Lorenzo
with the Arts and Sciences; *1294. Fra Angelico, Crucifixion,
from the old Dominican monastery at Fiesole. On the walls are
designs for tapestry by GivMo Romano, Also, antiquities found at
Delphi (comp. p. 117) and Etruscan sarcophagi.
We re-enter the gallery. Right: 38a. Boucher, Rinaldo and
Armida; 221. De Marne, A road; 400a. Mme. LahiUe-Gruyard,
Vincent, the painter. — 34, *35. Boucher, Pastoral scenes; 203.
Debar, FSte champgtre ; above, 965. J. M. Vien, Hermit asleep.
*369. Greuze, The marriage-contract, once very popular, in
spite of its lack of harmony in colour and its defective execution.
Lancret, 469. Innocence, 468. Music-lesson; Mme. Vig^e-Le-
brun, 526. Mme. Mol6-Raymond, 520. Peace with Abundance,
522. Portrait of the artist and her daughter; 291a (above No. 620),
Fragonard, Vow to love; above, 678. J. Parrocel, Louis XIV.
crossing the Rhine in 1672; farther on, above, H, Robert, 799.
'Temple of Diana' at Nimes, 804. Circular temple with a dovecot,
807. Ruined portico, 808. Ruins of a temple ; J. B, Hilaire, 410.
Reading, 410a. Music; 373a. Greuze, Portr. of a man; 899. C. A.
Vanloo, Hunters resting; *372. Greuze, The broken pitcher, his
best-known work ; 698. Perronneau, Oudry, the painter.
*982. A. WaUeau, Embarking for Cythera, 'tender and ideal in
colouring, a typical dream of youth and happiness' (1717).
697. Perronneau, Portr. of the sculptor L. 8. Adam the Elder;
above, Boucher, 38. Cephalus and Aurora, 45 a. Trapped bird
(sketch), 37. Vertumnus and Pomona; *372a. Greuze, Milkmaid;
*39. Boucher, Rape of Europa; Chardin, 97. The antiquarian ape,
94. Dead hare, *92. Saying grace (1740), *90a. Boy with a top,
99. Housekeeper (1739), 89. Kitchen (1728), 90. Sideboard (1728),
*91. The industrious mother (1740), *90b. Young fiddler; Boucher,
42 (above 94), Cupid's target; 36 (farther on), Vulcan present-
ing Venus with arms for -^neas; 291 (below No. 36), Fragonard,
Music-lesson; FV. Desportes, 245. Fruit and game, 229 and 230
Picture Gallery. LOUVRE. ^WM Bank 4. 147
(above), Dogs, 237. Vegetables ; 868. Tocque, Louis of France, son of
Louis XV.; 661a. N<xttiery Portr. of a young woman; *670. Oudry,
Farm ; 764. J. Rdoibx, Telemachus telling his adventures to Ca-
lypso. — To the right of the door, 3 7 2d. Greuze, Little girl with doll.
Between the doors are 835. J. B. Santerref Susanna; 938. J.
Vemet, Sea-piece.
The paintings following in chronological order are in the Salle
des Sept-Chemin6es (p. 152), but we first re-enter the Salle des
Portraits (p. 144), and turn to the left into the —
ScQle FranQaise du XIX« Si^ole (Room VIII), once a Salle
des Etats, A door at the end leads to the Grande Galerie (comp.
p. 128). — Right, 425. Ingres, M. Cordier; *185a. Dauhigny, Har-
vest (1851); 778 e. G. Ricard, Mme. de Calonne; above, *209.
E. Delacroix, Revolution of 28th July, 1830 (The barricade).—
*207. Delacroix, Dante and Virgil in Hades, 'ardent and sombre,
pervaded by an infernal glow' (1822); 771. Henri Eegnault, Exe-
cution at Granada. — *212a. Delacroix, Hamlet and the grave-
diggers (1839) ; 141. Corot, Souvenir of Mortefontaine ; above, 212 b.
i>eiacrowc, Tiger-cub playing with its mother; 390. Gros, Francis I.
and Charles V. at the tombs of St-Denis; above, *156. Th. Couture,
Romans of the decadence (1847); *141b. Corot, Castel Gandolfo;
702. PiU, Rouget de Lisle singing the Marseillaise ; above, *205 b.
Decamps, Defeat of the Cimbri ; 146 a. G. Courbet, Stream (1855) ;
2965. Meissonier, Mme. Gerriot; *200a. David, Portr. of Mme.
Morel de Tangry and her two daughters, speaking likenesses ; above,
17. BenouviUe, St. Francis of Assisi on his deathbed blessing the
town of Assisi; 643. Millet, Spring; 610a. E. Levy, Portrait of a
young man; above, 189. David, Oath of the Horatii; *417. Ingres,
Apotheosis of Homer, a highly characteristic masterpiece of the
painter (for a ceiling; 1827); above, 145. Courbet, Stags fighting;
*644. Millet, The gleaners (1857), one of his masterpieces; 842c.
A. Scheffer, Portr. of Mile, de Fauveau; *423. Ingres, Woman
bathing (1808) ; 363. Gleyre, Lost illusions (1843) ; above, 191.
David, Lictors bringing to Brutus the bodies of his two sons;
*138. Corot, Morning; 50c. Boulanger, Portr. of a young woman;
Ingres, *427. Mme. Riviere, 416. Madonna with the host; *889.
Troyon, Oxen on their way to the plough, perhaps the finest
animal-painting of the 19th cent. ; *426. Ingres, M. Riviere (1805) ;
283* H. Flandrin, Study of a face; above, 610. Lethidre, Death
of Virginia. — *613a (formerly 204), Manet, Olympia (1865 ; comp.
p. 178, No. 71); 420. Ingres, Joan of Arc at Rheims; *184. Dau-
bigny. Vintage in Burgundy ; 250. E. Dev4ria, Birth of Henri IV.
(painted in 1827). Above the door, 748. Prud'hon, Meeting of
Kapoleon I. and Francis II. after the battle of Austerlitz.
On the other side of the door of the Grande Galerie : 412. Huet,
Flood at St-Cloud; 216. P. Delaroche, Death of Queen Elizabeth
Bakdbkbr's Paris. 18th Edit. 10
148 Jilght Bank 4. LOUVRE. t^rst Floor:
of England (painted in 1828). — Ingres, *422b. 'La grande Oda-
lisque' (early work; 1814), 415. Christ handing St. Peter the keys
of Paradise (1820), *428b. M. fiertin, founder of the Journal des
D^bats (1832; the master's finest portrait) ; *890. Troyon, Return-
ing to the farm ; above, 609. Lethi^e, Brutus condemning his sons
to death; 418. Ingres, Cherubini (1842); Courhet, 144. Wounded
man, 146. Deer in cover; 306. Fromentin, Arab camp; 284. Flan-
drin, Portr. of a girl; 616. MariUiat, Ruined mosque of Caliph
el-Hakim, at Cairo; 147a. Courbet, The wave; 842b. A. Scheffer,
Lamennais; 50 b. Fr. Bouchot, Fall of the Directory (18th Bru-
maire or 9th Nov., 1799); *213. Delacroix, Taking of Constanti-
nople by the Crusaders (painted in 1840) ; above, 843. Schnetz, The
vow; *827. l^h. Rousseau, Border of the forest at Fontaine bleau
(1855) ; above, 842a. A. Scheffer, Portrait; 847. Sigalon, Courtesan ;
above, 408. Heim, Scene from Jewish history; Dektcroix, 214.
Portrait of himself, 211. Jewish wedding in Morocco (damaged),
212. Shipwreck of Don Juan (Byron) ; 841. A. Scheffer, St. Augus-
tine and his mother St. Monica; *145a (labelled 147), G. Courbet,
Deer ; 419. Ingres, Ruggiero rescuing Angelica ; above, *389. Grros,
Napoleon I. at Eylau in 1807. — *210. Delacroix, Algerian women
(1834); 121. Chasseriau, The chaste Susanna. — 428. Ingres,
Mile. Riviere; *185. Daubigny, Spring (1857); 428a. Ingres,
M. Bochet; above, *208. Dela>croix, Scene from the massacres at
Chios. — Above the entrance, 770. Begnault, General Prim (1868).
We descend part of the Escalier Daru (p. 117) and ascend again
on the left side, passing the Nike of Samothrace (p. 117), to the —
Rotonde d'Apollon (XXXII), a kind of vestibule, adorned
with ceiling-paintings by Blotidel (Fall of Icarus), Couder (the
Four Elements), and Mauzaisse (paintings in grisaille). In the
centre is a marble vase, copied from an antique in the Vatican, on
a modem mosaic by F. Belloni. Around are four antique marble
statues. — Facing us is the Salle des Bijoux (p. 151). — A superb
17th cent, wrought-iron door on the right leads to the —
**Qalerie d'Apollon, the finest hall in the Louvre, and one
of the most sumptuous in the world. It was originally built in the
reign of Henri IV., burned down under Louis XIV. in 1661, and
rebuilt from designs by Ch. Le Brun, who left the decoration un-
finished. It was then neglected for a century and a half, but was
restored and partly rebuilt in 1848-51 by Fdix Dvban. The de-
coration is masterly. The paintings, sculptures, and door-panels
are admirable in themselves and highly effective as a whole. The
name dates from Le Brun, who made a figure of Apollo the central
point of his decorations, in honour of the *Roi Soleil', but the fa-
mous *Ceiling-painting of Apollo's Victory over the Python, by
Oalerie tVApoUon. LOUVRE. i^g^t Bank 4. 149
Eug. Delacroix, was not execated until 1849. The vault is di-
vided into five large fields depicting the periods of the day (be-
ginning at the S. end-wall); Aurora oV Dawn, by Ch. L. Milllei'
(1850), after Le Brun ; Castor or the Morning Star, by A. Renou
(1781); then, beyond the Apollo (who represents Noon), Morpheus
or Evening, and Night or Diana, by Le Brun. Around these are
four other paintings representing the seasons (second half of 18th
cent.), and twelve medallions in grisaille portray the months. On
the vaulting above the entrance is the Triumph of the Earth, by
J. Guichard, after Le Brun. The vaulting over the window. Triumph
of the Waters (Neptune and Amphitrite), is by Le Brun himself.
The panels of the walls are adorned with twenty-eight portraits of
French kings and artists, in modem Gobelins tapestry. — The door
at the end, on the right, opens into the Salon Carr6 (p. 123).
The superb tables and other furniture in the centre of the hall
and around it date chiefly from Louis XIY., to which period belong
also the GemSj Trinkets, and Enamels in the glass-cases. The
collection of enamels is the finest in Europe. No catalogue.
Oask I (in the centre). Top Bow: *Ewers in sardonyx (I6th cent.); vase
in Oriental jasper, with enamelled mounting. — Middle Row: ^Renaissance
(Italian) trinkets with pearls and enamels, mounted; ewer and enamelled
vase, both in amethyst (16th cent.). On the side opposite the windows:
St. Paul, in stained glass (Flemish ; 16th ce>ii\.). — Lower Bow : Other trinkets,
small French, Italian, Byzantine (some presented by Mr. Pierpont Morgan
in 1911) and other enamels; precious ornaments in enamelled gold.
Oasb II: Church-vessels of the O^othic period, vases in enamelled
gold and in rock-crystal. Top Bow. At each end are enamelled Venetian
basins; reliquary for an arm of Charlemagne (German; 12th cent.); the
'coflfret de St Louis', from the abbey of Lys (Limoges; 13th cent.); *Ama-
zon on horseback, Centaur carrying off a woman, in silver-gilt (16th cent.);
enamelled brass casket of 14th century. — Middle Bow, next the window.
Enamelled croziers of the middle ages; reliquary in the shape of a head
(Limoges; end of 18th cent.); reliquary of St. Henry of Bavaria (Saxon work
of 12th cent.); two reliquaries in the form of Madonnas (15th cent.); be-
tween the last two, ""Head of St. Martin (French work of 14th cent.^, from
the church of Soudeilles (Corr^e), presented in 1911 by Mr. Pierpont
Morgan; reliquary-cross of St. Vincent of Laon (French; end of 12th cent.);
reliquary of St. Francis of Assisi (Limo|^es; ISth cent.). — Lower Bow.
At the right end, two reliquaries in the rorm of anp^els, from the Chapel
of the Order of the Holy (ihost in the Louvre (Pans; 1579-86); between
them, German monstrance (early 16th cent.). On the window-side, prayer-
book of Catherine de M^dicis ^16th cent.); small enamelled caskets of the
12th-13th cent. ; reliquary in the form of a statuette of St. Lawrence lying
on the gridiron (French ; 14th cent.). At the other side of the cabinet are
enamelled vases, reliquaries, German and Hungarian goblets, rock-crystal
vase, monstrances, ciborium, and cups. — At the left end, Italian paxes ;
^Reliquary for an arm of St. Louis of Toulouse (Italian; ca. 1SS7) ; reliquary
from the Chapel of the Holy Ghost (see above) ; portable b^nitier in agate
and silver-gilt (16th cent.); chalice (16th cent.).
Case III. Chiefly objects of the 16th cent. : *Ciborium of cryatal,
with silver-gilt base and cover, adorned with chasing, cameos, and gems
(from the Chap, du St-Esprit; Italian work, 16th cent.); *Pax from the
Chap, du St-£sprit, with enamels and rubies (end of 15th cent.); two
urns of basalt and agate once owned by Card. Mazarin ; *Rings ; cups of
sardonyx (German); rock-crystal ewer, shaped like a chirosera.
10*
150 Bight Bank 4. LOUVRE. Firet Floor:
Cases IV. Objects of the 16th -17th centuries. — I'op Bow. *Epergne of
the time of Louis XIV., a boat in lapis lazuli mounted in gold and enamel ;
comfit-boxes in pietra dura (J6th-17th cent.); bowl in rock-cr>'stal (16tb
cent.) and *Ewers, beautifully chased (translucent, best seen from the
other side; the handle of one is set with enamels and rubies). — Middle
Bow: Busts of Roman emperors, with heads in precious stones; cups of
the 16th cent., incl. one of agate with cameos; censer in pietra dura (16th
cent.); cup from China (18th cent.); perfume-burner of green jasper with
enamels. — Lower Bow. At the right end, basin by Wenzel Jamnitzer
(Nuremberg, 15th cent.); more busts of emperors (see above); fine cups of
16th cent., one in lapis lazuli, adorned wifti rubies ; basket in rock-crystal
(16th cent.); vase in red jasper, with mounting attributed to Benvenuto
Cellini (l6th cent.); at the left end, a tray adorned with pearls (end of
16th cent.) and a German cup of the 16th century. — On the other side
are also several superb vases.
Case V contains the Cro"W^n Jewels, reserved when the others were
sold in 1887. Among these are: the *Begentj perhaps the finest diamond
in the world, weighing 186 carats (nearly 2 oz.), and valued at from 480,000
to (>00,000L 8tg. To the right, the Mazarin, another large diamond, *hor-
tensia-coloured', with five facets. Between them, the *C6te de Bretagne\ a
large ruby cut in the shape of a dragon by Guay, Mme. de Pompadour's
lapidary. To the left, a pearl necklace presented by Mme. Thiers. In front,
the sword of Charles X., executed by F. Bapst, and set with gems (on
the scabbard, the letter N, for Napoleon). — Behind: to the right, facsim-
ile of the Crovm of Louis XV. (imitation jewels); to the left. Crown of
Napoleon I. (1804), a copy of Charlemagne's crown (with antique jewels);
between these, Plaque comvfiemorating the Peace of Teschen (1779), a fine
German work. In front, watch taken from the Bey of Algiers in 1880;
pearl dragon-brooch and white elephant, in enamelled gold, of the Danish
order. On the left side, ChMeJaine of Catherine de M^dicis, with diamonds
reset by A. Bapst in 1856.
Case VI. Objects of the 16th-17th centuries. — Top Bow. Ewers in rock-
crystal and basin in green iasper. — Middle Bow. At the right end, *Cup
adorned with a sea-horse ana a lizard; antique *Vase, beautifully mounted
as a ewer; *Cup of sardonyx, with handle in the shape of a dragon enriched
with diamonds, rubies, and opals; on the side next the windows, and at
the left end, cups and ewers of sardonyx, agate, and jasper; in the centre,
♦Scourging of Cnrist, a statuette in blood-jasper, on a superb pedestal. —
Lower Bow. At the right end, two *Perfume-boxes and a *Ewer; cups;
a German casket of the 18th cent.; Calvarj^, a German work of the 16th
century.
Table with the *Shrine of St, Potentian (German ; early 13th cent.).
Case VII, at the end, to Ihe left. On the left, the holy women at
the Sepulchre, a silver plaque (repouss6) from the Abbey of St-Denis
(Byzantine; 11th cent.); paten, in serpentine, of Suger, Abbot of St-Denis
(p. 392; 12th cent.); enamelled ciborium, by G. Alpais (Limoges, 13th
cent.). — In the centre, antique vases in porphyry and in sardonyx, re-
mounted in the 12th cent. ; Vafte of Eleanor of Aquitaine, wife of Louis VII.
of France and afterwards of Henry II. of England, in antique rock-crystal,
mounted in the 12th cent.; *Case for holding the Gospels, from the Abbey
of St-Denis (French; 11th cent.). — To the right, picture-reliquary of ISth
ceiit., copy of a Byzantine work; reliquary (repouss^ silver) in the form
of a booK-cover (Byzantine; 10th cent.); bas-relief in repouss6 silver,
12th cent.; cup (in French style, 15th cent.); chalice of Abbe Pelagius
(Spanish, 13th cent.); chalice in enamelled silver with the arms of the
Guzmans (Hispano-Flemish ; 14th cent.).
In front of end-window : *Madonna, silver-gilt, presented to the Ab-
bey of St-Denis by Queen Jeanne d'Evreux (French; early 14th cent.).
Case VIII, at the end, to the right. Chased gold casket of Anne of
Austria; vases, basins, and utensils from the Chap, du St-Esprit (p. 149).
I
Oalerie d'ApoUon. LOUVBE. Bight Bank 4. 151
The glass-cases near and opposite the windows contain Snamels
(comp. p. 149).
Enamel is a kind of glass, coloured with metallic oxides, used to
decorate plates of metal. It may be either transparent or opaque. Ena-
mels are termed Cloisonne when the glaze is deposited in sections formed
by thin metal partitions (cloisons) following the outlines of the design;
Cham,plev6 when the compartments are sunk into the plate; Trans-
lucide when the design is incised on the plate and covered with trans-
parent enamel; and Painted (point) when the plate is entirely covered
with enamel. Cloisonne and champlev^ enamels were made by Byzantine
and medisBval artists ; the translucent process was not invented until the
14th cent.; while painted enamels date only from about 1620. The art
of painting on enamel was practised in France, especially at Limoges, as
early as the 12th cent.; it culminated in the 16th, and died out in the
18th. The most famous artists in enamel were Nardon Pinicaudj Lio-
nard Limouainj Jean and Pierre CourteySf and Pierre Beymond (see also
p. 285).
By the First Window, near the entrance: Enamelled plaques and
medallions of the llth-lSth cent. (Limoges and vicinity); in the centre,
a Gross by Qameriua of Limoges (ISth cent.). — Second Window : Cham-
plev4 Enamels of the 12th-13th cent. (Limoges work); crucifix in gilt
bronze, chased (Romanesque style; 12th cent.); enamelled crosses and
plaques. — Third and Fourth Windows: Limoges enamels; *Painted
enamels from the studio of the P4micauds (16th cent.). — Fifth Window :
^Goldsmiths' work : 6tuis , medallions with miniatures, rings, chains,
crosses , ear-rin^s and other ornaments enamelled or set with pearls anu
gems ; cameos, intaglios. — Sixth Window : Limoges enamels (16th cent. ;
mostly from the Leroux bequest, 1896), by the P4mcauds, M. Didier,
and P. Beymond. — Sbvbnth Window: Articles used at the coronation of
the French kings : sword of the late 12th cent. ; mantle-clasp (14th cent.) ;
gold spurs (12th cent.); ♦Sceptre of Charles V. (14th cent.); 'Hand of
Justice' of the kings of the Srd dynasty; ring of St. Louis, from the Abbey
of St-Denis. — Mirror and sconces of Marie de M^dicis, set with sardon^rxes
and cut and engraved agates, presented by the Venetian Republic; poniard
of the Grand Master of the Order of Malta (German ; 2nd half of 16th cent.).
—Eighth to Twelfth Windows: Limoges enamels by L. Limousin j P.
Beymondf Jean de Courts Couly Nbailher, Suz. de Court, and the P4ni-
cauds. Also, fine green and white draught-board (9th window), by L.
Limousin.
Cases XIII-XVII, opposite the windows, contain works by P. Bey-
mond, P. CouHeys, and L. Limousin and other Limoges enamels. In the
Ist are plates and dishes, in the 2nd and Srd arc caskets, cups, and por-
traits. After the 2nd comes a triptych (under glass) in painted enamel,
in twelve sections, Scenes from the life of Christ, by Monvaemi (Li-
moges; 2nd half of 15th cent.). In the last case also is goldsmiths' work:
♦Shield and *Helmet of Charles IX. in gold and enamel (16th cent.); silver
ewer and platter in repoussi and chased work: the Expedition of Emp.
Charles V. against Tunis in 1686.
We return to the Rotonde and thence (right) enter the —
Salle des Bijoux, adorned with a ceiling-painting by Mau-
zaisse: Time showing the ruins that he causes and the works of
art he brings to light. In the vaulting are the Seasons. The An-
cient Jewellery here and other objects in the precious metals and
in enamel show the perfection attained by the art of antiquity.
In the cases to the left (side next the court) are fibulae, bracelets,
rings, necklaces, and ear-rings.
Ist Central Case. At the top: Gilded and enamelled iron Gallic
helmet, found in the Seine near Rouon; conical Etruscan helmet, with
162 Bight Bank 4. LOtJVBB. Firtt Ficar:
golden coronet and wings; golden qoiver; three golden crowns, the last
especially fine. — Below are necklaces of gold, silver, enamel, and pietra
dura, some with delicate and artistic pendants. Side next the Seine:
*198. Etruscan golden necklace, with a bearded head of Bacchus (?), and
the horns and ears of a bull. — 2in> Cbhtral Gabs. *Trea9ure of Bofco-
reale (near Pompeii): 94 silver articles found in 1896 on the site of a
villa destroyed by the eruption of Mt. Vesuvius in A.D. 79, some of them
in such preservation that one can hardly believe they are antique. They
were presented to the Louvre by Baron E. de Rothschild. Description by
M. A. H6ron de Villefosse (1908; SVg fr.). — Waix Case. Greek and Roman
rings ; ear-rings and other Etruscan gold ornaments from Volsinii (Bolsena);
Fortuna, in bronze plated with silver, found at St-Puits (Yonno); folding-
chair of iron plated with silver, from Ostia; large vase from Emesa
(Homs) in Syria.
SiDB KBXT THic Sbihb. Ist Cose. Silvcr vessels, jewels, etc., found
in 18S6 at Notre-Dame-d' Alen^ on. near Brissac (Maine-et-Loire). — 2nd Case,
Gold repouss^ plaques; silver plate; statuettes; Yenus as the handle of a
vase, a bas-renef in silver, found at Bondonneau (Drdme). — 8rd Case.
Other objects found at Boscoreale, silver plate, and gold jewellery.—
4th Case. Oameos ; intaglios ; 'phalerae' or ornaments for horses. — 6th Case.
Intaglios from Utica, Smyrna, etc.; fibulsB; gold and bronze rings.
The Salle des Sept-Cheiiiin6es (III), the next room, con-
tains French pictures (end of 18th and beginning of 19th cent.), by
Jacques Louis David (1748-1825), his pnpils, and contemporaries.
Left : David, *199. Mme. R6camier (of classic beauty, in delicate
grey tones; not quite finished), *197b, *197a (to the left and right
of the last) , Portraits of Mme. and M. S^riziat, sister-in-law of
the artist and her husband; above, *188. The Sabine women inter-
posing between the Romans and the Sabines (one of his finest works,
formerly much admired; 1799). Above, left and right: G&ricauUj
339. Officer of chasseurs, 341. Wounded cuirassier; 744. Prud'hon,
Crucifixion (with a violet tinge, very austere; damaged). — Above the
door, 360. Girodet-Trioson, The Deluge; Prud'hon, 759. Portr. of
M. Vallet, 751. Empress Josephine, in a fine forest-landscape, 753.
Portr. of a young man, *747. Crime pursued by Justice and Divine
Vengeance (painted for the Criminal Courts in 1808), 752. Portr.
of Mme. Jarre, 755 (farther on), Portr. of Mile. Marie Lagnier
(afterwards Mme. Versigny), painted in 1796. GiricatiU, above,
*338. Raft of the Medusa, a French frigate which sank with 400
men, of whom five only were saved on a raft (1819; blackened with
age); 344. Lime-kiln, 354. Stable. 392a. Gros, Gen. Foumier-
Sarlovfeze. — Back-wall: Prud'hon, 746. Assumption, 754. Baron
Denon; sketches by Proud'hon and G&ricault; 779. JRiesener,
Portr. of M. Ravrio, bronze-founder; David, 196. Portr. of M. Pe-
coul, the artist's father-in-law; 135. Cochereau, Interior of David's
studio ; 391. ChroSj Bonaparte at Arcole ; David, *198. Pope PiusVIT.
(1805), 202. Portr. of himself, 197. Portr. of Mme. P^coul; G^rt-
cauU, 348. Epsom Races (in 1821), 343. Carabineer; *202a. David,
Coronation of Napoleon I., ordered by the Emperor, who paid 3000Z.
for it (1807). *337. Gerard, Portr. of Marchesa Visconti, in a
landscape. — 328. G&rard, Cupid and Psyche, much admired in
PMrnre QaOery. LOUVBE. Right Bank 4. 153
its day; 391a. Qros, Christine Boyer, first wife of Lacien Bona-
parte, in a landscape; 393. Gn^ririy Return of Marcns Sextos, a
Roman, banished by Sulla, who finds his wife dead on his return
(1799); *756. PruiVhon, Rape of Psyche, a masterpiece to which
the artist mainly owes his title of 'the French Correggio' (1808) ;
362. Girodet'Triosonj Burial of Atala (from the story by Chateau-
briand ; 1808) ; above, *388. Gros, Bonaparte in the plague-hospi-
tal at Jaffa (1804) ; *332. G^ard, Portraits of Isabey, the minia-
ture-painter, and his daughter (1795); 523. Mme. Vigie'Lehruriy
Giov. Paesiello, the musician. — Above the door, 396. GriiMrif
Pyrrhus and Andromache (1810).
At the opposite end is the Mwie de la C&ramique Antique
(p. 165). To the left of the picture of the Sabines (No. 188; p. 152)
is the entrance to the —
Salle Henri-Deuz (II), a small room, badly lighted, with a
ceiling-painting by Blondel: Dispute between Minerva and Nep-
tune, Mars (left), and Peace (right). Also French works of the 19th
century. — Right: 199a. David, Portr. of Mme. Chalgrin; above,
186. A,Dauzat8j Interior of Spanish church ; *143. Courbetf Burial
at Omans, a realistic masterpiece, much criticized at first; 355 b.
G&ricauUj Portr. of himself (?); 409. Heinij Charles X. distrib-
uting prizes to artists at an exhibition held in 1824. — 955. C. A.
Vernetj Charles X. hunting. — 993 a. F. X. Winterhalter, Mme.
Rimsky-Korsakoff, wife of a Russian general (1753-1840); 622.
Constance Mayer (friend of Prud'hon), Dream of happiness; 826b.
G. Rouget, Portr. of Miles. MoUien ; 834 b. Saint- Jean, The Virgin
among roses. — 217a. P. Delaroche, Young martyr; 83. Bras-
rassatj Landscape with cattle; 429, 430. Ja^ohher, Flowers and
fruit; 399. Gu&rin, Aurora and Cephalus; 192. David, Belisarius
asking for alms. — 329. G&rard, Daphnis and Chloe. Fine view
from the next window. 361. Girodet-Trioson, Endymion visited
bv Diana in the form of a moonbeam.
The Salle La Caze (I) contains part of the valuable collection
bequeathed in 1869 by Dr. La Caze (see also pp. 139, 140) : French
paintings of the time of Louis XIV. (Rigaud, Largilli^re), in the
rococo style (Watteau, Lancret, Pater, Boucher), and of the realistic
school (Chardin; 18th cent.).
Right: 48. Fr. Boucher, The artist in his studio. — 47. Boucher,
The Graces; 335. G&rard, Empress Marie Louise; Largilltire (at
intervals, as far as the middle of the wall), 488. President de Laage,
*491. The painter and his wife and daughter, 485. Young lady as
Diana, 484. Portr. of M. du Vaucel, 487. A magistrate, 486. Portr.
of a man. 50 (next to No. 488), Boucher, Portr. of a young woman;
above, 825. A. Roslin, Portr. of a woman; *1725. Ribera, The
club-foot (1662); 1736. Velazquez (f), Portr. of a young woman;
154 BigMBank4. LOUVRE. Firtt Floor :
*1735. Velazquez J Qaeen Maria Anna; 1468 (above), Tintoretto j
Susanna in the bath; 2185. Tenters the Yr., Landscape and ani-
mals; 961. A. Vestier, Portr. of a young woman; 887. De Troy,
Portr. of a man; 537. Le Moyne, Hercules and Omphale; above,
1249. V. Castelliy Moses smiting the rock; 174. A. Coypel, Demo-
critus; 794. Bigaud, Portr. of a man; 1946. Ph. de Champaigne,
J. A. de Mesme, President of the Parlement (1653) ; above, 2194.
P. de Vo8, Stricken deer; 795. Rigaud, Portr. of a man; 201.
David, Portr. of Bailly; below, 960. Vestier, Portr. of a young
woman; 326. CI. Lorrain (f), Landscape; *548. Le Nain, Rustic
meal (1642); above, 1311. Lttca Giordano, Death of Seneca; 77.
Bourdon, Interior; 1948. Ph. de Champaigne (f), Portrait, half-
length ; Bigaud, 792. Due de Lesdigui^res as a child, *793. P. de
B6rulle, President of the Parlement at Grenoble; 791. Card, de
Polignac; 1945. Ph. de Champaigne,Vvhybi of the merchants and
magistrates of Paris; above, 1469. Tintoretto, Virgin and Child
with saints; 1335. Gwarrft, View in Venice; 1472, 1470. Tintoretto,
Portraits; above, 1310. L%ica Giordano, Tarquinius and Lucretia.
— Above the doors, 2747, 2746. German Sch. of 18th Cent., Women
as Flora and Diana. In the centre of the wall, Portr. of La Gaze.
Left (as we return): Greuze, 378. Gensonn6, the statesman
(1758-93), 382. Portr. of himself, 379. Fabre d'Eglantine, the poet
(1750-94), executed under the Terror, 376. Girl's head; above, 489.
Largilli^e, Actor as Apollo; H. Bobert, 813. Winding staircase,
812. Fountain; Fragonard, 296. Musician, 299. Fancy figure, 294.
Sleeping bacchante, 297. Study, 298 (farther on), Inspiration;
*659. Nattier, Mile, de Lambesc as Minerva, with the young Comte
de Briomie (1732); above, 769. J. B. Begnault, The Graces; J. B.
Pater, 690. Actors in a park, 693. Woman bathing; N. Lancret,
472. The cage, 473. Conversation, 471. The Gascon rebuked (from
Lafontaine), 470. Actors of the Italian comedy; 765. Baouac, Girl
reading a letter; above, 1702. Juan Carrefio, St. Ambrose giving
alms; 293. Fragonard, Bathers; Nattier, 660. Knight of St. John,
661. Daughter of Louis XV. as a Vestal; Watteau, 988. Judgment
of Paris, 985. ^Slyboots' ('La Finette'), 986. Meeting in a park,
984. Indiflference, 992. Pastoral scene, *983. Gilles and other char-
acters of the Italian comedy, 990. Autumn, 989. The false step;
870. Tocqu6, Portr. of Dumarsais (?); 622 a (formerly 987), Ph.
Mercier, Conjurer; Pater, 691. The toilet, 692. Group in a park;
991. Watteatt, Jupiter and Antiope; 118. Sch. of Chardin, Return
from school ; *277a. Attr. to Dnplessis, Portr. of a woman; Chardin,
*105-116. Still-life, 104. Monkey as painter, 103. The house of
cards, 93. Saying grace (replica of No. 92, p. 146); 888 (above
No. 104), De Troy, Portr. of a magistrate; Largilli^re, 490a.
Portr. of a man, 490. Portr. of a magistrate ; 46. Boucher, Venus
and Vulcan; 1724. Ribera, Madonna; 1471. Tintoretto, Venetian
Brwutes, LOUVRE. Right Bank 4, 155.
senator. — 87.-4. jFV.Oo/fee, Triumph of Flora; 1733. Velazquez(fjj
Philip rv. — On each side of the entrance is a large marble cande-
labrum.
We emerge on the Pavilion Sully, whence the Esc alier Henri II
leads to the Salle des Cariatides and to an exit (p. 104). Beyond
the landing is the —
Salle des Bronzes Antiques, occupying the greater part
of the Pavilion Sully or de VHorloge, the old chapel of the palace.
In the Vbstibulk is a life-size gil^d hxonzQ Statue of Apollo, found
at Lillebonne, in Normandy; also antique busts, a chair, and a tripod;
two pieces of Qobelins tapestry, after Ch. Le Bran.
The Room, to the left, has a handsome door in wrought iron. Cen-
tral glass-case: Etruscan cists, mainly found at Palestrina, near Rome;
buckles, keys, collars, and bracelets; sui^cal and other instruments;
Greek mirrors, etc. Behind is an interesting archaic Apollo. — By the
windows : Glass-case containing busts, statuettes, and vases of Greek
origin, notably Dionvsus holding a canthams (Macedonian); Gallic wrestler
(Autun); Athlete 01 the school of Polycletus. The larger statuettes are
placed on pedestals. By the middle window, to the right, admirable head
of a youth, found atBenevento (a Greek work; eyes once inlaid). Glass-
cases with Greek and Etruscan mirrors. — Glass-cases to the right, as
we return: Statuettes, chiefly of deities, and vases. — Wall-cabinets,
beginning on the same side: Mounts, handles, vases in the shape of heads,
domestic utensils, antique candelabra, etc. ; then weapons, helmets, frag-
ments of statues, gladiator's armour from Pompeii, animals (bull, boar,
cock), etc. — Glass-cases to the left, as we return: Greek mirrors with
supports (chiefly from Corinth) and statuettes of gods.
The Escalier Henri IV (lift, see p. 93), on the other side of
the Salle des Bronzes, and also in the Pavilion Sully, descends to
the modern sculptures and to another exit (comp. p. 117). On Thurs.
and Sun. we may ascend by it to the Musee de Marine (p. 171).
*Fumlture of the 17tli & ISth Centuries, in rooms for-
merly used for meetings of the Council of State, with ceiling-paint-
ings. Arrangement often changed.
I. Salle Louis XTV. On the floor is a carpet from the Savonnerie .
(p. 340), intended for the Galerie d'Apollon. In the centre is a table
in Oriental porphyry and carved and gilded wood, from the Chateau
of Vaux (probably once owned by the 'snrintendant' Fouquet) ; at
the two ends are cabinets 'of Colbert' by Boiile, one from the Mi-
nistire de la Marine, the other from the Archives Nationales. To
the left of the entrance is a piece of Gobelins tapestry represent-
ing Parnassus, after Raphael (end of 17th cent.). On a column, near
the middle of the left wall, is a porphyry bust of Alexander, by
Girardon. Left and right, the bases of two armoires, one with
Apollo and Marsyas, the other with Apollo and Daphne, in inlaid
work, both by Boule; above the first is the Rape of Dejanira by
Nessus, in bronze, from the studio of Giov. da Bologna; over the
second is a Laocoon (French; 17th cent.). In the corner to the left
is a *Cabinet inlaid with tortoise-shell and brass, of the early
Louis XrV. period. On the following wall is a piece of English
1 56 iW^W Sank 4. LOUVRE. J^rtt Floor:
tapestry of the 17th cent., the Sacrifice at Lystra, after Raphael.
Below it are a console of the Regency period, another of the age of
Louis XIY., and a commode inlaid with brass, tortoise-sheU, and
ebony. On the exit-side are the Finding of Moses, in tapestry, after
Simon Vouet (era of Louis XIII.), two commodes and two armoires
in the style of Bonle, and a large console in carved and gilded wood
after Robert de Cotte. — The ceiling-painting represents France
victorious at Bouvines (1214), by Blondel. — The paintings above
the doors are by Bdin de Fontenay and Le Sueur. The red velvet
curtains are bordered with Gobelins tapestry (17th cent.).
II. Salle Louis XV. A large carpet from the Savonnerie (comp.
p. 155) covers the floor. *Bureau of Louis XV. by J. F. CEben,
cabinet-work by Rtesener, bronze-work by Duplesaia; bureau of
the Regency period; *Bureau of Vergennes, by Mtgeon, of the
time of Louis XV., brought in 1912 from the Minist^re des Affaires
Etrang^res; *Bureau of Choiseul, a fine work in chased Chinese
lacquer-work. On the entrance-side, 658. J. M. Nattier, Portrait
of Mme. Adelaide de France; below, on the chimney-piece, Pajou,
Bust of Mme. du Barry (1773). By the left wall, on a Louis XV.
commode. Bust of Louis XV., by Lemoyne (bronze). On the exit-
side, 900. C. A. Vardoo, Marie Lesczinska, Queen of France. Below
are a bureau by Riesener (from the Tuileries) and (to the right of
it) a lacquered cabinet by P. Gamier. Between the windows are
four Gobelins tapestries on a rose-coloured ground, by Neilson
(after Boucher and Jacques), executed in 1757 for the Salle du
Oonseil in the Chateau of Oompi^gne; on the entrance and exit
walls are four others, representing the story of Rinaldo and Armida
and the myth of Cupid and Psyche, after Coypel. The paintings
above the doors are by Boucher and Chardin. The glass-cases in
front of the windows contain the *Lenoir Collection (snuff-boxes and
bonbonni^res). In the case by the 2nd window on the left is a silver-
gilt cup, with the arms of Card, da Motta e Silva, by Thomas
Germain (1733); in that by the 3rd window on the left. Wax-
portraits, 6tuis, sword of Louis XV., the dauphin's gun. — On the
ceiling: Prance receiving the charter from Louis XVIII., hyBlondeL,
III. Salle Lotus XVT. By the entrance, 820. Roslin, Homage
to Cupid; below, a commode with Wedgwood plaques (period of
the Directory); then, Nuptials of Angelica and Medoro, Gobelins
tapestry after Coypel; below, 316. Commode by Riesener, bearing
a glass-case of Sevres porcelain (18th cent.); right and left, on
gilded brackets, terracotta busts by A. M. Collot and J. B. Lemoyne
(the latter on loan). Farther on, 266. Drouais, Charles X. and his
sister as children. End-wall, Cavalry engagement, after Casanova
(Beauvais tapestry in a gilt Louis XV. frame). In front, a console
of white marble and gilt copper. Exit-side, two Gobelins hangings
('Les Mois Lucas'; 18th cent.); below, two superb cabinets by
Furniture. LOUVEE. Right Bank 4. 157
W. Benemann, with medallions in Sevres porcelain; on the cabi-
nets, two marble figures (Meleager and Cleopatra). By the centre
of the same wall, a superb Sevres vase, with bronze mounting, by
Boizot and Thomire (1783); then, to the right and left of this
vase, two sphinxes in terracotta, with busts of great ladies in the
fashion of the Louis XY. period. In a glass-case in the centre of
the room, two fine Sevres vases; two perfume-burners, and a can-
delabrum, with chased bronze by Thomire^ blue Chinese porcelain
with French bronze mounts; crystal ewer and basin owned by Mme.
du Barry ; at the right end, a clock with figures of the Graces ; at
the left end, Flora, by Falconet (acquired in 1912). Above the
doors. Dogs and still-life, by Deaportes. Drawings by Pater,
Lancret, Parrocel, and Fragonard. — Ceiling-painting: Triumph
of Justice, by Drolling.
IV. Sfdle Louis XVI. Carpet like that in Room II; fine
Louis XV. furniture from the Collection Thomy-Thi^ry (see p. 169).
On the window-side, bureau of the time of Louis XV., by (Ehen.
On the entrance-side, two Gobelins tapestries ('LesMois Arabesques';
end of 17th cent.). Opposite, two other Gobelins tapestries, after
P. J. Perrot (1727): on the right, Diana's curtain; on the left, the
Arms of France. Drawings by Fragonard, Lancret, etc. To the
left and right of the chimney-piece, 815. Quentin de La Tour,
Louis of France, son of Louis XV., in pastel; 672. J. Boze, Duke
of Angoulgme, son of Charles X. (also pastel). Bronze candelabra
on the chimney-piece (Faun and Bacchante), by Clodion. In front
of the left window is a refurnished room ; the bed, of carved wood
and adorned with silk embroidery , designed by Ph. de La Salle
(Louis XVI. period); small table attributed to Riesener and
Gouthih'e (1781). — Ceiling-painting: Divine Wisdom dictating
laws to kings and legislators, by Mauzaisse.
V. Salle Louis XVT. On the walls, Gobelins tapestries of the
^Raphael Cartoon series', the border by Lemoine-Lorain (late 17th
cent.) : Homage to Mercury, Bath of Psyche and Cupid, Dancing in
couples. Round dance. Musicians (by the exit on the left). On the
chimney-piece between the doors, musical-box with bas-reliefs, and
a nymph in marble by Clodion. Around the room, commodes by
Benemann, M. Carlin, and Riesener; clocks. In the centre, on
a large carpet from the Savonnerie (comp. p. 155): bureaux by
Benemann and Riesener; small bureau by Weisweller and Gou-
ihidre, once owned by Marie Antoniette; bureau by Levasseur, with
bronze statuettes of Voltaire and Rousseau. Above the entrance,
Huet, Dog attacking two geese. In the glass-cases in front of the
windows: left, two *Bas-reliefs in wax, by Clodion, and minia-
tures; in the centre, fayence and porcelain (18th cent.). — Ceiling-
painting: Triumph of Marie de M6dicis, by Carolus-Duran.
The door to the left leads into a gallery which contains the
158 Right Bank 4. LOUVRE. First Floor:
His de la Salle Colleotion of upwards of 300 drawings by old
masters. The door to the right leads into the —
*Mus6e des Dessins (about 50,000) , which occupies most
of the N. side of the first floor of the Old Louvre, and rivals the
Florentine collection in the Ufflzi. Some of the most famous are
exhibited under glass. Also a few oil-paintings and tables (18th
cent.) with small bronzes. Changes are frequent. Catalogue of the
drawings in the Louvre and at Versailles, by MM. Guiffrey and
Marcel (illus.; 1906; 25 fr.). — Short catalogue 75 c.
Room I (PI. 6) or Vestibule. To the left of the exit, J. Boze, Portr. of
a woman (pastel). 1400, 1957. French Sch. of 18th Cent.., Female portraits.
Left and right of the windows, 1407, 1406. French Sch. of the 17th and 18th
Cent., Female portraits. Marble monnment of Mme. Favart, by Caffleri (1774),
acquired in 1912. Ceiling-painting: Venus and Juno, by H. Le Roux.
Room II (PI. 7). Early Italian: *Mantegna, *Lor. di Credit *Signorelli,
Pinturicchio, Perugino, Pollaiuolo, F. Lippi. Brussels tapestry (early 16th
cent.): Cupid's victims. On the upper part of the walls: Italian Sch.
of 15th Cent., 1638. Aristotle, 1629. P. Apponio, 1637, Plato, 1653. Solon.
Room III (PI. 8). *Drawing8 by famous Italian artists : Leon, da Vinci,
Michael Angdo, and Raphael. Three Gobelins tapestries with the story
of Moses, after Poussin. — Room IV (PI. 9). *Drawing8 by Correggio,
Andrea del Sarto, Fra Bartolomeo, etc. To the left of and opposite the
entrance, Correggio, 18, 17. Vice and Virtue. Story of Moses (continued).
Room V (PI. 10). *Rembrandt. Beauvais tapestry (1686).
Room VI (PI. 11). Flemish (B. van Orley, Brueghel the Elder, Ph.
de Champaigne, *Ruben8) and German (Master E. S., the two Holbeins,
Schongauer, *I)urer) masters. At the end. Gobelins tapestry (18th cent.),
Argus and Mercury; on the right, Flemish tapestry, Achilles on Scyros.
Room VII (PI. 12). Flemish School: Jordaens, ^Rubens, Van Dyck,
etc. Fine Gobelins tapestry: Story of Susanna, after Coypel (1761).
Room VIII (PI. 13). H. J. van Blarenberghe (1716-94); paintings by
Coypel and Boucher.
Room IX (PI. 14). Pastels : Q. de La Tour (*D'Alembert, the encyclo-
paedist, in 1768; *819. Mme. de Pompadour; 823. Portr. of himself), Mme.
Labille-Guj/ard, Diicrenx, Rosalba Carriera (of Venice), Perronneau.
Regnault (No. 1910), *Chardin (679. Caricature of himself). In front or
the window. Table of the Directory period, with a bronze group, Her-
cules, Dejanira, and Nessus (Sch. of Griov. da Bologna). In the centre,
two glass-cases containing *Miniatures (lent).
RoomX (PI. 15). *l8abey (Mme. Rolle's bequest); Portr. of Mme. Wey,
nee Isabey, by Hubert; Apollo, Gobelins tapestry of the Louis XIV. period.
— We return to Room Ia (PI. 14), whence, to the right, we enter the —
Collection Thiers, be<^ueathed by the ex-President of the Republic
aud his widow, which occupies two rooms. Of the 1470 objects few are
original or of great value. Catalogue for the use of visitors. In the Ist
Room, tapestry, notably (left) the Coronation (Paris, early 17th cent.), and
(right) Venus in her chariot (Gobelins, 17th cent.), both from the Raphael
Cartoon series (p. 157). In the 2nd Room are porcelain and a *Portrait
of Thiers, by Bonnat. In the centre, Spring, or the Loves of Psycho,
tapestry after Giulio Romano (Gobelins, Louis XIV.).
Continuation of Drawings. — Room XI (PL 17). French (19th
cent.): David, Gerard, Prud'hon, G4ricault, Gros, etc.
Room XII (PL 18; 'Galerie de Rivoli'). French (19th cent.): GSricault,
Delacroix, Decamps, Charlet, Heim, Millet (the 'Barattage', in pastel),
Huet, Regnault, etc. Also, Bonington. At the end, near the staircase
(Pl.F; pp. 161, 167), Water-colours hy JacguemaH. By the Ist window.
Stag-hunt; by the 2nd, Terriers, groups in wax by J. P. Mkne.
We return to Room IX (PL 14), cross Room X (PL 15), and enter the
'-"llowing room.
Ivories. LOUVRE. Bight BaiiJc 4. 159
^Museum of MediaBval, Rencdssanoe, and Modem
Art, reached also by the *Escalier Asiatique' (I on Plan, p. 95 ; conip.
pp. 106, 161).
Room I (PI. 16). *Ivories of 6th-19th cent., some very valuable
(illus. catalogue by Molinier, 1896; 6 fr.). In the cabinets round
the room: 197 et seq. (on the left). Bacchanals by G. van Opstal;
Madonnas; caskets (one of 9th cent.); diptychs and triptychs (one
Byzantine, of 10th or 11th cent.); *141 (at the back, 2nd case),
Florentine triptych of 15th cent., probably once owned by Matthew
Corvinus of Hungary ; book-bindings, chessmen, hunting-horns (Nos.
21, 22; at the back, 1st case), jnirror-cases, combs, fans; writing-
tablets, loving-cups; powder-flasks, etc. Central glass-case: 116.
Harp (Franco-Flemish; 14th-15th cent.), perhaps once that of Coun-
tess Yolande of Savoy; 244. Descent from the Cross (13th cent.);
*53. Madonna and Child, from the Sainte-Chapelle (French; 14th
cent.) ; *39, 52. Saddle-bow and cantle (Ital.; 13th cent.), the former
with figures of women on horses and camels; *50. Coronation of
the Virgin (late 13th cent.); 12. *Triptyque Harbaville' (Byzantine;
10th cent.). Between the windows: 112. Altar-piece of Poissy,
about 6^/2 ft. high (Italian; end of 14th cent^, in carved and inlaid
bone, with 71 reliefs representing the story of Christ: in the centre,
John the Baptist (left) and St. John (right) ; below, the Apostles.
Tapestries : on the short wall to the left. The Sacrament, The Mass
(French; 16th cent.). On the long wall, Christ appearing to Mary
Magdalene (Flemish; 16th cent.); Legend of St. Quentin (French;
early 16th cent.). On the right wall. Courtship (Flemish; 15th cent.).
Fine fragments of stained glass in the windows.
The next three rooms contain French drawings and miniatures.
Hoom H (PI. 8). 16th Cent., F. ClouH, Lagneau, Daniel du MonstierSy
etc. Central case : Albums of drawings by * Jacques Callot and Lagneau.
Above, right and left, Le Sueur, Paintings for the Hotel Lambert (p. 277);
two Flemish tapestries (16th cent.); miniatures of 17th century. — Boom UJL
(PI. 4). 17th (Jent. : Coypd, De Troy^ Girardon, Jouvenet, Poussin^ CI.
Lorrainy R. Nanteuil, etc. Above, right and left, Le Sueur, other paint-
ings for the Hdtel Lambert. Central case: Enamels by Petitot (Louis XIV.,
Mme. de Maintenon, Mme. de S6vign6, etc.); Bauer, 461. Clavalcade of
the Pope, 462. Procession.— Boom IV (PI. 6). 18th Cent.: *Watteau,
Boucher, Greuze, Augustin, Chardin, Fragonard, Lancret, Le Prince,
Moreau the Yr., Pater, Saint-Aubin. Above (left), 872. L. Tocqui, J. L.
Lemoyne the Elder, the sculptor; 798. H. Robert, Maison Carrie at Nimes;
970. 0. Voiriot, J. B. M. Pierre, the painter. — Baek-.wall, 968. F. H. Drouais,
G. Coustou the Yr., the sculptor; 275. J. Dumont (le Romain) , Mme. Mercier,
nurse of Louis XV. ; 276. J. C. Duplessis, Allegrain, the sculptor. Bight,
357. C. E. Qemlain, Portr. of N. de Largillifere ; 800. H. Roberta, The Pont
dn Gard; 908. L. M. Vanloo, Portr. of himself. Central cases: Miniatures.
Sketch-book of Moreau the Yr. Cases by the walls (right and left) : Minia-
tnres (Lenoir Collection; see also p. 156). Between tne windows, 797. H.
Robert, Triumphal arch at Orange. On the ceiling, Anrora, by Boucher.
Over the doors, Dogs and Still-lue, by Desportes,
Boom V (PI. 6). ^Donation RothsohUd, valued at 800,000^.,
bequeathed by M. Adolphe de Rothschild. The sumptuous little
160 HightBaiUc4. LOUVRE. Firtt Floor:
salon has red velvet hangings, a parqueted floor, and a splendid
Venetian ceiling of the 16th cent.; on the end-wall is a Flemish
*Tapestry of the 15th cent. (Miracle of the loaves and fishes).
Left wall. Glass-case containing religious objects: Box for an
Agnus Dei (German; 15th cent.); two paxes (German and Italian;
16th cent.); curious knife (Flemish; early 16th cent.); reliquary
(Flemish; 16th cent.); below (farther on), pendants (French; 16th
cent.); agate rosary with reliefs in enamelled gold (French; 16th
cent.); reliquary jewel (Spanish; 16th cent.); book-cover (Italian;
15th-16th cent.). In the centre (beginning again): Monstrance-
reliquary (Venetian; 15th cent.); *Cross-reliquary in gold (French;
end of 14th cent.) ; *Censer in lapis lazuli (Venetian ; 15th cent.) ;
paxes (German, Italian); mirror with ebony frame (German; 16th
cent.). Above (beginning again) ; *Holy-water vessel (French ; 13th
cent.) ; *Aspersorium (Italian; late 15th cent.) ; ^Madonna and Child
in silver (German; 15th cent.); *Crozier in rock-crystal and gilded
bronze (Spanish; 16th cent.); monstrance-reliquary (Spanish; 16th
cent.). — Farther on, by the wall: 20. Sepulchral brass (Flemish;
1455); 76. Virgin and Child (relief; German, 16th cent.).— In a
glass-case at the end, triptych-reliquary from the Abbey of Floreffe
(Flemish; 13th cent.); on the left, St. Catharine of Alexandria
(French ; 16th cent.) ; on the right, *Madouna and Child, relief by
Agostino di Duccio (Florentine; 1418-81).
Right wall. In the glass-case : Religious objects continued (froui
left to right). Below, two amulet-chains (Spanish; 16th cent.);
enamelled gold necklace with a scene from the Passion on each
link (German; 16th cent.) ; portable reliquary (Spanish; 16th cent.) ;
incense-spoon (French ; late 15th cent.) ; rosary of carved boxwood,
large bead of a rosary carved with small figures (both Flemish;
early 16th cent.). In the centre (beginning again): Reliquary of
the Flagellation (Venetian; 15th cent.); paxes. Above, reliquary
(Flemish; 15th cent.); St. Sebastian in ivory (German; 16th cent);
reliquary (Spanish ; 15th cent.) ; *St. Catharine, in boxwood (Ger-
man; early 16th cent.); gold monstrance (Venetian; 15th cent.).
Boom VI (PI. 7). Oriental Fayence. Case to the left. Fayence
from Syria (Damascus, 16th cent.; etc.) and Cairo. Below, copper
vessels; kursi tray (Cairo; 14th cent.). — Left wall. Spanish-
Mauresque plaques (15th -16th cent.), some with metallic lustre.
— Central case. 2nd row: Round carved casket made in 967
for Almogueira, son of Abd-er-Rahman III., Prince of Cordova;
bronze ewer (Siculo-Arabian ; 11th -12th cent.). Top-row: Lamp
of a mosque (1347-61). Below, Persian fayence; gold ear-ring
(Byzantine); Egyptian censer, 10th- 11th cent.; ivory plaque and
comb (Indian). — Glass-case by 2nd window: **Barberini Vase',
with the name of Abdul Mozhaffer Yusuf, Sultan of Aleppo (1236-
60). — Case in front of the exit: in the centre, large damascened
Asiatic Antiquities. LOUVRE. Right Bank 4. \^\
copper vase, the *Foiit of St. Louis' (Arabian; 13th cent.) ; basin from
Mosul (14th cent.) ; copper ewer with silver incrustations (Mosul ;
13th cent.) ; boxes, mortar, and candelabrum from Mosul. — To the
left of the exit: Fountain in Arabian mosaic (Cairo; 14th-ir)th cent.).
Vestibule. Oriental arms.
" The staircase (P on Plan, p. 117), to the left as we leave the vestibule,
ascends to the 2nd floor (p. 168). Beyond is the Galerie de Rivoli (p. 158 ;
drawings of 19th cent.). Continuation of Medix-valj Renaissance, &
Modern Objects , p. 162.
From the landing of the Escalier Asiatique (B on Plan, p. 117;
conip. pp. 106, 159) we turn to the right into the Salles de la
Colonnade, the E. part of the Vieux Louvre.
Mus6e des Antiquit^s Asiatiques (continued), three
rooms called the Salles de la Susiane et de la Chald^e. Illus.
catalogue of theChaldsean antiquities, by L. Heuzey (1902; 6 fr.).
Boom I (VI). Small antiquities. Assyrian tiles; Grseco-Babylonian
and Syro-Chaldsean statuettes and other sculptures; cylinders, engraved
gems, and seals of great delicacy. — Case 1 (to the right). Monuments
from Shirpurla, or Lagash, a prehistoric town on the hill of Tell L5 or
Telle, in Chaldaea, where the French have been excavating since 1877
(until 1900 under M. de Sarzec). To the left of the entrance, monuments
from the Punjab; GrsBCo-fiabylonian alabaster statuettes; gold masks in
the Phoenician style; small bronzes. — By the 1st window on the left:
PhoBnician stele of the god Salman; Greeco-Babylonian vessels used in
incantations; PhoBnician monuments, etc. Long, wall on the left: Aramaic
stele from Teima (Arabia); archaic bricks (excavated by M. de Sarzec),
especially those of the time of King £-annadu.
In the centre, 1st Case to the left: Spanish-Iberian and Syro-Oappa-
docian antiquities; Qrffico-Iberian candelabrum; Syrian ivories; Assyrian
and Sassanian seals; Asiatic weights (Syria); Phoenician glass, drinking-
vessels, and Babylonian statuettes. 2nd Case (left): Statue of Gudea,
Jatesi (i.e. viceroy) of Shirpurla; objects from CbaldsBa. Srd Case (left):
Oylinder-seals with iuscrintions of Gudea (see above); libation-cup;
Gudea's mace; objects found by M. de Sarzec; Grseco-Parthian gold orna-
ments ; Phoenician jewellery ; Assyrian monuments of the reign of Sargon I. ;
Babylonian statuettes. By the windows (right), tablets from Telle. Between
the windows (right), Chaldssan bas-relief with religious scenes. In the centre,
1st Case to the right : Fragments of the so-called ^Stele of the Vultures (ca.
8000 B.C.). 2nd case (right): Silver vase of Entemena, with eng^ravings
dating from before 8000 B.C., etc. 8rd Case (right): Votive bronzes, reliefs,
Chaldsean cylinder-seals. In the centre of the room is a reconstruction of
the Stele of the Vultures and a fine Assyrian bronze lion, with a ring in
its back (Khorsabad). By the back-wall: on each side of the exit, glazed
tiles from Babylon, fragments of bronzes, Chaldaaan antiquities; also some
inseribed tablets, cylinder-seals inscribed with the name of King Sargon,
vase with the inscription 'Xerxes the Great King' in four languages, etc.
Boom n (VII). 1st Bay. On the entrance-wall, *Frieze of glazed
and painted terracotta from the throne-room of Darius I., with the archers
of the king's guard, 89 ft. long and 13 ft. high; to the left, stair-rail
from the palace of Artaxerxes Mnemon, also in terracotta; on the partition-
wall, the crowning-ornaments of the pylons of this palace, with lions in
the same material; on the right side, fragment of a bath. Ist Case (left):
Glass and terracottas. 2nd Case (left) : ^Acheemenian jewellery, gold neck-
laces, and coins, found in a bronze sarcophagus (4th cent. B.C. ; see p.
178): ^Byzantine jewellery; coins of the Seleucidse; archaistic statuettes
in gold and bronze: Anzanite jeweller}-, dating from before 1200 B.C.;
Ach»menia& silver oowl ; vessel with representation of bulls with human
162 Right Bank 4. LOUVRE. First Floor:
heads (ca. 2500 B.C.)- 8rd Case (left): Door-frame from the acropolis of
Susa; Parthian, Sassanian, and Arabian coins; (right) medals, etc. 4th
Case (left): Assyrian cylinder-seals. Ist Case (right): Chaldsean and Assy-
rian cylinder-seals. 2nd Case (right) : Lacquered stoneware. 8rd Case (right) :
Assyrian, Sassanian, and Parthian seals. 4th Case (right) : Cylinder-seals. —
2nd Bay. At the back, ^Capital of one of the thirty -six columns (each 69 ft.
high) which supported the ceiling of the throne-room of Artaxerxes Muemon
(B.C. 404); in the glass-cases, fragments of the frieze of archers, etc. ; in the
centre, plan of the tumuli where the antiquities exhibited here were found
in 1881-86 by Dieulafoy. In the case by the first window to the right : Sas-
sanian or Arabian pottery (7th-llth cent.) ; vases and spoons used in the cult
of Mazda (Sassanian period). By the second window, large funeral urn. On
the left, between the windows, large bricks from the palace of Artaxerxes.
Boom TTT (YIII). Continuation of collection. Keconstructed throne-
room of Artaxerxes Mnemon (see above), which covered an area of 11,000
80, yds. By the 2nd window to the left, *Bu8t of a Qraco-Jberian
Woman ('La dame d'Elche'), a uniqne work of the 5th cent. B.C. (?),
found in Spain in 1897: to the right, statues and fragments, also from
Spain. On the right and left: Winged bulls of the time of Darius I. On
the walls, a panorama of the region where the excavations at Susa were
made (comp. pp. 105, 178).
Rooms IY-YIII. Continuation of MedisBval, Renais-
sance, and Modem Objects of Art (see p. 159). Illustrated
catalogue of the bronzes and brasses, by G. Migeon (1904), 7 fr.
Hoom IV, or Salle du Ddme. To the left of the entrance:
Cabinet and pulpit (French; 16th cent.); bronzes by Barye; farther on,
*Armour of Henn II. of France. On the back-wall, three Flemish tapes-
tries: Moses, the Madonn^, and Pool of Bethesda (1485), Last judgment
(16th cent.), and St. Luke painting the Virgin Mary, after the picture by
Roger van der Weyden (at Munich); cabinets, angels as torch-bearers
(Flemish; 15th cent.). Case on the left of the exit: Caskets, bronzes
from Flanders, Saxony, etc. (15th-16th cent.), statuettes, pewter dishes
(some by F, Briot). Cabinet (French ; 1617). Case to the rignt of the exit :
Shields, swords, etc. — In the glass-case by the Srd window: Weapons of
the 15th-16th cent, and a Yenetian hunting-horn in copper-gilt (No. 168;
16th cent.). — By the 2nd window: Looks and keys; adjoining, ecclesias-
tical objects of art (on loan). — By the Ist window: Bronze statuettes
of the Italian Renaissance : JSiccio, 45. Arion, 48. St. Sebastian, 46. Bust
of himself; 27. School of Donatdlo, John the Baptist. — Central glass-
case (isolated): 44. Sav&li (sumamed Sperandio), Equestrian statuette
of 0. F. Oonzaga. Behind the central glass-case: English, French, and
German watches, clocks, and compasses (16th-17th cent.). Glass-case on
the right of the central case: Small bronzes, two by Oiov. da Bologna
(Geometry, Venus), and a St. Sebastian (Italian; 16th cent.). — Glass-
case on the left: Head of a satyr, in bronze (Italian; 16th cent.); below,
96. P. VischeTj Bust of himself (16th cent.); other Italian and Flemish
bronzes. — In the table-cases round the room : Reliefs in metal, paxes, cut-
lery, spoons, etc.; Italian plaquettes (15th-16th cent.); French and German
medals (16th-17th cent.).
Hoom V. Italian majolica or fayence; the finest (16th cent.) from
Deruta, Faenza, Forli, Venice, Gubbio, Pesaro, XJrbino, ana Castel Durante.
In the centre, a fine Renaissance chest (Italian ; 16th cent.). Under glass,
opposite the 2nd window: Bronze stag (Hispano-Mauresque ; 14th cent.);
Italian albarello (gallipot; late 15th cent.).
Hoom VI. Superb wood-carvings from the Salle des Sept-Chemin^s
(p. 152), which, with those in the next room, are the only relics of the
royal apartments. Silk hangings of the 16th cent, ; portrait of Henri IX.
In front, Emp. Charles V., a painted relief (German; 16th cent.), on a
fine dresser (Burgundian; 16th cent.); by the left wall is an alabaster
' «t of Otto Heinrich I., Count-Palatine of the Rhine (d. 1660), one of
Egyptian Antiquitieg. LOUVRE. Right Bank 4. 163
the foonders of Heidelberg Castle. — Central cases: Fayeuce from Lyonn
(16th cent.)) Bonen (18th cent.)) and Moostiers (18th cent.). — Glass-cases
at the windows: Medallions, carved combs, etc., in boxwood, beantifnlly
executed ; carvings in other substances ; relief in lithographic stone, after
Aldegrever (Ist window), of Duke Albert III. of Bavana and his wife
Agnes Bernauer of Augsburg.
Hoom Vn, with alcove (left of entrance) in which Henri lY. died.
Venetian state-bed (16th cent.). Wood-carving from the rooms of Henri II.
in the Lonvre, restored under Louis XIV. Pine furniture, incl. archi-
episcopal throne from Vienne (Is6re). On the end-wall, a portr. of Marie
de Medicis, facing one of Henri IV. Central case: *Large dishes by
Bern. Palissy. Other cases: Salt-cellars, etc., by Palissy; fayence from
Nevers, Beanvais, St-Porchaire, etc.
Hoom VHL Two large Sfevres vases. 1st window to the left : Casket
presented by the city of St.Petersburg 'ii la nation amie', on a table of
Florentine mosaic. 2nd window, Mosaic map of France. Left of exit: Map
of France in pietra dura, from the Imperial works at Ekaterinburg (pre-
sented by the Russian government, 1900). 1st Case (centre): Tazze and
Venetian glass (15th cent.); 2nd Case (centre): Pottery from Cologne,
Nuremberg, Nassau (16th cent.). Portraits of Louis XIII. (by Ph. de
Champaigne f) and his queen Anne of Austria; Flemish furniture.
At the exit we are at the top of the staircase of the Musee
Egyptian (p. 106 ; A on Plan, p. 117), which is continued to the right.
Mus^e des Antiquit^s Egyptlennes (continued). These
rooms, containing the smaller antiquities, were in course of re-
arrangement in 1912. The first room is to be devoted to the worship
of the dead, the second is to contain small bronzes and ornaments,
the third sculptures in wood or stone, the fourth and fifth objects of
industrial art. Our description gives the arrangement in Dec, 1912.
Staiboase. 1st landing (as we descend): Textiles, distaffs, sandals,
coffins, and offerings to the dead. 2nd landing: Figurines, models of build-
ings and boats, matwork, baskets, etc.
I. Salle Hifltorique. Ceiling-painting by Gros: the Genius of
France encouraging the arts and protecting Humanity (1827-31).
At the entrance : Crouching dog, in black granite ; bronze statuette of
the SaXtic period (under glass). In the centre, on a column enclosed by
an octagonal glass-case, fine canopic vases in enamelled clay (New Em-
pire). Beyond it, a bronze statuette, with silver inlay, of Ammon-Rg, with
the features of Amenophis III. (18th Dyn.). — Glass-cases : Tomb-statuettes,
partly covered with tine blue enamel ; scarabsei, as symbols of the sun-god
(often bearing loyal names). Case by the left wall : Gold masks of mum-
mies, head-rests in alabaster, etc. On the chimney-piece, canopic vases.
By the 1st window : Portr. of Champollion, the Egyptologist, by L. Cogniet
(1831). Between the windows, a large cabinet with mummy-cases (one
entirely gilded).
II. Salle Civile. Ceiling-painting by H. Vernet: Bramante,
Baphael, and Michael Angelo before Pope Julius II. (1827).
In a line with the door: Bronze statuette of Mosu, perhaps of the
Ancient Empire. Bight and left, as we enter : Statuettes of gods in bronze,
stone, etc. Left wall: Ist case^ statuettes of Re, Selket, Sekhmet, etc.;
2nd case, Osiris, Isis, etc. Right and loft of exit: Statuettes of the
goddess Bastet (right) and of Mosu (left). In front of the exit, on a
pedestal: Bronze statuette of Queen Karomama (9th cent. B.C.; Thebes),
richly inlaid (restored). The central *Qlass-case contains a splendid col-
lection of gold jewels, statuettes in gold and enamel, gold ornaments
inlaid with glass-paste, a goblet, a chain, boats, gems, glass-pvfte, and,
Bakukkbk's Paris. 18th Edit. 1 1
164 Bight Bank 4:. LOUVRE. First Floor:
on the window-side, a small *Gold gronp of Osiris, Isis, and Horns
(22nd Dyn.).
III. Salle Fundraire, illustrating the Egyptian worship of
the dead, with its fundamental belief in the immortality of the
soul. — Ceiling-painting, by Abel de Pujol: Joseph the saviour
of Egypt (1827).
The belief in immortality explains the care taken by the Eg^yptians
to preserve their dead, the time (sometimes 70 days) they bestowed on
the embalming, and their magnificent tombs. Onr information regarding
their notions of the soul's condition after death is chiefly derived from
the 'Book of the Dead', a copy of which was laid beside each body. It
contains hymns, prayers, and instructions for the deceased in the next
world, what answers they are to make to the judges, etc. — To the right
of the entrance : *Lime8tone head of Amenophis I v . (B.C. 1350). At the
entrance, a painted statuette of a woman presenting an offering to the
dead. Left wall: Papyri with texts from tne Book of the Dead. Above
the fire-place: Mural and other paintings of the New Empire. In front,
under glass, charming * Wooden statuette of Tui, priestess of Min, patron
deity of Koptos, beautifully executed and well preserved (20th Dyn. ; 12th
cent. B.C.). Ri^ht and left of the fire-place; 8072, 3073. Fragments of a
copy in linear hieroglyphics of the Book of the Dead, 26 ft. long, upwards
of 3000 years old, yet in admirable preservation. In the centre of the room :
Crouching figure of an **Egyptian Scribe, painted red, with eyes inserted
(5th Dyn. ; ca. 2700 B.C.). probably the best example of ancient Egyptian
sculpture (found at Sakkara). The octagonal case round it contains frag-
ments of sculptures and moulds. Cases right and left: Well-executed
statuettes: sculptured stone and wood of various periods; reliefs. — Case
to the right of the entrance: Sculptors' models of the Saitic period. To
the left of the entrance: Statuettes, etc. (Ancient and Middle Empire).
To the left of the entrance, in the comer, wooden statuette of an ofiicial.
By the 1st window: Tomb-statuettes in wood. Right wall, two cabinets
with mummy-cases and cerements covered with paintings. The flat cases
by the second window contain amulets. In front of the 2nd window,
wooden statuette of PiaaY, a royal doorkeeper. By the 8rd window are
stone statuettes of Sekhmet, etc. In front of the exit, cynocephali, etc. —
Right and left of the exit: Statuettes and reliefs of the New Empire.
Right, Head of Psammetichus III. (525 B.C.).
IV. SaUe des Dioux. Ceiling-painting by Picot (1827) : Study
and Genius revealing Egypt to Greece.
Central case : *Va8es in alabaster, pietra dura, and clay of the remotest
epochs; pottery. Wall-cases: Pottery and vases in pietra dura. Central
cases: right of entrance, ivory paint-boxes, statuettes, castanets, etc.;
left of entrance, amulets, scarabsei, vases, and necklaces, in glass or
glass-paste; left of exit, amulets, scarabsei, ornaments, and necklaces, in
various kinds of stone; right of exit, statuettes and necklaces in enamelled
terracotta.
V. Salle des Colonnes, containing objects for which there
was no room elsewhere. Ceiling-painting by Gros (in the centre,
True Glory leaning on Virtue; left, Mars crowned by Victory and
restrained by Moderation; right, Time placing Truth under the
protection of Wisdom).
In the centre: by the entrance, statuette of a woman (on loan); central
case, alabaster vases; by the exit, bronze statuette of the falcon-headed
Horus offering a libation to his father Osiris (vase missing). — Glass-cases
around the room, beginning on the left: I and II, Textiles, costumes,
sandals; III, Baskets; IV, Agricultural implements, sceptres, and batons;
V, Wooden boxes, chessboard; TX, Musical instruments, drum, writing-
Antique Pottery. LOUVRE. -Wfi'W Bank 4. 155
tablets; VI and VII, Objects in terracotta, vases and statuettes; VIII,
Toilet-articles, boxes, (^mbs. kohl-cases, *Spoons in the form of a swim-
ming nymph pursuing a duck; X, Bronze mirrors and vases: XI, Bows,
poniards, and spear-heads; XII, Various instruments in bronze, knives,
sistra, etc. —In front of the 1st window, chair with sloping back; in front
of the 2nd, triangular harp (Asiatic); in front of the 8rd, stools.
Mus6e de la C6ramique Antique. — This collection,
whose nucleus was the Campana Collection , purchased from the
papal government in 1861, is one of the most complete of its kind,
affording an admirable survey of the development of ancient vase-
painting. The chronological order begins in the room entered from
the Salle des Sept-Chemin^es (p. 152), door to the right (comp. Plan,
p. 117). Catalogue of the Antique Vases by E. Pettier ; 1st, Les
Origines, 1 fr. 20 c. ; 2nd, I'Ecole lonienne, 1 fr. 50 c. ; 3rd. I'Ecole
Attique, 3 fr. 50 c.; Figurines Antiques, by L. Heuzey (1901),
1 fr. — Ceiling-paintings (middle of 19th cent.): Scenes from the
history of French art, the pictures of the French School having
once heen exhibited here.
Salle A. Ceiling-painting by Alattx: Poussin being presented
to Louis XIII. — Figurines in terracotta and limestone, of the earli-
est period. In the centre, Attic amphora and wine-bowl, a Cretan
cinerary urn, and an archaic amphora from Boeotia. In the glass-
cases, a rich collection of terracottas from Phoenicia, Carthage, Asia
Minor, Cyprus, Crete, Attica, Boeotia, etc.; vases of the geometrical
type, with primitive linear ornamentation. By the main-wall, a
series of warriors' heads, from Cyprus, in the Phoenician-Greek
style, interesting to compare with the archaic Greek types.
Boom B. Ceiling-painting by Steuben: Battle of Ivry, and
clemency of Henri IV. — Terracottas from Myrina (to the N. of
Smyrna), Athens, and Magna Grsecia, some of great artistic value.
Left wall: Figurines of Greek women, some with hats, some seated,
mostly elegant and graceful in bearing. Among the reliefs are
several vintage scenes and a *Bacchic dance. — Back-wall, Cin-
erary urns with painted reliefs. — In the centre of the glass-case
by the exit-wall, Two warriors arming, with a mother and child
between them.
Boom O. Ceiling-painting by Deveria: Puget presenting his
Milo of Croton (p. 114) to Louis XIV. — Etruscan Pottery (found
in tombs) of the earliest type, mostly black ; some with engraved
designs or primitive reliefs.
Boom D. Ceiling-painting by Fragonard: Francis I. receiv-
ing pictures and statues bought in Italy by Primaticcio. — Greek
and Etruscan Terracottas, notably a *8arcophagus with two
painted lifesize iigures of a man and woman, half recumbent, clumsy
in execution, but not without a certain naYve grace. — Left wall:
Athena and Hercules (painted relief) ; 'funeral couches' and reliefs
of funeral rites. — Back-wall : Vases with painted figures and geo-
11*
166 Right Bank 4. LOUVRE. first Floor:
metrical ornaments. — Exit- wall: Fragment of a primitive mural
painting with mythological scenes.
In the passage are heads, acroteria, sarcophagi (right), and vases.
Boom E. Ceiling-painting by Heini: Renaissance in France. —
Vases in the Corinthian Style, found in Greek islands and in Italy.
Left of the central door, wine-bowl with the mourning for Achilles
(643) ; below, two others with the departure of Hector. In the flat
glass-cases, gold *Ornamentsfrom Cyprus, Carthage, Lydia, Sardis,
^olia (Myrina, p. 165), and Rhodes. — By the central window:
Painted sarcophagus in terracotta from Clazomense (Asia Minor),
in the Ionian style, 6th cent. B.C. — To the right of the exit, 874.
Perseus and the Gorgons. — To the left is the Salle des Colonnes
(p. 164).
Another passage, with archaic Greek vases and a terracotta
sarcophagus.
Boom F. Ceiling-painting by A. E, Fragonard: Francis I.
knighted by Bayard. — Attic Vases with Black Figures, from
Italy and Sicily. In the centre are vases bearing the name of
Nicosthenes. In the small case in front are wine-vessels (oinochoes)
signed Exekias, Theozotos, and Ama^is. Most of the scenes are
from myths relating to Hercules and Theseus. The types of the
gods differ greatly from the classic. Case on the left: the oldest
known scenes of the Judgment of Paris.
Boom O. Ceiling-painting by Schnetz: Charlemagne receiving
MSS. from Alcuin. — * Attic Vases vnth Red Figures, found in
Italy, many with the name of the maker. In a small case in the
centre, *104. Goblet with Theseus, Amphitrite, and Athena, by
Euphro(nios) ; 152. Goblet with Briseis and Phoenix (?), by Bryaos.
In the central case, large wine-bowls: 341. Death of the children
of Niobe (from Orvieto); 164. Apollo slaying the giant Tityos;
103. Combat of Hercules with Antaeus; *163. Grief of Achilles.
Back-wall, below, in the centre, *228. Sphinx, with Greeks trying
to solve the enigma. Many Bacchic scenes.
Boom H. Ceiling-painting by Drolling: Louis XII. hailed as
father of the people by the Estates at Tours (1506). — Vases with
Beliefs, found in Italy. In the centre are rhyta, or goblets in the
form of horns, adorned with heads; on each side are goblets with
the makers' names. Left wall: Arezzo pottery.
Salle des Fresques et Verres. Ceiling-painting by L^on
Cogniet: Bonaparte in Egypt. — Mural Paintings from Hercu-
lanewm and Pompeii. To the left, on a gold ground, Apollo and
the Muses. Large frescoes: Two women and a goat; River-god
between two naiads. — Back- wall (left) : Landscape with architecture
and sea-piece, from Boscoreale (comp. p. 152; 1900), — Beyond the
door: Frescoes and mural decorations from Rome and Tusculum;
Antique PoUery. LOUVBE. Right Hank 4. I67
^Boman master with his household (twelve persons, with their
names in Greek) ; Bacchus crowned with ivy, etc. At the end, anti-
quities from Egypt, especially from Alexandria; ^Grseco-Egyptian
portraits on wood; *Pla8ter busts (painted); Greek steles. — In the
glass-cases in the centre: interesting collection of Ancient Glass.
The exit-door to the left leads to the first room of the Egyptian
antiquities fp. 163), whence wo reach the nearest staircase to the second
floor (P on Plan, p. 117) by re-traversing the rooms to the right (pp. 168-161).
To conclude our visit to the Museo de la C6ramique Antique
we return to Salle E, pass through the Scdle des Colonnes (p. 164),
and enter to the left the adjoining rooms facing the court.
Boom M. Ceiling-painting by Picot: Cybele trying to save
Pompeii and Herculaneum from destruction. — Greek Pottery found
in Asia Minor, the Crimea, Cyrenaica, Egypt; terracottas of the
Hellenistic period. Vases with black and violet painting. Central
case : Terracotta heads from Tarsus and Smyrna. Large Panathenseic
amphora (313 B.C.). — On the chimney-piece: Bich collection of
grotesque terracottas from Smyrna; other terracottas in the cabinet
by the right wall and at the windows. — To the right of the exit,
six terracotta *Figuriues (Music and Dance) from ^Egina.
Boom L. Ceiling-painting by Meynier: Nymphs of Parthe-
nope (Naples) arriving at the Seine. — Greek Pottery found in
Greece. Admirable terracotta figurines (4th cent. B.C.). Wall-
cabinets: Greek terracottas from Tanagra in Boeotia, including, to
the right of the exit (2nd Case), *Dancing Cupids, ^Figures of
women with red hair; to the left of the exit, Venus and the shell
(3rd or 2nd cent. B.C.), Leda and the swan. On each side of the
chimney-piece, Athenian lecythi or perfume-vases. Case over the
fire-place: Lecythi; *Statuette of a pedagogue (terracotta). The
octagonal glass-case in the centre contains an ^Amphora with the
contest of the gods and the giants; Tanagra figurines in painted
terracotta: charming *Group of girls at play (window-side); satyr
with a wine-bowl; tablets in painted terracotta, with well-known
scenes; objects found in a child's tomb, etc.
Boom K. Ceiling-painting by Heim: Jupiter giving Vesuvius
the fire for the destruction of Herculaneum, Pompeii, and Stabise. —
Italic Pottery f from Apulia, Campania, Lucania, and Etruria (3rd
cent. B.C.). Vases, several of Iwge size, with red figures and
scenes from famous myths. On either side of the entrance, cases
containing recent acquisitions.
Salle de Clarao (XXXlll). Ceiling-painting after Ingres:
Apotheosis of Homer (see p. 147, No. 417). — Small sculptures and
fragments. In the right corner, a Bacchante (?), mutilated. Central
case: Antique ivories; Greek casts and carvings, objects from Utica
and Timgad, etc.— Bust of Comte de Clarac (1778-1847), long the
curator of the Antiques. Above the fire-place, ivory binding (6th
168 Right Bank 4, LOUVKE. Second Floor:
cent.; from Pal. Barberini), with the image of an emperor; carved
ivory and bone.
The exit leads into the SaUe des Sept-ChemirUes (p. 152).
Sbcond Floor.
The second floor contains the new rooms of the French School of
19th Cent, and the Thomy-ThUry Collection^ the Naval Museum, and
the Dratvings of the 19th Century. — There are two staircases ascending
to it : a small one (A on Plan opposite, F on Plan p. 117) from the vesti-
bule of the Salle Orientale (p. 161), which is reached from the ground-floor
by the Escalier Asiatique (p. 106), and the Escalier Henri IV (B, G, and
N on the three nlans ; p. 155). The latter (lift, see p. 98), leading to the
entrance of the Maval Museum, is open on Sun. and Thurs. only. — At
the top of the former we have the Naval Museum (p. 171) on the left
and the French School of the 19th Cent, on the right.
French School of the 19th Century. — Vestibule: 121a.
Chass&riaUf Peace (fragment of decoration for the old Conr des
Comptes, p. 305) ; 2953. Isabey, Adm. de Ruyter and Cornelius de
Witt embarking; Robert- Fkury, 2983 (labelled 254), Galileo be-
fore the Inquisition, 2984 (255), Return of Columbus. Right of the
entrance: 119. Charlet, Grenadier of the Guard; 2953a. Isabey,
Ebb-tide. Left, Ch. Le BouXy Marshes of Corsept (figures by Corot).
Boom I, or Salle Bomantique. Right, 829. Th. Rou88eaUy
Vieux Dormoir of the Bas-Br6au (Fontainebleau) ; 834. Saint-Jean,
Fruit-harvest; 778 b. G. Bicard, Paul de Musset (brother of Alfred) ;
204. A. G. Decamps, Draught-horses; 286. C. Flers, Landscape;
Corot, The Piazzetta at Venice (1834); 144 a. G. Courbet, M.
Champfleury; Ingres, Turkish bath; Ravier, Poplars; *213a.
Delacroix, Chopin; 430a (labelled 166), Ch. Jacque, Flock of
sheep; 442. A. C. de La Berge, Landscape; 642a. MiUet, Portr.
of a woman; 2931. Cabot, Pond at Ville-d' Avray ; 833. Saint-Jean,
Flowers. — 255. Diaz de la Pefia, Gipsies; *141e. Corot, Women
bathing; 778. Bicard, Portrait of himself; 125. Chintreuil, Rain
and sun ; 205 c. Decamps, Walls of Aigues-Mortes ; 141 c. Corot,
Mary Magdalene reading; 615a (formerly 809), MarUhat, Land-
scape; *217. P. Delaroche, The princes in the Tower; 206a. De-
hodencq, Portr. of himself; 141 d. Corot, Horses resting; 257a.
Diaz, Dogs in the wood; 123. Chintreuil, Space. — Ravier, The
cloud. Pond at Morestel; Corot, Portr. of his niece (1831 ; acquired
in 1912) ; *2941. J. Dupr^, Evening; 626. G. Michel, Near Mont-
martre; *830. Th. Rousseau, Marsh in the Landes (Garonne), one
of his masterpieces (1852); L. Robert, 816. Arrival of reapers in
the Pontine Marshes, a work once much admired (1830), 817. Return
from the pilgrimage to the Madonna dell' Arco; Corot, 140. The
Coliseum, 139. The Roman Forum (early works), *141a. Sunset;
Millet, 644 a. The seamstress, *641. Church of Gr^ville, *642.
Women bathing; 627. G. Michel, Interior of forest; Ravier, The
M,USiK$ m kOUYRE
SECOHD ETAOE
AJ^ttlt-tcaha- . B. Onaia oral
French FairUings. LOUVRE. RightBaink4. 169
Tiber at Ostia; *2940. G. Dupri, Morning. — 257. Diaz, No ad-
mission!; 412 a. P. Huety Sonset at Seine-Port (near Melun); 285.
H. Flandn^n, Portr. of a woman; 831. Th. Rousseau, River-bank;
*141 f. Corot, The belfry at Douai (1871) ; hahey, 2955. Sea-piece,
2954. Bridge ; 120. Chass&riau, Tepidarium ; 778 c. i^icard, Stephen
Heller, the composer; 413. P. Uuet, Calm of morning; 256. Diaz,
Fairy with the pearls; *184a. C. F. Daubigny, Small pond.
Boom n. *Collection Thomy-Thi^ry, bequeathed to the
Louvre in 1902 by M. Thomy-Thi^ry, and very important for the
study of the landscape painting of the Barbizon School (p. xlix). See
also the Chauchard and Moreau-N^laton collections (pp. 174, 178).
— In many parts of the room are small pictures by Decamps,
^skilful in conception and wittily realistic': on the right wall, 2828.
Sporting-dogs, 2836. Beggars, 2827. Street in Smyrna, 2842. Farm-
yard, *2832. Bell-ringers, *2838. Dogs' toilet (1842), 2833. Gipsy-
camp. Beginning again, on the right; 2879. Isabey, Baptism in
the church at Le Tr^port; Th. Rousseau, 2904. Little fisherman,
2901. Plain in the Pyrenees; *2871. J. Dupr6, The Landes;
Millet, *2891. Washerwoman, 2894. Maternal precaution; 2808.
Corot, Entrance to a village; 2817. Daubigny, Beach of Viller-
ville;2911. 2Voycm, Small herd ; 2895. MWei, Wood-cutter; 2802.
Corot, Porte de Jerzual at Dinan ; *2902. Rousseau, Village amid
trees; *2893. Millet, Thresher; 2854. Diaz, Nymphs in the wood;
2865. Dupri, The little cart; 2905. Rousseau, Vondi\ *2807. Corot,
Pond; 2858. Diaz, Venus and Adonis; 2800. Barye, Lions near
their den, 'a sinister scene'; *2915. Troyon, Cattle meeting sheep;
Desvergnes, Marble bust of M. Thomy-Thi^ry; 2853. Delacroix,
Lioness about to spring; 2859. Dia^, Venus disarming Cupid;
Delacroix, 2844. Death of Ophelia, 2843. The Bride of Abydos;
2870. Dupr6, Cows drinking; 2880. Isabey, On the beach at Sche-
veningen; Dekicroix, *2845. Ruggiero delivering Angelica, 2848.
Lion and rabbit; 2857. Diaz, The clearing; Dupr6, 2867. The pool,
2866. Autumn; Isabey, 2878. Wedding at the church of Delft, 2881.
A duel; 2846. Delacroix, Lion and wild-boar; *2876. Fromentin,
Falconry; Delacroix, *2851. Hamlet and Horatio, 2847. Lion and
alligator; 2869. Dupri, Landscape; 2814. Daubigny, The Marais;
2852. Diaz, Charity. — *2816. Daubigny, Sunset; 2831. Decamps,
Knife-grinder; *2892. Millet, Binding sheaves; 2811. Corot, Even-
ing; 2819. Daubigny, Boats on the Oise; 2855. Diaz,Women bath-
ing; Decamps, 2840. Elephant and tiger at the spring, 2834. The
rat retired from the world; *2887. Meissonier, Flautist; *2912.
Troyon, The ford; 2868. Dupr^, Pasture (Normandy) ; Diaz, 2856.
Dogs' toilet, 2861. In a wood; 2877. Fromentin, Halt; *2822. Dau-
bigny, Mill of Gylieu; 2882. Isabey, Visit to the ch&teau. — Dau-
b^y, *2818. The sluice, *2824. Morning, *2815. Pool with storks;
Troyon, *2914. The barrier, 2908. Sheep, 2910. Cattle drinking;
170 Bight Bank 4. LOUVRE. Stcoiid Floor.
*2875. J. Dupr^, Sunset after a storm; *2852. Delacroix, Medea;
2841. Decamps, Bertrand and Baton (monkey and cat); *2864.
Dupre, Pond; *2810. Corot, Road to Sin-le-Noble (near Douai), or
'Road to Arras', a work of marvellous delicacy; 2826. Decamps,
Monkey painting; *2909, Troyon, Morning; 2874. Dupr^, Sunset;
*2916. Troyon, Heights of Suresnes ; Corot, 2801. The valley, 2812.
Eclogue; *2900. Rousseau, Oaks; 2860. Diaz, The rivals; Corot,
*2803. Road to Sevres, 2804. Shepherds of Sorrento dancing, 2809.-
Cottages, 2806. Souvenir of Italy; *2860. Delacroix, Abduction
of Rebecca (from Ivanhoe); 2890. MiUet, Woman burning weeds;
Troyon, 2913. Girl watching turkeys, *2906. Horse-pond; 2805.
Coroi, Willow-grove; 2825. Daubigny, The pool. — Daubigny,
2820. Barges, 2813. A comer in Normandy; 2835. Decamps, Cat-
alans; 2884. Isabey, Louis XIII. at the castle of Blois; *2903.
Rousseau, Spring; 2888. Meissonier, Orderlies; 2849. DeUicroix,
Crucifixion; 2875. Dupri^ The oak; 2896. Rotisseau, Banks of the
Loire; 2907. Troyon, Feeding poultry; 2883. Isabey, Procession;
Daubigny, *2821. The Thames at Erith, 2823. Banks of the Oise.
— In the centre, bronzes by Ba/rye.
Boom TTT, or Salle du Second Empire. Right: 761a. Raffet,
Infantry soldier of the First Republic ; 2948. Huet, Park of St-Cloud ;
2938. Daumier, Th. Rousseau, the painter ; *305. jPVowie/i^m, Hawk-
ing in Algeria; 2982. Robert-Fleury, Conference of Poissy (1561 ;
see p. 457); 2964. Meissonier, A. Bumas fils; 772. H. RegnauU,
Portr. of a woman ; 2967. Meissonier, Madonna del Bacio ; 14. BeUy,
Mecca Pilgrims; 703. Poterlet, Dispute between Trissotin and
Vadius (from 'Les Femmes Savantes'); 779a. i2ie«ewer, Bacchante;
Meissonier, 2969. Siege of Paris (1870), 2968. Ruins of the Tuileries.
— *2937. Daumier, The thieves and the donkey; 2944. Grigoux,
Gren. Dwemicki; 478. Lanoue, The Tiber; 2934. CaJ>s, Sunset;
2943. Dupri, Portr. of himself; 303b. Frangais, End of winter;
890a. TriUat, Woman on a tiger-skin; Cols, 2936. D6jeuner at
Honfleur, 2935. Study of a woman; 11a. Bastien-Lepage, Portr.
of M. Wallon; *2981. Meissonier, Portr. of himself (1889); small
pictures by Huet, Meissonier, Dev&ria, Cals, and Dupri. —
E. Lami, Duchess of Orleans entering the Tuileries; 186a. A.
Dauzats, La Giralda at Seville; small works by Chintreuil; 863a.
0. Tassaert, Unfortunate family; 551. X. Le Prince, Shipping
cattle at Honfleur; 206b. Dehodencq, Arrest of Charlotte Corday;
254, 253, Diaz, Forest scenes; 838. A. Scheffer, Death of O^ricault ;
778 d. Ricard, Study of a woman ; 307. Fromentin, Egyptian women
on the Nile. — 12a. BeUang6 and Dauzats, Napoleon I. reviewing
troops (1810) ; 879. De Towmewmc, Elephants ; *295 7. Meissonier,
Napoleon III. at Solferino; 443. De La Berge, Arrival of the dili-
gence (Normandy); 205a. Decamps, Landscape; 956. H. Vemet,
Barri^re de Clichy in 1814; 477. Lanoue, Pine- wood.
JSntrem}l. LOUVRE. Bight Bank 4. 171
Betuming to the staircase (p. 168), we enter on the left the —
Salle de Dessins, chiefly containing works by Ingres (such
as the designs for the stained glass in the chapels of Breux and
8t-Ferdinand), Delacroix j Gavami, Hervier, Millet j Corot, and
Ravier. By the Ist window, to the left, Ingres, 424. Sistine Chapel,
Girl bathing (1828). The collection is continued in the small adja-
cent cabinet: Drawings by H. RegnauU and Dehodencq, two water-
colours by Decamps, and one by Land.
Mus^e de Marine, a valuable collection of objects relating
to ship-building and navigation: Models of ships and machinery,
plans in relief of harbours, drawings, armour, and historical objects.
Most of these bear descriptive labels. Catalogue (1909), 2^/2 fr. —
The collection is to be removed to another building.
This museum fills twenty rooms, forming a square extending back to
the Pavilion Sully (p. 165). The numbering begins at the staircase of that
pavilion (see below). The chief room on this side is Boom XVI, the Salle
de CuircLSsis. It opens, right and left, into two narrow passages, the
Galerie des Navires Marchands and the Qalerie des Pirogues.
Rooms V-III contain part of the old Musie Chinois. In Boom Y are
furniture and statues of gods, in Boom IV are bronzes. The latter con-
tains also the crown of Behanzin, the last king of Dahomey (1894), and
(by a window to the right of the entrance) a boat with flowers in ivory.
In Boom III are two models of Siamese canoes. Boom I contains a musical
clock in silver, from the Kasbah at Alters (18S0).
The exit leads on to the staircase m the Pavilion Sully (B on Plan,
p. 168), which descends to the Salle des Bronzes Antiques on the first floor.
Entresol next the Seine.
The entresol next the Seine contains the Musie de VExtrime-
Orient, on the left, and the Chalcographie, on the right. The chief
entrance is from the Quai du Louvre by the Porte Jean-Goujon (F
on Plan, p. 95) ; but we may also enter by the Pavilion Denon and
the Salle des Moulages (comp. p. 95).
On the left is the Mus6e de rEztrdme-Orient. Cloak-
room for umbrellas, etc., gratis.
The *Oolleotion Qrandidier is a collection of over 6000
specimens of C&randque Chinoise, particularly porcelain, present-
ed to the Louvre in 1892 by M. Ernest Grandidier (d. 1912).—
On the landing are two glass-cases containing cloisonne enamels
(16th-17th cent.). — Room I, to the right, contains pottery of the
Sung Dynasty (960-1260), with white covers, blue and undecorated,
rare specimens, of which there are also repetitions of later date ;
fine Siouen-Te vases, with blue ornamentation on a white ground ;
fayence of the Ming Dynasty (1368-1630), decorated in relief or
open-work. — Rooms II & III. Porcelain of the age of Khang-Hi
(1662-1723): blue ground, or with polychrome decoration on white
ground ; by the window to the right, the goddess of Pity (15th cent.).
172 Bight Bank 4. LOUVRE. PaviUon de
— Room IV. Large dishes of the Khang-Hi period (see p. 171),
vases, and plates. — 5th Room: Porcelain of the Ching Dynasty
(18th cent.), bowls; left, pear-shaped vase with white ground and
delicate polychrome decoration, from the Summer Palace of Peking
(Yung-Ching epoch, 1723-36).— Rooms VI & VII. Pear-shaped
bottles from the Summer Palace; tobacco-flasks. — Room VIII.
Fayence and porcelain.
Golleotions Foucher, Felliot et Gha valines. — Room IX. On
the right, the objects brought from India by the Foucher expedition
(1895-97) : Grseco-Buddhist sculptures, including a statue of Boddhi-
sattava. On the left begins the Collection Pelliot (1906-09) : Terra-
cottas, statuettes, wood-carvings, etc., from Chinese Turkestan. —
Room X. Chinese paintings. — Room XI. Chinese bronzes; plaster
figures and terracottas (Chavannes expedition; 1908); bronze bell
(before 3rd cent. B.C.).
We next enter a long Gallery divided by a partition. Right
section. Japanese paintings and drawings; screens (17th cent.).
By the windows, lacquered boxes (including those once belonging
to Marie Antoinette); combs. In the case on the right: Masks,
wooden statues and statuettes, lacquered boxes. — Left section.
Chinese paintings (14th-16th cent.); Japanese paintings of the 10th-
17th cent, (including the ^Portrait of the priest Yichin). Opposite
the entrance, small terracotta column from a tomb (Chinese ; 2nd
cent.). By the windows, Chinese bronze mirrors and Japanese
sabre-hilts ; by the 3rd window, Buddha in painted wood (Japan-
ese; 7th cent.). On the left, small bronzes, Japanese and Korean
earthenware.
The Chaloog^aphie was founded by Louis XIV. in 1660, on
the model of the Calcografia at Rome. Engravings of great works
of art are exhibited and sold here. It contains three ExJUbition
Booms and a Sale Room, with albums and catalogues of over 10,000
plates. Farther on are the workshops and stores.
Pavilion de La Tr^moille.
This pavilion (see Plan, p. 89), also situated next the Seine to
the W. of the Saints-P^res entrance (p. 91), contains the Salle du
Mastdba and the Galerie de Morgan (entrance from the Place
du Carrousel, p. 66).
Salle du Mastaba, continuation of Egyptian Antiquities (pp.
106, 163). At the entrance, Painted coffins from Cairo. By the
walls. Tomb-statues. To the right, under glass, ^Tombstone of King
Zet (^serpent'), from the beginning of Egyptian history (B.C. 3300),
found at Abydos; seated figures, notably that of Pehernofer (A 107).
La TrimoiUe. LOUVRE. Rig^t Bank 4. 173
On the platform, the quadrangular * Sacrificial Chamber from the
Mastaba (tomb) of Ekhet Hotep, a functionary of the 5th Dyn.,
bronght from Sakk&ra in 1903; it is adorned with coloured *Re-
liefs of scenes in the life of the deceased. To the left, by the
window, large sacrificial table from the same mastaba ; then, to the
left, B51. Nofru, another official, receiving funeral offerings, a
relief from his mastaba (5th Dyn.). To the right of the mastaba
is a relief from the tomb of Tahntua, an official of the Ancient
Empire. At the end, A 42. Figure of a scribe (5th Dyn.) in a
crouching attitude, like that mentioned on p. 164.
Gkderie de Morgan, or NouveUe Salle de la Svsiane, con-
taining objects, chiefly pottery, bronzes, and inscriptions, brought
home by M. de Morgan (p. 105). The larger antiquities discovered
by his mission are in the Salle de la Susiane (p. 105), and the
jewels in the 2nd Salle de la Colonnade (p. 161). — Above the en-
trance, large Persian inscription of Artaxerxes II. ; then, a large
trilingual inscription of Darius (Persepolis). Case to the right:
Steles and inscribed tiles (the oldest at the right end), in vertical
columns, the earliest texts relating to the history of Elam. Cases
in front: Elamite antiquities; then a bilingual stele of King Me-
uuakh (ca. 800 B.C.) from Kel-e-shin. On the wall to the right :
* Large Relief of Chosroes II., depicting a hunt (6th cent. A.D. ;
see below). In front, votive bronze columns (probably barriers of
a sanctuary), with Anzanite inscriptions of King Shilkhak-Inshushi-
nak (ca. 1100 B.C.). Table-cases: Bronze canephors and stone
tablets of King Dungi, from the temple of Shushinak (ca. 2500 B.C.) ;
Chaldseo-Elamite * Seals and cylinders; bronzes and terracottas
of the Elamite period. Surrounded by the cases is the headless
statue of a patesi (viceroy) of Akhnunak (about 2500 B.C.). — Cases
by the left wall: Tiles, votive stones, ornamental hilts, knobs of
sceptres, charter granted by the Kassite king Bitiliakh, enamelled
stoneware, horns in alabaster. In the middle, very ancient vases
and bronzes from the excavations at Tepeh-Mussian, near Susa. In
front. Lozenge-shaped stone *Tablet (of 'Karibu-Sha-Shushinak'),
with a lion's head and an early Anzanite inscription and two systems
of writing. The next cases contain pottery from Susa, Elamite and
Achsemenian objects and alabaster vases (the latter with trilingual
or quadrilingual inscriptions); also Grseco-Persian and Arabian
pottery. At the end of the gallery we descend a few steps ; on the
left is a bronze altar bordered with two serpents ; also supports or
sockets of hinges with important inscriptions. Above, on the wall,
Achsemenian inscriptions of Darius and Xerxes. On the end-wall,
right and left. Continuation of the above-mentioned Relief of
Chosroes II.; above, map of Elam. — On the window-side, as
we return: by the 1st window. Bronze sarcophagus in which the
Achsemenian jewellery mentioned on p. 161 was found ; fountain-
174 Bight Bank 4. LOUVRE. CoUecUon
basin of Idadu-Shoshinak, patesi of Sosa; between the let and 8nd
windows, a fragment of a stele of victory, showing the enemies of
the king caught in a net ; by the 2nd window, a bronze relief (known
as the Warriors' Relief), with an Anzanite inscription (about 1100
B.C.) ; Aramaic and ancient Persian (Pahlavi) inscriptions; rests for
the hinges of a door. Under glass, opposite the Srd window, Bronze
votive offering of King Shilkhak - Inshushinak (p. 173). Table-
cases by the 3rd and 4th windows: *Votive offerings from the
temple of Shushinak, Persian inscriptions. The next table-cases
chiefly contain tablets with accounts. By the 5th window, Steles.
By the last window: Other steles; ^Brick column from the temple
of Shushinak, with the name of King Shutruk-Nakhkhunte (B.C.
1150). — In the centre: Tablets with accounts, *Vases with geomet-
ric decoration from the acropolis of Susa, votive offerings from
the temple of Shushinak, cylinders and statuettes, archaic vases,
sculptures, and reliefs from Susa. — On the walls and by the win-
dows are views from Persia, by G. Bondoux, who accompanied
M. de Morgan.
Pavilion de Flore.
The Pavilion de Flore (p. 65), adjoining the Pavilion de La
Tr^moille on the W., was evacuated by the Minist^re des Colonies
in 1909 (see p. 320) and is to be fitted up as a gallery. Since
1910 the first floor has been occupied by the Chauchard Collection,
arranged in a long gallery and four adjoining rooms, next the Salle
Rubens (p. 134), from which we enter.
The *Colleetion Chauchard, bequeathed by Alfred Chau-
chard (see p. 255), contains some 140 French pictures of the 19th
cent., notably some of the finest works of the Barbizon school (once
insured by its owner for about 720,000Z.). Other pictures of the
same school are to be found in the Thomy-Thi^ry and Moreau-
N61aton collections (pp. 169, 178). The pictures are labelled. Cata-
logue at the entrance, 1 fr.
Main Qallery. Left, 45. Diaz, Forest of Fontainebleau (1868) ;
114. Th. Rousseau, The pond (stormy sky) ; 63. E. Fromentin, The
fantasia (1869) ; DiaZj 43. Forest-road, 44. Hills of Jean-de-Paris
in the forest of Fontainebleau (1867). — Door of Room I (p. 175).
— *117. Troyon, Bull (storm-effect); 59. J. Dupr^, Shepherd
(sunset); 24. Corot, DsLace of shepherdesses (1871); 36. Decamps,
Orange-seller; *112. Th. Rousseau, Road in the forest of Fon-
tainebleau; 40. E. Delacroix, Puma (1859); 38. Decamps, Christ
in the prfletorium; *113. Th. Rousseau, The cart (1862); 68.
Isabey, Leaving church; 11. Corot, Clearing at dawn; 71. Ch,
Jacqtie, Little sheepfold; 28. Davhigny, The Seine at Bezous;
Chanchard. LOUVRE. Right Bank 4. 175
66. habeyy Queen at breakfast. — Door of 3rd Room (exit or
entrance, see below). — 69. Isabeyj Royal marriage (1866); *3.
Corot, The cart (1855); *107. Tk. Rousseau j Avenue in the
forest of L*Isle-Adam; 58. J. Dupr6, Road to the farm; 16.
Corot, Rest under the willows; 123. Troyon, Gamekeeper and
dogs; 14. Corot, Shepherd at the pond; 61. J. Dupr^, Mill-pond;
*132. 2Voycm, White cow (1859); 2. Ooro^, Fisherman on the pond;
29. Dauhigny, Keeper of turkeys (1858) ; 39. E. Delacroix, Tiger-
hunt; 21. Corot, Marshes of the Tour Carr6e; 32. Daubigny,Y aXley
of Arques ; *56. J. Dupr6, Pond with oaks ; Corot, *16. Ford (1868),
*6. Goat-herd playing on the flute. — 133. Troyon, The ford (1860).
Marble bust of M. Chauchard, by H. Weigde. 124. Troyon, Re-
turn from market. — Window-side, as we return: 138, 137. Ziein,
Views of Venice; Troyon, 129. Pasture, 130. Valley of the Touques;
Ziem, 140. Constantinople, 134. Venice. — Two glass-cases in the
centre contain 29 small bronzes by Barye, mostly of animals.
Boom I (up a few steps, left of the gallery). Right, 86. Meis-
sonier, Auberge of the Pont de Poissy; 139. Ztem, Boat at Venice,
evening; 42. Diaz, Pond under oaks; 64. Henner, Woman reading;
62. E. Fromentin, Halt of Arabs (1868); 47. Diaz, Pond with
boy kneeling; 136. Ziem, View of Venice. — Between the windows,
95. Meissonier, Dragoon. — *27. Corot, Mill of St-Nicolas-l^s-
Arras (late work; 1874); 120. Troyon, Pasturage with goose-girl;
22. Corot, Drawing in the nets (1871). — Troyon, 116. Shep-
herd bringing back his flock (1849), 125. Oxen going to plough;
*30. Z>aM5t^W2/, Washerwomen (1859); *12. Coro^, Pond of Ville-
d'Avray; 128. Troyon, Duck-pond. — *72. Ch. Jacqu>e, The large
sheepfold (1881); 135. Ziem, Palace of the Doges at Venice.
Boom IL Right, 108. Th. Rousseau, Farm in the Berry ;
Meissonier, 81. *Au tourne-bride', 79. The confidence; 109. Th.
Rousseau, Pond at the foot of a hill. — Meissonier, 76. Draughts-
man, 85, Gentleman curling his moustache; 4. Corot, Evening
(1855) ; 31. Davbigny, Sunset on the Oise (1865) ; *87. Meissonier,
•1814' (Napoleon and his staff), a famous work, usually considered
the painter's masterpiece (bought in 1880 for 34,000Z.) ; 41. Diaz,
Cows in the forest (1846); *57. ./. Dupi^e, The sluice; 34. Dau-
bigny, Banks of the Oise. — 89. Meissonier, Marshal Bessieres;
*141. Michel Moreau, Review under Louis XV. in 1769 (sketch);
131. Troyon, Cows resting; 88. Meissoniefr, Marshal Lannes. —
83. Meissonier, Ride at Antibes (the artist and his son; 1868).
Boom m. Right, 23. C(yrot, Bridge of Palluel; *122. Troyon,
Gamekeeper with his dogs (1854) ; *60. J. Dwjgre, The oak. —
13. Corot, Ferryman. — 33. Dauhigny, Pond.— 48. Diaz, Border
of the forest (1871); 1. Benjamin Constant, Portr. of M. Chau-
chard (1896); *46. Diaz, Poacher (1869). — Passage to next room,
*9. Corot, Goat-herds of the Borromean Islands.
176 RightB(mk4. LOUVRE. Mus6e des
Boom IV (at the end). Right, 80. MeissonieTy Amatenrs of
painting; *106. MiUety Sheep-pen (ca. 1872); above, 18. Carotj
Evening ; *10b. Millet j Spinster, ^admirably realistic' ; 121. TroyoUy
Return to the farm; 54. Diaz, Sorceress; 17. Coroty Morning. —
6. Corot, Willows; 37. Decamps, Farmyard at Fontainebleau ;
127. Troyon, White cow at pasture (1866); *Corot, Dance of
nymphs ; Meissonier, 74. Negro reading, 93. Dragoon ; * 102.
Millet, The Angelus (1858-59), his most popular painting, and
one of those which best display his realistic and yet poetic style
(sold to America in 1889, but bought back by M. Chauchard for
32,000 Z.); 20. Cai'ot, Clearing at Ville-d'Avray; Meissonier, 77.
White reader, 98. Dragoon; 26. Corot, Scene from the Landes; *99.
M7Ze<,Thewinnower(1848); 126. 2V(M/(m,Redcow; 111. TLBous-
seau. Pond by the oak. — 70. Ch. Jacqiie, Sheep at pasture; *103.
MiUet, Courtyard of his house (*la Femme au puits*); 110. Th.
Rousseau, Footbridge; 25. Corot, Women gathering sticks; *104.
Millet, Shepherdess and sheep (1862), one of his masterpieces;
100. Millet, Little shepherdess; 10. Corot, Road; 101. Millet,
Woman knitting; Corot, 19. The catalpa-tree, *7. Nymph disarm-
ing Cupid (1857). — Between the windows, 65. Isabey, The Duke
of Alva arriving at Rotterdam.
Pavilion de Marscoi.
The *Mus6e des Arts D6coratlfs (PL R, 18, 17 ; //), entered
by No. 107, Rue de Rivoli, nearly opposite Rue de rEchclle, was
founded by the Union Centrale des Arts Decoratifs. It occupies the
Pavilion de Marsan (p. 65), built by Lefuel (p. 91) for the Cour
des Comptes, but ingeniously adapted for its present purpose by
M. Gaston Redon, formerly the architect of the Louvre. Adm., see
p. 93. Lift, near the Escalier de Marsan, PI. D, 10 c. ; short cata-
logue of 1910, 60 c. ; curator, M. Louis Metman. Also an illus. guide
by A. de Brahm, l^g fr. — The collection embraces works of Euro-
pean and Oriental decorative art from the (Jothic period to the
present day. The paintings presented by M. E. Moreau-N^laton
are temporarily exhibited here (p. 178). Changes frequent.
The Bibliothhque des Arts Dicoratifs (see below), is open daily, ex-
cept Sun. and holidays, 10-5.80 and 8-10 p. m. ; closed Aug. l9t-20th.
Ground Floor. — Cbntbal Vbstibule (Guichet de VEcheUe).
Large Sevres vases ; models of groups by Carrier-BeUeuse for the
Op^ra; railings by Robert; two groups in terracotta, after Coyze-
vox; two large original models (lion and lioness) by A, Cain. To
the right are the entrance to the museum (cloak-room; no fee) and
the library (see above). — Vestibule on the Right. Models of
groups by Frimiet and Cain, masks by Rodin, etc. — To the right
of the vestibule is the Escalier Lefuel (PI. C), ascending to the
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Arts D4corcfHf8, LOUVRE. Right Bank 4. 177
first floor (p. 178) ; at the foot is a case with fayence and porcelain
of the First Empire, incl. a Sevres service used by Napoleon I. To
the left is the Escalier de la BibliotJiique (PL B), leading to the
entresol of the first floor (p. 180). — Opposite is the saperb Hall
Central, used for exhibitions, as are also the adjacent rooms
(Nos. 113-121) facing the Tuileries garden. — To the right is —
Room 110. Right and left, *State-robes and arms of Napoleon I. ;
La Paix, in silver, by Chaudet; by the window, opera-glasses and
fans; in the centre, purses and boxes. — Room 112 (Empire and
Restoration). *Mahogany furniture from the Invalides. On the
walls, drawings by J. B. Huet; engravings by H. Vernet; Houdon's
studio, a picture by Boilly; bust of Laplace by Houdon; Th^venin,
Richard-Lenoir*s spinning-mills. In the cases, fans, miniatures,
cameos, bronzes. — Room 114. Bedroom of the First Empire. —
Room 116 (Empire and Restoration). Throne of Napoleon I. and
Louis XFIII.; bronzes; *Models of jewellery, by Odiot; bust of
Louis XVIII. in Sevres porcelain (1823) ; trinkets and purses. On
the walls, painted panels, portraits, and engravings; panels of
the coronation coach of Charles X. — Room 118. Furniture of the
Restoration; bronzes; porcelain; bindings; to the right, bronze
statuette of Liberty, by David d^ Angers. On the walls, panels by
P. F. Galland; paintings and lithographs.
Room 120 (Second Empire). On the right, epergne by Froment-
Meurice (1867); in the centre, another presented by the Empress
Eugenie; drawings by P. Baudry; models by Carpeaiuc; bronzes
by Barye; fayence. On the wall, L. Bouvierj Spring. — We cross
the landing of the Escalier de Marsan (PI. D; p. 179), where Copen-
hagen porcelain and bronzes by Barye are exhibited. — Room 122
(Second Empire). Right, pewter by Brateau ; French glass ; bronze-
gilt clock by Constant Semn; bust of Sevin, by Tony-No'6l; ebony
cabinet by Fourdinois, containing bowls and ewers by C. Seviny
trinkets by Fouqitet, etc. Left, fayence by Avisseau. In the centre,
bindings by CI. Popelin and 'art nouveau' pottery. On the walls,
decorative panels, drawings, and paintings. — Room 124 (1880-90).
On the right, furniture by MajoreUe; Improvisatore, in bronze,
by F. Charpentier; stained glass, after Gr asset; French glass, by
Rousseauj Datmiy etc. ; ornaments in Britannia metal, by Harletuc ;
pottery by Bigot, Dalpeyrat, etc. In the centre. Fortune, model
of a monument in bronze and enamel by J. Tissot; glass by L. C.
Tiffqny. On the walls, seven large designs for stained glass,
by A. Besnard. On the ceiling, the *Stars, by A. Besnard. —
Room 126 (Salle de Sevres). Cases A-D, *Porcelain, stoneware,
etc., from Sevres (1850-1900). Cases F, G (at the back), Stoneware
by Deck, PM, etc.; above, panels by Deck, after Ehrmann;
Sevres vases; in front, balustrade ornaments by Moreau and Ma-
joreUe. In the centre, epergne in silvered bronze and table-service
178 RightBa»ac4. LOUVRE. Mu9ie des
made for Napoleon III. by the firm of Ckristofle; modem bindings
hy RassigneuXj Canape, etc. ; medals and plaquettes by H. KavUch;
Gallic cock, by A. Cain, and Child with a punchinello, by Carries,
both in wax; Lion and crocodile, bronze by A. Cain; two fine
doors, after S^dille (left) and Ch&ret (right). On the window-side,
a glass-case, inlaid, by E. Couty, containing glass by GalU, pla-
quettes by Faddegon, Vernon, etc. ; adjacent, plaquettes by Moty,
Chaplain, and Charpentier; Flora and Laughing girl, in Sevres
ware, after Carpeaux. By the windows, medallions by A, Char-
pentier; lithographs by Fantin-Laiour ; enamelled fayence by
Mme. C. Moreau; models by Fremiet
Room 123, or Grand Salon Muderne, after G. Hoentschel.
Peacocks, stained glass by Carol, after A, Beanard. Case for
musical instruments, by A. Charpentier. Left: *Happy Isle, a
large panel by Besnard (1902). In the centre, *Gold goblet with
transparent enamels, by Falize, after L. 0. Meraon. Statuettes by
Barrios, De Saint- Marceaux, Fremiet, and Dampt; furniture
by Madeleine, Dumas, De Feure, Major eUe; stoneware by Car-
rtis, Delaherche, and Dammouse; porcelain by Chaplet and
Lachenal; fayence by DeJbet; glass pastes by Dammouse, Gcdle,
and Laliqice; jewellery by L. Bottle, Giot, etc. Panels over doors,
by Aman-Jean, Henri Martin, Besnard, etc. Decorative panels
hyForain. — Rooms 121-113. Temporary exhibitions. — We ascend
the Escalier de la Biblioth^ue (PI. B; p. 177) to the —
First Floor. Room 206 A {Balcon de la Galerie de Pierre,
with view of the Hall). Crystal, lace. Virgins and saints (13th-16th
cent.), Venetian well-head of 16th cent., etc. — Room 206B (TxoZmc
de Pierre). French Gothic art; Virgins and saints (14th-16th cent.) ;
*Lectem (15th cent.); lace; Italian and Spanish stu£fs (13th-17th
cent.); by the end-wall, bust of M. Peyre, by A. Lenoir. — Rooms
201-207 (Peyre Bequest, French Gothic art). Sculptures, furniture,
woodwork, tapestry (in R. 201 : *Five scenes from an old romance,
15th cent.), embroidery, lace, paintings, etc. (13th-15th cent.).
On the landing No. 204 (left of 206 B) is the entrance to the
*Colleotion Moreau-I^^laton: 189 modem French pictures or
drawings, presented in 1906 by M. Etienne Moreau-N^laton, show-
ing the development of French painting from 1830 to the im-
pressionists. Illustrated catalogue (1907), 2 fr. — Comp. also the
Thomy-Thi^ry and Chauchard Collections (pp. 169, 174).
Room I. Left, Several pictures by Corot aud Monet; 72. Manet,
Peonies; opposite, 95. Sisley, The sluice of Bougival (1873);
*66. Fantin-Latour , Homage to Delacroix ; 80. Monet, Poppies
at Argenteuil (1873). — Room II. Left, 85. Pissarro, Diligence at
Louveciennes (1870); *2. Carri&re, Intimacy; 76. Monet, Road at
Fontainebleau (1866); several piptures by Corot (5. Portr. of him-
self, 1825); *71. Manet, Picnic (this picture, and the *01ympia*,
Arts D^coratifs. LOUVRE. Bight Batik 4. 179
mentioned on p. 147, were the artist's first 'plein air* works) ; 92.
Sisley, Square in Argentenil; 79. Monet, Carri^res-St-Denis. —
Gallery. Left, 90. Mic(xrd, Woman's head; Troyon, 100. Cows
pasturing, 99. Passage of a ford (1855); Delacroix, *57. Prisoner
of Chillon, *62. Taking of Constantinople by the Crusaders (a re-
plica of No. 213, p. 148); Decamps, *49. The ford, *50. Turkish
children leaving school ; 69. G&ricauU, Baft of the Medusa (sketch ;
see p. 152, No. 338). Opposite, 52. Ddacroix, Girl in a cemetery ;
Carol, *39. Velleda, *40. Bridge of Mantes, *38. Church of Marissel
(1866), *14. Chartres Cathedral, *19. Volterra, 28. La Rochelle;
9S. Sisley, Rest by a brook; *53. Delacroix, Still-life; 89. Puvis
de Chavannes, The dream (1877) ; 82. Monet, Bridge of Argen-
tenil. A glass-case contains souvenirs of Delacroix and Corot.
Off the landing of the Escalier de Rohan (PI. A 254) open two
rooms with drawings and water-colours : 4. Chass&riau, Christ on
the Mount of Olives; 88. Puvis de Chavannes, Faith, Hope, and
Charity; 22. Carol, Monk (1840); water-colours by JongHnd.
We return to the Galerie de Pierre (p. 178), and thence, to the
right, we enter Room 208 (French Renaissance; Peyre Bequest):
Tapestries; superb stall; chests, etc. — We return again to the
Galerie de Pierre and pass to the right into Rooms 212-226 (French
Renaissance; Peyre Bequest): *Fumiture, * Wood-carvings, *Tap-
estry, religious sculptures, embroidery, portraits, etc.
On the landing of the Escalier de Marsan (PI. D), which ascends
to the second floor (p. 180): Terracottas from Apt and Avignon,
tobacco-boxes, panels, and embroidery. — Then, Room 230 (Louis
XIII. and XIV.). Tapestries, balcony from Versailles, furniture,
paintings, sketches by A. C. Boule, etc. — Room 232 (Louis XIV.).
Gobelins tapestry, furniture, etc.; allegorical ceiling. — Room 234,
or Grande Salle Louis XIV. *Gobelins tapestry ; woodwork from
Versailles; *Caskets in stamped leather; fayence from Moustiers,
Rouen, Nevers, and Delft. — Room 228 ('Balcon de Pierre'). Two
*Groups in stucco by Clodion. — Rooms 221-213 (Regency and
Louis XV.). Room 221 : *Gilt frame containing a piece of Gobelins;
paintings by Oudry, LargiUi^e, Vardoo; three *Panels by
Lancret; sedan-chair; porcelain. Room 219: Bed with the arms
of the Rohans ; fayence from Marseilles ; panels ; armour. Room 217 :
Ceiling with arabesques and apes ; Chinese scene by Boucher; fine
carved wood; terracotta bust by Lemoyne. Room 215: *Dresden
china; fayence from Lorraine and Paris; watches; French jewel-
lery; terracotta busts. Room 213: Sketches and water-colours by
Boucher, he Prince, and Natoire; foreign porcelain. — Room 211
(Doistau Collection; 17th-18th cent.). Fayence from Rouen; wea-
pons, fans, sticks, keys; drawings and water-colours by Boucher,
Fragonard, etc.; bust of J. Vernet, by Houdon; fine chairs. —
Room 209 (*Donation Perrin). Drawings and water-colours by
180 Bight Bank 4. LOUVRE.
Watteau, Boucher , Frctgonard, Prud^hon, Ingres^ etc. ; bust of
La Goimard, by Merchi (1779); a family scene, by BoiUy (1787) ;
coloured engravings by Janinet, DebtKOurt, etc. ; porcelain from
China, Dresden, and Sevres; rare editions of French books. — The
Escalier de la Biblioth^que (PI. B; p. 177) ascends to the —
Entresol of the First Floor. — Rooms 259-267 (left; Louis
XVI.). Room 259 : Paintings and prints ; carved wood from Ver-
sailles ; furniture. Room 261 : Engravings, after Debucourt, BmlVy^
and Lawrence; fashion-plates, gowns, *Gold trinkets, Sevres
porcelain, miniatures, furniture; terracotta bust of Rousseau, by
Houdon (1778). Room 263 (painted with arabesques): Jewels
and enamels ; harps. Room 265 : Carved wood and painted panels ;
soft porcelain from Mennecy, Chantilly, St-Cloud, etc. ; cupboard
by Riesener; terracotta models ; left, curious clock recalling the
invention of balloons. Room 267 : Panels by Le Riche and Frago-
nard (f); engravings; *Mustard-pots (18th cent.); bronze figures
of children by Thomire; comfit-boxes and knobs for walking-sticks.
— Room 269: *Ironwork; house-signs (17th-18th cent., as that of
the *Homme Arm6', p. 190); door from the Abbey of Oursoamp
(Oise; 13th cent.); railings, caskets, knockers, keys, locks.
We now follow the corridor (PI. 276) opening on to the land-
ing of the Escalier de Marsan. This staircase ascends to the sec-
ond floor (see below), which may be conveniently visited now. We
should then return to see the following rooms in the entresol.
Rooms 272-262. Textiles, costumes, head-gear, lace (15th-20th
cent.). — Room 260 (Spanish Renaissance). Stuffs, embroideries,
Spanish-Mauresque dishes, tiles, furniture. — Room 258 (Spanish
Gothic art). Altar-piece of John the Baptist (end of 14th cent.). —
Room 256 (with balcony; German art). Paintings of 16th cent.;
religious sculptures; furniture. — Prom the Escalier de Rohan (PL
A; Salles Moreau-N61aton, p. 178) we pass to the right, by the
balcony, into Rooms 251-255 (Italian art): Tapestries, religious
sculptures and paintings, bronzes, chests, etc. (14th -16th cent.).
— Room 257 (Louis XVI. and Directory). Mahogany bedstead;
painting by Hvbert Robert; panels; engravings. — The adjoining
Escalier de la Biblioth^que (PI. B; p. 177) leads to the exit.
The Second Floor (comp. above) contains Oriental Collections.
Room 330 (Collection Delesohamps). Embroideries from Portuguese
India; glass-case to the right, embroideries from Albania and the
Greek Archipelago ; Chinese glass and lacquer. — Rooms 332, 334,
321. *Persian carpets (15th-18th cent.); velvet and silk; fayence
from Rhodes and Damascus; wooden panels (Egypt, 16th cent.);
copper-work inlaid with silver; bindings (16th-18th cent.) ; crystal;
tiles; Chinese enamelled bronzes. — Room 319 (British Ceramics,
18th cent.). Fine fayence and china; coloured engravings; a few
Italian pictures. — Room 317. Warming-pans (16th-l 8th cent.).
181
5. From the Louvre to the Place
de la Bastille.
MisTRO Stations (Line 1; Appx., p. 31): Chdtdd, (see below), Hdtd
de ViUe (p. 186), St-Paul (p. 187), ana Bastille (p. 188). — Restaurants
in this quarter, p. 21.
The E. part of the Bne de Bivoli (p. 88), beyond the Rue du
Louvre, was pierced through a network of narrow streets by Napo-
leon in., to facilitate the access of troops to the H6tel de Ville.
On the right, at its intersection with the JRtie du Pont-Neuf, lead-
ing from the Pont-Neuf (p. 267) to the Halles Centrales (p. 202),
are the Magasins de la Samaritaine (PI. R, 20, ///; p. 52). Farther
to the E. the Rue de Rivoli crosses the Rues des HaUes and St-
DeniSy and lastly the Boul. de S^bastopol (p. 81). — At the comer
of the Rues des Layandi^res and des Halles, and at the corner of
Rue Ste-Opportune, are the two entrances to the *Chfttelet' station
of the Mitro (Lines 1 & 4; see Appx., pp. 31, 33).
At No. 144, at the comer of the Rue de I'Arbre-Sec (PI. R, 20; ///),
an inscription recalls the site of the Hdtel de Montbazon, where Aamiral
Coligny was killed (see p. 88). Here also lived C.Vanloo, the painter,
and the Duchess of Montbazon, mistress of Ranc6 (d. 1700), who on her
death took the cowl and reformed the Trappist Order.
In the square at the S.E. angle of the Rue de Rivoli and Boul.
de S^bastopol rises the handsome Gothic Tour St-Jaoques (PI.
R, 23; ///,F), 190 ft. high. This is a relic of the old church of
St-JcLcqueS'la-Boucheriey built in 1508-22 on the site of an earlier
church, but sold and demolished in 1789. The church was once a
sanctuary for criminals. The tower was restored in the 19th cent,
and is now used as an observatory. Under the vaulting of the
ground-floor is a statue (by Cavelier, 1864) of Pasccd (1623-62),
who is said to have repeated from this tower (or from that of St-
Jacques-du-Haut-Pas, p. 338) the experiments he had made on the
Puy de Ddme regarding atmospheric pressure. On the top are a
statue of St. James the Great and the symbols of the Evangelists
(copies of the originals at the Thermes de Cluny, p. 288). The
view from the top (291 steps) is one of the finest in Paris, as the
tower occupies a very central position, but as it has been under
repair since 1906 the public are not admitted at present. — The
Square is adorned with good bronze statues of the Bread-bearer, 'Le
Ricochet' ('ducks and drakes'), and Cyparissus, by Coutan, Vital
Carnuj and H. PU.
In the Rue St-Martin, a little N.£. of the Tour St-Jacques and hidden
by houses, is the church of St-Merry (PI. R, 28 ;///), formerly St-M^iric,
in the late Gothic style (ca. 1520-1612). The entrance from the street is
by a fine, but unfinished portal. The interior was disfigured in the 18th
cent, by Boffrand and the brothers Slodtz, Over the high-altar is a large
marble crucifix, by P. Dubois. In the transepts are two good pictures by
C, Vanloo (to the left, on the first pillar of the choir, San Carlo Borro-
meo). Also many pictures and frescoes of the middle of last century.
Basdbksr's Paris. 18th Edit. 12
182 BtgM Bank 6. PLACE DU CHITELET. ^Vwn the Louvre
Fine stained glass in the choir (16th cent.)> Dnring the BeTolation this
ehorch was the Temple of Gonuneiee.
On. the N. of the church is an old quarter now in course of demolition,
but still containing a number of picturesque or historic houses. Opposite
the church-door is the Rue de» LombardSt called, like its London name-
sake, after the Lombard money-lenders established there. It claims to
be the birthplace of Boccaccio (1S13). In this street, to the right, is the
Rue QuincampoiXf where, in 1718-20, was Law's Bank, notorious for its
fantastic speculations.— The Rue de Venisey to the right of the Bue
Quincampoix, is one of the oldest and narrowest in Paris. This was
the Buelle des Usuriers in the middle-ages, and it still retains its cut-
throat aspect of the 14th-l6th cent, (numerous low taverns). At No. 27
wss the ancient tavern of the £p^-de-Bois, frequented by Marivaux and
Louis Eacine. — The Bue des Lombards leaids back to the Rue St-Martin
(PI. B, 23, 24, ///; p. 81^, which was once the great Boman road to the
northern provinces. At No. 122, at the comer of the Bue 8imon-le-Franc,
is the pretty Fontaine Mauhuiej which existed as early as 1320, but
was restored in 1733.
At the 8. end of the Bool, de S^bastopol lies the Place du
Oh&telet (PL B, 20, 23; V), occupied till 1802 by the fortress
and Prison du Grand -Chdtelet, a plan of which is seen on the
left side of the facade of the Charabre des Notaires. The Fontaine
de la Victoire, or du Palmier, was erected here by Napoleon I. in
1808, in honour of the Egyptian army. On the top is a gilded
statue of Victory; below are figures of Fidelity, Vigilance, Law,
and Power, by Boizot. The monument was removed to its present
site in 1858, when the double basin adorned with four sphinxes
was added. It was restored in 1899-1900. — On the right and left
of the Place are the Thidtre du Chdtelet (p. 37) and the Th^dtre
Sarah- Bernhardt (p. 36), both by Davioud. The latter was at
first tho Th^&tre Lyrique, banished by Haussmann in 1862 from
the Boul. du Temple (p. 82) ; it then became the Th^&tre des Na-
tions and the Op^ra-Comlque, after the fire of 1887 (p. 79). On
the S. side of the Place runs the Seine, crossed here by the Pont
au Change (p. 268).
From the Place du Ch&telet the broad Avenue Victoria, on the
right side of which is the building of the Assidance Publiqt^,
leads E. to the Place de I'Hdtel-de-Ville (PI. R, 23; F), once
the PUwe de Grdve (^bank of the river'), and the centre of a laby-
rinth of lanes. The name evokes many a tragic memory. Public
executions took place here from 1310 to 1832. In 1572, after the
massacre of St. Bartholomew, Catherine de M^dicis caused the
Huguenot chiefs Briquemont and Cavagnes to be hanged in this
Place amid the jeers of the mob ; and in 1574 she ordered the Comte
de Montgomery, captain of the Scottish guard, to be executed here
for having accidentally caused the death of her husband Henri U.
(p. 200). Bavaillac, the assassin of Henri IV., was executed here
in 1610. On this spot, too, EUonore Galigal, foster-sister of
Marie de M^dicis, convicted of sorcery, was beheaded and burnt
in 1617. In 1676 and 1682 the Marquise de BrinviUiers and *La
totheBaatme. h6tEL DE VILLE. RiglUBank6, 183
Yoisin*, the poisoiiers, and in 1721 Cartouche, the highwayman,
suffered the extreme penalty. On 22nd July, 1789, Foullon, con-
troller-general of finance, and Bertier, his son-in-law, the first
victims of the Revolution, were hanged by the mob on the lamp-
posts here. Three days after the capture of the Bastille (14th July,
1789; p. 188) an immense crowd, which had escorted Louis XYI.
from Versailles, under the protection of the Maire Bailly, filled
the Place with its acclamations when the king appeared on the
balcony of the H6tel de Yille wearing the tricoloured cockade
(composed by Lafayette of the blue and red colours of the city of
Paris and the white of the Bourbons). Here, too, on 8th Aug., 1830,
Louis Philippe, who had been nominated lieutenant-general of the
kingdom, was embraced on the balcony by Lafayette amid the
applause of the crowd. On 24th Feb., 1848, Louis Blanc pro-
claimed the Republic from the steps of the Hdtel de Yille. Lastly,
in May, 1871, the building was fortified by the Communards and
furiously defended by them against the troops from Yersailles.
When defeated, they proceeded to bum many public and other
buildings. The Hdtel de Yille was filled with gunpowder and petro-
leum and entirely destroyed, while 600 insurgents perished on the
occasion, having been either burned to death or shot by the troops.
— The Place de rH6tel-de-Yille is connected with the Cit6 (p. 267),
on the S., by the Pont d'Arcole,
The *H6tel de Ville (PL R, 23 ; V) was rebuilt in 1874-82,
in its original form, enlarged and enriched, by BaUu and Deperthes.
It is a magnificent edifice in the French Renaissance style, with
domed pavilions at the angles (recalling roedieeval towers; p. 90),
mansard windows, and lofty sculptured chimneys. The old Hdtel
de Yille was begun in 1533, probably from plans by the Italian
Domenico da Cortona, sumamed R Boccador, under the direction
of Pierre Chambiges, but was quadrupled in size by later additions.
The Hdtel de Yille is the headquarters of the municipal govern-
ment, controlling the 'roairies' of the twenty arrondissements or
wards. At the head is the Prefect of the Seine, who down to 1789
was called Pr6v6t de Paris or des Marchands.
The old Hdtel de Yille (model in the Mns^e Oarnavalet, p. 196) played
a conspicuous part in the different revolntions, having been the usnal
rallying-place of the democratic party, as opposed to the conrt-party of
the Lonvre and Tnileries, and it was nere that the Tiers-Etat took shape.
On 27th July, 1794, the Oommune was sitting here when Barras entered,
at the head of five battalions, to arrest Robespierre in the name of the
Convention. The government of the 'Defense Nationale' met here from
4th Sept., 1870, to 28th Feb., 1871, and the 'Oomit^ de la Oommune' (Blanqui,
F^lix Pyat. Delesclnze, Grousset, Rochefort, etc.) sat in the old building
from 18th March to 24th May, 1871.
The Main Facade, towards the Place, is divided into three parts.
The avant-corps in the centre has three entrances. In front of the
12*
184 Bight Batik 6. h6TEL DE VILLE. From the Louf>re
central gate are bronze statues of Science, by Blanchard, and
Art, by Mdrqueste. In the niches of the chief stories and the
pavilions are statues of eminent men; on the entablature are repre-
sented the towns of France, etc. In the centre of the facade is a
clock surrounded with seven statues; above are a campanile and
ten gilded figures of heralds. Including a few in the courts, there
are about 200 statues and groups on the exterior of the Hdtel.
The other facades also are worthy of note. The small garden
next the Seine contains a fine bronze Equestrian Statue of Etienne
Marcel (p. xvii), by Idrac and Marqueste. The entrances at the back
are guarded by bronze lions, by Cain and Jacquemart
The passage through the courts is open to the public.
The *Interior is open daily, 2-4 p.m. (gratis). The visit (some-
what hurried; ^/^ hr.), under the guidance of an official (fee), begins
at the *Salle des Pr6v6ts', on the right in the left passage.
The ground-fioor is occupied by offices. — We first enter a gal-
lery, with a view of the court and of the ^Grloria Victis*, in bronze,
by Merci^. The SaMe St- Jean, for large meetings, is not shown.
Two sumptuous marble staircases ascend to the first floor. In the
cupola of the N. staircase is the Republican Calendar (p. xxi), by
J, Blanc.
The Galleries and Salles des F^tes, on the first floor, have
painted ceilings and walls, forming quite a museum of decorative
art. The vestibules and corridors at the top of the staircases are
adorned with landscapes and views of Paris and its environs. —
The Salom o'Abriv^e Nobd has a superb panelled ceiling and two
decorative panels by Roll, 'the Pleasures of Life'. The Salon
o'Entrj^e Nord and the Portique Nord contain paintings by
Bonis and F. Barrios, and marble statues (Horace and Lesbia)
by GuUlaume.
Next comes the Grande Salle des F^tes, 164 by 40 ft., and
40 ft. high. — Ceiling-paintings: Progress of Music, by Gervex;
Perfume, by G. Ferrier; Paris inviting the world to her f6tes, by
Benj. Constant; Flowers, by G, Ferrier; Progress of Dancing,
by A. Morot On the vaulting, the Old Provinces of France, by
Weerts, F. Humbert, Ehrmann, and P. MiUiet. The sculptures
also, especially the caryatides and the groups in relief, are interest-
ing. On the panels of the Galerie Lobau, facing the Place Lobau,
are painted scenes from the history of Paris, festivals, etc., by
Picard, Clairin, Berteaux, Baudouin, and Blanchon. The small
cupolas contain interesting frescoes by Picard and Risler. — The
Salon des Cariatides, on the other side of the Salle des FStes,
contains a large vase, 10 ft. high, of red and green jasper from
the Ural Mts., presented by the Tsar Alexander III. of Russia in
memory of the reception of Russian naval officers and seamen at
Paris in 1893.
to the BastiUe, H6TEL DE VILLE. RigM Bonk 6. 185
The PoBTiQUB SuD, next to the Salle des FStes, is adorned
with paintings by H. L6vy (Hoars of the Night and Day). The
Salon d'Entb^e Sud has a ceiling (Apollo and the Mnses) and two
friezes (Painting, Literature, Music, Sculpture, and Architecture),
painted by Henri Martin. — We next enter the Grande Salle k
Manger, which has three fine ceiling-paintings by Georges Ber-
trand: the Hymn of the Earth to the Sun, flanked with Harvest
and Vintage ; also six marble statues: Hunting, by E. Barrios; the
Toast, by Idrac; Fishing, by Falgui^e; Vintage, by A. Crauk;
Song, by Dalou; and Harvest, by Chapu. Superb inlaid-work in
oak. — At the angle next the Seine is the Salon Lobau, with good
paintings by J. P. Laurens: Louis VI. (le Gros) granting the first
charter of Paris; Etienne Marcel protecting the Dauphin; Re-
pression of the revolt of the Maillotins (1383); Anne Dubourg
protesting before Henri II. against the persecution of the Huguenots
(1559) ; Arrest of the councillor Broussel (1648) ; La Reynie (1625-
1709), lieutenant of police under Louis XIV.; Turgot leaving the
offices of the ministry at Versailles; Louis XVI. at the H6tel de
Ville (see p. 183; 1789), a composition known as the 'votte d'acier'
(arch of steel).
"We now visit the S. wing, next the Seine; but the custodian
does not always show all the rooms. — Premier Salon de Pas-
sage: Louis XI. entering Paris (1461), by Tattegrain. — Salon des
Sciences: Three ceiling-paintings, the Sciences, Meteorology, and
Electricity, by Besnard; two friezes hyLerolle, Science enlightens,
Science leads to fame; twelve corner-pieces by Carri^e, the Scien-
ces; above the doors, Physics, Botany, by Duez; eight panels, the
Elements, by Jeanniot, Rixens, Buland, and A. Berton, and Views
of Paris by P. Vauthier, L, Loir, Lupine, and E. Barau; sculp-
tures, notably the chimney-piece, by J. P. Cavelier. — Salon des
Arts: Three ceiling-paintings, Glorification of Art, Truth, and the
Ideal, by Bonnat; two friezes. Music and Dancing, by L. Glaize;
twelve corner-pieces, the Arts, by Chartran; four medallions by
Rivey; on the panels, Painting by Dagnan-Bouveret, Music by
jP. Elameng, Sculpture by Layraud, Architecture by T. Rohert-
Fleury, and Views of Paris by Frangais, Bellel, Colin, and La-
postolet. — -Salon des Lettres: Ceiling-paintings, the Muses of
Paris, Meditation, Inspiration, by J. Lefebvre; History of Writing,
two friezes by Cormon; twelve corner-pieces by Maignan, the
Great Works of Literature; four medallions by Mile. Forget;
above the doors. Philosophy freeing Thought, History gathering
the lessons of the Past, by tf. Bourgeois; on the panels, Eloquence
by Le Roux, Poetry by Collin, History by Thirion, Philosophy
by CaUot, and Views of Paris by Berthelon, GuUlemet, Saintin,
and Lansyer, Sculptures by G. J. Thomas, notably the chimney-
piece. — Galebib de la Coub du Sud: The Parisian Handicrafts,
186 Right Bank 6. ST-GERYAIS. From the Louvre
fifteen small cupolas painted by GaUand. — Passage Sud: The
Tnileries Garden, by Montenard (1906).
The Salon d'Akbiyi^b Sud, which leads to the great S. staircase
and exit, contains two large mnral paintings by Puvis de CJiavannes
(Snmmer and Winter).
In the centre of the W. wing (next the Place de l'H6tel-de-Ville), on
the first floor, is the Salle du Gokskil Mubicipal; visitors are some-
times admitted to council-meetings, Mon., Wed., and Fri., at S p.m.—
The EsCAUBit d'Hoitneub is not shown. Sculptures on the ground-floor,
Mounted torch-bearer, bronze by J^r^mt^; Monument of Ballu, the archi-
tect, bronze by H. Barrios and Coutcm ; Justice and Security^ by Mercii
and Delaplanche; on the first floor, Art and Ck)mmerce, by the same;
Literature and Education, by ScTicenewerk ; Sciences and Public Bene-
volence, by M. Moreau. Paintings by Puvia de CJiavannes: Victor Hugo
dedicating his lyre to Paris; in the spandrels, the Virtues.
Sallb du Budget (2nd floor; shown when the council is not sitting).
Right, Beturn of troops from Poland after the campaign of 1806-07 ; left,
Enrolment of Volunteers in 1792; on the ceiling, dhargc of Ouirassiers
under the Republic, all by DetaiUe.
In the Place Lobau (PI. R, 23; F), at the back of the Hdtel
de ViUe, are two large barracks built by Napoleon III.; those on
the S. side are now school-offices. On the N. side, nearly opposite
the Rue des Archives, is the *H6tel-de-Ville' station of the Mitro
(Appx., p. 31).
The church of St-Gtervals (PI. R, 23; F), or St-Gervais-
St'Protais, to the E. of the Place Lobau, occupies the site of a
6th cent, church, which was rebuilt in 1212. The present building,
in the flamboyant style, dates from the 16th century. The portal,
added by Debroase in 1616, shows for the first time in France the
Doric, Ionic, and Corinthian orders, one above the other, with a
triangular pediment and an arch above. In 1793 St-Gervais became
a ^Temple of Youth*.
The Interior is remarkable for its harmony of style and its height.
It contains many fine frescoes, but they are badlv lighted. The names
on the walls of the chapels explain the subjects of their mural paintings.
Chapels on the right: 8rd, Frescoes by Jobb4-Duval; 4th, by Oendron;
5th, Painting by vouder (St. Ambrose and Theodosius) ; 6th and 7th (am-
bulatory), stained glass of 16th cent.; 8th, Frescoes by Olaize; 9th, Mau-
soleum of Michel Le Tellier (d. 1685), minister under Louis XIV., by
Maadine and HurtreUe^ frescoes by A. Hesse (SS. Gervasius and Pro-
tasius), and (on the altar) a statue of the Virgin (14th cent.). The clere-
story of the choir has stained-glass windows attr. to J. Cousin. Chapel
in the apse, stained glass attr. to Pinaigrier (16th cent.), paintings oy
Delormef and a Madonna by OudinS: vault with pendentives; over the
altar, a crown, 4 by 8 ft., by Jacquet (1517). Chapels to the left, as wc
return : Ist and 2nd, Pieti by Nanteuil and Cortotj paintings by Nbrhlin
and Guichard; Srd, a Passion painted on wood, by Aldegrever; 4th,
Beredos (15th cent.); 5th, Renaissance reredos and altar (with relief),
18th cent.; 7th, Font; model of the facade of the church (17th cent.), once
serving as an altar-piece in the lady-chapel. — Above the stalls is a me-
dallion of God the Father, by Peruaino, belonging to an altar-pieoe of
the Ascension (the chief panel of which is at Lyons). The candelabra and
Rilded bronze crucifix on the high-altar (18th cent.) are from the church
'' Ste-Geneviftve (Panth^n). The choir-stalls (16th cent.) have fine miserere-
to the Ba^HUf. ST-PAUL-ST-LOUXS. Bight Bank 5. 1 87
seats. Oi^n of 17th cent., with organ-loft in stone. — The choir is famed
as a vocal society ('Ohantenrs de St-Gervais').
To the N. of St-Gervais, behind the barracks, is the small
Place Baudoyer, between the Rue de Rivoli on the N. and the
Rue FranQois-Mlron on the S., the scene of a sanguinary fight in
June, 1848. The Mairie of the 4th Arrondissement (H6tel-de-
Ville), between these two streets, is in the late 16th cent, style;
paintings by Cormon and Comerre.
The Rue Fran^ois-Miron, to the S. of the Mairie, the £. branch of which
down to 1886 was part of the Rae St-Antoine, contains several old build-
ings. The Hdtel de Beauvais (No. 68), of 1655, designed by Ant. Lepautre,
has a fine circular court with a carved staircase ; the Hdtel du Priaident
HSnauU (No. 82) has a balcony supported by a Moor's head. The Rues
Geoflfroy-l'Asnier and de Jouy, to tne 8., also contain several interesting
old houses, notably the H6t^ d'Aumont, now Pharmacie Centrale (1 Rue
de Jouy), built by Lc Yau in 1648, with a fa^de by Mansart; also the
17th cent. Hotel de Chcdons-Luxemhourg^ with a handsome door, 26 Rue
GeoflProy-rAsnier. — At the corner of the Rues de rH6tel-de-Ville and du
Fignier (the S.E. prolongation of Rue de Jouy, see above) rises the H&td
de Sens, built by Tristan de Salazer (1474-1519) for the Archbishops of
Sens, then metropolitans of Paris. It is built in the 15th cent, style,
with turrets at the angles and a donjon, or keep, in the courtyard, and
was purchased by the city in 1911. The Hdtel de duny (p. 280) is the
only other specimen in Paris of the domestic architecture of this date.
— Farther on lies the Quai des O^lestins (p. 189). — Curious houses also
on the Qttai de V Hdid-de-ViUe (Nos. 14, 12, 10, etc.).
Beyond the E. end of the Rue Frangois-Miron the Rue de Rivoli
is continued by the Bue St-Antoine (PI. R, 23, 26, 25; F), so
named from the abbey which once stood there.
In the Rue St-Antoine, on the right, is the old Jesuit church
of St-Paul-St-Louis (PI. R, 25, 26; F), erected in 1627-41 by
P^e Fr. Derrandy under Italian influence. The handsome baroque
portal was added by Pdre Martel Ange. The dome is one of the
oldest in Paris. The interior is imposing, but overladen with de-
coration. In the left transept is a painting of Christ in the Garden,
by Eug. Delacroix (1827). — The building to theW. of the church,
formerly a Jesuit college, is now the Lyc^e Charlemagne. — To
the N.W. is the *St-Paul' station of the M^tro (Appx., p. 31).
In the Rue St-Antoine (No. 65) is the Passage St-PUrre. At the
angle formed by this passage are the scanty remains of the arched entrance
to the churchyard of St-Paul, destroyed in 179S. Rabelais and Mansart
wore buried tnere.
In the Rue de S^vign^, which begins opposite the church, on the
N. side of the Rue St-Antoine, is the Musie Carnavalet (p. 194).
On the left in the Rue St-Antoine, No. 62, is the old Hotel de
SuUy, built in 1624 by Jean Androuet du Cerceau, and bought in
1634 by Sully, minister of Henri PV. A Mus6e-Biblioth6que of
Old Paris is now being fitted up here by M. Ch. Normand, and will
be open on Mon., Wed., and Sat. (1 to 4.30; adm. 1 fr.). The court,
adorned with columns and statues, is interesting. — On the right.
No. 21, corner of Rue du Petit-Musc, is the HQtel de Mayentie
188 I^gM Bank 6, THE BASTILLE. ^rom the Louvre
et dPOrmesson, built by Jacques Androuet da Cerceau, now a
scbool. It has a pretty vaulted staircase and turret. — The Rue
de Birague, to the left, leads to the Place des Vosges (p. 200).
Farther on in Rue St-Antoine, to the right, is the Eglise de la
Visitation, now Temple Ste-Marie (Calvinist; p. 48), built by Fr.
Mansart (17th cent.). To the left, at the comer of Rue des Toumelles,
is a bronze Statue of Beaumarchais (p. 83), by L. Clausade (1895).
No. 28 Rue des Toumelles was built by Hftrdonin-Mansart for him-
self. The first floor was once occupied by Ninon de Lenclos (d. 1706).
An inscription at No. 5, Rue St-Antoine (on the left), relates to
the taking of the Bastille. The street ends at the Place de la Bastille.
The Place de la Bastille (PI. R, 25; F), or simply La
BcutiUe, was once the site of the BastiUe St-Antoine, a castle
built in 1370-83, and spared when the old fortifications were
demolished under Louis XIY. This fortress, which had become
odious as a place of arbitrary and tyrannical imprisonment, was
rendered historically famous by its total destruction on 14th July,
1789, at the beginning of the French Revolution (see below).
The ^Colonne de Juillet, which now adorns the Place, was
erected in 1831-40 by Alavoine and IhiCf in honour of the heroes
of the Revolution of July, 1830. Its total height is 154 ft., its dia-
meter 13 ft. ; it rests on a massive round base of white marble.
Under this are vaults containing the two huge sarcophagi of the
victims of the July Revolution, in which were placed also the re-
mains of those who fell in Feb., 1848. On the circular substructure
rises a square base, adorned with twenty-four allegorical medallions
in bronze (Justice, the Constitution, Strength, Liberty, Equality,
and Fraternity). On the W. side of the pedestal is a bronze lion in
relief (the astronomical symbol of July), hy Barye; on the E. side
are the arms of the city; at the four comers are Gallic cocks hold-
ing garlands. The column itself is of bronze, partly fluted, and is
divided by bands into five sections bearing the names of the fallen.
On the summit is a Genius of Liberty, in gilded bronze, after
Dumont, holding in one hand the torch of civilization and in the
other the broken chains of slavery. — A good staircase of 238 steps
ascends to the top (adm. gratis). Splendid view.
Under the Place are the 'Bastille' stations of the MitrOj lines 1 & 6
(Appx., pp. 81, 84); entrance to the first of these on the S. side of the
Place, near the canal, to the second on the W. side, in front of the colnmn.
— Omnibuses and Tramways^ see Appx., p. 54.
Between Rne St-Antoine and Boul. Henn-Qnatre (p. 189) a row of white
paving-stones marks part of the site of the old fortress of the Bastille*
which defended the £. entrance to the town and overawed the populous
suburb of St-Antoine (p. 260). In July, 1789, the populace, hearing a rumour
that troops from St-Denis were marching on the city, and that the Bastille
was to bombard the Faubourg St-Antoine, fiew to arms, and, reinforced
by the guards and other troops who had joined the Revolution, laid siege
to the fortress. At first they were repulsed, but the garrison of 189 men,
including 96 'invalides', soon lost courage. The commandant Delatmay^
to the BasHJU. QUAI DES O^LESTINS. Rig^t Bank 5. 189
whose attempt to blow ap the castle with the whole of its little garrison
was frustrated, then agreed to surrender on condition that he might
evacuate the castle with the honours of war; but in spite of the brave
efforts of the leaders of the assailants to make them keep their promise,
he and his officers were massacred by* the mob. The castle was then razed
to the ground, and its stones were partly used to build the Pont de la
Concorde (p. 68). (Models, see pp. 191, 198.)
The Place de la Bastille played a memorable part also in 1848 and
1871. In June, 1848, the insurgents erected their strongest barricade at
the entrance to the Rue du Faubourg-St-Antoine. It was there that
Archbishop Affre (p. 276), while exhorting the people to peace, was fatally
shot. In May, 1871, this was one of the last strongholds of the Commu-
nards, by whom it had been formidably barricaded.
From the N. side of the Place de la Bastille run the Boul. Beau-
marchais (p. 83) and the broad Boulevard Bichard-Lenoir. Under
the latter pass the M4tro (Line 5 ; Appx., p. 34) and the Canal
St-Martin (p. 249), which is vaulted over for nearly IY4 M. Dur-
ing Holy Week the curious 'Poire aux Jambons', followed by the
'Foire k la Ferraille', is held in the Boul. Richard-Lenoir. To the
E. the Btie du Faubourg-St-Antoine (p. 260) leads to the Place de
la Nation (p. 261). — To the S.E. of the Place are the Gare de Vin-
cennes (p. 263) and the Rue de Lyon, ending at the Gare de Lyon
(p. 190). — To the S. lies the Bassin or Gare d'Eau de VAraenal,
the terminus of the Canal St-Martin.
Behind the Gare de Yincennes is the Hospice des Quinze-Vingts
(28 Rue de Gharenton ; PI. R, 26, F), one of the most venerable institu-
tions in Paris, founded before 1260 by St. Louis for '15 score' blind
people. Since 1780 the hospice, once in the Place du Palais-Royal, has
occupied the Hdtel des Mousquetaires Noirs, built by De Cotte in 1699.
The Boulevard Henri-Quatre (PI. R, 25,22; V) runs S. W. from
the Place de la Bastille, affording a superb vista ended by the dome
of the Pantheon (p. 291). On the left side of this boulevard is the
Caserne des Cilestina, on the site of a once famous monastery.
Adjacent, at No. 3, Rue de Sully, is the valuable Bihlioth^que de
V Arsenal (PI. R, 25 ; F), occupying part of the old arsenal of Paris,
which extended from the Seine to the Bastille. The library is open
daily, 10-4, except Sun. and holidays and during vacation (15th to
31st Aug.). It contains 618,000 printed vols., 9875 MSS., and
120,000 engravings. It is specially rich in illuminated MSS., in an-
cient French poetry, in theatrical literature, in newspapers, and
reviews.
To the right of the Boul. Henri-Quatre, opposite the Biblio-
th^que, begins the Quai des 061estins (PI. R, 25, 22; F); No. 2,
on the right, is the old Hotel de La Valette (ColUge Massillon), a
fine building by J. Hardouin-Mansart (1681), with a grand fagade
restored in the 19th century. In the open space opposite are the
remains of a tower of the Bastille (^Tour de laLibert^^Jy discovered
under Rue St-Antoine during the construction of the M^tropolitain,
and brought hither in 1899. To the right of the Quai is the Rue
St-Paul, where the old Hdtel de La Vieuville (No. 4; end of 15th
190 Bight Bank 5. GARE DE LYON. From the Louvre
cent.) was once occupied by the Due de La Vieuville, superintendent
of finance (d. 1653). This Quai ends at the Quai de I'Hfttel-de-Ville,
which leads to the Place of that name (p. 182). Port des O^lestins,
etc.f see p. 334.
The Boul. Henri-Quatre crosses the Seine and the E. end of the
He St-Louis (p. 277) by the Pont de SuUy (PI. R, 22; F). On
the island rises a fine Monument to Barye (1796-1875), the animal
sculptor, with copies of his chief works and a medallion by Mar-
queste. The boulevard ends on the left bank, at the E. end of the
Boul. St-Germain (p. 296).
To the S.E. of the Biblioth^que de PArsenal are the ^Austerlitz'
station of the M€tro (Appx., p. 34), the Place Mazas (PI. R, G,
25; F), and the Pont d'AmterlUz (p. 334). — The Boulevard
Diderot (PI. R, 25, 28, 31) leads thence to the Place de la Nation
(p. 261). The Gare de Lyon (PI. R, G, 25, 28), at the beginning
of this boulevard, has a tower 210 ft. high. Buffet on the 1st floor,
with modern paintings.
In the Bool. Diderot, to the left, is the 'Lyon' station of the Mitro
(Appx., p. SI), which has another entrance in front of the <Gare' itself.
— Omnibuses and Tramtoays, see Appx., p. 68.
Quartier du Marcds.
MiTBO Stations (Line 1; Appx., p. 81): Hdtd-de-Ville (v. 186), for the
Archives ; St-Paul (p. 187), for the Mns^e Carnavalet. — Ounxbusbs and
Tbamwats, see Appx., pp. 58, 54.
The Quartier du Marais, to the N.E. of the Hfitel de Ville, is
bounded by the Rues de Rivoli, St-Antoine (p. 187), du Temple
(p. 209), and Boul. Beaumarchals (p. 83). Down to the 18th cent,
it was fashionable, and it still contains several fine mansions, but
these are now sadly disfigured by shops and factories.
The Bue des Archives (PI. R, 28, 24, 27 ; K, ///) leads from the Rua
de Rivoli (nearly opposite the M6tro station 'Hotel de Ville'), running
parallel with Rue du Temple, to the Square du Temple. No. 24, the old
Chapd of the Convent ofBiuetteSy built in 1764, has been a Protestant
church since 1812 (p. 48 ; 15th cent, cloisters). To the right, at the comer
of Rue des Blancs-Manteaux (No. 25), is the cabaret of 'l'Homme-Arm6',
with railing and sign of the 18th cent, (see p. 180). At No. 58 is the door
of the Hdtel de Olisson (p. 191). To the left, at the angle of Rue des
Haudriettes, is a Fountain^ erected by Prince de Rohan (1705), with a
Naiad by Mignot. On the right, Nos. 60-76, are mansions of the 17th
and 18th cent. ; No. 78, at the angle of Rue Pastourelle, is the H6td> du
Marichal de Tdllard (1728; to the right, at the end of the court, is a
fine, but much neglected, staircase by Bullet). — To the right of the Rue
des Archives lies the Rue des Qnatre-Fils, No. 22 in which is the man-
sion where Mme. du Deffand held her drawing-rooms, attended by Voltaire,
Montesquieu, D'Alembert, Horace Walpole, and others. — The adjacent
streets also contain several fine old mansions.
The Bue des Pranoe-Bourgeoia (PI. R, 23, 26; ///, V) leads
through the Quartier du Marais from the Rue des Archives to the
to the BoHiUe. ARCHIVES NATIONALES. Right Bank 5. 191
Place des Vosges (p. 300). The name recalls the feadal ages (ter-
minated only by the Revolution), when the emancipated 'bourgeois'
were free to live where they pleased, which the 'petits bourgeois'
could not do, while the *grands bourgeois' were bound to live within
their *seigneurie' or lordship. At the beginning of this street, on
the left, at the corner of the Rue des Archives, is the —
Archives Rationales (PL R, 23; III), in the old H6tel de
Soubise. The greater part of the Palais des Archives was built in
1706-12, by Velamairj for the Princesse de Soubise. The grand
Conr d'Honneur is flanked with a colonnade, and the fagade is
adorned with sculptures by R. Le Lorrain. To the W., in the Rue
des Archives, is an older part of the building, once the mansion of
the Conn^table Olivier de Clisson, built in 1371, and afterwards,
down to 1696, owned by the Guise family. We observe here
(No. 58) an old doorway flanked with turrets, bearing the family
arms and motto, and restored in 1846. The^national archives, now
numbering over 400,000 documents, were deposited here in 1808.
The N. and E. annexes date from the middle of the 19th century. —
Yisitors are admitted for purposes of research daily (exc. holidays)
10-5 o'clock, on previous application at the Bureau desRenseigne-
merUs. The chief treasures are shown in the Mus6e.
The MuB^e des Archives, or Mus^e Paliographiqtiey is open to
the public on Snn., 12-S; visitors are admitted on Thurs. also (12-8) on
application. The objects are labelled, and there is an interesting cata-
logne by J. Gniffrey (1 fr.). The mnsde is not heated in winter. The
cloak-room is obligatory. — The Louis XV. decorations (ca. 1780) of some
of the rooms are the finest in Paris.
In the vestibule, opposite the entrance, is the SaUe de Travail (see
above). We ascend to the right by a staircase, without banisters, dating
from 1844, with a ceiling-painting by Johhi-Duval, On the landing of
the FiBST Fzx>OR are busts of the keepers of the Archives fas Daunou,
by David d'Anaera) and glass-cases containing the seals. On the long
wall to the lett is the famous alleg[orical 'Jesuit picture', of th^ early
17th cent., which was seized in 1762 in the church of the Ck>il^ge de Billom
in Auvergne. It represents the reIip:iouB orders on their vojrage towards
the harbour of Salvation, in a ship manned by the Jesuits, with the
motto 'typus religionis*, and it afforded an argument against them when
the order was suppressed in 1762.
From the landing we enter the SaXle des Gardes, a large rectangular
hall. At the entrance is a model of the Bastille (p. 188), made out of
a stone of that fortress by the 'patriot' Palloy, with the keys of the
prison around it. Adjacent are charming ^Panels in carved wood, inside
which are scenes from the fables of La Fontaine (in gilded wood), once
belonging to the Hdtel de Guise (see above). On the wall is a plan of
Paris, said to have been owned by Turgot (1789). On the wall at the back
is hung a piece of Gobelins tapestry, after L. O, Merson, a 'Tournament
in the ISth cent.' (1899). The glass-cases, numbered 1 to 60 (beginning
on the left, under the tapestry), contain the most ancient documents,
from the Merovingians to Louis XIII. In Oase 8, No. 84, a gift from
Charlemagne, with his monogram; in Oase 17, No. 145, testament of Suger
(p. 892); in Oase 21, No. 214, testament of Philip Augustus; in Oase 28,
r<o. 852, treaty connnning the cession of the Dauphin^ to France (1848)';
in Case 45, No. 568, letter of Francis I. regarding the foundation of Le
Havre (1518); Case 48, No. 646, treaty of marriage between Francis II.
192 RigM Bavk 5. ARCHIVES NATION ALES. From the Lotivre
and Mary Stnart; in Case 54, No. 727, letter of Henri de Bourbon, after-
wards Henri IV. (1585); in Case 58 (below Tnrgot's plan of Paris), No. 802,
letter of Card. Richelieu (1624). Also, seals.
Farther on are the old apartments of the Princesse de Soubise. Her
*Bedroom has a gilt balustrade (restored) in front of the aleore which
contained the bed. The decoration consists of four mythological scenes
in relief, gilded, four g^ilded medallions, and mythological groups beauti-
fully executed. Above the doors are the Graces presiding over the edu-
cation of Love, by F, Boucher^ and Minerva teaching a girl the art of
tapestry, by Trimolihres (1737). At the back of the alcove are two pastoral
scenes, by Boucher^ and two landscapes, one by Boucher and the other by
Trimolihres (1738). In Cases 61 to 77 are documents of the 14th-16th cent,
(to Case 65 inclusive) and others of the 17th cent, (such as the revocation
of the Edict of Nantes, in Case 69), and autographs (of St. Vincent de Paul
in Case 66; of Bossuet, La Bruy^re, Comeille, and Racine in Case 74;
of Moli^re in Case 75; of Voltaire in Case 77).
Next comes the princess's *8alon Ovale, with an exquisitely painted
ceiling, a masterpiece by G. Boffrand. Around are eight scrolls with
garlands. Episodes from the myth of Psyche, painted bv Ch. Nafmre
(1787-89), his chief work. The series begins to the left of the entrance.
In front of the fire-place is the table on which Robespierre, when wounded,
was brought before the Comit6 du Salut at the Tuileries. Cases 78 to 86,
documents of the late 18th cent.: Oath in the Jen de Paume (79), deeds
relating to the Bastille (81), Declaration of the Rights of Man in 1791
(82), constitutions of 1798, and of the years III and VllI (88), documents
regarding Marie Antoinette (84), will of Louis XVI. (85), journal of
Louis XVI. and documents relating to his condemnation (86).
The next room contains four paintings over the doors : next the entrance.
Mercury educating Cupid, hy Boucher {11%%)] next the exit, the characters
of Theophrastus, or Sincerity, by Trimolihres (1787); at the back, on the
left. Secrecy and Prudence, by Restout (1787); to the right, Friendship
of (jastor and Pollux, by U. Vanloo (1787). Pictures : on the wall at the
back, Venus at her toilet, by C. Vanloo, and *Venus in the bath, by
Boucher; on the wall to the left. Marriage of Hercules and Hebe, by
TrimoUhres; on the wall to the right. Mythological scene, by Boucher,
Cases 87 to 116, deeds of the reigns of Louis XV. and Louis XVI.
The last room has beautiful carved panels over the doors. Pictures:
left, Neptune and Amphitrite, by Restout (1788) ; right, Mars and Venus,
by C. Vanloo: at the oack, two scenes from the fables of La Fontaine:
the Woodman and Mercury, by C. Vanloo, and Boreas and the traveller,
by Resiofit, Cases 117 to 152, documents of the Revolution and First Em-
pire; report on the execution of Louis XVI. (118); farewell of Charlotte
Corday to her father (121; No. 1368); autographs of Danton (121), Robes-
pierre (128), Marat (124), and Mme. Roland, ana the letters of the (}irondins
Barbaroux, Buzot, and Potion (126); letter of Gen. Hoche announcing the
victory of Quiberon (128) ; letters of Bonaparte, notably one to Pius VII.
(185; No. 1496); decree of Moscow reorganizing the Com^die-Fran^ise
(140); autographs of generals, men of letters, and artists of the Empire
period.
The Gbouhd Floor is shown on Thurs. only, under the guidance
of an ofScial. The old apartments of the Prince de Soubise contain the
continuation of the Mus^e Pal^o^phique. They are reached by the EsccUier
de Quite, the banisters of which are adorned with the double cross of
Lorraine. In the first room, over the doors: Diana disarming Cupid, by
Tr4molUre8 (1787), and Apollo teaching Cupid how to play on the lyre,
by Restout (1787). Foreign papers in Cases 18 to 69. — The next room,
the *8alle des Traitis\ was the prince's Salon Ovale, below that of the
princess (see above). It also was decorated by G. Boffrrmd with delicately
carved wainscoting (partly mutilated when the room was used, prior to
1870, as the Ecole des Ohartes). Between the doors and the windows
1 figures in prominent relief: Music, Justice, Painting and Poetry,
to the BaatilU, IMPRIMERIE NATIONALE. Rig^t Bank 6. 193
History and Fame, by L, S, Adam, and Architecture, Comedy, and Drama,
by J. B, Lemoyne, In the glass-cases (1-14) are treaties or alliance and
of peace from that of Richard Cceur-de-Lion with Philip Augustus (1195)
to the conventions of Erfurt (1808). Also three oases (15-17) with papers
relating to Great Britain. — The next room, once the prince's bedchamber,
was under restoration in 1912.
No. 55 Rue des Francs-Bourgeois (see p. 190), nearly opposite
the Archives, is the Mord-de-PUU (chief entrance, 18 Rue des
Blancs-Manteaux), founded by Louis XVI. in 1777, and reorganized
by Napoleon I. in 1804. In the Cour de I'Horloge is marked the
site of the old walls of Philip Augustus (p. 89). Adjacent is Notre-
Dame-deS'Blancs-Manteaux, the small church of the monastery
which once stood here.
The first cross-street, as we go to the E., is the Rue Vieille-du-
Temple. At No. 54, at the angle of the Rue des Francs-Bourgeois
(No. 42), is the pretty Gothic Turret of the Hdtel H6rou6t (1528).
On the left, higher up (No. 87), is the —
Imprimerie Nationale (PL R, 23; ///), in the old Hotel
de Strasbourg. This mansion, built by Delamair in 1719, once
belonged to the Dukes of Rohan, four of whom were cardinals and
bishops of Strassburg, including the famous Card, de Rohan (1734-
1803) who was implicated in the affair of Queen Marie Antoinette's
necklace (comp. p. 376). The first court is adorned with a bronze
replica of the statue of Gutenberg by David d' Angers at Strass-
burg (1852) ; in the second court, above the stables, is a fine relief,
the Steeds of Apollo, by R. Le Lorrain* Visitors are admitted free
to the printing-office and the building on Thurs. at 2.30 p.m. pre-
cisely, by ticket from the director (the visit takes V/%'2 hrs.).
Paintings by Boucher and Huet. The printing-office, which em-
ploys about 1500 hands of both sexes, is to be transferred to a new
building in the Rue de Javel (PI. R, G, 7), where part of the works
are already installed.
To the N. of the Imprimerie, in the Rue Chariot, is the church of
St-Jean-St-FranQOis (Pi. R, 23 ; 111), formerly a chapel of the Capu-
chins of the Marais (1628). It contains many paintings (badly lighted),
notablv St. Louis visiting the plague-stricken, oy Ary Scheffer (first to
the left, in the nave), and eight tapestries referring to a 'Miracle of the
Host' in Paris (1290). In the choir are statues of St. Francis of Assisi
(by G. PiUm) and St. Denis (by J. Sarazin). — The Rue Chariot contains
several mansions of the 17th-18th centuries.
Lower down the Rue Vieille-du-Temple, on the other side of the
Rue des Francs-Bourgeois, is the old Hdtel de HoUande (No. 47),
built by Cottard in 1638, and once occupied by the Dutch ambass-
ador under Louis XIV. The gateway is adorned with fine sculp-
tures (heads of Medusa; mythological subjects). The tympanum in
the court contains a large bas-relief of Romulus and Remus suckled
by the wolf, by Regnaudin. In front of this mansion is the spot
where Duke Louis I. of Orleans, brother of Charles VI., was ass-
194 Right Bank 6. MUSEE CARNAVALET. From the Louvre
assinated, as he was leaving the house of Isabeaa de Bavi&re, by
the men of Jean sans Penr in 1407.
Following the Bue des Francs-Bourgeois, we observe on the
left, at No. 38, a curious blind alley with overhanging houses, and
No. 30, the Hotel de Jean de Fourcy (1598; at the back of the
first court, above the cornice, is a bust of Henri IV.). On the right,
No. 31, is the Hdtel d'AJbret, founded about 1550 by the Conn6-
table Anne de Montmorency, and restored in the 18th cent, (with
inscription). It was here that Mme. Scarron, afterwards Mme. de
Maintenon, met Mme. de Montespan, who entrusted her with the
education of her children. No. 25, the old HdteL de Lamoignoriy was
built in the 16th cent, by Diane de France, Duchess of Angouldme,
the legitimized daughter of Henri II. and Diane de Poitiers, whose
crest (hunting symbols, and the letter D) may still be seen in the
handsome court, entered from Rue Pav6e (No. 24), to the right of
the Rue des Francs-Bourgeois.
Farther on, to the left, in the Rue de S^vign^, is the —
*Mu86e Camavalet (PI. R, 26; F), or Mttsie Hiatorique
de la Ville, illustrating the history of Paris and of the Revolution.
It was once the Hdtel des Ligneris, and then de Eernevenoy, whence
the name of Carnavalet. It was begun in 1544 from designs by
Lescoty continued by Btdlant; it was then altered by Du Cerceau,
remodelled in 1655-61 by Fr. Mansart, who built the chief fa^de
in the Rue S6vign6, and converted into a museum in 1866. The
portal, with sculptures by Jean Goujon, is the only relic of the
original building. Mme. de S^vign^ resided here from 1677 to
1696. An annexe in the Rue de S^vign^, designed by FoficauUf
was completed in 1910.
The museum is open daily, except Mon. and holidays, from 10
to 4 or 5, but on Tuesdays from 12.30 only (adm. 1 fr.; free on Sun.
and Thurs.). The 'guide explicatif (1 fr.) is out of print. *La
Peinture au Mus^e Camavalet* is by A. de Brahm (3 fr.). Cura-
tor, M. Georges Cain. — Sticks and umbrellas must be left in the
cloak-room (gratis).
The porte-cochfere by which we enter the museum is in a Court,
adorned with a fine bronze statue of Louis XIY., by Ant. Coyzevox,
from the old Hdtel de Ville. The sculptures of the Seasons, on the
facade at the back of the court, are attributed to Jean Goujon.
To the left is a staircase to the first fioor.
Hurried visitors should pass through the right wing of the
ground-floor and ascend the main staircase (p. 196) to the first floor
of the central building. Explanatory labels everywhere.
around Floor. Right Wing. Eight small rooms (PI. I and
II) contain prehistoric monuments, Roman antiquities (from the
Arenes de Lut^ce, p. 296; architectural fragments, sarcophagi,
to the BoiHUe. MUSl^JE CARNAVALET. Bight Bank 6. 195
tombstones, reliefs, millstones, mile-stones), and monuments of the
Merovingian period.
To the left of the staircase, in the last room but one, steps descend
to the Obtft, formerly Mme. de SSvign^'s kitchen (comp. p. 194), which
contains sarcophagi, casts of skeletons from the Ar^nes de Lntece, etc.
The crypt is snown in sommer only (fee to attendant).
We tarn to the right, pass a staircase (closed), and then enter
the lower room of the annexe (p. 194). It contains relief-models
of scenes from the history of Paris and of old quarters of the city ;
a mantle of the Order of the Holy Ghost (comp. p. 283) ; the cradle
of the Prince Imperial, presented by the city; bust of Bonaparte
in the year 1800, by Corbet. The adjoining staircase, with frescoes
by Bmnetti, is described on p. 199.
We next enter the three rooms (PL III, lY, V) of the Central
Building, which contain antiquities: Fragments of Gallo-Roman
buildings; 16th cent, chimney-
piece; (in Room III, 'Salle des
Liguenrs') earthenware, glass,
bronze weapons, coins, etc., found
in Gallo-Roman (Room lY) and
later times (Room Y, ^Salle Charle-
magne', so called from an eques-
trian statuette in bronze, in the
central case, supposed to be that
Ma^as.dereservpj ^.
I
Rzi^B' (les FrcLTvoS' BowrgB'Ots
? y y 2?Mitxes
of Charlemagne, from the cathedral of Metz, 9th cent.). — Beyond
the last room, to the left, is the main staircase (p. 196), and on
the right is a door leading into the garden at the back.
The Garden is bounded on the three other sides by annexes
erected since 1860. On the right and left are galleries. In the
c#Dtre of that to the left is the Arc de Ncatarmi (16th cent.), a
gateway with sculptures by Jean Goujon, and a fine modem gate.
Opposite, to the right, is the Pavilion de Choiaeul (end of 17th
cent.). In the galleries are fragments of old Parisian buildings.
196 Right Bank 5. MUS6e CARNAVALET. f^om the Louvre
Under the pavilion on the right is an equestrian bronze relief of
Henri IV., by Lemaire (1838), from the old Hdtel de Ville.
The rooms at the end of the garden, preceded by the fine facade
of the old Hdtel des Drapiera (by L. Bruant), contain Memoridls
of Paris (19th cent.), which it is best to visit later. "We may enter
them from either gallery, but one of the doors is usually closed.
We begin in the left-hand comer. — In the Vbstibulb (PI. VI) is a
bust of President Carnot (d. 1894); the door opposite once belonged
to the bedroom of Honor6 de Balzac. — Room op 1830 (PI. VII) :
Caricatures of celebrities of the time of Louis Philippe, statuettes
and busts in plaster, by Dantan the Yr.; next the garden, por-
traits of George Sand, one of them in men's clothes; portraits of
Armand Carrel and B Granger, by Henry and Ary Scheffer; easy-
chair in which B^ranger died, and his bust by Perraud; in the
glass-cases on the right, medals, insignia, souvenirs of the Resto-
ration and of the Revolution of 1830; pictures and engravings,
incl. the Interment of the Victims of July, hy Rcehn. — The Salle
DE l*H5tbl de Ville (PL VIII) contains relics and a model of
the old Hdtel de Ville (p. 183). On the wall to the right are frag-
ments of an altar-piece of 1542, from the church of St-Merry
(p. 181). On the wall to the left are modern views of Paris. The
glass-cases by the window-wall contain foundation-plates, coins,
and medals. — In the Salle du Palais-Royal (PI. IX), to which a
second staircase (p. 195) also ascends: Relief-model of the Palais-
Royal (p. 86), executed in 1843; paintings; engravings; medallions
of contemporaries, after David d^ Angers. Model of an old diU-
gence. Death-masks of B^ranger and Sainte-Beuve. By the left wall,
on the exit-side, is a collection of over 200 snuff-boxes (1789-1848).
The staircase leads to Rooms Vill and IX on the first floor (see below).
From the garden we return to the Maik Staircase and ascend
to the first floor. On the staircase-walls are old plans of Paris.
Above, to the left, is the Salle de L^A^oirAuriQUB, shown on
application to the attendant.
First Ploor. Rooms I-IV. Topography of Paris: Views, prints,
paintings, and drawings; bygone scenes and manners, by Hvb,
Robert^ Baguenety Demachy, Norblin, and Hoffhauer (modem
water-colours). Also (in R. II), Procession of the Ligue in 1590,
by a pupil of Pourbus. — Room V. Sevres porcelain of the time of
the Revolution. — Room VI is a reproduction of the Salon Mazarin,
in the old College Mazarin (p. 297); in the centre, on a table, is a
model of Girardon's statue of Louis XIV. (comp. p. 114). — Salle
Dahgbau (R. VII). Ceiling-painting (by Francois P^rier) and gilded
panelling from the H6tel Dangeau (time of Louis XIV.); porcelain;
old tapestries; wax bust of Henri IV., modelled by Michel Boordin
after the king*s assassination (1610). —Salle dh laLigub (R. VIII).
To the left. Caricature of the Procession and Orgy of the Ligue
to the BattiUe. MUS^E CABNAVALET. Bight Bank 5, 197
(p. 196). Double portrait of Card. Dubois and the Duke of Orleans,
by Jouoenet(f); Romance of the Chevaliers de la Gloire (tournament
under Louis XIII.), by Claude ChastiUonff); portraits. Porcelain
and fayence of the Revolution period, including the inkstand of
Camille Desmoulins (by the window, side next the court). Ceiling
by Le Brun (an early work, restored by Maillot).
The adjacent Staircase descends to the Salle du Palais-Royal
(p. 196). On the landing are wood-carvings, old Paris signs, plaques
for fire-places, etc. — Farther on, to the right, is the —
GAiiBRiB DB LA REVOLUTION (R. IX). Picturcs, portraits of Louis
Philippe Egalit6, Ch^nier, Marat, Danton, Robespierre; porcelain,
chiefly from Nevers. Glass-
cases on the left: Revolutionary
insignia, decorations, medal-
lions, miniatures, coins, medals ;
Sevres porcelain; by the win-
dows, busts, statuettes, engrav-
ings, autographs ; right of the
exit, painted mask of Voltaire.
•: — The Salon dbs Stuarts
G^ I Salle d'EUides
Sscall Estampes
Rio& d^ei'S PrcLTLOs- Sowrg&ots
\ 3e 32 2° Metres
(R. X) has a painted ceiling and panelling of the 18th cent.; a
clock and Sevres vases of the Revolutionary period; plates. By
the window, glass-case with relics of the same period. To the
left, bust of Delille (d. 1813), attr. to Pajou; carved harp. To
the right, Voltaire's arm-chair in which he died (p. 306), and the
small adjustable chair of Couthon. — Galerie de la Rj^yolution
(continued; R. XI). Portraits of Desmoulins, Mirabeau, Saint- Just,
Hoche, Ch^nier, K16ber, etc. ; to the left of the entrance is a clock
satirizing the Revolution; original sketch for David's painting of
*Tlie Death of Marat* ; *Preparations for the Festival of Federation
in the Champ-de-Mars in 1790 (p. 320), in water-colours, by Le
Gttay; Oath in the Jeu de Paume, painted reduction qf the cartoon
198 Right Bank 6. MTSEE CARNAVALET. From fJte Louvre
by David in the Louvre; to the left of the exit. Funeral of Marat;
decorations, miniatures, fans, watches, bnttons. In the cases to
the right are aatographs of Robespierre, Bailly, Mirabeau, Foach6,
Marie Antoinette, etc. ; papers regarding the execution of Louis XVT.
(*Loois Capet').
Sallb db la Bastille (R. XTT ; to the right). In the centre,
Model of the Bastille (p. 188), made from a stone of that building ;
in the glass-cases, relics connected with the Bastille; 4ettres de
cachet' ; Louis XYI.'s last order to the Swiss guard (10th Aug.,
1792; see p. 66). From the ceiling hangs a banner of the Emigres,
with the arms of France and the Allies, and the Hydra of the Re-
volution. By the entrance- wall: Glass-case with playing-cards and
bindings, including a copy of the Constitution of 1793 bound in
human skin ; above. Declaration of the Rights of Man (on the wall) ;
cabinet with a view of the fall of the Bastille. Another case with
portraits, including a medallion of Charlotte Cor day (p. 62). Fire-
place-wall: Weapons; instruments of torture; portrait (by Vetiier)
of Latude, who was confined for thirty-five years in the Bastille;
below are the rope-ladder and tools that enabled him to escape.
Wall next the garden: Cabinet with patriotic scenes; swords and
sabres of honour.
The 8alle Empibb (R. XIII) is devoted to the first Empire. By
the window, map of Germany used by Napoleon I. in 1806; death-
masks of Napoleon I. and his son the Duke of Reichstadt (4'Aiglon') ;
at the end, his field dressing-case. Left wall, Groa, Card, de Belloy,
Archbishop of Paris, receiving the colours taken at the battle of
Austerlitz. Opposite the window is the entrance to the new rooms
in the annexe (p. 194), temporarily occupied by recent gifts and
bequests. — In the Vbstibulb, on the right, is the Beugnot Collection
(souvenirs of the period of Napoleon I.). — Labgb Hall on First
Floor. Left, *Portrait, by Pirvd'hon; portraits of the time of
Louis XVI. , by Vestier / church-interiors of 18th cent., by Demachy;
facing the windows, TocqiU, Mme. Doyen (1735); J.L.Moanier,
Bailly, first mayor of Paris (1789; comp. p. 332); Demachy , Gate
of the liouvre in 1791; Chatelet, Festival at the Petit-Trianon in
the time of Marie Antoinette. Ist Case in the centre: Louis XVI.
and tho royal family, in Sevres biscuit- ware ; dolls, representing
fashions of the 18th cent.; Princess de Lamballe, in old Wedgwood;
miniatures by Vestier, Langlois, and Prud'hon; portraits by
Boilly, la the centre, glass-case containing souvenirs of Marie
Antoinette, cups with revolutionary emblems, and the famous
'Tasse i la Guillotine', in Berlin porcelain. Wall facing the win-
dows: 6r. Michel, Montmartre; *Troyon, Park of St-Cloud, an
early work ; portraits of Danton, El^onore Duplay (Robespierre's
fiancee), etc. — Last glass-case in the centre: Memorials of the
Revolution. •-Glass-cases near the windows: Medals and plaquettes
to the BmHIU. MUSEE CARNATALET. RigM Bank S, 199
by Roty. By the sides of the door: Fans of 17th and 18th cent.
(Francisque Collection). — The adjoining staircase, adorned with
paintings by Brunetti (18th cent.) from the old Hdtel de Luynes,
descends to the ground-floor (p. 194). To the left of the exit, above,
♦Portrait of Talleyrand by Prud'hon (1807). The Sallb d'Etudbs,
containing a collection of engravings, is shown by special permis-
sion only. — We now retrace our steps to Room XIII (p. 198).
From Boom XIII a staircase ascends to the three SaiUes du SUge,
on the second floor. These rooms, opened in 1912, contain Various sou-
venirs of the si^e of Paris and of the Commune (1871), mostly drawings,
engravings, and paintings.
The next rooms (XIV-XXI), occupied by Mme. de 86vign6 in
1677-96, have (exc. R. XVI) been adorned with panelling and wood-
carvings from old mansions in Paris. — Room XIV, with panelling
in the Regency style, contains paintings, drawings, and engravings.
From left to right : BoiUy, Standard-bearer (1 788); Jeaurai, Portrait
of himself; LargiUitref Voltaire at the age of 24; below, his
snuff-box and Rousseau's inkstand. On the chimney-piece, clock
illustrating the decimal division of time (1795); above, Pesne,
Mariette, the engraver; right and left, H. Robert, Destruction of
the church of the Feuillants (p. 64). Right wall, C. JjusurieTf
D'Alembert, the encyclopaedist; portrait of J. J. Rousseau. On
the table is an allegorical ^revolutionary* group by Chinard. —
Salle dbs Costumes (R. XV). Ci^binet at the end, large collection
of costumes of the 18th cent.; in the glass-cases and on the walls
are engravings of the period and costumes. Drawings by Dehucourt,
Watteau, and Boucher. On the left, BoiUy, Departure of conscripts
in 1807 ; opposite, BoiUy, *Lucile Desmoulins, Pont-Royal in 1800.
Central glass-case: Phrygian caps, cockades, shoes; wax dolls in
costume, of the time of Louis XV., including a figure of Voltaire;
christening-robe of the Prince Imperial (1856); fine tortoise-shell
combs. — Salle dbs Thi^Itbes (R. XVI). Portraits, caricatures,
autographs, and memorials of artists. View of the old Boul. du
Temple in 1862, with its seven theatres (p. 82). In the case by the
right window, souvenirs of the *three Dumas' (comp. p. 232). —
Galbrie Lucibn Faucou (R. XVII). Drawings : J. B. Martin, In-
auguration of the D6me des Invalides. — Salle A. de Liesvillk
(R. XVIII). Paintings and drawings: Drawing competition, by
Cochin; portrait of Ledoux, the architect (1736-1806). End-wall,
Jeaurat, Dispute at the fountain; above, Coypel, Meeting of artists.
"Wall next the court, Portr. of Ledru de Oomus, the conjurer. Right
of the entrance, Veatier (?J, Th6roigne de M6ricourt; Chardin,
Portr. of his second wife. Central glass-case: Statuettes, medal-
lions, etc. (chiefly 18th cent). — Salon Chinois (R. XIX), with
rococo paintings of Chinese subjects; Louis XVI. clock ('Samari-
taine du Pont-Neuf). — Salle de S^vign* (R. XX), once the salon
of the Marquise de 8^vign6. Entrance- wall, to the right, Mtgnard,
200 Right Bank 6, PLACE DBS VOSaES.
*Mme. de Grignan, daughter of Mme. de S6vign6 ; below, glass-case
with a letter of the marqaise ; her miniature ; portraits of Roger
Bontemps, the poet (1470-1540), and Jean Goujon, the sculptor.
Large pictures by H. Robert ; fayence, purses, small genre pictures
of the period. — Room XXI, closed by a fine iron railing, contains
most of the valuable fayence bequeathed by M. de Liesville. —
To the right of Room XX is the Saixb dbs Eghevins (R.- XXII).
Portraits of aldermen and other magistrates by *LargiUi^e,
Dwplessis, HalU, and Nonnotte. In glass-cases, fayence, mostly
from Rouen.
At No. 29, Rue de S^virai, once the Hdtel Le Pelletier de Sonzy
(built by BuUet in 1687), is the Biblioth^Que Historique de la Ville
(PI. Ry 26; V)f replacing the library destroyed in the H6tel de Ville in
1871 (ca. 240,000 vols., 10,000 MSS., and 7000 plans of Paris since the 16th
cent.), and illustrating the history of Paris and the Revolution. It is open
daily from 9 to 4 or 5 (closed in Aug.). Public lectures on the history
of Paris weekly in winter; Old Paris exhibition from May to October.
The building on this side of the library (27 Rue de S^vignd) is the
Lycie Victor-HugOy for girls, partly on the site of the Convent des
Filles-Bleues founded by the Marquise de Verneuil, mistress of Henri IV.
The Rue des Francs-Bourgeois (p. 190) ends, to the E. of the
Mus^e Carnavalet, at the Place des Vosges (PL R, 26; F), for-
merly Pl(ice RoydLe, a fashionable resort under Louis XIV., and
still remarkably well preserved. The uniform houses, with their
arcades and lofty roofs, all date from the 17th- 18th centuries.
Its present name was given to* it in honour of the department of
the Vosges, the first to forward patriotic contributions to Paris in
1792. The name, however, has been changed twice since then.
The marble Equestrian Statue of Louis XIII., in the centre, by
Dupaty and Cortot, replaced in 1818 a statue of that king erected
by Richelieu in 1693 and destroyed in 1792.
Here was once situated the Palais des Toumelles, near which Henri II.
was accidentally killed at a tournament in 1665 (comp. p. 182). Catherine
de M^dicis caused the palace to be demolished after the death of her
husband: the site became a horse-market, and in 1678 witnessed the
famous duel between three 'Mignons' of Henri III. and three partisans of
the Due de Guise. The present square was erected by Henri IV. Old
mansions: No. 21 (Hdtel oe Richelieu, 1615); No. 9, where the tragedian
Rachel lived; No. 3 (Hdtel d'Estrades, 1752); No. 1 fHdtel de Coulanges,
1606; entrance. Rue de Birague 11*»'")> in a pavilion aajoining which Mme.
de S^vign^ was bom.
The Mus6e Victor-Hugo (PI. R, 26; F), No. 6 Place des
Vosges, was the residence of Marshal de Lavardin (1610). The poet
occupied the second floor, 1833-48. It was converted into a museum
in 1903. Open daily (except Mon. and holidays), 10 to 4 or 5 (on
Tues. from 12.30 only) ; adm. 1 f r. ; Sun. & Thurs. free. Curator,
Dr. L. Koch. Short guide, 1 fr. ; catalogue, 60 c.
Vestibule. Bust of Victor Hugo, in plaster, by Marqueste.
Staircase. Drawings of scenes from Hugo's works, by Bochdgrosse,
E. Bayard^ Brion, VtUettey Johannot, Nanteuilf Robert- Fleurj/y etc.;
caricatures by Nadavy Daumier^ Gillj and others.
MUSEE VIOTOR-HUGO. Right Bank 6. 201
Fiwt Floor. — VjDaTiBUA.B. Plaster bust of Hugo, bv Sch(»newerk
(1879) : drawings by F. tAx^ ttochegroMe^ etc. — Graitdk Galerie. Left,
108. jB, Carrih^e, FantiAe abandoned; lOf. FanHn-Lalourf Tbe satyr;
100. BormcUf Portr. of Hugo; 99. Hennery Sarah at the bath; 98. Baf-
faSaitThe march past (86th Feb.^ 1881). Main left wall, 97. DevambeZj
Jean Valjean before the tribunal. First window, Death-mask of Hugo,
by Dcdou. Farther on) 94. BoU. Vigil at the Arc de Triomphe (see p. 74).
92. P. Baudrpf Consecration of Woman; 89. Willettet Gavroche on the
barricade; 90. L.O. Mersonj Esmeralda; 88. B. LepaqCj Portr. of Hugo;
87. Chifiiort, Death of Gilliatt; 86. ehnuMt. ETiradnua. At the end,
84. Bock€grQ$%ei The Burgraves; 83. J. P. Laurent^ Death of Bandin
(see p. 260); t>avid d'Angere, *Victor Hugo in his youth (1888), marble
bust; 91, A. Be&nardj Firvt performance of Hemani ; F. Boybet, Don O^sar
de JSazan. Main right wall, Steznlen, Poor folk; *Bn8t of Hago, by Rodin;
77. Cabanel, The Titan; 76. E. Foumier^ Hemani (ActV); 74. L. Bou-
langeTf Richelieu's litter. In the centre is the table made in Guernsey
by V ictor Hugo, with four ant^^raphs and the four inkstands of Lamar-
tine, George Sand, the elder Dnmatt and Hugo. — Libbabt (to the left) :
4000 vols, and 6000 engravings; drawings by Victor Hugo on the walls-;
portraits of the poet by Bodtn, Deviria, and Mauroi, Left wall, silver
crown presented oy the city or Prague on the inauguration of the Victor
Hugo Monument.
K Second Floor, — Vestibulk. Fayence which belonged to the poet or
to Mme. Drouet. Pen-and-ink drawings by Hugo. — Room I. Over 500
original drawings by Htq^o (Meurioe and Koch collections). — Room II (SaUe
Dinntet), Panels, furniture, humorous drawings by Victor Hugo which
adorned the drawing and dining rooms at Mme. Drouet's, near l^uteville
Honse (Guernsey). — Room III (on the left). More of the poet's draw-
ings, and a double chest from Mme. Dronet's. — Room IV, or Mortuary
Cham^eTt a copy of the room in the Avenue d'Eylau (now Av. Victor-
Hd^, p. 74); left wall, Victor Hugo on his death-bea. by Bonnat. — On the
landing, BourgeoiSf Hugo's houses in Guernsey ana the A v. d'Eylau.
Omnibuses and Tramways^ see Appx., p. 54. *
The Rue du Pas-de-la-Mule leads from the N.E. corner of the
Place des Yosges to the Bool. Beanmarehais (p. 88). The Eue de
Biragiie leads S. to the Rue St-Antoine (p. 187).
6* Quarter N.E. of the Louvre, to the
Boulevards (Place de la Republique).
JUrnao Statioks (Lines 1, 4, and S; Appx., pp. 31, 89, 82): Louvre
(p. 88), CMUHet (p. 181), 3dUetf(v, 204), Etirenne-Marcel (p. 204), Biaumur- .
Sibeutopol (p. 806), ArU'et-liitters (p. 208), Temple (p. 208).— Omnibcseb
and TBiUfWATi) Appx., pp. 53, 55, 'Oonseryatoire des Arts et Metiers' and
<St-Eu8tache'.
The N. part of the Bue du Louvre (PI. R, 20, 21; ///) was
made in 1888 as far as the Rue d'Argout, and was prolonged in
1909 to the Rue d'Aboukir. (8. part, between the Louvre and St-
Germain-FAuxerroia, see p. 88.)
The H6tel des Fostes et T^l^aphes (PL R, 21 ; ///), at
the angle of Rue Etienne^Marcel (p. 216), rebuilt in 1880-84 from
plans hyGhiadetf forms a great isolated quadrilateral. The main
entrance is in the Rue du Louvre, through a gallery 55 yds. long,
Basdbksr's Paris. 18tb Edit. 13
202 Right Bank e, HALLE8 CENTRALES. Qf tarter N.E.
containing most of the public offices. The poste-restante, inquiry-
offices, and telegraph-office are in an adjacent room on the right. —
Postal regulations, see p. 81.
Adjacent, to the S., is the ff6td des TiUphones, in brick.
Opposite the Post Office is the colU-postaux office (p. 31).
The Bourse du Commeroe (PI. R, 20; ///), about midway
between the Louvre and the Post Office, to the right, formerly the
HaUe au BU, was remodelled by Blondel in 1888-89. The nu-
cleus is a spacious rotunda, of 1762-67, with a dome added after a
fire in 1811. On the side next the Rue du Louvre is a new facade,
with four Greek columns, bearing a pediment with sculptures by
Croisy. The interior of the dome is embellished with fine fres-
coes of East, West, North, and South, by Clairin, Lundnais, Lau-
g^Cf and Lucas. The exchange is open daily, except Sun., from 9
to 6 (business-hours 1-6, Sat. 10-1). The cellars contain refrig-
erators for meat and fish (entered from 2 Rue des Viarmes; fee).
— To the right, opposite the Bourse, rises a Doric Column, 98 ft.
high and 10 ft. in diameter, a relic of the H6tel de la Reine (later
de Soissons), built by BuUant in 1572 by order of Catherine de
M^dicis on the site of the Bourse du Commerce. A staircase (no ad-
mittance) ascends to the top of the column, where the queen is said
to have made astrological observations in the company of Ruggieri.
In the Rue 8t-Honor4, to the 8. of the Bourse du Commerce, on
No. 96, at the comer of Rue Sanval, is an inscription, now almost ob-
literated, indicating the site of the house in which Moli^re waa born.
Opposite, at the corner of the Rue de PArbre-Sec^ is a fountain erected
hy Soufflot, replacing one built under Francis I. (inscription on Ko. 111).
Farther £. are several interesting old houses. No. 54, 'du Martean d*Or%
of 1700, has a lai^e circular balcony. No. 88, at the comer of the Buo
des Bourdonnais, is the tavern 'A I'Enfant J6sub' (comp. p. 25).
The Halles Centrales (PI. R, 20, 23; III), not far to the £.
of the Bourse du Commerce, an immense group of buildings, chiefly
of iron, roofed with «inc, were erected by BaUard in 1861. Each
of the ten pavilions contains 250 stalls of 43 sq. ft. let at 20 c. per
day. Between the pavilions run covered streets, intersected by a
boulevard 105 ft. in width, descending towards the Rue de Bivoli.
Under the Halles are cellars, used for the storage of goods and
partly for electric works. The front pavilions are chiefly for retail-
dealers; those behind are for the wholesale trade, which also
extends into the adjacent streets in the early morning.
The best time for seeing the markets is the early morning, the
wholesale busiaess lasting from 8 to 8 a.m. (in winter 4-9). The total con-
sumption of food is increased by the supplies passing through the mar-
kets in other parts of the city. The Parisians consume on an average
every year 251,000 tons of meat, 21,600 tons of poultry, 147a tons of game,
42,000 tons of fish, 11,800 tons of oysters and shell-fish, 28^000 tons of
veKclables, 14,700 tons of butter, 24,5()0 tons of eggs, 20,600 tons of fruit,
ana 16,800 tons of cheese. The supplies come from every part of France
and7(in winter and spring) from Algeria.
of the Louvre. ST-EUSTACHE. ^«>*t Bai^ €. 263
To the IS.E. of the Halles, in a square near the Boul. de S^liasto-
pol, rises the tasteful Fontaine des ILonooentSy erected by
Pierre Lescot in 1550, with sculptures by Jean Goujon. It was
originally placed against the church of the Innocents (removed in
1783), and had only three arcades; but it was reconstru^cted in
1788 in the form of a square pavilion, when the naiads,, the lion,
and other decorations by Pajou were added. At the N.W. corner
of the square, the fagade of the office of the Marohandes Ling^res
(1716), taken from a building (of the Pompadour period) in the Rue
OofD^talon, near the Halles, has been re-erected.
The Rue and the Square des Innocents occupy the site of the ceme-
tery of that name, whieti dated back to the Gallo^Boman period, but was
restored and walled in by Philip Augustus in 1166. It was at length
disused in 1780. The houses with odd numbers in the Bue des Innocents,
opposite the square, still bear many traces of arcades, relics of the ola
'chamiers^ or vaults of the cemetery. -.-Near ikUy in front of No» 11, Bue
de la Ferronnerie, Henri lY. was assassinated on 14th Hay, 1010.
The church of *St-Bustaohe (PI. R, 21, 20; 7/7), to the N.,
opposite the Halles, is one of the most important in Paris. Begun
in lfrS2 by T^erre Ziemercier, and ooniinned by Nic. Lemereier
and by Ok, Davids it was conse(n*ated in 1637. Altiiough under
medissval ibfluence, it is wholly Renaissance in style, except the
heavy W. portal with its Boric and Ionic columns, restored in
1764-88. Over the transept is an open-work campanile known as
the *Plomb de St-Eustache*. On 4th April, 1791, a funeral ser-
vice for Mirabeau was held in this church, whence his body was
taken to the Pantheon (p. 291); and here in 1793 the Feast of
Reason took place. In 1795 the church was converted into a *Temple
of Agriculture'. Colbert (see below), Voiture, Benserade, Vaugelas,
Marshal de la Feuillade, Admiral de Tourville, and the painter Oh.
de Lafosse were buried here. The church was entirely restored
after a fire in 1844.
The Ihtsbior (entrance by the chief portal or by a side-door near
the Bue Hootmartre), with its lofty nave and double aisles, is remarkable
for its airy grace (2^ ft. in length, 138 ft. in width, and 1-10 ft. in height).
Several of the chapels contain old frescoes (discovered in 1846 and restored) ;
others have modern paintings.
The 4th chapel m the S. aisle contains a marble relief of the Mar-
riage of the Virgin, by Triqtieii; in the 5th are an Ecce Homo \iy Etex
(1^7) and Besignation by Chatrousse. — In the S. transept arc frescoes
hj Signol: on the right, The Resurrection, St. John, and Justice; on the
left. Entombment, St. Luke, and Temperance.
At the end of the apse is the CHapelle de la Vierget added in 1640.
Over the altar is a *Statue of the Virgin by Pigcdle, formerly in the
chnrdi of tiie Invalides. The three frescoes (of the Virgin Mary) are by
Couture* -^Tht next chapel, with frescoes by B^sard, contains the tomb
of Colbert (d. 1683; see p. xix), a sarcophagus of black marble, with a
kneeling figure in white marble, by Coyzevox; at the right end is a
statue of Aoundance by Copxevox, at the lelt is Beligion by Tuby.
^ In the N. arm o| the transept are six statues of Apostles by Orauk
and ^Btf«8on, and f reaeoes by ^^gfio^ (Crucifixion, St. John, and Prudenee
on the right: , Christ bearing thej Dross, St. Luke, and Divine Power oji t;h«
13*
204 Right Banks. ST-NICOLAS-DE8-CHAMP8. garter N.E:
left). Above a b^nitier is a fine group of two angels and Pope Alexander I.
(100-117), who instituted ^b^use of holy watex^
The stained glass in th* choir and apse wks executed by Sonlignac
\n 1^1 y 2Lt\»T Ph. de Champaigne.
The BdigioM MuHc here is in high repute^ especially on Christmas
Day and Good Friday. The grand organ is by pncroquet and Merklin.
By the apse of tbe church is the ^Halles* station of the Mitro
(Line 4; Appx., p. 33). Omnibuses and Tramways, see Appx.,
p. 55. Here, at the 'Pointe St'Eusta4?he\ begin the busy Rues
Montmartre (p. 80) and de Turbigo.
The Rue de Turbigo (PL R, 24; III), after about 200 yds.,
crosses the Rue Etienne-Marcel (p. 215 ; 'Etienne-Marcel' station
of the Mitro, see Appx., p. 33), in which, to the left, rises the
Tour de Jean-sans-Peur (Duke of Burgundy, 1371-1419), a cren-
ellated tower with pointed bays (15th cent.). This was an addition
to the Hotel de Bourgogne (13th cent ; p. 34) , where the Con-
freres de la Passion (in 1547) and the Enfants sans Souci (in 1552)
had their theatre, in which Comeille^s 'Oid' and Racine's ^Andro-
niaque' and 'Hifedre* were first performed. This old mansion con-
tains a very fine spik'al staircase and a room with pointed tanlting.
Visitors require a peo'mit from the Secretariat d* Architecture
(H6tel de Yille ; comp. p* 60) ; apply to the donderge of the school,
20 Rue Etienne-JMjarcel, preferably in the afternooii (fee).
In the Boul. d^ S^bastopol, a little to the S.E.^ is the chnrcb of
St-Ijeu-St-Gilles (PI. R, 28 j III), which belonged to the abbey of
St-MagloirCj a convent for penitent women. The nave and fa^de date
from the 14th eemt., but tbe latter was largely restored in 1727. The
Chap, des Fonts '(on the right) is adorned with frescoes by B^sard and
Desgo/fe. In the Chap, de laVierge: St. Gilles discovered- in his retreat
by the king of the Cfoths (by Monvoisin). Passage to the sacristy, on
the left: Scenes from tiie life of Christ (marble reliefs). On the triumphal
arah, frescoes bv CjJbot. The choir was restored in tilie -ISth century. —
No. 57, Boul. Sebastonol (the old presbytery), was fitted up in 1912 as a
Mu84e d^Hygihne de laVille de Paris, visible daily exc. Mon. and €^t;,
by ticket obtained on application to the Prefecture d^ la Seine (Hotel de
ville; eoBip. p. 60).
Farther On, the Rue de Turbigo crosses the Boul. de SiHastopol
(p. 81), the Rue St-Martin (p. 182), and the Rue Reaumur
(p. 216 ; M6tro, see p. 208), and ends at the Place de laR^pubUqtie
(p. 62), to the S. of which lies the Quartier du Temple (p! 208),
In the Rue St-Martin, which leads N. to the Porte 6t-liiartin
(p. 81), at the corner of Rue Reaumur, we see on the right —
St-Nicolas-des-Champs (PI. R, 24; ///), a Gothic church,
built in the 15th cent, and much enlarged in the 16th, with a
square tower. The handsome S. portal, in the Renaissance style,
designed probably hy Ph. Delorme, was added in 1576-81. The
choir is of the same period. The high-altar is adorned with an
Assumption by Vouet. Pine woodwork on the organ.
In the Rne St-Martin, ot»po8ite St-Nicolas-des-Champs, is on©^ of the
chief entrances to the vast network of SO'W'ers (Effouti) which uAdertaiiDe
Paris, the other being on the Quai du Lottvre near the Rue dU Loavr«'
ttfihelAmwe. ARTS ET MJETIBRS. Right Bank e. 205
(p. 88). Tbe^evera axe shown to the public fiein Jime to the tecond Wed.
in October, on the second and foorth Wed. of each month. Written apjpli-
cation (comp. p. 60) should be made to the PrSfet de la Seine, mentioning
the number of visitors and enclosing a stamp for the reply, which fixes
the time.a&d place of starting. Or application may be made, eight days
in advance, at the office of the lnjg^meur>en-chef des Eaux, 9 Place de
rHdtel-de-ViUe. The visits, in which ladies m^j join, usually start at 1,
at 2.1b J and at S.80 p.m. Punctual attendance is essential, and visitors
should take extra wraps. The visit, taking about 1 hr., is made in cars
and boats worked by electricity. The itinerary and the chief points are
indicated by notices. The total length of the sewers is over 882 ^. The
chief sewer of the ri^ht bank runs under the Boul. de B6bastopol, that
o| the left bank: under the Benl. St-Michel. These are connected by means
of conduits under the Seine. The main bi^sin lies under the Place de la
Concorde, whence CoUecteurs Q6niraux conduct the water to Asni^res
and Glichy to be used for irrigation (p. 847). The largest sewers are 16 ft.
high by 18-90^ ft. wide.. The ^eoUecteurs' are flanlrad with pavements or
ledgesy and are cleansed by means of slides let down from boats, which
are propelled to the outlet by the force of the stream.
To the N„ betweea the Rue StrMj^rtin and Boul. de Sebasto-
pol| is the pleasant Square dea Arts-et-M6tiers (PI. R, 24; ///),
in which rises a column with a Victory in bronze, by Craukj
erected in memory of the Crimean campaign (1854-55). On each
side are small basins, adorned with bronze figures. A statue (by
Mathurin Moreau) is to be erected here to Z^ohe Gramme (1820-
1901), improver of the electric dynamo (in 1871). On the S. side
of the square is the Th6dtre de la Gam (p. 36), built in 186g.
To the W. is the exit of the *R6aumur-Sebastopor station of the
Mii/ro (Lines 3 & 4; Appx., pp. 32, 33; entrance at the comer of
Rue Rj^aumur and Rue de Palestro).
The Cpnservatoife des Arts et Metiers (PL R, 24, ///;
M6tro stations, see above and p. 208^ was founded by the Convention
in 1794. The idea of such an institution, attributed to Descartes
(1596-165()), was first carried out. in 1775 by the famous engineer
Vauoanaon, who in 1783 bequeathed to the state his machines,
instruments, and tools for the instruction of the working classes.
Pree leetures are given at the technical . school attached to the
museum:
Since 1798 the Conservatoire has occupied the old priory of
St-Martin'deS'CharrvpSj twa^di^ by Henry L about 1059, handed
over to the monks of the order of Clnny in .1079, and secularized
in 1789. The buildings were restored and completed in the 19th
centui-y. The church and refectory (p. 206) are the most interest-
ing of the old parts. One of the towers of the enceinte has been
re-erected to the left of the facade towards the Rue St-Martin, and
there are a few relics of the old walls on the N. side. Near the
tower, is the Fontaifie du Vertbois, of 1712 (restored in 188j6).
— Th^ facade ^f the old church may be seen from the Rue St-
Hart|n, through the railing. In fyont Of His the Monimient of
BotbsaingauU (1802r87), the chemist and agriculturist, a bust on
26^ ^kfM Bank 6, ARTS ET METIERS. Quarter K,E.
a pedestal preceded by bronce statues of Sdeace and a Farmer by
Dalou.
We enter by the Cour d'Honnbue, Rue St-Martin. The monn-
niental platform in front is a modern addition. On the right is a
Statue of Denis Papin (1647-1714), discoverer of the elasticity
of steam, in bronze, by Millet; to the left, one of Nic. Leblanc
(1742-1806), who first extracted soda from sea-salt, by Hiolle.
The old Refectory (13th cent.), to the right of the main court,
a superb Gothic double hall, attributed to Pierre de Montereau,
is adorned with paintings by G^rdme and Steinheil. The lAbrary
it contains (over 50,000 vols.) is open on Sun., 10-3, and on week-
days, except Mon. and holidays, 10-3 and 7.30-10.
The Museum, entered from the platform in the Oour d'Honn^ar,
is open to the public on Sun. 10-4, and on Tues., Wed., Thurs., and
Sat. 12-4. Parcels and wet umbrellas must be left in the cloak-room
(gratis). The collections show the different phases of construction
of machinery and apparatits of every kind. All the articles are as
far as possible chronologically arranged and bear explanatory labels.
The annexed plan will enable the visitor to find his way; but
changes are frequent, and the museum is to be entirely reorganized.
Catalogue of Physical Section IY2, Mechanical Section 2Y2, Geo-
metry IY2, Chemistry l^/j, Graphic Arts IY2, Arts of Construction
172 fr. Curator, M. J. Eloy.
Ground Floor. Ybstibule (at the foot of the staircase), or Saxxs 1,
and Salls 2 (^de VEchoi'): Pottery (porc^ain, fayenee, flammi in stone-
ware, etc.), notably from Sevres and the firm of GaU6 in Naaey* Also
(in Koom 2) graphite and jade from the mines of Alibert in Siberia
(so named after the Trench discoverer). Tkt aooairtie properties of the
Salle de TEoho resemble those of the Whispering Gallery at St. Paul's
in London: words spoken softly in one corner of the room are quite
audible in the angle diagonally opposite.
S. SmB OF CxNTRAii BmLDinci, to the right of the Salle de I'Eeho
(N.side, see p. 207). Booms 4&5 (Mining and Metailurgy), In the first
of these are machinery and apparatus for boring, specimens of minerals ;
in the second, rolling and forging of iron and steel, model of electric
furnace, etc. — Room S, to the right of Room 4: Relief -plan of the iron-
works of Greusot; models of artillery. — Rooms 6 & 7 (to the right of
Room 5). Metal Workings Forges, moulding, casting, jewellery, locksmith's
work, collection of arms. — Room 8: Artistic casting, galvanoplastic
process, weapons. — Room 9: Wood Industry.
The Ohubch (10), which we enter next, has a fine nave in the Trans-
ition style and a Romanesque apse (12th -13th cent.). It now contains
Machinery. At the entrance to the choir are a Foucault's pendulum ^see
p. 203) and Brusf s giragraph (1010). To the left, in the ambulatory, is a
glass globe 5 ft. in diameter. Opposite the entrance are models of the
monument to Z. Gramme (p. 205) and to Blaise Pascal (p. 181). At the end
of the choir is Ougnot's sfeam-carriage (1770). In the nave are steam-
engines, iron bridges, dredgers, locks, models, etc. In the centre is the
aeroplane in which BlSriot crossed the Channel on 26th July, 1909, in
26 min. 30 sec; behind it, to the left, is Ader's avion No. 8 (1893-97).
South Gallkby (11; to the right of Room 9, to which we return).
Agrictdture. Valuable ploughs and implements; neads of cattle; anatom-
ical specimeTis; samples of fruit (left of the entrance).
I •
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of the Louvre. ABTS ET METIERS. Right Bank e. 207
Gaubbobs Yaucavsov (18; in the IS. winff, u we continue our visit
to the ground-floor) : Oollection illuBtrating the Prev&iHon of Accidents
to WorKmeriy . and Industrial Hygiene, Cfallery 1. Maritime life-saving
appliances (Anthony Pollock's foundation); protective appliances against
electricity and in the building industry; baths; disinfecting stoves; steril-
ization of water and milk, etc. — Central Boom. Prevention of accidents :
'Mulhouse frame' showing the first expedients for fencing machinery devised
by Engel-Dolfus. In the small adjoining rooms, appliances for protection
^;ainst fire, etc. — Gallery 2. Bust of Engel-Dolfus (see above), by
Enderlin. Machinery in motion (Sun. k Thurs. afternoons), with appar-
atus for preventing accidents (painted red) and for the protection of health
(painted blue).
NoBTH Gallery. Constructions OivHeSj Q€omHrie Descriptive,
Room 18: Building materials and tools. Boom 15: Hydraulic works.—
Room 16: Timber-work Ufd frames; atone-eutting. — Boom 17: Geometrv
amd perspeotive; instruments and apparatus for drawing.— Room 18: Wood-
veneering, marbles, loeksmitfas' tools, etc. — Parallel Corridor (14). Kilns;
models of drills, dredgers, and excavator. —Boom 19 and adjacent corridor.
Geodesyi Topographyj and Clockmaking,
N. 8im ov Oevtral BmLDOro. The lofty gallery (20) which comes
next is also devoted to Olock-mahingy Geodesy, and Astronomy, Clocks
in fine 18th cent, cases.— Low Gallery (21): Weights and Measures^ an-
cient and modern, French and foireign; measuring apparatus. — The adja-
cent corridor (22), near the staircase to the textile and spinnii^ section,
is devoted to Social Economy: Provident and friendly societies, etc.
First Floor. On the landing, opposite the entrance, Statue of Isis
Unveiled, by A. Allar. — Salle d'Honnbub (28), at the top of the staircase.
Modem furniture, artistic locks, pottery, applied art.
S. Side or Osntbal BuiLDnia (24; on the right as we arrive). Mechani-
cal Pwoer: Windmills, water- wheels, turbines, etc.; st^m-Minnes and
parts of machinery (on railways and steamboats); locomotives. — ^Boom 26:
Mechanics. Apparatus for showing the laws of gravity, etc. — The stair-
case at the end of Boom 26 ascends to the second fioor (p. 208), which
may be visited next.
South Gallbbt (2.7)* Qeneral Physics. Hydrostatic instruments,
densimeters^ h;^drometers. Apparatus for testing fluids and gases; ther-
mometers; static electricity (magnets); electrometers. — Boom at the end
(«8): Meteorology.
GAidBBHEB. VA09A1ISON. . Bassage and First Boom (29, 30): Acoustics^
OpticSi Telegraphy^ Td^honv. Edison phonographs, gramophones, etc.
— Central tlbom (81): Turning-lathes and machine-tools; ivory and turned
wood; mftohines oy Yaucanson. — Second Gallery (82): Tools and JfacAifi^
Tools; motors, pumps, hydraulic machines. — The last room on this side
and the —
KoBTH Gallery (88-86) contain Glass and Pottery. Booms 88, 84:
Fayence, stoneware, porcelain, and enamels. — Boom 85: Manufacture of
flass, raw materials, crystal. — Boom 86: Porcelain statue of Bernard
'alissy, by Gille (1867); large cup in Sfevres porcelain, the 'coupe du travail',
after Di^terle (1858); raw substances, furnaces and moulds for fayence.
— Booms 87, 88. Chemical Arts. In Boom 87, manufacture of chemical*;
dyeing and printing of textile fabrios and of wall-papers. In Boom 88,
apparatus oi the chemist Lavoisier (p. 75) or from his laboratory.
IsT North WiKG, adjoining the last room. Boom 89 : Pap«teri«. Paper-
making, etc. (Through the window on the r^ht a part of tiie old abbey-
wall is visible.) — Booms 40, 41. Typograf^y^ Engraving, and lAiho-
graphy. — Booms 42-45: Photography.
N. Side or Central Buildino (46), as we return towards the grand
staircase. InduUrud Chemistry. Brewing (on the left); sugar-refinery;
flour-mills; soap-boiling; candle-making; gas-production; distilling, etc.
2nd Kobth Wing, on the left as we return to the middle of the
208 Right Banks, QtJARTIER DU TEMPLE.
previous gallery : Spinning and Weaving. Room 47 : Raw materials; tools
and machines for making textile fabrics. — Room ^: Spinning and weaving
looms ; in the centre, to the right, VaucanstMi's Loom (ITSS), superseding
earlier looms in weaving cloth with patterns. To the left, model of
Jacquard^s Loom (1804). Specimens of woven fabrics. On the right, to-
wards the end, by the windows, knitting and lace-making looms. — Room
49 : Silk, velvet, tapestry from the Qobelms and Beauvais, a fine collection.
Second Floor (reached from the S. end of the main building; see
fK 207). Room 50: Mygienef Heating , Lighting. Room 51: Heatii^ff and
ighting apparatus ; dynamos, mechanical indicators. — Room 52 : Calculating
machines. — Room5S: Designs, photographs. — Room 54: Toothed wheels,
rack-and-pinion gear.
The building to the N. of the main entrance, the PortefeuiUe In-
cLustriel {open on week^daya, 12-4), where designs ef the newest machinery
are exhibited lor copying or study,. eowpletes the museum. The plans and
specifications of expired patents and trade-marks are deposited here. —
The Conservatoire des Arts et Metiers also inspects weights and measures,
and has a department for testing the resistance of various materials.
The EcoU Centrcde des Arts et Mcmufactures (Pi. R, 24; ///),
behind the Conservatoire, to the E., admits pupils by competitive
examination and trains them for three years^ at the end of which
they are qualified as engineers, factory-managers, etc.
Near this, at the crossing of the Rues Reaumur and de Turbigo,
is the ^Arts-ei-]y£^tiers' station of the Mitro (line 3; Appx., p. 32).
The Quartier du Temple (PI. R, 24, 27, 23, 26; ///), lying
S. of the E. section of the Rue de Turbigo, owes its name to the
chief seat of the Knights Templar in France, which passed to the
Knights of St. John when the property of the Templars was confis-
cated by Philippe le Bel in 1307. During the Revohition the build-
ing was used, as a state-prison in place of the Bastille, and in
1792-93 the royal family were confined in the Tovar du Temple.
Napoleon I. demolished the tower in 1811, and the relio$ were re-
moved under Napoleon III. — At the corner of the Rues de Turbigo
and du Temple is ibe 'Temple' station of the Mitro (Line 3; see
Appx., p. 32).
The site of the Temple is now occupied by the Sg^uare du
Temple» to the N». of whi«h lies a new quarter on the site ef the
old Marehi du Temple^ with its stalls for old clothes, the only
relic of which is the part between the Rue des Archives and the
Rue de Picardie. The square is adorned with five bronze statues
B&ranget (1780-1857), by Doublemard; the 'Retiarius*, by No6l
'This age is pitiless', by Schoenewerk ; the Harpooner, by F. Richard
and Diogenes, by Marioton. At the S.£. end is the Mairie of the
8rd Arrondissement (Temple).
A mansion (built in 1667) which once stood in front of the tower was
the scene of Philippe de YendOme's famoqs supper-parties, enlivened by
the witty Abb6 de Chaulieu (16S9-1720), the 'Anacrton of the Temple'.' In
1765 the Prince de Conti gave refngo in the Temple (which was inviolable)
*o J. J. Ronsseau,>gain8t whom a 'lettre de cachet* had been issued.
RITE 1>E RiCttELTEU. Right Bank 7. 209
Te the N. of the square, in the Rue da Temple, is the church
df Ste^BUscAeih, foiimded in 1628 by Marie de M^diois, enlarged
in 1826, and afterwards adonied with mural paintings. The font
in white marble, to the right of the door, dates from 1654. The
ambulatory contains about a hundred fine wood-carvings (Biblical
scenes; 16th cent.), brought from a church at Arras.
The J?2ie du Temple descends S.W. from the square to the Hdtel
de Yille (p. 183). Half-way it is crossed by the Mtte de Rarnbvteauj
which connects the Halles Centrales (p. 202) with the Archives
Rationales (p. 191).
7. From the Louvre and Palais-Royal
to the Boulevards Moutmartre]
and des Italiens.
MAtso Stations (Lines 1 &S; Appx., pp. Si, 8S): Palaii-Royal (p. 87),
Bourse (p. 216), and Quatre-Septemore. — Kbstau^ants, pp. 18-20.
Close to the Palais -Royal, on the N., istheBiblioth6queNationale,
entered from the Bue de Biohelieti (PI. R, 21 ; //, ///), which
begins at the Place du Th^dtre-Fran^ais, and passes the W. side
of the Palais-Royal. At the comer of the Rues de Richelieu and
Moli^re is the J^ontaine MolUre, erected in 1844 to the famous
dramatist, who died in 1673 at No. 40, Rue de Richelieu (tablet).
It was designed by Visconti the Yr. ; the statue of MoU6re is by
G. Seurre • the muses of serious and light comedy are by Pradier.
At 89 Rile de Richelieu a tablet marks the house where Diderot (comp.
ji. 808) died. The painter Mignard died in 1696 at No. 28»»»« (tablet). No. 25
18 a ebanning mansioa in the Louis XY. style.
After crossing the Rue des Petits-Ohamps (in which, to the right,
we observe the statue of Louis XIV., p. 215) we skirt the Biblio-
th^que Nationale, the chief entrance to which is farther on, opposite
the Square Louvois. The small Square Lonvois occupies the site
of the opera-house,, to which the Due de Berry, son of Charles X.,
was on his way to admire the dancing of his mistress, Yirginie
Orciller, when he was assassinated by Louvel, in 1820. In the
centre is the ^Fordairie Richelieu or Ijouvoisf a fine monument
in brotize by Yiseonti (1844), with statues, by Klagmann, of the
Seine, the Loire, the Garonne, and the Sadne.
The *Blblioth6que Rationale (PI. R, 21 ; //, ///), formerly
called Bibliothique du Roi, afterwards BiUiothUque Royale or
Imp&riqley is probably the richest library in the world. The build-
ing, now almost entirely modern, occupies part of the site of the
old H6tel Mazarin (17th cent.), of which little now remains (p. 211).
The fine facade, preceded by a court and a railing, fronts the Rue
210 Bight Bank 7. BIBL. KATIOKALE. Salle de Ledmre.
YiYienne; when the new buildings in that street are completed, the
library will oceapy a whole bloek of buildings (19,734 sq. yds.)
bounded by the Raes de Richelieu, des Petits-Champs, Yiyienne,
and Colbert. At the comer of the building, at the angle of Rues
Vivienne and Colbert, is a figure of Study, by Barrias.
The library msy be dated back to the MSS. collected by the Carlo-
vingians. St. Louis (d. 1270) had a library adjoining the Sainte-Chapelle
(p. 271). More important was the collection of Charles F., but it waa
afterwards sold to the Dnke of Bedford (14SS). The real founder of the
present libraiy was Louis XII. (d. 1616), who ooUeoted the booka of his
predecessor, Charles YIII., in the Ch&teaa of Blois, and bought the li-
braries of thfc Sforza of Milan and of the Omathnase family of Bruges.
Francis I. (d. 1647) removed the collection to Fontainehleaa, enlarged it,
and entrusted it to the care of Ouillanme Bud6 (Budsus ; p. 291). He also
decreed that a copy of every work printed in France should be sent to
the royal library (*d6pdt 1^1' ; later two copies). The library was after-
wards renoved to Paxis, and placed by Henri IV. (d< 1010) la the sup-
pressed Jesuit College de Olermeuty the property of which w&s sold to
provide the books with bindings. Under Louis XIV. aeA^1716) the
library was enlarged by the pnroiase of the collections ot Du Puy (9000
vols.), Mentel (10,000 vols.), GFaston d'Orl^ans, and others. In 1724, under
I^is XV.f the library was transferred, by advice of the librarian Abbii
BignoTif to the present building. At the Revolution the books of the
suppressed religious orders were united with the library, which is con-
stantly receiving further additions by way of gift or purchase. It now
contains about 8,600,000 printed volumes. The Genial Catalogue has
been carried as far as 'Faure-Villar' only (49 vols.). — Director, M. Henri
Marcel.
The Library has four departments: (1) Imprimis et Cartes;
(2) Manttscrits; (3) Estampes; (4) MidaUlea et Antiques.
The Salle Publique de Lecture (entrance in Rue de Richelieu,
N. of the main entrance) is open on Sun. from 9 till 4, on other
days from 9 to 4, 5, or 6 (according to the season). The Salle de
Travail des Imprimis (p. 211), open at the same hours, except on
Sundays, holidays, and the fortnight after Low Sunday, is reserved
for persons provided with tickets by the ^administration' (p. 211).
A written and detailed application, with a recommendation from a
consul or ambassador, must be addressed to the secretary.
The Salxj: db Travail, an admirable iron-built hall, contains S44 seats.
On entering the reader receives a 'bulletin personnel*, on which he writes
his name and address and the number of his seat. This must be given
up on leaving. The employes write upon it the names of the books
borrowed, and stamp it and hand it back when the books are returned.
At the bureau, in the middle of the room, the visitor receives smaller
slips, which he fills in with the titles of the books desired and hands
to the librarians. He then waits till the books are brought. No appli-
cations are received within one hour of the time of closing. The
general catalogue and that of acquisitions since 1882 are to be found in
the cases to the right (authors) and left (subjects). For details see notices
on the doors of the rooms. On a special table near the bureau, to the
left, lie periodicals, reviews (about 40), reports, scientific publications,
etc.— Vifdtors may not leave any of the Salles with books, papers, or
portfolios without a 'laissez-passer' from a librarian.
The SaUes de Travail des Manuscrits et MidaiUes and des Cartes
et CoUecHons Qiographiqnes (see p. 211) are open daily (except Sun.) 10-4,
on similar conditions.
BIBLlOTHEffUE NATIOHALE
JBtHfravinge. BIBL. RATIONALE. MgHJBankl. .211
The most interestii^; books, MSSL, engravings, medals, etc., are
exhibited in special rooms (Men. and Thnrs., 10-4, gratis).
We enter the Cbur d*Honneur by the chief gateway in the Bue
de Bicheliea, opposite the fountain of that name (p. 209). Under the
gateway are statues of Printing by Labatut, Calligraphy by Coutan,
Engraving by J. Hugues, and Die-Cutting by J. Becquet. In front,
in the central building, are the offices of the Admiimtrcftion. The
Vestibule, to the right of the Cour d*Honneur, contains marble busts
of former chief librarians, and a Sevres vase, by the sculptor J.
Ohdret (1879), placed here in memory of the French savants who
observed the transit of Venus in 1874. Opposite the entrance is
the Salle de Travail dea Imjprimes (p. 210). To the right is a
sflEiall restaurant; on the left is the cloak-room. At the end of the
vestibule, to the left, is the staircase to the first floor. To the right
is the entrance to the —
Departement d^s Estampes, containing 2,500,000 engravings,
collected in volumes (over 14,500) or in portfolios (4000). Some
of the most interesting are exhibited under glass; those of the
French school are in the first room (adm., see above).
The staircase ascends to a vestibule, containing pastels drawn
during Napoleon's expedition to Egypt (1798) and Punic inscrip-
tions. Opposite the staircase is the D6parternent des Manuaerits
(about 102,000; Salle de Travail, see p. 210). To the left is the
small Galerie des Charles ; then the Section des Cartes et Col-
lections G^ograjphiqttes (Salle de Travail, see p. 210) and the —
Salles d'Bzposition des Imprim^ «t des Manusorits, con-
taining the chief treasures of the library, many of them beautifully
illuminated and bound. The second room, the Galerie Mazarine,
belonged to the old palaee of Card. Mazarin. The objects are labelled
(catelogue of 1881, 3 fr.).
Room I. In the centre, the French Parnassus, a group, in broi^e,
of the chief French authors amd artista of the 17th cent., by IxnUsQamier.
The walls are hung with .C^^iia tapestry after Ehrtncmn, In glass-
cases I-III and y : Superb bindings, with the arms of the kin^s of France,
from Francis I. In Case lY, by the window: ' Chris tianismi Restitutio*,
by Michael Servetus, for writing which the author was burnt at the stake
in Geneva (1558) by order of Calvin; works with autographs of Rabelais,
Montaigne, and Racine ; MS. (music) by J. J. Rousseau ; autograph score
of Gluck*s Alcestls.
Room II^ the * Galerie M<tzarinef still has its fine ceiling-painting
by Romanelli (1654), of scenes from classical mythology and history. By
the walls are busts of benefactors of the library.
The first half of the gallery contains, facing the entrance, the 'golden
book' presented by the women of Russia to the women of France. To
the right, in Cabinets VII and YIII, are specimens of early priatingfrom
Spain and Italy. — Case XXYII, in the centre: Books printed at raris,
some with splendid miniatures; rich bindings. — Case XXYIIX: Books
printed at Paris and Strassburg.— Case XXIX: Books printed ip Germany,
incl. 41, 42. Mazarin Bible, probably from the press of Gutenberg a«d
Fust at Mayeuce (about 1466) j 68. Latin psalter by Fust and Schdffer
212 TUghtBankt. BIBL. NATIONALE. ImpHmis.
(1457 ;. the first printed hook witii date) ; 54, 96. Second and third editions
(1469, 1490) of w same work.—OaselX, by the wall: Books printed in
Germany; lower row, works by Fust and Sch5£fer (1462-67). — Small glass-
case, near Oase XXIX : Modem bindings. — Oase VI, in the centre of the
gallery : Bindings, made for the kings of France and eminent bibli<^hil6S,
as Jean Grolier (d. 1666), who introduced the Italian style of rich bindings
into France. 198. Polyglot Bible, by Chr. Plantin (Antwerp, 1669-78);
282. Latin Bible, by Rooert Estienne (1688-40), etc.
. Second half of the gallery: M88. of the Sth-lbth CentuHe8,—0MB X
fright): Docum^ts relating to the foundation <^ the library; portr. ef
Jean II., le Bon, on wood (14th cent.); below, 4. Roll with the oldest
catalogue of the library (1878). — Case XI. French palaeography:' 176.
NitJuird's History {end of 10th cent.), recording the oath nken by the
sons of Louis le X)m>onnaire in 842, the oldest of Fren^ documents; 187.
Album of VUars de Honecortf the architect (18th cent.). — Case XII.
Paleography of Italy, Spain, England, and Germany : 189. Genoese Annals
of Oafaro (12th-18th cent); 144. Feirarch^a 'De viris illustrifous' (14th cent.).
^-Oase XIII. Latin palflM^aphy: 102. Livy (6th eent.)<— Case near the
window: Wax tablets with accounts of the 18th-14th centuries. — Case XV.
Oriental MSS. — Case XYII. Greek MSS. — Case XIX. Illuminated MSS.
— Case XX. MSS. once belonging to kings and queens of France: to the
left, 222, 224, 228. Gospels of ChaHe^nagnej Xothaire, and Louis le
D6honnaire. — Cases XVIII & XVI (by the windows, as we return) and
XXXII (in the centre). Autographs : 808. Du QuescUn; 808. Mary Stuart;
also of RousseaUf VoUaire, Mme,deS6v%gnif BacineyMwilrey OorneiUej etc.
— Case XXXI & XXX (in the middle). Sumptuous bindings of the middle
ages, adorned with ivory, jewels, etc.
Th« ^Cabinet des M^dailles et Antiques has its own entrance
in the Rue de Riehelien, the door beyond the police-station when
approached from the Boulevards, and the first when we come from
the Palais-Royal (visitors ring; adm., p. 211). It contains a valuable
collection of Medals (over 200,000) and Antiques, comprising
gem^^ intaglios and -cameos, small works.ol aH, gIftSfi, vases, and
arins> The arrangements are sometimes changed^ and the coUeetions
are to be transferred, to new rooms in the Bue Vlvienne (p. 210).
Vi^TusuiiS. At the back : Zodiac of Dendera (Egypt), a work of the
Roman Empire. Left, Chamber of the Kings from Karnak, constructed
by Thutmosis III. (18th Dynasty; see p. 106), With most' important hiero-
glyphic inscriptions.
In this vestibule, in a small room to the left of the entrance, and
also on the Staiscask and in the Antxroom: Steles; urns; Greek, Latin,
Coptic, and Phoenician inscriptions, etc.
G-rande Ghdorio (to the left). Case V, by the 1st window : Recent
additions.— Cask I. Ist-Srd Sections: Cylinders from Assyria, Chaldasa,
and Persia. 4th Section: Sassanian seals. 5th Section: Mvceneean gemtt
and early Greek seals. 6th Section : Archaic Oriental seals and GrsBCO-
Persian scaraboids. 7th Section: Greek and Italiot scarabsei. 8th Section:
Greek intaglios, several with the signatures of the engravers: Pallas;
♦1526a. Head of Medusa, in amethyst; 1637. Dionysiac bull ; ♦1797. Belle-
rophon; 1815. Achilles playing the lyre, in amethyst; 1824. Cassandra,
in yellow cornelian.— Case II. lst-4th Sections: Grasco-Roman intaglios
(8rd Section, 1815*«». Achilles with the body of Hector, in red jasper).
5th Section. Roman portraits : ♦Cicero; *Antonia, daughter of Mark Antony,
as Ceres; Caraoalla; Julian the Apostate : Constantine. eth Section: Greek
and Roman gems. 7th and 8th Sections: Gnostic gems.— Oase III. Modern
CAmeos. 1st Section, ^402. Parallels of the Old and New Testaments (end
of 15th cent.); 405. Adoration of the Magi (15th cent.); 6d5. Negro king;
'•^'^ Fountain of Science; alleged bracelets of Diane de Poitiers, each
MtdaXs and AnUquen. BIBL. NATIONALE. Bight Bank 7 , 2\^
Gompoved af ono luge and six small cameos (Benaissanee). Srd Section,
on tne other side, 7M$. Elagabalns. 4th Section, 977. Emp. Charles V. and
Ferdinand I.; 780. Frands I.; 786. Henri IV.; 792. Louis XIII.; 789.
Henri IV. and Marie de Medici s; 926. Louis XIY.; 926. Louis XY.. by
G^uay; 927, 788. Ijouis XY. and Henri lY., with emerald mountings from
an old bracelet of Mme. de Pompadour; 923. Louis XIY.; *944. Old seal
of Louis XY., with a bust of Mme. de Pompadour inside.
Cask YI^ at the window. Antique cameos. Ist Section: On the left,
bc^nning at the top, *226. Alexander the G-reat, with Athena; 242, 244.
Julia, daughter of Augustus ; 270. Claudius; *261. Tiberius; *288. Trajan;
*300. ^feptimius Severus and bis family; in the centre, 276. Clandius
and Messalina, as Triptolemus and Ceres^ in a chariot drawn by two
dragoons; *220. Alexander the Great, a relief in pale translucent agate in
a superb 18th cent, mounting of enamelled gold; *266. Apotheosis of
Germanicus ; to the right, 248. Julia, daughter of Augustus, with the
attributes of Cerea; 277. Messalina with her children. — 2nd Section, to
the left, beginning at the top: 7. Ganymede restored to Tros, his father,
by one of his brothers; *17. Minerva; *115. Amphitrite; *148. Horses of
Pelops (?); 41. Apollo and Marsyas; in the centre, '''11. Juno of Argos;
'"l. Jupiter, one of the most famous cameos in the collection, with a
sumptuous 14th cent, mounting ; *27. Dispute between Athena and Poseidon ;
to the right, 97. Centaur; 31. Diana; *184. Bull; 111. Mercury: 43. Yenus
in the bath. — Below are antique mirrors in bronze, ivories, and fragments
of the 'Hiac tables', reli^ in alabaster of scenes from the Hiad.
Cass IY, in the centre of the hall, contains the greatest treasures.
Above, from right to left (window-side): *OriBCo-Roman Vase, of blue glass,
with relieffl in white glass representing the Seasons, resembling the Port-
land Yase in the British Museum (a very rare type) ; Trdsor de Gourdon,
a small paten and chalice of massive gold, found at the yilli^e of Gourdon
(Cdte-d'Or), dating, from earfy Christian times; head of Serapis, a fine
cameo in onyx; below, twelve antique gold medals; *Path'e de Rennee,
a cup of massive gold> found near Bennes in 1774, with reliefs of the
drinking-contest of Bacchus and Hercules (the triumph of wine over
strength), and bordered with sixteen medallions of the Antonines and Soveri ;
right and left, Gallic bracelet of gold and Merovingian breast-ornament
Cphalern') ; below, 2781. Augustus, antique cameo in mediseval setting;
on an Bmpire stand (1807), *368. So-called Cup of Ptolemy, a cantharus in
oriental sardonyx, with reliefs of the mysteries of Ceres and Bacchus,
from the treasury of the Abbey of St-Denis; right and left, 261*>«, 310.
Small busts of Tiberius and Oonstantine; below, *MeddUion of Eucra-
tides, Greek king of Bactriana (ca. 200 B.C.), in gold, weighing 20 staters
or 6*/a oa., discovered in 1867, prior to which no medal had been known
to weigh more than 4 staters ; 851. Antique necklace and Roman medals,
of gold; in an Bmpire setting (1807), *264. Apotheosis of Germanicus.
('Cam^e de la Sainte-Chapelle'), the largest cameo known, consisting of a
sardonyx 1 ft. high, with twenty-six figures ; 378. Antique ship in sardonyx,
with medieval mounting; right and left, 168, 9. Athena and Zeus, Greek
bronzes ; b€dow,gold ornaments, probably Etruscan; *979.CupofChosroesIL,
King of Persia (591-628 A.D.), composed of laedaUions of rock-crystal
and coloured glass, with Chosroes enthroned in the centre (seen better
from the back), from the treasury of St-Denis, where it was known as the
<Cup of Solomon'; right and left, small busts of Augustus and Annlus
Yerus, in agate; below, 2089. Julia, daughter of Titus, aquamarine in medi-
jeval setting; 309. Bust of Constantine (?), in sardonyx (part of a sceptre;
once used as a conductor's b^ton in the Sainte-Chapelle) ; below, 490. Tr^or
de Tarse, four gold medals. Fl«t cases: at the right end, 274 (left), Claudius ;
*3tt9 (cfflitre), Triumph o^ Liciniue ; 79 (centre), Bacchus and Ariadne, set,
with pearls; 240 (right), Augustus; next the window, 5th Section, 288.
Augustus; 2nd Section, *44. Judgment of Paris. Then other cameos, gold
seals* trinkets j: and. ItaUot and early Boman coins. ^
A Oabs by the 6th window contains a map with Gallic coins arranged
g^egraphieally. Below,, specimens. of the Boman as and Oriental coins>
214 Right Bavlci: BIBL. NATIONALE. MedaU and
Cabs y II (behind O&se lY). Roman coins and medals, — Oask YIII.
Greek coins and medals from Lower Italy, Greece, Asia; and Afri6a. —
Oask IX. l8t-4th Sections, French coins; 5th Section, French colonial
coins |[ 6th Section, Mongolian, Turkoman, and Persian coins; 7th and
8th Sections, European and American coins.
At the end, two larffe *Coin Cabinets (period of Louis XV.) j on that
to the rieht, a Hellenistic ^Statuette of a dancing girl; on the left,
*Bust of ModiUs Asiatious (Greek; 1st cent.). To the right, opposite the
windows : Bust, hy Houdon, of the Abb4 J. t7. B(trtMlemy (1716-96), author
of *Le Voyage du jeune Anacharsis en Grfece'.
Oabinets by the wall opposite the windows: XXIII. SmaU BronzeSj
antique utensils, vases, and arms. — XXII. Ancient OUissj in the 18th Sec-
tion, the Caillou Michawc^ or 'kuduru' (p. 106), an ovoid in black serpentine
with cuneiform inscriptions, a valuable Ohaldfl»n monument (B.Cf. 1100);
choice collection of Greek Painted VaseB. — XXI. Other bronzes, chiefly
statuettes, as in the 6th Section, below, ^426. Dancing Satyr, Gneco-
Roman style; 8rd Section, 868. Bust of 'Hermes with the Bells', probably
a votive oifering; 1167. Oow.— XX (by the next wall). Small antique
Terracotta Figures.—XIX (beyond the door). Large silver disc, nearly
2»/g ft. in diameter, the *Bouclier de 8cipion\ with relief? of the ab-
duction of Briseis from Achilles by the messengers of Agamemnon
(Ulysses, Antilochus, Nestor, Diomedes, and two warriors), found in the
Rhone, near Avignon, and probably of the 4th cent. A.D.; also a smaller
disc with Hercules slaying the Nemean lion. Bronzes: 1045. Canephor,
interesting copy of a Greek work of the 5th cent., executed about the
time of Augustus; *1009. Ethiopian slave (Roman); '"712. Head of Medusa;
816. Warrior (Hellenistic); 826. Mercury; 428. Satyr, or youthful Pan;
*709. Head of Medusa, in a good Hellenistic style.
The Salle de IjUynes, on the other side of the entrance of the
vestibule, contains a choice collection of intaglios, camebs, medals, bronzes,
trinkets, and antique vases and terracottas, presented by the Due de
Luynes (1802-»67), a famous antiquarian. In the centre, ♦Torso of Venus
in Parian marble. Oabinet to the right: * Ancient weapons, and the rich
Moorish sword (end of 15th cent.) *of Boabdil' the last Moorish king of
Granada. Near the door, *867. Grseco-Roman bronze bust.
Salle de la Renaiseanoe. Cabinet I, right wall : Ivories, consular
diptychs (presented by consuls to senators) of the 5th-6th cent.; large
French medals; sword of honour of the Grand Masters of the Maltese
Order, with enamelled gold hilt (16th cent.); portrait of a woinau, me-
dallion by Mine da Fiesole (15th cent.); Moorish bronze vases. — Central
case, above: Ivory bridal coifer (Italian; 14th cent.); two enamelled
croziers, 18th and 16th cent.; enamelled cup with Noah's Ark, \y
J. Courtois of Limoges; silver-gilt ewer (Italian; 16th cent.); relief in
wood of St. Anthony, by Lucas van Leyden ; silver casket of Franz von
Sickin^en, with reliefs (early 16th cent.); seals of the University of Paris,
of Louis XII.. etc.; tower borne by an elephant, from a set of chessmen
said to have been sent by Haroun al-Baschid to Charlemagne ; talisman ot
Catherine de M^diois; ornaments and enamels, superb hat-ornaments of
the 16th cent.; in the flat glass-cases, fine medals of the 16th-17th cent,
and objects found in the church of St-Brice at Tournai, in 1658, in the
tomb of Childeric I." (d. 481; p. xv). — Cabinet II. Medallions by David
d' Angers; antique and Byzantine ivory carvinj^s; the large 'Sobieski Vase',,
with Ivory carving of the battle of Vienna (1688). In the centre of the room,
the so-called Throne of Dagobert (7th cent.), from the Abbey of St-Denis.
Lastly, fine coin-cabinets (18th cent.).
Rotunda, or Salle des Donateun (the last): Collections ofJanzf,
Oppemiann, Pauvert de la ChapeUe, Ch. S^gitin, etc.: Ancient statu-
ettes in bronze and in terracotta and a few vases. Janzi Collection, righ^
of entrance : 628. Demos, genius of cities ; below, 124. Dancing girl, in
terracotta; *101. Persephone, in terracotta; 128; Airtemis; 027. IjHadnm^nos,
ill bronze, after Polydetus; ♦108. Apollo, in bronse; 107. Mmiad,'!^ tttrra-
cotta. Oppermann Collection, left* of- entrance: Statuette in bronz«; ^0t8«:
AnUquet. BIBL. NATION ALE. Right Bank 7. 215
HMVitleft), mirrors, terraeottM, painted yases. — Qlass-ease in centre : Ohron-
ologieally arranged French mMaU; *Tretimure of BerthouviUe ot Bemay,
consisting of 67 silver statuettes and vessels (incl. two statues of Mercury),
of different periods, found at Berthouville (arrond. Bemay) in 1880. The
two *Goblets with Bacchic processions and two others with single
figures are among the finest existing specimens of ancient silver-work
(see also treasure of Boscoreale, p. 162). Above, Bronze head of Lntetia,
wiHi mural crown, found at Paris in 1676. — By the first window, under
glass, Intaglios (Renaissance and 17th-18th cent.), imitations of the an-
tique: Examples by Simon /lis and JoufProy; *Portr. of Alessandro dc*
Medici, by Dom^ di Polo; 2887. Bacchanal, in cornelian, said te have been
used as « seal by Michael Angelo ; Philip II. and Don Oarlos ; Francis I. ;
portraits by J, Chiay, engraver to Mme. de Pompadour. — By the second
window, the S^guin Bequest (1909; cameos and intaglios). — By the third
window, tiie interesting *Pa«vert de la Ohapelle Collection of Myoennan,
Greek, Etruscan, and Roman engraved stones, and Oriental cylinders.
Jost beyond the Biblioth^ae, 58 Rue de Richeliea, at the
comer of Rae Colbert, is tiie picturesqQe but neglected old HUel
de Nevers, On the left, No. 75, a 17th cent, mansion, has a fine
door with a carved escutcheon. No. 101, the house of Abb6 Bar-
th^lemy (p. 214), has a balcony with a mask and sculptured con-
soles. At the comer of Boul. des Italiens (No. 112) is an old por-
trait-relief of Richelieu with inscription of 1838.
The Rii£ des Petits - Champs runs between the Biblioth^que
and the Palais- Royal. LuUi, the musician (p. 34), lived at No. 45,
in a house built by Gittard in 1671. Then comes the Eue de La
FeuiUade (on the right, the Banque de France, p. 87), which ends
at the round Place des Vlotoires (PI. R, 21 ; III). The Place
was laid out in 1685 from J. Hardouin-MansarVs designs, partly
at the cost of Mar^chal de La Feuillade (1673-1725), and was ad-
orned with a gilded statue of Louis XIY. The monument, destroyed
in 1792 (excepting the groups at the Invalides, p. 310), was replaced
by a pyramid inscribed with the victories gained by the republican
army, whence the Place derives its name. The pyramid was next
displaced in 1806 by a Statue of Gen. Desaix, which was removed
in 1814. The present Equestriaai Statue of Louis XIV*, in bronze,
by Bosio, was erected in 1828. The rider is garbed as a Roman,
wearing a wig; the horse, in a rearing attitude, rests on its hind-
legs and tail. The reliefs on the pedestal represent the king's pass--
age of the Rhine, and the distribution of military honours.
The facades in the Place des Yictoires were built by Ftedot, To the
£. of the Place des Yictoires the Rue de La Feuillade is prolonged by the
Bue Stienne-Marcdj which crosses the Rue dn Louvre, skirts the General
Post Office (p. 801), crosses the Rue de Turbigo (p. 204), and ends at the
Boul. de S6bastopol (p. 81).
A few paces N.W. of the Place des Yictoires, in the Place deS
PetitS'Pires, is the church of Notre-Dame-des-Viotoires (PL
R, 21; //i), founded by Louis XIII. in 1629 in memory of the
taking of La Rochelle from the Protestants in 1627, but unfinished
216 BigMBank?. BOURSE,
until 1740. It beluoged to the moDaatery of tbe bare-footed Augas-
linian frUrs, knowD as the 'Petita-P^rea'. During the Rerolntlon
it was used as the Exchange, and is now n resort of jiilgrjms.
The IvriBiOB ia very imtk. The wiIIh »re cohered with lotiTe in-
sciiBtioiu. ~ let Obapel du left: Colouied terncoltB reUaf of SS. Fetei ibJ
P»b1 in the Uimertuie prigon, by Bmtnmtieux <d. JJ46). ind Ohapel on
left: Tomb of LoUi (p. i\b), by Cotton and Ooyievoz. — In front of th«
light, is the situ- of th« TirgiD, rioUy decontod. Tbe choir
■■-'-'- -— ' '-- --' -aintings by C. Viadae: AUegwy
leg fiom the lifp of St. Aogaitine.
The Rne de )a Banqnc, to the W. of the chnrch, on the right u
we leave it, leads to the Bourse, It conlAins three modem edifices:
(right) tbe Afoirteo^tAe 2nd ^rr(mdiMem«n((Bonrse), the Catemt
de la Banque, and (left) the H6td du Timbre. The Salle des
Mariages of the Mairie contains paintings by Morean de Tours.
The 'Bourse (PI- B, 21 ; III), built in 1808-26 by Brongmixrt
and Labofre, with its peristjle of Corinthian colnmns 33 ft. high
and 3'/) ft. in diameter, with a platform at each end, is a copj of
the Temple ot Vespasian at Rome. Two additions, on the N, and
S., by F. Cavel, were built in 1902-03. At the angles in front are
statues of Commerce by J, DurnmU and Consular Justice by Duret;
to the E., Industry by Prodis am"
tbe S.W. angle is tbe 'Bourse' Btatic
TheBonrBe is opened for bnaineas c
li o'clorb (St II on tbe lit and ISth of
viaitors ue tdiised not to mix with
The griBsille ptiatings oo Ihc ceiling o:
and Seynier, represent Firia onlrusllni
litia and Mcrcnry, France teceiving thi
the globe, Paris enriched by tbe Seine ai
part ot the hall is the cimolat corbeHle, Monnd which tiey congifKate.
To the right, beyond the 'cotbeille', Is the MarOie ou Vomptma, wheie
To the left is the Coidiae de la Betile (government bondnl. At B o'eloek
[he bell riogn and bosiness is over fnr the day.
Not far distant is the Bout. Montmarlre (see p. 80). — From
the 8. side of the Bourse the Hae d»' Quafre-Septembre (PI. R,
£1 ; ///, 11) leads W, to the Place de I'Op^ra (p. 76), while the
broad RueEiaumur (PI. R,S1,S4; HI) leads B.E. to thaConser-
valoire des Arts et Metiers (p. 305). Under both streets runs Line 3
of the M&TO (Appx., pp. 33, 32).
At No. 100, Bue K^anmui', is the eutiau.e to Ihe old 'Com des Uirules'j
of which no trace Ih left. From tbe ISlh cent, to the time at Lonis XIV.
a pictureeque description of it in^otre-Dioiecle Paris'._At No. 84, Roe
St-SiHveur, at the coiner «t fine UonOiarlie, is the sign of the 'Boleil
d'Oi' (Uth cent.), one of the most eiuiona in old Pirii. At Not. It-U,
Bue MoBlorgueil, R. o( Rne Riiuninr, is the Aoberge do Ooi»ai'd'0i,
ot the iBth cent., with a viry pielurfaqne couttyird, whence flie r>reui
217
8. Quarters to the North of the Grands
Bonlevards.
MiTRO (Lines 2, 3, 4, and 7), see Appx., pp. 32, 33, 85. — Nobd-Sud
(Lines A and B), see Appx., p. 36. — Rkstaurants, see p. 22.
The Boulevard de Strasbourg (PL R, B, 24; ///), which
unites the BouL St-Denis (p. 81) and the Gare de I'Est, was formed
by Haussmann (p. xxix), Pr6fet de la Seine under Napoleon III.,
partly to facilitate traffic, and partly to remove the narrow streets
which might easily be barricaded in times of revolution. From
the Gare de I'Est on the N., it is prolonged by the Boulevards de
Sebastopol (p. 81), du Palais (p. 268), and St-Michel (p. 278) to the
Observatoire (p. 342) on the S., forming one of the main arteries
of Paris. — Line 4 of the MitrOy see Appx., p. 33.
At the intersection of the Boul. de Strasbourg and the Boulevard
de Magenta (p. 82), which comes from the Place de la R6publique
(p. 82; Line 5 of the M6tro), rises, on the right, the church of
St-Ijaurent (PI. B, 24), one of the oldest in Paris, which was
rebuilt in 1429, several times restored, and remodelled in 1862-66,
when a bay was added to the nave and a Gothic facade and a spire
were erected on the side next the boulevard. The choir was de-
corated by Blondel, and the high-altar by Lepavtre. In the Square
St-Laurent, to the right of the church, rises a pretty gro\ip (Brother
and Sister) by A. Lefeuvre,
The Gare de I'Est, or de Strasbourg (PL* B, 24), facing the
end of the Boul. de Strasbourg, was restored and enlarged in 1895-99.
The f agade is crowned with a seated figure of the city of Strassburg.
On each side of the clock are the half-recumbent statues of the
Seine and the Rhine.
On the site of the present courtyard the Fair of St. Lawrence was
held from 1662 to the end ot the 18th cent.; it was a monopoly of the
Lazarist order, the site being under ecclesiastical Jurisdiction. See the
tablet on the comer-pavilion to the left of the station.
Under the square in front of the station Lines 4, 5, and 7 of the
M4tro cross one another ('Gare de I'Est' station; see Appx., pp. 83, 34,
35). — Omnibuses and TramtoaySy see Appx., p. 53.
The Rue de Strasbourg leads W. past the station to the Boul.
de Magenta, which soon crosses the Rue La Fayette (p. 218). A
little to the N. is the —
Gare duNord (PI. B, 24), rebuilt in 1863-64 by HiUorff. The
central building, broken by three enormous arcades, is surmounted
by a pediment crowned with statues of Paris (in the centre) and of
eight great foreign cities connected with Paris by the Ligne du
Nord. To the right is the Gare de la Ceinture et des Trains-
Tramways belonging to the company. — In front of the station is
the 'Gare du Nord' station of the Mitro (Lines 4 and 5; Appx.,.
pp. 33, 34).
Bakdsker's Paris. 18th Edit. 14
218 Right Bank 8, ST-VINCENT-DE-PAUL. Noiihern
Between the Gares de I'Est and du Nord runs the long Rue La
Fayette (PL B, 21, 24,27, 26; //), extending N.E. to the outer Boul.
de la Villette (p. 248). To the S.W. of the Boul. de Magenta, not far
from the two stations, it crosses the small Place La Fayette, which
slopes up to the N. to the church of —
*St-Viiicent-de-Paul (PI. B, 24), built in 1824-44 by Lepere
and Hittorff in the form of a Latin basilica, like Notre-Dame-de-
Lorette (p. 219). Two inclined slopes in horse-shoe form and a
flight of 46 steps ascend to the entrance. The portico consists of
twelve Ionic columns, crowned with a pediment. The tympanum
contains a relief by Lebosuf-Nanteuil: St. Vincent de Paul between
Faith and Charity. On each side are square towers 177 ft. high.
The main door, in bronze, is adorned with reliefs of Christ and the
Apostles.
Interior. The nave is flanked with double aisles, which are occu-
pied partly by chapels, and partly by galleries. The latter, borne by 86
columns, extend round the whole apse. The windows of the aisles have
stained glass by Mardchal and Grignon.
Around the nave, which like the choir is lighted from above, runs a
famous *Frieze, the masterpiece of Hippolyte Flandrin (1860-54), recall-
ing the majestic old mosaics at Ravenna. It depicts the solemn proces-
sion of the elect towards the gates of heaven. Over the entrance are
SS. Peter and Paul preaching the gospel. To the right are two groups
of believers, one witn St. Louis in its midst. Then bishops, St. Jerome
with his lion, martyrs. Christian heroes, SS. Stephen, Qeoi^e, Christopher,
etc. To the left are Mary and Joseph, penitent saints with Mary Magda-
lene, two groups of holy women (SS. Anne, Elizabeth, Felicitas with her
seven sons), the virgin saints Martha, Genevieve, etc., and female martyrs
(St. Cecilia and others).
In the choir are paintings by Picot (d. 1868) : Christ enthroned (in the
cupola) and the Seven Sacraments (on the frieze). The high-altar is adorned
with a fine Crucifixion in bronze, by Rude. The Lady Chapel behind the
choir contains a group of the Virgin presenting the Messiah to the world,
by Carrier-Belleuge, and frescoes by Bouguereau: Annunciation, Visi-
tation, Adoration oi the Magi, Adoration of the Shepherds, Flight into
Egypt, Meeting of Christ and Mary. — Admirable organ.
The Bue St- Vincent-de-Paul, behind the church, crosses the Boul. de
Magenta, and ends at the Hdpital Lariboisidre (PI. B, 23), built in
1846-58, and called after the countess of that name, who bequeathed
II6.OOO/. for its erection. The chapel contains her tomb, by Marochetti.
— A little N. of the hospital, beyond Boul. de la Chapelle, is the church
of St-Bemard (PI. B, 23), with its fine spire, erected in 1858-61, by
Magne, in the Gothic style of the 14th century. — Boul. de Bochechouart,
etc., see p. 222.
Farther W. in the Rue La Fayette, at the angle of Rue du Pau-
bourg-Poissonniire, is the 'Faubourg -Poissonni^re' station of the
M6tro (see Appx., p. 35). Then, on the right, is the Square
Montholon (PI. B, 21), with its two bronze groups: Eagle and vul-
ture fighting for the carcase of a bear, by Cain; and a Juggler with
a monkey ('Monnaie de singe'), by Roland.
At No. 28, Rue de Montholon, M6hul, the composer, died in 1817.
In this part of the Rue La Fayette are a number of old curi-
sity shops. No. 61 is the office of the ^ Petit JowrnaJH (seep. 50);
QuarUsrs. NOTRE-DAME-I)E-LORETTE. Right Banks. 219
at the corner of Rue Cadet is the 'Cadet' station of the Mitro (see
Appx., p. 35).
The quarter extending S. from this point to the Boulevards is,
especially near the latter, a centre of the 'haute finance'. On the
left, where the Ruie Droitot (p. 80) begins, are the offices of the
^Jfigaro* (p. 50), with a pretty facade in the Spanish Renaissance
style and a statue of Figaro by J. B. Amy. At the comer of Rue de
la Victoire is the *Le Peletier' station of the M4tro (Appx., p. 35).
Rue LafpUe (p. 79) and R%ie de la Chaussie-d^Antin (p. 220;
M^tro stat., see Appx., p. 35) are the chief arteries of this quarter.
At the carrefour formed by the Rue La Fayette, the Rue de la
Chauss^e-d'Antin, and the Boul. Haussmann (p. 222), is the 'Chauss6e
d'Antin' station of the Mitro (Appx., p. 35).
At the N. end of the Rue Laffltte appears the church of —
Nota?e-Dame-de-Lorette (PI. B, 21), built in 1823-36 by
Hipp. Lebas in the style of an early -Christian basilica. The
Corinthian portico is adorned, at the angles of the pediment, with
figures of Faith, Hope, and Charity, by Foyatier, Lemaire, and
Laiti^.
The Interior, somewhat elaborately decorated, contains numerous
frescoes, the best of which are those in the chapels at the entrance to
the aisles and in the transepts. To the right as we enter is the Baptist-
ery, with paintings by A. Roger (ca. 1884). — In the right transept is
the Ohap. du Sacr^-OoBur, by F4rin (1B52). — In the choir: on the left,
Presentation in the Temple, by Heimj on the right, Jesus teaching in
the Temple, by Drolling; at the end of the hemi cycle. Coronation of the
Vi^in, by Picot. — In the left transept is the Lady Chapel, with inter-
esting frescoes by Orael. — At the beginning of the left aisle, the Chapelle
des Morts, by Blondel* — Fine music at the evening-services in May (^mois
de Marie').
To the left of the church is the *Notre-Dame-de-Lorette' station of the
Nord-Sud (Appx., p. 86). — Omnibuses and Tramuxiy, see Appx., p. 54.
The Rtie de Chdteaydun leads W. past the church to the Square
de la Trinity (p. 220). In the Rue de la Victoire, running parallel
on the S., is a Synagogue with a grand facade in the Neo-Roman-
esque style, built by Aldrophe in 1865-76.
Notre-Dame-de-Lorette was once the quarter of the 4orettes',
who were so cleverly sketched by Gavarni, the celebrated carica-
turist (see below).
In the Place St-G-eorffes (PI. B, 21), to the N.W. of Notre-Dame-
de-Lorette, was the house (No. 27) of Thiers, rebuilt by government after
being burned by the Communards in 1871. It was bequeathed in 1905
by Mile. Dosne, the statesman's sister-in-law, to the Institut de France,
and is to be occupied by the historical section of its library. The Place is
adorned with a Monument to Qavami (1804-66), consisting of a bust of the
caricaturist and copies of his best-known creations, by D. Puech (1912). —
In this Place is the Nord-Sud station 'St-Georges^ (Appx., p. 86).
To the W. of the Place is the Mus^e Gustavo -Moreau
(PI. B, 21), at 14 Rue de La Rochefoucauld, once the house of that
artist (1826-98). It contains about 1100 of his paintings (many
onfinished) and 7000 drawings, which, though much criticized
14*
220 RightButika. LA TRINITE. Northern
have a charm of their own. The maseam is open on week-days,
exc. Mon., 10-4 or 5 (visitors ring). Director, M. Rupp. Catalogue
(1902), IVjj fr.; illustrated (1904), 31/2 fr.
In the vestibule, to the left: Jupiter and Semele.
Sbcokd Floor. — Opposite the staircase, from right to left: -13. Leda;
39. ChimsBras. 37. Mystic flower; 35. Fate of Prometheus ; 32. The Magi;
30. Messalina; 28. Hesiod and the Muses; 25. Daughters of Thespius;
23. Apollo deserted by the Muses; 21. Moses. 20. Argonauts; 19. Penelope's
wooers; 18. Tyrtasus singing during the battle.
Third Floor. — Room I. From right to left, b^inning opposite the
windows: 90. Hesiod and the Muse; 85. Hercules at the Stymphalian lake;
83. Dance of Salome; 79. Salome. 76. Leda; 75. Pasiphae; 73. Human
life; 70. Triumph of Alexander the Great. Opposite, 105. Ganymede;
101. Golgotha; 98. Messalina; 96. Tyrtseus; 94. Unicorn; 95. Debauch.
In the centre, on a stand : 69. Portrait of G. Morean, by himself (1850). —
Room II. Long wall on the right: 213. Unicorns; 214. St. Sebastian;
211. Salome; 208. Magdalene at the Cross; 209. Cavalier; 205. Helen on
the ramparts of Troy; 206. Hercules and the stag; 201. Roman slaves
thrown to the lampreys. 196. Prometheus; 197. Wandering Jew; 194.
Orpheus; 191. Rape of Europa. Opposite, 222. The apparition (Salome);
219. St. Sebastian; 220 (above), Pasiphae; 216. Jupiter and Semele. A stand
in the centre contains about 300 water-colours (apply to the custodian).
The Ground Floor is chiefly devoted to sketches and water-colours.
The church of La Trinity, like Notre-Dame-de-Lorette, rises at
the end of a street diverging from the Boulevards, the JRtte de la
Chauss^e-d' Antin (p. 79).
A tablet at 42 Chauss^e-d'Antin marks the house where Mirabean
died in 1791. Josephine de Beauharnais lived at No. 62 and General Foy
died there in 1825 (inscription; see p. 253). In this street lived also Mme.
d'Epinay, Grimm, Necker, and Mme. R^camier.
In the Square in front of the church are three fountains, with
statues of Faith, Hope, and Charity, after Duret. On the E. side
of the square is the *Trinit6' station of the Nord-Sud (Appx., p. 36).
La Trinity (PI. B, 18), a church in the latest Renaissance style,
was built by Ballu in 1861-67. The facade, preceded by two flights
of steps, has a three-arched porch, above which rises an elegant
story with a tower 207 ft. high. Over the doors are enamel-paintings,
by P. Baize.
Intkrior. On the right and left of the middle door, two tasteful
b^nitiers in marble, with figures of Innocence and Purity, by Ghtmery,
Right Aisle. 1st Chapel, Entombment, Souls in Purgatory, bv P,Bri88et.
2nd Chapel, St. Vincent de Paul succouring the Alsatians una Lorrainers
in 1637, and St. Vincent converting the galley-slaves, by Lecomte du Nouy
(1879 and 1876). 3rd Chapel, St. Genevieve distributing food to the Paris-
ians, and Believers praying before her relicsj by F. Barrios. 4th Chapel,
Death of St. Denis, and St. Denis carrying his head, by D. Laugie (1876).
The Choir (eleven steps) is flanked with a gallery, ending at the
chapel in the apse. The chapel contains fine stained glass and several
paintings : (right) Presentation in the Temple, (below) Daniel and David, by
Em. Livy; (left) Assumption, (below) Isaiah and Jeremiah, by E. Ddaunay
(1867); above the altar, a marble group of the Madonna and Child, by
Dubois.
Left Aisle. 4th Chapel, Holy Family, and Joseph's dream, hy E. Thirion.
3rd Chapel, Sacred Heart, and Good Shepherd, by R. Cozes. 2nd Chapel,
T^ietfc, and Invocation of the Virgin, by Michd Dumas (1875). Chapelle
quarters. GARE ST-LAZARE. Right Bank 8. 221
des Fonts, Adam and Eve expelled from Paradise, and BaptiHm of Ohrist,
by Francis (1877).
La Trinit6 has a good choir and an excellent organ.
The W. part of the Rue St-Lazare, beyond the square, forms
the S. boundary of the Quaitier de I'Europe, so called because
most of the streets are named after European capitals. — The Rue
de Londres, which ascends from La Trinite to the right of the Rue
St-Lazare, leads almost straight to the Pare Monceau (p. 231),
crossing the Place de VEvfrope (PI. B, 18), a kind of bridge formed
by the junction of six streets above the Chemin de Fer de I'Ouest-
Etat, and behind the Gare St-Lazare. A little to the W., near the
intersection of the Rues de Madrid and de Rome, is the 'Europe'
station of the M^tro (Line 3 ; Appx., p. 33).
No. 14 in the Rue de Madrid, once a Jesuit college, has contained
since 1911 the Conservatoire National de Musique et de D^
clamation (PI. B, 15, 18), founded in 1766 for the study of music and for
the training of singers and actors for the national stage ; it has 90 teachers
and about 700 pupils. The latter are admitted by competitive examination
and receive their training gnf^tuitonsly. A *prix de Rome' (p. 300) is given
aonnally for musical composition. The Conservatoire, now under the direc-
tion of M. Gabriel Faure (b. 1845), has been presided over by Cherubini
(1822-42), Auber (1842-70), and Ambroise Thomas (1871-96). ~ Concerts,
see pp. 87, 80.
Tne Conservatoire possesses a Library, the largest of the kind in
existence (week-davs, 10-4; vacatibn from Ist July to the first Mon. in
Oct.), and a valuable CoUecHon of Musical Instruments (Mon. and Thurs.,
1-4), including many of artistic or historical value.
The Gare St-Lazare (PI. B, 18, //; Ouest-Etat), rebuilt in
1886-89, consists of two main parts, connected by the long hall of the
Pas-Perdus. To the right, next the Rue d' Amsterdam, is the main-
line station; to the left, next the Rue de Rome, are the Oeinture and
Banlieue stations. In front of the station is the Hdtel Terminus
(p. 11), connected by a passage with the waiting-rooms.
In front of the station, under the Place dn Havre, lies the chief station
of the Nord-Sud (junction of Lines A and B; Appx., p. 86). The ticket-
offices are in the centre of a round hall, 88 yds. in diameter, used also
as a public passage. The MHro (Line 8; Appx., p. 83) has its entrances
in the Rue de Rome, on each side of the Rue St-Lazare. These two stations
are connected by passages with the great Gktre; another passage connects
the Metro and the Nord-Snd (which 'correspond').
Omnibuses and Tramtcays, see Appx., p. 53.
A little to the S. of the Gare St-Lazare, the Boul. Haussmann
(PI. B, 18, 11; W. part, see p. 229) meets the Rues du Havre, de
Rome, Tronchet, and Auber, together forming one of the busiest
centres of traffic. Here are situated the Magasins du Printemps
(PI. B, 18, II; p. 52) and the 'Caumartin' station of the M^tro (Line 3 ;
Appx,, p. 33). Farther to the E. the Boulevard Haussmann passes
behind the Op6ra and ends at the Rue Taitbout, which leads N. to
the Rue La Fayette (p. 218).
222 Right Bank 8. MONTMARTRE. Northern
Montmartre.
M^TRO Stations (Line 2; Appx., p. 82): Anvers (see below), for Sacr^-
Coeiir; Pigalle (p. 224), Blanche (p. 224), Clichy (p. 228), for the cemeter>'.
— NoBD-SuD (Lines A and B; Appx., p. 86) : Pigalle (p. 224), Clichy (p. 228).
The heights of Montmartre rise to the N. of the so-called
'Boulevards Ext^rieurs' (see pp. 224, 228, 229), which have little
interest. In Boul. de Rochechouart (PI. B, 20), to the E. of the large
ColUge Rollin, is the little Place d' Anvers (PI. B, 20; M6tro
station, Line 2, see Appx., p. 32), with bronze statues of the dram-
atist Sedaine (1719-97) and of Diderot (1713-84), by Lecointe.
Opposite the college is the Th^dtre Trianon-Lyrique (p. 37). To
the N.E. is seen the dome of the Magasins Dufayel (PI. B, 23;
p. 52) ; the facade in the Rue de Clignancourt, near the Butte Mont-
martre, has sculptures by Falgui^re and Dalou.
The Rue de Steinkerque leads N. from the Place d* Anvers to the
Place St-Pierre (PI. B, 20), on the S. slope of the Butte, whence the
top is reached by paths to the right. A funiculaire (Appx., p. 52),
to the left of the square, skirts the Rue Foyatier.
To the right of the square, opposite the angle of the Rues Charles-
Nodier and Ronsard, an inscription records that Cuvier (1769-1832 ; p. 336)
here discovered fossil remains confirming his palsBontological theories.
The *Butte Montmartre, the *butte sacr6e', rises 417 ft.
above sea-level and 331 ft. above the Seine. St. Denis, the first
bishop of Paris (p. xv), is said to have suffered martyrdom here in
270, whence the name Mons Martyrum. Others derive the name
from an alleged site of a temple of Mars (Mons Martis).
The heights of Montmartre dominate the whole of Paris. It was
thence that Henri de Navarre, afterwards Henri lY., bombarded^ the city
in 1589 when occupied by the Ligue, after he had become heir to the
throne of France by the death of Henri III. Here took place also the
final struggle between the French troops and the Prussian and Russian
allies in 1814. On 18th March, 1871, the insurgent soldiers, having as-
sassinated Generals C16ment Thomas and Lecomte, seized the cannon on
Montmartre, which had been entrusted to a body of the National Guard,
thus beginning the Communard rebellion of 18th March to 28th May, 1871.
The insurgents were dislodged by the government troops on 24th May,
and the batteries of Montmartre were then directed against the Com-
munards posted on the Buttes-Chanmont and in Pere-Lachaise.
The *Basillque du Sacr6-Co8ur (PI. B, 20), crowning the
hill, was begun in 1875 and completed in 1912, though it has
been used for service since 1891. It is a grand edifice in the
Romanesque-Byzantine style, designed by Abadie^ surmounted by
a large dome, 270 ft. in height, behind which, over the apse-chapel,
rises a slightly higher bell-tower (bell, see p. 223). To render the
foundations secure, no fewer than 83 shafts, 125 ft. deep, were filled
with solid masonry and connected by stone arches. A sum of
1,600,000Z. has already been expended on the building.
The facade is adorned with two reliefs: Christ and the Samaritan
Quarters. MONTMARTRE. Right Bauk 8. 223
Woman, by A. (THoudainy and Mary Magdalene at the honse of
Simon, byZ». No'^l. The tympana of the porches also have reliefs:
Spear-thrust of Longinus, by Barrias, Moses striking the rock, by
Fagelj and the Doubting Thomas, by H. Lefebvre. A statue of the
Sacr6-C(Bur, by Michel, adorns the niche over the main porch.
The imposing Irtsrior is 200 ft. in length ; the cupola is 180 ft. high
and 50 ft. in diameter. The host remains constantly on the altar. The
fine stained glass was designed by Magne. — The UhapeUe de VAmidey
to the right of the entrance, dedicated to SS. Michael and Joan of Arc,
is adorned with mosaics by Magne and Blanchard and contains a fine
statue of Joan of Arc kneeling, by Faael. The following Chapelle de
la Magistrature contains two mosaics dealing with the life of St. Louis. —
On the left, at the entrance to the ambulatory, is a statue of the Sacred
Heart, after B4net. — In the cupola of the apsidal chapel, or ChapeUe de la
Vier^e, is the Assumption, in mosaic. Behind the altar, a statue of the
Vimn, by Crauk. — Opposite the chapel is a kneeling statue, by L. NoUy
of Card. Guibert, Archbishop of Paris, one of the promoters or the basilica.
The 7th ohoir-chapel, dedicated to St. Ignatius of Loyola, contains statues
of that saint and of St. Francis Xavier. The following Chapel of St. Ursula
contains a statue of St. Genevi^ye by Bogino. In the last chapel, St. Antony,
by L. No8l.— To the left, a statue of the Virgin, after Pagel. — At the
end of the nave, to the left of the entrance, is the Chapelle de la Marine.
— The sanctuary, which is still unfinished, will be adorned with white
marble and mosaics in enamel ; the vaulting is to contain a large mosaic
(460 yds. square) by L. 0. Merson.
The entrance to the Crypt (25 c), extending under the entire chureti,
is to the W. of the porch.
The Bell, called the ^8avoyarde\ presented by the province of Savoy,
was placed in the tower in 1907, but will not be on view till the com-
pletion of the works. It is the largest in France, 10 ft. high and 10 ft.
in diameter, and weighs about 18*/2 tons (Great Paul in London 17V8 tons ;
great bell of Moscow 202 tons).
The ascent of the Dome (256 steps; 50 c; ticket-oflBce to the
left of the facade) is made every half-hour from 8.30 to 5.30,
except from 11.45 to 1.30. It affords a superb *View, as fine as
from the lantern (a fatiguing and giddy climb of 94 steps more).
From left to right, we see: quite near, the dome of the Magasins
Dufayel; to the right, the Gare du Nord and St -Vincent -de -Paid;
to the left, farther oflF, the BuUes-Chaumonty the two towers of Belle-
ville, that of Mdnilmontant, and P^re-Lachaise with its 'sugar-loaf and
crematorium; more to the right, above St- Vincent-de-Paul, the two
towers of St-Ambroise; then the Mairie of the lOth arrondissement, the
Colonne de JuiUetj and the dome of St-Paul; in front, the Chapelle des
Arts et Metiers; more remote, to the right, the dome of La Salpfttrifere
(Gobelins); St-Gennain-VAuxerrois; St-Gervais, the Hdtd de VtUe and
Notre-DamCy beyond the Tour St- Jacques; St-Etienne-du-Mont and the
Panth4on; nearer, 8t-Eustache and the Halles Centrales; beyond these
the domes of theSorbonney the church of Val-de*Qrdcey and the Observatory ;
nearer, the twin towers of St-Sulpice, that of St-Germain-des-Pr6s, and
the Louvre; in the distance, the tower of Montrouge; nearer, to the right,
the imposing Opera Houscy above which rise the spires of Ste-Clotilde ;
to the left, the Venddme Column; again to the right, the dome of the
church of the Assumption, the gilded dome of the InvalideSt and the
JEi^el Tower (8 M. away); nearer, to the right, the campanile of La
Trinity, and the Madeleine ; then the dome of St-Augustin and the towers
of the Trocad6ro. Lastly, the Arc de Triomphe de VEtoUCy the fort of
Mont-Valirien, and the N. environs. On the horizon rise the hills of
Chfttillon, Olamart, and Meudon.
224 Right Bank 8. MONTMARTRE. Xorth^n
In front of the charch is a statue of the Che^yaUer de La Barre
(by A. Blochf 1906), who was executed 'for blasphemy' in 1766 at
the age of nineteen.
To the W. of the church is a large Reservoir (2,442,000 gal.).
Visitors apply to the keeper, to the left. — Behind it rises the old
church of St-Pierre-de-Mofitmurtre, a relic of a Benedictine nun-
nery, consecrated in 1147 by Pope Eugene ITT., and restored in
1901-07; in the apse are two ancient columns. The entrance is in
the Rue du Mont-Cenis (PI. B, 20).
To the left, behind the chnroh, in the old graveyard, is a Mount Cal-
vary, from the old convent on Mont-Val^rien (adm. 26 c; keeper to the
right of the fa^de). — In front of the reservoir, to the left of the cahle-
tramway station, is the Panorama du 8aer^-C<xur (Ancient Jemsalem,
the Crucifixion; adm. 60 c), and on the other side of the Sacr^-Ccenr,
18 Rue Lamarck, is the Diorama of Borne (adm. 60 c).
To the N. of the Butte, a little way from the Sacr^-CoBur, in Place
Jnles-Joffrin, are the church of Notre- Jbame-de-Clignancourt (Pi. B, 19),
built in 1869-63, and the Mairie of the 18fh Arronditsement (Bntte-
Montmartre), in the Renaissance style (1888-92). In the Place is also the
terminus of Line A of the Nord-Sud (Appx., p. S6).
Returning to the Boul. Rochechouart (p. 222), we follow it to the
W.; it is continued by the Botdevard de CUoliy (PI. B, 20, 17),
i%|iich soon crosses the Flaoe Figalle (PI. B, 20; Mitro and Nord-
Sud stations, see Appx., pp. 32, 36). The Passage de l*Elys6e-des-
Beaux-Arts leads N. from this Place to the church of St. John the
Evangelist, built of reinforced concrete by A. de Baudot, in 1894-
1904. In the Place des Abbesses, in front of the church, is a Nord-
Sud station (Line A; Appx., p. 36). — Farther W. in the Boul. de
Clichy are the Flaoe Blanohe (PL B, 17; Mitro station, Appx.,
p. 32) and (right) the Moulin- Rouge (p. 39). Continuation of the
bouleyard, see p. 228.
Farther on, the Avenue Rachel leads from the Boul. de Clichy
direct to the Cemetery of Montmartre, on the W. slope of the hill.
The Rue Caulaincourt, diverging also to the right from the boule-
vard farther on, crosses the cemetery by means of the Viaduc
Caulaincourt, forming the chief drive to the hill of Montmartre,
which it rounds to the N.W.
The *Ceinetery of Montmartre^ or Cimeti^e du Nord
(PI. B, 17), though inferior to that of P^re-Lachaise (p. 251), is
likewise worthy of a visit. Adm., see p. 60.
We follow the main avenue straight to the Carrefour de la
Oroix, a round space with a column surmounted by a funeral urn,
where the victims of the 'coup d'6tat* of 1852 are interred. To
the left, as we enter the Carrefour, is the vault of the Cavaignars,
to whom belonged the author Godefroy (d. 1845; fine recumbent
«laine in bronze, by Rude), the general Eugene (d. 1857), President
quoHert. MONTMAKTRE. Right BunJcs. 225
of the Republic in 1848, and the statesman Godefroy (d. 1905). To
the right, oader the viaduct: Dnprato (d. 1893), composer, bronEe
medallion by J. Thomas; Caslagnary {A. 1888), pnblieist, b'ronxe
bust by Rodin; BeyU (Stendhal; d. 1842), aathor, medallion after
David d'Angers. On the N. side of the carrefour is the monument
of the novelist Emile Zola (d. 1902 ; remains removed to the Pan-
th^oD in 1906, comp. p. 294), with a bust by P. Uolarz.
226 Bight Bank 8. MONTMARTRE. Northern
We now follow the Avenue Dubuisson to the right. On the
right: Feyert-Perrin (d. 1888), painter, with bust and a statne of a
fisher-girl, by Guilbert. Under the viaduct, Jean G&rdme (d. 1891)
and his father J. L. G&rome (d. 1904), with a statue of Grief by the
latter. Opposite the end of the avenue, Wcddeck-Rotisseau (d. 1904),
the statesman. At the top of the steps, near the wall, Francisqtie
Sarcey (d. 1899), dramatic critic; behind, Ad. Porlier (d. 1890),
with a weeping woman in bronze, by L. Morice. At the angle formed
by the Avenues de la Cloche (p. 227) and Cordier (see below) is the
monument of Meilhac (d. 1897), the dramatist, by Bartholom6.
At the entrance of the Jewish Cemetery, to the right of the
Av. Cordier and left of the Av. Hal6vy, is the vault of Daniel Osiris
(d. 1907 ; p. 383), the millionaire, with a colossal statue of Moses,
after Michael Angelo, by A. Merci6. In front, to the left, is the
chapel of the Pam family, with a caryatide by Bartholom^ (1904).
— Farther on, in the Avenue Cordier, on the left, Gustave Guil-
Iw^met (d. 1887), painter of Oriental subjects, with a statue of an
Arab girl and a bronze medallion by E. Barrias. To the right,
Thioph, Gautier (d. 1872), author, with a statue of Poetry, by
Godebski, and inscriptions, such as —
^Voiseau 8*en va, la feuiUe tomhe^ Petit oiseau, viens sur ma tombe
Uarnour a'itetnty car c*eat Vhiver; Chanter quand Varhre sera vert**
Above, on the right, Hal^vy (d. 1862), the composer; statue by
Buret. To the left, Godan (d. 1866), author. — We mount the steps
on the left to the Avenue de Montebello, which bears round to
the right, one of the most interesting in the cemetery. To the left,
Mxedslas Kamienski, a Polish volunteer who fell at Magenta in
1869, with recumbent bronze figure by Franceschi. Almost behind
it, J. J, Henner (d. 1905), the painter. Farther on, to the left. Paid
Delaroche (d. 1866), the painter. Then, on the right, a family-
vault, with the heart of Marshal Lannes, Duke of Montebello
(see p. 293). Left, Horace Vernet (d. 1863), the painter, a sar-
cophagus. Right, two Counts PotocJdj who died in exile (1863,
1866). Farther on, to the left. Ad. Adam (d. 1866), the composer,
bronze bust.
We turn to the left into the Avenue du Tunnel. To the right,
L^on Foticatdt (d. 1868), natural philosopher (comp. p. 293).
Behind, third row, J. Garcin (d. 1896), musician; bust after Dou-
blemard. Beyond the Av. des Carri feres (see below), right, A. de
NeuviUe (d. 1885), battle-painter, with his bust and a figure of
France, by Fr. de Saint-Vidal.
In the Avenue des Oarri^res, on the right. Hector Berlioz
(d. 1869), the composer; medallion by Godebski. —We return, pass-
ing the Av. du Tunnel, to the Av. Cordier (see above). Left, Henri
Murger (d. 1861; see p. 332); statue of Youth by Millet. — In an
X
quarters, MONTMARTRE. Right Batiks. 227
alley to the left, Louise Thouret (d. 1858); recumbent figure in
marble by Cavelier.
About 30 paces farther on we ascend the steps to the right,
near the grave of Gozlan (p. 226), and turn to the right into the
Avenue de Montmorency, which is divided by a row of graves in
the centre. Right: Duchesse d^Abranf'^s (d. 1838), wife of Marshal
Junot, and their sou; medallion by David d'Angers. Adjacent, Ary
Scheffer (d. 1858), painter, a chapel in which rests also Ernest
Renan (d. 1892), the author. In the centre, Alexandre Dumas fils
(d. 1895 ; see p. 232); recumbent statue by De Saint-Marceaux, under
a canopy. To the right, Aim4 Millet (d. 1891), the sculptor.
We turn to the left into the Avenue de la Cloche. Right:
Victor Ma^si (d. 1884), composer; a column with an urn and
enrichment in bronze. Left, De Braux d'Anglure (d. 1849) ; bust
and bas-relief in bronze. Then, a little aside, E. Gonzales (d. 1887),
author. Farther on, left, first row, Jules Simon (d. 1896), philo-
sopher and statesman, and Armand Marrast (d. 1852), member
of the government of 1848 and President of the National Assembly.
On the right, opposite, second row, Heinrich Heine (d. 1856), the
poet; bust by Hasselriis, a Danish sculptor. Not far off, first row,
Greuze (d. 1805), the painter. At the end, left, J. L. Due (d. 1879),
architect; then Meilhac (p. 226).
The Chemin Due, opposite, crosses the Cheznin Troyon, the
most interesting part of the cemetery. Left, Fridiric LemaUre
(d. 1876), the actor; bronze bust by Granet. Right, Troyon (d.
1865), the painter; Aglai Didier (d. 1863), author. — Among the
trees, to the left: M. Deslandes (d. 1890), dramatist, bust by Guil-
bert; farther in, seventh row, Nefftzer (d. 1876), publicist, bronze
statue of Grief, by Bartholdi. — In the main walk, left: Clapisson
(d. 1866), composer, medallion by Jouffroy. Then M&ry (d. 1866),
author; statue of Poetry, in bronze, by L. Durand. Adjacent, Am-
hroise Thomas {&. 1896), composer. — In the Chemin Baudin, to
the right, Baudin (p. 260), 'mort en defendant le droit et la loi, le
3 d^c. 1851', whose remains are now in the Pantheon; recumbent
figure in bronze, by Millet. A little farther on, Martin Bernard
(d. 1883), 'representative of the people', medallion by Mathieu-
Mensnier. At the end, Thihoust (d. 1867), the dramatist, marble
relief by Mathieu-Meusnier. — To the right of the Chemin Troyon:
Rouvih'e (d. 1865), actor; medallion and bas-relief of the deceased
as Hamlet, by Pr6ault. Then, left, the Laurent -Richard chapel,
where also Dr. Charcot (d. 1893; p. 337) is buried. Adjacent,
Chaudey (d. 1871), editor of the 'Si^cle', shot by the Communards;
medallion by Renaudot, with a quotation from the newspaper. Then,
Mine (d. 1879), sculptor. Right: Rostan (d. 1866), professor of
medicine; high-relief by Schroeder. Left, at the end of the walk.
Marc Ij^eune; chapel, surmounted by a sarcophagus with four
228 Right Bank 8. PLACE DE CLICHY.
symbolical statues. Behind, right, Polignac (d. 1863), artillery-
oflScer, a large and rich chapel. In the Avenue de Montmorency,
on the left after we have quitted the Chemin Troy on, Dv^chesse de
Montmorency- LiLxembourg (d. 1829), a large obelisk.
In the AvBNUE Samson, to which steps descend a little farther on :
Right, Samson (d. 1871), actor; bronze bust by Crauk. Lower down,
beyond the Av. du Tunnel, to the left, Gustave Nddaud (d. 1S9S), ballad-
writer. Right, Ch. Fourier (see below). Then, 8rd row, Dupotet de Sen-
nevoy, *chef de I'ecole magnStique moderne'; marble bust by Bracony. A
little farther back, 7th row, Gustave Bicard (d. 1873), painter; fine marble
bust by Ferru.
In the Avenue dea Anglais, to the ri^ht of Av. Samson, are buried
(left) the composer Offenbach (d. 1880), with a bronze bust, and, at the
end, Lio Ddibes (d. 1891), with medallion by Chaplain.
Next, in the Av. Samson, which curves round to the S., to the right,
Ducange (d. 1888), author of *La Vie d'un Joueur'. In the Av. Travot,
continuing Av. Samson, to the right, De^hine Gay (d. 1855), authoress,
wife of Emile de Girardin, of the 'Figaro'; Gen. Travot (d. 1886), marble bust
by Dantan. — Then, in Av. de Montmorency, right, the brothers Edmond
and Jules de Goncourt (d. 1870 and 1896); sarcophagus with portraits in
relief. — In the Av. St-Oharles, to the right (2na row), Alfred de Vigny
(d. 1868), the poet, and farther on (4th row), Alphonsine Piessis (d. 1847),
the 'Dame aux cam^lias' of Alex. Dumas fils (see p. 232). Not far off,
beyond the Chemin Bloy, the painter Diaz de la Pefla (d. 1876).
We return to the Boul. de Clichy, follow it to the right, and pass
at the bend, a statue (by E. Derr6, 1899) of €h. Fourier (1772-'
1837), the founder of *phalanstferes*, or socialistic communities in
which capital, labour, and talent are intended to work together for
the common good.
In the Place de OUohy (PI. B, 17; Mdtro and Nord-Sud
stations, see Appx., pp. 32, 36) rises the Monument of Moncey
(1869). This colossal group in bronze, by Doublemard, 20 ft. in
height, on a pedestal 26 ft. high, represents Paris defended by
Marshal Moncey, who distinguished himself here in the defence of
the old Barri^re de Clichy, on 30th March, 1814.
Opposite the monument, the Avenue de Clichy (followed by Line B
of the Nord-Sud; Appx., p. 36) ascends to the N., and soon bends to the
left, while the Avenue de St-Ouen diverges to the right (followed also by a
branch of the Nord-Sud). To the left of the latter is the Square des
EpiTiettes (PI. B, 16), with monuments to Maria Deraimms (1828-94), a
devoted champion of women's rights, by Barrias, and to Jean Leclaire
i 1801-72), who was the first to introduce the profit-sharing system, by
)alou (1902). — Clichy. see p. 347. — St-Ouen (41,904 inhab.) is uninter-
esting. The Ch&teau of St-Ouen, where Louis XYIII. signed his famous
declaration of 2nd May, 1814, has been replaced by a modern pavilion,
and the park is now a Bacecourse. Tramways to Paris (TN8, TN 15y
TNiO, TN21 ; Appx., pp. 47, 48); to Colombes (rail, stat.; p. 899; 50 or
80 c), via Gennevilliers (p. 848).
A little to the E. of Place de Clichy is the Place Vintimille
(PI. B, 17), with a bronze Statue of Berlioz (1803-69), by Lenoir.
The Boulevard des BatignoUes (PI. B, 17, 14) prolongs the
Boul. de Clichy to the W. and crosses the Rue de Rome {Mitro
CHAPELLE EXPIATOIRE. Right Bank 9. 229
station 'Rome', see Appx., p. 32). At the corner to the left rises
the CoUdge Chaptcd (PI. B, 14, 15), a large building in stone and
coloured brick (1866-72). The Bonl. des BatignoUes ends at the
Place Ptosper-Goubaux (PI. B, 14, 15), where a marble bust (by
Rodin) of Henry Becqtte (1837-99), the dramatist, was erected in
1908. CVilliers' station of the Mitro, Lines 2 & 3; Appx., pp. 32,
33.) Beyond the Place the Boulevard de Courcelles leads straight
on past the Pare Monceau (p. 231) to the Place des Temes (p. 232);
to the right, the Aventie de ViUiers (p. 231).
To the N. of the Boul. des BatignoUes, and as far as the Av. de
Clichy, extends the Quartder des BatignoUes, a suburb annexed
to the city in 1860. Beyond the church of Ste- Marie (PI. B, 14),
and skirting the *Ceinture* railway ('BatignoUes* stat., see Appx.,
p. 58), lies the Square des BatignoUes ^ one of the largest in Paris,
adorned with two sheets of water and several bronze statues.
9. Western Quarters, N. of the Champs-
Elysees.
MAtbo Stations (Lines 8 & 2 ; Appx., pp. 88, 82) : CaumarHnj St-LazarCi
Europe (p. 221), ViUiers (see above), Monceau (p. 231), CourcelleSi Temes,
MalesherheSf Wagram, Pereire (p. 232).
The Boulevard Haussmann (PI. B, 21, 18, 15; //), the unfin-
ished E. part of which, from the Rue Taitbout to Rue Drouot (about
330 yds.), will connect it with the Grands Boulevards, is one of
the grandest modern arteries of Paris. In line with the Avenue de
Friedland (p. 74), it leads to the Arc de Triomphe de I'Etoile,
forming a direct route of nearly 2 M. from the N. quarters of the
city to the Bois de Boulogne. It owes its name to Baron Hauss-
mann (p. xxix). E. end of the boulevard, see p. 221.
The Chapelle Ezpiatoire (PI. B, 18 ; 77), in a square to the W.
of the carrefour of the Rue de Rome (p. 221), was erected in 1816-26,
from designs by Percier and Fontaine, in memory of Louis XVI.
and Marie Antoinette. It occupies the site of the old cemetery of the
Madeleine, where their remains lay from 1793 to 1815, when they
were removed to St-Denis. (Entrance in Rue Pasquier; custodian
in the vestibule, to the left; adm. daily 12-4; fee.)
The chapel contains two groups in marble. On the right, by Bosio,
Louis XVI. and his confessor, who says, ^Fils de St Louis, montez otu
cidV Below is inscribed the king's will (25th Dec, 1792). On the left,
by Oortot, the Queen supported by Religion, which ^ears the features of
Madame Elisabeth, the king's sister. On the monument is inscribed the
last letter said to have been addressed by the q[ueen to her sister-in-
law (16th Oct., 1798). — Over the portal is an allegorical relief by Lemaire,
the Removal of the ashes to St-Denis.
In front of the chapel are buried over 2000 victims of the Revolution ;
under the tombstones right and left lie the 700-800 Swiss guards who
fell at the storming of the Tuileries on lOth Aug., 1792.
230 Right Bank 9. ST-AUGUSTIN. Western
Farther on, the Boul. Haussmann crosses the Boul. Malesherbes,
and then passes the end of the Aveiine de MessinCy which leads on
the right to the S. entrance of the Pare Monceau (p. 231). The Statue
of Shakespeare (1564-1616). in bronze, by Paul Foumier, was
presented by Mr. W. Knighton (1888).
The Botdevard Malesherbes (PI. R, B, 18, //; B, 15, 11) is an-
other grand street, leading from the Madeleine to the fortifications
(1^4 M.). — On the right in this boulevard rises the handsome
church of —
St-AugU8tin (PI. B, 15), built by BaUard in 1860-71, in a
modernized Romanesque style, with a dome 82 ft. in diameter and
164 ft. in height, an elegant lantern, and four domed turrets. The
portal, with its three arches and rose-window, is adorned, over the
arches and on the pillars, with statues of Christ and the Apostles,
of prophets and doctors of the church, by Jouffroy.
Intbrior. The church has no aisles. The side-chapels increase in
depth as they near the choir. Above are galleries, continued under the
dome. The nave has a flat ceiling, borne by arcades of open iron-work,
and the iron columns terminate in figures of angels. The high-altar, with
its sumptuous canopy, stands above a crypt. In the nave are two paint-
ings by D. MaiUart: (left) Baptism of St. Augustine, and (right) Death
of St. Monica. The mural paintings are by Signal (in the cupola), Bou-
guerecui, and Brisset; stained glass by Marichal and Lavergne,
In front of the church is a Statute of Joan of Arc by Paul
Dubois, a replica of one at Rheims; inscriptions on the pedestal in
old French. In the adjacent square is the Rescuer, a bronze group
by Mombur,
About 550 yds. farther, the short Avenue VdasqueZj on the left
of Boul. Malesherbes, leads to the E. gate of the Pare Monceau
(p. 231).
No. 7 in the Avenue Velasquez is the Mus6e Cemuschi
(PI. B, 15), bequeathed to the city in 1896 by M. H. Cemuschi.
The museum (open daily, except Mon., 10-4 or 5, on Tues. from
12.30 only; adm. 1 fr., free on Sun. and Thurs.) consists of a
collection of Chinese and Japanese works of art, inferior to that
in the Mus6e Guimet (p. 236), but interesting on account of the
bronzes (upwards of 2400). Keeper, M. J. R. d*Ardenne de Tizac.
No catalogue.
PrasT Floor, to which we ascend by the staircase to the left, leaving
sticks and umbrellas. Booms I-JII. Furniture, tapestry, perfume-burners
in bronze or enamel, small Taoist bronze idols. — ^4>m iF (lighted from
above). In the centre, on a lofty stand, is a seated figure of the Buddha
of Meguro, 14V2 ft. high, from near Tokio; large basin called the 'Daiban',
a Chinese bronze of the Chang dynasty (B.C. 1760-1122). By the windows,
bronze idols ; in front, two seated statues of Buddha. Round three aides
of the room, in glass-cases, aro superb Chinesej aud. Japanese bronzes,
some of great antiquity, especially those on the right wall. The smaller
bronzes are at the back, hith up. On the back- wall is a beautifully earved
wooden balustrade, adorned with dragons.— Boom V. Tiger of lacquered
and gilded wood (Japan, 16th-17th cent.) ; vases in Bizen potter>' (imitatioo
of bronze; Japan); bronzes.— jBoow VI. Bronzes.
Quarters. PARC MONUEAU. Right Bank 0, 231
The *Paro Monceau, or de Monceau (PI. B, 15), enclosed
by a superb railing, has four entrances; the chief is in the Boul. de
Oourcelles (p. 229; Mitro station *Monceau', see Appx., p. 32),
where there is a small rotunda, also called Pavilion de Ohartres.
The park owes its name to a property bought in 1778 by Philippe-
Egalit^, father of Louis Philippe, under whose directions it was
laid out by Carmontelle as a garden. Down to the Revolution it
was a fashionable resort, where balls, plays, and brilliant f^tes
were held. Since 1870 it has belonged to the city and has been
converted into a public garden by Mphand (p. xxix). The park
is pleasantly shaded with pines and palm-trees, interspersed with
clamps of evergreens of different shades. On the left, not far
from the main entrance, is a Monument to Guy de Maupassant
(1850-93), the author, by Verlet. Beyond it is the Naumachiey an
oval pond bordered with a semicircular Corinthian colonnade
(18th cent.). In the S.E. part of the park, near the Mus6e Cer-
nuschi, is a Monument to Ed. Pailleron (1854-99), the drama-
tist, by L. Bernstamm (1906). To the W. of it, near the main
walk, is the tasteful marble monument of Ambroise Thomas (1811-
96), by Falguifere (1902); in front of the composer is a statue of
Mignon. Farther S., near the same walk, rises the Monument of
Gounod (1818-93), by Merci6 (1903), with statues of Marguerite,
Juliette, Sapho, and the Grcnius of Music. The lawns also are ad-
orned with marble and bronze statues. At the N.W. angle of the
park, near the Boul. de Courcelles, is a Monument to Chopin
(1810-49), with a relief in marble, by J. Froment-Meurice (1906).
The Av. Van Dyck, to the S.W. of the park, ends at the Avenue
Hoche (PI. B, 12), which leads to the Place de I'Etoile (p. 73).
The Bussian Church (PI. B, 12), whose gilded domes are seen to
the right of the Av. Hoche (entrance, 12 Rue Dam), was built in 1859-61
in the Byzantine-Muscovite style, in the form of a Greek cross, from a
design by Kouzmine. It is open daily from 9 to 4 or 6 (fee), except
during service on Sun. and Wed. (11-12). The interior consists of a
vestibule, a nave, and a sanctuary closed by a gilded 'ikonostasis' adorned
with paintings of. Ohrist, the Virgin, and Hussian saints, by the brothers
Sorokine and by Bronnikolf, There are other paintings of Scriptural sub-
jects by the same artists and of prophets by Vassilielf.
The quarter to the N. of the Pare Monceau and Boul. de Cour-
celles, incorporated with Paris in 1860, is a favourite residence
of authors and artists, and contains many handsome private houses,
especially in the Rue de Prony (PL B, 15, 11), opposite the chief
entrance to the park, and in the small Hues Fortuny and Mont-
chanin. The Boulevard Malesherhes (p. 230) and the Avenue de
Villiers, the two main thoroughfares of the quarter, form at their
intersection the Place des Trois-Dumas (PI. B, 14; formerly
Place Malesherbes), with its small gardens and a few sculptures.
232 RightBatUcS. QUARTIER DES TERNES.
It owes its name to the statues of the three Dumas with which it
is adorned: on the N.W., the Monument of Aleocandre Dumas
pire (1802-70), after Gustave Dore; on the S.E., the fine Monu-
ment of Alexandre Dumas fits (1824-95), by R. de Saint-Marceaux
(1906; around the pedestal are symbolic figures, including the
'Dame aux Camillas') ; on the E., the iStatue of General Dumas
(1762-1806), by Moncel (1912). Behind the statue of Dumas pdre
is the 'Malesherbes' station of the Metro (Line 3; Appx., p. 33).
Near this, in Rue de Tocqueville, is the Ecole des Hautes
Etudes Commercialese in front of which is a small square with a
bronze statue, by Moncel, of Alain Chartier (1383-1449), the poet.
The Av. de Villiers (followed by Line 3 of the M6tro) inter-
sects, to the W., the Av. de Wagram (see below; M^tro station),
crosses the Plaee Pereire (PI. B, 11; M6tro station), and ends at
the Forte de Champerret (PI. B, 8), the terminus of the M^tro.
The Boul. Malesherbes passes the Lycde Carnot (PL B, 11, 14)
on the left, and leads to the Flaoe de 'Wagram (PL B, 11), with its
statue (by F. de Saint-Vidal) of A. de NeuviUe (1835-85), the battle-
painter. The Place lies above the Ohemin de Fer de Ceinture, near
the station of Courcelles - Ceinture (PL B, 11; Appx., p. 58). In
front of the station, at the intersection of the Boul. Pereire and
Rue Alphonse-de-Neuville, rises the Monument of Eugene Flachat
(1802-73), the first French engineer to use metal in the construc-
tion of buildings, by A. Boucher.
The Avenue de Wagram (PL B, 11, 12; comp. p. 74) leads in
a straight line from the Place de Wagram to the Place de PEtoile,
skirting the Quartier des Temes. It crosses the Place des
Ternes (PL B, 12; M6tro, see Appx., p. 32), where it is met by
the Boul. de Courcelles (p. 229) on the E., and the AveniLe des
Ternes on the W. The latter leads past the church of St-Ferdi-
nand-des' Ternes (PL B, 9), in front of which stands a monument
to the Francs- Tireurs des Ternes j by J. Jouant (1911). Not far
to the S.W., in the small Place St-Ferdinand, is a monument to the
motor-car manufacturer L^on SerpoUet, by Jean Boucher (1911).
The Avenue de la G-rande-Armde (PL B, 9; Line 1 of the
MdtrOy Appx., p. 31), in line with the Av. des Champs-Elys^es,
leads to —
Neuilly, a suburb with 44,616 inhab., mainly peopled by
'rentiers', artists, and clerks. The N. part, occupied by the ch&teaa
and park of Louis Philippe before their destruction by the mob in
1848, is now covered with tasteful villas. The Fair of Neuilly,
from mid-June to mid-July, attracts large crowds from Paris.
Just beyond the fortifications, on the left, are the Levassor
Monument (p. 245) and the Porte Maillot, the N.E. entrance to
NEUILLY. Right Bank 9. 233
the Bois de Boulogne (p. 244). On the other side of the A v. de
Neuilly is the Rond-Point de la Porte-Maillot, where a statue of
Alfred de Mussety the poet (1810-57), by P. Granet, was erected
in 1906. On the right, in the Avenue de la R^volte, is the chapel
of St'Ferdinand (PI. B, 9), a Byzantine mausoleum, on the spot
where Ferdinand, Duke of Orleans, eldest son of Louis Philippe
and father of the Comte de Paris, was killed in 1842 by a fall from
his carriage. (Ring at No. 3 ; fee.) Over the high-altar is a Descent
from the Cross, in marble, by Triqueti. To the left is the duke's
Monument, also by Triqueti, after Ary Scheffer, with an angel by
the duke's sister, Marie d'OrUans (d. 1839). The stained glass
was designed by Ingres. — The Av. de la R^volte leads to the Rond-
Point de la R6volte, at the Porte des Ternes (PI. B, 9), with a monu-
ment to the BalloonisU of the Siege (187 1)^ by Bartholdi (1905).
The broad Avemie de Neuilly (PI. B, 6, 5, 2) continues the Av.
de la Grande- Arm6e. To the N., in the Av. du Roule, is the Roman-
esque church of St-Pierre (PI. B, 5) ; in front are a marble statue
of Joan of Arc by P6chin6 and, at the Rond-Point d'lnkermann, a
bronze statue of Perronet (1708-94), builder of the Pont de Neuilly,
Pont de la Concorde, etc., by Gaudez. Behind the church is the
Mairie (PI. B, 5), built by Andr6 in 1882-85 in the Renaissance
style. In the garden are a bronze statue, by Gaudez, of Parmentier
(1737-1813), who made his first experiments in potato-growing at
Neuilly, and a marble statue, 'the Executioner', by Ferrari.
From the end of the Av. de Neuilly a handsome-BrieZ^e (1766-72)
by Perronet (see above), crosses the Seine, 2 M. from the Arc de
Triomphe. On the opposite bank, to the right, is Courbevoie (p. 348),
to the left Puteattx (p. 348), between which runs the Av. de la
Defense, ^2 ^- long, in line with the bridge, and ending at the
Monument de la Defense (p. 348).
10. Western Quarters, S. of the
Champs-Elysees.
MisTBO Stations (Lines 1 & 5; Appx., pp. 81, 84): Champs - Elysies
(p. 72), Marbeuf (p. 78), Alma (p. 73), Boissihre (p. 289), Trocadiro
(p. 289), and Paasy (p. 242). — Rbstaurants, see p. 20.
To the S.W. of the Place de la Concorde (p. 61) begins the
Cours-la-Beine (PI. R, 15, 12; //, /), laid out by Marie de M^dicis
in 1616, and forming, with the Quai de la Conference, a single
broad avenue. The Quai owes its name to an old gate by which
the Spanish ambassadors entered the city in 1660, to confer with
Mazarin about the marriage of Maria Theresa with Louis XIV. To
the right are the Petit Palais (p. 68) and the Grand Palais (p. 72) ;
to the left, opposite the former, is a monument to Armand SUveatre
(1837-1901), poet and novelist, with a bust by A. Merci6.
234 Bight Bank 10, pQNT ALEXANDRE-TROIS. Western
The *Pont Alexandre-Trois (PI. R, 15, 14; //), at the end
of Av. Alexandre-Trois (p. 68), leads to the Esplanade des Invalides
(p. 310). The foundation was laid by the Tsar Nicholas II. in 1896,
and the bridge was completed in 1900 by Resal and Alhy., the en-
gineers, and Cassien-Bernard and Cousin^ the architects. It con-
sists of a single steel arch 351 ft. in length, and 131 ft. in width.
At each end is a massive pylon, 75 ft. high, surmounted by gilded
Pegasi driven by Fame, by Frimiet (right bank) and Granet
and Steiner (left bank) ; these are flanked by figures of France at
different epochs of her history, by Lenoir and Michel (right bank),
Coutan and Marqtieste (left bank), and by lions led by children,
by Gardet (right bank) and Dalou (left bank). The allegorical
groups in the centre of the arch are by Ricipon; on the W. side
are the arms of Paris; on the E. those of St. Petersburg.
Farther W. is the Pont des Invalides (PI. R, 15, 14; //), dating
from 1827-29 (restored in 1854-55), and adorned with Victories
by Di^boldt and Villain.
At the beginning of the Av. d'Antin, on the right, rises the
Monument of Alfred de Mussel (1810-57; by Moncel, 1910), a
large relief, framed with antique columns, showing the poet with
characters described in his works. — On the same side, at the
corner of the Rue Bayard, is the *Mcdson de Francois Premier
(PL R, 15; //), a small Renaissance palace, erected atMoret, near
Fontainebleau, in 1527, for Diane de Poitiers or for the king's
sister Margaret of Navarre, and transferred in 1826 to its present
site. On the ground-floor are three large arcades, to which corres-
pond the three square windows of the upper floor. The pilasters
between the windows, and at the corners, and the frieze of genii
and medallions are charmingly decorated. In the centre appear the
arms of France and Navarre. The facade at the back is also inter-
esting, but the sides have been modernized. — No. 17, Rue Bayard,
is the Scottish Presbyterian Church (p. 48).
The Rue Bayard leads to the Place Francois- Premier^ which is crossed
from E. to "W. by the Rue Jean-Goujon. On the left side of the latter,
to the W. of the Place, is the Armenian Church (PI. R, 16; IJ)f built
b^ A. Guilbert in 190S-05, in the style of the sanctuary of Akhtamar,
with a facade adorned witn a pretty loggia for the bells. The pictures
are by the Orientalist painter Paul Leroy. — Farther W., on the same
side, is I9'otre-Daziie-cLe-Ck>n8olation (PL R, 12; /J, a chapel built
by A. Guilbert in the Louis XVI. style, in memory or the terrible fire
of 4tfa May, 1897, in which 132 lives were lost at a 'bazar de la charity*
held on this spot. (Adm. 2 to 4 or 5 except Mon. and the first Fri. of
each month.) The painting in the dome is a fine composition by A.
Maignan. Sculptures by Daillion^ Hiolin, Franceachi, Moses Ezekiet, etc.
The Rue Jean-Goujon and the Cours-la-Reine end at the Place
de I'Alma (PL R, 12; /). To the N. the Avenue de PAlma and to
the N.E. the Av. Montaigne lead thence to the Champs-Elys6es
(comp. p. 73). Immediately to the left in the former is the ThMtre
des Champs-Elys6es (p. 35), built in 1911-12 from the designs
Quarters. G^ MUSEE GALLIERA. Bight Bank 10. 235
of M. Bouvard, and to be opened early in 1913. The marble facade
is surmounted with a frieze by M. E. Bourdelle: Apollo and the
Muses. The building will contain two auditoria and an exhibition-
gallery. — From the S. side of the Place the Pont de TAlma
(PI. R, 11, 12; /), built in 1854-57, and recalling the Crimean
campaign, crosses the Seine to the Quai d'Orsay. The four figures
on the piers are a Zouave and a Grenadier by DUboldtj and an
Artilleryman and a Chasseur by Arnaud.
The Quai Debilly, called after a general who fell at the battle
of Auerstedt, continues the Quai de la Conference to the W. It
passes the Manutention Militaire (PL R, 12; /), built on the sit^
of the old Savonnerie (p. 340), and (left) the Passerelle Dehilly
or de la Manutention, and skirts the lower part of the Trocad^ro
grounds (right; p. 241). From the Place de I'Alma the Avenue
du Trooad6ro, leading W. to the Trocad6ro (p. 239), passes the —
*Musee Gsdli^ra, or Brignole-Galli&ra (PI. R, 12; /), on
the right, an imposing building in the Italian Renaissance style,
erected by Ginain for the Duchess of Galliera (d. 1889), who
afterwards bequeathed her art-collections to the city of Grenoa.
The faQade, preceded by a square, is adorned with statues of Sculp-'
ture. Architecture, and Painting, by Cavelier, Thomas, smdChapu.
Other sculptures at the sides: (right) Pan, by Becquet, The Earth,
by A. Boucher; (left) Education of Bacchus, by Perraud, Protec-
tion and the Future, by Icard. The entrance is on the N. side, 10
Rue Pierre-Charron. The museum (open daily, exc. Mon., from 10
to 4 or 5, but on Tues. from 12.30) contains the nucleus of a muni-
cipal art-gallery, but is chiefly used for temporary exhibitions of
works of applied art (mostly for sale ; catalogue with prices for the
use of visitors). Conservateur, M. Eugene Delard.
The Arcades or the Court, which on each aide lead to the Vesti-
bule, contain models and sculptures.
In the Vestibule are marbles: Daphnis and Chloe, by Gilbert; Fas-
cination, by E. Fontaine; a Woman, by Vital-Comu; the Waif, by Ch.
Perron; Pandora, hy B. de la Vingtrie; Diana, by A. Boucher. Right
and left of the door, two large 'Beauvais' vases.
Large Hall. This and the following rooms chiefly contain Tapestries,
Above are hung three of the *SS. Gervasius and Protasius' series (in course
of restoration in 1912), executed in the studios of the Louvre about 1650-55,
a little before the foundation of the Gobelins ; they represent the flagellation
of the saints, after Le Sueur; their execution, after S. Bourdon; and the
discovery of their relics at Milan, after Ph. de Ohampaigne. Then, Ulysses
recognizing Achilles among the daughters of Lycomedes, after Coypel
(Brussels; 1778); Autumn, or the Triumph of Bacchus, and Summer, or
the Triumph of Ceres (Gobelins), after paintings by Mignard (1678) destroyed
with the palace of St-Cloud f see p. 855); the Rape of Helen, after Coypel
(Brussels; 1775); above the door, the Month of March, from the Faubourg
St-Marcel (17th cent.), after the 'Chasses de Maximilien' by Van Orley
(p. 409). — Below, right to left. Pan and Amymone, after Boucher, from
the Gobelins; Gipsy camp, after^asanova, from Beauvais (1770); Swoon
of Armida, after Coypel, from the Gobelins (1768) ; Striking camp and the
Bivouac, after Audran, from the Gobelins (1768); Snares of Marriage and
Baxdbkir's Paris. 18th Edit. 15
236 Right Bank 10, MU8EE GUIMET. Western
the Repast, from Faub. St-Marccl (abont 1600); Endangered slumber, after
Boucher, from the Gobelins (1764-70). The modem objects in the glass-
cases are changed twice every year (see p. 236).
The adjacent Gallkby also contains old Tapestry. In the centre.
Month of August, after the 'Ohasses de Maximilien* (Faub. St-Marcel;
comp. above); at the sides, Achilles armed and consoled by Thetis, after
Coypel (Brussels ; about 1776).
Small. Rooms at the ends. Those on the left contain objects from
various commercial schools, those to the right, temporary exhibitions.
Last Room, near the vestibule, Summer and a Pastoral scene, Gobe-
lins, after Audran (1710) and Boucher (1760); also exhibitions.
The Av. du Trocad6ro crosses the Place d'ldna, W. of the
musenm. An Equestrian Statue ofWaMngton, by Daniel French,
was erected here in 1900 by the women of America.
The ^Mus^e Quimet (PI. K, 12; /), a curious edifice in the
same Place, with a rotunda at the angle, contains the collections
presented to the state in 1886 by M. Em. Guimet of Lyons, con-
sisting mainly of a Museum of the Religions of Eastern Asia, a
special Library j a splendid collection of Oriental Pottery (comp.
pp. 171, 230), and Antiquities. (Adm. daily, except Mon., from
12 to 4 or 5. Director, M. Guimet; conservateur, M. L. de Millou6.)
Labels almost everywhere. Illustrated catalogue (1910; 1 fr.).
Sticks and umbrellas must be given up (no fee).
G>ro\ind Floor. Rotuwda. In the centre, Roman bust of Osiris:
around are busts from Hadrian's Villa at Rome; Japanese drawings and
prints (on the right, works by Utamaro; on the left, by Hokusai).
Galbrik d'IAka, to the right, next the Av. d'Wna: ^Chinese Pottery.
— 1st Bay. Stages of the manufacture. Case 1 : Sea-green (the oldest ;
10th cent.). Oase2: Turquoise-blue enamels. CaseS: 'Crackle' porcelain
(ISth cent, onwards). Cases 4 & 6 : Modern ware from Nanking ana Canton.
CaseS: Imitations of ancient porcelain. The flat cases contain fayence ; 2nd
case to the left of the entrance, Chinese bottles found in Egyptian tombs
of the 19th-20th dvnasties (see p. 106). By the wall, la^e lacquer screen
*of Coromandel' (r6te at the Summer Palace).— 2nd Bay. Development
of colour. Case 7 : Earthenware (wrongly styled 'boccaros'). Cases 8-18 :
Chinese white and blue porcelain, also red, green, yellow, pink, and other
varieties. Case 14: Chinese porcelain with European designs. In the
centre, embroidered antependium dedicated to the god Kuan-Ti ; statuette
of Le-Tai-Pe reading a poem (fayence; 14th cent.); by the walls, vases
and screens. — 8rd Bay. Chronological collection from the Sung dynasty
(960-1279) to modern times, the finest dating from Kien-Long (1786-96;
Case 17); flat case on the right, fragments of 4th cent, pottery.
Galsrib BoissifcRB, to the left, flanking the Rue Boissiere : * Japan-
ese Pottery and Bronzes, arranged according to artists and provinces. —
1st & 2nd Bays On the left. Case 1: Musical instruments. Case la:
Pottery of the Korobokuru, early inhabitants of Japan. Cases lb, Ic:
Korean pottery. On the right, Case 2: Articles used in the ceremony of
serving tea. Case 8: Seto ware. Case 4: Korea and Soma porcelain.
Cases 6-9: Tokio, Owari. etc. In the centre, *Bronze lantern from a
temple, a *to' or *dagoba* (reliquary of the 16th cent.), and a large lac-
quered fayence vase from the province of Bizen. — 8rd Bay. Case 9:
Prints by Hokusai ; laige vases ; ^dagobas' ; two 'norimonos' (small sedan-
chairs); modern pottery. Case 10: Prints. — 4th Bay. Cases 12 & 18:
Pottery from various provinces; celadon. — 6th Bay. Flat case in the
centre: Kioto porcelain and fayence (ftth-19th cent.). Case 14: 'Banko*
Sottery. Case 16: 'Raku' pottery. Cases 16 & 17: Province of Kaga.
ase 18: Examples by Yeiraku. In the centre, another large lacquered
Quarters. MU8EE GUIMET. Right Bank 10. 237
rase. — 6th Bay. Oase 19: Bizen stoneware in imitation of bronze. Case 20:
Kioto fayence (18th-19th cent.). Oase 21 : Examples by Ninsei (17th cent.).
Oase 22: Provinces of Satsuma; dagoba. — 7th Bay. Oase 25: Varions
provinces. Oase 26: Fayence from Kioto; bronze lantern. In the glass-
cases in the centre, 'kogos' or small perfume-boxes.
The OouRT, usually closed, contains a cast of the large door of a
Buddhist temple at Sankhi, an Indian village now in ruins.
The Gaubib du Siam st du Oambodoe, at the end of the court,
consists of four rooms containing models of temples and other buildings,
Brahminic figures in earthenware, and a collection of Buddhapadas (foot-
prints of Buddha).
First Floor. The arrangements are similar to those of the ground-
floor. The Oriental paintings in the rooms are by F. R6gamey. The
Lihrarjf occupies the Rotunda. By the entrance are the cerements of
mummies from Antinoe and two reliquaries. — The Sal.l.b dbs Parsis, to
the left of the entrance to the Galerie d'I6na, contains a group of Parsees
with utensils for the ceremony of the Yasna, and a model 01 the 'tower
of silence', at Bombay, in which the Parsees (Zoroastrians) expose their
dead to be devoured by vultures,
G-AiiEBiB d'I^na, to the right : Religiona of India and China^ etc.
— Boom I. Cults of Brahma, Vishnu, and Siva, the triad representing
the creating, preserving:, and destroying principles. "Wood-carvings from
chariots of Brahma; objects used in religious services; models of temples.
In the centre is a bronze figure of Lakshmi, the Indian Venus (16th cent.);
to the left of the entrance, a recumbent Vishnu. — Room II. In the centre,
a bronze *Statuette of Siva. Case 8 : Ganesha, god of science, with four
arms and an elephant's head. Cases 9-11: Statuettes, utensils, MSS., sacred
books and paintings of the Brahminic cult. Case 12: Jainism, allied to
Buddhism, two heretical sects of Brahminism, the second founded by Sakya-
muni, the enlightened Buddha (6th-5th cent. B.C.). Case 13 : Marionettes
and ornaments from Java. — Room III. In the centre, a fine statue of
Krishna, in bronze, found at Pondicherry; part of a statue of the god
Ohanresi, with five heads; by the exit, a pagoda in carved and gilded
wood. Glass-case to the left, Lamaism, or Tibetan Buddhism, in which
spirits, demons, and magicians play a prominent part. Case 14: Mandala,
or globe^ in bronze-gilt. (Jases 16-17 : Statuettes of various deities ; Jigsbyed,
a p^od with ten heads, thirty-four arms, and sixteen legs, holding a woman
with three eyes ; Bakinis, goddesses 01 evil, with lions' heads and flaming
hair. To the right, objects brought from Tibet (Bacot expedition ; Cases
18 & 19) and Chinese Turkestan (Pelliot expedition; Oase 20). — Room IV.
Oases 22 & 26: Deities of Taoism, or Chinese pantheistic idolatry. Case 23 :
Genii. Case 24: Eleven *Statuettes in boxwood, of 18th cent., representing
various celestial deities; paintings on silk; Chinese coins, the oldest, in
the form of bells, dating from the 23rd cent. B.C.; coloured drawings.
Case 25: Indian deities. Case 27: Confucianism, the Imperial religion
in China, involving ancestor-worship. — *Room V, Salle de JadCj or Gem
Room, with numerous objects in jade, most highly prized in China, many
from the Imperial Summer Palace in Peking. The highly ornate articles
resembling croziers are mandarins' sceptres. Many other valuable objects.
Cases 28 & 29 (right and left of entrance) : Beautiful urns used in ancestor-
worship. Oase 31 : *Imperial seals, a rich collection.
Galerie sur Cour (facing the court). Indo-China CoUeciions. 1st
Bay: Cambodia (mixed Brahminism and Buddhism). 2nd and 3rd Bays:
liaos, Burma, Siam (pure Buddhism), Annam and Tongking (mixture of
Taoism and Buddhism) ; statues, statuettes, MSS., books, musical instru-
ments, etc.; in the centre, model of a large temple at Ava (Burma).
4th Bay. Shamanism (witchcraft); Siberian Buddhism and objects from
the island of Amoy (marionettes for mystery-plays). 5th Bay. In the
centre, *Model of the temple of Amoy. On the left, Chinese Buddhism:
Oase 16, Buddha in his three states, birth, penitence (fine bronze statuette,
18th cent.), and sainthood; Case 17, large wooden statue and admirable
15*
238 Right Bank 10. MTTSEE GUIMET. WegUm
bronze-gilt statuette (17th cent.) of Knan-Tn, god of charity and images
of him in his various avatars. — Rotunda. In the centre, *Chine8e metal
mirrors (Pelliot and Ohavannes expeditions), small bronzes, objects from
Tibet (Bonin expedition). On the walls, *Tibetan paintings on fabric
(Bacot expedition). — The second gallery (Salle des Laqnes) is set apart
for Japanese Applied Art. Combs, sabres and hilts, comic statuettes,
medicine-chests, *Netsukes (girdle-buttons), masks, lacquered boxes, paint-
ings, etc. ; at the entrance, a lion and lioness from the temple of Achiman
at Kamalrnra (12th cent.). — We now pass through the Oalerie Boissiere
and begin at the end next the staircase.
Qalbrib BoissricRs: Rdigiona of Japany etc. — Rooms I & II. Fine
statue of Ida-Ten, god of prayer and peace. Shintoism (to the left), the
national religion, without idols, but with symbols only of the Supreme
Being, whose temples are always closed; Buddhism, six different sects;
statues, statuettes, textile fabrics, priests' vestments ; kakemonos ; statuette
of gilded wood (12th cent. ? ; Case 5) ; robes and ornaments of Buddhist priests
(Cases 8 & 6); matalijin, or wooden statue of Siva with three heads and
six arms (17th cent.), and a figure of Ganesha (p. 237, Qal. d'ISna, R. II)
in bronze (16th cent. ; Case 7). At the end are statues of the god of trav-
ellers (one in bronze, the other in black wood) and two bronze vases,
with scenes of the death and ascension of Buddha. — Room III. Model
of a *Mandara or pantheon, with 23 personages representing the chief
Buddhas. The central group represents Dainiti, the highest perfection,
and beings who have become 'buddhas', with the eye of wisdom in their
foreheads; the groups to the right and left represent beings whose aim
is the salvation of souls by gentleness or by violence. Around are bra-
ziers, fountains, gongs, statue of Sakyamuni (see p. 237) dying. By
the walls are seven large statues and twelve statuettes in wood (hours
of the day and signs of the Zodiac). — Room IV. Japanese and Chinese
legends; grotesque statuettes. Case 14: *Devil turned monk in his old
age (with broken horn); bell-bearer with long legs; fox as priest. Case 15:
The philosopher Tekiai breathing his last. Case 17: Gods of happiness.
Case 16: Historical articles, chiefly statuettes. In front of the exit, bronze
statue of Yiso, guardian deity of children. — Room V. Statues of priests in
wood. — Room VI. Chapel in gilded wood; statues of Amida, one of the
immortal 'buddhas*; weapons; two large temple-lanterns in bronze. In
the centre, the philosopher Bharma rising from the tomb. At the back,
bronze statues (18th cent.); philosopher as beg^r (the little flag in his
mouth represents his soul). Behind, paintings from the temple of Shiba.
Second Floor. The Rotunda, Dome by caryatides, contains Paint-
ings by R^gamey. *Collection, made by M. Gayet in 1896-1908, of objects
found during the excavations in the Necropolis of Antinoe or Antinou-
polis, the town in Egypt founded by Hadrian on the spot where his
favourite Antinous drowned himself (p. 97). Mummy of Thais, a Greek
woman, in gala-dress, with gold-embroidered shoes on her tiny feet; also
objects found in her sarcophagus. This Thais was, of course, not the
famous hetaira of that name, who lived in the 4th cent. B.C. Adjacent,
Mummy of the hermit Serapion, with enormous iron rings on his arms,
legs, and waist. Right of the entrance, fragment of a veil from a sanc-
tuary at Antinoe, with Bacchic scenes: Christian fabrics from Antinoe,
and a well-preserved hermit's head. — Opposite Thais, on the other side
of the rotunda, is the yield of excavations made in Egyptian, Roman,
Byzantine, and Coptic cemeteries at Antinoe: Case 9. Mummy of Leu-
kyone, of the type known as 'white mummies' (not embalmed or treated
with bitumen), robed in greyish yellow, with gilded eyes inserted. Right,
an image or emblem of Isis found with the mummy ; twelve GraBCo-^yptian
figurines; phallic collar, etc. On the left, a case containing the costume
of a female musician, and other Roman objects. By the walls, and in
two cases to the right and left of the entrance, collection of painted
portraits and of masks in relief detached from the sarcophagi of Antinoe.
Galkris d'IAha. ^Chinese Paintings. Special catalogue of 1910, by
MM. Chang-Yi-Chou and J. Hackin, li/g fr.
Quarters. TBOOADERO. Right Bank 10, 239
G-AI.SRDB SUB OouR. Greekf Bomatiy and GaUic Antiquities. In the
centre, fine head of a youth, ascribed to Lysippus ; statuettes and busts ;
G-allo-Roman bronze vases found at Yienne (Is^re); gold ornaments; cut
stones; Etruscan vases with black ground; votive statuettes in bronze;
Athenian terracottas. Assyrian cylinders (Collection Menant). Antiquities
from Cappadocia (Ohantre expedition). Curiosities from Korea. Ancient
glass from Syria (Durighello Collection); Phoenician, Egyptian, Roman,
emitic, Byzantine, Grseco-Syrian, and Arabian glass. — We now return
to viflit the —
Qalbbib Boissiere. Egyptian Antiquities. Ist Room: Around are
coffins with mummies and objects found in graves; copies of sepulchral
paintings (about 2500 B.C.); other objects from tombs; canopic vases:
cult-utensils, toilet-articles, clasps, and mirrors; bronze statuettes ana
steles. — 2nd Room: Osiris in black porphyry; Diana of Ephesus in marble
(copy; 17th or 18th cent.). — 3rd & 4th Rooms: Objects from the prehistoric
cemeteries of Abydos. — 6th & 6th Rooms, devoted to the cult of Isis.
Large collection of statuettes of Alexandrine deities, mostly of Horus.
A little to the N. of the Place d'I6na the Av. d'I6na passes the
Place des Etats-Unis (PL R, 12; /), where a bust (by R. Bertrand-
Bout^e; 1910) has been erected to the memory of Horace WellSy
the American dentist, who first used 4aughing gas' as an aneesthetlc.
Higher up is a fine bronze Group of Washington and Lafayette,
by Bartholdi (1895 ; comp. p. 67). From the W. end of the Place the
Rue GaliUe leads to the left to the Av. K16ber, near the ^Boissi^re'
station of the Mitro (Appx., p. 34).
The Av. Kl^ber (p. 74) ends towards the S.W. at the Place du
Trooaddro (PI. R, 9, 8; /), which extends behind the palace of that
name to the top of the hill of Trocad^ro, so named from one of the
forts of Cadiz captured by the French in 1823. A military band
plays in the kiosque here on the third Wed. in June, July, Aug., and
September. Adjacent is the *Trocadero' station of the Mitro (Lioe 5 ;
Appx., p. 34). Omnibus and TramwaySy see Appx., p. 55.
The Palais du Tpooad6ro (PI. R, 8; i), facing the Champ-
de-Mars to the S.E., is an imposing building in the Oriental style,
designed by Davioud and Bourdais for the Exhibition of 1878.
The central part, a circular edifice flanked with two minarets 230 ft.
high, contains a festal hall (with 6000 seats and a colossal organ)
and (on the 1st floor) the ethnographical museum. The building is
surrounded by lofty arcades in two stories, crowned with thirty
statues relating to art, science, and industry. A lift (in summer
only; week-days 50, Sun. 25 c.) ascends the N.E. tower (superb
view, best in the evening). The dome is surmounted by a colossal
statue of Fame, by A. Mercii. The building is flanked with two
curved wings, ending in pavilions 383 yds. apart, and containing
a fine collection of casts and the Mus6e Cambodgien. These two
museums are entered from the Place du Trocad^ro.
The ^Musde de Sculpture Compar^e (casts), in the N.E. and
part of the S.W. wing, initiated by VioUet-le-Duc in 1882, is open
daily, except Mon. (11 to 4 or 5). The casts, mostly of mediaeval
240 MgUBanklO, TROCADERO. Western
and Renaissance works, are judiciously chosen and carefully ex-
ecuted. They are arranged chronologically and afford an excellent
survey of French sculpture since the 17th century. Since 1912
the gallery has also contained an interesting collection of stained
glass (12th-17th cent.). — Director, M. Camille Enlart. General
catalogue (1910), Vj^ fr.; illus., 372 fr. — Each cast is labelled.
The rooms are lettered (A, B, etc., with which the letters in the
catalogue correspond). Other casts, Italian, etc., are to be seen at
the Ecole des Beaux -Arts (p. 300), and the Louvre (p. 95).
The Mus^ Cambodgleii et Indo-Chinois is in the S.W. wing
of the palace, beyond the Sculpture Compar6e, and is open daily
except Mon. (12.30 to 4 or 5). This collection, organized by M.
Louis Delaporte (since 1873), consists mainly of casts and copies of
monuments of the Khmers, the ancient inhabitants of Cambodia;
there are also several original sculptures. The art of the Khmers
attained its zenith between the 6th and 11th cent. A.D. Though
fantastic in conception, their ideas of art were not without grand-
eur. Their subjects were taken chiefly from the animal and vege-
table kingdoms, the ^naga', a colossal hydra with seven heads, the
three-headed elephant, and the lion being the favourite motives.
Room I. At the end of the room is reproduced the entrance to a
Khmer sanctuary, with a statue of Brahma in the middle. Right wall,
false door from Prah Kon (9th cent.), flanked with 'apsaras' or deified
bayaderes (Loley); farther on, Brahmin deity seated on a seven-headed
'naga' (from Prakhan). Opposite the door, turret from the temple of Baion
at Angkor-Tom (Slam), adorned with the quadruple face of Brahma. Left
wall, by the entrance, execution of a condemned man by an elephant,
bas-relief ; false door from Me Boune. — Room II. Glass-case to the left :
ancient helmet from Pnom-penh; antique Khmer statuette (Travinh);
funeral vases and urns from Angkor. Farther on, main entrance to the
temple of Angkor Wat. Next case : small bronzes ; silver plaquettes with
reliefs of Buddha. Back-wall, reconstruction of a gallery (in colours)
from the sanctuary of Angkor Wat. To the right, monuments from Angkor
Wat. — Room III. Continuation of the Angkor Wat gallery. Between the
doors, a polychrome relief of a royal barge. A large glass-case on the
right contains a ^Relief of the temole of Baion (seiB above), painted and
gilded, on a scale of 1 : 100. — The Sods-Sol (sunk-floor, with exit to the
Trocad6ro gardens) contains large sculptures from Oambodia and Java.
The Ethnographical Museum is on the flrst floor, behind the
rotunda. (Adm. free on Sun., Tues., and Thurs., 12 to 4 or 5; but,
by leave of the conservateur, also Mon., Wed., and Fri., 10-12.) It
is reached by the staircases opposite the entrances to the Musee de
Sculpture Compar^e. The exhibits are labelled. Arrangement fre-
quently changed. Conservateur, Dr. Yerneau.
Left side, coming from the Place du Trocad6ro. — 1st Ybstibuljb.
Casts of statuary from Santa Lucia Oosumalhuapa (Honduras) ; Indian hut
from Tierra del Fuego; objects from Oceania and Africa^ figures of na-
tives, models, etc. — Room to the left of the staircase, or on the right
as we return : Africa. Great variety of objects from N. (Algeria, Tunis),
S., and Central Africa. In the centre, plans in relief of Algerian tombs
and of a subterranean palace in Tunis ; curious statues of three kings of
Dahomey and a deity of Whydah. — A staircase ascends from this room to
the SaUe d' Ocianie on the 2nd floor : Busts and figures of natives, idols,
Quarters. TROCAD6rO. Bight Batik 10. 241
hut-poles, armSi etc.; sarcophagus in carved wood from New Zealand;
Buddhist statuettes from the Malay peninsula; marionettes from Java;
masks, fetishes, child's coffin, carved wood from New Caledonia.
GAiiLKRiKs opposite (or on the right as we arrive): America. Side-
gallery on the left: Canoes used by Indians on the Orinoco, twenty-one
figures of male and female Indians; rude sculptures, fabrics, utensils,
vases, etc. — Main gallery. 1st Bay: Indian tribal figures, weapons, etc.,
from the Guianas. The three following bays are devoted to mummies,
vases, and other objects from Peru and Ecuador. 6th Bay: Similar ob-
jects from Venezuela, Colombia, and Central America. 6th Bay: Sculp-
tures, flints, and bronze axes from Mexico. In the centre, facsimile of
a Mexican AiS. 7th Bay : Mexican antiquities continued, notably a curious
terracotta statue of a Toltec divinity with pastillage decoration. 8th Bay :
Flints, weapons, and vases from New Mexico, California, etc. 9th Bay:
Figures, textiles, etc., of American and Canadian Indians.
2nd Vestibule (on the left) : Europe. Curiosities from Italy, Greece,
Spain, Galicia, Servia, Germany, Albania, Bulgaria, Bosnia, Roumania,
Hungary, Norway, Lapland, Iceland. — A lar^e Boom at the end of the
vestibule contains oblects from Russia, Russian Turkestan, Siberia, and
also from Switzerland. — Room beyond the vestibule, near the staircase:
France. Curious specimens of ""Costumes, ornaments, and implements:
on the right. Shepherd of the Landes; Woman of Aube; Breton interior
(12 figures); Breton head-dresses; left, Group from Ari^ge; right, head-
dresses and utensils from Alsace and Lorraine ; lef t^ Group from Savoy ;
Woman from the district of Bourges; Auvergne interior (11 figures);
Mountaineer of Aveyron; Group from Normandy; right. Lapidary of
St-Claude and woman of Besan^on : Burgundian interior (7 figures) ; Groups
from the Pyrenees (7 figures) ana the Alpes-Maritimes.
Staircase on this side: Objects from Turkey, Portugal, the Balearic
Isles (cyclopean monuments); below, objects from Labrador, Alaska, and
Greenland; two Eskimos.
The Pare du Trooaddro slopes down from the palace to the
Seine. From a Terrace adjoining the main building falls a *Ca8-
cade. On the balcony of the terrace are six statues : Europe by Schoene-
werk, Asia by JFcdguidre, Africa by Delaplanchej N. America by
Hiolle, S. America by A. MiUety and Oceania by M. Moreau. Right
and left of the cascade : Water, by Cavdier, and Air by Thomas.
The water is collected in a basin 197 ft. in diameter, flanked with
a bull, a horse, a rhinoceros, and an elephant, by CaiUj RouiUardy
Jacquemart, and Fr^miet. — The E. part of the grounds contain a
fresh-water Aquarium (PL R, 8; /), open daily, exc. Mon., 10-4.
Below the Trocad^ro the Seine is crossed by the Pont d'l^na
(PL R, 8; /), built in 1806-13 in memory of the victory of Jena
(1806). It is adorned with eagles and with four colossal horse-
tamers (Greek, Roman, Gaul, and Arab). — On the left bank lies
the Champ'de-Mars (p. 320), with the Eiffel Tower,
The Passy quarter, connected with the left bank by the Fonts
de Passy (M6tro) and de Grenelle (p. 243), extends from the
Trocad^ro to the fortifications. Its healthy situation, near the Bois
de Boulogne, makes it a favourite place of residence. It contains
many handsome houses and private mansions.
242 Right Bank 10. PASSY. Wegtem
The Avenue Henri-Martin (PL R, 8, 9, 6), which leads from
the Trocad^ro to the Bois de Boulogne (ca. 1 M.), is the chief
thoroughfare of Passy. To the left, at the beginning of the avenue,
lies the Cemetery of Passy (PI. K, 8, /; entrance, 2 Rue des R^er-
voirs), containing some fine monuments. Farther on, near the Lnfcie
Janson de Sailly (PI. R, 9, 6; to the right), rises a monument to
Eugene Manuel (1823-1901), man of letters, by G. Michel (1908).
The long facade of the lyc6e is in the Rue de la Pompe. In the av-
enue, on the left, is the MairieofihelSthArrondissement (Passy).
Farther on, to the right, is a small square with a Statue of
Lamartine (1790-1869), in bronze, by Marquet de Vasselot (1886),
and the Monument of Benjamin Godard (1849-95), the composer,
a marble bust with bronze figures of Tasso and Eleonora d'Este,
by J. B. Champeil (1906). In the same square is the Artesian
Well of Passy (covered). A little farther on, at the junction of the
Av. Henri-Martin with the Av. Yictor-Hugo, is the *Avenue-Henri-
Martin' station of the Ceinture (PI. R, 6; Appx., p. 58), where the
Ligne du Champ-de-Mars diverges to the left (see p. 30).
The Porte de la Muette (PI. R, 5), at the end of the Av. Henri-
Martin, is one of the chief entrances to the Bois de Boulogne (p. 244).
From the pretty park of La Muette (PI. R, 5 ; no adm.) Pil&tre de
Rozier (1756-85) made the first balloon-ascent in 1783.
La Muette, founded by Charles IX., was once a hunting-lodge (*dc
la Meute'). Philippe d'Orleans, the re^nt, built a one-storied house
here for his daughter, the Duchesse de Beny, who made it famous by
her 'apr^s-diners de la Muette*. Mme. de Pompadour next lived here;
in 1764 Louis XV. caused the chateau to be rebuilt, and Louis XYI. often
resided in it.
Adjacent, on the S.W., is the Banelaghy a triangular grass-plot,
once the site of a club founded in 1774 on the model of its London
namesake, and famous for its f§tes. Near the tramway-office is the
Monument of La Fontaine (1621-95), with his bust, a statue of
Fame, and figures of animals, in bronze, by Dumil&tre. To the left
are other statues. Military band on Thurs. in summer.
Opposite the S.W. wing of the Palais du Trocad^ro, at the be-
ginning of the Rue Franklin (PI. R, 8; /), on the right, rises the
Monument of Benjamin Franklin (1706-90; comp. below), 'le
sage que deux mondes r^clament' (Mirabeau). The seated bronze
statue is by J. J. Boyle (1906). On the lofty pedestal, right and left,
are reliefs by Fr. Brou: Signature of the treaty of Versailles (1783;
p. 359), and Reception of Franklin at the French court in 1778.
The Rue Franklin leads to a carrefour at the end of the Boul.
Delessert, and is then continued by the Rue de TAlboni, which
crosses the square of that name. ('Passy' station of the Mtitro,
see Appx., p. 34).
From the same carrefour starts the Rue Raynouard, in which, at the
comer of the Rue Singer (PL R, 5), once stood the house where Benjamin
(Quarters. AUTEUIL. Bight Bcmk 10. 243
J^rankliTif when envoy to France, often stayed between the years 1777
and 1786, and on which he placed the first lightning-conductor ever made
in France. ~ In the Bonl. Belessert (p. 242), at the lower end of the Av.
de CamoSns, is a monnment to Ltds de Camoens, the famous Portuguese
poet (1524-80), by Luigi Betti (1912).
The *Pont de Passy (PI. R, 8 ; /), built in 1903-06, to which
the Rue de PAlboni descends, has two stories, the upper forming a
viaduct of the M6tro (Line 5; Appx., p. 34). The bridge is adorned
with colossal statues, reliefs, and four fine groups by G. Michel:
the ^Blacksmiths of Industrial France' and the ^Boatmen of the Seine'
(p. 288). In line with the bridge is the Boul. de Grenelle on the
opposite bank, and near it lies the Champ-de-Mars (p. 320).
The centre of the bridge rests on the N.E. end of the long
AUie or He des Cygnes (PI. R, 8, 7; 7), extending to the Pont de
GreneUe (PI. R, 4, 7), and crossed also by the viaduct of the Ligne
du Champ-de-Mars (p. 30). At the lower end of the island is a
reduced copy in bronze of the statue of Liberty enlightening the
Worldy by A. Bartholdi, presented by the French Republic to the
United States, and erected in 1886 at the entrance of New York
Harbour. Steamboat stations, see Appx., p. 57.
Auteuil, a quarter to the S.AV. of Passy, likewise contains plea-
sant residences and various institutions, the chief of which is the
Institution Ste-FMne (PI. R, G, 4). The Pont Mirdbeau (PI. R, 4),
built in 1895-97, and enriched with figures by Injalbert, connects
Auteuil with the left bank. The Bue d'Auteuil (PI. R, 4, 1) con-
tains the modern church of Notre-Dame-d' Auteuil^ in front of
which rises the small monument of the chancellor Fr, d'Aguesseau
(1668-1751). It ends at the Porte d'Auteuil (PI. R, 1), the S.E.
entrance of the Bois de Boulogne (p. 244).
To the S.W. of the Porte d'Auteuil, on the S. margin of the Bois,
is the Fleuriste d'Auteuil, or Etablissement Horticole de la Ville
^Pl. B, 1), which supplies the plants for the public gardens of Paris. It
IS open daily, 1-6, at the end of April and beginning of May, when the
azaleas are in flower; at other times by leave of the Directeur des
Services d'Architecture et des Promenades, Prefecture de la Seine.
At the Porte . d'Auteuil (Ceinture station 'Auteuil-Boulogne',
Appx., p. 58) begins the Viaduc d'Auteuil, V/^ M. long, with
several galleries forming a walk under the line, and 234 arches.
It ends in the grand *Pont- Viaduc d'Auteuil (PL G, 4), or du
Point'du-JouVj the lowest of the Paris bridges across the Seine,
where the viaduct rises between two carriage-roads. — In Auteuil,
on the right bank, is the Toint-du-Jour' station of the Ceinture
(Appx., p. 58) ; on the left bank is the *Javel' station of the Ligne
des Moulineaux (p. 349). Steamboat-piers, see Appx., p. 57.
244
11. Bois de Boulogne.
M^TBO Stations. Those of MaiUot and Dauphine (see below) are
the termini of Lines 1 and 2 (Appx., pp. SI, S2). — Omnibusbs and Tbam-
WAYS, see Appx., p. 58. — Cbintubb Stations (Appx., p. 58): NeuiUy^ at
Porte Maillot (see oelow); Av. du Bois de Boulogne, at Porte Dauphine
(see below); Av, Henri-Martin (p. 242); Fcuspj near La Muette; AuteuH-
Boulogne, near the Porte d'Auteuil (p. 248). — The Cuemin db Feb du
Bois-DB-BouLOONE (farcs, see Appx., p. 52) skirts the Bois from N. to W.,
starting from the Porte Maillot, and passing the Porte de Bagatelle, about
VgM. from the chateau of that name (p. 24B); it crosses the Seine at the
Porte de Suresnes, traverses Suresnes (p. 356), and ends at St-Cloud-
Montretout (p. 849). — Steamboats (Appx., p. 57) to Suresnes, which is '/a M.
from the Qrande Cascade (p. 245) and 1 M. from the Lac Inf ^rieur (p. 245).
By Cab (tariff, see Appx., p. 55) it takes 2-8 hrs. to visit the chief
Joints. Instead or keepinc; the cab for the return, we may alight at the
ardin d'Acclimatation ana dismiss the cab there (comp. p. 246).
Eestaubants, see pp. 17, 21.
The two chief entrances to the Bois are Porte Maillot (PI. B,
6, 9; so named from the *Jeu de Mail' played here in the 18th cent.),
at the beginning of Neuilly (p. 232), and the Porte Dauphine (PI.
R, 6), at the end of the Av. dn Bois-de-Boulogne (see below). Not
far from these two gates are the M6iro stations of the same names
(see above). Among other entrances from the city are the Porte de
la Muette (p. 242), nearest the Trocad^ro (p. 239), and the Porte
d'Auteuil (p. 243).
The Avenue du Bois-de-Boulogne (PI. B, R, 9, 6), leading
from the Arc de PEtoile to the Porte Dauphine, is the usual route
for carriages and walkers from the Champs-Elys6es. It was laid
out in 1854, and then named *Av. de I'lmp^ratrice' in honour of the
young Empress Eugenie; it is V* ^- ^^^S ^^^ ^^^ 7^^' broad (in-
cluding the side-alleys and dividing .strips of turf). To the right,
near the beginning of the avenue, is the Monument of Alphand
(p. xxix), the creator of the modern Bois, by Dalou; on the pedestal
are Dalou himself and the painter Roll, Alphand's fellow-workers.
The Av. du Bois crosses the Av. Malakoff, where No. 122, on the
right, is the mansion of the Due de Sagan, built by Samson in the
Louis XVI. style for Count Boni de Castellane. At No. 59, Av. du Bois,
is the Mus^e D'Ennery (PI. R, 9), the mansion of the dramatist
of that name (1811-99), and bequeathed by him to the state. The collec-
tions comprise Chinese and Japanese curiosities, and have been enriched
by M. Clemenceau's gift of 8000 'kogos' (perfume-boxes). In 1910 the
yield of M. Qayet's latest excavations at Antinoe was likewise placed
here (comp. p. 288). The museum is open daily from 12 to 4 or 5, except
Mon. and Sat. (closed in August). Curator, M. E. Deshayes.
The *Boifl de Boulogne (PI. B, 6, 3; R, 6, 3, 2, 1), or simply
*le Bois% is a beautiful park of 2115 acres, bounded by the forti-
fications of Paris on the E., the Seine on the W., Boulogne (p. 354)
and the Boul. d'Auteuil on the S., and Neuilly (p. 232) on the N.
It is a relic of the old Foret de Rouvray (roveretum, *oak-
forest'), which covered nearly the whole peninsula formed here
by the loop of the Seine. Princely mansions, like the Chateaux of
BOIS DE BOULOGNE. Bight BarOc u, 245
Madrid (p. 246), La Muette (p. 242), Bagatelle (p. 246), and the
famons Abbaye de Longchamp (p. 246), fringed its borders, but the
forest was neglected, and was the resort of duellists and robbers.
In 1853 it was presented by the state to the city, the latter under-
taking to reclaim it and to maintain it in future. It was accord-
ingly converted, at a cost of 220,000Z., into the present superb
park, the favourite promenade of the Parisians. The Bois is most
frequented in the afternoon between 3 and 5 o'clock or later, and
is sometimes so crowded with carriages, motors, and bicycles that
they cannot proceed beyond a walking pace, — The Fete des Fleurs,
which takes place in June, is a brilliant scene (adm. 2fr.). During
the Longchamp races (p. 41) the Bois presents a scene of extra-
ordinary animation.
Just before entering the Bois by the Porte Maillot (p. 244) we
observe a monument erected in 1907 to Emile Levcissor (d. 1897),
engineer and builder of motor-cars : a marble relief, by C. Lef ebvre,
after J. Dalou, with a lofty column on each side. Behind it is the
terminus of the Chemin de Fer du Bois-de-Boulogne (p. 244). The
broad All^e de Longohamp leads straight from the gate to the
racecourse (p. 246; 2^L M.). On the right, at the beginning of
this avenue, is the Mare d* Arm^nonmUe, with the pavilion of
that name (restaurant, p. 17).
The broad Boute de Suresnes begins at the Porte Bauphine
(p. 244), passes the Pavilion Chinois on the right (p. 21), and leads
to the Carrefour du Bout-des-Lacs (^/s M-)? ^^^ of the finest points
in the Bois. It lies to the N. of two artificial lakes, the Lac In-
f&rieur and Lo/c Sup&rieur, which are fed by the Canal de I'Ourcq
(p. 249) and the artesian well of Passy (p. 242). In the Lac In-
f6rieur are two islands, on one of which is a caf6 in the form of a
Swiss chalet (p. 21; ferry, 10 c. there and back). Near the Carre-
four are boats for hire (2-3 fr. per ^2 ^''•» ^^^ tariff).
To the W. of the Lac Inf6rieur are the lawns of La Croix-Catelan,
with the running-track and the chalet of the Bctciiw-Club, a society for
athletic sports (p. 43). Beyond them is the Pr^ Catelan, to which the
Route de Suresnes leads direct from the Carrefour du Bout-des-Lacs (see
above), past the Best, du Fr4-Catelan (p. 17) and the TMdtre de Verdure^
a natural amphitheatre, where plays are sometimes performed in summer.
Between the lakes is the Carrefour des Cascades; at the S. end
of Lac Sup^rieur is the Bidte Mortemart, formed of earth from the
lake-beds. Here rise the stands of the Champ de Courses d'Auteuil
^ (see p. 41) ; fine view of Boulogne and St-Cloud. — Auteuil, Fleuriste
] de la Yille, etc., see p. 243.
We return to the Carrefour des Cascades (see above), and then
follow the Avenue de I'Hippodrome to the left, or the pleasanter
side-alley. We cross the broad AU^e de la Reine-Marguerite,
leading N. to the Porte de Madrid (p. 246), and reach (IM.) the —
Carrefour de Longchamp^ where the Grande Cascade issup
r
246 R. Bank 11, JARDIN D'ACCLIMATATION.
from an artificial grotto and falls 23 ft. into a large pool. Straight
on, to the W., within private grounds, rise the mill and two towers
of the old Abbaye de Longchamp, founded in 1256 by Isabelle de
France, sister of St. Louis, and notorious at the end of the 18th cent,
for the fashionable and extravagant revels held here at the ^sacred
concerts* during Holy Week. Behind rises Mont-Val6rien (p. 356).
To the S.W. is the Hippodrome de Longchamp, the chief race-
course near Paris (see p. 41), used also for great military reviews.
Beyond it, across the river, is St-Cloud.
The Route de Saresnes, which leads to the bridge of Saresnes (p. S56),
passes on the right the Jeu de Polo (see p. 43), ana on the left, near the
bridge, the Best, de VErmitage de Longchamp (p. 21). On each bank is
a station of the Chemin de Fer du Boia-de-Bomogne (p. 244).
The Route de Neuilly, which leads N. from the Oarrefour de Long-
champ, passes between (left) the Champ d'Entrainement and (right) the
park of the little ch&teau of Bagatelle* built in 1777 in 64 days at a
cost of over 120.000L by the Oomte d'Artois (Charles X.) in consequence
of a wager with Marie Antoinette. It was at first fitly named Folie-
Bagatelle. The Due de Berry resided here later; it then became the pro-
perty of Sir Richard Wallace (p. 47), from whose heirs it was bought by
the city in 1904 for 260,0002. Fine view from the terrace, to the left.
The chateau is usually closed, except when exhibitions are being held.
The S.W. part of Neuilly (p. 282). adjoining this side of the Bois, is
known as MadridU a name derived from a chateau (demolished in 1798)
built by Francis I. after the battle of Pavia, and said to have been so
named in memory of his captivity in Spain. Bridge from this quarter to
Puteaux (p. 848), crossing tne large lie de Puteaux. Near the Porte de
Madrid is the handsome Chdteau de Madrid, a h6tel-restaurant (p. 17)
built in 1910 in the style of the old ch4teau of Francis I. (see above)
and of the Ch&teau de Blois. To the right of the road leading from the
Porte de Madrid to the Porte Maillot is an enclosure called hes Acacias
(skating and shooting club: p. 42); to the left lies the Mare de 8 1- James,
The road then skirts the Jardin d'Acclimatation.
The ^Jctrdln d'Aoolimatation, which occupies 50 acres at
the N.W. angle of the Bois de Boulogne, was founded by a company
in 1854, in order to acclimatize foreign plants and animals. It con-
tains more animals (except beasts of prey) than the Jardin des
Plantes (p. 335), and is much better kept. It is now a very favour-
ite promenade, especially on Sun. and Thurs., when a band plays.
(Adm. 1 fr. ; on Sun. and holidays Vs ^ r. ; carr. 3 fr.)
Visitors who hire a cab in Paris may avoid the *taxe supplementaire'
fAppx., pp. 55, 56) by dismissing it at the Porte Maillot. CTr we may go
by Mitro to the Porte Maillot or Porte Dauphine stations (Lines 1 or 2;
Appx., pp. 31, 32). From the Porte Maillot to the Jardin is nearly Vs M.;
we may use either the Chemin de Fer du Bois-de-Boulogne (p. 244; 15 or
10 c.) from behind the Levassor monument to the Porte des Sablons, or
the Tramway Miniature to the left of the monument, on the other side
of the avenue (fare 20 c. to the entrance of the Jardin ; 85 c. to the lake
in the interior).
The main entrance is on the E. side, near the Porte des Sablons
(PI. B, 6), a walk of 10 min. from Porte Maillot or from Porte
Dauphine (p. 244). The numbers in the following itinerary refer
*« the Map of the Bois de Boulogne (p. 245).
JARDIN D'ACCLIMATATION. R.Bankli. 247
We first enter a fine avenue, 33 ft. wide, which runs round the
garden, and then follow it to the right. On the left of the entrance
are the Palais d'Hivbe (PL 15, 14), which includes the Grande
iSerre, with its wealth of exotics, the Palmarium (chair 10 c),
and a large Hall, in which from 1st Oct. to 30th April concerts
are given on Sun. (3-5 p.m. ; fauteuil Ya"^ fr., promenoir free), and
matin6es on Thurs. afternoons; in summer the orchestra plays here
when the weather prevents it from playing outside (comp. below).
Caf6-Restauranty see p. 21.
Opposite, or to the right as we enter, are two small hothouses,
the Offices (PI. 1), a Mus4e de la Chaise et de la PSche (PL 2), the
sale-rooms, and the Galerie des Hamadryads (baboons). Farther
on, to the right, is the Singerie (PL 3). .
To the left are the Birds: wading-birds, such as storks, flamin-
goes, cranes, herons; also ostriches, cassowaries, marabouts; then
pheasants (see below). Behind, farther on, are the vultures and the
aquatic birds; then the pigeon-house, where carrier-pigeons are
reared, and a pavilion with alligators, turtles, and serpents.
To the right of the walk is the Faisanderie (PL 4), containing
other birds besides the pheasants; in front of it is a statue of the
ii3LiTir2MBi Dauhenton (1716-99), by Godin. Next, the alpacas, ante-
lopes, llamas, yaks, and various kinds of foreign goats. Farther on
is the hemi cycle of the Poulerie (PL 5).
On the W. side of the garden, at the end of the path from the
N.W. entrance, are the Ecuries (PL 6; with two riding-schools)
and the paddocks connected with them, containing all kinds of
trained quadrupeds. A great delight to children here is a ride on
an elephant (25 c.) or a dromedary (50 c.) , or a drive in a car
drawn by ostriches, llamas, etc. (50 c). — The lawn in front of the
stables is the Paradis des Singes in summer, and is sometimes
used for ethnological exhibitions.
Farther on are the stables of the quaggas, zebras, and giraffes.
A little behind are the rabbit-hutches. Adjacent are porcupines,
pacas, agoutis, blue foxes, and other animals.
Next, to the left, are antelopes, kangaroos, and llamas; and, on
the right, the reindeer and the cow-shed. To the left are the basin
of the OtarieSy or sea-lions (PL 8), which are fed at 3 p.m.; then a
rocky enclosure for chamois and mountain-goats (PL 9), and beyond
it other antelopes, llamas, and alpacas. To the right of the circular
walk is the Laiterie, or dairy. Then the Aquarium. Behind are
the penguins, the fish-ponds, etc.
Also on the right is a Caf^-Buffet (PL 11; L. or D. 3V8 fr.,
closed in winter); opposite is the Kiosque des Concerts d*EU
(Sun. & Thurs., 3-5). Then come the Deer and (in summer) the
Parrots. Lastly, on the right, is the interesting Kennel (PL 13),
adjoining which is the Palais d*Hiver (see above).
248
12. North-Eastem Quarters.
Except the park of the Buttes-Chaumont these qnarters offer no at-
traction. The best w&j to reach the park is hy Mitro (see below). The
Chemin de Fer de Ceinture (Appx., p. 58) has a station at Belleville-
Villette (p. 249). Omnibuses ana Tramioays, see Appx., p. 54.
Lines 2 and 7 of the M6tro afford the easiest access to the N.E.
quarters. The former (Appx., p. 32), partly on a viaduct, follows
the outer boulevards; the latter (Appx., p. 35) forks at the *Louis-
Blanc* station, one branch (Line ?*'*«) running N.E. to the Abattoirs
of La Villette (p. 250), the other branch (Line 7) running E. to the
Buttes-Chaumont (stations: ^Buttes-Chaumont' and ^Botzaris', in
the Rue Botzaris). — We change from Line 2 to Line 7 at the *Alle-
magne' station (PI. B, 26), at the comer of Boul. de la Villette and
Rue La Fayette (p. 218). Near this, at the Rond-Point de la
Villette (PI. B, 26; omn. and tram., see Appx., p. 55) is a Rotonde,
now occupied by the douane of the Bassin de la Villette (p. 249),
a relic of the octroi buildings erected by Ledoux in 1789 (see also
pp. 261, 345).
Line 2 of the M4tro passes to the S. of the 'Combat' station, in the
Bonl. de la Villette, at the end of the Rnes de Meaux and Grange-aux-
Belles (PI. B, 27), where the Barri^re du Combat once stood, the scene
of a battle with the allied troops in 1814. Near it, from the 13th cent.,
if not earlier, rose the Royal Gibbet of Montfaucon^ on which the bodies
of criminals (as many as 60 at a time) were suspended after execution.
The gibbet was at length removed in 1761. — At the comer of the Bues
Grange-aux-Belles and Bichat rises the la^e Hdpital St-Louis (PI. B, 27)
for cutaneous diseases (1457 beds), founded by Henri IV. and built in
1607-12. It contains a pathological museum and a library. Statue of
Montyon, the philanthropist (17SS-1820).
The park of the *Buttes-Chaumoiit (PI. B, 29, 30), in the
heart of the artisans' quarter of BeUeviUey was the last great cre-
ation of the Pr^fet Haussmann (p. xxix). Down to about 1860,
when it was taken into the precincts of the city, its site was one
of the chief rubbish-heaps of Paris. The park, 62 acres in area,
was laid out by Alphand (p. xxix) and BariUety in 1866-67, on
the once barren hills ('buttes', *calvi montes') with their old gypsum
quarries, which were skilfully transformed into picturesque rocks
and surrounded by a small lake. A cascade falls from a height of
105 ft. into an artificial stalactite grotto, formerly the entrance
to the quarries, and descends thence as a brook into the lake.
Upon the highest rock (289 ft.) in the lake stands a miniature
temple, whence we have a fine view towards St-Denis and Mont-
martre. During the last days of the Commune, in 1871, the Com-
munards posted on the Buttes-Chaumont were bombarded from
Montmartre (p. 223). The lake is crossed by a suspension- bridge,
69 yds. long, nearly 100 ft. above the water (caf6-rest. near it),
and by a still higher bridge, built of brick, known as the *Pont
des Suicides'. The temple may be reached also by a path among
LA VILLETTE. Right Bank 12. 249
the rocks, to which we may cross by boat (5 c). The general
effect is imposing, and its artificial character is skilfully con-
cealed. Here and there are bronze sculptures: on the side next the
main entrance, The Rescue, by Rolard; near the chief bridge.
Eagle-hunter, by Desca; near the cascade, Corsair, by Og^; on
the high ground, below the temple. Robber of the eagles' nest, by
L. Goasin; near the entrance from the Rue Secretan, Wolf Hunt,
by Hiolin; not far from the Rue Secr6tan, *Egalitaire' ('Time, the
Leveller'), by Captier; lower down, towards the interior, The Ford,
by C. Lefhyre; lastly, near the S. gate in the Rue Bolivar, a bronze
statue of Marat, by J. Baffler (1883). — The second hill (331 ft.;
caf6-rest.), at the S. end of the park, affords a superb view of
Paris. — The Chemin de Fer de Ceinture crosses the E. end of
the park by a cutting (above which is a small cafe) and two tun-
nels; near the N. entrance to the park is the 'Belleville-Villette' sta-
tion (PI. B, 29; Appx., p. 58). — Military band on Sun. and Thurs. in
summer.
To the S. of the Buttes-Chaamont extends the artisans' quarter of
Belleville, the entrance to the cemetery of which is the highest point in
Paris (420 ft.). The church of St-Jean-Baptiste (PI. B, S3), with its two con-
spicuons towers, 190 ft. high, was built by Lassns (1854-59) in the Gothic
style of the ISth century. A cable-tramway (Appx., p. 52) descends from
the church to the Place de la R^publique (p. 82).
To the N. of thoButtes rises the Maine of the 1 9th Arrondiasement
(Buttes-Chaumont), a large modern building in the Louis XIII. style, by
Bavioud and Bourdais. The Salle des Manages has paintings by Gervex
and Blanchon. In front is the Monument of Jean Mac4 (1815-95), the
educationist (p. 808), by Massoulle.
Line 1^^ of the Mitro follows the Rue de Flandre, leading direct from
the Bond-Point de la Villette (p. 248) to the Abattoirs (p. 250; stations,
see Appx., p. 35).
The Bassin de la Villette (PI. B, 26, 29), a harbour and
reservoir (16 acres), over 80 ft. above the Seine, is formed by the
Canal de VOurcq, which connects the Ourcq, an affluent of the
Marne, with the Seine. This canal, 54 M. long, which has no locks
above the Bassin, cuts olf a long bend of the river; a branch of it,
the Canal St-Denis, 4 M. long, diverging near the basin, shortens
the water-route between the Upper and Lower Seine by 10 M. To
the S. the basin is prolonged by the Canal St-Martin (p. 189),
2% M. long, with 9 locks.
The basin is crossed by a lofty Footbridget with a single span of
312 ft. At the N.E. end. Rue de Crim6e, is the hydraulic Drawbridge,
worked by the canal water. — In the Place de Joinville, to the N-. of the
bridge, is the church of St-Jacquea-St-Christophe (PI. B, 29), built by
Lequeux in 1841-44.
The March6 de la ViUette (PL B, 31, 32 ; visitors admitted),
the cattle-market of Paris, nearly 54 acres in extent, presents a
busy scene, especially on Monday and Thursday mornings. The
central of the three large pavilions can contain about 5000 oxen,
250 Right Bank IS. LA VILLETTE.
that on the right 2000 calves and 5800 pigs, and that on the left
31,300 sheep.
The Abattoirs de la Villette (PL B, 28, 31), the chief slaugh-
ter-houses of Paris, are separated from the market by the Canal de
rOurcq (p. 249). The main entrance to them is in the Av. dn Pont-
de-Flandre, on the opposite side. They cover an area of 47 acres,
and, though they are not public, one may usually walk round. There
are about 20 courts, with 200 scalding-pans. About 1200 bullocks,
500 calves, and 800 sheep are slaughtered here daily, Tues. and
Fri. being the busiest days. The separate slaughter-house for pigs
(about 1000 daily) is next the fortifications. Near the main entrance
to the Abattoirs, in the Av. du Pont-de-Flandre, is the Torte de
la Villette' station of the M4tro (terminus of Line 7^*»; see Appx.,
p. 35).
To the N. of La Villette, beyond the fortifications, is the indastrial
town of Aubervilliers (pop. 37,558), reached by tramways TNI 2 and
TN IS (Appx., p. 48). The old buildingrs near the Porte d' Aubervilliers
were replaced in 1905 by the great Hdpital Claude-Bernard., for conta-
gions diseases. Tramway to St-Denis (p. 890; fare 20 or 10 c); branch to
La Goarnenve, see p. 417. — To the E. of Paris, in line with the Rue
d'AlIemagne, lies Pantin (pop. 36,359), reached by tramways TV^ TNJ4,
TESf and TEIO (Appx., pp.46, 48, 50, 51), or by railway from the Gare de
I'Est in 11 min. (60, 40, 20 c). A branch of tramway TN 14, to the right,
goes to Pri-St-Gervais (pop. 13,865), reached also by tramway TE 3. —
XjOS Xjllas (pop. 11,654) lies on a hill (view). Its main street (Rue de
Paris) is traversed by the tramway from the Op^ra to Pavillons-sous-Bois
{TEl; Appx., p. 50), which proceeds to BomainviUe (5676 inhab. ; clay-pits),
Noisy-le-Sec (p. 396), and Bondy (p. 417). To Les Lilas and Romainville
runs also the tramway from the Pont de la Concorde to Pavillons-sous-
Bois (T^ 5; "Appx., p. 50), which follows the same route as TEl from
Romainville onwards.
13. Eastern Quarters.
The chief attraction of the region to the £. of the Boulevards is the
Cemetery of P^re-Lachaise. The nearest stations on the M£tbo (Lines 2
and 3; Appx., p. 82) are Philippe-Auguste (p. 251), 270 yds. from the main
entrance to the cemetery; Phre-Lachaise (see below), near the N.W.
entrance (p. 255); and Martin-Nadaud (p. 259), 165 yds. from the N.
entrance (p. 254). — Omnibuses and Tramways, Appx., p. 54. — No good
caf^-rest. near the cemetery.
The Avenue de la R^publique (PI. R, 27, 30; Line 3 of the
M6tro), begun under Napoleon III., and completed in 1877, leads
direct from the Place de la R^publique (p. 82) to Pere-Lachaise.
It crosses the Av. Jules-Ferry, theN. continuation of Boul. Richard-
Lenoir (p. 189), where a monument to Charles Floquet (1828-96),
the politician, by Jean Descomps, was erected in 1909; it then
passes the EcoU Sup&rieure de Commerce (1898) and the Jbyc^e
Voltaire, and ends at the Boul. de M6nilmontant (p. 251), opposite
the N.W. gate of the cemetery (p. 255). In this boulevard is the
M6tro Stat. T6re-Lachaise', where Lines 2 and 3 intersect (Appx.,
.'/
• I
•I J..'
• A r -U *-*•
I I
1. u
■•I,
• • . ''v.. •
" W.- ' »'> -T" "*~ u'^'iSf'.'-'l
■*• J f.^ I
•>
r^fe ^ « W^ » ^mJt A* t * ^*l^ •«
PiSRE-LACHAISB. «<flrW Bank 18. 25 1
p. 32). It is, however, better to enter the cemetery by the main
gate (see below).
The BotQevard de M6nilmontant (PI. R, 30, 32) passes the
W. side of the cemetery and its main entrance. The 'Philippe-
Auguste' station of the Mitro (Line 2 ; Appx., p. 32) lies at the be-
ginning of the Av. PhUippe-Augtiste, which continues the Boul. de
M^nilmontant to the S. and ends at the Place de la Nation (p. 261).
*P^re-Iiachai8e (PI. R, 32, 33), or the Cimetidre deV Est, the
largest and most interesting of Parisian burial-grounds (pp. 224,
343), is named after Lachaise, the Jesuit confessor of Louis XIV.,
whose country-seat occupied the site of the present chapel. In
1804 the property was bought by the city, and converted into a
cemetery, planned by Brongniart. It has since been greatly
extended, and now covers an area of 109 acres. It is the burial-
place for the N.E. quarters, but any one may purchase a grave, and
many persons of distinction are interred here. — Hours of admission,
see p. 60. On All Saints' and All Souls' days' {Jours de la Tous-
saint and des Morts; 1st and 2nd Nov.) the cemetery is visited by
over 130,000 persons.
A Concession d, perpUuiUy or private burial-place of 2 square metres
or 211/a sq. ft. (for a person over 7 years of age) may be secured for
1000 fr. A larger space must be paid for at an increasing ratio: a 3rd
and a 4th m^tre cost 1500 fr. each, a 5th and a 6th 2000 fr. each, etc. A
Concession Trentenaire (for 80 years) costs 300 fr.; a Concession Tempo-
rctire (for 5 years) costs 50 fr.
A general survey of all the finest monuments may be made in
3 hrs. by following the itinerary on the plan, but 1-1 V2 ^r. suffices
for the more important. Alphabetical list of the chief tombs,
p. 256. The cemetery affords a fine view of Paris, especially in
the early morning.
The Avenue Frinoipale (entered from Boul. de M^nilmontant,
see above), flanked with fine cypresses, ascends gradually. On the
left, beyond the Av. Circulaire (p. 255) and Av. du Puits (p. 252),
Rossini (d. 1868), the composer (whose remains were removed to
Florence in 1887) . Then, under a w eeping-willow, Alfred de Musset
(d. 1857), the poet, who composed the beautiful lines on the monu-
ment. Farther on, Clement Thomas and Lecomte (d. 1871), the
first victims of the Commune (p. 222), with a statue of La Patrie,
by Cugnot; Paul Baudry (d. 1886), the painter, crowned by Fame,
with a statue of Q-rief, in bronze, ^by Merci6. The Av. Principale
ends at the —
^^Monument aux Morts, executed by A. Bartholom^ in 1895-
99. It is hewn out of a block of limestone, representing a tomb
with a broad entrance, towards which suffering humanity, full of hope
and fear, is pressing. A young couple has already reached the
threshold of the tomb, which is held open by the angel of imm**
tality, while a family united in death reposes within. The insf
Baxdbksr's Paris. 18th Edit. 16
252 Right Bank 18, P^RE-LACHAISE. Eastern
tion is from Is. ix. 2, and Matt. iy. 16: ^The people that walked
in darkness have seen a great light'. The theme is one of the most
touching inspirations of modem scnlptnre.
On the right (opposite Baudry, p. 251), Th. Couture (d. 1879),
painter, bust and genii in bronze, by Barrias; FdixFaure (d. 1899),
President of the Republic, with recumbent statue under the French
and Russian flags, by Be Saint-Marceaux. Higher up, A. Falguiire
(d. 1900), the sculptor, with a relief of 'Inspiration', by Marqueste;
Sergeant, Hoff (d. 1902), a hero of the siege of Paris in 1870, with
a bronze statue, one of the last works of Bartholdi (1904) ; lastly,
at the corner, the large Bourderiey monument, by A. Pasche. —
Chapel and upper part of the cemetery, see p. 253.
Returning to the Av. Principale, we turn to the left into the
Av. du Puits, and then, beyond the office, to the right into the
Jewish Cembtbby. Right, Rachel (d. 1858), the tragedian. Farther
on, to the left, the chapel of Alphonse de Rothschild (d. 1905), the
banker. — At the end of the walk we turn to the left to the monu-
ment of —
Ahdard and H^loUse (d. 1141 and 1163), one of the most
popular in the cemetery, with a Gothic canopy conspicuous from
afar (but not authentic, having been reconstructed from old frag-
ments). The recumbent statues on the sarcophagus are supposed
to represent the ill-starred lovers.
We now follow the Chemin Serr6, to the right, where, beyond
the Chemin Lain6, on the right (3rd grave, 2nd row), is the tomb
of RosaBonhevr (d. 1899), painter, in polished granite. Retracing
our steps we turn to the right into the Chemin Lebrun. On the
right. Victims of June j 1882, who fell in a riot of the republican
faction. On the left, the large mausoleum of Fr. Lebrun (d. 1824),
Buke of Piacenza, minister under Napoleon I. — Then the —
Grand-Bond, from which four avenues radiate. In the centre,
Casimir Pirier (d. 1832), minister of Louis Philippe, bronze statue
by Cortot. To the N.E., RaspaU (d. 1878), physician and famous
democrat, by Etex, with a veiled female figure leaning against the
grating of a dungeon, recalling the death of Raspail's wife during
his imprisonment in 1848.
To the S. of the Grand-Rond we pass the tomb of the Moreau-
Vauthier family, with a fine statue of a mourner by the sculptor
Moreau-Vauthier,' we then turn to the left, enter Bivision 13, be-
tween the Av. Casimir-P6rier and Av. de la Chapelle, and descend
the Chemin M^hul to the Chemin Denon. In the latter, to the right,
Chopin (d. 1849), the composer, with a statue of Music, by CUsinger.
Left, Denon (d. 1825), director of museums, bronze statue by
Cartellier. Right, Cheruhini (d. 1842), the composer, bas-relief
by Bumont.
We ascend the (Jhemin Talma to the right, and, opposite the
Quarters. PijRE-LACHAISE. Right Bank 18. 263
graye of Tcdma (d. 1826), the tragedian, we enter the 'artists'
division', one of the oldest in the cemetery. To the right, below
us, Tatnberlick (d. 1889), the tenor, with an angel strewing flowers,
by Godebski. At the end of the all6e, Delille (d. 1813), the poet,
a neglected but very picturesque tomb. Behind, the composers
Bellini (d. 1835; remains removed to Catania, his native town),
Boieldieu (d. 1834), and Gr^try (d. 1813).
Ascending now to the Avenue de la Chapelle, we follow it
to the left (N.W.). On the right, the monument of Thiers (d. 1877),
President of the Republic, a fine, large Renaissance chapel by
Aldrophe. Above the bronze doors is a relief of the Genius of
Patriotism, by Chapu. Adjacent is the Cemetery Chapel, with the
Monument de Souvenir j for the dead that have no other monument.
To the left, in the Av. Feuillant, which we now cross, Louis
David (d. 1825), the painter, with medallion in bronze. Then, in
the Av. de la Chapelle, to the right, Raymond de Size (d. 1828),
defender of Louis XVI. before the Convention, with a large obelisk,
and Cartellier (d. 1831), sculptor, bust by Rude, bas-reliefs by
Seurre; at the corner of the Chemin Montlouis, the monument to
the Defenders of Self art in 1870-71 , by J. Robichon (1911).
We turn back and pass behind the cemetery chapel. Here re-
poses Gu&rinot (d. 1892), architect; statue of a weeping woman,
by Barrias.
We now follow the Av. de la Chapelle to the Chemin du Bassin,
which leads to the left to the Chemin Molidre-et-La Fontaine.
At the beginning of this walk, on the left, Pradier (d. 1852), the
sculptor, with bust and reliefs by his pupils. To the left is the
Chemin Laplace; here, on the right, is Gros (d. 1835), the painter,
with his bust; left, Comte de Valence (d. 1822), lieutenant-general;
behind the latter, Daubigny (d. 1878) and Corot (d. 1875), the
painters, with busts in bronze. — Farther up the Chemin Moli^re-
et-La Fontaine, on the left, the tombs of the famous fabulist La
Fontaine (d. 1695), with bas-reliefs and surmounted by a fox, in
bronze, and Moliere (d. 1673), the great dramatist, a small mauso-
leum, erected here in 1817. Farther on, third row on the right,
opposite a path diverging on the left, Alphonse Daudet (d. 1897),
the novelist, bronze medallion by Falgui^re.
We return to Pradier's tomb and follow the Chemin du Dragon
to the left. Right, S. Hahnemann (d. 1843), founder of homoeo-
pathy, a monument in red granite, with a bronze bust after David
d' Angers. A little farther on, to the right, the superb mausoleum
of Princess Demidoff (L 1818). Left, Max. S. Fay (d. 1825),
general of Napoleon I., afterwards a liberal deputy, a fine statue
and reliefs by David d' Angers. Behind the three columns, Manuel
(d. 1827), popular deputy, and Beran^fer (d. 1857), the poet, with
bronze medallions. Farther on, to the right. Marshal Ney (d. 1815 :
16*'
254 Right Bank 18. pijRE-LACHAISE. Eastern
see p. 342), the *brave des braves', a relief in marble; then Gen.
Gobertf killed in Spain in 1808, a group in marble and bas-relief
by David d' Angers; opposite, Beaumarchais (d. 1799; p. 83),
dramatist. To the left, Marshals Davotd (d. 1823), Massena
(d. 1817; monument by Bosio and Jacques), and Lefebvre (d. 1820;
medallion). — -At the end of this walk is the Av. des Acacias, on
the right, and the Av. Transversale No. 1, on the left, which to-
gether form a broad winding avenue.
We cross this avenue, ascend the steps, leaving on our left the
Chemin des Anglais, and cross the Av. Transversale No. 2 (see below)
to the Avenue Pacthod. At the end of the latter we turn to the
right and soon reach the Mur des Fid&ris, at the S.E. angle of
the cemetery, where a number of Coramunards were shot in 1871
at the end of the insurrection. Demonstrations take place here
annually on 18th March, and red wreaths are hung on the wall by
their partisans. A little lower down, in the Av. Circulaire, is the
monument to the Victims of the fire at the Opira-Comique (p. 79).
We return to Avenue Transversale No. 2, and follow it to the
N.W. (right). Right, A. Terry, a handsome Renaissance chapel,
with four statues by A. Lenoir. Beyond, Vidor Noir, journalist,
killed in a duel in 1870 by Prince Pierre Bonaparte, recumbent
bronze statue by Dalou. Adjacent, De Ycaza, another fine Re-
naissance chapel, with a group of statues inside and a bas-relief
outside, by Puech. — In the left arm of the Avenue Carette, which
crosses Av. Transversale No. 2, A.Blanqui (d. 1881), revolutionary,
recumbent bronze statue by Dalou; in the right arm, beyond Av.
Transversale No. 3, (left) Le Royer (d. 1899), President of the
Senate, by D'Houdain; right, R. PLanquette (d. 1903), composer of
the 'Cloches de Corneville', by P. Legastelois; left, Reni PiauU
(d. 1903), bronze bust by Rodin; Oscar Wilde (d. 1900), by Jacob
Epstein (1912). — Farther on, in Av. Transversale No. 2, (left)
Josephine Verazzi (d. 1879), marble group by Malfatti.
To the right is the Crbmatorium (Four Cr&maioire), designed
by Formig6, built in 1889, and enlarged in 1903-07. It is enclosed
on three sides by columbaria in the form of colonnades.
The fee for CTemation, including the right to a place in the colambarium
for five years, is 50 to 250 fr. Visitors are admitted only by leave of the
Directeur des Affaires Municipales, in the old Caserne Lobau, behind
the Hdtel de Ville (comp. p. 60).
Farther on we reach the Mohammed ak Cemetery, with a dilap-
idated little mosque , where the Queen of Oudh and her son are
interred. — On the left, at the end of Av. Transversale No. 2, is the
grave of the Ruel family, with a group and medallion by Des-
champs. The adjoining gate (N. entrance) leads into the Square
Gambetta (p. 259).
We now turn back and follow the Avenue des Thuyas to the
right. At the end of it (right) rises the 'pain de sucre', a pyramid
Qtmrterg. PERE-LACHAISE. ^ighi Bank J3. 255
105 ft. high, erected to Fdix de Beaujowr (d. 1836), consul, by
himself, at a cost of 100,000 fr.
In the Chemin CaffiLmlr-Delavigne, the continuation of Av. des
Thuyas: right, Em. Souvestre (d. 1854), novelist; Honore de
Balzac (d. 1850), with bronze bust by David d'Angers; left, at the
end of the walk, Cas. Delavigne (d. 1843), poet, E. Delacroix
(d. 1863), painter, and (2nd row) A. L. Barye (d. 1875), sculptor
of animals. — In the rondel at the end of the walk rises an obelisk
to the Victimes du Devoir.
The paths which radiate from the rondel contain many interest
ing tombs, mostly of artists and authors. To the 8.E., Chemin
du BsLstion: left, Michelet (d, 1875), the historian, relief by
Herein. Near it, left, Chaplin (d. 1891), painter, stele with relief
by Puech; BeUoc (d. 1866), historical painter, bust by Itasse. At
the rondel, Due de Morny (d. 1865), politician and minister,
natural brother of Napoleon III., chapel designed by Viollet-le-
Duc. — Chemin Montlouis: right, Maquet (d. 1888), collaborator
of Dumas p6re, bronze medallion by Allar; farther on, left, Barbe-
dienne (d. 1892), bronze-founder, with bust by Chapu and bronze
figures by A. Boucher. — Avenue des Ailantes. By the rondel,
Dorian (d. 1873), minister during the siege of Paris, bronze statue
by A. Millet; left, Comtesse d^Agoult (d. 1876), who wrote as
^Daniel Stern% with relief of *La Pens6e' by Chapu.
We leave the Rond-Point by the Avenue Cadi, near the end of
which we take a path to the right. At the end of this path lie Croci-
Spinelli and Sivel (d. 1875), victims of a balloon accident, recum-
bent figures in bronze, by DumiUtre. — To the left is the Avenue
Oiroulaire: right, Jean Reynaud (d. 1863), philosopher and pub-
licist, with relief of Immortality by Chapu and medallion by David
d'Angers. Left, Cail (d. 1858), engineer, a large domed chapel;
E. Sptdler (d. 1896), politician, marble group symbolizing National
Education, by Gasq. Right, National Guards killed at Buzenval
(19th Jan., 1871) ; then, Soldiers who fell at the siege in 1870-71,
a granite pyramid with four bronze statues of soldiers by L. Schroeder
and LefSvre. Farther on, left, Mme. Miolan-Carvalho (d. 1895),
the singer, large relief by Mercie. Right, Hipp. Alf. Chavjchard
(d. 1909; see p. 174), founder of the Grands-Magasins du Louvre,
a large monument in marble , with bust by A. Moreau -Vauthier.
Beyond the Avenue de I'Ouest, (left) Ch. Floquet (d. 1896), states-
man, bronze bust by Dalou; Anatole de La Forge (d. 1892), de-
fender of St-Quentin in 1870, bronze statue by E. Barrias; Ad.
Alphand (p. xxix), bronze bust by Coutan; behind, H. Cernuschi
(d. 1896; p. 230), stele with bas-relief by CarUs.
The Av. de I'Ouest (see above) leads to the N.W. gate (M^tro,
see p. 250).
256 Rig^t Baiik 13, PERE-LACHAISE. FAUftem
By reference to the following alphabetical list any tomb may be easily
located ; the numbers correspond to the divisions marked in the plan.
A..—Ahilard and Hildise, p. 252. — About, Edm. (d. 1879), author,
bronze statue by Crauk (86). — AhoviUe, Comte cC (d. 1817), general (25).
— Achardy Am6d4e (d. 1875), novelist (85). — Adam, Edm. (d. 1877), bronze
bust by Millet (54). — Agoidt, Comtesse d\ p. 255. — Aguado family (1842),
statues (Benevolence and the Arts) and reliefs (45). — Alphand, p. 265. —
Andrianoff (d. 1857), Russian dancer (49). — Andriettx, Frangois (d. 18SS),
man of letters (18). — Anjubault (d. 1868), engineer, 'Pleureuse' by Maillet
(65). — Arago, Fr. (d. 1858), astronomer, bust by David d' Angers (4). —
Auber, Dan. F. (d. 1871), composer, bust by Dantan (4).
B. — Balzac, p. 255. — Barbedienne, p. 256. — ^rillet (d. 1878),
gardener to the city of Paris (69). — Baroche, Ernest (d. 1870), killed at
Le Bourget, bust by Courtet (4). — Barras, Nicolas (d. 1829), member of
the Directory (28). — Barrihre, Th. (d. 1877), dramatist (5-1). — BartMlemy-
Saint'Hilaire (d. 1895), writer and politician (4). — Barye, A. L., p. 256. —
Baudry, Paul, p. 261. — Bazin, Jos. (d. 1878), composer of comic operas,
marble bust by Doublemard (32). — Beauci, J. A. (d. 1875), battle-painter
(49). — Beaujour, Filix de, p. 256. — Beaumnrchais, p. 254. — Biclard, Ph.
(d. 1864), plenipotentiary at Morocco, *Grief ' by Crauk (4). — B4clard,P.A.
(d. 1825), anatomist, and his son Jules Aug. (d. 1887), physiologist (8). —
Bellini, p. 263. — Belloc, H., p. 256. — Biranger, p. 258. — Bernard, CI.
(d. 1878), physiologist {20). — Berthdier (d. 1882), painter {9). — BeuU (d.
1874), archaologist {A).—Bichat, X. (d. 1802), physiologist (S).— Bizet
(d. 1875), composer of 'Carmen', bronze bust (68). — BlainviUe, D. de
(d. 1850), naturalist {h4). — Blanc, Charles & Louis (d. 1882), authors (67). —
Blandin, P. F. (d. 1849), surgeon, bronze medallion by C16singer. — Blanqui,
p. 254. — Boiddieu, p. 253. — Bonheur, Rosa, p. 252. — B9me, Ludwig (d.
1837), German poet, bust and relief by David a' Angers (80). — Bourdeney,
T^. 262. — Boussingault, J. B. (d. 1887), chemist (96).—Br^guet, A. L.
(d. 1828), watchmaker of Neuchatel (11) . — Brillat-Savarin (d. 1826), author
of the *Physiologie du Goftt' (28). — Brongniart, Al. (d. 1847), mineralogist
(11). — Brongniart , A. T. (d. 1818), architect (11). — Bruat, Admiral
(A. 1855), sculptures by Maindron (27).—Buloz, Fr. (d. 1877), publisher of
the 'Revue des Deux-Mondes* (52). — Burdeau, Aug. (d. 1894), deputy (65).
0. — Cail,v. 255. — Cambac4ris, Ddphine de, bust by Jouandot (48 ;
next to Mme. dfe Faverolles). — Camhacirhs, Rigis de (d. 1824), colleague
of Bonaparte in the Consulate (89). — Carlier, bronze group by E. Carlier
(68). — Cartellier, p. 253. — Casariera, Marquis de (d. 1881), large chapel
with a statue (44). — Cemtischi, p. 255. — Challemd-Lacour (A. 1896),
politician (96). — ChampoJUon (A. 1882), Orientalist, obelisk with medallion
(18). — Chaplin, C. J., p. 255. — Chappe, CI. (A. 1805), inventor of aerial
telegraphy (SO). — Cha^sdoup-Laubat, Comte de (A. 1888), general (56).—
Chauchard, p. 255. — CMnier, J. de (A. 1811), poet (S). — Cherubini, p. 262.
— Chopin, p. 252. — Clairon, Claire (A. 1808), actress (20). — CUray (A. 1882).
bronze bust by Taluet (ll). — Cogniet, L. (A. 1880), painter, medallion and
sculptures (15). — Colonne , Ed. (A. 1909), conductor; bronze bust by
S. Rmgi (89). — Communarid8, p. 254:. — Comte, Auguste (A. 1857), founder
of Positivism (11). — Constant, Benj. (A. 1880), publicist (29). — Comply,
J. J. (A. 1907), journalist, monument by Moreau-Vauthier (92). — Corot,
p. 253. — Couder, Aug. (A. 1878), painter (21). — Coumet, F. (A. 1886), jour-
nalist (95). — Cousin, Victor (A. 1867), philosopher (4). — Couture, Th.,
p. 252. — Croci-Spindli, p. 255. — Crozatier. Ch. (A. 1855), bronze-founder
and sculptor ('i9). — Crussol d'TJzls, Gen. (A. 1815), bas-reliefs (18).
"D,- Dantan, family of sculptors (4). — Dawftigrwy, ^. 25S. — Datidef,
Alphonse, ^. 25S. — Daumier, H. (A. 1879), caricaturist (24). — Dawnow, P.
C. F. (A. 1840), historian, medallion by David d' Angers (28). — Daf id, Louis,
p. 25i. — David d' Angers (A. 1856), sculptor (S9). — Davout, p. 254. — De-
burau(A. 1846), •phutomimiBt (59).— Defenders ofBdfort, p. 25S.—D^azet,
Virg. (d. 1875), actress (SI). — Delacroix, Eug., ^. 255. — Ddambre, Jos.
(d. 1822), astronomer (10).— DeHaplanche, E. (A. 1891), sculptor (96).—
Quarters. PiRE-LACHAISE. J^igM Bank 13. 257
Ddavigney p. 256. — DeZiWe, ^.26S.—Delpech (d. 1868), engineer (52).—
Demidoff, Princess^ p. ibi.—Dennery, or D^Ennery (d. 1899), dramatist (25).
— Denon, p. 252. — DSsaugiers (d. 1827), song-wnter (22). — Desbassayns,
Baron (d. 1850), 'Pleurouse' by Ricci {e). — De8cUe (d. 1874), actress (70).
— DealySt Oh. (d. 1885), author (71).— Dor^, Gustave (d. 1888), painter
(22). — Dorian^ p. 255. — DuhufCy C. M. (d. 1864), painter (23). — DuchesnotSj
Josephine (d. 1885), actress. — Duaazon^ Louise (d. 1821), actress (11). —
Dttwngif P. L. (d. 1888), chemist, obelisk and medallion by David d' Angers
(8). — Dupuytren (d. 1885), surgeon {Sl). — Duretj Fr. (d. 1865), sculptor,
medallion by Lequesne and relief by E. G-uillaume (19).
"Et. — Enfantiny Phre (d. 1864), head of the Saint-Simonian school, bust
by Aim6 Millet (39). — Errazu family, symbolical statues by M. Meusnier
{%%).— Eudes, Em. (d. 1888), revolutionary, bust by Tony-NoBl (91).
F, — FalguUrCf Alex., p. 252. — Faure^ Fil., p. 252. — FaverolleSi Mme.
l!c, sculptures by V. Duoray (48). — F6d4r48, Afur des. p. 254. — Flan-
drin^ Hipp. (d. 1864), painter, marble bust by Oudin6 (57). — Floquet^
Ch.j p. 255. — FlorenSf A. (d. 1885), relief by Boussard {^^1). — Flour ens,
P. Q. (d. 1871), politician m). — Flouren8j P. (d. 1867), physiologist (66).
— Fould, Mme. (d. 1889), famed for her charity {7). — Foy, Gen., p. 253.
0. — Gall , Fr. Jos. (d. 1828), founder of phrenology (18). — Gareau,
beautiful 'Pleureuse' (10; down some steps). — Gamier-Pagh (d. 1841),
lawyer and politician ; the tribune is an allusion to his eloquence (29). —
Garot (d. 1828), singer {11). — Gatineau (d. 1885), advocate (96). — Gaudin
(d. 1841), Duke of &aeta, minister of finance under Napoleon I. (27). —
Gay-Lussac, J. L. (d. 1850), chemist (26). — Genlis , Stephanie de (d. 1830),
authoress (24). — Geoff roy Saint- Hilaire fd. 1844), naturalist, medallions by
David d' Angers (80). — G4ricault, Th. (a. 1824), painter, statue and relief
by Etex (55). — Gill, Andr4 (d. 1887), caricaturist, bronze bust by L. Coutan
{9b). — Girardin, Emile de (d. 1881), founder of the 'Figaro' {9,). — Girodet-
Trioson (d. 1824), painter {28). — Gobert, ^. 2U.— Gohier, L. J. (d. 1880), Pre-
sident of the Directory, medallion by David d' Angers (10). — Gouvion-Saint-
Cyr, Marshal (d. 1830), marble statue by David d' Angers {%!). — Gritry,
p. 25S. — Grisar, Alb. (d. 1869), composer (71). — G'?'OS, p. 25$. — Grouchy,
Marshal (d. 1847), who arrived too late at Waterloo {51). — Guirinot, p. 258.
H. — Habeneck (d. 1849), violinist (11). — Hahnemann, p. 253. —
Hamdin, Admiral (d. 1864). who commanded at Sebastopol (25). — Haxo,
General (d. 1838), at siege or Antwerp {28).- Herz, Henri (d. 1888), com-
poser {21). — Hojf, p. 262. — Houssaye, Arshne (d. 1896), author (4).—
Hugo, Gem. (d. 1828), father of Victor Hugo (27).
1, — Ingres (d. 1867), painter (23). — /«a6cy, J. B. (d. 1856), painter (20).
J. — Junot, Gen. (d. 1813), Due d'Abrant^s (24).
K. — Kardec, Allan (d. 1869), founder of spiritualism, monument in
form of a dolmen, with bronze bust by Capellaro (44). — Kdlermann,
Marshal (d. 1820), Due de Valmy (18).
Ii. — La B^doyhre, Gen. (d. 1815), partisan of Napoleon I., shot
under the Restoration (16). — Lachambeawiie, P. (d. 1872), fabulist (48).
— Lacombe, L. (d. 1884). composer, large monument by K. Menser (86).
Laffltte, J. (d. 1844), financier (18). — La Fontaine, p. 253. — La Forge,
natole de,Ti. 255. — Lakanal, J. (d, 1845), member of tne Convention (11).
Lameth, Th. (d. 1829) and Fr. (d. 1832), politicians of 4;he Revolution
(28). — Lanjuinais, J. D. (d. 1827), President of the Convention (30).
Lapomeraye, physician, bronze bust and relief by Fontaine (6: in front of
* Victims or June, 1832'). — Laurent- Pichat (d. 1886), poet ana politician,
bronze medallion by Merci6 (8). — Lauriston, Marshal (d. 1828; 14). —
La Valette, A, M. (d. 1830), partisan of Napoleon I. ; his wife, by chang-
ing clothes with him, rescued him from prison (86). — I/afoisier, founder
of modern chemistry (13). — Lebas, J. B. (d. 1878), engineer (4). — Lebrun,
p. 252. — Lecomte, p. 251. — Ledru-RoUin (d. 1874), politician, bronze bust
{4).—Lefebvre, p. 251.— Lemercier, N. (d. 1840), author (30).— jLenormatwi,
MTtie. (d. 1843). fortune-teller under First Empire and Restoration {9^"
Lepaute^ J. A, (d. 1789), olook-maker {7).—LeRoyerf p. 25^.— Lesurqi
258 Bight Bank 18, PiaiE-LAOHAISE. Eastern
(d. 1796), ill-fated yictim of a judicial error (8).—Lucipiaf L. (d. 1904),
jonmalist, bronze bust by J. Boucher (89).
'M-.—Macdonaldf Marshal (d. 1840), Duke of Taranto (87).— Jfa<«(m,
Marshal (d. 1840), leader of the Morean expedition in 1828 (6). — ManuHy
p. 268. — Maqtietf p. 265. — Maret (d. 1889), Duke of Bassano, Doric temple
(81). — 3far«, Mile. (d. 1847), actress (8). — 3fa««^na , p. 2M.^M4hfd
(d. 1817), composer (18). — Mercoeur, Elisa (d. 1886), poetess (16). — Michelet,
p. 265. — Miotan-CarvaJhOf p. 266. — Molihre^ p. 258. — Monge, Q. (d. 1818),
mathematician, member of the Convention in 1798 (18). — Monseletf Ch. (d.
1888), author (Qe).—MoreaU'Vauthiery p. 262.— itfomy. Due de, p. 266. —
Mortierj Marshal (d. 1885), Duke of Treviso (28).— Iforte, Mon. auxy p. 251.
—Moutorif Marshal (d. 1888), reliefs by Menn (4). — Musset, A. d«, p. 251.
N, — National Guards, p. 266. — N4laton, Aug. (d. 1878), sui^eon (6).
— Nerval, Gerard de (d. 1866), romantic poet (49). — Ney, Marshcd, p. 268.
— Nodier (d. 1844), author (49). — iVoir, Victor, p. 264.
O. — Oudh, Queen of, p. 254. — Ozi, Alice (d. 1898), actress, allegorical
statue by G. Dor6 (89).
T.—Pariset, E. (d. 1847), physician (27).— ParmenHer (d. 1818), who
introduced the potato into France (89). — Pamy (d. 1814), poet (11). —
Peabody, Clara (d. 1882), bronze relief bv Chapu (41). — Perdonnet, A. A.
(d. 1867), engineer, statue and medallion by V. Dubray (4). — Pirier, Cos.,
p. 252. — Piault, p. 254. — Planguette, v. 264. — Pothuau, Adm. (d. 1882;
I4t). — Pradier, p. ib^. — Pyat, Filix (d. 1889), revolutionary (46).
R. — Bachel, p. 252. — Baspail, p. 252. — Beber (d. 1880), professor at
the Conservatoire, figure of Music by Tony-No61 (66). — Begnaud de Saint-
Jean-d^Angily, Marshal (d. 1820; 11). — Beille, Marshal (d. 1860), tomb
by Jacques and Bosio (28). — Beynaud, p. 266. — Bicord, Ph. (d. 1889),
physician. Renaissance chapel (64). — Bobert, E. G., or Bobertson (d. 1837),
physicist (Archimedean mirror) and aeronaut (8). — Bcederer^ P. L. (d. 1836),
politician (4). — Bossignol, Ch. (d. 1889), manufacturer, nch Renaissance
chapel, with bust, statuette, and sculptures by Boisseau (64). — Bossini,
p. 261.—Bothschild, p. 252. — Boussin, Admiral (d. 1864), at battle of the
Tagus in 1881 (i6).—Boyer-CoUard (d. 1846), philosopher and statesman
(9).— Bud, p. 264.— Buty, Gen. (d. 1828; 38).
Q,— Saint-Pierre, B. de (d. 1814), author {11).— Saint-Victor, P. de
(d. 1881), author, bust by Guillaume (9).— Santos, Diaz (d. 1832), lofty
pyramid with sculptures by Fessard (4S).—Savary, Beni (d. 1888), Duke of
Rovigo. who executed the Due d'Enghien by Napoleon's order (86). — Say,
L4on (d. 1896), politican and writer (Sfi).- Scribe (1821), dramatist (86).—
Sirurier, Marshal (d. 1819; S9).—Sevin, C. (d. 1888), sculptor (86).—
Shie, Baymond de, la. 2hZ. — Sieyhs, E. J. (d. 1836), colleague of Bonaparte
in the provisional (Jonsulate of 1799 {%Q).—Sivel, p. 2bh.— Soldiers IdUed
at Siege of Paris, 1870-71, ^.255.—Souli4, Fr. (d. 1847), novelist (48).
—Souvestre, p. 266.— Sputter, p. 266.— Sucliet, Marshal (d. 1826), reliefs
by David d'Angers (89).
T. — Talma, p. 26S. — Tamberlick,y. 26S.— Taylor, Baron (d. 1879),
traveller and man of letters, statue by G. J. Thomas (65). — Terry, p. 264.
— Thiers, f.26B. — Thomas, CUment, p. 261. — Tirard (d. 1893), minister
of finance, relief of Duty by De Saint-Marceaux (51). — Tony-NoU (d. 1909),
sculptor, monument by P. Gasq (35).
U. — XJhrich, General (d. 1886), defender of Strassburg in 1870 (60).
— Urth, richly decorated Renaissance chapel (53).
V. — Vcdence, Comte de, p. 258. — Verazzi, p. 264. — VicHmes du Bazar
de laCharit4 (92); du Devoir, p. 256; de Juin, 188», p. 252; deV0p4ra-
ConUaue, p. 254. — Victor, Marshal (d. 1841), Duke of Belluno (17). — Vignon,
Claude (Mme. Rouvier; d. 1888), bronze bust by herself (46). — F<«co«ii,
E. Q. (d. 1818), archaeologist i4).—VisconH, L. T. J. (d. 1868}, one of the
architects of the Louvre, son of last-named, recumbent statue by Leharivel-
Durocher (4) — Vuidet, G. (d. 1891), composer of sacred music, rich monu-
ment and bronze statue by Aubet (92; behind Terry chapel).
Quarters. PLACE GAMBETTA. Right Bank 13. 259
"W. — Walewald (d. 1868), natural son of Napoleon I., statesman, laige
maosoleum (66). — Wilde, Oscar, p. 254. — WiJhem (O. L. BocquiUon; d.
1842), composer, medallion by David d' Angers (11). — Wimpffen, Oen. (d.
1884), bust by P. Richard (47). — TTtTWor (d. 1830), promoter of gas-lighting
(37). — WolfTy Albert (d. 1891), journalist, bronze bust (96).
Y. — Yakovleif {d. 1882), marble chapel in the Byzantine style, with
paintings on a gold ground, by FSdoroff (82). — Ycaza, de, p. 254.
The Avenue Oambetta (PL R, 33, 36), skirts, on the N. side of
P^re-Lachaise, the Square Gambetta, in which is the N. entrance
of the cemetery (p. 254). The square contains several sculptures,
notably (on the outer cemetery- wall ; PL, p. 251) a relief by Moreau-
Vauthier (1909), in memory of victims of the Revolutions, known as
'Le Mur'. The avenue crosses the Place Martin-Nadaud (M6tro
station, Line 3; Appx., p. 32) at the N. angle of the cemetery,
and leads to the Place Gambetta (PL R, 33), the terminus of
Line 3 of the Mitro. In this Place rises the Maine of the 20th
Arrondissement (Menilmontant), which is decorated in the interior
with paintings by Glaize and Bin. Behind it is the HSpital Tenon
(947 beds; 2 Rue de la Chine), separated from the Mairie by the
Square de la Mairie. This square is adorned with a group in bronze,
by L. Michel, of the Blind man and the paralytic, and with the
Datura (Nightshade), a statue by Galy. — The Av. Gambetta goes
on as far as the Reservoirs de la Dhuis (see below).
The Rue Belgrand, to the right of the Mairie, leads to Bagnolet
(IV4 M.; pop. 15,744), reached by tramways TE2, TE4, and TE's (see
Appx., p. 50). In the Rue de Bagnolet, to the right of Hue Belgrand.
is the church of St-Gennain-de-Charmine (mainly of 15th cent.). Behind
it lies the Cimetibre de Charonne.
A little to the N. of Pfere-Lachaise, on a height to the right of
Boul. de M6nilmontant, rises the conspicuous church of Notre-
Dame-de-la-Croix (PL R, 30), a fine Romanesque edifice, built in
1863-80 by H6ret, with a spire over the portal.
Near this church pass the Chemin de Fer de Ceinture and the tram-
way from the Op6ra to Bagnolet (TE4; see Appx., pp. 58, 50). — The
Rues dc Menilmontant and St-Fargeau (entrance at No. 50) lead to tht;
Reservoirs de la Dhuis, or de Menilmontant (PI. R, 36; V4hr. E. of
the church; visitors admitted), which supply the high-lying quarters on
the right bank, from Oharonne to Passy, or one-fifth of Paris. The Dhuis,
76 M. from Paris, is a tributary of the Surmelin, which falls into the
Marne near Chiteau -Thierry. — To the W. of the reservoirs passes the
Rue Haxo (PI. R, B, 36), at No. 79 in which, near the Rue de Belleville,
is the wall where 52 hostages were shot by the Communards on 26th
May, 1871.
The Boulevard Voltaire (PL R, 27, 29, 31 ; tramway TF, see
Appx., p. 44) leads from the Place de la R6publique (p. 82) to the
Place de la Nation (p. 261). At its intersection with the Boul.
Richard-Lenoir (p. 189) rises the Monument BohiUot, erected to
the French soldiers killed in Tongking in 1883-85, with a bronze
statue, by Aug. Pftris, of Sergeant Bobillot, who fell at Tuyen-Quan.
260 Bight Bank 13. FAUBOURG ST-ANTOINE. Eastern
A little farther on, to the left, is the Romanesque church of St-
Ambroise (PI. R, 29), erected by Ballu in 1863-69, with a good
facade flanked with two towers.
The Square Pannentier (PI. R, 29), to the E. of the church, is
adorned with Reveral statues : the Conqueror of the Bastille, by Ghoppin ;
the Straw-binder, by Perrin; and *Non omnes morimur', by Pezieux.
Half-way between the Places de la R6publique and de la Nation
is the Place Voltaire (PI. R, 29), with the Mairie of the 11th
Arrondissement (Popincourt) and a bronze statue of LedrU'Rollin
(1807-74), 'organizer of universal suffrage', by Steiner (1886).
The Rue de la Roquette (PI. R, 26, 26, 29), which crosses the Place
Voltaire, leads from the Place de la Bastille to P^re-Lachaise (main entrance,
p. 261). In this street, near Place Voltaire, once stood the Prison de la
Roquette. It was at first a chateau and pleasure-ground of Henri II. and
Henri IV., but later a prison for persons condemned to death. It was
demolished in 1899, down to which date public executions took place in
front of it. The five large grey stones on which the guillotine was erected
may still be seen on the pavement, opposite the Prison des Jeunes
Detenus (on the other side of the street).
On 24th May, 1871, during the Communard 'reign of terror', the Pri-
son de la Roquette witnessed the murder of the venerable Mgr. Darboy,
Archbishop of Paris, the President Bonjean, the Abb6 Deguerry, and
three other priests, 'hostages' of the Commune (comp. p. 275). — At No. 84,
Rue de la Itoquette, is a house bearing the date 1877.
The Faubourg St-Antoine, to the E. of the Bastille (p. 188),
well known in the history of the Revolution, is the centre of the
furniture-trade. The Bue du Faubourg-St-Antoine (P1.R,25, 26,
31), its main artery, leads to the Place de la Nation (V/^'M..). It is
traversed by tramway TC, and in its W. part by tramways TY and
TE6 (Appx., pp. 44, 46, 50). On the right, near the Av. Ledru-RoUin,
rises the statue (in bronze, by Boverie, 1901) oiBaudin (1801-51;
comp. p. 293), 'representative of the people', who was killed on a
barricade in the 'coup d'6tat' of Dec, 1851. In the Av. Ledru-
Rolliu is the church of St-Antoine (PI. R, 25), in the Romanesque-
Byzantine style (1903). Farther on, in the Rue du Faubourg-
St-Antoine, is the house (No. 151; 18th cent.) in front of which
Baudin died (tablet). To the right of the same street is the Square
Trousseau (PI. R, 28), laid out in 1906 on the site of the old
hospital of that name (comp. p. 261). In the centre is the Vintage,
a bronze group by Vermare (1904). At 184 Rue du Faubourg-
St-Antoine, on the right, is the Hopital St-Antoine (PL R, 28;
865 beds), once the convent of St-Antoine-des-Champs, founded in
1198 and rebuilt in 1643 and 1770. Opposite are a fountain and
a curious 'boucherie', dating from the early 16th century.
The side-streets opposite the Hftpital St-Antoine lead to —
Ste-Marspierite (PI. R, 28), a 17th cent, church, once the chapel of
the convent of the Pilles de Ste-Marguerite, founded in 1681 and rebuilt
in the 18th century. To the left of the entrance. Descent from the Cross,
by Satviati; right, Massacre of the Innocents, by Giordano. In the nave:
Quarters. PLACE I)E LA NATION. Right Bank 18. 261
right, Martyrdom of St. Mai^aret, by Maindron; left, St. Elizabeth, by
Dehay. On the pulpit are 17th cent, reliefs. Right transept, to the
right of the altar, Le Bnm, Descent from the Cross. Ambulatory : right,
Gigouxj Israelites in the desert; left, Oleyre, Pentecost; lower down,
Le Brvn(f)y Crucifixion. Left transept: Chapelle Ste-Marguerite (right),
picture by J. Bestout, SS. Francis of Sales and Vincent de Paul. Chapel
of the Souls in Purgatory: Grisailles, by Brunetti; behind the altar. Souls
leaving Purgatory, by Briard.
Near this, at 94 Hue de Charonne, corner of Rue Faidherbe, is the
Hotel Populaire pour Homm€8 (PI. R, 28), built in 1910 by Longerey,
and containing 750 rooms at 70 c. a night, an economical restaurant, a
library, etc.
Farther on, to the right, the Bue deReuilly recalls by its name
the castle of Romiliacuni, a seat of the Merovingian kings (Dagobert).
The Ecole Boulle (decorative art, etc.) is situated here.
The Place de la Nation (PL R, 31), formerly Place du Trdne,
at the E. end of Paris, is 43/4 M. from the Place de I'Etoile at the
N.W. end. Several important streets radiate from it. In the centre
is a basin, with a bronze group by Dalou (1899), the * Triumph
oftlie Republic: the chariot of the Republic, drawn by lions, is
driven by Liberty, attended by Labour and Justice, and followed by
Abundance. In 1660, after the Peace of the Pyrenees, Louis XIV.
received homage from the city on a throne erected here, whence
the Place derived its old name. The columns (100 ft. high) of the
two Pavilions erected here by Ledoux in 1789, on the site of the old
Barri^re du Trdne (comp. p. 248), are adorned with bas-reliefs
by Desboeufs and Simart and surmounted with bronze statues of
St. Louis, by Etex, and Philip Augustus, by Dumont. — The annual
Poire a%Jtx Pains d'Epice takes place after Easter in the Place de
la Nation.
The Place de la Nation is one of the chief stations on the M^tro,
which runs round it underground, and is the junction of Lines 1, 2. and
6 (see Appx., pp. 81, 82, 85). Entrance to the station at the end 01 Rue
Fahre-d^ Eglantine^ exit at the end of Av, du Bel-Air. — Tramways, see
Appx., p. 55.
The broad streets which radiate from the Place de la Nation,
besides the Rue du Faubourg- St -Antoine, are the Cours de Vin-
cennes (M6tro, p. 262), the^v. Philippe- Auguste (p. 251), the-B(wtZe-
vards Voltaire (p. 259) and Diderot (p. 190; M6tro, Line 1), and
the Avenue du Bel-Air ^ which joins the Avenu^e de St-Mand4.
To the S. of the Place, 86 Rue de Picpus, is the oratory or chapel
of the nuns of the Sacrd-Coeur de J^sus et de Marie, or Dames de I'Ado-
ration Perp^tuelle. At the end of the garden is the Cemetery of Picpus
(PI. G, 81 ; adm. 50 c), which contains the tombs of some of the oldest
families in France, notably that of Qen. Lafayette (d. 1884) and his wife,
the Comtesse de Noailles (d. 1807). It owes its origin to the *Cimeti6re
des Guillotines' at one end, where 1840 victims of the Revolution (in-
cluding Andr^ Ch^nier), executed at the Barri^re du Trdne in 1798. are
interred. Their relatives, of the families of La Rochefoucauld, Gouy
d'Arcv, etc., have secured burial-places in the same spot.
To the 8. of the Cours de Vincennes, at 158 Rue Michel-Bizot, is the
Hdpital Trousseau (PI. G, 34; 386 beds).
262
14. Vincennes.
The Sots de Vincennes may be reached by M^tio, by the VincenneB
and Oharenton tramways, by Bteamboat (to Gharenton), or by the Chemin
de Fer de Vinoeimes, which corresponds with the Ceintore (see p. 263).
The M^ropolitain is the quickest route from the W. quarters
of the city to Viuceimes. The terminus of Line 1 is at the E. end
of the Cours de Vincennes, close to the Porte de Vincennes (PL
R, 34; Appx., p. 31). Abotit 330 yds. beyond the barrier is the
Paris-M6tropolitain station of the *Chemins de Fer Nogentais',
by which we may go (Lines TNgS-TNge ; Appx., p. 52) to the Ch&teau
de Vincennes (10 or 5 c), or go on to the Porte Jaune (comp. p. 266;
25 or 15 c). The tramways TE8 and TE9 pass the E. side of the
Lac des Minimes (p. 265), and tramway TO^ passes on the W. side
of Lac Baumesnil (p. 265; 10 c; see Appx., p. 51). The Fort de
Vincennes and the Lac Daumesnil are each about 1 M. from the
M6tro terminus. — If we take Line 6 of the M^tro (Appx., p. 35),
we avoid changing trains at the Place de la Nation by alighting at
one of the preceding stations (Gharenton, Baumesnil, St-Mand^, or
Bel-Air), and then going on by tramway TF, TSIO^ or TC, or by
the Vincennes railway.
The Tramways from the centre of the city to Vincennes or
Gharenton perform the journey m about 1 hr. (four lines).
1. From the Louvbb to VnrcBifNBS (TC ; Appx., p. 44), in
45 min. (fare 30 or 20 c), starting from the church of St-6ermain-
PAuxerrois (p. 88), and going by the Rue de JRivoli (p. 181), Rue
St-Antoine (p. 187), Place de la BastiUe (p. 188), Rtbe du Fau-
bourg-St- Antoine (p. 260), and Place de la Nation (p. 261) ; then
by Boul. de Picpus, Av. de St-Mand6, and through Porte St-Mand6,
to the Gonrs Marigny at Vincennes, to the N of the Gh&tean.
2. From the Louvre to Gharenton and Gr^iteil {TK; see
Appx., p. 45), in 40-60 min. (to Gharenton, 30 or 20 c), starting
as above ; then following the Quays, with fine views of the river
and the Git6 on the right, and of the Place du Ghfttelet, Tour
St- Jacques, H6tel de Ville, etc., on the left. The line next follows
the Boul. Henri'Quatre to the left (p. 189), passes the BastiUe
(p. 188) and the Bassin de V Arsenal (p. 189), and reaches the quays
on the right bank. On the right, the Pont d^Austerlitz (p. 334),
Viaduct of the Mitro (Line 6 ; p. 334), and Pont de Bercy (Line 6
of the M6tro; Appx., p. 35). Then the Pont de Tolhiac, the Pont
National, half of which is used by the Geinture, and the forti-
fications. Beyond the city, on the right bank, are the Magasins
G^n^aux des Vins (PI. G, 33). The Pont de Con flans, or d'lvry,
crosses the Seine to Ivry (p. 427). On the right bank are Conflans,
with a convent of the Sacr^-Goeur, and Les Carri&res, belonging
to Charenton (p. 266). The cars stop near the bridge (p. 263).
7INCENNE8.I ^M Bank 14. 263
3. From the Place db la B^publiqub to Oharbnton {TY ;
Appx«, p. 46 ; fare 30 or 20 c.) : by the Grands Boulevards (p. 75)
to the Bastille (p. 188) ; then to the left by the Bue du Faubourg-
St-Antoine (p. 260), and to the right by Hue Crozatier (PI. R, 28),
behind the U6pital St-Antoine (p. 260); next, by the Bue de
Charenton (PI. G, 28, 31, 32), skirting for a moment the Bois de
Vincennes, to the Place des Ecoles (PI. G, 36).
4. From the Bastille to Maisons- Alport {TSIO; Appx.,
p. 50; fare to Charenton 35 or 20 c, to Lac Daumesnil 25 or 15 c.) :
by the Avenue Daumesnil (PI. R, 25, 28; G, 28, 31, 35), parallel
with the Vincennes railway (see below); past the Mairie of the 12th
Arrondissement and the Square Daumesnil, with a group (Faun
and Satyr) by Hiolle; then past the Place Daumesnil (PI. G, 31),
with a fountain adorned with bronze lions. We enter the Bois be-
tween St-Mand6 (see below) and Lac Daumesnil (p. 265), pass
through Charenton and over the bridge to the church at Maisons-
Mfort (p. 431), and alight in the upper part of Charenton.
The trip by Steamboat is very pleasant in fine weather (piers,
see Appx., p. 56). To the Pont d'Austerlitz, see p. 334; other
bridges and entrepdts, and the Pont de Conflans, see p. 262, No. 2.
We next steer up the Marne, near a lateral canal, and pass under
the PassereUe d'Alfortville and then under the Lyons railway. We
soon touch at Alfortville (p. 266), and lastly land at the Pont de
Charenton, nearly Ya M. to the S. of the Bois de Vincennes.
Chemin de Fer de Vincennes (3^4 M.). Station at the Bastille
(PI. R, 25 ; F) ; trains every Y* br., in about 1/4 br. (fare 45 or 30 c).
The train skirts the Av. Daumesnil (see above), stops at Beuilly
(PL G, 31), near the Place Daumesnil, and at Bel-Air (PI. G, 34;
'correspondance' with the Ceinture, Appx., p. 58). Near the latter
is the 'Bel-Air' station of the M6tro (Line 6; Appx., p. 35). 3 M.
St-Mand^y with 19,227 inhab., lies n^ar the N.W. entrance of the
Bois de Vincennes. In the cemetery (Rue de Lagny, N. of the Rue
de Paris) is a bronze statue, by David d' Angers, of Armand Carrel,
who was killed in a duel (1836) by Emile de Girardin.
Vincennes. — The Railway Station is in the Rue de MontreuU,
which leads to the right (S.) to the chiteau (N.W. angle). The Rue du
Hidiy opposite the station, leads to the Oours Marigny (see below), another
way to tne chiteau (S. side).
CafAs-Rkstaurants. (Jaf6 de la PaiXj 26 Cours Marigny, L. 2^1^^
D. 3 fr.; C Continental, 30 Rue de Paris, with small garden, similar
chafes; 0. Fran^aie, opposite the chJLteau; Oafi-Best, de la Forte-Jaune,
on an islet in Lac des Minimes (p. 266), good; O. du Vhalet-du-Lac, by
the Lac de St-Mand6 (p. 265).
Tramways to Paris, pp. 262, 263. — Ohemin de Fer Nogentais, Appx., p. 61.
Post & TauieBAPH Ofugx, 20 Rue de rHdtel-de-Ville.
Vincennes (pop. 38,568) is chiefly noted for its old castle and its
park. In the Cours Marigny, near the tramway station, is the bronze
264 Right Bank 14. VINCENNES.
Stattte of Gen. DaumesnU (1777-1832), by L. Rochet. When the
general, who defended the ch&teau in 1814 and 1815, was called
on to surrender, he replied that he would do so when the Allies
restored to him the leg he had lost at the battle of Wagram, an anec-
dote recalled by the gesture of the statue. At the end of the Cours
is the modem Renaissance Mairie. A band plays in the Cours on
Thurs. and Sun. in summer. Annual fSte on the Assumption (Aug.
15th) and the following Sunday.
The CMteau (now Fort) de Vinoennes, founded on the site
of a royal seat of the 12th cent., dates from the reigns of Philip VI.
and Charles V. (14th cent.; keep and ramparts). It was used as an
arsenal by Napoleon I., and in 1840 was converted into a fort of
the second class. As a rule it is shown (Thurs., Sun., and holi-
days, 2-4) only by leave of the Governor of Paris (at the H6tel des
Invalides; comp. p. 60). The Chapel, with its tasteful Gothic
facade, begun in 1379 and completed in 1552, has recently been
restored. The lofty vaulting and the stained glass of the 16th cent,
(but largely restored) are worthy of notice. The window at the
end of the nave, the Last Judgment, includes a figure of Diane de
Poitiers (recognizable by the blue ribbon in her fair hair). The
monument of the Due d'Enghien (see below), erected by Louis XVIII.
in 1816, now in the N. oratory, is by Deseine. The Donjon, or
Keep, 170 ft. high, is a massive square tower of five stories, with
smaller towers at the angles. It is to be converted into a historical
museum. The platform affords a fine view of the park and of Paris.
St. Louis often visited this ch&teau, and is said to have administered
justice under an oak-tree in the Bois (p. 265). Louis X. (in 1316), Philip V.
(1822), Charles IV. (1828), Henry V. of England (1422), Charles VI. (1422),
Charles IX. (1574), and Mazarin (1661) died within its walls. Charles V.
was born there in 1337. Queen Isabeau de Bavi^re retired to the castle.
It was used as a State Prison from the days of Louis XI. (1461-83) on-
wards. Among other prisoners may be mentioned the King of Navarre
(1574), the Grand Cond6 (1650), Cardinal de Retz (1652), Fouquet (1661),
Diderot (1749), Count Mirab^u (1777), the Due d'Enghien (1804), who
was afterwards shot for conspiracy by order of Napoleon I., the ministers
of Charles X. (1830), and the conspirators against the National Assembly
(May, 1848).
The Bois de Vincennes (see also PI. G, 35), laid out as a
promenade in 1860-67, is scarcely inferior to the Bois de Boulogne
in picturesqueness, though not a fashionable resort. Including the
Champ de Manoeuvres and the artillery 'Polygene', it covers an
area of about 2250 acres.
In the middle of the park is the Plaine de Grravelle, which
divides the Bois into two parts. It extends for a distance of nearly
2 M., and averages */4 M. in width. At the N. end are large Bar-
racks; in the middle lies the Champ de Manoeuvres, for infantry
drill; and at the W. end is the Poly gone de VArtiUerie. At a
Tossway in the Champ de Manoeuvres, to the S. of the Ecnle de
VINCENNES. RigM Bank 14, 266
Pyrotechnie, rises a modern Pyramid, on the spot where the oak
under which St. Louis administered justice is said to have stood.
Adjoining the Champ de Manoeuvres on the S.E. are the Champ de
Courses de Vincennes, the largest racecourse near Paris (see p. 41),
and the Eedoutes de Gravelle and de la Faisanderie, which bound
the park on this side and command the windings of the Harne.
Between these outworks is a Model Farm, connected with the
Ecole d'Alfort (p. 266) and the Institut Agronomique of Paris.
By the second redoubt is the Ecole Militaire de Gymnastique of
Joinville.
In the W. part of the Bois are two artificial lakes. To the N.,
near the N.W. entrance (p. 263), is the pretty Lac de St-Mand^,
with a caf6 (Chalet du Laxi) on its bank; to the S.E. is the Lac
Daumesnil (see below).
To the N. of Lac Daumesnil, at the beginning of the Av. Daumesnil,
at No. l"*'*, is a School of Horticulture and Arboriculture, open to the
public on San., Tues., Tnurs., and holidays from l to 6 or 6 p.m. — At
the point where the tramway turns to the S. is the Rest, de la Demi-
Lune (i la carte).
The Lac Daumestiil, or de Charenton, the largest (50 acres)
in the Bois (boats for hire), formed by Alphand in 1861, contains
the lie de Reuilly (Caf6 des Iles-Daumesnil ; concert at the kiosque
on Sun. 3-6; sometimes military bands during the week), with an
artificial grotto under a small temple, and the lie de Bercy to the
W., with the Museum of Forestry. These islands are connected
by bridges with the S. bank, and may be reached by ferry (10 c.)
from the Av. Daumesnil on the N. side.
The MusKUM of Forestry, in the He de Bercy, is usually open on
Sun. from 10, and on Tucs., Thurs., and Sat. from noon to 4 or 6. In
the large room on the ground-floor, between tree-trunks serving as col-
umns, are grouped specimens of wood of all kinds, with articles made
from them. Implements of forestry also are exhibited, and in an annexe
is a Diorama^ showing the embankments and afforestation of an Alpine
valley. — The rooms on the first floor contain further specimens of wood;
two paintings (embankments in the Alps and Pyrenees), curiosities (in-
juries caused by insects), naturalized animals, etc.
To the S.W. of the lake is the Piste V^locipMfpie Municipale
(V4M.). The *Grand Prix de Paris' (10,000 fr.) is competed for
here in July.
In the S. part of the Bois, to the E. of Charenton, are several
hospitals for artisans. Farther E. are the Lax", de Gravelle, a re-
servoir fed by a steam -pump on the bank of the Marne, and the
Bond' Point de Gravelle, with a fine view, partly obstructed by
trees. Adjacent is the Caf^-Rest. du Plateau-de-Gravelle (L. 3,
D. 4 fr.).
The E. part of the Bois also has its artificial pond, the Lac des
Minimes, round which, at some distance from it, runs the Route
Circulaire, marking the enclosure of an old monastery of the Mi-
nimes, whose site is now occupied by the lake. The smallest of the
266 night Bank i4, OHARENTOK.
three islets in the lake, the lie de la Forte-Jaune, at the N. end,
is connected with the bank by a bridge (caf6-rest., p. 263). Near
this, to the N., passes the Nogent road, leading back to Vincennes
(tramways TNga-TNgS, see p. 262). To the N.W. of the island,
near the Av. de la Dame-Blanche (which also leads to Vincennes),
a colossal Monwfmnt to Beethoven, by Jos6 de Charmoy, was being
erected at the end of 1912. To the N.E. of the island is (8 min.)
the station of Fontenay-sous-Bois (p. 428).
To the S.W. of the park of Vincennes lies —
Charenton. — CapAs-Rbstaurawts. C. de la Terraase and O. du
Pontf by the Marne bridge; Rest. Barat, 64 Rue de St-Mand6, plain, with
garden.
Charenton, or Charenton-le-Pont, at the confluence of the
Marne and Seine, is the terminus of the Paris steamboats (p. 263)
and of several tramways (see below), and is reached also by numerous
trains (from the Gare de Lyon, 60, 45, or 30 c.; see p. 430; station,
see PI. G, 36). Including Conflans and Les Carri&res, which adjoin
it on theW., it has 19,499 inhab., and has long been known for its
lunatic asylum (see below). Fgtes on 1st and 2nd Sun. in July and
September.
Tramways from Paris (TK and TY), see pp. 262, 268 ; to the chnrch
at Criteil by St-Maur-des-Possfis (p. 429), with a branch-line to Bonnetdl
(Mairie).
A little farther on is St-Maurice (pop. 8968), with the large Lunatic
Asylum of Charenton, about ^/g M. from the bri%e. This was founded in
1641, and entrusted at first to the friars of St-Jean-de-Bieu. Until the
abolition of 'lettres de cachet' it was not only an asylum for the in-
sane, but also a prison for victims of tyranny. The present buildings, of
1880, with arcades and roofs in the Italian style, rise picturesquely on
the slope of the plateau of the Bois de Vincennes. In the Place ae la
Mairie is a Monument to Eughie Delacroix (1798-1868), the painter, a
native of St-Maurice; bust after Dalou. Tramway from Porte de Vincennes
to Porte d' Orleans (TQ 2), see Appx., p. 51.
On the left bank of the Marne is Alfortville (pop. 18,267), con-
nected with Charenton by a bridge. The Veterinary College of Alfort,
7 Grande Rue, founded in 1766, trains both civil and military men. Alfort-
ville is traversed by tramways from the Font de la Concorde to Bonneuil
(TE6) and from the Porte de Vincennes to the Porte d'OrlSans (TQ2;
Appx., pp. 50, 51).
About IV4 M. to the N. of Vincennes lies Hontreuil-souB-Bois
(pop. 48,217), noted for its peaches, the cultivation of which occupies
800 acres. Market on Sun. and Thurs.; fdtes on 1st Sun. in July and
2nd Sun. in September. — Montreuil is connected with Paris by the tram-
way TXf Chfttelet-Montreuil ; by TE2f OpSra-Fontenay-sous-Bois ; by
TElOt Vincennes-Pantin; by TNg2f Vincennes- Villemomble (Appx.,
pp. 46, 50, 51, 52). Omnibus from Vincennes, 20 c.
THE CITlfi AND THE LEFT BANK.
The CU^ (PI. R, 20, 23, 22, 19; V) is the oldest part of Paris.
Here lay the Gallic town of Lutetia Parisiorum, the Paris
of the Romans and the Franks, with the addition of a few houses
on the wooded and marshy left bank of the Seine. The town
extended later on the right bank also, but the Cit^ long continued
to be the seat of the kings and the ecclesiastical centre of the cap-
ital. The population consisted partly of servants of the court and
tradesmen, but chiefly of clerics, while the burgesses occupied the
N. quarters of the town, and the men of letters the S. part (VUni-
versiU). The Cit6 has long ceased to be the centre of Paris, but it
contains its two finest sacred edifices, the Cathedral of Notre-
Dame and the Sainte-ChapeUe, while the royal palace has been
succeeded by the Palais de Justice.
One-third of Paris at least lies on the Left Bank of the Seine,
its distinctive feature consisting of many learned institutions,
headed by the Sorborme, or university, in the Quartier Latin.
At the W. end of this quarter are several ministries and embassies,
the Chambre des Dipid^s, large military establishments, the res-
idences of the aristocracy (in i\iQ Faubourg St-Germain)^ and (more
to the S.) the Palais du Laxembourg, now the seat of the Senate.
The chief attractions on the left bank are the Mus4e du Luxem-
bourg (modern art), the Panthion, the Mus^e de Cluny (mediaeval
and Renaissance art), the Jar din des PlanteSy and the Hotel des
Invalides.
15. The Cite and the lie St-Louis.
Line 4 of the M£tro (Appx., p. 88) passes under the Seine, above
the Fonts au Change and St-Micbel. Station (CiU) nnder the March6-aux-
Pleurs (p. 278).
The Cit6 is connected with the right bank of the Seine by the
Pont-Neuf, the Pont au Change, the Pont Notre-Dame, and the Pont
^'Arcole, of which the first two are the most important.
The *Pont-N'euf (PI. R, 20; F), at the W. end of the Cite, a
bridge 360 yds. long and 25 yds. in width, crossing both arms of
the Seine, is, notwithstanding its name, the oldest in Paris. It
forms the continuation of the Rue du Pont-Neuf (p. 181). It was
built in 1568-1603, but was remodelled in 1843-53, and the part
next the left bank was restored in 1886. The masks support-
Babdskjbr's Paris. 18th Edit. 17
268 Cit^ t5. PONT AU CHANGE.
ing the cornice on the outside are copies of the originals. The fine
Equestrian Statue of Henri IV., by Lemot, was erected in 1818
to replace one of 1635, which was melted down and converted
into cannon in 1792. The statues of Napoleon I. on the Venddme
Column (p. 83) and at Boulogne-sur-Mer were in iheir turn 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;
that in front glorifies the *long-desired* restoration of Louis XVIII.
At the sides are bronze reliefs : Henri IV. distributing bread among
the besieged Parisians, and Henri IV. entering Paris. The bridge
affords a good view of the Louvre to the right. The large building
on the left bank is the Monnaie (p. 299) ; beyond it is the Institut
(p. 297).
In the 17th and 18th cent, the Pont-Neuf was the favourite haunt
of mountebanks, jugglers, showmen, second-hand dealers, and book-
vendors. To this motley crowd Tabarin used to retail his witticisms
from a platform between Nos. 13 and .15 in the Place du Pont-Neuf.
Here too was erected one of the first hydraulic pumps, the 'Samaritainc'
(model at the Mus6e Oarnavalot). In the river, near the bridge, are the
baths of La Samaritaine (p. 26). Below, behind the statue of the king,
is the Square Henri IV, or du Vert-Galant, from which (or from the
river-banks) we obtain the best view of the bridge. The bouqviniatea,
or dealers in old books, afterwards removed their stalls ('boftes') from
the bridge to the parapets of the quays, which they still occupy.
Opposite the equestrian statue lies the Plaice Dauphine ('Place
de Thionville' under the Revolution), partly bordered with 17th
cent, brick houses, with festoons of white stone. — The "W. facade
of the Palais de Justice (p. 269), on the E. side of the Place, wax
built by Due in 1857-68. It is adorned with engaged Doric columns
and a richly sculptured cornice. Under the windows are figures of
Prudence and Truth, by Dumont; Punishment and Protection, by
Jouffroy; Force and Justice, by Jaley. Three gradients ascend to
the Vestibule de Harlay (p. 270).
The Pont au Ch&nge (PI. R, 20; F), between the Place du
< 'h&telet (p. 182) and the Cit6, was one of the oldest and busiest
in Parid, and hardly less famous than the Pont-Neuf, but was rebuilt
in 1858-59. It owes its name to the shops of the money-changers
and goldsmiths which flanked the old bridge.
The bridge affords a fine view: opposite is the Cite, with the Palais
de Justice and Tribunal de Commerce ; nigher up the river are the Hdtel-
Dieu and Notre-Dame; on the right* bank, the Hdtel de Ville and the
tower of St-Gervais ; down the river, the Pont-Neuf, Louvre, etc. On the
right bank is the Quai de la M^giaserie (tannery), once called Quai dc
la Ferraille, from the dealers in old iron who frequented it. To the left
is the Quai de VHorloge, formerly called the Quai des Lunettes, a name
still partly justified by a few opticians' shops. It is also known as the
Quai des Morfondus ('of the chilled'), on account of its exposure to icy
blasts in winter.
The Pont au Change crosses to the Boidevard du Paleds, the
chief artery of the Cite, prolonged on the left ban]? by the Boul.
St-Michel (p. 278).
4^»'^
il-olcellu-
t,ig{jr^ PALAIS BE JiSTICE
'■ ' Premier Eta^e
PALAIS DE JUSTICE. C'iH /5. 269
The *Palai8 de Justiqe (PL K, 20; V), a vast pile of build-
ings, has occupied since the 15th cent, the site of the old palace
of the kings of France, which had succeeded that of the old Roman
goyemors. St. Louis (d. 1270) presented part of the building to the
Parlement, or supreme court, and Charles VII. ceded the rest of
it in 1431. In 1618 and 1776 the palace was so damaged by fire
that only four towers, parts of the basement, and the Sainte-Cha-
pelle (p. 271) have survived. The Tour de VHorloge^ at the N.E.
comer, dating from 1298, is adorned with sculptures by Germain
Pilon, restored in 1852. Its clock, which has a fine dial, was
renewed in 1370 and restored in 1585 and 1852, and is perhaps
the oldest public clock in France. On the N. facade, on the Quai
de PHorloge, are the Tour de C^sar and the Tour d^ Argent, and,
farther on, the crenellated Tour St-Louis, or Bon-Bee. The Tours
d*Argent and de C6sar, which formerly commanded the bridge of
Charles the Bald (823-877), now flank the entrance to the Con-
ciergerie (p. 271). At the angle of the Boul. du Palais and Quai
des Orffevres a new wing of the Palais de Justice is being built.
The main facade of the Palais fronts the Boul. du Palais, from
which it is separated by the Cour du Mai, or Cour d^Honneur, so
named from the maypole ('Mai') annually erected there by the clerks
of the Basoche (see below). The fine wrought-iron railings in front,
erected in 1787, were restored in 1877. At the back of the court
are steps ascending to the central part of the building with Hh
square dome and Doric pediment, adorned with allegorical figures
above. The Saiute-Chapelle (p. 271) is reached by turning im-
mediately to the left in the court, and passing under the arcades
of the chapel.
The Palais is open daily, 10-5, except Sun. and holidays. The
steps in the Cour de Mai lead to the Galekie Marchande, a vesti-
bule from which staircases ascend to the Cour d'Appel. "We turn
here to the right, and by a glass-door|[enter the *Sallb des Pas-
Pebdus, which forms a vestibule to most of the Cvdl Chambers,
or Courts of First Instance. This hall (restored since it was burnt
by the Communards in 1871), ^consisting of two vaulted galleries,
is one of the largest of the kind in existence , measuring 80 by 30
yds., and 33 ft. in height. Before the fire of 1618 this was the
great hall of the palace, where the 'Basoche*, or society of clerks,
was privileged to perform moral plays, satirical dramas, and farces.
On the right, by the entrance-wall, is a monument to the minister
Malesherbes, beheaded in 1794, the defender of Louis XVI. before
the revolutionary tribunal; statue by J. Dumont; emblematic
figures by Bosio; bas-relief by Cortot. Opposite the entrance is a
monument to Berryer (d. 1868), a famous advocate, by Chapu.
Most visitors will be content with a glance at the Salle des Pas-
Perdus, and will then visit the Sainte-Chapelle (p. 271). — The courts arf
17*
270 cm 15. PALAIS BE JUSTICE.
open to the public from noon, and some of the famoas French advocates
may be heard there. Most of the courts are on the first floor. The
Courts of First Instance, with their offices, lie to the N. of the Salle dea
Pas-Perdns (p. 260; civil courts) and to the S. of the court of the Sainte-
Chapelle (p. 271; police courts). The Cour de CassaHon (see below) is
beyond the Salle des Pas-Perdus and the AppecU, Court (see below) is
beyond the court of the Sainte-Chapelle.
To the left of the Berryer monument (p. 269) is the entrance to
the Premiire Chambre Civile y built by St. Louis, restored under
TiOnis XII., and altered since then. This was the gilded chamber,
or Grand* CJhambre du Parlement, into which Louis XIV. made his
historical entry, booted and spurred, and whip in hand. Here, too,
the revolutionary tribunal sat in 1793 and sentenced Marie Antoi-
nette to death (comp. p. 272).
From the Salle des Pas-Perdus we enter the Galbbib dbs
PKisoiriviEBS, situated between the Salle des Pas-Perdus and the
Galerie Marchande, and continued by the Galbbib Lauoi6non. On
the left side of the Galerie des Prisonniers lies the Galbbib Due,
parallel with the Galerie Marchande, and affording a view, from
the first windows on the left, of the famous Cour des Femmes (p. 272).
On the right of the Galerie Lamoignon are the three halls of the Couir
de Cassation, all with fine ceilings (the best days for visitors are
Thurs., Fri., & Sat.; fee 1 fr.). Adjoining the Chambre Criminelle
is the Galerie St-Louis, with a statue of St. Louis by Eug.
(ruillaume and frescoes by L. 0. Merson. Next come the Chambre
des Requites and the Chambre Civile, the richest of all, with a
painted and gilded panelled ceiling and paintings in the spandrels
(Glorification of Law, by Baudry, and Law and Truth, by Delaunay).
At the end of Galerie Lamoignon is the Testibulb db Hablat
facing the Place Dauphine (p. 268), and adorned with statues of
four great legislators: St. Louis, Philip Augustus, Charlemagne,
and Napoleon I. On the left, a bust of Louis Due, the architect,
by Chapu. The staircase in the middle, with a figure of Justice
by Perraud, leads to the left to the Caur d^ Assises (ceiling by
Lefebvre), and to the right to the Chambre des Appels die la Police
Correctionnelle. On the landing. Law, by Duret.
The Galebib de la Pbemiere Pr^sidence, parallel to the
Galerie Lamoignon, leads from the Vestibule de Harlay to the new
parts of the Palais. To the right, about half-way, is the Premiire
Chambre de la Cour d'Appel, richly decorated like the halls of
the Cour de Cassation. Painting (Justice) by Bonnat.
The portal towards the Boul. du Palais, to the S. of the railing,
as well as the passage under the gallery of the Sainte-Chapelle on
the S. side of the Cour de Mai, leads into the Cour de la Sainte-
Chapelle, which is bounded on the S. by the Chambres de la
Police Correctionnelle, and on the N. by the chapel itself, the en-
trance to which is on the W. side.
SAINTB^OHAPELLE. om 16, 271
The *^^8€dnte-Chapelley the chief attraction in the Palais
de Justice, is open to the public, 11 to 4 or 5 daily, except Mon.
and holidays. It is seen to advantage in bright weatlier only. It
was the old palace-chapel, erected in 1245-48, under St. Louis, by
Pierre de Montereau for the reception of the sacred relics (see
p. 276) brought back from the Crusades in 1239. It was restored
after 1837, chiefly by Viollet-le-Duc, and is a perfect gem of Gothic
architecture, though partly concealed by other parts of the build-
ing. It narrowly escaped destruction in 1871, when the Palais
de Justice was burned by the Communards. The interior consists
of two chapels, one above the other. The Lower Chapel (Chapelle
Basse), which we enter first, was used by the domestics of the
palace. In the pavement are tombstones of numerous canons of the
Sainte-Chapelle. The Upper Chapel, reserved for the court, is a
remarkably light and elegant structure, measuring 38 by 12 yds.,
and about 66 ft. in height. The fifteen windows (49 by 13 ft.),
separated only by the width of the buttresses, contain superb
stained glass, partly of the time of St. Louis, but restored by
Lusson from designs by Steinheil. The subjects are chiefiy biblical.
First window on the right: Legend of the Cross and Translation of
the Crown of Thorns and the wood of the Cross (see p. 276). Glass
in the rose-window, of the 15th cent.: Subjects from the Apocalypse.
The polychrome decoration of the walls harmonizes well with the
coloured windows. The two recesses, right and left, under the
windows of the 3rd bay were reserved for the royal family. From
the little grated opening in the 4th bay on the right Louis XL used
to attend the service without being seen. By the pillars are placed
statues of the Apostles (partly restored). In the handsome Gothic
canopy, in wood, the sacred relics were once preserved; it is flanked
with two small spiral staircases. — We leave the chapel by the
portal; we may then turn to the right, by a passage (opened by the
custodian) leading to the Galerie Marchande (p. 269).
The ^Conoiergerie, a famous prison, second in interest to none,
except perhaps the Tower of London, occupies the lower part of the
Palais ae Justice on the N. side. Accused persons are now detained
here daring the time of their trial.
The entrance, on the Quai de I'Horloge, is modern. The only en-
trance to the prison at the time of the Kevolution was to the right of
the flight of steps of the Palais de Justice, from a low and dark little
court, with a railed arcade facing the Cour du Mai. Through this court
passed all the victims of the revolutionary tribunal, and against the rail-
ing (which still exists) were daily ranged, during the Terror (Slat May,
1793, to 27st July, 1794), the carts which conveyed the condemned to the
scaffold. The present huvette of the Palais was once the office of the prison
and room of the concierge (Bichard, afterwards Lebault). Traces of the
window-bars are still visible. The condemned frequently passed their
last night in the back part of the restaurant. 'No spot in the world has
seen so many tears, no spot in the world has witnessed such terrible
tragedies.' (G. Lendtre.)
272 Oiti ^5. SAINTE-pHAPELLB.
Part of the building is shown on Thnrs., between 9 and 5, to visi-
tors with a card of admission, obtainable (gratis) at the Prifectnre de
Poliae, Bareaa des Prisons, Room No. 72, third floor (entrance in
the Rue de Lut6ce, opposite the Tribunal de Oommerce). This leave may
be obtained by personal or by written application. In the latter case
the number of the party must be stated (comp. p. 60).
Having obtained the needful permission, we enter by the first door
to the left on the Quai de I'Horloge (rin^), cross a quadrangle, and knock
at a small door on the right, leading into the SaUe des Ctardes de 8t-
LouiSf where we find the custodian. This room and the superb Salle
St-Louis (see below) are masterpieces of the architecture of the 18th cent,
and relics of the buildings of St. Louis. From the Salle des Gardes we
follow a long dark passage (the 'Rue de Paris'), whence we have a good
view, to the left, above a balustrade, of the *SaUe 8t-Loui8i which lies
iust below the Salle des Pas-l^erdus (p. 269). At the end of the Rue de
*aris we come to a corridor on which open the doors of the dungeons,
and through which almost all the victims of the Revolution once passed.
It ends to the left in a grated door (now walled up), beyond which were
ranged the tumbrels of the executioner (see p. 271). Through the windows
we see the blackened railing, the stone table, and the fountain of the
famous Cour des Femmes. This is one of the chief existing parts of the
old prison, and it was here that the massacres of Sej^t., 1792, took place.
Numerous ladies of the aristocracy, who became victims of the revol-
utionary tribunal, came here dail^ to walk or to wash at the fountain,
Eassing in and out through the still existing gate. <It is old, rusty, and
lack, it makes one shudder .... All the ladies summoned by the
tribunal have passed through this heavily barred door, Mme. Elisabeth,
the Noailles ladies, Mme. Roland, C6cile Renault, and so many others. . . .
The gown of Lucile Desmoulins has touched these iron bars, Mme. dn
Barry clung to them in her agon^, the Princess of Monaco leaned against
them, calm and resigned, awaiting the dread summons.' (O. LenOtre)
The dungeon of Marie Antoinette, which we next visit, though much
altered since the autumn of 1793, is profoundly interesting. When brought
from the Temple to the Ooncieigerie she was at first shut up in another
room, but after the carnation conspiracy she was removed to this cell,
where she remained from 11th Sept. to 16th October. The doorway, the
window, and the door into the adjacent cell are all of later date.
From the cell of Marie Antoinette we pass into the cell in which
Robespierre is said to have been placed for a few hours prior to his
execution. Beyond these is the Hall of the Girondists, now containing
the small Musie de la Conciergerie. Among the engravings and pic-
tures is a painting of Marie Antoinette bidding farewell to her family
when about to be transferred from the Temple to the Conciergerie, by
Drolling ; and another of Marie Antoinette receiving the sacrament in her
cell, by Pajou (1817). A glass-case in the centre contains the arm-chair,
the crucifix, and other objects used by Marie Antoinette in her prison.
Opposite the Palais de Justice, on the E. side of the Boul. du
Palais, rises the Tribunal de Commeroe (PL R, 20 ; F), built
by Bailly in the Renaissance style in 1860-66. It has an octag-
onal dome, 138 ft. high, in the line of the Boul. de S^bastopol
(p. 81), and visible from the Gare de I'Est. The interior is open
on week-days. The Grand Staircase ascends to the Audience
Chamber and the Bankruptcy Courts. On the landing of the first
floor are statues of Industrial Art by Pascal, Mechanical Art by
Chapu, Terrestrial Commerce by Maindron, and Maritime Com-
merce by Cabet; above are caryatides by Dubut. In the Vestibule,
on the first floor, are busts of Chancellor L'H6pital (1604-73), and
Colbert (p. xix). The Salle (VAudiencey on the first floor, to the
h6tEL-DIEU. Oit^ iS, 273
left, wainscoted with oak, contains four historical pictures: Estab-
lishment of consular jurisdiction in 1563, and Louis XIV. signing
Colbert's commercial code in 1673, both by Robert-Fleury; the
'Nautes' (comp. p. 288), and the Corporations before Etienne Boileau
in 1258, by P. Delance. The chief sittings are on Monday. Within
the buildings (left of grand staircase, then to the right) is a fine
Qiuidrangle with two colonnades, one above the other, over which
are caryatides by Oarrier-Belleuse supporting the glass roof.
The broad Bne de Lutdoe, opposite the main entrance of the
Palais de Justice, leads to the H6tel-Dieu. In the centre is a bronze
statue of Th. Bencmd&t (1586-1653), philanthropist, physician,
and founder of journalism in France ('Gazette de France'; p. 49),
by A. Boucher (1892). —To the left of the statue is the *Cit6' station
of the Mitro (Line 4; Appx., p. 33), and behind the Tribunal de
Commerce lies the idarchi-aux-Fleurg (PI. R, 23; F), a small
Place adorned with two fountains, the chief flower-market in Paris
(Wed. & Sat.), used as a bird-market also (Sun.). — To the N.E. of
the March^ is the Pont Notre-Dame (view), rebuilt in 1853, on the
site of a Ronoian bridge (comp. p. 274), and under repair in 1912.
The Pr^feoture de Police (PI. R, 20, 19; F) occupies, on
the right, the old barracks and two mansions of the 'etat-major'.
The offices are open from 10 to 4. The chief departments are those
of the Passports, the Permis de Chasse, the Declarations de
S^our (p. xxvii), and the Objets Trouves, all at 36 Quai des Or-
f^vres (PI. R, 20; F), a dependency of the Palais de Justice.
Here also is the Muaie de la Police, organized in 1911 (open on Thurs.,
from 2 to 4 or 5; curator, M. Alfred Rey), reached by staircase A, at the
end of the court, to the left. The three rooms and a long gallery on the
4th floor contain documents relating to the Parisian police, portraits,
patterns of uniforms, memorials of policemen killed in the execution of
their duty, warrants, and prison-registers.
The Hdtel-Dieu (PI. R, 22, 23; F), a little farther on, with
its facade to the' Place du Parvis-Notre-Dame (see below), was re-
built in 1868-78, by Diet. It has 828 beds and three clinical
chairs (medicine, surgery, ophthalmology). The old Hotel-Dieu,
founded about 660, was the oldest hospital in Paris, or perhaps in
Europe. It was at first a nunnery, and then an asylum for pilgrims.
No. 9, Quai am: Fleurs (PI. R, 28, 22; V), a street skirting the N.
facade of the Hdtel-Bieu, stands on the site of the house of Ab61ard and
HeloYse (p. 262; inscription). Parallel to the quay is the Bue des Urains
(PI. B, 22; F); at No. 19 are remains of the Chapel of St-Aignan (12th cent.).
The Place du Parvis-Notro-Dame (PL R, 22; F), in front of
the cathedral, is- adorned with a bronze Staiue of Charlemagne,
whose horse is led by Roland and Oliver (after L. and C. Rochet).
The present Parvis dates from the rebuilding of the Hotel-Dieu.
The old Parvis was much narrower. The Hotel-Dieu occupied the S.
part, while its annexe (removed in 1908) extended on the left bank to
the church of 8t-Julien-le-Pauvre (p. 278), which served as its chapel.
Prom the 8.W. angle of the Place the Petit-Potit, replacing one of thf
274 OiU 16. NOTRE-DAME.
two Boman bridges (oomp. p. 278). oiosses the riyer to the Place du PeUt-
Pfmtf the site of the Petit-Ghfttelet demolished in 1782.
The cathedral of **Notre-Dame (PL R, 22; V) stands on
the site of a church of that name, rebuilt in the second half of
the 9th cent., and of a church of St-Etienne, mentioned as early as
690, which adjoined Notre-Dame on the E. The present church
was begun in 1163, under the auspices of Maurice de Sully, Bishop
of Paris. By 1177 the choir and transept were nearly completed;
in 1196 the nave was finished, with the exception of the first bays;
and by about 1240 the original plan had been entirely carried out.
The chapels began to be added in 1250, necessitating the addition
(about 1260) of a bay to the transept. Lastly, at the beginning of
the 14th cent, the cathedral assumed the form which it presents at
the present day. Although its general appearance is rather heavy,
owing to the absence of the spires originally projected, to the loffy
houses around it, and to the raising of the adjacent soil, the cathe-
dral still presents a strikingly majestic aspect.
In 1798 Notre-Dame was converted into a 'Temple of Reason', the
sculptures were mntilated, and the statue of the Virgin replaced by one
of Liberty. On a mound thrown np in the choir burned the 'torch of
truth', over which rose a Greek 'temple of philosophy', containing the
enthroned fig^ure of Reason (represented by Maillard, the ballet-dancer),
who received in state the worship of her votaries. The orgies of which
the church became the scene led, however, to its being closed in the
following year. In 1795 the 'constitutional' Catholics reopened it as a
place of divine worship, and in 1802 it was handed over to the Roman
Catholic Church. After 1845 it was restored by Lassns and Viol)et-le-Duc.
Lastly, in 1871, the cathedral was pillaged and nearly burned down by
the Communards.
The *Fa<?adb, the finest part of the cathedral, dating from^the
early 13th cent, and completed about 1240, is the oldest of its kind,
and has served as a model for the facades of many churches in
N. France. It is divided by buttresses into three sections, and
consists of three stories, exclusive of the towers. The sculptures
have mostly been renewed, partly after those of the cathedrals of
Rheims, Amiens, and Bordeaux. Below are three finely recessed por-
tals. The sculptures, so far as they have survived the ravages of
the Revolution, are admirable specimens of early-Gothic. The others
have been renewed by Viollet-le-Duc. Those on the central portal
represent the Last Judgment; the fine modern figure of Christ on
the central pillar is by G. Dechaume. In the tympanum (Christ in
Glory) the angel on the left holding the nails is a masterpiece of
13th cent. French sculpture. The S. portal, the oldest, is dedicated
to St. Anne, and that on the N., by which the church is generally
entered, to the Virgin, both being adorned with appropriate sculp-
tures. -The relief of the Resurrection and the Triumph of the Virgin
is noteworthy. The fine ironwork of the doors should be observed,
but those of the central door are modern. This story ends in a
gallery, with niches containing statues of twenty-eight kings of
NOTRE-DAME. OiU i6. 275
Israel and Jadah (once supposed to represent kings of France),
renewed in the 19th century. Above the gallery, in the centre, is a
statue of the Virgin, with two angels bearing torches ; to the left
and right are Adam and Eve. — The chief adornment of the second
story is a large rose-window, 31 ft. in diameter, with simple
tracery. At the sides are double pointed windows. — The third
story is a gallery of pointed arches, about 26 ft. in height, borne
by very slender columns, each double arch being crowned with an
open trefoil. Above this runs a balustrade, crowned with figures
of monsters and animals (see p. 276) ; the facade then terminates
in two great square towers, each pierced with twin-windows, about
52 ft. in height.
The facades of the transepts also deserve inspection. The sculp-
tures here also have been partly renewed by VioUet-le-Duc. Those
in the tympanum of St. Stephen's (the S.) portal, are scenes from
the life of the saint (middle of 13th cent.). On the door-post of the
Cloltre (N. portal) is a fine statue of the Virgin (end of 13th cent.).
— The spire above the transepts, 315 ft. in height, in wood covered
with lead, was restored in 1859. The choir is charmingly light
and effective, with its bold flying buttresses and windows capped
with pediments. (The adjacent fountain, see p. 276.)
Interior. — The church consists of a nave and double aisles,
crossed by a single short transept. It measures 142 by 52 yds.,
and is 115 ft. high in the centre. The aisles are prolonged round
the choir, affording the earliest example of this construction. The
small choir is semicircular, as in Romanesque churches. The chapels
(see p. 274) were introduced into the spaces between the buttresses
of the aisles and choir. The vaulting is borne by 75 pillars, most
of them round; these, as well as the galleries over the aisles, are
relics of the Romanesque style. Above the inner aisles runs a tri-
forium resting on 108 small columns, and the clerestory is pierced
with 37 large windows. The old stained glass of the rose-windows
over the chief and lateral portals is worthy of note. The PulpUj
a masterpiece of modern wood-carving, was designed by Viollet-
le-Duc (1868). The GreaJt Organ (by Cliquot, 1730), restored and
enlarged by A. Cavaill6-Coll in 1868, has 6000 pipes, 110 stops,
and 5 manuals. To the right of the S. portal are two black marble
slabs in memory of victims of the Commune (p. 260).
The Transepts contain frescoes by Perrodin (1869-70) : on the
right, Scenes from the life of the Virgin, Apostles and fathers of
the Church ; on the left, Bishops of Paris, with monks.
The Choir and Sanctuary are separated from the nave and
ambulatory by handsome modern railings. The choir-stalls and the
reliefs in wood (late 17th cent.), chiefly scenes from the history of
Christ and the Virgin, should be noticed. In the sanctuary, behind
the modern high-altar, are a Pieti, by Nic. Coustou (1723), and
276 om 16. NOTRE-DAME.
statues of Louis XIII. and Louis XIY., by GuiU. Ctmatou and
Coyzevox (1715).
At the entrance to the choir, by a pillar on the right, is the
highly revered statue of Notre-Dame de Paris (14th cent.), and by
a pillar near it is that of Joan of Arc, by Ch, Deavergnes (1909).
Adjacent is the entrance to the ambulatory. The choir-screen here
and on the opposite side is adorned with twenty-three richly col-
oured and partly gilded ^Beliefs in stone, of scenes from the life
of Christ, by Jehan Ravy and his nephew Jehan le BotdeiUer
(1319-51). These Gothic sculptures, though varying in execution,
are remarkable for their monumental dignity and beauty.
The choir-chapels contain monuments, chiefly of Archbishops of
Paris. Beginning at the sacristy (see below), from right to left:
Archbp. Affre (p. 189), by Debay; Archbp. Sibour (p. 295), by
Dubois and Lescorn^ ; *Com<c d'Harcourt (d. 1718), by A. Pigalle;
Archbp, Darboy (p. 260), by Bonnassieux ; Card. Morlot (d. 1863),
by Lescorn6 ; Bishop Matiffas deBuci (d. 1304), with a fine crozier,
behind the high-altar; Ca^d. de BeUoy (d. 1806), by Deseine;
Archbp. de Quden (d. 1839), by 6. Dechaume; Card, de NoaiUes
(d. 1729), by the same; Archbp. de Juigne (d. 1811), Archbp. de
Beaumont (d. 1781), Marshal de Gudbriant (d. 1643), and his
wife RerUe du Bec-Cr^pin, these last after Viollet-le-Duc.
The Sacristy, on the S. side of the church, built in 1845-50 by
Lassus and Yiollet-le-Duc, occupies the site of the old Archeydche (taken
down in 18S1), and is entered from the S. side of the ambulatory. It
contains the Treasury of Notre-Dame, which is shown on week-days
to ^oups of visitors (fee). The sacristan shows and explains the chief
curiosities, but there is scarcely time to examine them. Most of the ob-
jects are modern and, except those of recent date, of little artistic value.
Among these are sacred vessels presented by Napoleon III., especially
the reliquaries of the 'grandes reliques' (p. 271; crown of thorns, true
Cross, and nail from the Cross), executed by Poussielgue after Viollet-le-
Duc. Among the ancient object^; are a casket 'of St. Thomas i Becket'
(12th cent.) ; a reliquary of St. Clotilda (18th cent.) ; reliquary-busts in
wood, incrusted with silver, of St. Denis and St. Louis (14th cent.) ; and
other reliquaries of the lSth-16th centuries. — Also historical relics and
memorials, such as the crucifix held by St. Vincent de Paul at the death-
bed of Louis XIII., the coronation mantle of Napoleon I., and the blood-
stained clothing of Archbps. Affre, Sibour, and Darboy.
Towers. The *View from the towers of Notre-Dame (226 ft. iu
height) is one of the finest in the city. The entrance to them is outside
the church, by the N. tower, to the left of the portate. The ascent may
be made from 9 to 4, 5, or 6, according to the season. The platform at
the top is reached by 376 steps (256 to the first gallery). In tne S. tower
hangs the great Bourdon de Notre-Dame, of 1686, weighing nearly 18 tons.
Another bell (not used) was brought from Sebastopol. The quaint Gar-
goyles rhobgoblins, chimssras, etc.) on the balustrades of the towers, de-
signed by Viollet-le-Duc, should be noticed. — See *La Cath6drale Notre-
Dame de Paris', by Marcel Aubert (Paris, 1909; 21/2 fr.)-
In the square at the back of the cathedral are the tasteful Gothic
Fontaine Notre-Dame, after Vigoureux (1845), and a marble Bust
ofGoldoni (1707-93), the Italian comic poet, by Fortini (1907).
"* e view of the choir of the cathedral.
ILE ST-L0UI8. cm 16. 277
At the S.E. end of the lie de la Oit^, near the fountain, is
the Morgue (not open to the public), where dead bodies (about
1000 annually) are exposed to view for identification.
The ne St-Louis (PI. R, 22; F), connected with the Cit6 by
the PorU St-Louis , is a peaceful oasis amidst the busy life around.
The narrow Rue St-Louis-en-VIale traverses the whole island.
No. 51, the Hdtd Chenizot (1730), the old archevSchi, has a balcony
borne by chimsBras. Farther on, to the right, rises the church of
St-Loiii8-en-l'Ile, begun in X664 from designs by Le Yau and
consecrated in 1726, with a curious open-work tower of 1765.
At the entrance to the chnrch, on the left, is a small b^nitier from
the Carmelite convent of Ohaillot, a memorial of Sister Louise de la
Mis^rieorde (Mile, de La Vallifere; 1675). On the right is the Chapelle
des Fonts, or baptistery, with a picture of the Baptism of Christ, by
Stella (Van den Star). Scvoral of the chapels contain old pictures. In
the 2nd Chapel on the left of the nave is a fragment of the portable altar
on which Pins VII. celebrated mass during his captivity at Fontainebleau
(1812-14). The 1st Chapel to the left of the choir contains a curious portrait
of St. Francis of Paola ; in the first two to the left of the choir are small
reliefis in alabaster (15th cent.). In the lower j^art of the church is a statue
of St. Louis, by A. Mony (1906). The sacristy contains an altar-cover
(18th cent.), consisting of twenty-six pieces of embroidery, which is shown
in a chapel to the right of the nave during the festival of St. Louis
(25th Aug.).
To the E. of the church is the old Hdtel de Lauzun, 17 Quai
d'Anjou, built in 1650-58, once occupied by the poets Th6ophile
Gautier (1811-72) and Baudelaire (1821-67). The Rue des Deux-
Ponts connects the Quai d'Anjou with the Quai d'Orlians; here,
at No. 6, an old house with a carved doorway, is the Bibliothdque
Polonaise (1838; public reading-room on the 2nd floor, daily 11-4).
A tablet at No. 12, at the corner of the Rue de Bud6, marks the
birthplace of Fdix Arvers, the poet (1806-50).
No. 2, Rue St-Louis-en-l'Ile, is the handsome Hdtel Lambert
(1680) built by Le Vau for President Lambert de Thorigny, and
since 1843 owned by the Princes Czartoryski.
In the absence of the family visitors are admitted (preferably 10-11
a.m.) on application by letter to M. le Secretaire de THotel Lambert (comp.
p. 60). Sup^erb staircase adorned with Gobelins tapestry. Round vestibule
panelled with paintings by Le Sueur. Galerie d'Hercule (ceiling) : Mar-
riage of Hercules «nd Hebe, bv Le Brun; landscapes on the wall-panels
by Fr, Perrier and grisailles by Le Sueur, Small room : Aurora, oy Le
Brun; two reliefs by DonateUo; old reliquary in ivory. Study: Three
charming Watteaus; grisailles by Le Sueur; Credo, by Frdmiet. The
ceiling of the bedroom (formerly the Salle des Muses) is painted by Le
Brun; bed in Henri II. style. — Voltaire once lived for a time at the
Hdtel Lambert, then owned by the Marquise du Ch&telet.
The Boul. Henri-Quatre, passing this house, leads over the
Pont de Sully (p. 190) to the end of the Boul. St-Germain, near the
Halle aux Tins and the Jardin des Plantes (pp. 334, 335).
278
16. Quartier Latin.
MAtro Statioms (Line 4; Appx., p. 88): St-Michd (see below), Carre-
four de VOdion (p. 279). — Rest aukahts, p. 28.
The quarter on the left bank, to the S. of the Oit^, including
the 5th Arrondissement (Pantheon) and the E. part of the 6th (Luxem-
bourg), is usually known as the Quartier Latins and next to the
Cit6 is the oldest part of Paris. It has been the seat of learned
societies from time immemorial, and was once simply called 'L'Uni-
versit^' (see p. 267).
The Pont St-Michd (PI. R, 19,' V; fine view of Notre-Dame,
on the left) crosses from the Oit^ (Boul. du Palais, p. 268) to the
Plaoe St-Miohel, near which, under the quay, is a station of the
Orleans line (p. 305). On the S. side of the Place, against a house,
rises the Fofitaine St-Michel, a fountain 85 ft. high and 49 ft. in
width, erected in 1860 after Davioud. It consists of a triumphal
arch in the Renaissance style, with a St. Michael and the dragon
in bronze, by Buret, placed on an artificial rock, from which the
water falls into three basins flanked with griffins. At the sides are
columns of red marble bearing allegorical bronze figures. — Under
the Place is the 'St-MicheP station of the MHro (Line 4; Appx.,
p. 33; omn. & tram., see Appx., p. 55).
At the Place 8t-Miohel begins the —
Boulevard St-Miohel (PI. R, G, 19; F), the main artery of
the Quartier Latin, and one of the great thoroughfares made by
Haussmann early in the second Empire (comp. p. 217). It leads
past the Hotel de Cluny (p. 280), the Place de la Sorbonne (p. 290),
and the E. entrance of the Luxembourg Garden (p. 331), and ends
at the Carrefour de I'Observatoire (p. 341). Its caf^s and restaurants
are much frequented by students.
The Rue de la Huchette (18th cent.) and Rue St-S4verin (PI. R, 19;
V) lead £. from the Place and Boul. St-Michel through one of the most
interesting and best-preserved quarters of old Paris, with the narrow and
tortuous streets so often described by novelists. Off the Rue de la
Huchette open the quaint Ruelles Zacharie and du Ohat-qui-P^che (so
named from an old shop-sign).
In the Rue St-Siverin rises the interesting church of *St-S6veriil
(PI. R, 19; V), on the site of an oratory of the period of Ohildebert I., with
an old a]^se opened up in 1909. It consists of a naVto and double aisles
flanked with chapels. The facade is composed of a portal, of the ISth cent.,
from the old church of St-Fierre-aux-Boeufs, near Notre-Dame, and an
elegant tower of the 18th cent., completed in the 15th. The first three
bays of the church also date from the 18th cent.; almost all the other
parts are of the 15th. The fifteen windows of the nave are filled with stained
glass (that in the upper row, 15th and 16th cent.). The double ambulatory
has curious groined vaulting, and above the choir is a novel trif^um.
The modern mural paintings in the very dark chapels are by Heim,
Signol, Schnetz, Hippolyte Plandrin, Hesse, and others. The chapels at
the end contain votive sculptures and paintings.
A little farther on, to the E., is the Gothic church of SWulien-
le-Pauvre (PI. R, 19, 22; V), of the 12th cent., which in 16.55 beoame the
ECOLE DE MEDEOINE. Left Bank 16. 279
ehapel of the old H6tel-Diea. Since 1889 it has been used as a Qreek
chnrch (mass on Son. and festivals at 10, in winter at lO.SO a.m.). Entrance
by No. 11, Rue St-Julien-le-Pauvre, through an old court. An old well to
the right of the door is now closed. By the wall, in the r^^ht aisle, is a
tomb of the 15th cent, (relief). In the left aisle is a statue of Montyon
(17SS-1820), the philanthropist.
At the back of the church runs the Rue du Fouarre ('of the straw*,
on which the students sat). In the 13th cent, this was the quarter of the
8choolSy and is mentioned by Dante as the 'Vico d^Ii Strami' (Paradise
X. 137). — Still farther E., at the comer of Rues de I'Hotel-Colbert and
de la B&cherie, is a round building, used as a lecture-room by the faculty
of medicine from 1483 to 1775, and under the Empire as a school of anatomy.
It is now a Maison des Etudiants, opened in 1910.
The Boul. St-Michel crosses the Boul. St-GrermcUn (p. 307),
about 330 yds. from the Seine. This is one of the busiest points
in Paris. On the left are the garden in front of the Thermes (p. 289)
and the Hdtel de Cluny (p. 280). In the Boul. St-Germain, to the
W., rises the —
Boole de M6deoine (PL R, 19; F), a huge block of build-
ings stretching S. to the Rue de I'Ecole-de-M^dccine. The facade
towards the boulevard, by Ginain (1878), is adorned with two
caryatides, by Crank : Medicine and Surgery. The old part of the
building, in the Rue de l'Ecole-de-M6decine, dating from the 18th
cent., has a handsome court flanked with an Ionic colonnade; at the
back rises a bronze statue of Bichat, the anatomist (1771-1802),
after David d'Angers ; to the left is the Monument of Dr. Brouardel
by Denys Puech (1909). Visitors to the interior apply to the con-
cierge (on the right). In the vestibule is a group by Barrias, Science
unveiling Nature. In the gallery next the Boul. St-Germain : Hip-
pocrates and Hygeia, by J. Thomas. The 1st Salle des Theses con-
tains a large painting, by Richet, of the foyer of the Com6die-
Fran^aise converted into a hospital in 1870-71. In the Vestiaire
at the E. end: Hippocrates refusing the gifts of Artaxerxes, by
Girodet. The collections are open only to medical men with a
permit from the secretary. In the main building are the Large
Amphitheatre (1400 seats) ; the Library (90,000 vols.), open to
students and medical men on week-days, except in vacation (1st
Aug.-15th Oct.), 11-6 and 7.30-10.30; and 2l Museum of Compar-
ative Anatomy, named Mus^e Orfila after its founder (1787-1853).
In the open space to the W. of the Ecble de M^decine are bronze
statues of P. Broca (1824-80), surgeon and anthropologist, by P.
Choppin, and of Danto?i (1759-94) by A. Paris. Between the
statues is the M4tro station 'Carrefour de I'Od^on' (Line 4; see
Appx., p. 33).
On the opposite side of the Rue de I'Ecole-de-Medecine is the
Ecole Pratique (laboratories), a. modern building which extends
to the Rue Racine. The court contains a monument to Dr. Cornil
(1837-1908), by Dr. P. Richer (1911). At No, 15 in the same street
is the old refectory of a Franciscan monastery (late 15th cent.),
280 Left Bank ie. HOTEL DE OLUNY. QuarUer
where the reyolutionary *Club des Cordeliers' once met. It now
contains, on the ground-floor, the Mus6e Dupuytren, a pathological
collection, and on the fourth the Mu86e Broca, a museum of an-
thropology.
A fine 17th cent, house, at 5 Rue de TEcole-de-M^decine, once the
surgical Amphith^Htre de St-Gosme, has been since 1767 the Ecole Natio-
unle des Arta Dicoratifs.
At the corner of the old Rue Serpente and the modern Rue Danton,
which begins at the Fontaine St-Michel, is the H6tel des SociiUs 8avantes<,
where meetings are held. No. 5, Rue Hautefeuille, to the N. of the Rue
Serpente, is the HdteL des Abbis de Fecamp, with a pretty turret at the
corner of the Impasse Hautefeuille. The Rue Hautefeuille leads to the
Place St-Andr^-des-Arts (PI. R, 19; F), whence the Rue St-Andr6-de8-
Arts runs to the W. Nos. 47 and 49 in this street (inscription) stand on
the site of Jeanne de Navarre's mansion, afterwards that of Jacques Coitier,
physician to Louis XL, and of the Dukes of Orleans; at No. 61 is the
lane called the Cour du Commerce, in which (No. 8) Marat's newspaper
'L'Aroi du Peuple' was printed (1793). Opening off this lane to the left,
between Nos. 2 and 4, is the Cour de Rouen, or de Rohan, a dependance
of the palace of the Archbishops of Rouen (16th cent.), where Henri II.
built a house for Diane de Poitiers. In the second part of this 'cour*,
on the right, is a curious well. The Oour du Oommeroc leads to No. 130,
Boul. St-Germain.
The Rue de I'Ecole-de-Medecine leads to the —
*H6tel de Cluny (PI. R, 19; F), which occupies the site of a
Roman palace said to have been built by Emp. Constantius Chlorus
in 292-306. Julian was proclaimed emperor by his soldiers here
in 360; and this was the residence of the early Frankish monarchs
until they migrated to the GiU. The only relics of the palace are
the ruins of its Therrnes, or baths (p. 288). About 1340 it came
into possession of the Abbey of Cluny (near H&con, in Burgundy),
and the abbots built a residence on its ruins. The HOtel de Cluny,
an admirable specimen of late-Gothic, under Renaissance influence,
was completed by Abbot Jacques d'Amboise in 1490, and has since
remained almost unaltered. James Y. of Scotland and Mary Tudor
CLa Reine Blanche'), sister of Henry VIII. and third wife of
Louis XII., occupied it at different times. The Revolution declared
it to be ^national property', and in 1833 it was acquired by the
archaeologist Al. du Sommerard for his valuable collection of medi-
ieval and Renaissance works of art. On his death (1842) the edifice
with its collections was purchased by government and united with
the Thermes, which the city presented to the state.
The ^Mus6e de Cluny is an extremely valuable collection
of mediseval products of art and industry. As there are over
11,000 objects, one visit will hardly suffice for even a glance at
the most important. Changes of arrangement are frequent. Direc-
tor, M. Ed. Haraucourt.
Admissioh. The Mus^e is open to the public daily, except Hon. and
certain holidays (p. 67) ; from Ist April to 80th Sept., Sun. 11-4, Tues. 1-6, on
other days 11-8; from Ist Oct. to 31 st March it always closes at 4. Cata-
logue (1883) 4fr., bound 6fr.; new edition in preparation. Small album
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LaUn, MUS^E DE CLUNY. Left Bank 16. 281
with historical notice, l^/g fr. (Explanatory labels almost everywhere.)
Sticks and ambrellas must be given np (no fee). A large selection of
photographs is on sale in the 1st Room.
The entrance is at 24 Rne Bu Sommerard. The court is enclosed
by a battlemented wall. We enter by a large gate or by a postern,
both adorned with tasteful sculptures. The main building and the
wings have Gothic windows with stone mullions, an open-work
parapet, and dormer-windows of delicate execution. In the centre
of the facade rises a turret. The left wing has four large Gothic
arcades. In the right wing is the entrance to the garden (p. 289).
The door of the museum is at the right angle of the main building.
Ground Floor. Boom I (cloak-room). Flemish tapestry.
Room II, on the right, contains a large collection of ancient
shoes, wood-carvings, and tapestry (French, 16th cent.).
Room III (to the left of R. I), in which new acquisitions are
temporarily placed. Opposite the entrance, the Vierge de Moussac
(13th cent.). Behind: Fragment of an altar-piece (Franco-Flemish
school, end of 16th cent.); reliquary in *champlev6' enamel (Li-
moges ; late 12th cent.) ; caskets ; Venetian glass goblet with the
arms of Catherine de Medicis (middle of 16th cent.) ; head of Christ
(end of 15th cent.). By the first window on the right, Enamels and
rings used for decorating harness (13th-15th cent.). By the 3rd
window on the right, Moulds for stamping and casting (12th-17th
cent.). By the 1st window on the left: Watches and astrolabes
(Bourmfene Collection, 1911); Ave Maria girdle (15th cent.); Gallic
gold treasure from Lapte (Haute-Loire). Between the windows.
Statues (16th cent.). By the 2nd window on the left, Toys found
in the Seine (14th -17th cent.). In the centre: Embroidered alb
(18th cent.). Then, Moulds for consecrated wafers (13th-17thcent.).
Fine caskets and chests presented by Baron Arthur de Rothschild.
At the end, fine chimney-piece in stone, with reliefs (1562) : Christ
and the Samaritan woman, by Hugues LaUement. Right and left,
St. Michael and the Virgin (French, 14th cent.).
Room IV. Entrance-wall: *709. Large carved altar-piece,
gilded and painted, from Champdeuil (end of 15th cent.) ; right,
*712. Flemish carved altar-piece (15th cent.); left, 816, 788. Holy
Women and Mater Dolorosa (16th cent.). By the windows: Leaden
objects found in the Seine at Paris (12th- 16th cent.); pilgrims'
badges. Exit-wall: *Altar-piece of the Passion, from Antwerp (end
of 15th cent.), opposite No. 709, another fine altar-piece, but
smaller; right, 715. Calvary, triptych in carved wood (16th cent.);
left, *710. Large German triptych in carved wood, painted and
gilded (early 16th cent.), on a French credence of the same date.
Several fine Gothic cabinets. — In the centre, on a separate screen,
is part of the Donation Rothschild (p. 159). Side next the court:
two panels by M. Wohlgemuth (1480); in the centre, alabaster
382 LeftBcmkie, MU8EE DE OLUNT. QuarHer
reliefs, in a carved frame adorned with lapis lazuli (16th cent.),
of the Resurrection and the Descent into Hell ; below, under glass,
Christ at the Mount of Olives (Hispano-Flemish, 16th cent.) ; Ger-
man medal (1549); forms of prayer in miniature (Italian, 1541);
right, Adoration of the Magi, by Znicas van Leyden (?; 1523);
above, pewter dish with the Resurrection (German, 16th cent.).
Side next the garden: in the centre, large precentor's desk (Ger.,
15th cent.) ; below, beautiful incrusted staflP of Card. Montelparo
(Ital., end of 16th cent.) ; above, St. Dominic and St. Catharine
receiving the rosary (Ital., end of 16th cent.); left, St. James ('El
Matamoro' ; end of 15th cent.) ; right. Assumption (Spanish, end of
16th cent.) ; below. Virgin and Child, and the Annunciation, both
in slate (Ger. style; end of 15th cent.).
Room V. Handsome furniture of 16th and 17th cent.; in
glass-cases by the windows, a fine collection of plaqnettes and
medals (15th-18th cent.). Chimney-piece, with bas-relief of Actseon
changed into a stag, by Hugues LaUement (16th cent.). In the
centre. Celestial globe (Italian, 1502). Entrance-wall, Story of
Psyche, in Gobelins tapestry, after Raphael (17th cent.). Right
wall. Adoration of the Magi, in Brussels tapestry (16th cent.). Right
and left, St. Anthony and St. Barbara (statues of 15th cent.).
Room VII (right). Collbction AuDiouD (1885): Italian and
Spanish works of art of 17th and 18th cent. ; in the centre, Neapolitan
Fresepe or manger (Adoration of Magi and Shepherds). Large glass-
case at the back: Painted statuettes and groups. Massacre of the
Innocents, Last Supper, etc. Left, richly sculptured and gilt tab-
ernacle (Spanish, 17th cent.). Beautiful carved, inlaid, and painted
furniture. Fragments of a Spanish bed ; leathern hangings, etc.
CoRRiDOB (VI, VIII). Richly framed mirrors; Italian paintings
(14th- 16th cent.); 768. Coloured altar-piece from Villefrancbe
(Aveyron) ; panels from a large Spanish altar-piece of the 15th cent.;
another altar-piece of the same date and origin.
Room IX (right), with door opening on the Thermes (p. 288)
and a gallery accessible from R. XVII on the first tloor only (p. 284).
Sculptures, mostly in wood. Above the entrance, 1664. Legend of
the Virgin, an altar - frontal (English, 14th cent.). On the right:
Small sculptures ; Virgins. In the four corners of the room. Apostles,
from the Sainte-Chapelle (13th cent.). — On the wall, and also on
the next long wall, three admirable pieces of ^Brussels tapestry,
early 16th cent., part of a series of ten pieces with the history of
David and Bathsheba (others, see p. 283). — By the long wall: under
j^lass, St. Louis (French, 13th cent.) ; 705. Railing from a church
at AugeroUes (Puy-de-Dome; 16th cent.); behind, 728. Virgin and
Child from Auvergne (12th cent.); columns of carved wood from
St- Pierre -le-Moutier (Ni^vre; 15th cent.). — By the next wall:
Enamels; wooden statuettes of the kings of France (17th cent);
La*in. MUSEE DE OLUNY. Left Bank 16. 283
illuminated MSS. (11th -17th cent.). Above the door leading to
the Thermes, Annunciation (French, 15th cent.). Beyond the door:
Altar-piece (14th cent, and 1692); Flemish triptych (end of 15th
cent.) ; above, a piece of Flemish tapestry (Apparition of the Virgin;
16th cent.); portraits and medallions (16th -17th cent.). — On the
entrance- wall : Mosaics from St-Denis (12th cent.) and Florence
(15th cent.; 4763. Madonna, by D. Ghirlandaiof); moulds for
pastry (16th -18th cent.); engraved plates for a pack of cards
(17th cent.). — In the centre: by the columns, Virgin (French, 14th
cent.), and 744. Si Catharine (Ger., 15th cent.); two tall glass-
cases with small sculptures in wood (statuettes, reliefs, etc.) ; two
flat cases with combs, knife-sheaths, crosses (15th-17th cent.), nut-
crackers (17th-18th cent.), tobacco-graters (17th cent.), etc. On a
cabinet: four *Moumers from the tomb of Philippe le Hardi at
Dijon, by Claii8 de Werwe (1412), after Clam Sluter (1404);
Virgin and Child (Burgundian, 15th cent.). Reliquaries (15th-17th
cent.). In front, 743. Notre-Dame-des-Ardents (French, 15th cent.).
Behind, 937. Child Jesus blessing, by Duquesnoy (17th cent.);
below. Virgin (14th cent.). Farther on, under glass: MSS. with
miniatures; medallions in wax (16th cent.), incl. portraits of Cle-
ment Marot) Francis I., and Catherine de M^dicis. On both sides,
fine carved panels. In front of the door to the Thermes, John the
Baptist in the desert (Ital., 15th cent.) ; right, Virgin at Calvary
(polychrome; 16th cent.); left. Angel of the Annunciation (Ital.,
14th cent.). By the columns, a saint and a Virgin (Ger., 16th cent.).
Room XIII, left of the corridor, opposite R. IX, also with gallery
above. On the walls, three *Tapestries of the series mentioned on
p. 282. In the glass-cases, ^Ecclesiastical ornaments, lace, antique
stuffs, vestments, head-dresses, etc. Around are sculptures: from
right to left, 460. Flora, caryatide (Ital., 16th cent.) ; *448. Marble
group of the Fates, attr. to G. Pilon; 251. Virgin and Child (French,
16th cent.). Right of the exit, 449. Ariadne deserted, 456. Sleep,
450. Venus and Cupid (French, 16th cent.) ; left, 446. Mary Mag-
dalene (end of 16th cent.) ; then, as we return, statuettes by J. Juliot
of Troyes (16th cent.). — On the ceiling, Venetian lantern (16th cent.).
Room XIV. On the walls are the last four *Tapestries of the
series mentioned on p. 282. In the flat cases: Church ornaments,
stuffs, lace, etc. In the large case at the back, *Dress, mantles, and
collar of the Order of the Holy Ghost, founded by Henri III. in
1579. In front, *Lantem of a Venetian galley (16th cent.) ; two fine
monolithic columns (16th cent.) with statues (15th cent.). By the
entrance and left walls, small sculptures: several Virgins (14th-
16th cent.) ; 564. Fame (16th cent.) ; 459, 458. Salutation (16th cent.) ;
563. Abduction, after Giov. da Bologna (16th cent.) ; alabaster reliefs ;
John the Baptist (14th cent.); 'Vierge du Breuil' (Sch. of Troyes;
ca. 1520); Presentation (Sch. of A. Beauneveu; 14th cent.); marble
[^Basdeksb's Paris. 18th Edit. 18
284 Left Bank 16. MUSEE DE CLUNY. quaHier
figures for appliqu6 work (14th cent.) ; female mourner (late 14tli
cent.) ; figure from the tomb of Francis II. in the church of the
O^lestins, by Germain Pilon or Ponce Jacquio.
Room XV (right of R. XIV). State carriages, sledges, rich trap-
pings, sedan chairs, etc. (17th-18th cent.).
We return to the corridor between Rooms IX and XIII, and then
ascend a wooden staircase with the arms of Henri IV. and Marie de
M^dicis, formerly in the Palais de Justice.
First Floor. On the Staircase and in the Corridob (XVI) are
Weapons and Armour: Gothic shields; to the right of the 1st door,
5574. Two-handed sword, with arms and motto of Charles V. (1541).
Room XVII, to the left (gallery of R. IX, comp. p. 282). French,
Flemish, and Dutch fayence, stoneware, etc., of the 16th-18th
centuries. 1st Glass-case, to the left: French fayence and glazed
pottery (Avignon, Beauvais, etc.). 2nd Case: German stoneware.
Then, two gable-ornaments (Norman, 16th cent.), two charming
terracottas (satyrs) by Clodion (1783), and a bust of a child by
PigaUe (1757). 3rd Case: *Palissy and St-Porchaire (Oiron)
fayence (16th cent.). 4th Case : Fayence from Sceaux, Paris, Nieder-
weiler, Strassburg, Marseilles, Alcora (Spain), and *Moustiers (Pro-
vence). 5th Case: *Rouen. 6th Case: *Nevers. 7th Case: Dutch
fayence (Delft). 8th Case: German, Swedish, etc. Lastly, tiles and
weapons (15th-17th cent.). The cases in the centre contain French
fayence, those opposite the entrance, Saxon and Bavarian porcelain.
Room XVIII, opposite (gallery of R. XIII, see p. 283). Splendid
collection of *Italian fayence, 15th-17th cent., classed in schools,
in eight large glass-cases. Right, Case 1. Faenza; 2. Cafaggiolo and
*Deruta; 3. *Deruta; 4. *Gubbio and Castel Durante ; 5-7. Urbino;
8. Venice, Castello, and Castelli. — Wall to the left of entrance:
*Medallions and bas-reliefs in enamelled terracotta, by Luca delta
Robbia and his school (15th-16th cent.).
Room XX (right). On the entrance-wall, *Tapestries of the
15th cent, from the Chateau de Boussac; those below are known
as the 'Tapestry of the lady and 'unicorn'; those above represent
the story of St. Stephen. Fine carved stone chimney-piece (16th
cent.), a ceiling, and oak doors from a house in Rouen. Old stained
^lass in the windows. — In the glass-cases, church-plate, and a
rich collection of enamels (chiefly from Limoges) and glass.
To the left of the entrance, Case 1: *Reliquary of St. Anne, by Hans
Greiff of Nniemberg (1472) ; reliquaries in the shape of heads, arms,- and
feet (Italian and French, 14th-16th cent.); hand-warmers (18th and 16th
cent.); censers (14th-15th cent.); Virgin and Child (14th cent.); chalices
(15th cent.). — Case 2. Crucifixes in chronological order from the 6th to
the 17th century. — Cases. Figures for appliqu4 work in Limoges enamel
(18th cent.). — Cases 4 & 5. Church-plate in gold, reliquaries, monstrances,
book-covers for the Gospels.
Glass-cases at the back: Venetian, French, German, and Dutch glass;
left, 4768. Lamp from a mosque (14th cent.). Between the cases: Vene-
LaHn. MUS^B DE CLUNY. LeftBavkie. 285
tian wedding-chest (16th cent.) ; *Altar-piece in embossed copper (Bhenisb :
18th cent.)* — On the wall and between the windows, nine plaques of
enamel on copper (6 ft. 6 in. X 8 ft. S in.), the largest known, from the
old Ohfttean de Madrid in the Bois de Boulogne (p. 246), representing divin-
ities and allegories (executed for Francis I. by Pierre Courteys).
Window-wall as we return. Case 1 (flat) : Venetian glass, notably the
dishes (4779-4782) with pained subjects, called '^lomis^', of 16th cent.
(Psyche and Proserpine, Samson and Delilah, Juno and Isis, Birth of
Bacchus). — Case 2. *Church ornaments, especially reliquaries, book-covers,
crosses, croziers, etc. (12th and ISth cent.). — Case 8. ^Limoges enamels
(16th and early 16th cent.) by the PSnicauds: ♦4678. Calvary, by Nardon
P6nicaud (1608); 4676. Pietii, by Monv{»emij the earliest master known
by name. — Case 4. *Lim<^e8 enamels (16th-17th cent.): 4617-4680. Large
medallions with scenes from the Life of Christ (1667); 4679 (next the
windows), Eleanor of Austria, wife of Francis I.; portraits (adjacent)
of the Duke and Duchess of Cruise, all by Leonard Limousin; above,
cups, casket, and plates by Pierre Reymona^ Jean CourteySj F. O. Mouret,
etc. On the other side are works by Cotdy Noylier. — Case 5: *4689.
Reliquary of Catherine de M^dicis (by Jfartin Didierf), and other smaller
enamels (Limoges; 16th cent.). — Case 6. ^Enamels (Limoges; 16th-17th
cent.), mostly by P. Reymond: 4689-4664. Sixteen scenes from the life
of the Yiigin and the Passion ; above, 4610. Enamelled dish (Judgment
of Paris), by L, LimouHn; plaques by M. Didier; 4606. *Plat de Molse*,
by P. Pinicaud.
On the entrance-side, in two flat cases: Painted enamels and French
and Italian medallions (16th - 18th cent.) ; paxes (French, Ital., and Ger. ;
16th-16th cent.). — Tall case: Church plate, ind. a reliquary in the shape
of a head (Ger., 14th cent.); Last Supper (Limoges, 18th cent.); figures
for appliqu6 work; plaques for caskets and reliquaries, book-covers for
the (Gospels, etc.
Room XIX (gallery of R. XIV, p. 283). *Hi8pano- Moorish
fayence with metallic glazing (14th -17th cent.) and *Rhodian
fayence, same dates, made by Persian workmen ; bronze vases ; by
the window-wall, Spanish chest (17th cent.); in the windows, old
stained glass.
Room XXI. Objects nsed in the Jewish cult : Furniture, gold orna-
ments, jewels, MSS., embroidery. Chimney-piece of the 15th century.
Room XXII. Case 1. Musical instruments (17th-18th cent.):
Psaltery, mandolines, violin by Amati, French hurdy-gurdy. Case 2.
Collection of caskets. By the wall : left, 'kits*, or pocket- violins of
dancing-masters; two spinets (16th and 17th cent.); 1455. Floren-
tine cabinet, with costly mosaics (17th cent.) ; three French cabinets
(Louis Xm.); *1477. Venetian cabinet of 16th cent., resembling
the fagade of a domed church, with incrustations, paintings, and
statuettes; 1449. Cabinet in French leather (17th cent.). Next the
windows, carved wardrobes (16th cent.). Under glass, bindings
of 15th-18th cent. ; sheaths and leathern articles.
Room XXIII. Painted ceiling of the 17th century. French and
Flemish cabinets (16th-17th cent.); in the centre, a sideboard
(German, 15th cent.).
Room XXIV. Right, state-bed of the time of Francis I. ; adjoin-
ing it, 1426, 1426. French double wardrobes (16th cent.). Right of
chimney-piece: *1424. Carved cabinet in walnut from Clairvaux
Abbey, time of Henri II. (16th cent.). Opposite the windows: 1431,
18*
286 Left Bank le. MUSEE DE CLTJNY. quarHer
1433. Double wardrobes (16th cent.). Window- wall: French doable
wardrobe (17th cent.); back of judge's chair (French, 15th cent.).
Room XXVII. Chiefly Ivories. Ist Case, in the centre, right:
1081. Italian triptych (14th cent.), with scenes from the Ciospels;
1058. Pastoral staff in boxwood and ivory (14th cent.); 1088.
Madonna and saints, fragment of Ital. tnptych (14th cent.) ; crozier
from the Abbey of St-Martin de Pontoise (French, 13th cent.). —
2nd Case on the right: 1034, 1033. Fragments of pyxes (5th and
6th cent.) ; 1035. Christ blessing the marriage of Emp. Otho II.
of Germany and Theophano, daughter of the Greek Emperor Roma-
nus II., in 973 ; *Plaque of consular diptych (5th-6th cent.) ; book-
covers, plaques for caskets, etc. (4th-13th cent.). — Large central
case (right) : 1052 (above, right). Reliquary of St. Yved in ivory
(12th cent.); Virgins (13th-14th cent.); caskets, etc.; below, 1032.
Ivory statuette found in a tomb near the Rhine (3rd cent.) ; Byzan-
tine, French, and Venetian caskets (9th and 15th cent.). — Second
large case: 1060. Reliquary with 51 bas-reliefs of Scriptural sub-
jects (15th cent.); above, fine crozier (12th cent.) ; right, Justice
and Crime (16th cent.) ; left, Virgin seated (French ; early 13th cent.);
caskets, chessmen, etc. — 1st Case on the left: Carved plaques of a
casket (Wasset Collection). 2nd Case on the left: 1115. Entombment
(bas-relief), powder-horns, etc. — Side next the entrance, 1461,
1462. Carved ebony furniture, 17th cent., and parts of cabinets
of like date (others opposite). Cases between the cabinets: Ivory
horns (llth-16th cent.); statuettes in ivory. On a cabinet to the
left: 1153. Manneken-Pis by Dttqttesnoy, sculptor of the figure at
Brussels (1619); other statuettes, by the same artist; bas-reliefs
by Van Opstal (18th cent.). — First window towards garden: To-
bacco-graters, knives, forks, and spoons with ivory handles, etc.
(17th cent.). — Between the windows and by the back -wall: 1458,
1457. Ebony cabinets (17th cent.). In the glass-cases adjoining
the second cabinet: Ivory statuettes, medallions, and bas-reliefs
(16th-19th cent.). — First case on the right, next the court: in the
centre, fine triptych in high -relief (14th cent.); 1082, 1063-66
(right), Scenes from the Passion and legends (14th cent.); diptychs
of the 14th cent.; 1055, 1069-73. Mirror- cases (14th cent.).—
Second case: Plaques in ivory, some of them of great delicacy
(as 1177. Small Italian diptych, 14th cent., with 102 figures);
right, plaques, partly gilt, from a French casket (late 15th cent.).
Room XXVIII. Objects in iron, locksmiths* work, bronzes, etc.
Oase 1, side next the conrt: Locks, knockers, etc. (16th-17th cent.).
By the wall : Knockers, reliquaries ; 1418, 1414. Credence-tables (16th cent.);
fine bronze serpents from a fountain at the Ohftteau deVillette (French,
17th cent.); bowls of corporations and English tankard (1762). — Oase 1:
Looks, flat bolts, etc. (14tn-18th cent.); iron writing-case inlaid with gold
and silver (17th cent.). By the wall, Hinge-ornaments from Kotre-Dame.
-r-Baek-wall, Case S: Graters, tinder-boxes, snuffers. — Oase 4 (above):
Candlesticks and lanterns. 1409. Credence -table (16th cent.), on whi«h
Latin. MUSEE DE CLUNY. Left Batik 16. JSf
•tands (6008) a statuette of St. Oatharine of Bologna (17th cent.)* — Oase 6 :
Damascened knives, table-utensils, hunting-gear. — Oase 6 (above) : 6189-
6192. Pewter ewers and basins, by Fr. Brioty and similar objects. —
Cases 7-9 (side next garden): Lock-plates, bolts, clasps, and knockers
(16th-18th cent.). 1271. On a credence-table of 16th cent., an Italian relief,
in iron, of the Wise Virgins (16th cent.). — Oase 10: *Lock8 and *Keys of
16th cent. (2nd key to the right, lirst row. No. 6962, made by Louis XVI.).
:— Oases 11 & 12, to the right uid left of the 16th cent, chimney-piece:
Bronze statuettes. — Oase IS (in front of Case 11): Caskets, kettles; bronze
statuette of Joan of Arc (16th cent.); 6698, 6699. Girdles of chastity.—
Oase 14 (in front of Oase 12): Caskets (I6th-17th cent.). — Between Oases
IS and 14: 1269. Bell-metal font ((ierman, 14th cent.). Farther on, a tine
cabinet, bearing two cases of domestic utensils, corkscrews, smoothing
irons, knives, etc.; 6064. Fine large chest in wrought-iron (17th cent.).
^Goldsmith's bench and tools, German work of 1666, inlaid and carved,
the iron parts delicately engraved. Hung from the ceiling, Lantern of
16th cent., with the arms of Lorraine.
Room XXIX. ^Precious metals. — On the walls of the entrance
and at the back, Flemish tapestry of the end of the 15th cent., Scenes
from aristocratic life. To the left of the iirst window, next the gar-
den: *dl04. Ship in gilded and enamelled bronze, with movable
figures of Emp. Charles Y. (in gold) and his court (admirable 16th
cent. work). Glass-case by this window: 120 *£ings (16th-19th
cent) from the Arthur deKothschild donation. Ornaments (13tli-18th
cent.) ; 5278. Portrait of Francis I. (16th cent.) ; German and French
girdles (14th-17th cent.). — Between the windows: Cups, sugar-
sifters, salt-cellars, etc. — By the second window: Gallic torques
and other objects, in massive gold ; 4990. Merovingian scabbard,
mounted in gold with bronze guard; 4989. Merovingian military
badge, in gold (end of a scabbard). — Glass-case by the end- wall:
French seals, with coats-of-arms (17th-18th cent.). — *4988. Golden
antependium presented by Emp. Henry U. (d. 1024) to the Cathe-
dral of Bale, with embossed reliefs (Christ, three archangels, and
St. Benedict), probably by Lombard artists. The tapestry (16th
cent.) below is also from Blile.
Entrance- wall: 1st Case. Sheaths, seals, snuff-boxes, etc. — 2nd
Case. Objects in rock-crystal, salt-cellars, cruets, cups. — 3rd Case.
Scissors, dressing-cases, smelling-bottles, etc. (16th-18th cent.).
Central cabinet: *4979-4987. Nine gold crowns, found at Guar-
razar near Toledo in 1858 and 1860; the largest, inlaid with pearls,
Oriental sapphires, etc., is said by the inscription (probably added
when the crown was used as a votive offering) to have belonged to
the Yisigothic king £ecceswind (649-672). — 1st Glass-case on the
left: above, 5296, 5297. Lions' heads in rock-crystal (Roman, 4th
cent.) ; 1040. Book-cover of the Gospels, ivory with gold filigree (9th-
13th cent.) ; Coffer in silver-gilt filigree work, enriched with pearls
and gems (Ger., 13th cent.); 5041. Double cross, in silver-gilt,
with gems, filigree, and reliefs (13th cent.) ; below, *5299. Set of
rock-crystal chessmen (Ger., 15th cent.) ; 5708. Spurs of Francis I.,
adorned with salamanders, the king's emblem; *5103. Prize for
288 Left Bank 16. THERMES. QuarHer
crossbow-shooting, in silver-gilt, embossed and chased (Ger., late
15th cent.). — 2nd Glass-case on the left: *5005. Golden rose of
B&le, presented by Pope Clement Y. to the Prince-Bishop of B&le
{14th cent.) ; 5042 (right). Double cross in gilded copper, forming
a reliquary, richly decorated with filigree and jewels, a beautiful
Limoges work of the 13th cent. ; *5044. Processional cross in silver,
gilded, engraved, and enamelled, with statuettes, at the ends, of the
Virgin, St. John, St. Peter, Mary Magdalene, God the Father, and
the symbols of the Evangelists (Italian, 14th-16th cent.) ; 5043.
Double cross in silver-gilt filigree, enriched with jewels, and con-
taining nine small reliquaries (Limoges, 13th cent.); other reli-
quaries; coins (13th-17th cent.).
1st Glass-case on right: French and German clocks and watches
(16th-17th cent.). By the window next the court: Porcelain, sweet-
meat dishes, German snuff-box (18th cent.) ; mother-of-pearl with
engravings. — 2nd Case on right: Astrolabes, compasses, and sun-
dials (16th and 17th cent.).
We return to R. XXIV. On the right is —
Room XXV. State -bed from Chateau d'Effiat (Puy-de-D6me ;
17th cent.). To the right: Sch. of Fontainebleau, Venus and Cupid ;
furniture (17th cent.). On the chimney-piece: 5385. Astronomical
clock (English, 17th cent.). On the walls, embroidered tapestry;
17th cent, clavichord, etc.
We next enter the rich Gothic *Chapkl (XXVI), with a pillar in
the centre. To the left, Virgin (Burgundian Sch. ; about 1410) ; large
altar-piece from the Abbey of Everbom near Li^ge (15th cent.).
Opposite, two church-seats and two stalls, one with the arms of
the Duke of Lorraine (French, about 1480). On the site of the
altar, in a projecting apse, marble sculptures of the 14th-15th cent. ;
in front, copper reading-desk (Flemish, 1383). Back-wall, Cande-
labrum (14th cent.) ; 1278. Leaden font (14th cent.). In the left
comer of the entrance- wall : Wooden door (15th cent.; usually
locked), whence a staircase descends to R. IX (p. 282).
The Thermes, or ruins of the baths of the emperors' palace
(p. 280), adjoin the Boul. St-Michel and are entered from Room IX
on the ground-floor (p. 282). The fact that the largest hall, the
Frigidarium, or chamber for cold baths, measures 65^2 by 37 Yj ft.,
and 59 ft. in height, will convey some idea of the imposing dimen-
sions of the ancient palace. All the antiquities here are from Paris
and its environs. We learn from an inscription on a mutilated
Roman altar (No. 2; to the right of the staircase), dedicated to
Jupiter, that in the time of Tiberius (d. 37 A. D.) there already
existed a corporation of Parisian watermen (NauUe Parisiaci).
In the centre is a Gallo-Roman altar. To the left, a statue of Emp.
Julian (see p. 97, No. 1121). On the right, on the site of the piscina,
iMHm SORBONNE. Left Bank i€. 289
or swimming-bath, is a G-allo-Roman mosaic. At the side are tomb-
stones of Grand Masters of the Order of St. John.
The Oarderif or Square de Clwiy, entered through the court of the
Hotel only, contains medi»val scolptares and architectural remains, no-
tably a lai^e Romanesque portal from the Benedictine church at Argenteuil.
Against the chapel-wall is a cast of the fine Madonna of the portal of
Notre-Dame (p. 276). By the wall of the Thermos stands the high-altar,
in white marble (end of 17th cent.), from the Cathedral of St-Pierre in
Martinique, which was destroyed by the eruption of Mont Pel^e in 1902.
In front of the entrance to the H6tel de Cluny lies a square with
a monument (1909) to Octave Gr^ard (1828-1904), vice-rector of
the University, by Chaplain. On the other side of the sqnare rises
the chief facade of the Sorbonne.
The *Sorboime (PI. R, 19; V) was originally a college found-
ed by Robert de Sorhon, confessor of St. Louis, in 1253, for the
reception of professors and students of theology at the University
of Paris, founded fifty years earlier. It soon acquired such a high
reputation that it became the centre of the scholastic theology,
and even gave its name to the whole theological faculty. While
hostile to the Reformation, the Sorbonne was strongly opposed to
the Jesuits also and took the part of the Jansenists (1713). It op-
posed the philosophers of the 18th cent., of whose witticisms it
was often the butt, until it was suppressed by the Revolution. —
In 1896 the Sorbonne became the University of Paris, the provin-
cial Academies being raised at the same time to their old rank of
independent universities. The Sorbonne is now the seat of the
Facultd des Lettres, the greater part of the Faculte des Sciences^
and two institutes unconnected with the University, the Ecole des
Chartes and the Ecole Pratique des Hatttes- Etudes. The Facul-
ties of Law and Medicine (pp. 291, 279), and also the Catholic and
Protestant Faculties of Theology (pp. 333, 345), have separate build-
ings, the last two being unconnected with the University. The
University has about 150 professors and 170 lecturers. The total
number of students (1911-12) is over 17,000, including 3384 for-
eigners. (Inquiry office, see p. 50.)
The buildings of the Sorbonne were erected iu 1629 by Card.
Richelieu for the theological faculty, but have been rebuilt and
enlarged since 1885, from plans by N6not. The vast pile is 270 yds.
long and 110 yds. broad. The Main Facade, in the Rue des Ecoles,
facing the Hotel de Cluny, has two pediments adorned with reliefs
(Science, by Mercie; Literature, by Chapu) and an attic with
eight statues : Chemistry (to the left), hjinj albert; Natural History,
by Carlier; Physics, by Lefeuvre; Mathematics, by Suchet; His-
tory, by Cordonnier ; Geography, by Marqueste; Philosophy, by
Longepied; and Archaeology, by Pdris.
The Saixb dks Pas-Perdus, which we enter from the Rue des Ecoles,
contains statues of Homer, by Delnplanche, and Arehimedes, by FalguUre.
890 Left Bank 16, 80RB0NNE. QuarHer
In the centre are the main entrance and the staircase to the galleries e
the RTcat amphitheatre. In the adjoining galleries to the left and right
are Iandscai>es by Ch. Poilpot; in the court (entered from the right gal-
lery), onposite the chnrch, two wall-paintings by J, J, WeeriSy the Foire
dn Lenoit (see p. xxviii) and the Foire aux Parchemins at St-Denis; in
the adjoining gallery to the left, wall-paintings by H. Martin.
The Pbristtlb or thb First Floor, above the Salle des Pas-Perdns
(p. 289), is decorated with mnral paintings: Literatore, by Flamena (to
the right of the main door), ana Science, by CJiartran (to the lerk).
Flameng's paintings represent: Founding of the Sorbonne; Ab61ard and
his school; Installation of the first printing-press at the Sorbonne (p. 294);
Portraits of distinguished men ; Richelieu laying the first stone of the
or bonne church ; the Rector of the Sorbonne and Henri IV. ; Michelet lec-
turing at the College de France, with Quinet, Yillemain, Guizot, Cousin,
and Renan among the audience. Adjacent, a statue of the Republic, by
Ddhomme. Ohartran's paintings, also beginning at the door: Louis JX.
studying mathematics; Ambroise Par6 tying arteries: B. Palissy lecturing
on mineralogy; Buffon, De Jussieu, and Daubenton; Pascal and Descartes;
Lavoisier and Berthollet; Ouvier; LaSnnec, inventor of the stethoscope;
Arago.
The Grahd Amphithsatrb, which is sometimes shown on Thurs.,
11-4 (apply to the concierge, Salle des Pas-Perdus, Door YII; a bright
day desirable), holds 3600 persons, and is used for public functions. At
the back is a large all^orical painting pi'The Sacred Grove) by Pu»i»
de ChavanneSf his masterpiece, and one of the finest of modern decora-
tive works (in the centre is the Sorbonne^ with Letters on the left and
the Sciences on the right). The cupola is by CkHland; around it are
six statues : Robert de Soroon by Crauk, Richelieu by Lanson, Descartes
by Coutarif Pascal by E. Barrios, Rollin by CTiaplain, ana Lavoisier
by Dalou.
The Church of the Sorbonne (1635-59), the only surviving
part of the original building, was begun by Card. Richelieu, and
has a fine and conspicuous dome. The chief facade, adorned with
statues (of Bossuet, Moses, Ellas, etc.), fronts the Place de la Sor-
bonne and Boul. St-Michel.
In the interior, to the right, near the entrance, is the tomb of the
Due de Richelieu (d. 1822), minister of Louis XYIII. On the left wall
of the nave is a painting by Weerts: 'Pour rHumanitS, pour la Patrie*.
In the left transept, large picture by N. A. Hesse: Robert de Sorbon
presenting students of theology to St. Louis ; also a Scouiging of Christ,
in marble, by the younger Barney. In the right transept is the *Tomb
of Oard. Richelieu (d. 1642), by Girardon (1694), a work of admirable
finish. The cardinal is supported by Religion and by Science in an attitude
of grief. Above it is Richelieu's hat. The large mural painting at the
back, by Timhaly represents Theology, with portraits of Robert de Sor-
bon, St. Bonaventura, Ab61ard, Dante, Bossuet, Pascal, and others. The
spandrels of the dome, painted by Ph. de Cliampaigne, represent four
Doctors of the Ohurch and Angels.
The small Place de la Sorbonne is adorned with a statue of
Auguste Comte (1798-1857), the founder of Positivism; marble
bust and allegorical figures by A. Injalbert (1902). Opposite, in
the Boul. St-Michel, is the Lyc4e St-LouiSf built by Bailly on the
site of the College d'Harcourt, which was founded in 1280.
To the E. of the Sorbonne, in the Rue des Ecoles, is the CoUdge
de Prance (PI. R, 19; F), founded by Francis I. in 1530, rebuilt
1610, then destroyed, re-erected, and completed in 1778 by
X^«. COLLEGE DE FRANCE. LtftBankls. 291
Ohalgrin. It was again restored and extended in 1831 and 1877.
From its beginning as a 'college des trois Ungues', it has expanded
into a teaching centre with 43 chairs embracing every branch of
science, as indicated in the motto at the entrance (^docet omnia'). The
lectures (free) are chiefly attended by older students and by ladies.
The college is unconnected with the University, but is under the
control of the minister of education. — In front of the fagade towards
the Rue des Ecoles rises a bronze statue of Claude Bernard
(1813-78), the physiologist, by Guillaume. In the grounds is a
bronae statue of Dante (1265-1321), by Aub6. At the back of the
court are two marble statues: Budsdus (Gruillaume Budi; 1467-
1540; comp. p. 210), one of the learned founders of the college, by
Max Bourgeois, and ChampoUion (1790-1832), the Egyptologist,
by Bartholdi. In the vestibule, to the right of the court, is a marble
group, Margaret of Navarre dictating to her brother Francis I. the
charter founding the College de France, by Eug. Guillaume.
We now ascend the old Bue St- Jacques (PL R, G, 19; F), be-
tween (left) the College de Prance and (right) the vast new pile of
the Sorbonne, with the tower of its observatory. On the left is the
Lycie Louis-le-Gfrand (rebuilt in 1887-96), once the College de
Clermont of the Jesuits. Higher up, on the left, is the Ecole de
Droit (Faculty of Law; see p. 289), extended in 1892-97, and reach-
ing to the Place du Pantheon (see below). — S. part of Rue St-
Jacques, see p. 338.
We now come to the broad and handsome Bue Soufflot (PL R,
19; V), which leads from the Jardin du Luxembourg (p. 331) to
the Pantheon. At the corner of the Rues SouflSot and St-Jacques
(No. 172) is a tablet with a plan of the old Porte St-Jacques, which
belonged to the enceinte of Philip Augustus.
In the Flaoe du Pantheon, on the left, is the E. fai^ade of the
Ecole de Droit (see above), begun by Soufflot in 1772, and completed
in 1823 ; on the right is the Mairie of the 5th Arrondissement
(Pantheon), built in 1844-46. In front of the Ecole de Droit rises
a Statiie of Pierre Corneille (1606-84), in bronze, by H. Allouard
(1906). Opposite the Miaiirie is a bronze Statue of J. J. Rousseau
(1712-78), by P. Berthet (1887).
The *P8Uitli6oii (PL R, 19; V) stands on the highest ground
on the left bank (the 'Mont de Paris'; 197 ft.), the site of the tomb
of St. Genevieve (422-512), the patron-saint of Paris. The chapel
erected over her tomb was succeeded by a church, which was
removed in the 18th cent. ; the present edifice, designed by Soufflot
and built in 1764-90, was likewise dedicated to St. Genevieve, but
was converted by the Constituent Assembly in 1791 into a 'Pantheon',
or temple of fame, for the burial of great men. Mirabeau was the first
to be interred in the Pantheon (15th April, 1791 ; see p. 203), and on
292 Left Bank 1€. PANTHEON. QvaHier
10th July of the same year the remains of Voltaire were brought
hither. The building, restored to divine service in 1806, was again
made a Pantheon after the July Revolution in 1830, when the words,
'Aux grands hommes la patrie reconnaissante*, were inscribed on
the pediment. It was reopened as a church in 1851, but finally
secularized for the obsequies of Victor Hugo (1885 ; comp. p. 74).
The Panth6on is an edifice of most imposing dimensions, in the
form of a Greek cross, 122 by 92 yds., with a central dome 272 ft.
high and 75 ft. in diameter. The dome rests on a lofty cylinder or
drum enclosed by a Corinthian colonnade, and is crowned with a
lantern, capped in its turn with a small dome. The total height,
to the top of the cross, is 384 ft. The facade consists of a peri-
style of twenty-two Corinthian columns, 82 ft. high, like that of the
Pantheon at Rome. The *Tympanum, 118 ft. long and 23 ft. high,
sculptured by David d' Angers (d. 1856), represents France, be-
tween Liberty^ and History, distributing wreaths to her sons, who
form picturesque groups on each side.
In front of the peristyle is a large bronze statue of the *Thinker,
by Rodin (1904). Under the portico are marble groups by Main-
dron: St. Genevieve begging Attila, chief of the Huns, to spare the
city ; Baptism of Clovis by St. Remigius. The doors are of bronze.
The Interior (open daily, except Mon., 10 to 4 or 5) is im-
pressive. A Corinthian colonnade, on each side of the aisles, forms
a gallery with a raised pavement. Over the centre rises the dome,
which Soufflot intended to rest on the columns; J. Rondelet, his
successor, however, substituted massive piers. The dome is in three
sections; the second is adorned with paintings by Gros (1824),
St. Genevieve receiving the homage of the kings of France : Clovis,
Charlemagne, Louis the D6bonnaire, and Louis XVIII. ; above,
Louis XVI., Marie Antoinette, Louis XVII., and Princess Eliza-
beth. The paintings in the spandrels, by Carvalho, after G&rard,
represent Death, France, Justice, and Glory.
By the 1st pillar of the cupola, on the right, is the *Moii(Wfnent
of J. J. Rousseau (comp. p. 293), by Bartholom6 (1912), consisting
of a portrait-medallion of the philosopher and figures representing
(from left to right) Music, Truth, Philosophy, Nature, and Fame.
The mural decoration of the Pantheon lacks unity. It was
entrusted to Paul Chenavard in 1848, but his cartoons (now at
Lyons), inspired by philosophy and history, were never executed
owing to the reconsecration of the church. The mistake was then
made of employing painters of different schools.
Right and left of the entrance are statues of St. Denis, by Per-
rand, and St. Remigius, by Cavelier. Above the door is a picture
of Glory surrounded by the Arts and Literature, by H. d^Es-
pouy (1908). — Right aisle: Preaching of St. Denis, by GaUand;
*Childhood of St. Genevieve, by Piwis de Chavamies (1877).
Latin. PANTHEON. Left Bank le. 298
Above these and the following paintings are smaller ones relating
to the lower scenes. — By the pillar of the cupola, Gen. Hoche, a
statue by Becqwet, and SS. Germain and Genevieve, by Chapu.
S. Transept: (right) Coronation of Charlemagne, and Charle-
magne, restorer of literature and science, by H, L&oy; at the end.
Pilgrimage to the shrine of St. Genevieve (1130), and Procession with
her relics (1496), by MaiUot, and a Gobelins tapestry, ^Gratia
Plena' (part of the old church-decorations); to the left. Baptism of
Clovis and his Vow at the battle of Tolbiac, by Jos. Blanc. In
front , Eustache de Saint-Pierre (one of the burgesses of Calais ;
comp. p. 449), by Rodin. — By the pillar of the cupola, St. Gregory
of Tours, by Fr^mietj and St. Bernard, by Jouffroy.
In the choir, (right) Death of St. Genevieve, by J. P, Laurens;
in front, a statue of the saint, by GuiUaume. On the vault of the
apse, Christ showing the angel of France the destiny of her people,
mosaic by Hubert. Between the pilasters, three panels (^Yers la
Gloire') by DetaiUe (1905) ; in front, 'La Convention Nationale', a
colossal cast by Sicard. On the other side, "^St. Genevieve watching
over Paris, and St. Genevieve provisioning the city, by Bums de
Chavannes (1898). — By the pier of the cupola, St. Jean de Matha,
by Hiollej and St. Vincent de Paul, by Falguihre.
N. Transept: (right) Joan of Arc at Domr6my, at Orleans, at
Bheims, and at the stake in Rouen, by Lenepveu; in front, a statue
of Joan of Arc, by H. AUouard; at the end, Prayer, the Family,
Patriotism, and Charity, hy Humbert (1900), and a piece of Gobelins
tapestry, 'Pro Patria'. On the left, St. Louis administering justice,
founding the Sorbonne, founding the Uuinze-Yingts (p. 189), and
captive of the Saracens, by Cabanel.
Left aisle: by the pier of the dome, St. Martin, a group by
Cabet and Becquet; on the wall, Attila and St. Genevieve, after
El. Delaunay (d. 1891), painted by CourceUes-Dumont ; MsirijT-
dom of St. Denis, by Bonnat.
The pendulum hung from the cupola was used by L6on Foucaultf
the physicist, in 1851 Ho demonstrate the rotation of the earth' (comp.
p. 842). The experiment was repeated in 1902-04 by the Astronomical
Society of France.
The Dome may be ascended without a guide, but only in small
parties. Staircase in the left (N.) transept. We ascend 139 steps to the
roof, and 192 more to the first cupola, through the opening (23 ft.) in
which we obtain the best view of the paintings by Gros (p. 292). — We
may ascend 94 steps more to the lantern. Extensive view, but less in-
teresting than that from Notre-Bame.
The Vatilts (Caveaux) are shown (by a custodian; fee) to limited
parties at a time, but the visit is apt to be too hurried, and the route
varies. The entrance is at the end of the building, to the left of the choir.
Among the tombs are those of J. J. Rousseau (1712-78; see pp. 292, 418);
Voltaire (1694-1778), with his statue after Houdon; Soufflot (1713-81), the
architect; Lazare Carnot (1758-1823), member of the Convention; President
Sadi Caamot (1887-94), his grandson; Gen. Marceau (1769-96); La Tour
d'Auvergne (1748-1800), 'the first grenadier of Prance'; Baudin (1811-51;
p. 260); Victor Hugo (1802-85; p. 74); Marshal Ixinnes (1769-1809; p. 226);
294 Left Bank le. BIBL. STE-GBNEVIEJVE. (^uarHer
Lagrange (1786-1813), the mathematieiaii; BougainviUe (1789-1811), the
navigator; several senators of the First Empire; Emile Zola (1840-1908;
p. 826), whose remains were jplaced here in 1908; MarceUin Berfhdoi
(1887-1907), the chemist, and his wife, who died on the same day. Under
the left arm of the transept is a model of the edifice.
The BibUoth^que Ste-Gtenevidve (PL R, 19; F), a long
building on the N. side of the Place dn Pantheon, was built by
H. Labrouste in 1843-50. On the walls are inscribed names of
famous authors of all nations. The library was founded in 1624 in
the Abbey of Ste-Genevi6ve, and augmented by the books of Card.
Le Tellier, Archbishop of Rheims, in 1710. Declared ^national
property' in 1790, it was brought to the present edifice in 1850.
On the staircase is a bust of Gering, who in 1469 set up at the
Sorbonne the first French printing-press (comp. p. 290). Above is a
copy, by P. Baize, of RaphaePs School of Athens ; at the sides are
busts of La Rochefoucauld and Labrouste. At the entrance to the
reading-room is a fine Gobelins tapestry, Study surprised by Night,
after Baize. The rooms reserved for MSS. and rare books contain
several fine original busts (17th-19th cent.) and a few antique busts.
The Reading Room (SaUe de Lecture), on the first floor, a
fine example of iron-construction, is seated for 420 readers. It
is open on Mon., 12-5 and 6-10; on other days, except Sun. and
holidays, 10-3 and 6-10; closed from Wed. before Easter till the
following Wed., also 1st -15th September. In the evening it is
used almost solely by students.
The library contains 8500 MSS., 9th-17th cent., some of them with
beantifnl miniatures, and about 890,000 vols., including nearly all the
Aldines (from the famous firm of Aldus and Manutius at Venice; 15th
and 16th cent.), incunabula (about 1100), and Elzevirs, printed by the
family of that name at Ley den and Amsterdam (16th and 17th cent.);
also several editions ot the 'Imitation of Christ' and most of the peri-
odicals of the 17th and 18th cent.; lastly, about 80,000 engravings, includ-
ing nearly 10,000 portraits. The portrait of Mary Queen of Scots is
said (but on doubtful authority) to have been presented by her to the
Abbey of Ste-Genevi6ve.
The ScANDUTAViAH LiBBABY (about 80,000 vols.), on the right, 6 PI. du
Pantheon (Ist floor; Tues. & Fri., 18-4), belongs to that of Ste-Oenevi&ve.
At 21 Rue Yalette, to the N. of the Place du Pantheon, are inter-
esting remains of the old CoUige Fortet (1891), where the members of
the Ligue and the Gonseil des Seize met, and where Calvin studied.
The church of St-Etienne-du-Mont (PI. R, 22; F), to the
N.E. of the Pantheon, a combination of Gothic and Renaissance
architecture, was erected in 1517-1618. The choir is mainly Gothic;
the facade, added in 1618, is Renaissance. To the left of the por-
tal is a square tower, flanked with a round turret, probably part
of an earlier building. In 1795 the church was handed over to the
Theophilanthropists and became the 'Temple of Filial Piety'.
The *Intbeior, one of the fijiest in Paris, consists of a nave
and aisles of almost equal height. Slender round pillars; twelve
n
._ J
Latin. ST-ETIENNE-DU-MONT. Left Bank le. 395
«
on each side, united by a gallery half-way up, bear the lofty vault-
ing; from the pillars spring ribs ending in pendent keystones, the
finest being that over the transept. The choir is enclosed by a
*Jub^, or rood-loft, of elegant workmanship, by Biard (1600-05).
The wooden Pulpit, by Lestocard, from designs by La Hire (d. 1656),
is borne by a Samson, and adorned with numerous statuettes. The
stained glass of the upper windows is very interesting; the chief
part of it is ascribed to Pinaigrier (1568). The 5th chapel on the
right contains an Entombment with life-size figures in terracotta
(early 17th cent.). The other works of art, except the stained glass,
are of less interest.
AmbuijATOrt. Beginning a visit to the choir on the right side, we
first notice on the wall, jnst heyond the Jub6, the epitaph of Jean Racine
(d. 1699), and heyond the Ist Chapel thftt of Blaise Pascal (d. 1662). The
S. wall is adorned with three large piettires (badly lighted): above, two
votive paintings, dedicated by the city of Paris to St. Genevieve; the
nearest to the Jiib6 is by De Troy (1726), the other by Largilli&re (1696) ;
nnder the latter is the Stoning of St. Stephen, by Abel de Pujol. — The
2nd Chapel, richly decorated, contains the TorrA of St. Oenevihve, the
patron-saint of Paris, a modem shrine enclosing part of the old sarco-
phagus, and a resort of pilgrims on the fdte of St. Genevi&ve (Srd-llth
Jan.). On this side of the chapel in the apse a passage to the right
(door of the sacristy) leads to the Galerie de VAncien Chamier (charnel-
house), containing snperb stained glass of the 16th-17th cent., such as
the 'Mystic Wine-press', attributed to Pinaigrier. — The CJiapeUe des
Catdchismes (1861), on the right, is adorned with paintings by Giacometti,
Timbal, and Biennonry. By the entrance are statues of St. John (right)
and St. Aloysius (left), by Chapu. — The ChapeUe de la Vierge ^ady-
chapel ; 1661), at the back of the choir, contains four large frescoes from
the life of the Virgin, \iy Caminade (1839). — The 1st Chapel to the left
of the choir is adorned with mural paintings of the 16th cent. : Martyrdom
of 10,000 soldiers under Maximian.
Archbp. Sibour (p. 276) was assassinated in this church by the Abb6
Verger, an interdicted priest, in 1857.
The square tower, transitional in style, to the right of St-
Etienne, and separated from it by the Rue Clovis, belonged to the
Abbey of Ste-Genevi^ve. It now forms part of the Lycie Henri IV
(PI. R, 22, 19; V). Relics of 17th cent, buildings are still to be
seen in the Place.
In the Rue du Cardinal-Lemoine, facing the lower end of the
Rue Clovis, is the College des EooBsais (Scots College), a 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 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 apply to the concierge (fee).
Behind St-Etienne, to the N.E., is the Ecole Polytechnique
(PI. R, 22; V), for the education of artillery engineers and officers,
founded by Monge in 1794. — A little to the N., at the angle formed
296 Left Bank 16. AR^NES DE LUT4CE.
by the Rne Monge and Rne des Ecoles, is the Square Monge,
with broiuse statues of VoUaire, after Houdon (comp. p. 86), and
F. ViUon, by Etcheto, two stone statues (J. Aubry and P. de Viole)
from the old Hdtel de Ville, and a Louis XY. fountain.
Farther N. the Rue Monge ends at the Boul. St-Germain. A little
to the right is the church of St-Nicolas-du-Chardonnet (1656-1 709) ;
the tower of 1625 belonged to an earlier church.
The Ist chapel on the right contains a picture by Desgoffe^ Jesus
healing the blind man at Jericho, and one by Corott Baptism of Christ.
In the 2nd chap, to the right of the choir, Monument of J. Bignon (d. 1666),
by Girardon, and St. Francis of Sales by Ph. de Champaigne; 4th chap,
on the left. Tombs of the painter Le Brun (d. 1690), by CoyzevoXy and
his mother (at the window), by Tuhy, Organ-loft of the 18th century.
Nearly opposite the end of the Rue Monge is the Flaoe Maubert
(PI. R, 22 ; F), where a bronze statue, by Guilbert, was erected in
1889 to Etienne Dolet, a printer burned here as a heretic in
1546, under Francis I. The reliefs represent Paris protecting
Freedom of Thought, and the Arrest and Execution of Dolet. The
punning inscription is : 'Non dolet ipse Dolet, sed pia turba dolet'.
— The Rue Lagrange leads straight on to Notre-Dame (p. 274),
passing behind 8t-Julien-le-Pauvre (p. 278).
The Boul. St-Germain leads E. to the quays near the Pont de
Sully (p. 190); its intersection with the Boul. St-Michel (p. 279)
is V^ M. distant from the Place Maubert.
The squalid quarter to the S.E. of the Lyc^e Henri lY and the Eoole
Polytechnique contains a few relics of old Paris. The Rue Mouifetard
(PI. G, 22; V) contains several curious old sign-boards (as at No. 69). At
No. 99 is the March6 des Patriarches, on the site of the Hdtel de Chanac
(14th cent.), the residence of O. and B. de Chanac ; the former was bishop
of Paris and patriarch of Alexandria, the latter patriarch of Jerusalem;
the Fountain at No. 60 dates from 1671. An inscription at No. 1, Place
de la Contrescarpe, near the beginning of the same street, records that
it stands on the site of the Oabaret de la Pomme-de-Pin, celebrated in
prose and verse by Rabelais and Ronsard's *P16iade'. — To the E., to
the left of the Rue de Navarre, excavations in 1870-88 brought to light
part of an antique amphitheatre, the Artoes de Iiut^oe (PI. G, 22; V).
It was constructed on the E. slope of the Mont de Paris (p. 291) in the
2nd or Srd cent. A.D. Its area (62 by 61 yds.) is small compared with
other amphitheatres. The tiers of seats have been restored. Other frag-
ments are preserved at the Mus^e Oamavalet (p. 194). The surrounding
gardens contain a bronze bust, by La Penne, of Gabriel de MortHlet
(1821-98), the anthropologist.
17. Faubourg St-Germain.
Mktro Stations (I-iine 4; Appx., p. 8.8): Carrefour de VOdeon
(p. 279), 8t-Oermain-d€8Pr^8 (p. 802), 8t-8ulpice (p. 808). — Noiu>-Sri>
(Appx.. p. 86): Chamhre des DipuUs, Solf^rinOj Bac (p. 807), Sbtres-
Croix-Rouge (p. 308). — Restaurants, p. 23.
The quarter on the left bank, opposite the Louvre and the Tui-
leries, is within the 6th Arrondissement (Luxembourg) on the E.
and the 7th (Palais-Bourbon) on the W., and is the most aristo-
INSTITUT DE PRANCE. Left Bank 17. 297
cratic in Paris, particularly the W. part (p. 307). Until the end
of the 17th cent, it lay outside the fortifications, which surrounded
the University alone on the left bank, whence it has retained the
name of Favhourg St-Germain.
The Pont des Arts (PI. R, 20; IV), an iron bridge for foot-
passengers only, built in 1802-04, marks the E. end of the Faubourg.
It owes its name to the 'Palais des Arts*, as the Louvre was once
called. Fine view.
Between this bridge, the Pont du Carrousel, and the Pont-Royal, below
the Q,uai du Louvre, lies the Port du Louvre or St-Nicolas (PL R, 17, 20 ; J/),
where one or more large merchantr vessels from Liverpool or London are
generally moored. — On the other aide of the Pont des Arts, to the left
of the Institut, once stood the famous Tour de Nesle, which tradition,
unsupported by evidence, describes as the scene of the blood-stained
orgies of Margaret of Burgundy, wife of Louis X. (the theme of Alex.
Dumas pore's popular drama 'La Tour de Nesle'). A metal plate at the
angle of the W. wing of the Institut and the Quai Conti shows a plan of
the tower.
The Institut de France (PI. R, 20; 7F), a somewhat heavy
domed edifice, rises on the left bank of the Seine, at the end of the
Pont des Arts (23-25 Quai Conti), opposite the Louvre. In front
of it is a Statue of the Republic, by Soitoux (1850).
The institution, founded by a bequest of Card. Mazarih (d. 1661)
for the education of youths from the new provinces of Roussillon,
Pignerol, Flanders, and Alsace, was erected in 1662-74 from the
designs of Louis Le Vau. It was named ColUge Mazarin, but was
popularly known as the ColUge des Quatre- Nations. During the
Revolution it was used as a prison, but in 1805 it became the
seat of the Academies, which had hitherto me.t in the Louvre, and
which were united in 1806 under the name of JnsHtut de France.
The Institut has in all 228 members, who are elective, subject
to the approval of the President of the Republic. It embraces the
Acadimie Frangaise, the Acad^mie des Inscriptions et Belles^
Lettres, the Acadimie des Sciences, the Acad&nde des Beaux-
Arts, and the Academic des Sciences Morales et Politiques. Each
has 40 ordinary members, except the Academic des Sciences, which
has 68; and all except the Academic Frangaise have honorary, cor-
responding, and foreign members. The great annual meeting of the
Institut is held on 25th Oct. in the *Salle des Stances Solennelles*
(under the dome; formerly a chapel), which is adorned with statues
of French authors, scholars, and artists. The several academies
meet separately at various periods (May, July, December, October,
and April). The meetings are public, but cards of admission must
be obtained by writing to the secretarial offices (comp. p. 60). The
building may be inspected any day before 2 p.m., except Sunday.
The AcAD^MiE FRAH9AIS13, the oldest of the five, originated about
1629 in the meetings of a group of learned men for the discussion of
questions of scientific interest. It received state-recognition from Cardinal
Richelieu in 1634-35. Its main function is to perfect the French language
298 Left Bank n. INSTITUT DE FRANCE.
by the Tevision of the DictionnaiTe de VAcadimief and to edit a DicHon-
noire Historique de la Langue Frangaise. It awards prizes for distinction
?:ained in varions walks of life. Among these are the two Prix Montyon,
onnded by Baron de Montyon (d. 1820) : one (18,000 fr.) for the person
of French nationality who has performed during the year the most yirtuons
action, and the other (19,000 fr.) for the anthor of the literary work,
pablished within the preceding two years, considered most nsefol to the
history of France. The ordinary meetings
take place on l^nrs., 8-4.80 p.m., the annual meeting in November.
The AcadAmib dbs iKSOBipnoHft xr BBUiSS-LBTTBKS, founded by
Colbert in 1668, is chiefly devoted to the study of ancient and Oriental
languages and to archaeological research (inscriptions, coins, monuments,
etc.). It publishes periodical transactions ('comptes-rendus'), and awards
the Prix Oamier (14,000 fr.) and a Prix Oobert (see above). Meetings
on Fri., 8-5; annual meeting in November.
The AcADAmB dbs Soibhcbs, founded by Oolbert in 1666, cultivates
mathematics and natural science. Its publications are M4moirts and
Comptes-Rendua des Stances, It awards the Prix La Caze^ Jecker^ and
Peiit d'Ormoy (six of 10,000 fr. each). Meetings on Mon., 8-5; annual
meeting in December.
The AcAD^MiB DBS Bbaux-Arts, for the promotion of painting, sculp-
ture, architecture, and music, originated in the union (in 1816) of the
Academic de Sculpture et de reinture, founded by Mazarin in 1648, and
the Academic d' Architecture, founded by Colbert in 1671. It publishes
a dictionary and awards prizes to painters and architects. Meetings on
Sat., 3-5; annual meeting in October.
At the Revolution these Academies were all suppressed (1798), and
were replaced in 1796 by an Institut National^ divided into three classes.
The first was the Acaddmie des Sciences Physiques et Math4matiques ;
the second consisted of a new Acad^mib dbs Scixitces Mobalbs bt Pol.i-
tiqubs, for the study of philosophy, history, and political economy; the
third included the Acadimie de la Litt^rature et des Beaux-Arts. In 1805
the second class was suspended (until 1882), while the old Acadimie des
Inscriptions was revived, and added to the third class. The Aoad^mie
des Sciences Morales et Folitiques also publishes Mimoir^j and makes
special awards, such as the Prix Audiffredt for devotion to duty ri6,000 fr.),
and the Prix Camoty divided into annuities of 200 fr., awarded to the
widows of working-men with families. Meetings on Sat., 12-2; annual
meeting in December. — Several other prizes are awarded by the Acad-
emies in turn.
The building contains also the Bibliothdque de rinstitut (for
members only); the Bibliothdque Mazarine (open to the public on
week-days, 11 to 4 or 5; vacation from 15th Sept. to 1st Oct.), with
260,000 vols., 1900 incunabula, and 5800 MSS., and a nude statue of
Voltaire, by Pigalle, presented to the famous author by his friends in
1770; and the small MuB^e de Mme de Caen (adm. on request at
No. 1, Rue de Seine). The Comtesse de Caen (d. 1870) bequeathed the
greater part of her property to the Institut, for the purpose of founding
'prix de Rome* (p. 800), on condition that each snccessrul candidate should
contribute an original work to the musee. It now contains a number of
paintings, sculptures, and architectural designs.
In the small Places W. and E. of the Institut are bronze statues
of FoZ^atrc (1694-1778),byCaille, and Oondorcce (1743-94; p. 420),
bv J. Perrin.
No. 18, Quai Conti, was once the Hdtel de Sillery-Oenlis, the dwell-
ing (in 1785-92) of the Pennon family, who were frequently visited by
Bonaparte.- Behind the Institut, to the right, begins the long Rtte ae
siHne (PI. R, 20, 19; /F), which leads straight to the Luzembouxg. No. «
(^
LA vMONNAIE. UftBankn. 299
(rebuilt in the 18th cent.) occupies the site of the house of Haigaret of
Prance, or of Valois, the dissolute 'Eeine Margot', repudiated by Henri IV.
Other old houses are No. 12 (tenanted by David, Talma, David d'Angers,
and others), Nos. 41, 57, etc. — At the end of the Passage des Oours-de-
rinstitut is the Rue Mazarine, where the Th^d,tre Oudn^gaud was situated
(p. 84; tablet on No. 42).
The Hdtel des Monnaies (PI. R, 20; IV), or La Monnaie,
is a long building to the S.E. of the Institut and near the Pont-Neuf
(p. 267), erected in 1768-75 by J.D. Antoine, and restored in 1910.
The facade, 131 yds. long, with an Ionic colonnade, is surmounted
by allegorical figures by Lecomte, PigaUe, and Moitchy.
The MusisE MoNisTAiRE is reached by a handsome staircase to
the right of the entrance. The museum and ateliers (see below)
may be visited on Tues. and Thurs., 1-3, by ticket (available for
six persons) obtained by written application to the ^Birectear de
la Monnaie' (comp. p. 60).
The YssTiBUU! contains specimens of the metals used in coining. —
Grands Salls (decorated in the Louis XYI. style). On each side of the
entrance are medals and plaquettes by modern French medallists. By
the windows, right and left, are a large vase of blue S&vres, round which
are glass-eases with medals by Merpt, Allouard, Patey, Chaplain, and
Lemaire (right), and by Lagrange, Dupre, Lefebyre, *Roty, and Cariat
(left). In the centre, coins from Cochin-(5hina and French colonies ; medals
and coins from foreign countries. At the back, French coins from the
Merovingian period to the present day. In front of the fire-place are
Chinese and Annamite coins. On the chimney-piece, a bust of the Ilepublic
in Sfevres biscuit-porcelain, after Injalbert. Ceiling-painting, by J. J.
WeertSy the 'Triumnh of the Universal Exhibition of 1889'.
CoBBiDOB. Medals recently struck at the mint. — Boom I. French
medals, 16th cent, to Louis XYI. — Boom II. Coins and medals of the
Consulate and First Empire; Napoleon's collection of medals. The wax
model and the small bronze model (1 : 24) of the Yenddme Column (p. 8S) pre-
served here, afford a good idea of the details. Bust of Napoleon I. by
Canovaj in marble (1806) ; bronze mask, from a cast of the emperor's face
taken 20 hrs. after death. — Boom III. Medals of the reigns of Louis XYIII.,
Charles X., Louis Philippe, and Napoleon III. In the centre, current French
and foreign coins; old scales. — Boom lY. Ancient foreign coins.
The Atslibrs are reached by a vaulted passage to the left, and then
by a door to the right of the court. The whole j^rocess of striking gold
and silver coins ana medals is shown. The machines invented by Thon-
nelier are highly ingenious, each of them striking 75 coins per minute.
In 1910 the Mint produced 44V8 million coins, of a total value of over
178 million francs. The atelier where coins are struck contains a marble
figure of Abundance, by Mouchy. On the 1st floor is the ^bureau de cointrdle*,
where gold and silver plate and jewellery are assayed and stamped. There
are also a money-changing office, where old gold is bought, and a room
-for the sale of medals, etc., which even non-purchasers may visit.
To the W. of the Institut, at the corner of the Qua! Malaquais
and the Rue Bonaparte, is the —
Boole des Beaux-Ajpts (PI. R, 17, 20; /F), founded at the
time of the Revolution by the union of the academies of painting and
sculpture (comp. p. 298) with that of architecture. These branches,
to which the art of engraving has been added, are taught by a staff of
thirty -two professor^ (including iive painters and five sculptors) to
Basdskbr'8 Paris. 18th Edit. 19
300 LertBcmkii. ECOLE DES BEAUX- ARTS. Favbimrg
about 2000 students of all nationalities. The present director is
M. L6on Bonnat, the painter. The pupils who obtain the first prises
Cgrands prix') are sent to Rome at the cost of the state for four
years. The works they send home are exhibited here under the
name of *grands prix de Rome*.
The Ecole des Beaux- Arts, erected in 1820-39 by Debret and
his successor 2>t£6an, occupies the site of the old Couventdes Petits-
Augustins. In 1860 the old H6tel de Oonti (11 Quai Malaqaais)
was added, and in 1885 the H6tel Chimay (Nos. 15, 17, same quay)
was acquired for the pupils' studios.
The Entbancb of the Ecole is at No. 14, Rue Bonaparte. (Adm.
Sun., but not holidays, 12-4.) — The First Court, flanked at the
entrance with busts of P. Puget and N. Poussin, by Merdi, con-
tains architectural fragments, from the Gallo-Roman period to the
16th cent., the remains of the *Mus6e des Monuments' founded during
the Revolution by the painter Alex. Lenoir (d. 1839), who rescued
them from the ruins of churches and chateaux. In 1816 Louis XVlll.
dispersed the collection, and restored most of the objects to the
churches or to their original proprietors. In the centre of the court
is a Corinthian column in red marble, bearing a bronze statue of
Plenty (16th cent.). On the wall to the left is a fresco on lava by
the brothers Baize, after that of the school of Raphael in the Yilla
Magliana (p. 126, No. 1512). To the right (entrance to the ^Mus^e
de la Renaissance*, p. 301) is the famous portal of the Ch&teau
d*Anet, erected for Diane de Poitiers, in 1548, by PhUibert Ddorme
and Jean Goujon, by order of Henri II. Built into the wall near
the portal are relics of the H6tel de La Tr^mouille (14th cent.),
formerly in the Rue des Bourdonnais. — The Second Court is
separated from the first by one of the facades of the Chftteau of
GaiUon (p. 457), which was erected in 1500-10 by GuiU. SenauU
and Pierre Fain for Card. d'Amboise, minister of Louis XII. The
mingled Gothic and Renaissance styles of this facade iudicate the
character of the ch&teau, which was destroyed in the Reyolution.
Among other fragments of French architecture and sculpture is a
stone basin, 13 ft. in diameter, adorned with 28 heads of gods or
heroes, with animals, and the four elements (close of 12th cent.),
brought from the Abbey of St-Denis.
The *FaQade of the Main Building, designed by Dvban (1830),
is a fine example of modem French architecture.
On the ground-floor is the Mus^e des Antiques, a large collec-
tion of casts of antiques. The vestibule contains copies of antique
mural paintings and a few marble originals, such as a torso of the
Minerva Medici, from the Villa Medici in Rome, after a Greek
work of the time of Phidias. — "We cross an inner court, roofed
with glass, and follow a corridor, which contains a monument of
Duban (1797-1870 ; see above), the architect, by E. GuiUaume, to the
StrGtrmaiTu ECOLE DBS BEAUX- ARTS. Left Bank 17. 301
AiMPHiTHEATRE (PI. 1). The famous *H6micyle of Paul Delaroche,
which adorns this hall, is an encaustic painting executed in 1838-
1841, representing great artists of all nations down to the end of
the 17th cent., and containing 75 figures over life-size.
Enthroned in the centre are the great Greek masters, Phidias (the
scolptor), Ictinus (architect of the Parthenon), and ApeUes (the painter).
The Waiters Gallery at Baltimore contains a reduced replica of this work.
Opposite the H^mi cycle is a painting, by Ingres y of Romulus
victorious over Acron, carrying off the ^spolise opimae'.
First Floor. The rooms here contain a large collection of copies
of paintings of all schools, small casts, models of buildings, etc. ;
the galleries to the N. and S. of the glass-roofed court are adorned
with copies from Raphael's logge in the Vatican, by the brothers
Baize, In the Salle de Louis XIV (PI. 3) are copies of master-
pieces, valuable original drawings, engravings, and busts of artists.
Then, a passage, with original works, portraits of artists, etc, and
a gallery affording a good survey of the H6micycle of P. Delaroche.
— SaUe du Conseil (PI. 4). Portraits and busts of artists: the
sculptor Dubois, by Falgui^e; the painters G6r6me and Lenep-
veu, by Carpeaux and Inj albert; the architect Gtimier, by Car-
peaux; and the painters Henner and Baudry, by Dubois; bronze
statuette of Meissonier, by V. G^mito; also eight torch-holders in
wood (time of Louis XIV.); clock in the style of Boule. — For the
lAbrary (PI. 2), containing over 20,000 vols, and a number of
drawings, a ticket of admission is necessary (comp. p. 60).
The BuiLDiNa to the N. op the First Court (entered by the
portal of Ch&teau d'Anet, p. 300) contains the old chapel of the Augus-
tinian Monastery, now the Mus^e de la Eenaissance, with copies
of paintings and casts of sculptures by great Italian masters (14th-
16th cent.). At the end is a copy of Michael Angelo's Last Judgment,
by Sigalon (1836). — In the Vestibule des Ecoles, adjoining the
chapel, is a monument to Ingres, with his bust in bronze, and medal-
lions of Flandrin and Simart, his pupils, by E. Quillaume. The door
on the right of the monument leads to the Cour du MUrier, around
which are arcades containing sculptures executed at Rome by
former pupils, etc., and* the monument of Henri Regnault and other
pupils killed in the defence of Paris in 1870-71, with a statue of
Youth by Chapu,
Beyond this court a vestibule leads N. to the SaUe de Melpo-
mdne, which, together with the four rooms on the right, contains
copies of famous pictures, and is used also for the exhibition of
competitive works. — The rooms marked 5, 6, and 7 on the Plan
contain the Grands Prix de Rome since the end of the 17th century.
— In the two Salles d^ Exposition on the ground and first floors
(PL 8; entrance, Quai Malaquais) the works sent from Rome by
the holders of the 'grands prix' are exhibited every July, and the
19*
302 Left Bank n. ST-aERMAIN-DES-PRES. . Faubourg
works bought by the state at the annual Salons (p. 38) are shown
in November. These rooms are sometimes used also for special
exhibitions.
In the Rue Bonaparte, to the right of the exit of the Ecale des
Beaux-Arts, is the Acad^mie de M^decine (PI. R, 20; 7F),
erected in 1902 from designs by J. Rochet, with a classical facade
with modern decorations taken from medicinal plants. This aca-
demy, founded in 1820, and unconnected with the Institut de France
(p. 297), was formerly near the HSpital de la Charity (p. 305). The
interior (open on Sun., 10-12) contains portraits and busts of famous
physicians, a few pictures, and a museum of instruments.
The Rue Bonaparte leads S. to the Place St-G^rmain-des-Pr^s
(PI. R, 16; 7F), flanking the Boul. St-Germain on the N., a busy
centre of omnibus and tramway traffic (Appx., p. 55). Line 4 of
the Metro (Appx., p. 33) has a station on the S.E. side of the
Place, under the boulevard; it runs S.W., under the Rue de Rennes
(PI. R, G, 16; /F), straight to the Gare Montparnasse (p. 342). —
Continuation of the Rue Bonaparte, see p. 303,
*S.t-aermain-des-Pr6s (PI. R, 19; IV), on the E. side of
Place, is one of the oldest churches in Paris. It belonged to the
powerful Abbey of St-Germain, founded in 543 by Childebert I.
Some of its abbots were cardinals and even kings, as in the case of
Hugh Capet and Casimir V. of Poland; and, after its adoption of
the reforms of St-Maur, it numbered famous men like Mabillon and
Montfaucon among its members (p. 303). The nave of the church
dates from the 11th cent.; the choir, consecrated in 1163, was after-
wards altered; the windows particularly show a tendency to Gothic.
Two towers, over the transept, had to be partly removed in 1821.
After the Revolution the church was much negleeted, but was restored
after 1820.
The Intkrior (good light desirable) was decorated in the middle oi
the 19th cent, in the polychrome style of the 11th. To the right of the
entrance is a copy of the bronze statue of St. Peter at Rome ; to the left
of it is a venerated marble statue of Notre-Dame la Blanche, presented
to the Abbey of St-Denis by Queen Jeanne d'Evreux in 1840.
The *Frieze in the nave, painted in 1852-61 by Hippolyte Flandrin
(p. xlviii), depicts parallel scenes from the Old and New Testament. On the
left of the entrance : the Burning Bush and the Annunciation ; Promise of
a Redeemer and the Nativity j Prophecy of Balaam and Adoration of the
Magi; Passage of the Red Sea and Baptism of Christ; Melchizedek's offering
to Abraham and the Institution of the Eucharist. On the other side, as we
return: Sale of Joseph by his brethren and Betrayal of Christ; the Offering
of Isaac and the Death of Christ ; Jonah and the Resurrection ; Scattering
of the nations at Babel and Mission of the Apostles; Ascension ana
the Preparations for the Last Judgment (the last two executed by
Hippolyte's brother Paul).— ; In front of the choir, the Four Archangels.
— Most of the archaic capitals of the columns were copied ^om the
originals now in the garden of the Musfie des Thermes (p. 289). Facing
the pulpit is the tomb of H. Flandrin (d. 1864), with bust by Oudini,
The S. Tramsbpt contains the tomb of Olivier and Louis de OasteUan
St'Germain. PLACE ST-SULPICE. Left Bank 17. 303
(d. 1644, 1669), with medallions by Girardon. To the left, above the
altar, is a marble statue of St. Margaret, by J. Bourlet (1706).
The Choir is adorned with two frescoes on a gold ground, begun by
H. Flandrin in 1842, and finished in 1861: left. Entry of Christ into
Jerusalem; ri^ht, Bearing of the Cross; above, Christ and the Virgin in
flory; the Virtues. Over the arcade's, the Apostles; symbols of the
ivangelists; and Lamb of the Apocalypse.
Choir CnAPsiiS. In the chapel to the left of the sacristy, Tomb of
James Douglas (d. 1645). — The next contains marble slabs in memory of
the philosopher Descartes (d. 1660) and the learned Benedictines Mabillon
(d. 1707) and Montfaucon (d. 1641). — Behind the high-altar is the modern
Lady Chapel, with two grisailles by Heim. — In the chapel of SS. Peter
and Paul a marble slab commemorates Nicolas Boileau (d. 1711), whose
remains were brought hither from the Sainte-Chapelle in 1819. — The first
chapel on the left contains the tomb of "William, Earl of Douglas (d. 1611).
In the N. Transept, the monument of Casimir V. (d. 1672, as abbot
of St-Germain-des-Pr^s), King of Poland; over the altar, a statue of
St. Francis Xavier, by O. Coustou; above, frescoes by Cornu (1870).
To the left of the W. front of the church is a small square
with a few relics of the old abbey. At No. 3, Rue de I'Abbaye, are
remains of the Palais Ahbatial, of the late 16th century.
The Prison de VAhbaye^ where 318 victims of the massacres of Sept.,
1792, perished (comp. p. S33), lay behind the church, where the Boul. St-
Oermain now passes. — The famous Pri-aux-Clercs^ or students* prome-
nade, lay to the N. of the abbey.
The small square to the S. of the church of St-Germain, adjoin-
ing the boulevard, has a copy of the bronze Statue of Bernard(
Palissy (ca. 1510-89), by E. Barrias. The large portal in the wall
to the right is adorned with a relief in Sevres porcelain. Near the
beginning of the Rue de Rennes rises a Statue of Diderot (1713-
84), in bronze, by Gautherin.
On the right side of the Rue de Rennes, No. 60, is the entrance to
the Cour du Dragon, with a balcony resting on a fine dragon (18th cent.).
At the end of this quaint court is the Rue du Dragon (Pi. R, 16; /F),
where Palissy is said to have lived in 1686 (terracotta bust at No. 24).
No. 30 is an old house where Victor Hugo lived in 1821 (attic on the
5th floor, with balcony; tablet).
We return to the Rue Bonaparte (p. 302), which leads S. to the
Luxembourg Garden (p. 331). Half-way is the Place St-Sulpioe
(PI. R, 16, 19, IV; omn. and tram., see Appx., p. 55; *St-Sulpice*
station on Line 4 of Mdtro in the Rue de Rennes, to the W., see
Appx., p. 33). In the centre of the Place rises the handsome
Fontaine St-Sulpice, designed by Viscordi, erected in 1847, and
adorned with statues of four famous French preachers: Bossuet
(d. 1704), F6nelon (d. 1715), Massillon (d. 1742), and Fl^chier
(d. 1710). — The large building to the S. was the S^minaire de
St-Sulpice, founded in 1646 by Abb6 Olier, cur6 of St-Sulpice, for
the training of priests for the teaching profession ('Sulpiciens'),
but closed in 1906. — On the W. is the Mairie of the 6th Ar-
rondissement (Luxembourg), with a marble group (Fight with a
Centaur) by Crauk in the courtyard. The ceiling-painting in the
Salle des FStes is by H. lAvy. *
304 Left Bank n. ST-SULPICE. Faubourg
♦St-Sulplce (PI. R, 19; /F), the richest and most important
church on the left bank, standing on the site of a parish charch of
the 12th cent., was begun in 1646 from the designs of Gamardy
continued in 1655 hy Le Vau and others, and completed, all ex-
cept the facade, in 1733. The facade, by the Florentine architect
Servandoniy one of the best of its period, consists of a Doric and
an Ionic colonnade, one above the other. It is flanked with two
towers, only the higher of which (240 ft.), by ChcUgrinj is com-
pleted; the lower is by Maclaurin. Five flights of steps, between
the columns, ascend to the entrance. The central portal is flanked
with statues of SS. Peter and Paul. Under the Convention the
church was the Temple of Victory, and was the scene of a banquet
given to General Bonaparte in 1799. When the gates are closed
visitors enter by the 8. portal or by a small door to the left behind
the choir.
The Ihtsbiob, in the form of a cross, measuring 16S hj 61 yds.,
and 108 ft. high, has a nave and two aisles with spherical vaulting, borne
by massive Connthian pillars. The 18 radiating^ chapels are richly adorned
with fre3Coes (19th cent.). By the entrance or the nave are the b^nitiers
consisting of two enormous shells presented to Francis I. by the Republic
of Venice, resting on rock-work of sculptured marble.
RieHT AiBLii. *lst Chapel: (left) Jacob wrestling with the Angel,
and (right) Heliodoms expelled from the Temple; on the ceiling, St. Michael
conquering the dragon; all by Eugbne Ddcicroix (1861). 2nd Ohap.:
Religion solacing a dyin^ man, and Prayers for the dead, by JGfetwi.
8rd Ohap.: St. Roch praying for the plague-stricken, and Death of the
saint, by Ahd de Pv^l, 4th Chap. : Scenes from the life of St. Maurice,
by Vinchon. 5th Ohap. : Marble monument of the cur6 Langnet de Gergy
(d. 1760), by Mich. Slodtz.
Right Travbbpt. Resurrection and Ascension, by SUfnol (1872-76).
On the pavement of the transept a Meridian line was drawn in 1743,
ending at an obelisk of white marble in the left arm; the true solar
noon is indicated by the sunSi rays falling upon it from a window in
the S. arm.
In the Ohoir, by the pillars, are eight Apostles, two Angels, Scourg-
ing of Ohrist, and a Mater Dolorosa, by Bouchardon.
The frescoes in the Ambulatory were painted in 1868-75. On the
right, 1st (Jhap.: St. Denis preaching, and his Oondemnation, by Johbi-
DuvaZ. 2nd: St. Martin dividing his cloak with a b^gar, and Resuscit-
ating a dead man, by V. Mottee. 8rd: St. Genevifeve succourinp^ Troyes,
and Miracles wrought by her relics, by C. Timbcd, 4th : Nativity of the
Virgin, and her Presentation in the Temple, by L. Lenepveu. Above the
doors, right and left of the chapel in the apse: Assumption, and Death
of the Virgin, by E. Bin, 5th : Fine lady-chapel behind the high-altar.
Madonna and Child, in marble, by Pigalle; fresco of the Assumption
in the cupola, by Le Moj/ne. 6th: St. Louis carrying a dying man, St.
Louis administering Justice, by L. Matout. 7th: St. Joseph, by Ch,
LandeUe. 8th : San Carlo Borroraeo during the plague at Milan, San Carlo
administering the sacrament to Pius IV., by A. Pichon. 9th : Martyrdom
and Triumph of St. John, by Glaize.
LuFT Trawsbpt: Betrayal by Judas, Crucifixion, both by Signal.
LuFT AisLK (down which we return). 1st Ohap. : Large carved altar,
with crucifix and confessionals, Louis XV. style. 2nd: St. Vincent de
Paul with sisters of charity, and at the Death-bed of Louis XIII., by
Gufttemotj and a group in marble by E. Cahuchet. 8rd : St. Paul's con-
version, St. Paul before the Areopagua, by Drolling. 4th: St. Francis
StrGermain. PONT DU 0ABR0U8EL. Left Bank 17, 305
of Sales ^re&chinff , and presenting to St. Ohantal the rales for the order
of the Visitation, by Hesse, 5tb : Miracles of St. Francis Xavier, by Lafon,
The handsome organ-case, designed by ClialgHn, has statues bv
Clodion. The fine organ, built by Oliqnot and reconstructed by Oavailld-
Coll, is one of the largest in the world, having 5 manuals, 118 stojps,
and 6688 pipes. The choir of St-Sulpice has a great reputation for its
'plain song*.
The Rue St-Sulpice, N. of the church, and Rue de Tournon, to
the right, lead to the Palais du LAJUctmbourg (p. 322).
The W. part of the Faubourg St-Germain is connected with the
right bank by several handsome bridges, affording fine views.
The Pont du Carrousel (PI. R, 17, 20; 11, IV), formerly
Pont des Saints- Peres, connecting the Qua! du Louvre and Qua!
Voltaire, was constructed in 1831-34 by Polonceau and restored
in 1903. It is adorned with colossal statues, attr. to Petitot: Plenty
and Industry on the right bank, the Seine and the City of Paris on
the left. Not far distant is the Ecole des Beaux-Arts (p. 299).
To the S. of the bridge runs the Rne des Saints-P^res, in which,
near the Boul. St-Germain, is the Hdpital de la OhariU (PI. R, 17 ; IV),
— In the Rne de Lille, W. of the Rue des Saints-P^res, is the EcoU des
Langues Orientales (No. 2), founded by the Convention in 1796; the
court contains a bust of the scholar Sylvestre de Sacy (1768-1886), by
Rochet. No. 41, built in 1906, is the Maison des Dames des Posies et
TOigraphes (PI. R, 17; IV),
Between the Pont du Carrousel and the Pont-Royal stretches
the Quai Voltaire (PL R, 17 ; IV, //), so named because the famous
author died in 1778 in the house of the Marquis de Villette, at ihe
comer of the quay (No. 27) and the Rue de Beanne.
The five-arched Font-Boyal (PI. R, 17, //; fine view), which
was built in 1685-89, spans the river opposite the Pavilion de
Flore (p. 65).
Facing the central exit of the Jardin des Tuileries (p. 64) is
the Pont de Solf6rino (PI. R, 17; //), with three iron arches,
built in 1858-59. — Ponts de la Concorde and Alexandre-Trois,
see pp. 63, 234.
The Gare du Quai-d'Orsay (PI. R, 17; II), between the
Pont-Royal and Pont de Solf^rino, is a huge building, erected in
1898-1900 on the site of the old Cour des Comptes, which was burnt
down by the Communards in 1871. The Orleans line has been con-
tinued to this point from the old terminus on the Qnai d'Austerlits
(p. 334), a distance of about 2^/4 M., mostly underground. The
arrival platform adjoins the Rue de Bellechasse, the departure
platform being next the Seine. Handsome restaurant (p. 23) on the
first floor, reached from the caf6 below. The rest of the building
is a Hotel (p. 5).
Opposite is the Palais de la Ii^glon d'Honneur (PI. R, 17;
//), a tasteful building designed by Rousseau in 1786 for Prince
306 Left Bank 17. CHAMBRE DES DEPUTES. Faubourg
de Salm-Kyrbourg, and re-erected by subscription after it had
been burned down by the Communards. Mme. de Sta6l held her re-
ceptions here under the Directory. — Farther on, at 78 Rue de Lille,
is the German Emhdssy (PI. R, 17; //), built by G. Boffrand in
1714, and occupied by Prince Eugene de Beauhamais (p. 310) in
1803-15.
On the Quai d'Orsay, situated at the end of the Boul. St^
Germain (p. 307), and opposite the Pont de la Concorde (p. 63),
is the —
Chambre des B^put^s (PI. R, 14; IT), known also as the
Palais-Bourbon, It was begun in 1722 by Girardini for the
dowager Duchess of Bourbon, daughter of Louis XIV. and Mme. de
Montespan. The Prince de Cond6, grandson of the duchess, enlarged
it in 1777 (at a cost of over 640,000^.), and in 1790 it was declared
national property. The building was then used for the sittings of
the Council of Five Hundred, and next for those of the Corps L6gis-
latif and the Chamber of Deputies.
The original fagade, on the side farthest from the Seine, is in
the Rue de PUniversit^. The Place in front of it is adorned with
a marble statue of Law, by Feuchires (1855). The facade towards
the river, built by Poyet in 1804-07, has a Corinthian colonnade of
twelve columns, with a flight of steps flanked with statues of Themis
and Minerva, D'Aguesseau, Colbert, L'Hdpital, and Sully. On each
side are reliefs by Rude and Pradier, and in the tympanum a
group by Cortot: France with the constitution, attended by Libei*ty
and Order, Commarce, Agriculture, and Peace.
Ihtsrior. When the Chamber is sitting visitors are admitted only to
the Salle des Stances, for which they require a ticket from a deputy or
from the Embassy. The public entrance (before 2 p.m.) on these occasions
is in the pavilion to the right of the grand staircase, on the side next the
quay. At other times the building is open to the public from 9 to 5 ; visitors
then apply to the custodian on the left in the court behind, and are escorted
by an attendant (fee). — The Sallb dks Pas-Perdus has a ceiling-painting
(Peace) by Borace Vemiet. — The Saline des Si^ances, or Assembly BaJl,
semicircular in form, is adorned with twenty marble columns, behind which
are the public galleries. Above the Bureau is hung a piece of Gobelins
tapestry, reproducing Raphael's School of Athens. At the sides are statues
of Liberty and Public (Jrder, hy Pradier. — The Salle des Conferences
contains a ceiling-painting by Heim (the History of legislation in France)
and several pictures: President Mol6 arrested by the factionists during
the Fronde, by Vincent; Opening of the States-General by Philippe le
Bel, by Vinchon; Self-sacrifice of the bui^esses of Calais (comp. p. 449), by
Ary Sche/fer. — The cupola of the Library is adorned with twenty ♦Alle-
gorical paintings by Evg. Delacroix: Poetry, Religion, Legislation, Philo-
sophy, and the Exact Sciences; in the lunettes at the ends, Attila in
Italy and Orpheus instructing the Greeks in the peaceful arts. — In the
Saluc des Distributions are grisailles by Abel de Pujol, — The Saxxb
Casimir-PErisk contains statues of Mirabeau and Bailly by Jcdey, Pirier
by Dttretj and General Foy by Desprez, and bas-reliefs by Triqveti
and DoJoa. — The Salle du Tb^nb is adorned with paintings of Juntice,
War, Industry, Agriculture, and the Seas and Rivers of France, by Eug.
Delacroix.
St-Oermain. BOULEVARD ST-aERMAlN. LeftBemkii. 307
Adjoining the Palace is the Hdtel de la Prisidence de la
Chambref built in 1722 as the mansion of Lesparre de Lassay, and
united with the Palais-Bourbon in 1770 under the name of Petit-
Bourbon. — On the quay, farther on, is the handsome Ministh'e des
Affaires Etrang^es (PI. R, 14; //), built in 1845 by Lacom^e.
Then, to the W., is the Esplanade des Invalides (p. 310).
The Rues de Lille and de I'Universit^, running parallel to the
Quai d'Orsay on the S., and intersected by the Boul. St-Germain
and the Rues St-Dominique, de Grenelle (p. 309), and de Varenne,
to the S.W. and S. of that boulevard, are quiet and dignified streets.
They contain many old mansions of the French noblesse, hidden
from view by the *cours d'honneur' in front, as in the Rue St-Do-
minique (PL R, 14, 17; IV), No. 45 and No. 1 (with an oval court,
built by G. Boflfrand, 1695) ; in the Rue de Varenne (PI. R, 14, 15, 16 ;
IV), No. 77, the handsome Hotel de Biron (formerly Convent du
Sacr6-Coeur), built in 1728-31, and bought by the state in 1911;
No. 57, the old H6tel de Montmorency, now the Austro-Hungarian
Embassy.
We follow the Boulevard St-Gtermain (PI. R, 17; IV),
which was begun under Napoleon III. but completed later.
The NoRD-SnD (Appx., p. 86), coming from the Place de la Con-
corde (p. 61), runs unaer the boulevard to the Rue du Bac. Stations :
Chambre des DipuUs., at the crossing of the Rue de Lille; 8olf4rino,
at the corner of Rue Solf^rino; BaCj corner of Rue du Bac (see oelow).
On the right of the boulevard rises the Ministire de la Guerre
(PI. R, 14, 17; //, IV), partly the old residence of President Duret,
built by Aubry in 1714 and re-erected by Bouchot in 1877. It was
once occupied by Marshal Richelieu (1765) and by Lucien Bonaparte.
Just beyond it, to the left, we obtain a striking glimpse, through
the Rue de Solf^rino, of the Sacr^-Coeur at Montmartre (p. 223).
On the left, a IHtle farther on, is the Minist&re des Travaux
Publics (PI. R, 17, IV; Nos. 248-244). No. 246 was once Marshal
Roquelaure's mansion, built by Leroux (1733).
The boulevard soon crosses the Rue du Bac, one of the oldest
streets in the Faubourg St-6ermain, which leads N. to the Pont-
Royal (p. 305), where the river was formerly crossed by a ferry
('bac*). No. 46, Rue du Bac, with its fine court and sculptured
doorway, was the mansion of Samuel Bernard, and was occupied
by Barras in 1812. At the crossing of this street and the boule-
vard rises the bronze Status of Claude Chappe (1763-1805), the
inventor of the aerial telegraph, by Dami. (Nord-Sud station, see
above.) From this point the Boul. Baspail (p. 308) diverges to
the S. — For the S. part of the Rue du Bac, see p. 308.
Next, to the left of the Boul. St-6ermain, rises the church of
St^Thomas-d'Aquin (PI. R, 17; IV), of the 17th-18th cent., in
the Place of that name.
308 Left Bank n. BOULEVARD RASPAIL. Faubourg
The modern reliefs on the side-doors, SS. Thomas Aqmnas and
Dominic, are by VUain and Oruyh-e. In the interior are frescoes by
Blondel; the apsidal chapel has a ceiling adorned with a painting of the
Transfignration, by Fr. Le Moyne; also St. Louis administering justice,
by Merson.
At No. 186, on the left side, of the bonlevard, is the AlUance
Frangaiae (p. 51), in part of the Hdpital de la Charit6 (p. 305).
At No. 184, adjacent, is the Geographical Societyy with a library
(about 60,000 vols.) and souvenirs of famous explorers (adm. daily,
1-4; ring).
The Boul. St-Germain next passes the church of St-Germain-des-
Pr^s (p. 302) and the Ecole de M6decine (p. 279), and crosses the
Boul. St-Michel (p. 278).
The broad Boulevard Raspail (PI. R, G, 17, 16; IV), re-
cently completed, one of the main thoroughfares of the left bank,
leads straight from the Boul. St-Germain to the Place Denfert-
Rochereau (p. 345). The Nord-Sud (Appx., p. 36; stations^ see
below and p. 309) runs under it to the Boul. Montpamasse. The
Boul. Raspail first crosses the Rue de Grenelle (p. 309), then the
Rue de Varenne (p. 307) and the Bue de Sivres. At the crossing is
the *S6vres-Croix-Rouge* station of the Nord-Sud (Appx., p. 36).
Near this, to the left. No. 3, Rue R6camier, is the HMel de la lAgue
de V Enseignement (a society founded by Jean Mac6 in 1866; comp.
p. 249), built in 1908-09 on the site of the old convent of the
Abbaye-aux-Bois, where Mme. R^camier lived from 1814 to 1849.
To the right of the crossing lies the Square Potain, or des M&nages
(PL R, 16; 7F), adorned with statues of Sleep, by M. Moreau, and
Presentiments, by V6ber; on the W. side of the square are the
GrrandS'Magasina du Bon-MarcM (p. 51). On the other side of
the Bon-March6 runs the Rue du Bac (p. 307), No. 128 in which is
the S^inaire des Missions-Etrang&rea (PL R, 16; /F), founded
in 1663 by Bernard de Sainte-Th6r^se, Bishop of Babylon 4n par-
tibus'. It contains a *Ghambre des Martyrs', with instruments of
torture, etc. (adm. on Mon., Thurs., and Sat. 10-6, on Tues. and
Fri. 1-6, on Sun. and holidays 1-2.30). No. 120, Rue du Bac, is
the Hdtel de Clermont-Tonnerre (1789; with fine doors), where
Chateaubriand died in 1848 (inscription).
No. 42, Rue de Sevres, is the H6piUil La^nneCf for incurables, founded
in 1634 (with court and chapel worth seeing). Opposite No. 97 is a curi-
ous Egyptian fountain of 1806. Facing the hospital rises the EglUe det
LazaristeSj containing a silver reliquary with the remains of St. Vincent
de Paul. — Parallel with the Rue de Sevres to the S.E. runs the Rue du
Cherche-Midi (PI. R, G, 16, IS; ZF); at No. 19, E. of Boul. Raspail, is a
sign-board of the 18th cent., with the figure of an astronomer drawing
a sundial and the inscription 'Au Cfaerche-roidi\
The Boul. Raspail next crosses the Riie de Rennes. (Nord-
Sud station, but not corresponding with Line 4 of the M&ra,
Taugirard' station, which the Nord-Sud crosses here.) A little
mm^
St-Germain. STE-CLOTILDE. Left Bank 17, 309
farther on we cross the Rue de Vaugirard, then the Rue Notre-
Dame-deS'Champs (Nord-Sud station), and lastly the Boul. du
Montparnasse. (Farther S., see pp. 342, 343, 345.)
The Bue de GreneUe (PL R, 16, 15, 14; IV) leads N.W. from
the Boul. Raspail to the Esplanade des Invalides (p. 310). By
Nos. 57, 59 is the handsome Fontaine de GreneUe, or des Quatre
Saisons, erected in 1730-37 from designs by Bouchardon, with a
marble group of Paris, the Seine, and the Mame, statues of the
Seasons, and bas-reliefs. At No. 59 Alfred de Musset lived from 1824
to 1840. No. 75 has had as occupants Card. d'Estr^es (17th cent.),
Count Fflrstenberg, and the Duchesse du Plessis-Richelieu. No. 79
is the Russian Embassy, a mansion built by De Cotte for the
Duchesse d'Estr^es (1709). No. 106 is the Eglise de Pentemont
(1755; p. 48), a Protestant church since 1804. No. 110 is the
Mtnist^e de V Instruction Publique. The Mlnistire du Commerce
occupies the old Hdtel d*Argenson (No. 101 ; 1700). No. 103 is the
central office of the Postes et T6Ugraphes. Nos. 138-140 (formerly
H6tel de Chfttillon) are occupied by the Service Giographique de
VArmie. No. 127, once the mansion of Chanac, Abb* de Pompadour
(1740), and used as the archiepiscopal palace down to 1906, is
now the Minist^e du Travail.
Ste-Clotilde (PL R, 14; IV), between the Rues St-Dominique
(p. 307) and de Grenelle, a modem church built in 1846-56 by
Gau and Ballu in the Gothic style of the 14th cent., faces the N.,
with its three pointed portals richly decorated. It has two towers,
226 ft. high.
The Ihtbriob consists of nave, aisles, transept, and ambulatory, but
has no lateral portals. Under the windows of the aisles and in the tran-
sept is a *chemin de croix* by Duret and Pradier. — The chapel of St.
Valeria, in the right transept, contains large paintings by Lenepveu. —
The choir-screen is adorned with bas-reliefs by GruiUaume. — The choir-
chapels also have mnral paintings bv Pils and Lmrrdein (St. Remigius; on
the right), by B4zard (St. Joseph), by Lenepveu (the Virgin), by Brisset
(Holy Cross), and by Bouguereau (St. Louis). — In tie left transept, by
Laugie: St. Clotilda succouring the poor, and the Baptism of Clovis. —
The great organ is by Oavaill6-Coll, the electric organ in the choir by
Merklin.
The square in front of the church is adorned with a fine group
by Delaplanche (Maternal Instruction), and with a monument (by
A. Lenoir; 1904) to C^ar FrancTc (1822-91), the composer.
To the right as we leave Ste-Clotilde runs the fine Las-Cases; No. 6,
at the B. end of it, contains the Mtcsie Social, founded by the Comte
de Chambrun (adm. on week-davs, 9-12 & 2-6). The object of the Mus^e
is to place at the disposition of the public the constitutions and rules of
social institutions for improving the position of the working classes.
The special library also is open to the public.
310
18. Hdtel des Invalides. Champ-de-Mars.
The Mus^E DB l'Abm^b in the Hdtel des Invalides is open on Tnes.,
Thnrs., & Sun., 1-5 in summer, 12-4 in winter (1st Oct. -81st March);
the Tomb op Napoleon daily, 12 to 4 or 6. The Salle d'Honneur, read-
ing-room, and gallery of plans, see p. 817. — The Hotel des Invalides is
open daily 12 to 4 or 6.
MAtbo Statiohs (Lines 1 & 6; Appx., pp.31, 84): Champs- Ely tties
(p. 72), Camhronne, La Motte-Picquet, Dupleix (p. 320), Grendle (p. 821).
— NoBD-SuD Stations (Appx., p. 86): Chambre des DiputeSy Smfirino
(p. 807). — Omnibuses ana Tbamwats, Appx., p. 68. — Steamebs, Appx.,
p. 57. — Chsmin db Feb des Invaudbs, p. 857.
Above the houses to the W. of the Faubourg St-Grermairi rise the
conspicuous gilded dome of the great Hdtel des Juvalides (p. 318)
and the Eiffel Tower (p. 321), to the N.W. of the Champ-de-Mars.
The Esplanade des Invalides (PI. R, 14; //, /F), 550 by
270 yds., bordered with elm-trees, lies between the Seine and the
Invalides. It is connected with the Champs-Elys^es by the Pont
Alexandre-Trois (p. 234). Near the river is the Gave des Invcdidea
(p. 357).— To the W. is the Pont des Invalides (p. 234).
A railing separates the Place from the outer court of the Hdtel
des Invalides, now a garden enclosed by a dry moat, and containing
a 'Batterie Triomphale' of captured cannons.
Among the non-mounted pieces are sixteen Algerian gans with Arabic
inscriptions; the two at the sides are from China and Oochin-Ghina.
The battery is as follows: to the E. of the entrance are two Austrian
cannons, cast at Vienna in 1681 and 1580; four Prussian guns of 1708
captured from the Berlin arsenal by the Austrians in 1757, and brought
by Napoleon from Vienna with 2388 other cannons; a Dutch piece, cap-
tured at the siege of Antwerp in 1832 ; a Russian piece from Sebastopol
(1866); a mortar from Algiers. — To the W. of the entrance. Swivel-gun
from Wurtemberg, a masterpiece of its kind, rifled and skilfully carved,
dating from the time of Duke Frederick (1598-1608); a Danish piece, of
1708; the remaining pieces correspond with those on the right side.
In the garden is a bronze statue of Prince Eugene de Beau-
hamais (1781-1824), viceroy of Italy (1805-13), by Dumont.
Among the statues in the Square des Invalides, to the E. outside
the court, are: An ancestor (Brennus, the Gallic chief), bronze hy MassouUef
and Defence of hearth and home, marble hy Boisseau. — To the W., in
the Square de Liatour-Maubourg, the Age of Bronze, by DeUiomme.
The H6tel des Invalides (PL R, 14; IV), tbe oldest insti-
tution of its kind, founded by Louis XIV., was designed by Ltb&ral
Bruantf and was begun in 1671 (dome, see p. 318). It covers an
area of over 31 acres. The Fagade, in three stories, is 230 yds. in
length. In the upper part of the central pavilion is an equestrian
figure of Louis XIV. (renewed in 1815), flanked with bronze statues
of Justice and Prudence, by Coustou the Yr. (1735). Right and left
of the entrance are Mars and Minerva, by the same artist.' By the
comer-pavilions are four bronze groups, by DesjardinSy of con-
quered nations, brought from the monument of Louis XIV. formerly
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INVALIBES. Left Bank 18. 3ii
in the Place des Victoires (p. 215). — This home was destined for
5000 (later, 7000) old or wounded soldiers, and was richly endowed
anew by Napoleon I. The post of governor, once much coveted, was
abolished in 1883; in 1903 it was decided to receive no new 'inva-
lides', but in 1911 the practice was revived. The seat of the mili-
tary government of Paris was transferred to the Invalides in 1898.
The Cour d'Honneur, plain but imposing, is enclosed with
arcades, adorned with paintings, by B. Masson, of scenes from the
history of France, and with copies, by the brothers Baize (1835-47),
of Raphael's frescoes in the Vatican, but all faded and damaged.
At the end of this quadrangle is the entrance to the church of 8t-
Louis (p. 318). In the Galerie du Midi, which precedes the church,
are six large statues by Pigalle, Mouchy, and Lecomte, and to the
right is a group by Belloc (Lamorici^re at Constantine). The gallery
of the 1st floor is adorned with the bronze statue of Napoleon I.,
by Seurre, which once crowned the Venddme Column (p. 83). It
was erected in 1911 in place of the cast which had stood here for
50 years.
On the right and left sides of the quadrangle are the Section
des Armes et Armures and the Section Historique (formerly the
Mus6e d'Artillerie and the Mus6e Historique), which together form
the MUS]^E DE L'ABMEE. Changes frequent. Short guide of
1912-13, 25 c.
The^Seotion des Armes et Armures contains weapons and
armour of all kinds, both ancient and modern (10,000 specimens).
Adm., see p. 810. Sticks and ambrellas must be given op (no fee).
— The Catalogue (by L. Robert; 1889-98) is in 6 vols. : 1 (A-F), Antique
arms, 76 c. ; 2 (G-I ; out of print), Defensive armour, helmets, shields,
1 fr. ; 8 (J-L), Arms of offence, steel weapons, etc., IV4 fr. ; 4 (M), Port-
able firearms, IV4 fr.; 6 (N-P: out of print), ArtiUery, etc., 76 c. Sup-
plement (1899), 60 c. — The exhibits are labelled.
To the right of the vestibule we enter the —
Salle de Piebrefonds, decorated, like the next room, with
mural paintings of military subjects of the time of Louis XIY., in
the style of Van der Meulen.
Facing us: Gh 1. Armour of a man-at-arms of Charles YIII. (about
1440); G 178-180. Italian armour for combats in the lists; the suit to the
left belonged to one of the Medici ; *G 88. German armour of the 16th cent. ;
GI8I, 182. German and Milanese tonlet-suits for fighting on foot; G 65-67.
German armour of late 16th century.— Around, from right to left, German,
French, and Italian armour (1460-1650). — Above, copies of French fla^s
and standards: the second on the left is the standard 01 Joan of Arc (white
with fleurs-de-lis); the sixth on the left is the oriflamme (see p. 892). —
At the end is a model of the Oh3,teau of Pierrefonds.
Case I (beginning at the back): G 69, 13, 137. Italian armour. —
Cask II. Wheel-lock firearms (esp. M 68, 87, 169, 1603); G 246. Gorget
(17th cent.); Italian helmets; German firearms (16th-17th cent.); 169 {on
the other side), Italian rondache, or shield of parade, with the Triumph
of Galatea, after Raphael (16th cent.); fine Italian swords. — Cask III.
Italian shields of 16th cent. (Nos. *I 77 and *I82 the finest); right, L66.
Flemish or German crossbow with ivory carvings (ca. 1600) ; G 699. Jousting
312 Left Batik 18. INVALIDES. Mus4e de
ohamfron (end of 16th cent.)* — Oasx lY. Bight. M 35. Matchlock musket
(1629); J 233 and 240. Spanish rapiers; M 82. Wheel-lock arquebos, time
of Henri lY.; G 608. Nose-band of a horse's snit (German, 16th cent.);
G9S (on the other side), Armour of early 17th cent.; H 60, 61, 263, 114.
Jousting helmets ('Maximilian' style), German tilting-helmet (17th cent.),
Chased and gilded helmet (16th cent.) ; M 202, 126. Wheel-lock musket
and arquebus (German). — CasbY. M127, 1619, 1644. German wheel-lock
petronel and pistols (16th-17th cent.); German muskets ; G697 and (at the
back) *G693. Ohamfrons, the latter once owned by Philip II. of Spain. —
OAfix YI. Italian helmets (16th cent.), esp. *H 261. H 262, and three burgo-
nets, H186, 198, 199; H269. Gala helmet (German?); P575. Ivory hunting-
horn (12th cent.); P567. Handcuffs (16th cent.); *J 361. German sabre
with wheel-lock pistol (16th cent.); German, Spanish, and French swords:
I 71. Italian rondache; I 69. Rondache (in leather); I 6. Shield of the Earl
of Richmond (Henry YII.). — Casb YII. Italian helmets of 16th cent.
(H*222, 148, *149, 256, 256, 258); *G609. Nose-band of a horse (German,
1662); K47, 49, 56, 58. Maces; J 112, 74, 111. Italian scimitars (16th cent.);
G 289. Gorget of the time of Henri lY. ; I 7. Shield of Matthew Corrinos,
King of Hungary (d. 1490).
We return to the vestibule, and on the other side enter the —
Salle de FRAi^gois-PREMiER, containing a splendid collection
of weapons and armour (chiefly i5th and 16th cent.).
In the centre, * Armour of the Bourbmis: G 196. Juvenile suit of
Louis XIY. (?); G 122. Henri IV.; G 123, 124. Louis XIII. At the back,
under glass, G121, 120. Armour of Henri III. and Charles IX. — Gukss
Oasss (right to left) : ""J 376-386. Superb swords of Francis I., Henri II.,
Charles IX., Henri lY. (379, 380, wedding swords), Louis XIII., Louis XIY.
fS82, 383); H 143 and 93. Burgonet, helmet, and badges of Henri II.: G 249.
Gorget of Louis XIII. ; H 280. Juvenile helmet of Louis XIY. ; K 50. Mace
of Henri II. ; G 426, 657, 614. Gauntlets, stirrups, and spurs of Louis XIY. ;
M9&, 36, 96. Muskets of Louis XIII.; M410. Musket of Louis XIY. — Then
*G 118. Silver-plated armour of Henri II. ; G 119. Armour of Francis II.,
and in the centre. *G 117. Francis I. — Behind, *G41. Armour of Albert
of Brandenburg) Archbishop of Mayence (?; 1490-1645), with a fine saddle
and *Chamfron. — Next comes a superb collection of Jousting Armour^
notably G*166, 167. Armour of Emp. Maximilian II., and farther on, G40.
Bavarian suit of 1633. — Behind, under glass, Italian morions and burgo-
nets, especially H 147, 166, and 184; bucklers, in particular 1 63 ; German
swords: M 1612, 1613, 1617. 1647. Large German wheel-lock pistols; M 1649.
Pair 01 French wheel-lock pistols; powder-dasks. — Then, under glass,
three suits of armour : G 106. Armour of the time of Louis XIII. ; G 74.
Suit of the time of Charles IX., and, in the centre, *G 76. Suit attributed
to King Frederick of Bohemia (16th cent.). — Also under glass, *G 60.
Italian suit, *auz lions' (16th cent.); *G 61. Italian suit, with reliefs
fl6th cent.); in the centre, ornamental ^Pieces (H 264, I 62, J 97), said to
nave belonged to the Duke of Alva. — Next, (> 64. Gherman suit fend of
16th cent.) ; G 8. Milanese armour of the early 16th cent. ; G 73. Armoor
of the time of Charles IX. — Last glass-case, Gil, 12, 77. Suits of the
periods of Francis I. and Charles IX., and two fine helmets (H 264, 266).—
Above, copies of French flags and standards.
On the right, as we returui are Milanese (G 148 and 149) and German
(Gl35, 147, etc.) caparisons of horsemen and armour of the 16th-17th century.
On the left, suits of armour of historical personages : G 61. Anne de
Montmorency ; 80. Due de Guise ; 92. Due de Sully ; 113. Marshal de Turenne ;
etc. Then, grooved 'Maximilian' armour (1st half of 16th oentO* — Under
glass, flags of the Archbishop of Mayence, and farther on, *H260. Two
Venetian helmets and gala swords and maces (16th cent.).
A door at the end of the Salle de Francois-Premier leads into
a passage (on the right is the entrance to the Salle Biohelieu,
VArmie. INVALIDES. UftBankls. 31$
p. dl4), beyond which are Three Rooms with a fine collection of
small Models of ArtiUerv.
let Boom: Catapults and similar engines; primitive cannon; artillery
from Louis XIY. to 17S2 ('Syst^me Yalli^re'). Sad Boom : Artillery from
Louis XY. to Louis XYI. ('Syst^me Gribeauval'). 3rd Boom: Artillery,
1801-68; next the windows are models of foreign cannon.
Returning to the vestibule, we follow the Corridor to the left
to the Salle Kl^ber. Staircase to 1st floor and entrance to the
courts, see pp. 315, 314.
Salle EliSber. In the 1st Bay are steel weapons and firearms
from the East
1st Glass-case on the right, Malaysia and India: Malay creeses
(dap. J 1287, etc., 1248, etc., and 1257); Javanese yataghan (J 1241); Indian
sabres and khuttars (J 1179, 1200, etc., 1217, 1221, etc.); Hindu sabres
and khuttars (J 1179, 1200, etc., and 1221), with hilts and ornaments in
jade and precious stones. — 2nd Case on right, China and Japan: SahieSf
guns, quivers, and arrows; H462, 463. Tartar helmets ; H460. Mongolian
helmet; G 788. Persian cuirass (16th cent.). — 3rd Oase on right, India:
Sabres, poniards, khuttars, and gfuns. — 1st Oase on left, Persia and the
Balkans: Steel arms. — 2nd Oase on left, Circassia and Turkey: H 261.
Polish helmet (late 16th cent.); H446. Helmet of Bajazet II. (d. 1612);
H 461. Bussian helmet (16th cent.); Turkish guns; *M 2262, *J 1071. Pistol
and sabre of Marcos Bozzarls, the Greek patriot (1789-1823). — Srd Oase
on left, Balkans^ Morocco ^ and Turkey: L 226^, Polish quiver; *M 640,
1762. Gun and pistols made at Botterdam by order of Napoleon I. for the
Sultan of Morocco; J 1006. Turkish sabre, captured at Aboukir; M 2182,
2184. Fine Turkish guns ; Od 126. Barbaresque gun taken at Saragossa in
1808; H466. Oircassian helmet. — By the walls, from right to left, Oambodian
and Chinese guns, Malay creeses, Chinese spears. — Oase by 2nd window
on right, *Hindu khuttars, Nepalese weapons. — By Srd winaow, right and
left, G 800, .801. Turkish and Mongolian saddles and harness. — By
the wall at the end: M 2338. Japanese air-gun; M 2288-2286. Hindu guns;
inlaid guns. — By the window on the left. Poniards from Persia and the
Balkans; Oircassian weapons. — To the left of the entrance, Turkish and
Arabian guns; M 2849. Bich powder-flask, in silver-gilt, with jewels
(17th cent.).
The 2nd Bay contains suits of armour.
In the centre, on the right, G 762. Old Japanese suit; G 760, 766,
763. Japanese armour; on the left, G 717. Saracenic armour; G 718, 719,
726. Saracenic coats of mail (16th cent.) ; G 728. Coat of mail, each link
bearing the name of Allah. — To the right of the entrance, Japanese helmets
and gongs; to the left of the entrance, Persian arms, Indian drums. — By
the winaow on the right, arms from Nepal, Cambodia^ and Japan. — Bound
this bay, and in the gallery at the back (adorned with a bust of K16ber) :
Hindu, (Circassian, Persian, Saracenic, Janizary, Chinese, and Japanese
armour: at the back, on the right, under glass, is the beautiful old cos-
tume of a Chinese general.
The Salle Murat, to the right of Salle KUber, was in course
of re-arrangement at the end of 1912. It is to illustrate the deve-
lopment of cavalry weapons.
To the left of Salle Kl^ber is Salle Mass^na, one gallery of
which was reopened in 1912. It is devoted to French infantry
weapons (15th-19th cent.): Culverins; matchlock, wheel-lock, and
flint-lock firearms; muskets, pikes, battle-axes, bayonets, guns,
sabres, and swords.
314 Left Bank 18. INVALIBES. Hu84e de
The Salle Richrlieu, devoted to *armes de luxe', adjoins the
Salle Mass^na on the S. Our description begins, however, at the
second entrance, from the passage mentioned on p. 313, to the S.
of the Cour de la Victoire.
Glass-cases in the centre, right side. Case 21: Italian, German, and
Swiss daggers (16th-17th cent.); J 77S. Sheath of an Italian dagger
(Cinqnedea). — Oase23 : Guns, crossbows, and swords (J 166, 267). — Case 25 :
Pistols (M1675 with wheel-lock; M 1718, 1781 in ivory ). — Case 27 : Swordo.
— Case 28 : Arquebuses and pistols. — Case 29 : Halberds ; K 84. Battle-
axe of Edward IV. of England (d. 1488). — Left side (as we return).
Case 32: French swords, guns, and carbines (18th cent.). — Case 31: French
guns (17th cent.). — Case 80 : *J 96. Fine Italian sword attr. to Benvenuto
Cellini (ca. 1560); *J 107, 115, Italian swords; *M 87. Matchlock gun of
Richelieu; *J 1^2. Sword of Henri II., Prince de Cond^; J 26. Sword of
a Constable of France. — Case 26: French weapons, guns, pistols, swords,
etc. — Case 24 : German pistols, wheel-lock guns, and crossbows. — Case 22 :
Spanish daggers. — In the centre, between the glass-cases, juvenile armour
(17th cent.).
To the right of the entrance, weapons of Napoleon's generals. — By
the 1st window, right: M 1729. Pistols of Due de Berry (Charles X.);
J 884, 385. Swords of Louis XYI. and his son. — German firearms of the
17th century. — By the 2nd window: *J 708. Sword-blades of Gen. Pappen-
heim (1682): ♦J 119. Sabre of Stephen Bathori (1559); ♦J 889. Sword of
Charles XII. — Italian weapons (16th-17th cent.). — By the 8rd window:
Swords and pistols. — German and Spanish weapons (16th-17th cent.). —
By the columns, under glass: M 668. Six sporting-guns of Napoleon I.;
J 852. Model of a court-sword for Napoleon III.; M 689. Carbine of
Napoleon I. — Window-wall, left: N 276. Cannon, made at Turin in 1792
and presented to the Comte d'Artois, afterwards Charles X. ; matchlock
guns, French swords, German, Spanish, and Italian weapons. By the
windows, under glass : French swords (Consulate, Empire, and Restoration
periods), pistols, and carbines. — Near the entrance, tne *Collection Lepel-
Cointet: Sabres and swords of the Republic and the First. Empire.
The gallery beyond the columns contains a bust of Richelieu, German
weapons (17th cent.), honorary weapons, and hunting- weapons. To the
right, by the door leading to the Salle Mass^na (p. SIS), halberds and par-
tisans, notably E 296, 854, 456. 578; E22. Mace (15th cent.); opposite, under
glass, ""K 126. Italian halberd, inlaid with gold and silver, with the arms
of Cardinal Borghese, later Pope Paul V. At the end, to the left, N 82.
Bronze cannon with the arms of Richelieu; by the window, model of a
cannon in silver-gilt, inlaid with ivory and jewels; adjacent, a small
cannon, presented by the Franche-Comt^ to Louis XIV. (1674).
We now return to the corridor mentioned on p. 313, whence the
Cour d*Angoulgme is entered to the N. and the Cour de la Victoire
to the S.
The Cour d'Angoul^me contains a bronze statue of Gen.
Gribeauval (1715-69), who reorganized the French artillery, by
Bartholdi, and cannon of every calibre, including the 'Griffin',
a culverin of 1528, captured atCoblenz in 1797. By the wall is a
chain 197 yds. long, used by the Turks at the siege of Vienna in 1683
to strengthen a bridge-of-boats over the Danube. — The Cour db la
Victoire contains modern cannon, models of naval cannon, a Russian
gun and carriage from Sebastopol, and cannons recovered in 1872
from Spanish galleons sunk by the British fleet in the Bay of Vigo
in 1702; also captured bronze and brass cannons, mortars, etc.,
VAmUe. INVALIBES. UftBankiB. 315
bearing Annamite inscriptions and tlie emblem of the ^£oi Soleil'
(probably the pieces once presented by Louis XIV. to the Annamite
ambassador at Versailles). To the left, armour-plates pierced by
shots.
The staircase ascends from the corridor (p. S13) to the rooms on the
First Floor. The Saluc Bayard (fonr bays on the left) contains figures
in prehistoric garb, and Ganls, Greeks, Romans, and French, from Charle-
magne to the end of the 18th century. — The Saluc Bocgautvilxj:, to the
right, has an interesting collection of figures of warriors from Africa,
America, Asia, and Oceania, with their arms, caparisons, horses, etc. —
From the small vestibule between the two galleries we may enter the
OuTSR Gallxst, adjoining the Oour d'Honneur (p. 311). It contains smaller
cannons, mostly captured in colonial wars. By the wall are two chains
with fifty iron collars for prisoners, captured in the Moroccan camp after
the battle of Isly in 1844.
The Section Histoiique, in the Cour d'Honneur (p. 311),
opposite the Section des Armes et Armures, and open at the same
hours (see p. 310), contains military memorials. — The Vestibule
has a ceiling adorned with embroidered silk hangings captured
in the tent of the Empress of China in 1900. To the right of it
is the —
Salle Tukennb (once the officers' mess-room), now devoted to
the Revolution and the Empire. It is adorned with mural paintings
similar to those in the first rooms of the Section des Armes et
Armures.
Bight and left of the entrance. Cases 1-4: four ^Saddles of Mame-
lukes captured at the Battle of the Pyramids (1798). Above the entrance,
Departure of volunteers in 1792, by Detcdlle. On and near the walls are
{portraits and busts of French generals and marshals, including, right and
eft, near the entrance, two portraits of Turenne.
Right wall. Case 5: Banners and honorary weapons, including those
of Generals Augereau (1767-1816) and Hoche (1768-97). Case 6: Colours
of the Republican armies. Case 7: Flags of the First Empire; souvenirs
of X^apoleo'n I. (his sword, hat, one of his famous 'redingotes ^ses', etc.).
Case 8 & 9: Flags captured during the wars of the Revolution and the
Empire.
On the end-wall, Surrender of the Trophies in 1806, by DetaiUe; in
front, a cuirass pierced by a projectile at the battle of Waterloo.
Left wall. Under glass : Ruins of Saragossa (1809), in relief. Case 10 :
Hat, epaulets, etc., of Gen. Daumesnil (p. 264). Case 11 : Memorials of
GeneraiB Brouot (1774-1847), Lasalle (1776-1809), and Caulaincourt (1772-
1827). Case 12: Stafifs of banners captured in Spain. Case 13: Flafs of
the National Guard. Case 14: Court-suit of Marshal Lannes (see below).
Case 16: Bust of Gen. Joubert (1769-99), in Sevres biscuit; busts and
souvenirs of Yiala (d. 1793), killed at the age of 13, and Bara (d. 1794),
killed at the age of 16 (comp. p. 422).
Middle row. Case 16 : Memorials of the Revolution ; above, standards
of the 16th oavalry-r^ment and of the gendarmerie of the Doire. Case 17 :
Souvenirs of Marshals Ney (p. 842), Davout (1770-1823), Bessi^res, Lannes
(1769-1809), and Lefebvre (1766-1820). Superb marble bust of Napoleon.
Case 18: Napoleon's pistols. Then, bronze reproduction, on scale 01 1 : 26,
of the 'Colonne de la Grande-Armee' (Yenddme Column, p. 88). Case 19:
Souvenirs of the first Empire, particularly of La Tour d'Auvorgne (p. 293).
Above, bronze statuette of Napoleon. — Charge of dragoons at wagram,
a group in bronze by Richefeu (1909).
Baxdxksr^s Paris. 18th Edit. 20
316 UftBaiikl8. INVALIDES. Mutie de
On the other side of the vestibale is the Salle Bpoeaud (ori-
ginally the mess-room of the 'invalides') : Memorials of the Algerian
campaigns (1830-57) under Generals Bugeaud (1841-44), Lamori-
ci^re, Cavaignac, etc., of the sieges of Antwerp (1832) and of Rome
(1849), of the wars in the Crimea (1854-56), Italy (1859), China
(I860), and Mexico (1862), and the Franco-German war (1870-71).
By the right wall, busts. Oases 1-6: Souvenirs of generals; flags. At
the end, Case 9: Souvenirs of officers killed in war; honorary weapons;
Founding of the Hdtel des Invalides by Louis XIV., a painting by Didin.
By the left wall, trophies (in Case 7, two German banners captured in
1870-71). In the centre are statuettes: Marshal MacMahon (1808-93) by
Crauk, and Gen. Bourbaki (1816-97). Sketch of proposed monument to
Oen. Faidherbe (1818-89), at Lille, by Mercie.
Returning to the vestibule, we ascend the central staircase to
the first floor. On the staircase, to the left, Alpine batteries, a
painting by Loustatuiau.
First Floor (over the entresol). Opposite is the Salle Magenta
(see below). We first enter a vestibule on the left; to the left of
this is the Salle Louis XIV; to the right, the Salle NapoUon.
Salle Louis XIV : Old monarchy, chiefly drawings.
Vestibule and 1st Bay : Numerous drawings of French fla|^ and banners.
Models of fortresses." 2nd Bay: Periods of Francis I., Henri II., Henri IV.,
and Louis XIII. In the centre, Model of a statue of Joan of Arc, by Le-
grain, and a copy of her banner; to the right, armour and weapons (16th-
16th cent.). — 8rd Bay: Louis XIV. Plans of battles. In the centre, Statue
of the king, by Baggi (1880). By the window, under glass, Copv of a letter
of Joan or Arc; souvenirs ofTurenne (p. 319), including the bullet which
killed him at Sasbach in Baden (1675). — 4th Bay: In the centre, Standard
of 1646; in the right corner, ('uirass of Marshal d'Estr^es (1757); in the
opposite comer. Sedan-chair in which Count Fuentes, leader of the Span-
ish at the battle of Hocroi (164S), was killed. 5th Bay: Louis XV. and
Louis XVI. Portraits of generals, drawings and engravings. In the centre.
Model of a frigate; by the second window on the left, a small canBon, a
toy of the Dauphin, son of Louis XVI. To the left of the entrance and
exit, recruiting badges. --6th Bay: Souvenirs of the Invalides, uniforms,
portraits of former governors (see p. 311); in the centre, model of the
Hdtel des Invalides (scale 1:160).
Salle Napoleon: First Republic and First Empire.
By the entrance, equestrian statues of Generals Marceau (1769-96) and
Kldber (1753-1800), by CUsinger. — Ut and 2nd Bays (Republic; 1792-99):
Portraits of republican generals, models of flags; drawings of battles,
arms, etc.; in the 2nd room, statue of Hoche, by CUMnger. — 8rd Bay
(Consulate; 1800-04): Portraits, engravings, etc.; Mameluke equipments.—
4th Bay: Campaigns of Napoleon I.; portraits of generals, arms, and other
memorials. — 5th and 6th Bays. Souvenirs of Napoleon: his camp-bed,
telescope, and field-glasses; canister-shot which wounded him at Ranabon
(1809); autographs; mementoes of the Island of Elba; favourite bench
and other souvenirs from St. Helena; his horse Vizir and his dog; toys,
Sortrait, and winding-sheet of his son, the Duke of Reichstadt (1811-32);
apoleon's hair, death-mask, and cast of his hand.
We retrace our steps. Opposite the staircase we enter the
Salle Maoemta, a valuable collection of uniforms from the Roto-
lution to the present day; drawings of uniforms and military
scenes.
VArm^e. INVALIDE8. Left Bank is. 317
Second Floor, arranged similarly to the first. We first enter
a vestibule to the left, adorned with a handsome tent presented to
Louis XVI. by the Sultan of Morocco, and containing two cases
from the Collection Wftrtz-P^es (see below). Adjoining this vesti-
bule are the Salle MacMahon on the left side and the Salle
d'Aumale on the right, both of which illustrate the wars of the
19th centurv.
Sali^ MacMahon (six bays). European wars; campaigns in Spain,
the Morea, the Crimea, Italy, Mexico, and of 1870-71 (see also Salle Bu-
geaud, p. 816). In the let Bay, G 626. Saddle of Charles X. In the 2n(l,
Troops for the Crimea marching past in the Place Vend6me (in relief;
1855). — Sallb d'Auhalb (six bays). Colonial wars connected with the
older colonies, Algeria, Morocco, the Sahara, Senegal and the Sudan,
Madagascar, Indo-Ghina, Tongking, China. In the 1st Bay, two Arab
cannons taken at Tlemcen in 1842, and a cannon captured in Morocco in
1908. In the 4th Bay, Moorish banners, cannons, and weapons, captured
in 1911-12. In the 6th Bay, grand costumes, notably, by the back-wall,
*G749. War-costume of the Emperor of China, captured at Peking
in 1860.
We now return to the staircase, to the right of which is a long corri-
dor. To the left of the corridor are four rooms, containing a large Collec-
tion de CoiffureSf military caps and head-gear from the Bevolution to
the present day; also two curious collections of 8-10,000 little soldiers of
cardboard, painted in water-colours: Collection Wilrtz-P^eSj showing uni-
forms of 1805-11; and Collection Paul Schmid fof Strassburg), uniforms
<»f 1845-48. —At the end of the corridor is the Salle des Drapeaux, con-
taining a collection of FUtgs and Standards. — On the left of the corridor,
as we return, are four more rooms (re-arranged in 1912). The first ia
devoted to Military Souvenirs since 1871 ; the second to Foreign Uniforms :
the third, or Salle des Decorations, contains the *Dress and insignia of
the Order of the Holy Ghost (comp. p. 288); the fourth is set apart for
Seals &nd Medals. — On the staircase, above the landing, are the remains
of the balloon Le Voltay in which Janssen left Paris during the siege
of 1870.
The following rooms are open only by special leave, which must
bo obtained by previous application.
Salle d'Hokneub, or Sallk dks Mab6chaux, on the Ist floor, above
the entrance to the Cour d'Honneur. Permission to see it may be ob-
tained on written application (with stamp for reply ; comp. p. 60) to the
Gdn^ral-directeur du Mus^e de TArm^e. It is reached by staircase J, to
the right, at the beginning of the Corridor de Metz. This room, long
used as a library, was restored to its original use in 1905, when its fine
panelling was again revealed. Above the doors is the emblem of the
'Roi Soleir (Louis XIV.). Around are fine portraits and busts of marshals
of the 1st Empire.
The Corridor de Bayonne, to the right as we leave staircase J,
leads to the Cour de I'lnflrmerie, behind which, on the left, is the
Salle de Lecture et des Estampes (adm. as above), formerly
Salle St-Lonis. To the right is the Library, adorned with old carved
panelling.
The Galsrie des Plans-Relieph des Places de Guerre, on the 4th
floor (staircase K, left of Corridor de Metz), is open 12-4 on Tues.,
Thurs., and Sun. in June and July. Orders to view it (valid for 4 pcrs.)
may be obtained by writing to the Qi*n6ral-directeur du Service G^o-
graphi<iue, 140 Rue de Grenelle (comp. p. 60). This gallery, founded by
Louvois, contains 75 relief -plans or fortresses, of the 16th-18th and
beginning of 19th cent., mostly on a scale of 1:600. Sketching and note-
taking are forbidden.
20*
318 Left Bank 18. d6ME DBS INVALIDES.
To the S. of the Cour d'Honneur (p. 311) is the church of —
St-Iiouis-des-Invalides, designed by Bruant, and bnilt at
the same time as the H6tel. It has galleries over the aisles.
High ap in the nave are hung two rows of captured Flags, includine
Russian flags taken during the Crimean war (1854-56), Austrian captured
in Italy (1859), Chinese (1857-60), and Mexican (1861-65). Tablets on the
pillars explain their origin. On SOth March, 1814, the evening before the
entry of the Allies into Paris, about 1500 fla^s, the trophies of Louis XIY.
and Napoleon I., were burned by the Invahdes; others were accidentally
burned during a funeral in 1851. — By the pillars are monuments to gov-
ernors of the Hdtel des Invalides, and in the vaults are interred marshals
and officers. — To the left of the choir is a marble statue of Joan of Are,
by Drouet (1901). — Behind the high-altar is a large window with modern
stained glass, whence a door (usually closed) leads to the D&me.
To the right of the choir is the Chapbluc NapolAok, containing
memorials of the emperor and of the removal of his bones to France in
1840 ; also the three slabs of his tomb at St. Helena ; a cast of his features ;
the copper sarcophagus used in 1840 for conveying the coffin (of which
last there is a model); and, on the back- wall, the pall that covered it.
From the S.E. angle of the Cour d'Honneur, to the right as we
quit the church, the Corridor de Metz leads S. to the quadrangle
of the D6me, separated from Place Vauban (p. 319) by a railing.
The ^Ddme des Invalides is a second church, designed by
J. Hardouin-MansaH in 1675 as a crowning feature of the edifice
and as an *Eglise Royale' for the court. It was only finished in
1735. It is a square pile surmounted by a drum, on which rests an
elegant dome 318 ft. high, crowned with a lantern and a pyramid,
together 351 ft. in height. The external shell of the dome, con-
structed of timber and lead, is divided into twelve sections adorned
with gilded trophies. The chief facade of the church, looking to
the S., consists of Doric columns and Corinthian above them.
The *Interior (adni., see p. 310) is in the form of a Greek cross,
in the centre of which is the crypt containing the tomb of Napoleon.
On the right and left are two spacious transepts containing the
tombs of the marshals of Louis XIV. (p. 319). Between the arms
of the cross are four round chapels, entered by small arcades. The
chapels on the S. side contain the sarcophagi of members of Napo-
leon's family (p. 319). Above the central crypt rises the dome,
supported by four piers, the massive dimensions of which are
relieved by the entrances to the chapels and by columns. The drum
is enriched with a broad frieze, with twelve medallions of French
kings, above which are as many large windows. The dome consists
of two sections. The first is divided into twelve compartments,
painted with figures of the Apostles by Jouvenet. Through the
opening in the middle is seen the upper section, adorned with a
large composition by Ch. de Lafosse: St. Louis offering his sword
to Christ. This second cupola is lighted by twelve invisible sky-
lights. The Evangelists in the spandrels are likewise by De La-
fosse; the paintings above the high-altar are by N, Caypd.
d6ME DBS INVALIDES. Left Bank is. 319
The ^ToMB OF Napoleon I., constructed in 1843-61 from de-
signs by Visconti the Yr., lies directly under the dome. It consists
of an open circular crypt 19 ft. in depth and 36 ft. in diameter.
In the centre is the sarcophagus of the emperor, who was born
at Ajaccio in 1769 and died at St. Helena in 1821. His remains
were brought to Paris in 1840 (comp. p. 318). The sarcophagus,
which measures 13 by 6*/jft., with a depth of 14% ft., is composed
of five blocks of red porphyry from Finland. The mosaic pavement
represents a halo with a wreath of laurels, and bears the names of
battles (Rivoli, Pyramids, Marengo, Austerlitz, Jena, Friedland,
Wagram, and Moscow). The twelve colossal figures round the
crypt, by Pradier, symbolize the chief Napoleonic victories. The
ten marble reliefs are by Simart. The six trophies consist of sixty
flags captured in battle. The faint, bluish light admitted from
above enhances the solemn grandeur of the scene.
The double staircase of the crypt (closed) descends on each side of the
high-altar. Beyond the altar is the vestibule separating the two churches,
and containing the cenotaphs of Duroc (1772-1813) and Bertrand (1773-
1844), the emperor's faithful friends and marshals of his palace, the
second of whom attended him in St. Helena. — The door of the crypt is
flanked with two colossal statues in bronze, by Duretj of civil and mili-
tary Power. Above the entrance are tiiese words from the emperor's
will: 'Je desire que mes cendres reposent sur les bords de la Seme, au
milieu de ce peuple fran^als ^ue j'ai tant aimd'.
The two Transbpts contain monuments of marshals of Louis XIY. :
left, Henri de La Tour d^Auvergne^ Vicomte de Turenne (1611-75),
designed by Le Brun and brought from St-Denis (the hero expiring in the
arms of Immortality was sculptured by Tuby; the seated figures by
Marsy). The monument on the right is that of Sibastien Le Prestre de
Vauhan (16SS-1707), the famous military engineer, with his statue by
Etex (1847). — The round Chapbls are surmounted with domes painted
by B. and L. Boullogne and Doyen. That on the right of the great portal
contains the sarcophagus of Joseph Bonaparte (11 6B-1844), King of Spain;
on the left of the entrance is that of Jerome Bonaparte (1784-1860)^ King
of Westphalia, with his statue by E. Q^uillaume; also a bronze reliquary
containing the heart of his second wife, Princess Catharine of Wurtem-
berg (d. 1885).
In front of the D6me lies the Place Vauban (PI. R, 13; IV),
to the 8. of which is the Avenue de Breteuil, leading to the Place
de Breteuil. In this Place rises a Monument of Pasteur (1822-95;
p. 343), with figures of grateful human beings and animals around
him (by Falgui?re, 1904). The Av. de Breteuil ends at the Boule-
vard Pasteur J near the 'Sevres' station of the M6tro (Line 5 ;
Appx., p. 34).
To the E. of the Av. de Breteuil, between Places Vauban and
de Breteuil, rises the church of St-Frangois-Xavier (PI. R, 13 ; /F),
built in 1861-75 by Lusson and Uchard, and adorned with mural
paintings by Lameire, E. Belaunay, Gazes, and Bouguereau, and a
Virgin by Bonnassieux. — Nearly opposite the church, at the angle
of the Av. de Villars and the Boulevard des Invalides, a statue of
320 Left Bank 18. ECOLE MILITAIRE.
Frangois Coppee (1842-1908), in bronze, by Andr^ de Ohastenet,
was erected in 1910.
No. 12, Rue Monsieur, to the E. of St-FranQois-Xavier, was built by
Brongniart for Mile, de Bourbon-Cond6, Abbess of Remiremont (1789).
In the court are four reliefs by Clodion.
The Rue Monsieur leads S. to the Rue Oadinot, No. 27 in which,
ouce the Institut des Fr^res dcs Ecoles ChrStiennes, is now the Ministire
des Colonies. Adjacent, on the S., once stood the Couvent des Oiseaux,
at the end of the Boul. des Invalides, where a now quarter has now
spning up.
Opposite, in the same boulevard, rises the Institution Nationale
des Jennes Aveugles (PI. R, 13, IV; adm. on Wed. at 1.80 or at 4,
by leave of the director, except in vacation, Aug. and Sept.), a fine edifice
erected in 1889-48. The relief in the tympanum represents Valentin Haiiy
(1746-1822), founder of the institution in 1784 (the oldest of its kind), teach-
ing his pupils under the protection of Religion. In the court is a statue
of Hatty, by Badiou de la Tronchfere. — At the back of the institution, at
5-9 Rue Duroc, is another great blind asylum, built in 1907 by the Asso-
ciation Valentin HaUy (adm. Wed. 2-4). which contains a library of 25,000
vols, printed in relief for the use or the blind, a museum of all the
appliances used and the articles made in the asylum, and a workshop.
The Avenues de Tourville and de Lowendal lead from Place
vauban to the —
Ecole Militaire (PI. R, 10; /), an immense pile of build-
ings covering an area of nearly 29 acres, erected by Gabriel (1751-
1782). The school was founded in 1751 by Louis XV., *pour y
elever cinq cents gentilshommes dans toutes les sciences necessaires
et convenables k un ofBcier'. In 1 792 it was converted into barracks ;
in 1855 two wings were added; and in 1878 the Ecole Sup^rieure
de GiierrCj for officers of the staff, was installed here. The S.E.
fatjade overlooks the Place de Fontenoy, where a monument was
erected in 1880 to soldiers who had fallen in war. The N.W. fagade.
fronting the Ohamp-de-Mars, has a Corinthian portico of eight fluted
columns, 42 ft. high, and a quadrangular dome.
To the S.W. of the Ecole Militaire lies the Avenue de Suffreiij
which runs S.E. to the Boul. Garibaldi (see below) and Boul. Pasteur
(p. 319), and N.W. to the Quai d'Orsay (p. 321), passing the Grande
Roue, or giant-wheel (PI. R, 10, /; ascent 55 c), 328 ft. high, erected
for the Exhibition of 1900.
Farther on, towards the S.W., are the Boulevards de GreneUe
and Garibaldi (PI. R, 7, 10, 13), uniting the Quai de Grenelle (p. 321)
with the Boul. Pasteur. Above these boulevards runs the viaduct
of Line 5 of the Mitro (stations 'Grenelle', 'Dupleix', 'La Motte-
Picquet'; Appx., p. 34). In the gardens on the N. side of the Place
Canibromie (PI. R, 10; M6tro station) rises a Statue of Gari-
baldi (1807-82), by Viucenzo Oochi (1907).
The Champ-de-Mars (PI. R, 8, 11,10;/), laid out about 1770
for the Ecole Militaire, was occupied by the exhibitions of 1867,
1 878, 1889, and 1900. It is now a large park, bordered with houses.
On Uth July, 1790, the Fete de la F4d4ration was held in the Champ-
de Mars. At one end of it was erected the Autol de la Patrie, where the
EIFFEL TOWER. Left Bank is, 321
kingi the national assembly, and the delegates of the army and the pro-
vinces, swore fidelity to the constitntion. Talleyrand, Bishop of Autun,
with 400 of the clerg>', officiated. The famous Champ de Mai was held
here by Napoleon on Ist June, 1815. Here too, in August, 1880, Louis
Philippe presented colours to the National Guard, and in 1852 Napoleon III.
distributed the eagles which were to replace the Gallic cock.
The *BlJBrel Tower (Tour Eiffel; PL R, 11, /;, near the
Seine and opposite the Trocad6ro, built by Eiffel, the engineer, in
1887-89, is 984 ft. in height, and is by far the loftiest structare in
the world (Woolworth Building in New York 750 ft., Washington
Obelisk 555 ft., Cologne Cathedral 515 ft., Great Pyramid 450 ft.,
St. PanPs in London 364 ft.). The base rests on four massive piers
of masonry, sunk to a depth of 46 ft. on the side next the Seine, and
29 ft. on the other side, and forms a square of 142 yds. each way
(Great Pyramid, 250 yds.). The interlaced iron girders are hollow.
The First Platform, 190 ft. above the ground, is over 71 yds. square.
The four pillars gradually approach one another as they rise to the
Second Platform (380 ft.), with its illuminated clock (1907), and
at a height of 587 ft. they unite. About 92 ft. higher is a kind of
landing-place. Towards the top the tower is still 33 ft. square. Th^**'^
Third Plaiform (905 ft.), at the foot of the double lantern which
crowns the tower, has a glass pavilion of 54 ft. square, capable of
holding 800 people. The Lardern rises 79 ft. higher. A staircase
ascends within it to a round balcony, 19 ft. in diameter, above
which is the electric light, visible at night for 45 miles round.
The Ascent -of the tower is advisable only in clear and calm weather
(adm. daily, from March to Nov., 10 a.m. till dusk). Visitors ascend to
the second platform (where they always change lifts) by staircases or lifts
(ascenseurt). The Tariff for the staircases (850 steps to the first floor,
380 to the second) is the same as for the lifts: to each platform 1 fr.
(in all S fr.); on Sun. and holidays Vs fr* to the first, Vx fr. to the second,
I fr. to the third (2 fr. in all). — In winter visitors may ascend by the
staircase to the first two platforms, daily from 12 till 4 (1 fr.). — Restau-
rant (d6i. 4 fr.) and Theatre (seats 2-5 fr.) on the first platform, open till
II p.m. from 1st June to the end of Aug. ; bars, shops, etc., on the second
ana third platforms.
The *View from the top is very extensive (generally best l-lVg hr.
before sunset), ranging in some directions 55 M. in a direct line. To the
S.W., for example, we may ^ec as far as Ohartres, to the N.E. as far as
Villers-Ootterets. The view from the first two platforms is obstructed
by the hills round Paris.
At the top of the tower are a meteorological observatory and a wireless-
telegraph station (no adm.), in direct connection with (5anada (8480 M.)
and other places, which sends the exact hour to mariners daily.
In front of the tower is the Quai d^Orsay, below which lies
the large Port de la Bourdonnais, and from which the Pont d'l^na
(p. 241) crosses to the Trocad^ro (p. 239). Below the bridge is the
Station du Champ-de-Mars (PL R, 8, /; p. 30), beyond which
lies the Quai de Grenelle (M6tro station; Appx., p. 34). Above
the bridge lies the Station de V Avenue de La Bourdonnais (PL R,
11, /; p. 349). Bridges of Passy, see p. 243.
322
19. The Luxembonrg.
MM:tbo Stations (Line 4; Appx., p. 88): Carrefour de VOdion (p. 279),
8t-Germain-des-Pr48 (p. 802), St-Sulpiee (p. 308).
The Luxembourg Gallery is open daily, except Mondays and ^reat
holidays (see p. 57), in summer 9-5, in winter 10-4: on Sun. and ordinary
holidays always 10-4. It is closed about the end or beginning of each
year for re-arrangement. — 'Le Luxembourg', an illustrated description of
the Palace, Galleries, and Gardens, by A. Hnstin (1905 ; 1^/4 f r.), is sold
in the Mu86e.
Marie de M^dicis, widow of HenrilV., having bought the ch&teau
and grounds of the Due de Piney-Luxembourg in 1612, commissioned
the architect Salomon Debrosse in 1615 to build her a large new
palace. This was called the Palais du Luxembourg (PI. R, 19 ;
/F), after the original owner. In the use of rustica pilasters, and
in the admirable style of its court, it resembles the Pitti Palace at
Florence, but it is quite French in character, especially in the comer-
payilions with their lofty roofs. The main facade, 98 yds. long,
which, though often restored, still reveals the original design, looks
N., towards the Rue de Vaugirard, opposite the Rue de Tournon.
Considerable alterations were made by Chcdgrin in 1804, by order
of Napoleon I., who installed his Senate here. The facade towards
the garden, at first similar to the N. facade, was remodelled in
1836-44 by A. de Gisors, who adhered as far as possible to the
original design. The palace was occupied after 1815 by the Chamber
of Peers, and under Napoleon III. by the Senate. In 1879 it again
became the seat of the senate of the Republic.
Prior to the Revolution the palace was inhabited by various nrinces
and princesses. Converted into a prison by the Convention, it harboured
many distinguished victims, such as Marshal de Noailles, beheaded, to-
gether with his wife, at the age of 79, Vicomte de Beauharnais and his
wife Josephine (afterwards Empress of France), H6bert. David, Danton,
Camille Desmoulins, and the poet Fab re d'Eglantine. It became the Palais
Directorial in 1795, and in 1799 the Palais du Consulat, until Bonaparte
made the Tuileries his residence in 1800.
The palace is open from 9 or 10 a.m., except when the senate is sitting,
to visitors with tickets, obtainable on application by letter (with stamp
for reply; comp. p. 60) to M. le Questeur du SSnat. Entrance in the
Rue oe Yangirard; concierge on the right (fee). — Special tickets are
necessary for sittings of the senate.
In the CouB d'Hornkur, on the right and left of the central steps,
are statues of Montesquieu and Pasquier by Foyatier and Nanteuil. — The
VisTiBULB contains the Guardian Angel, by Hu8807i.
First Floor. The dome of the Library (closed) is adorned with fine
paintings, by Evghne Delacroix (1847), of the Infernal regions, after Dante.
— The Sallb des S^aitcss contains 800 seats for* the senators and 800
for the public. The colonnade is adorned with statues of Turgot (d. 1781),
D'Aguesseau (d. 1751), L'H6pital (d. 1573), Colbert (d. 1683), Mole (d. 1855),
Malesherbes (d. 1794), and Portalis (d. 1855). On each side of the presi-
dent's seat is a painting by Blondel: the Peers offering the crown to
Philippe le Long, and the Estates of Tours conferring on Louis XII. the
title of 'father of the people'. At the beginning of the large hemicycle
are statues of Charlemagne, by EteXy and St. Louis, by i>f/WM)nf . — The
Q^ALHRns DBS Bttstbs oontnins busts of eminent men. — In the Sallb
J
THE LUXEMBOURG. Left Bank 19. 323
d'Attbhtb are three views of the Luxembourg garden, by Victor Marec
(1906). — The BuvBTTH (refreshment-room; formerly bedroom and 'cabinet
dor^' of Marie de M6dicis) contains paintings: Cabanel, Louis XIII. and
Richelieu: Caminade, Chancellor de L'Hdpital returning the seals to
Charles IX.; Vinchorif Achille de Harlay rejecting the proposals of the
Due de Quise; Champmartiriy Charlemagne; H. Flandnnj St. Louis; A.
HessCy Louis XIV.; Decaisne, Allegorical ceiling-paintings. — The sump-
tuous Sallb dss Pas-Psrdus, or dxs CoNFtsRSNCss, formerly the throne-
room, was completed in 1856 in the Louis XIY. style. On the vaulting,
in the centre, the Apotheosis of Napoleon I., by Alaux; at the sides.
Peace and War, by Brune; at the ends^ Apotheosis of the kings of France,
by Lehmann, Monumental chimney-piece of 1880 where the throne once
stood. On one of the panels, Daphne, in 0-obelins tapestry, after Albert
Maignan (1905). — Saloit Romain, or dbs Tapissbriks : Views of Rome
(on cloth, in grisaille). — Salli: dks Commissions: Ceiling-paintings by
n. Schelfer^ Jading and Picot. — EscAiiiBB d'Hoitsbur: Twelve Gobelins
and Beauvais tapestries. — Salon de Jbanns Hachetts : Statue of Jeanne
Hachette, the heroine of Beauvais, by Bonnassieux. — Bureaux de Com-
mission : L. O* Mersorif Design for stained glass ; Chavet, "Woman asleep ;
modern pictures, from the Mus6e, by E, Duez^ A. de NeuvUley H. LerouXf
and others. — In the E. wing is the Grande Oalerie, or Galbrie Est,
for which Rubens painted his famous series of scenes from the life of
Marie de M6dicis (p. 134). The ceiling is adorned with an Aurora by
Ccdlet and the Signs of the Zodiac by Jordaem (pupil of Rubens).
Ground Floor. In the W. part of the palace is the Salle du Livre
d'Or (wrongly called Salle de Marie de M^aicis), in which was kept the
'livre d'or' (a record of members of reigning families). It consists of a
gallery adorned with medallions attributed to Van Thulden and Van
Huderij pupils of Rubens, and a room with arabesques and figures by
Giovanni da Udine (f). The two ceiling-paintings (Apotheosis of Marie
de M^dicis, and the Queen establishing peace in France) are attributed
to Jan van den Iloecke or to Jean Mosnier. — The Chapel, restored in
1892, is enriched with paintings by GUgoux; behind the altar are the
Twenty -four Elders of the Apocalypse, by Abel de Pujol; under the
organ, a Group of Angels, by Jaley.
To the W. of the palace is the Petit- Liixembourg (PL R, 19 ; IV),
the residence of Richelieu in 1629, now that of the Piesident of
the Senate. The pretty Chapel adjacent, built in 1622-31, belonged
originally to the nunnery of the Filles du Calvaire. — Farther W.
in the Rue de Vaugirard, nearly opposite the Rue F6rou, is the old
Orangery, occupied since 1886 by the —
*Mus6e du Luxembourg: (PL R, 19; IV), founded in 1750,
a collection of modern art belonging to the State. The paintings and
sculptures exhibited here are generally transferred to the Louvre, or
sent to provincial galleries, ten years after the death ^ the artists.
The collections are to be removed to another building. As new ac-
quisitions frequently necessitate re-arrangement, the chief works
are mentioned in the alphabetical order of the names of th^aftists.
Adm., p. 322. Sticks, umbrellas, and parcels must be left in the cloak-
room (gratis). Albums (one for the paintings, three for sculpture), by
M. L^once B6n^dite, the present curator, 1V2^t- each; 'LeMus^e du Luxem-
bourg, les Peintures', also by M. Bdn^dite (1912; 10 fr.).
In the tympanum, France distributing her laurels to Sculpture
and Painting, by CrauJc. — Right and left of the staircase, Orpheus
charming Cerberus to sleep, and Judith, bronzes by Peinte and
324 Left Bank 19. THE LUXEMBOURG.
Musie:
Aizelin. At the sides: right, Pardon, by E. Dubois; Child, by
Roger-Bloche (bronze); 'Le Peuple le plenre*, by J. van Bies-
broeck (bronze); Blind girls, by H. Lefebvre (marble); Danish
hound, by Lami; left, Vulture on the head of a sphinx, by Cain;
Firedamp explosion, by H. Greher; Hero and Leander, by Gasq;
Susanna, by A. Vermare; Cold, by Roger-Bloche (bronze) ; Bacchus,
by A. Injalbert (bronze); Alsace and Lorraine, by P. Dvbcis
(bronze) ; Wounded dog, by Fr^miet.
Small vestibule. Kight, H. Cros, Story of water, executed in
vitreous paste; fayence by J. C. Cazin; above, G. CoUn, Land-
scape. Left, below, A. Injalbert, Faun with cup (terracotta) ; above,
Knight among the flowers, a painting by G. Rochegrosse; two
Sevres vases.
Most of the sculptures are in the long gallery (PI. A), which we
enter first, and in the central room of the W. annexe (PL B), but
some are in the rooms containing the paintings (PI. 1*11, C, and D).
Sculptures.
A. — Aizelin (E.J, Hagar and Ishmael. AUar, Death of Al-
cestis. Allouard (H.), Far from the world (coloured marble) ; Futa
woman, small bronze. Astruc (Z.)y Bronze
bust of Barbey d'Aurevilly (1811-89), the
novelist. Aub6 (P.), France and Russia, silver
epergne.
B. — Baf/ier (J.), Head of John the Bap-
tist. Bareau (G.), Awakening of Humanity.
Barria^ (E.), Girl of Megara ; Nature reveal-
ing herself, coloured marble; Mozart, bronze.
Bartholom4 (A.), Girl weeping, bronze ; Bust of
a woman. Berjgwk f»7.J, Ishmael ; St. Sebastian.
Bemstamm (L.), Bust of the painter J. L.
G^rSme, Coquelin cadet (in the ^Malade Imagi-
naire*),two bronzes. B^oc^fi4.j, Martyr (wood) ;
Bust of a man (wood). Blondat (Max), Cupid.
Boisseau (E.), Diogenes. Bouchard (H.), A
Docker, Burgundi-
an labourer, small
bronzes. Boucher'
(Alfred), Repose;
In the fields.
Bourddle (A.E.),
Head of Beethoven,
bronze.
Jardiii du Luxeniboui*g
O lO
Mt
*o
jmtm*
G.—CarUa (A.), Youth; Abel. Carlier (E.J.), Gilliat seized
by the octopus (Victor Hugo). Carrie (J.), Bronze head of Charles I.
Cazin (Ch,), Sailor's wife, bronze. Cadn (Mme. Marie), Girls;
Sculptures. THE LUXEMBOURG. Left Bank 19. 325
David, bronae. Charlier ((jr.), Bavarian widow. Charpentier (F.J,
Tllnsioii. Chri8tophe(E.), The last kiss. Conv€rs(L.), The spring.
Cordier (Ch.J, Basts of negro and negress. Cordiet' (Henri ), Bull,
small bronze. Cordonnier (A.), Homeless. Coutan (J.), Cupid.
CrauTc (G.), Youth and Love.
D. — Dagonet, Eve. Dalou, Peasant, in bronze. Dampt, St.
John; Grandmother's kiss. Dejean (L.J, Parisienne, small bronze.
Delaplanche (E.), Eve before the Fall ; Virgin with the lily ; Dawn.
De8hoi8(J.J, Leda. Desca(E.J, Our grandmothers. Dubois (P.J,
John the Baptist as a child, bronze; Narcissus; Florentine singer
of 15th cent., in silvered bronze.
F. — Eaiguiire (A.J, Tarcisius, the martyr; Victor in cock-
fight, bronze; Bust of Baroness Baumesnil. Eranceschi (J.J, For-
tune. Frimiet (E.J, Pan and bear-cubs. .
Q. — Gardet (G.J, Panthers. Gaudissard (E.J, Spring. Gau-
therin (J.J, Bust of a woman. G&rdme (J. L.J, Tanagra, coloured
marble; Sarah Bernhardt, coloured marble; Bonaparte, bronze-gilt.
Greber (H,J, Fr^miet, statuette with medallion of his Joan of Arc ;
J. L. G^rdme, statuette; Narcissus. GuUlaume (E.J, Anacreon;
The Gracchi, bronze; Archbp. Darboy.
H. — Hannaux (E.J, Poet and Siren. Hiolle (E.E.J, Arion on
the dolphin. Houdain (A. d'J, Heads of women. Hugues (JeanJ,
(Edipus at Colonus.
I. — Idrac fAj, Mercury inventing the caduceus; Salammbd
(from Flaubert). Injalbert (A.J, Hippomenes, bronze; Female faun
with a bagpipe, helin (H. F.J, Bust of President Boileau. Itasse,
Bust of Belloc, the painter.
Xj. — Lanson (A.J, Iron age. Lanier i, English peasant, bronze.
Larche (R.J, Violets. Lecourtier (P.J, Danish hound with pups.
Lefdvre (C.J, Head of a woman. Legi^os (A.J, Female torso and
mask, bronzes. Lefinaire (H.J, Morning. Lenoir (A.J, St. John;
Bust of a girl. Leonard (A.J, Adolescence. Leroux (E.J, Girl
selling violets, bronze. Longepied, Immortality.
M. — Marqu€ste(L.J, Cupid; Galatea; Perseus and the Gorgon.
Massoule (P. A.J, "N 3.19.6.. Mercie (A.J, l>sivid^ bronze; Souvenir.
Meunier {C.; of Brussels), Industry, Puddlers, The soil, three reliefs
in bronze; Smith, Stevedore, small bronzes. Michel (G.J, Dreaming ;
La Pens6e. Moreau (Math.J, Spinster. Moreau-Vatdhier (A.J,
Bacchante; Gallia (p. 326). Moulin (H.J, Discovery at Pompeii,
bronze.
N. — NavieUier (E.), Elephant and pelicans, Old stag on tlu*
alert, two small bronzes.
O. — Octobre (A.J, Nymph. Oliva (J. B.J, Bust of a priest.
P. — Paillet (Ch.J, Two friends (monkey and dog). Piter (V.J,
Bear-cubs at play; Two friends (Arab and his horse). Peynot
(E. E.J, 'Pro Patria'. Pu£ch (D.J, Siren; Muse of Andr^ Ch6nier.
326 Left Bank i9. THE LUXEMBOURG. Jfiw^:
B. — Rechberg {A.; (xerman), Destiny. Biviire (Th.), Two
sorrows; 'Ultimnin ferieDs', small group in marble and bronze;
Salammbd at the house of Matho, bronze and ivory ; Arab embroid-
erer, in marble, bronze, ivory, and enamel. Rodin (A.)y The kiss
(1898), large group in marble; Bust of a woman, Danaids, and Lt
Pens^e (1889), in marble; Man with the broken nose (1864), Bronze
age (1877; the sculptor's first great work), John the Baptist (1879),
Old boat-woman, Bellona, Caryatide, bronzes; Bronze busts of Gus-
tave Geoffroy, Victor Hugo, H. Rochefort, the sculptors J. Dalou
and A. Falgui^re, M. Berthelot, the painters Puvis de Chavannes
and J. P. Laurens, etc. Rosso (M.), Child.
8. — Saint-Marceaux (R, de), Youth of Dante; Genius guard-
ing the secret of the tomb. Salm8on(J, t/.^^ Skein-winder, in bronze.
Samuel (Ch.)j Bust of Charles Hay em, art-connoisseur. Schnegg
(L.J, Aphrodite ; Girl. Sigoffin (A.), Busts of H. Harpignies and
F. Ziem, the painters.
T. — Theunissen (C), Bust, in wood, of Harpignies, landscape-
painter. Thomas (J.J, Virgil ; Youth, bronze. Troubetzkoi (Patd),
Count Tolstoy on horseback, and Mme. N., small bronzes. TSircan
(J.), Blind man and Paralytic.
V. — Verlet (Ch,), Child's head ; Portrait of a duchess. Vemhes
(H,), Breton girl, in wax.
The sculpture-gallery, the first room of the picture-gallery, and
the side-rooms (see below) contain a very interesting *Collection of
modem medals in glass-cases, by Chaplain, A. CharpentieTyChapu,
Kautsch, Roty, Daniel-Dupuis, J. E. Roin6, Dubois, and others;
fayence and pottery by Bigot, Carries, Chaplet, Dcdpeyrat,
Delaherche, Mossier, etc.; Sevres porcelain; glass by Dammouse,
GalU, Kcepping, LiveilU, and Tiffany; enamels by Thesmar;
pewter by Brateau, Charpentier, Desbois, and others; and several
cameos. Here are also nine pieces of old Gobelins tapestry represent-
ing national palaces, an Audience and the Coronation of Louis XFV.,
and a bust of Gallia in ivory, gold, and silver, with topazes, by
Moreau-Vauthier (goldsmith's work by Falize). At the end of the
hall, to the right: Moreau (G.), Siren and Poet, designed for the
Gobelins; left, the finished tapestry.
In the "W. annexe are two side-rooms. Room on thk Right (PI. 0):
Caillebotte Bequest of pictures of the Impressionist School. Q. CaiUe-
bottej Men planing a floor, Snow-ofifect; P. CezaTwe, L'Estaque; E. Degaa^
Dancers, Caf6 in Bonl. Montmartre, etc.; E. Manet, Balcony, Angelina: C.
Motxety Church of V6theuil, Gare St-Lazare, Rocks of Belle-Isle, Luncheon,
Regatta at Argenteuil, Hoar-frost; Berthe Mori$oty Young woman at a
ball ; C. PissarrOf Landscapes ; J. F. Ra/faSUi, Public meeting (with por-
trait of M. Climenceau), Convalescents, Waiting for the bride, Notre-
Dame; A. Renoir, Moulin de la Galette, Girls at the piano. Young woman
in sunlight, Swing; A. Sisleyj Landscapes; H, de Toulouse-LatUrec, Study.
Tho Room to thk Lbft (PI. D) is devoted to Foreign Painters:
O. Achenbachy Pier at Naples; J. Alexayider, Lady in grey; Sir L, Alma-
Tadema, The sculptor Dalou and his family (1876), Roman potter; An^
Jointings. THE LUXEMBOURG. Left Bank J9. 827
alada y Camarasa, Wedding at Seville; A. Baertsoen, Thaw, Old canal
m Flanders; L, Balestrierif Reading; Marie Bashkirtseff', The meeting;
A. Baud-Bovy, Serenity; A. de Beruete, Near Toledo; F. Borcharatj
Portr. of a m&n: Frank BrangioyUj Market on the beach (Morocco); Ford
Madox Brown, Death of Don Jnan; R. Bunny, Toilette; E. Bumand,
SS. Peter and John running to the Sepulchre; E. Claus, Sunbeams; W.
Darmat, Lady in red, Aragonese smnra^ler; P. Dierckx, Bible-reading; A.
Edelf^tf Divine service by the sea; 0. von Faber du Faur, Passage of
the Beresina; L. Fr4d4ric, Ages of the workman, Grolden age, Old ser-
vant; V. OiUotd, Evening in Brabant; J. M. Grimelund, Fishermen's
huts at SvolvBBr; J. HamilUm, Gladstone; A. Harrison, Arcadia, Solitude;
H. Hughes-Stanton, Dorsetshire landscape; L. Knaus, The walk; P.
Kr&yer, Fishing-boats; O, Kuehl, Knotty question; E. LaennanSf End
of autumn; J. Lavery, Father and daughter. Spring; M. Liebermann,
Country tavern (Bavaria); J. H. Lorimer, Saying grace; W. MacEwen,
Sunday in Holland ; F. Mancini, Schoolboy ; G. mdchers, Maternity ; E.
Melida, Lost child ; H. W. Mesdag, Sunset ; C. Meunier, Black country ;
A. MorbeUi, Feast-day at the hospice of San Trivulzio (Milan); J. W,
Morrice, Qnai des Grands- Augustins ; J. de Nittis, Places du Carrousel
and des Pyramides; Juana Bomani, Salome; 8. Busiflol, Spanish garden ;
H. Salmson, At the barrier of Dalby in Sk&nen (Sweden); J. Sargent, Car-
mencita ; Ch. Shannon, Lady-sculptor ; Ch. Sims, Childhood ; C. Skreasvig,
Villa Bacciocchi, near Ajaccio; L. van Soest, Winter morning; SoroUa y
Bastida, Return from fishing; J. de Souza-Pinto, Potato-gatherers; Fr.
Spenlove-Spenlove, Too late; A. StengeLin, Sunset on the North Sea;
A. Stevens, Passionate song, Home from the ball; J. Stevens, Torments
of Tantalus; H Strdm, Young mother; Ten Cate, Havre; F. Thaulow,
Winter day; 0. von Thoren, Interior of stable; E. Tito, Chioggia, The
bath; F, von Uhde, Christ among the peasants; A. WaMberg, Swedish
coast; O. F. Watts, Love and Life; J. M. Whistler, Portr. of his mother,
Man with the pipe; Z. Zakarian, Glass of water and ^s; A. Zom,
Fisherman, Woman plaiting her hair; I, Zuloaga, Dwarf, Portraits.
From the sculpture-gallery we enter the first room (PL 1) of the
picture-gallery, with other objects of art in glass-cases (p. 326).
Paintings by French Masters.
A. — Adan (E,), Ferryman's daughter. Adler (J.), Towing.
Agache (A.), Study. Aman-Jean (EJy Portr. of his wife.
B. — Bail (J.Jy The housekeeper. Barau (E.Jj Landscapes.
Bon7Zo^fZ/.j, Lorraine farm-girls. Barrios (^^.J, Exiles of Tiberius.
Baschet (M.), Portr. of a lady. Bastien-Lepage (J.), Haymaking ;
Portraits. Baudry (P.), Fortune and child; Truth; Portraits.
BaziUe (E.), Family gathering; Landscape. JBenner (E.), St. Je-
rome. Bernard (E.J, Hashish-smoker. Bernier (C.J, January
(Brittany). Besnard (A.), Woman warming herself; Bead woman ;
Harbour of Algiers ; Between two sunbeams. BiUotte (JR.), Porte
d'Asni^res in winter. Binet (V.J, Factories at Rouen. Blanche
(J.), Family of the painter Thaulow ; Portr. of M. P. Adam ; Flowers.
Bompard (M.), Prayer to the Virgin. Bonheur (Road), Husbandry
in the Nivemais; Study of a horse. Bonnat (L.), L^on Cogniet,
the painter; Cardinal Lavigerie; Job; Basque landscape. Bonvin
(Fr.), Ave Maria; The refectory; The well. Bordes (E.), Peasant's
family. Boudin (E.), Bordeaux Harbour. Baudot (L.), Golden
328 Left Bank 19. THE LUXEMBOURG. MuB^e:
seaso.n. Bouguereau (W.), Body of St. Cecilia laid in the cata-
combs; Consolatrix afflictorum; Youth and Love. Botdard (A.)j
Father of the artist; Fisherman's child; Girl with cherries. Bon-
lard (E.J, Cliffs at Sotteville. Bracquemond (F.J, Portr. of a
lady. Br^auU (A.), The workwoman. Breton (Jules), Blessing
the crops; Gleaner. BrouUlet (A.), Intimacy; Portr. of a lady.
Brown (J. L.), Before the start. Bnrgat'Charillon (E.), Spinster.
Bu88on (Ch.J, Loir in flood.
C. — Cabanel (A.), Birth of Venus; Portr. of the architect
Armand. Cahii (L.J, Coming storm. Caro-DelvaiUe (H,), His
wife and her sisters. Carolus-Duran (E. A.), Lady with the
glove; Lilia; Portr. of Fran^ais, the painter; Mme. Fey dean and
her children; Apple-trees; Poet with mandoline; The old litho-
grapher. C arrive (E.), Portrait of Paul Verlaine; Crucifixion;
Maternity; The family. Cazin(J. C'.j, Ishmael ; Gambetta's death-
chamber; Tilled lands in Flanders; Snow-effect. Chabas (P.), In
the twilight. C haigneau (F.),Csiiile by moonlight. Chaplin (Ch.),
Souvenirs; Girl with a cat. Chigot (E.), Lovers. Chudant (A.),
Moonlight in the oasis. Collin (R-), 'Flor^aP. Constant (Benja-
min), Portrait of his son; The last rebels; Judgment of the Sherif ;
'Tante Anna'. Cormon (F.), Cain; Lehoux, the painter; The iron-
works; President Loubet. C ottet (Ch.),^\ euing rays; Coast-scenes
(triptych); Fog; Melancholy. Courtat (L.), Leda.
D. — Dagnan-Bouveret, The holy bread. Damoye (E.),
Marsh. Dauchez (A.), Burning sea-wrack; The sluice. Dawant
(A.), The choir; Portr. of a man. Dechenaud (A.), Portr. of his
father. Delasalle (Angile), Benjamin Constant, the painter. De-
launay (E.J, Communion of the apostles; Plague at Rome; Diana;
The artist's mother; Ch. Hay em, art-connoisseur. Deniont (A.),
Night; Abel. Demont-Breton (Virginie), The beach. Deshotitin
(M.), Portr. of a lady. Desch (Th.), Child in a crinoline. Des-
ehamps (L.), Charity. Desvallih'es (G.), The artist's mother.
Detaille (E.), The dream ; March out of the garrison of Huningen
in 1815. Devambez (A.), Concert Colonne. Dinet (E.), Terraces
of Laghouat (Algeria); Slave of Love and Light of the Eyes; Man
with the big hat. Dubonrg (Victoria), Corner of a table. Ihiez
(E.), Ulysse Butin, the painter. Dufau (Clementine), Autumn.
Dufour (C), View of Avignon in December. Duhem (H.J, Flemish
canal. i>M^^ft7.J,White cow; Mowers. Dupuy (P.J, At the se&side.
E. — Estienne (H. d'), Breton wedding.
F. — Fawre (A.), Woman with the fan. Falguiire (A. J,
Spanish dwarfs. Fantin-Latour (Hj, Studio in Les Batignolles;
Night; Wife of the artist. Ferrier (G.J, Portr. of G^n. Andr^;
Sorrow. Flaming (A.J, Fishing-boat at Dieppe. Flameng (Fr.J,
Battle of Eylau; Portr. of his wife. Flandrin (P.J, Solitude.
FainHnys. THE LUXEMBOURG. I^ft BanklB. 329
FourU (A.), Under the branches. Frappa (J.), Phryne. Friant
(E.), All Saints' Day.
Q. — Gagliardini (O.), Roussillon (Provence). Ga'dlard (C.
F.)^ Mgr. do S6gur; Portr. of a woman. Gardier (R. du). On the
beach. Geoffrey (jf.), Visiting-day at the hospital. G^rdrtie (L.J,
Cock-fight. Gei'vex (H.), Hanging-committee ; Satyr and Bacchante ;
Portr. of a lady. Girardot (L. A.), Jewish cemetery at Tangier.
Gosselin (A.), Nocturne. Granie (J.), Portr. of Mile. Moreno, of
the (Jom6die-FranQaise. Griveau (L.), Pond. Gniynard (G.),
Sheep at a pond. GuiUaumet (G.), Laghouat (Algeria) ; Weaving
girls; Biskra. Guilleniet (A.), View of Paris from Les Moulineanx.
GuiUoiL (A.), Procession in Brittany (Pardon).
H. — Hanicotte (A.), 'Leur mer'. Hareux (E.), Night in August.
Harpignies (H.J, Landscapes; Coliseum. Hawkins (W.)^ The
orphans. Hubert (E.J, Malaria ; Kiss of Judas ; Girls of Cervara
(Roman Campagna); Portr, of a lady; Study. Helleu (P.), Ver-
sailles (study). Henner (J. J.Jj St. Sebastian; The chaste Susanna;
Idyll ; Portr. of a lady ; Naiad ; Comtesse Diane ; Portr. of a priest ;
Crucifixion (from the Palais de Justice). Herpin (L.J, Paris from
the Pont des Saints-Peres. Hoffhauei* (^h.J, After the battle.
Hutrtbert (F.J, Virgin, Child, and John the Baptist; The ride;
Portr. of a lady.
J. — Jacquet (G.J, Girl with lizard. Jeamiin (G.J, Shipping
flowers. Jeanniot (G.J, Afternoon tea.
L. — La Gandara (A. dej, Lady with a rose. La^arde (P.J,
Retreat. Landelle (Ch.), Virgin. Laparra (W.J, Street-singer.
La Touche (G.J, Night-fMe; Swans; Bracquemond and his pupil.
Laurens (J. P.J, Excommunication of Robert the Pious; Release
of prisoners at Carcassonne (1303); Inquisitors. Laurens (A.),
Portr. of his father, J. P. Laurens: Reverie. Laurent (E.), Portr.
of a lady. Lebasque (H.J, Picnic. Lebourg (A.J, The Seine. Le-
comte du Nouy (J.J, Bearers of ill tidings. Lefebvre (J.J, Truth ;
Yvonne. Legrand (L.J, Ballet-dancer. Legros (A.J, Public penance ;
Dead Christ. Leleux (A.J, His own portrait. Lepei'e (A.J, The
squall; Still-life. Let^olle (H.J, Portr. of his mother. Le Rome
(Oh. J, Cherry-trees; Mouth of the Loire. Leroy (P-J, Oasis of El-
Kantara; Arab woman weaving. Le Sidaner (H.J, The table;
Dessert. L^vy (H.J, Sarpedon. Lhermitte (L.J, Harvesters' pay.
Lobre (M.J, Biblioth^que du Roi at Versailles. Lomont (E.J,
Lied. Loup (E.J, Melancholy. Taicos (D.J, Saying grace. Lunois
(A.J, Evening f6te (Spain).
M. — Maehard (J.J, Portr. of a lady. Maignan (A. J, Carpeaux.
Martin (HenriJ, Serenity; Sunlight-effect; Matterhorn. Mathey
(P.J, Portr. of F61. Rops, the engraver. M&nard (E. R.), L. M(^-
nard, the scholar; The herd. Merci^ (A.J, Venus. Michel (E.J,
330 UftBcmkiS, THE LUXEMBOURG. «^<^.
Dune near Haarlem ; Autumn sowing. Monginot (Ch.Jj Still-Hfe.
Montenard (F.), The transport *La Corr^ze' leaving Toulon. Mo-
reau (G.; p. 219), Jason; Orpheus; Rape of Europa; Calvary.
Morisset (H.), Reading. Morlot (A.), Landscape. Morot (A),
Rezonville (1870); Hubert, the painter. Mottez (V.), Portr. of
his wife. Muenier (J. A.Jj Music-lesson, The tramps.
K". — Neuville (A. de), Cemetery of St-Privat. Nozcd (A.)y
Golden moorland.
O. — Olive (J. B,)j Evening in the harbour of Villef ranche.
P. — Perret (A.), The viaticum (Burgundy). Perret (M,J,
Senegalese riflemen. Petitjean (E.), Harbour of La Rochelle in
rough weather. Picard (L.), A passer-by. Pointelin (A,), Sep-
tember evening; The Jura; Valley in the Jura. Prinet (R.)y The
Saglio family; The bath. Protais (A,)j Battalion in square (1815).
Puvis de ChavanneSj Poor fisherman.
Q. — Quignon (F.), Oatfield in flow^er. Quost (E.), Landscape ;
Flowers.
R. — Rigamey (G-,), Cuirassiers. Renard (E.J, Christening;
The grandmother. Renouard (P.), Portrait. Ribot (T,)y Jesus
teaching in the Temple; St. Sebastian; Good Samaritan; Portr. of
himself. Ricard (G.), Portr. of a lady. Rigolot (A.), Road from
Kadarda to Bou-Saada. Robert-Fleury (T.J, Last day of Corinth ;
Anxiety. Roll (A.), Forward ; Farmer's wife. Rousseau (Ph.),
Goats nibbling flowers; Storks resting. Royhet (F,), Girl with
parrot. Roger (H.), Saying grace.
S. — SabatU (F.), Interior of St-Germain-des-Pr6s. SaXn (P.),
Bridge of Avignon. Saint-Germier (J.), Funeral at Venice ; Secret
message. Saint-Pierre (G.), Portr. of a lady. Sautai (P-), Eve
of an execution (Rome). Seianemartin (J,), Flowers. Seyssaud
(R.Jy Sainfoin in flower. Simon (L.J, Procession; The menhir;
Summer day; The bath. Simonnet (L.), Ville-d'Avray in winter.
T. — Tanzi (L.), Evening. TaUegrain (Fr,), Landing of bait-
fishers. Thirion (E.), Moses exposed on the Nile. Tissot (J.),
Portraits in a park; The prodigal son (four paintings). Tourn^s
(E.), Toilette. Troncy (E.), The jewels.
V. — Valadon (J.), Portr. of young woman. Vayson (P-J,
Shepherdess. V^ber (J.), The little princess. VoUon (A,), Still-
life; Antwerp Harbour; Portrait of himself. VuUlard (J. E.),
Breakfast. VuUlefroy (F. de), Return of the herd.
W. — Weerts (J. J.), Death of Joseph Bara. Wencker (J.),
Artemis. W^y (E.), Boatmen .(Amsterdam).
Z,—Ziem (F.; p. 71), Venice; Antwerp. Zo (H.), Agnadora.
Zuber (H.), HoUandsch Diep.
On stands in the centre of the second room are drawings by P.
Flandrin, Fantin-Latour, and M. Perret
Garden. THE LUXEMBOURG. Left Bank 19. 331
The *Jardin du Luzembourg (Pi. R, 0, 16, 19; IV),
formerly much larger, is the only remaining Renaissance garden
in Paris; the greater part of it was planned by Debrosse, the archi-
tect (p. 322). It is open daily from morning till dusk, and is
the favourite promenade on the left bank of the Seine. Military
band in summer, under the trees near the Boul. St-Michel, on Tues.,
Pri., and Sun., 4-5 or 5-6. The fountains play daily from 1st April
to 30th Sept. ; at other seasons on Sun. only. The main entrances
are next the Boul. St-Michel (p. 278), from the Rue de Vaugirard
near the Odeou (p. 332), from the Rue du Luxembourg, and from
the Av. de I'Observatoire (p. 333). There is also an entrance from
the Rue de Yaugirard adjoining the Mus6e.
The garden consists chiefly of clumps of trees and playgrounds,
provided with benches and adorned with sculptures. Outside the
museuui are statues belonging to it: Houssiriy Phaethou; nomas.
Discovery at Pompeii ; Trtntacoste, The sower; Fr. MacMonnies
(U. S. A.), Bacchante ; Christophe,¥iiie ; Maniglier, Chaser in metal ;
CharpentieVy Improvisatore ; Steinery Shepherd and Faun ; Bar-
thdlemyfOcoaiheTd; E. Giiillaume, Mower. Opposite, on the lawn:
The effort, a large leaden statue, by Pierre Roche; Fountain and
Stream, by ChaJtrovsse, and a copy of the Venus de Medici (for-
merly at the fountain of that name, p. 332). Behind the museum:
Sculpture (Phidias), by A.MiLlet; Painting, by Franceschi, Between
these, on the wall, is a modern mosaic. Peace crowning modern
artists. Opposite, After the contest, by Levasaeur; At the goal, by
A. Bottcher. Farther on, towards the palace, is the monument of
Eugene Delacroix (1798-1863), the painter, by Dalou.
In the beds flanking the Rue du Luxembourg, from N. to S. :
Triumph of Silenus, by Dalou; monuments to the poets Paul
Verlaine (1844-96) and Gabriel Vic aire (1848-1900), by R. de
Niederhausern (1911) and A. Injalbert (1902); model of Liberty,
by Bartkoldi (see p. 243), and Hercules, bv Otiin; monument of
Chopin (1810-49), by G. Dubois.
We now come to a cross-walk, between which and the Rue
Auguste-Comte lay the old nursery -garden. Here, from W. to E.,
stand: Calabrian pilgrim, by Petitot (1847j; Family joys, by Dail-
Ion; near Rue Aug.-Comte, iSainte-Beuve (1804-69), the critic, by
Puech (1898) ; near the cross-walk, E. Le Sv^^ur, the painter, by
Husson (1855); Watteau (1684-1721), a line work by Gauqui*^
(1896); Louis Ratisbonne (1827-1900), the poet, by Ceribelli
and Soldi (1912); Co^ntesse de Segur (1799-1874), the authoress,
by J. Boucher (1910). Near Rue Aug.-C'omte, The wrestlers, in
bronze, by Ottiii; Ferd. Fabre (1827-98), the novelist, by Mar-
queste (1903). More to the N., Stags (bronze), by Leduc; 'La Saga',
bronze, hyRingel d'lUzach; bronze statue of Fr. Le Play (1806-82),
the economist, by Allar (1906): Lion and Ostrich, bronze, by Cain,
Basdekkr's Paris. l«th Edit. 21
332 LeftBanklB. THE LUXEMBOURG.
In the centre of the garden are two plots separated by an
octagonal basin. In the S. plot, Diana, after the antique, and
Sclmirer-Kestner (1833-99), the statesman, an obelisk flanked
with figures of Justice and Truth, by Becker, after Dalou (1908).
On each side of the basin are historical and mythological statues;
thus, on pedestals of coloured marble, Venus leaving the bath, and
David conquering Groliath (Italian works, 16th cent.); to the left of
the latter, Marius at the ruins of Carthage, by V. Vilain; behind
it, Vulcan, by Bridan p^e. In the N. plot, the Gladiator, in
marble, after the antique, by Guiard (1765), and a bronze statue,
by Aub6, of BaiUy (1736-93), president of the Constituent As-
sembly and first mayor of Paris (comp. p. 360). On the terraces
overlooking the central part are twenty modem statues in marble
of famous Frenchwomen (from the park of Sceaux, p. 421).
In the E. part of the garden, beginning from the S. : Toil,
bronze, by Gaidherin; 'Marchand de Masques', by Aatruc (1883;
the masks are portraits of Corot, A. Dumas, Berlioz, Carpeaux, E.
Delacroix, Balzac, etc.); Rhapsody, by Bourgeois; near the Boul.
St-Michel, Velleda, by Maindron (1844), George Sand (1804-76),
by Sicard, and Bocca della Verity, by J. Blanchctrd (1871);
beyond the cross-walk, Lecorde de lAsle (1818-94), the poet, by
Puech (1898), and II Dispetto, by Valette; in the next cross-walk.
Dancing Faun, bronze, by Lequesne (1851), and Boy carrying a
little girl, bronze, by Vcdois.
To the N. of these statues, and next to the Rue de M6dicis, rises
the handsome *FoNTAiirB de M^dicis, by Dehrosse (1620; p. 322),
in the Doric style, restored in 1845 ; three niches with stalactites,
between the columns, contain sculptures by Ottin (1852): Poly-
phemus surprising Acis and Galatea; Faun and young huntress;
above. River-gods (the whole *a corner of Florence* in the heart of
Paris). — Behind it is the Forvbaine de lAda, by A. Valois, placed
here in 1863.
In the grass-plots to the N. of the fountains, the First Family,
by Garraud (1844) ; Th. de Banville (1823-91), the poet, by
J. RouUeau (1892); Hmri Murger (1822-61), the author, by H.
Bouillon (1895); Phryne, by Seysses (1902).
The Th6&tre de TOd^on (PI. R, 19, IV; p. 35), opposite
the N.E. angle of the Luxembourg garden, a building in the classic
style, on the site of the gardens of the Hdtel de Cond6, was opened
in 1782, but was rebuilt or restored in 1808 and 1819. The ar-
cades round it are occupied by book-stalls.
The theatre faces the Place de I'Od^on, to the N"., in which
rises the Monument to Emile Augier (1820-80), the dramatic poet,
with his bust and bronze statues of Comedy, the Aventuri^re (one
ECOLE DES MINES. Left Bank 1 9. 333
of Augier's play^), and a Child brandishing the whip of satire, by
E. Barrias. — At the foot of the Rue de I'Od^on, 5 min. from the
theatre, is a M6tro station (p. 279).
The Rue Racine, to the £. of the ^lace de I'Od^on, leads to the Rue
Mousieur-le-Prince, at No. 10 in which Auffuste Comte (see p. 290) lived
and died. His room ma^ be seen (inscription).
No. 74, Rue de Yaugirard, to the N.W. of the Luxembourg Garden,
is the Institut Oatholique (PL R, 16; IV), a school for higher edu-
cation, founded in 1876, and the seat of the Faculty of Theology (p. 289).—
No. 70, adjacent, is St-Josephdes-CarmeSj once the chapel of the Carmel-
ite monastery, rounded by Louis XIII. The crypt (adm. on week-days
after 10 a.m.; apply at the sacristy, left of the high-altar; fee) contains
the remains of numerous priests massacred here in Sept., 1792. A small
Museum, contains blood-stained vestments and other relics of Archbishops
Aflfre (p. 189), Sibour (p. 296), and Darboy (p. 260).
In the Boul. St-Michel, to the S.E. of the Luxembourg Garden,
is the Boole 8up6rieure des Mines (PI. R, G, 19; /F, F),
in the old H6tel de Venddme (18th cent. ; enlarged in 1840-52),
containing a valuable Musie de Min^cUogie, de G^ologie, et de
PaUoniologie (open on Tues., Thurs., and Sat. 1-4; also from Oct.
to July on the 1st Sun. of each month, 9-12). Entrance at No. 60*>**.
The staircase is adorned with paintings of places of geological
interest, by Hugard. — Near this, at the 'carrefour' formed by the
Boul. St-Michel and the Rues Auguste-Comte and de I'Abb^-de-
PEp6e (p. 338), rises a Monument to PeUetier and Caventou, the
discoverers of quinine, by E. Lormier (1900).
From the S. gate of the Luxembourg Garden runs the Avenue
de I'Observatoire (PI. G, 19; /F), the fine trees and flower-beds of
which are relics of the S. part of the garden. In these beds are
marble groups of Dawn by Jouffroy, Day by Perraud, Twilight
by Craukj and Night by Gumery. — On the right, near the corner
of the Rue Auguste-Comte, is the Ecole Colonialej built in the
Moorish style in 1895-96. A little to the W. in the Rue Aug.-Comte
is the Lycee Montaigne. To the S. of these two buildings is the
Ecole de Pharmacie (1876-85), with statues of Vauquelin and
Parmentier and fine frescoes by Besnard. Then the Cliniqtte d^Ac-
coiushement Tamier (1881), near which, at the corner of the Av.
de I'Observatoire and Rue d'Assas, is a Monument to Dr. Tamier
(1828-97), a marble relief by D. Puech (1905).
At the end of the avenue is the *Poii1»ine de TObsepvatoire
(PI. G, 19), erected in 1874, with a fine group in bronze, by Car-
peaux, of the four quarters of the globe bearing an armillary
sphere; around the pedestal are eight sea-horses in bronze, by
Pr&mietj and water-spouting dolphins and tortoises.
The Boul. St-Michel ends here, see p. 278. To the S. of the
fountain lies the Carrefour de I'Observatoire, see p. 341.
• 21*
334
20. The Jardin des Plantes.
The Jardin des Plantes, in the wider sense, is open daily till dnsk.
— The M^nngerie is open daily from 11 to 4 or 5 (to 6 on Sun. in summer).
The Galeries des Animaux Vivants are open to the pnblic on Thurs., Sun.,
and holidays, 1-4, when the animals are not outside, and on other days by
tickets (for 6 pers.) obtained from the 'Administration' (p. SS6). — The
OaUeries of Naturid History are open to the public on Sun., Thurs.,
and holidays, 11-4, and on Tues., Fn., and Sat. by ticket. — The Grande
Serre is open daily, except Mon. and Sat., 1-4. — The Oalerie de PdUon-
tologie is open on Tues., 1-4. — The other Serves, or smaller hothouses,
are shown on Tues., Fri., and Sat., 1-4, by ticket only. — The lAbrary
(8 Rue de Buffon) is open daily 10-4, except Sun., Mon., and holidays and
in vacation (Ist-SOth Sept. and a fortnight at Easter). — A military band
plays in the gardens on Sun. and Thurs. in summer.
Restaurants near the Jardin des Plantes, see p. 24.
The Jardin des Plantes, rather far from the centre of the city,
is reached by the Railway connecting the stations of the Quai
d'Orsay (p. 305) and Quai d'Austerlitz (see below) ; by the Mitro
(Line 5 ; Appx., p. 34) ; or by Omnibus or Tramway (see Appx.,
p. 54). In fine weather the Steairiboat (Appx., p. 57) is preferable,
as it affords fine views of the Seine, and conveys an idea of the
importance of the water-borne trade of Paris.
Paris is the chief mercantile port of France. The water-borne mer-
chandise (about IS million tons in 1909) consists chiefly of building
materials, wine, forage, manures, grain, flour, spirits, and coal. The
ports, or wharves, lie between the Ponts d'Austerlitz (see below) and
d'Arcole (p. 183): on the right bank are those of Henri lY, the
OSIestins, and the Hotel de Yille; on the left bank, the large Port
St-Bemard ('Port aux Vina') and that of La Tournelle. Above the Pont
d'Austerlitz, on the left bank, is the Port d'Austerlitz, opposite which
are the Quai and Port de la Rap^e, called after the Sieur La Bap^,
commissioner of war under Louis XV., and owner of a country-house
here. In the Place Mazas, at the N.E. end of the bridge, is the Machine
EUvatoire d^ Avsterlitz, shown by lekvc of the Directeur de la Voie
Publique (Prefecture de la Seine).
To the N.W. of the Jardin des Plantes is the HaUe aux Vins
(PI. R, 22; F), a huge storehouse for wine in bond. — At the E.
angle of the Halle, at the corner of the duai St-Bernard and Hue
Cuvier, is another entrance to the Jardin des Plantes, and there is
a third at the S.W. end of Rue Cuvier, at the corner of Rue Liun^.
Opposite the latter rises the Fontaine Cuvier, built in 1840, with
a statue of Nature surrounded by animals.
We land at the Pont d'Austerlitz (PI. Gr, 25, V; view), erect-
ed in 1804-06, and widened in 1854-55 and 1884-85. At the S.W.
end of the bridge, on the left bank, is the Plaice Valhuhert (omn.
and tram., see Appx., p. 55); on the right bank is the Place Jifazas
(p. 190). To the S., between the Quai d'Austerlitz and Boul. de
THSpital (p. 337), is the Gave du Quai-d'AmterlitZy or d^OrUans
(PI. G, 25; F), which is crossed from end to end by a viaduct of
the M^tro (Line 5; Appx., p. 34). The M6tro then crosses the
Seine by a single iton arch, 153 yds. in span and 98 ft. high. The
JARDIN DBS PLANTES. Left Bank io. 335
main entrance to the Jardin des Plantes is on the W. side of Place
Valhubert.
The Jardin des Plantes (PI. G, R, 22, 25; F), 74 acres in
area, comprises the Jardin Botanique, the Minagerie, and the
Gcderies of collections, besides library, laboratories, and lecture-
hall. It was founded in 1635 by Guy de La Brosse (1586-1641),
physician to Louis XIII., simply as a Jardin des Herbes M6di-
cinalea. The famous Buffon {Georges Louis Leclerc, Comte de
Buffon; 1707-88) was appointed director of this 'Jardin du Roi'
in 1739, and he extended its sphere by founding collections in
every department of natural history. In 1793 the royal menageries
were transferred thither, and in 1794 the library also. The estab-
lishment was then called Museum d^Histoire NatureUe. Attached
to the Museum are now 18 professors and about 25 assistants. —
Opposite the entrance a monument to Lamarck, the naturalist
(1744-1829), by Fagel, was erected in 1909.
Jardin Botcoiiqne. This part of the garden, which we enter
from the Place Valhubert, contains over 19,200 different plants.
Many of the trees now common in Europe, such as plane and chest-
nut trees, were introduced and naturalized by the Jardin des Plantes.
Coloured labels indicate the classes (red), the families (yellow),
the species (green), etc. The coloured bands denote the uses: red
bands for medicinal plants, green for edible, blue for those used
for industrial purposes, yellow for ornamental, and black for poi-
sonous. To the left of the entrance are the Anatomical Galleries
(p. 337), and to the right the basin for aquatic plants, preceded by a
bronze group by Fr^miet (Hunting young bears). Farther on is the
Kcole de Botanique, open daily except Sun. and holidays, 6-11 a.m.
and 1-6 p.m. In the centre is a flower-bed. In the S. part are the
Ecole des Arhres d P^pins and the Ecole des Arhrisseaux d'Orne-
mentj with the first acacia brought to France by Jean Robin in
1601, and planted here in 1636. In the last central plot, near a
basin, rises the Monutnent of Buffon (see above), a seated figure
in bronze, by Carlus (1909).
The Menagerie of about 1400 animals is inferior to the great
zoological gardens of London, Berlin, Amsterdam, etc., and is less
carefully kept. The Animanx F^roces are lodged in the E. part.
At the end, the Flint Period, in bronze, by Fr6miet. Next come
the Animaux Paisibles. A little beyond the Animaux F^roces, to
the right, is the Palais des Singes. Farther on, to the left, are
the Rotonde des Grands Animaux, elephants, hippopotami, gi-
raffes, camels, etc., and the Fosses aux Ours, or bear-pits. — Behind
the rotunda is the Grande Voli^e, or aviary ; more to the N. are
the cages of the Birds of Prey and the Faisanderie. Then the
Reptile House and the Crocodile Pond (in summer). In front of
the former are two bronzes: Snake-charmer, by Marchand, and
336 I^ Bank SO. JABDIN DBS PLANTEa
Crocodile-hanter, by Arthur Bourgeois.^- To the W. are the basiu
of the Diaries, or Sea Lions (fed at 3 p.m.). Behind this is the
Orangery (adm. by ticket only, as to the other hothouses; see
p. 334).
To the W. of the orangery rises a monument to BemarcUn de
Saint-Pierre (1737-1814), the author, with figures of Taul and
Virginia*, by Holweck (1907). To the N.W. are the Amphith^dtre,
or lecture-hall, for 1200 students, and the * Administration*, the
office where 'tickets are obtained (p. 334). To the left of the
office is an exit to the Rue Cuvier, on this side of which is Cuvier's
House, with a bust of the famous naturalist (see below). To the left
of the exit is the statue of the venerable chemist M. E. Chenreul
(1786-1889), in marble, by L. Fagel (1901).— The Labyrinthe is
a small bill in the N.W. angle of the garden. On the E. slope is a
superb Cedar of Lebanon, the first imported into France, planted
here in 1735 by B. de Jussieu. Higher up is a small granite column
in memory of Davhenton (1716-99), an eminent naturalist and
former director of the Jardin des Plantes. — To the S. are the Serves
temper ^es and Serves chaudes (adm., see p. 334).
Galleries (admission, see p. 334). The natural history galleries
of the Jardin des Plantes are among the finest in existence.
The Galleries of Zoology are on the W. side of the Botanic
Garden, in a handsome building (1889), the facade of which is ad-
orned with a statue of Science, by E. Guillaume, and with medallions
of learned naturalists. Entrance on the right side.
Gbouhd Floor: Mammals (rich collection of quadramana) and Fishes.
At the foot of the N. staircaoe are the tomb of Guy de La Brosse (p. SS5},
a bronze group by J. Cavelier, and a marble statne of Buff&n (p. 8S5),
by Pajou. By the S. staircase are the bust and tomb of Victor Jacquemont
(1801-82), the naturalist, and a bronze group by J. Thomas. — First I^oor.
Birds (a very extensive collection), BeptueSj and MoUuscs. — Sbcond and
Third Floors. Insects^ including a superb collection of butterflies pre-
sented by M. E. Boullet, and Crustacea.
By the Rue Geoffroy-St-Hilaire entrance is Buffon's House,
where the great naturalist died (p. 335; tablet).
The Library comprises about 220,000 vols., 2180 MSS., 18,700
original drawings, and 3800 maps.
The Gaixery op Geology and Mineralogy is adorned with
statues of Cuvier (1769-1832; see above), by David d' Angers, and
Reni Haily (1743-1822), the mineralogist, by Brion, and large
landscapes by Biard. On the right, a splendid collection of Ameri-
can precious stones, a gift of Mr. Pierpont Morgan.
The Gallery of Botany contains exotic plants, reproductions
of fruit, etc. On the first fioor are the herbaria (accessible to stu-
dents only), including those of Alex, von Humboldt (1805) and
Lamarck (1885). In the vestibule is a statue of A. de Jussieu
(1686-1758), by Legendre-H6ral.
BOUL. DE L'HOPITAL. Left Bank io. 337
The Galleries of Anatomy, Pal^sontology, and Anthropo-
logy are at the E. end of the S. side of the Jardin. The building is
the first part of an edifice which is to be extended to the preced-
ing galleries. In the £. pediment are the three kingdoms of Na-
ture, by AUar; also busts of naturalists, and animals of every kind.
On the N. fa^aide are bronze and marble reliefs of animal life, no-
tably Horse tamed by Man, by Marqtieste, and a Nubian killing a
crocodile, by E. Barrios.
In the vestibule is a Combat between a man and a gorilla, a fine
marble group by Frimiet. The interesting decoration of the capitals is
borrowed from the animal kingdom. — The gallery on the ground-floor con-
tains the Collection of Comparative A*iatomy, founded by Ouvier, in
which every human race and species of animal with their varieties are
illustrated by skeletons, skulls, wax models, and casts. The second floor
contains the Palaontological Collection (skeletons of megatherium, iguan-
odon, dinornis, etc.; cast of skeleton of diplodocus from N. America,
82 ft. long and 19 ft. high, presented by Mr. Andrew Carnegie). The Anthro-
pological Collection is in a gallery over the second floor. In the Amphi-
tM&tre (apply to keeper; fee) are a ceiling-painting, by Cormon, of the
progress of mankind towards the light, and ten panels with scenes of
prehistoric subjects.
The Pavillon Gborges-Villb, next to these galleries, is a small
museum of the Physiology of Plants, showing the results of ex-
periments in seed-culture made by Professor Ville at Vincennes.
Open Sun., Tues., & Thurs., 1-4.
No. 85, Rue Geo£froy-St-Hilaire, to the W. of the garden, has the
curious old sign of 'k la Biche' in wrought iron. At the comer of the
Bne Lac6p6de is the Hdpital de la Piti4 (PI. G, 22; V), dating from 1612,
largely rebuilt in 1792-1802, but shortly to be demolished (comp. below).
It was originally a hospice founded by Marie de M^dicis for aged beggars,
who were callea the 'Enfermds'.
In the Boulevard de l'H6pital (PL G, 25, 23; Line 5 of the
Mitro, see Appx., p. 34), between the Place Valhubert (p. 334) and
Place d'ltalie (p. 341), is the vast Hospice de la Salpitri^e (PL
G, 25, 26), on the left, originally an arsenal built by Louis XIII.,
now an asylum for aged (2996) and for insane women (722), with
a clinique for the treatment of nervous diseases. It includes 45
blocks of building, with 3818 beds. The church, with its octagonal
dome, was designed by Liberal Bruant in 1657. In front is a bronze
Statue of Dr. Ph. Pind (1745-1826), a famous benefactor of the
insane, by L. Durand, and by the entrance is a Statue of Dr. J. M.
Charcot (1825-93), a great nerve-specialist and pioneer of hypno-
tism, by Falgui^re. — To the S.W., adjoining the SalpStri6re, also
in the Boul. de I'Hdpital, is the Hdpital de la NouveUe Pitik (PL
G, 25, 26), designed by Rochet, and built in 1905-10 at a cost of
440,0002. It comprises 32 buildings, with 988 beds.
The Boulevard St^Marcel (PL G, 22) leads S.W. from the Boul.
de I'Hdpital to the Av. des Gobelins (p. 339), passing a bronze
Statue of Joan of Arcy by Chatrousse.
338 Left Bank 2J. RUE ST- JACQUES. Southern
Nearly opposite the Joan of Arc statue, on the right, is the Bne Sei-
pion, leading to the Place Scipion. At the corner (No. 18) is the Bouhmaerie
aes Hdpitaur et Hospices (PI. G, 22), founded in 1742 in a mansion built
in 1565 bv Scipione Sardini, a Tuscan nobleman in the suite of Catherine
de M6dicis. The group of Bakers, opposite, in terracotta, is by A. CTiar-
pentier (1889), — Near this, 17 Rue du Fer-i-Moulin, is the Amphithidtre
(VAnatomie (PI. G, 22), on the site of the H6tel de Clamart, with its
garden turned into a cemetery, where the remains of Mirabean were
placed after their removal from the Panth6on by the Convention.
21. Southern Quarters.
The Gohdins (p. 389) may be reached by the MAtbo (Lines 5 & 6;
Appx., pp. 34, 35); or by Omnibus or Tramway (Appx., p. 53).
From the carrefour formed at the E. entrance to the Luxembourg
Garden by the Boul. St-Mlchel, Rue Soufflot, and Rue de M^dicis,
we follow to the S.E. the Rue Gay-Lussac, which soon crosses
the Bue St-Jacques (N. part, see p. 291). At the crossing is the
Institut Oc^anographique (PI. G, 19; F), designed by N6not, built
at the cost of Prince Albert of Monaco, and inaugurated in 1911.
In the Rue St-Jacques, a little to the S., is the church of St-Jacques-
du-Haut-Pas (comp. p. 181), built in the 17th cent., with a square
tower by Daniel Gittard. Farther on, beyond the Rue de I'Abb^-de-
I'Epee, is X\iQ hutitution des Sourds-Muets (PI. G, 19, F; No. 254;
adm. Tues., 2-4 p.m., by written leave of the director), founded by
the Abb6 de PEp6e in 1770, and taken over by government in 1791.
It occupies the site of a commandery of the Fr^res Hospitallers de
St-Jacques-du-Haut-Pas. In the court is a statue of Abb6 de VEpie
(1712-89), by F61ix Martin, a deaf-mute. In the interior are paint-
ings and sculptures executed by pupils.
The Rue de rAbb6-de-rEp6e leads E. to the Rue Oay-Lnssac (see above).
At No. 41 in the latter, nearly opposite, is the Musie P^dajgogtque (PI. G,
19, V; adm. daily, exc. Sun. and Tburs., 10 to 4 or 5), which contains an
educational library and a Mus6e de Poup^es, showing the costumes of old
French provinces, of French colonies, and of several foreign countries. —
CHose by, at 46 Rue d'Ulm, is the Ecole Normale 8up4rieurej founded in
1795 for the training of secondary teachers ('professeurs de lycees'), where
several men of eminence have been educated. Pasteur, who was once sub-
director, made several of his experiments here. His oust, by P. Dubois,
was erected in the garden in 1910.
At Nos. 269 and 269^*«, Rue St-Jacques, to the S. of the Sourds-
Muets, is the Maison de la Schola Cantonim, a free conservatoire
for the teaching of music and singing, founded and directed by
Vincent d'Indy, the composer. (Concerts, p. 38.) This was once
(1674) a monastery of English Benedictines, and still belongs to
English Roman Catholic bishops. Remains of the chapel in which
James 11. was buried (1701), a room of the 17th cent., etc., are
shown (daily after 1 p.m.; fee). At No. 284 (nearly opposite) is a
door with a pediment, flanked with columns (at the back of the
court), the entrance to the Carmelite nunnery, to which Louise de
Quarters. VAL-DE-GR1CE. Left Bank mi. 339
La Valli^re, mistress of Louis XIV., retired in 1675. (Her ora-
tory may still be seen at 17»>*» Rue Pierre-Nicole.)
In the Rue St-Jacques (Nos. 277-279) is also the Val-de-Grdce
(PI. G, 19), once a Benedictine nunnery. It was founded by Anne
of Austria, wife of Louis XIII., in accordance with a vow, after the
birth (1638) of her son, later Louis XIV. Since 1790 it has been
a military hospital, with a military medical school. The court in
front of the church is adorned with a bronze statue of Baron
Larrey (1766-1842), the surgeon, by David d'Angers.
The church of Val-de-Qrftce, with its fine dome, begun in
1645 by jFV. Mansart on the model of St. Peter's at Rome, and con-
tinued by Lemercier and others, was completed in 1665.
The interior is chiefly adorned with sculptares; the reliefs on the
vaulting should be noticed. The dome, 131 ft. high and 66 ft. in diameter,
was painted about 1660 with a fresco of the Glory of the blessed (damaged),
by P. Miffmtrdj containing 200 figures three times life-size. The canopy
over the high-altar is a copy of that at St. Peter's.
The Rue St-Jacques ends at the Botdevard de Port-Koyal
(PL G, 19, 22), a little way E. of the Carrefour de I'Observatoire
(p. 341). In this boulevard are the maternity hospitals of Baude-
locqne and La MatemiU (No. 119). The latter, since 1814, has
occupied the buildings of the old Abbey of Port-Royal de Paris,
built in 1626-48 for the Bernardines. No. Ill in the boulevard is
the Hdpital Cochin-Annexe (formerly Ricord), in front of which
is a Statue of Dr. Ph. Ricord (1800-89), by E. Barrias. Nearly
opposite, in line with the Rue de la Sant6, is a monument to Dr. J.
P6an, the surgeon (1830-98), by Gauqni^ (1909). — At No. 47, Rue
du Faubourg-St-Jacques, to the S. of the boulevard, is the Hdpital
Cochin (809 beds), founded in 1779 by the cure Cochin.
The Boul. de Port-Royal ends on the E. in the carrefour formed
by the Boul. St-Marcel (p. 337), the Boul. Arago (coming from the
Place Denfert-Rochereau, p. 345), and the Avenne des Gobelins
(PI. G, 22, 23). At the N. end of the Av. des Gobelins rises the
church of St-MHard (PI. G, 22), of the 15th-17th cent.; the burial-
ground has been transformed into a square. In the 18th cent, the
burial-ground was famous for the extravagances of 'convulsionnaire'
pilgrims to the tomb of the Jansenist Pftris (d. 1727), to whom they
ascribed miraculous powers. In 1732 the authorities closed the
cemetery, which gave rise to the witticism written on the gate : —
^De par le Rot, defense d Dieu
De faire miracle en ce lieu.*
The Rue Monge at the back of the church leads to the Place Monge
(PI. G, 22; V)y in which rises a bronze statue of Louis Blanc (1811-82),
historian and socialist, by Delhomme. Arenes de Lut6ce, etc., see p. 296.
No. 42, Av. des Gobelins, to the 8., is the plain building of the —
^Gobelins (PI. G, 23), for over 300 years the state-factory
of the famous tapestry of that name. Tapestry -weaving was intro-
340 Left Bank 21. GOBELINS. Southern
duced into France by Francis I., who founded a workshop at
Fontainebleau. Henri IV. greatly fostered the industry, and about
1601 invited to Paris the Flemish tapestry - workers Hare de
Comans and Francois de la Planche, whom he installed in a work-
shop founded at the end of the 15th cent, by the dyers Jean and
Philibert Gobelin. In 1667 Louis XIV. restored the works at
Colbert's suggestion, and placed them under Charles Le Brun,
the painter (p. xliii), who was succeeded by P. Mignard (d. 1695).
Down to 1695 not only tapestry, but embroideries, furniture,
mosaics, bronzes, and goldsmiths' work were made here for the
royal palaces or for presentation purposes. The tapestry of the
Gobelins is now devoted almost exclusively to public uses. The
success of the institution was unbroken while painters like NoSl
Coypel (d. 1707), Michel Corneille (d. 1708), Jean Jouvenet
(d. 1717), J. Fr. de Troy (d. 1752), and C. Vanloo (d. 1765)
designed models for the tapestry. Under the influence, however,
of J. B. Ovdry (d. 1755) and Fr. Boucher (d. 1770), attempts,
out of harmony with the character of the art, were made to repro-
duce every possible colour in wools of a thousand hues, each in
twelve different shades. The works were stopped for a short time
by the Revolution, but were reopened by Napoleon in 1804. The
evil custom of copying pictures and portraits still continued (as in
the Galerie d'ApoUon at the Louvre), but efforts are now being
made to restore the good old traditions of the art. The present
director is M. Gustave Geffroy.
The museum was demolished in 1910 and is now being rebuilt.
The workshops and chapel are open on Wed. and Sat., 1-3, except
on holidays.
In the court, near the entrance, is a marble statue of LeBirun, by
Cordier; in the second court is a bronze statue of CoJberty by Aube.
There are two 'Workshops (ateHersJ, one for the Gobelins
tapestry, the other for the Tapis de la Savonnerie. The latter
owe their name to a factory of tapestry founded about 1601 in
an old soap-works on the site of the Manutention MiUtaire (p. 235),
which at first produced only carpets with Oriental designs, but was
united with the Gobelins in 1827. Those who have seen only faded
old Gobelins tapestry will be struck by the brightness of the new.
The looms are *high-warp' (a haute licejf in which the warp-threads
are vertical, or 'low- warp' (d basse lice), in which the warp-threads are
horizontal. As the workman sits at the back of his canvas, with the
design oatlined on the threads, a mirror is placed on the other side to
show him the progress he is making. The weft-threads are inserted by
means of a shuttle.
We next traverse a corridor with antique and Oriental tapestry, and
descend a staircase to another part of the building on the right, contain-
ing the workshop of the Savonnerie, with eight looms (on practically the
same lines as in the 17th cent.). Here the workman has the copy in front
of him and works on the right side of the tapestry. The weft-threads
*^v
is case are knotted and then cut, producing a velvet pile.
Quarters. PLACE D'lTALIE. Left Bank 2t. 341
The workmen (tapisHers-artistes) employed at the Gobelins number
about 50. Beginners are paid 1200 ir. per annum, skilled workmen as
much as 8600 fr., besides free dwellings; the foremen receive 4000-5000 fr.
Some families have been employed here for generations. The work requires
great patience and a practised eye. A skilful workman can complete 8
or even S^/g square yds. in a year, but the average annual task is about
11/4 yd. It thus takes years to execute the larger designs, and it is not
surprising that these are worth from 2000{. to 6000L each.
We may visit also the old Chapel, in the second court on the left.
It contains two tapestries, after Raphael, executed at Brussels in
1516-19: right, Mass of Bolsena; left, Heliodorus expelled from the Temple.
Also small copies of tapestry, small painted models (ten by Boucher),
and sketches. Swiss, Italian, Flemish, German and other models of the
15th-16th century. Above the altar, Death of St. Louis, attr. to Le Brun.
In the Rue des Gobelins (PI. G, 23), to the N. of the tupestry-
works, at the end of the court of No. 17, is an old turreted house,
erroneously called Chateau de la Reine - Blanche (comp. p. 415).
The curious Ruelle des Gobelins, to the left, contains a hunting-
pavilion of 1735, with carved doors. Close by are the gardens
belonging to the workmen at the Gobelins, on the banks of the
picturesque, but unsavoury, Bi^vre.
The Av. des Gobelins leads S. to the Place ditalie (Pl.G, 23),
where three boulevards (including the Boul. de I'Hdpital, p. 337)
and two other avenues meet. In the centre is a fountain. On the
N. is the Mairie of the 13th Arrondissement (Gobelins), built in
1867-77. In the Salle des Mariages are paintings by D. Boulanger.
The MUro makes the circuit, underground, of the Place d'ltalie, its
chief station on the left bank, and junction of Lines 5 and 6 (Appx.,
5 p. 84, 85). The entrance to the station is at the beginning of the Boul.
e la Gare.
A little to the S., in the Place Paul-Verlaine (PI. G, 23), is the
Artesian Well of the Butte-aux-C allies, bored in 1864-98; it is
1920 ft. deep, and is said to yield over 1^/4 million gallons daily
of chalybeate water (81° Fahr.). It supplies the public baths and
drinking-fountains erected in 1909 at the top of the hill. — To the
S.W., at the intersection of Rues Bobillot and de Tolbiac, is the
modem church of Ste-Anne-de-la-Maison-Blanche (PI. G, 24).
The MotUpamasse Qare and Cemetery (pp. 342, 843) may be reached
by omnibus or tramway (Appx., pp. 58, 54). --To Pare de Montsouris
(p. 846): omnibuses AE ot C7(Appx., pp. 42, 41); or M^tro (Line 4; Appx.,
at
by the Rue d'AlSsia and the Av. du Parc-de-Uontsouris (to the right) ; or
lastly, by tramway TG 1 (Appx., p. 51) to Av. Eeille or to Av. du Parc-
de-Montsouris. The Ceinture ('Parc-de-Montsouris' station; Appx., p. 58)
or the Sceaux railway (^Sceaux-Oeinture' station ; see p. 420) also may be
convenient. — ReeUiurants in this quarter, see p. 28.
To the S. of the Fontaine de I'Observatoire (p. 333), which the
avenue of that name passes, lies the Carrefour de I'Obsenratoire
342 Left Bank 21, OBSERVATOIRE. Southern
(PI. Qt, 19); in the centre of it rises a monument, by D. Puech
(1898), to iVancis Gamier (1839-73), the explorer and conqueror
of Tongking. The Statue ofNey (1769-1815), by Rude, marks the
spot where the marshal was shot by order of the Chamber of Peers
on 7th Dec, 1815, for having sided with Napoleon on the emperor's
return from Elba. To the left is the Bal Bullier (p. 40).
The Avenue de I'Observatoire crosses the Boul. du Montpamasse,
a busy thoroughfare (to the right; see below), and the Boul. de Port-
Koyal (to the left; p. 339). At the crossing is the 'Port-Royal' sta-
tion of the Sceaux railway (p. 420). Farther S., at the intersection
of the avenue and the Rue Denfert-Rochereau, rises a monument
to ThAophile Roussel (1816-1903), physician and statesman, by
Champeil (1907). The boulevard ends at the Observatoire (PI.
G, 19, 20), built in 1667-72 after the designs of Perrault, and
several times enlarged. In front of the facade is a statue of Le
Verrier, the astronomer (1811-77), by Chapu.
The meridian of Paris (2« 20^ 14" E. of Greenwich) runs through the
centre of the building, and the latitude of the S. facade is that of Paris
(48° 50' 11" N.). The copper dome, to the left, which contains the large
telescope (nearly 15 in. in diameter^ 29V9 ft. long), is 43 ft. in diameter,
and revolves round its vertical axis. Pavilions on the S. side also are
equipped with astronomical instruments, including a powerful telescope
with an aperture of 8 ft. 11 in., and a photographic telescope constructed
by M. Henrj'. The cellars, as deep as the building is high (88 ft.), are
maintained at a constant temperature (54° Fahr.); they are connected with
the platform by a vertical shaft, and thev contain the meteorological and
magnetic instruments. This shaft was usea by Foucault in his experiments
with the pendulum (see p. 298). — The observatory is shown on the first
Sat. of each month at 2 p.m. precisely, by permission of the director,
M. B. Baillaud (obtained on written application; comp. p. 60). Visitors sec
the small Astronomical Museum and the chief apparatus.
The Boulevard du Montparnasse (PI. G, 19, 16, R, 13) leads
W. from the Carrefour de FObservatoire to the Boul. des Invalides
(p. 319). It crosses the Boul. Raspail (p. 308; at the carrefour is
the 'Vavin' station of the Mdtro, Line 4; Appx., p. 33) and passes
Notre- Dame-deS'Champs, a church built in 1867-76. Farther on,
the boulevard crosses the Place de Bennes (PI. G, 16), bounded
on the S. by the facade of the Gare Montpamasse, and receiving
from the N. the Hue de Rennes, which comes from St-Germain-
des-Pr6s (p. 302).
Under the Place is the ^Montpamasse' station, common to the Nord-
Sud and to Line 4 of the M^tro (Appx., pp. 86, 88). The M^tro entrance
is at the corner of the Rue du Depart, to the E. of the Place; the Nord-
Sud entrance is in front of the Gare, at the corner of the boulevard, and
to the N.W. of the Place, opposite the Rue de I'Arriv^e. -- In the Plaee
du Maine, behind the Gare, to the S.W., is the *Maine' station of Line 6
of the MStro (Appx., p. 84).
The Gare Montpamasse (PL G, 16; IV) is the joint ter-
minus of the OuesUEtat and the Etat Railways. On the first floor,
on a level with the lines, are the booking-offices of the 'banlieue'
(Quarters, MONTPARNASSE. Left Bank 2J. 343
(Versailles, Ligne de la Rive Gauche) on the right, for more distant
stations on the left; the waiting-rooms also are on the left.
No. 25, Rae Butot, about */» M. to the S.W. of the Gare Moutparnasse,
is the Paateur Institute (rl. G, 13), founded in 1886 by the great
Hciontist (1822-95) for the study of bacteria, vaccines, infectious diseases,
etc. The present directors are Dr8. Boux and Metchnikoff. — In front of
the Institute is the statue, by Truffot, of Jupillet the shepherd (one of the
first patients), struggling with a mad wolf. Pasteur's Tomb, by G. Martin,
after L. 0. Merson, lies under the platform, in a crypt adorned with
marble and mosaics (adm. on the 1st and 3rd Sat. in each month from
1 to 4 p.m., and on All Saints* Bay)* — Opposite are an Institute for
Infectious Diseases and a Laboratory of Biological Chemistry, both
belonging to the Pasteur Institute.
To the S.E. of the Gare Montpamasse, between the Boulevard
Edgar-Quinety Av. du Maine, and Boul. Raspail (p. 308), is the
Cemetery of Montpamasse. The MHro (Line 5 ; Appx., p. 34) has sta-
tions on these two boulevards: *Edgar-Quinet', at the end of the Rue
de la Gait^, and ^Raspail', near the Rue Emile-Ri chard (p. 344).
The Cimeti^re Montpamasse, or du Sud (PL G, 16, 17;
adm., see p. 60), has its main entrance in the Boul. Edgar-Quinet.
It was laid out in 1824, and is the third of the great Parisian
burial-grounds. Compared with those of P^re-Lachaise (p. 251)
and Montmartre (p. 224) it has few monuments of interest.
In the Main Atenuic, on the right, as we enter from the Boul. Edgar-
(^tuinet, Henri Martin (d. 1888), the historian, with a dolmen; then Gen.
Petit (d. 1856), bronze bust, by Boitel. In the (transverse) Av. du Nord,
right, Pierre Larousse (d. 1876), the publisher, bronze bust by Perraud.
All^e Lenoir (2nd transverse walk), left, C. Baspail (d. 1898), bronze bust;
then, beyond the AllSe Chauveau-Lagarde, Th. de Banviile (d. 1891), the
poet. To the right, at the end of the Ailde, Bouguereau (d. 1905), the
?ainter. — At the Rond-Point: in the centre. Monument du Souvenir ; right,
)eseine (d. 1822), the sculptor; Orflla (d. 1858), the physician and chemist,
with obelisk and medallion; left, Maindron (d. 1884), sculptor, with a
figure holding a cross; behind, Elie de Beaumont (d. 1874), geologist. —
Main walk, right, Chaudet (d. 1810), sculptor, with medallion; behind,
to the left, Mme. dc Gary fd. 1876), statue by H. de Vaureal. To the left
of the main walk, at the beginning of the Chemin Circulaire, Houdon
(d. 1828), sculptor. On the right, in the All^e Raffet, is an old tower.
Behind this, left, Mrne. Agar {H. 1891), tragedian, bust by H. Cros (1899);
in the same row, right, Fr. Cojppie (d. 1908), the poet. In the last division
of the main walk, to tho left at the end, and to the right of the 'Chcraiu
de Deux-M&tresS H. Fantin-Latour (d. 1904), the painter.
We return to the Rond-Point, and then follow the Avkkuk Trarb-
VBR8AL.I3 to thc E. On the right. Baron iUrard (d. 1887)^ painter, a pyra-
mid with medallion and bas-reliefs of two of his paintings, by Dantan.
Near this, Bnde (d. 1855), sculptor, bust by Cabet and copy of one of Rude's
bas-reliefs. Nearer the avenue (8rd row), Boty (d. 1911), the engraver.
On the left of the Av. Transversale, Higesijrpe Moreau (d. 1838), poet,
bust in bronze-gilt by Mme. Coutan-Montorgeuil (1908). In the AUee
Chauveau-Lagarae, to the right, TaiUandier (d. 1879), author; opposite,
3rd row, Charles Gamier (d. 1898; architect of the Op^ra). Farth«»r on
in the Av. Transversale, to the right, Be»iiard (d. 1842), theologian, with
a medallion by David d'Angers. At the end of the Av. Transversale, by
the wall, the monument of Baudelaire (1821-67), the poet, with his figure
wrapped in a shroud, and above it, the Genius of Evil, a strange work
by J, de Charraoy (1902).
344 Left Bank 21. MONTPARNASSE. Southern
We next follow, to the S., the Avihub de l'Est, which we have yuaX
crossed. Left, Qen. H. de Myliua (d. 1866), bnst in bronze by Cn^ot.
Farther up, to the right, Le Verrier (d. 1877), the astronomer, with a
flobe; left, the chapel of the Bingham family. The Av. de l'Est is crossed
y the All^e Rafifet, where, on the right, is the tomb of Edgar Qtdnet
(d. 1875), the author, and his wife; farther on, Ralfet (d. I860), the
draughtsman, with a pyramid. The Av. de l'Est joins the Avbkub du
Midi, where we observe, right, the monument of Ihimont (d. 1884), sculptor,
with bust by C. J. Thomas, and, left, O, Syveton (d. 1906), politician, a
marble bust by L. Pallez. On the right, by the wall, Henri Poincar^
(d. 1912), mathematician. We cross the Rue Gmile-Richard, which divides
the cemetery into two parts.
E. Part. At first, the new Jewish Cemetery. In the Av. du Midi, on
the left, the JReiflinger family, with relief by A. P^zieux. Then, on the
same side. Captain Mayer^ killed in a duel by the Marquis de Mor^s in
1892 ; medallion by Ohaplain. We next follow, to the left, the Av. TimBRRT;
beyond the Av. Raffet, which here bounds the Jewish Cemetery, Barbeu
WAurevUly (d. 1889), novelist, second row on the right, a sarcophagus with
armorial bearings. Left^ in a small cross-walk, Cisar Franck (d. 1^1),
composer (sarcophagus with medallion by Rodin), and in the same direction,
a little way back, (ruy de Maupassant (d. 1893). novelist, with a book in
bronze between two columns. At the crossing oi the Av* Transversale and
the Av. Thierry rises a large monument to Soldiers who have died in
defence of France, behind which is that of Valentiny last prefect of Strass-
burg (d. 1879), bronze bust by Millet. Beyond the Av. Transversale, on
the left, is a monument to Firemen who have perished in the execution
of their duty, and, on the right. Vol, Herbinger (d. 1886), bust and
relief by Etex. Then, on the same side, the Barboux family, with a
group by Barrias, and the monument of Bartholdi (d. 1904), the sculp-
tor, an obelisk of red marble with a bronze angel about to take flight,
(by Bartholdi himself) and a double medallion. To the left is a stele,
marking the 'Enclos des Fusill^s', a plot set apart for the Communards
killed in or near the cemetery on 21st-28th May, 1871 (comp. p. 254).
At the end of the avenue, on the right, the Herbette family, with a
seated female figure and reliefs by Coutan, Longepied, and Roty. To the
left, O. Jundt (d. 1884), the painter, with bust and statue in bronze by
Bartholdi. At the end of the old Av. Lenoir, which beg^an here on the left,
opposite the Herbette monument, are a bust of Leconte de Lisle (d. 1894),
the poet, and the tomb of Jules Breton (d. 1906), the painter, with a bust
and double medallion by Houssin.
The Av. Thierry ends at the Av. du BouiiSVARD, in which, a few
paces to the right, is the tomb of Zacharie Astruc (d. 1907), sculptor and
painter; bust and relief by R. Sudre. Retracing our steps and continuing
straight on, we turn to the left into the Av. du Nord. Immediately to
the right, the critic and historian Ferd. Brunetihre (d. 1906), with a bronze
bust by H. Allouard.
We now return to the main part of the cemetery. On the left, J. Moulin^
French consul in Salonica, assassinated in 1876, bust by B(^no.
We next cross the Av. db l'Est, in the left branch of which, to the
right, rises a rock with a medallion, in memory of Aug. DomM^ 'repr^sen-
tant du peuple', killed by the insui^ents in June, 1848; on the Xeii.Sainte-
Beuve (a. 1869), critic, bust by J. de Charmoy (1908) ; Botday de la Meurthe,
father and son, statesmen (d. 1840 and 1858), bust of the father by Davia
d'Angers; then Hipp. Lebas (d. 1867), architect. In the right branch of
the Av. de l'Est, to the right, Mme. CoUard-Big4 (d. 1871), painter, a
pretty Renaissance temple by Destailleur and Doussamy, with a statue
by Francesehi. Adjacent: Duban (d. 1870), architect, with a medallion;
opposite, CarueOe d'Aligny (d. 1871), painter, bust by Etex.
We return to the Av. du Nord (see above). Immediately to the right,
Th. Olivier, founder of the Ecole Centrale des Arts et Manufactures (d.l868;
medallion). About 40 paces farther on, we turn to the right between the
QuaHers. CATACOMBS. Left Bank 21. 345
graves, and reach a small path parallel to the Av. du Nord. We follow
this path to the left ; right, J. Chaplain (d. 1909), engraver, medallion by
Puech; left, Alb. Dumont (d. 1884), archaeologist, a stele with bust, by-
Thomas j right, Foucher de Careil (d. 1891), statesman, with medallion by
E. Bnbois. Proceeding until we are opposite the building of the Administra-
tion, wo turn to the left, back towards the Av. du Nord, passing on the
way the graves of Champeil (d. 1892), sculptor. Count 8. J. de Gaspari
(d. 1879; large stele with bronze bust, by C. Cesari), and Perraud (d. 1876),
sculptor. — In the Av. de I'Ouest, at the end of the Av. Transversale :
Dumont d' UrviUe (d. 1842), the navigator, burned to death, with his wife
and son, in a railway-acciaent (see inscription).
The Place Denfert-Kooliereau (PI. 6, 17), to the S.E. of the
Montparnasse Cemetery, formerly Place d'Enfer^ is now named
in honour of Col. Denfert-Rochereau (1823-78), the valiant defender
of Belfort in 1870-71. It is adorned with a huge Lion in copper,
by Bartholdi, a copy of the one at Belfort ('A la Defense Nationale,
1870-71*). The two Pavilions, with sculptured friezes, are relics
of the old Barri^re d'Enfer, octroi buildings erected by Ledoux in
1784 (comp. p. 248). Near the E. pavilion is a statue, by A. Char-
pentier, of Charlet (1792-1845), the painter and draughtsman, with
the types created by him. Near the W. pavilion is the bronze bust,
with marble figures, by Boucher (1907), ofL. Trarieux (1840-1904),
senator. Opposite, at the angle of the Rue Froidevaux and Boul.
Raspail, rises the statue of F. V. Baspail (1794-1878; p. 252),
chemist, physician, and statesman, in bronze, by the brothers Morice.
— Near the W. pavilion is also the 'Denfert-Rochereau' station of
the Mitro (Lines 4 and 5; see Appx., p. 34).
From the Place Denfert-Rochereau diverge the Boulevards
Raspail (p. 308), Arago, and St-Jacques, the Avenues du Parc-de-
Montsouris (see below) and d'0rl6ans, and several smaller streets.
— The Boul. Arago, with its bronze statue, by Oliva, of Francois
Arago (1786-1853), the astronomer, begins at the Av. des Gobelins
(p. 339), and passes the Hopital Broca (252 beds), the Prison de
la Sant^j and the FaxiulU de Thdologie Protestante (p. 289;
formerly at Strassburg). — The Station de Paris- Den fert, between
the Boul. St-Jacques and Ay. du Parc-de-Montsouris, is the chief
station of the Ligne de Sceaux (p. 420).
In the court of the W. pavilion of the Place Denfert-Rochereau is
the main entrance to the Catacombs (PL G, 17), to which visitors are
admitted in summer (generally the Ist and 3rd Sat. of each month) by
permission of the Directeur des Travaux, Hotel de Ville (comp. p. 60).
Bach visitor must carry a candle (at the entrance, 50 c). Overcoats and
thick shoes are desiraole. The visit takes about 1 hr., and the usual
exit is at 92 Rue Dareau (PI. G. 17, 20), near the Av. du Parc-de-Mont-
souris.— The Catacombs, formerly quarries used by the Romans, extend
under part of the quarters on the left bank. Several streets having begun
to subside in 1774, the government constructed piers and buttresses to
Support them, and also removed hither the bodies from the cemeteries
closed at that period. The quarries were thus converted into a vast
charnel-house and called Catacombs. The galleries are lined with the
bones and skulls of nearly six million persons.
The Avenue du Parc-de-Montsouris (PI. G, 17,20,21) leads S. to
346 I^pBank2l. PARC DE M0NT80URTS.
the Pare de Montsouris (see below). A more interesting, but longer
route is by the Avenue d^OrUans. (Tramways; also Line 4 of
M6trOf Appx., p. 34.) No. 15 in the latter is the Hospice de La
Rochefoucauld^ a home for hospital-attendants, founded by the
Brothers of Charity in 1801. This quarter is known as the Petit-
Montr ouye ; Grand-Montrouge, see p. 425.
The Rue Moaton-Duvernet (M6tro station, ttee A^px., !>. S4) leads to
the right to tho Vlojce de Montrouce (PI. 0, 17), with the Mairie of the
14th Ari'ondissement (Observatoire). The square is adorned with a marble
bust of the Republic, by Bafflei'y and with bronze figures of a Torch-bearer
by Steinei', a Horse attacked by a lion by Fratiiiy and an Anvergnat
Peasant by Momhnr. In the square rises also a monument, by Bi^er
(1908), to Michad iiervetvs, the physician and theologian, who was burned
at the stake for heresy at Geneva in 1658 (comp. p. 211).
Farther on in the Av. d'OrUaus, on the right, at the comer of
the Av. du Maine, rises the church of St-Pierre-de-Montrovge
(PI. G, 17), in the Romanesque style (1867-70). —The Rue d'A16sia
leads hence to the left to the Av. du Parc-de-Montsouris; or we
may go on to the end of the Av. d'Orl^ans, and then turn to the
left within the fortifications.
The Pare de Montsouris (PI. G, 21), completed in 1878, a
public promenade for the S. side of the town, about 40 acres in
area, is smaller and less picturesque than the Buttes-Chaumont on
the N. side. The cJiief entrance is at the corner of the Av. Reille
and Rue Gazan. The park is intersected by theSceaux andCeinture
railways (stations, see p. 341). In the lower part of the park, near
the Av. Reille entrance, is a bronze figure of '1789', by Aug.
Pdris. Higher up are the Straw -binder and a Desert Tragedy,
bronzes by Louis Pierre and Gardet. To the left, near the Sceaux
railway, is a small obelisk erected to Col. Flatters and his com-
panions, slain by the Tuaregs in 1881 while making surveys for the
Sahara railway. On the other side of the line, at the foot of the hill,
is a pond fed by a small cascade. Above the pond is a marble group
of the Shipwrecked, by Etex; on the bank, a Laundress, by Choppin.
To the left, beyond the Observatory, the Staff of Age, a bronze group
by J. Escoula. On the highest ground stands a copy of the Bardo,
or palace of the Bey of Tunis, brought from the Paris Exhibition
of 1867, and now used as an observatory. From the high ground
we enjoy an extensive view of Paris, especially of the S. side of
the hill of Ste-Genevieve (Pantheon) and the valley of the Bi^vre.
Beyond the city, to the S.E., are the Fort and Hospice de Bicfitre
(p. 420). — Military concert in the park on Sun. in summer.
To the N.W. of the park lies the Bdservoir de la Vanne, the
largest iu Paris, T'/., acres in area, and capable of holding 8,200,000 cubic
feet of water. It is fed by the Vanne, a stream rising in Ohamnagne,
93 M. from Paris. Visitors are admitted; entrance in the Rue de la Tombe-
Issoire. About 10,000,000 7. have been spent on the waterworks of
Paris since the middle of the 19th cent., but the supply in summer is
still inadequate.
y,^,^
ENVIRONS OF PABIS.
>.
22. From Paris to Sevres and St-Cloud.
Meudon.
We may go by Railway (three lines; see below), by Steamboat (p. 352),
or by Tramway (TAB^ see p. 867 ; 40-60 iiiin.)> The steamboat is preierable
in tine weather. The Invalides -Versailles railway (p. 367) also goes to
Meudon. — On Sundays and holidays all these conveyances are crowded.
By Railway.
I. liigne des Moulineaux, preferable to the Ligne de Versailles
(p. 349), because its St-Gloud and Sevres stations are more convenient.
From the Gare 8t-Lazare (Pl.B, 18; p. 221; left side, 'Banlieue'): eVgM.
to Pont-de-St-Cloud, in 80-40 min.; fare 75 or 50 c.; 10 M. to Pont-de-
Sevres (90 or 60 c). From the Gare des Invalides (PI. R, 14, II; p. 310) :
7 or 61/a M., in 20-30 min. (75 or 60 c). Trains hourly or oftener. Some
of them have * wagons-bars'. — The description of the route begins from
the Gare St-Lazare; from the Gare des Invalides the order is reversed.
No reduction on return-tickets, but they may be used for either terminus.
We pass under the bridge of the Place de I'Europe (p. 221).
To the right is the goods-station, on the level of the bridge, to which
tracks are raised by elevators. Then a short tunnel. To the left
is the Chemin de Fer de Ceinture. The fortifications are then
crossed. — 3 M. CUchy-Levallois. On the right is Clichy (pop.
46,676), with numerous factories. The church was founded in 1612
by St. Vincent de Paul, once cur6 of Clichy. LevaMois-Perrety to
the left, adjoining Neuilly, has 68,703 inhab., largely clerks and
artisans.
Tramways (Appx., pp. 47, 48) : TN4 (station opposite Asni&res; steam-
ferry 6c.), TNS, IW(J, TN7, TNll.
The train crosses the Seine.
3^4 M* Asni^res (Restaurants by the bridge and at the station;
pop. 42,583), on the left bank of the Seine, with numerous villas,
is the headquarters of Parisian boating (comp. p. 42). Behind
the church is the Ecole Ozanam, once the Gh&teau d'Asni^res
(18th cent.), with paintings by Boucher and sculptures by Coustou
(visitors admitted). In the Place du Gymnase is a Wcvr Monument
(1871), a fine group in bronze by A. Maillard (1901). The Jar dm
Modile (fAaniireSj irrigated with sewage-water, is accessible by
order from the Directeur de la Voie Publique (Prefecture de la
Seine, Paris; comp. p. 60).
Tramways: TN6, TN6, TN7 (Appx., p. 47); St-Oloud-Pierrefitte
(p. 356). — Steamboats to Suresnes and £pinay, p. 856.
Railway to St-Germain, p. 380; to Pontoise, p. 899.
Baxdskbb's Paris. 18th Edit. 22
348 Route 22, COUKBEVOIE.
The little He de la Becette or des Bavageurs, to the N. of the He
de Robinson (see annexed Map), contains the hogs' Cemeten/ (adm. 60 c.))
to the left of the bridge crossed by tramways TN5 and TN7, In the
centre rises the monnment of Barry, the famons St. Bernard dog, with a
relief and an inscription stating that he 'saved the lives of 40 persons,
and was killed by the 4l8t'. On the tombs are inscribed quotations from
Lamartine, Ohamfort, etc.; one from Pascal runs thns, 'Plus je vois les
hommes, plus j'aime mon chien*.
The tramway I'Ns goes on to (Va M.) Gtonnevilliers (pop. 14,003;
railway station, see p. 39i)). The once barren soil of this peninsula formed
by a loop of the Seine has been converted since 1868 into gardens of sur-
prising lertility by means of sewage irrigation (p. 205). Ihe rest of the
sewage is carried under the Seine, and is used for fertilizing the soil
between the river and the forest of St-Germain (p. 389) and at M6ry-sur-
Oise (p. 405). Tramway from St-Ouen to Colombes, see p. 228. — Near
Genne villi ers, on the Seine, lies the hamlet of ViUeneuve-ia-Garenne,
41/2 M. Bicon-leS'Bruy^es, with a ch&teau. Near it, on the
left, lies a villa-colony. Branch-line to (2 M.) La Garenne-Bezons
(p. 381).
5 M. Courbevoie (pop. 38,138), like most other places on the
Seine near Paris, has numerous laundries. It contains also large
barracks erected by Louis XV. for his Swiss Guards, two hospi-
tals (Cay la and Lambrechts), and the Orphelinat des Arts (1888).
The church, with its rotunda, is of the 18th cent. ; the H6tel de Villa
is a tasteful building. Annual f§tes on the first Sun. in May and
June. — Beyond the station the train passes the end of the Avenue
de la Defense (p. 233), continuing the Avenues de la Grande- Arm6e
and de Neuilly, up which appears the Arc de Triomphe, 2% M.
distant. In the 'rond-point* near the railway is the Monument de
la Defense de Paris , a bronze group by E. Barrias (1883).
Tramways: TNly TN2, TNB, TNlO, TNI8 (see Appx., pp.47, 48);
from St-Cloud to Pierrenlte, see p. 366.
6Y4 M. Futeaux (pop. 32,223) has motor-car and ordnance
factories, chemical and dye works, etc., and a 16th cent, church.
— Annual fSte, 2ud Sun. in Sept., when a 'rosi^re' is crowned.
Tramways: TN22 (Appx., p. 48); from St-Cloud to Pierreiitte (p. 866).
— Steamboats to 6uresnes and Epinay, see p. 366.
The Ligne des Moulineaux diverges here from the Versailles
line (p. 349). Grand panorama of Paris, with the Bois de Boulogne
and the Seine valley. To the S. are the woods of Meudon and
Clamart. The train passes through a short tunnel and descends
towards the Seine.
TYs M. SuresneS'Longchamp (see p. 356). To the right rises
Mont-Valerien (p. 356). The station is ^4 ^- from the Versailles
line (p. 349).
91/2 M. Pont-de-St-Cloud, the chief approach to the town
for those coming from Paris (tramway and steamboat, see p. 354 ;
station on the Versailles line, see p. 349).
Then a tunnel and a cutting. On the left, Boulogne (p. 354) ;
J right is the park of St-(Jloud, with its cascade.
Mapsy pp. 86a, 361. ViLLE-B'AVRAY. »«• ^ute. 349
10 M. Pont-de-S^vres, station in a cutting near the porce-
lain-factory (p. 353) ; tramway and steamboat, see pp. 352, 353.
The train skirts the river and stops at BeUevue-FuniciUaire
(p. 352). — 11 M. BaS'Meudon (p. 351).
12 M. Lea Moulineaux-BiUancourt. The station (PI. G, 3) and
Lea MouMneattx, a dependency of Issy (p. 350), lie on the left bank,
opposite BiUancourt. (Tramways TR, TOi, and TCrS, see Appx.,
pp. 46, 51.)
To the right are the drilling-ground of Issy and the Invalides-
Versailles line (p. 357). We now pass under the Ceinture, enter
Paris, and, together with the Invalides -Versailles line, stop at
the following stations: Javel (PI. G, 4), near the Pont d'Auteuil
(p. 243); Pont Mirabeau (Pl.R, 4; p. 243); Pont de GreneUe
(PI. R, 7, 7; p. 243); Cliamp-de-Mars (p. 321); Avenue de La
Bourdonnais (p. 321); Pont de VAlma (PI. R, 11, I; p. 235).
167^ M. Gare des Invalides (p. 310).
n. Ligne de Versailles (Bive Droite), from the Gare 8t-Lazare
(PI. B, 18; 'Banlieue', left side; p. 221); fares as for the Ligne des Mou-
lineaux, see p. 847. Trains hourly or oftener.
To (6^4 M.) PuteatiXj see pp. 347, 348. — 772 M. Suresnes (see
pp. 348, 356); station above the village, nearer Mont-Val6rien.
972 ^« St-Cloud. The station lies above the town (p. 354), to
which steep streets descend, and near the quarter of Montretout
(on the right; p. 355), the name of which recalls the last great
sortie of the Parisian troops on 19th Jan., 1871.
To the N.W. of the station, in the Boul. de Versailles, is the Ohemin
de Fer du Bois-de-Boulog^e, which runs past the racecourse (see below)
to Suresnes (p. 356) and Paris (comp. p. 244 and Appx., p. 52).
In the same direction, to the left of the Boul. de Versailles, lies the
Reservoir de Jifontretout, or de VAvre, constructed in 1893, with two
basins, each capable of holding 22,000,000 gal., the water being brought
from the Avre and other affluents of the Eure by an aqueduct 68^9 M. long.
— The 8t-Vloud Racecourse (see p. 41) lies a little way back. On race-
days special trains stop at a platform 1/4 M. from the entrance.
Beyond St-Cloud 19 a short tunnel. To the right runs a branch-
line to Marly-le-Roi and St-Germain (p. 382). Then a longer tunnel.
1072 M. S^vres-Ville-d'Avray (other stations, see above
and p. 352; Hdt.-Rest. des Jardies, near the station; de la Chau-
miire, or Cabassud, by the ponds), 1 M. from the porcelain-factory
(p. 353), near the pleasant village of ViUe-d' Array- The Rue des
Jardies, opposite the station, to the left, leads to the Av. Gambetta,
in which, immediately to the left, is the Monument of Gambetta^
with his statue and figures of Alsace and Lorraine, by Bartholdi.
Adjacent is the Villa des Jardies, once occupied by Balzac (d. 1850)
and later by Gambetta, who died there on 31st Dec, 1882. Con-
tinuing along the Av. Gambetta, and taking the Rue de Sevres, to
the right, we reach the Churchy which contains models of statues
22*
350 Route 22. CLAMART, ^ops, PP- S5», 41B.
by Pradier, Rude, and Buret, a St. Jerome and some small frescoes
by Corot, an Ecce Homo by Aug. Hesse, etc. Taking the Rue de
Versailles, to the left, we arrive in about 10 min. at the pretty
Ponds, on the left, behind the H6t.-Rest. Cabassud (p. 349). On
the bank stands a Monument to Corot (p. xlix), whose landscapes
have made the spot famous. Across the road is his father's country-
house, where the painter used to spend the summer.
Continuation of the line to Versailles, see p. 357.
TTT. Iiigne de Versailles (Hive Gauche). Three trains every
hour from the Gare Montparnaese (PI. G, 16; p. 342; 'Banlieue', on the
right) to Meudorif in 20 min. (60 or 40 c); to SbvreSy in 25-30 min. (75
or 50 c). BeUevue (70 or 45 c), a little short of Sevres, is the nearest
station to the porcelain-factory. No reduction on return-tickets.
This line corresponds with the Ceinture at (IY4 M.) Quest-
Ceinture (Appx., p. 58), near the fortiiScations. — 2^/4 M. Vanves-
Malakoff, between Vanves, to the right (see below), and Malakoff
(p. 419). We then pass between the forts of Vanves and Issy.
3 M. Clamart. The station is Y2 ^- ^0 the N. of the village
(electric tramway, 10 c). At the S. end of the village, on the left,
behind the church, is the Hosjpice Ferrari, for about 100 old men,
built by the Duchesse de Galli^ra (p. 235). Another charity is the
Hospice Schneider, to whose founders a monument has been erected
in the Place Marquis. Pretty walk to the Bois de Clamart, to
the E. of the Bois de Meudon (p. 351).
Clamart is connected with Paris also by a Tramway (TS6; 1 hr.
8 min.; Appx., p. 49), passing Issy-Les-Moulineaux (pop. 23,175; rail,
stat., see p. 349 ; steamboat-piers at Les Penpliers and Biilancoart, see p.
352 and Appx., p. 57). In theRue Ernest-Renan at Issy is the Manufacture
dea Tabacs (PI. G, 8), removed from the Q,uai d'Orsay in 1904; it employs
abont 1200 hands, of whom 1000 are women, and prodnces over 2000 tons
of tobacco yearly. Visitors are admitted on Thurs. (exc. holidays) shortly
before 2 o'clock. — The Champ de Maiweuvres d'Usy (PI. G, 5)^ laid out
in 1889 for the garrison of Paris, adjoins the Seine. (Crossing it is pro-
hibited. Aviation, see p. 41.) — The tramway then skirts the I/ycie Michelet
(PI. G, 9), in a chitean of the Cond^s bnilt in 1698, and traverses the
village of Vanves (see above; pop. 15,545).
Other Tramways from Pans to Issy or Vaikves: TSlly TOl, TG8
(Appx., pp. 50, 51).
The line runs high above the Seine. Fine views, to the right,
a little before Meudon and at BeUevue. As we near Meudon we
cross a viaduct 118 ft. high, above the Invalides-Versailles line
(p. 357). Above, on the left, is the Orphelinat de Fleury (p. 351).
5M. Meudon. — The Statiok lies N.E, of the terrace; the station
*Meudon-Val-Fleury' (Invalides-Versailles line; p. 857) is to the E. of the
terrace. Or we may take the Ligne des Moulineaux (p. 347) to BeUevue-
Funiculairet ascend by cable-tramway (10 c; Sun., up, 20 c), and then
follow the road described on p. 852. — The pleasantest route is by steam-
boat (p. 852) to Bellevue-Funiculaire ; thence to the terrace, see above.
CapAs-Kustaubakts. At the station; in the Av. du Chateau (p. 852) ;
in the wood, at the Ermitage de Villebon. VL M. to the S.W. of the
terrace, and at the Captulene (p. 851).
Maps, pp. 361,362. MEUDON. 28. Route. 351
Meudon (pop. 12,292), properly so called, lies on the slope
once crowned with the ch&teanx, and has many pretty villas extend-
ing to near the station. To the N.E. is Le Vol, which is crossed by
the viadnct of the Invalides-Versailles line (p. 357) ; and to the E.,
on the slope of the Bois de Clamart (p. 350), lies Fleury, dominated
by the large Orphelinat Galli^ra, which was founded by the Duchesse
de Galliera in 1885 (p. 235). Rodin, the sculptor (p. lii), has his
studio here. On the Seine lies Bas-Meudon (steamboat-pier and
railway station, pp. 352, 349), with its factories, glass-works, etc.;
it is partly inhabited by fishermen.
The seign^iory of Mendon is of early origin. In 1552 it was bought
by Card, de Lorraine, for whom Ph. Delorme built a splendid chllteau
here. In 1695 it passed into the hands of Louis XIY., and became the
residence of the Dauphin, who built also a smaller chllteau near it, de-
signed by J. Hardouin-Mansart. The Dauphin died at Meudon in 1711,
as did a later dauphin (the eldest son of Louis XVI.) in 1789. The
chateau of Delorme was demolished in 1808. The second chateau, after-
wards occupied by Empress Marie Louise, bv the King of Rome (1812),
and lastly ny Prince Napoleon, son of the lormer King of Westphalia,
was burned down during the siege of Paris in 1871. From the battery
mounted on the terrace the Germans threw shells into the fort of Issy
and as far as the city-ramparts.
Prom 'Meudon' station the Rue du Depart brings us into the
Avenue Jacqueminotj which leads to the terrace (see annexed Map).
This avenue crosses the Rue de la Republique (on the left), the
main street of old Meudon; at the crossing is a bronze bust, by
Truphfeme, of Rabelais (1483 - 1553), who after many wanderings
was appointed cur6 of Meudon, in the last year of his life. — From
'Meudon -Val -Fleury' station (p. 350) we follow the Rue Banfes,
then the Rue de Paris on the left, cross the Rue de la Republique
(see above), and ascend straight on by the Rue Terre-Neuve, which
leads to the terrace. — At the entrance rises the Monument du
Centenaire, a symbolical bust by G. Courbet (1889).
The ^Terrace of Meudon (see annexed Map, also that at p. 352),
supported by huge walls, commands a famous view of Paris, similar
to that from the park at St-Cloud (p. 355). The ChMeau, in the
park, to the S.W. of the terrace, was restored after 1871 and fitted
up as an Observatory (no adm.).
The Bois de Meudon lies on the hills to the W. of the terrace,
and descends N. and W. towards Sfevres, Chaville, and Virofiay; in
the opposite direction, it extends along the heights beyond the Val-
lon de Meudon, this part being called also the Bois de Clamart
(p. 350). The wood is intersected by pleasant paths (sign-posts).
— From the terrace we may ascend to the Bois by an iron staircase
against the wall on the W., and by a path crossing the Park of
the ch&teau (otherwise closed to the public). From the foot of the
Avenue du Chateau (p. 352) we ascend by the Pav6 des Gardes and
join the routes from Sdvres at the Capsulerie. The old Etang
362 Route 22. BELLEVUE. Maps, pp. 852,351.
des Fonceaux and the Etanm de Villebon and de Triveaux are
very picturesque ponds. The JParc de Chalais, to the S. of Meudon,
contains a School of Military Aerostatics.
51/2 M. Bellevue (*Bellevue Palace Hot., see below, open March
to Nov., R. from 7, B. V/^, L. 5, D. 6, pens, from 18 fr., rest, k la
carte; Hdt.-Rest. de la T^te-Noire, 17 Grande Rue), with its nu-
merous villas, owes its origin to a chateau of Mme. de Pompadour
(1748-50). The Grrande-Ruey a short distance from the station, is
crossed to the N.W. by the Av. M^lanie, at the N.E. end of which
is a terrace with a fine view. To the S.E. the Grande-Rue leads to
the Place Guillaume, in which is a. pretty bronze fountain with a
Bacchante, by C. Theunissen. Behind, on the right of the Palace
Hotel, is the upper station of the cable-tramway (p. 350). — From
the Place Guillaume we may proceed S., over the railway, to the
superb Avenue du Chdteau, which ascends to the terrace of Meu-
don (p. 351; 8/4 M.).
By following the Grande-Rue of Bellevue to the N.W., and then the
Av. de Bellevue, we may reach the (1 M.) Grande-Rue of Sfevres, 1/4 M.
from the bridge (p. S5S).
6^4 M. Sevres (p. 353). The station lies to the S. above the
town (other stations, see p. 349). We descend to the Grande-Rue,
which we follow to the right towards the Seine, and reach the
entrance to the porcelain-factory.
Continuation of the line to Versailles, see p. 357.
By Steamboat.
Steamers (Appx., p. 57, 2nd col., 'Tuileries-Suresnes') start from above
the Pont-Royal (PI. R, 17, II; p. 305) every V4 hr. in summer, but less
often at other seasons. Downstream 1 hr., upstream lV4hr.; fare 20 or
15 c. ; on Sun. and holidays 40 or 25 c. (comp. p. 80). The hour at which
the last steamer starts is posted at the piers.
Stations within Paris, see Appx., p. 57, and the Plans. — At the
foot of the long AUie des Cygnes is Bartholdi*s statue of Liberty
(p. 243). Farther on we have a fine view of the Pont d'Avieuil with
its viaduct (p. 243); then another of the hills of Meudon and the
dome of its observatory, of the Orphanage of Fleury (p. 351), of
St-Cloud with its campanile, and of Mont-VaUrien (p. 356). — On
the right, the station of Auieml (Point du Jour; PL G, 4). To the
left is the Champ de Manoeuvres d'Issy (p. 350). — Right, the station
of Les Peupliers (PL G, 2). Left, the lie St-Germain (PL G, 2, 3),
with its military stores, and Les Moulineaux (p. 349). — On the
right bank, the station of Billancourt (p. 349). Farther on, the
lie Sdguin, with pigeon-shooting grounds (see p. 43).
Bas-Meudon (pier), the industrial quarter of Meudon (p. 351).
At BeUevue-Puniculaire (rail, stat., see p. 349) visitors to Meudon
land and take the cable-tramway (p. 350) to Bellevue.
SiVRES. *«. RouU, 353
Sevres. — The pier is above the bridge, where the Paris tramway
stops {TAB; pp. 347, 857). Just below the bridge is the station on the
Ligne des Moulineaux (p. 849). — Other stations, see pp. 852, 849.
CAFd»-RESTAURAKT8 (unpretending). C. de la Terrasse, 27 Grande-
Rue, corner of Av. de Bellevue, facing an entrance to the park of St-Cloud
(L. 2V8, D. 8 fr., or k la carte); Hot. du Roulage^ 1 Grande-Rue; C.
ParisieHj 61 Grande-Rue, near the H6tel de Ville (L. or D. 2»/8 fr.).
Post & Tslsoraph Office at the Hotel de Ville (see below).
PoBCKLAur Factory. The Collections are open daily, exc. holidays
(12 to 4 or 5). 'Guide illustr6 du MusSe C6raniique', by G. Papillon, the
present curator (1909), 21/2 fr.; 'Catalogue des FaXences*, by E. Garnier
(1897), 2 fr. ; *La Manufacture de Porcelaine de Sftvres*. by G. Lechevallier-
Chevignard (1909, two vols., 3Va fr. each). — The Ataiers, or workshops,
are visible daily in summer (1-5), but in winter on Mon., Thurs., & Sat.
only (1-4). Tickets are obtained by personal or written application (comp.
p. 60) to the 'Administrateur de la Manufacture' at Sfevres; but visitors
without tickets may generally join a party (fee).
Sevres (pop. 9465), one of the oldest towns near Paris, and
famous for its porcelain-works, lies on the left bank of the Seine
and on the road to Versailles. The Hotel de ViUe, nearly >/« M.
from the bridge, in the Grande-Rue on the right, is an old palace
of the Dukes of Brancas, with carved woodwork, paintings, and
sculptures, restored since 1892.
The Manufaoture Rationale de Sevres lies on the verge of
the Park of St-Cloud, near the bridge. The entrance is by a gate
in the Grande-Rue, on the right as we come from the bridge. It
was founded in 1738 at Vincennes by the brothers Dubois, assisted
by a royal subsidy. Transferred to Sevres in 1756, it has been owned
by the state since 1759, and has occupied its present building since
1876. The factory at first made soft porcelain only, the early speci-
mens of which (Torcelaine de France', now 'Vieux-Sivres') were
highly prized. But the success of the hard porcelain of Saxony and
the discovery of a deposit of kaolin near Limoges stimulated the
French to make new experiments from about 1710 onwards. In 1769
the chemist Macquer submitted to the Academic des Sciences the
first specimens of hard porcelain made at Sevres. Louis XV., the
Marquise de Pompadour, and the Comtesse du Barry took the
keenest interest in the work, and hence the names: 'bleu de roy*,
*rose Pompadour*, and *rose Du Barry'. Under Louis XVI. and
Napoleon I. the fashion reverted to classic forms. Improved methods
have recently given a new impetus to the industry.
The main building, in front of which is a bronze statue of
Bernard Palisay (1510-89), after E. Barrias, has a large mosaic
in its tympanum. The ground and first floors contain the valuable
Mus^e C&ramique, founded in 1805 by A. Brongniart (d. 1847),
extended by Rocrieux (d. 1872), and enlarged in 1910-11.
Grouhd Floor. The glass-cases in the vestibule contain a charming
collection of Biscuits de Sevres, after models^ . the 18th century. — To
the left are three rooms devoted to products »,» the factory from 1788 to
1876. First Room (1801-76): right, enamelled fayence of 1862-72; left,
enamels on copper, 1845-72. Then large vases, copies of pictures (hard
354 RotUeSS. BOULOGNE. Mapy p. S52.
porcelain, early 19th cent.), a stand decorated by Jacobber (1846); at the
Dack, works in the Empire style; in the centre, *Decorated porcelain of
the late 19th century. — Second Room^ at the back of the first. Left,
soft porcelain of the 18th cent.; *Terracotta models by Falconet, Pajou,
etc. — Third Roomy to the right of the second : Hard porcelain of the
18th cent.; imitation of *laqne' by Le Guay (1791); other terracotta mod-
els; in the last case by the left wall is shown the first piece of hard
porcelain made at Sfevres (1769). — On the right of the vestibule is a room
with products of the factory since 1876; the three following rooms contain
an exnibition of porcelain for sale (comp. p. 51 ; prices marked).
On the staircase are two statues in bronze, 'La Ceramique', by E.
Guillaume, and 'Sculpture', by J. B. Germain.
First Floor. We enter the Salon d'HonneuTy containing several of
the largest and finest vases made at S&vres (including the Vase Neptune
of 1867, 10 ft. high) and four pieces of Gobelins tapestry relating to the
manujfacture of porcelain. New acquisitions also are shown here. On
each side is a long gallery, divided into bays. The labels at the top of
the glass-cases give general information ; those inside give details. Right
Gallery. Right side: Antique, medisBval, and modem pottery from every
country. At the back. Porcelain stoves, one a model of the Bastille,
presented to the Convention; two glass-cases containing recent gifts and
purchases. Left side, and central cases: chiefly enamelled and other
fayence, French and foreign. — Left Gallery. Right side: Chinese and
Japanese porcelain; Buddha in terracotta, lacquered; modern tomb in
fayence from Bombay. In a room at the end is a glass-case containing
Sainted terracottas. A small room to the right of the last contains the
[arquis de GroUier's rich *Collection of porcelain (16th-19th cent.). On
the left are two small cabinets: 1st, Glass and enamels on copper: 2nd,
Porcelain, fayence, and terracottas. Left side: modem fayence and por-
celain; models of Sevres porcelain; plain specimens showing the results
of various experiments, notably that of crystallization (1886). Central
cases: Swiss, Saxon, Russian, and Dutch porcelain (18th-l9th cent.):
French and foreign porcelain (17th-19th cent.); Chinese, Japanese, and
Korean pottery.
A passage leads from the ground-floor to the Workshoj^ (adm., p. 858),
which are of little interest, as a few only are shown (fee).
The steamer passes under the bridge and stops at —
Boulogne (pop. 57,027), on the right bank. The handsome
Gothic chnrch of the 14th and 15th cent., restored in 1863, has a
modem spire. A little farther on is a statue of Bernard Palissy,
in bronze, after E. Barrias (comp. p. 353). To the right are several
fine villas on the quay; view of St-Cloud and Mont-Val6rien (p. 356).
Tramways: TO, TRy TG8, TBI, TBS, TBS (Appx., pp. 46, 46,
61, 62); TAB, comp. pp. 347, 867.
St-Cloud. — The Steamboat Pier is just above the bridge. The
terminus of the Tramway to Paris {TAB; pp. 347, 887) is in the Place
d'Armes, near the bridge. The station of the Ligne des MouHneausp
(p. 848) lies on the N. ; Ligne de Versailles, see p. 849.
Hotsls: *H6t. du PaviUon-Bleu, Place d'Armes (on the left), first-
class, R. from 6, L. 6, D. 6, pens, from 15 fr. ; Hot. de la Tite-Noire, Place
d'Armes (on the right), meals k la carte; Pavilion du Chdteau, Place
d'Armes, beginning of Av. du Palais, R. from 4V», B. 1, L. 3, D. 3V«.
pens, from 8 fr.
CafAs-Rbstaurahts: Pavilion Bleu (see above), i la carte; Cafi-Rest.
Maurice, PI. d'Armes, L. 8, D. 4 f r. (Munich beer); Cafi-Brass. de la
Gare, PI. d'Armes; Cafi-Rest. du Palais, 8 Av. du Palais, unpretending
(a la carte). --Gatt/Ves, a kind of light pastry, are sold by the bakers
near the park.
Map, p. 862. ST-CLOUD. 22.BouU. 355
The Gbandbs Eaux play twice a month, in May-Aug., on those Sun-
days when the Versailles fountains do not play (p. 866), and every Sun.
in Sept. during the FSte des Mirlitons (see below). — Militaj^ Band in
the Park on Sun. and Thurs. in summer, 8-4 or S.SO-4.80. — The only
carriage-entrance to the park is by the Avenue du Palais; a ticket (1 fr.)
must be obtained at the tobacconist's to the right of the lower entrance.
— In the lower part of the park (the Grande- Avenue), daring five weeks
in Sept. and Oct., is held the *fdte patronale' of St-Oloud, known as the
FSte des Mirlitons, which is attended by pilgrims as well as by pleasure-
seekers. There is also a *f6te de printemps* on the first three Sundays
of May.
St-Cloudf a town of 9725 inhab., rises in an amphitheatre on
the left bank of the Seine, while the modem quarter of Montretout
(p. 349) lies on the plateau above. It owes its name to a monastery
founded here by St. Clodoald (522-560), grandson of Clovis, and its
importance to its ch&teau, destroyed in the war of 1870.
The Paltice, founded in 1672 by a wealthy citizen, was bought and
rebuilt by Louis XIV. in 1658. It was designed by J. Hardouin-Mansart
and A. Lepautre. The Oouncil of Five Hundred met here till 9th Nov.,
1799, when it was dispersed by Bonaparte's grenadiers. Napoleon I.
caused the palace to be sumptuously restored, and often resided in it.
In 1816 the second capitulation of Paris was signed here, and in 1880
Charles X. issued hence the famous ordinances which caused the revo-
lution of July. St-Cloud was later the chief summer-residence of Na-
poleon III.
At the W. end of the Pont de St-Cloud lies the Place (TArmes
(terminus of tramway TAB, see p. 354). The Rue Dailly, to the
right, and then the Rue Vauguyon, to the left, lead to the Hotel de
Ville and the Church. The latter, a modem Gothic edifice with a
stone spire, has frescoes in the choir by J. Duval-le-Camus (Life
of St. Clodoald). In front of the church is a Bust of Gounod
(p. 231), by Carpeaux (1907); on a house opposite is an old Gothic
arch, a relic of the collegiate church.
The *Park of St-Cloud, 970 acres in area, extends over the
hills on the left bank of the Seine, to the S. and S.W. of the town,
and is bounded on the N. by Garches, and on the S. by Sfevres and
Ville-d'Avray. It is reached from the Place d'Armes either by the
Avenue du Palais, leading S.W. to the terrace (see below), or by
the Grande- Avenue, the first to the left as we leave the bridge. The
latter, preferred by walkers, passes a bust of Paul Huet (1803-69),
the painter, by A. Bloch (1907), and leads direct to the ^Grande-
Cascade, designed by A. Lepautre and J. Hardouin-Mansart, and
crowned with statues of the Seine and Mame, by L. S. Adam (1734).
Beyond the Cascade, in line with the Grande-Avenue, are three
groups from the pediment of the old Palais de I'lndustrie (in the
Champs-Elys^es, 1855-1897), by Elias Robert and Di^bolt, erected
here in 1900. Not far distant, to the N.W., is the Jet G4ant, or
great jet, which rises to a height of 138 ft. (see above).
We ascend to the left of the Jet to the AlUe de la Balustrade,
which leads to the right to the Terrace of the old palace (see above),
356 Route 82. SURESNES. Map, p. S48.
whose ruins were cleared away in 1893. Farther on, to the N.W.,
is the Trocad&rOj once the private garden, with the old Pavilion
du Prince Imp&ricd (rfmts.). — The A116e de la Balustrade leads
S. in 5 min. to a plateau with a superb *View. On the right is
the Chalet de la Lanterne (rfmts.). The Seine lies below, but is
hidden by trees in summer. To the left, above the Pont de St-Cloud,
stretches the Bois de Boulogne; nearer, and lower down, lies the
town of Boulogne. Farther off are the Arc de Triomphe, beyond
which rises Montmartre with the church of the Sacr^-Coeur. High
above the sea of houses rise the Trocad^ro and the towers of
St- Vincent-de-Paul. More to the right are seen the Eiffel Tower,
the Giant Wheel, the gilded dome of the Invalides, St-Sulpice, the
Panth6on, the Val-de-Grftce, and lastly the Viaduct of Auteuil. —
From the S. end of the A116e de la Balustrade (see above) we may
descend to the left to the Pavilion de BreteuU, seat of the 'Com-
mission Internationale du M^tre', where the original mfetre and
kilogramme, in platinum, are kept. A little farther on, we join the
Grande-Rue of Sevres, opposite the Av. de Bellevue, a little W. of
the porcelain-factory (p. 353).
The broad AlUe de la Lanterne, in the centre of the plateau, leads
in V4 hr. to the S^vres-Ville-d'Avray station (p. 349).
A Tramway MifeCAinQni: runs from St-Cloud to Pierrefitte (12»/g M. ;
p. 406) by Suresnes (see below), Puteatix (p. 848), Courbevoie (p. 348),
Asnikres (p. 347), and St-Denis (p. 390).
The steamer goes on to Suresnes (H6t. de Suresnes; H6t.
Moireau; Hdt. du Chalet; caf^s-rest. by the bridge; pop. 16,248),
on the left bank of the Seine, at the foot of Mont -Val^rien (531 ft.),
which has been fortified since 1830. The Ligne des Moulineaux and
Ligne de Versailles (Rive Droite) both have stations here (pp. 348,
349), ^4^- apart; between them is the Mairie (1887-89). At a
carrefour above the church is a bust of Emile Zola (p. 294), in
bronze, by Emile Derr6 (1908). — Chemin de Fer du Bois-de-Bou-
logne, see p. 244.
Below the lock at Suresnes is the pier of the Baixaux- Omnibus
Suburbains, which descend to Epinay (p. 896), passing Puteaux (p. 348),
Asniferes (p. 847), Villeneuve-la-Garenne (p. 348), and St-Denis (p. 390).
23. Prom Paris to Versailles.
The Palais or Chdteau de Versailles is open daily, except Mon. and
holidays (see p. 57): Ist April to 80th Sept. from 11 to 5, during the other
months 11-4. Note, however, that the Salles des Oroisades (p. 868) are
open on Sun. and Thurs. only from 12.80 to 4 or 5; the Salles de TAttique
du Nord (p. 364) Tues. and Fri. only at the same hours; and the Galerie
de la R^publique et du Premier Empire (p. 872) Wed. and Sat. only at
the same hours. — The Gardens are open daily from 10 a.m. till dusk,
but certain shrubberies are closed between Oct. and May. A hell rings
at dusk, 1/4 hr. before the closing of the gates. — The Grandes Eaux du
Fare (p. 875) play from 4.80 to 5.45 p.m. on the first Sun. of each month,
Map, p. 351. VERSAILLES. 23. BpuU. 357
from May to October inclusive; also on the Sun. after 24th June (F§te
Hoche), 14th July (FSte Nationale; illumination, p. 375), and 25th Aug.
(Feast of St. Louis). The Grandes Eattx de Trianon (p. 879) play from
4 to 5 p.m. on the third Sun. of each month from May to September. The
dates are advertised beforehand. (Trains then rnn nearly every 5 min.
towards midday in fine weather.) — The Trianons (p. 878) may be seen
at the same hours as the palace, but from 1st May to Slst Aug. the Mus^e
des Voitures (p. 879) is open till 6 p.m. — Those who can pay only one
visit to Versailles should start early and visit the gardens before the
opening of the palace.
By Railway.
a. Ligne des Invalides-Versailles, liM., electric line from the
Gare des Invcdides (PJ. R, 14, //; p. 810); about 40 trains, from 5 a.m.
to 12.80 a.m., returning up to 11.80 p.m.; some of the trains have restau-
rants. Pleasant run of i/g hr. ; fare 1 fr. 85 or 90 c, return 2 fr. 70 or 1 fr.
80 c. — Views of the Seine on the right.
To Javelf see p. 349. — 4^/2 M. /««y, with a drilling-gronnd
(p. 350), which we cross by a viaduct. We pass under the viaduct
of the Rive Gauche line (p. 350). — 5^2 M. Meudon-Vcd-Fleury
(p. 350). Then a tunnel of nearly 2 M. under the park and forest
of Meudon. — 8^4 M. ChaviUe-Vdizy. — 91/2 M. Viroflay {rive
gaitche,' comp. below). — 11 M. VersatUeSf Gare de la Rive Gauche
(p. 358).
b. Ijigzxe de la Bive Droite, 141/4 M., in 85-55 min. (fare 1 fr. 50 or
1 fr. 15 c. ; no reduction on return-tickets). About 80 trains start from
the Gare 8t-Lazare (PI. B, 18; p. 221; 'Banlieue', left side). Some trains
go to and from the Gare des Chantiers (p. 358), without calling at the
station of the right bank; fare by these, 1 fr. 80 or 1 fr. 20 c. — Views
on the left.
To (IOV2 M.) S^vrea-VUle'd'Avray, see p. 349.— 12 M. Cha-
viUe (rive dr.), near the Bois de Ville-d'Avray, Fausses-Reposes,
and Chaville (see Map, p. 352). — 13 M. Viroflay (rive dr.). Then,
to the left, is seen the Viadttct across the high-road, uniting this
line with that on the left bank, and used by the trains to the Gare
des Chantiers. — I41/4M. Versailles, Gare de la Rive Droite, or
(15 M.) Gare des Chantiers (p. 358).
o. Iiigne de la Rive Gauche, 11 M., in 80-40 min. ; fare 1 fr. 85 or
90 c. ; about 80 trains, from the Gare Montpamasse (PI. G, 16, LV; p. 842 ;
'Banlieue', right side). — Views to the right.
To (61/4 M.) S^m-es, see pp. 350-352.— 8 M. Chaville (rive g.).
To the right is the Rive Droite line with its viaduct (see above).
— 8^/2 M. Viroflay (rive g.), where we join the Invalides line (see
above). — 11 M. VersaiUes, Gare de la Rive Gauche, or Gare des
Chantiers (p. 358).
By Tramway.
The Tramway {TAB^ see p. 847 and Appx., p. 46; 12 M., in IV4 hr.),
driven by compressed air, goes every 12 min. (fare inside or platform 95,
outside 65 c). The cars start from the Q,uai an Louvre ^end of Rue du
Louvre; R, 20, //). Not a very interesting route, but gives an idea of
the animated environs.
358 Ro«ie 23. VERSAILLES. Practical Notes.
The tramway skirts the Quais du Louvre, des Tuileries, de la
Conference, Debilly, and de Passy, and follows the Av. de Versailles
to the Point'du'Jour (Porte de St-Cloud; PI. G, 1). The cars for
Boulogne and St-Cloud (p. 354) diverge here and follow the A v. de
la Reine; those for Versailles keep to the Av. de Versailles, past
Sivres (p. 353), Chaville, and Viroflay. At Viroflay we pass under
the viaduct connecting the Rive Gauche and the Rive Droite lines
(p. 357). We then enter Versailles by the Av. de Paris (p. 360),
which ends at the Place d*Amies (p. 360), opposite the palace.
VERSAUjIjES.
Arrival. There are two main stations : Ist, Gare de la Rive Gauche.
between the Av. de Paris and Av. de Sceanx, for the Rive Ganche and
Invalides lines, Va M. from the palace; 2nd, 6are de la Rive Droite^ B,vLe
dn Plessis (p. 860), about ^U M. from the palace (tramway, see below).
The Gare des Chavtiers^ nearly 1 M. from the palace, is chiefly for the
Lignes de Breti^ne. — Omnibns in summer from the Rive Droite station
to the palace (80 c.). — Terminus of the Tramway from Paris ^ see above.
Hotels. *Triaron Palack Hotbl, well situated, 1 Boul. de la Reine,
near the Bassin de Neptune, opened in 1910, with 105 rooms and 60 bath-
rooms, R. from 10, L. 6, D. 7, pens, from 25 fr. (rest, k la carte); *H0t.
Dxs RibSBRvoiRS, 9-11^*" Une des Reservoirs, in an old mansion of Mme.
de Pompadour, 250 R. from 6, B. l^/g, L. 4, D. 5, pens, from 16 fr. (rest, k
la carte). — HOt.Vatbl, 86 Rue des Reservoirs, comer of Boul. de la Reine;
H6t. Sdisss, Rue Pdtigny and Rue Neuve, 100 R. from 8V9 fr., B. 1, L.
8V2) B. 4, pens, from 9fr.; Gr.-H6t. dk Noaillss, 18-20 Rue de Noailles,
100 R. from 4, B. 1, L. 8, D. SVa? pens, from 9 fr.; HOt. dk Fraitck, 5 Rue
Ck>lbert, N. side of Place d'Armes, 25 R. from 8, L. 81/3 fr. ; H6t. dk la
Ohasse & d'Elbkuf, 2-6 Rue de la Cihancellerie, S. side of PI. d'Armes,
18 R. from 8, L. 8, D. 8V9 fr.
Caf^s-Restaurants (dear k la carte). At the Hotels, see above.
Near the Palace, Rest, de Nepttme, 22 Rue des Reservoirs, opposite the
theatre, L. or D. S^jifr., good; No. 2, Rest, du Musie^ L. 8 fr., plain. —
Near the Rive Droite station, Cafi Anglais., 49 Rue du Plessis, L. 8 or 4,
D. 4 or 6 fr., good; No. 46, Cafi du Globe, L. 8, D. 4 fr.; No. 88, H6t.
du Lion-d'Or, L. 2V4 or 8, D. 21/2 or 8 fr.; No. 28, H6t. du 8ahot-d^Or,
L. 2 or 21/5,, D. 2V9 or 8 fr.; Cafi-Rest. Boche, Place Hoche, L. 2V4-8V4,
D. 8V4-8»/4fr.; Rest, de Landres, 7 Rue Colbert, L. 2, D. 8fr.; Brass.
MuUer, 28 Av. de St-Cloud and 41 Rue Camot, k la carte. — Near Rive
Gauche station, Hdt.-Rest. du Coing-d*Or, 14 Av. de Sceaux. — Tka Rooms,
1 Rue de la Paroisse, 16 Rue Hoche, and 11 Rue Colbert.
Cabs. Per drive, with one horse 11/4, two horses 1V« fr. ; after mid-
night 2 or 2»/2 fr. ; per hr., 2 or 2V8 fr. ; on Sun. and holidays 8 or 8*/9 fr.
Tramways. To Paris, see p. 857. From the Gare de la Rive Droite
to the Palace (grey disc) and to the Trianons (pink disdi ; from Square
Jean-Houdon or du Plessis, on the N., vi& Care de la Rive Droite, to
the Av. de Picardie and Boul. de la Ripuhlique, on the E. (yellow disc);
from Glatigny, farther N., vik the stations of both banks, to Grand-
champ, at the end of the Rue Royale (blue disc); from Clagny to the
Orangerie (Palace gardens ; red disc) ; from Le CTiesnay, on the N. (Carre-
four St-Antoine) to the Gare des Chantiers and the gate of Porchefontaine,
on the S.E. (green disc). Fare 16 c; with correspondance, 20 c; after
9 p.m., 80 c — Also from Av. Thiers (Gare de la Rive Gauche) to (8 M.)
8t-Cyr (p. 880; red and white disk, 35 or 26 c); and from Rue du Plessis
(Boul. de la Reine) to Meulan, vik Le Chesnay, Rocquencourt, Bailly,
Noisy-le-Roi (p. 880), Mareil, Maule, and Ep6ne (4fr. 20 or 8 fr. 16 c.).
h '
History. VERSAILLES. id. Route. 359
Post and Telegraph Office, 2 Rue St-Jalien, near S. wing of
palace (see Plan); 38 Av. de St-Cloud (only office open on Sun.); and 47»>>"
Hue du Plessis.
Snglisli Churoh (St. Marie's) ^ Rue du Peintre-Lebrun ; service on
Sun. at 11 a.m. and in summer at 6 p.m. ; chaplain, Rev. G. B. Vivian Evans.
Golf Codkse, see pp. 480, 42. — Symdicat d' Initiative, 89 Rue Duplessis.
Versailles (425-460 ft.; pop. 60,458), the capital of the Seine-
et-Oise department, a town created by Louis XIV., contains regular
streets, spacious squares, and many fine buildings, but it lies on a
sandy and arid plain.
The stories told about the creation of the magnificent palace and its
gardens border on the incredible. The levelling of the ground for the
gardens and park, the making of a road to Paris, and the erection of the
Aqueduc de Maintenon to bring water from the Eure, are said alone to
have occupied 36,000 men and 6000 horses for years. It is estimated that
the palace cost about 20,000,0002., apart from the forced labour exacted
under the old feudal corvee. The annual cost of maintaining the palace
and grounds now amounts to about 26,0002.
After 1682 Versailles became the permanent residence of Louis XIV.,
and it therefore saw both the zenith and the decadence of his reign. It
was from Versailles that the king and his ministers directed the policy
of the nation and even its wars. In 1684, after the death of Marie Ther6se,
Louis XIV. married Mme. de Maintenon (1635-1719^, whose all-powerful
influence imposed on the court a somewhat superficial austerity, lollowed
by its reaction in the frivolity and excesses of the Regency and of
Louis XV. The palace then degenerated into a kind of boudoir, ruled
over by Mme. de Pompadour (1721-64) and Mme. du Barry (1743-93).
Louis XVI. came to the throne in 1774, and it was at Versailles that he
began to sufifer for the sins of his ancestors. In 1789 the States-General
were convened at Versailles, to consider the state of the nation and to
devise means of averting national bankruptcy. The three Estates dis-
agreed as to the method of voting; the Noblesse and Clergy desired that
each should vote separately as heretofore; the Tiers Etat insisted on a
combined vote by head. Backed by public opinion the Third Estate
formed a National Assembly, and thus the Revolution began. When the
council-chamber in the palace was closed by order of the king the deputies
adjourned to the Jeu de Paume (p. 360), where they took an oath
(^serment du Jeu de Paume') never to dissolve until they had given France
a constitution. The Assembl^e Nationale now assumed the name of As-
sembl^e Constituante. On 5th and 6th Oct., not long after the fall of
the Bastille (14th July), the palace of Versailles was invaded bv a
Parisian mob, including thousands of 'dames de la halle', who compelled
the king to return to the Tuileries. The town then lost its importance,
and its population rapidly sank from 60,000 to 25^000. The deserted
ch&teau narrowly escaped being sold, but Louis Philippe at length re-
invested it with sometning of its former splendour, partly converting it
into a picture-gallery. From 6th Oct., 1870, to 6th March, 1871, the palace
was the headquarters of William I., King of Prussia, and here, on 18th Jan.,
1871, he was proclaimed German Emperor. From 20th March to 28th May.
1871, the palace was the seat of the French government, which directed
the operations of the 'Versaillais', as the troops were called, against the
Communards. At length, in 1879, the Chambers transferred their seat to
Paris, and Versailles has since relapsed into its former tranquillity, except
when a *Congr6s' (p. 378) meets to elect a new president of the republic.
By the treaty of Versailles, signed here in 1783, England recognized
the independence of the United States.
Versailles was the birthplace of the Abb6 de I'Ep^e (1712-89; p. 388),
Louis XVI., Louis XVIII. (d. 1824), Charles X. (d. 1886), Houdon, the
sculptor (1741-1828), Gen. Hoche (1768-97), and Berthier, Prince of Neu-
oh&tel (176S-1815).
360 Route 2S, VERSAILLES. '^owtu
The visitor may consult the following books (on sale in the vestibule
of the palace): 'Le Chateau de Versailles et ses BSpendances', by E. Cozes
(1910; 16 fr.); 'Versailles', in the collection of 'Villes d'Art C^lfebres', by
A. PiraU (1909; 4fr.); *Le Mns^e National de Versailles', a description
of the chateau and its collections, by P. de Nolhac and A. Perat^ (1896;
6fr.); *Une Journee k Versailles', a small illustrated guide (1910; 1 fr.).
The three main streets, the Avenue de Paris, in the middle, the
Av. de St-Cloud, to the N., and the Av. de Sceaux, to the S., radiate
from the Place d'Armes in front of the palace. The Avenue de
Paris, the most important, contains the Prefecture (1863-67), on
the right as we enter the tow^n, and the Hotel de ViUe, in the
Louis XV. style (1900), on the left. — To the S. of the Aventie de
Sceaux is the cathedral of St- Louis, dating from the 18th cent.,
and containing the monument of the Due de Berry (d. 1820), by Pra-
dier, and stained glass from Sevres, after Dev6ria. In front rises the
bronze statue of the Ahh€ de VEp6e (p. 359), by Michaut. Near
the N. end of the Av. de Sceaux a side-street on the left leads to
the Jeu de Paume (see p. 359), built in 1686, now containing a
*Mus^e de la Revolution' (open daily, except Mon., 11 to 4 or 5).
Opposite the entrance rises a statue in marble, by R. de Saint-
Marceaux, of Bailly (comp. p. 332), who read aloud the famous
oath. At the end of the room is a copy of David's ^Serment du Jeu
de Paume', and on the walls are the names of the 700 signatories
to the minutes.
The Boulevard de la Heine, on the N., another busy street, is
crossed by the Hue du Plessis, which leads N. past the station of
the Rive Droite to the Square Houdon. The Statue of J. Houdon,
the sculptor (p. 359), is by Tony-No6l (1891).— To the S. of the
Boul. de la Reine, towards the Place d'Armes, are the church of
Notre-Dame, built in 1684-86 by J. Hardouin-Mansart, who is
buried here, and a bronze Statue of General Heche (p. 359), by
Lemaire (1832).
On the E. side of the Place d^Armes are the old palace-stables,
now barracks, and on the W. the railing of the Cour d'Honneur
(p. 362).
The ^Falaoe or Ch&teau of Versailles, the famous resi-
dence of Louis XIV., owes its origin to a hunting-ch&teau built in
1624 for Louis XIII. This was a square brick and stone building,
which still encloses the marble court of the present palace (see
Plan). Louis XIV. also hunted here, and in 1663 began to give
his brilliant fStes, sometimes enlivened by Moli^re and his players.
As the Chateau of St-Germain (p. 385) seemed too small, the king
proceeded to extend his new residence; but it was not until 1668
that he began those huge additions that finally enabled him to make
the palace both the seat of government and a residence for his
court while everything that art could supply was to minister to
\
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^ Key to man. VERSAILLES. . ^3. Route. 361
Key to Flan of the Palace of Verscdlles.
First Floor.
North Wing. — 88. Vestibule de la Chapelle (p. 364). —
84-98. Historical Paintings: 1794-1830 (p. 364).— 94. Stair-
case to Second Floor (p. 364). — 96. Sculptures (p. 365). —
98-104. Contemporary Historical Paintings (p. 365).
Main Edifice. —105. Salon d'Hercule (p. 366).— 106-111.
Appartements du Roi (p. 366). — 112. Salon de la Guerre (p. 367) .
—US. Galerie des Glaces (p. 367). —114. Salon de la Paix
(p. 368). — 116-117. Grands Appartements de la Reine (p. 368).
—118. Salle des Gardes de la Reine (p. 369).— 119. Escalier
de Marbre (p. 371).— 120. Salle des Gardes du Roi (p. 368).—
121. Anticliambre du Roi (p. 368). — 122. Cabinets de Marie-
Antoinette (p. 369).— 123. Salle de PCEil-de-Boeuf (p. 368).—
124. Bedroom of Louis XIV. (p. 368). — 125. Salle du Conseil
(p. 368).— 126-130. Cabinets Int^rieurs de Louis XV et de
Louis XVI (p. 368). — 135. Modern Staircase (on the site of
the Escalier des Ambassadeurs of the time of Louis XIV.). —
136. Vestibule. — 137, 138. Rooms with water-colour drawings
(18th cent.; p. 366).— 139. Modem paintings (p. 366).— 140.
Grande Salle des Gardes (p. 369). — 141-148. Apartments of
Mme. de Maintenon (p. 369).— 144, 145. Paintings of 1792-93
(p. 370).
South Wing.— 147. Escalier des Princes (p. 370).— 148.
Galerie des Batailles (p. 370).— 149. Salle de 1830 (p. 371).
—150. Sculpture Gallery (p. 371).
Ground Floor.
North Wing. — 1. Vestibule (p. 363).— 2-12. Historical
Paintings from Clovis to Louis XVI. (p. 363). — 18. Staircase.
— 16. Galerie de Pierre (p. 363). — 17-21. Salles des Croisades
(p. 363).
Main Building. — 22-24. Vestibules (p. 375).— 27, 28.
Salles des Tableaux-Plans (p. 375). — 29, 30. Less important
works (p. 375).— 32. Vestibule of Louis XIII. (p. 374).— 38.
Recent acquisitions (p. 374). — 34. Views of Old Palaces (p 375).
— 37. Corridor to Escalier de Marbre. — 38. Vestibule de
Marbre (p. 373). — 42-50. Dauphin's Apartments (p. 373). —
51. Galerie Basse (p. 374). — 52-59. Apartments of Mesdames
(p. 374).
South Wing.— 66. Vestibule. — 67-80. Paintings of the
Republic and First Empire (p. 372). — 81. Galerie de Pierre
(p. 372).
362 Route 2B. VERSAILLES. ^alac
the royal pursuit of pleasure. Louis Le Van (p. 90), the first
architect, enclosed the *petit ch&teau', which he had been instructed
to respect as far as possible, within a new building erected in the
park. In 1679 J. Hardouin-Mansart built the 'Galerie des
Glaces' on a terrace level with the first story on the E. side, and
in 1682 he completed the long Aile du Midi, as a residence for the
court. The new palace was nearly finished when Louis XIV. took
up his abode in it on 6th May, 1682; but in 1684-89 the Aile du
Nord was added.
The palace could house 10,000 persons. Its longer facade,
towards the garden, 635 yds. in length, has 375 windows. The
pavilions in the neo-classic style, flanking the Cour Royale, erected
by Gabriel under Louis XV., and by Dufour under Louis XVIII.,
mar the harmony of the plan. Gabriel also began the opera-house
in 1753, at the end of the N. wing (p. 364), but it was not completed
until 1767-70. — During the Revolution the royal furniture was sold
and the pictures were transferred to the Louvre. Louis Philippe,
in 1833-37, transformed the palace into a great national museum
of *all the glories of France'.
The Cour d'Honnbur is separated from the Place d'Armes by
a railing. The groups on the pillars at the entrance recall the vic-
tories of Louis XIV. over Austria (the eagle) and Spain (the lion),
by Marsy and Girardon. In the centre rises an Equestrian Stattte
of Louis XIV., in bronze (1832), the horse by Cartellier, the figure
by Petitot. The court is bordered with sixteen colossal statues of
statesmen and marshals of France, some of which were on the Pont
de la Concorde until 1837 (comp. p. 63).
Bearing to the right, and crossing the Rue des Reservoirs, we
reach the Cour de la Chapelle, between the Pavilion Gabriel
(see above) and the Chapel. The latter, with its high-pitched roof, is
adorned with numerous statues of apostles and saints. The Entrance
to the museum is at the W. end of the Cour de la Chapelle.
The *MUS6e national of Versailles has two quite dis-
tinct departments, combined within the same rooms : 1. The Salons
and Apartments of Louis XIV. and his successors, a museum
of decorative art, unique of its kind ; 2. The Mus6e HistoriquCy
founded by Louis Philippe, a large collection of pictures and sculp-
tures, many of them of little artistic value, and some of them ordered
by the king to illustrate a particular historical period. The collec-
tion of historical portraits is most interesting. Under the present
curator (M. Pierre de Nolhac) the works lacking real historical
value are being sifted out, while those of artistic merit are being
classified according to periods.
The rooms are so numerons that only a few can be examined care-
"■"•^ within the time allowed; a margin also must be left for the Trianons
"). Those who can devote two days to Versailles should spend the
and Musie. VERSAILLES. ^S- Route. 363
first in visiting the royal apartments, the park, and the Trianons. In
this case we enter at the end of the Cour des Princes (see Plan of ground-
floor), pass through Rooms 39 and 38, and ascend the Escalier de marbre
(No. 119, Plan of first floor). On the first floor we turn to the left, round
the balustrade, to the Salle des Qardes du Roi (No. 120; p. 368), and
thence enter the Aj^artements de Louis XIV (p. 868). The Petits Ap-
partements (p 368) and the Galerie des Glaces (p. 367) may be visited
next, after which we pass through the Salon de la Paix (p. 868) to the
Crrands Appartements de la Reine (p. 368). We then return to the Galerie
des Glaces, see the Salon de la Guerre (p. 867) and the adjoining rooms,
and end our visit with the Chapel (see below), the Appartements du
Dauphin (p. 378), and those of Mesdames (p. 374).
Worth Wing. — Ground Floor. In the Vestibule (PI. 1)
books and views are on sale (p. 360). Wet umbrellas and parcels
must be left in the cloak-room (10 c). — Those who can devote one
day only to Versailles will save time by adhering to the following
route. The less important rooms are described in smaller type.
On the right is the entrance (usually closed) to the chapel, which
is better seen from the first floor (p. 364).
The *Cliapel was begun by Mansart in 1699 and completed
by Robert de Cotte in 1710, and is a masterpiece of the style of
the period. It is richly adorned, yet not overladen, with sculp-
tures, bronzes, gilding, and paintings. On the vaulting of the roof,
at the end, is a Resurrection by Ch. de Lafosse; in the centre,
God the Father, by N. Coypel. Over the royal gallery. Descent of
the Holy Ghost, by Jouvenet. On the ceilings of the side-galleries,
the Apostles, by Bon and Louis BouUogne. The seven altars have
bas-reliefs in bronze by Adam, Verberckt, Vinache, Bouchardon,
Ladatte, and Slodtz.
In the vestibule, opposite the entrance, is a large relief, by
CoustoUy of the Passage of the Rhine by Louis XIV. We then
enter the —
Salles des Tableaux d'Histoire de Glovis k Louis XVI
(PI. 2-12), containing paintings by Delaroche, Mouget, Johannot,
Ary Scheffer, Schnetz, and Vinchon, and older works by J. B,
Martin, Parrocel, and after Lebrun and Van der Meulen. —
From the foot of the staircase (PI. 13) we enter, to the right, the
Galerie de Pierre (PI. 16), a long corridor containing casts of
monuments of princes and queens. — To the left are the five —
*Salles des Crolsades (PL 19, 20, 21, 18, 17; adm., see
p. 356). These rooms are sumptuously decorated with the arms
of crusaders, and contain good paintings of the time of Louis
Philippe. — 1st Room (PI. 19). Right, Gallait, Coronation of
Count Baldwin of Flanders as Greek Emperor (1204) ; Larividre,
Battle of Ascalon (1177). — 2nd Room (PI. 20). Jacquand, Taking
of Jerusalem by Jacques de Molay, Grand Master of the Templars
(1299).— 3rd Room (PI. 21). Left, Horace Vemet, Battle of Las
Navas de Tolosa against the Arabs (Spain; 1212); Schnetz, Pro-
Bakdkksr'b Paris. 18th Edit. 23
364 Route 28. VERSAILLES. Palace
cession of Crusaders round Jerasalem (1099). Beyond the door,
Larivitre, Raising of the siege of Malta (1565) ; Gothic doorway
from the hospital of the Knights of St. John at Rhodes, presented
by Sultan Mahraud (1836); Odier,- Raising of the siege of Rhodes
(1480) ; after Delacroix (original at the Louvre, see p. 148, No. 213),
Capture of Constantinople (1204); Blondely Surrender of Ptolemais
to Philip Augustus and Richard Coeur-de-Lion (1191). By the central
window is a mortar from Rhodes. — 4th Room (PI. 18). Right,
Signal, Godfrey de Bouillon (1100), and St. Louis; Signal, St. Bern-
ard preaching the Second Crusade at V6zelay in Burgundy (1146);
Schnetz, Battle of Ascalon (1099). — 5th Room (PI. 17). Signal,
Taking of Jerusalem (1099), Passage of the Bosphorus (1097).
We return to the Galerie de Pierre, and from its S. end we
mount a staircase, in the vestibule, to the left of the chapel.
First Floor. — We first enter the Vestibule de la Chapelle
(PI. 83), whose white marble walls, with the figures of Glory and
Magnanimity, present a solemn aspect. Several lavishly ornamented
doors lead into the royal gallery, which affords an excellent view
of the chapel (p. 363). — We next visit the —
Salles des Tableaux d'Histoire de 1794 h 1830 (PI. 84-93).
6th Room (PI. 88). Gautherat, Napoleon wounded at Ratisbon
(1809).— 8th Room (PI. 91; 1814-23). Gros, Louis XVIII. leav-
ing the Tuileries in 1815 on hearing of Napoleon's approach. —
9th Room (PL 92; 1824-30), G&rard, Coronation of Charles X. at
Rheims (1825).
The adjoining staircase (PL 94) ascends to the Sbcokd Floor (adm.,
p. 366), styled the Attique du Nord, where we notice, on the right,
four rooms arranged in 1900. The paintings here, from the 16th cent, to
the time of Lonis XIII. (17th cent.), are interesting historically. 1st Room
(PI. 163; above No. 93). Left, 3051. Madonna, St. Michael, and Joan of
Arc; Hunting at the court of Jean sans Penr; left, 3221. Anne de Mont-
morency; between the windows (central pillar), 316A. Rabelais; 3183.
L. Cranach, Luther (1644; inscrh»tion later). Exit-side, 3282. Henri IV.
at the age of four; A. Michieli^ Reception of Henri III. at the Lido; in
the centre. Statue of Henri IV., in bronze. — 2nd Room (154). Portraits,
including Henri IV. and Marie de M^dicis ; 3280. Charles of Cond^ and his
son; 3418. The Croatian general Isolani. — 3rd Room (165). 1680. Bnst of
Emp. Charles V. ; 3198. Don Carlos ; 3196. Philip II. ; 8847. Maurice of
Nassau; 3852. Oldenbameveldt; 3340. Isabella of Austria, Governor of the
Netherlands ; 3337. Margaret of Austria, Queen of Spain ; 3199 (left), Mar-
garet of Austria, Empress of Germany (1628-1608), a fine portrait by J.
Pantoja de la Cniz.—Ath Room (166). Louis XIII.; Marie de MMicis (by
Pourbus); Anne of Austria; on the right, Marie, Duchess of Chevreuse
(1600-79); Thomas of Savoy, Prince of Carignano (1597-1656), by Van Dyck.
— The other rooms (157-162) contain portraits by Mignard^ Bigaud, Ph.
de Ohampaigne (one of Richelieu), Vouetj etc.
On the landing of the above-mentioned staircase (PI. 94) is a
statue of Joan of Arc, by Marie d'OrUans, daughter of Louis
Philippe (1837).— At the end of the Galerie de Sculpture (p. 365),
on the left, is the Salle du S6nat, formerly Louis XV. 's opera-
house (p. 362), which a custodian shows on application (fee).
arid Mu%ie. VERSAILLES. «»• Bmie. 365
The Gulerie de Sculpture (PL 96), parallel to Rooms 84-93, con-
tains old scalptures from churches, by Fr. Anguier and Le Hongre,
and later works by Seurre, Vcdois, Dehay, Etex, Jaley, Foyatier,
Raggi, Nanteuil, and Dvseigneur. In the centre, on the left, are
several works by Pradier, notably the monument of Duke Fer-
dinand of Orleans (p. 233), with scenes from the sieges of Antwerp
and Constantino. — We pass through the second door on the left
into the —
^Salles des Tableaux d'Histoire Contemporaine (PI. 98-104),
where the paintings from the reigns of Louis Philippe and Napo-
leon III. comprise some interesting portraits. — Room I (PI. 98).
Right, G&rdme, Napoleon III. receiving Siamese ambassadors at
Fontainebleau (1861); left, MuUer, Opening of the Chambers
(1852).— Room II (PI. 99). Right, Yvon, Retreat from Russia,
with Ney in the rear-guard (1812). Left, Gusta/oe Dori, Battle of
Inkerman (1854). — Room III (PI. 104; entered by a short passage
on the right). Left, Horace Vemety *Taking 6f the Smalah of
Abd-el-Kader by the Due d*Aumale in 1843, a superb picture 70 ft.
long and 16 ft. high, with numerous portraits, to which there is a
key below.
The 'Smalah' of Abd-el-Kader, inclading his camp, his itinerant
residence, his court, harem, and treasury, and upwards of 20,000 persons,
was taken by surprise by the Due d'Aumale at the head of two cavalry-
regiments. Booty of enormous value and 5000 prisoners were the prizes
acauired so easily. Abd-el-Kader himself was absent at the time. 'The
suaden irruption of the troops is rendered with the vivacity of compo-
sition and of touch which is so characteristic of M. Horace Vernet. These
files of horses facing us are a marvel of boldness. Women and children
half smothered under the overthrown tents, the terrified troops beginning
to retreat, the tame gazelles that seem to leap out of the canvas, the
Jew rescuing his purse, the imbecile negress playing with a slice of
melon, the wives of the emir whom the negroes are trying to hoist upon
the dromedaries, the combats here and there between the French troops
and the Arabs, all present a most striking and lifelike scene, while the
interstices are filled up with a thousand accessories derived from the
scattered treasures of a smalah.' (Th. Gautier.)
At the end, H. Vernet, Battle of Isly (1844), in which Marshal
Bugeaud defeated Abd-el-Kader. — In the passage between the 3rd
and 4th Rooms: Napoleon III. restoring his liberty to Abd-el-
Kader at the Chateau of Amboise (1852), a relief by Carpeaux.
— Room IV (PI. 103). Horace Vemet, Siege and capture of Con-
stantine (1837; three paintings). Battles in Mexico (1838-40),
Siege of the citadel of Antwerp (1832).— Room V (PI. 102). Paint-
ings of the Crimean (1854-56) and Italian (1859) campaigns; among
them (right) Yvon, Capture of the Malakoff (1865) ; Pils, Battle
of the Alma (1854) ; Yvon, Battle of Solferino (1859). Topographical
paintings by Durand-Brager. Busts of marshals and generals of
the Second Empire. — Room VI (PI. 101). Couder, Oath taken in
the Jeu de Paume (1789).— Room VII (PL 100). Viruikon, Enrol-
ment of volunteers in 1792; C. L. Miiller, Roll-call of the last
23*
366 Bomteas. YEBSAILLBS. JPtOaee
Tietims of the Beign of Terror (1794; seated n the middle is Andr6
Ch^er, the poet>.
We retain to the Yestibule de U Chmpelle (p. 364) and cross it.
Main Edifice. — Fibst Yuoom. The roral apartments have
lost their orig:inal famltare and pictures, bat the waUs. the ceilings,
the gilded stacco. the panelling, etc., still conTev a good idea of the
elaborate ^ Louis Qaatorze' decoration, in which the son-disc, the
emblem of the *Roi Soleil', constantly recurs. In 1906-08 the snperb
Gobelins representing the 'Histoire dn Roi', after ie Brun and
Van der Jleulen, were hong here (see below and p. 369). On the
other walls arc battle-pieces by Van der Metd^n, Parrocelj etc.,
and portraits. We first enter the —
Salon d'Hercnle (PL 105). The Apotheosis of Hercules on
the ccUing (60 by 56 ft), by Fr. Lt Motpte, includes 142 figures.
Miffnard, Louis AlV. on horseback. The frame of the Passage of
the Rhine, after Lt Brun, originally belonged to Veronese's Banquet
of Simon the Pharisee, now in the Louvre (p. 123, No. 1193).
The following rooms are the *Qrands Appartements du Hoi
(PL 106-111). The first, the Salon de I'Abondanoe (PL 106), has
a ceiling-painting (Abundance) by Houasse.
Booms 137^ 138, on the left, contain water-«oloQT drawings from the
campaigns in the Netherlands (1745-46). — In Boom 139: G. Bertrandy
Obsequies of President Camot; A. Moroty Battle of Beichshofen (1870);
A. de NettriJU. Battle of Champigny, fragment of a panorama ; model of
the statae of Bailly by B. de Saint-Marceamx (p. 360).
Salon de Venns (PL 107). Ceiling-painting by Howissey Venus
subduing all the deities; statue of Louis XIY. by J, Warin. — Salle
de Diane ^L 108; Billiard Room). Ceiling by Blanchard, Diana
as the goddess of hunting and narigation; on the yaulting, paint-
ings by Audrcm, De Lafasse, and Sctrrazin; busts of Louis XIV.
by Bfrniniy of Colbert and the Grand Dauphin by CoyzewKt, etc. —
Salon de Mars (PL 109; Ball and Concert Room). Ceiling by
Audran (Mars in a chariot drawn by wolves), Houasse (Horrors
of war), and Jouvenet (Benefits of war); door-panels by /S. Vouet.
Two tapestries (see above) : Sieges of Dole and Dunkirk. On the
left, an epergne made in 1770 for Marie Antoinette. — Salon de
Mercore (PL 110; Bedchamber). Ceiling by J. B. de Champttigne,
Mercury in a chariot drawn by two cocks. Three tapestries (see
above) : Sieges of Toumai and Donai, Victory of Turenne over the
Spanish at Bruges (1667). — Salon d'ApoUon (PL 111; Throne
Boom). Ceiling by Ch. de La fosse: Apollo in a quadriga, attended
by the Seasons. Three tapestries (see above) : Count Fuentes doing
homage to Louis XIV. in the name of the King of Spain, Meeting
of Louis XIV. and Philip IV. of Spain (in the retinue of Louis are
Masarin, CJonti, and Turenne, in that of Philip is Velazques), Wed-
ding of Louis XIV. and Maria Theresa of Austria.
and Mu84e. VERSAILLES. ««• Route. 367
The *Salon de la Ghierre (PL 112), together with the Galerie
des Glaces and Salon de la Paix, occupies the W. side of the central
block. Ceiling by Le Brun: in the cupola, France, armed with
thunderbolts and a shield with a portrait of Louis XIY. ; in the
spandrels, Bellona, and Germany, Spain, and Holland terrified. The
walls are lined with coloured marbles and adorned with gilded
bronze medallions. On the entrance- wall, to the left, is a relief in
stucco of Louis XrV. on horseback, by Coyzevox. Six porphyry
busts of Roman emperors.
The **Galerie des Glaces (PI. 113), 79 by 11 yds., and 43 ft.
high, was decorated in the most lavish style by Ch. Le Brun
(1679-84) and other famous artists of the day. Opposite the seven-
teen large arched windows, which afford a splendid view of the
gardens, are as many niches containing bevelled mirrors in the
Venetian style, framed with decorations by Cuccij and once con-
sidered priceless. The capitals of the pilasters separating the win-
dows from the arcades are of the 'French order' invented hyLeBrun.
We note also the superb trophies in gilded copper, chased by La-
doireau the goldsmith. The paintings on the vaulting are superb
compositions, of admirable colouring, by Le Brun. The large
central painting depicts the king as supreme ruler ('le Roi gouveme
par lui-mgme'), with Mercury proclaiming this to the world. Next
the garden, 'Faste (pomp) des puissances voisines de la France' (Ger-
many, Holland, and Spain). Eight large circular and semicircular
paintings and eighteen small ones, ranged round the central picture,
trace the history of Louis XIV. down to the Peace of Nymwegen
(1678). The small pictures relate to events of 1660-70. The large
paintings, beginning from the Salon de la Guerre, are: above the
door, Alliance of Holland with Germany and Spain (1672) ; on the
ceiling. Passage of the Rhine (1672) and Capture of Maastricht
(1673) ; on the right. Land and naval armaments; on the left, Louis
ordering the attack of four fortresses in Holland (council of war
with the Duke of Orleans, Cond6, and Turenne) ; beyond the central
painting, on the right, Louis resolves to chastise the Dutch (1671);
left, Franche-Comt6 conquered for the second time, Capture of Ghent
and Vain efforts of the Spaniards (1678) ; above the door of the
next room, Holland severing her alliance with Germany and Spain
and accepting peace (of Nymwegen; 1678). These compositions,
with their blend of allegories and historical portraits, recall the
large pictures by Rubens in the Louvre (p. 134). Everything in this
hall, including tables and other articles of furniture, was of solid
silver. — King William of Prussia was proclaimed German Em-
peror here on 18th Jan., 1871.
Corresponding with the Salon de la Guerre is the Salon de la
Paix (p. 368), to the S. of the Galerie des Glaces. It leads into
368 Route 23. VERSAILLEa Solace
the Apparteroents de la Reine (see below). — But we first enter, by
the nearest door in the Salon de la Guerre, the —
Salle du Oonseil (PL 125), originally two rooms, used by
Louis XIV. as a study and a Vig-room'. These were united in 1753,
when the present decorations were executed hj A, Rousseau. Curious
time-piece byMorand (1706).
The Cabinets Intdrieurs de Louis XV et de Louis XVT, or
Fetits Appartexnents du Boi (PI. 126-lSO), to the left^ are shown by
a custodian (fee). The original decorations by Verberckt still remain, but
little of the old furniture except the clocks. The first room (PI. 126) was
the Bedchamber of Louis XV. j in which he died in 1774. It contains
three G-obelins tapestries from the 'Bon Quixote' series (1760 and 1752):
Ball at Don Antonio's house, The puppet-show, and Dorothea disguised
as a shepherd. — The Salon du Conseil des MinistreSf or Cabinet des
Pendules (PI. 127), contains a meridian of Louis XVI.'s time, a plan of
Versailles in mosaic, a fine clock by Caffieri (1749), and, above the doors,
paintings by Boucher. — Om the left, the Cabinet des Chasses (PI. 128),
with tapestry from the Don Quixote series. Adjacent is the SaUe
a Manger de Louis XV (PI. 129), in which are eight Sevres porcelain
♦Plaques, from the 'Chasses de Louis XVI' series (1779-81), after OudrUf
and locksmiths' tools used by Louis XVI. (comp. p. 287 ; Room XXVIII,
Case 10).
The *Bedroom of Louis XTV. (PI. 124) was refurnished under
Louis Philippe. The only paintings which have survived since the
time of Louis XIV. are those of the Evangelists, by Valentin. The
chimney-pieces date from Louis XV. The bed, dating only from
the time of Louis Philippe, is enclosed by a superb railing. The
gilded figures of the 'Renomm^es' and 'France' are by N. Cotistou.
— We now enter the —
Salle de I'CEil-de-Boeuf (PI. 123), so called from its oval
window, where the courtiers awaited the lever of the king, and once
the scene of many intrigues. The rich frieze of Cupids, in gilded
stucco, is by Flameny Van Cleve^ and others. A painting by Nocret
depicts Louis XIV. and his family with the attributes of pagan deities.
Adjoining the Salle de I'CEil-de-Bceuf are the Antiohambre
(PL 121), where the king sometimes dined, and the Salle des
Gardes du Boi (PI. 120), containing pictures of battles and views
of Versailles in 1688.
The Salon de la Faix (PI. 114), following the Ghilerie des
Glaces (p. 367), also has ceiling-paintings by Le Brun: enthroned
in the centre is France, attended by Abundance and other alle-
gorical figures; on the spandrels, Spain, France, Holland, and Grer-
many at peace. On the exit-wall : Fr. Le Moyne, Louis XV. brings
Peace to Europe. Six porphyry busts of Roman emperors. — Next
come the —
Grands Appartements de la Beine (PL 115-117), the decora-
tions of which are finer than the pictures. The Chambre de la
Heine (PI. 115), wh^re Queens Maria Theresa (d. 1683), Marie
Lesczinska (d. 1768), and Marie Antoinette (1770-89) have slept,
has a ceiling by Fr. Boucher (1734). Portraits of Marie Antoi-
a'ndMu84e. VERSAILLES. 28. Route. 369
nette, by Mme. Vig4e-Lehrun^ and Marie Lesczinska, after Nattier.
On the walls are three Gobelins tapestries, after J. Fr. de Troy
(1742-51): Esther's swoon, Coronation of Esther, Ahasnerus order-
ing Haman to be put to death.
The Cabinets de Marie- Antoinette (PI. 122; apply to attendant;
fee) are entered from this room. These surprisingly small rooms are, like
those of the king (p. 368), tastefully decorated. They consist of boudoir,
library (containing a chest for the Dauphin's clothes, presented by the
city of Paris in 1782), and salon, or drawing-room, with a bust of Marie
Antoinette by Pajou. The exit leads into the Salle des Gardes de la
Reine (PI. 118; see below).
The Salon de la Beine (PL 116), or Salon des Nobles y where
the queen held her great receptions, has a ceiling-painting by
Michel ComeiUe: Mercury protecting Science and Art. Three
tapestries from the 'Histoire du Boi' (p. 366) : Renewal of the Swiss
alliance (on the left); Visit of Louis XIV. to the Gobelins factory;
Coronation of Louis XIV. at Rheims. ^- The adjoining Salon du
Grand Convert, or Antichambre de la Reine (PL 117), has a fine
ceiling, after Le Brun: Darius*s family at the feet of Alexander.
Four tapestries from the *Histoire du Roi' (p. 366) : Louis XIV.
receiving the ambassadors of Pope Alexander VII. atFontainebleau;
Capture of Lille ; Capitulation of Marsal in Lorraine ; Spanish am-
bassadors at Fontainebleau.
The Salle des G-ardes de la Beine (PI. 118) was invaded by
the mob on 6th Oct., 1789, when three guards sacrificed themselves
to save the queen. It contains busts of Louis XVI. and Marie An-
toinette; a fine portrait of the Duchess of Burgundy, by Santerre;
on a table in front. Winter, a painting by Girardon. Ceiling-paint-
ings by No'd Coy pel: Jupiter attended by Justice and Peace, Ptol-
emy Philadelphus, Alexander Severus, Trajan, and Solon. — Doors
in this room and the next lead to the Escalier de Marbre (p. 371).
G-rande Salle 'des Q-ardes (PI. 140). On Maundy Thursday,
in this room, the king used to perform the ceremony of washing
the feet of thirteen poor children, in presence of the clergy. Here,
too, the National Guard, under Lafayette, took the oath of fidelity
to Louis XVI. on 6th. Oct., 1789. Ceiling-painting by Collet: The
18th Brumaire (p. xxi). Pictures: left. Roll, Centenary of the
States-General at the Bassin de Neptune (p. 378) in 1889; right,
David, Napoleon distributing Eagles in 1804; Gros, Battle of
Aboukir (1799). In the centre. Last moments of Napoleon L, by
F. Vela, in white marble (1866).
The door to the right in tbe Grande Salle des Gardes leads to Booms
144 & 146 (p. 870), by which the S. wing is reached. The door to the left
leads to the —
Appartements de Madame de Maintenon (PI. 148-141), r^ar^
ranged in 1905. Gbahd Cabutbt (PI. 143). Portraits: Mignard^ Duchess of
Maine; Rigaudf Ph. de Courcillo^ Marquis de Dangeau (d. 1720), author
of memoirs of the court of Louis XlV. : also Boileau (1636-1711), and Eliza-
beth Charlotte, Duchess of Orleans; Scenes from the life of Louis XIV.,
370 RouU28. VERSAILLES. Palace
by L, de Silvestre and A. Coypel; Ferd, EUe (above the chimney-piece).
Fine portrait of Mme. de Maiutenon; Vivietif F^nelon (1651-1715) and Le-
moyne, the sculptor. — In the following passive : Portr. of Mme. de Main-
tenon, as St. Francesca Romana, after migtiard. — Pxtit Salou (PI. 142).
To the left, Louis XIV. at Fontainebleau and at Vincennes by Vem der
Meulen. Portraits: CI. Lefehwcy J. B. Martin (d. 1735), known as 'Martin
des Batailles' from having painted several of the victories of Louis XIY.
for Versailles (comp. p. 374); Le Brun, Turenne; Mignard, Count of Tou-
louse, as a child; J. ifocrety Duchesse de LaValliere (1644-1710), favourite
of Louis XIV. — Grand Salon (PI. 141). Among the portraits: vl. Lefebvre
(1666), J. B. Colbert, the financier; Ph. Lallemant (1672), CI. Perrault,
inspector-general of the royal buildings; fi'ai/t<--4ndr^ (1670), Louis XIV. ;
S* Bourdon^ Fouquet, the superintendent of finance; (Jl. Lefebvre^ Cou-
perin, the composer. — We return to the Grand Cabinet (PI. 14S) and enter
the following rooms.
Booms 144 & 145 (corap. p. 369). In the first (PI. 144) are
portraits of artists: right to left, Rigattd, J. B. Keller, bronze-
founder; Allou, Coyzevox, the sculptor; Migaud, P. Mignard, the
court painter; J. Fr. de Troy, J. Hardouin-Mansart, the architect;
LargiUi&re,J. Thierry, the sculptor, and Portr. of himself; Carlo
Maratta, Andr6 Le JNStre; P. Mignard, Philip of France, Dnke
of Anjou, and Ed. Colbert, superintendent of the royal buildings;
Rigavd, Desjardins, the sculptor. — In the second (PI. 145) are
portraits of celebrated soldiers, represented according to the rank
they held in 1792. Also, -a magnificent column in Sevres porcelain,
presented by the city of Paris to Napoleon I., on the occasion of
his marriage with Marie Louise (1810).
We cross the landing of the Escalier des Princes (PI. 147),
with a statue of Napoleon I., by Oartellier, and a marble group of
the Three Graces, by Pradier, and enter the —
South Wing. — First Floor. Continuation of the Mns^e
Historique. — We begin at the —
♦Ghderie des Batailles (PL 148), a superb hall, 131 by 14 yds.,
divided into two parts by columns. It contains 34 admirable
modern pictures and busts of 50 famous warriors who have fallen
in battle, while the names of others are inscribed on tablets.
The pictures include : left, G. Bertrand, Patrie (1870-71) ; Steu-
ben, Battle of Tours (732) ; Ary Scheffer, Submission of the Saxon
Duke Wittekind to Charlemagne (785) ; Schnetz, Count Eudes de-
fending Paris against the Normans (885-886); H. Vemet, Battle
of Bouvines (1214) ; E. Delacroix, *Battle of Taillebourg (against
the English, 1242); G^ord, Entry of Henri IV. into Paris (1594).
— On the other side, as we return, past the entrance to the Salle
de 1830 (p. 371): H. Vemet, Battle of Fontenoy (1745; painted
in 1828); Couder, Siege of Yorktown in America, conducted by
Generals Rochambeau and Washington (1781); beyond the three
windows, PhUippoteaux, Battle of Rivoli (1797); Bouchot, Battle
of Zurich (against the Russians, 1799); Gerard, Battle of Auster-
litz (1805) ; H. Vernet, Battles of Jena (1806), Friedland (1807),
and Mu84e. VERSAILLES. »5. EouU. Sll
and "Wagram (1809). — This gallery is sometimes used for exhibi-
tions of tapestry.
The following Salle de 1830 (PI. 149), at the S. end of the gal-
lery, is devoted to Loais Philippe's accession to the throne and other
subjects. To the left, H. GervtXy President Carnot distributing prizes
after the Exhibition of 1889. Opposite, Gerard^ Proclamation of Louis
Philippe at the Hotel de Ville; Courts The king distributing colours to
the National Guard. To the left. Boll, Halt!
Parallel with the Galerie des Batailles is a Sculpture G-allery
(PI. 150), containing statues and busts of eminent persons of the 17th
and 18th cent, by modern artists. It is open only on the Sundays on
which the (S^randes Eaux play (p. 355).
Having regained the Escalier des Princes (PI. 147; p. 370), we
may either descend to the ground-floor, or, to inspect the Second
Floor y we may return to the Grande Salle des Gardes (PI. 140;
p. 369), cross it diagonally, and so reach the Escalier de Marbre
(PL 119; descending to the Vestibule de Marbre, p. 373). We then
ascend the Escalier de la Heine on the right to the Attique Chimay
and the Attique du Midi.
SscoiiD Floor. — Attique Ghimay (mostly portraits), entered by the
second door opposite the Escalier de la Beine. — Room I (174; Musce de
la Revolution). Hubert Mobert, FSte of the Federation Nationale (p. 829) ;
Gro8f Portrait of himself; Sch. of Qreuze, Barr^re; two portraits of
Robespierre; Heinsius, Mme. Roland; Kucfiarsfci, Marie Antoinette at
the Temple (p. 208) ; Hauer, Charlotte Oorday (the only coloured portrait
known). David, Marat assassinated, and Marat wounded (study, signed,
14th July, 1793; comp. p. xlyii). Busts of Mirabeau and Lafayette, by
Houdon, and of Louis XVII., by Deseine (1790). — Room II (176; Revo-
lution and First Empire). On each side of the entrance, portraits by
Vincent, J, B. BegnatUt, Danloux, and others. Then, on the right, Clros,
^Bonaparte at the bridge of Arcole (1796); Corbet, Bust of Bonaparte as
First Consul; Vemet, Battle of Arcole (1796). By the windows, small
pictures representing scenes from the life of Bonaparte. On the left,
Davidj ^Bonaparte crossing the St. Bernard; sketches by Gerard; Mme.
E. Morin, Mme. Recamier (1799). — Room III (177; right). Pictures relat-
ing to the campaigns of Napoleon I., by General Lejeune. — Room IV (178).
Portraits of the Bonaparte tamily, by Gros, Gerard (at the end, Napoleon I.
in his coronation robes), Lefebvre, and others ; busts by Houdon, C'artd-
lier, Bartolini, and others. — Then follows a series of six cabinets. Cab.
1 & 2 (on the right; 179 & 180): Portraits of the Bonaparte family, by
Louis Duds, Girodet-Trioson, and Lefebvre. — Cab. 3 (181) and adjoining
cabinets : *Portraits of celebrities under the Empire, sketches by Gerard.
— Cab. 4 (182): Tardieu, Napoleon and the Queen of Prussia at Tilsit.
— Cab. 6 (183): Isabey, First consul, Napoleon and Josephine at the fac-
tory at Jouy (1806); David, Pius VII.; Oanova, Bust of Pius VII.—
Cab. 6 (184): Dutertre, Portraits of the generals of the Egyptian army
(drawings; 1799). — We return to Room II, ascend the steps on the left,
and follow a corridor to the —
Attique du Midi, containing paintings of the First Empire and
Restoration. — Room I (171). On the left, Benvefnuti, Marie Anne Elisa
Bonaparte surrounded by Florentine artists (1813). Side-wall, E. B. Gar-
nier, Imperial procession entering the Jardin des Tuileries on the Em-
peror's wedding-day, 2nd April, 1810; Gros, Claude Victor Perrin, Duke
of Belluna. On the other wall, Gros, *Napoleon presenting decorations to
the artists of the Salon of 1808 (large sketch). — Room II (170). Portr. of
dignitaries of the Empire, by Meynier, Pajou, Lefebvre, and others. Be-
tween the windows: K. Lefebvre, Napoleon I.; P. Guirin (after Gerard),
Marie Louise. Bust of Napoleon by Bosto. — Room III (169). PortraitF
372 Bouteaa. VERSAILLES. Palace
and scenes from the Restoration period. — Room IV (168). H, Vemet,
Louis Philippe leavine for the Hotel de Ville (1880) ; Beaum€ and 3fo«in,
Capture of the H6tel de Ville (1880). — Gamsrib (illustrating 1880-46):
Heim, The Duke of Orleans receives the Chamber of Deputies and the
Senate at the Palais-Royal (1830) ; Winterhalter. Portr. of members of the
Orleans family; Ingres^ Ferdinand Philippe, Duke of Orleans. On the
left, as we return : Portraits of marshals of France ; busts of the Due de
Nemours, by ChaponnUre (1882), and of the Due d'Aumale, by Mercier
(1887); E. Lami, Attempt of Fieschi (1835). — Room V. Portraits by Wintei'-
Tudter and others; paintings commemorating the exchange of visits be-
tween Louis Philippe and the youthful Queen Victoria (1842-44), by E. Lami,
Marilhatf etc. — Room VI (from 1840 to Second Empire). Isab^, ♦Embark-
ing the remains of Napoleon I. at St. Helena (1840); Ghiiavdy Transferring
the remains of Napoleon (15th Dec, 1840); portraits of ecclesiastics, pol-
iticians, artists, and authors; H. FlandHiij Napoleon III.; Carpeattx,
Busts of the Prince Imperial and Napoleon III. ; portraits of members of
the imperial family; at the end, Merci6, Bust of Gambetta; left, as we
retnrn, J. L. G^rdmet Reception of the Siamese ambassadors at Fontaine-
bleau iu 1861; Daumier, Portr. of Berlioz.
As we descend from the 2nd floor we turn to the left and regain the
Escalier des Princes (PI. 147; p. 870), which leads to the Oalerie des
Batailles on the ground-floor.
South Wing. — Ground Floor. The Galerie de la B^pu-
blique et du Premier Empire (PI. 67-80; adm., see p. 356) con-
tains paintings illustrating the wars of 1796-1810, arranged in
chronological order. They need not detain us long.
Room 1 (PI. 67 ; 1796). On the right, Ch. TMvenin, Augereau at the
bridge of Arcole. — Boom 2 (PI. 68; 1796-97). Lethih'e, Preliminaries of
the Peace of Leoben (1797). — Room 8 (PI. 69; 1798). Qirodet-Trioson,
Insurrection at Oairo; ChK^Hn., Bonaparte reprieves the insurgents at Gairo.
— Room 4 (PI. 70; 1802-04). Gro8, Bonaparte at the bridge of Lodi (1796).
— Room 6 (PI. 71; 1804). Sirangdi, Napoleon at the Louvre after his
coronation, receiWng deputations from the army. — Room 6 (PI. 72; 1806).
First campaign of the Grande-Arm^e. — Room 7 (PI. 78), now used as the
antechamber of the Chambre des Deputes (p. 878). Busts of Lafayette
and Franklin by Houdon, and a copy of the statue of Washington exe-
cuted by Houdon in 1786 for the Capitol at Richmond, presented by the
State of Virginia. — Room 8 (PI. 74; 1806). Ch. Meunier, Marshal Key
restoring to the 76th regiment of foot its colours found in the arsenid
at Innsbruck; Debret, Napoleon salutes a wa^on containing wounded
Austrians in Italy. — Room 9 (PI. 75; 1806). Oirodet-Trioson, Napoleon
receiving the keys of Vienna; Grog, Interview of Napoleon with the Em-
peror Francis II. of Austria after the battle of Austerlitz. — Room 10
(PI. 76; 1806-07). Meynier, The French army entering Berlin (27th Oct..
1806); Mauzaisse (after Gros, p. 148, No. 889), Napoleon at the battle or
Eylau (1807); BerthoUj Napoleon receiving the deputies of the senate in
the palace at Berlin (1806). — Room 11 (PI. 77; 1807). Gosse, Interview of
Napoleon with the Queen of Prussia, at Tilsit ; Debret, Napoleon presenting
a decoration to a soldier of the Russian army. — Room 12 (PI. 78; 1807-08).
C. Vernetf Napoleon at Madrid (180S) ; Reanaultj Marriage of Prince Jerome
Bonaparte witn the Princess Catharine of Wurtemberg (1807) ; Gros, Oapit-
nlation of Madrid (1808). — Room 18 (PI. 79; 1809-10). Debret, Napoleon
addressing his German troops before the battle of Abensberg (1809):
Bouget, Marriage of Napoleon with the Archduchess Marie Louise of
Austria (1810); Bourgeois, Death of Marshal Lannes at Esslingen (1809).
— Room 14 (PI. 80). Ch. TMvenin, The French army crossing the St.
Bernard (1800); F. Seurre, Napoleon I. (bronze); Bartolini, Napoleon I.
(marble). — At the end are the apartments of the President of the Chamber.
We return by the Galerie de Pierre (PI. 81), which chiefly contains
Statues and Busts of celebrities from the 18th cent, to the present day,
and Mu86e. VEBSAILLES. ««• Route. 373
including a statue of Thiers^ the last work of QuiUaume (1903). — To
the right of this gallerv is the former Ohambrb dss D^pdtAs, constructed
in 1876, and still used for the Congress or National Assembly, i.e. the
joint meeting of the Senate and the Ohamber of Deputies to elect the
presidents of the Third Republic, of which the first was M. Thiers (16th
Feb., 1871). It may be visited on application to a custodian (fee; en-
trance in the Cour des Princes, see below).
Main Edifice. — -Ground Flcm)r. We enter from the Cour
des Princes (see Plan). Passing through an antechamber (PI, 39),
we reach the large Vestibule de Marbre (PI. 38), which faces the
Cour Koyale ; the £scalier de Marbre leads to the royal apartments
on the first floor (p. 369), while the apartments of the Dauphin
(eldest son of the king) open off it on the ground-floor.
The ^Appartements du Dauphin (PL 42-50), destined for the
son (d. I7II) of Louis XIV., were afterwards restored for the son
(d. 1766) of Louis XV., and again altered in the 19th century. The
original decorations (Louis XV. style) have, however, been partly
preserved. Some of the best 18th cent, portraits are hung here.
Room I (PI. 42). To the left : SaTderre, Philip of Orleans, the regent ;
HanCy Louis XV. as a child ; J. B. Leinoyne, Bust of Philip of
Orleans; Rigaud, Alexander of Bourbon (Count of Toulouse; son
of Louis XIV. and the Marquise de Montespan), Louis XV. as a
child (1715); LargiUUre, Portr. of Vauban (p. 319) and B^rulle;
Rigaud, Philip of Orleans. — Room II (PI. 43). A. S. Belle, Maria
Anna Victoria, Infanta of Spain, Queen Marie Lesczinska; Gal-
loche, Fontenelle; J. B. Vanloo and Ch. Parrocel, Louis XV.
on horseback; J. B. Vanloo , Marie Lesczinska; P. D. Martin^
Coronation of Louis XV. at Rheims (1722); F. de Troy, Belle,
the painter (1674-1734); Belle, *Mlle. de Bethisy and her brother.-
—Room III (PL 44). L. M. Vanloo, Family of Philip V.; Belle,
Marie Lesczinska and the Dauphin (1730); Ra^vx, Mme. Boucher;
Parrocel, Arrival of the Turkish ambassador Mehemed Effendi
at the Tuileries in 1721; Aved, Said Pasha, Turkish ambassador
(1742); Largilli^e, Le Pelletier; Rigaud, *Louis XV. (1730),
Morat, Conseiller d'Etat; NaUier, Portr. of the artist and his family.
—Room IV (PL 45). Panini, Paris from the Pont-Royal (ca. 1732) ;
BeUe, Marquis of Castelmoron; Aved, J. B. Rousseau, the poet
(1738) ; Tocqu^, Marquis of Matignon ; on the chimney-piece, bust in
terracotta of J. B. Rousseau, by Caffieri; Tocqu6, Gresset (1709-77),
the poet (1750) ; L. M. Vanloo, C. Vanloo and his family (1757). —
RoomV (PL 46). NaUier, Princesse de Turenne, Princess Adelaide,
Mme. de Pompadour, Maria Josepha of Saxony (second wife of the
Dauphin and mother of Louis XVI.) ; Tocqui, Marquis of Marigny,
Toomehem, superintendent of the royal buildings ; Roslin, Boucher,
the painter, and Cochin, the draughtsman; NaUier, *Marie Les-
czinska (1748). — Room VI (PL 47; the former library, regilded).
At the end, Nivelon, Large portrait of Maria Josepha of Saxony
374 R(mte28. VERSAILLES. Palace.
(1764). —Room VII (Salon des Nattier ; PI. 48). Nattier, *Portraits
of the daughters of Louis XV. Busts of Voltaire and Diderot, by
Hoiuion, of Fontenelle, by Le Moyne, and of B'Alembert, by
Francin. — Room VIII (PL 49; bedchamber of the Dauphin). On
the right, above the chimney-piece, under glass, fine Gobelins
tapestry (portrait of Louis XV.) ; portraits by * Nattier, Vanloo,
ifrouais, Roslin; Tocque, ^Maria Theresa, infanta of Spain and
first wife of the Dauphin ; Natoire, *The Dauphin, son of Louis XV.
— Room IX (PI. 50). Olivier , Fdtes given by the Prince de Conti;
Drouais, Mme. Elisabeth (see below), Mme. Clotilde, Mme. Sophie,
Louis XV.; Natoire, Maria Josepha of Saxony; Z,. M. Vardoo,
Comte d'Artois (afterwards Charles X.), Due de Berry (afterwards
Louis XVI.), Comte de Provence (afterwards Louis XVIIL).
Galerie Basse (PI. 51), arranged in 1911 to illustrate the battles
of the reign of Louis XV. On the right, C. Vardoo, Louis XV. ; then
six large paintings, the first by J. B. Martin (p. 370), the rest by
P. Leaf ant: Camp at Fuenterrabia (1740), Capture of Meenen
(1744), Siege of Freiburg (1744), Siege of Toumai (1745), Battle of
Fontenoy (1745), Battle of Lawfeld (1747). Statues of Turenne by
Pajou, Cond6 by Roland, Tourville by Houdon, Duke of Luxem-
burg by Mouchy. Between the pillars are busts of Louis XV., by
Gois, and *Louis XVI., by Houdon. At the end, C. Cozette, Louis
XV. on horseback (1763).
At the N. end of the gallery are the Appartements de Mesdames
(PL 52-54), three rooms formerly occupied by the daughters of
Louis XV. and now containing portraits of the period of Louis XVI.
— Room I (PL 52). Duplessis, Comte d'Angiviller; Mme. FiUetd,
Children of Comte d'Artois; Collet, Louis XVI. (1789); H. Robert,
*Gardens of Versailles in 1775 ; medallion of Marie Antoinette from
the atelier ot Pajou (1774); by the windows, two terracotta busts,
by Collet and Houdon. — Room II (PI. 53). Duplessis, Louis XVI. ;
Mme. Labille-Guyard, Mme. Infante or Mme. Elisabeth, the eld-
est daughter of Louis XV. (1788); SchiUy, Due d'Enghien; Mme.
Vigie-Lebrun, Dauphin (son of Louis XVI.) and Mme. Roy ale (his
sister; 1784), *Marie Antoinette and her children, Marie Antoi-
nette; tapestries after Dwcrcwx, Emp. Joseph II. (1741-90), Maria
Theresa (his mother) ; CaUet, Philippe-Egalit^ ; Mme. Vigie-Le-
hrun, *Gr6try, the composer, Marie Antoinette. — Room III (PI. 54),
formerly 'Salon de Mesdames'. Mme. Vigde-Lebrun, Adelaide de
Bourbon, Duchess of Orleans; Mme. LabUle-G^ya/rd, Mme. Vic-
toire, Mme. Adelaide; Boze, Due de Berry; Mme. FiUevl, Due
d*Angoul6me.
We return to the Galerie Basse (PI. 51), cross the Vestibule Iiouis Xirr
(PI. 82), and enter on the right the Booms containing New AoQuisi-
tions. In Room 1 (PI. 33) : iJormon. Reception of the mayors at the Elys^e
in 1900 (in the centre, M. Emile Loubet)j bronze bust of Renan, by L. Bern-
stamm; bronze bust of Gambetta, by CarrUs; TaUegraiUy Presenting *
Gardens. VERSAILLES. 28. RouU. 375
the awards at the Exhibition of 1900; marble busts of Sadi Carnot by
CTiapu, Jules Favre by Barrios, Felix Faure by De Saint-Marceaux, and
Jules Grdvy by GuiUaume; silver statuette of Henri IV., by J5ooto ; portraits
of artists. — In the next room (PI. 84) and others near it are views of royal
residences of the 18th century. — The door in the opposite wall leads to
a room (PL 87) adjoining the Vestibule de Marbre (PI. 88; p. 878). —We
return to the Vestibule Louis XIII and enter —
Room 80: E. Detaille, Funeral of Pasteur (1896), Review at ChUlons
(1896); Boll, Laying the foundation-stone of the Pont Alexandre III (1896;
F61ix Faure in the centre). Room 29: Chartran, Centenary of Victor
Hugo; Thivenot, M. Bl^riot arrives at Dover (27th July, 1909), after
having beeen the first to cross the Channel in an aeroplane; portraits.
— Then come two Salles dbs Tablbaux-Plahs (PI. 28 & 27 ; 1627-1814),
and lastlv three vestibules (PI. 24-22), with statues and busts of soldiers,
models or tombs, etc.
The ^Gkirdens (comp. Plan , p. 358) , behind the Palace of
Versailles, reached from the Cour d*Honneur by crossing the Cour
de la Chapelle or the Cour des Princes, are partly in the same con-
dition as when first laid out in 1667-88 by Le Ndtre, the famous
landscape-gardener. The symmetrical lawns and ponds harmonize
admirably with the architecture of the palace, and must have formed
an excellent setting for the brilliant court of Louis XIV. The number
of sculptures, in marble, bronze, and gilded lead, was enormous.
Nearly 100 sculptors were employed, under the direction of Le
Brun and Mignard, and though many works have been destroyed
we can still form a fair idea of the effect produced. Towards the
end of September, when the stately old trees put on their russet
tints, the scene from the terrace is one of unusual splendour, not
untinged with melancholy, and has inspired poets like Alfred de
Musset and Verlaine. The playing of the fountains attracts great
crowds of spectators.
The *Grandbs Eaux du Pabc (comp. p. 356), the reservoirs and pipes
for which occupy vast cellars in the upper part of the gardens, play
simultaneously from 4.S0 to 5.15 p.m., but those of the Basstn du Dragon
and Baasin de Neptune play alone from 5.30 to 5.45. —Visitors should
follow the itinerary marked by a red line on the Plan, and secure a good
place for the Bassin du Dragon and the Bassin de Neptune, the jets of
which are 75 ft. in height. On the Sun. following 14th July an evening
f^te is held at 9 p.m. at the Bassin de Neptune, with an illumination of
the fountains and fireworks.
On the Terrace in front of the central part of the palace are
bronze copies of antique statues, against the facade, and two large
marble 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 his victories in Flanders.
The two basins in the Parterre d*Eau, in front of the terrace,
are surrounded by fine groups and by statues of river-gods, in bronze,
by Coyzevox, Le Hongre, Regnaudin, Tuby, etc. — On the N. is the
Parterre du Nord (p. 377); on the S., the Parterre du Midi.
Beyond the Parterre du Midi, to the S., two flights of marble
steps, 66 ft. wide, descend to the Orangery, built in 1684-86 by
376 B<mte28. VERSAILLES. Gfardens.
Mansart. On the terrace is a leaden statue of Napoleon I., which
formerly stood on the Arc de Triomphe du Carrousel (p. 66). The
orange-trees (about 1200) are dispersed about the gardens in sum-
mer. One of them is said to date from 1421. Farther on is the large
Piice d'Eau des SuisseSy about 750 yds. long and 260 yds. wide,
which was excavated in 1679-83 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,
to the S., extends the Bois de Satory.
The former Potager du Roy, or vegetable-garden, founded by La
Quintinie (1626-88), the gardener of Lonis XIY., near the Pi^ce des Snisses
on the side next the town, was converted in 1878 into a NationaJ ScTiool
of Horticulture (adm. free).
The steps leading from the Parterre d'Eau to the lower part 6f
the gardens are flanked by two square basins: the Fontaine de
Dianey on the right (N.), and the Fontaine du Point-du-JottTj on
the left (8.) ; they are adorned with bronze groups of animals by
Van Cleve and Houseau, and other sculptures by G. Marsy, Des-
jardins, Magnier, etc.
At the foot of the steps is the large circular Bassin de Latone,
constructed by B. Marsy y consisting of several steps of red marble,
with gilded frogs, lizards, and tortoises spouting water against a
fine group in white marble of Latona (popularly known as the 'Reine
des Grenouilles'), with Apollo and Diana. According to the myth,
Latona having besought Jupiter to chastise the peasants of Lycia
for refusing her a draught of water, the god metamorphosed them
into frogs. Around the basin are statues and hermae.
A little to the W., at the intersection of the main walk and the
first side-path (Allies de I'Automne and de l'Et6), is the 'Point de
vue* (PI. 7), where Louis XIV. used to bring his friends to admire
the facade of the palace and the W. part of the gardens. — Here
begins the Tapis Vert, a long lawn (366 by 70 yds.) leading to
the Bassin d'Apollon (p. 377).
To the S. of the Bassin de Latone is the Salle de Bed or
des Rocailles (PI. 1). Near this, again to the S., is the charming
Bosquet de la Heine (open 1st May -31st Oct., from 10 a.m.),
adorned with statues; here Cardinal de Rohan (p. 193) met the lady
who passed herself off as Marie Antoinette in connection with the
notorious affair of the diamond necklace. The AlUe de Saturne et
de Bacchus, to the N.W., passes the Bassin de VAutomne, with
figures of Bacchus and satyrs by the brothers Marsy, leaves on the
right the Quinconce du Midi, with terminal figures after Poussin
(concerts in summer), and leads to the Bassin de VHiver, with
figures of Saturn and satyrsjby Girardon. Near this, to the S.W.,
are the Bassin du Miroir and the Bosquet du Eoi, with several
statues (open 1st May -31st Oct., from 10 a.m.). Then, a little to
Gardens. VERSAILLES. 28. Route. 377
the N., the SaUe des Marronniers (PI. 2), with statues of Anti-
nous and Meleager and busts after the antique, and the Bosquet de
la Colonnade (PL 3; restored), with a marble colonnade of 32
columns, and, in the centre, the Rape of Proserpine, by Girardon
(1699), after Le Brun.
The Bassin d'ApoUon (127 by 90 yds.), at the W. end of the
Tapis Vert (p. 376), is adorned with a group of the sun-god in his
chariot (*Char Embourb^*), surrounded with tritons and dolphins.
The figures, by Tuby, after Le Brun, are in lead. The various
groups in the park in which Apollo figures (comp. below) were flat-
tering allusions to the *Roi-Soleil' (Louis XIV.). — The cruciform
Grand Canal, about 1 M. long and 68 yds. in width, extends on the
N. to near the Grand-Trianon (on the right; p. 378). Rowing-boats,
50 c. per hour each person. Motor-boats (five persons) : round the
Canal, 3 fr.; to the Trianon, V/^ fr.
To reach the Trianons from the Bassin d'Apollon we follow the
All^e d'ApoIloQ to the right, beyond the railing, as far as the Avenue
de Trianon, where the entrance is sitnated. The other avenues are not
open all the way. — At the S. end of the All^e de la Reine, on the right, op-
posite the 'Petite Venise', is the Beataurant de la Flottille (L. or D. 8 fr.).
On the N. side, or to the left of the Tapis Vert as we return
towards the palace, are the Bosquet des Domes, the Bassin d*Ence-
lade (PI. 4; to the left), where the giant (by B. Marsy), half -buried
beneath Etna, spouts forth a jet of water 75 ft. in height, and (more
to the N.) the Obelisk (PI. 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 the Bassin de Fhre or du Prin-
temps, by Tuby. Farther on (S.E.), to the right of this walk, is the
Quinconce du Nord. The Bassin de VEU, in the same walk,
is adorned with a Geres and Cupids, by Regnaudin. — The Bosquet
des Bains d*ApoUon (PL 5; open 1st May-31st Oct., from 10 a.m.),
to the S.E., the most interesting of all, was remodelled in 1778 after
Hubert Robert. A grotto in it contains a group of Apollo with
nymphs, by Girardon and Regnaudin. The two groups of the Steeds
of Apollo, at the sides, are by Guerin and the brothers Marsy.
We now return to the Parterre du Nord (p. 375), which is
adorned with copies of antique bronzes and allegorical statues
(Four quarters of the globe. Seasons, etc.). In the centre is the
Fontaine de la Pyramide, by Girardon.
Beyond the Parterre du Nord, to the N., is another sloping
flower-bed, at the beginning of which is the Baih of Diana, a square
basin, with lead-reliefs by Girardon ; adjacent are statues of The
Choleric, by Houzeau, and The Sanguine (flute-playing faun), by
Jouvenet. Then the AlUe d*Eau, or des Marmousets, consisting of
22 graceful groups of children and young satyrs supporting basins,
whence the water descends into the Bassin du Dragon (with dragon,
swans, and dolphins by the brothers Marsy, restored in 1890 by
378 Route »8. VERSAILLES. Grcmd-Trianan,
Tony-No6l), and thence to the *Bas8in de Neptune, the largest in the
grounds ; these two fountains play alone, after the others (see p. 375).
The latter was completed in 1684, but the sculptures date only
from Louis XY. : in the middle, Neptune and Amphitrite, by L. S.
Adam (1740) ; on the right, Proteus guarding the flocks of Neptune,
by Bouchardon; the Ocean, by J. B. Lemoyne; at each end is a
dragon bearing a Cupid, by Girardon, etc.
Near the Bassin de Neptune, on the same side as the palace, is the
Bosquet de VArc-de-Triomphe (PI. 6; open from 10 a.m., Ist May-Slst Oct.),
with a statue of France between Spain and Germany, by Coyzevox and
Tuby. The other statues have been brought hither from 'bosquets* which
are now dismantled.
To the E. of the Bassin de Neptune is an exit into the Rue des
Reservoirs (tramway to the railway stations, see p. 368); to the
W. is an exit into the Avenue de Trianon.
The Avenue de Trianon is the principal approach to the park
and the Chateaux de Trianon, which adjoin the park of Versailles
on the N., ^4 M. from the palace and l^s M. from the station of
the Rive Droite. Tramway, see p. 358.
The Grand-Trianon, a handsome villa of one story, was
erected by Louis XIV. for Mme. de Maintenon in 1687-88, from
plans by J. Hardouin-Mansart. It occupies the site of the hamlet
of Trianon, purchased in 1663 by the king, who was fond of coming
here with a few intimate friends, in order to escape from the
restraint of court life. The interior is adorned with paintings by
Mignard, Le Brun, Boucher, Rigaud, Vanloo, Coypel, and other
works of art. Entrance in the courtyard, on the left. Admission,
see p. 357; the attendant who acts as guide allows little time for
a close inspection (fee).
The Salon des Glaces contains a table with a top made of a single
glank of oak, over 9 ft. in diameter. The 4th room (Salon de Famille)
as portraits of Louis XV. and Marie Lesczinska, by J. B. VanLoo.
In the 'grand vestibule', in the central part. Marshal Bazaine was tried
and found guilty of treason in 1873, the Due d'Aumale presiding. In
the following room, on the right: Etex, Olympia deserted (marble). Two
rooms farther on we notice, on the chimney-piece, a cameo in Oriental
alabaster (Sacrifice to Pan) ; paintings by Bon BouUogne, N. Coypel, and
others. The handsome malachite vases in the next room were presented
to Napoleon I. by the Tsar Alexander I. Then comes a room with four
pictures by Boucher: Neptune and Amymone, Venus and Vulcan, For-
tune-teller, and Fishing. — The apartments in the wing on the left,
called the Trianon-sotis-Bois, are not shown. — Lastly we pass through
Napoleon I.'s apartments; in the drawing-room is a table of Roman mosaic,
a gift from Pope Pius VII.
The Garden op the Grand-Trianon is open to the public like
the rest of the grounds. We enter it by a door to the right of the
facade, or from the garden of the Petit-Trianon, behind the Salon
de Musique (p. 380), to the left. The little cascade CBuffet de
V Architecture'), in three tiers of red marble, with basins of white
PeHlrTrianon, VERSAILLES. 23. Route. 379
marble and statuettes and ornaments in gilded lead, was designed by
J. Hardouin-Mansart. The Plafond de Mansart, or Le Mlroir, to
the left, with two dragons and four groups of children, is by Hardy.
The G-RARDBS Eaux ds Triaitok, consisting of the above-mentioned
fountains, the Fer-d>-C7ievalj and some smaller fountains, play simulta-
neously from 4 to 5 o'clock on certain Sundays (see p. 857). The red line
on the Plan should be followed.
To the right of the Grand-Trianon is a Musi&b dbs Voiturbs
(adm., see p. 357; fee to the attendant).
It contains eight state-carriages: those used by Napoleon I. at his
coronation, as first consul, and at his second marriage ; *Goronation-carriage
of Charles X., restored by Napoleon III. for the baptism of the Prince
Imperial^ carriage used at the ba|>ti8m of the Comte de Chambord and
the marnage of Napoleon III. ; carriage used at the baptism of the King
of Bome; ambassadors' state -carriage; carriage used by the Tsar and
Tsarina in Paris in 1896. Round the room are gala-harness and historic
sledges: those of Marie Antoinette, with panels by WcUteau; Mme. de
Pompadour's, daintily shaped like a shell; Mme. de Maintenon's, in keep-
ing with her more aust^e tastes, and supported by a tortoise; and Mane
Lesczinska's. Here also are the sedan-chairs of Louis XIV., Louis XVI.)
Marie Antoinette, etc.
The Petit-Trianon, to the N.E. of the other, erected for
Louis XV. in 1766 from the plans of Gabriel, was a favourite
resort of Marie Antoinette at a later date. The Empress Marie
Louise also stayed there sometimes. It is decorated in the Louis XV.
style, with the exception of a few rooms which were altered for
Marie Antoinette. Admission, see p. 357.
Antechamber. Paintings by Natoire. — Dining-room, where Louis XV.
used to give his *petits soupers'. Traces of the trap-door through which
the tables appeared, ready-laid, may still be seen. Paintings by Pater;
Portraits of Louis XVI., by CaUety and Marie Antoinette, by JRoalin.
Pallets danced at Sch5nbrunn by Marie Antoinette when she was still
an archduchess. — Queen's study. The paintings over the door and above
the mirror are by Natoire and L4picU. — Drawing-room. Harpsichord
of 1790; paintings by Pater. — Boudoir. Bust of the queen in Sfevres
china, broken at the Revolution and afterwards restored. — Bedchamber.
Portrait of Louis XVII. (?), by Mine. Vig4e-Lebrun(7; more probably a
copy after Kucharaky).
The 'Jardin Fran^ais', to the left, through which the Petit-Trianon
was entered, contains the 'Pavilion Fran^ais', built under Louis XV., in
which there io a large summer dining-room.
A visit should be paid to the ^Gabdeit op the Pbtit-Tkianon
(open all day), with its 'hamlet* (usual entrance by the door on the
right of the court). It was laid out in the English style for Marie
Antoinette, and contains some fine exotic trees, planted by B. de
Jussieu. A turning to the right, by the rivulet, leads to a 'Temple
of Love*, with a Cupid after Bouchardon (original in the Louvre,
p. 115, No. 509), and other remains of the original garden.
The Hamlet (restored in 1899), as the nine or ten rustic cot-
tages grouped round an artificial lake are called, was built by
Mique and H. Rt)bert in 1782-86 for the court-ladies who wished
to indulge in the idyllic life which came into fashion in consequence
Baxdsksr's Paris. 18th Edit. 24
CHAT
40
Melr
Premier Elage A.
•fl I M8 Galerie des Ba
^*"h
t r«
dH
l5<r (Taferie "de S c u 1
' S C VI I i> '
Jk m r y
Rez-de-Cliausseo
I; J Co^lr ■ I f
— H-H du M > Cham*
.tmprime par
<p8, pp. 348, 888.
NANTERRE.
24. Route, 381
irsailles, to the right runs the branch to Argenteuil (p. 399).
St-Germain railway passes numerous villages and country-
"^s. — 51/2 M. La Garenne-Bezons. Branch-line to B6con-les-
t res, see p. 348. The village of Bezons is IY4 M. distant, on
ight bank of the Seine, and connected with the station by the
way to Maisons-Laffltte {TN 18; p. 401). It contains a 15th
church and a chateau of Louis XIV.*s time. Another tramway
iris (TNi9)y see Appx., p. 48. The road to Bezons passes
^-Nanterre, with a large reformatory. — The line to Maisons-
rte (p. 400) diverges to the right. Pine view on the left, where
r-7al6rien (p. 356) is conspicuous.
V2 M. Nanterre is an old country- town (pop. 21,349), where,
■ -rding to tradition, St. Genevieve, the patron-saint of Paris,
bom about 422 (p. 291). About Vs M- ^^om the station, in the
du Chemin-de-Fer, to the left, is the church, dating from the
-14th cent., but restored in the 17th. Near it, in a courtyard,
e miraculous well of St. Genevieve. Annual pilgrimage on 16th
.; 'Rosi^re* festival on Whit-Monday. — Tramway to Paris
• 10), see p. 383.
^72 M. Rudl (p. 383). The station is about Va M. from the
.e of the town. — Tramway to Paris (TNio); to Le Pecq, see
^3.
• he train crosses the Seine, which is divided here by an island
two arms.
'Va M- Chatou (several restaurants) is a village of 6532 in-
ants. The pretty country from Chatou to Le Pecq is much
ed in summer. The church (restored) was founded in the 13th
iry. On the river-bank is an 18th cent, ch&teau designed by
'•^t- — Tramway from Rueil to Le Pecq, see p. 383. Omnibus
'roissy (1 M.; 30 c), Bougival (2 M.; p. 384; 30 c), and
neciennes (p. 382).
OV2 M. Le V6sinet (Caf 6s-Rest. ; pop. 6353), a modem
ge built for the most part in an old park, has numerous villas,
■ivalescent home for women, and a racecourse. Tramway, see
'2 M. Le Pecq, partly on the slope of the hill below St-Ger-
' , with two chateaux (Grandchamps and Rocheville) and a chaly-
p spring. In the cemetery is the monument of the composer
'J^6n David (1810-76), by Millet and Chapu. Tramway to
■I7 see p. 383. Omnibus to Montesson, 30 c. Lift to the terrace
-Germain (p. 388; up 15, down 10 c, with bicycle 15 & 20 c).
mboat, see p. 380.
The train recrosses the Seine, which is here again divided into
arms by an island, and ascends a steep gradient, passing over
m) ^^^^^^ two tunnels to (13 M.) St-Germain-en-Laye
24*
382 Route 24. MARLY-LE-ROI. Mapy p. 888,
B. Railway via Marly-lb-Roi.
2Si/a M. Chemin de Fer de V Ouest-Etaty from the Oare St-Lazare, in
1 hr. 20-1 hr. 85 min. (fares 1 fr. 80, 1 fr. 20 q.). Retnrn-tickets, see p. 380.
From Paris to (9*/j M.) St-Cloud the train follows the line to
Versailles (right bank, p. 349), which then diverges to the left. —
Beyond (lOYg M.) Garches (associated with the sortie from Mon-
tretout, p. 349) the train passes the ch&teau of ViUeneuve-VEtang
(now a branch of the Institut Pasteur, p. 343), the racecourse and
park of La Marche (steeplechases), and the Hospice Brezin. Tun-
nel.— 1272 M. Vaitcresson. Another tunnel. To the left, the stud-
farm of M. Edmond Blanc and the Chdteau of Beauregard. We
then obtain a good view, to the right, of the valley of the Seine and
St-Germain-en-Laye.
I4Y4 M. Bougival'la-Celle- St-Cloud, prettily situated near
the beautiful forest of La Celle-St-Cloud. Bougival (p. 384) lies
about '/* M- helow the station. To the left is the Aqueduct of
Marly (see below). — 16 M. Louveciennes, a village with numerous
large villas and a church of the 13th cent., partly rebuilt, with a
painting (St. Genevieve) by Mme. Vig6e-Lebrun. Conspicuous on
the top of a hill to the W. is the Aqv^dvxit of Marly, constructed
under Louis XIY. to bring to Versailles the water raised by the
hydraulic machine at Marly (p. 384), but never completed. — The
train now crosses the road and tramway from Port-Marly to Marly-
le-Roi (p. 385) by a viaduct 930 ft. long and 145 ft. high. Good
view of St-Germain.
16 M. Marly-le-Roi (558 ft.; H6t. des Trois-Couronnes), once
noted for its ch§,teau, built by Louis XIV. in 1679-90, and destroyed
in 1793. The remains include the Abreuvoir, a large basin near
the tramway station, parts of the extensive garden-walls, and the
small Park, the nearest entrance to which is at the end of the
avenue ascending to the right of the Abreuvoir. In the garden of
the Mairie is a bust, by Franceschi, of Vietorien Scerdou, the
dramatist (1831-1908), who was a municipal councillor of Diarly
and lived in a country-house at the top of the village. — The Forest
of Marly contains the shooting-preserves of the President of the
Republic (visitors are requested to shut the gates after them),
besides a stud and a racecourse.
17^/2 M. L^ Etang-la-Ville (Restaurants), a small village sit-
uated in a valley, has an interesting church of the 11th, 12th, and
15th centuries. We reach the Forest of Marly (see above) from this
point in ^j^ hr. by turning to the left and passing under the rail-
way; but the next station, (I8V2 M.) St-Nom-la-BreUche-Forit-
de-Marh/, is within the forest itself. Here the line joins the Grande-
Ceinture (p. 380). Fine view of St-Germain to the right.— 20V» M.
Mareil-Marly. Beyond the next station, Fourqueux, to the W., is
Map, p. 848. LA MALMAISON. «<• ^oute, 383
the Forest of St-Germain. — From (2I8/4M.) St-Germain-Grande-
Ceinture, 1 M. from the chateau, the line makes a wide curve to
(231/8 M.) St-Germain-Ouest (p. 385), the terminus, near the
ch&teau.
G. By Steam Tramway.
Line TN 10 (see Appx., p. 48)^ 11 M., in 1 hr. 10 min., from Porte
Maillot (p. 2S2). Fare to La Malmaison, 65 or 60 c, return 1 fr. 10, 86 c. ;
to St-Germain, 1 fr. 40 or 1 fr. 5, return 2 fr. 20, 1 fr. 66 c.
The tramway follows the Avenue de Neuilly (p. 233) and crosses
the (iVg M.) Pont de Neuillj ; thence straight on to the (2 Y4 M.)
Monument de la D6fense de Paris (p. 348). On the left rises Mont-
Val^rien (p. 356).— 4 M. Nantefrre (p. 381).
5^4 M. Bueil (Gaf ^s-Eest. ; pop. 13,203), a small town, enjoyed
considerable importance under Louis XIII. owing to the splendid
chateau (now demolished) that Richelieu possessed there. The
church may be reached either by the Hue de Maurepas, which con-
tinues the Avenue du Chemin-de-Fer beyond the main road, to
the S.W., or by turning to the left as we leave the tramway sta-
tion (*Rueil-Ville'), and then to the right by the Rue de I'Hotel-
de-Ville. The Churchy in the Renaissance style (restored in 1857),
contains the monuments of the Empress Josephine (see below) and
her daughter Queen Hortense (d. 1837), mother of Napoleon III.,
with statues by Gartellier and Bartolini. The handsome organ-loft
is by Baccio d'Agnolo of Florence (15th cent.) The relief in bronze-
gilt, over the high-altar, came from the chapel of La Malmaison.
Tramway from Rueil to Le Pecq (p. 381 ; 60 or 40 c); passing Rueil
station, Ohatou, and Le V^sinet.
6 M. La MaXmaison (Caf6s-Rest. : Pavilion Josephine, L. 3,
D. 3^2 fr., good; Pavilion des Guides, L. 2Y», D. 3 fr.) is about ^/g M.
to the S.W. of the tramway station (by the Av. du Gh&teau and then
to the right). The CMieaw, which was built in the 16th or 17th cent,
and remodelled by Percier and Fontaine, is celebrated as the resi-
dence of the Empress Josephine after her divorce in 1809. She
died here in 1814. Maria Ghristina, Queen of Spain, occupied
the ch&teau from 1842 to 1861, and it was a favourite residence
of the Empress Eugenie. The chUteau and what is left of the
park were purchased and presented to the nation in 1900 by M.
Osiris (p. 226). Whilst the H5tel des Invalides and the Ghateau
de Fontainebleau contain souvenirs of Napoleon at the height of
his glory as emperor. La Malmaison, which presents much the same
apipearance as it did in the time of Josephine, is full of memories
of the private life of Bonaparte during the First Consulate. Visitors
are admitted daily, 10-5 (11-4 in winter), except Mon., and are
conducted by an attendant. — For further information see: *A la
Malmaison', by Jean Ajalbert, the present curator (1911), 2 fr.
384 Route 24. LA MALMAISON. Map, p. 388.
Grouhd Floor. To the left of the Vestibtde d'Honneur are the
Dining Roomy containing the Emperor's coronation mantle, the Cotmcil
Chamber (restored), and Bonaparte^s Library, containing old book-cases
with glass doors, a desk belonging to the Emperor, a small mahogany cabinet
with a secret lock, in which he kept valnable documents, and several
books which once belonged to him. To the right of the vestibule is the
Billiard Boom, with portraits of Arab sheikhs brought from Egypt by
Bonaparte (1799), and five fine pieces of tapestry : Equestrian portrait of
the First Consul, after Gros, and four scenes from the history of Napo-
leon. In the Empress's Bec^tion Room (restored to its original condition) :
on the floor, an Aubusson carpet of the time of Napoleon I. ; white marble
chimney-piece presented to Josephine by Pius VII. at the time of the
coronation; Josephine's tapestry-loom, work-table; a bust of Josephine,
by Chinard. In the Music Room: the Empress's harp and desk; the
Emperor's card-table; Josephine at the Lake of Garda and Bonaparte at
La Malmaison, paintings by H. Lecomte and Isabey.
FiBST Floor. Passing through the Bath-Room, Josephine^s Dressing-
Room, and Napoleon's Bedroom, we reach the ^Bedchamber of the Em-
press, faithfully restored to its original condition, with her bed. hang-
ings, and furniture. To the left of the bed, on which Josephine aied, is
a dressing-case presented to her by the city of Paris at the time of the
coronation ; in front of the chimney-piece is a screen embroidered by the
Empress; clock (the Three (traces), arter Ohaudet; portrait of the Empress,
by G6rard. The next room is Josephine's Boudoir, with the gifts of Mme.
Tuck: head-gear and slippers of the Empress, her bust by Bosio, etc.
Beyond is a room containing some furniture from Queen Hortense's room
at La Malmaison, presented in 1906 by the ex-Empress Eugenie, and
also three cases containing furniture-textiles of the Napoleonic period.
The pretty Park contains a Chapel, erected by Maria Christina (jp. 888),
with the Spanish arms in the tympanum. On the lawn, to the right, is
the fine Marengo Cedar, planted by Josephine to commemorate the victory
of Marengo (1800). On a rock in the stream is a colossal statue of Nep-
tune, by Puget; at the end of the lawn, is the monumental Bust of the
Emperor Napoleon, by Bartolini. To the left, in front of the rear fa^de
of the chateau, are two Obelisks.
The gardens are being laid out anew. Thanks to the munificence of
M. Groveraux, Mme. P. de Yilmorin, and Mme. Tuck, the court of honour
and the space round the Emperor's summer-house will be adorned with
6000 rose-trees, Josephine's favourite flowers.
6^2 M. La Jonch^e. A road ascends hence to the left to La
Celle-St-Cloud (li/, M.; p. 382), skirting the ch&teau of La Jou-
chere, 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-Cucufaj l^j^'iH. from the station.
71/2 M- Bougival, a village (pop. 2671) on the left bank of the
Seine, much frequented by rowing parties. Part of the Churchy
which possesses a handsome Romanesque bell-tower, dates from the
13th century. Rail, stat., see p. 382. — On the opposite bank of the
Seine are Croissy and Chatou (p. 381).
8 M. La Machiney a suburb of Marly, is so named from the hy-
draulic machine built to supply Versailles and St-Cloud with water
(comp. p. 382).
The old machinery, constructed by a Dutchman named Ranneken at
a time (1685) when mechanical science was in its infancy, is said to
have cost 160,000i. It was replaced in 1855-59 by a stone dyke, 6 iron
'heels, and 12 forcing-pumps, by means of which the water is driven
F ' ■» J
CHA
■sa
M<
J
Premier Etage
•fl I vks Galerie des i.
Isir Gaferie de Sr
«'
• «!-•
Rez-de-Chauss
■ H-J Midi
\. ^
1:1:1
AIN-EN-LAYE. »*- Route. 395
00,000 ul. pet diy) to the leaerroir,
d U» Fl iboT« it. ViiitoiB ue )m1-
rirer is (be model Jer»ey Farm,
t-Qermain blgh-road, on the S. side
: the Place Kojale and tbe Avenue
to the Rue Thiers, and ends in the
n-Laye.
lIN-EN-LATK
>1. D, 3; lift fram the ■rriTil-plitfann
de Graiide-Ceinlure (PI. A, X; p. 388}.
Ion Henri-Quatre (PI. E, P, 3 : p. 386),
BS; Tiew), Qret-etBU, lOS R. fiom S, B.
Fatrilloa Lottig-QHotorxe S Contin^iXfd
beelDDing ot the forest, Bnt-olui, open
6, B. IVb L. 6, D. 8, pens, from 16 Vr.,
(Pl.c;D,S), 7 HuadeUPuroiBae, L.l,
let town with 18,344 inbab., is noted
healthy air, which as Far bach as the
>urite summer residence of the king.i
id in summer b; Parisiaas, and (here
wea its origin to a fortress buill on
08-37) to command the Seine. The
(see p. 271), in the reign of St. Louis.
d the castle was destroyed. It was
he present building, whose gloonij
ith the cheerful appearance of other
1 from the lime of Francis I., who
386 Boutei4, ST-GERMAIN-EN-LAYE. Chdteau.
celebrated his nuptials here with Claude, daughter of Louis XII.
It was designed by Pierre Chambiges (pp. 90, 183) and Gruillaume
GuiUain. Henri II. began another chateau, completed by Henri IV.,
but this was destroyed in 1776, with the exception of the Pavilion
Henri-Quatre (PI. E, F, 3; hotel, p. 385). Louis XIV. was bom here
in 1638, and he retired hither after the death of his mother Anne of
Austria (1666), in order to escape from the uncongenial atmosphere
of Paris; but finding the space inadequate, he constructed the
sumptuous palace of Versailles. The ch&teau was afterwards occupied
for 12 years by the exiled king James II. of England, who died here
in 1701 (comp. p. 338). Napoleon I. converted it into a school for
cavalry-officers, and it was used later as a military prison. The
restoration of the chateau on the original plans was begun in 1862
and completed in 1908.
The *MUS^E DBS ANTIQUIT^S NATIOITALES, which
the chMeau now contains, is an interesting collection of objects
ranging from the dawn of civilization in France to the period of
the Carlovingians. The museum is open to the public on Sun. from
10.30 to 4, and on Tues. and Thurs. from 11.30 to 5 (4 in winter),
on other days on application (fee). The chapel is always open till 6
p.m. The exhibits are provided with explanatory notices; there are
also a catalogue (V/^tT.; not up-to-date) and a good illustrated guide
(lYa fr-)i t>oth by the curator M. Sal. Reinach; two illustrated
catalogues (5 fr. each) of the quaternary epoch and the Roman
bronzes, and one of the Mus6e Chretien (2 fr.) ; and an illustrated
album (10 fr.) of the casts and models for sale. — The principal
entrance is through the court, on the left, but in winter and in rainy
weather visitors enter by a small door in the vestibule to the left,
which opens into Room S (see below).
Ghroxind Floor. — The Chapel (adm., see above), to the right of the
court, contains the Mu84e Chretien: Early-Christian and Gallo-Roman sculp-
tures and inscriptions (4th-9th cent.) ; casts (a. few originals) of *Christian
sarcophagi from the S. of Gaul (especially Aries), pagan types (heads of
Medusa, etc.), assimilated to Biblical subjects. At the end, on the left,
*20,300. Christian altar (6th cent.), adorned with doves, lambs, and the cross
flanked by the letters a and tu. On the walls are reliefs and inscriptions.
In the centre, revolving stands, with old views of the chsltefiu.
On the right of the vestibule are three new rooms, containing:
1. Roman engines of war and canoes of ditferent periods; at the end, an
elk; 2. *Cork models of the monuments of Roman Gaul (previously at
the Ecole des Beaux-Arts); H. Weapons and engines of war.
Booms 8 and R, to the left of the principal entrance : Casts of bas-
reliefs and of the medallions from the Arch of Constantine at Rome
(originally on monuments to Trajan, Hadrian, and Marcus Aurelius); casts
of antique Gallic statues and huaU.— Rooms -4, 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 (S. France). Room B contains also a medallion of a
mosaic found at Autun in 1830, representing Bellerophon and the Ohimsera
(restored at SbvTes). — Rooms X), E, and F are not yet open. — We now
return to the entrance, and ascend the handsome brick and stone staircase
♦o the entresol.
Chdteau. ST-GERMAIN-EN-LAYE. 24. Route, 387
Entresol. Boom XIX (the last on the right). Gallic milestones and
geographical inscriptions. — Boom XX. Celtic and Roman inscriptions,
religious inscriptions, Mithraic monuments and monuments of the cult or
the Emperors. — Boom XXI. Gallic mythology (interesting). By the end-
wall, to the right of the door, 24,414. Gernunnos, a god in an attitude
resembling that of Buddha (relief). Middle window, three-headed deities
in stone. Behind, to the left, 86,224, 26,248, etc.. Reliefs and effigies
of Epona. In the centre, a large altar of the twelve gods, extremely
ancient, from Mavilly (C6te-d'0r), various altars found at l*aris in the
Oit^. a large seated statue of Mercury. — Boom XXII y on the other side
of the staircase. Sculptures relating to the Roman legions in Oaul. —
Boom XXIII. Building materials and fragments. — Boom XXIV and
adjoining passages. Gallo-Roman cinerary urns and coffins ; in the centre,
models of earlier tombs, dolmens, and covered passages, canoe containing
a gTSLve.— Booms XXVAXXVI. Sculptures illustrating Gallic costumes,
arts, and pursuits.
First Floor. Rooms I-III, to the right, contain objects of the pre-
historic or bone and flint period. Boom I. Bones of animals either ex-
tinct or no longer to be found in France (the mammoth, rhinoceros, cave-
bear, hyena); cut flints found in alluvial deposits (Cases 1-16) or in caverns
(Cases 16-33). Cases 22, 26, 26. Bones of reindeer with pictorial carvings,
curious specimens of prehistoric art. In the middle, two plaques in
breccia from the cavern at Les Eyzies (Dordogne), fragments from the floor
of the cavern, with fossilized bones, pieces of stone knives, and remains
of food. Between the 2nd and 4th window facing the court are several
frames with casts of works of art of the 'reindeer period' (drawings on
bone and horn). On the end-wall is a map of Gaul at that period and
the tusk of a mammoth. — Boom II. Megalithic monuments and imple-
ments of the polished-flint period; objects found in dolmens; implements
and ornaments in bone, earthenware, stone, and ivory. — Boom HI. Dol-
men from the tumulus of G-avr'inis, Brittany, and casts of the unex-
plained characters from the tumulus. To the left of the mantelpiece is
an interesting collection of flint arrow-heads.
Adjoining this room is the 8<Me de MarSf formerly SaUe dee FStes,
occupying the whole height of the first and second stories, but now in
process of restoration (closed). Comparative collections of prehistoric and
ethnographical objects will be exhibited here.
We may onen the door on the left and ascend by a short staircase
adjoining the Salle de Mars to the —
Second Floor. — To the left, in the turret, is the SaUe de Numis-
mcUique (not numbered), containing Gallic, Gallo-Roman, and Merovingian
coins, silver votive obiects found at Vichy, and trinkets. In the 1st central
case: Pre-Roman and Gallo-Roman objects of art, including a beautiful
silver vase found at Alesia. The 2nd case contains objects of the Mero-
vingian period. Characteristic features of the barbaric art of this epoch are
the inlaying of gold on glass and the use of precious stones. — Boom IV.
Continuation of the bone and flint period: Weapons and tools of flint,
bone, and wood, from the Swiss lake-dwellings. — Boom 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). — Boom VI. Various
Gallic antiquities in bronze, iron, and gold, mostly from burial-places.
By the Ist window, to the left, Gallic helmets; in the central and some
of the following cases, fine bronze vases, torques, etc.
Boom Vllf on the other side of the staircase. Continuation of the
Gallic antiquities: burial-places of theMame; bracelets, fibulas, torques,
and vases, in bronze; weapons, etc., of iron; black, brown, and grey
terracotta vessels. — Boom VIII. Objects from the burial-ground of
Chassemy (Aisne). — Boom IX. Specimens of Gallic tombs ; reconstruction
of a *Burial in a chariot, found at La Gorge-Meillet (Marne), with the
chief below and an attendant above. The original objects found in this
tomb are in the ease in front. — Boom X. Gallic tomb from La Cheppe
388 Routed. ST-GERMAIN-EN-LAYE. ChMeau.
(Marne). — Room XI (SaUe Moreau). Objects found in Gallic, Boman, and
Merovingian cemeteries from the district of F&re-en-Tardenois ; mosaics
from Autun and Ancy; Gallic swords; fibnltt; Gallic fnneral pottery;
Boman amphora; glass, etc. — Boom XII (opened on application). Baye
Collection, presented in 1906 by Baron T. ae Baye : Neolithic antiquities
(from the Petit-Morin valley) ; Celtic (from the burial-places of the Mame)
and Prankish antiquities. — The following room (accessible to specialists
only) is devoted to a fine collection of * Objects ftom the Reindeer Bipochy
presented by M. Ed. Piette, and consisting of singularly realistic carvings
and graffiti on reindeer horns and mammoth bones, including drawings
of a woman with a reindeer and a woman with a hood, from Mas d*Azil
(Ari^e); also, coloured pebbles, curious harpoons, and ivory *Figurines.
First Floor (continued). Room XIII (SdUe cTAlisiaJ. Csesar's
campaigns in Gaul. To the left, Roman soldier; in the centre, large
relief-plan of Alesia (the modem Alise-Ste-Reine, C6te-d'0r), marking
Offisars besi^ng-works ; farther on, models of these works and of objects
found in the excavations at Alise. Models of other works of Onsar:
Bridge on the Bhine, works before Uxellodunum (perhaps the modern
Puv-d'Issolud, Lot) and before AvaHaim (Bourges); model of a Gallic
wall and articles found at Mont-Beuvrav, the Bibracte of OsBsar, to the
W. of Autun; arms, projectiles, medals. — Room XIV. Gallo-Boman
pottery. — Room XV, Pottery; extensive collection of glass; laige collection
of fibulsB and other bronze articles, including pincers, needles, etc., in
the turret at the comer. — Room XVI. Pottery. Objects in bone and bronze.
— Room XVII. Gallo-Roman bronzes and vases, including a fine bronze
head of a homed river-god (of the Achelous typo). Lamps, scales, keys,
pins, strigils, bits. In the centre is a bronze lampstand found at St-Paal-
Trois-Ch&teaux (Dr6me). On the chimney-piece, a copy of the bronze
bust of Julius Pacatianus, from Yienne. By the window, female head
in ivory (Avignon). — Room XVIII (not yet open). Archaeological objects
from the provinces of the Boman Empire (N. Italy, Germany, Dacia, etc.).
The Church (PI. B, 3), opposite the ch&teau, contains a simple
monument in white marble, erected by George IV. of England to
the memory of James II. (comp. p. 386), and restored by order of
Queen Victoria. — In a small square to the right of the facade
of the ch&teau is a bronze statue (by Merci6) of Thiers (1797-
1877), the first president of the Third Republic, who died at St-
Germain.
The Hdtel de Ville (PI. D, 3), in the Rue de Pontoise, near the
station, contains a small library and a collection of old pictures
(including the Jongleur, by Hieronyraus Bosch) on the second floor
(open daily, exc. Mon., 10-4). — Behind is a square with a Statue
of the BepubliCy by Granet.
The *Terrace (PI. E, F, 2, 1) of St-Germain extends for li/j M.
along the edge of the forest, at a height of 200 ft. above the Seine.
It was constructed by Le Ndtre in 1672, and commands a magni-
ficent survey of the winding river and the well-peopled plain (view-
indicator). The middle distance resembles a vast park sprinkled
with country-houses. Below the terrace appears Le Pecq (lift; see
p. 381), beyond, Le V^sinet and the hills of Montmorency. Mont-
martre is visible on the horizon, and to the right, the Eiffel Tower,
but the rest of Paris is concealed by Mont-VaUrien. Farther to
*he right, on the hill, is the Aqueduct of Marly. — A band plays in
I
FoTMt. ST-GERMAIN-EN-LAYE. 24.Rotit4i. 389
the kiosqne on the terrace on Sun. in summer at 3.30, and on Tues.
and Thurs. at 8.30 p.m. — The Chdteau du Vol (17th cent.), near
the N. end of the terrace, is not open to the public.
The beautiful Forest of St-Grermain is about 11,000 acres in
extent, being 6 M. long from S.W. to N.E., and 2^1^-i^l^ M. broad
from S.E. to N.W. The main avenue leads to (2 M.) Lea Loges, a
school for daughters of members of the Legion of Honour holding
the rank of non-commissioned officers or a position corresponding
thereto (comp. pp. 395, 403). Near it is held the popular Pete des
Loges f which begins on the Sunday after 25th Aug. and lasts ten
days. The Pontoise road, to the right of the Avenue des Loges,
crosses the road from Poissy to Maisons-Laffitte (p. 401), passes
near the Faisanderiey and leads to the station of Ach^ea (see below
and p. 401), which is not far from the Racecourse of St-Germain
(see p. 41; comp. Map, p. 399).
From St-Germain to VersaiUeSf see p. S80.
From St-Q^rmain to Maisons-Iiaffltte, 8 M., railway (Grande-
Ceinture) from the Oare de Qrande-Ceinture (p. 885) in 85-45 min. (fares
2 fr.j 1 fr. 10, 65 c). A tramway also plies to Poissy (p. 385), and an
omnibus to Maisons-Laffitte (p. 401). — 2i/a M. Poissy (p. 457); the station
is 1 M. to the S.E. of the station on the Kouen line.- 5^2 M. (4Va M. by
road) AchbreSy see above and p. 401. — 8 M. Maisons-Laffitte^ see p. 401.
— The railway goes on to the left to Argenteuil (p. 899).
25. From Paris to St-Denis and Enghien.
Montmorency.
Chbmih db Fbr du Nord. — The trains between Paris and these
places follow the Ligne CSircnlaire between the Gare du Nord and the
Gare 8t-Lazare (18 M.). Three trains or more (mostly 'trains-tramways')
every hour from the Gare du Nord (PI. B, 24; p. 217). To St-Denis, 4Va M.
in 10-20 min. (fares 80, 55, and 85 c. ; return 1 fr. 20, 85, and 55 c). To
Enghien, 7Va M. in 15-25 min. (1 fr. 85, 90, and 60 c. ; return 2 fr., 1 fr. 45,
95 c). From Paris to Enghien yik Argenteuil, see p. 898.
St-Denis may be reached also by Tramways starting from the Made-
leine (TNSL from the Op^ra (TNIj'L and from the Porte de Olignancourt
(TN21). The tramways from the Trinit6 to Enghien (TNlB) and from
the Porte de Clignancourt to Pierrefltte (TN20) also pass through St-Denis.
See Appx., pp. 47, 48. — The journey (uninteresting) takes Va-"/* hr.;
fares 60 or SO c.
The main-line trains run through to St-Benis, while the drains-
tramways' stop at the following stations, i/s ^* Pont-Marcadet
(PI. B, 22). On the right is a line connecting our line with the
Ceinture ('La Chapelle-St-Denis' station, see Appx., p. 58), which
we soon cross. — 2^/^ M. La Plaine-St'Denis. The railway to
Soissons vi& Cr6py-en-Valois (R. 29) diverges to the right. — 3 M.
Le Landy. — 3*/4 M. Pont de la RivoUe,
390 Baute26, ST-DENIS. ^onm.
41/2 M. St-Denis. — Hotbls. Modem Hotd du OrandrCerf (PI. a;
0, 3), 2 Rue de la JPromagerie, opposite the cathedral, 8 B. at 2Vr^i L. 2Vs)
D. S.fr.; Hot. du Commerce (PI. b: C, 3), 1 Place aux Gueldres and 27 Rue
de Paris. — CafAs. Industrie^ 27 Rue du Chemin-de-Ferj Paris, 20 Rue
de la R^publique; Commerce, 60 Rue de Paris.
Tramways (see p. 389). Line TNil passes the cathedral. Lines TN8
an,d TNll cross the town from S. to N., through the Rue de Paris, as
far as the Barrage (PI. 0, 1) ; we alight at the Rue de la R^publique (PI. C, 3)
for the cathedral (200 yds. to the right). Lines TNI6 and TN20 pass
the church of St-Denis-de-rEstr^e (PI. B, 3), from which the cathedral in
Vs M. distant by the Rue de la Ripublique.— From St-Denis to Stains,
see p. 406; to Aubervilliers, p. 250. — From St-Cloud to Pierrefitte, vi&
St-Denis, see p. 356.
Post & Tslsoraph Omcs, 61 Rue de la R^publique ('P. & T.'; PI. B, S)
and 110 Avenue de Paris.
Admission to thb Tombs (p. 393). Daily, every half-hour from 1 to
4 or (Ist June-SOth Sept.) to 5. The visit lasts Va hr« (^^^ to guide).
Students may visit the tombs in the morning also (8 or 9 to 12), by ticket
obtained from the 'Secretariat des Beaux-Arts, Bureau des Monuments
Historiques, 8 Rue de Valois, Paris' (comp. p. 60).
For further information: 'L'Eglise abbatiale de St-Denis et ses torn-
beaux', by Patd Vitry and Q^Um Bribre (Paris, 1908; i^litt.),
St'Denis (pop. 71,759), a thriving indastrial town on the Canal
St-Denis (p. 249), with bailding-yards, chemical works, etc., is
chiefly famous as the burial-place of the kings of France.
The railway station (PI. A, 3) is ^4 M. from the cathedral
(omnibus, 15 c). We cross the Canal St-Denis and follow the Rue
du Ohemin-de-Fer, and then the Rue de la R^publique. At the
beginning of the latter stands the parish church of St-Denis-de-
rEstr^eiFl. B, 2, 3), in the style of the 13th cent., built by Viollet-
le-Duc in 1864-68. We then cross the Rue de Paris, which inter-
sects the town from N. to S. To the left is the Hdtd de ViUe (PL
C, 3), in the Renaissance style, built in 1883.
The *Oatliedral, or BasUiqite (PI. C, 3), is built over the
grave of St. Denis (p. 222). On the initiative of St. Genevieve, the
clergy of Paris built a chapel here in the 2nd half of the 5th
cent., which was served by the monks. Dagobert I. (d. ca. 638)
enriched the abbey with his gifts, and added largely to the church,
in which he and his successors were buried. The reconstruction
of the Merovingian building was begun about 750 by Pepin the
Short (d. 768) and finished in the reign of Charl€mag7ie. The
Abbot Suger (1121-52) decided to build on a grander scale, dis-
carding all but the crypt and a few columns of the former structure.
Soger's building was the first important edifice in which Gothic
windows were used, and may be considered as the deciding influence
and true starting-point in the development of Gothic architecture.
Round and pointed arches alternate in the facade, whereas in the
other portions Gothic arches only occur. The choir, consecrated
in 1144, is bordered with radiating chapels, a feature of the Ro-
manesque style, and at the same time it exhibits the Gothic
buttress-system in an advanced stage of development. A thorough
and Mathieu de Vend&ine, «faose leaning to the Oothic style was
still more marked. The upper part of the choir, the oave, and
the transepts were entirely rebuilt. Additiooal cbapels were
392 Route 26. ST-DENIS. Cathedral.
erected later, probably in the 14th century. St. Louis (d. 1270)
was the first to erect monuments to his ancestors in the choir, and it
became the custom to raise a memorial to every king on his death.
The honour was afterwards extended to princes and other illustrious
persons. Under the Revolution the cathedral was sacked, and the
tombs were desecrated (1792-93). The restorations effected by
Napoleon I., Louis XVIII., and Louis Philippe were in bad taste;
but under Napoleon III., who in 1858 entrusted the work of restora-
tion to VioUet'le'DuCy it regained much of its ancient splendour.
The importance of the town dates from the foundation of its Ben-
edictine abbey by Dagobert I. Under the Garlovingian dynasty the monks
of St-Denis concerned themselves with political as well as with spiritual
matters. When Pepin the Short took possession of the throne of France
in 751, he sent Fulrade, Abbot of St-Denis, to Rome, to procure the
papal confirmation of his title. Three years later Pope Stephen II.
took refuge here from the Lombards, and anointed Pepin's sons Charle-
magne and Garloman. Here, in presence of his nobles, Pepin handed over
his dominions to his sons before he died. The members of the house of
Capet also favoured this abbey. Louis VI. (d. 1187), whose best adviser
was the powerful, sagacious, and liberal abbot Sifger, solemnly adopted
the Orifiamme ('aurifiamma', from its red and gold colours), or standard of
St-Denis, as the banner of the kings of France. It was suspended above
the altar, whence it was removed only when the king took the field in
person. Its last appearance was on the unfortunate day of Agincourt
(p. xvii), when it was destroyed. 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. Aboard
(p. 252) dwelt in this abbey during the 12th cent., until he became abbot
of Paraclet, near Nogent-sur-Seine. The Maid of Orleans hung up her
arms in the church in 1429, and in 1593 Henri IV. abjured Protestantism
here. In 1810 Napoleon I. was married in this church to the Archduchess
Marie Louise while the work of restoration was still going on.
The West Facade formed part of the building consecrated by
Abbot Suger in 1140. It contains three recessed portals decorated
with sculptures, which, however, were freely and somewhat un-
skilfully restored in the 19th century. Those of the central portal
represent the Last Judgment, and the Wise and Foolish Virgins;
those of the S. portal, the Last communion of St. Denis, and the Work
of the Months; and those of the N. portal (modern), St. Bonis on
his way to Montmartre and the Signs of the Zodiac. The bronze
doors are all modem. The battlements along the top of the fagade
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. Denis. On the right is a low tower ; that on the left was
reduced in 1847 to the level of the battlements. — The statues of
princes and the Martyrdom of St. Denis on the portal . of the N.
transept are in better preservation.
The *Interior consists of nave and aisles, crossed by a simple
transept. Length 354 ft., breadth (at the transept) 128 ft., height
95 ft. The dim twilight of the Vestibule, which dates from Sugar's
Cathedral, ST-DENIS. 25, Route, 393
time and is borne by heavy columns, forms a striking contrast to
the airiness and elegance of the 13th cent. Nave, with its slender
columns, its triforium, and its thirty-seven large windows, each
33 ft. high. The stained glass is all modem, except that in the
Lady Chapel (p. 394).
The monuments, damaged during the frequent alterations of the
church and more especially during the Revolution, were replaced in
1816 with the aid of the fragments preserved by A. Lenoir (comp.
p. 300), and were restored by VioUet-le-Duc. They now form an
imposing collection of French mediseval and Renaissance sculpture.
Visitors are unfortunately allowed too little time to study details,
but casts of some of the finest tombs may be seen at the Trocad6ro
(p. 239). — Hours of admission, see p. 390.
N. Side. *Tomb of Louis XII. (d. 1515) and his consort
Anne de Bretagne (d. 1514), executed about 1517-31, probably
by the Juste family, of Tours. This is a shrine in the Renaissance
style, with open arcades resembling those of the Visconti monument
at the Certosa near Pavia. The king and queen are represented
twice: below on the sarcophagus in a recumbent posture, executed
in a rude, realistic manner, and again in a kneeling attitude above.
Beneath the arches are statues of the Twelve Apostles. At the
comers are allegorical figures. On the pedestal are small reliefs ;
at the head of the recumbent figures. Entry of Louis XII. into
Milan (1499); on their left, Passage of the Genoese mountains
(1507); on the other side. Victory over the Venetians at Agna-
dello (1509); at their feet. Final submission of Venice. — Behind
the tomb is a column with three genii, by Jean Picart and
probably Ponce Jacquio, containing the heart of Francis II.;
flanking the door are two 12th cent, statues, brought from Notre-
Dame de Corbeil. Then, to the right, a fine * Spiral Column by
Jean Pageot, commemorating Henri III. (d. 1589). From this
point we see, to the right of the high-altar, the tomb of Dagohert L
(p. 390), an interesting monument of the 13th cent., with curious
allegorical reliefs representing the king's soul leaving purgatory and
its reception in heaven, a recumbent statue of Dagobert (modern),
and erect statues of his son Sigebert (modern) and *Queen Nantilde
(13th cent.). The adjacent coloured Madonna (14th cent.) was brought
from the church of St-Martin-des-Champs. — To the left, *Tom5
of Henri II. (d. 1559) and his queen Catherine de Midicis (d. 1589).
It was erected in 1570-73 from the designs of Ponce Jacquio
and Fr^min HoUfSsel, under the direction of Primaticcio, and
adorned with the masterpieces of the sculptor Germain Pilon. This
tomb, of white marble, is in the same style as that of Louis XII.,
with twelve columns and twelve pillars. The deceased are represent-
ed twice, by nude marble figures on the tomb and by bronze figures
in a kneeling posture above the entablature. At the comers are
394 Route 26. ST-DENIS. Cathedral.
bronze statues of Faith, Hope, Charity, and Good Works, by Ponce
Jacquio. The reliefs are hy Regnaudin and Bovsael. — Behind are
monuments of the family of Valois. — "We now ascend some steps.
Choir. The high-altar, in the style of the 13th cent., is modern.
"Walking a few paces to the right, after ascending the steps, we see,
on the left of the high-altar, the Tombs ofBlarvche and Jean, the
children of St. Louis, interesting works in embossed and enamelled
copper. — In the chapel on the left of the steps is another monument
to Henri II. and Catherine de M^dicis, with 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 monument (p. 393),
and caused these robed and elderly effigies to be executed. Near
this is the alabaster statue of Marie de Bourbon (d. 1538). — We
pass by the chapels round the choir, which contain no monuments,
leaving on our right, behind the high-altar, the altar known as the
^Confession de St Denis* (with the relics of the saint). Both the
altar and its reliquaries are modem. A copy of the famous Oriflamme
of St-Benis (p. 392) occupies its traditional position above the
high-altar. The Lady Chapel has stained-glass windows dating from
the 12th cent., an old mosaic pavement, and sculptured scenes
from the life of Christ. — Opposite the sacristy is the interesting
Tomb of Fredegond (d. 597), of the 11th or 12th cent., which
was formerly in the church of St-Germain-des-Pr6s. The figure of
the queen is represented by a kind of mosaic, formed of small pieces
of difl'erently coloured marble, the shape being outlined by thin
strips of copper.
The Sacristt, to the S. of the choir, was adorned at the beginning
of the 19th cent, with ten paintings relating to the history of the abbey.
On the left is the Treasury, now containing little that is not modem.
— On quitting the sacristy we descend sixteen steps on the left to the
S. transept, and thence by a flight of steps on the right to the —
Grtpt, built originally to receive the relics of St. Denis and his
companions, and much altered. The railed-off part in the centre, under
the sanctuary, is occupied by the burial-vault of the Bourbons, which
contains the coffins of the following : Louis XVI. and Marie Antoinette,
whose remains were brought hither in 1817 from the Madeleine cemetery
(p. 229); Louis XVIII.; Adelaide and Victoire de France; the Due de
Berry and two of his children; Louis Joseph and Louis Uenri Joseph,
the last two princes of the house of Condi; lastly, the remains of
Louis VII. and Louise of Lorraine, wife of Henri III., which were
brought from elsewhere. — In the chapels and by the external wall of the
crypt are a few sculptures, including an unfinished monument to the '^ .
de Berrjf (d. 1820)^ by Dupaty and Cortot; *» -♦nl .•^ '»/ fAi''^^
a kneeling figure m a ball-dr' ^. V ! e;it..l, r, -,'.■> ' './/■-< .
Gaulle; a statue of Diane C . '».vce :' •'.> ; - > . : < '{ ,>
Boudin; monuments to Louu ai '^ a ^ ' .- w* '/ < -, \ 'tr- - . \'
others of no artistic worth.
In the chapel to the rigiit < r t' c * it< ^'if ^nnr-i -lit ^f^^ "h./
in 1397) of Bertrand du L. > -It, • ':?, , l.aiices champion
in her contests with Englanu. ine tomb of his companion-in-amis,
^he Constable Louis de Sancerre (d. 1402), is near the steps!
Cathedral. ST-DENIS. S 6. Route. 395
Between the two is the statue of Charles V, (d. 1380), by Aiidr6
Beaunevea (1364), and that of Jeanne de Bourhon, his wife
(d. 1378). In the same chapel are two interesting reliefs from Ste-
Catherine-du-Val-des-Ecoliers, recalling a vow to erect a church of
St. Catherine taken by the 'sergents d'armes' at the Battle ofBou-
vines (1214). The fraternity of sergeants-at-arms (who discharged
certain ceremonial functions at tournaments, etc.) was founded by
Charles Y., so that this monument probably dates from a later period.
— To the left, beyond the chapel, by the wall of the S. transept, is
the tomb, from the Eglise des C61estins, of Benie de Longuefoille
(d. 1515), daughter of Francois 11, Due de Longueville. — A little
farther on, to the right, are the monuments of Philippe le Hardi
(d. 1285 ; monument erected in 1298-1307) and Philippe le Bel
(d. 1314).— To the left, * Monument of Francis L (d. 1547), with
kneeling figures of the king, his wife Claude (d. 1524), and their
children on the entablature, and scenes from the battles of Mari-
gnano and Ceresole, in relief, on the pedestal. This monument, exe-
cuted by Philibert Delorme, is in the same style as that of Louis
Xn., and is still more sumptuous. The sculptures are by Pierre
Bontemps, Marchand, and others. — *Urn, containing the heart
of Francis I., a masterpiece in the Renaissance style by Pierre
Bontempsy representing the Arts and Sciences and adorned with
exquisite reliefs. — Then, the Monument to the Dukes of Orleans,
formerly in the Eglise des C61estins, erected by Louis XII. in me-
mory of the princes of his family, including his grandfather, Louis
d'OrUans (d. 1407), and Valmtine de MUan (d. 1408). It was
executed by Milanese artists. — Monument of Charles d'Etampes
(d. 1336), a masterpiece of the 14th century.
The extensive buildings which adjoin the church belong to the
old Abbey, which was remodelled by Louis XIV. and Louis XV.
Since 1809 they have been tjbe seat of the Maison d'Education
de la Legion d'Honneur (PI. C, 3; comp. pp. 389, 403), a school
affording a free education to 500 daughters of officers, members of
the Legion of Honour, down to the rank of captain, and also of
civilian members.
Near the Place aux Gueldres (PLC, 3) is an old 18th cent, chapel
known as the Petite- Par oisse, now converted with the adjoining
OarnMlite convent into a law-court. Princess Louise of France,
daHf^hter of Louis XV., was the foundress of this convent, which
she entered in 1770. The handsome cupola of the chapel with its
rose-windows rests on Ionic columns. (Apply to the concierge ; fee.)
— The -Square Thiers (PI. B, 4) is embellished with a Statue of
VercingetoriXj by J. Bertin. — At the Porte de Paris (PL C, 4)
rises a statue otN. Leblanc, the chemist (p. 206), by Hiolle (1889).
Babdbksb'b Paris. 18th Edit. 25
396 Route 25. ENGHIEN^LES-BAINS. ^«1>«» PP- ^99, 847.
From St-Denis to Enghien. — A short way beyond St-Denis
the main line of the Chemin de Fer du Nord (R. 2*8) diverges to
the right. Our line passes the Fort de la Briche. On the left flows
the Seine. — 6^4 M. (from Paris; 1^4 M. from St-Denis) Epinay-
ViUetaneuse. Epinay, about Y2 M. to the S.W. of the station (con-
veyance 20 c; other station, to the "W. of the village, see p. 399), is
a village of 5912 inhab., on the right bank of the Seine. Near it is
the Chateau d'Epinay, where Francisco de Assisi, consort of Isa-
bella II. of Spain, died in 1902.
Tramway to St-Denis and Paris {TNJ5; Appx., p. 48). — Steamboats
to St-Denis, Asniferes, Puteaux, and Suresnes, see p. 356. — Railway from
Paris to Pontoise, see p. 399; to Beaumont, see p. 403.
From Epinay to Noisy-lk-Skc, 8^/4 M., Grand e-Ceintnre Railway.
The chief station is (6V2 M.) Le Bourget (p. 417). — At Noisy-U-Sec
(13,648 inhab.) the Grande-Ceinture joins the Chemin de Fer de I'Est.
See Baedeker* 8 Northern France. Tramways from Paris (TEl^ TE3,
TE5), see Appx., p. 50.
The Grande-Cemture runs also from Epinay to (3 'iA..)ArgenteuU (p. 399),
skirting the Seine.
7 M. La Barre-Ormesson, the station for Ormesson (on the
left) and La Barre (on the right), with 'd^pendances' of the old
Chdteau de la Chevrette, the name of which recalls the memory
of J. J. Rousseau and Mme. d'Epinay.
71/2 M. Enghien-les- Bains. — H6tkl8-Restaurart8. Hot. des
Bains., at the Etablissement, Hot. des Quatre-PavillonSj opposite, both
closed in winter, R. from 6, L. 4, D. 5 ir., and in la carte; Enghien Pa-
lace Hotel, 73 Grande-Rue, 36 R. from 3, B. I1/4, L. 4, D. 5, pens, from
10 fr. ; Hot. de la Paix, 50 Grande- Rue, L. 81/2, D. 4 fr. ; H6t. Beau-S^jour,
32 Grande-Rue, L. or D. 3 fr. — Pbnsioii . Villa des Tilleuls (Mme. Dubut),
33 Grande-Rue, 12 R., pens. 9-10 fr.
Caf^s. Kiosqtie Chinois, by the lake; Salle des Fetes, with garden.
Rue du Casino ; C. du Nord, opposite the station. — Brasserie L4mi,
belonging to the Hot. de la Paix, L. 3, D. 4 fr.
Casino, with a terrace overlooking the lake and a gaming-room ; adm.
1 fr., per month 20, per season 46 fr. ; 2 pers. 30 or 60, 3 pers. 36 or 70 fr.
feTABLissEMBNT THERMAL (in summcr, from 1st April). Mineral water,
10 c. per glass, subscription for a fortnight 31/2 fr., a month 6 fr. ; sulphur-
baths from 2 fr. 10 to 4 f r. 80 c. ; douche from 1 f r. 50 to 4 f r. 80 c. ; less
for subscribers. Over 100 baths, latest improvements, large open pro-
menade. Temp. 50-57° Fahr.
Small Boats on the lake, 2 fr. per 'course' (21/2 fr. on Sun.) and V2 f^'
extra for each pers. beyond one ; ferry across the lake IV2 fr«
Cabs at the station: per hr. 3 fr. (4fr. on Sun. and holidays); to
Montmorency, 3 fr.
Electric Tramway from the station (Rue du Depart): 1. To Mont-
inarency (p. 897); 2. to Paris (Trinite; TN15; Appx., p. 48), by Epi-
nay, St-Denis, and St-Ouen. — Motor Omuibus in summer from nie
station (Rue de TArrivee): 1. To St-Gratien (p. 897), in V* hr., 30 c.;
2. To Deuil, a village about IV4 M. to the N.E. (station, p. 403), in
10 min., 30 c. •
Post & Telegraph Office, Rue de Mora, opposite the church.
H0B8E Races. Twice a month in summer. The course is nearly 1 M.
to the N.W. of Enghien (p. 398; tramway).
' Enghien (131 ft.; pop. 6302), a pretty little modem town,
is pleasantly situated on the banks of a wooded lake (Vj M. long,
Map, p. 899. MONTMORENCY. 25. Route, 397
7* M. broad) and near the forest of Montmorency. It enjoys some
reputation for its Sulphttr Springs, discovered in 1776, which
have proved beneficial in diseases of the mncous membrane and of
the skin. The Etahlissement, in the Grande-Rue, is well organized.
Opposite is the Casino , recently rebuilt. — Enghien is a great
resort of Jewish families from Paris.
About 13/4 M. to the W. of Enghien, beyond the lake, is the village
of St-Ghratien (motor-omnibus, p. 396). The church contains a mod-
ern monument to Marshal Catinat (1687-1712; by Nieuwerkerke), who
owned the ch^lteau behind the church, and two pretty groups of children
in bronze, by Mme. Bertaux ; also, the tomb of Princess Matnilde (d. 1904),
with a replica of her bust by Carpeaux (p. 116, No. 976).
From Enghien to Montmorency. — Railway (2 M.) in 8 min.
(60 or 36 c.). The train passes Pointe-Raqttet and Soisy, — The Elec-
tric Traicway (2 M. in 10-16 min. ; 36 or 30 c. ; p. 896) stops at the Boul.
de VOrangerie and the Rue 8t-Val4ry (both near the church of Mont-
morency), and ends at the Place des Ueriaiers.
Montmorency. — Hotels. Hdt. de France J at the station, 10 R.
from 4, B. 1, L. 3, D. 31/2? pens, from 8 fr. ; Hot. des Trois-MousquetaireSy
at the Ermitage, with a casino; Hdt.-Rest. des Deux-Tourellea, near the
station, L. 2V8, D. 3 fr. — CafAs-Ebstaurah ts. Chalet des Fleurs, at the
station, L. 2»/8, D. 8 fr. ; C. du Cheval- Blanc, 10 Place du MarchS, a
favourite resort of artists in the 18th cent.; Vrai Rest, de V Ermitage,
Rue de I'Ermitage (p. 398).
Cabs at Heyratws, at the H6t. des Deux-Tourelles : 1-3 pers. 2 fr,
per hr., 3 fr. on Sun. ; 4 pers. 21/2 or 3^2 fr.
Montmorency y an ancient town with 7093 inhab., is a favourite
summer-resort of the Parisians, chiefly owing to its beautiful forest.
It is noted for its vegetable produce and cherry-orchards. Mont-
morency has given its name to an illustrious ducal family, which
traces its descent from the 10th cent., and has counted among its
members 6 constables of France, 12 marshals, and 4 admirals. Their
castle was sacked at the Revolution and demolished in 1814.
The Avenue Emile leads from the station to the Place du March^,
traversing the modern quarter of the town. At the first Rond-Point
stands a monument io Jean Jacques Rousseau (1112-1%), by Louis
Carrier-Belleuse (1907; from the model made by his father). To the
N.E. of the March6, in the Rue Camot, is the Hdtel de Ville, for-
merly the H6tel Abbatucci (18th cent.), within a public garden
containing a fine cedar of Lebanon.
On the first floor is a Rousseau Museum, open free on Sun. 2-4 (60 c.
on week-days). Rousseau's furniture and writing-table are shown, together
with the two reading-lamps which he used at night in the open air, his
deathrmask by Houdon, views of his various residences, several busts
and statues, autographs, and handsome editions of his works. — The Mus^e
Municipal, in the same building, contains portraits and autographs of
Gr6try (p. 398) and of Adam Mickiewicz (1798-1865), the Polish poet,
who was buried at Montmorency; also a genealogical table of the Mont-
morency family and a collection of fossils.
The old town, with its steep and winding streets, extends to
the S. In the Justice de la Faix is the Municipal Library (open
25*
398 Route 96. MONTMORENCY. ^ap», pp. 897, 399,
on Sun. & Thurs., 1-3). The 16th cent. Churchy with its small bnt
conspicuous spire, contains fine 16th cent, glass (mostly restored)
and the tombs of two Polish generals. From the terrace in front of
the church, we obtain a fine view of Paris (left), the Sannois hills,
and St-Prix (right). In the Rue du Temple we pass an Interesting
Renaissance house, with fine sculptures.
The Rue Gr6try leads N.E. from the H6tel de Ville to the Rue
de PErmitage (on the right) ; at the comer is a bust of the com-
poser Gr^try, by Colin (1911). No. 10 in this street (to the right
of the entrance; private property, not accessible) is the Ermitage
de Jeom-Jacqae8 Rousseau, which Mme. d'Epinay presented to the
philosopher, and where he and Th6r6se Levasseur lived in 1756-67.
Here he wrote *Emile* and the *Contrat Social*, and completed his
^Nouvelle H^lolse*. Or^try, the composer, occupied the same house
from 1798 till his death in 1813.— To the N.E. of the Rue de
PErmitage is the Chdtaigneraie, a fine group of chestnuts, with
the Restaurant de PErmitage (p. 397).
The Forest of Montmorency, which begins at the Ch&taigne-
raie, covers a very irregular tract to the N.W., about 5000 acres
in extent. The forest consists mainly of chestnuts, and is dominated
by the Forts of Montmorency and MonUignon, which form part
of the outer fortifications of Paris. The pleasantest route, well-
marked and easy to follow, ascends to the N. of the station and leads
to (1^/2 M.) AndiUy (omn. to Ermont-Eaubonne, see below). The
church in this village contains copies of old pictures, one of which,
Mt. Olympus, has been described by Rousseau. From the hill just
above, the prospect extends to the heights of Montmartre, Mont-
Val6rien, and St-Germain-en-Laye. About ^L M. to the N.W., beyond
the fort of Montlignon, we reach the Crotx-Blanche (restaurant),
whence we may descend to the N.W. by the Carrefour du Pont-
d'Enghien (caf6-restaurant) to (1 Ys M.) the Chdteau de la Chasse,
with the scanty ruins of a 14th cent, castle. This spot is 4 H. to
the N.W. of Montmorency and nearly in the centre of the forest.
From Enghien to Paris Ti& Argenteuil, IIV4 ^* railway in
V4-I hr. (fares 1 fr. 80, 1 fr. 20, 80 c.).— The train passes the lake
of Enghien, embosomed in trees, on the left, and the racecourse
(p. 396 ; station) on the right. On a height in the distance rises the
tower of the Chdteau de la Tour, above St-Prix (see below).
1^4 M. Ermont-Eaubonne, two villages 72 M* ^ t^® N.W.
and 1 M. to the N. of the station respectively. Mme. d*Houdetot,
Saint-Lambert, and Rousseau lived here at various times. Omnibuses
from the station to Eaubonne (30 c), Margeney (2 M.; 40 c),
AndUly (3 M.; 50 c; see above), Montlignon (2^^ M.; 40 c), and
St'Prix (3 M. ; 60 c). The last of these pretty villages was the
ARGENTEUIL. »<?• Bo^* 399
temporary .abode of Sedaine (1719-97), the dramatic author, P. L.
Courier (1772-1825), the pamphleteer, and Victor Hugo. Railway
to Pontoise and to Yalmondois, see below and p. 404.
The line now turns to the S. — Beyond (27^ M.) Sannoia the
train descends between the hills of Orgemont (460 ft.) on the left
and of Sannois and Cormeilles (p. 400) on the right. — 4*/g M. Ar-
genteuilj and thence to Paris, see below, Line C.
26. Prom Paris to Pontoise.
18i/r21 M. Railway in i/o-2 hrs., either (A) from the Gare du Nordy
visl St-Denis, Enghien, and Ermont; or from the Oare St-Lazare^ vifi,
Argentenil and Ermont; or (B) from the Gare du Nbrd, vil St-Gratien
and Ermont; or (C) from the Gare St-Lazare^ viS, Argentenil and Conflans-
Ste-Honorine ; or (D) from the Gare St-Lazare^ yik Maisons-Laffitte and
Achferes. Fares 3 f r. 26, 2 fr. 20, 1 fr. 45 c. ; return 4 fr. 85, 8 fr. 50, 2 fr. 30 c.
(Oomp. Maps, pp. 347 and opposite.)
A. Via St-Denis or vii. Argenteuil and Ermont. — For the
two routes from Paris to (O^/g M.) Ermont, beyond which they coin-
cide, see pp. 389-399. Ligne de Valmondois, see p. 404.
To the right, in the distance, is the Chateau de la Tour (p. 398),
rising from the Forest of Montmorency. — 10 M. Cernay. — 11 Y4M.
Franconvilley on the N. slopes of the hills of Cormeilles (p. 400).
— 13 M. Montigny-Beauchamps. Montigny-Us-Cormeilles, about
1^/2 M. to the S., is. more conveniently reached by Line C. — 15 M.
Pierrdaye. To the left, we are joined by Lines C and D; we then
leave to the right a branch to Beaumont (p. 406).- — 18 M. St-Ouen-
rAumdne (p. 403). To the right, a fine view of Pontoise. On the
left our line is joined by that from Ach^res (see p. 401). The train
crosses the Oise. — 1872 M. Pontoise (p. 402).
B. Vii. St-Gratibn and Ermont. — The Seine is crossed before
and after (6Y4 M.) GenneviUiera (p. 348). — 7^8 M. Epinay-sur-
Seine (comp. p. 396). — 8 M. St-Gratien (motor-omnibus to Enghien,
see p. 396). — At (10 M.) Ermont we join the preceding route.
C. Vil Abgbnteuil and Conplans-Ste-Honorinb. — From Paris
to (3^/4 M.) Asni^eSy see p. 347. — On the left is the line to St-
Germain (comp. p. 381). — 41/4 M. Bois-Colombea (17,241 inhab.).
— 5 M. Colombes (^2,862 inhab.). Tramways to Paris (TN6, TNi,
TNi9)j see Appx., pp. 47, 48; to St-Ouen, p. 228; to Maisons-
Laffitte (TNI8), p. 401. — We cross the Seine.
68/4 M. Argenteun (H6t.-Rest. du Soleil-d'Or, by the bridge ;
two small caf6s-rest. at the station; pop. 24,282), an ancient town,
owes its origin to a nunnery founded in the 7th century. Theodada,
daughter of Charlemagne, was one of the abbesses, and H^lolse,
beloved of Ab61ard (p. 252), chose it as her retreat. The Gares de
rOaest-Etat and de Grande-Oeinture are on the N JB. of the town.
400 Route 26. CONFLANS. Map, p. 899.
The modem Church, at the other end, claims to possess the seam-
less coat of our Lord, which, it is alleged, was presented by Char-
lemagne to the ancient convent. A festival in honour of the relic
is held in the first week of May. The wine of Argenteuil is mediocre,
but its asparagus is justly esteemed. — Argenteuil is the head-
quarters of pleasure-boat sailing near Paris. Steamboat to Paris
lYa fr. Tramway (TNi9)i see Appx., p. 48.
Below Aigenteufl a PontrAqueduc carries the liquid sewage of Paris
(comp. p. 206) and also the tramway TN 19 across the Seine; the Pump,
on the left bank, raises the sewage to the level of the plain.
The Pontoise railway then crosses the Grande-Ceinture, and
diverges to the left from the Ermont line (p. 399), making a
wide curve to the N. and traversing the vineyards of Argenteuil.
To the right are the fortified Heights of Sannois (443 ft.) and
Cormeilles (545 ft.). Fine view, to the W., of the valley of the
Seine. — IOV2 M. CormeHles-en-Parisis, a village (pop. 3240)
picturesquely situated on the S.W. slopes of the hills of that name.
Near the church (13th -15th cent.; modem tower) is a bust of
Daguerre (1787-1851), the pioneer of photography, a native of
Cormeilles (coirip. p. 429). Two viaducts. — 11 M. La Frette-
Montigny. To the right are the curious Bvite de la Tuile (394 ft.)
and Montigny (other station, see p. 399), prettily situated at the
end of the heights of Cormeilles. The church of Montigny contains
some good wood-carvings of the time of Louis XV. — 12^2 M.
Herblay, a village with a conspicuous church (12th cent.), on the
steep right bank of the Seine, opposite the forest of St-6ermain.
1572 M. Conflans-Ste-Honorine (Caf6-Rest. on the quay;
pop. 3822) is a large village, picturesquely situated on the steep
right bank of the Seine. On the height are an ancient tower, a
ch&teau, and the Church (12th-16th cent.), containing the Chapelle
de Ste-Honorine with a shrine and relics of the saint (9th cent. ; her
festival takes place on 27th Feb.). The confluence of the Seine and
Oise, from which the village takes its name, is about ^/.2 M. lower
down, near the station of Conflans-Fin-d'Oise (p. 401).
We leave the continuation of the line to Mantes (p. 457) on
our left and turn to the N. — I7Y2 M. Eragny-NeumllCj on the left
bank of the Oise. Here we join Route D.
D. ViA Maisons-Lappitte and Ach^es. — From Paris to
(5^2 M-) La Garenne-BezonSj by the line to St-Germain-en-Laye,
see p. 380. We diverge to the right. To the right is Petit-Nan terre
(p. 381) ; beyond are Argenteuil and the heights of Montmorency,
Sannois, and Cormeilles. We cross the Seine. — 8 M. HouiLles-Car-
ri^es-St'Denis. Houilles (7092 inhab.) lies near the railway, on the
right (tramway, see p. 401), Carrier es-Si-Denis about 1 »/« M. to the
left. On the left we see St-Germain.— 10 M. Sartrouville (p. 401).
— To the right is the Chateau of Maisons. We again cross the Seine.
Maps, pp. 399, 403. MAISONS-LAFFITTE. »^. Route. 401
10 Y2 M. Maisons-Laffltte. — Hotel. Hdt du Soleil-d'Or, at the
end of Avenue Longueil. — Cafi&s-Rbstaueants. C. du Pavillon-de-l Hor-
loge, at the end of that avenue; C du Pare, behind the preceding, at
the entrance to the park. — Post & Tbleoraph Office, Avenue Longueil.
— Electric Tramway to Paris (see below), same avenue, near the sta-
tion.— Omnibus to St-Germain (41/2 M. ; p. 385), vi3, Carri^res-sous-Bois.
— English Church (AU Saints' ) , Place Nouvelle; services at 11 a.m. and
6 p.m.; chaplain. Rev. G. B. Vivian Evans (comp. p. 359).
Maisons-Laffltte, so called from the former owners of its
chateau, is a town with 9674 inhab., situated near the forest of
St-Germain, on the left bank of the Seine, mostly in a park. The
broad Avenue Longueil, beginning near the station, leads past the
Mairie and a modern church to the chateau.
The *Cli4teau de Maisons, erected by Fr. Mansart in 1642-51
for Ren6 de Longueil, Surintendant des Finances, is one of the
finest examples of classical architecture in France. It was after-
wards occupied by the Comte d'Artois, brother of Louis XYI. (1781),
Marshal Lannes (1804), and M. Laffitte, the banker (1818). It was
purchased by the state in 1905, and was opened in 1912. Adm. daily,
except Mon. and on Fri. morning, 10-12 and 1.30 to 4 or 5. Curator,
M. Paul Yitry. The chateau contains a fine collection of Grobelins
and Beauvais tapestry, paintings and statues (17th-18th cent.), and
furniture. A large portion of the park, parcelled out in building-
lots by M. Laffitte, is studded with the villas of Parisian financiers.
The Racecourse, one of the most important near Paris (about
1 Y4 M. in length ; see p. 41), skirts the bank of the Seine. On race-
days special trains run direct from Paris to the course (return-fare
2 fr. 70, 1 fr. 80, 1 fr. 20 c). Visitors arriving by road from Paris
(tramway, see below) turn to the right just beyond the bridge.
Opposite the racecourse lies SartrouviUe, prettily situated Y2 ^•
to the N.E. of the railway station.
A Tramway {TN18; see Appx., p. 48) from Paris to Maisons-
Laflitte starts from the Porte Maillot (p. 244) and passes Neuilly (p. 232),
Courbevoie (p. 348), Colombes (p. 399), Bezons (p. 381), Houilles, and Sar-
trouville (p. 400).
We cross the lower part of the forest of St-6ermain (p. 389).
At (131/2 M.) Achdres (buffet), V/^ M. from the village of that
name, and near the racecourse of St-Germain (p. 389), the Pontoise
line diverges to the right from the Grrande-Ceinture and Rouen lines
(p. 457). Farther on is a station for the Village ofAch^es, beyond
which we again cross the Seine, near its confiuence with the Oise.
To the left is the hill of the Hautil (590 ft.; fine view).
16 Y4 M. Conflans-Fin-d'Oise, ^2 M. from the village (p. 400).
Near the station is a suspension-bridge over the Oise (toll 5 c.)
To reach (IY2 ^O Andrdsy we cross the bridge and turn to the left.
We pass under the lofty viaduct of the line to Mantes via Ar-
genteuil. The Oise a little farther on makes a detour of 6 M. —
I8Y2 M. Eragny-Neuville, where we join Line C (p. 399). To the
402 Route i€. P0NT0I8E.
right are Lines A and B (p. 399) and that from Beaamont to Pontoise
(p. 403). 207, M. St'Ouen-VAumdne (p. 403). We cross the river.
21 M. Pontoise. — Hotbls. Hdt, de Pontoisey 10 R. from 2, L.
2^/8, D. 8 fr., Hdt. de la Qarej 24 B., same charges, both at the station;
HOt. du Qrand-Cerft near the bridge.
Pontoise (89 ft.; pop. 9023), the Briva Isarse of the Gallo-
Roman period, is an ancient town, picturesquely situated on a
height on the right hank of the Oise, at its confluence with the
Viosne. It was frequently the residence of the Oapetian kings. As
the capital of the Vexin (Yeliocasses) it was often involved in the
wars of the kings of France with the kings of England 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
Gothic church of St-MacloUy 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), a native of Pontoise, husband of
Pauline Bonaparte and brother-in-law of Napoleon I. The charch
was founded in the 12th cent, and rebuilt in the 15th-16th. Roman-
esque influence is still apparent in the choir and transept. The
tower (of 1547) terminates in a Renaissance lantern. The Ghapelle
de la Passion, to the left on entering, contains a Holy Sepulchre,
in the Renaissance style, with eight statues. The stained-glass
windows date from 1545, except those adjoining the tomb, which
are modem. Opposite the pulpit is a Descent from the Cross, by
Jouvenet. The choir contains Renaissance wood-carvings.
In a small 15 th cent, mansion in the Rue Lemercier, not far
from the H6tel de Ville, which is on the side next the valley of the
Oise, is a Mus6e of antiquities, fayence, and works by Savine,
Rude, Gerard, L. Robert, P. Delaroche, etc.
Near the church is a Promen<ide, at the entrance to which is a
statue of *La Patrie*, by A. CarUs (1909). At the end is a mound
affording 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 (Walter), founder of the Abbey of St-Martin de Pontoise
(11th cent.), a curious monument of 1146, with a statue of the saint.
— The Fair of St-Martin is held at Pontoise on Nov. llth-13th.
Above the station is a Stone Bridgej commanding a good view,
and connecting the town with St-0uen-PAum6ne (p. 403). Between
the two bridges is a large Hospital, founded by St. Louis ; the chapel
contains a good picture, by Ph. de Champaigne, of the healing of
the paralytic.
From Pontoise to Dieppe, see Baedeker^s Northern France.
Map$y pp. 408y 899. ECOUEN. 27.Boute. 403
war
14
[
From Pontolse to Beaumont, 127s M., railway in 30-40 min.
(fares 2 fr. 25, 1 fr. 50 c, 1 fr.). — The train crosses the Oise to
(^/, M.) St-OiAen-VAumdne. This station is farther from the town
than those mentioned on pp. 399 and 402. Farther on, to the right,
is the Ghdteau de Mavbuisson, on the site of the Cistercian ahhey
of that name, founded hy Blanche de Castille in the 13th cent., in-
cluding a hnge bam and an old tower (at one comer of the park).
— 174 M. Epluches. We again cross the Oise. — 2^8 M. ChaponvcU.
— 4Y2 M. Auvers-Bwr-Oiae (Hdt. du Nord, 20 R. at 2-4, d6j. or D.
3 fr.), a prettily situated village with an interesting church of the
12th-13th cent, (interior restored), and much frequented by artists
and Americans. Good fishing in the Oise. Near the church is a
bust (by Pagel; 1906) of DavJbigny (1817-78), the painter, who
lived at Auvers. About 1 M. to the right, on the opposite bank,
lies M&ry (p. 405), on the line to Yalmondois. — 6 M.. ValmondoU
(see p. 405).
From Valmondois to Beaumont, see p. 405.
27. From Paris to Beauinont-siir-Oise.
A. DiKECT Line vii. MoNTSOuiiT.
28 M. Railway in 80-80 min. (fares 4 fr. 16, 2 fr. 80, 1 fr. 80 c), from
the Gave du Nord; Beauvais and Amiens line.
From Paris to (6Y4 M.) Epinay -Villetaneuse^ see pp. 389, 396.
— 7Y2 M. DeuU-Montmagny, two villages, the former (pop. 4351;
motor-omnibus to Enghien, p. 396) on the left, at the foot of the
hill of Montmorency, with a Romanesque church of the 12th-15th
cent, and relics of St. Eugene, the latter on the right, below the
Butte PinQon with its fort. — 8V4 M. Groslay. — 9^4 M. SarceUes-
St-Brice, The two villages, nearly 1 M. apart (omnibus 15 c. Sun.
25 c), both contain old churches. The train ascends the dale of
the Rosne.
11 M. Eoouen-EzanvUle. Ecouen, on the hill to the right,
has a handsome Ghdteau, built in 1540-52 by Jean BuUant for the
Constable Anne de Montmorency (p. 408), and afterwards owned
by the Oond6 family. It is now one of the schools founded by
Napoleon I. for daughters of members of the Legion of Honour
(comp. pp. 389, 395). Visitors are admitted on Thurs. and Sun.
at 2 p.m. with a card obtainable at the Chancellerie de la L6gion
d'Honneur, 1 Rue de Solf^rino, Paris (comp. p. 60). The Church has
a 13th cent, choir and some fine stained glass attributed to Jean
\ ^usin. — Le Mesnil-Avhry, 2^2 M. to the N. (omnibus 60 c.)
a Renaissance church.
404 Ro^te 27. ST-LEU-TAVERNY. ^aps, pp. 403, S99.
13 M. Domont, on the N. slope of the forest of Montmorency
(p. 398), is dominated by a fort. The church has a 12th cent. apse.
— 13*/4 M. Bouffimont, — ISVa M. MontsouU-Maffliers. Mont-
soultf ^1^ M. to the W., on the edge of the forest of L'Isle-Adam,
contains a fine ch&teau and a 16th cent, church. The church at
Maffliers, V/^ M. to the N.W., has a 16th cent, choir.
From Mohtsoult to Luzarches, 7 M., railway in 25 min. (fares 1 fr.
25, 80, and 60 c.). — S "M.. Bdloy-St-Martin. Belloy, to the right, contains
an interesting 15th cent, church. 8t-Martin-du-Tertre, to the left, rises
picturesquely on the S.E. border of the forest of Carnelle (see below).
To the left is the Chdteau de FranconviUe (see below). — The train now
enters a cutting, beyond which we have a fine view, to the left, of the
valley of the Oise. — About 2 M. to the N. of (41/4 M.) Viarmes is the
old Abbey of Royaumont, founded by St. Louis in 1228, occupied by the
Oblates nom 1865 to 1906, and now private property. — 7 M. Xjiizarches
(HStel St-Damien, 12 R. at 2-3, L. 21/31 I>- 3 fr.), a small and very old
town, with the church of St-Damien (12th-16th cent.). About I1/4 M. to
the N.E. is the forest of Coye, which extends to the forest of Chantilly
(p. 407). The road passing the station leads through the town, and then
ascends through woods to the (2 M.) Chdteau of Champldtreux, built in
the 17th and 18th centuries.
We now pass through a pretty valley and cross a corner of the
Foret de Carnelle, which contains many attractive walks and the
'Pierre Turquoise', an interesting megadithic monument. — 20 M.
Preales (H6t. Paillard). To the right is the grand Chdteau de
Franconville-sou8-Bois, rebuilt in 1877 by the Due de Massa,
with a fine park. The nearest station to it is Belloy (1 M.; see
above), on the Luzarches line. — 21^/4 M. Nointel, with a hand-
some ch&teau and park. — The train crosses the Oise and joins
Line B (see below).
23 M. Persan-Beaumont, see p. 405.
B. Via Ermont and Valmondois.
25 M. Railway in 60-80 min. (same fares), from the Gare du Nord.
From Paris to (S*/* M.) Ermont, via St-Denis, see pp. 389?
396, 398.— On the left is the line to Pontoise. — 10 M. Ermont-
HaUe. The forest of Montmorency crowns the hills on the right.
— 101/2 M. GroS'Noyer.
12 M. St-Leu-Taverny (H6t.-Rest. de I'Hermitage; pop. 4022)
formerly possessed a ch&teau and park of Louis Bonaparte, King
of Holland, afterwards occupied by the last Prince of Cond6,
who hanged himself there in 1830. The first street to the right
of the station leads to the Church, containing, in the apse, the
marble monument to Louis Bonaparte, by Petitot (apply to the
sacristan, 47 Grande-Rue). In the crypt are the tombs of Charles
Bonaparte, father of Napoleon I., and those of Louis Bonaparte
and two of his sons. At the end of the Grande-Rue, to the right
of the church, is a Place, whence a street diverges on the left
Maps, pp. 899, 408. L'ISLE-ADAM. 27. Route. 405
to the monnment of the Prince de Cond€j a column surmounted by
a cross and adorned with two angels.
127, M. Vauoellea. — l^ M. Taverny (3619 inhab.), to the left,
at the foot and on the slope of a hill adjoining the forest of Mont-
morency, commands a fine view. The handsome Church, half-way
up the hill, dates from the 13th and 15th centuries. Above the S.
portal is a fine rose-window in the flamboyant style. The interior
contains a Renaissance altar and wood-carvings (Martyrdom of St.
Bartholomew). — I4Y4M. Bessancourt, with a church of the 13th
and 15th centuries. — 15 K. Fr^pillon. — 15^/2 M. M^ry-swr-Oise.
The village is Y2 ^- ^^om the station. The church of St-Denis is
of the 15th cent.; the chateau has belonged to the Lamoignon family
since 1798. Superb view of the valley. — 18 M. M&riel, on the left
bank of the Oise.
The mined Abbaye du Vol, 1 M. to the E., is reached by taking the
road beyond the village, and then turning to the left. This Cistercian
abbey, secularized in 1791, now contains a factory (visitors apply to the
proprietor). The chief remains consist of a 12th cent, building, with two
stories, containing the refectory and chapter-house, and one of the walks
of the old cloisters.
The railway then crosses the Oise. — 18^4 M. Vcdmondois,
the junction of the Pontoise line (p. 403) and of a branch-line to
Chars (on the Paris to Gisors line) via Nesles-la-ValUe and
Marines.
2OY2 M. Iilsle-Adam (H6t. de I'Ecu-de-France, near the
bridge, 25 R. from 3, L. and D. k la carte; pop. 3945), a pleasant
little town, lies on the left bank of the Oise, which here forms two
islands, and at the foot of the slopes covered by the forest of L'lsle-
Adam. It has a small chateau on the larger island, on the site of
one built in 1069 and destroyed during the Revolution. The famous
Villiers de I'lsle-Adam, Grand Master of the order of St. John of
Jerusalem (d. 1534), was a scion of the family that held this castle.
— The railway station is at Parmain, on the right bank, connected
with the town by a bridge spanning the islets.
Following the left bank, we pass near a fountain decorated
with a bust of the landscape-painter Jules Dupr^ (1812-89), by
Marqueste, and reach the Churchy a Renaissance edifice of the-
16th-17th cent., restored in the 19th. The pulpit was executed by a
German artist in 1560. The choir-stalls date from the same period;
the altar-piece in carved wood (15th cent.; in a chapel to the left)
represents the Passion. — The fine avenue to the left, beyond the
church, ascends to the forest, which affords many pleasant walks.
The valley now expands and ceases to be picturesque. — The
church of (23 M.) Champagne, on the left, has a fine spire of the
13th century. — 25 M. Per san- Beaumont. Persan, on the left, is
a manufacturing village.
406 Route 27. BEAUMONT-SUR-OISE. Maps, pp. 899, 408.
Beaumont-BUr-OiBe. — Hotkls. H6t. des Quatre-FUs-Aymon,
opposite the bridge, 14 R. from 2, B. 1, L. 8, D. SVd pens, from 6^/9 fr. ;
Hut du Orand'Cerf; M6t du Paon.
Beaumont, a small town with 4402 inhab., lies Y, ^- ^^^^ ^^^
railway, on a height on the left bank of the Oise. In the 10th and
11th cent, it had for territorial lords the Counts of Beaumont, but
it was ceded to St. Louis, and afterwards became an appanage of the
Cond6s. The interesting Parish Churchy of the 13th cent., reached
by a flight of steps, contains double aisles surmounted by galleries.
The lateral tower was finished in the Renaissance style.
Passing the church-tower, following the streets to the right,
and turning again to the right at the Hfitel de Ville, we reach the
Place du Chdteau or Promenade, adjoining which is part of the
old wall of the chateau, with round towers at the comers.
Fbom Beaumokt to OBiciii, 18*/4 M., in V2 hr., viS, Bruyhres'-sur-Oise,
Boran, Pricy, and St-Leu-d^ Esaerent (Gothic chnrch of the 12th cent.). —
OreU, p. 416.
28. From Paris to Chantilly.
Visitors to Paris should on no account omit an excorsion to OhantiUy
(on Thurs., Sat., or Son., see p. 407), where they may wander through
the chd.tean at their leisure, undisturbed by any official conductor, an ad-
vantage they do not enjoy at Fontainebleau.
Chxmik de Feb du Nobd (Gare du Nord), 26Vs ^m i^ 35-86 min.
(fares 4 fr. 60, 8 fr. 10 c, 2 fr.; return 6 fr. 90, 4 fr. 95, 8 fr. 25 c). Ex-
cursion return-tickets are issued (ticket-office No. 21) on days when the
admission to the chateau is free (Sun. and Thurs.), for 6 fr. 15, 4 fr. 30,
2 fr. 80 c. ; but they are available for certain trains only.
From Paris to (41/2 M.) St-Denis, see p. 389. The Enghien
line (p. 396) diverges to the left. Beyond the Canal St-Denis
(p. 249) rise the fort of the 'Double Couronne du JSTord' suid the
Fort de la Briche, on the right and left. — 7 M. Pierre fttte- Stains.
The village of Pierrefitte (4268 inhab.) is situated on a height
commanding the entire valley of Montmorency. .Tramway to Paris
(TN20), see Appx., p. 48; to St-Cloud, see p. 356. Stains (3584
inhab.) is connected with St-Denis by a tramway (15 or 10 c).
9Y2 ^' ViUierS'le-Bel-Gonesse. ViUiers-U-Bd, 2 M. to the
N.W. of the station, with which it is connected by a steam-tramway
(30 c), lies at the foot of the hill of Ecouen (p. 403). Gronesse
(pop. 3131), 2 M. to the S.E. of the station, has a church of the
12th-13th centuries. (Omnibus between these villages 30 c. Sun.
and holidays 40 c.)
From (I2Y2 ^0 GoussainviUe an omnibus (70 c.) plies to
MareiUen-France, 41/2 M. to the N.W., with the old chateau of the
Dukes of Gesvres; it passes (21/2 M.) Fontenay-en-Parisis, with
a church of the 12th-13th centuries. — 15 M. Louvres has a 16th
church. — 188/4 M. SurmUiers,
MapB, pp. 408, 488. CHANTILLY. ^8. Route. 407
A diligence (1 fr.) plies hence to Mortefontcdne (Hdt. de la Pro-
vidence, L. 21/s, B. 3 fr.)? a village A^U M. to the E., with a Chdteau and
fine Park which once belonged to Joseph Bonaparte. Visitors are ad-
mitted on San. to the chief portion of the park.
The train now enters the Forest of Coye. — 2272 M. Orry-
Coye, station for Orry-lorVille (omnibus), l*/* M. to the S.E., and
Coye, l'/4 M. to the N.W. From the station we may walk through
the wood to (15-20 min.) the Etang de la Reine-Blanche (p. 415 ;
comp. the Map), and thence to Chantilly.
The train crosses the valley of the Thdve by a handsome stone
ViadiLct, 128 ft. high, commanding a fine view. To the right are
the Etang and the Ch&teau de la Reine-Blanche (p. 415). Farther
on, the train enters the Forest ofChantUly (p. 415). — To the right,
as we reach (25^2 M.) ChantiUy, we notice the extensive siding
for the special trains on race-days.
CHANTILIiY.
The Statiov is V4 M. to the S.W. of the town (see Map, p. 41S).
HoTSLS (charges should be previously ascertained). *Hdt. du Grand-
Co7id4, first-class, patronized by the Jockey Olub, Av. de la Gare, opposite
the racecourse, 100 R. from 10, B. 2, L. 6, D. 7, pens, from 20 fr., rest, h la
carte; H6t. d' Angleterre, Rue de Paris, 20 R. from 4, B. IV4, L. 8V«, I>.
81/a (in the rest. 6), pens, from 9 fr.; Hdt. du Lion-d^Or, 4A Rue du Conn6-
table, L. 2 Va? D. ^k ^'* * ^^t. du OhdteaUj 22 Rue du Oonn^table, same
charges ; H6U d* Albion, 18 Place de I'Hospice, L. 8, D. SVa fr. ; H6t. du
Nora, near the station. — Noguez^s Family Hotel, 10 Av. de la Gare, 20 R.,
pens. 8-12 fr., good. — RssTAUitAiTT. Eugene Lefort, 10 Rue du March^. —
CArAs. Oafd ae Paris, Rue de Paris, and others.
Gabs. The drivers usually demand 2 fr. to the. town, and 3 fr. to
the chateau, which are barely 5 and 10 min. drive from the station (pre-
vious baigain essential). To the Chd,teau de la Reine-Blanche and back,
about 10 fr.
Post akd TxiixaRAPH Omom, Rue du Oonn^table, next the Hotel
de Ville.
British ViCB-Consuii, E. B. Spearman, CM.Q,, 27 Av. de la Gare. —
English Ghuroh (St. Peter's), Rue des Cascades, near the Mairie: services
at 10.80 a.m. and 8 p.m.; chaplain, Rev. A. 8. TViompson. — Weslktak
Chapkl, Av. de la Gare. — Ihstitutb fob Eitolish Stablb-Boys (of whom
there are 600 at Chantilly).
Golf Likks, p. 416.
ADidssioir TO THK OhAtsau ahd Park (both closed on lace-days). —
The chftteau {Mu84e Condi) is open between 1 and 6 p.m. on Sun., Thurs.,
& holidays (free) and Sat. (1 fr.), from Easter till the Sunday after 14th Oct.
(see newspapers). In winter intending visitors should apply by letter to
the 'conservateur* (comp. p. 60). A 'Guide du Visiteur' (75 c), a catalogue
of the pictures (iVjfr. ; illus., 6, 7, or 8 fr.), and a work by the curator,
Gustavo Macon, *(iJhantilly et le Musde Cona6' (1910; 12 fr.), are sold at
the entrance. — The Park is open all the year round on the same days,
1-6 in summer, 1 to 4 or 6 in winter.
ChantiUy (pop. 5556) was famous, especially in the 17th and
18th cent.| as tiie residence of the Cond6s, and is now widely known
for its important race-meetings, which are held at the beginning
of June and September. It is the Newmarket of France and contains
408 Route 28. CHANTILLT. ChdUau.
large establishments for the training of race-horses, in connection
with which a considerable English colony has settled in the town.
The best way from the station to (V/^M.) the ch&tean is by the
Av. de I'Aigle (comp. Map, p. 413), which is reached by following
the railway-line to the right on leaving the station; at the first
carrefour, cross the Route de Paris, bearing to the left. The Avenue
de la 6are, oj^site the station, also leads to the Route de Paris ;
the latter leads into the town, which, however, contains nothing
noteworthy. The continuation of the Av. de la Gare beyond the
railing is the Route du Bois-Bourillon, by which we may also reach
the ch&teau, crossing the racecourse (Yg M. from the station).
The Pelouae, or racecourse (see p. 41), to the S. of the town,
on the edge of the forest, is about 126 acres in area, and presents
a busy scene in the morning when the horses are being exercised.
The large buildings to the N. are the stables of the Cond6s (p. 414).
A broad moat containing some ancient carp separates the race-
course from the castle-grounds, which we enter through a hand-
some iron gate. The extensive building rising on the right is the
Chdteau d'Enghien, built in 1770 to accommodate the numerous
guests of the Cond^s. Opposite is the equestrian statue of Anne de
Montmorency (see below). On the left rises the —
^Ch&teau de Chantilly, consisting of two main divisions:
the Chdtdet or Capitaineriej built about 1560, probably by Jean
Btdlantj for the Constable Aune de Montmorency, and the Grand
Chdteau, built in 1876-82 on the site of the chateau destroyed
during the Revolution. The modem edifice was designed by Daumet
for Prince Henri d'Orl^ans, Due d'Aumale (1822-97), the fourth
son of Louis Philippe, and heir to the last of the Condds. Under
its roof the duke gathered the art-treasures and heirlooms of his
family and the valuable collections of paintings, sculptures, fur-
niture, and antiquities which he had amassed during fifty years,
bequeathing at his death the building and its contents to the In-
stitut de France. The Mus^e Cond4, as it is now called, is one of
the greatest objects of interest in the environs of Paris. — Curator,
M. Gustave Macon.
The medieeval castle of Chantilly, founded in the 9th cent., belonged
to the Seiffneurs de Senlis until the middle of the 14th century. Rebuilt
in 1S86-9S by the D'Orgemonts, it came by inheritance to the Montmorency
family. The Constable Anne de Montmorency (1492-1567), who shared
the campaigns and the artistic tastes of Francis I., employed Pierre
Chambigea to alter and embellish the ch^ltean, to which the Ch&telet
(see above) was afterwards added. Dnke Henri of Montmorency, Anne's
grandson, was executed in 1682 for his connection with the rebellious
Duke of Orleans, and his possessions passed to his brother-in-law, Prince
Henri II. of Bourbon-Conde. Under Louit II, of Cond4 (1621-86), known
as the ^ Grand Cond4' for his warlike exploits in Alsace, the Nether-
lands, and S. Germany, Ghantilly became the scene of magnificent fdtes,
which were suspended by the banishment of Cond6 in 1654 for his com-
Vcity in the wars of the Fronde, only to be renewed with fresh splen-
1 Ofnnd Vestibule
2 /fotande
3 Vestibule diiMusee jl5 ikmUtjorio
4 Galerie du LofjiA- 16 Cabinet des Gemtnes
5 Petite GaJeriednLogi'^Vl Antiduimbre
6 Vestibule du Logis jl8 Salle des Gardes
1 Salle de la SmalalL S^Cha^nbre
^ Sidle de Let Minerve \TSS Graxvd Cabinet
9 Cabifiet des4nUques:\2l Sdlath des Sirwes
10 Cabinet du GioUo 122 Grand ^scalier
11 Salle IsalteUe 23 Galerie de la ChapeUe,
12 Salon d 'Orlea/is- 24 Salon de Musitfue
et ioipnmo yar
''Grflled'Horaiefur
VTagner ib D«bes . 1«I
Chdteau. CHANTILLY. 28. Route. 409
dour after his return in 1680. Mme. de S^vign^ describes (in her 95th
letter) the gorgeous reception given here- to Louis XIV. in 1671; and
relates the suicide of Vatel, the prince's maitre d'hotd^ because the fish
failed to arrive in time for the royal banquet. Embellished b^ Mcmsart
and surrounded by a park laid out by Le Ndtre in 1668, Ohantilly at that
time rivalled the most sumptuous royal palaces, while Racine, Moli^re,
La Fontaine. F6nelon, and Boileau were amongst its most frequent g^iests.
Of the buildings planned by Louis Henri of Bourbon-Covdi (1692-1740),
minister of Louis XV., only the stables (p. 414) were completed. The
ChUteau d'Enghien (p. 408) dates from the time of his son Louis Joseph
(1786-1818). During the Revolution the Grand Chateau was demolished.
The last of the Cond^s died in 1880 (see p. 404).
The Porte de la Herse admits us to the Cour d'Honneur.
Opposite is the Peristyle^ the entrance to the building. (Sticks and
umbrellas must be left.) Catalogues, p. 407. — To the left of the
Grand Vestibule (PI. 1) is the Grand Staircase (p. 413) ; in front is
the Chatelet (p. 412). — We ascend the steps on the right to the —
Grand Chateau. Galerie des Cerps, or Dining Room, de-
corated with eight *Gobelins tapestries of the 17th cent., after Van
Orley ('Chasses de Maximilien'). Above the fire-place and the doors,
St. Hubert, Venus, and Diana, all by Baudry.
Picture Gallery, to the right. To the right and left of the
door: Stag-hunt, by Barye, Boar-hunt, by M^ne (bronzes), and two
paintings by Poussin, 302. Landscape with nymphs, 298. Infancy
of Bacchus. — On the right: *615. Meisaoniefj Cuirassiers (1805);
*545. A. de NeuviUe, Skirmish on a railway (1870) ; 438. H. Vemet,
The parley; 531. Rosa Bonkeur, Pyrenean shepherd; *528. Fro-
mentin, Hawking in the Sahara; 375. Nattier , Mile, de Clermont at
Chautilly ; 443. L. Robert, Neapolitan woman amid the ruins of her
house; 428. Ghros, Bonaparte in the plague-hospital at Jaffa (1799;
sketch for the picture in the Louvre, p. 153, No. 388); Decamps,
476. Turkish children at a fountain, 474. Turkish guards on the
road to Smyrna ; *456. Delacroix, The Foscari ; above, 426. G^ard,
The three ages; Ph. de Champaigns, 309. Mazarin, 308. Richelieu;
448. Corot, Open-air concert; 395. Drouais, Marie Antoinette;
145. Sir J. Reynolds, Philippe-Egalit6, Duke of Orleans, father
of Louis Philippe; 332. Largilliire, Portrait; in the corner, 383.
Lancret, Luncheon-party ('Dejeuner de jambon'). — Rotunda and
adjoining rooms, see p. 410. — On the left wall, returning towards
the entrance: 366 (in the corner), De Troy, Luncheon -party ('De-
jeuner d'huitres'); 9. Sienese Sch. of 16th Cent, Dancing angels;
*32. Titian, EcceHomo; above, 17. Francia, Annunciation; *59.
Scipione Gaetano (Pulzone), Portrait; 305. PovLSsin, Massacre of
the Innocents ; 40. Penni, Madonna of Loreto (after a lost original
by Raphael); *35. Palma Vecchio, Madonna with SS. Peter and
Jerome (1500); 301. Poussin, Landscape with Numa Pompilius
and the nymph Egeria. — In the centre of the room is a marble
bust of the Due d'Aumale.
410 Route 98. CHANTILLY. Chdteem.
At the end of the picture-gallery is the Rotuwda (PL 2), in the
Tour Senlis. The floor is paved with mosaic from Hercalaneum.
The ceiling-painting, the last work of Baudry, represents the Rape
of Psyche. Statue of Joan of Arc, by Chapu. The walls are hung
with pastels, water-colours, miniatures, and drawings hy Meissonier
(to the right, 513), Decamps (483-485), Marilhat (501), Dektcraix
(458), Van Ostade (129), Watteauy Rembrandt, Ruysdael (139).
102. Unknown Artist (10th cent.), Otho the Great (Rhenish min-
iature).— We return to the picture-gallery and enter on the left the —
Yestibulb du Mus^b (PI. 3), containing a large bronze Japanese
vase. — Galbrie du Logis (PI. 4). Portrait-drawings, chiefly of
the 16th cent., including specimens of Lagneau, Dumoustier, and
NanteuU, — The Pbtitb Galbbie du Logis (PL 5), parallel witii the
last, also contains drawings (by Rigaud, Oudry, VanLoo, Greuze,
Isahey, J. B. Huet, and Ghi&rin), besides ivory-carvings and coins.
— Vestibulb du Logis (PL 6). Drawings: Perugino (study);
Tiepolo; alleged cartoon of the Gioconda of Leonardo da Vinci
(comp. p. 119); Raphael, A monk; Griulio Romano; 40a. Attr. to
Raphael, Three fragments from the cartoon of the Calling of Peter,
now in London. Bust of the Due d*Aumale, by Dubois (1896).
Salle de la Smalah (PL 7; comp. p. 365), to the left. Draw-
ings and water-colours of scenes from the life of the Due d'Aumale ;
portraits of him, his father (Louis Philippe), and other members
of his family; on the left of the exit, 551. DetaiUe, Mounted
grenadiers at Eylau in 1807.
Salle db la Mikebyb (PL 8), in the Tour du Connitable.
Central glass-case: Fine vase from Nola; Tanagra figurines; Greek
coins and bronzes (*Minerva, discovered at Besangon, Dancing
satyr, Jupiter). Six panels witii Cupids, by Baudry. Drawings
by *Prud*hon (frieze of the seasons), Ingres, etc.
Cabinet des Antiques (PL 9). Three large Greek bronze vases;
articles found at Pompeii. On the left of the entrance: 157.
Lawrence, Francis I. of Austria. — Cabinet du Giotto (PL 10).
Small Italian paintings, including: 14 (opposite the window), Ros-
sdli. Madonna; 1 (left of the exit), GioUo, Death of the Virgin. —
Salle Isabbllb (PL 11). 506. Th. Rousseau, Landscape; 140. W.
van de Vdde the Yr., Sea-piece; 457. Ddaeroix, Moorish guards;
503. J. Dupri, Port St-JTicholas (Paris); 533. Gr4r6me, Duel after
the masked ball ; 424. Boilly, Draught-players at a caf 6 (ca. 1820) ;
514. Meissonier, Dragoon of the time of Louis XV. ; 480. Decamps,
Don Quixote; 138. J. van Ruysdtzel, Dunes at Scheveningen ; De-
camps, 482. Child and sheep, 478. Turkish school; 519. Dautigny,
Chateau of St-Cloud.
The Salon d'Orli&ans (PL 12) contains a collection of drawings
and engravings in portfolios, including about 600 portraits of the
16th cent., 480 drawings by CarmonteUe (18th cent.), and 600 draw-
CMtecm. CHANTILLY. ^ 28.R<mte. 411
ings by JRaffet. On the walls: 521. JcUabertf Marie Am^lie, wife
of Louis Philippe; 552. Bormatf Due d'Aumale (1880); 454. Mile.
Cognietj Adelaide of Orleans, sister of Louis Philippe; several
Italian paintings.
Salle GABOLms (PI. 13), chiefly portraits of the Orleans and
Oond6 families. On the left, 330. LargilM^e, Mile. Duclos as Ari-
adne ; 136. Van Everdingeny Tempest on the Zuider Zee ; GreuzCy
391. Girl's head, 394. Surprise; 331. LargillUrCf Elisabeth Char-
lotte, Princess Palatine; 467 (above the door),iawi,Duchesse d'Au-
male; 372, 371. Small works by Watteau; portraits by Mignard
and Nattier.
Cabinet Clouet (PI. 14; chiefly portraits). 114. H. Aide-
grever(f), Portrait of himself; 130. The Grand Cond6, by Teniers;
122. Pourhus, Henri IV.; 49. Primaticcio (f), Henri II.; 119, 121.
Portraits by MiereveU; 404, 403, 402. Female portraits by Mme.
V%g€e-Lebrun ; 113. Catherine de Bora, by Barth. de Bruyn. —
We then pass through the door on the right of Room 13, cross the
picture-gallery, and enter the —
Galerie de Psych6. At the entrance, on the right, wax bust of
Henri IV., by G. Dupr6 (1610). *Stained-glass windows (grisaille),
illustrating the story of Cupid and Psyche, from the 'Golden Ass' of
Apuleius, 44 designs executed in 1541-42 after cartoons of the
School of Raphael (by Mich. Coxie?), for the Chateau d'Ecouen
(p. 403). On the opposite wall are portrait-drawings of the 16th-
17th cent., mostly by Clouet, and drawings by Van Dyck, Ra-
phaelf and Giulio Romano. Also a copy of Michael Angelo*8 Last
Judgment.
The *Santuabio (PI. 15), a small room to the right, lighted from
the top, contains the gems of the collection. At the end, from left to
right, **39. RaphaA, 'Madonna of the Orleans family', in admir-
able preservation (ca. 1507); *19. Filippino Lippi, Esther and
Ahasuerus, a panel from a marriage-chest; *38. Raphael, The Three
Graces (ca. 1500), a small work, purchased for 25,000^. in 1885;
**201-240. Jean Fouquet, Forty miniatures from a book of hours,
painted in 1452-60 for Estienne Chevalier, treasurer of France
under Charles VII. They were bought for 13,000^. (two others in
the Louvre).
Cabinet of Gems (PI. 16), in the Towr du Trisor, at the end
of the Galerie de Psych6. The glass-cases contain enamels, minia-
tures, porcelain, fayence, medals, goldsmiths' work, jewellery,
weapons, and historical relics. Case LXV, to the left of the end-
window: Cross from the treasure of Bale (15th cent.); monstrance
from Braga, in Portugal (16th cent.); cup by L. Limousin; five
plates by Pierre Courtois. Table-case at the end : *Rose diamond,
known as the 'Grand Cond6'; an enamel hy Benv. Cellini; Abd-el-
Kader's dagger, etc. — To the right we enter the —
Baedeker's Paris. 18th Edit. 26
412 Route 26, CHANTILLY. Chdteav.
*Tribunb. On the walls (above) are views of the various seats
of the Due d*Anmale. Paintings, beginning on the left: 158. S,W.
Reynolds y Sevres Bridge ; *146. Sir Joshua Reynolds^ Lady Walde-
grave and child ; 450. P. DelarochCy Assassination of the Duke of
Guise; *445. Ary Scheffer^ Talleyrand (1828). — 455. DeldcroiXj
Sketch for the painting of the Crusaders (at the Louvre, p. 148,
No. 213); above, 310. Ph. de Champaignef Abbess Ang61ique
Amaud; 300. PotLSsin, Theseus finding his father*s sword; above,
125. Van Dycky Gaston de France, Duke of Orleans (early copy);
369. WatteaUf Cupid disarmed; 314. Mignard^ Mazarin. — 24.
Luini, Salvator Mundi; 36. Mazzolino di Ferrara, Ecce Homo;
*107, 108. Memlingf Jeanne de France and Crucifixion (diptych);
Fra AngelicOy 4. St. Mark, 5. St. Matthew; above, 15. Perugino
(more probably Lo Spagna)^ Madonna between SS. Jerome and
Peter; 3. Lorenzo di Niccolb, Coronation of the Virgin; 10. 8te-
fano di Giovanni^ sumamed Sassetta (not Sano di Pietro), Mystic
marriage of St. Francis of Assisi to Poverty. — *13. Ant. PoUaiuolo
(more probably Piero di Cosimo), Simonetta Vespucci ; 20. Botti-
ceUi or FUippino lAppiy Madonna; Flemish Sch. (J. van Eyck?),
Man and woman; 11. Filippo lAppij Madonna and saints; 106.
Flemish Sch. of 15th Cent. (Dierick Bouts f), Translation of the
shrine of St. Perpetua (1466); 16. Botticelli, Autumn; *105.
Flemish Sch. of 16th Cent. (Memlingf), Anthony of Burgundy,
half-brother of Charles the Bold. — *313. Mignard, Moliere; In-
gres, 430. Portr. of himself, 432. Antiochus and Stratonice, 433.
Venus Anadyomene, 431. Mme. Devau<jay; 425. G&rard, Bonaparte
as First Consul. — 112. Holbein (f), Bugenhagen, the reformer
(1485-1558); portraits by-^. Clouet, etc. — We now return to the
Grand Vestibule, and turning to the right, enter the —
OhAtelet, or Appartement de M. le Prince. — Antechamber
(PI. 17): 378, 379. Hunting-scenes, by Oudry; 380, 381. Dogs, by
Desportes; 147. Boar-hunt, by Hackert; cabinet with a mineral-
ogical collection presented in 1774 by Gustavus III. of Sweden;
Chinese and French porcelain ; stoneware. — Salle des Gardes
(PI. 18). At the entrance, *126, *127. Portraits by Van Dyck;
on the left, 132. J. van Egmont, Portr. of the Grand Cond6; four
*Portraits in enamel by Leonard Limousin (left of the entrance).
The glass-cases at the sides contain old flags, weapons (Italian
knife), and souvenirs. By the fire-place. 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 Chr. Huet and J?e6eZZ/ *Cabi-
net by Riesener, with bronze decorations by Hervieu (companion-
piece to the Louis XV. bureau in the Louvre, p. 156). — Grand
Cabinet (PI. 20). *Louis XVI. furniture (carved and gilded). —
>N DBS Singes (PI. 21), so called from the decorative paintings
Ohdteau. CHANTILLY. 28. Route. 413
of apes attired in fashionable costumes of the 18th cent., attributed
to Chr. Huet. Louis XVI. furniture. — G-albrib du Princb. 351-
363. Paintings by Sauveur LecomJbe, illustrating the battles of
the Grand Cond6 (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, etc. — Salon db Musiqub (PI. 24). Table inlaid with tortoise-
shell, and a fine cabinet, hy Boule. — We return to the antechamber,
and enter (on the right) the —
Library, a gallery containing 13,000 volumes. Some of the
most interesting MSS. are exhibited in Case 16 : near the middle.
Breviary of Queen Jeanne d'Evreux, wife of Charles le Bel (ca. 1330);
below, *Book of hours of the Due de Berry, with superb miniatures
(ca. 1415), and Psalter of St. Louis (1214); also fine bindings. On
the chimney-piece is a terracotta bust of the Grand Cond6, by
Coyzevox.
To the S. of the Grand Vestibule (p. 409) is the Grand Staircase
(PL 22), descending to the ground-fioor, 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 J and a Pastoral, after Boucher) ; four light-holders by Chapu.
The ceiling-painting, representing Hope, ishy Maillart. — Gallery
LEADING TO THE Chapel (PI. 23). Ou the right, two antique chasubles
and two dalmatics; to the left, drawings by DUrer (Annunciation)
and Domenichino (Flight into Egypt), and cartoons by Seb. del
Plombo (Head of Christ) and Raphael (Madonna).
The *Chapel, a sumptuous structure in the Renaissance style,
with marquetry and woodwork of 1548, contains an altar by Jean
Bullant and Jean Goujon, brought from the Chateau d'Ecouen
(p. 403),. and adorned with a marble relief of Abraham's sacrifice.
The fine stained glass (1544), representing the family of the Con-
stable Anne, was likewise brought from the Chateau d'Ecouen. In
the apse (Tour de la Chapelle) is the mausoleum of Henri II. de Cond6,
father of the Grand Cond6, by J. Sarazin, with four bronze statues
and bas-reliefs (1662) ; at the back is a cippus containing the hearts
of several princes of Cond6.
The *Park (adm., see p. 407) was laid out for the most part
by Le Notre^ who began the work in 1663, and was soon afterwards
chosen to design the gardens of Versailles in the same style. The
terrace is adorned with an equestrian statue in bronze of the Con-
stable Anne de Montmorency, by P. Dubois (1886), surrounded
by groups of stags and dogs, by Cain.
To the E. of the terrace we enter the 'Pare de Silvie', with its
numerous shady avenues affording beautiful vistas. In about 8 min.
26*
414 Route 28. CHANTILLY. ^ark.
from the terrace (guide-boards) we reach the charming little Maison
de Sihief a 17th cent, hunting-lodge hidden among trees, which
contains portraits, tapestries, furniture, hunting-scenes, etc. ; also
two paintings from the history of the house, by L. 0. Merson.
The poet TMophile de Viau (1690-1626), condemned to death in 1623
for his 'rarnasse Satirique', was here concealed by Marie Felice des Ur-
sins, Dnchess of Montmorency, whom he afterwards celebrated in his
verses under the name of 'Silyie\ The honse was also the scene of the
romantic love-affair of MUe, de Clermontf sister of Bake Louis Henri,
and the Comte de Melun^ who was killed by a stag while hunting in 1724.
Thence we proceed in a N. direction, crossing the Canal des
Morfondua, to (about 8 min.) the Hamlet, resembling that of the
Petit-Trianon (p. 379); towards the end of the 18th cent, this
was the scene of many 'fStes champStres'. — The park beyond
the Canal de la MancJiCy containing the little ch&teaux of La
Nonette and St-Firmin, and also the ^Vertugadin\ is closed to
the public.
We follow the S. bank of the Canal des Morfondus to the central
part of the park, and soon reach a circular basin around which are
.some fine statues: Bacchus and Hebe, by Deseine; Pluto and Pro-
serpine, by Chapu; Molifere and Le N6tre, by Tony-No'^l; La
Bruy^re, by Thomas; Bossuet, by Gruillaume; the Grand Cond6,
by Coyzevox.
Le Notre's park originally included on the W. a part of the town
of Chantilly, but about 1820 an English Garden was laid out here,
including a Temple of Venus, an Island of Cupid, and other erections
of the second half of the 18th century. In this direction is a build-
ing known as the Jeu de Paum>e (1757), which contains a consid-
erable number of paintings, drawings and sculptures ; tapestries ;
gala carriages; military souvenirs; Abd-el-Kader's tent (comp.
p. 365) ; two leaden dogs brought from Orleans House at Twicken-
ham, referred to by Pope in his poem 'The Alley' ; and other curi-
osities.— After 3 p.m. visitors may quit the park by the adjoin-
ing gate.
Just outside is the Porte St-Denis, an unfinished gateway,
through which we enter the main street of the town. Here, to the
left, are the Church (1687-90), and the extensive Stables of the
Cond6s, built in 1719-36 by Jean Aubert, with accommodation for
260 horses. At present they are empty; entrance from the racecourse,
near the exit from the park. — An equestrian statue of the Due
d^Aumale, by J. L. GerSme, was erected in 1 899 to the W. of the
stables. The 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 chslteau in the background is
obtained from the Senlis road, about 2/3 M. from the church of Chantilly.
We take the road to the N. opposite the church, turn to the right beyond
the Canal de la Manche, and proceed to the E., between the houses of
Vineuil (rail, stat., p. 415) and the N. wall of the park, to a point above
***'» Vertugadin.
Maps, pp. 418, 40S. CHANTILLY. S8. Route. 415
The Forest of Chantllly (about 6050 acres ; sign-posts) is
well kept, but occupies for the most part a flat site, and the thick
layer of sand which, in the interests of the horse-trainers, covers
most of the roads and paths renders walking disagreeable. The
paved Route de Louvres and another road .to the left at the lion
lead in about 1 hr. from the ch&teau to the Carrefour de la Table,
an open space where twelve roads meet, with a large stone table
in the centre. — The Etang de la Reine-Blanche, or de ComeUe,
is a long sheet of water, fed by the Th^ve, a small tributary of
the Oise, lying between the Forest of Chantilly and the Forest of
Coye (p. 407). Near the lower end is the Chdteau de la Meine-
Blanche, a small Gothic hunting-lodge built in 1826 on the site of
an ancient ch&teau once occupied by Queen Blanche, mother of
St. Louis. A little farther on is the large railway-viaduct (p. 407).
Near it is the station of Orry-Coye (p. 407), where we may join the
railway to Paris ; but the express trains do not atop there.
Visitors who are able to spare more than one day for the Chantilly
excursion shonld visit Senlis and Cr^py-en-Valois on the return-journey
to Paris.
From Chantilly to Senlis and Ordpy-en-Valois, 22^2 ^-i
railway in 1 hr. (fares 4 fr., 2 fr. 70, 1 fr. 80 c). — As the train
leaves Chantilly, it crosses the valley of the Nonette by a viaduct,
485 yds. long and 72 ft. high ; we then leave on the left the line to
Compiigne (52 M. from Paris) via Creil (31*/4 M.; see Baedeker* s
Northern France). — 1^/^ M. St-Maximin; 3 M. VineuU (p. 414).
Between these two stations is the Chantilly Golf Course. — 4^1 ^IJL.
St'Firmin, 1 M. to the right, on the edge of the Forest of Chantilly.
8 M. Senlis. — Hotels. H6t. du Grand-Cerf, 47 Rue de la R6-
publique, 20 R. from 3, B. IV4, L. 8,T). 3V«j pens, from 7 fr., omnibus
30 c. ; Hdt. du Nord, 66 Rue de la Rdpublique ; Hot. dee Ar^nea, 30 Rue
de Beauvais, L. 2i/^, D. 3 fr. — Post & Tblbgbaph Office, 1 Rue Bellon. —
Bureau d^ Information de Touriame, at the Hdt. du Grand-Cerf.
Senlis (249 ft.; pop. 7006) is a very ancient town on the right
bank of the Nonette. In the Gallo-Roman period it was Augusto-
magttSy chief town of the Silvanectes. The bishopric of Senlis was
founded in the 3rd cent, by St. Rieul, and only suppressed at the
time of the Revolution, in 1790. For archaeologists Senlis is one
of the most interesting towns near Paris.
The Avenue de la Gare leads to the Porte de Compifegne, the
starting-point of the Rue de la R6publique, which runs through
the centre of the town. We follow the Rue Bellon, on the right,
then the Rue St-Pierre, and reach the old church of St- Pierre, a
fine building in the flamboyant-Gothic style, now used as a market.
It was founded in 1029; the choir is 13th cent., the facade 15th;
416 Route 88. SENLIS.
one of its towers (12th- 14th cent.) is surmounted by a stone spire
(1431), the other (1688-92) by a dome.
The Rue du Ohancelier-Gu^rin, continuing Rue Bellon, passes
on the right the old Bishop's Palace (13th-16th cent.), and, on the
left, the Rue St-Frambourg, with the fine old collegiate church of
St'Frambourg, rebuilt in 1177-85 without aisles or transept, and
now disused. (Apply at 2 Place St-Frambourg.)
The '^Cathedral of Noifre-Dame, in the Place Notre-Dame, at
the end of the Rue du Chancelier-Gu6rin, is a handsome building
of 1154-84, consecrated in 1191; the original portions recall the
abbey-church of St-Denis built by Sugar. The W. facade has three
portals, that in the middle being adorned with sculptures and
flanked with towers, whilst the right portal, added about 1230,
is surmounted by a graceful pierced *Tower, 256 ft. in height. The
transept was added in 1502-56, and the side-portals are in the
flamboyant-Gothic style. In the interior, there are galleries on
the lower sides of the nave and the choir. The arrangement of the
transepts accords with the original plan ; the apse-chapel dates from
the 14th century. At the end of the left aisle is a staircase leading
to the chapter-house (15th cent.).
From the Place du Parvis, the Rue de Villevert, and then the
Rue du Chat-Haret to the left, skirt the ruins of the old Chdteauj
mainly of the llth-13th cent., the entrance to which is 25 Rue du
Chatel. (Apply to the concierge; fee.) On the left of the entrance
is the Hdtd des Trois-Pots (16th cent.).
The chateau rises at the N. end of the Gcdlo-Roman WallSy
which formed a circuit of 918 yds. ; remnants are still to be seen in
good preservation in private grounds in several parts of the town;
they were formerly flanked by 28 towers, of which 16 still exist,
mostly well-preserved.
At the end of the Rue du Puits-Tiphaine, the continuation of the
Rue du Chat-Haret, is the Porte de la Chancellerie, in the Rue
de la Treille, to the left; on the right, the Rue de la Poulaillerie
leads to the Place Lanavit, whence we may follow the Rue de Beau-
vais and the Avenue F61ix-Vernois to the GaUo-JRoman Amphi-
theatre, beyond the Porte de Creil. This *arena' was discovered
in 1865 and measures 138 by 115 ft. (Apply to the Bureau d'lnfor-
mation, see p. 415.)
We return by the Rue de Beauvais, which, farther on, to the
right, passes the old church of St-Aignan, now a theatre, and
ends at the Hotel de Ville (1495), at the corner of the Rue du
Chatel. At No. 20 in this street the remains of the ancient Hdtei'
Dieu de Gallande (including a large 13th cent, room) are visible,
and farther on, at No. 31 Rue de Paris, is an interesting 16th
cent, house.
Maps, pp. 408 f 847. SENLIS. ^S. Route. 417
The Rue de Beauvais is continued by the Rue de I'Apport-au-
Pain, to the right of which is the Rue Ste-Genevi^ve (No. 6 is a
16th cent, house). The latter street leads back to the Rue de la
R6publique, and is continued beyond it by the Rue de Meaux, on
the right of which are the Sous-Prefecture and the Museum. The
museum, lodged in the old church of La Charity (1706), consists
chiefly of paintings by Bellel, Billotte, Flameng, and Tattegrain.
The Rue de Meaux ends at the Porte de Meaux, where we reach
the mediaeval ramparts, now transformed into a pleasant promenade.
Close by is the College of St- Vincent j once a monastery, built in
1629 on the site of a 12th cent, abbey, of which the Church, with
its handsome belfry, formed a part.
In the neighbourhood are the ruins of the old Abbaye de la Victoire
(about 2 M. to the S.E.), and Chama7it (l^U M* *<* the N.E.), with an inter-
esting church of the 12th and 15th-16th cent, and the fine park of Plessis-
Ohsmant.
127^ M. Barbery, from which we may conveniently visit (1 M.
to the right) the fine ruins of the Chdteau de Mont^pilloy (12th
cent.), rebuilt about 1400 by Louis d'Orl^ans, and dismantled at the
end of the 16th century. — 16^/4 M. Auger- St- Vincent. — 22^/2 M.
Cr4py-en-Valois (p. 418).
29. Prom Paris to Crepy-en-Valois, via
Dammartin.
Chemin de Fer du Nbrd, 88 M., in 1-lVa hr. (fares 6 fr. 85, 4 fr. 60 c,
3 fr.).
From Paris to (2^/2 M.) La Plaine-St-Deiiis, see p. 389. On
the left is the St -Denis line. — S^/^K. Aubervilliers-Bv^-St-
Denis. On the left appears St-Denis (p. 390). — 41/2 M. Auber-
villiers-la-Courneuve. Aubervilliers (p. 250), on the right, is con-
nected with La CourneuvCj on the left, by tramway (5 c). We pass
under the Grande - Ceinture line. — 674 M. Le Bourget-Drancy.
Le Bourgety to the left, was the scene of sanguinary struggles be-
tween the French and Germans on 28th -30th Oct. and 21st Dec,
1870. A monument to the French soldiers has been erected. —
7^2 M. Blanc-Mesnil. — 9^2 M- Aulnay-sous-Bois, a village with
7141 inhab., 8/4 M. to the N.
From Auinay-sous-Bois a Branch Likx runs vi& Ga/rgan (3 M. ; tram-
ways TEl and TE5, Appx., p. 50) to Livry (6 M. ; see below) and Bondy
(61/2 M.). Bondy (7496 inhab.), situated on the line to Nancy, 6^/4 M.
irom the Gare de TEst, is connected with Paris by tramways {TEly TE3,
TE6; Appx., p. 50).
10 M. La Croix-Blanche. The train skirts the Canal de
rOurcq (p. 249), on the right. — 11 V* M. Sevran-Livry. Livry,
l^M. to the S.E., is a station on the branch-line mentioned above.
On the right appears the Forest of Bondy, formerly a notorious
418 Route 29. CREPY-EN-VALOLS. Map, p. 408,
haunt of bandits, with the powder-factory of Sevran. — 13 M. Vert-
Galant. — 14^4 M. Villeparisis, V/^ M. to the 8.E. of the station
(omn. 20 c.), has an ancient castle. — 17 M. Mitry-Claye. — 18^2 M.
Compans, with a modem chateau. We cross the valley of the
Biberonne. — 20 M. Thieux-NantouiUet.
21^/4 M. Dammartin-Juilly'St-Mard. Dammartin-en-
Gk)ele is a small town l*/4 M. to the N.W. (omn. 40 c.), situated
on a hill (564 ft.) with an extensive view. The church of SU
Jean, rebuilt in 1902, has a portal of the 15th cent, with a richly
sculptured pier. Farther on is the old collegiate church of Notre-
Dame, founded in 1480 by Antoine de Chabannes, Count of Dam-
martin (1411-88); his tomb and statue may be seen within the
church, which has a fine portal. About 1^4 ^- to the S. of the
station (omn. 30 c.) is the ColUge de JuiLly, founded in the 17th
cent, by the fathers of the Oratory. Among its pupils have been
many celebrated men, including D'Artagnan (1611-73), Marshal
Villars (1653-1734), and Montesquieu (1689-1755). The refectory
of the college contains paintings of Louis XY.'s time and consoles
dating from the reign of Louis XIV. (visitors admitted),
2674M. Le PlessiS'Bdleville. An excursion by diligence (75c.)
may be made hence to Ermenonville.
Ermenonville (Hdtels de la Croix-d'Or, du Ch&teau, L. 2V2» D. 8 fr.),
a village S^/^ M. to the N.W., near the forest of that name, is known
as the place where J. J. Rousseau died in 1778, while staying with the
Marquis de Girardin. In the village square is a monument to the philo-
sopher, by H. Greber (1908). The CTidteau, now the property of Prince
Badziwill, at the E. end of the village, is shown by special permission
only (comp. p. 60). The Parkf intersected by the road which continues
the principal street, was one of the finest laid out in the 18th century.
The most interesting part is the Grand Pare, to the left of the road and
in front of the chS-teau ; it is open to the jpublic on Sun. and Thursday. The
He des Peupliers, in a lake here, contains the em^ty tomb of Rousseau,
his remains naving been removed to the Pantheon in 1794 (see p. 298). —
The road in front of the chd,teau leads N.W. to Senlis (8 M. ; p. 415). Er-
menonville is 61/4 M. from Mortefontaine (p. 407).
3OY2M. Nanteuil-le-Haudouin. — 35 M. Ormoy-ViUers.
38 M. Cr6py-eii-Valois (305 ft.; H6tels des Trois-Pigeons,
de la Gare), a town with 5528 inhab., which suffered greatly in
the wars against the English in the 14th-15th cent., was the an-
cient capital of the Valois, the appanage of a younger branch of
the royal family of France. A few traces still remain, on a hill
to the left of the station-gate, of the Chdteau des Valois. Among
other interesting buildings are the old collegiate church of St-
Thomas (begun after 1180, and dedicated to Thomas k Becket),
with a fagade of the 13th and a tower of the 15th cent. ; the parish
church of St-Denis, in the Romanesque and Gothic styles, with a
modern belfry ; and the 18th cent. Town Gates.
From Cr^py-en-Valois to Chantilly, via Senlis, see pp. 417-416. Rail-
ways to Soissona and to Coinpiegne, via Verberie, see Baedeker's North-
%nce.
419
30. From Paris to Sceaux.
An excursion to Sceaux and Robinsorit and a stroll through the Bois
de VerrihreSy are recommended to those who are interested in the beauties
of the outlying districts of Paris, as distinct from the historic haunts to
which the ordinary tourist confines himself.
A. By Tramway {TS4; Appx., p. 49), 6Vt M., in 1 hr. 6 min. (fare
50 or 80 c.)* The cars start from St-Germain-des-Pr^^ (p. 802) and stop at
Fontenay-aux-Boses, From the terminus we have fully 1 M. to walk to
Sceaux By a pleasant road. Tramway (TO 2; Appx., p. 51) from the
Champ-de-Mars (p. 820) to Chdtenay (p. 421) via Montrouge (p. 425).
Bagneux, Fontenay-aux-Roses (see below), and Sceaux ('Sceaux-RoDinson
station, p. 420).
The tramway TS4 follows the Rue de Rennes to the Gare
Montparnasse (p. 342). It then turns to the left into the Boul.
Montpamasse, and soon afterwards to the right into the Boul.
Raspail, which skirts the Cemetery of Montparnasse (p. 343).
Beyond the Place Denfert-Rochereau (p. 345) we follow the Av.
d'Orl^ans to the church of St-Pierre-de-Montrouge (p. 346), and
then the Av. de Chfttillon, by which we quit Paris. — Outside the
gate, on the right, lies Malakoffj a village with 19,789 inhab.
(tramways TS8 and TO 8; Appx., pp. 49, 51).
CMtillon (4203 inhab.) lies at the N.E. foot of a plateau,
now occupied by the Fort de ChdtiUon. About '/g M. to the E.
lies BagneviXj with a monument erected to the soldiers who fell
on 13th Oct., 1870, in an attempt to storm the heights then occu-
pied by the German troops. Another famous engagement (on 19th
Sept.) is commemorated by a monument on the plateau of Ch&tillon,
Vs M. to the S.E. Beautiful view from the Tour Biret (722 ft.;
restaurant). — Bagneux is also on the tramway-line TO 2, see above.
Line TG^^, see p. 425.
At the W. end of Chatillon the road forks, our route diverg-
ing to the left.
Fontenay-aux-Roses (4463 inhab. ; Oaf ^-Rest. de la Mairie),
1 M. to the S. of Ch&tillon, has a station on the railway to Sceaux
(p. 420). It carries on a brisk trade in strawberries and flowers.
A fine view of Paris is enjoyed from the N. side of the large Place
de la Mairie, where the car stops. Tramway TO 2, see above.
Visitors to (1 M.) Sceaux (p. 421) follow to the E. the main
street (Rue Boucicaut), which is soon joined by the tramway TO 2,
They then turn to the right towards the railway-line and leave the
station of Sceaux (p. 420) on the left. To the left of the Rue Bouci-
caut is the Church, on the left side of which is a Bust of La Fon-
taine, erected in 1894 by the 'Rosati*, a poetical society whose
headquarters are at Fontenay-aux-Roses.
Those, however, who wish to proceed direct to (l^* M.) Ro-
binson (p. 421), follow the narrow street descending opposite the
tramway-oflBce, and turn to the right at the end. At the first iotV
they may either take the Rue de Ch&tenay to the left, which joir
420 lioute 80. BOURG-LA-REINE. ^«P, P- ^i9.
the road near the station of Sceaux-Robinson (see below), or tfie
Rue du Plessis-Piquet to the right, whence another road, diverging
to the left, leads direct to Robinson.
B. By BailTvay (lAgne de Sceanx et Limours), ?»/« M. in Vt hr.
The trains start every Va lir. from the Gare du Lnxembourg (PI. R, 19 ; V).
Luggage is not hooked at this station, but must be taken to the station of
Paris-Denfert (p. 345). Fares 1 fr. 35, 90, 60 c; return 2 fr., 1 fr. 45, 95 c.
The line is carried by a tunnel under the Boul. St-Michel to
the station of Port-Royal (p. 342), at the Carrefour de PObser-
vatoire, and thence by another tunnel under the Av. de PObser-
vatoire and the Rue and Place Denfert-Rochereau to the station
of Paris-Denfert (PL G, 20; p. 345), formerly the Gare de Sceattx.
The train then crosses the park of Montsouris (p. 346) and passes
over the Chemin de Fer de Ceinture. View, on the left, of the valley
of the Bi^vre and the heights of Belleville.
2 M. Sceaiix-Ceintv/re, the junction for the Ceinture ('Parc-
de-Montsouris' stat.; Appx., p. 58). To the left, outside the forti-
fications, are the large Hospice de BicStre (3150 beds), for the
aged and insane, and the Fort de Bicetre. Numerous quarries and
market-gardens on both sides. — 2Y2M. Grentilly, an old village to
the left (pop. 10,744). Station on the Ceinture at Maison-Blanche
(Appx., p. 58). — 3 M. ha'pLa^e. To the left is the Aqueduct of
Arcueil.
3Y4 M. Arcueil-Cachan is a village (11,319 inhab.) in the valley
of the Bifevre, with a church of the 13th-15th centuries. Tramway
to Paris (r(?»>u), see p. 425.
To the left is the large Aqueduct of Arcueil, consisting of two
couduits, one above the other, with a total height of 135 ft. The name
of the village is derived from a Roman aqueduct (Arctdi), on the site of
which Salomon Debrosse built another aqueduct in 161S-24 to convey
water to the garden of the Luxembourg, in 1868-72 a second and larger
aqueduct was placed on the top of this for conveying water from tiie
reservoir of La*Vanne (p. 846).
On the right appear Bagneux, Fontenay-aux-Roses, and the fort
of Chatillon (p. 419). To the left are UHay and CkeviUy, also
scenes of conflicts during the siege of Paris in 1870-71.
572 M. Bourg-la-Reine (several caf6s-rest.; pop. 5011) is
a favourite summer residence, with fine nursery-gardens. In the
Place Condorcet, about 2 min. from the station, is a marble bust,
by Truphgme, of Condorcet (1743-94), the philosopher, who pois-
oned himself in prison here (59 Grrande-Rue) to escape the ignominy
of the scaffold. Tramway from Paris to Arpajon {TG^^»), see p. 425.
— The line to the left runs through the valley of the Bi^vre to
Palaiseau (p. 422) and Limours (p. 423).
6 M. Sceaux (p. 421). The railway now describes a curve to
the N., passing (7 M.) Fontenay-aitx-Roses (p. 419). — 71/2 M.
Sceaux-RobinsoUy a station between Sceaux and Robinson (tram-
-ay r02, p. 419).
MapSy pp. 419, 847. SCEAUX. ^0. Route. 42I
SoeaxLX (Rest. B6thery, near the church), a town with 5532
inhab., is situated on a hill amid charming scenery. The ch&teau,
built by Colbert, afterwards became the property of the Due du
Maine, son of Louis XIY. and Mme. de Montespan. During the
first half of the 18th cent, it was celebrated for the brilliant fStes
given here by the Duchesse du Maine, but it was entirely destroyed
at the Revolution. The present chateau, built in 1856 on the same
site, in the middle of a park of 568 acres, belongs to the Tr6vise
family. A small piece of land near the church, which belonged to
the old ch&teau and was known as the 'Menagerie', is now the Pare
de Sceaux (open to the public). In the churchyard is the bust of
Florian (1755-94), the poet and fabulist, erected in 1839. There
are also monuments to several *F61ibres' (i.e. those whose aim is to
foster the Provencal language) who chose Sceaux as their meeting-
place: Theodore Aubanel (1829-86), Paul Ar^ne (1843-96), Sextius
Michel (1825-1906), Pierre Deluns-Montaud (1845-1907), and
Fr6d6ric Mistral (b. 1830). About ^4 ^- tiom. Sceaux is the Lyc6e
Lakanal.
Robinson, about */4M. to the W. of Sceaux-Robinson station,
charmingly situated at the foot of a wooded hill, has many garden-
caf6s, with platforms among the branches of the large chestnut-
trees, and in fine weather is thronged with pleasure-seekers. Its
charms are now somewhat marred by factory-buildings. On a height
a little beyond Robinson is a house with a small turret ; in front
of it we obtain a fine view of the valley of the Bi^vre.
From Bobinson to the Bois de Verri^res is a favourite ex-
cursion, either on horseback (2 fr. per hr., Sun. 8 fr. ; donkey I-IV2 fr. ;
bargain advisable) or on foot. Riders usually follow the road ascending to
the above-mentioned house with the turret, and passing the inn and farm
of Maldbry, I1/4 M. to the W. of Chatonay, ana the Obelisk (see below).
The first part of this route is, however, monotonous and shadeless. Walkers
will prefer the pleasant route by the lower road. This lower road leads
past (V2 M.) Autnay^ where Chateaubriand had a country-house (now the
property of the La Rochefoucauld family), and through an avenue bearing
to the left to (1 M.) Chdtenay. Tramway to Paris (TO 2), see p. 419 and
Appx., p. 51. Just beyond the village we reach the high-road from Ver-
sailles to Choisy-le-Roi, which descends to the E. to the railway station
of (11/4 M.) La Croix-de-Berny (p. 422) and ascends to the W. through
woods to Malabry (see above). Our route leads S. to the so-called Obdiik,
a fine old lime-tree in a circular clearing where the chief forest-paths con-
volve. In a straight direction beyond the clearing we reach the mai^n of
the plateau and of the Bois de Verriferes, where we overlook the valley
of the Bifevre. In the other direction also we obtain a view of a pretty
little side-valley, with the ruins of the old Abbaye aux Bois.
To theW., in a picturesque situation beyond the valley, lies Bi^vres
(H6t. du Chariot-d'Or), on the slope of a plateau. Its station, on the
Grande-Ceinture, is 20 min. from Versailles (6V4M. ; Gare des Chantiers,
p. 858), the trains to which run through the valley of the Bi6vre and past
the village of Jouy-en-Josaa. — It is more advisable, however, to return
from the Bois de Verriferes to Sceaux, and thence to Paris by the Ligne
de Sceaux (p. 420).
422
31. From Paris to Chevrense, Dampierre,
and Les Vaux-de-Cemay.
From Paris to St-Remy-Us-Chevretise^ by railway (Gare du Luxem-
bourg, p. 420), 20V8 M., in 46-80 min. (fares 8 fr. 70, 2 fr. 50, 1 fr. 65 c. ;
return 6 fr. 55 c, 4 ir., 2 fr. 60 c). — From St-Remy to Chevreuse, by road,
2 M. ; omnibus 30 c — From Chevreuse to Dampierre, by road, 2V« M.;
omn. from St-Remy station, 70 c. Omnibus from Dampierre to La Ver-
ri6re, see p. 423. — From Dampierre to Les Vaux-de-Cernau, about 2 hrs.*
walk through the valley of Les Vaux, or 4 M. by the road. On Sun. and
holidays in summer, brakes run in the afternoon from St-Remy to Les
Vaux-de-Cernay, vifi, Ohevreuse and Dampierre; return fare 2i/j fr. — From
LesVaux-de-Ceimay to Cernay-la-Ville^ by road, 2V4M. ; no omnibus. —
From Cei'nay-la-VtUe to BouUay-les-TroiiXj by road, 4 M. ; omn. */4-l f r.
— From BouUay-les-Troux to St-Remy (Paris) ^ by railway, 2Va M., in
10-15 min. (fares 65, 45, 30 c).
This excursion, which takes a whole day, is a favourite one with
the Parisians and traverses a charmingly undulated country. Motor-cars
render the roads unpleasant for walkers in summer.
From Paris to (6>/g M.) Bourg-la-Reine, see p. 420. Short
tunneL To the left are the prisons of Fresnes (p. 425). — 7 M. La
Croix-de-Berny (p. 421). — 7^/2 M. Antony j a pretty village (pop.
4490). Tramway TO^^, see p. 425. The Rue de Fresnes, to the left
of the station, leads to the ChMeau de Tourvoie. To the right is
the Bois de Verri6res (p. 421).
91/2 M- Massy, on a hill to the left, lies opposite the valley of
the Bi6vre. On the road to Bi^vres (p. 421) is the ChMeau de
VUlegenis, which belonged to the Prince de Cond6. Jerome Bona-
parte, King of Westphalia, died here in 1860. — lOVa M. Massy-
Palaiseau.
The Grande-Ceinture trains run hence to Versailles (9i/j M. ; p. 358),
and in the opposite direction to (3 M.) Longjumeau (p. 425), (8^/4 M.)
Juvisy-sur-Orge (p. 427), and (18 M.) ViUeneuve-St-Oeorges (p. 481). Line
to Choisy-le-Roi, see p. 427.
11 V4M. Palaiseau (H6t. des Nations ; pop. 3450), on the Fvette,
owes its name to a Merovingian palace presented in 764 by P6pin le
Bref to the Abbey of St-Germain-des-Pr6s, and now destroyed. In
the Place de la Mairie is a bronze statue by Lefeuvre of Joseph
Bara, a drummer-boy killed by the Vend^ens in 1794. The Churchy
behind the Mairie, dates from the 13th cent., but has a doorway
of the 12th. Omnibus to Longjumeau (p. 425; 3 M.; 40 c).
The train now ascends the pretty valley of the Yvette. Fine
view to the left and, farther on, to the right. — 11*/* M* Polaiseau-
ViUebon. — 13 M. Loz&re. We cross the Yvette. — 1474 M. Le
Gruichet. — 15 M. Orsay, a small town finely situated to the left;
151/2 Bures; 17Vs M. Gif; I872 M. Courcelle.
2072 M. St'Remy-Us'Chevrevse (H6t.-Kest. de la Gare, R. from
272, ^' or D. 3 fr.), the station for the valley of Ohevreuse (omn.,
see above) ; to the right is the ruined Oh&teau of Ohevreuse.
The railway soon quits the valley of the Yvette. — 23 M. (from Paris)
ullay-les-Trouxj whence an omnibus plies to Cernay-la-Ville (see above).
Map, p. 403. CHEVKEUSE. 81, Route, 423
— 251/2 M. LimourSf a large village, where Francis I. built a royal palace,
afterwards the residence of the Duohesse d'Etampes, of Diane de Poitiers,
and of Richelieu.
The Chevreuse road, passing through the village of St-Remy,
crosses the Yvette and turns to the left. — Preferable for walkers
is the footpath to the left along the railway-line. We follow the
telegraph-poles to the right, and pass the Chdteau ie Gouhertin,
on the left. Turning to the right at the first crossway, we cross
the valley of the Yvette and rejoin the high-road at the beginning
of Chevreuse (20 min.).
Chevreuse. — Hotbls. QramdrCourrier^ L. or D. 8 fr. ; Esp^rance^
L. 21/8, D« 8 fr. ; Mairie. — Omsibus to Dampierre, see p. 422; to La Ver-
rifere (6»/4 M.), 75 c. Carriages at Follain^s.
Chevreuse^ a small place (pop. 1949), was the capital of a
barony, erected in 1545 into a duchy, which subsequently came
into the hands of the Guise family. Marie de Rohan-Montbazon
(1600-79), wife of Claude de Lorraine, Duke of Chevreuse, took
a prominent part in the intrigues of the Fronde under Louis XIII.
The ruined Chdteau (llth-15th cent.) rises 262 ft. above the town,
to which it lends a picturesque appearance. The ruins consist
mainly of a massive donjon and two towers, now covered with ivy.
Fine view from the top of one of the towers (10 c). — Opposite
the S. portal of the Church (14th-15th cent.) is an ogival Roman-
esque doorway (12th cent.) of the ancient Priory of St-Saturnin.
The road from Chevreuse to Dampierre (2*/, M.; omn., see
p. 422) affords fine views. It runs at the foot of wooded hills (on
the right), passes on the left the Chdteau de Mauvi^re (18th cent.),
leaves to the right (ly* M.) the houses of Sablons, and then skirts
the park of the Chateau de Dampierre (left).
Dampierre (Hdt.-Rest. St-Pierre, or Lemarchand, L. or D.
3 fr.; omn. to La Verrifere, 75 c.) is noted for its *ChdteaUj now
belonging to the ducal family of Luynes. Founded in 1550 by Card,
de Lorraine, it was acquired in 1664 by Charles Honor6 d'Albert
de Luynes, who caused it to be rebuilt by J. Hardouin-Mansart.
Duke Honor6 de Luynes (1802-67) had it restored after 1844 by
Duban, and collected under its roof a large number of works of art
(comp. p. 214). Admission to the ch&teau is usually granted on Fri.
(2-4), on written application to the Duchesse de Luynes (comp. p. 60).
Among the art-treasures which the ch&teau still contains are an
ivory, gold, an^ silver statue of Athena by Simart (a small re-
production of the colossal statue of Athena in the Parthenon), a
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 high-road to (4 M.) Les Vaux-de-Cemay, passing to the
left of the church of Chevreuse and to the right of Setdisse and its
424 Bouteai. CERNAY-LA-VILLE. Map, p. 403,
cb&teaa, ascends the valley of the streamlet of Les Yanx to the S.
We pass the hamlet of Game, and then the (Y^ hr.) pictaresque
MouUn des Rochers. The road crosses a wooded ravine and leads
to (12 min.) a cross-road, near the Hotel des Cascades, or lAopoLd,
a favourite resort of artists (25 R. at 3, L. or D. SYj, pens. 7 fr.).
The road to the left ascends to Cernay-la-Ville (see below); that
straight on l(!ads to Rambouillet (7 M.). Taking the road to the
right, we ascend the charming valley of Les Vaux, and reach in
40 min. the houses of Les Vaux-de-Cernay, near the entrance to
the old abbey (see below).
Walkers leave the high-road at the Moulin des Rochers (see
above; sign-post), and follow a path to the right which ascends
the left bank of the brook. In 7 min. we reach the Petit-Moulin
(waterfall) ; another 6 min. brings us to the Grand- Moulin, at the
E. end of the long Etang de Cernay. On the bank is a Monument
to L. G. Pelouse (d. 1892), a painter who drew attention to the
beauties of this valley. Continuing along the water-side, through
woods, we reach in 25 min. the wail bounding the park, which we
follow, at first straight on (the path to the left leads back to the
high-road), later to the left, near the end of the Etang des Vaun
(10 min.). — On the left we have a view of the estate of Baron
Henri de Rothschild, which contains the ruins of the * Abbey of
Les Vaux-de-Cernay, founded in 1128', and restored by Baroness
Nathaniel and her heirs. Of special interest are the ivy-clad ruins
of the church (end of 12th cent.), with a fine portal adorned with
three rose-windows. The abbey and park may be visited, from 1st
March to 1st Sept., on Thurs., 12-4; apply by letter (comp. p. 60)
to Baron Henri de Rothschild, 33 Faubourg-St-Honor6, Paris.
From the H6t. des Cascades (see above) we ascend to (Yj M.)
Cemay-la-Vllle (H6t. de la Poste, in the Grand*Pla<je, with a
collection of pictures, caricatures, etc., R. 3, L. or D. 3 fr.), a
village much frequented by artists and tourists.
From Cemay-la-Ville a road leads to (4 M.) the station of
Boullay-les-Troux (p. 422); omn., see p. 422.
Visitors with two days to spare should sleep at Oemay-la-Yille, and
go on the next day by omnibas (l^/g fr.) to BamhouiUet (7 M. ; see above).
32. From Paris to Montlhery.
A. By the Tram-way d'Arpajon (steam-tramway; TG^'*; Appx.,
p. 47) in 1 hr. 85 min., fares 1 fr. 75, 1 fr. 10 c. ; to Aipajon, in 1 hr.
60 min., fares 2 fr. 25, 1 fr. 40 c. The cars start opposite No. 18 Rue
de M6dicis (PI. R, 19; IV)j 9 times daily. The above fares do not in-
clude the fares within Pans, which are collected separately in the cars,
as the Arpajon line beyond the fortifications belongs to another company.
— There is also a service of electric cars between Paris and Antony.
The tramway leaves Paris by the Porte d'Orlians (PI. G, 18;
M(^8y pp. 419, 847, 403. LONGJTJMEAU. Si. Route. 4^6
to this point, see Appx., p. 47), and then follows the Orleans road.
The halts as far as Antony indicated below (except Bonpg-la-Reine)
are those of the electric tramway only. We pass Montrouge (formerly
Gfrand'Montrouge), a manufacturing suburb with 22,771 inhab.
(three stations). — Then comes Arcueil (p. 420; two stations). To
the right is the Fort de Montrouge, beyond which lies the large
Cemetery of Bagneux. Fine view, to the right, of Bagneux and
Fontenay-auX'Roses (p. 419) ; to the left, the double aqueduct of
Arcueil (p. 420). — La Grange-d'Ory (two stations). — 2 M. Ba-
gneux; the village (p. 419) lies about ^4 M. to the W.
5 M. Bourg-la-Reine (p. 420), station in the Place Condorcet.
In the upper part of the town, not far from the Lyc^e Lakanal
(which rises on the right) is the station of Petit-Chambord (Sceaux,
see p. 421). — 6V4 M. La Croix-de-Bemy (p. 422). About l^/^ M.
to the E. is Fresnes, with its large prisons. — We next reach Aikony
(p. 422), where the tramway has a stopping-place before reaching
the principal station (6^/4 M.). The Pont-d* Antony, beyond the
Bi^vre, is a third station.
The tramway continues to ascend the Orleans road to Le Petit-
Massy, 1 M. to the right of which lies Massy (p. 422). Fine view
of the valley of the Bifevre. — 8*/^ M. Wissoiis, a station on the
railway from Choisy-le-Roi to Massy-Pal aiseau (p. 427). The tower
of Montlh6ry is seen in the distance on the right, and soon reap-
pears on the left. — Beyond (10^2^0 Morangis, with its old
chateau, the line descends to the valley of the Yvette. — Near
(11 M.) Chilly -Mazarin formerly stood a chateau of the Due de
Mazarin (d. 1713), nephew of the famous cardinal. — IIV2 ^•
Chilly -Ghrande-Ceinture. Then a steep descent.
I2Y2 M. Lougjumeau (H6t. du Cadran, L. or D. 2Yg fr.), an
old town with 2425 inhab., in the valley of the Yvette, noted for
the peace concluded in 1568 between the Catholics and the Hugue-
nots (the Taix Fourr6e' or 'Petite Paix'). In the Place de Ib. Mairie,
reached by the Grande-Rue, rises a monument, by P. Fournier, to
Ad. Adam (1803-56), composer of the opera 'The Postilion of
Longjumeau'. Farther on is the Church (13th-14th cent.). The
Chdteau d'Engeval is modern. Omn. to Palaiseau, p. 422.
13^4 M. Saulx'les-Chartreux lies to the E. of the wooded hills
beyond which is Palaiseau (about 2 M. ; p. 422). To the S. is
the Chdteau de Mont-Huchet. At the station of BaUainvilliers
the tramway returns to the Orleans road. — 16 M. La Grange-
auX'Cercles ; 16^4 M. La Ville-du-Bois. — 17 M. Longpont; the
station is 1^4 M. to the N.W. of the village, the church of which,
dating from the 13th cent., but largely rebuilt, belonged to a
Cluniac priory founded about A.D. 1000. The Chdteau de Lormoy
(rebuilt in the 19th cent.), to the right of the church, belonged to
the priors of Longpont.
426 BouUSB. MONTLHERY. Map, p. 408.
17*/g M. Montlh^ry.— HoTSLS. CJuipeau-Rouge, Rne de la Oha-
pelle; Touring-Club , 10 Av. d'OrUans, 18 R., L. 2V8, I>. 2^/4, pens, from
8fr.; SoleH-d^Or, Rue des Juifs. — OapAs near the ruins.
Montlh6ry, an ancient town of 2493 inhab., is situated on the
slope of a hill crowned by the picturesque ruins of the *Ca8tU
of Monblhiry, This stronghold was founded early in the 11th cent,
by a Montmorency, under Philip I., and was afterwards held by
Hugues de Cr6cy and his band of robbers. It subsequently became
crown-property, and was restored in the 13th- 14th centuries. It is
reached from the station in 20 min. by ascending the Rue Luisant,
on the left, to the Place du March6, and following thence the Rue
des Juifs, turning to the right by the Grande-Rue, which passes
the Parish Church (partly of the 13th cent.). In a narrow street
to the left of the church is the doorway of the Hotel-Dieu founded
by Louis VII. (1149). Beyond the small Place behind the church,
in the Rue de la Poteme, a path to the right leads to the ruins
(374 ft.). The Keep, 105 ft. high, is in four stories; a staircase in
the small tower ascends to the top (apply to the guardian; 10-20 c).
At the foot of the staircase are some tombstones (railed in) from
a Gallo-Roman cemetery discovered near the town. Picturesque
fragments of the other towers still remain, one 33 ft. in height,
and there are traces of the fortified wall. Three massive terraces
descended towards the town, which was itself surrounded by ram-
parts.— On our way back to the church, the Rue Gauch6-Laur6e
on the left, continued by the Grande-Rue-de-la-Chapelle, leads to
the Porte Baudry, built originally in 1015, reconstructed in 1589,
and restored in 1803.
The railway station of St-Michd-sur-Orge (p. 428; omn. 30 c.) lies
l^/a M. to the E. of MontlhSry, the side farthest n"om the tramway-route.
A branch-tramway runs hence to (2 M.) MarcouaaiSy a large village with
a church of the 15th cent, (the chapel of a former Celestine monastery),
a chateau, and sandstone-quarries.
The main tramway goes on via lAnas (interesting 13th cent,
church), LeuvUley and St-Gennain-la-NormUe.
21^/4 M. Arpajou (H6tel de la Fontaine & du Lion-d'Argent,
L. or D. 3 fr.), a town of 3191 inhab. on the Orge, with a Church
(12th and 15th cent.), of which the belfry, the monuments in the
interior, and the choir should be noticed. In the Place da Marche,
to the left as we return by the Grande-Rue, are some ancient timber
buildings. — Omnibus to Boissy-sovs-St-Yon (50 c).
B. Bailway to St-Miohel-sur-Orge. From the Gare du QuAi-
d'Orsay (p. 805), 20 M., in 50-70 min. (fares 3 fr. 60, 2 fr. 40, 1 fr. 60 c,
return 5 h. 40, 8 fr. 85, 2 fr. 50 c.). — Omnibus from St-Michel to Mont-
lh6ry, see above.
The Tramway from the Ch^telet (p. 182; Av. Victoria) to CTwisy
{TSS: Appx., p. 49), in 52 min. (fares 60, 40 c.), starts every »/* hr., and
goes by Ivry and Vitry (p. 427).
<v
Maps, pp. 847, 408. CHOISY-LE-ROT. ^^9^ 88. Route. 42?
Stxamboats ply from the Qtiai du Louvre to Ablon (see below) on
Son. and holidays in summer (in 1^/4 hr. ; fare 40 c.)> Stations as far as
Alfortville (where we change steamers), see p. 263. Then Choisy-le-Roi and
VtUeneuve-St-Georges (p. 481). Scenery uninteresting.
1 M. Pont St-Michel (p. 278). — IV4M. Gare du Quai-
d'AusterlUz (p. 334). — 3V4 M. OrUans-Ceinture (Appx., p. 58).
We pass under the Ligne de Ceinture. — 5 M. Le Chevaleret is
also the station for Ivry-sur- Seine (on the right), a manufacturing
town of 38,307 inhab., with a harbour and a large Hospital for
Incurables (2029 beds), the chapel of which contains the fine tomb
of Card, de La Rochefoucauld (1558-1645), by Philippe de Buyster
(1656). Above the town rises the Fort of Ivry. — 6^4 M. Vitry
(pop. 14,969); the station is 1/2 M- ^ro^J^ t^® centre of the village,
which is on the tramway-lines TS8, TEi (Appx., pp. 49, 51). Vitry
has a church of the 13th-14th cent.; the Moulin Saquet (to the W.)
played an important part during the siege of Paris in 1870-71.
ViU^uif, 1^/4 M. to the W., a village with 8671 inhab., is con-
nected with Paris by the tramway TS 1 (Appx., p. 49). We now
approach the Seine.
8^4 M. Cholsy-le-Roi (H6t. des Voyageurs, at the end of
the Rue du Pont; Rest. Pompadour, on the right bank, near the
bridge), a pleasant town with 15,908 inhab., was noted for its
chateau, built by Mile, de Montpensier in 1682, and subsequently
acquired by Louis XV., but completely destroyed at the Revol-
ution. Near the bridge, on the left bank, is a Statue of a Fighting
Sailor, by Hercule, commemorating the combats at the 'Gare aux
Boeufs' in 1870. The Rue du Pont passes a little to the left of the
offices formerly belonging to the chateau, which are now occupied
by a porcelain factory. The Mairie and the Church, on the right
side of the street, farther on, date from the 18th century. At the
point where the street ends in the handsome Avenue de Paris is
a bronze statue, by L. Steiner, of Rouget de Lisle, the author of
the 'Marseillaise', who died at Choisy in 1836. — Tramway from
Paris, p. 426.
From the Avenue de Paris to Sceaux (p. 421), 51/4 M.; to La Crnix-
de-Bemy (p. 422), 6 M. From the bridge to Cr4teil (p. 429), 8 M.; to
Bonneutl (p. 480), 8^/4 M.
Bbahch Link to (lO^/a M.) Massy - Palaiseau (p. 422), vi& Wissous
(6 M. ; p. 425).
Beyond Choisy the railway passes under the line to Massy-
Palaiseau (see above). — 11^4 M. Ablon (steamboats, see above),
11/4 M. to the S.W. of Villeneuve-St-Georges (p. 431), lies on the
left bank of the Seine. — I2Y2 M. Athis-Mons (pop. 4627), near the
confluence of the Orge and the Seine. To the left is the railway
to Corbeil (p. 431).
141/4 M. Juvisy-sur-Orge (H6t. B6nard, 2 Rue de Draveil;
H6t. Lef^vre, Place de la Gare; pop. 4730). The park of the old
Babdbksb's Paris. 18th Edit. 27
428 Ro^te 88. NOaENT-SUR-MARNE. ^«P», PP* 403y 268.
ch&teau was laid oat by Le Ndtre, and now contains M. Camille
Flammarion's observatory and climatological station (visitors ad-
mitted on application to the director). About V/^ M. from the
station, half-way to the station of Savigny (see below), is the Port-
Aviation aerodrome, opened in 1909. Grande-Ceinture railway,
see p. 422.
Our line now ascends the pretty valley of the Orge, which is
crossed by the Fonts des Belles- Fontaines y two bridges one above
the other, built in the 18th century. — 16^/4 M. Savigny-sur-
Orge, with a fine 15th cent, chateau. On the right runs the Grande-
Ceinture. — ITYa ^' Epinay-sur-Orge, preceded and followed by
a viaduct. In the distance, to the right, is the tower of Montlh6ry
(p. 426). — l^^l^^. Perray-Vaucluse. To the right, on a hill,
rises the large lunatic asylum of Vatbcltbse, belonging to the city
of Paris. — 20 M. St-Michel-sur-Orge.
The railway goes on to Britigny^ where it forks, the left branch
running to Etampes, Orleans, Tours, etc., the right branch to Arpa^on
(p. 426; 26V2 M. from Paris), Dourdan, Tours, etc. See Baedeker's
Northern France.
The road from St-Michel to Montlh6ry (V/^ M.; omn., p. 426)
passes, on the right, the Chdteau de Lormoy. Farther on, a road
diverges to the right for Longpont (Y2 M.; p. 425), which is
united with Montlh6ry by a cross-road. We may reach the ruined
castle of Montlh6ry without entering the town, by a path to the left
at the first houses. — Montlh^ry, see p. 426.
33. Prom Paris to Vemenil-rEtang.
881/a M. Ohsmir db Fbr ds YiHCxmrES (p. 263), in ly^-VU hr. ; fares
4fr. 10, 2fr. 66 c, return 6fr. 75, Sfr. 96 c — To Champigny, 20-46 min.;
1 fr. or 75 c, return 1 fr. 75 or 1 fr. 20 c.
From Paris to (8^/4 M.) Vincennes, see p. 263. — 5 M. Fontenay-
sous-Bois (pop. 15,192), to the N.E. of the Bois de Vincennes
(p. 264). Tramways from Paris (TNgi, TNgi), see Appx., pp. 51, 52.
5^2 M- Nogen.t-siir-Mame (comp. Map, p. 263; numerous
caf68-rest. ; pop. 14,051) is situated on a hill above the Mame,
dotted with country-villas. The town is connected with Paris also
by the tramways TNg8-TNg6 (see Appx., p. 52), and by the Belfort
railway and the Grande -Ceinture. The former line passes the
station of Nogent-le-Perrevx-Bry, and then crosses the Mame
by a curved viaduct, 904 yds. in length, known as the *Pont de
Mulhouse'. The river below the viaduct is spanned by a Bridge
connecting Nogent and Champigny (p. 430). In front of the church
of Nogent stands a Monument to Watteau, who died at Nogent
in 1721. To the S., in the Marne, lies the lie de Beauts, where
Maps, pp. 268, 847. JOINVILLE-LE-PONT. 88. Route. 429
Charles VII. is said to have erected a chateau, which he presented
to Agn^ Sorel with the title of *Dame de Beaut6\ On the N.,
towards Fontenay-sous-Bois (p. 428), rises the Fort of Nogenb.
To the S. of the He de Beant^ (p. 428), nearly >/« M. from the station
of Nogent-le-Perreux-Bry (p. 428), is the racecourse of Le Tremblay.
The tramway TNgS passes, farther on, Bry-sur-Mame, a village of
2049 inhab. on the left bank of the Marne. Engagements were fought
there on 30th Nov. and 2nd Dec, 1870. The village contains a bust of
Daguerre (d. at Bry in 1851 ; comp. p. 400), one of the inventors of pho-
tography, and also one of Sergeant Hoflf (p. 252), by Magrou (1908).
The tramways TNg8 and TNg4 go on to Le Perreux and Neuilly-
Plaisance. From Neuilly-Plaisance (La Maltournde) a tramway belonging
to the same company runs to the (2 M.) railway station at "Rosny-souS'
Bois (pop. 6983) on the Chemin de Fer de I'Est (Ligne de Nogent). The
latter is connected with Paris also by the Villemomble tramways {TNgl
& TNg2 ; see Appx., pp. 51^ 62). — To the N. of Neuilly-Plaisance lies the
Plateau d^Avron{yi'lti.\ view), which played a part during the siege of
Paris in 1870. Beyond are VtUemomhle and Le Raincy, two adjoining
towns on the line to Nancy (8 M. from the Gare de I'Est), both traversed
by tramways {TNgl & TNgi; see Appx., pp. 51, 62). Le Raincv is a
modern town of 9368 inhab., with numerous villas built in Ihe former
park of the chUteau, which belonged to the Orleans family. From Neuilly-
Plaisance the tramway TJSg 8 goes on to NeuiUy-mr-Mame (9»/a M. from
Paris), a village with 5621 inhab. and a filtering-station of the Ck>mi>agnie
des Eaux ; it then passes two important asylums belonging to the city of
Paris, Ville-Evrard (on the right) and Maison-Blanche (on the left), and
ends at Goumay-aur-Mame.
7 M. Joinville-le-Pont (Caf6s-Rest., on the quay) is a village
of 8349 inhab. on the right bank of the Marne, the chief boating-
centre on the river, and a favourite summer-resort. The partially
subterranean Canal St-Maur, nearly 8/4 M. in length, which cuts
off a large bend of the Marne (.'ia Boucle*, 8 M. long ; see below)
and is therefore of great importance to navigation, begins here;
it was constructed in 1809-25. The stands on the Vincennes race-
course are 6 min. from the station.
Tramways from Vincennes (M6tro) to Champigny and to St-Maur-des-
Foss6s (TE8 & TE9), see Appx., p. 51.
8 M. St'Maur-Criteil. St-Maur-des-Foss^, a town with
33,852 inhab., extends, with its dependencies (Le Pare, La Pie,
La Varenne, St-Hilaire, and Champignol), along the banks of 4a
Boucle*, the bend which the river makes between it and Joinville.
St-Maur was the seat of a Benedictine abbey founded in 638, which
possessed relics of St. Maur, the patron-saint of the town. The
treaty which put an end to the *6uerre du Bien Public* was con-
cluded here in 1465. A pilgrimage to Notre-Bame des Miracles
takes place on the 2nd Sun. in July. Cr^teil, an old town with
6116 inhab., is only a short distance from St-Maur.
Tbamways. From Vincennes (M6tro) to St-Maur-des-Foss^s (railway
station; TE9). From the Louvre to GrSteil (TK; see p. 262). From the
Place de la Concorde to Bonneuil (TEB). See Appx., pp. 51, 46, 50. From
Or^teil to Oharenton and Bonneuil, see p. 266.
Notre-Dame-des-M^ches and the Ch&teau du Buisson are on the
Cr6teil road.— 88/4 M. Parc-de- St-Maur.
27*
430 ^ute 83. CHAMPIGNY. ^aps^ PP- 847y 408,
10 M. Champigny (Caf6s-Rest., near the bridge; pop. 10,426)
is a village on the steep and prettily wooded left bank of the Mame.
The station is at Champignol, on the right bank. The Ohemin de
Fer de Grande-Ceinture, which joins the Ligne de I'Est, coming
from Nogent-sur-Mame, has a station at Le Plant-de-Champigny,
on the left bank, near the road leading to the new bridge of Nogent-
sur-Marne (p. 428).
Tramways from the Porte de Vincennes : TE8, vift JoinviUe-le-Pont
(p. 429); TNgS, vift Nogent-sxir-Marne (p. 428). See Appx., pp. 51, 52.
Ohampigny is memorable as the scene of the battles of 80tn Nov. and
2nd Dec, 1870, at which Generals Trochu and Ducrot vainly endeavoured
to force a passage through the German lines. A dfonum&tt on the hill
to the E. of Champigny, »/< ^^' from the Mairie, marks the crypt con-
taining 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. Another mon-
ument was erected in 1910 at Ohampigny by the veterans of Wurtemberg.
Fine views of the valley of the Mame, Vincennes, and Paris are
obtained beyond Champigny. — lOYa^. La Varenne-ChennefyiereSy
beyond which we cross the Mame. — 12^/% M. Sucy - BonneuU,
station for Sucy -en-Brie and Bonneml-aur-Mame (1 M. to the W.),
whence a tramway runs to the Pont de la Concorde {TEe; see Appx.,
p. 50). Ligne de Grande-Ceinture toVilleneuve-St-Georges {4^|^^.\
p. 431).— -13V^ M. Boissy-St-L^ger. To the left of the railway is
the Chdteau au Piple, with a Protestant normal school for girls.
— 15 M. Limeil. Beyond, on the left, are the Chdteau de Gros-
BoiSy and, on the right, the Chdteau de la Grange, of the 17th
century. — ITYs M. ViUecreanes. — 19^4 M. Mandrea, — 207a M.
Santeny-Servon,
227j M. Brie -Comte- Robert (H6t. de la Grftce-de-Dieu,
Rue de Paris, L. 2^/^, D. 3 fr.), an old town with 2651 inhab., where
Philip VI. married Blanche of Navarre in 1349, carries on a
thriving trade in cheese (*fromages de Brie'). The church of St-
Etienne is a handsome building of the 13th-16th centuries. In the
adjoining Rue des Halles is an interesting Gothic Facade of the
13th cent., belonging to an old hospital. Farther on are the rains
of a chateau built in 1329-36 by the widow of Charles IV.
2572 M. GrisySuisnes; 2772 M- Coubert-Soignolles. We then
cross the river Y^es. — 317* M. Yiblea-Gruignes.
3372 M. Vemeuil-VEtang, where the railway joins the Belfort
line. See Basdeker'8 Northern France.
34. From Paris to Fontainebleau.
86*/- M. Trains in I-I8/4 hr., starting from the Ckwe de Lyon (p. 190;
fares 6 fr. 60, 4 fr. 45, 2 fr. 90 c; return 9 fr. 90, 7 fr. 16, 4 fr. 66 c.).—
Visitors to Fontainebleau should devote a whole day to the excursion,
leaving Paris by an early train. Best views to the left.
IV4 M. Bercy-Ceinture (Appx., p. 58). — 3 M. Cfiarenton
^''G). On the left is the asylum of St-Maurice (p. 266). We
Map8,pp.847y408. VILLENETJYE-ST-aEORGES. 84. Route. 431
cross the Mame near its confluence with the Seine. On the left
bank of the Mame lies Alfortville (p. 266). — 4^2 M. Maisons-
Alforty a place with 16,466 inhab., served also by tramways TSio,
TEBj and TO 2 (Appx., pp. 50, 51). Farther on we cross the Grande-
Ceintnre.
9Y» M. Villeneuve-St-Q«orges, with 11,393 inhab., is pic-
taresquely situated on the slope of a hill to the left, at the confluence
of the Yh'es and the Seine. The Lyons railway has large works
here. In the Square de la Mairie is a statue of V. Duruy (1811-94),
statesman and historian, by Alfred Lenoir (1900). The ancient
Chdteau de Beauregard, where the Comtesse de Hanska, widow
of Balzac the novelist, resided, has been acquired by the munici-
pality.— Steamboat from Paris, see p. 427. Grande-Ceinture, see
p. 430, 422. — To the right of the line is a suspension-bridge over
the Seine (to Ablon, p. 427).
From Yxluevsuvs-St-Gsoboss to Mkluh viA Cobbsil, 26^/4 M., rail-
way in 70-86 min. (fares 4 fr. 96, 3 fr. 86, 2fr. 15 c.).— Beyond (l«/4 M.)
Draveil-Vigneux the line crosses the Seine. — 4»/2 M. Juvisy (p. 427). —
7 M. Ri8-(yrangi8. — 9^liU. Evry-Petit-Bourg.
111/4 M. Corbeil (Hdt. de la Belle-Image, to the left, before the mills ;
Hdt. Bellevue, on the rieht bank, by the bridge), with 10,746 inhab., situ-
ated at the confluence 01 the Seine and the Essonne, owed its origin to a
stronghold built in the 11th cent, to re^el the incursions of the Normans,
and became the capital of a county which Louis le Gros annexed to the
crown. St. Louis signed a treaty here with Jaime I. of Aragon (1268).
The Moidins de Corbeil are perhaps the largest flour-mills in France.
A little beyond them are the Hdtd de ViUe and the Qali^nani Monu-
mentf in marble, by Ohapu, erected to the well-known Paris publishers
(d. 1873 and 1882), who were benefactors of Oorbeil. The Rue St-Spire
leads to the church of 8t-8pire, founded by Haymon I., Count of Ooroeil
(d. 967), and rebuilt in the 12th century. In the first chapel to the right
are the tombs of Haymon and of Jacques de Bourgoin of Corbeil (d. 1661).
To the N.W. of Corbeil are the Etablissements DecauviUe, iron- works
employing 950 hands, whose speciality is narrow-gauge railways, and to
the S.W. the village of EssonneSf with a large paper-mill (8000 hands).
— From Corbeil to Montargis, see Baedeker's Northern France,
Beyond ViMdbi (13 M.) the Melun line passes through a tunnel and
crosses the Essonne. — 16Va M. Le Coudray-Montceavx. — 18 M. St-Far-
geau-Seine-Port. Seine-Port is on the right bank. — 20i/aM. Ponffiieny-
PHngy. with a bridge over the Seine. — Beyond (23V8M.) VoBvea we skirt
the park of the Ch&teau de Belombre.
26^/4 M. Melun, see p. 482. The line crosses the Seine and follows
the right bank to (50 M.) Montereau. Beyond (41 M.) Champagne, the
6th station beyond Melun, we see the Forest of Fontainebleau (p. 489)
on the left bank, while Vulaines-sur-Seine'Sainoreau (27»/4 M.), the 5th
station, is only 1^/4 M. in a straight line from the Tour Benecourt (p. 439).
Beyond Villeneuve-St-Georges we ascend the valley of the Yferes,
which is crossed before and after (II74M.) Montgeron. — 13'/4 M.
Brunoy. The train now traverses a long viaduct, commanding a
fine view. — 167* M. Combs -la- VUle-Quiney. — 19 Y4 M. lAeu-
saint-Moissy. On the left of the line, a large aerodrome is to be
established. — 23^2 M. Cesson. — Near Melun the Seine is again
crossed. On the right is the line to Corbeil (see above).
432 lioute 84. MELUN.
28 M. Meliin. — Hotblb. H6t. du Grcmd-Monarquej 27 Rue du
Miroir, near the church of St-Aspais, 40 R. from 4, B. 1, L. S, D. 3 fr. ;
Hdt. ae la GarCj Place de la Gare, 36 R. from 3, a. 1, L. 3, D. 8»/a fr. ;
H6t. du Commerce J 16 Rue Carnot. — An Electric Tkamway traverses
the town.
Melun (177 ft.), the capital of the Seine-et-Mame department,
is an ancient town with 14,861 inhab., picturesquely situated on an
eminence above the Seine, and carrying on a brisk trade in grain,
poultry, and 'froraage de Brie'. Melun is the Metlodunum men-
tioned by Caesar as having been captured by his lieutenant Labienus
in 53 B.C. The Normans also laid it waste; and after it had become
a royal residence under the early Capetians, it was captured suc-
cessively by Charles the Bad in 1358, by Du Guesclin in 1359, by the
English in 1420 (after an obstinate resistance by the inhabitants,
who succeeded in expelling the invaders ten years later), and by
Henri IV. in 1590.
The Rue de la Gare, on the left of the station, and the Avenue
Thiers, on the right, lead to the centre of the town. A monument
to the victims of the war of 1870-71, by the sculptor Desvergnes,
was erected in 1899 at the comer of the Avenue Thiers and the
Boulevard St-Ambroise. Farther on we cross an island in the
Seine, on which lay the Gallic settlement. On the right rises the
church of Notre-Dame, a Romanesque edifice of the llth.-12th
cent., afterwards remodelled, and restored in the 19th century.
The transepts are surmounted by two Romanesque towers ; the choir
is Gothic. The interior contains some excellent old paintings: in
the right aisle. Descent from the Cross, by Jorddens, after Rubens;
Infant Moses, by Primaticcio; Ecce Homo, by Seh. Franck; also
a good monument (15th cent.).
The principal street on the other side of the island skirts the
back of the church of St-Aspais (16th cent.), with its conspicuous
spire. On the apse is a medallion of Joan of Arc, by Chapu, erect-
ed to commemorate the expulsion of the English in 1430. The
exterior is richly decorated, while the interior deviates from the
usual form in having double aisles terminating in apses. The
choir has some fine old stained glass and six marble medallions
of apostles and church-fathers, dating from the 17th century. The
right aisle contains two old paintings, a Last Supper and the
Hebrew Children in the Fiery Furnace; in the left aisle is a large
modem painting of Christ, by H. Schopin.
In front of St-Aspais is a Savings Bank. The Rue du Miroir as-
cends thence to the upper part of the town, in which rise the Belfry
of St-BartMemy, erected in the 18th cent., and the Prefecture.
— To the left, as we ascend, is the Boulevard Victor-Hugo, which
contains a Monument to Pasteur (1822-1890), with a bust and
o^roup in bronze by A. d'Houdain (1897), erected in honour of the
at scientist's discovery (near Melun) of the antitoxin for anthrax.
FONTAINEBLEAU. 84, Route. 433
To the right, beyond St-Aspais, in the Rue de rH6tel-de-Ville,
is the Hdtel de ViUe, a handsome Renaissance edifice, part of
which is ancient, though it was not completed until 1848. In the
interior is a small Museum^ comprising local antiquities, paint-
ings, and casts of works by the sculptor Chapu (1833-91), who was
bom in the neighbourhood. The court is adorned with a marble
Statue of Amyot (1513-93), a native of Melun, Bishop of Auxerre;
it was executed by Godin in 1860. The Rue de I'Hdtel-de-Ville
leads to the Place St- Jean, with a modern fountain.
The Chateau de Vaux-Praslin or Vaux-le- Vicomte^ a gorgeous
structure of the 17th cent., lying 3"/4 M. to the N.E. of Melun, together
with its immense park, cost Nicolas Fouquet, 'surintendant des finances'
under Louis XIV., the sum of 720,0002. The interior may be inspected
on application to the proprietor, M. Sommier, 67 Rue de Ponthieu, Paris
(comp. p. 60).
Steam Tramways ply from Melun to (12 M.) VemeuU-V Etang (p. 480),
in 1 hr. (fare 1 fr. 46 or 1 fr. 10 c), and to Barbizon (p. 440), 7Vs M. in
3/4 hr. (fare 1 fr. 25 or 76 c). The latter line (few cars) passes Dammarie-
l^-Lys and ChaiUy-en-Bi^e.
Beyond Melun we see on the left the Chdteau de Vaux-le-P^U
(18th cent.), above the right bank of the Seine. Then a small tunnel,
on emerging from which we find the Seine on our left. Fine retro-
spect on this side. — 31^/^ M. Bois-le-JRoi. We enter the forest
of Fontainebleau. — 36^2 M. Fontainehleau-Aoon (buffet).
PONTAINEBIjEAU.
The Statiok is about IVa M. from the palace (electric tramway, see
p. 434 ; hotel-omnibus 30 c.-l fr.). Visitors who arrive before luncheon-time
should proceed direct from the station to the Tour Denecourt (p. 439) :
cross the bridge over the line (coming from the Paris direction) and bear
to the right; then straight on to the 'carrefour', whence the road to the
right leads to the (li/^ M.) tower. The palace and garden may be visited
next (l-lVa hr.), and a walk or drive taken to the Gorges de Franchard
(p. 439; 2-3 hrs.) in the afternoon. It is well to order dinner beforehand.
Hotels (chaises should .be previously ascertained). * Savoy Hotels
first-class, 40 Av. du Chemin-de-Fer, with a fine view of the forest, open
from April till the end of October, 100 R. from 6, B. IVa, L. 6, D. 7,
pens, from 16 fr. ; Hdt. de VAigle-Noir, 27 Place Denecourt, opposite the
palace, 35 R. from 6, B. IVa, L. 4V2, D. eVa, pens, from 12 fr. ; H6t. de
France <k d^ Angleterre^ 48 Boul. de Magenta, opposite the palace, variously
i'udged (rest, a la carte; expensive); H6t. Franqois- Premier, 23 Rue
loyale, 40 R. from 4, B. IVa* L. 4, D. 5. pens, from 12 fr. — Hot. de Moret
<fe d'Armagnac, 16 Rue du Chateau, 40 R. from 4, B. 1, L. 3, D. 3Va> pens,
from 10 fr.; Hdt. Mercddhs (formerly H6t. du Lion-d'Or), 25 Place Dene-
court, 30 R. from 4. B. IV4, L. 3Va, D. 4, pens, from 9 fr. ; H6t. du Cadran-
Bleu, 9 Rue Grande, 50 R. from 3, B. IV4, L. 3, D. 3Va> pens, from 9 fr. ;
Hot. de ToutousCj 183 Rue Grande, 16 R. at 8-6, B. »/4-l, L. 2Va-3, D. 8,
pens. 8-9 fr.; Hdt. du OygnCj 30 Rue Grande.
H6tsl-P]en8ions. Launovj 37 Boul. de Magent«, open from Easter
till 15th Oct., well spoken of, 40 R. at 4-6, B. IV4, L. 3V2, D. 41/2, pens,
from lOVafr-; Victoria, 112 Rue de France, 16 R., pens. 8-12 fr., electric
light 2 fr. per week.
Restaurants. At the hotels; also, Hdt.-Rest. de la Salamandre,
76 Rue Grande, 12 R. at 2-6, B. 8/4 fr., rest, k la carte. — Oaf^is. C. Nau-
434 Route 84. FONTAINEBLEAU. Palace.
diUj 88 Rae des Bons-Enf ants ; C. du Cadran-BleUf see p. 4SS (Munich
beer); C. de V HOtd-de-ViUey 28 Rue Grande.
Cabs. Per drive in the town, 1 f r. ; to the station, 2 fr. (Vs fir. extra
from a private address) ; firom the station into the town, 2 fir. ; per hour
8 fr. — Drives in the forest, according to arrangement.
EuECTBic Tramways from the station: to the ChdteaUy about every
12 min., 30 c. ; to Vulaines-sur-Seine (p. 481), vi& Vcdvins^ 40 c. return.
— Motor Omkibus (railless-trolley system) from the station to Samois
(8 M.), 40 c. ; return 60 c.
Post & Tkljsoraph Office, Place Benecourt and Rue de la Ohancellerie.
Admission to thk Palack daily from 10 to 6 o'clock in summer and
from 11 to 4 in winter (Oct.-April), g^ratis. The custodian who shows the
apartments (fee) is to be found at the entrance at the end of the prin-
cipal court, at the foot of the Escalier du Per-i-Oheval (p. 485). The
visit takes about an hour.
Golf Coursk on the Route d'Orl^ans, about 1 M. from the town.
Fontainehleau (253 ft.; pop. 14,679), a quiet town, with broad,
regular streets, is a fashionable summer-resort. Its famous palace
was once a favourite royal residence. Since 1875 the Military
Academy for engineers and artillery officers has been situated here.
In the Rue Grande, through which the tramway runs, is the
Church (PI. 1), behind which is a bronze statue, by Godin (1881),
of Gen. Damesme, a native of Fontainehleau, killed at Paris in
June, 1848; farther on are the modem Hdtel de VUle (PL 2) and
a monument to President Camot (1837-94), with a bronze bust
and a statue of France, by Peynot (1895). — The handsome monu-
ment ioRoaa Bonheur (1901), in the Place Denecourt (PI. 3), con-
sists of a bronze bull, designed by the artist herself, on a granite
plinth adorned with her portrait and three of her pictures in relief.
The *Palace, or ch&teau, of Fontainehleau occupies the site of
a chateau founded by Louis VII. (d. 1180). It was built for Fran-
cis I. by the architects Grilles le Breton, Pierre Chambiges (f), and
Philibert Delorme, and, although of great extent, looks less impos-
ing than other chateaux of this period, there being, except in a few
pavilions, only one story above the gropnd-floor. The internal de-
coration, however, is deservedly much admired; it was executed by
Rosso de^ Rossi and Primaticcio, with the aid of other Italian and
French artists (school of Fontainehleau). Henri IV. (d. 1610) and
his son Louis XIII. (d. 1643) made considerable additions to the
chMeau, but since then it has undergone little alteration. It was
a favourite residence of Napoleon I., but after 1815 it was much
neglected. Louis Philippe and Napoleon III. spent large sums in
restoring it. — Curator, M. Georges d'Esparb^s.
Several historical associations attach to the Palace besides those which
are referred to hereafter. Francis I. received the Emp. Charles V. at Fon-
tainehleau in 1589. In 1602 Henri IV. caused his companion-in-arms
Marshal Biron to be arrested here on a charge of high treason, and to be
beheaded in the Bastille a month later. In the previous year the palace
witnessed the birth of Louis XIII. Here, in 1685, Louis XIV. signed
the Revocation of the Edict of Nantes. The Grand Cond4 died here in
1686, and it was in this palace that the sentence of divorce was pronounced
against the Empress Josephine in 1809.
PcHace, FONTAINEBLEAU. 84. Route. 435
The CouB Du Cheval-Blaito, by which we enter, derives its
name from a cast of a statue of Marcus Aurelius (at Rome), which
once stood in it. It is sometimes called the Cour des Adietujc from
having been the scene of Napoleon's parting from the grenadiers
of his Old Guard on 20th April, 1814, after his abdication. Here,
too, on 20th March, 1815, on his return from Elba, the Emperor
reviewed the same troops before marching with them to Paris. —
In the centre of the palace is the massive Escalier du Fer-d,-
Cheval, ascending to the first floor. It was built by J. Lemercier in
1634 and so named from its horseshoe form. Below, between the
two branches of the staircase, is the usual entrance for visitors.
Interior. The Chapelle de la TRiyiT^, on the ground-floor
to the left, has a fine ceiling, painted by Fr^imnet (1618-19; re-
stored). The altar is by Bordogni (early 17th cent.), and the altar-
piece (Descent from the Cross) by J. Dubois. Opposite the altar
is the royal gallery. In this chapel Louis XV. was married in 1725,
and Napoleon III. (1810) and Ferdinand, Duke of Orleans (p. 233;
1837), were baptized here.
A broad staircase ascending thence leads to the first floor, where
we usually begin with the —
Appartements de NAPOiiJON Premier, facing the Jardin de
POrangerie. Antechamber: Paintings above the doors by pupils of
Bouchsr; pictures by Vien and Brenet; under glass. Napoleon's
hat. Secretary's room: Furniture by Jacob; under glass, fragment
of Napoleon's coffin used at St. Helena. Bath-room, with mirrors
adorned with paintings by Barthdemy, said to have come from the
bath-room of Marie Antoinette at the Petit-Trianon; on the small
table in the centre, bust of Napoleon by Canova. Room with a small
table in the centre, on which Napoleon signed his abdication in
favour of his son on 11th April, 1814. Study, with a ceiling by
J. B. Regnault, representing Law and Justice ; at the end. Napo-
leon's camp-bed. Bedroom, with a handsome chimney-piece of the
time of Louis XVI., Napoleon's bed, the cradle of the King of Rome
and fine furniture and bronzes.
To the left is the *Salle du Conseil, in the Louis XV. style,
decorated by Boucher, Vanloo, and Pierre, and containing furniture
covered with Beauvais tapestry. — Then the *Salle du TrOne, with
a handsome ceiling, a chandelier in rock-crystal (time of Charles IX.),
and wainscoting of the period of Louis XIII. and Louis XIV.
We next enter the * Appartements de Marie- Antoinette.
Boudoir, decorated by Barthilemy. Bedroom : Silk hangings pre-
sented by the city of Lyons; jewel-case of Marie Louise, by Jacob;
fine Louis XIII. ceiling. Music-room, with a small table in Sevres
porcelain (1806) and stuccoes by Falconet. Salon of the ladies-in-
waiting, with Louis XVI. furniture, Beauvais tapestry, and paint-
ings by Boucher.
436 Boute84. FONTAINEBLEAU. Palace.
We now reach the G-alebib de Diane, or db la BibliothAque,
a hall 94 yds. in length, constructed under Henri lY. and restored
by Napoleon I. and Louis XVIII. The library (30,000 vols.) was
founded by Napoleon III. in 1855. The hall is adorned with paint-
ings of mythological scenes, by Blondd and Abel de Pujol, a por-
trait of Henri IV. by Mauzaisse, etc. The central glass-case at
the entrance contains a facsimile of the abdication of Napoleon I.
Under the Galerie de Diane is the old Ocderie des Cerfa^ which is
not shown to visitors. It was in this room in 1657 that Qneen 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. His sword and coat-of-mail are placed on the very spot
where he was killed.
"We are next conducted to the Salons de Reception, parallel
to Marie Antoinette's apartments, and overlooking the Cour Ovale
(p. 438). The antechamber is hung with Gobelins tapestry of the
Louis XIV. period, after Le Brun (Summer, Autumn, and Winter),
and the following room ('Salon des Tapisseries') contains old tap-
estry from Flanders (Myth of Psyche) and furniture covered with
Beauvais tapestry (Fables of La Fontaine). In the chamber of
Francis I.: Handsome chimney-piece, partly of the 16th cent., with
a medaillion by Primaticcio (Mars and Venus) and a small relief
attr. to Benv. Cellini; Flemish tapestry (hunting-scenes); furniture
covered with Beauvais tapestry (Soldiers of Murat).
The Salon de Louis XIII, in which the king was bom in 1601,
is decorated with paintings by P. Bril and Ambroise Dubois (d. at
Fontainebleau in 1615) from the story of Theagenes and Ghariclea,
and contains a small Venetian mirror (1530), one of the earliest of
its kind, and an ivory jewel-case that belonged to Anne of Austria.
— The Salle db St-Louis, in the oldest part of the palace, contains
fifteen pictures from the life of Henri IV., and a marble relief, by
Jacquet, of Henri IV. on horseback. — In the Salon des Jeux, or
DES Aides-de-Camp, are two Italian chests in carved ebony (16th-
17th cent.). — The Salle des Gardes has a handsome chimney-
piece, by Jacquet (1590), with a bust of Henri IV. and statues of
Power and Peace. Fine modern flooring.
The Escalier du Roi contains statues by Jean Goujon and paint-
ings from the life of Alexander by Nic. delVAbbate, after Prima-
ticcio^ restored or entirely repainted by Abel de Pujol. The windows
look into the Cour Ovale (p. 438). — In the Passage and Antechamber
are paintings by Boullogne (Venus and Cupids) and Debay.
The Appartements de Madame de Maintenon are less in-
teresting. In the salon is a fire-screen worked by the ladies of
St-Cyr, a Boule bureau, and chairs covered in tapestry. — Thence
a passage leads to the —
*Galerie de Henri-Deux, or Salle db Bal (98 by 33 ft.),
uiltby Francis I., and decorated by Henri II. for Diane de Poitiers.
Palace. FONTAINEBLEAU. 84. Route, 437
The crescent and the monogram Z>fl" frequently recur. The mytho-
logical frescoes after Primaticcio by Nic. delV Abbate have been
freely restored by Alatix. At the end is a handsome chimney-piece.
The windows afford a pleasant survey of the gardens.
Retracing our steps to the Salle de St-Louis, we turn to the left
into the Galerie de FRAN<;;ois-PREMtER, which extends from the
Cour de la Fontaine (p. 438) to the vestibule of the Escalier du
Fer-i-Cheval (p. 435). This gallery, begun in 1528, is adorned
with fourteen large allegorical and mythological scenes by Rosso
de' Rossi relating to the history of Francis I. Between the paint-
ings are bas-reliefs, caryatides, trophies, and medallions. The sala-
mander (the king's emblem) and the initial F frequently recur.
The Vestibule d'Honnbur, reached by the Escalier du Fer-i-
Cheval, has two handsome oak doors of the time of Louis XIII.
and four modem doors in the same style.
To the left are the Appartements des KEiNES-M]feRES and de
Pie Vn, successively occupied by Catherine de M6dicis (d. 1588),
by Anne of Austria (d. 1666), and by Pope Pius VII., who was a
prisoner here from 1812 to 1814. These rooms contain handsome
furniture and ornaments of the end of the 18th and the beginning
of the 19th cent.: Furniture by Jacob; clocks and sconces by
Thomire, Delafontaine, and Lepautre; goldsmiths' work hy Bien-
nais, Auguste, and Odiot. We pass through an antechamber with
chairs and hangings in Cordovan leather, a fine Louis XIII. chest,
and a piece of tapestry after Oudry (Hunting at Compi^gne) ; over
the fire-place. Bacchanals, by N. HalU; in the centre, small marble
table presented by Pius VII. to his godson, the Prince Imperial
(1857). — The next room, the Salon des Officiers de Service, is
fitted up as a Louis XVI. bedroom ; superb *Commode by Gouthi^e
and Riesener. — The Salon de Reception, hung with tapestry of the
time of Louis XIV. (Triumph of the Gods) and furnished with chairs
upholstered in Beauvais tapestry, has a table in iron and- bronze
presented to Napoleon I. and a ceiling in the Louis XIII. style. —
The bedroom of Anne of Austria, also with a fine *Louis XIII.
ceiling by CoteUe, is hung with Beauvais tapestry (Fables of La
Fontaine; comp. p. 436) and contains portraits of Anne of Austria
and Marie Th^r^se by Coypel. — Then come two small rooms, the
first with a portrait of Pius VII., after David j and two Gobelins
tapestries, after Oudry, the second containing two portraits in
tapestry (Henri IV. and Louis XV.). — Farther on is the pope's
bedroom (now altered), with the old bed in the Louis XIV. style,
and portraits of Louis XV. and Marie Lesczinska by C. Vanloo. —
The comer room, which was used as the pope's chapel, contains a
fine Louis XIV. clock and a piece of tapestry after Mignard
(Apollo and the Muses). — In the following room: Fine Empire fur-
niture, used by Pius VII. ; Gobelins tapestry (The Seasons) after
438 Route 34, FONTAINEBLEAU. Gardens.
Mignardy and two paintings by the same artist (Song and Music).
— Next, a vestibule with paintings. — We then enter the Gai.ebib
DBS Fastes, containing Gobelins tapestry and Sevres vases.
Lastly we reach the Galebie des Assiettes, which is some-
times shown first. It derives its name from the quaint decoration
(due to Louis Philippe), consisting of 128 plates let into the panel-
ling, with views of royal residences. The frescoes by A. Dubois
are from the Galerie de Diane. By the entrance, jewel-case, decor-
ated with Sfevres porcelain, presented to Helena of Mecklenburg at
the time of her marriage to the Duke of Orleans.
Visitors are sometimes shown the Chapelle Haute db St-
Satubnin, containing the tribune of Henri 11. and some ancient
paintings restored in 1895, and the Chapelle Basse.
On the ground-floor, to the right, in the main building, is a Chinese
Museum, open at the same hours as the palace. The entrance is in the
Cour de la Fontaine (see below). The collection, which is valuable, was
begun after the French expedition to China in 1860. — Room I. Perfume-
censers in cloisonne enamel ; lustres ; lac(|uered panels. In the glass-case
by the back-wall : Gold crown of the King of Siam ; valuable presents
(belt, gold knife, fork, and spoon) made by the Siamese ambassadors to
Napoleon III. (1861; comp. tne painting mentioned on p. 865); flower-
vases; bowls and ewers in gold and enamel; porcelain and rock-crystal.
— Room II. Pagodas; palanquin; furniture; vases; silver bowls; in the
glass-cases, porcelain and fayence, mandarin's collar and other objects
in jade. — Room III. Dragons and pagodas in copper; elephant's tusks;
weapons and armour; flags.
Gardens. The principal entrance is by the Cov/r de la Fon-
taine, or Cour d^Ulysse, reached through the large door to the
right of the Escalier du Fer-i-Cheval (p. 435). This courtyard is
flanked on three sides by buildings (on the N. the Galerie de Fran-
cois-Premier, p. 437), and on the S. by a pond with carp. In front of
the pond is Ulysses hurling the discus, by Petitot (1810).
To the W. lies the Jar din Anglais, laid out under Napoleon I.
Beyond the E. passage of the Cour de la Fontaine, between the
two flights of steps, we observe the Porte Dorie, adorned with
frescoes after Primaticcio (restored by Pi cot). This forms one of
the entrances to the Cour Ovale, or Cour du Donjon (not open to
the public), which is interesting on account of its fine colonnades
of the early French Renaissance. — Farther on is the Parterre,
designed for Louis XIV. by Le N6tre, with its ornamental ponds
and sculptures. — On the N. side of the Parterre is the Cour Henri-
Quatre, which now belongs to the Ecole d'Application de PArtil-
lerie et du G6nie (p. 434). On the E. side of the Parterre is the
Canal (V4M. long), dating from the time of Henri IV. — To the
N.E. of the Parterre is the Park, containing a Maze and the
Treille du Roi, a trellis of vines, s/4 M. long, which yields the
famous grapes known as 'chasselas de Fontainebleau'.
ForeH. FONTAINEBLEAU. 84. Route, 439
The *Fore8t of Fontainebleau, which is about 56 M. in
circumference and covers an area of 41,940 acres, is justly regarded
as one of the most beautiful in France. On the N.E. side it is
bounded by the windings of the Seine. The soil here is of a very
varied character, the rock formation consisting chiefly of sandstone,
which yields most of the paving-stones of Paris. The fine old
timber and wild gorges of the forest afford beautiful walks and
attract many artists (see p. 440). The forest has frequently been
damaged by fire (seriously in the summer of 1911).
All points where paths cross each other are provided with sign-posts.
e and red Marks placed on trees and rocks indicate the way to the
most pictnresque points. The small red rectangles, with the distances
below, point in the direction of the town. — Those who leave the beaten
paths should beware of adders.
Two fine points of view near Fontainebleau are (20 min. to the
N.) the *Croix du Calvaire, with a view of the town, and (V4 hr.
to the N., or 1/2 ^r- from the railway station) the ^ Tour DeTiecourtj
whence the Eiffel Tower may be descried. We follow the Rue
Grande and the Melun road; from the latter, 6 or 7 min. from the
town, the Chemin du Calvaire diverges to the right, nearly opposite
the chapel of Notre-Dame-de-Bonsecours. (From the Calvaire a
path leads to the Tour Denecourt in '/j hr.) About l^j M- from
the town, the Melun road forks at the 'Carrefour de la Croix-
d*Augas', on the right of which is the Caverne d^Augaa, with a
bronze medallion of Paul Merwart (d. 1903), the draughtsman, by
E. Dubois (1906). At the carrefour we follow the Chemin de Fon-
taine-le-Port to the right; about ^/g M. farther on (sign-post) a path
to the Tour Denecourt diverges to the right. The tower (rfmts.)
bears a bronze medallion of Denecourt (1788-1875), who spent his
fortune and much of his life in exploring and mapping out the forest.
Between the Melun and Paris roads are the Nid de VAigle and
the ChroS'Fovteau, two of the finest groups of trees in the forest
(1^2 ^' from the town).
Visitors seldom extend their excursion beyond the Kochers and
Georges de Franchard, about 3 M. to the W. of the town (carriage,
see p. 434). At the end of the Rue de France we follow the Route
de Milly, which diverges to the left from the high-road to Paris
(see above). Carriages turn to the left at the Route Ronde, which
leads to the restaurant. Pedestrians quit the Route de Milly by
a footpath on the left ascending to the Mont Fessas (to the left
are the Mont Aigu and the Gorges du Houx)^ and proceed
thence to the Carrefour du C^dre and the Carrefour de la Croix-
de-Franchard, 5 min. from the Restaurant de Franchard (inquire
as to charges). The celebrated Rochers et Gorges de Franchard
are a chaotic group of white sandstone rocks overgrown with trees
and bushes, forming a basin 2^/2 M. in circuit. (Guide about I'^j^ fr.,
but not needed.)
440 Route 34. FONTAINEBLEAU.
An excursion to the Mockers et Gorges d'Apremont and the
fine timber of the neighbouring Bas-Briau, to the N.W. of the
town, is likewise interesting. Between the Bochers d'Apremont and
the Monts Girardy another chain of hills on the S., extends the Dor-
moir, one of the most beautiful parts of the forest, and a favourite
sporting-rendezvous. In the upper part of the Gorges d'Apremont
is situated the modern Caverne des Brigands (rftnts.). Farther
to the N. is the high-road to Paris (p. 439), which leads in the
direction of Fontainebleau past the Hauteurs de la SoUe and the
Gros-Fouteau (p. 439) to the carrefour of the Croix du Grand-
Veneur; on the S.W. are the Bouquet du JRoi and the TiUaiey
fine groups of old trees.
Barbizon, or Barbison (Hdt. de la ForSt, open from Ist May to Slat
Oct., 60 R. from 6, B. IV4, L. 4, D. 4Va, pens, from 12 fr. ; H6t. dee Char-
mettes, 85 R. from 5, B. VUy L. 3V») t>. 4, pens, from 8 fr.; Hot. de
TExposition, 80 B. from 4, B. 1, L. 8, D. 8Va 1 pens, from 6 fr. ; Hot. de
la Clef -d' Or, 21 B. from 2, L. 2i/s, B. 8, pens. 6-12 fr.), close to the edge
of the forest, about 51/s M. to the N.W. of Fontainebleau, is connected
by tramway with Melun (see p. 483). It is a famous rendezvous of
artists, a number of whose paintings adorn the walls of the hotels. On
a rock at the entrance to the forest is a medallion, by Chapu, in memory
of J. F. Millet and Th. Rousseau.
Among the interesting points in the S. part of the forest are the
Rocher d*Avon, between the road to Moret and that to Marlotte;
the Rocher Bouligny and the Rocher des Demoiselles; also the
Gorge aux Loups and the Ixmg-Rocher^ near the verge of the
forest, in the direction of Marlotte.
The village of Marlotte (Hdt. de la Renaissance, 140 B. from 21/9,
B. 1, L. 8, D. 31/9, pens, from 6 fr.), S^/g M. from Fontainebleau, on tlie
edge of the forest, is, like Barbizon, a ver^ pleasant summer-resoxt and
popular with artists. The nearest station is Montiffny-Marlottef on the
line to Montargis, 8/4 M. to the E. (omnibus 50 c), whence we may return
to Fontainebleau yii Moret (see below). — About 8/4 M. to the "W. of Mar-
lotte, and also near the forest, is Bourron (H6t. de la Paix, pens. 6 fr. ;
H6t. du Pav6-du-Roi), suitable for a stay of some time, with a station at
the junction of the lines from Montargis and Malesherbes. — For Moretj
another small town much frequented by artists, see Baedeker's Northern
France.
.^ I
EOUTES FROM LONDON TO PARIS.t
35. By Folkestone, Boulogne, and Amiens.
255 M. By Express Trains, from Oharing Cross, in 7-7^/4 hrs.j sea-
passage 11/4-18/4 hr.; fare 21, lOs., 11. 14«. 8d., or ll. 2«. 9d.; return-ticket,
valid for one month, U. Is, lOd.f Si. Ss. or ll. lis. bd. Pullman car (28. 6d.
extra) between London and Folkestone. — Passengers with 2nd cl. tickets
are admitted to the Ist cl. saloon on the steamers on payment of 28.
Registered lu^age is not examined before arrival at Pans.
By Steamboat from London to Boulogne. Bennett Steamship Co..,
thrice weekly, in 9 hrs. (6 hrs.' river-passage); fare 10«., return 17«. 6^.;
General Steam Navigation Co. (65 Great Tower St.), thrice weekly in
summer, in 6-7 hrs. (from Tilbury), fare 10«., return 14«. This route is
Sleasant in fine weather ; but the trains from Boulogne to Paris ^. 444)
0 not correspond with the steamers.
Boulogne-Sur-Mer. — Hotkls. The following are suitable for
passing travellers: H6t. Christol & Bristol (PI. g; E, 8), 14 Place FrSd^ric-
Sauvage, near the station, 75 R. from 7, B. l^/g, L. 4, D. 5-6 fr. ; Hot.
Meurice (PI. i; E, 8), 85 Rue Victor-Hugo, 72 R. from 4V«, B. IV4, L. 8Va,
D. 4 fr.; Hdt. Dervaux (PI. m; F, 3), 75 Grande-Rue, 200 R. from 4, B.
lVa» L. SVa, D. 4 f r. ; H6t. du Louvre & Terminus (PI. n ; D, 8), Place de
la R^publique, opposite the station, 100 R. from 41/9, B. 1^/9, L. S^/a, D.
4V8 fr. ; a6t. du Commerce (PI. 0; E, 3), 27 Rue Adolphe-Thiers. — The
following somewhat expensive first-class hotels are patronized by summer
visitors: H6t. du PaviUon-Imp^rial ; H6t. de Folkestone; H6t, de Paris;
Brighton A Marine; etc. — There are also numerous Pshsiohs.
Rkstaurants at most of the hotels ; also at the Casino (L. 5, D. 7 fr.)
and at the Qare Maritime.
Gabs. Per drive l»/a fr., from midnight to 6 a.m. 2 fr.; per hour 2 fr.,
with two horses 2»/g fr.
Elbctric Tramways from the Place Dalton (PL F, 8) to the Casino
(PL D, 1); to Chdtillon and Le Portel (beyond PL C, 6), a fishing-vill^e
and bathing-resort 2 M. to the S.W. ; to Mont-Neuf-d* Outreau (beyond PL
E, 6); to the Dernier-Sou and St-Martin (beyond PL G, 2); to WiTnereux
(beyond PL C, D, 1 ; p. 449) by the coast (fine view) ; from the Oasino to
Brequerecque (beyond PL G, 5). Fares 10-80 c.
Oasdto (season 15th June to 15th Oct.). Adm. 1 fr. ; to Theatret 4-5 fr.
(See the gratuitous 'Guide-Programme'.) — Ssa-Baths 1 fr., towel 5 or 10 c.
Post & Tblboraph Office (PL E, 8), Place Fr^d^ric-Sauvage.
British Vicb-Cohsul, H, F. Farm^, 2 Rue Oorrenson. — Amsricah
Ooirsui<AR AoBHT, Wm, Whitman^ 6 Quai Gambetta. — Banks : Adam A Co.
(also Lloyd's i^ents), SocUti Q4n6rcde, Nos. 6 and 82 Rue Victor-Hugo. —
Merridew's Library, 60 Rue Victor-Hugo.
English Ohurchbs. Holy Trinity (PL 1; E, 8), Rue de la Lampe;
St. John's (PL 2 ; F, 8), 54 Rue des Vieillards. — Wesleyan Methodist Church
(PL 8; F, 8), 70 Grande-Rue.
Sport. Golf Links (8 fr. ner day) at the racecourses of Aubengues
(20 min. from Wimereux, see aDove) and L'lnqu^trie. — Tennis Courts in
the Boul. Enrvin (PL G, 2). — Also BegattaSf Morse Baces, etc.
t For further details, see Baedeker's Northern France,
442 Route 85. BOULOGNE-STJR-MER. From LmvcUm
BouLogne-sur-Mer, the Bononia (f) or Gessoriacum of the
Komans, is an important seaport and commercial town, pictur-
esquely situated at the mouth of the lAane, with 53,128 inhab., of
whom over 1000 are English. Its numerous schools enjoy a high
reputation. Boulogne is an important herring-port and exports large
quantities of salted fish; it is also the chief centre in France for
the manufacture of steel pens, introduced from England in 1846.
The town is divided into the Haute ViUe, or old town, on the
height to the E., and the much larger Basse Ville, including the
harbour. The part of the Basse Ville on the left or W. bank of
the Liane is known as Cap^cure.
The Harbour J 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 harbour,
once tidal only, has been greatly enlarged by operations begun in
1879 and resumed in 1901. Vessels can now enter and clear at low
water. The West Pier is 765 yds. long.
The Gare Maritime (PI. D, 2), on the quay of the Folkestone
steamers, is connected with the Gare Centrale (PL D, E, 4) by a
short branch-line. On the right bank of the Liane, just beyond the
Pont Marguet (PL E, 3), is a bronze statue, by Lafrance, of FVi-
d^ric Sauvage (1786-1857), who is regarded by the French as the
inventor of the screw-propeller. On the right of the Place is the
new Post Office (1909). Thence the Quai Gambetta runs N. to
the Halle au Poisson (PL E, 3), the Douane (PL D, E, 2), and the
Chambre de Commerce (PL D, 2). Behind the Ohambre de Com-
merce is a monument to the two actors, the brothers Coqueliuy by
Maillard (1911).
The FtBh Market is held early in the morning in the Halle. The
fishermen and their families occupy a separate quarter, La Beurrihrey 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 di£fer
somewhat in character and customs from the other inhabitants.
The Etablissement des Bains, with its Garden and handsome
Casino (PL D, 1, 2), lies farther to the E. (adm., see p. 441). —
Between the shadeless beach and the cliffs runs the Boulevard
Sainte-Beuve (PL D, 1, 2), named in honour of the famous critic
(1804-69), who was a native of Boulogne. In the boulevard are
monuments to the Argentine patriot General San Martin (d. 1850
in Boulogne), by Allouard (1909), and to Captain Ferber^ one of
the first victims of aviation (1909).
The East Pier, or Jet^e de VEst (PL B, C, 1, 2; small restau-
rant), which extends 567 yds. into the sea, is a favourite evening
promenade. — On the cliff are the ruins of a brick fort constructed
by the English in 1545 near the Tour d*Od/re (^Turris Ardens*;
PL D, 1), a Roman beacon- tower built under Caligula in A.D. 40,
but demolished in 1644.
to Paris. BOULOGNE-SUR-MER. B6. Route. 443
We now return to visit the town. The Rue Victor-Hugo (PI.
£, 3) and its continuation the RueNationale contain the principal
shops. The Bue AdolpJie- Thiers (PI. E, 3), parallel to the Rue
Victor-Hugo, is the main artery of traffic; at its S. end is the Place
DdUon (PL F, 3), in which rises the church of St-Nicholas (13th-
18th cent.). This square is the chief tramway-centre (p. 441). The
Ghrande-Rue ascends thence to the Haute Ville.
The Museum (PI. F, 3), in the Grande -Rue, contains ethno-
graphical and natural history 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^
previously on the second floor, was transferred in 1912 to 103 Rue
des Vieillards (PI. F, 2) ; it contains 64,500 vols, and 239 MSS.
At the top of the Grande-Rue, on the left, is the Sotts-Pr^fec-
ture (PI. F, 3), in front of which is a colossal bust of Henri II.,
by David d' Angers, commemorating the restoration of the town
to France by the English in the reign of that monarch (1550). In the
Boulevard Aikguste-Mariette (PI. F, G, 2), farther on, is a bronze
statue by Jacquemart, of Aug. Mariette, the eminent Egyptologist,
who was a native of Boulogne (1821-81). To the left, lower down,
is a public park known as Les Tintelleries (PI. F, 2 ; concerts in
summer). Close by is the Boulogne- Tintelleries station (p. 449),
on the line to Calais.
The Haute Ville (PI. F, G, 2, 3), enclosed by massive walls
and bastions (1231), is entered by four gateways: the Porte des
Dunes J the Porte Gayole, the Porte de Calais, and the Porte des
Degr68 (for foot-passengers only). The Hdtel de Ville (PI. G, 3),
erected in 1734, is said to occupy the site of an ancient caistle, in
which the crusader Godfrey de Bouillon was born in 1065.
The Cathedral of Notre -Darke (PI. G, 2), a building in the
degraded Italian style, was erected in 1827-66. 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 (fine view; ascent, 1 fr.; custo-
dian at the S. portal).
• The Chdteau (PL G, 2), in which Louis Napoleon was confined
after the attempted insurrection of 1840, is the ancient citadel of
Boulogne, dating from 1231. It is now converted into barracks
(no adm.). — At the S. corner of the Haute Ville is a statue of Ed-
ward Jenner (1749-1823), the discoverer of vaccination, by Eug.
Paul (1865). — The old Cemetery in the Route de St-Martin (beyond
PL G, 2) contains the graves of Sir Harris Nicolas, Basil Mon-
tague, and numerous other Englishmen.
In 1804 Napoleon I. assembled an army of 172,000 infantry and 9000
cavalry on the table-land to the N. of Boulogne, under the command or
Marshals Soult, Ney, Davout, and Victor, and collected in the harbouf
Bardbkbr's Paris. 18th Edit. 28
444 Route 35. ABBEVILLE. From London
a flotilla of 2413 craft of various dimensions, for the purpose of invading
England and establishing a republic there. The troops were admirably
drilled, and only awaited the arrival of the fleets from Antwerp, Brest,
Cadiz, and the harbours of the Mediterranean, which had been in the
course of formation for several years for this express purpose. Their
union was prevented by the British fleet under Sir Robert Calder; and
the victory of Nelson at Trafalgar, on 22nd Oct., 1805, completed the
discomfiture of the undertaking.
Napolsob's Column, or the Colonne de la Grande-AmUe^ of the Doric
order, 176 ft. in height, constructed by Marquise, situated l^/g M. from
Boulogne on the road to Calais (beyond PI. Q, 1 and E, 1), was founded
in 1804 to commemorate the expedition against England, the first stone
being laid by Marshal Soult in the presence of the whole army. The first
empire left the monument unfinished, and in 1821 Louis XvIII. caused
the work to be resumed, intending that the column should commemorate
the restoration of the Bourbons; but it was not completed till 1841, when
its original destination was revived. The summit (view) is occupied by
a statue of the Emperor, one of Bosio^s finest works. — Farther to the
N.W. are the Fort de Terlincthun and the Chdteau d^Honvaultj occupied
by Henry VIII. in 1544.
Fbom Boulooke to Pabis.
159 M. Crbmir de Feb du Nobd. Express in 8-8^/4 hrs., other trains
in 4Va-7*/4 hrs. (fares 28 fr. 45, 19 fr. 20, 12 fr. 50 c).
Quitting the handsome station of Boulogne, the train crosses
the Liane. At (IY4 M.) Outreau (6822 inhab.) the line from the
Gare Centrale joins that from Boulogne-Tintelleries (p. 443). Sev-
eral large cement-works are passed. 3 M. Pont-de-Briques (H6t
Lambeau). — 5Y2 M. Hesdigneul (H6t. de la Gare; junction for
St-Omer).
About 6 M. to the S.W. of the station is the new bathing-resort
Hardelot-Flaee (H5t. Bellevue), with a golf-course, near the chd,teaa
and forest of Hardelot. Motors run in the season from Boulogne and
Paris-Plage (see below).
17 M. Etaples (Hdtel des Voyageurs; de la Gare; Joos) is the
junction for Arras.
From Etaples an electric tramwajr (50-60 c.) plies to (S^Aj M. ; 25 min.)
Faris-Flage, or Le Touquet (Atlantic Hotel; Hermitage; uolf, near the
golf-course; (Jrand, with the Casino Municipal; des Anglais; Savoy, etc.;
Engl. Ch. services in summer), a favourite sea-bathing and golfing resort
at the mouth of the Canche.
The train crosses the Canche by a viaduct. 2072 ^* St-Josse. —
231/2 M. Bang -du- Fliers -Verton^bM. from Merlimont- Plage, is
the junction for the seaside resort of Berck. — 28 M. ConchU-le-
Teniple; 34 M. Bue. Near (4072 M.) Noyelles-sur-Mer the Samme
was crossed by Edward III. before the battle of Cr6cy.
Branch-line to the right to (11 M.) CayeuXj vift (SVa M.) 8t-VaZery-
SMr-zSomme (Ca8ino-Grand-H6tel ; France & Famille ; Lion-d'Or; Commerce),
whence William the Conqueror finally set sail for England in 1066. Another
branch-line runs to (5 M.) Le Crotoy.
49 M. Abbeville (H6tel de la T^te-de-Boeuf, good; France;
Gare), a cloth-manufacturing town with 20,373 inhab., on the Soranie,
5 connected with the sea by means of a canal. The principal
to PaHs. AMIENS. 55. Route. 445
building is the Gothic church of St-Vidfran (15th cent.). The
Flamboyant portal of the church of St-Gilles is interesting also
(restored). The Mus^e Boucher-de- Perthes contains antiquities
and about 1600 paintings of the French, Flemish, and Dutch Schools ;
the Mus^e d^ Abbeville et du Ponthieu contains paintings, engrav-
ings, sculptures, and a natural history collection.
From Abbeville branch-lines ran to (58»/2 M.) B^thune, \ii St-Riquier;
to (19^8 M.) DompieiTe-sur-Authiej vik Crecy-en-Ponthieu ; and to (28 M.)
Eu: see Baedeker's Northern France.
541/a M. Pont-Remy. — At (5972 M.) Longprd branch-lines
diverge for Le Tr^port and Canaples. — 64 M. Hangest-sur-
Somme; 68 M. Picquigny, with the ruins of a stronghold of the
16th cent.; 71 M. Ailly-sur-Somme ; 72'/2 M. Dreuil-les- Amiens ;
Ib^l^lA.. St-Roch, — Then two short tunnels.
7678 M. Amiens. — Hotels. *Hdt. du Rhin (PL b; G, 4), 80 R.
from 4, B. IVg, L. 4, D. 5 fr., Gr.-Hot. de VUnivers (Pl. a; G, 4), 82 R.
from 4, B. IVg, L. 8V2, D. 5 fr., both in Place Rene-Goblet: Belfort-Hotel
(PI. k; G, 4), 42 Rue de Noyon, opposite the station, opened in 1911, 50 R.
from 4, B. IV4, L. or D. 4 tx. — Hdt. de VEcu-de- France (PI. f; G, 4),
51 Place Ren^-Goblet, 86 R. from 3, B. VL, L. 8, D. SVgfr., well spoken
of; not. Moderne (PI. g; G, 4), 4 Esplanade de Noyon, to the left of the
station exit, 30 R. from 8, B. 1, L. 8, D. 8Vafr.; S6t. du Commerce
(PI. e; F, 4), 82 Rue des Jacobins, 52 R. from 3, B. IV4, L. 8, D. 8»/» fr.;
Hdt. de Paris (PI. d ; G, 4), 38 Rue de Noyon, near the Gare du Nord,
22 R. from 21/9 , B. VUt L. 2Vi, D. 8 fr.; etc. — OafAs. Dufourmantelle
(with rest.), 84 Rue des Trois-Cailloux, and others in the same street;
Braaserie Central/'^ 3 Rue de la R^publique.
Cabs. Per drive 1 f r. ; per hour l'/^ or 2 fr.
Post & Telegraph Office (PI. E, 3), Place (.e l'H6tel-de-Ville.
British Vicr-Oonsul, W. Sutcli/fe. — American Consitlar Agent, C.
Tassencourt.
^! Amiens, the ancient capital of Picardy, now that of the depart-
l raent of the Somme, with 93,207 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 chief manufactures
are linen, woollen stuffs, silk thread, cashmeres, and velvet. The
central part of the town is surrounded by handsome boulevards on
the site of the former fortifications. 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 they
entered the town on the following day.
1^ The exit from the station is in the boulevards, opposite the Rue
de Noyon, which we follow to the Pla.ce Ren^-Goblet (PI. F, G, 4),
^''' formerly Place St-Denis, embellished with a bronze statue of Du
Cange, the eminent philologist (1610-88), by Caudron. The Rue
Victor-Hugo leads hence to the right, passing the modern Palais
.^ de Justice, to the —
**Cathedral (P1.F,3), one of the most imposing Gothic churches
in Europe. The present building was begun in 1220 on the site of
28*
H
446 SouU 86. AMIENS. ^rom London
an older cathedral destroyed by fire aboat 1218, the chief architects
being Robert de Luzarches, Thomas de Cormont, and his son
RegnavU. The nave and facade were completed in 1336, the am-
balatory and radiating chapels in 1247, the apse in 1269, while
the side-chapels were added between 1292 and about 1375. Length
475 ft., of transept 230 ft. ; width of nave 105 ft. The heaviness
of the building is insofSciently relieved by the lofty spire over the
transept, 370 ft. in height, re-erected in 1529. The two towers of
the W. facade, completed long after the rest of the building, belong
respectively to the 13th and early 15th cent., the former being
213 ft., the latter 216 ft. in height, but like the central spire they
are too small for the edifice.
The *Fa9ads contains three lofty recessed porches, richly adorned
with reliefs and statues, formerly painted and gilded. The ^Beau Dieu
W Amiens^ is an admirable figure of the Saviour between the doors of the
central portal. Above the portals are a handsome gallery, niches con-
taining twenty-two colossal statues of kings of France, a magnificent
rose-window 38 ft. in diameter, and still higher a gallery connecting the
towers.
The *Intekiob consists of nave, transept, aisles, and choir, all flanked
with chapels. The nave rises to the very unusual height of 139 ft., being
surpassed in this respect by the Cathedral of Beauvais alone. The vaulting
is borne by 126 remarkably bold columns. The stained glass in the rose-
windows, triforium, and choir is ancient. The organ-loft dates from 1425,
but has been modernized. The bronze monuments of the two bishops
(d. 1222 and 1236) who founded the church, on each side of the third bay
in the nave, are fine works of the 18th century. The exterior of the
choir-screen is adorned with ^Reliefs (restored in 1838), representing on
the N. side the history of John the Baptist (1531), on the S. side the life
of St. Firmin. Behind the high-altar is the ''Enfant Pleureur\ a much
admired weeping angel, by Blasset. At the entrance to the choir are
laxge marble statues of St. Vincent de Paul and San Carlo Borromeo. The
S. transept contains some interesting reliefs, painted and gilded (beginning
of the 16th cent.).
The *Choir Stalls (apply to the verger 9-12 and 2-6; 60 c), 110 in
number, are fine specimens of carving executed in 1508-19. There are no
fewer than 3650 figures. The subjects are mainly Scriptural, but some
represent different worldly occupations.
At the back of the church rises a bronze statue of Peter the Her-
mit (PI. F, 3), or Pierre of Amiens, the promoter of the first Crusade.
The Rue Robert-de-Luzarches leads to the S. from the cathedral
to the Rue des Trois-Cailloux, with the best shops and the Th6cUre
(PI. F, 4). From the Place Gambetta (PI. E, 3, 4), with its clock-
tower in wrought iron and bronze, at the W. end of the Rue des
Trois-Cailloux, the Rue de la R^publique runs S. to the boulevards
and the Rue Delambre N.W. to the Place de l'H6tel-de-Ville. In the
latter rises the Hotel de ViUe (PI. E, 3), lately enlarged and almost
entirely rebuilt, to the N. of which is the Belfry (PI. E, 3), an eccen-
tric edifice of 1748 on a much older base (restored in 1865).
The *Mu8de de Pioardie (PI. E, 4), in the Rue de la R6publique,
is open daily 10 to 4 or 5, Mon. 12 to 4 or 5; adm. 1 fr., gratis
from 12 o'clock on Sun., Thurs., and holidays. The collections on
to Pans. CLERMONT. SS. Route. 447
the ground-floor include mediseyal 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 andBeauvais; a few Greek antiquities (statue of Diana;
mosaic of Apollo) ; and modern sculptures. In the Grande Salle
Centrale and in nine rooms on the first floor is the picture-gallery,
comprising chiefly works by French masters of the 19th cent, and a
valuable collection of Flemish paintings. The staircase is adorned
with mural paintings by Puvis de Chavannes. — In the same street
Is the Bibliotkdque Communale (PI. E, 4).
In the Rue Duthoit, to the N. of the Boul. du Mail, is a mon-
ument called the Illustrations Picardes (PI. F, 4), consisting of a
figure of Picardy, surrounded with statues and busts of eminent
natives of that province. — On the W. side of the town is the pleas-
ant Promenade de la Hotoie (PI. A-C, 2, 3). — The church of ^^-
Germain (PI. E, 3; 15th cent.) has a fine tower leaning slightly
to the N.
A branch-line connects Amiens with Rouen (in 2-8*/4 hrs.).
From Amiens to Paris. 7972 M- Longueau (buflfet), junction
of a line to Arras (Lille). — Near (821/2 M.) Boves is a ruined cha-
teau in which Henri IV. often resided with the beautiful Grabrielle
d'Estr^es. Fine view of the valley of the Noye. — 89 M. Ailly-sur-
Noye. — 93 M. La Faloise. At the village of Folleville, 1^/4 M. to
the S.E., are the ruins of a chateau, and a late-Gothic church con-
taining a fine monument of Raoul de Lannoy (d. 1508), mainly by Ant.
della Porta. — From (9972 M.) BreteuU-Embranchement a branch-
line runs to the (472 ^0 small town of Breteuil (2700 inhab.).
108 M. St-Just-en-Chauss^ey the centre of a hosiery-manufac-
turing district, and the junction of lines to Beauvais and Douai.
11772 M. Clermont (H6tel St-Andr6; pop. 6004), pleasantly
situated on a hill, is commanded by an ancient donjon or keep.
The church of St-Samson, of the 14th -16th cent., contains tine
stained glass of the 16th cent, and wood-carvings of the 17th. The
Hotd de Villey built in 1320 and restored in 1887, is said to be
the oldest in the N. of France. The country here is well peopled
and picturesque. Branch-lines to Compi^gne and to Beauvais.
12272 M. Liancourt'Rantigny. Ijiancourt (H6t. du Chemin-
de-Fer-du-Nord; pop. 3928), 1 M. to the E., a manufacturing town,
contains the ruined chateau (17th cent.) of the Dukes of Laroche-
foucauld-Liancourt and a Statue of Duke Fr6d4r%c Alexandre
(1747-1827), noted for his philanthropy and his encouragement of
agriculture. Two good marble monuments in the church.
127 M. Creil, beyond which the train skirts the Owe. Large
porcelain-factory on an island in the river.
Prom Creil to (159 M.) Paris, see R. 28.
448
36. By Dover, Calais, and Amiens.
283 M. By Express, starting from Charing Cross, Cannon Street, Vic-
toria, Holborn Viaduct, and St. Paul's stations, in 7-8Vahrs.; sea-passage
I-IV4 hr.; fare 21. 168. 8d., ll. Ids. Sd., or ll. 5s. 8d. (8rd cl. by night
service only) ; return-ticket, valid for one month, 4Z. 168. 9d., 31. 98. lOd.j
or 21. 08. M. Pullman Car (28. Qd. extra) on day-trains between London
and Dover. Holders of 2nd cl. tickets may use the 1st cl. saloon on the
steamers for 28. extra. Luggage should be registered before leaving Eng-
land, to avoid examination at Calais.
Cstleds. — Hotels. Terminm-Hdid, at the Gare Maritime (PI. C, 2),
80 R. from 6V2, B. IVa fr. ; Central- Hdtdj at the Gare Centrale (PI. B, 6),
30 R. from 8, B. 1, L. or D. 3 fr., good; MHropole-Hdtel, adjoining the
Gare Centrale, 26 R. from 8, B. 1, L. or D. 3 h. — Grand- H6tel (PI. a;
B, 4), 14 Place Richelieu, 50 R. from 4, B. IVa, L. 8V22 ^- ^ ^-> 9^od;
mt. Meurice (PI. b ; B, C, 3), 7-9 Rue de Guise, 80 R. from 3, L. or D.
3 fr.; H6t. du Sauvage (PI. c; B, 8, 4), 89-43 Rue Royale, 56 R. from 8,
L. or D. 3 fr., good; Hot. du Commerce (PI. d; B, 4), 61 Rue Royale,
40 R. from 3, L. or D. 3 f r. — Restaurants at the hotels and at the Casino
(L. 31/2, D. 4 fr.).
Sea Baths (1 fr.), near the Casino (p. 449).
Cabs. For 1-2 pers., per drive 1 fr. 20, per hr. 1 fr. 60 c.; 3 pers.
1 fr. 40, 2 fr. 10 c; 4 pers. 1 fr. 60, 2 fr. 60 c. At night (11 p.m.-7 a.m.),
per drive 2, 2»/o, 3 fr.; per hr. 3, 4, 6 fr.
Eleotrio Tramways (fare 10-20 c.) : 1. From the Place d'Armes (PI.
B, C, 3) to the Cemetery (beyond PI. F, 6) and to St-Pierre Station (beyond
PI. F, 8), alternately; 2. To the Gare des Fontinettes (PI. B, 7); 3. To
FoH Nietday (beyond PI. A, 6); 4. To the PoHe de LiUe (PI. 0, 8);
5. From the Porte de Gravelines (PI. F, 4) to the Gare des Fontinettes
(PI. B, 7). In summer, Lines 1, 3, and 4 start from the Casino (PI. A, 2)
instead of the Place d'Armes.
Post & Telegraph Opficje, Place Richelieu (PI. B, 4); also at 2 Boul.
Pasteur, St-Pierre (PI. C, 6).
British Consul-General, C. A. Payton^ 15 Rue St-Denis; vice-consul,
Capt. E. H. Blom£fleld (also Lloyd's agent). — American Consul, Janies
B. Milner, 14 Rue de Moscou ; vice-consul, W. M. Milner. — Banks : Cre-
dit Lyonnais, Soci^td G4n4rale, Comptoir d^Escompte, all in the Boul.
Jacquard.
English Church (Holy Trinity; PI. D, 6), Rue du Moulin-Brftle ;
chaplain, Rev. W. P. Parker. — Wesleyan Chapel^ 7»>'« Rue du Temple.
CalaiSy a town with 72,322 inhab., including: St-Pierre (p. 449),
and a fortress of the first class, derives its chief importance from
its harbour and its traffic with England, to which it is the nearest
port on the French coast. Dover is 21 M. distant. About 300,000
travellers pass through the town annually. The 1500 English resi-
dents are chiefly engaged in the tulle-manufactories (see p. 449).
Calais was captured by Edward III. in 1347 after a siege of eleven
months, and remained in the possession of England until 1558.
The Gare Maritime (PLC, 2), where 'trains for Paris, Brussels,
etc., are in waiting, lies between the Bassin des Chasses, to. the
N.E., and the Avant-Port (PI. C, 2), to the S.W. These two docks,
together with the Bassin Carnot (PI. D, 3), to the S.E. of the Avant-
Port, and connected with it by a lock, form the *New Harbour,
opened in 1889, and accessible at all states of the tide. Farther
to the W. is the Old HarhoWy crossed by the new Av. du Casino,
(CALAIS. '^6. Route. 449
which leads from the town over the dunes to the Casino (PI. A, 2;
adm. Yj-1 fr.), with a fine sandy beach (baths, see p. 448).
Returning by the Av. du Casino over the Old Harbour, we follow
the Boul. International in the direction of the LightJumse (PL C, 3) ;
on the left lies the Courgain, a picturesque fishermen's quarter,
with the Minck (PI. C, 3), where fish is sold by auction.
The old Hdtd de Ville (PL B, C, 3), in the Place d' Amies, was
erected in 1740 (tower of 15th cent.). In front it is adorned with
small busts (1636) of Richelieu, the founder of the citadel and the
arsenal, and the Due de Guise, 'lib6rateur de Calais en 1558'. It
contains a small Muaee of paintings, antiquities, and natural history
(adm. free on Sun., Thurs., and holidays, 11 to 4 or 5; on other
days, exc. Sat., 2 to 4).
To the S.E. of the Place d'Armes is the church of Notre-Dame
(PL C, 4), with an ugly spire. The altar, an Assumption by Seghers,
and a Descent from the Cross attr. to Rubens may be inspected.
At the end of the Rue de Guise, which leads S. from the Place
d'Armes, is the Hotel de Guise (PL B, C, 4), in the English Tudor
style, originally founded by Edward III. as a guildhouse for the
wool-staplers. — Farther on is the Jardin Richelieu (PL C, 4), with
the * Monument to the Burgesses of Calais (PL 2), a striking work
by Rodin (1895), erected in memory of Eustache de Saint-Pierre
(comp. p. 293) and his companions, who offered their lives for the
town at the time of the siege of 1347.
The Gave Cenirale (PL B, 5 ; 'Calais-Ville'), connected by a short
branch-line with the Gare Maritime (p. 448), is situated between
Calais proper and St-Pierre. Near it is a pretty Park (PL B, C, 5).
St-Pierre-168-Calais, the industrial part of Calais, has large
factories of tulle and lace, an industry introduced from Nottingham
in 1818. In the Place Centrale a new Hdtd de Ville (PL C, 5) is
being erected from the designs of Debrouwer; on the right is a
War Monument (1904). The Place de l'Egalit6 contains the new
Theatre (PL C, 6), opened in 1905, and a Statue of Jacqtmrd
(1752-1834; see p. 208). The church of St-Pierre (PL D, 7), built
in 1863-70, and the Hotel de Ville are both in the Place Cr^vecoeur.
From Calais to Bouloonb. — 1^4 M. Calais- ViUe; 3 M. Fonti-
neUes; 6^/4 M. Fr6thun; 11^4 M- Caffiers. — 17 M. Marquise-
Rinxent. Marquise, a small town 1^4 M. to the N.E., with marble
quarries, is 7 M. from Cap Gris-Nez, the nearest point to the English
coast. — 23 M. Wimille-Wimereux. Wimereux (Splendid-H6tel ;
Grand ; Plage ; Bains, etc. ; Engl. Ch. services in summer) is a modern
bathing-resort, with an excellent beach and a casino.
27 M. Boulogne, and thence to Paris, see R. 35.
The express trains from Calais to Paris (8 hrs. 20 to 5 hrs. SO min.)
do not enter Boulogne, but call at the suburban station of (26V8 M.)
Boidogne-TinteUeries (p. 448).
450
37. By Newhaven, Dieppe, and Rouen.
248 M. By Express from Victoria and London Bridge stations in 9>/4
(day-service; Ist & 2nd cl. only) or 9^/4 hrs. (night-service); sea-passage
8i/s-4 hours. Fares : single tickets, available for seven days, 889. 7a., 28«.,
188. Id. ; return-tickets, available for one month, 668. 8(2., 478. Id., 888. Sd.
Pullman car (Is. 6d. extra) between Victoria and Newhaven ; and restaurant-
car (Ist and 2nd cl.) on the day-service between Dieppe and Paris (in
both directions). — Holders of 2nd cl. tickets are admitted to the Ist. cl.
saloon on board the steamers on payment of 58. ; 8rd cl. passengers may
use the 2nd cl. saloon on payment of 88. 6^. — Luggage snould oe regis-
tered at London or Newhaven in order to avoid examination at Dieppe ;
in returning, lu^age r^i»tered to London is examined at Newhaven.
This route from London to Paris, the shortest in actual mileage though
not in time, is also one of the cheapest and most interesting.
IMeppe. — HoTBLS (ascertain prices beforehand). H6t. Roycd (PI. a;
C, 1), H6t. M6tropole (PI. d; D, 1), Qrand-HOtd (PI. g; B,-l), Begina
Palace (PI. b; B, 1), H6t. des Etrangers (PI. f ; D, 1), all in the Rue
Aguado, facing' the sea and open in summer only (R. from about 6, L. 4
or k la carte, D. 5-10 fr.). — Less expensive : Hdt. du Rhin & de Netohaven
(PI. e; C, 1), 11 Rue Aguado; HOt. des FamiUes (PI. 1; C, 2), 29 Rue de
I'Hdtel-de-Ville; H6t. de Paris (PI. m; C, 1), Place Camille-Saint-SaCns.
— Open all the year round : Hdt. de Nbrmanaie^ 118-115 Rue de la Barre,
80 R. from 8, B. 1, L. 3, D. 3Va f r. ; Hdt. de la Paix (PI. j ; C, 2), 212 Grande-
Rue; Hdt. de la Plage (PI. 1; D, 1), 20 Rue Aguado; Hdt. du SoleU-d'Or
(PI. c; B, 2), 4 Rue Gambetta; Hdt. du Chariot-d'Or (PI. k; 0, 2). 89 Rue
de la Barre; Hdt, du Commerc^ (PI, n; D, 2), 2 Place Nationale; Terminus
(PI. 0; D, 3), near the station.
Pbhsiohs. Buckland, Rue Toustain; Mile. BraUj 82 Rue Gambetta.
Rbstaurahts. Cafi-Best. du Casino (L. 4, D. 5 fr.) ; Brasserie du
Casino, outside the casino (L. 8, D. 4fr.); Fcdsan Dori, 74 Grande-Rue;
Bocher-de-Cancale, Rue de Lamorini^re (L. 2, D. 2V4 fr.).
Gabs and Motor Oabs. Per drive 1 or 2 fr. ; by the hour 2 or 8 f r.
Post & Tslsoraph Office (PI. 14), 14 Rue Victor-Hugo.
Sua Bath VrlV4 fr.
British Vicb-Oohsul, Commander H. C. Wallis, B. 2V., 2 Faubourg de
la Barre. — Amerioah Consular Ageht, W. P. 8. Palmer-Sambome, 15
Rue des Fontaines. — Lloyd's Agbht, B. Ddarve-Lebon. — Baitks. 8oci4te
Ginircde, Place de la Barre; Comptoir d'Escompte, 111 Rue d'Ecosse.
English Ohurchbs in the Rue Asseline (PI. 0, 2) and the Rue de la
Barre (PI. 7 ; B, 2).
Sport. Qolf Links on the Pourville road (omn. 75 c); Tennis Courts
at the Oasino.
The Carved Ivory and Lace of Dieppe are specialities of the place.
Dieppe, with 23,973 inhab., is situated in a valley formed by
two ranges of lofty white chalk-cliffs, at the mouth of the Arques.
In spite of the vicinity of Le Havre, Dieppe, with its deep and safe
harbour, still carries on a considerable trade in coals with Eng-
land and in timber with Norway and Sweden. Dieppe is also a
fashionable watering-place, being annually visited by numerous
English as well as French families.
The Gave Maritime (PL D, 2) and the Steamboat Quays are
on the N. side of the Avant-Portj or outer harbour. To the S.,
beyond the Bassins Duquesne and B&rigny, lies the Central
Station (PI. 0, 3) ; and to the E., between the Bassin Duquesne and
DIEPPE. «7. Route, 451
the suburb otLePollet (PI. £, 3), inhabited by sailors and ^shermen
said to be of Venetian origin, are several basins oJf later date.
Along the N.W. side of the town, between the fine Boulevard
Maritime (PI. C-E, 1) and the Rue Aguado, in which are the prin-
cipal hotels, stretches the Plage, a handsome promenade, '/g M.
long. At its S.W. extremity are the Casino and the Etablissement
des Bains (PI. C, 1). The former is a handsome brick and glass
building with a small theatre (adm. before noon, 50 c.; from 12
to 6, 1 fr.; evening or whole day, 3 fr.; less after 15th Sept.).
The terrace in front is reserved for subscribers; below it are the
bathing-huts.
On a steep white cliff at the S.W. end of the Plage is the Chd-
teau (PI. B, 1,2), erected in 1433 as a defence against the English.
Visitors admitted daily, 8-11.30 and 1.30-5 (fee). Fine view from
the terrace and from the edge of the adjoining cliffs.
The church of St-Remy (PI. 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- Jacques
(PI. 4 ; C, D, 2) , the patron-saint of fishermen, in the Place Nationale,
is an Id teresting florid Gothic edifice dating from the 12th-16th cent-
uries. It has a fine portal, numerous rich sculptures, and stained-
glass windows. Near the church is the Statue of Duquesne (PL
15 ; D, 2), the celebrated admiral, a native of Dieppe (1610-88), by
the elder Dantan. — To the £. of the entrance to the harbour rises the
modem Gothic church of Notre- Dame-de-Bon-Secours (PI. F, 2).
— The Mus€e (PI. 11; C, 1) contains local antiquities, a natural
history collection, and a few pictures; it also comprises an art
collection and a library, presented in 1889 by Saint-SaSns, the
composer.
The most interesting point in the environs of Dieppe is the rained
castle of Arques, 8^4 M. to the S., memorable as the scene of a victory
gained by Henri IV. over the League in 1589. The excursion may be made
by train, by excursion-brake (there and back 2 fr.), or by carriage (5-6 fr.).
The ""View from the castle embraces the valleys of the ArqueSy the B4thvne,
and the Eaulne.
Other excursions may be taken to VarengeviUef Puys, Cit4 de Limes
or the Camp de Oisar, and Bemevcdj all on the coast ; also to Le Tr4port
p. 445), by railway or by excursion-steamer in summer.
From Dieppe to Paris.
125 M. Railway vi4 Rouen in 2Va-6 hrs. (fares 18 fr. 90, 12 fr. 80,
Sfr. 80 c.). — Another line goes by Neufchdtelf Ooumayf OisorSy and
P&ntoise (in 9^lr^U hrs. ; same fares).
Soon after quitting Dieppe the train passes through a tunnel
about 1 M. long, and then enters the valley of the Scie, which it
crosses 22 times. After passing several unimportant stations, it
reaches (32 Vj M.) Malaunay (Engl. Ch. service by the Rouen
chaplain), where the Rouen-Havre and Dieppe lines unite. From
452 Boitte 37. ROUEN. ^>o»« London
this point to Rouen the district traversed is smiling and picturesque,
abounding in cotton and .other factories.
38 M. Bouen. ~ Hotels. *Hdt. de la Poste (PI. f; C, 2), 72 Rue
Jeanne-d'Arc, 130 R. from 5, B. lVa> !*• 4, D. 5, pens, from 18 f r. ; Cfr.-Hdt.
d'Angleterre (PI. a; C, D, 8, 4), 5-8 Cours Boieldieu, 80 R. from 5, B. li/g,
L. 4Va» !>• 6Va, pens, from 18 fr. — H6t, de Paris (PI. d ; D, 4), 50-61 Quai
de Paris, 65 K. from 4, B. IVa, L. 8Vt> I>- 4Vt» pens, from 10 fr.; H6t.
de Dieppe (PI. k ; C, 1), 22-24 Rue Verte, opposite the Gare de la Rive
Droite, R. from 8, B. IV4, L. 8, D. 8»/8 fr. ; H6t. du Vieux-Palaia, 145
Place Henri IV, 80 R. from 8, B. IV4, L. 2»/4, D. 8V4, pens, from 8Vt fr. ;
H6t. de France (PI. e ; D, 2), 99 Rue des Cannes, 114 R. from 4, B. li/g,
L. or D. 8 fr. ; Hot. du Nord (PI. c ; C, 8), 91 Rue de la Grosse-Horloge,
70 R. from 8, B. I1/4, L. or D. 3, pens, from 11 fr. ; H6t. de Normandie
(PI. g; D, 3), 9-18 Rue du Bee, 80 R. from 2V2, B. 1, L. 8, D. 3V«, pens,
from 9 fr.; H6t. de Rouen <k du Commerce (PI. i; D, 8), 19-28 Rue du Bee;
Hdt. lAsieux (PI. h; D, 3), 4 Rue de la Savonnerie. — On the left bank:
Hdt. Moderne (PI. 1 ; D, 4), Place La Fayette, near the Gare de la Rive Gauche.
Family Hotels ahd Pensions. Hot. Victoria (PI. i ; C, 1), 10 Rue
Verte (pens, from S^/g fr.) ; Clarendon Hotel, 8-5 Rue de la Vicomt^ (from
7fr.); itfmc. Heller^ 16 Rue d'Inkermann, at Mont-St-Aignan (6-8 fr.);
Mme. LefebvrCj 4 Rue Pouchet.
Restaurants at the hotels. Also, Rest, de la Cath4drai€, 8 Rue
des Cannes, L. 8, D. 8V2 fr., good ; A la Porte-de- Paris j 84 Quai de Paris,
L. 2, D. 2Va f r. ; Rest, de Paris, 95 Rue de la Grosse-Horloge, L. 1 f r. 75,
D. 1 fr. 85 0.
Caf£s. Victor, at the theatre. Bourse, 5 Cours Boieldieu, these two
with restaurants; Houdard, 58 Quai de Paris.
Electric Tramways. Fares 10-50 c.
Cabs. Per drive in the town V-j^ fr., per hour 2 fr. ; at night (12-6 a.m.)
2V8 or 8 fr. — Motor Cabs. For 1-2 pers. 75 e. per 900 metres, 10 c. each
300 metres more (more at night).
Post & Telegraph Oppicb (PI. C, 2), 45 Rue Jeanne-d'Arc.
British Consul, C. B. C. dipperton. Rue de Fontenelle (also Lloyd's
agent). — American Consul, C. A. Holder, 83 Rue Jeanne-d'Axe. — Banks.
Cridit Lyonnais, 84 Rue Jeanne-d'Arc ; SodHi 04nirale, 80 Rue Jeanne-
d'Arc.
English Church. AU Saints* (PI. E, 4), He Lacroix, 88 Rue Centrale ;
chaplain, Rev. G. M. ShaUard, M. A. —Wesley an Church, 20 Rue Lafosse.
GoLP Course at Mont-St-Aignan, 2 M. to the N. of the town.
Rouen,i\ie Celtic RotomaguSy formerly the capital of Normandy,
now that of the department of Seine-Inf6rieure, with 124,987 in-
hab., is a very important cotton-spinning place. In spite of the
number of new streets that have been laid out in tha last fifty years,
it is still the richest of French cities in Gothic buildings, both civil
and religious. There are also several old timbered houses. 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.
The chief thoroughfare of Rouen is the handsome Rite Jeanne-
d'Arc (PI. C, 1-4), which runs from the Rue Verte (Gare de la Rive
Droite) to the Seine. To the left is the Tour de Jeanne-d^Arc (PI.
C, 1; entrance in Rue Bouvreuil), the donjon of a castle built by
Philip Augustus in 1207. It contains a small museum with docu-
ments relating to Joan of Arc. No. 102 in this street (tablet) is
the site of the tower in which Joan of Arc was imprisoned in 1431.
to Paris. ROUEN. 37,Rofite. 453
The second side-street on the right leads to the Gothic church
of St-Patrice (PI. C, 2; 16th cent.), containing fine stained glass
dating from 1538-1625. — On the E. side of the Jardin Solf&rino
(PI. C, 2), to the left of the Rue Jeanne-d'Arc, is the Mus6e (p. 455).
The **Palals de Justice (PI. C, D, 2, 3), in the Rue aux Juifs,
is one of the finest existing civil buildings in the flamboyant style.
It was erected in the 15th-16th cent, for the Echiquier de Nor-
mandie, the supreme tribunal (Parlement) of the province. The
central part of the edifice and the projecting wings form an entrance-
court. The left wing is ancient, with the exception of the staircase
at the angle (1903), and was used as a model for the rebuilding of
the right wing in 1844-52; it contains the Salle des Procureurs
or des Pas-Perdus, erected in 1499, a spacious hall with a high-
pitched waggon- roof and the ancient judicial bench erected here
in 1508. The assizes are now held in this building. The con-
cierge lives in the right wing.
Returning to the Rue Jeanne-d'Arc, we descend it to the first
street on the left, which leads to the *Gros8e'Horloge or Belfry
(PI. C, 3), erected in 1389, and restored in 1892. — Opposite the
end of the Rue de la Grosse-Horloge rises the —
♦Cathedral of Notre-Dame (PI. D, 3), the principal parts of
which date from 1202-20 (transept of 1280), the most important
Gothic church in Normandy, although remarkably unsymmetrical
in plan. The West Facade (1509-30) is profusely decorated in the
florid style; in the tympanum of the main portal is a fine Tree of
Jesse (1524). The two unfinished towers of the facade are of un-
equal height. The Tour de Betirre, the loftier and more beau-
tiful, 252 ft. in height, derives its name from having been erected
with the money paid for indulgences to eat butter during Lent.
The other, the Tour St-Romain, is 245 ft. high; with the ex-
ception 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
(erected after a fire in 1822), 486 ft. in height. A staircase ascends
to the top (1-4 pers. 2 fr.). The two side-portals, begun in 1280
and finished early in the 14th cent., are of great interest, especially
that on the N., called the *Portail des Libraires from the book-
stalls that once occupied the court.
The *Ihterior of the church (446 ft. in lengrth ; transept 169 ft. in length ;
nave and aisles 106 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 18th centnry. The first chapel on
the right, in the Tour de Beurre, contains a large altar-piece, representing
the Orucifixion and the Martyrdom of St. Stephen, and also several mon-
uments of the ISth and 14th centuries. The last chapel on the S. side of
the nave contains the tomb of Rollo (d. 927), first Duke of Normandy, and
the corresponding chapel on the N. side that of his son WUliamf Longue-
Epie (d. 943) ; both tombs date from the 18th century. In the S. transopi
454 Route 87. ROUEN. From London
is a statae of Joan of Arc, by Navone. — From the N. transept a beantifnl
Gothic staircase (1477-79), with open tracery, ascends to the chapter-
library. — In the S. ambulatory is an ancient mutilated fig^ore in limestone,
7 ft. in height, of Bichard Cceur-de-IAon (d. 1199), discovered in 1888;
his heart is interred below. Its original resting-place in the choir is in-
dicated by a small marble tablet. In the N. ambulatory is a correspond-
ing (modern) figure of Richard's elder brother, Henry CurtmcmtU (d. 118S),
who also is ))uried in the choir.
In the beautiful *lMdy Chapel (1302-20) is the magnificent **]ifoniifnent
of Cardinal Georges d'Amboise and his nephew, who also was a car-
dinal, by RouUand Le Rovx, erected in 1520-26. To the left is the hand-
some *Monument of Lome de Br^z6 (d. 16S1), grand-seneschal of Nor-
mandy, erected by his widow, the celebrated Diane de Poitiers (d. 1666),
mistress of Henri II., and attributed to Jecm Cousin and Jean Qoujon. —
The altar-piece, an Adoration of the Shepherds, is by Ph* de Champaigne.
*St-Maolou (PI. E, 3), to the £. of the cathedral, beyond the
Rue de la R^publique, begun after 1437 by Pierre Robin and con-
secrated in 1521, is a very rich example of the florid Gothic style
of the 15th century. The modem spire was completed in 1868. The
exquisitely carved reliefs on the wooden *Door8 are ascribed to
Jean Goujon.
The Rue de la R^publique descends to the Seine, which is here
upwards of 300 yds. in breadth and separates Rouen from the sub-
urb of St-Sever (PI. C, D, E, 4, 5). The Quays extend along the
banks for l>/j M. The Pont Comeille (PI. D, 4), the oldest bridge
in Rouen, passes over the lower end of the lie LizcroiXy where
there is a statue of Comeille (see below), by David d' Angers.
Farther down the river is the Pont Boieldieu (PI. D, 4), nearly
opposite which is a statue of the composer Boieldieu (d. 1834).
Adjacent are the Th^dtre des Arts (PI. D, 3, 4) and the Bourse,
which comprises also the Tribunal de Commerce, Still farther,
down is the Pont Transbordeur (PI. B, 4), a transporter bridge;
toll 10 or 5 c, ascent of the uprights 50 c.
The Rue Jeanne-d*Arc (p. 452) leads from the quay into the
town, passing the church of St-Vincent (PL 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-Andri (PI. C, 3; 1542-46), a relic of a church demolished in
the 19th century.
The Rue aux Ours leads to the W. from this point to the Place
de la PuceUe (PL 0, 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-
MarclU (PL C, 3), where the TfUdtre Frangais now stands. The
house in which CorneUle (1606-84)'^was bom is No. 4, Rue de
Comeille, beyond the Place (PL B, 3).
The *H6tel du Bourgtheroulde (PL C, 3), on the W. side
of the Place de la Pncelle, erected at the close of the 15th cent,
in the style of the Palais de Justice, is adorned with a number of
to PaH8. ROUEN. *7- Boute. 455
reliefs, some of which represent the interview on the ^Field of the
Cloth of Gold* (1520). The graceful hexagonal tower is decorated with
sculptures. 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 March6 (p. 454) the Rue Guillaume-le-Con-
qu^rant leads back to the Rue Jeanne-d'Arc, which we follow to the
N. to the Jardin Solf^rino. Here rises the —
Mus^-Biblioth^que (PL C, 2), containing a collection of
Italian, Butch, and modem French pictures, besides sculptures and
a ceramic collection. TheMus^e is open daily (except Wed.) from 10
to 4 or 5 ; gratis on Thurs., Sun., and holidays, other days 1 fr. — The
Municipal Library, in the W. part of the Mus6e, is open daily
2-4, except Mon. and during August.
Adjacent, in the former church of St-Laurent (Pl.D, 2; 1444-68),
with a fine tower, a Norman Museum was opened in 1911 (adm.
daily, except Wed., 10-12 and 1 to 4 or 5 ; gratis on Thurs., Sun.,
and holidays, other days Y» fr-)* ^^^ church of St-Godard (PI.
B, 2), behind St-Laurent, of the end of the 15th cent., contains
admirable modern stained glass and mural paintings.
From the Mus6e the Rue Thiers leads to the £. to the Plaice
de VHdtelrde-Ville, in which is situated —
*St-Ouen (P1.D,E,2), built in 1318-39, one of the most beau-
tiful Gothic churches in existence, surpassing the cathedral both in
extent and in excellence of style. Its beauty is, however, sadly im-
paired by the incongruous West Portal and the two flanking towers,
282 ft. high, erected in 1848-51. The *Tower over the transept,
269 ft. in height, is surmounted by an octagonal open-work lantern,
terminating in a gallery. The N. fagade has no lateral portal, but
theS. *PortaiLdesMarmjousets (15th cent.), so called from the heads
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 **Interiob (449 ft. in length, 86 ft. in width ;
transept 188 ft. in length ; 108 ft. in height) are remarkably pleasing. The
walls appear to be almost entirely displaced by the numerous windows,
1S5 in number, all filled with stained glass. The unusually lofty triforium
is exceedingly beautiful. The modern rose-window in the nave is far in-
ferior to those in the transepts.
The verger (fee) shows the choir-chapels, and points out several spots
which command fine views of the intenor. The whole of the interior is
reflected in the b^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 H5tel de Yille is a
pleasant garden to which the public are admitted. The Chamhre
aux ClercSj a Norman tower of the 11th cent., adjoins the church
on this side, and probably formed part of an earlier church.
456 Route 87, ROUBK. ^om Lmdon
The Hdtel de ViUe (PI. D, E, 2), on the N. side of the church,
a building in the Italian style, was formerly the dormitory of the
Abbey of St-Ouen. In front of the edifice rises an Equestrian
Statue of Napoleon /., by Vital-Dubray.
We now ascend the Rue de la R^publique to the N., at the top
of which is the large Fontaine Ste-Marie (PL D, 1), by Falgui^re
and Deperthes. To the left is an old convent, now containing the
*Mu8eum of Antiquities (open daily, 10 to 4 or 5, except Mon.)
and the Museum of Natural History.
St-Gervais (PI. A, 1), about ^4 M« to the W., is a Romanesque
church rebuilt in 1868-76, with a curious old crypt of the 4th cent-
ury. William the Conqueror died in the priory here in 1087.
An interesting excnrsion may be made from Rouen by electric tram-
way (to Mesnil-Esnard ; 40 or 30 c), or by tramway (to AmfreviUe; 16 or
10 c.) and funicular railway (25 c), to the pilgrimage-church of Notre-
Dame-de-Bon-SecourSf or simply Bonsecoiirs as it is usually called,
situated on the lofty bank of the river, about 2 M. above Rouen. The
interior is lavishly adorned with painting, gilding, marble, and stained
glass. Adjoining the church is the MokumIbnt to Joah of Arc (adm. 25 c),
which consists mainly of three elegant little Renaissance 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 verdant hills of Normandy.
A pleasant steamboat-excursion may be taken to La BouiUe^ a small
but busy town, 12V8 M. below Rouen. The Chdteau de Robert 1e Diahle,
the scanty ruins of which occupy the top of a neighbouring height, affords
a charming view of the wooded hills, the valley of the Seine with its
white chalk-hills, and in the distance Rouen with the cathedral.
The steamboat-trip between Rouen and Le Havre (every other day
in summer, in 6-7 hrs. ; fares 6 & 4 fr.) is quite interesting, at least as far
as Caudebec,
4
From Rouen to Paris. 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 Bonsecours (see above). 41^2 M. SotteviUe.
From (461/2 M.) Oissel a branch-line runs to Elbeuf (Grand-H6tel,
L. 21/2 fr., good; pop. 18,290), 5^2 ^- distant, a cloth-manufac-
turing town. Beyond Oissel the train crosses the Seine. — 51 M.
Pont-de-V Arche (H6t. de Normandie, good), where the Seine is
again crossed, above the influx of the Eure, the junction of a line
to GisorSy has a fine church of the 15th-16th centuries. — From
(58^/2 M.) St-Pierre-du-Vauvray a branch-line diverges to Lou-
viers (H6tel du Mouton-d' Argent ; pop. 10,209), with large cloth-
factories.
Another branch-line runs hence to (10 M.) lies Andelys (Grand-
Hotel, good; H6t. de la Chaine-d'Or), near which, on the right bank of the
Seine, are the ruins of the *Chdteau 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 1603.
The train now penetrates the chalk-hills by means of two tunnels.
The station of (66V2 M.) Gaillon (Hdt. du Soleil-d'Or) lies
to PaHs. MANTES. 87, Route. 457
opposite the village of CourceUes. The Ch&teau of Gaillon, erected
in 1500, and now replaced by a prison, was one of the finest in
Normandy, and a favourite residence of Francis L The lofty facade
has been removed to the court of the Ecole des Beaux-Arts at Paris
(see p. 300).
77 M. Vernon (Hot. d'Evreux; de Paris), with 8733 inhab., once
strongly fortified, possesses a conspicuous tower, erected in 1123
by Henry I. of England. The church of Notre^Dame is an inter-
esting building of the 12th-15th centuries. Branch-lines to Grisors
and to Pacy-sur- En/re diverge here.
The long tunnel between (82 M.) Bonnitres-sur- Seine and RoUe-
boise cuts off the wide circuit which the river describes here.
At the chateau of (85^2 M-) Mosny-sur-Seiney Sully, the cele-
brated minister of Henri IV., was bom in 1559. The Duchesse de
Berry resided in it from 1818 to 1830.
921/2 M. Mantes (Buffet; H6t. du Grand-Cerf ; du Rocher-de-
Cancale; Moderne), a picturesque town with 8821 inhab., is sur-
named ^La JoUe\ The Gothic church of ^Notre-Dame, with its
conspicuous towers, dates from the end of the 12th century. The
portal is richly sculptured. The tower (14th cent.) of St-Maclou
also is interesting. It was at Mantes that William the Conqueror
fell from his horse and received the injury of which he after-
wards died at Rouen (1087). — Line to Paris y\^ Argenteuil, see
pp. 400, 399.
The line continues to skirt the Seine and frequently commands
fine views. Several unimportant stations.
108 M. Poissy (Hot. de Rouen; de I'Esturgeon, with first-class
restaurant), a town with 8709 inhab., was the birthplace of St.
Louis (1215-70), who frequently styled himself 'Louis de Poissy'.
Here in 1561 a conference was held by order of the States General,
with a view to adjusting the differences between the Roman Cath-
olic and Protestant parties. Their deliberations, however, led to
no result, owing to the strong condemnation of the Calvinists by
the Sorbonne. The church of Notre-Dame is a fine building in
the Transition style (ca. 1140). Poissy is also a station on the
Ligne de Grande-Ceinture (p. 389).
Ill M. Ach^es, in the forest of St-Germain (p. 401), the junc-
tion of the direct line from Dieppe via Gisors (p. 402). At (II41/2M.)
Maiaons-Laffitte (p. 401) the Seine is crossed. Near (117 M.)
HouilleS'C arrives the line recrosses the Seine. St-Germain with
its palace is conspicuous on the hill to the right.
The Seine is crossed for the last time at Asni^es (p. 347),
where the lines to Argenteuil and Versailles diverge. We pass
Clichy, intersect the fortifications of Paris, and beyond a short
tunnel under the Place de I'Europe reach the Gare St-Lazare at —
125 M. Paris. Conveyances, see p. 1.
458
38. By Southampton, Le Havre, and Bonen.
842 M. By Railway from Waterloo Station to Southampton in l^U-t^}^
hrs. (boat-train at 9.50 p.m.); by Stbakboat to Le Havre every night
(except Sun.) in 7-8 hrs. ; by Expbbsb from Le Havre to Paris (St-Lazare)
in SVt hrs. (fast trains, 4^/9 hrs.; ordinary trains, 6-6^/3 hrs.). Electric
tramway from the quay to the station at Le Havre included in the fare.
Single tickets, available for seven days, S8«. lOd. and 248. lOd.; return-
tickets, available for' one month, 568. 9d, and 408. 8(2. Luggage may be
restored direct to Paris. — This route is pleasant in fine weather.
Le Havre. — Hotels. H6t. FrascaU (PI. a; B,4), 1 Rue du Perrey,
with a terrace commanding the sea, 200 R. from 10, B. 8 fr. ; H6t. Continen-
tal (PI. b; C, 4), 13 Chauss^e des Etats-Unis, opposite the Jet^e; Gr.-Hdt.
de Nbrmandie (PI. e; 0, 3), 106 Rue de Paris; Qr.-H6U Moderne (PL m;
D, 2), 81 Boul. de Strasbourg, 120 R. from 4, B. 1, L. or B. 8 fr.; Hdt.
Tortoni (PL g; C, 8), Hdt de Bordeaux (PL d; C, 8), 1 and 17 Place Gam-
betta; H6t. d'Angleterre, 124 Rue de Paris; Terminus, 28 Oours de la
R^publique; etc.
Rbstaubakts. At the hotels (FrascoH and Tortoni the best); also,
HOt.-JSest. du Pktird' Argent, Place Richelieu.
Gabs. In the town, per drive Vf^ fr., per hr. 2 fr. (from 10 or 11 p. m.
to 7 a.m. 2 and 2^/8 f r.) ; on the heights as far as the octroi-limits, per
drive 2, per hr. 2^1% fr. (at night 3 and 3 fr.); to Ste-Adresse (Le Oarreau),
per drive 2, per hr. 2V2 ^.; to the lighthouses, 31/a the 1st hr., then 2Va fr.
per hr. Trunks, 20, 30, or 50 c. — There are also a number of Motor Gabs.
Electric Tramways in the principal streets and to the environs. —
Cable Railway from 55i>»» Rue Gustave-Flaubert (PL D, 1) to 44W» Rue
P61ix-Faure (fare 10 c).
Post & Telegraph Office (PL G, D, 2), 108 Boul. de Strasbourg.
Steamboats to Honfleur, Rouen, Trouville, Gaen, St-Malo, Gherbonrg,
Morlaix, Southampton, London, New York, etc.
British Oohsul-Geitbral, H. L. Churchill, 8 Place Jules-Ferry ; vice-
consul, J. O^B. T. WcUsh. — Ambricak Gonsul, J. E. Dunning, 28 Place
Gambetta; vice-consul, J. P. Beecher. — Lloyd's Aoeitt, J. S. BoufeU,
28 Place Gambetta. — Baitks. Credit Lyonnaia, 24 Place de THdtel-de-
Ville; Soci6ti Q&n4raie, 2-4 Place Oarnot; Comptoir d'Escompte, 2 Rue
de la Bourse.
Enolish Ghurch (Holy Trinity), Rue de Mexico. — Wesl^an Method-
ist Chapel, Place Gambetta.
Le Havre (pop. 136,159), formerly called Havre-de-Grdce,
from a chapel of Notre-Dame-de-Gr&ce foanded by Louis XII. in
1509, was fortified by Francis I. in 1516. It is now the^ seaport
for Paris, and next to Marseilles the most important in France.
The commercial prosperity of the town is mainly derived from its
ship-building yards and sugar-refineries, and most of its buildings
are of very recent origin.
The Bue de Paris (PL C, 2-4), beginning at the W. end of the
Grand'Quai, where passengers from England disembark, and in-
tersecting the town from S. to N., is the centre of traffic.
At the S. end of the Rue de Paris rises the Mvsie (PI. C, 4),
built in 1845 (open free on Sun. and Thurs., 10 to 12.30 and 2 to
4 or 5.30; adm. 50 c. on Mon. and Tues., 1 fr. on other days), and
staining a collection of paintings, sculptures, casts, coins, etc.
LE HAVRE. ^^ 38, Route, 459
Farther up the Rue de Paris, on the right, are the church of
Notre-Dame (PI. C, 4), built in the 16th cent, in a transition style,
and a monument to Aug. Normand (1839-1906), designer of tor-
pedo-boats, by E. B6net (1911). Farther on is the Place Gambetta
(PI. C, 3), bounded on the E. by the Bassin du Commerce and on
the W. by the Grand -Th^dtre, and adorned with statues, by David
d' Angers, of Bemardin de Saint-Pierre (1737-1814), author of
*Paul et Virginie', and Casimir Delavigne (1793-1843), the dram-
atist.— At the N. end of the Rue de Paris is a Jardin Public ,
beyond which is the handsome modem HdteL de Ville (PI. C, 2).
The Boulevard de Strasbourg (PI. F-A, 2), which passes iu
front of the Hdtel de Ville, stretches from the Railway Station
(PI. F, 2), on the E., to the sea, on the W., passing the Palais de
Justice, the Sous -Prefecture, and the Bourse, a fine modem Re-
naissance edifice on the S. side of the Place Camot (PI. D, 2).
The extensive Harbour deserves a visit. Apart from the outer
harbours, the docks have a water-area of about 190 acres and about
8 M. of quays. A good view of the outer harbours is obtained from
the NouveLle Jetie (PI. B, 5; near the H6tel Frascati), a favourite
promenade. The oldest dock is the small Bassin du Roi, excavated
in 1669. The largest is the *Bassin de VEure (PI. E, F, 3-5), 70
acres in area, constructed in 1846-56, where the huge transatlantic
steamers lie. The Canal de TancarviUe is intended 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 Coted^Ingouville
(cable-railway, p. 458),^ on the N. The *View is especially fine at
sunset and at night when the town and harbour are lighted up. —
An electric tramway, starting from the Rond-Point, runs to Ste-
Adresse (Hot. Marie-Christine; Gr.-H6t. des Phares), a favourite
little bathing-place 2^/2 M. to the N.W. The lighthouse (Phare de
la H^ve) commands a fine view.
Steamers ply thrice daily from Le Havre in ca. ^/^ hr. (fares 3 fr. 25,
Ifr. 70, 90c.) to Trouville (Hdtels: Paris; Roches-Noires ; Trouville
Palace; Bellevue; Angleterre; Bras-d'Or; Helder; etc.; pop. 6190; Engl.
Ch. services in summer), pleasantly situated at the mouth of the Touqves,
and one of the most fashionable watering-places on the coast of Normandy.
The season lasts from July to Oct., and is at its height in Aug., when
living is extremely expensive. A new Casino was opened in 1912. The
beach is excellent. — Deauville (Normandy Hotel; Terrasse; new casino)
and a number of less pretending watering-places sprinkled along the coast
also afford good summer-quarters (see Baedeker^s Northern France).
From Le Havre to Paris.
142V2M. Railway in 8V2-7V4 hrs. (fares 25 fr. 56, 17 fr. 25, 11 fr. 25 c).
On quitting Havre we pass Graville-Ste-Honorine, with its
curious church of the llth-13th cent., on the left.
Baxdskar's Paris. 18th Edit. 29
460 Route 38. YVETOT. From London
372 M- Harfleur (H6t. des Arines) was once an important sea-
port, but has long since yielded up its traffic to Havre. Its old
harbour has been filled up by the deposits of the Lizarde; the new
harbour, */« M. away, is connected with the Canal de Tancarville
(p. 459). In 1415 the town was taken by Henry V. of England, to
whom the foundation of the fine Gothic church is attributed. Prom
Harfleur a branch-line runs to (2^/4 M.) MontivUUerSy an indus-
trial town with an old abbey-church.
Beyond (15y2 M.) BHavti-BeuzemtUy from which a b ranch -
line runs to (872 M.) Lilhhonne (H6t. du Commerce; de France),
we cross a lofty viaduct.
19^/2 M. Bolhec 'Nointot is the station for Bolbec, a thriving
manufacturing town with 11,080 inhab., 2 M. to the S.
31 M. Yvetot (H6t. des Victoires ; du Chemin-de-Fer, good ;
pop. 7126) is another manufacturing place, the ancient counts or
Noi-disant kings of which are playfully described by Biranger.
36 M. MoUeville is connected with the Dieppe railway by a
branch-line to CUres {12^1^ M.). Another branch runs to (I9V2M.)
St-Vcdery-en-CauXy a frequented bathing-place. — 43 M. PaviUy.
— From (44 M.) Barentin (H6t. du Grand-St-Pierre) a branch-line
runs to (18 M.) Caudebec. The train quits the fertile tableland of
the Pays de CattXy and follows the viaduct of Barentiriy 546 yds.
in length, and 110 ft. above the valley. Beyond a tunnel, nearly
IY2M. long, it reaches (49 M.) Malaunay, where the Dieppe line
diverges (p. 451). From this point to (54^2 M.) Rmien and to Paris
(I42V2 M. from Havre), see pp. 452-457.
39. By Southampton and Cherbourg.
RAiiiWAY from Waterloo Station to (79 M.) Southampton in l^/^-tiL hrs.
(boat-train at 8.15 p.m.); Stbambb to Cherboure in 7 hrs. every Taes.,
Thurs., & Sat. at 11.15 p.m. (returning on Mon., Wed., & Fri. at 11 p.m.);
and Railway to (230 M.) Paris (Gare St-Lazare) in 6»/8-9 hrs. Pares from
London to Cherbourg 308. 4d., 20«. lOd., return-ticket (valid for six months)
46i». 8d., 318. Sd.; to Bayeux 39«. 6d., 27«., return- ticket (valid for two
months) 658., 448. Through-tickets to Paris are not issued by this route. —
Oherboui^ may be reached from Southampton in ca. 6 hrs. also by the ocean-
steamers of the transatlantic lines mentioned below, or of the Royal Mail
Steam Packet Co. (each once a week); fares 1st cl. 808., 2nd cl. 16-208.
From Nbw York Cherbourg is reached in 6-6V» days by steamers of
the White Star, American, North German IJoyd, and Hamhurg-American
Lines, each sailing once a week and cx)nnecting at Cherbourg with the
boat- trains to Pans. Passengers are landed in tenders, usually at the
Quai de I'Anci en- Arsenal (PI. E, 3, 4).
Cherbourg. _ Hotels. Or. -Hot. du Casino (PI. d; E, 3), E. of the
Avant-Port, 100 R. from 4, B. IV9, L. 4, D. 5, pens, from 13»/2fr.— H6t.
de VAmirauU & de VEttrope (PI. a; E, 4), 16 Quai Alexandre III, 86 B.
from 4, B. IVa, L. 3V8» D. 4 fr.; Hot de France & du Comm^erce (PI. c;
E, 4), 41 Rue du Bassin, 75 R. from 3, B. IV4, L. 3, D. 3»/« fr.; H6t.
ModerTie, Quai Alexandre III, opposite the station, R. from 3, B. 1^4,
L. or D. 8 fr., unpretending.
to Pm-is, OHERBOITRG ^9. Roitfe. 4451
Cabs. Per drive l»/a> per hr. 2 fr. Also Motor Cabs. — Teamw ays,
see Plan.
Saiuhg Boat to the JHgue (aea below; 2 hrs. there and back), abont
10 fr. for 5 pers., 5-6 fr. for 2per8. ; bargain necessary. — Steamboats- to
Aldemey and Chtemsey on Wed. in 5-6 hrs. (fares 12 fr. 50, 8 fr. 75 c);
Le Havrey every Friday.
Post & Tslboraph Opticb (PI. D, 4), 54 Rue de la Fontaine.
Sua Baths (PI. E, 8), to the E., beyond the commercial harbonr,
.50 c, with costnme and towel 75 c. Poor beach. — Casino, adm. 50 c. ;
balls weekly during the bathing-season (adm. 1 fr.).
Bbitish Vicjb-Cohsul, Captain C. D. Beresford. — American Consular
Agent, Aug. Lanihce. — Lloyd's Agent, Henri Buhot, 55 Rue Gambetta.
. French Protestant Church (PI. D, 5), Place Divette. English Church
Services are held here in Ang. and Sept. at 10 a.m. and 6 p.m.
Cherbourg, a town with 43,731 inhab. and a fortress of the first
class, is the third naval harhonr of France (after Brest and Tonlon).
It owes its importance to its situation at the N". extremity of the
peninsula of the Cotentin (p. 462), directly facing the coast of Eng-
land, which is about 70 M. distant. The town, most of which is mod-
em, well-built, and clean, is comparatively uninteresting. It has
two harbours, the Commercial Harbour, to the E. of the town,
at the mouth of the Divette, and the much more important Naval
Harbour, or Dockyard (PI. A-C, 1-3), completed in 1858, with
strong landward fortifications. A visit to the latter requires the
special permission of the Ministre de la Marine (comp. p. 60).
The Boadstead, which lies in front of the two ports, has a total
area of 4 sq. M., but as parts of it are too shallow for large ships
at low water the available anchorage is only about 500 acres. It is
protected on the W., the only exposed side, by the *Digue^ a huge
breakwater 2^/2 M. from the town (begun in 1832), 3942 yds. long,
from 164 to 220 yds. broad at the base, and 65 yds. broad at the top.
Visitors are permitted to land (boats, see above).
The Railway Station (PI. E, 5) is at the S. end of the com-
mercial harbour. To the "W. of the inner basin lies the handsome
Theatre (PI. 10; E, 4), the right wing of which contains the Musie
Le V^el (adm. daily, except Mon., 10-12 and 2-4 or 6). To the W.
of the Avant-Port is the Place NapoUon (PI. D, 3), with a bronze
equestrian Statue of Napoleon /., by Le Veel. The church of La
Trinity (PI. D, 3, 4), on the S. side of the Place, dates from the
15th century. — The Hotel de Ville (PI. 6; D,3) contains a Picture
GaUery of some importance (open on Sun., 10-12 & 2-4 or 5, free;
other days, except Mon., for a fee). — In the Rue de I'Abbaye,
leading towards the naval harbour, is an entrance to the public
Pare Emmanuel' Liais (PI. C, D, 4), with a museum of natural
history and ethnography. — To the S.E. of the station is the Jardin
Public (PI. F, 5), with a monument to the painter J. F. MiUet,
by Chapu and Bouteiller. Beyond is the Montagne du Route
(PI. F, 5 ; 360 ft.), commanding a fine *View. The summit, reached
in Y4 hr., is occupied by a fort (no adm.).
29*
462 Route 39. BAYEUX. f'rom London
From Ohbrbourq to Paris.
• 230 M. Chbmin db Fbr db l'Etat in 6Vr9 hrs* (fares 41 ft. 65, 28 fr. 15,
18fr. 40 c.). To Caen, 182 M. in 2V4-8Vsnr8. (fares 14fr.90, lOfr. 10,
6 fr. 60 c). Restanrant-car by the afternoon express (D. SVg-B fr.).
The railway on quitting Cherbourg runs to the 8. through the
Cotentin (*Ager Constantinus'), a flat and marshy region, famous
for its cattle. Many of the followers of William the Conqueror
came from this part of Normandy ; and some of the most illustrious
names among the English aristocracy are derived from humble
villages in the Cotentin. The hedges here give quite an English
aspect to the country.
To the left is the Montague du Roule (p. 461). — 11 M. Sottevast
is the junction for (56 M.) Coutances. — ITVa M. Vcdognes (H6t.
du Louvre) has a church dating from the 14th century.
A branch-line runs hence to (15VaM.) 8t-Vaa4st'La-Hougtie, near which
was fought the naval battle of La Hogne in 1692, and (22V|M.) Bar/teur,
a small seaport, whence in 1120 Prince William, only son or Henry I., set
sail in the ill-fated 'White Ship', which struck on a rock outside the
harbour and foundered with all hands save one*
35 Ys M. Carentan (H6t. d'Angleterre; du Commerce) is the
junction for (26Y2 M.) Carteret, whence a steamer plies daily in
summer to Jersey. — We now cross the Fire and quit the Cotentin.
— From (4672 M.) lAscm (Buflfet; H6t. de la Gare) another branch-
line runs to Coutances (30 M.; *Cathedral), passing (12 M.) the
interesting old town of St-Lo. — 54^2 M Le Mblay-Littry.
63V2 M. Bayeuz (Hdtel du Luxembourg, R. from 3, L. 3^,,
D. 4 fr.; du Lion-d'Or; pop. 7638), the seat of a bishop, is situated
to the right. It contains many quaint old houses.
The "Cathedral of Notre-Dame, about Y2 M- ^^om the station,
is a striking Gothic edifice of the 12th-15th cent., on the site of an
earlier church founded in the 11th cent, by Bishop Odo of Bayeux,
half-brother of William the Conqueror. The chevet, with its graceful
turrets, is one of the most beautiful examples of early-Gothic in
France. The interior, which has 22 chapels and a crypt of the 11th
cent. (adra. 50 c), contains Romanesque arcades (12th cent.) in the
nave and graceful pointed arches in the apse (13th cent.). Assent
of the tower, 50 c. — The Public Library in the Place du St-Sau-
veur, contains a small Mus^e (shown on application), in which is
preserved the famous *Bayeux Tapestry, a strip of linen cloth
(230 ft. long; 18 in. wide) illustrating the events that led to the
conquest of England by William in 1066. A favourite, though
perhaps erroneous, tradition attributes this embroidery to Matilda,
wife of the Conqueror; it is, in any case, a contemporary work.
69^2 M. AudrieUy with a fine church of the 13th-14th cent.;
73 Yj M. Bretteville-Norrey ; 76 Y2 M. Carpiquet. — We cross the
rne.
to Paris. CAEN. «*• Rowte- 463
82 M. Caen. — Hotels. H6t. de la Place-Boyale (PI. c; C, S), 1-8
Place de la B^pnblique, 70 R. from 3, B. IVs? L. 8, D. 8Vs) pens, from
10 fr., English clientele; Hdt. d' Angleterre (PI. a; D, 8), 77-81 Rue St-
Jean, 100 R. from 4, B. IVs; L* 3, D. 4, pens, from 10 fr. ; Hot. Moderne &
de Londres riunis (PI. f j C, D, 3), 1 Boul. St-Pierre, 80 R. from 8, B. IV4,
L. SVs) !>• 4 fr., commercial; Hot. de France (PI. e; E, 5), 6 Rue de la
Gare, 60 R. from 2V8, B. 1, L. 3, D. 8V2 fr.
Restaurakts. Pepin, 22 Rue St- Jean, at the H5t. de Than (PI. D, 3),
L. 3, D. 8Va fr*; Madrid, 71 Rue St-Jean, with garden, L. 3, D. 8Va fr.
Gabs. Per drive Ifr., per hr. 2fr.: Vafr. more at night; lu^age,
25 c. per package. Also Motor Cabs. — Electric Tramways, see Plan.
Post & Telegraph Office at the Hdtel de Ville (PI. 1; C, 3).
British Vicb-Oonsdl, CJias. Hettier, 27 Rue Guilbert.
English Church (St. Michael's), Rue Richard-Lenoir (PI. E, 3); ser-
vices at 10.80 & 8.80 (8 in winter).
Caen (pop. 46,934), the chief town of the department of Cal-
vados, and next to Rouen the most interesting town in Normandy,
is situated on the Ornej about 9 M. from the coast. The town was
besieged several times during the English wars of the 14th-15th
centuries. Its chief attractions are the beautiful churches of the
abbeys founded about 1062 by William the Conqueror and Matilda,
his wife, in expiation of their sin in marrying within the forbidden
degrees of consanguinity. There are also other interesting churches
and many quaint houses.
Leaving the railway station (PI. F, 5), we turn to the right,
take the first street to the right, cross the Ome, and reach the
Place Alexandre-Trois (PI. D, E, 5), with the War Monument for
1870-71. Thence we follow the Rue St-Jean N. to *St-Pierre (PI.
JJ, 3), an interesting Gothic church (13th-16th cent.), with a fine
apse and tower. Opposite is the *Bourse (PI. D, 3), formerly the
Hotel Le Valois (1538), with a charming courtyard. On a hill
beyond St-Pierre are the remains of the Castle (PI. C, D, 2), begun
by William the Conqueror (no adm.).
To the E. is *La Trinity (PI. E, F, 2), the Norman-Romanesque
church of the Abbaye-aux-Bames, founded by Matilda in 1062, and
well restored in the 19th century. The nave is open free; the choir
(with the tomb of Matilda), transepts, and crypt are shown by the
concierge (50 c). The Hdtel-Dieu, built in the 18th cent, on the
.site of the old nunnery, adjoining the church, is now a poor-house.
We return to St-Pierre and thence proceed to the W. by the
Rue St-Pierre, with the church of St-Sauveur (14th-16th cent.;
PI. C, 3), the Rue Ecuy^re, and the Rue Guillaume-le-Conqu6rant.
'^St-Etienne (PI. A, B, 3), the church of the Abbaye-aux-Hommes,
founded by William the Conqueror, is in the same style as La
Trinity, though larger, but its unity of style was destroyed by
alterations in the 13th cent., when the choir was rebuilt in the
pointed style. The W. fagade, with two elegant towers of the
13th cent., 295 ft. high, is remarkably plain; and the interior, like
that of La Trinity, is notable for its dignified simplicity. A black
464 BOUU89. CAEN.
marble slab in front of the high-altar marks the tomb (now empty)
of William the Conqueror (d. 1087). The sacristy, itself an inter-
esting specimen of architecture, contains an old portrait of the
Conqueror. Other noteworthy features are the choir-stalls, the
carved clock-case in the N. transept, the pulpit, and the organ-
case, supported by columns. — The Abbaye-aux-Hommes, rebuilt
in the 18th cent., and now occupied by the Lyc6e McUherbe (PI.
A, 3), faces the Place du Pare. The Bue de Caumont, with the
Antiquarian Museum (PI. B, 3), runs thence to the E., and from it
the Rue St-Laurent leads S. to the Prefecture, opposite which is
the Hdtel deVille (PI. C, 3). The S. wing of the latter contains
the *Mus6e (adm. free on Sun. & Thurs., 10-12 and 1-4; other
days 50 c; ring), a fine collection of paintings, the gem of which
is Perugino's Marriage of the Virgin. — To the S. of the town are
the fine promenades known as the Cours Sadi-Camot (PI. C, D, 4,
5), and the Grand-Cours. To the right is the Hippodrome or
racecourse.
On leaving Caen we have a view of the town on the left. —
96^2 M- M6zidon (Buffet), junction for Argentan. lOOYa ^« -^
Mesnil'Mauger.
112 M. Iiisieuz (Buffet; H6t. de Normandie; Moderne), for-
merly the seat of a bishop, is a prosperous town with 15,948 in-
habitants. The Cathedral of St-Pierre was built about 1170; the
S. tower was rebuilt in 1579. Many quaint old houses (especially
the Maison de Frangois- Premier, 19 Rue aux F^vres).
1317j M. Bernay has a church (Ste-Croix) of the 14th-16th
cent., with some curious sculptures. — From (138 M.) Serqidgny
(Buffet) a branch-line runs to Rouen (38 M.). — The church of Ste-
Foy at (152 M.) Conches has fine stained glass of the 16th century.
1631/2 M. Evreux (Buffet; Hdt. du Grand-Cerf, R. from 4,
L. 3, D. 3Y2 fr. ; Modeme), on the Iton, is an ancient episcopal
see. The Cathedral of Notre-Dame, not far from the station, is
a building of great interest, though it confuses all styles of ar-
chitecture in vogue from the 11th to the 18th century. The most
interesting feature of the exterior is the flamboyant N. portal, built
in 1511-31, while in the interior the stained glass of the 15th and
16th cent, should be noted. — In the former abbey-church of St-
Taurin is a fine reliquary of the 13th cent. ('Ch^sse de St Taurin').
Beyond Evreux we have a view of the town on the left. Three
tunnels. 173^2 M- Boisset, beyond which the Eure is crossed.
180 M. Bueil is also a station on the line from Rouen to Orleans.
— I86V2 M. Br&vat. — lMy^ M. Mantes (Rail. Rest.), and thence
to Paris, see p. 457.
465
LIST
of the most important Artists mentioned in the Handbook, with a
note of the Schools to which they belong.
Abbreviations : A. =: architect ; P. = painter ; S. = sculptor ; ca.
= circa, about; Belg. = Belgian; Bol. = Bolog^ese; Engl. = English;
Perr. = Ferrarese ; Flem. = Flemish ; Flor. = Florentine ; Fr. = French ;
Ger. = German; Ital. = Italian; Lomb. = Lombard; Mil. =s Milanese;
Neap. = Neapolitan ; Farm. = Parmesan; Rom. = Roman; Span. =: Spanish ;
Umbr. = TJmbrian ; Ven. = Venetian, etc.
The numbers within brackets refer to the pages on which special
mention is made of the artists.
AJbadiCy Paul, A., Paris; 1812-84.
-(lii).
Abbixte, Niccolb deU\ Lomb. P.;
1512-71.— (xxxix).
Abel de Pi^ol, Alex. Denis, P.,
Valenciennes, pupil of David;
1785-1861.
Adam, Lambert Sigisbert, S.,
Nancy; 1700-59.
— , Victor Vincent, P., Paris, pupil
of Meynier and Regnault ; 1801-66.
AizeHin, Eug., S., Paris, pupil of
Ramey and Dumont: 1821-1902.
Alaux, Jean, P., Boraeanx, pupil
of Vincent; 1786-1864.
Albani, Franc, Bol. P.; 1578-1660.
AUegrain, Christ. Gabriel, S.,
Paris; 1710-95. — (xlvi).
AUegri, Ant., see Oorre^io.
Aman-Jean, Edmond, P., Ohevry-
Oossigny (Seine-et-Marne); b. 1860.
Amerighi, see Caravag^o.
Androuet, see Ducerceau.
Angelico da Fiesole, Fra Giov.,
Flor. P.; 1887-1455. — (118).
Anguier, Francois, S., Eu ; 1604-69.
— (xlii).
— , Michel, S., brother of the last;
1612-86. -(xlii).
Audran, G^,rard, etcher and en-
graver, Lyons; 1640-1703.
— , Claude, P., Lyons, brother of
the last; 1639-84.
"Baffler, Jean Eug., S., Neuvy-le-
Barrois (Oher); b. 1851. — (lii).
BaUu, TModore, A., Paris; 1817-85.
Baltard, Victor, A., Paris; 1805-74.
-(lii).
Baize, Paul, Fr. P., Rome, pupil
of Ingres; 1815-84.
— , Raymond, Fr. P., Rome, brother
of the last; 1818-1909.
Barbarelli, see Gioigione.
BarbieH, see Guercino.
Barocci or Baroccio, Federigo,
Rom. P. ; 1526-1612.
BarHas, Ernest, 8., Paris, pupil of
Cavelier and Jouflfroy; 1841-1905.
-(li).
— , F4lix Jos., P., Paris, pupil of
L. Cogniet; 1822-1907.
BarthoJdi, Frid. Aug., Fr. 8., Col-
mar; 1884-1904.
Bartholom^., Albert, S., Thiverval
(Seine-et-Oise); b. 1848.- (lii).
Bartolomeo della Porta, Fra, Flor.
P.; 1472-1517. — (120).
Barye, A. L., 8., Paris, pupil of
Bosio and Gros; 1796-1875. — (11).
Baschet, Marcd, P., Gagny (Seine-
et-Oise); b. 1863.
Bashkirtseff, Marie, Russ. P.;
1860-84.
Bassano, Jacopo (da Ponte), Ven.
P.; 1610-92.
BasHen-I^epage, J., P., Damvillers
(Meuse); 1848-84. — (xlix).
Baudouin, Pierre Ant., P., Paris,
pupil of Boucher ; 1728-69. — (xlv).
Bauary, Paul, P., La Roche-sur-Yon,
pupil of Drolling; 1828-86.— (xlix).
Beauneveu, A., S. & P., Valencien-
nes; flourished 1360-1408.— (108).
466
LIST OF ARTISTS.
Bettangij Eug.j P., Rouen, son of
the following; b. 1837.
— , Hippolytey P., Paris, pupil of
Gros; 1800-66.
Bdlinif Gentile j Ven. P. ; ca. 1429-
1507. — (119).
— , Giovanni^ Ven. P., brother of
the last; ca. 1430-1516. — (119).
Beitra/fto, see Boltraffio.
Benemanfif TT., Ger. cabinet-maker,
worked at Paris from 1785. —
(xlv).
Benouvillef Lion, P., Paris, pupil
of Picot; 1821-59.
B4rainj Jean, A. and draughtsman,
St-Mihiel (Meuse); 1639-1711.
Berchem or Berghem, Claes or
Nicolaes, Dutch P., Haarlem;
1620-88.
Berettini, see Gortona.
Besnard, Albert, P., Paris; b. 1849.
-d).
Biard, Pierre, A. & S., Paris; 1559-
1609. -(xliij.
Mda, Alex., P., Toulouse, pupil of
Delacroix; 1818-95.
Billotte, Ren^, P., Tarbes; b. 1846.
-d).
Blondel, Fran^., A., Ribemont
(Sorame); 1617-86.
— , Merry Jos., P., Paris, pupil of
Regnault; 1781-1853.
Boccador (II), see Oortona.
Boilly, Louis L4op., P., La Bass^e
(Nord); 1761-1845.
Bol, Ferd., Dutch P., Dordrecht,
pupil of Rembrandt; 1616-80.
Bologna, €Hov. da, also called Jean
Bologne and Jean de Douai, S.,
Douai; ca. 1524-1608.— (xlii).
Boltraffio or Beltraffio, Giov. Ant.,
Mil. P., pupil of L. da Vinci;
1467-1516. — (119).
Boriheur, Rosa, P., Bordeaux;
1822-99. — (xlix).
Bonifazio dei Pitati, Ven. P.; 1487-
1553.
Boningtmi, Richard Parkes, Engl.
P., Paris; 1801-28. — (122).
Bonnassieux, Jean, S., Panissi^res
(Loire); 1810-92.
Bonnat, Lion, P., Bayonne, pupil
of Cogniet; b. 1833. — (1).
Bontemps, Pierre, S., Paris; flour-
ished 1536-61. —(xli).
Bordone, Paris, Ven. P.; 1500-71.
Borgognone,Ambrogio daFoasano,
Mil. P.; d. 1528.
Bosio, Fr. Jos., Baron, S., Monaco,
pupil of Pajou; 1769-1845. — (1).
Botticelli, Alem. or Sandro (Fili-
pepi), Flor. P.; 1444-1510.—
(118).
Bouchardon, Edme, S., Ohaumont
(Haute-Mame), pupil of the young-
er Coustou; 1698-1762. — (xlvi).
Boucher, Frang., P., pupil of Fran?.
Le Moyne; 1708-70. — (xlv).
Bouguereau, Ad. Wm., P., La Ro-
chelle, pupil of Picot; 1825-1905.
Bovle or Boulle, Andri Charles^
cabinet-maker, Paris; 1642-1782.
— (xliii).
Boullogne, Bon, or de BovUongne,
P., Paris; 1649-1717.
— , Louis, P., brother of the last;
1654-1733.
Boulongne, Jean de, see Valentin.
Bourdais, Jules Disiri, A., Brest ;
b. 1885. — (lii).
Bourdichon, Jean, P., Tours; ca.
1457-1521.— (xxxix).
Bourdon, Sibastien, P., Mont-
pellier; 1616-71.
Bourgeois, Charles Arthur f Baron,
S., Dijon, pupil of Duret and
Guillaume; 1888-86.
Bourguignon (Le), see Oourtois.
Brascassat, Jacques Raymond, P.,
Bordeaux; 1804-67.
Breton, Jules, P., Courriferes (Pas-
de-Calais), pupil of Drolling;
1827-1906. — (1).
Breughel, see Brueghel.
Brion, G., Fr. P., Vosges; 1824-77.
Briot, Frang., engraver, Damblain
(Lorraine), ca. 1550 to after 1616.
— (xlii).
Brongniart, Alex. TMod., A., Paris ;
1739-1813.
Bronzino, Angdo, Flor. P., 1508-72.
Brouwer, Adr., Flem. P., Oude-
naarde; ca. 1605-38.
Bruant, Liberal, Fr. A.; d. 1697.
Brueghel or Bruegel, Pieter, the
Elder C Peasant Brueghel'') , Flem .
P., Breda; ca. 1525-69.
— , Jan (^ Velvet Brueghel'), Flem.
P., Brussels, son of the last;
1568-1625.
Buhl, see Boule.
Bullant, Jean, Fr. A. ; ca. 1515-78.
-(xl).
Buonarroti, see Michael Angelo.
OabaneH, Alex., P., Montpellier,
pupil of Picot; 1828-89. — (xlix).
Cabat, Louis, P., Paris; 1812-98.
Caffieri, J. J., engraver, Paris;
1725-92. — (xlvi).
Cain, Aug., S., Paris, pupil of
Rude; 1822-94. — (11).
LIST OF ARTISTS.
467
Cdliariy see Veronese.
CdOety A. F,, P., Paris: 1741-1828.
CaUoty Jacques, etcher, Nancy ; 1592-
1635.
Canova, Ant., Ital. S.; 1757-1822.
Caracd, Agostino, Bol. P., brother
of the following; 1557-1602.
— , Annibcde, Bol. P.; 1560-1609.
— , Ant,, Bol. P., son of Agostino;
1588-1618.
— , Lodovico, Bol. P., cousin of
Annibale; 1555-1619.
Caravcigqio, Michelangelo Ame-
righi da, Lomb., Rom., & Neap.
P.; 1565-1609.
CaroluS'Duran (Charles Duran),
P., Lille; b. 1888. — (1).
Carpeaux, Jean Bapt., S. and P..
Valenciennes, pnpil of Rnde ana
Buret; 1827-75. — (li, 116).
Carracci,»ee Caracci.
Carrier-BeUeuse, A. E., 8., Paris,
pupil of David d'Angers ; 1824-87.
Carribre, Eughne, P., Gournay
(Seine-et-Marne), pupil of Oaba-
nel; 1849-1906.
Carries, Jean, S. and potter, Lyons;
1855-94.
Cartellier, Pierre, S., Paris ; 1757-
1881.
Cavelier, Pierre Jules, S., Paris,
pupil of David d'Angers ; 1814-94.
Cazin, J. Oh,, P. and potter, Samer
(Pag-de-Oalais) ; 1841-1901 . — (1).
CeUini, Benvenuto, Flor. S. and
goldsmith; 1600-71. — (xl).
C^sanne, Paul, P., Aix (Provence);
1889-1906.
ChcUgrin, Francois, A., Paris, pupil
of Servandoni; 1789-1811.
Chambiges, Pierre, two Pr. A. of
the 16th cent. ; the elder d. 1544.
-(xl).
Champaigne or Champagne, Ph. de,
P., Brussels, studied at Paris;
1602-74. — (xliii).
Chaplain, Jules, medallist, Mor-
tagne (Orne): 1889-1909. — (Hi).
Chaplin, Charles, P., Les Andelys;
1825-91.
Chapu, Henri, S., Le M6e (Seine-
et-Marne), pupil of Pradier and
Duret; 1883-91 — (li).
Chardin, J. B. 8.,V., Paris; 1699-
J779^ (xlvi).
Charlet, N., P., Paris; 1792-1845.
Chartran, Thiobald, P., Besan^on;
1849-1907.
Chass4riau, Thiodore, French P..
from San Domingo, a pupil or
Ingres; 1819-56.
Chatrousse, Emile, S., Paris, pupil
of Rude; 1829-96.
Chaudet, Ant. Denis, S., Paris;
1768-1810. — (1).
Chenavard, Paul, P., Lyons ; 1807-95.
— (xlviii).
Chinard, Joseph, S., Lyons; 1756-
1813.
ChintreuU, Ant., P., Pont-de-Vaux
(Ain); 1814-78.
Cima, GHov. Batt., surn. C. da
Conegliano, Ven. P., ca. 1459-
1518. — (119).
CUsinger, J. B., known as Auguste,
S. and P., BesanQon; 1814-83.
Clodion (Claude Michel, known as),
P., Nancy; 1788-1814. — (xlvi).
Clouet, Jean, sum. Janet; from
1516 at Tours, d. 1541.
— , Frang., sum. Janet, P., Tours,
son of the last ; before 1522-72. —
(xxxix).
Cochin, Charles Nicolas, the
Younger, designer and engraver
on copper, Paris; 1715-90. — (xlvi).
Cogniet, L4on, P., Paris, pupil of
Gu^rin; 1794-1880.
Coignet, Jules, P., Paris; 1798-1860.
Colombe, Michd, Breton S. ; ca.
1480 -after 1612. — (xxxix, 109).
Conegliano, see Oima.
Constable, John, Engl. P.; 1776-
1837. — (122).
Constant, Benjamin, P., Paris, pupil
of Cabanel; 1845-1902. — (1).
Cormon, F., P., Paris; ]». 1845.
-d).
Comu, S^bastien Mdchior, P.,
Lyons; 1804-70.
Corot, Camille, P., Paris; 1796-
1875. — (xlix).
Correggio, Ant.AUegri da, Parm.
P.; ca. 1494-1634. — (120).
CorUma, DoTnenico da (surn. Jl
Boccador), Ital. A.; d. 1549, in
Paris. — (xl).
— , Pietro Berrettini da, Flor. P.
and A.; 1596-1669.
Cor tot, Jean Pierre, S., Paris;
1787-1848. — (1).
Costa, Lor., Ferr. P.; ca. 1460-1586.
Cotte, Rob. de, A., Paris; 1666-
1785.
Cottet, Ch., P., Le Puy (Haute-
Loire); b. 1863. — (1).
Couder, Auguste, P., Paris, pupil
of David & Regnault; 1790-1873.
Courbet, Qiistave, P., Ornaus
(Doubs); 1819-77. — (xlix).
Court, Jos. Dis., P., Rouen, pupil
of Gros; 1797-1865.
468
LIST OP ARTISTS.
CourtoiSi Jctcq.i sum. leBourgui-
qnoiif P., St-Hippolyte (Pranche-
Oomt^); 1621-75.
— , Gnstavef P., Pu8ey(Haute-Sadne)j
b. 1852.
Cotisin, Jean, P., S., A., & en-
graver, Soacy, near Sens; ca.
1500-89. — (xxiix).
Coustoiiy Nic, S., Lyons, pupil of
Coyzevox ; 1666-1733. — (xliv).
— , OtiiU.j S., Lyons, brother of the
last, and pupil of Coyzevox ; 1677-
1746. — (xliv).
— , OuiU., S., Paris, son of the
last; 1716-77. — (114).
Couture, T?wma8, P., Senlis, pupil
of Gros & P. Delaroche ; 1815-79.
— (xlviii).
Coypel, NoSl, P., Paris; 1628-1707.
— (xliv).
— , Ant, P., eldest son of the last;
1661-1722.
— , Oh. Ant., P., brother of the last;
1694-1752.
Coyzevox or Coysevox, Ant., S.,
Lyons ; 1640-1720. — (xliv).
Crauk,Qu8t., S.,yalenciennes, pupil
of Pradier; 1827-1906. — (lii).
Credi, Lor. di, Flor. P. ; 1459-1637.
"Dagnan-Bouveret, Pascal Ad. J.,
P., Paris; b. 1852. — (1).
Dalou, Jules, S., Paris; 1838-
■ 1902. — (lii).
Dampt, Jean Aug., S., Venarey
(C6te-d'0r); b. 1858.
Dauhigny, Ch., P., Paris, pupil of
P. Delaroche; 1817-78. — (xUx).
Daumier, Honor 4, P., Marseilles;
1810-79.
David, Gerard, Flem. P., Oude-
water; ca. 1460-1623.
— , Jacques Louis, P., Paris, pupil
of Vien; 1748-1825. — (xlvi).
— d'' Angers (Pierre Jean David),
S., Angers; 1789-1866. — (li).
Daviaud, Gabr. Jean Ant., A., Pa-
ris ; 1824-81. — (lii).
Dehay, J. B., Fr. S., Malines, pupil
of Ohaudey; 1779-1863.
Debrosse or de Brosse, Salomon,
A., Verneuil (Oise); d. 1627.—
(xlii).
Debucourt, L. Ph., P., Paris; 1765-
1832.
Decamps, Alex. Gabr., P., Paris;
1808-60. — (xlviii).
Degas, Edgard, P., Paris; b. 1834.
Deincroix, Eug., P., Charenton,
pupil of P. Gttirin; 1798-1868.
—(xlviii).
Dela]^anche, Eug., 8., Paris, pupil
of Duret; 1836-91.
Ddaroche, Paul, P., Paris, pupil
of Gros; 1797-1866.— (xlviii).
Ddaunay, E,, P., Nantes, pupil of
H. Flandrin; 1828-91. — (xlix).
Ddorme or de VOrme, PhUibert,
A., Lyons; 1516-70. — (xl).
Desbois, Jules, 8., Parity; b. 1851.
Deseine, L. P., S., Paris ; 1759-1822.
Denjardins, Martin (van den Bo-
gaert), Fr. S.; 1640-94.— (xliv).
Desportes, Frangois, P., Ohampi-
gneul (Marne); 1661-1743.
— , Claude Frang., P., son and pupil
of the last; 1695-1774.
DetaiUe, Edouard, P., Paris, pupil
of Meissonier; 1848-1912. — (1).
Deviria, Eug., P., Paris, pupil of
Girodet; 1805-65. — (xlviu).
Diaz de la Pefia, Narcisse, P.,
Bordeaux ; 1807-76. — (xlix).
Di4bolt, Georges, S., Dijon, pupil
of Ramey and Dumont; 1816-61.
Domenichino (Domemco Zam-
pieri), Bol. P.; 1582-1641.
DonateUo, Flor. 8. ; 1386-1466.
Dori, Gustave, Yi. P. & designer,
Strassburg; 1832-83.
Dou, Gerard, Dutch P., Ley den;
1618-75. — (122).
Douai, Jean de, see Bologna.
DrevetfPierre, two engravers, father
and son, Lyons; 1664-1738, 1697-
1739.
Drolling, Martin, Fr. P., Alsace;
1752-1817.
— , Michel Martin, P.j Paris, son
of the last, and pupil of David;
1786-1861.
Drouais, Fr. Hub., P., Paris ;
1727-76.
Duban, F41. Louis Jacq., A., Paris;
1797-1870. — (lii).
Dubois, Paul, 8., Nogent-sur-Seine;
1829-1906.— (li).
Dubufe, Edouard, P., Paris, pupil
of P. Delaroche; 1820-83.
— , Giiill., P., son of the last j 1863-
1909.
Due, Jos, Louis, A., Paris; 1808-79.
Ducerceau or Du Cerceau (Jacgues
A.), Fr. A.; 1540-1680 ? — (xl).
Duez, Ernest, P., Paris; 1848-96.
Dug?iet, Gasp., see Poussin.
Dt^ardin or Du Jardin, Karel,
Dutch P., Amsterdam; 1622-78.
Dumont, Jacques Edme, 8., Paris,
pupil of Pajou; 1801-84.
LIST OF ARTISTS.
469
Dupaty, Louis, S., Borde&ax; 1771-
1825.— (1).
Dtipr4, JtOes, P., N&ntes; 1812-89.
—(xiu).
Dupuis, Daniel, S. and medallist,
BloiB; 1849-99.— (lii).
Duquesnoy, Fremgois, Flem. S.,
Brussels; 1694-1646. — (x lii).
Durcm, see Oarolus-Duran.
Duret, Francisque, S., Paris, pupil
of Bosio; 1804-66.
Duval -le -Camus, Jules Alex., P.,
Paris, pupil of P. Delaroche and
Drolling; 1817-77.
Dyck, Ant. van, Flem. P., Ant-
wen>, pupil of Rubens; 1599-1641.
-(121).
EAex, Ant., S., P., & A., Paris,
pupil of Dupaty, Pradier, and
Ingres; 1810-88.
li^yck, Jan van, Flem. P. ; about 1880-
1440, or later. — (121).
IPabriano, Oentile da, Umbr. P.;
ca. 1370-1428.
Falconet, Etienne MoMrice, Swiss
S., Vevey; 1716-91.— (xlvi).
Falguibre, Alex., S. & P., Toulouse,
pupil of Jouffroy ; 1881-1900. —(li).
Fantin-Latour, Henri, P., Greno-
ble; 1836-1904.
F4ron, Firmin Eloi, P., Paris, pupil
of Gros; 1802-76.
Ferrari, Gaudenzio, Lomb. P.;
1471 ?-l546.
Feym'Perrin, Aug., P., Bey-sur-
Seille (Meurthe-et-Mos.), pupil of
L. Cogniet and Yvon; 1826-88.
Fictoor, see Victors.
Fiesole, Fra Giov. da, see Ange-
lico.
— , Mino da, Flor. S.; 1431-84.
Filipepi, see Botticelli.
Flameng, Frang., P., Paris, pupil
of Oabanel, etc.; b. 1859.
— , Marie Aug., P., Jouy-aux- Arches
(nearMetz), pupil of Dubufe, etc. ;
1843-93.
Flandrin, Hippolyte, P., Lyons,
pupil of Ingres ; 1809-64.— (ilviii).
— , Faul, P., Lyons, brother of the
last; 1811-1902.
FlincJc, Govert, Dutch P., Cleve,
pupil of Rembrandt; 1615-60.
Fontaine, Pierre Frang. Lion., A.,
Pontoise; 1762-1863.
Fouquet or Foucquet, Jean, P.,
Tours; ca. 1415-80. — (xxxix).
Foyatier, Denis, S.,Bus8i6re (Loire);
1793-1863.
Fragonard, Jean Honors, sum.
Frago, P., Grasse, pupil of Bou-
cher; 1732-1806.— (xlv).
— , Alex. Evariste, P., son of the
last; 1780-1860.
Francis, Frang. Louis, P., Plom-
bi^res, pupil of Corot and Gi-
goux; 1814-97.
lYanceschi, J., S., Bar-sur-Aube,
pupil of Rude; 1825-98.
FrancheviUe or Frcmqueville, Pi-
erre, 8., Cambrai, pupil of Giov.
da Bologna; 1548-1618? — (xlii).
Francia, Francesco (Baibolini),
Bol. P. & 8.; 1450-1617.
Franciabigio (Francesco di Cristo-
fano), Flor. P.; 1482-1625.
Frandcen, Frans, the Elder, Flem.
P.; 1542-1616.
— , Frans, the Younger, Flem. P.,
son and pupil of the last; 1681-
1642.
Frimiet, Emm., 8., Paris, pupil of
Rude; 1824-1910.— (li).
Friminet, M., P., Pans; 1567-1619.
Froment, Nic, P., Uz6s (Gard),
flourished 1461-82, d. Avignon.
Fromemlin, Eug., P., La Rochelle,
pupil of Cabat; 1820-76. — (xlvui).
Fyt, Jan, Flem. P., Antwerp;
1611-61.
Gabriel, Jacques Ange, A., Paris;
1699 to ca. 1782.— (xlvi).
GaiUard, Ferd., engraver, Paris;
1834-87.
Gallait, Louis, Belg. P., Tournai;
1810-87.
GalU, Emile, artist in glass and
cabinet-making, Nancy ; 1846-1904.
-(lii).
Gardet, Georges, S., Paris; b. 1868.
-■(li).
Gamier, Ch., A., Paris; 1825-98. —
(lii).
Garofalo, Benv. Tisi da, Ferr. P. ;
1481-1559.
Gatteaux, J. E., 8., Paris; 1788-
1881.
GeU4e (CI.), see Lorrain.
G4rard, Frang., Baron, Fr. P.,
Rome, pupil of David; 1770-1887.
— (xlvii).
Giricault, Th,, P., Rouen, pupil of
Gu6rin ; 1 791-1824. — (xlvii).
G4rdme, Lion, P. & 8., Vesoul;
1824-1904.— (xlix).
Gervex, Henri, P., Paris; b. 1862.
470
LIST OF ARTISTS.
OMrlandaiOf Dom,(Dom. Bigordi) j
Plor. P.; 1449-94.— (118).
-^, Ben,y Flor. P., brother and pupil
of the last: 1468-97.
— , Ridolfo, Flor. P., son of Dom.
O.; 1483-1561.
Oigoux, J.f P., BesanQon; 1809-94.
Gior.ondOi FrUj Ital. A., Verona;
1436-1515.— (xl).
CHordano, Latca, sum. FaprestOy
Nea^>. P.J ca. 1682-1705.
Giorgtone (Giorgio BarbareUiJy
Ven. P.; ca. 1477-1510. — (120).
Girardofij Franc. ^ S., Troyes ; 1630-
1715. — (xliv).
Giraud, Bug., P., Paris; 1806-81.
— , 8€b. CA., P., Paris; 1819-92.
— , Victory P., Paris, pupil of Pi-
cot and of Eug. O. (his father);
1840-71.
Girodet-TriosonfAnne Louis Giro-
det de Roucy-TriosonJ^ P., Mont-
argis, jpupil of David; 1767-1824.
— (xlvii).
Glaize, Aug. Barth., P., Montpel-
lier, pupil of Dev6ria; 1812-93.
— , P. P. L^oTif P., Paris, son of the
S receding, pupil of his father and
^^rdme; b. 1842.
Gleyrci Charles, Swiss P., Chevilly;
1807-74.
Gossaert, Jan, sum. Jan van Ma-
busCj Flem. P., Maubeuge (Ma-
buse); ca. 1470-1541.
Goujon, Jean, S. & A., Paris; ca.
1515-ca. 1666. — (xli, 109).
Gnyen, Jan van, Dutch P., Ley den;
1596-1666.
Gozzoli, BenozzOf Flor. P.; 1420-
ca. 1497. — (118).
Greuze, J. B., P., Touraus; 1726-
1805. — (xlv).
Gros, A. J., Baron, P., Paris, pupil
of David; 1771-1885. — (xlvii).
Gudin, TMod., P., Paris, pupil of
Girodet; 1802-80.
Guercino, il (Giov. Franc. Bar-
bieri), Bol. & Rom. P.; 1591-1666.
Gu6rin, GiUes, 8., Paris; 1606-78.
~(xlii).
— , Pierre Narcisse, Baron, P.,
Paris, pupil of J. B. Regnault;
1774-1883. — (xlvii).
Guido Rents Bol. P. ; 1674-1642.
GuiUain, Simon, S. & engraver,
Paris ; 1581-1658. — (xlii).
GuiUaume, Eug., S., Montbard,
pupil of Pradier; 1822-1905.
GuiUaumet, G., P., Paris, pupil of
Picot and F. Barrias; 1840-87.
Gumery, Ch. A., S., Paris; 1827-71.
Hate, FraiM, Dnteh P.; ca. 1680-
1666. — (122).
Hamon, J. L., P., Plouha (Cdtes-
du-Nord), pupil of Delaroche &
Gleyre ; 1821-74. — (xlii).
Harpignies, Henri, P., Valencien-
nes, pupil of Achard; b. 1819.
Hubert, Ernest, P., Grenoble, pupil
of David d'Angers and Delaroche ;
1817-1908.
Hetm, Jan Davidsz de, Dutch P.,
Utrecht; 1606-168S (84).
Heim, Fran^. Jos., P., Belfort ; 1787-
1866.
Heist, Barth. ran der, Dutch P.,
Haarlem; 1618-70.— (122).
Henner, J. J., Fr. P., Alsace, pupil
of Drolling and Picot; 1829-19U5.
— (xlix).
Herrera, Franc, de, the Elder,
Span. P.; ca. 1676-1666.
Hesse, Alex. J. B., P., Paris, pupil
of Gros; 1806-79.
— , Nic. Aug., P., Paris, pupil of
Gros; 1796-1869.
HioUe,Em. J5ii(7.,S., Valenciennes,
pupil of Jonttroy; 1884-86.
Hittorff, Jacq.Ign., A., Cologne, pu-
pil of Fr. Jos. Bellanger in Paris;
1793-1867.
Hobbema, Meindert, Dutch P., Am-
sterdam ; 1688-1709. — (122).
Holbein, Hans, the Younger, Ger.
P., Augsburg; 1497-1648. — (122).
Hondecoeter, Melchior cf , Dutch
P., Utrecht; 1636-96.
Honthorst, Gerard t>an, Dutch P.,
Utrecht; 1590-1666.
Hooch or Hoogh, Pieter de, Dutch
P., Utrecht ; 1680 to ca. 1677.— (122).
Houdon, Jean Ant., S., Versailles;
1741-1828. — (xlvi, 115).
Huet, Jean Bapt., P., Paris, pupil
of Le Prince; 1745-1811.
— , Paul, P., Paris, pupil of Gu^rin
and Gros; 1804-69.
Ingres, J. A. Dom., P.,Montauban,
pupil of David; 1780-1867.—
(xlviii).
Isabey, Eug., P., Paris, pupil of
his father, J. B. Isabey, the de-
signer; 1804-86.
Jacque, Charles, P., Paris; 1818-94.
Jacquemart, Mile. Nilie, P., Paris,
pupil of (3ogniet; b. 1846.
Janet, see Olouet.
Jobb/' Duval, Armand Marie Fil.,
LIST OP ARTISTS.
471
P., Garhaix (Finist^re), pnpil of
Delaroche; 1821-89.
Jongkindi Johann Barthold, P.,
Latrop (Holland) ; 1819-91.
JordaenSj Jacobs Flein. P., Ant-
werp; 1693-1678.— (121).
Jouffroy, Frang., S., Dijon, pupil
of the younger Ramey; 1806-82.
Jouvenet, Jean, P., Rouen ; 1644-
1717. — (xliv).
Jundt, Ghistave, Fr. P., Strassburg;
1830-84.
Juste de Tours (Jean BetH), one of a
family of Flor. S. settled in France
in the 16th-l6th cent. — (xl).
"Kauffmaiin, Angdica, Swiss P.,
Ooire; 1741-1807.
Keller, two brothers of Zurich,
bronze-founders at the court of
Louis XIV.
liabrouste, Henri, A., Paris;
1801-76. — (lii).
Lafosse or La Fosse, Ch. de, P.,
Paris; 1636-1716. — (xliv).
La Hire or Hyre, Laurent de. P.,
Paris; 1606-56.
Lnncret, Nicolas, P., Pari*; 1690-
1748.— (xlv).
Largilli^re, Nicolas de, P., Paris ;
1656-1746. — (xliv).
Larivihre, Ph. Ch. de, P., Paris,
pupil of Guerin, Girodet, and
Gros; 1798-1876.
Lassus, J. B. Ant., A., Paris;
1807-67. — (lii).
La Tour, Quentin de, Fr. pastellist,
St-Quentin ; 1704-88. — (xlv).
Laurens, Jean Paul, P., Fourque-
vaux (Hte.-Gar.); b. 1838. — (1).
Le Brnin or Lebrtin, Ch., P., Paris,
pupil of Vouet; 1619-90.— (xliii).
— , Mme. Elisabeth Vig^e-, P., Pa-
ris; 1765-1842.
Lefebvre, Claude, P., Fontaine-
bleau; 1632-75.
— , Jules ^ P., Tournan (Seine -et-
Marne); 1836-1912. — (xlix).
Lefueh Hector Mui-tin, A., Ver-
sailles; 1810-81.
Legros, VAncien, Pierre, S., Char-
tres; 1629-1714.- (xliv).
Lehmann, Henri, P., Kiel (Ger.),
pupil of Ingres; 1814-82.
Le Hoiigre, Ft., S., Paris; 1628-90.
Leleux, Adolphe, P., Paris; 1812-91.
— , Armand, P., Paris, brother of
the last, and pupil of Ingres;
1818-85.
Lemaire, Ph. Henri, S., Valen-
ciennes, pupil of Cartellieir; 1798-
1880.
Lemercier, Jacgues, A., Pontoise;
1685-1654.— (xlii).
Lemot, Franc. Frid., 8., Lyons;
1773-1827.— (1).
Le Moyne or Le Moine, Franc.,
P., Paris; 1688-1737.
Lemoyne, J. B., S., Paris; 1704-78.
Le Nain, Antoine, Louis, and Ma-
thieu, P., Laon, flourished in 1st
half and middle of the 17th cent.
Lenepveu, Jules Bug., P., Angers,
pupil of Picot; 1819-98.
Le Ndtre or Lendtre, Aniri, A.
and landscape-gardener, Paris;
1613-1700. — (xliv).
Leonardo, see Vinci.
Lepautre, Jean, designer; 1617-82.
— , Pierre, S., Paris; 1660-1744.
Lephre,J. B., A., Paris; 1761-1844.
Lipicii, Nicolas Bernard, P.,
Paris; 1786-84.
Leroux, Fug., P., Paris, pupil of
Picot; b. 1883.
— , Jacques, A., Rouen; d. 1610.
— , Rolland or RouUant, A., Rouen,
nephew of the last; d. 1627.
Lescot, Pierre, A., Paris; 1610-78.
Le Sueur or Lesueur, Etistache,
P., Paris, pupil of Vouet; 1617-55.
— (xliii).
Lefhihre, GuiU. GuiUon, P., Ste-
Anne (Guadeloupe), pupil of Do-
yen; 1760-1832.
Le Vau, Louis, Fr. A.; 1612-70.
L^vy, Em., P., Paris, pupil of Abel
de Pujol and Picot; 1826-90.
Lhermitte, L^on, P., Mont-St-P6re
(Aisne); b. 1844. — (1).
Lievens or Livens, Jan, Dutch P.,
Ley den ; 1607-74.
Limousin or Limosin, Leonard,
enameller, Limoges; ca. 1505-76.
-(xli).
Lippi, Fra Filippo, Flor. P.; ca.
1406-69. — (118).
T^o, van, see Vanloo.
Lorrain, Claude GelUe, P., Clia-
magne (near Toul), studied in
Italy; 1600-82. — (xliii).
Luini. Bern., Lomb. P.; ca. 1470-
1530. — (119).
Luminals, E. V., P., Nantes; 1821-
96. — (xlix).
"Niabuse, see Gossaert.
Maes, Nic, Dutch P., Dordrecht;
1632-93.
Maiano, Ben. da, Flor. A. & S.;
1442-97.
472
LIST OF ARTISTS.
MaiUet, Jacques Leon., S., Paris,
pupil of Pradier; 1823-94.
Maindron^Hipp., S., Gbamptoceaux
(Maine-et-Loire), pupil of David
d' Angers; 1801-84.
Manet, Edouard, P., Paris; 1832-
88. — (xlix).
Mansart or Mansard, Frang., A.,
Paris; 1598-1666. — (xlii).
~, Jules Hardouin-, A., Paris,
nephew of the last; 1645-1708.—
(xfiv).
— de Jouy, Jean Hardouin-, Ft.
A.; b. ca. 1706.— (xlvi).
Mantegna, Andrea, P. of Padua and
Mantua; 1430-1506. — (119).
Marcdlin, Jean Esprit, S., Gap,
pupil of Rude; 1821-84.
MMriUiot, Prosper, P., Auvergne;
1811-47. — (xlviii).
Marochetti, Ch., S., Turin, pupil
of Bosio; 1805-67.
Marqueste, Lanrent, S., Toulouse;
b. 1860.
Marsy, BaUh. and Ga^p., two S.,
Cambrai; 1624-74 & 1628-81.—
(xliv).
Martin, Henri, P., Toulouse ; b. 1860.
Matout, Louis, P., Charleville;
1813-88.
Matsys, Massys, or Metsys, Quinten,
Flem. P., Louvain; 1466-1530.
Mnuzaisse, J. B., P., Corbeil; 1784-
1844.
Meissonier, Ernest, P., Lyons ; 1815-
91. — (xlix).
— . Juste AurHe, A., S., P., and
designer; b. 1695 at Turin, d. 1750
at Paris. — (xlv).
M4nard, Ren6, P., Paris; b. 1868.
-(1).
Merci4, Antonin, S., Toulouse, pu-
pil of Jouflfroy & Falguifere; b.
1845. — (li).
Mercier, PhUiirpe, Fr. P., Berlin;
1689-1760.
Merson, L. O., P., Paris; b. 1846.
Metsu, Gabriel, Dutch P., Ley den;
ca. 1680-67. — (122).
Meulen, Adam Frans van der,
Flem. P., Brussels; 1634-90.
Meunier, Constantin, Belg. S. & P.,
Brussels; 1831-1905.
Meynier, Ch., P., Paris; 1768-1832.
Mi<^iael Angelo Buonarroti, Flor.
& Rom. A., S., & P.; 1475-1564.
-(110).
Mieris, Frans van, the Elder, Dutch
P., Leyden; 1635-81.
~- , Willem van, Dutch P., Leyden,
son of the last; 1662-1747.
Mignard, Pierre, P., Troyea; 1612-
95. — (xliv).
Millet, Jean Frang., P., Gmchy
(near Gr6ville), pupil of Dela-
roche; 1814-75. — (xlix).
— , Aim^, S., Paris, pupil of David
d' Angers; 1819-91.
Monet, Claude, P., Paris, b. 1840.
(1).
Monnoyer, J. B.,V., Lille; 1634-99.
Montereau, Pierre de, Fr. A.; d.
1266.
Mor or Moro, Antonie (Sir A. More),
Dutch P., Utrecht; ca. 1512-ca.
1576.
Moreau, Gustave, P., Paris, pupil
of Picot; 1826-98. — (xlix).
— , Louis Gabr., P., Paris; 1740-
1806.
— , Mathurin, S., Dijon, pupil of
Ramey and Dumont; 1822-1912.
Moreau- Vmithier, Aug., S., Paris;
1831-93.
Morel, Jacques, A., Montpellier;
d. 1459.— (xxxvii).
Mottez, Victor Louis, P., Lille, pu-
pil of Picot; 1809-92.
Muller, Ch., P., Paris, pupil of
Cogniet and Gros; 1815-92.
MuriUo, Bartolomi Esteban, Span.
P.; 1617-82. — (121).
TSamteiiU (Ch. Frang. Leboeuf),
S., Paris, pupil of Cartellier; 1792-
1865.
— , Bobert, engraver, Rheims;
1623-78.
Natoire, Ch. Jos., P., Nimes pupil
of Le Moyne; 1700-77.
Nattier, Jean Marc, P., Paris; 1685-
1766. — (xlv).
Neer, Aert van der, Dutch P., Am-
sterdam; 1603-77.
NeuviUe, A. de. P., St-Omer, pupil
of Picot: 1835-85. — (xHx).
Oehen, cabinet-maker; d. 1765.
Oppenord, GiUes Marie, Fr. A.
and designer, Paris; 1672-1742.—
(xlv).
Opgtah Gerard van, S., Antwerp
(or Brussels?); 1595 (or 1604?)-
1668. — (xlii).
Ostade, Adriaen van, Dutch P.,
Haarlem; 1610-85.— (122).
— , Izctck van, Dutch P., Haarlem,
brother and pupil of the last;
1621-49.
GtUn, Aug., S., Paris, pupil of Da-
vid d' Angers; 1811-90.
Oudry, J. B., P., Paris; 1686-17.55.
LIST OF ARTISTS.
473
"Ptngnesty A. L. Claude, P., Paris;
1790-1819.
Pajou, Augustin, S., Paris, pupil
of Lemoyne; 1780-1809. — (xlvi).
Pali8»y, Bern., potter; ca. 1510-
1589 (90). — (xli).
PcAmaVecchio (Jac. Negretti), Ven.
P.; ca. 1480-1528. — (120).
Papety, Dom. LofHa F4r^oI, P.,
Marseilles; 1815-49.
PiUer, J.B.f P., Valenciennes; 1695-
1786. — (xlv).
P&nicaud, Leonard, sumamed Nar-
don, enameller, Limoges ; ca. 1470-
after 1589. — (xli).
Percier, Ch,, A., Paris; 1764-1838.
Perratid, Jean Jos., S., pupil of
Ramev & Dumont ; 1819-76.
Perratdt, Claude, A., Paris; 1618-88.
— (xliv).
Perrial, Jean, sum. Jehan de Paris,
A. & P.; ca. 1455-1528. — (xxxix).
Perugino (Pietro Vanucci), Umbr.
&Flor. P.; 1446-1524. — (118).
Philipvoteaux, Henri Emm. F4lix,
P., Paris; 1815-84.
Picot, Frang. Ed., P., Paris; 1786-
r. 1868.
PigalU, J. B., S., Paris; 1714-85.
— (xlvi).
Pilon, Germain, 8., Paris; ca.
1585-90. — (xli).
Pils, Isid., P., Paris, pupil of Picot ;
1815-75.
Pinaigrier, i?.. P., Touraine; b. be-
fore 1500, d. before 1550. — (xlii).
Pinturicchio (Bernardino Betti),
Umbr. P.; 1454-1518.
Piombo, SebasHano del (Seb. Luci-
ani), Ven. & Rom. P.; 1485-1547.
Pippi, see Romano.
Pissarro, Camille, Danish P., St.
Thomas (Danish West Indies);
1830-1908. — (1).
PoUpot, Th^oph., P., Paris ; b. 1848.
Pointelin, Auguste Emmanuel, P.,
Arbois; b. 1889. — (1).
Pontormo, Jacopo Carrucci da,
Flor. P.; 1494-1557.
Potter, Paul, Dutch P., Enkhuizen ;
1625-54.
Pottssin, Oaspard, properly G.
Dughet, Ft. P., Rome, nephew
and pupil of the following; 1613-75.
— , Nicolas, P., Les Andelys, Nor-
mandy; 1694-1665. — (xliii).
J^radier, James, Fr. S., Geneva,
pupil of Lemot; 1792-1862. — (1).
Pr^ault, Ant. Augustin, S., Paris;
1809-79.
Prieurj JB., Fr. S.; d. 1611. — (xlii).
PrinuUiccio, F., Bol. P. settled in
France ; 1490-1670. — (xxxix).
Protais, P. A., P., Paris; 1826-90.
PruWhon, Pierre, P., Cluny; 1758-
1828. — (xlvii).
Paget, Pierre, S., Marseilles; 1622-
1694. — (xliv, 114).
Pujol, see Abel de Pujol.
Ptivis de Chavannes, Pierre, P.,
Lyons, pupil of H. Scheffer and
Couture; 1824-98. — (xlix).
"BUiffaMlU, Jean Franc. J P., Paris;
b. 1845. — (1).
Raffet, Denis, P., Paris, pupil of
Charlet and Gros; 1804-60.
Raibolini, see Francia.
Barney, Claude, S., Dijon; 1754-
1888.
Raoux, Jean, P., Montpellier; 1677-
1734.
Raphael (Ra/faello Santi da Ur-
bino; Raff. Saneio), Umbr.,
Flor., & Rom. P. & A.; 1483-1520.
-(119).
Regnault, Henri, P., Paris, pupil
of Cabanel; 1848-71. — (xlii).
— , J. B., Baron, P., Paris; 1754-
1829.
Rembrandt Harmensz van Ryn,
Dutch P., Leyden; 1606-69.—
(121, 182).
Reni, see Guide.
Renoir, Auguste, P., Limoges; b.
1841. — (1).
Restout, Jean, P., Rouen ; 1692-1768.
Ribera, Jusepe, surn. Lo Spagno-
letto. Span. -Neap. P.; 1588-1656.
-(121).
Ribot, TModule, P., Breteuil, pupil
of Glaize; 1823-91.
Ricardj Gustave, P., Marseilles,
pupil of L. Cogniet; 1824-73.
Richter, Ligier, S., St-Mihiel, pupil
of Michael Angelo; 16th cent.
Riesener, Jean Henri, cabinet-
maker, Gladbaoh (Germ.); 1784-
1806.— (xlv).
Rigaud y Ros, Hyacinthe, P., Per-
pignan ; 1659-1743. — (xliv).
Robbia, Luca,Andr.,&Giov. della,
three Flor. 8. of the 15th-16th
cent. — (111).
— , Girolamo delta, Flor. S. & A.;
d. 1566. ~(xl).
Robert, Hubert, P., Paris; 1783-
1808. — (xlvi).
— , L4op., P., La Chaux-de-Fonds.
(Switzerland), pupil of Gerard and
David ; 1794-1835. — (xlviii).
474
LIST OF ARTISTS.
Robert- Fleuryy Jos. Nic, P., Paris,
pupil of Girodet, Qros, and H.
Vemet; 1797-1890.
— , Tonyj P., Paris, son of the last
and pupil of P. Delaroche ; 1837-
1911.
Robustif see Tintoretto.
Rochegrosscy G., P., Versailles: b.
1859. — (1).
RodiUy A.y S., Paris; b. 1840. — (lii).
RoU, Alfred Philippe. P., Paris;
b. 1847. — (1).
Romano J Qivlio (Pippi), Bom. &
Mantuan P. & A., pupil of Ra-
phael; 1492-1546.
Rosa, Salvator, Neap. & Bom. P.;
1615-78. ^ „ ,
Roslin, Alexandre, P., Malm»,
Sweden; 1718-98.
R0880 (il), Giovanbattista Rosso
de'Rossi, Flor. P. settled in
France ; 1496-1541. — (xxxix).
Rotv, Oscar, medallist, Paris ; 1846-
1911. -(lii).
Rousseau, Theodore, P., Paris ; 1812-
1867. — (xlix).
Rubens, Peter Paul, Flem. P.,
Siegen (Westphalia); 1577-1640.
— (121, 184).
Rude, Fran^., S., Dijon, pupil of
Oartellier; 1784-1865. — (1, 116).
Ruysdael, Rack van, Dutch P.;
d. 1677.
— , Salomon van, Dutch P., Haar-
lem, brother of the last; ca.
1600-70.
— , Jacob van, Dutch P., Haarlem,
son of Izack; 1628 (29)-82.
Saint- Jean, Simon, P., Lyons;
1808-60.
Saint-Marceaux, R. de, S., Rheims ;
b. 1845.
Salvi, see Sassoferrato.
Santerre, J. B,, P., Magiiy (Seine-
et-Oise), pupil of Bon BouUogne;
1658-1717.
Santi, Sanzio, see Rapliael.
Sarazin, Jacques, P. &S., Noyon;
1588 (90)-1660.— (xlii).
Sarto, Andrea del, Flor. P. ; 1486-
1531.- (xxxix, 120).
Sassoferrato (Giov. Batt. Salvi),
Rom. P.; 1605-85.
Scheffer, Arij, P., Dordrecht, pupil
of Gut^rin at Paris; 1795-1858.—
(xlviii).
— , Henri, P., The Hague, brother
of the last; 1798-1862.
Schnets, Jean Victor, P., Versailles,
pupil of David, Reguault, Gerard,
and Gros; 1787-1870.
Serlio, Seb., Bol. P. & A., in France
after 1540; 1476-1664.
Servandoni, Jean Nic, A., Lyons;
1695-1766.— (xlvi).
Seurre, Oh. Em. Marie, S., Paris,
pupil of Cartellier; 1798-1858.
— , Gabriel, S., Paris, brother of
the last and pupil of GarteUier;
1796-1867.
Sigalon, Xavier, P., Uz6s, pupil
of P. Gu6rin: 1788-1837.
Signol, Em., P., Paris, pupil of
Blondel and Gros; 1804-92.
Signordli, Luca, Tuscan & Umhr.
P.; ca. 1460-1528.— (118).
Simart, Pierre Oh., 8., Troyes,
pupil of Dupaty and Pradier ; 1806-
1857.
Simon, Lucien, P., Paris; b. 1861.
-(1).
Sisley, Alfred, P., Paris; 1839-99.
Sluter, Nicolaes (Claux), Dutch S.,
in Dijon after ca. 1386; d. 1406.
— (xxxvii).
Snyders, Frans, Flem. P., Ant-
werp; 1679-1657.
Sohier, Hector, A., Caen, l6th
cent. — (xl).
Solario, Andrea, Lomb. P.; flour-
ished ca. 1495-1616. — (xxxix).
Soitfflot, Jacq. Germain, A., Irancy
(Yonne); 1709-80. — (xlvi).
Spagnoletto, see Ribera.
Steen, Jan, Dutch P., Ley den, ca.
1626-79.— (122).
Steuben, Oh., Baron de, P., Bauer-
bach, near Mannheim (Germ.);
1788-1866.
Stevens, Alfred, Belg. P. at Paris;
1828-1906.- (xlix).
- , Joseph, Belg. P., brother of the
last; 1819-92.
Subleyras, Pierre, P., Uzes; 1699-
1749.
Tassaert, O., P., Paris; 1800-74.
Teniers, David, the Younger, Flem.
P., Antwerp, pupil of his father,
D.T. the Elder; 1610-90.— (121).
Terburg or Ter Borch, G., Dutch
P., Zwolle; 1617-81.— (122).
Theotocopuli, Domenico, sum. El
Greco, Span. P., A., and S.; ca.
1548-1625. — (121).
Timbal, Louis Oh., P., Paris, pupil
of Drolling and Signol; 1821-80.
Tintoretto (lacopo Robunti), Ven.
P.; 1518-94,
LIST OF ARTISTS.
C^
475
Titian (Tiziano Vecelli), Ven. P.;
ca. 1487-1576.— (120).
Tocqu4, Louis, P., Paris; 1696-1772.
Triqtieti, Henri, Baron, S., Con-
flans (Loiret); 1802-74.
Troy, J. F. de, P., Paris; 1679-1752.
Troyon, Constant, P., Sevres; 1810-
1865.— (xlix).
Tuhy or Tuhi, J. B., Rom. & Fr.
S.; 1630-1700.
"Valentin, le (Jean de Boulongne),
P., Coulommiers ; 1591-1634.
VanLoo or Van Loo, Jacob, Dutch
j P.; 1614-70.
— , Jean Baptiste, P., Aix (B.-du-
Rh6ne); 1684-1745.
— . Ch. Andri (Carle), P., Nice,
brother and pupil of the last;
1705-65.
— , Louis Michel, P., Toulon, son
and pupil of Jean Baptiste ; 1707-
1771.
Vanucci, see Perugino.
V^asari, Giorgio, Flor. P., A., and
art-historian^ 1512-74.
Vecelli, see Titian.
Vela, Vine, Swiss S.; 1822-91.
Vdazqtiez, Diego R. de Silva, Span.
P.; 1699-1660. — (121).
Vdae, Adr. van de, Dutch P., Am-
sterdam; ca. 1636-72.
— ,WiUem van de, the Younger,
Dutch P., Ley den, brother of the
last; 1633-1707.
Vemet, Claude Jos., P., Avignon;
, 1714-89.
— , Ant. Ch. Hot. (Carle), P., Bor-
deaux, son of the last; 1758-1836.
— , Horace, P., Paris, son of Carle;
1789-1863. — (xlviii).
Veronese, Paolo (P. Caliari), Ver.
and Ven. P.; 1628-88. — (120).
Victors (Victor, Fictoor), Jan.
Dutch P., Amsterdam, pupil of
Rembrandt; ca. 1620-96.
Vien, Jos. Marie, Comte, P., Mont-
pellier; 1716-1809. — (xlvi).
Vig^e-Lebrun, see Lebrun.
Vinchon, Aug. J. B., P., Paris;
1789-1856.
Vinci, Leonardo da, Flor. & Mil.
P., S., & A.; 1462-1519. — (119).
Vtollet-le-Duc, Eug. Emm., A.,
Paris; 1814-79.— (lii).
Visconti, Louis, Fr. A., Rome,
pupil of Percier; 1791-1853.
Vollon, Ant, P., Lyons; 1888-1900.
Vouet, Sim., P., Paris; 1590-1649.
— (xlii).
Vries, Adr. de, S., The Hague,
pupil of Giov. da Bologna; 1560-
after 1603. — (xlii).
"Warin, Jean, medallist, Lifege;
1604-72.
Watteau, Ant., P., Valenciennes;
1684-1721. — (xlv).
Weenix, J. B., Dutch P., Amster-
dam; 1621-60.
Weyden, Roger van der, Flem» P.,
Tournai; ca. 1400-64. — (121).
Winierhalter, F. X., P., Menzen-
schwand, near St-Blasien (Germ.) ;
1806-73.
Wouvermun, Philips, Dutch P.,
Haarlem; 1619-68.
— , Pieter, Dutch P., brother and
j)upirof the last; 1623-82.
Wynants, Jan, Dutch P., Haarlem;
ca. 1625-82.
Y'von, Ad., P., Eschweiler, pupil
of Delaroche; 1817-98.
Zampieri, see Domenichino.
Ziegler, Claude Louis, P., Langres,
pupil of Ingres; 1804-56.
Ziem, FHix, P., Beaune; 1821-1911.
Zurbaran, Francisco, Span. P. ;
1598-1662.- (121).
Babdxksr's Paris. 18th Edit.
30
INDEX.
Index for the Environs of Paris and Northern Frcmee^ see p. 488.
Paris:
Abattoirs 250. I
Abbaye-anx-Bois, C!on- '
vent of 808.
— de Longchamp 246.
Acad^mie Fran^aise !
297.
— de M^decine 302.
Academies 297. 298.
Administration xxTi.
Albambra S9.
All^e des Cygnes 243.
— de Longchamp 245.
— de la Reine-Margne-
rite 245.
Alliance Fran^aise 50.
308.
American Register 51.
Apartments 14.
Aquariom 241.
Arc du Carrousel 66.
— de I'Etoile 78.
Archives Nationales
191.
Ar^nes de Lnt^ce 296.
Arrival 1.
Arrondissements xxvi.
Art, Sketch of French
xxxiii.
— Exhibitions 38.
Artesian Wells 242.
341.
Assistance Pnblique
182.
Autenil 243.
Automatic Bars 25.
Automobiles 41. 28.
Avenue Alexandre III
68.
— de TAlma 73.
— d'Antin 73.
— du Bel-Air 261.
— du Bois-de-Boulogne
244. 74.
— de Breteuil 319.
— des Ghamps-EIys^es
67.
-- de Clichy 228.
— Daumesnil 268.
Avenue de Friedland
74.
— Gambetta 259.
— des Gobelins 839.
— de la Grande- Arm^e
282. 74.
— Henri-Martin 242.
-de THippodrome
245.
— Hoche 74. 231.
— Kl^ber 74.
— Marceau 74.
— Matignon 73.
— de Messine 280.
— Montaigne 73.
- de Neuilly 233.
— de I'Observatoire
333.
— de rOp^ra 85.
— d' Orleans 846.
— du Parc-de-Mont-
souris 345.
— Philippe-Auguste
251. 261.
— Rachel 224.
— de la R^publiqne
250.
— de St-Mand^ 261.
— de 8t-0uen 228.
— de Suffren 320.
— des Temes 232.
— du Trocadiro 235.
— Velasquez 230.
— Victor-Hugo 74.
— de VilUers 231.
— de Wagram 74. 232.
Aviation 41.
Bagatelle 246.
Balls 40.
Banks 45. i
Banque de France 87. ,
45. I
Bassin de T Arsenal 189.
— de la Villette 249. |
Bastille 188. '
Baths 26.
BatignoUes, Les 229.
Bazaars 52.
Bel-Air 263.
Belleville 249.
Bibliography liii.
Biblioth^que de 1* Arse-
nal 189.
— des Arts et Metiers
206.
— du Conservatoire de
Musique 221.
— Hatty 820.
— Historique de la
ViUe 200.
— Mazarine 298.
— Nationale 209.
— de I'Op^ra 78.
— Polonaise 277.
— Ste-Geneviive 294.
— Scandinave 294.
Blind Asylum 820.
Boarding Houses, see
Pensions.
Boating 42.
Bois de Boulogne 244.
— de Vincennes 264.
Booksellers 48.
Botanic Garden 885.
Bouillons 18. See also
Restaurants.
Boulangerie des H&pi-
taux et Hospices 338.
Boulevard Arago 845.
— des BatignoUes 228.
— Beaumarchais 88.
189.
— Bonne-NouveUe 80.
— des Capucines 76.
— de Clichy 224.
— de Courcelles 229.
— Diderot 190. 261.
— Edgar-Quinet 848.
— des Filles-du-Cal-
vaire 88.
— Garibaldi 820.
— de Grenelle 820.
— Haossmann 222. 229.
— Henri IV 189.
INDEX.
477
Paris:
Caserne de la Banque
216.
— des C^lestins 189.
— du Ohd,tean-d'Eau
82.
Oatacombs S45.
Cattle Market 249.
Ceinture, see Petite-
Ceinture.
Cemeteries, see Oime-
ti^res.
Chambers of Commerce,
Amer. & British 45.
Chambre des D^put^s
806.
Champ-de-Mars 820.
Champs-Elys^es 67.
Chapelle Expiatoire
229.
— St-Ferdinand 288.
Chemists 46.
Chdnier's House 81.
Church Music 88.
Churches :
American 48.
Armenian 284.
Assumption 84.
Baptist 48.
BiUettes 190. 48.
British Embassy 47.
Calvinist 48.
Christian Scientist
48.
Congregational 47.
English 47.
Free 48.
Invalides 818.
Lazaristes 808.
Lutheran 48.
Madeleine 75.
Notre-Dame 274.
d'Auteuil 248.
— -des-Blancs-Man-
teaux 198.
de-Bonne-Nou-
velle 80.
— -des-Champs 342.
— -de-Clignancourt
224.
— -de-Consolation
284.
— -de-Ia-Croix 269.
— -de-Lorette 219.
— des-Victoires 215.
Oratoire 88. 48.
Pantheon 291.
Pentemont 48. 809.
Protestant 48.
Redemption 48.
Russian 281.
Boulevard de I'Hdpital
837.
— des Italiens 79.
-- de la Madeleine 76.
— de Magenta 82. 217.
— Malesherbes 280.
— de M^nilmontant 251.
— Montmartre 80.
— du Montparnasse 842.
— du Palais 268.
— Pasteur 819.
— Poissonnifere 80.
— de Port-Royal 839.
— Raspail 308.
— Richard-Lenoir 189.
— St-Denis 81.
— St-Germain 307. 279.
— St-Marcel 387.
— St-Martin 81.
— St-Michel 278.
— de S^bastopol 81. 204.
— de Strasbourg 217. 81.
— du Temple 82.
— Voltaire 259. 261.
Boulevards, Grands 75.
Bourse 216.
— du Commerce 202.
— du Travail 82.
Bowls 48.
Boxing 42.
Brasseries 18. See also
Restaurants.
Bridges, see Ponts.
Buffon's House 836.
Bullier, Bal 40. 342.
Butte-aux-Cailles 841.
— Montmartre 222.
— Mortemart 245.
Buttes-Chaumont, Les
248.
Cabarets Artistiques
40.
Cabinet des Mddailles
et Antiques 212.
Cable Tramways 29.
Appx., p. 52.
Cabs 1. 28. Appx.,
p. 55.
Caf ^s 24. See also Re-
staurants.
Concerts 89.
Cagliostro's House 88.
Canal de TOurcq 249.
— St-Denis 249.
— St-Martin 189. 249.
Carrefourde I'Observa-
toire 341.
Carriages 28.
Churches :
Sacrd-Coeur 222.
St-Ambroise 260.
St-Antoine 260.
St-Augustin 280.
St-Bernard 218.
St-Denis-du-St-Sa-
crement 88.
Ste- Anne-de-la-Mai-
son-Blanche 841.
Sainte-Chapelle 271.
Ste-Clotilde 309.
Ste-Elisabeth 209.
Ste-Marguerite 260.
Ste-Marie 229.
— (Temple) 188. 48.
St-Etienne-du-Mont
294.
St-Eugfene 80.
St-Eustache 208.
St-Ferdinand-des-
Ternes 282.
St-Fran§ois-Xavier
819.
St. George's 47.
St-Germain-l*Auxer-
rois 88.
— -des-Prds 802.
St-Gervais 186.
St-Jacques-la-Bou-
cherie 181.
du-Haut-Pas 888.
— -St-Christophe249.
St-Jean-Baptiste 249.
— -St-Fran^ois 198.
St. John the Evange-
list 224.
St-Joseph-des-Car-
mes 383.
St. Joseph's 47.
St-Julien-le-Pauvre
278.
St-Laurent 217.
St-Leu-St-Gilles 204.
St-Louis-en-1'Ile 277.
— des-Invalides 818.
St. Luke's 47.
St-Marcel 48.
St-M^dard 339.
St-Merry 181.
St-Nicolas-des-
Champs 204.
— -du-Chardonnet
296.
St-Paul-St-Louis 187.
St-Philippe-du-Roule
73.
St-Pierre 288.
— -de-Montmartre
224.
30*
478
INDEX.
Paris:
Ohubchxs:
St-Pierre-de-Mont-
rouge S46.
St-Roch 84.
St-S<verin 278.
St-Sulpice 804.
St-Thomas-d* Aqui n
807.
St-Vincent-de-Paul
218.
Scotland, Ohnreh of
48. 284.
Sorbonne 290.
Trinity 220.
Val-de-Grilce 889.
Visitation 188.
Wesleyan 48.
Oigars 54.
Oimeti^re de Oharonne
259.
— des Chiens 848.
— Montmartre 224.
— Montparnasse 848.
— du Nord 224.
— de Passy 242.
— du Pfere-Laehaise 251.
— de Picpus 261.
— du Sud 848.
Oinematographs 40.
Oircnlating Libraries
49.
Circuses 40.
OiU 267.
Olimate xxiv.
Olinique d' Accouche-
ment 888.
Clubs 48.
Cluny, HM. and Mns^e
de 280.
Coiflfeurs 27.
Collections, see Musses.
College Chaptal 229.
des Ecossais 295.
— Fortet 294.
— - de France 290.
— Massillon 189.
— Mazarin 297.
— des Quatre-Nations
297.
— Rollin 222.
Colonial Office 86.
Colonne de Juillet 188.
— Venddme 88.
Cornddie-Fran^aise 84.
85.
Comptoir d'Escompte
45. 80.
Comte's House 888.
Concerts 87.
-<<erie 271.
Confectionery 54.
Conseil d'Etat 86.
Conservatoire des Arts
et Metiers 205.
— de Musique 221. 80.
87.
Consulates 44.
Conveyances 28.
Cour du Commerce 280.
— des Comptes 84.
— du Dragon 808.
~ de Rouen 280.
Cours-la-Reine 288.
— de Vincennes 261.
Couvent des Giseaux
820.
— du Sacri-CoBur 807.
Credit Lyonnais 45. 79.
Crfemeries 26.
Cricket 48.
Cross-Country Runs 48.
Custom House xii. 1.
Cuvier's House 886.
Cycling 42.
Daily Mail 50.
Deaf and Dumb Insti-
tution 888.
Dentists 46.
Diary 56.
Directory xxvii.
Distribution of Time 54.
Divine Service 47.
Dogs* Cemeteiy 848.
Ddme desInvalidesSlS.
Douane xii. 1.
Druggists 46.
Scole des Arts D^cora-
tifs 280.
— des Beaux- Arts 299.
— de Botanique 885.
— Boulle 261.
— Centrale des Arts et
Manufactures 208.
— des Chartes 289.
— Coloniale 888.
— de Droit 291.
— de Guerre 820.
— des Hautes Etudes
Commerciales 282.
— d' Horticulture et
d' Arboriculture 265.
— des Langues Orien-
tates 806.
— de MMecine 279.
— Militaire 820.
— des Mines 888.
Bcole Normale Sup^
rieure 888.
— de Pharmacie 888.
— Polytechnique 296.
— Pratique 279.
des Hautes-Etu-
des 289.
~ de Pyrotechnie 264.
265.
— Sup^rienre de Com-
merce 250.
— V^t^rinaire 266.
Egouts 205.
Eiffel Tower 821.
Elys4e, Palais de V 68.
Embassies 44.
English Churches 47. 48.
Esplanade des Inva-
rides 810.
Etablissement Horti-
eole 248.
Exhibitions 88.
Faculty de Th^ologie
Protestante 845.
Family Hotels, see
Pensions.
Faubourg St-Antoine
260.
— 8t-Germain 296.
Faubouigs XXV.
Fencing 42.
Figaro 219.
Fleuriste d'Auteuil
248.
Flower Market 278.
Folies-Bergire 89.
Fontaine Cuvier 884.
— de Grenelle 809.
— des Innocents 208.
— de Joyeuse 88.
— de L^da 882.
— Louvois 209.
— Maubu^e 182.
— de M^dicis 382.
— Moliftre 209.
— Notre-Dame 276.
— 4e rObservatoire
888.
— du Palmier 182.
— des Quatre Saisons
809.
— Richelieu 209.
-~ St-Michel 278.
— St-Sulpice 808.
— du Vertbois 206.
— de la Victoire 182.
Football 48.
Fortifications xxvi.
INDEX.
479
Paris:
Franklin's Honse 242.
Hospice de la Sal-
Hotels (for travellers) :
248.
pStrifere 887.
Cusset 6.
Fnnicnlaires 29. Appx.,
— Wallace 47.
Dacia 12.
p. 62.
Hospitals 47.
Danube 10.
Hotels (for travellers) :
Denain 10.
Q-arages 41.
Acacias 7.
Deux-Mondes 4.
Gare de I'Est 217.
Adelphi 6.
Dor6 11.
— des Invalides 810.
Albe 4.
Duminy-Labille 11.
— du Luxembourg 420.
Alhambra's 12.
Edouard VII 4. 76.
— de Lyon 190.
Ambassadeurs 9.
Egli's International
— Montparnasse 842.
— du Nord 217.
American 7. '
9.
Amiot 10.
Elysde Palace 3. 73.
— d'0rl6ans 884.
Amiraut^ 6.
Etats-Unis 6.
— du Quai - d'Auster-
Angleterre 7.
Etrangers 12.
litz 884.
Anglo- Am dricain 11.
Europe 10.
d'Orsay 805.
Antin 6.
Europden 9.
— St-Lazare 221.
Arcade 7.
Favart 6.
— de Strasbourg 217.
Astoria 3. 78.
Ferras 8.
— de Vincennes 268.
Ath^n^e 8.
Fix 10.
Geographical Society
Autriche 9.
Florence 6.
808.
Avenida 7.
Florida 7.
Giant Wheel 820.
Bade 11.
France (Cit6 Bergfere)
Gobelins 889.
Baltimore 8.
9.
Golf 42.
Bavifere 9.
— (Cite Jarry) 10.
— & Choiseul 4.
Goods Agents 44.
Beaujolais 11.
Grand Palais 72.
Beau-Sejour 11. 12.
Franklin & Brdsil 6.
Grande-Ceinture, Che-
Site 4.
Globe 10.
min de Fer de 80.
Bedford 4.
Grand 8. 76.
— Roue 820.
Bellevue 4.
Grande-Bretagne 6.
Grands Boulevards 75.
Belmont &Bassano 8.
Grands- Boulevards 8.
Berg^ro & Maison
Blanche 9.
Grosvenor 7.
Hairdressers 27.
Harcourt 12.
Halle au B16 202.
Berne 11.
Haussmann 8.
— aux Vins 884.
Bon-Lafontaine 10.
Ha vane 12.
Halles Centrales 202.
Bradford 7.
Holder 6.
Heine's House 78.
Brighton 4.
Hollande 4.
Hertford Hospital 47.
Bristol 8.
ISna 5.
Hippodromes, see
Racecourses.
Britannique 8.
British 11.
Iles-Britanniques 4.
Imperial 7.
Indo-Hollandais 9.
History xv.
Buckingham 7.
Hockey 48.
Burgundy 7.
International (Av.
H6pital Broca 845.
Cafifarel 11.
d'Idna) 8.
de la Charity 805.
Campbell 4.
— (Egli's; Rue
— Claude-Bernard 250.
Capucines 4.
Bachaumont) 9.
— Cochin 889.
Carlton 3.
Jean-Bart 10.
— LaSnnec 808.
Castiglione 4.
Castille 5.
Jeanne-d'Arc 10.
— Lariboisi^re 218.
Joubert 11.
- de la Nouvelle Piti6
Cecil 9.
Laffitte 11.
837.
Central 8.
Langham 8.
— de la Vim 387.
Centre 10.
Lartisien 7.
— St-Antoine 260.
Champs-Elys des 8.
Lavenue 11.
- St-Louis 248.
Chatham 4.
Levant 8.
— Tenon 269.
Citd-Berg6re 9.
Lille & Albion 4.
— Trousseau 261.
— -du-Retiro 7.
Little Palace 9.
Horse Races 41.
CoUfege-de-France 10.
Londres 4.
Hospice de BicStre 420.
Colonies 9.
— & New- York 11.
- - de La Rochefoucauld
Columbia 7.
Lotti 8.
846.
Continental 3. 68.
Louis-le-Grand 5.
-- des Quinze-Vingts
Comeille 10.
Louvois 8.
189.
Crillon 8.
Louvre 4. 87.
480
INDEX.
Paris:
H0TKL8 (for travellers):
H0TKL8 (for travellers) :
H6TSL18 (mansions and
Lutetia 5.
Rossini 11.
public buildings):
Hotel de la Chancel-
Mac-Mahon Palace 5.
Roaen 9.
Madison 4.
Royal 7.
lerie d'Orl^ans 87.
Magenta 10.
Maison Meabl^e 11.
Royal Palace 4.
— Chenizot 277.
Russie 6.
— de Olermont-Ton-
Vetter 12.
Ste-Anne 6.
nerre 808.
Maiestic S.
Malesherbes 7.
Ste-Marie 8.
— de Cluny 280.
St-Georges & Barce-
— de Ooislin 68.
Malherbe 10.
lone 6.
— de Colbert de Villa-
Malte 8.
St- jSmes & Albany 5.
cerf 88.
Manchester 6.
St-P6tersboiirg 6.
— de Daugny 80.
Margery 9.
Marine & Terminus
St-Romain 5.
— Dieu 278.
Saints-P^res 10.
— Drouot 80.
11.
St-Sulpice 10.
— du Figaro 219.
Merc^d6s 8.
Savoy 5.
— de Fourcy 194.
M^tropolitain 5.
Scribe 4.
— H^nault 187.
Meurice 8.
Seine 10.
— de Hollande 198.
Meyerbeer 4.
Select 12.
— des Invalides 810.
Mirabeau 8.
SSnat 10.
— Lambert 277.
Moderne 9. 82.
S^ze 11.
— Lamoignon 194.
Mondial 9.
Solf^rino 9. 10.
— de Lauzun 277.
Monsi^ny 6.
Splendid 7.
— de La Valette 189.
Montaigne 7.
Suez 10.
— de La Vieuville 189.
Montana 4.
Suisse 6.
— de La Vrillifere 87.
Mont-Fleuri 7.
Sydney 6.
— de la Ligue de I'Bn-
Thabor 6.
Tamise 5.
seignement 808.
N^va 6.
Taranne 12.
— de Mayenne et d'Or-
New 10.
Temps 11.
messon 187.
Normandie 11.
Terminus 11. 221.
— M^lusine 87.
Normandy 4.
— du Chemin-de-Fer-
— des Monnaies 299.
Observatoire 10.
de-Lyon 11.
— de Nevers 216.
Op^ra 6.
— -Est 10.
— Populaire pour Hom-
Orleans 8.
— -du-Nord 10.
mes 261.
— -St-Germain 10.
Terrass' 11.
— des Postes 201.
Oxford & Cambridge
Tibre 6.
— de Rouill^ de
5.
TivoUier 5.
I'Estang 68.
Palais 7.
Touraine 11.
— de Sens 187.
— d'Orsay 5.
Tr^moille 7.
— des Soci^t^s Savan-
— -Royal 8.
Uni vers & Portugal 8.
tes 280.
Palmiers 12.
Vend6me 8.
— de Soubise 191.
Palym 11.
Victoria 6.
— de Strasbourg 198.
Paris 10.
Vignon 6.
— de Sully 187.
— -Centre 11.
Violet 9.
- Tallard 190.
Nice 8.
Vivienne 12.
— des T^Uphones 202.
— & Osborne 5.
Vouillemont 4.
— de Thiers 219.
Pavilion 9.
Wagram 4.
— du Timbre 216.
Pays-Bas 6.
West-End 7.
— des Ventes Mobi-
Perey 7.
Westminster 8.
li^res 80.
P^rigord 6.
Hotels (mansions and
— de Ville 188.
Prima 9.
Quai- Voltaire 9.
public buildings):
Hdtel des Abb^s de
Rastadt 6.
Fecamp 280.
He de la Cit^ 267.
Regina 3.
— d'Albret 194.
— des Cygnes 248.
Regnard 10.
— d'Aumont 187.
— de Puteaux 246.
Rhin 8.
— de Beauvais 187.
— St-Louis 277.
Richepanse 7.
— de Biron 807.
Imprimerie Nationale
Richmond 6.
— de Bourgogne 204.
198.
Ritz 8.
— de Chalons-Luxem-
Information Bureaux
Ronceray 8.
bourg 187.
44. 50.
u
INDEX.
481
Paris:
Institut A^rotechnique
380.
— Catholique 888.
— de France 297.
— Oc^anographique
388.
— Pasteur 848.
Institution des Jeunes
Aveugles 820.
— Ste-P^rine 248.
— des Sourds-Muets
888.
International Guild 51.
14.
Invalides, Ddme des
818.
— , Hdtel des 810.
Jardin d'Acclimatation
246.
— Botanique 885.
— du Luxembourg 881.
— des Plantes 885.
— des Tuileries 64.
July Column 188.
Laiteries 26.
Lavatories 27.
Lawn Tennis 48.
Letters 81.
Libraries, see Biblio-
th^ues.
Longchamp 246.
Lost Property Office
278.
LouvRB 89.
African Antiquities
95.
Asiatic Antiquities
104. 161. 178.
Bronzes, Ancient 155.
CSramique Antique
165.
Ohalcogranhie 172.
Chinese Museum 171.
Christian Antiquities
112.
Collection Camondo
148.
— Campana 165.
— Chauchard 174.
— Ohavannes 172.
— Foucher 172.
— Grandidier 171.
— His de la Salle 158.
— La Caze 140. 158.
— Moreau-N^laton
178.
— Pelliot 172.
— Thiers 168.
LouvRB :
Collection Thomy-
Thiery 169.
Crown Jewels 150.
Decorative Art 176.
Bessins 158. 171.
Donation His de la
Salle 157.
— Rothschild 159.
Drawings 158. 171.
Egyptian Antiquities
106. 168. 172.
Enamels 151.
Escalier Asiatique
106. 159. 161.
— Daru 117. 95.
— Henri II 108. 117.
155.
— Henri IV 117. 155.
Furniture of the 17th
and 18th Cent. 155.
Galerie d'Apollon
148.
— Benon 95.
— MoUien 95. 148.
— de Morgan 178.
Grande Galerie 126.
Ivories 159.
Jewellery 149-152.
MedisBval, Renais-
sance, and Modern
Art 159. 162.
Naval Museum 171.
Oriental Collections
171. 180.
Pavilion Denon 94.
— de Flore 174. 65.
— de I'Horloge 117.
155.
— de La Tr^moille
172.
— de Marsan 176.
65.
— Sully 117. 155.
Picture Gallery 118.
British School 122.
180.
Dutch School 121.
182. 185-188. 189.
140.
Flemish School 121.
181. 188-185. 188.
189. 140.
French School 141-
148. 152-155. 168-
170. 174-176. 178.
German School 122.
180.
Italian School 118-
120. 128-129.146.
LouvBB :
Picture Gallery:
Portraits of Artists
144.
Rembrandt 182.
Rubens 184.
Spanish School 121.
129.
Van Dyck 188.
Pottery, Antique 165.
Rotonde d'Apollon
148.
— de Mars 96.
Salle d'Afrique 95.
— d'Auguste 97.
— des Bijoux 151.
— des Cariatides 108.
— Duchatel 122.
— Grecque 98.
— Henri II 158.
— du H^ros Combat-
tant 101.
— JudaXque 106.
— La Caze 158.
— du Mastaba 172.
— de M^cfene 96.
— des Moulages 95.
— de la Pallas de
Velletri 101.
— des Portraits 144.
— des Prisonniers
Barbares 96.
— de Psyche 100.
—- Rembrandt 182.
— Rubens 184.
— des Sept-Chemi-
n^es 152.
— du Tibre 102.
— Van Dyck 188.
— de la V^nus de
Milo 100.
Salon Carr^ 128.
Sculptures, Ancient
95.
— , Mediaeval and Re-
naissance 108.
— , Modern 118.
Luna Park 40.
Lunatic Asylum 266.
Luxembourg, Jardin
du 881.
— , Mus^e du 828.
— , Palais du 822.
Lyc^e Carnot 282.
— Charlemagne 187.
— Henri IV 295.
— Janson de Sailly 242.
— Louis-le-Grand 291.
— Michelet 860.
— Montaigne 888.
482
INDEX.
Paris:
Lyc^e St-Louis 290.
— Victor-Hugo 200.
— Voltaire 260.
Madeleine 75.
Madrid 246.
Magasins de Noa-
veaat^s 51.
Magic City 40.
Mairie of the Ist Ar-
rondissement 88.
— 2nd — 216.
— 8rd — 208.
— 4th — 187.
— 5th — 291.
— 6th — 808.
— 9th — 80.
- 10th — 81.
— 11th — 260.
— 12th " 268.
— 18th ^ 841.
- 14th — 846.
16th 242.
— 18th — 224.
— 19th — 249.
— 20th — 259.
Maison des Dames des
Postes 805.
— Dor^e 79.
des Etudiants 279.
— de Francois 1« 284.
Maisona de Sant^ 46.
Man^e 68.
Manoi aoture des Ta-
bacs 850.
Manutention Militaire
285.
Maps 49.
March^-aux-Besti anx
249.
aux-Fleurs 278.
— du Temple 208.
- de la Villette 249.
Market, Central 202.
Maternity HospitalR
889.
Matin 80.
Menagerie 885.
M^tropolitain 29.
Appx., p. 81.
Military Bands 88.
Minist&re des Affaires
Etrang6Te8 807.
— - des Colonies 820.
— dn Commerce 809.
des Finances 88.
de la Guerre 807.
— de rinstruction Pu-
blique 809.
Minist^re de la Marine
68.
— du Travail 809.
— des Travaux Publics
807.
Mint 299.
Missions 48.
— -Etrangferes 808.
Money ii. xi.
— Changers 45.
Monnaie, La 299.
Mont-de-Pi^t^ 198.
Montfaucon, Gibbet of
248.
Montmartre 222.
— , Cemetery of 224.
Montparnasse, Ceme-
tery of 848.
Montrouge, Grand- 425.
— , Petit- 846.
MONUM BRTS :
Abb6 de TEp^e 888.
860.
Aguesseau 248.
Alphand 244.
Arago 845.
Aubry 296.
Augier 882.
Bailly 882.
Balloonists of the
Siege 288.
Balzac 74.
Banville 882.
Barye 190.
Baudin 260.
Beauhamais 810.
Beaumarchais 188.
Becque 229.
Beethoven 266.
B^ranger 208.
Berlioz 228.
Bernard 291.
Bemardin de Saint-
Pierre 836.
Bichat 279.
Blanc 339.
Bo billot 259.
Boucher 92.
Boussingault 205.
Broea 279.
Brouardel 279.
BudsBUs 291.
Buffon 835.
Camoens 248.
Caventou 838.
Champollion 291.
Chappe 807.
Charcot 337.
Charlemagne 278.
Charlet 845.
MOHUMSHTB :
Chartier 282.
Chevreul 886.
Chopin 281. 881.
Coligny 88.
Comte 290.
Condorcet 298.
Copp^e 820.
Comeille 291.
Comil 279.
Dante 291.
Danton 279.
Daubenton 247. 886.
Daudet 72.
Danmesnil 264.
Defense de Paris 848.
Delacroix 266. 881.
Deraismes 228.
Desmoulins 87.
Diderot 222. 80S.
Dolet 296.
Dumas (P^re & Fils)
282.
Eugene, Prince 810.
Fabre 881.
Ferry 65.
Flachat 282.
Flatters 346.
Floquet 250.
Fourier 228.
Franck 309.
Francs-Tireurs 282.
Franklin 242.
Gambetta 66.
Garibaldi 820.
Gamier 77. 842.
Gavami 219.
George Sand .SS2.
Gdrdme 92.
Godard 242.
Goldoni 276.
Gounod 281.
Gramme 205.
Gr^rd 289.
Gutenberg 198.
Ha41y 820.
Henri IV. 268.
Hugo, Victor 74. 87.
Joan of Arc 85. 280.
238. 887.
La Barre 224.
Lafayette 67. 289.
La Fontaine 242.
Lamarck 835.
Lamartine 242.
Larrey 889.
Larroumet 86.
Lavoisier 75.
Leblanc 206.
Tjeclaire 228.
INDEX.
483
Paris:
MOHUMBH T8 :
Leconte de Lisle SS2.
Ledra-Rollin 260.
Lemaitre 82.
Le Play 881.
Le Saeui 881.
Levassor 245.
Le Verrier 842.
Liberty 248.
Louis XIII. 200.
— XIV. 215.
Mac^ 249.
Manuel 242.
Marcel 184.
Maupassant 231.
Meissonier 92.
Moli^re 209.
Moncey 228.
Mortillet 296.
Murger 882.
Musset 85. 288. 284.
Napoleon I. 84.
Neuyille 282.
Ney 842.
Pailleron 281.
Palissy 808.
Papin 206.
Parmentier 288.
Pascal 181.
Pasteur 819.
P4an 889.
Pelletier and Gaven-
tou 883.
Perrault 64.
Perronet 288.
Pinel 887.
Raffet 92.
Raspail 845.
Renaudot 278.
Republic 82. 261.297.
846.
Ricord 839.
Rousseau 291.
Ronssel 342.
Sacy 305.
Saint-Pierre 386.
Sainte-Beuve 831.
Sand, George 882.
Scheurer-Kestner
332.
Sedaine 222.
S6gur 881.
Serpollet 282.
Servetus 346.
Shakespeare 230.
Silvestre 238.
Simon 75.
Tarnier 883.
Taylor 82.
Thomas 281.
MOHUMBRTS :
Trarieux 845.
Velazquez 92.
Verlaine 881.
Vicaire 881.
Victor Hugo 74. 87.
Villon 296.
Viole 296.
Voltaire 296. 298.
Waldeck-Rousseau
65.
Washington 286.
— and Lafayette 289.
Watteau 881.
Wells 289.
Morgue 277.
Motor Cabs 28.
— Cars 41.
— Omnibuses 28.
Motoring 41.
Moulin de la Qalette
40.
— -Rouge 89. 224.
Muette, La 242.
Mus^e d' Anatomic 279.
— des Archives 191.
— de rArm6e 811.
— des Arts D^coratifs
176.
— — et Metiers 206.
— Astronomique 842.
— Balzac 243.
— Brignole-Galliera
285.
— Broca 280.
— de Mme de Caen 298.
— Oambodgien 240.
— Camavalet 194.
— C^ramique 853.
— Cernuscbi 230.
— de Cluny 280.
— Coloniale 86.
— de la Conciergerie
272.
— du Conservatoire de
Musique 80.
— D'Ennery 244.
— Dupuytren 280.
— Dutuit 71.
— Ethnographique240.
— Forestier 265.
— Galli^ra 285.
— de Geologic 338.
— Gr6vin 40.
— Guimet 286.
— Gustave-Moreau
219.
— Hatty 820.
— Historique de la
Ville 194.
Mus^e d'Hygi^ne 204.
— Instrumental 221.
— du Louvre 92.
— du Luxembourg 828.
— de Min^ralogie 833.
— Mon^taire 299.
— de l'0p6ra 78.
— Orfila 279.
— Pal^ographique 191.
— dePal6ontologie383.
— P6dagogique 388.
— de la Police 278.
— des PoupSes 388.
— de la Revolution 860.
— de Sculpture Com-
par^e 289.
— Social 809.
— des Thermes 288.
— Victor-Hugo 200.
— de la Ville de Paris
(Petit Palais) 68.
— du Vieux-Paris 187.
Music Halls 89.
Napoleon's Tomb 319.
Neuilly 282.
New York Herald 50.
Newspapers 49.
Nord-Sud 29. Appx.,
p. 86.
Notre-Dame 274.
Nursing Homes 46.
Obelisk of Luxor 62.
Observatoire 842.
Octroi xii. 1.
Oculists 46.
Od^on 85. 882.
Olympia 39. 76.
Omnibuses 28. Appx.,
pp. 37-44.
Opera-Comique 85. 79.
Opera House 84. 77.
Oratoirc 88.
Palais Archiepiscopal
309.
— des Beaux-Arts 68.
Bourbon 806.
— de I'Elysec 68*
— de Glace 42. 72.
— de Justice 269.
— de la L^ion d'Hon-
neur 305.
— du Louvre 89.
— du Luxembourg 822.
— -Royal 86.
- des Tournelles 200.
du Trocad^ro 239
des Tuileries 65
484
INDEX.
Paris:
Place de TEcole 89.
— des Etats-Unis 289.
~ de I'Etoile 78.
— de I'EuTope 221.
— Gambetta 259.
— de Grtve 182.
— de l'H6tel-de-Ville
182.
— d'i^na 286.
— d'ltalie 841.
— La Fayette 218.
— Lobau 186.
— Malesherbes 281.
— Marin-Nadand 259.
— Maubert 296.
— Mazas 190.
— Monge 889.
— de Montroage 846.
— de la Nation 261.
— de I'Op^ra 76.
— du Palais-Royal 87.
— du Pantheon 291.
— du Parvis-Notre-
Dame 278.
— Pereire 282.
— du Petit-Pont 274.
— de8Petit8-Pfere8 215.
— Pigalle 224.
— Prosper-Goubauz
229.
— de Rennes 842.
— de la R^publique 82.
— de Rivoli 85.
— St-Germain-des-Pres
802.
— St-Georges 219.
— St-Michel 278.
— St-Pierre 222.
— St-Sulpice 808.
— de la sorbonne 290.
— des Ternes 282.
— du ThMtre-PrauQais
85.
— du Trocad^ro 289.
— du Trdne 261.
— Valhubert 884.
— Vauban 319.
— Venddme 88.
— des Yictoires 215.
— Victor-Hugo 74.
— Vintimille 228.
— Voltaire 260.
— des Vosges 200.
— de Wagram 282.
Pneumatic Tubes 82.
Point-du-Jour 858.
Pointe St-Eustache 204.
Polo 48. 246.
Pont Alexandre III 284.
— de I'Alma 285.
Panoramas 224.
Pantheon 291.
Pare des Buttes-Ohau-
mont 248.
— Monceau 281.
' de Montsouris 846.
-- du Trocad6ro 241.
Parcel Post 81.
Passage Jouflfroy 80.
— des Panoramas 80.
— St-Pierre 187.
Passports xii.
Passy 241.
Pasteur Institute 848.
— , Tomb of 848.
Pastry Cooks 25.
Pfltisseries 25.
Pavilion de Flore 65.
— de Hanovre 79.
— de Marsan 65.
PSHSIOHS AND FaIOLT
HOTKLS :
Avenue 18.
Bajou 18.
Balzac 12.
Barbier 18.
Barr^ 18.
Beaulieu 12.
Beaus^iour 18.
Bellot-Oarol 12.
Bligh 12.
Blondeau 14.
Boizard 18.
Cabin 12.
Cecilia 12.
Celtic 12.
Chopard 18. 14.
Clairmont House 18.
Condat 12.
Cosmos 18.
Dominion 12.
Doucerain 18.
Dysart 13.
Foltzer 18.
Fran9ai8e 12.
Francis 12.
Franklin's House 12.
Gaigneau 13.
Galilee 12.
Gavarni 12.
Gleize 13.
Gruet 18.
Guillier 14.
Hawkes 12.
Internationale 18.
International Guild
14.
Keppler 12.
Kerambrun 18.
Kirk 18.
Pbkbiohb ahd Familt
Hotels:
Lafayette 18.
Lamartine 18.
Lance 14.
Le Gal 18.
Lord-Byron 12.
Mai son Lal'lle 18.
Marlboro' IS.
New Private 12.
Od^on 18.
Pantheon 14.
Ponterie 18.
Private Hotel (Kir-
ker) 18.
(La Torre) 18.
Reinburg 18.
Reymond 12.
Richard's 18.
Roosevelt 12.
St-Romain IS.
Schenkel 18.
Simonet 12.
Student Hostel 14.
Suillet 18.
Tison 18.
Verdin 18.
Villa St-Georges 18.
— Stella 13.
— Violette 12.
-Woodville 12.
P^re-Lachaise , Ceme-
tery of 251.
Petit-Luxembourg 823.
— -Montrouge 846.
— Palais 68.
Petite-Ceinture, Che-
mi n de Fer de 30.
Appx., p. 58.
Phonographs 40.
Photographs 49.
Physicians 45.
Picpu8,Cemetery of 261.
Pigeon Shooting 48.
Place de I'Alma 284.
— d'Anvers 222.
— de la Bastille 188.
— Baudoyer 187.
— Blanche 224.
— Cambronne 820.
— du Carrousel 66.
— du Ch&teau-d'Eau
82.
— du Ch&telet 182.
— de Clichy 228.
— de la Concorde 61.
— Daumesnil 268.
— Dauphine 268.
— Denrert-Rochereau
345.
INDEX.
485
Paris:
Pont d'Arcole 188.
— des Arts 297.
— d'Austerlitz 384.
— d'Auteuil 243.
— de Bercy 262.
— dn Carrousel 305.
— au Change 268.
— de la Concorde 63.
— de Conflans 262.
— de Grenelle 248.
— d'l^na 241.
— des Invalides 284.
— d'lvry 262.
— Mirabeau 248.
— National 262.
— Neuf 267.
— Notre-Dame 273.
— de Passy 248.
— -Royal 305.
— St-Louis 277.
— St-Michel 278.
— des Saints-Pferes 805.
— de SolWrino 805.
— Sully 190.
— de Tolbiac 262.
Population xxiv.
Port d'Austerlitz 834.
— de la Bourdonnais
821.
— du Louvre 297.
— de la Rap^e 884.
— St-Nicolas 297.
Porte d'Auteuil 248.
— de Champerret 282.
— Dauphine 244.
— de Madrid 246.
— Maillot 244. 232.
— delaMuette242.244.
— d'Orl^ans 424.
— St-Denis 81.
— St-Martin 81.
— de Vincennes 262.
Portefeuille Industriel
208.
Post Office 81. 201.
Pr^-aux-Clercs 808.
Prefecture de Police
278.
Prison de rAbbaye808.
— de la Conciergerie
271.
— de la Roquette 260.
— de la Sante 345.
Protestant Churches 48.
Quai des C^lestins 189.
— de la Conference 283.
— Debilly 235.
— aux Fleurs 278.
Quai de Qrenelle 321.
— de I'Horloge 268.
— de la Megisserie268.
— d'0rl6ans 277.
— d'Orsay 820.
— de la Rap^e 384.
— Voltaire 306.
Quartier d'Auteuil 243.
— des Batignolles 229.
— de Belleville 249.
— de la Cite 267.
— de I'Europe 221.
— Latin 278.
— du Marais 190.
— Marbeuf 78.
— Montmartre 222.
— Montrouge 846.
— de Passy 241.
-- du Temple 208.
— des Ternes 282.
Racecourses 41. 228.
245. 246. 265. 849.
389. 401. 408.
Railway Offices 44.
— Omnibuses 2.
— Stations, see Gares.
Railways xii.
Ranelagh 242.
Reading Rooms 49.
Reservoirs de I'Avre
849.
— de la Dhuis 259.
— de Montretout 849.
— de la Vanne 846.
Rbstaurants and
Caf^s :
Abbaye de Thei6me
28.
Alcazar 17.
Ambassadeurs 17.
Americain (Boul. des
Capucines) 18. 25.
— (Place de la Re-
publique) 22. 25.
Anglais 17.
Arc-en-Ciel 24.
Augustins (Tav.) 22.
Balthazard 25.
Balzar 23.
Beauge 19.
Blond 19.
B(Buf41aMode20.87.
Bofin^er 21.
Boilaive 19.
Boivin 28.
Bonvalet 22.
Boudet 24.
Bougeneaux 22.
Restaurants and
Capks :
Boulant (Bouillons)
18. 19. 28.
Brebant (Tav.) 19.
Cardinal 19. 25.
Carron 21.
Cercle 22.
Chalet des lies 21.
245.
— du Touring-Club
21.
Champeaux 19.
Chartier (Bouillons)
18. 20. 21. 22. 28.
Ch&teau de Madrid
17. 246.
Chope d'Alsace 22.
Ciro 19.
CoBurdoux 22.
Continental 20.
Coq (Brass.) 21.
— d'Or (Tav.) 19.
Delacourt (Bouillon)
20.
Delpuech 20.
Departs 22.
Dreher (Brass.) 21.
Drouant 19. 22.
Ducastaing (Brass.)
20. 22.
Dumesnil fr^res
(Brass.) 28.
Duval (Bouillons) 18.
19. 20. 21. 22. 23. 24.
Ecoles-Reunies
(Bouillon) 23.
Elysee Palace 21.
Ermitage (Tav.) 23.
— de Longchamp 21.
246.
Esperance (Bouillon)
21.
— (Brass.) 22.
Europeenne (Tav.) 23.
Excelsior (Brass.) 21.
Filet-de-Sole 19.
Flore 23.
Foyot 23.
Fran^ais (Boul. St-
Denis) 28.
— (Rue de Stras-
bourg) 22.
France (Boul.
Poissonni^re) 20.
— (Boul.St-Deni8)25.
Franco-Italien (Av.
Matignon) 20.
(Boul. des Ita-
liens) 19.
486
INDEX.
Paris:
Rbstaurahts ahd
RssTAURAirra ahd
RSSTAURAVTS AHD
CAVltH :
OATtBl
Oaf^s:
Gardes 20.
Mazarin (Tav.) 19.
Ste-Marie 21.
Gare de Lyon 22.
M^tropole (Brass.)
St-Germain (Bouil-
— du Nord 22.
19.
lon) 23.
— St-Lazare 22.
MoUard (Brass.) 22.
Sanlnier 19.
Gauclair 19.
Montmartre (Tav.)19.
SchiBffer 22.
Gillet 21.
MuUer & Blaisot
Scossa 22.
Grand 18. 25.
(Brass.) 20. 28.
Soci^t^s-Savantes 28.
— U 19.
Mus6e-de-01uny 25.
Soufflet 28. 26.
— -Vatel 18.
Napolitain 25.
Source 25.
Grande-Max^ville
Natura Vigor 24.
Splendid 22.
(Brass.) 19.
N^ciants 20.
Sylvain 19.
— Taveme 19.
Nfegre (Tav.) 21.
Tabary 19.
Gniber (Tav.) 20. 21.
Noel-Peters 19.
Terminus 22.
22.
Olympia (Tav.) 18.
Est 22.
Gntenberg (Bra88.)20.
Opira (Tav.) 19.
Paillard 17. 79.
— -du-Nord 22.
Hans (Brass.) 20.
Terrasse 21.
Harcourt 25.
Paix 17. 25. 76.
— -Jouffiroy 19.
Havre 22.
Palais (Tav.) 28.
Tour-d*Argent 24.
Henry 17.
d'Orsay 28.
Palette-d*Or 21.
Tourelles (Tav.) 21.
I^na 21.
Tourtel (Tav.) 18.
Imart 22.
Pantheon (Tav.) 28.
Paris (Av.del'Op^ra)
Trianons 24.
Italien 19.
TJnivers 20. 25.
— Franco- Am^ricain
17. 25.
TJniverselle (Brass.)
19.
— (Tav.; Av. de
Clichy) 28.
19.
Jacqueminot- GrafF
Vachette 28. 25.
22.
— (Tav. ; Place de la
V^four jeune 20.
JArdin d'AccIima-
R^publique) 22.
Versailles 24.
tation 21. 247.
Parisienne (Tav.) 20.
Vian 18.
Jonanne 28.
Pavilion d'Armenon-
Viel & de la Made-
Jouven 24.
ville 17. 245.
leine 18.
Lap^ronse 28.
— de la Cascade 21.
Viennois 19. 25.
Lapr^ 19.
— -Chinois 21. 245.
Voisin 17.
Larue 17.
— de I'Elys^ 17. 72.
Volney-Ghatham 17.
Laurent 17.
— de la Rotonde 20.
Voltaire 28. 25.
Lavenue 23.
25.
Watrin 21.
Lecomte 22.
- Royal 17.
Weber 18.
Ledoyen 17.
Pigalle 28.
Wenler (Brass.) 23.
Wiber 19.
Legion-d' Honneur 28 .
Pont-de-Fer 19. 20.
L^on (Av. de Mala-
— -Neuf (Brass.) 21.
Wiener 20.
koflf) 21.
Porte-8t-Martin 22.
Zimmer 19. 21.
— (Rue St-Honor6)
Pousset (Tav.) 19.
Reuilly 268.
20.
Pr^Catelan 17. 245.
River Steamboats 80.
Leo's Palace 21.
Provost 25.
Appx., p. 56.
Roller Skating 42.
Lequen 22.
Prunier 17.
Lion-Rouge (Brass.)
Pschorr (Tav.) 22.
Roman Amphitheatre
21.
Rat-Mort 28.
296.
Lipp 23.
R^ence 20. 25.
— Baths 288.
Louvre 20.
Reneaux 20.
Rond-Point des
Lucas (le Grand) 18.
Riche 17. 25. 79.
Champs-Elysies 78.
- (le Petit) 18.
Richelieu 19.
delaVillette248.
Lutetia 28.
Ritz 17.
Rue de I'Abb^-de-
Luxembourg 28.
Roblez 19.
I'Ep^e 888.
Mahieu 25.
Rocher 21.
-- des Archives 190.
Maire 21.
Rohan 20. 25.
- - Auber 76.
Marguery 20.
Rome 22.
- d'Auteuil 248.
Marre 24.
Rond-Point 20.
- du Bac 807.
Maubert 19.
Rotonde 19.
- de Birague 188. 201.
Maxim 18.
Royale (Tav.) 18.
- des Bons-Enfants 87.
INDEX.
487
Paris:
Rue de Oastiglione 84.
— OaulaincouTt 224.
— de OhHteaudun 819.
— de la Chauss^e-
d'Antin 219. 220. 79.
— duOherche-MidiSOS.
— du Dragon 803.
— Drouot 80. 219.
— Bdouard VII 76.
— Etienne-Marcel 215.
— du Fauboui^-Mont-
martre 80.
Poissonni^re 80.
St-Antoine 260.
189.
-St-Denis 81.
St-Martin 81.
du-Temple 82.
— Portuny 281.
— des Francs-Bour-
geois 190.
— de Grenelle 809.
— des Halles 181.
— Haxo 259.
— de la Huchette 27«.
— des Italiens 79.
— La Fayette 218.
— Laffitte 79. 219.
— des Lombards 182.
— du Louvre 88. 201.
— de Lut^ce 278.
— Monge 296.
— Montchanin 281.
— Montmartre 80.
— Mouflfetard 296.
— Notre-Dame-des-
Champs 809.
— de la Paix 88.
— des Petits-Champs
215.
— du Pont-Neuf 181.
— de Prony 281.
— des Pyramides 85.
— du Q,uatre-Sep-
tembre 76. 216.
— Quincampoix 182.
— de Rarabuteau 209.
— Reaumur 216. 204.
— de Rennes 802. 808.
842.
— de Reuilly 261.
— de Ricbelieu 209. 80.
— de Rivoli 88. 181.
— de la Roquette 260.
— Royale 74.
— St-Antoine 187. ,
— St-Denis 81. 181.
— St-Honor6 84. 202.
— St-Jacques 291. 888.
- St-Lazare 221,
Rue St-Louis-eri-I'Isle
277.
— St-Martin 182. 81.
— St-S6verin 278.
— de Seine 298.
— de S6vres 808.
~ Soufflot 291.
— du Temple 209.
— de Turbigo 204.
— des TJrsins 278.
— de Valois 87.
— de Vaugirard 809.
— de Venise 182.
— Vivienne 80.
Saddle Horses 41.
St-Martin-des-Champs,
Priory of 205.
Sainte-Ohapelle 271.
Salon 88.
Salvation Army 48.
Schola Cantorum 888.
38.
Scots College 295.
S^minaire des Mis-
sions-Etrang^res
808.
— de St-Sulpice 808.
Service G^ograpbique
de TArm^e 809.
Sewers 204.
Shops 51.
Skating 42.
Slaughter-houses 250.
Sleeping Car Co. 44.
Sorbonne 289.
Sports 41.
Square des Arts-et-M^-
tiers 205.
— des Batig^olles 229.
— du Carrousel 66.
— de Cluny 289.
— Daumesnil 268.
— des Epinettes 228.
— Gambetta 259.
— Louvois 209.
— des Manages 808.
— Monge 296.
— Montholon 218.
— Parmentier 260.
— Potain 808.
— du Temple 208.
— Trousseau 260.
Statues, see Monu-
ments.
Steamboat Offices 44.
Steamboats, River 30.
Appx., p. 56.
Synagogues 48. 219.
Tabacs, Manufacture
des 850.
Tavernes 18. See also
Restaurants.
Taxi-autos 28.
Tea Rooms 26.
Telegraph 82. 201.
Telephone 82. 202.
Temple 208.
Temes 282.
Theatres 88.
Ambigu 87. 82.
Antoine 86.
Apollo 37.
Arts 87.
Ath^n^e 86. 76.
Bouflfes-Parisiens 87.
Capucines 37.
Champs-Elys^es 85.
284.
Chatelet 87. 182.
Cluny 87.
Com^die-Fran^ai se
84. 85.
— Royale 37.
D^jazet 87. 88.
Folies-Dramatiques
87. 82.
Francais 34. 85.
Gait^ 86. 205.
Grand-Guignol 87.
Gymnase 35. 80.
Marigny 89. 72.
Michel 87.
Od^on 85. 882.
Op^ra-Comique 85.
79.
Opera House 84. 77.
Palais-Royal 86. 87.
Porte-St-Martin 86.
81.
R^jane 35.
Renaissance 85. 81.
Sarah-Bernhardt 36.
182.
Trianon-Lyrique 87.
222.
Vari^t^s 86. 80.
Vaudeville 85. 79.
Thermes 288.
Thermometric Scales
XV.
Time Tables 58. 59.
Tobacco 54.
— Manufactory 850.
Topography xxiv.
Tour Eiffel 321.
— de Jean-sans-Peur
204.
— de la Libert^ 189.
488
INDEX.
Paris;
Tour de Nesle 297.
Trocad^ro, Pare du 241.
Victor Hugo's House
— St- Jacques 181.
Tuileries 65.
200.
— du Temple 208.
- , Jardin des 64.
Vincennes 268.
Touring Club 42.
Tourist Agents 43.
Weights and Measures
Tramways 28. Appx.,
University 289.
xiv.
pp. 44-52.
Tribunal de Commerce
Wine Shops 25.
— Stores 26.
272.
Val-de-Grace 889.
Trocad^ro, Pal. du 289.
Venddme Column 83.
Zoological Garden 885.
Snvirons of Paris and Northern France :
Abbeville 444.
Ablon 427.
Achferes 401.
Ailly-sur-Noye 447.
— -sur-Somme 445.
Alfort 266.
Alfortville 266.
Amfreville 456.
Amiens 445.
Andelys, Les 456.
Andilly 398.
Andr6sy 401.
Antony 422. -.r
Apremont, Gorges d*
440.
Arcueil 420.
Argentan 464.
Argenteuil 399. 396.
Arpajon 426.
Arques 451.
Arve, River 446.
Asniferes 847.
Athis-Mons 427.
Aubervilliers 250. 417.
Audrieu 462.
Auger-St- Vincent 417.
Aulnay 421.
sous-Bois 417.
Auteuil 852.
Auvers-sur-Oise 403.
Avon 488.
Avron, Plateau d' 429.
Bagneux 419. 425.
Bagnolet 259.
Bailly 880.
Ballainvilliers 425.
Barbery 417.
Barbizon 440.
Barentin 460.
Barfieur 462.
Barre, La 896.
Bas-Meudon 351.
^^veux 462.
".hamps 399.
Beaumont-sur-Oise 406.
Beauregard, Ohkt. 882.
Beauts, He de 428.
Beauvais 447.
B^con-les-Bruyferes 848.
Bellevue 852.
Belloy 404.
Berck 444.
Bercy-Ceinture 480.
Bernay 464.
Bemeval 451.
Bessancourt 405.
B^thune 445.
iBeuzeville 460.
Bezons 881.
BicStre 420.
Bifevres 421.
Billancourt 349.
Biret, Tour 19.
Blanc-Mesnil 417.
Bois, Abbaye aux 421.
— -Colombes 899.
le-Roi 433.
Boisset 464.
Bois8y-St-L6ger 480.
— -sous-St-Yon 426.
Bolbec 460.
Bon-Secours 456.
Bondy 417.
Bonneuil-sur-Marne
430.
Bonniferes-sur-Seine
457.
Boran 406.
Bouifdmont 404.
Bougival 884.
Bouille, La 456.
Boulie, La 880.
Boullay-les-Troux 422.
Boulogne-B\fi-Mer 441.
sur-Seine 354.
Bourg-la-Reine 420.
Bourget, Le 417. 396.
Bourron 440.
Boves 447.
Br^aut^ 460.
Breteuil 447.
Br^tigny 428.
Bretteville 462.
Br6val 464.
Briche, Fort de la 896.
Brie-Comte-Robert 430.
Brunoy 481.
Bruyferes-sur-Oise 406.
Bry-sur-Mame 429.
Bueil 464.
Bures 422.
Cachan 480.
Caen 468.
Caffiers 449.
Calais 448.
Canaples 445.
Cancne, River 444.
Carentan 462.
Carnelle, ForSt de 404.
Carpiquet 462.
Carriferes, Les 266. 262.
St-Denis 400.
Carteret 462.
Caudebec 456. 460.
Caux, Pays de 460.
Caveux 444.
Celle-St-Cloud, La 882.
Cernay 899.
— -la-Ville 424.
Cesson 481.
Chailly-en-Bi6re 488.
Chalais, Pare de 852.
Chamant 417.
Champagne (near Beau-
mont-sur-Oise) 405.
— (near Melun) 481.
Cbampignol 480.
Champigny 480.
Ghamplatreux, Ch&t. de
404.
Chantilly 407.
Ohaponvai 408.
Oharenton 266.
INDEX.
489
Snvirons of Paris and Northern France:
Gif 422.
Gisors 456. 457.
Gonesse 406.
Goumay-sur-Marne
429.
Goussainville 406.
Grange, Ch^t. de la 430.
— aux-Cercles, La 425.
d'Ory, La 425.
Graville 459.
Gris-Nez, Cap 449.
Grisy 480.
Gros-Bois, CMt. de 480.
Fouteau 439.
Noyer 404.
Groslay 403.
Guichet, Le 422.
Guignes 480.
Hangest-suT-Somme
445.
Hardelot-Plage 444.
Harfleur 460.
Hautil, Hill of 401.
Havre, Le 458.
Hay, L' 420.
Herblay 400.
Hesdigneul 444.
Honvault, Chat, de 444.
flouilles 400.
Isle- Adam, L' 405.
Issy 857.
Ivry-8ur-Seine 427.
Javel 849.
Jersey Farm 885.
Joinville-le-Pont 429.
Jonch^re, La 384.
Jouy-en-Josas 421.
Juilly, College de 418.
Juvisy-sur-Orge 427.
Landy, Le 889.
Laplace 420.
Leuville 426.
Levallois-Perret 847.
L^zarde, River 460.
Liancourt 447.
Lieusaint 481.
Lilas, Les 250.
Lillebonne 460.
Limeil 480.
Limours 423.
Linas 426.
Lisieux 464.
Lison 462.
Littry 462.
Chars 405.
Chasse, Ch4t. de la 898.
Ch^tenay 421.
Chatillon 419.
Chatou 881.
Chaville 857.
Chennevidres 480.
Cherbourg 460.
Chevaleret^ Le 427.
Chevilly 420.
Chevrette, ChS,t. de la
896.
Chevreuse 428.
Chilly-Mazarin 425.
Choisv-le-Roi 427.
Cit^ de Limes 451.
Clamart 860.
Olaye 418.
Clares 460.
Clermont 447.
Clichy 847.
Colombes 899.
Combs-la- Ville 481.
Comelle, Etang de 415.
Compans 418.
Compifegne 415.
Conches 464.
Conchil-le-Temple 444.
Con flans 262. 266.
— -Fin-d'Oise 401.
Ste-Honorine 400.
Corbeil 481.
Cormeilles-en-Parisis
400.
Cotentin, District of
462.
Coubert 480.
Coubertin, Ch&t. de428.
Coudray 481.
Courbevoie 848.
Courcelle 422.
Courcelles 457.
Conrneuve, La 417.
Coutances 462.
Coye 407.
Crdcy-en-Ponthieu 445.
Creil 447.
Cr^py-en-Valois 418.
Cr^teil 429. 266.
Croissy 381.
Croix-de-Berny, La 422.
— -Blanche, La 417.
Crotoy, Le 444.
Dammarie-l^s-Lys 488.
Dammartin 418.
Dampierre 428.
Dcauville 459.
Deuil 403.
Dhuia, River 259.
Dieppe 450.
Domont 404.
Dompierre-sur-Authie
445.
Douai 447.
Drancy 417.
Draveil 481.
Dreuil-1§8-Amiens 446.
Saubonne 898.
Ecouen 408.
Elbeuf 456.
Engeval, Chat, d' 425.
Enghien-les-Bains 896.
Epinay-sur-Orge 428.
— -sur-Seine 896. 899.
Epluches 403.
Eragny 400.
Ermenonville 418.
Ermont 898.
Essonne, River 481.
Essonnes 431.
Etang-la-Ville, L' 882.
Staples 444.
Eu 445.
Eure, River 456. 464.
Evreux 464.
Evry-Petit-Bourg 48J.
Ezanville 403.
Faloise, La 447.
Fleury 851.
Folleville 447.
Fontainebleau 488.
— , Forest of 439.
Fontenay-sous-Bois
428.
— -en-Parisis 406.
— -aux-Roses 419.
Fontinettes 449.
Fourqueux 382.
Franchard, Gorges de
489.
Franconville 899.
sous-Bois, Chat, de
404.
Fr^pillon 405.
Fresnes 425.
Fr^thun 449. .
Frette, La 400.
•
Gaillard, Chat. 456.
Gaillon 456. .
GaFohes 882...
Garenne, La •881.
Gargan 417.
Game 424.
Gennevilliers 848.
Gentilly 420.
490
INDEX.
Snvirons of Paris and Northern France;
Livry 417.
Loges, Lea 889.
Longjumeau 425.
Longpont 425. 428.
Longpr^ 445.
Longueau 447.
Lormoy, Chat, de 425.
Louveciennes 382.
Louviers 456.
Louvres 406.
Loz^re 422.
Luzarches 404.
Machine, La 384.
Maffliers 404.
Maison-Blanche, La 420.
Maisons-Alfort 431.
— -Laffitte 401.
Malabry 421.
Malakoff 419.
Malaunay 451.
Malmaison, La 883.
Mandres 430.
Mantes 457.
Marche, La 882.
Marcoussis 426.
Mareil-en-France 406.
^ -Marly 382.
Margency 898.
Marines 405.
Marlotte 440.
Marly, Forest of 382.
— -le-Roi 382.
Marne, River 481.
Marquise 449.
Massy 422.
Maubuisson, Ch&t. de
408.
Mauvi&re, Ch&t. de 428.
Melun 432.
M6riel 406.
M6ry-sur-Oi8e 405.
Mesnil-Aubry, Le 403.
— -Esnard 456.
Mauger, Le 464.
Meudon 850.
M^zidon 464.
Mitry 418.
Moissy 481.
Molay, Le 462.
Mont-Huchet, Oh&t. de
425.
— -Val^rien 856.
Monteeaux 481.
Mont^pilloy, Oh&t. de
417.
Montereau 481.
Montgeron 481.
Montigny-lfes-Cormeil-
les 400.
Montigny-Marlotte 440.
Montivilliers 460.
Montlh^ry 426.
Montlignon 398.
Montmagny 403.
Montmorency 397.
Montretout 349.
Montreuil-sous-Bois
266.
Montrouge 425.
Montsoult 404.
Morangis 425.
Moret 440.
Mortefontaine 407.
Motteville 460.
Moulineaux, Les 349.
850.
Nanterre 881.
Nantcui 1-le-Haudoui n
418.
Nantouillet 418.
Ne8le8-la-Vall6e 405.
Neuilly-sur-Mame 429.
Plaisance 429.
Neuville 400.
Nogent-sur-Marne 428.
Nointel 404.
Nointot 460.
Noisy-Ie-Roi 380.
le-Sec 396.
Nonette, River 415.
Norrey 462.
Norville, La 426.
Noyelles-sur-Mer 444.
Oise, River 399. 447.
Oissel 456.
Orge, River 426.
Orgemont 899.
Orl^ans-Ceinture 427.
Ormesson 396.
Ormoy-Villers 418.
Orne, River 462.
Orry 407.
Orsay 422.
Outreau 444.
Pacy-sur-Eure 457.
Palaiseau 422.
Pantin 250.
Parc-de-St-Maur 429.
Paris-Denfert 420.
— -Plage 444.
Pannain 405.
Pavilly 460.
Pecq, Le 381.
Perray 428.
Perreux, Le 429.
Persan 405. 404.
Petit-Ohambord 425.
— -Massy, Le 425.
— -Nanterre 881.
Peupliers, Les 852.
Picquieny 446.
Pierrefitte 406.
Pierrelaye 899.
Piple, Oh&t. du 480.
Plaine-St-Denis, La
889.
Plant-de-Champigny,
Le 430.
Plessis-Belleville , Le
418.
Pointe-Raquet 897.
Poissy 457,
Pont-d'Antony 425.
— -de-rArche 456.
de-Briques 444.
— -Remy 445.
— de la R^volte 889.
— -de-St-Oloud 848.
de-Sdvres 849.
Ponts des Belles-Fon-
taines 428.
Ponthierry 481.
Pontoise 402.
Port-Aviation 428.
— -Marly 885.
— -Royal 420.
Pr^St-Gervaia 250.
Pr6cy 406.
Preslos 404.
Pringy 481.
Puteanx 848.
Puys 451.
Qnincy 481.
Baincy, Le 429.
Rambouillet 424.
Rang-du-Fliers 444.
Rantigny 447.
Ravageurs, He des 848.
Recette, He de la 848.
Reine-Blanche, Oh&t.
de la 415.
, Etang de la 415.
Ris-Orangis 481.
Robinson 421.
Rochers, Moulin des
424.
Rolleboise 457.
Romainville 250.
Rosny-sous-Bois 429.
— -sur-Seine 457.
Rouen 452.
Royaumont 404.
Rue 444.
Rueil 383.
INDEX.
491
Environs of Paris and Northern France :
Sablons 428.
St-Brice 408.
St-Gloud 854.
St-Oacofa, Etang de
884.
8t-Oyr-rEcole 880.
St-Denis 890.
St-Fargeau 481.
St-Finnin 415.
Si-Germain, He 852.
— -I^s-Arpaton 426.
— -en-Laye 885.
St-Gratien 897.
St-Josse 444.
St-Just-en-Obauss^e
447.
St-Leu-d'£sserent 406.
— -Taverny 404.
St-L6 462.
St-Mand^ 268.
St-Mard 418.
St-Martin-du-Tertre
404.
St-Maur, Oanal 429.
des-Foss^s 429.
St-Maurice 266.
St-Maximin 415.
St-Michel-8ur-0i^e
■' 428.
St-Nom-la-Bretfeche
880.
St-Ouen 228.
I'Anmdne 402. 408.
St-Pierre-lfes-Calais
449.
dn-Vauvray 456.
St-Prix 898.
St-Remy-l^s-Chevreuse
422.
St-Riquier 445.
St-Rocb 445.
St-Vaast-La-Hougue
462.
St-Valery-en-Oaui 460.
snT-Somme 444.
Samoreaa 481.
Sannois 899.
Santeny 480.
Saquet, Moalin 427.
Sarcelles 403.
Sartrouville 400.
Saulx-les-Chartreux
425.
Savigny-8ur-0rge 428.
Sceaux 421.
Geinture 420.
— -Robinson 420.
Scie, River 451.
S^guin, He 852.
Seine-Port 481.
Selle, River 445.
Senlis 415.
Senlisse 428.
Serqnigny 464.
Servon 430.
Sevran 417.
Sevres 858.
— -Ville-d'Avray 849.
SoignoUea 480.
Soisy 897.
Somme, River 444.
Sottevast 462.
Sotteville 456.
Stains 406.
Sucy-en-Brie 480.
Snisnes 480.
Snresnes 856.
Survilliers 406.
Taverny 405.
Terlincthun, Fort de
444.
Tb6vo, River 407.
Tbieux 418.
Tonqnes, River 459.
Touqnet, Le 444.
Tour, Ghat, de la 898.
Tourvoie, Cbat. de 422.
Tremblay, Le 429.
Tr^port, Le 445.
Trianon, Grand and
Petit 878. 879.
Tronville 459.
Tuile, Butte de la 400.
Val, Le 851.
— , Abbaye du 405.
Fleurjr 857.
Valmondois 405.
Valognes 462.
Vanves 350.
Varengeville 451.
Varenne, La 480.
Vancelles 405.
Vaucluse 428.
Vancresson 882.
Vaux-de-Cernay, Lea
424.
le-P6nil, Gbat. de
488.
— -Praslin, Cb&t. de
483.
— -le-Vicomte, Obftt.
de 433.
V^lizy 857.
Vemeuil-l*Etang 480.
488.
Vernon 457.
Verri6res, Bois de 421.
Versailles 858.
Vert-Galant 418.
Verton 444.
V^sinet, Le 881.
Viarmes 404.
Victoire, Abbaye de la
417.
Vigneux 481.
Villab^ 481.
Ville-d'Avray 849.
— -du-Bois, La 425
Villebon 422.
Villecresnes 480.
Villegeni8,Cbat. de422.
Villejuif 427.
Villemomble 429.
Vi U eneuve-r Etang
882.
— -la-Garenne 848.
— -St-Georges 481.
Villeparisis 418.
Villetaneuse 396.
Villiers-le-Bel 406.
Vincennes 268.
Vinenil 415.
Vire, River 462.
Viroflay 857.
Vitry 427.
Vosves 481.
Vulaines-sur-Seine 481,
"Wimereux 449.
Wimille 449.
Wissons 425.
Yfebles 480.
Y6reH, River 430. 431,
Yvetot 460.
Yvotte, River 422.
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