{"1": {"fulltext": ";/;;v\\nf\\\\!. Hh\\npllll;;!!:;,;;", "height": "3138", "width": "1945", "jp2-path": "parisasseendescr00sing_0001.jp2"}, "2": {"fulltext": "x^\\n^\u00e2\u0096\u00a0^J^\\nt.- v^\\nv-^^\\nM^ Cl-\\nA^\\n.0-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0002.jp2"}, "3": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0003.jp2"}, "4": {"fulltext": "Oo\\noc", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0004.jp2"}, "5": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0005.jp2"}, "6": {"fulltext": "Og\\nCC", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0006.jp2"}, "7": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0007.jp2"}, "8": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0008.jp2"}, "9": {"fulltext": "PARIS\\nAs Seen and Described\\nby Famous Writers\\nEdited and Translated by\\nESTHER SINGLETON\\nAuthor of Turrets, Towers and Temples,\\nGreat Pictures, and A Guide to the\\nOpera, and translator of The Music\\nDramas of Richard Wagner.\\nWITH NUMEROUS ILLUSTRATIONS\\ni* i**H**H *l *i *I**t *H I r i r r I\\nDodd, Mead and Company\\n1900\\natv", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0009.jp2"}, "10": {"fulltext": "(i278\\nLiterary of Uuixp \u00c2\u00ab_\u00e2\u0080\u00a2\u00e2\u0096\u00a0\u00c2\u00bb\u00e2\u0080\u00a2\\nJUN 15 1900\\nFIRST copy.\\n2 mJ Copy Of livtrw) to\\nORDEfi DIVISION\\nJUN 27 1900\\nCopyright, 1900\\nby\\nDoDD, Mead Company\\nBraunworth, Munn Barber\\nPrinters and Binders\\nBrooklyn, N. Y.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0010.jp2"}, "11": {"fulltext": "PREFACE\\nIN the following pages I have endeavoured to apply the\\ngeneral plan of my former books on art and architec-\\nture. In this volume, however, it was not advisable,\\neven if possible, to confine myself to the picturesque and\\nartistic features of the subject. I have tried to produce a\\nwork that will fulfill the purposes of an artistic guide-book.\\nI have selected most of the important buildings and monu-\\nments of Paris and have chosen the most interesting de-\\nscriptions that I could find by various authors, English and\\nFrench, who love and admire the objects of which they\\nwrite.\\nIn making these selections I have tried to include as many\\nvarieties of treatment as possible, and, therefore, there will\\nbe found the views of the professional art-critic, the casual\\nliterary voyageur^ the native litterateur^ and the social mor-\\nalist. The views of Theodore de Banville, Victor Hugo,\\nProsper Merimee, Louis Blanc, Louis Enault, Arsene Hous-\\nsaye, and Philip Gilbert Hamerton present us with fine\\ncontrasts and side-lights and by gathering these together,\\nI hope to give a picture of Paris which will be, in a meas-\\nure, complete.\\nI have not altogether neglected the past, and in one case\\nhave devoted an important extract entirely to ancient days\\nbut, as a rule, I have chosen articles in which the writer\\nV", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0011.jp2"}, "12": {"fulltext": "vi PREFACE\\ndeals sympathetically with the reminiscences of the past in\\nconnection with the monument under notice.\\nI have endeavoured to group the articles systematically\\nso that the reader may not have to jump from one side of\\nParis to another; the monuments on the left and right\\nhank are kept apart with exception of the Trocadero which\\nat the present day naturally follows a description of the\\nChamp de Mars.\\nIn addition to the buildings and streets, I have included\\na few extracts dealing with the social and picturesque side\\nof Parisian life. Of this general matter The Street and\\nThe Cafe are examples, while The ^artier Latin and La\\nBourse combine pure description with psychologic treat-\\nment.\\nWith the limited space at my disposal in a volume of\\nthis nature, it is impossible for me to treat the city ex-\\nhaustively, and this is my excuse for the omissions which\\nthe reader may, perchance, find of a favourite haunt or\\nedifice.\\nI also hope that the maps, drawn especially for this book,\\nwill be interesting companions to the text, as in them little\\nis indicated but the special features described in the ex-\\ntracts. Space has also forced me to cut occasionally, but\\nI have taken no liberties with the text.\\nNew Tork^ May^ igoo. E. S.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0012.jp2"}, "13": {"fulltext": "CONTENTS\\nPAGE\\nLA CIT\u00c2\u00a3 3-100\\nOld Paris -3\\nFictor Hugo\\nSaint-Denis and Sainte-Genevieve -23\\nGrant Allen\\nOld Paris .26\\nLouis Blanc\\nAlong the Seine 34\\nLouis Enault\\nSainte-Chapelle 59\\nPhilip Gilbert Hamerton\\nCathedral of Notre-Dame 65\\nFictor Hugo\\nA Bird s Eye View of Paris 74\\nFictor Hugo\\nA Glance at Paris 97\\nHonore de Balzac\\nTHE LEFT BANK 103-216\\nFlowers in Paris 103\\nJlphonse Karr\\nvii", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0013.jp2"}, "14": {"fulltext": "viii CONTENTS\\nReverie i 3\\nGeorge Sand\\nLe Jardin des Plantes .121\\nLouis Enault\\nThe Catacombs .123\\nNeil IVynn Williams\\nSaint-fitienne du Mont .132\\nS. Sophia Beak\\nThe Quartier Latin 37\\nTheodore de Banville\\nHotel de Cluny .148\\nProsper Merim ee\\nLa Sorbonne 55\\nS. Sophia Beak\\nSaint-Severin\\nS. Sophia Beale\\n157\\nThe Pantheon\\nPhilip Gilbert Hamerton\\n162\\nThe Luxembourg\\nLouis Enault\\n169\\nSaint-Germain\\ndes Pres\\nS. Sophia Beale\\n176\\nSaint-Sulpice .182\\nS. Sophia Beale\\nLes Invalides .187\\nPhilip Gilbert Hamerton\\nHotel des Invalides .191\\nl^. de Swarte", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0014.jp2"}, "15": {"fulltext": "CONTENTS ix\\nThe Institute 195\\nErnest Renan\\nChamp de Mars 207\\nG, Lenotre\\nSunrise and Sunset from the Trocadero .212\\nmile Zola\\nTHE RIGHT BANK 217-397\\nLa Ville 219\\nTheodore de Banville\\nLes Boulevards .226\\nLouis Enault\\nPere Lachaise 239\\nRichard Whiteing\\nLa Place Royale 241\\nJules Claretie\\nHotel de Sens 250\\nJ. J. a Hare\\nHotel de Ville 253\\nPaul Strauss\\nHotel Barbette 258\\nEdouard Fournier\\nMusee Carna valet .263\\nidouard Fournier\\nLa Tour Saint-Jacques 266\\nS. Sophia Be ale", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0015.jp2"}, "16": {"fulltext": "X\\nCONTENTS\\nLa Bourse\\nGabriel Mourey\\n268\\nSaint-Germain I Auxerrois\\n281\\nS. Sophia Beale\\nThe Cafe\\nTheodore de Banville\\n289\\nThe Louvre\\nCharles Dickens, Jr.\\n296\\nPalace du Carrousel\\nMarquis de Montereau\\n300\\nThe Palais- Roy ale\\nH. Monin\\n306\\nLa Madeleine\\nPhilip Gilbert Hamerton\\n3H\\nLa Madeleine\\n314\\nWilliam Makepeace Thackeray\\nBoulevard des Italiens\\n315\\nHonor e de Balzac\\nThe Boulevards\\nRichard Whiteing\\n3J7\\nThe Opera House\\n318\\nPhilip Gilbert Hamerton\\nConservatoire de Musique -323\\nAlbert Lavignac\\nBibliothequc Nationale 334\\nCharles Dickens, Jr.\\nBibliothequc Nationale -336\\nWilliam Makepeace Thackeray", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0016.jp2"}, "17": {"fulltext": "CONTENTS xi\\nLes Tuileries 338\\nImbert de Saint- Amand\\nRue de Rivoli 347\\nMax de Revel\\nThe Street 351\\nTheodore de Banville\\nPlace de la Concorde -359\\nRichard Whiteing\\nPlace de la Concorde .361\\nTheophile Gautier\\nThe ]\u00c2\u00a3lysee 363\\nArsine Houssaye\\nArc de Triomphe and Champs-filysees 378\\nEdouard Fournier\\nThe Bois de Boulogne 385\\nArsene Houssaye", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0017.jp2"}, "18": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0018.jp2"}, "19": {"fulltext": "ILLUSTRATIONS\\nThe Seine and Cite\\nFrontispiece\\nMaison Henri IV.\\nFacing Page\\n26\\nlie de la Cite, (map)\\na\\n34\\nThe Conciergerie and the Pont au Change,\\n\u00e2\u0082\u00act\\n48\\nThe Institute and the Pont des Arts\\nft\\nft\\n57\\nSainte-Chapelle\\ntc\\nft\\n59\\nNotre-Dame\\nft\\nft\\n65\\nFlower Market\\nft\\n103\\nThe Gardens of the Tuileries.\\nft\\ntf\\n113\\nFrom Bercy to Notre-Dame, (map)\\ntt\\ntt\\n121\\nSaint-\u00c2\u00a3tienne du Mont\\ntf\\ntt\\n132\\nFrom Saint- !fitienne to I lnstitut, (map)\\nft\\ntt\\n137\\nMusee de Cluny\\nft\\nft\\n148\\nThe Sorbonne\\ntf\\ntt\\n155\\nThe Pantheon\\ntt\\ntt\\n162\\nThe Luxembourg\\ntt\\ntf\\n169\\nSaint-Germain des Pres\\nft\\nft\\n176\\nSaint-Sulpice\\ntt\\ntt\\n182\\nThe Invalides\\ntt\\ntf\\n187\\nHotel des Invalides\\ntf\\nft\\n191\\nFrom I lnstitut to Fortifications, (map)\\ntt\\ntf\\n195\\nThe Trocadero\\nft\\ntf\\n212\\nFrom Bercy to the Hotel de Ville, (map)\\nft\\nft\\n219\\nPorte Saint-Martin\\ntt\\ntf\\n226\\nColonne de Juillet\\ntt\\n232\\nPorte Saint-Denis\\ntt\\nft\\n235\\nPere Lachaise\\nft\\nft\\n239\\nFrom Hotel de Ville to Louvre, (map)\\nft\\nft\\n241\\nxiii", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0019.jp2"}, "20": {"fulltext": "ILLUSTRATIONS\\nHotel de Sens\\nFacing P\\nage 250\\nHotel de Villc\\n253\\nTour Saint-Jacques\\n266\\nThe Bourse\\n268\\nSaint-Germain rAuxerrois\\n281\\nThe Louvre\\n296\\nArc du Carrousel\\nI\\n300\\nPalais Royal\\n306\\nThe Madeleine\\ntt\\n311\\nBoulevard des Italiens\\n315\\nThe Opera House\\nI\\n318\\nSaint-Germain I Auxerrois to Champs-\\nElysees, (map)\\n323\\nThe Gardens of the Tuileries\\n336\\nRue de Rivoli\\n348\\nColonne Vendome\\n349\\nSaint-Eustache\\n4\\n353\\nPlace de la Concorde\\n359\\nFrom Place de la Concorde to Bois\\nde\\nBoulogne, (map)\\ntt\\n361\\nArc de Triomphe\\nft\\n378\\nBois de Boulogne\\nt t\\n385\\nBois de Boulogne\\nf\\n390", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0020.jp2"}, "21": {"fulltext": "La Cite", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0021.jp2"}, "22": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0022.jp2"}, "23": {"fulltext": "OLD PARIS\\nVICTOR HUGO\\n^HE history of Paris, if we clear it away as we\\nI should clear away Herculaneum, forces us con-\\nstantly to begin the work again. It has beds of\\nalluvion, alveolas of clay, and spirals of labyrinth. To\\ndissect this ruin to the bottom seems impossible. One cave\\ncleaned out reveals another stopped up. Below the ground\\nfloor there is a crypt below the crypt, a cavern below the\\ncavern, a sepulchre and below the sepulchre, a gulf. The\\ngulf is the Celtic unknown. To ransack everything is\\ndifficult. Gilles Corrozet has tried it with legend, Malingre\\nand Pierre Bonfons with tradition, Du Breul, Germain Brice,\\nSauval, Bequillet, and Piganiol de la Force with erudition,\\nHurtaut and Marigny with method, Jalloit with criticism,\\nFelibien and Leboeuf with orthodoxy, Dulaure with philoso-\\nphy each of them has broken his tool there.\\nTake the plans of Paris at its various ages. Superimpose\\nthem upon one another concentrically to Notre-Dame.\\nRegard the Fifteenth Century in the plan of Saint-Victor,\\nthe Sixteenth in the plan of tapestry, the Seventeenth in\\nthe plan of Bullet, the Eighteenth in the plans of Gom-\\nboust, Roussel, Denis Thierry, Lagrive, Bretez, and Verni-\\nquet, the Nineteenth in the plan of to-day, and the magni-\\nfying effect is terrible.\\n3", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0023.jp2"}, "24": {"fulltext": "4 PARIS\\nYou think you see the approach of a star growing larger\\nat the end of a telescope.\\nHe who looks into the depths of Paris gets the vertigo.\\nNothing is more fantastic, nothing is more tragic, nothing\\nis more superb. For Caesar it was a vectigal city for\\nJulian a country-house for Charlemagne a school, whither\\nhe called doctors from Germany and chanters from Italy,\\nand which Pope Leo III. termed Soror bona {Sorbonne^ let it\\nnot displease Robert Sorbonne) for Hughes Capet, a\\nfamily place; for Louis VI., a port with tolls; for Philippe\\nAuguste, a fortress for Saint Louis, a chapel for Louis le\\nHutin, a gibbet; for Charles V., a library; for Louis XL,\\na printing-press; for Francois L, a cabaret; for Richelieu,\\nan academy for Louis XIV., Paris is the place of beds-of-\\njustice and chambres ardcnts and for Bonaparte, the great\\ncross-roads of war. 1 he beginning of Paris is contiguous\\nto the decline of Rome. The marble statue of a Latin\\nlady who died at Lutetia, as Julia Alpinula died at\\nAvenches, has slept for twenty centuries in the old soil of\\nParis; it was found whilst excavating the Rue Montholon.\\nParis is called the City of Julius, by Boece, a man of\\nconsular rank who died of a cord tied around his head by\\nthe executioner till his eyes started out. Tiberius, so to\\nspeak, laid the first stone of Notre-Dame; it was he who\\nfound that place good for a temple and who there erected\\nan altar to the god Cerennos and to the bull Esus. On\\nthe mount of Sainte-Genevieve, Mercury was worshipped;\\nin the lie Louviers, Isis; in the Rue de la Barillerie,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0024.jp2"}, "25": {"fulltext": "OLD PARIS 5\\nApollo and where the Tuileries are now, Caracalla. Car-\\nacalla is that emperor who made a god of his brother, Geta,\\nwith blows of a poniard, saying Divus sity dum non vivus.\\nThe water-sellers, who were called nautes^ preceded the\\nSamaritaine by fifteen hundred years. There was an\\nEtruscan pottery in the Rue Saint-Jean de Beauvais a\\ngladiator arena in the Rue Fosses-Saint-Victor; at the\\nThermes, an aqueduct coming from Rongis via Arcueil\\nand, at the Rue Saint-Jacques, a Roman road with branches\\nto Ivry, Grenelle, Sevres and Mount Cetard. Egypt is not\\nrepresented in Lutetia by Isis alone for tradition has it\\nthat there was found alive in a mass of Seine alluvion a\\ncrocodile, the mummy of which was still to be seen in the\\nSixteenth Century attached to the ceiling of the great hall\\nof the Palais de Justice.\\nAround Saint-Landry crossed the network of the Roman\\nstreets in which circulated the coins of Richiaire, king of\\nthe Suevi, stamped with the effigy of Honorius. The\\nQuai des Morfondus covers the mud-bank on which the\\nbare feet of Clotaire, King of France, left their impress,\\nthe king who dwelt in a log castle cloisonee with ox-hides,\\nsome of which, freshly-flayed, imitated the purple. Where\\nis now the Rue Guenegaud, Herchinaldus, Mayor of\\nNormandy, and Flaochat, Mayor of Burgundy conferred\\nwith Sigebert II., who wore affixed to his cap, like a savage\\nking of to-day, two pieces of money a quinarius of the\\nVandals and a golden triens of the Visigoths. At the head\\nof Saint-Jean-le-Rond a slab was set displaying the capitu-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0025.jp2"}, "26": {"fulltext": "6 PARIS\\nlary of the Sixteenth Century engraved in Latin Let the\\nsuspected thief be seized if he is a noble, let him be\\njudged if he is a villain, let him be hanged on the spot.\\nLoco pendatur Where the Archbishop s residence is,\\nthere was a stone set up in memory of the putting to death\\nof the nine thousand Bulgarian families who had fled to\\nBavaria in 631. On a heath, where the Bourse now\\nstands, the heralds proclaimed the war between Louis le\\nGros and the house of Coucy. Louis le Gros, who gave\\nan asylum in France to five banished Popes, Urbain IL, Pas-\\nchal IL, Gelasius IL, Calixtus IL, and Innocent IL, had\\njust issued victorious from his war against the Baron de\\nMontmorency and the Baron de Puiset. In a Roman\\nCrypt, that existed almost on the spot where was built the\\nhall called Rue de Paris in the Palais de Justice, the first\\norgan known in Europe was brought from Compiegne j it\\nwas a gift from Constantine Copronymus to Pepin le Bref\\nand its noise made a woman die of shock. The caborsins^\\nto-day we should say the foundation-scholars, were beaten\\nwith rods before the column of the hall Septemsunt^ dedi-\\ncated to Pythagoras the musician this name Septem was\\njustified by six other names written on the reverse of the\\ncolumn Ptolemy the astronomer, Plato the theologian,\\nEuclid the geometrician, Archimedes the mechanician,\\nAristotle the philosopher, and Nicomachus the arithmeti-\\ncian. It was in Paris that civilization germinated that\\nOribasus of Pergamos, questor of Constantinople, abridged\\nand explained Gallien that were founded the mercantile", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0026.jp2"}, "27": {"fulltext": "OLD PARIS 7\\nhanse, imitated in Germany, and the legal fraternity im-\\nitated in England; that Louis IX. built churches, Saint\\nCatherine among others, at the prayer of the sergeants at\\narms that the assembly of barons and bishops became a\\nparliament; and that Charlemagne in his capitulary con-\\ncerning Saint-Germain-de-Pres forbade ecclesiastics to kill\\nmen. Here came Celestin II. to the school under Pierre\\nLombard. The student Dante Alighieri lodged in the Rue\\ndu Fouarre. Abelard met Heloise in the Rue Basse-des-\\nUrsins. The Emperors of Germany hated Paris like a\\nbrand of evil fire. Otho II., that butcher who was\\ncalled the Pale Death of the Saracens, Pallida mors\\nSarracenorum^ struck a blow with his lance upon one of the\\ngates of the city, the mark of which it long retained.\\nAnother enemy, the King of England, encamped at\\nVaugirard.\\nBetween the war and the famine Paris increased.\\nCharles le Chauve gave to the Normans who had burned the\\nchurches of Sainte-Genevieve and Saint-Pierre, as well as\\nhalf the Cite, seven thousand silver livres to ransom the\\nremainder. Paris has been the Raft of the Medusa the\\nagonies of famine have been there in 975, lots were\\ndrawn as to who should be eaten. The abbe of Saint-\\nGermain-de-Pres and the abbe of Saint-Martin-des-Champs,\\nfortified in their monasteries, attacked each other and fought\\nin the streets for the right of private war existed until 1257.\\nIn 1255 Saint-Louis established the Inquisition in France;\\na venomous acclimatization From that moment there", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0027.jp2"}, "28": {"fulltext": "8 PARIS\\nwere innumerable persecutions in Paris: in 1255 against\\nthe bankers; in 131 1, against the b eguarch^ the heretics,\\nand the Lombards; in 1323, against the Franciscans and\\nthe magicians; in 1372, against the turliip nis then against\\nthe swearers, paterhis and the reformers. Revolts were the\\nreply. The scholars, the Jacques^ the jnalUotins^ the\\ncabochiens^ the tuchins sketched this resistance which later\\nthe priests are to copy in the Ligue and the princes in the\\nFronde; in 1588, the first barricade will come, and the\\npeople to whom Philippe Auguste gave that stone tiling\\ncalled the paving of Paris will learn the way to make use\\nof it. With the revolts, executions are multiplied and,\\nall honour to letters and to science, through this pell-mell of\\ncharnel-houses and gibbets, germinate and grow the col-\\nleges of Lisieux, Bourgogne, les \u00c2\u00a3cossais, Marmoutier,\\nChancer, Hubant, I Ave-Maria, Mignon, Autun, Cambrai,\\nMaitre Clement, Cardinal Lemoine, de Thou, Reims,\\nCoquerel, de la Marche, Seez, le Mans, Boissy, la Merci,\\nClermont, les Grassins (whence will come Boilieu) Louis-\\nle-Grand (whence will come Voltaire) and, side by side\\nwith colleges, the hospitals, terrible asylums, species of\\ncircuses where pestilences devour mankind. The variety of\\nthese pestilences, born of the variety of filth, is incon-\\nceivable there is the sacred fire, there is the Floren-\\ntine, there is the burning sickness there is the sickness of\\nhell, there is the black fever; they produce idiocy; they\\neven attack kings, and Charles VI. falls into the chaude\\nmaladie The taxes were so excessive that people tried to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0028.jp2"}, "29": {"fulltext": "OLD PARIS 9\\nbecome leprous to avoid paying them. Thence arises the\\nsynonym between the leper and the miser. Go into that\\nrecord, descend into it and wander there. Everything in\\nthis city, so long in the pangs of revolution, has a meaning.\\nThe first house we come across has long known it. The\\nsub-soil of Paris is a receiver of stolen goods it conceals\\nhistory. If the streams of the streets were to come to\\nconfession, what things they could tell Have the heap of\\nthe filth of the centuries turned over by the rag-picker\\nChodruc-Duclos at the corner of the bounds of Ravaillac\\nHowever troubled and thick history may be, it has trans-\\nparencies examine them all that is dead in fact is alive\\nas enlightenment. And above all do not pick and choose.\\nContemplate at random.\\nBeneath the present Paris, the ancient Paris is distinct,\\nlike the old text in the interlineations of the new. Take\\naway the statue of Henri IV. from the point of the Cite\\nand you will see the pyre of Jacques Molay. It was on the\\nsquare of the Chateau des Porcherons, before the Hotel\\nCoq, in presence of the oriflamme displayed by the Comte\\nde Vexin, owned by the Abbaye de Saint-Denis, that, on\\nthe proclamation of the six bishop-peers of France, Jean\\nL, immediately after his consecration, which took place on\\nthe 24th of September, and the execution of the Comte de\\nGuines, which took place on the 24th of November, was\\nsurnamed the Good. At the Hotel Saint-Pol, Isabella of\\nBavaria ate aigrun, that is to say Corbeil onions, Etampes\\neschaloignes and Grandeluz cloves of garlic, while", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0029.jp2"}, "30": {"fulltext": "lo PARIS\\nlaughing with a certain English prince as to the paternity\\nof her husband Charles VI. toward her son Charles VII.\\nIt was the Pont-au-Change upon which was cried, August\\n23d, 1553, the edict of the parliament. It was in the low\\nhall of the Chatelet that under Francois I., father of let-\\nters, relapsed printers received the question of sixteen\\nnicks. It was the Rue-du-Pas-de-la-Mule through which\\npassed every day in 1560 the first president of the parlia-\\nment of Paris, Gilles le Maistre, mounted on a mule and\\nfollowed by his wife in a charrette, and her servant on a\\nshe ass, going to see the people whom he had judged in the\\nmorning hanged in the evening. In the Tour de Mont-\\ngomery, not far from the lodge of the keeper of the Palais,\\nwho was entitled to two fowls a day and the cinders and\\nbrands from the king s fireplace, was dug below the level\\nof the Seine that cell named la Souriciere because of the\\nmice which devoured the still-living prisoners there. At\\nthe crossing of the streets called la Trahoir on account of\\nBrunehaut, who, it is said, was dragged at the tail of a\\nhorse at the age of twenty-four, and later I Arbre-Sec on\\naccount of a dry tree, that is to say a gibbet, which stood\\nthere permanently, at the foot of the gallows, at a few\\npaces from a scavenger s where were held the gayest noble\\norgies of the Sixteenth Century, flower-girls offered flowers\\nand fruits to the passers-by with the song\\nFleur d aiglaniier,\\nVerjux a faire ail lie.\\nAt the Port Saint-Honore, the Cardinal de Bourbon, who", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0030.jp2"}, "31": {"fulltext": "OLD PARIS 11\\nwas an early type of Charles X., and the Duke of Guise,\\nwent out walking for the first time with guards, the news\\nof which suddenly whitened half of the moustache of the\\nKing of Navarre. It was on going out to pay his devo-\\ntions at Sainte-JVIarie-l -Egyptienne that Henri III. drew\\nfrom beneath his little dogs, that hung from his neck in a\\nround basket, the edict that he handed to the chancellor\\nChiverny, and which took back from the citizens of Paris\\nthe nobility which had been granted to them by Charles V.\\nIt was in front of the fountain of Saint-Paul in the Rue\\nSaint- Antoine that, at the obsequies of Cardinal de Birague,\\nthe court of aides and the chamber of accounts came to\\nblows on the question of precedence. In this place was\\nthe great hall in which sat la magistrature fran^aise with\\nlong beards in the Sixteenth Century and big wigs in the\\nSeventeenth and here is the wicket of the Louvre whence\\nissued very early in the morning the black or gray muske-\\nteers who, from time to time, came to bring these beards\\nand these wigs to reason. We know that they were some-\\ntimes refractory. For example, in 1644, the opposition of\\nthe parliament went so far as to consent to the increase of\\nthe loan, called forced, for the whole of France, with the\\nexception of the parliament. A certain acceptance of\\nthieves and night-birds has long been characteristic of the\\nstreets of Paris before Louis XI. there were no police\\nbefore La Reynie, no lanterns. In 1667, the Cour des Mir-\\nacles, still possessing all its Gothic trifles, formed a vis-a-vis\\nto the carrousels of Louis XIV. This old Parisian ground", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0031.jp2"}, "32": {"fulltext": "12 PARIS\\nis a fruitful quarry of events, manners, laws, and customs\\neverything in it is ore for the philosopher. Come, look\\nThis emplacement was the Marche aux Pourceaux there,\\nin an iron vat, in the name of those princes who among\\nother skillful monetary ways invented the tournois rioir^ and\\nwho in the Fourteenth Century, in the space of fifty years,\\nseven times in succession, found the means of applying the\\nclippings of a bankrupt to the public fortune (a royal phe-\\nnomenon repeated under Louis XV.) in the name of Philippe\\nI., who declared the various kinds of base coin money, in\\nthe name of Louis VL and Louis VIL, who compelled all\\nthe French with the exception of the citizens of Com-\\npiegne to take sous for livres, in the name of Philippe le\\nBel, who fabricated those angevins of doubtful gold called\\nsheep with the long wool and sheep with the short\\nwool, in the name of Philippe de Valois, who altered the\\nGeorges florin, in the name of King Jean, who raised cir-\\ncles of leather, having a silver nail in the centre, to the\\ndignity of gold ducats, in the name of Charles VIL, gilder\\nand silverer of Hards, which he termed saiuts d or and\\nblancs d^argent, in the name of Louis XII., who decreed\\nthat the hardls of one denier were worth three, in the name\\nof Henri II., who made golden henris of lead, during five\\ncenturies, false coinicrs have been boiled alive.\\nIn the centre of what was then called the Ville as dis-\\ntinct from the Cite, is the Maubuee (bad smoke), the place\\nwhere were burned in the tar and green faggots so many\\nJews to punish their anthropomancy and, says the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0032.jp2"}, "33": {"fulltext": "OLD PARIS 13\\nCouncillor De I Ancre, for the admirable cruelty which\\nthey have always employed towards Christians, their form\\nof life, their synagogue displeasing to God, their unclean-\\nness and stench. A little to one side, the antiquarian\\ncomes across a co]\u00c2\u00bbner of the Rue du Gros-Chenet, where\\nsorcerers were burned before a gilded and painted bas-relief,\\nattributed to Nicholas Flamel, and representing the flaming\\nmeteor, as big as a mill-stone, which fell upon iEgos-Po-\\ntamos, the night on which Socrates was born, and which\\nDiogenes the Apollonian, the lawgiver of Asia Minor,\\ncalls a star of stone. Then that cross-roads, Baudet,\\nwhere to the sound of the horn and trumpet, as Gaguin\\nrelates, the extermination of the lepers was cried and\\nordered for the whole kingdom, on account of the mixture\\nof grass, blood, and human water, rolled up in a rag\\nand tied to a stone, with which they poisoned the cisterns\\nand rivers. Other cries occurred. Thus, before the\\nGrand-Chatelet, the six heralds-at-arms of France, clothed\\nin white velvet under their dalmatics decorated with Fleur-\\nde-lis, and Caduceus in hand, came, after plagues, wars,\\nand famines, to reassure the people and to announce that\\nthe king condescended to continue to receive the taxes.\\nAt the northeast extremity of this place, the Place Royale\\nof the monarchy, Place des Vosges of the Republic, was\\nthe royal close of the Tournelles in which Philippe de Com-\\nmines shared the bed of Louis XL, which somewhat dis-\\nturbs his severe profile as a historian; we can scarcely\\nimagine Tacitus sleeping with Tiberius. Philippe de Com-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0033.jp2"}, "34": {"fulltext": "14 PARIS\\nmines, who was s en echal of Poitiers, was also lord of\\nChaillot and possessed all the Cerisaie up to the ditch of\\nthe Paris sewer, seven Jiefs arrier es held from the Tour\\nCarree, then justice moyenne et basse with mayoralty and\\nsergeantry. Happily all this does not prevent his being\\none of the ancestors of the French language.\\nIn the presence of this history of Paris, it is necessary to\\ncry every moment, as did John Howard before other mis-\\neries It is here that the small facts are great. Some-\\ntimes this history offers a double meaning, sometimes a\\ntriple one, sometimes none at all. It is then that it dis-\\nturbs the mind. It seems as if it becomes ironical. It\\nsets in relief sometimes a crime, sometimes a folly at\\ntimes we do not know what is neither a folly nor a crime\\nand yet forms part of the night. Amid these enigmas, we\\nfancy behind us, in an aside, the low laughter of the\\nSphynx. Everywhere we find contrasts or parallels that\\nresemble design in the chance. At No. 14 Rue de Bethisy,\\nColigny died and Sophie Arnould was born, and here are\\nbrusquely brought together the two characteristic aspects\\nof the past, sanguinary fanaticism and cynical joviality.\\nLes Halles, which saw the birth of the theatre (under\\nLouis XI.) saw the birth of Moliere. The year in which\\nTurenne died, Madame de Maintenon bloomed, a strange\\nsubstitution; it is Paris that gave to Versailles Madame\\nScarron, queen of France, gentle to the verge of treason,\\npious to the verge of ferocity, chaste to the point of calcu-\\nlation, and virtuous to the verge of vice. In the Rue des", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0034.jp2"}, "35": {"fulltext": "OLD PARIS 15\\nMaraiSj Racine wrote Bajazet and Britannicus, in a cham-\\nber to which, fifty years later, the Duchess de Bouillon,\\npoisoning Adrienne Lecouvreur, came in her turn to make\\na tragedy. At No. 23 Rue du Petit-Lion, in an elegant\\nhotel of the Renaissance of which a skirt of wall remains,\\njust beside that big tower of Saint-Gilles or Jean Sans-\\nPeur, the comedies of Marivaux were played. Quite close\\nto one another, opened two tragic windows from one of\\nthem Charles IX. fired on the Parisians, from the other\\nmoney was given to the people to induce them not to fol-\\nlow the interment of Moliere. What did the people want\\nwith dead Moliere To honour him No, to insult\\nhim. Some money was distributed to this mob and the\\nhands that had come full of mud went away paid. O\\nsombre ransom of an illustrious coffin It is in our own\\nday that the turret has been demolished at the window of\\nwhich the Dauphin Charles, trembling before irritated\\nParis, put on his head the scarlet cap of \u00c2\u00a3tienne Marcel,\\nthree hundred and thirty years before Louis XVI. put on\\nthe red cap. The arcade Saint-Jean saw a little dix\\naout on August the loth, 1652, which was a slight\\nsketch of the stage-setting of the great one there was the\\nringing of the great bell of Notre-Dame and musketry\\nthis was called the emeute des tetes de papier. It was again\\nin August, the canicule is anarchical, it was August the\\n23d, 1658, that on the Quai de la Vallee, formerly called\\nthe Val-Misere, the battle between the Augustine monks\\nand the police-officers of the parliament took place the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0035.jp2"}, "36": {"fulltext": "i6 PARIS\\nclergy gladly met the decrees of the magistracy with volleys\\nof musketry they called justice encroachment j between\\nthe convent and the arches there was a great exchange of\\nshots which made La Fontaine come running, crying on\\nthe Pont-Neuf I am going to see Augustines killed\\nNot far from the Fortet college, where the Sixteen sat, is\\nthe cloister of the Cordeliers whence Marat rose into\\nnotice. The Place Vendome served Law, before serving\\nNapoleon. At the Hotel Vendome, there was a little\\nwhite marble chimney-piece celebrated for the quantity of\\npetitions by Huguenot galley-slaves which were thrown\\ninto the fire by Campistron, who was Secretary-General of\\nthe galleys, at the same time being knight of Saint-Jacques\\nand commander of Ximines in Spain, and Marquis de\\nPenange in Italy, dignities that were entirely due to the\\npoet who had moved the court and the city to pity over\\nTiridate offering resistance to the marriage between \u00c2\u00a3rinice\\nwith Abradate. From the lugubrious Quai de la Ferraille,\\nwhich has seen so many judicial atrocities, and which was\\nalso the Quai des Raccoleurs, issued all those joyous mili-\\ntar) and popular types, Laramee, Laviolette, Vadeboncoeur,\\nand that Fanfan la Tulipe, placed in our day on the stage\\nwith such charm and splendour by Paul Meurice. In a\\ngarret of the Louvre, journalism was born of Theophraste\\nRenaudot this time it was the mouse that gave birth to the\\nmountain. In another compartment of this same Louvre,\\nthe Academic Fran^aise prospered it has never had a\\nforty-first chair but once, for Pelisson, and has never worn", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0036.jp2"}, "37": {"fulltext": "OLD PARIS 17\\nmourning but once, for Voiture. A slab of marble with\\nletters of gold, set in one of the corners of the Rue du\\nMarche des Innocents, has long directed the attention of\\nthe Parisians to those three glories of the year 1685 the\\nembassy from Siam, the Doge of Genoa at Versailles, and\\nthe revocation of the Edict of Nantes. It was against the\\nwall of the edifice called Val-de-Grace that the Host was\\nthrown, on account of which three men were burned alive.\\nDate, 1685. Six years later Voltaire was to be born. It\\nwas quite time.\\nForty years ago, in the sacristy of Saint-Germain- 1\\nAuxerrois, was still shown the crimson chair, bearing\\nthe date 1722, in which was enthroned the Cardinal Arch-\\nbishop of Cambrai on the day on which the Sieur Clignet,\\nbailifF of the Abbaye de Saint-Remy de Reims, and the\\nSieurs de Romaine, de Saint-Catherine and Godot, Cheva-\\nliers de la Sainte-Ampoule, came to take the orders of\\nHis Eminence on the matter of the consecration of His\\nMajesty. The eminence was Dubois, the Majesty was\\nLouis XV. The storeroom preserved another armchair,\\nthat of the Regent d Orleans, It was in this armchair that\\nthe Regent d Orleans was sitting on the day when he spoke\\nto the Comte de Charolais. M. de Charolais was returning\\nfrom the chase, during which he had killed several pheas-\\nants in the woods and a notary in a village. The Regent\\nsaid to him Go away, you are a prince and I will neither\\nhave the Comte de Charolais decapitated for having killed\\na passer-by, nor a passer-by for killing the Comte de Char-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0037.jp2"}, "38": {"fulltext": "i8 PARIS\\nolais. In the Rue du Battoir, Marshal Saxe kept his\\nseraglio, which he took with him to war, which brought in\\nthe suite of the army three full coaches, that the Uhlans\\ncalled The Marshal s Women-wagons. What strange\\nevents, sometimes accumulated with that incoherence of\\nreality from whence you are free to draw reflections In\\nthe same week, a woman, Madame de Chaumont, in the\\nMississippi stock-jobbing, gains a hundred and twenty-seven\\nmillions the forty chairs of the Academie Fran^aise are\\nsent to Cambrai to seat the congress that ceded Gibraltar to\\nEngland and the great gate of the Bastille opens at mid-\\nnight to give a view in the first courtyard of the execution\\nby torch-light of an unknown, whose name and crime has\\nnever been known by anybody. Books were treated in two\\nways the parliament burned them, the divinity chapter tore\\nthem up. They were burned upon the great staircase of\\nthe Palais they were torn up In the Rue Chanoinesse. It\\nis said that it was in this street amongst a waste heap of\\ncondemned books, that Pliny s epistles, afterwards printed\\nby Aldus Manutius, were discovered by the monk Joconde,\\nthe builder of stone bridges that Sannazar called pontifex.\\nAs for the great steps of the Palais, in default of writers\\nwho smelt the burning, they saw the writings burned.\\nAt the foot of this staircase Boindin said to Lamettrie\\nThey persecute you because you are an atheistic Jansenist\\nthey leave me in peace because I have the good sense to be\\nan atheistic Molinist. There were the sentences of the Sor-\\nbonne in addition for the books. La Sorbonne, a calotte", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0038.jp2"}, "39": {"fulltext": "OLD PARIS 19\\nrather than a dome, dominated that chaos of colleges that\\ncomposed the University and that the first Balzac, in his\\nquarrel with Pere Golu, called the Latin country^ the name\\nthat has clung to it. La Sorbonne had moral jurisdiction\\nover scholasticism. La Sorbonne forced John XXII. to re-\\ntract his theory of beatific vision; La Sorbonne declared\\nquinquina villainous bark, upon which the parliament\\nissued a decree forbidding quinquina to heal La Sorbonne\\ndecided adversely against Pope Sixtus IV. with regard to\\nAntoine Campani, that bishop to whom a peasant gave\\nbirth under a laurel-tree, and to whom Germany was so\\ngreatly displeasing, says his biographer, that on his return\\nto Italy, finding himself on the top of the Alps, this ven-\\nerable prelate said to Germany\\nAspice nudatas^ harhara terra^ nates.\\nThe house No. 20, at Bercy, belonged to the Prevot\\nde Beaumont, who was shut up alive in one of the stone\\ntombs of the Tour Bertaudiere for having denounced the\\nPacte de Famine. In the immediate neighbourhood,\\nanother very mysterious house was called the Cour des\\nCrimes. Nobody knows what it was. Before the door of the\\nProvost s house of Paris, where sculptured and painted car-\\ntouches represented iEneas Scipio, Charlemagne, Esplandian\\nand Bayard, called flowers of chivalry and loyalty, on\\nAugust the 30th, 1766, an usher with a staff cried the edict\\nordering gentlemen henceforth to wear at their side swords\\nof twenty-three inches in length at the utmost with carp-\\ntongue points. Swords de guet-apens abounded in Paris j", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0039.jp2"}, "40": {"fulltext": "20 PARIS\\nhence the edict. Other repressions were necessary\\nIn 1750, when the furnishing of the chamber for the\\nDauphin at the Bellevue pavilion had just cost eighteen\\nhundred thousand francs, in a spirit of economy the ration\\nof bread for the prisoners was reduced, which famished\\nthem and drove them to revolt. The authorities fired into\\nthe throng through the prison gratings and killed several\\namong others, at Fort-l Eveque, two women. At the\\nAcademie Fran^aise, there was a frightful, inquisitive indi-\\nvidual, la Condamine he rhymed to Chloris like Gentil-\\nBernard, and explored the ocean like Vasco de Gama. Be-\\ntween a quatrain and a tempest he went upon the scaffolds\\nto get a near view of the executions. On one occasion he\\nwas present at a quartering upon the very stage of torment.\\nThe patient, haggard and bound in iron, looked at him.\\nThe gentleman is an amateur, said the executioner.\\nSuch were the manners. This took place at the Place de\\nGreve, the day when Louis XV. assassinated Damiens there.\\nIs it necessary to continue If it were allowed to quote\\noneself, the writer of these lines would say here J^en\\npasse et des meilleurs. Add to this dolorous mass the ad-\\nditional burden of Versailles, that terrible court extortion,\\nthe expedient of the princes of the Eighteenth Century, re-\\nplaced by stock-jobbing, the expedient of the princes of the\\nNineteenth; and that misshapen Conti, crushing with fillips\\nthe face of a young girl guilty of being pretty that Chevalier\\nde Rohan, cudgelling Voltaire. What a precipice we are\\npassing Lugubrious descent Dante would hesitate here.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0040.jp2"}, "41": {"fulltext": "OLD PARIS 21\\nThis is the true catacomb of Paris. History has no blacker\\nsap. No labyrinth equals in horror this cave of ancient deeds\\nin which so many lively presumptions have their roots. This\\npast hou^ever exists no longer, but its corpse does j w^hoever\\ndelves in old Paris comes across it. The word corpse ex-\\npresses too little. The plural would be necessary here.\\nThe dead errors and miseries are an ant-hill of bones.\\nThey fill this underground that is called the annals of Paris.\\nAll the superstitions are here, all the fanaticisms, all the\\nreligious fables, all the legal fictions, all the ancient things\\ncalled sacred, rules, codes, customs, dogmas and, out of\\nsight in these shades, we can distinguish the sinister laughter\\nof all these death s-heads. Alas the unfortunate men who\\npile up exactions and iniquities forget or are ignorant that\\nthere is an accounting. Those tyrannies, those lettres de\\ncachet^ those orders, that Vincennes, that donjon of the\\nTemple, where Jacques Molay summoned the King of\\nFrance to appear before God, that Montfaucon where En-\\nguerrand de Marigny who built it was hanged, that Bastille\\nwhere Hugues Aubriot who erected it was confined, those\\ncells in imitation of wells and calottes in imitation of the\\nleads of Venice, those promiscuous towers, some for prayer\\nothers for prison, that scattering of knells and tocsins made\\nfor all those bells during twelve hundred years, those gib-\\nbets, those strappadoes, those delights, that Diana in com-\\nplete nudity at the Louvre, those torture-chambers, those\\nharangues of kneeling magistrates, those idolatries of eti-\\nquette, connexes to the refinements of executions, those", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0041.jp2"}, "42": {"fulltext": "22 PARIS\\ndoctrines that everything belongs to the king, those follies,\\nthose shames, those basenesses, those mutilations of every\\nvirility, those confiscations, those persecutions, and those\\ncrimes silently accumulated from century to century till at\\nlast there came a day when all this gloom reached a total,\\n1789.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0042.jp2"}, "43": {"fulltext": "SAINT-DENIS AND SAINTE-GENEVIEVE\\nGRANT ALLEN\\nIT is not too much to say that, to the mediaeval Parisian,\\nParis appeared far less as the home of the kings or\\nthe capital of the kingdom than as the shrine of Saint-\\nDenis and the city of Sainte-Genevieve.\\nUniversal tradition relates that St. Denis was the first\\npreacher of Christianity in Paris. He is said to have suf-\\nfered martyrdom there in the year 270. As the apostle\\nand evangelist of the town, he was deeply venerated from\\nthe earliest times but later legend immensely increased his\\nvogue and his sanctity. On the one hand, he was identi-\\nfied with Dionysius the Areopagite on the other hand, he\\nwas said to have walked after his decapitation, bearing his\\nhead in his hand, from his place of martyrdom on the hill\\nof Montmartre (Mons Martyrum), near the site from which\\nthe brand-new church of the Sacre Coeur now overlooks\\nthe vastly greater modern city, to a spot two miles away,\\nwhere a pious lady buried him. On this spot, a chapel is\\nsaid to have been erected as early as a. d. 275, within five\\nyears of his martyrdom later, Sainte-Genevieve, assisted\\nby the people of Paris, raised a church over his remains on\\nthe same site. In the reign of King Dagobert, the sacred\\nbody was removed to the Abbey of St. Denis, which be-\\ncame the last resting-place of the kings of France. It is\\n23", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0043.jp2"}, "44": {"fulltext": "24 PARIS\\nprobable that the legend of the saint having carried his head\\nfrom Montmartre arose from a misunderstanding of images\\nof the decapitated bishop, bearing his severed head in his\\nhands as a symbol of the mode of his martyrdom; but the\\ntale was universally accepted as true in mediaeval days, and\\nis still so accepted by devout Parisians. Images of St.\\nDenis, in episcopal robes, carrying his mitred head in his\\nhands, may be looked for on all the ancient buildings of the\\ncity. Saint-Denis thus represents the earliest patron saint\\nof Paris the saint of the primitive church and of the\\nperiod of persecution.\\nThe second patron saint of the city the saint of the\\nPrankish conquest is locally and artistically even more\\nimportant. Like Jeanne d Arc, she touches the strong\\nFrench sentiment of patriotism. Sainte-Genevieve, a peas-\\nant girl of Nanterre (on the outskirts of Paris), was born in\\n241, during the stormy times of the barbarian irruptions.\\nWhen she was seven years old, Saint-Germain, of Auxerre,\\non his way to Britain, saw la pucellette Genevieve^ and be-\\ncame aware, by divine premonition, of her predestined\\nglory. When she had grown to woman s estate, and was\\na shepherdess at Nanterre, a barbarian leader (identified in\\nthe legend with Attila, King of the Huns) threatened to lay\\nsiege to the little city. But Genevieve, warned of God, ad-\\ndressed the people, begging them not to leave their homes,\\nand assuring them of the miraculous protection of heaven.\\nAnd indeed, as it turned out, the barbarians, without any\\nobvious reason, changed their line of march, and avoided", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0044.jp2"}, "45": {"fulltext": "SAINT-DENIS 25\\nParis. Again, when Childeric, the father of Clovis, in-\\nvested the city, the people suffered greatly from sickness\\nand famine. Then Genevieve took command of the boats\\nwhich were sent up stream to Troyes for succour, stilled\\nby her prayers the frequent tempests, and brought the ships\\nback laden with provisions. After the Franks had captured\\nParis, Sainte-Genevieve carried on Roman traditions into\\nthe Frankish court she was instrumental in converting\\nClovis and his wife Clotilde and when she died, at\\neighty-nine, a natural death, she was buried at the side of\\nher illustrious disciples. Her image may frequently be\\nrecognized on early buildings by the figure of a devil at\\nher side, endeavouring in vain (as was his wont) to ex-\\ntinguish her lighted taper the taper, no doubt, of Roman\\nChristianity, which she did not allow to be quenched by\\nthe Frankish invaders.\\nRound these two sacred personages, the whole art and\\nhistory of early Paris continually cluster. The beautiful\\nfigure of the simple peasant enthusiast, Sainte-Genevieve,\\nin particular, has largely coloured Parisian ideas and Pari-\\nsian sympathies. Her shrine still attracts countless thou-\\nsands of the faithful.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0045.jp2"}, "46": {"fulltext": "OLD PARIS\\nLOUIS BLANC\\nMONTAIGNE loved Paris, I was going to say\\nas a lover loves his mistress. He spoke of it\\nwith tenderness Paris, he said, has\\nowned my heart from infancy and good things have come\\nto me there the more I have since seen of other beautiful\\ncities the more the beauty of this one advances in my affec-\\ntions I love it tenderly, even its warts and blemishes.\\nWhence arose Montaigne s tenderness for Paris\\nAt that epoch, the magnificent boulevards which the\\nediles of the day have created with a wave of their magic\\nwand did not exist. At that time, there was no Rue de\\nRivoli leading to the Hotel de Ville nor boulevards such\\nas Babylon might have envied, nor gigantic hotels, nor glit-\\ntering cafes, nor squares there was nothing approaching\\nthe Bois de Boulogne, nor anything resembling the Pare de\\nMonceaux. The Louvre, the principal facade of which,\\nbegun in 1666 on the plans of Claude Perrault, was only\\nfinished in 1670, at that time presented the somewhat un-\\nattractive aspect of a feudal castle, defended on the side of\\nSaint-Germain-l Auxerrois, by a wide moat fed by the\\nwaters of the Seine. The Chateau of the Tuileries, which\\nCatherine de Medicis had built in 1564 for her private\\ndwelling, but from which she had fled immediately after-\\n26", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0046.jp2"}, "47": {"fulltext": "MAiSON HENRI IV.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0047.jp2"}, "48": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0048.jp2"}, "49": {"fulltext": "OLD PARIS 27\\nwards on I do not know what astrological prediction, was\\nseparated from the garden by a street; and this garden,\\nquite different from what Andre Le Notre made it in 1665,\\nshowed, mingled in confusion, an aviary, a pond, a me-\\nnagerie, and a warren, all of which was protected by a\\nstrong wall, a moat and a bastion. There was no Place de\\nla Concorde then, and the trees which to-day form the\\nChamps-Elysees were not to be planted till 1670. The\\nMarche aux Chevaux, where the minions of Henri 11.\\nfought against the favourites of the Duke of Guise, only\\nbecame the Place Royale under Henri IV. It was a simple\\nhouse, called hotel hdti de neuf which stood on the spot\\nwhere a few years later Marie de Medicis caused the foun-\\ndations of the Palais du Luxembourg to be laid. It goes\\nwithout saying that the Palais Royale did not exist, not\\nhaving been built, by Jacques Le Mercier, for Cardinal de\\nRichelieu, till 1629. The construction of the Hotel de\\nVille had been undertaken on the plans of the Italian arch-\\nitect Boccardo but the work was only commenced. The\\nquays, composed of roughly-hewn masonry, did not extend\\nthe whole length of the banks of the Seine the right bank\\nhad only three; the left bank, only one; the He de la Cite\\nhad none at all. There were only four bridges Notre-\\nDame, Petit-Pont, Pont-au-Change and Pont Saint-Michel.\\nBesides the two Italian theatres of Albert Ganasse and the\\nGelosi, there was a French theatre, the Hotel de Bour-\\ngogne, where the Confreres de la Passion and the Enfants\\nsans souci were played under the direction of the Prince des", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0049.jp2"}, "50": {"fulltext": "28 PARIS\\nSots but what theatres The public squares were scarcely\\nmore than cross-roads. As a shift for promenades planted\\nwith trees, there was the Pre aux Clercs. As for cafes, peo-\\nple scarcely knew what they were, the first two cafes in Paris\\nbeing only established there towards the end of the Seven-\\nteenth Century by the Armenian, Pascal, and the Sicilian,\\nFrancois Procope. The streets, generally too narrow to\\nallow carriages to pass each other, were ill paved, and, as\\nfor their number, it is furnished by these verses of the\\ntime\\nDedans la citi de Paris,\\nY a des rues trentesix,\\nEt, ail quartier de JIulepoix,\\nEn y a quatre-vingt-trois,\\nEt, au quartier de Saint-Denis,\\nTrois cents il n^en faiit que six,\\nContez-les bien tout d voire aise\\nQuartre cents y a et treize\\nWe see it was a very shabby Paris, in comparison with\\nthe Paris of M. Haussmann, of which Montaigne spoke\\nwith so much reverence and love. Can it be that cities\\nmay possess another beauty than that which consists in the\\nsplendour of its palaces, the sumptuousness of its edifices,\\nthe luxury of its public establishments, the multiplicity of\\nits promenades, and the number and width of its streets\\nThe truth is that in all periods of its existence Paris has\\npossessed a charm independent of its external beauty. It\\nwas this indefinable charm to which the Caesar Julian sub-\\nmitted, under whose administration, be it noted in passing,\\nthe name of Paris replaced that of Lutetia, when he wrote", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0050.jp2"}, "51": {"fulltext": "OLD PARIS 29\\nformerly I spent my winter season in my dear Lutetia.\\nAnd what was the Paris of the Fourteenth Century It\\nwas that species of fascination which so long afterwards\\nmade Charles V. say that Rouen was the greatest city of\\nFrance, since Paris was a world. There was no period in\\nwhich Paris was not the object of a profound, and, let it be\\nwell understood, an entirely moral admiration. What\\npassionate homage, for example, Paris received in the\\nEighteenth Century from strangers who came from every\\ncorner of the globe, among whom were so many celebrated\\nEnglishmen Richardson, John Wilkes, Horace Walpole,\\nGibbon, Hume, Sterne, inhaled with delight the atmos-\\nphere of Paris I mean its intellectual atmosphere. Ah\\nwrote Gibbon with a sigh, if I had been rich and in-\\ndependent, Paris is where I should have fixed my resi-\\ndence. Did not Hume also write I thought of estab-\\nlishing myself there for the rest of my life And it is\\nnot at all by the external beauty of Paris that Gibbon and\\nHume explain the attachment with which Paris inspired\\nthem. Both gave as the reason for this attachment the in-\\nexpressible sweetness of the intellectual life that was en-\\njoyed there.\\nLet us come down from the Eighteenth Century to the\\nNineteenth, and hear what Goethe said of Paris on May\\n3d, 1827, in conversation with Eckermann Now pic-\\nture to yourself a city like Paris where the best heads of a\\ngreat empire are all gathered together in one place, and in-\\nstruct each other and mutually elevate one another by their", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0051.jp2"}, "52": {"fulltext": "30 PARIS\\nrelations, their struggles, and their emulations every day\\nwhere all that is most remarkable in all realms of nature,\\nand in the art of every quarter of the world, is accessible\\nto study every day picture to yourself this universal city\\nwhere every step upon a bridge or a square recalls a great\\npast, where a fragment of history is unrolled at the corner\\nof every street. And, nevertheless, do not imagine the\\nParis of a limited and dull century, but the Paris of the\\nNineteenth Century in which for three generations of man-\\nkind beings like Moliere, Voltaire, Diderot and others like\\nthem have placed in circulation an abundance of ideas\\nwhich nowhere else in the world can be found thus\\ngathered together, and then you will understand how\\nAmpere, growing greater in the midst of this wealth, can\\nbe something at twenty-four years of age.\\nI hope the reader has not failed to notice these words\\n\u00e2\u0080\u00a2^IVhere every step upon a bridge or a square recalls a great\\npast, where a fragment of history is u7irolled at the corner of\\nevery street.\\nHow much, in fact, is added to the enchantments of\\nParis, the metropolis of science and the arts, of fashion\\nand taste, of literature and mind, by the imposing series of\\ngreat men and great things whose image animates such of\\nits stones that have not yet been broken up and dispersed\\nIf, even in the Fourth Century, the little of Paris that ex-\\nisted occupied so large a space in Julian s heart 5 if, in the\\nSixteenth Century, Paris already possessed in the eyes of\\nCharles V. the majesty of a universe and compelled the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0052.jp2"}, "53": {"fulltext": "OLD PARIS 31\\nadoration of Montaigne if, in the Eighteenth Century, it\\nexercised a power of irresistible seduction over so many\\nbrilliant intelligencies, what a super-addition of prestige and\\nattraction it gains to-day from the incessantly multiplied\\nnumber of illustrious phantoms that thought can evoke\\nthere The old university and the struggles of its sa-\\nvants, the scholars of former days and their wild pranks, the\\nparliaments, the states-general, the unsuccessful revolution\\nof Marcel the provost of the merchants, the uprising of\\nthe Maillotins, the sanguinary quarrel of the Armagnacs\\nand Bourguignons, the English, suffered for a moment and\\nthen driven off, the massacre of the Calvinists, the troubles\\nof the Ligue, the day of the Barricades, the Fronde, the reign\\nof the salons and of the philosophers, the French Revolu-\\ntion and what followed what aspects, what truly memo-\\nrable episodes, what sudden turns of fortune in the great\\ndrama in the history of France have been contained in the\\nhistory of Paris\\nAnd this is what constitutes what I should like to call\\nits soul for cities have a soul and that is their past and\\ntheir material beauty only gains its full value when it pre-\\nserves the visible traces of that other beauty which is made\\nup of memories, memories terrible or pathetic, memories\\nthat amuse or move us, that sadden or console, but every\\none of which contains enlightenment and serves to feed the\\nflame of the mind. To quote only a few examples, I have\\nnever passed through the Rue des Fosses-Saint-Germain-1\\nAuxerrois without glancing at the house whence, August", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0053.jp2"}, "54": {"fulltext": "32 PARIS\\n22d, 1572, the arquebus was fired that wounded the Ad-\\nmirable Coligny, and without immediately seeing the vic-\\ntims of Saint Bartholomew start up, I have never en-\\ntered the Cafe de la Regence without seeing Diderot there,\\nfollowing a game of chess, played by Legal the profound,\\nPhilidor the subtle, or Mayot the solid, and without be-\\ning led by the natural thread of ideas into that famous\\narmy of encyclopedists whom Diderot so bravely led to\\nthe assault on superstition. At the epoch of August the\\nlOth, 1792, there was on the Place du Carrousel a shop\\noccupied by Fauvelet, Bourricnne s brother. Whilst the\\npeople were besieging the chateau^ a man was enjoying the\\nsight from the upper windows of this shop. He was an\\nofficer who had been dismissed from the service, very poor,\\nand greatly embarrassed and in order to live he had been\\nforced to form the project of letting and sub-letting houses.\\nHe was named Napoleon Bonaparte. Napoleon, still un-\\nknown to the French Revolution, and watching it in\\noperation; what a combination! Now all that this sug-\\ngests was said to the passer-by by Fauvelet s shop who\\nwould not regret the loss of it\\nParis is full of these memories imprinted on marble,\\nwood, or stone. Are they destined to disappear Among\\nthose children of France who have long since left it, I\\nknow some who grow pale with terror when they are told\\nIf you were to return to Paris to-morrow, you would no\\nlonger recognize it, What Already Alas Never-\\ntheless it was good to recognize", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0054.jp2"}, "55": {"fulltext": "OLD PARIS 33\\nLet us be understood however. Let the unhealthy\\nstreets be laid low and let spacious ways be opened let\\nroom for the sunlight be made in the sombre quarters let\\nParis be given lungs where it experiences difficulty in\\nbreathing it must be done, since hygiene orders it and\\nprogress exacts it. But wherever either the interest of\\npublic safety, or the inevitable development of civilization,\\ndoes not prescribe that the Parisian government shall show\\nitself pitiless, be merciful to old Paris, be merciful to the\\nvisible remains of that past which the present cannot de-\\nstroy in all that recalls it without committing the crime of\\nparricide Mercy Well, yes, mercy even for some of\\nthe warts and blemishes that Montaigne loved", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0055.jp2"}, "56": {"fulltext": "ALONG THE SEINE\\nLOUIS ENJULT\\nIF in the work of regeneration houses consecrated by\\nillustrious memories disappear, if the dwellings of\\nMoliere, Corneilie, Racine, Boileau, Scarron and\\nRousseau are not preserved, is the memory of these great\\nmen bound to obscure and vulgar chambers, long dishon-\\noured by profane inhabitants i The curious and charming\\nprivate edifices of the Middle Ages and of the Renaissance\\nno longer exist the great mansions of the aristocracy of Louis\\nXIV. and Louis XV., were sacked by the first Revolution.\\nModern demolitions therefore only overthrow insignificant\\nbuildings, obscure rubbish, for which the artist has no re-\\ngrets; and besides when destruction comes across a monu-\\nment, the Tour-Saint-Jacques-des-Boucheries for example,\\nit halts and turns aside, or surrounds it with a square that\\nincreases its value and its effect what it destroys is found\\nagain in the pious memory of the poets. Paris has\\ngreat pretensions to maritime glory. It is not only a\\nport, but contains forty more or less considerable ports\\nthe port de Bercy, de la Rapee, de la gare d lvry, de\\nr Hopital, port Saint-Bernard, de la Tournelle, port Saint-\\nNicholas, and many others.\\nWine and a fritter bargemen and floats, that is Bercy\\n34", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0056.jp2"}, "57": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0057.jp2"}, "58": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0058.jp2"}, "59": {"fulltext": "ALONG THE SEINE 35\\nBercy, which has an important commerce in wine and\\ntimber, is divided into three quarters, la Rapee, la Grande-\\nPinte, and the valley of Fecamp.\\nIt was under Charles IX. that a citizen of Paris, Jean\\nRouvet had the idea of bringing wood to Paris without the\\naid of a boat; the idea succeeded and it made its way by\\nfollowing the thread of the water. Arrived at Bercy, the\\nwood is given up to the dechireurs de bateau who take the\\nfloat to pieces to the ravageurs who wash it and extract\\nthe nails and every species of iron and, finally, to the\\nd ebardeurs who pile it in decasteres on the bank. This am-\\nphibious population of rude and savage manners has sup-\\nplied the drama and fiction with more than one type it\\nhas given Bercy its character and physiognomy. When\\nwe see the people athletic and violent in the mud and water\\nup to the waist, with rolled-up sleeves and open blouse, in\\nwide felt hats without form or name, we are far from think-\\ning of those d ebardeurs of fancy, in satin vests, silk stock-\\nings and velvet shoes, with the graces and smiles of the\\nmad carnival nights, of whom the poet has said\\nWhat is a debardeur\\nAn angel joined to a demon\\nA fancy, a marvel, a caprice,\\nA discrete murmur that reaches you through the shadows,\\nA word of love like a ray\\nIt is a bold gesture, a hand that presses\\nA perfumed glove, a countess s foot\\nIn Cinderella s slipper,\\nBercy is still more celebrated for the wines it receives", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0059.jp2"}, "60": {"fulltext": "36 PARIS\\nand for those it manufactures, without wine or grape^ if we\\nmay believe evil tongues and light talk.\\nThe bridge of Bercy is the first we meet on the way j\\nit commands the royal river for a long distance, down as\\nwell as up stream from its elevated piles three melancholy\\nmonuments are visible Bicetre, the Salpetriere, and Char-\\nenton.\\nDo not let us enter that cite dolente to-day. Let us\\neven without stopping, pass the Jardin des Plantes, to which\\nwe will return later. Let us salute the Pont d Austerlitz\\nand the memory of a victory. It was built from 1801 to\\n1807 by Bcaupre its fine iron arches are supported by\\npiers of masonry it is this bridge that joins the Jardin\\ndes Plantes to the boulevards on the right bank; its\\nhorizon embraces the country through which the tortuous\\nSeine unrolls its argent rings, and the granite line of the\\nquays shaded by trees.\\nThe foot-bridge of the Estacade joins the He Saint-\\nLouis to what was formerly the island of Louviers but\\nnow Louviers is no longer an island, since the arm of the\\nriver that separated it from the Quai Morland has been filled\\nup. This island has had several names that are still to be\\nfound in the old historians of Paris. In the Fourteenth Cen-\\ntury it was the He des Javiaux, that is to say the island of\\nalluvion, sand and ooze two hundred years later it was\\nthe He d Entragues, then the He de Louviers. Now it is\\nnothing but the bank of a quay. In 1549 the provost of\\nthe merchants and aldermen of Paris gave a fete to Henri", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0060.jp2"}, "61": {"fulltext": "ALONG THE SEINE 37\\n11. in the He de Louviers in these martial sports of the\\ncitizens the monarch could see an image of a siege and all\\nthe changing fortunes of attack and defense. Notwith-\\nstanding its union with terra firma people still say lie Lou-\\nviers, but it is long since they said the He aux Juifs, He du\\nLouvre, He aux Treilles, or He du Gros-Caillon. The\\ncontinents are invading the seas. All these ancient isles\\nare joined to the neighbouring quays. The He Saint-Louis\\nis joined to terra firma by five or six bridges the Pont de\\nDamiette, built under the Empire, of iron wire; the Pont\\nMarie, rebuilt in the Sixteenth Century by an architect of\\nthat name; until 1786 it was covered with houses. The\\nbridges of the Middle Ages were veritable streets with\\nhouses of four or five stories that cut off the view of the\\nbeautiful perspectives of the river the Pont Marie is built\\nof stone. The little foot-bridge of Constantine dates from\\n1836. The Pont de Louis Philippe dates from 1832; that\\nof La Cite is ten years younger. The most celebrated of\\nall these bridges is the Pont de la Tourelle, restored,\\nwidened, and considerably lowered in 1847. old\\nbridge dated from 1656 it owed its name to the fortress\\nof Philippe Auguste that was situated in its vicinity La\\nTourelle, that was afterwards converted into a prison and\\ndemolished in 1792.\\nMercier in his Tableau de Paris has given to the He\\nSaint-Louis a certificate of good life and manners. He\\nsays This quarter seems to have escaped the great cor-\\nruption of the town. No girl of evil life finds a domicile", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0061.jp2"}, "62": {"fulltext": "38 PA^ilIS\\nthere as soon as discovered she is expelled, she is moved\\non. The citizens look after it the morals of individuals\\nare known there any girl who commits a fault becomes\\nthe object of censure and never gets married in the quarter.\\nNothing represents a provincial town better than the quarter\\nof the isle. It has been very well said\\nThe dweller in the Marais is a foreigner in the isle.\\nLet us hope that the He Saint-Louis still deserves such\\nhigh praise. It has preserved a considerable number of his-\\ntorical memories the most popular, that which the natives\\nrelate the most willingly in the familiar chat of the long\\ntwilights is the judicial duel between the dog of Montargis\\nand the knight Macaire, the assassin of Aubri de Montdidier.\\nThe He Saint-Louis possesses a church, Saint-Louis-en-\\nr He, and several fine mansions, the hotels de Pimodan, de\\nChenizot, Jassaud, and de Bertonvilliers but the glory of\\nall these aristocratic dwellings pales before the regal splen-\\ndours of the Hotel Lambert.\\nThe Hotel Lambert occupies the western point of the\\nHe Saint-Louis j we know that it was built by the architect\\nLeveau towards the middle of the Seventeenth Century for\\nLambert de Thorigny, counsellor to the parliament. The\\nFlemish sculptor. Van Obstal, modelled all its ornamenta-\\ntion in stucco in the Italian manner, groups of children,\\nbunches of flowers, and trophies of arms. Charles Lebrun,\\nEustache Lesueur, and Francois Perrier were entrusted with\\nthe paintings. The mansion has passed successively\\nthrough the hands of iY.q fcnnier-g eneral Dupin, the Marquis", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0062.jp2"}, "63": {"fulltext": "ALONG THE SEINE 39\\nof Chatel-Laumont and the Count of Montalivet. It was\\noccupied thirty years ago by a boarding-house keeper and a\\nmanufacturer of military beds when it was bought by Prince\\nCzartoriski the prince thus delivered it from the clutches\\nof the hande-noire and revived the splendours of its best\\ndays.\\nThe works of art had greatly suffered. Of the work of\\nFrancois Perrier only four paintings remained, which are\\nstill to be seen on the ceiling in the Cabinet of the Muses\\nApollo pursuing Daphne^ the Judgment of Midas, the Fall of\\nPhaeton, and Parnassus,\\nLebrun s paintings still exist in all their integrity, and\\nto-day, as in 1649, ^^^7 ^orm the most beautiful ornament\\nof the great gallery of the mansion.\\nLesueur worked for nine years on the paintings of the\\nHotel Lambert. He painted twelve subjects for the\\nChamber of Love and the Cabinet of the Muses. Apollo\\nentrusting Phaeton with his Chariot, transferred from the\\nfresco to canvas, has been bought by the Louvre with the\\ncompositions inspired by the muses. The others have been\\ndispersed by sale. At the Hotel Lambert a few grisailles\\nby this amiable master are still to be seen.\\nOnce or twice a week the rooms of the Hotel Lambert\\nare opened to the elite of the Parisian world, who are\\nonly too happy to listen to the call of benefit and pleas-\\nure.\\nThe peace of the He Saint-Louis, a veritable peace of\\n1 It is still in possession of Prince Czartoriski. E, S.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0063.jp2"}, "64": {"fulltext": "40 PARIS\\nGod, has more than once attracted to its great mansions,\\nsavants, poets, magistrates, and artists, whilst the vicinity\\nof Notre-Dame assures to it in perpetuity the blessed pres-\\nence of our venerable brothers, the canons.\\nTwo bridges join the He Saint-Louis to the Cite.\\nThe Cite is the cradle of Paris.\\nMy dear Lutetia, wrote Julian, is built in the mid-\\ndle of a river upon a little island joined by two stone\\nbridges to either side of the land. Bordered by the quais\\nde 1 Horloge, Napoleon, D Orsay, dcs Orfevres,du Marche,\\nNeuf, and de 1 Archcveche, the Cite communicates with\\nthe two sides of the Seine by a multitude of bridges\\nLouis Philippe, d Arcole, Notre-Dame, au-Change, Pont-\\nNeuf, Pont des Arts Saint-Michel, Petit-Pont, au Doubles,\\nand de 1 Archeveche. The Cite is subdivided into two\\nquarters the quarter of the Cite proper, and the quarter\\nof the Palais de Justice. Notre-Dame on one side, and\\nthe Palais on the other, that is to say Religion and the\\nState concentrate upon this single point the whole impor-\\ntance of the capital.\\nUntil the end of the last century the Seine below Notre-\\nDame bathed the gardens of the chapter. A vast quay has\\ngiven back for free circulation the promontory in face of\\nwhich the broadened river divides into two arms to embrace\\nthe floating Cite. Let us halt for a moment to cast a last\\nglance over the noble cathedral, with its apsis supported by\\ngigantic counter-forts and the arched buttresses of the ex-\\nterior work, with their rectangular pinnacles and dentellated", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0064.jp2"}, "65": {"fulltext": "ALONG THE SEINE 41\\nlittle spires, standing out before us in profile with that min-\\ngled lightness and strength that is the distinguishing charac-\\nteristic of ogival architecture. A few steps more and we\\nare before that grand doorway that awakes the imposing idea\\nof power and majesty in the soul. This is the spot whither\\nthe condemned, with torches in their hands and cords around\\ntheir necks, came to hear their sentence and make the\\namende honorable before being executed. Behind the apsis\\nof the church and on the site of the destroyed residence of\\nthe archbishop, a charming fountain has been constructed,\\nthe ogival style of which, though perhaps a little too florid,\\nyet harmonizes well enough with the neighbouring archi-\\ntecture.\\nThe Seine from which we must not stray in this rapid\\nexcursion, also bathes the walls of the Hotel-Dieu. The\\npious edifice faces the Parvis Notre-Dame it is the oldest\\nhospital in the world, and for ten centuries it was the only\\nhospital in Paris. Its foundation is generally attributed to\\nSt. Landry, Bishop of Paris under Clovis II. in the year\\n660. At the end of the Twelfth Century it only contained\\nfour halls but it received successive and rapid additions.\\nPhilippe Auguste, St. Louis, and Henri IV., three great\\nmen, declared themselves its protectors and aggrandized it.\\nMore than one illustrious man has died at the Hotel-Dieu\\nmore than one head that harboured grand projects and\\nnoble thoughts, has lain upon the low pillow of public\\ncharity. Among the illustrious memories that the hospital\\nhas preserved, one of the most melancholy will always be", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0065.jp2"}, "66": {"fulltext": "42 PARIS\\nthat of the poet, Gilbert, cut ofF in the flower of his life and\\nbefore that sweet blossoming of glory that would have\\nsaved him. For him glory only illuminated a tomb. On\\na slab of black granite placed on one of the great staircases\\nis engraved his strophe of farewell, so often repeated by\\nbitter lips complaining of Fate\\nAu banquet de la vie, in for tun t convive\\nyapparus un jour, et je meurs\\nye meurs, et sur la tombe oii lentement f arrive,\\nNul ne viendra verser des pleurs.\\nThe course of the water now brings us to the Quai des\\nOrfevres before the Palais de Justice. This immense\\nbuilding comprises a whole world, and offers precious ex-\\namples of the architecture of seven or eight centuries. On\\nthis very spot under the Roman rule a fortress existed.\\nJulius Caesar had caused two towers to be erected at the\\nhead of the two bridges by which Lutetia communicated\\nwith the river-banks these two towers afterwards became\\nthe Grand-Chatelet and the Petit-Chatelet. The Caesar\\nof the Gauls usually dwelt in the palace of the Thermes\\nand the Cite. Charlemagne and the whole Carlovingian\\ndynasty preferred Aix or Laon to Paris. But after Paris\\nhad been blockaded by the Normans, Eudes, the first of the\\nCapetians, came and shut himself up in the palace of the\\nCite to sustain the siege there. He saved Paris and fixed\\nhis abode in the Cite, which was long the home of the\\nprinces of his race. Robert le Pieux enlarged the palace\\nof the Cite. Philippe Auguste, who laid the foundations", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0066.jp2"}, "67": {"fulltext": "ALONG THE SEINE 43\\nof the Louvre, still lived there when he espoused the\\ndaughter of the King of Denmark. Saint-Louis had the\\npalace partly rebuilt he erected the Sainte-Chapelle and\\nthe immense and magnificent hall destined for the solemn\\nacts of the government and the court festivals, which is\\nnow replaced by the hall of the Bas-Perdus. Until the\\nreign of Francois L, our Kings temporarily inhabited the\\npalace but after Louis le Hutin, its principal guest, it was\\nthe Parliament House. The great hall was always used\\nfor the ceremonies and official receptions of royalty there\\nthe ambassadors were introduced to the king, and there the\\nmarriages of the children of France were celebrated. The\\nclercs de la Basoche there played their farces, sottises^ and\\nmoralities that so greatly delighted our good ancestors.\\nFire, which after man is the greatest scourge of old monu-\\nments, destroyed the great hall in 16 18. Everything\\nperished including the marble table so famous in the\\nannals of the ancient monarchy, around which sat the Con-\\nn etahl ie the Admiralty and the Waters and Forests^ and the\\nstatues of the Kings of France from Pharamond to Henri\\nIV. A second conflagration devastated the palace in 1776.\\nNow nothing is left of the ancient edifice but the clock-\\ntower and the two neighbouring towers, the Sainte-Chap-\\nelle, the kitchens, and a portion of the galleries.\\nThe Palais de Justice comprises the whole space between\\nthe Rue de la Barillerie and the Rue Harlay with its an-\\nnexes, the Prefecture of Police and the Conciergerie, it ex-\\ntends from the Quai des Orfevres to the Quai de THor-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0067.jp2"}, "68": {"fulltext": "44 PARIS\\nloge. The principal facade that fronts on the Rue de la\\nBarillerie has recently been improved by a semicircular\\ncourt a high railing separates the street from the court of\\nthe palace, the facade of which rises quite majestically.\\nThe second facade of the palace fronts the Quai de\\nI Horloge. But first, before reaching this quay, we must\\npass the Tour de I Horloge, a vast and heavy square con-\\nstruction, surmounted by a little lantern, the lightness of\\nwhich is in striking contrast to the heavy mass of the\\ntower. The clock from which it gets its name attracts\\nour attention and commands admiration by its elegant pro-\\nportions and brilliant decorations.\\nIt was on this spot that Charles V. placed the most\\nancient clock of Paris, made by a German clockmaker\\nnamed Vic. It was restored many times, notably under\\nHenri II., Charles IX., and Henri III.\\nA little porch in carved wood forming a penthouse,\\nshelters the dial which stands out from a background sown\\nwith innumerable fleurs-de-lis, like the mantle of our old\\nkings.\\nOn the side of the quay, new buildings connect the\\nTour de I Horloge with the Tour de Montmorency a {ew\\nsteps further on is the Tour de Cesar. Between these last\\ntwo towers, and pierced in a black wall, is the arched door\\nof the Conciergerie a fourth tower, much smaller, is only\\nnoticeable for its extremely pointed conical roof.\\nOn the western side, the Rue Harlay, that runs from one\\nstreet to another, covers the Palais. A vast arcade, that", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0068.jp2"}, "69": {"fulltext": "ALONG THE SEINE 45\\nopens in the middle of the street into the axis of the Place\\nDauphine, gives entrance into the Cour de Harlay, the tall\\nhouses of which, of no architectural beauty, formerly served\\nas habitation for the canons of the Sainte-Chapelle and the\\nsubaltern officers of the Palais de Justice. One of these\\nblack houses saw the birth of Nicholas Despreaux, who\\nwas Boileau; in all this neighbourhood we inhale that\\nstrong classical odour of epistles and doctrines that enables\\nthe city to dispense with putting up the traditional slab of\\nmarble with its inscription in letters of gold.\\nOn the side of the Quai des Orfevres, the Palais disap-\\npears behind the thick buildings of the Prefecture of Police\\nand the elegant constructions of the Sainte-Chapelle.\\nWe now know the external aspect of the Palais de Justice\\nand all that is to be seen from the waterside we will not\\ngo inside. A volume would be requisite to describe all\\nthat little world that lives upon justice, that is to say at its\\nexpense These rapid pages would not suffice to sketch\\nso many diverse physiognomies from the president of the\\nCour d Assises to the Audiencier of the Correctionelle\\nfrom the master, grown white under his briefs, to the beard-\\nless licentiate on the scent of practice in the hall of Pas-\\nPerdus from the duchess pleading in separation to the\\nbutcher convicted of merrymaking. It is better not to\\nbegin than not to know where to end.\\nGoing along the Quai des Orfevres, on our right we\\nsoon come across a little street, short and narrow, thronged\\nby an active and silent crowd, busy and calmj there we", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0069.jp2"}, "70": {"fulltext": "46 PARIS\\nsee passing like shadows men of prudent carriage who do\\nnot seem to be looking in any direction but who see every-\\nwhere sometimes a couple of too-obliging acolytes lead\\nby the arm an individual of suspicious appearance but who\\nis quite able to walk alone frequently again we see\\nweeping women or children in tears crowding about in-\\nexorable doors. This street is the Rue de Jerusalem, these\\ncourts full of closed vans, municipal guards, and sergents de\\nville are the Prefecture of Police, that sad ante-room of the\\ncour (T assises and the galleys.\\nThe Pont Notre-Dame and the great and fine Rue de\\nla Cite separate the Quai Napoleon from the Quai aux\\nFleurs.\\nTwice a week, Wednesday and Saturday, the Quai aux\\nFleurs sees those pretty markets where the gardeners ex-\\npose in turn according to the season the most beautiful\\nproducts of their gardens. These markets are essentially\\nParisian, and the middle classes, especially the women take\\nthe most lively interest in them. It is not the magnifi-\\ncence of the establishment that attracts them, for nothing\\nis more simple than the display of our florists. A piece of\\nlinen on four uprights, a few shrubs of rare foliage, a little\\nfountain that babbles while pouring out its faint jet, these\\nare the prime expenses. As for the sweet and brilliant mer-\\nchandise in pots, cases, gathered and tied in bunches or still\\nThe other flower markets are held at the Place de la Rfepublique on\\nMondays and Thursdays and at the Place de la Madeleine on Tuesdays\\nand Fridays. E. S.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0070.jp2"}, "71": {"fulltext": "ALONG THE SEINE 47\\nholding to the soil that bore it, it is heaped and piled in\\nconfusion around the women who sell it. The morning is\\nreserved for the first choice prices are maintained they\\nfall as the day passes. So it is a pleasure in the twilight\\nto see the grisettes of the Sorbonne and the female students\\nof the Quartier Saint-Jacques descend towards the Seine\\njingling in their joyful hands the price of a long day s\\nwork; they arrive, look, touch, smell, and ask the price of\\neverything and soon return with a light step to their modest\\nnest that sings quite close to the sky, carrying with them a\\nsprig of mignonette, a rose-bush, or a pot of clove-pinks,\\nthe perfume of the poor. These soft colours and sweet\\nperfumes call up for them the smiling image of their\\npaternal fields and they will be happier to-morrow when\\nthey water this little garden under their windows than\\nSemiramis, of superb memory, under the jasmins starred\\nwith silver and the palms with golden branches in the\\ngardens of Babylon. A moralist has said the humblest\\nspray of verdure suffices to make us dream and sometimes\\nto console us. Man has built the Louvre in vain, he\\nneeds a rose in a stone-pot\\nFrom the Quai aux Fleurs, the eye that takes in the\\nSeine sees the Quai de Gevres on the other side above the\\ntrees of the Boulevard of the H6tel-de-Ville, and in the\\naxis of alignment of the Rue de Rivoli, the top of the\\nTour-Saint-Jacques, to which has been restored the\\ncolossal statue of its patron and the symbolic animals, the\\nold ornamentation of its four corners.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0071.jp2"}, "72": {"fulltext": "48 PARIS\\nWe could not reach the Quai de 1 Horloge without pass-\\ning the Pont-au-Change, the doyen of the bridges of Paris.\\nIt existed in the time of JuHan it is the most ancient\\nway of communication between Lutetia and the right bank.\\nLike most of the bridges of the Middle Ages, this was\\ncovered with houses that were not pulled down till 1788.\\nAt first it bore the name of Grand-Pont, up till the reign\\nof Louis VIL who established the goldsmiths on one side\\nand the money-changers on the other the latter gave it its\\nname, Pont-au-Change, that it still bears. A monument\\nplaced on the quay facing the bridge and now destroyed\\nrepresented the dauphin of France who was afterwards\\nLouis XIV. between Louis XIII. and Anne of Austria.\\nThe Pont-au-Change had its day of grandeur, vogue, and\\neclat. Until the reign of Henri IV. it was the promenade\\nof the day, the Boulevard de Gard of the Fifteenth and\\nSixteenth Centuries, the rendezvous of the newsmongers, the\\nlounging-place of the idle, and the great centre of reunion\\nof those eternal Parisian saunterers who are found wher-\\never there is nothing doing.\\nFacing us, the Quai de Gevres separates the Pont-au-\\nChange from the Place du Chatelet which occupies the\\nsame ground as did formerly the prison of the Chatelet, so\\ncelebrated during the war between the Armagnacs and the\\nBurgundians. In 1807, a little monument that is still to\\nbe seen was erected on this place it is a bronze column\\ndedicated to Victory. At the top, Victory personified\\nstands on tiptoe with her bare feet on a half-sphere, and,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0072.jp2"}, "73": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0073.jp2"}, "74": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0074.jp2"}, "75": {"fulltext": "ALONG THE SEINE 49\\nwith hands raised above her head, is scattering palms and\\ncrowns.\\nAt the point of the Cite, the Seine reunites the two\\narms that enfold the cradle of ancient Paris, and, contained\\nin a single bed, henceforth the river flows on, calm and\\nmajestic between two banks of palaces.\\nIt is at this point that in 1578 Henri III. laid the foun-\\ndations of the bridge finished by Henri IV. twenty-five\\nyears later, resting its double-piles on the open ground of\\nthe Cite it is this same bridge that, from habit, we still\\ncall Pont-Neuf to-day, although it began its third century\\nlong ago.\\nThe Pont-Neuf is the most popular of all the monu-\\nments of Paris. As well-known as the Pont-Neuf is a\\nproverb understood and accepted even on the bridge of\\nAvignon. Notwithstanding its heavy and irregular construc-\\ntion, its projection like a donkey s back and the exaggerated\\ncurve of its arches, this bridge was long regarded as the\\nmost beautiful in all Europe.\\nThe first somewhat considerable houses of the Faubourg\\nSaint-Germain date from Henri III. Until the reign of\\nthat prince there was no assured communication for the\\nCite with the two banks of the river people crossed by\\nferry. The King, seeing the rapid growth of Paris down-\\nstream from the Cite, resolved to build another bridge.\\nHe laid its first stone with great state solemnity accom-\\npanied by his mother, Catherine de Medici and his wife,\\nLouise de Vaudemont, and assisted by the Parliament. It", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0075.jp2"}, "76": {"fulltext": "50 PARIS\\nwas the day of the death of his two mignons^ Quelus and\\nMaugiron, killed in a duel, May 31, 1578. The King was\\nsad people saw it this will be the Pont-des-Pleurs (Bridge\\nof Tears) said the courtiers such was the first name of the\\nPont-Neuf. The civil war interrupted the work. Henri\\nIV. resumed it and completed it with his powerful hands.\\nHe himself was one of the first to cross it in 1603, and be-\\nfore it was completely finished, L \u00c2\u00a3toile says, As they\\nremonstrated with him that the bridge was not safe and that\\nseveral had broken their necks trying to cross, he replied\\nNone of them was a king like myself! and he crossed.\\nThe Pont-Neuf ruined the Pont-au-Change it was not\\nmerely the most frequented communication between the\\nbanks, but it was also the fashionable promenade, the cen-\\ntre of the polite world and the necessary rendezvous of all\\nwho had any time to waste, or wit or money to expend.\\nPeople were not content with crossing the Pont-Neuf, they\\nstrolled about there, they rested and dwelt there. From\\nthe first day small merchants established themselves there\\nand beside them the theatres of Mondor and Tabarin, the\\nspectacle of Desiderio Descombes, who always talked so as\\nnever to be understood, and the booth of the charlatan\\nGonin, to whom the people soon gave the name of the\\ncardinal-minister the people pretended that Richelieu\\njuggled at least as well as Gonin but Richelieu s balls\\nwere the heads of the nobility It was to the Pont-\\nNeuf that the mountebanks and buffoons came to try their\\nfeats of agility and strength before an attentive throng.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0076.jp2"}, "77": {"fulltext": "ALONG THE SEINE 51\\nMoreover, it was thither that the singers went to sing\\ntheir noels^ songs and couplets of more or less gallant strain\\nthat were called ponts-neufs in memory of the stage upon\\nwhich they were first brought out. The dentists, cut-\\npurses, crimps, highwaymen and pickpockets for a long\\ntime found lucrative employment for their small society tal-\\nents upon the Pont-Neuf. The clerks of the Basoche\\nwith their legal bags under their arms mingled there with\\nthe cadets of Gascony with their swords striking against\\ntheir calves the abbes of the court passed along there in\\ntheir sedan-chairs and the equipages of great nobles going\\nto the Louvre passed at full trot with their four horses.\\nThe Pont-Neuf is supported by twelve arches, unequally\\ndivided by the point of the Cite seven on one side and\\nfive on the other. On both faces and throughout its length,\\nit is ornamented by a jutting cornice supported by brackets\\nof figures of masks, fauns, and satyrs. Some of them are\\nattributed to Germain Pilon for the sake of doing them\\nhonour. At various periods great works of reconstruction\\nand repair have been undertaken on the Pont-Neuf. In\\n1775 the arches were lowered and the open space between\\nthe piers was narrowed so that a stronger current might\\ncarry away the deposit brought down by the river; in 1820\\nand 1825 the slope was lessened on each side in 1836\\nand 1837 the perpendicular of the seven arches was rees-\\ntablished j in 1853 1^54 t^^ entire bridge was taken in\\nhand the road was remade and raised to the level of the\\nabutting streets the paths on each side reserved for pedes-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0077.jp2"}, "78": {"fulltext": "52 PARIS\\ntrians were relaid and the little structures on the piles, the\\nlast vestiges of the houses formerly built upon the Paris\\nbridges, were done away with.\\nThe statue of Henri IV. is no less celebrated than the\\nPont-Neuf. The first statue of the king of triple talent.\\nDe boire et de battre\\nEl d^ilre vert-galant,\\nwas placed by Marie de Alcdicis in 1614 upon a pedestal of\\nwhite marble opposite the Place Dauphine, at the extremity\\nof rile de la Cite, on the spot where it makes a kind of\\nsquare mole half overshadowed with trees. At the four\\ncorners of the pedestal were placed trophies of arms and\\nslaves in bronze symbolizing the four quarters of the world.\\nOceanica had not yet emerged from the mists of the Pacific.\\nA base of dark blue marble bore the whole monument.\\nThe memory of Henri IV. will remain sacred in the peo-\\nple s gratitude as in a temple. For two centuries his statue\\nwas the object of a culte among the Parisians. In 92 the\\npopulace of the Pont-Neuf forced passers-by to kneel be-\\nfore the statue. One year later they dragged it in the mire.\\nIt was melted down and made into cannons. On the re-\\nturn of the Bourbons, the statue of Napoleon in its turn\\nwas thrown down from the column of the Place Vendome\\nand out of it was made the new statue of Henri IV. The\\nwork of Lemot happily reproduces the lively and frank ex-\\npression of the most French of all our kings the bronze\\nis animated and alive like the very face of the Bearnais the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0078.jp2"}, "79": {"fulltext": "ALONG THE SEINE 53\\ngesture is at once noble and easy the horse has a proud\\naction.\\nThe Samaritaine, of which only a memory now remains,\\nwas formerly the delight and the admiration of our fathers.\\nThe Samaritaine, placed at the second western arch on the\\nside of Quai de 1 Ecole, was a monumental pump that dis-\\ntributed the water by various canals into the Louvre, the\\nTuileries and the Palais Royale. It was constructed under\\nHenri IV. by the Fleming, John Lintlaer a statue of the\\nbeautiful sinner of Samaria adorned the front of it she\\nwas offering water to Christ to drink and He was teaching\\nher whence the eternal springs flow.\\nToo complicated not to need frequent repairs, the Samar-\\nitaine was reconstructed in 1772. The monument was\\ncomposed of three stages. People particularly admired the\\nchiming clock below which, as we have said, a group in\\ngilded lead represented Christ and the Samaritan on the\\nedge of Jacob s well. Jacob s well was represented by a\\nbasin receiving a stream of water falling from a shell. It\\nwas not precisely in local colour but one does what one\\ncan. Below the figures might be read as an inscription\\nthese words of the Scripture so often applied to Christ.\\nFans hortum^ putens aquarum viventium.\\nBefore the Revolution, the Samaritaine, considered as a\\nroyal house, had its particular government the Revolution\\nsuppressed the government; in 1813 the pump, a useless\\nornament to the Pont-Neuf and one whose memory is", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0079.jp2"}, "80": {"fulltext": "54 PARIS\\nfading away daily, was demolished. One more glory de-\\nparted\\nWe shall soon have finished our voyage now, and the\\nboat that carries us will only have to follow the course of\\nthe water.\\nIn vain, on my left, the Hotel des Monnaies sounds its\\ntempting pieces I will not listen to the silver voices I\\nmention it and will not land what s the use Nothing\\ntempts me in that heavy fai^ade one would call it a prison\\nmuch rather than a palace. The Hotel des Monnaies\\nstands on the site of the old Conti mansion the abbe Ter-\\nray, comptroller-general of the finances, laid its first stone\\nin the name of the King, May 30, 1771. It was finished\\nin four years. We pass before its principal front that ex-\\ntends along the quay between the Rue Guenegaud and the\\nInstitute.\\nA little farther on we see the palace of the Institute, the\\ncentral door of which faces the Pont des Arts and the\\nsouthern gate of the court of the Louvre. The facade of\\nthe palace of the Institute has had the mistake and misfor-\\ntune to be placed opposite to the most admirable portion of\\nthe Louvre and thus to provoke comparison that is crushing\\nto it.\\nCardinal Mazarin ordered in his will of March 6, 1661,\\nthat a part of his great wealth should be employed in the\\nfoundation of a college for sixty youths, sons of the nobility\\nor the principal citizens of Pignerolles, of the ecclesiastical\\nState, of Alsace, of Flanders and of Roussillon. The offi-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0080.jp2"}, "81": {"fulltext": "ALONG THE SEINE 55\\ncial deeds gave this college the title of the College Maz-\\narin; the people called it the college of the Four Nations.\\nIt was built on the site of the Hotel de Nesle Louis Le-\\nveau drew up the plans, the execution of which was en-\\ntrusted to the architects Lambert and d Orbay.\\nDuring the Revolution, the college of the Four Nations\\nat first became a jail a little later the Committee of Public\\nSafety held its sittings there. On the third Brumaire year\\nv., the Institute was solemnly installed there. The old acad-\\nemies sat at the Louvre they had only the Seine to cross.\\nThe principal front, looking on the quay, is in the form\\nof a hemicycle it is composed of a forepart, the decora-\\ntion of which is a Corinthian order very heavy like all that\\nis seen on the left bank of the river on each side the two\\nwings curve outward towards the ground on the margin of\\nthe water; the forepart that forms a doorway is crowned\\nby a pediment and surmounted by a circular dome, itself\\nterminated by a lantern. One of the architectural singu-\\nlarities of this dome is that externally it presents a circular\\nform, and internally an elliptical form. On each side of\\nthe perron, two lions of cast metal discharge a feeble jet of\\nwater into a stone trough. These poor lions which regret\\nthe desert have a look of terrible ennui you would say\\nthat they can hear what is being said inside. The two\\nsemicircular wings unite the doorway to two very massive\\npavilions supported by arcades. The dome is lofty, but\\nwithout grace or elegance. This palace is one of the worst\\nthings in Paris.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0081.jp2"}, "82": {"fulltext": "56 PARIS\\nOur boat now goes under the elevated piles of the Pont\\ndes Arts. It was built in 1802. For a long time people\\npaid a sou to go from the Louvre to the Institute. The\\nRepublic liberated the Pont des Arts from this servitude\\nthis is one of the most durable things it did. Three blind\\nmen ornament the Pont des Arts the first is knitting\\nsocks, the second is scraping a violin, and the third is\\nproducing couacs on his clarinet while attempting I know\\nnot what air that he can never finish his little dog beside\\nhim growls at him in a low tone but the poor blind man,\\nwho plays on as if he were deaf, docs not hear her and be-\\ngins again. The dog and the three blind men, inseparable\\nhabitues of the Pont des Arts, are considered as immeubles\\npar destination} It is on the Pont des Arts that the Fau-\\nbourg Saint-Germain sees the blossoming of the first violet\\nof Spring.\\nThe bridges succeed and approach one another; from\\nafar you would say that they touched but the crowd\\nthronging them seems to require more of them look at\\nthe Pont Royal, opposite the Tuileries and the Rue de\\nBac it is almost impassable horsemen collide, pedestrians\\nelbow each other, and carriages get locked fast by their\\naxles. But what a charming view, what a varied pano-\\nrama, what changing pictures On one side, the old Cite,\\nmotionless in the midst of the river surrounding it, like a\\nship at anchor close to us the grand lines of the Louvre,\\n1 (Law) animal, thing placed on property by the proprietor for the use\\nor enjoyment thereof.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0082.jp2"}, "83": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0083.jp2"}, "84": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0084.jp2"}, "85": {"fulltext": "ALONG THE SEINE 57\\nand in that noble garden a multitude of statues and a forest\\nof orange-trees then, yonder, on the distant horizon, be-\\ntween the Bois and the Champs-Elysees, the Arc-de-\\nI Etoile, a mountain of sculptures emerging from the green\\nocean of foliage all this panoramic view is beautiful by\\nday at night it is splendid when a thousand lights are re-\\nflected in the Seine in long trembling lines, and when above\\nall these rays the towers of Saint-Jacques and Notre-Dame\\nlift their solid and sombre masses. But meanwhile what\\nare those people perched on the parapet doing They are\\nwatching the water flow past and they are counting the de-\\ngrees measured by the rise of the waters on the scale of\\nthe bridge. The scale of the bridge of the Tuileries, the\\nthermometer of the Pont-Neuf and the cannon of the\\nPalais-Royale, those are the three favourite distractions of\\nthe middle-class Parisian.\\nThe great trees in the gardens of the Tuileries now cast\\ntheir shadow and freshness upon the river which washes\\nflowery terraces, the great Jerusalem barracks, and the\\nd Orsay palace on the left bank, and finally reaches the\\nPont de la Concorde widowed of its warrior statues that\\nKing Louis Philippe had removed to the big court of Ver-\\nsailles. At last there remains that palace neighbourhood\\nthat will not be taken away from it the Chamber of\\nDeputies, the Presidency, the Ministry of Foreign Affairs,\\nand, above all, the Place de la Concorde with its statues,\\nfountains, obelisk, the great buildings of the Garde-Meu-\\nbles, and, at the end of the Rue Royale, as if worthily to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0085.jp2"}, "86": {"fulltext": "58 PARIS\\nclose this perspective in which marvels form a scale, the\\nchurch of the Madeleine.\\nNow we proceed between the majestic quays d Orsay, de\\nBilly, and de la Conference, seeing promenaders upon the\\nFonts des Invalides, de I Alma, or d lena.\\nThis bridge of lena, that connects the Champ de Mars\\nwith the Champs-Elysees is embellished with a grandiose\\ndecoration. At each of its four angles is a colossal group\\nof men and horses representing the great warlike races of\\nthe ancient world, the Greeks, Romans, Gauls and Arabs.\\nThese must be viewed from a little distance and in the\\nperspective demanded by the works of decorative art. The\\nGallic group, by the strong hand of Preault, of all the four\\nbest answers the exigencies of monumental sculpture.^\\nThe bridges of to-day are as follows Pont National Pont de Tol-\\nbiac Pont de Percy Pont d Austerlitz Pont Sully Pont Marie Pont\\nLouis Philippe Pont de la Tournelle Pont Saint-Louis; Pont d Arcole\\nPont Notre-Dame Pont-au-Change Pont do 1 Archevechfe; Pont au\\nDouble; Petit-Pont; Pont Saint-Michel PontXeuf; Pont des Arts; Pont\\ndes Saints-P^res or du Carrousel; Pont Royale Pont de Solferino; Pont\\nde la Concorde; Pont Alexandre IIL; Pont des Invalides; Pont de 1\\nAlma; Pont de Icna; Pont de Passy Pont de Crenelle; Pont Mira-\\nbeau; Pont Viaduc d Auteuil or Pon du Point du Jour. The newest\\nbridge is the Pont Alexandre IIL the corner-stone of which was laid by\\nNicholas III. of Russia in October, 1896. It joins the Champs-Elysees to\\nthe Esplanade des Invalides. E. S.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0086.jp2"}, "87": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0087.jp2"}, "88": {"fulltext": "j^i- A-\\nV^.^-\\nA x,^\\nSAlXTE-CHAPELLE", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0088.jp2"}, "89": {"fulltext": "SAINTE-CHAPELLE\\nPHILIP GILBERT HJMERTON\\nTHE origin of the Sainte-Chapelle is probably known\\nalready to most of my readers. It is nothing\\nmore than a large stone shrine to contain relics.\\nNothing could exceed the joy of Saint-Louis when he be-\\nlieved himself to have become the possessor of the real\\ncrown of thorns and a large piece of the true cross. He\\nbought them at a very high price from the Emperor of\\nConstantinople,^ and held them in such reverence that he\\nand his brother, the Count of Artois, carried them in their\\nreceptacle on their shoulders, (probably as a palanquin is\\ncarried), walking barefooted through the streets of Sens and\\nParis such was the thoroughness of the King s faith and\\nhis humility towards the objects of his veneration.\\nThese feelings led Saint-Louis to give orders for the\\nerection of a chapel in which the relics were to be preserved,\\nand he commanded Peter of Montereau to build it, which\\nPeter did very speedily, as the King laid the first stone in\\n1245, and the edifice was consecrated in April, 1248.\\nSome say that the crown of thorns was purchased from John of\\nBrienne, the Emperor, and the piece of the true cross from Baldwin II.,\\nhis successor; others say that both were purchased from Baldwin II.\\nThe cost to Saint-Louis, including the reliquaries, is said to have been\\ntwo millions of livres. So far as the King s happiness was concerned, the\\nmoney could not have been better spent.\\n59", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0089.jp2"}, "90": {"fulltext": "6o PARIS\\nThere are two chapels, a low one on the ground-floor and\\na lofty one above it so both were consecrated simultane-\\nously by different prelates, the upper one being dedicated to\\nthe Holy Crown and the Holy Cross, the other to the\\nVirgin Alary.\\nConsidering the rapidity of the work done, it is remark-\\nable that it should be, as it is, of exceptionally excellent\\nquality, considered simply with reference to handicraft and to\\nthe materials employed. The stone is all hard and carefully\\nselected, while each course is fixed with clamp-irons imbed-\\nded in lead, and the fitting of the stones, according to\\nViollet-le-Duc, is cFufie precision rare.\\nLike Notre-Dame, the Sainte-Chapelle has undergone\\nthorough and careful restoration in the present century. For\\nthose who blame such restorations indiscriminately, I will give\\na short description of the state of the building when it was\\nplaced in the restorer s hands. It had been despoiled at the\\nRevolution and was used as a magazine for law-papers. The\\nspire had been totally destroyed, the roof was in bad repair,\\nsculpture injured or removed, the internal decoration\\nmostly effaced, the stained glass removed from the lower\\npart of the windows to a height of three feet, and the rest\\npatched with fragments regardless of subject. The chapel\\nwas an unvalued survival of the past, falling rapidly into com-\\nplete decay, and is surrounded by the modern buildings of the\\nlaw courts, so its isolation made total destruction probable.\\nThere had been a time when the Sainte-Chapelle had been\\nin more congenial company. The delightfully fanciful", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0090.jp2"}, "91": {"fulltext": "S AINTE-CHAPELLE 6 1\\nand picturesque old Cour des Comptes had been built under\\nLouis XII. (1504), on the southwest side, and there was the\\ngreat Gothic Cour de Mai, and, finally, the Great Hall on\\nthe north. Not only that, but there was the Tresor des\\nChartes, attached to the south side of the Sainte-Chapelle,\\nitself a treasure, almost a miniature of the glorious chapel,\\nwith its own little apse and windows, and high pitched\\nroof. All these treasures of architecture were gone forever,\\nreplaced by dull, prosaic building the Sainte-Chapelle\\nserved no purpose that any dry attic would not have served\\nequally well, and there seemed to be no reason why it\\nshould not be destroyed like the rest. The decision was\\nto restore it, and give it a special destination where the law-\\nyers might hear the mass of the Holy Ghost. The work\\nwas done thoroughly and carefully by learned and accom-\\nplished men. M. Lassus designed a new spire,^ an exquis-\\nitely beautiful work of art, much more elegant than its\\npredecessor. Still to appreciate the new spire properly, one\\nneeds an architectural drawing on a large scale, like that in\\nthe monograph by Guilhermy. It is of oak, covered with\\nlead, with two open arcades. There are pinnacles between\\nthe gables of the upper arcade, and on these pinnacles are\\neight angels with high, folded wings and trumpets. Near\\nthe roof are figures of the twelve apostles. All along the\\nroof-ridge runs an open crest-work, and at the point over\\n1 The spire by Lassus is the fourth. The first by Pierre de Montereau,\\nbecame unsafe from old age; the second was burnt in 1630; the third\\nwas destroyed in the great Revolution.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0091.jp2"}, "92": {"fulltext": "62 PARIS\\nthe apse stands an angel with a cross. All these things,\\njudiciously enlivened by gilding, with the present high pitch\\nof the roof, add greatly to the poetical impression, especially\\nwhen seen in brilliant sunshine against an azure sky.\\nThanks to the restorers, the interior of the chapel once\\nmore produces the effect of harmonious splendour which\\nbelonged to it in the days of Saint-Louis. Of all the\\nGothic edifices I have ever visited, this one seems to me\\nmost pre-eminently a visible poem. It is hardly of this\\nworld, it hardly belongs to the dull realities of life. Most\\nbuildings are successful only in parts, so that we say to\\nourselves, Ah, if all had been equal to that or else we\\nmeet with some shocking incongruity that spoils everything\\nbut here the motive, which is that of perfect splendour, is\\nmaintained without flaw or failure anywhere. The archi-\\ntect made his windows as large and lofty as he could (there\\nis hardly any wall, its work being done by buttresses) and\\nhe took care that the stonework should be as light and ele-\\ngant as possible, after which he filled it with a vast jewelry\\nof painted glass. Every inch of wall is illuminated like a\\nmissal, and so delicately that some of the illuminations are\\nrepeated of the real size in Guilhermy s monograph.\\nWhen we become somewhat accustomed to the universal\\nsplendour (which from the subdued light is by no means\\ncrude or painful), we begin to perceive that the windows\\nare full of little pictorial compositions and if we have time\\nto examine them, there is occupation for us, as the windows\\ncontain more than a thousand of these pictures. Thanks", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0092.jp2"}, "93": {"fulltext": "SAINTE-CHAPELLE 63\\nto the care of M. Guilhermy, they have been set in order\\nagain. The most interesting among them, for us, on ac-\\ncount of the authenticity of the historical details, is the\\nwindow which illustrates the translation of the relics.\\nHere we have the men of the time of Saint-Louis on land\\nand sea. In the other windows the Old and New Testa-\\nments are illustrated. Genesis takes ninety-one composi-\\ntions. Exodus a hundred and twenty-one, and so on, each\\nwindow having its own history.^\\nThere are four broad windows in each side, though from\\nthe exterior two of these look slightly narrower because\\nthey are somewhat masked by the west turrets. The apse\\nis lighted by five narrower windows, and there are two, the\\nnarrowest of all, which separate the apse from the nave.\\nIn the time of Henri II. a very mistaken project was\\ncarried into execution. A marble screen, with altars set up\\nagainst it, was built across the body of the chapel so as to\\ndivide it, up to a certain height, into two parts. Happily,\\nthis exists no longer.\\nThe original intention of Louis IX. when he built the\\nSainte-Chapelle, was that the upper chapel should be re-\\nThe only thing in the Sainte-Chapelle which can be considered any\\ndegree incongruous with the unity of the first design is the rose-window\\nat the west end, which was erected by Charles VIII., near the close of the\\nFifteenth Century. The flamboyant tracery is of a restless character, all\\nin very strong curves, and the glass is quite different from the gorgeous\\njewel-mosaics of the time of Saint-Louis. The subjects are all from the\\nApocalypse. However, this window inflicts little injury on the general\\neffect of the chapel, as the visitor is under it when he enters, and is iso-\\nlated from the rest. In service time everybody has his back to it.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0093.jp2"}, "94": {"fulltext": "64 PARIS\\nserved for the sovereign and the royal house, while the\\nlower one was for the officers of inferior degree. The\\nking s chapel was on a level with his apartments in the\\npalace, so that he walked to it without using stairs. The\\nlower chapel has now been completely decorated like the\\nupper one, on the principles of illumination. It is beautiful,\\nbut comparatively heavy and crypt-like, and the decoration\\nlooks more crude, perhaps because the vault is so much\\nlower and nearer the eye. A curious detail may be men-\\ntioned in connection with the religious services in the\\nSainte-Chapelle. They were of a sumptuous description,\\nas the treasurer, who was the chief priest, wore the\\nmitre and ring, had pontifical rank, and was subject only\\nto the Pope. He was assisted in the services by one\\nchanter, twelve canons, nineteen chaplains, and thirteen\\nclerks. When Saint-Louis dwelt in his royal house close\\nby and came to the Sainte-Chapelle, the place must have\\npresented such a concentration of mediaeval splendour as\\nwas never seen elsewhere in such narrow limits. His en-\\nthusiasm may seem superstitious to us, but he endeavoured\\nearnestly to make himself a perfect king according to the\\nlights of his time, so that his splendid chapel is associated\\nwith the memory of a human soul as sound and honest as\\nits handicrafts, as beautiful as its art.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0094.jp2"}, "95": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0095.jp2"}, "96": {"fulltext": "THE CATHEDRAL OF XOTRE-DAME,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0096.jp2"}, "97": {"fulltext": "THE CATHEDRAL OF NOTRE-DAME\\nVICTOR HUGO\\nOST certainly, the Cathedral of Notre-Dame\\nis still a sublime and majestic edifice. But,\\ndespite the beauty which it preserves in its\\nold age, it would be impossible not to be indignant at the\\ninjuries and mutilations which Time and man have jointly\\ninflicted upon the venerable structure without respect for\\nCharlemagne, who laid its first stone, and Philippe Auguste,\\nwho laid its last.\\nThere is always a scar beside a wrinkle on the face of\\nthis aged queen of our cathedrals. Tempus edax homo\\nedacior^ which I should translate thus Time is blind,\\nman is stupid.\\nIf we had leisure to examine one by one, with the\\nreader, the various traces of destruction imprinted on the\\nold church. Time s work would prove to be less destruc-\\ntive than men s, especially des hommes de Part^ because there\\nhave been some individuals in the last two centuries who\\nconsidered themselves architects.\\nFirst, to cite several striking examples, assuredly there\\nare few more beautiful pages in architecture than that\\nfacade, exhibiting the three deeply-dug porches with their\\npointed arches the plinth, embroidered and indented with\\ntwenty-eight royal niches the immense central rose-\\n65", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0097.jp2"}, "98": {"fulltext": "66 PARIS\\nwindow, flanked by its two lateral windows, like the priest\\nby his deacon and sub-deacon; the high and frail gallery\\nof open-worked arches, supporting on its delicate columns\\na heavy platform and, lastly, the two dark and massive\\ntowers, with their slated pent-houses. These harmonious\\nparts of a magnificent whole, superimposed in five gigantic\\nstages, and presenting, with their innumerable details of\\nstatuary, sculpture, and carving, an overwhelming yet not\\nperplexing mass, combine in producing a calm grandeur.\\nIt is a vast symphony in stone, so to speak the colossal\\nwork of man and of a nation, as united and as complex as\\nthe Iliad and the romanceros of which it is the sister; a pro-\\ndigious production to which all the forces of an epoch con-\\ntributed, and from every stone of which springs forth in a\\nhundred ways the workman s fancy directed by the artist s\\ngenius; in one word, a kind of human creation, as strong\\nand fecund as the divine creation from which it seems to\\nhave stolen the twofold character variety and eternity.\\nAnd what I say here of the facade, must be said of the\\nentire Cathedral and what I say of the Cathedral of Paris,\\nmust be said of all the Mediae\\\\^l Christian churches.\\nEverything in this art, which proceeds from itself, is so\\nlogical and well-proportioned that to measure the toe of\\nthe foot is to measure the giant.\\nLet us return to the facade of Notre-Dame, as it exists\\nto-day when we go reverently to admire the solemn and\\nmighty Cathedral, which, according to the old chroniclers,\\nwas terrifying quce mole sua terror em incutit spectantibus.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0098.jp2"}, "99": {"fulltext": "CATHEDRAL OF NOTRE-DAME 67\\nThat facade now lacks three important things first, the\\nflight of eleven steps, which raised it above the level of the\\nground then, the lower row of statues which occupied the\\nniches of the three porches and the upper row of the\\ntwenty-eight ancient kings of France which ornamented\\nthe gallery of the first story, beginning with Childebert and\\nending with Philippe Auguste, holding in his hand la pomme\\nimperiale.\\nTime in its slow and unchecked progress, raising the\\nlevel of the city s soil, buried the steps; but whilst the\\npavement of Paris like a rising tide has engulfed one\\nby one the eleven steps which added to the majestic\\nheight of the edifice. Time has given to the church more,\\nperhaps, than it has stolen, for it is Time that has spread\\nthat sombre hue of centuries on the facade which makes\\nthe old age of buildings their period of beauty.\\nBut who has thrown down those two rows of statues\\nWho has left the niches empty Who has cut that new\\nand bastard arch in the beautiful middle of the central\\nporch Who has dared to frame that tasteless and heavy\\nwooden door carved a la Louis XV. near Biscornette s\\narabesques The men, the architects, the artists of our\\nday.\\nAnd when we enter the edifice, who has overthrown\\nthat colossal Saint Christopher, proverbial among statues as\\nthe grand salle du Palais among halls, or thejleche of Stras-\\nThe outside of Notre-Dame has been restored since Victor Hugo\\nwrote his famous romance. E. S.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0099.jp2"}, "100": {"fulltext": "68 PARIS\\nburg among steeples And those myriads of statues that\\npeopled all the spaces between the columns of the nave and\\nchoir, kneeling, standing, on horseback, men, women, chil-\\ndren, kings, bishops, gens d* amies in stone, wood, marble,\\ngold, silver, copper, and even wax, who has brutally\\nswept them away It was not Time\\nAnd who has substituted for the old Gothic altar, splen-\\ndidly overladen with shrines and reliquaries, that heavy\\nmarble sarcophagus with its angels heads and clouds, which\\nseems to be a sample from the Val-de-Grace or the Inva-\\nlides Who has so stupidly imbedded that heavy stone\\nanachronism in Hercanduc s Carlovingian pavement Is\\nit not Louis XIV. fulfilling the vow of Louis XIII.\\nAnd who has put cold white glass in the place of those\\nrichly-coloured panes, which made the astonished gaze of\\nour ancestors pause between the rose of the great porch\\nand the pointed arches of the apsis What would an under-\\nchorister of the Sixteenth Century say if he could see the\\nbeautiful yellow plaster with which our vandal archbishops\\nhave daubed their Cathedral He would remember that\\nthis was the colour with which the executioner brushed the\\nhouses of traitors he would remember the Hotel du Petit-\\nBourbon, all besmeared thus with yellow, on account of the\\ntreason of the Constable, yellow of such good quality,\\nsays Sauval, and so well laid on that more than a century\\nhas scarcely caused its colour to fade and, imagining\\nthat the holy place had become infamous, he would flee\\nfrom it.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0100.jp2"}, "101": {"fulltext": "CATHEDRAL OF NOTRE-DAME 69\\nAnd if we ascend the Cathedral without stopping to\\nnotice the thousand barbarities of all kinds, what has been\\ndone with that charming little bell-tower, which stood over\\nthe point of intersection of the transept, and which, neither\\nless frail nor less bold than its neighbour, the steeple of the\\nSainte-Chapelle (also destroyed), shot up into the sky, sharp,\\nharmonious, and open-worked, higher than the other\\ntowers It was amputated by an architect of good taste\\n(1787), who thought it sufficient to cover the wound with\\nthat large piaster of lead, which looks like the lid of a pot.\\nThis is the way the wonderful art of the Middle Ages\\nhas been treated in all countries, particularly in France. In\\nthis ruin we may distinguish three separate agencies, which\\nhave aifected it in different degrees first. Time which has\\ninsensibly chipped it, here and there, and discoloured its\\nentire surface next, revolutions, both political and religious,\\nwhich, being blind and furious by nature, rushed wildly\\nupon it, stripped it of its rich garb of sculptures and carv-\\nings, shattered its tracery, broke its garlands of arabesques\\nand its figurines, and threw down its statues, sometimes on\\naccount of their mitres, sometimes on account of their\\ncrowns; and, finally, the fashions, which, ever since the\\nanarchistic and splendid innovations of the Renaissance,\\nhave been constantly growing more grotesque and foolish,\\nand have succeeded in bringing about the decadence of\\narchitecture. The fashions have indeed done more harm\\nthan the revolutions. They have cut it to the quick they\\nhave attacked the framework of art they have cut, hacked,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0101.jp2"}, "102": {"fulltext": "70 PARIS\\nand mutilated the form of the building as well as its symbol\\nits logic as well as its beauty. And then they have re-\\nstored, a presumption of which time and revolutions were,\\nat least, guiltless. In the name of good taste they have in-\\nsolently covered the wounds of Gothic architecture with\\ntheir paltry gew-gaws of a day, their marble ribbons, their\\nmetal pompons, a veritable leprosy of oval ornaments,\\nvolutes, spirals, draperies, garlands, fringes, flames of stone,\\nclouds of bronze, over-fat Cupids, and bloated cherubim,\\nwhich begin to eat into the face of art in Catherine de\\nMedicis s oratory, and kill it, writhing and grinning in the\\nboudoir of the Dubarry, two centuries later.\\nTherefore, in summing up the points to which I have\\ncalled attention, three kinds of ravages disfigure Gothic\\narchitecture to-day wrinkles and warts on the epidermis\\nthese are the work of Time wounds, bruises and\\nfractures, these are the work of revolutions from Luther\\nto Mirabeau mutilations, amputations, dislocations of\\nmembers, restorations^ these are the Greek and Roman\\nwork of professors, according to Vitruvius and Vignole.\\nThat magnificent art which the Vandals produced, acad-\\nemies have murdered. To the ravages of centuries and\\nrevolutions, which devastated at least with impartiality and\\ngrandeur, were added those of a host of school architects,\\npatented and sworn, who debased everything with the\\nchoice and discernment of bad taste and who substituted\\nthe chicories of Louis XV. for the Gothic lacework for the\\ngreater glory of the Parthenon. It is the ass s kick to the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0102.jp2"}, "103": {"fulltext": "CATHEDRAL OF NOTRE-DAME 71\\ndying lion. It is the old oak crowning itself with leaves\\nfor the reward of being bitten, gnawed, and devoured by\\ncaterpillars.\\nHow far this is from the period when Robert Cenalis,\\ncomparing Notre-Dame de Paris with the famous Temple\\nof Diana at Ephesus, so highly extolled by the ancient\\nheathen, which has immortalized Erostratus, found the\\nGaulois cathedral \u00e2\u0096\u00a0plus excellente en longueur largeur^\\nhauteur^ et structure.\\nNotre-Dame de Paris is not, however, what may be\\ncalled a finished, defined, classified monument. It is not\\na Roman church, neither is it a Gothic church. This\\nedifice is not a type. Notre-Dame has not, like the Abbey\\nof Tournus, the solemn and massive squareness, the round\\nand large vault, the glacial nudity, and the majestic sim-\\nplicity of those buildings which have the circular arch for\\ntheir generative principle. It is not, like the Cathedral of\\nBourges, the magnificent product of light, multiform, tufted,\\nbristling, efflorescent Gothic. It is out of the question to\\nclass it in that ancient family of gloomy, mysterious, low\\nchurches, which seem crushed by the circular arch almost\\nEgyptian in their ceiling; quite hieroglyphic, sacerdotal,\\nand symbolic, charged in their ornaments with more\\nlozenges and zigzags than flowers, more flowers than\\nanimals, more animals than human figures the work of\\nthe bishop more than the architect, the first transformation\\nof the art, fully impressed with theocratic and military\\ndiscipline, which takes its root in the Bas-Empire, and", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0103.jp2"}, "104": {"fulltext": "72 PARIS\\nends with William the Conqueror. It is also out of the\\nquestion to place our Cathedral in that other family of\\nchurches, tall, aerial, rich in windows and sculpture, sharp\\nin form, bold of mien communales and bourgeois^ like polit-\\nical symbols free, capricious, unbridled, like works of art\\nthe second transformation of architecture, no longer hiero-\\nglyphic, immutable, and sacerdotal, but artistic, progressive,\\nand popular, which begins with the return from the Cru-\\nsades and ends with Louis XI. Notre-Dame de Paris is\\nnot pure Rorfian, like the former, nor is it pure Arabian,\\nlike the latter.\\nIt is an edifice of the transition. The Saxon architect\\nhad set up the first pillars of the nave when the Crusaders\\nintroduced the pointed arch, which enthroned itself like a\\nconqueror upon those broad Roman capitals designed to\\nsupport circular arches. On the pointed arch, thenceforth\\nmistress of all styles, the rest of the church was built. In-\\nexperienced and timid at the beginning, it soon broadens\\nand expands, but does not yet dare to shoot up into steeples\\nand pinnacles, as it has since done in so many marvellous\\ncathedrals. You might say that it feels the influence of its\\nneighbours, the heavy Roman pillars.\\nMoreover, these edifices of the transition from the\\nRoman to the Gothic are not less valuable for study than\\npure types. They express a nuance of the art which would\\nbe lost but for them. This is the engrafting of the pointed\\nupon the circular arch.\\nNotre-Dame de Paris is a particularly curious specimen", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0104.jp2"}, "105": {"fulltext": "CATHEDRAL OF NOTRE-DAME 73\\nof this variety. Every face and every stone of the vener-\\nable structure is a page not only of the history of the coun-\\ntry, but also of art and science. Therefore to glance here\\nonly at the principal details, while the little Porte Rouge\\nattains almost to the limits of the Gothic delicacy of the\\nFifteenth Century, the pillars of the nave, on account of\\ntheir bulk and heaviness, carry you back to the date of the\\nCarlovingian Abbey of Saint-Germain des Pres, you w^ould\\nbelieve that there were six centuries between that doorway\\nand those pillars. It is not only the hermetics who find in\\nthe symbols of the large porch a satisfactory compendium\\nof their science, of which the church of Saint-Jacques de\\nla Boucherie was so complete an hieroglyphic. Thus the\\nRoman Abbey, the philosophical church, the Gothic art,\\nthe Saxon art, the heavy, round pillar, which reminds you\\nof Gregory VIL, the hermetic symbols by which Nicholas\\nFlamel heralded Luther, papal unity and schism, Saint-\\nGermain des Pres and Saint-Jacques de la Boucherie\\nall are melted, combined, amalgamated in Notre-Dame.\\nThis central and generatrix church is a sort of chimasra\\namong the old churches of Paris it has the head of one,\\nthe limbs of another, the body of another, something from\\neach of them.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0105.jp2"}, "106": {"fulltext": "A BIRD S-EYE VIEW OF PARIS\\nriCTOR HUGO\\nA\\nFTER a long climb up the dark spiral steps that\\nperpendicularly pierce the thick wall of the towers,\\nat length we suddenly emerge upon one of the\\nhigh platforms flooded with light and air; it is a beautiful\\npicture that unrolls on every side under our eyes.\\nThe Paris of the Fifteenth Century was already a giant\\ncity. Since then, it has certainly lost more in beauty than\\nit has gained in size. As we know, Paris was born in that\\nancient He de la Cite which is shaped like a cradle. The\\nstrand of that isle was its first boundary and the Seine was\\nits moat. For several centuries, Paris remained in the con-\\ndition of an island, with two bridges, one on the north ^nd\\nthe other on the south, and two bridge-heads, that were its\\ngates and its fortresses at the same time the Grand-\\nChatelet on the right bank and the Petit-Chatelet on the\\nleft bank. Then, with its first race of kings, being too\\nmuch confined in its island, Paris crossed the water. Then,\\nbeyond the great and the little Chatelet, a first ring of walls\\nand towers began to invade the country on both sides of the\\nSeine. In the last century a few vestiges of this ancient\\nenclosure still remained to-day there is only the memory\\nand a tradition here and there, the Porte Baudets, or\\nBaudoyer, (Porta Bagauda). Little by little, the flood of\\n74", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0106.jp2"}, "107": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 75\\nhouses, constantly pushed outwards from the heart of the\\ncity, overflows, consumes, uses up and effaces this circuit.\\nPhilippe Auguste makes a new embankment for it. He\\nimprisons Paris in a circular chain of great, high, and solid\\ntowers. For more than a century, the houses crowd to-\\ngether, accumulate and raise their level in this basin, like\\nwater in a reservoir. They begin to deepen; they pile\\nstory upon story; they mount one upon another; they\\nspout upwards like all compressed sap, and each tries to\\nraise its head above its neighbours to obtain a little air. The\\nstreets narrow and stuff themselves till they are ready to\\nburst, and every square fills up and disappears. Finally, the\\nhouses jump over the wall of Philippe Auguste and joyously\\ndisperse over the plain in confusion and disorder like\\ntruants. There they sit proudly, making gardens for them-\\nselves among the fields, and take their ease. In 1367, the\\ncity expands in the faubourg so much that a new enclosure\\nis necessary this is built by Charles V. But a city like\\nParis is in perpetual growth. That is the only kind of city\\nthat becomes a capital. It is a kind of funnel into which\\ndescend all the geographical, political, moral and intellectual\\nslopes of a country, and all the natural declivities of a\\npeople wells of civilization, so to speak, as well as sewers,\\nin which commerce, industry, intelligence and population,\\neverything that is sap, everything that is life, and every-\\nthing that is the soul of a nation, ceaselessly filters and col-\\nlects, drop by drop, century by century. The circuit of\\nCharles V. then, meets the fate of the circuit of Philippe", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0107.jp2"}, "108": {"fulltext": "76 PARIS\\nAuguste. At the end of the Fifteenth Century it is passed\\nwith long strides, and the faubourg runs farther away. In\\nthe Sixteenth, it seems that it recedes from sight and is\\nswallowed up more and more in the old city, so greatly\\ndocs the new city fill up outside. Thus, if we halt at the\\nFifteenth Century, Paris had already used up the three con-\\ncentric circles of walls which, from the time of Julian the\\nApostate, so to speak, have their germ in the Grand-\\nChatelet and the Petit-Chatelet. The mighty city had suc-\\ncessively cracked its four circuits of wall like a growing\\nchild that bursts its clothes of last year. Under Louis XL,\\nin places, in the sea of houses were to be seen some ruined\\ngroups of towers of the ancient circuits rising like the tops\\nof hills in an undulation, or like archipelagoes of the old\\nsubmerged under the new Paris.\\nSince that day, Paris, unfortunately for our eyes, has been\\ntransformed but it has only crossed one more circuit, that\\nof Louis XV., that miserable wall of mud and rubble,\\nworthy of the king who built it, worthy of the poet who\\nsang of it\\nLe mur inurant Paris rend Paris mur rnurant.\\nIn the Fifteenth Century, Paris was still divided into\\nthree distinct and separate cities, each having its own\\nphysiognomy, its own individuality, its own manners, cus-\\ntoms, privileges, and history the Cite, the Universite and\\nthe Ville. The Cite, which occupied the island, was the\\nmost ancient, the smallest, and the mother of the two\\nothers, pressed in between them like a little old woman be-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0108.jp2"}, "109": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 77\\ntween her two big daughters-in-law. The Universite\\ncovered the left bank of the Seine from the Tournelle to\\nthe Tour de Nesle, points which in the Paris of to-day cor-\\nrespond to the Halle aux Vins and the Monnaie: Its\\nlimits generally coincided with that portion of country in\\nwhich Julian had built his baths. The mount of Sainte-\\nGenevieve was contained in it. The culminating point of\\nthis curve of walls was the Papal Gate, that is to say the\\npresent site of the Pantheon. The Ville, which was the\\nlargest of the three portions of Paris, occupied the right\\nbank. Its quay, although broken and interrupted in various\\nplaces, ran along the Seine from the Tour de Billy to the\\nTour du Bois, that is to say the spot where the Tuileries\\nnow stands. These four points where the Seine cuts the\\ncircuit of the capitol, La Tournelle and the Tour de Nesle\\non the left, the Tour de Billy and the Tour du Bois on the\\nright, were called in particular the four towers of Pariso\\nThe Ville extended farther into the country than the\\nUniversite.\\nThe culminating point of the enclosure of the Ville\\n(that of Charles V.) was at the partes Saint-Denis and\\nSaint-Martin, the site of which has not altered.\\nAs we have just said, each of these great divisions of\\nParis was a city, but a city entirely too special to be com-\\nplete, a city which could not do without the other two.\\nThus there were three perfectly separate aspects. The\\nCite abounded with churches, the Ville with palaces, and\\nthe Universite with colleges. In the chaos of cummunal.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0109.jp2"}, "110": {"fulltext": "78 PARIS\\njurisdictions the isle belonged to the Bishop, the right\\nbank to the provost of the merchants, and the left bank to the\\nRecteur. The provost of Paris, a royal and not municipal\\nofficer, was over all The Cite possessed Notre-Dame\\nthe Ville, the Louvre and the H6tel-de-Ville while the\\nUniversite possessed La Sorbunne. The Ville had the\\nHallos i the Cite, the Hotel-Dieuj and the Universite, the\\nPre aux Clercs. The misdemeanours committed by the schol-\\nars on the left bank were judged in the He, in the Palais de\\nJustice, and were punished on the right bank, at Montfau-\\ncon unless the Recteur^ feeling the Universite strong\\nand the king weak, intervened for it was one of the\\nprivileges of the scholars to be hanged in their own ter-\\nritory.\\nIn the Fifteenth Century, the Seine washed five islands\\nin enclosed Paris. The Cite possessed five bridges. The\\nUniversite had six gates, built by Philippe Auguste; be-\\nginning with La Tournelle, these were the porta Saint-\\nVictor, Bordelle, Papale, Saint-Jacques, Saint-Michel and\\nSaint-Germain. The Ville had six gates, built by Charles\\nV. beginning with the Tour de Billy, these were the\\nportes Saint-Antoine, du Temple, Saint-Martin, Saint-\\nDenis, Montmartre, and Saint-Honore. All these gates\\nwere strong and beautiful in addition, which is not hurtful\\nto strength. A moat, broad, deep and with a swift current\\nduring the winter floods, washed the feet of the walls all\\naround Paris the water was supplied by the Seine. The\\ngates were closed at night, the river was barred at both", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0110.jp2"}, "111": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 79\\nends of the city with great iron chains, and Paris slept in\\ntranquillity.\\nFrom a bird s-eye view, these three bourgs, the Cite, the\\nUniversite and the Ville, present to the eye an inextricable\\nnetwork of strangely confused streets. Nevertheless, at\\nthe first glance one recognized that these three fragments\\nof city formed a single body. One immediately noticed\\ntwo long parallel streets, without a break or a change, and\\nalmost in a straight line, which at the same time crossed\\nthe three cities from one end to the other, from south to\\nnorth, perpendicularly to the Seine, binding and mingling\\nthem and infusing and pouring ceaselessly the people of\\none within the walls of the other and making only one out\\nof the three. The first of these two streets ran from the\\nPorte Saint-Jacques to the Porte Saint-Martin it was called\\nthe Rue Saint-Jacques in the Universite, the Rue de la\\nJuiverie in the Cite, and the Rue Saint-Martin in the Ville\\nit crossed the water twice under the names of Petit-Pont\\nand Pont Notre-Dame. The second, that was called the\\nRue de la Harpe on the left bank, the Rue de la Barillerie\\nin the He, the Rue Saint-Denis on the right bank, the Pont\\nSaint-Michel over one arm of the Seine, and the Pont-au-\\nChange over the other, ran from the Porte Saint-Michel in\\nthe Universite to the Porte Saint-Denis in the Ville. As\\nfor the rest, under so many various names, they were ever\\nonly two streets, but two mother streets, the two generative\\nstreets, the arteries of Paris.\\nIndependently of these two principal streets, diametrical", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0111.jp2"}, "112": {"fulltext": "8o PARIS\\nand piercing Paris in various parts of its breadth, common\\nto the entire capital, the Ville and the Universite each had\\ntheir own particular great street which ran lengthways,\\nparallel to the Seine and on the way cutting the two arterial\\nstreets at a right angle. Thus, in the Ville, one went in a\\nstraight line from the Porte Saint-Antoine to the Porte Saint-\\nHonore in the Universite, from the Porte Saint-Victor to\\nthe Porte Saint-Germaine. These two great ways, crossed\\nwith the first two, formed the canvas upon which rested,\\nknotted and tangled, the Daedalian network of the streets\\nof Paris.\\nNow what kind of aspect did all this present when seen\\nfrom the summit of the towers of Notre-Dame in 1482?\\nFor the spectator who arrived out of breath, it was first\\na dazzle of roofs, chimneys, streets, bridges, squares, tur-\\nrets and clock-towers. Everything engaged the eyes at\\nonce, the carved gables, the sharp roof, the turrets sus-\\npended at the angles of the walls, the pyramid of stone of\\nthe Eleventh Century, the slate obelisk of the Fifteenth,\\nthe round and bare tower of the donjon, the square and\\nembroidered tower of the church, the big, the little, the\\nmassive and the aerial. The eyes lost themselves long in\\nall the depth of this labyrinth in which there was nothing\\nthat had not its originality, its reason, its genius and its\\nbeauty, nothing that did not spring from art, from the\\nsmallest house with its painted and carved front, with ex-\\nterior woodwork, elliptical doorway, and with floors pro-\\njecting over one another, to the royal Louvre that at that", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0112.jp2"}, "113": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 81\\nday had a colonnade of towers. But when the eye began\\nto grow accustomed to this tumult of edifices, the principal\\nmasses that it distinguished were as follows\\nFirst for the Cite. We have just explained that in the\\nFifteenth Century this ship was moored to the two banks\\nof the river by five bridges. The form of a vessel had\\nstruck the heraldic scribes, for it is from this, and not from\\nthe siege by the Normans that came, according to Favyn\\nand Pasquier, the ship that is blazoned on the old shield of\\nParis. The Cite, then, first presents itself to the eye with\\nits poop to the east and its prow to the west. Turning to-\\nwards the prow, one had before one an innumerable collec-\\ntion of old roofs over which broadly loomed the leaden\\napsis of the Sainte-Chapelle, resembling the back of an\\nelephant laden with his castle. Only this tower was the\\nboldest spire, and covered more with carpentry and carved-\\nwork than any that had ever permitted the sky to show\\nthrough its denticulated cone. In front of Notre-Dame,\\nthree streets disgorged into the parvis, a fine square of old\\nhouses. Over the southern side of this square, leaned the\\nwrinkled and grim facade of the Hotel-Dieu and its roof\\nthat seemed covered with pustules and warts. Then, to\\nthe right, to the left, to the east, and to the west, in this\\nclose of the Cite that was yet so narrow, arose the belfries\\nof its twenty-one churches of every date, of every form,\\nand of every size, from the low and worm-eaten Roman\\ncampanile of Saint-Denis du-Pas {career Glaucinf) to the\\nfine needles of Saint-Pierre-aux-Boeufs and Saint-Landry.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0113.jp2"}, "114": {"fulltext": "82 PARIS\\nBehind Notre-Dame to the north, ran the cloisters with\\ntheir Gothic galleries and to the east, the deserted point\\nof the Terrain. In this mass of houses, the eye could still\\ndistinguish by those high stone mitres, pierced and open to\\nthe day, that then even on the roof crowned the highest\\nwindows of the palace, the hotel given by the city, under\\nCharles VI., to Juvenal des Ursins somewhat farther\\naway, the tarred sheds of the Palus market in still another\\ndirection, the new apsis of Saint-Germain-le-Vieux, length-\\nened in 1458 with an end of the Rue aux Febves and\\nthen, in places, crossroads thronged with people; a pillory\\nset up at a corner of the street a fine piece of the paving\\nof Philippe Auguste, a magnificent tiling ridged for the\\nhorses hoofs in the middle of the street and so badly re-\\nplaced in the Sixteenth Century by the miserable pebble-\\nwork called pave de la Ligue a deserted rear courtyard\\nwith one of those open stairway turrets such as they made\\nin the Fifteenth Century and one of which may still be\\nseen in the Rue des Bourdonnais. Lastly, to the right of\\nthe Sainte-Chapelle, towards the west, the Palais de Justice\\npitched its group of towers at the edge of the water. The\\nlofty trees of the king s gardens, which covered the western\\npoint of the Cite, masked the islet of the Passeur. As for\\nthe water, from the height of the towers of Notre-Dame\\none could scarcely see it on either side of the Cite, the\\nSeine disappeared under the bridges, and the bridges under\\nthe houses.\\nAnd when the eye passed beyond those bridges whose", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0114.jp2"}, "115": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 83\\nroofs assumed a green tone, having grown mouldy before\\ntheir time from the vapours of the w^ater, if it was directed\\nto the left towards the Universite, the first edifice that it\\nstruck was a great and low cluster of towers, the Petit-\\nChatelet, the yawning gateway of which swallowed up the\\nend of the Petit-Pont then, if your glance ran along the\\nbanks from east to west, there was a long cordon of houses\\nwith carved joists, coloured windows, rising with jutting\\nstories one over another above the pavement, an intermi-\\nnable zigzag of bourgeois gable-ends, frequently cut by the\\nmouth of a street, and from time to time also by the front\\nor the elbow of a great stone mansion sitting proudly at its\\nease, courts and gardens, wings and main buildings, among\\nthis populace of crowded and curtailed houses, like a great\\nlord in a crowd of peasants. There were five or six of\\nthese hotels along the quay, from that of Lorraine, which\\nshared the great neighbouring enclosure of La Tournelle\\nwith the Bernardins, to the Hotel de Nesle, whose princi-\\npal tower bounded Paris, and whose pointed roofs were\\nin a position to slope their black triangles towards the\\nscarlet disk of the setting sun during three months of the\\nyear.\\nFor the rest, this side of the Seine was the less mercan-\\ntile of the two the scholars made more of a noise and\\nthrong there than the artisans, and, properly speaking,\\nthere was no quay except the Pont Saint-Michel at the\\nTour de Nesle. The remainder of the margin of the\\nSeine was sometimes a bare strand, as it was beyond the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0115.jp2"}, "116": {"fulltext": "84 PARIS\\nBernardins, and sometimes a pile of houses that stood with\\ntheir feet in the water, as was the case between the two\\nbridges.\\nThere was a great hubbub of washerwomen they\\nshouted and chatted and sang from morning till evening\\nalong the bank, and beat the linen heavily, as in our day.\\nThis was not the least gaiety in Paris. The Universite\\nformed a block to the eye. From one end to the other it\\nwas entirely homogeneous and compact. Those thousand\\nroofs, thick-set, angular, clinging together, and almost all\\ncomposed of the same geometrical element, seen from\\nabove, presented the aspect of a crystallization of the same\\nsubstance. The capricious ravine of the streets did not\\ncut up this mass of buildings into too greatly-disappropor-\\ntioned slices. The forty-two colleges were distributed\\namong them in a fairly equal manner, there were some\\neverywhere. The varied amusing summits of these fine\\nedifices were the product of the same art as were the simple\\nroofs that overtopped, and were really only a multiplication\\nin square or cube of the same geometrical figure. They\\ntherefore complicated the whole without disturbing it, and\\ncompleted without changing it.\\nSeveral fine hotels, here and there, jutted out with splen-\\ndid effect over the picturesque granaries of the left bank j\\nthe logis de Nevers, de Rome and de Reims, which have\\ndisappeared the Hotel de Cluny, which still exists for the\\nconsolation of the artist and whose tower has been so stu-\\npidly discrowned. Near Cluny, that Roman palace, with", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0116.jp2"}, "117": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 85\\nfine elliptical arches, was the baths of Julian. There\\nwere also many abbeys of a more devout beauty and a\\ngraver grandeur than the hotels, but not less beautiful, nor\\nless great. Those that first arrested the eye were the Ber-\\nnardins with their three bell-towers; Sainte-Genevieve,\\nwhose square tower, which still exists, makes us greatly re-\\ngret the rest the Sorbonne, half college half monastery, so\\nadmirable a nave of which still exists the beautiful quad-\\nrilateral cloisters of the Mathurins their neighbours, the\\ncloisters of Saint-Benoit the Cordeliers, with their three\\nenormous gables in juxtaposition; the Augustins, whose\\ngraceful needle, after the Tour de Nesle, made the second\\nindentation on this side of Paris, starting from the west.\\nThe colleges, which in fact are the intermediate ring of the\\ncloisters in the world, held the middle position between the\\nhotels and the abbeys in the monumental series, with a\\nseverity full of elegance, a sculpture less giddy than the\\npalaces, and an architecture less serious than the monastic\\nbuildings. Unhappily, almost nothing remains of these\\nmonuments in which Gothic art intersected wealth and\\neconomy with such precision. The churches (and they\\nwere numerous and splendid in the Universite and there\\nalso they appeared in grades of all the ages of architecture,\\nfrom the open arches of Saint- Julien to the ogives of Saint-\\nSeverin), dominated the whole and, like one harmony the\\nmore in this mass of harmonies, they pierced every instant\\nthe multiple indentation of gables with slashed pinnacles,\\nopen belfries, and slender needles, whose lines, moreover.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0117.jp2"}, "118": {"fulltext": "86 PARIS\\nwere nothing more than a magnificent exaggeration of\\nthe sharp angles of the roofs.\\nThe ground of the Universite was hilly. Mount Sainte-\\nGenevieve in the southeast formed an enormous swelling;\\nand it was something worth seeing from the top of Notre-\\nDame, this maze of narrow and tortuous streets (to-day the\\nLatin country), these clusters of houses which, spreading\\nin every direction from the summit of that eminence, pre-\\ncipitated themselves in disorder and almost perpendicularly\\ndown its slopes to the edge of the water, some seeming to\\nbe falling down and others to be climbing up again, while\\nall seemed to be holding on to one another. A continual\\nstream of thousands of black points, crossing and recross-\\ning each other on the pavements, made everything in mo-\\ntion under one s eyes. This was the populace seen thus\\nfrom above and from a distance.\\nLastly, in the breaks of these roofs, spires, and irregu-\\nlarities of the innumerable buildings, that bent, twisted and\\nindented so strangely the extreme lines of the Universite,\\nhere and there could be seen a thick stretch of mossy wall,\\na big round tower, or a crenellated city-gate, showing the\\nfortress this was the enclosure of Philippe Auguste. Be-\\nyond were the verdant meadows and the receding roads,\\nalong which straggled a few additional houses of the fau-\\nbourg, scarcer as the distance increased. Several of these\\nfaubourgs possessed some importance first, starting from\\nLa Tournelle, came the bourg Saint-Victor, with its bridge\\nof one arch over the Bievre its abbey, where might be", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0118.jp2"}, "119": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 87\\nread the epitaph of Louis le Gros, and its church with an\\noctagonal spire flanked by four belfries of the Eleventh\\nCentury (a similar one may be seen at Etampes it has not\\nyet been pulled down) j then the bourg Saint-Marceau,\\nwhich already possessed three churches and a convent\\nthen, leaving the mill of the Gobelins and its four white\\nwalls to the left, came the faubourg Saint-Jacques with its\\nfine sculptured cross at the cross-roads; the church of\\nSaint-Jacques du Haut-Pas, which then was Gothic, pointed\\nand charming Saint-Magloire, a fine nave of the Four-\\nteenth Century, which Napoleon turned into a hay-barn j\\nand Notre-Dame des Champs, in which there were Byzan-\\ntine mosaics. Finally, after having left in the open field\\nthe monastery of the Chartreux, a rich edifice contempo-\\nrary with the Palais de Justice, with its little gardens ar-\\nranged in compartments, and the ill-haunted ruins of Vau-\\nvert, in the west, the eye fell upon the three Roman spires\\nof Saint-Germain des Pres. The bourg Saint-Germain,\\nalready a large commune, lay behind with its fifteen or\\ntwenty streets the sharp belfry of Saint-Sulpice marked\\none corner of the bourg. To one side, were seen the\\nquadrilateral enclosure of the Saint-Germain fair, where\\nthe market stands to-day then the abbe s pillory, a pretty\\nlittle round tower well capped with a leaden cone the tile-\\nworks were farther away, and the Rue du Four, which led\\nto the manor-kiln, and the mill on its knoll, and the pest-\\nhouse, a little house isolated. But what especially attracted\\nthe eye and fixed it for a long time on this point was the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0119.jp2"}, "120": {"fulltext": "88 PARIS\\nabbey itself. It is certain that this monastery that had a\\ngrand appearance, both as a church and a lordship, this\\nabbey-palace, in which the bishops of Paris esteemed them-\\nselves happy to sleep for a night, this refectory to which\\nthe architect had given the air, the beauty, and splendid\\nrose-window of the cathedral, this elegant chapel of the\\nVirgin, this monumental dormitory, these vast gardens, this\\nportcullis, this drawbridge, this circuit of battlemented walls\\nwhich to the eyes notched the verdure of the surrounding\\nmeadows, these courtyards in which glittered men-at-arms\\nin golden copes, the whole grouped and rallied around the\\nthree open-arched spires, finely set on a Gothic apsis, made\\na magnificent figure on the horizon.\\nWhen at length, after gazing long at the Universite, you\\nturned towards the right bank, towards the Ville, the spec-\\ntacle suffered a brusque change of character. The Ville,\\nwhile much larger than the Uni\\\\ersite, was, in fact, less of\\na unity. At the first aspect, it was seen to separate itself\\ninto several singularly distinct masses. First, in the east,\\nin that part of the city which to-day receives its name from\\nthe morass where Camulogenus got Caesar stuck in the mire,\\nthere was a pile of palaces. It extended to the edge of the\\nwater. Four almost adjoining palaces, Jouy, Sens, Barbeau,\\nand the Queen s abode, mirrored their slated tops, cut with\\nslender turrets, in the Seine. These four edifices filled the\\nspace from the Rue des Nonaindieres to the Abbey of the\\nCelestins, the spire of which gracefully relieved the line of\\ngables and battlements, A few greenish huts leaning ovef", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0120.jp2"}, "121": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 89\\nthe water in front of these sumptuous hotels did not inter-\\nfere with the view of the beautiful angles of their facades,\\ntheir wide windows squared and crossed with stone, their\\nogival porches surcharged with statues, the sharp edges of\\ntheir cleanly-cut walls, and all those charming architectural\\nsurprises that give Gothic art the air of recommencing its\\ncombinations with every monument. Behind these palaces,\\nran in all directions, sometimes cloven, palisaded and\\ncrenellated like a citadel, sometimes veiled with great trees\\nlike an isolated country-house, the immense and multiform\\nenclosure of that miraculous Hotel de Saint-Pol, in which\\nthe King of France was able superbly to lodge twenty-two\\nprinces of the quality of the Dauphin and the Duke of\\nBurgundy, with their servants and suites, without counting\\nthe great lords, and the Emperor when he came to see Paris,\\nand the lions, which had their separate hotel in the royal\\nabode.\\nFrom the tower on which we have stationed ourselves,\\nthe Hotel de Saint-Pol, nearly half concealed by the four great\\nabodes of which we have just spoken, was still very con-\\nsiderable and very wonderful to the view. One could\\neasily distinguish, although skillfully consolidated with the\\nprincipal building by long galleries with windows and col-\\numns, the three hotels that Charles V. had amalgamated\\nwith his palace; the Hotel du Petit-Muce, with the lace-\\nwork balustrade that gracefully hemmed its roof j the hotel\\nof the Abbe of Saint-Maur, having the relief of a strong\\ncastle, a big tower, machicolation, loopholes, iron bastions,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0121.jp2"}, "122": {"fulltext": "90 PARIS\\nand, over the wide Saxon gateway, the abbe s escutcheon\\nbetween the two grooves of the drawbridge the hotel of\\nthe Comte d \u00c2\u00a3tampes, the donjon of which, in ruins at the\\ntop, looked round and notched like the comb of a cock\\nhere and there three or four ancient oaks formed a clump\\nlike enormous cauliflowers; swans sported in the clear\\nwaters of the fish-ponds streaked with light and shadow,\\nand many courtyards with picturesque corners came into\\nview the Hotel des Lions, with its low arches on short\\nSaxon pillars, its iron portcullis and its perpetual roaring\\nthrough all this gleamed the scaly spire of the Ave Maria;\\nto the left was the abode of the Provost of Paris, flanked\\nwith four slender open-worked turrets in the central back-\\nground was the Hotel Saint-Pol, properly so-called, with\\nits multiple facades, its successive enrichments since the\\ntime of Charles V., the hybrid excrescences with which\\narchitects had loaded it for two centuries, with all the\\napses of its chapels, all the gables of its galleries, a thou-\\nsand vanes to the four winds, and its two lofty contiguous\\ntowers whose conical roofs, with battlements surrounding\\ntheir bases, looked like peaked caps with turned-up brims.\\nContinuing to mount the steps of the amphitheatre of\\npalaces stretching away on the surface of the ground, after\\ncrossing a deep ravine dug in the roofs of the Ville, the\\neye arrived at the logis d Angouleme, a vast construction\\nof various periods, in which there were portions quite new\\nand very white, which scarcely assimilated with the whole\\nany better than a red patch in a blue pourpoint. Behind it,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0122.jp2"}, "123": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 91\\nrose the forest of spires of the Palais des Tournelles.\\nThere was no sight in the world, either at Chambord or at the\\nAlhambra, that was more magical, more aerial, or more en-\\nchanting than this forest of spires, belfries, chimneys, vanes,\\nspirals, screws, lanterns pierced by the daylight that seem\\nto have been worked with a punch, pavilions and spindle-\\nturrets, all varying in form, height, and attitude. One\\nwould have called it a gigantic set of chessmen.\\nTo the right of the Tournelles, that cluster of enormous\\ntowers of inky black, joining one another, and, so to speak,\\ntied together with a circular moat, that donjon pierced with\\nloopholes far more than with windows, that drawbridge\\nalways raised, and that portcullis always down, is the Bas-\\ntille. Those species of black beaks that protrude between\\nthe battlements, and, that, from a distance, you would take\\nfor spouts, are cannons.\\nUnder their balls, at the foot of the formidable building,\\nis the Porte Saint-Antoine sunk between its two towers.\\nBeyond the Tournelles, as far as the wall of Charles V.,\\nwith rich compartments of verdure and flowers, extended a\\nvelvet carpet of cultivated land and royal parks, in the\\nmidst of which, by its labyrinth of trees and alleys, one rec-\\nognized the famous Daedalian garden that Louis XI. had\\ngiven to Coictier. The doctor s observatory rose above\\nthe maze like a great isolated column with a little house as\\na capitol. Terrible astrological doings took place in that\\nlittle office.\\nThe Place Royale is situated there now.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0123.jp2"}, "124": {"fulltext": "92 PARIS\\nAs we have said, the palace-quarter, of which we have\\ntried to give some idea to the reader, although only pointing\\nout the greatest palaces, filled the angle formed by the Seine\\nand the enclosure of Charles V., on the east. The centre\\nof the Ville was occupied by a mass of the houses of the\\ncommon people. There, in fact, the three bridges of the\\nCite disgorged on the right bank, and bridges produce\\nhouses before palaces. This mass of common dwellings,\\ncrowded together like cells in a hive, had its own beauty.\\nThe Rues Saint-Denis and Saint-Martin, with their innu-\\nmerable ramifications, approached each other like two great\\ntrees that mingle their branches and then tortuous lines,\\nthe Rue de la Platrerie, de la Verrerie, de la Tixeranderie,\\netc., serpentined over all. There were also fine edifices\\nthat pierced the petrified undulations of this sea of gables.\\nAt the head of the Pont aux Changeurs, behind which\\ncould be seen the Seine foaming under the wheels of the\\nPont aux Meuniers, was the Chatelet, a feudal tower of the\\nThirteenth Century there was the rich square belfry of\\nSaint-Jacques de la Boucherie, with its corners all blunted\\nwith sculptures, already admirable, although it was not com-\\npleted in the Fifteenth Century. There was the Maison-\\naux-Piliers open towards the Place de Greve there was\\nSaint-Gervais, that has since been spoiled by a doorway in\\ngood taste Sainte-Mery, whose ancient ogives were already\\nalmost full semicircles Saint-Jean, whose magnificent\\nsteeple was proverbial there were twenty other monu-\\nments that did not disdain to hide their marvels in this", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0124.jp2"}, "125": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 93\\nchaos of black, narrow, and deep streets. Add to these the\\ncrosses of carved stone, more plentiful at the cross-roads\\nthan gibbets the cemetery of the Innocents, the architec-\\ntural circuit of which could be seen in the distance above\\nthe roofs 5 the pillory of the Halles, the top of which could\\nbe seen between two chimneys of the Rue de la Cosson-\\nnerie; the steps of the Croix-du-Trahoir in its square that\\nwas always black with people the circular booths of the\\ncorn-exchange the fragments of the ancient enclosure of\\nPhilippe Auguste, that could be distinguished here and there\\namong the houses, towers overrun with ivy, ruined gates\\nand crumbling and deformed portions of wall j the quay\\nwith its thousand shops and sanguinary flaying-yards the\\nSeine covered with boats, from the Port au Foin to For-\\nI Eveque, and you will have a confused image of what the\\ncentral portion of the Ville was in 1482.\\nWith these two quarters, the one of palaces and the\\nother of houses, the third element in the aspect offered by\\nthe Ville was a long belt of abbeys that bordered it almost\\nthroughout its circumference from east to west, and, behind\\nthe circuit of fortifications that shut in Paris, formed a\\nsecond interior circuit of convents and chapels. Thus,\\nimmediately beside the Pare des Tournelles, between the\\nRue Saint-Antoine and the old Rue du Temple, there was\\nSainte-Catherine with its immense space and a cultivation\\nwhich was limited only by the wall of Paris. Between the\\nold and new Rue du Temple, there was the Temple, a\\nsinister cluster of towers, lofty, upright and isolated, in the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0125.jp2"}, "126": {"fulltext": "94 PARIS\\ncentre of a vast battlemented enclosure. Between the Rue\\nNeuve du Temple and the Rue Saint-Martin, was the\\nabbey of Saint-Martin, amid its gardens, a superb fortified\\nchurch, the girdle of whose towers and tiara of whose bel-\\nfries only yielded in power and splendour to Saint-Germain\\ndes Pres. Between the two streets of Saint-Martin and\\nSaint-Denis was the close of La Trinite. Then, between\\nthe Rue Saint-Denis and the Rue Montorgueil was the\\nFilles-Dieu. To one side, might be distinguished the rot-\\nting roofs and the unpaved enclosure of the Cour des Mir-\\nacles. This was the sole profane link that mingled with\\nthis devout chain of convents.\\nLastly, the fourth compartment that outlined itself in the\\nagglomeration of roofs on the right bank, and which oc-\\ncupied the western angle of the enclosure and the edge of\\nthe water down-stream, was a new knot of palaces and\\nhotels crowding at the foot of the Louvre. The old\\nLouvre of Philippe Auguste, that immense edifice whose\\ngreat tower rallied twenty-three mistress-towers around it,\\nwithout counting the turrets, seemed from afar to be set in\\nthe Gothic tops of the hotels of Alen^on and Petit-Bour-\\nbon. This hydra of towers, the guardian giant of Paris,\\nwith its twenty-four heads always raised, with its monstrous\\ncroups, leaded or scaled with slate, and gleaming with me-\\ntallic reflections, ended the configuration of the Ville in the\\nwest with an astonishing effect.\\nOutside the walls, several faubourgs crowded around the\\ngates, but not so many as, and more scattered than, those", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0126.jp2"}, "127": {"fulltext": "A BIRD S-EYE VIEW OF PARIS 95\\nof the Universite. Behind the Bastille, there were twenty\\nround shanties about the curious sculptures of the Croix-\\nFaubin and the flying buttresses of the abbey of the Saint-\\nAntoine des Champs next came Popincourt, lost among\\nthe wheat-fields then La Courtille, a joyous village of\\nwine-shops the bourg Saint-Laurent with its church, the\\nbelfry of which, seen from a distance, seemed to mingle\\nwith the pointed towers of the Porte Saint-Martin j the\\nfaubourg Saint-Denis, with the vast enclosure of Saint-\\nLarde outside the Porte Montmartre, was the Grange-\\nBateliere, encircled with white walls j behind it, was Mont-\\nmartre with its chalky slopes, that had then almost as many\\nchurches as mills, and which has preserved only mills, for\\nnowadays society only demands bread for the body.\\nFinally, beyond the Louvre, in the meadows of the Fau-\\nbourg Saint-Honore, at that day already quite considerable,\\none could see the extent and greenness of Petite-Bretagne\\nand the Marche aux Pourceaux, in the midst of which\\nstood the horrible vat for boiling false coiners. Between\\nLa Courtille and Saint-Laurent, your eye had already no-\\nticed, upon the crown of an elevation set in a desert plain,\\na kind of building that from a distance resembled a ruined\\ncolonnade standing on a base laid bare. This was neither\\na Parthenon nor a temple of Jupiter Olympus it was\\nMontfaucon.\\nNow let us recapitulate the general aspect of ancient Paris\\nin a few words. In the centre, the He de la Cite, in form\\nresembling an enormous tortoise putting forth its bridges.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0127.jp2"}, "128": {"fulltext": "96 PARIS\\nscaly with tiles, like claws from beneath its gray shell of\\nroofs. To the left, the monolithic trapezium, strong,\\ndense, and bristly, of the Universite to the right, the vast\\nsemicircle of the Ville, much more mixed up with gardens\\nand monuments.\\nThe three portions. Cite, Universite and Ville were\\nveined with innumerable streets. Crossing the whole was\\nthe Seine, obstructed with islands, bridges and boats. All\\naround was an immense plain, cut up with thousands of\\nkinds of cultivation and dotted with beautiful villages. To\\nthe left, were Issy, Vanves, Vaugirard, Montrouge, and\\nGentilly with its round and its square tower, etc.; to the\\nright, twenty others, from Conflans to Ville-l Eveque.\\nOn the horizon, was a hem of hills disposed in a circle like\\nthe rim of a basin. Finally, in the distance to the east, was\\nVincennes and its seven quadrilateral towers to the south,\\nBicetre and its pointed turrets to the north, Saint-Denis\\nand its spire to the west, Saint-Cloud and its donjon.\\nThere is the Paris that was seen from the top of the towers\\nof Notre-Dame by the ravens that lived in 1482.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0128.jp2"}, "129": {"fulltext": "A GLANCE AT PARIS ABOUT 1844\\nHONORE DE BALZAC\\nHO is the Parisian, stranger, or provincial visi-\\ntor, that has not noticed, though only two\\ndays in Paris, the black walls flanked by\\nthree large pepper-box towers, two of which almost join,\\nthe sombre and mysterious ornament of the Quai des\\nLunettes This quay begins at the bottom of the Pont-au-\\nChange and extends to the Pont-Neuf. A square tower\\ncalled the Tour de I Horloge, from which the signal for the\\nmassacre of Saint-Bartholomew was given, a tower almost\\nas high as that of Saint-Jacques-la-Boucherie, indicates the\\npalace and forms the corner of the quay. These four\\ntowers and these walls are clothed with that blackish hue\\nthat all north facades gain in Paris. Towards the middle\\nof the quay, at a deserted arcade, begin the private con-\\nstructions which the establishment of the Pont-Neuf oc-\\ncasioned in the reign of Henri IV. The Place Royale was\\na replica of the Place Dauphine. It has the same system\\nof architecture of brick squared with cut stone. This\\narcade and the Rue de Harlay indicate the limits of the\\npalace to the west. Formerly the Prefecture de Police and\\nthe hotel of the first presidents of Parliament were depend-\\nencies of the palace. The Cour des Comptes, and the\\n97", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0129.jp2"}, "130": {"fulltext": "98 PARIS\\nCour des Aides completed the supreme court of justice,\\nthat of the sovereign.\\nThis square, this island of houses and buildings, where is\\nto be found the Sainte-Chapelle, the most magnificent\\njewel of Saint-Louis, is the sanctuary of Paris; it is the\\nmost sacred spot, the holy ark. At first this space was the\\nentire first city, for the site of the Place Dauphine was a\\nmeadow dependent on the royal domain where was a mill\\nfor coining money. From this arose the name of Rue de\\nla Monnaie given to the street that leads to Pont-Neuf.\\nFrom that came also the name of one of the three round\\ntowers, the second, which is called the Tour d Argent,\\nwhich would seem to prove that money was struck there.\\nThe famous mill, seen in the old plans of Paris, was in all\\nprobability of later date than when money was coined in\\nthe palace itself, and, doubtless was due to an improvement\\nin the art of coining money. The first tower, almost\\ncoupled with the Tour d Argent, is called the Tour de\\nMontmorency. The third, the smallest, but the best pre-\\nserved of the three, for it still retains its battlements, is\\nnamed Tour Bonbec. The Sainte-Chapelle and its four\\ntowers (including the Tour de I Horloge,) perfectly defines\\nthe enclosure, the perimeter, as an employe of the Cadastre\\nwould say, of the palace from the Merovingians to the first\\nHouse of Valois but for us, and in consequence of its\\ntransformations, this palace most especially recalls the epoch\\nof Saint-Louis.\\nCharles V. was the first to abandon the palace to the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0130.jp2"}, "131": {"fulltext": "A GLANCE AT PARIS ABOUT 1844 99\\nParliament, a newly-created institution, and went, under\\nthe protection of the Bastille, to inhabit the famous Hotel\\nSaint-Pol, to which the Palais des Tournelles was added\\nafterward. Then, under the last of the Valois, royalty\\nreturned from the Bastille to the Louvre, which had been its\\nfirst bastille. The first dwelling of the kings of France, Saint-\\nLouis s palace, which had kept the simple name of Palais to\\nsignify the palace par excellence^ is entirely buried under the\\nPalais de Justice, and forms its cellars, for it was built in\\nthe Seine, like the cathedral, and built so carefully that the\\nhighest tides of the river hardly covered the first steps.\\nThe Quai de 1 Horloge covers about twenty feet of these\\nthousand-year-old buildings. Carriages roll by on a level\\nwith the capitals of the strong columns of these three\\ntowers, the elevation of which formerly must have been in\\nharmony with the elegance of the palace and had a pictur-\\nesque effect from the water, since to-day these towers still\\ndispute height with the tallest monuments in Paris. When\\nwe contemplate this vast capital from the top of the lantern\\nof the Pantheon, the Palais with the Sainte-Chapelle still\\nappears the most monumental of all the buildings. This\\npalace of kings, over which you walk when you traverse\\nthe immense Salle des Pas-Perdus, is a marvel of architec-\\nture, and is so still to the intelligent eyes of the poet who\\ncomes to study it while examining the Conciergerie. Alas\\nthe Conciergerie has invaded the palace of the kings. One s\\nheart bleeds to see how jails, cells, corridors, apartments,\\nand halls without light or air have been cut into this mag-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0131.jp2"}, "132": {"fulltext": "loo PARIS\\nnificent composition in which Byzantine, Roman, and\\nGothic, the three orders of ancient art, have been\\nunified in the architecture of the Twelfth Century. This\\npalace is to the monumental history of the France of the\\nfirst period what the Chateau de Blois is to the monumental\\nhistory of the second period. Just as at Blois you can ad-\\nmire in the same court the chateau of the Comtes de Blois,\\nthat of Louis XII., that of Francois I., and that of Gaston,\\nso at the Conciergerie you will find in the same enclosure\\nthe character of the early races, and in the Sainte-Chapelle\\nthe architecture of Saint-Louis.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0132.jp2"}, "133": {"fulltext": "The Left Bank\\n1", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0133.jp2"}, "134": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0134.jp2"}, "135": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0135.jp2"}, "136": {"fulltext": "FLOWER ^rARKET.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0136.jp2"}, "137": {"fulltext": "FLOWERS IN PARIS\\nALPHONSE KARR\\nFROM its origin, Paris seems to have been pre-\\ndestined for the capital of the civilized world.\\nJulian says that Paris was surrounded with\\npleasant gardens full of fruits and flowers.\\nWe have letters patent of Clovis dated in the month of\\nOctober in the year 500 of the Christian Era, in which he\\nsays:\\nParis is a brilliant queen over other cities a royal city,\\nthe seat and head of the empire of the Gauls. With\\nParis safe, the realm has nothing to fear,\\nParis was encircled with woods and gardens, the\\nmemory of which is still preserved by various names of\\nstreets and faubourgs, such as la Courtille^ la Culture-\\nSainte- Catherine^ etc.^ etc.\\nThe church that Clovis caused to be built near Sainte-\\nGenevieve (a church first dedicated by him to Saint Peter\\nand Saint Paul) was surrounded by vast gardens.\\nHis son, Childebert, formed a magnificent garden around\\nthe Palais des Thermes, says a contemporary, completely\\nplanted with roses and every other kind of flowers, as well\\nas fruit-trees that this prince grafted himself. The queen,\\nUltrogothe, was passionately fond of flowers.\\n103", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0137.jp2"}, "138": {"fulltext": "104 PARIS\\nCharlemagne took so much pleasure in his gardens that\\nhe had one around each of his houses in the various\\nprovinces.\\nHe often occupies himself with his gardens in his\\nCapitularies^ with great solicitude. I desire, he says,\\nthat there may be always in my gardens an abundance of\\nlilies, roses, sage, rosemary, poppies, etc.\\nHugues Capet had two gardens in one of the islands called\\nr lU-atix-TreilUs. Louis le Jeune, in 1160, gave to the\\nchaplain of the chapel of Saint-Nicholas six hogsheads\\nof wine to take from these vineries.\\nThis garden occupied the place, where, in 1606, the Rue\\nHarlay, the Place Dauphine and the quays were con-\\nstructed, and, in 167 1, the court of the Palais and the Rue\\nla Moignon.\\nPhilippe Auguste had three gardens, one of which was\\ncalled the King s garden, and another the Queen s garden.\\nCharles V., who caused the Hotel Saint-Paul to be built,\\nlaid out there immense gardens celebrated for the beauty\\nof their trellis-work and cherry-trees, whence come the\\nnames of the streets that take their place Beautreillis and\\nla Cerisaye.\\nUnder Francis I., appeared formal beds, grass-plots, and\\nthe taste for rare flovvers.\\nIn all ages the Parisians have loved flowers and gardens.\\nA Trait e de la Police^ published in 1799, complains of the\\nobstinacy of the people in keeping gardens suspended over\\ntheir windows. Even those of the lower orders, says", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0138.jp2"}, "139": {"fulltext": "FLOWERS IN PARIS 105\\nthe author, who have no inheritances to plant make gar-\\ndens for themselves in pots and boxes, being unable without\\ngreat trouble and disquiet to do without them entirely.\\nHe adds The magistrates vainly oppose these gardens\\nat the windows. After many ordinances prohibiting them,\\nand many condemnations of prevaricators, no success was\\ngained in preventing them, so strong is this affection for\\ngardens which prevails even in the minds of the most\\nindigent over their reason and their own interests.\\nUnder Louis XIV., Le Notre and La Quintinie were\\nappointed councillors-directors of gardens, and Le Notre\\nreceived the collar of the order of Saint-Michel.\\nWe find a multitude of ordinances of the kings of\\nFrance relative to the gardens and gardeners of the city of\\nParis.\\nAmong others, there is a singular privilege for the osiers\\ngrown in the gardens of Saint-Marcel. The ordinance\\ndates from 1473 and commences thus It is ordered and\\nenjoined that nobody shall be so bold as to sell any other\\nosiers that are grown elsewhere than in Saint-Marcel,\\netc.\\nAn ordinance of Henri III., in December, 1576, calls the\\ngardeners his beloved master-gardeners of the good city\\nof Paris.\\nThe gardeners at that period formed a corporation hav-\\ning severe laws. The candidates had to undergo examina-\\ntions for a baccalaureate.\\nArt. XVII. It is forbidden that any gardener shall be", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0139.jp2"}, "140": {"fulltext": "io6 PARIS\\nso bold, upon pain of prison and forty sols fine, to under-\\ntake any work at more than five sols Parisis^ unless he is a\\nmaster or bachelor.\\nArt. XVIII. Let none be so daring or bold as to un-\\ndertake any task above five sols unless he is capable of\\ndoing good work and a masterpiece, and on a level with\\nthe duty of the sworn master-gardeners.\\nArt. XIX. And since it has come to the knowledge of\\njustice that various persons calling themselves master-gar-\\ndeners and bachelors, etc.\\nThe master-gardeners paid heavy imposts to the state.\\nThe author of the Traite de la Police says The wars\\nwhich the late King Louis XIV. had to sustain against the\\ngreat number of enemies obliged him to have recourse to\\nvarious extraordinary means to meet the expenditures, etc.\\nIn fact, if the people had not contributed money for the\\nexpenses of the war, how would the authorities have been\\nable to take their children out to be killed there\\nAh who will deliver the so-called civilized nations from\\nthese harvesters of laurels, gatherers of palms, and heroes\\nbrought up to homicide from their earliest infancy\\nUnder Louis XIV. the gardens also had their wigs.\\nThere is nothing so ugly or so ridiculous as those garden-\\nbeds cut up with sand of various colours and those trees\\nsubjected to forms that are most contrary to their nature.\\nAt the present moment, on the table on which I am\\nwriting I have before my eyes a book printed at the end of\\nthe reign of Louis XIV.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0140.jp2"}, "141": {"fulltext": "FLOWERS IN PARIS 107\\nTHE GARDENER FLORIST.\\nUniversal cultivation offtowers^ trees, etc., together with the\\nmanner of making all kinds of beds, porticos, columns and other\\npieces, etc.\\nHere the author boldly cries We may say that the in-\\ndustry of our gardeners has never reached such a high point\\nas to-day to judge of this we have only to look at the\\nvarious figures they devised for elms.\\nArt surpasses nature, he adds, in these edifices and\\nporticos of verdure, etc. And he gives figures of elms\\nforming from the base of their trunk upward a kind of\\nlarge pot without a handle whence issues the stem of the\\nelm terminated by a perfectly round head then he shows\\nthe image of a portico, then some yews cut into vases and\\nanimal forms, and he again cries Is there anything more\\nbeautiful or anything that reveals more grandeur\\nThere were few flowers in the gardens of that day the\\nauthor makes a great boast of the eight kinds of roses that\\nhe owns we may judge of the poverty of the gardens by\\nthe important place occupied in them by the sweet basil,\\nbetter known to-day among the common people by the\\nname of oranger de savetier.\\nThe princes of the blood and the peers of France made\\npresents of flowers to the parliament of Paris; this was a\\nfine, a homage that they rendered to the justice of the\\ncountry to which they declared themselves in submission.\\nIt was called la haill ee des roses.\\nUnfortunately, it was not long before this ceremony was", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0141.jp2"}, "142": {"fulltext": "io8 PARIS\\nperformed with artificial flowers, and there was a manufac-\\nturer of roses for the parliament.\\nUnder Louis XV. the odour of blossoms was preferred to\\nmanufactured perfumes, which had already been in fashion\\nin the time of Queen Catherine de Medicis and her three\\nsons, civet, castoreum, musk, and ambergris. This taste\\ncame from Italy, where flowers are so liberally cultivated,\\nso richly coloured and so odorous. People took pleasure\\nin anointing themselves with various excrements of species\\nof rats, beavers, goats and whales for civet, castoreum,\\nmusk and ambergris are nothing else.\\nIn all ages flowers have been mixed up with politics, and\\nnot very felicitously. In the name of heaven be content\\nwith tigers, leopards, hawks, and as many headed eagles and\\nother savage animals as you please for your escutcheons and\\ncoats-of-arms, but leave the flowers in peace\\nUnder the restoration of the Bourbons, the celebrated\\nactress, Mile. Mars, was hissed and insulted for appearing\\non the stage with a bunch of violets. This brought about\\nduels and public clamour. At that moment one might\\nhave applied to a portion of the Parisians what Aristoph-\\nanes said of the Athenians Call them Athenaioi iosteph-\\nanoi (crowned with violets), and they are no longer joyful.\\nAnne of Austria could not endure either the sight or the\\nscent of a rose there is no need to mention that it was\\nproscribed at court, talis rex^ talis grex. Gretry, the author\\nof the Tableau parlant^ and la Caravane^ etc., had the same\\nrepugnance.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0142.jp2"}, "143": {"fulltext": "FLOWERS IN PARIS 109\\nLouis XIV. liked strongly-scented flowers, he wanted\\nan orange-tree in every room in his palace. Madame de\\nSevigne speaks of an entertainment given by the Grand\\nRoi in which there were a thpusand crowns worth of\\njonquils.\\nMarie Antoinette was very fond of flowers she prob-\\nably owed the last agreeable sensation of her life to them.\\nShut up in a damp and pestiferous chamber of the Con-\\nciergerie, her only clothing was an old black dress and\\nstockings which she took off, remaining bare-legged while\\nshe washed them herself. I do not know if I should have\\nliked Marie Antoinette, but how can one help worshipping\\nsuch great misery\\nA brave woman, Madame Richard, keeper of the prison,\\ntook great happiness in making presents to her whom she\\nwas not allowed to address otherwise than as Widow Capet.\\nEvery day, and not without danger, she brought her a\\nbunch of the flowers she loved pinks, tuberoses, and espe-\\ncially rockets, her favourite flower. Madame Richard was\\ndenounced and imprisoned. In a recently-discovered letter\\nof Marie Antoinette s we learn that one of the circum-\\nstances that most cruelly offended her in that miserable\\naffair of the necklace was the audacity of the Cardinal de\\nRohan in saying or believing that he had offered a rose\\nto the queen and that she had accepted it. What A\\nman supposing that he had had a rendezvous with the\\nQueen of France the daughter of his King That the\\nQueen had accepted a rose from him I certainly did not", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0143.jp2"}, "144": {"fulltext": "no PARIS\\ndeserve that insult (Letter from Marie Antoinette to\\nthe Archduchess Marie-Christine.)\\nLater, another woman who had also sat upon the throne,\\nJosephine, in retirement at Malmaison, sought consolation\\nin flowers. With the assistance of an intelligent gardener\\nnamed Dupont, she collected every species and variety of\\nrose known in France, England, Belgium and Holland.\\nDupont produced various new kinds and increased the cat-\\nalogue of roses. We owe a part of the roses we possess\\nto the Empress Josephine. That is a crown that I prefer\\nto her husband s crown of laurels.\\nAnother flower that plays a part in the history of Paris\\nis the hawthorn, that pure and sweet adornment of the\\nhedges. On August 24th, 1572, King Charles IX.\\nallowed the Huguenots who were in Paris to be slain\\nby the Parisians, and the other towns that followed the\\nexample of Paris put to death those among them who\\nwere of that religion. This blood-letting, although some-\\nwhat cruel, prevented a great inflammation. This\\nreference to the St. Bartholomew is to be found in a\\nbook printed at Paris in MDCXLVI., with the privilege\\nof the king, Louis XIV., then eight years of age, and\\nalready represented by a crown of laurels in the book of\\nwhich I speak because the Due d Enghien had captured\\nThionville and because the Marechal de Gassion had\\ncaptured Gravelines which was called the king s triumph\\nof arms.\\nNow then, on the day of St. Bartholomew the rumour", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0144.jp2"}, "145": {"fulltext": "FLOWERS IN PARIS iii\\nspread that a stump of hawthorn that had been thought\\ndead had suddenly burst into leaves and blossoms.\\nThis was a text for the preachers of the day to say very\\nfine things and prove how greatly pleasing to God this\\nmassacre and hecatomb of men had been.\\nThe fact is reported by de Thou who makes fun of the\\npreachers.\\nIn the successive embellishments of Paris, window-gar-\\ndens have been definitely prohibited. These gardens were\\na subject of contest which dates from a long way back be-\\ntween the citizens and the police. On this subject, ordi-\\nnances dated in the reign of Louis XIII., exist against\\nthese poor gardens, and Martial speaks of the garden that\\nhe himself had on his window-sill\\nRus est mihi in fenestra J\\nOn depriving the Parisians of this pleasure and so\\ngreatly enlarging the city that all the neighbouring country\\nfinds itself crowded together and suppressed, it is due to\\nthem that they should have the squares, to which however\\nan English name should not be given. This is almost the\\nsole objection that I have to offer to this excellent idea.\\nI had often thought of the destiny of those poor girls of\\nthe people who pass their whole life in the centre of the\\ncity in those infected and obscure quarters, never hearing\\nthe first words of love at their ear and in their heart except\\non the stairways reeking of boiled cabbage, or under the\\nportes-cocheres that exhale an odour mingled of mud and\\nadulterated wine.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0145.jp2"}, "146": {"fulltext": "1 1 2 PARIS\\nThanks to these places planted with trees, to these pub-\\nlic gardens established in each of the quarters, that is no\\nlonger the case.\\nIt is strange that Paris does not possess a flower-market\\nconvenient or simply covered over like the Holies. Why\\nis there not a well-established Halle aux Fleurs like the\\nHalle aux Legumes and the Halle aux Poissons", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0146.jp2"}, "147": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0147.jp2"}, "148": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0148.jp2"}, "149": {"fulltext": "REVERIE\\nGEORGE SAND\\nI KNOW of no city in the world where strolling rev-\\nerie is more agreeable than in Paris. If the poor\\npedestrian through heat and cold meets innumerable\\ntribulations there, it must also be confessed that in the fine\\ndays of spring and autumn, if he knows his own happi-\\nness, he is a privileged mortal. For my part, I like to\\nrecognize that no vehicle, from the sumptuous equipage to\\nthe modest hack, can be compared, for sweet and smiling\\nreverie, with the pleasure of making use of two good legs,\\non the asphalt or pavement, obeying the whim of their pro-\\nprietor. Let him who will regret ancient Paris my intel-\\nlectual faculties have never permitted me to know its de-\\ntours^ although like so many others I have been brought up\\nthere. To-day, what great vistas, too straight for the artis-\\ntic eye but eminently sure, allow us to go on for a long\\nwhile with our hands in our pockets without going astray\\nand without being forced every moment to consult the of-\\nficer at the corner or the affable grocer along the way.\\nIt is dangerous, I must confess, to be distrait in the\\ncentre of a large city which is not obliged to trouble itself\\nabout you when you do not condescend to take care of\\nyourself. Paris is still far from finding a system of veri-\\n3", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0149.jp2"}, "150": {"fulltext": "114 PARIS\\ntable safety that would separate the locomotion of horses\\nfrom that of human beings, and that would succeed in sup-\\npressing, without prejudicing business necessities, those\\nhand-trucks of which I am inclined, in passing, to complain\\na little.\\nI would dare to maintain that absent-minded people, for\\nthe hundred perils that they still run in Paris, benefit by\\nthe compensation of a hundred thousand real and intimate\\njoys.\\nWhosoever possesses this precious infirmity of pre-occu-\\npation will join me in saying that I am not maintaining a\\nparadox. In the atmosphere, in the view, and in the sound\\nof Paris there is I know not what personal influence that is\\nnot to be found elsewhere. Nowhere is the charm char-\\nacteristic of the temperate climate more delightfully mani-\\nfested with its moist air, its rose skies, moire or pearly\\nwith the most vivid and delicate tints, the brilliant windows\\nof its shops lavish with motley colour, its river, neither\\ntoo narrow nor too broad, the soft clearness of its reflec-\\ntions, the easy gait of its population, active and lounging\\nat the same time, its confused noises in which everything\\nis harmonized, every sound, that of the water population as\\nwell as that of the city having its proportions and distribu-\\ntions wonderfully fortuitous. At Bordeaux or at Rouen,\\nthe voices and movement of the river dominate everything,\\nand one might say that its life is on the water at Paris,\\nlife is everywhere therefore everything there seems more\\nalive than elsewhere.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0150.jp2"}, "151": {"fulltext": "REVERIE 1 15\\nThe new garden, arranged in dales and dotted with\\nbaskets of exotic flowers, is never anything more than the\\nPetit Trianon of the classic decadence and the English\\ngarden of the beginning of the present century, perfected\\nin the sense of multiplying the turns and accidental features\\nin order to realize the aspect of natural landscape within a\\nlimited space. In our opinion, nothing is less justifiable\\nthan that title of landscape-garden which nowadays every\\nbourgeois takes unto himself in his provincial town. Even\\nin the more extensive spaces that Paris consecrates to this\\nfiction, do not hope to find the charm of Nature. The\\nsmallest nook of the rocks of Fontainebleau, or of the\\nwooded hill of Auvergne, the slenderest cascade of la\\nGargilesse, or the least known of the meanderings of the\\nIndre has an aspect, a savour, a penetrating power alto-\\ngether different from the most sumptuous compositions of\\nour Parisian landscapists If you want to see the garden\\nof the creation, do not go to the end of the world. There\\nare ten thousand of them in France in spots where nobody\\nis occupied and of which no one has any notion. Seek,\\nand you will find\\nBut if you want to see the decorative garden par excellence^\\nyou have it in Paris, and let us say at once that it is a rav-\\nishing invention. It is decoration and nothing else, make\\nup your mind to that, but adorable and marvellous deco-\\nration. Science and taste have joined hands there make\\nyour reverence, it is a youthful household.\\nThe exotic vegetable worldj which has gradually revealed", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0151.jp2"}, "152": {"fulltext": "ii6 PARIS\\nits treasures to us, is beginning to inundate us with its\\nriches. Every year brings us a series of unknown plants,\\nmany of which doubtless have already enriched the herbals\\nand troubled the notions of worried classifiers, but of whose\\naspect, colour, shape, and life we are ignorant. The many\\nconservatories of the city of Paris possess a world of mar-\\nvels which constantly grows and in which skillful and\\nlearned horticulturists may become initiated into the secrets\\nof the preservation and reproduction proper to each species.\\nStudy has been given to the temperament of these poor\\nexotics that perpetually vegetated in an artificial heat it\\nhas been discovered that some that were reputed delicate\\npossess quite a rustic vigour, whilst others, more mysteri-\\nous, could not endure under our skies as severe cold as\\nthey patiently endured in their native earth. But, like an-\\nimals, plants are susceptible of education, and I doubt not\\nthat the time will come when more than one that now has\\nto be coaxed in order to live among us will come to pro-\\nduce fruits or shoots gladly.\\nWe shall then have gratis before our eyes during every\\nhour of the fine season, tropical forms, perhaps arborescent\\nferns that are already easy to transport under glass, not-\\nwithstanding their respectable age of several hundreds of\\ncenturies, splendid orchids, colossal latania-palms, shafts of\\nvegetable columns whose age seems to mount to the age\\nof the flowers of the coal-beds, sagitated leaves ten metres\\nin length that look as if they had fallen from another\\nplanet, foliage of such brilliant colours as to eclipse that of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0152.jp2"}, "153": {"fulltext": "REVERIE 117\\nthe flowers, graminacece resembling clouds more than herbs,\\nmosses lovelier than the velvet of our looms, perfumes un-\\nknown to the combinations of industrial chemistry, and,\\nfinally, gigantic living plants placed within the reach of\\neverybody.\\nLet us halt here, let us dream a little, since having passed\\nour first astonishment and expressed our first admiration,\\nour imagination carries us into distant regions, into still\\ndesert isles, and into those unknown solitudes whence the\\ncourageous and enthusiastic naturalist has brought us these\\ntreasures at the peril of his life. With regard to perils, we\\nmust not speak only of the caprices of the sea, of the\\nvenom of the rattle-snakes, and of the hurtful appetite of\\nsavage animals and indigenous cannibals, certain of whom\\nare fond of white flesh with tomato sauce; the plants\\nthemselves sometimes possess more prompt and direct means\\nof defence witness the beautiful nettle that we have seen\\ncovered with a natural silvery, viscous lye that we may\\ntouch but that is provided beneath with purple-coloured hairs\\nof which the slightest contact with the skin causes death.\\nBe comforted It will not leave its glass prison.\\nWe therefore wander some thousands of leagues from\\nthe Pare Monceaux. The rich decoration that environs us\\ncannot long keep up the illusion for us too many diverse\\nregions, too many countries differing greatly and far distant\\nfrom one another have contributed to this ornamentation\\nwhich presents itself as an artistic resume of creation. We\\nnecessarily fly from one to another on the wings of intui-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0153.jp2"}, "154": {"fulltext": "ii8 PARIS\\ntion, and, ashamed of the number of things of which we\\nare still ignorant, we are seized with the desire to travel in\\norder to learn, or to learn in order to travel with pleasure\\nand fruitfulness.\\nShall we leave the decorative gardens without dreaming\\nabout the delightful hydraulic trifles that now play so great\\na 7-ole in our embellishments Clarified by the rapid mo-\\ntion, the water is always a music and radiance, the charm\\nof which art cannot shatter.\\nI have seen naturalist-artists absolutely furious against\\nthese ruinous playthings that pretend to remind them of\\nnature and that they treat as puerile and monstrous coun-\\nterfeits. They said Let them bring us the rocky and\\nverduous wells of Tivoli with their whirls of impetuous\\nwater, or let them give us back the blowing Tritons of\\nVersailles, the hydraulic concerts of the gardens of Frascati,\\nand all the rococo follies, rather than these false grottoes\\nand lying cascades. It is falsifying all the notions of the\\ntrue, all the laws of taste, and all the sentiment of a gen-\\neration that they pretend they are making artistic and\\nlearned They were indignant, and we could not calm\\nthem.\\nShall we share their anger No Between the reality\\nand the accepted, between art and nature, there is a medium\\nnecessary for the sedentary enjoyment of a large majority\\nof people. What a number of poor citizens never have\\nand never will see the picturesque sights of Spain, Switzer-\\nland, and Italy, and the enchantments of one s own view", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0154.jp2"}, "155": {"fulltext": "REVERIE 119\\nof the great features of mountain and forest, of lake and\\ntorrent, except through the fictions of our theatres and\\ngardens It is impossible to provide them with real speci-\\nmens we must limit ourselves to the copy of a detail, a\\nnook, or an episode. I cannot bring you the ocean, be\\ncontent with a reef and a wave. This detail would not\\ngain in the least by having its already considerable pro-\\nportions centupled in cost; it would not be more real. All\\nthat can be demanded of us is to make it pretty and, in\\nthis respect, our hydraulic playthings are without reproach.\\nFormerly, they were much more costly, and transported us\\ninto a mythological world of marble or bronze which was\\nnot more successful in realizing the antique style or the\\npoetry of the Grecian gardens and temples. They have\\nlong formed a separate style, entirely fanciful, which in-\\ndeed has its own charm, but which we must leave where it\\nis. Apollo and his nymphs, Neptune and Amphitrite, have\\nnothing more to say to us, unless they speak to us of\\nLouis XIV., and his court. The thought of our epoch\\naims at making us love nature. Romanticism has disem-\\nbarrassed us of the fetiches that did not allow us to see her,\\nto understand her and to love her for herself. What we\\nwant to teach our children is that grace is in the tree and\\nnot in the Hamadryad that formerly dwelt in it that the\\nwater is as beautiful on the rock as in the marble that the\\ndreadful rock itself has its physiognomy, its colour, and\\nits cherished plant, the wreathings of which make a won-\\nderful tapestry for it; that the grotto-work has no need of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0155.jp2"}, "156": {"fulltext": "120 PARIS\\nsymmetry and a clothing of shells it is only a question of\\nimitating, with a truth-loving skill, their natural dispositions\\nand their monumental, easy, or fantastic poses. Later on,\\nif our children see how real Nature works, they will only\\nenjoy her the more, and they will remember the grottoes\\nof Longchamp, Monceaux and the Buttes-Chaumont, as\\nwe recall with pleasure and tenderness the little frail plant\\nthat we cultivate in our window and that we see blowing\\nstrong and glorious in our country.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0156.jp2"}, "157": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0157.jp2"}, "158": {"fulltext": "4L\\nV", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0158.jp2"}, "159": {"fulltext": "LEJARDIN DES PLANTES\\nLOUIS ENAULT\\nI HE foundation of the Jardin des Plantes goes back\\nto the year 1626.\\nAt the solicitation of Herouard and Guy la\\nBrosse, his physicians, Louis XIII. authorized the acquisi-\\ntion of twenty-four arpents in the Rue Saint-Victor and\\nconferred the superintendence of the garden upon the first\\nphysician to the King and his successors. La Brosse had\\na parterre made forty-one toises in length and thirty-five in\\nbreadth, and there he caused to be planted all the plants\\nthat he had been able to procure. The garden was opened\\nto the public in 1650. Over the principal door was written\\nJardin royale des herbes m edicinales chairs of botany and\\nanatomy were soon attached to the establishment. In 1660\\nColbert founded a chair of the iconography of plants.\\nFagon, first physician to Louis XIV., at his own expense\\nundertook the most active research in all provinces and\\npresented to the garden a large number of new species.\\nWe already find a constellation of illustrious or recom-\\nmendable men Duverney, professor of anatomy GeofF-\\nroy, chemistry Tournefort, botany Vaillant directs the\\ncultivation and Antoine de Jussieu is sub-demonstrator.\\nFagon had the first hot-houses and the first amphitheatre", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0159.jp2"}, "160": {"fulltext": "122 PARIS\\nconstructed j he began the museum of osteology and tied\\nthe youthful America in bonds of knowledge, Tourne-\\nfort enriched the garden with a collection of plants brought\\nfrom the Levant, and Du Fay offered to the cabinet his\\nfine collection of precious stones.\\nBuff on was nominated superintendent of the garden in\\n1732. For the Jardin des Plantes this is the date of a new\\nand glorious era. Buffbn enlarged the buildings, augmented\\nthe collections, embellished the gardens, added ground to\\nthem on all sides, reached the Seine and extended to the\\nquay those two magnificent avenues of lime-trees that are\\nstill admired he had the large amphitheatre and the chem-\\nical laboratory built, and he himself drew up the plans\\nthat we admire to-day. But Buffbn s cares did not stop\\nthere: he obtained from the Academy of Sciences the\\ncession of the Hunard collection of anatomy; from the\\nKing of Poland, a collection of minerals and from Cathe-\\nrine of Russia, various objects of natural history and fine\\nspecimens of animals of the North.\\nIn 1792 Buffbn s successor was named Bernardin de\\nSaint-Pierre. One loves to see that gentle and pure fame in\\nthe fresh haunt of lovely flowers and great trees it was a\\ngood place in which to meditate on the Harmonies de la\\nNature.\\nFrom its creation to our own day, the Jardin des Plantes\\nhas never ceased to increase, whether by free gifts or by\\nonerous acquisitions, and it has thus become the most\\nprecious collection of its kind in the world.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0160.jp2"}, "161": {"fulltext": "THE CATACOMBS OF PARIS\\nNEIL WTNN WILLIAMS\\nTO seme people it will come as a surprise to hear\\nthat there are catacombs at Paris.\\nThe fame of the similar collection of human\\nremains at Rome would appear to have dwarfed out of\\nsight the wondrous quarries that stretch beneath the greater\\nportion of Southern Paris. Nevertheless, the catacombs of\\nthe French capital are a wonderful and a weird sight, and\\none that is open to any member of the public who makes a\\nwritten application to Monsieur le Prefet de la Seine.\\nTheir historical origin is interesting, and aptly exemplifies the\\nchanges that time brings in its train. From a remote past\\ndown to the Seventeenth Century they were merely quar-\\nries whence stone was drawn, and drawn to keep pace with\\nthe growth of the city above them. The natural conse-\\nquence of this drain upon the vitals of the city s support\\nwas a subsidence, in 1774, which, by damaging property\\nand bringing about numerous accidents, informed the pub-\\nlic that some one must do something, or that nobody would\\nbe left to do anything.\\nIn 1777 a still stronger hint from below aroused the\\ngovernment to an activity, which expended its energy in\\nsupporting with piers and buttresses the most dangerous\\n123", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0161.jp2"}, "162": {"fulltext": "124 PARIS\\nportions of the affected area. These works, continued\\nfrom year to year, proved a fertile source of expense.\\nIn 1784 the question arose as to the disposal of the relics\\nof mortality which were to be removed from the disused\\n,cemetery of the Innocents.\\nIt was suggested that the quarries should be still further\\nstrengthened and rendered compact by their adoption as\\ncatacombs. The suggestion met with approval, was\\nadopted, and the transfer of the vast accumulation of bones\\nentered upon with all due precautions. It was thus that\\nthe quarries became the garner-room of the Destroyer it\\nwas thus, as the various cemeteries within the city ceased\\nto yawn for their dead, that they were made to yield up\\ntheir silent tenants.\\nIn 1786 the catacombs were solemnly consecrated. At\\nthis period the bones and skulls were being cast down on\\nthe floors of the caverns and passages in great heaps, with-\\nout any attempt at order or arrangement nor was it till\\nthe year 18 12 that the authorities commenced the work\\nwhich has culminated in the present artistic presentment\\nof that which once formed the framework of living thou-\\nsands.\\nCome we will descend together as two members of the\\npublic, and see a portion of this underground and silent\\nworld that extends its ramifications beneath two hundred\\nacres of Paris. We are in possession of our permits,\\nand according to direction find ourselves at the principal\\nentrance on the right of the Place Denfert-Rochereau.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0162.jp2"}, "163": {"fulltext": "THE CATACOMBS OF PARIS 125\\nWe take our places in the queue of those about to de-\\nscend. We buy candles. An obliging stranger tears ofF a\\nsquare piece from a newspaper and hands it to us with a\\npolite bow. The careful, courteous man He explains to\\nus that presently it will be useful, if only les messieurs\\nwill adopt this plan of catching the droppings of a flickering\\ncandle held in the bare hand and so saying he triumphantly\\nthrusts his candle with a ripping, tearing noise through the\\npaper. The idea is good, so good that it travels along the\\nqueue^ and each candle soon boasts a paper guard. One\\no clock strikes. The door guarding the entrance to ninety\\nsteps that lead to below swings open. Its harsh grating is\\nthe signal for a brisk fusillade of match-firing reports.\\nThe matches are applied to the candles a strong odour of\\ntallow seethes through the mellow sunshine, and through\\nits sickly fumes we commence to slowly advance. Already\\nthe leading file has vanished within the doorway, and as\\nwe in turn approach the orifice a dull roar pours sullenly\\nout to meet us. Tramp, tramp, tramp we have passed\\nbeneath the archway, we are descending the spiral of the\\nstone staircase. The air is heavy with the clangour of\\nponderous footfalls murky with candle smoke that veils\\nwith weird effect the flickering, draught-driven light. As\\nfar, and just so far, as we can see above and below us, all\\nis in movement dresses, coats, candles whirl slowly, un-\\ncertainly downward. The very walls seem to writhe in\\nthe uncertain light, to mutter and to moan with inarticulate\\nvoices.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0163.jp2"}, "164": {"fulltext": "126 PARIS\\nDown, down, down All are in the rock-home of\\nDeath. A moment s pause, a silence falls on the chatter-\\ning crowd. Then, affrighted with their second s fear, they\\nsway onward through a rocky gallery. Rock on either\\nside of them, rock above them here bare and arid, there\\nslimy with oozing water and fowl growths. The passage\\nbroadens out, it narrows, and ever and ever there is the\\nblack line on the roof that marks the road. Suddenly a\\nblack shadow on the left or to the right. The eye plunges\\ninto the depths of these side roads, and recoils aghast at\\ntheir mysterious gloom. The lights file on. A thin glitter\\nseams a dark gap with a flickering, broken line of light.\\nAh, says the guide. Yes, a chain\\nStill, forward, the shadows to right and left grow in size\\nsome have a sentry silently guarding their obscurity from\\nrash obtrusion where there is no sentry there is a chain.\\nA sudden check from in front breaks the continuity of\\nthe forward movement.\\nWe move on again, and lo the rocks on either hand\\ncontract, change colour, break out into the gruesome de-\\nsign of a symmetrically built wall of bones and skulls.\\nFrom the level of our heads down to the level of our feet,\\nskull rests upon skull, and leans back upon the myriad\\nbones behind. The shivering candlelight falls with unequal\\nrays upon the formal tiers; it flashes coldly upon the grin-\\nning teeth, penetrates the mortarless crannies of the wall,\\nand ever shows bones of many shapes and curves. Now it\\nlights up a rent in some skull a ghastly, jagged wound", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0164.jp2"}, "165": {"fulltext": "THE CATACOMBS OF PARIS 127\\nwhich haunts one with the thought of foul murder. Anon,\\nit shimmers with erratic play on the trickling water that,\\npursuing its silent way from year to year, has crusted with\\na smooth gloss the skull beneath.\\nAgain the crowd checks. In the moment s pause you\\napproach the wall. An earth-stained skull, perhaps larger\\nthan its comrades, centres your attention on his sunken\\norbits. You brood over it, are drawn to it, and as in a\\ndream lay hands on its smooth cranium. The cold,\\nclammy contact Ah how different from the warmth of\\na loving friend. Yet perchance, this, this too, was once a\\nfriend, the load-stone of a deep, broad love.\\nOn again, once more, and this time quicker. The skulls\\nflash past in confused lines. It is the dance of death. A\\nrock shoots into view, bursts through the skulls. It is\\nmarked with black characters, which tell you that it is\\nsometimes better to die than to live.\\nRock and lettering fade back into darkness, but again\\nand again the light outlines a phrase such as Tombeau de\\nla Revolution Tombeau des Victimes or a motto that\\nsinks deep into the soul.\\nThe designs in skull and bone become more complicated.\\nThe walls become more lofty, rush from straight lines\\ninto curves, assume the form of chapels. Around and\\nabout you are skulls, skulls, skulls. Once these residues\\nof men were even as you and I are now. Think of it,\\neach mouldering bone was once part of a life a life But\\nnow, Tragedy and Comedy lie indifferently side by side.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0165.jp2"}, "166": {"fulltext": "128 PARIS\\nRiches and poverty, the great and the low, lie jaw by\\njaw.\\nNone too great, none too humble to enter into Death s\\nlavish gift to the darkness that reigns in the catacombs.\\nTheir world has passed away, and the old order has given\\nplace to the new that now surges and seethes by their\\ncrumbling bones. They have been but a tide in the ocean\\nof life, they have flowed and they have ebbed.\\nBut even as you dream or gibe, according to tempera-\\nment, in one of these chapels, a faint, prolonged rustle\\ncomes stealing to the ear, swells and falls, and vanishes\\nmysteriously as it came.\\nWhat was it The guide catches an inquiring eye, and\\nexplains, with a wealth of incisive gesture, that it is the\\nrats moving. He makes the blood run cold with the hor-\\nror of his account of those who have been lost in the cata-\\ncombs and hunted to their death by the sharp-teethed\\nrodents.\\nHe expatiates with pardonable pride on the precautions\\nnow taken by the authorities to guard against casualties of\\nthis nature, and sinks his voice to a whisper as he mentions\\nthe lost hundred of 187 1. He points to the dark, chain-\\nbarred passages as he tells you who and what these men\\nwere. Tis a tale that dwells in a blood-red past a past\\nwhich gave birth to the Commune of 71. The Germans\\nhad besieged Paris and taken it they had entered the city\\nas conquerors, and with their departure the humiliated, su-\\npersensitive city was to be further outraged by its own", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0166.jp2"}, "167": {"fulltext": "THE CATACOMBS OF PARIS 129\\nbaser passions. The National Guard had been even during\\nthe siege disaffected toward the Government of the Repub-\\nlic, and with the departure of the Germans, it saw in the\\nweakness of the Government then located at Versailles its\\nopportunity for revolt. Not having been disarmed, it pos-\\nsessed a brute force which gave it courage to act it carried\\noff the cannon to the heights of Montmartre and Belleville,\\nunder the plausible excuse of preserving them from the\\nenemy.\\nThis was, in effect, revolt and so President Thiers read\\nit He attempted the removal of the cannon on March,\\n71. He failed 5 and so commenced the insurrection of\\nthe Commune and a siege of Paris.\\nA hundred thousand National Guards, together with the\\ndesperate characters common to every great city, were the\\nthews and the sinews of this social revolution, which was\\ndirected against property and labour-masters. It was in-\\nitiated by working men, but in its short life of two months\\nit was to seek the power of the devil of cruelty, and to en-\\ncourage to the surface of Parisian life the petrokur and p etro-\\nleuse. It was to grow drunk with blood, and with sottish\\nfury to fire the Hotel de Ville, the Palais de Justice, the\\nTuileries, the Ministry of France it was to corrupt its\\nown body with murderous excess, and to slay by day and\\nby night. Within the restraining influence of the Repub-\\nlican army concentrated at Versailles, it stung itself like a\\nfire-imprisoned scorpion.\\nBut the debilitated Government at Versailles was re-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0167.jp2"}, "168": {"fulltext": "130 PARIS\\ncuperating it drew the siege closer, and hurled shot\\nand shell faster and faster into the writhing city. It\\nsent out its troops under Marshal MacMahon, and with\\nbayonet and bullet it bore down the Communists, slew\\nthem without trial, without mercy, with no quarter for\\npetroleur or p etroleuse. Ten thousand corpses lay beneath\\nits Victory the streets and prisons were red with blood\\nthe mark of the destroyer was on mansion and humblest of\\nhumble buildings.\\nBy the lurid light which the recollections of the Com-\\nmune emit, the guide s answers to a bystander, that the lost\\nhundred were insurgents and part of the garrison of Fort\\nVanves, becomes powerfully suggestive. And to here a\\nquestion and there a question he makes reply, of how the\\ninsurgents fled before the Republican troops, on the fall of\\nFort Vanves. And how they had rushed away from the\\nbayonets on their track to endeavour to seek safety in the\\nsilent gloom of the catacombs.\\nHis graphic words, intensified by the environment, re-\\nconstruct the scene, paint it with the vivid colours of a\\nnightmare to the eyeballs straining to the dark mouth of the\\npassages beyond. In thought, he takes us with the panic-\\nstricken soldiers into the labyrinth. We feel a feverish\\nfear of pursuit driving us further into the secretive gloom.\\nA halt and our labouring hearts grow calmer amidst the\\nsilence that yields no shout, no muffled footfall of pursuer.\\nBut our torches consume faster and faster away we must\\nagain seek light of day. Yet how Everywhere, road", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0168.jp2"}, "169": {"fulltext": "THE CATACOMBS OF PARIS 131\\nacross road, silent skull by silent skull, with never a clue to\\nthe open air, to the living world above. Again panic seizes\\nus we run, run madly with many a stumble, for life.\\nExhaustion finds us alone. Our comrades gone. Our\\ntorch, guarded with trembling hand, burning low. We\\nhear the rats gathering in their hordes outside the pale of\\nkindly, merciful light. They throw down a skull that rolls\\nheavily to our feet. The light\\nAh It must have been awful to have died in that thick\\nblackness with never a ray of light or hope. And we grow\\nthankful that, as two of the public, we move on and on to\\nthe exit at the Rue Dareau, and find there life and sun-\\nshine.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0169.jp2"}, "170": {"fulltext": "SAINT-6TIENNE DU MONT\\nS. SOPHIA BEALE\\nTHE convent of Sainte-Genevieve was founded by\\nClovis, and so extensive were its lands and de-\\npendencies that ere long it drew to it a large\\npopulation of workmen and labourers for the cultivation of\\nits land. A priest, one of the monks of the abbey, was\\nappointed to take spiritual charge of these people and\\nfrom this commencement grew the parish of Saint-Etienne.\\nOriginally the congregation worshipped in the crypt of the\\nabbey church. But at the beginning of the Thirteenth\\nCentury the congregation outgrew its chapel, and in 1224\\nthe Bishop of Paris authorized the building of a church by\\nthe side of the abbey, to be consecrated to the memory of\\nSaint-\u00c2\u00a3tienne, the proto-martvr. The reason for changing\\nits name for the third time was probably the demolition of\\na church dedicated to Saint Stephen to make space for\\nNotre-Dame.\\nThe first church lasted three hundred years, and then\\nagain, the population having increased enormously, Saint-\\nEtienne was found to be too small for its congregation, and\\nanother and finer church was projected. In 149 1 it was\\ndeemed better to rebuild than to patch up and enlarge the\\nchurch J but many years passed in projects and delays, and\\n132", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0170.jp2"}, "171": {"fulltext": "SAINT-ETIENXE DU-MONT.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0171.jp2"}, "172": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0172.jp2"}, "173": {"fulltext": "SAINT-ETIENNE DU MONT 133\\nit was only in 15 17 that the work was actually commenced.\\nAbbot Philippe Lebel finished the choir in 1537, and in\\n1 54 1 the Bishop Megare consecrated the altars in the name\\nof the Bishop of Paris but that the church was not fin-\\nished in 1552, or even in 1563, diocesan permission to ap-\\nply the Lenten offerings to the work is sufficient proof.\\nThe jube was commenced in 1600, the porches nine years\\nlater, and the chapel of the Virgin (rebuilt) was only fin-\\nished in 166 1. It was Queen Marguerite de Valois, the\\nlady who so strangely prances about Paris upon a white\\npalfrey at dead of night in the much-admired controversial\\nopera, who laid the first stone of the great portal in 1610;\\nand, moreover, she gave a sum of three thousand livres to\\naid the work; but what was this when so much was\\nwanted All was not complete until 162 and meanwhile\\nthe alms during Lent was appropriated to the building fund.\\nHowever, on the 25th of February, 1626, the church and\\nthe high altar were dedicated to the glory of God and of\\nthe Virgin Mary by the reverendissime messire Jean-\\nFrancois de Gondi archbishop of Paris.\\nSaint-\u00c2\u00a3tienne is a cruciform building, very much leaning\\nto the right (as is common in old churches), with a nave,\\ntwo aisles, and nineteen chapels. The transepts scarcely\\nproject beyond the nave. The exterior is a mass of ele-\\ngant ornamentation, and on the north side, under the win-\\ndows, is a passage which connects the porch of the second\\nbay with the charnier^ a sort of a cloister, built at\\nthe end of the Lady Chapel, exterior to the church. The", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0173.jp2"}, "174": {"fulltext": "134 PARIS\\nenclosure within this cloister was formerly the little burial-\\nground -y the great cemetery being situated in the square\\nwhich fronts the church.\\nThere is something extremely coquettish and fascinating\\nabout the building, with its high-pitched roof, springing\\nfrom a Renaissance facade, and its Fifteenth Century tower\\nsurmounted by a pepper-box lantern.\\nThe old church of the abbey, which completely joined\\nSaint-\u00c2\u00a3tienne, has been entirely swept away to make room\\nfor the Rue Clovis; but the refectory and the tower still\\nform a part of the Lycee Henri IV., a little turret at the\\neasternmost angle of Saint-\u00c2\u00a3tienne indicating the extremity\\nof the monastery s domains.\\nThe interior of Saint-\u00c2\u00a3tienne is no less singular than the\\nexterior. The side aisles are nearly as high as the nave,\\nand have enormous windows. The shafts which support\\nthe vault of the nave are of great height, and the bays are\\nof the same elevation as the side aisles. Above these bays\\nis a clerstory, the windows of which are as broad as they\\nare high, with depressed pointed arches. In order to\\ndiminish the enormous height of the bays, the architect\\nconceived a curious device. At about one-third of the\\nheight of the shafts he has thrown a depressed arch from\\npillar to pillar, which forms an elevated passage round the\\nchurch. It is arrested at the transepts, but taken up again\\nround the choir. The passage encircling each pillar is just\\nwide enough to enable a person to walk. These turnees^ as\\nthe old records call the gallery, and the splendid /a^^ form", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0174.jp2"}, "175": {"fulltext": "SAINT-ETIENNE DU MONT 135\\ni\\na distinctive feature of the church. On the side of the\\nnave the turn ee has an open pilaster balustrade, and at the\\nentrance of the choir it joins the jube. On each side of\\nthis spiral staircase leading up first to ih^ jube^ and then, a\\nsecond flight to the choir gallery, the former being formed\\nof a single flying-arch supported by two pilasters. The\\nwhole screen is ornamented with rich carving.\\nWhen the Abbey of Port-Royal was destroyed in 17 10,\\nthe body of Racine was transferred to Saint-Etienne and\\nplaced in the crypt of the Lady Chapel by the side of\\nPascal; and in 1808 a Latin epitaph, composed by Boileau,\\nwhich was discovered in the pavement of the church of\\nMagny-les-Hameaux, was also transferred. Ten years\\nlater, on April 21st, 1818, a great function was held in\\nhonour of the poet and the author of those much-loved\\nPens ees the Academy sent a deputation, and one of their\\nmembers, the Abbe Sicard, officiated.\\nEustache Lesueur, the somewhat feeble painter of the\\nLife of Saint-Bruno, was also buried at Saint-\u00c2\u00a3tienne.\\nMany other names adorn the list of those laid to rest in\\nthe churches or burial grounds of the parish Vigenere,\\nsecretary to Henri IIL, 1598; the surgeon, Thognet, 16423\\nAntoine Lemaistre, and Lemaistre de Sacy, brought from\\nPort Royal in 1710; the botanist, de Tournefort, 1708;\\nRollin, rector of the University, who died in 1741, in the\\nRue Neuve de Saint-\u00c2\u00a3tienne du Mont, which was re-\\nnamed after him.\\nBut it is the glass of Saint-Etienne which is perhaps its", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0175.jp2"}, "176": {"fulltext": "136 PARIS\\nchief glory. Although a great deal has been destroyed and\\npatched up, much remains which is quite worthy of study,\\nbeing as it is, in the best style of the Sixteenth and Seven-\\nteenth Centuries, and the work of Jean Cousin, Claude\\nHenriet, d Enguerrand Leprince, Pinaigrier, Michu, Fran-\\ncois Periez, Nicolas Desengives, Nicolas Lavasseur, and\\nJean Mounier. But, unhappily, mendings and patchings\\nhave quite destroyed our power of discovering to which\\nartist the different windows are due.\\nThe main attraction of Saint-\u00c2\u00a3tienne is the tomb of\\nSainte-Genevieve. Long before the Pantheon ceased to be\\nthe church of the maid of Nantcrre, it was to Saint-\\n\u00c2\u00a3tienne that the faithful journeyed to pray for her interces-\\nsion, and to have their belongings laid upon her coffin. Here,\\nany day, but especially during the octave of hcv fcte^ you may\\nsee people bringing handkerchiefs, rosaries, crosses, towels,\\netc., to be placed in the shrine, in order to carry the Saint s\\nblessing and help to the sick and the suffering at home. The\\nstone coffin is said to have been found in the crypt of the\\nabbey church during its demolition in 180 1, but whether it\\nbe the original one in which Sainte-Genevieve was buried\\nin 511, it is impossible to say, as it is so surrounded by\\nornamental ironwork that its workmanship cannot be\\nstudied but the effect of the little chapel containing this\\ntomheau^ with its lights and flowers and stained-glass, is\\nvery charming, and during the neuvaine^ when the church is\\nablaze with candles, and hundreds of people font queue to\\nthe shrine, it is a sight not easily forgotten.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0176.jp2"}, "177": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0177.jp2"}, "178": {"fulltext": "m^t^^\\n^f!S^ li fe^c \u00c2\u00abf\\nSifV\\nr\\nII\\n^ti^\u00c2\u00ae?^r; |^-r,\\nv-c", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0178.jp2"}, "179": {"fulltext": "THE QUARTIER LATIN\\nTHEODORE DE BANVILLE\\nHE Quartier Latin, a designation that everybody\\nunderstands, although it is merely ideal, and does\\nnot correspond to any of the municipalities of\\nParis, comprises almost the whole of the fifth and sixth\\narrondissements it is a vast district vi^hich is bounded on\\nthe north by the Seine, Quai des Augustins, Quai Saint-\\nMichel, and Quai Saint-Bernard; on the south by the\\nBoulevard du Montparnasse on the w st by the Rue\\nBonaparte on the east by the Halle aux Vines and contains\\nthe Ecole des Beaux-Arts, I lnstitut, la Monnaie, Saint\\nGermain-des-Pres, Saint Sulpice, la Charrete, Le Luxem-\\nbourg, le Palais du Senat, I Hotel de Cluny, Saint-Severin,\\nSaint-Julien-le-Pauvre, Saint-Etienne-du-Mont, 1 Ecole de\\nMedicine, les lycees Saint-Louis, Napoleon and Louis-le-\\nGrande, la Sorbonne, le College de France, I lnstitution\\nSainte-Barbe, the libraries of Sainte-Genevieve and\\nMazarine, I Ecole de Droit, le Pantheon, la Pitie, le Jardin\\ndes Plantes, I Ecole normale, and I Ecole polytechnique.\\nNo quarter has been more profoundly modified by the\\nworks that have transformed Paris than this one and yet\\nnone has better preserved its own physiognomy for it\\npossesses a moral vitality, an idea, something like a soul in\\n137", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0179.jp2"}, "180": {"fulltext": "138 PARIS\\nshort, against which hammers and pick-axes can avail little.\\nThus, great boulevards, altogether similar to those of\\ncentral Paris, boulevards vi^ith their wide causeways, their\\nyoung trees, their stone houses, their great commercial\\ncounters, and their luxurious shops have been created and,\\nso to say, brought there by magic the noise, the throng,\\nand the tumult of a busy life would make one think that\\none was in the heart of the city but two steps away there\\nis study, calm, and silence this new Paris which has flowed\\nthither like a river has not been able to change the old\\nParis that touches its banks in the least side by side with\\nthe Boulevard Saint-Michel, so agitated and full of life, the\\ncourt of the Sorbonne still has between its paving-stones, as\\nin the Seventeenth Century, the slender blades of grass of\\nvivid green which give it so sweet and so poetic an aspect.\\nOpposite the Hotel de Cluny, so pompously restored, are\\nhovels where tatters, faiences, stamped metal, and old\\nfurniture give us the idea of a sleepy provincial town in\\nwhich land and space are of no account. Moreover, and\\nthis is especially the strange anomaly that should be noted,\\nwe scarcely find any remaining traces of the Quartier\\nLatin of Balzac and Gavarni but that of Felibien,\\nDubellay and Sauval still exists. You would hunt in vain\\nin the street that was the Rue Copeau for a youthful\\nRastignac threatening Paris and summoning it to a duel,\\nbut the race of scholars of the Maistres, the Lenormants,\\nand the Etienne Bonets survives in spite of everything.\\nWe must relegate among the vanished phantoms the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0180.jp2"}, "181": {"fulltext": "THE QUARTIER LATIN 139\\nstrange and charming young man of the Etude de Moeurs\\nwho said I leave you my pipe and my wife take good\\ncare of my pipe but the echo of the Latin country has\\nnot entirely forgotten the scholar of the Fourteenth Century\\nwho joyously chanted the Departement des livres!\\nChacum enquiert et veut savoir\\nQueje aifet de mon avoir,\\nEt comment je suis si despris\\nQue ai chape ne mantiau gris,\\nCote, ne sorcot, ne tabart.\\nTout est ale a male part,\\nA Gaudelus lez La Ferte\\nLa les sai-je mon A. B. C,\\nEt ma patenostre a Soisson,\\nEt mon Credo a Monloon,\\nEt mes set siaumes a Tornai,\\nMes quinze siauj?ies a Cambrai,\\nEt mon sautier a Besencon,\\nEt mon kalendier a Dijon.\\nIt is true that we may henceforth go through the whole\\nof the old city situated on the left bank of the Seine with-\\nout finding any of the eccentric habits and customs, the\\nvariety of which gave it so essentially picturesque a char-\\nacter but was not this ending foreseen How could the\\nstudent of to-day persist in being what the studeht of former\\ntimes was, when the inevitable establishment of the Duval\\nwith its mouldings, its gildings and its ceilings of exotic\\nwoods was installed in a palace, and when in the Rue des\\nGres, where the Middle Ages had strongly left their imprint,\\nan English tavern might be seen selling its roast beef, its\\nYork ham, its pickles, its sauces of Hanneton pile (see", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0181.jp2"}, "182": {"fulltext": "140 PARIS\\nBalzac) its pale ale and its Irish whiskey, as in the Rue\\nRoyale and in the Rue de la Madeleine All cats are grey\\nat night; but under the gas-light everybody should be\\ndressed like Brummel, by Dusautoy or Bonne, and, in each\\nof the taverns of the new boulevard, the gas sheds torrents\\nof light on the young consumers, without troubling about\\nthe amount of the income of their parents. This is why a\\nyoung man who has an income of three thousand francs\\nmust spend four thousand at his tailor s to-day. To the\\nproblem to be content with the money you possess, the\\nfollowing has succeeded to get the money we need a\\nproblem the solution of which is very hard to find by young\\npeople whose studies cost a great deal and do not bring\\nanything in, except in the future.\\nBut is it solely and absolutely because the aspect of life\\nhas changed that the students have entirely altered their\\nway of living No that is one cause, but not the only\\none. Another reason, a thousand times more important\\nand more decisive, has brought about the new state of\\naffairs, and it is this. Formerly, young men invariably\\nstudied law and medicine only for the purpose of making\\ntheir living later by practicing the art of healing, or one of\\nthe liberal professions to which the study of law serves as\\na foundation. To-day, this unity of aim has been con-\\nsiderably modified, and the students naturally divide into\\ntwo classes. The first (and these do not form the ma-\\njority,) carry on this healthy and ancient tradition but the\\nothers, on the contrary, only require from the study of law", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0182.jp2"}, "183": {"fulltext": "THE QUARTIER LATIN 141\\nor medicine the means promptly to enter a lucrative pro-\\nfession where permanent appointments ofFer a sweet se-\\ncurity. As for the medical students, those who are up to\\ndate, and consequently want to be rich, know that genius,\\npatience, will, and intense labour under the lamp are neces-\\nsary to produce a Velpau, a Trousseau, or a Piorry, and,\\nnot feeling the vocation of becoming that poor and blessed\\nprovidence that is called a country doctor, they study medi-\\ncine with their thoughts on journalism, and in the direction\\nof special establishments, and thermal waters, on the dis-\\ncovery of marvellous springs and universal panaceas, in a\\nword, not on being doctors.\\nTherefore, among medical and law students, it is not\\nastonishing that those whose dream is to become rapidly\\nrich should adopt from the very outset the livery and habits\\nthat characterize the lovers of Rapid Fortune.\\nFormerly, among the students, the pure included all\\nTheir parents money, laboriously and honourably gained in\\nthe provinces, in the noble toils of agriculture or of liberal\\nprofessions, they intended to give entirely to triumphs, to\\nstudy, to curious researches of the mind and also, it must\\nbe confessed, to pleasure and to love (the reign of which at\\nthat day still existed), but they did not let it exclude in-\\ndustry and social decency. For them, what was necessary\\nwas a solid and serious instruction gained by assiduity in\\nthe various courses, by reading in their own rooms and in\\nthe libraries, by frequenting the newspaper offices, or the\\nmuseums, and the theatre, where literature still flourished", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0183.jp2"}, "184": {"fulltext": "142 PARIS\\nthe excess was those love affairs of the joyous and flowery\\ngarret which even so much execrable poetry, so many inept\\nlithographs, and all the poncifs in the world have not suc-\\nceeded in dishonouring in our memory, because they pos-\\nsessed the delightful charm of poverty, of the unexpected,\\nof disinterestedness and of youth Heroes of disorderly\\nballs, school-truants in the days of lilac, hissers of neo-\\nclassic tragedies at the Odeon, they also knew how to give\\nrespectful attention in the classes of illustrious professors,\\nto grow pale under the lamp over their books, and finally\\nto prepare themselves by persistence and deep study to\\nbecome useful men, and at the same time free from all\\ncommercial fraud. These careless fellows, these fools, in\\nfact, spent the best of their youth in studying the physical\\nand moral life of man, and in silently weighing the most\\nserious problems. Under the iron hand of science, they\\npreserved a lively love of art and liberty, and felt it burn\\nwithin them.\\nLet the poet speak, and they responded to his voice with\\nall the enthusiasm of fiery souls; let the hour strike for\\nshaking off a tyranny, and they dashed among bullets,\\nbleeding and joyous, their hands black with powder, and\\ntheir voices, accustomed to humming the songs of love and\\nwine, intoned the brass strophes of la Marseillaise with a\\nsublime thirst for death and sacrifice Such was this youth\\nat that day, ardent, savage, singular, and so serious at bot-\\ntom, whose fatherland and estates were the Quartier Latin,\\nand who affected the exhibition of singular manners so that", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0184.jp2"}, "185": {"fulltext": "THE QUARTIER LATIN 143\\nthe peaceable ordinary people who were their neighbours\\nshould esteem themselves happy in letting them live in\\npeace in their own way. But in speaking of an epoch that\\nis already distant, it is necessary to sketch the material\\nfeatures of the Quartier Latin for only by this means will\\nthe reader be able to understand how the students could\\nlive in Paris as if they had been a thousand leagues away,\\nand in it preserve their traditions, their usages, and their\\nlaws like an independent nation.\\nTwo long streets, black, narrow, tortuous and intermi-\\nnable, the Rue de la Harpe and the Rue Saint-Jacques, on\\nthe east, formed the communication between the He de la\\nCite, which was the cradle of Paris, and the Mont Sainte-\\nGenevieve, which was the cradle of the University on the\\nwest, the He de la Cite was connected as it still is with the\\nLuxembourg by the Rue Dauphine. I desire in a few\\nlines to show the physiognomy of the two great streets\\nof the Quartier Latin as we might have seen them before\\nthe transformation of Paris.\\nScarcely had the stroller entered the Rue de la Vieille-\\nBoucherie, which was then the beginning of the Rue de la\\nHarpe, when he felt that he was not at home and that he\\nhad just penetrated into domains particularly affected by\\nspecial people, among whom one could only come as a\\nstranger or a guest. Penthouse shops, constructed on a\\nGothic model, black and smoky houses, nothing smelt of\\nmodern civilization and it was easy to see that the active\\ncirculation of money had not penetrated thus far. In the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0185.jp2"}, "186": {"fulltext": "144 PARIS\\nRue de la Harpe, it was different again the old hotels, the\\nsombre houses with wrought-iron balconies had allowed\\ntime to blacken their noble facades tranquilly as for the\\nrelatively modern houses, corpulent and deep, leaning\\nagainst one another like infirm people, pierced with irregular\\nwindows, and sometimes without tiles, only adorned by the\\nsigns of a few strange shops and by the creeping plants,\\npots of flowers and Parisian gardens hanging at the old\\nwindows, or at the cornices, from the Rue de la Parche-\\nminerie, which has not changed since the Middle Ages, to\\nthe old Saint-Michel, they naively and sincerely told of the\\nlives of their inmates. Moreover, it was quite useless to\\nconsult the stones, and the personages explained them-\\nselves. Young, gay, with breasts uncovered without los-\\ning any of their native distinction, coquettishly clothed in\\nvelvet and all kinds of fantastic costumes, with Basque\\ncaps or Rubens hats on their heads, they went along the\\nstreets singing, lounging, gaping in the air, alone, or in\\ncouples, or in troops, or three by three, gladly selling their\\nbooks at the old book-sellers* to go to the wine-shop a\\ncustom which, as every one knows, dates from the Fifteenth\\nCentury At that time, the exchange was conducted even\\nmore frankly, for generally the book-seller was at the same\\ntime a tavern-keeper so that if the scholar, who came to\\nbuy a book, by chance felt the pangs of thirst he sold back\\nto the book-seller for a jug of wine the book he had just\\nbought and which if he was seized with a desire to work he\\nfound himself forced to buy it back again. Thanks to this", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0186.jp2"}, "187": {"fulltext": "THE OUARTIER LATIN 145\\nessentially archaic and naive combination, the tavern-book-\\nseller realized splendid profits by constantly selling and re-\\nselling the same volumes, a speculation of which assuredly\\nM. Hachette or M. Michel Levy has never thought. In\\nseeing the happy-go-lucky ways that the students allowed\\nthemselves about 1840, gloomy spirits might have been\\ntempted to deny progress they would have been mistaken\\nhowever, and I want no other proof than these lines by the\\nsavant, Quicherat Except the professor s chair (in 1500),\\nthe classes had no benches nor seats of any kind the\\nrooms were strewed with straw during the winter, and fresh\\ngrass during the summer. The pupils had to wallow in\\nthis so-called glitter as an act of humility.\\nWe see that in comparison with the past, which was\\ncurious in more ways than one, the eccentricity of the\\nyoung men of 1840 was a very small matter. Besides, it\\nhad a more noble motive and spring of action than is\\nthought. Having decided courageously to submit to their\\nsomewhat harsh and rude destiny, and to study while liv-\\ning on almost nothing, so as not to involve their families in\\ndebt, the students accepted their honest misery with an out-\\nward semblance of gaiety and ardent folly, preferring to\\nscandalize the Boertians than to excite their tenderness and\\npity, while casting over their poverty the sole mantle that\\never successfully hid the lack of money the careless\\nfantasy of the artist Much wiser at bottom than they\\nseemed to be, they wore Basque caps for the sake of econ-\\nomizing the sixteen francs required for a silk hat and not", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0187.jp2"}, "188": {"fulltext": "146 PARIS\\nbeing able to buy well-made hats they went about in little\\nfool s-caps and in light robes painted with flowerets. Not\\npossessing any means to provide themselves with luxuries,\\nand with it to make sad and false great ladies, at least they\\ndid not refuse them their arm they acknowledged them\\nwith sincere affection and showed them with pride in the\\nfull noonday glare It was slight courage, moreover, for,\\nnot being obliged to appear rich, these girls took the trouble\\nto be young, and adorned with childish grace, and fresh as\\nroses, at a time when people did not yet abuse that flour\\nimproperly called rice-powder They have been celebrated\\nthousands and thousands of times, those lovers of the first\\nspring and of the twentieth year, who loved songs and\\nwhose entire toilette was not worth a couple of louis\\nThey have not been celebrated sufficiently even yet for,\\nsprung from the people, they worked without fearing the\\npricks of the needle they inhabited garrets furnished above\\nall with the garland of fresh flowers at the old window\\nthey loved their lovers without thinking of getting them-\\nselves enriched or married, and without any pretention save\\nthat of spending with them those years of youth that so\\nquickly fly away and, when the dream came to an end,\\nthey bravely continued their daily work, they sewed And\\nwhen they had returned to the humble sphere of their fleet-\\ning amours, they made memories that charmed the whole\\nof a rough and laborious life. As for the students, they had\\nthe courage to love them without ruining their families for\\nthem. Nowadays perhaps they would have the right to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0188.jp2"}, "189": {"fulltext": "THE QU ARTIER LATIN 147\\nbe less scrupulous for, in a family where the son plays at\\nthe Bourse like his father, he can sometimes say to himself\\nthat his father has the chance of awakening to-morrow\\nmorning a millionaire, and, if not his father, then perhaps\\nhimself. But at that time we were far from the beautiful\\ndays of the Bourse and its maddening enchantments", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0189.jp2"}, "190": {"fulltext": "HOTEL DE CLUNY\\nPROSPER MERIMEE\\nPIERRE DE CHASLUS, Abbe de Cluny, about\\n1340, acquired for his order the Roman ruins\\nicnown under the name of the Palais des Thermes,\\nsituated in Paris between the Rue Saint-Jacques and the\\nRue de la Harpe. In this place a century later, another\\nAbbe de Cluny, Jean de Bourbon, the natural son of John\\nI., Duke of Bourbon, laid the foundation of the Hotel that\\nexists to-day. Probably these works accelerated the ruin\\nof various parts of the ancient palace, which at that period\\npresented a considerable series of buildings. As is known,\\nit had been built by Constantine Chlorus, and successively\\noccupied by Julian, Valentinian and Valens during the stay\\nof those Emperors in the north of Gaul. Some of our\\nkings of the first and second race held their court there.\\nOn looking at the immense halls that still exist and the\\nRoman sub-structures, traces of which are found through-\\nout the quarter, we can gain an idea of the truly colossal\\nproportions of the ancient palace.\\nThe death of Jean de Bourbon, in 1485, interrupted the\\nbuilding of the Hotel that had been begun but, five years\\nafterward, it was resumed by his successor, the Abbe Jacques\\nd Amboise (brother of the cardinal), afterwards Bishop of\\nClermont, who completed it.\\n148", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0190.jp2"}, "191": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0191.jp2"}, "192": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0192.jp2"}, "193": {"fulltext": "HOTEL DE CLUNY 149\\nSuperb and magnificent, in fact, must have been the\\nabode of the rich abbes who were brought to the court by\\ntheir affairs. They were not the people to put up in an inn,\\nmuch less in a monastery. Their house, as they modestly\\ncalled it, in 15 15 lodged a queen, Mary of England, widow\\nof Louis XIL, and sister of Henry VIIL In 1536, James\\nv.. King of Scotland, on the day of his entry into Paris,\\nalighted at the Hotel de Cluny, where he was received by\\nFrancois I., who was going to give his daughter, Magdeleine,\\nto him in marriage.\\nAfter the kings, the princes of the House of Lorraine\\nand the Papal Nuncios lodged in the House of Cluny. I\\ncannot say whether the abbes leased or lent it, but I incline\\nto the latter for they were sufficiently great lords to exer-\\ncise hospitality even toward sovereigns. However, at the\\nend of the Eighteenth Century the hardness of the times\\nobliged them to get some return from their property.\\nThe Revolution did not allow them to collect their rents\\nvery long. Alienated for the national good, the Hotel de\\nCluny passed successively through the hands of several\\nowners. Industries were established there which paid little\\nattention to repairs, or, if any were made, they only resulted\\nin altering the character of the building.\\nNone of those who were brought to the Hotel de Cluny\\nby curiosity had thought of making the slightest attempt\\nof rescuing from the vandals a monument so remarkable\\nby its architecture and memories until 1833, when M. A.\\ndu Sommerard, Councillor in the Cour des Comptes came", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0193.jp2"}, "194": {"fulltext": "ISO PARIS\\nto establish himself in it with his rich collection. To-day,\\nwhen financiers and beautiful women pay gold by the\\npound-weight for more or less antique curiosities, it is\\nhard to explain how a magistrate who only possessed a\\nmodest fortune had succeeded in gathering together so\\nmuch furniture and so many rarities of the Middle Ages\\nand the Renaissance. The fact is he had appreciated the\\nmerit of these objects before the vile flock of imitators he\\nhad studied the Middle Ages at a time when no one cared\\nabout them. Admiring the beautiful under all its forms,\\nhe had early perceived that in making goblets or caskets,\\nBenvenuto Cellini had shown himself as skillful an artist\\nas when he modelled his Perseus. M. du Sommerard had\\nhunted through Italy and France collecting all the ancient\\nutensils and furniture on which he found an elegant and\\ncharacteristic ornamentation. He had first attached him-\\nself to the productions of the Renaissance but he was not\\none of those amateur maniacs who adopt an epoch and who\\nindiscriminately buy everything associated with it good or\\nbad, for the sake of completing it^ as they say in their jargon.\\nM. du Sommerard had too much good taste to fall into\\nthat rut. At a period when the art of the Middle Ages\\nwas at once entirely unknown and despised, he eagerly\\nsought enamels, ivories, and all that mass of admirably-\\nwrought furniture that had escaped the destructions that\\nare unfortunately so frequent in our country.\\nOn establishing himself in the Hotel de Cluny, only one\\napartment of which he occupied, M. du Sommerard con-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0194.jp2"}, "195": {"fulltext": "HOTEL DE CLUNY 151\\nstituted himself the benevolent conservator of the last\\ncivil edifice of the Middle Ages vi^hich existed after so many\\ntransformations of old Paris. At his death, in 1842, the de-\\nstruction of the Hotel de Cluny would have been a public\\nscandal. It w^as feared that the collection so often coveted\\nby rich foreigners might be dispersed and lost to the country.\\nAt the desire expressed by the Commission of Historical\\nMonuments, the Government brought forw^ard a law for\\nthe acquisition of the Hotel and the Collection. If my\\nmemory serves me, the law passed almost without discus-\\nsion, and the city of Paris immediately hastened to off er to\\nthe State as a free gift the Palais des Thermes, contiguous\\nto the Hotel, and municipal property since 18 19. Thus,\\nby a happy concurrence of circumstances, these two curi-\\nous edifices were finally preserved for the Arts and received\\nthe most fitting destiny the Roman palace offered an asy-\\nlum to the scattered fragments of ancient Lutetia; the\\nHotel of the Fifteenth Century was opened to the mediaeval\\nproductions of art and industry. The new establishment,\\nconstituted by the law of July 24th, 1843, ^as placed un-\\nder the superintendence of the Commission of Historical\\nMonuments.\\nThe collection of M. du Sommerard was piled up in a\\nsomewhat narrow apartment. Although largely augmented\\nby recent acquisitions, it is now comfortable in vast halls\\nwhere it has received a methodic classification which has\\nnot excluded a picturesque disposition. Whilst the anti-\\nquarian bending over a glass case studies an enamel or a", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0195.jp2"}, "196": {"fulltext": "152 PARIS\\nfaience plate, a painter studies the effects of light playing\\nover carved woods, or reflected in the armour. Among the\\nnumerous visitors to the museum, one often notices young\\nworkmen with an intelligent look who know how to handle\\nthe rule and pencil, taking notes and measurements before\\nsome old piece of furniture. They are right. There are\\nfew industries which have not something to learn and to\\ntake from the Cluny museum. The positive economist\\ngentlemen, who declaim against the expenditures on our\\nmuseums and Fine Art schools, might have recognized\\nfrom the Great Exhibition in London how much our\\nmanufactures owe to these establishments.\\nThe ground-floor of the Hotel de Cluny is devoted to furni-\\nture of large dimensions, statues, and hangings of all kinds.\\nThe beautifully-carved staircase, bearing the arms and\\nmonograms of Henri IV^., and Catherine de Medicis, es-\\ntablishes the necessary communication between the rooms\\non the ground-floor and those of the first story. This\\nstaircase, made for the old Chambre des Comptes, after the\\ndemolition of the latter, had been relegated to the shops of\\nthe city. The Prefet de la Seine presented it to the\\nmuseum, for which one might think it had been made.\\nA volume would be required for the mere enumeration\\nof the principal objects exhibited in the rooms on the first\\nstory, furniture, arms, paintings, pottery, faience, enamels,\\nglass, and carved ivories. Let us mention the great carved\\nchimney-pieces from Troyes and Chalons, beautiful re-\\ntables of the Fourteenth and Fifteenth Centuries, and es-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0196.jp2"}, "197": {"fulltext": "HOTEL DE CLUNY 153\\npecially the magnificent ivories of the Chartreuse de Dijon,\\nknown as the Oratory of the Duchesses of Burgundy.\\nAlthough the Musee de Cluny is not as rich as many\\namateurs, it has several advantages over them. In the\\nfirst place it is immortal it buys and does not sell. In the\\nsecond place it is patient, because it is immortal, and conse-\\nquently it is insensible to the caprices of fashion, so power-\\nful over collectors. When the fashion runs to enamels and\\nthey attain extravagant prices at sales, the administration\\nwhose mission is to seek the beautiful and the useful and\\nwhich can always wait and choose, leaves enamels alone and\\nacquires ivories or carved wood. Patience Ivories will\\nsoon be up and enamels will soon be within their resources.\\nI must not forget the gifts and legacies that form a no-\\ntable portion of the collection. And first we must mention\\nthe very numerous and very well-placed gifts of the city\\nof Paris. The Hotel de Cluny, with the Palais des\\nThermes, is its principal museum. It is quite right that It\\nshould have been chosen for the reception for a mass of antique\\nor mediaeval fragments that were formerly dispersed and\\nbadly kept in twenty diff^erent depots. Every day the\\ngreat works that transform Paris bring interesting debris of\\nour ancient city some day they will form the most pre-\\ncious collection for its monumental history. Following the\\nexample of the Municipal body, several private persons\\nhave been willing to contribute to enrich a collection where\\nall sympathies meet. I lack the space here to give a list of\\nthe gifts and donors which would be interminable.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0197.jp2"}, "198": {"fulltext": "154\\nPARIS\\nThe Hotel de Cluny is a historical monument that con-\\ntains historical monuments to-day it is the sole edifice in\\nParis that can give a complete idea of a seignorial habita-\\ntion of the Fifteenth and Sixteenth Centuries. It had\\nsuffered various cruel wrongs at the hand of Time, but\\nmore especially at the hand of man its last owners had\\nmutilated some of its dispositions as though wantonly.\\nAfter the Hotel came into the possession of the State,\\nvarious important repairs were made. Unfortunately, it\\nwas necessary to proceed very slowly and to acquire with\\nno less economy. However, all the parts of the edifice\\nthat were repaired have been restored in a complete man-\\nner. In proportion as the condition of a given room de-\\nmanded a partial restoration, the ancient dispositions were\\nrestored with the most scrupulous exactitude.\\nThe establishment of the Musee de Cluny has exercised\\na most happy influence upon the Quartier Saint-Jacques.\\nThe Municipal administration has cleared a space for it,\\nand the Rue des Mathurins, formerly a narrow and danger-\\nous lane, has been entirely transformed. All the ignoble\\nhouses that deprived the Hotel de Cluny of light and air\\nhave disappeared. The great Rue des Ecoles now opens\\nout before the museum. Let us hope that by further\\ndemolition the complete perimeter may be discovered of\\nthe Palais des Thermes the sub-structions of which, which\\nare still visible at various points, seem to mark the natural\\nlimits of the Hotel de Cluny.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0198.jp2"}, "199": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0199.jp2"}, "200": {"fulltext": "IHE SORBOXNE,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0200.jp2"}, "201": {"fulltext": "A\\nLA SORBONNE\\nS. SOPHIA BE ALE\\nNOTHER institution which owes its initiative to\\nSaint-Louis is the Sorbonne, actually founded in\\n1250 by Robert de Sorbon, a canon of Paris,\\nfor sixteen poor students in theology. The present church\\nis a fine example of the Seventeenth Century Classicism,\\nsuch as the world of that day affected. Jacques Lemercier\\nwas the architect, and the great Cardinal the paymaster,\\nand between them they turned out a very respectable piece\\nof work with a certain sense of grandeur, and a very fine\\ndome, the first that figured in Paris. It was built between\\n1635 and 1659. Within, is the marble tomb of Richelieu,\\nthe work of Girardon (1694) from the design of Lebrun.\\nThe great man reclines gracefully upon a couch supported\\nby a figure of Religion, and a weeping lady of Science at\\nhis feet. It has not the feeling of the Renaissance sculp-\\nture, and although Religion forms a principal part of the\\ncomposition, it is purely and simply a secular design. It\\nmight be the memorial of a Pagan, and it would be just as\\nappropriate in a town hall, a garden, or a theatre but that\\nperhaps gives it the more fitness as the monument of so\\nsingular a churchman and so farcical a Christian. The\\nwary Cardinal turns up his face and piously gazes at\\n155", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0201.jp2"}, "202": {"fulltext": "156 PARIS\\nHeaven as if that were his only thought he appears over-\\nwhelmed with holiness and sanctity, a veritable Pecksniff\\narrayed in the gorgeous robes of a prince of the holy\\nRoman Church. But artistically, the composition is fine,\\nfar liner than any of the works of the Seventeenth Cen-\\ntury, and one feels that could the figure rise, it would move\\nabout with the same grace as that portrayed in the noble\\nportrait of the great statesman by Philippe de Champaigne\\nin the Louvre. As posthumous retribution for his crimes\\nand vices, Richelieu s head was chopped off into three\\npieces in 1793, and remained fragmentary until i86i,when\\nthey were patched together. The church also contains\\na painting by Hesse of little value, Robert de Sorbon pre-\\nsentant a Saint Louis de jeunnes eleves en theologie^ and some\\nstatues by Romy and Bure.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0202.jp2"}, "203": {"fulltext": "SAINT-SEVERIN\\nS. SOPHIA BE ALE\\n^HE church of Saint-Severin is particularly inter-\\nI esting as showing a gradual development from\\nthe Thirteenth to the Sixteenth Century.\\nFounded upon the site of an oratory by Henri I., in\\n1050, it was first rebuilt at the end of the Eleventh\\nCentury.\\nThere were two saints of this name one, the founder\\nof the Abbey Chateaulandon, who miraculously cured\\nClovis I. of some sickness by placing his chasuble upon\\nhim and the other, the patron of this church, a man, or\\nrather a hermit, who lived during the reign of Childebert\\nI., in a cell near Paris, and was of course much given to\\nprayer and supplications, and other pious exercises. So\\nwell did he preach his pacific faith, that Saint Cloud, or\\nClodoaldus, the grandson of Queen Clotilde, became one\\nof his disciples, and received the religious habit of the Ben-\\nedictine order from him.\\nSaint-Severin was probably buried near the oratory, and\\nwhat would be more natural than that the disciple should\\nconsecrate the spot to the memory of his master In\\n1050 Henri I. gave the patronage, which had been up to\\nhis reign in the hands of the kings, to the then Bishop of\\n157", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0203.jp2"}, "204": {"fulltext": "158 PARIS\\nParis, Imbert. At the end of the Eleventh Century it be-\\ncame an enormous parish, extending almost over the whole\\nof the southern part of the city. It is now the centre of\\nthe Italion legion, models, organ-grinders, white-mice men,\\nand plaster-image venders and it is a pretty sight on Sun-\\ndays znd J7te-da.ys to see the church packed with emigrants\\nfrom the sunny South decked out in all the splendour of\\ntheir holiday attire.\\nThe present church of Saint-Severin was rebuilt in the\\nThirteenth Century, in great part by money obtained by\\nindulgences, which Clement VI., in 1347, accorded to the\\ngenerously inclined among the faithful. In the next cen-\\ntury this system was revived, and the church wardens, with\\nshrewd foresight, bought up more ground, with a view to\\nthe enlargement of the building. The first stone of the\\nnew part was laid in 1489, the chapel of Saint-Sebastian\\nbeing built three years later. In 1490 the chapel of the\\nConception, which was situated near the east end, was de-\\nmolished to make way for the lengthening of the north\\naisle. Five years later, Jean Simon, Bishop of Paris, con-\\nsecrated the new portions of the church, including the high\\naltar, and several of the chapels of the chevet. In 1498 the\\nchapels on the south side were commenced by Micheaul\\nle Gros; the sacristy and treasury being added in 1540,\\nand the chapel of the Communion in 1673, to make an\\nentrance for which the chapel of Saint Sebastian had to be\\ndestroyed. Thus for four hundred years, more or less, the\\nchurch was undergoing constant change and development.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0204.jp2"}, "205": {"fulltext": "SAINT-SEVERIN 159\\nThen began the downward path, commencing with the de-\\nstruction of the jube and the ornamentation of the\\nsanctuary to suit the taste of the devotees of Classic art.\\nOriginally, many of the Paris churches had jubes (rood-\\nscreens), but the only one now remaining is that of Saint-\\nEtienne du Mont. A brass attached to one of the pillars\\ngives the names of the donors of the screen, Antoine de\\nCompaigne (illuminator) and his wife, Oudette.\\nThe portal is profusely carved and bears an inscription\\nupon the stylobate (the letters of which are of the Thirteenth\\nCentury), giving the various duties of the grave-diggers.\\nAs in many other churches, there are two lions on each\\nside of the arch, probably the supports formerly of some\\nheraldic shields. This, no doubt, is the origin of the\\nformula, which terminates certain ecclesiastical judgments\\npronounced on the threshold of the temple. Datum inter\\nduos hones. The tympanum bas-relief has been restored.\\nIt represents the charity of Saint-Martin, who is one of\\nthe patrons of the church, and whose mutilated mantle, or\\na portion of it, has been one of the cherished relics of\\nSaint-Severin since the Fourteenth Century. There is also\\na chapel dedicated to the venerable bishop of Tours, which\\nwas formerly covered with ex voto horseshoes, the gifts of\\nthankful travellers for Saint-Martin having been on horse-\\nback when he divided his cloak, became the patron of the\\ntravelling community. The western facade is composed\\nof portions of the portal of Saint Pierre-aux-Boeufs in the\\nCite, which was demolished in 1837, ^h ViuXq", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0205.jp2"}, "206": {"fulltext": "i6o PARIS\\nwhich has been left unrestoied, of the Thirteenth Century.\\nAbove the porch of Saint-Severin are an open work gallery,\\na rose window, and a cornice upon which a party of little\\nanimals are playing among the foliage, all in Flamboyant\\nstyle. The statue of the Virgin is quite modern. The\\nwhole of the chapels, as well as the greater part of the\\nnave, are of the Fifteenth and Sixteenth Centuries; but the\\nfirst three bays of the nave are of a totally different style;\\nthe form of the arches and of the windows shows the crafts-\\nmanship of the Thirteenth Century artists. Birds and\\nbeasts, natural and grotesque, form gargoyles, shooting the\\nrain-water from their open mouths. At the northwest end\\nof the chapels, an elegantly carved canopied niche encloses\\nthe patron Saint, and near him is an inscription inviting the\\npassers-by to pray for the souls of the departed.\\nThe interior consists of a nave and double aisles. The\\ntriforium is very similar to that of Westminster Abbey\\nChurch but at the commencement of the apse, the Thir-\\nteenth Century arches were filled in with round-headed\\nones, Cupid-like Cherubs being placed between the two to\\nornament the intervening space, and the pillars converted\\ninto marbled pilasters.\\nIt was Mile, de Montpensier who caused the marbling\\nof the choir to be undertaken in 1684, and who also bore\\nthe expenses of the baldachino of the altar, employing the\\nsculptor Tubi to carry out the designs of Lebrun.\\nIn the south aisle, on the south, is a little door leading\\nthrough a garden, formerly the graveyard, to the presbytere.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0206.jp2"}, "207": {"fulltext": "SAINT-SEVERIN 161\\nThis, in summer, forms a charming little picture. In one\\nof the side chapels (Notre-Dame de I Esperance) is a Fif-\\nteenth Century wall-painting of the Resurrection of the\\nDead; and in the chapel of the chevet a Preaching of John\\nthe Baptist^ also in fresco.\\nA number of distinguished persons were buried at Saint-\\nSeverin Etienne Pasquier, an eloquent Avocat-Gen eral\\nunder Henri III., who was mainly instrumental in causing\\nthe exclusion of the Jesuits from the University, and who\\ndied in 1615; the brothers Saint-Martre, celebrated men\\nof letters living at the beginning of the Seventeenth Cen-\\ntury and Moreri, the author of the Dictionnaire Historique,\\nwho died in 1680.\\nThe church contains no furniture of any value artistic-\\nally, except perhaps, the organ and wrought-iron gallery,\\nerected in 1747 to replace an earlier instrument of 15 12.\\nA good deal of the stained glass is of the Fifteenth and\\nSixteenth Centuries, and bears the figures and arms of the\\ndonors (some of whom appear by their long robes to have\\nbeen magistrates), accompanied by their wives and families.\\nThe subjects are the usual ones taken from the New Tes-\\ntament, or from the lives of the Saints but a few are\\nsomewhat out of the beaten track.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0207.jp2"}, "208": {"fulltext": "THE PANTHEON\\nPHILIP GILBERT HJMERTON\\nTHE Pantheon has stood the test of a hundred years\\nof criticism, without which no building can be\\nsure of permanent fame. Its merits are not of a\\nkind to excite enthusiasm, but they gain upon us with time\\nand satisfy the reason if they do not awaken the imagina-\\ntion. We can never feel with regard to a severe classical\\nbuilding like the Pantheon the glow of romantic pleasure\\nwhich fills sense and spirit in Notre-Dame or the Sainte-\\nChapelle. If there is emotion here it is of a different kind.\\nThe building has a stately and severe dignity it is at once\\ngrave and elegant, but it is neither amusing as Gothic\\narchitecture often is by its variety, nor astonishing as\\nGothic buildings are by the boldness with which they seem\\nto contravene the ordinary conditions of matter. The\\nedifice consists of a very plain building in the form of a\\ncross, with a pediment on pillars at one end and a dome\\nrising in the middle. There are no visible windows, an\\nenunciation that adds immensely to the severity and gravity\\nof the composition, while it enhances the value of the\\ncolumns and pediment, and gives (by contrast) great addi-\\ntional lightness and beauty to the admirable colonnade be-\\nneath the dome. There does not exist, in modern archi-\\n162", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0208.jp2"}, "209": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0209.jp2"}, "210": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0210.jp2"}, "211": {"fulltext": "THE PANTHEON 163\\ntecture, a more striking example of a blank wall. The\\nvast plain spaces are overwhelming when seen near, and\\npositively required the little decoration which, in the shape\\nof festooned garlands, relieves their upper portion. At a\\nlittle distance the building is seen to be, for the dome, what\\na pedestal is for a statue and the projection of the tran-\\nsepts on each side of the portico, when the edifice is seen\\nin front, acts as margin to an engraving. Had their plain\\nsurfaces been enriched and varied with windows, the front\\nview would have lost half its meaning the richness of the\\nCorinthian capitals and sculptured tympanum, and the im-\\nportance of the simple inscription, draw the eye to them-\\nselves at once.\\nThe situation of the Pantheon is the finest in Paris for\\nan edifice of that kind. Only one other is comparable to\\nit, Montmartre, on which is now slowly rising a church of\\nanother order, dedicated to the Sacr e Coeur. The dome of\\nthe Pantheon is one of the great landmarks of Paris it is\\nvisible from every height, and from a thousand places of no\\nparticular elevation. It does not simply belong to its own\\nquarter, but to the whole city.\\nThe interior is interesting in different ways, both as an\\nexperiment in architecture and as an experiment in the em-\\nployment of mural painting on an important scale. The\\nfirst point likely to interest an architectural student is the\\nmanner in which the architect has combined his vaults and\\nhis pillars. Soufflot s tendency (unlike that of the archi-\\ntects of St. Peter s in Rome and St. Paul s in London)", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0211.jp2"}, "212": {"fulltext": "i64 PARIS\\nwas toward an excessive lightness. His project was to\\nerect his dome on elegant pillars but these were found in-\\nsufficient, and another architect (Rondelet) replaced them\\nby massive piers of masonry. Elsewhere there are\\nCorinthian columns carrying a frieze and cornice, and\\nabove the cornice a groined (intersected) vault, of course\\nwith round arches, and having exceedingly slender termina-\\ntions, as this system of vaulting cuts away nearly every-\\nthing and leaves a minimum of substance at the corners to\\nbear the weight.\\nThere is a remarkable peculiarity about the level of the\\nfloor; the aisles and transepts are higher than the nave into\\nwhich you have to descend by five steps. The general\\naspect of the interior is agreeable, from the pleasant natural\\ncolour of the stone and its thoroughly careful finish every-\\nwhere but the large spaces of wall, though divided by\\nhalf-columns, were felt to be too bare.\\nMural painting ought never to make us feel as if the\\nwall were taken away, because that is an injury to the\\narchitecture. The painting should be so far removed from\\nrealism that we feel the wall to be a wall still, upon which\\ncertain events have been commemorated. Among French\\nmural painters, not one has understood this so well as Puvis\\nde Chavannes, and it would have been wise to entrust to\\nhim the entire decoration of the Pantheon, both for the\\nsake of the architecture and for the unity of the work but\\nunfortunately (so far as these considerations are concerned),\\nother men have also been called in, men of great ability,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0212.jp2"}, "213": {"fulltext": "THE PANTHEON 165\\nno doubt, yet who were not disposed to make the neces-\\nsary sacrifices. Puvis de Chavannes is essentially a mural\\npainter. His large work in the Pantheon represents the\\nfinding of Sainte-Genevieve when a child by Saint-Germain\\nand Saint-Loup, at Nanterre, when they were journeying\\ntoward England. The bishop sees that the child has a\\nreligious aspect, has the Divine seal upon her, and pre-\\ndicts for her a memorable future. This takes place in a\\nvast landscape, with undulating ground and fine trees in the\\nmiddle distance against a line of blue hills, and a blue sky\\nwith white, long clouds. In the foreground is a rustic\\nscene, including the milking of a cow under a shed and\\nin the middle distance we have a view of Nanterre, or at\\nleast of a mediaeval city. The figures are all very simply\\npainted in dead colour, kept generally pale and hardly going\\nbeyond tints, which are often false so far as nature is con-\\ncerned, but never discordant. Such painting is very reti-\\ncent, very consistent and, though it is not true, it contains\\na great amount of truth, and implies far more knowledge\\nthan it directly expresses. The landscape background, for\\nexample, is simple, but it is not ignorant; it shows quite\\nplainly that the painter is a man of our own century, per-\\nfectly conversant with our knowledge, yet decided not to\\ngo beyond a certain fixed point in the direction of actual\\nimitation. The figures are exceedingly dignified but\\nwhen the painter gets away from the muscular type, and\\nhas to deal with weaker men or with children, he is not so\\nsatisfying. A smaller picture represents the child Sainte-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0213.jp2"}, "214": {"fulltext": "i66 PAHIS\\nGenevieve praying in a field, while the rustics watch and\\nadmire her. The sentiment here is very pure and simple,\\nlike that of an idyllic poem. In the upper part of the\\ncomposition a ploughboy, behind trees, watches the saint\\nwhile his oxen rest; in the lower part, a peasant man and\\nwoman watch her also.\\nNow, although these paintings tell their story perfectly,\\nnot a single person or other object in them is so far realized\\nas to make us forget the wall-surface. A story has been\\ntold upon the wall just as an inscription might have been\\nwritten upon it, but nothing has been done to take the wall\\naway. Even the pale tinting is so contrived as not to con-\\ntrast too violently with the natural stone around it. Let\\nthe visitor who has just seen these paintings, and, perhaps,\\nbeen a little put out by their conventionalism, glance up\\nfrom them to the pendentives under the dome painted by\\nCarvallo from drawings by Gerard. Those works are\\nstrong in darks, and in far more powerful relief than the\\nsituation warrants. They are also surrounded by heavily\\ngilt carvings, which make the surrounding stone look poor;\\nin short, from the architectural point of view, they are a\\nseries of vulgar blunders. I would not use language of\\nthis kind with reference to so serious, so noble an artist as\\nJohn Paul Laurens, but I cannot help regretting that his\\nmagnificent composition of the death of Sainte-Genevieve\\nwas not in some public gallery rather than in the Pan-\\ntheon. The realization is far too powerful for a mural\\npainting. We do not see a record on a wall, but the wall", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0214.jp2"}, "215": {"fulltext": "THE PANTHEON 167\\nis demolished, and through the opening we witness the\\nscene itself, the infinitely pathetic closing scene at the end\\nof a saintly life, when, even in the last moments of ex-\\ntremest weakness, a venerable woman still throws into the\\nexpression of her countenance the benedictions that she\\ncannot utter. One consequence of the external force with\\nwhich all the figures and objects are realized in full model-\\nling and colour is that the two columns which cross the\\nwork vertically are felt to be in the way j in other words,\\nthe architecture of the Pantheon is in the way, and so far\\nfrom helping the architect, the painter has done him an\\ninjury, for what are smoothly chiselled stones, what are\\nfluted columns and pretty Corinthian capitals, to the awful\\napproach of Death\\nOn the other mural paintings in the Pantheon we have\\nno need to dwell. So far as I know them yet, they belong\\nto the class of historical genre common in the French\\nsalons, and have neither the power of Laurens nor the care-\\nful adaptation of Puvis de Chavannes. Cabanel s pictures\\nrepresent three scenes in the history of Saint-Louis, one\\nhis childhood, when he is being taught by his mother the\\nsecond, his civil justice and a third, his military life as a\\nCrusader. The first subject is the best suited to Cabanel s\\ntalent, and is a pretty domestic scene. The subject\\nselected by M. Maillot for his paintings in the south tran-\\nsept is a mediaeval procession with the relics of Sainte-Gen-\\nevieve, and these paintings are a good example of a danger\\ndifferent from the powerful realization of Laurens. In the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0215.jp2"}, "216": {"fulltext": "i68 PARIS\\npresent instance the evil is a crudity of a brilliant colour,\\nlike medineval illumination, which always seems out of\\nplace on a wall unless it is carried out consistently by poly-\\nchromatic decoration throughout the building.\\nIt is sometimes said by journalists that these paintings\\nare frescos (wall-paintings are generally taken for frescos).\\nThe fact is that they are oil-paintings on toile marouji ee^\\nthat is, on canvas fastened to the wall by a thick coat of\\nwhite-lead. This is now the accepted method for mural\\npainting in France. It is convenient for the artist, as it\\nallows him to paint in his own studio on a material he is\\naccustomed to use and it is believed to be as permanent as\\nany other.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0216.jp2"}, "217": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0217.jp2"}, "218": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0218.jp2"}, "219": {"fulltext": "THE LUXEMBOURG\\nLOUIS ENJULT\\nNGLISH gardens must have been invented by\\nsmall ownership. Small property delights in\\nmaking illusions for itself, in pretending space it\\ndoes not possess, and in consoling itself for what it lacks\\nby the unexpected, by detour^ by surprise and by deceiving\\nthe eye. A clump of trees negligently placed on the right\\nmasks the neighbouring house this haha skilfully conceals\\nthe common ditch behind those tendrils of clematis and\\njasmine, set somewhat too close to the windows, there is a\\nparty wall. But when we own wide domains, when we\\nare not obliged to measure out our ground regretfully and\\nwith a niggardly hand, then the facade of our palace is\\nmajestically developed we want to feel free air and pure\\nlight about us the beds sweep away of themselves and\\nexpand the gardens become parks, the alleys are avenues\\nthat lengthen and extend, opening endless walks before our\\nfeet and distant perspectives of vast horizon before our\\neyes.\\nSuch is the Luxembourg.\\nRarely has an artist s genius raised a nobler palace for\\nthe princes of the earth nowhere do the same lines of the\\narchitecture and the undulous and supple lines that softly\\n169", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0219.jp2"}, "220": {"fulltext": "170 PARIS\\nround the plants and trees combine in more harmonious\\nunion. If we were to consider the palace by itself we\\nshould perhaps find it a trifle heavy it was made so by\\nLouis Philippe but, nevertheless, it cuts a fine figure and\\nhas a grand air amid its gardens.\\nIn the Sixteenth Century what is now the Luxembourg\\nwas the domain of a simple gentleman, Robert de Harley\\nde Sancy. The Duke of Luxembourg purchased it in\\n1580. He restored and enlarged it. A few years later,\\nMarie de Medicis acquired it for ninety thousand francs\\nthen she summoned Jacques Desbrosses and ordered a pal-\\nace from him. Jacques Desbrosses remembered the Pitti\\nPalace where Marie s happy childhood had been spent he\\ntook inspiration from it without imitating it. That pa-\\nvilion of the facade, surmounted by a cupola and set in the\\ncentre of a gallery flanked by two other pavilions, that\\nsquare tower formed by long parallelograms of buildings\\nwith pavilions at the centre and at the angles, that is Flor-\\nentine architecture, it is the disposition of the great abodes\\nof the French feudal lords of the Sixteenth Century.\\nThe palace presents three distinct orders that are repro-\\nduced throughout. On the ground floor is the Tuscan\\norder, that is the memory of the Pitti Palace on the\\nfirst floor is the Doric order, and the Ionic order on the\\nsecond. We enter the palace by two principal facades\\none, looking on the Rue de Tournon, the other, looking\\non the garden. The whole ground floor is in arcades\\nformed by piers ornamented with pilasters cut by bossages.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0220.jp2"}, "221": {"fulltext": "THE LUXEMBOURG 171\\nThe Doric order of the next floor has its entablature orna-\\nmented with triglyphs and metopes the bossages that\\nround the angles are in alternate bands, and, instead of\\nbeing continuous in height, they are placed on the columns,\\npilasters and piers in turn.\\nThe interior of the Palace, the distribution of which is\\nmost happy, comprises a magnificent staircase, called the\\nstaircase of honour, built by Chalgrin, a guardroom, a\\nwaiting-room for the ushers, a room for the messengers of\\nthe throne, a conference-hall, a council-chamber, a throne-\\nroom, and, lastly, the hall of the sessions of the Senate.\\nThe hall of the sessions, very favourably disposed as to\\nacoustics, is formed of two opposed and unequal hemi-\\ncycles the smaller contains the desk the greater, the seats\\nof the senators. The two hemicycles are adorned with\\ncarved oakwork by Klagman, Triquetti and Elschouet.\\nAbove the woodwork rise columns of stucco in both hemi-\\ncycles, but their decoration is not the same in each. In\\nthe intercolumniation of the larger, public tribunes have\\nbeen arranged in the smaller, the similar space is occupied\\nby the statues of legislators. The vault is cylindrical with\\nits coving pierced by two wide glass windows its ground is\\ngold, sown with arabesques, gold on gold. The piers of the\\ncoving are decorated with paintings in wax of a very pretty\\neffect gold smiles and glitters everywhere on the branches\\nand acanthus leaves it is almost overpowering.\\nThe rostrums have disappeared.\\nThe library with its vast windows opening upon the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0221.jp2"}, "222": {"fulltext": "172 PARIS\\ngarden is enriched by a ceiling representing the Elysian\\nFields, upon which Delacroix has lavished the harmonious\\ntreasures of his palette, and, so to speak, exhausted the\\nentire chromatic scale.\\nAll who love beautiful walks, full of freshness and\\nshadow amid memories and flowers, will pass enchanted\\nhours in the gardens of the Luxembourg,\\nThe gardens of the Luxembourg, like the palace, the\\nwork of Jacques Desbrosses, are at once large without\\nuniformity and majestic without monotony with exquisite\\nart they combine variety with unity nothing could be\\nsimpler than the general plan, nor more ingenious than the\\nmanner in which this happy plan is modified and renewed\\nat every moment. Before the centre of the palace a vast\\nparterre, adorned with flowers mingled with shrubs and\\nsward contains an octagon basin in which swans sport and\\nswim about gently while pruning their white plumage. On\\neither side the ground slopes sharply upward planted with\\nrose-trees and enclosed by a double iron balustrade. These\\nslopes support great terraces adorned with shrubs and small\\ntrees, laburnums with golden trails, hawthorns, and great\\nlilacs that shower down a soft rain of perfume from their\\nblossoms. All this charming and delicate vegetation is\\nsupported by great clumps of chestnuts, the sombre foliage\\nof which lends a vigorous background against which these\\nthousand details stand out. Then amid the groves in the\\nshade and among the flowers are all the glories of the\\nfemale Pantheon of France, made divine in marble.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0222.jp2"}, "223": {"fulltext": "THE LUXEMBOURG 173\\nBefore all others, as the purest and most radiant, let us\\nsalute Jeanne d Arc, that maiden who was a great man,\\nthen St. Clotilde, Anne of Brittany, Anne of Provence,\\nAnne of Austria, Anne de Beaujeu, Valentine de Milan,\\nMile, de Montpensier la grande Mademoiselle, Clem-\\nence Isaure, Jeanne Hachette, Catherine de Medicis: I\\npurposely mix those who were queens with those who\\ndeserved to be.\\nHowever, let us not forget the High Priestess of the\\nGauls, the sacred Druidess Velleda, crowned with vervain\\nshe is pale for she has beheld the fasces of a consul and she\\nforgets her golden sickle and the mistletoe sacred to the\\nGallic Diana.\\nCasta Diva!\\nA superb alley extends the gardens as far as the observa-\\ntory, that saw Marshal Ney s blood flow.\\nIt seems that in this beautiful garden solitude and\\nsilence in Paris everything invites the soul to meditation,\\ncalm and peace. Formerly, when strolling amid its vast\\nalleys, one could see the tops of those pious refuges where\\nthe noise of the tempests of the world had died away the\\nconvents or the cloisters of the Feuillantines, Ursulines,\\nCarmelites, Filles de la Providence, Filles du Calvaire, des\\nCarmes, des Chartreux, des Capucins and des Jesuits.\\nAnd now beyond the high round tops of its great trees\\nwhat do we see The dome of Sainte-Genevieve, the\\ncupola of Val-de-Grace, and the towers of Saint-Sulpice.\\nMarie de Medicis passed several years in the Palace of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0223.jp2"}, "224": {"fulltext": "174 PARIS\\nthe Luxembourg it was then called the Palais- Medicis.\\nShe lived there as a prisoner rather than as a queen. The\\nCologne exile soon left the Luxembourg to her second son,\\nGaston d Orleans. It was then the Palais d Orleans.\\nAfter him the Luxembourg fell to Mile, de Montpensier,\\nthe fiery heroine of the Fronde, to her who had the cannon\\nof the Bastille trained upon the king s troops. There,\\nsaid Mazarin, is a cannon shot that has just killed her\\nhusband After having coveted the thrones of France,\\nEngland, Spain and Germany, la Grande Mademoiselle\\nreceived a Gascon cadet in the Royal alcoves of the Lux-\\nembourg. Later the Luxembourg was inhabited by the\\nRegent and his daughters all the capital sins and then by\\nthe Comte de Provence who had received it from Louis\\nXVI. The Terror turned the Luxembourg into a prison,\\nand the Directory made a dining-room and a boudoir of it.\\nIt was the first palace of the consulate, then the palace of\\nthe imperial Senate, and of the restored Peers. There Louis\\nBlanc, after February, held what was called in the lauguage\\nof the day, the \u00c2\u00a3tats Generaux du Travail. The senate\\nentered it with the Empire.\\nThe Musee du Luxembourg is the Louvre of living\\nartists.\\nIn i66i, there was collected in the Musee du Luxembourg\\nninety-eight pictures comprising canvasses by Raphael,\\nAndrea del Sarto, Titian, Veronese, Correggio, Poussin,\\nClaude Lorraine, Carracchio, Van Dyck and Rembrandt;\\nvery soon the Rubenses of the Medicis gallery were added.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0224.jp2"}, "225": {"fulltext": "THE LUXEMBOURG 175\\nThese pictures remained at the Luxembourg till the\\nComte de Provence came to live there shortly before\\n1789, they were transported to the Louvre. From 1802\\nto 18 15, there was a little museum at the Louvre. In\\n18 1 5 the pictures again crossed the Seine.\\nIt was Louis XVIII. who decided that the Luxembourg\\nshould become the asylum of the masterpieces, purchased\\nby the State, of living painters and sculptors, and that their\\nworks should remain there ten years after their death till\\nthe best of the good ones among them should be selected\\nto enter into the serene immortality of the Louvre.\\nThat was a great and fruitful idea; but its execution\\ndemanded intelligence in art and independence of character\\nin the agents in power.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0225.jp2"}, "226": {"fulltext": "SAINT-GERMAIN DES PRJ^S\\nS. SOPHU BEALE\\nTHE Abbey of Saint-Germain-in-the-fields, of which\\nnothing remains but the church and abbot s palace,\\nwas, after Notre-Dame, the oldest foundation in\\nParis. It dates back to the earliest period of the French\\nmonarchy, and its history is interwoven with that of some\\nof the best and noblest sons of France. The Saint to\\nwhom this church is dedicated was an early bishop of Paris,\\nand must not be confounded with Saint-Germain of\\nAuxerre.\\nThe foundation of the abbey was in this wise. Childe-\\nbert I. having made a second expedition against the Visi-\\ngoths in Spain, returned in 543 with much loot of various\\nkinds. What could be more natural, in the Sixth Century,\\nthan to consult a holy man as to the future destination of\\nsuch valuables Accordingly, Childebert communed with\\nSaint-Germain on the subject, and the bishop, suggesting the\\nfoundation of a church as a fitting home for the treasures,\\nthe king laid the first stone amid the green fields and woods\\nof what is now the densely populated Faubourg Saint-Ger-\\nmain. The church was originally dedicated to the Holy\\nCross and Saint-Vincent, the consecration taking place\\nupon the very day of Childebert s death in 558. It was\\n176", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0226.jp2"}, "227": {"fulltext": "SAINT-GERMAIN-DES-PRES.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0227.jp2"}, "228": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0228.jp2"}, "229": {"fulltext": "SAINT-GERMAIN DES PRES 177\\ncruciform in plan the roof, which was covered with\\nplaques of gilt copper, was supported by enormous marble\\ncolumns the walls decorated with paintings upon gold\\ngrounds, were pierced with numberless windows; and the\\npavement was laid in mosaic. At the end of the church\\nwas the chapel of Saint-Symphorien, which in 576 became\\nthe burial-place of good Bishop Germain, and was subse-\\nquently the scene of many wondrous and miraculous cures.\\nBefore the foundation of Saint-Denis by le bon roy Dagohert^\\nSaint-Germain served as the burial-place of the Merovingian\\nkings and their consorts. Thus, during the Sixth and\\nSeventh Centuries, the following princes were interred\\nthere; the Kings Childebert I., Cherebert, Chilperic I.,\\nClotaire XL, and Chilperic II., the Queens Ultrogothe,\\nFredegonde, Bertrude, and Bilihilde the sons of Merovee,\\nClovis, and Dagobert; the Princesses Chrodesinde and\\nChrotberge, daughters of the first Childebert. Some of these\\nstone coffins may be seen at the Hotel Carnavalet.\\nThe only part of the church which contains any remains\\nof Childebert s structure is the apse, into the triforium of\\nwhich are built some early white marble capitals and some\\nvarious coloured marble shafts but inasmuch as they have\\nbeen painted over, all interest in them is destroyed.\\nThe earliest part of the present church dates from the\\nbeginning of the Eleventh Century, the choir and apse from\\nthe second half of the Twelfth Century. The best view of\\nthe apse with its flying-buttresses is to be obtained from the\\ngarden of the abbot s palace but since the clearing away", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0229.jp2"}, "230": {"fulltext": "178 PARIS\\nof the houses which formerly were almost built on to the\\nchurch, and the planting of gardens round it, the view is\\nvery picturesque from any point. An insignificant Seven-\\nteenth Century porch leads to the west door, which is un-\\nderneath the tower, and has in its upper tympanum, a\\nmuch mutilated bas-relief of The Last Supper. The tower\\nhas been so much restored and renovated from time to time\\nthat little of the original remains. It has a high, but\\nstumpy spire covered with slates. Of the other two\\ntowers, which were formerly at the angles of the choir and\\ntransepts, nothing remains but the bases, which were con-\\nsidered necessary for the support of the church.\\nThe building is two hundred and sixty-five feet long,\\nsixty-five feet broad, and fifty-nine feet high. The nave is\\ndivided into five bays j the choir into four, and the apse\\ninto five but these latter are much narrower than those of\\nthe nave. In the Seventeenth Century, the timber roof of\\nAbbot Morard gave place to a stone vault, the transepts\\nwere rebuilt, and the nave much altered but quite recently\\nit has been restored to its primitive condition and decorated\\nwith frescoes by Hippolyte Flandrin. The church having\\nbeen used during the Revolution as a saltpetre manufactory,\\nthe corrosive waters had so undermined the foundations of\\nthe pillars that they were obliged to be supported by\\nenormous scaffoldings while the bases were repaired.\\nThe choir and the apse were surrounded by square and\\npolygonal chapels. The lower arches are round, the upper\\npointed j the intermingling being in no way inharmonious.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0230.jp2"}, "231": {"fulltext": "SAINT-GERMAIN DES PRES 179\\nMost of the present capitals are copies of the twelve re-\\nmaining original ones which were transferred to the garden\\nof the Hotel de Cluny but they are of very inferior work-\\nmanship. The old capitals are rough, but full of character,\\nwhereas the modern ones are utterly devoid thereof. A\\nfew old ones may be studied embedded in the walls of the\\naisles. The choir, beautiful in its vigorous simplicity, re-\\nmains as the Twelfth Century left it. It was dedicated by\\nPope Alexander III., on the 21st of April, 1163; and on\\nthe same day Hubald, bishop of Ostia, assisted by three\\nother bishops, consecrated the apsidal chapels. On enter-\\ning the church at the west end, and looking toward the\\naltar, it will be seen that the building deviates considerably\\nfrom a straight line. Saint Etienne du Mont is even more\\nout of a straight line it turns more than any church I have\\nseen. The columns resemble those of Notre-Dame in their\\nmassiveness. All the arches of the choir and chapels are\\nround, but those of the apse and clerstory are pointed.\\nThe capitals of these choir pillars are all worthy of study,\\nbeing in the best style of the period, and full of the quaint\\nsymbolism of the Middle Ages human heads of a grotesque\\nstyle, lions, harpies, birds pecking vigorously at the heads\\nof men and women, griffins, and winged animals. The\\nbases are all ornamented with foliage but between the\\nsecond and third chapels on the south side is an example of\\nornament which is probably unique, viz, two slippers, one\\nembroidered and one plain, evidently those of a bishop or\\nabbot.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0231.jp2"}, "232": {"fulltext": "i8o PARIS\\nThe original High Altar, renovated in 1704, has been\\ndestroyed since 1792, up to which time it had existed in all\\nits pristine beauty and splendour. The tomb of Saint-Ger-\\nmain, which was the scene of so many miracles and won-\\nders, has been suppressed and covered up by the pavement.\\nIt was sunk below the level of tlic church, near the fourth\\ncolumn of the choir on the north side, and for centuries\\nwas a favourite spot for prayer and meditation. The chapel\\nof Saint-Symphorien, at the end of the nave on the south\\nside, is modern, having been consecrated by the great\\nteacher, Saint-Francois de Sales, on the 27th of April,\\n1619; the monument which marked the first burial-place\\nof Saint-Germain being no longer in it. The chapels of\\nSaint-Marguerite and of Saint-Casmir, in the transept, are\\nornamented with marble columns. That of the Blessed\\nVirgin is modern, and in wretched taste and the High\\nAltar, the first stone of which was laid by Pius VII., is\\nequally out of keeping with the rest of the church.\\nIn an apsidal chapel are some fragments of Thirteenth\\nCentury glass, representing Saints Anna and Joachim, The\\nAnnunciation and the Marriage of the Virgin. In the south\\nside of the nave is a large marble statue, called Notre-\\nDame la Blanche, given in 1340 by Jeanne d Evreux to\\nthe Abbey of Saint-Denis. Placed at the Revolution in\\nthe Musee des Petits-Augustins, it was afterward trans-\\nferred to Saint-Germain. The marble statue of Saint-\\nMarguerite is by one of the brothers of the convent,\\nJacques Bourletj and that representing Saint-Francois", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0232.jp2"}, "233": {"fulltext": "SAINT-GERMAIN DES PRES 181\\nXavier is by Coustou the younger. The following tombs\\nwere partially restored in 1824: Jean Casimir, King of\\nPoland, who, having renounced his throne, became abbot\\nin 1669, and died in 1672 (the kneeling figure is by\\nMarsy, the bas-relief by Jean Thibaut, of the Congregation\\nof Saint Maur) Olivier and Louis de Castellan, killed in\\nthe service of the king in 1664 and 1669 (the figures and\\nmedallions are by Girardon) William Douglas, eighteenth\\nearl of Angus, who died in 161 1, and his grandson, James\\nDouglas, killed in 1645, near Douai, aged twenty-eight.\\nThe epitaphs, which the Academy set up in 18 19 to the\\nmemory of Nicholas Boileau, of Rene Descartes, of Jean\\nMabillion, and of Bernard de Montfaucon, which were\\nformerly at the Musee des Petits-Augustins, were placed\\nhere on the disposal of that museum. Boileau reposed\\nformerly in the Sainte-Chapelle, and Descartes at Sainte-\\nGenevieve. What remained of the royal tombs was trans-\\nferred to Saint Denis. Of the riches of the Treasury\\nnothing whatever was saved it was all pillaged and dis-\\npersed.\\nThe whole church has been painted in polychrome red\\nshafts and gilded capitals, a blue-and-gold starred vault.\\nAll round the nave, transepts, and choir, just below the\\nclerstory, are the exquisite frescoes by Flandrin.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0233.jp2"}, "234": {"fulltext": "SAINT-SULPICE\\nS. SOPHIA BE ALE\\ni 7 ONDER majestic portico forms the west front\\nV of the church called Saint Sulpice.\\nIt is at once airy and grand. There are two\\ntiers of pillars, of which this front is composed the lower\\nis Doric, the upper Ionic; and each row, as I am told, is\\nnearly forty French feet in height, exclusively of their en-\\ntablatures, each of ten feet. We have nothing like this,\\ncertainly, as the front of a parish church, in London.\\nWhen I except Saint Paul s, such exception is made in\\nreference to the most majestic piece of architectural com-\\nposition which, to my eye, the wit of man hath yet ever\\ndevised. The architect of the magnificent front of Saint-\\nSulpice was Servandoni and a street hard by (in which\\nDom Brial, the father of French history resides) takes its\\nname from the architect. There are two towers one at\\neach end of this front, about two hundred and twenty feet\\nin height from the pavement harmonizing well with the\\ngeneral style of architecture, but of which that to the south\\n(to the best of my recollection) is left in an unaccountably\\nif not shamefully unfinished state. These towers are said\\nto be about one toise higher than those of Notre-Dame.\\nThe interior of this church is hardly less imposing than its\\n182", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0234.jp2"}, "235": {"fulltext": "SAINT-SULPICE.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0235.jp2"}, "236": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0236.jp2"}, "237": {"fulltext": "SAINT-SULPICE 183\\nexterior. The vaulted roofs are exceedingly lofty but,\\nfor the length of the nave, and more especially the choir,\\nthe transepts are disproportionally short, nor are there suf-\\nficiently prominent ornaments to give relief to the massive\\nappearance of the sides. These sides are decorated by\\nfluted pilasters of the Corinthian order, which for so large\\nand lofty a building have a tame effect. There is nothing\\nlike the huge, single, insulated column, or the clustered\\nslim pilasters, that separate the nave from the side aisles of\\nthe Gothic churches of the early and middle ages.\\nThe principal altar between the nave and the choir is\\nadmired for its size and grandeur of effect, but it is cer-\\ntainly ill-placed j it is perhaps too ornamental, looking like\\na detached piece which does not harmonize with the sur-\\nrounding objects. Indeed, most of the altars in French\\nchurches want simplicity and appropriate effect, and the\\nwhole of the interior of the choir is (to my fastidious eye\\nonly, you may add) destitute of that quiet solemn character\\nwhich ought always to belong to places of worship. Rich,\\nminute and elaborate as are many of the Gothic choirs of\\nour own country, they are yet in harmony and equally free\\nfrom a frivolous and unappropriate effect. Behind the\\nchoir is the chapel of Our Lady, which is certainly most\\nsplendid and imposing. Upon the ceiling is represented\\nthe Assumption of the Virgin, and the walls are covered\\nwith a profusion of gilt ornament, which, upon the whole,\\nhas a very striking effect. In a recess above the altar is a\\nsculptured representation of the Virgin and Infant Christ in", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0237.jp2"}, "238": {"fulltext": "i84 PARIS\\nwhite marble, of a remarkably high polish nor are the\\ncountenances of the mother and child divested of sweetness\\nof expression. They are represented upon a large globe,\\nor with the world at their feet upon the top of which,\\nslightly coiled, lies the bruised or dead serpent. The\\nlight in front of the spectator, from a concealed window (a\\ncontrivance to which the French seem partial), produces a\\nsort of magical effect. I should add that this is the largest\\nparochial church in Paris, and that its organ has been pro-\\nnounced to be matchless.\\nThis magnificent structure is the production of several\\nperiods and of several artists. Anne of Austria laid the\\nfoundation stone in 1636, under the superintendence of\\nLevau. Levau died shortly afterward, and was succeeded\\nby Gittard and Oppenard. The finish was received by\\nServandoni, who, in the west front, or portico, left all his\\npredecessors far behind him. The church was dedicated\\nabout the middle of the last century. The towers are the\\njoint performances of Maclaurin and Chalgrin but the\\nlatter has the credit of having rectified the blunders of the\\nformer. He began his labours in 1777; but both the\\nsouth tower, and the Place^ immediately before the west\\nfront, want their finishing decorations.\\nI have quoted this long dissertation by Dibden because I\\ndo not think a better description of the church could be\\ngiven but the writer is wrong in some of his details. The\\nchurch was commenced in 1646, not 36, the first architect\\nbeing Christophe Gamart. The finishing stroke was put", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0238.jp2"}, "239": {"fulltext": "SAINT-SULPICE 185\\nby Jean Servandoni, the funds being provided by means of\\na lottery started by the energetic cure Languet de Gergy,\\nI cannot endorse Dibden s praise of the chapel of the\\nVirgin by De Wailly, the surrounding paintings by Vanloo,\\nand the Slodtz brothers decorations. It is all very splendid\\nVi^ith gold and marbles, and the statue by Pajou is looked\\nupon as a chef-d ceuvre. The cupola, with an Assumption\\npainted by Lemoine, is graceful but the effect of light is\\ntheatrical to the last degree, and the vi^hole chapel is v^ant-\\ning in dignity and the religious feeling without which a\\nbuilding fails as a Christian church. Another statue of the\\nVirgin, a Notre-Dame des Douleurs, by Bouchardon, a\\ngreat tomb of the cure Languet de Gregy, by Michel-Ange\\nSlodtz, and the pulpit given in 1788 by the Marechal de\\nRichelieu, are all very grandiose, but fail utterly to impress\\none; whereas the two shells serving as holy-water stoops,\\ngiven to Francois I. by the Republic of Venice, are charm-\\ning examples of pure Renaissance sculpture. The general\\neffect of the church, by its enormous size alone, is exceed-\\ningly grand; but, being entirely of stone, it is cold and\\ncolourless.\\nIn the west chapel, dedicated to the souls in Purgatory,\\nare pictures by Heim and in other chapels, works by Abel\\nde Pujol, Vichon, Lafon, A. Hesse, Drolling, and Guille-\\nmont. In the crypt, used as a chapel for catechizing, are\\nthe statues of Saint-Paul and Saint-John Evangelist, by\\nPradier.\\nAlthough there are no remains of an earlier building,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0239.jp2"}, "240": {"fulltext": "i86 PARIS\\nthere was a parish church upon the same site as Saint-\\nSulpice as early as the Twelfth Century this was enlarged\\nunder Louis XII. and Francois I.\\nA brass slab incrusted in the pavement of the south\\ntransept indicates the meridian in a direct line toward the\\nnorth an obelisk. When the weather is fine, the midday\\nsun shines through a little opening in the window of the\\nsouth transept, and strikes the middle of the plaque in\\nsummer, and the top of the obelisk in the winter solstice.\\nThis meridian was established in 1743 by Henri Sully and\\nLemonnier, to fix the spring equinox and Easter Day.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0240.jp2"}, "241": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0241.jp2"}, "242": {"fulltext": "THE INVALIDES.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0242.jp2"}, "243": {"fulltext": "LES INVALIDES\\nPHILIP GILBERT HAMERTON\\nTHE dome of the Pantheon attracts the eye simply\\nby its own architectural beauty but that of the\\nInvalides, by Mansard, is lustrous with abundant\\ngilding, and on a sunny day shines over Paris with the most\\nbrilliant effect. It is splendid against one of those cerulean\\nskies that are still possible in the capital of France. Cer-\\ntainly nothing does so much for the splendour of a great\\ncity as very conspicuous gilding. There are drives in\\nParis, as, for instance, from the Trocadero to the Place de\\nla Concorde, during which the dome of the Invalides\\naccompanies you like a harvest-moon. On a nearer\\napproach it is the architecture that claims attention. The\\ndome itself is fine, but in many respects the building as a\\nwhole is greatly inferior to the Pantheon. Soufflot made\\nthe body of his church an ample base for his dome in\\nevery direction but at the Invalides one receives the\\nimpression of a man with a prodigious head on a small body\\nand very narrow shoulders. The columns of the dome are\\nin couples, with projecting masses doing the work of\\nbuttresses. This gives more light and shade than the\\nsimple colonnade of the Pantheon, but not such beautiful\\nperspective, as the projections interfere with it. The com-\\n\u00c2\u00bb87.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0243.jp2"}, "244": {"fulltext": "i88 PARIS\\nposition of the front makes us feel strongly the special\\nmerits of the Pantheon. Instead of the majestic columns\\nof Soufflot s work, his rich pediment, and the massive\\nplain walls on each side as margin, we have in the Invalides\\na poor little pediment reduced to still more complete insig-\\nnificance by the obtrusive windows, etc., on each side of it.\\nAgain, the front of the Invalides offers an example of that\\nvice in Renaissance architecture which Soufflot avoided,\\nthe superposition of different orders. It is divided into two\\nstories, Roman Doric below and Corinthian above, a\\nvariety that the Renaissance architects enjoyed, though it\\ndoes not seem more desirable than two languages in one\\npoem.\\nThis criticism does not affect either the beauty of\\nMansard s dome as a fine object seen from a distance, or\\nthe importance of the interior, one of the most im-\\npressive in all Paris, especially since it has become the\\nmausoleum of Napoleon I.\\nA lofty dome, supported by massive piers perforated with\\nnarrow arched passages and faced with Corinthian columns\\nand pilasters, a marble floor of extraordinary richness and\\nbeauty everywhere, all round the base of the dome a stair\\nof six marble steps descending to the circular space under\\nit, and in the midst of this space a great opening or well,\\nwith a diameter of more than seventy feet, and a marble\\nparapet, breast-high, for the safety of the visitors who look\\ndown into it, such is the first impression of the interior.\\nNot only do people invariably look down, but they gen-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0244.jp2"}, "245": {"fulltext": "LES INVALIDES 189\\nerally gaze for a long time, as if they expected something\\nto occur; yet a more unchanging spectacle could not be\\nimagined. In the middle there is a great sarcophagus of\\npolished red Russian granite, and twelve colossal statues\\nstand under the parapet, all turning their grave, impassible\\nfaces toward the centre. They are twelve Victories whose\\nnames have resounded through the world, and in the spaces\\nbetween them are sheaves of standards taken in battle, and\\nin the red sarcophagus lies the body of Napoleon.\\nThe idea of this arrangement is due to the architect\\nVisconti, who had to solve the problem how to arrange a\\ntomb of such overwhelming importance without hiding the\\narchitecture of so noble an interior as this. His solution\\nwas admirably successful. The arrangement does not\\ninterfere in the slightest degree with the architecture of the\\nedifice, which would have been half hidden by a colossal\\ntomb on its own floor; while we have only to look over the\\nparapet to be impressed with the grandeur and poetic\\nsuitableness of the plan. With our customs of burial we\\nare all in the habit of looking down into a grave before it is\\nfilled up, and the impressiveness of Napoleon s tomb is\\ngreatly enhanced by our downward gaze. We feel that,\\nnotwithstanding all this magnificence, we are still looking\\ndown into a grave, a large grave with a sarcophagus in it\\ninstead of a coffin, but a grave nevertheless. The serious\\ngrandeur, the stately order of this arrangement seems to\\nclose appropriately the most extraordinary career in history\\nand yet it is impossible to look upon the sarcophagus with-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0245.jp2"}, "246": {"fulltext": "190 PARTS\\nout the most discouraging reflections. The most splendid\\ntomb in Europe is the tomb of the most selfish, the most\\nculpably ambitious, the most cynically unscrupulous of\\nmen and the sorrowful reflection is that if he had been\\nhonourable, unselfish, unwilling to injure others, he would\\nhave died in comparative or total obscurity, and these\\nprodigious, posthumous honours would never have been\\nbestowed upon his memory.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0246.jp2"}, "247": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0247.jp2"}, "248": {"fulltext": "^f^", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0248.jp2"}, "249": {"fulltext": "HOTEL DES INVALIDES\\nV, DE SWJRTE\\nVARIOUS kings, notably Charles VII., Louis XII.,\\nFrancois I., Henri II., and Charles IX., had the\\nintention to found a final shelter for old invalid\\nsoldiers Louis XL was the first to grant them pensions.\\nHenry III., in 1575, organized a house for them called the\\nChristian Charity and gave them the pensions of lay\\nmonks.\\nHenri IV. added another house in the Rue de I Oursine,\\nin 1597, and endowed it with the product of the fines and\\nconfiscations arising from abuses and malversations. This\\nonly existed until 1597, when the houses for invalids were\\nsuppressed and the latter were again sent to the monasteries\\nas lay monks. In 1633, Louis XIII. by edict founded\\nthe Commandery of Saint-Louis, the works of which were\\nbrusquely interrupted in 1635. Louis XIV. took up this\\nplan again and completed it. The edict of April, 1674,\\nperpetual and irrevocable, runs thus We found\\nthe said Hotel that we have entitled the In-\\nvalides, which we cause to be built at the end of the Fau-\\nbourg Saint-Germain in our good city of Paris, for the\\nlodging, subsistence and entertainment of all the poor of-\\nficers and soldiers of our troops who have been or are dis-\\nabled, or who, having grown old in service, are no longer\\n191", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0249.jp2"}, "250": {"fulltext": "192 PARIS\\nable to do anything. For the endowment of the house\\nwith sufficient and assured revenues, the king gives it for-\\never the two deniers per livre of all payments that shall\\nbe made by the treasurers-general, ordinary and extraor-\\ndinary of war; and in addition the deniers accruing\\nfrom the pensions and the places of the lay monks of abbeys\\nand priories in which it was usual and obligatory to receive\\nlay monks. The religious chapters that were thus taxed\\nvainly tried to resist they had too often complained of the\\ngross manners and of the conduct of the lay monks to be\\nable decently to resist the royal will. The works, more-\\nover, had been begun four years before.\\nIt was intended to shelter 6,000 invalids, but that num-\\nber was not reached and the buildings barely sufficed for\\n4,000 pensioners. The endowment was rich, and in 1789\\nthe revenue amounted to 1,700,000 livres. After the war\\nof the Spanish Succession, space failed and many invalids\\nwere outside pensioners. Abuses multiplied the great\\nlords lodged their old lackeys at the Invalides, even those\\nwho had never borne arms, to the detriment of real invalids.\\nThe Comte de Saint-Germain fought against these favours.\\nThe Revolution laid the expenses of the institution to the\\nState s charge.\\nThe considerable number of wounded and infirm that\\nwere the consequence of the wars of the Revolution and\\nthe Empire forced Napoleon I. to create branches of this\\nestablishment at Versailles, Avignon, and Ghent. In 18 12,\\nthe invalids numbered 26,000. The period of peace that", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0250.jp2"}, "251": {"fulltext": "HOTEL DES INVALIDES 193\\nfollowed allowed of the suppression of these branches suc-\\ncessively and the preservation for the invalids only of the\\nbuilding of that name, which now is not even entirely oc-\\ncupied by them.\\nThe organization of the Hotel is entirely military its\\ncommand is entrusted to a brigadier-general seconded by a\\nnumber of officers in proportion to the effective of pensioners.\\nThis personnel, including the necessary doctors, is com-\\nposed exclusively of retired officers. The Administration\\nis by a council of surveillance whose agents are taken from\\nthe active army this council takes constant action in the\\nmanagement. An almoner, hospital sisters and several\\ncivil employes are also attached to the Hotel. In a word,\\nevery precaution is taken to secure to the invalids all the\\nnecessary care appropriate to their condition and their old\\nrank. For admission, before all it is necessary to have re-\\ntired on a pension and to be of irreproachable conduct and\\nmorality. The other conditions are: ist, to have lost the\\nsight, or one or more limbs, or to be afflicted with infirmi-\\nties equivalent to the loss of a limb 2d, to be at least\\nsixty years of age at seventy, admission is a right. Dur-\\ning their abode at the Hotel, the invalids, in addition to\\ntheir food and clothing, receive a payment proportionate to\\ntheir old rank, and their pension is suspended. Each in-\\nmate may renounce the privilege of his admission and re-\\nsume the enjoyment of his pension, as he may also reenter\\nthe Hotel after having voluntarily left it. The invalids are\\norganized in divisions the military service is performed by", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0251.jp2"}, "252": {"fulltext": "194 PARIS\\nthem exclusively. The number of invalids entertained at\\nthe Hotel depends upon the annual credit allowed by the\\nChambers for that purpose. At present the number is\\ngreatly restricted on account of the absence of great wars.\\nMany people share Montesquieu s opinion The\\nHotel des Invalides is the most admirable place on earth.\\nIf I had been a prince, I would rather have created that es-\\ntablishment than have won three battles.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0252.jp2"}, "253": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0253.jp2"}, "254": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0254.jp2"}, "255": {"fulltext": "THE INSTITUTE\\nERNEST RENJN\\nTHE Institute is one of the most glorious creations\\nof the Revolution, and something quite peculiar\\nto France. Many countries have academies that\\nmay rival our own in the illustriousness of their members\\nand the importance of their works France alone has an\\nInstitute where all the efforts of the human mind are bound\\ntogether in a sheaf, where the poet, the philosopher, the\\nhistorian, the philologist, the critic, the mathematician, the\\nphysicist, the astronomer, the naturalist, the economist, the\\nlawyer^ the sculptor, the painter and the musician may call\\nthemselves brethren.\\nTwo ideas absorbed the minds of the simple and great\\nmen who conceived the plan of this entirely novel founda-\\ntion the first, admirably true, was that all the productions\\nof the human mind maintain their solidarity by one an-\\nother; the other, which is more open to criticism but is\\nstill great and in any case proceeds from what is most pro-\\nfound in the French spirit, is that the sciences, letters and\\narts, are an affair of the State, a matter that every nation\\nproduces in its own body and which it is the country s duty\\nto provoke, to encourage and to recompense. The last day\\nbut one of the Convention (October 25th, 1795), appeared\\n195", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0255.jp2"}, "256": {"fulltext": "196 PARIS\\nthe law that was destined to realize this idea that was so\\nfull of future. The object of the Institute is the progress\\nof science, general utility, and the glory of the Republic.\\nEvery year it renders an account to the legislative body of\\nthe progress it has accomplished. It has its budget, its col-\\nlections and its prizes. It has missions to entrust, and\\nscientific and literary establishments to patronize. For the\\nformation of the original nucleus of its members, it was\\ndecided that the executive Directoire should name forty-\\neight persons, or a third of the encumbents, and that these\\nshould nominate the other two-thirds by ballot. Three\\nmen in particular helped in tracing these great lines, to\\nwhich the Institute must return whenever it wishes to re-\\nnew its youth these were Lakanal, Daunou, and Carnot.\\nUnfortunately at that moment France was in the condition\\nof a sick man who issues exhausted from an attack of\\nfever. Entire branches of human culture had been swept\\naway. The moral, political and philosophical sciences were\\nprofoundly abased. Literature was almost null. Historical\\nand philological science counted only two eminent men\\nSilvestre de Sacy and d Ansse de Villoison. In revenge,\\nthe physical and mathematical sciences were in one of the\\nmost glorious periods of their development. The divisions\\nof the Institute into classes and sections felt this condition\\nof things. The classes were three in number. The first\\ncorresponded exactly to the present Acad einie des Sciences and\\npresented almost the same sections as the latter. The\\nsecond was called the class of the moral and political", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0256.jp2"}, "257": {"fulltext": "THE INSTITUTE 197\\nsciences. It corresponded to the Acad emie which to-day\\nbears the same name and a small section of our Acad emie\\ndes Inscriptions et Belles-Lettres. The third class was called\\nLitt erature et Beaux- Arts. It embraced what we now call\\nthe Academic Fran^aise^ the Academic des Beaux-Arts and the\\ngreatest part of the Acad emie des Inscriptions. The great\\nfault of this division was in not admitting the existence of\\nthe historical sciences. To tell the truth, there was some\\nexcuse for those who were responsible for it, since at that\\ntime those sciences scarcely existed in France. The his-\\ntorical sciences imply ancient traditions, a refined and, to a\\ncertain point, an aristocratic society. On the other hand,\\nphilosophy is not self-controlling and will not admit of\\nclassification. Something in the nature of the scholar and\\nsmelling of the pedagogue presided over all this primitive\\ndistribution. The second class had a section called\\nAnalysis of Sensations and Ideas. Six persons were\\nalways occupied in this difficult labour. The third class\\ncomprised eight sections that were called Grammar, An-\\ncient Languages, Poetry, Antiquities and Monuments,\\nPainting, Sculpture, Architecture, Music, and Declamation.\\nThis primitive organization lasted for six years. Various\\nregulations successively were added to complete it. The\\nlaw of April 4th, 1796, regulated the mode of election;\\nthere were three degrees. The sections made presentations\\nto the classes, the latter made them to the entire Institute\\nwhich finally voted upon them. One could not be a mem-\\nber of several classes at the same time. The right of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0257.jp2"}, "258": {"fulltext": "198 PARIS\\npresentation for vacancies in all the great Schools of the\\nState was given to the corresponding classes. Finally, by\\nthis same law, the continuation of the great collections be-\\ngun under the regime by the Acad emie des Sciences and the\\nAcad emie des Inscriptions et Belles-Lettres devolved upon\\nthe Institute. It was thought that in a society where\\neverything had been rendered individual and of mere life\\ninterest out of hatred for the ancient populations, the In-\\nstitute alone possessed sufficient continuity to accept the\\nheritage of these great works a just and fruitful idea, for\\nwhich the chief honour must be given to Camus.\\nHowever, the First Consul regarded with an unfriendly\\neye a free body, limited to pure speculation, it is true, but\\nmoving without limits or fetters in the vast field of matters\\nof the mind. Various sensible defects, moreover, had mani-\\nfested themselves in the original plan. On January 23d,\\n1803, a new organization, inspired by Chaptal, modified\\nthe work of the Convention. The First Consul s appro-\\nbation was necessary for every election. The number of\\nclasses was increased to four. The first corresponded to\\nour Acad emie des Sciences the second (French language and\\nliterature) to the Academic Franfaise the third (Ancient\\nhistory and literature) to our Academic des Inscriptions;\\nand the fourth to the Academic des Beaux-Arts. In many\\nrespects, this division was preferable to that of 1795.\\nUnder a still sorry form, it created a place for the historical\\nsciences. It destroyed the incongruous agglomeration of\\nspecialties that were unconnected with each other which", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0258.jp2"}, "259": {"fulltext": "THE INSTITUTE 199\\nthe law of 1795 had established under the name of the\\nthird class. In the class of French language and literature,\\nand in that of ancient history and literature, the interior\\nsections, always fatal to learned bodies, were suppressed.\\nThe creation of perpetual secretaries gave more continuity\\nto the work. The continuation of the diplomatic collec-\\ntions, a legacy from the old regime and particularly from the\\nlearned Congregation de Saint-Maur, devolved upon the\\nthird class. But in other respects, the general spirit of this\\nnew organization was very narrow. The political and\\nmoral sciences were separated from the labours of the In-\\nstitute. The first class only had the right to occupy itself\\nwith the sciences In their relations with history. We\\nfeel the systematic intention of discrowning the human\\nmind and reducing literature to puerile rhetorical exercises.\\nThe physical and mathematical sciences preserved the\\nsuperiority that was assured to them by such men as La-\\nplace, Lagrange, Monge, and Berthollet. But the literary\\nand philosophic nullity became deplorable j while the his-\\ntorical sciences on their side developed in a laborious man-\\nner. That was the fault of the times rather than that of\\nthe government. The latter took the initiative in various\\nuseful foundations. The continuation of the Histoire\\nlitteraire de la France^ a precious collection begun by the\\nBenedictines, was decreed in 1807 on the proposal of M.\\nde Champagny.\\nThe organization of the Institute, inaugurated in 1803,\\nlasted until 18 16. On the 21st of March in that year, an", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0259.jp2"}, "260": {"fulltext": "200 PARIS\\nordinance of King Louis XVIII. struck the Institute of\\nthe Convention a much graver blow than that of 1803.\\nBeing a Revolutionary foundation, the Institute was dis-\\npleasing to the exalted men of the time. For a moment\\nthere was some thought of suppressing it and reestablishing\\nthe Academies of the old regime. The party of concilia-\\ntion prevailed. The protection that the Kings our an-\\ncestors have constantly granted to science and letters has\\nalways made us consider with particular interest the various\\nestablishments that they founded to honour those who cul-\\ntivated them. Therefore we have not been able without\\nsorrow to look upon the fall of those Academies that so\\npowerfully contributed to the prosperity of letters and the\\nfoundation of which was a title of glory for our august\\npredecessors. Since the time when they were reestablished\\nunder a new denomination, we have seen with a lively\\nsatisfaction the consideration and renown that the Institute\\nhas earned in Europe. Immediately Divine Providence\\nrecalled us to the throne of our fathers, our intention was\\nto maintain and protect this learned company j but we\\nhave thought it proper to restore its primitive name to each\\nof the classes in order to bind their past glory to that which\\nthey have acquired, and to remind them at the same time\\nof what they succeeded in doing during difficult times and\\nwhat we should expect of them in happier days.\\nThat is very fine language and seems to carry us very\\nfar from the paltry work of Chaptal and the First Consul.\\nUnhappily, Louis XVIII. s government belied its apparent", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0260.jp2"}, "261": {"fulltext": "THE INSTITUTE 201\\nmoderation, and under the pretext of reconstituting the\\nInstitute did it the greatest violence it had ever suffered.\\nUntil that time there had never been but one cancellation\\nof a member of the Institute, that of Carnot, pronounced\\nwith deplorable levity after the Seventeenth Fructidor and\\nsoon repairedo When the First Consul had suppressed the\\nclass of political and moral sciences he had not deprived\\nanybody of the title of Member of the Institute. All\\nthose who enjoyed that title in 1803 were distributed\\namong the new classes established at that period. It was\\nnot so in 1816. Twenty-two persons, among whom were\\nthe painter David, the bishop Gregoire, Monge, Carnot,\\nLakanal, and Caesieyes, were deprived of the title that they\\nhonoured by their character or their works. This measure\\nof vengeance and iniquity was instigated by the Comte de\\nVaublanc. In revenge, seventeen persons, by royal ordi-\\nnance, received a title which has its full value only when it\\nis given to a man of letters, or a savant, by the free suffrage\\nof his peers. That was a sad beginning. It was not belied\\nby what followed. The brilliant literary splendour of the\\ntime of the Restoration and the mighty awakening of those\\nminds that made of this epoch the commencement of a new\\nintellectual era for France should not make us forget the\\ncondition of inferiority in which science was kept under\\nLouis XVIII. and Charles X. A kind of puerility in par-\\nticular struck the Academie that represented historical\\nstudies. The title of gentilhomme de la chamhre gained\\nadmission for a man among the erudite. It was not that", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0261.jp2"}, "262": {"fulltext": "202 PARIS\\nthe organization was bad. In reality, scarcely anything\\nhad been done but changing the name of two Academies.\\nThe class of French language and literature had become\\nthe Acad em ie Fran^aise the class of ancient history and\\nliterature had resumed the name, that was understood by\\nvery few people, of Acad emie des Inscriptions et Belles-\\nLetters.\\nThe Academies had their individual regulations and were\\nmore distinct. The great unity of the Institute, according\\nto the dream of the Convention, had been broken since\\n1803; perhaps it was an impossible conception. But the\\nexpulsions of 1816 cannot be pardoned. In the breast of\\nseveral of the Academies, especially the Acad emie des In-\\nscriptions et Belles-Lettres^ the political and religious\\nprejudices of the day, moreover, reigned with great intol-\\nerance. Precious qualities of the mind were employed in\\nintrigues. The most ridiculously incompetent influences\\nwere exercised to the knowledge of all. The Due de\\nBerry and the Due d Angouleme had their candidates.\\nThe institution of free members created the germ of great\\ndifficulties for the future. The interest of serious studies\\nwas the smallest care of academicians who were men of\\nthe world and who saw in their nomination especially the\\nprivilege of wearing a sword and an embroidered coat.\\nThe revolution of 1830 brought better days. Certainly\\nif literary vengeance was ever committed it was after the\\nJournees de juillet. The legitimist party had enormously\\nabused its powers. It had shown itself haughty, narrow,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0262.jp2"}, "263": {"fulltext": "THE INSTITUTE 203\\nand malevolent. Although vanquished in public it re-\\nmained in the majority in almost all the Academies. With\\nvery good reason the government of King Louis Philippe\\nrelied on time and on its own intention of w^ell directing\\nmatters of the mind for conquering these survivors of a\\nfallen regime.\\nIt neither took away from nor conferred on anybody the\\ntitle of Member of the Institute. But, careful to attach\\nmen of merit to itself and skillful in its treatment of lit-\\nerary and scientific affairs, in the various Academies it had\\nsoon by legitimate means conquered the influence that it\\nwould have vainly demanded by cancellations or intru-\\nsions.\\nFrom 1830 to 1848 the Institute did nothing but in-\\ncrease. The Academies of sciences, drawn by M. Arago\\ninto the ways of a perhaps exaggerated publicity, ac-\\nquired an unusual importance. If, thereafter, journalism\\ntook up too much space, if that learned company chanced\\noccasionally to gather together a Chamber of Deputies\\nrather than an Academy, it must not be forgotten that it\\nwas by that means that it became the scientific centre\\nof Europe. The Acad emie des Inscriptions made much\\nmore undeniable progress. Eugene Burnouf and Letronne\\nrivalled the most exact savants of Germany in method and\\nsagacity. Augustin Thierry developed in his accomplished\\nworks his profound manner of understanding history. In\\nthe hands of Daunou, Fauriel, and especially that too true\\nBenedictine of our century, M. Victor Le Clerc, the works", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0263.jp2"}, "264": {"fulltext": "204 PARIS\\nof the Academic were conducted with a care and activity\\nunknown until then.\\nThe government of 1848 continued the traditions of\\n1830 toward the Institute. A few unimportant changes\\nwere introduced. The gravity of the social problems that\\nwere being agitated gave a certain importance to the\\nAcademy of moral and political science. We saw the\\nworthy General Cavaignac in his simple conception of\\nhuman affairs addressing himself to that Academic in order\\nto obtain from it treatises to combat socialistic errors. Cer-\\ntainly those little books, which have since been collected in\\none large volume, had not a single reader among those\\nwhom they were to convert. Thus was compromised the\\ndignity of free knowledge which does not think of those\\napplications, in struggles of another order, that are better\\npleased with expedients than with philosophy.\\nThe reactions that followed brought the Institute back to\\nits peaceful labours. Perhaps internal activity was never\\ngreater than since 1852. Certain dangers that for a mo-\\nment threatened its dignity and independence were skill-\\nfully conjured. Not so happily inspired as were the min-\\nisters of 1830 and 1848, M. Fortoul tried to lay some re-\\nstrictions on the liberties of the Institute. As soon as the\\nconsequences of these measures were pointed out to the\\n*Emperor, things were restored to their old condition. From\\nthis unfortunate attempt there only remained a new sec-\\ntion added to the Academy of moral sciences, a section of\\nwhich the need was not very apparent since it was", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0264.jp2"}, "265": {"fulltext": "THE INSTITUTE 205\\nlater merged in the other sections with the consent of the\\nmembers. (Decree of May 9th, 1866.) Ten members\\nwere nominated by decree to fill the new places, which had\\nnot been known since the worst days of the Restoration.\\nSuch as it is, the Institute is one of the essential elements\\nof intellectual work in France. The intellectual regwie of\\nFrance could never be that of England, much less that of\\nAmerica or Germany.\\nOur centralization does not allow of those numerous and\\npowerful universities, which are academies and teaching\\nbodies at the same time and from which the genius of Ger-\\nmany has drawn its greatest force. With us, science and\\nteaching are different things, frequently even jealous and\\nhostile. The regime of pure intellectual liberty of England\\nand America would suit us even less. Besides creating for\\nthe country in which it is in operation a veritable inferiority\\nin criticism, this regime has the drawback of offering too\\nmany facilities to charlatanism and foolishness. There is\\na true science and therefore it is necessary that there should\\nbe scientifical authority. It is in Germany that this authority\\nexists in the highest degree there, charlatanism and ab-\\nsurdity are infallibly arrested at the first step. Among\\nus, sufficiently serious mystifications may arise and succeed.\\nThe voice of serious science is sometimes very feeble\\nagainst audacity and imposture. But the voice of science\\nexists, and when the clamours in fashion have ceased, this\\nvoice continues to make itself heard and then nothing else\\nis heard. That is the reason, in spite of the perpetual", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0265.jp2"}, "266": {"fulltext": "2o6 PARIS\\ncomplaints of low opinion against the scientifical academies,\\nwhy these academies always prevail in the end, because\\nthey are the guardians of the true method. They exist for\\na small number, but this small number is right, and it is\\nonly right that endures.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0266.jp2"}, "267": {"fulltext": "CHAMP DE MARS\\nG. LENOTRE\\nI DO not think that in all the world there is a corner,\\neven if it conceals gold or diamonds, that has been\\nmore moved, dug and trenched than the vast plain\\nthat stretches between the Ecole Militaire and the Seine\\nand which since the reign of Louis XV. has been called the\\nChamp de Mars. At a moment when it is passing through\\none of these decennial crises of its existence devoted to\\nearthworks and slop-made palaces, it is curious to show it\\nas it was originally, and an engraving of a hundred and fifty\\nyears ago is an interesting contrast to the present photo-\\ngraphs of this busy point of Paris.\\nBefore the time of I ficole Militaire, the Champ de Mars\\nwas nothing but a warren belonging to the abbey of Saint-\\nGermain des Pres and by corruption it gave its name to the\\nwhole surrounding plain from Garenne came Garnelle and\\nthen Grenelle.\\nDo you remember having read in the history of France\\nthe name of Eudes, Count of Paris, who conquered the\\nNormans who had come to seize the city Well, it was\\non the banks of the Seine, on the very spot where the Eiffel\\nTower stands to-day that the battle took place a portion\\nof land, leased to market-gardeners, preserved the name of\\nChamp de la Victoire until 1770. Certainly, if the brave\\n207", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0267.jp2"}, "268": {"fulltext": "2o8 PARIS\\nEudes could see the scene uf his exploits to-day, he would\\nfind it somewhat modified.\\nThe engraving, which dates from about 1760, is no less\\ncurious for the aspects of peaceful and almost desert country\\nthat it affords Crenelle consists of a little chateau sur-\\nrounded by farms the whole quarter between the Invalides\\nand the Champ de Mars is en niarais^ or under cultivation.\\nIn the background winds the Seine between islands that to-\\nday have disappeared j the He Macquerelle, that in more\\nelegant language was called the He des Mats et des\\nQuerclles. Would not that be the origin of the name\\nwhere had been interred the victims of the massacre of Saint\\nBartholomew, some of whose bones were found in 1889,\\nwhilst digging the foundations of the Eiffel Tower. It was\\nin this isle that the Triperie was to be found a document\\nof 1780 states that there were washed the intestines and\\ntripe brought from the slaughter-houses and that there also\\nwas made the oil of tripe that was used for the r everberes\\nor city-lanterns.\\nNext came the He aux Treilles, the He de Jerusalem, the\\nHe de Challyau (Chaillot), also called He aux Vaches, and\\nlastly the He de Longchamp, which all formed the archi-\\npelago of the He aux Cygnes which itself was soon united\\nwith the mainland.\\nAt the epoch of the Revolution, one could almost reach\\nit at various places without wetting one s feet to-day it\\nforms the Quai d Orsay.\\nThe horizon of the Champ de Mars was shut in by the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0268.jp2"}, "269": {"fulltext": "CHAMP DE MARS 209\\nhills of Chaillot, and the old engraving shows the village of\\nthat name vi^ith its tv^^o convents of Bonshommes and the\\nVisitation, which had been founded by Henriette de France\\nand in which Mile, de La Valliere spent part of the time of\\nher retreat. It was on the heights of Chaillot, on the very\\nspot where the Palais du Trocadero stands to-day, that\\nNapoleon laid the foundations of the Palace of the king of\\nRome. It was to be the most enormous and extraordinary\\nmonument in Paris. From the first floor of the edifice\\nwhich was to have been raised upon three tiers, basements\\non the side of the Seine, the beautiful view of the Champ\\nde Mars and its surrounding avenues would have been\\nvisible. To the east, close to the river, were to have been\\nsituated the State Archives, the Palais des arts, the Univer-\\nsite, the Palais of the Grand Master, the dwellings of the\\nemeritus professors, savants, and celebrated men, who\\nshould have merited national gratitude by important services\\nor by their talents to the west, was to have been a cavalry\\nbarracks and storehouses to serve as depots for salt, tobacco\\nand other merchandise subject to the octroi. The entirety\\nof the project of this singular Palais included in addition a\\nmilitary hospital, an infantry barracks, a slaughterhouse,\\nhouses of retreat and other monuments of public utility.\\nThe park of this eccentric residence would have been the\\nBois de Boulogne, connected with the Champ de Mars by\\nbroad avenues of big trees.\\nBut all that was only a dream that was dissipated by the\\ntempest of Waterloo.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0269.jp2"}, "270": {"fulltext": "210 PARIS\\nLet us return to the Champ de Mars to which we are\\ncalled by various memories of public festivals. The most\\nimportant and the most celebrated of all is that of the fam-\\nous Federation of July 14th, 1790. This was perhaps the\\nfirst festival which was at once political and popular until\\nthat time the people had only been admitted to rejoicings.\\nOn that day Paris desired to receive France in the Champ\\nde Mars as to-day it receives the whole world there.\\nThe works to be accomplished were considerable the\\nplain had to be dug and a sloped embankment made all\\naround it; a vast amphitheatre constructed and a bridge\\nthrown across the river and there were only three weeks\\nin which to accomplish these prodigies. When the rumour\\nspread that the Champ de Mars would not be ready, the\\nentire population of Paris transformed itself into labourers;\\nand men and women, fashionables as well as poor devils,\\ncame armed with picks and shovels, the corporations, the\\nnational guards, the wardens of city companies, the invalids,\\nthe religious communities of both sexes, the Swiss Guards,\\nthe colleges, the sixty districts, the crafts, the pupils of the\\nAcademies, generally preceded by banners and groups of\\nyoung girls, might all be seen arriving in long lines. The\\nwork was retarded by eight days, for nobody knew which\\nway to turn, and people preferred to spend the time in\\nfraternizing glass in hand rather than in turning over the\\nearth nevertheless by miracle everything, if not ended, was\\nat least redeemed in time, and the festival was able to be\\nheld on the day fixed, under a driving and continuous rain", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0270.jp2"}, "271": {"fulltext": "CHAMP DE MARS 211\\nthat somewhat cooled the enthusiasm. How many other\\nptes there have been since that time\\nIn 1792, the y?/^ of Liberty; in 1793, the y?/^ for the\\nAbolition of Slavery in 1794, the/?/^ of the Supreme Be-\\ning; in 1798, the funeral y?^^ for the death of Hoche then\\nfetes for the children of the fatherland, for the anniversaries\\nof the Republic, for the consecration of the Emperor,\\nNational, Napoleonic, and Bourbon fetes^ distributions of\\ntricolour flags, eagles, white flags and oaths to how many\\nconstitutions Our history has passed there.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0271.jp2"}, "272": {"fulltext": "SUNRISE AND SUNSET FROM THE TROC-\\nADERO\\n\u00c2\u00a3MILE ZOLA\\nON this morning Paris assumed a smiling laziness in\\nawaking. A mist that followed the valley of\\nthe Seine had obscured the two banks. It was\\na light, almost milky vapour that the sun, growing grad-\\nually stronger, illuminated. Nothing of the city could be\\ndistinguished beneath that floating muslin, the hue of the\\ndawn. In the hollows, the thick cloud deepened into a\\nbluish tint, while upon the broad spaces, transparencies\\nwere made of golden dust through which one divined the\\nbackground of the streets and, much higher, the domes\\nand spires pierced the fog, with thin grey silhouettes still\\nwrapped in the fragments of the fog which they penetrated.\\nEvery now and then streamers of yellow smoke detached\\nthemselves as if by the heavy flap of some gigantic bird s\\nwing, and then melted into the air that seemed to swallow\\nthem. And, above this immensity and this cloud descend-\\ning and sleeping over Paris, a very pure sky, of a pale blue,\\nalmost white, stretched its deep vault. The sun rose in a\\ndust softened by the rays. A light cloud, of the vague\\npaleness of infancy, broke into rain, filling the space\\nwith its tepid quivering. It was a feast, the sovereign\\npeace and tender gaiety of the infinite, during which the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0272.jp2"}, "273": {"fulltext": "o\\noi\\n\u00e2\u0080\u00a2w\\nQ\\no\\no\\nH\\nW\\nK\\nH", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0273.jp2"}, "274": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0274.jp2"}, "275": {"fulltext": "SUNRISE AND SUNSET 213\\ncity, shot through with golden arrows, lazy and drowsy,\\ncould not make up her mind to show herself beneath her\\nlace.\\nAt the horizon long tremours ran over this sleeping lake.\\nThen suddenly the lake appeared to burst slits appeared,\\nand from one end to the other, there was a crack that an-\\nnounced the breaking up. The sun, now higher, in the\\ntriumphant glory of its rays, attacked the fog victoriously.\\nLittle by little ,the large lake seemed to dry up, as if some\\ninvisible drain had emptied its contents. The mists, so\\ndeep a little while ago, became thinner and transparent, as-\\nsuming the bright colours of the rainbow. All the left\\nbank was of a tender blue, slowly deepening into nearly\\nviolet, on the side of the Jardin des Plantes. On the\\nright bank, the qiiartier des Tuileries had the pale rose of\\nflesh-coloured cloth, while toward Montmartre, it was like\\nthe glow from burning coals, carmine flaming into gold\\nthen, very far away, the manufacturing faubourgs deepened\\ninto a tone of brick-red, gradually becoming duller and\\npassing into the bluish-grey of slate. One could not yet\\ndistinguish the city, trembling and evasive, like one of\\nthose submarine depths that the eye divines through the\\nclear waters, with their terrifying forests of tall grass, their\\nswirls of horror, and their dimly-seen monsters. How-\\never, the waters continued to abate. They were now\\nnothing more than fine spread out muslin and one by one\\nthese gossamers disappeared and Paris became clearer and\\nrose from its dream.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0275.jp2"}, "276": {"fulltext": "214 PARIS\\nNot a breath of air had passed, it was like an evocation.\\nThe last piece of gauze detached itself, ascended, and\\nmelted into air. And the city lay without a cloud beneath\\nthe vanquishing sun.\\nThe sun, sinking toward the slopes of Meudon, came\\nto scatter the last images and to glow resplendent. A glory\\nflamed through the azure. On the distant horizon, the\\nslopes of the chalky rocks that barred the remote Charen-\\nton and Choisy-le-Roi were piled with blocks of carmine\\nedged with bright lake the flotilla of little clouds floated\\nslowly in the blue above Paris, and covered it with veils of\\npurple; while the thin network, the mesh of white silk,\\nthat stretched above Montmartre, suddenly appeared to be\\nmade of golden gauze, whose regular spaces were ready to\\ncatch the stars as they rose. And beneath this glowing\\narch, the city spread out all yellow and streaked with long\\nshadows. Below, the cabs and omnibuses crossed along the\\navenues, in the midst of an orange dust, through the crowd\\nof pedestrians whose swarming blackness was yellowed\\nand illuminated by drops of light. A seminary, in close\\nfile, which followed the Quay de Billy, made a tail of\\nochre-coloured soutanes in the diffused light. Then, car-\\nriages and foot-passengers disappeared in the distance one\\ncould only distinguish far away, on some bridge, a file of\\nequipages with glittering lamps. To the left, the high\\nchimneys of the Manutention, erect and rosy, disgorged\\nhuge wreaths of soft smoke, as delicate in tint as flesh;\\nwhile on the other side of the river, the beautiful elms of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0276.jp2"}, "277": {"fulltext": "SUNRISE AND SUNSET 215\\nthe Quay d Orsay made a sombre mass, perforated with\\nsunlight. The Seine, between its banks where the oblique\\nrays fell, rolled its dancing waves where blue, yellow, and\\ngreen broke in variegated spray but higher up the river\\nthis painting of an oriental sea assumed a gold tone more\\nand more dazzling, and one might have called it an ingot\\ntaken from some invisible crucible at the horizon, enlarg-\\ning itself with a play of bright colours in proportion as it\\ncooled. Against this brilliant, flowing water, the arches\\nof the ladder-like bridges looked slenderer than ever and\\ncast grey bars which were merged among the fiery heap of\\nhouses, above which the two towers of Notre-Dame flamed\\nlike torches. To right and left the buildings flamed. The\\nwindows of the Palais d Industrie, in the midst of the\\ngroves of the Champs Elysees, glowed like a bed of burning\\ncoals; farther away, behind the flattened roof of the\\nMadeleine, the enormous mass of the Opera seemed a\\nblock of copper; and the other edifices, the cupolas and\\ntowers, the Colonne Vendome, Saint-Vincent-de-Paul, the\\nTour Saint-Jacques, and nearer the pavilions of the new\\nLouvre and the Tuileries, crowned with flames and erect-\\ning at each crossway a gigantic pyre. The dome of the\\nInvalides was on fire, so glowing that one might expect to\\nsee it break open at any minute and cover the whole quar-\\nter with sparks from its timber-work. Beyond the unequal\\ntowers of Saint-Sulpice, the Pantheon was outlined on the\\nsky with a heavy splendour like a royal palace of fire which\\nwas being consumed in a furnace. Then as the sun sank", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0277.jp2"}, "278": {"fulltext": "2i6 PARIS\\nthe whole of Paris illuminated itself with the pyres of its\\nbuildings. Lights ran along the crests of the roofs, while\\nin the valleys the black smoke slept. All the facades fac-\\ning the Trocadcro reddened as they threw out from their\\nglittering windows a shower of sparks that rose from the\\ncity as if some bellows ceaslessly kept this colossal forge\\nin activity. Sheaves of flame constantly burst from the\\nneighbouring quarters, where the streets were hollowed\\nout, dark and burnt. Even in the distances of the plain\\nin the depths of the red ashes that buried the faubourgs,\\ndestroyed but still warm, gleamed the lost sparks leaping\\nfrom some suddenly-revived hearth. Soon it became a\\nfurnace. Paris was burning. The sky grew more and\\nmore purple, the clouds rolled with red and gold above the\\nimmense city.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0278.jp2"}, "279": {"fulltext": "The Right Bank", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0279.jp2"}, "280": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0280.jp2"}, "281": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0281.jp2"}, "282": {"fulltext": "tniniLfWHTANr\\nt\\n\u00c2\u00abt^-\\n.ia-^\\nS^H^fe^ ^,.;il\\nV=?i\\n%^0\u00c2\u00a3/icyi\\nRIGHT P.ANK: FROM HKRCJY J (j H( )rKL-I)i:-VILLE.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0282.jp2"}, "283": {"fulltext": "LA VILLE\\nTHEODORE DE BANFILLE\\nWHEN, having become a figure of bronze or\\nmarble for eternity, raised upon his pedestal\\nin the centre of a public square, Balzac shall\\nbehold his Paris, which is our Paris, he will see it as he has\\nevoked and glorified it, that is to say as it is.\\nOne of the greatest merits of the creator of La com edie\\nhumaine consists in this, that he, better than any one in the\\nworld, has understood Paris s manner of being absolutely\\nideal and supernatural. In fact, this prodigious city is not\\nin the least governed by the physical and material laws that\\nrule other cities. Thus the inhabitants of Melun or Long-\\njumeau could no more form an exact idea of themselves\\nthan could the Esquimaux or the Kaffirs.\\nThe essential and permanent phenomenon of Paris is\\nthat ideas are drunk in with the air that is breathed. There,\\nit is not only the great lords who know everything without\\nhaving learned anything, it is the whole mass of human be-\\nings, and none of them are ignorant, not even those who\\nhave learned many things. Souls and minds mingle and\\npenetrate each other, and everybody is acquainted with\\neverything. If it pleases Joseph Bertrand or Renan to talk\\nmathematics or exegesis with the passing Gavroche, they\\nwill find him perfectly well-informed. And supposing the\\n219", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0283.jp2"}, "284": {"fulltext": "220 PARIS\\nsame young blackguard comes across some elegant lady be-\\ning tracked by a husband, or a jealous lover, or ignoble\\nTricoches, and driven to bay like a hind in the woods, she\\nwill only have to cast him a glance and Gavroche will very\\nsoon have found some ruse of an extraordinary Scapin or a\\nsuperior Mascarille to save her and get her out of her em-\\nbarrassment. After which, without awaiting or desiring\\nany thanks, without pride and without humility, he will\\ndepart to eat a sou s worth of fried potatoes, if he is in\\nfunds.\\nWhat wealth, what pleasure, what ephemeral possession\\nwould be worth the immeasurable quantity of genius that is\\nspent among us every moment Assuredly none. Thus\\nthe great Parisians do not possess anything, are not worth\\nanything, and personally are as disinterested as monks in a\\nmonastery in Asia. What they desire and what they gain\\nis the glory of constituting the city that serves as an ex-\\nample and as a light for the world. It is to be Paris, and\\nthat they are. De Marasy and Rastignac do not, and have\\nnot the time to, amuse themselves. They only care to\\ncarry along and dominate the intellect, Gobseck, Wer-\\nbrust, Palma and Gigonnet not only care nothing for what\\ncan be bought with gold, and each of them could live on\\nthirteen sous a day and save money in addition, but they do\\nnot love gold itself and merely cherish the unlimited power\\nit represents. What they all propose to themselves is, like\\nPistheterous at the end of the comedy of the Birds, to es-\\npouse the goddess So\\\\ereignty. And in spite of the Naquet", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0284.jp2"}, "285": {"fulltext": "LA VILLE 221\\nlaw, when once this great marriage is accomplished, there\\nis no danger that they will get divorced.\\nThey are all quite willing to die and even to live for\\ntheir country, to give it first and always their blood, and\\nthen their gold, their genius, their intellect, and their inex-\\nhaustible treasures of invention in addition; but, contrary\\nto what is supposed by certain inhabitants of distant or\\neven neighbouring countries, politics does not exist in Paris.\\nBetween two true Parisians not a single word dealing with\\npolitics is ever pronounced and whosoever should infringe\\nthis elementary rule, dictated by good education, would\\nthereby be guilty of a great indecency.\\nWho of us would have the extreme puerility to care\\nwhether the squirrel makes ten revolutions in his cage or\\nonly eight And what would political agitation serve in a\\ncountry that has succeeded in conquering true Equality\\nYes, Paris possesses and enjoys this treasure superior to all\\nothers.\\nIn fact, without being deceived, without any hesitation\\nand without any possible error, every one occupies the place\\nthat he really merits and that nothing can deprive him of.\\nThe distinctions, the honours, the mediocrity or splendour\\nof life have nothing to do with it. This one is the great\\nsavant, or the great artist, or the great workman that one\\nis the vulgar man. Everybody knows it, nobody has any\\ndoubt of it, and it is as evident as if they had been marked\\non the brow by an indelible sign. One individual s clothes\\nare covered with embroidery, he is a member of every com-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0285.jp2"}, "286": {"fulltext": "222 PARIS\\npany, twenty times a dignitary and horribly spattered with\\nbadges j another, garbed in an old great coat, without a noth-\\ning bleeding at the buttonhole, and crowned with his white\\nhairs, dwells in a garret amid folios. Nevertheless, this\\none is surely the hero, the demagogue and the creator} and\\nthe other one deceives nobody, not even himself. Who\\nhas distributed the honour or the contempt to which each\\nof these men is entitled It is that invisible and im-\\npeccable justice which in Paris reigns over the souls of all\\nmen.\\nAnd, especially, over the souls of all women. They\\nknow, and know profoundly, that with themselves the\\nsplendour of the countenance, the beautiful proportions of\\nthe form, the sincerity of the gaze, the rapidity of the\\nthought, and the grace of the attitude mark those who in\\nthe true acceptation of the word are princesses of the blood,\\nand that duchesses, worthy of that name, may be born on\\nthe Quai de la Rappe as well as in the old historic man-\\nsions of the Rue de Lille. Aurelien SchoU has related that\\nterrifying and poignant tragedy of a great lady, beautiful\\n(because she wanted to be), elegant, courted, and surrounded\\nwith men, who, one fine day, wanted to know what she\\nwas really worth in the open market. To put this to the\\ntest, she went and took her seat among the girls in the low\\nroom of a Maison des Fleurs^ and this woman, who saw\\nworlds, millions, vast regions, and the treasures of Bengal\\nand Ophir at her feet, did not find a single man there who\\nwould offer a vile piece of gold to buy her.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0286.jp2"}, "287": {"fulltext": "LA VILLE 223\\nOh, the women of Paris know this terrible tale; they\\nhave all read it. And those who have not read it have\\ndivined it. Therefore, each of them, intuitively and by a\\nmiracle of knowledge, knows exactly what she is worth, as\\nwell as what other women are worth. On that question\\nthere is no possible illusion or mistake, and the glitter of a\\nrobe by Worth, embellished with more gold, embroidery,\\nfurbelows, and gewgaws than the heaven has stars, does\\nnot suffice to induce the belief that there is a woman in it,\\nif there is not. More than this, a future Princess de Cad-\\nignan may be combed with a nail, bundled up in rags, and\\nshod with ignoble shoes, and yet all the women will see upon\\nher back the triumphant robes to which she virtually has a\\nright.\\nFor nothing can prevent a truly aristocratic woman from\\nsome day rising to her veritable rank, nor can anything\\nforce her to fall from it. In the air of Paris there is an\\nambrosia that restores the goddesses to their native\\nsplendour, even when travestied as sweepers, and mys-\\nteriously cleanses them of all their stains.\\nFires were lighted along the Mountains of Ida, and the\\npromontory of Hermes and Lemnos to Athos, to announce\\nthe fall of Troy. There were voices and signals on the\\nsea. There were semaphores raised on the towers that\\ndesperately raised and lowered their great absurd arms, soon\\neaten and devoured by the fogs. There is now the electric\\nwire under the sea that bears to New York for the morn-\\ning journals long notices of the piece performed the evening", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0287.jp2"}, "288": {"fulltext": "224 PARIS\\nbefore. These gross and material engines are not needed\\nfor intercommunication among Parisians for, in their city,\\nas I have said, thought transmits itself by its own force and\\nwithout any intermediary. If an inhabitant of Montrouge\\nmurmurs a word in a low tone, two seconds afterward all\\nthe natives of Montmartre know it. Thus even if or par-\\nticularly when he has not been present, any Parisian has\\nseen all the solemnities, all the battles, all the rejoicings, all\\nthe official balls, and all the comedies, so that there is no\\ndifference between those who were present and those who\\nwere absent unless it is that those who were absent were\\npresent rather more than the others.\\nAnd one might cite a thousand examples to prove the ex-\\nistence of this phenomenon. Ruined, exhausted and half-\\ndead by excessive work, a very able writer, whom his\\nfriends familiarly called Edgar, had gone to make a long\\nstay at the Bordighera, for the purpose of taking a great\\nsunlight bath and recovering his health, if possible. This\\ncure succeeded beyond his hopes. After a few months\\nspent in the warmth and sunlight, he was almost well and\\nhad nothing more to do than to let himself live but sud-\\ndenly he was seized, overcome and clutched at the heart by\\nParisian nostalgia.\\nIt is stronger than I, he said to a friend of his youth\\nwhom he had met there. I feel the need of acquiring\\nnew strength, of reviving my soul, of recovering myself and\\nbeing healed in the divine tomb of Paris. I want to see all\\nthe fetes, the balls and the re-unions, of attending all the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0288.jp2"}, "289": {"fulltext": "LA VILLE 225\\nfirst performances, reading the new books before they have\\nappeared, running over the newspapers while damp from\\nthe press, admiring the most recently invented women,\\nqueens and duchesses in their carriages, or on their fiery\\nhorses.\\nEdgar departed as he had said, returned to the Faubourg\\nSaint-Germain where his chambers looked upon the great\\ngardens, found his beautiful silken cushions, his carpets, his\\nbooks and all that pretty abode that he had lovingly\\ncreated and with reason he found it so delightful that he\\ndid not go out. And yet, when he returned to the Bor-\\ndighera and his friend asked him if he had seen all that he\\nhad wanted to see, he said, Ah certainly and with a\\nconvincing eloquence he told of the re-unions, the comedies,\\nthe beauty of the women, the transfiguration of the\\nParisian landscape with great exactness and without lying\\nor making the mistake of a syllable, for, in fact, he had\\nseen it all by the mere fact of being in Paris. And this\\nmagnetism of the atmosphere does not merely serve for see-\\ning and hearing everything without the aid of the material\\nsenses, it also gives to the Parisians, in an ideal and at the\\nsame time real manner, the things, the beings, the treasures,\\nand all the enjoyments of possession.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0289.jp2"}, "290": {"fulltext": "LES BOULEVARDS\\nLOUIS ENAULT\\nTHE boulevards are like a little city in a great one,\\na second Paris within itself, the capital of\\nParis, as Paris is the capital of the world, or\\nrather it is a little universe of a league and a half in length\\nby a hundred metres in width. Five or six times, the\\nBoulevard changes its name as it docs its character. There\\nare various kingdoms separated by a brook that separates\\nthem as profoundly as an ocean divides two empires.\\nFrom one side to the other, mariners and population, habits\\nand inhabitants, everything differs. The Boulevard has ex-\\nisted scarcely sixty years.\\nSixty years ago (in 1800) it started from a prison and came\\nout in a desert. To-day, on the ruins of the prison the Genius\\nof Liberty spreads its wings of gold, and the desert is an\\nelegant quarter. It traced a line across an uninhabited re-\\ngion, full of sloughs and puddles, covered with boards,\\ndotted with wooden shanties and ambushed by footpads\\nwho infested the lonely district. To-day it is a macadam\\nroad macadam is the last word of civilization for artificial\\nmud given up to horsemen and carriages; a fine row of\\ntrees, that are cut down at every revolution and replanted\\non the morrow a wide bitumen path for pedestrians, and\\ntwo long avenues of monumental houses, Parisian life has\\n226", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0290.jp2"}, "291": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0291.jp2"}, "292": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0292.jp2"}, "293": {"fulltext": "LES BOULEVARDS 227\\nbeen transferred more and more from the Seine to the\\nBoulevard in proportion as money has dominated the no-\\nbility, and the Chaussee-d Antin has conquered the aristo-\\ncratic faubourg.\\nWhen the Boulevard had inherited the Palais Royal, the\\npolice closing its games and driving away the women,\\nits fortune thenceforth was assured it became the rallying\\npoint of the globe, the forum where, under the grey skies,\\nall tongues, known and unknown, are spoken the bazaar\\nof free flesh, where all the races of the world come to be\\njudged on sample the kingdom of saunterers, the centre\\nof business, the rendezvous of pleasure, the hearth of inac-\\ntivity, the paradise of loitering, and everybody s highway.\\nIt is there that in troublous times the muttering riot and the\\nsuccessful revolution take place when better days return it\\nis also the Capitoline Way along which serene Peace con-\\nducts the triumph of emperors and kings. Stay for an hour\\non the path in front of the Maison d Or, or on Tortoni s\\nsteps, and you will hear the names of all the illustrious men\\nin literature, art, politics and society. This ever new parade,\\nthis endless defiling past, this kaleidoscope of inexhaustible\\nfancies, this spectacle of a thousand representations, this\\nperpetual going and coming, this mixture of everything, this\\nundulating and varied thing of insatiable curiosity, ever\\nsatisfied and ever recurring, when once we have seen it,\\nwe shall never resign ourselves to see it no more.\\nIt is on Sunday under the first April suns that the Boule-\\nvard should be seen. On that day it does not belong to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0293.jp2"}, "294": {"fulltext": "228 PARIS\\nthe foreigner: the Parisians have reconquered it from the\\nwinter and they enjoy it with the avidity of new possess-\\nors. The sunlight plays among the black branches, the\\nwind-swayed shadows of which streak the asphalt. At the\\ntips of the branches through the opening red buds the ten-\\nder leaves unfold their little favours, green as the livery of\\nspring. The fatigue of the ball still pales the women s\\ncheeks which are already showing fresh life under the pur-\\nple of new blood. How the throng flows in from every\\nstreet and spreads its living waves over the bitumen of the\\npaths Spring toilettes are not yet attempted, but the\\nvelvet mantle is open and the hand half protudes from the\\nsleeve the violet (price one sou) flourishes in the button-\\nhole people go, come, look at each other, see and are\\nseen: for many of them this is the half of life. The man\\nof leisure whose every day is a Sunday elbows the man of\\ntoil who is snatching a few hours from his close task. The\\nwoman of fashion passes beside those who would like to be\\none Aspasia crosses Rigolette, each forgetting to hate the\\nother in the joy of a warm breath of air, a little gleam of\\nblue and a ray of gay sunlight.\\nWe will take the glorious Pont d Austerlitz as our depart-\\ning-point. Without dwelling upon it, let us indicate the\\nsplendid panorama spread out around us. On our left we\\nhave the railway terminus, the Boulevard de I Hopital, the\\nJardin des Plantes with its great cedar rising in a pyramid\\nbeside its belvidere the dome of the Pantheon, supported\\nby a circle of elegant columns, crowning the mount of Saint-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0294.jp2"}, "295": {"fulltext": "LES BOULEVARDS 229\\nGenevieve and that heavier cupola in the distant horizon is\\nVal-de-Grace. To our right is the He de Louviers, then\\nthe He Saint-Louis, and then the Cite with its noble\\ncathedral surrounded by its counter-forts and dominated by\\nits pinnacles and small spires as by a forest of stone. The\\nColonne de Juillet shows us by what road to reach the\\nPlace de la Bastille. A bold bridge thrown across the\\nSaint-Martin canal brings us to the foot of the column that\\noccupies the centre of the square the Place de la Bastille\\nis the beginning of the Boulevard.\\nUpon the Place de la Bastille no trace is to be found of\\nthe celebrated fortress that gave it its name.\\nWe know that the Bastille was constructed under\\nCharles V., by the provost of Paris, Hugues Aubriot he\\nwas one of the first to be shut up in it, just as Guillotin\\ntried the machine invented by himself. It was then called\\nthe Bastille-Saint-Antoine later it was called the Bastille,\\nmeaning the prison par excellence. From Louis XL, the\\nking-jailer, it received the embellishments that were to make\\nit a model prison. Experts on this sad question cite with\\nadmiration the wooden cages studded with iron, widened\\nabove and contracted below, in which one could not stand\\nup, nor sit down, nor lie down. The Bastille was a heavy\\nbuilding which smelt of the prison a league away an enor-\\nmous quadrilateral of thick masonry and great cut stones\\nfive big towers, half sunk in the walls that connected them,\\ndefending the fortress. In its circuit the wall contained\\nsombre yards, damp courts into which the sun never pene-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0295.jp2"}, "296": {"fulltext": "230 PARIS\\ntrated, and a beautiful garden reserved for the governor to\\nwalk about in. The walls of the Bastille were too discreet\\nfor the Bastille to have a history. Of this poem of grief\\nand suffering we know only a few rapid and lamentable\\nepisodes heroes, martyrs, scoundrels, great ladies, female\\npoisoners, stage girls, illuminated prophetesses; all names\\nmeet and throng upon the too well-filled pages of the jail\\nregister. Sometimes the entire drama of royal justice was\\naccomplished within its walls, from the preliminary ques-\\ntion to the capital punishment, without any other wit-\\nnesses than the judge and the executioner. It was in the\\nBastille that Marshal Biron was decapitated it was there\\nthat the Chevalier de Rohan and the Marquise de Villars\\nhad their heads cut off. Its low door saw sovereign heads\\nbend like that of Saint-Pol, illustrious heads like that of\\nVoltaire we have no time to mention even princes of the\\nroyal blood. Of all the prisoners of the Bastille, the one\\nthat for the longest time has attracted attention, piqued\\ncuriosity, and excited sympathy is that Iron Mask, who\\nwas served at the table with plate marked with the lilies of\\nFrance, to whom the governor removed his hat when ad-\\ndressing, but whom the sun never saw. Even to-day the\\nidentity of this mysterious personage remains one of the\\nmost unsolvable problems of history.\\nThe Bastille was destroyed on July 14, 1789 j it is from\\nthis day that the new era of personal liberty dates for\\nFrance. When the populace penetrated into those cells,\\nit only found three prisoners there. Louis XVI. had made", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0296.jp2"}, "297": {"fulltext": "LES BOULEVARDS 231\\nsilent reparation for the wrongs of the monarchy, before\\nexpiating them as an innocent victim in the sight of the\\nworld. When the prison was overthrown, a patriotic\\narchitect carved miniature Bastilles out of the ruins of the\\nmonument which were sent to the Departments. The re-\\nmainder of the materials was employed in the construction\\nof the Pont de la Concorde and Pont de Sainte-Pelagie.\\nTwo months before the violent destruction of the Bas-\\ntille, the tiers-etat of Paris had asked that on the site of\\nthis destroyed and razed prison a vast square should be\\nestablished, in the midst of which a column should be\\nerected with this inscription To Louis XVL, the re-\\nstorer of public liberty. In 90, on the evening of the\\nfirst fete of the federation, on their return from the Champ\\nde Mars, the people organized a ball of patriots upon the\\nlevelled soil of the prison, and, on the door of this impro-\\nvised ballroom, this inscription was placed Here people\\ndance, on the very spot where for so many centuries\\nmight have been read Here people weep.\\nThe Place de la Bastille long remained void of durable\\nmonuments. Napoleon resolved to build a fountain of\\nquite a new kind there a colossal elephant laden with a\\ncastle in the antique manner was to discharge inexhaustible\\nstreams through its trunk. The castle was never seen\\nthe elephant remained in the model stage for forty years,\\na plaster sketch demolished in detail by the rats. To-day\\nupon the ruins of the Bastille, it is a bronze column that\\nsprings toward the sky it guards the ashes of those who", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0297.jp2"}, "298": {"fulltext": "232 PARIS\\ngave their lives for an idea in the two revolutions of 1830\\nand 1848. The Colonne de Juillet, as it is called, is not\\nsupported within by stone filling; it is composed simply of\\nbronze, adjusted by cylindrical drums. A corkscrew stair-\\ncase leads to the top a circular pier of stone surrounded\\nby a grille bears the columns, which rests upon a white\\nmarble pedestal, supported in turn by a square base, orna-\\nmented by eighty-four bronze medallions. A lion passant\\ndefends the western face of the pedestal the arms of Paris\\nare sculptured upon the opposite face; on the other two\\nare engraved 1830 and the dates of the three days; at the\\nfour angles, the Gallic cock stands erect on his bronze\\nclaws. Cocks and lions are the work of Barye, whose\\nhand can knead and animate rebellious matter. The\\ncolumn is surmounted by the Genius of Liberty with ex-\\ntended arms, flaming brow, and half-spread golden wings.\\nAt the foot of the column the ashes of the victims are de-\\nposited in cells. Every anniversary still brings its regrets\\nand memories crowned with immortelles.\\nThe Port Saint-Antoine, formerly crenellated and forti-\\nfied in the taste of the Middle Ages, has left no vestiges\\nupon the earth, nor any trace in the memory of the people.\\nOnly the antiquary can say, It was there People do\\nnot listen, but pass on.\\nTo-day the Place de la Bastille, bordered by the Seine\\nand traversed by the Saint-Martin canal, is the animated cen-\\ntre of five or six great ways of communication radiating\\nthence, by land or water, throughout Paris.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0298.jp2"}, "299": {"fulltext": "COLONNE DE JUILLET (PLACE DE LA BASTILLE).", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0299.jp2"}, "300": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0300.jp2"}, "301": {"fulltext": "LES BOULEVARDS 233\\nThe Boulevard Beaumarchais is the first we meet on\\nleaving the Place de la Bastille. This boulevard was first\\ncalled the Boulevard Saint-Antoine. It received the name\\nof Beaumarchais in memory of the house whither the witty\\nauthor of Figaro came to shelter the golden leisure of his\\nhappy old age. This house, a veritable temple erected to\\nthe Fine Arts, decorated with their most admirable produc-\\ntions in pictures, statues and bas-reliefs, was demolished\\nmany years since it gave annoyance to the Saint-Martin\\ncanal Its site was long pointed out. Campius ubi Troja\\nfuit. Solitude succeeded its ruins now that solitude is\\nbuilt over and we have a new quarter and another boule-\\nvard. Although still young, the Boulevard Beaumarchais\\nhas already received its baptism of fire. To-day its mis-\\nfortunes are forgotten, the wounds of Paris soon cicatrize,\\nthe houses, quickly run up again, proudly display their vast\\nterraces, their glittering windows, and their balconies like\\niron lace-work. The Boulevard Beaumarchais has a little\\ntheatre that bears its name.\\nThe Boulevard des Filles-du-Calvaire may claim an il-\\nlustrious origin. The Sixteenth Century planted those fine\\nquincunxes, the majestic order of which was so dear to the\\nwell-regulated genius of our good ancestors. Louis XIV.\\nplanted, in rows like French guards, regiments of elms and\\nplane-trees that still shaded and refreshed this quarter not\\nmany years ago the convent of the Filles-du-Calvaire, of\\nthe order of Saint Benoit, had for its godfather and founder\\nthat famous Capuchin, Joseph de Tremblais, whom Riche-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0301.jp2"}, "302": {"fulltext": "234 PARIS\\nlieu called his right eye and right arm, and whom the peo-\\nple called the grey Eminence. The Revolution put\\nthe beard on the Capuchin and razed the chapel and\\ncloisters of the Filles-du-Calvaire the boulevard, noisy\\nand turbulent, replaced the refuge of calm and peace. Be-\\ntween the Filles-du-Calvaire and the passer-by of to-day,\\nthe boulevard has known an intermediate occupant for a\\nlong time the wandering tribe of Bohemians and mounte-\\nbanks came and camped in its beautiful shadow.\\nHere is the Boulevard du Temple and we must alter our\\ntone Siceltdes Alusa:^ paulo majora canomus\\nThe Porte Saint-Martin is the western frontier of the\\nboulevard that bears its name. This gate, built at the city s\\nexpense in 1674, is of a somewhat heavy architecture: the\\nstring-course and the piers are in rustic vermicular bossages,\\nwith bas-reliefs in the spandrils. One of these bas-reliefs\\nrepresents Louis XIV., under the traits of Hercules his\\nsole vesture is the club, a singular costume for the berib-\\nboned son of Anne of Austria! The invincible Louis, as\\nBoileau would say, overthrows the Lernian hydra or the\\nNumaean lion, representing Limbourg or Besan^on. The\\nfirst of these bas-reliefs is by Dujardin and A4arty the\\nsecond, by Lehongre and the elder Legros. The front\\nbears the inscription To Louis the Great, for having\\ntwice taken Besan^on, and Franche-Comte and crushed\\nthe German, Spanish and Dutch armies the provost of\\nthe merchants and aldermen of Paris; 1674.\\nThe Porte Saint-Martin in one direction faces the Rue", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0302.jp2"}, "303": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0303.jp2"}, "304": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0304.jp2"}, "305": {"fulltext": "LES BOULEVARDS 235\\nSaint-Martin as it goes to join the busy and populous quar-\\nters traversed by the Rue Rambuteau; in the other, the\\nRue du Faubourg Saint-Martin, extending toward La Vil-\\nlette, vast arteries, always full and distended, in which\\nthe sap of industry and labour circulates.\\nThe Boulevard Saint-Denis is not long, but it begins at\\nthe Porte Saint-Martin and ends at the Porte Saint-Denis.\\nIt could not begin nor end better. Situated between the\\nfaubourgs of the same names that are like the vast labora-\\ntories of Paris, this boulevard sees the torrential flow of\\nlabour and industry. The great tall houses are inhabited\\nby things and not by men.\\nThe Porte Saint-Denis is far superior to the Porte Saint-\\nMartin it is truly an artistic monument. The principal\\narch, which certainly lacks neither grandeur nor elevation,\\nopens between two pyramids sunk in the thickness of the\\nmonument and abundantly ornamented with warlike tro-\\nphies at the top they bear the symbolic globe of the world\\nat their base and set upon the cornices of their pedestals\\nare two colossal statues representing Holland and the\\nRhine. Holland is a female of opulent form seated upon\\nthe Netherland lion, no less cast down than herself: this\\npoor lion holds under his large paw the seven arrows, em-\\nblems of the seven United Provinces it is Holland dis-\\narming herself: it would be hard to put more grace into\\nit. The Rhine rests one hand on a tiller and in the other\\nholds a cornucopia that without doubt he is about to\\nempty over France notwithstanding the words of the pa-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0305.jp2"}, "306": {"fulltext": "236 PARIS\\ntriotic poet No, you shall not have the free German\\nRhine\\nAbove the arcade, on the southern face, a large bas-relief\\nrepresents the passage of the Rhine not at the moment\\nwhen he is crossing but when he is complaining of his\\ngreatness that keeps him on the bank. In the pedestal of\\neach of the lateral pyramids a little door has been pierced\\ntwo Renowns are on the central spandrils, one with the\\ntrumpet to its lips, the other with a laurel crown in its\\nhand. The plan and entire composition of this gate are\\ndue to Francois Blondel; under his orders were Girardon\\nand Francois and Michel Auguiere. The execution is full\\nof nerve and boldness. This triumphal arch was raised to\\nLouis XIV., in 1672, by the provost of the merchants and\\naldermen of Paris, to commemorate his rapid conquests in\\nGermany. There is no other inscription than these two\\nwords above the arch\\nLudovico Magno.\\nThe boulevard makes an elbow to unite with the Rue\\nRoyale the disposition of the ground and architecture\\nforms a long rectangle bordered with houses and the temple,\\nseen obliquely, projects the angle of its portico into the\\nstreet like a great head of masonry.\\nThis temple is the Madeleine.\\nAbove the pediment we read the following inscription\\nD O M sub invoc S. M. Magdalenae.\\nIs it not a happy idea to have solemnly consecrated", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0306.jp2"}, "307": {"fulltext": "LES BOULEVARDS 237\\namidst the splendours of Paris the sweet memory of that\\nbeautiful Mary Magdalen, who poured the essence from her\\nvase of alabaster over the feet of Christ, wiping them with\\nher long hair, a touching image of repentance that brings\\nus to God\\nWe have only to judge this church from the outside for\\nits picturesque aspect, and the scenic and decorative effect\\nin its surroundings of the square and boulevard.\\nSeen in profile and a little way off, the temple, dominat-\\ning all the surrounding buildings by its mass, presents a fine\\nperspective when our glance penetrates and loses itself\\namong the Corinthian columns that support the frieze.\\nFrom the side of the Rue Royale, a broad and truly monu-\\nmental flight of steps leads to the peristyle, where the colon-\\nnade forms a double row and supports Lemaire s pediment.\\nThis pediment is twenty-eight metres long and seven high.\\nPromenaders, returning from the Champs Elysees, can con-\\ntemplate the grandiose representation of the last judgment\\nand Christ enthroned amid the resuscitated to his right, are\\nthe angel of salvation and the blessed to his left, the angel\\nof justice and the condemned. Before him, at his feet,\\nMagdalen on her knees invokes and supplicates in favour\\nof the sinful city. All around the edifice is a long series of\\ncolossal eifigies of apostles, martyrs, and confessors. A\\nmore or less happy imitation of the Greek temples, the\\nchurch of the Madeleine may offer to our minds a satisfying\\ncombination of lines and surfaces, but it generally leaves us\\ncold, as do all imitations and all architecture that is not, if", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0307.jp2"}, "308": {"fulltext": "238 PARIS\\nI dare say so, aboriginal, born of the soil, the civilization,\\nthe manners and the needs of a people.\\nNevertheless, sometimes the Madeleine presents itself in\\nperspective with a great show^ of external magnificence it\\nis then one of the most sublime scenes of the stage upon\\nwhich the multiple drama of Parisian life is played.\\nToward evening or. a fine dav, when in the west half the\\nheavens are on fire, the temple in vigorous relief detaches\\nits sombre silhouette against the brilliant background.\\nFrom afar its base seems to be already plunged into shadow\\nin the meanwhile the slanting sun pours floods of ardent\\npurple over the pediment and fills the vast portico with the\\ngolden dust of its rays.\\nThe Rue Royale leads us from the Madeleine to the\\nPlace de la Concorde.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0308.jp2"}, "309": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0309.jp2"}, "310": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0310.jp2"}, "311": {"fulltext": "PkRE LACHAISE\\nRICHARD WHITEING\\nPERE LACHAISE, covering over one hundred acres,\\nand the largest of the Paris cemeteries, is in the\\nnortheastern quarter. It is named after a cele-\\nbrated confessor of Louis XIV., w^ho had a country-house\\nin the neighbourhood. It vi^as laid out as a cemetery in\\n1804. It was the scene of desperate fighting during the\\nCommune. It is open from sunrise to sunset seven is\\nthe closing hour in summer. A bell rings at closing time.\\nMany celebrated persons are buried here, and among the\\ntombs or monuments of interest are those of Abelard and\\nHeloise, Bellini, Gretry, Boieldieu, Thiers, Massena, Be-\\nranger, Lafontaine, Moliere (the last two transferred from\\ntheir original place of burial), Daubigny the painter, Due\\nde Morny, Michelet the historian (the sculpture by Mercie),\\nCouture the painter (a bust and an allegorical figure in\\nbronze by Barrias). Along with these are two monuments\\nto soldiers and to National Guards killed in the war, the\\nformer erected by the government and adorned with im-\\nposing statues in bronze. In some monuments the merit\\ncommemorated is of a peculiar kind. A large chapel, with\\na sarcophagus at the top, reminds us of the virtues of M.\\nEd. Blanc the founder of the gaming-tables at Monaco.\\nThe very highest, a pyramid shooting one hundred and five\\n239", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0311.jp2"}, "312": {"fulltext": "240 PARIS\\nfeet into the air, was built for 100,000 francs to let posterity\\nknow that Consul Beaujour died in 1836. It is appro-\\npriately called the Sugar-loaf. Dejazet, Balzac, Francois\\nArago, Casimir Delavigne, Racine, Alfred de Musset,\\nRachel, Mars, Talma, Rossini, Casimir Perier, may be\\nadded to the previous list of really distinguished names.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0312.jp2"}, "313": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0313.jp2"}, "314": {"fulltext": "V\\n\u00c2\u00abf\\no^t-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0314.jp2"}, "315": {"fulltext": "LA PLACE ROYALE- {Place des Vosges)\\nJULES CLARETIE\\nITH its large houses of red stones and its vast\\nroofs of slate, supported by elegant arcades,\\nthe Place Royale is of all Places in Paris the\\none whose general features are at once the most curious\\nand charming. From a distance from the Boulevard\\nBeaumarchais you perceive the house that stands at the\\ncorner of the Rue des Vosges you go a little farther, and\\nwhile advancing you have suddenly stepped back two\\ncenturies. This is no longer the Paris of to-day, it is the\\nParis of Louis XIII. The hour of the raffin es runs on,\\nthey say, to strike anew, and from these enclosed houses\\ncertainly there issues a procession of elegant lords and great\\nladies in trailing robes.\\nIn velvet pourpoints and silken skirts, in plumes and\\nlace, with felt hats gallantly turned up, and swords proudly\\nworn, M. d Aumont and M. de Pisani, Madame de Mon-\\ntansier and Mademoiselle de Polalion, Cinq-Mars leaning\\non the arm of Thou, Pere Joseph in a grey robe going to\\njoin his Red Eminence a whole century and what a cen-\\ntury It is there, still living or, rather, existing as a\\nphantom, it comes to haunt these galleries where it loved,\\nlaughed, paraded, threatened, threw kisses in the air, and,\\nat the same time, drew its sword. Extinguished passions,\\n241", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0315.jp2"}, "316": {"fulltext": "242 PARIS\\ndefunct elegances Moss now greens the balconies where\\nthe lady leaned and to which the lover climbed at that\\nwindow, now opening, it is not Marion who will appear,\\nbut a good bourgeois wrapped in flannel who, as he coughs,\\nlooks at the degree of temperature registered by his\\nthermometer hanging there. It is no longer the Marechal de\\nBiron, nor the Marechal de Roquelaure, nor the Marechal\\nde la Force, nor M. de Bellegarde who talk of combats\\nand adventures as they cross the Place it is the foot-soldier\\nin large shoes, the groom going to curry his horse, the\\nhumble private strolling and hanging about the nursemaid in\\nher white cap and apron. What would you say of it all,\\nNinon\\nMy handsome lovers, my soldiers in ruffles, all is over\\nnow. Your garden is a square. Where Desportes recited\\nhis poems, a little book-shop sells the popular songs.\\nMalherbe reappears, with his mouth full of odes. Alas!\\nunder the arcades, a street Arab passes whistling the refrain\\nnow in fashion, and to the poet who cried\\nElle itait de ce monde oit les plus belles choses\\nOnt le pire destin\\necho replies\\nLa belle Venus,\\nLa Venus aux carottes\\nYour famous arcades where Pierre Corneille, who had\\nnot yet written M ed ee^ placed the scene of one of his\\ncomedies (it also was called La Place Royale^ and roused a\\ngreat outcry, particularly among the women, who found", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0316.jp2"}, "317": {"fulltext": "LA PLACE ROYALE 243\\nthemselves a little too severely railed at), where your\\nluxury flowed, where your wit sparkled, where your anger\\ngrowled, and where your loves were sung, the fruit-sellers,\\nstay-makers, tobacconists, cabinet-makers and dealers in old\\nclothes have taken by assault. Here, upon these posts\\nwhere Mademoiselle Marcelle perhaps wrote so that the\\ningrate, M. de Guise, could read her death-song as he\\npassed for in those days people died for love they have\\npainted in black letters, blue letters, and red letters, So-\\nand-so the watchmaker, so-and-so the glover, and so-and-so\\nthe tailor. Ah-! Monsieur d Estrees, Monsieur de Turin,\\nMonsieur de Joyeuse Ah Monsieur de Luneterre, e\\nfinita la musica. The laurels have been cut and the happy\\ndays are extinguished Ah le hon billet qu a la Chatre?\\nOn the side of the Rue Royale, however, the Place\\nRoyale seems to have resisted the invasion of the little\\nshops. It is doleful there and sombre as a prison its\\nwindows are barred, its doors look lifeless and shut forever;\\nits rare passengers seem to have been possessed of renuncia-\\ntion or sacrifice. The stones are black, the arches are\\ncracked, and rust and dust are everywhere. The Place\\nseems here to protest against the present. It is here the\\nsame as ever its vast courts have not changed in the least.\\nIt looks sick and tired, but it will not give up.\\nThe military and the humble citizens, the nurses and the\\ntenants have garden benches to sit upon and bask in the\\nsun. Here, as in every other place where there is sky and\\ngrass, we find children and old men. Those who know", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0317.jp2"}, "318": {"fulltext": "244 PARIS\\nnothing of life and those who know it too well are united\\nhere by the same sentiment the love of flowers and of\\nanimals. But while the child lays them waste or beats\\nthem, the aged who know the value of a caress or a\\nperfume replant the torn rose-tree or tend the beaten\\ndog.\\nIn the centre of the garden, Louis XIII., in white\\nmarble, parades on horseback, a few steps from a fountain.\\nThe statue is by Dupaty and Cortot. It is an excellent\\nexample of the most deplorable statuary. The king,\\ncombed with the utmost precision, seems to have just left\\nthe hands of his hair-dresser, and his moustaches are geo-\\nmetrically curled on his upper lip. No expression Not\\nthe slightest character! The horse leans his belly upon\\nthe trunk of a tree. There is no inscription upon the\\npedestal. The uniformed frequenters of the Place Royale,\\nforgetting the hours of the barracks, generally mistake this\\nLouis XIII. for a Roman warrior or a marshal of France.\\nThe statue, moreover, is scarcely visible, surrounded and\\nhidden by trees. The leaves, it would seem, are anxious\\nto rob the public of Dupaty s work. These leaves have\\ngood taste. What a charming promenade is this Place,\\nnevertheless, and how good it is to dream beneath its\\narcades You walk here weaving memories, just as if you\\nwere turning over the leaves of a book. Each step brings\\na chronicle, or a story, one of those beautiful stories of\\ncloak and sword, which seem to us like legends. These\\nred bricks, these scaling slates, these crumbling stones be-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0318.jp2"}, "319": {"fulltext": "LA PLACE ROYALE 245\\ncome animated and speak. At twilight, in the uncertain\\nshadows, you sometimes perceive, as if in the depths of a\\nconvent passage, vague silhouettes assuming form you\\nhasten to approach them to ascertain if it is not the car-\\ndinal s litter that you see in the shadow, or if these belated\\nmen are not coming, dirk in hand, to settle some affair of\\nhonour beneath the window of their lady. It would take\\nan entire volume to relate the adventures and elegances of\\nthe Place Royale.\\nThere was formerly the Hotel of the king, the Hotel des\\nTournelles, that formidable and charming palace, menac-\\ning without, magnificent within. The chancellor, Pierre\\nd Orgemont, it is said, had it rebuilt expressly for his son,\\nwho was bishop of Paris, and sold it to the brother of\\nKing Charles V. The Tournelles was to become the resi-\\ndence of the kings of France, but before that the duke\\nof Bedford was destined to keep garrison there for the king\\nof England. It was here that the tournament was held at\\nwhich Henry II. was killed by the captain of the Scottish\\nguard. Catherine de Medici blamed herself for the theatre\\nof the murder, while waiting to revenge herself upon the\\nmurderer. The palace was abandoned and then demol-\\nished. The ground that it occupied became a horse-\\nmarket, and the raffines d^honneur kept rendezvous there,\\ndirk or sword in hand, to settle their terrible or trivial\\nquarrels. They fought for a word, for a sign, for the hue\\nof a pourpoint, for the knot of a ribbon, for nothing, for\\npleasure. They killed themselves to kill time. It was also", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0319.jp2"}, "320": {"fulltext": "246 PARIS\\nthe date of savage hatreds. This terrible Sixteenth Cen-\\ntury presents itself before history armed to the teeth.\\nOne morning in April, 1578, miguotis and guisards met\\nat the Tournelles. There was a furious encounter with\\nswords Schomberg, Riberac and d Entraigues against Liv-\\narot, Quelus and Maugiron. Quelus, the effeminate, re-\\nceived nineteen wounds but did not die until a month\\nafterward. They carried away d Entraigues and Livarot,\\nwho seem to have recovered by a miracle; Riberac had\\nbut twelve hours to live, but he saw Maugiron and Schom-\\nberg die.\\nQue Dieu rtfoive en son giron\\nQuilus, Schomberg- et Maugiron\\nThe Place Royale should have begun as it ends, with\\nthe bourgeoisie. They were silk merchants who, during the\\nreign of Henri IV. and on the site of this enclosed field,\\nbuilt a row of houses half brick and half stone for the ac-\\ncommodation of their shops. A truly marvellous effect\\nwas noticed. The king wished the isolated row to be-\\ncome a place and the Place Royale sprang from the ground.\\nIt was soon to become the heart of Paris, or, at least, its\\nbrain, the gathering place of tout Paris for all time, the\\nvagabond centre of the city, which shifts according to\\nthe time, and was ascending at this moment toward the\\nChamps Elvsees and toward Beaujon. Interrogate these\\ngalleries and these old houses their history was our his-\\ntory. Ninon de Lenclos lives here, over there Marion\\nDelorme. Madame de Sevigne was born here, Dangeau", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0320.jp2"}, "321": {"fulltext": "LA PLACE ROYALE 247\\nwrote here. Chapelle and Bachaumont appointed meet-\\nings here. The Place witnessed one superb fete. It hap-\\npened in 16 1 2. Peace was to be signed with the king of\\nSpain. Marie de Medeci wished to celebrate it worthily.\\nA palace arose, the Palais de la Felicite^ and a procession\\nwas organized. Two thousand figurants^ and among them\\nthe most elegant men of the noblest titles, took part in the\\nheroic masquerade. There were cavalcades and feats of\\narms. The challengers called themselves Lysandre, Alphee,\\nArgant, Leontide, and Alcinor, and led men-at-arms. Upon\\nthe scaffoldings was seated the entire court in rich cos-\\ntumes. And for two days, two entire days, the gallant\\nmythology unfolded its pageantry, its gold, its plumes, and\\nits silk sub sole crudo in the bright sunshine.\\nBut this comedy once played in Place Royale, tragedy\\nresumes its rights. At twenty-seven years of age, Francois\\nde Montmorency, Seigneur de Boutteville, was illustrious,\\nand renowned for his bravery j he had been seen to fight\\nnearly everywhere, in Languedoc, and in Saintonge at the\\ntaking of Saint-Jean-d Angely. He was taken still breath-\\ning from a mine at the siege of Montauban. He loved\\ndanger for the sake of danger and when the battle was\\nover he gave himself up to duelling for pastime. He\\nfought despite arrests, despite the king, despite the cardinal,\\ndespite God, despite the devil. He was fighting on Easter\\nDay, 1624; he came to kill the Comte de Thorigny in the\\nclose behind the Chartreux. La Frelle reproached him for\\nnot having chosen him for his seconds Necessarily he had", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0321.jp2"}, "322": {"fulltext": "248 PARIS\\nto fight with La Frelle. They fought. La Frellc was\\nwounded, Boutteville sought refuge in Brussels, and he was\\nobstinately refused letters of indemnity for the past.\\nVery well, exclaimed Boutteville, since the king re-\\nfuses me everything, I will go to Paris and fight in the\\nPlace Royale He did as he said, with Des Chapelles as\\nhis second, against the Marquis de Beuvron, a relative of\\nThorigny, and Bussy d Amboise. Beuvron and Boutte-\\nville fought with their swords, but could not reach each\\nother then they threw away these weapons, took their\\nponiards, collared each other, and were about to cut each\\nother s throats without further ceremony. Bah I will\\ngive you your life said Boutteville. I will do as much\\nfor you said Beuvron. At this moment des Chapelles\\nreturned to its scabbard the sword with which he was about\\nto kill Bussy d Amboise. As flight was imperative, they\\ntried to gain Lorraine. The marshalsca (court of a mar-\\ntial) arrested them. Death was certain. They submitted\\nto it proudly. The Duchesse de Pompadour and the Prin-\\ncesse de Conde entreated the king for them, weeping at his\\nfeet. Louis XIIL was content to reply I am as sen-\\nsible to their loss as you but my conscience forbids me\\nto pardon them. Behind the monarch s pale face there\\nstood, rigid and severe, the figure of Richelieu, inflexible\\nand calm as the law.\\nThe cardinal-minister, in irony perhaps, had in 1669, a\\nstatue of his sad master put up in the very centre of the\\nPlace Royale. The Place Royale became the Place Fe-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0322.jp2"}, "323": {"fulltext": "LA PLACE ROYALE 249\\nderes in 92 and the statue was overturned. It was des-\\ntined to be remounted in a new form upon its pedestal in\\n18 15. The year 1848 gave the Place Roy ale the name\\nthat it bore under the consulate and empire, Place des\\nVosges.\\nOf all these houses, one is particularly celebrated. This\\nis No. 6, the Hotel Guemenee, where Victor Hugo lived\\nfor a long time. The Hotel Carnavalet, two steps away,\\nsaw the birth or re-birth of our French language with all\\nits affectations and delicacy.\\nNo. 6 Place Royale helped toward the blossoming of\\nmodern poetry and the modern drama with all their au-\\ndacity and grandeur. Those who were of that epoch have\\ntold us with what flutterings of heart they mounted the\\nsteps of that staircase and with what surprise they came\\nout, bearing a counsel and an example. Ah what a happy\\ntime was that.\\nIt was also in the Place Royale one morning in 1858,\\nthat I saw the funeral procession of that woman who had\\nsucceeded in forcing Corneille and Racine upon our atten-\\ntion, and resuscitating Melpomene as one might galvanize\\nmarble, Rachel lived at No. 9, Place Royale. On that\\nday tragedy herself was buried.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0323.jp2"}, "324": {"fulltext": "THE HOTEL DE SENS\\nA. J. C. HARE\\nIN the Rue de Figuier, behind the Hotel de Saint-Paul,\\nwill be found the remains of the Hotel de Sens,\\nonce enwovcn with the immense pile of buildings\\nwhich formed the roval residence. Jean le Bon, returning\\nfrom his captivity in London, was here for some time as the\\nguest of the Archbishop of Sens. Charles V. bought the\\nHotel from Archbishop Guillaume de Melun, but upon the\\ndestruction of the rest of the palace, that part which had\\nbelonged to them was restored to the Archbishop of Sens.\\nIn the beginning of the Sixteenth Century the Hotel was\\nrebuilt by Archbishop Tristan de Salazar.\\nUnder Henri IV. the palace was inhabited for a time by\\nMarguerite de Valois (daughter of Henri II.), the licentious\\nReine Margot, when, after her divorce, she left Auvergne,\\nand obtained the king s permission to establish herself in\\nParis. Here it is said she used to sleep habitually in a bed\\nwith black satin sheets, in order to give greater effect to\\nthe whiteness of her skin. She came to the hotel in Au-\\ngust, 1605, and left it before a year was over, because, as\\nshe was returning from mass at the Celestins, her page and\\nfavourite, Julien, was shot dead at the portiere of her car-\\nriage, in a fit of jealousy, by Vermond, one of her former\\nlovers. The queen swore that she would neither eat nor\\n250", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0324.jp2"}, "325": {"fulltext": "HOTEL DE SENS.\\n\u00e2\u0096\u00a0iJk", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0325.jp2"}, "326": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0326.jp2"}, "327": {"fulltext": "THE HOTEL DE SENS 251\\ndrink till she was revenged on the assassin, and he was be-\\nheaded two days after, in her presence opposite the Hotel.\\nThat evening she left Paris, never to return, as the people\\nwere singing under her windows\\nLa Royne Venus demi-mortt\\nDe voir mourir devant sa parte.\\nSon Adonais, son cher Amour,\\nFour vengeance a devant sa face\\nTait defaire en la mesme place\\nL assassin presque au mime jour.\\nIt was within the walls of the Hotel de Sens, additionally\\ndecorated by Cardinal Dupont, that Cardinal de Pellerve,\\narchbishop of Sens, one of the principal chiefs of the\\nLigue, united the leaders of the Catholic party, and there\\nhe died, March 22, 1594, whilst a Te Deum was being\\nchanted at Notre-Dame for the entry of the king into Paris.\\nAfter the archbishops of Sens ceased to be metropolitans\\nof Paris (which was raised from a bishopric to an archbish-\\nopric in 1622), they deserted their Hotel, though they were\\nonly dispossessed as proprietors by the Revolution. In the\\nlast century the Hotel became a diligence office now a\\nfahrique de confitures occupies the chamber of la galante\\nreine^ but the building is still a beautiful and important\\nspecimen of the first years of the Sixteenth Century, and\\nno one should fail to visit its gothic gateway defended by\\ntwo encorbelled tourelles with high peaked roofs. A porch,\\nwith vaulting irregular in plan, but exquisite in execution;\\nits brick chimneys, great halls, the square donjon tower at", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0327.jp2"}, "328": {"fulltext": "252 PARIS\\nthe back of the court, and the winding stair of the tourelle^\\nremain entire only the chapel has been destroyed. On\\nthe left of the entrance is an eight-pounder ball, which\\nlodged in the wall, July 28, 1830, during the attack on the\\nconvent of Ave Maria.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0328.jp2"}, "329": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0329.jp2"}, "330": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0330.jp2"}, "331": {"fulltext": "HOTEL DE VILLE\\nPAUL STRAUSS\\nN looking at this magestic Hotel de Ville, that is\\none of the jewels of artistic and architectural\\nParis and at the same time the fortress of munic-\\nipal liberties, the mind recalls the ancient Parloir aux bour-\\ngeois of the Place de Greve^ the Maison aux Piliers described\\nby Sauval As for the building, it was a little affair of\\ntwo gable ends connected with several ordinary houses. I\\nwill not amuse myself with a long account of all its apart-\\nments it is enough to know that it had two courts, a poul-\\ntry-house, high and low kitchens, great and small, stews\\nor baths, a chamhre de parade^ another called le Plaidoyer^ a.\\nwainscotted chapel, a hall covered with slates, five toises\\nlong and three broad, and various other conveniences. In\\n1420, it still had a large granary for hostelry. Mahiel, or\\nMahieu Bethune painted the hall belonging to the office,\\nand adorned it according to the taste of the day with flow-\\ners, lilies and roses, mingled and enriched with the Arms\\nof France and of the city. The floor of the rooms was\\ncovered with a cloth in winter and strewn with green grass\\nin summer.\\nThe municipal house was not worthy of Paris, and Fran-\\nass", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0331.jp2"}, "332": {"fulltext": "254 PARIS\\n^ois I. enthusiastically welcomed the project of the prevot\\ndes marchands to rebuild the Hotel de Ville which shall\\nbe sumptuous and one of the most beautiful known.\\nAn authoritative art critic, M. Marius Vachon, combats\\nthe legend that attributes to Dominique de Cortone, alias\\nBoccador, the paternity of this celebrated monument of the\\nRenaissance he refers the honour to Pierre Chambiges, a\\nFrench architect, master of the masonry works of the\\ncity of Paris. But, in spite of this learned dissertation,\\nthe principal facade of the Hotel de Ville will for a long\\ntime yet bear the Italian name of Boccador.\\nOn several occasions, during the second half of the\\nEighteenth Century, the Provost of the Merchants and the\\nEchevins, studied plans for the removal of the Hotel de\\nVille, that were insufficient and too restricted; one of the\\nmost original propositions was that of Cosseron, an echeviriy\\nwho wanted to remove the Hotel de Ville to the open space\\nformed by the prolongation of the Pont Neuf.\\nDuring the reign of Louis-Philippe, the desire to isolate\\nthe Hotel de Ville and to facilitate its defence following\\nthe outbreaks of 1832 and 1834 was not foreign to the\\nadoption of the plan of development and enlargement of the\\nhouse of the commonalty, which was executed under the\\ndirection of the architect, Lesueur, in conjunction with M.\\nGodde the work, begun in 1837, was completed in 1846.\\nIt cost more than twelve millions. The old belfry was re-\\nstored in 1868; the reception-rooms were decorated by the\\nmost celebrated artists Ingres and Delacroix executed ad-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0332.jp2"}, "333": {"fulltext": "HOTEL DE VILLE 2^^\\nmirable paintings there the ceiling of the Salon de la Paix\\nwas a genuine masterpiece. The work of Ingres was uni-\\nversally admired.\\nThe new municipal palace, reconstructed by MM.\\nBallu and Deperthes, faithfully reproduced the plan and\\nstyle of the old Hotel de Ville the original facade of\\nBoccador, however, has been divided, the central portion\\nenlarged, a gallery for circulation in front of the festival\\nhall has been arranged on the Place Loban; and, finally,\\nnew arrangements have permited the establishment of a\\nlarge windowed hall on the side of the Rue de Rivoli for\\nthe use of the Caisse Municipale.\\nThe new buildings occupy a total area of 14,476 metres,\\nthe surface that can be utilized only 11,876 metres, and\\none of the criticisms that the architect Due aimed against\\nthe old Hotel de Ville of Boccador and Lesueur would\\nhave the same force and the same truth to-day.\\nIt is at night, in full electric illumination, in evening\\ntoilette, that the city palace dazzles the eyes of its guests\\nno description can give the effect produced by that har-\\nmonious and imposing whole, that luxurious setting, and\\nthat superb frame. The great staircases and the staircase\\nof honour, the vestibules, the galleries, the brilliant salons\\nand the marvellous festival hall defy all criticism and sur-\\npass all praise. This glorious edifice, the history of which\\nis mingled with that of Paris, seems to be protected by\\nthe images of the ancestors and great men of the city.\\nM. George Veyrat has piously taken the trouble to write the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0333.jp2"}, "334": {"fulltext": "256 PARIS\\nhistory of the statues of the Hotel de Ville and he has brought\\nto life again the illustrious dead of this open air Pantheon.\\nThere is not an event, great or small, that has not had its\\norigin or its reaction in the Hotel de Ville. Nothing more\\nattractive can be read than the origin and development of\\nthat association of water merchants that ended by holding\\nin its hands all the administrative power, and with which\\neven the kings of France had to count and to accommodate\\nthemselves. The Parlo ir aux bourgeois had even judicial\\nfunctions it pronounced sentences the municipal magis-\\ntrates had a hand in the fortifications, the street paving, the\\nmaintenance of the highways, the quays, the bridges, the\\nfountains and the distribution of water.\\nEvery year, the city bureau, in mantle and pleated band, in\\naccordance with a constant ceremonial, in great pomp\\nvisited the bridges, the ramparts, the waters of Belleville,\\nthe Pre Saint-Gervais, Arcueil and Rungis, and the\\nfountains. Their carriages were escorted by six city guards\\non horseback and two officers.\\nThe Hotel de Ville is the central hearth, the supreme\\nmotor of the communal life of the twenty-four quarters of\\nParis, but, by the force of circumstances, the niairte d\\narrondissement chances to be the civic house par excellence.\\nThat is the one that follows the citizen from his birth to\\nhis death, participating in the most important actions of his\\nlife, receiving him on his entrance into the world and\\naccompanying him to his last abode. Between these ex-\\ntreme points of human existence, the mairie interposes at", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0334.jp2"}, "335": {"fulltext": "HOTEL DE VILLE 257\\nthe most decisive periods, the civic and military majority,\\nthe nuptial fetes, and, from beginning to end, it is our\\nsocial headquarters, the administrative domicile of all the\\ninhabitants of the same district.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0335.jp2"}, "336": {"fulltext": "HOTEL BARBETTE\\niDOUARD FOURNIER\\nTURNING east from the Rue Veille du Temple,\\nby the Rue des Franc-Bourgeois, we find at the\\nangle a picturesque and beautiful old house, with\\nan overhanging tonrdle^ ornamented by niches and pin-\\nnacles. It takes its name of Hotel Barbette from Etienne\\nBarbette, master of the Mint, and confidential friend of\\nPhilippe de Bel directeur de la monnoie et de la voierie\\nde Paris who built a house here in 1298. At that time\\nthe house stood in large gardens which occupied the whole\\nspace between the Cultures Saint-Catherine du Temple, and\\nSaint-Gervais and which had belonged to the canons of Saint-\\nOpportune. Three more of these vast garden spaces, then\\ncalled courtilles^ existed in this neighbourhood, those of the\\nTemple, Saint-Martin, and Saint-Boucelais. It is recorded\\nthat when the king offended the people in 1306, by altering\\nthe value of the coinage, they avenged themselves by tearing\\nup the trees in the Courtille Barbette, as well as by sacking\\nthe Hotel of the minister, for which twenty-eight men were\\nhanged at the principal gates of Paris. Afterward the\\nHotel Barbette became the property of Jean de Montagu,\\nthen sovereign-master of France, and Vidame de Laonois j\\n258", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0336.jp2"}, "337": {"fulltext": "HOTEL BARBETTE 259\\nand, in 1403, it was bought by the wicked Queen Isabeau\\nde Baviere, wife of Charles VI., and became her favourite\\nresidence, known as le petit s ejour de la reine\\nAt the Hotel Barbette, Queen Isabeau was not only\\nfreed from the presence of her insane husband, who re-\\nmained at the Hotel Saint-Paul under the care of a mistress,\\nbut could give herself up without restraint to her guilty\\npassion for her brother-in-law, Louis Due d Orleans, who\\nin the words of Saint-Foix tachoit de desennuyer cette\\nprincesse a l hotel Barbette.^ Here, also, were decided all\\nthose affairs of state with which the queen and her lover\\nplayed, as the poor king, at the Hotel Saint-Paul, with his\\ncards, though, whatever his faults, the Due d Orleans was\\nat this time the only rampart of fallen monarchy, and the\\nonly protector of the future king against the rapacity of the\\nduke of Burgundy.\\nIt was on Wednesday, November 23, 1407, that the\\nqueen had attired herself for the evening in her trailing\\nrobes and headdress en comes merveillenses^ hantes et\\nUngues enchassees de pierreries to receive the Due d\\nOrleans, whom Brantome describes as ce grand des\\nbancheur des dames de la cour et des plus grandes. Whilst\\nthey were supping magnificently, one of the royal valets\\nnamed Schas de Courte Heuse entered, and announced\\nthat the king desired the duke of Orleans to come to him\\nimmediately, as he wanted to speak to him on matters of\\nthe utmost importance. A presentiment of evil possessed\\nthe queen j but the duke, sans chaperon^ apres avoir mis", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0337.jp2"}, "338": {"fulltext": "26o PARIS\\nsa houppelande de datnas noir fourr ee went out at once,\\nplaying with his glove as he went, and mounted his mule,\\naccompanied only by two squires riding on the same horse,\\nby a page called Jacob de Merre, and three running foot-\\nmen with torches. But Raoul d Octouvillc, formerly head\\nof the finances, who had been dismissed from his post by\\nthe duke, was waiting in the shade, accompanied by seven-\\nteen armed men, and instantly rushed upon him with cries\\nof ^1 mort a mort By the first blow of his axe,\\nRaoul cut off the hand with which the duke guided his\\nmule, and by another blow cleft open his head. In vain\\nthe duke cried out: Je suis le Due d^ Orleans no one\\nattempted to help him, and he soon tottered and fell. One\\nof his servants flung himself upon his prostrate body to de-\\nfend it, and was killed upon the spot. Then, as Raoul\\nheld over his victim a torch which he had snatched from\\none of the footmen, and exclaimed: 11 est bien mort\\nit is affirmed that a hooded figure emerged from the neigh-\\nbouring Hotel Notre-Dame, and cried Extinguish the\\nlights, then, and escape. On the following day the same\\nfigure was recognized at the funeral of the duke of Orleans\\nin his own chapel at the Celestins it was his first cousin,\\nthe Duke of Burgundy. Only two years later Jean de\\nMontagu, Prime Minister and Superintendent of Finances,\\nthe former owner of the H5tel Barbette, was beheaded\\nat the Halles, and afterward hanged, on an accusation of\\npeculation, but in truth for no other reason than because he\\nwas the enemy of the Duke of Burgundy. Queen Isabeau", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0338.jp2"}, "339": {"fulltext": "HOTEL BARBETTE 261\\nleft the Hotel Barbette after the murder of her lover, and\\nshut herself up in Vincennes.\\nIn 1521 the Hotel Barbette was inhabited by the old\\nComte de Breze, described by Victor Hugo\\nAffreux, mal bati, nial tournt.\\nMarque d une verrue au beau niilien du ni,\\nBorgne, disent les uns, velu, chetif et bltme\\nand it is said that his beautiful wife, Diane de Saint\\nVallier, was leaning against one of the windows of the\\nhStel, when she attracted the attention of Francois I.,\\nriding through the street beneath, and first received from\\nthat king a passing adoration which laid the foundation of\\nher fortunes, as queen of beauty, under his successor Henri\\nn. After the death of Diane in 1566, her daughters, the\\nDuchesses Aumale and Bourbon, sold the H5tel Barbette,\\nwhich was pulled down except the fragment which we still\\nsee, and which was restored in 1886.\\nIn la rue Vieille-du-Temple, at the corner of the Rue\\nFrancs-Bourgeois, look at the elegant tourelk, whose corbel-\\nling rounds the angle so beautifully, and which mounts\\ngracefully toward the base of the roof, unhappily un-\\ncovered, with its two stories of blossoming foliage. This\\nis the riant debris of that gloomy Hotel Barbette, whence\\nissued the Due d Orleans, brother of Charles VI., when\\nhe was killed, at the very door, by the followers of Jean\\nsans Peur. A lamp, which should burn forever, was placed\\nthere by one of the assassins, in expiation of the crime.\\nTradition says that La belle Feronniere dwelt near by and", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0339.jp2"}, "340": {"fulltext": "262 PARIS\\nthat it was by the light of the murderer s lamp, placed\\nalmost upon the tourelle^ that her husband saw Francois 1.\\nescape one night from a visit to her.\\nHow much history dwells in this little corner The\\ntourelle is no longer proud. After having been the orna-\\nment of a feudal hotel, transformed into the dwelling of a\\nrich financier in the time of Louis XIV., what has it\\nnot become, without losing any of its exterior grace, not\\neven the grating, so finely worked, of its little window\\nIt is the very humble dependency of the bedroom of the\\ngrocer, whose shop is found below.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0340.jp2"}, "341": {"fulltext": "MUS^E CARNAVALET\\nEDOUARD FOURNIER\\nHE sculptures of the Hotel Carnavalet, where Ma-\\nI dame de Sevigne lived, are authentic. They are\\namong the most remarkable productions of Jean\\nGoujon.\\nJacques de Ligneris, Seigneur de Crosne, president of\\nthe parliament of Paris, for whom these works were made,\\nwas a very cultivated man in matters of art. He wished\\nnothing mediocre for the Hotel, the site for which he pur-\\nchased in 1544 in the ploughed lands of the Culture Sainte-\\nCatherine. Pierre Lescot sketched the plan for him, to\\nwhich Bullant gave the last touches Ponce made the orna-\\nments, such as the graceful stone balustrade which runs\\nabove the facade at the back the same Italian painters\\nwho created the marvels of Fontainebleau painted the\\nrooms with some license, which was the fashion of the\\ntime, to the great indignation of the afFected Sauval and\\nJean Goujon was its sculptor. The Hotel was scarcely\\nfinished when M. de Ligneris died, leaving it to his son,\\nwho occupied it from 1556 to 1578, the year of his death.\\nIt was then acquired by the family that was its true god-\\nmother. The widow of M. de Kernevenoy, whose Breton\\nname was softened into that of Carnavalet, and who had\\nbeen the worthy friend of Ronsard and Brantome, and 9\\n263", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0341.jp2"}, "342": {"fulltext": "264 PARIS\\npatron of the arts and letters, bought the Kotel for herself\\nand her son. She was content to keep it in all its splen-\\ndour without making many additions.\\nThe Hotel remained in this family for a long time.\\nM. de Carnavalet, lieutenant of the guards, who played a\\ncertain role during the Fronde, but who no longer cut a\\nfine figure upon the entrance of the new queen, Marie-\\nTherese, on August 26, 1660, was the last representative\\nof the name. Already in 1634 he had sold it to a magis-\\ntrate from Dauphine, M. d Agaurri. Rarely residing there,\\nthe new master made too many alterations.\\nIn 1677 Madame de Lillebonne was the tenant. Her\\nlease terminated on October ist, and competitors were not\\nlacking to succeed her. Madame de Sevigne was at the\\nhead. She had tried all the streets of the Marais, and\\nhaving visited it, she thought that this Carnavalette\\nwould suit her to perfection. She never left it she was\\nits soul and she remains its glory. Above all that hap-\\npened afterward, her name hovers with a brilliancy that\\nprevents us from seeing anything else. The grief of\\nhaving her no longer is always fresh to me, wrote Ma-\\ndame de Coulanges a year after her death; too many\\nthings are wanting in the Hotel Carnavalet. Since then\\nthere has ever been a void no matter who came there.\\nBrunet de Rancy, two years after Madame de Sevigne,\\nbrought only his importance as Farmer-General, with his\\nringing gold which resounded less than the vanished wit.\\nThen later came the charlatans with their transfusion of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0342.jp2"}, "343": {"fulltext": "MUSEE CARNAVELET 265\\nblood, there chance placed later the treasure-room of the\\nlibrary where the Marquise had produced the most charm-\\ning of books while believing she was writing letters only.\\nThe school of Fonts et Chauss ees was presently established\\nthere, as if to level all that really remained of wit. As\\ngood luck would have it, a clever scholar, M. de Prony,\\nwas director, and Madame de Sevigne s salon might imagine\\nthat there was no geometry in the house. The last tenants\\nwere a boarding-school keeper and his scholars, and I ad-\\nmit, at least for the master, they respected the dignity of\\nthis dwelling bound by tradition. M. Verdot has written\\nthe history of the Hotel Carnavalet he has filled it with\\nmemories of Madame de Sevigne, and dedicated it to his\\nscholars. I do not believe he could ever have made a\\nbetter lesson.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0343.jp2"}, "344": {"fulltext": "LA TOUR SAINT-JACQUES\\nS. SOPHIA BE ALE\\nTHIS tower is all that remains of the church of\\nJacques de la Boucherie, which had to be de-\\nmolished to make way for the Rue de Rivoli. It\\nwas commenced in 1508, and finished in 1522. The figure\\nof Saint James upon the little turret, and his friends the\\nEvangelistic animals, by Rauch, were thrown down in 1793;\\nbut in 1836, when the municipality saved the tower by\\npurchasing it, the statues were repaired and replaced. The\\nchurch contained many tombs and slabs, some of which\\nhave found a home in the Hotel Cluny. One of the most\\nfamous persons buried at Saint-Jacques was Nicholas\\nFlamel, a member of the University, and librarian, who\\ndied in 141 7, leaving large sums of money to the church.\\nHis effigy, and that of his wife, were to be seen kneeling\\nat the Virgin s feet in the tympanum of the porch. He\\nwas venerated as their patron by the alchemists, for having,\\nas was affirmed, discovered the philosopher s stone; and\\nseveral times his house in the Rue des \u00c2\u00a3crivains was rum-\\nmaged in order to find some indication of his secret. His\\nfuneral tablet has the following epitaph engraven upon it,\\nand is numbered ninety-two in the collection of the Hotel\\nCluny\\n266", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0344.jp2"}, "345": {"fulltext": "^MliU...\\nTOUR SAINT-JACQUES.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0345.jp2"}, "346": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0346.jp2"}, "347": {"fulltext": "LA TOUR SAINT-JACQUES 267\\nFeu Nicolas Plameljadix escri\\nVain a laisse par son testament d\\nLeusore de ceste eglise certaines\\nRentes et maisons qu il avoit\\nAcquestees et achetees d son vi\\nVant pour faire certain service\\nDivin et distribucions d argent\\nChascun au par auniosne tou\\nChans les quinze vin lost el di\\nEu et aultres eglises et hopitaux\\nA Paris. Soit prii pour les trtpasstes.\\nThe Tour Saint-Jacques is an excellent example of what\\nmay be done with the remaining portions of demolished\\nbuildings. As it stands, surrounded by gardens, it is a most\\nbeautiful object, an oasis in the desert of streets, and\\ntrams, and omnibuses, a quiet spot where children may\\nskirmish, and mothers can sit in the open air and knit their\\nstockings. Why cannot we do likewise in London If\\nchurches must be felled to the ground, why cannot we\\nleave their towers as a centre to the burial-ground gardens,\\nor remove and reerect them in our parks We might\\nwith advantage follow the example of Paris, both in the\\npreservation of the old tower of Saint-Jacques, and in the\\narrangement of the garden of the Hotel Cluny, where, also,\\nfragments of churches are set up as ornaments.\\nIt was from the top of the tower of Saint- Jacques that\\nPascal made certain experiments of the density of the air\\nand in memory of this, his statue, in white marble, was\\nplaced under the porch.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0347.jp2"}, "348": {"fulltext": "LA BOURSE\\nGABRIEL MOURE r\\nTHE Bourse! The heart of modern Paris as the\\nHalles are its stomach.\\nThe Bourse The cathedral of the new times,\\nthe temple of the sole religion that truly flourishes and is\\nsincerely practiced. And what a religion As savage, as\\nsanguinary and as mysterious as the most barbarous cults,\\nwith its strange rites, its special dialect, its sacrifices, its\\ncategories of the initiated and its colleges of priests.\\nThe stockbrokers are its supreme pontiffs. The\\nprestige of withholding the privilege that constitutes their\\npower clothes them with a dreadful splendour in the eyes of\\nthe masses. Everything gravitates into their light; every-\\nthing bends before their majesty. They form an omnip-\\notent caste to whose hands the fate of public fortune is en-\\ntrusted. In the sanctuary where the divinity is enthroned,\\nthey are priests surrounded with glory, wealth and pride,\\nand none dare attack their sacred sovereignty are they not\\nthe obligatory intermediaries between the power that is\\nadored here and the multitude? Could their intercession\\nbe dispensed with\\nProtected by strong barriers against which break the rage\\nand concupiscence of the gold-maddened throng, they exer-\\ncise the monopoly of their ministry. A greedy mob whirls\\n268", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0348.jp2"}, "349": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0349.jp2"}, "350": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0350.jp2"}, "351": {"fulltext": "LA BOURSE 269\\naround the sanctuary the fury of the assault surges, yells\\nand seethes while the rough rite is being accomplished.\\nA heated clamour mounts into the air that reeks of beasti-\\nallty and blood and that is sometimes pierced by a cry as\\nof a wounded animal.\\nThey themselves in the enclosure closed to the profane\\nwrithe in frantic gesticulations, and the echo that cease-\\nlessly rebounds from the ceiling of the vast church resounds\\nlike a noise of the waves at the equinox and rolls and\\nswells like the unchained fury of a revolt.\\nIt is one o clock, the hour when Paris, tired after its\\nmorning s struggle, for Paris rises earlier than other\\ncapitals is reposing and stretching itself for a moment,\\nthat the worshippers of gold hold their assembly.\\nA lull renders the streets almost deserted there is a\\npause in the feverish activity of the Great City efforts\\nslacken fresh forces are being stored up for the remainder\\nof the day. They come flocking they hasten with avidity\\nfrom every direction in the streets disgorging into the\\nsquare a swarm of human ants presses toward the prey.\\nBy hundreds the great houses in the whole neighbouring\\nquarter disgorge them, business people seeking a precise\\ngoal at the precise hour.\\nThe neighbouring restaurants fill up. Appointments are\\nmade there, consultations are held there in freedom, and\\nthere preparations are made for the impending battle. It\\nhas already commenced orders are transmitted, tubes are\\ndispensed with, men examine one another face to face, the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0351.jp2"}, "352": {"fulltext": "270 PARIS\\nforce of resistance of each is estimated, plans are unmasked\\nand manoeuvres brought into light. Solitary lunchers,\\nstranded in melancholy before cleared tables, fret in vain\\nwaiting for some one who should come, and ceaselessly\\nglance with agony from the door to the clock. Important\\npersonages have a group around them of a constantly re-\\nnewed court of anxious curiosity. Farther on, two partners\\nexchange confidences in low tones. Feverish fingers tear\\nopen telegrams from one table to another, hastily-scribbled\\nsheets of paper are exchanged.\\nThe hour is about to strike three minutes more, time\\nto cross the street. The restaurants are empty late-comers\\nclimb the steps four at a time, are engulfed beneath the\\ncolonnade, and vanish in the dark holes of the doors.\\nThe hour strikes Cries break forth up there, there is\\na sudden roar like a piece of artillery which makes a noise\\nwhich will last for three hours without a moment s pause.\\nThe battle has begun.\\nBefore entering the melee let us cast a glance at the\\nmonument which shelters it.\\nNothing can be more commonplace or ugly. It par-\\ntakes at the same time of the nature of a desecrated church,\\na railway station, and an old model market. It might also\\nbe a theatre so many dramas have their prologue and their\\ndenouement there. Why not a hall of justice It pos-\\nsesses the austerity and glacial Puritanism of one. On its\\nground-plan what jails might be established\\nLugubrious monument Without the distinction of a", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0352.jp2"}, "353": {"fulltext": "LA BOURSE 271\\ndome, a belfry, or a tower, it is squat and stupidly mass-\\nive it crouches heavily and cunningly there is some-\\nthing dubious about it. A true temple of gold should be\\nsomething else Sumptuous and excessive, it should fete\\nthe glory of the cult that is celebrated in it by a dazzling\\nharmony of lines, and by fantastic audacity of decoration.\\nFacades, glittering with enamels and mosaics, spires of\\nprecious stones, infinitely multiplying in their innumerable\\nfacets the solar rays, and mounting to the skies bearing the\\nhymn of the men kneeling before the idol Like the\\nGothic cathedral in which the ardent soul of the Middle\\nAges is expressed in all its intensity, it should symbolize,\\nglittering and exaggerated, the aspirations of its time, its\\ndisquietudes, its desires, its faith, and that riot of pleasure\\nthat holds possession of all.\\nAlas I dream Such as it is the Bourse will remain\\naustere, sad, and lacking in gaiety, like a protest amid the\\nelegancies of contemporary Paris, that Paris which will end\\nby being regarded by the foreigner as the public house of\\nthe universe. For, of the numerous cities contained in Paris\\nthe only one known is the city of pleasures and vice, the\\ngreat hoaxer and the great skeptic whither come the provin-\\ncials to recuperate, as they say, and the rastaquoeres of the\\ntwo worlds to amuse themselves. But the others, the\\nParis of work and economy, the Paris of charity and science,\\nthe city of humble, proud, and wholesome existences, the\\ncity of sincere solidarity and devotion, who explores and\\nwho knows these", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0353.jp2"}, "354": {"fulltext": "272 PARIS\\nThe peristyle, notwithstanding the exclusion of the\\ncoulisse the bete noire of the stockbrokers has lost\\nnothing of its animation. Before the putting in force of\\nthe new law, June 30th, 1898, a sensational date in the\\nhistory of the Bourse, there were about eighty coulis-\\nsiers it is said that half of them went into exile in the\\nland of Manneaeneis and Leopold II. One would not\\nthink so the same vociferations that formerly resounded\\nbeneath the sad colonnade still fill the square with their\\nnoise. The gold-mine market suffices for that, and the\\nexternal aspect of the temple of stock-jobbing has remained\\nthe same. They struggle under the clock with the same\\nardour as formerly the wet-feet have a hard life. Exposed\\nto the inclemency of the weather, braving the heavy sum-\\nmer sunshine that heats the immense asphalt carpet of the\\nsquare like the tile in a furnace, and despising the gusts of\\nwind and rain, they continue their battle as roughly as\\never. Mounted on chairs, and perched upon the bases of\\nthe columns, viewed from the street they form a swarm\\nwhich is not lacking in picturesqueness. If they are mal-\\ntreated by bad weather, at least in the moments of pause\\nthey can enjoy the clearness and open air under the up-\\nright columns there are calm spots where it is pleasant to\\nsit amid the fresh greenness of the trees in summer. Ha-\\nbitues come there, men who are disillusioned with specula-\\ntion, men who have failed, and men who are resigned to the\\nlife the atmosphere of which is indispensable to them as\\nis the odour of the wings to old strolling-players. They", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0354.jp2"}, "355": {"fulltext": "LA BOURSE 273\\nagain find themselves in a familiar country, they follow the\\nproceedings with interest and sometimes risk a stroke pru-\\ndently and with the emotion of a beginner. Their eyes\\nflame with passions that have been long asleep and sud-\\ndenly awake, and their torpor suddenly vanishes.\\nThe strange beings Small annuitants who come every\\nday from the depths of their faubourg to tempt the fortune of\\nspeculation, timidly slip their orders and then wait, with that\\nkind of pallor on the face that we see on the countenances\\nof the players while the roulette is turning, for the close of\\nthe Bourse then, joyous or sad, according as chance has\\nserved or failed them, they return to their peaceful apartment\\nin the confines of Batignolles or Belleville. Many on the\\nretired list whose pension is not sufficient for them to maintain\\nthe rank worthy of their past also come there. They play\\nprudently and are happy if at the end of the day they have\\nsucceeded in gaining the half-louis that will permit them to\\ncut a good figure at the interminable cards in the evening.\\nAnd the margoulin The speculator in small values for\\nwhom the least return suffices, perhaps only an occasional\\nten or twelve sous but what matters, to-day he is operating\\nhere to-morrow at some sale by a big house he will buy\\nfifty umbrellas at five fr. 95 which two days afterward he\\nis sure to sell at six fr. 50. Will he have lost his labour\\nAnd what risks will he have run Is it not in tempting\\nfortune as often as possible that one gets the greatest chance\\nof finally beguiling it once for all And the ordinary life\\nof these men is supported by this hope.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0355.jp2"}, "356": {"fulltext": "274 PARIS\\nThe doors keep swinging an incessant going and com-\\ning from the peristyle to the interior obstructs the entries;\\nwe must insinuate ourselves, brave audacious elbows and\\nsubmit to impatient pushing in order to get into the great\\nhall. The first impression is that of feeling ourselves\\ncaught in the middle of a crowd after a catastrophe. The\\npeople have an air of seeking help they run about in all\\ndirections with nervous gestures, anxious starts, and with\\nlips contracted with agony it seems as if misfortune is\\nabout them. A sinister atmosphere hovers about and I\\nseem to feel a difficulty in breathing it without ill effects.\\nIt is heavy, charged with animality in action, brutal, and\\ndry it is strong to excess. A special education of the\\nnerves is needed to endure it from this agglomeration of\\nmen, so powerful an electricity of instinct emanates that it\\ngives one a kind of vertigo. And these shouts, these\\nshouts of savages around their booty, these exasperated\\nvociferations, this tempest of incoherent clamour! For a\\nmoment it is a series of barkings supported by long sub-\\ndued roars there are voices that bleat and others that bray\\nthis one is croaking, that one is yelling another hisses, a\\nthousand others roar, yelpings spread around, with grunt-\\nings and bellowings. Sometimes the sharp cry of a\\nwounded animal rises above the deafening noise singly or\\nin unison one would say that there was a burst of cheers or\\nthat somebody was suddenly being hooted. Duets are\\nformed the falsetto of a castrato struggles desperately\\nagainst the deep notes of a bass a tenor tires his lungs a", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0356.jp2"}, "357": {"fulltext": "LA BOURSE 275\\nbaritone shouts himself hoarse some of them utter their\\nnote of attack with triumphal assurance we are amazed to\\nhear frail beings with narrow chests and curved backs pro-\\nducing sounds like a tramway-gong. Ah the dreadful\\nflock of demoniacs They are possessed with the in-\\ntoxication of convulsionaries, the delirium of aissaouas, a\\nsacred frenzy. Thus they celebrate the worship of Mam-\\nmon.\\nLook at this crowd, its gesticulations and its eddies the\\nbeauty presented by masses of humanity is absent from it\\nit lacks unity, it is made up only of individual interests and\\nhostile egotisms. However brutal they may be, by what-\\nsoever excesses they allow themselves to be carried away,\\nwhether true or false be the ideal for the defence or triumph\\nof which they are marching, popular throngs have a differ-\\nent aspect there is a sincerity in their enthusiasm which\\nis irresistible but as for this\\nStudy those countenances they are all deformed by a\\ngrimace, that is a return to the primitive animality. The\\nmasks are depressed, and the brows are crushed down\\nthe noses lengthen into trunks, hook into sharp beaks and\\nswell in sniffs of sensuality at the odour of the prey they\\nscent. The eyes flame with concupiscence the lips\\nwrithe spasmodically. All these faces resemble one an-\\nother, alas The crude light that falls from the glass ceil-\\ning gives them a uniformly wan tint scarred with hard\\nshadows.\\nThe Semetic type predominates the fine flower of the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0357.jp2"}, "358": {"fulltext": "276 PARIS\\nGhettos peoples the Bourse. They bring hither their\\nhereditary genius for traffic and their craft as experienced\\ndealers in second-hand goods; here they are quite in their\\nelement, bold and reflective, tenacious and rapacious. Why\\nshould we be surprised at it During the epochs of male-\\ndiction through which they passed, the love of gold was\\ntheir sole passion, a passion of redemption without which\\nthey would still be the unclean dogs of old.\\nAh What a sad spectacle is before us, these human\\ncrowds who, every day, in all the capitals of the universe\\nand every important centre of the globe, gather together to\\ncelebrate the sanguinary office of Mammon. Martyrs have\\ngiven their lives, philosophers have suffered insult and\\nspitting, spirits of genius devoted to justice and liberty have\\nvowed themselves to death, men have struggled their whole\\nlife long to ameliorate the condition of mankind and to\\nsnatch the world from barbarity, artists and poets have peo-\\npled the churches, the museums and the libraries with all\\ntheir dreams in order to give to the nations the taste for\\nBeauty, and all that leads up to this, to this battle of sav-\\nages around a pile of gold, around spoil torn from the\\nlabour of others. The ugliness and shame of it is too\\nmuch\\nIn the centre of the Bourse, connected with the office of\\nthe brokers, which leads into the Rue Notre-Dame des Vic-\\ntoires by a passage guarded by barriers and flanked as if by four\\nturrets by the groups the Comptant, the Rente, the Exter-\\nieure and the Valeurs a Turban, that is to say the Ottoman", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0358.jp2"}, "359": {"fulltext": "LA BOURSE 277\\nstocks, the Corbeille is enthroned. It is the holy of holies\\nit is a luminous hearth around which the crowd of brokers\\nwhirls incessantly. Without the iron bars that protect it,\\nthe pontiffs very lives would often be endangered, and it is\\nnot one of the least of their privileges to be sheltered from\\nthe contact and fury that sometimes reigns in the heat of\\nassault. The couUssiers^ remisiers^ commis d agents and\\nbankers themselves are not angels, and the heat of the\\nbattle sometimes so intoxicates them that with the senti-\\nment of distances they sometimes lose that of their own\\ndignity. The temple of Mammon on several occasions has\\nwitnessed scenes of pugilism that would have made the least\\nrespectable taverns of La Villette or Montrouge envious.\\nAnd what is there astonishing in that These people are\\nstruggling here for their skins and it is a matter of life and\\ndeath between them between raisers and depressers it is war\\nto the knife and one or other of them must be left on the\\nfloor. Whether they are bulls or bears the victory of one\\nmust entail the defeat of the other. The bulls have sharp\\nhorns the bears have claws and teeth. Antiquity had its\\ngladiators the combats of the Bourse are neither less ex-\\nciting nor less cruel they always end in the triumph of\\nForce.\\nIt is about the group of the Comptant that the agitation\\nis most intense. A stranger who penetrates into it is im-\\nmediately caught in the contrary currents, taken up, carried\\naway and torn to pieces at the end of a few moments\\nnothing remains of him but a mannikin with torn clothes,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0359.jp2"}, "360": {"fulltext": "278 PARIS\\na poor tatter, game for the hospital or the morgue. How-\\never, relative calm reigns between the columns and walls.\\nThere is a discrete twilight there, one may move about\\nthere, not without trouble certainly, but without running\\nthe risk of having one s sides driven in by two insistent\\nelbows. Around the seats groups form this has a some-\\nwhat familiar feeling or at least normal in contrast to the\\nfrenzy of the centre which, the more one watches it, be-\\nwilders the eyes and dizzies the mind. One is affected\\ngradually by the whirl, vertigo attacks one, and one remains\\nthere leaning against the balustrade in that state of semi-\\nconsciousness into which one is plunged by looking per-\\npendicularly down at the sea from the top of a cliff.\\nAt the end of the great hall is visible through the win-\\ndows that separate it from the hall itself the Cabinet des\\nAgents Sometimes, through the open door defended by\\nbarriers and keepers and through which one gains access to\\nthe Corbeille by the central alley, one gets a glimpse of in-\\ndividuals sunk in deep armchairs, or leaning their elbows\\non immense tables draped like catafalques. One thinks of\\nthe sacristy of a strange church, the aisles of a mysterious\\nworship. It is never bright thick curtains of a vague tint\\nhalf veil the windows.\\nIt also recalls the office for marriages of the suburban\\nmayors with its ridiculous and superannuated solemnity.\\nLike all the rest of the building, it smells of the ancient,\\nthe out of fashion, the rococo j there is a feeling of an-\\nachronism about it.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0360.jp2"}, "361": {"fulltext": "LA BOURSE 279\\nAlong the alley leading to the Corbeille, the seven offi-\\ncial Coteurs, employes appointed by the syndic chamber, are\\ninstalled one behind another at little desks. They record\\nthe incessant fluctuations of the stocks. One asks how they\\nmanage to do it in the midst of these vociferations and sur-\\nrounded by this group of the Comptant where the most\\nenergetic agitation of the market is concentrated.\\nAround the hall, against the walls, in the sort of passage\\nformed by the interior colonnade, elevated desks stand. In\\nthem are installed the titulaires noting the orders they are\\nlike a series of little offices, or minute agencies where the\\nhabitues gather.\\nThe place for bankers is in the kind of large entrance\\nvestibule lighted from the front and gained through the\\nconstantly revolving doors. Here circulation is almost\\neasy it is also light, and through the windows one can see\\nthe gesticulations of the Coulisse beneath the external\\ncolonnade, with a prospect of the square, the omnibus\\nbureau, the normal life of Paris and the animation which\\nabout three o clock is caused by the appearance of the first\\nevening papers.\\nHigh finance and coulissiers^ stockbrokers and rem-\\nisiersj all who live well or live by the Bourse, in the eyes\\nof the public appear to practice an exceptional profession\\nto exercise an enviable and mysterious rite. The jargon\\nthat they talk gives them a kind of brilliant superiority in\\nthe eyes of little people and of the poor devils who wander\\naround the grilles that enclose the temple in quest of the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0361.jp2"}, "362": {"fulltext": "28o PARIS\\nstump of a cigar fallen from the hand of a broker. Around\\na member of the Bourse shines a little of that radiance that\\nforms the aureole that encircles the brow of the physician.\\nHence arises the extreme docility of the ignorant public\\nseduced by the mirage of speculation. He places his gold\\nin the hands of the intermediary as one of the faithful\\nplaces his soul in the hands of the priest.\\nPeople have searched for a name that will characterize\\nthis agonized century. There is only one that would de-\\nfine it in its inmost soul and would sum up its tendencies,\\nits preoccupations, its efforts and its manners it is the\\nCentury of Money.\\nAmid the disorder of ideas, the anarchy of parties and the\\ntumult of modern life in its innumerable currents, there is\\nonly one rallying cry. Money and the masses of humanity\\nenthusiastically fraternize in the presence of the god of\\nmodern civilizations. The Bourse of Paris is one of the\\nmost incontestable and formidable of our forces. How sad\\nis the lot to have nothing left in the world but the force of\\nMoney for extending and conquering.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0362.jp2"}, "363": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0363.jp2"}, "364": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0364.jp2"}, "365": {"fulltext": "SAINT-GERMAIN UAUXERROIS\\nS. SOPHIA BE ALE\\nW ^HAT Saint-Germanus was a remarkable man there\\ni is no doubt as we owe the discovery of Saint-\\nGenevieve to his foresight for, when he saw her\\nat Nanterre, on his way to Britain, he was so impressed by\\nher piety that he consecrated her to the service of God.\\nThe church in Paris was probably founded in commemo-\\nration of some miracle performed by the bishop during his\\nsojourn in that city, perhaps by his namesake Saint-Ger-\\nmain of Paris, who held the memory of his brother of\\nAuxerre in great esteem and veneration. That its origin\\nwas very ancient is shown by the record of certain gifts\\nfrom King Childebert and Queen Ultrogothe. It was\\nprobably a round church in its early days, as in 866, when\\nit was pillaged and destroyed by the Normans, it was called\\nSaint-Germain-le-Rond, and it must have been in that edi-\\nfice that Saint Landry, bishop of Paris, was buried. For-\\nmerly a chapter composed of a dean, a precentor, thirteen\\ncanons, and eleven chaplains, served the church, and it\\nranked immediately after the Cathedral; but in 1744, its\\nchapter was merged into that of Notre-Dame, and it be-\\ncame a simple parish church.\\nSaint-Germain was rebuilt by King Robert, and again in\\nthe Twelfth Century, to which period the tower belongs.\\n281", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0365.jp2"}, "366": {"fulltext": "282 PARIS\\nThe principal door, the choir, and the apse are of the\\nThirteenth Century the porch, the greater part of the\\nfa^ade^ the nave and aisles, and the chapels of the chevet^\\nare of the Fifteenth and Sixteenth Centuries. The cloister\\nwhich surrounded the church has disappeared, as also the\\ndean s house which stood in the space between the church\\nand the Louvre. It was in traversing the cloisters of Saint-\\nGermain that Admiral Coligny was shot, and it was the\\ngreat bell of this church which gave the signal for the\\nmassacre of Saint-Bartholomew. Saint-Germain was the\\nparish church of the Louvre and the Tuileries, and some\\nof the royal children are baptized there and many a time\\nthe kings went there in great state to perform their paschal\\nduties.\\nThe portico projects in front of the three principal west\\ndoors, and is the work of Master Jean Gaussel. It was\\nconstructed in 1435, and is a mass of very beautiful carving.\\nSome of the corbels are examples of the grotesque imagery\\nof the period. The interior was decorated with fresco\\nsome years ago, but they are in a parlous, peeling con-\\ndition. Two of the statues are old, Saint-Francis of\\nAssissi, and Saint-Mary of Egypt holding the three little\\nloaves which nourished her in the desert. The central\\ndoorway is of the Thirteenth Century, the two side ones\\nare of the Fifteenth. The whole is decorated with statues\\nof various Saints amongst others, Saint-Germain, Saint-\\nVincent and Saint-Genevieve holding her candle, which a\\nhideous little demon is trying to extinguish. Round the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0366.jp2"}, "367": {"fulltext": "SAINT-GERMAIN L AUXERROIS 283\\nTympanum, the subject of which is the Last Judgment,\\nare the Wise and Foolish Virgins, the Apostles and the\\nMartyrs. The gargoyles are peculiarly grotesque a\\ngrinning savage is being ejected from the jaws of a\\nhippopotamus a man carries a hooded ape on his\\nshoulders and a showman is making a monkey dance. A\\ncorbel shows us a quantity of rats persecuted by a cat the\\nrats being the wicked who encumber the earth the cat, the\\ndemon who awaits their souls.\\nThe plan of the church is cruciform the entire length\\nis 240 feet, and the width at the transepts 120 feet. The\\ninterior is very plain, that is to say, what remains of the\\nold church after the embellishments of the renovating\\narchitects of 1745. These gentlemen fluted the pillars of\\nthe choir, and converted the mouldings of the capitals into\\ngarlands and flowery festoons, giving the whole a grandly\\nclassic appearance. Happily they left the arches pointed,\\ninstead of filling them in with round-headed ones as at\\nSaint-Severin and, likewise, we may be thankful that the\\nnave was not improved, and that the bosses and the\\nornament of the Lady Chapel were allowed to remain in\\ntheir primitive beauty.\\nIn 1744 the choir was enclosed by a magnificent screen,\\nthe combined work of Pierre Lescot and Jean Goujon but\\nthe cure and churchwardens, upon the suppression of the\\nchapter, lost no time in destroying this work of art, in\\norder to open up the east end of the church to the congre-\\ngation not the only case of its kind.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0367.jp2"}, "368": {"fulltext": "284 PARIS\\nHad the modern improvers of the church only pulled\\nthis down they might have been forgiven, but they did not\\nrest until they had appointed an architect named Bacarit to\\npurify the church of its barbarie Gothique. Un-\\nfortunately for the reputation of the academicians of 1745,\\nthe project submitted to, and approved by them, appears to\\nus, so far as it was carried out, to be a decided barbarie\\nClassique and even in the beginning of this century, when\\nthe empire had introduced a sort of pseudo-Classic style,\\nand made it fashionable, people of taste were no less severe\\nupon the redressing of the old pillars and capitals in Greek\\ngarments.\\nThe chapels of the chevet have niches in the wall sur-\\nmounted by round-headed arches, and containing statues.\\nThere are in all thirteen chapels, but four of them have\\nbeen converted into a sacristy and the north door, the\\nexterior of which is a good specimen of Renaissance\\nwork.\\nThe Abbe Lebeuf attributed some of the glass of the choir\\nto the commencement of the Fourteenth Century, but not\\na vestige of this remains there is nothing earlier than the\\ntwo following centuries. Here also the good gentlemen of\\nthe Eighteenth Century improved much the church\\nwas dark and gloomy, and so, forsooth, the stained glass of\\nthe nave was taken out, and the colour, and the golden\\nfieurs-de-lis of the vaults and columns were scraped off or\\nwashed over. Thus was lost the history of Saint-Germain\\nwhich formed the subject of the windows. But happily the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0368.jp2"}, "369": {"fulltext": "SAINT-GERMAIN L AUXERROIS 285\\nrose-windows of the two transepts, four lights in the south\\naisle and two on the north aisle, still remain but these\\nbeing only of the Sixteenth Century, are consequently not\\nin the best taste. Some have Gothic and some Renaissance\\nsurroundings, but the colour is, if rather bright, clear and\\nrich. Unfortunately, time has obliterated many of the\\nheads and hands but enough remains to make out the sub-\\njects. In the north rose the Eternal Father, in Papal tiara,\\nis surrounded by Angels, Cherubim, Martyrs, and Con-\\nfessors amongst whom may be recognized Saints Cath-\\nerine, Vincent, Margaret, Agnes, Martha, Germain, and\\nKing Louis. Above and below are the four Fathers of the\\nLatin church. In the north transept the subjects are taken\\nfrom the Passion, The Acts of our Lord, Scenes in the life\\nof the Patriarch Abraham, a gentleman donor accompanied\\nby his sons, and a lady followed by her daughters, a Saint-\\nPeter, and Saint-Anne instructing her daughter, and patron-\\nizing another donor. In the southern rose, the Holy Spirit\\ndescends from Heaven in the form of a dove 5 the Blessed\\nVirgin and the Apostles receiving light from above, with\\nenthusiastic expressions upon their visages. In the southern\\ntransept The Incredulity of Saint Thomas The Ascen-\\nsion The Death of the Virgin and The Assumption,\\nAbove, the Coronation of the Virgin and a well, recalling\\nthe attribute Well of living water given to her by the\\nFathers. There are a great many modern windows, but\\nexcept those in imitation of the glass in the Saint-Chapelle,\\nby MM. Lassus and Didron, they are of little artistic", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0369.jp2"}, "370": {"fulltext": "286 PARIS\\nvalue. M. Lassus was the architect who superintended all\\nthe later restorations and decorations.\\nThe chapel of the Blessed Virgin is a little church in\\nitself, with stalls, organ, pulpit, screen and altar, all richly\\ndecorated. The reredos is the tree of Jesse which sur-\\nrounds the Virgin with its branches. This is in stone, of\\nthe Fourteenth Century, and comes from a church in\\nChampagne. Some restorations in 1838 brought to light a\\ncurious Sixteenth Century wall painting, representing a\\ncemetery with the graves giving up their dead to the sound\\nof the angels trumpets. Three statues were also found of\\nthe same date as the chapel, and serve as the retable of the\\naltar they represent the Blessed Virgin sitting, and Saint-\\nGermain and Saint-Vincent (who are united in all the\\ndecorations of this church), standing on each side of her.\\nThe hanc-d^ eeuvre was executed in 1646 by Mercier, from\\ndrawings by Lebrun. It is handsome in its way, and\\nexcellently carved, but utterly out of keeping with the rest\\nof the church. It is composed of Ionic columns supporting\\na huge baldachino and probably looked its best when it was\\nfilled with royal personages on high festivals and state\\noccasions. Another exquisite example of wood carving\\nmay be seen in the chapel of Notre-Dame de Compassion,\\nforming the retable. It belongs to the latest Gothic period,\\nand is covered with a multitude of figures, representing the\\nGenealogy and History of the Virgin and the Life and Death\\nof Christ. This came from a Belgian church. The organ,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0370.jp2"}, "371": {"fulltext": "SAINT-GERMAIN L AUXERROIS 287\\npulpit, and stall are part of the old furniture, but are not\\nremarkable in any way.\\nSaint-Germain was formerly a museum of tombs of the\\nSixteenth and Seventeenth Centuries but the only remain-\\ning ones are the recumbent figures by Laurent Magnier, of\\nEtienne d Aligre, and his sons, both chancellors of France,\\nwho died respectively in 1635 and 1677; two statues and\\nseveral marble busts which belonged to the mausoleums of\\nthe house of Rostaing, formerly situated in Saint-Germain,\\nand in a chapel of the monastery of the Feuillants and an\\nepitaph of a lady of Mortemart, Duchess of Lesdiguieres,\\nwho died in 1740. Under the church is a crypt full of\\nbones, symmetrically arranged as in the catacombs it was\\nexcavated in 1746-7 as a burial-place for the parishioners.\\nAmongst the tombs of a crowd of courtiers and states-\\nmen were those of Malherbe, the poet Andre Dacier, the\\nsavant; the painters Coypel, Houasse, Stella, and Santerre\\nthe sculptors Sarazin, Desjardins, and Coyzevox; the med-\\nallist Warin the goldsmith Balin the engraver Israel\\nSylvestre the architects Louis Levau and Francois Dorbay\\nthe geographer Sanson and the Comte de Caylus, the dis-\\ntinguished antiquary j but they have all disappeared. The\\ngrandest tomb was that erected by Charles V. to his jester.\\nBut even in the time of Sauval this curious work of art was\\nno more.\\nA few fragments of former monuments have found a\\nquiet resting-place in the Louvre, in the Renaissance\\nMuseum. Calvin lived near Saint-Germain j and at the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0371.jp2"}, "372": {"fulltext": "288 PARIS\\ndean s house, between the Louvre and the church, a celeb-\\nrity of another kind died suddenly on Easter-Eve, 1599\\n/tf belle Gahrielle d Esirees. The Marecha Id Ancre\\n(Concini) was also buried at Saint-Germain after his assas-\\nsination but the body was torn from the grave the next\\nJay by an infuriated mob, who drew it through the street\\non hurdles, then hung it, and finally burnt it.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0372.jp2"}, "373": {"fulltext": "THE CAFi:\\nTHEODORE DE BANFILLE\\nIMAGINE a spot where you do not suffer the horror\\nof being alone, and where, nevertheless, you are as\\nfree as if in solitude. There, disembarrassed of the\\ndust, the weariness, and the vulgarities of housekeeping,\\nyou dream at your ease, comfortably seated before a table\\nnot incumbered by all that forcibly oppresses you in your\\nhouses for if any useless objects or papers became piled\\nup there, you would have soon taken care to have them\\nremoved. You smoke slowly and tranquilly like a Turk,\\nfollowing your ideas through the blue spirals.\\nIf it is your pleasure to enjoy some warm or refreshing\\nbeverage, well-appointed servants bring it to you immedi-\\nately. If it pleases you to converse with men of intelli-\\ngence who will not tyrannize over you, you have at hand\\nlight leaves, upon which are printed winged and rapid\\nthoughts, written for you and which you will not be forced\\nto have bound for preservation in a library when they have\\nceased to please you. This spot, the paradise of civiliza-\\ntion, the last and inviolable refuge of the free man, is the\\nCafe.\\nIt is the Cafe, but an ideal one, such as we dream of and\\nsuch as it should be. The lack of space and the fabulous\\nprice of land on the boulevards of Paris in reality make it\\n289", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0373.jp2"}, "374": {"fulltext": "290 PARIS\\nhideous. In these little boxes, the rent of which equals\\nthat of a palace, a man would be foolish to hunt for a\\ncloak-room. Therefore the walls are decorated with stove-\\npipe hats and with overcoats hung on hooks, an abominable\\neffect which they try to counterbalance by lavish use of\\nwhite panels and ignoble gilding, imitated by economic\\nprocesses.\\nMoreover, do not let us deceive ourselves, the overcoat\\nwhich we never know what to do with, and which is\\nalways a source of anxiety to us, in the world, at the\\ntheatre, and at fetes, constitutes the great burden and the\\nabominable slavery of modern life. Happy for the nobles\\nof the time of Louis XIV., who dressed themselves in the\\nmorning for the whole day, the brow protected by a wig,\\nclothed in satin and velvet which, even when beaten by\\nthe storm, remains superb and who, moreover, as brave as\\nlions, risked inflammation of the lungs, when they put on\\none above the other the innumerable vests of Jodelet, in\\nLes Precieuses ridicules\\nHow shall I find my overcoat and my wife s wrap is the\\ngreat and universal cry, the monologue of Hamlet and of\\nthe modern man, which poisons every moment of his life\\nand makes the thought of death supportable to him. On\\nthe morning of a fete given by Marshal MacMahon, noth-\\ning could be found, the overcoats had evaporated, the\\nmantles of satin and swan s-down, and the lace fichus had\\nvanished in smoke, and, under the snow which was falling\\nin thick flakes, the women had to flee wildly, bare-shoul-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0374.jp2"}, "375": {"fulltext": "THE CAFE 291\\ndered, while their husbands tried to button up their black\\ndress-coats which would not button.\\nOne evening at a fete given by the President of the\\nChambre des Deputes, when the gardens were illuminated\\nwith the electric lights, Gambetta suddenly wanted to show\\nsome of his guests some curiosity or other. He invited\\nthem to descend with him into the groves. A valet has-\\ntened and quickly brought him an overcoat but the guests\\ndid not dare to ask for theirs and followed Gambetta into\\nthe gardens in evening-dress I think, however, that one\\nor two of them survived.\\nAt the Cafe no one takes the overcoats, no one conceals\\nthem; but they are hung up and displayed on the walls like\\npictures by great masters they are treated like the portraits\\nof La Joconde or Violante, and you have this before your\\neyes, you incessantly see it. Have you not some cause to\\ncurse the moment when your eyes saw the light for the first\\ntime As I have said, one can read the papers that is to\\nsay one might read them if they were not fixed in those\\nabominable frames that set them a mile away from you and\\nforce you to see them on the horizon.\\nAs for the beverages, abandon all hope for the master\\nof the Cafe lacks room to prepare them, and he pays too\\nenormous a rent not to be forced to make up by the\\nquality of what he sells. But even if this reason did not\\nexist, people drink too many things there for them to be\\ngood, and what one finds least of all in the Cafe is coffee\\nIt is delicious and divine in the little oriental shops where", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0375.jp2"}, "376": {"fulltext": "292 PARIS\\nit is made specially for each customer at the moment in a\\nlittle special coffee-pot. As for syrups, how should there\\nbe any in Paris, and in what chimerical spot should one\\nrange the jars containing the fruit-juices necessary for their\\nmanufacture? A few real ladies, rich, well-born, and good\\nmanagers, who have not been reduced to slavery by the big\\nshops, and who put neither rouge nor cosmetic on their\\ncheeks, still know at home in the country how to make\\ngood syrups with the fruits from their gardens and orchards.\\nThey neither give nor sell them to the cafes, naturally, and\\nkeep them for the enjoyment of their little golden-haired\\nchildren.\\nSuch as it is, with all its faults and vices, and even a full\\ncentury after the celebrity of Procope, the Cafe, the\\nmemories of which we cannot suppress, has been the asylum\\nand refuge of many charming spirits. The old Tabourey,\\nwhich, after having been illustrious, has now become semi-\\npopular, with a pewter counter, formerly heard the de-\\nlightful conversations between Barbey d Aurevilly, for\\nwhose presence the noblest salons disputed; and who\\nsometimes preferred to converse seated at the marble table\\nin a room whence could be seen the foliage and flower-beds\\nof the Luxembourg. Baudelaire also talked there, with his\\nclear and caressing voice, letting fall diamonds and pearls\\nfrom his beautiful red, though somewhat thick, lips like the\\nprincess in the fairy tale.\\nLong ago, in the Rue de I Ancienne-Comedie, the Cafe\\nDagnaux belonged to an original person who valued the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0376.jp2"}, "377": {"fulltext": "THE CAFE 293\\njoys of the mind above everything. It was in the mytho-\\nlogical and vanished period of Bohemia. This disinter-\\nested proprietor gave up an enormous room to amiable\\nyoung people w^ho did not ovi^n a sou^ and w^ho, therefore,\\ndid not spend anything, but vv^ho, w^ith inexhaustible spright-\\nliness, exchanged joyous speeches. Among them w^ere\\nMiirger, Wallon, Pierre Dupont vi^ith his fair Apollo locks,\\nand others, besides, and, almost always, two or three pretty\\ngirls who, unlike Chrysale, cared less about good soup than\\nabout fine language and found themselves to their wishes.\\nWhile the prodigious protechnics, the dazzling images and\\nthe conflagration of words and phrases were burning, some-\\ntimes the master of the Cafe timidly stole to the door of\\nthe room without making any noise and greedily listened.\\nOh, age of Astraea that was his way of collecting payment.\\nAt the old Cafe of the Theatre-Fran^ais, before its trans-\\nformation, already ancient, like a white and gold bonbonniere^\\nthe habitues might admire the great critic Gustave Planche\\nwriting, on a green board used by the card-players, his\\nmurderous articles, whose victims are still in good health,\\nor have died of something else. Inspired or furious, he\\nwas superb, with his noble head of a Roman emperor and\\nhis beautiful smile, but he was always uncombed and\\nthrough his gaping shirt his black hairy breast could be\\nseen. For Planche made the weak troop of mortals trem-\\nble, but he never had studs in his shirt except when the\\ngreat Buloz imperiously ordered him to put on clean things\\nto dine with foreign diplomats.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0377.jp2"}, "378": {"fulltext": "294 PARIS\\nOn the contrary, it was in the fine dress of an elegant\\npoet that Louis Bouilhet, with his moustache and his long\\nhair of a Gallic chieftain, wrote his dramas in verse in a\\nlittle Cafe in the Rue Taranne. As he was handsome,\\nwith strength, boldness, and kindness whilst writing his\\nproud Alexandrienes, the mistress of the Cafe spent her\\ntime in watching him with respectful curiosity. The wait-\\ners, who also admired him, conquered and stupefied, com-\\npletely forgot or rather disdained to serve the other people.\\nSo much so, that the disappointed customers did not come\\nagain and abandoned the quiet little Cafe to Louis Bouilhet\\nand his glorious copy. Alas They had every chance to\\nreturn and resume their old places, for the Norman poet\\ndied too young, when he still might have written so many\\nbeautiful odes and comedies.\\nA problem that has no possible solution holds the Parisian\\nartists and writers in check. When one has energetically\\nworked and hewn all through the day, during the little\\nstroll before dinner it is good to sit down for an instant and\\nfind one s friends and talk with them about everything but\\npolitics. The only place favourable for these improvised\\nand necessary gatherings is the Cafe; but is the game\\nworth the candle, or, more exactly speaking, the shaded gas-\\nlights For the pleasure of exchanging a few words must\\none submit to the criminal absinthes, the unnatural bitters,\\nthe tragic vermouths mixed in the sombre laboratories of\\nthe Cafes by frightful Locustas\\nAurolien Scholl, who, as a delicate poet and an excellent", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0378.jp2"}, "379": {"fulltext": "THE CAFE 295\\nwriter, is naturally a practical man, had a genial idea. He\\ndesired a continuation of the gatherings in the Cafes at the\\nabsinthe hour, but without the absinthe. A very honest\\nman, who was to have been chosen expressly for the pur-\\npose would have poured out for the loungers some very\\nfine Bordeaux wine with quinquina, which would have the\\ndouble advantage, first of not poisoning them, and, secondly,\\nof offering them a wholesome and comforting beverage.\\nBut this seductive dream has not been realized for cer-\\ntainly honest men exist in large numbers among the Cafe-\\nowners as in other industries but the honest man has not\\nbeen found particularly one who would procure quinquina\\nwine in which there was both wine and quinquina.\\nAt the Palais-Royal there was a Cafe that had preserved\\nits decorations of the empire and its oil-lights. There\\none found real wine, real coffee, real milk, and good beef-\\nsteak. There used to lunch Roqueplan, Arsene Houssaye,\\nMichel Levy, and a handsome Fiorentino, who knew how\\nto make and serve him morilles. The master of the Cafe\\nsaid that on the day when he could no longer live by sell-\\ning genuine things, he would not lose his money but he\\nwould sell his furniture and shut up shop. He did it as he\\nsaid he would. He was a hero.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0379.jp2"}, "380": {"fulltext": "THE LOUVRE\\nCHJRLES DICKENS, JR.\\nTHE word Louvrt\\\\ according to one definition, comes\\nfrom an old Saxon word Louvear^ which signified\\na castle or it has been derived from Loupara\\n(louverie)^ from lupus^ because wolves were common in the\\nwoods where the palace now stands. Dagobert, king of the\\nFranks in the first half of the Seventh Century, used to\\nlodge here his hunting-dogs, his horses, and his huntsmen.\\nThe place, such as it was, long continued as a hunting-seat\\nnear to Paris on the banks of the Seine. About 1204,\\nPhilip Augustus built a fortress here, which served partly as\\npalace and partly as prison. Probably before that time there\\nhad been a residential castle of some kind. Charles V.,\\nabout 1370, improved the Louvre; and extended the forti-\\nfications encircling Paris so as to make the palace come\\nwithin the walls. It was there he lived when in Paris, and\\nthere also he placed his library of nine hundred and ten\\nvolumes. In 1528 Francois I. caused the whole castle to\\nbe pulled down, and ordered Pierre Lescot to build a palace\\nsuitable for a king of France. By slow degrees the build-\\ning progressed under different kings. After the death of\\nHenri II., his widow, Catherine de Medici, in 1564, began\\nLe Palais des Tuileries. Catherine also extended the walls\\nof the Louvre on the south side. Henri IV. added to the\\n296", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0380.jp2"}, "381": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0381.jp2"}, "382": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0382.jp2"}, "383": {"fulltext": "THE LOUVRE 297\\nTuileries, and he conceived the idea of joining the Tuileries\\nand the Louvre together, so as to form one whole palace,\\nbut his project was not realized until very many years after-\\nward. Louis XIIL also added to the Louvre, and so did\\nLouis XIV. The most remarkable part of the work that\\nwas added under the reign of Louis XIV. is the great col-\\nonnade facing the east, in front of the Eglise Saint-Germain\\nI Auxerrois between the Seine and the Rue de Rivoli, and\\nstanding at right angles with them both. This was designed\\nby Claude Perrault. In the reign of Louis XIV. was also\\nconstructed the greater part of the north and the south sides\\nof the Cour du Louvre that is, the sides facing the Rue\\nde Rivoli on the north and the Seine on the south. In the\\nEighteenth Century little progress was made; but in 1805\\nNapoleon restored and completed the great courtyard, and\\nto him are due nearly all the interior constructions for\\nuntil then, except in one corner of the building, the palace\\ncontained little but the outside walls. Napoleon s work\\nwent on until 18 14, and from that time until Napoleon III.\\nbecame emperor of France no important fresh additions or\\nimprovements were made. In 1852 the work was again\\nbegun, and proceeded very rapidly. To Napoleon III.\\nmust be given the honour of joining together the Louvre\\nwith the Tuileries. Over the Pavilion Sully, on the side\\nfacing the Place du Carrousel, there is a marble slab upon\\nwhich is written\\n1541. Francois I. began the Louvre.\\n1564. Catherine de Medici began the Tuileries.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0383.jp2"}, "384": {"fulltext": "298 PARIS\\n1852-57. Napoleon III. joined together the Tuileries\\nand the Louvre.\\nWe may with tolerable accuracy draw a line between the\\ntwo palaces, and say that the buildings on the east side of\\nthe gateways, through which the omnibuses and carriages\\npass on the north and on the south sides of the Place du\\nCarrousel, belong to the Louvre, and on the west side of\\nthese gateways to the Tuileries. We sometimes see in\\nbooks the expression Le vieux Louvre, or The old\\nLouvre by this is meant the square courtyard now called\\nLa Cour du Louvre. It was in the southwest corner of this\\nsquare that stood the old tower or prison built by Philip\\nAugustus, and restored by Charles V. In speaking of the\\nPlace du Carrousel it is said that as late as 1830 buildings\\nwere still standing upon the site of the present large Place.\\nAnd we may argue that the design of Henri IV. to unite\\nthe Louvre with the Tuileries was considered as affecting\\nonly the south side, or the side near to the river; for be-\\ntween the two palaces, in the year 1604, was constructed\\nthe large house known as the Hotel de Rambouillet, from\\nwhich was taken the name of that celebrated coterie of\\nfriends who used to meet there more or less frequently in\\nthe room that was always known as le salon bleu. The\\nhouse is always spoken of as being in the Rue Saint-Thomas\\ndu Louvre, a street that ran from north to south across\\nwhich we now call the Place du Carrousel. To join to-\\ngether on both sides the Louvre with the Tuileries, leaving\\na large open space between them, such as we now see, was", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0384.jp2"}, "385": {"fulltext": "THE LOUVRE 299\\nprobably not then considered for a moment for besides the\\nHotel de Rambouillet there was more than one other large\\nprivate house that from its position would have interfered\\nwith such a scheme, and there was also the old hospital,\\nLes Quinze Vingts, that stood directly between the two\\nroyal palaces.\\nHaving very briefly sketched the history of the building\\nitself, let us resume shortly some of the treasures to be\\nfound in the palace. It was Francois I. who first began to\\ncollect those works of art that we now see in the Louvre.\\nThey had for many years before been kept at Fontaine-\\nbleau. Until Colbert became Louis XIV. s minister in\\n166 1 little was added. Colbert appointed Lebrun director\\nof the Louvre, and until the close of the Seventeenth\\nCentury pictures were bought, though many of them were\\nintended to decorate the royal apartments at Versailles. At\\ndifferent times in the Eighteenth Century purchases were\\nmade, and in 1791 the Constituent Assembly ordered that\\nthe Louvre should be the general depot of all the master-\\npieces of science and art. In 1793 the collection received\\nthe name Musee National, and afterwards Musee Fran-\\n^ais. There were then five hundred and thirty-seven\\npictures. The greater number of pictures now in the\\ngalleries have therefore been acquired since the commence-\\nment of the present century. Napoleon I. added many.\\nThere was a large civil list allowed for the purchase of\\npictures, and when Napoleon III. came to the throne he\\nplaced the museum under the direction of a minister of state.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0385.jp2"}, "386": {"fulltext": "PLACE DU CARROUSEL\\nMARQUIS DE MONTEREAU\\nTHE Place du Carrousel is the link between the\\nLouvre and the Tuileries, the absolute monarchy\\nand the constitutional government. Across this\\nsquare the whole of Europe has passed, we may read in\\nletters of blood the entire political history of France since\\nLouis XIV. And what a history, great heaven Interro-\\ngate the guests of the Tuileries ask the oldest inhabitants\\nof the palace there is not one who would not tremblingly\\nrepeat this couplet of our illustrious Bcranger\\nFoiii des mkcoutents\\nComvie balayeuu on me loge,\\nDepuis quarante atis,\\nDans U ch teau pris de rhorloge.\\nOr, vies etifants, sachez\\nQue Id pour tnes ptchis,\\nDu coin d oit le soir je ne bouge,\\nJai vu le petit homme rouge.\\nThe little red man is the sole historiographer of the\\nPlace du Carrousel, as Chodruc-Duclos is the true chron-\\nicler of the Palais-Royale.\\nVous figurez-vous\\nCe diable habilU d icarlate,\\nBossu, louclie et roux\\nUn serpent lui sert de cravate\\nII a le nez crochu\\nII a le pied four chu\\nSu voix rauqtie en chantant prksage\\nAu chateau graird remu -niinage,\\n300", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0386.jp2"}, "387": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0387.jp2"}, "388": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0388.jp2"}, "389": {"fulltext": "PLACE DU CARROUSEL 301\\nDoes not this allegorical demon affect you like an evil\\nprognostication? He is the evil augur of political my-\\nthology, and so we find him appearing for the first time at\\nthe majority of Louis XIV., under the trees in Mile, de\\nMontpensier s garden j he was the genius of revolution\\nwho breathed the spirit of rebellion into that ardent and\\npassionate soul. The apparition of the little red man\\nalways preceded some great catastrophe this time he an-\\nnounced the Fronde, and the stone blocks of the day of\\nthe Barricades soon served to pave the Place du Carrousel.\\nUntil that time, this vast and waste space, situated be-\\ntween the Louvre and the Tuileries, had been a mere miry\\ndesert full of sewers and sloughs you might go there but\\ncould not be sure of returning. When Mile, de Mont-\\npensier came into the world, if we may believe a con-\\ntemporary poet, this swamp suddenly changed into a bed\\nof flowers in that happy century of gallantry and fine\\nlanguage, madrigals flourished in the open field; may\\nnot Mademoiselle s garden have seen some of them spring\\nto life? However that may be, until 1655 beautiful trees,\\ngreen sward and rare flowers usurped the place of paving-\\nstones nothing but the omnipotent will of the great king\\nwas needed to substitute nature for nothingness. It is\\ntrue that that king had adopted the sun as an emblem, and\\nwhat could gardens do against the sun s will Besides,\\ndid not Louis XIV. select this place as the theatre of one\\nof those splendid fetes that inaugurated his reign, the name\\nof which served as a baptism for the Place du Carrousel?", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0389.jp2"}, "390": {"fulltext": "302 PARIS\\nIn that pir^ the king himself appeared costumed as Cjesar,\\nalthough wearing an enormous wig, to play a part in\\npublic he led the Quadrille of the Romans. Monsieur\\ncommanded the Persians, M. le prince the Turks, M. le\\ndue the Muscovites, and M. de Guise, the Moors. The\\nwhole court took part in this royal entertainment which only\\ncost a trifling twelve hundred thousand livres.\\nWhile the court thus amused itself at the people s ex-\\npense, the people in return sang songs about the court and\\npitilessly railed at the display of bad taste of which it had\\ngiven proof on this occasion pamphlets, satires and epigrams\\nrained from all directions upon the unlucky actors; nothing\\nwas spared, not even the place that had served as their stage.\\nThe revolution of 89 is only one chapter in the history\\nof the Carrousel, the most sanguinary perhaps, but not the\\nmost curious. The last act of the great political comedy\\nof the 1 8th hruma ire was the installation of Bonaparte at\\nthe Tuileries. This was one step taken toward royalty\\nthe first and greatest of all. From the Luxembourg to\\nthe Tuileries, there was an abyss Bonaparte crossed it by\\nmaking a bridge of his two colleagues, Cambaceres and\\nLebrun. By the aid of an ingenious fraud, he changed\\nthe name of the old palace of the kings the Tuileries\\nwere called the government. Two architects, MM.\\nPeyre and Fontaine, were charged with the decoration and\\nembellishment under the pretext of cleaning all the an-\\narchical emblems, all the seditious sentences and all the\\nrevolutionary devices that had covered the walls and vaults", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0390.jp2"}, "391": {"fulltext": "PLACE DU CARROUSEL 303\\nwere effaced. Liberty was whitewashed just as the fleurs-\\nde-lis had been erased the sponge was passed over all the\\nmemories of another age and the First Consul entered\\nLouis XIV. s palace like a son into his ancestral abode.\\nThat was a day of festival for the Place du Carrousel\\nBonaparte, who remembered the Tenth of August, had\\ncaused the castle to be isolated the Square was cleared of\\nthe houses that surrounded it, everything was ready France\\nawaited a master. Suddenly a formidable noise is heard,\\ndrums beat, people clap their hands, a thousand shouts and\\nacclamations rise into the, air; the cannon roars. Napoleon\\narrives in an open carriage drawn by six white horses and\\nsurrounded by a brilliant staff. On the Carrousel the car-\\nriage stops, the First Consul alights, springs on horseback,\\nand, before the eyes of a whole nation intoxicated, inaugu-\\nrates that little hat that became so popular. The tattered\\nflags of the 96th, 43d and 30th regiments defile before\\ntheir young leader. Bonaparte uncovers his brow and\\nbows, the army trembles and the populace applauds. At\\nthis moment the conqueror of Egypt is as great as the pyra-\\nmids from whose tops forty centuries have watched his ex-\\nploits at this moment everything effaces itself before him\\nhe has already set his foot upon the first step of the throne,\\nhe has taken possession of Louis XVI. s room and Louis\\nXIV. s cabinet Josephine is already installed in the queen s\\napartment and in another hour the new sovereign will re-\\nceive the homage of the diplomatic body with that ease and\\ngrace that are woman s true royalty.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0391.jp2"}, "392": {"fulltext": "304 PARIS\\nThe year that opened thus passed like a fairy dream\\namid the triumphs of our arms every cannon-shot heard\\nin Europe had a glorious echo in the Place du Carrousel.\\nThe explosion of the Rue Saint-Nicaise only resulted in\\nhastening the accomplishment of Caesar s dearest wish he\\nwent out a consul and returned an emperor. After that\\nit was only a question of form. Pius VII. could not refuse\\nthe crown to one who had given him the tiara, and Paris\\nattended that imposing and solemn spectacle of a little\\nsoldier of fortune so aggrandized by his own genius that the\\nPope could place the crown upon his brow without lower-\\ning himself.\\nThe Pope s stay, the emperor s divorce, the Arch-\\nduchess Marie s marriage, and the king of Rome s birth,\\nall belong to the history of the Carrousel but are only un-\\nimportant episodes in the frame of our picture.\\nOn March 31, 1814, the Empire was no longer, the Res-\\ntoration began. Since 93 not the slightest mirth-provok-\\ning word had been heard at the Tuileries, so that the Res-\\ntoration was joyfully received brought about by M. de\\nTalleyrand, it could not be other than a restoration of wit,\\nthough an ephemeral one, lasting only as long as an epi-\\ngram. Louis XVIII. only had time to sleep in Napoleon s\\nsheets. So when Napoleon arrived he found his bed\\nmade j which explains the ease with which he gained pos-\\nsession of it. The rocket of the Hundred Days took its\\nflight, blazed and then went out, and on July 8, 18 15,\\nLouis XVIII. resumed possession of that bed so often dis-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0392.jp2"}, "393": {"fulltext": "PLACE DU CARROUSEL 305\\nputed. Everything leads us to believe that this time he\\ntook care to have the sheets changed.\\nThen, for the first time, Cossacks were seen bivouacing and\\nhostile guns drawn up on the Place du Carrousel. During\\nthis time, the populace was attacked with vertigo, delirium\\nseized every brain all who approached the Carrousel and\\nthe Tuileries seemed immediately to lose their reason the\\ngreatest ladies danced the farandole beneath the windows of\\nthe castle, mingling with the mob; the men were without\\ncourage and the women without shame. It was infamy be-\\ncome epidemic.\\nNow we reach a difficult epoch, wherein the history of\\nthe Carrousel is so bound up with the history of the Restor-\\nation that a volume would be required merely to graze the\\nfacts we meet with.\\nCharles X. mounted the throne and, before the Place du\\nCarrousel had noticed his presence, he had descended.\\nWe will finish with two events that alone made a great\\nnoise in the square. The first, in order of time, be it un-\\nderstood, was the death of M. de Talleyrand. The second\\nwas much more serious and sad we refer to the Due\\nd Orleans. On learning of the death of Armand Carrel,\\nthat enlightened chief of the liberal party, it is said that the\\nDue d Orleans uttered this noble expression of noble re-\\ngret It is a misfortune for the whole world. Well, on\\nthe death of the prince, it was found that all the world was\\nof the same opinion.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0393.jp2"}, "394": {"fulltext": "THE PALAIS-ROYALE\\nH. MONIN\\nTHE Palais-Royale covers a space 405 metres long\\nby 123 wide between the Rue Saint-Honore, the\\nPlace du Palais-Royale and that of the Theatre-\\nFVan^ais, the Rue de Montpensier, the Rue de Bcaujolais and\\nthe Rue de Valois. The palace, properly so called, faces\\nthe Place du Palais-Royale which has been more than\\ndoubled by the cutting through of the Rue de Rivoli. It\\ncomprises a ground-floor and a story with mansards. A\\nportico of six arcades, with grilles, entablature, and balustrades\\nunites the pavilions. The ground-floor of the principal\\nbody is of the Doric Order, and the first story of the Ionic\\neach of the pavilions has four Ionic columns with triangular\\npediments. The middle part contains the gate of honour\\n(a triple doorway with eight Doric coupled columns) then\\nthree arcades open into the vestibule of the palace, composed\\nof a central pavilion adorned with six Ionic coupled col-\\numns, surmounted with a pilastered attic story with semi-\\ncircular pediment. All this part of the palace faces the\\nsouth. On the north, in an interior court, it presents a\\nfacade comprising a ground-floor in arcades and a first story\\ndistributed among ten composite columns. The two sides\\non the east and west extend in lateral buildings on porticos\\nthat join the Orleans gallery which is partly glazed and\\n306", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0394.jp2"}, "395": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0395.jp2"}, "396": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0396.jp2"}, "397": {"fulltext": "THE PALAIS-ROYALE 307\\npartly surmounted by terraces at the height of the first story\\nof the palace. This gallery marks the beginning of the\\npalais marchand^ that is to say those buildings devoted to\\ntrade, surrounding a garden 250 metres long by 95 wide\\n(207 arcades or porticos). The garden is planted with\\ntrees in alleys and ornamented with flower-beds and a\\ncentral basin and fountain.\\nThe first buildings, in place of the Hotel de Mercceur\\nand Hotel de Rambouillet, were ordered by Cardinal Richelieu\\nfrom the architect Lemercier (1629-36) they were called\\nthe Palais-Cardinal, and Corneille declared in Le Menteur^\\nthat the whole universe could not show anything to equal\\nthe superb exterior of the Palais-Cardinal. Louis XHI.\\ninherited it as a legacy from his minister and it became in\\nreality Palais-Royale by its selection as the habitual residence\\nof the regent Anne of Austria, mother of Louis XIV. For\\nsome time also it sheltered the widow of Charles L of Eng-\\nland, Henrietta Maria of France. In 1661, Louis XIV.\\ngave it as a residence to his brother, the Duke of Orleans,\\nwho enlarged and decorated it and entered into possession\\nin 1692 (letters patent February), and in 1701 left it to his\\nson, who, on becoming regent in the name of Louis XV.,\\nfurther embellished it and added a celebrated gallery of\\npictures. This gallery, expurgated, it is said, by Louis, the\\nson of the regent (1723-52), assumed the proportions of\\na real museum under Louis-Philippe. But in 1763 the\\nOpera was burnt and, as it then adjoined the palace, the\\nlatter was also partly consumed. The three parts of the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0397.jp2"}, "398": {"fulltext": "3o8 PARIS\\npresent building, due to P. L. Moreau, date from that time.\\nIn 1780, Louis-Philippe Joseph, then Duke de Chartres, had\\nthe trade-palace built by Louis; it was completed in 1784.\\nA second burning of the Opera (1781) gave occasion to the\\nbuilding (1786) of the Theatre des Varictcs atnusantes^ now\\nthe Comedie Franfalse. In 1790, the Duke of Orleans had\\nalready let one hundred and sixty of the one hundred and\\neighty arcades that then surrounded the garden, which had\\nbrought him in more than ten millions. Not all of the\\nchanges of that period were happy. Richelieu s superb\\nchestnut-trees disappeared a circus, partly underground\\n(1786-99), was constructed in the centre. The arcades,\\nthe garden, and especially the wooden gallery became the\\nordinary meeting-place of libertines, loose women, gam-\\nblers, and stock-jobbers, as well as foreigners who judged\\nParis and France by what they found there. Like the\\nTemple and the Luxembourg, the Palais-Royale was\\nstill a privileged place and a kind of asylum for delin-\\nquents on the eve of the Revolution. On April, 1787,\\nthe king addressed a letter to the Duke of Orleans in order\\nthat the police-officers may freely make search in his\\npalace as in all other places in view of the multiplicity\\nof makers of false notes. The royal gardens (Tuileries,\\netc.) were only open to people of good society, well\\ndressed illicit and popular assemblages were dreaded\\nit was the Duke of Orleans who was the first to give them\\nevery facility and to assure them a relative impunity. The\\nPalais-Royale was consequently the centre and the hearth of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0398.jp2"}, "399": {"fulltext": "THE PALAIS-ROYALE 309\\nthe first revolutionary proceedings. Having become entirely\\nnational after Philippe-Egalite had been condemned to death,\\nit v^^as almost abandoned to the deprecatory and mercantile\\nfancies of its tenants. After the Eighteenth Brumaire^ the\\nTribunat vi^as installed there until its suppression in 1807,\\nand then came the turn of the Bourse and of the Tribunal\\nof Commerce. Louis XVIII. with whom the son of\\nEgalite had made his reconciliation, restored his palace;\\nLouis-Philippe constructed the glass gallery called the Or-\\nleans Gallery (by Fontaine), besides separating the left\\nwing from the palace, raising the central building one story,\\nextending the right wing from the theatre to the garden,\\nbuilding the pavilions that connect the court of honour\\nwith the trade-palace, and finally, restoring the theatre. It\\nwas in this palace that, after the Journees dejuilkt, he accepted\\nthe title of King of the French, but he ceased to dwell there\\nOctober i, 1831. Under the second republic, the Palais-\\nRoyale was the residence of the Comptolr d escompte and the\\nstaff of the National Guards. At first only sequestrated, it\\nwas afterward confiscated by presidential decree, January\\n23, 1852. Under the second empire, it became the residence\\nof the King Jerome and his son. Prince Napoleon.\\nLouis-Philippe s picture gallery was sacked in 1848; and\\nPrince Napoleon s (allegorical paintings by Hedoin, among\\nothers) in 1871. It is now occupied by the Cour des\\nComptes^ and by the Council of State since 1875. At the\\nend of the Montpensier gallery and northeast of the trade\\npalace, is a little theatre-hall of eight hundred seats, built in", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0399.jp2"}, "400": {"fulltext": "310 PARIS\\n1785, which has borne the successive names of Theatre de\\nBeaujolais^ or des Marionettes^ Theatre de Mile, de Montansier\\n(the directress) in 1790, Theatre de la Montagne^ and lastly\\nTheatre du Palah-Royale^ celebrated by the traditional gaiety\\nof its repertory.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0400.jp2"}, "401": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0401.jp2"}, "402": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0402.jp2"}, "403": {"fulltext": "LA MADELEINE\\nPHILIP GILBERT HAMERTON\\nTHE church of the Magdalen (Madeleine) is curiously\\nconnected with the history of Napoleon I., who\\nhad the incompleted edifice continued with the\\nstrange intention of dedicating it as a temple to the mem-\\nory of La Grande Armee. Every year on the anniversaries\\nof Austerlitz and Jena, the temple was to have been il-\\nluminated and a discourse delivered concerning the military\\nvirtues, with an eulogy of those who perished in the two\\nbattles. This intention was never carried out, and the\\nbuilding, which had been begun in 1764 as a church, was\\nfinished as a church under the reign of Louis-Philippe.\\nNothing could apparently be more decided in architectural\\nintentions than the Madeleine as we see it now. It seems\\nto be plainly a temple, and never to have been intended for\\nanything else. In reality, however, it was begun under\\nLouis XV. as a church, resembling what is now the Pan-\\ntheon, and the change of plan was carried into effect many\\nyears after the works had been actually commenced. It is\\nnot by any means a subject of regret that this temple should\\nhave been erected in Paris, as it gives many students of\\narchitecture who have not visited the south of Europe an\\nexcellent opportunity iox feeling what an antique temple was\\nlike, to a degree that is not possible with no more powerful", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0403.jp2"}, "404": {"fulltext": "312 PARIS\\nteachers than photographs or small models. VioUet-le-Duc\\nsaid that it was barbarous to build the copy of a Greek tem-\\nple in Paris or London, or among the mists of Edinburgh,\\ncondemning alike the Madeleine and the fragmentary Scot-\\ntish copy of the Parthenon but surely a student of archi-\\ntecture, born in the north, would visit both the Scottish\\nParthenon and the Parisian temple with great interest, sim-\\nply because they show him columns on their own scale,\\nreal columns in the open air. We are so accustomed to\\nGothic and Renaissance churches that a temple is an ac-\\nceptable variety, were it only to demonstrate, by actual com-\\nparison, the immense superiority of more modern forms for\\npurposes of Christian worship. We ought to bear in mind,\\nhowever, that although the Madeleine resembles a Corinthian\\ntemple externally, it has not the surroundings of such a\\ntemple and is not associated with its uses. For Christian\\narchitecture, on the other hand, such a system of building\\ninvolves a great waste of money and space in the colon-\\nnades and the passages between them and the walled build-\\ning or cella. The space in the Madeleine, already so re-\\nstricted, is limited still farther by internal projections in-\\ntended to divide the length into compartments and to give\\na reason for six lateral chapels, so that every one who en-\\nters it for the first time is surprised by the smallness of the\\ninterior. I need hardly observe that there is not the slight-\\nest attempt to preserve the internal arrangements of a\\nGreek temple, even if they were precisely known, on which\\narchitects are not agreed. The side chapels have arches", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0404.jp2"}, "405": {"fulltext": "LA MADELEINE 313\\nover them, the roof is vaulted with round arches across the\\nbuilding, springing from the Corinthian columns, and in\\neach section is a dome-ceiling with a circular light (as in\\nthe Pantheon at Rome), these lights being the only windows\\nin the edifice. The high altar is in a round apse en ml de\\nfour^ with marble panels and a hemicycle of columns be-\\nhind the altar. There is great profusion of marbles of\\nvarious kinds, of gilding, and of mural painting, that I have\\nnot space to describe in detail. Enough has been said to\\nshow that the work, as a whole, is a combination of Greek,\\nRoman, and French ideas. The general idea of the ex-\\nterior is Greek, but if you examine details, you see the in-\\nfluence of Rome, and you find it still more strongly marked\\ninside, by the arches of the roof. The French spirit is\\nshown in the decoration chiefly, which is so truly Parisian\\nthat the Madeleine is instinctively preferred by fashionable\\npeople. A fashionable marriage there is one of the most\\nthoroughly consistent spectacles to be seen in modern Paris.\\nHere is nothing to remind us of the austerity of past ages,\\nbut the gilded youth of to-day may walk along soft carpets,\\namid an odour of incense and flowers and the sounds of\\nmellifluous music. The pretty ceremony over, they pass\\nout down the carpeted steps, and an admiring crowd watches\\nthem into their carriages. And nobody thinks about the\\ndead at Austerlitz and Jena.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0405.jp2"}, "406": {"fulltext": "LA MADELEINE\\nfFILLIJM MAKEPEACE TH ACKER Ar\\nWE went to the Madeleine (the walk round it\\nunder the magnificent Corinthian columns\\nis one of the noblest things possible), and\\nentered the gorgeous hall of white marble and gold, with\\nits inner roof of three circular domes ranging the length\\nof the building, with a semi-dome covering the northern\\nend over the altar, and a circular vault covering the\\nvestibule. Galignani s guide-book (one of the best, most\\nlearned, and most amusing books of the kind that have\\nbeen published) will give you a full account of the place,\\nas of all others that sightseers frequent. It is as fine,\\ncertainly, as fine can be in its details, and vast and liberal\\nin its proportions. Well, fancy a beautiful, gorgeous, ele-\\ngant Brobdignac cafe^ or banqueting room, and the Made-\\nleine will answer completely. It does not seem to contain\\na single spark of religion no edifice built in the Greek\\nfashion ever did. Why should we be prejudiced in favour\\nof the Gothic Why should pointed arches, and tall\\nsteeples, and grey buttresses, built crosswise, seem to ex-\\npress to be, as it were, the translation into architecture of\\nour religion Is it true, or is it only an association of\\nideas You, who have been born since Gothic architec-\\nture was dead, can best answer the query.\\n3H", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0406.jp2"}, "407": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0407.jp2"}, "408": {"fulltext": "-rur\\niLU.julj i i jti i i. I i i.i 1 1 ij^ I ft 1 1 til inty", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0408.jp2"}, "409": {"fulltext": "A\\nBOULEVARD DES ITALIENS\\nHO NO RE DE BALZAC\\nT seven o clock not a footstep resounds upon the\\nflag-stones, not the rolling of a single carriage\\ngrates upon the pavement. The Boulevard\\nawakens about half-past eight v^^ith the noise of several\\ncabs, beneath the heavy tread of occasional and laden port-\\ners, and to the cries of numerous workmen in blouses going\\nto their occupation. Not a blind has been opened; the\\nshops are shut up like oysters. This is an unknown spec-\\ntacle to many Parisians, who believe that the Boulevard is\\nalways adorned, even as they believe with their favourite\\ncritic, that lobsters are born red. At nine o clock the\\nBoulevard washes its feet all along the line, its shops open\\ntheir eyes, revealing a terrible disorder within. A few mo-\\nments later, it is bustling as a grisette, and some intriguing\\nfrock-coats plough through its sidewalks. Toward eleven\\no clock, the cabs hurry along to lawsuits, for payments, to\\nlawyers, to notaries, bearing along budding failures, junior\\nbrokers, transactions, intriguers with thoughtful faces, suc-\\ncesses slumbering under buttoned-up overcoats, tailors, and\\nshirtmakers, in short, all the busy morning world of Paris.\\nThe Boulevard becomes hungry toward noon, every one\\nbreakfasts and the brokers of the Bourse arrive. Then,\\nfrom two to five o clock its life attains its apogee, and it gives\\n315", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0409.jp2"}, "410": {"fulltext": "31 6 PARIS\\nits great performance for nothing. Its three thousand shops\\nglitter, and the great poem of window-decoration sings its\\nstrophes in colour from the Madeleine to the Porte Saint-\\nDenis. Artists without knowing it, the passers-by play for\\nyou the chorus of the antique tragedy they laugh, they love,\\nthey weep, they smile, and dream fantastic dreams. They\\ncome like shadows or will-o -the-wisps. One does not\\ngo down two Boulevards without meeting a friend or an\\nenemy, an original that causes a laugh or a thought, a\\nbeggar who is trying to find a sou^ a vaudevilUste who is\\nseeking a subject, each one indigent but better off than the\\nother. It is there that one observes the comedy of dress.\\nSo many men, so many different coats and so many coats,\\nso many different characters On fine days the women\\nshow themselves, but not in handsome toilettes. The\\nhandsome toilettes to-day go to the Avenue des Champs-\\nElysees or to the Bois. Women comme tl faut who walk\\non the Boulevards have only their fancies to satisfy and to\\namuse themselves by shopping j they pass quickly and know\\nno one.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0410.jp2"}, "411": {"fulltext": "THE BOULEVARDS\\nRICHARD WHITE I NG\\nTHE Boulevards are of four kinds the inner Bou-\\nlevards sometimes called the Old or the Grand,\\nthe outer, the new, and the Boulevards of the\\nEnceinte, or the continuous road running just inside the\\nline of fortification. Those commonly spoken of as The\\nBoulevards extend from the Madeleine to the Bastille, a\\nstretch of nearly three miles to be exact, two and three-\\nquarters. The busiest and brightest part is that from the\\nMadeleine to and inclusive of the Boulevard des Italiens.\\nThe Boulevard des Italiens takes the palm for every kind\\nof animation. Here the heart, or at any rate the pulse,\\nof Paris beats. The Old or Grand Boulevards terminate\\nat the Place de la Madeleine.\\n317", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0411.jp2"}, "412": {"fulltext": "THE 0P6RA house\\nPHILIP GILBERT HAMERTON\\nTHE merit of Parisian architects is to have perceived\\nthe nevi necessities in public buildings created by\\nstreets of magnificent private dwellings. If the\\nordinary architecture of a city is on a large scale and richly\\ndecorated, its public buildings must still distinguish them-\\nselves by greater richness. One consequence of the recon-\\nstruction of Parisian dwellings has been the rebuilding, in\\nwhole or in part, of almost all those theatres that happened\\nto be near new streets or squares. The Theatre Francais\\nhad a new front; the Opera was rebuilt with unparalleled\\nmagnificence the Vaudeville had a narrow but strikingly\\nrich curved facade at the corner of the Chaussee d Antin,\\nwith Corinthian columns and Carvatides and a fronton\\ncrowned with a statue of Apollo. The new Theatre de la\\nRenaissance is a heavy but sumptuous structure, also\\nadorned with Caryatides and Corinthian columns. The\\nGaite was rebuilt in i86i with a pretty arcade on marble\\ncolumns in front of its open loggia. The Chatelet was\\nbuilt at the same date, and has also its loggia, but with\\nstatues under the five arches. The neighbouring Theatre\\nHistorique, which used to be the Lyrique, was also built\\nThis became the Theatre des Nations and on Jan. 21, 1899, the\\nThfeatre Sarah Bernhardt.\u00e2\u0080\u0094 E. S.\\n318", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0412.jp2"}, "413": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0413.jp2"}, "414": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0414.jp2"}, "415": {"fulltext": "THE OPERA HOUSE 319\\nunder Louis Napoleon, though it has been rebuilt since in\\nconsequence of incendiarism by the Communards. The\\nconstruction of these buildings, and of many others, was\\nmade a necessity by the handsome new houses. The\\nOdeon belongs to the beginning of this century and is a\\nplain, respectable structure. It may remain as it is because\\nthe houses near it are plain, old-fashioned dwellings of the\\nsame or an earlier date but if the Odeon could be placed\\nwhere the Opera is now, it would be too simple for such a\\nsituation.\\nThe most magnificent of recent structures, and one of\\nthe most happily situated is the Opera. The situation has\\nbeen created for it purposely. The front might have looked\\nmerely across a street, but a new street of great length was\\nopened, that it might be seen from a distance. Besides\\nthis, arrangements were made for the convergence of sev-\\neral other new streets in front of the Opera so as to give its\\nsite the utmost possible importance. As the houses in these\\nstreets are all of them lofty and many of them magnificent,\\nthe Opera itself required both size and richness to hold its\\nown in a situation that would have been dangerous to a\\nfeeble or even a modest architectural performance. The\\nOpera was compelled to assert itself strongly, and if it had\\nmerits they must be of a showy and visible kind, rather\\nthose of the sunflower than those of the lily of the valley.\\nThere can be no question that M. Garnier aimed at the\\nright kind of merit, showy magnificence, but there are\\nopposite opinions about his taste. Like all important con-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0415.jp2"}, "416": {"fulltext": "320 PARIS\\ntemporary efforts, the Opera has its ardent admirers and its\\npitiless critics. Let me tell you a short anecdote about the\\nbuilding, which may help us in some measure to arrive at a\\njust opinion. Shortly after its completion several distin-\\nguished men, who were not architects, met at a Parisian din-\\nner-table, and they criticised M. Garnier with great sever-\\nity. Among them was a provincial architect, who re-\\nmained silent till the others appealed to him. Then he\\nsaid Gentlemen, when an architect undertakes to erect\\na comparatively small building, it is still a very complex af-\\nfair J and how much more so must be such a gigantic work as\\nthe Opera, where a thousand matters of detail and neces-\\nsity have to be provided for, all of which the architect has\\nto carry in his mind together, and to reconcile with the ex-\\nigencies of art Such a task is one of the heaviest and\\nlongest strains that can be imposed upon the mind of man\\nand if the architect does not satisfy every one, it may be\\nbecause other people are not aware of the extreme com-\\nplexity of the problem. For me I confess that I know\\nreally nothing about theatres, except that they have myste-\\nrious difficulties of their own. I like being outside better\\nthan inside them.\\nWhatever may be thought of the back and sides of the\\nOpera, the principal front may be admired without reserve.\\nThe basement is a massive wall, finished plainly, and\\npierced with seven round arches. In the intervals between\\nfive of these arches are statues and medallions on each\\nside of the two exterior ones are groups representing Music,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0416.jp2"}, "417": {"fulltext": "THE OPERA HOUSE 321\\nLyrical Poetry, the Lyrical Drama, and the Dance. The\\ncontrast here of extreme architectural simplicity with figure-\\nsculpture is excellent. Above is a colonnade of coupled\\nCorinthian columns supporting an entablature, and between\\neach two pairs of columns is an open space, in which a\\nlower and smaller entablature, with a wall above it, is sup-\\nported on smaller columns of marble. This wall is pierced\\nin each interval with a circular opening containing the\\ngilded bust of a great musician. Above the great entabla-\\nture, and immediately over each pair of coupled columns,\\nis a medallion with supporters, and above each open space\\nof the loggia is an oblong panel with sculpture. Then you\\ncome to the dome of the house and the gable of the struc-\\nture above the stage. The effect of the whole is a combi-\\nnation of splendour with strength and durability. The use\\nof sculpture has been happy, and the sculpture has not been\\nkilled by the architecture, as it often is. On the other\\nhand, it has lightened the appearance of the architecture,\\nespecially on the top of the edifice where the colossal\\nwinged figures are most valuable, and so is that on the\\napex which holds up the lyre with both hands.\\nWith regard to the interior, my humble opinion the\\nopinion of one who knows nothing about theatres is, that\\nthe business of plotting for splendour has been considerably\\noverdone. The foyer is palatial, but it is overcharged with\\nheavy ornament, like the palace of some lavish but vulgar\\nking. As for poor Paul Baudry s paintings on the ceiling,\\nwhich cost him such an infinity of labour and pains, it", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0417.jp2"}, "418": {"fulltext": "322 PARIS\\ndoes not in the least signify what he painted or how long it\\nwill last, for nobody can see his work in its present situ-\\nation. There can hardly be any more deplorable waste of in-\\ndustry and knowledge than to devote it to the painting of\\nceilings that we cannot look at without pains in the neck,\\nand cannot see properly when we do look at them. The\\ngrand staircase is more decidedly a success than x)c^z foyer.\\nIt almost overpowers us by its splendour it is full of daz-\\nzling light; it conveys a strong sense of height, space,\\nopenness it comes on the sight as a burst of brilliant and\\ntriumphant music on the ear. The mind has its own satis-\\nfaction in a work that is splendid without false pretension.\\nAll the materials are really what they seem. The thirty\\ncolumns are monoliths of marble, every step is of white\\nItalian marble, the hand-rail of onyx, supported by balus-\\nters of rouge antique^ on a base of green marble from Sweden.\\nWe may admire the grand staircase or object to it, but it\\nis honest work throughout, and may last a thousand years.\\nThe architect evidently took pride in it, as he has so\\nplanned the design that visitors may look down from gal-\\nleries on four different stories all round the building. The\\nhouse itself is much less original, with its decoration of\\nred and gold, and the customary arrangements for the\\naudience.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0418.jp2"}, "419": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0419.jp2"}, "420": {"fulltext": "yr7", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0420.jp2"}, "421": {"fulltext": "THE CONSERVATOIRE DE MUSIQUE\\nALBERT LJFIGNAC\\nHE who casts his eyes over the list of members of\\nthe teaching body of the Conservatoire in the\\nyear of its foundation (1795) is not a little sur-\\nprised to see among them nineteen professors of the clari-\\nnet and twelve professors of the bassoon.\\nTo understand what seems to us now an absurdity, and\\nyet was not one, we must go back to that period and learn\\nhow the Conservatoire came to be born.\\nAt the beginning of the revolution, in 1789, a captain\\nof the staff of the National Guard, Bernard Sarrette, who\\nwas not himself a player, but was very fond of music, took\\nunder his personal charge forty-five musicians of the\\nformer Gardes Fran^aises in all that concerned the cost,\\nequipment and care of the instruments, and with these\\nforty-five musicians he formed the nucleus of the music of\\nthe Garde Nationale.\\nHe was reimbursed for his expenses about a year later,\\nand, in 1792, he was appointed director of the Ecole\\ngratuite de Musique de la Garde Nationale, which we\\nmust regard as the embryo of our Conservatoire. The\\npupils, to the number of a hundred and twenty-six, be-\\ntween the ages of ten and twenty years, had to provide\\nthemselves with a uniform (of the Garde Nationale,\\n323", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0421.jp2"}, "422": {"fulltext": "324 PARIS\\ndoubtless), an instrument and music-paper; they were\\nbound to the service of the Garde Nationale and public\\nfestivals.\\nIf you want to form an idea of the degree of liberty\\nthat was enjoyed at that period I will tell you that in 1793,\\na pupil having allowed himself to play upon the horn the\\nair from Richard Ccvur de Lion; Richard^ mon Roi\\nthe poor Sarrette was put to prison. Being authorized to\\ngo out when he was needed for the organization for the\\nmusical part of the festival of the Supreme Being, he could\\nnot take a step without being escorted by gendarmes, one\\nof whom slept in his chamber.\\nOn the 20 Prairial year II. (1794) a hymn specially\\ncomposed for the occasion was to be given in the Champ\\nde Mars. This hymn was ordered from Sarrette on the\\n15th by the Committee of Public Safety, and immediately\\ncomposed by Gossec it was necessary to teach this chant\\nto the people in the four days that followed, by Robe-\\nspierre s orders, who made Sarrette responsible for its good\\nexecution Gossec took charge of the Ouartier des Halles,\\nLesueur taking the boulevards, and JMehul installing him-\\nself before the door of the establishment which was then\\nin the Rue Saint-Joseph.\\nThe hymn, therefore, was learned and executed on the\\nappointed day, to the satisfaction of the Committee of\\nPublic Safety, by a great throng of performers, the whole\\npopulace singing, accompanied by two hundred drums, one\\nhundred of which were furnished by the pupils of the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0422.jp2"}, "423": {"fulltext": "CONSERVATOIRE DE MUSIQUE 325\\nSchool of Music of the Garde Nationale, the other hun-\\ndred being ordinary drummers.\\nAt length, August 3d, 1795 (16 thermidor an III.) two\\nlaws appeared simultaneously, the first suppressing the\\nmusic of the Garde Nationale as well as its school of sing-\\ning and declamation, as to which precise documents are\\nlacking but which goes back to 1786, at least; and the\\nother, organizing the Conservatoire de Musique, and in-\\nstalling it in the locality of Menus-Plaisirs, says that it\\nmust teach music to six hundred pupils of both sexes, se-\\nlected proportionately in the various departments, and im-\\nposes upon it the duty of furnishing a body of musicians\\nevery day for the service of the Garde Nationale and the\\nCorps legislatif. Hence comes the utility of the profusion\\nof players on the clarinet and bassoon of which we spoke\\nin the beginning.\\nOn the loth of the same month, Sarrette was ap-\\npointed Director of the Conservatoire, which, as we have\\nseen, was born of the fusion between the Institute de\\nmusique of the Garde Nationale and the Ecole de Chant et\\nde Declamation.\\nAs to the personality of our venerable founder I can tell\\nyou nothing, not possessing any positive document as to his\\ncharacter or private life. There is no doubt that he was a\\nman endowed with initiative and persevering will, a strong\\norganizer to whom we owe the grouping and creation of\\nthe \u00c2\u00a3cole Nationale Fran^aise.\\nUp to that time France had certainly produced com-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0423.jp2"}, "424": {"fulltext": "326 PARIS\\nposers of talent and genius but that cohesion was lacking\\nwhich alone can constitute, properly speaking, a school.\\nHe directed the Conservatoire for twenty years, from\\n1795 to 1816.\\nHis direct successor was Perne, who was director for\\nonly five years, from 18 17 to 1822.\\nThen came Cherubini, from 1823 to 1841 (eighteen\\nyears); Auber, from 1842 to 1871 (nineteen years);\\nAmbroise Thomas, from 1872 to 1896 (twenty-four years)\\nand lastly Theodore Dubois, the present director since\\n1896.\\nIf I can tell you nothing about Perne, whose short\\ndirectory has very few traces, it is quite otherwise with\\nCherubini, one of the greatest masters who have done\\nhonour to the French School, and whom people are very\\nwrong in neglecting and almost despising to-day.\\nIt must be confessed that affability was not precisely the\\ndominant note of Cherubini s character. Adolphe Adam,\\nwho was twelve years old when he was presented by a\\nfriend of his father s, remembered all his life his recep-\\ntion.\\nDear master, said the introducer, I take great\\npleasure in presenting to you a youth who is destined for\\nmusic and who has capacities, for he is the son of our\\nfriend Adam young as he is, he is already one of your\\nenthusiastic admirers.\\nAh Ah Ah I Ah que ze le trouve bien le\\nAnd he did not say another word.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0424.jp2"}, "425": {"fulltext": "CONSERVATOIRE DE MUSIQUE 327\\nIn default of good-nature, this man of genius possessed\\na punctuality and an exactitude proof against every-\\nthing.\\nHe arrived at his office at five minutes to nine bringing a\\npiece of sugar for his class-attendant s dog. On Monday,\\nnot having come on Sunday, he brought two.\\nAt that period the Directors did not reside at the Con-\\nservatoire.\\nCherubini lived close by, at No. 19 Faubourg Poisson-\\nniere. His successor, Auber, lived at No. 24 Rue Saint-\\nGeorges in a house that he ovv^ned. Ambroise Thomas was\\nthe first director to live in the establishment in the apart-\\nment that had previously been occupied by Clapisson, as\\nfounder and conservator of the Musee Instrumental.\\nFrom 1825 to 187 1, that is to say under Cherubini and\\nAuber, a boarding-school existed for twelve singing-schol-\\nars, from whom have come a certain number of singers\\nwho have since become famous, Faure, Capoul, Bouhy,\\nMelchissedec, Couderc and Bosquin, to mention only a\\nfew, who were very proud of their uniform (a black over-\\ncoat with lyres surrounded with palms embroidered in gold\\non the lapels, and the same emblem on the sailor s-cap)\\nwhich made them look like members of a choral society of\\nto-day, or pupils of the \u00c2\u00a3cole Niedermayer. They lived\\nin the building to the left of the courtyard; their twelve\\nrooms were on the second floor, some looking into the\\ncourtyard and the others into the Rue Bergere, their halls\\nfor study (the present waiting-room at the examinations) on", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0425.jp2"}, "426": {"fulltext": "328 PARIS\\nthe first floor, the refectory on the ground-floor, and the\\nkitchen in the basement.\\nThey had a special porter, who has always been kept\\nnotwithstanding the suppression of the boarding-school,\\nwhich explains why the Conservatoire possesses three por-\\nters, although it has only two entrances. Here they were\\ntaught singing and lyrical declamation, and they were also\\nexpected to learn solfeggio and the elements of the piano.\\nFrom 1822 to 1826 there was also a boarding-school of\\nfemale students at 26 Rue de Paradis.\\nCherubini established an iron discipline over them a\\ngrille of the same metal, always closed like that of the\\nprison, existed under the porch these young people were\\nabsolutely forbidden to go out alone they could not put\\ntheir nose outside except in a band and accompanied su-\\npervision was incessant. Recreation was taken in com-\\nmon, in the courtyard when it was fine weather, under the\\nvigilant eye of the three porters, a special overseer and the\\nDirector of the Boarding-School. Their correspondence\\nwas the object of special attention. It was in fact true\\nmonastic rule.\\nThis did not prevent evasions almost every night, since\\nalmost every morning there were scholars who entered by\\nthe door. They knew well enough how to get out; but\\nthey did not know how to get back the inmates were tired\\nout and Cherubini was furious. In exasperation he ordered\\nchains and bars to be put at all the windows.\\nFor those who did not possess the highest gymnastic pow-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0426.jp2"}, "427": {"fulltext": "CONSERVATOIRE DE MUSIQUE 329\\ners, more sedentary pastimes existed. One day a squirrel,\\nbelonging probably to one of the inmates, having died, they\\ngave it a pompous funeral that lasted not less than three\\ndays, during which the v^^hole Conservatoire was in effer-\\nvescence nothing was forgotten, the lying in state of the\\ncorpse, the chants and the religious ceremonies it seems\\nthat it was very droll, but I would not dare to affirm that\\nit was altogether seemly.\\nFrom all this we see that notwithstanding the directoral\\nrigours life was not so unendurable as might have been\\nthought in the school.\\nAll those who knew Cherubini say that outside his work\\nhe was a very affable, gentle and even witty man that his\\nhouse was very gay, that he received a great deal and that his\\ndaughters, whom he tenderly loved, were charming. Not-\\nwithstanding this I have never heard a truly amiable word of\\nhis quoted. He never went to first performances by virtue\\nof the following principle If the work is good it will be\\nplayed again if it is bad there is no need for me to hear it.\\nHowever, he generally made exception for the works of\\nhis pupils.\\nIf we now pass on to Auber, we shall find ourselves in\\npresence of an entirely different character and cast of mind.\\nHis witticisms cannot be counted.\\nFrom the suppression of the Gymnase Musical Militaire\\n(1856 to 1870) there existed at the Conservatoire classes\\nfor Saxophone, Saxhorn, Solfeggio and Harmony, for the\\nexclusive benefit of military pupils, officers and subalterns,", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0427.jp2"}, "428": {"fulltext": "330 PARIS\\nclasses in which General Mellinet, commander of the\\nGarde Imperiale, who, as is known, was music-mad, took\\nparticular interest.\\nEither because Auber gave up the presidency of the jury\\nto him, or simply because of the prestige attached to his\\nhigh personality, General Mellinet exercised great influence\\nin the special courses of these military classes, which mani-\\nfested itself in a benevolent and sometimes excessive pro-\\npensity to give the greatest possible number of rewards to\\nthose young people who were only allowed two years for\\npassing through the school. One day when he allowed\\nhimself to be carried away by his natural generosity some-\\nwhat farther perhaps than was reasonable, Auber said to him\\nBelieve me. General, I know the Conservatoire better\\nthan you, and if you give more rewards than there are\\ncandidates it might have a bad effect\\nThe venerable balls that are used at the elections date\\nfrom the foundation of the establishment (1795), and have\\nnever been renewed nor cleaned. By constant rubbing, the\\nblack ones have lost not a little of their tint, while the\\nwhite ones have become considerably discoloured, so that\\nnow they are almost all of a uniform grey, and a certain\\namount of attention is required to distinguish them from\\none another, especially in dull weather.\\nIf I had the honour of being a journalist, I should un-\\ndertake a campaign on this subject I should demonstrate\\nthat it is to this confusion among the balls that must be\\nattributed all the absurd judgments that do not agree with", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0428.jp2"}, "429": {"fulltext": "CONSERVATOIRE DE MUSIQUE 331\\nmine, which are necessarily just and equitable, and I should\\ndemand that the balls be publicly washed before each\\nmeeting.\\nOne of the most typical features of the character of\\nAmbroise Thomas was certainly his extreme benevolence,\\nhis gentleness and his indulgent spirit as well as the kind-\\nness, reflected by his pensive gaze of a gentle philosophy,\\nwhich often degenerated into weakness and sometimes\\nmanifested itself under the most unexpected forms in spite\\nof his sincere desire to be exceedingly firm.\\nAmong the most amusing types of the old professors\\nwhom I have known I must place in the first rank him who\\nwas called petit pere Elwart whose succession indi-\\nrectly fell upon me, for Theodore Dubois inherited his class\\nof harmony in 1872, and I followed him in 1891, when he\\nsucceeded Leo Delibes in his composition class before he\\nbecame Director.\\nElwart s enduring fame among us rests upon his tremen-\\ndous reputation as an orator at banquets, funerals, and tcvm-\\ns\\\\c2\\\\ fetes and reunions of every kind.\\nAt the obsequies of Leborne (also one of our old profess-\\nors), he ended his discourse thus\\nLeborne had a great sorrow in his heart, he never be-\\nlonged to the Institute, notwithstanding the numerous at-\\ntempts he made to get in.\\nThen bending down to the ear of Victorin Joncieres,\\nfrom whom I got this anecdote, he said I said that for\\nthe sake of his family.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0429.jp2"}, "430": {"fulltext": "332 PARIS\\nThe above gentleman also told me the following jest by\\nBerlioz when at the point of death\\nIf Elwart is to speak over my tomb, I d rather not die\\nat all\\nAmong the public there is a false idea that the Conserva-\\ntoire is composed of bad characters. This is as great an\\nerror as it would be to pretend the contrary. The truth is\\nthat its society is greatly mixed, as is inevitable in an abso-\\nlutely free school where the entrance is by examination and\\nwhere among one s comrades one must choose one s own\\nfriends with the risk of seeing one s self in the future\\ngreatly embarrassed by relations lightly formed. It will be\\nsaid that it is the same with many other schools; that is\\ntrue, but to a less degree. All classes of society are repre-\\nsented at the Conservatoire it is not rare to see elbowing\\neach other there in the same class a youth who has made\\nserious struggles and who is already a bachelor, or a Doc-\\ntor of Laws and the most ignorant of illiterates the son\\nof a millionaire and the son of a small merchant, of the\\nproletariat daughters of savants, pastors, eminent artists\\nand men of letters together with those whose parents exer-\\ncise the most modest professions. This arises from the\\nspecial artistic teaching being higher and more complete\\nthan anywhere else the most fortunate, those who could\\neasily spend money on their studies, knock at its door, and\\nit should be a matter of pride to belong to its school which,\\neven if it does not realize the tvpe of absolute perfection,\\nwhich is not of this world, indisputably holds its place at", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0430.jp2"}, "431": {"fulltext": "CONSERVATOIRE DE MUSIOUE 333\\nthe head of all establishments, not French alone but Eu-\\nropean, in which music and theatrical art are taught.\\nFrom the great diversity of character and nature presented\\nby the pupils, it results that the Conservatoire is a small\\nworld complete in itself, a microcosm, and with a slight\\nspirit of observation as well as by the studies for which\\nclasses are provided, one may there pass through the ap-\\nprenticeship of life, with its struggles, its jealousies, its\\nrancours, and its mean or terrible sides as well as the friend-\\nships and devotions that form its consolation.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0431.jp2"}, "432": {"fulltext": "BIBLIOTHEQUE NATION ALE\\nCHARLES DICKENS, JR.\\nTHE Bibliotheque Nationale, in Paris, was first be-\\ngun by Charles V. of France, who shut up his\\nnine hundred and ten volumes in the Tower of\\nthe Louvre. The books had been counted in 1373. Fifty\\nyears afterwards they were all sold to the Duke of Bedford\\nfor ;^i,220 sterling. Another library was started, and in\\nthe middle of the Fifteenth Century Louis XL began to take\\nsome trouble about his books. The collection was increased\\nby purchases made of the Dukes of Burgundy, and by the\\npillage of the libraries of Naples and of Pavia. Louis XIL,\\nabout the year 1500, caused all the books to be transported\\nto Blois, where the Dukes of Orleans had a library of their\\nown. Francois L afterward sent them all to Fontainebleau.\\nThere were then one hundred and nine printed volumes and\\none thousand seven hundred and eighty-one manuscripts.\\nIn 1595 the collection was retransported to Paris; and even\\nwhen in Paris the books made several journeys. In 1721\\nthey were placed in the Hotel Mazarin, which stood on the\\nsite of the present library in the Rue de Richelieu. The\\nlibrary was first opened to the public in 1737; the Bibli-\\notheque Mazarine had become public a century earlier.\\nDuring the reign of Louis XIII. the Bibliotheque du Roi\\ncontained 16,750 volumes. By means of purchases and\\n334", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0432.jp2"}, "433": {"fulltext": "BIBLIOTHEQUE NATIONALE 335\\ngood care, in the year 1684 there were 40,000 printed vol-\\numes and 10,900 manuscripts. The Eighteenth Century\\nwas everywhere one of intellectual development, and before\\nthe Revolution broke out it was estimated that there were\\nin the library 150,000 volumes. The French authorities\\nsay that they have now under their charge 2,000,000 vol-\\numes. Of these there are 440,000 volumes exclusively\\nupon French history. It is also estimated that there are\\nmore than 120,000 manuscripts, 2,500,000 prints, engrav-\\nings, and charts, and that there are more than 120,000\\nmedals.\\nThis library at different periods has been called by differ-\\nent names, depending upon the title of the head of the\\ngovernment in the country. The appellation has some-\\ntimes been Bibliotheque du Roi, or Bibliotheque Royale\\nagain it has been Bibliotheque Imperiale now it is Bibli-\\notheque Nationale. In the last century there was for a\\nshort time an idea to call it Bibliotheque de France, but\\nthat title was never officially recognized.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0433.jp2"}, "434": {"fulltext": "BIBLIOTHEQUE NATIONALE\\nWILLIAM MAKEPEACE THACKERAY\\nFROM the Madeleine we were carried to the Biblio-\\ntheque du Roi, where it was a show-dav, and\\nwhere we saw long tables, with gentlemen reading\\nat them. Some very fine prints in the little print room, if\\none had but the time to examine them, and some extraor-\\ndinary beautiful knickknacks in the shape of cameos, gems,\\nand medals. There was Clovis s armchair, and one of the\\nchessmen sent by Haroun Alraschid to Charlemagne\\nWhat a relic It is about the size of half a tea-caddy a\\nroyal chessman truly, think of Charlemagne solemnly lifting\\nit and crying Check to Orlando think of the palace\\nof pictures Zobeide has just been making a sherbert\\nHaroun and the Grand Vizier are at tables there by the\\nfountain the Commander of the Faithful looks thought-\\nful, and shakes his mighty beard GiafFour looks pleased,\\nalthough he is losing. Your Majesty always wins, says\\nhe, as he allows his last piece to be taken. And lo yonder\\ncomes Mesnour, chief of the eunuchs he has a bundle\\nunder his arm. Sire, pipes he in a cracked voice, it\\nis sunset here are the disguises your Majesty is to go to\\nthe ropemaker s to-night. If Sindbad should call, I will\\nget him a jar of wine, and place him in the pavilion yonder\\nby the Tigris.\\n336", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0434.jp2"}, "435": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0435.jp2"}, "436": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0436.jp2"}, "437": {"fulltext": "BIBLIOTHEQUE NATIONALE 337\\nOf the rest of the collection it is best to say nothing\\nthere is a most beautiful, tender, innocent-looking head of\\nyoung Nero a pretty parcel of trinkets that belonged to\\nLouis XV. s Sultanas (they may have been wicked, but they\\nwere mighty agreeable, surely) a picture of Louis Quatorze,\\nall wig and red-heeled pumps another of Louis XVIIL,\\nwho, in the midst of his fat, looks like a gentleman and a\\nman of sense, and that odious, inevitable, sickening, smirk-\\ning countenance of Louis\u00e2\u0080\u0094 Philippe, which stares at you\\nwherever you turn.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0437.jp2"}, "438": {"fulltext": "LES TUILERIES\\nIMBERT DE SAINT-AMAND\\nWHEN, after having contemplated the Arc de Tri-\\nomphe, illuminated by the setting sun as by\\nthe flames of an apotheosis, one casts a glance\\nat that magnificent avenue of the Champs-Elysees, which\\nseems made for ovations, one feels oneself the child of a\\ngreat city, of the capital of capitals. Pursuing one s way,\\none looks with pride to the right in the distance on the dome\\nof the Invalides, close by the Palais de I lndustrie, the asylum\\nof pacific victories, the rendezvous of all the nations But,\\non arriving at the square that, by an ironical antiphrase, is\\ncalled the Place de la Concorde, one is seized with a sen-\\ntiment of sadness. Notwithstanding its splendours, its\\nobelisk, its fountains, its double palace with majestic arcades,\\nits rostral columns, and its vast perspectives, this gigantic\\nplace is somewhat lugubrious. Livid and bleeding shadows\\nappear here, and history evokes its most tragic memories.\\nWhere now rises the obelisk of Luxor, formerly stood in\\nturn the equestrian statue of Louis XV., and the Statue of\\nLibertv, seated and wearing the Phrygian cap. Near the\\nfountains, for two years uninterruptedly, stood the hideous\\nguillotine that severed more than fifteen hundred heads on\\nthat spot.\\nThe victims and the executioners were executed there.\\n338", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0438.jp2"}, "439": {"fulltext": "LES TUILERIES 339\\nAfter Louis XVI., Marie Antoinette, Madame Elizabeth,\\nthe Girondins, Charlotte Corday, and Madame Roland,\\ncame the turn of Danton, Hebert, and Robespierre. While\\ngazing upon that accursed spot, I fancy I hear the roll of\\nthe drum drowning the voice of Louis XVL, the son of\\nSaint-Louis, at the moment when he desired to address the\\npeople before ascending to heaven. I think I see Marie\\nAntoinette casting a last glance on the Tuileries, her first\\nprison, before yielding up her beautiful soul to God. Ah\\nThis square is certainly not the Place de la Concorde its\\nreal name should be Place du Crime. Where the waters\\nof the two fountains are spouting, even if all the streams,\\nall the rivers and all the waves of the ocean were to flow,\\nthey would not suffice to efface the stains of blood printed\\non those stones which, like Lady Macbeth, France would\\nnever succeed in washing away.\\nI enter the garden of the Tuileries through the grille sur-\\nmounted by stone celebrities. I see basins, ancient trees\\nand statues. Where does this beautiful alley which is a\\nkind of continuation of the avenue of the Champs-Elysees\\nand the Place de la Concorde, lead To ruins and what\\nruins What These triumphal ways lead up to such a\\nspectacle is this the last word of all that train of power\\nand glory I cannot believe my eyes I halt in surprise\\nand indignation. The barbarity of modern vandals has\\ndared to imprint such a stigma upon the brow of the great\\ncapital This is what the demagogic Erostrates have in-\\nvented This is how they respect the glories of France", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0439.jp2"}, "440": {"fulltext": "340 PARIS\\nThis is what they have made of that illustrious palace that\\nfound no protection by the shadow either of Louis XIV.,\\nor of Napoleon, that palace which was also the scene of the\\nexploits of the Convention, in which the Committee of Pub-\\nlic Safety sat, and in which were heard the voices of Marat,\\nDanton and Robespierre I cannot familiarize myself\\nwith these shameful and deplorable ruins I see the terrible\\ntrace of the vengeance of God in these calcined stones and I\\nknow not what biblical anathemas resound among this debris.\\nDid not Chateaubriand have a sort of presentiment of the\\nfate of the Tuilerics when he wrote in his Genie du Chris-\\ntianisme There are two kinds of ruins: the one, the\\nwork of time, the other, of men. There is nothing dis-\\nagreeable in the former, because nature works with the\\nyears. If they produce rubbish, she sows it with flowers\\nif they open a tomb, she places a dove s nest in it. Cease-\\nlessly occupied in reproducing, she surrounds death with the\\nsweetest illusions of life. The second kind are devastations\\nrather than ruins they offer only the image of nothingness\\nwithout a reparative power. The work of misfortune and\\nnot of the years, they resemble white hairs on the head of\\nyouth. The destructions of man, moreover, are more\\nviolent and complete than those of the ages. The latter\\nundermine the former overthrow. When, for causes un-\\nknown to us, God desires to hasten the ruins of the world.\\nHe orders Time to lend man his sickle, and with terror Time\\nsees us ravage in the twinkling of an eye what it has taken\\nhim centuries to destroy.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0440.jp2"}, "441": {"fulltext": "LES TUILERIES 341\\nAnd this is what remains of that palace which was the\\nsymbol of power, the sanctuary of sovereignty, the centre\\nand the very heart of the great nation, and which, more-\\nover, so finely held its place in this magnificent quadrilat-\\neral; the Arc de Triomphe, the Madeleine, the Corps\\nLegislatif, and the Tuileries, glory, religion, law, and\\nauthority Here is that palace of great hopes and great\\ncatastrophes in which were born the king of Rome, the\\nDuke of Bordeaux, the Comte de Paris and the Prince\\nImperial that legendary palace, the objective of so many\\nambitions and so many regrets, which amid their cruel de-\\nceptions seemed to be constantly before the eyes of Napoleon\\nat Saint Helena, Charles X. at Holyrood, Louis-Philippe at\\nClaremont, and Napoleon HI. at Chislehurst What was\\nthe end of this grandiose palace Alas Its last festival\\nwas a derisive concert given by the Commune.\\nThere where incense had smoked, the odious oil of\\npetroleum trickled. Moscow was burned by patriotism.\\nParis was burned by the crime of Ihe-patrie. What is in\\nruins before our eyes is not only the Tuileries, it is patriot-\\nism, it is honour; that is what has been sacked and given\\nto the flames; that is what mad iconoclasts have de-\\nstroyed\\nWe never make use of the experiences of others. The\\nkings, the emperors, and the chiefs of the republic said and\\nbelieved that the kingdom, the empire, and their public would\\nnot perish. The republicans of 1792 had the following\\ninscription placed upon the Tuileries Royalty is abolished", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0441.jp2"}, "442": {"fulltext": "342 PARIS\\nin France, it will never revive. Each of the three dy-\\nnasties in turn believed itself indestructible, and in its\\nsimplicity boasted of having forever brought the era of revo-\\nlution to a close.\\nUnder the Second Empire, the Tuileries arrived at the\\nheight of its splendour. Joined to the Louvre it formed the\\nmost enormous and majestic edifice in the universe. Gazing\\nat its debris^ I called to mind the evenings of the great\\nfestivals, the staircase with one of the cent-gardes on each\\nside of every step, the brilliancy of the lights, the perfume of\\nthe flowers, the joyous sounds of the orchestras, the Galerie\\nde la Paix, filled with brilliant uniforms and elegant toilettes;\\nand then, in the Salle des Marechaux, the throng awaiting\\nthe arrival of the sovereign and his train. I hear the voice\\nof the usher crying The emperor and the musicians\\nplaying Partant pour la Syrie I see the empress in her\\nsplendid beauty covered with the crown diamonds. I see\\nthe greatest personages, the ministers, the marshals, the\\nambassadors, and often even the foreign princes soliciting\\nby their humble and respectful attitude a word, or a glance,\\nfrom him who was then regarded as the arbiter of Europe.\\nThen the vision fades, the enchantment vanishes, and I see\\nnothing but fragments of wall stained by petroleum and fire.\\nThe two projecting wings that adjoined the pavilions of\\nMarsan and Flore, built by Jean Bullant, have been en-\\ntirely razed since the fire, because it was believed that their\\nruins were in danger of falling. Nothing remains on the\\nground they occupied. Etiam periere ruina. But the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0442.jp2"}, "443": {"fulltext": "LES TUILERIES 343\\nruins of the five central buildings are still standing. They\\nconsist of the Pavilion de I Horloge, the two bodies of the\\nbuilding to the right and left, and the two jutting pavilions,\\nthe work of Jean Bullant, that are continued to either side\\nand that are known as the Pavilion de Medicis.\\nThese five bodies of buildings of which the ruins are\\ncomposed are precisely the ones that a celebrated arche-\\nologist, M. Vitet, with great insistence demanded should be\\npreserved five years before the fire.\\nThe Chateau des Tuileries is one of the finest jewels of\\nFrench architecture, and one of the purest masterpieces of\\nthe Renaissance. Look at it in its present misery, fallen in\\nand blackened within by the odious petroleum. How ma-\\njestically it still extends the harmonious lines of its gran-\\ndiose facade to the sunlight Admire all those charming\\ndetails that even to-day beautify the edifice without injuring\\nits simplicity. Look at those capitals, those columns and\\nthose fragments of elegant sculpture that have almost been\\nrespected by the flames. Does it not seem that they should\\nmove the artist to save them from complete destruction\\nThe roofs, the vaults and the floors have fallen in as well\\nas the majority of the partition-walls. But the exterior\\nwalls with the columns that ornament them are still standing.\\nTheir restoration would be easy.\\nHow beautiful must this legendary palace have been\\nwhen even its ruins have preserved so grand and imposing\\nan aspect Ah how majestic they are at night, when a\\nsense of mystery and fantasy envelops them) when the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0443.jp2"}, "444": {"fulltext": "344 PARIS\\nmoon illumines them with hct white radiance when the\\nray of some star trembles through the joints of the stone-\\nwork as through the interstices of the bones of the skele-\\nton The neighbouring clocks strike; I look at the empty\\nframe in the central pavilion in which was the clock which\\nwas stopped by the action of the fire at nine o clock in the\\nevening on May 23, 187 1. I fancy I see a crowd of\\nphantoms peopling the solitude with the generations that\\nhave come to life.\\nHow thrilling is this evocation of the past I see\\nCatherine de Mcdicis pale at the predictions of the astrolo-\\ngers the dazzling queen Margot, exciting the enthusiasm\\nof the Polish ambassadors Henri IH., fleeing by the\\ngarden on the day of the barricades; Louis XIV., presiding\\nat the luxurious carouse covered with the crown diamonds\\nlike a Roman emperor Louis XV., as a child walking\\nabout under the trees with his little Spanish Jiancee. Here,\\nin the Salle des Machines, is the Theatre Fran^ais, as it\\nwas represented by the pencil of Moreau le Jeune. I am\\npresent at the first performance of the Barber of Seville and\\nat the apotheosis of the living Voltaire. Then, with Louis\\nXVI. and Marie Antoinette, the palace rises before me like\\nthe vestibule to the scaffold. Then it becomes the seat of\\nthe Convention. I see the insurgent hordes with their\\npikes and red caps, and the Furies of the guillotine, and\\nRobespierre livid and with a broken jaw. Then it is the\\nMan of Destiny who appears. It is the Consular guard.\\nIt is the review of the soldiers of Egypt and Italy. It is", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0444.jp2"}, "445": {"fulltext": "LES TUILERIES 345\\nPope Pius VIII. It is the coronation procession. The\\nkind Josephine saddens me I suiFer with her grief at the\\nmoment of the divorce. And now here is Marie Louise.\\nThere is the cradle of the king of Rome. After unheard\\nof splendours, comes the awful fall and the return of Louis\\nXVIII. the Duchesse d Angouleme the orphan of the\\nTemple, who fainted at the moment when women, robed\\nin white and bearing lilies, said to her Daughter of\\nLouis XVI. bless us Less than a year afterward, it is\\nNapoleon whom I again see borne, as on a triumphal\\nshield, on the arms of his enthusiastic grenadiers. Then it\\nis the Bourbons whom I see for the second time. I see the\\nTuileries covered with black cloth. It is Louis XVIII.\\nthe only sovereign of France since Louis XV. who has\\ndied upon the throne. Then, in 1830, I see the red-coated\\nSwiss slain as on the Tenth of August, and the wave of the\\npopulace invading the palace. I perceive Louis-Philippe\\nreigning, ceaselessly menaced by assassins; the Duke of\\nOrleans, full of youth and hope, leaving the Tuileries to\\nfall on the road of Revolt the tragic scenes of the Revol-\\nution of February, the sorrowful departure of the old king\\ninto exile then the pomps of the Second Empire, Napo-\\nleon III., all-powerful, the empress radiant with beauty.^\\nthe cradle of the Prince Imperial saluted by the same accla-\\nmations as those of the King of Rome, the Duke of Bor-\\ndeaux and the Comte de Paris the throng of crowned heads,\\nprinces and princesses who have come to the Tuileries for\\nthe universal Exposition of 1867; and the sad return of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0445.jp2"}, "446": {"fulltext": "346 PARTS\\nhuman affairs, the Fourth of September, the Commune, and\\nthe modern Erostrates who gave the last entertainment at\\nthe Tuileries before burning it and from all these varied\\nthrongs arises a great clamour. Sometimes I hear the\\ncheers of the people and the army saluting the sovereign,\\nsometimes the obsequious voices of the courtiers who out\\nof respect speak in low tones in the palace, as in a church\\nand sometimes the furious cries of invaders letting them-\\nselves loose like a tempest. At length, all these evocations\\ndisappear, all these shadows vanish, and all this tumult and\\nthese echoes are hushed. It is night, it is silence, and I\\nremember, I meditate, and I repeat Massillon s words over\\nthe coffin of Louis XIV. God alone is great", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0446.jp2"}, "447": {"fulltext": "RUE DE RIVOLI\\nMAX DE REVEL\\nTHE Rue de Rivoli is one of the newest streets of\\nParis opened at the will of the emperor, its\\nname is a splendid memorial of glory, for it re-\\ncalls a victory won on the 14th of January, 1797. It is a\\npage torn from that grand century, that century, if any, of\\nvictorious memory. But, owing to its construction, it is\\nto-day an inexcusable proof of that bad taste that presided\\nover the architecture of the empire. That colonnade,\\nuniformly square to the eye, belongs to no order and to no\\nstyle it is simply a very cold, very heavy, and very formal\\nportico, a mass of stones and slates, an exhibition of windows\\nwhich might well pass for hothouses with exterior balconies.\\nThe Restoration, prevented from going to sleep by the\\nlaurels gained by the Empire, made an effort to change the\\nname of the Rue de Rivoli for the benefit of the Due de\\nBordeaux a bust was placed at the two extremities of the\\nstreet with this inscription Rue du Due de Bordeaux. On\\nthe next day the writing and transparency had disappeared\\nbeneath an avalanche of stones the Rue de Rivoli kept its\\nglorious name, and the dedication that they attempted to\\nintroduce returned, some time afterward, to take possession\\nof a little street which soon changed its noble title for a\\nsimple date the 29 Juillet.\\n347", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0447.jp2"}, "448": {"fulltext": "348 PARIS\\nSeparated from the gardens of the Tuileries by a high\\nwall, the ground that really forms the Rue de Rivoli was\\ncut into three parts the Jssomption^ a convent inhabited\\nby nuns the Couvent des Feuillants and the Couvent des\\nCapucins. These three monasteries were enclosed between\\nthe Rue Saint-Florentin and the Rue du Dauphin the rest\\nof the ground as far as the Rue de Rohan was occupied by\\nthe hospice of the ^I tnze-Vingts^ built by Saint-Louis, on a\\npiece of ground called Champourri. He had also particu-\\nlarly endowed this hospice, and an annual rent of thirty\\nUvres had been appropriated to pay for the soup of the blind.\\nIn 1779, the Cardinal de Rohan, grand-almoner of France,\\ntransferred them to the Faubourg Saint-Antoine, and upon\\nthe very site of the hospice opened two streets, one of which\\ntook the name of Rohati^ and the other ^inze-Vingts,\\nWhat do I hear, what is this tumult, what are these cries,\\nthese flames starting from the windows Men in arms\\nthrow themselves from the houses it is the Rue de Rohan\\nreceiving its baptism of blood, as it received its baptism of\\nfeudality from the hands of the cardinal. Who are these\\ntwo men with fiery eyes, bristling moustaches, and lips\\nblackened with powder Their clothes are in disorder\\nthey enter a butcher s a yelling crowd follows in their\\ntracks it besieges the door with loud cries it demands\\nthe heads of the fugitives. The door finally yields\\nto their redoubled efforts. Two large beardless fellows\\ncome to offer their services to the sovereign people. In a\\nmoment the shop is visited, the most ardent searches lead", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0448.jp2"}, "449": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0449.jp2"}, "450": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0450.jp2"}, "451": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0451.jp2"}, "452": {"fulltext": "COLOXXE VENDUME.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0452.jp2"}, "453": {"fulltext": "RUE DE RIVOLI 349\\nto no result, no discovery the two men have fled, and the\\ncrowd, inconstant and changeable in its pleasures as in its\\nfury, disperses and runs, matchlock in hand, to overturn a\\nthrone and conquer liberty.\\nWe are in the month of July, 1830: these two men\\nare the royal guards whom a butcher has shaved to save\\nthem from the fury of the people we are in open revo-\\nlution.\\nBut the Rue de Rohan has returned to its primitive calm,\\nthe pavement has resumed its place, the holes made by the\\nballs have been stopped up, the revolution is over.\\nThe Rue du Dauphin was one of Napoleon Bonaparte s\\nfirst stages. It was in the Rue du Dauphin that he in-\\nhabited a dark and mean chamber on his return from Italy\\nit is before the Rue du Dauphin that he knocked for the\\nfirst time at the castle-door announcing himself by the noise\\nof cannon. It was from the Rue du Dauphin that he de-\\nsigned the new quarter of the Tuileries, and the ball shot\\nfrom Saint-Roch traced with a single flight the Rues de\\nRivoli, de Castiglione, de Monthabor, de Mondovi and des\\nPyramides and finally stopped at the foot of the Colonne\\nde la Place Vendome.\\nThe streets that I have just named and which are success-\\nively met belong to the domain of modern history, that is\\nto say, to memory of the victories and conquests of the\\nFrench army, the catalogue of which is found on the\\nwalls of the Arc de Triomphe de VEtoile.\\nI cannot end this review without speaking of two res-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0453.jp2"}, "454": {"fulltext": "350 PARIS\\ntaurant-keepers who made at least their own individual\\nfortunes, if not the fortune of the street.\\nThe first is Lagacque, and the second Very, whose\\nrooms were the rendezvous of the fashionable world of the\\nDirectoire and the empire.\\nThe cafe Very displayed a luxury unheard of until that\\nday people spoke of 8o,ooo frances spent in mirrors, por-\\ncelains, and crystal alone. It is true that Lucien Bona-\\nparte often went to dine at Very s. It is even said that\\none day it was his fancy to pay a bill of 75,000 francs\\nthe habitues of the time pretended that that was nothing\\nbut a loan made to the lady at the desk others have\\nmaintained that it was a purely gratuitous gift what is\\ncertain is that the cajl^ magnificently restored, made a\\nrapid fortune. The Rue de Rivoli is one of the finest\\nstreets of Paris as we come from the barrier of L Etoilei\\nthat is the best praise that we can give it.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0454.jp2"}, "455": {"fulltext": "THE STREET\\nTHEODORE DE BANFILLE\\nIN my belief the caliph Haroun al Raschid found the\\nbest means of being a sovereign well-informed on\\nall matters and that was to walk the streets during\\nthe night. An excellent system at Bagdad, and much\\nmore excellent at Paris, where the streets are endowed with\\nsupernatural life They possess life, thought, and soul,\\nand, if one knows how to listen to them, they speak to\\none. In the commercial quarters one still hears vaguely,\\nlike an echo, the noise of anvils and machinery, the vibra-\\ntion of matter at work while around the Odeon float in the\\nair, as if subtilized, philosophical ideas, transcendent calcu-\\nlations and Homeric verses. In Paris the skies, clouds,\\nand swarming stars associate themselves with the aspects\\nof the city in the manner of stones, and these stones them-\\nselves are moulded and modelled by all the active and fruit-\\nful thought that has moved about them during the day.\\nHe who, at night, walks about the silent and almost\\nempty Paris knows more about the movements of souls\\nand the reality of things than if he had listened to many\\nconversations and turned over a great heap of documents\\nfor at that hour ideas are imbibed and inhaled in the still\\nvibrating atmosphere. Yes, it is good, it is wholesome,\\nand it is profitable to wander there during the night but\\n351", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0455.jp2"}, "456": {"fulltext": "352 PARIS\\nneither is it bad to walk about during the day and mix\\nwith the people, with the throng, with the vast human\\nwave, which, like that of the sea, tells its secret without\\nspeaking and only by its agitation and melodious murmur.\\nIf our ministers are never kept informed of anything, it is\\nbecause they do not see the street, nor the pavements, but\\nlive imprisoned in interiors decorated in the worst style of\\nthe empire.\\nTo-day the governments have their feet stuck down to\\ntheir carpets with wax but this hourgeoise and domestic\\nmode is relatively recent. King Louis-Philippe, whose\\nclassically curled forelock casts a comic shadow over his-\\ntory, always carried with him an umbrella that has become\\nlegendary; this certainly proves that he did not fear to\\nwalk abroad, for doubtless he did not yoke himself to this\\nscarcely heroic though useful article to stroll through the\\napartments of the Tuileries. His young and charming son,\\nthe Due d Orleans did not disdain to climb stairs, to\\nenter the rooms of writers and the studios of artists, which\\ncounted for much in the great movement of 1830, for it\\nwas an enormous encouragement to all those who lived\\nby thought to know that their works were known and un-\\nderstood in the palace where the destinies of France were\\nshaped. Before these, an essentially ambulatory prince,\\nNapoleon I., wrapped in his big overcoat, liked to chat with\\nthe merchants in their shops, to stroll with the crowd, to\\npass along with the others and to laugh at liberty at the fibs\\nthat his minister of police told him. He was no stranger to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0456.jp2"}, "457": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0457.jp2"}, "458": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0458.jp2"}, "459": {"fulltext": "THE STREET 353\\nthe street because he had known it of old, and in the only\\nway in which one can know it well, that is to say by being\\npoor. He had wandered about without a sou^ and not hav-\\ning it, he had grown so accustomed not to put any money\\nin his pockets that later when he had plenty, being the\\nmaster of the world, he still continued not to put it in\\nhis pockets, which sometimes exposed him to the strangest\\nadventures. But in that way, at least he could contem-\\nplate Truth entirely naked and not muffled in a thousand\\ntinsel lies as she was exhibited at the Tuileries.\\nAh if the artist and the poet want to know the exact\\nvalue of their glory they have only to go outside and look\\nat their inventions in full sunlight, and they will see im-\\nmediately whether they have modelled living figures or\\npale phantoms. The women, who, in every respect, have\\ninfinitely more good sense than we, never content them-\\nselves with the shadows, and want their prey all palpitating\\nand bleeding, know very well where the applause that\\ncounts and real adoration are to be found. If they want\\nto know the extent of their beauty and power, they trust\\nneither the interested falsehoods of their friends, nor the\\nenvenomed politeness of the salons but they believe in\\nthe effect that they produce in the street with their beauti-\\nful toilettes, they are reassured by the admiration that is\\ninvoluntarily expressed with tremendous oaths; and from\\nthe duchess who goes to Saint-Thomas-d Aquin, with\\nher chaste and pious gait, to the brazen and melancholy\\nprowler of the outer boulevard, ail the women are satisfied", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0459.jp2"}, "460": {"fulltext": "354 PARIS\\nif they please the incorruptible street public, the only one\\nthat does not take will-o -the-wisps for lanterns, nor buy a\\npig in a poke.\\nBaron Haussmann, like a modern Hercules, knew how\\nto clean the sewers and make rivers flow through foul\\nstables. He has given us air and light he created capital\\nby making land of value that was disdained till that time,\\nand in sum, he was endowed with a certain genius for\\nbuilding but his mind was lacking in one thing, he could\\nnever understand the soul of Paris. When his mad and\\ndrunken pick overthrew the Boulevard du Temple, he\\nthought he had destroyed nothing but theatres but his\\ncrime was much graver, he had sterilized the dramatic\\ngenius of France for a long time. No pieces without\\nactors, this is an elementary axiom; now, why were there\\nso many great comedians at that day and why are there\\nfewer to-day Remember that open space on the boule-\\nvard glittering with lights, swarming, streaming and\\ncrowded with busy shops, where an infinitely diversified\\nParisian crowd, elite and popular at the same time, but\\nardently attached to the theatre, ceaselessly lounged and\\nmoved about The actors passed along there on their way\\nto their art, their duties and their triumph they passed by,\\nno longer travestied and painted, dressed up in an artificial\\ncharacter, but having become themselves again under their\\nown natural figure, among the people who loved them,\\nknew them and lived with them inside and outside the\\ntheatre. To pass through this crowd was the redoubtable", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0460.jp2"}, "461": {"fulltext": "THE STREET 355\\nand decisive proof; for, if the artist had acted well on the\\nprevious and other evenings, he was saluted by long friendly\\nlooks; but if, on the contrary, he had been lacking in\\nsincerity, if he had abandoned himself to conventionality\\nand easy effects, he was met by that gloomy indifference\\nat which heroes and kings themselves are inconsolable.\\nAh at such a time what cared a Deburau, a Frederick,\\nor a Dorval for the jealousy of his rivals, the ill-humour\\nof the papers, or the strained admiration of fashionable\\npeople when the Parisian cast a glance at him that said\\nI am pleased with you All this world, actors and\\nthrong, were thick as thieves and lived in a true com-\\nmunion. To-day they are strangers to one another, they\\nno longer know one another, and the Muse also does not\\nknow them, because they are no longer gathered together\\nand united in ideas in common for love of her.\\nThe Street knows everything, and foresees everything,\\nand without her, nobody knows anything. If, notwith-\\nstanding many excellent and superior masterpieces, modern\\ncomedy has not succeeded in painting modern life, it is be-\\ncause, by a false idea of dignity, by prudery to speak plainly,\\nshe has imprisoned herself in the salons and the common\\npeople are unknown to her. Moliere s comedy, like Shakes-\\npeare s and Aristophanes knows the streets and yields\\nherself to the kiss of the sunlight. Ours, muffled up, up-\\nholstered and barricaded between folding-screens, does not\\nknow whether it is winter or summer, day or night, nor\\nwhether the place in which she dwells is a populated city or", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0461.jp2"}, "462": {"fulltext": "35^ PARIS\\na desert. She is c\\\\ cii absolutely ignorant whether there has\\nbeen a revolution or if the form of government has\\nchanged.\\nThis is like our deputies, moreover. For shut up in\\nwhat, by blameworthy ignorance of the French language,\\nthey persist in calling an cnceinti., one might burn Paris and\\nscatter its ashes to the four winds of heaven without their\\nknowing anything about it.\\nAh the meanest Gavroche, an habitue of the pavement\\nand companion of the wandering sparrows, is a historian\\nand a politician far more than they. By the attitude and\\nby the greater or less ardour of the enthusiasts who tear up\\nthe first paving-stone, he knows immediately what is com-\\ning and whether it is a matter of an affray, a riot or a revo-\\nlution. He is also a very good art critic j for him, the\\ngoddess of the Rude, flying, cuirassed with scales, shouting\\nher refrain through the affrighted skies, is the real Marseil-\\nlaise^ whilst certain ladies in marble, crowned with ears of\\ncorn or stars, represent to him not the Republic but merely\\nastronomy or agriculture.\\nAt the new Hotel de Ville, standing in their niches, the\\ngreat Parisians are in full view so that for them the judg-\\nment of posterity has been made. There are certain among\\nthem who are at home there and natural, and others who\\nwill be stupefied and eternally in a strange land. The peo-\\nple adopt those who in their souls were sincerely of the\\npeople those, on the contrary, who lied, courted popularity,\\nand proffered vain words will always look as if they are", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0462.jp2"}, "463": {"fulltext": "THE STREET 357\\nwondering where they have left their hats and are only\\non a visit. The pavement does not know them, has not\\nwanted to learn their names and disowns them.\\nWhen you have shut yourself up in the enceinte^ you\\nnaively imagine that the questions of ministers, men and\\ncabinets are real questions, and that the breast of commissions\\nis a real breast capable of suckling some one or nourishing\\nsomething go down into the street and without any one\\nhaving to teach you the lesson, you will immediately see\\nthat there are many other fish to fry. You will see all\\nthose people, men, women, old men, and children going to\\ntheir task, courageous and sad because they are anxious to\\nwork with all their strength, but notwithstanding their\\ncourage they see before them the ever-threatening spectre\\nof hunger. You will see, alas, vice devouring such youth-\\nful prey that its cannibal feast makes the stones weep. I\\nam quite aware that these pale young girls might go and\\nask for work at the Bon Marche, or the shops of the\\nLouvre but perhaps they would be told that the places\\nwere already filled.\\nIn any case, go down into the street and walk about and\\nit will be time well spent. Long ago an author who trem-\\nbled with fear on his way to the Opera-Comique, where a\\npiece of his was to be played, and who had the dramatic\\nauthor s colic, was radically cured of his ill on crossing the\\nPlace des Victoires, where men with bloody arms were car-\\nrying the Princesse de Lamballe s head on the end of a\\npike. You will not see such spectacles to-day, but you will", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0463.jp2"}, "464": {"fulltext": "358 PARIS\\ncome across others that will have their value. You, sir,\\ninfatuated with your novel that seems to you to be superior\\nto Iliad, or with your sonnet that you prefer to those of\\nRonsard, on noticing that there are many more mouths\\nthan loaves and many more feet than shoes, you will have\\nfood for reflection. You will also realize that in the open\\nair certain great men are no longer great, just as certain\\nbeautiful women are no longer at all beautiful, and you will\\nperceive that in the salons they make you swallow anything\\nthey like, but that the street is not so silly.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0464.jp2"}, "465": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0465.jp2"}, "466": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0466.jp2"}, "467": {"fulltext": "PLACE DE LA CONCORDE\\nRICHARD WHIT KING\\nTHE Place de la Concorde is one of the most beau-\\ntiful and effective in Paris, both for the views it\\ncommands the Church of the Madeleine, the\\nArc de I Etoile, the Chamber of Deputies, the Garden of\\nthe Tuileries, etc., etc. and for its ample size and embel-\\nlishments. Of the two large buildings to the north facing\\nthe Chamber of Deputies, the one to the right, looking\\ntoward the Madeleine, is the ministry of marine, that to\\nthe left (in part) a clubhouse, and for the rest a private\\nresidence. The Place has undergone many transformations,\\nbut it was laid out as it stands now under Napoleon III.\\nIt was the scene of the awful accident at the marriage re-\\njoicings of Louis XVI., when a terrified rush of an excited\\ncrowd resulted in as much slaughter as a great battle, killing\\ntwelve hundred outright and wounding twice as many more.\\nLater on, the guillotine of the Revolution occupied this\\nspot and here perished Louis XVI. and Marie Antoinette,\\nCharlotte Corday, the Girondins, Philippe-Egalite, Danton,\\nCamille Desmoulins, Robespierre, Saint Just, and nearly three\\nthousand others, all in about two years. In 1814 Prussian\\nand Russian troops were bivouacked in the Place, in 18 15\\nEnglish troops, and in 187 1 Prussian troops again. There\\nwas desperate fighting here during the Commune, and the\\n359", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0467.jp2"}, "468": {"fulltext": "360 PARIS\\nbarricade of the Rue Royale, the street leading to the Made-\\nleine, was one of the most formidable in Paris. The beau-\\ntiful obelisk of Luxor in the centre was presented to Louis-\\nPhilippe by Mehemet Ali, and the French engineers were\\nnot a little proud of their success in transporting it to France\\nand setting it upon its pedestal. Intaglios on the granite\\nbase illustrate the method of transport and removal, and this\\nis further exemplified by detailed models in one of the\\nmuseums. The monolith belongs to the epoch of Rameses\\nII, (Sesostris the Great), in the Fourteenth Century b. c, and\\nit records his achievements as Lord of the Earth and Anni-\\nhilator of the Enemy. The eight-seated figures\\nround the Place are, or were when they were done, repre-\\nsentative of the eight chief towns of France Lille, Stras-\\nbourg, Bordeaux, Nantes, Rouen, Brest, Marseilles, and\\nLyons. Strasbourg (in the northeast corner near the Tuil-\\neries), it will be observed, wears perpetual mourning of\\nfuneral wreaths on account of her separation from the\\nmother country. The space in front of this statue is often\\nthe scene of patriotic demonstrations.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0468.jp2"}, "469": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0469.jp2"}, "470": {"fulltext": "l\\\\k- \\\\C 7;\\n/7 \\\\7\\n^vTVr vrVJ", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0470.jp2"}, "471": {"fulltext": "PLACE DE LA CONCORDE\\ntMophile gautier\\nIN crossing the Place de la Concorde do not neglect to\\nthrow a glance at the fountain.\\nYou will see between other figures more or less\\nallegorical and mythological, the Triton and Tritonne by\\nAntonin Moine.\\nIt is indeed the true Triton of the opera as Boucher and\\nVanloo understood it; nothing more undulous, more sug-\\ngestive of the sea, more glaucous and more squamous\\ncould be imagined.\\nThe Nereid is wreathed with scallops, corals, and sea-\\nweed in infinite taste her bracelets and necklaces of shell-\\nwork give her a great richness of ornamentation, which is\\nperfectly harmonious with a decorative figure. The other\\npersonages, seated in a circle under the basin of the foun-\\ntain, like the old clothes-dealers of the market-place under\\ntheir umbrella of red linen are not at all elegant, and by\\ntheir rigidity and awkwardness contrast with the disinvol-\\nture and the vivacity of Antonin Moine s statues.\\nThe water is thrown from the mouth of fishes, dolphins,\\nand other designs from the ocean, conveniently pierced\\nwith holes for this purpose.\\nWhen the figures of the piedouche can only be seen\\n361", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0471.jp2"}, "472": {"fulltext": "362 PARIS\\nthrough the crystal fringe and the shower of pearls which\\nfall from the upper basin, the general aspect does not lack\\na certain tufted and rich effect.\\nWe have waited for water-works with impatience, for\\nwhat above all else characterizes monuments of this species\\nis the complete absence of what our fathers called the humid\\nelement in a fountain there is always bronze, iron, lead,\\ncement, and cut stone there is everything except water.\\nIn Paris, the use of the fountain is a true sinecure how-\\never, this is so near the river that it would take only a very\\nill will to make it dry she will have much to do even with\\nthe aid of her sisters to refresh the disheartening aridity of\\nthis Sahara of dust and melted bitumen where the prome-\\nnaders get caught and stuck by the feet like flies upon raisin e\\n(preserve of grapes and pears).", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0472.jp2"}, "473": {"fulltext": "THE tLYStE\\nARSkNE HOUSSATE\\nWE are in 1728, five years after the death of the\\nRegent. A prince of the house of Bouillon,\\nthe Comte d Evreux, has ordered the archi-\\ntect, Mollet, to build him a palace worthy of a Highness, a\\nminiature Versailles on the Faubourg Saint-Honore.\\nSeventeen hundred and twenty-eight O flourishing\\nyears of royalty Louis XV. is reigning. Cardinal Fleury\\nis governing; all around, France is amusing herself. At\\nthe Comte d Evreux s, as at so many other lodges haunted\\nby the demigods of the court, wine flows, women are beau-\\ntiful, and philosophy is smiling Lagrange-Chancel would\\ngrow indignant on watching all these stepsons, titled cour-\\ntiers of Trimalcion, who perhaps the next night will sneak\\ninto Locusta s on listening to all these railing madmen\\nwho hum such biting couplets against the patriarchs of\\nGenesis and the apostles of the New Testament As for\\nus, let us laugh Madame de Tencin also, purple with\\nerudition and the wine of Romance, has sworn that in less\\nthan a month she will submit to the company a methodical\\nplan of Greek and Roman recreations, in which the\\nactors will be costumed according to the nature and spirit\\nof their parts Jean Baptiste Vanloo is in ecstasy over all\\nthese couples whom he will reproduce with the sentiment\\n363", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0473.jp2"}, "474": {"fulltext": "364 PARIS\\nof an amorous page; and, amid clinking bott!es and ex-\\nchanged kisses, if a stoic had the courage to scowl with his\\nmorose brow, he would hear issuing from the walls and\\nceilings like an echo of eternal wisdom these subtle words\\nby an ambassador who had been admitted to an entertain-\\nment of Leo X. Buona Persona^ ma vuole viveve\\n(Good persons, but who want to live\\nThey want to live, all these guests of a soiree that is\\nrenewed every evening in the palace of the Comte d\\nEvreux, and they would want to live still more when the\\nComte d \u00c2\u00a3vreux is no longer master in that house For\\nthe new owner of Mollet s masterpiece is not made to let\\nthis temple of gay knowledge and gay adventure be idle.\\nAfter the Comte d Evreux the house belongs by purchase\\nto Jeanne Poisson, Madame de Lenormand I Etioles, to\\nher who by the effort of her will and the magic of her\\nsweet face has become, by increase. Marquise de Pompa-\\ndour, President of Paphos and Archduchess of Cythera.\\nOn the eve of Fontenoy, in spite of Madame de Prie,\\nMadame Vintimille, and Madame de Mailly, when the\\npeople, who nevertheless knew the good Marie Leczinska,\\nstill called Louis XV. their Well-Beloved King, Madame\\nde Pompadour installed herself, like an encyclopaedist\\nAstrsa, in this Forez des Champs Elysees, and she abol-\\nished the enclosures and extended the gardens at pleasure\\nIn fact, deepen yourselves, ye light shadows under which\\nso many Daphnes and Amaranthes have already sported\\nLike that odorous cloud of Homeric Ida, screen those", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0474.jp2"}, "475": {"fulltext": "THE ELYSEE 365\\nscenes of confused disorder in which the king deceives the\\nqueen and Jeanne Poisson deceives the king If it may\\nbe, let us ignore forever those silvery nights when the lady\\nis going to yield herself a willing captive to the gallant\\nspeeches of that devil of a fellow, Gentil-Bernard, fine,\\nfalse, and courteous, like a hrelan of Dauphinois seeking\\nfortune Let us not see, like an abbe de Choisy and an\\nabbe de Gondi rolled into one, the abbe de Bernis lying in\\nwait for his cardinalate in the semi-royal oratory and paying\\nthe earnest money of a European war with a song Pass\\non quickly, Voltaire, ironical flatterer of all these im-\\nprovised majesties whom, you well divine. King Voltaire\\nmust survive Pass on, for this time your lips, usually\\nbetter inspired, would only whistle an impertinent distich\\nupon Pompadour-Pompadour ette Pass on quickly, Mar-\\nmontel your new Conte moral is too immoral for our cir-\\ncles of the present day who no longer value morality\\nPass on quickly, petulant Cresset, and you, Eschyle-Crebil-\\nlon, and you also, Salluste-Duclos Pass, fleeting stars\\nthat from all Europe come almost all together to shine\\nupon this magnetic roof! Pass, Hume, Galliani, and the\\nothers Elsewhere I would willingly salute you else-\\nwhere it would please me to recognize what generous at-\\ntraction draws you to Paris, as Dante, Tasso, Lope de Vega\\nwere drawn before you, and Shakespeare also, I hope But\\nin these verdurous surroundings, so near that edifice cer-\\ntainly dedicated to mysterious Graces, even when to your\\nselect troop is added one of the familiar oracles of the free", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0475.jp2"}, "476": {"fulltext": "366 PARIS\\nschool, M. de Montesquieu celebrating vespers in the\\nchurch of Guide, instead of you in this garden I should\\nlike to meet some gallant of twenty years fastening his\\nsilken ladder to the gratings, and with his personal poetry\\ncreating a Beatrice, a Laura, or a Juliette, under this\\nfrivolous reign of Madame la Marquise de Pompadour,\\non the eve of the libertine reign of Madame la Comtesse\\nDubarry.\\nThe Marquise often came to charm away her ennui in\\nthis garden that she had made a park of. Here she relaxed\\nafter too closely working over some etching Here to the\\nspring breezes she opened her breast, irritated under the\\ndouble ladder of its rose ribbons, after some incendiary\\nluncheon eaten, in spite of Dr. Quesnay, expressly to bal-\\nance the growing influence of Mile, de Romans and to\\nparticipate in the tastes of the master!\\nOn the death of the Marquise, her mansion fell to her\\nbrother, M. de Marigny, of whom there is nothing to say\\nexcept that in his capacity as superintendent of buildings\\nhe worked a good deal for the embellishment of the city\\nand that he had the merit of remaining a very honest man\\nbeing the brother of a favourite, such a short time before\\nJean Dubarry And then from the hands of M. de\\nMarigny, the Hotel d Evreux reverted, by a natural trans-\\nmission it seems to me, to the royal domain which arranged\\na series of apartments there furnished for the ambassadors\\nextraordinary to the Court of France, and which provision-\\nally lodged there the crown jewels and chattels, the monu-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0476.jp2"}, "477": {"fulltext": "THE ELYSEE 367\\nment of the Place Louis XV. not yet being completed.\\nAbode of M. de Marigny or jewel safe, the Elysee matters\\nlittle to us for what decides the destiny of dwellings is\\nonly the imprint left upon them by memorable tenants. But\\npatience The Hotel d Evreux is about to resume its\\nrights in our interest, and the new chapters of its history\\nwill naturally join these brilliant prologues that illumined\\nthe most brilliant years of the Eighteenth Century with a\\nvoluptuous glow.\\nIn 1773, M. de Beaujon, the Samuel Bernard of a more\\nprodigal generation, the intelligent Turcaret who willingly\\nentered into bonds of friendship with Lesage, bought from\\nthe king this magnificent inn of extra-official diplomacy\\nwhich had become almost useless, thanks to the discredit\\ninto which the already moribund monarchy had fallen in the\\neyes of Europe.\\nUnder the protectorate of the financier, the mansion in-\\ncreased still more and adorned itself. The labours of\\nBoullee, one of the Mansards of the day, agreeably com-\\npleted the work of Mollet, and the Praxiteles of the time\\nwere all occupied in peopling the groves. But why so\\nmany armed Cupids under the boughs Their arrows\\nwould scarcely trouble the heart of the farmer of the reve-\\nnue, or of the facile beauties he harboured. If La Guimard\\nand La Dervieux left the diabolical Paradise of the Rue\\nChantereine to amuse themselves in these alleys and grot-\\ntoes if by their side more than one Cydalise of high rank\\nforgot all the quarterings of her nobility and of her virtue", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0477.jp2"}, "478": {"fulltext": "368 PARIS\\nill the Hotel Beaujon, it was not love that led or held them\\nthere. Love will never have the courage to become a\\nclerk under M. Beaujon, the banker\\nFor the rest, it is not in his halls or park that Nicolas\\nCroesus cared to seek that salutary dew of the heart that\\nmakes amends for millions; he pursued the divine illusion\\nof desire further up in the faubourg that he enriched and\\ncreated, beside that hospital that still reminds the poor of\\nthe name of that rich man who took the trouble to place\\nLazarus at his side. In his mansion M. de Beaujon ap-\\npears to us at a distance, not as one of those philanthropists\\nwho had lived for the good of all, but as one of those\\nwearied ones who have lived without profit to others and to\\ntheir own disgust not like a Necker more useful and less\\npedantic, but like a Pococurante, sadder even in his Paris\\nthan the amphitryon of Candide ever was in his Venice\\nIn 1786, a new owner and new fortunes The last\\nDuchess of Bourbon with her princely ascendancy purified\\nthese walls that still reeked with the scent of vulgar amours\\nand parvenue opulence. In the Hotel Beaujon she is truly\\na queen in her place. The other queen sometimes stayed\\nin this Parisian Trianon, proud to govern here more by her\\nwhite hand and her delicate wit than by the right of her\\ndoubly royal birth. Oh if a painter could only portray\\nfor us one o( those /etes in which the queen of France was\\nmerely Marie Antoinette, and Cagliostro s oracles had no\\nfatality in them, nor M. de Lauzun s vows anything in-\\ndiscreet Outside, the noisy gaiety of the Parisians rack-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0478.jp2"}, "479": {"fulltext": "THE ELYSEE 369\\neting in the Place Louis XV. and at the spectacles of the\\nSaint-Ovide fair prevents the Archduchess of Austria from\\nrecalling, like a sinister vision, the fatal firew^orks that sad-\\ndened the people during the solemnities of her arrival in-\\nside, Florian rhymes, Gretry sings, Chamfort rails, the\\nComte d Artois smiles on everybody, the Comte de Prov-\\nence meditates a quatrain, the Comtesse Jules is in high\\ngood humour, Madame de Lamballe multiplies her innocent\\ncoquetries and the Duchess of Bourbon is enchanted at the\\nenchantment of all her guests But painters are hardly\\nwilling to draw such portraits they tremble lest before the\\nwork is finished they see the spectre of the gardener Sanson\\ncutting ofF the heads of so many amiable creatures who\\nwould still like to live, and embalming the whole bunch of\\nthese fair roses in the warm blood of his basket.\\nThe Revolution laid its hand upon the delicate sessions\\nof the palace where so brilliantly blossomed the prosperity\\nof the last heir but one of the Condes. The\\nTuileries were disinherited of the memories that had been\\ninscribed there throughout by the descendants of Henri\\nIV. and the palace of Cours-la-Reine was dispossessed of\\nthe charming prestige in which it had been enveloped by\\nthat princess of an enchanted isle, Madame la Duchesse de\\nBourbon.\\nNevertheless 1793 was not a bad year for the Hotel de\\nPompadour and de Bourbon. At that day it was declared\\nnational and there is nothing in that to make us indignant.\\nThat is fate, the common shipwreck j but the day when", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0479.jp2"}, "480": {"fulltext": "370 PARIS\\nthe guillotine came to a halt, the day when, instead of\\nThermidorian barkings, Paris heard lispings of the gilded\\nyouth, the day when Therezia Cabarrus forgot her old\\ncharacter of conventional Themis and resuscitated Venus\\nfor the Directory and the directors, the mansion should\\nhave fallen into ruins and the echo of the gardens should\\nhave prolonged its maledictions in thunder-claps for,\\ntruly, if we pity the young captive, if Mile, de Coigny,\\ncondemned to the gross familiarities of Saint-Lazare,\\nmoves us like Polyxena or Jeanne d Arc herself, why should\\nwe not also have tears for this monument of so many\\ngrandeurs of a whole century, which, as the century was\\nending, became a public ballroom There where used to sing\\nso many of those birds that found good supper and good\\nlodging in Madame de Pompadour s downy nest there\\nwhere Voltaire Apollo imposed the tune and rhythm upon so\\nmany obedient lyres, we must now listen to the bow of the\\nmanager of a hostelry ball. In those glasses, that mirrored\\nthose rare persons of whom pastels after a hundred years\\nstill translate for us a flowering legend of elegancies and\\npassions, in those glasses, the Atheniennes who beg from\\nBarras dare to look at themselves. They run toward that\\ngarden, toward that \u00c2\u00a3lysee (they called that the \u00c2\u00a3lysee, a\\nbacchanal in which Homer would not have dared to com-\\npromise Thersites toward that hamlet of Chantilly (they\\nevoked the images of the noble castle in which Conde\\nwept, and Bossuet surpassed Demosthenes, and the abbe\\nPrevost taught French to Manon, to form a cortege to", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0480.jp2"}, "481": {"fulltext": "THE ELYSEE 371\\nthose infamous heroines who would have refused inter-\\ncourse with the chamber women of the great century),\\nthey ran, those Agaves at the Revolution that is halting,\\nperorating upon Greece and representing to the utmost\\nthe evil days of decrepit Rome howling lechery in the\\norgies of the good goddess j they come, a worthy escort to\\nthose female Olympians of carnival, whose fathers have\\nspoken beneath the knife and died while insulting the axe,\\nthe club-women of Clichy, sterile progeny of the Cazalis\\nand the Sombreuils; they come upon the steps of Madame\\nTallien to dance to the honour of the victims. Entire Paris\\nis at work in debauches of the kitchen and the dance the\\nElysee is one of its favourite little houses it is here that\\nthey set off the fireworks that with the most vivid gleams\\nlight up all those deliriums and all those abasements of the\\nFrench conscience. Let us not linger too long over this\\npicture, and in order that we may retain only an agreeable\\nimage of the palace that has kept the name of L \u00c2\u00a3lysee,\\nlet us picture to ourselves, mingling with those groups and\\nconspiring the defeat of all hearts, the two new virtuosos\\nof Parisian coquetry, Madame Hamelin, the Creole, and\\nMadame Recamier of Lyons. They pass one, the more\\nprovoking, more rapid in the play of glances and in burn-\\ning lip sallies the other, more gentle, more secret, more\\nmelodious they pass in a moment both are going to\\ndance that shawl dance in which they excel, and when they\\nstop fatigued by the motion and still more tired by the\\nplaudits than by their voluptuous undulations, they will fall", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0481.jp2"}, "482": {"fulltext": "372 PARIS\\nupon those low divans in those somewhat mysterious\\nboudoirs where they will repose to the music of orchestrated\\ncompliments by those two great flatterers, Garat who has\\njust triumphed at the clavecin, and General Bonaparte who\\nhas just triumphed at Toulon.\\nGeneral Bonaparte Do not hope henceforth to escape\\nthis name that fills every corner of the history of Paris\\nand of the world.\\nIn 1803, Murat buys the profanated palace. On this\\neve of the Empire, the brother-in-law of the future em-\\nperor, with his somewhat gorgeous genius, arranges for him-\\nself a dwelling for a prince of the blood. It is there that\\nthe Ajax, the Turnus of the modern epic, furbishes his\\narms, dreams of a throne and in a facile intermediary of\\nhappiness seeks the secret of his future exploits. About\\nhim Victory sounds her clarions and Love sighs his elegies.\\nBlangini takes notes for a romance for Princess Borghese\\nwho tarried in Canova s studio, Caroline-Andromache al-\\nready esteems herself more than a queen since she reposes\\non the tenderness of her Hector, her Joachim, and the em-\\nperor is pleased to steal a few hours from the universe\\nto give them to these quotidian solemnities of the\\npenates.\\nWhen Murat, the soldier, had become a king, the em-\\nperor who loved the \u00c2\u00a3lysee appropriated it, and after 1808\\nit was one of his favourite abodes. There he could con-\\nverse with his confidantes and even with those audacious\\nintelligences rebellious to his sceptre whom he did not", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0482.jp2"}, "483": {"fulltext": "THE ELYS^E 373\\nhate as much as has been believed. There you come O\\nFontanes, Talma, Cambaceres, Reynouard, and yourself O\\nDuels, gentle misanthrope There the infant who did not\\nreign over Rome tried his first steps before his delighted\\nfather There, perhaps, the sublime partitioner divided the\\npatrimony of Russia among the children who were not\\nand never would be born There also, on that sinister\\nnight of June 21, 18 15, he alighted a passenger, already\\nalmost a fugitive, coming to announce to Paris that it was\\nin vain that he had conquered at Ligny, at Charleroi, at\\nQuatre-Bras, and that it would be well to interrupt the Te\\nDeums and more fitting to intone a vast De Profundis on ac-\\ncount of Waterloo and crucified France There perhaps\\nthe overthrown giant tasted the last intoxication of his\\nmajesty.\\nA few days afterward, the fallen abandoned the \u00c2\u00a3lysee\\n(and then Malmaison for Rochefort), Napoleon II. was\\nplaced in the care of an Austrian commissary and mean-\\nwhile the \u00c2\u00a3lysee was bannered with white and Alexander\\nof Russia took up his quarters in the Palais de Bourbon,\\nleaving the Rue Saint-Florentin and the Hotel de I lnfan-\\ntado in which M. Talleyrand, delighted to take one oath\\nmore, had offered him a costly hospitality.\\nIn those days Juliana de Wietinghoff, otherwise named\\nMadame de Krudner was, (as who does not know the\\nAgnes-Egeria of Alexander, and, after having inspired him\\nin the camp of the Plain of Virtues, she doubtless came to\\nevangelize at his side in the halls of the Ely see. She had", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0483.jp2"}, "484": {"fulltext": "374 PARIS\\nmost probably passed through them on her first journey to\\nParis when she wrote the romance of her life and when\\nM. Michaud was her shepherd, a shepherd in whom there\\nwas nothing pastoral but the name! Then the \u00c2\u00a3lysee\\nwas the Hamlet of Chantilly the scenes that occurred\\nthere were scarcely mystical, and ill-befitted the nature of\\nMadame de Krudner, that seraph full of sins. And yet in\\n1 8 15 she must have regretted the Hamlet of Chantilly and\\nits pomps, for that was to regret her lost youth, the spring-\\ntide evenings when she placed upon her blonde tresses\\nthose mauve garlands that only suited Valerie That was\\nto regret the magic exercised not upon the mind of an\\nemperor with the aid of a political Utopia, but worked by\\nthe aid of a pair of beautiful eyes upon the hearts of those\\ncourtiers of Beauty, M. Michaud and M. Alexander de\\nStackieff. O Elysee O shelter of all the decadences\\nYou had seen Madame de Pompadour sad, M. de Beaujon\\nweary, and the Sparta of 93 turning to the Paphos of 98\\nyou had seen Napoleon vanquished It was left for you\\nto see the despair of a romantic coquette who was growing\\nold!\\nMadame de Krudner did not long sigh the elegy of her\\nfled youth in the chambers of the \u00c2\u00a3lysee in which the\\nemperor had wept over the lost throne of the universe.\\nAlexander took the road for St. Petersburg, and the Elysee\\ncame into the hands of the Duke of Berry, not, however,\\nwithout having been traversed for a few weeks by the\\ncavalier steps of that Lovelace general. Sir Arthur Welles-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0484.jp2"}, "485": {"fulltext": "THE ELYSEE 375\\nley, Duke of Wellington. Is it necessary to recall that\\nthe Duke of Berry paid his tribute to the evil fortunes of\\nthe place. In vain (and here it is M. de Chateaubriand\\nthat speaks) Son of Saint-Louis, last scion of the ancient\\nbranch, he escaped from the crosses of a long exile and\\nreturned to his country he began to taste happiness, he\\nflattered himself that he was beginning life ^new and at\\nthe same time seeing the monarchy born again in the in-\\nfants that God promised j all at once he is struck in the\\nmidst of his hopes, almost in the arms of his w^ife The\\nsinister drama of February 13th, 1820, that regicidal scene\\nthat came v^^ith so terrible a denouncement to close the joy-\\nous fairy scenes of a fashionable ballet, w^as played at the\\nOpera; but it vi^as at the Elysee that the counter blow\\nof Louvel s work sounded so heavily. From there the\\nprince had set out full of life he returned thither a bleed-\\ning corpse for the despair of his Caroline and for the\\neternal grief of what was yet unborn. There, seven\\nmonths after the fulfillment of this destiny, the Duke of\\nBordeaux came into the world, condemned in advance to\\nthat bitter chalice that all the sons of a king must empty\\nin turn, and that night did not the little red man of the\\nElysee keep vigil, prophesying over that cradle the lugubri-\\nous oracles that he had doubtless cast over those infants\\nsacred and stricken before this new arrival, Louis de\\nBourbon, King of the Temple, and Napoleon II., King\\nof Rome\\nThe Duchess of Berry did not leave this palace she", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0485.jp2"}, "486": {"fulltext": "376 PARIS\\nwished in accordance with the apostle that grace should\\nabound where even fatality had abounded. Until 1830,\\nMarie-Caroline in her Elysee was the true queen of\\nthe land of France, a daughter of Henri IV., she has been\\ncalled, who, by her love of the arts, made herself a daughter\\nof Francis I. If she went out of this retreat whither she\\nattracted all the Muses, it was to go to the Salon, or the\\nOpera, or the Gymnase to stimulate, with a tear or a smile,\\nthe fertile zeal of her favourite artists Horace Vernet, Rossini,\\nor Scribe. After these excursions in search of pic-\\ntures, poems or operas destined to solace her regrets, she\\nreturned to her Elysee to give the signal for those fetes\\nthat were never conducted without romantic pomp or art\\nthe Avenue de Marigny glittered, carriages choked all the\\napproaches, and within the mistress of the house with her\\ndoubly royal affability received the most refined society\\nperhaps that could be brought together under princely aus-\\npices since the apotheses of the Roi-Soleil Alas in one\\nof these tourneys of elegance in which Madame de Berry\\nentertained Paris, she amused herself in wearing for a whole\\nnight the brilliant costume of Mary Stuart. She was to\\nknow to the very depths this role that had pleased her\\nmelancholy fancy. O illustrious captive of Blaye O\\nMarie-Caroline-Ferdinand of Sicily, it is again your lawyer\\nM. de Chateaubriand who I am going to ask for all your\\ntitles, widow of Berry, niece of the late Marie Antoinette\\nof Austria, widow Capet.\\nAfter 1830 the history of the Elysee halts for eighteen", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0486.jp2"}, "487": {"fulltext": "THE ELYSEE 377\\nyears J the building belongs to the civil list and let the\\ncivil list dispose of it as it will, it matters little to us who\\nhave been the masters of ceremony of all these famous\\nhosts and adored hostesses. After the Comte d \u00c2\u00a3vreux,\\nand Madame de Pompadour, and the financier Beaujon,\\nand the Duchess of Bourbon, and the Goddess of Reason,\\nand Murat, King of the Two Sicilies, and Napoleon King\\nof the world, and Alexander of Russia, scourge of Na-\\npoleon in the hands of Providence, and after the Duchess\\nof Berry I do not care to paint silhouettes that are not\\nfaces.\\nThe revolution of 1848 opened the closed doors of the\\nElysee with a great noise. During the first dangers of\\nFebruary, the commission of patriotic grants held its sit-\\ntings there then, when the will of the nation had called\\nto power him who was to reconstitute the country or\\nrather to create a new France, Prince Louis-Napoleon\\ncame to dwell in the Elysee and gain inspiration there from\\nthe counsels left throughout these eloquent walls by One\\nwho did not all die on May 5, 1821. In 1849, dur-\\ning the two following years, the prince reanimated its\\nsleeping echoes. The soirees of the \u00c2\u00a3lysee were like a\\nuniversal predestined country wherein those learned to\\njudge and love each other who were to serve in every order\\nof activity and thought the great designs of the emperor\\nof peace.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0487.jp2"}, "488": {"fulltext": "ARC DE TRIOMPHE AND CHAMPS\\nELYSEES\\nEDOUJRD FOURNIER\\nTHERE is no city in the world that can boast of an\\nentrance comparable for majesty and grandeur to\\nthat which Paris presents when we enter by the\\nbarriere de PEtoiie. No city ever announced herself better,\\nnor promised so well at the outset what she would keep\\nlater on in variety of aspect, extent and animation of view\\nand monumental splendour. The Jrc de Triomphe de la\\nGrande-Arm ee^ for that is its real name, is, doubtless, the\\ngrandest homage to martial glory. Thus considered, this\\nmonument is striking and imposing but, if one examines it\\nfrom its proper point of view, that is to say as the entrance\\nto Paris, and, forgive this entirely architectural word, as the\\nfrontispiece of the enormous city, we should perhaps have\\nto admire it still more.\\nWhat is strange is that this structure, which owes its\\nmost incontestable beauty to the unity of the whole and the\\nlearned art with which the proportions of the mass have\\nbeen arranged, has suffered, during the long and varied\\nphases of its construction, all the vicissitudes which should\\nput confusion into its monumental disposition and substitute\\nthe most contrary defects for the merits that we recognize\\nin it. Hesitation in adoption of the plans, disputes between\\n378", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0488.jp2"}, "489": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0489.jp2"}, "490": {"fulltext": "l\\nM", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0490.jp2"}, "491": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0491.jp2"}, "492": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0492.jp2"}, "493": {"fulltext": "ARC DE TRIOMPHE 379\\nthe architects, (for they had at the outset the unhappy idea\\nof nominating two, Raymond and Chalgrin, for this single\\nstructure) changes in the directorate, interruptions of the\\nwork, in a word, from the first of Frimaire Year VI., the\\ndate of the first project, until July 29, 1836, when it was\\ninaugurated, no vicissitude was lacking.\\nThere were variations and hesitations even in the name,\\nwhich augured ill for the rest. First in Year VI., when the\\nfirst idea of a triumphal arch arose, it was to have been\\nerected in memory of the victories gained by our soldiers\\nbeyond the Alps. It was planned to build it at the barriere\\nd ltalie. In 1806, according to a note dictated by the\\nemperor, the monument was to be called the Arc de\\nMarengo. Its site was then marked as the large space left\\nempty by the demolition of the Bastille. The project was\\nsubmitted to the Academie des Beaux Arts which only\\nfound fault with the spot selected. The emperor recog-\\nnized the justice of the criticism and finally adopted the\\nsummit of the little mount that so happily dominates the\\ngreat Avenue des Champs Elysees.\\nOnce the idea was adopted, the works began with ardour\\nit could be seen that the emperor had given orders. Ray-\\nmond and Chalgrin constantly disputed over the plan to be\\nfollowed, but the master had spoken and the work was\\npushed without waiting for these gentlemen to agree. To\\nput an end to the annoying discord, Raymond resigned and\\nthus left the field free to Chalgrin whose plan (which has\\nbeen almost entirely followed) was moreover far preferable", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0493.jp2"}, "494": {"fulltext": "380 PARIS\\nto his own. Chalgrin was unhappy enough not to finish\\nhis work: he died January 20, 181 1. The building had\\nonly reached the cornice of the pedestal. As you see,\\nardour had soon cooled or rather let us say that money\\nhad soon failed. What was destined for the monument to\\nold victories had been eaten up by new ones. M. Goust\\nwas no luckier than Chalgrin whom he succeeded. Defeats\\ncame and the triumphal arch suffered like the rest, more\\neven.\\nThe Restoration left it alone for nine years. In 1823,\\nthe expedition to Spain and capture of the Trocadero sud-\\ndenly brought the government s thoughts back to this\\nyouthful ruin forgotten upon the heights of L Etoile.\\nThe project was again taken up to be completed for the\\nnew iriumphator^ the Due d Angouleme. A royal ordi-\\nnance was given and an architect was named. This was\\nM. Huyot, and the building, brusquely arrested at the birth\\nof the great arch, was henceforth to proceed without inter-\\nruption.\\nThe Revolution of July altered the destination of the\\nmonument that was devoted to the glories of the Grand\\nArmy, but left M. Huyot in office. In July, 1833, he had\\ncarried the construction up to the great entablature and was\\nlaying the first stones of the attic when he was disgraced.\\nM. Blouet succeeded him. To the latter fell the honour of\\ncompleting this great work, which he did while remaining\\nalmost entirely faithful to the plans of his predecessor.\\nIn 1836, the Arc de Triomphe was finished. As a", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0494.jp2"}, "495": {"fulltext": "ARC DE TRIOMPHE 381\\nwhole, harmonious in proportions, it is an almost irre-\\nproachable monument. With its colossal arch measuring\\ntwenty-eight metres in height and fourteen in breadth j with\\nthat long sequence of incrusted shields on its, attic, each\\nbearing the name of a great victory that line of soldiers\\ndefiling around the frieze, giants that look like pygmies\\nfrom the base those bas-reliefs that decorate each face,\\nsome of which are works of the first order, (such as that by\\nFeucheres, who makes the Passage of the Bridge of Areola\\nlive again in stone that by Chaponnieres which makes us\\ntake part in the Capture of Alexandria), that harmoni-\\nous whole of glorious ornamentation is still heightened and\\nincreased by the four gigantic trophies placed upon the\\npiers. Those facing the Avenue de Neuilly, Peace and\\nResistance, come from the vigorous hands of d Etex and\\nthose fronting the Champs Elysees due, one, the Corona-\\ntion of the Emperor, to the solemnly calm and academic\\ntalent of Cortot the other, the Departure, to the chisel of\\nRude, which never possessed more ardour, fire, nor energy.\\nThere are few nations that could have found in their\\ntreasuries the ten millions paid for this glorious jewel j and\\nmuch fewer still that could have recruited among their\\nartists sufficient talent for this great sculptural and architec-\\ntural task but certainly there is not one that in a single\\npage of its history could at the same time have found so\\nmany triumphs and those three hundred and eighty-six\\nnames of victorious generals that blaze upon those walls, as\\non the tables of the Temple of Glory.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0495.jp2"}, "496": {"fulltext": "382 PARIS\\nFrom the foot of the monument, when we turn our eves\\ntoward the city, the view is most magnificent. That wide\\nrise with a gentle slope that the ever-delighted gaze de-\\nscends to the level, circular space that \\\\ast avenue that on\\nstarting thence spreads its wings and assumes the propor-\\ntions of a leafy wood the verdure of which is almost con-\\nfounded with that of the trees of the Tuileries the Place\\nde la Concorde that looks from afar like a broad and white\\nclearing in broad sunlight between two neighbouring parks;\\nin the background, the monumental line of the Tuileries\\nbuildings against which stands out in silhouette the obelisk\\nthat cuts without breaking it to complete this grand pic-\\nture, everywhere are houses, hotels and palaces and, to\\ngive animation to it, everywhere is movement, noise, lines\\nof pedestrians, cavalcades and carriages going and coming\\nin hundreds the entire effect is truly prodigious.\\nLouis XIV. comprehended that Paris, thus bounded,\\npossessed majesty and grandeur, and in 1670 he thought of\\nat last levelling this vast peristyle of verdure. By his\\norders, the marshes were extensively drained the Rue de\\nChaillot was sharply cut at the height which it has not\\nsince passed three fine alleys of elms were planted, and\\ngreenswards were laid down among the clumps. The\\nroads that led to the Roule, the Faubourg Saint-Honore,\\nand Chaillot, became so many fine avenues radiating from\\nthat circular space that we call the rond-point^ and which\\nthen came to be called the Place de VEtoile. Even in 1764\\nthe Champs-Elysees did not extend beyond the Rue de", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0496.jp2"}, "497": {"fulltext": "ARC DE TRIOMPHE 383\\nChaillot. Starting at the rond-point they already began to\\nshrink into a single avenue.\\nThe Due d Antin, superintendent of the royal buildings,\\nhad work done on the immense promenade. He occupied\\nhimself with making it healthy rather than beautiful. He\\nalso planted the avenue with trees, in memory of which he\\nhas been made its godfather. He also renewed the planta-\\ntion of the Cours la Reine. Of all the roads, this was the\\none that had always been the most frequented. In 1628,\\nQueen Marie de Medicis, who was very fond of this long\\nwalk, had had it planted with trees and closed at each end\\nwith an iron railing. All the fashionable world that owned\\ncarriages, the only people to whom this species of reserved\\npark was open, thronged thither at certain hours. It was\\na vogue that lasted nearly two centuries, in fact until the\\nChamps-\u00c2\u00a3lysees, which at first were only called the Grand\\nCours to distinguish them from the other smaller one, had\\nin their turn become the fashion. It had to wait till 1776\\nbefore the public tired of its fancy and at last turned from\\nthe Petit into the Grand Cours. On September 17, in that\\nyear, the Memoires secrets decided to say a good word for\\nthe Champs-\u00c2\u00a3lysees, which are very fine and begin to\\nattract the public. There they are now consecrated by\\nthe crowd, fashion is about to come and will not again de-\\nsert them. Their revenge on the long vogue of Cours la\\nReine began then and still lasts. Under the Restoration,\\nvain attempts were made to restore a little life to the latter\\nby building a new quarter in its vicinity, in the midst of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0497.jp2"}, "498": {"fulltext": "384 PARIS\\nwhich was set like a stray pearl that marvellous Maison de\\nFrancois I.\\nThe alley close by was for a long time the most melan-\\ncholy of all the walks. Widows, whom ancient etiquette\\nwould not allow to show themselves in public during the\\nperiod of their mourning, found only this spot in which to\\ntake a little air without letting themselves be seen. The\\nname, All ee des Veuves^ clung to it, and, deserted and soli-\\ntary, it was long before it gave the lie to sadness. To-day\\nthe name is changed, the alley is called the Avenue Mon-\\ntaigne^ and its appearance has changed much more still.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0498.jp2"}, "499": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0499.jp2"}, "500": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0500.jp2"}, "501": {"fulltext": "THE BOIS DE BOULOGNE\\nJRSENE HOUSSJTE\\nTHIS is a fairy tale, a mythological story What\\nUndine has made these cascades spout for what\\nAlcinous has Minerva planted the regular trees\\nof these avenues\\nIn old days, before Queen Bertha, when Paris was only\\na straggling village, a mass of thatched roofs, ill reduced to\\norder by barbarians, Paris clasped a belt of marshy forests\\naround her walls built of mud and gravel. The belt has\\nbeen gradually loosened, each epoch taking away a link,\\nevery king substituting a faubourg for a copse, a quarter for\\na growth of brushwood. Of the belt there remains now\\nat most two fragments, embroidered anew by the curious\\nzeal of modern caprice I mean the Bois de Vincennes and\\nthe Bois de Boulogne. But who would imagine that in this\\nBois de Boulogne, frequented to-day by handsome couples\\nand highly civilized beings, the sons of Chilperic and\\nTheoderic passed, flourishing their frameas^ and keeping a\\nsharp lookout for the nest of vipers in the high grasses\\nAt the beginning of the Eighth Century, Saint Cloud was\\nstill called Nogent, the forest was called the wood of Rou-\\nveret, and the monks of Saint-Denis had the right of cut-\\nting wood from these high trees but not for the monks of\\nthat abbey was it reserved to transform Rouveret and to\\n385", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0501.jp2"}, "502": {"fulltext": "386 PARIS\\nleave an enduring trace upon it for the future. Boulogne-\\nsur-Mer, that sanitarium for chlorotics and lovers, where\\nnow come to seek repose or death the sailors who have\\nvoyaged too long and the poets who want to listen to the\\nocean billows elsewhere than in Homer s hexameters, Bou-\\nlogne-sur-Mer beneath the first suns of the Fourteenth Cen-\\ntury was growing proud through her Notre-Dame so wor-\\nshipped and privileged on account of a hundred miracles.\\nTherefore the pilgrims streamed toward the riparian city\\nof the ocean. But for the devotees of all the religions a\\nJerusalem within reach is needed Andromache in exile im-\\nprovises a diminutive Pergamos j the melancholiacs of fifty\\nyears ago built a cenotaph to Werther amid the labyrinths\\nof their English gardens. And that is how the pious trav-\\nellers who returned from Boulogne-sur-Mer, envious to\\npractice in Paris the rites learned in this somewhat remote\\nsanctuary, asked King Philip V. to legalize the brotherhood\\nof the Boulonnais and, with large supplies of doubloons\\nand rose crowns, constructed a church in the thickest part\\nof the wood of Rouveret, which, being felled and cleared,\\nsoon became a village, Boulogne-sur-Seine.\\nHappily for future Paris, Rouveret, having changed\\nits name and become the sacristy of the catechumens of\\nBoulogne, at least preserved its trees, long-bearded like kings\\nof the Prankish race, its trees of abundant sap to which it\\nhad owed its first name (Robur the Gallic oak). If the\\nbishop of Paris, Foulques de Chanac, consecrated the altars\\nof the virgin of Boulogne in 1363, Olivier le Dain had al-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0502.jp2"}, "503": {"fulltext": "THE BOIS DE BOULOGNE 387\\nready been set over the warren of Rouveret in those days\\nthen recent when king s barbers usurped over the persons\\nof their sublime clients the authority first allotted to the\\nmonks and wandering knights of Notre-Dame. This wood\\nof Boulogne, half cathedral, half warren, soon sheltered\\ncastles where indolent monarchs reposed after an hour of\\nbusiness or of the chase. Moreover, even before the kings,\\nthe ladies of the royal blood had formed there a retreat from\\nthe treasons of the court and the falsehoods of passion.\\nSince Saint Radegonde who, in her cloister, shared her sweet-\\nmeats and her spiritual knowledge with the grammarian-\\npoet Fortunat, our French princesses have had a taste for\\nthese semi-solitudes, peopled by God and his ministers. Ask\\nthe Abbesses of Fontevrault and Chelles, seek information\\nfrom the Duchess of Longueville In this chronology of\\npatrician Catholics, heroines of Very Christian France, the\\nsister of Saint-Louis has recorded a date that relates to the\\nsplendours of our wood of Boulogne it was there, in fact,\\nthat Isabelle of France in 1209 rendered to the Lord her\\necstatic and languishing soul in the friendly cells of that\\nabbey of Longchamps, solong famous, so long placed under\\nthe invocations of crowned female sinners, so long dedicated\\nto the leisure of repentant singers who to efface the profane\\nimpression of ariettas from Armide or Eurydice^ drew the\\nwhole of Paris to the chapel where they sighed the anthem\\nof an eternal Gloria in excehis.\\nIsabelle of France was the first to enfeoff the shadows of\\nBoulogne in the private domain of the monarchy, using", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0503.jp2"}, "504": {"fulltext": "388 PARIS\\nit as the secret refuge of her pathetic melancholy. But\\nMadrid, Bagatelle, and La Muette remain a triple and\\nsplendid revenge of the kings who would not consent that\\ntheir wood of Boulogne should be only the purgatory or\\neven the paradise in anticipation of the mystic beauties of\\ntheir families.\\nMadrid At that name I already inhale the most in-\\ntoxicating perfumes of the flower of the Valois and Bourbons.\\nancis I. reentered his Paris after the misfortune of Pavia\\nand the harsh ennui of a forced sojourn in Spain. The\\nglorious freed captive wanted to give this name Madrid to\\na monument erected in honour of his reconquered liberty.\\nPhilibert Delorme took the square and trowel in hand,\\nBernard de Palissy had the most brilliant and solid enamels\\nfired for the decoration of the fac^ade of the richest and\\nmost elegant castle of our French Renaissance. O perpetual\\nptes in that Chambord situated a few thousand steps from\\nthe Louvre Luxurious feasts, strange masquerades, bold\\nand pedantic talk, frank repasts of Greek and Italian, duels\\nof erudition and poetry, duels also of courteous braggarts\\nnevertheless To write the journal of Madrid under Francis\\nI., I should have to be either Rabelais or Michelet To as-\\nsort these nuances^ to risk these contrasts, to paint and\\ncarve in relief this incomparable group, the over-robust\\nLouisa of Savoy and the sickly, first of the Margots, and\\nMadame Diana, and Anne de Pisseleu, and also the little\\nFlorentine who will be Catherine de Medicis, I should have\\nneed of the counsel of da Vinci and Jean Goujean, of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0504.jp2"}, "505": {"fulltext": "THE BOIS DE BOULOGNE 389\\nGermain Pilon and Prematice Who then among the\\npasticheurs of these times would succeed in framing within\\nthis efflorescent architecture the romance of Henri 11. and\\nthe Countess of Poitiers, that lady who for so many years\\nrecommenced the education of a crowned Jehan de Saintre\\nWho would venture to divine the thoughts of Charles II.,\\nthat savage and gentle youth, an epileptic and a sayer of\\ngood things during the weeks when he retired to Madrid,\\nthinking more of the piercing glances of Marie Touchet\\nthan of his mother s projects caring less about the preten-\\nsions of Henry of Bourbon to the throne of France than he\\nwas moved by the marvellous rhymes of his rival in the\\nart of versifying, Ronsard, the gentleman from Vendome\\nWhat Lycophron, a searcher after assonances and onomat-\\nopoeia, would dare to make the tigers and little dogs, in-\\nstalled by Henri III. in his Madrid menagerie, roar, mew\\nand yelp in his lines Lastly, who would venture to open\\nthe cabinet in which the second of the Margots, dowered\\nwith the Madrid by the munificence of her husband, Henri\\nIV., first imbalmed the ever-dear memories of her first at-\\ntachment, and later, full of shame, became enraged when\\nthe ignominy of a fatal divorce struck her It is Marguerite\\nof Valois, it is that majesty of the Renaissance who ends\\nthe chronicles of the castle of Madrid. The Pompeii of\\nthe Valois, there was no further use for it when that val-\\norous, criminal, and charming race became extinct. In the\\nmiddle of the Seventeenth Century, when Louis XIV. broke\\nwith all the traditions of the past and set royalty in Ver-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0505.jp2"}, "506": {"fulltext": "390 PARIS\\nsailles, weavers established their looms where ApoUos had\\nhummed their little odes. A stocking-factory in the castle\\nof Madrid Ah Ruin would have been better than such a\\nchanged estate That invisible and assiduous spirit that\\nprotects the fortresses of heroes and the villas of beautiful\\nwomen deserted the outraged pavilions. The moss soon\\ncrept over these stones whose echoes now only repeated the\\nmonotonous sound of the shuttle. The Alcinas of Lucien\\nand of Choisy-le-Roi did not think of defending against\\ntime and oblivion these walls, eloquent witnesses that glori-\\nfied the Alcinas of the past. Louis XVI. arrived, an alto-\\ngether provisional Adam of a terrestrial paradise of Gess-\\nner s style. Only on reading in his history of France ex-\\npurgated ad usum delphinorum a few anecdotes touching the\\nMadrid of Henri III., he would have crossed himself\\ntwice. Perhaps, when walking among thickets of the wood\\nof Boulogne, he assisted at a Sabbat of the resuscitated,\\npresided over by Margot or Diana. However that may be,\\none day he ordered his workmen to pull down Madrid and\\nits adjoining buildings. I do not know why he stopped\\nshort of having potatoes sown there, for the greater profit\\nof morality. To-day Madrid has been rebuilt but alas\\nthey were not our Philippe Delormes who had charge\\nof the work. The hasty and economical architects have\\nfinished their palace with plaster and white wood Now\\nMadrid in the wine shop of the demi-monde and of the quart\\nde monde So do not return to the earth, ex-\\ntinct Valois, courtiers and mistresses of Valois now disap-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0506.jp2"}, "507": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0507.jp2"}, "508": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0508.jp2"}, "509": {"fulltext": "THE BOIS DE BOULOGNE 391\\npeared these orgies at a fixed sum celebrated daily upon\\nthis tomb of splendours would frighten you more than the\\nsupreme accident of 93 frightened the last of the Bour-\\nbons\\nNeither Bagatelle nor La Muette can number so many\\nperiods in their history. Bagatelle, or, if you prefer, the\\nFolic d Artois, villa and villula begun and finished in sixty-\\nfour days, was the secret Tivoli of the handsome Charles^\\nCount of Artois^ when La Duthe and Mme. de Polastron\\nanswered his amorous dissertations, when the children of\\nFrance had not yet studied in their geographical dictionary\\nthese articles of sinister interest Hartwell, Ghent, Prague\\nand Goritz The Revolution, that bacchante that was\\never intoxicated, it mattered little with what wine, did with\\nthe Bagatelle as it did with the Elysee.and the Pavilion de\\nHanovre the fiddles of a public ball executed their most\\nexcruciating tdnes there there people danced a la grecque^^\\nand a la romaine^ as erewhile they danced a la\\nFran^aise in the Rampannean garden When the Count\\nof Artois reentered this theatre of his earliest follies, con-\\nverted thenceforward and no longer thinking of Mme. de\\nPolastron except to humiliate himself the more at the knees\\nof Cardinal de Latil, was he not scared by the shades of\\nthe impure Giselles of the Directoire Even when he be-\\ncame king, he granted Bagatelle to his grandson, doubtless\\nin order that this innocence of the Joash of the Bourbons\\nshould efface the trace of these impieties of the populace.\\nThe Duke of Bordeaux, in spring, came to this castle of", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0509.jp2"}, "510": {"fulltext": "392 PARIS\\nPrince Charming, conducted by his smiling mother. And,\\nif I wanted again to seek in this name Bagatelle a motive\\nfor too easy amplifications, I should have to begin again for\\nthe tenth time this elegy so often breathed in sighs: The\\nson and the mother A tearful complaint, fortune de-\\nstroyed, and exile Marie Louise and Napoleon II.! Marie-\\nCaroline and the Duke of Bordeaux Valentine and\\nCharles of Orleans Ever, ever Andromache and the son\\nof Hector\\nAt La Muette, the genius of the place is Philippe d Or-\\nleans, regent of France. The castle was embellished by\\nthe daughter of his adoration. It was at La Muette that\\nthe Duchess of Berry, careless of the bleeding epigrams of\\nthe youthful Voltaire, indifferent to the rage of her mother\\nand the remonstrances of her grandmother, sported accord-\\ning to her own fancy and remained faithful to the wine of\\nBurgundy even more than to Lauzun s nephew It was\\nalso at La Muette that she expired at twenty-seven years\\nof age, violent and romantic even in the terrible agony that\\npreceded her mysterious death. When Lauzun s nephew\\nwas informed that he had lost this guardian of his fortune\\nand divinity of his heart, for all de profundis \\\\\\\\t restricted\\nhimself to humming an old song ending with this refrain\\nof every human passion We mustn t say any more about\\nit Let us behave toward La Muette as M. de Riom\\ndid toward the Duchess of Berry. After 17 19 we must\\nnot say any more about it its splendours are not distin-\\nguished. Suppose Louis XV., Louis XVI. and Marie", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0510.jp2"}, "511": {"fulltext": "THE BOIS DE BOULOGNE 393\\nAntoinette have fixed their flying camps there suppose, on\\nthat lawn the second of the Montgolfiers has tried the road\\nthat leads to the stars suppose the nation has entertained\\nthe nation in those little apartments of royalty suppose the\\ncity of Paris has emptied the cellars of La Muette for the\\njovial fellows of the Federation who were so excited to be-\\ncome such fine soldiers suppose this domain, in dispute,\\ntaken and retaken, has belonged to the State or to the City,\\nto private individuals or to the Crown, truly, we must not\\nsay any more about it It is forever and for all the royal\\ncastles of France the monotonous story of the same pleas-\\nures, the same griefs, the same ingratitudes. The palaces are\\nsceptical like ordinary men they accommodate themselves\\nto all lodgers, they open their doors to all the mighty. Let\\nus then pass quickly over the catastrophes of La Muette\\ndo not let us even seek to incriminate it on account of its\\nlast travesty. This castle in which the regent s daughter\\nsinned for pleasure, is now a sanitarium nurses take the\\nplace of butlers. Why should we grow indignant over it\\nsince not a single tear has moistened the marble eyes of the\\nCupids in the groves\\nAmong so many decadences, in the wood of Boulogue,\\nI know of only one glory that the years have spared\\nRanelagh. For eighty years the violins have gathered un-\\nder this common roof, in the momentary intimacy of the\\ncontradanse, the grasshoppers of Paris and the laborious\\nants of Passy. O Ranelagh, you are assured of existing\\nas long as there is a little world and a bad world, as long", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0511.jp2"}, "512": {"fulltext": "394 PARIS\\nas caprice awakes, even in hearts with names of thirty\\nquarterings, an unexpected desire for risky steps and\\nchampagne drunk under the rose\\nLet us return, and it is already ahnost too late, to the\\nlegend of the wood of Boulogue itself. Happily after the\\nlast V^alois, events are scarce in the life of the Parisian\\nTempe. Toward the close of the Sixteenth Century,\\nthe makers of pastorals (and at that time who did not oc-\\ncupy himself with Lycidas or Pierrot had reason for grief\\nat the spectacle of the Bois de Boulogue invaded by a crowd\\nof poor devils, deplorable victims of the civil war, starved,\\nshivering with cold and attacking the great trees with the\\naxe to warm their suffering limbs and to cheer their disconso-\\nlate and terror-stricken souls before great fires. Ah if he\\ntraversed that deadly forest, Ronsard must have felt, raising\\nhis eyes ces larmes des choses that made him sob in such\\nadmirable verses when he scourged the pitiless wood-cut-\\nters of Gastines\\nIn the Seventeenth Century under Louis XV., outside\\nthe luncheons of La Muette and Bagatelle, silence reigns\\nas god of the wood of Boulogne. In the years during\\nwhich Madrid fell into ruins, in the vicinity the withered\\noaks drooped their last branches over the sod strewn with\\ndead leaves. For this epoch, that loved the pretty and the\\nsmall in everything, the wood of Boulogne like Versailles\\nwas an embarrassment and a weariness. The Trianons or\\nBellevue, well and good there are sweet little parks that\\nmight be enclosed in the crystal box of a fay or a marquise.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0512.jp2"}, "513": {"fulltext": "THE BOIS DE BOULOGNE 395\\nM. Dorat may sing of them without being taxed with\\nAnglomania and without seeming to love Nature with the\\nrabid bad taste of a Pennsylvanian labourer, or a Genevan\\nphilosopher. However, let us trust the great sovereigns to\\nbring back the love of the grand in all things Napoleon\\nappears at the moment when there is nothing but disaster\\nand sorrow for France as well as for the wood of Boulogne,\\nand the forest profits by this event almost as much as the\\nnation itself. It is cleared trees are planted along the\\nroads that lead to the favourite residence of the master,\\nSaint-Cloud. Now the Bois de Boulogne will be the Hyde\\nPark of Paris, as thronged with people and more suffocat-\\ning. Joyous cavalcades, melancholy pedestrians, quartettes\\nof duellists and duets of lovers millionaires digesting a\\nprotracted dinner at Borel s and Bohemians supping on\\nsunlight; dignitaries on their way to the sovereign s anti-\\nchamber to request an additional dignity, and little girls\\ngathering early daisies amid the coppice all who need to\\nbe absorbed in the intoxication of Nature or to seek repose\\nin her maternal arms all who, tied by the foot by the cord\\nof daily cares, have not the leisure to fly away to those\\nradiant realms discovered by the golden divining-rod of the\\npoets all who pretend to place themselves under favour-\\nable conditions to evoke Rousseau s Clarens, Bernadin s\\nFloride, and Chateaubriand s Louisiane; all those, finally,\\nwho take pleasure in the loungings of sedentary Paris, or\\nwho accommodate themselves to the vagabond aspirations of\\nthe Parisian cosmopolitan, are sure hahitues of this rendez-", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0513.jp2"}, "514": {"fulltext": "396 PARIS\\nvous of the Bois de Boulogne. Even night does not dis-\\nmiss all the company, and, on the nights of an official ball,\\nwhile the carriages of senators and marshals, gilded and\\nrumbling, roll toward Saint-Cloud, the noise of the wheels\\noften arouses from a sweet languor a youthful belated\\ncouple who, upon the classic banks of the lake of Auteuil,\\nforgot the wisdom of Moliere and the rhymes of Boileau\\nfor the cavatinas of the nightingale in union with the sad\\nand touching solos of the tree-frogs.\\nEternal contrasts Eternal coincidences This forest\\nfavoured and made new by Napoleon this forest, this oasis\\nof the disposer of tempests this forest where the failing\\nMillevoye had foreseen the fall of the leaves and sighed,\\nwhen 1815 startled the world, was ravaged, pillaged, and\\ndevastated. There was situated the camp of the Ajaxes\\nof the Don there by the light of aged lindens smoked the\\nfuetid coppers of the gross eaters of the land of Attila. O\\ndevastated forest of Boulogne O stinking Walpurgis-\\nnight Shrill sabbat that weighs heavily upon this sylvan\\nstage appropriated by choice to the harmonious nights of\\neclogue\\nAfter 18 15 the trees grew again, the gaps were repaired\\nthe wood no longer recalled the dreadful encampment of\\nbarbarians but the fortifications had narrowed its circuit\\nand, as grandeur was still wanting in the Tuileries, no\\ntrouble was taken to give a fine appearance to the city or\\nadornment to the forest. At length Napoleon III. brought\\nback order into France s history and, fit appendix to the", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0514.jp2"}, "515": {"fulltext": "THE BOIS DE BOULOGNE 397\\nmajesty of the new Paris, the Bois de Boulogne completed\\nthe series of its metamorphoses. From avatar to avatar,\\nthe forest has become a goddess.\\nM. Hittorf and M. Vave were the Sylvain and the Pan\\nof this Fontainebleau of our purlieus. What scenery and\\ndecorations Mountains, like the rams of the Scriptures,\\nspring out of the flat soil of yesterday rivers and cascades\\nspout forth and spread as soon as a bed has been cut to re-\\nceive them gondolas have lit their vari-coloured lanterns\\non the lake. Are we in Venice Are we in Nankin\\nThe wood is as capricious in details as the second Faust or\\nthe Black Forest. It is as regular as the private garden of\\na Grand Duke. The Avenue de I Imperatrice is cut de\\nchateaux a la minute^ the nest of our opulent doves It is\\nthe Baia of the Parisiennes. And thus, the Bois de\\nBoulogne is going to help to reestablish in people s minds\\nthat necessary quality in the works of modern times, joy.\\nWerther will no longer dare to load his pistol there;\\nSaverny and Didier would not have had the heart to draw\\nthere. But Diana of Poitiers would have loved there as\\nshe loved at Madrid; and Raphael s Phoebus would again\\ndescend on some silver midnight to inspire Desportes with\\na song or Millevoye with a romance.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0515.jp2"}, "516": {"fulltext": "o9", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0516.jp2"}, "517": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0517.jp2"}, "518": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0518.jp2"}, "519": {"fulltext": "", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0519.jp2"}, "520": {"fulltext": "ct\\n.N^^ V.\\n.0 n\\nv^^\\nc-\\no 0", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0520.jp2"}, "521": {"fulltext": "v.^*o^\\nV\\nP-\\n^yy^^^\\na\\\\ V 1\\nr O\\no 0\\n--u^-r^\\nr V-\\nH\\nv^V\\n,0o\\n^-N^\\nX-^^.\\nv^^\\n0^ -C/.\\nOC\\n^e^/*7;.-\\nO\\n1 O\\nJ Or..., -P\\nQ-\\n\u00e2\u0096\u00a0^oo\\niM\\nJ^\\nA.\\n7 o\\nV ,^v\\n.^*x fi^.", "height": "2995", "width": "1879", "jp2-path": "parisasseendescr00sing_0521.jp2"}, "522": {"fulltext": "CONGRESS\\n029 952 067 5\\ni;.M\\nu\\nu\\\\]\\n11\\n\u00e2\u0080\u00a2VJIJ\\n\u00e2\u0096\u00a0\u00e2\u0080\u00a2/il\\nii\\nWA\\nm.\\nmm\\nt-tV (i\\n\u00e2\u0096\u00a0i!i\\nOn\\nWi M\\n4m\\ni:\\\\\\nm", "height": "3201", "width": "1976", "jp2-path": "parisasseendescr00sing_0522.jp2"}}