By the number of advertisements in the petites affiches or daily advertiser of Paris, offering a reward for articles lost, no doubt can exist of there being a vast number of pickpockets in this gay capital; and a stranger must naturally draw such an inference from observing where the pockets are placed in men's clothes: in the coat, it is in the inside of the facing, parallel to the breast: in the waistcoat, it is also in the inside, but lower down, so that when a Frenchman wants to take out his money, he must go through the ceremony of unbuttoning first his surtout, if he wears one in winter, then his coat, and lastly his waistcoat. In this respect, the ladies have the advantage; for, as I have already mentioned, they wear no pockets.

[Footnote 1: During the old regime, the theatres were under the control of the Gentils-hommes de la chambre, but at the establishment of the directorial government, they were placed in the power of the Minister of the Interior, in whose department they have since continued. Of late, however, it is asserted, that they are each to be under the direction of a Prefect of the Palace.]

[Footnote 2: Independently of the boxes reserved for the officers of the staff of the city of Paris, and those at the head of the police, who have individually free admission to all the spectacles on producing their ivory ticket, there is also a box at each theatre appropriated to the Minister of Public Instruction.]



LETTER XXII.

Paris, November 23, 1801.

Yesterday being the day appointed for the opening of the session of the Legislative Body, I was invited by a member to accompany him thither, in order to witness their proceedings. No one can be admitted without a ticket; and by the last constitution it is decreed, that not more than two hundred strangers are to be present at the sittings. The gallery allotted for the accommodation of the public, is small, even in proportion to that number, and, in general, extremely crowded. My friend, aware of this circumstance, did me the favour to introduce me into the body of the hall, where I was seated very conveniently, both for seeing and hearing, near the tribune, to the left of the President.

This hall was built for the Council of Five Hundred, on the site of the grand apartments of the Palais Bourbon. Since the accession of the consular government, it has been appropriated to the sittings of the Legislative Body, on which account the palace has taken their name, and over the principal entrance is inscribed, in embossed characters of gilt bronze:

PALAIS DU CORPS LEGISLATIF.

The palace stands on the south bank of the Seine, facing the Pont de la Concorde. It was begun, in 1722, for Louise-Francoise de Bourbon, a legitimated daughter of Lewis XIV. GIRARDINI, an Italian architect, planned the original building, the construction of which was afterwards superintended by LASSURANCE and GABRIEL. The Prince de Conde having acquired it by purchase, he caused it to be considerably augmented and embellished, at different times, under the direction of BARRAU, CARPENTIER and BELISARD.

Had the Pont de la Concorde subsisted previously to the erection of the Palais Bourbon, the principal entrance would, probably, have been placed towards the river; but it faces the north, and is preceded by a paltry square, now called Place du Corps Legislatif.

In the centre of a peristyle, of the Corinthian order, is the grand gateway, crowned by a sort of triumphal arch, which is connected, by a double colonnade, to two handsome pavilions. The lateral buildings of the outer court, which is two hundred and eighty feet in length, are decorated with the same order, and a second court of two hundred and forty feet, includes part of the original palace, which is constructed in the Italian style.

The principal entrances to the right and left lead to two halls; the one dedicated to Peace; the other, to Victory. On the one side, is a communication to the apartments of the old palace; on the other, are two spacious rooms. The room to the left, inscribed to Liberty, is intended for petitioners, &c.; that to the right, inscribed to Equality, is appropriated to conferences. Between the halls of Liberty and Equality, is the hall of the sittings of the Legislative Body.

The form of this hall is semicircular; the benches, rising gradually one above the other, as in a Roman amphitheatre, are provided with backs, and well adapted both for ease and convenience. They are intersected by passages, which afford to the members the facility of reaching or quitting their places, without disturbance or confusion. Every seat is distinguished by a number, so that a deputy can never be at a loss to find his place. In the centre, is an elevated rostrum, with a seat for the President, directly under which is the tribune, also elevated, for the orator addressing the assembly. The tribune is decorated by a bas-relief, in white marble, representing France writing her constitution, and Fame proclaiming it. The table for the four secretaries is placed facing the tribune, beneath which the huissiers take their station. The desk and seat of the President, formed of solid mahogany, are ornamented with or moulu. The folding doors, which open into the hall, to the right and left of the President's chair, are also of solid mahogany, embellished in the same manner. Their frames are of white marble, richly sculptured. Independently of these doors, there are others, serving as a communication to the upper-seats, by means of two elegant stone stair-cases.

In six niches, three on each side of the tribune, are so many statues of Greek and Roman legislators. On the right, are Lycurgus, Solon, and Demosthenes: on the left, Brutus, Cato, and Cicero. The inside of the hall is in stucco, and the upper part is decorated by a colonnade of the Ionic order. The light proceeds from a cupola, glazed in the centre, and the remainder of which is divided into small compartments, each ornamented by an emblematical figure. The floor is paved with marble, also in compartments, embellished with allegorical attributes.

Having made you acquainted with the hall of the sittings, I think it may not be uninteresting to give you an account of the forms observed in opening the session.

When I arrived, with my friend, at the Palace of the Legislative Body, most of the members were already assembled in the apartments of their library. At noon, they thence repaired to the hall, preceded by the huissiers, messengers of state, and secretaries.

The opening of the session was announced by the report of artillery.

The oldest member, in point of years, took the President's chair, provisionally.

The four youngest members of the assembly were called to the table to discharge the office of secretaries, also provisionally.

The provisional President then declared, that the members of the Legislative Body were assembled by virtue of Article XXXIII of the constitution, for the session of the year X; that, being provisionally organized, the sitting was opened; and that their names were going to be called over, for the purpose of ascertaining the number of members present, and for forming definitive arrangements, by the nomination of a president and four secretaries.

The names were then called over alphabetically, and, after they were all gone through, they were recalled.

This ceremony being terminated, four committees, each composed of four members, whose names were drawn by lot by the President, proceeded, in presence of the assembly, to scrutinize the ballot.

It thence resulted, that the number of members present was two hundred and twenty-eight;

That Citizen DUPUIS was elected President by a majority of votes;

That Citizens DUBOSC, BORD, ESTAQUE, and CLAVIER were individually elected, by a similar majority, to officiate as secretaries.

In consequence. Citizen DUPUIS was proclaimed President, and took the chair. He then moved the following resolution, which was agreed to:

"The Legislative Body declares, that it is definitely constituted, and decrees that the present declaration shall be carried to the Conservative Senate, to the Tribunate, and to the Consuls of the Republic, by a messenger of State."

The President next addressed the assembly in these words:

"Citizens Legislators,

"After twelve years of a painful and glorious struggle against all Europe, in order to insure the triumph of the liberty of man and that of nations, the moment is at length arrived when Peace is on the point of crowning the efforts of the French people, and securing the Republic on a foundation never to be shaken. For this peace, which will unite by the bonds of friendship two great nations, already connected by esteem, we are indebted to the valour and wisdom of the heroic pacificator, to the wise administration of the government, to the bravery of our invincible armies, to the good understanding subsisting between all the constituted authorities, and, above all, to that spirit of moderation which has known how to fix limits to victory itself. The name of peace, so dear to the friend of human nature, ought to impose silence on all malignant passions, cordially unite all the children of the same country, and be the signal of happiness to the present generation, as well as to our posterity.

"How gratifying is it to us, Citizens Legislators, after having passed through the storms of a long revolution, to have at length brought safely into port the sacred bark of the Republic, and to begin this session by the proclamation of peace to the world, as those who preceded us opened theirs by the proclamation of the Rights of Man and that of the Republic! To crown this great work, nothing more remains for us but to make those laws so long expected, which are to complete social organization, and regulate the interests of citizens. This code, already prepared by men of consummate prudence, will, I hope, be soon submitted to your examination and sanction; and the present session will be the most glorious epoch of our Republic: for there is nothing more glorious to man than to insure the happiness of his fellow-creatures, and scatter beforehand the first seeds of the liberty of the world."

"L'impression! L'impression!" was the cry that instantly proceeded from bench to bench on the close of this speech, which was delivered in a manner that did honour to the President's feelings. But, though you have it, as it were, at second-hand, and cannot be struck by Citizen DUPUIS' manner, I hope you will deem the matter sufficiently interesting to justify its insertion in this letter.

Three orators, deputed by the government, were next announced, and introduced in form. They were habited in their dress of Counsellors of State, that is, a scarlet coat, richly embroidered in shaded silks of the same colour, over which they wore a tricoloured silk sash.

One of them, having ascended the tribune, and obtained leave to speak, read an extract from the registers of the Council of State, dated the 24th of Brumaire, purporting that the First Consul had nominated the Counsellors of State, REGNIER, BERENGER, and DUMAS to repair to the present sitting. Citizen REGNIER then addressed the assembly in the name of the government. He read his speech from a paper which he held in his hand. It began by announcing the signature of the preliminaries of peace with England, and informed the Legislative Body that measures had been taken by the government for regulating the various branches of the interior administration and of its intention to submit to them the civil code. It was replete with language of a conciliating nature, and concluded with a wish that the most unalterable harmony might subsist between the first authorities of the State, and strengthen in the mind of the people the confidence which they already testified.

From the tenour of this speech, I think it may be inferred that the government is apprehensive of a difference of opinion respecting the civil code; not so much in this place, for, by the constitution, the lips of the deputies are sealed, but in the Tribunate, where a warm discussion may be expected.

The President made a short and apt reply to the orators of the government, who then retired with the same ceremony with which they had entered. Both these speeches were ordered to be printed.

The Conservative Senate addressed to the Legislative Body, by a message read by the President, the different acts emanated from its authority since the last session. Ordered to be inserted in the Journals. A few letters were also read by the President from different members, excusing themselves for non-attendance on account of indisposition. Several authors having addressed a copy of their works to the Legislative Body, these presents were accepted, and ordered to be placed in their library.

The administrative commission of the Legislative Body announced that the ambassador of the Cisalpine Republic had sent a present of three hundred medals, struck on occasion of the peace and of the forum Bonaparte, which medals were distributed to the members.

The assembly the broke up, the next sitting being appointed for the following day at noon.

Lord Cornwallis and suite sat in the box allotted to Foreign Ministers, facing the President, as did the Marquis de Lucchesini, the Prussian ambassador, and some others. A small box is likewise appropriated to reporters, who take down the proceedings. The members were all habited in their appointed dress, which consists of a dark blue coat embroidered with gold, blue pantaloons and white waistcoat, also embroidered, a tricoloured silk sash, worn above the coat, and ornamented with a rich gold fringe. They wore a plain cocked hat, with the national cockade, and short boots. This meeting of legislators, all in the same dress, undoubtedly presents a more imposing spectacle than such a variegated assemblage as is sometimes to be seen in our House of Commons.

By the present constitution, you will see that no new law can be promulgated, unless decreed by the Legislative Body.

The votes in this assembly being taken by ballot, and the laws being enacted without any discussion, on the part of its members, on the plans debated before it by the orators of the Tribunate and of the government, it necessarily follows that the sittings present far less interest to strangers, than would result from an animated delivery of the opinion of a few leading orators.

Before I take leave of this palace, I must introduce you into the suite of rooms formerly distinguished by the appellation of petits appartemens du Palais Bourbon, and which, before the revolution, constituted one of the curiosities of Paris.

In the distribution of these, BELISARD assembled all the charms of modern elegance. The vestibule, coloured in French gray, contains, in the intervals between the doors, figures of Bacchantes, and, in the ceiling, wreaths of roses and other ornaments painted in imitation of relief. The eating-room, which comes next, is decorated so as to represent a verdant bower, the paintings are under mirrors, and tin-plate, cut out in the Chinese manner, seems to shew light through the foliage. In two niches, made in the arbour-work, in the form of porticoes, which Cupids are crowning with garlands, are placed two statues from the antique, the one representing Venus pudica, and the other, Venus callypyga, or aux belles fesses: mirrors, placed in the niches, reflect beauties which the eye could not discover.

The drawing room, another enchanting place, is of a circular form, surrounded with Ionic pillars. In the intercolumniations, are arches lined with mirrors, and ornamented with the most tasteful hangings. Under each arch is a sopha. The ceiling represents caryatides supporting a circular gallery, between which are different subjects, such as the Toilet of Venus, the Departure of Adonis, &c. Every thing here is gallant and rich; but mark the secret wonder. You pull a string; the ceiling rises like a cloud, and exhibits to view an extensive sky, with which it becomes confounded. The music of an invisible orchestra, placed above the ceiling, used to be heard through the opening, and produced a charming effect, when entertainments were given in these apartments.

This is not all. You pull another string; and, by means of concealed machinery, the aperture of the three casements suddenly becomes occupied by pannels of mirrors, so that you may here instantly turn day into night. The bed-chamber, the boudoir, the study, &c., are all decorated in a style equally elegant and tasteful.



LETTER XXIII.

Paris, November 25, 1801.

Of all the public edifices in this capital, I know of none whose interior astonishes so much, at first sight, and so justly claims admiration, especially from those who have a knowledge of architecture or mechanics, as the

HALLE AU BLE.

This building is destined for the reception of corn and flour: it was begun in 1762, on the site of the ancient Hotel de Soissons, which was purchased by the city of Paris. In the space of three years, the hall and the circumjacent houses were finished, under the direction of the architect, CAMUS DE MEZIERE.

The circular form of this hall, the solidity of its construction, its insulated position, together with the noble simplicity of its decoration, perfectly accord with the intention and character of the object proposed. Twenty-five arches, all of equal size, serve each as an entrance. On the ground-floor are pillars of the Tuscan order, supporting vast granaries, the communication to which is by two stair-cases of well-executed design.

The court is covered by a cupola of one hundred and twenty feet in diameter, forming a perfect semicircle, whose centre, taken on a level with the cornice, is forty-four feet from the ground. The dome of the Pantheon at Rome, which is the largest known, exceeds that of the Halle au Ble by thirteen feet only. This cupola is entirely composed of deal boards, a foot in breadth, an inch in thickness, and about four feet in length. It is divided into twenty-five lateral openings, which give as many rays of light diverging from the centre-opening, whose diameter is twenty-four feet. These openings are all glazed, and the wood-work of the dome is covered with sheets of tinned copper.

PHILIBERT DE L'ORME, architect to Henry II, was the original author of this new method of covering domes, though he never carried it into execution. As a homage for the discovery, MOLINOS and LEGRAND, the architects of the cupola, have there placed a medallion with his portrait. It is said that this experiment was deemed so hazardous, that the builder could find no person bold enough to strike away the shores, and was under the necessity of performing that task in person. To him it was not a fearful one; but the workmen, unacquainted with the principles of this manner of roofing buildings, were astonished at the stability of the dome, when the shores were removed.

No place in Paris could well be more convenient for giving a banquet than the Halle au Ble; twelve or fourteen hundred persons might here be accommodated at table; and little expense would be required for decoration, as nothing can be more elegant than the cupola itself.

Several periodical publications give a statement, more or less exact, of the quantity of flour lodged in this spacious repository, which is filled and emptied regularly every four or five days. But these statements present not the real consumption of Paris, since several bakers draw their supply directly from the farmers of the environs; and, besides, a great quantity of loaves are brought into the capital from some villages, famous for making bread, whose inhabitants come and retail them to the Parisians.

The annual consumption of bread-corn in this capital has, on an average, been computed at twenty-four millions of bushels. But it is not the consumption only that it is useful to know: the most material point to be ascertained, is the method of providing effectually for it; so that, from a succession of unfavourable harvests, or any other cause, the regular supplies may not experience even a momentary interruption. When it is considered that Paris contains eight or nine hundred thousand of the human race, it is evident that this branch of administration requires all the vigilance of the government.

Bread is now reckoned enormously dear, nineteen sous for the loaf of four pounds; but, during the winter of 1794, the Parisians felt all the horrors of a real famine. Among other articles of the first necessity, bread was then so scarce, that long ranks of people were formed at the doors of the bakers' shops, each waiting in turn to receive a scanty portion of two ounces.

The consumption of flour here is considerably increased by the immense number of dogs, cats, monkies, parrots, and other birds, kept by persons of every class, and fed chiefly on bread and biscuit.

No poor devil that has not in his miserable lodging a dog to keep him company: not being able to find a friend among his own species, he seeks one in the brute creation. A pauper of this description, who shared his daily bread with his faithful companion, being urged to part with an animal that cost him so much to maintain: "Part with him!" rejoined he; "who then shall I get to love me?"

Near the Halle au Ble, stands a large fluted pillar of the Doric order, which formerly belonged to the Hotel de Soissons, and served as an observatory to Catherine de Medicis. In the inside, is a winding stair-case, leading to the top, whither that diabolical woman used frequently to ascend, accompanied by astrologers, and there perform several mysterious ceremonies, in order to discover futurity in the stars. She wore on her stomach a skin of parchment, strewn with figures, letters, and characters of different colours; which skin she was persuaded had the virtue of insuring her from any attempt against her person.

Much about that period, 1572, there were reckoned, in Paris alone, no less than thirty thousand astrologers. At the present day, the ambulating magicians frequent the Old Boulevards, and there tell fortunes for three or four sous; while those persons that value science according to the price set on it, disdaining these two-penny conjurers, repair to fortune-tellers of a superior class, who take from three to six francs, and more, when the opportunity offers. The TROPHONIUS of Paris is Citizen Martin, who lives at N deg. 1773 Rue d'Anjou: the PHEMONOE is Madame Villeneuve, Rue de l'Antechrist.

Formerly, none but courtesans here drew the cards; now, almost every female, without exception, has recourse to them. Many a fine lady even conceives herself to be sufficiently mistress of the art to tell her own fortune; and some think they are so skilled in reading futurity in the cards, that they dare not venture to draw them for themselves, for fear of discovering some untoward event.

This rage of astrology and fortune-telling is a disease which peculiarly affects weak intellects, ruled by ignorance, or afflicted by adversity. In the future, such persons seek a mitigation of the present; and the illusive enjoyments of the mind make them almost forget the real sufferings of the body. According to Pope,

"Hope springs eternal in the human breast, Man never is, but always to be blest."

At the foot of the above pillar, the only one of the sort in Paris, is erected a handsome fountain, which furnishes water from the Seine. At two-thirds of its height is a dial of a singular kind, which marks the precise hour at every period of the day, and in all seasons. It is the invention of Father Pingre, who was a regular canon of St. Genevieve, and member of the ci-devant Academy of Sciences.

While we are in this quarter, let us avail ourselves of the moment; and, proceeding from the Halle au Ble along the Rue Oblin, examine the

CHURCH OF SAINT EUSTACHE.

This church, which is one of the most spacious in Paris, is situated at the north extremity of the Rue des Prouvaires, facing the Rue du Jour. It was begun in 1532, but not finished till the year 1642.

Notwithstanding the richness of its architecture, it presents not an appearance uniformly handsome, on account of the ill-combined mixture of the Greek and Gothic styles: besides, the pillars are so numerous in it, that it is necessary to be placed in the nave to view it to the best advantage.

The new portal of St. Eustache, which was constructed in 1754, is formed of two orders, the Doric and the Ionic, the one above the other. At each extremity of this portal, rise two insulated towers, receding from all the projection of the inferior order, and decorated by Corinthian columns with pilasters, on an attic serving as a socle. These two towers were to have been crowned by a balustrade; one alone has been finished.

Several celebrated personages have been interred in this church. Among them, I shall particularize one only; but that one will long live in the memory of every convivial British seaman. Who has not heard the lay which records the defeat of Tourville? Yes—

He who "on the main triumphant rode To meet the gallant Russel in combat o'er the deep;" Who "led his noble troops of heroes bold To sink the English admiral and his fleet."

Though considered by his countrymen, as one of the most eminent seamen that France ever produced, and enjoying at the time of his death the dignity of Marshal, together with that of Vice-admiral of the kingdom, Tourville never had an epitaph. He died on the 28th of May 1701, aged 59.

Some of the monuments which existed here have been transferred to the Museum in the Rue des Petits Augustins, where may be seen the sarcophagus of Colbert, Minister to Lewis XIV, and the medallion of Cureau de la Chambre, physician to that king, and also his physiognomist, whom he is said to have constantly consulted in the selection of his ministers. Among the papers of that physician there still exists, in an unpublished correspondence with Lewis XIV, this curious memorandum: "Should I die before his majesty, he would run a great risk of making, in future, many a bad choice."

It is impossible to enter one of these sanctuaries without reflecting on the rapid progress of irreligion among a people who, six months before, were, on their knees, adoring the effigies which, at that period, they were eager to mutilate and destroy. Iron crows and sledge-hammers were almost in a state of requisition. In the beginning, it was a contest who should first aim a blow at the nose of the Virgin Mary, or break the leg of her son. In one day, contracts were entered into with masons for defacing images which for centuries, had been partly concealed under the dusty webs of generations of spiders.

As for the statues within reach of swords and pikes, it was a continual scene of amusement to the licentious to knock off the ear of one angel, and scratch the face of another. Not an epitaph was left to retrace the patriotic deeds of an upright statesman, or the more brilliant exploits of a heroic warrior; not a memento, to record conjugal affection, filial piety, or grateful friendship. The iconoclasts proceeded not with the impetuous fury of fanatics, but with the extravagant foolery of atheistical buffoons.

All the gold and silver ornaments disappeared: a great part of them were dissolved in the crucibles of the mint, after having been presented as a homage to the Convention, some of whose members danced the carmagnole with those who presented them at their bar, loaded on the back of mules and asses, bedecked with all the emblems of catholic worship; while several of the rubies, emeralds, &c. which had formerly decorated the glory, beaming round the head of a Christ, were afterwards seen glittering on the finger of the revolutionary committee-men.

Chaumette, an attorney, was the man who proclaimed atheism, and his example had many imitators. It seemed the wish of that impious being to exile God himself from nature. He it was who imagined those orgies, termed the festivals of reason. One of the most remarkable of these festivals was celebrated in this very church of St. Eustache.

Although Mademoiselle Maillard, the singing heroine of the French opera, figured more than once as the goddess of reason, that divinity was generally personified by some shameless female, who, if not a notorious prostitute, was frequently little better. Her throne occupied the place of the altar; her supporters were chiefly drunken soldiers, smoking their pipe; and before her, were a set of half-naked vagabonds, singing and dancing the carmagnole.

"In this church," says an eye-witness, "the interior of the choir represented a landscape, decorated with cottages and clumps of trees. In the distance were mysterious bowers, to which narrow paths led, through declivities formed of masses of artificial rock.

"The inside of the church presented the spectacle of a large public-house. Round the choir were arranged tables, loaded with bottles, sausages, pies, pates, and other viands. On the altars of the lateral chapels, sacrifices were made to luxury and gluttony; and the consecrated stones bore the disgusting marks of beastly intemperance.

"Guests crowded in at all doors: whoever came partook of this festival: children thrust their hands into the dishes, and helped themselves out of the bottles, as a sign of liberty; while the speedy consequences of this freedom became a matter of amusement to grown persons in a similar state of ebriety. What a deplorable picture of the people, who blindly obeyed the will of a few factious leaders!

"In other churches, balls were given; and, by way of shutting the door in the face of modesty, these were continued during the night, in order that, amidst the confusion of nocturnal revelry, those desires which had been kindled during the day, might be freely gratified under the veil of darkness.

"The processions which accompanied these orgies, were no less attended with every species of atheistical frenzy. After feasting their eyes with the sacrifice of human victims, the Jacobin faction, or their satellites, followed the car of their impure goddess: next came, in another car, a moving orchestra, composed of blind musicians, a too faithful image of that Reason which was the object of their adoration."

The state of France, at that period, proves that religion being detached from social order, there remained a frightful void, Which nothing could have filled up but its subsequent restoration. Without religion, men become enemies to each other, criminals by principle, and bold violators of the laws; force is the only curb that can restrain them. The inevitable consequence is, that anarchy and rapine desolate the face of the earth, and reduce it to a heap of misfortune and ruin.



LETTER XXIV.

Paris, November 27, 1801.

When we travel back in idea for the last ten years, and pass in review the internal commotions which have distracted France during that period, and the external struggle she has had to maintain for the security of her independence, we cannot refuse our admiration to the constancy which the French have manifested in forming institutions for the diffusion of knowledge, and repositories of objects tending to the advancement of the arts and sciences. In this respect, if we except the blood-thirsty reign of Robespierre, no clash of political interests, no change in the form or administration of the government, has relaxed their ardour, or slackened their perseverance. Whatever set of men have been in power, the arts and sciences have experienced almost uninterrupted protection.

In the opinion of the French themselves, the GALLERY OF ANTIQUES, in the CENTRAL MUSEUM OF THE ARTS, may claim pre-eminence over every other repository of sculpture; but many persons may, probably, feel a satisfaction more pure and unadulterated in viewing the

MUSEUM OF FRENCH MONUMENTS.

Here, neither do insignia of triumph call to mind the afflicting scenes of war, nor do emblems of conquest strike the eye of the travelled visiter, and damp his enjoyment by blending with it bitter recollections. Vandalism is the only enemy from whose attacks the monuments, here assembled, have been rescued.

This Museum, which has, in fact, been formed out of the wrecks of the revolutionary storm, merits particular attention. Although it was not open to the public, for the first time, till the 15th of Fructidor, year III (2nd of September 1795), its origin may be dated from 1790, when the Constituent Assembly, having decreed the possessions of the Clergy to be national property, charged the Committee of Alienation to exert their vigilance for the preservation of all the monuments of the arts, spread throughout the wide extent of the ecclesiastical domains.

The philanthropic LA ROCHEFOUCAULD, (the last Duke of the family), as President of that committee, fixed on a number of artists and literati to select such monuments as the committee were anxious to preserve. The municipality of Paris, being specially entrusted, by the National Assembly, with the execution of this decree, also nominated several literati and artists of acknowledged merit to co-operate with the former in their researches and labours. Of this association was formed a commission, called Commission des Monumens. From that epoch, proper places were sought for the reception of the treasures which it was wished to save from destruction. The Committee of Alienation appointed the ci-devant monastery of the Petits Augustins for the monuments of sculpture and pictures, and those of the Capucins, Grands Jesuites, and Cordeliers, for the books and manuscripts.

By these means, the monuments in the suppressed convents and churches were, by degrees, collected in this monastery, which is situated in the Rue des Petits Augustins, so named after that order of monks, whose church here was founded, in 1613, by Marguerite de Valois, first wife of Henry IV.

At the same period, ALEXANDRE LENOIR was appointed, by the Constituent Assembly, director of this establishment. As I shall have frequent occasion to mention the name of that estimable artist, I shall here content myself with observing, that the choice did honour to their judgment.

In the mean time, under pretext of destroying every emblem of feudality, the most celebrated master-pieces were consigned to ruin; but the commission before-mentioned opportunely published instructions respecting the means of preserving the valuable articles which they purposed to assemble.

The National Convention also gave indisputable proof of its regard for the arts, by issuing several decrees in their favour. Its Committee of Public Instruction created a commission, composed of distinguished literati and artists of every class, for the purpose of keeping a watchful eye over the preservation of the monuments of the arts. The considerable number of memoirs, reports, and addresses, diffused through the departments by this learned and scientific association, enlightened the people, and arrested the arm of those modern Vandals who took a pleasure in mutilating the most admired statues, tearing or defacing the most valuable pictures, and melting casts of bronze of the most exquisite beauty.

Among the numerous reports to which these acts of blind ignorance gave birth, three published by GREGOIRE, ex-bishop of Blois, claim particular distinction no less on account of the taste and zeal which they exhibit for the advancement of literature and the fine arts, than for the invective with which they abound against the madness of irreligious barbarism. This last stroke, aptly applied, was the means of recovering many articles of value, and of preserving the monuments still remaining in the provinces.

In these eventful times, LENOIR, the Conservator of the rising museum, collected, through his own indefatigable exertions, a considerable number of mausolea, statues, bas-reliefs, and busts of every age and description. No sooner did a moment of tranquillity appear to be reestablished in this country, than he proposed to the government to place all these monuments in historical and chronological order, by classing them, according to the age in which they had been executed, in particular halls or apartments, and giving to each of these apartments the precise character peculiar to each century. This plan which, in its aggregate, united the history of the art and that of France, by means of her monuments, met with general approbation, and was accordingly adopted by the members of the government.

Thus, throughout this Museum, the architectural decorations of the different apartments are of the age to which the monuments of Sculpture, contained in each, belongs; and the light penetrates through windows of stained glass, from the designs of RAPHAEL, PRIMATICCIO, ALBERT DURER, LE SUEUR, &c., the production of the particular century corresponding to that of the sculpture.

Come then, let us visit this Museum, and endeavour to discriminate the objects which may be most interesting both to the artist and historian. We first enter the

ANTI-CHAMBER.

This apartment presents itself to our inquisitive looks, as a Hall of Introduction, which may not be unaptly compared to the preface of a grand work. Here we behold a crowd of monuments, arranged methodically, so as to prepare our eyes for tracing the different ages through which we have to travel.

We first remark those altars, worn by the hand of Time, on which the trading Gauls of the ancient Lutetia, now Paris, sacrificed to the gods in the time of Tiberius. Jupiter, Mars, Vulcan, Mercury, Venus, Pan, Castor and Pollux, and the religious ceremonies here sculptured, are sufficient to attest that the Parisians were then idolaters, and followed the religion of the Romans, to whom they were become tributary. The Inscriptions on each of these monuments, which are five in number, leave no doubt as to their authenticity, and the epoch of their erection.

These altars, five in number, are charged with bas-reliefs, and the first of them is inscribed with the following words in Latin.

TIB. CAESARE. AVG. IOVI OPTVMO MAXSVMO (aram) M. NAVTAE. PARISIACI PUBLICE POSIERVNT.

Tiberius Caesar, having accepted or taken the name of Augustus, the navigators (Nautae) belonging to the city of Paris, publicly consecrated this altar to Jupiter the most great and most good.

In 1711, these monuments were dug up from the choir of the cathedral of Notre-Dame, out of the foundations of the ancient church of Paris, constructed by Childebert, on the ruins of a temple, formerly dedicated to Isis, which he caused to be demolished. Near them we see the great goddess of the Germans figure under the name of Nehalennia, in honour of whom that people had erected a great number of monuments, some of which were discovered in the year 1646, when the sea retired from the island of Walcheren.

Capitals, charged with bas-reliefs, taken from a subterraneous basilic, built by Pepin, have likewise been collected, and follow those which I have just mentioned. Next comes the tomb of CLOVIS, which exhibits that prince lying at length; he is humbling himself before the Almighty, and seems to be asking him forgiveness for his crimes. We likewise see those of CHILDEBERT and of the cruel CHILPERIC. The intaglio, relieved by inlaid pieces of Mosaic, of queen FREDEGOND, has escaped the accidents of twelve centuries. Just Heaven! what powers have disappeared from the face of the earth since that period! And to what reflections does not this image, still existing of that impious woman, give birth in the mind of the philosopher! CHARLEMAGNE, who was buried at Aix-la-Chapelle, seated on a throne of gold, appears here, in a haughty attitude, with his sword in his hand, still to be giving laws to the world!

As might naturally be supposed, most of these figures have suffered much by the rude attacks of Time; but in spite of his indelible impression, the unpolished hand of the sculptor is still distinguishable, and betrays the degraded state of the arts during the darkness of the middle ages. Let us pass into the

HALL OF THE THIRTEENTH CENTURY.

Here we shall remark arches in the Gothic style, supported by thick pillars, according to the architecture of that period. Ornaments, in the form of culs-de-lampe, terminate the centre of the arches, which are painted in azure-blue, and charged with stars. When temples were begun to be sheltered or covered, nations painted the inside of the roof in this manner, in order to keep in view the image of the celestial canopy to which they directed all their affections, and to preserve the memory of the ancient custom of offering up sacrifices to the divinity in the open air.

Here the statue of LEWIS IX, surnamed the Saint, is placed near that of PHILIP, one of his sons, and of CHARLES, his brother, king of Sicily, branded in history, by having, through his oppression, driven his subjects into revolt, and caused the massacre of the French in that island in 1277; a massacre well known by the name of the Sicilian vespers.

It seems that it was the fashion, in those days, for kings themselves to be bearers at funerals. We are told by St. Foix, that the body of LEWIS, another son of the Saint, who died in 1662, aged 26, and whose cenotaph is here, was first carried to St. Denis, and thence to the abbey of Royaumont, where it was interred. "The greatest lords of the kingdom," says he, "alternately bore the coffin on their shoulders, and Henry III; king of England, carried it himself for a considerable time, as feudatory of the crown."

PHILIP III, too, above-mentioned, having brought to Paris the remains of his father from Tunis in Africa, carried them barefooted, on his shoulders, to St. Denis. Wherever he rested by the way, towers were erected in commemoration of this act of filial piety; but these have been destroyed since the revolution.

The casements of this hall, in the form of ogives, are ornamented with stained glass of the first epoch of the invention of that art. We now come to the

HALL OF THE FOURTEENTH CENTURY.

This hall shews us the light, yet splendid architecture of the Arabs, introduced into France in consequence of the Crusades. Here are the statues of the kings that successively appeared in this age down to king JOHN, who was taken prisoner by Edward, the black prince, at the battle of Poietiers. They are clad after the manner of their time, and lying at length on a stylobate, strewn with flower-de-luces. Twenty-two knights, each mounted on lions, armed cap-a-pie, represented of the natural size, and coloured, fill ogive niches ornamented with Mosaic designs, relieved with gold, red, and blue.

The tombs of CHARLES V, surnamed the Wise, and of the worthy constable, DU GUESCLIN, together with that of SANCERRE, his faithful friend, rise in the middle of this apartment; which presents to the eye all the magnificence of a Turkish mosque. After having quitted it, what a striking contrast do we not remark on entering the

HALL OF THE FIFTEENTH CENTURY!

Columns, arabesque ceilings charged with gilding, light pieces of sculpture applied on blue and violet grounds, imitating cameo, china, or enamel; every thing excites astonishment, and concurs in calling to mind the first epoch of the regeneration of the arts in this country.

The ideas of the amateur are enlivened in this brilliant apartment: they prepare him for the gratification which he is going to experience at the sight of the beautiful monuments produced by the age, so renowned of Francis I. There, architecture predominates over sculpture; here, sculpture over architecture.

The genius of RAPHAEL paved the way to this impulse of regeneration: he had recently produced the decorations of the Vatican; and the admirable effect of these master-pieces of art, kindled an enthusiasm in the mind of the artists, who travelled. On their return to France, they endeavoured to imitate them: in this attempt, JEAN JUSTE, a sculptor sent to Rome, at the expense of the Cardinal D'AMBOISE, was the most succcessful.

First, we behold the mausoleum of LOUIS D'ORLEANS, victim of the faction of the Duke of Burgundy, and that of his brother CHARLES, the poet. Near them is that of VALENTINE DE MILAN, the inconsolable wife of the former, who died through grief the year after she lost her husband. As an emblem of her affliction, she took for her device a watering-pot stooped, whence drops kept trickling in the form of tears. Let it not be imagined, however, that it was on account of his constancy that this affectionate woman thus bewailed him till she fell a victim to her sorrow.

LOUIS D'ORLEANS was a great seducer of ladies of the court, and of the highest rank too, says Brantome. Indeed, historians concur in stating that to a brilliant understanding, he joined the most captivating person. We accordingly find that the Dutchess of Burgundy and several others were by no means cruel to him; and he had been supping tete-a-tete with Queen Isabeau de Baviere, when, in returning home, he was assassinated on the twenty-third of November 1407. His amorous intrigues at last proved fatal to the English, as you will learn from the following story, related by the same author.

One morning, M. d'Orleans having in bed with him a woman of quality, whose husband came to pay him an early visit, he concealed the lady's head, while he exhibited the rest of her person to the contemplation of the unsuspecting intruder, at the same time forbidding him, as he valued his life, to remove the sheet from her face. Now, the cream of the jest was, that, on the following night, the good soul of a husband, as he lay beside his dear, boasted to her that the Duke of Orleans had shewn him the most beautiful woman that he had ever seen: but that for her face he could not tell what to say of it, as it was concealed under the sheet. "From this little intrigue," adds Brantome, "sprang that brave and valiant bastard of Orleans, Count Dunois, the pillar of France, and the scourge of the English."

Here we see the statues of CHARLES VI, and of JANE of Burgundy. The former being struck by a coup de soleil, became deranged in his intellects and imbecile, after having displayed great genius; he is represented with a pack of cards in his hand to denote that they were first invented for that prince's diversion. The latter was Dutchess of BEAUFORT, wife to the Duke, who commanded the English army against Charles VII, and as brother to our Henry IV, was appointed regent of France, during the minority of his nephew, Henry V.

Next come those of RENEE D'ORLEANS, grand-daughter of the intrepid Dunois; and of PHILIPPE DE COMMINES, celebrated by his memoirs of the tyrant, LEWIS XI, whose statue faces that of CHARLES VII, his father.

The image of JOAN OF ARC, whom that king had the baseness to suffer to perish, after she had maintained him on the throne, also figures in this hall with that of ISABEAU DE BAVIERE. The shameful death of the Maid of Orleans, who, as every one knows, was, at the instigation of the English, condemned as a witch, and burnt alive at Rouen on the 30th of May 1430, must inspire with indignation every honest Englishman who reflects on this event, which will ever be a blot in the page of our history. Isabeau affords a striking example of the influence of a queen's morals on the affections of the people. On her first arrival in Paris, she was crowned by angels, and received from the burghers the most magnificent and costly presents. At her death, she was so detested by the nation, that in order to convey her body privately to St. Denis, it was embarked in a little skiff at Port-Landri, with directions to the waterman to deliver it to the abbot.

The superb tomb of LEWIS XII, placed in the middle of this apartment, displays great magnificence; and his statue, lying at length, which represents him in a state of death, recalls to mind that moment so grievous to the French people, who exclaimed, in following his funeral procession to St. Denis, "Our good king Lewis XII is dead, and we have lost our father."

The historian delights to record a noble trait of that prince's character. Lewis XII had been taken prisoner at the battle of St. Aubin by Louis de la Trimouille, who, fearing the resentment of the new king, and wishing to excuse himself for his conduct, received this magnanimous reply: "It is not for the king of France to revenge the quarrels of the duke of Orleans."

The statue of PIERRE DE NAVARRE, son of Charles the Bad, seems placed here to form in the mind of the spectator a contrast between his father and Lewis XII. The tragical end of Charles is of a nature to fix attention, and affords an excellent subject for a pencil like that of Fuseli.

Charles the Bad, having fallen into such a state of decay that he could not make use of his limbs, consulted his physician, who ordered him to be wrapped up from head to foot, in a linen cloth impregnated with brandy, so that he might be inclosed in it to the very neck as in a sack. It was night when this remedy was administered. One of the female attendants of the palace, charged to sew up the cloth that contained the patient, having come to the neck, the fixed point where she was to finish her seam, made a knot according to custom; but as there was still remaining an end of thread, instead of cutting it as usual with scissars, she had recourse to the candle, which immediately set fire to the whole cloth. Being terrified, she ran away, and abandoned the king, who was thus burnt alive in his own palace.

What a picture for the moralist is this assemblage of persons, celebrated either for their errors, crimes, talents, or virtues!



LETTER XXV.

Paris, November 28, 1801.

Conceiving how interested you (who are not only a connoisseur, but an F.A.S.) must feel in contemplating the only repository in the world, I believe, which contains such a chronological history of the art of sculpture, I lose no time in conducting you to complete our survey of the MUSEUM OF FRENCH MONUMENTS in the Rue des Petits Augustins.

Having examined those of the fifteenth century, during our former visit, we are at length arrived at the age of the Fine Arts in France, and now enter the

HALL OF THE SIXTEENTH CENTURY.

"But see! each muse in LEO'S golden days, Starts from her trance, and trims her wither'd bays; Rome's ancient Genius, o'er its ruins spread, Shakes off the dust, and rears his reverend head; Then Sculpture and her sister arts revive, Stones leap'd to form, and rocks began to live."

These beautiful lines of Pope immediately occur to the mind, on considering that, in Italy, the Great LEO, by the encouragement which he gave to men of talents, had considerably increased the number of master-pieces; when the taste for the Fine Arts, after their previous revival by the Medici, having spread throughout that country, began to dawn in France about the end of the fifteenth century. By progressive steps, the efforts made by the French artists to emulate their masters, attained, towards the middle of the sixteenth century, a perfection which has since fixed the attention of Europe.

On entering this hall, which is consecrated to that period, the amateur finds his genius inflamed. What a deep impression does not the perfection of the numerous monuments which it has produced make on his imagination! First, he admires the beautiful tomb erected to the memory of FRANCIS I, the restorer of literature and the arts; who, by inviting to his court LEONARDO DA VINCI and PRIMATICCIO, and establishing schools and manufactories, consolidated the great work of their regeneration.

"Curse the monks!" exclaimed I, on surveying this magnificent monument, constructed in 1550, from the designs of the celebrated PHILIBERT DE L'ORME. "Who cannot but regret," continued I to myself, "that so gallant a knight as Francis I. should fall a victim to that baneful disease which strikes at the very sources of generation? Who cannot but feel indignant that so generous a prince, whose first maxim was, that true magnanimity consisted in the forgiveness of injuries, and pusillanimity in the prosecution of revenge, should owe his death to the diabolical machinations of a filthy friar?" Yet, so it was; the circumstances are as follows:

Francis I. was smitten by the charms of the wife of one Lunel, a dealer in iron. A Spanish chaplain, belonging to the army of the Emperor Charles V, passing through Paris in order to repair to Flayers, threw himself in this man's way, and worked on his mind till he had made him a complete fanatic: "Your king," said the friar, "protects Lutheranism in Germany, and will soon introduce it into France. Be revenged on him and your wife, by serving religion. Communicate to him that disease for which no certain remedy is yet known."—"And how am I to give it to him?" replied Lunel; "neither I nor my wife have it."—"But I have," rejoined the monk: "I hold up my hand and swear it. Introduce me only for one half-hour by night, into your place, by the side of your faithless fair, and I will answer for the rest."

The priest having prevailed on Lunel to consent to his scheme, went to a place where he was sure to catch the infection, and, by means of Lunel's wife, he communicated it to the king. Being previously in possession of a secret remedy, the monk cured himself in a short time; the poor woman died at the expiration of a month; and Francis I, after having languished for three or four years, at length, in 1547, sunk under the weight of a disorder then generally considered as incurable.

The tomb of the VALOIS, erected in honour of that family, by Catherine de Medicis, soon after the death of Henry II, is one of the masterpieces of GERMAIN PILON. In the execution of this beautiful monument, that famous artist has found means to combine the correctness of style of Michael Angelo with the grace of Primaticcio. To the countenance of HENRY and CATHERINE, who are represented in a state of death, lying as on a bed, he has imparted an expression of sensibility truly affecting.

Next comes the tomb of DIANE DE POITIERS, that celebrated beauty, who displayed equal judgment in the management of State affairs and in the delicacy of her attachments; who at the age of 40, captivated king Henry II, when only 18; and, who, though near 60 at the death of that prince, had never ceased to preserve the same empire over his heart. At the age of fourteen, she was married to Louis de Breze, grand seneschal of Normandy, and died in April 1506, aged 66.

Brantome, who saw her not long before her death, when she had just recovered from the confinement of a broken leg, and had experienced troubles sufficient to lessen her charms, thus expresses himself: "Six months ago, when I met her, she was still so beautiful that I know not any heart of adamant which would not have been moved at the sight of her."—To give you a perfect idea of her person, take this laconic description, which is not one of fancy, but collected from the best historians.

Her jet black hair formed a striking contrast to her lily complexion. On her cheeks faintly blushed the budding rose. Her teeth vied with ivory itself in whiteness: in a word, her form was as elegant as her deportment was graceful.

By way of lesson to the belles of the present day, let them be told that DIANE DE POITIERS was never ill, nor affected indisposition. In the severity of the winter, she daily washed her face with spring-water, and never had recourse to cosmetics.——"What pity," says Brantome, "that earth should cover so beautiful a woman!"

No man, indeed, who sympathizes with the foibles of human nature, can contemplate the tomb of DIANE DE POITIERS, and reflect on her numerous virtues and attractions, without adopting the sentiments of Brantome, and feeling his breast glow with admiration.

This extraordinary woman afforded the most signal protection to literati and men of genius, and was, in fact, no less distinguished for the qualities of her heart than for the beauty of her person. "She was extremely good-humoured, charitable, and humane," continues Brantome "The people of France ought to pray to God that the female favourite of every chief magistrate of their country may resemble this amiable frail one."

As a proof of the elevation of her sentiments, I shall conclude by quoting to you the spirited reply DIANE made to Henry II, who, by dint of royal authority, wished to legitimate a daughter he had by her: "I am of a birth," said she, "to have had lawful children by you. I have been your mistress, because I loved you. I will never suffer a decree to declare me your concubine."

The beautiful group of the modest Graces, and that representing Diana, accompanied by her dogs Procion and Syrius, sculptured by Jean Gougeon, to serve as the decoration of a fountain in the park of DIANE DE POITIERS at Anet, attracts the attention of the connoisseur.

The tomb of GOUGEON, composed of his own works, and erected to the memory of that great artist, through gratitude, is, undoubtedly, a homage which he justly deserved. This French Phidias was a Calvinist, and one of the numerous victims of St. Bartholomew's day, being shot on his scaffold, as he was at work on the Louvre, the 24th of August 1572. Here too we behold the statues of BIRAGUE and of the GONDI, those atrocious wretches who, together with Catherine de Medicis, plotted that infamous massacre; while CHARLES IX, no less criminal, here exhibits on his features the stings of a guilty conscience.

The man that has a taste for learning, gladly turns his eye from this horde of miscreants, to fix it on the statue of CLAUDE-CATHERINE DE CLERMONT-TONNERRE, who was so conversant in the dead languages as to bear away the palm from Birague and Chiveray, in a speech which she composed and spoke in Latin, at twenty-four hours' notice, in answer to the ambassadors who tendered the crown of Poland to Charles IX.

If the friend of the arts examine the beautiful portico erected by Philibert de l'Orme, on the banks of the Eure, for Diane de Poitiers, composed of the three orders of architecture, placed the one above the other, and forming altogether an elevation of sixty feet, he will be amazed to learn that this superb monument constructed at Anet, twenty leagues distant from Paris, was removed thence, and re-established in this Museum, by the indefatigable conservator, LENOIR.

On leaving the apartment containing the master-pieces brought to light by Francis I, the next we reach is the

HALL OF THE SEVENTEENTH CENTURY.

What a crowd of celebrated men contained in the temple consecrated to virtue, courage, and talents!

There, I behold TURENNE, CONDE, MONTAUSIER, COLBERT, MOLIERE, CORNEILLE, LA FONTAINE, RACINE, FENELON, and BOILEAU. The great LEWIS XIV, placed in the middle of this hall, seems to become still greater near those immortal geniuses.

Farther on, we see the statue of the implacable RICHELIEU, represented expiring in the arms of Religion, while Science is weeping at his feet. Ye Gods! what a prostitution of talent! This is the master-piece of GIRARDON; but, in point of execution, many connoisseurs prefer the mausoleum of the crafty MAZARIN, whom COYZEVOX has pourtrayed in a supplicating posture.

LEWIS XIII, surnamed the Just, less great than his illustrious subject, DE THOU, casts down his eyes in the presence of his ministers.

The mausolea of LE BRUN, LULLI, and JEROME BIGNON, the honour, the love, and the example of his age, terminate the series of monuments of that epoch, still more remarkable for its literati than its artists. We at last come to the

HALL OF THE EIGHTEENTH CENTURY.

Here we admire the statues of MONTESQUIEU, FONTENELLE, VOLTAIRE, ROUSSEAU, HELVETIUS, CREBILLON, PIRON, &c. &c. The tombs of the learned MAUPERTUIS and CAYLUS, and also that of Marshal D'HARCOURT, give a perfect idea of the state of degradation into which the art of design had fallen at the beginning of this century; but the new productions which decorate the extremity of this spacious hall are sufficient to prove to what degree the absolute will of a great genius can influence the progress of the arts, as well as of the sciences. VIEN and DAVID appeared, and the art was regenerated.

Here, too, we find a statue, as large as life, representing Christ leaning on a pillar, executed by MICHAEL ANGELO STODTZ. I notice this statue merely to observe, that the original, from which it is taken, is to be seen at Rome, in the Chiesa della Minerva where it is held in such extraordinary veneration, that the great toe-nail of the right foot having been entirely worn away by the repeated kisses of the faithful, one of silver had been substituted. At length this second nail having been likewise worn away, a third was placed, of copper, which is already somewhat worn. It was sculptured by MICHAEL ANGELO BUONAROTI.

We experience an emotion of regret at the aspect of the handsome monument by MICHALLON, on learning that it was erected to the memory of young DROUAIS, a skilful and amiable artist, stopped by death, in 1788, during his brilliant career, at the early age of 24. He has left behind him three historical pictures, which are so many master-pieces.

The beautiful statue of the youthful Cyparissus, by CHAUDET, the most eminent French sculptor, reminds us of the full and elegant form of the fine Greek Bacchus, which decorates the peristyle of the antichamber or Hall of Introduction.

Thus the amateur and the student will find, in this Museum, an uninterrupted chronology of monuments, both antique and modern, beginning by those of ancient Greece, whose date goes back to two thousand five hundred years before our era, to examine those of the Romans, of the Lower Empire, of the Gauls, and thence pass to the first epoch of the French monarchy, and at length follow all the gradations through which the art has passed from its cradle to its decrepitude. The whole of this grand establishment is terminated by a spacious garden, which is converted into an

ELYSIUM.

There, on a verdant lawn, amid firs, cypresses, poplars, and weeping willows, repose the ashes of the illustrious poets, MOLIERE, LA FONTAINE, BOILEAU, &c.; of the learned DESCARTES, MABILLON, MONTFAUCON, &c., inclosed in sarcophagi; there, they still receive the homage which mankind owe to talents and virtue.

But hold! mark the sepulchre of the learned and tender HELOISE. Her remains, though formerly conjoined to those of her lover, were subsequently separated, and after a lapse of three hundred years, they are now reassembled.

Here one kind grave unites their hapless name, And grafts her love immortal on his fame.

With a smile seated on her lips, HELOISE seems to be sighing for the object of her glowing affection: while the unfortunate ABELARD, coldly reclined, is still commenting on the Trinity. The Paraclete, having been sold and demolished, LENOIR, with all the sensibility of an admirer of genius, withdrew the bones of ABELARD and HELOISE from that monastery, and placed them here in a sepulchral chapel, partly constructed from the remains of their ancient habitation.

Such is the MUSEUM OF FRENCH MONUMENTS. When completed, for some valuable specimens of the arts slill remain to be added, it will be one of the most interesting establishments in Paris, and perhaps in Europe, especially if considered in regard to the improvement of modern sculpture, and, I may add, architecture. No building can be better adapted than a monastery for an establishment of this nature. The solemn gloom of cloisters suits the temper of the mind, when we reflect on the mortality incident to a succession of ages, and the melancholy which it inspires, is in perfect unison with our feelings, when we contemplate the sepulchral monuments that recall to our memory the actions of the illustrious departed.

This Museum is very extensive, the three courts and large garden, which at present compose the whole of its premises, occupying a space of three thousand seven hundred and sixty-two toises. LENOIR, however, has recently presented to the First Consul a plan for enlarging it, without any additional expense of building, by adding to it the neighbouring Hotel de Bouillon. He proposes that there should be a new entrance by the quay, exhibiting a spacious court, decorated with statues, erected in regular order; and that the apartments on the ground-floor should be appropriated as follows:

1. To a collection of portraits of all the celebrated men of France.

2. To a chronological series of armour of all ages.

3. To a complete collection of French medals.

4. To a library, solely formed of the books necessary for obtaining a knowledge of the monuments contained in this Museum.

When I consider the mutilated state in which most of these monuments were found at the first formation of this interesting establishment, and view the perfection in which they now appear; when I remark the taste and judgment displayed in the distribution and interior arrangement of the different apartments of this rich museum; when I learn, from the printed documents on the subject, the strict economy which has been observed in the acquisition or restoration of a great number of monuments, the more valuable as they illustrate the history of the arts; I confess that I find myself at a loss which most to admire in the Conservator, his courage, zeal, perseverance, or discrimination. Indeed, nothing but an assemblage of those qualities could have overcome the difficulties and obstacles which he has surmounted.

I shall add that LENOIR'S obliging disposition and amenity of manners equally entitle him to the gratitude and esteem of the connoisseur, the student, or the inquisitive stranger.



LETTER XXVI.

Paris, December 1, 1801.

I was highly gratified the other day on finding myself in company with some of those men whom (to borrow Lord Thurlow's expression, in speaking of Warren Hastings,) I have known only as I know Alexander, by the greatness of their exploits; men whose names will be transmitted to posterity, and shine with distinguished lustre in the military annals of France.

General A——y had already invited me to dine with him, in order to meet General B——r; but, on the day fixed, the latter, as minister for the war department, being under the necessity of entertaining Lord Cornwallis, the party was postponed till the 8th of Frimaire, (20th of November), when, in addition to General B——r, General A——y had assembled at his table several men of note. Among others, were General M——rd, who commanded the right wing of the army of Naples under Macdonald, in which he distinguished himself as a brave soldier; and D——ttes, physician in chief to the army of the East. This officer of health, as medical men are here denominated, is lately returned from Egypt, where his skill and attention to his professional duties gained him universal admiration.

In society so agreeable, time passed away rapidly till General B——r arrived. It was late, that is about seven o'clock, though the invitation expressed five precisely, as the hour of dinner. But, in Paris, a minister is always supposed to be detained on official business of a nature paramount to every other consideraton. On my being introduced to General B——r, he immediately entered into conversation with me concerning Lord Cornwallis, whom he had known in the American war, having served in the staff of Rochambeau at the siege of Yorktown. As far back as that period B——r signalized himself by his skill in military science. It was impossible to contemplate these distinguished officers without calling to mind how greatly their country was indebted to the exertion of their talents on various important occasions. These recollections led me to admire that wisdom which had placed them in stations for which they had proved themselves so eminently qualified. In England, places are generally sought for men; in France, men are sought for places.

At seven, dinner was announced, and an excellent one it was, both in quality and quantity. Presto was the word, and all the guests seemed habituated to expedition. The difference between the duration of such a repast at this day, and what it was before the revolution, shews how constantly men become the slaves of fashion. Had BONAPARTE resembled Lucullus in being addicted to the pleasures of the festive board, I make no doubt that it would have been the height of ton to sit quietly two or three hours after dinner. But the Chief Consul is said to be temperate, almost to abstemiousness; he rises from table in less than half an hour; and that mode is now almost universal in Paris, especially among the great men in office. Two elegant courses and a desert were presently dispatched; the whole time employed in eating I know not how many good dishes, and drinking a variety of choice wines, not exceeding thirty-five minutes. At the end of the repast, coffee was presented to the company in an adjoining room, after which the opera of Tarare was the attraction of the evening.

I have already mentioned to you that General A——y had put into my hand L'Histoire du Canal du Midi, written by himself. From a perusal of this interesting work, it appears that one of his ancestors[1] was the first who conceived the idea of that canal, which was not only planned by him, but entirely completed under his immediate direction. Having communicated his plan to Riquet, the latter submited it to Colbert, and, on its being approved by Lewis XIV, became contractor for all the works of that celebrated undertaking, which he did not live to see finished. Riquet, however, not content with having derived from the undertaking every advantage of honour and emolument, greedily snatched from the original projector the meed of fame, so dearly earned by the unremitting labour of thirty successive years. These facts are set forth in the clearest light in the above-mentioned work, in which I was carefully examining General A——y's plans for the improvement of this famous canal, when I was most agreeably interrupted.

I had expressed to the General a wish to know the nature of the establishment of which he is the director, at the same time apprizing him that this wish did not extend to any thing that could not with propriety be made public. He obligingly promised that I should be gratified, and this morning I received ftom him a very friendly letter, accompanied by the following account of the

DEPOT DE LA GUERRE.

The general Depot or repository of maps and plans of war, &c, &c, was established by LOUVOIS, in 1688. This was the celebrated period when France, having attained the highest degree of splendour, secured her glory by the results of an administration enlightened in all its branches.

At the beginning of its institution, the Depot de la guerre was no more than archives, where were collected, and preserved with order, the memoirs of the generals, their correspondence, the accounts yet imperfect, and the traces of anterior military operations.

The numerous resources afforded by this collection alone, the assistance and advantages derived from it on every occasion, when it was necessary to investigate a military system, or determine an important operation, suggested the idea of assembling it under a form and classification more methodical. Greater attention and exactness were exerted in enriching the Depot with every thing that might complete the theoretical works and practical elucidations of all the branches of the military art,

Marshal DE MAILLEBOIS, who was appointed director of this establishment in 1730, was one of the first authors of the present existing order. The classification at first consisted only in forming registers of the correspondence of the generals, according to date, distinguishing it by different wars. It was divided into two parts, the former containing the letters of the generals; and the latter, the minutes or originals of the answers of the king and his ministers. To each volume was added a summary of the contents, and, in regular succession, the journal of the military operations of the year. These volumes, to the number of upwards of two thousand seven hundred, contain documents from the eleventh century to the close of the last American war; but the series is perfect only from the year 1631. This was a valuable mine for a historiographer to explore; and, indeed, it is well known that the Memoirs of Turenne and of Conde, the History of the war of 1741, and part of the fragments of the Essay on the Manners and History of Nations, by Voltaire, were compiled and digested from the original letters and memoirs preserved in the Depot de la guerre.

Geographical engineers did not then exist as a corps. Topography was practised by insulated officers, impelled thereto by the rather superficial study of the mathematics and a taste for drawing; because it was for them a mean of obtaining more advantageous employments in the staffs of the armies: but the want of a central point, the difference of systems and methods, not admitting of directing the operations to one same principle, as well as to one same object, topography, little encouraged, was making but a slow progress, when M. DE CHOISEUIL established, as a particular corps, the officers who had applied themselves to the practice of that science. The Depot was charged to direct and assemble the labours of the new corps. This authority doubled the utility of the Depot: its results had the most powerful influence during the war from 1757 to 1763.

Lieutenant-General De VAULT, who had succeeded Marshal De MAILLEBOIS as director of the Depot de la guerre, conceived, and executed a plan, destined to render still more familiar and secure the numerous documents collected in this establishment. He first retrenched from the Military Correspondences and Memoirs all tedious repetitions and unnecessary details; he then classed the remainder under the head of a different army or operation, without subjecting himself to any other order than a simple chronology; but he caused each volume to be preceded by a very succinct, historical summary, in order to enable the reader to seize the essence of the original memoirs and documents, the text of which was faithfully copied in the body of each volume, In this manner did he arrange all the military events from the German war in 1677 to the peace of 1763. This analysis forms one hundred and twenty five volumes.

It is easy to conceive how much more interesting these historical volumes became by the addition, which took place about the same epoch, of the labours of the geographical engineers employed in the armies. The military men having it at the same time in his power to follow the combinations of the generals with the execution of their plans, imbibes, without difficulty, the principles followed by great captains, or improves himself from the exact account of the errors and faults which it is so natural to commit on critical occasions.

When all the establishments of the old regime were tottering, or threatened by the revolutionary storm, measures were suggested for preserving the Depot de la guerre, and, towards the end of 1791, it was transferred from Versailles to Paris. Presently the new system of government, the war declared against the emperor, and the foreseen conflagration of Europe, concurred to give a new importance to this establishment. Alone, amidst the general overthrow, it had preserved a valuable collection of the military and topographical labours of the monarchy, of manuscripts of the greatest importance, and a body of information of every kind respecting the resources, and the country, of the powers already hostile, or on the point of becoming so. All the utility which might result from the Depot was then felt, and it was thought necessary to give it a new organization.[2]

The Depot de la guerre, however, would have attained but imperfectly the object of its institution, had there not been added to its topographical treasure, the richest, as well as the finest, collection in Europe of every geographical work held in any estimation. The first epochs of the revolution greatly facilitated the increase of its riches of that description. The general impulse, imprinted on the mind of the French nation, prompted every will towards useful sacrifices. Private cabinets in possession of the scarcest maps, gave them up to the government, The suppression of the monasteries and abbeys caused to flow to the centre the geographical riches which they preserved in an obscurity hurtful to the progress of that important science: and thus the Depot de la guerre obtained one of the richest collections in Europe.[3] The government, besides, completed it by the delivery of the great map of France by CASSINI, begun in 1750, together with all the materials forming the elements of that grand work. It is painful to add that not long before that period (in 1791) the corps of geographical engineers, which alone could give utility to such valuable materials had been suppressed.[4]

In the mean time, the sudden changes in the administrative system had dispersed the learned societies employed in astronomy, or the mathematical sciences. The National Observatory was disused. The celebrated astronomers attached to it had no rallying point: they could not devote themselves to their labours but amidst the greatest difficulties; the salary allowed to them was not paid; the numerous observations, continued for two centuries, were on the point of being interrupted.

The Depot de la guerre then became the asylum of those estimable men. This establishment excited and obtained the reverification of the measure of an arc of the meridian, in order to serve as a basis for the uniformity of the weights and measures which the government wished to establish.

MECHAIN, DELAMBRE, NOUET, TRANCHOT, and PERNY were dispatched to different places from Barcelona to Dunkirk. After having established at each extremity of this line a base, measured with the greatest exactness, they were afterwards to advance their triangles, in order to ascend to the middle point of the line. This operation, which has served for rectifying a few errors that the want of perfection in the instruments had occasioned to be introduced into the measure of the meridian of CASSINI, may be reckoned one of the most celebrated works which have distinguished the close of the eighteenth century.

The establishment of the system of administration conformably to the constitution of the year III (1795) separated the various elements which the Depot de la guerre had found means to preserve. The Board of Longitude was established; the National Institute was formed to supply the place of the Academy of Sciences, &c. The Depot de la guerre was restored solely to its ancient prerogatives. Two years before, it had been under the necessity of forming new geographical engineers and it succeeded in carrying the number sufficiently high to suffice for the wants of the fourteen armies which France had afterwards on foot.[5] These officers being employed in the service of the staffs, no important work was undertaken. But, since the 18th of Brumaire, year VIII, (9th of November, 1799) the Consuls of the Republic have bestowed particular attention on geographical and topographical operations. The new limits of the French territory require that the map of it should be continued; and the new political system, resulting from the general pacification, renders necessary the exact knowledge of the states of the allies of the Republic.

The Depot de la guerre forms various sections of geographers, who are at present employed in constructing accurate maps of the four united departments. Piedmont, Savoy, Helvetia, and the part of Italy comprised between the Adige and the Adda. One section, in conjunction with the Bavarian engineers, is constructing a topographical map of Bavaria: another section is carrying into execution the military surveys, and other topographical labours, ordered by General MOREAU for the purpose of forming a map of Suabia.

The Depot has just published an excellent map of the Tyrol, reduced from that of PAYSAN, and to which have been added the observations made by Chevaliers DUPAY and LA LUCERNE. It has caused to be resumed the continuation of the superb map of the environs of Versailles, called La carte des chasses, a master-piece of topography and execution in all the arts relating to that science. Since the year V (1795), it has also formed a library composed of upwards of eight thousand volumes or manuscripts, the most rare, as well as the most esteemed, respecting every branch of the military art in general.

Although, in the preceding account, General A——y, with that modesty which is the characteristic of a superior mind, has been totally silent respecting his own indefatigable exertions, I have learned from the best authority, that France is soon likely to derive very considerable advantages from the activity and talent introduced by him, as director, into every branch of the Depot de la guerre, and of which he has afforded in his own person an illustrious example.

In giving an impulse to the interior labours of the Depot, the sole object of General A——y is to make this establishment lose its paralyzing destination of archives, in which, from time to time, literati might come to collect information concerning some periods of national or foreign history. He is of opinion that these materials ought to be drawn from oblivion, and brought into action by those very persons who, having the experience of war, are better enabled than any others to arrange its elements. Instruction and method being the foundations of a good administration, of the application of an art and of a science, as well as of their improvement, he has conceived the idea of uniting in a classical work the exposition of the knowledge necessary for the direction of the Depot, for geographical engineers, staff-officers, military men in general, and historians. This, then, is the object of the Memomorial du Depot de la guerre, a periodical work, now in hand, which will become the guide of every establishment of this nature[6], by directing with method the various labours used in the application of mathematical and physical sciences to topography, and to that art which, of all others, has the greatest influence on the destiny of empires: I mean the art military. The improvements of which it is still susceptible will be pointed out in the Memorial, and every new idea proposed on the subject will there be critically investigated.

In transcribing General A——y's sketch of this extremely-interesting establishment, I cannot but reflect on the striking contrast that it presents, in point of geographical riches, even half a century ago, to the disgraceful poverty, in that line, which, about the same period, prevailed in England, and was severely felt in the planning of our military expeditions.

I remember to have been told by the late Lord Howe, that, when he was captain of the Magnanime at Plymouth, and was sent for express to London, in the year 1757, in order to command the naval part of an expedition to the coast of France, George II, and the whole cabinet council, seemed very much astonished at his requiring the production of a map of that part of the enemy's coast against which the expedition was intended. Neither in the apartment where the council sat, nor in any adjoining one, was any such document; even in the Admiralty-office no other than an indifferent map of the coast could be found: as for the adjacent country, it was so little known in England, that, when the British troops landed, their commander was ignorant of the distance of the neighbouring villages.

Of late years, indeed, we have ordered these matters better; but, to judge from circumstances, it should seem that we are still extremely deficient in geographical and topographical knowledge; though we are not quite so ill informed as in the time of a certain duke, who, when First Lord of the Treasury, asked in what part of Germany was the Ohio?