Indeed the long sojourn of the body of Ste. Genevive in this church has almost overshadowed its dedication to St. Stephen, several memorials of whom may, however, be recognized by the attentive visitor—among them, a picture of his martyrdom (by Abel de Pujol) near the entrance to the choir. The Protomartyr also stands, with his deacon's robe and palm, in a niche near the door of the sacristy, where left and right are frescoes of his Disputation with the Doctors, and his Martyrdom. The chapel immediately behind the high altar is, as usual, the Lady Chapel. The next contains a good modern window of the Marriage of the Virgin.

Examine in detail all the windows; one of the mystic wine-press is very interesting. Votive offerings of the city of Paris to Ste. Genevive also exist in the ambulatory. Curious frescoes of the martyrdom of the 10,000 Christians on Mount Ararat on the north side. The best view of the choir is obtained from the north side of the ambulatory, opposite the shrine of Ste. Genevive. In the north aisle notice St. Louis with the Crown of Thorns. Stand again in the center of the nave, near the entrance, and observe the curious inclination of the choir and high altar to one side— here particularly noticeable, and said in every case to represent the droop of the Redeemer's head on the cross.

As you emerge from the door, observe the cold and bare side of the Panthon, contrasted with the internal richness of St. tienne. Curious view of the late Gothic portion of the church from the little Place on the north side. Return by the Rue Cujas and Rue St. Jacques, passing the Lyce Ste. Barbe, Lyce Louis-le-Grand, University, and other scholastic buildings, which give a good idea of the character of the quarter.



St. Roch

By Augustus J. C. Hare

[Footnote: From "Walks in Paris." By arrangement with the publisher, David McKay. Copyright, 1880.]



Englishmen are often specially imprest with Paris as a city of contrasts, because one side of the principal line of hotels frequented by our countrymen looks down upon the broad, luxurious Rue de Rivoli, all modern gaiety and radiance, while the other side of their courtyards open upon the busy working Rue St. Honor, lined by the tall, many-windowed houses which have witnessed so many revolutions. They have all the picturesqueness of innumerable balconies, high, slated roofs, with dormer windows, window-boxes full of carnations and bright with crimson flowers through the summer, and they overlook an ever-changing crowd, in great part composed of men in blouses and women in white aprons and caps.

Ever since the fourteenth century the Rue St. Honor has been one of the busiest streets in Paris. It was the gate leading into this street which was attacked by Jeanne d'Arc in 1429. It was the fact that the Cardinal de Bourbon and the Due de Guise had been seen walking together at the Porte St. Honor that was said to have turned half the moustache of Henri of Navarre suddenly white, from a presentiment of the crime which has become known as the Massacre of St. Bartholomew. Here, in 1648, the barricade was raised which gave the signal for all the troubles of the Fronde. It was at No 3—then called L'Auberge des Trois Pigeons—that Ravaillac was lodging when he was waiting to murder Henry IV.; here the first gun was fired in the Revolution of July, 1830, which overturned Charles X.; and here, in the Revolution of 1848, a bloody combat took place between the insurgents and the military. Throughout this street, as Marie Antoinette was first entering Paris, the poissardes brought her bouquets, singing:

"La rose est la reine des fleurs. Antoinette est la reine des coeurs."

("The rose is the queen of flowers, Antoinette is the queen of hearts") and here, as she was being taken to the scaffold, they crowded round her execution-cart and shouted:

"Madame Veto avait promis De faire gorger tout Paris, Mais son coup a manqu Grce nos canonniers; Dansons la carmagnole Au bruit du son Du canon!"

("Madame Veto had promised to have the throat cut of all Paris, but her attempt failed, thanks to our gunners. Let us dance the carmagnole to the music of the cannon's roar!")

* * * * *

Turning east toward Old Paris, we pass, on the right of the Rue St. Honor, the Church of St. Roch, of which Louis XIV. laid the foundation- stone in 1633, replacing a chapel built on the site of the Htel Gaillon. The church was only finished, from designs of Robert de Cotte, in 1740. The flight of steps which leads to the entrance has many associations.

"Before St. Roch," says De Goncourt, "the tumbrel in which was Marie Antoinette, stopt in the midst of howling and hooting. A thousand insults were hurled from the steps of the church as it were with one voice, saluting with filth their queen about to die. She, however, serene and majestic, pardoned the insults by disregarding them." It was from these steps, in front of which an open space then extended to the Tuileries gardens, that Bonaparte ordered the first cannon to be fired upon the royalists who rose against the National Convention, and thus prevented a counter-revolution. Traces of this cannonade of 13 Vendmiaire are still to be seen at the angle of the church and the Rue Neuve St. Roch.



II

THE ENVIRONS OF PARIS



Versailles

By William Makepeace Thackeray

[Footnote: From "The Paris Sketch Book."]



You pass from the railroad station through a long, lonely suburb, with dusty rows of stunted trees on either side, and some few miserable beggars, idle boys, and ragged old women under them. Behind the trees are gaunt, moldy houses; palaces once, where (in the days of the unbought grace of life) the cheap defense of nations gambled, ogled, swindled, intrigued; whence high-born duchesses used to issue, in old times, to act as chambermaids to lovely Du Barri; and mighty princes rolled away, in gilt caroches, hot for the honor of lighting his Majesty to bed, or of presenting his stockings when he rose, or of holding his napkin when he dined.

Tailors, chandlers, tinmen, wretched hucksters, and greengrocers, are now established in the mansions of the old peers; small children are yelling at the doors, with mouths besmeared with bread and treacle; damp rags are hanging out of every one of the windows, steaming in the sun; oyster- shells, cabbage-stalks, broken crockery, old papers, lie basking in the same cheerful light. A solitary water-cart goes jingling down the wide pavement, and spirts a feeble refreshment over the dusty, thirty stones.

After pacing for some time through such dismal streets, we dboucher on the grande place; and before us lies the palace dedicated to all the glories of France. In the midst of the great lonely plain this famous residence of King Louis looks low and mean—Honored pile! Time was when tall musketeers and gilded body-guards allowed none to pass the gate. Fifty years ago, ten thousand drunken women from Paris broke through the charm; and now a tattered commissioner will conduct you through it for a penny, and lead you up to the sacred entrance of the palace.

We will not examine all the glories of France, as here they are portrayed in pictures and marble; catalogs are written about these miles of canvas, representing all the revolutionary battles, from Valmy to Waterloo—all the triumphs of Louis XIV.—all the mistresses of his successor—and all the great men who have flourished since the French empire began. Military heroes are most of these—fierce constables in shining steel, marshals in voluminous wigs, and brave grenadiers in bearskin caps; some dozens of whom gained crowns, principalities, dukedoms; some hundreds, plunder and epaulets; some millions, death in African sands, or in icy Russian plains, under the guidance, and for the good, of that arch-hero, Napoleon.

By far the greater part of "all the glories" of France (as of most other countries) is made up of these military men: and a fine satire it is on the cowardice of mankind, that they pay such an extraordinary homage to the virtue called courage; filling their history-books with tales about it, and nothing but it.

Let them disguise the place, however, as they will, and plaster the walls with bad pictures as they please, it will be hard to think of any family but one, as one traverses this vast gloomy edifice. It has been humbled to the ground, as a certain palace of Babel was of yore; but it is a monument of fallen pride, not less awful, and would afford matter for a whole library of sermons.

The cheap defense of nations expended a thousand millions in the erection of this magnificent dwelling-place. Armies were employed, in the intervals of their warlike labors, to level hills, or pile them up; to turn rivers, and to build aqueducts, and transplant woods, and construct smooth terraces, and long canals. A vast garden grew up in a wilderness, and a stupendous palace in the garden, and a stately city round the palace: the city was peopled with parasites, who daily came to do worship before the creator of these wonders—the Great King.

"Only God is great," said courtly Massillon; but next to him, as the prelate thought, was certainly Louis, his vicegerent here upon earth— God's lieutenant-governor of the world—before whom courtiers used to fall on their knees, and shade their eyes, as if the light of his countenance, like the sun, which shone supreme in heaven, the type of him, was too dazzling to bear.

Did ever the sun shine upon such a king before, in such a palace?—or, rather, did such a king ever shine upon the sun? When Majesty came out of his chamber, in the midst of his super-human splendors, viz., in his cinnamon-colored coat, embroidered with diamonds; his pyramon of a wig; his red-heeled shoes, that lifted him four inches from the ground, "that he scarcely seemed to touch;" when he came out, blazing upon the dukes and duchesses that waited his rising—what could the latter do but cover their eyes, and wink, and tremble? And did he not himself believe, as he stood there, on his high heels, under his ambrosial periwig, that there was something in him more than man—something above Fate?

This, doubtless, was he fain to believe; and if, on very fine days, from his terrace before his gloomy palace of St. Germains, he could catch a glimpse, in the distance, of a certain white spire of St. Denis, where his race lay buried, he would say to his courtiers, with a sublime condescension, "Gentlemen, you must remember that I, too, am mortal."

Surely the lords in waiting could hardly think him serious, and vowed that his Majesty always loved a joke. However, mortal or not, the sight of that sharp spire wounded his Majesty's eyes; and is said, by the legend, to have caused the building of the palace of Babel-Versailles.

In the year 1681, then, the great king, with bag and baggage—with guards, cooks, chamberlains, mistresses, Jesuits, gentlemen, lackeys, Fnelons, Molires, Lauzuns, Bossuets, Villars, Villeroys, Louvois, Colberts— transported himself to his new palace: the old one being left for James of England and Jaquette his wife, when their time should come. And when the time did come, and James sought his brother's kingdom, it is on record that Louis hastened to receive and console him, and promised to restore, incontinently, those islands from which the canaille had turned him.

Between brothers such a gift was a trifle; and the courtiers said to one another reverently, "The Lord said unto my Lord, Sit thou on my right hand, until I make thine enemies thy footstool." There was no blasphemy in the speech; on the contrary, it was gravely said, by a faithful believing man, who thought it no shame to the latter to compare his Majesty with God Almighty.

Indeed, the books of the time will give one a strong idea how general was this Louis-worship. I have just been looking at one which was written by an honest Jesuit and protg of Pre la Chaise, who dedicates it to the august Infants of France, which does, indeed, go almost as far in print. He calls our famous monarch "Louis le Grand: 1, l'invincible; 2, le sage; 3, le conqurant; 4, la merveille de son sicle; 5, la terreur de ses ennemis; 6, l'amour de ses peuples; 7, l'arbitre de la paix et de la guerre; 8, l'admiration de l'univers; 9, et digne d'en tre le matre; 10, le modle d'un hros achev; 11, digne de l'immortalit, et de la vnration de tous les sicles!"

A pretty Jesuit declaration, truly, and a good, honest judgment upon the great king! In 30 years more: 1. The invincible had been beaten a vast number of times. 2. The sage was the puppet of an artful old woman, who was the puppet of more artful priests. 3. The conqueror had quite forgotten his early knack of conquering. 5. The terror of his enemies (for 4, the marvel of his age, we pretermit, it being a loose term, that may apply to any person or thing) was now terrified by his enemies in turn. 6. The love of his people was as heartily detested by them as scarcely any other monarch, not even his great-grandson, has been, before or since. 7. The arbiter of peace and war was fain to send superb ambassadors to kick their heels in Dutch shopkeepers' antechambers. 8. Is again a general term. 9. The man fit to be master of the universe was scarcely master of his own kingdom. 10. The finished hero was all but finished, in a very commonplace and vulgar way. And, 11, the man worthy of immortality was just at the point of death, without a friend to soothe or deplore him; only withered old Maintenon to utter prayers at his bedside, and croaking Jesuit to prepare him, with heavens knows what wretched tricks and mummeries, for his appearance in that Great Republic that lies on the other side of the grave. In the course of his fourscore splendid miserable years, he never had but one friend, and he ruined and left her. Poor La Vallire, what a sad tale is yours!...

While La Vallire's heart is breaking, the model of a finished hero is yawning; as, on such paltry occasions, a finished hero should. Let her heart break: a plague upon her tears and repentance; what right has she to repent? Away with her to her convent! She goes, and the finished hero never sheds a tear. What a noble pitch of stoicism to have reached! Our Louis was so great, that the little woes of mean people were beyond him; his friends died, his mistresses left him; his children, one by one, were cut off before his eyes, and great Louis is not moved in the slightest degree! As how, indeed, should a god be moved?...

Out of the window the king's august head was one day thrust, when old Cond was painfully toiling up the steps of the court below. "Don't hurry yourself, my cousin," cries Magnanimity; "one who has to carry so many laurels can not walk fast." At which all the courtiers, lackeys, mistresses, chamberlains, Jesuits, and scullions, clasp their hands and burst into tears. Men are affected by the tale to this very day. For a century and three-quarters have not all the books that speak of Versailles, or Louis Quatorze, told the story?

"Don't hurry yourself, my cousin!" O admirable king and Christian! what a pitch of condescension is here, that the greatest king of all the world should go for to say anything so kind, and really tell a tottering old gentleman, worn out with gout, age, and wounds, not to walk too fast!

What a proper fund of slavishness is there in the composition of mankind, that histories like these, should be found to interest and awe them. Till the world's end, most likely, this story will have its place in the history-books, and unborn generations will read it, and tenderly be moved by it.

I am sure that Magnanimity went to bed that night, pleased and happy, intimately convinced that he had done an action of sublime virtue, and had easy slumbers and sweet dreams—especially if he had taken a light supper, and not too vehemently attacked his "en cas de nuit." ...

The king his successor has not left, at Versailles, half so much occasion for moralizing; perhaps the neigbhboring Parc aux Cerfs would afford better illustrations of his reign. The life of his great grandsire, the Grand Llama of France, seems to have frightened Louis the well-beloved; who understood that loneliness is one of the necessary conditions of divinity, and, being of a jovial, companionable turn, aspired not beyond manhood.

Only in the matter of ladies did he surpass his predecessor, as Solomon did David. War he eschewed, as his grandfather bade him; and his simple taste found little in this world to enjoy beyond the mulling of chocolate and the frying of pancakes. Look, here is the room called Laboratoire du Roi, where, with his own hands, he made his mistress's breakfast; here is the little door through which, from her apartments in the upper story, the chaste Du Barri came stealing down to the arms of the weary, feeble, gloomy old man.

But of women he was tired long since, and even pancake-frying had palled upon him. What had he to do, after forty years of reign; after having exhausted everything? Every pleasure that Dubois could invent for his hot youth, or cunning Lebel could minister to his old age, was flat and stale; used up to the very dregs; every shilling in the national purse had been squeezed out, by Pompadour and Du Barri and such brilliant ministers of state. He had found out the vanity of pleasure, as his ancestor had discovered the vanity of glory: indeed, it was high time that he should die. And die he did; and round his tomb, as round that of his grandfather before him, the starving people sang a dreadful chorus of curses, which were the only epitaphs for good or for evil that were raised to his memory....

On the 10th of May, 1774, the whole court had assembled at the chteau; the Oeil de Boeuf was full. The Dauphin had determined to depart as soon as the king had breathed his last. And it was agreed by the people of the stables, with those who watched in the king's room, that a lighted candle should be placed in a window, and should be extinguished as soon as he had ceased to live.

The candle was put out. At that signal, guards, pages, and squires, mounted on horseback, and everything was made ready for departure. The Dauphin was with the Dauphiness, waiting together for the news of the king's demise. An immense noise, as of thunder, was heard in the next room; it was the crowd of courtiers, who were deserting the dead king's apartment, in order to pay their court to the new power of Louis XVI.

Madame de Noailles entered, and was the first to salute the queen by her title of Queen of France, and begged their Majesties to quit their apartments, to receive the princes and great lords of the court desirous to pay their homage to the new sovereigns. Leaning on her husband's arm, a handkerchief to her eyes, in the most touching attitude, Marie Antoinette received these first visits.

On quitting the chamber where the dead king lay, the Due de Villequier bade Mr. Anderville, first surgeon of the king, to open and embalm the body: it would have been certain death to the surgeon.

"I am ready, sir," says he; "but while I am operating, you must hold the head of the corpse; your charge demands it."

The Duke went away without a word, and the body was neither opened nor embalmed. A few humble domestics and poor workmen watched by the remains, and performed the last offices to their master. The surgeons ordered spirits of wine to be poured into the coffin.

They huddled the king's body into a postchaise; and in this deplorable equipage, with an escort of about forty men, Louis, the Well-beloved, was carried, in the dead of night, from Versailles to Saint-Denis, and then thrown into the tombs of the kings of France!

If any man is curious, and can get permission, he may mount to the roof of the palace, and see where Louis XVI. used royally to amuse himself by gazing upon the doings of all the towns-people below with a telescope. Behold that balcony, where, one morning, he, his queen, and the little Dauphin stood, with Cromwell Grandison Lafayette by their side, who kissed her Majesty's hand, and protected her; and then, lovingly surrounded by his people, the king got into a coach and came to Paris: nor did his Majesty ride much in coaches after that....

He is said to have been such a smart journeyman blacksmith that he might, if Fate had not perversely placed a crown on his head, have earned a couple of louis every week by the making of locks and keys. Those who will may see the workshop where he employed many useful hours: Madame Elizabeth was at prayers meanwhile; the queen was making pleasant parties with her ladies; Monsieur the Count d'Artois was learning to dance on the tightrope; and Monsieur de Provence was cultivating l'loquence du billet and studying his favorite Horace.

It is said that each member of the august family succeeded remarkably well in his or her pursuits; big Monsieur's little notes are still cited. At a minuet or sillabub, poor Antoinette was unrivaled; and Charles, on the tightrope, was so graceful and so gentil that Madame Saqui might envy him. The time only was out of joint. Oh, curst spite, that ever such harmless creatures as these were bidden to right it!

A walk to the little Trianon is both pleasing and moral; no doubt the reader has seen the pretty, fantastical gardens which environ it; the groves and temples; the streams and caverns (whither, as the guide tells you, during the heat of summer, it was the custom of Marie Antoinette to retire with her favorite, Madame de Lamballe): the lake and Swiss village are pretty little toys, moreover; and the cicerone of the place does not fail to point out the different cottages which surround the piece of water, and tell the names of the royal masqueraders who inhabited each.

In the long cottage, close upon the lake, dwelt the Seigneur du Village, no less a personage than Louis XV.; Louis XVI., the Dauphin, was the Pailli; near his cottage is that of Monseigneur the Count d'Artois, who was the Miller; opposite lived the Prince de Cond, who enacted the part of Gamekeeper (or, indeed, any other role, for it does not signify much); near him was the Prince de Rohan, who was the Aumonier; and yonder is the pretty little dairy, which was under the charge of the fair Marie Antoinette herself.

I forget whether Monsieur the fat Count of Provence took any share of this royal masquerading; but look at the names of the other six actors of the comedy, and it will be hard to find any person for whom Fate had such dreadful visitations in store. Fancy the party, in the days of their prosperity, here gathered at Trianon, and seated under the tall poplars by the lake, discoursing familiarly together: suppose, of a sudden, some conjuring Cagliostro of the time is introduced among them, and foretells to them the woes that are about to come.

"You, Monsieur l'Aumonier, the descendant of a long line of princes, the passionate admirer of that fair queen who sits by your side, shall be the cause of her ruin and your own, [Footnote: In the diamond-necklace affair.] and shall die in disgrace and exile. You, son of the Conds, shall live long enough to see your royal race overthrown, and shall die by the hands of a hangman. [Footnote: He was found hanging in his own bed- room.] You, oldest son of St. Louis, shall perish by the executioner's ax; that beautiful head, O Antoinette, the same ruthless blade shall sever."

"They shall kill me first," says Lamballe, at the queen's side.

"Yes, truly," says the soothsayer, "for Fate prescribes ruin for your mistress and all who love her."

[Footnote: Among the many lovers that rumor gave to the Queen, poor Fersen is the most remarkable. He seems to have entertained for her a high and perfectly pure devotion. He was the chief agent in the luckless escape to Varennes; was lurking in Paris during the time of her captivity; and was concerned in the many fruitless plots that were made for her rescue. Fersen lived to be an old man, but died a dreadful and violent death. He was dragged from his carriage by the mob. In Stockholm, and murdered by them.—Author's note.]

"And," cries Monsieur d'Artois, "do I not love my sister, too? I pray you not to omit me in your prophecies."

To whom Monsieur Cagliostro says, scornfully, "You may look forward to fifty years of life, after most of these are laid in the grave. You shall be a king, but not die one; and shall leave the crown only; not the worthless head that shall wear it. Thrice shall you go into exile; you shall fly from the people, first, who would have no more of you and your race; and you shall return home over half a million of human corpses, that have been made for the sake of you, and of a tyrant as great as the greatest of your family. Again driven away, your bitterest enemy shall bring you back. But the strong limbs of France are not to be chained by such a paltry yoke as you can put on her: you shall be a tyrant, but in will only; and shall have a scepter, but to see it robbed from your hand."

"And pray, Sir Conjurer, who shall be the robber?" asked Monsieur the Count d'Artois.

This I can not say, for here my dream ended. The fact is, I had fallen asleep on one of the stone benches in the Avenue de Paris, and at this instant was awakened by a whirling of carriages and a great clattering of national guards, lancers, and outriders, in red. His Majesty, Louis Philippe, was going to pay a visit to the palace; which contains several pictures of his own glorious actions, and which has been dedicated, by him, to all the glories of France.



Versailles in 1739

By Thomas Gray

[Footnote: From a letter to his friend West.]



What a huge heap of littleness! It is composed, as it were, of three courts, all open to the eye at once, and gradually diminishing till you come to the royal apartments, which on this side present but half a dozen windows and a balcony. This last is all that can be called a front, for the rest is only great wings. The hue of all this mass is black, dirty red, and yellow; the first proceeding from stone changed by age; the second, from a mixture of brick; and the last, from a profusion of tarnished gilding. You can not see a more disagreeable tout ensemble; and, to finish the matter, it is all stuck over in many places with small busts of a tawny hue between every two windows.

We pass through this to go into the garden, and here the case is indeed altered; nothing can be vaster and more magnificent than the back front; before it a very spacious terrace spreads itself, adorned with two large basons; these are bordered and lined (as most of the others) with white marble, with handsome statues of bronze reclined on their edges. From hence you descend a huge flight of steps into a semi-circle formed by woods, that are cut all around into niches, which are filled with beautiful copies of all the famous antique statues in white marble. Just in the midst is the bason of Latona; she and her children are standing on the top of a rock in the middle, on the sides of which are the peasants, some half, some totally changed into frogs, all which throw out water at her in great plenty.

From this place runs on the great alley, which brings you into a complete round, where is the bason of Apollo, the biggest in the gardens. He is rising in his car out of the water, surrounded by nymphs and tritons, all in bronze, and finely executed, and these, as they play, raise a perfect storm about him; beyond this is the great canal, a prodigious long piece of water, that terminates the whole. All this you have at one coup d'oeil in entering the garden, which is truly great.

I can not say as much of the general taste of the place: everything you behold savors too much of art; all is forced, all is constrained about you; statues and vases sowed everywhere without distinction; sugar loaves and minced pies of yew; scrawl work of box, and little squirting jets- d'eau, besides a great sameness in the walks, can not help striking one at first sight, not to mention the silliest of labyrinths, and all Aesop's fables in water; since these were designed "in usum Delphini" only.

Here, then, we walk by moonlight, and hear the ladies and the nightingales sing. Next morning, being Whitsunday, make ready to go to the installation of nine Knights du Saint Esprit. Cambis is one: high mass celebrated with music, great crowd, much incense, King, Queen, Dauphin, Mesdames, Cardinals, and Court: Knights arrayed by his Majesty; reverences before the altar, not bows, but curtsies; stiff hams; much tittering among the ladies; trumpets, kettledrums, and fifes.



Fontainebleau

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]



The golden age of Fontainebleau came with the Renaissance and Francis I., who wished to make Fontainebleau the most glorious palace in the world. "The Escurial!" says Brantme, "what of that? See how long it was of building? Good workmen like to be quick finished. With our king it was otherwise. Take Fontainebleau and Chambord. When they were projected, when once the plumb-line, and the compass, and the square, and the hammer were on the spot, then in a few years we saw the Court in residence there."

Il Rosso was first (1531) employed to carry out the ideas of Franois I. as to painting, and then Sebastian Serlio was summoned from Bologna in 1541 to fill the place of "surintendant des bastiments et architecte de Fontainebleau." Il Rosso-Giovambattista had been a Florentine pupil of Michelangelo, but refused to follow any master, having, as Vasari says, "a certain inkling of his own." Franois I. was delighted with him at first, and made him head of all the Italian colony at Fontainebleau, where he was known as "Maitre Roux." But in two years the king was longing to patronize some other genius, and implored Giulio Romano, then engaged on the Palazzo del T at Mantua, to come to him. The great master refused to come himself, but in his place sent the Bolognese Primaticcio, who became known in France as Le Primatice.

The new-comer excited the furious jealousy of Il Rosso, whom he supplanted in favor and popularity, and who, after growing daily more morose, took poison in 1541. Then Primaticcio, who, to humor his rival had been sent into honorable exile (on plea of collecting antiquities at Rome), was summoned back, and destroyed most of Il Rosso's frescoes, replacing them by his own. Those that remain are now painted over, and no works of Il Rosso are still in existence (unless in engravings) except some of his frescoes at Florence.

With the Italian style of buildings and decorations, the Italian system of a Court adorned by ladies was first introduced here under Franois I., and soon became a necessity.... Under Franois I., his beautiful mistress, the Duchesse d'tampes—"la plus belle des savantes, et la plus savante des belles," directed all the ftes. In this she was succeeded, under Henry II., by Diane de Poitiers, whose monogram, interwoven with that of the king, appears in all the buildings of this time, and who is represented as a goddess (Diana) in the paintings of Primaticcio.

Under Franois II., in 1560, by the advice of the queen-mother, an assembly of notables was summoned at Fontainebleau; and here, accompanied by her 150 beautiful maids of honor, Catherine de Medici received the embassy of the Catholic sovereigns sent to demand the execution of the articles of the Council of Trent, and calling for fresh persecution of the reformers.

Much as his predecessors had accomplished, Henri IV. did more for the embellishment of Fontainebleau, where the monogram of his mistress, Gabrielle d'Estres, is frequently seen mingled with that of his wife, Marie de Medici. All the Bourbon kings had a passion for hunting, for which Fontainebleau afforded especial facilities.

It was at Fontainebleau that Louis XIII. was born, and that the Marchal de Biron was arrested. Louis XIII. only lived here occasionally. In the early reign of Louis XIV., the palace was lent to Christina, of Sweden, who had abdicated her throne.

It was in one of the private apartments, occupying the site of the ancient Galerie des Cerfs, now destroyed, that she ordered the execution of her chief equerry, Monaldeschi, whom she had convicted of treason. She listened patiently to his excuses, but was utterly unmoved by them and his entreaties for mercy. She provided a priest to confess him, after which he was slowly butchered by blows with a sword on the head and face, as he dragged himself along the floor, his body being defended by a coat of mail....

Even after the creation of the palaces of Versailles and Marly, Louis XIV. continued to make an annual "voyage de Fontainebleau." He compelled his whole court to follow him; if any of his family were ill, and unable to travel by road, he made them come by water; for himself, he slept on the way, either at the house of the Duc d'Antin (son of Mme. de Montespan) or of the Marchal de Villeroy.

It was here that the Grand Dauphin was born, in 1661. Here, also, it was that Mme. de Maintenon first appeared at the councils, and that the king publicly asked her advice as to whether he should accept the throne of Spain for the Duc d' Anjou. Here, also, in 1685, he signed the revocation of the edict of Nantes. The great Cond died in the palace. Louis XV. was married here to Marie Leczinska in 1725; and here the Dauphin, his son, died in 1765. Louis XIV. delighted in Fontainebleau for its hunting facilities.

After the Revolution, Napoleon I. restored the chteau and prepared it for Pius VII. who came to France to crown him, and was here (January 25, 1813) induced to sign the famous Concordat de Fontainebleau, by which he abjured his temporal sovereignty. The chateau which witnessed the abdication of the Pope, also saw that of Napoleon I., who made his touching farewell to the soldiers of the Vielle-Garde in the Cour du Cheval-Blanc, before setting off for Elba.... The Cour du Cheval-Blanc, the largest of the five courts of the palace, took its name from a plaster copy of the horse of Marcus Aurelius at Rome, destroyed 1626. Recently it has been called the Cour des Adieux, on account of the farewell of Napoleon I. in 1814. It was once surrounded by buildings on all sides; one was removed in 1810, and replaced by a grille.

The principal faade is composed of five pavilions with high roofs, united by buildings two stories high. The beautiful twisted staircase in front of the central pavilion was executed by Lemercier for Louis XIII., and replaces a staircase by Philbert Delorme. Facing this pavilion, the mass of buildings on the right is the Aile Neuve of Louis XV., built on the site of the Galerie d'Ulysse, to the destruction of the precious works of Primaticcio and Niccolo dell' Abbate, with which it was adorned. Below the last pavilion, near the grille, was the Grotte du Jardin-des-pins, where James V. of Scotland, coming over to marry Magdalen of France, daughter of Franois I., watched her bathing with her ladies, by the aid of a mirror....

To the west of the Cour du Cheval-Blanc, and communicating with it, is the Cour de la Fontaine, the main front of which is formed by the Galerie de Franois I. This faces the great tank, into which Gaston d' Orleans, at eight years old, caused one of the courtiers to be thrown, whom he considered to have spoken to him disrespectfully. One side of the Cour de la Fontaine, that toward the Jardin Anglais, is terminated by a pavilion of the time of Louis XV.; the other, formerly decorated with statues is attributed to Serlio. The fountain from which the court takes its name has been often changed; a poor work by Petitot now replaces the grand designs of the time of Franois I. and Henri IV. Beyond this court we find, on the left, the Porte Dore, which faces the Chausse de Maintenon, between the Etang and Parterre; it was built under Franois I., and decorated by Primaticcio with paintings, restored in 1835. It was by this entrance that Charles V. arrived at the palace in 1539....

A staircase now leads to the first floor, and we enter the apartments of Napoleon I., all furnished in the style of the First Empire. The cabinet de l'Abdication is the place where he resigned his power. His bedroom (containing the bed of Napoleon I., the cradle of the King of Rome, and a cabinet of Marie Louise) leads to the Salle du Conseil, which was the Salon de Famille under Louis Philippe. Its decorations are by Boucher, and are the best of the period. It was in leaving this room that the Marchal de Biron was arrested under Henri IV., in a cabinet which is now thrown into the adjoining Salle du Trne, (previously the bedroom of the Bourbon kings), dating from Charles IV., but decorated under Louis XIII. A fine portrait by Phillipe de Champaigne represents Louis XIII. It is accompanied by his device in allusion to his vehemence in the extermination of heresy.

The adjoining boudoir de Marie Antoinette is a beautiful little room, painted by Barthelemy. The metal work of the windows is said to have been wrought by Louis XVI. himself, who had his workshop here, as at Versailles. The richly decorated Chambre Coucher de la Reine was inhabited by Marie de Medici, Marie Threse, Marie Antoinette, Marie Louise, and Marie Amelie. The silk hangings were given by the town of Lyons to Marie Antoinette on her marriage. The Salon de Musique was the Salon du jeu de la Reine, under Marie Antoinette. The ancient Salon de Clorinde, or des Dames d' Honneur, is named from its paintings by Dubois and from the "Gerusalemme Liberata."

The Galerie de Diane, built by Napoleon I. and Louis XVIII., replaces the famous frescoed gallery of Henri IV. It is now turned into a library for the use of the town. In the center is a picture of Henri IV. on horseback, by Mauzaise. The Salles des Chasses contain pictures of hunting scenes under Louis XV. We now reach the glorious Galerie d' Henri II. (or Salle des Ftes), built by Franois I., and decorated by Henri II. The walnut- wood ceiling and the paneling of the walls are of marvelous richness. Over the chimney is a gigantic H, and the initials of Henri II. are constantly seen interlaced with those of Diane de Poitiers.... The sixty paintings on the walls, including eight large compositions, were executed by Niccolo Dell' Abbate, and are probably the finest decorations of the kind existing in France.

The rooms usually shown last are those formerly inhabited by Catherine de Medici and Anne of Austria, and which, under the First Empire, were used by Pius VII., under Louis Philippe, by the Duke and Duchess of Orleans. The most interesting of these are the Chambre Coucher, which bears the oft-repeated A L (the chiffre of Louis XIII. and Anne of Austria), and in which Pius VII. daily said mass, and the Salon, with its fine tapestry after Giulio Romano. The Galerie des Assiettes, adorned with Svres china, only dates from Louis Philippe. Hence, by a gallery in the Aile Neuve, hung with indifferent pictures, we may visit the Salle du Thetre, retaining its arrangements for the emperor, empress, and court.

The Gardens, as seen now, are mostly as they were rearranged by Lentre for Louis XIV. The most frequented garden is the Parterre, entered from the Place du Cheval-Blanc. In the center of the Jardin Anglais (entered through the Cour de la Fontaine) was the Fontaine Bleau, which is supposed by some to have given a name to the palace. The Etang has a pavilion in the center, where the Czar Peter got drunk. The carp in the pool, overfed with bread by visitors, are said to be, some of them, of immense age. John Evelyn mentions the carp of Fontainebleau, "that come familiarly to hand." The Jardin de l' Orangerie, on the north of the palace, called Jardin des Buis under Francois I., contains a good renaissance portal. To the east of the parterre and the town is the park, which has no beauty, but harmonizes well with the chteau.

Visitors should not fail to drive in the Forest, 80 kilometers in circuit, and, if they return late, may look out for its black huntsman—"le grand veneur." ... The forest was a favorite hunting-ground of the kings of France to a late period. It was here that the Marquis de Tourzel, Grand Provost of France, husband of the governess of the royal children, fractured his skull, his horse bolting against a tree, when hunting with Louis XVI., in November, 1786. The forest is the especial land of French artists, who overrun and possess it in the summer. There are innumerable direction-posts, in which all the red marks—put up by Napoleon III., because so few peasants could read—point to town.



St. Denis

By Grant Allen

[Footnote: From "Paris."]



About six miles north of the original Paris stands the great Basilica of St. Denis—the only church in Paris, and I think in France, called by that ancient name, which carries us back at once to the days of the Roman Empire, and in itself bears evidence to the antiquity of the spot as a place of worship. Around it, a squalid modern industrial town has slowly grown up; but the nucleus of the whole place, as the name itself shows, is the body and shrine of the martyred bishop, St. Denis. Among the numerous variants of his legend, the most accepted is that in which the apostle of Paris carries his head to this spot from Montmartre. Others say he was beheaded in Paris and walked to Montmartre, his body being afterward translated to the Abbey; while there are some who see in this legend a survival of the Dionysiac festival and sacrifice of the vine-growers round Paris—Denis—Dionysius—Dionysus.

However that may be, a chapel was erected in 275 above the grave of St. Denis, on the spot now occupied by the great Basilica; and later, Ste. Genevive was instrumental in restoring it. Dagobert I., one of the few Frankish kings who lived much in Paris, built a "basilica" in place of the chapel (630), and instituted by its side a Benedictine Abbey. The church and monastery which possest the actual body of the first bishop and great martyr of Paris formed naturally the holiest site in the neighborhood of the city; and even before Paris became the capital of a kingdom, the abbots were persons of great importance in the Frankish state.

The desire to repose close to the grave of a saint was habitual in early times, and even (with the obvious alteration of words) ante-dated Christianity—every wealthy Egyptian desiring in the same way to "sleep with Osiris." Dagobert himself was buried in the church he founded, beside the holy martyr; and in later times this very sacred spot became for the same reason the recognized burial place of the French kings. Dagobert's fane was actually consecrated by the Redeemer Himself, who descended for the purpose by night, with a great multitude of saints and angels.

The existing Basilica, tho of far later date, is the oldest church of any importance in the neighborhood of Paris. It was begun by Suger, abbot of the monastery, and sagacious minister of Louis VI. and VII., in 1121. As yet, Paris itself had no great church, Notre-Dame having been commenced some 50 years later. The earliest part of Suger's building is in the Romanesque style; it still retains the round Roman arch and many other Roman constructive features. During the course of the 50 years occupied in building the Basilica, however, the Gothic style was developed; the existing church therefore exhibits both Romanesque and Gothic work, with transitional features between the two, which add to its interest. Architecturally, then, bear in mind, it is in part Romanesque, passing into Gothic. The interior is mostly pure Early Gothic.

The neighborhood to Paris, the supremacy of the great saint, and the fact that St. Denis was especially the Royal Abbey, all combined to give it great importance. Under Suger's influence, Louis VI. adopted the oriflamme or standard of St. Denis as the royal banner of France. The Merovingian and Carlovingian kings, to be sure—Germans rather than French—had naturally been buried elsewhere, as at Aix-la-Chapelle, Rheims, and Soissons (tho even of them a few were interred beside the great bishop martyr). But as soon as the Parisian dynasty of the Capets came to the throne, they were almost without exception buried at St. Denis. Hence the abbey came to be regarded at last mainly as the mausoleum of French royalty, and is still too often so regarded by tourists.

But tho the exquisite Renaissance tombs of the House of Valois would well deserve a visit on their own account, they are, at St. Denis, but accessories to the great Basilica. Besides the actual tombs, too, many monuments were erected here, in the 13th century (by St. Louis) and afterward, to earlier kings buried elsewhere, some relic of whom, however, the abbey possest and thus honored. Hence several of the existing tombs are of far later date than the kings they commemorate; those of the Valois almost alone are truly contemporary.

At the Revolution, the Basilica suffered irreparable losses. The very sacred reliquary containing the severed head of St. Denis was destroyed, and the remains of the martyr and his companions desecrated. The royal bones and bodies were also disinterred and flung into trenches indiscriminately. The tombs of the kings were condemned to destruction, and many (chiefly in metal) were destroyed or melted down, but not a few were saved with difficulty by the exertions of antiquaries, and were placed in the Museum of Monuments at Paris (now the cole des Beaux-Arts), of which Alexandre Lenoir was curator. Here, they were greatly hacked about and mutilated, in order to fit them to their new situations.

At the Restoration, however, they were sent back to St. Denis, together with many other monuments which had no real place there; but, being housed in the crypt, they were further clipt to suit their fresh surroundings. Finally, when the Basilica was restored under Viollet-le-Duc, the tombs were replaced as nearly as possible in their old positions; but several intruders from elsewhere are still interspersed among them. Louis XVIII. brought back the mingled bones of his ancestors from the common trench and interred them in the crypt. As regards the tombs, again, bear in mind these facts. All the oldest have perished; there are none here that go back much further than the age of St. Louis, tho they often represent personages of earlier periods or dynasties. The best are those of the Renaissance period. These are greatly influenced by the magnificent tomb of Giangaleazzo Visconti at the Certosa di Pavia, near Milan. Especially is this the case with the noble monument of Louis XII., which closely imitates the Italian work. Now, you must remember that Charles VIII. and Louis XII. fought much in Italy, and were masters of Milan; hence this tomb was familiar to them; and their Italian experiences had much to do with the French Renaissance. The Cardinal d'Amboise, Louis's minister, built the Chteau de Gaillon, and much of the artistic impulse of the time was due to these two. Henceforth recollect that tho Franois I. is the prince of the Renaissance, Louis XII. and his minister were no mean forerunners....

The interior is most beautiful. The first portion of the church which we enter is a vestibule or Galilee under the side towers and end of the Nave. Compare Durham. It is of the age of Abbot Suger, but already exhibits pointed arches in the upper part. The architecture is solid and massive, but somewhat gloomy.

Descend a few steps into the Nave, which is surrounded by single aisles, whose vaulting should be noticed. The architecture of this part, now pure Early Gothic, is extremely lovely. The triforium is delicate and graceful. The windows in the clerestory above it, representing kings and queens, are almost all modern. Notice the great height of the Nave, and the unusual extent to which the triforium and clerestory project above the noble vaulting of the aisles. Note that the triforium itself opens directly to the air, and is supplied with stained-glass windows, seen through its arches. Sit awhile in this light and lofty Nave, in order to take in the beautiful view up the church toward the choir and chevet. Then walk up to the Barrier near the Transepts, where sit again, in order to observe the Choir and Transepts with the staircase which leads to the raised Ambulatory. Observe that the transepts are simple. The ugly stained glass in the windows of their clerestory contains illustrations of the reign of Louis Philippe, with extremely unpicturesque costumes of the period. The architecture of the Nave and Choir, with its light and airy arches and pillars, is of the later 13th century.

The reason for this is that Suger's building was thoroughly restored from 1230 onward, in the pure pointed style of that best period. The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt— which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.

Note from this point the arrangement of the Choir, which, to those who do not know Italy, will be quite unfamiliar. As at San Zeno in Verona, San Miniato in Florence, and many other Romanesque churches, the Choir is raised by some steps above the Nave and Transepts; while the Crypt is slightly deprest beneath them. In the Crypt, in such cases, are the actual bodies of the saints buried there; while the Altar stands directly over their tombs in the Choir above it.



Marly-Le-Roi

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]



The tram stops close to the Abreuvoir, a large artificial tank, surrounded by masonry for receiving the surplus water from the fountains in the palace gardens, of which it is now the only remnant. Ascending the avenue on the right, we shall find a road at the top which will lead us, to the left, through delightful woods to the site of the palace. Nothing remains but the walls supporting the wooded terrace.

It is difficult to realize the place as it was, for the quincunces of limes which stood between the pavilions on either side of the steep avenue leading to the royal residence, formerly dipt and kept close, are now huge trees, marking still the design of the grounds, but obscuring the views, and, by their great growth, making the main avenue very narrow. St. Simon exaggerates the extravagance of Louis XIV. at Marly, who spent there four and a half million francs between 1679 and 1690, and probably as much or more between 1690 and 1715, perhaps in all ten or twelve millions, which would represent fifty million francs at the present time. Nevertheless the expense of the amusements of Louis XIV. greatly exceeded the whole revenue of Henri IV., and those of the early years of Louis XIII.

From the central pavilion in which the flattery of Mansart placed him as the sun, Louis XIV. emerged every morning to visit the occupiers of the twelve smaller pavilions, Les Pavilions des Seigneurs, the constellations, his courtiers, who came out to meet him and swelled his train. These pavilions, arranged on each side of the gardens, stood in double avenues of clipt lime-trees looking upon the garden and its fountains, and leading up to the palace.

The device of the sun was carried out in the palace itself, where all the smaller apartments circled round the grand salon, the king and queen having apartments to the back, the dauphin and dauphine to the front, each apartment consisting of an anteroom, bedroom, and sitting-room, and each set being connected with one of the four square saloons, which opened upon the great octagonal hall, of which four faces were occupied by chimney- pieces and four by the doors of the smaller saloons. The central hall occupied the whole height of the edifice, and was lighted from the upper story.

The great ambition of every courtier was to be of the Marly circle, and all curried favor with the king by asking to accompany him on his weekly journey to Marly. The Court used to arrive at Marly on a Wednesday and leave it on a Saturday; this was an invariable rule. The king always passed his Sundays at Versailles, which was his parish. ... The leading figure at Marly was Mme. de Maintenon, who occupied the apartments intended for Queen Marie Thrse, but who led the simplest of lives, bored almost to extinction. She used to compare the carp languishing in the tanks of Marly to herself—"Like me they regret their native mud." ... At first Mme. de Maintenon dined, in the midst of the other ladies in the square salon which separated her apartment from that of the king; but soon she had a special table, to which a very few other ladies, her intimates, came by invitation.

Marly was the scene of several of the most tragic events in the life of Louis XIV. "Everything is dead here, there's no life in any thing," wrote the Comtesse de Caylus, niece of Mme. de Maintenon, from Marly to the Princess des Ursins, after the death of the Duchesse de Bourgogne. And, in a few days afterward, Marly was the scene of the sudden death of the Dauphin, Duc de Bourgogne, the beloved pupil of Fnelon. Early in the morning after the death of his wife, he was persuaded, "ill and anguished with the most intimate and bitterest of sorrows," to follow the king to Marly, where he entered his own room by a window on the ground floor.

It was also at Marly—"ill-omened Marly"—that the Duc de Berry, the younger grandson of Louis XIV., and husband of the profligate daughter of the Duc d' Orleans—afterward Regent, died, with great suspicion of poison, in 1714. The MS. memorials of Mary Beatrice by a sister of Chaillot, describe how, when Louis XIV. was mourning his beloved grandchildren, and that queen, whom he had always liked and respected, had lost her darling daughter Louisa, she went to visit him at Marly where "they laid aside all Court etiquette, weeping together in their common grief, because, as the Queen said, 'We saw that the aged were left, and that death had swept away the young.'" St. Simon depicts the last walk of the king in the gardens at Marly on August 10, 1715. He went away that evening to Versailles, where he died on September 1.

Marly was abandoned during the whole time of the Regency, and was only saved from total destruction in 1717, when the Rgent Philippe d'Orlans had ordered its demolition, by the spirited remonstrance of St. Simon.... The great pavilion itself only contained, as we have seen, a very small number of chambers. The querulous Smollett, who visited Marly in 1763, speaks of it as "No more than a pigeon-house in respect to a palace." But it was only intended as the residence of the king.

During the repairs necessary in the reign of Louis XV., who built Choisy and never lived at Marly, the cascade which fell behind the great pavilion was removed. Mme. Campan describes the later Marly of Louis XVI., under whom the "Marly journey" had become one of the great burdens and expenses of royal life. The Court of Louis XVI. was here for the last time on June 11, 1789, but in the latter years of Louis XVI., M. de Noailles, governor of St. Germain, was permitted to lend the smaller pavilions furnished to his friends for the summer months. Marly perished with the monarchy, and was sold at the Revolution, when the statues of its gardens were removed to the Tuileries. A cotton mill was for a time established in the royal pavilion; then all the buildings were pulled down and the gardens sold in lots!

Still the site is worth visiting. The Grille Royale, now a simple wooden gate between two pillars with vases, opens on the road from St. Germain to Versailles, at the extremity of the Aqueduct of Marly. Passing this, one finds oneself in an immense circular enclosure, the walls of which surround the forest on every side.



The Village of Auteuil

By Henry Wadsworth Longfellow

[Footnote: From "Outre-Mer." Published by Houghton, Mifflin Co.]



The sultry heat of summer always brings with it, to the idler and the man of leisure, a longing for the leafy shade and the green luxuriance of the country. It is pleasant to interchange the din of the city, the movement of the crowd, and the gossip of society, with the silence of the hamlet, the quiet seclusion of the grove, and the gossip of a woodland brook.

It was a feeling of this kind that prompted me, during my residence in the North of France, to pass one of the summer months at Auteuil, the pleasantest of the many little villages that lie in the immediate vicinity of the metropolis. It is situated on the outskirts of the Bois de Boulogne, a wood of some extent, in whose green alleys the dusty city enjoys the luxury of an evening drive, and gentlemen meet in the morning to give each other satisfaction in the usual way. A cross-road, skirted with green hedge-rows, and overshadowed by tall poplars, leads you from the noisy highway of St. Cloud and Versailles to the still retirement of this suburban hamlet. On either side the eye discovers old chteaux amid the trees, and green parks, whose pleasant shades recall a thousand images of La Fontaine, Racine, and Molire; and on an eminence, overlooking the windings of the Seine, and giving a beautiful tho distant view of the domes and gardens of Paris, rises the village of Passy, long the residence of our countrymen Franklin and Count Rumford....

It was to the Bois de Boulogne that I looked for my principal recreation. There I took my solitary walk, morning and evening; or, mounted on a little mouse-colored donkey, paced demurely along the woodland pathway. I had a favorite seat beneath the shadow of a venerable oak, one of the few hoary patriarchs of the wood which had survived the bivouacs of the allied armies. It stood upon the brink of a little glassy pool, whose tranquil bosom was the image of a quiet and secluded life, and stretched its parental arms over a rustic bench, that had been constructed beneath it for the accommodation of the foot-traveler, or, perchance, some idle dreamer like myself. It seemed to look round with a lordly air upon its old hereditary domain, whose stillness was no longer broken by the tap of the martial drum, nor the discordant clang of arms; and, as the breeze whispered among its branches, it seemed to be holding friendly colloquies with a few of its venerable contemporaries, who stooped from the opposite bank of the pool, nodding gravely now and then, and gazing at themselves with a sigh in the mirror below....

I entered, too, with some enthusiasm, into all the rural sports and merrimakes of the village. The holidays were so many little eras of mirth and good feeling; for the French have that happy and sunshine temperament —that merry-go-mad character—which renders all their social meetings scenes of enjoyment and hilarity. I made it a point never to miss any of the ftes champtres, or rural dances, at the wood of Boulogne; tho I confess it sometimes gave me a momentary uneasiness to see my rustic throne beneath the oak usurped by a noisy group of girls, the silence and decorum of my imaginary realm broken by music and laughter, and, in a word, my whole kingdom turned topsy-turvy with romping, fiddling, and dancing. But I am naturally, and from principle, too, a lover of all those innocent amusements which cheer the laborer's toil, and, as it were, put their shoulders to the wheel of life, and help the poor man along with his load of cares. Hence I saw with no small delight the rustic swain astride the wooden horse of the carrousel, and the village maiden whirling round and round in its dizzy car; or took my stand on the rising ground that overlooked the dance, an idle spectator in a busy throng. It was just where the village touched the outward border of the wood. There a little area had been leveled beneath the trees, surrounded by a painted rail, with a row of benches inside. The music was placed in a slight balcony, built around the trunk of a large tree in the center; and the lamps, hanging from the branches above, gave a gay, fantastic, and fairy look to the scene. How often in such moments did I recall the lines of Goldsmith, describing those "kinder skies" beneath which "France displays her bright domain," and feel how true and masterly the sketch—

"Alike all ages; dames of ancient days Have led their children through the mirthful maze, And the gray grandsire, skilled in gestic lore, Has frisked beneath the burden of threescore."

Nor must I forget to mention the fte patronale—a kind of annual fair, which is held at midsummer, in honor of the patron saint of Auteuil. Then the principal street of the village is filled with booths of every description; strolling players, and rope-dancers, and jugglers, and giants, and dwarfs, and wild beasts, and all kinds of wonderful shows, excite the gaping curiosity of the throng; and in dust, crowds, and confusion, the village rivals the capital itself. Then the goodly dames of Passy descend into the village of Auteuil; then the brewers of Billancourt and the tanners of Svres dance lustily under the greenwood tree; and then, too, the sturdy fishmongers of Brtigny and Saint-Yon regale their fat wives with an airing in a swing, and their customers with eels and crawfish....

I found another source of amusement in observing the various personages that daily passed and repassed beneath my window. The character which most of all arrested my attention was a poor blind fiddler, whom I first saw chanting a doleful ballad at the door of a small tavern near the gate of the village. He wore a brown coat, out at elbows, the fragment of a velvet waistcoat, and a pair of tight nankeens, so short as hardly to reach below his calves. A little foraging cap, that had long since seen its best days, set off an open, good-humored countenance, bronzed by sun and wind. He was led about by a brisk, middle-aged woman, in straw hat and wooden shoes; and a little barefooted boy, with clear, blue eyes and flaxen hair, held a tattered hat in his hand, in which he collected elemosynary sous. The old fellow had a favorite song, which he used to sing with great glee to a merry, joyous air, the burden of which ran "Chantons l'amour et le plaisir!" I often thought it would have been a good lesson for the crabbed and discontented rich man to have heard this remnant of humanity—poor, blind, and in rags, and dependent upon casual charity for his daily bread, singing in so cheerful a voice the charms of existence, and, as it were, fiddling life away to a merry tune.

I was one morning called to my window by the sound of rustic music. I looked out and beheld a procession of villagers advancing along the road, attired in gay dresses, and marching merrily on in the direction of the church. I soon perceived that it was a marriage-festival. The procession was led by a long orang-outang of a man, in a straw hat and white dimity bobcoat, playing on an asthmatic clarionet, from which he contrived to blow unearthly sounds, ever and anon squeaking off at right angles from his tune, and winding up with a grand flourish on the guttural notes. Behind him, led by his little boy, came the blind fiddler, his honest features glowing with all the hilarity of a rustic bridal, and, as he stumbled along, sawing away upon his fiddle till he made all crack again. Then came the happy bridegroom, drest in his Sunday suit of blue, with a large nosegay in his button-hole; and close beside him his blushing bride, with downcast eyes, clad in a white robe and slippers, and wearing a wreath of white roses in her hair. The friends and relatives brought up the procession; and a troop of village urchins came shouting along in the rear, scrambling among themselves for the largess of sous and sugar-plums that now and then issued in large handfuls from the pockets of a lean man in black, who seemed to officiate as master of ceremonies on the occasion. I gazed on the procession till it was out of sight; and when the last wheeze of the clarionet died upon my ear, I could not help thinking how happy were they who were thus to dwell together in the peaceful bosom of their native village, far from the gilded misery and the pestilential vices of the town.

On the evening of the same day, I was sitting by the window, enjoying the freshness of the air and the beauty and stillness of the hour, when I heard the distant and solemn hymn of the Catholic burial-service, at first so faint and indistinct that it seemed an illusion. It rose mournfully on the hush of evening—died gradually away—then ceased. Then, it rose again, nearer and more distinct, and soon after a funeral procession appeared, and passed directly beneath my window. It was led by a priest, bearing the banner of the church, and followed by two boys, holding long flambeaux in their hands. Next came a double file of priests in their surplices, with a missal in one hand and a lighted wax taper in the other, chanting the funeral dirge at intervals—now pausing, and then again taking up the mournful burden of their lamentation, accompanied by others, who played upon a rude kind of bassoon, with a dismal and wailing sound. Then followed various symbols of the church, and the bier borne on the shoulders of four men. The coffin was covered with a velvet pall, and a chaplet of white flowers lay upon it, indicating that the deceased was unmarried. A few of the villagers came behind, clad in mourning robes, and bearing lighted tapers. The procession passed slowly along the same street that in the morning had been thronged by the gay bridal company. A melancholy train of thought forced itself home upon my mind. The joys and sorrows of this world are so strikingly mingled! Our mirth and grief are brought so mournfully in contact! We laugh while others weep—and others rejoice when we are sad! The light heart and the heavy walk side by side and go about together! Beneath the same roof are spread the wedding-feast and the funeral-pall! The bridal-song mingles with the burial-hymn! One goes to the marriage-bed, another to the grave; and all is mutable, uncertain, and transitory.

It is with sensations of pure delight that I recur to the brief period of my existence which was passed in the peaceful shades of Auteuil. There is one kind of wisdom which we learn from the world, and another kind which can be acquired in solitude only. In cities we study those around us; but in the retirement of the country we learn to know ourselves.



The Two Trianons

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]



The Trianons may be reached in half an hour from the railway station, but the distance is considerable, and a carriage very desirable, considering all the walking inside of the palaces to be accomplished. Carriages take the straight avenue from Bassin de Neptune. The pleasantest way for foot- passengers is to follow the gardens of Versailles as far as the Bassin d'Apollon, and then turn to the right. At the end of the right branch of the grand canal, staircases lead to the park of the Grand Trianon; but these staircases are railed in, and it is necessary to make a dtour to the Grille de la Grande Entre, whence an avenue leads directly to the Grand Trianon, while the Petit Trianon lies immediately to the right, behind the buildings of the Concierge and Corps de Garde.

The original palace of the Grand Trianon was a little chteau built by Louis XIV., in 1670, as a refuge from the fatigues of the Court, on land bought from the monks of St. Genevieve, and belonging to the parish of Trianon. But in 1687 the humble chteau was pulled down, and the present palace erected by Mansart in its place.

Louis XIV. constantly visited the Grand Trianon, with which for many years he was much delighted. But, after 1700, he never slept at Trianon, and, weary of his plaything here, turned all his attention to Marly. Under Louis XV., however, the palace was again frequently inhabited.

Being entirely on one floor, the Grand Trianon continued to be a most uncomfortable residence, till subterranean passages for service were added under Louis Philippe, who made great use of the palace. The buildings are without character or distinction. Visitors have to wait in the vestibule till a large party is formed, and are then hurried full speed round the rooms, without being allowed to linger for an instant.

The Petit Trianon was built by Gabriel for Louis XV. in the botanical garden which Louis XIV. had formed at the instigation of the Duc d'Ayen. It was intended as a miniature of the Grand Trianon, as that palace had been a miniature of Versailles. The palace was often used by Louis XV., who was here first attacked by the smallpox, of which he died. Louis XVI. gave it to Marie Antoinette, who made its gardens, and whose happiest days were spent here.

The Petit Trianon is a very small and very unassuming country house. Mme. de Maintenon describes it in June as "a palace enchanted and perfumed." Its pretty simple rooms are only interesting from their associations. The furniture is mostly of the times of Louis XVI. The stone stair has a handsome iron balustrade; the salons are paneled in white.

Here Marie Antoinette st to Mme. Lebrun for the picture in which she is represented with her children. In the dining-room is a secretaire given to Louis XVI. by the States of Burgundy, and portraits of the King and Marie Antoinette. The Cabinet de Travail of the queen was a cabinet given to her on her marriage by the town of Paris; in the Salle de Rception are four pictures by Watteau; the Boudoir has a Svres bust of the queen; in the Chambre—coucher is the queen's bed, and a portrait of the Dauphin by Lebrun. These simple rooms are a standing defense of the queen from the false accusations brought against her at the Revolution as to her extravagance in the furnishing of the Petit Trianon. Speaking of her happy domestic life, Mme. Lebrun says: "I do not believe Queen Marie Antoinette ever allowed an occasion to pass by without saying an agreeable thing to those who had the honor of being near her."



Malmaison

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]



The station is opposite a short avenue, at the end of which on the right, is the principal entrance to Malmaison. A little higher up the road at the right is a gate leading to the park and gardens, freely open to the public, and being sold (1887) in lots by the Stat. There is a melancholy charm in the old house of many recollections—grim, empty, and desolate; approached on this side by a bridge over the dry moat. A short distance off, rather to the left, as you look from the house, is a very pretty little temple—the Temple of Love—with a front of columns of red Givet marble brought from the chateau of Richelieu, and a clear stream bursting from the rocks beneath it.

Malmaison is supposed to derive its name from having been inhabited in the XI century by the Norman brigand Odon, and afterward by evil spirits, exorcised by the monks of St. Denis. Josephine bought the villa with its gardens, which had been much praised by Delille, from M. Lecouteulx de Canteleu for 160,000 francs.... Josephine retired to Malmaison at the time of her divorce, and seldom left it afterward.... In 1814, the unhappy Josephine, whose heart was always with Napoleon, was forced to receive a visit from the allied sovereigns at Malmaison, and died of a chill which she caught in doing the honors of her grounds to the Emperor Alexander on May 26, by a water excursion on the pool of Cucufa. After his return from Elba, Napoleon revisited the place....

After the loss of the battle of Waterloo, Napoleon once more retired to Malmaison, then the property of the children of Josephine, Eugene and Hortense. There he passed June 25, 1815, a day of terrible agitation. That evening at five o'clock he put on a brown suit of civilian clothes, tenderly embraced Queen Hortense and the other persons present, gave a long lingering look at the house and gardens connected with his happiest hours, and left them for ever.

After the second Restoration Prince Eugne sold Malmaison, removing its gallery of pictures to Munich. There is now nothing remarkable in the desolate rooms, tho the Salle des Marchaux, the bedroom of Josephine, and the grand salon, with a chimney-piece given by the Pope are pointed out. In later years the house was for some time inhabited by Queen Christina of Spain. It will be a source of European regret if at least the building connected with so many historic souvenirs, and the immediate grounds are not preserved.



St. Germain

By Leitch Ritchie

[Footnote: From "The Rivers of France." Pictures by J. M. W. Turner, R.A. Text by Leitch Ritchie.]



The view from the terrace of Saint Germain is one of the finest in France. This view, and a shady walk in the forest behind, are the only attractions of Saint Germain; for the old palace of the kings of France presents the appearance of nothing more than a huge, irregular, unsightly brick building. It is true, a great portion of the walls is of cut stone; but this is the idea which the whole conveys to the spectator. The edifice stands on the site of a chateau built by Louis-le-Gros, which, having been burned down by the English, was thus raised anew from its ruins. Charles V., Franois II., Henry IV., Louis XIII., and Louis XIV., all exercised their taste upon it, and all added to its general deformity.

Near this Henri Quatre built another chteau, which fell into ruins forty or fifty years ago. These ruins were altogether effaced by Charles X., who had formed the project of raising another structure upon the spot, entirely his own. The project, however, failed, like that of the coup d'etat, but this is of no consequence. The new chteau exists in various books of travel, written by eye-witnesses, quite as palpably as the enormous bulk of the ancient chteau. It is a true "castle in Spain." Among the sights to be seen in the palace is the chamber of Mademoiselle de la Vallire, and the trap-door by which she was visited by Louis Quatorze. There are also the chamber and oratory of our James II., who died at Saint Germain, on the 16th September, 1701.

The forest of Saint Germain is seven leagues in circumference, pierced in every direction by roads and paths, and containing various edifices that were used as hunting-lodges. This vast wood affords no view, except along the seemingly interminable path in which the spectator stands, the vista of which, carried on with mathematical regularity, terminates in a point. This is the case with all the great forests of France except that of Fontainebleau, where nature is sometimes seen in her most picturesque form. In the more remote and unfrequented parts of Saint Germain, the wild boar still makes his savage lair; and still the loiterer, in these lengthened alleys, is startled by a roebuck or a deer springing across the path....

Independently of the noble satellites attached to the court, the infinite number of official persons made its removal to Saint Germain, or the other royal seats, seem like the emigration of a whole people. Forty-nine physicians, thirty-eight surgeons, six apothecaries, thirteen preachers, one hundred and forty matres d'htel, ninety ladies of honor to the queen, in the sixteenth century! There were also an usher of the kitchen, a courier de vin (who took the charge of carrying provisions for the king when he went to the chase), a sutler of court, a conductor of the sumpter- horse, a lackey of the chariot, a captain of the mules, an overseer of roasts, a chair-bearer, a palmer (to provide ananches for Easter), a valet of the firewood, a paillassier of the Scotch guard, a yeoman of the mouth, and a hundred more for whose offices we have no names in English.

The grand matre d'htel was the chief officer of the court. The royal orders came through him; he regulated the expenses; and was, in short, to the rest of the functionaries, what the general is to the army. The matre des requetes was at the head of civil justice; the prevt de l'htel at the head of criminal justice....

When the courtiers presented themselves at the chteau, some in chariots, some on horseback, with their wives mounted behind them (the ladies all masked), they were subjected to the scrutiny of the captain of the gate. The greater number he compelled to dismount; but the princes and princesses, and a select few who had brevets of entrance, were permitted to ride within the walls.

At court the men wore sword and dagger; but to be found with a gun or pistol in the palace, or even in the town, subjected them to a sentence of death. To wear a casque or cuirass was punished with imprisonment. The laws of politeness were equally strict. If one man used insulting words to another, the offense was construed as being given to the king; and the offender was obliged to solicit pardon of his majesty. If one threatened another by clapping his hand to the hilt of his sword, he was to be assomm according to the ordinance; which may either mean knocked down, or soundly mauled—or the two together. If two men came to blows, they were both assomm. A still more serious breach of politeness, however, was the importunity of petitioners.

When the king hunted he was accompanied by a hundred pages, two hundred esquires, and often four or five hundred gentlemen; sometimes by the queen and princesses, with their hundreds of ladies and maids of honor, mounted on palfreys saddled with black velvet.



St. Cloud

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]



Very near the station is the Chteau de St. Cloud, set on fire by the bombs of Mont-Valrien, in the night of October 13, 1870, and now the most melancholy of ruins. Sufficient, however, remains to indicate the noble character of a building partly due to Jules Hardouin and Mansart. The chteau is more reddened than blackened by the fire, and the beautiful reliefs of its gables, its statues, and the wrought-iron grilles of its balconies are still perfect. Grass, and even trees, grow in its roofless halls, in one of which the marble pillars and sculptured decorations are seen through the gaps where windows once were. The view from the terrace is most beautiful.

The name of St. Cloud comes from a royal saint, who was buried in the collegiate church, pulled down by Marie Antoinette (which stood opposite the modern church), and to whose shrine there is an annual pilgrimage. Clodomir, King of Orleans, son of Clovis, dying in 524, had bequeathed his three sons to the guardianship of his mother Clotilde. Their barbarous uncles, Childebert and Clotaire, coveting their heritage, sent their mother a sword and a pair of scissors, asking her whether she would prefer that they should perish by the one, or that their royal locks should be shorn with the other, and that they should be shut up in a convent.

"I would rather see them dead than shaven," replied Clotilde proudly. Two of the princes were then murdered by their uncles, the third, Clodowald, was hidden by some faithful servants, but fright made him cut off his hair with his own hands, and he entered a monastery at a village then called Nogent, but which derived from him the name of St. Clodowald, corrupted into St. Cloud.

Clodowald bequeathed the lands of St. Cloud to the bishops of Paris, who had a summer palace here, in which the body of Franois I. lay in state after his death at Rambouillet. His son, Henri II., built a villa here in the Italian style; and Henri III. came to live here in a villa belonging to the Gondi family, while, with the King of Navarre, he was besieging Paris in 1589. The city was never taken, for at St. Cloud Henri was murdered by Jacques Clment, a monk of the Jacobin convent in Paris, who fancied that an angel had urged him to the deed in a vision....

From this time the house of the banker Jrme Gondi, one of the Italian adventurers who had followed the fortunes of Catherine de Medici, was an habitual residence of the Court. It became the property of Hervard, Controller of Finances, from whom Louis XIV. bought it for his brother Philippe d'Orlans, enlarged the palace, and employed Lentre to lay out the park. Monsieur married the beautiful Henriette d'Angleterre, youngest daughter of Charles I., who died here, June 30, 1670, with strong suspicion of poison. St. Simon affirms the person employed to have confest to Louis XIV., having used it at the instigation of the Chevalier de Lorraine (a favorite of Monsieur), whom Madame had caused to be exiled. One of the finest sermons of Bossuet describes the "disastrous night on which there came as a clap of thunder the astonishing news! 'Madame is dying! Madame is dead!' At the sound of so strange a wo people hurried to St. Cloud from all sides to find panic over all except the heart of the princess."

In the following year Monsieur was married again, to the Princess Palatine, when it was believed that his late wife appeared near a fountain in the park, where a servant, sent to fetch water, died of terror. The vision turned out to be a reality—a hideous old woman, who amused herself in this way. "The cowards," she said, "made such grimaces that I nearly died laughing. This evening pleasure paid me for the toil of my hard day."

Monsieur gave magnificent ftes to the Court at St. Cloud, added to the palace with great splendor, and caused the great cascade, which Jrme Gondi had made, to be enlarged and embellished by Mansart. It was at St. Cloud that Monsieur died of an attack of apoplexy, brought on by overeating after his return from a visit to the king at Marly.... The chateau continued to be occupied by Madame, daughter of the Elector, the rude, the original, and satirical Princess Palatine, in whom the modern House of Orleans has its origin, and here she died during the regency of her son....

The Rgent d'Orlans, nephew of Louis XIV., received Peter the Great at St. Cloud in 1717. In 1752 his grandson, Louis Philippe d'Orlans, gave at St. Cloud one of the most magnificent ftes ever seen in France.

In 1785 the Due d'Orleans sold St. Cloud for six million francs to Queen Marie Antoinette, who made great alterations in the internal arrangements of the building, where she resided during the early days of the Revolution.

It was at St. Cloud that the coup d'tat occurred which made Napoleon first-consul. This led him to choose the palace of St. Cloud, which had been the cradle of his power, as his principal residence, and, under the first empire, it was customary to speak of "le cabinet de Saint-Cloud," as previously of "le cabinet de Versailles," and afterward of "le cabinet des Tuileries." Here, in 1805, Napoleon and Josephine assisted at the baptism of the future Napoleon III....

It was also in the palace of St. Cloud that Napoleon I. was married to Marie Louise, April 1, 1810. In this palace of many changes the allied sovereigns met after the fall of the First Empire. Blucher, after his fashion, slept booted and spurred in the bed of Napoleon; and the capitulation of Paris was signed here July 3, 1815.

Louis XVIII. and Charles X. both lived much at St. Cloud, and added to it considerably; but here, where Henry IV. had been recognized as King of France and Navarre, Charles X. was forced by the will of the people to abdicate, July 30, 1830. Two years after, Louis Philippe established himself with his family at St. Cloud, and his daughter Clmentine was married to Duke Augustus of Saxe-Coburg in its chapel, April 28, 1843. Like his uncle, Napoleon III. was devoted to St. Cloud, where—"with a light heart"—the declaration of war with Prussia was signed in the library, July, 17, 1870, a ceremony followed by a banquet, during which the "Marseillaise" was played. The doom of St. Cloud was then sealed. On the 13th of the following October the besieged Parisians beheld the volumes of flame rising behind the Bois de Boulogne, which told that St. Cloud, recently occupied by the Prussians, and frequently bombarded in consequence from Mont-Valrien, had been fired by French bombs.

The steamer for St. Cloud descends the Seine, passing under the Pont de Solferino, Pont de la Concorde, Pont des Invalides, and Pont d'Alma. Then the Champ de Mars is seen on the left, the Palais du Trocadro on the right. After the Pont du d'Ina, Passy is passed on the right, and the Ile des Cygnes on the left. Then comes the Pont de Grenelle, after which Auteuil is passed on the right and Javel on the left. After leaving the Pont-viaduc du Point-du-Jour, the Ile de Billancourt is seen on the left. After the Pont de Billancourt, the steamer passes between the Iles de Billancourt and Sguin to Bas Meudon.



III

OLD PROVENCE



The Papal Palace at Avignon

By Charles Dickens

[Footnote: From "Pictures From Italy."]



There lay before us, that same afternoon, the broken bridge of Avignon, and all the city baking in the sun; yet with an underdone-piecrust, battlemented wall, that never will be brown, tho it bake for centuries.

The grapes were hanging in clusters in the streets, and the brilliant oleander was in full bloom everywhere. The streets are old and very narrow, but tolerably clean, and shaded by awnings stretched from house to house. Bright stuffs and handkerchiefs, curiosities, ancient frames of carved wood, old chairs, ghostly tables, saints, virgins, angels, and staring daubs of portraits, being exposed for sale beneath, it was very quaint and lovely. All this was much set off, too, by the glimpses one caught, through a rusty gate standing ajar, of quiet sleepy court-yards, having stately old houses within, as silent as tombs. It was all very like one of the descriptions in the Arabian Nights. The three one-eyed Calenders might have knocked at any one of those doors till the street rang again, and the porter who persisted in asking questions—the man who had the delicious purchases put into his basket in the morning—might have opened it quite naturally.

After breakfast next morning, we sallied forth to see the lions. Such a delicious breeze was blowing in, from the north, as made the walk delightful, tho the pavement-stones, and stones of the walls and houses, were far too hot to have a hand laid on them comfortably.

We went, first of all, up a rocky height, to the cathedral, where Mass was performing to an auditory very like that of Lyons, namely, several old women, a baby, and a very self-possest dog, who had marked out for himself a little course or platform for exercise, beginning at the altar-rails and ending at the door, up and down which constitutional walk he trotted, during the service, as methodically and calmly, as any old gentleman out of doors. It is a bare old church, and the paintings in the roof are sadly defaced by time and damp weather; but the sun was shining in, splendidly, through the red curtains of the windows, and glittering on the altar furniture; and it looked as bright and cheerful as need be.

Hard by the cathedral stands the ancient Palace of the Popes, of which one portion is now a common jail, and another a noisy barrack; while gloomy suites of state apartments, shut up and deserted, mock their own old state and glory, like the embalmed bodies of kings. But we neither went there to see state rooms, nor soldiers' quarters, nor a common jail, tho we dropt some money into a prisoners' box outside, while the prisoners, themselves, looked through the iron bars, high, up, and watched us eagerly. We went to see the ruins of the dreadful rooms in which the Inquisition used to sit.

A little, old, swarthy woman, with a pair of flashing black eyes—proof that the world hadn't conjured down the devil within her, tho it had had between sixty and seventy years to do it in—came out of the Barrack Cabaret, of which she was the keeper, with some large keys in her hands, and marshaled us the way that we should go. How she told us, on the way, that she was a Government Officer (concierge du palais apostolique), and had been, for I don't know how many years; and how she had shown these dungeons to princes; and how she was the best of dungeon demonstrators; and how she had resided in the palace from an infant—had been born there, if I recollect right—I needn't relate.

But such a fierce, little, rapid, sparkling, energetic she-devil I never beheld. She was alight and flaming, all the time. Her action was violent in the extreme. She never spoke, without stopping expressly for the purpose. She stamped her feet, clutched us by the arms, flung herself into attitudes, hammered against walls with her keys, for mere emphasis: now whispered as if the Inquisition were there still; now shrieked as if she were on the rack herself; and had a mysterious, hag-like way with her forefinger, when approaching the remains of some new horror—looking back and walking stealthily and making horrible grimaces—that might alone have qualified her to walk up and down a sick man's counterpane, to the exclusion of all other figures, through a whole fever.

Passing through the courtyard, among groups of idle soldiers, we turned off by a gate, which this She-Goblin unlocked for our admission, and locked again behind us; and entered a narrow court, rendered narrower by fallen stones and heaps of rubbish; part of it choking up the mouth of a ruined subterranean passage, that once communicated (or is said to have done so) with another castle on the opposite bank of the river. Close to this courtyard is a dungeon—we stood within it, in another minute—in the dismal tower of oubliettes, where Rienzi was imprisoned, fastened by an iron chain to the very wall that stands there now, but shut out from the sky which now looks down into it.

A few steps brought us to the Cachots, in which the prisoners of the Inquisition were confined for forty-eight hours after their capture, without food or drink, that their constancy might be shaken, even before they were confronted with their gloomy judges. The day has not got in there yet. They are still small cells, shut in by four unyielding, close, hard walls; still profoundly dark; still massively doored and fastened, as of old.