Old and New Paris: Its History, Its People, and Its Places, v. 2

The Cluny Museum has no claim to be considered a picture-gallery. It contains, however, a certain number of canvases, illustrating the manners, the costumes, or the furniture of particular periods. The best critics deny that the Jesus in the Garden of Olives is the work of Gentile di Fabriano, to whom the catalogue attributes it. Nor, according to competent judges, is the hand of Primaticcio to be recognised in that Venus who, standing by the side of Love, faces the spectator smiling, and with an arrow in her hand. The painting is marked by delicacy and refinement; but the style is not that of Primaticcio, nor does the face of Venus reproduce the features of Diana of Poitiers, who, according to some keen-sighted observers, is everywhere to be seen. A more genuine interest is inspired by a few pictures of the fifteenth century, some of Flemish, others of French origin. Very curious is the Mary Magdalen attributed to King René. The repentant sinner is grieving in the midst of a landscape whose background represents the city of Marseilles. Another picture well worthy of notice is one which represents two pictures in the same frame; on the one is represented the coronation of David, on the other the coronation of Louis XII. The author of this work is unknown, but the period is marked by the date of Louis XII.’s coronation (1498); and it is presumable that the painter was some artist of distinction attached to the Court. He was in any case a man of ability, with a certain feeling for colour.

French painting of the sixteenth century is represented by the school of Janet and his successors, but the true house decoration in those luxurious days, when art was mixed up with every detail of life, was tapestry. It was scarcely possible to feel dull in those vast halls, whose walls were covered, and, so to say, animated by a number of life-sized figures, now chasing the stag in picturesque woods, now sitting down to sumptuous feasts, now breaking lances in tournaments and jousts.

Many of these ancient tapestries have become worn out, less through the action of Time – for they were admirably woven – than through the carelessness of their possessors. The Hôtel Cluny preserves some of the best that were ever produced. Take, for example, the Deliverance of St. Peter, executed at Beauvais in the fifteenth century, or the ten embroidered pictures which tell the history of David and Bathsheba, done in Flanders under Louis XII. The biblical personages who figure in this illustrated story are dressed, of course, in the latest fashion of the year 1500; and the costumes are more interesting inasmuch as the artist who furnished the cartoons for these pictures was undeniably, with all his naïveté, an excellent draughtsman. Of another epoch, when art was already on the decline, are the tapestries taken from the arsenal, in which Henry IV. is represented as Apollo, Jeanne d’Albert as Venus, and Marie de Médicis as Juno. The painter, in his passion for allegory, has transformed into Saturn the king’s father, Antoine de Bourbon. Many other tapestries, in various states of preservation, and of which the colours have, in many cases, faded beneath the effect of sunlight, possess both artistic and historic interest. The vestments once worn by the Bishop of Bayonne were found in a tomb, and belong to the twelfth century. All kinds of strange contrivances worn by women in past ages (often, it must be supposed, against their will) are to be seen in the Hôtel Cluny: collars, collarettes, baskets, farthingales, girdles, and even high-heeled pattens, all made of iron.

The furniture preserved in the Hôtel Cluny is particularly fine, and is as historical as it is artistically beautiful. Remarkable among the examples of church furniture is the great sideboard of the Cathedral of St. Paul, carved by a Cellini of the fifteenth century. He must have spent his whole life at the work. Nor is the house furniture less magnificent. Witness the delicate sculpture of the benches, the high chairs with emblazoned backs, the chests for marriage gifts, the bed which is said to have belonged to Francis I., the cabinets of all times and of every shape, the harpsichords, the spinets, the gala carriages, covered with gildings, the sledges, the sedan chairs, and a hundred other objects of luxury: reminiscences of a time when between the workman and the artist there was scarcely any distinction, and when objects destined for the most common use were fashioned and adorned with an elegance and grace which told of true artistic feeling.

In the ancient mansion of Jacques d’Amboise, innumerable other objects might be pointed out either marvellous as works of art or deeply interesting, as illustrating the daily life of past ages, which they reproduce more vividly, perhaps, than any books could do.

Strange as it will appear to Englishmen, the Hôtel Cluny is not only open to the public on Sundays, but is open to the public on Sundays only. On other days permission to visit the museum must be obtained from the Minister of Fine Arts. Exceptions are made in favour of foreigners exhibiting their passports.

CHAPTER XVI.

THE MUSÉE D’ARTILLERIE

The Museum of Artillery – Its Origin and History – The Growth of its Collection of Armour and Weapons of all Kinds

THE Museum of Artillery, with its varied and admirably classified collection of arms, takes us back to prehistoric times, and after exhibiting rude martial implements of dim antiquity, brings us forward through successive ages of arms until it at length produces the very piece which is to-day in the hands of the French soldier.

The origin of the Musée d’Artillerie may be traced to the reign of Louis XIV. The Duc d’Humières, Grand Master of Artillery, obtained of the great monarch permission to place, in one of the halls of the royal magazine at the Bastille, a collection of small models of artillery then in use. This collection, intended to serve for the instruction of young artillery officers, was exhibited in glass cases.

The Duc de Maine and the Comte d’Eu, who succeeded d’Humières, did nothing towards the development of this happy idea, which was only resumed on the abolition of the post of Grand Master in 1755 by Lieutenant-General de Vallières, who succeeded the count as First Inspector-General. A certain number of ancient arms and of new models were transported to the Academy, and an inventory of the collections, which is still extant, was prepared. In 1788 the celebrated General de Gribeauval, regarded by French writers as the creator of modern artillery, succeeded de Vallières as Inspector-General. It was by means of little models constructed beneath his eyes that Gribeauval had prosecuted his studies, and it was his familiarity with models which enabled him to determine the precise form of the arms to be employed in his new system.

The idea of these little models extended itself to all the machines used in the artillery, as likewise to those ancient arms of which specimens had been preserved. Generalising his idea, Gribeauval determined to apply it to the creation of a complete establishment, and his project was in due time realised. The Minister of War, Comte de Brienne, at the reiterated recommendation of the general, granted to Rolland, Commissary of War and chief in the office of General Inspection of Artillery, a commission which named him director of the new museum. The programme proposed by Gribeauval embraced every description of war implements, whether past or present; nor did it exclude a collection of all the projects which had hitherto been proposed to the State by inventors.

This comprehensive scheme, executed with intelligence and activity, almost immediately gave the happy results which had been anticipated. Objects of all kinds, manufactured with great care in provincial establishments of artillery, arrived in shoals at Paris, and were united with the assemblage of ancient arms and armour which already existed in the royal magazine. This was a moment of growth and prosperity for the new institution. Very soon, however, its progress was to be checked, and its existence threatened by the grave events of 1789. On the 14th of July the arsenal of the artillery was devastated, and its collections almost entirely destroyed. Gribeauval was spared the pain of witnessing the destruction of the work to which he had wished to attach his name. He died on the 7th of May, 1789, two months before the taking of the Bastille.

Curiously enough, however, that same revolution which seemed to have finally wrecked the new museum gave it suddenly a second life, and afforded it an opportunity of wide and rapid development.

From 1791 to 1794 the national factories were inadequate to supply the wants of the army. The system of requisitions which was vigorously enforced brought into the arsenals considerable quantities of arms of all kinds, as well as armour. A commission named by the Ministry had to select therefrom what was serviceable, and to reject what was useless. Regnier, attached to the commission as “Controller of Arms,” conceived the happy notion of putting aside every object which seemed to him to possess particular interest, and which at the same time was of no practical use. The assortment he thus made was placed temporarily in the Convent of the Feuillants. Here it was inspected by Pétier, Minister of War, who, perceiving the future utility of such a collection, caused it to be transferred to the Convent of the Dominicans of Saint Thomas Aquinas. Here it was enhanced by the addition of those models which the before-mentioned Rolland had managed to save from the destruction of the Bastille. The whole was placed under the charge of the newly-formed “Committee of Artillery”; and thus in 1796 the museum obtained its re-organisation.

The Committee at once applied its energies to the development of the enterprise. They obtained from the Ministry permission to inspect those collections of arms which were contained in ancient royal residences, or in the mansions of great families who had become dispersed or had taken to flight. From these collections they were empowered to select whatever objects seemed eligible for exhibition in their museum. Such, however, was the resistance offered in many instances to this system of scientific plunder, that the booty carried off was not so extensive as had been anticipated.

In a more direct manner, however, the Ministry enlarged the treasures of the museum. For this purpose the First Consul, passing through Sedan in 1804, ordered that the arms he saw at the Town Hall should be transported to Paris; and this time it was necessary to obey, though the carriage of the trophies was entrusted, unfortunately, to rascals, who filched and sold part of them.

The peace of 1814 brought back to Paris the generals of artillery. The Central Committee resumed its sittings, and one of the first of these was devoted to the reorganisation of the museum, the importance of whose contents had just been revealed by a hastily-prepared inventory. The Committee appointed a commission, composed of three colonels, three chiefs of squadrons, and three captains, presided over by a general. This body had to draw up an inventory descriptive of each object, classifying the whole collection and reducing it to chronological order. The peace of 1814, however, was broken by Napoleon’s return from Elba, and the members of the commission were called away to active duty.

In 1815 the Museum of Artillery suffered nothing from the invasion: in consequence, it may be, of special measures taken beforehand for its protection. Between 1815 and 1830 the building was enlarged and a new classification was introduced. All was going well when the Artillery Museum was threatened with complete ruin. On the 28th of July, 1830, the insurgents came to the museum in search of arms; after a short but violent struggle, the doors were broken in and the place sacked. For one entire day, July 29th, the museum was almost empty, but on the morrow many of the arms seized the day before were given back, and little by little the contents of the museum, to the honour of the Parisian population, were restored. A certain number of the arms, about a hundred in all, had disappeared for ever; the loss was soon afterwards made good through the purchase of the Duke of Reggio’s collection. During the Revolution of February 7, 1848, the museum suffered no injury; a few insurgents approached the place, but were easily induced to retire.

The museum, as now constituted, fulfils the condition of its original programme, as laid down by General de Gribeauval. It contains specimens of every arm known, from the primitive flint hatchet to the weapons actually in use. It offers many gaps, entire centuries are unrepresented; but these gaps are unavoidable: they exist everywhere; and the historical character of the collection is as complete as the present condition of archaeological research permits.

The most distant period to which the history of arms can be traced is the one described by modern archæology as the Age of Stone. The use of metals was at that time unknown to man, who constructed his arms and implements out of the hardest stones he could find, the bones of animals in this primitive industry being also employed.

The researches made in different parts of France have yielded a good supply of hatchets, arrow and javelin points, made generally of flint. In the earliest period of the Stone Age the flints of the weapons were rough splints, in the second period they were polished. Among the earliest specimens of metal-work, the helmets of the ancient Etruscans may be cited, and afterwards those of the Greeks for infantry and for cavalry. In the satirical comedies of Aristophanes the price is mentioned (in the one entitled “Peace”) of the cuirasses and helmets of his time. Thus a cuirass cost ten minæ (about £35), a helmet one mina (£3 10s.). This series is continued by two Roman helmets in bronze, found at Lyons on the site of the ancient city. Among the Roman swords, some bear the mark of the place of manufacture – “Sabini.” In one of the principal cases may be seen the bronze portion of an ancient Roman standard found in Asia Minor, and given to the museum by the Emperor Napoleon III. The object is probably unique, and possesses in any case much archæological value; it is adorned with the medallions of the two emperors reigning at the time to which it belongs, and the effigies of the greater gods.

After Cæsar’s conquest, the Gauls adopted rapidly enough the manners and the arms of the Romans. At length, however, towards the end of the fifth century, the Franks appeared, and the Frankish invader brought with him his own sword and his own shield. The soldier among the Franks was buried sometimes in a sitting posture, more often stretched on his back. On the right of the sleeping warrior was his lance, with the point turned towards his head, and measuring about his own height; turned towards his feet was his battle-axe; on the left his sword – but this by exception, and only in the case of a chief. The Franks also carried small daggers with a single edge, knives, and scissors in their waist-bands. The smaller objects of equipment have been found in the graves of Frankish warriors. The Frank was armed chiefly for attack; his weapons of offence were numerous and formidable, while for the defensive he had nothing but his little shield, so small in comparison with the huge target-like arm of the fourteenth and fifteenth centuries. The chiefs alone among the Franks wore helmets.

The period of Charlemagne has been much studied, but it is difficult even now to form any idea as to the arms the emperor and his soldiers carried. The sword of Charlemagne in the Museum of Sovereigns and his spear are all, in the way of armoury, that has been preserved. If, however, we compare the sword with that of Childeric, we see many points of difference; the sword of Childeric, almost without a guard, and with a pommel of small dimensions, is very like a Roman sword. The large hemispheric pommel and the broad blade of the Emperor take us back to the mediæval types of the eleventh and twelfth centuries. As regards the successors of Charlemagne, the guards of Charles the Bald wore a uniform which closely resembled that of the Romans, with helmets of barbaric form, of which the base was very nearly square.

Now for a century and a half there is a break in the history of French weapons until we come to the Bayeux Tapestry, some time after the conquest of England by William the Norman. This celebrated piece of embroidery enlightens us as to the arms, the costume, and the equipment of armies towards the end of the eleventh century: so different from everything of the kind under Charles the Bald. In the space of about two hundred years the arms and the equipment of the soldier had undergone a complete change. A single sword is the only weapon of this epoch that the museum can offer; it is exactly like those of the Bayeux Tapestry, the point being formed not by the gradual tapering of the blade, but suddenly, by a sharpened end.

The twelfth century is represented by two helmets placed beneath glass at the end of one of the galleries; they were both found in the Somme. In the thirteenth century the man of war was usually armed with a coat of mail, but he wore a sort of hood in mail which he could throw back on his shoulders, of which an interesting specimen is to be seen at the museum.

The fourteenth century saw a transformation of the coat of mail into a suit of armour of polished steel, which, with some variations, caused by the introduction of portable fire-arms, remained the ordinary armour of the man of war until the time of its final disappearance. Towards 1325 the transformation was complete, as is proved by a great number of monuments of the time, including sculptured figures on tombs, paintings, manuscripts, sepulchral figures engraved on plates of copper, &c. These monuments and documents show that the military costume and equipment of the fourteenth century varied more than is generally imagined. Every man of war armed himself as he thought fit; but there are enough records to give an idea of the type that prevailed and even to guide the archæologist as to the dates of particular changes. What caused the ancient coat of mail to be given up was its weight, and at the same time its incompleteness for defensive purposes. It could stop the thrust of a sword and even of a lance, but in collision the effect of the shock was felt; and in adopting leather jerkins, and afterwards steel plates, the object was to spread the effect of the shock over a greater surface.

The coat of mail was not abandoned, but it was worn shorter and of lighter make, without its former accessories, and thus greater lightness and greater facilities of movement were gained.

The warrior towards the end of the thirteenth century was oppressed by his equipment, and did not get off his horse. After the transformation he was able to fight on foot, as he did in all the celebrated battles of the fourteenth century, beginning from Crécy (1346).

After the adoption of steel armour the coat of mail was still for a time worn underneath; but as the steel armour became more solid the coat of mail was gradually abandoned. The museum contains the complete armour of a man and horse, which dates from the middle of the fifteenth century.

Towards the end of that century the armour of the man of war had reached perfection. Every kind of shield had now been given up as useless; plate armour furnished every necessary defence, for it was only when the armour was weak that any additional protection was necessary. Thus the Norman coat of mail, as worn by William’s invading army, presented in its species of trellis-work enormous gaps, and for his complete defence the horseman protected himself with a long shield in the form of a heart, which in action covered the whole of his left side – the side he presented to the foe. As the armour becomes more effective the necessity for a shield diminishes, and, after getting smaller and smaller, it at last disappears. The Artillery Museum contains a suit of armour by Turenne, which shows what plate armour had become at the end of the seventeenth century. It was abandoned altogether at the beginning of Louis XIV.’s reign; the last helmets worn in France and England belonging to the time when this head-gear formed part of the armour of Cromwell’s Ironsides.

Among the innumerable specimens of arms preserved in the Museum of Artillery, portable arms are classed apart from those which strike at a distance, the latter including spears, javelins, bows and arrows, cannon, and every kind of fire-arm. The bow was the arm of the English, the crossbow that of the French. With the former the archer could fire more quickly, and it was easier to preserve the string from getting wet; of which the advantage was experienced on the English side during the battle of Crécy.

The English retained the use of the bow long after the French had abandoned that of the crossbow; and, according to the director of the Musée d’Artillerie, English bowmen were seen in action as late as 1627, at the siege of Rochelle. Companies of archers disappeared from the French army under Louis XII., about the year 1514. The last time, however, that bows and arrows were seen in European warfare was at the battles of Eylau and Friedland, in 1806, when, according to M. Thiers (“History of the Consulate and Empire”), some of the Tartar troops in the Russian army appeared armed with these antique, and for the most part obsolete, engines of war.

Musketry of every kind is represented in the Museum of Artillery, from the earliest to the latest patterns, including, in particular, the flint locks used in the wars of the Empire, percussion locks, by which they were replaced, the rifles adopted just before the Crimean war, and the quick-firing muskets of the most recent models, including the chassepot, associated with the war of 1870 and 1871, and the “fusil Gras,” which replaced it. The word artillery was formerly applied to every implement of war, though since the introduction of musketry it has been used only to designate guns of large calibre drawn by horses, as distinguished from portable fire-arms. Nevertheless, the first specimens of artillery, in something like the modern sense of the word, were of small bore, and the projectiles were the balls used in connection with the crossbow. The French employed artillery of this kind as far back as the battle of Crécy (1346). Gradually the bolts of the crossbow were replaced, for artillery fire, by leaden balls, called plummets (“plommées”), of about three pounds’ weight; these were used in cannons of modern shape, and by degrees the size of the balls was increased until soon the artillery of an army was divided into light and heavy.

The discoveries of the monk Berthold Schwartz belong to the middle of the fourteenth century; and though this learned, but not perhaps beneficent, inventor revolutionised the art of war, he cannot be accused, in pursuing his studies, of having had any deadly purpose in view.

The earliest fire-arms were loaded at the breech by means of a box which was received in a strong stirrup and fastened with a key; and with the use of breech-loading pieces the history of artillery begins, and up to the present time ends. Soon after the introduction of artillery a rapid augmentation took place in the size of the guns employed, and cannon-balls of stone were used. These were replaced by smaller balls made of cast iron, but even to the present day the weight-carrying power of a gun is estimated on the supposition that the ball is of stone. Stone cannon-balls were used by the Turks long after they had been abandoned in European armies; so also were pieces of immense calibre. In Western Europe cast-iron balls were found to be more effective than the larger balls of stone.

The Artillery Museum contains specimens of every kind of cannon used, from the original breech-loader to the breech-loader of the present day. No. 1 of the catalogue is a small cannon of the earliest period, made of forged iron and furnished with a breech-loading apparatus; 14 and the numbers following are siege-pieces of various kinds abandoned by the English at Meaux, after the bombardment of 1422. The projectiles for these pieces were of stone. No. 7 comes from the ancient residence, near Verdun, of the Knights of Malta; and next to it is a fine cannon in bronze given to the Knights of Rhodes by the Emperor Sigismund in 1434. No. 19, also in bronze, belongs to the reign of Louis XI.; and, like No. 18, comes from Rhodes. It bears this inscription: – “At the command of Loys [Louis], by the grace of God King of France, eleventh of this name, I was cast at Chartres by Jean Chollet, knight, artillery master to this sovereign.” Next but one in the series is a large mortar of bronze, cast at the command of the Grand Master of the Order of the Hospitallers of Jerusalem, Pierre d’Aubusson, 1480.

The construction of the various pieces, as we follow them in chronological order, becomes simplified, then complicated, then simplified again. Gun-carriages and ammunition-chests vary in form, until we find at last the field artillery, under Napoleon III., of one pattern; though two kinds of guns, light and heavy, are still used in the reserve artillery. The rifled cannon introduced by the Emperor Napoleon, which did such effective service during the Italian war of 1859, was looked upon by the French as the best possible field-gun; and, possibly from exaggerated loyalty taking the form of servility, the commission of officers to whom the breech loading rifled guns of Krupp were submitted a few years before the war of 1870 rejected them as in no way superior to the gun of Napoleonic invention actually in use. Since the last war the French have adopted breech-loading rifled pieces more or less on the model of the Krupp guns, treated with such disdain by the military advisers of Napoleon III.

Next to the pieces arranged in chronological order have been placed a number of foreign guns taken at various epochs from the enemy, including, among the latest acquisitions of this kind, a number of curious highly ornamented Chinese guns. Apart from the interesting exhibition of musketry and artillery in the military museum, a few words may here be said on the history of fire-arms generally. The use of fire-arms preceded by some centuries the famous invention of the German monk, Berthold Schwartz; which, in Europe, is known to have been anticipated a century earlier by the English monk, Roger Bacon. The art of making gunpowder was known in the second half of the thirteenth century to the Arabs of the north of Africa and the Moors of Spain.

The Italians, too, are said to have employed artillery in the thirteenth century, but there is no positive proof of its having been used until the middle of the fourteenth, when, so far as Europe is concerned, Roger Bacon’s invention, and all previous inventions of the same kind, had borne no fruit, whereas the discovery made by Berthold Schwartz received instant application.

CHAPTER XVII.

THE VAL DE GRÂCE – RELICS OF THE GREAT

The Deaf and Dumb Institution – The Val de Grâce – Hearts as Relics – Royal Funerals – The Church of Saint-Denis

RETURNING from the Museum of Artillery to the Museum of the Hôtel Cluny, we see, from the Cluny garden, the portico of the ancient church of Saint-Benoit, first transformed into the Théâtre du Panthéon, and then demolished. Enclosed by the church and cloister of Saint-Benoit was an open space, in which, on the 5th of June, the day of the Fête-Dieu, 1455, François Villon, the wild vagabond poet, assassinated the priest Philippe Chermoye, his rival in love. Closed at the time of the Revolution, and then sold as national property, it was afterwards, in 1813, converted into a flour depôt. In 1832, on the site of the ruined church, was built the Théâtre du Panthéon, where Alexandre Dumas brought out his drama of Paul Jones. The Théâtre du Panthéon, after remaining closed for some years, was pulled down in 1854. Near it, however, on the other side of the Hôtel Cluny, looking towards the Boulevard Saint-Germain, was built the Théâtre des Folies Saint-Germain, where were produced Les Inutiles of Edouard Cadol, Les Sceptiques of Felicien Mallefille, and a number of other amusing pieces.

In the neighbourhood of the Hôtel Cluny and of the Théâtre Cluny is a very interesting establishment: the Deaf and Dumb Institution of the benevolent Abbé de l’Epée, to whom the deaf and dumb are indebted not only for the language of signs, which for them replaces speech, but also for the establishment in which the deaf and dumb children receive the education and instruction necessary for them to make their way in the world. But those inmates intended by their parents for a liberal profession are charged one thousand francs (£40) a year. The departments, communes, and charitable institutions of the country maintain purses of about 6,000 francs. The State has the disposal of 140 purses, from which it makes to the institution an annual allowance of 70,000 francs. There are higher classes for children who desire to follow them, with workshops for children who will have to subsist by manual labour. In 1785 the Deaf and Dumb School, carried on until that time in the Rue des Moulins at the Butte Saint-Roch, received an annual subvention of 34,000 francs. The Abbé de l’Epée died on the 23rd of December, 1789, at the age of seventy-seven. His funeral oration was pronounced on the 23rd of January, 1790, by the Abbé Fauchet, preacher-in-ordinary to the king. On the 21st of July in the following year the National Assembly voted an annual sum of 12,700 livres (i. e., francs) for the Deaf and Dumb School, which now, from the Convent of the Celestins, where Queen Marie Antoinette had established it, was transferred to the ancient seminary of Saint-Magloire, Rue du Faubourg Saint-Jacques.

The Deaf and Dumb School was reconstructed in 1823 by the architect, M. Peyre, who left it as it now stands. It is looked upon as the perfect model of institutions of the kind. It contains, besides the class-rooms, refectories, dormitories, and workshops, not to mention the rooms in which the sittings of the “Central Society of Education and Assistance for the Deaf and Dumb” are held.

Almost opposite the entrance to the Deaf and Dumb Institute is the Rue des Ursulines, and just beyond, the Rue des Feuillantines, where Victor Hugo passed the happiest years of his childhood, to which reference is made in some of the finest verses of the Orientales. The Rue Saint-Jacques now joins the Rue d’Enfer, which separates it from the Boulevard Saint-Michel. The Rue d’Enfer owes its ominous name to a belief entertained in the eighteenth century that it was haunted by the fiend. Various plans for driving away the common enemy of man were suggested, until at last the bright idea occurred to someone of making over the entire street to an order of monks, who, it was thought, would be able, if anyone could, to deal with the invader from below. Either by some exorcising process, or by the natural dread which Satan or his emissary could not fail to experience at being brought beneath the observation of so many pious brethren, the Rue d’Enfer, from the time of its passing into the hands of the religious order, became one of the quietest thoroughfares in Paris. It still, however, in memory of the old legend, preserves its ancient name. No. 269 in the Rue d’Enfer, which runs out of Paris by the side of the Luxembourg Gardens, and takes us almost to suburban parts, is the house, formerly a Benedictine monastery, where, until the Revolution, was preserved the body of James II. of England, who had died at Saint-Germain-en-Laye on the 16th September, 1701, and of Louise Marie Stewart, his daughter, who died at the same place in 1727.

We now approach the Val de Grâce, that superb monument which Anne of Austria founded in 1641 as a thank-offering for the birth of the dauphin, afterwards Louis XIV., who came into the world when his mother had been twenty-two years without giving birth to a child. The young king, now in his eighth year, laid the first stone of the Val de Grâce on the 1st of April, 1645. Mansard, the royal architect, had drawn up the plan and begun the work, when serious difficulties presented themselves; for the site of the church was just above the catacombs. To reach a foundation, it was necessary to make a number of deep piercings, besides supporting the new edifice with blocks of solid masonry. One of Molière’s few serious poems is in honour of the Val de Grâce and of its architect, who was numbered amongst his most intimate and most cherished friends. After a very short time, however, the direction of the works was taken from Mansard, and given to Jacques le Mercier. Finally, Pierre de Muet was entrusted with the difficult but honourable task; nor did he finish the work without the assistance of two other architects, Gabriel le Duc and Duval.

The façade of the Val de Grâce, like that of the Sorbonne, is composed of two Corinthian orders, placed one above the other. Around the cupola Pierre Mignard has painted a large fresco representing the abode of the blest, divided into many mansions. This admirable work is certainly (as Molière pointed out in the poem previously referred to) Mignard’s masterpiece; and it may well be regarded as the most important wall-painting in Paris. The mosaic of the marble pavement, in spite of its dilapidated condition, is another attraction connected with this fine building. The principal altar, reproduced from that of St. Peter’s at Rome, had been destroyed in the revolutionary days of 1793. But the architect, Ruprich Robert, reconstructed it by order of the Emperor Napoleon III.; and it was consecrated after the fall of the Second Empire, on the 28th of July, 1870. The paintings which adorn the chapel are by Philippe of Champagne and his nephew, Jean Baptiste. The dome, which seemed to be in an insecure condition, was reconstructed and strengthened by means of iron supports in 1864 and 1865.