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the Louvre, the Faubourg Saint-Honoré, already considerable at that time, could be seen stretching away into the fields, and Petit-Bretagne gleaming green, and the Marché aux Pourceaux spreading abroad, in whose centre swelled the horrible apparatus used for boiling counterfeiters. Between la Courtille and Saint-Laurent, your eye had already noticed, on the summit of an eminence crouching amid desert plains, a sort of edifice which resembled from a distance a ruined colonnade, mounted upon a basement with its foundation laid bare. This was neither a Parthenon, nor a temple of the Olympian Jupiter. It was Montfauçon.

      Now, if the enumeration of so many edifices, summary as we have endeavored to make it, has not shattered in the reader’s mind the general image of old Paris, as we have constructed it, we will recapitulate it in a few words. In the centre, the island of the City, resembling as to form an enormous tortoise, and throwing out its bridges with tiles for scales; like legs from beneath its gray shell of roofs. On the left, the monolithic trapezium, firm, dense, bristling, of the University; on the right, the vast semicircle of the Town, much more intermixed with gardens and monuments. The three blocks, city, university, and town, marbled with innumerable streets. Across all, the Seine, “foster-mother Seine,” as says Father Du Breul, blocked with islands, bridges, and boats. All about an immense plain, patched with a thousand sorts of cultivated plots, sown with fine villages. On the left, Issy, Vanvres, Vaugirarde, Montrouge, Gentilly, with its round tower and its square tower, etc.; on the right, twenty others, from Conflans to Ville-l’Evêque. On the horizon, a border of hills arranged in a circle like the rim of the basin. Finally, far away to the east, Vincennes, and its seven quadrangular towers to the south, Bicêtre and its pointed turrets; to the north, Saint-Denis and its spire; to the west, Saint Cloud and its donjon keep. Such was the Paris which the ravens, who lived in 1482, beheld from the summits of the towers of Notre-Dame.

      Nevertheless, Voltaire said of this city, that “before Louis XIV., it possessed but four fine monuments”: the dome of the Sorbonne, the Val-de-Grâce, the modern Louvre, and I know not what the fourth was—the Luxembourg, perhaps. Fortunately, Voltaire was the author of “Candide” in spite of this, and in spite of this, he is, among all the men who have followed each other in the long series of humanity, the one who has best possessed the diabolical laugh. Moreover, this proves that one can be a fine genius, and yet understand nothing of an art to which one does not belong. Did not Moliere imagine that he was doing Raphael and Michael-Angelo a very great honor, by calling them “those Mignards of their age?”

      Let us return to Paris and to the fifteenth century.

      It was not then merely a handsome city; it was a homogeneous city, an architectural and historical product of the Middle Ages, a chronicle in stone. It was a city formed of two layers only; the Romanesque layer and the Gothic layer; for the Roman layer had disappeared long before, with the exception of the Hot Baths of Julian, where it still pierced through the thick crust of the Middle Ages. As for the Celtic layer, no specimens were any longer to be found, even when sinking wells.

      Fifty years later, when the Renaissance began to mingle with this unity which was so severe and yet so varied, the dazzling luxury of its fantasies and systems, its debasements of Roman round arches, Greek columns, and Gothic bases, its sculpture which was so tender and so ideal, its peculiar taste for arabesques and acanthus leaves, its architectural paganism, contemporary with Luther, Paris, was perhaps, still more beautiful, although less harmonious to the eye, and to the thought.

      But this splendid moment lasted only for a short time; the Renaissance was not impartial; it did not content itself with building, it wished to destroy; it is true that it required the room. Thus Gothic Paris was complete only for a moment. Saint-Jacques de la Boucherie had barely been completed when the demolition of the old Louvre was begun.

      After that, the great city became more disfigured every day. Gothic Paris, beneath which Roman Paris was effaced, was effaced in its turn; but can any one say what Paris has replaced it?

      There is the Paris of Catherine de Medicis at the Tuileries;*—the Paris of Henri II., at the Hôtel de Ville, two edifices still in fine taste;—the Paris of Henri IV., at the Place Royale: façades of brick with stone corners, and slated roofs, tri-colored houses;—the Paris of Louis XIII., at the Val-de-Grace: a crushed and squat architecture, with vaults like basket-handles, and something indescribably pot-bellied in the column, and thickset in the dome;—the Paris of Louis XIV., in the Invalides: grand, rich, gilded, cold;—the Paris of Louis XV., in Saint-Sulpice: volutes, knots of ribbon, clouds, vermicelli and chiccory leaves, all in stone;—the Paris of Louis XVI., in the Pantheon: Saint Peter of Rome, badly copied (the edifice is awkwardly heaped together, which has not amended its lines);—the Paris of the Republic, in the School of Medicine: a poor Greek and Roman taste, which resembles the Coliseum or the Parthenon as the constitution of the year III., resembles the laws of Minos,—it is called in architecture, “the Messidor” ** taste;—the Paris of Napoleon in the Place Vendome: this one is sublime, a column of bronze made of cannons;—the Paris of the Restoration, at the Bourse: a very white colonnade supporting a very smooth frieze; the whole is square and cost twenty millions.

      * We have seen with sorrow mingled with indignation, that it

      is the intention to increase, to recast, to make over, that is to say,

      to destroy this admirable palace. The architects of our day have too

      heavy a hand to touch these delicate works of the Renaissance. We still

      cherish a hope that they will not dare. Moreover, this demolition of the

      Tuileries now, would be not only a brutal deed of violence, which

      would make a drunken vandal blush—it would be an act of treason.

      The Tuileries is not simply a masterpiece of the art of the sixteenth

      century, it is a page of the history of the nineteenth. This palace no

      longer belongs to the king, but to the people. Let us leave it as it is.

      Our revolution has twice set its seal upon its front. On one of its two

      façades, there are the cannon-balls of the 10th of August; on the other,

      the balls of the 29th of July. It is sacred. Paris, April 1, 1831. (Note

      to the fifth edition.)

      ** The tenth month of the French republican calendar, from the

      19th of June to the 18th of July.

      To each of these characteristic monuments there is attached by a similarity of taste, fashion, and attitude, a certain number of houses scattered about in different quarters and which the eyes of the connoisseur easily distinguishes and furnishes with a date. When one knows how to look, one finds the spirit of a century, and the physiognomy of a king, even in the knocker on a door.

      The Paris of the present day has then, no general physiognomy. It is a collection of specimens of many centuries, and the finest have disappeared. The capital grows only in houses, and what houses! At the rate at which Paris is now proceeding, it will renew itself every fifty years.

      Thus the historical significance of its architecture is being effaced every day. Monuments are becoming rarer and rarer, and one seems to see them gradually engulfed, by the flood of houses. Our fathers had a Paris of stone; our sons will have one of plaster.

      So far as the modern monuments of new Paris are concerned, we would gladly be excused from mentioning them. It is not that we do not admire them as they deserve. The Sainte-Geneviève of M. Soufflot is certainly the finest Savoy cake that has ever been made in stone. The Palace of the Legion of Honor is also a very distinguished bit of pastry. The dome of the wheat market is an English jockey cap, on a grand scale. The towers of Saint-Sulpice are two huge clarinets, and the form is as good as any other; the telegraph, contorted and grimacing, forms an admirable accident upon their roofs. Saint-Roch has a door which, for magnificence, is comparable only to that of Saint-Thomas d’Aquin. It has, also, a crucifixion in high relief, in a cellar, with a sun of gilded wood. These things are fairly marvellous. The lantern of the labyrinth of the Jardin des Plantes is also very ingenious.

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