diff options
Diffstat (limited to '41914-h')
| -rw-r--r-- | 41914-h/41914-h.htm | 2213 |
1 files changed, 898 insertions, 1315 deletions
diff --git a/41914-h/41914-h.htm b/41914-h/41914-h.htm index 385225d..532d06e 100644 --- a/41914-h/41914-h.htm +++ b/41914-h/41914-h.htm @@ -4,7 +4,7 @@ <html xmlns="http://www.w3.org/1999/xhtml"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Stones of Paris in History and Letters, Vol. 1, by Benjamin Ellis Martin and Charlotte M. Martin. @@ -144,47 +144,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Stones of Paris in History and Letters, -Volume I (of 2), by Benjamin Ellis Martin and Charlotte M. Martin - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Stones of Paris in History and Letters, Volume I (of 2) - -Author: Benjamin Ellis Martin - Charlotte M. Martin - -Release Date: January 25, 2013 [EBook #41914] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE STONES OF PARIS, VOL I *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41914 ***</div> <div class="tnbox"> <p class="center"><b>Transcriber's Note:</b></p> @@ -207,7 +167,7 @@ document have been preserved.</p> <div class="figcenter"><a name="im_004" id="im_004"></a> <img src="images/im_004.jpg" width="362" height="550" alt="" /> -<p class="caption">Molière</p> +<p class="caption">Molière</p> </div> <p class="center p6"> @@ -267,7 +227,7 @@ IN CORDIAL TRIBUTE TO HIS<br /> <td class="tdr"><a href="#Page_73">73</a></td> </tr> <tr> -<td>Molière and his Friends</td> +<td>Molière and his Friends</td> <td class="tdr"><a href="#Page_103">103</a></td> </tr> <tr> @@ -283,11 +243,11 @@ IN CORDIAL TRIBUTE TO HIS<br /> <h2>LIST OF ILLUSTRATIONS</h2> <p class="center"><i>From drawings by John Fulleylove, Esq. The portraits from -photographs by Messrs. Braun, Clément et Cie.</i></p> +photographs by Messrs. Braun, Clément et Cie.</i></p> <table summary="List of Illustrations"> <tr> -<td class="tdh">Molière (from the portrait by Mignard in the Musée Condé, at +<td class="tdh">Molière (from the portrait by Mignard in the Musée Condé, at Chantilly)</td> <td colspan="2" class="tdc"><span class="s08"><i><a href="#im_004">Frontispiece</a></i></span></td> </tr> @@ -295,13 +255,13 @@ Chantilly)</td> <td colspan="3" class="tdr"><span class="s08">PAGE</span></td> </tr> <tr> -<td class="tdh">The so-called Hôtel de la Reine Blanche (from a photograph of +<td class="tdh">The so-called Hôtel de la Reine Blanche (from a photograph of the Commission du Vieux Paris)</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_041">28</a></td> </tr> <tr> -<td colspan="2" class="tdh">Balcony of the Hôtel de Lauzun-Pimodan, on Île Saint-Louis</td> +<td colspan="2" class="tdh">Balcony of the Hôtel de Lauzun-Pimodan, on ÃŽle Saint-Louis</td> <td class="tdr"><a href="#im_061">47</a></td> </tr> <tr> @@ -315,7 +275,7 @@ unknown artist, at Chantilly)</td> <td class="tdr"><a href="#im_086">70</a></td> </tr> <tr> -<td class="tdh">The Church of Saint-Séverin</td> +<td class="tdh">The Church of Saint-Séverin</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_091">74</a></td> </tr> @@ -339,27 +299,27 @@ private collection)</td> <td class="tdr"><a href="#im_114">92</a></td> </tr> <tr> -<td class="tdh">Clément Marot (from the portrait by Porbus le Jeune, in a +<td class="tdh">Clément Marot (from the portrait by Porbus le Jeune, in a private collection)</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_117">94</a></td> </tr> <tr> -<td class="tdh">René Descartes (from the portrait by Franz Hals, in the -Musée du Louvre)</td> +<td class="tdh">René Descartes (from the portrait by Franz Hals, in the +Musée du Louvre)</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_125">100</a></td> </tr> <tr> -<td colspan="2" class="tdh">The Stage Door of Molière's Second Theatre in Paris</td> +<td colspan="2" class="tdh">The Stage Door of Molière's Second Theatre in Paris</td> <td class="tdr"><a href="#im_140">114</a></td> </tr> <tr> -<td colspan="2" class="tdh">The Stamp of the Comédie Française</td> +<td colspan="2" class="tdh">The Stamp of the Comédie Française</td> <td class="tdr"><a href="#im_147">121</a></td> </tr> <tr> -<td class="tdh">The Molière Fountain</td> +<td class="tdh">The Molière Fountain</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_155">128</a></td> </tr> @@ -377,7 +337,7 @@ Sardou)</td> <span class="pagenum"><a name="Page_x" id="Page_x">x</a></span></td> </tr> <tr> -<td class="tdh">Rue Visconti. On the right is the Hôtel de Ranes, and in the +<td class="tdh">Rue Visconti. On the right is the Hôtel de Ranes, and in the distance is No. 13</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_193">160</a></td> @@ -388,18 +348,18 @@ distance is No. 13</td> <td class="tdr"><a href="#im_211">176</a></td> </tr> <tr> -<td class="tdh">Boileau-Despréaux (from the portrait by Largillière)</td> +<td class="tdh">Boileau-Despréaux (from the portrait by Largillière)</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_221">184</a></td> </tr> <tr> <td class="tdh">Voltaire (from the statue by Houdon in the foyer of the -Comédie Française)</td> +Comédie Française)</td> <td><i>facing</i></td> <td class="tdr"><a href="#im_231">192</a></td> </tr> <tr> -<td colspan="2" class="tdh">The Hôtel Lambert</td> +<td colspan="2" class="tdh">The Hôtel Lambert</td> <td class="tdr"><a href="#im_238">198</a></td> </tr> <tr> @@ -420,7 +380,7 @@ portrait, painted in her prison)</td> <td class="tdr"><a href="#im_275">230</a></td> </tr> <tr> -<td colspan="2" class="tdh">The Carré d'Atalante in the Tuileries Gardens</td> +<td colspan="2" class="tdh">The Carré d'Atalante in the Tuileries Gardens</td> <td class="tdr"><a href="#im_283">236</a></td> </tr> <tr> @@ -447,7 +407,7 @@ of M. Victorien Sardou)</td> <p>This book has been written for those who seek in Paris something more than a city of shows or a huge bazaar, -something better than the <i>cabaret</i> wherein François +something better than the <i>cabaret</i> wherein François I. found entertainment, and yet not quite—still in Hugo's phrase—the library that Charles V. esteemed it. There are many lovers of this beautiful capital of a great @@ -468,7 +428,7 @@ significance is given mainly by the former dwellers within these walls. We shall concern ourselves with the human document, illustrated by its surroundings. The student of history can find no more suggestive -relics of mediæval Paris than the still existing towers +relics of mediæval Paris than the still existing towers <span class="pagenum"><a name="Page_2" id="Page_2">2</a></span> and fragments of the wall of Philippe-Auguste, which shall be shown to him; for us, these stones must be @@ -487,7 +447,7 @@ The streets of Paris are alive with these sympathetic companions, who become abiding friends, as we stroll with them; and allow none of the ache, confessed to be felt in such scenes, despite her reasoning, by Madame -de Sévigné. Nor do they invite, here, any critical review +de Sévigné. Nor do they invite, here, any critical review of their work in life, but consent to scrutiny of their lineaments alone, and to an appreciation of their personal impress on their contemporaries and on us. @@ -505,7 +465,7 @@ de bonne foy</i>." <p>In this presentation of people and places it has been difficult, sometimes impossible, to keep due sequence both of chronology and topography. Just as Mr. Theodore -Andrea Cook found in the various <i>châteaux</i> of his +Andrea Cook found in the various <i>châteaux</i> of his admirable "Old Touraine," so each spot we shall visit in Paris "has some particular event, some especial visitor, whose importance overshadows every other @@ -553,7 +513,7 @@ on May 14, 1554, by Henri II. for the clearing away of certain encroachments made on the streets by buildings and by business, notably on Rue de la Ferronerie; that street being one of those used "for our way from our -royal <i>château</i> of the Louvre to our <i>château</i> of the Tournelles." +royal <i>château</i> of the Louvre to our <i>château</i> of the Tournelles." It was fifty-six years later, to the very day, that the stabbing of Henri IV. was made easy to Ravaillac, by the stoppage of the king's carriage in the blockade @@ -573,8 +533,8 @@ Richelieu was able to widen some streets, and Colbert tried to carry on the work, but Louis XIV. had no liking for his capital, and no money to waste for its bettering. His stage-subject's civic pride was unduly -swollen, when he said: "<i>À cette époque, la grande -ville du roi Henri n'était pas ce qu'elle est aujourd'hui.</i>"</p> +swollen, when he said: "<i>À cette époque, la grande +ville du roi Henri n'était pas ce qu'elle est aujourd'hui.</i>"</p> <p>At the beginning of the eighteenth century we find Paris divided into twenty quarters, in none of which @@ -653,7 +613,7 @@ preservation of their city's monuments that are memorable for architectural worth or historic suggestion. Where they are unable to save to the sight what is ancient and picturesque, they save to the memory by -records, drawings, and photographs. The "Procès +records, drawings, and photographs. The "Procès Verbal" of this Commission, issued monthly, contains its illustrated reports, discussions, and correspondence, and promises to become an historic document of inestimable @@ -678,24 +638,24 @@ in a tiny volume, in 1796, by the publisher Bottin, and has kept his name with its enormous growth through the century.</p> -<p>The word <i>hôtel</i> has here solely its original significance +<p>The word <i>hôtel</i> has here solely its original significance of a town house of the noble or the wealthy. In the sense of our modern usage of the word it had no place in old Paris. Already in the seventeenth century there were <i>auberges</i> for common wayfarers, and here -and there an <i>hôtellerie</i> for the traveller of better class. +and there an <i>hôtellerie</i> for the traveller of better class. During the absences of the owners of grand city mansions, -their <i>maîtres-d'hôtel</i> were allowed to let them to +their <i>maîtres-d'hôtel</i> were allowed to let them to accredited visitors to the capital, who brought their own retinue and demanded only shelter. When they came with no train, so that service had to be supplied, it was "charged in the bill," and that objectionable item, thus instituted, has been handed down to shock us in -the <i>hôtel-garni</i> of our time. With the emigration of +the <i>hôtel-garni</i> of our time. With the emigration of <span class="pagenum"><a name="Page_9" id="Page_9">9</a></span> the nobility, their stewards and <i>chefs</i> lost place and pay, and found both once more in the public hotels they -then started. No <i>hôtels-garnis</i> can be found in Paris +then started. No <i>hôtels-garnis</i> can be found in Paris of earlier date than the Revolution.</p> <p>In their explorations into the libraries, bureaus, @@ -707,12 +667,12 @@ tale with a courtesy that simulates sympathy. The exceptions to this general amenity have been few and ludicrous, and mostly the outcome of exasperation caused by the ceaseless questioning of foreigners. The -<i>concierge</i> of Châteaubriand's last home, in Rue du Bac, +<i>concierge</i> of Châteaubriand's last home, in Rue du Bac, considers a flourish of the wet broom, with which he is washing his court, a fitting rejoinder to the inquiring visitor. That visitor will find Balzac's Passy residence as impossible of entrance now as it was to his creditors. -The unique inner court of the Hôtel de Beauvais must +The unique inner court of the Hôtel de Beauvais must be seen from the outer vestibule, admission being refused by a surly <i>concierge</i> under orders from an ungenerous owner. The urbanity of the noble tenant of @@ -726,11 +686,11 @@ their recognition of the sympathetic counsel of Mlle. Blanche Taylor, of Paris, and of George H. Birch, <span class="pagenum"><a name="Page_10" id="Page_10">10</a></span> Esq., Curator of the Soane Museum, London. Cordial -thanks are especially given to the officials of the Hôtel +thanks are especially given to the officials of the Hôtel de Ville, in the bureau of the Conservation du Plan -de Paris, to M. Charles Sellier of the Musée Carnavalet, -to M. Monval, Librarian of the Comédie Française, to -M. G. Lenôtre, and to M. Victorien Sardou, for unmeasured +de Paris, to M. Charles Sellier of the Musée Carnavalet, +to M. Monval, Librarian of the Comédie Française, to +M. G. Lenôtre, and to M. Victorien Sardou, for unmeasured aid of all sorts, prompted by a disinterestedness that welcomes the importunate fellow-worker, and makes him forget that he is a stranger and a foreigner. @@ -758,7 +718,7 @@ curves of the quays, cruise for sequestered islands behind the multitudinous streams of traffic. We shall not push ahead just to get somewhere, nor restlessly "rush in to peer and praise." We shall learn -to <i>flâner</i>, not without object, but with art and conscience; +to <i>flâner</i>, not without object, but with art and conscience; to saunter, in the sense of that word, humorously derived by Thoreau from <i>Sainte-Terre</i>, and so transform ourselves into pilgrims to the spots sacred @@ -772,11 +732,11 @@ a delectable poison, more subtle than nicotine or strychnine, in the belief of Nestor Roqueplan, that modern Voltaire of the boulevards. And we shall not share "the unwholesome passion" for his Paris, to which -François Coppée owns himself a victim. Nor, on the +François Coppée owns himself a victim. Nor, on the other hand, shall we find "an insipid pleasure" in this adventure, as did Voltaire. Yet even he confesses, elsewhere, that one would "rather have details about Racine -and Despréaux, Bossuet and Descartes, than about +and Despréaux, Bossuet and Descartes, than about the battle of Steinkerk. There is nothing left but the names of the men who led battalions and squadrons. There is no return to the human race for one hundred @@ -795,7 +755,7 @@ cut in the stone of a street corner, from a chance-saved sign, a neglected <i>tourelle</i>, or a bit of battered carving. And where the modern despoiler has wreaked himself at his worst—as with the Paris of Marot, Rabelais, -Palissy—we may rub the magic ring of the archæologist, +Palissy—we may rub the magic ring of the archæologist, which brings instant reconstruction. So that we <span class="pagenum"><a name="Page_15" id="Page_15">15</a></span> shall seem to be walking in a vast gallery, where, in the @@ -825,10 +785,10 @@ tower, another sturdy survivor of the centuries. Between the northern side of Notre-Dame and the river-bank, a happy chance has spared some few of the streets, though fewer of the structures, of this earliest -Paris of Île de la Cité. This region recalls to us, by +Paris of ÃŽle de la Cité. This region recalls to us, by its street-names in part, and partly by its buildings, its former connection with the cathedral. In Rue des -Chantres it lodged its choristers, and Rue du Cloître-Notre-Dame +Chantres it lodged its choristers, and Rue du Cloître-Notre-Dame <span class="pagenum"><a name="Page_16" id="Page_16">16</a></span> records the site of the clerical settlement, beloved by Boileau, wherein dwelt its higher officials. @@ -845,14 +805,14 @@ now roofed over with glass—are piled high with every known shape of household furniture and utensil in metal; notably with the iron garden-chairs and tables, dear to the French. For this vast enclosure is the storage -<i>dépôt</i> of a famous house-furnishing firm, and is one +<i>dépôt</i> of a famous house-furnishing firm, and is one more instance of the many in Paris of a grand old mansion and its dependencies given over to trade.</p> <p>By the courtesy of those in charge, we may pass within the spacious stone entrance arch of No. 18, and pick our way through the ordered confusion, past the admirable -inner façade of the main fabric, with its stately +inner façade of the main fabric, with its stately steps and portal and its windows above, topped by tiny hoods, to a distant corner; where, in the gloom, we make out the base of a square tower and the foot of a @@ -871,15 +831,15 @@ that this tree was fully five hundred years old, when it was cut down to be made the shaft of this stairway, nearly five hundred years ago. For this stone tower is evidently of late fifteenth-century construction. The -mediæval towers were round, whether built upon their +mediæval towers were round, whether built upon their own foundations or rebuilt from Roman towers; and they gave way to square towers when battering-rams gave way to guns, in the fifteenth century. Yet this pile of masonry is known as "<i>la tour de Dagobert</i>," and with no wish to discredit this legend, cherished by the -dwellers in this quarter, we may quote Brantôme concerning +dwellers in this quarter, we may quote Brantôme concerning certain local traditions of the Tour de Nesle: -"<i>Je ne puis dire si çela soit vrai, mais le vulgaire de +"<i>Je ne puis dire si çela soit vrai, mais le vulgaire de Paris l'affirme.</i>"</p> <p>We can say, with certainty, that this tower was never @@ -892,7 +852,7 @@ his palace packed with barbaric gold and silver, with crude wall paintings and curious hangings. For this monarch made much of the arts of his day, whenever he found leisure from his fighting and his drinking. -Because of his love of luxury, a century of cyclopædias +Because of his love of luxury, a century of cyclopædias <span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> has "curved a contumelious lip" at his "corrupt court." On the other hand, he has been styled @@ -958,14 +918,14 @@ the north—where was an entrance to this court, in old days, from a gateway on the river-bank—is the roof that sheltered Racine, along with the legal gentry <span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> -of the Hôtel des Ursins. And all about us, below, -lies the little that is left of <i>la Cité</i>, the swept +of the Hôtel des Ursins. And all about us, below, +lies the little that is left of <i>la Cité</i>, the swept and set-in-order leavings of that ancient network of narrow streets, winding passages, blind alleys, all walled about by tall, scowling houses, leaning unwillingly against one another to save themselves from falling. This was the whole of Gallic Lutetia, the -centre of Roman Lutetia, the heart of mediæval Paris, +centre of Roman Lutetia, the heart of mediæval Paris, the "Alsatia" of modern Paris; surviving almost to our time, when the Second Empire let light and air into its pestilent corners. Every foot of this ground has its @@ -974,7 +934,7 @@ precincts, stole and starved and sang; there Quasimodo, climbing down from his tower, foraged for his scant supplies; there Sue's impossibly dark villany and equally impossible virtue found fitting stage-setting; -there, François, honest and engaging thief, +there, François, honest and engaging thief, slipped narrowly through the snares that encompassed even vagabonds, in the suspicious days and nights of the Terror.</p> @@ -997,10 +957,10 @@ Henri IV. on his horse. The narrow channel between, that gave access to the water-gate of the old Palace, has been filled in, so making one island of the three, and Rue de Harlay-au-Palais covers the joining line. -So the two islands on the east—Île Notre-Dame and -Île aux Vaches—have united their shores to make Île -Saint-Louis. The third island, most easterly of all—Île -des Javiaux of earliest times, known later as Île +So the two islands on the east—ÃŽle Notre-Dame and +ÃŽle aux Vaches—have united their shores to make ÃŽle +Saint-Louis. The third island, most easterly of all—ÃŽle +des Javiaux of earliest times, known later as ÃŽle Louvier—has been glued to the northern bank of the mainland, by the earthing-in of the thin arm of the river, along the line of present Boulevard Morland, @@ -1014,13 +974,13 @@ wearing away of the mighty Roman aqueduct, that brought water to the Palais des Thermes of the Roman rulers—whose immense <i>frigidarium</i> is safe and sound within the enclosure of the Cluny Museum—from the -Bièvre, away off on the southern outskirts. This aqueduct +Bièvre, away off on the southern outskirts. This aqueduct started at the point where later was built the village -of Arceuil—named from the mediæval, or late, +of Arceuil—named from the mediæval, or late, Latin <i>Arculi</i>—where was quarried the best stone that builded old Paris; and curved with the valley of the -Bièvre like a huge railway viaduct, leaving that stream -when it bent in its course to the Seine near the Salpêtrière, +Bièvre like a huge railway viaduct, leaving that stream +when it bent in its course to the Seine near the Salpêtrière, <span class="pagenum"><a name="Page_22" id="Page_22">22</a></span> and entering the town along the easterly line of Rue Saint-Jacques, and so straight away to the @@ -1039,8 +999,8 @@ conduits.</p> <p>Our old tower has seen the baby town creep, from its cradle on the shore, up that southern slope to where on its summit it found the tomb of its patron, Sainte -Geneviève—one tower of her abbey still shows gray -above the garden-walls of Lycée Henri IV.—and +Geneviève—one tower of her abbey still shows gray +above the garden-walls of Lycée Henri IV.—and thence, its strength so grown as to burst its girdle of restraining wall, it strode far afield. Roman and Christian settlements, with all their greenery—palace, @@ -1069,7 +1029,7 @@ French folk crowding about the boy-king and his English escort as they returned, and ignominiously hustling them into the Palace. Not many years later, on April 13, 1436, it possibly saw the French soldiery march -into Place de Grève, over the bridge and through the +into Place de Grève, over the bridge and through the streets behind, from their captured gate of Saint-Jacques; and not many days thereafter, the English soldiery hurrying along behind the northern wall from @@ -1122,7 +1082,7 @@ has passed into a proverb as the common comparison for a Frenchman's robust health. It is the only bridge between the islands and either bank that has so stood, and this tower has seen each of the others wrecked by -fire or flood. The tall wooden piles, on which the mediæval +fire or flood. The tall wooden piles, on which the mediæval bridgeways were built, slowly rotted, until they were carried away by the fierce current. And fire found its frequent quarry in the tall houses that lined either side @@ -1161,7 +1121,7 @@ its arches and road-way and houses. But the wooden scaffoldings used for the new construction were left below, and were the means of sacrificing it to an old woman's superstition. On April 27, 1718, she launched -a <i>sébile</i>—a wooden bowl—carrying a bit of blessed +a <i>sébile</i>—a wooden bowl—carrying a bit of blessed bread and a lighted taper, in the belief that this holy raft would stop over, and point out, the spot where lay the body of her drowned son. The taper failed in its @@ -1182,7 +1142,7 @@ to enrich various collections, notably that of M. Victorien Sardou.</p> <p>With all helpless Paris, our tower watched the old -Hôtel-Dieu—on the island's southern bank, where now +Hôtel-Dieu—on the island's southern bank, where now <span class="pagenum"><a name="Page_27" id="Page_27">27</a></span> is the green open space between Petit-Pont and Pont au Double—burning away for eleven days in 1772, and @@ -1204,8 +1164,8 @@ the island's towers and buttresses, pinnacles and domes.</p> <p>Far away from the island and its river, over the edge of the southern slope, behind the distant, dreary, outer boulevards, we find another ancient staircase. It is -within the vast structure known as "<i>la maison dîte de -Saint Louis</i>," commonly called the "<i>Hôtel de la Reine +within the vast structure known as "<i>la maison dîte de +Saint Louis</i>," commonly called the "<i>Hôtel de la Reine Blanche</i>." The modern boulevard, which gets its name from the astronomer, philosopher, and politician, Arago, has made a clean sweep through this historic quarter, @@ -1214,19 +1174,19 @@ makes it the suburban dwelling of Blanche of Castile. Hereabout was all country then, and a favorite summer resort of the wealthy citizens, whose modest cottages and showy villas clustered along the banks of the -Bièvre; a free and wilful stream in the early years of +Bièvre; a free and wilful stream in the early years of the thirteenth century, often in revolt and sometimes <span class="pagenum"><a name="Page_28" id="Page_28">28</a></span> misleading the sedate Seine into escapades, to the disquiet of these <i>faubourgs</i>. From its gardens, portly -meadows smiled townward to Mont-Sainte-Geneviève, +meadows smiled townward to Mont-Sainte-Geneviève, crowded with its schools, and to the convent gardens, snuggling close under the shelter of the southern wall of Philippe-Auguste.</p> <p>To-day, all this quarter is made malodorous by its many tanneries and dye-works; they have enslaved the -tiny Bièvre and stained it to a dirty reddish brown; so +tiny Bièvre and stained it to a dirty reddish brown; so that it crawls, slimy and sluggish and ashamed, between their surly walls and beneath bedraggled bridges, glad to sink into the Seine, under the Orleans railway station. @@ -1234,13 +1194,13 @@ Its gardens and meadows are covered by square miles of stone, and the line of the old wall is hidden behind and under modern streets. And this so-called country home of Queen Blanche, become plain No. 17 -Rue des Gobelins, yet refuses, in its mediæval dignity, +Rue des Gobelins, yet refuses, in its mediæval dignity, to regard itself as a mere number in a street, and withdraws behind its wall, its shoulder aslant, to express its royal unconcern for the straight lines of city surveyors. These have not yet stolen all its old-time character from the remaining section of the street, nor spoiled such of -its old-time façades as are left. This one at No. 19 demands +its old-time façades as are left. This one at No. 19 demands our especial scrutiny, by its significant portal and windows, and by the belief that it was originally joined in its rear to No. 17, the two forming one immense @@ -1258,7 +1218,7 @@ its upper windows, and the dormers of the wing, and the slope of the roof, suggest a late fifteenth or an early sixteenth century origin; and the cornice-moulding is so well worked out that it speaks plainly of a -much later date than the mediæval fortress-home. In +much later date than the mediæval fortress-home. In a <i>tourelle</i> at either end is a grand spiral staircase, as in Dagobert's Tower, and, like that, these turn on huge central oak trunks. Here, however, the steps are less @@ -1275,7 +1235,7 @@ to these walls of dead feudalism.</p> <div class="figcenter"><a name="im_041" id="im_041"></a> <img src="images/im_041.jpg" width="357" height="550" alt="" /> -<p class="caption">The So-called Hôtel de la Reine Blanche.<br /> +<p class="caption">The So-called Hôtel de la Reine Blanche.<br /> <br /> <span class="s08">(From a photograph of the Commission du Vieux Paris.)</span></p> </div> @@ -1289,7 +1249,7 @@ crusades against infidels and wars with Christians, he founded colleges and gave other aid to the university on <span class="pagenum"><a name="Page_30" id="Page_30">30</a></span> this bank; he pushed on with his strong hand the building -of Notre-Dame and of the old Hôtel-Dieu on the +of Notre-Dame and of the old Hôtel-Dieu on the island; he removed his residence from the ancient Palace, there, to the Louvre on the northern bank, constructed by him to that end—his huge foundation-walls, @@ -1298,9 +1258,9 @@ deep down in the substructures of the present Louvre—he shut in the unfenced cemetery of the Innocents from the merry-makers who profaned it; he roofed and walled-in the open markets in the fields hard by that -burial-ground; and he paved the streets of the <i>Cité</i>. +burial-ground; and he paved the streets of the <i>Cité</i>. To meet this last outlay, he was lavish with the money -of the citizens, notably of Gérard de Poissy, who was +of the citizens, notably of Gérard de Poissy, who was moved to donate one-half of his entire fortune by the sight of the King, "sparing neither pains nor expense in beautifying the town." Sparing himself no pains @@ -1309,7 +1269,7 @@ spared no expense to its worthy burghers, and in their purses he found the funds for his great wall. This he planned and began, toward the close of the twelfth century, when at home for awhile from the warfaring, -during which he had captured the "saucy Château-Gaillard" +during which he had captured the "saucy Château-Gaillard" of his former fellow-crusader, Richard the Lion-Hearted.</p> @@ -1329,22 +1289,22 @@ ninth century—into great gateways and small citadels, all of stone. They were massive, grim, sinister structures, and when their service as fortresses was finished, they were used for prisons; both equally infamous in -cruelty and horror. The Petit Châtelet was a donjon +cruelty and horror. The Petit Châtelet was a donjon tower, and guarded the southern approach to the island by way of the ancient main-road of the Gaul and the Roman, known later as the Voie du Midi, and later -again as the Route d'Orléans, and now as Rue Saint-Jacques. -This <i>châtelet</i> stood at the head of Petit-Pont, +again as the Route d'Orléans, and now as Rue Saint-Jacques. +This <i>châtelet</i> stood at the head of Petit-Pont, on the ground where Quais Saint-Michel and Montebello meet now, and was not demolished until -late in the eighteenth century. The Grand Châtelet +late in the eighteenth century. The Grand Châtelet ended the northern wall where it met Pont au Change, and its gloomy walls, and conical towers flanking a frowning portal, were pick-axed away only in 1802. It had held no prisoners since Necker induced Louis XVI. to institute, in La Force and other jails, what were grotesquely entitled "model prisons." On the building that -faces the northern side of Place du Châtelet you will +faces the northern side of Place du Châtelet you will find an elaborate tablet holding the plan of the dreary fortress and the appalling prison. When we stroll about the open space that its destruction has left, and @@ -1352,7 +1312,7 @@ that bears the bad old name, we need not lament its loss.</p> <p>Then came the wall of Philippe-Auguste, grandly <span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> -planned to enclose the closely knit island <i>Cité</i> and its +planned to enclose the closely knit island <i>Cité</i> and its straggling suburbs on either bank, with all their gardens, vineyards, and fields far out; and solidly constructed, with nearly thirty feet of squared-stone height, @@ -1370,17 +1330,17 @@ Institute. Alongside was the important Porte de Nesle. Thence the wall went southwesterly, behind the line made by the present Rues Mazarine and Monsieur-le-Prince; then, by its great curve just north of Rue des -Fossés-Saint-Jacques, it safeguarded the tomb and the -abbey of Sainte Geneviève, and so bent sharply around +Fossés-Saint-Jacques, it safeguarded the tomb and the +abbey of Sainte Geneviève, and so bent sharply around toward the northeast, within the line of present Rues -Thouin, du Cardinal-Lemoine, and des Fossés-Saint-Bernard, +Thouin, du Cardinal-Lemoine, and des Fossés-Saint-Bernard, to the easternmost tower on Quai de la Tournelle, and its river-gate, Porte Saint-Bernard. That gate, standing until the end of the eighteenth century, had been titillated into a triumphal arch for Louis XIV., in whose time this quay was a swell promenade and drive. It still retains one of its grand mansions, the -Hôtel Clermont-Tonnerre, at No. 27 on the quay, with +Hôtel Clermont-Tonnerre, at No. 27 on the quay, with a well-preserved portal. <span class="pagenum"><a name="Page_33" id="Page_33">33</a></span></p> @@ -1395,11 +1355,11 @@ them in honor of the first <i>dauphin</i> born to France since Catherine de' Medici's puny sons. This Porte Dauphine took the place, and very nearly the site, of the original Porte de Buci, which stood over the western end of our -Rue Saint-André-des-Arts, and was done away with in +Rue Saint-André-des-Arts, and was done away with in the cutting of Rue Dauphine. There was a gate, cut a few years after the completion of the wall, opening into the present triangular space made by the meeting -of Rue de l'École-de-Médecine and Boulevard Saint-Germain, +of Rue de l'École-de-Médecine and Boulevard Saint-Germain, and this gate bore this latter name. Of the original gates, that next beyond Porte de Buci was Porte Saint-Michel, a small postern that stood almost @@ -1408,7 +1368,7 @@ and Rues Monsieur-le-Prince and Soufflot. Next came the important Porte Saint-Jacques, mounting guard over the street now of that name, nearly where it crosses the southern side of new Rue Soufflot, -named in honor of the architect of the Panthéon. On +named in honor of the architect of the Panthéon. On that southwest corner is a tablet with a plan of the gate. It was a gate well watched by friends within, and foes without, coming up by this easy road. Dunois gained @@ -1427,7 +1387,7 @@ by actual sight of sections that survive, despite the assertions of authorities that no stone is left. At the end of Impasse de Nevers, within a locked gate, you may see a presumable bit. In the court that lies behind Nos. -27 and 29 Rue Guénégaud is a stable, and deep in the +27 and 29 Rue Guénégaud is a stable, and deep in the shadow of that stable lurks a round tower of Philippe-Auguste, massive and unmarred. At No. 4 Cour du Commerce a locksmith has his shop, and he hangs his @@ -1440,14 +1400,14 @@ the end of the sliced-off wall, and that carries you to a tiny garden, wherein small schoolgirls play on the very top of that wall. Down at the end of Cour de Rohan is an ancient well, dating from the day when this court -lay within the grounds of the Hôtel de Navarre, the +lay within the grounds of the Hôtel de Navarre, the property of Louis of Orleans before he became Louis -XII. In style it was closely akin to the Hôtel de Cluny, +XII. In style it was closely akin to the Hôtel de Cluny, and it is a sorrow that it is lost to us. Its entrance was -at the present Nos. 49 and 51 of Rue Saint-André-des-Arts, +at the present Nos. 49 and 51 of Rue Saint-André-des-Arts, and the very ancient walls in the rear court of <span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> -the latter house may have belonged to the Hôtel de +the latter house may have belonged to the Hôtel de Navarre. When Louis sold this property, one portion was bought by Dr. Coictier, who had amassed wealth as the physician of Louis XI., and this well @@ -1495,12 +1455,12 @@ monarch's unselfish devotion to his people, and gives him praise as unstinted as any on record.</p> <p>His Paris, the Paris of his mother and his grandfather, -was made up of <i>la Cité</i> on the island, under the +was made up of <i>la Cité</i> on the island, under the jurisdiction of the bishop; the northern suburb, <i>outre-Grand-Pont</i> -or <i>la Ville</i>, governed by the <i>Prévôt des +or <i>la Ville</i>, governed by the <i>Prévôt des Marchands</i>; the southern suburb, <i>outre-Petit-Pont</i> or -<i>l'Université</i>, appertaining to the "<i>Recteur</i>"; all ruled -by the <i>Prévôt</i> of Paris, appointed by and accountable to +<i>l'Université</i>, appertaining to the "<i>Recteur</i>"; all ruled +by the <i>Prévôt</i> of Paris, appointed by and accountable to the King alone. Hugo's "little old lady between her two promising daughters" holds good to-day, when the daughters are strapping wenches, and have not yet got @@ -1513,7 +1473,7 @@ their favored dwellers, and walling-out from the common <span class="pagenum"><a name="Page_37" id="Page_37">37</a></span> herd outside, the air and sun, green sights, and pleasant scents. There were no open spaces for the -people of mediæval days. Indeed, there were no "people," +people of mediæval days. Indeed, there were no "people," in our meaning of that word. The stage direction, "Enter Populace," expresses their state. There were peasants in the fields, toilers in the towns, vassals, all @@ -1578,7 +1538,7 @@ shining lights of science, who showed that the plague of the middle of the sixteenth century came from maleficent comets, their tails toward the Orient, or from malign conjunctions of Mars, Saturn, and Jupiter. -Ambroise Paré, the most enlightened man of his day, +Ambroise Paré, the most enlightened man of his day, had the courage to suggest that there were human and natural causes at work, in addition to the divine will. And the common-sense Faculty of Medicine, @@ -1589,7 +1549,7 @@ maladies then prevalent.</p> <p>The only street-lighting was that given fitfully by the forlorn lanterns of the patrol, or by the torches of varlets escorting their masters, on foot or on horse. -Now and then, a hole was burned in the mediæval night +Now and then, a hole was burned in the mediæval night by a cresset on a church tower or porch, or shot out from a <i>cabaret's</i> fire through an opened door. When tallow candles got cheaper, they were put into horn lanterns, @@ -1616,7 +1576,7 @@ their windows could be seen only a little square of water, enclosed between the buildings on both banks and on the neighboring bridge. So that the wistful burgher could get glimpses of his river only from the -beach by the Hôtel de Ville, or from the occasional ports +beach by the Hôtel de Ville, or from the occasional ports crowded with boats discharging cargo.</p> <p>These cargoes were sold in shops on ground floors, @@ -1643,7 +1603,7 @@ and when Voltaire's Candide came in, by way of Porte Saint-Marcel here on the southern side, in the time of Louis XV., he imagined himself in the dirtiest and ugliest of Westphalian villages. For all its filth and -all its discomfort, this mediæval Paris—portrayed, as +all its discomfort, this mediæval Paris—portrayed, as it appeared three hundred years later, in the painful detail and inaccurate erudition of Hugo's "Notre-Dame de Paris"—was a picturesque town, its buildings @@ -1661,19 +1621,19 @@ Blanche</i>," from this quarter where her son Louis learned to ride and to tilt, and glancing behind at the famous tapestry works, the Gobelins, of whose founder and director we shall have a word to say later, we follow -the avenue of that name to Rue du Fer-à-Moulin. This +the avenue of that name to Rue du Fer-à -Moulin. This little street, named for a sign that swung there in the twelfth century, is most commonplace until it opens out into a small, shabby square, that holds a few discouraged trees, and is faced by a stolid building whose wide, low-browed archway gives access to the court of -the <i>Boulangerie générale des Hôpitaux et Hospices</i>. +the <i>Boulangerie générale des Hôpitaux et Hospices</i>. This was the courtyard of the villa of Scipio Sardini, <span class="pagenum"><a name="Page_42" id="Page_42">42</a></span> whose name alone is kept alive by this Place Scipion—all that is left of his gardens and vineyards. Yet his was a notable name, in the days when this wily Tuscan -was "<i>écuyer du Roi Henri II.</i>," and in those roaring +was "<i>écuyer du Roi Henri II.</i>," and in those roaring days of swift fortunes for sharp Italian financiers, under the queen-mother, Catherine de' Medici. This man amassed scandalous riches, and built his villa, mentioned @@ -1683,7 +1643,7 @@ declivity. Of this villa only one wing still stands, and it is with unlooked-for delight that we find this admirable specimen of sixteenth-century architecture, of a style distinct from that of any other specimen in Paris. -The façade, that is left in the court of the <i>Boulangerie</i>, +The façade, that is left in the court of the <i>Boulangerie</i>, is made up of an arcade of six semi-circular arches on heavy stone pillars, a story above of plum-colored brick cut into panels by gray stone, its square-headed windows @@ -1696,7 +1656,7 @@ and of women, boldly or delicately carved, and wonderfully preserved; yet time has eaten away the terra-cotta, wind and wet have dulled the enamel that brightened them. The buildings about this court and -behind this unique façade are commonplace and need +behind this unique façade are commonplace and need not detain us. It was in 1614 that the General Hospital took the villa and enlarged it; in 1636, to escape the plague, the prisoners of the Conciergerie were installed @@ -1706,16 +1666,16 @@ of Paris for many years.</p> <p>We go our way toward our third staircase, not by the stupidly straight line of Rue Monge, but by vagrant -curves that bring us to the prison of Sainte-Pélagie, +curves that bring us to the prison of Sainte-Pélagie, soon to disappear, and to the Roman amphitheatre just below, happily rescued forever. Here, in Rue Cardinal-Lemoine, we slip under the stupid frontage of No. 49 to the court within, where we are faced by the -<i>hôtel</i> of Charles Lebrun. We mount the stone steps +<i>hôtel</i> of Charles Lebrun. We mount the stone steps that lead up to a wide hall, and so go through to a farther court, now unfortunately roofed over. This court was his garden, and this is the stately garden-front that -was the true façade, rather than that toward the street; +was the true façade, rather than that toward the street; for this noble mansion—the work of the architect Germain Boffrand, pupil and friend of Hardouin Mansart—was built after the fashion of that time, which shut @@ -1723,18 +1683,18 @@ out, by high walls, all that was within from sight of the man in the street, and kept the best for those who had entry to the stiff, formal gardens of that day.</p> -<p>Pupil of Poussin, <i>protégé</i> of Fouquet, friend of Colbert, +<p>Pupil of Poussin, <i>protégé</i> of Fouquet, friend of Colbert, Lebrun was the favorite court painter and decorator, and the most characteristic exponent of the art of -his day; his sumptuous style suiting equally François +his day; his sumptuous style suiting equally François I.'s Fontainebleau, and Louis XIV.'s Versailles. He aided Colbert in the founding of the Royal Academy of Painting and Sculpture, and in the purchase by the State of the Gobelins. This factory took its name from the famous dyer who came from Rheims, and tinted the -clear Bièvre with his splendid scarlet, says Rabelais; +clear Bièvre with his splendid scarlet, says Rabelais; <span class="pagenum"><a name="Page_44" id="Page_44">44</a></span> -so that it took the name of <i>la Rivière des Gobelins</i>, of +so that it took the name of <i>la Rivière des Gobelins</i>, of which Ronsard sings. The statesman and the artist in concert built up the great factory of tapestries and of furniture, such as were suitable for royal use. Made @@ -1746,7 +1706,7 @@ estate, which extended far away beyond modern Rue Monge. The death of Colbert—whose superb tomb in Saint-Eustache is the work of his surviving friend—left him to the hatred of Louvois, who pushed Mignard, -Molière's friend, into preferment. And Lebrun, genuine +Molière's friend, into preferment. And Lebrun, genuine and honest artist, died of sheer despondency, in his official apartment on the first floor of the factory, facing the chapel. His rooms have been cut up and given over @@ -1809,8 +1769,8 @@ from our Paris in miles and in years, by its isolation and tranquillity and old-world atmosphere. Its long, lazy main street is named after the royal saint, and its quays keep the titles of royal princes, Bourbon, -Orléans, Anjou. A great royal minister, Maximilien -de Béthune, gives his name to another quay, and his +Orléans, Anjou. A great royal minister, Maximilien +de Béthune, gives his name to another quay, and his great master gives his to the new boulevard crossing it. Henry often crossed his faithful Sully, but they were at one in the orders issued, in the year before the King's @@ -1827,7 +1787,7 @@ and to two of the streets. There was already a small chapel in the centre, the scene of the first preaching of the First Crusade, and this chapel has been enlarged to the present old-time parish church. Just within its -entrance is the <i>bénitier</i>, filled with water from the +entrance is the <i>bénitier</i>, filled with water from the <span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> mouth of a marble cherub who wears a pretty marble "bang." It came from the Carmelites of Chaillot, in @@ -1842,10 +1802,10 @@ this time without lying:</p> <div class="poetry-container"> <div class="poem"> -<p class="o1">"<i>J'y croyais ce matin voir une île enchantée,</i></p> -<p><i>Je la laissai déserte et la trouve habitée;</i></p> -<p><i>Quelque Amphion nouveau, sans l'aide des maçons,</i></p> -<p><i>En superbes palais à changé ses buissons.</i>"</p> +<p class="o1">"<i>J'y croyais ce matin voir une île enchantée,</i></p> +<p><i>Je la laissai déserte et la trouve habitée;</i></p> +<p><i>Quelque Amphion nouveau, sans l'aide des maçons,</i></p> +<p><i>En superbes palais à changé ses buissons.</i>"</p> </div></div> <p>We shall come hither again, in company with Voltaire @@ -1860,28 +1820,28 @@ into their "Ville-Saint-Louis" from the swell quarters on the other side of the river, and it used to be said that "<i>l'habitant -du Marais est étranger dans -l'Île</i>."</p> +du Marais est étranger dans +l'ÃŽle</i>."</p> <div class="figright"><a name="im_061" id="im_061"></a> <img src="images/im_061.jpg" width="143" height="173" alt="" /> -<p class="caption">Balcony of Hôtel de Lauzan-Pimodan -on Île de Saint-Louis.</p> +<p class="caption">Balcony of Hôtel de Lauzan-Pimodan +on ÃŽle de Saint-Louis.</p> </div> <p>Pont Louis-Philippe—an absurdly modern issue from <span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> this ancient quarter—carries us to the quay of the -Hôtel de Ville, and we may turn to look in at Saint-Gervais, +Hôtel de Ville, and we may turn to look in at Saint-Gervais, its precious window as brilliant as on the day it was finished by Jean Cousin. Passing in front of -the imperious statue of Étienne Marcel, staring at the -river that was his grave, we cross Place de l'Hôtel-de-Ville, -once Place de Grève, when it had in the centre +the imperious statue of Étienne Marcel, staring at the +river that was his grave, we cross Place de l'Hôtel-de-Ville, +once Place de Grève, when it had in the centre its stone cross reached by high steps, and its busy gallows close at hand. We forget its horrid memories in -the sight of the new Hôtel de Ville, of no memories, +the sight of the new Hôtel de Ville, of no memories, good or bad, to dash our delight in this most nearly perfect of modern structures; perfect in design, execution, and material, a consummate scheme carried out @@ -1901,7 +1861,7 @@ on the spot where Ravaillac waited for the coming of Henri IV. The wretched fanatic, worked on by whom we shall never know, had found Paris crowded for the Queen's coronation, and had hunted up a room in the -"Three Pigeons," an inn of Rue Saint-Honoré, opposite +"Three Pigeons," an inn of Rue Saint-Honoré, opposite the Church of Saint-Roch. Here or in another <span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> tavern, while prowling, he stole the knife. The narrow @@ -1913,7 +1873,7 @@ many of the old <i>charniers</i> absolutely unchanged. They form the low-ceilinged ground floor of nearly all these buildings between Rue Saint-Denis and Rue de la Lingerie. Perhaps the most characteristic specimen is -that one used for a <i>remise de voitures à bras</i>, a phrase +that one used for a <i>remise de voitures à bras</i>, a phrase of the finest French for a push-cart shed! And under No. 15 of this street of the Innocents, you may explore two of the cemetery vaults in perfect preservation. @@ -1938,14 +1898,14 @@ The demure <i>dame du comptoir</i> above assures you that you will be welcomed between midnight and dawn, but bids you bring no prejudices along, for the guests are not apt, in their song and chatter, to "<i>chercher la -délicatesse</i>"!</p> +délicatesse</i>"!</p> <p>The Church of the Innocents, built by Louis "<i>le Gros</i>" early in the twelfth century, had on its corner at Rues Saint-Denis and aux Fers—this latter now widened into Rue Berger—a most ancient fountain, dating from 1273. This fountain was built anew in 1550, -from a design of the Abbé de Clagny, not of Pierre +from a design of the Abbé de Clagny, not of Pierre Lescot as is claimed, and was decorated by Jean Goujon. Just before the Revolution (1785-88), when church and charnel-houses and cemetery were swept away, this @@ -1963,7 +1923,7 @@ making the water in motion a signal feature of the decoration—another instance of this engaging characteristic of French fountains.</p> -<p>A few steps farther north take us to Rue Étienne +<p>A few steps farther north take us to Rue Étienne Marcel, cutting its ruthless course through all that should be sacred, in a fashion that would gladden the sturdy provost. For all its destructive instincts, it yet @@ -1972,9 +1932,9 @@ has spared to us this memorable bit of petrified history, the tower of "<i>Jean-sans-Peur</i>." At No. 20, on the northern side of this broad and noisy street, amid modern structures, its base below the level of the pavement, -stands the last remaining fragment of the Hôtel de +stands the last remaining fragment of the Hôtel de Bourgogne; which, under its earlier name in older annals -as the Hôtel d'Artois, carries us back again to the +as the Hôtel d'Artois, carries us back again to the thirteenth century, for this was the palace-fortress built by the younger brother of Saint Louis, Robert, Count of Artois. He it was who fell, in his "senseless ardor," @@ -1983,7 +1943,7 @@ the pious King and his devoted captains were made captive by the Sultan of Egypt, and released with heavy fines, so ending that Sixth Crusade.</p> -<p>The Hôtel d'Artois was a princely domain, reaching +<p>The Hôtel d'Artois was a princely domain, reaching southward from the wall of Philippe-Auguste to Rue Mauconseil, a road much longer then, and extending from present Rue Saint-Denis to Rue Montorgueil, the @@ -2001,7 +1961,7 @@ the wall of Charles V.—and it is not easy to trace it through modern streets and under modern structures. <span class="pagenum"><a name="Page_52" id="Page_52">52</a></span> The only fragment left is the tower in the court of the -Mont-de-Piété, entered from Rue des Francs-Bourgeois, +Mont-de-Piété, entered from Rue des Francs-Bourgeois, and it is of build less solid than those we have seen on the southern bank. In the pavement of the first court is traced the line of the wall up to this tower. @@ -2009,18 +1969,18 @@ With this exception, we can indicate only the sites of the towers and the course of the wall.</p> <p>The huge Tour Barbeau was at the easternmost -river end, on Quai des Célestins, nearly at the foot of +river end, on Quai des Célestins, nearly at the foot of our Rue des Jardins-Saint-Paul. It commanded Port Saint-Paul, chief landing-place of river boatmen, and -guarded the Pôterne des Barrés. That name was also +guarded the Pôterne des Barrés. That name was also given to the small street—now Rue de l'Ave Maria—that led from this postern-gate. They owe that name indirectly to Saint Louis. Returning from the Holy Land, he had brought six monks from Mount Carmel, and housed them on the quay, called now after their -successors, the Célestins. The black robes, striped +successors, the Célestins. The black robes, striped white, of these six monks, made them known popularly -as "<i>les Barrés</i>." Our wall ran straight away from +as "<i>les Barrés</i>." Our wall ran straight away from this waterside gate, parallel with and a little to the west of present Rue des Jardins, then a country road on its outer edge, to Porte Baudoyer, afterward Porte Saint-Antoine, @@ -2030,16 +1990,16 @@ for defence of all the gates, holding the entrance to the town, by way of the Roman and later the Royal road from the eastern provinces. From this point the wall took a great curve beyond the bounds of the -built-up portions of the town. The Pôterne Barbette, +built-up portions of the town. The Pôterne Barbette, <span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> its next gate, in Rue Vieille-du-Temple, just south of its crossing by Rue des Francs-Bourgeois, lost its old -name in this name taken from the Hôtel Barbette, +name in this name taken from the Hôtel Barbette, built a century later, outside the wall here. Next came the gate in Rue du Temple, nearly half way between our Rues de Braque and Rambuteau. Through this gate passed the Knights Templar to and from -their great fortified domain beyond. The Pôterne +their great fortified domain beyond. The Pôterne Beaubourg, in the street of that name, was a minor gateway, having no especial history beyond that contained in the derivation of its name, "<i>beaubourg</i>," @@ -2047,7 +2007,7 @@ from a particularly rich settlement, just hereabout. Next we come to two most important gates, Saint-Martin and Saint-Denis, across those two streets, that guarded the approaches by the great roads from Senlis -and Soissons, and the heart of the land, old Île +and Soissons, and the heart of the land, old ÃŽle de France, and from all the northern provinces. Between the Saint-Denis gate and that at Rue Montorgueil, lay the property of the Comte d'Artois, and he @@ -2055,16 +2015,16 @@ cut, for his royal convenience, a postern in the wall that formed his northern boundary.</p> <p>From this point our wall went in another wide curve -to the river-bank, within the lines of old Rues Plâtrière +to the river-bank, within the lines of old Rues Plâtrière and Grenelle, the two now widened into modern Rue Jean-Jacques-Rousseau. The country road that is now Rue Montmartre was guarded by a gate, opened a few years after the completion of the wall, and its site shown by a tablet in the wall of No. 30 of that street. A small gate was cut at the meeting of present Rues -Coquillière and Jean-Jacques-Rousseau. Nearly opposite +Coquillière and Jean-Jacques-Rousseau. Nearly opposite <span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> -the end of this latter street, where Rue Saint-Honoré +the end of this latter street, where Rue Saint-Honoré passes in front of the Oratoire, was the last public gate on the mainland. Thence the course was straight away to the river shore, as you may see by @@ -2080,21 +2040,21 @@ great chain was slung across the Seine to prevent approach by river pirates. Pont des Arts is almost directly over the dip of that chain. So, too, the river was protected at the eastern ends of the wall; the -Barbeau tower was linked to the solitary tower on Île +Barbeau tower was linked to the solitary tower on ÃŽle Notre-Dame, and that again across the other arm of the Seine, to the immense tower on Quai de la Tournelle. This island Tour Loriaux rose from the banks of a natural moat made by the river's narrow channel -between Île Notre-Dame and Île aux Vaches, and this +between ÃŽle Notre-Dame and ÃŽle aux Vaches, and this bank was afterward further protected by a slight curtain of wall across the island, with a tower at either end. Four centuries later, when this island wall and its towers had long since crumbled away, that moat was filled up—Rue Poulletier, the modernized Poultier, lies over its course—and the two small islands -became large Île Saint-Louis.</p> +became large ÃŽle Saint-Louis.</p> -<p>And now, we have seen <i>la Cité</i>, <i>la Ville</i>, <i>l'Université</i>, +<p>And now, we have seen <i>la Cité</i>, <i>la Ville</i>, <i>l'Université</i>, <span class="pagenum"><a name="Page_55" id="Page_55">55</a></span> all girdled about by Philippe-Auguste's great wall. The City could spread no farther than its river-banks; @@ -2137,20 +2097,20 @@ heiress of the Count of Flanders, and widow of Philippe de Rouvre, last of the old line of Burgundy, and she brought, to this new house of Burgundy, the fat, flat meadows and the turbulent towns of the Lowlands, -and also the Hôtel de Flandres in the capital, +and also the Hôtel de Flandres in the capital, where now stands the General Post-office in Rue Jean-Jacques-Rousseau.</p> <p>Duke Philip, dying in 1404, bequeathed to his eldest son, John, nick-named "<i>Jean-sans-Peur</i>," not only a goodly share of his immense possessions, but also the pickings of a "very pretty quarrel" with Louis de -Valois, Duc d'Orléans. This quarrel was tenderly +Valois, Duc d'Orléans. This quarrel was tenderly nursed by John, who, as the head of a powerful independent house, and the leader of a redoubtable faction, felt himself to be more important than the royal younger brother. Ambitious and unscrupulous, calculating -and impetuous, he created the rôle on his -stage, played with transient success by Philippe-Égalité, +and impetuous, he created the rôle on his +stage, played with transient success by Philippe-Égalité, four hundred years later. He rode at the head of a brilliant train and posed for the applause of the populace. He walked arm in arm with the public executioner, @@ -2167,7 +2127,7 @@ women whom he cared to win. "<i>Qui veult, peut</i>," was his braggart device, loud on the walls of the rooms of Viollet-le-Duc's reconstructed Pierrefonds, whose original was built by Louis. In its court you may see -the man himself in Frémiet's superb bronze, erect and +the man himself in Frémiet's superb bronze, erect and alert on his horse. The horse's hoofs trample the flowers, as his rider trod down all sweet decencies in his stride through life. He was an insolent profligate, @@ -2192,8 +2152,8 @@ Heaven, send Thou someone to deliver us from Orleans."</p> <p>At last "<i>Jean-sans-Peur</i>" mustered his courage and his assassins to deliver himself and France. Isabelle of Bavaria had left her crazed husband in desolate -Hôtel Saint-Paul, and carried her unclean court to -Hôtel Barbette—we shall see more of these residences +Hôtel Saint-Paul, and carried her unclean court to +Hôtel Barbette—we shall see more of these residences in another chapter—where she sat at supper, with her <span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> husband's brother, on the night of November 23, 1407. @@ -2280,7 +2240,7 @@ prince was spoiled by his training, "like such other lords as I have seen educated in this country," says Comines; "for these were taught nothing but to play the jackanapes with finery and fine words." Young -Charles d'Orléans took his earliest lessons in rhyme, +Charles d'Orléans took his earliest lessons in rhyme, and he rhymed through life, through his twenty-five years of captivity in England, until he was old Charles, the pallid figure-head of a petty, babbling, versifying @@ -2295,12 +2255,12 @@ Charles VII., who had fled from his father's court and taken refuge with Duke Philip the Good, that this great house began to fail in power. When that Dauphin, become Louis XI., made royal entry into Paris, -this Hôtel de Bourgogne showed all its old bravery. +this Hôtel de Bourgogne showed all its old bravery. From its great court, through its great gate on Rue Saint-Denis, into the space behind the town gate of that name, Duke Philip rode forth on the last day of August, 1461, at his side his son—then Comte de -Charolais, known later as Charles "<i>le Téméraire</i>"—to +Charolais, known later as Charles "<i>le Téméraire</i>"—to head the glittering array of nobles, aglow with silken draperies and jewels, their horses' housings sweeping the ground, who await the new King. Few of them @@ -2311,9 +2271,9 @@ and thence escort him to the old palace on the island. There they feasted and their royal master pretended to be jolly, all the while speculating on the speedy snuffing-out of these flashing satellites. On -the morrow he took up his residence in the Hôtel des +the morrow he took up his residence in the Hôtel des Tournelles, almost deserted within, and altogether -without. For the populace crowded about this Hôtel +without. For the populace crowded about this Hôtel de Bourgogne, all eyes and ears for the sight and the story of its splendors. Its tapestries were the richest ever seen by Parisians, its silver such as few princes @@ -2333,22 +2293,22 @@ richest heiress in Christendom," who was promised to five suitors at once, and who married Maximilian of Austria at last. Their grandson, the Emperor Charles V., in one of the many bargains made and unmade -between him and François I.—the one the direct descendant +between him and François I.—the one the direct descendant of Louis of Orleans and the other the direct descendant of John of Burgundy—gave up to the French crown all that Burgundy owned in France, -one portion of it in Paris being this Hôtel de Bourgogne. +one portion of it in Paris being this Hôtel de Bourgogne. By now this once most strongly fortified and best defended fortress-home in all the town was fallen into sad decay, its spacious courts the playground of stray children, its great halls and roomy chambers a -refuge for tramps and rascals. So François, casting +refuge for tramps and rascals. So François, casting about for any scheme to bring in money, and greedy to keep alive the tradition, handed down from Hugh Capet, that gave to his crown all the ground on which Paris was built, sold at auction this old rookery, along with other royal buildings and land in the city, in the -year 1543. This <i>hôtel</i> was put up in thirteen lots, this +year 1543. This <i>hôtel</i> was put up in thirteen lots, this tower and its dependencies, Burgundian additions of the first years of the fifteenth century, being numbered 1, 2, 4, 6, 7, 8, and while all the other structures @@ -2357,8 +2317,8 @@ whose name has not come down to us. They <span class="pagenum"><a name="Page_63" id="Page_63">63</a></span> may have been "bid in" by the State, for they reappear as crown property of Louis XIII.; and he gave -"what was left of the donjon of the Hôtel d'Artois" -to the monks of Sainte-Catherine du Val-des-Écoliers, +"what was left of the donjon of the Hôtel d'Artois" +to the monks of Sainte-Catherine du Val-des-Écoliers, in exchange for a tract of their land on the northern side of Rue Saint-Antoine, just west of Place Royale. By this barter it would seem that he intended to carry @@ -2368,7 +2328,7 @@ of in a later chapter.</p> <p>In this donjon the good monks established "storehouses" for the poor, a phrase that may be modernized into "soup-kitchens." These were under the control -of a certain "Père Vincent," who has been canonized +of a certain "Père Vincent," who has been canonized since as Saint Vincent de Paul. This peasant's son had grown up into a tender-hearted priest, bountiful to the poor with the crowns he adroitly wheedled from @@ -2401,8 +2361,8 @@ may let the players wait for this official warranty while we see who they are, whence they come, and what they play.</p> -<p>It was a religious fraternity, calling itself "<i>La Confrérie -de la Passion de Notre Seigneur, Jésus-Christ</i>," +<p>It was a religious fraternity, calling itself "<i>La Confrérie +de la Passion de Notre Seigneur, Jésus-Christ</i>," and it had been formed, during the closing years of the fourteenth century, mainly from out of more ancient companies. The most ancient and reputable of @@ -2412,11 +2372,11 @@ This troupe had enjoyed a long, popular existence before it received legal existence from Philippe "<i>le Bel</i>," early in that same fourteenth century. From its ranks, reinforced by outsiders—among them, soon after 1450, -a bachelor of the University, François Villon—were +a bachelor of the University, François Villon—were enlisted the members of "<i>Les Enfants sans Souci</i>." Other ribald mummers called themselves "<i>Les Sots</i>." Men from all these bands brought their farcical grossness -to mitigate the pietistic grossness of our <i>Confrérie</i>, +to mitigate the pietistic grossness of our <i>Confrérie</i>, and this fraternity soon grew so strong as to get letters-patent from Charles VI., granting it permission <span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> @@ -2424,19 +2384,19 @@ for publicly performing passion-plays and mysteries, and for promenading the streets in costume. Then the privileged troupe hired the hall of Trinity Hospital and turned it into a rude theatre, the first in -Paris, the mediæval stage having been of bare boards +Paris, the mediæval stage having been of bare boards on trestles, under the sky or under canvas. On the site of this earliest of French theatres are the Queen's fountain, placed in 1732 on the northeast corner of -Rues Saint-Denis and Grenéta, and the buildings numbered +Rues Saint-Denis and Grenéta, and the buildings numbered 28 in the latter and 142 in the former street. -There, in 1402, the <i>confrères</i> began the work that is +There, in 1402, the <i>confrères</i> began the work that is called play, and there they remained until 1545. Then, during the construction of the new house, they took -temporary quarters in the Hôtel de Flandres, not yet cut +temporary quarters in the Hôtel de Flandres, not yet cut up by its purchaser at the royal sale, and settled finally, -in 1548, in the Théâtre de l'Hôtel de Bourgogne. By -then an edict of François I. had banished from the stage +in 1548, in the Théâtre de l'Hôtel de Bourgogne. By +then an edict of François I. had banished from the stage all personations of Jesus Christ and of all holy characters; such other plays being permitted as were "profane and honest, offensive and injurious to no one."</p> @@ -2447,20 +2407,20 @@ from which it is wrongly derived, sometimes refers to religious services; it carries back, rather, to the Latin word signifying a service or an office. The plays called "mysteries" and "moralities" were given -at first in mediæval Latin, or, as time went on, in the +at first in mediæval Latin, or, as time went on, in the vernacular, with interludes in the same Latin, which may be labelled Christian or late Latin. They were rudimentary essays in dramatic art, uncouth and grotesque, <span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> in tone with that "twilight of the mind, peopled with childish phantoms." Hugo's description of the -"<i>très belle moralité, le bon jugement de Madame la +"<i>très belle moralité, le bon jugement de Madame la Vierge</i>," by Pierre Gringoire, played in the great hall of the Palais de Justice, is too long and labored to quote here; well worth quoting is the short and vivid sketch, by Charles Reade, of the "Morality" witnessed in puerile delight by the audience, among whom sat -Gérard, the father of Erasmus, at Rotterdam, in the +Gérard, the father of Erasmus, at Rotterdam, in the same brave days of Louis XI. of France and Philip the Good of Burgundy.</p> @@ -2504,19 +2464,19 @@ gold from a vase. Their easy-going monarch took no offence, avowing that he preferred that his court should laugh at his parsimony, rather than that his subjects should weep for his prodigalities. To win applause, -in his rôle of "<i>le Père du Peuple</i>," he encouraged the +in his rôle of "<i>le Père du Peuple</i>," he encouraged the "powerful, disorderly, but popular theatre," and he patronized Pierre Gringoire, whose plays drew the populace to the booths about the Halles. The poet and playwright, widower of Hugo's happily short-lived Esmeralda, had been again married and put in good case by the whimsical toleration of Louis XI., if we -may accept the dates of Théodore de Banville's charming +may accept the dates of Théodore de Banville's charming little play. That monarch, easily the first comedian of his time, allowed no rivals on the mimic stage, and it languished during his reign. Nor did it flourish <span class="pagenum"><a name="Page_68" id="Page_68">68</a></span> -under François I., whose brutal vices must not be +under François I., whose brutal vices must not be made fun of. Henri IV., fearless even of mirth, which may be deadly, not only gave smiling countenance to this theatre, but gave his presence at times; thus we @@ -2525,7 +2485,7 @@ read that, with queen and court, he sat through 1607. The Renaissance enriched the French stage, along with all forms of art, bringing translations through the Italian of the classic drama. The theatre -of the Hôtel de Bourgogne became La Comédie Italienne, +of the Hôtel de Bourgogne became La Comédie Italienne, and its records recall famous names, on the boards and in the audience, throughout long and honorable years. The troupe was not free from jealousies, @@ -2539,38 +2499,38 @@ approved modern work, such as that of young Racine. The seceders betook themselves to buildings on the east side of Rue de Renard, just north of Rue de la Verrerie, convenient to the crowded quarter of la -Grève; but removed shortly to the theatre constructed +Grève; but removed shortly to the theatre constructed for them from a tennis-court in Rue Vieille-du-Temple, in the heart of the populous Marais. You shall go there, a little later, to see the classic dramas of a young man from Rouen, named Corneille. These players -called themselves "<i>Les Comédiens du Marais</i>," and by +called themselves "<i>Les Comédiens du Marais</i>," and by 1620 had permission from Louis XIII. to take the title <span class="pagenum"><a name="Page_69" id="Page_69">69</a></span> of "<i>La Troupe Royale</i>." A few years later, perhaps as early as 1650, all the Paris of players and playgoers began to talk about a strolling troupe in the southern provinces and about their manager, one Poquelin de -Molière. How he brought his comedies and his company +Molière. How he brought his comedies and his company to the capital; how he put them both up in rivalry with the two old stock houses; how he won his way against all their opposition, and much other antagonism—this -is told in our chapter on Molière.</p> +is told in our chapter on Molière.</p> <p>In the cutting up of the ancient domain of Robert of Artois, after the royal sale, a short street was run north and south through the grounds, and named -François, since feminized into Rue Française. It lay +François, since feminized into Rue Française. It lay between the tower, whose lower wall may be seen in the rear of the court of No. 8, and the theatre buildings, which covered the sites of present Nos. 7 and 9 of this street and extended over the ground that now -makes Rue Étienne Marcel. The main entrance of the +makes Rue Étienne Marcel. The main entrance of the theatre was about where now hangs the big gilt key on the northern side of that fragment of Rue Mauconseil, still left after its curtailment by many recent cuttings. Gone now is every vestige of the theatre and -every stone of the Hôtel de Bourgogne, except this +every stone of the Hôtel de Bourgogne, except this tower of "<i>Jean-sans-Peur</i>."</p> <div class="figcenter"><a name="im_086" id="im_086"></a> @@ -2613,7 +2573,7 @@ formerly installed here; so that its ancient aspect of amplitude and dignity is somewhat marred. We "must make believe very much," to see either the sinner John mustering here his assassins, who file out -through that door to their rendezvous with Orléans, +through that door to their rendezvous with Orléans, or the saint Vincent gathering here his herd of hungry children. Happily, the grand stairway, on one side, is unmutilated, and it serves to bring home to @@ -2621,7 +2581,7 @@ us the ample magnificence of these Burgundian dukes. Dagobert's stair crawls, through twisting darkness, within its tower; Blanche's stair modestly suggests a venture toward ease and elegance in life; here we -mount the stairway of a feudal <i>château</i>, broad and +mount the stairway of a feudal <i>château</i>, broad and easy and stately, fitting frame for bejewelled courtiers <span class="pagenum"><a name="Page_72" id="Page_72">72</a></span> and iron-clad men-at-arms. Its one hundred and @@ -2640,7 +2600,7 @@ John of Burgundy, tradition tells us. Here in his bedroom, that was an arsenal, at the top of his impregnable tower, the fearless one found safety and sleep. We peep out from his one small window, and far down -we see the swarming length of Rue Étienne Marcel, +we see the swarming length of Rue Étienne Marcel, and hear the low pervasive murmur of Paris all astir, accented by the shrill cries of the boys from the adjoining school, at play in the courtyard of our tower. @@ -2657,7 +2617,7 @@ MIDDLE AGES</h2> <div class="figcenter"><a name="im_091" id="im_091"></a> <img src="images/im_091.jpg" width="352" height="550" alt="" /> -<p class="caption">The Church of Saint-Séverin.</p> +<p class="caption">The Church of Saint-Séverin.</p> </div> <p class="center b12">THE SCHOLARS' QUARTER OF THE @@ -2667,7 +2627,7 @@ MIDDLE AGES</p> Quai aux Fleurs, you will find a modern house numbered 11; and you will read, in the gold letters of the weather-stained stone slab set in the front wall, that -here, in 1118, dwelt Héloise and Abelard. Their ideal +here, in 1118, dwelt Héloise and Abelard. Their ideal heads are carved over the two entrance doors. This is the site of the pleasant residence occupied by Canon Fulbert, looking across its own garden and the beach @@ -2684,18 +2644,18 @@ and happily left unchanged, at No. 6 Rue Massillon. Its low two stories and tiled roof on the court keep their old-time look, and within is a good staircase, with a wooden railing of the days before wrought iron came -into use. Boileau-Despréaux has mounted this staircase, +into use. Boileau-Despréaux has mounted this staircase, <span class="pagenum"><a name="Page_76" id="Page_76">76</a></span> -for he certainly visited this abode of the Abbé -Ménage, who had literary and scientific <i>salons</i> here, on +for he certainly visited this abode of the Abbé +Ménage, who had literary and scientific <i>salons</i> here, on Wednesday evenings. Boileau himself lived in these cloisters for many years, and here he died; and here had died Philibert Delorme and Pierre Lescot. These and many another, not connected with the Church, sought this quarter for its quiet. It was quiet enough, shut in as it was by its own walls, that made of it a -<i>cité</i> inside the City of the Island. The two gates at the -western ends of present Rues du Cloître-Notre-Dame +<i>cité</i> inside the City of the Island. The two gates at the +western ends of present Rues du Cloître-Notre-Dame and Chanoinesse, with two others on the shore, were safely closed and barred at nightfall, against all intrusion of the profane and noisy world without. So greedy @@ -2720,7 +2680,7 @@ taught what little it thought fit its scholars should learn.</p> <span class="pagenum"><a name="Page_77" id="Page_77">77</a></span> Abelard was an eager pupil of Guillaume de Champeaux; and early in the next century, here and in the -gardens of Saint-Geneviève, he was a honey-tongued +gardens of Saint-Geneviève, he was a honey-tongued teacher. He lodged in the house of Canon Fulbert, in whose niece of seventeen—less than half his own age—he found an ardent learner, not alone in theology. @@ -2736,15 +2696,15 @@ her dying wish, put into verse by Alexander Pope:</p> <p>And graft my Love immortal on thy Fame."</p> </div></div> -<p>He died at the Priory of Saint-Marcel near Châlons, -whose prior sent the body, at her request, to Héloise, +<p>He died at the Priory of Saint-Marcel near Châlons, +whose prior sent the body, at her request, to Héloise, then Abbess of the Convent at Nogent-sur-Seine, and famed as a miracle of erudition and piety. She was buried in the grave she there dug for him, and in 1800, when her convent was destroyed, leaving no stone, the tomb and its contents were removed to the Museum of French Monuments in Paris, and in 1817 they were -placed in Père-Lachaise.</p> +placed in Père-Lachaise.</p> <p>We willingly lose sight of Abelard's sorry story in face of his splendid powers. These came into play at @@ -2771,19 +2731,19 @@ was the cradle of the Town—from the new cathedral that Abelard had not seen, the schools stepped over to the mainland on the south. There, on the shore, were built the College of the Four Nations, and the School of -Medicine, alongside that annex of the old Hôtel-Dieu, +Medicine, alongside that annex of the old Hôtel-Dieu, which was reached by the little bridge, that went only the other day, and that led from the central structure on the island. From this shore the scholars' quarter -spread up the slope to the summit of Mont-Sainte-Geneviève. +spread up the slope to the summit of Mont-Sainte-Geneviève. There teachers and scholars met in the cloisters of the great abbey, that had grown up around the tomb of the patron saint of Paris, where now stands the -Panthéon. Of the huge basilica, its foundations laid +Panthéon. Of the huge basilica, its foundations laid by Clovis—who had paid for a victory by his baptism into Christianity—there is left the tower, rising, aged and estranged, above the younger structures of the -Lycée Henri IV. Its foundations under ground are of +Lycée Henri IV. Its foundations under ground are of Clovis, its lower portion is of eleventh-century rebuilding, <span class="pagenum"><a name="Page_79" id="Page_79">79</a></span> its upper portion of the thirteenth and fourteenth @@ -2810,7 +2770,7 @@ through the Middle Ages, this University was a world-centre for its teaching, and through all the ages it has been "that prolific soil in which no seeds, which have once been committed to it, are ever permitted to perish." -While <i>la Cité</i> was the seat of a militant Church, +While <i>la Cité</i> was the seat of a militant Church, and <i>la Ville</i> the gathering-place of thronging merchants, this hill-side swarmed with students, and their officials were put to it to house them properly and keep them @@ -2820,7 +2780,7 @@ streets. By day the sedate burghers of the other quarters <span class="pagenum"><a name="Page_80" id="Page_80">80</a></span> trembled for their ducats and their daughters, and found peace only when night brought the locking of -the gate of the Petit-Châtelet, and the shutting up in +the gate of the Petit-Châtelet, and the shutting up in their own district of the turbulent students.</p> <p>Turbulent still, the students of our day, of every land @@ -2838,15 +2798,15 @@ tortuous streets are nearly all widened or wiped out; open spaces and gardens give it larger lungs; its dark, damp, mouldy colleges have made way for grandiose structures of the latest sanitation. Yet the gray walls -of the annex of the Hôtel-Dieu still gloom down on the +of the annex of the Hôtel-Dieu still gloom down on the narrow street; the fifteenth-century School of Medicine, its vast hall perverted to base uses, is hidden behind the entrance of No. 15 Rue de la Bucherie; and -above the buildings on the west side of Rue de l'Hôtel-Colbert +above the buildings on the west side of Rue de l'Hôtel-Colbert rises the rotunda of its later amphitheatre. Rue Galande retains many of its houses of the time of Charles IX., when these gables on the street were -erected. Except for the superb façade at No. 29 Rue +erected. Except for the superb façade at No. 29 Rue de la Parcheminerie—a municipal residence dating from about the middle of the eighteenth century—that <span class="pagenum"><a name="Page_81" id="Page_81">81</a></span> @@ -2856,9 +2816,9 @@ their own. Some of their parchment seems to be still on sale in its shop windows. In the ancient house No. 8 Rue Boutebrie you will find as perfect a specimen <span class="pagenum"><a name="Page_82" id="Page_82">82</a></span> -of a mediæval staircase, its wooden rail admirably +of a mediæval staircase, its wooden rail admirably carved, as is left in Paris. And the street of the Mountain -of Sainte-Geneviève still winds, stonily steep, up +of Sainte-Geneviève still winds, stonily steep, up the slope.</p> <div class="figcenter"><a name="im_099" id="im_099"></a> @@ -2877,15 +2837,15 @@ seats during the lectures, the reader himself being seated on a rude dais at the end of the hall. The forage market is still held, not far away, in Place Maubert. And the churches of Saint-Julien-le-Pauvre and of -Saint-Séverin are unchanged, except by age, since +Saint-Séverin are unchanged, except by age, since those days when their bells were the only timekeepers for lecturers and lectured; giving signal, throughout the day, for the divisions of the classes, until vespers told that the working-day was done. The schools opened with the early mass at Saint-Julien-le-Pauvre, -then the chapel adjoining the Hôtel-Dieu, now an exquisite +then the chapel adjoining the Hôtel-Dieu, now an exquisite relic of simple twelfth-century Gothic. Still -older had been Saint-Séverin, a chapel of the earliest +older had been Saint-Séverin, a chapel of the earliest years of the monarchy, destroyed by the Normans when they camped just here in 866, besieging the island city and making their onslaught on the wooden tower that @@ -2893,11 +2853,11 @@ guarded the abutment of the Petit-Pont on the mainland. The twelve heroes, who held that tower against the Norman horde, are commemorated by the tablet <span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> -in the wall of Place du Petit-Pont. Saint-Séverin was +in the wall of Place du Petit-Pont. Saint-Séverin was rebuilt in the thirteenth century, and its vast burial-ground on the south covered by the buildings and the street of la Parcheminerie. So that of the University -seen by Dante, we can be sure only of the body of Saint-Séverin—its +seen by Dante, we can be sure only of the body of Saint-Séverin—its tower was built in 1347—and of Saint-Julien-le-Pauvre, and the buildings that are glued to it.</p> @@ -2907,8 +2867,8 @@ and the buildings that are glued to it.</p> </div> <p>Dante's bronze figure looks pensively down from the -terrace of the Collége de France on all the noise and -the newness of modern Rue des Écoles. The date of +terrace of the Collége de France on all the noise and +the newness of modern Rue des Écoles. The date of his short stay in Paris cannot be fixed, but it was certainly after his exile from Florence, therefore not earlier than 1302, and probably not later than 1310, his @@ -2936,12 +2896,12 @@ Frenchman makes so vivid the presence of the great <span class="pagenum"><a name="Page_84" id="Page_84">84</a></span> Italian, the home of the latter is in one of the small houses on the extreme eastern end of the City Island—such -as the modest dwelling in which died Boileau-Despréaux, +as the modest dwelling in which died Boileau-Despréaux, four centuries later. From there, Balzac has Dante ferried over to Quai de la Tournelle, and so stroll to his lectures. But Dante's home was really in that same street of straw, to which he had come from -his quarters away south on the banks of the Bièvre, too +his quarters away south on the banks of the Bièvre, too far away from the schools. He had taken up his abode in that rural suburb, on first coming to Paris, as did many men of letters, of that time and of later times, @@ -2953,7 +2913,7 @@ tells us, Dante was fond of finding his way, after he had come to live in the narrow town street. The grave figure goes sedately up Rue Saint-Jacques, always the great southern thoroughfare, passing the ancient -chapel of the martyrs, Saint-Benoît-le-Bétourné, +chapel of the martyrs, Saint-Benoît-le-Bétourné, and the home and shelter for poor students in theology, started by the earnest confessor of Saint Louis, Robert de Sorbon. The foundations of his little chapel, built @@ -2999,16 +2959,16 @@ Rome. <span class="pagenum"><a name="Page_86" id="Page_86">86</a></span></p> <p>Behind us in Rue Saint-Jacques, beneath the new -Sorbonne, we have left the site of the chapel of Saint-Benoît-le-Bétourné. +Sorbonne, we have left the site of the chapel of Saint-Benoît-le-Bétourné. The entrance to its cloisters and -gardens was opposite Rue du Cimetière-Saint-Benoît, +gardens was opposite Rue du Cimetière-Saint-Benoît, a short street, now widened, that retains a few of its ancient houses, the cemetery at its farther end being entirely builded over. This entrance-gate is standing in the gardens of the Cluny Museum, and we see it as it -was first seen by the boy François Villon, and last seen +was first seen by the boy François Villon, and last seen when he fled under it, after killing a priest in the cloisters. -He got his name from the worthy canon of Saint-Benoît, +He got his name from the worthy canon of Saint-Benoît, Guillaume de Villon, who took in the waif and gave him a roof and food, and tried to give him morals; and it is by his name that the poet is known in @@ -3018,7 +2978,7 @@ his "more than father," as the young scamp came to own that the canon had been; whose house in the cloister gardens, named "<i>la Porte Rouge</i>," was not far from the house of the canon Pierre de Vaucel, with -whose niece François got into his first scrape. Loving +whose niece François got into his first scrape. Loving her then, he libelled her later in his verse.</p> <p>Full of scrapes of all sorts were his thirty short years @@ -3035,7 +2995,7 @@ Bourbonnais. Louis XI. finds him in a cell at Meung and, sympathizing with rascality that was not political, sets him free and on foot again; so playing Providence to this starveling poet as he did to Gringoire. And -from Meung, François Villon steals out of history, +from Meung, François Villon steals out of history, leaving to us his "Small" and "Large Testament," a few odes and sonnets, with bits of wholly exquisite song. No French poet before him had put <i>himself</i> @@ -3063,7 +3023,7 @@ right hand holds a manuscript to his breast, his left hand clasps the dagger in his belt. Behind, on the ground, lie the mandolin of the poet-singer and the shackles of the convict. It is a delightfully expressive -statue of François Villon, by his own election one of +statue of François Villon, by his own election one of <span class="pagenum"><a name="Page_88" id="Page_88">88</a></span> the "<i>Enfants sans Souci</i>," and by predestination a child of grievous cares.</p> @@ -3073,16 +3033,16 @@ marks the place of Porte Saint-Victor, on the northern side of the remnant left of the street of that name. It is but a step in the other direction to the tablet on the wall of No. 50 Rue Descartes, which shows the site of Porte -Saint-Marcel, sometimes called the Porte Bordée. +Saint-Marcel, sometimes called the Porte Bordée. Through either of these gates of the great wall one might pass to the home of a poet, a hundred years after Villon had gone from sight; like him, born to true poetry, but unlike him who was born to rags, Pierre de Ronsard was born to the purple. He was a gentleman of -noble lineage, he had been educated at the famous Collége +noble lineage, he had been educated at the famous Collége de Navarre, the college at that period of Henri III. -and of the Duke of Guise, <i>le Balafré</i>—its site and its -prestige since taken by the École Polytechnique—he had +and of the Duke of Guise, <i>le Balafré</i>—its site and its +prestige since taken by the École Polytechnique—he had entered the court of the Duke of Orleans as a page, he had gone to Scotland as one of the escort of Madeleine of France, on her marriage with James V. He was counted @@ -3100,8 +3060,8 @@ sails, which mitigated his boredom. Twenty years earlier, Rabelais was fond of ferrying across the river, from his home in Rue des Jardins-Saint-Paul, to prowl about his once familiar haunts in this quarter, and to -drop in on Ronsard and Baïf, the leaders of the school -of "learned poets." They lived in Rue des Fossés-Saint-Victor, +drop in on Ronsard and Baïf, the leaders of the school +of "learned poets." They lived in Rue des Fossés-Saint-Victor, the street formed over the outer ditch of the wall, now named Rue du Cardinal-Lemoine. Their house and grounds, just at the corner of present Rue @@ -3128,15 +3088,15 @@ year 1585, soon after his sixtieth birthday.</p> </div> <p>From here we go straight away over the hill of -Sainte-Geneviève and through Porte Saint-Michel—nearly +Sainte-Geneviève and through Porte Saint-Michel—nearly at the meeting-place of Rues Soufflot and Monsieur-le-Prince and Boulevard Saint-Germain—to the house, also in the fields outside the wall, where dwelt -Clément Marot, a poet who sang pleasantly of the +Clément Marot, a poet who sang pleasantly of the graces of life, too, but who had a more serious strain <span class="pagenum"><a name="Page_90" id="Page_90">90</a></span> deep down. The "<i>Cheval d'Airan</i>"—so was the house -named—was a gift to the poet from François I. "for +named—was a gift to the poet from François I. "for his good, continuous, and faithful services." These services consisted chiefly in the writing of roundelays and verses, in which "he had a turn of his own," says @@ -3153,11 +3113,11 @@ to Calvin and to Luther, and which have given to their writer his permanent place in French literature. During this period he lived in this grand mansion, the site of which is exactly covered by the houses No. 27 -Rue de Tournon and No. 30 Rue de Condé. And from +Rue de Tournon and No. 30 Rue de Condé. And from here Marot went into exile, along with the well-to-do Huguenots, who clung together in this quarter outside -the wall. "<i>Nous autres l'appelons la Petite Genève</i>," -said d'Aubigné, and that appellation held for a long +the wall. "<i>Nous autres l'appelons la Petite Genève</i>," +said d'Aubigné, and that appellation held for a long time. Its centre was the short, narrow lane in the marshes, named later Rue des Marais-Saint-Germain, and now Rue Visconti, wherein the persecuted sect had @@ -3169,7 +3129,7 @@ allowed to men of birth—who has left for our joy that exquisite window in the Church of Saint-Gervais. At the western end of the lane was the residence built for himself by Baptiste du Cerceau, son of the -illustrious Jacques Androuët, and as stanch as was +illustrious Jacques Androuët, and as stanch as was his father for the faith. His great mansion took up the whole end of the block, on the ground covered now by the equally large building that makes 32 Rue Jacob, @@ -3197,17 +3157,17 @@ abode in the Tile Fields, beyond the Louvre, that was planned for the Queen-Mother, Catherine de' Medici. "Bernard of the Tuileries," as he was known, in order to be near his work, lodged on the northern side of Rue -Saint-Honoré, just east of present Rue de Castiglione. +Saint-Honoré, just east of present Rue de Castiglione. Later he removed to Rue du Dragon, nearly opposite the little street now named in his honor, and so became -one of the colony of "<i>la Petite Genève</i>." Here he +one of the colony of "<i>la Petite Genève</i>." Here he worked as he worked always in his passion for perfection <span class="pagenum"><a name="Page_92" id="Page_92">92</a></span> in ornamental pottery, giving to it all "my affection for pursuing in the track of enamels," in his own quaint words. For his single-mindedness in praising his Creator, and in making worthy images of His creations, -he was looked on as a "<i>huguenot opiniâtre</i>," and +he was looked on as a "<i>huguenot opiniâtre</i>," and hated by the powers of the Church and State, who, failing to burn him, because of the mercy of the Duke of Mayenne, cast him into the Bastille. With all Paris @@ -3216,27 +3176,27 @@ Navarre, the prisoners took their turn, and this old man renewed the experience of his youth, when he had starved himself for his beloved enamels. And so, at the age of eighty, in the year of the stabbing by Jacques -Clément of the most Christian King, Henri III., Bernard +Clément of the most Christian King, Henri III., Bernard Palissy died in his cell "naturally," the report <span class="pagenum"><a name="Page_93" id="Page_93">93</a></span> said. A medallion of the great potter may be seen over the entrance of a house in Rue du Dragon, and -his statue stands in the little garden of Saint-Germain-des-Prés, +his statue stands in the little garden of Saint-Germain-des-Prés, not far away. He is in his workman's garb, gazing down at a platter on which he has stamped his genius in clay.</p> <p>We have seen John Calvin, fresh from Picardy, a -student at the Collége du Cardinal-Lemoine, in Rue +student at the Collége du Cardinal-Lemoine, in Rue Saint-Victor, and this is his only residence in Paris -known to us. Appointed Curé of Pont l'Evêque, at +known to us. Appointed Curé of Pont l'Evêque, at the age of sixteen, he was induced by a daring relative to read the Bible, and the ultimate result was Calvinism, as it has been interpreted by his bigoted disciples. The immediate result was his persecution by the Sorbonne, and his flight to Ferrara, about the year 1534. There he met with welcome and protection, as did many a -political fugitive of the time, from Renée, the reigning +political fugitive of the time, from Renée, the reigning duchess, as kindly a creature as was her father, Louis XII. of France. But her goodwill could not prevail against the ill-will of the Church, and Calvin was @@ -3259,7 +3219,7 @@ form.</p> who escaped the cell and the stake, were made refugees, because they had been insurgents against enslaved thought. But they left behind them him who has been -styled the "Martyr of the Renaissance," Étienne Dolet. +styled the "Martyr of the Renaissance," Étienne Dolet. Here, in Place Maubert, this bronze figure on the high pedestal, which he somehow makes serve as a Protestant pulpit, looks all the martyr, with his long, stubborn @@ -3291,22 +3251,22 @@ his statue.</p> <div class="figcenter"><a name="im_117" id="im_117"></a> <img src="images/im_117.jpg" width="414" height="540" alt="" /> -<p class="caption">Clément Marot.<br /> +<p class="caption">Clément Marot.<br /> (From the portrait by Porbus le Jeune, in a private collection.)</p> </div> <p>It was during one of his visits in later life to Paris that Erasmus came to be among these <i>convives</i>; perhaps at the time he was considering, before declining, -the offer of François I. to make him the head of the -great Collége Royal, planned—and no more than -planned—by the King on the site of the Hôtel de Nesle, +the offer of François I. to make him the head of the +great Collége Royal, planned—and no more than +planned—by the King on the site of the Hôtel de Nesle, where Mazarin afterward placed his College of the Four Nations, now the seat of the Institute. Many years before this visit, some time between 1492 and 1497, Erasmus had lived in Paris, a poor and unhappy -student in the Collége Montaigu. It had earned the -nickname of "<i>Collége des Haricots</i>," because of the +student in the Collége Montaigu. It had earned the +nickname of "<i>Collége des Haricots</i>," because of the Lenten fare lavished on its inmates—beans, stale eggs, spoiled fish, and that monotony broken by frequent fasts. Erasmus had a Catholic conscience, as he owns, @@ -3321,8 +3281,8 @@ college, and has cursed its memories through Grangousier's capable lips. This "galley for slaves" was indeed used as a prison during the Revolution, and <span class="pagenum"><a name="Page_96" id="Page_96">96</a></span> -was torn down in 1845, to give place to the Bibliothèque -Sainte-Geneviève.</p> +was torn down in 1845, to give place to the Bibliothèque +Sainte-Geneviève.</p> <p>From Place Maubert we walk up Rue Monge—named from the great <i>savant</i> of the First Empire—and @@ -3350,8 +3310,8 @@ March 18, 1662, and ran from the Palace of the Luxembourg to the Bastille. Its route was probably by Rue de la Harpe—almost all gone under Boulevard Saint-Michel—across Petit-Pont and the Island and Pont -Notre-Dame, to Place de Grève, and thence by Rues -François-Miron and Saint-Antoine, to the gate and +Notre-Dame, to Place de Grève, and thence by Rues +François-Miron and Saint-Antoine, to the gate and the prison at the end. <span class="pagenum"><a name="Page_97" id="Page_97">97</a></span></p> @@ -3365,7 +3325,7 @@ Within a few years this question has been answered by an old painting, found in a curiosity shop, which represents Pascal, barometer in hand, standing on the top of Saint-Jacques-de-la-Boucherie, beside the statue -of the Chimæra, that has been carried to the Cluny +of the Chimæra, that has been carried to the Cluny Museum. This figure alone would fix the spot, but, in addition, the picture gives a view of old Paris that could be seen only from this point of view. This elegant isolated @@ -3373,7 +3333,7 @@ tower—all that is left of a church dating from the beginnings of Christian construction, and destroyed during the Revolution—was itself erected late in the fifteenth and early in the sixteenth century, and shows -the last effort of mediæval Gothic in Paris. It is now +the last effort of mediæval Gothic in Paris. It is now used as a weather observatory. Pascal's statue, by Cavelier, has been placed under the great vaulted arch that forms its base, and all about, in the little park, @@ -3395,10 +3355,10 @@ meditations, and could be drawn up from his profound melancholy, by "<i>un peu de bon temps, un bon mot, une louange, une caresse</i>."</p> -<p>His body was laid in the Abbey Church of Sainte-Geneviève, +<p>His body was laid in the Abbey Church of Sainte-Geneviève, and was removed, on the destruction of that edifice in 1807, to its successor in tradition and sentiment, -Saint-Étienne-du-Mont. It rests at the base of +Saint-Étienne-du-Mont. It rests at the base of one of the outer pillars of the Lady Chapel, opposite the spot of Racine's final sepulture. The two tablets from their original tombs have been set in the pillars of the @@ -3406,7 +3366,7 @@ first chapel on the southern side of the choir, just behind the exquisite rood-screen.</p> <p>When aged Rue Rollin was quite young it was christened -Rue Neuve-Saint-Étienne, and it was bordered +Rue Neuve-Saint-Étienne, and it was bordered by cottages standing in their own gardens, looking down the slope across the town to the river, this being the highest street on the hill-side. Its length has been @@ -3414,7 +3374,7 @@ lessened by Rue Monge, and that portion left to the east of the new street is now Rue de Navarre. Rue Monge was cut through the crest of the hill, so that one must mount by stone steps to the old level of the western end -of Rue Neuve-Saint-Étienne, named anew in honor of +of Rue Neuve-Saint-Étienne, named anew in honor of the scholar and historian, who has given his name also to the great college, since removed from this quarter to Boulevard Rochechouart, away off on the northern @@ -3423,11 +3383,11 @@ heights. Charles Rollin was an earnest student, an unusually youthful Rector of the University, and principal of the College of Beauvais in 1696, and a writer of history and <i>belles-lettres</i> of great charm but little weight. -He was, withal, an honest soul, somewhat naïve, of +He was, withal, an honest soul, somewhat naïve, of simple tastes and of quiet life. So he came to this secluded quarter, when a little over seventy, and here he died in 1741. His cottage is numbered 8 in the street, -and is occupied by the school of Sainte-Geneviève, +and is occupied by the school of Sainte-Geneviève, whose demure maidens do no violence to his tranquil garden in which they stroll. For their use a small pavilion has been built in the rear of the garden, but @@ -3467,7 +3427,7 @@ author had fled from their yawns to this congenial solitude.</p> <p>The narrow street has suffered slight change since -those days, or since those earlier days, when René +those days, or since those earlier days, when René Descartes found a temporary home, probably on the site of present No. 14, a house built since his day here. That was between 1613, when he first came @@ -3482,21 +3442,21 @@ students allow. His wandering life, in search always of truth, ended in 1650, at the court of Christina of Sweden. His body was brought back to France by the ambassador of Louis XIV., and placed in the old -Church of Sainte-Geneviève. In 1793, the Convention +Church of Sainte-Geneviève. In 1793, the Convention <span class="pagenum"><a name="Page_101" id="Page_101">101</a></span> decreed its removal to the recently completed and -secularized Panthéon, and from there it was carried +secularized Panthéon, and from there it was carried for safe keeping, along with so many others, to the Museum of French Monuments. In 1819 it found -final resting-place in Saint-Germain-des-Prés, in the +final resting-place in Saint-Germain-des-Prés, in the third chapel on the southern side of the choir. The man himself lives for us on the wonderful canvas of Franz Hals in the gallery of the Louvre.</p> <div class="figcenter"><a name="im_125" id="im_125"></a> <img src="images/im_125.jpg" width="420" height="478" alt="" /> -<p class="caption">René Descartes.<br /> -(From the portrait by Franz Hals, in the Musée du Louvre.)</p> +<p class="caption">René Descartes.<br /> +(From the portrait by Franz Hals, in the Musée du Louvre.)</p> </div> <p>The Paris of the north bank has its slope, that looks @@ -3504,7 +3464,7 @@ across the Seine to this southern slope, and that has come to be its Scholarly Quarter. The high land away behind the lowlands stretching along the northern bank was taken early by the Romans for their villas, and -then by nobles for their <i>châteaux</i>, and then by the <i>bourgeoisie</i> +then by nobles for their <i>châteaux</i>, and then by the <i>bourgeoisie</i> for their cottages. As <i>la Ville</i> grew, its citizens gave all their thought to honest industry and to the honest struggle for personal and municipal rights, so that @@ -3514,13 +3474,13 @@ and men of letters and of the arts were attracted by their open spaces and ample outlook. So large a colony of these workers had settled there, early in the nineteenth century, that some among them gave to -their hill-side the name of "<i>la Nouvelle Athènes</i>." Its +their hill-side the name of "<i>la Nouvelle Athènes</i>." Its vogue has gone on growing, and it is crowded with the memories of dead pen-workers, and with the presence of living pen-workers. So, too, are the suburbs toward the west, and this Scholars' Quarter on the southern bank, which is barely touched on in this -book, given so greatly as it is to history, archæology, +book, given so greatly as it is to history, archæology, <span class="pagenum"><a name="Page_102" id="Page_102">102</a></span> architecture, and other arts. All this wide-spread district awaits the diligent pen that has given us "The @@ -3529,15 +3489,15 @@ and accurately, "The Literary Landmarks of Paris." <span class="pagenum"><a name="Page_103" id="Page_103"></a></span></p> -<h2>MOLIÈRE AND HIS FRIENDS</h2> +<h2>MOLIÈRE AND HIS FRIENDS</h2> <p><span class="pagenum"><a name="Page_104" id="Page_104"></a></span> <span class="pagenum"><a name="Page_105" id="Page_105">105</a></span></p> -<p class="center p4 b12">MOLIÈRE AND HIS FRIENDS</p> +<p class="center p4 b12">MOLIÈRE AND HIS FRIENDS</p> <p class="p2">In the early years of the seventeenth century there stood a low, wide, timbered house on the eastern corner -of Rues Saint-Honoré and des Vieilles-Étuves. To +of Rues Saint-Honoré and des Vieilles-Étuves. To the dwellers in that crowded quarter of the Halles it was known as "<i>la Maison des Singes</i>," because of the carved wooden tree on its angle, in the branches of @@ -3547,19 +3507,19 @@ dated from the thirteenth century surely, and that may have been a part of Queen Blanche's Paris, was torn down only in 1800, and a slice of its site has been cut off by Rue Sauval, the widened and renamed Rue des -Vieilles-Étuves. The modern building on that corner, -numbered 92 Rue Saint-Honoré, is so narrow as to +Vieilles-Étuves. The modern building on that corner, +numbered 92 Rue Saint-Honoré, is so narrow as to have only one window on each of its three floors facing that street. Around the first story, above the butcher's shop on the entrance floor, runs a balcony with great gilt letters on its rail, that read "<i>Maison de -Molière</i>." High up on its front wall is a small tablet, +Molière</i>." High up on its front wall is a small tablet, whose legend, deciphered with difficulty from the -street, claims this spot for the birthplace of Molière. +street, claims this spot for the birthplace of Molière. This is a veracious record. The exact date of the birth of the eldest son of Jacques Poquelin and Marie <span class="pagenum"><a name="Page_106" id="Page_106">106</a></span> -Cressé, his wife, is unknown, but it was presumably +Cressé, his wife, is unknown, but it was presumably very early in January, 1622, for, on the fifteenth of that month, the baby was baptized "Jean Poquelin," in his father's parish church of Saint-Eustache—a @@ -3576,7 +3536,7 @@ family residing above. It was No. 3 Rue de la Tonnellerie, under the pillars of the Halles, possibly, but not certainly, on the site of the present No. 31 Rue du Pont-Neuf. In a niche, cut in the front wall of this -modern building, has been placed a bust of Molière +modern building, has been placed a bust of Molière and an inscription asserting that this was his birthspot, a local legend that harms no one, and comforts at least the <i>locataire</i>.</p> @@ -3584,7 +3544,7 @@ least the <i>locataire</i>.</p> <p>Hereabout, certainly, the boy played, running forward and back across the market. On its northern side, near the public pillory, was another house owned -by his father, on the old corner of Rue de la Réale, +by his father, on the old corner of Rue de la Réale, and its site is now covered by the pavement of modern Rue Rambuteau. It is pleasant to picture the lad in this ancient quarter, as we walk through those few of @@ -3595,7 +3555,7 @@ carriage of Henri IV., a few years before, and brought him within easy reach of the knife of Ravaillac as he sprang on the wheel.</p> -<p>François Coppée, not yet an old man, readily recalls +<p>François Coppée, not yet an old man, readily recalls the square squat columns of the old Halles, and, all about, the solid houses supported by pillars like the arcades of Place des Vosges; all just as when @@ -3603,13 +3563,13 @@ young Poquelin played about them. Plays, as well as play, already attracted him; he loved to look at the marionettes and the queer side-shows of the outdoor fairs held about the Halles; and his grandfather, -Louis Cressé, an ardent playgoer, often took him to +Louis Cressé, an ardent playgoer, often took him to laugh at the funny fellows who frolicked on the trestles of the Pont-Neuf, and at the rollicking farces in -the Théâtre du Marais. No doubt he saw, too, the -tragedies of the theatre of the Hôtel de Bourgogne, +the Théâtre du Marais. No doubt he saw, too, the +tragedies of the theatre of the Hôtel de Bourgogne, and this observant boy may well have anticipated the -younger Crébillon's opinion, that French tragedy of +younger Crébillon's opinion, that French tragedy of that day was the most absolute farce yet invented by the human mind. For this was a little while before the coming of Corneille with true tragedy.</p> @@ -3620,14 +3580,14 @@ learned, early, that his eyes were meant for seeing, and he not only saw everything, but he remembered and reflected; showing signs already of that bent which gave warrant, in later life, for Boileau's epithet, -"Molière the Contemplator."</p> +"Molière the Contemplator."</p> <p>He was sent, in 1636, being then fourteen years old, -to the Collége de Clermont, named a little later, and -still named, Lycée Louis-le-Grand. Rebuilt during +to the Collége de Clermont, named a little later, and +still named, Lycée Louis-le-Grand. Rebuilt during <span class="pagenum"><a name="Page_108" id="Page_108">108</a></span> the Second Empire, it stands on its old site behind the -Collége de France, in widened Rue Saint-Jacques. +Collége de France, in widened Rue Saint-Jacques. Here, during his course of five years, he was sufficiently diligent in such studies as happened to please him; and was prominent in the plays, acted by the @@ -3635,22 +3595,22 @@ scholars at each prize-giving. He made many friendships with boys who became famous men; with one, just leaving school as he came, who especially stood his friend in after life—the youthful Prince de Conti, -younger brother of the great Condé. And this elder +younger brother of the great Condé. And this elder brother became, years after, the friend and protector of the young actor-playwright, just as he was of some others of that famous group, Racine, La Fontaine, Boileau. All these, along with all men eminent in any way, were welcomed to his grand seat at Chantilly, and were frequent guests at his great town-house, whose -<i>salon</i> was a rival to that of the Hôtel de Rambouillet. +<i>salon</i> was a rival to that of the Hôtel de Rambouillet. His mansion, with its grounds, occupied the whole of that triangular space bounded now by Rues de Vaugirard, -de Condé, and Monsieur-le-Prince. At the +de Condé, and Monsieur-le-Prince. At the northern point of that triangle, nearly on the ground -now covered by the Second Théâtre Français, the -Odéon, stood the prince's private theatre; wherein -Molière, by invitation, played the rôles of author, -actor, manager. Molière's customary rôle in this great +now covered by the Second Théâtre Français, the +Odéon, stood the prince's private theatre; wherein +Molière, by invitation, played the rôles of author, +actor, manager. Molière's customary rôle in this great house was that of friend of the host, who wrote to him: "Come to me at any hour you please; you have but to announce your name; you visit can never be @@ -3676,15 +3636,15 @@ on this journey, saw, it is said, the execution of Cinq-Mars and de Thou. In the provinces at this time, or it may have been in Paris earlier, he met, became intimate with, and soon after joined, a troupe -of strolling players, made up of Joseph Béjart, his -two sisters Madeleine and Geneviève, and other young +of strolling players, made up of Joseph Béjart, his +two sisters Madeleine and Geneviève, and other young Parisians.</p> <p>This troupe was touring in Languedoc early in 1642, and was rather strong in its talent and fortunate in its takings; in no way akin to that shabby set of barnstormers satirized by Scarron in his "Roman Comique." -We cannot fix the date of Poquelin's <i>début</i> in the company, +We cannot fix the date of Poquelin's <i>début</i> in the company, but we know that—with the unhallowed ambition of the born and predestined comedian—he began in tragedy, and that he was greeted by his rural audiences @@ -3704,10 +3664,10 @@ their theatre in the capital, contracted for during the summer. At last, on the evening of December 31, 1643, it raised its first curtain to the Parisian public, under the brave, or the bumptious, title of "l'Illustre -Théâtre."</p> +Théâtre."</p> <p>To trace, from his first step on Paris boards, the -successive sites of Molière's theatres is a delightful +successive sites of Molière's theatres is a delightful task, in natural continuation of that begun in an earlier chapter, where those theatres in existence before his time were pointed out. In England, we know, stage-players @@ -3755,14 +3715,14 @@ was done away with in 1759, and the scene was left solely to the players.</p> <p>Where a tablet is let into the wall of the present -Nos. 12 and 14 Rue Mazarine, then named the Fossé-de-Nesle—the +Nos. 12 and 14 Rue Mazarine, then named the Fossé-de-Nesle—the <span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> ancient outer ditch of the old wall—a roomy playhouse had been contrived from a former tennis-court owned by Arnold Mestayer, a solid citizen of the town, captain of the Hundred Musketeers of Henri IV.'s day. This was the theatre taken by the -Béjart troupe and named "l'Illustre Théâtre." Here +Béjart troupe and named "l'Illustre Théâtre." Here young Poquelin made his first bow to Paris. The building stood on the sites of the present Nos. 10, 12, and 14 Rue Mazarine, its only entrance for spectators @@ -3770,7 +3730,7 @@ reached by an alley that ran along the line between Nos. 14 and 16, and so through to Rue de Seine, to where the buildings extended over the ground now covered by Nos. 11 and 13. These latter houses are -claimed by local legend for Molière's residence, and it +claimed by local legend for Molière's residence, and it may well be that the rear part of the theatre served as sleeping-quarters for the troupe. The interior of No. 11 is of very ancient construction, its front being of @@ -3784,7 +3744,7 @@ built in 1830, when the street was widened, that portion of the old theatre having been demolished a few years earlier.</p> -<p>It was in June, 1644, that the name Molière first +<p>It was in June, 1644, that the name Molière first appears, signed—it is his earliest signature in existence—among the rest of the company, to a contract with a dancing man for the theatre. How he @@ -3808,17 +3768,17 @@ a scurrilous verse.</p> within the year, and, early in 1645, they migrated over the river to the <i>Jeu de Paume de la Croix-Noire</i>. On either end of the long, low building at No. 32 Quai des -Célestins is a tablet; the western one showing where +Célestins is a tablet; the western one showing where stood the Tour Barbeau that ended the wall on this river-bank; that at the eastern end marking the site of this theatre, just without the wall. It had an entrance on the quay-front for the boatmen and other -water-side patrons, another in Rue des Barrés for its -patrons coming by coach. Molière lodged in the house—probably +water-side patrons, another in Rue des Barrés for its +patrons coming by coach. Molière lodged in the house—probably a portion of the theatre—at the corner of the quay and of Rue des Jardins-Saint-Paul—that country lane wherein had died Rabelais, nearly a century -earlier. Little Rue des Barrés, already seen taking +earlier. Little Rue des Barrés, already seen taking its name from the barred or striped gowns of the <span class="pagenum"><a name="Page_114" id="Page_114">114</a></span> monks who settled there, is now Rue de l'Ave-Maria, @@ -3833,7 +3793,7 @@ they passed to the stage. At its inner end, where it opens into a small court, is the stone rim of a well, half hidden in the wall. It is the well provided in each tennis-court for the players, and handed on, with the -court itself, for the use of the actors. Molière has +court itself, for the use of the actors. Molière has leaned over this well-curb to wash away his rouge and wrinkles. It is an indisputable and attractive witness of his early days. In Saint-Germain-l'Auxerrois, @@ -3847,7 +3807,7 @@ touch the man.</p> <div class="figcenter"><a name="im_140" id="im_140"></a> <img src="images/im_140.jpg" width="324" height="500" alt="" /> -<p class="caption">Stage Door of Molière's Second Theatre in Paris.</p> +<p class="caption">Stage Door of Molière's Second Theatre in Paris.</p> </div> <p>What sort of plays were presented at this house we @@ -3861,24 +3821,24 @@ into the new theatre.</p> <p>During this disastrous season, the troupe received royal commands to play at Fontainebleau before the King and court, and later, by invitation of the Duc de -l'Éperon, at his splendid mansion in Rue de la Plâtrière—that +l'Éperon, at his splendid mansion in Rue de la Plâtrière—that mansion in which lived and died La Fontaine, half a century later. Neither these fashionable <span class="pagenum"><a name="Page_116" id="Page_116">116</a></span> flights, nor the royal and noble patronage accorded to the troupe, could save it from failure and final bankruptcy. -Molière, the responsible manager, was arrested +Molière, the responsible manager, was arrested for the theatre's poor little debt for candles and lights. He was locked up for a night or two in the -dismal prison of the Grand Châtelet, once the fortress +dismal prison of the Grand Châtelet, once the fortress of Louis "le Gros," torn down only in 1802, on whose -site now sparkles the fountain of Place du Châtelet. +site now sparkles the fountain of Place du Châtelet. From this lock-up, having petitioned for release to M. d'Aubray, Civil Lieutenant of the town and father of -the Marquise de Brinvilliers, Molière was released by -the quickly tendered purse of Léonard Aubry, "Royal +the Marquise de Brinvilliers, Molière was released by +the quickly tendered purse of Léonard Aubry, "Royal Paver and Street Sweeper," who, when filling in the -Fossé-de-Nesle and laying out over it the present Rue +Fossé-de-Nesle and laying out over it the present Rue Mazarine a year before, had made fast friends with the young actor. "For his good service in ransoming the said Poquelin," the entire troupe bound itself @@ -3888,24 +3848,24 @@ to make Aubry whole for his debt.</p> Saint-Germain, taking for their house the <i>Jeu de Paume de la Croix-Blanche</i>, outside the wall on the south side of the present Rue de Buci, between -the <i>carrefour</i> at its eastern end and Rue Grégoire-de-Tours. +the <i>carrefour</i> at its eastern end and Rue Grégoire-de-Tours. Here they played, still playing against disaster, from the end of 1645 to the end of 1646, and then they fled from Paris, fairly beaten, and betook themselves to the southern provinces. We cannot follow their wanderings, nor record their ups and downs, during the twelve years of their absence. In -the old play-bills we find the names of Béjart <i>aîné</i> and +the old play-bills we find the names of Béjart <i>aîné</i> and <span class="pagenum"><a name="Page_117" id="Page_117">117</a></span> of his brother Louis, of their sisters Madeleine and -Geneviève. Toward the end of their touring they +Geneviève. Toward the end of their touring they added to the family, though not to the boards, Armande, who had been brought up in Languedoc, and who was claimed by them to be their very young sister, and by others to be the unacknowledged daughter of Madeleine.</p> -<p>Molière, the leader and manager of the troupe from +<p>Molière, the leader and manager of the troupe from the day they started, was then only twenty-five years of age, not yet owning or knowing his full powers. These he gained during that twelve years' hard schooling @@ -3919,7 +3879,7 @@ troupe appeared before Louis XIV., the Queen-Mother, and the entire court, on October 24, 1658, in a theatre improvised in the Salle des Gardes of the old Louvre, now known as the Salle des Caryatides. The pieces -on that opening night were Corneille's "Nicomède" +on that opening night were Corneille's "Nicomède" and the manager's "Le Docteur Amoureux." In November, the "<i>troupe de Monsieur</i>"—that title permitted by the King's brother—was given possession @@ -3933,7 +3893,7 @@ eastern face of the Louvre. The dainty Jardin de l'Infante covers the site of the stage, just at the corner of the Egyptian Gallery.</p> -<p>In this hall Molière's company played for two years, +<p>In this hall Molière's company played for two years, on alternate nights with the Italian comedians, presenting, along with old standard French pieces—for authors in vogue held aloof—his provincial successes, @@ -3944,15 +3904,15 @@ work; his brain and his pen were relentlessly employed; honors and wealth came plentifully to him, happiness hardly at all.</p> -<p>While at this theatre Molière lived just around the -corner on Quai de l'École, now Quai du Louvre, in +<p>While at this theatre Molière lived just around the +corner on Quai de l'École, now Quai du Louvre, in a house that was torn away in 1854 for the widening of present Rue du Louvre. Many of the buildings left on the quay are of the date and appearance of this, his last bachelor home.</p> <p>Driven from the Petit-Bourbon by its hurried demolition -in 1660, Molière was granted the use and the +in 1660, Molière was granted the use and the privileges of the <i>Salle</i> of the former Palais-Cardinal, partly gone to ruin and needing large expenditure to make it good. It had been arranged by Richelieu, @@ -3968,9 +3928,9 @@ His theatre in his residence—willed at his death to the King, and thenceforward known as the Palais-Royal—was therefore the only structure in Paris designed especially and solely for playhouse purposes. -It stood on the western corner of Rues Saint-Honoré +It stood on the western corner of Rues Saint-Honoré and de Valois, as a tablet there tells us. During the -repairs Molière took his troupe to various <i>châteaux</i> +repairs Molière took his troupe to various <i>châteaux</i> about Paris, returning to open this theatre on January 20, 1661. This removal was the last he made, and this house was the scene of his most striking successes.</p> @@ -3991,11 +3951,11 @@ Above the tablet recording these dates on this eastern-corner wall is a fine old sun-dial, such as is rarely seen in Paris, and seldom noticed now.</p> -<p>The widow Molière, being dispossessed, found a +<p>The widow Molière, being dispossessed, found a theatre in Rue Mazarine, just beyond her husband's first theatre, "in the Tennis-Court where hangs a Bottle for a Sign." For it had been the <i>Jeu de Paume de -la Bouteille</i>, and now became the Théâtre Guénégaud, +la Bouteille</i>, and now became the Théâtre Guénégaud, <span class="pagenum"><a name="Page_120" id="Page_120">120</a></span> being exactly opposite the end of that street. Within the structure at No. 42 Rue Mazarine may be seen the @@ -4006,12 +3966,12 @@ its four sides, served for the audience, and the stage was built farther beyond. On the court of this house, and on the contiguous court of No. 43 Rue de Seine, stood a large building, whose first floor was taken by -Madame Molière, and in its rear wall she cut a door +Madame Molière, and in its rear wall she cut a door to give access to her stage. The entrance for the performers was in the little Passage du Pont-Neuf, and under it there are remains of the foundations of the theatre. Here, in May, 1677, the widow took the name -of Madame Guérin on her marriage with a comedian +of Madame Guérin on her marriage with a comedian of her company. And we feel as little regret as she seems to have felt for her loss of an illustrious name. In the words of a derisive verse of the time:</p> @@ -4024,35 +3984,35 @@ In the words of a derisive verse of the time:</p> <div class="figright"><a name="im_147" id="im_147"></a> <img src="images/im_147.jpg" width="160" height="163" alt="" /> -<p class="caption">COMÉDIE FRANÇAISE 1680</p> +<p class="caption">COMÉDIE FRANÇAISE 1680</p> </div> <p>This was the first theatre to present to the general public "lyric dramas set to music," brought first to France by Mazarin for his private stage in the small hall of the Palais-Royal, where they were presented -as "<i>Comédies en Musique, avec machines à la mode +as "<i>Comédies en Musique, avec machines à la mode d'Italie</i>." They bored everybody, the fashion for opera not yet being set. On October 21, 1680, by -letters-patent from royalty, the troupe of the Théâtre -Guénégaud was united to that of the Hôtel de Bourgogne, +letters-patent from royalty, the troupe of the Théâtre +Guénégaud was united to that of the Hôtel de Bourgogne, <span class="pagenum"><a name="Page_121" id="Page_121">121</a></span> and to the combined companies was granted -the name of Comédie Française, the first assumption +the name of Comédie Française, the first assumption of that now time-honored title. The theatre became -so successful that the Jansenists in the Collége +so successful that the Jansenists in the Collége Mazarin—the present Institute—made an uproar because they were annoyed by the traffic and the turmoil in the narrow street, and succeeded in driving away the playhouse in 1688. After -a long search, the Comédie -Française found new quarters +a long search, the Comédie +Française found new quarters in the <i>Jeu de Paume de -l'Étoile</i>, built along the outer +l'Étoile</i>, built along the outer edge of the street made over the ditch of the wall, named -Rue des Fossés-Saint-Germain, -now Rue de l'Ancienne-Comédie. +Rue des Fossés-Saint-Germain, +now Rue de l'Ancienne-Comédie. At its present No. 14, set in the original front wall of the theatre, between the second and third stories, a tablet marks the site; above it is a bas-relief, @@ -4065,7 +4025,7 @@ walls—the story shall be told in a later chapter—the building has had various usages. It now serves as a storehouse for wall-paper. During the Empire it was taken for his studio by the artist Antoine-Jean Gros, -the successor of David and the forerunner of Géricault; +the successor of David and the forerunner of Géricault; so standing for the transition from the Classic <span class="pagenum"><a name="Page_122" id="Page_122">122</a></span> to the Romantic school. It is not true that he killed @@ -4073,27 +4033,27 @@ himself in this studio. He went out from it, when maddened by the art critics, and drowned himself in the Seine in the summer of 1835.</p> -<p>It was a great bill with which the Comédie Française +<p>It was a great bill with which the Comédie Française opened this house on the night of April 18, 1689, for it was made up of two masterpieces, Racine's -"Phèdre" and Molière's "Le Médecin Malgré Lui." +"Phèdre" and Molière's "Le Médecin Malgré Lui." A vast and enthusiastic audience thronged, with joyous clatter, through narrow Rues Mazarine and Dauphine, -coming from the river. The Café Procope, recently +coming from the river. The Café Procope, recently opened just opposite the theatre, was crowded after the performance, the drinkers of coffee not quite sure that they liked the new beverage. And so, at the top of their triumphs, we leave the players with whom we have vagabondized so long and so sympathetically.</p> -<p>Molière, at the height of his career, had married -Armande Béjart, he being forty years of age, she +<p>Molière, at the height of his career, had married +Armande Béjart, he being forty years of age, she "aged twenty years or thereabout," in the words of the marriage contract, signed January 23, 1662. No one knows now, very few knew then, whether the bride -was the sister or the daughter of Madeleine Béjart, -Molière's friend and comrade for many years, who -doubled her rôle of versatile actress with that of provident +was the sister or the daughter of Madeleine Béjart, +Molière's friend and comrade for many years, who +doubled her rôle of versatile actress with that of provident cashier of the company. She was devoted to Armande, whom she had taken to her home from the girl's early schooling in Languedoc, and over whom @@ -4101,15 +4061,15 @@ she watched in the <i>coulisses</i>. She fought against the marriage, which she saw was a mistake, finally accepted <span class="pagenum"><a name="Page_123" id="Page_123">123</a></span> it, and at her own death in 1672 left all her -handsome savings to the wife of Molière.</p> +handsome savings to the wife of Molière.</p> -<p>In the cast of the "École des Maris," first produced -in 1661, appears the name of Armande Béjart, and, -three months after the marriage, "Mlle. Molière"—so +<p>In the cast of the "École des Maris," first produced +in 1661, appears the name of Armande Béjart, and, +three months after the marriage, "Mlle. Molière"—so were known the wives of the <i>bourgeoisie</i>, "Madame" being reserved for <i>grandes-dames</i>—played the -small part of Élise put for her by the author into his -"Critique de l'École des Femmes." Henceforward +small part of Élise put for her by the author into his +"Critique de l'École des Femmes." Henceforward she was registered as one of the troupe, the manager receiving two portions of the receipts for his and her united shares. She was a pleasing actress, never more @@ -4122,7 +4082,7 @@ did not own. For she was born with an endowment of adroit coquetry, and she developed her gift. She was flighty and frivolous, evasive and obstinate, fond of pleasures not always innocent. Her spendthrift -ways hurt Molière's thrifty spirit, her coquetry hurt +ways hurt Molière's thrifty spirit, her coquetry hurt his love, her caprices hurt his honor. His infatuation, a madness closely allied to his genius, brought to him a fleeting happiness, followed by almost unbroken torments @@ -4152,25 +4112,25 @@ that leave me not one instant of respite."</p> <p>The church ceremony of their marriage had taken place on February 20, 1662, at Saint-Germain-l'Auxerrois, as its register testifies. He had already left -his bachelor quarters on Quai de l'École, and had +his bachelor quarters on Quai de l'École, and had taken an apartment in a large house situated on the small open space opposite the entrance of the Palais-Royal, the germ of the present <i>place</i> of that name. His windows looked out toward his theatre, and on the two streets at whose junction the house stood—Saint-Thomas-du-Louvre -and Saint-Honoré. The +and Saint-Honoré. The first-named street, near its end on Quai du Louvre, -held the Hôtel de Rambouillet, which was a reconstruction -of the old Hôtel de Pisani, made in 1618, after +held the Hôtel de Rambouillet, which was a reconstruction +of the old Hôtel de Pisani, made in 1618, after the plan and under the eye of the Marquise de Rambouillet. <span class="pagenum"><a name="Page_125" id="Page_125">125</a></span> She is known in history, as she was known -in the <i>salons</i> of her day, by her sobriquet of "Arthénice"—an +in the <i>salons</i> of her day, by her sobriquet of "Arthénice"—an anagram coined by Malherbe from her name Catherine. Hither came all that was brilliant in Paris, and much that pretended to be brilliant; and from here went out the grotesque affectations of the -<i>Précieuses Ridicules</i>. The mansion—one of the grandest +<i>Précieuses Ridicules</i>. The mansion—one of the grandest of that period—having passed into other hands, was used as a Vauxhall d'Hiver in 1784, as a theatre in 1792, and was partly burned in 1836. The remaining @@ -4179,42 +4139,42 @@ was wiped away, along with all that end of the old street, by the Second Empire, to make space for the alignment of the wings of the Louvre. The buildings of the Ministry of Finance cover a portion of the -street, and the site of Molière's residence, in the middle +street, and the site of Molière's residence, in the middle of the present Place du Palais-Royal, is trodden, almost every day of the year, by the feet of American women, hurrying to and from the Museum of the Louvre or the great shop of the same name.</p> -<p>After a short stay in their first home, Molière and +<p>After a short stay in their first home, Molière and his wife set up housekeeping in Rue de Richelieu. It is not known if it was in the house of his later domicile and death. Their cook here was the famous La -Forêt, to whom, it is said, Molière read his new plays, +Forêt, to whom, it is said, Molière read his new plays, trying their effect on the ordinary auditor, such as made up the bulk of the audiences of that time. Servants -were commonly called La Forêt then, and the -real name of this cook was Renée Vannier. Within a +were commonly called La Forêt then, and the +real name of this cook was Renée Vannier. Within a year, domestic dissensions came to abide in the household, <span class="pagenum"><a name="Page_126" id="Page_126">126</a></span> and it was moved back to its first home, where Madeleine had remained, and now made one of the -<i>ménage</i>. To it came a new inmate in February, 1664, +<i>ménage</i>. To it came a new inmate in February, 1664, a boy, baptized at Saint-Germain-l'Auxerrois, having the great monarch for a godfather, and for a godmother Henrietta of England, wife of the King's -brother, Philippe d'Orléans, and poisoned by him or +brother, Philippe d'Orléans, and poisoned by him or his creatures a few years later, it is believed. These royal sponsors were represented at the christening by distinguished State servants, the whole affair giving ample proof of this player's position at the time.</p> <p>A little later, we have hints that the small family -was living farther east in Rue Saint-Honoré, at the -corner of Rue d'Orléans, still near his theatre, in a +was living farther east in Rue Saint-Honoré, at the +corner of Rue d'Orléans, still near his theatre, in a house swept away when that street was widened into Rue du Louvre. From this house was buried, in November, 1664, the child Louis, the burial-service being -held at Saint-Eustache, their parish church, Molière's +held at Saint-Eustache, their parish church, Molière's baptismal church, his mother's burial church. Here, too, in the following year, August, 1665, he brought to the font his newly born daughter, Esprit-Madeleine. @@ -4224,9 +4184,9 @@ Rue Saint-Thomas-du-Louvre, and there they stayed for seven years, removing once more, and for the last time, in October, 1672, to Rue de Richelieu.</p> -<p>Where now stands No. 40 of that street, René +<p>Where now stands No. 40 of that street, René Baudelet, Tailor to the Queen by title, had taken a -house only recently builded, and from him Molière +house only recently builded, and from him Molière rented nearly every floor. His lease was for a term <span class="pagenum"><a name="Page_127" id="Page_127">127</a></span> of six years, and he lived only four and a half months @@ -4252,28 +4212,28 @@ with their shops, were not constructed until not yet cut; so that the garden reached, on either side, to the backs of the houses that fronted on Rues de Richelieu and des Bons-Enfants. Many of the occupants -had, like Molière, their private doors in the +had, like Molière, their private doors in the garden wall, with access by stone steps. One of these staircases is still left, and may be seen in Rue de Valois, -descending from the rear of the Hôtel de la Chancellerie -d'Orléans, whose Doric entrance-court is at No. +descending from the rear of the Hôtel de la Chancellerie +d'Orléans, whose Doric entrance-court is at No. 19 Rue des Bons-Enfants.</p> <p>The house now numbered 40 Rue de Richelieu and <span class="pagenum"><a name="Page_128" id="Page_128">128</a></span> 37 Rue Montpensier was erected soon after 1767, when -the walls that had harbored Molière were torn down +the walls that had harbored Molière were torn down to prevent them from tumbling down. The present building has an admirable circular staircase climbing to an open lantern in the roof. The houses on either side, numbered 37 <i>bis</i> and 35 Rue Montpensier, retain their original features of a central body with projecting wings, and so serve to show us a likeness of -Molière's dwelling. Their front windows look out now +Molière's dwelling. Their front windows look out now on the grand fountain of the younger Visconti's design, -erected to Molière's memory in 1844, at the junction -of Rue de Richelieu and old Rue Traversière, now -named Rue Molière. This fountain, flowing full and +erected to Molière's memory in 1844, at the junction +of Rue de Richelieu and old Rue Traversière, now +named Rue Molière. This fountain, flowing full and free always, as flowed the inspiration of his Muse, is surmounted by an admirable seated statue of the player-poet by Seurre, the figures of Serious and of Light @@ -4284,10 +4244,10 @@ one grand mansion, still intact, though divided—lived his friend Mignard, and here he died in 1795. The painter and the player had met at Avignon in 1657-8, and grew to be life-long friends, with equal -admiration of the other's art. Indeed, Molière considered +admiration of the other's art. Indeed, Molière considered that he honored Raphael and Michael Angelo, -when he named them "<i>ces Mignards de leur âge</i>." -Certainly no such vivid portrait of Molière has come +when he named them "<i>ces Mignards de leur âge</i>." +Certainly no such vivid portrait of Molière has come down to us as that on the canvas of this artist, now in the gallery at Chantilly. It shows us not the comedian, but the man in the maturity of his strength @@ -4302,10 +4262,10 @@ is eloquent of his wistful tenderness.</p> <div class="figcenter"><a name="im_155" id="im_155"></a> <img src="images/im_155.jpg" width="389" height="550" alt="" /> -<p class="caption">The Molière Fountain.</p> +<p class="caption">The Molière Fountain.</p> </div> -<p>Early in 1667 we find Molière leasing a little cottage, +<p>Early in 1667 we find Molière leasing a little cottage, or part of a cottage, at Auteuil, for a retreat at times. He needed its pure air for his failing health, its quiet for his work, and its distance from the disquiet @@ -4325,9 +4285,9 @@ thinly, with the same brush.</p> <p>Auteuil was then a tranquil village, far away from the town's turmoil, and brought near enough for its dwellers by the silent and swift river. Now it is a -bustling suburb of the city, and the site of Molière's +bustling suburb of the city, and the site of Molière's cottage and grounds is covered by a block of commonplace -modern dwellings on the corner of Rue Théophile +modern dwellings on the corner of Rue Théophile Gautier and Rue d'Auteuil, and is marked by a tablet <span class="pagenum"><a name="Page_130" id="Page_130">130</a></span> in the front wall of No. 2 of the latter street. It has @@ -4336,11 +4296,11 @@ that it is nearly opposite this spot that we must look for his garden and a fragment of his villa, still saved. The conscientious pilgrim may not fail to take that look, and will ring at the iron gate of No. 57 Rue -Théophile Gautier. It is the gate of the ancient <i>hôtel</i> +Théophile Gautier. It is the gate of the ancient <i>hôtel</i> of Choiseul-Praslin, a name of unhappy memory in the annals of swell assassins. The ducal wearer of the title, during the reign of Louis-Philippe, stabbed his -wife to death in their town-house in the Champs Élysées, +wife to death in their town-house in the Champs Élysées, and poisoned himself in his cell to save his condemnation by his fellow-peers of France. The ancient family mansion has been taken by "<i>Les Dominicaines</i>," @@ -4353,7 +4313,7 @@ enter, and leads the visitor across the spacious court, through the stately rooms and halls—all intact in their old-fashioned harmony of proportion and decoration—into the garden that stretches far along Rue de -Rémusat, and that once spread away down the slope +Rémusat, and that once spread away down the slope to the Seine. Here, amid the magnificent cedar trees, centuries old, stands a mutilated pavilion of red brick and white stone or stucco, showing only its unbroken @@ -4362,11 +4322,11 @@ raggedly away a few feet behind, to make room for a new structure. Over the central door are small figures in bas-relief, and in the pediment above one reads, <span class="pagenum"><a name="Page_131" id="Page_131">131</a></span> -"<i>Ici fut la Maison de Molière.</i>" It would be a comfort +"<i>Ici fut la Maison de Molière.</i>" It would be a comfort to be able to accept this legend; the fact that prevents is that the pavilion was erected only in 1855 by the owner of the garden, to keep alive the associations -of Molière with this quarter!</p> +of Molière with this quarter!</p> <p>It is in his garden, behind the wall that holds the tablet, that we may see the player-poet as he rests in @@ -4380,10 +4340,10 @@ of fun, fonder of wine, friendly even to rudeness, but beloved by all the others, whom he teased and ridiculed, and yet counselled shrewdly. He sympathized with, albeit his sceptic spirit could not quite fraternize -with, the sensitive vibrating nature of Molière, that +with, the sensitive vibrating nature of Molière, that brought, along with acutest enjoyment, the keenest suffering. In this day-and-night companionship, craving -consolation for his betossed soul, Molière gave voice +consolation for his betossed soul, Molière gave voice to his sorrows, bewailing his wife's frailties and the torments they brought to him—to him, "born to tenderness," as he truly put it, but unable to plant any @@ -4396,8 +4356,8 @@ and feasting, and once a historic frolic, when the <i>convives</i>, flushed with wine, ran down the slope to the <span class="pagenum"><a name="Page_132" id="Page_132">132</a></span> river, bent on plunging in to cool their blood, and were -kept dry and undrowned by Molière's steadier head -and hand. His <i>ménage</i> was modest, and his wife seldom +kept dry and undrowned by Molière's steadier head +and hand. His <i>ménage</i> was modest, and his wife seldom came out from their town apartment, but his daughter was brought often for a visit from her boarding-school near by in Auteuil. He was beloved by all @@ -4411,11 +4371,11 @@ signed, in the same capacity, the register of Saint-Roch on September 10, 1669, at the christening of a friend's daughter, Jeanne Catherine Toutbel. These signatures were destroyed when all the ancient church -registers, then stored in the Hôtel de Ville, were burned +registers, then stored in the Hôtel de Ville, were burned by the Commune.</p> <p>On the night of Friday, February 16, 1673, while -personating his <i>Malade Imaginaire</i>—its fourth performance—Molière +personating his <i>Malade Imaginaire</i>—its fourth performance—Molière was struck down by a genuine malady. He pulled through the play, and, as the curtain went down at last, he was nearly strangled by a @@ -4439,9 +4399,9 @@ the theatre, most trying to so delicate a frame. His watchful friend, Boileau, had often urged him to leave the stage before he should break down. Moreover, it distressed Boileau that the greatest genius of -his time, as he considered Molière, should have to +his time, as he considered Molière, should have to paint his face, put on a false mustache, get into a -bag and be beaten with sticks, in his ludicrous rôle +bag and be beaten with sticks, in his ludicrous rôle of comic valet. But all pleading was thrown away. The invalid maintained that nothing but his own management, his own plays, and his own playing, kept @@ -4454,7 +4414,7 @@ for the time in the house.</p> <p>The arm-chair, in which sat the <i>Malade Imaginaire</i> on the last night of his professional life, is treasured -among the relics of the Théâtre Français. It is a +among the relics of the Théâtre Français. It is a massive piece of oak furniture, with solid square arms and legs; the roomy back lets down, and is held at any required angle by an iron ratchet; there are iron @@ -4464,21 +4424,21 @@ for his bottles and books. The brown leather covering is time-worn and stitched in spots. It is a most attractive relic, this simple piece of stage property. Its exact copy as to shape, size, and color is used on -the boards of the Théâtre Français in the performances +the boards of the Théâtre Français in the performances of "Le Malade Imaginaire." And, with equal reverence, they kept for many years in the ancient village -of Pézénas, in Languedoc—where the strolling troupe +of Pézénas, in Languedoc—where the strolling troupe wintered in 1655-6, playing in the adjacent hamlets -and in the <i>châteaux</i> of the <i>seigneurie</i> about—the big -wooden arm-chair belonging to the barber Gély, and -almost daily through that winter occupied by Molière. +and in the <i>châteaux</i> of the <i>seigneurie</i> about—the big +wooden arm-chair belonging to the barber Gély, and +almost daily through that winter occupied by Molière. Upon it he was wont to sit, in a corner, contemplating all who came and went, making secret notes on the tablets he carried always for constant records of the human document. It has descended to a gentleman in Paris, by whom it is cherished.</p> -<p>The <i>curé</i> of Saint-Eustache, the parish church, refused +<p>The <i>curé</i> of Saint-Eustache, the parish church, refused its sacrament for the burial of the author of "Tartufe." "To get by prayer a little earth," in Boileau's words, the widow had to plead with the King; @@ -4503,7 +4463,7 @@ This, in its turn, was cleared away between 1875 and numbered 142 and 144 Rue Montmartre, 24 and 26 Rue Saint-Joseph. Over the grave, as she thought, the widow erected a great tombstone, under which, tradition -says, Molière did not lie. Tradition lies, doubtless, +says, Molière did not lie. Tradition lies, doubtless, and Armande's belated grief and posthumous devotion probably displayed themselves on the right spot. The stone was cracked—going to bits soon after—by a @@ -4515,44 +4475,44 @@ sections were anxious to save the remains of their really great men from the desecrations of the Patriots, to whom no ground was consecrate, nor any memories sacred. Then, in the words of the official document, -"the bones which seemed to be those of Molière" were +"the bones which seemed to be those of Molière" were exhumed, and carried for safe keeping to the Museum of French Monuments begun by Alexandre Lenoir in 1791, in the Convent of the Petits-Augustins. Its site is now mostly covered by the court of the Beaux-Arts -in Rue Bonaparte. Those same supposed bones of Molière +in Rue Bonaparte. Those same supposed bones of Molière were transferred, early in the present century, to <span class="pagenum"><a name="Page_136" id="Page_136">136</a></span> -the Cemetery of Père-Lachaise, where they now lie in +the Cemetery of Père-Lachaise, where they now lie in a stone sarcophagus. By their side rest the supposed bones of La Fontaine, removed from the same ground to the same museum at the same time; La Fontaine -having really been buried, twenty-two years after Molière's +having really been buried, twenty-two years after Molière's burial, in the Cemetery of the Innocents, a half-mile from that of Saint-Joseph!</p> -<p>Our ignorance as to whether these be Molière's -bones, under the monument in Père-Lachaise, is +<p>Our ignorance as to whether these be Molière's +bones, under the monument in Père-Lachaise, is matched by our unacquaintance with the facts of his -life. And we know almost as little of Molière the man, +life. And we know almost as little of Molière the man, as we know of the man called Shakespeare—the only names in the modern drama which can be coupled. We have no specimens of the actual manuscript, and few -specimens of the handwriting, of either. The Comédie -Française has a priceless signature of Molière given by +specimens of the handwriting, of either. The Comédie +Française has a priceless signature of Molière given by Dumas <i>fils</i>, and there are others, it is believed, on legal documents in notaries' offices, but no one knows how to get at them.</p> <p>His portraiture by pen, too, would have been lost to us, but for an old lady who has left a detailed and vivid -description of "Monsieur Molière." This Madame +description of "Monsieur Molière." This Madame Poisson was the daughter of Du Croissy, whose name appears in the troupe's early play-bills; and the wife -of Paul Poisson, also an actor with Molière, and with +of Paul Poisson, also an actor with Molière, and with his widow. Madame Poisson died in 1756, aged ninety-eight, so that she was an observant and intelligent -girl of fifteen at the time of Molière's death. In her +girl of fifteen at the time of Molière's death. In her recollections, written in 1740, she says that he was neither stout nor thin; in stature he was rather tall than <span class="pagenum"><a name="Page_137" id="Page_137">137</a></span> @@ -4572,7 +4532,7 @@ he carry about with him the traditional dejection of the comic actor, but he was by character and by habit contemplative—observant of human nature—as well as introspective—peering into his own nature. The -man who does this necessarily grows sad. Molière's +man who does this necessarily grows sad. Molière's sadness was mitigated by a humor of equal depth, a conjunction rare in the Latin races, and found at its best only in him and in Cervantes. This set him to @@ -4593,7 +4553,7 @@ character. The inborn good-heartedness that made his comedy gracious and unhostile, made his relations with men and women always kindly and generous. You see that sympathy with humanity in Mignard's portrait, -and in the bust in the foyer of the Comédie Française, +and in the bust in the foyer of the Comédie Française, made by Houdon from other portraits and from descriptions. Under the projecting brow of the observer are the eyes of the contemplator, shrewd and speculative, @@ -4616,23 +4576,23 @@ Paris. For nearly thirty years, the years of his dramatic triumphs, Corneille lived alternately in Paris and in Rouen, until his mother's death, in 1662, left him free to make his home in the capital. In that year he -settled in rooms in the Hôtel de Guise, now the Musée +settled in rooms in the Hôtel de Guise, now the Musée des Archives, whose ducal owner was a patron of the <span class="pagenum"><a name="Page_139" id="Page_139">139</a></span> -Théâtre du Marais, close at hand. At his death, in or +Théâtre du Marais, close at hand. At his death, in or about 1664, Corneille sent in a rhymed petition for rooms in the Louvre, where lodging was granted to men of letters not too well-to-do. His claim was refused, -and he took an apartment in Rue de Cléry during +and he took an apartment in Rue de Cléry during that same year. It was a workman's quarter, and none of its houses were very grand, but that of Corneille is -spoken of as one of the better sort, with its own <i>porte-cochère</i>. +spoken of as one of the better sort, with its own <i>porte-cochère</i>. Pierre's younger brother, Thomas, came to live in the same house. And from this time on, the two brothers were never parted in their lives. They had married sisters, and the two families dwelt in quiet happiness under the common roof. This house in Rue de -Cléry cannot be fixed. It may be one of the poor +Cléry cannot be fixed. It may be one of the poor dwellings still standing in that old street, or it may no longer exist. It is the house famous in anecdotal history for owning the trap-door in the floor between the @@ -4646,30 +4606,30 @@ picture, when, in 1667, Corneille's son was brought home, wounded, from the siege of Douai. The straw from the litter was scattered about the street as the father helped them lift his boy to carry him into the -house, and Corneille was summoned to the Châtelet, +house, and Corneille was summoned to the Châtelet, for breaking police regulations with regard to the care of thoroughfares; he appeared, pleaded his own cause, and was cast in damages! <span class="pagenum"><a name="Page_140" id="Page_140">140</a></span></p> -<p>Here in 1671, Corneille and Molière, in collaboration, +<p>Here in 1671, Corneille and Molière, in collaboration, wrote the "tragedy-ballet 'Psyche'"; this work in common cementing a friendship already begun between the two men, and now made firmer for the two years of -Molière's life on from this date. The play was begun +Molière's life on from this date. The play was begun and finished in a fortnight, to meet the usual urgency of -the King in his amusements. Molière planned the +the King in his amusements. Molière planned the piece and its spectacular effects, and wrote the prologue, the first act, and the first scenes of the second and third acts; Corneille's share being the rest of the rhymed dialogue and the songs. It was set to music by Lulli—"the incomparable Monsieur Lulli," as he was -called by Molière—whose generous laudation of the +called by Molière—whose generous laudation of the musician was not lessened by his estimate of the man. For Lulli was not an honest man, and he prospered at the expense of his fellows. His magnificent home was -built by money borrowed from Molière, whose widow -was repaid as we have seen. Lulli's <i>hôtel</i> is still in perfect +built by money borrowed from Molière, whose widow +was repaid as we have seen. Lulli's <i>hôtel</i> is still in perfect condition as to its exterior, at the corner of Rues des Petits-Champs and Sainte-Anne. This latter front is the finer, with its pilasters and composite capitals, its @@ -4678,9 +4638,9 @@ and the musical instruments placed above the middle window of the first grand floor.</p> <p>They make a pretty picture, not without a touch of -the pathetic—and M. Gèrôme has put it on canvas—as +the pathetic—and M. Gèrôme has put it on canvas—as they sit side by side, planning and plotting their play: -Molière at the top of his career, busy, prosperous, applauded; +Molière at the top of his career, busy, prosperous, applauded; Corneille past his prime and his popularity, beginning to bend with age and to break in spirit. He <span class="pagenum"><a name="Page_141" id="Page_141">141</a></span> @@ -4693,7 +4653,7 @@ friend at court, albeit the new minister, Mazarin, had put him on the pension list. His triumphs with "Le Cid" and "Les Horaces" had not saved him from—nor helped him bear—the dire failures of "Attila" and -of "Agésilas." Poetry had proved a poor trade, royalty +of "Agésilas." Poetry had proved a poor trade, royalty had forgotten him, Colbert's economies had left his pension in arrears along with many others, and finally, after Colbert's death, the new minister, Louvois, had @@ -4707,11 +4667,11 @@ be lengthened to an equal limit!</p> <p>The contrast between the two figures—the King of French Tragedy shabby in Paris streets, the King of French people resplendent at Versailles—is sharply -drawn by Théophile Gautier in his superb verses, read -at Corneille's birthday fête at the Comédie Française, +drawn by Théophile Gautier in his superb verses, read +at Corneille's birthday fête at the Comédie Française, on June 6, 1851. Gautier had not been able to find any motive for the lines, which he had promised to -prepare for Arsène Houssaye, the director, until Hugo +prepare for Arsène Houssaye, the director, until Hugo gave him this cue.</p> <p>The faithful, generous Boileau—the man called @@ -4747,7 +4707,7 @@ such a man.</p> <p>Age and poverty took up their abode with him—as well as his more welcome comrade, the constant Thomas—in his next dwelling. We cannot be sure when they -left Rue de Cléry, and we find them first in Rue d'Argenteuil +left Rue de Cléry, and we find them first in Rue d'Argenteuil in November, 1683, the year of Colbert's death. That old road from the village of Argenteuil had become, and still remains, a city street absolutely without @@ -4759,12 +4719,12 @@ a gloomy and forbidding building. It had two entrances—as has the grandiose structure now standing on its site—one in Rue d'Argenteuil, on which front is a tablet marking this historic scene of the poet's death, -and the other in Rue de l'Évêque. That street was +and the other in Rue de l'Évêque. That street was wiped out of existence by the cutting of Avenue de -l'Opéra in 1877-8, which necessitated the demolition +l'Opéra in 1877-8, which necessitated the demolition of this dreary old house. Its most attractive relic is now in the possession of M. Victorien Sardou, at his -country house, at Marly-le-Roi, in the <i>porte-cochère</i>, +country house, at Marly-le-Roi, in the <i>porte-cochère</i>, with its knocker. Every guest there is proud to put his hand on the veritable knocker lifted so often by Corneille's hand.</p> @@ -4781,7 +4741,7 @@ tablet to his memory was placed in 1821. The church was so short a step, that, feeble and forlorn as he was, he had found his way there early of mornings during these last years. And in his earlier years, when living -in Rue de Cléry, he had often hurried there, drawn by +in Rue de Cléry, he had often hurried there, drawn by the strong and splendid Bossuet, whose abode was either in Rue Sainte-Anne hard by, or in the then new mansion still standing in Place des Victoires. Here in @@ -4796,7 +4756,7 @@ of classicism.</p> <p>After the burial, the bereft Thomas removed to rooms in Cul-de-sac des Jacobins, only a little way from his last home with Pierre. This blind alley has -now been cut through to the market of Saint-Honoré, +now been cut through to the market of Saint-Honoré, and become a short commonplace street, named Saint-Hyacinthe. Twenty years the younger of the two, Thomas was, during his life, and has been in his after-renown, @@ -4805,7 +4765,7 @@ brother. He had a rare gift of versification, and a certain skill in the putting together of plays. Of them he constructed a goodly lot, some few of them in collaboration. His "Timocrate," played for eighty consecutive -nights at the Théâtre du Marais, was the most +nights at the Théâtre du Marais, was the most popular success on the boards of the seventeenth century. His knack in pleasing the public taste was as much his own as was his mastery of managers, by @@ -4816,29 +4776,29 @@ translations and dictionaries, which have joined his plays in everlasting limbo.</p> <p>All the early theatrical productions of Pierre Corneille -were originally put on the stage of the Théâtre du +were originally put on the stage of the Théâtre du Marais, which had been started by seceders from the -theatre of the Hôtel de Bourgogne, as has been told in +theatre of the Hôtel de Bourgogne, as has been told in <span class="pagenum"><a name="Page_145" id="Page_145">145</a></span> our first chapter. After a temporary lodgment in the -quarter of the Hôtel de Ville, it was soon permanently -housed in the recast tennis-court of the "<i>Hôtel Salé</i>." +quarter of the Hôtel de Ville, it was soon permanently +housed in the recast tennis-court of the "<i>Hôtel Salé</i>." There it remained until 1728, when Le Camus bought the place and turned the theatre into stables. Where stands modern No. 90 in the widened Rue Vieille-du-Temple was the public entrance of the theatre. The -"<i>Hôtel Salé</i>," the work of Lepautre, is still in perfect +"<i>Hôtel Salé</i>," the work of Lepautre, is still in perfect condition behind the houses of Rue Vieille-du-Temple. Its principal portal is at Rue Thorigny, 5, with a side entrance in Rue Saint-Gervais-des-Coutures. Known -at first as the Hôtel Juigné, it was popularly renamed, -in the seventeenth century, the "<i>Hôtel Salé</i>," because +at first as the Hôtel Juigné, it was popularly renamed, +in the seventeenth century, the "<i>Hôtel Salé</i>," because its rapacious owner, Aubray de Fontenay, had amassed his wealth by farming out the salt tax—that most exacting and irritating of the many taxes of that time.</p> <p>Through a lordly arch in Rue Thorigny, we pass into -the grand court, and find facing us the dignified façade, +the grand court, and find facing us the dignified façade, its imposing pediment carved with figures and flowers. Within is a stately hall, made the more stately by the placing at one end of a noble chimney-piece, a copy of @@ -4849,7 +4809,7 @@ pattern; nothing in all Paris is nearer perfection than this staircase, its railing, and its balustrade. In the rooms above, kept with reverence by the bronze-maker who occupies them, admirable panelling and carvings -are found. The façade on the gardens—now shrunk +are found. The façade on the gardens—now shrunk from their former spaciousness to a small court—is <span class="pagenum"><a name="Page_146" id="Page_146">146</a></span> most impressive, with ancient wrought-iron balconies; @@ -4857,23 +4817,23 @@ in its pediment, two vigilant dogs watch the hands that move no more on the great clock-face between them.</p> -<p>The Théâtre du Marais had been established here by +<p>The Théâtre du Marais had been established here by the famous Turlupin, made immortal in Boileau's verse, -who, with his two comic <i>confrères</i>—baker's boys, like +who, with his two comic <i>confrères</i>—baker's boys, like the brothers Coquelin of our day—kept his audiences in a roar with his modern French farces <i>farcied</i> with old Gaulish grossness. It was he who invented the comic valet—badgered and beaten, always lying and always funny—who was subsequently elaborated into the immortal -Sganerelle by Molière. He, while a boy, had +Sganerelle by Molière. He, while a boy, had sat in this theatre, watching Turlupin; and when he had grown into a manager, he is said to have bought some of the stage copies of these farces, when Turlupin's death disbanded his troupe.</p> -<p>These "<i>Comédiens du Marais</i>" were regarded with +<p>These "<i>Comédiens du Marais</i>" were regarded with a certain condescension not unmingled with disdain by -their stately <i>confrères</i> left at the Hôtel de Bourgogne, +their stately <i>confrères</i> left at the Hôtel de Bourgogne, who were shocked when Richelieu, becoming bored by their dreary traditional proprieties, sent for Turlupin and his troupe to give a specimen of their acting in his @@ -4882,13 +4842,13 @@ rare indulgence he allowed himself, and told the King's Comedians that he wished they might play to as good effect!</p> -<p>Still, the Théâtre du Marais was not entirely given +<p>Still, the Théâtre du Marais was not entirely given over to farce, for it alternated with the tragedy of the then famous Hardy; and Mondory, the best tragedian <span class="pagenum"><a name="Page_147" id="Page_147">147</a></span> of the day, was at one time the head of the troupe. Mondory had brought back from a provincial tour, in -1629, the manuscript of "Mélite," by a young lawyer +1629, the manuscript of "Mélite," by a young lawyer of Rouen, named Corneille. This piece was weak, but it was not a failure. And so, when the author came to town, his tragedies were played at this theatre and @@ -4931,8 +4891,8 @@ his own defects:</p> <div class="poetry-container"> <div class="poem"> -<p class="o1">"<i>J'ai la plume féconde et la bouche stérile,</i></p> -<p><i>Et l'on peut rarement m'écouter sans ennui,</i></p> +<p class="o1">"<i>J'ai la plume féconde et la bouche stérile,</i></p> +<p><i>Et l'on peut rarement m'écouter sans ennui,</i></p> <p><i>Que quand je me produis par la bouche d'autrui.</i>"</p> </div></div> @@ -4941,7 +4901,7 @@ old Roman was irrevocably doomed to pass unnoticed in a crowd. And he was content that this should be. For he had his own pride, expressed in his words: "<i>Je sais ce que je vaux.</i>" He made no clamor when -Georges de Scudéry was proclaimed his superior by +Georges de Scudéry was proclaimed his superior by the popular voice, which is always the voice of the foolish. And when that shallow charlatan sneered at him in print, he left to Boileau the castigation that was so @@ -4969,7 +4929,7 @@ softened by any adroitness or tact; he was clumsy in his candor, and not at home in courtier-land; there was not one fibre of the flunky in his simple, sincere, self-respecting frame; and when forced to play that -unwonted rôle, he found his back not limber enough +unwonted rôle, he found his back not limber enough for bowing, his knees not sufficiently supple to cringe.</p> <div class="figcenter"><a name="im_179" id="im_179"></a> @@ -4982,24 +4942,24 @@ for bowing, his knees not sufficiently supple to cringe.</p> pensioned lackeys of the court, who hardly knew his face, and not at all his worth, is shown by this extract from one of their manuscript chronicles: "<i>Jeudi, le 15 -Octobre, 1684. On apprit à Chambord la mort du bonhomme +Octobre, 1684. On apprit à Chambord la mort du bonhomme Corneille.</i>"</p> <p class="p2"><span class="smcap">Jean Racine</span> came to Paris, from his native La -Ferté-Milon in the old duchy of Valois—by way of +Ferté-Milon in the old duchy of Valois—by way of a school at Beauvais, and another near Port-Royal—in -1658, a youth of nineteen, to study in the Collége +1658, a youth of nineteen, to study in the Collége d'Harcourt. That famous school was in the midst of <span class="pagenum"><a name="Page_150" id="Page_150">150</a></span> the Scholars' Quarter, in that part of narrow, winding Rue de la Harpe which is now widened into Boulevard Saint-Michel. On the site of the ancient college, direct heir of its functions and its fame, stands the -Lycée Saint-Louis. The buildings that give on the +Lycée Saint-Louis. The buildings that give on the playground behind, seem to belong to the original college, and to have been refaced.</p> -<p>Like Boileau-Despréaux, three years his senior here, +<p>Like Boileau-Despréaux, three years his senior here, the new student preferred poetry to the studies commonly styled serious, and his course in theology led neither to preaching nor to practising. He was a wide @@ -5010,7 +4970,7 @@ Latins.</p> <p>As early as 1660 he had made himself known by his ode in celebration of the marriage of Louis XIV.; while he remained unknown as the author of an unaccepted -and unplayed drama in verse, sent to the Théâtre +and unplayed drama in verse, sent to the Théâtre du Marais.</p> <p>Racine's Paris homes were all in or near the "<i>Pays @@ -5018,10 +4978,10 @@ Latin</i>," for he preserves its ancient appellation in his letters. On leaving college, in 1660-61, he took up quarters with his uncle Nicolas Vitart, steward and intendant of the Duchesse de Chevreuse, and secretary of -her son the Duc de Luynes. Vitart lived in the Hôtel +her son the Duc de Luynes. Vitart lived in the Hôtel de Luynes, a grand mansion that faced Quai des Grands-Augustins, and stretched far back along Rue -Gît-le-Cœur. It was torn down in 1671. La Fontaine +Gît-le-Cœur. It was torn down in 1671. La Fontaine had lodgings, during his frequent visits to Paris at this period, a little farther west on Quai des Grands-Augustins, <span class="pagenum"><a name="Page_151" id="Page_151">151</a></span> @@ -5029,11 +4989,11 @@ and he and Racine, despite the eighteen years' difference of age, became close companions. La Fontaine made his young friend acquainted with the <i>cabarets</i> of the quarter, and Racine studied them not unwillingly. -Just then, too, Racine doubtless met Molière, +Just then, too, Racine doubtless met Molière, recently come into the management of the theatre of the -Palais-Royal. An original edition of "Les Précieuses -Ridicules," played a while before this time at the Hôtel -du Petit-Bourbon, bears on its title-page "<i>Privilège au +Palais-Royal. An original edition of "Les Précieuses +Ridicules," played a while before this time at the Hôtel +du Petit-Bourbon, bears on its title-page "<i>Privilège au Sr. de Luyne</i>." This was Guillaume de Luyne, bookseller and publisher in the Salle des Merciers of the Palais de Justice; and at his place, a resort for book-loving @@ -5046,10 +5006,10 @@ sight across the narrow arm of the river.</p> as assistant to his uncle, and the probable successor of that uncle, who tried to train him to his future duties. Among these duties, just then, was the construction -of the new Hôtel de Luynes for the Duchesse de +of the new Hôtel de Luynes for the Duchesse de Chevreuse. This is the lady who plays so prominent -a rôle in Dumas's authentic history of "The Three -Musketeers." The <i>hôtel</i> that was then built for her +a rôle in Dumas's authentic history of "The Three +Musketeers." The <i>hôtel</i> that was then built for her stands, somewhat shorn of its original grandeur, at No. 201 Boulevard Saint-Germain, and you may look to-day on the walls constructed under the eye of Jean @@ -5060,8 +5020,8 @@ the duchess down, unduly ascetic of habit; and young Racine, "nothing loath," spent his days and eke his nights in somewhat festive fashion. His anxious country relatives at length induced him to leave the wicked -town, and in November, 1661, he went to live at Uzés, -near Nîmes, in Languedoc. Here he was housed with +town, and in November, 1661, he went to live at Uzés, +near Nîmes, in Languedoc. Here he was housed with another uncle, of another kidney; a canon of the local cathedral, able to offer church work and to promise church preferment to the coy young cleric.</p> @@ -5071,9 +5031,9 @@ during the two years he remained, only by flirting and by stringing rhymes. The ladies were left behind, and the verses were carried to the capital, on his return in November, 1663. He showed some of them, -first to Colbert and then to Molière, who received the +first to Colbert and then to Molière, who received the verse with scant praise, but accepted, paid for, and -played "La Thébaïde"—a work of promise, but of no +played "La Thébaïde"—a work of promise, but of no more than promise, of the future master hand. It was at this period, about 1664, that Racine, of his own wish, first met Boileau, who had criticised in a kindly @@ -5094,7 +5054,7 @@ man's triumphs. Racine believed then and always, that Corneille was easily his master as a tragic dramatist; a belief shared with him by us of to-day, who find Corneille's tragedies as impressive, his comedies as spirited, -as ever, on the boards of the Comédie Française; while +as ever, on the boards of the Comédie Française; while Racine's tragic Muse seems to have outlived her day on those boards, and to have grown aged and out of date, along with the social surroundings amid which @@ -5111,16 +5071,16 @@ and no nobler eulogy of a corrival has been spoken by any man.</p> <p>On his return to town, in 1663, Racine had found his -uncle-crony Vitart living in the new Hôtel de Luynes, +uncle-crony Vitart living in the new Hôtel de Luynes, and in order to be near him he took lodging in Rue de Grenelle. It was doubtless at the eastern end of that street, not far from the Croix-Rouge—a step from Boileau in Rue du Vieux-Colombier, and not far from La Fontaine on Quai Malaquais. Here he stayed for four -years, and in 1667 he removed to the Hôtel des Ursins. +years, and in 1667 he removed to the Hôtel des Ursins. This name had belonged to a grand old mansion on the -north bank of Île de la Cité, presented by the City of -Paris to Jean Juvénal des Ursins, <i>Prévôt des Marchands</i> +north bank of ÃŽle de la Cité, presented by the City of +Paris to Jean Juvénal des Ursins, <i>Prévôt des Marchands</i> under Charles VI. In the old prints, we see its two <span class="pagenum"><a name="Page_154" id="Page_154">154</a></span> towers rising sheer from the river, and behind them its @@ -5153,10 +5113,10 @@ to the floor above. No. 13 was undoubtedly once a portion of the same fabric. All these street windows are heavily barred and sightless. These three houses evidently formed one entire structure at first, and this -was either an outlying portion of the Hôtel des Ursins, +was either an outlying portion of the Hôtel des Ursins, <span class="pagenum"><a name="Page_155" id="Page_155">155</a></span> or a separate building, erected after the demolition of -that <i>hôtel</i>, and taking the old name. In either case, +that <i>hôtel</i>, and taking the old name. In either case, there can be no doubt that these are the walls that harbored Racine. The tenants of his day were mostly men of the law who had their offices and residential @@ -5169,14 +5129,14 @@ Versailles, "by royal command," before King and court in 1668. This was not its original production, however; it had had its first night for the Paris public a month earlier, and had failed; possibly because it had not yet -received royal approval. Molière, one of the audience +received royal approval. Molière, one of the audience on that first night, was a more competent critic of its quality, and his finding was that "those who mocked merited to be mocked in turn, for they did not know good comedy when they saw it." This verdict gives striking proof of his innate loyalty to a comrade in trade, for he and the author were estranged just then, -not by any fault of Molière, and he had the right to feel +not by any fault of Molière, and he had the right to feel wronged, and by this unasked praise he proved himself to be the more manly of the two.</p> @@ -5195,9 +5155,9 @@ all joined in the jubilation.</p> years were years of unceasing output and of unbroken success. Beginning with his production of "Andromaque" in the first-named year, he went, through -successive stage triumphs, to "Phèdre," his greatest +successive stage triumphs, to "Phèdre," his greatest and his last play for the public stage, produced on -New Year's Day of 1677, at the Hôtel de Bourgogne. +New Year's Day of 1677, at the Hôtel de Bourgogne. It was on these boards that almost all his plays were first given.</p> @@ -5210,7 +5170,7 @@ by his weariness of the assaults of his enemies, by his somewhat sudden and showy submission to the Church—that sleepless assailant of player and playwright. He hints at the attitude of the godly in his preface to -"Phèdre," assuring them that they will have to own—however, +"Phèdre," assuring them that they will have to own—however, in other respects, they may or may not esteem this tragedy—that it castigates Vice and punishes Badness as had no previous play of his. Doubtless he @@ -5221,13 +5181,13 @@ title was stolen, which was produced within three nights of his piece, and was acclaimed by the cabal that <span class="pagenum"><a name="Page_157" id="Page_157">157</a></span> damned the original. Nor was it only his rivals and -enemies who decried him. "<i>Racine et le café passeront</i>," +enemies who decried him. "<i>Racine et le café passeront</i>," was La Harpe's contemptuous coupling of the playwright with the new and dubious drink, just then on its trial in Paris. His <i>mot</i> has been mothered on -Madame de Sévigné, for she, too, took neither to +Madame de Sévigné, for she, too, took neither to Racine nor to coffee. And a century later it pleased -Madame de Staël to prove, to her own gratification, +Madame de Staël to prove, to her own gratification, that his tragedies had already gone into the limbo of out-worn things.</p> @@ -5235,7 +5195,7 @@ out-worn things.</p> with its frequent escapades and its one grand passion—was turned into a new current by his love match with Catherine de Romenet. On his marriage in June, 1677—among -the <i>témoins</i> present were Boileau-Despréaux +the <i>témoins</i> present were Boileau-Despréaux and Uncle Vitart, this latter then living in the same house with his nephew—Racine ranged himself on the side of order and of domestic days and nights. He gave @@ -5246,7 +5206,7 @@ of her, that she never saw one of his pieces played, nor heard one read; and Louis, their youngest son, says that his mother did not know what a verse was.</p> -<p>The earliest home of the new couple was on Île +<p>The earliest home of the new couple was on ÃŽle Saint-Louis. Neither the house nor its street is to be identified to-day, but both may surely be seen, so slight are the changes even now since that provincial village, @@ -5254,44 +5214,44 @@ in the heart of Paris, was built up from an island wash-house and wood-yard under the impulse of the plans <span class="pagenum"><a name="Page_158" id="Page_158">158</a></span> prepared for Henri IV., by his right hand, Sully. And -in this parish church, Saint-Louis-en-l'Île—a provincial +in this parish church, Saint-Louis-en-l'ÃŽle—a provincial church quite at home here—we find Racine holding at the font his first child, Jean-Baptiste, in 1678.</p> <p>Two years later he moved again, and from early in 1680 to the end of 1684 we find him at No. 2 Rue de -l'Eperon, on the corner of Rue Saint-André-des-Arts. +l'Eperon, on the corner of Rue Saint-André-des-Arts. Here his family grew in number, and the names of three -of his daughters, Marie-Catherine, Anne, and Élisabeth—all +of his daughters, Marie-Catherine, Anne, and Élisabeth—all born in this house—appeared on the baptismal -register of his parish church, Saint-André-des-Arts. +register of his parish church, Saint-André-des-Arts. This was the church of the christening of -François-Marie Arouet, a few years later. The Place -Saint-André-des-Arts, laid out in 1809, now covers the +François-Marie Arouet, a few years later. The Place +Saint-André-des-Arts, laid out in 1809, now covers the site of that very ancient church, sold as National Domain in 1797, and demolished soon after.</p> <p>This residence of Racine was left intact until within -a few years, when it was replaced by the Lycée Fénelon, +a few years, when it was replaced by the Lycée Fénelon, a government school for girls. There they read their "Racine," or such portions as are permitted to the Young Person, not knowing nor caring that on that spot the author once lived.</p> <p>From here he removed, at the beginning of the year -1685, to No. 16 Rue des Maçons. That street is now +1685, to No. 16 Rue des Maçons. That street is now named Champollion, and the present number of his house cannot be fixed. It still stands on the western side of the street, about half way up between Rue des -Écoles and Place de la Sorbonne; for none of these +Écoles and Place de la Sorbonne; for none of these houses have been rebuilt, and the street itself is as secluded and as quiet as when Racine walked through it. <span class="pagenum"><a name="Page_159" id="Page_159">159</a></span> Here were born his daughters Jeanne and Madeleine, -both baptized in the parish church of Saint-Séverin—a +both baptized in the parish church of Saint-Séverin—a venerable sanctuary, still in use and quite unaltered, except that it has lost its cloisters. And in this home -in Rue des Maçons he brought to life two plays finer +in Rue des Maçons he brought to life two plays finer than any of their forerunners, yet, unlike them, not intended for public performance. "Esther" was written in 1689 to please Madame de Maintenon, and was @@ -5316,13 +5276,13 @@ that diction, so rich, so daring, so pliable, so passionate, yet restrained, refined, judicious.</p> <p>In May, 1692, we learn by a letter to Boileau, Racine -was still in Rue des Maçons, but he must have left it +was still in Rue des Maçons, but he must have left it shortly after, for in November of this year he brought <span class="pagenum"><a name="Page_160" id="Page_160">160</a></span> to be christened, in Saint-Sulpice, his youngest child, Louis. This is the son who has left us an admirable biography of his father, and some mediocre poems—"La -Religion" and "La Grâce" being those by which +Religion" and "La Grâce" being those by which he is best known. So that Saint-Sulpice was, already in November, 1692, the church of his new parish; and the house to which he had removed in that parish, @@ -5339,7 +5299,7 @@ in apartments. It is asserted that it is the house of whose second floor Racine became a tenant. Within the great concave archway that frames the wide entrance door is set a tablet, containing the names -of Racine, of La Champmeslé, of Lecouvreur, and +of Racine, of La Champmeslé, of Lecouvreur, and of Clairon, all of whom are claimed to have been inhabitants of this house. That tablet has carried conviction during the half-century since it was cut and set, @@ -5359,7 +5319,7 @@ time to secure an apartment in the house honored by memories of the great dramatist and the great actress; for whose sake she was willing to pay the then enormous rental of 200 francs. But the tablet's claim to -La Champmeslé as a tenant is an undue and unpardonable +La Champmeslé as a tenant is an undue and unpardonable excess of zeal. Whatever Racine may have done years before in his infatuation for that bewitching woman, he did not bring her into his own dwelling!</p> @@ -5367,40 +5327,40 @@ woman, he did not bring her into his own dwelling!</p> <div class="figcenter"><a name="im_193" id="im_193"></a> <img src="images/im_193.jpg" width="386" height="550" alt="" /> <p class="caption">Rue Visconti.<br /> -On the right is the Hôtel de Ranes, and in the distance is No. 13.</p> +On the right is the Hôtel de Ranes, and in the distance is No. 13.</p> </div> <p>She had come from Rouen, a young actress looking for work, along with her husband, a petty actor and patcher-up of plays; for whose sake she was admitted -to the Théâtre du Marais. How she made use of this -chance is told by a line in a letter of Madame de Sévigné, +to the Théâtre du Marais. How she made use of this +chance is told by a line in a letter of Madame de Sévigné, who had seen her play Atalide in "Bajazet," and pronounced "<i>ma belle fille</i>"—so she brevets her -son's lady-love—as "the most miraculously good <i>comédienne</i> +son's lady-love—as "the most miraculously good <i>comédienne</i> that I have ever seen." It was on the boards -of the Hôtel de Bourgogne that she showed herself to -be also the finest <i>tragédienne</i> of her time. She shone +of the Hôtel de Bourgogne that she showed herself to +be also the finest <i>tragédienne</i> of her time. She shone most in "Bajazet," and in others of Racine's plays, -creating her rôles under his admiring eye and under his +creating her rôles under his admiring eye and under his devoted training. He himself declaimed verse marvellously well, and had in him the making of a consummate -comedian, or a preacher, as you please. La Champmeslé +comedian, or a preacher, as you please. La Champmeslé was not beautiful or clever, but her stature was <span class="pagenum"><a name="Page_162" id="Page_162">162</a></span> noble, her carriage glorious, her voice bewitching, her charm irresistible. And La Fontaine sang praises of her <i>esprit</i>, and this was indeed fitting at his age then. She lived somewhere in this quarter, when playing in -the troupe of the widow Molière at the Théâtre Guénégaud. +the troupe of the widow Molière at the Théâtre Guénégaud. When she retired from those boards, she found a home with her self-effacing husband in Auteuil, and there died in 1698.</p> <p>The first floor in the right wing of the court of both 13 and 21 is said to be the residence of Adrienne Lecouvreur. -She had appeared in 1717 at the Comédie -Française, in Rue de l'Ancienne-Comédie, and had won +She had appeared in 1717 at the Comédie +Française, in Rue de l'Ancienne-Comédie, and had won her place at once. The choice spirits of the court, of the great world, of the greater world of literature, were glad to meet in fellowship around her generous and @@ -5438,7 +5398,7 @@ ill, where she read to him the last book out, the translation of the "Arabian Nights." He was stirred to stinging invective of the churlish priest of Saint-Sulpice, who denied her church-burial. In the same verse -he commends that good man, Monsieur de Laubinière, +he commends that good man, Monsieur de Laubinière, who gave her body hasty and unhallowed interment. He came, by night, with two coaches and three men, and drove with the poor body along the river-bank, turning @@ -5461,8 +5421,8 @@ court of this dingy old house sparkled with the splendid personality of Hippolyte Clairon, who outshines all other stars of the French stage, unless it be Rachel. Here she lived the life of one of those prodigal princesses, -in whose rôles she loved to dazzle on the boards -of the Comédie Française, where she first appeared in +in whose rôles she loved to dazzle on the boards +of the Comédie Française, where she first appeared in 1743. It was her public and not her private performances that shocked the sensitive Church into a threat of future terrors for her. When, in the course of a theatrical @@ -5514,7 +5474,7 @@ go—or at Namur in 1692, or with the King and court at Fontainebleau, Marly, Versailles, in these royal residences where he had his own rooms, wherever he was, Racine never seemed to cease thinking of his -home, that home in Rue des Maçons when he first +home, that home in Rue des Maçons when he first went away, and for the last seven years of his life in Rue Visconti. When absent from home he wrote to <span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> @@ -5540,10 +5500,10 @@ when the <i>Roi Soleil</i> cooled and no longer smiled on him; he was killed when Madame de Maintenon—"Goody Scarron," "Old Piety," "the hag," "the hussy," "that old woman," are the usual pet epithets -for her of delicious Duchesse d'Orléans—who had +for her of delicious Duchesse d'Orléans—who had liked and had befriended him, saw the policy of showing him her cold shoulder, as she had shown it to -Fénelon. From this shock, Racine, being already +Fénelon. From this shock, Racine, being already broken physically by age and illness, seemed unable to rally. As he sank gradually to the grave he made sedulous provision for his family, dictating, toward @@ -5561,14 +5521,14 @@ church, and then it was carried for burial to the Abbey of Port-Royal. On the destruction of that institution, his remains were brought back to Paris, in 1711, and placed near those of Pascal, at the entrance of the lady-chapel -of Saint-Étienne-du-Mont. Racine's epitaph, +of Saint-Étienne-du-Mont. Racine's epitaph, in Latin, by Boileau, the friend of so many men who were not always friendly with one another, is cut in a stone set in the first pillar of the southern aisle of the choir.</p> <p class="p2"><span class="smcap">Jean de la Fontaine</span> began to come to Paris, making -occasional excursions from his native Château-Thierry, +occasional excursions from his native Château-Thierry, in Champagne, toward 1654, he being then over thirty years of age. A little later, when under the protection and in the pay of the great Fouquet, @@ -5583,8 +5543,8 @@ born Anne Mancini, youngest and liveliest of Mazarin's many dashing nieces. Her marriage with <span class="pagenum"><a name="Page_168" id="Page_168">168</a></span> the Duc de Bouillon had made her the feudal lady of -Château-Thierry, and if she were not compelled to -claim, in this case, her privilege as <i>châtelaine</i> over her +Château-Thierry, and if she were not compelled to +claim, in this case, her privilege as <i>châtelaine</i> over her appanage, it was because there was ampler mandate for the impressionable poet in the caprice of a wilful woman. Incidentally, in this flitting, he left behind @@ -5603,7 +5563,7 @@ welfare.</p> <p>He did not entirely desert his country home, for the duchess carried him along on her autumnal visits -to Château-Thierry. He took advantage of each +to Château-Thierry. He took advantage of each chance thus given him to realize something upon his patrimony, that he might meet the always pressing claims on his always overspent income.</p> @@ -5621,7 +5581,7 @@ his duties all through life, but, more than all else, did he neglect the care of his dress. A portion of the income he was always anticipating came from his salary at one time, as gentleman in the <i>suite</i> of the dowager -Duchesse d'Orléans, that post giving him quarters in +Duchesse d'Orléans, that post giving him quarters in the Luxembourg. These quarters and his salary went from him with her death. For several years after coming to town with the Duchesse de Bouillon he had @@ -5654,27 +5614,27 @@ Humboldt lived from 1815 to 1818. The associations of No. 5 have already been suggested. The largest builder on the quay was Cardinal Mazarin, whose college, to which he gave his own name, and to which -the public gave the name Collége des Quatre-Nations, +the public gave the name Collége des Quatre-Nations, is now the Palais de l'Institut. He paid for it with money wrung from wretched France, as he so paid -for the grand <i>hôtel</i> he erected for another niece, Anne +for the grand <i>hôtel</i> he erected for another niece, Anne Marie Martinozzi, widow of that Prince de Conti who -was Molière's school friend. On the ground that it +was Molière's school friend. On the ground that it covered was built, in 1860-62, the wing of the Beaux-Arts at Nos. 11 and 13 Quai Malaquais. That school -has also taken possession of the Hôtel de Bouillon of +has also taken possession of the Hôtel de Bouillon of the cardinal's other niece, almost alongside. It had been the property of the rich and vulgar money-king -Bazinière, whom we shall meet again, and he had sold +Bazinière, whom we shall meet again, and he had sold it to the Duc de Bouillon. The pretty wife of this very near-sighted husband had the house re-decorated, and filled it with a marvellous collection of furniture, -paintings, <i>bric-à-brac</i>. She filled it, also, by her open +paintings, <i>bric-à -brac</i>. She filled it, also, by her open table twice a day, with thick-coming guests, some of -whom were worth knowing. The <i>hôtel</i> came by inheritance +whom were worth knowing. The <i>hôtel</i> came by inheritance in 1823 to M. de Chimay, who stipulated, in making it over to the Beaux-Arts, in 1885, that its -seventeenth-century façade should be preserved, and +seventeenth-century façade should be preserved, and by this agreement we have here, at No. 17 Quai Malaquais, an admirable specimen of the competence of the <span class="pagenum"><a name="Page_171" id="Page_171">171</a></span> @@ -5686,13 +5646,13 @@ unchanged, and between them the court, where La Fontaine was wont to sit or stroll, has been laid out as a garden. While living here he brought out the first collection of his "Contes" in 1665, and of his -"Fables" in 1668. His "Les Amours de Psyché," +"Fables" in 1668. His "Les Amours de Psyché," written in 1669, begins with a charming description of the meetings in Boileau's rooms of the famous group of comrades.</p> <p>From this home he went to the home of Madame de -la Sablière, with whom, about 1672, he had formed +la Sablière, with whom, about 1672, he had formed a friendship which lasted unbroken until her death. This tender and steadfast companionship made the truest happiness of La Fontaine's life. For twenty @@ -5700,27 +5660,27 @@ years an inmate of her household, a member of her family, he was petted and cared for as he craved. In her declining years she had to be away from home attending to her charitable work—for she followed the -fashion of turning <i>dévote</i> as age advanced—and then +fashion of turning <i>dévote</i> as age advanced—and then he suffered in unaccustomed loneliness. His tongue spoke of her with the same constant admiration and gratitude that is left on record by his pen, and at her death he was completely crushed.</p> -<p>When he was invited by Madame de la Sablière and +<p>When he was invited by Madame de la Sablière and her poet-husband to share their home, they were living at their country-place, "<i>La Folie Rambouillet</i>," -not to be mistaken for the Hôtel de Rambouillet. Sablière's +not to be mistaken for the Hôtel de Rambouillet. Sablière's <span class="pagenum"><a name="Page_172" id="Page_172">172</a></span> -<i>hôtel</i>, built by his father, a wealthy banker, +<i>hôtel</i>, built by his father, a wealthy banker, was in the suburb of Reuilly, on the Bercy road, north of the Seine, not far from Picpus. The Reuilly station and the freight-houses of the Vincennes railway now cover the site of this splendid mansion and its extensive -grounds. Here Monsieur de la Sablière died in +grounds. Here Monsieur de la Sablière died in 1680, and his widow, taking La Fontaine along, removed to her town-house. This stood on the ground -now occupied by the buildings in Rue Saint-Honoré, -nearly opposite Rue de la Sourdière. In the court of +now occupied by the buildings in Rue Saint-Honoré, +nearly opposite Rue de la Sourdière. In the court of No. 203 are bits of carving that may have come down from the original mansion. Here they dwelt untroubled until death took her away in 1693. It is related @@ -5731,14 +5691,14 @@ Monsieur d'Hervart. "I was going," said that gentleman, to ask it," was the reply. And in this new abode he dwelt until his death, two years later.</p> -<p>Berthélemy d'Hervart, a man of great wealth, had -purchased, in 1657, the Hôtel de l'Éperon, a mansion -erected on the site of Burgundy's Hôtel de Flandre. +<p>Berthélemy d'Hervart, a man of great wealth, had +purchased, in 1657, the Hôtel de l'Éperon, a mansion +erected on the site of Burgundy's Hôtel de Flandre. M. d'Hervart had enlarged and decorated his new abode, employing for the interior frescoes the painter -Mignard, Molière's friend. The actor and his troupe +Mignard, Molière's friend. The actor and his troupe had played here, by invitation, nearly fifty years before -La Fontaine's coming. It stood in old Rue Plâtrière, +La Fontaine's coming. It stood in old Rue Plâtrière, now widened out, entirely rebuilt, and renamed Rue Jean-Jacques-Rousseau; and on the wall of the Central Post-office that faces that street, you will find @@ -5748,7 +5708,7 @@ on April 13, 1695.</p> <p>Madame d'Hervart was a young and lovely woman, and as devoted to the old poet as had been Madame -de la Sablière. She went so far as to try to regulate +de la Sablière. She went so far as to try to regulate his dress, his expenditure, and his morals. Congratulated one day on the splendor of his coat, La Fontaine found to his surprise and delight that his hostess had @@ -5768,12 +5728,12 @@ Misled by inaccurate rumor, they left La Fontaine's remains in their own burial-ground, and removed what they believed to be his bones from the graveyard of Saint-Joseph, where he had not been buried, along -with the bones they believed to be those of Molière, +with the bones they believed to be those of Molière, who <i>had</i> been buried there. These casual and dubious remains were kept in safety in the convent of Petits-Augustins in present Rue Bonaparte, until, in the early years of the nineteenth century, they were removed -for final sepulture to Père-Lachaise.</p> +for final sepulture to Père-Lachaise.</p> <p>No literary man of his time—perhaps of any time—was <span class="pagenum"><a name="Page_174" id="Page_174">174</a></span> @@ -5781,15 +5741,15 @@ so widely known and so well beloved as La Fontaine. He attracted men, not only the best in his own guild, but the highest in the State and in affairs. Men various in character, pursuits, station, were equally -attached to him; the great Condé was glad to receive +attached to him; the great Condé was glad to receive him as a frequent guest at Chantilly; the superfine -sensualist, Saint-Évremond, in exile in England, urged +sensualist, Saint-Évremond, in exile in England, urged him to come to visit him and to meet Waller. He -nearly undertook the journey, less to see Saint-Évremond +nearly undertook the journey, less to see Saint-Évremond and to know Waller, than to follow his Duchesse de Bouillon, visiting her sister, the Duchess of Mazarin, in her Chelsea home. It was at this time that Ninon -de Lenclos wrote to Saint-Évremond: "You wish La +de Lenclos wrote to Saint-Évremond: "You wish La Fontaine in England. We have little of his company in Paris. His understanding is much impaired."</p> @@ -5800,10 +5760,10 @@ of intimacy, until he stood beside La Fontaine's bed in his last illness. He even took an odd pleasure in finding that he and La Fontaine's deserted country wife had sprung from the same provincial stock. -Molière first met La Fontaine at Vaux, the more than +Molière first met La Fontaine at Vaux, the more than royal residence of Fouquet, at the time of the royal visit in 1661. La Fontaine wrote a graceful bit of -verse in praise of the author of "Les Fâcheux," played +verse in praise of the author of "Les Fâcheux," played for the first time before King and court during these festivities, and the two men, absolutely opposed in essential qualities, were fast friends from that time on. @@ -5850,14 +5810,14 @@ and servile as any specimen of sycophancy of that toad-eating age.</p> <p>Yet, able to make trees and stones talk, he himself -could not talk, La Bruyère tells us; coloring his portraiture +could not talk, La Bruyère tells us; coloring his portraiture strongly, as was his way, and rendering La Fontaine much too heavy and dull, with none of the skill in description with his tongue that he had with his pen. He may be likened to Goldsmith, who "wrote like an angel and talked like poor Poll." Madame de -Sablière said to him: "<i>Mon bon ami, que vous seriez -bête, si vous n'aviez pas tant d'esprit!</i>" Louis Racine, +Sablière said to him: "<i>Mon bon ami, que vous seriez +bête, si vous n'aviez pas tant d'esprit!</i>" Louis Racine, owning to the lovable nature of the man, has to own, too, that he gave poor account of himself in society, and adds that his sisters, who in their youth had seen @@ -5923,7 +5883,7 @@ there, not knowing or not caring that he was wet. He explained, once when he came late—inexcusably late—to a dinner, that he had been watching a procession of ants in a field, and had found that it was a funeral; -he had accompanied the <i>cortége</i> to the grave in the +he had accompanied the <i>cortége</i> to the grave in the garden, and had then escorted the bereaved family back to its home, as bound by courtesy.</p> @@ -5938,12 +5898,12 @@ man, he is a <i>fablier</i>"—a natural product of her own sudden inspiration—"who blossoms out into fables as a tree blossoms out with leaves."</p> -<p class="p2"><span class="smcap">Nicolas Boileau</span> began his acquaintance with Molière +<p class="p2"><span class="smcap">Nicolas Boileau</span> began his acquaintance with Molière by his tribute of four dainty verses to the author -of "L'École des Femmes," and the friendship thus -formed was broken only by the death of Molière, to +of "L'École des Femmes," and the friendship thus +formed was broken only by the death of Molière, to whose memory Boileau inserted his magnificent lines -in the "Epître à Monsieur Racine." It was Boileau +in the "Epître à Monsieur Racine." It was Boileau who criticised the early verse of young Racine, so <span class="pagenum"><a name="Page_179" id="Page_179">179</a></span> justly and so gently, that the two men were drawn together @@ -5953,7 +5913,7 @@ out by the distrustful Racine, was acknowledged to be "noble and full of friendship." It was Boileau who sang without cessation praises of Racine to Louis XIV., and who startled the nimble mediocrity of his -majesty's mind by the assertion that Molière was the +majesty's mind by the assertion that Molière was the rarest genius of the Grand Monarch's reign and realm. It was Boileau who made, in his fondness for La Fontaine, the unhappy and hopeless attempt to reform @@ -5993,9 +5953,9 @@ had an enthusiasm for good work in others equal to his intolerance of bad. He loathed the powdered and perfumed <i>minauderies</i> of the drawing-room poetasters, and he loved the swift and sure stroke of -Molière's "<i>rare et fameux esprit</i>." It was in frank +Molière's "<i>rare et fameux esprit</i>." It was in frank admiration that he demanded of his friend: "<i>Enseigne-moi -où tu trouves la rime!</i>" For this impeccable artist +où tu trouves la rime!</i>" For this impeccable artist in words, who has left his profession of faith in the power of a word in its right place, had to reset and recast, file and polish, to get the perfection he @@ -6022,7 +5982,7 @@ Arnauld," said Louis, when eager in his pursuit of the Jansenists. "Your Majesty is always fortunate; you will not find him," was Boileau's quick retort, received with a smile by the King. When money -was needed for Dr. Perrault's new eastern façade of +was needed for Dr. Perrault's new eastern façade of the Louvre and for its other alterations, the King naturally economized in the incomes of other men. The pensions of literary men—in many instances the @@ -6035,20 +5995,20 @@ His masonry in the stately fabric of French literature stands unmarred to-day; coldly correct, it may be, yet elegant, faultless, consummate.</p> -<p>Nicolas Boileau-Despréaux was long believed to +<p>Nicolas Boileau-Despréaux was long believed to have been born in the country and to have played in the fields as a child, and so to have got his added name -<i>des préaux</i>; but it is now made certain that the house -of his birth, in 1636, was in Rue de Jérusalem, a street +<i>des préaux</i>; but it is now made certain that the house +of his birth, in 1636, was in Rue de Jérusalem, a street that led to the Sainte-Chapelle, from about the middle <span class="pagenum"><a name="Page_182" id="Page_182">182</a></span> -of the present Quai des Orfèvres. The only field he +of the present Quai des Orfèvres. The only field he knew lay at the foot of his father's garden at Crosne, where the lad was sometimes taken. Fields and gardens had never anything to say to this born cockney, and there is not a sniff of real country air in all his verse. The street of his birth was one of the narrow, -dark streets of oldest Paris, on Île de la Cité; and +dark streets of oldest Paris, on ÃŽle de la Cité; and the house, tall and thin, had its gable end on the court of the old Palais de Justice. The earliest air breathed by this baby was charged with satire, it would seem. @@ -6056,24 +6016,24 @@ For the room of his birth had been occupied, nearly half a century earlier, by Jacques Gillot, the brilliant canon of Sainte-Chapelle. In this room assembled in secret that clever band of talkers and writers, who -planned and wrote "La Ménippée"; the first really +planned and wrote "La Ménippée"; the first really telling piece of French political satire, so telling, in its unbridled buffoonery, that it gave spirit to the arms that shattered the League, and helped to put Henry of Navarre on the throne of France.</p> <p>After his father's death, young Nicolas kept his -home with his elder brother Jérôme, who had succeeded +home with his elder brother Jérôme, who had succeeded to the paternal mansion, and who gave the boy a sort of watch-tower, built above the garrets, in which he could hardly stand upright. The house, the court, the old palace, were long since swept away, and with them went all the melodramatic stage-setting of Hugo's -"Notre-Dame de Paris" and Sue's "Mystères de +"Notre-Dame de Paris" and Sue's "Mystères de Paris." Only the Sainte-Chapelle is left of the scenes of Boileau's early years.</p> -<p>He was sent for a while to Collége d'Harcourt, +<p>He was sent for a while to Collége d'Harcourt, <span class="pagenum"><a name="Page_183" id="Page_183">183</a></span> where young Racine came a little later, and was then put to the study of law, the family trade; passing @@ -6090,7 +6050,7 @@ sought bachelor quarters, driven by the children's racket from his nephew's house—also in the Cour du Palais—where he had found a home. This nephew and this house were well known to Voltaire when a -boy, as he tells us in his "Épître à Boileau":</p> +boy, as he tells us in his "Épître à Boileau":</p> <div class="poetry-container"> <div class="poem"> @@ -6111,15 +6071,15 @@ of that illustrious quartette—</p> <p>Whereof this world holds record."</p> </div></div> -<p>Molière comes from his rooms in Rue Saint-Honoré, +<p>Molière comes from his rooms in Rue Saint-Honoré, or from his theatre; crossing the Seine by the Pont-Neuf, <span class="pagenum"><a name="Page_184" id="Page_184">184</a></span> and passing along Rues Dauphine and de Bucy, -and through the Marché Saint-Germain; moody from +and through the Marché Saint-Germain; moody from domestic dissensions, heavy-hearted with the recent loss of his first-born. Once among his friends, he listens, as he always listened, talking but little. La Fontaine -saunters from the Hôtel de Bouillon, by way of +saunters from the Hôtel de Bouillon, by way of Rue des Petits-Augustins—now Rue Bonaparte—and of tortuous courts now straightened into streets. Sitting at table, he is yet in his own land of dreams, until, @@ -6141,7 +6101,7 @@ honest criticism from the rest, and with no other thought. For never were four men so absolutely without pose, without any pretence of earnestness, while immensely in earnest all the time. In "Les Amours -de Psyché," La Fontaine assures us that they did not +de Psyché," La Fontaine assures us that they did not absolutely banish all serious discourse, but that they took care not to have too much of it, and preferred the <span class="pagenum"><a name="Page_185" id="Page_185">185</a></span> @@ -6152,8 +6112,8 @@ malice, among the men that made this worshipful band.</p> <div class="figcenter"><a name="im_221" id="im_221"></a> <img src="images/im_221.jpg" width="419" height="529" alt="" /> -<p class="caption">Boileau-Despréaux.<br /> -(From the portrait by Largillière.)</p> +<p class="caption">Boileau-Despréaux.<br /> +(From the portrait by Largillière.)</p> </div> <p>Their table served rather to sit around than to eat @@ -6181,7 +6141,7 @@ of that crowded thoroughfare of to-day is deadened for us by the mute voices of these men.</p> <p>We have noted Boileau's camp-following with Racine, -in their rôles of royal historiographers—in 1678 +in their rôles of royal historiographers—in 1678 and later—but he was not strong enough for these excursions, even though they were made a picnic for <span class="pagenum"><a name="Page_186" id="Page_186">186</a></span> @@ -6189,9 +6149,9 @@ the court. He was never at home on a horse, and yet out of place in the mud, and he could not enjoy the laughter he caused in either attitude, before or after he was thrown; laughter that is recorded in the letters -of Madame de Sévigné.</p> +of Madame de Sévigné.</p> -<p>It was probably because of Molière's taking a country +<p>It was probably because of Molière's taking a country place at Auteuil that Boileau began to make frequent excursions to that quiet suburb about 1667, and went to live in his tiny cottage there in 1685. "He @@ -6238,24 +6198,24 @@ of Racine's family.</p> <p>In great mansions, too, he had long been cordially received. He was a visitor at that of Madame de -Guénégaud, which has given its site to the Hôtel de la +Guénégaud, which has given its site to the Hôtel de la Monnaie, and its name to the street alongside. He was fond of meeting kindred spirits and kindly hosts in the -<i>hôtel</i> of the great Condé and his younger brother Conti. +<i>hôtel</i> of the great Condé and his younger brother Conti. He was one of the select set that sat about the table of Lamoignon, every Monday, at his home in the Marais, to be visited by us later. And whenever old Cardinal Retz came to town, Boileau hastened to the -Hôtel de Lesdiguières, of which no stone stands in +Hôtel de Lesdiguières, of which no stone stands in the street of its name. Here the white-headed, worn-out old fighter, compelled to live in retirement, after the storms and scandals of his active life, was made -at home by his admirable niece, Madame de Lesdiguières, +at home by his admirable niece, Madame de Lesdiguières, and here he was encircled by admiring men -and women. Here, writes Madame de Sévigné, his +and women. Here, writes Madame de Sévigné, his other niece, who came often to sit with him, Boileau presented to Retz early copies of "Le Lutrin," and of -"L'Ars Poétique." +"L'Ars Poétique." <span class="pagenum"><a name="Page_188" id="Page_188">188</a></span></p> <p>Boileau could not live in the country in winter, and @@ -6278,7 +6238,7 @@ that quivers with his nervous irritability, caused by the noises of the noisiest of towns. He cries, "Does one go to bed to be kept awake?" Indeed, he had rooms in the cloisters as early as 1683, keeping them for town quarters, -in the official residence of l'Abbé de Dreux, his +in the official residence of l'Abbé de Dreux, his old friend, a canon of Notre-Dame. To this address Racine sent him a letter as late as 1687. The ecclesiastical settlement within the cathedral cloisters, and its @@ -6288,7 +6248,7 @@ in the name of the street that has been cut through their former site.</p> <p>In 1699 we find Boileau living with his confessor, the -Abbé Lenoir, also a canon of the cathedral, who had the +Abbé Lenoir, also a canon of the cathedral, who had the privilege of residing within the cloisters. This house <span class="pagenum"><a name="Page_189" id="Page_189">189</a></span> stood exactly where now is the southern edge of the @@ -6327,7 +6287,7 @@ them from fortuitous profanation by the "Patriots," to the Museum of French Monuments established in the convent of the Petits-Augustins, in the street of that name, now Rue Bonaparte. In 1819 his bones were -finally placed in Saint-Germain-des-Prés, where, in the +finally placed in Saint-Germain-des-Prés, where, in the chapel of Saint-Peter and Saint-Paul, they are at rest behind a black marble tablet carved with a ponderous Latin inscription. @@ -6340,7 +6300,7 @@ Latin inscription. <div class="figcenter"><a name="im_231" id="im_231"></a> <img src="images/im_231.jpg" width="352" height="550" alt="" /> <p class="caption">Voltaire.<br /> -(From the statue by Houdon in the foyer of the Comédie Française.)</p> +(From the statue by Houdon in the foyer of the Comédie Française.)</p> </div> <p class="center b12 p4">FROM VOLTAIRE TO BEAUMARCHAIS</p> @@ -6354,14 +6314,14 @@ in the same Street of Jerusalem, at its corner with the Street of Nazareth, and it was only thus as a baby that he came ever in touch with the Holy Land. On November 22, 1694, the day after his birth, he was carried -across the river to Saint-André-des-Arts—no one +across the river to Saint-André-des-Arts—no one knows why his baptism was not in the island church -of the parish—and there christened François-Marie +of the parish—and there christened François-Marie Arouet. His earlier years were passed in the house of Boileau's nephew Dongois, whose airs of importance did not escape the keen infant eyes, as we have seen in the same letter in verse in our preceding chapter. -Then he was sent to Lycée Louis-le-Grand, whither +Then he was sent to Lycée Louis-le-Grand, whither we have gone with young Poquelin, seventy years earlier. The college stands in its new stone on its old site in widened Rue Saint-Jacques.</p> @@ -6375,15 +6335,15 @@ was in 1706, when she owned to ninety years of age at least, and she was flattered by the visit of the youth of twelve, and by the verse he wrote for her birthday. Dying in that year, she left a handsome sum to her -juvenile admirer, to be spent for books. So, "<i>secondé -de Ninon, dont je fus légataire</i>," the lad was strengthened +juvenile admirer, to be spent for books. So, "<i>secondé +de Ninon, dont je fus légataire</i>," the lad was strengthened in his inclination for the career of literature he had already planned for himself, and in his disinclination for the legal career planned for him by his father. The elder Arouet was a flourishing notary—among his clients was the Boileau family—who considered his own the only profession really respectable. He placed his -boy, the college days being done, with one Maître Alain, +boy, the college days being done, with one Maître Alain, whose office was near Place Maubert, between Rues de la Bucherie and Galande, a quarter crowded then with notaries and advocates, now all swept into limbo. But @@ -6419,7 +6379,7 @@ in 1718, with an immediate and resounding success, which was not won by his succeeding plays between 1720 and 1724. It was during this period that he spasmodically disappeared from Paris, reappearing at Brussels, -Utrecht, The Hague; "<i>jouant à l'envoyé secret</i>," +Utrecht, The Hague; "<i>jouant à l'envoyé secret</i>," as was his mania then and in later years. During one of these flittings as an ambassador's ghost, he met Rousseau, and they were close friends until the day when @@ -6454,8 +6414,8 @@ England in exile was gladly accorded by the government.</p> <p>We all know well the Voltaire of an older day, in his statues beside the Institute and within that building, -beside the Panthéon, in Square Monge, and in the -<i>foyer</i> of the Théâtre Français. To see him at this +beside the Panthéon, in Square Monge, and in the +<i>foyer</i> of the Théâtre Français. To see him at this younger day, we must turn into the court-yard of the Mairie of the Ninth Arrondissement at No. 6 Rue Drouot—an ancient and attractive family mansion. In @@ -6482,8 +6442,8 @@ living, and with William Shakespeare in his works. In them he tolerantly found much merit, but always styled their author a barbarian. Those barbarisms and savageries he civilized and smoothed to his pattern, for his -"Brutus" is an unconscious echo of "Julius Cæsar," -his "Zaïre" a shadow of "Othello." He refused to call +"Brutus" is an unconscious echo of "Julius Cæsar," +his "Zaïre" a shadow of "Othello." He refused to call on Wycherly "the gentleman," as Wycherly insisted, but was glad to meet Wycherly the playwright. Nor did Voltaire turn his back on men and women of fashion, @@ -6496,21 +6456,21 @@ in 1729, getting army contracts and making money in queer ways. Yet all through life his pen was always <span class="pagenum"><a name="Page_198" id="Page_198">198</a></span> busy, and in this same year it is at work in a grand -apartment of the Hôtel Lambert. This was the mansion -of M. du Châtelet, husband—officially only—of +apartment of the Hôtel Lambert. This was the mansion +of M. du Châtelet, husband—officially only—of <span class="pagenum"><a name="Page_199" id="Page_199">199</a></span> -"<i>la sublime Émilie</i>," with whom Voltaire had taken up -his abode. The Hôtel Lambert remains unchanged at -the eastern end of Île Saint-Louis, looking, from behind +"<i>la sublime Émilie</i>," with whom Voltaire had taken up +his abode. The Hôtel Lambert remains unchanged at +the eastern end of ÃŽle Saint-Louis, looking, from behind its high wall and its well-shaded garden, at its incomparable prospect. Its entrance at No. 2 Rue -Saint-Louis-en-l'Île opens on a grand court and an imposing -façade. "This is a house made for a king, +Saint-Louis-en-l'ÃŽle opens on a grand court and an imposing +façade. "This is a house made for a king, who would be a philosopher," wrote Voltaire to his august correspondent Frederick the Great. He himself was neither king of this realm nor proved himself a philosopher in its grotesque squabbles. Madame du -Châtelet was as frankly unfaithful to him as to her +Châtelet was as frankly unfaithful to him as to her husband, who was frequently called in to reconcile the infuriated lovers. She was a woman of unusual abilities as well as of unusual indelicacies, with an itch @@ -6519,7 +6479,7 @@ Newton and mathematics.</p> <div class="figcenter"><a name="im_238" id="im_238"></a> <img src="images/im_238.jpg" width="376" height="542" alt="" /> -<p class="caption">The Hôtel Lambert.</p> +<p class="caption">The Hôtel Lambert.</p> </div> <p>In 1733 this queer couple found it to their comfort @@ -6528,37 +6488,37 @@ the suspicions of the powers that regulated thought in France. They moved about much, to Voltaire's discomfort, living sometimes at Cirey, on the borders of Champagne and Lorraine, with or without the complaisant -du Châtelet; sometimes in a mansion taken by Voltaire +du Châtelet; sometimes in a mansion taken by Voltaire in Paris. This stood on the corner of two streets -no longer existing, Rues du Clos-Georgeau and Traversière-Saint-Honoré, +no longer existing, Rues du Clos-Georgeau and Traversière-Saint-Honoré, at No. 25 of the latter; and its site now lies under the roadway of new Avenue de -l'Opéra. The cutting of this avenue has left unchanged -only the northern end of Rue Traversière, and this has +l'Opéra. The cutting of this avenue has left unchanged +only the northern end of Rue Traversière, and this has <span class="pagenum"><a name="Page_200" id="Page_200">200</a></span> -been renamed in honor of Molière. To place Voltaire's +been renamed in honor of Molière. To place Voltaire's residence in the old mansion at the new number 25 in this street, as a recent topographer has done, is an ingenuous flight of fancy.</p> <p>Here Voltaire went back to live after death had taken -"<i>la sublime Émilie</i>" from him, from her other lover, +"<i>la sublime Émilie</i>" from him, from her other lover, and from her husband. This legal husband was less inconsolable than Voltaire, whose almost incredible reproach to the third man in the case makes Morality hold her hand before her face—peeping between the fingers, naturally—while Immorality shakes with frank laughter. On the second floor of this house, Voltaire -remained, "<i>de moitié avec le Marquis du Châtelet</i>;" +remained, "<i>de moitié avec le Marquis du Châtelet</i>;" the first floor, which had been her own, being thenceforward closed to them both. Here he tried to find companionship with his selfish and stolid niece, Madame -Denis, and with his <i>protégé</i> Lekain. He transformed +Denis, and with his <i>protégé</i> Lekain. He transformed the garret into a private theatre, for the production of his plays, free from the royal or the popular censor; and for the training of Lekain in the part of Titus, in "Brutus." That promising, and soon accepted, actor -made his <i>début</i> at the Théâtre Français in September, +made his <i>début</i> at the Théâtre Français in September, 1750, and his patron was not among the audience. From this house, Voltaire went frequently across the river to visit Mlle. Clairon in her apartment in Rue Visconti, @@ -6571,18 +6531,18 @@ home at Potsdam. With his queer life there, and his absurd quarrels with Frederick the Great, this chronicle cannot concern itself.</p> -<p>"<i>Café à la Voltaire</i>" is the legend you may read to-day -on a pillar of the Café Procope, in Rue de l'Ancienne-Comédie, -directly opposite the old Comédie -Française. We have seen the mixed delight and doubt +<p>"<i>Café à la Voltaire</i>" is the legend you may read to-day +on a pillar of the Café Procope, in Rue de l'Ancienne-Comédie, +directly opposite the old Comédie +Française. We have seen the mixed delight and doubt with which coffee was first sipped by the Parisians of the end of the seventeenth century, but it won its way, and in 1720 the Sicilian Procope opened this -second Paris <i>café</i>. It soon became the favorite resort +second Paris <i>café</i>. It soon became the favorite resort by night of the playwrights and play-actors, and the swells among the audience, of the playhouse across the street. Gradually the men of letters, living in and -visiting the capital, made this <i>café</i> their gathering-place +visiting the capital, made this <i>café</i> their gathering-place of an afternoon; so that, on any day in the middle years of the eighteenth century, all the men best worth knowing might be found here. Their names @@ -6600,13 +6560,13 @@ pet enemy, who wrote his own epitaph:</p> <div class="poetry-container"> <div class="poem"> -<p class="o1">"<i>Ci-gît Piron,</i></p> +<p class="o1">"<i>Ci-gît Piron,</i></p> <p><i>Que ne fut rien,</i></p> -<p><i>Pas même Académicien.</i>"</p> +<p><i>Pas même Académicien.</i>"</p> </div></div> <p><span class="pagenum"><a name="Page_202" id="Page_202">202</a></span></p> -<p>Here, on an evening in 1709, sat Alain-René Le Sage, +<p>Here, on an evening in 1709, sat Alain-René Le Sage, awaiting in suspense the verdict on his "Turcaret," brought out in the theatre opposite, after many heart-breaking delays; for the misguided author had convinced @@ -6614,9 +6574,9 @@ himself that his title to fame would be founded on this now-forgotten play, rather than on his never-to-be-neglected "Gil Blas"!</p> -<p>During the Revolution, while the Café de la Régence, -which faces the present Comédie Française, was -the pet resort of the royalist writers, this Café Procope +<p>During the Revolution, while the Café de la Régence, +which faces the present Comédie Française, was +the pet resort of the royalist writers, this Café Procope was the gathering-place of the Republican penmen; and they draped its walls in black, and wore mourning for three days, when word came across the @@ -6624,7 +6584,7 @@ water in 1790 of the death of Benjamin Franklin, the complete incarnation to them of true republicanism. Toward the unlamented end of the Second Empire, a small group of young American students was to be -found, of an evening, in the Café Procope, harmlessly +found, of an evening, in the Café Procope, harmlessly mirthful over their beer. After a while, they were content to sit night after night in silence, all ears for the monologue at a neighboring table; a copious and @@ -6632,7 +6592,7 @@ resistless outburst of argument and invective, sprinkled with Gallic anecdote and with <i>gros mots</i>, and broken by Rabelaisian laughter, from a magnificent voice and an ample virility. They were told that the -speaker was one Léon Gambetta, an obscure barrister, +speaker was one Léon Gambetta, an obscure barrister, already under the suspicion of the police of the "lurking jail-bird," whom he helped drive from France, within a few years.</p> @@ -6642,7 +6602,7 @@ within a few years.</p> aforetime red-blooded self, and is nourished by nothing more solid than these uncompact memories. Loving them and all his Paris, its kindly proprietor tries to -revitalize its inanimate atmosphere by his "<i>Soirées littéraires +revitalize its inanimate atmosphere by his "<i>Soirées littéraires et musicales</i>." In a room upstairs "ancient poems, ancient music, old-time song," are listened to by unprinted poets, unplayed dramatists, unhung painters. @@ -6657,22 +6617,22 @@ the full and impetuous outflow swept all before it, submerged and breathless. In his personality, as vivid as that of Mirabeau, we see a fiery soul, a stormy nature, a daring thinker, a prodigious worker. His head -seemed encyclopædic to Grimm, his life-long friend; +seemed encyclopædic to Grimm, his life-long friend; and Rousseau, first friend and later enemy, asserted that in centuries to come that head would be regarded with the reverence given to the heads of Plato and of Aristotle. Voltaire could imagine no one subject beyond -the reach of Diderot's activity. Arsène Houssaye +the reach of Diderot's activity. Arsène Houssaye names him "the last man of the day of dreaming in religion and royalty, the first man of the day of the Revolution." And John Morley, looking at him from a greater distance than any of these, and with keener eyes, ranks him higher as a thinker than either Rousseau -or Voltaire. As thinker, essayist, critic, cyclopædist, +or Voltaire. As thinker, essayist, critic, cyclopædist, Diderot is indeed the most striking figure of the <span class="pagenum"><a name="Page_204" id="Page_204">204</a></span> eighteenth century. Rugged, uncouth, headlong, we -see him, "<i>en redingote de peluche grise éreintée</i>," in the +see him, "<i>en redingote de peluche grise éreintée</i>," in the philosophers' alley of the Luxembourg garden, strolling with more energy than others give to striding. Striking and strong he is in the exquisite bust by Houdon in the @@ -6687,11 +6647,11 @@ student whom we see in bronze, leaning forward in his chair, a quill pen in hand, his worn face bent and intent. This spot was selected for the statue because just there Diderot resided for many years. His house was at No. -12 Rue Taranne, on the corner of Rue Saint-Benoît, +12 Rue Taranne, on the corner of Rue Saint-Benoît, and it was torn down when the former street was widened into the new boulevard. Here, young Diderot, refusing to return to the paternal home at Lancres, when -he left the Collége d'Harcourt—the school of Boileau +he left the Collége d'Harcourt—the school of Boileau and Racine—lived in a squalid room, during his early days of uncongenial toil in a lawyer's office and of all sorts of penwork that paid poorly—translations, sermons, @@ -6711,7 +6671,7 @@ thorough, discriminating and enthusiastic. Earlier notices of pictures had been as casual as the shows themselves; begun in 1673, under Colbert's protection and the younger Mansart's direction, in a small pavilion -on the site of the present Théâtre Français, having +on the site of the present Théâtre Français, having one entrance in Rue de Richelieu, another in the garden, into which the pictures often overflowed. When Diderot wrote his notices for Grimm, the exhibitions @@ -6729,7 +6689,7 @@ with unconscious topographic humor.</p> <p>To visit "great Diderot in durance," Grimm and Rousseau came by this road; stopping, before taking the Avenue de Vincennes, at a farm-house on the edge -of Place du Trône—now, Place de la Nation—where +of Place du Trône—now, Place de la Nation—where the sentimentalist quenched his thirst with milk. That was the day when Rousseau picked up the paradox, from Diderot, which he elaborated into his famous essay, @@ -6738,16 +6698,16 @@ showing the superiority of the savage man over the civilized man. There is as slight trace to be found of Jean-Jacques Rousseau in the Paris of to-day as in the minds of the men of to-day. We see him first, in -1745, at the Hôtel Saint-Quentin of our Balzac chapter, -carrying from there the uncomely servant, Thérèse +1745, at the Hôtel Saint-Quentin of our Balzac chapter, +carrying from there the uncomely servant, Thérèse le Vasseur. After this he appears fitfully in Paris -through many years. In 1772 he is in Rue Plâtrière—a +through many years. In 1772 he is in Rue Plâtrière—a street now widened and named for him—on the fourth floor of a wretched house opposite the present Post-office. There he was found by Bernardin de Saint-Pierre—as thin-skinned and touchy as Rousseau, yet somehow the two kept friendly—with his repulsive -Thérèse, whom he had made his wife in 1768. This +Thérèse, whom he had made his wife in 1768. This preacher of the holiness of the domestic affections had sent their five children to the foundling hospital, according to his own statement, which is our only reason for @@ -6759,9 +6719,9 @@ to the Hermitage at Montmorenci, occupied by him in 1756, and nearly forty years later by a man equally attractive, Maximilien Robespierre; and to Ermenonville, the spot of Rousseau's death in 1778. It -is easier to stroll to the Panthéon, where, on one side, +is easier to stroll to the Panthéon, where, on one side, is a statue of the author of "Le Contrat Social" and -"Émile," which gives him a dignity that was not his +"Émile," which gives him a dignity that was not his in life. This tribute from the French nation was decreed by the National Convention of <i>15 Brumaire, An II</i>, and erected by the National Assembly in 1791. Durable @@ -6781,7 +6741,7 @@ Diderot lost no time in beginning again that toil which was his life. With all his other work—"Letters on the Blind, for the use of those who can see," dramas now forgotten, an obscene novel that paid the debts of his -mistress—he began and carried out his Encyclopædia. +mistress—he began and carried out his Encyclopædia. "No sinecure is it!" says Carlyle: "penetrating into all subjects and sciences, waiting and rummaging in all libraries, laboratories; nay, for many years fearlessly @@ -6819,7 +6779,7 @@ for their care. Grimm urged on her, in one of his gossiping personal history, the propriety of housing her library and its librarian properly, and this was done in the grand mansion now No. 39 Rue de Richelieu. We have -come to this street with Molière and with Mignard, and +come to this street with Molière and with Mignard, and there are other memories along this lower length, to which a chapter could be given. We can awaken only those that now belong to No. 50. Here lived a couple @@ -6868,7 +6828,7 @@ than any of these. In the fourth chapel, on your left as you enter, is a bronze bust of a man, up to which a boy and a girl look from the two corners of the pedestal. This is the monument of Charles -Michel, Abbé de l'Épée, placed above his grave in the +Michel, Abbé de l'Épée, placed above his grave in the chapel where he held services at times, and the boy and girl stand for the countless deaf-and-dumb children to whom he gave speech and hearing. The son @@ -6889,7 +6849,7 @@ left him by his father, started his school of instruction for deaf-mutes in 1760.</p> <p>The house was at No. 14 Rue des Moulins, a retired -street leading north from Rue Saint-Honoré, and +street leading north from Rue Saint-Honoré, and so named because near its line were the mills of the Butte de Saint-Roch—where we are to find the head-quarters of Joan the Maid. One of these mills may @@ -6901,16 +6861,16 @@ was dedicated in the fifteenth century. This quarter of the town had become, during the reign of Louis XIV., the centre of a select suburb of small, elegant mansions, tenanted by many illustrious men. On the -rear of his lot the good <i>abbé</i> built a small chapel, and +rear of his lot the good <i>abbé</i> built a small chapel, and in it and in the house he passed nearly thirty years of self-sacrifice, ended only by his death on December -23, 1789. When the Avenue de l'Opéra was cut in +23, 1789. When the Avenue de l'Opéra was cut in 1877-8, his street was shortened and his establishment was razed. At the nearest available spot, on the wall -of No. 23 Rue Thérèse, two tablets have been placed, +of No. 23 Rue Thérèse, two tablets have been placed, the one that fixes the site, the other recording the decree of the Constituent Assembly of July, 1789, by -which the Abbé de l'Épée was placed on the roll of +which the Abbé de l'Épée was placed on the roll of those French citizens who merit well the recognition of humanity and of his country. And, in 1791, amid all its troubled labors, the Assembly founded the Institution @@ -6923,13 +6883,13 @@ of their great men, so that, in a walk through their streets, we run down a catalogue of all who are memorable in French history. In the vast court-yard, at that corner, under a glorious elm-tree, is a colossal -statue of the <i>abbé</i>, standing with a youth to whom he +statue of the <i>abbé</i>, standing with a youth to whom he talks with his fingers. It is the work of a deaf-mute, <span class="pagenum"><a name="Page_212" id="Page_212">212</a></span> -Félix Martin, well named, for he is most happy in +Félix Martin, well named, for he is most happy in this work.</p> -<p>Like the Abbé de l'Épée, and for as many years—almost +<p>Like the Abbé de l'Épée, and for as many years—almost thirty of his half-voluntary, half-enforced exile—Voltaire had devoted himself in his own way to the bettering of humanity, crippled mentally and spiritually. @@ -6946,7 +6906,7 @@ length of France, in a triumphal progress without parallel, welcomed everywhere by exultant worshippers. At four in the afternoon of February 10, 1778, his coach appears just where his statue now stands at the -end of Quai Malaquais, then Quai des Théatins. He +end of Quai Malaquais, then Quai des Théatins. He wears a large, loose cloak of crimson velvet, edged with a small gold cord, and a cap of sable and velvet, and he is "smothered in roses." His driver makes his @@ -6977,9 +6937,9 @@ Institute and the Statue of Voltaire.</p> visitors, and the dethroned Du Barry, and thirty <i>chefs</i>, each set on the appointment of cook for the master. He goes to the Academy, then installed in the Louvre, -and to the Comédie Française, temporarily housed in -the Tuileries, the Odéon not being ready. There his -"Irène," finished just before leaving Switzerland, is +and to the Comédie Française, temporarily housed in +the Tuileries, the Odéon not being ready. There his +"Irène," finished just before leaving Switzerland, is produced, and at the performance on the evening of March 30th he is crowned in his box, his bust is crowned on the beflowered stage, and the palms and @@ -7000,10 +6960,10 @@ Church had meant to him, and what it might mean for him, were: "I don't want to be thrown into the roadway like that poor Lecouvreur." That fate was spared his wasted frame by the quickness of his -nephew, the Abbé Mignot. Here, at the entrance-gate +nephew, the Abbé Mignot. Here, at the entrance-gate in Rue de Beaune, this honest man placed his uncle's body, hardly cold, in his travelling carriage, and with -it drove hastily, and with no needless stops, to Scellières +it drove hastily, and with no needless stops, to Scellières in Champagne. There he gave out the laudable lie of a death on the journey, and procured immediate interment in the nave of his church, under all due @@ -7016,13 +6976,13 @@ great concourse had assembled, only two weeks earlier, at the place where the Bastille had been, hoping to hoot at the royal family haled back from Varennes. Now, on July 11, 1791, a greater concourse was stationed -here, to look with silent reverence on this <i>cortége</i>, +here, to look with silent reverence on this <i>cortége</i>, headed by Beaumarchais, all the famous men of France carrying the pall or joining in the procession. They entered by the Vincennes road, passed along the boulevards, crossed Pont Royal to stop before this mansion, -and went thence to the Panthéon. There his remains -lay once more in peace, until the Bourbons "de-Panthéonized" +and went thence to the Panthéon. There his remains +lay once more in peace, until the Bourbons "de-Panthéonized" both Voltaire and Rousseau.</p> <p>Benjamin Franklin had come to visit Voltaire here @@ -7031,8 +6991,8 @@ retired suburb he was then living. The traces he has <span class="pagenum"><a name="Page_215" id="Page_215">215</a></span> left in the capital are to be found in two inscriptions and a tradition. We know that he had rooms, during -a part of the year 1776, in Rue de Penthièvre, and his -name, carved in the pediment of the stately façade of +a part of the year 1776, in Rue de Penthièvre, and his +name, carved in the pediment of the stately façade of the house numbered 26 in that street, is a record of his residence in it or on its site. There is another claimant to his tenancy for a portion of this same year. The @@ -7047,13 +7007,13 @@ claim is the more credible, inasmuch as the street has been given his name since his day there, when it was Rue Basse. In the following year he went farther afield, and for nine years he remained in a villa in the -large garden, now covered by the ugly École des -Frères de la Doctrine Chrétienne, at the corner of +large garden, now covered by the ugly École des +Frères de la Doctrine Chrétienne, at the corner of Rues Raynouard and Singer. The Historical Society of Passy and Auteuil has placed a tablet in this corner wall, recording Franklin's residence at this spot from 1777 to 1785. His friend, M. Ray de Chaumont, occupied -only a portion of his Hôtel de Valentinois, and +only a portion of his Hôtel de Valentinois, and gave up the remaining portion to Franklin for his residence and his office, eager to show his sympathy for the colonies and his fondness for their envoy. @@ -7071,8 +7031,8 @@ have been here that he made answer to the enamoured <i>marquise</i>, in words that have never been topped for the ready wit of a gallant old gentleman.</p> -<p>The <i>cortége</i> that accompanied Voltaire's remains to -the Panthéon was headed, it has been said, by Beaumarchais; +<p>The <i>cortége</i> that accompanied Voltaire's remains to +the Panthéon was headed, it has been said, by Beaumarchais; fittingly so, for Beaumarchais was then heir-presumptive to the dramatic crown, and his "Figaro" had already begun to laugh the nobility @@ -7080,8 +7040,8 @@ from out of France. Louis XVI. saw clearly, for once, when he said: "If I consent to the production of the 'Marriage of Figaro,' the Bastille will go." He did consent, and it was played to an immense house on -April 27, 1784, in the Comédie Française, now the -Odéon. That night the old order had its last laugh, +April 27, 1784, in the Comédie Française, now the +Odéon. That night the old order had its last laugh, and it rang strangely and sadly. Yet in this comedy, that killed by ridicule—the most potent weapon in France—once played a queen that was, and once a @@ -7107,9 +7067,9 @@ nearly at Rue de la Ferronerie. Pierre-Augustin Caron he was christened, and it was in his soaring years that he added "de Beaumarchais." This quarter is notable in that it was the scene of the birth and -boyhood of four famous dramatists—of Molière, as +boyhood of four famous dramatists—of Molière, as we have seen, and of Regnard, as we shall see; of -Beaumarchais and of Eugène Scribe. To record this +Beaumarchais and of Eugène Scribe. To record this latest birth, on December 24, 1791, a tablet is set in the wall of No. 32 Rue Saint-Denis, at the corner of Rue de la Reynie, only a few steps south of the Caron @@ -7121,7 +7081,7 @@ front and side, and a huge, wooden, black cat rides on the cart that carries the chocolate.</p> <p>Beaumarchais had a residence at No. 6 Rue de -Condé in 1773, and at the Hôtel de Hollande, Rue +Condé in 1773, and at the Hôtel de Hollande, Rue Vielle-du-Temple 47, in 1776. We shall go there later. On the wall of the house, No. 2 Boulevard Beaumarchais, <span class="pagenum"><a name="Page_218" id="Page_218">218</a></span> @@ -7149,7 +7109,7 @@ American Congress. The romance of this "Lost Million" cannot be told here. Beaumarchais died in this house in 1799, and was buried in the garden. When the ground was taken for the Saint-Martin -Canal in 1818, his remains were removed to Père-Lachaise. +Canal in 1818, his remains were removed to Père-Lachaise. The grave is as near that of Scribe as were their birthplaces. His name was given to the old Boulevard Saint-Antoine in 1831, and in 1897 his @@ -7181,9 +7141,9 @@ de Beaumarchais. <p class="p2">It is no part of the province of this book to reconstruct the Paris of the Revolution, nor is there -room for such reconstruction, now that M. G. Lenôtre +room for such reconstruction, now that M. G. Lenôtre has given us his exhaustive and admirable "Paris -Révolutionnaire." Despite the destruction of so much +Révolutionnaire." Despite the destruction of so much that was worth saving of that period, there yet remain many spots for our seeing. The cyclone of those years had two centres, and one of them is fairly well preserved. @@ -7195,16 +7155,16 @@ was extended, in 1776, into a narrow passage, with small dwellings on each side. The old entrance of the tennis-court was kept for the northern entrance of the new passage, and it still remains under the large house, -No. 61 Rue Saint-André-des-Arts. The southern entrance +No. 61 Rue Saint-André-des-Arts. The southern entrance of the passage was in the western end of Rue -des Cordeliers, now Rue de l'École-de-Médecine. In +des Cordeliers, now Rue de l'École-de-Médecine. In 1876, exactly one hundred years after the construction of this Cour du Commerce, its southern half and its southern entrance were cut away by modern Boulevard Saint-Germain, on the northern side of which <span class="pagenum"><a name="Page_224" id="Page_224">224</a></span> a new entrance to the court was made. At the same -time the houses on the northern side of Rue de l'École-de-Médecine +time the houses on the northern side of Rue de l'École-de-Médecine were demolished, and replaced by the triangular space that holds the statues of Danton and Paul Broca among its trees. Those houses faced, @@ -7236,8 +7196,8 @@ next day, that the mob had at least broken the windows of the Tuileries, for someone had brought her the <span class="pagenum"><a name="Page_225" id="Page_225">225</a></span> sponges and brushes of the Queen! And on the 12th, -Danton carried his wife from here to the grand <i>hôtel</i> -in Place Vendôme, the official residence of the new +Danton carried his wife from here to the grand <i>hôtel</i> +in Place Vendôme, the official residence of the new Minister of Justice. His short life in office being ended by his election to the Convention in the autumn of that year, he returned to this apartment; to which, @@ -7247,7 +7207,7 @@ on March 30, 1794, he was arrested. Before his own terrible tribunal his reply, to the customary formal questions as to his abode, was: "My dwelling-place will soon be in annihilation, and my name will live in -the Panthéon of history." He spoke prophetically. +the Panthéon of history." He spoke prophetically. The clouds of a century of calumny have only lately been blown away, and we can, at last, see clearly the heroic figure of this truest son of France; a "Mirabeau @@ -7268,8 +7228,8 @@ and filed out from it four miles in length. Mont-Blanc was then the street's name, and for a few days <span class="pagenum"><a name="Page_226" id="Page_226">226</a></span> it was called Rue Mirabeau, but soon took its present -name, Chaussée-d'Antin, from the gardens of the -Hôtel d'Antin, through which it was cut. The present +name, Chaussée-d'Antin, from the gardens of the +Hôtel d'Antin, through which it was cut. The present No. 42, with a new front, but otherwise unchanged, is the house of Mirabeau's death, in the front room of its second floor. Mirabeau's worthy successor in Camille's @@ -7277,26 +7237,26 @@ worship was Danton, near whom he lived, as we have seen, and with whom he went as secretary to the Ministry of Justice. After leaving office, Camille and his wife are found in his former bachelor -home in Place du Théâtre-Français, now Place de -l'Odéon. The corner house there, that proclaims itself +home in Place du Théâtre-Français, now Place de +l'Odéon. The corner house there, that proclaims itself by a tablet to have been his residence, is in the wrong; and that tablet belongs by right to the house on the -opposite corner, No. 2 Place de l'Odéon and No. 7 Rue -Crébillon. From his end windows in this latter street, +opposite corner, No. 2 Place de l'Odéon and No. 7 Rue +Crébillon. From his end windows in this latter street, when he had lived there as a bachelor, Camille could look slantwise to the windows of an apartment at No. -22 Rue de Condé, and he looked often, attracted by a +22 Rue de Condé, and he looked often, attracted by a young girl at home there with her parents. There is still the balcony on the front, on which Lucile Duplessis ventured forth, a little later, to blow kisses across the street. At the religious portion of their marriage, in -Saint-Sulpice on December 29, 1790, the <i>témoins</i> of -the groom were Brisson, Pétion, Robespierre. The +Saint-Sulpice on December 29, 1790, the <i>témoins</i> of +the groom were Brisson, Pétion, Robespierre. The last-named had been Camille's schoolfellow and crony -at Lycée Louis-le-Grand, and remained his friend as +at Lycée Louis-le-Grand, and remained his friend as long as it seemed worth while. The wedding party went back to this apartment—on the second floor -above the <i>entresol</i>—for the <i>dîner de noces</i>. Everything +above the <i>entresol</i>—for the <i>dîner de noces</i>. Everything <span class="pagenum"><a name="Page_227" id="Page_227">227</a></span> on and about the table—it is still shown at Vervins, a village just beyond Laon—was in good taste, @@ -7323,15 +7283,15 @@ with him and his mistress, Simonne Evrard, his two sisters, Albertine and Catherine—all three at one in their devotion to his loathsome body—was in a house a little easterly from Danton's, on the same northern -side of Rue de l'École-de-Médecine. It was at this +side of Rue de l'École-de-Médecine. It was at this house that Marie-Anne-Charlotte Corday d'Armans, on July 13, 1793, presented herself as "<i>l'ange de l'assassination</i>," in Lamartine's swelling phrase. She had -driven across the river, from the Hôtel de la Providence. +driven across the river, from the Hôtel de la Providence. In our Dumas chapter we shall try to find her <span class="pagenum"><a name="Page_228" id="Page_228">228</a></span> unpretending inn, and shall find only its site. In the -Musée Grévin, in Paris, you may see the <i>baignoire</i> in +Musée Grévin, in Paris, you may see the <i>baignoire</i> in which Marat sat when he received Charlotte Corday and her knife—a common kitchen-knife, bought by her on the day before at a shop in the Palais-Royal. @@ -7340,8 +7300,8 @@ its narrow top, through which his head came, was a shelf for his papers.</p> <p>The printing-office of Marat's "L'Ami du Peuple," -succeeded in 1792 by his "Journal de la République -Française," was in that noisiest corner of Paris, the +succeeded in 1792 by his "Journal de la République +Française," was in that noisiest corner of Paris, the Cour du Commerce. It was in that end of the long building of two low stories and attic, numbered 6 and 8, now occupied by a lithographer. After Marat's death, @@ -7350,9 +7310,9 @@ modest stationer's shop and reading-room in the former printing-office, we are told by M. Sardou. It is an error that places the printing-office at the present No. 1 of the court, in the building which extended then -through to No. 7 Rue de l'Ancienne-Comédie. These +through to No. 7 Rue de l'Ancienne-Comédie. These two lots do, indeed, join in their rear, but Marat has -no association with either. In Rue de l'Ancienne-Comédie, +no association with either. In Rue de l'Ancienne-Comédie, certainly, the "Friend of the People" had storage room in the cellar and an office on an upper floor, but it was in one of the tall houses on the western @@ -7364,7 +7324,7 @@ of "<i>La Maison Boileau</i>"—comes from the presence of Sainte-Beuve. The great critic is said to have rented <span class="pagenum"><a name="Page_229" id="Page_229">229</a></span> a room, under his pen-name of "Joseph Delorme," -for a long time in this then cleanly <i>hôtel-garni</i>, for the +for a long time in this then cleanly <i>hôtel-garni</i>, for the ostensible purpose of working in quiet, free from the importunate solicitors of all sorts who intruded on his home in Rue du Mont-Parnasse, No. 11.</p> @@ -7378,9 +7338,9 @@ his body to the nave of the church, and later to its temporary tomb in the garden, of the Cordeliers, a step from his house. In the intervals of smiling hours spent in watching heads fall into the basket, in new -Place de la Révolution, they crowded here to weep +Place de la Révolution, they crowded here to weep about his bedraped and beflowered bier. The remains -were then placed, with due honors, in the Panthéon. +were then placed, with due honors, in the Panthéon. Then, within two years, the same voices that had glorified him shrieked that his body and his memory should be swept into the sewer. It was the voice of the people—the @@ -7402,7 +7362,7 @@ and cloisters were added in 1672, and there were many other structures pertaining to the order within these boundaries. Of all these, only the Refectory remains to our day. The site of the church, once the largest -in Paris, is covered by Place de l'École-de-Médecine +in Paris, is covered by Place de l'École-de-Médecine and by a portion of the school; something of the shape and some of the stones of the old cloisters are preserved in the arched court of the Clinique; bits of @@ -7412,16 +7372,16 @@ be seen in the grounds of the water-works behind No. 11 Rue Racine, this street having been cut through the monks' precincts, so separating the Infirmary, to which this wall belonged, and that stretched nearly to -the rear walls of Lycée Saint-Louis, from the greater +the rear walls of Lycée Saint-Louis, from the greater portion of "<i>Le Grand Couvent de l'Observance de -Saint François</i>."</p> +Saint François</i>."</p> <p>Turn in at the gateway in the corner of Place de -l'École-de-Médecine, and the Refectory stands before +l'École-de-Médecine, and the Refectory stands before you, a venerable fabric of Anne of Brittany's building, with sixteenth and seventeenth century adornments, all in admirable preservation. The great hall, filled with -the valuable collection of the Musée Dupuytren, attracts +the valuable collection of the Musée Dupuytren, attracts us as a relic of ancient architecture, and as the last existing witness of the Revolutionary nights of the Cordeliers Club. That club had its hall just across the @@ -7445,7 +7405,7 @@ moderation!</p> <p>We must not leave our Cour du Commerce, without a glance at the small building on the northern corner of -its entrance from Rue de l'Ancienne-Comédie. It was +its entrance from Rue de l'Ancienne-Comédie. It was here that the first guillotine was set up for experiments on sheep, by Dr. Antoine Louis, Secretary of the Academy of Surgeons, and the head of a committee appointed @@ -7454,7 +7414,7 @@ On that day a clause in the new penal code made death by decapitation the only method of execution, and the committee had powers to construct the apparatus, which was to supersede Sanson's sword. It was not -a new invention, for the mediæval executioners of +a new invention, for the mediæval executioners of Germany and Scotland had toyed with "the Maiden," but for centuries she had lost her vogue. On December 1, 1789, Dr. Joseph-Ignace Guillotin had tried to @@ -7466,7 +7426,7 @@ subject like the cutting off of heads! After two years and more, the machine, perfected by Dr. Louis, and <span class="pagenum"><a name="Page_232" id="Page_232">232</a></span> popularly known as "<i>La Louisette</i>," was tried on a -malefactor in the Place de Grève on April 25, 1792. +malefactor in the Place de Grève on April 25, 1792. Three days later the little lady received her official title, "<i>La Guillotine</i>."</p> @@ -7475,18 +7435,18 @@ at his residence, still standing, with no external changes, at No. 21 Rue Croix-des-Petits-Champs. It was already a most ancient mansion when he came here to live, and perhaps to remain until his death—in -bed—in 1814. It had been known as the Hôtel de +bed—in 1814. It had been known as the Hôtel de Bretagne, and it is rich in personal history. To its shelter came Catherine de Lorraine, the young widow of the Duc de Montpensier, the "lame little devil" whom Henri III. longed to burn alive, for her abuse of him after the murder of her brother Guise. Within its walls, Anne of Austria's treasurer, the rich and -vulgar Bertrand de la Bazinière—whom we have met +vulgar Bertrand de la Bazinière—whom we have met on Quai Malaquais—hoarded the plunder which he would not, or dared not, spend. Louis XIV. gave him, later, lodgings in the Bastille, in that tower named -Bazinière always after. In this same Hôtel de Bretagne, +Bazinière always after. In this same Hôtel de Bretagne, Henrietta of France, widowed queen of England, made her temporary home in the winter of 1661, near her daughter, lately installed as "Madame," wife @@ -7499,15 +7459,15 @@ the court, the Comte de Maulevrier, Colbert's nephew, <span class="pagenum"><a name="Page_233" id="Page_233">233</a></span> threw himself down to his death on the pavement on Good Friday, 1706. In time the stately mansion became -a <i>hôtel-garni</i>, was appropriated as National Domain +a <i>hôtel-garni</i>, was appropriated as National Domain in the Revolution, and sold in a lottery.</p> <p>"<i>La Guillotine</i>," having proved the sharpness of her -tooth, was speedily promoted from Place de Grève to a -larger stage in Place de la Réunion, now Place du Carrousel, +tooth, was speedily promoted from Place de Grève to a +larger stage in Place de la Réunion, now Place du Carrousel, and thence in May, 1793—that she might not be under the windows of the Convention—to Place de -la Révolution, formerly Place de Louis XV., at present +la Révolution, formerly Place de Louis XV., at present Place de la Concorde. This wide space, just beyond the moat of the Tuileries gardens, had in its centre, where now is the obelisk of Luxor, a statue of @@ -7521,11 +7481,11 @@ scorn exactness. On January 21, 1793, for the execution of Louis XVI., the guillotine was removed to a spot just westward of the centre, that it might be well protected by the troops deploying about the western -side of the <i>place</i>, and into the Champs Élysées and +side of the <i>place</i>, and into the Champs Élysées and Cours la Reine. For a while in 1794, the guillotine was transferred to the present Place de la Nation—where we shall find it in a later chapter—to come back -to Place de la Révolution in time to greet Robespierre +to Place de la Révolution in time to greet Robespierre and his friends.</p> <p>Standing here, we are near the other centre of Revolutionary @@ -7533,16 +7493,16 @@ and his friends.</p> Paris, made so by the Club of the Jacobins, that met first in the refectory, later in the church of the monastery from which it took its name. The site of -these buildings is covered by the little Marché Saint-Honoré +these buildings is covered by the little Marché Saint-Honoré and by the space about. The club of the more moderate men, headed by Bailly and Lafayette, had its quarters in the monastery of the Feuillants, which gave its name to the club, and which extended along the -south side of Rue Saint-Honoré, eastwardly from Rue +south side of Rue Saint-Honoré, eastwardly from Rue de Castiglione; this street being then the narrow Passage -des Feuillants, leading from Rue Saint-Honoré to +des Feuillants, leading from Rue Saint-Honoré to the royal gardens, and to the much-trodden Terrasse on -the northern side of those gardens facing the Manège. +the northern side of those gardens facing the Manège. This building had been erected for the equestrian education of the youth who afterward became Louis XV., and was converted into a hall for the sitting of the @@ -7550,7 +7510,7 @@ Assembly, after that body had been crowded for about three weeks, on coming to Paris from Versailles, into the inadequate hall of the Archbishop's palace, on the southern shore of the City Island, alongside Notre-Dame. -The Convention took over the Manège from the +The Convention took over the Manège from the Assembly, and there remained until May, 1793, when it removed to the more commodious quarters, and more befitting surroundings, of the Tuileries. The old riding-school, @@ -7580,7 +7540,7 @@ crowd, on the day after the so-called massacres of the Champ-de-Mars of July 17, 1791, the peaceful carpenter ran out and dragged the shrinking great man into his court-yard for temporary shelter. The house was -then No. 366 Rue Saint-Honoré. If any reader wishes +then No. 366 Rue Saint-Honoré. If any reader wishes to decide for himself whether the modern No. 398 is built on the site of the Duplay house, of which no stone is left, as M. Ernest Hamel asserts; or whether the @@ -7609,10 +7569,10 @@ the gentle figure of an apostle and a martyr to his faith for the salvation of men." From their house, it was but a step to the sittings of the Assembly. It was but a few steps farther to the garden of the Tuileries and to the -"<i>fête de l'Être Suprême</i>," planned by him, when he +"<i>fête de l'Être Suprême</i>," planned by him, when he had induced the Convention to decree the existence of God and of an immortal soul in man. He cast himself -for the rôle of High Priest of Heaven, and headed the +for the rôle of High Priest of Heaven, and headed the procession on June 8, 1794, clad in a blue velvet coat, a white waistcoat, yellow breeches and top-boots; carrying in his hand flowers and wheat-ears. He addressed @@ -7643,16 +7603,16 @@ and of the Terror had come to fifty years!</p> <div class="figcenter"><a name="im_283" id="im_283"></a> <img src="images/im_283.jpg" width="424" height="240" alt="" /> -<p class="caption">The Carré d'Atalante in the Tuileries Gardens.</p> +<p class="caption">The Carré d'Atalante in the Tuileries Gardens.</p> </div> <p>When the tumbrils and their burdens did not go along -the quays to Place de la Révolution, they went through -Rue Saint-Honoré, that being the only thoroughfare on +the quays to Place de la Révolution, they went through +Rue Saint-Honoré, that being the only thoroughfare on <span class="pagenum"><a name="Page_238" id="Page_238">238</a></span> that side of the river. From the Conciergerie they crossed Pont au Change, and made their way by narrow -and devious turnings to the eastern end of Rue Saint-Honoré, +and devious turnings to the eastern end of Rue Saint-Honoré, and through its length to Rue du Chemin-du-Rempart—now Rue Royale—and so to the scaffold. Short Rue Saint-Florentin was then Rue de l'Orangerie, @@ -7665,23 +7625,23 @@ remains to be written, and there is wealth of material for it. There were many smaller prisons not commonly known, and of the larger ones that we do know, there are several, quite unchanged to-day, well -worth unofficial inspection. The Salpêtrière, filling a +worth unofficial inspection. The Salpêtrière, filling a vast space south of the Jardin des Plantes, was built for the manufacture of saltpetre, by Louis XIII.; and, by his son, was converted into a branch, for women, of the General Hospital. A portion of its buildings was set apart for young women of bad character, and here Manon Lescaut was imprisoned. The great establishment -is now known as the Hôpital de la Salpêtrière, +is now known as the Hôpital de la Salpêtrière, and is famous for its treatment of women afflicted with nervous maladies, and with insanity. -The present Hospice de la Maternité was also perverted +The present Hospice de la Maternité was also perverted to prison usages during the Revolution. Its formal cloisters and steep tiled roofs cluster about its old-time square, but its ancient gardens, and their great trees, are almost all buried beneath new masonry. <span class="pagenum"><a name="Page_239" id="Page_239">239</a></span> -The façade of the chapel, the work of Lepautre, +The façade of the chapel, the work of Lepautre, is no longer used as the entrance, and may be seen over the wall on Boulevard de Port-Royal. Another prison was that of Saint-Lazare, first a lazar-house @@ -7689,7 +7649,7 @@ and then a convent, whose weather-worn roofs and dormers show above the wall on Rue du Faubourg-Saint-Denis. On the dingy yellow plaster of the arched entrance-gate one may read, in thick black letters: -"<i>Maison d'Arrêt et de Correction.</i>" Unaltered, too, +"<i>Maison d'Arrêt et de Correction.</i>" Unaltered, too, is the prison in the grounds of the Carmelites, to be visited later in company with Dumas; and the Luxembourg, that was reserved for choice captives. The @@ -7712,8 +7672,8 @@ the garden, of which a portion remains on the south side of the church, where the statue of Bernard Palissy, by Barrias, stands now. In other chapters, the destruction <span class="pagenum"><a name="Page_240" id="Page_240">240</a></span> -of the Grand- and the Petit-Châtelet has been -noted. La Force has gone, and Sainte-Pélagie is soon +of the Grand- and the Petit-Châtelet has been +noted. La Force has gone, and Sainte-Pélagie is soon to go. And the Conciergerie has been altered, almost beyond recognition, as to its entrances and its courts and its cells. Only the Cour des Femmes remains at @@ -7722,18 +7682,18 @@ all as it was in those days.</p> <p>There are three victims of the Terror who have had the unstinted pity of later generations, and who have happily left traces of their presence on Paris brick and -mortar. The last of these three to die was André-Marie -de Chénier, and we will go first to his dwelling. -It is an oddly shaped house, No. 97 Rue de Cléry—Corneille's +mortar. The last of these three to die was André-Marie +de Chénier, and we will go first to his dwelling. +It is an oddly shaped house, No. 97 Rue de Cléry—Corneille's street for many years—at its junction with Rue Beauregard; and a tablet in its wall tells of de -Chénier's residence there. Born in Constantinople in +Chénier's residence there. Born in Constantinople in 1762, of a French father—a man of genius in mercantile affairs—and a Greek mother, the boy was brought to Paris with his younger brother, Joseph-Marie, in 1767. They lived with their mother in various streets in the Marais, before settling in this final home. Here -Madame de Chénier, a poet and artist in spirit, filled the +Madame de Chénier, a poet and artist in spirit, filled the rooms with the poets and artists and <i>savants</i> of the time, the friends of her gifted sons. Hither came David, gross of body, his active mind busied with schemes @@ -7744,7 +7704,7 @@ Lavoisier, absorbed in chemical discovery. Here in his earlier years, and later, when he hurried home from the French Embassy in London on the outbreak <span class="pagenum"><a name="Page_241" id="Page_241">241</a></span> -of the Revolution, André de Chénier produced +of the Revolution, André de Chénier produced the verse that revived the love of nature, dead in France since Ronsard, and brought a lyric freshness to poetry that shamed the dry artificialities so long in vogue. @@ -7760,7 +7720,7 @@ He was guillotined in Place de la Nation on July 26, 1794, only the day before Robespierre's fall, and was one of the last and noblest sacrifices to the Terror. We shall look on his burial-place in our -later rambles. Müller has made André de Chénier the +later rambles. Müller has made André de Chénier the central figure of his "Roll-Call," now in the Louvre. He sits looking toward us with eyes that see visions, and his expression seems full of the thought to which @@ -7769,25 +7729,25 @@ done nothing for posterity, and yet," tapping his forehead, "I had something here!"</p> <p>In 1795 this little house was surrounded by a great -crowd of citizens come to bury Louis de Chénier, the +crowd of citizens come to bury Louis de Chénier, the father. The Section of Brutus guarded the bier, draped with blue set with silver stars, to suggest the immortality of the soul! And they gave every honor they -could invent to the "<i>Pompe funèbre d'un Citoyen Vertueux</i>," +could invent to the "<i>Pompe funèbre d'un Citoyen Vertueux</i>," whose worthy son they had beheaded. <span class="pagenum"><a name="Page_242" id="Page_242">242</a></span></p> -<p>Joseph-Marie de Chénier lived for many years under +<p>Joseph-Marie de Chénier lived for many years under suspicion of having given his assent if not his aid to his brother's death, albeit the mother always asserted that -he had tried to save André. Joseph was a fiery patriot, +he had tried to save André. Joseph was a fiery patriot, and a man of genius withal. He wrote the words of -the "Chant du Départ" which, set to music by Méhul, +the "Chant du Départ" which, set to music by Méhul, proved almost as stirring as the "Marseillaise" to the pulses of the Patriots. Music was one of the potent intoxicants of the time, and the Revolution was played and sung along to the strains of these two airs, and -of "Ça ira" and the "Carmagnole." The classic style, +of "Ça ira" and the "Carmagnole." The classic style, which had hitherto prevailed, gave way before the paltry sentimentality and the tinkling bombast of the music adored by the mob. David planned processions marching @@ -7802,10 +7762,10 @@ No. 21 of the poor Passage Saulnier, and ordered a small pension to be paid to him during his life. His death came in 1836.</p> -<p>Joseph-Marie de Chénier was a playwright, also, and +<p>Joseph-Marie de Chénier was a playwright, also, and in 1798 he had created a sensation by his "Charles -IX.," produced at the Comédie Française, now the -Odéon. In the part of the King, wonderfully made +IX.," produced at the Comédie Française, now the +Odéon. In the part of the King, wonderfully made up and costumed, Talma won his first notable triumph. "This play," cried Danton from the pit, "will kill <span class="pagenum"><a name="Page_243" id="Page_243">243</a></span> @@ -7826,9 +7786,9 @@ these rooms, open on three sides. Among them was a master-engraver, one Phlipon, bringing his daughter, Marie-Jeanne—her pet name being Manon—from the house of her birth, in 1754, in Rue de la Lanterne, now -widened into Rue de la Cité. It is not known whether -the site of that house is under the Hôtel-Dieu or the -Marché-aux-Fleurs. Their new home stood, and still +widened into Rue de la Cité. It is not known whether +the site of that house is under the Hôtel-Dieu or the +Marché-aux-Fleurs. Their new home stood, and still stands, on the corner of the northern quay, and is now numbered 28 Place Dauphine and 41 Quai de l'Horloge. The small window of the second floor lights the @@ -7843,7 +7803,7 @@ too-serious girl was a prig; a creature over-fed for its <span class="pagenum"><a name="Page_244" id="Page_244">244</a></span> size, the word has been happily defined. At the age of eleven, she was sent to the school of the "<i>Dames de la -Congrégation</i>," in the Augustinian convent in Rue +Congrégation</i>," in the Augustinian convent in Rue Neuve-Saint-Etienne. It has been told how that ancient street was cut in half by Rue Monge. In its eastern section, now named Rue de Navarre, was Manon's @@ -7857,7 +7817,7 @@ father's tipsiness, sent her back to her convent for a few months. Then, having refused the many suitors who had thronged about her in her own home, she found the philosopher she wanted for a husband in Jean-Marie -Roland de la Platrière, a man much older than +Roland de la Platrière, a man much older than she; lank, angular, yellow, bald, "rather respectable than seductive," in the words of the girl-friend who had introduced him. But Manon Phlipon doubtless @@ -7866,11 +7826,11 @@ idealized herself and all her surroundings, including The People, who turned and rent her at the last. She gave to her husband duty and loyalty, and it was not until she counted herself dead to earth and its temptations, -in her cell at Sainte-Pélagie, that she addressed +in her cell at Sainte-Pélagie, that she addressed her last farewell to him, whom "I dare not name, one whom the most terrible of passions has not kept from respecting the barriers of virtue." This farewell was -meant for François-Léonard-Nicolas Buzot, Girondist +meant for François-Léonard-Nicolas Buzot, Girondist <span class="pagenum"><a name="Page_245" id="Page_245">245</a></span> member of the Assembly and later of the Convention. He remained unnamed and unknown, until his name @@ -7878,7 +7838,7 @@ and their secret were told by a bundle of old letters, found on a book-stall on Quai Voltaire in 1864. She had met him first when her husband came from Lyons, with petitions to the Assembly, in February, 1791, and -took rooms at the Hôtel Britannique, in Rue Guénégaud. +took rooms at the Hôtel Britannique, in Rue Guénégaud. Her <i>salon</i> soon became the gathering-place of the Girondists, where those austere men, who considered themselves the sole salvation of France, were @@ -7886,8 +7846,8 @@ austerely regaled with a bowl of sugar and a <i>carafe</i> of water. Their hostess could not bother with frivolities, she, who in her deadly earnestness, renounced the theatre and pictures, and all the foolish graces of life! -The Hôtel Britannique was the house now numbered -12 Rue Guénégaud, a wide-fronted, many-windowed +The Hôtel Britannique was the house now numbered +12 Rue Guénégaud, a wide-fronted, many-windowed mansion of the eighteenth century. Its stone steps within are well worn, its iron rail is good, its second floor—the Roland apartment—still shows traces of the @@ -7904,14 +7864,14 @@ the seventeenth-century houses numbered 1 and 5. For when the Convention outlawed the Girondists, and Buzot fled, it was decreed that his dwelling should be levelled to the ground, and on its site should be -placed a notice: "<i>Là fut la maison du roi Buzot.</i>" So +placed a notice: "<i>Là fut la maison du roi Buzot.</i>" So that it would seem that his colleagues of the Convention had found him an insufferably Superior Person.</p> <p>Leaving this apartment on his appointment to office <span class="pagenum"><a name="Page_246" id="Page_246">246</a></span> in 1792, Roland took his wife to the gorgeous <i>salons</i> -of the Ministry of the Interior, in the <i>hôtel</i> built by +of the Ministry of the Interior, in the <i>hôtel</i> built by Leveau for the Comte de Lionne, and beautified later by Calonne. It occupied the site of the present annex of the Bank of France just off Rue des Petits-Champs, @@ -7936,10 +7896,10 @@ what she thought it right to do!</p> death, Roland left office forever and removed to a house in Rue de la Harpe, opposite the Church of Saint-Cosme. That church stood on the triangle made by the -meeting of Rues de l'École-de-Médecine and Racine +meeting of Rues de l'École-de-Médecine and Racine with Boulevard Saint-Germain. On the eastern side of that boulevard, once the eastern side of Rue de la -Harpe, where it meets modern Rue des Écoles, stood +Harpe, where it meets modern Rue des Écoles, stood the Roland house. The students and studentesses, who <span class="pagenum"><a name="Page_247" id="Page_247">247</a></span> sip their coffee and beer on the pavement of Vachette's, @@ -7950,9 +7910,9 @@ was taken to the prison of the Abbaye, and given the cell which was to be tenanted, six weeks later, by Charlotte Corday. Released on June 22d and returned to her home in Rue de la Harpe, she was re-arrested on the 24th -and locked up in Sainte-Pélagie. It was an old prison, +and locked up in Sainte-Pélagie. It was an old prison, long kept for the detention of "<i>femmes et filles, dont la -conduite est onéreuse</i>," and its character had not been +conduite est onéreuse</i>," and its character had not been bettered by the character of the female prisoners sent there by the Terror. This high-minded woman, subjected to infamous sights and sounds, preserved her @@ -7967,7 +7927,7 @@ companion, Plutarch. And here she busied herself with her "Memoirs," "writing under the axe," in her own phrase. In the solitude of her cell, indeed, she was sometimes disturbed by the unseemly laughter of the -ladies of the Comédie Française, at supper with the +ladies of the Comédie Française, at supper with the prison-governor in an adjacent cell. We shall see, later, how these ladies came to be here. More acceptable sounds might have come almost to her ears; that @@ -7978,7 +7938,7 @@ prison-register contains her description, probably as accurate as matter-of-fact: "Height, five feet; hair and eyebrows, dark chestnut; brown eyes; medium nose; ordinary mouth; oval face, round chin, high -forehead." From Sainte-Pélagie she went to the Conciergerie +forehead." From Sainte-Pélagie she went to the Conciergerie on November 1st, the day after the guillotining of the Girondists, and thence in eight days to her own death. It has been told, by every writer, that she @@ -7987,8 +7947,8 @@ crossed Pont au Change. It has not been told, so plainly as it deserves, that her famous utterance on the platform was made fine for historic purposes, as was done with Cambronne's magnificent monosyllable at -Waterloo. She really said: "<i>O Liberté, comme on t'a -jouée!</i>" With these words, natural and spontaneous +Waterloo. She really said: "<i>O Liberté, comme on t'a +jouée!</i>" With these words, natural and spontaneous and without pose, she is, indeed, "beautiful, amazonian, graceful to the eye, more so to the mind."</p> @@ -8007,7 +7967,7 @@ memories," deserving a place "beside the most sublime <span class="pagenum"><a name="Page_249" id="Page_249">249</a></span> and eloquent effusions of a brave yet tender philosophy." When he praises that style, clearer and more -concise than that of Madame de Staël, "that other +concise than that of Madame de Staël, "that other daughter of Rousseau," he does not say all; he might have added that, like Rousseau, she occasionally speaks of matters not quite convenient to hear.</p> @@ -8019,13 +7979,13 @@ the ignominious death, of Marie-Jean-Antoine-Nicolas Caritat, Marquis de Condorcet. We may look up at his thoughtful face in bronze on Quai Conti, alongside the Mint, where he lived in the <i>entresol</i> of the just completed -building, when appointed Director of the Hôtel +building, when appointed Director of the Hôtel de la Monnaie by his old friend Turgot, in 1774. We may look upon the house in Rue Servandoni where he hid, and from which he escaped to his death. His other Paris homes have no existence now. His college of Navarre—oldest of all those in the University—has -been made over into the École Polytechnique; and the +been made over into the École Polytechnique; and the house he built for himself in Rue Chantereine, which was afterward owned by Josephine Beauharnais, has long since disappeared. When only twenty-two years @@ -8039,7 +7999,7 @@ more than perfunctory official utterances, they are of <span class="pagenum"><a name="Page_250" id="Page_250">250</a></span> an eloquence that shows his lovable character as well as his scientific authority. He contributed largely to -Diderot's Encyclopædia, and put forth many astronomical, +Diderot's Encyclopædia, and put forth many astronomical, mathematical, and theological treatises during his busy life. He wrote earnestly in favor of the independence of the American colonies, and was one of the @@ -8074,7 +8034,7 @@ one year, and would have kept him longer, but that he feared for her safety, and for that of his wife and daughter, who might be tracked in their visits to him by night. He had finished his "Esquisse d'un Tableau -historique des Progrès de l'Esprit humain," full of hope +historique des Progrès de l'Esprit humain," full of hope for humanity, with no word of reproach or repining, and then he wrote his last words: "Advice of one proscribed, to his Daughter." This is to be read to-day @@ -8096,7 +8056,7 @@ on the walls, all about, were placards with big-lettered warning that death was the penalty for harboring the proscribed. Here at the corner, he ran against one Sarret, cousin of Madame Vernet, who went with him, -showing the way through narrow streets to the Barrière +showing the way through narrow streets to the Barrière du Maine, which was behind the present station <span class="pagenum"><a name="Page_252" id="Page_252">252</a></span> of Mont-Parnasse. Safely out of the town, the two @@ -8124,7 +8084,7 @@ every year until 1822, when she died. She had been imprisoned on the identification of her husband's body, but was released after Robespierre's death. She passed the Duplay house every day during those years, going -to her little shop at 232 Rue Saint-Honoré. There she +to her little shop at 232 Rue Saint-Honoré. There she had set up a linen business on the ground floor, and above, she painted portraits in a small way. She was a woman of rare beauty and of fine mind, with all womanly @@ -8199,12 +8159,12 @@ front and a larger garden behind, and is now numbered every one of which may be visited to-day, mark his growth in importance as a man of state. The growth of the man of science is represented by his -colossal "La Mécanique Céleste," which first appeared +colossal "La Mécanique Céleste," which first appeared in 1799, and was continued by successive volumes until its completion in 1825. Its title, rather than his titles, should be inscribed on his monument.</p> -<p>A little later than these famous <i>confrères</i>, Georges +<p>A little later than these famous <i>confrères</i>, Georges Cuvier appears in Paris—in Hugo's half-truth—"with one eye on the book of Genesis and the other on nature, endeavoring to please bigoted reaction by reconciling @@ -8230,7 +8190,7 @@ Bourbons made him Baron and Chancellor of the University, and the Orleans king elevated him to the Peerage of France. He died in 1832.</p> -<p>Paul-François-Jean-Nicolas, Comte de Barras—soldier, +<p>Paul-François-Jean-Nicolas, Comte de Barras—soldier, adventurer, a power in the Convention, the power of the Directory, practically dictator for a while—has added to the hilarity of the sceptical student of history @@ -8238,7 +8198,7 @@ by his "Memoirs," kept concealed since his death, in 1829, until their publication within a few years. Splendidly mendacious in these pages as he was in life, Barras posed always as the man on horseback of <i>his "13 -Vendémiaire</i>." On that day, unwittingly yet actually, +Vendémiaire</i>." On that day, unwittingly yet actually, he put into the saddle—where he stayed—his young friend Buonaparte, whose qualities he had discovered at the siege of Toulon. This artillery officer, while @@ -8247,30 +8207,30 @@ Tuileries, where cowered the frightened Convention, took personal command of the guns that faced Saint-Roch. The front of that church still shows the scars of the bullets that stopped the rush of the Sections in that -direction. This battery was placed at the Rue Saint-Honoré +direction. This battery was placed at the Rue Saint-Honoré end of the narrow lane leading from that street to the gardens of the Tuileries—there being then no Rue de Rivoli, you will bear in mind. This lane was known as Rue du Dauphin, because of the royal son who had used it, going between the Tuileries and the church; after that day, it was popularly called Rue du -13-Vendémiaire, until it received its official appellation +13-Vendémiaire, until it received its official appellation of Rue Saint-Roch, when widened and aligned in 1807. At this time there were only two houses in the street, -near its southern end, and one of them was a <i>hôtel-garni</i>, +near its southern end, and one of them was a <i>hôtel-garni</i>, <span class="pagenum"><a name="Page_257" id="Page_257">257</a></span> in which young Buonaparte caught a short sleep on that night of October 5, 1795. The oldest structure in Rue Saint-Roch to-day is that with the two numbers 4 and 6, and it is known to have been already a -<i>hôtel-garni</i> in the first years of the nineteenth century, +<i>hôtel-garni</i> in the first years of the nineteenth century, when it was refaced. So that it is well within belief that we have found here Buonaparte's head-quarters for that one night.</p> <p>Let us now, crossing the river, get on the ground of positive proof, safe from doubts or conjectures. The -Duchesse d'Abrantès, wife of that adorable ruffian, +Duchesse d'Abrantès, wife of that adorable ruffian, Andoche Junot, made a duke in 1807 by the Emperor, writes in her "Memoirs": "To this day, whenever I pass along Quai Conti, I cannot help looking up at the @@ -8280,13 +8240,13 @@ paid us a visit; and a neat little room it was. My brother used to occupy the one next it." Madame Junot had been Mlle. Laure Permon, whose father, an army contractor, had brought his family to Paris early -in 1785, and leased for his residence the Hôtel Sillery, -formerly the Petit Hôtel Guénégaud. Madame Permon, +in 1785, and leased for his residence the Hôtel Sillery, +formerly the Petit Hôtel Guénégaud. Madame Permon, a Corsican lady, had been an early friend of Madame Buonaparte, and had rocked young Buonaparte in his cradle; so that he was called by his first name in her family, as her daughter shows in this quotation. -Finding him at the École Royale Militaire in Paris, she +Finding him at the École Royale Militaire in Paris, she invited him to her house for frequent visits, once for a week's stay, whenever permission could be got from the school authorities. He was a lank, cadaverous, dishevelled @@ -8319,8 +8279,8 @@ at his thin legs in their big boots.</p> <p class="caption">No. 13 Quai Conti.</p> </div> -<p>The École Supérieure de Guerre, commonly called -the "École Militaire," remains nearly as when constructed +<p>The École Supérieure de Guerre, commonly called +the "École Militaire," remains nearly as when constructed under Louis XV., but it is impossible to fix on the room allotted to this student during his year there—a small, bare room, with an iron cot, one wooden @@ -8338,7 +8298,7 @@ priest gave the lads a simple dinner near their landing-place, and led them across the river and along the southern quays—where the penniless young Buonaparte bought a "Gil-Blas" from a stall, and a comrade -in funds paid for it—and, stopping for prayers at Saint-Germain-des-Prés, +in funds paid for it—and, stopping for prayers at Saint-Germain-des-Prés, he handed them over to the school authorities.</p> @@ -8351,20 +8311,20 @@ claims a garret in that tall, up-climbing, old house as his lodging at that time or at any later time. This flimsy legend need no longer be listened to. Not far away, however, is a garret that did harbor the sub-lieutenant -in the autumn of 1787. It is to M. Lenôtre +in the autumn of 1787. It is to M. Lenôtre that we owe this delightful find. Arriving in Paris from Corsica, after exactly two years of absence, Buonaparte took room No. 9, on the third floor of -the Hôtel de Cherbourg, Rue du Four-Saint-Honoré. +the Hôtel de Cherbourg, Rue du Four-Saint-Honoré. That street is now Rue Vauvilliers, its eastern side taken up by the Halles, and its present No. 33, on -the western side, is the former <i>hôtel-garni</i>, quite unchanged +the western side, is the former <i>hôtel-garni</i>, quite unchanged as to its fabric. Here he was always writing in his room, going out only for the frugal meals that cost him a few <i>sous</i>, and here he had his first amorous adventure, recited by him in cynical detail -under the date: "<i>Jeudi 22 Novembre 1787, à Paris, -Hôtel de Cherbourg, Rue du Four-Saint-Honoré.</i>" +under the date: "<i>Jeudi 22 Novembre 1787, à Paris, +Hôtel de Cherbourg, Rue du Four-Saint-Honoré.</i>" <span class="pagenum"><a name="Page_261" id="Page_261">261</a></span></p> <p>On August 10, 1792, Buonaparte saw the mob carry @@ -8372,7 +8332,7 @@ and sack the Tuileries. He was in disgrace with the army authorities, having practically deserted to Corsica, and he had come back for reinstatement and a job. In his Saint-Helena "Memorial," he says that -he was then lodging at the Hôtel de Metz in Rue du +he was then lodging at the Hôtel de Metz in Rue du Mail. This is evidently the same lodging placed by many writers in Rue d'Aboukir, for many of the large houses that fronted on the first-named street extended @@ -8397,7 +8357,7 @@ covered by the houses Nos. 58 and 60.</p> <p>Rue Chantereine was, in those days, almost a country road, bordered by small villas; two of them were associated with Napoleon Bonaparte. In one of them, -Mlle. Eléonora Dennelle gave birth, on December +Mlle. Eléonora Dennelle gave birth, on December 13, 1806, to a boy, who grew up into a startling <span class="pagenum"><a name="Page_262" id="Page_262">262</a></span> likeness of the Emperor, as to face and figure, but @@ -8427,8 +8387,8 @@ and he is qualified "Emperor of the French;" enlarging that title in 1806 to "Emperor of the French and King." The Tuileries are swept away, and Saint-Cloud has left only a scar. The Luxembourg remains, -and so, too, the Palais de l'Élysée, where he resided -for a while, and the <i>château</i> of Malmaison has been +and so, too, the Palais de l'Élysée, where he resided +for a while, and the <i>château</i> of Malmaison has been restored and refurnished in the style of Josephine, as near as may be, and filled with souvenirs of her and of <span class="pagenum"><a name="Page_263" id="Page_263">263</a></span> @@ -8452,10 +8412,10 @@ school-days at Brienne, who was to become the Emperor's patient confidential secretary. At that period Talma had fought his way to his own throne. Intimate as he had been with Mirabeau, Danton, Desmoulins, -Joseph-Marie de Chénier and David, he had, +Joseph-Marie de Chénier and David, he had, also, made friends with the Corsican officer, either during these years of the letter or probably earlier. -He made him free of the stage of the Théâtre Français, +He made him free of the stage of the Théâtre Français, and lent him books. His friendship passed on to the general, the Consul, and the Emperor, and it was gossipped that he had taught Bonaparte to dress and @@ -8463,15 +8423,15 @@ walk and play Napoleon. Talma always denied this, avowing that the other man was, by nature and training, the greater actor!</p> -<p>Joseph-François Talma used to say that he first +<p>Joseph-François Talma used to say that he first <span class="pagenum"><a name="Page_264" id="Page_264">264</a></span> heard of a theatre, from seeing and asking about the -old Théâtre de l'Hôtel de Bourgogne, whose entrance +old Théâtre de l'Hôtel de Bourgogne, whose entrance was in Rue Mauconseil, opposite the place of his birth, on January 15, 1763. As he grew up he learned a good deal more about the theatre, for he went early and often. He was only fifteen when he was one of -the audience in the Théâtre Français, on that night of +the audience in the Théâtre Français, on that night of the crowning of Voltaire, and one of the crowd that tried to unharness the horses, and drag the old man from the Tuileries to his house on the quay. By day @@ -8483,15 +8443,15 @@ Greenwich, and got gayer and more congenial experience in amateur theatricals in town. They returned to Paris, and the father's sign, "<i>M. Talma, Dentiste</i>," was hung by the doorway of No. 3 Rue Jean-Jacques-Rousseau, -next to the corner of Rue Saint-Honoré. +next to the corner of Rue Saint-Honoré. From the house that was there before the present modern structure, young Talma went across the river to -the Comédie Française, on the night of November 21, -1787, and made his <i>début</i> as Seide in "Mahomet."</p> +the Comédie Française, on the night of November 21, +1787, and made his <i>début</i> as Seide in "Mahomet."</p> -<p>In our chapter on Molière, we left the Comédie -Française, on its opening night in 1689, at the house -in Rue de l'Ancienne-Comédie. There it remained +<p>In our chapter on Molière, we left the Comédie +Française, on its opening night in 1689, at the house +in Rue de l'Ancienne-Comédie. There it remained for nearly a century, until forced, by overflowing houses, to find a larger hall. While this was in course of construction the company removed, in 1770, to the @@ -8499,11 +8459,11 @@ Salle des Machines in the Tuileries, already transformed <span class="pagenum"><a name="Page_265" id="Page_265">265</a></span> into a theatre by the Regent for his ballets. Here the troupe played until the completion of the -new theatre in 1782. That new Comédie Française is -now the Second Théâtre Français, the Odéon, the second +new theatre in 1782. That new Comédie Française is +now the Second Théâtre Français, the Odéon, the second largest hall in Paris. It was burned in 1799 and -again in 1818. In 1789 it took the title of Théâtre -National; in 1793, Théâtre de l'Égalité was the newest +again in 1818. In 1789 it took the title of Théâtre +National; in 1793, Théâtre de l'Égalité was the newest name forced upon the unwilling comedians, who were, as always with that profession, fond of swelldom and favorites of princes. The house being in the very centre @@ -8515,7 +8475,7 @@ whole troupe was sent to prison, charged with having insulted the Patriots on the boards, and with having given "proofs of marked incivism." The ladies of the company, aristocrats by strength of their sex, -occupied cells in Sainte-Pélagie, where we have already +occupied cells in Sainte-Pélagie, where we have already listened to their merriment. They escaped trial through the destruction of their <i>dossiers</i> by a humane member of the Committee of Safety, and the @@ -8525,25 +8485,25 @@ three friends, by dissensions and jealousies. They went over to the new house which had been constructed, in 1789, at a corner of the Palais-Royal, by enterprising contractors with influential politicians -between them. It was called at first Théâtre Français -de la Rue de Richelieu, and, in 1792, Théâtre de la +between them. It was called at first Théâtre Français +de la Rue de Richelieu, and, in 1792, Théâtre de la <span class="pagenum"><a name="Page_266" id="Page_266">266</a></span> -République. On Talma's desertion of the old house, +République. On Talma's desertion of the old house, there began a legal process against him, exactly like -that instituted by the same Comédie Française against +that instituted by the same Comédie Française against M. Coquelin, a century later, when the theatre had for its lawyer the grandson of its advocate of 1792; and the decision of the two tribunals was the same in effect. Talma stayed at the theatre in the Palais-Royal, to which he drew the discerning public, and, after ten years of rivalry, the two troupes joined hands -on those boards, and so the Comédie Française came -to the present "House of Molière."</p> +on those boards, and so the Comédie Française came +to the present "House of Molière."</p> <p>It would seem that Talma was a shrewd man of -business, and drew money in his private rôle of landlord. +business, and drew money in his private rôle of landlord. He owned the house in which Mirabeau died, -in Rue de la Chaussée-d'Antin, and always referred +in Rue de la Chaussée-d'Antin, and always referred to the great tribune as "<i>mon ancien locataire, Mirabeau</i>." Just beyond, in Rue Chantereine, Talma was attracted by the small villa built by the architect Ledoux, @@ -8576,7 +8536,7 @@ at No. 6 Rue de Seine; possibly in that pavilion in the court which was built by Marguerite de Valois for her residence, and which has been heightened by having two new floors slipped between the lower and -top stories, leaving these latter and the façade much +top stories, leaving these latter and the façade much as she built them. His home, from 1818 to 1821, at No. 14 Rue de Rivoli, is replaced by the new structures at the western end of that street, which is entirely renumbered. @@ -8585,7 +8545,7 @@ bank, he finally settled at No. 9 Rue de la Tour-des-Dames. Until 1822 there was still to be seen the tower of the windmill owned by the "<i>Dames de Montmartre</i>," which gave its name to this street. At its -number 3, a small <i>hôtel</i>, circular-fronted and most +number 3, a small <i>hôtel</i>, circular-fronted and most coquettish, lived Mlle. Mars, it is believed, and here she was the victim of the earliest recorded theft of an actress's jewels. The simple and stately house, of @@ -8598,7 +8558,7 @@ scene of Talma's last years and of his death, on October Charles VI. At this house we shall see Dumas visit the old actor, who had seen Voltaire! Dumas says that Talma spared nothing in his aim at accuracy, historic -and archæologic, when creating a new rôle or +and archæologic, when creating a new rôle or mounting a new play. Indeed, we know that Talma was the first great realist in costume and scenery, as we know that he first brought the statues of tragedy @@ -8626,7 +8586,7 @@ motionlessness." <span class="pagenum"><a name="Page_269" id="Page_269">269</a></span></p> <p>Thomas Carlyle seems strangely placed in the stalls -of the Théâtre Français, yet he sat there, at the end +of the Théâtre Français, yet he sat there, at the end of his twelve-days' visit to Paris in 1825. "On the night before leaving," he writes, "I found that I ought to visit one theatre, and by happy accident came upon @@ -8635,7 +8595,7 @@ man, face like a warming-pan for size, and with a strange, most ponderous, yet delicate expression in the big, dull-glowing black eyes and it. Incomparably the best actor I ever saw. Play was 'Œdipe'; place -the Théâtre Français."</p> +the Théâtre Français."</p> <div class="figcenter"><a name="im_317" id="im_317"></a> <img src="images/im_317.jpg" width="368" height="237" alt="" /> @@ -8643,383 +8603,6 @@ the Théâtre Français."</p> believed to be the initials of the owner, one Girardot.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Stones of Paris in History and -Letters, Volume I (of 2), by Benjamin Ellis Martin and Charlotte M. Martin - -*** END OF THIS PROJECT GUTENBERG EBOOK THE STONES OF PARIS, VOL I *** - -***** This file should be named 41914-h.htm or 41914-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/9/1/41914/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 41914 ***</div> </body> </html> |