Harlay, Charlemagne dictating his capitularies, Saint Louis, and the chancellor l'Hopital delivering the seals to the king, Charles IX. (the ceiling, painted by Decaisne, represents, Union, Force, and Abundance); the Salle du Trône, one of the most magnificent halls in Europe, containing splendid decorations, which have been entirely restored within the last few years; these include numerous allegorical compositions, of which those in the central gallery are "The Apotheosis of Napoleon I.," and "Peace and War," while the paintings on the piers represent various scenes from the history of the first and second empires. The hemi-cycles at the two extremities are painted with representations of the history of French civilization. The throne stands at the central point of the wall on the right. We next visit the Galérie des bustes, containing busts of generals, statesmen, &c., of the first empire. The Salle des Séances (Hall of the Senate) is a semi-circular chamber, 92 feet in diameter; around it are statues of Charlemagne, Saint Louis, and other distinguished characters. The Private Saloon of the Emperor (as it was called under the Empire) contains some fine paintings, among which are the treaty of Campo Formio, the Constitution of the year Eight, the Entry of Napoleon III. into Paris, and his marriage. The Chambers of Marie de Medicis, which are shown, consist of the Salle d'Attente, and a bed-chamber elaborately decorated. The chapel of the palace is 69 feet long by 20 wide, and is lighted by four windows, opposite which are paintings of St Philip the Apostle curing the sick, St Louis pardoning traitors, St Louis burying the dead in Palestine, and the Marriage of the Virgin. Behind the high altar is a large fresco represent

ing the Throne of God (from the Apocalypse). Behind the altar fronting the back entrance is a painting by Simon White, an American artist, "The Adoration of the Shepherds." (Since the return of the Senate to this Palace in January 1880, the apartments and chapel have not been shown to the public. It is presumed they will be open during the usual absences of the Senate.)

The PALACE OF THE QUAI D'ORSAY was burned by the Communists on May 24, 1871. The facade represented two orders (Tuscan and Ionic) superposed, and surmounted by an attic with Corinthian pilasters, and having arcaded windows, nine on each floor. The principal court was surrounded by a double row of arcades, the ground floor was occupied by the Council of State, and the first story and attics were devoted to the COUR DES COMPTES.

LE PALAIS DE JUSTICE.-This enormous range of buildings, which includes those occupied by the Courts of Justice, the Préfecture of Police, and the Conciergerie, stands on the site of a fortress erected by the Romans. The present buildings, some of which were still unfinished when fired by the insurgents on May 24, 1871, occupy the places of those destroyed to make room for the new. The oldest part of the buildings, dating from the 13th century, is in the Cour Harlay, where may be seen remains of the facade erected at that period. Since 1776 the palace was almost entirely reconstructed. It con

tained the usual apartments adapted to the use of tribunals, offices, &c. The front, on the Boulevard du Palais, is fine, and the iron railings and gates are considered very elegant. The Conciergerie is upon the Quai de l'Horloge, the entrance, however, is from the chief court of the palais. This prison is especially interesting from its association with the events of the French Revolution. Here Maria Antionette was imprisoned before her execution. The cell occupied by her is now the sacristy of the prison. During the Revolution, Camille Desmoulins, Hébert, Bailly, and Robespierre, were prisoners here. It was also the prison of Madame Roland. Napoleon III., after the failure at Boulogne, was imprisoned here in an apartment which is now occupied by one of the officers of the prison, and is not shown. The two pointed towers, which are conspicuous objects upon the quay, form part of the Conciergerie, and are called Tour de Casar and Tour de Montgomery.

This prison is now used for the detention of prisoners awaiting trial. Its last inmate of note was Prince Pierre Bonaparte, who was lodged here previous to his trial for the alleged murder of Victor Noir.

1837. The style was of the Renaissance, which prevailed in Italy during the sixteenth century. The facade upon the Place had four pavilions, and above the old door was an equestrian statue of Henry IV. in bas-relief. The wing upon the Quai contained the apartments of the Préfet. The wing upon the Rue de Rivoli was reserved for the offices of the City. The suites of apartments were among the finest in Europe. They consisted of the Salon des Arcades, Salon de Napoleon the ceiling representing the Apotheosis of Napoleon; the Galerie des Fetes (which was separated, at each extremity, by arcades, from the Salons des Arts). This superb apartment was 150 feet in length, by 39 in width; it was surrounded by a gallery, and there was a tribune for the orchestra at each end. This gallery was lighted by 26 chandeliers, each holding 100 candles. At the left of the gallery, was the Salle des Caryatides; beyond, was the Salon de la Paix, handsomely decorated. The ornamentation of these apartments was partly in the style of the Renaissance, partly in that of Louis XIV.

This edifice is being rebuilt in a style of great magnificence, several years must elapse before its final completion.

HOTEL-DE-VILLE. This superb edifice was destroyed by the insurgents on the 24th of May 1871. Little remains but the exterior walls, yet the following description will interest our readers. Part of the facade belongs to the building erected by Henry IV. in 1605. The old building was repaired in 1801 for the Préfet of the Seine. The recent edifice was four times as large as that of

MUSEUMS AND COLLECTIONS.

MUSEUM OF THE LOUVRE. There are fifteen distinct museums which go to make up what is generally known as the Museum of the Louvre. They arethe Museum of Painting, Ancient Sculpture, Sculpture of the Middle Ages and Renaissance, Modern Sculpture, Drawings, Engravings, Naval Science, of the Sovereigns of France, Assyrian

Antiquities, Egyptian Antiquities, Greek and Etruscan Antiquities, Ethnographical, Algerian, Museum of Napoleon III., the Sauvageot Collection.

The Museums best known, and to which tourists generally devote their first attention, are those of Painting and Sculpture.

The Gallery of Paintings is one of the most extensive in existence, the number of paintings falling little short of 1850. The limits of this work do not permit a description of the interesting objects which form this immense collection. Every visitor who proposes to give more than a casual glance at these galleries, will purchase the well-arranged Catalogue sold at the entrances.

The Salon Carré contains some of the choicest specimens of all schools, the chief of which are the Conception, by Murillo; the Belle Jardinière, by Raphael; the Holy Family, and The Virgin and St Elizabeth, also by Raphael; The Marriage of Cana, by Paul Veronese; The Joiner's Household, by Rembrandt; Rubens' wife and his two children, by himself; The Crowning with Thorns, by Titian; The Virgin, Infant Jesus, and Saint Anne, by Leonardo de Vinci. (See farther list below.)

In the Long Gallery adjoining the Salon Carré, at the farther end, is the collection of the most admired works of Rubens, more than twenty in number. These paintings have recently been restored and re-canvassed.

The following is a list of some of the most notable works in sculpture and painting, the numbers being those of the official catalogue.

The entrance to the Museum is by the Pavillion Sully, the MUSEE D'ANTIQUES being first entered by the Salle de Carya

tides.

ANTIQUES.

ROTUNDA.

The Borghese Mars (in the centre). Achilles quitting Deidamia; Priam First Room.-A Sacrifice. Opposite: beseeching Achilles to give up the body of Hector.

Second Room. 131. The Roman Consorts; Bacchus triumphant over the Indians. 223. Bacchus and the Four Seasons. 243. Bacchus and

Ariadne. 349, 350. Cupids holding

wreaths. 426. The fall of Phaeton. 569. Mithras sacrificing a bull.

Third Room.-Gordianus, Tranquillina, Pupienus, Mamaa. 465. Rome

seated on a rock.

Fourth Room.-38. Roman Soldiers

before the Temple of Jupiter, Mamaa, Didia Clara, Plautilla, Julianus, Commodus.

Fifth Room. - Emperors Marcus Aurelius, Trajan, Hadrian, the Antonines. Colossal bust of Lucilla.

Sixth Room.-Augustus, Otho, Nero, Galba, Claudius, Vespasian. 184. Germanicus in the centre. Livia, Julius Cæsar, Antinous.

Salle de Diane.-1. Altar of the

Twelve Gods (in the centre), Minerva and bas-reliefs of a temple of Assos. 9, 10, 11. Bas reliefs of the Island of Thasos. Castor and Pollux.

Milo Gallery-25-28. Four Termini (Hercules, Mercury). 250. Silenus

and Bacchus. 299. Bacchus and Centaur. 44. Juno. 282. Fauni gather

ing grapes (sarcophagus). 300. Family of Centaurs (sarcophagus). 377. The Three Graces. 379. Euterpe. 381. Another Euterpe. 480. Esculapius and Agathodemon. 439. Nereids and Tritons. Minerva, Fauni, Hercules and Telephus, several statues of Venus, an Athlete, and at the end, 136. VENUS OF MILO

cury, Antinous, Bacchus, Esculapius 137. The Venus of Arles.

SALLE DE CARYATIDES.

148. Diana at the Bath. 183. Jason. 235. Feast of Bacchus (Borghese vase). 476. Victory of Samothracia. 342. Cupid trying his wings. The Boy and goose; The Discobolus; She-wolf suckling Romulus and Remus. 686. Venus with the shell. 374. The Borghese Hermaphrodite. Statues of Achilles, Bacchus, Jupiter, Hercules, the Lycian Apollo.

Paolo

PAINTINGS.

SALON CARRÉ.

Veronese (1528-1588).---95. The Marriage Feast at Cana. 96. The Banquet of Simon the Pharisee. 100. Jupiter punishing Crime.

Corregio (1494-1534).-20. Antiope slumbering.

Guercino (1591-1666).-42. Resurrection of Lazarus.

Annibal Carracci (1560-1609).-123. The body of Christ resting on the Virgin's knees.

Rembrandt (1606-1669).-410. The joiner's family.

Andrea del Sarto (1488-1630).-380. A Holy Family.

Leonardo da Vinci (1488-1530). 459. The Virgin, Jesus, and St Ann. 462. Portrait of Mona Lisa.

Murillo (1618-1682). 546. THE CONCEPTION.

Van Dyck (1599-1641).-142. Charles I., of England, full length. 150. Portraits of J. Grusset, Richardo and his

Annibal Carracci (1560-1609).-134. A Fishing Scene,

Fra Bartolommeo (1496-1517).-57. The Virgin, St Catherine of Sienna, and other Saints.

Bonifazio (1500-1562). -74. The Holy Family, Magdalen, Sts. Francis and Anthony.

Luini.-231. Jesus asleep. Lorenza da Pavia.-176. A Holy Family.

Perugino (1446-1514).

428. St

Paul. 429. A Combat between Love and Chastity.

Paolo Veronese (1528-1588).-92. The Swoon of Esther. 99. The Pilgrims at Emmaus.

Raphael Sanzio (1483-1520).-366. St John the Baptist in the Desert. 371. Portrait of Balthazar Castiglione. 373. Portrait of Joan of Aragon.

Second Compartment (Italian School continued).

Caravaggio (1569-1609).-24. Death of the Virgin.

Guercino (1591-1666).-40. Lot and his daughters.

Canaletti (1697-1768).-105. View of a Church at Venice.

Lodovico Carracci (1555-1619).—141. The Virgin and Child appear to St Hyacinth.

Annibale Carracci (1560-1609).119. Virgin with Cherries. 125. Resurrection of Christ. 134, 135. Fishing and the Chase.

Luca Giordano (1632-1705).—191. Mars and Venus.

Guardi (1712-1793).-209, 210. Festivals at Venice.

Guido Reni (1575-1642).-810. David contemplating the head of Goliah. 311, 312. The Annunciation and Purification. 316. Christ giving the keys to St Peter. 321. St Sebastian. 323. Hercules killing the Hydra of Lerna. 324. Hercules and Archelous, 326. Hercules on the Funeral pile.

Carlo Maratta (1627-1713).—254. The Virgin contemplating Christ asleep.

Salvator Rosa (1615-1673) -344. A Battle-piece. 345. A Landscape. Spada (1576-1622).-400. Martyrdom of St Christopher.

Domenichino (1581-1641).-474. St Cecilia. 477. The Triumph of Love.

SPANISH SCHOOL. Second Compartment. Murillo (1618-1682).-540. Birth of the Virgin. 542. Virgin and Child. 546. Miracle of St Diego. 547. Beggarboy.

Velasquez (1599-1660).-552. Portrait of Philip IV. of Spain.

GERMAN AND FLEMISH
SCHOOLS.

Third Compartment. Rubens (1577-1640).-A Collection of 22 large allegorical pictures relating to Marie de Médicis, numbering from 435 to 454, for which see Catalogue (Ecole Flamande).

Holbein (1498-1554).-206. Portrait of Nicholas Kratzer, Royal Astronomer. 207. Portrait of Wm. Warham, Abp. of Canterbury. 210. Portrait of Thomas More (Lord High Chancellor). 212. Portrait of Sir Richard Southwell.

Quentin Matsys (flourished in 1530). -279. A Banker and his wife.

Rembrandt (1606-1669).-407. The Pilgrims at Emmaus.

Gerard Dow (1613-1680).-123, 124, 126, 127, 128, Dutch Scenes of Domestic Life. 127. Reading the Bible.

Van Dyck (1599-1641).— 138. The Virgin weeping over the Body of Christ. 143, Portraits of the Children of Charles I. 143. Portrait of Francis de Moncada. 151. Portrait of the Duke of Richmond. 152. Portrait of Van Dyck.

Hobbema (flourished in 1636).—205. Landscape.

Van Ostade (1610-1688).-369. His Family. 376. A Halt before an inn.

Wouwerman (1620-1668). -572. A Cavalry Charge. 576. A Halt of Troopers.

Fourth Compartment.

Berghem (1624-1683). · 18. Landscape with Cattle.

Philippe de Champaigne (1602-1674). -77. Jesus celebrating the Passover. 94. Portraits of Mansard and Claude Perrault.

Cuyp (1605-1672).-104, 105, 106 Landscapes.

Rubens (1577-1640). 459. Elizabeth of France, daughter of Henry IV. Van der Heyden (1637-1712).-202. View of the Town-house at Amster. dam.

Paul Potter (1625-1660).-399, 400. Landscapes with Cattle.

Rembrandt (1606-1669).-404. The Angel Gabriel quitting Tobiah. 412, 413, 414, 415. Portraits of himself.

Ruysdael (1630-1681). - 472, 473. Landscapes.

Teniers (1610-1694).-511. St Peter denying Christ. 512. The Prodigal Son, 513. Works of Charity. 514. The Temptation of St Anthony. 518. Interior of a pot-house. 523. The Player on the Bag-pipe.