We must now return to the Rue St. Denis, and follow it until we come to the Rue de la Ferronnerie, which is to the left, into which we must proceed, and shall find that the second turning to the left is the Rue des Déchargeurs, and at No. 11 is an edifice of the seventeenth century, which is now the Dépôt général des Bonneteries (Hosiery) de France.
Returning a few steps northward, brings us to the corner of the Rue St. Honoré, and against No. 3 is a bust of Henry IV, and a stone with a latin inscription, indicating that it was exactly opposite that spot that he was stabbed by Ravaillac. The street was very narrow at that period, and at the moment when the deed was perpetrated, the carriage of Henri IV was stopped by a number of carts which choked up the passage. A little street nearly opposite, takes into the Marché des Innocents, which occupies an immense space formerly the cemetry of the Innocents. In the middle of the area is a fountain built by Pierre Lescot, in 1551, and is decidedly a most beautiful object, which is not sufficiently noticed by strangers, as it is surrounded by a crowded market and not at all hours easy of approach; the court-yard of a palace would be a more appropriate situation for this elegant edifice, and I particularly request my readers to pay it a visit. Around this fountain is certainly the largest and most frequented market in Paris, not only each description of vegetables, poultry, and almost all kind of eatables are sold here, but cloth, a large building being purposely constructed for that object 400 feet in length; another division is for every description of herbs, the northern side is devoted to potatoes and onions; a triangular building a little farther, is on purpose for butter, eggs, and cheese, whilst another edifice is for fish. At a short distance, in the Rue Mauconseil is the great hall for the sale of leather, which was formerly the Hôtel de Bourgogne, where the players used to perform scriptural pieces in the 15th century. To the west of the Marché des Innocents is the curious street de la Tonnellerie, an open passage running, through the ground floors of some of the houses, inhabited mostly by dealers in rags, cloth, and old furniture; in this street is the bread market, where it is sold cheaper than at the bakers in Paris. At the south end of the street at No. 3, is the site of the house where Molière was born, which was held by his father who was an upholsterer and valet de chambre to Louis XII; against the house is a bust of the author, with an inscription specifying the event.
Following the Rue de la Tonnellerie brings us opposite St. Eustache, which after Notre-Dame is the largest church in Paris, built on the site of a chapel of St. Agnes. The present edifice was begun in 1532, but not supposed to have been finished until 1642. The portico is more recent, being after a design by Mansart de Jouy, and erected in 1754: combining altogether a most incongruous mixture of styles and orders of architecture, originally commenced with the design that it should be a sort of mixed gothic, of which the southern door and front bear evidence, whilst the western portico has doric and ionic columns, and at the northern end are corinthian pillars, notwithstanding it is a bold imposing structure, and the interior has the appearance of a fine abbey, and is a monument which every stranger ought to visit. It is a pity that a number of little square knobs have been suffered to remain sticking out from different parts of the shafts of the columns of this church; it is strange that the French could not be made to understand that the beauty of a pillar in a great degree consists in a bold broad mass, which should never be cut up into littlenesses, by rings or any obtruding projections. In this church lie buried several celebrated persons, amongst the rest the great Colbert, which is indicated by a very handsome sarcophagus, sculptured by Coysevose. The sacred music here is sometimes most exquisitely delightful, the organ being particularly fine. Facing the southern front is the Marché des Prouvaires, a sort of appendage to the Marché des Innocents, and opposite the east side of the church, is the Fontaine de Tantale, at the point formed by the two streets, Montmartre and Montorgueil, which will repay the observer for a few minutes devoted to its examination. The west front of the church faces the Rue Oblin, which we will take, as it leads to the Halle au Blé, a fine extensive circular building, with a noble dome, it is built on the site of the Hôtel de Soissons, erected for Catherine de Médicis, in 1572, which in 1748 was demolished, and the present Halle constructed in 1763; the roof has a round skylight, 31 feet in diameter, and from the system adopted in its formation, it is considered by connaiseurs a chef d'œuvre in the art of building. It is indeed altogether so curious, and so commodious a building for the purpose for which it is designed, that the visiter must be highly gratified in viewing it: there is besides another attraction, which is on the southern side, one of the immense doric columns which once composed the noble Hôtel de Soissons; it was erected for the purposes of astrology, and contains a winding staircase, and is ornamented with emblematic symbols, of the widowhood of Catherine de Médicis, as broken mirrors, C. and H. interlaced, etc. An ingenious sundial is placed on its shaft, and a fountain in its pedestal.
By taking the Rue Sartine we shall arrive at the Rue Jean-Jacques Rousseau, and there find the Hôtel des Postes or General Post Office; it was formerly an Hôtel belonging to the Duke d'Epernon, and was afterwards inhabited by different proprietors, until 1757, when it was purchased by government, for its present purposes. It is an extensive building but badly situated amongst narrow streets, many additions have been made since it has become government property. Taking the Rue Verdelet, the street which runs along the north side of the building, and proceeding westward, we come to the Place des Victoires, which was built in 1685; in the centre is a very fine equestrian statue of Louis XIV, in bronze, which although weighing 16,000 lbs is entirely sustained by the hinder legs and the tail. It is the work of Bosio, and was modelled in 1822.
Proceeding to the south-west, by the Rue de la Petite-Vrillière, the Bank of France is before us. It was formerly the Hôtel de Toulouse, erected by Mansard, in 1720; for the Duke de la Vrillière; it is well situated, and adapted to its present use, but it has no striking architectural beauty. The Rue Vide Gousset, to the north-west of the Place des Victoires, leads to the Église des Petits-Pères, or de Notre-Dame des Victoires, erected in 1656. It was called Petits-Pères, or little fathers, on account of Henry IV, on two of the community of small stature having been introduced into his antechamber, asking, "who are those little fathers?" The convent which was attached, is now used as barracks for infantry. The portal of the church was built in 1739, and is composed of columns of the ionic and corinthian orders. The interior has some handsomely decorated chapels and altars; the pictures by Vanloo also are fine. Lulli, the musical composer, lies buried here. In the Rue Notre-Dame des Victoires is the immense establishment of the Messageries Royales, from whence start diligences to all parts of France; we will pass through the yard into the Rue Montmartre, at No. 44, is the Marché St. Joseph, at 166, the Fontaine de la Rue Montmartre, and at No. 176, the Hôtel d'Uzès erected by Le Doux, considered one of the finest hôtels in Paris.
We will now enter the Boulevard Poissonnière, by turning to the right, and in passing along to the Boulevard Bonne-Nouvelle must notice the very handsome Bazaar called the Galeries de Commerce, and the noble building called Maison du Pont de Fer with its curious iron bridge, uniting the back and front premises with the Boulevard. Taking, the Rue de l'Échiquier, to the left, will conduct us to the Rue du Faubourg-Poissonnière, and opposite, at No. 23, we find the Garde Meuble de la Couronne, containing all the furniture of the crown not in use, the regalia, and other articles of immense value, but to obtain admission is extremely difficult. Annexed to this building is the Conservatoire de Musique and the Salle des Menus Plaisirs. In this street are several handsome mansions particularly at Nos. 26 and 60, the gateway of which, with its fine ionic columns, is one of the most imposing in Paris; there also are large barracks for infantry with military trophies over the entrance. From thence a few steps lead into the Rue Lafayette, and will bring us to a new church which promises to be, when quite finished, one of the most elegant in the capital, it is situated at the summit of the Rue Hauteville. The order is ionic, which is solely and consistently preserved throughout the building, all the ornaments are in good taste, and the paintings promise to be in keeping with the rest, so that it augurs well towards being quite a chef-d'œuvre of art. It is intended to replace the old church of St. Vincent de Paule, which stands about a furlong from it to the west in the Rue Montholon, to where we will proceed, and look at the altar-piece, being the apotheosis of the philanthropist to whom it is dedicated, and the only object in the church worth attention.
Keeping straight on westward, we come to the beautiful church of Notre-Dame-de-Lorette, finished in 1837, it is exactly fronting the Rue Lafitte, from which the noble portico of corinthian columns has a most beautiful effect. The interior is splendid, indeed gorgeous, all that painting, sculpture, and gilding can produce, is here combined, and the effect is dazzling, and excites almost universal admiration, and would mine also were it a theatre, but the chaste, still solemnity of a holy sanctuary exists not here, amongst the gay colours and lurid glare which every where meets the eye from the glitter, which blazes around in this too profusely decorated church. Yet one must do justice as one examines it in detail, and admit that in point of execution all its different departments are most exquisitely wrought, and magnificent as a whole, only not consistent with our associations connected with a temple of worship.
We will now descend by the Rue Faubourg Montmartre to the Boulevards, and bearing a little westward, shall come to the very handsome Rue Vivienne, through which we will proceed until we are opposite the Bourse (Exchange), and there we pause and contemplate what I consider the beau idéal of fine architecture; its noble range of 66 corinthian columns have no unseemly projections to break the broad mass of light, which sheds its full expanse upon their large rounded shafts, no profusion of frittering ornaments spoil the chaste harmony which pervades the whole character of this building, which to me appears faultless. If there were any improvement possible, I should say that if the bold flight of steps which leads to the front entrance had been carried all round the building the effect would have been still more grand than it now is. The interior is adorned with paintings in imitation of bas relief, which are executed in the most masterly style. The grand Salle de la Bourse in the centre of the building, where the stock-brokers and merchants meet, is 116 feet in length by 76 in breadth, entirely paved with marble. The whole arrangements are such as to render it in every respect the most commodious for all commercial purposes.
From hence we proceed by the street opposite to the Rue Richelieu, and turning to the left, we arrive at the Place Richelieu, and must pass a few minutes in admiring the elegant bronze fountain in the centre with its noble basins and four allegorical figures representing the Seine, the Loire, the Saône, and the Garonne, round which the water falls from above, and flows beneath, producing a most beautiful effect.
Opposite is the Bibliothéque du Roi, or Royal Library, which certainly is the most extensive and most complete of any in the world, possessing nearly 1,000,000 books and printed pamphlets, 80,000 MSS, 100,000 medals, 1,400,000 engravings, 300,000 maps and plans. This institution may be considered to owe its foundation to St. Louis, who first made the attempt of forming a public library, and arranged some volumes in an apartment attached to the Holy Chapel; under successive reigns the number gradually increased, whilst the locality assigned for them was often changed, and it was not until the reign of Louis XV that they were placed where they now are, in a most extensive building, formerly the residence of Cardinal Mazarin, which, seen from the Rue Richelieu, presents nothing but a great ugly dead wall, with a high roof to it, and here and there a few square holes for windows, but when you enter the court-yard, you find rather a fine building than otherwise, and the interior displays, by the vast size of the apartments, some idea of what its former grandeur must have been; the richness of the ornaments and decorations in most instances are destroyed, and replaced by books, with which the walls are covered. The engravings occupy the ground floor, and amongst them are to be found fifty thousand portraits, including every eminent character which Europe has produced, and presenting all the varieties of costumes existing at the different epochs in which they flourished; in one of the rooms where the prints are kept is an oil portrait, in profile, of the unfortunate King John of France, which is curious as an antiquity, being an original, and executed at a time when the art of portrait painting was very little known, as John died in the year 1364. On ascending the staircase to the right, a piece of framed tapestry must be remarked, as having formed part of the furniture of the chateau of Bayard.