A rough sketch of modern Paris

by J. G. Lemaistre

je ne vous puys fayre que ce

mot bonsoyr le cœur a moy je

te bese un mylyon de foys

		8
ce XIIIIIme octobre	8	H	8
		8
	HENRY[83].”

As the tokens of regard, which the gallant Henry thought his mistress deserved, were only limited in number to a million, we cannot too much admire the prudence with which he, who was never known to break his word, promised to testify his affection, not according to the merit of the lady, but to the powers of her lover.

The five large rooms on the second floor contain the titles and genealogies of private families, which, though forbidden, since the revolution, to be kept by individuals, are here preserved, in order to ascertain the claims of property, and to assist the researches of historians. They are contained in five thousand boxes, or porte-feuilles, and are arranged and labelled with the greatest precision.

The cabinet of medals is ornamented by drawings over the doors by Boucher; by three large pictures, by Natoire, representing Thalia, Calliope, and Terpsichore; by three of Carlo Vanloo, representing Psyche led by Hymen, the inventress of the flute, and the three protectors of the Muses. The cabinet of antiques, above stairs, contains the busts, vases, inscriptions, instruments of sacrifice, &c. collected by the celebrated Caylus.

The cabinet of engravings, which occupies what is called, in France, the “entresol,” or the floor between the first and second, consists of five thousand volumes, divided into twelve classes. The first contains sculptors, architects, engineers, and engravers, arranged in schools. The second, prints, emblems, and devices of piety. The third, greek and roman fables and antiquities. The fourth, medals, coins, and arms. The fifth, public festivals, cavalcades, and tournaments. The sixth, arts and mathematics. The seventh, prints relating to romances and works of pleasantry. The eighth, natural history in all its branches. The ninth, geography. The tenth, plans and views of ancient and modern edifices. The eleventh, portraits of persons, of all conditions, to the number of fifty thousand; and the twelfth, a collection of fashions and costumes of almost every country in the world, from the porte-feuille of Gaigniéres. This last class is said to contain the most extensive collection yet known of french fashions, from the time of Clovis to the present age. The greater part of the sheets are coloured, some are on vellum, copied from glass windows, from pieces of tapestry, and from figures on tombs. The picture of king John, being the first specimen of french painting, is found in this collection. It is well preserved.

I ought not to conclude my account of the national library without mentioning, that among the manuscripts there are several in the persian, arabic, and Chinese languages.