Probably the most prominent of all the romances, so far as identifying the scenes of their action goes, are the Valois series.
As we know, Dumas was very fond of the romantic house of Valois, and, whether in town or country, he seemed to take an especial pride in presenting details of portraiture and place in a surprisingly complete, though not superfluous, manner.
The Louvre has the most intimate connection with both the Valois and the D’Artagnan romances, and is treated elsewhere as a chapter by itself.
Dumas’ most marked reference to the Hôtel de Ville is found in the taking of the Bastille, and, though it is not so very great, he gives prominence to the incident of the deputation of the people who waited upon De Flesselles, the prévôt, just before the march upon the Bastille.
In history we know the same individual as “Messire Jacques de Flesselles, Chevalier, Conseiller de la Grande Chambre, Maître Honoraire des Requêtes, Conseiller d’Etat.” The anecdote is recorded in history, too, that Louis XVI., when he visited the Hôtel de Ville in 1789, was presented with a cockade of blue and red, the colours of the ville—the white was not added till some days later.
“Votre Majesté,” dit le maire, “veut-elle accepte le signe distinctif des Français?”
For reply the king took the cockade and put it on his chapeau, entered the grande salle, and took his place on the throne.
All the broils and turmoils which have taken place since the great Revolution, have likewise had the Hôtel de Ville for the theatre where their first scenes were represented.
It was invaded by the people during the Revolutions of 1830 and 1848, as well as in the Commune in 1871, when, in addition to the human fury, it was attacked by the flames, which finally brought about its destruction. Thus perished that noble structure, which owed its inception to that art-loving monarch, François I.
