apparently inconvenient building, of a quadrangular form, with a large court in the middle; but as Paris cannot boast of the tumultuous livery-meetings of London, it may perhaps be sufficiently large for its principal purpose, the transacting of the judicial business of the department. It forms one side of the Place de Grève, a spacious square in which the public executions are carried into effect.

On my return I looked into the church of St. Louis St. Paul, formerly belonging to the Jesuits. It appeared to me unusually plain, containing but two or three paintings; but it was enriched, prior to the revolution, by two most superb monuments, and several excellent pictures. The figures of these monuments, I understand, were of silver, having their draperies of the same precious metal gilt. They represented four angels of the human size, holding two gold hearts, containing the hearts of Louis XIII. and Louis XIV. The exterior of the building is very highly finished, but possesses no leading feature of much interest.

On the 29th I walked to one of the extremities of the town to see the large military hospital at the Val de Grâce. It was originally built, I believe, for a monastery, and has been a very noble edifice, but it is now apparently out of repair. The chapel has been turned into a military storehouse, and the dormitories and other parts now form a sufficiently convenient military infirmary.

In the evening I went to the Opera: the performances were "Iphigènie en Aulide," and "Flore et Zephyr." The music of the former is by Gluck, and consequently learned and elegant, while that of the ballet, of which I think I gave you an account in my last, is enchantingly delicious.

Having seen the ballet before, I devoted my whole attention to the music, by shutting my eyes and reclining on a vacant bench in the box, and I certainly never experienced more gratification of the kind, being now and then completely intoxicated by it. No doubt, you have sometimes felt the same effect in a degree, and can therefore well conceive the power which has been attributed to music by the ancient medical writers, upon the human mind, when it was less civilized, but consequently more susceptible of external impressions; indeed I almost literally believe what we hear of Orpheus upon this subject.

The next morning I went to the Hôtel des Monnaies, where I saw the collection of medals, which have been struck from time to time, in order to commemorate the great events France has experienced since the accession of Francis the first: they are of copper, and in general well executed. They may, however, be procured either of gold or silver, as I was informed by an English countess, who came there to make inquiries for some which she had ordered to be made for her.

That evening I could not resist the inclination once more to hear Madame Catalani, at the Théâtre des Italiens. The opera was "Il Fanatico per la Musica," by Mayer, which has been often played in London. Catalina's singing is infinitely preferable to any other which I have heard in Paris, and, if I may judge from the manner in which the theatre was filled, her talents are duly estimated by the French. The house is not large, but newly and tastily decorated, and I dare say she is making money there; although her income, as proprietor of the theatre, is less sure than when in London she was performing at an enormous salary. No ballet is played at this theatre.

On Sunday the 31st I repaired to the celebrated gallery of the Palais de Luxembourg, in order to see the series of paintings, by Rubens, descriptive of the principal events in the life of Marie de Medicis, the queen of Henri IV. They are about twenty in number, all of a very large size, and in excellent preservation. They have been called Rubens' poem, and certainly with so much justice, that if an accurate description of them were made in verse, it could not fail of becoming in every particular an epic poem of the first order.

He has employed, with excellent judgment, a good deal of celestial machinery, as it is called, and so intelligibly, that any one the least versed in mythology can at once discover his meaning. I shall always quote this fine collection as a forcible proof of the very intimate alliance of painting to poetry; they are not merely sisters, they are twin sisters; and I now doubt whether Rubens, in the enjoyment of the former, had not a richer prize than even Milton in the possession of the latter.

There is another collection of smaller pictures here by Lesueur, which is also much talked of, but certainly very much inferior to that just noticed: it describes the life of St. Bruno, the founder of the order of Carthusians; but unlike Rubens' divine poem, this is a mere insipid matter-of-fact representation of the adventures of an individual, much less interesting, to the generality of spectators, than Dr. Syntax or Johnny Newcome.

In another wing of the palace there is a fine assemblage of views of the sea-ports of France, exquisitely painted by Vernet, and by Hue a living artist. In the view of Boulogne, by the latter, there existed a few months ago a very good likeness of Bonaparte at the head of his staff, ascending the heights on a review day: he was represented in the act of giving charity to a crippled soldier; but lately, his imperial countenance has been "transmogrified" to the ugly mug of Marshal Any-body.

There are also a few good modern statues, among which the Baigneuse, by Julien, is lovely, being almost equal, in my opinion, to the far-famed Venus de Medicis: the French are very proud of this statue; and indeed it must appear to every one, as it struck me, a first-rate production of human art. The fine marble staircase and the ceilings must also be noticed as very grand and striking.

The exterior of this palace, which is now the House of Peers, has nothing very remarkable. It is a large regular building of a pure style of architecture: but its gardens are almost as fine as those of the Tuileries; they are, however, in bad condition, owing to the encampment of the Prussians, which has only of late been broken up: they were in small wooden huts, built in the principal walks and avenues of the garden.

By the by, I must not omit to mention that in Rubens' gallery there was a carpenter at work, mending the inlaid floor, although Sunday; a pretty example of attention to the fourth commandment.

The church of St. Sulpice, of which I shall next take notice, is one of the finest structures of its kind in Paris. Its architecture is very chaste and beautiful, especially that of the interior, which has more the air of our great religious edifices than French churches usually have. It possesses many fine chapels, but the chapel of the Virgin is the most venerable looking spot I have ever seen. Indeed I was completely awe-struck by it, and almost instinctively returned, to experience again the pleasing calm which its first appearance had excited in me. Upon examining the outer wall of the building, I found that this effect was produced by the ingenious manner in which its altar piece, which is a chef d'œuvre in sculpture, received its light: it is a statue of the Virgin and child, with a surrounding representation of clouds and little cherubs, placed in a niche, which is lighted by a small window over the head of the statue. The window is not discernible, but I suppose it is formed of ground glass, or something like it; at all events, the effect is almost magical, and although no catholic, I see no impropriety, in such a vortex of vice as Paris, in endeavouring by any means, even by an image or a painting, to abstract the human mind, for one short moment, to ideas above it.

This church, which is not old, I understand was one of Bonaparte's favourite churches, and to shew it to more advantage, he pulled down its surrounding houses, in order to form a large square before it, in the centre of which he erected a very handsome fountain.

Near this square is the École de Médecine, a large and