CHAPTER XXVIII

.

CENTRAL PARIS (_continued_).

The Rue Saint-Denis--Saint-Leu-Saint-Gilles--George Cadoudal--Saint-Eustache--The Central Markets--The General Post Office.

[Illustration: RUE DE BIRAGUE, LEADING TO THE PLACE DES VOSGES.]

The Rue Saint-Denis is by ancient tradition, and still in the present day, as a matter of fact, the favourite abode of the French bourgeois. Our aldermen have long ceased to live in the City, and a John Gilpin of our own time, wherever his place of business might be, would have his private residence at Clapham or Brixton, at Holloway or Highgate. The Paris tradesman, however, still lives, like the M. Jourdain in Molière's "Bourgeois Gentilhomme," above his shop; and his shop, in a good many typical cases, is, as it was two centuries ago, in the Rue Saint-Denis. "La Grande Rue Saint-Denis" the street was formerly called; and, as it is upwards of three-quarters of a mile long, it may be said to deserve its name. It is even now the most central and the most commercial street in Paris. According to Sanval, one of the many historians of the French capital, it is the street _par excellence_ of all Paris. Voltaire, on the other hand, detested this street, and had good reasons for doing so. One day, when he was but seventeen years of age, he found himself by chance in the Rue Saint-Denis, with his purse well filled, at the very moment when an auctioneer was selling the goods of an unfortunate man who had not been able to pay his taxes. A carriage, with two horses, and the livery of the indispensable footmen, was put up, and in a sudden fit of wildness, the young philosopher, not yet philosophical, purchased the lot. The coachman, who was looking on, offered his services, which the youthful Voltaire at once accepted. "Put in the horses and get up on the box," he said; and the schoolboy, who had just left the Jesuits' College, was seen driving along the Rue Saint-Denis; not, however, for any length of time. The coachman he had engaged, an awkward fellow, managed, at the corner of the street, to upset the carriage. Voltaire's ardour now subsided and he lost no time in getting rid of his newly-acquired equipage. The Rue Saint-Denis, in consequence, no doubt, of this accident, had made a bad impression on Voltaire; and in after days he never spoke of it without sarcasm.

[Illustration: FOUNTAIN OF THE INNOCENTS.]

The Rue Saint-Denis was originally nothing but a highway leading to the Abbey of Saint-Denis; and one of its frequenters is said to have been that very Saint Denis whose name it was afterwards to bear. The highway, thanks to its central position, was soon lined with houses, and before long every house in the street had its shop. Along this great thoroughfare the kings and queens of France passed in returning from their coronations; and it was by the same road that they proceeded to their last resting-place. The Rue Saint-Denis became at once the central line of communication and the central commercial street of Paris. Then it was that the name of "La Grande Rue Saint-Denis" was given to it--a title it well might bear even in the present day.

The Rue Saint-Denis connects the quarter of the "halles," or public markets, with the Bonne Nouvelle quarter. After crossing the Rue Saint-Honoré the Rue Saint-Denis breaks off on the left, interrupted by the Square of the Innocents, in the centre of which stands the fountain of the same name. This square replaces the Market of the Innocents abolished in 1860. The fountain dates from the thirteenth century, having been repaired in 1550 by Pierre Lescot, with Jean Goujon for his assistant. Despite the many alterations and modifications it has undergone, the fountain is still remarkable for a certain nobility and grace. But the five water-nymphs of Jean Goujon, worn by the rays of the sun and by the spray of the cascade, show signs of decay; and it has been proposed to replace them by copies, while preserving the originals in the Louvre.

A little higher up on the right is the Church of Saint-Leu-Saint-Gilles, founded in 1235, and raised to the position of parish church in 1617. It has been so often repaired and reconstructed that very little of the original building remains. The church possesses a portrait of Saint-François de Salles, painted after his death by Philippe de Champagne, and a picture of the year 1772, embodying the legend of the soldier who was burnt in 1415 for having stabbed with his knife an image of the Virgin which stood at the corner of the Rue aux Ours, now known as Rue de la Bourse. The image, according to the tradition, shed blood in atonement for the soldier's profanity. An expiatory festival, which lasted three days, used to be celebrated up to the time of the Revolution.

It was in the Church of Saint-Leu-Saint-Gilles that an heroic priest dared, in 1793, at the height of the Reign of Terror, to say a mass for the soul of the Princesse de Lamballe immediately after her execution.

Here, too, George Cadoudal, the Vendean chief, pursued by the police, concealed himself for several days in one of the subterranean tombs. Cadoudal was the son of a farmer. But like all classes in La Vendée, he was devoted to the Monarchy, and joined one of the first bands formed during the Reign of Terror to fight against the Revolution. After the defeat of the principal corps, Cadoudal was arrested and imprisoned at Brest. He made his escape, however, and soon became one of the most formidable leaders of the rebellion in Brittany, known as that of the Chouans--so called from their cry of recognition resembling that of the screech-owl or _chouette_. In 1796 he surrendered to Hoche, and was pardoned on condition of not again bearing arms against the Republic. This, however, did not prevent him from heading a new insurrection in 1799. Again defeated, he was received in conference by General Brune, and was once more released on the same conditions as before. The First Consul wished to take him into his service, but Cadoudal would listen to no offers from one whom he regarded as a usurper. He now, in the year 1800, left France for England, where he received, with congratulations on the part of the English Government, the rank of lieutenant-general and the Grand Cordon of Saint Louis, the commission and the decoration being both handed to him by the Count of Artois in the name of Louis XVIII.

[Illustration: SAINT-EUSTACHE.]

After many vain attempts to bring about a new insurrection in the west of France, he resolved to attack Bonaparte's Government in Paris itself, and sent on one of his officers, Saint-Régent, to prepare the way for him. He afterwards denied all complicity in Saint-Régent's plot against Bonaparte's life. "He was at Paris," said Cadoudal, "in obedience to my orders, but I never ordered him to construct and employ his infernal machine." Cadoudal was in Brittany at the time. But closely pursued, he was advised once more to take refuge in England, where, with Pichegru and the Count of Artois, he prepared another plot against the First Consul, who was now to be arrested and carried away.

In August, 1803, Cadoudal went to Paris, and remained there, in spite of the constant search of which he was the object, for seven months. He was at last arrested in a hackney-cab, but not until after he had killed one of the police agents. Brought to trial, he avowed that his object had been to upset the Government in order to place Louis XVIII. on the throne. He was executed with eleven of his accomplices. After the Restoration his family was ennobled by Louis XVIII.

The Church of Saint-Leu-Saint-Gilles was converted during the Revolution into a salt-petre store, and then fell into the possession of Jews, from whom it was bought back when public worship was restored in France.

Further on is the Abbey of Saint-Magloire, and beyond that the asylum of Saint-Jacques aux Pelerins, which dates from the early part of the fourteenth century. In 1317 under the reign of Philip V., called The Long, many notable and devout persons who had made the pilgrimage to Saint James Compostella in Galicia, moved by devotion, meditated the construction of a church and an asylum in the Rue Saint-Denis, to the glory of God, the Holy Virgin, and Saint James the Apostle, in order to lodge and feed the pilgrims, whether going or coming. The church was built with an asylum joined to it, and it was open, not only to the pilgrims, but also to seventy poor persons whom it received every day.

The Abbey of Saint-Magloire dates from the tenth century, when it stood half-way on the road from the Cité to Saint-Denis. It was converted by Marie de Médicis into a convent known as that of the Filles-Dieu, where penitent girls found shelter. It was suppressed, like all the other religious houses, in 1793. Some fifty years afterwards the foundations of the convent, which had fallen into ruin, were being dug up with a view to some new building, when ten Gothic statues were discovered, mutilated and blackened. Among the stone figures Saint James was easily recognised by his pilgrim's costume. The statues were claimed by the town, and now figure in the Musée des Thermes. The shop which at present occupies the site of the ancient convent has for its sign:--"Aux Statues de Saint-Jacques."

Another famous convent existed at one time in the Rue Saint-Jacques--the Convent of the Holy Sepulchre it was called, also known as the Hôtel of the Trinity. Built for the pilgrims returning from the East, it was kept up until the taking of Constantinople, more than a hundred years later. The Holy Sepulchre having then fallen into the hands of the Turks, the idea of making pilgrimages to it came to an end; and the hostelry for pilgrims to the Holy Land was no longer required. The convent was now occupied by the Brothers of the Passion, who had obtained letters patent from Charles VI. empowering them to play religious mysteries. Thus the earliest of French theatres stood in the Rue Saint-Denis. It has been said that the kings of France made their coronation processions along the Rue Saint-Denis; and when Louis XI. was crowned, fountains of wine, milk, and mead were established over the whole length of the Rue Saint-Denis. In the present day the Rue Saint-Denis has lost much of its ancient animation through the formation of the Boulevard de Sebastopol. But under the ancient _régime_ it was really the leading thoroughfare in Paris. When, after the surrender of Paris to Henri IV., the Spanish garrison marched away, they defiled down the Rue Saint-Denis, while the king, standing at an open window, called out: "Now go home, and do not let us see you here again." The Rue du Faubourg Saint-Denis, on the other side of the boulevard, is less rich in historical associations than the Rue Saint-Denis itself. It may be mentioned, however, that at Saint-Lazare the bodies of the French kings made a halt on their way to their last resting-place in the Abbey of Saint-Denis.

The region comprised between the left side of the Rue Saint-Denis, the Rue de Rivoli on the south, the Rue Croix des Petits Champs on the west, and the Rue Étienne Marcel on the north, forms the vast quarter of the markets, with the parish church of Saint-Eustache, the Protestant Temple of the Oratory, the Central Markets, and the old Corn Market as its principal features.

Saint-Eustache is one of the most remarkable and one of the most admired churches in Paris. Erected on the site of an ancient chapel dedicated to Saint Agnes, which dated from the first years of the thirteenth century, it was already a parish church, under the invocation of Saint Eustache, in 1223. In the course of the next three centuries it became the richest and most frequented church in Paris. After Notre Dame, the Church of Saint-Eustache is the largest in Paris. Its coloured windows, signed Soulignac, and dating from the year 1631, eleven in number, are admirable alike by colour and by design. In addition to its mural paintings, dating from the reign of Louis XIII. (discovered beneath a thick coat of plaster in 1849), Saint-Eustache contains a number of frescoes and paintings of high merit. In the Ninth Chapel the tomb of the great Colbert, executed by Coysevox, after the designs of Lebrun, is to be seen. The grand organ, reconstructed in 1844 after a destructive fire, is one of the most complete and most sonorous that exists. This church, thanks to its colossal dimensions and to the perfection of its organs (one at each end), is the favourite church of musicians; and it is here that the Society of Musical Artists celebrates annually the festival of Saint-Cecilia, their revered patroness. On such occasions a new mass or musical service of some kind is given; and it was in this church that the Abbé Liszt had one of his most famous masses performed only a few months before his death. The angle formed by the meeting of the streets called Montmartre, Pont-Neuf, Montorgueil, and Rambuteau, is known as the "Saint-Eustache Point." It dominates the vast quadrilateral occupied by the Central Markets.

The Central Markets were founded by Philip Augustus, and they were soon surrounded by houses and shops. These markets in their present form were constructed on one design, and, so to say, at a stroke, under the reign of Napoleon III., by the architect Beltard, who sought his model in the finest of the Paris railway stations. The principal office of the fish market, at the corner of the Rue Pirouette and of the Rue Rambuteau, is in the ancient Hôtel du Heaume, a building of the fourteenth century. At number 108, Rue Rambuteau, was born Regnard, author of "The Gambler" and of "The Universal Legatee," the house having been owned by his father, a fish salesman beneath the sign of Notre Dame. A little nearer the Church of Saint-Eustache, just at the mouth of the Rue de la Réalle, stands a house which once belonged to the carpet-maker, Jean Poquelin, and afterwards to his son and heir, J. B. Poquelin, better known by his adopted name of Molière. For the name of Poquelin, by the way, he was indebted to an ancestor serving in the Scottish Guard, who bore the surname and came from the place of Pawkelin.

[Illustration: A MARKET SCENE.]

The Paris markets are the scene of constant activity from morning till evening. Buying and selling comes to an end, it is true, with the approach of night; but then the remains of what has been sold, with rubbish of all kinds, have to be cleared away, and scarcely has this been done, when market carts arrive with produce for the next day. The provisions brought to Paris are either sold to the factors of the market, who buy wholesale and sell retail, or to the market men and market women, or to any private person whom it may suit to become a purchaser. The finest, best, and most highly quoted vegetables and fruits come from the suburbs of Paris, where kitchen-gardening is carried to the last point of perfection. The farmers and gardeners of the environs, whose heavily-laden carts arrive towards nine in the evening, are their own salesmen in the markets. The growers of the departments and of Algeria send their fruit and their fresh vegetables to factors or commissioners, to be sold either in Pavilion Number 6--reserved for this kind of business--or at shops established in the neighbourhood of the markets.

[Illustration: AN AUCTION SALE OF POULTRY IN THE CENTRAL MARKET.]

It is calculated that in the course of the year the sales of fruit and vegetables amount to 241 millions of kilogrammes (one kilogramme represents upwards of two pounds), to which must be added nine million kilogrammes of fresh grapes, 30 million kilogrammes of sea and river fish (including lobsters and crayfish), eight million kilogrammes of oysters from various parts, 18 million kilogrammes of butter, 57 million kilogrammes of cheese, 181 million kilogrammes of meat of all kinds, 24 million kilogrammes of poultry and game; besides 20,721,600 kilogrammes of eggs, representing eggs to the number of 414 million--which gives to each Parisian an average of 166 eggs in the year. This figure, indeed, understates the fact, for the supply contributed by Paris itself has not been reckoned. Paris contains a number of cow-houses and small dairy farms, where milk and eggs are sold morning and evening, new-laid eggs, of which the Parisians are particularly fond, fetching from three to four sous apiece. There are fowls, too, in the Garden of Acclimatization; also in the large stables of the omnibus and cab companies. Many private persons, moreover, keep fowls. During the siege of 1870 a provision dealer in the Rue Vivienne kept on a marble counter a fowl which, when so disposed, laid beneath the eyes of the customer; and the eggs, whose freshness was unimpeachable, were sold at three francs apiece.

[Illustration: RUE RAMBUTEAU IN THE EARLY MORNING.]

There is a great sale, moreover, in the Paris markets for raised pies of various kinds coming from Agen, Périgueux, Marseilles, Pithiviers, Chartres, Amiens, Auvernay, Colmar, and Strasburg. These are estimated at 1,250,000 kilogrammes in the course of the year. But such a figure represents only a small portion of the pâtés consumed by the Parisians, large numbers of the delicacies being made in Paris itself, either by pastry-cooks of repute or by the best restaurateurs. At rich private houses, as at the principal clubs, where the kitchen is in the hands of eminent chefs, the pastry is always prepared on the premises. Season the whole with 20 million kilogrammes of grey or white salt, pepper, oil, and vinegar, and Paris will be found to consume of market food-produce alone, 640 million kilogrammes, without counting bread, the consumption of which is estimated at 700 million kilogrammes per year. Each Parisian, male or female, small or great, consumes every year on the average 600 kilogrammes of food, which is washed down with 600 million litres of wine, beer, cider, or perry, independent of coffee and liqueurs, such as Cognac, Chartreuse, rum, Curaçao, kümmel, and kirsch.

From the above figures it will be gathered that the Parisian population is well fed; and such is indeed the case. The very poor find their profit in the superfluity of the very rich; while the working classes profit by the relative cheapness of everything. If the minor restaurants, where dinner can be had for 22 sous and breakfast or lunch for 16 sous, are found too dear, there are the crèmeries and the wine shops, where a basin of soup, a slice of boiled beef, and a piece of bread may be had for 8 sous. A number of charitable institutions, moreover, exist, where a basin of soup or a slice of meat costs only 2 sous, or, in some instances, is given gratuitously.

The corn market occupies a portion of the site of the ancient Hôtel de Soissons, given to the convent of Penitent Girls by Louis XII., from whom Catherine de Médicis bought it in 1572 as a residence for herself. A curious and significant memorial of the queen mother's abode subsists in the shape of a column 30 metres high (the French metre is somewhat longer than the English yard), which is said to have been erected for Ruggieri, chief astrologer to the queen. At the base of the column is a fountain inscribed with the Arms of Paris; at the summit a sun-dial, constructed by Canon Pingré.

Two interesting buildings of different, and, indeed, opposite characters, that must not be forgotten in connection with the central markets are the new Commercial Exchange (in the Rue Etienne Marcel) and the old Fortress of John the Fearless, a very interesting specimen of the mediæval military architecture.

The greater part of this ancient quarter has been pulled down, and in place of it has arisen a new General Post Office (Hôtel des Postes), a building which resembles at once a barrack, a prison, a market-place, and a stable. The despatch, reception, and distribution of letters and printed papers is managed in the upper storeys, to which there are lifts, while the ground floor is reserved for the public. The former Hôtel des Postes, which has been absorbed in the new one, belonged successively to the Duke of Epernon and to the Controller-General, Barthélemy d'Hervart, from whom, on a memorable occasion, La Fontaine received hospitality.

The General Post Office of Paris, and central post office of all France, is established in a collection of houses, of which at least one possesses an historical character. Among the numerous persons of distinction who have from time to time directed the French Post Office mention in particular must be made of M. de Lavalette, who began life as a lawyer's clerk, entered, at the time of the Revolution, the National Guard, and volunteered to serve with the army when war broke out. He distinguished himself at Arcola, and attracted the attention of Bonaparte, who promoted him to the rank of captain, appointed him one of his aides-de-camp, and afterwards gave him in marriage the niece of his wife Joséphine. After taking part in the campaigns of Egypt, Germany, and Prussia, he was charged with the reorganisation of the Post Office, received the appointment of general-director, together with the title of Count, and the right of sitting in the Council of State. Dismissed by the Bourbons in 1814, he did his utmost towards bringing the dethroned Emperor from Elba, and, on the news of his arrival in France, took possession of the Post Office; in return for which Napoleon gave him the superior appointment of Minister of the Interior. After the battle of Waterloo and the Second Restoration, Lavalette was arrested, brought to trial on a charge of high treason, and condemned to death. His wife, however, Louise de Beauharnais, had sworn to save him, and with this view sought an audience of King Louis XVIII. She had many friends who were all willing to aid her in her wifely enterprise. The Duke de Richelieu promised to speak to the Duchess of Angoulême in favour of Lavalette; and she, it was hoped, would intercede with the king. Marmont, an intimate friend of the prisoner, had arranged to take the young wife to the Tuileries; but on the very day appointed for this purpose an order was issued that no woman was, under any circumstances, to enter the palace. The explanation of so unexpected an edict was that the Duchess of Angoulême had resolved not only to say nothing to the king on Lavalette's behalf, but to prevent anyone else, and especially his wife, from uttering a word to His Majesty on the subject. Marmont, however, accompanied by Mme. de Lavalette, contrived to force his way into the palace, and took up his position, with the agitated wife by his side, in a room through which he knew that the king and the Duchess of Angoulême would pass, on returning from mass. Seeing the unhappy woman on her knees, the duchess turned her head away; while the king, after receiving a petition from her, muttered something unintelligible, and walked on. All hope of pardon had vanished; and it was understood that the execution would take place the following day. Foreseeing what in all probability would happen, Mme. de Lavalette had already formed a plan for her husband's escape. One of her associates in the enterprise was an old friend of Lavalette's named Baudus, who, in case of success, had prepared a safe asylum for the prisoner at the house of an old member of the Convention named Bresson, then chief of a division in the Ministry of Foreign Affairs. The very evening of the day on which she had gone to the Tuileries Mme. de Lavalette was taken to the Conciergerie in a Sedan chair, accompanied by her daughter, a girl of 14, and an old governess. The husband and wife dined together in a separate room; then the countess exchanged clothes with the prisoner. During this time a stupid servant was imprudent enough to say to the porters that they would find their load heavier than when they brought it in; adding, "But there will be 25 louis to pocket." "We are to take away M. de Lavalette, are we?" asked one of the porters. Thereupon he refused to have anything more to do with the affair, and withdrew, but without divulging the secret. Another man was found to replace him. At last, after a painful leave-taking, three women appeared in the lobby of the prison; one of them being in such a state of grief that, covering her face with her handkerchief, she did nothing but sob. The janitor helped her out of the prison without venturing to lift up the veil she wore. Then going to the room which the prisoner had occupied, he saw no one there but Mme. de Lavalette.

[Illustration: ON THE WAY TO THE CENTRAL MARKETS.]

[Illustration: THE FISH MARKET.]

"Ah, madame," he cried, "you have deceived me. I am lost!"

One of the strangest things in connection with this escape was that M. de Lavalette, having been driven off by the friendly Baudus, found shelter with Bresson, who concealed him at the Ministry of Foreign Affairs until the 10th of January, 1816. That day three Englishmen--Mr. Bruce, Captain Hutchinson, and General Sir Robert Wilson--took Lavalette away in the uniform of an English colonel, and conducted him as far as Mons, whence he made for Bavaria, there to find hospitality in the house of his brother-in-law, Eugène de Beauharnais.

On hearing of M. de Lavalette's escape, Louis XVIII. could not help exclaiming: "Well, of all of us, Mme. de Lavalette is the only one who has done her duty." After being arrested in the Conciergerie, where she was found wearing the clothes of her husband, the young and heroic woman was in a day or two set free. But the three Englishmen who had conducted Lavalette to Belgium were sentenced to three months' imprisonment, and the janitor to two years'. Soon afterwards the reason of Mme. de Lavalette, who in all her troubles had shown the greatest presence of mind, gave way; and when in 1822 her husband received his pardon and came back to France, she could no longer recognise him. She continued in her sad condition until 1855, when she died.

[Illustration: INTERIOR OF THE MONT-DE-PIÉTÉ, RUE CAPRON.]

[Illustration: THE GENERAL POST OFFICE.]

The interesting "Memoirs" published by Lavalette were chiefly based on documents collected and notes made by his unhappy wife.

[Illustration: THE POSTE RESTANTE.]

The office of postmaster-general does not as a rule expose its holder to any of the dangers incurred by M. de Lavalette. It demands from him nothing more than a certain talent for organisation and administration. The postal services of all the countries in Europe are now for the most part conducted on the same plan, and offer to the public the same advantages. The English penny postage system, whose principle consisted less in the lowness than in the uniformity of the new charge for letter-carrying, has been adopted throughout the civilised world; and since the days of Sir Rowland Hill many innovations and improvements have been introduced in France and in Germany which afterwards found imitation in England. It is undeniable, however, that the most important reformations in connection with postal communications were first made in this country. It was not until nearly a year after the introduction of post-cards in England that, on the proposition of Count Bismarck, only a few weeks before the war of 1870, they were adopted in Germany, which may claim to be the first country that used post-cards, or, indeed, a regular postal service of any kind, in an enemy's country while hostilities were actually going on. The post-card was adopted by the French Chamber in 1872 on the recommendation of M. Wolowski, who had previously published an interesting pamphlet on the subject. After speaking of the great variety of purposes for which the post-card is employed in England, the celebrated economist went on to consider whether the use of post-cards could have an injurious effect on epistolary style. He decided that by imposing brevity it lent itself to conciseness, and that, forced to express himself in narrow limits, the writer on a post-card was bound to be terse, if not epigrammatic. The style, however, of correspondents making use of post-cards is probably not more lapidary than that of ordinary letter-writers. According to M. Wolowski, the circulation of post-cards in England amounted, in 1871, only a year or two after their first introduction, to 75 millions--nearly a million and a half per week. At the post-offices of France, as of England, money may be deposited at interest, lives insured, and annuities purchased; but in France, as in England, the Government hesitates to adopt the German device, by which tradesmen can send goods through the post with an obligation imposed on the postman to collect at the destination of the goods the money due upon them.

The Place des Victoires, which we have previously passed, is close to the General Post Office; close also to two other edifices of commercial and financial importance, the Bourse and the Bank of France. Formerly the Place des Victoires was remarkable for its historic houses, many of which no longer exist. Here stood the mansion where, in 1653, Marshal de l'Hôpital married Françoise Marie Mignot, a simple grisette, or shop girl, who, after the Marshal's death, became the wife of Sobieski, King of Poland and Abbé of Saint-Germain des Prés. Up to the time of the Revolution the Place des Victoires was inhabited only by important noblemen or rich financiers. It is now given up entirely to commerce, wholesale and retail; silks, shawls, drapery, and haberdashery of all kinds being largely traded in.

The mansion of Marshal de l'Hôpital became the first abode, in 1803, of the Bank of France, where, in virtue of an Imperial decree, it was permanently established five years afterwards. Founded in 1800 by a society of capitalists, who had collected 30 millions of francs, the Bank of France obtained in 1803 the privilege of issuing notes. The notes of the Bank of France now in circulation are of the value of more than three milliards (_i.e._, 3,000 millions) of francs; to meet which an equal amount of gold and silver are kept in the cellars.

The name of the Secretary of State, de la Vrillière, for whom the mansion, afterwards occupied by Marshal de l'Hôpital, was originally built, is still preserved in the title of the remarkable and picturesque Rue de la Vrillière. Little more need be said about that portion of Paris which separates the quarter of the markets from the Seine; though here and there many a house might be pointed out which suggests interesting associations. Thus, in the Rue Saint-Honoré, at the corner of the Rue Sauval, is a butcher's shop surmounted by an inscription to the effect that in this house Molière was born "in 1620." To be quite accurate, he was born in 1622, not in the house which bears the announcement of his birth, but in one on the same site, which long ago fell into ruin.

Close by is the Rue de l'Arbre Sec, where at one time lived the famous Mme. de Saint-Huberty, for whom in opera, as for Mdlle. Sallé in ballet, Mdlle. Clairon in tragedy, and Mme. Favart in comedy and comic opera, is claimed the honour of having played parts for the first time in the costumes historically appropriate to them. The costumes worn at that time on the French stage (nor were they much better on our own) were simply ludicrous. But the public was accustomed to them, and the managers found it more economical to keep to costumes already in the wardrobe than to order new ones for every fresh piece. Actresses representing queens were entitled to two trains and two pages, who followed them everywhere. "Nothing is more amusing," writes a critic of the time, "nothing more comic, than the perpetual movement of these little rascals, who have to run after the actress when she is tearing about the stage in moments of distress. Their activity keeps them in a constant state of perspiration. Their embarrassment, their blunders, excite general laughter. Thus, a farce is always going on, which diverts the spectator in an agreeable manner if the situation is too touching or too sad." When she appeared as Dido, Mme. de Saint-Huberty would have no little boy running after her--ready to pursue her even to the funeral pyre. She at the same time threw off the conventional train and all the trappings which had habitually accompanied it, to appear only in the tunic designed for her by an artist of the period who had studied archæology. The operatic directors strongly objected to the introduction of archæologists and other costly pretenders into their domain. "If," one director is accused of saying, "this fury for truthfulness of costume only enabled us to save a little money! But, on the contrary, models must be brought in, men of learning consulted, artists paid; and all this costs money, much more money than the dresses to which we are accustomed. Besides, when the piece is laid aside, all the costumes appropriate to it must be laid aside too." M. de la Ferté, the Intendant of the Opera, says in one of his letters on this subject:--"I have just ordered Saint-Huberty's dress. This is terrible. The consulting committee of the Opera held one day a special general meeting to consider whether Mme. de Saint-Huberty could really be allowed to have the costume she desired for the part of Armida." "Madame de Saint-Huberty," said the report on the subject addressed to the Minister, "has sent us the design of a dress she requires for the character of Armida. The committee, considering that this character in which Mme. de Saint-Huberty has not yet been seen, might give to the work the charm of novelty, and procure for the Opera advantageous receipts during a series of representations, has thought it right to agree to Mme. de Saint-Huberty's expressed wish; the more so as she has no objection to share the part with Mdlle. Levasseur, it being arranged that in case of illness the costume made for this opera shall be worn by the substitutes, as well as by Mme. de Saint-Huberty herself."

[Illustration: THE PUBLIC HALL, GENERAL POST OFFICE.]

In the margin of the report the following observation of the Minister appears:--"Good for this time only, and without the establishment of a precedent. All the members of the company must, without distinction, wear the dresses furnished to them by the administration of the Opera, so long as they are considered in a fit state to be worn."

[Illustration: THE TELEPHONE ROOM AT THE GENERAL POST OFFICE.]

"You must be convinced," wrote M. de la Ferté to Mme. de Saint-Huberty on another occasion, "of our desire to satisfy you in all reasonable things and to be generally agreeable to you. But, at the same time, you ought to understand that you are obliged to conform to established rules like all the other members of the company, and like those who played the first parts before you; for if, instead of accepting the appointed costume, each one wished to dress according to individual taste, the result would be hopeless confusion, together with an expenditure both useless and ruinous for the King and for the Opera."

[Illustration: PLACE DES VICTOIRES.]

The end of this celebrated representative of tragic personages was tragic indeed. After marrying Count d'Antraigues, engaged in secret diplomacy on behalf of the exiled royal family, she went with her husband to England, where they lived together for many years, the Count being during this time in constant relations with the Foreign Office, until in July, 1812, they both fell victims to a murderous attack on the part of one of their servants.

A faithful account of the horrible affair appeared in the _Times_ of July 23rd, 1812, from which the following may be extracted:--

"The Count and Countess d'Antraigues, members of the French noblesse, and distantly related to the unfortunate family of the Bourbons, resided," says the English newspaper, "on Barnes Terrace, on the banks of the Thames. They lived in a style which, though far from what they had formerly moved in, yet was rather bordering on high life than the contrary. They kept a carriage, footman, coachman, and a servant out of livery. The latter was an Italian or Piedmontese, named Lawrence; and it is of this wretch that we have to relate the following particulars. The Count and Countess, intending to visit London yesterday, ordered the carriage to be at the door by eight in the morning, which it accordingly was; and soon after that hour they were in the act of leaving the house to get into it, the Countess being at the door, the Count coming downstairs, when the report of a pistol was heard in the passage, which, it has since appeared, took no effect; nor was it then ascertained by whom it was fired. Lawrence was at this time in the passage, and, on the smoke subsiding, was seen to rush past the Count and proceed with great speed upstairs. He almost instantly returned with a dirk in his hand, and plunged it up to the hilt into the Count's left shoulder; he continued his course and made for the street door, where stood the Countess, whom he instantly despatched by plunging the same dirk into her left breast. This last act had scarcely been completed when the Count appeared also at the door, bleeding, and following the assassin, who made for the house and ran upstairs. The Count, though extremely weak and faint, continued to follow him; but so great was the terror occasioned that no one else had the same resolution. The assassin and the Count had not been upstairs more than a minute when the report of another pistol was heard, which satisfied those below that Lawrence had finally put an end to the existence of his master. The alarm was now given, and the cry of 'Murder, murder!' resounded from every mouth. The Countess was still lying at the front door, by which the turnpike road runs, and at length men of sufficient resolution were found to venture upstairs, and, horrible to relate, they found the Count lying across his own bed, groaning heavily, and nearly dead, and the bloodthirsty villain lying by his side a corpse. He had put a period to his own existence by placing a pistol that he found in the room in his mouth, and discharging its contents through his head. The Count only survived about twenty-five minutes after the fatal blow, and died without being able to utter a single word.

"The Countess had by this time been brought into the house; the wound was directly on her left breast, extremely large, and she died without uttering a single word. The servants of the house were all collected last night, but no cause for so horrid an act was at that time known--all was but conjecture.

"The following circumstances in so extraordinary a case may be, however, worth while relating. The Count, it appears, always kept a brace of pistols loaded in his bedroom and a small dirk. About a month ago the Countess and the servants heard the report of a pistol upstairs, and were in consequence greatly alarmed. When one of the latter, a female, went upstairs and looked into her mistress's room, it was full of smoke, and she screamed out. On its clearing away she saw Lawrence standing, who told her nothing was the matter--he had only fired one of his master's pistols. It afterwards appeared that he had fired into the wainscot; it was loaded with ball, and the ball from the pistol is yet to be seen.

"The Count and Countess were about sixty years of age. The latter was highly accomplished, a great proficient in music, and greatly admired for her singing in fashionable parties. There is no reason whatever to believe that Lawrence was insane. Only about ten minutes previous to his committing this deed of blood, he went over to an adjoining public-house and took a glass of gin. He had lived only three months in the family, and, report says, was to be discharged in a few days.

"The Count and Countess had resided in Barnes for four or five years, and have left an only son, who, we understand, is at present in this country, studying the law.

"Besides his house on Barnes Terrace, Count d'Antraigues had a town establishment, No. 7, Queen Anne Street, W. He was fifty-six and the Countess fifty-three years of age. The Count had eminently distinguished himself in the troubles which have convulsed Europe for the last twenty-two years. In 1789 he was actively engaged in favour of the Revolution, but during the tyranny of Robespierre he emigrated to Germany, and was employed in the service of Russia. At Venice in 1797 he was arrested by Bernadotte, at the order of Bonaparte, who pretended to have discovered in his portfolio all the particulars of the plot upon which the 18th Fructidor was founded. The Count made his escape from Milan, where he was confined, and was afterwards employed in the diplomatic mission of Russia at the Court of Dresden. In 1806 he was sent to England with credentials from the Emperor of Russia, who had granted him a pension, and placed great dependence upon his services. He received here letters of denization, and was often employed by the Government. The Countess was the once celebrated Mme. de Saint-Huberty, an actress of the Théâtre Français. She had amassed a very large fortune by her professional talents."

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