Among the guests were occasional irreverent onlookers, not deemed worthy of admission to the inner circle, who sat outside, getting much fun out of its antics. Such a one was Madame Ancelot, whose graphic pen is pointed with her jealousy as a rival lion-hunter, who had outlived her vogue of the early Restoration. Daudet's sketch of her blue-stockinged salon, a faded survival of its splendors under Louis XVIII., is as daintily malicious as is her sketch of Hugo's evenings. Through those evenings, Madame Ancelot says, Madame Hugo reclined on a couch, as if over-wearied by the load of glory she was helping to carry. That lady had one relief in this new home, its doors being shut against the ugly face of Sainte-Beuve, at the urging of the indignant young wife. This happened in 1834, and within a few years Sainte-Beuve gave to the world his "Book of Love," a book of hatred toward Hugo, with its base suggestion of the wife's complaisance for the writer. Him it hurt more than it hurt Hugo. He had taken, and he still keeps, his unassailable place in the affection, as in the admiration, of his countrymen. There can be no need to summon them as witnesses, yet it may be well to quote the words of two foreign fellow-craftsmen.

The Englishman, Swinburne, in his wild and untamed enthusiasm, acclaims Hugo as a healer and a comforter, a redeemer and a prophet; burning with wrath and scorn unquenchable; deriving his light and his heat from love, while terror and pity and eternal fate are his keynotes. No great poet, adds Swinburne, was ever so good, no good man was ever so great. Heine, German by birth, scoffs at Hugo, claiming that his greatest gift was a lack of good taste, a condition so rare in Frenchmen that his compatriots mistook it for genius. He sees merely a studied passion and an artificial flame in Hugo's specious divine fire; and the product is nothing but "fried ice." And Heine sums him up: "Hugo was more than an egoist, he was a Hugoist."

Charles Dickens describes Madame Hugo as "a little, sallow lady, with dark, flashing eyes." Making the round of Paris with John Forster, in the winter of 1846-47, they came to this "noble corner house in the Place Royale." They were struck by its painted ceilings and wonderful carvings, the old-gold furniture and superb tapestries; and, more than all, by a canopy of state out of some palace of the Middle Ages. It is worthy of note here that Hugo was almost the first man of his period—a deplorable period for taste in all lands—to value and collect antiques of all sorts. They were a fit setting for these rooms, and for the youth and loveliness that crowded them, up to the open windows on the old square. The young smokers among the men were driven forth to stroll under its arcades, recalling the strollers of Corneille's and Molière's time, albeit these were painfully ignorant of tobacco bliss, so loud were the papal thunders against its temptations then.

Dickens and Forster found Hugo the best thing in that house, and the latter records the sober grace and self-possessed, quiet gravity of the man, recently ennobled by Louis-Philippe, but whose nature was already written noble. "Rather under the middle size, of compact, close buttoned-up figure, with ample dark hair falling loosely over his close-shaven face. I never saw upon any features, so keenly intellectual, such a soft and sweet gentility, and certainly never heard the French language spoken with the picturesque distinctness given it by Victor Hugo."

Within the portal of the Church of Saint-Paul and Saint-Louis, in Rue Saint-Antoine, on either side, is a lovely shell holding holy-water, given by Hugo in commemoration of the first communion of his eldest child, Léopoldine. In this church she and young Charles Vacquerie were married in February, 1842. Both were drowned in August of that year. And this is the church selected by Monsieur Gillenormand for the marriage of Marius and Cosette, because the old gentleman considered it "more coquettish" than the church of his parish. For he lived much farther north in the Marais, at No. 6 Rue des Filles-du-Calvaire, where a new block of buildings has taken the place of his eighteenth-century dwelling. For this marriage, after playing the obdurate and irascible godfather so long, he was suddenly transformed into a fairy godmother.

Toward the end of 1848, after the escape of Louis-Philippe, Hugo moved to Rue d'Isly, No. 5, for a short period, and then to No. 37, now No. 41 Rue de la Tour-d'Auvergne, where he remained until 1851. In the Paris Bottin during these years he is entitled—considering it, strangely to us, his especial distinction—"Représentant du Peuple." The youthful Royalist poet, the friend of Charles X., the friend later of Louis-Philippe, had become an oracle of Democracy. He added nothing to his honestly earned fame by his long-winded bombast in the Tribune; and however genuine his attitude may have been, it appealed almost entirely to the groundlings.

They came in crowds about this house, with flaming torches and blaring bands, howling their windy homage. They are remembered, with mute disapproval, by the old concierge of the house, Lagoutte Armand. With real pleasure does he recall "Monsieur Hugo," and prattle memories of his friends like Béranger, and of his family. There were two sons, Charles and François-Victor, the former known as "Toto," a "très gentil garçon." In his loge, pointed out with pride by the concierge, to whom it was given by Hugo, is a rare engraving of the poet, which makes him serious, almost stern, of aspect, his mouth showing its strength in the beardless face, his hair plastered down about the superb brow. His head was carried always well bent forward, and he went gravely, the old man tells us. The house is unaltered, but the street has grown commonplace since the days when its half-countryfied cut attracted Hugo and Béranger and Alphonse Karr. This witty editor of "Les Guêpes," something of a poseur with his pen, had a genuine love of flowers and of women, on whom he lavished his pet camelias and tulips. He cultivated them in the garden of the house, now numbered 15, which he occupied in this street from 1839 to 1842. The sculptor Carrier-Belleuse is now in possession of Karr's old rooms, and his studio covers the one-time garden. Béranger came, in 1832, to No. 31, then a small cottage behind a garden, where he lived for three years. The bare walls of the communal school, numbered 35, now cover the site of his home, and there are no more cottages nor gardens in the street.

From 1851, when the coup-d'état of December drove him first into hiding and then into exile, through all the years of the empire, we find in each year's Bottin: "Hugo, Victor, Vicomte de, de l'Institut, . . . . ." These dots represent a home unknown to the Paris directory; no home indeed, for there can be none for a Frenchman beyond his country's borders. Of Hugo's dwellings during these years nothing need be said here, save that his long residence in Guernsey gave him his characters and colors for "Les Travailleurs de la Mer," and such slight acquaintance with seafaring and ships as is shown in "Quatre-Vingt-Treize." Where he got the fantastic English details of "L'Homme-qui-rit," no man shall ever know.

Here, too, he finished "Les Misérables," writing it, he said, with all Paris lying before him in his mind's eye; or, as he puts it, with the exile's longing, "on regarde la mer, et on voit Paris." His topographical memory was none too accurate, and errors of slight or of real importance may be detected in "Les Misérables." It is really in his poetry that he has done for his "maternal city" what Balzac did for her in prose; singing in all tones the splendor and the squalor of "la ville lumière," to use his swelling phrase. Despite some errors, and despite the pulling-about of Paris since Valjean's day, we may still trace his flight through nearly all that thrilling night, when Javert and his men hunted him about the southern side of the town, and across the river from the Gorbeau tenement. This tenement, so striking a set in many scenes of the drama, was an historic mansion run to seed, standing just where Hugo places it—on the site of Nos. 50 and 52 Boulevard de l'Hôpital, almost directly opposite Rue de la Barrière-des-Gobelins. Facing that street—renamed Rue Fagon in 1867—on the northern side of Boulevard de l'Hôpital, the little market of the Gobelins replaces the squalid old shanty which gave perilous shelter to Valjean and Cosette, and later to Marius.

From here, driven by a nameless terror after his recognition of Javert in the beggar's disguise, the old convict started, leading Cosette by the hand. He took a winding way to the Seine, through the deserted region between the Jardin des Plantes and Val-de-Grâce, turning strategically on his track in streets through which we can follow him as easily as did Javert. He was not certain that he was followed, until, turning in a dark corner, he caught full sight of the three men under the light before the police-station. Hugo places this station in Rue de Pontoise, and this is a mistake; it was then and is still in the next parallel street, Rue de Poissy, at No. 31.

Now, Valjean turns away from the river, carrying the tired child in his arms, and makes a long circuit around by the Collége Rollin—long since removed to the northern boulevards—and by the lower streets skirting the Jardin des Plantes—no longer the Jardin du Roi—and so along the quay. He is bent, as Javert guessed, on putting the river between himself and his pursuers. He crosses Pont d'Austerlitz, and plunges into the maze of roads and lanes, lined with woodyards and walls, on the northern side of the river. There Javert loses the trail; while for us, that trail is hidden under new streets laid out along those lanes, and under railway tracks laid down on those roads. We come in sight of the fugitive again, as he climbs the convent wall, drawing up Cosette by the rope taken from the street lantern. Here is that high gray wall, stretching along the eastern side of old Rue de Picpus, and the southern side of the new wide Avenue Saint-Mandé. This wall—of stone, covered with crumbling plaster—is as old as the garden of "Les Religieuses de Picpus," which it surrounds, and as the buildings within, which it hides from the street. We may enter the enclosure by the old gate at No. 35 Rue de Picpus, the very gate through which Cosette was carried out in a basket, and Valjean borne alive in the nun's coffin to his mock burial. About the court within, the red-tiled low roofs of the ancient foundation peep out among more modern buildings. Behind all these and beyond the court stretches the garden, a portion still set aside for vegetables, and we look about for Fauchelevent's protecting glasses for his cherished melons. What we do find is the very outhouse, in an angle of the wall, on which Valjean dropped; it is a shanty nearly gone to ruin, but serving still to store the garden tools of Fauchelevent's successor.

"Near the old village of Picpus, now a part of the Faubourg Saint-Antoine, under the walls of the garden which belonged to the Canoness of Saint-Augustin, in a bit of ground not more than thirty feet in length, repose thirteen hundred and six victims beheaded at Barrière du Trône, between 26 Prairial and 9 Thermidor, in the second year of the republic." This extract, from the "Mémorial Européen" of April 24, 1809, is a fitting introduction to the small cemetery, hid away at the very end of this convent garden. In this snug resting-spot sleep many illustrious dead. On the wall, alongside the iron-railed gate, under a laurel-wreath, is a tablet inscribed with the name of "André de Chénier, son of Greece and of France," who "servit les Muses, aima la sagesse, mourut pour la verité." He and his headless comrades were carted here and thrown into trenches, when the guillotine was busy at the Barrière du Trône, now Place de la Nation, only a step away, in the early summer of 1794, up to the day of Robespierre's arrest. Their mothers, widows, children, dared not visit this great grave nor, indeed, ask where it was. In that time of terror, grief was a crime and tears were no longer innocent. It was only in after years that this bit of ground was bought, and walled in, and cared for, by unforgetting survivors. Some few among them, of high descent or of ancient family, planned for their own graves and those of their line to come and to go, within touch of this great common grave that held the clay of those dear to them. They bought, in perpetuity, this bit of the convent garden on the hither side of the gate, through which we have been looking, and it is dotted with many a cross and many a slab. And this tiny burial-ground draws the American pilgrim as to a shrine, for in it lies the body of Lafayette.

The sisters of the Séminaire de Picpus, who inherited the duties, along with the domain of "Les Religieuses" of the eighteenth century, devote themselves to the instruction and the training of their young pensionnaires. The story of the establishment is told in "Les Misérables," in detail that allows no retelling.

Fauchelevent had planned to carry off his tippling crony of the Vaugirard Cemetery to the tap-room, "Au bon Coing," and so get Valjean out of his coffin. To his horror, he found the drunkard replaced by a new grave-digger, who refused to drink, and Valjean was nearly buried alive. We will, if it please you, visit the "Good Quince," no longer in its old quarters, for it quitted them when the historic Cemetery of Vaugirard was closed forever. On its ground, at the corner of Rue de Vaugirard and Boulevard Pasteur, has been built the Lycée Buffon. To be near the then newly opened burial-ground of Mont-Parnasse, "Au bon Coing" put up its sign on the front of a two-storied shanty, at the corner of Boulevard Edgar-Quinet and Rue de la Gaieté, a street strangely misguided in title in this joyless neighborhood. About the bar on this corner crowd the grave-diggers and workmen from the near-at-hand graves, and at the tables sit mourners from poor funerals, all intent on washing the smell of fresh mould from out their nostrils. This den is the assommoir of this quarter, swarming, noisy, noisome.

On those summer days, when Hugo used to stroll from his cottage in Rue Notre-Dame-des-Champs out to the southern slopes, he discovered the Champ de l'Alouette—a fair field bordering the limpid Bièvre, just beyond the factory of the Gobelins. It had borne that name from immemorial time, and was the field, as the man told Marius, where Ulbach had killed the shepherdess of Ivry. Marius came to this green spot that he might dream about "The Lark," after he had heard, from his peep-hole in the wall of the Gorbeau tenement, the Thénardiers so name his unknown lady. We, too, may walk in the Field of the Lark, its ancient spaciousness somewhat shrunken, as with all those erstwhile fields hereabout, of which we get glimpses along Boulevard Saint-Jacques and other distant southern boulevards. There is a wide gateway in the high wall that runs along stony Rue du Champ-de-l'Alouette, and we pass through it and the court within to the bright little garden beyond, where children are playing, guileless as Cosette. This is her field, now shut in by great tanneries, its air redolent of leather, its Bièvre sullied by the stains and the scum of the dye-works above. Yet, hid away in this dreary quarter—where the broad and cheerless streets are sultry in summer, bleak in winter, and gritty to the feet all the year round—it is still, as Hugo aptly says, the only spot about here where Ruysdael would have been tempted to stop, and sit, and sketch.

Among the countless American feet that tread Rue du Bac and Rue de Babylone, on their way to the shop that is a shrine at the junction of those two streets, there may be some few that turn into Rue Oudinot. It is well worth the turning, if only because it has contrived to keep that village aspect given by gardens behind walls, and cottages within those gardens. It still bore its old name, Plumet, when General Hugo came to live in it, that he might be near his son in Rue Notre-Dame-des-Champs, and here he died suddenly in January, 1828. In this house, well known to Hugo, he installed Valjean and the girl Cosette. From this house, by its back door and by the lane between high parallel walls, Valjean slips out unseen into Rue de Babylone. In its front garden, under a stone on her bench, Cosette finds her wonderful love-letter; and here is the scene of that exquisite love-making, when Marius appears in the moonlight.

The trumpery tumults of 1832—in hopeless revolt against the Orleans monarchy and in impotent adventure for the republic—give occasion for grandiose barricade-building and for melodramatic combats. Hugo takes us, with Marius and his fellow-students, to that labyrinth of narrowest lanes, twisting about high bluffs of houses, that was then to be found between the churches of Saint-Leu and Saint-Eustache. It was a most characteristic corner of mediæval Paris, and it has, only recently and not yet entirely, been cut away by Rue Rambuteau, and built over by the business structures around the Halles. The street of la Grande-Truanderie is for the most part respectabilized, that of la Chanverie is reformed quite out of life, and la Petite-Truanderie alone remains narrow and malodorous. But "Corinthe" has been carted clean away. This was the notorious tavern, of two-storied stone, in front of which Enjolras defended his barricade, within which Grantaire emptied his last bottle, and in whose upper room these two stood up against the wall to be shot. Grantaire was doubtless sketched from his illustrious precursor and prototype, the poet, Mathurin Régnier, who tippled and slept at a table of this squalid drinking-den during many years, until the year 1615, when debauchery killed him too young. His colossal and abused body carried the soul, original, virile, and fiery, which he has put into his verse, although he has over-polished it a bit. When this tavern—in the fields near the open markets—was his favorite resort, it bore the sign and name, "Pot-aux-Roses"; it was dedicated later "Au Raisin de Corinthe"; and this was soon popularly shortened to "Corinthe." Forty years after his death, another true poet was born in the tall house that rose alongside this tavern, its windows looking out over the waste lands of the Marais, as Jean-François Regnard says in his verse. Like young Poquelin, thirty years before, this boy played about the Halles; then he went away to strange adventures in foreign lands with pirates and with ladies; and came home here to write comedies, that have the gayety and sparkle, yet not the depth, of those of Molière. Indeed, Voltaire asserts that he who is not pleased with Regnard is not fit to admire Molière. The seventeenth-century mansion, in which he was born, befitted the position of his father, a rich city merchant, and it has luckily escaped demolition, albeit brought down to base uses, as you shall see on looking at No. 108 Rue Rambuteau. And if you hurry to this neighborhood, you may yet find some few reminders of the scenes of 1832. In Rue de la Petite-Truanderie is just such a tavern as was "Corinthe," in its worst days. Its huge square pillars will hardly hold up, much longer, the aged stone walls. Just here is the dark corner where Valjean set Javert free; and in Rue Mondétour, at that end not yet shortened and straightened into a semblance of respectability, you may see a small sewer-mouth, direct descendant of the grated hole, down which Valjean crawled, with Marius on his back, to begin that almost incredible march through the tortuous sewers to their outlet on the Seine, under Cours-la-Reine. He came out on a spit of sand, "not very far distant from the house brought to Paris in 1824," says Hugo, who should have said 1826. His reference is to the house popularly named "la maison de François I^er." It was built by that monarch, at Moret on the edge of the forest of Fontainebleau, for his beloved sister, Marguerite de Navarre, it is believed. It was removed, stone by stone, and re-erected on its present site in Cours-la-Reine, where it is a delight to the lover of French Renaissance.

Hugo was one of the earliest, among the exiles of the Empire that ended worthily in the shame of Sedan, to be welcomed by the new Republic on his hastening to Paris. There he remained through l'Année Terrible of the Prussian siege, with his friend Paul Meurice, a hale veteran of letters, still in the youth of age in 1899. Paris being once more opened, Hugo went to and fro between Brussels and Guernsey and his own country for awhile. In 1873 he had quarters in the Villa Montmorenci at Auteuil, we learn by a letter from him dated there. In 1874 he settled in an apartment at No. 66 Rue de La Rochefoucauld, an airy spot at the summit of the slope upward toward Montmartre. Here he remained a year, and in 1875 removed a little farther along this same slope, to No. 21 Rue de Clichy, on the corner of Rue d'Athènes. His apartment on the third floor was bright and sunny, having windows quite around the corner on both streets, and here he lived for four years. Much of the last two years was taken up by his new duties as Senator, so that scant leisure was left him for literary labor; and it was in this house that he sadly told a favorite comrade that the works he had dreamed of writing were infinitely more numerous than those he had found time to write. Driven from here by the unremitting invasion of friends, admirers, strangers, men and women from all quarters of the globe, bent on a sight of or an autograph from the only Hugo, he took refuge in Avenue d'Eylau, away off at the other end of the town, where only real friendship would take the trouble to follow him. He made this last removal in 1880. This final home was as modest as any of his childhood homes, and had just such a garden as theirs. Here he passed five happy years, with cherished companionship within, and all about him "honor, love, obedience, troops of friends."

As a tribute to him, Avenue d'Eylau has become Avenue Victor-Hugo, and his two-story-and-attic house—not one bit grander than the cottage in Rue Notre-Dame-des-Champs, in which began his literary fame—remains unchanged under its new number 124, only its side garden having been built over, the garden in the rear being left unspoiled. At No. 140 of the avenue, the residence of M. Lockroy, is preserved the original death-mask of the poet, taken by the sculptor, M. Dalou. It is a most striking portrait, and one wishes that copies might be permitted.

Here he died in 1885, and from here his body was carried by France to the Panthéon, there to be placed among all her other glories by a grateful country. Despite the ostentation of the pauper's hearse decreed by this rich man, no more solemn and imposing spectacle has been seen by eyes that have looked on many pageants, civil and military, in many lands; even more impressive in the attitude of the closely packed concourse—hushed, motionless, with bared heads—that gazed all through that hot May day at the slow-moving cortège, than in that magnificent retinue, escorting to his grave "The Sublime Child," grown gray in the service of his country's letters.

THE MAKING OF THE MARAIS

THE MAKING OF THE MARAIS

The prehistoric savages, who settled, for safety from onslaught, on the largest of the islands in the Seine, known to us as Île de la Cité; the rabble of Gaulish fisherfolk, who came to camp here in after-years; the little tribe of Parisii who later builded a fortified hamlet on this sure ground, and bridged it with the mainland: all these, looking, through the centuries, northwardly across the transparent and unsullied stream, saw the flat river-bank opposite, over beyond it a ring of low wooded hills, and between these, on either hand, broad expanses of marsh, morass, and forest. That which stretched to their right is our Marais. In it the veteran Camulogenus, captaining the Parisii, hoped to mire down the Roman soldiers, once already stuck in the mud along the Bièvre on the southern bank of the Seine. But it is Labienus, that ablest of Cæsar's lieutenants, who "marches with four legions to Lutetia. (This is the fortress of the Parisii, situated on an island in the river Seine.)" And Labienus knows the country as well as his trade, and skirts around the Marais, and crosses the Seine at Auteuil to the solid ground he has chosen on the plains of Grenelle. There he wins battle in the year 52 B.C., and drives the Gauls in disorder to the high ground on which the Panthéon now stands, and the Luxembourg Gardens lie. The Romans, in possession of the island, rebuild the bridges, cut away by the Parisii, and restore the town partly burned by them; a palace for the resident Governors arises on the extreme western end of the island; and new defences are constructed for the Gallo-Roman Lutetia. Four centuries later, it was called his "dear and well-beloved Lutetia" by Julian, and from that conviction he was never apostate. He loved it for its soft air, its fair river, its honest wines coming from its own vineyards. On the slope of its southern suburb stood out the massive walls of the baths that bear his name; and his gardens, planted with vines, reached to the river. Where he swam, we go dry-shod, when we saunter through the Cluny; and we may sit, a little farther south, in Rue de Navarre just off Rue Monge, in the stone seats of the Roman arena, a perfect bit of loyal preservation of Lutetia.

The Romans meant to make their new town an important centre, and those impassioned road-builders began to bring to it the highways, in the making of which, and by means of which, they were easily masters of their world. The Gauls had trodden footpaths through the forests and over the marshes, and of these, the two most trodden on the northern bank started from near the end of their only bridge, now replaced by Pont Notre-Dame. That which went northerly to the southeastern corner of the Halles of our Paris, there split into two branches; the one, named the Voie des Provinces Maritimes, followed nearly the line of present Rue Montmartre, and went, by way of Pontoise, to the northwestern coast of Gaul; the other, named the Voie des Provinces du Nord, ran from the Halles on a line between Rues Saint-Martin and Saint-Denis, about where now Boulevard Sebastopol stretches. It was the high road to Saint-Denis, Senlis, Soissons, and so away to the north. The other main pathway turned toward the east, just above the bridge-end, and went nearly parallel with the river-bank, along the line of present Rue Saint-Antoine. This road, to Sens and Meaux and thence eastwardly, was known as the Voie des Provinces de l'Est, and later in life as the Voie Royale.

This pathway was diked by the Romans, and when sufficiently raised, it was paved with stones. Even then it was often submerged, and the marsh over which it went made more marshy, by frequent floods of the swollen Seine, overwashing its slight banks; and by the ceaseless streams that carried down through this bowl the waters of the encircling slopes of Montmartre, Belleville, Chaumont, Ménilmontant. In our stroll through the Marais, you will walk above one of these streams, serving as a sewer to-day, and along the bank of still another, turned into the Gare de l'Arsenal.

On the two sides of this raised road, bit by bit the bog was planted; foot by foot the swamp was reclaimed; gardens were cultivated, farms were tilled, flocks were fed; herdsmen's huts dotted the plain; on the higher spots farmers' houses peeped from among the trees; and on the slopes above, all around from Chaillot to Charonne, shone the white walls of the villas—walls of marble from Italy—of great officials and of wealthy traders. The Church came along this road from its central seat at Sens, and, keen of eye, picked out choice sites for chapels, convents, monasteries. Little by little the entire Marais was levelled up as the surrounding hills were levelled down; yet keeping so well its forests, that it gave good hiding for eight years to Saint-Denis dodging Valerian's pursuit, until that day of the saint's long and winding walk down the street of his name, his head carried in his hands. This northern suburb grew more gradually, at first, than its southern sister, whose sunny breast had enticements for gardeners and for vine-growers. It was a strong man who woke the Marais to unwonted life, and by his wall, encircling and securing it, Philippe-Auguste quickened its sluggish suburban pulse into urban animation. The northern settlements became la Ville, the island being la Cité, and the southern suburb l'Université.

There was a beach or strand—la grève—near the middle of this northern bank, at which were moored and unloaded the boats bringing to the town light merchandise, such as grain, meats, stuffs, and fabrics. All heavy goods—timber, stone, metals—came to the Port Saint-Paul, in front of Quai des Célestins; still there under its old name, but its old business long since gone to the bustling Port de Grenelle. On the Grève gathered men out of place, wandering about while waiting for work; whence comes the modern meaning of grève—a strike, when men get out of place and are not anxious for a job. Here on the Grève, as their common ground, met the men who carried goods by water from up and down stream, and the men who carried goods by land, to and from the provinces. They were strong and turbulent men, and they made two mighty guilds, and these two, combined with other guilds, formed an all-powerful confraternity. In the course of years, there came to its head, as Prévôt des Marchands, that demigod of democracy, the notable Étienne Marcel. He had his home, while living, on Place de Grève, and in the river, when dead; to-day, in bronze he bestrides his bronze horse between those two dwelling-places, facing the strand he ruled and the city he tried to rule. It is he—none more worthy—who shall marshal us on our way to the Marais.

For, when Jean II., "le Bon," was sent to his long captivity in England from the field of Poictiers, won by the Black Prince in 1356, it was the first Dauphin France had had, known later as Charles V., who acted as Regent in his father's absence. He was a sickly and a studious youth, easily alarmed by the violence of these guilds, now making one more savage assault on royal prerogatives, in a desperate stroke to secure the right of the townsmen to rule their town. The Dauphin was afraid of being trapped in the Louvre, and he took refuge in the old Palace of the City. To him forces his way, one day, the boisterous Marcel at the head of three thousand armed and howling men, kills two of the royal marshals in the Presence, and places his own cap of the town colors, red and blue—these were combined with the Bourbon white to make the Tricolor, centuries later—on the head of the terrified Dauphin, either to protect him, or in insolent token of this new recruit to the faction. As soon as might be, the Dauphin got away from his revolted citizens, and came back to his town only when strong enough to hold it against them. Nor would he then trust himself to a permanent residence in the Island-Palace, and it was allowed to fall into disrepair through several successive reigns. Louis XII. made partial restorations, and occasionally sojourned in his palace "in mid-stream," that made him think of his Loire. Parliament already owned the building then, by gift from Charles VII., and since then it has always been known as the Palais de Justice. The returned Dauphin took up his abode in the Hôtel d'Étampes, in the quarter of Saint-Paul, outside Philippe-Auguste's wall; and, by successive purchases, secured other neighboring hôtels and their grounds. This spacious enceinte, within its own walls, stretched from behind the gardens of the Archbishop of Sens, on the river front, and from the grounds of the Célestins, just east of them, on Port Saint-Paul—where the Dauphin's new estate had a grand portal and entrance-way from the quay and the river—away back to Rue Saint-Antoine on the north; and from just outside the old wall, eastwardly to the open country. This domain, and the suburbs that had grown beyond that old wall, toward the north, now came to be embraced within a new enclosure. On the southern side of the river there seemed no need for any enlargement of the old enclosure.

This wall, known in history as the wall of Charles V., was partly quite new, partly an extension or a strengthening of a wall begun by Marcel in 1356; under the pretext of "works of defence of the kingdom against the English," and carried on in offence of his royal master. But before he had finished it, he came to his own end, opportunely for everyone but himself. It is midnight of July 31, 1358, and he is hastening, in darkness and stealth, to open his own gate of Saint-Antoine for the entrance of the combined forces of the English and of Charles the Bad, of Navarre. In Froissart's words: "The same night that this should have been done, God inspired certain burgesses of the city ... who, by divine inspiration, as it ought to be supposed, were informed that Paris should be that night destroyed." So they armed and made their way to Porte Saint-Antoine, "and there they found the provost of merchants with the keys of the gates in his hands;" and their leader, John Maillart, asked, "Stephen, what do you here at this hour?" When Stephen told John not to meddle, John told Stephen: "By God, you're not here for any good, at this hour, and I'll prove it to you." And so, as his notion of proof, "he gave with an axe on Stephen's head, that he fell down to the earth—and yet he was his gossip." Thus died Stephen Marcel, the martyr of devotion to the liberties of his fellow-citizens, in the eyes of many. To others of us, he is the original of the modern patriot of another land, who thanked God that he had a country—to sell; and his ignoble death seems to be the just execution of a traitor. It is due to him to own that he was a strong man, genuine and pitiless in his convictions, and might have merited well of his town and his country, but that the good in him was poisoned by his rapacity for power, and polluted by personal hatred of the Dauphin. His naked body, before being thrown into the Seine, lay exposed for days in front of the Convent of Sainte-Catherine du Val-des-Écoliers, whose grounds stretched from without the old wall, eastwardly along the northern side of Rue Saint-Antoine. Through them was cut our present Rue Sévigné, and it was on the spot made now by the corner of that street and Rue Saint-Antoine, half way between the old gate and the new gate just built by Marcel, that the crowd gathered to gaze on his corpse.

Froissart rightly claims, referring to Marcel's projected wall with his customary delightful enthusiasm, that it was "a great deed to furnish an arm, and to close with defence, such a city as Paris. Surely it was the best deed that ever any provost did there, for else it had been, after divers times, overrun and robbed by divers occasions." It was a greater deed that was now done by Charles V., and his Provost of Paris, Hugues Aubriot; and their new wall is well worth a little journey along its line, easily traced on our Paris map.

We have already made a visit to Quai des Célestins, and have read the tablet that marks the place where played Molière and his troupe, in 1645; and the other tablet that shows the site of Philippe-Auguste's Barbeau tower, constructed toward 1200, and taking its name from the great Abbey of Barbeau, whose extensive grounds bordered the river-bank here. From this huge tower and its gateway, kept intact as the starting-point at this end, the new wall turned at a right angle to the fast crumbling old wall, and went eastwardly along the shore; which they now banked up and planted with elms. That shore-line is now Boulevard Morland—named from that brave colonel of chasseurs who was killed at Austerlitz—and the land in front, as far as Quai Henri IV., was anciently the little Île des Javiaux, renamed Île Louvier in the seventeenth century, when it served as a vast woodyard for the town. The slight arm of the river that cut it off has been filled in, and the island is now one with the mainland. At the corner of Boulevard Bourdon—which records the name of a colonel of dragoons, who fell at Austerlitz—the new wall turned, and followed what is now the middle line of that boulevard to the present Place de la Bastille. Here was the two-round-towered gateway built by Marcel, and called, as were called all those gateways, Bastilia—a word of mediæval Latin, meaning a small fortress, such as was formed by each of these gates with its flanking towers. There were many of them opening into and guarding the town, that of Saint-Denis being the only other one of the size of this of Saint-Antoine; which was enlarged into the massive fortress known to us as the Bastille.

Of all the wretched memories of the accursed old prison, we shall awaken only one; that of Hugues Aubriot, its builder and its first tenant. Made Provost of Paris by Charles V.—who, after his hapless experience with Marcel, when Dauphin, would have no more Provost of Merchants—Aubriot had many enemies among the guilds and among the clerics. He was frank and outspoken of speech, humane to the priest-despoiled and mob-harried Jews, for whom he had, like his royal master, toleration if not sympathy, and to whom he returned their children, caught and christened by force. So, on the very day of the burial of his royal master, in September, 1380, Aubriot was arrested for heresy, and soon sent to his own Bastille of Saint-Antoine, "pour faire pénitence perpétuelle, au pain de tristesse, et à l'eau de douleur." The Church sentence gives a poetic touch to prosaic bread and water. Aubriot fed only a short time on these delicacies, for he was rescued by the mob that, for the moment, idolized him, and led in triumph to his home. That home, from which he speedily fled out of Paris in terror of his rescuers, was given by Charles V. to this good servant, and we may stop, just here, to look on what is left of it.

Under an arch at No. 102 Rue Saint-Antoine, we enter Passage Charlemagne, and go through an outer into an inner court. In its northwestern corner is a tower containing an old-time spiral staircase. This is the only visible vestige of the palace of the Provost of Paris, its unseen portions being buried under, or incorporated with, the structures of the Lycée Charlemagne, just behind us toward the east. The boundary railing, between this college and the Church of Saint-Paul-et-Saint-Louis, is exactly on the line of Philippe-Auguste's wall. From the inner or city side of that wall, the provost's palace, with its grounds, stretched to Rue Prévôt, then Rue Percée; that name still legible in the carved lettering on its corner with Rue Charlemagne. In that street, behind us as we stand here, is the southern entrance of his grounds, whose northern line was on Rue Saint-Antoine. This tower before us has been sadly modernized and newly painted, but its fabric is intact, with its original, square, wide-silled openings at each of the three landing-places of the old staircase. These openings are within a tall, slender arch, a timid attempt at the ogival, whose bolder growth we shall see presently in the Hôtel de Sens.

Above this arch a superimposed story, its window cut in line with the others below, has taken the place of the battlements. On either side the tower joins a building obviously later than it in date, although it has been claimed that all three structures are fifteenth-century work. The high arch and the other decorations of the tower are undoubtedly of that time, but they are, as undoubtedly, applied over the small stones of a much more ancient fabric. This conviction is reinforced by the sentiment that makes us see Charles the Wise come into this court, with his good Aubriot, enter that low door, and climb that staircase, looking out through those windows as he mounts. In the year of that King's death there was born a future owner of this tower and its palace. This was Pierre de Giac, a charming specimen of the gang that helped John of Burgundy and Louis of Orleans in their ruin of France—the only job in which they were ever at one. Pierre de Giac, after betraying both sides, fell into the strong clutch of the Duke of Richmond, by whom, after torture, he was tied in a bag and flung into the Seine. His crony, Louis d'Orléans, had possession of this property in the closing years of the fourteenth century, when he instituted the order of the Porc-Épic in honor of the baptism of his eldest son, Charles the Poet. The family emblem which gave its name to this order, gave it also to this hôtel, to which it still clings.

Going back to Place de la Bastille, on our map, we may follow the course of the new town wall along the curve of the inner boulevards, to Porte Saint-Denis; whence it took a straight southwesterly course, parallel with present Rue Aboukir, through Place des Victoires and the Bank of France, and diagonally across the gardens of the Palais-Royal, to the gate of Saint-Honoré, nearly in the centre of our Place du Théatre-Français. It was this gate and its protecting works that were pounded by the "canons et coulevrines" of Joan of Arc, and it was this portion of the wall which was assaulted by her at the head of her men; an assault that would have succeeded, and so have given Paris to the French, had she not been struck down by a crossbow bolt, so striking panic to her followers. When you post your letters in the outside southern box of the Post-office on the corner of Avenue de l'Opéra and Place du Théâtre-Français, or when you look in at the incubating chickens in the shop window alongside, you are standing, as near as may be, on the spot where she fell wounded on September 8, 1429. Her tent was pitched, and her head-quarters fixed, on the outer slope of the Butte des Moulins, a few feet north of where now stands the apse of the Church of Saint-Roch. From Porte Saint-Honoré, the wall went direct, across present Place du Carrousel, to the round Tour de Bois on the river-shore, and from that tower a chain was swung slantwise up-stream to the Tour de Nesle on the southern bank.

This great wall, when quite finished, was an admirable example of mediæval mural masonry. Besides its round gate-towers, it was strengthened by many square towers, and was crenellated, and had frequent strong sentry-boxes and watch-towers between the battlements. On the outside was a wide, deep ditch bank-full of water. All stood intact until partly levelled by Louis XIII. in 1634, and entirely so by Louis XIV. in 1666, during which thirty years the popular pun had run: "Le mur murant Paris rend Paris murmurant." It was about 1670 that the boulevards were laid out over the foundations of the wall, its ditch filled in, and trees planted. Two of the gates were kept, enlarged, and made into triumphal arches; and these Portes Saint-Denis and Saint-Martin stand there to-day, dingy memorials of Ludovican pride and pomposity. A century later, in 1770, every trace of wall and moat was wiped away, the driveway was partly paved, and building began; but it was not until 1830 that sidewalks were made, and that grand mansions replaced the former shabby structures. We cannot put hand on any stone of the wall itself, to-day.

Within the enceinte thus made, our Marais was at length entirely enclosed; away from its river-front, bordered by abbeys and monasteries; through its streets, walled off by palaces and mansions; and its other streets, packed with modest dwellings and shops; far back to the gardens and the vineyards, and the waste fields not yet tilled, that spread all around the inner zone of the wall. Within it, too, was brought the vast domain of the Templars, covering the space from this outer wall away south to Rue de la Verrerie, and between Rues du Temple and Vieille-du-Temple. It was partly under cultivation, partly left wild to forest and bog, this portion being known as the Marais du Temple. Farther north were the buildings—palaces, priories, chapels—all secure within their own crenellated wall, all commanded and defended by the moated and towered citadel known as the Temple.

The order had been founded early in crusading days, in the beginning of the twelfth century, by nine French gentlemen and knights, who, clad in white robes marked with a red cross, devoted themselves to the service and the safety of pilgrims to the Holy Land. Louis VII. gave them this waste land late in the same century. The small godly body, vowed to poverty and humility, grew large in numbers and appetite, great in wealth and pride. Its knights were equal with princes, its monks were bankers for kings, and all had become simply a gang of sanctimonious brigands. A Capet saw the birth of the order, a Capet thought it time to strangle it as it neared its two-hundredth birthday. Philippe IV., "le Bel," less solicitous for the genuine faith than for the good coin of the Templars, laid hands on them and on it. He got rid of them by axe and stake and in other ways approved of in that day, and parcelled out their lands; through which streets were cut later, and building begun, when this new wall put them on its safe side.

With the later history of the Temple we cannot concern ourselves, save to say that it long served as a sanctuary, later as a prison, and that its last stone was plucked away, six and a half centuries after it was laid, early in the nineteenth century. The palace of the Grand Prior stood exactly on the Rue du Temple front of the present Square du Temple. That little garden was his garden, and on its other edge, just at the junction of Rues des Archives and Perrée of to-day, rose the Tower, so famous and so infamous in prison annals.

Safely settled in his Hôtel Saint-Paul, within his own wall—Marcel quiet in his grave at last, the nobles curbed, the Jacquerie crushed—the young Dauphin, who had been weak and dissembling, and who was now grown, by long apprenticeship to his trade of royalty, into the strong, prudent, politic Charles V., known in history as Charles the Wise, made proclamation, on his accession in 1364, that this—"l'hôtel solennel des grands ébastements"—should be henceforth the royal residence. In the old Palace on the Island was held the official court; the Louvre, partly rebuilt and brightened by him, was kept for the occasional "séjour, souper, et gîte" of roving royalty. Here in "Saint-Pol" was his home, from whose windows he looked out, with keen, patient, far-sighted vision, over the Paris and the France he had quelled and tranquillized.

The Hôtel Saint-Paul was a town in itself, of many mansions, big and little, of châteaux with their parks, of farms with gardens, of orchards, fish-ponds, fowl-houses, a menagerie. Sauval goes with gusto into details of the buildings and their apartments, the decorations, furniture, and pavements; and the chronicle is appetizing of the dinners and banquets given to embassies and to honored visitors. Withal, pigeons perched on the carved balustrades, and guards lay on straw in the halls. It was a simple patriarchal life led here by Charles the Wise, and here begun by his son, Charles the Silly. A pretty, light-minded child of eleven, on his father's death, he remained a child through his dissolute and diseased early manhood, and through his later years of spasmodic madness and of intermittent reason, to his old age of permanent childishness.

While in Paris, this was his abode, and here he was left, almost a prisoner to unconcerned servants, by his shameless wife, Isabeau de Bavière. When she saw him, once in a way, he looked on her with unknowing eyes, or with knowing eyes of horror. His only companion was the low-born Odette de Champdivers, and with her he played the cards that untrue tradition claims to have been invented for him. He prowled about these halls, in filthy rags, eaten by ulcers and vermin, gnawing his food with canine greed; he ranged through these grounds, finding fellowship with the animals that were not let loose, but kept in cages. You may hunt up the stone walls of those cages—originally on pointed arches with short Romanesque pillars—and the stone foundations of the royal stables, in the yards on the southern side of Rue des Lions; a street whose name tells of these menageries, and that seems to echo with their roarings. The alleyway of cherry-trees now makes Rue de la Cerisaie, and Rue Beautreillis replaces the green tunnels of vines on trellises, where were gathered the grapes—good as are those of Thomery to-day—which produced the esteemed vin de l'hôtel Saint-Paul. Along the farther edge of its grounds, just under the old wall, ran the lane that is now Rue des Jardins; and Rue Charles V. keeps alive the memory of the founder of Saint-Paul. In all these streets, we are treading on the ground he loved.

After the wretched mad king died here in 1422, royalty came no more to the Hôtel Saint-Paul, and the place ran to waste. It was no home for the new Dauphin, come to his kingdom as Charles VII., by the grace of Joan of Arc and of God. His boyish memories were of a dreary childhood, between a mad father, a devilish mother who had hated him from his birth, and princely relatives raging and wrestling over those two for the power to misgovern France. Outside the royal madhouse, Paris was a butcher-shop. Burgundians and Armagnacs were howling crazy war-cries in every street, ambuscading and assassinating at every corner, equally thirsty for blood, but both surpassed in that thirst by the butchers and horse-knackers, led by Jean Caboche and called Cabochians. All these factions, while intent solely on bloodshed, were loud-mouthed with loyalty and patriotism. They were all alike, and we may transfer to them and to their times the apt phrase of Joseph de Maistre, concerning the Massacre of Saint Bartholomew: "Quelques scélérats firent périr quelques scélérats." Almost every leader of men in those days came to his end by arms and in arms, and death by violence seemed the natural death. The town was a shambles; corpses, mangled by butchers and stripped by plunderers, lay thick in the streets; wolves sneaked from the suburbs to eat them; the black-death and other plagues crept in to keep them company, and the English came marching on; the while la danse Macabre whirled about the tombs in all the cemeteries.

On the northern side of Rue Saint-Antoine, opposite the Hôtel Saint-Paul, stretched the grounds of the old hôtel of Pierre d'Orgemont, Bishop of Paris. This property had come to the crown by purchase or by gift, and had been partly torn down, rebuilt, and its grounds greatly enlarged, to make a maison-de-plaisance for Charles VI. The principal building had so many and such various shaped towers and turrets that it was named the Palais des Tournelles. Viewed from a distant height, as from the tower of Notre-Dame by Quasimodo, it had the look of a set of giant chessmen. This was the place selected by the Duke of Bedford for his residence during the English occupation of Paris; and from here, after the death of his brother Henry V. of England—and heir of France, as was then claimed—he reigned as Regent for the little Henry VI. He enlarged the buildings and beautified the grounds, in which he kept many rare birds. He kept, too, the rare manuscripts brought together by Charles V. in the Louvre; and after his death in Rouen—where he had helped burn The Maid—this library was carried to England, when the English departed from France. It was ransomed with coin, and brought back to Paris, by the two grandsons of its original owner—Charles of Orleans, and his brother of Angoulême, and became the nucleus of the Royal, now the National Library.

So, when the sentries in English uniforms had gone from the gates, and the archers in Lincoln green were seen no more in the streets, Charles VII. came back, made King of France by The Maid who had found him King of Bourges, and whom he let the English burn for her pains. He entered Paris in November, 1437, nearly twenty years after he had been carried out from the town in the arms of Tanneguy Duchâtel. That quick-witted provost, discovering that the Burgundians had got into the town by the betrayed Porte de Buci, on the night of Saturday, May 28, 1418, had hastened to the Hôtel Saint-Paul, had wrapped the sleeping boy in his bedclothes, and had carried him up Rue Saint-Antoine to the Bastille, and out into the country on the following day, and so to Melun, where the King's son was safe.

During this first short stay of three weeks, the listless and sluggish young King grew as fond as had been the Duke of Bedford of the walled-in grounds of the Tournelles. They were very extensive, covering the space bounded by present Rues Saint-Antoine, Saint-Gilles, Turenne, and Boulevard Beaumarchais. Within this vast enclosure were many buildings and outbuildings, and in the words of Sauval: "Ce n'étoit que galeries et jardins de tous côtés, sans parler des chapelles."

And henceforth, for more than a hundred years, the Tournelles, "pour la beauté et commodité du dit lieu," was the favored abode of royalty, when royalty favored Paris with infrequent visits. The sombre shapes of Louis XI. and his ignoble comrades darkened its precincts, at times. When he made his entry, already narrated, into the town after his coronation at Rheims, he passed the night of August 31, 1461, in the old Island-Palace, and on the following day he installed himself in "son hôtel des Tournelles, près la Bastille de Saint-Antoine." Here he received, in September, 1467, a visit from his second wife, Charlotte de Savoie, who came up the river from Rouen. She was met, below the Island, by a boatful of choristers, who "sang psalms and anthems after a most heavenly and melodious manner." She landed on the Island, performed her devotions at Notre-Dame, and took boat to the water-gate of Quai des Célestins opposite, and thence made her way on a white palfrey to the Tournelles. The King's physician, Dr. Coictier—most skilled in bleeding, in all possible ways, his royal patient—had an astrological tower in the grounds, and in the centre was a maze named "Le Jardin Dædalus." About these grounds Louis prowled, seldom going beyond them, and then only by night, and with one trusted gossip. Indeed, he was less like the King of France here in his palace than anywhere else; camping rather than residing, with a small retinue of old Brabant servitors, and a larder filled mostly with cold victuals, says Michelet. It was Loches occasionally, and Plessis-les-Tours habitually, that had the pleasure of harboring the "universal spider"; in them both he spun his webs, and waited gloating, and found "many cockroaches under the King's hearthstone," as the saying went. And at last he died, triumphant and wretched, at Plessis-les-Tours.

"Le Petit Roi," Charles VIII., hardly knew Paris; and when he entered the town on February 8, 1492, with his young wife, Anne of Brittany, who had been crowned at Saint-Denis the day before, the populace was not agreeably impressed by his short stature, his bad figure, his heavy head, his big nose, his thick lips always open, and his great, blank, staring eyes. He was in curious contrast with the bride—pretty, sprightly, vivacious, and "very knowing," wrote home the Venetian Ambassador, Zaccaria Contarini. The gentle, weakly King—so strange a scion of Louis XI.—made his home in Touraine. On the terrace of Amboise, where he was born, we all know the little door, leading to the old Haquelebac Gallery, against which he struck his head as he started down to look on a game of tennis. There, on April 7, 1498, in a sordid and filthy chamber, a remnant of the old château he was just then rebuilding, he lay for hours until his death, so carrying out the curse of Savonarola, who had threatened him with the anger of God, if he failed to return to Italy with his army to cleanse the unclean Church with the sword.