Paris as It Was and as It Is Part 72

Towards the end of the administration of Cardinal Richelieu, there no longer existed in France more than one master; and the petty tyrants in the provinces, who had fortified themselves so long in their castles against the royal authority, were seen to come to court, to solicit the most paltry lodging with all the servility of courtiers, and at the same time erect mansions in town with all the splendour of men inflated by pride and power. At last came the reign of Lewis XIV, and presently Paris knew no limits. Its gates were converted into arcs of triumph, and its ditches, being filled up and planted with trees, became public walks. When one considers the character of that monarch, it should seem that Paris ought to have been more embellished under his reign. In fact, had Lewis XIV expended on Paris one-fourth part of the money which he lavished on Versailles,[1] it would have become the most astonishing city in Europe.

However, its great extent and population, magnificent edifices, celebrated national establishments of learning and science, rich libraries, curious cabinets, where lessons of knowledge and genius present themselves to those who have a taste for them, together with its theatres and other places of public entertainment, have long rendered Paris deserving of the admiration of enlightened nations.

Before the revolution, Paris contained 46 parish churches, and 20 others answering the same purpose, 11 abbeys, and 133 monasteries or convents of men and women, 13 colleges, 15 public seminaries, and 26 hospitals. To these must be added the three royal habitations, the _Louvre_, the _Tuileries_, and the _Luxembourg_, also the _Hotel des Invalides_, the _Palais Royal_, the _Palais Bourbon_, and a great number of magnificent hotels, inhabited by t.i.tled or wealthy persons.

Since the revolution, several of these buildings have been destroyed; almost all the monasteries and convents, together with the churches belonging to them, have been sold as national property, and either demolished for the sake of the materials, or converted to different uses. Fifteen princ.i.p.al churches, besides the _Pantheon_, the _Invalides_, _Val-de-Grace_, the _Sorbonne_, and a few others, were preserved as national temples, intended for the celebration of _decadary fetes_, and for a time rendered common to every sort of worship. Most of the old churches were of Gothic architecture, and not much to be commended with respect to art; but several of them were models of boldness, from the lightness of their construction.

The colleges, as I have before observed, are replaced by public schools and private seminaries of every description. The number of the houses in Paris, many of which are from five to eight stories in height, has been estimated at upwards of 80,000. The number of its inhabitants appears to have been over-rated. By an official statement, in which foreigners are not included, it contains no more than 630,000 souls.

During the last year of the republican era, the number of males born in Paris was 9296; and that of females, 9177; making the general total of births 18,473, of which the males, born out of wedlock, amounted to 1792; and the females, to 1852. The number of persons deceased, within the same period, was 10,446 males, and 10,301 females; making together 20,747. The annual decrease in population was consequently 2274 souls. The number of marriages was 3826; and that of divorces, 720; which is nearly 2 out of 11.

The ancient division of Paris consisted of three parts; namely, _La Cite_, _l'Universite_, and _La Ville_. _La Cite_ comprised all the _Ile du Palais_. This is the parent-stock of the capital, whence have extended, like so many branches, the numerous quarters by which it is surrounded. _L'Universite_ was bordered by the Seine, the _Faubourg St. Bernard_, _St. Victor_, _St. Marcel_, _St. Jacques_, and the _Faubourg St. Germain_. The number of colleges in this quarter, had obtained it the name of _Le Pays Latin_. _La Ville_ comprehended all the rest of the capital, not included in the suburbs.

At present, Paris is divided into twelve mayoralties (as you will see by the _Plan_), each of which is presided by a central office of munic.i.p.al police. The _Faubourgs_ retain their ancient names; but those of many of the streets have been changed in the course of the revolution. The _Chaussee d'Antin_, which comprises the new streets north of the _Boulevard Italien_, is now the most fashionable part of the town. The houses here are chiefly inhabited by bankers and persons living in affluence; and apartments in this neighbourhood are considerably dearer than in the _Faubourg St. Germain_, which, comparatively speaking, is deserted.

I have already described the _Porte St. Denis_ and the _Porte St.

Martin_, which are nothing more than arcs of triumph. In proportion as the limits of the capital became extended, the real gates were removed, but reappeared under the name of _barrieres_. These costly edifices were constructed during the ministry of CALONNE, under the direction of LEDOUX, the architect, who has taken a pleasure in varying their form and character. One represents an observatory; another, a chapel; some have the appearance of rusticated buildings; others, that of temples. Under the old _regime_ too, the farmers-general had inclosed Paris with a high wall, the extent of which has been estimated at upwards of 10,000 toises. This wall displeased the eye of the Parisians, and, when they were out of humour, induced them to murmur loudly. Whence the following _jeu de mots_:

_"Le mur, murant Paris, rend Paris murmurout."_

During the revolution, it was by no means uncommon to shut the _barrieres_, in order to serve the purposes of party, and favour the arrest of particular persons. To the number of sixty, they are placed at the princ.i.p.al outlets of the suburbs, and occupied by custom-house officers, whose business is to collect duties, and watch that no contraband goods find their way into the city. Formerly, when every carriage entering Paris was stopped and examined (which is not the case at present), the self-importance of these _commis des barrieres_ could be equalled only by their ignorance.

A traveller arriving from Egypt brought with him a mummy. The case being long, he chose not to fasten it on to his post-chaise, but sent it to Paris by water. When it was landed at the _barriere_, the custom-house officers opened it, and, finding it to contain a black-looking body, decided that this was a man who had been baked in an oven. They took the linen bandages for his burnt shirt, and, after drawing up a _proces-verbal_ in due form, sent the mummy to the _Morne_, where dead bodies are exposed in order to be owned.

When the proprietor reached Paris, he went to the _barriere_ to claim his mummy. The _commis_ listened to him and stared at him with astonishment. He grew angry, and at length broke out into a violent pa.s.sion; when one of the searchers, in a whisper, advised him to decamp, if he wished to avoid the gallows. The traveller, stupified, was obliged to apply to the Minister of the Police, and, with some difficulty, recovered from the _Morne_ his Egyptian prince or princess, who, after having been preserved 2000 years, was on the point of being buried in a catholic cemetery, instead of figuring in a cabinet of curiosities.

[Footnote 1: The article of lead alone for the water-pipes cost thirty-two millions of livres or 1,333,333 sterling; but

"Rich in her weeping country's spoils, Versailles!

May boast a thousand fountains, that can cast The tortur'd waters to the distant heav'ns"--]

LETTER Lx.x.xI.

_Paris, March 17, 1802._

An object which must infallibly strike the eye of the attentive observer, who has not visited this capital within the last ten years,g is the change in the style of

FRENCH FURNITURE.

This remark may, at first sight, appear trivial; but a second view of the subject will produce reflections on the frivolity of this people, even amidst their intestine commotions, and at the same time shew that they are, in no small degree, indebted to the influence of those events for the taste which is to be distinguished in the new productions of their industry, and, in general, for the progress they have made, not only in the mechanical arts, but also in the sciences of every description. This will appear the more extraordinary, as it should seem natural to presume that the persecution which the protectors of the arts and sciences experienced, in the course of the revolution, was likely to produce quite a contrary effect. But the man of science and the artist, each abandoned to himself, acquired, in that forlorn situation, a knowledge and a taste which very frequently are the result of long study only, seconded by encouragement from the wealthy.

The apartments of the fine ladies, of the rich, of the bankers, and merchants in Paris, and generally speaking, of all those who, from their business and connexions, have most intercourse with the public and with foreigners, are furnished in the modern mode, that is, in the antique taste. Many of the French artists, being dest.i.tute of employment, were compelled through necessity to seek it; some entered into the warehouse of the upholsterer to direct the shape and disposition of his hangings; some, into the manufactory of the paper-maker to furnish him with new patterns; and others, into the shop of the cabinet-maker to sell him sketches of antique forms. Had the easels of these artists been occupied by pictures no sooner finished than paid for, the Grecian bed would not have expelled the _lit a la Polonaise_, in vogue here before the revolution; the Etruscan designs would not have succeeded to the Chinese paper; nor would the curtains with Persian borders have been replaced by that elegant drapery which retraces the pure and simple taste of the people of Attica.

The elegant forms of the modern French _secretaires_, commodes, chairs, &c. have also been copied from the Greeks and Romans. The ornaments of these are either bronzed or gilt, and are uncommonly well finished. In general, they represent heads of men, women, and animals, designed after the antique. Caryatides are sometimes introduced, as well as Egyptian attributes; the arms of the chairs being frequently decorated with sphinxes. In short, on entering the residence of a _parvenu_, you would fancy yourself suddenly transported into the house of a wealthy Athenian; and these new favourites of Fortune can, without crossing the threshold of their own door, study chaste antiquity, and imbibe a taste for other knowledge, connected with it, in which they are but little versed.

Mahogany is the wood employed for making these modern articles of furniture, whose forms are no less varied than elegant; advantages which cause them to be preferred to the ancient. But the latter, though heavy in their construction, are, nevertheless, thought, by some persons, superior to the former in point of solidity and convenience. The old-fashioned bedsteads and chairs are generally of oak, painted or gilt, and are covered with silk or tapestry of different patterns. The _ci-devant_ n.o.bles appear to be greatly attached to them, and preserve them as monuments, which supply the place of the t.i.tles and parchments they were forced to burn during the sanguinary periods of the revolution. But this taste is not exclusive; several of the Parisian _bourgeois_, either from economy, or from a wish to appear to have belonged to that cla.s.s, shew no less eagerness to possess these spoils of the _n.o.blesse_, as furniture for their apartments.

While I am speaking of furniture, it naturally occurs to me that I have not yet taken you to visit

LES GOBELINS.

This national manufactory, which is situated in the _Faubourg St.

Marcel_, takes its name from two famous Flemish dyers, who settled in Paris under Francis I. In 1662, COLBERT purchased part of the old premises where the _Gobelins_ had carried on their business, and there opened an establishment under the direction of LE BRUN. It was not confined to the manufacture of tapestry only, but was composed of painters, sculptors, engravers, goldsmiths, watch-makers, lapidaries, and other artists and workmen of almost every description, whose pupils and apprentices here acquired their freedom.

Since the revolution, tapestry alone is manufactured here, on two sorts of looms, distinguished by the denominations of _haute_ and _ba.s.so lisse_, which are fully explained in an interesting _Notice_, published by the intelligent director, GUILLAUMOT, who, it seems, has introduced into each of these branches several recent improvements.

The art of making tapestry originated in England and Flanders, where the cartoons of RAPHAEL and JULIO ROMANO were coa.r.s.ely copied. It was gradually improved in France, and is now brought here to the greatest perfection. Indeed, a piece of _Gobelin_ tapestry may be called a picture painted with wool and silk; but its admirable execution produces an illusion so complete, that skilful painters have been seen to lay their hands on this tapestry, to convince themselves that it was not a real painting.

Tapestry is now entirely out of fashion; and, with the exception of a few small fancy-pieces, the productions of this manufactory are intended solely for the decoration of the national palaces and other public buildings. In 1790 the blood-thirsty MARAT strove hard to annihilate this establishment, by exaggerating the expenses of its maintenance. In 1789, their real amount was 144,000 francs; 116 journeymen and 18 apprentices were then employed, and paid in proportion to their merit and to the quant.i.ty of work they performed.

In 1791, they were divided into cla.s.ses, and paid by the day. This regulation produces less work, but its execution is more perfect, since no motive of interest induces the workman to neglect his performance. At present, its expenses cannot be so great, as the number of persons employed is less than 100. Should the penury of the finances not allow the means of re-establishing pupils, this manufactory will be extinguished like a lamp for want of oil. Twenty years are necessary to make a good manufacturer of tapestry; those of the first abilities are now nearly 70 years of age, and therefore it seems high time to prepare for them competent successors.

At _Chaillot_, we shall find another national manufactory, somewhat a.n.a.logous to the former, and which also claims the attention of the curious observer. From having been fixed in a place originally occupied by a soap-house, it is called

LA SAVONNERIE.

It was established, as far back as 1615, at the instigation of PIERRE DUPONT, who, being forced to quit his native land by the civil commotions arising from the League, went to the Levant. Having seen carpets made without taste or design in that country, he conceived the idea of introducing a manufactory of this kind into France, where it would be susceptible of considerable improvement from the exercise of the arts unknown in Turkey. The project was approved by Henry IV, who first gave DUPONT an establishment in the _Louvre_, which was afterwards transferred to its present situation.

Like the _Gobelins_, the national manufactory of the _Savonnerie_ is, and has been, constantly supported by the government, and like it too, contributes to the decoration of the national palaces, &c.

Nothing, in the shape of carpets, can answer this purpose better than those manufactured here, the colours of which are extremely brilliant. The close, velvety texture of the manufacture gives a peculiar expression to objects which are copied from nature, such as the hair of animals, the down of fruit, and the l.u.s.tre of flowers.

From its foundation till the year 1789, this manufactory continued to be under the direction of a contractor, who delivered the carpeting to the government at the rate of 220 francs per square ell. At the revolution, new regulations were established; the workmen were paid by the day, and cla.s.sed according to their merit. In consequence, though less work is performed, it is executed with greater perfection.

The present government has lately ordered the old patterns, which were overloaded with ornaments and flowers, to be suppressed, and replaced by compositions more simple, more elegant, and infinitely more tasteful. I understand that the workmen are to be put to task-work, under the superintendance of the respectable administrator DUVIVIER, who informs me that the present price of this carpeting amounts to 300 francs per square _metre_ (_circa_ 3 ft. 3 inc.

English measure). In 1789, thirty persons were employed here, at from 30 to 50 _sous_ a day. At present, there are no more than twenty, who daily earn, on an average, 3 francs, and are lodged in the buildings of the manufactory.

Before I lay down my pen, I shall notice a national establishment, equally connected with the subject of this letter; I mean the

MANUFACTORY OF PLATE-GLa.s.s.

Like all the other French manufactories, this has suffered from the revolution and the war; but it has now nearly resumed its former activity, owing to the effects of the peace and the laudable exertions of the government to revive commerce. At this time, it gives employment to about 600 persons.

Before COLBERT founded the present establishment, which is situated in the _Rue de Reuilli_, _Faubourg St. Antoine_, the French drew their plate-gla.s.s from Venice; but they have left their masters in this branch very far behind them, and now make mirrors of dimensions of which the Venetians had no idea. These plates are cast at St.

Gobin, near La Fere, in the department of L'Aisne, and sent to Paris to be polished and silvered. Here you may witness the process employed in each of these different operations.

A method of joining together two small plates of gla.s.s in such a manner that no mark appears, has, I am informed, been lately discovered in Paris. It is said, however, not to be applicable to those of large dimensions. After the operation of this species of soldering, the plates are silvered.

LETTER Lx.x.xII.

_Paris, March 19, 1802._

As the period of my stay here is drawing rapidly towards a conclusion, I find much less leisure for writing; otherwise I should, in my last letter, have made you acquainted with an establishment not irrelevant to the leading subject of it, and which, when completed, cannot fail to attract general notice and admiration.

Every one has heard of the PIRANESI. In the year 1800, PIETRO and FRANCESCO, the surviving sons of the celebrated GIOVANNI-BATTISTA, transported to France their immense collection of drawings, with all their plates and engravings. They were welcomed, protected, and encouraged by the French government. Anxious to give to these ingenious artists every facility for the success of an undertaking that they had conceived, it has granted to them the s.p.a.cious and handsome premises of the _ci-devant College de Navarre_, in the _Rue de la Montagne St. Genevieve_, which the PIRANESI will shortly open as an

ACADEMY OF FINE ARTS.