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INFORMATION CONCERNING VERSAILLES 
 
 PARTICULARLY VISITING THE PALACES AND GARDENS. 
 
 Palaces of Versailles and Trianon. — To be seen every day (Mondays excepted) from 11 to 4 o’clock. 
 
 Parks and Gardens. — Guides, controlled by a special inspector, are allowed to conduct visitors. The fee to which they 
 are entitled is fixed by the municipal authority. 
 
 Waterworks.— On the first Sunday of May, June, July, August, September and October. — National festivities. — 
 Versailles’ patron Saint’s day (Saint-Louis). — Regional Competition, Exhibitions or flower-shows (The administration of 
 the Western Railway Company informs the public of the waterworks by means of newspapers and by bills). 
 
 Military concert at the Tapis-Vert during the waterworks. 
 
 RAILWAYS FROM PARIS TO VERSAILLES. 
 
 CHEMIN DE FER DE l’OUEST. 
 
 rive, droite (right bank) 
 
 Paris, rue Saint-Lazare, 110. 
 
 Regular Departure at 30 minutes past the hour. 
 Versailles, rue Duplessis, 40. 
 
 Regular Departure at the hour. 
 rive gauche (left bank) 
 
 Paris, boulevard Montparnasse. 
 
 Regular Departure at 35 minutes past the hour. 
 Versailles, avenue Thiers (ou dc la Mairie). 
 
 Regular Departure at 35 minutes past the hour. 
 
 Express trains every day at both banks and supplementary trains 
 when the waterworks play. 
 
 Return tickets are delivered. — They are valid for the whole day 
 and allow to return indifferently by both banks. 
 
 CHEMIN DE FER AMfSRICAIN. 
 
 (TRAMWAYS) 
 
 The journey is performed by the Quays, the Champs-Elysdes, 
 the Champ-de-Mars, Auteuil, Billuncourt, the Park of Saint- 
 Cloud (manufacture de porcelaine), Sevres, Chiville, Viro- 
 flay, and the place d’Armes. 
 
 Departure : 
 
 From Paris, rue du Louvre, n° 2. 
 
 From 8 o’clock A. M. to 9 o’clock P. M. 
 
 From Versailles, place Hoche, n° 1. 
 
 From 7 o’clock A. M. to 8 o’clock P. M. 
 Supplementary departure according to the wants. 
 
 Tramways corresponding with the railways of the right and left bank — putting down and taking up passengers for the town, 
 Palace and Trianons. 
 
 Hackney coaches — (for the town, palace and Trianons ). 
 
 GENERAL INFORMATION 
 
 Recommended Hdtels and Eating-Houses. — Advertisements. — Railway hours. (See at the end of the Album]. 
 
VERSAILLES AND THE TRIANONS 
 
NOTICE 
 
 The Editor of the present Guide has always 
 been anxious, in the numerous editions already 
 published, to make it more and more servicea- 
 ble to the visitors of the far-famed palaces of 
 Versailles and the Trianons. To obtain that 
 point, he applied to Professor Eugfcne Bazin, 
 who has bestowed the greatest care on the en- 
 tire remoulding of this little book, which con- 
 tains all the necessary information, with many 
 accurate plans saving much trouble, and beau- 
 tiful views of the finest things to be seen, for- 
 ming a very picturesque and artist-like album. 
 So that, the present work, notwithstanding its 
 limited compass, is now the most exact, the 
 most complete and the best illustrated. Guide of 
 the kind hitherto published about the palaces 
 and gardens of Versailles and the Trianons. 
 
 In consequence of the political events which 
 we lately saw, and after which this Guide- Al- 
 bum was published, the French government 
 was removed to Versailles. (March 1871.) A 
 short time afterwards the Assemblee nationale 
 occupied the Opera-House, in the palace. Since 
 then, a new sitting-room was erected in the 
 Southern Wing, for la Chambre des Deputes; 
 and the Opera-House as well as the adjoining 
 rooms are now devoted to the Senat. Conse- 
 quently the visitors who are prevented from 
 penetrating into several halls and galleries, al- 
 though indicated in this present Guide, are 
 most earnestly requested neither to incriminate 
 nor to suspect the Editor, but to take in account 
 the unforeseen results of political events. 
 
THE GUIDE-ALBUM 
 
 TO THE PALACES AND GARDENS 
 
 OF 
 
 VERSAILLES AND THE TRIANONS 
 
 PARIS 
 
 PUBLICATION S PE Cl ALE 
 
 DE GUIDES- ALBUMS , DE VUES PHOTOGRAPHIQUES ET STEREOSCOPIQUES 
 50 , RUE MONTMARTRE, 50 . 
 
r> IL TV 1ST OF VERSAILLES 
 
 A Palais de justice. - B H6tel-de-Ville. — C Prdsidence and Prefecture. — D Temple protestant. — E Railway-station. R. D. 
 F Railway-station, R. G. — G Theatre. — H Seminary. — K Barracks. 
 
HOTEL VATEL — 28, Rue des Reservoirs & (boulevard de la reine) 
 

THE PALACE OF VERSAILLES 
 
 
 HISTORIC 
 
 Versailles was formerly the residence of the king 
 and the eourt. It is now the chief town of the de- 
 partment of Seine-et-Oise. Its population is about 
 40,000 souls, without reckoning a numerous garri- 
 son. The air is clear and the climate very healthy. 
 
 The palace stands on the most elevated part of 
 the town. Directly opposite to it, is the 'place d'Ar- 
 mes, with its three wide avenues. The one on the 
 right, beginning at the Petites-E curies, now a bar- 
 rack, is the avenue de Sceaux ; the one on the left, 
 beginning at the Grandes-E curies, also a barrack 
 to-day, is the avenue de Saint-Cloud ; the center 
 one is named the avenue de Paris; it divides the 
 town into two nearly equal parts;. on the right 
 
 stands the quartier Saint-Louis , which is the old 
 town ; on the left, the quartier Notre-Dame, the new 
 town, which is the more populous of the two. 
 
 Formerly the town of Versailles was nothing but 
 a dependency of the castle, which explains the 
 actual division into symmetrical portions and the 
 regularity of the squares and streets. 
 
 The seignory of Versailles was created on Hugues 
 Capet’s accession to the throne. The first manor- 
 house here erected belonged to Hugo de Versa- 
 liis. From the eleventh to the sixteenth century, a 
 small village sprang around it by degrees , and 
 towards the year 1560, Martial de Leomenie esta- 
 blished here, with king Charles IX.’s sanction, four 
 fairs a year and a market on every Thursday. 
 Owing to a shameful spoliation, Gandy, marshal de 
 
— 8 — 
 
 Retz and his descendants succeeded Leomenie. 
 Louis XIII. frequently came to hunt in the neigh- 
 bouring woods. Saint-Simon wrote in his Memoirs : 
 
 « Annoyed, and his followers still miprc so for it is 
 said that they were forced to sleep in dirty public 
 houses, frequented only by waggoners, or sometl 
 mes in a windmill, when overtatigued by a long 
 chase in the forest of Saint-Leger, Louis XIII. was 
 determined to build a small pavi ion at Versailles. >> 
 Not satisfied with the pavilion, the king purchased 
 a fief: and on the most elevated part of his estate, 
 where stood the windmill in which he had passed 
 some nights, he ordered, in the year 1627 a small 
 castle to be built. His son, Louis XIV., added many 
 constructions to his father’s mansion, which, in 
 spite of all the entreaties of his architects, he would 
 never permit to be pulled down. Ihe modest bun 
 ding exists to this day and forms the center part of 
 the new palace. ,■ , . 
 
 Louis XIV. made improvements to such a vast 
 scale, that in the year 1682, he chose Versailles for 
 the fixed residence of the court. What were the 
 sums laid out in the creations and embellishments 
 at Versailles, nobody can tell now. Louis XIV. him- 
 self was so much surprised at the enormous amount, 
 that he ordered the bills of the workmen to be 
 all burned. Mirabeau speaks of more than twelve 
 hundred millions francs. But be the cost what it 
 may, the work is undoubtedly one of the most pro- 
 
 digious monuments of French art and Royal power. 
 This great wonder, to which contributed so many 
 celebrated artists, such as Mansart, Lebrun, Mignard, 
 Houasse, Audran, Philippe de Champagne, Puget, 
 Coustou, Coysevox, Girardon, Le Hongrc, Marsy, Le 
 Notre, etc., is characteristic of true grandeur and 
 real magnificence : conceived by men of genius, it 
 was executed by clever mechanics and it commands 
 general admiration. 
 
 After Louis XIV.’s death, Versailles was aban- 
 doned for seven years. During Louis XV.’s reign, 
 M»* de Pompadour made it neither nor less than a 
 « boudoir, » and M rae du Barry disgraced it into a 
 sort of petite maisoti. The infortunate Louis XVI. 
 expiated the faults of his ancestors, and then Ver- 
 sailles saw its downfall as well as that of royalty. 
 Napoleon I. neglected the castle nearly in rums. So 
 did Louis XVIII. and CharlesX., both frightened with 
 the expenses necessary to render the palace fit to 
 receive again the court. But king Louis-Phihppe, 
 wishing those vast apartments to be once more 
 occupied, turned them, at his own cost, into a na 
 tional Museum dedicated to all the glories of 
 
 FRANCE. 
 
 THE PALACE 
 
 Viewing the palace from the place d’Armes, one 
 is immediately struck with the vast ensemble, though 
 
9 — 
 
 the whole length cannot be seen on account of 
 pavilions which project, and of the chapel and 
 other buildings. 
 
 Beautiful gilted railings and elegantbalustrades se- 
 parate the extensive court-yard from the still more 
 extensive place d'Armes. Two groups of sculpture 
 in stone are placed on the right hand of the gilted 
 iron gate, bearing the arms of French royalty. The 
 one at the end of the railings represents France 
 triumphing over the German Empire, by Marsy ; 
 the other on the balustrade is Peace, by Tuby. Two 
 other groups decorate the left side; the one at the 
 end of the railings is France triumphing over Spain, 
 by Girardon ; the other, on the balustrade, Abun- 
 dance , by Coysevox. 
 
 In the first court-yard, known under the name of 
 Cour des Statues, there are two large wings called 
 the ailes des Ministres. In that court-yard are pla- 
 ced sixteen huge statues representing : 
 
 ON THE RIGHT : 
 
 ON THE LEFT I 
 
 Richelieu, by Ramey. 
 
 Bayard, by Moutoni. 
 
 Colbert, by Milliomme. 
 Jourdan, by Espereicux. 
 
 M assert a, by Espercieux. 
 Tourville, by Marin. 
 Duguay-Trouin, byDupasijuier. 
 Turenne, by Gois. 
 
 Suger, by Slouf. 
 Duguesclin, by Bridan. 
 Sully, by Espercieux. 
 Lannes ,' by Callamard. 
 Mortier, by Callamard. 
 Suffren, by Lesueur. 
 Duquesne, by Roguier. 
 Conde, by David. 
 
 At the top of the Cour des Statues, is an eques- 
 trian statue in bronze of Louis XIV., by Petitot ; the 
 horse was done by Cartellier. Behind that statue, 
 two modern pavilions, with Corinthian pillars, project 
 forward on each side of the palace ; their frontons 
 bear these words : A toutes les gloires de la 
 France, indicating thus the actual destination of 
 the palace. Between these two pavilions is the Cour 
 Royale. Further on, at the bottom, is the old « cha- 
 teau » of Louis XIII., having in front la Cour de 
 Marbre, deriving its name from being paved in 
 marble. It is a real diamond preserved in a mo- 
 dern jewel-box. The Marble Court-yard is one step 
 higher than the level of the ground of the Cour 
 Royale. 
 
 In the middle front of the old cMteau stands the 
 balcony of Louis XIV.’s bed-room; above may be 
 seen the clock which was stopped when His Majesty 
 died. Le Roi est mort!... Vive le Roil... (The King 
 is dead ! Long live the King !) When Louis XV. 
 died, that cry was no more uttered in France. 
 Louis XIV. added the vases, trophies and busts now 
 adorning the fronts of the old « chateau », built un- 
 der his father’s reign, by Jacques Lemercier. To the 
 left, on the first story, is the balcony where Queen 
 Marie-Antoinette was obliged to show herself to the 
 people, with the young Dauphin and Lafayette, on 
 the morning of the 6th October 1789. 
 
— 10 — • 
 
 On the balustrades around the court-yard, are 
 placed eighteen stone statues representing : 
 
 La Fontaine. This grotto is now - in the bosquet 
 cF Apollon. 
 
 ON THE LEFT : 
 
 Abundance, by G. Marsy. 
 Strength, by Coysevox. 
 Generosity , by Legros. 
 Wealth, by Lehongre. 
 Authority, by Lehongre. 
 Glory, by Regnaudin . 
 America , by Regnaudin. 
 Africa , by Lehongre. 
 Victory, by Lcspingola. 
 
 ON THE RIGHT : 
 
 Magnificence, by G. Marsy. 
 Justice, by Coysevox. 
 Wisdom, by Girardon. 
 Prudence, by Masson. 
 Diligence, by Raon. 
 
 Pence, by Regnaudin. 
 Ewropa, by Legros. 
 
 Asia, by Masson. 
 
 France, by Lecomte. 
 
 The present chapel is ornamented with numerous 
 statues and bass-reliefs of the most remarkable 
 character; the purity of the Corinthian columns 
 which adorn the exterior, is admired by every con- 
 noisseur ; as is the beauty of the architraves of the 
 large windows, on which are sculptured children 
 bearing the symbols of the Catholic faith. These 
 beautiful sculptures are the work of Tuby, Ofle- 
 ment, Armand, Defer, Bourdict, Raon, Grettepin, 
 Vigier, Rousseau, de Corbeil, Dedicu, Francois and 
 Voiriot. 
 
 THE CHAPEL 
 
 On the right hand of the Cour Royale is the Cha- 
 pel, a chef-d’oeuvre which was the last work of the 
 celebrated architect Mansart. It was begun in the 
 year 1699 and finished in the year 1710. 
 
 There have been successively three chapels in 
 the palace : the first one was built by Louis XIII., 
 near the marble staircase; the second one, by 
 Louis XIV.. in the spot where the salon d’Hercule is 
 now ; and the actual one, which, under M rac de 
 Maintenon’s religious influence, replaced the famous 
 grotto of Thetis, adorned by Girardon with rather 
 voluptuous statues, whose beauties were sung by 
 
 The upper balustrade is adorned with twenty 
 stone statues, each ten feet high. They represent : 
 
 Park side (South) : 
 
 Saint Thomas, by Manifcre. 
 Saint James, the Less, d° 
 Saint James, by Thdodon. 
 Saint Andrew, d° 
 
 Saint Paul, by Poirier. 
 
 Saint Peter, d° 
 
 Saint Jerome, by Coustou. 
 Saint Augustin, d° 
 
 Saint Gregory, by Lepautn*. 
 Saint Ambroise, d° 
 
 Reservoirs street TNorth) 
 
 Saint Basil, by Poultier. 
 
 Saint Athanasius, d° 
 
 Saint Chrysoslome, by Flamen. 
 Saint Gregory of N., byHurtrel 
 Saint Philip, by Flamen. 
 
 Saint Barlholomeus, d° 
 
 Saint Simon, by Lemoine. 
 Saint Jude, d° 
 
 Saint Barnaby, by Bourdict. 
 Saint Mathias, by Lapierre. 
 
— 11 — 
 
 Besides, there are the four Evangelists, by Van 
 Cleve, placed on the apsis. 
 
 The roof has lead ornaments, which were origi- 
 nally gilt. At each end, there are groups of angels 
 by Lepautre and Coustou. 
 
 They have just restored the Chapel, and made 
 important embellishments. 
 
 The elegancy and beauty of the rich decoration 
 of the interior of the chapel is unrivalled. 
 
 The grand altar is of marble and gilted bronze. 
 There are several chapels on each side, ornamented 
 with bass-reliefs by Coustou, Adam, Vinache, Bou- 
 chardon, Lepautre, Slodtz, as well as with pictures, 
 the most remarkable of which are Saint-Louis hea- 
 ling the sich r by Jouvenet ; The, Holy Supper, by 
 
 Sylvestre. In the center of the ceiling under the 
 arch, Coypel painted The Eternal Father in all his 
 Glory. In the arch behind the grand altar, is The 
 Resurrection painted by Lafosse. Opposite to the 
 grand altar, and above the King’s pew, is The Des- 
 cent of the Holy Ghost , by Jouvenet. 
 
 Several Royal marriages look place here, among 
 which those of the Duke of Berry, grand-son to 
 Louis XIV. and M lle d’Orleans (1710), the Duke of 
 Bourbon and M lu de Conti, the Prince of Conti 
 and M lle de Bourbon ; Madame, eldest daughter of 
 Louis XV. and Don Philip, infant of Spain; the Duke 
 of Chartres and M lle de Conti ; the Dauphin and the 
 Infanta of Spain ; Louis XVI. (then the Dauphin) 
 and the Archiduchess of Austria, Marie-Antoinette 
 (1770). 
 
PLAN OF THE GROUND FLOOR. - No 1. 
 
 I to 3. Vestibules, busts. 
 
 4. Arcades of the North. Statues and busts 
 
 of the Marshals of France. 
 
 5. Staircase and vestibule. Statues and busts 
 
 of general officers fallen in the field. 
 
 6. Vestibule, statues, busts, plans. 
 
 7 to 9. Saloons of the plans. 
 
 0. Vestibule, busts. 
 
 CENTRAL PART 
 
 11. Vestibule of Louis XIII. Statues. 
 
 12. Hall of the kings of France. 
 
 13 to 16. Views of the ancient Royal residences 
 of Paris and France. 
 
 17. Marble Staircase and vestibule. Statues, 
 
 18. Arcade of the South. Statues and busts. 
 
 19. Vestibule, statues, busts. 
 
 20. Vestibule, statues, busts. 
 
 21. Hall of the admirals. 
 
 22. Hall of the connitables. 
 
 23 to 29. Halls of the marshals of France. 
 
 30. Gallery of Louis XIII., paintings and 
 statues . 
 
 31 to 37. Halls of the marshals of France. 
 
 38. Saloon of celebrated warriors. 
 
GROUND FLOOR 
 
 NORTHERN WING 
 
 N° 1. The Chapel. 
 
 N° 2. Vestibule of the Chapel. 
 
 N“ 5 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 and 13. — 
 Gallery of the History of France, from Clovis I. to 
 Louis XVI. 
 
 The rooms from n° 2 to n° 7 were successively 
 occupied by the Duke of Orleans and his sister Char- 
 lotte-Aglae d’ Orleans, Duchess of Modena, in the 
 reign of Louis XV. ; and by the Prince of Conde, in 
 Louis XVI.’s reign. 
 
 The rooms from n u 8 to n° 13, were the apart- 
 ments of the Prince of Conti. 
 
 The medallions round the frize in the rooms n os 8, 
 9, 10 and 11, painted by Franque, are devoted to 
 the reigns of Louis XIII. and Louis XIV. 
 
 N° 14. Staircase of the Northern Wing 
 leading to the Attic. — Busts. 
 
 N° 15. The Opera-House. — That theatre 
 is one of the most splendid rooms now extant. 
 Its rich decorations cannot be too much admired. 
 The splendour and richness of all the ornaments 
 dazzle the eye and are not to be surpassed except 
 in fairy tales. 
 
 In March 1871, the Assemblee Rationale occupied 
 the Opera-House. It was replaced by the Senat , in 
 the year 1875. 
 
 N° 16. Vestibule of the Opera-House. — 
 Busts. 
 
 N° 17. Sculpture Gallery. — Busts, statues 
 and mausolea from Clovis I. to Louis XVI. 
 
 N«* 18, 19, 20, 21 and 22. Galleries of the 
 Crusades. — The armorial bearings that orna- 
 ment the frizes and ceilings of these rooms are 
 those of the princes, noblemen and knights who 
 took a part in the Crusades. 
 
14 — 
 
 CENTER PART 
 
 JV°‘ 1, 2 and 3. Vestibules. — Busts. 
 
 N° 4. Arcade of the North. — (Carriages pass 
 through this arcade to go from the court yards of 
 the palace to the gardens). — Statues and busts of 
 Marshals of France. 
 
 N° 5. Staircase and Vestibule. — Statues and 
 busts of general officers killed when combatting 
 for France. It was the ambassadors’ staircase, 
 which was destroyed in Louis XV.’s reign, and re- 
 built by Louis-Philippe. 
 
 N°e. Vestibule. — It belonged to the Salle 
 aes Gardes of the private apartment of Louis XV. 
 The king had just come out of it, to step into his 
 carriage, when he was stabbed by Damiens, on 
 the 5th January 17-57* at six o’clock P. M. 
 
 N° s 7, 8 and 9. Rooms of the Plans. — N ot 7 
 
 and 8 were formerly a part of the suit of apartments 
 of the Capitaine des Gardes. N° 9 was formerly a 
 room adjacent to the bath-room of Marie- Antoinette. 
 
 N° 10. Vestibule. — Busts. 
 
 N° 11. Vestibule. — It was formerly (he peri- 
 style of Louis XIII.’s chateau , situated in the middle 
 of the center part; afterwards it became a room in 
 the reign of Louis XIV., and now it serves as a 
 passage from the marble court yard to the gardens. 
 
 N° 12. Hall of the Kings of France. — 
 
 Under Louis XIII. it was the apartment of the comte 
 of Soissons, Grand-Master of the Wardrobe. He 
 was lodged exactly under the Xing’s chamber, 
 which now is le Salon de VtEil-de-Boeuf. 
 
— 15 — 
 
 N°s 13, 14, 15 and 16. Views of the an- 
 cient Royal Castles of France. — These rooms 
 were occupied by les Gardes-du-Corps (Body- 
 Guards) of the Dauphin, in Louis XV.’s reign ; and, 
 under Louis XVI., by the gentlemen of Wardrobe and 
 the Stool. 
 
 N° 17. Marble staircase and vestibule. — 
 
 Statues and busts. 
 
 N° 18. Arcade of the South. — Statues and 
 busts. 
 
 N°* 19 and 20. Vestibules. — Statues and 
 busls. 
 
 N° 21. Hall of the admirals. — A part of 
 that room was formerly called Salle des Gardes. The 
 portraits not bearing the artist’s name are paintings 
 of the XVIlIth century. 
 
 N° 22. Hall of the « Connetables. n — The 
 
 very high dignity of Connetable was suppressed in 
 1627. Napoleon re-established it for bis brother 
 Louis, afterwards king of Holland. — This room 
 was formerly the bed-chamber of the Duke of 
 Berry, grand-son of Louis XIV. 
 
 N os 23, 24, 25, 26, 27, 28 and 29. Halls of 
 the Marshals of France (1st part). — N° 23. 
 
 First that room belonged to the guards of the Dau- 
 phin, then it became the study-room of the Dau- 
 phiness. — N° 24. A part of the suit of rooms be- 
 longed to the Duchess of Berry, in Louis XIV ’s 
 reign ; afterwards, the bed-chamber of the Dau- 
 phiness (Louis XV). — N° 25. Under Louis XIV., it 
 was the bed-chamber of the Dauphin; afterwards it 
 became Ihe Regent’s bed-chamber. — N° 26 In 
 1735, that room was the study and library of the 
 Dauphin, son to Louis XV.— N° 27. It was formerly 
 the study of the Dauphin, son of Louis XIV. Marshal 
 Villeroy was arrested in this room, on the 13th of 
 August 1722, by La Fare, captain of the Regent’s 
 guards. - N“ 28. Study of the Regent, who died 
 here on the 2 nd of decemberl725. — N° 29. Appur- 
 tenances of the Grand Dauphin’s suit of apart- 
 ments. 
 
 N° 30. Gallery of Louis XIII. — Pictures and 
 statues. — This gallery, which -is exactly under 
 the grand galerie des Glaces , formerly communi- 
 cated on the right with the bath-room, and on the 
 left with the apartment of the Dauphin. The piers 
 are decorated with the works of Alaux, Lafaye 
 and H. Lecomte. 
 
 N° s 31, 32, 33, 34, 35, 36 and 37. Halls of 
 the marshals of France (2nd part). — N° 31. 
 This room made part of the bath-rooms ; it . became 
 
— 16 — 
 
 one of the rooms of M me de Montespan’s apart- 
 ment. — N° 32. This room belonged to the bath- 
 rooms, and was afterwards inhabited by one of 
 Louis XV.’s daughters. — N° 33. As above. — 
 N° 34. It was formerly called the salle de Diane. — 
 N° 36. This room was the bed-chamber of M ,ne de 
 Pompadour. — N° 37. It was formerly the study of 
 M mo de Pompadour. 
 
 N° 38. Gallery of celebrated Warriors. — 
 
 This was a vestibule of the ambassadors’ staircase 
 in Louis XIV.’s reign, and afterwards the provost’s 
 guard- room. 
 
 SOUTHERN WING 
 
 LOWER PART 
 
 N° 1. Gallery. — Statues and busts from 
 Louis IV. to Louis XVI. 
 
 N° 2. Vestibule. — Statues and busts of the 
 family of Bourbon-Conde. 
 
 N° 3. Vestibule of the Orangery. — Statues 
 and busts. 
 
 N° 4. Vestibule of the Staircase of Pro- 
 vence. — Statues and busts. 
 
 GROUND FLOOR 
 
 N° 1. The marine pictures room. — In the 
 
 reign of Louis XVI., this made part of the pavilion 
 inhabited by the comte de Provence; and on that 
 account this pavilion composed of five rooms was 
 called le Pavilion de Monsieur. 
 
 N° 2. Vestibule. — Statues and busts. 
 
 N os 3, 4, 5, 6, 7 and 8. Galleries of the cam- 
 paigns from 1796 to 1805. — These rooms 
 formed in Louis XIV.’s reign, the suit of apartments 
 of the Duke and Duchess de Bourbon. 
 
 N° 9. Vestibule of Napoleon. — Statues and 
 busts of the Imperial family. — This vestibule se- 
 
— 17 — 
 
 parated les Grands appartements from the Southern 
 Wing. 
 
 N os 10, 11, 12, 13, 14, 15 and 16. Galleries of 
 the campaigns from 1805 to 1810. — N° 10. 
 
 This room was successively occupied by the prin- 
 cesses of the families of Louis XIV. and Louis XV. 
 Under Louis XVI., it was the apartment of the 
 Royal children. — N° 11. Formerly the bed- 
 chamber of the Duchess de Maine. — N° 12. It 
 was the bed-chamber of the Royal children. — N° s 
 13, 14 and 15. A portion of the suit of apartments 
 
 of the Duchess de Maine and of the Royal children. 
 — N° 16. Room of the Duchess of Rourbon. 
 
 N° 17. Sculpture gallery. — Statues and 
 busts from Louis XVI. to Louis-Philippe. — Formerly 
 it was a passage for servants. 
 
 N° 18. Vestibule of the staircase of the 
 Princes. — The Royal children having occupied 
 the Southern Wing, the court-yard and staircase of 
 this wing were called la Cour des Princes and I’Es- 
 calier des Princes. 
 
 2 
 
No 2 
 
 PLAN OF THE FIRST FLOOR. — 
 
 CENTRAL PART 
 
 1. Saloon of Hercules. 
 
 2. Saloon of Plenty. 
 
 3. Saloon of Venus. 
 
 4. Saloon of Diana. 
 
 5. Saloon of Mars. 
 
 6. Saloon of Mercury. 
 
 7. Saloon of Apollo. 
 
 8. Saloon of War. 
 
 9. Grand Looking-glass Gallery. 
 
 10. Saloon of Peace. 
 
 11. The Queen’s chamber. 
 
 12. The Queen’s drawing-room. 
 
 13. The Queen’s antichamber. 
 
 14. The Queen’s guard-room. 
 
 15. The Queen’s staircase. 
 
 16. Hall of the King’s body-guards. 
 
 17. Antichamber of the King. 
 
 18. The Small apartments of the Queen. 
 
 19. Saloon of the (Eil-de-Bceuf. 
 
 20. Louis XIV. ’s chamber. 
 
 21. Hall of the Council. 
 
 22. Louis XY.’s chamber. 
 
 23. Clock’s Gallery. 
 
 24. Hunting closet. 
 
 25. Dining-room of Louis XV. 
 
 26. Ancient Jewel- Room. 
 
 27. Room of the cupboard. 
 
 28. The king’s gold and silver plate-room 
 
 29. Library of Louis XVI. 
 
 30. « Salon des porcelaines. » 
 
 31. Staircase. Pictures. 
 
 32. Pictures of the reign of Louie XIV. 
 
 33 and 34. Water colour drawing-rooms. 
 
 35. Hall of the States General. 
 
 36. Hall of the Coronation. 
 
 37 to 41. Gallery of historical 'pictures from 
 1792 to 1796. 
 
FIRST FLOOR 
 
 NORTHERN WING 
 
 grand Gallery, when open,, gives a view of the 
 Chapel. 
 
 N° s 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11. Gallery 
 of the History of France, 1797 to 1835. — 
 
 N os 2 and 3. It was the suit of rooms belonging to 
 the Duke de Berry and the prince and princess de 
 Conti — N os 4, 5, 6 and 7. A part of the suitof rooms 
 that formerly belonged to the prince ofDombes, the 
 comle d’Eu, and M llc de Sens. — N° 8. The former 
 site of the grand staircase of the Northern Wing. — 
 N" 10. Study of the cardinal de Rohan and the 
 cardinal de Soubise. 
 
 N° 1. The vestibule of the Chapel. — 
 
 This vestibule is ornamented with columns and 
 pilasters of the Corinthian order. In the four 
 corners of the ceiling are bass-reliefs representing 
 the four farts of the World. Eight arches serv- 
 ing as doors or windows are surmounted with 
 sculptured figures representing The Virtues. On 
 each side are two recesses in which are placed 
 marble statues. The one is Glory , by Yassi. Resting 
 on a pyramid, she holds a medallion of RouisXV.; a 
 child at her feet presents a crown. The other. 
 Magnanimity, by Rousseau. She has a sceptre in her 
 hand and a lion lies at her feet. The door of. the 
 
 N° 12. Staircase of the Northern Wing. 
 
 N° 13. Vestibule of the Opera-House. — 
 
 Busts. 
 
 N° 14. Sculpture Gallery. — Statues and 
 busts from Dagobert 1 st to Louis-Philippe. It was 
 formerly a passage for the servants, 
 
 N c 15. Staircase. — Statues. 
 
 N os 16, 17. 18, 19 and 20. Picture Gallery. 
 
 — Africa, Crimea and Italy campaigns. — N° 16 
 It was formerly the apartment of marshal de Yillars’ 
 
— 20 — 
 
 wife. — N°’ 18 and 19. They were the apartments 
 of the duke and duchess de Saint-Simon. — N° 20. 
 This room was formerly a part of the apartment of 
 the marquis de Sassenage, knight in waiting of the 
 Dauphiness. 
 
 N°21. Gallery of Constantine. 
 
 N® 22. The Smalah hall. — A part 
 of this large hall was occupied, under Louis XV.’s 
 reign, by marshal de Belle-Isle and by some officers 
 of the guards. In another part the musicians of the 
 Chapel used to assemble ; and there also lodged the 
 priests who celebrated divine service. 
 
 CENTER PART 
 
 N° 1. Saloon of Hercules. — Till the year 
 1710, this saloon was the upper gallery of the an- 
 cient chapel, which filled the space below. It de- 
 rives its name from the ceiling where Le Moyne 
 painted the apotheosis of Hercules. He chose that 
 subject, it is said, alluding to one of the Christian 
 names of the cardinal de Fleury, his protector. All 
 the gods of mythology are here assembled. Her- 
 cules is advancing towards Jupiter and Juno in a 
 cart drawn by cupids ; Jupiter presents to him Hebe, 
 goddess of youth, led by Hymen; Ganymede is 
 
 close to Hebe. On the left, Bacchus accompanied by 
 two Sylvans, is leaning on the god Pan. Above 
 Bacchus are Mercury and Amphitrite, and under- 
 neath are Venus, Cupido and the three Graces. Venus 
 
 is the only one that turns away her head. Cupid 
 looks cunningly at Hercules as to try to find out a 
 vulnerable part in him. Lower down, Diana and 
 Pandora are close to Comus, who carries a wand 
 
— 21 — 
 
 'wreathed with garlands of flowers ; and underneath 
 Mars and Vulcan contemplate the fall of the Mons- 
 ters and vices, who have been hurled beneath the 
 car of Hercules. All the other gods of Olympus and 
 History as well as the nine Muses are in this ma- 
 gnificent picture, one of the largest compositions 
 known ; it measures more than eighteen metres by 
 seventeen metres; it contains one hundred and 
 foVty-two figures. That chef-d'oeuvre won for the 
 artist the title of first painter to the king. 
 
 N°2. Saloon of Plenty [Salon del’ Abondance). 
 — It was the vestibule of the gallery of the Chapel, 
 which stood in the spot where the saloon of Her- 
 cules is now. 
 
 No 3. Saloon of Venus. — Formerly used as a 
 luncheon-rooin on reception days.The ceiling painted 
 by Houasse. represents The triumph of Venus. In 
 this saloon is the beautiful marble group of The three 
 Graces, by Pradier ; this master-piece, exhibited in 
 the year 1831, is placed in a niche. 
 
 N° 4. Saloon of Diana. — It was the billiard- 
 room under Louis XIV. The ceiling, painted by 
 Blanchard, represents Diana 'presiding over Navi- 
 gation and Hunting. The goddess in her car accom- 
 panied by the Hours and Night. The Hours of Morn- 
 ing precede the car. Navigation is represented by 
 
 a woman on a vessel, holding the helm ; Hunting is 
 also represented by a woman having a net in her 
 hands and followed by children, one of them holding 
 a horn, and the others, dogs by couples.The covings 
 were painted by Audran, Lafosse, and Sarrazin. The 
 marble bust of Louis XIV., by Le Bernin, is the prin- 
 cipal curiosity in this saloon. Though it was made 
 when that artist was sixty-eight years old, itis very 
 remarkable for the boldness of the waving hair and 
 the splendid folds of the drapery. Besides this bust 
 was sculptured without first making a clay model 
 as is the custom. 
 
 N° 5. Saloon of Mars. — In the reign of 
 Louis XIV., it was the card and ball-room, and 
 sometimes the concert-room. The ceiling represents 
 Mars in a chariot drawn by wolves, by Andran. 
 On both sides are pictures by Jouvenetand Houasse, 
 showing the horrors and the advantages of war. 
 Over the doors, there are Justice, Moderation. 
 Strength and Prudence, painted by Simon Vouet, 
 There is also a copy from Lebrun of The corona- 
 tion and marriage of Louis XIV. Near this picture 
 are two marble platforms which were occupied by 
 musicians on the days of reception. 
 
 N° 6. Saloon of Mercury. — This saloon, 
 which was formerly a state-chamber, opened into 
 the King’s room. After Louis XiV.’s death, his coffin 
 
■was exhibited here for a week in a « chapelle ar- 
 dente. » The ceiling represents Mercury in a cha- 
 riot drawn by two cocks, painted by J.B. de Cham- 
 pagne. The four cornices were also painted by him, 
 and are, as the ceiling, copies from Lebrun and Yan 
 der Meulen. 
 
 N° 7. Saloon of Apollo. — This saloon was 
 formerly the throne- room. The three gilt hooks 
 which held up the canopy are still to be seen. The 
 ceiling painted by Lafosse, represents Apollo in his 
 chariot drawn by four horses , and accompanied 
 by the Seasons. The cornices are also the work of 
 Lafosse. 
 
 N° 8. Saloon of War. — This space was for- 
 merly divided into three rooms, which completed 
 on this side the king’s suit of apartments. The cei- 
 ling represents France with a helmet on her head, 
 holding thunderbolts in one hand , and in the 
 other a shield on which is the portrait of Louis XIV., 
 crowned with laurels. Around France are Victories. 
 The subjects of the cornices are Bellona in a fury, 
 Germany kneeling , Holland tlmnderstruch , Spain 
 terrified. These pictures and those of Lebrun in the 
 next room, says Saint-Simon, w'erc the cause of irri- 
 tating and leaguing all Europe against Louis XIV. Abo- 
 ve the chimney-piece is the celebrated basso-relievo 
 of Coysevox representing Louis XIV. on horseback, 
 
 before which the czar Peter the Great stopped to 
 express his admiration, when he visited the palace. 
 
 N°. 9. Grand Looking-glass gallery. [Grande 
 galerie des Glaces. — This beautiful gallery is 
 73 metres long by above 10 metres wide, and 
 13 metres high. It is lighted, says La Marliniere, 
 by seventeen large arched windows, looking on 
 the gardens, to which correspond seventeen ar- 
 cades filled with looking-glasses. The windows 
 and the arcades are separated on each side by twenty- 
 four pillars of the Corinthian order, with gilded 
 bases and capitals. In the large pier glasses with 
 double pillars and in the marble panels under the 
 impostc, are placed trophies in gilt bronze. The 
 stucco cornice, which goes round the room, is sur- 
 mounted with trophies and twenty-three figures 
 of children by Coysevox. The ceiling was entirely 
 painted by Lebrun. It has seven large divisions and 
 two small ones at the extremities of the gallery. All 
 these pictures are consecrated to the glory of 
 Louis XIV. 
 
 1st picture, above the entry of the saloon of War. 
 — The alliance of Germany and Spain with Hol- 
 land (1672). 
 
 2nd picture, above the entry of the saloon of 
 Peace. — Holland accepting peace and separating 
 itself from Germany and Spain (1678). 
 
— 23 — 
 
 The seven large pictures of the ceiling are the 
 following ones, beginning on the side of the saloon 
 of War: 
 
 1st picture, occupying the whole arch. — The 
 passage of the Rhine (1672). The Rhine who was 
 resting on his urn, is seized with terror and raises 
 himself shocked by such audacity. In his astonish- 
 ment he lets go his rudder, on seeing the King ap- 
 proach in a chariot of victory, with thunderbolts in 
 his hand and guided by Glory and Minerva, and fol- 
 lowed by Hercules. 
 
 2nd picture, on the park-side. — The King arm- 
 ing loth sea ami land (1672). The king standing 
 gives his orders. Foresight or Caution is seated 
 close to him with am open book and a pair of com- 
 passes to show that he always takes just measures. 
 Neptune offers him the empire ot the sea; Mars 
 brings him soldiers ; Vulcan, accompanied by a 
 Cyclop, carries arms ; Mercury, a shield. Minerva 
 is going to put a golden helmet on the head of 
 Louis XIV.; Apollo gives directions for the building 
 of a fortress. Vigilance is holding an hour-glass. 
 
 3rd picture, opposite to the preceding one.— The 
 King gives orders for a simultaneous attach on 
 four of the strongest places of Holland. The King 
 surrounded by the dulie of Orleans, his brother, 
 
 the prince of Conde and Turenne, lets them know 
 his plans for attacking at the same time Wesel, Bu- 
 rich, Orsoy and Rheinberg. A winged genius, the 
 Love of Glory, spreads out the plan which Minerva 
 has traced. Foresight is seated behind the king. Vi- 
 gilance and Victory are seen hovering in the air. 
 The god of Secrecy is represented under the figure 
 of a young man, holding the helmet and seal of 
 the prince, and laying one of his fingers on his lip. 
 
 4th picture, in the middle of the ceiling ; the lar- 
 gest of all : it occupies the whole width. The King 
 governs alone (1661). The king brilliant with youth, 
 is seated on a magnificent throne; his hand rests on 
 the helm of a ship. The Graces and Love form 
 wreaths and crowns with flowers. Hymen holds his 
 torch and a cornucopia to indicate the marriage of 
 the King. France is calmly leaning on a shield, the 
 weight of which crushes Discord. Tranquillity is 
 close to her. The Seine lying on an urn, waters its 
 fertile banks. Glory presents to the King a gold crown 
 enriched witli stars. Mars, Minerva and Time, who 
 lifts a corner of the pavillion, seem to prophesy the 
 success of the young monarch, in whose glory the 
 whole of Olympus appears to be interested. 
 
 5th picture, on the park-side. The resolution is 
 tahen to make mar on the Dutch (1671). The king, 
 seated on a throne, has Minerva before him, who 
 
— 24 — 
 
 shows him, represented on a large tapestry, the suf- 
 ferings and fatigues of war. Justice presides over 
 this council. Mars invites the King to get into a 
 triumphal chariot, and Victory prepares to crown 
 the conqueror ; France is ready to proclaim his 
 glory. 
 
 6th picture, opposite to the preceding one. 
 Franche-Comte conquered for the second time (1674). 
 It would be difficult enough to understand the 
 allegories of this picture without a key. Franche- 
 Comte, after the treaty of Aix-la-Chapelle, was 
 given up to the Spaniards by Louis XIV., who 
 had conquered it. The Spaniards having declared 
 war, it was conquered again in less than three 
 months. The towns of Franche-Comte repre- 
 sented as women in tears with their children, 
 are brought by Mars to the feet of the King. Minerva 
 seems to be conducting Hercules, symbol of strength 
 and heroic virtue, who is climbing a tremendous 
 rock where there is an infuriated lion. The lion ty- 
 pifies Spain ,and the rock the fortress ofBesancon. 
 A large frightened eagle perched on a dried up tree, 
 screams and flaps its wings to represent the vain 
 effort that Germany makes to prevent this conquest. 
 Fame, who hovers over the king, holds two trum- 
 pets, to indicate he has twice conquered the pro- 
 vince. The ceiling is covered with clouds, between 
 which are seen the zodiacal signs of the Fish and 
 
 the Bull, to mark the months in which this expedi- 
 tion was made. 
 
 7th picture. The taking of the town and citadel 
 of Gand , in six days (1678). — Louis XIV. is sitting 
 on a cloud with thunderbolts in his hand, and he is 
 preceded by Terror. 
 
 The ceiling is ornamented besides with eighteen 
 medallions, celebrating the most remarkable events 
 during this remarkable reign. 
 
 Four marble statues have replaced the four ones 
 which used to adorn the niches in the middle of the 
 gallery; they represent: on the garden-side, Venus 
 and Minerva , on the other side, Paris and Mer- 
 cury separating two serpents with his wand. It is in 
 this gallery that took place, in 1855, the grand fete 
 offered by Napoleon III. to Queen Victoria and Prince 
 Consort Albert. 
 
 N° 10. Saloon of Peace. — It was formerly the 
 Queen’s card-room. The ceiling in the shape of a 
 cap represents France clad in a Royal mantle on 
 a chariot drawn by two pair of doves, guided 
 by cupids bearing shields. Hymen , Glory, Peace, 
 Religion and Innocence complete the allegory 
 of the marriages of the Dauphin with the prin- 
 cess of Bavaria, of Mademoiselle with Charles II., 
 king of Spain, and of M Ue d’Orleans with the 
 duke of Savoye. Over the chimney-piece there is a 
 
— 25 — 
 
 very fine painting by Le Moyne , representing 
 Louis XV., giving 'peace to Europe. 
 
 N° 11. The Queen’s Bed-room. — Queen 
 Maria-Theresa died in this room on the 30th of July 
 1683. Here the Dauphiness gave birth to the duke of 
 Anjou (afterwards Philip V. of Spain). Louis XV. was 
 also born here. Maria Leczinska, the wife of 
 Louis XV. died in this chamber in 1768. Two years 
 after Marie-Antoinette occupied it and remained till 
 October 1789. On the night of the 6th October 1789, 
 about at four in the morning, a cry was heard 
 « Save the Queen ! » Marie-Antoinette was awa- 
 kened by her two lady’s maids, and half naked 
 ran along the passage which communicates with 
 the room of the (Eil-de-loeuf . The door by which 
 the Queen escaped is still extant, on the left, at the 
 end of the room, and haff hidden by the portrait of 
 the dauphine de Bavaria. 
 
 The four paintings below the ceiling were made 
 by Boucher. They represent Fidelity, Plenty , Cha- 
 rity and Prudence. Over the doors, Notoire has 
 painted Youth and Virtue ; and Detroy has repre- 
 sented Glory taking possession of the children 
 of the Prince. 
 
 N° 12. The Queen’s Drawing-room. — It 
 
 was the room where the Queen received her friends, 
 and receptions took place. The ceiling represents 
 
 Mercury protecting the arts and sciences, by 
 Michel Corneille, who also painted the arches below: 
 Sappho , Penelope and Aspasia. Among many other 
 pictures and portraits, there is the portrait of the 
 duke de Berry. Over the doors there are paintings 
 representing arms and military instruments, by 
 Madelaine de Boulogne. 
 
 N° 13. Antichamber of the Queen. — It 
 
 was here that the grand convert of the Queen was 
 served. The public was admitted to it ; for on this 
 occasion the ushers let every one in who were 
 properly dressed. The ceiling represents Saint 
 Mark crowning the theological Virtues , painted by 
 Paul Veronese. The bass-reliefs are the work of 
 Paillet et Vignon. The paintings over the doors, by 
 Madelaine de Boulogne. 
 
 N° 14. The Queen’s Guard-room. — The 
 
 door between this room and the above mentioned 
 antichamber is the one which was opened by Marie- 
 Antoinette’s lady’s maids, on the 6th of October 
 1789, to escape the fury of the mob, who armed 
 with pikes, had gained admittance to the palace 
 by the marble-staircase, Varicour, one of the 
 Queen’s guards, defended the door of the Queen’s 
 apartment with his musket; he received a blow 
 from a sabre on his hand ; he was disarmed, drag- 
 ged to the Place d’Armes, and there his head was 
 
— 26 — 
 
 cut off. It was in vain a second guard, Durepaire, 
 replaced him ; a third, Miommdre de Sainte Marie 
 opened the door, shouting to the ladies in waiting: 
 « Save the Queen ! » And it was at this very door 
 that the poor guard fell a victim to his devotion, 
 which allowed the Queen time to seek refuge with 
 the King, and to ttie national guard to drive the 
 mob out of the palace. 
 
 The ceiling represents Jupiter accompanied by 
 Justice and Peace. In the cornices below there is 
 Ptolemy rendering liberty to the Jems; — Alexan- 
 der Sevens ordering wheat to be distributed to 
 the people; — Trajan administering justice ; — 
 Solon explaining his laws. 
 
 N° 15. The Queen’s staircase. — It is also 
 
 named r Escalier de marbre (the marble staircase), 
 because it is paved and built only with marble. 
 Meusnier, Blaise de Fontenay and Poerson adorned 
 it with their paintings. 
 
 N° 16. Guard-room. — If was reserved for 
 the guards of the King’s household . 
 
 N° 17. The King’s Antichamber. — It is a 
 
 room of modest appearance, in which there are 
 twelve pictures by Piotre de Cortone, Van der 
 Meulen, Parrocel. This room served for a certain 
 time as the King’s dining-room. 
 
 N°18. The Small apartments of the Queen. 
 
 1° The Queen’s small drawing-room. — 
 
 The czar Peter slept here when it was the duke of 
 Burgundy’s bed-room. Tne wainscoting of this room 
 dates from Marie-Antoinelte’s time. 
 
 2° The Green Library. — It was formerly 
 Queen’s Marie Leczinska’s bath-room. 
 
 3° The White Library. — It served as a pain- 
 ting-room for Marie Leczinska. Formerly it was 
 Maria Theresa’s Oratory. 
 
 4° The Queen’s Small Antichamber. — 
 
 This room served for the Queen’s lady’s maids who 
 were in waiting. 
 
 5 u Passage. — It is by this passage that Marie- 
 Antoinette escaped on the 6th of October 1789 ; it 
 communicates with the Queen’s large apartments 
 by a small door, the lower part of it now opens 
 only. 
 
 N° 19. Bull’s eye Saloon (salon de l’oeil-de- 
 boeuf. — This was the antichamber of Louis XIV. 
 It is so called from an oval window, or Bull’s 
 eye, which lights it. Here princes and courtiers 
 admitted to the King’s levee, awaited the rising 
 of their august master. The ceiling is plain. On 
 the frizc, ornamented with gilt net-work, chil- 
 dren practice jumping, fencing, running after 
 birds, tamimg lions and other wild beasts ; some 
 others are carried along in triumph. The pedi- 
 
— 27 — 
 
 ments are supported by two figures in basso-relievo. 
 The cornices are gilt and the lower one has me- 
 dallions, between which is a medal with festoons 
 of flowers and branches of laurel. At one end of the 
 saloon there is a small bronze model of Louis XIV.’s 
 equestrian statue, which is in the great court-yard 
 of the palace. 
 
 N° 20. The bed-chamber of Louis XlVr 
 
 -r- Originally it was the King’s grand Cabinet. 
 In 1701, it became his bed-room till his death. 
 Here the fastidious ceremonies of the 'petit lever 
 and the petit coucher took place ; audiences to 
 ambassadors were also granted here. — The mid- 
 dle of the ceiling was not decorated with any 
 painting. Towards 1844, a ceiling by P. Veronese 
 was placed here, but it is now at the Louvre Mu- 
 seum, and the ceiling has once more its primitive 
 aspect. Above the cornice The four Evangelists 
 are painted by Valentin. There are several portraits 
 representing the Royal family ; they were all placed 
 there when the palace was repaired, except the 
 portrait of Anne d’Autriche , by Mignard, which was 
 in Louis XIV.’s time where it now is. A large surbas- 
 ed arcade, on the West side, opposite the win- 
 dows, increases the depth of the chamber and gives 
 more room for the king’s bed. Two figures of women 
 sitting over the archivault of the arcade, hold 
 trumpets and represent Fame. Inside that arcade, 
 
 Coustou has represented with pieces of gilt sculpture 
 France seated onarms undera riehpaviMon. The bed 
 which is placed under the cornice is magnificently 
 designed: it is composed of scarlet velvet covered 
 with so thick a gold embroidery that Ihe ground 
 can scarcely be seen. There are still to be seen in 
 this room four curtains in tapestry woven with 
 gold, on which are represented figures and orna- 
 ments typifying The four Seasons. The bed and 
 furniture of the chamber were executed by Simon 
 Delobel, an upholsterer, and also one of the King’s 
 « valets de chambre ». Delobel devoted twelve 
 years to this labour, which was ranked among the 
 wonders of the time. The subject of the designs of 
 the bed was The triumph of Venus. On the back 
 of the bed is still to be seen Cupid sleeping on 
 flowers and surrounded by Nymphs. But Delobel’s 
 counter-pane was changed by M me de Maintenon for 
 one embroidered by the « demoiselles de Saint- 
 Cyr » representing The Sacrifice of Iphigenia and 
 The Sacrifice of Abraham, which now forms the 
 canopy of the bed. 
 
 On each side of the bed, there are two pictures 
 of The Holy Family , the one of the Italian and the 
 other of the Flemish Schools. In the time of 
 Louis XIV., instead of these pictures, there were 
 Saint Jean , by Raphael, and David, by Dominiquin . 
 The latter is now in the Museum of the Louvre. 
 
— 28 — 
 
 N° 21. Council-Chamber. — The paintings 
 over the four doors were done by Houasse; they 
 represent : Minerva being born armed with Jupi- 
 ter's crane. — Minerva on mount Parnassus with 
 the Muses. — Minerva in Olympus. — The dispute 
 of Minerva and Neptune. On a gilt console there is 
 a marble of Louis XV. when he was a child, by 
 Coysevox. One of the curiosities of this room is a 
 clock, placed before the window. 
 
 « Every time the clock strikes, two cocks crow 
 » thrice and flap their wings. At the same time, 
 » doors open and on each side figures come out 
 » carrying shields, on which two little cupids al- 
 » ternately strike the quarters with their clubs. A 
 » figure of Louis XIV., the same as the one on the 
 » place des Victoires, in Paris, comes out of the 
 » decoration; above it arises a cloud, from which 
 » Victory goes down, holding a crown which she 
 » keeps over the king’s head during all the time a 
 » delicious chime is heard, at the end of which all 
 » disappears. » (Dargenville, 1679.) 
 
 N° 22. Louis the fifteenth’s bed-chamber. 
 
 — During the reign of Louis XIV., itwas a billiard- 
 room. Louis XV. chose it for his bed-room, and it 
 was here he died on the 10 th of May 1774. On a pe- 
 destal there is a bronze model of the equestrian 
 statue of Louis XV., that formerly stood on the 
 place de la Concorde then called « place Louis XV. » 
 
 N° 23. Clock Gallery. — In 1749 it was called 
 
 le Cabinet de laPendule because in it was placed the 
 famous clock invented by Passemant, and made by 
 Danthiau. This master-piece of clock-making and 
 mechanism is seven feet high; it marks regularly the 
 seconds, the different phases of the moon, the rela- 
 tive position of the planets, the day, the month, 
 the year, etc. Afterwards many other clocks were 
 brought here; among them there is another astro- 
 nomical clock by Passemant, and one which was 
 taken at Algiers in 1830. On the floor there is a meri- 
 dian, supposed to have been traced by Louis XVI., 
 and which served to regulate the different clocks 
 placed in the saloon. Above the four doors are 
 paintings representing : Solon writing the laws of 
 Athens, by Berthon; — Pythagore inspired by the 
 Muses , by Wafflard ; — Lycurgus and the Spartian 
 deputies , by Bordier du Bignon; — Numa and the 
 Nymph Egerie , by Lafond. On the tops of the stucco 
 tables there are five plans of the forests and Royal 
 residences of Compiegne, Fontainebleau, Saint- 
 Germain— en—Laye, Marly and the park of Versail- 
 les. 
 
 N° 24. Cabinet des Chasses (hunting clo- 
 set). — The window of this closet looks on a small 
 court-yard called la Cour des Cerfs (deer court- 
 yard) ; there is a balcony before this window, where 
 the Royal family, returned from hunting, stationed 
 
— 29 
 
 themselves to see the curee (quarry). Formerly the 
 room was lined with wood-work, and in it were 
 placed boxes and benches for the king’s dogs. The 
 gilded door on the right of the entry leads to a 
 staircase which went directly to the apartment of 
 M mo du Barry On the second floor was the work- 
 shop of Gamain, the locksmith, where Louis XVI. 
 spent a great deal of his time; for that monarch 
 had a decided taste for mechanical arts, and parti- 
 cularly for lock-smith’s work. 
 
 N° 25. Dining-Room of Louis XV. — It was 
 
 used for several purposes before it was made a di- 
 ning-room. 
 
 M° 26. Ancient Jewel-Room.— InLouisXIV.’s 
 time it contained the precious stones and jewels; 
 afterwards it was a card-room. 
 
 N° 27. Room of the cupboards. — It has had 
 
 different destinations; Louis XVI. made it a dining- 
 room. In a small room adjoining is a picture repre- 
 senting Mme de Maintenon and her niece d’Aubi- 
 gne, by Ferdinand. 
 
 N° 28. The King’s gold and silver plate- 
 
 room. — It belonged to the suit of apartments of 
 M me de Montespan. Then it was given to M me Ade- 
 laide, by her father, Louis XV. ; and finally it was 
 
 made by Louis XVI. the gold and silver plate - 
 room. 
 
 N° 29. Library of Louis XVI. — Above the 
 chimney-piece, there is Wisdom holding a torch 
 before the medallion of Louis XVI., the Dauphin. 
 The medallion is borne by two genii. Giltand sculp- 
 tured panels represent the Sciences and Arts .Mar- 
 ble and porphyry vases with six small marble co- 
 loured busts representing ancient celebrated per- 
 sonages, adorn the upper part of the book-case. On 
 one of the pier-tables there is a curious autograph, 
 dated 8th September 1694, with marginal notes 
 written by Louis XIV. 
 
 N° 30. « Salon des Porcelaines. » — This 
 room was thfis called because the productions of the 
 Manufactory of Sevres were there yearly exhibited 
 on the 1st of January. 
 
 The four paintings over the doors represent the 
 conquests of Louis XIV., by some of the pupils of 
 Van der Meulen. 
 
 N° 31. Staircase. — That staircase occupies a 
 small part of the magnificent staircase called the 
 ambassadors’ staircase, destroyed in 1750. 
 
 N° 32. Pictures of the reign of Louis XIV. 
 
— 30 — 
 
 — It was a billiard-room for Louis XVI. The three 
 pictures over the doors represent the Victories of 
 Louis XIV., by some of Vander Meulen’s pupils. 
 
 N°s 33 and 34. Water-colour drawing- 
 rooms.— N° 33. It was formerly the « Cabinet des 
 Medailles et des Cwriosites. » — N° 34. This Room 
 belonged to the Governor’s apartment. 
 
 N° 35. « Salle des Etats generaux. » the 
 
 states general room. — This room is richly 
 decorated. The frize painted by Louis Boulanger, 
 represents the Procession des Etats generaux ( i lb 
 May 1789); the « camaieux » in the cornices arc 
 painted by Blondel. 
 
 N° 36. Hall of the coronation. — In this spot 
 was the first chapel of the palace, built by Louis XIII. 
 
 Before being the Hall of the Coronation, it was the 
 large guard-room. The ceiling represents an alle- 
 gory of the 18th Brumaire,by Callet. Over the doors, 
 Gerard painted : Courage , Genius, Generosity and 
 Constancy. 
 
 N ,,s 37 to 41 . Gallery of historical pictures 
 from 1792 to 1796. — N° 37. It was formerly di- 
 vided into two parts, serving as antichambers to 
 M"' e de Maintenon’s apartment. — N° 38. Before the 
 alterations necessary to transform the palace, into a 
 
 Museum, this was de Maintenon’s bed-room, 
 
 N° 39. It was once M ra ° de Maintenon’s large stu- 
 dy-room. — N° 40. This room was a kind of pas- 
 sage to join la Salle des Gardes to la Salle des 
 Cent-Suisses, the Princes’ staircase and the apart- 
 ments of the Southern wing. — N° 41. During the 
 reign of Louis XV., it was called le Salon des Mar- 
 chands; afterwards it received the name of Salle 
 des Cent-Suisses. To-day it is dedicated to the me- 
 morable campaign of 1792. 
 
 N° 42. Rooms of water-colour drawings. 
 
 —They once formed the apartmenlof thedukeofBur- 
 gundy, and afterwards of the cardinal Fleury and 
 the duke of Penthievre. They now contain a very 
 numerous collection of water-colour drawings, by 
 Bagctli, Dauzats, Simeon Fort, etc. 
 
 SOUTHERN WING 
 
 N 3 1. Staircase of the Princes. 
 
 N° 2. Gallery of battles (From Clovis I. 
 to Napoleon I.) — This gallery contains thirty- 
 two large pictures representing the most cele- 
 brated military events, of the French history, and 
 
— 31 — 
 
 eighty-two busts of French remarkable warriors. 
 The names of the princes, « Connetables, » field- 
 
 ■marshals, admirals, commanders-in-chief and gene- 
 ral officers who were killed on the field of honour, 
 
 SECOND 
 
 THE ATTIO 
 
 This second story was composed of more than a 
 hundred rooms inhabited by ladies and officers 
 attached to the court. It is now divided into twenty 
 rooms in which more than two thousand portraits 
 or pictures of historical interest and exquisite exe- 
 cution are collected : l’Albane, Sebastien, Bourdon, 
 Hyac, Bigaud, Porbus, Nattier, Parrocel, Largilliere, 
 
 are inscribed on sixteen bronze tables placed in each 
 of the vestibules of the gallery. This splendid gallery 
 is nearly twice the length of the grand Looking- 
 Glass gallery, being 120 metres long and 13 wide. 
 
 N° 3. Saloon dedicated to the Revolution 
 of 1830. — The ceiling represents Truth accom- 
 panied by Justice and Wisdom, protecting France 
 against Hypocrisy , Fanatism and Discord , made 
 by M. Picot (1835). 
 
 N o 4. Sculpture Gallery. — Statues and Busts 
 from Philip VI. to Louis XVI. 
 
 N° 5. Staircase leading to the Attic. 
 
 FLOOR 
 
 Greuze, Joseph Vernet, Reynolds, David, Gerard? 
 Girodet-Trioson, M-» Lebrun, Ary Scheffer, Lucas? 
 Carlo-Maratto-Vanloo, Cranach, Philip de Champa- 
 gne, Lebrun, Coypel, etc., are the names of some 
 of the artists. 
 
 To visit the Southern Attic, visitors must ascend 
 the staircase n° 5, plan 2. To visit the Northern 
 one, n° 12, plan 2. 
 
PARK OF YERSAILLES 
 
 The gardens are divided into squares composed 
 of walks, quincunxes, groves, fountains, statues 
 and pieces of architecture, which attract the admi- 
 ration of all connoisseurs. 
 
 These squares are pointed out upon the plan by 
 alphabetical letters, the nomenclature of which 
 follows; subjoined will also be found the indication 
 of the different sheets of water, as well as the 
 nomenclature of all the pieces of sculpture and 
 architecture. 
 
 ITINERARY TO BE FOLLOWED. 
 
 Squares B and C. 
 
 Water Parterre. — At each angle of the terrace 
 
 in front of the palace are placed two splendid vases. 
 The one on the right is by Coyzevox, the designs 
 of which represent the Victory gained over the 
 Turks in Hungary with the help of our arms. The 
 one on the left is by Tuby, and upon it are repro- 
 duced the conquests made in Flanders. 
 
 Four bronze figures : Bacchus , Apollo , Antinoils , 
 and Silena, are placed against the wall. These 
 bronzes were cast by the brothers Keller. Next are 
 the two great fountains, the description of which 
 accompany the view. 
 
 The left side of this parterre is adorned with 
 twelve vases, and two marble sphinxes, upon 
 which are placed two Cupids in bronze, by Duval. 
 
 At the extremity of the balustrade of the Southern 
 parterre forming an angle to the water parterre, 
 is placed a most beautiful statue representing 
 
— 34 — 
 
 Cleopatra in a reclining posture, wrought with the 
 well known skill of Vancleve. 
 
 The right side, in the centre of which is a flight 
 of steps leading to the Northen parterre, is also 
 ornamented with very fine vases. On each side of 
 these steps is placed a beautiful reproduction of the 
 Bashful Venus by Coyzevox, also one of Milieus, by 
 Foggini. (It is known that Milieus was the slave 
 who informed Nero of the conspiracy plotted against 
 him by his master.) 
 
 Southern Parterre. — Underneath this par- 
 terre, and under the top part of the flights of steps 
 called the cent marches , is placed the Orangery 
 green-house, an immense architectural work. In 
 the centre of the four alleys ornamented with grass 
 and box, are placed two fountains. 
 
 At the extremity of the palace, in front of the left 
 wing, are to be seen the bronze statue of Napo- 
 leon I., by Bosio, and lower down in the same 
 direction, the equestrian statue of the duhe of 
 Orleans , by Marochetti, which was brought over 
 from the square of the Louvre, in 1848. 
 
 Square A. 
 
 The Orangery and the « piece d’eau des 
 Suisses. » — The parterre of the Orangery, the 
 two principal gates which look upon the « piece 
 
 d’eau des Suisses » and form an entrance into the 
 park ; the two great flights of steps (called cent 
 marches ) leading to the upper terrace. 
 
 The Orangery possesses in its ground the finest 
 collection of orange-trees in the world. A fountain 
 forms the centre of four squares made up with grass 
 and flowers. Some of the orange-trees are excessi- 
 vely old. The oldest one, which is also the most 
 beautiful one, must be at least three hundred years 
 old. It is the shoot of a tree which at the time of 
 Francois 1st was a century old. That tree had been 
 offered to the Connetable de Bourbon by the prin- 
 cess of Navarre. 
 
 The building of the Orangery consists of one gal- 
 lery, eighty fathoms in length by thirty-eight feet 
 in breadth; in a niche made in the centre stands a 
 statue representing Louis XIV. dressed as a Ro- 
 man. It was given to the King by the duke of La- 
 feuillade, who had it executed by Desjardins to 
 decorate the place des Victoires in Paris. Besides 
 that gallery, which is the principal one, there are 
 two others, one on each side, sixty fathoms each in 
 length. From the terrace which commands these 
 galleries, and from the balustrade one perceives the 
 steeple of the cathedral, the commonhalls of the pa- 
 lace, the seminary, the heights of Satory, the 
 piece d'eau des Suisses , the broad alleys which 
 surround it; at the extremity a rond-point to 
 which a statue of Louis XIV., executed by Bernini, 
 
35 
 
 an Italian sculptor, has been banished; he did not 
 succeed in his undertaking. By means of a few 
 flames placed around the horse, Louis XIV. was 
 changed into Marcus Curtins , and this statue was 
 then exiled to the place where it now stands. 
 
 The Palace of Versailles as seen from the 
 fountain of Latona. — On the Northern terrace, 
 the spectator can in one glance take in the ensemble 
 of this edifice. To the left, the Opera-house, cons- 
 tructed by the architect Gabriel in obedience to a 
 caprice of madame de Pompadour; further on is 
 the Chapel, which was built at the religious instiga- 
 tion of madame de Maintenon : striking contrast 
 between the genius of the two favourites. The 
 Chapel took the place of the grotto of Thetis, that 
 cherished whim of Louis XIV., which we shall have 
 occasion to speak of again when we come to the 
 bosquet of Apollo. 
 
 Mansart drew out the plan of that religious monu- 
 ment, Lebrun adorned it with all the magnificence 
 of his painting, and Massillon pronounced here 
 upon the coffin of Louis XIV., those words which 
 the circumstances rendered truly sublime: « God 
 alone is great, my brethren ! » 
 
 Between the Opera-house and the Chapel are the 
 galleries of the crusades and statues the greatest 
 part of which are now occupied by the Senate (1878); 
 then comes the room of Hercules with its magnificent 
 
 ceiling by Lemoine ; the central body contains the 
 large apartments, the Grand Gallery of Mirrors, the 
 king’s apartment, that of the queen, Marie-Antoi- 
 nette’s private rooms; on the ground floor, the por- 
 traits of the connetables, admirals, marshals, and 
 brave warriors. 
 
 The Southern wing is consecrated to the deeds 
 of arms ofthe French kings, to heroicactions accom- 
 plished during the revolution or under the Impe- 
 rial government, to the successes of French 
 arms in Africa and Crimea. The gallery of Battles 
 and that of Constantine contain the principal events 
 of these celebrated wars. From the exterior of the 
 palace, one may judge of the immense number of 
 pictures which the interior must contain. The front 
 facing the park is most imposing; it extends more 
 than 1200 meters in length, and the upper gallery 
 is adorned with more than one hundred statues. 
 
 The central terrace leads down to the water com- 
 partment. The two fountains of an oval shape 
 which are here to be seen, would not have been 
 placed in this spot, had it not been for a certain 
 dryness of the land which was not proprilious to 
 vegetation. Twenty-four bronze groups : rivers, 
 streams, cupids and sea-nymphs, worked by Lebrun 
 and cast by Keller, adorn these two fountains. 
 
 The traveller would indeed be greatly surprised 
 could he but gain admittance into the vast subter- 
 ranean walks where are placed the leaden conduits 
 
— 36 — 
 
 which bring up the water into the park. It may 
 truly be said that the tremendous sums of money 
 lavished over these grounds, hardly exceed those 
 which must nave cost the hydraulic works conceal- 
 ed under ground. 
 
 Squares G and H. 
 
 Latona’s Fountain. Between the squares 
 G and H, is Latona’s Basin , the two flights of 
 steps leading to it, and the two long and slobing 
 alleys which surround it. At the upper part of this 
 parterre are eight splendid vases copied after the an- 
 tique. In the centre is the fountain where stands 
 Latona protecting her two children Apollo and 
 Diana. This goddess is beseeching Jupiter to aven- 
 ge her of the peasants, who would not allow her to 
 quench her thirst. Layers of beautiful marble bear 
 these peasants, who, for the greater part, have 
 been changed into frogs which throw out around 
 the goddess sheaves of water producing a most 
 beautirul effect. 
 
 In the lower part of this parterre, and on both sides, 
 are fountains surrounded with flowers and orange- 
 trees. At the extremity of the left balustrade is a fine 
 copy of the dying Gladiator , by Mosnier. To the 
 right a splendid reproduction of the nymph in her 
 shell , by Coyzevox. Eighteen statues decorate both 
 of the balustrades. To the left, Erato the Muse, Fire, 
 
 King Tiridates, the Venus Callipyge , Silena hold- 
 ing Bacchus, Antinoiis, Mercury, a Muse, Apollo-, 
 to the right, Melancholy, Antinoiis, King Tigrana, 
 a young Faun, Bacchus, Geres, the emperor Com- 
 modius, a Muse, and Ganymedes. In perspective 
 is seen the tapis vert, Apollo's Car, and the canal 
 in all its length. 
 
 Square H. 
 
 The Ball-Room or the Rock- Work. An am- 
 phitheatre of green turf encloses another amphi- 
 theatre formed by a collection of shells and rock- 
 work, over which cascades of water fall in sheets, 
 issuing from vases placed on'the upper part of it. 
 
 Eight gigantic candelabras are placed round the 
 cascade, and when illuminated, the effect of light 
 reflected by water is dazzlingly brilliant. This was 
 the duchess of Bourgogne’s favourite ball-room, and 
 nothing appeared to give her so much pleasure as 
 this transparency, the result of fire and water, and 
 the harmony produced by exquisite music combi- 
 ned with the sound of falling water. This magni- 
 ficent bosquet is the creation of Le Notre’s genius. 
 
 Square I. 
 
 The Queen’s grove composed of alleys and laby- 
 rinths all planted with foreign trees of great scarcity. 
 In the centre, a beautiful lawn in the middle of 
 
— 31 — 
 
 which is to be seen a copy of the Venus de Medicis. 
 Opposite to it stands a copy equally in bronze oithe 
 Gladiator. Four amphoras decorate this lawn, and 
 at each angle are thickets of green turf wherein 
 are placed benches beautifully sculptured. At the 
 angle of this square, corresponding to the squares 
 K, L and H, is a rond-point with a fountain ador- 
 ned by a group representing Bacchus surrounded 
 by a set of young reapers, due to the chisel of Marsy . 
 
 Square K. 
 
 The Mirror-Fountain. The form of this 
 fountain is very similar to that of certain mirrors 
 which were made use of in the 16th and 17th cen- 
 turies. It will be easy to trace out, by means of the 
 plan, its shape as well as the disposition of the 
 alleys which surround it. A sloping grass borders 
 this pond, in which are carps more than one hun- 
 dred years old. Further on is an alley decorated 
 with jars and statues. At the point of intersection of 
 the alleys R, Q and H, is a fountain in the midlie of 
 which Saturn is represented surrounded by chil- 
 dren playing with shells. This beautiful group is 
 the work of Girardon. 
 
 Square R. 
 
 On the spot where there was formerly a small and 
 not very picturesque island, a delightful garden called 
 
 le jar din du Roi (the king’s garden), has been laid 
 out. It was planted by Louis XVIII. from the design 
 of one at Hartwell, where this prince lived during 
 the period of his emigration to England. It is open 
 at specified hours; but at all times the visitor can 
 admire from the outside the magical effect produced 
 by its brilliant masses of flower-beds. The most de- 
 licious flowers and the most rare trees have been 
 selected to adorn this paradise. Fountains constant- 
 ly renew its verdure, and all that the art of horti- 
 culture can accomplish has been lavished on this 
 fairy scene. At the end of the beautiful parterre, 
 there is a marble column, on which is erected a 
 statue of the goddess Flora. Rehind this garden, in 
 the alleys which surround it, are two colossal sta- 
 tues of Flora and Hercules. 
 
 Square L. 
 
 The square contains eight Terms in marble. Four 
 are placed close to the hedge-row of trees and four 
 at each angle of the piece of grass in the middle ; 
 these Terms are made to represent Alcinous crowned 
 with foliage ; a Bacchante holding grapes and ar- 
 ranging her hair ; Hercules holding the goat Amal- 
 tlie'a by one of its horns ; a Faun carrying figs ; 
 a Nymph of Flora ; Hercules with his club in one 
 hand, and in the other some apples of the garden 
 of the Hesperides ; also one of Pomona’s companions. 
 
— 38 — 
 
 Square Q. 
 
 The Colonnade. In this hall,. Louis XIV grave 
 his summer concerts. The white marble arches 
 blend with the foliage of the trees. 
 
 The celebrated composer Lulli was peculiarly at- 
 tached to this spot, where he fancied music sound- 
 ed to advantage. The peristyle of a circular shape 
 is formed by 32 columns of rare marble. There are 
 eight veined with violet; twelve are of Languedoc 
 marble, and tw elve of turquoise blue. Jets of water 
 which fall down in a round basin, rise from thirty va- 
 sesof white marble placed on stands, each of whichis 
 ornamented by three brackets. The arches are em- 
 bel fished by the most exquisite bass-reliefs of 
 children. They were executed by Maziere, Granier, 
 le Hongre Lecomte and Goyzevox. A sanded path 
 runs round the Colonnade. Five marble steps lead 
 to an area in the centre of which Girardon’s cele- 
 brated group of the Rape of Proserpina is placed 
 on a pedestal. It is a perfect chef-d’oeuvre, for the 
 bass-reliefs on the pedestal rival the group itself in 
 beauty of execution. The story of this abduction is 
 well known Pluto wishing to judge for himself of 
 the result which earthquakes could produce in Sici- 
 
 visited that island. He met Proserpina gathering 
 flowers in a very solitary spot ; she was the daughter 
 of Jupiter and Ceres. He at once fell in love with 
 her, and carried her oil'. Cyane wished to prevent 
 
 the abduction of her beloved companion, but onlv 
 succeeded in exciting the anger of Pluto who 
 changed her into a fountain. ’ 
 
 The hall of antiques forms also part of this square. 
 H is a plot of grass round which eight busts are 
 ^ 10Se of Octavius , Sevens, An- 
 
 x3er MaVCUS Awehus ’ Oth0 ' Apollo, and Ale- 
 
 On each side, there are full length statues of 
 Mflwffe and Antinoiis. From the end of the dia- 
 
 the fountain^! lpono C . r ° SSeS th ° Square Can be seen 
 * n J be transversal avenue which crosses 
 
 squares L, M, Q and P, two marble vases of the 
 %**$?** workmanship are placed in a hollow 
 iSH?? underwood, m front of the Colonnade and 
 ^! 0 u squet de ? Domes. They are ornamented 
 mniii wniofi’ pa ^,? ral and warlike instruments of 
 music, wreaths of (lowers and heads of rams, each 
 detail executed with the most remarkable delicacy. 
 
 JD® «Tapisyert». The green sward or Green Car- 
 pet, stretches itself out in the midst of the squares L, 
 M, Q and P At each side of the semi-circus where 
 Dnaaward begins, are placed four groups ; those 
 on the side L represent : the first, Castor and Pol- 
 f“f, a master-piece of Coyzevox; the second, Pcetus 
 murdering himself with the same dagger with 
 which Us wife Acnsa has just hilled herself. Those 
 
— 39 — 
 
 on the side M represent: the first group, young Pa- 
 pira and Jus mother. Papira having followed his 
 father to the senate-house, was, at his return, 
 questioned by his mother upon what had taken 
 place there. Rather than unfold the truth, this 
 youth prefered telling a lie. To reward him for his 
 discretion, the senate ordered that in future he 
 should be the only child admitted to their sittings. 
 The second group represents Laocoon and his 
 children. At each side of the Green Sward, large 
 and valuable vases are placed between each statue. 
 The statues on the side L and Q are the following 
 ones: Fable ; Venus just come out of a bath ; Cypa- 
 rissa carrying ayoung deer , by Legros; an Amazon, 
 by Burnet; Achilles at the court of Lycomedes , by 
 Vigier; Dido, by Pouletier. The statues on the side 
 M and P, are : Artemise holding the urn ill which 
 are deposited the ashes of her husband Mausole ; 
 Cyparissa surrounding with a garland of flowers 
 her favourite roebuck ; a copy of the Venus de Me- 
 diae ; the Farth or one of the Hesperides; the em- 
 peror Commode with the attributes of Hercules, by 
 Jouvenet; Deceit, byLecomte. At the entrance of 
 the Green Carpet is a little guard-house inhabited 
 by some of the keepers; they are authorized to con- 
 duct strangers into the bosquets or groves where 
 the public is not admitted. 
 
 Squares S and T. 
 
 Apollo’s Basin. This fountain is partly enclo- 
 sed by a strip of grass which extends as far as the 
 great Canal. The avenues S and T terminate by a 
 gate ; the one on the left leads to a part of the 
 wood nearSaint-Cyr; the one on the right to Trianon 
 or to the woods which surround it. 
 
 In the centre of the basin, Apollo is represented 
 driving his car drawnby four horses, andsurround- 
 ed by tritons, whales and dolphins which mingle 
 their numerous jets d’eau with the three principal 
 sheaves. The middle one rises to the height of fifty- 
 seven feet, each of the others to the height of 
 forty-seven. These groups and their accessories are 
 by Baptiste Tuby, from designs by Lebrun. 
 
 On the left, in the hemicycle which half encircles 
 this fountain, there is a group representing Meli- 
 certa and Ino, by Granier ; the four Terms which 
 accompany this group are the god Pan, Flora, 
 Bacchus, and Pomona. On the right a group repre- 
 senting Aristeeus binding Proteus, by Slodtz, and 
 four Terms which represent the nymph Syrinx, Ju- 
 piter, Juno and Vertumnus. Twelve statues deco- 
 rate the alleys S and T; those in the alley S are 
 Cicero, a Gymnasiarch , Friendship , a Matere or 
 goddess to whose care Jupiter was confided during 
 his childhood, Hercules and a kneeling Slave. The 
 
— 40 — 
 
 statues in alley T are Hercules, an acolythe, a 
 youthful Bacchus , Orpheus, Clytea and Cleopatra. 
 
 Square P. 
 
 The Square P includes the fountain of Ence- 
 lade. This giant is represented half buried under the 
 remains of mount Ossa and mount Olympus, which 
 he and his companions had piled together in the 
 hope of scaling heaven from their summit. The 
 countenance of the giant is very fine. Executed by 
 Marsy. The rocks scattered round him produce but 
 little effect. To treat this subject properly would 
 require immense space. 
 
 The bosquet des Domes, next to square P 
 contained two spacious pavilions with domed roofs 
 In the centre there is now a fountain of an hexagon 
 form surrounded by a balustrade ornamented with 
 bass-reliefs. There are eight statues in this bosquet : 
 Amphitnte , Avion playing on his lyre , Bay a 
 daughter of Nereus, the nymph Galatea , the shep- 
 herd Acts, Ino daughter of Cadmus, and one of 
 Diana’s nymphs. This bosquet unfortunately not 
 being open to the public, visitors cannot admire 
 these eight statues, which are each remarkable as 
 works of art. 
 
 A diagonal avenue crosses square P and opens a 
 view of the fountain of Apollo. 
 
 SQUARE 0. 
 
 The Fountain of the Obelisk. The sheaves 
 which rise irom this fountain, commonlv called 
 the cent tuyaux (One Hundred Pipes) on account of 
 the great number of jets which are there accumu- 
 lated, form a sort of obelisk. The water falls down 
 !" I ie L sh: ?P e of a sbee. 1 alon f? the steps, and then 
 runs into the canal which surrounds this fountain. 
 
 Square M. 
 
 Jb® s< J uare ,M 's laid out in the same manner as 
 the square L. The Terms which adorn it are, against 
 the palisades : Winter clothed with fur ; Cybele 
 crowned with ears of corn ; a companion of Bac- 
 chus wearing a tiger’s skin, and Ceres crowned 
 w th ears of corn ; it is said that this last statue is 
 a likeness of M-* de Montespan. At the angles of 
 the piece of grass : a young Faun decking himself 
 with a garland of ivy leaves; A bundantia, Sylva- 
 nus the god , crowned with pine-apples, and a com- 
 panion of Flora with flowers on her head and a 
 garland in her hand. 
 
 Square N. 
 
 A walk goes across this square, and in the centre 
 oi it is a green arbour. Five other walks form to- 
 gether a pentahedron communicating, by small 
 
— 41 — 
 
 alleys, to the green arbour. This circular part is 
 called the Labyrinth. Six busts are placed at the 
 angles of the pentahedron; they are beautifully 
 worked and represent : Ganymede and Jupiter 
 changed into an eagle , by Laviron ; a Faun dan- 
 cing and holding a bunch of grapes, by Hurtrelle ; 
 Apollo , a Muse, Mercury and a Bacchante. At the 
 round point formed by the angles of this square and 
 by those of the squares M, P and 0, is a fountain in 
 the centre of which stands a charming figure of 
 Flora surrounded by children holding wreaths of 
 flowers. This group was made by Tuby from the 
 drawing of Lebrun. 
 
 Square F. 
 
 This square contains a beautiful green enclosure, 
 and walks which are pointed out on the plan. Four 
 statues copied from ancient sculpture, representing 
 Diana , Bacchus and two fauns, are in the centre 
 of this enclosure. At each side near the palisades is 
 a bust on a piedouche. 
 
 In the centre of the alley which leads to the 
 square R, is a small fountain upon the water of 
 which are seen children beautifully cast in bronze 
 and playing together. The other alleys contain dif- 
 ferent statues : Pan teaching Syrinx to play on the 
 flute ; Bacchus, by Coustou; Marsyas teaching 
 Olympus to play the flute , by Goy ; a bust o f An- 
 
 tinoiis, the favourite of emperor Adrien ; and two 
 others representing Sages of antiquity. In the cir- 
 cus which separates the square F from the square 
 M, is the fountain of Ceres. This goddess is here 
 surrounded by children and sheaves of wheat. This 
 group is the product ofRegnaudin’s chisel, from the 
 design of Lebrun. 
 
 The Baths of Apollo. — This bosquet, forming 
 part of square G, is composed of winding walks 
 which end in a lawn in front of which stands a 
 most picturesque artificial rock. 
 
 It represents the entrance of a deep grotto from 
 which sheets of water come out and fall into a pond 
 which seems to have been dug in the very rock. 
 At the entrance of this grotto stands Apollo sur- 
 rounded by Thetis and several nymphs of the 
 Ocean attending upon him. This group is owed to 
 the chisel of Girardon. It formed the principal or- 
 nament of the grotto of Thetis, then situated upon 
 the spot now occupied by the Chapel. Perrault 
 drew the architectural part, and Lebrun the figures. 
 Girardon, who rivalled Coyzevox, executed the 
 principal group. LaFontaine, the fabulist, celebrated 
 in his verses this charming grotto, which was made 
 away with, when madame deMaintenon, urging the 
 king to his religious duties, ordered it to be demo- 
 lished, and had a Chapel erected in. its stead. To 
 the right and to the left of Apollo, are two other 
 
— 42 — 
 
 groups representing the horses of the chariot of 
 the Sun : the one to the right is by Guerin, that to 
 the left is by Marsy. 
 
 Square C. 
 
 Northern Parterre. — Three fountains throw 
 up sheaves of water in the midst of which Tritons 
 and Mermaids (by Tuby and leHongre) are seen play- 
 ing together. Borders of grass and {lowers adorn 
 this parterre, where a pyramid is erected, the hy- 
 draulic effect of which is very pretty. This fountain 
 is- by Girardon. 
 
 At the extremity on the right, close to the hed- 
 ges, are eight allegorical statues : Autumn , by 
 Regnaudin; America , by Guerin; Summer , by II u- 
 tinot ; Winter, by Girardon ; Satyrical Poetry by 
 Ruister ; Asia, by Roger ; Melmclioly, by l’Espa- 
 gnandel \ Eeroical Poetry, by Drouilly. 
 
 Square D. 
 
 Diana’s Bath and the Pyramid. The foun- 
 tain of Diana’s bath, placed underneath that of the 
 Pyramid, is situated at the end of the Water-alley, 
 commonly called Marmousets or « little boys. » When 
 the sheet of water, ceases running, one may then 
 admire the beautiful bass-relievo of Girardon, which 
 exhibits Pima taking a bath and surrounded by 
 
 nymphs. The grace and elegance of this composi- 
 tion have rendered it famous throughout Europe 
 At the angles of each hedge of hornbeams are two 
 statues : the one on the right Anger , accompanied bv 
 a ion, is by Houzeau; the left, representing a flute 
 player, is by Jouvenet. 
 
 Bassin of the Dragon. — In the centre of this 
 fountain was formerly seen the dragon or serpent 
 Python, surrounded by four dolphins and swans 
 carrying little cupids, some of whom, armed with 
 bows and arrows, seemed as if they were going to 
 shoot at the dragon; the others appeared to be 
 frightened and concealed their faces in their hands. 
 This design, by Marsy, has been removed. 
 
 In the sloping alley, called the « Water Alley, » 
 which leads from Diana’s balli to the Dragon’s foun- 
 tain, fourteen groups of children cast in bronze by 
 Legros, le Hongre, Lerembert, Maziere and Buiret, 
 bear urns of Languedoc marble, from which spout 
 jets of water which fall at the foot of the groups 
 into a cistern which carries the water under ground 
 Two groves, formerly cal led the triumphal arch and 
 the three fountains are near this alley ; but they are 
 now closed, offering nothing remarkable. 
 
 Square E. 
 
 The piece of ground situated between the Dra- 
 
— 43 — 
 
 gon’s gate, and the gate of the Trianons is occu- 
 pied by 
 
 The Fountain of Neptune. — This fountain 
 is one of the grandest conceptions of hydraulic art. 
 The effect produced by this fountain can hardly be 
 described, and the resources of the art of engra- 
 ving are insufficient to reproduce those waves of 
 froth and masses of vapour rendered still more fan- 
 tastic by the rays of the sun shining upon them. In 
 the whole length of its side nearest to square D,is 
 a small canal not very deep and adorned with vases 
 from which quantities of jets of water are thrown 
 up. Three groups ornament the wall of the terrace 
 which forms the side the most elevated of this foun- 
 tain. The middle one is by Adam : it represents 
 Neptune and Ampliitrite seated in a large sea 
 couch, surrounded by horses and sea-monsters 
 
 spouting out an immense quantity of water. Ano- 
 ther group represents : Ocean , the father of rivers, 
 by Lemoine ; the third group Proteus, by tlouchar- 
 don. On each side two dragons ridden by cupids, 
 throw out voluminous jets of water. These groups, 
 so highly thought of, are also by Bouehardon. 
 
 The circular 'part of the fountain is surmounted 
 by a piece of grass-ground rising in the form of 
 an amphitheatre. It is really a fine sight to see the 
 people crowding here on the days of the great wa- 
 terworks. In the centre of the alley which sur- 
 rounds this amphitheatre, is a pedestal bearing a 
 group in marble made to represent Fame writing 
 the history of Louis XIV., and treading Envy un- 
 der her feet. This group is by Guidi. Two statues 
 complete the ornaments of this fountain. The one 
 is Berenice , by Lespingola : the other, the empress 
 Faustina , by Fremery. 
 
LES TRIANONS 
 
 9 LaLaiterie 8: la Tour. 
 
 de Malborough. 
 lOLePresbytere. 5 
 
 11 La Mai son du Garde 
 
 12 La Maison duBailh 
 
 13 La M ai son du Seigneur 
 14-Le Boudoir. 
 
 15Le Moulin, 
 e d 'Amour. 
 
 1 Le Palais du G d Trianon.' 
 
 LeMusee des 1/oitures. 
 3 Le Palais duPITrianon. 
 
 6 Le Pavilion de Musi que 
 IS Le Tempi 
 
THE TEIANONS 
 
 THE GRAND TRIANON 
 
 PALACE 
 
 Trianon was the name of a village on the site 
 of which the present palace was built. 
 
 King Louis XIV., having realised his dream 
 of Versailles, grew weary of its magnificence ; and 
 if one is to believe Saint-Simon, the historian of 
 that celebrated court, « tired with so much beauty 
 and with the crowd, he persuaded himself that he 
 wished for something on a small scale and for 
 solitude. » 
 
 A very elegant, but not spacious house was built 
 near the gardens and called the palais de Flore. It 
 was replaced by a marble palace, the building of 
 
 which began towards 1683; it received the name 
 of the village which it superseded. 
 
 On entering the principal gate of the grand 
 avenue, the palace presents itself to your view. 
 
 Built in the Italian style, it is one of the best 
 specimens of Mansart’s works. The elevation, of the 
 Ionic order, has only a rez-de-chaussee ; but it is 
 altogether in good taste. The columns, the frieze 
 of the entablature, as well as the pillars, are of 
 Campan and Languedoc marble; the capitals are of 
 white marble. 
 
 The palace forms a horse-shoe, of which the 
 wings alone are intended to be inhabited. An ele- 
 gant balcony unites the lateral sides which over- 
 look the gardens on the side of the canal. 
 
— 47 — 
 
 The building extends to a considerable distance ; 
 the Southern wing forms the square and has received 
 the name of Trianon-sous-Bois , on account of its 
 being close to the woods which give such refresh- 
 ing shade to the gardens. 
 
 Louis XIV. liked Trianon very much ; but as he 
 thought it was no longer possible for him to enjoy 
 there the comfort and the pleasures of life which he 
 expected to find, he hurried to leave it as soon as 
 the chateau de Marly was ready to receive him. 
 
 Louis XV. inhabited it till the completion of the 
 Petit- Trianon, 
 
 Louis XVI. seldom lived there. 
 
 Napoleon I. seduced with the appearance of that 
 Royal mansion, restored it in 1810, at the time of 
 his marriage with Marie-Louise. After having mo- 
 dified some inside parts and renewed the furni- 
 ture, lie gave up the idea, after the festival-day of 
 August 1811, to transform it into an Imperial resi- 
 dence. 
 
 Louis XVIII. and Charles X. never lived there. 
 
 Louis-Philippe I. who had just appropriated the 
 palace of Versailles to all the national glories, by 
 placing in it the handsome museum which the 
 whole world admires, resolved, in 1836, to esta- 
 blish a summer residence at Trianon. Important 
 alterations were made, and the king was able to 
 inhabit there every year with his family and all his 
 household establishment. 
 
 When the marriage of the princess Marie with the 
 duke ofWurtemberg took place in October 1837, at 
 the chapel of the Grand-Trianon , the palace re- 
 ceived, as inhabitants, beside the Royal family and 
 their august allies, three hundred and forty persons 
 belonging to their household and service ; two 
 hundred horses ; sixty carriages ; fifty horse- 
 guards, and two hundred and fifty foot soldiers. 
 
 Emperor Napoleon 111. never inhabited the palace 
 of Grand-Trianon-, but he gave there festivals pre- 
 sided over by empress Eugenie with a charming- 
 ness and a gracefulness which rendered her won- 
 derful beauty still more splendid. 
 
 When going through the rooms numbered on the 
 plan here affixed, we shall only point out, in 
 every one of them, the paintings and things worthy 
 of attention either as having an artistical value or 
 as reminding historical events. 
 
 N° 1 . Salon des Glaces, looking on the trans- 
 versal branch of the canal. It is pretended that one of 
 the three openings looking on the garden, the depth 
 of which is not equal to that of the other two, gave 
 birth to a very violent debate between Louis XIV. 
 and his minister Louvois. 
 
 Notice the clock , a part of the epergne offered to 
 Napoleon I. by king Charles IV. of Spain ; and the 
 taole , the upper part of which made of Malabar oak 
 
— 48 — 
 
 is of one piece, measuring 2 metres 76 centimetres 
 of diameter. 
 
 N° 2. Chambre a coucher. — This room and 
 the following one served, when united, as bed- 
 chamber to Louis XIV., the grand Dauphin, empress 
 Josephine, and king Louis-Philippe. 
 
 N° 3. Cabinet. — Formerly it was joined to n° 
 2. Observe (12) an allegorial painting on the subject 
 of the birth of one of the Dauphin’s daughters, by 
 Ch. Natoire, in 1750. It is said that this painting was 
 first made in prevision of the birlh of a prince. 
 
 N° 4. Saloon which was formerly a 
 chapel. 
 
 N° 5. Vestibule. It was the princes and lords’ 
 Room, in the time of Louis XIV. 
 
 N° 6. Peristyle, with marble columns. Formerly 
 it was a summer Dining-Room and a free-open 
 passage. It was shut in 1810 with movable glass- 
 partitions. It is in this room that the court martial 
 held in 1875, tried field-marshal Bazaine. Observe : 
 France and Italy , marble statues by Vela, offered 
 to empress Eugenie by the ladies of Milan (in re- 
 membrance of the campaign of 1859) : le Tireur 
 d’epines and la Joueuse d’osselets, marbles, copies 
 
 of the antique ; jeunepdtre romain, by Brun (1821); 
 Cupid , by Lorta (1819); Zorn's XIV., a reduced copy 
 in bronze of the equestrian statue placed in the 
 palace of Versailles. 
 
 N° 7. Circular Saloon. — It served as a chapel 
 in the time of Louis XVI. Statues : Olympia, by 
 Etex (1842); le Faune an chevreau, copy of the 
 antique. Observe a very beautiful vase in Sevres 
 porcelaine, the painting of which is an allegory 
 to : King Ferdinand VII. receiving the Spanish 
 throne from France. 
 
 N° 8. Billiard-Room. — It was the music-hall 
 in the time of Louis XIV. 
 
 N° 9. Presence-Room. — In the time of 
 Louis XIV., it included two rooms : the sleeping 
 closet and the play antichamber. Observe the clock 
 in porcelaine de Sevres, a tea-table in yew with 
 an upper-part in green Egyptian granite, and Ja- 
 panese vases. 
 
 N° 10. Private Drawing-Room, called in 
 
 Louis XlV.’s time, Western chamber. Apollo and 
 Thetis , by Lafosse. 
 
 N° 11. Malachite Drawing-Room. — So cal- 
 led on account of the cup, vases and the tops of the 
 
-r- 49 — 
 
 tables which are there being of malachite ; they 
 were given to Napoleon I. by emperor Alexander 
 of Russia, after the peace of Tilsitt. 
 
 N°12. The grand Gallery, forming a right 
 angle with the facade on the gardens and leading 
 to the wing of the palace called Trianon-sous- 
 Bois. This gallery served as a dining-room in the 
 time of Louis-Philippe. It contains a great quantity 
 of vases, busts and paintings, several of which are 
 remarkable. Observe the N° 149, not on account 
 of the merit of its execution, but for the signature 
 that it bears : A farm , copy of Oudry belonging to 
 the Louvre-Museum, signed Marie, reine de Fran- 
 ce, fecit 1753. 
 
 We do not describe the apartments of Trianon- 
 sous-Bois, nor the Drawing-Room, named in the 
 time of i ouis XIV. Garden Drawing-Room, 
 which precedes that wing of the palace and leads to 
 the grand gallery : they offer nothing remarkable 
 and, besides, they are not opened to the public. 
 
 N° 13. Salon dit des « Boucher » on ac- 
 count of the paintings of that artist placed there. 
 Formerly it was called Salon des Sources, and it 
 was a Library in the time of Napoleon I. Observe 
 a clock by Lepine and Neveu, representing a bas- 
 ket of flowers ; and a tea-table in marquetry with 
 inlaid-work representing the Zodiacal signs, and 
 
 which was offered to Empress Josephine by the pu- 
 pils of the Deaf and Dumb School. 
 
 N° 14. Antichamber. 
 
 N° 15. Napoleon I.’s study. — , Observe a 
 gueridon bearing an Italian inscription fl801), a vase 
 in porcelaine de Sevres : le genie de la France. 
 
 N° 16. Bath-Room. 
 
 N° 17. Bed-Chamber of Napoleon I. — 
 
 Busts : Empress Josephine, by Bartolini ; Empress 
 Marie-Louise , by Paolo Triscornia. 
 
 N° 18. Yellow Drawing-Room. — Observe 
 an alabaster cup and the clock in jasper, lapis and 
 stone. 
 
 The rooms from n° 14 to 18 form what is called 
 the small apartments, which were occupied 
 by M me de Maintenon, king Stanislas, Louis XV. 
 and Napoleon I. In the time of Louis-Philippe, they 
 were inhabited by the Royal princesses. 
 
 N° 19. Drawing-Room. — Late theatre sup- 
 pressed in 1699 by Louis XIV., who composed with 
 it and the following rooms, his private lodging ; 
 leaving the left wing to the Grand-Dauphin. Observe 
 4 
 
— 50 — 
 
 the gueridon, the top of which, in mosaic, represents 
 in the principal medallion, the castle of Hartweld , 
 Louis XVIII. and the duchess of AngouUme ; the 
 clock belonging to to the epergne offered to Napo- 
 leon I. by king Charles ofSpain ; and the Japanese 
 vases. 
 
 N° 20. Bed-Room. — Built on the spot where 
 the stage was. In the time of Louis-Philippe, it was 
 a Dining-Room, but not for long. 
 
 N° 21. Study. — We call the attention of the 
 visitor to the Pendule en porcelaine de Sevres , one 
 side of which representing Idleness, by Le Guay. 
 
 The three preceding apartments formed the suit of 
 rooms prepared, in 1846, to receive queen Victoria. 
 
 GARDENS 
 
 Le Notre made use of all (he resources of his art 
 in the arrangements of the gardens of the Grand 
 Trianon. 
 
 Reminding of the Park of Versailles, they offer 
 splendid prospects and beautiful walks. 
 
 The Parterre which is acceded to through the 
 peristyle, forming a terrace, includes two circular 
 
 basins adorned as the Mirror’s Basin with groups 
 of children and Cupids. From there, one enjoys a 
 very fine view of the grand canal. 
 
 In front of the corner pavilion of Trianon-sous- 
 Bois, an alley leads to a Fountain or water fall, in 
 marble, representing Neptune and Amphitrite, exe- 
 cuted from the drawings of Mansart. 
 
 On the right, the Amphitheatre, ornamentedwith 
 busts, includes the Basin of the Nnmphs. 
 
 You pass on a bridge to go from the part called 
 the Emperor's garden to the gardens of the Petit- 
 Trianon. 
 
 MUSEUM OF THE CARRIAGES 
 
 ThatMusoum was established, in 1851, by the cares 
 of Mr. Qnestcl, architect of the Palaces. 
 
 It contains the gala carriages indicated hereafter 
 and in the glass-cases placed around the gallery, 
 the beautiful harnesses of the horses put to each of 
 them. 
 
 The Coronation carriage. — That carriage, 
 the whole of which is gilt, was made for the coro- 
 nation of Charles X. Restored and adorned with the 
 Imperial arms, it served in 1856, for the baptism of 
 the Imperial prince. 
 
The Baptism carriage. — That carriage, built 
 for the baptism of the Duke of Bordeaux, in 1821 , 
 was restored for the ceremony of the marriage of 
 Emperor Napoleon III., in 1853. It served afterwards 
 for the baptism of the Imperial prince, and, in 1867, 
 to carry the Emperor of Turkey to the Universal 
 Exhibition. 
 
 The Bright, the Turquoise and the Vic- 
 tory. Those three carriages, which were employed 
 in the coronation of Napoleon I., were restored for 
 the baptism of. toe Imperial prince. 
 
 The Topaz. That carriage, made for the marriage 
 of Napoleon L and Marie-Louise, was employed in 
 1838, in the marriage of the queen of England, and 
 occupied by Marshal Soult, Duke of Dalmatia, French 
 Ambassador at London. 
 
 The Opal, made in the time of the Consulate,: ser- 
 
 ved to carry Empress Josephine to the chateau of 
 la Malmaison , after her divorce. 
 
 Two other carriages, the Amethyst and the 
 Cornelian, which were also used in the corona- 
 tion of Napoleon I., are for want of room, placed 
 in the outhouses of Petit Trianon. 
 
 The Museum of carriages contains besides : 
 
 A Sledge, having the form of a shell, which 
 belonged to M m s de Maintenon. 
 
 A Sedan-chair, with paintings by Watteau, 
 which belonged to queen Mary Leczinska. 
 
 Another Sedan-chair, with paintings by Joseph 
 Vernet, and a sledge having the shape of a shell, 
 with paintings by Watteau, which belonged, to queen 
 Marie-Antoinetie. 
 
 Two other sledges representing, toe one a tor- 
 toise, the other a tiger. 
 
THE PETIT TRIANON 
 
 PALACE 
 
 After the death of king Louis XIV., both Ver- 
 sailles and Trianon were abandoned. As soon as the 
 Regency had expired, cardinal Dubois, then prime 
 minister, induced Louis XV. and his court to return 
 to Versailles ; it was at this period that the mis- 
 tresses of the young king first thought of petits 
 appartements and petits soupers ; and while these 
 small apartments were being constructed behind 
 the large ones, the architect Gabriel received orders 
 to build the Petit Trianon close to the Trianon of 
 Louis XIV. and Mansart, in order that M me Du- 
 barry might have an apartment there. 
 
 When Louis XVI. ascended the throne, he gave 
 the Petit Trianon to queen Marie-Antoinette, who 
 made it her favourite abode. 
 
 During a part of the reign of Louis-Philippe I., 
 the duke and duchess of Orleans took their lodgings 
 there after their marriage. 
 
 It is in the Petit Trianon that Empress Eugenie 
 has piously gathered the furnitures and things which 
 
 belonged to the unfortunate queen Marie-Antoinette. 
 That Museum was much visited during the Univer- 
 sal Exhibition of 18H7. 
 
 The palace of Petit Trianon consists in a pavilion- 
 scarcely twenty metres square, having two stories, 
 and accessible after crossing the court-yard which 
 separates it from the grate. 
 
 On the left hand side stands the Chapel, in which 
 a picture by Vien (1774) representing Saint Louis 
 and Marguerite de Provence visiting Saint Thi- 
 bault, is placed above the high altar. 
 
 When you are in the Vestibule, where a bust of 
 a Roman lady , in white and portor marble is to be 
 seen, you ascend the staircase, which is of a re- 
 markable structure, to visit the apartments as 
 richly furnished as they are ably disposed. 
 
 Here is the plan of the first story which possess 
 es almost completely the collection gathered by 
 the cares of Empress Eugenie. 
 
 We shall follow the order of its numbers when 
 mentioning the principal pictures and artislical 
 objects. 
 
N° 1. Staircase and Landing place. — Lan- 
 tern in Louis XVI.’s style. 
 
 N° 2. Antichamber. — Two marble busts : 
 1° Emperor Joseph II. of Austria, brother to Marie- 
 Antoinette, by Boizot (1777) ; 2° Louis XVI., by Pa- 
 jou (1777). 
 
 N° 3. Dining-Room.— Observe in the furniture 
 the Writing-Table offered to Louis XVI. by the 
 states of Burgundy. The medallion of the king pla- 
 ced in the middle of the cylinder bears these words: 
 « Ludovico XVI. Fr. et Nava. Regi optimo.-Du- 
 vivier. Comitia Burgundies . » The bust of Louis XVII. 
 is placed on that piece of furniture. 
 
 N° 4. Little Drawing-Room. — Jewel-Cup- 
 board, having belonged to queen Marie-Antoinette. 
 That cupboard, adorned with paintings and gilt cop- 
 per ornaments, is made of Sandal and Mahogany. The 
 four seasons support the cornice ; Prudence, Wis- 
 dom and Abundance crown that unique piece of 
 furniture, which had been placed, until 1830, in the 
 sleeping-room of the duchess of Angouleme, the 
 Queen’s daughter. Observe also the Table orna- 
 mented with paint glasses and medallions, the pier- 
 table ; the vases representing Truth and the Edu- 
 | cation ofCupido , flowers and birds ; a magnificent 
 
— 54 — 
 
 candelabrum , and groups in semi-vitrified porce- 
 lain of Sevres. 
 
 N“ 5. Grand Drawing-Room. — It is in this 
 room that ard to fie seen the greatest number of 
 objects having been employed by unfortunate queen 
 Maric-Antoinette. A' Gueridon, top in white marble; 
 a cylindrical Writing-table in marquetry ; a draw- 
 ing-table ; a writing-table, Louis XVI. ! s style, the 
 top of which, in marquetry, is devoted to astronomy; 
 a harpsichord signed by Pascal Taskin, 1790 ; a desk 
 decked with musical attributes. Observe also twm va- 
 ses in petrified wood, a present of Emperor Joseph If. 
 to the Queen, his sister; two vases built with os- 
 trich eggs, and an ostrich egg painted byE ■ Lebcl, 
 having the shape of a vase. 
 
 N° 6. Boudoir. Work-table bearing these 
 words : « Made and presented to the Queen, bu 
 M. de Bontanben , Superintendant of the Crown 
 Furnitures, 1781. » On the chimney-piece, a Bust 
 of Marie- Antoinette, in semi-vitrified porcelaine, 
 copy of,Pajou, broken at the time of the Revolution, 
 and mended in the manufacture of Sevres by the 
 order of Empress Eugenie. 
 
 7. Bed-chamber. Carved-wooden Bed. 
 Bed-carpet embroidered by hand with the cipher 
 of the King and Queen, offered by the town of 
 
 Lyons. Observe the fluted vases representing 
 The blacksmiths ; the clock with medallions, and 
 the mndelabras. 
 
 N° 8. Dressing-Room. A toilet, the top of 
 which in marquetry forms. three parts whenopened; 
 a wooden basso-relievo, by A. Parent (1777) repre- 
 senting a -Basket of flowers; a group in semi-vitri- 
 fied iporcclaine ; and two vases in Sevres porcelain, 
 the medallions of which represent Roman empe- 
 rors. 
 
 GARDENS 
 
 Micque, queen Marie-Antoinette’s architect, de- 
 parting altogether from the tradition handed down 
 by Le Ntyre, laid the plan for. an English 'garden. 
 The most valuable trees were collected, and by 
 their foreign aspect, formed a strong contrast to the 
 underwood and quincunxes of the extensive neigh- 
 bouring park. 
 
 These foreign plantations owed their success 
 chiefly to the care bestowed on them by Bernard 
 de Jussieu, a protege of the duke d’Aycn. The fa- 
 mods Adanson also lavished on these gardens the 
 treasures of his wonderful learning. Under 
 Louis XV., Boucher had given the petit Trianon 
 quite a pastoral character by his paintings and by his 
 
compositions. The queen requested the celebrated 
 artist Robert to follow out Boucher’s ideas, and pre- 
 sently a whole village sprung out with its cows, 
 hens and sheep. The youthful queen and her ladies 
 in chintz dresses, gauze handkerchiefs, and' straw 
 hats became its inmates. They lived there in the 
 most complete solitude, for the guests from Ver- 
 sailles seldom arrived there before dinner-hour. 
 The King and princes alone arrived regularly for 
 supper. 
 
 You enter the gardens through a grate, on the left 
 hand side when you leave the Palace ; then you 
 turn to the left again, and there is the. Parterre, 
 placed in front of the tine terrace. 
 
 Grand Pavilion. It is also called French pavi- 
 lion. It served'as a summer Dining-Room. 
 
 Theatre, in the French garden on the left. It 
 was specially built forMarie-Antoinette, by Micque, 
 and inaugurated in August 1780. Its principal per- 
 formers were the Queen, Madame Elisabeth, the 
 comte d’ Artois (Charfes X.) and the persons of note 
 of the court. The King liked to assist at the rehear- 
 sals-. 
 
 Music-Pavilion. — You follow the alley facing 
 the theatre, at the- end Of the French garden, you 
 turn to the left, you pass under the rock so skilfully 
 
— 56 — 
 
 suspended, a surprise of Louis XIV. to M me de Pom- 
 padour, and you arrive at the Music-Pavilion, an 
 octogonai building, also named the Breaklast- 
 Room. 
 
 Flower-garden and Orangery, behind 
 he Music-Pavilion. It was created en 1850, by the 
 clever chief-gardener M. Charpentier; it contains a 
 very rich collection of Rhododendrons , Azalees.etc. 
 Rare and beautiful trees surround that garden, an 
 object of admiration for all those who are fond of 
 horticulture. The Orangerie is also worthy of a 
 visit. 
 
 The Swiss Village.— It includes : the Manor- 
 house, in the middle of the Village, opposite to the 
 lake, and the first one you see after leaving the 
 Flower-garden. — The Bailiff’s House separated 
 from the Manor-house by an outside gallery. — 
 The Boudoir , on the right of the Manor-house. — 
 The Farm , bordering the ditch which fixes the 
 limits of the Petit Trianon. — The Dairy-House and 
 Malborough’s tower, united by a passage. — 'The 
 Vicarage, on the left before crossing the small stone 
 bridge leading to the village. — The Mill, on the 
 right oi the Manor-house. Formerly a small trench 
 was putting in motion the artificial wheel, the prin- 
 cipal ornament of the mill. 
 
 The weeping-willow placed on the banks of the 
 
 lake, and the gigantic poplar, the trunk of which is 
 divided into live parts , have been planted by 
 Queen Marie-Antoinette. 
 
 Louis XVI. was, of course, the lord of that vil- 
 lage; the Queen, the farmer’s wife; the comte de 
 Provence (afterwards Louis XVIII.), the miller; the 
 comte d'Artois (afterwards Charles X.), the game- 
 keeper; the cardinal of Rohan, the vicar; the 
 prince of Polignac, the bailiff. 
 
 Love’s Temple is placed in a small island on 
 the right, when you follow the alley leading from 
 the Swiss village to the palace of Petit Trianon ; 
 it was built by Micque. It contains a copy of the 
 statue of Bouchardon : Love carving a bow out of 
 Hercules' club, the original of which is in the 
 Louvre Museum. 
 
 Foreign kings and princes have made constant 
 pilgrimages to the Trianons. — During the Regency, 
 Peter the Great paid a visit there. In 1763, the king 
 of Denmark; in 1784, Gustavus III king of Sweden; 
 the Emperor of Germany Joseph II. and the Empe- 
 ror of Russia Paul I. came there successively. 
 
 Since, almost all the Sovereigns, princes and 
 illustrious men esteemed it an honour to visit 
 those delicious abodes, where at every step is to be 
 found the revered remembrance of the infortunale 
 queen who died on the revolutoinary scaffold. 
 
 CERF 
 
 3, VERSAILLES. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PALAIS DE VERSAILLES 
 
 GALERIE DES BATAILLES 
 

f \*m*' 
 
 PARC DE VERSAILLES - BASSIN DE NEPTUNE 
 

 
 
PARC DE VERSAILLES — 7. LA TOILETTE D'APOLLON 
 

 
PARC DE VERSAILLES - BASSIN DE LATONE 
 

 
 
 
PARC DE VERSAILLES — 15. LA COLONNADE 
 

PARC DE VERSAILLES - BASSIN D’APOLLON 
 
 WM 
 

 
 
 
 
 
 
 
 
 
LE PALAIS DU GRAND TRIANON 
 
LE PALAIS DU PETIT TRIANON 
 
LE GRAND TRIANON — 13. MUSEE DES VOITURES 
 
SERVICES DES CHEMINS DE FER 
 
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 CHEMINS DE F 
 
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 SERVICES INTERN ATIONAUX 
 
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CARTE DES CHEMINS DE FER (Extraite de Vlndicatew-Chaix). 
 
Ill 
 
 Dieppe* Grimby.— Le Havre a Liverpool etGIascow.— Le | PAQUEBOTS TRANSATLAiVTIQUES 
 
 Havre * Londres.— Honfleur 4 LittlehamptonetSouthamp- , „ _ . . „ . 
 
 ton. - Cherbourg * Southampton. - Granville a Jersey et Ligne DES Antilles-Mexique, par Samt-Nazaire. 
 
 Southampton. — St-Malo * Southampton et Poole. | Ligne des Etats-Unis, par le Havre et Brest. 
 
 CHEMINS DE FER DU NORD 
 
 EMBARCADtRE A PARIS I 
 
 Paris a Chantilly, Creil, Clermont, Breteuil-Montdidier, 
 Amiens, Abbeville, Saint-Valery-sur-Somme, Le Tr^ port, 
 Boulogne, Calais, Arras, Douai, Lille, Valenciennes, 
 Lens, Bethune, Hazebrouck, Saiut-Omer, Dunkerque, 
 Roubaix, Tournai, Rouen, CompiOgne , Noyon, Chauny, 
 Tergnier, Saint-Quentin, Busigny, Hautmont, Maubeuge, 
 Mons, Bruxelles, Charleroi, Namur, Lidge , Dinant, 
 Villers-Cotterets, Soissons, Reims, Laon, Vervins, Hirson, 
 Avesnes, La FAre, Ham, Beauvais, Gournay, Senlis, etc. 
 
 SERVICES DE BANLIEUE 
 
 Trains supplementaires les dimanches et fetes selon les 
 besoins du service, pendant la saison d’ete. 
 
 Saint-Denis, Enghien, Montmorency, Ermont, Pontoise* 
 Isle-Adam, Beaumont, Pierrefitte, Villiers-le-Bei, Gonesset 
 Louvres, Luzarches, Chantilly, Creil, le Bourget, Aulnay, 
 Sevran-Livry, Dammartin, Nanteuil, Crepy-en- Valois. 
 
 LIGNE CIRCULAIRE 
 DE PARIS-NORD A PARIS-ODEST 
 
 Gares desservies : Paris-Nord, Saint-Denis, Epinay- 
 Enghien, Ermont, Sannois, Argenteuil, Colombes, Bois- 
 de-Colombes, AsniAres, Paris-Saint-Lazare. 
 
 l8, RUE DE DUNKERQUE 
 
 SERVICES DIRECTS AVEC L'ANGLETERRE 
 
 1° Paris a Londres, par Calais et Douvres, service a 
 grande vitesse et a heures fixes. Train express de la 
 Malle. Traversee maritime en 1 heure 3/4. Deux departs 
 par jour dans chaque sens. — Prix du billet valable pour 
 sept jours : 1" cl. : 75 fr. ; 2* cl. : 56 fr. 25 c. — Billet d’ailer 
 et retour valable pour un mois, soit par Calais, soit par Bou- 
 logne : 1" cl. : 118 fr. 75 c. ; 2 e cl. : 93 fr. 75 c. — Departs 
 de Paris : 7 h. 35 du matin, 7 h. 45 du soir. — Arrivees a 
 Londres : 5 h. 30 du soir, 6 h. du matin (trains de la Malle). 
 
 2° Paris * Londres, par Boulogne et Folkestone, a heures 
 variables. — Service de jour a grande vitesse en correspon- 
 dance avec les paquebots spdciaux de marAe. — Trajet de 
 Paris * Londres en 10 heures. Trains speciaux express de 
 l te et 2' classe. — Prix du billet valable pour sept jours : 
 1« cl. : 70 fr. ; 2' el. : 52 fr. 50 c. 
 
 .3° Paris a Londres , par Boulogne et Folkestone, * prix 
 rAduits et a heures variables. — Service de nuit par trains 
 ordinaires. — Prix du billet valable pour trois jours : 2' cl. 
 et 2' ch. : 39 fr. 35 c.; 3 e cl. et 2« ch. : 26 fr. 25 c. — Billet 
 d’aller et retour valable pour quatorze jours; 2 e cl. et 
 2' ch. : 58 fr. 75 c.; 3' cl. et 2« ch. : 39 fr. 35. 
 
IV 
 
 4° Paris a Londres, par Calais et Douvres, a prix reduits 
 et a heures fixes. — Depart de Paris a 4 h. du soil-, arriv6e 
 a Londres a 9 h. 30 du matin. 
 
 (Voir pour les prix § 3°.) 
 
 5° Paris a Londres, par Boulogne et la Tamise. Service 
 journalier a heures variables et par trains ordinaires. — 
 Billets valables pour trois jours : l r ' cl. et Ire cb ■ 34 fr 
 35 c. ; 2' cl. et 1™ ch. : 28 fr. 75 c.; 2" cl. et 2* cb. : 21 fr 35 e •’ 
 3' cl. et 2 e ch. : 20 fr. 60' c.— Billets d’aller et retour va- 
 lables pour quatorze jours : ire cl. et Ire ch. : 65 fr. 60 c.- 
 2° cb et Ire cb. : 50 fr. ; 2= cl. et 2' cb. : 43 fr. 75 c. : 3e cl’ 
 et 2' oh. : 32 fr. 50 c. ’ 
 
 SERVICES DIRECTS AVEC LA BELGIQUE 
 
 1° Paris a Bruxelles, par Maubeuge et Mons. Trains 
 express de Ire c i. 
 
 2» Paris a Bruxelles, par Valenciennes et Quidvrain 
 Trains semi-directs. 
 
 Ddparts de Paris : 7h.20dumatin, 3 h. 50 du soir. — Arri- 
 ve 3 a Bruxelles (vid Quevy) : lh. 58dusoir,10h.30dusoir. 
 
 SERVICES DIRECTS 
 AVEC L’ALLEMAGNE ET LA RUSSIE 
 1° Paris a Berlin. 
 
 A- a) , P ^ is \? er l iD en 24 heure3 > vid Charleroi, Lidge, 
 Aix-la-Chapelle, Cologne, Hanovre, Lebrte, Stendal. 
 
 Ddparts de Paris :7b 20 du matin, 3 b. 50 du soir, 
 8 h. du soir. — Arrivdes a Berlin (via Lehrte-Stendal) : 
 7 b. 15 du matin, 6 h. 45 du soir, 7 b. 45 du soir. 
 
 b) Paris a Berlin, par le chemin de fer du Berg et 
 Marche. 6 
 
 O) Paris & Berlin, vid Brunswick et Magdebourg. 
 
 NO ?’t' ~ Au rt «P art de Paris > les billets P°ur Berlin et au delii 
 aont debvres d'office par la voie de Lehrte-Stendal, a moins de 
 
 ddclaration contraire des voyagcurs. Les billets de ire classe et 
 mixtes sont valables pendant un mois avee sejour facultatif dans 
 les principales villes de passage. 
 
 2° Paris a Saint-Petersbonrg. 
 
 Trajet en 52 heures , vid Cologne , Stendal, Berlin , 
 Bromberg, Dirchau, Koenigsberg, Kowno et Vilna. Trains 
 express matin et soir de pe classe et mixte. 
 
 Ddparts de Paris : 7 h. 20 du matin, 8 h. du soir — 
 Arrivdes a Saint-Pdtersbourg: lib. 35 dumat.,7h. 15dus. 
 SERVICE DIRECT AVEC LA H0LLANDE 
 
 Paris a Roosendaal, Dordrecht, Rotterdam, La Have 
 Amsterdam, vid Bruxelles, Anvers et Moerdyck. — Billets 
 de ire et 2 e classes. — Trajet direct en ire classe de Paris a 
 Rotterdam. — Ddparts de Paris : 7 h. 20 du matin, 8 h. 15 
 du soir. — Arrivdes a Amsterdam (vid Qudvy-Bruxelles- 
 Anvers : 8 h. 35 du soir; (vid Quievrain-Bruxelies-Anversl • 
 1 b. 25 du soir. 
 
 Des billets directs de Ire classe et mixtes valables pour 
 un mois sont ddlivrds au depart de Paris pour les villes 
 suivantes, avec arret facultatif dans les principales villes 
 de passage, savoir : 
 
 Berlin, Brdme, Breslau, Brunswick, Dresde, Ems. 
 Eydkubnen, Prancfort-sur-Mein , Hambourg, Hanovre 
 Koenigsberg , Leipzig, Liibeck, Magdebourg, Mayenee! 
 Riga, Schlangenbad, Schwalbach, Saint-Pdtersbourg. Var- 
 sovie, Virballen, Wiesbaden. 
 
 Itineraire de Paris 
 
 aux principales Villes d'Eaux minerales d'Allemagne. 
 
 Aix-la-Chapelle j par Erquelines, Liege et Bleyberg. 
 
 ■d i Pruase ): , I d° d« Herbesthal. 
 
 Baden-Baden (Bade), par Cologne, Mayenee, Darmstadt 
 et Oos. 
 
Creuznach (Prusse), par Cologne, Coblenoe et Binger- 
 briick. 
 
 Ems (Nassau), par Cologne, Coblence et Lahnstein. 
 Franzensbad (Boheme), par Cologne, Leipzig et Plauen. 
 Hombourg (Hesse), par Cologne, Mayence et Francfort- 
 sur-Mein. 
 
 Nauheim (Hesse), par Cologne, Mayence et Francfort- 
 sur-Mein. 
 
 Pyrmont 
 
 (Hanovre) 
 
 ( par Cologne , Minden et Paderborn. 
 < — Aix-la-Chapelle, Elberfeld. 
 
 ( — SoSst, Paderborn. 
 
 Salzbrunn j par Cologne, Berlin et Breslau. 
 
 (Prusse), j — Bleyberg, Aix-la-Chapelle, Berlin, Breslau. 
 Schlangenbad (Nassau), par Cologne, Coblence, Lahn- 
 stein, Rudesheim et Eltville. 
 
 Schwalbach (Nassau), meme route. 
 
 Soden (Nassau), par Cologne, Mayence et Francfort-sur-M. 
 Toeplitz (Boheme';, par Cologne, Leipzig, Dresde et Aussig. 
 Wiesbaden (Nassau), par Cologne, Coblence, Lahnstein 
 et Rudesheim. 
 
 BAINS DE MER 
 
 Boulogne, Saint-Valery-sur-Somme, Le T report, Berck 
 (Montreuil), Calais et Dunkerque. 
 
 On delivre a la gare de Paris (Nord) des billets spdciaux de 
 1" classe a prix rdduits, aller et relour, valables pour dix jours, A 
 partir du 1 « juillet jusqu'au 30 septembre, pour les gares dSsignecs 
 ci-dessus. 
 
 Trains de plaisir de Paris a Boulogne cl Calais 
 
 Voyages a la mer a prix reduits, pendant la belle saison. 
 
 VOYAGES A PRIX REDUITS 
 
 POUR VISITER LES BORDS DU RHIN ET LA BELGIQUE 
 
 Prix du billet en 1« classe, valable un mois : 147 fr. 50 c . 
 
 On peut, a volontd, partir par le chemin de fer du Nord 
 et revenir par le chemin de fer de l’Est, et reciproquement, 
 avec arret facultatif dans les principales villes desservies 
 par ces deux lignes. 
 
 in<dus daiVre ^ biUetS 4 Part ‘ r d “ *" juin jus< I u ’ au 30 septembre 
 
 Les bagages sont transports aux conditions ordinaires en 
 vigueur sur cJiaque territoire. 
 
 VOYAGES CIRCULAIRES A PRIX REDUITS 
 POUR VISITER LA HOLLANDE, LA BELGIQUE ET LE RHIN 
 
 avec retour au point de depart. 
 
 Billets de 1« classe, valables pendant un mois : 123 fr. 75 c. 
 
 Itineraire. —Paris, Compihgne, Saint-Quentin, Namur, 
 Lidge, Spa, Aix-la-Chapelle, Cologne, Arnheim, C16ves, 
 Utrecht, Leyde, Amsterdam, La Haye, Rotterdam, Dor- 
 drecht, Anvers, Bruxelles, Mons, Valenciennes, Douai, 
 Arras, Amiens (villes oil se ddlivrent les billets). 
 
 Le voyageur peut s’arreter a toutes les stations de chemin 
 de fer comprises dans I’itineraire en deposant, a l’arrivee 
 a la station, le livret a coupons, qui lui sera restitud au 
 depart. 
 
 Toutes les gares du chemin de fer du Nord non designdes 
 ci-dessus delivrent dgalement des billets de ce voyage 
 circulaire sur demande faite au chef de gare 24 heures 
 a l’avance. 
 
 On dAlivre des billets A partir du 1« juin jusqu’au 30 septembre 
 
VOYAGES CIRCOLAIRES A PRIX REDUITS 
 DANS IE NORO OE LA FRANCE ET EN BELGIQUE 
 
 Itineraire. — Paris, Amiens, Lille, Courtrai, Gand, 
 Bruges, Ostende, Bruxelles, Anvers, Malines, Louvain, 
 Lidge, Spa, Namur, Charleroi, Saint-Quentin, Compiigne, 
 Chantilly, Paris (ou vice versa). 
 
 Billets a prix rdduits, valables pendant un mois. — l re cl. : 
 88 fr. 50 c. ; 2* cl. : 66 fr. 75 c. 
 
 II est accords 25 kilogr. de bagages en franchise sur tout 
 le parcours. — On dAIirre des billets a partir du 1 tr juin jusqu'au 
 
 CHEMINS DE 
 
 EMBARCADERE A PARIS 
 
 Paris a Meaux, Chateau-Thierry, Epernay, Chalons , 
 Mourmelon, Verdun, Batilly, Saint-Dizier, Joinville, Vitry- 
 le-Franqais, Commercy, Neufchateau, Toul, Nancy, Pagny- 
 sur-Moselle, Spinal, Remiremont, Lundville, Saint-Die , 
 Avricourt, Troyes, Bar-sur-Aube , Chatillon-sur-Seine , 
 Chaumont, Langres, Vesoul, Gray, Belfort, Reims, Sois- 
 sons, Laon, Rethel, Mdzteres-Charleville, Givet, Hirson, 
 Sedan, Carignan, Montm^dy, Longwy, etc. 
 
 Via Avricourt : Dieuze, Strasbourg, Barr, Mutzig, 
 Wasselonne ; Metz, Thionville, Luxembourg, Forbach ; 
 Haguenau , Niederbronn , Wissembourg ; Schlestadt , 
 Colmar, Mulhouse, Bale, Wesserling, Baden-Baden, 
 Carlsruhe, Heidelberg, Mannheim, Darmstadt, Francfort, 
 Hombourg, Nauheim, Wiesbaden; Stuttgart, Ulm, Augs- 
 bourg, Munich, Salzbourg, Linz, Vienne, Constantinople; 
 Nuremberg, Ratisbonne, Prague. — Vi& Pagny -sur -Moselle : 
 Sarrebruck, Creuznach, Wiesbaden, Mayence, Francfort, 
 Hombourg; TrAves, Spire, Ludwigshafen , Darmstadt, 
 Worms; Nuremberg, Prague. — Vid Pagny -sur-Moselle ou 
 
 30 septembre inclus : 1» A Paris, b la gare du Nord; 2° boulevard, 
 des Italiens, 4; A 1’Agence du Soulh-Eastern-Railway, et A Amiens 
 Douai, Lille, Saint-Quentin. 
 
 TRAIN DE PLAISIR DE PARIS A COMPIEGNE 
 
 Tons LBS Dimanches (du 1 « dimanche de juin au dernier 
 dimanche de septembre inclus). 
 
 Prix des places (aller et retour) : l r « cl. : 10 fr.; 
 2 e cl. : 8 fr. ; 3' cl. : 6 fr. 
 
 Voitures de correspondance poor Pierrefonds. 
 
 FER DE L’EST 
 
 PLACE DE STRASBOURG 
 
 Avricourt : Aschaffenbourg, Wurzbourg, Bamberg, Eger, 
 Carlsbad, Marienbad. — Via Avricourt- Wissembourg : Spiret 
 Ludwigshafen, Worms, Mayence, Wiesbaden, Francfort, 
 — Via Belfort : 1° Olten, Lucerne, Zurich, Glaris, Coire., 
 Schaffhouse, Romanshorn, Saint-Gall, Rorschach; 2° tout 
 1’Ouest etle Midi de la Suisse pour les stations du reseau 
 de 1’Est, excepte Paris. 
 
 SERVICES DE BANLIEUE 
 
 Par la gare de la place de Strasbourg. 
 
 Pantin, Noisy-le-Sec , Bondy, Le Raincy-Villemomble, 
 Gagny-Montfermeil, Chelles, Lagny-Thorigny, Meaux , 
 Rosny-sous -Bois, Nogent- sur -Marne, Villiers, Gretz, 
 Morcef, Coulommiers, Longueville, Provins. 
 
 Par la gare de la place de la Bastille. 
 
 Bel-Air, Saint-Mandd, Vincennes, Fontenay-sous-Bois, 
 Jotriville-le-Pont, Saint-Maur, Champigny, La Varenne 
 et Sucy-en-Brie. 
 
VOYAGES GIRCOLAIRES A PRIX REDUITS 
 
 1° DEPART DE PARIS POUR VISITER 
 
 L’EST DE U FRANCE, L'ALSACE, LA SUISSE CENTRALE (OBERLAND 
 BERNOIS), & LE LAC DE GENEVE 
 Billets valables pendant un on deux raois, dilivres du 
 l" juin au 30 septembre (les billets valables pendant deux 
 mois ne sont delivrds qtte jusqu’au 31 aodt) — Aveo sejour 
 facultatif, en France : dans toutes les gares et stations des 
 lignes de l’Bst desservies par les trains en deposant son 
 billet a la gare, et sur la ligne de Paris a Lyon et A la 
 Mediterranee, a Fontainebleau, Dijon, Macon et Culoz. — 
 En Suisse : a Bale, Olten, Lucerne, Alpnacb, Brienz, 
 Giessbach, Interlaken, Thun, Berne, Fribourg, Lausanne 
 et Geneve. — Depart par les chemins de fer de 1’Est (ligne 
 de Belfort), et retour par la ligne de Paris a Lyon et a la 
 Mdditerranee, ou reciprcquemcnt : depart par la ligne de 
 Paris a Lyon et a laMediterrande, et retour par les chemins 
 de fer de l’Est (ligne de Belfort). — Prix des billets, valables 
 pendant un mois : l r « cl. : 150 fr. 45 c. ; 2' cl. : 117 fr. 05 c. ; 
 valables pendant deux mois : l r « cl. : 164 fr. ; 2’ cl. : 
 127 fr. 25 c. — Les voyageurs ont droit au transport gratuit 
 de 25 kilogr. de bagages sur tout le parcours. 
 
 On dftlivre des billets ft Faris : m gares des lignes de l'Est et 
 de Paris a Lyon et ft la Mftditerranee; au bureau central de la 
 Compagnie de l'Est, rue Basse-du-Rempart, 50. 
 
 2° DISPART DE PARIS POUR VISITER 
 
 LA SUISSE ET LE GRANO-OUCHE DE BADE 
 Billets valables pendant un mois, ddlivres du l« r juin au 
 30 septembre. — Avec sdjour facultatif, en France : dans 
 les principales localitds du parcours des lignes de l’Est , en 
 
 ddposant son billet a la gare En Suisse et dans le grand- 
 
 dnche de Bade : a Bale , Olten , Lucerne, Zug, Zurich, 
 Rapperschwyl , Weesen, Ragatz, Rorschach, Coire, Ro- 
 
 manshorn , Constance , Schaffhouse, Neuhausen, Singen, 
 Waldshut, Lauffenbourg, Mullheim, Fribourg en Brisgau, 
 Baden-Baden. — Ddpart par la ligne directe de Paris a Bel- 
 fort, et retour par celle de Paris a Avricourt, oureciproque- 
 ment : depart par la ligne de Paris a Avricourt, et retour par 
 celle de Belfort a Paris. — Prix des billets : 1 re cl. : 172 fr. 
 60 c. ; 2 C cl. : 130 fr. 05 c. — Les voyageurs ont droit au trans- 
 port gratuit de 25 kilogr. de bagages sur tout le parcours. 
 
 On delivre des billets a Paris : ft la gare; au bureau central, rue 
 Basse-du-Rempart, 50, et a l’Agence des chemins de fer anglais, 
 boulevard des Italiens, 4. 
 
 3° POUR VISITER 
 
 LES B0RDS DU RHIN ET LA BELGIQUE 
 
 (du 1« juin au 30 septembre). 
 
 Billets valables pendant un mois, avec sijour facultatif 
 dans les principales villes du parcours. — Prix du billet de 
 l* e classe : 147 fr. 50 c. — Depart de Paris par la ligne de 
 l’Est et retour par la ligne du Nord (par Bruxelles et 
 Valenciennes, ou par Namur et Saint-Quentin), ou rdci- 
 proquement. — Les voyageurs ont droit au transport gratuit 
 de 25 kilogr. de bagages sur tout le parcours. 
 
 DE PARIS A CONSTANTINOPLE 
 EN CINQ JOURS ET DEMI 
 
 Par Munich, Vienne et les escales du Bas-Danube. 
 
 PARIS A BALE ET RET0UR 
 
 Pendant la saison d’etft. 
 
 Billets valables pendant un mois, au prix de : l re classe 
 106 fr. 05 c. ; 2« classe : 79 fr. 35 c. 
 
 Promenade a prix reduits dans la vallee de la Meuse. 
 
 Billets speciaux d’aller et retour a prix rdduits, au depart 
 d’Epernay, Reims, Rethel et Sedan pour Givet. 
 
 Versailles, imp. Cerf et Fils.