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Charlotte M. Martin - The Stones of Paris in History and Letters, Volume 1 (of 2)

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Transcribers Note Obvious typographical errors have been corrected - photo 1
Transcriber's Note:
Obvious typographical errors have been corrected. Inconsistent spelling and hyphenation in the original document have been preserved.
On page , "corrival" should possibly be "co-rival".
On page , "Que ne fut rien" should possibly be "Qui ne fut rien".
On page , the phrase "with a strange, most ponderous, yet delicate expression in the big, dull-glowing black eyes and it" possibly contains a typo.
THE STONES OF PARIS
IN HISTORY AND LETTERS
Molire
THE STONES OF PARIS
IN HISTORY AND LETTERS
BY
BENJAMIN ELLIS MARTIN
AND
CHARLOTTE M. MARTIN
IN TWO VOLUMES
Vol. I
ILLUSTRATED
NEW YORK
CHARLES SCRIBNER'S SONS
MDCCCXCIX
Copyright, 1899, by
CHARLES SCRIBNER'S SONS
TROW DIRECTORY
PRINTING AND BOOKBINDING COMPANY
NEW YORK
TO
W. C. BROWNELL
IN CORDIAL TRIBUTE TO HIS
"FRENCH TRAITS"
CONTENTS
Page
Three Time-worn Staircases
The Scholars' Quarter of the Middle Ages
Molire and his Friends
From Voltaire to Beaumarchais
The Paris of the Revolution
LIST OF ILLUSTRATIONS
From drawings by John Fulleylove, Esq. The portraits from photographs by Messrs. Braun, Clment et Cie.
Molire (from the portrait by Mignard in the Muse Cond, at Chantilly)
PAGE
The so-called Htel de la Reine Blanche (from a photograph of the Commission du Vieux Paris)facing
Balcony of the Htel de Lauzun-Pimodan, on le Saint-Louis
"Jean-sans-Peur," Duc de Bourgogne (from a painting by an unknown artist, at Chantilly)facing
The Tower of "Jean-sans-Peur"
The Church of Saint-Sverinfacing
Rue Hautefeuille, a Survivor of the Scholars' Quarter
The Interior of Saint-Julien-le-Pauvrefacing
Pierre de Ronsard (from a drawing by an unknown artist, in a private collection)facing
Balcony over the Entrance of the Cour du Dragon
Clment Marot (from the portrait by Porbus le Jeune, in a private collection)facing
Ren Descartes (from the portrait by Franz Hals, in the Muse du Louvre)facing
The Stage Door of Molire's Second Theatre in Paris
The Stamp of the Comdie Franaise
The Molire Fountainfacing
The Door of Corneille's Last Dwelling (from a drawing by Robert Delafontaine, by permission of M. Victorien Sardou)facing
Pierre Corneille (from the portrait by Charles Lebrun)facing
Rue Visconti. On the right is the Htel de Ranes, and in the distance is No. 13facing
La Fontaine (from the portrait by Rigaud-y-Ros)facing
Boileau-Despraux (from the portrait by Largillire)facing
Voltaire (from the statue by Houdon in the foyer of the Comdie Franaise)facing
The Htel Lambert
The Seventeenth-century Buildings on Quai Malaquais, with the Institute and the Statue of Voltairefacing
Charlotte Corday (from the copy by Baudry of the only authentic portrait, painted in her prison)facing
The Refectory of the Cordeliersfacing
The Carr d'Atalante in the Tuileries Gardens
The Girlhood Home of Madame Rolandfacing
No. 13 Quai Conti
Monogram from the former entrance of the Cour du Commerce, believed to be the initials of the owner, one Girardot (from a drawing by Robert Delafontaine, by permission of M. Victorien Sardou)
INTRODUCTORY
This book has been written for those who seek in Paris something more than a city of shows or a huge bazaar, something better than the cabaret wherein Franois I. found entertainment, and yet not quitestill in Hugo's phrasethe library that Charles V. esteemed it. There are many lovers of this beautiful capital of a great people, who, knowing well her unconcealed attractions, would search out her records and traditions in stone, hidden and hard to find. This legitimate curiosity grows more eager with the increasing difficulties of gratifying it in that ancient Paris that is vanishing day by day; and, in its bewilderment, it may be glad to find congenial guidance in these pages. In them, no attempt is made to destroy that which is new in order to reconstruct what was old. In telling the stories of those monuments of past ages that are visible and tangible, reference is made only to so much of their perished approaches and neighbors as shall suffice for full realization of the significance of all that we are to see. This significance is given mainly by the former dwellers within these walls. We shall concern ourselves with the human document, illustrated by its surroundings. The student of history can find no more suggestive relics of medival Paris than the still existing towers and fragments of the wall of Philippe-Auguste, which shall be shown to him; for us, these stones must be made to speak, not so essentially of their mighty builder as of the common people, who moved about within that enclosure and gave it character. In like manner, the walls, which have sheltered soldiers, statesmen, preachers, teachers, workers in art and letters, illustrious men and women of all sorts and conditions, will take on the personality of these impressive presences. When we stand beneath the roof of that favorite personage in history, that spoiled child of romance, who happens to be dear to each one of us, we are brought into touch with him as with a living fellow-creature. The streets of Paris are alive with these sympathetic companions, who become abiding friends, as we stroll with them; and allow none of the ache, confessed to be felt in such scenes, despite her reasoning, by Madame de Svign. Nor do they invite, here, any critical review of their work in life, but consent to scrutiny of their lineaments alone, and to an appreciation of their personal impress on their contemporaries and on us. So that essays on themes, historic, literary, artistic, can find no place in this record. Indeed, labor and time have been expended "in hindering it from being ... swollen out of shape by superfluous details, defaced with dilettanti antiquarianisms, nugatory tag-rags, and, in short, turned away from its real uses, instead of furthered toward them." In this sense, at least, the authors can say in Montaigne's words, "ceci est un livre de bonne foy."
In this presentation of people and places it has been difficult, sometimes impossible, to keep due sequence both of chronology and topography. Just as Mr. Theodore Andrea Cook found in the various chteaux of his admirable "Old Touraine," so each spot we shall visit in Paris "has some particular event, some especial visitor, whose importance overshadows every other memory connected with the place." With that event or that visitor we must needs busy ourselves, without immediate regard to other dates or other personages. Again, to keep in sight some conspicuous figure, as he goes, we must leave on one side certain memorable scenes, to which we shall come back. Each plan has been pursued in turn, as has seemed desirable, for the sake of the clearness and accuracy, which have been considered above all else. The whole value of such records as are here presented depends on the preliminary researches. In the doing of this, thousands of books and pamphlets and articles have been read, hundreds of people have been questioned, scores of miles have been tramped. Oldest archives and maps have been consulted, newest newspaper clippings have not been disregarded. Nothing has been thought too heavy or too light that would help to give a characteristic line or a touch of native color. A third volume would be needed to enumerate the authorities called on and compared. Nor has any statement of any one of these authorities been accepted without ample investigation; and every assertion has been subjected to all the proof that it was possible to procure. Those countless errors have been run to earth which have been started so often by the carelessness of an early writer, and ever since kept alive by lazy copiers and random compilers. These processes of sifting are necessarily omitted for lack of space, and the wrought-out results alone are shown. If the authors dare not hope that they have avoided errors on their own part, they may hope for indulgent correction of such as may have crept in, for all their vigilance.
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