dwelling of Flammel the alchemist who gave the whole top of his house to the poor on condition they should pray for him, and wrote an inscription begging prayers and pardons for his sins. Old Paris stretches along for a distance of two hundred and sixty meters on the river front, a long file of monuments and edifices, a thorough little city, divided into three principal quarters, pierced by streets, and cut up into squares, reflecting in the river a profusion of towers and little turrets and roofs from which spring storied belfries. Instead of closely copying this or that quarter of a bygone Paris, the architects found it preferable to choose and extract from old documents certain points which are really important and interesting to the student of antiquity. Therefore, the principal groups of old Paris divide themselves as follows: First comes the ancient Latin Quarter, which is near the entrance. Then winding streets, naissance, the "Chamber of Comptes" of the sixteenth century, which was burned down in 1737. Near this is a vast court, which will be called the Cour de Paris, constructed of the remains of the most beautiful private dwellings and palaces, dating from that same period. Here there will be a concert-hall; and it is safe to say that never was a theater more curiously installed. Another quarter will be devoted to a bridge of the olden time, with curious houses and shops on either side, out of which we pass under the tower of the Grand Châtelet to find before us a bit of the old palace of St. Louis and a corner of the sixteenth century in the street of St. Laurence of the Fair. Here ends our little town with a rampart over the river and the tower of the ancient Archbishop's palace. This is, without entering into detail, what we can see after we have entered the Porte St. Michel, leaving behind the modern atmosphere of new Paris, House of Molière (apes carved on the corner)-To right, Flammel House tecting shadows the originals of these queer houses formerly clustered, and on the other side a view of the hills of Sèvres, recalling triumphs and disasters to every lover of French history. But another bit of the Paris of bygone days is to be seen on the other side of the Exposition grounds on the Avenue de Suffren, where the Paris of 1400 has been copied to delight the lover of Victor Hugo and his famous story of Notre Dame. Here the Court of Miracles, where the tournaments took place and the beggar fraternity of Paris held its meetings, is duplicated, with its queer low buildings and dingy lanes surrounding it. One of the most ancient churches in French history, the Church des Filles Dieu, some old hostelries, and little shops and timeworn buildings surround the Cour des Miracles. Here all last summer, in preparation for the Exposition, a performance was given by people in costume representing the doings of the Parisians in the time had been planned at Arras, but, putting her into a gorgeous coach with silver wheels, drove to the cathedral of Amiens and married her. When he brought her to Paris he instituted the fêtes and tourneys in the Cour des Miracles which are here being reproduced. It was toward the end of the fourteenth century, and here in the little church of the Filles Dieu the coronation took place. Little did the proud dames of the court of Charles VI foresee, as they tripped along in their jeweled high headgear and veils, with long brocaded trains falling from their shoulders, that madness would overcome the wretched young king, and that the lovely queen would live to be a scourge to France, through her immorality and tyranny. Within fifty years after the day of Isabel this Cour des Miracles became the haunt of beggars and thieves, the narrow streets surrounding it were lairs in which they watched for victims, and Victor Hugo has most ably described the entrance made by |