even though monuments should have been erected over them. If, however, individuals wish to prolong their lease of the spot, they may do so by paying at the rate of ten dollars for every five years; but if the payments are not duly made, the graves are reopened, and the monuments restored to those by whom they were erected. It is optional, also, to purchase a perpetual right in the graves which were at first bought for only a limited period; in that case a discount is allowed of one of the sums of ten dollars each previously paid for its temporary possession.

The third sort of graves are those in which the perpetual right is purchased in the first instance, when vaults may be sunk and monuments erected at pleasure. Not less than six feet six inches is granted for an adult, nor less than half that extent for a child under seven years of age. But families are at liberty to purchase as much more as they please; and hence many families do possess large spots of ground in the cemetery. The price is twenty-five dollars for a square metre (of about thirty-nine and one quarter inches), and three dollars for the deed and registration of the sale. When a person desires to purchase ground, he applies to the keeper of the cemetery, who accompanies him to select such an unoccupied spot as he may please. When a family wishes to construct a vault or tomb for the reception of the dead, the corpse is meanwhile deposited in a temporary grave, for the use of which, upon its removal, the sum of twenty-five francs is paid; but this removal can not take place without the special permission of the prefect of police, and in the presence of a commissary of police, who draws up minutes of the transaction.

The palace of the Tuilleries forms one of the principal edifices of Paris. It was so called because a tilekiln formerly stood on the site where it is erected. At that time, this part of Paris was not comprised within the walls; nothing was to be seen in the vicinity of the tilekiln but a few coppices and scattered habitations. The construction of this palace was begun in May, 1564. Henry IV. enlarged the original building, and, in 1600, began the grand gallery which joins it to the Louvre. Louis XIII. made some alterations in the palace; and, in 1664, Louis XIV. directed it to be finished, by making the additions and embellishments which have brought it nearly to its present state. These deviations from the first plan have destroyed the proportions required by the strict rules of art; nevertheless, the architecture, though variously blended, presents, at first sight, an ensemble which is magnificent and striking. The whole front of the palace consists of five pavilions, connected by four piles of building, standing on the same line, and extending for the space of more than one thousand feet. The first order of the three middle piles is Ionic, with encircled columns; the two adjoining pavilions are also ornamented with Ionic columns, but fluted and embellished with foliage, from the third of their height to the summit. The second order of these two pavilions is Corinthian. The two piles of building which come next, as well as the two pavilions of the wings, are of the Composite order, with fluted pillars.

In the council-chamber of the Tuilleries is a globe, and also a curious clock, that shows the time of day in every part of the northern hemisphere. In another room is a clock, with emblematical devices, representing Time present and Time past, in the way that Young describes him, concealing his wings as he advances, and displaying them as he flies away, so as to keep his body out of sight. The gardens of the Tuilleries are always open to the public, and form the principal promenade of this part of the town. A grove of horse-chestnut trees furnishes a fine shade; and a military band performs in the morning from eleven till twelve. Among the decorations of the gardens are many fine statues, bronzes, and casts. Hippomenes and Atalanta, and a wild boar, are among the best. one walk, which runs the whole length of the garden, is decorated with a range of large orange-trees, in cases, on each side of it.

The statues of In the summer,

The palace in which the chamber of deputies holds its sittings was formerly the residence of the princes of the house of Condé, who had adorned its elegant pavilions, its spacious galleries, its gardens, and its theatre, with every splendor that luxury could devise, or wealth command. It consequently early fell a prey to the devastating fury of the revolutionists; it was then plundered of all its costly furniture, and remained unoccupied till the year 1798, when the "council of five hundred" took possession of it, and held within its princely walls their republican assemblies. It had been adapted for many purposes previous to its present destination. The building was originally commenced in 1722, by Louis Françoise, duchess dowager

of Bourbon, and received various additions till its completion in its present form, in 1807, when the splendid Grecian peristyle was erected, from the designs of an architect of the name of Poyet.

It is nearly one hundred feet in breadth, composed of twelve Corinthian columns, of elegant proportions, surmounted by a pediment, the tympanum of which is ornamented with statues. The entrance is by twenty-nine steps, at the foot of which, upon a pedestal, eighteen feet high, are colossal statues of Justice and Prudence; there are also, in front of the building, sitting figures of Sully, L'Hôpital, D'Aguesseau, and Colbert. This façade cost 1,759,000 francs ($350,000). The interior of the hall of assembly is semicircular, the chair of the president, and the desks of the secretaries, occupying the base of the semicircle. In front of the desk of the president is the tribune, ornamented with a basso-relievo, representing History and Fame. By this arrangement the orator necessarily turns his back upon the president. There are also some good statues, among others those of Lycurgus, Solon, Demosthenes, Brutus, Cato, and Cicero. Different galleries are set apart for the accommodation of the public, the foreign ambassadors, and the peers, and a separate space is reserved for the convenience of those connected with the public press. The numerous apartments and galleries of this very magnificent palace are all fitted up with great splendor, and commodiously arranged.

There are numerous public libraries, some of them containing immense collections of books and manuscripts. These are open to the public and to men of letters, almost the whole year, and present inexhaustible sources of instruction. Most of them have a large saloon, well warmed in winter, for the accommodation of visiters. The king's library, the foundation of which goes as far back as the reign of Charles V., contains nearly 600,000 printed volumes, and 80,000 manuscripts. It is open every day, from ten to two; the vacation commences on the first of September, and closes on the fifteenth of October. The city library is open every day from twelve to four, except on festivals, and the days of the sittings of the medical and agricultural societies. It contains 42,000 volumes, among which are many modern works. The vacation is from the first of September to the fifteenth of October. The old library of St. Genevieve, remarkable for the beauty of its architecture and decorations, as well as for the choice of books it contains, reckons about 112,000 volumes, and 3,000 manuscripts. It is open every day, from ten to two, and its vacation continues from the first of September to the twelfth of November. The magazine library, at the Institute, is open every day, except from the fifteenth of August to the fifteenth of October, and on Thursdays and Sundays. It contains 93,000 volumes, and 4,000 manuscripts. The library of the Institutes is not public, but admission is easily procured on the recommendation of a member. It contains about 70,000 volumes. The library of the royal garden, in the museum of natural history, presents a rich and varied collection of works relative to the natural sciences, herbaria, designs of plants and flowers, and paintings of animals. The library of the medical school contains about 30,000 volumes, including all the best treatises on medicine and chymistry. It is open on Mondays, Wednesdays, and Fridays, from eleven to two, and its vacation is from the fifteenth of August to the first of November.

The school of medicine is one of the finest establishments in Paris. Its amphitheatre, capable of holding at least 12,000 persons, is adorned with busts of Peyronie and Martinière, the founders of the school. In a long gallery are seen skeletons of both sexes, and all ages. There are also many skeletons of animals, for the study of comparative anatomy. Opposite to this gallery are specimens of all sorts of diseases of the bones, and deformities in their conformation; a number of injected preparations exhibit the systems of the vessels, the blood, the arteries, the veins, and the lymphatic organs. In another room are wax figures, illustrative of the nervous, vascular, sanguineous, and lymphatic systems. There are also representations in wax of a great number of pathological cases. Two figures, in particular, surpass everything of this kind that has ever been executed; they exhibit the whole of the lymphatic system, external and internal. These masterpieces, as well as several others, were executed by the celebrated Lavoisier, of Rouen. A third room contains all the natural substances which the three kingdoms of nature furnish to the materia medica; and a fifth is devoted to demonstration of the lectures on medical physics. The great museum of the Louvre is the finest collection of works of art in Europe, and notwithstanding the losses it has experienced, it contains many masterpieces of all the schools. It consists of three principal divisions, the first containing

the statues, the second the pictures, and the third the designs. The museum of antiques is on the ground-floor, that of the drawings on the first floor, and the paintings occupy the saloon and the grand gallery that unites the Louvre to the Tuilleries. The first three divisions of this gallery are devoted to the productions of the French school; the second three to the German, Flemish, and Dutch schools, and the last three to the Italian. Among the works of many other artists, crowds are seen, every Sunday, before those of Teniers. The name of David Teniers is common to two painters, father and son, the subjects and styles of whose pictures are very similar. The younger Teniers, however, is much more distinguished than the elder.

David Teniers the younger was born at Antwerp, in 1610, and was brought up under the professional instructions of his father. Some biographers state that he left the study of his father for that of Adrian Brauwer, and that he even received lessons from Rubens. The elder Teniers was certainly a pupil of Rubens, and there is no improbability that the younger may have received instructions from him; but there is no proof that he did. The belief that he received instruction, not only from Rubens, but Elsheimer and other masters, is reasonably conjectured to have arisen from the wonderful fidelity and success with which, during the earlier portion of his professional life, he employed himself in imitating the works of most of the painters of his time. He also amused himself by making compositions in the styles of different celebrated painters, as Titian, Tintoretto, the Bassans, Rubens, &c., in which he imitated the touch of these great men with such ability, that the imitations, which are known by the name of pasticcios, deceived the best judges of his own time, and since have frequently been mistaken for originals, and sold as such. They must, therefore, have had great merit. However, all the skill which Teniers exhibited in this line procured him no better name than the Proteus, or else the ape, of painting; although he had certainly acquired considerable reputation in his native town before the period commenced in which his original powers were manifested.

The latter period is said to have been determined in the following remarkable incident, which we find related in the "Biographie Universelle." Teniers was one day in an alehouse of the village of Oyssel, and when he was preparing to depart, found he had no money to pay the reckoning. He then bethought himself of painting some little piece, and selling it to raise the necessary funds. In ordinary circumstances, he would probably have thought of copying a picture; but, as there was none to copy, he called to him a blind man who was playing on a flute, and made him the subject of a picture, which he sold for three ducats to an English traveller, who was stopping at the cabaret to change horses. A note appended, in the work we have mentioned, to this statement, informs us, that the purchaser was a nobleman, who a long time preserved the picture, which the connoisseurs regarded as a masterpiece of Teniers; but it was at last stolen, and never again heard of until 1804, when it was discovered, with several other compositions of the same artist, by Colonel Dickson, in Persia.

After this, some other circumstances directed the attention of Teniers to more original undertakings than those by which he had previously been known, and which would never have established his fame on its present basis; and he appears seldom, unless in the way of amusement or indulgence, to have again exercised his old powers as a copyist. He became a constant and faithful observer of nature; the example of his father probably influenced him in choosing for his subjects village festivals, fairs, and merry-makings. His paintings on these subjects place before us not only the grotesque costumes of the villagers of his country, but represent, with much nature and great justness of expression, the play of their features, their manners, their passions, and their individual characters. That he might the more conveniently mingle with the scenes he chose to represent, he established himself in the village of Perk, between Antwerp and Mechlin; and there he studied the undisguised impulses of natural character among the lower classes of the people, and has left many pleasing and beautiful memorials of occurrences, in themselves uninteresting, or even repulsiɣe, but rendered engaging by the delightful mode in which they are represented. The landscapes of Teniers are not, in general, well chosen; but they possess, in an eminent degree, the merit of local truth, and the talent is astonishing with which he has exhibited the ever-varying effects of atmosphere. In this high quality he is scarcely surpassed even by Claude Lorraine himself; and it often makes complete amends for the flatness and insipidity of his scenery. In the interior of apartments the cottage, the cabaret, the guard-room, or the chymist's laboratory, the clearness

and precision of Teniers is not less admirable than in his exteriors. He surpassed Ostade and many other painters, in the knowledge of perspective of his art. The touch of Teniers's pencil was lively, light, and ethereal; and the tone of his coloring is rich and natural. By continual practice upon the same system, he acquired an unexampled promptness in execution. This enabled him to paint a vast number of pictures. It was not unusual for him to execute a picture in a single day, and he used himself jocosely to observe, that it would require a gallery six miles in length, to contain all the pictures he had painted. He was in the habit of assisting the landscape-painters of the day by putting figures into their pictures; hence there are many such works which owe an increased value to this circumstance. The works of Teniers are numerous in the collections of England, Holland, and Germany, and still bear very high prices. Sir Joshua Reynolds used to regret that this artist had not employed on nobler subjects than he had generally chosen, the elegance and precision of his pencil. But this observation does not seem well-founded. It is questionable whether he would have attained more than mediocrity in that rank where this elegance and precision could not always be a substitute for an innate taste for fine forms, and grandeur of style.

The fine picture, our engraving of which is taken from the "Musée Français," possesses the usual characteristics of Teniers's style, and is, therefore, remarkable for its soft and harmonious coloring. The general tone is slightly golden; the sky, the earth, the houses in the side view, and even the trees, partake more or less of this tint. The principal figure, illuminated by a tranquil light, is placed upon a clear depth and the writer of the illustrative article in the work we have mentioned, dwells with much interest on the openness and serenity the countenance expresses, and conjectures, rather unnecessarily, we imagine, that it is the portrait of a warrior who had disguised himself in this manner for the purpose of examining the enemy's country, and collecting the information necessary for a plan of attack.

The life of Teniers, so far as known, presents few events that claim our notice. In private, the mildness of his manners and the regularity of his conduct seem to have endeared him to all who were personally acquainted with him. He soon obtained the favorable notice of the Archduke Leopold, who appointed him his principal painter, and made him one of the gentlemen of his chamber. That eccentric woman, Christina, queen of Sweden, made him a present of her portrait, with a chain of gold; and the prince Don John of Austria became his pupil. After an industrious, and apparently comfortable life of eighty-four years, Teniers died at Brussels in the year 1694.

Adrian Van Ostade is another of the artists whose works attract general notice in the Louvre. He was a distinguished painter of the Flemish school, was born at Lubeck, in the year 1610, and studied under Francis Hale, in company with Brauwer, with whom he contracted a close intimacy. The reputation which the works of Teniers then enjoyed, led him to be ambitious of imitating the manner of that artist. But he was deterred from the execution of this project by the advice of Brauwer, another Flemish painter, who convinced him that he could never attain a high place in his art if he devoted himself to the servile imitation of another, however eminent. Van Ostade followed this advice, as well as the bent of his own mind; for while the subjects of which he made choice were of the same class with those of Teniers, he treated them in a manner altogether his own.

Characteristic traits, some of which strike us at the first glance, distinguish Ostade and Teniers. These two masters are equally admirable for the transparency and harmony of their works, but the coloring of Teniers is clear, gay, and silvery, and his touch firm, light, and bold, while the pencil of Ostade, always rich and soft, is sometimes wanting in firmness.

If we consider design and composition, Teniers places in opposition, and unites. with skill, numerous groups; bold and able in giving all the effects of light, he develops extensive scenes in the open air, and gives them the spirit and life of nature, without any of his shadows being ever extravagant, and without even suffering the art of his combinations to be apparent. His figures are always correctly drawn, their attitudes easy, and even graceful. Ostade, on the contrary, collects his figures into places feebly lighted; generally in the interior of houses, where a partial gleam only breaks through the masses of foliage which shade the window. He does not always observe the laws of perspective with rigorous accuracy; and the