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We may leave the palace by returning to the Rotonde; pass through the Salle La Caze and descend the Escalier Henry II. to the L., noting the caissons of its ceiling, decorated by Jean Goujon, and reach the Quadrangle under the Pavilion de l'Horloge, where we began our visit; or we pass from the Rotonde down the Escalier Daru to the exit in the Pavilion Denon, which gives on the Squares du Louvre.

The mystery of the woman's body, swayed by a stranger soul, was to Christophe far more moving than the plays in which she acted. She had a fine, clear-cut, rather tragic profile. She had not the marked heavy lines of the Roman style: on the contrary, her lines were delicate and Parisian, a la Jean Goujon as much like a boy's as a woman's. A short, finely-modeled nose.

Strangers will be repaid for their trouble in going to see these fountains. The first, is situated at the corner of the church of Saint-Maclou; there remain still two figures of children, an elegant creation of Jean Goujon. We mention the second, the fountain of the Pucelle, on the place of the same name, on account of the historical recollections, which are attached to it.

The convention was the only remaining legal power: the party which it held in favour triumphed. Six democratic members of the Mountain, Goujon, Bourbotte, Romme, Duroy, Duquesnoy, and Soubrany, were brought before a military commission. They behaved firmly, like men fanatically devoted to their cause, and almost all free from excesses.

Madame Goujon was one of the first to see the opportunity for revival in France, and with Valentine Thompson and Madame Vérone, to mention but two of her rivals, was soon employing hundreds of women. A large room on the ground floor of M. Reinach's hotel is given over as a storeroom for dolls, all irreproachably dressed and indisputably French.

The French of the sixteenth century, during their long Neapolitan and Lombard wars and negotiations, and time to learn all that Italy could teach; to become refined, subtle, indifferent, and cynical: bastard Italians, with the bastard Italian art of Goujon and Philibert Delorme, and the bastard Italian poetry of Du Bellay and Ronsard.

Clearly, Rameau was afraid of another attack from some implacable enemy whom he was anxious to avoid one against whom he feared legal complaint or defense would be useless. This brought me at once to the paper found on the floor. If this were the work of Goujon and an open reference to his tortoise, why should he be at such pains to disguise his handwriting?

When the eyes are dark, the eyebrows heavily marked, no hair visible, and the profile regular, the effect is one of poignant almost sensational beauty. Madame Goujon looks like a young abbess. I do not wish to be cynical but it occurred to me that few of these young widows failed to be consoled when they stood before their mirrors arrayed for public view, however empty their hearts.

Catherine, is the Hôtel de Carnavalet, where resided Madame de Sévigné and her daughter, a fine mansion of the 16th century, having been erected in 1544; most of the sculpture is from the chisel of the celebrated Jean Goujon, and is of a most interesting description; the cabinet in which the letters of that highly gifted woman were written is still shown, also a marble table upon which she and her daughter used to dine under the sycamores in the garden, two of which remain.

Here it seems as if the architect had allowed himself unlimited freedom in decoration, in which he was aided by such artists as Jean Goujon and Cousin, who zealously worked upon the ornamentation of these bell turrets, balconies and towers, as if to prove the sincerity and beauty of French art.