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Two noble buildings, the Garde Meuble and the Hôtel de la Marine, which may be styled palaces, adorn each side of the Rue Royale, and form one side of the magnificent square, whilst another is occupied by the Elysian Fields, and that immediately opposite to the Tuileries gardens; but so beautiful, so wonderful is the whole combined, that accustomed as I have been to frequent it for upwards of twenty years, I cannot now traverse it without remaining some time to admire the extraordinary combination of so many beautiful objects centering in one vast area.
These decorations are still thanks to the purity of the air of Paris as fresh as if only a year painted, and are of great beauty; so much so, that it will be not only very expensive but very difficult to assort the furniture to them; and, unfortunately, there is not a single meuble in the house.
One Panis,* who is in the Comite de Surveillance, had, a few days previous to these dreadful events, become, I know not on what occasion, the depositary of a large sum of money belonging to a gentleman of his section. * Panis has since figured on various occasions. He is a member of the Convention, and was openly accused of having been an accomplice in the robbery of the Garde Meuble.
They can be seen now in the Garde Meuble. Van Dyck, the great Hollander, made court painter to the king, drew borders for them, and was proud to do it, too. Van Dyck's other work here was a portrait of Sir Francis Crane and one of himself. Rubens likewise associated his great decorative genius with the factory and gave to it his suite of six designs for the Story of Achilles.
The affair of the Garde Meuble, was, however, again brought forward; but, most probably, many of the members had reasons for not discussing too nearly the accusation against G; and those who were not interested in suppressing it, were too weak or too timid to pursue it farther.
On the boulevards there were at every step puppet shows, wandering singers, rope dancers, greased poles, bands of music. From the Place de la Concorde to the end of the boulevard Saint Antoine sparkled a double row of colored lights arrayed like garlands. The Garde Meuble and the Palace of the Legislative Body were ablaze with lights.
On account of some unwarrantable proceedings, and of some words that escaped him, which gave rise to a suspicion that he was privy to the robbery of the Garde Meuble, he was arrested by the municipality of Quimper Corentin, of which place he is a native.
Without doubt, the most important example of meubles de luxe of this reign is the famous "Bureau du Roi," made for Louis XV. in 1769, and which appears fully described in the inventory of the "Garde Meuble" in the year 1775, under No. 2541. This description is very minute, and is fully quoted by M. Williamson in his valuable work, "Les Meubles d'Art du Mobilier National," and occupies no less than thirty-seven lines of printed matter. Its size is five-and-a-half feet long and three feet deep; the lines are the perfection of grace and symmetry; the marqueterie is in Riesner's best manner; the mountings are magnificent reclining figures, foliage, laurel wreaths, and swags, chased with rare skill; the back of this famous bureau is as fully decorated as the front: it is signed "Riesener, f.e., 1769,
Quand un bon vin meuble mon estomac, Je suis plus savant que Balzac Plus sage que Pibrac; Mon bras seul faisant l’attaque De la nation cossaque, La mettroit au sac; De Charon je passerois le lac En dormant dans son bac; J’irois au fier Eac, Sans que mon cœur fit tic ni tac, Presenter du tabac. French Vaudeville.
They made these proposals: The exhibits should be carried by the Jason through the canal to San Francisco; the building of the French Pavilion should be undertaken by the Division of Works of the Exposition, on specification to be cabled to San Francisco of the frame work, the moulds for the columns and architectural ornaments to be prepared in France and shipped by express; the French committee of organization was to work in France among possible exhibitors; a statement was to be made to the ministry of what each department of the government could do in sending exhibits and what exhibits were ready; a statement should come from the Minister of Fine Arts as to how much space he could occupy and how many paintings could be secured for the Palace of Fine Arts; a complete representation of the Department of Historical Furniture and Tapestries, known as the Garde Meuble, was to be made for the pavilion.
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