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surround his capital, and which should be planted with tall and spreading treest

The walls on the southern side of the city were first demolished; and on their site was first planted,.room

"Shade above shade, a woody theatre
Of stateliest view,"

1

Tn the year 1670, the fortifications on the northern side were removed, and the new road, which took the name of Boulevard, (a Bulwark,) was planted with noble trees, from the rue St. Antoine, to the rue St. Martin. Soon afterwards, (in 1672})" this celebrated Boulevard was ornamented by the erection, on the site of the gate of St. Denis, (Porte St. Denis,) built in the reign of Charles IX, of a triumphal arch, the object of which was to perpetuate the rapid victories of Louis XIV.; who; within the space of two months, had recently subjected to his own dominion, three provinces, comprising together above forty towns. This triumphal structure, the principal arch of which is forty-three feet in height, and twenty-five in breadth, bears several bas-reliefs of exquisite workmanship; and one, in particular, representing the Grand Monarque crossing the Rhine on horseback, and exhibiting the inscription, LUDOVICO MAGNŐ! It is worthy of observation, that this inscription, which was effaced during the fearful revolution which, towards the close of the last century, overthrew the French monarchy, was restored by order of Napoleon Buonaparte not long before his own fall.

ソ

The Porte St. Denis is pre-eminently connected with the most picturesque associations belonging to French history. Through that gate, in the palmy days of the Bourbon dynasty, the kings and queens of France always made their public entry into their capital. Under the triumphal arch, which now stands upon the site of that time-honoured gate, it may be, that neither king nor queen will ever pass again. So transitory is all earthly glory.

The long line of splendid buildings which occupies the Italian Boulevards may be said to commence with the Church of LA MADELEINE.

The first stone of this singular edifice singular, we mean, as a Christian church; for it has much more of the aspect of a Grecian Temple-was laid, in accordance with a plan approved by Louis XV., on the third day of April, 1764. In 1777, the architect, Contant d'Ivre, died; and the revolution of 1789 led to the suspension of the undertaking. That undertaking, as it is superfluous to say, was not resumed during the fearful rule of Robespierre; and several years elapsed before the public attention was recalled to the unfinished edifice. At length in 1808 the Emperor Napoleon, who had climbed to the throne from which the legitimate monarch had been hurled, and in whose mind military ideas were predominant, conceived the project of converting the proposed church into a TEMPLE OF GLORY, to be dedicated to his conquering armies. The half-finished building was consequently taken down, and the present structure-in outward appearance an ancient heathen temple was commenced. Political occurrences

however, once more interrupted the works; and from 1814, when the allies entered France, up to 1816, no progress was made towards the completing of the building. The Restoration changed the face of affairs. Louis XVIII., on ascending the throne of his ancestors, directed, that the edifice should be finished, according to the design of its royal founder, as a church; and that monuments should be placed in it to the memory of the murdered king, Louis XVI; of his hapless queen, poor Marie Antoinette; of their son, Louis XVII.; of the Duke d'Enghien; and of the amiable and noble-spirited princess, Madame Elizabeth. These intentions on the part of Louis XVIII. are interesting, as showing something of the character of that restored monarch. They were, we believe, never carried into execution.

The ground-plan of La Madeleine is a parallelogram. It is surrounded by a portico formed of Corinthian columns, which rest upon an elevated basement, and are surmounted by an entablature. The character of the church, as we have already intimated, is that of a Grecian Temple; nothing can be more striking than the contrast offered by its style of architecture to that of Nôtre Dame. Each style has its peculiar beauties; and also, its peculiar adaptation to the tastes and modes of thinking belonging to the period during which it flourished; most persons, however, will probably feel, that there is about a Gothic cathedral a majesty and solemnity, of which churches formed upon the model of the temples of ancient Greece, are comparatively devoid. Religion, indeed, is not a matter of architectural or musical taste; yet the truth of the feeling expressed in Milton's exquisite lines will be felt for ever:

"But let my due feet never fail

To walk the studious cloisters pale,
And love the high embowed roof,
With antique pillars massy proof,
And storied windows richly dight,
Casting a dim religious light:

There let the pealing organ blow,
To the full-voiced quire below,

In service high, and anthems clear

As may, with sweetness through mine ear,
Dissolve me into ecstasies,

And bring all heaven before mine eyes."

The situation of the Madeleine is exceedingly well calculated to give effect to its size and beautiful proportions. It catches the eye of the observer as he proceeds along the Boulevard des Italiens; and as its Corinthian columns come successively into view, it cannot fail to excite the admiration even of those who are comparatively insensible to architectural beauty. Seen from the middle of the Place Louis XVI., this building, though surrounded by other commanding objects, produces a striking effect. Opposite to the Madeleine stand the Chamber of Deputies and the Bridge of Louis XVI. with its marble statues; and at the end of the vista formed by the avenue leading to the Champs Elysées, is the celebrated Arc de Triomphe.

This Triumphal Arch, the Arc de Triomphe de l'Etoile, stands, like many other national buildings in France, a monument of the instability of all human affairs.

It was designed by the Emperor Napoleon, to commemorate the glory of his victorious legions; its first stone being laid on his birthday, August 15th, 1806; and it was opened to public view during the celebration of the revolution of 1830. Emperor and king, empire and kingdom, are now no more. The Arc de l'Etoile remains; but it remains to recal the memory of departed triumphs! Our limited space forbids us to describe at length the groups of sculpture and inscriptions which adorn this national monument. It must suffice to say, that this triumphal arch, which bears the names, or represents by bas-reliefs, the battles of Aboukir, Austerlitz, Jemappe, &c. &c., exhibits the late exile of St. Helena crowned by Victory; while Fame publishes his exploits, and History records them. It represents also, by allegorical sculpture, the entrance of the allies into Paris, and the peace of 1815. The cost of this arch amounted to somewhat more than £38,000; which sum was contributed in almost equal proportions under the Empire-the Restoration—and the reign of the now dethroned Louis Philippe. If it is to continue a faithful chronicler of the national history of France, place must now be found upon it for other bas-reliefs suggestive of events which have changed the political complexion of Europe.

Were we to pass from a description of Napoleon's Arc de Triomphe de l'Etoile, to that of the abode of a fashionable Restaurateur, the transition might appear too abrupt. We will therefore say nothing of the Café de Paris, or of Tortoni's; both of which places of resort face the Boulevard des Italiens. Suffice it to add, that no capital in Europe can boast of a series of hotels and other buildings more magnificent than those which grace the ITALIAN BOULEVARDS.