living, and the gratitude of posterity.

[Illustration: GOLD MEDAL OF LOUIS XII.
From the Cabinet des Medailles at Paris.]

We must now leave this well occupied and richly furnished chamber, and pass
on to the fourth room--in the centre of which is a large raised bronze
ornament, representing Apollo and the Muses--surrounded by the more eminent
literary characters of France in the seventeenth century. It is raised to
the glory of the grand monarque Louis XIV. and the figure of Apollo is
intended for that of his Majesty. The whole is a palpable failure: a
glaring exhibition of bad French taste. Pegasus, the Muses, rocks, and
streams, are all scattered about in a very confused manner; without
connection, and of course without effect. Even the French allow it to be
"mesquin, et de mauvais gout." But let me be methodical. As you enter this
fourth room, you observe, opposite--before you turn to the right--a door,
having the inscription of CABINET DES MEDAILLES. This door however is open
only twice in the week; when the cabinet is freely and most conveniently
shewn. Of its contents--in part, precious beyond comparison--this is the
place to say only one little word or two: for really there would be no end
of detail were I to describe even its most remarkable treasures. Francis I.
and his son Henry II. were among its earliest patrons; when the cabinet was
deposited in the Louvre. The former enriched it with a series of valuable
gold medals, and among them with one of Louis XII., his predecessor; which
has not only the distinction of being beautifully executed, but of being
the largest, if not the first of its kind in France.[18]

The specimens of Greek art, in coins, and other small productions, are
equally precious and select. Vases, shields, gems, and cameos--the greater
part of which are described in Caylus's well-known work--are perfectly
enchanting. But the famous AGAT of the STE. CHAPELLE--supposed to be the
largest in the world, and which has been engraved by Giradet in a manner
perfectly unrivalled--will not fail to rivet your attention, and claim your
most unqualified commendation. The sardonyx, called the VASE of PTOLEMY, is
another of the great objects of attraction in the room where we are now
tarrying--and beautiful, and curious, and precious, it unquestionably is.
Doubtless, in such a chamber as this, the classical archaeologist will gaze
with no ordinary emotions, and meditate with no ordinary satisfaction. But