much to their credit, declare that not any of the interesting objects
which they had seen in the French capital, afforded them more pleasure
and satisfaction. Just near it is the terminus for the Orleans railway,
which is worthy of observation, and then we will cross over to the horse
and dog market and observe the regular system with regard to the stalls
and other arrangements which are adopted; it is principally for
draught-horses, Wednesdays and Saturdays are the market days, and
Sundays for dogs. We must next glance at the Hopital de la Pitie,
founded in 1612 for paupers, it has been since annexed to the
Hotel-Dieu, and contains 600 beds; it is situated No. 1, rue Copeau.
Sainte-Pelagie being just by in the Rue de la Clef, we ought to afford
it a half hour; it was formerly a convent of nuns, political prisoners
are now here confined when committed for trial, or if sentenced to but
short terms of imprisonment; it is also appropriated for other offenders
whose sentence of confinement is of brief duration, but the military
surveillance within and around it is very strict.

The Fountain Cuvier, at the corner of the street of that name, and the
Rue St. Victor, must claim a few minutes' attention; it is certainly one
amongst those of modern erection possessing great merit. In the Rue
Scipion we will cast one look at the great bakehouse for all the
hospitals in Paris, to which I have before alluded. The Amphitheatre of
Anatomy must occupy some attention, being a suite of anatomical schools
only recently built, on a most commodious scale; it forms a corner of
the Rues du Fer and Fosses St. Marcel. One thought in passing the
ancient Cimetiere de Ste. Catherine, closed in 1815, must be devoted to
Pichegru, who lies buried there; we then hurry on without loss of time
to the manufacture of the Gobelin tapestry. As the little river Bievre
is considered to be peculiarly adapted for dyeing, that process has been
carried on from a very remote period on the spot where the present
establishment now stands, which owes its foundation to Jean Gobelin in
1450, and under Louis the Fourteenth it was formed into a royal
manufactory. To me this is indeed one of the greatest wonders of Paris,
how such beautiful specimens of art can be produced when the work is all
done behind the frame, so that the artist cannot see the effect of what
he is doing, is to me most miraculous; the material used is woollen and
silken threads, so woven together, t