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[250] came in, who was a literary man of some rank,—Ugoni.1 He was upwards of fifty, and spoke with a strong Italian accent.

Feb. 12. This morning rose before seven o'clock; first went to that immense receptacle of all diseases, the Hotel Dieu, where I witnessed, for a second time, the rapid and fierce manner of Roux in his surgical wards, and the slow and exact philosophical examination of Louis. From the Hotel Dieu I passed through the Ile de la Cite, and the part of the city in front of that to the Hopital St. Louis, situated at the other extreme of the city, and devoted chiefly to diseases of the skin.

Feb. 13. Early went to the Sorbonne; heard Saint-Marc Girardin2 on the character of Jean Jacques Rousseau, the favorite author of the French. There was something in Rousseau's conduct and mind which is not an unfit type of the French character. In both we behold the rankest vegetation of vice intermingled with the most brilliant flowers of the intellect. The lecturer to-day evidently loved his subject. He treated it with eloquence and ardor. The room was a little cold, and he kept his hat on (a common hat) during his lecture. He was quite simple and unadorned in his person, and about thirty-seven. From the Sorbonne to the École de Droit, where I heard Royer-Collard again, on the subject of Consuls.

Visited this forenoon the Palais du Luxembourg, which was built by Marie de Medicis, though it still retains the name of the palace whose ancient site it occupies. It is now occupied by the Chamber of Peers; but there are several large rooms which are not needed for the purposes of the peers. Here is the collection of paintings by the modern artists of France. Classical scenes seem to be more taken than Scriptural now-a-days; and Helen and Paris are instead of the Virgin and the Infant. The painting seems to be of an extremely sensuous character; the forms of women and men are displayed with great freedom, and the most careful tints from the pencil invest them with more than flesh-like attractiveness. I do not know enough to compare these artists with the giants, some of whose pictures still charm from the walls of the Louvre; and I feel unwilling, without making an effort at judgment, to fall in with the current which seems to set against the present school. In the modern productions there are great beauty, brilliancy, and finish of coloring,—whether it will endure is another question,—and all the persons and scenes represented are very much idealized. There seems none of the roughness of Nature which the older artists often hit upon; all is smooth and gilded. I visited the ancient chapel of Marie de Medicis, in which, as my cicerone (a gabbling old woman) told me, the daughters of peers are married at the present

1 Camillo Ugoni, 1784-1856. He was a translator of Horace and Caesar; but his chief work was a ‘History of Italian Literature.’ He was an exile from 1821 to 1838.

2 Saint-Marc Girardin, 1801-1873. In 1830, he succeeded Guizot as Professor of History. From 1834 to 1863 he was Professor of French Poetry at the Sorbonne. He was a contributor to the Journal des Debats and the Revue des Deux Mondes. His writings related chiefly to French literature. As Minister of Public Instruction in 1848, and as a member of the Chamber of Deputies, he interested himself to promote education. After twenty years retirement from politics, he entered the National Assembly in 1871, and was chosen its Vice-President.

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