"In the square which has acquired an ill-omened celebrity by the barbarous execution of the Maid of Arc, stands a house within a court, now occupied as a school for girls, of the same æra as the _Palais de Justice_, and in the same _Burgundian style_, but far richer in its sculptures. The entire front is divided into compartments by slender and lengthened buttresses and pilasters. The intervening spaces are filled with basso relievos, evidently executed at one period, though by different masters. A banquet beneath a window in the first floor, is in a good _cinque-cento_ style. Others of the basso-relievos represent the labors of the field and the vineyard; rich and fanciful in their costume, but rather wooden in their design: the salamander, the emblem of Francis I. appears several times amongst the ornaments, and very conspicuously. I believe there is not a single square foot of this extraordinary building, which has not been sculptured.--On the north side extends a spacious gallery. Here the architecture is rather in Holbein's manner: foliaged and swelling pilasters, like antique candelabra, bound the arched windows. Beneath, is the well-known series of bas-reliefs, executed on marble tablets, representing the interview between Francis I. of France, and Henry VIII. of England, in the _Champ du Drap d'or_, between Guisnes and Ardres. They were first discovered by the venerable father Montfaucon, who engraved them in his _Monumens de la Monarchie Française_; but to the greater part of our antiquaries at home, they are, perhaps, more commonly known by the miserable copies inserted in Ducarel's work, who has borrowed most of his plates from the Benedictine.--These sculptures are much mutilated, and so obscured by smoke and dirt, that the details cannot be understood without great difficulty. The corresponding tablets above the windows are even in a worse condition; and they appear to have been almost unintelligible in the time of Montfaucon, who conjectures that they were allegorical, and probably intended to represent the triumph of religion. Each tablet contains a triumphal car, drawn by different animals--one by elephants, another by lions, and so on, and crowded with mythological figures and attributes.--A friend of mine, who examined them this summer, tells me, that he thinks the subjects are either _taken_ from the triumphs of Petrarch, or _imitated_ from the triumphs introduced in the _Polifilo_. Graphic representations of allegories are susceptible of so many variations, that an artist, embodying the ideas of the poet, might produce a representation bearing a close resemblance to the mythological processions of the 'mystic dream.'--The interior of the house has been modernized: so that a beam covered with small carvings is the only remaining object of curiosity. On the top, a bunch of leaden thistles has been a sad puzzle to antiquaries, who would fain find some connection between the building and Scotland; but neither record nor