I once passed a week, day by day, roaming through the Musee Carnavalet. Madame de Sevigne had an apartment and held her salon there for nearly twenty years. Hard by is the house where the Marquise de Brinvilliers--a gentle, blue-eyed thing they tell us--a poor, insane creature she must have been--disseminated poison and death, and, just across and beyond the Place des Vosges, the Hotel de Sens, whither Queen Margot took her doll-rags and did her spriting after she and Henri Quatre had agreed no longer to slide down the same cellar door. There is in the Museum a death-mask, colored and exceeding life-like, taken the day after Ravaillac delivered the finishing knife-thrust in the Rue de Ferronnerie, which represents the Bèarnais as anything but a tamer of hearts. He was a fighter, however, from Wayback, and I dare say Dumas' narrative is quite as authentic as any. One can scarce wonder that men like Hugo and Balzac chose this quarter of the town to live in--and Rachael, too!--it having given such frequent shelter to so many of their fantastic creations, having been the real abode of a train of gallants and bravos, of saints and harlots from the days of Diane de Poitiers to the days of Pompadour and du Barry, and of statesmen and prelates likewise from Sully to Necker, from Colbert to Turgot. III I speak of the Marais as I might speak of Madison Square, or Hyde Park--as a well-known local section--yet how few Americans who have gone to Paris have ever heard of it. It is in the eastern division of the town. One finds it a curious circumstance that so many if not most of the great cities somehow started with the rising, gradually to migrate toward the setting sun. When I first wandered about Paris there was little west of the Arch of Stars except groves and meadows. Neuilly and Passy were distant villages. Auteuil was a safe retreat for lovers and debtors, with comic opera villas nestled in high-walled gardens. To Auteuil Armand Duval and his Camille hied away for their short-lived idyl. In those days there was a lovely lane called Marguerite Gautier, with a dovecote pointed out as the very "rustic dwelling" so pathetically sung in Verdi's tuneful score and tenderly described in the original Dumas text. The Boulevard Montmorenci long ago plowed the shrines of romance out of the knowledge of the living, and a part of the Longchamps racecourse occupies the spot whither impecunious poets and adventure-seeking wives repaired to escape the insistence of cruel bailiffs and the spies of suspicious and monotonous husbands.