[PARIS, =outside the great Boulevards= comprises by far the larger part of the existing city. Nevertheless, it contains comparatively few objects of historical or artistic importance, being almost entirely modern and merely residential. Walks and drives in this part of Paris are pleasing, of course, as exhibiting the life of the great town, and they embrace many points of passing interest, such as the Trocadéro, the Champs Élysées, the Champ-de-Mars, the Place de l’Étoile, the Arc de Triomphe, the Parc Monceau, the church of the Sacré-Cœur on the height of Montmartre, etc., etc. Most of these the visitor will find out for himself. They do not need any explanation or elucidation. Among the very few objects of historical interest in this district, I would call special attention to the =Maison de François I^{er}=, on the Cours-la-Reine, at the first corner after you pass the Palais de l’Industrie. This beautiful little gem of domestic Renaissance architecture was erected for François I^{er} at Moret, near Fontainebleau, in 1527, probably as a gift for Diane de Poitiers, the mistress of Henri II, though it is also asserted that the king built it for his sister, Queen Margaret of Navarre. It was taken down in 1826, and rebuilt on the present site. The style recalls that of the Renaissance palaces of Venice. The delicate and beautiful decorative work of the pilasters, etc., and the dainty portrait medallions deserve inspection. Do not miss this charming little building, which should be compared with Jean Goujon’s portion of the Louvre, and with the Renaissance remains at the École des Beaux-Arts and elsewhere. A collection to which a few hours may be devoted, in the same connection, by those who have time, is the =Musée Carnavalet=, which lies, however, _within_ the Boulevards. The building is a fine Renaissance mansion, once the residence of Madame de Sévigné. Many of the objects preserved here have a purely sentimental and to say the truth somewhat childish interest, consisting as they do of relics of the Great Revolution or other historical events, which derive whatever value they happen to possess from their sentimental connection only. But some of the objects have real artistic and historical importance; so have the decorations by Jean Goujon. When you have seen everything else enumerated here, you may give with advantage a Thursday morning to this somewhat scratch collection. The most important objects are those in the garden. For the Champs Élysées, the Arc de Triomphe, and the other buildings or promenades of wealthy, modern, western Paris, the guidance of Baedeker is amply sufficient. * * * * *