In conclusion, I would say in all humility, I am only too conscious that I have but scratched in this book the surface of Paris. Adequately to fill in the outline so sketched, for so great and beautiful a city, so rich in historical and artistic interest, would require a big book—and big books are not easy to carry about with one, sight-seeing. Moreover, I reflect by way of comfort, it is not good for us to be told everything; something must be left for the individual intelligence to have the pleasure of discovering. All I have endeavoured to do here is to _suggest a method_; if I have succeeded in making you take an interest in Mediæval and Renaissance Paris, if I have stimulated in you a desire to learn more about it, I have succeeded in my object. However imperfect this work may be—and nobody can be more conscious of its imperfections than its author—it will be justified if it arouses curiosity and intelligent inspection of works of art or antiquity, in place of mere listless and casual perambulation. It is common in England to hear superior people sneer at Paris as modern and meretricious. I often wonder whether these people have ever really seen Paris at all—that beautiful, wonderful, deeply interesting Paris, some glimpse of which I have endeavoured to give in this little volume. To such I would say, when you are next at your favourite hotel in the Avenue de l’Opéra, take a few short walks to St. Germain-des-Prés, the Place des Vosges, St. Étienne-du-Mont, St. Eustache, and Cluny, and see whether you will not modify your opinion. THE END. I N D E X Ancient Sculpture, 154-168. Antinous, 163. Archæology, Prehistoric, 251. Armour, 46. Assyrian Antiquities, 189. Boucher, 111. Boulevards, The, 197, 198, 208, 209. Burgundian Art, 175, 177. Canova, 188. Carnavalet Museum, 247. Carpaccio, 148, 149. Carrousel, Place de, 69. Caryatides, 167. Cellini, 174. Childebert, 65, 178, 213. Christian Sculpture, Early, 193-196. Cimabue, 74. Classical Sculpture, 153-168. Claude of Lorraine, 108, 110. Cluniac Priory, 211. Cluny, The Museum, 37-55. Colombe, Michel, 179, 225. Copies, Museum of, 225-229. Correggio, 85. Dagobert, Tomb of, 237. David, 112, 114. Debrosse, Jacques, 215, 224. Delacroix, 114. Delaroche, Paul, 109, 114, 229. Della Robbia, 48, 170, 171. Diana of Gabii, The, 162. Dieulafoy Collection of Persian Antiquities, 190, 191. Donatello, 169, 170. Drawings, Collection of, 192. Dutch School of Painting, The, 104, 105, 114. Ebony carvings, 53. École des Beaux-Arts, The, 224-229. Egyptian Antiquities, 189. Enamels, 49, 50, 244. English School of Painting, The, 107. Etruscan Antiquities, 192.