The cells of the Bastille were constantly filled, during the syren reign of la Pompadour over the gloomy affections of Lewis the XVth. The overthrow of this dungeon has not rendered state prisons out of fashion in the republic, although it has mitigated the severity of their internal government. The towers of the Temple, look down upon the prostrate ruins of the Bastille. From this memorable spot of ground, I went to the Observatory. In the rooms, which open upon an artificial terrace, were some prodigious astronomical apparatus. A very ingenious frame was then constructing, for elevating, or depressing the astronomer, and the telescope at the same time, by an easy, and simple process of machinery. The Observatory is a noble building, and contains libraries, students rooms, and apartments for the various artificers, and machinists who are occupied in fabricating the apparatus, and instruments necessary to the science of astronomy. From the exterior of the dome, there is a fine view of the city, suburbs, and country. From the Observatory, I visited the Conservative Senate, formerly the Palace of the Luxembourg. The back of this beautiful building is in the Rue de Vaugirand, in the Fauxbourg of St. Germains. The gardens of this noble pile, are receiving great improvement, and alteration, from designs which have been approved of by the first consul, who in his wise policy, intends that they shall, in time, rival those of the Thuilleries, for the purpose of affording an elegant, and fashionable promenade to the people who reside in this part of the capital, who are considerably removed from the beautiful walks which adorn the consular palace. Here I saw the Hall of Deliberation, in which the Conservative Senate assembles. It is nothing more than a large, handsome drawing-room, in which are placed, upon rising platforms, sixty armed chairs, for so many members, the chair of the president, and the tribune. This magnificent palace is repairing, and fitting up for the residence, and accommodation of its members. I was introduced to the artist who has the care of the gallery here, and who, with his assistants, was very busily occupied in a process for removing the oil colours of a painting from wood, and transferring them to canvas. He received me with great politeness, and explained to me the mode of doing it, in which there appeared to be more toil, nicety, and steadiness required, than ingenuity. The painting is laid upon a cloth stretched upon a marble slab, and the wood behind is shaved off until nothing but the picture, like a flat cake, or rather a sheet of goldbeater's skin, remains, a piece of canvas coated with a cement is then placed upon it, to which it adheres, and presents all the appearance of having been originally painted upon it. The pictures from the subject of St. Bruno, were then undergoing this operation.