The keeper pointed out to us a general killed in a duel; the wound, like a large blue lipped mouth laughing in his side, is distinctly visible;--a porter who expired suddenly while lifting an enormous burden;--a negress, who is not much blacker than her white sisters near her;--a woman with all her teeth, and with her tongue almost fresh;--a family poisoned with mushrooms;--and, as a crowning horror, a little boy who, to all appearance, must have been interred alive. This figure is sublime with pain and despair; never was the expression of human suffering carried to a greater extent. The nails are buried in the palms of the hands; the nerves are stretched like the strings of a violin over the bridge; the knees form convulsive angles; and the head is violently thrown back. The poor child, by an extraordinary effort, must have turned round in his coffin. The place where these corpses are assembled is a low-roofed vault. The soil, which is of suspicious elasticity, is composed of human detritus, fifteen feet deep. In the middle is raised a pyramid of remains in a tolerable state of preservation. These mummies emit a faint and earthy smell, more disagreeable than the acrid perfumes of bitumen and Egyptian natron. Some of the bodies have been in their present abode two or three hundred years, while others have been placed there sixty years only: the cloth of their shrouds or winding-sheets is yet in a tolerably perfect condition. On leaving the cavern, we proceeded to view the belfry, composed of two towers, united at the summit by a balcony of a most original and picturesque design. We afterwards went to the Church of Sainte-Croix, next to the _Hospice des Vieillards_. The portal is enriched with a multitude of groups, which rather boldly carry out the command: _Crescite et multiplicamini_. Fortunately the flowery and tufted arabesques soften whatever degree of eccentricity this method of rendering the text of Holy Writ might otherwise possess. The Museum, which is situated in the magnificent Mansion-house, contains a fine collection of plaster casts and a great number of remarkable pictures; among others, two small canvasses of Bega, which are two pearls of inestimable value: they unite the warmth and freedom of Adrien Brauwer with the delicacy and the peculiarity of Teniers. There are also some extremely delicate specimens of Ostade, some of the most quaint and fantastic creations of Tiepolo, some Jordaens, some Van Dycks, and a Gothic painting, which must be by Ghirlandajo or Fiesole. The Museum at Paris possesses nothing in the way of Middle Age art which is worth it; it is impossible, however, for the pictures to be hung with less taste and discrimination; the best places are occupied by enormous daubs of the modern school, contemporary with Guérin and Lethiers.