WHEN we travel back in idea for the last ten years, and pass in review the internal commotions which have distracted France during that period, and the external struggle she has had to maintain for the security of her independence, we cannot refuse our admiration to the constancy which the French have manifested in forming institutions for the diffusion of knowledge, and repositories of objects tending to the advancement of the arts and sciences. In this respect, if we except the blood-thirsty reign of Robespierre, no clash of political interests, no change in the form or administration of the government, has relaxed their ardour, or slackened their perseverance. Whatever set of men have been in power, the arts and sciences have experienced almost uninterrupted protection.

.

In the opinion of the French themselves, the GALLERY OF ANTIQUES, in the CENTRAL MuSEUM OF THE ARTS, may claim pre-eminence over every other repository of sculpture; but many persons may, probably, feel a satisfaction more pure and unadulterated in viewing the

MUSEUM OF FRENCH MONUMENTS.

Here, neither do insignia of triumph call to mind the afflicting scenes of war, nor do emblems of conquest strike the eye of the travelled visiter, and damp his enjoyment by blending with it bitter recollections. Vandalism is the only enemy from whose attacks the monuments, here assembled, have been rescued.

This Museum, which has, in fact, been formed out of the wrecks of the revolutionary storm, merits particular attention. Although it was not open to the public, for the first time, till the 15th of Fructidor, year III (2nd of September 1795), its origin may be dated from 1790, when the Constituent Assembly, having decreed the possessions of the Clergy to be national property, charged the Committee of Alienation to exert their vigilance for the preservation of all the monuments of the arts, spread throughout the wide extent of the ecclesiastical domains.

The philanthropic LA ROCHEFOUCAULD, (the last Duke of the family), as President of that committee, fixed on a number of artists and literati to select such monuments as the committee were anxious to preserve. The municipality of Paris, being specially entrusted, by the National Assembly, with the execution of this decree, also nominated several literati and artists of acknow

ledged merit to co-operate with the former in their researches and labours. Of this association was formed a cominission, called Commission des Monumens. From that epoch, proper places were sought for the reception of the treasures which it was wished to save from destruction. The Committee of Alienation appointed the ci-devant monastery of the Petits Augustins for the monuments of sculpture and pictures, and those of the Capucins, Grands Jesuites, and Cordeliers, for the books and manuscripts.

By these means, the monuments in the suppressed convents and churches were, by degrees, collected in this monastery, which is situated in the Rue des Petits Augustins, so named after that order of monks, whose church here was founded, in 1613, by Marguerite de Valois, first wife of Henry IV.

At the same period, ALEXANDRE LENOIR was appointed, by the Constituent Assembly, director of this establishment. As I shall have frequent occasion to mention the name of that, estimable artist, I shall here content myself with observing, that the choice did honour to their judgment.

In the mean time, under pretext of destroying every emblem of feudality, the most celebrated master-pieces were consigned to ruin;

but the commission before-mentioned opportunely published instructions respecting the means of preserving the valuable articles which they purposed to assemble.

The National Convention also gave indispu table proof of its regard for the arts, by issuing several decrees in their favour. Its Committee of Public Instruction created a commission, com posed of distinguished literati and artists of every class, for the purpose of keeping a watchful eye over the preservation of the monuments of the arts.

The considerable number of memoirs, reports, and addresses, diffused through the departments by this learned and scientific association, enlightened the people, and arrested the arm of those modern Vandals who took a pleasure in mutilating the most admired statues, tearing or defacing the most valuable pictures, and melting casts of bronze of the most exquisite beauty.

Among the numerous reports to which these acts of blind ignorance gave birth, three published by GREGOIRE, ex-bishop of Blois, claim particular distinction, no less on account of the taste and zeal which they exhibit for the advancement of literature and the fine arts, than for the invective with which they abound against the madness of irreligious barbarism. This last stroke, aptly applied, was the means of recover

ing many articles of value, and of preserving the monuments still remaining in the provinces.

In these eventful times, LENOIR, the Conservator of the rising Museum, collected, through his own indefatigable exertions, a considerable number of mausolea, statues, bas-reliefs, and busts of every age and description. No sooner did a moment of tranquillity appear to be reestablished in this country, than he proposed to the government to place all these monuments in historical and chronological order, by classing them, according to the age in which they had been executed, in particular halls or apartments, and giving to each of these apartments the precise character peculiar to each century. This plan which, in its aggregate, united the history of the art and that of France, by means of her monuments, met with general approbation, and was accordingly adopted by the members of the government.

Thus, throughout this Museum, the architectural decorations of the different apartments are of the age to which the monuments of sculpture, contained in each, belongs; and the light penetrates through windows of stained glass, from the designs of RAPHAEL, PRIMATICCIO, ALBERT DURER, LE SUEUR, &c., the production of the particular century corresponding to that of the sculpture.