After traversing the garden of the _Tuileries_ and the _Place de la
Concorde_, from east to west, you arrive at this fashionable summer
promenade. It is planted with trees in quincunx; and although, in
particular points of view, this gives it a symmetrical air; yet, in
others, the hand of art is sufficiently concealed to deceive the eye
by a representation of the irregular beauties of nature. The French,
in general, admire the plan of the garden of the _Tuileries_, and
think the distribution tasteful; but, when the trees are in leaf, all
prefer the _Champs Elysées_, as being more rural and more inviting.
This spot, which is very extensive, as you may see by the Plan of
Paris, has frequently been chosen for the scene of national fêtes,
for which it is, in many respects, better calculated than the _Champ
de Mars_. However, from its proximity to the great road, the foliage
is imbrowned by the dust, and an idea of aridity intrudes itself on
the imagination from the total absence of water. The sight of that
refreshing element recreates the mind, and communicates a powerful
attraction even to a wilderness.
In fact, at this season of the year, the _Champs Elysées_ resemble a
desert; but, in summer, they present one of the most agreeable scenes
that can be imagined. In temporary buildings, of a tasteful
construction, you then find here _restaurateurs_, &c, where all sorts
of refreshments may be procured, and rooms where "the merry dance" is
kept up with no common spirit. Swings and roundabouts are also
erected, as well as different machines for exercising the address of
those who are fond of running at a ring, and other sports. Between
the road leading to _l'Étoile_, the _Bois de Boulogne_, &c, and that
which skirts the Seine, formerly called the _Cours de la Reine_, is a
large piece of turf, where, in fine weather, and especially on
Sundays, the Parisian youths amuse themselves at foot-ball,
prison-bars, and long tennis. Here, too, boys and girls assemble,
and improve their growth and vigour by dancing, and a variety of
healthful diversions; while their relations and friends, seated on
the grass, enjoy this interesting sight, and form around each group a
circle which is presently increased by numbers of admiring
spectators.
Under the shade of the trees, on the right hand, as you face the
west, an immense concourse of both sexes and all ages is at the same
time collected. Those who prefer sitting to walking occupy three long
rows of chairs, set out for hire, three deep on each side, and
forming a lane through which the great body of walkers parade. This
promenade may then be said to deserve the appellation of _Elysian
Fields_, from the number of handsome women who resort hither. The
variety of their dresses and figures, the satisfaction which they
express in seeing and being seen, their anxious desire to please,
which constitutes their happiness and that of our sex, the triumph
which animates the countenance of those who eclipse their rivals; all
this forms a diversified and amusing picture, which fixes attention,
and gives birth to a thousand ideas respecting the art and coquetry
of women, as well as what beauty loses or gains by adopting the
ever-varying caprices of fashion. Here, on a fine summer's evening,
are now to be seen, I am told, females displaying almost as much
luxury of dress as used to be exhibited in the days of the monarchy.
The essential difference is that the road in the centre is not now,
as in those times, covered with brilliant equipages; though every day
seems to produce an augmentation of the number of private carriages.
At the entrance of the _Champs Elysées_ are placed the famous groups
of Numidian horses, held in by their vigorous and masterly conductors,
two _chefs d'oeuvre_ of modern art, copied from the group of
_Monte-Cavallo_ at Rome. By order of the Directory, these statues were
brought from _Marly_, where they ornamented the terrace. They are
each of them cut out of a block of the most faultless Carrara marble.
On the pedestal on which they stood at that once-royal residence, was
engraved the name of COSTOU, 1745, without any Christian name: but,
as there were two brothers of that name, Nicolas and Guillaume,
natives of Lyons, and both excellent sculptors, it is become a matter
of doubt by which of them these master-pieces were executed; though
the one died in 1733, and the other in 1746. It is conjectured,
however, that fraternal friendship induced them to share the fame
arising from these capital productions, and that they worked at them
in common till death left the survivor the task of finishing their
joint labour.
To whichever of the two the merit of the execution may be due, it is
certain that the fiery, ungovernable spirit of the horses, as well as
the exertion of vigour, and the triumph of strength in their
conductors, is very happily expressed. The subject has frequently
afforded a comparison to politicians. "These statues," say some
observers, "appear to be the emblem of the French people, over whom
it is necessary to keep a tight hand."--"It is to be apprehended,"
add others, "that the reins, which the conductors hold with so
powerful an arm, are too weak to check these ungovernable animals."
[Footnote 1: _De l'Etat de la France, à la fin de l'an VIII._ page
270.]
[Footnote 2: Ibid. page 274.]