more admiration than the more recent ones of Pajou. Goujon's figures are
doubtless very delicately and successfully executed. The water bubbles up
in the centre of the square, beneath the arch, in small sheets, or masses;
and its first and second subsequent falls, also in sheets, have a very
beautiful effect. They are like pieces of thin, transparent ice, tumbling
upon each other; but the _lead_, of which the lower half of the fountain is
composed--as the reservoir of the water--might have been advantageously
exchanged for _marble_. The lion at each corner of the pedestal, squirting
water into a sarcophagus-shaped reservoir, has a very absurd appearance.
Upon the whole, this fountain is well deserving of particular attention.
The inscription upon it is FONTIVM NYMPHIS; but perhaps, critically
speaking, it is now in too exposed a situation for the character of it's
ornaments. A retired, rural, umbrageous recess, beneath larch and pine--
whose boughs

Wave high and murmur in the hollow wind--

seems to be the kind of position fitted for the reception of a fountain of
this character.

The FONTAINE DE GRENELLE is almost entirely architectural; and gives an
idea of a public office, rather than of a conduit. You look above--to the
right and the left--but no water appears. At last, almost by accident, you
look down, quite at its base, and observe two insignificant streams
trickling from the head of an animal. The central figure in front is a
representation of the city of Paris: the recumbent figures, on each side,
represent, the one the Seine, the other the Marne. Above, there are four
figures which represent the four Seasons. This fountain, the work of
Bouchardon, was erected in 1739 upon the site of what formed a part of an
old convent. A more simple, and a more striking fountain, to my taste, is