It is now time to give you some idea of this curious collection.  You ascend a lofty and commodious stone staircase (not very common in Paris) and stop at the first floor:—­another comfort, also very rare in Paris.  This collection is contained in about half a dozen rooms:  lofty, airy, and well furnished.  The greater number of these rooms faces the Seine.  The first contains a miscellaneous assemblage of bronze busts, and pictures of Teniers, Watteau, and of the more modern School of Paris.  Of these, the Watteau is singular, rather than happy, from its size.[166] The two Teniers are light, thin, pictures; sketches of pigs and asses; but they are very covetable morsels of the artist.[167] In a corner, stands the skeleton of a female mummy in a glass case, of which the integuments are preserved in a basket.  This is thought to be equally precious and uncommon.  M. Denon shews the foot of the figure (which is mere bone and muscle) with amazing triumph and satisfaction.  He thinks it is as fine as that of the Venus de Medicis, but there is no accounting for tastes.  Among the busts is one of West, of Neckar, and of Denon himself:  which latter I choose here to call “Denon the First.”  The second room contains a very surprising, collection of Phoenician, Egyptian, and other oriental curiosities:  and in a corner, to the left, is a set of small drawers, filled with very interesting medals of eminent characters, of all descriptions, chiefly of the sixteenth century.  Above them is a portrait of the owner of the collection—­which I choose to call “Denon the Second.”  This room exhibits a very interesting melange.  Over the fire place are some busts; of which the most remarkable are those of Petrarch and Voltaire; the former in bronze, the latter in terra-cotta; each of the size of life.  Voltaire’s bust strikes me as being the best representation of the original extant.  It is full of character; a wonderful mixture of malignity, wit, and genius.[168]

The third room is the largest, and the most splendidly hung with pictures.  Of these, the circular little Guercino—­a holy family—­is, to my poor judgment, worth the whole.[169] The Rysdael and Both are very second rate.  As you approach the fire-place, your attention is somewhat powerfully directed to a small bronze whole length figure of Buonaparte—­leaning upon a table, with his right hand holding a compass, and his left resting upon his left thigh.[170] Some charts, with a pair of compasses, are upon the table; and I believe this represents him in his cabin, on his voyage to Egypt.  Is there any representation of him, in the same situation, upon his return?  However, it is an admirable piece of workmanship.  In this room is also (if I remember rightly) the original colossal head of the ex-emperor, when a young man, in white marble, by CANOVA.  But I must not omit informing you that here is also another portrait, in oil, of the owner of the collection—­which,