A street somewhat famous in Paris is the Rue Lepelletier, famous not for its length, for its breadth, for the splendid edifices it exhibits, or for the scenes and events it has witnessed, but famous for the exploits beheld by its neighbors, and the magnificent structures by them displayed. Not that the Rue Lepelletier can boast no fine edifices, for the grand opera-house would give the loud lie to such an assertion. And then there is the Foreign Office near by, the HÔtel of the Minister of Foreign Affairs at the corner of the Boulevard and the Rue des Capucines, and other noted places.

But there is one structure on the Rue Lepelletier not very noticeable save for its immense size and its ancient and dingy aspect, which has witnessed more scenes and events, and is more important than all its more splendid neighbors put together.

This edifice is of brick, five stories in height, and, as has been intimated, is time-stained, storm-stained, smoke-stained and stained, it would seem, by all other conceivable causes of stain, so begrimed and dingy, yet so venerable and imposing, does it seem.

This vast and ancient pile can be said to represent no order of architecture. Architectural elegance appears not to have been thought of when it was designed, and yet the faÇade of the old building seems to bear the same relation to the building itself as the face of an old man bears to his body, and that face is full of character, as are the faces of some men—sombre, sedate, serious, almost sinister in aspect. This old face, too, seemed full of apertures, through which unceasing and sleepless espionage could be kept up on the good citizens of the good City of Paris. Doors, and especially windows, numberless, opened and looked upon the street, and on a cul de sac at one end of the edifice.

One of the doors opening on the cul de sac, at its further extremity, was broad, low, dark and sombre; like the gates of hell, as portrayed by the English bard, it "stood open night and day." If you entered this door and advanced, you would immediately find yourself ascending a narrow, gloomy and winding flight of stairs. Having with difficulty groped your way to the top, without having broken your neck, by having first reached the point from which you started, to wit, the bottom; or your shins, by stumbling against the steps—having, I say, accomplished the ascent to the first landing, your further passage is effectually stopped by a massive door, which resists all your efforts to open it; and, as you are contemplating the dangerous descent which you now think you are immediately and inevitably forced to make, an ivory bell-handle against the wall, beside the door, arrests your attention, with the words around it, which, with difficulty, you decipher by the dim light, "Editor's Room—No Admittance," followed by the encouraging, but somewhat contradictory word, "Ring," which, doubtless, means this: "If you are a particular friend of the editor, or have particular business with him as a journalist, ring the bell, and perhaps you may be admitted." Supposing either of these positions yours, you "ring the bell," and immediately you are startled by the tinkling of a small bell in the darkness close beside you, and the ponderous door, firm as a barricade till then, is now opened by unseen hands—by the same hand, indeed, and by the same action of that hand which caused the bell to tinkle.

You enter the door, and find yourself in a corridor or passage, long and dark, for everything in this building is dark, and gaslight is the only light eighteen hours in the twenty-four; you find yourself in a corridor, I say, running the entire depth of the building, and bringing you back again toward the Rue Lepelletier, which you left on entering the cul de sac, to seek the low entrance below. As you traverse the endless gallery, your attention is arrested by a deep hum, as of many voices at a distance, with which the entire structure seems pervaded, accompanied by a heavier sound, which rises and falls with measured stroke. This mysterious hum might have been heard when you first approached or entered the building; but the silence and solitude of the corridor have caused you to notice it now for the first time, and to wonder at its cause.

Now had you the power of those magicians, necromancers, clairvoyants and demi-devils, whether of the flesh or the spirit, who, at a glance, can gaze through massive walls and peer down the chimneys of a great city, and who, almost without glancing at all, can see through partitions, key-holes and iron doors, your wonder at the cause of these unknown sounds would instantly cease, while it would be yet more excited by those causes themselves, for the vast building all around you, and through which you are passing, and which envelops you in its ceaseless hum, like the voice of a great city, would seem to you nothing less than a leviathan of life and action—a Titan—a Frankenstein—a mental and material giant, with its acoustic tubes, like veins and arteries, running all over the structure, just beneath the surface of the walls, and uniting in every apartment; with its electric wires, like bundles of nerves, which, having webbed the whole body with network, converge into a focus-tube, and thence pass down into the vaults, through the massive foundations, and beneath, the pavements of the thronged streets of the metropolis, and thence, rising again to the surface, branching on distinct, diverse and solitary routes without the suburbs all over Europe. You would see, too, the mighty heart of this Titan, whose heavy heavings you have felt, heard and wondered at—THE PRESS—in its subterranean tenement, amid smoke and flame. The press; which, like the animal heart, receives eventually all that the veins convey to it, and flings forth everything in modified form through lungs and arteries. Tireless and untired in its action, never ceasing, never resting, for as well might a man think to live when his heart had ceased to beat, as a printing office exist when the throbbings of its press were no longer felt; and as well could a man be supposed to live without breath as a printing-office of the nineteenth century without its lungs, the steam engine, or its breath of life, the subtle fluid by which it is moved.

But to drop metaphor. In the basement of the building you would find the press-room, with its steam engine, its furnaces, its presses, its dark demi-devils, and ghostly and ghastly gnomes and genii groping or flitting about amid the glare and gloom, begrimed and besmoked, seemingly at work at unhallowed yet supernatural toil, which toil, as if a punishment for sin, like that of Sisyphus, or the daughters of Danae in the heathen Tartarus, was eternal. The press never stops.

On the first floor you would perceive the financial and publishing department in all its endless ramifications, with the separate bureaus for folding, enveloping, mailing, etc.

On the second floor—but that you will shortly behold, and it will describe itself.

On the third floor you would discover immense magazines of material—paper, ink, of every hue and quality, and type of every known description; and all in quantities seemingly as useless as incalculable.

On the fourth and fifth floors you would find the composition rooms, whence fly the winged words all over the world, peopled by its whole army of compositors; while from the long platoons of cases, "click—click—click" is heard, the sole and unceasing sound which alone in those apartments is ever suffered to fall on the ear. If we add that the entire structure is warmed in winter by heated air, conveyed in tubes from the furnaces of the press, our description will be complete, and we may say such is the printing office of the nineteenth century in Paris. How changed from that of German Guttenberg or English Caxton, three hundred years before! Such is it by daylight. Flood every object and apartment with gaslight, and you have the scene at night—through all the night, for couriers and dispatches never cease to arrive—and the journal issues with the dawn—and the workmen are relieved by constant and continuous relays. Such an office gives employment to hundreds and bread to thousands. It demands twenty editors, exclusive of their chief, twenty reporters, exclusive of the same number in the commercial and mercantile corps; twenty-five clerks and bureau agents, sixty carriers, twenty mechanicians and margers, sixty folders, twenty pressmen, seventy correctors and compositors and five hundred distributors, besides a numberless and nameless army of attachÉs and employÉs too numerous to be specified. The aggregate compensation of this army is ten thousand francs per day, the annual income is nine millions of francs, the circulation is ninety thousand copies daily, and each number is read by half a million people, and through their influence by half a million more.

The daily tax of the Government is nine thousand francs. The press has been called the Third Estate of France. It is not! Nor is it the second—nor is it the first! It combines all three. Nay, the power of all three united equals not its tithe; and its position—its rank!—royalty itself bows to the press! Ask the history of the past ten years. Point to the man of power or position in the court or State, who owes it not to the press! Where is the statesman who is not, or has not been, a journalist, or the savant, the philosopher, the philanthropist, the poet, the orator, the advocate, the diplomat, even the successful soldier? The sword and the pen are emblems of the power of France—its achievements and its continuance; Sir Bulwer Lytton says,

"The pen is mightier than the sword!"

But I have left you, dear reader, perambulating the dim corridor—so dim that your eyes can hardly decipher, although it is now high noon, the various signs upon the series of doors in the wall on your left, designating the various rooms of the editorial corps, for to the editorial department is devoted the second floor of this extensive edifice. The last door in this prolonged series bears the name of the chief journalist. You ring a bell, are bid to enter, and the apartment is before you. Immense windows, rising from the floor to the ceiling, and opening upon a balcony, which overhangs the Rue Lepelletier, afford abundance of light for your eye to detect everything in the room by day, and an immense chandelier with gas-burners and opaque shades, pouring forth its flood of mellow radiance, would facilitate the same investigation yet more at night. Beneath the chandelier is spread the immense oval slab of the table. At it sits a man writing. Well, let him write on, at least for the present. Beside him, pile upon pile, pile upon pile, rise papers, wave after wave, flood upon flood, nothing but papers; on the floor beneath his feet, on the table and under the table, before him, behind him, and all around him, naught but papers, papers, rising, rising, as if in wrathful might and stormy indignation, while the very walls are lined with papers in all languages, from all climes and governments, and of every age and dimension, deposited in huge folio volumes and arranged in huge closets, along one whole side of the room. From the four continents, yea, and from the islands of the sea likewise, has this vast army come. In those tall closets extending from floor to ceiling might be found the full files for years of every leading paper in every part of Christendom, affording a treasury of reference, universal, unfailing, exhaustless, of knowledge of every conceivable description, rapidly found by means of exact and copious tables of contents.

Upon the other side of the apartment extend ranges of shelves, from floor to ceiling, filled with ponderous tomes in black substantial binding, seeming to belong to that class of standard works chiefly valuable for reference as authorities, and bearing ample testimony in their wear and tear, and their soiled appearance, to having been faithfully fingered. No thin, delicate and perfumed duodecimo is there, resplendent in gold and Russia, with costly engravings on steel, and letter-press in gilt or hot-pressed post. No, the books, the table, the journalist and the whole chamber bear the dark, stern, toil-soiled aspect of labor, the severe air of practical utility. The only ornaments, if such they can be styled, are busts—the busts of the silver-tongued Vergniaud and a few of his political brothers—the victim Girondins of '92 being conspicuous. Here, too, in a prominent niche is the noble front of Armand Carrel, the brave, the knightly, the chivalric, the true Republican, the true statesman, the true journalist, the true man—Armand Carrel, who, with Adolphe Thiers, his associate, sat first in this apartment as its chief—Armand Carrel, who fell years ago before the pistol of Émile de Girardin, a brother journalist, the founder of the cheap press, the hero of scores of combats before and since, yet almost unscathed by all.

Such are some of the ornaments of the chief editor's sanctum. At the further extremity of the apartment, the wall is covered with maps and diagrams, as well as charts of the prominent cities and points in Europe; and a large table beneath is heaped with books of travel, geographical views, and historical scenes arranged with no regard to order, and seeming to lie precisely as thrown down after having been used.

In a word, the whole room bears unmistakable evidence of stern, practical thought. In it and about it display is everywhere scrupulously eschewed. Practical utility is the only question of interest as touching the instruments of an editor, as of those of a carpenter; and the workshop of the journalist bears no inconsiderable similarity to that of the artisan in more respects than one. To each a tool is valuable, be that tool a book or a chisel, only for its usefulness, and the facility and rapidity with which it will aid the possessor to accomplish his ends, and not for its beauty of form, or costliness of material or construction.

In one respect only was there variance from this settled custom to be perceived, and that was in that delicate mechanism embodying the triumphs of modern science, which facilitates transmission of thought, and which, by skillful adaptation, made this one chamber a focus to which ideas and feeling in every other apartment of that vast establishment converged, and which enabled one man, without rising from his chair, to issue his orders to every department, from press-room to composing-room, from foundation stone to the turrets of that tall pile, everything being governed by the will and impulse of a single mind. Indeed, to such an extent is labor-saving carried in the Parisian printing office that the compositor may never have seen the journalist whose leaders he has spent half his life in setting up, for copy, proof and revise glide up or down as if by the agency only of magic, and the real actors rarely meet.