allery, was thrown open, and there was added a light
edifice connecting the main facade with the wall of the garden, facing
on the Avenue de Marigny. A decree of the 4th of January, 1850, elevated
the ex-king Jerome, then governor of the Invalides, to the rank of
marshal of France, by a mere exercise of the presidential authority. His
term of office and that of the Assemblee both expired in 1852, with an
interval of three months between them, but the violent measures of the
2d of December, 1851, made him president for a term of three years, and
the constitution which he had proposed was ratified by the nation by a
tremendous majority.

In the Tuileries, he re-established the etiquette of the First Empire,
but the ceremonial of his court did not equal the state maintained under
the Bourbons. The palace itself, at first, was a very uncomfortable
residence. All the modern conveniences of a dwelling were wanting;
Louis-Philippe, who had a numerous family, had divided several galleries
into apartments, separated by corridors without windows, lit only by
lamps which vitiated the air. The various floors of the building were
connected by narrow, winding stairways, also lit only by lamps; one
story had been made into two, each with low ceilings and with very
little day-light, and in the garrets, where the domestics were lodged,
the air was pestilential. There was no running-water in the various
apartments, and it was necessary to carry it in every day in pitchers.

In the Musee Carnavelet may be seen an interesting collection of
water-colors by Baron, portraits of ladies and important personages of
the Imperial court in costumes of fancy-dress balls and tableaux
vivants. There may be seen the Emperor in black coat and trousers, the
Empress _en bohemienne_, the Princesse de Metternich _en diable noir_,
Madame de Gortschakoff as Salammbo, the Marquise de Galliffet as an
angel, the Comtesse Walewska as Diana, the Comtesse de Pourtales as a
bayadere, the Marquis de Galliffet as a cock, the Baron de Heeckeren as
a doge, etc.

A retrospective exhibition, a _Salon de la Mode_, was opened in Paris,
in the Palais du Champ-de-Mars, in the spring and early summer of 1896,
and furnished a very good compendium in little, not only of the changing
manners and customs of the last century or two, the vicissitudes of the
artistic spirit of the nation, but also of the varying fortunes with
which the capital ruled in matters of taste, of fashion,