This is largely explained by the special character of the publications[192] of C.-D. Daly (1811-93), a pupil of Duban, and of P.-V. Calliat (1801-81), a pupil of Vaudoyer, through which current French work of this period chiefly became known to the outside world. Almost as was the case at the opening of the century, when the volumes illustrating Prix de Rome projects made the higher aspirations of French architects better known to students abroad than their ordinary practice, the publications of this later day seem to have focused attention on certain aspects only of the French architectural scene, aspects prominent enough, but not altogether characteristic as regards public monuments and dominant official taste. Without knowledge of the French architectural past, without the inhibitions instilled early in French architects by their training at the École des Beaux-Arts, foreign architects readily derived from published sources a Second Empire mode considerably lusher than was generally approved for public use in French academic circles and made it very much their own. Even in public architecture foreigners must have seen current work with different eyes from the French. For example, the Tribunal de Commerce on the Île de la Cité, an agency provided in 1858-64 with a building of its own instead of mere quarters in the Bourse, was supposed by French contemporaries to express in its detailing the Emperor’s personal enthusiasm for the _quattrocento_ buildings that he had lately seen in Brescia. But posterity, like foreigners when the Tribunal was new, notes in this work of A.-N. Bailly (1810-92) the characteristic Second Empire mansards and the almost Neo-Baroque dome—which at Haussmann’s insistence was added to close the vista down the new north-south artery—not the uncharacteristically flat and delicately detailed façades. Far finer is the front of that section of the École des Beaux-Arts facing the Seine which was built by Bailly’s master Duban in 1860-2, finer and doubtless also truer to the most exigent taste of the day. Rather directly expressive of its interior uses—it houses exhibition galleries, etc.—the detailing of this façade is quite original without being at all cranky like Duc’s on the Palais de Justice, and the whole very subtle in composition (Plate 72B). Much of the cold severity characteristic of the previous half-century remains; but Duban was clearly trying to be creative, not archaeological, so that one cannot properly apply stylistic names from the past, not even to the extent that it is possible to do so in the case of the New Louvre and the Opéra. However, such high distinction of design as Duban achieved here was rather rare in Second Empire Paris; it parallels in this period the equally exceptional distinction of Henri Labrouste’s Bibliothèque Sainte-Geneviève of the forties.