The Sèvres porcelain of the period of the First Empire was remarkable for the stiffness and sham-academical style of the figures. From this epoch dates the custom of reproducing on cups and saucers, vases and plates, copies of great historical pictures and other unsuitable works. The landscapes, the pastoral pieces of Watteau and of Boucher, were far more appropriate. Under the Second Empire the Sèvres manufactory cost the State 480,000 francs a year, and sold porcelain to the general public to the amount of 80,000 francs. There was a clear loss, then, to the establishment of 400,000 francs, or £16,000 a year. After the fall of the Empire an attempt was made by M. Charles Garnier, the architect of the new opera, and M. Jules Simon, at that time Minister of Public Instruction, to place the Sèvres manufactory on a more satisfactory footing. A commission was appointed with well-known artists, art-critics, and manufacturers among its members, to consider what was to be done; and in the first place M. Duc, the celebrated architect, was requested to draw up a report on the subject. M. Duc set forth that the fabrication of the material left nothing to be desired, and that the artists who furnished designs for the porcelain were unequalled. But there were not enough of them, and M. Duc’s main proposal was that a school should be established in connection with the Sèvres manufactory, precisely what had been proposed and adopted under Louis Philippe’s reign in connection with the Gobelins. The school of Sèvres was established in conformity with M. Duc’s recommendation, and at the same time a “Sèvres prize” of the value of 2,000 francs was instituted as an annual recompense to the author of the most artistic design for pottery work. CHAPTER XXXI. THE PALAIS BOURBON. The Palais Bourbon--Its History--The National Convention--Philippe Egalité. The Palais Bourbon, situated between the Quai d’Orsay on the north and the Place de Bourgogne on the south, bears a name which is singularly inappropriate to the edifice in its modern character; for neither under the ancient monarchy nor under the restored Bourbons has the great monarchical family of France shown the least favour towards the parliamentary discussions of which in modern times the Palais Bourbon has been the scene. The building was constructed in 1772 by the Italian architect, Gardini, at the orders of the Dowager-Duchess of Bourbon. After passing through various hands, the Palais Bourbon was made national property at the time of the Revolution, when “Maison de la Revolution” was the name given to it. In 1795 its principal reception-rooms were transformed into a hall for the Council of the Five Hundred, and it was at the same time enlarged. The present façade was added in 1804 under Napoleon I.