"Celui qui nous donne la paix, Comme il fit bien la guerre! Sur lui déjà force conplets.... Mai il en reste à faire: Au diable nous nous donnions, Il revient, nous respirons.... Il fait changer la danse; Par lui chez nous plus de discord; Il regle la cadence, Et nous voilà d'accord." True it is, that BONAPARTE, as principal ballet-master, has changed the dance of the whole nation; he regulates their step to the measure of his own music, and _discord_ is mute at the moment: but the question is, whether the French are bona-fide _d'accord_, (as the Gascoon affirms,) that is, perfectly reconciled to the new tune and figure? Let us, however, keep out of this maze; were we to enter it, we might remain bewildered there, perhaps, till old Father Time came to extricate us. The morning is inviting: suppose we take a turn in the _Tuileries_, not with a view of surveying this garden, but merely to breathe the fresh air, and examine the PALAIS DU GOUVERNEMENT. Since the Chief Consul has made it his town-residence, this is the new denomination given to the _Palais des Tuileries_, thus called, because a tile-kiln formerly stood on the site where it is erected. At that time, this part of Paris was not comprised within its walls, nothing was to be seen here, in the vicinity of the tile-kiln, but a few coppices and scattered habitations. Catherine de Medicis, wishing to enlarge the capital on this side, visited the spot, and liking the situation, directed PHILIBERT DE L'ORME and JEAN BULLAN, two celebrated French architects, to present her with a plan, from which the construction of this palace was begun in May 1564. At first, it consisted only of the large square pavilion in the centre of the two piles of building, which have each a terrace towards the garden, and of the two pavilions by which they are terminated. Henry IV enlarged the original building, and, in 1600, began the grand gallery which joins it to the _Louvre_, from the plan of DU CERCEAU. Lewis XIII made some alterations in the palace; and in 1664, exactly a century from the date of its construction being begun, Lewis XIV directed LOUIS DE VEAU to finish it, by making the additions and embellishments which have brought it to its present state. These deviations from the first plan have destroyed the proportions required by the strict rules of art; but this defect would, probably, be overlooked by those who are not connoisseurs, as the architecture, though variously blended, presents, at first sight, an _ensemble_ which is magnificent and striking.