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 Musée 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 bohémienne_, the Princesse de Metternich _en diable noir_, Madame de Gortschakoff as Salammbô, the Marquise de Galliffet as an angel, the Comtesse Walewska as Diana, the Comtesse de Pourtales as a bayadère, 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, and of luxury. Subject-matter for grave historians might be found in the various indications, direct and suggested, of the points of contact between the daily life of the eighteenth century and our own, as well as of the many divergences. Long before 1789, the Parisians of the _ancien régime_ were in the enjoyment of many of the modes, the whims, and the absurdities which constitute so large a part of the existence of their successors. They were even, almost, supplied with fashion magazines, the first of these very important publications to appear, the _Courrier de la Mode_, under Louis XV, in 1768, not being appreciated, and coming to an early end. In 1785, however, appeared the _Cabinet des Modes_, transformed in the following year into _Magasin des modes nouvelles françaises et anglaises_, for English fashions disputed the sovereignty with Parisian ones, and journals published on the banks of the Thames spoke with equal authority. Among these latter was the _Gallery of Fashion_, founded in 1794. The Germans, on the other hand, originated nothing, and the _Moden Zeitung_ of Berlin reproduced slavishly only that which had already been