It was not a fairy-like sight; indeed, it was a most depressing spectacle. A crowd of thieves and vagabonds, of dustmen and rag-pickers, with four or five gold bands on their sleeves and caps, (the insignia of officers of the National Guard), were hurrying along down the grand staircase, chewing “imperiales,” spitting, and repeating the old jokes of ’93. As to the women—they were sadly out of place. They simpered, and gave themselves airs, and some of them even beat time with their fans, as Mademoiselle Caillot was singing, to look as if they knew something about music. [Illustration: The Palace of the Tuileries, from The Garden.] The Last concert held in the Tuileries by the Commune took place on Sunday, the 21st March, when Auteuil and Passy had been in the power of the army for several hours. Two days later the old palace was in flames. Citizen Félix Pyat had advocated the preservation of the Tuileries in the “Vengeur”, proposing to convert it into an “asylum” for the victims of work and the martyrs of the Republic. “This residence”, he wrote, “ought to be devoted to people, who had already taken possession of it.” The concert took place in the Salle des Maréchaux: a platform had been erected for the performers. The velvet curtains with their golden bees still draped the windows. From the gallery above I could see all that was going on. The Imperial balcony opens out of it; I went there, and leaned on the balustrade with a certain feeling of emotion. Below were the illuminated gardens, and far away at the end of the Champs Elysées, almost lost in the purple of the sky, rose the Arc de Triomphe de l’Etoile. The roaring of the cannon at Vanves and Montrouge reached me where I stood. When the duet of the “_Maître de Chapelle_” was over, I returned into the hall; the distant crashing of the mitrailleuse at Neuilly, borne towards us on the fresh spring breeze, in through the open windows, joined its voice to the applause of the audience. Oh! what an audience! The faces in general looked fit subjects for the gibbet; others were simply disgusting: surprise, pleasure, and fear of Equality were reflected on every physiognomy. The carpenter, Pindy, military governor of the Hôtel de Ville, was in close conversation with a girl from Philippe’s. The ex-spy Clémence muttered soft speeches into the ear of a retired _chiffonnière_, who smiled awkwardly in reply. The cobbler Dereure was intently contemplating his boots; while Brilier, late coachman, hissed the singers by way of encouragement, as he would have done to his horses. They were going to recite some verses: I only waited to hear— “PUIS, QUEL AVEUGLEMENT! QUEL NON-SENS POLITIQUE!” an Alexandrine, doubtless, launched at the National Assembly, and made my way to the garden as quickly as I could.