In another _passage_ we shall find a very wonderful wax-work show, which, although it is not so large as the famous exhibition of Madame Tussaud in London, is, in many respects, much more interesting. There are figures here of all kinds, many of celebrated people, but instead of being set up stiffly around a room, they are arranged in groups in separate compartments, and in natural positions, as if they were saying or doing something. In the center of the room is a studio, in which the artist, who looks as natural as life, is painting a picture of a girl standing at a little distance from him, while behind him another girl is peeping over his shoulder to see how he is getting on, and she looks so life-like that we can almost expect to hear her say what she thinks about it. Near by, some ladies and gentlemen are looking over portfolios of drawings, other visitors are talking together and examining the pictures on the walls, while a servant is bringing in wax refreshments which look quite good enough to eat and drink. This scene will give us an excellent idea of life in the studio of a French artist. There are all kinds of scenes represented here, and some, especially in the basement, are of a gloomy and somber kind. One of these represents a body of policemen bursting into a room occupied by a band of counterfeiters engaged in making false money. The dismay of the counterfeiters, disturbed in their work, and the desperate fight that has already begun, are very startling and real, and we almost feel that we ought to move out of the way. The roadway of the boulevards is filled with vehicles of every kind, and among these we particularly notice the great omnibuses, much larger than any we have, and each drawn by three powerful horses, generally white. These omnibuses have seats on top as well as inside, and a very good way to see the city is to take a ride upon one of those upper seats. The omnibuses are almost always well filled, but never crowded, no one being taken on after every seat is occupied, and a fixed number are standing on the outside platform. They stop at regular stations, not very far apart, and the people who wait here for them are provided with numbered tickets, which they procure from the agent at the station, so that when the omnibus comes, as many as can be accommodated take their seats in regular order, according to the number of their tickets. In this way, there is no crowding and pushing to get in, and those who are left behind have the best chance at the next omnibus. [Illustration: PORTE ST. DENIS. (SEE NEXT PAGE.)] [Illustration: THE PLACE DE LA BASTILLE. (SEE NEXT PAGE.)]