As early as six o'clock, Mouret was on the spot, giving his final orders. In the centre, starting from the grand entrance, a large gallery ran from end to end, flanked right and left by two narrower galleries, the Monsigny Gallery and the Michodière Gallery. The court-yards had been glazed and turned into halls, iron staircases rose from the ground floor, iron bridges were thrown from one end to the other on the two storeys. The architect, who happened to be a young man of talent with modern ideas, had only used stone for the under-ground floor and the corner pillars, constructing the whole ground with the corner pillars, constructing the whole carcase of iron, the assemblage of beams and rafters being supported by columns. The arches of the flooring and the partitions were of brickwork. Space had been gained everywhere, light and air entered freely, and the public circulated with the greatest ease under the bold flights of the far-stretching girders. It was the cathedral of modern commerce, light but solid, made for a nation of customers. Below, in the central gallery, after the door bargains, came the cravat, the glove, and the silk departments; the Monsigny Gallery was occupied by the linen and the Rouen goods; the Michodière Gallery by the mercery, the hosiery, the drapery, and the woollen departments. Then, on the first floor were installed the ready-made, the under-linen, the shawl, the lace, and other new departments, whilst the bedding, the carpets, the furnishing materials, all the cumbersome articles difficult to handle, had been relegated to the second floor. The number of departments was now thirty-nine, with eighteen hundred employees, of whom two hundred were women. Quite a little world operated there, in the sonorous life of the high metallic naves.