There is a sort of parallel which can be drawn between Madame Tussaud and Madame Campan. Both of them have seen, and worked at, the Palace of Louis XVI, under and in connection with his Queen. Both were much of an age, Madame Campan eight years senior to Madame Tussaud. Both lived on through the Revolution and the Empire, the one till 1822, the other beyond the revolutionary year of 1848. Both had something of the same strength. Both carried on the tradition of the old attachment to the Bourbons. Both have left the legend of a strong personality, the one through an effect on education in France which was deeper than has been generally recognised, the other in a more lasting manner through her plastic work. In this connection one muses upon what would have been Madame Tussaud’s fate had she continued her career in the country where it had begun, and had she not taken over the collection in its origins to England at the Peace of Amiens. I think she would have been a great figure in the France of the Restoration and of the bourgeois Monarchy. A continuous unbroken link with all the great years up to 1848 and presenting a whole gallery of the past for a new generation to witness would have been something the French and Paris would have made much of, and a great deal that was lost on the other side of the Channel through lack of understanding would have been preserved. I mean that too many of those figures were for those who saw them in an alien atmosphere jests or shades, whereas in France they would have been an intimate part of the great national story. This removal to England also in some degree affected the proportion of the collection and in the same degree diminished its great international value. Not that figures of international moment had not been included--the great figures are all there--but that Paris would have been a better general centre for watching and recording the moving history of the 19th century, than London. The Musée Grevin in Paris supplemented the Tussaud collection in England. One imagines that it would have been better for history as a whole had one great collection, preferably in Paris, served for a permanent and continuous chronicle of what living men had been. When we come to details of the personalities from the period before the Revolution to the Peace of Amiens (the foundation of the whole Exhibition) we are struck, I think, by the great difference in our appreciation. Some of the figures are just what we should have thought these men would have been. Others offend us or puzzle us by what seems to us discrepancy. But we must remember that the error is in ourselves and not in the contemporary record.