This appassionate sympathy with and support of the victims was very conspicuous in Madame Tussaud herself. And she carried it through the whole of that period when she was at first unwillingly modelling the revolutionaries, often with disgust compelled to take the mask of a dead face, or later (she was in prison with Josephine) associated with the figures of the period of the Directorate and the Consulship. Of those personal interviews when that handsome woman now in middle age was still engaged at her task of modelling and sculpture in wax, there is none of which we would rather have a full record than the modelling of Napoleon. It is mentioned in Mr. Tussaud’s book only by way of quotation from a contemporary journal--the _Belle Assemblée_. It would be interesting to know if there is any family record giving full details, for we have not even the date, though we have the hour of the day--six o’clock in the morning--that she first met the Emperor. He was not Emperor yet and we can fix an inferior and a superior limit easily enough for the portrait was made at the Tuileries, after Napoleon as First Consul had gone there, and before the Peace of Amiens. It must, therefore, have fallen within a period of only just over two years; it must have been done either in 1800 or in 1801. It is in connection with Napoleon that the shifting of values, which I have suggested took place through the transference of the collection to England, may be noted. The exhibition once fixed in London took on the English point of view and to that extent distorted a full European impression. For instance, one of the great features in the story of the collection is the visit of the Duke of Wellington to the effigy of Napoleon, and a well-known and almost famous picture was made of the incident. I am old enough to remember many people who spoke of it as though it was a most dramatic moment in the history of the nineteenth century. But no one with the full European sense would feel like that. Wellington was not the great protagonist against Napoleon. He was but one of fifty men opposed to the Emperor. The defeat of Napoleon was in Russia, and at Leipsic and at Waterloo, not at Waterloo alone, and the victors of Waterloo were Wellington and Blücher, neither of whom could have succeeded without the other. Of the figures added to the great collection after Madame Tussaud’s death, of the figures which carry on the historical record and continue to add to its value, I am sure that the one of most interest for an Englishman is that of Richard Burton. It was not (apparently) modelled directly from life. But it was modelled under the eye of Lady Burton herself, and satisfied that critic.