Indeed, the Duke requested Mr. Joseph Tussaud, the elder son of Madame Tussaud, to let him know whenever a new figure of exceptional interest was added to the Exhibition--_not forgetting the Chamber of Horrors_. [Illustration: JOSEPH TUSSAUD Elder son of Madame Tussaud, born 1796, died 1864.] Mr. Tussaud ventured a remark expressing his surprise that the Duke should be interested in such figures, whereupon the old warrior turned upon him with the rejoinder, “Well, do they not represent _fact_?” Other models added about this time included those of Nicholas I of Russia, Louis Philippe, King of the French, the Duke of Cumberland, Talleyrand, and Hume, the historian. A tragic occurrence took place shortly after the Exhibition had taken up its abode in London, and led to its permanent establishment in the Metropolis. At that time Madame de Malibran, the eldest daughter of the Spanish singer, Manuel Garcia, was idolised by the populace as a gifted songstress. She died suddenly during a festival held at Manchester on the 23rd of September, 1836, in the twenty-eighth year of her age. [Illustration: MADAME MARIE FELICITA DE MALIBRAN Famous opera singer, daughter of the Spanish singer, Manual Garcia, made her début in London in 1825 and after a successful European tour reached New York, when she married a local French merchant, M. Malibran, after his bankruptcy returning to the stage and greater honors.] Madame Tussaud placed her figure in the Exhibition with all speed, and the numerous admirers of the _prima donna_ flocked to see it. The idea there and then took hold of Madame Tussaud’s mind that the Exhibition would command perennial success by being constantly brought up to date through the adding of the portraits of people whose names were on everybody’s lips. This principle has been faithfully observed ever since. In the early days at Baker Street “the Hours of Exhibition,” as the Catalogue quaintly puts it, were “from 11 in the Morning till 5, and from 7 in the Evening till 10. Brilliantly illuminated at 8.” When the place was closed, seats were provided in the vestibule, and it was no uncommon sight to see from fifty to a hundred persons waiting for the reopening of the doors at 7 p.m. [2] Alluding to the exquisite figure of the artist’s self. CHAPTER XIII How the Waterloo carriage was acquired--A chance conversation on London Bridge--The strange adventures of an Emperor’s equipage--Affidavit of Napoleon’s coachman. The account of how we became possessed of the Waterloo carriage reads like an interesting chapter from fiction. In the collection are two other Napoleon vehicles, namely, the Milan and St. Helena carriages. They are all strongly built, ponderous, and suitable for a great campaigner. [Illustration: NAPOLEON’S MILITARY CARRIAGE, CAPTURED ON THE RETREAT FROM WATERLOO This was discovered by Mr. Joseph Tussaud in London in 1842 and purchased for the Tussaud collection.]