The great Napoleon first saw Rouen in its capacity as a trading centre. Its industry very soon recovered after the Revolution, and an actual "Exposition" was organised in the Tribunal de Commerce, which was inspected by Josephine and the First Consul Bonaparte. He returned as Emperor, and in 1840 the city solemnly received him for the last time, when his body was brought back from St. Helena and passed beneath the first bridge across the Seine at Rouen. The kings who had been deposed with so much bloodshed and fanfaronade, reappeared as if nothing had happened when Louis Philippe laid the first stone for the pedestal of Corneille's statue carved by David d'Angers. In 1871 that statue was all draped in black. The streets of Rouen, hung with funereal emblems, were all in the deepest mourning, every shop was closed and every window shuttered. Upon the plain of Sotteville a great army was manoeuvring to and fro to the sound of words of command in a strange tongue. General Manteuffel, the Duke of Mecklenburgh, and "Prince Fritz" had led the German army of invasion into Rouen, and from December till July they occupied the town and its surrounding villages. For the last time Rouen was in the hands of foreigners. But the traces of this catastrophe have absolutely disappeared. The ruin of the Revolution and the iconoclasm of the religious struggles have left far deeper marks; and Rouen, sacked by the English, and occupied by the Germans, suffered more injury at the hands of her own citizens, than either from Time or from any foreign foe. In the last half of the eighteenth century it was that Rouen lost most of her mediaeval characteristics, under the levelling regime of Intendant de Crosne, whose one good work was the building of the boulevards. Hardly as much change was wrought when the great new streets of 1859 were cut that swept away the old infected quarters of the fifteenth century. The Revolution, that is responsible for the debasement of St. Laurent and St. Ouen, among many other atrocities, did most injury in abolishing those picturesque local bodies, like the "Cinquantaine" and the "Arquebusiers," and substituting for them a meaningless "Garde Nationale." Its efforts at "national" nomenclature were fortunately in most cases abortive.