After the revolution, and owing to many requests of the Turkish Government, some economic alterations were made in the Capitulations, such as the paying of the tradesman’s licence tax by foreigners, and the right of the State to establish monopolies. Austria-Hungary, when the question of Bosnia-Herzegovina was settled, consented to give up her privilege concerning the customs duties, on condition that other Powers did the same. A short time after Germany promised to do so, but, among the other Powers, some refused, and others laid down conditions that would have brought more servitude to Turkey and would have cost her new sacrifices. The Unionist Government, as will be shown later, cancelled the Capitulations during the last war. * * * * * After recalling the wonderful political fortune of the Turkish Empire, we should remember that, after bringing Eastern influences to Western countries, it had also an influence of its own which was plainly felt in Europe. Western art drew its inspiration from Eastern subjects, and at the end of the eighteenth century everything that was Turkish became the fashion for a time. This influence was the natural outcome of the close intercourse with the Levant from the Renaissance till the eighteenth century, and of the receptions given in honour of Eastern men of mark during their visits to European courts. It is not intended to discuss the question of the relation between Turkish art and Arabian art, and its repercussion on Western art, or of Eastern influence in literature; but it will be well to show how much attraction all Turkish and Eastern things had for the people of the time, and how happily the imitation of the East influenced decorative art and style, as if the widely different tastes of societies so far apart had reached the same stage of refinement and culture. Records are still extant of the famous embassy sent by the Grand Turk during the reign of Louis XIV, and the embassy sent by the Sultan of Morocco to ask for the hand of the Princess de Conti, for in Coypel’s painting in the Versailles Museum can be seen the ambassadors of the Sultan of Morocco witnessing a performance of Italian comedy in Paris in 1682. Later on the Turkish embassy of Mehemet Effendi in 1721 was painted by Ch. Parrocel.