us. “Mr. Worth, the renowned man-milliner, considers himself to be a great artist,” said the speaker. “Now an artist, whoever he may be, always keeps a sketch of the works he sells. It is impossible, therefore, that a man of genius like M. Worth should have completely destroyed the fruit of his many midnight vigils. Let us go and see him. We may perchance yet find in a stray corner of his atelier some patterns or models of the fine dresses that in bygone years he sent out to the four corners of the known world.”     The following day we called on the couturier la mode. Our inference proved correct. Like a genuine artist, Mr. Worth had gathered as in a museum the works of his scissors for the last thirty years. The crinoline therefore figures in our panorama, and the sight of it will prove a piquant contrast with the tight fitting style of dress, which is to-day much what it was when it came into favor twelve years ago, in 1877.     But the fact of amassing historical material and drawing up afterwards a general plan were only a part of our preparatory work. We had also to find assistants. However diligent we might be, a division of labor was imperatively demanded to get through our task by the appointed date. We sought the cooperation of several young artists of merit, who cheerfully responded to our call and labored under our supervision. Among these were Mr. Sinibaldi, Mr. Stevens, junior, Mr. Gilbert, and Mr. Picard, and for the architecture M. Cugnet. These young men were all on hand every morning at nine o’clock, and worked diligently at our studio in the Avenue de Clichy, in the midst of a picturesque but most disorderly array of stuffs, uniforms, helmets, and objects of all kinds, the bric- -brac of a century.     The sketching, which entailed two years of unremitting labor, was finally at an end. The next step was to transfer it to the panorama canvas, giving to each figure a size eight times that of the original drawing. This part of the work was by no means the least important to execute. We must here state that our undertaking is, strictly speaking, more of a decorative painting than a panorama. We have followed the example of the great masters, more especially the Italians —Raphael and Paul Veronese — when they did fresco painting. The process is simple enough. Our decorations were traced on large cartoons and the figures appeared of the size at which they were to be painted. The outlines of the drawings were all carefully punctured with a thick needle or pointed tool, so that when powder was rubbed over the holes the drawing was found reproduced on the canvas. By this means we were enabled to obtain a most accurate reproduction. Such an elaborate process is by no means necessary in the ordinary course of panoramic painting, and if we have had recourse to it, it is only from a sense of punctiliousness.     We shall now enter upon a general description of the whole picture, which is, of course, painted in chronological order. Our first panel brings on the scene some of the members of the States-General, convoked in 1789. The Tiers- tat — a generic expression for the bourgeoisie and the people — figure in the costume of the time, with the short, black, plaited cloak then worn. A deputy from Brittany, however, appears in the picturesque garb of his province. From this group Mirabeau stepsforward, his arm directed in defiant gesture towards the Marquis de Dreux-Br z , grand master of ceremonies at the court of Louis XVI. Around him gather the rising members of the Constituent Assembly, Duport, Lanjuinais, and Siey s. The deputies of