under it. He rides a horse richly caparisoned, and reviews his famous body-guard of grenadiers. A massing of the colors takes place, and the standards of the various regiments are conspicuous in a maze of brilliant uniforms. The Emperor holds in his hand his little black cocked hat. He salutes the flags, while those around salute him. His marshals flock about him, Ney and Lannes, Murat and Davoust, Duroc and Poniatowski, the last in a bright uniform of the Polish lancers. We have sought to depict the Empire at the period of its highest splendor and glory. “To-morrow will be St. Helena, to-morrow will be the tomb,” as Lamartine was to say at a later day. At present, it is Austerlitz. With Louis XVIII we enter upon a calmer period. Seated on the terrace of the Feuillants, in the Tuileries Garden, with the edifice known as the Garde-Meuble in the background, the brother of Louis XVI wears his sky-blue coat, with the blue cordon and the cross of St. Louis. Near him stands his Egeria, Madame de Cayla. Farther off is the lady of whom it was said that in her were condensed the smiles and gaiety of that whole reign, the Duchesse de Berri, mother of the Comte de Chambord. The duchess wears a fine gauze dress, trimmed with puffs and rosettes of satin, the corsage being adorned with baguettes of blonde lace. The headdress is all gauze and flowers. Under the same arcade with the duchess are three court gentlemen: first her husband, whom Louvel is to kill, then the Duc d’Angoul me, who will one day go into exile; and finally the Marshal de Bourmont, who has not yet had the glory of taking Algiers.     In 1830 the scene changes. Fronting the gates of the Tuileries extend the Champs-Elys es, with the Triumphal Arch at the top in course of erection. At the garden entrance stand a National Guardsman, a pupil of the Polytechnic School, and a workman; all three fraternize and sway above their heads the recovered national flag. Inside the garden, in front of the well-known statues which we have faithfully reproduced, figure all the great leaders of that artistic and literary renovation called Romanticism, side by side with those of the classical school, Musset and Balzac, Eug ne Delacroix and Ingres, as well as the celebrated women of that period, Madame de Girardin and Georges Sand, the latter, with uncovered head and heavy black tresses, seated in close proximity to Rachel, the great tragedian, upright in the red tunic of Athalie. In a less prominent position, Scribe, the prolific playwright, and Henri Monnier, the immortal author of Joseph Prudhomme, symbolize the bourgeois element of Louis Philippe’s reign, which is further characterized by the presence of Mr. de Rothschild and Isaac Pereire, who bring to the king the plan of the first railway line in France. The king is viewed standing under the trees of the terrace, surrounded by the members of his family, his ministers, and his Algerian generals, the vanquishers of the Arabs in white bournous close by, among whom will be recognized Abd-el-Kader.     These generals, however, will not be able to save their king. Cast a look farther on, where stands the revolutionary Raspail, who jealously keeps watch and guard over an urn, or ballot-box, wherein for the first time universal suffrage may deposit its votes. The Republic has been proclaimed, and the members of the provisional government, Lamartine, Louis Blanc, and others, with the republican scarf of office round their waists, appear under a “tree of liberty” adorned with flags, which is being blessed by Monseigneur Affre, the archbishop and future martyr. Two distinct groups, composed of Generals