THE DOME OF THE INVALIDES.—­This was placed in imminent danger.  Mines were laid on all sides, but their positions were discovered, and the electric wires out which were to have communicated the spark.

THE PLACE DE LA CONCORDE.—­When the noise of the fusillade and cannonading ceased, the Place de la Concorde was a scene of absolute desolation.  On all sides lay broken pieces of candelabra, balustrades, paving-stones, asphalte, and heaps of earth.  The water-nymphs and Tritons of the fountains were much mutilated, and the statue of the town of Lille—­one of the eight gigantic, seated figures of the principal towns of France, which form a prominent ornament to the Place, the work of Pradier, and a likeness of one of the Orleans princesses-lay shivered on the ground.

THE ARC DE L’ETOILE.—­The triumphal arch bears many scars, but none of them of much importance.  On the facade looking towards Courbevoie, the great bas-relief by Etex, representing “War,” was struck by three shells; the group of “Peace” received only the fragment of one.  Here and there, in the bas-relief representing the “Passage of the Bridge of Areole,” and the “Taking of Alexandra,” some traces of balls are visible.  On the whole, no irremediable hum is done here.  Rude’s masterpiece, “The Marseillaise,” is untouched.

THE PALACE OF INDUSTRY.—­Rumour says Courbet had, among other projects, formed an idea of demolishing the Palace of Industry.  The painted windows of the great nave have received no serious injury.  The bas-relief of the main facade, picturing Industry and the Arts offering their products to the universal exhibitions, has several of its figures mutilated.  The same has happened to the colossal group by Diebolt—­France offering laurel crowns to Art and Industry.

THE TUILERIES.—­Felix Pyat, in the Vengeur, proposed converting the Palace of the Tuileries into a school for the children of soldiers.  He says:—­“They have taken possession by the work and activity that reign there; a whole floor is filled with tools and activity, and converted into workshops for the construction of messenger balloons.  King Labour is enthroned there.  I recognised there among the workmen an exile of the revolutionary Commune of London.  The workmen and the proscribed at the Tuileries!  From the prison of London to the palace of the Tuileries.  It is well!” But in the heart of the Commune the soul of the Vengeur underwent a change, and insisted on the complete destruction of the “infamous pile.”

The portion of the building overlooking the river was alone preserved.  The roofing is destroyed, but the facade is but little injured, the only work of art damaged here being a pediment by M. Carrier-Belleuse, representing “Agriculture.”  Fortunately the Government of the Fourth of September had sent all the most precious things to the Garde-Meuble (Stores); but how can the magnificent Gobelins tapestry, the fine ceilings, the works of Charles Lebrun, of Pierre Mignard, of Coypel, of Francisque Meillet, of Coysevox, of Girardon, and of many others, and the exquisite Salon des Roses be replaced?