Eminence,’ was the reply, ’both shall appear and enjoy the reception so justly their due.’  The dinner was served:  one of the turbots relieved the soup.  Delight was on every face—­it was the moment of the ‘eprouvette positive’.  The ’maitre a’hotel’ advances; two attendants raise the turbot and carry him off to cut him up; but one of them loses his equilibrium:  the attendants and the turbot roll together on the floor.  At this sad sight the assembled Cardinals became as pale as death, and a solemn silence reigned in the ’conclave’—­it was the moment of the ’eprouvette negative’; but the ‘maitre a’hotel’ suddenly turns to one of the attendants, Bring another turbot,’ said he, with the most perfect coolness.  The second appeared, and the eprouvette positive was gloriously renewed.” (Hayward’s Art of Dining, P. 65.)]—­

The First Consul prided himself a good deal on his triumph, at least in appearance, over the scruples which the persons who surrounded him had manifested against the re-establishment of worship.  He read with much self-satisfaction the reports made to him, in which it was stated that the churches were well frequented:  Indeed, throughout the year 1802, all his attention wad directed to the reformation of manners, which had become more dissolute under the Directory than even during the Reign of Terror.

In his march of usurpation the First Consul let slip no opportunity of endeavouring to obtain at the same time the admiration of the multitude and the approbation of judicious men.  He was very fond of the arts, and was sensible that the promotion of industry ought to be the peculiar care of the head of the Government.  It must, however, at the same time be owned that he rendered the influence of his protection null and void by the continual violations he committed on that liberty which is the animating principle of all improvement.

During the supplementary days of the year X., that is to say, about the beginning of the autumn of 1802, there was held at the Louvre an exhibition of the products of industry.  The First Consul visited the exhibition, and as even at that period he had begun to attribute every good result to himself, he seemed proud of the high degree of perfection the manufacturing arts had attained in France.  He was, above all, delighted with the admiration this exhibition excited among the numerous foreigners who resorted to Paris during the peace.

In fact, throughout the year 1802 the capital presented an interesting and animating-spectacle.  The appetite for luxury and pleasure had insinuated itself into manners—­which were no longer republican, and the vast number of Russians and English who drove about everywhere with brilliant equipages contributed not a little to this metamorphosis.  All Paris flocked to the Carrousel on review days, and regarded with eyes of delight the unusual sight of rich foreign liveries and emblazoned carriages.  The parties at the Tuileries were brilliant and numerous, and