As the cortege drew near to the Chateau, the welcome grew more and more cordial.  The balconies of many of the houses were draped.  Women of the court, in rich toilet, threw bouquets and flowers to the King.  The Count d’Haussonville says:—­

“The untiring good grace with which the King returned the salutations of the crowd, and by gestures full of Bonhomie and affability, responded to the cries of persons whom he recognized as he passed, added every moment to his personal success.  In fact, when, June 6, 1825, at evening, he descended from the magnificent coronation coach, to mount the stairs of the palace of his fathers, Charles X. had reason to be content with the day.  I doubt whether among the witnesses of the splendid fetes that had followed without interruption at Rheims and at Paris, there were many who would not have been strongly surprised if there had been announced to them by what a catastrophe, in five years only, an end was to be put to the reign inaugurated under the happiest auspices.”

The 8th of June, the city of Paris offered to the King a fete at which there were eight thousand guests.  The sovereign made his entry, having the Dauphiness on his right, and on the left the Duchess of Berry, who opened the ball.  A cantata was sung with words by Alexandre Soumet, and the music by Lesueur.

The 10th of June, the King went to the Opera with the Dauphin, the Dauphiness, and the Duchess of Berry.  The back of the stage opened and showed, in an immense perspective, the most illustrious kings of France; at the farthest line were the statue of Henry IV., Paris, its monuments, the Louvre.  The 19th of June, Charles X. again accompanied by the family went to the Theatre-Italien.  Il Viaggio A Reims was played.  Le Moniteur, apropos of this work, said:—­

“It is an opera of a mould which, under the forms of the Opera Buffa, presents some ideas not destitute of comedy, in which homage of love and respect is at times expressed with an art that French taste cannot disavow.  The author, M. Bellochi, has conceived the praiseworthy idea of introducing personages of all the nations of Europe, joining with the French in their prayers for the happiness of our country and of the august family that governs us.  The composer is M. Rossini.  The Morceaux are worthy of the reputation of this celebrated master.  Madame Pasta displayed all the resources of her admirable talent.  Bouquets of roses and lilies were distributed to the ladies.”

There was an endless series of fetes, receptions, balls at court, at the houses of the ministers of the foreign ambassador, theatrical representations retracing the incidents of the coronation.  The cities of the provinces imitated the example of Paris.  All this movement stimulated business, and France appeared happy.  But to an acute observer it was plain that the pomps of the coronation and the fetes that followed it pleased the people of the court more than the bourgeoisie.  The Count d’Haussonville says, apropos of the nobility at that time:—­