kings. What was
to be done? A very fine bust of Brutus had been brought from Italy.
Brutus was the destroyer of tyrants! This was the very thing; and David
was commissioned to place it in a gallery of the Tuileries. Could there
be a greater proof of the Consul's horror of tyranny?

To sleep at the Tuileries, in the bedchamber of the kings of France, was
all that Bonaparte wanted; the rest would follow in due course. He was
willing to be satisfied with establishing a principle the consequences of
which were to be afterwards deduced. Hence the affectation of never
inserting in official acts the name of the Tuileries, but designating
that place as the Palace of the Government. The first preparations were
modest, for it did not become a good Republican to be fond of pomp.
Accordingly Lecomte, who was at that time architect of the Tuileries,
merely received orders to clean the Palace, an expression which might
bear more than one meaning, after the meetings which had been there. For
this purpose the sum of 500,000 francs was sufficient. Bonaparte's drift
was to conceal, as far as possible, the importance he attached to the
change of his Consular domicile. But little expense was requisite for
fitting up apartments for the First Consul. Simple ornaments, such as
marbles and statues, were to decorate the Palace of the Government.

Nothing escaped Bonaparte's consideration. Thus it was not merely at
hazard that he selected the statues of great men to adorn the gallery of
the Tuileries. Among the Greeks he made choice of Demosthenes and
Alesander, thus rendering homage at once to the genius of eloquence and
the genius of victory. The statue of Hannibal was intended to recall the
memory of Rome's most formidable enemy; and Rome herself was represented
in the Consular Palace by the statues of Scipio, Cicero, Cato, Brutus and
Caesar--the victor and the immolator being placed side by side. Among
the great men of modern times he gave the first place to Gustavus
Adolphus, and the next to Turenne and the great Conde, to Turenne in
honour of his military talent, and to Conde to prove that there was
nothing fearful in the recollection of a Bourbon. The remembrance of the
glorious days of the French navy was revived by the statue of Duguai
Trouin. Marlborough and Prince Eugene had also their places in the
gallery, as if to attest the disasters which marked the close of the
great reign; and Marshal Sage, to show that Louis XV.'s reign was no