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 hardly less effective manner. Beranger's songs and Thiers' “History of the Consulate and the Empire” had stimulated the Napoleonic cult, and even the government of Louis Philippe had paid its homage to it, by transporting Napoleon's remains with great pomp from St. Helena to the Church of the Invalides. The field so prepared was incessantly tilled by Louis Napoleon, while he stood as president at the head of the executive power. As the barrel-organ did service in the country districts, the theater was made to serve in the cities. I remember a spectacular drama, which was produced on one of the Faubourg stages with great pomp and startling realism. It was called “La Barrière de Clichy,” and represented the campaign of 1814, the exile of Napoleon on the Isle of Elba, and his return to France in 1815. Napoleon appeared on the boards in an excellent mask, on foot and on horseback, and all the engagements of that campaign in which he was successful passed before the eyes of the multitude; the French infantry, cavalry, and artillery in the historic uniforms of the Empire; the enemies, Prussians and Russians, barbarous-looking fellows, uncouth and rude, and constantly running away from French heroism. Blücher appeared in person as a boisterous barbarian, indulging in the most horrible blackguardism, constantly smoking a short pipe, blowing forth tremendous clouds of smoke, and incessantly spitting around him. The enemies were regularly defeated, so that it was difficult for the impartial beholder to understand why Napoleon, after all these splendid victories, succumbed, and was forced to go into exile. At any rate, he soon returned amid the enthusiastic acclamation of the people. The army went over to him promptly, and this piece concluded with his triumphal entry into Grenoble. The public applauded with enthusiasm, and the cry of “Vive l'Empereur” was heard, not only on the stage, but not seldom also in the galleries, in