This is a view of the triumphal arch built by the classical French architects Charles Percier and Francois Fontaine in 1806-08 to commemorate French victories in the European campaigns of the previous years. Modeled after the Arch of Constantine in Rome, it provided not merely a fitting association for the Emperor Napoleon, but more practically entry into the Tuileries Palace, which served as the imperial residence during his tenure. The Tuileries Palace, shown here wildly off-axis in Orr's magnificent, yet fanciful, rendering (he might be partially forgiven, the Tuileries Palace was largely burned down during the Commune of 1871, and fully demolished in 1882, despite the fierce opposition of Baron George-Eugene Haussmann, the author of 19th Century Paris), represented all that was both good and bad about the French monarchy, and its successors, which perhaps explains why there is a serious movement afoot today to rebuild it.

This is a good view of the liberal use of stylistic quotation from the triumphal arches of Rome: the 3-register division vertically and horizontally; the staged scaling between the lateral and central arches; the composite order-within-an-order framing the aisles; the pedimental statuary situated above the twin Corinthian columns on either side; the inset bas-reliefs depicting notable battles; no need to go to Rome, the Emperor Constantine is well represented in Paris. Today, the scenic view beyond is unobstructed, and opens onto a panoramic view of the Arc de Triomphe in the far distance.

Orr undoubtedly imagined a simpler, more perfect past when he drew this, as there are no buildings to be seen from this vantage point, either in 1926 or today. He took what can only be described as generous artistic license in pursuit of this more complex, interesting, yet historically curious setting.

Here we see the famed grendiers of The Grand Army, the remarkable fighting force that swept out of Revolutionary Paris and marched victoriously across Europe to establish France as an imperial power at the start of the 19th Century. Despite Napoleon's eventual demise, France was once and for all positioned as one of the world's great powers; and it is to Napoleon that the French owe much of their present day prosperity, culture, and political prestige. It is not surprising that the French Government commissioned Louis Orr to make this, as well as other prints, to celebrate this fact.