Paris, Louvre and Tuileries, hand-coloured tinted lithograph, 19th c. by Charles Claude Bachelier. Collection: Muzeum Fryderyka Chopina, Warsaw [M/2883].
‘The Tuileries garden, the most centrally located of the city’s parks, was usually crowded from early morning to dusk […] On the sunny north terrace overlooking the rue de Rivoli, old men in rented chairs dozed over their rented newspapers. Below them on the graveled allées, wasp-waisted ladies in taffeta capes and velvet skirts […] strolled between lilac bushes and clipped orange trees while groups of young men leaned against the marble statuary discussing the transactions of the Bourse or the latest proceedings in the Chambers. At the eastern end of the gardens, next to the palace, a large ditch separated the public grounds from those reserved for the royal family. […] The main entrance to the Tuileries palace was on its eastern front rather than the garden side. There, a tall iron grill separated it from the place du Carrousel with its triumphal arch […] Like many of the city’s public spaces then, it was an unpaved area that became a quagmire whenever it rained. Twice Chopin had to leave his carriage here when he played before the royal family’ [Atwood, The Parisian Worlds…]. On 25 February 1838, the Revue et Gazette Musicale de Paris carried a report from a concert given by Chopin at the court of Louis-Philippe in the Tuileries ‘for an intimate group of listeners’: ‘Lavish improvisations were the evening’s main attraction’.