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THREE:To Lisette she seemed to be about a hundred years of age, though she was not really very old, but her costume, a dark grey dress and a cap over which she wore a large hood tied under her chin, and her bent figure, increased the appearance of age.Mon cher, here is what you wanted; the music is all right, I have just tried it on my flute. I am sorry not to be able to get you some more; I shall not be alive to-morrow. [107]
THREE:About the former, who was deeply in love with her, and most anxious to make her his wife, she did not care at all. She found him tiresome, and even the prospect of being a princess could not induce her to marry him. Besides, she had taken a fancy to the Marquis de Fontenay, whom she had first met at the house of Mme. de Boisgeloup, who was much older than herself, and as deplorable a husband as a foolish young girl could choose.

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THREE:Je joue du violon.

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THREE:Had not this been sufficient to put a stop to all idea of going to France, the sights which met them as the little party entered Turin would have done so.

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THREE:Within the first few years of her marriage, Flicit had three childrentwo girls and a boy.
FORE:Monsieur, you have killed your brother.
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  • binding on the clip

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FORE:[229][462]
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  • 12 pages

  • binding on the clip

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FORE:With much confusion she replied that she had not had time to have a proper dress made, but she was aware of the impossibility of explaining why, coming straight from Vienna, she had not brought one with her; and the dissatisfied looks of the Ambassadress increased her alarm when it was time to go to the Empress.The clamour died away; all night reassuring proclamations were heard about the streets.
  • 15×10 cm

  • 12 pages

  • binding on the clip

759
THREE:The first personal encounter of Mme. de Genlis with the Revolution was one afternoon in 1790. She had driven with Mademoiselle dOrlans, the Comte de Beaujolais, Henriette de Sercey, and Pamela, to a village about twelve miles from Paris, where, unluckily, a fair was going on and a great many people collected together. They took it into their heads that the party were the Queen, Madame Royale, and the Dauphin trying to escape, and, surrounding them with anger, forced them to get out of the carriage and refused to believe their explanations.
FORE:She really cared very little for the money she so easily made, all her love was for her art, which alone had the power to raise her above the petty miseries and troubles of her present life.

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FORE:

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FORE:
FORE:It was no wonder that Napoleon was anxious to get his court and society civilised, and the person to whom he chiefly turned for help and counsel in this matter was Mme. de Montesson, who knew all about the usages of great society and court etiquette.

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She always kept this drawing, her foretaste of the brilliant success that began so early and never forsook her.But what to Mme. Le Brun was of great importance during her stay at Antwerp was a portrait by Rubens, the famous Chapeau de Paille, then in a private collection, where she saw and was fascinated by it. The effect of light and shade caused by the arrangement of the two different lights, the ordinary [50] light and the sunlight, was what chiefly struck her, and having studied the picture with deep attention she proceeded, on returning to Brussels, to paint her own portrait with the same kind of effect: wearing a straw hat with a wreath of wild flowers, and holding a palette in her hand.The wanderings and perils of Pauline were now at an end. From henceforth her home was with her husband and four children in the old chateau of Fontenay, which they repaired and put in order. It was a fortress built in the reign of Charles VI., and afterwards inhabited and decorated by the Duc dEpernon. The great tower of the castle still bore his name, and the blue and gold ceiling of his bedroom still remained. It had an immense park and lakes, and a great avenue of chestnut-trees led up to the chateau. The Abb Cartier, cur of Fontenay, was a man after her own heart. He had known her mother, for he came very young to the parish, which he loved with all his heart, and which he had only once left, on the approach of a revolutionary mob. Leaving the presbytre with all his own things at their mercy, he hid the cross and all the [263] properties of the church, and as to the statues of the saints which he could not remove, he painted them all over, turning them into National Guards with swords by their sides. He was only persuaded by his people to escape when already the drums of the approaching ruffians were heard in the village, in which they quickly appeared, and rushed into the church. But they found it empty, except for the statues, with which, in their republican garb, they dared not meddle, so they turned their fury upon the presbytre, and when the good Abb returned he found the church uninjured, but all the contents of his house stolen or destroyed. As far as possible, M. and Mme. de Montagu led the simple patriarchal life they preferred at Fontenay, where they were adored by the people, to whom they devoted their time, money, and attention. Under the trees before the castle stone benches were placed for the peasants who came on Sunday evenings to sit about and dance, and the young people with whom the old chateau was always filled joined eagerly in their festivities.Eh! you are at home then!What made this all the more provoking was that M. de Calonne was not even, like M. de Vaudreuil, [64] a great friend of hers. She did not know him at all intimately, and in fact only once went to a party given by him at the Ministre des finances, and that was because the soire was in honour of Prince Henry of Prussia, who was constantly at her house. The splendid portrait she painted of Calonne was exhibited in the Salon of 1786. Mlle. Arnould remarked on seeing it, Mme. Le Brun has cut his legs off to keep him in the same place, alluding to the picture being painted to the knees.
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