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ONE: THREE:There was a moments silence, then Tallien spoke.
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TWO:

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TWO:One evening he was at the Opera ball, then frequented by people in good society. Masked or not, they were equally known to M. dEspinchal, who as he walked through the rooms saw a man whom he actually did not know, wandering about with distracted looks. He went up to him, asking if he could be of any use, and was told by the perplexed stranger that he had just arrived from Orlans with his wife, who had insisted on coming to the Opera ball, that he had lost her in the crowd, and that she did not know the name of the h?tel or street where they were. Calm yourself, said M. dEspinchal, Madame, your wife is sitting by the second window in the foyer. I will take you to her, which he did. The husband overwhelmed him with thanks and asked how he could possibly have known her.
FORE:Yes, he replied.

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FORE:It was all so terribly changed, she could hardly believe that this was indeed the Paris of her youth, the ancient capital of a great monarchy, the centre of magnificence, elegance, and refinement. The churches were mostly closed, if not in ruins; the statues of the saints were replaced by those of infidel philosophers; the names of the streets were changed into others, often commemorating some odious individual or theory or deed of the Revolution; as to the convents the very names of Jacobin, Cordeliers, and others were associated with horror and bloodshed. The words palais and h?tel having been forbidden by the Terrorists, maison ci-devant Conti, maison ci-devant Bourbon, &c., were written upon the once splendid dwellings of those who were now murdered, wandering in exile or, like herself, just returning to their ruined homes, with shattered fortunes and sorrowful hearts. Everywhere, on walls and buildings were inscribed [453] the mocking words libert, galit, fraternit, sometimes with the significant addition, ou la mort.As time went on and affairs became more and more menacing, Mme. Le Brun began to consider the advisability of leaving the country, and placing herself and her child out of the reach of the dangers and calamities evidently not far distant.

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FORE:One day, while she was sitting to Mme. Le Brun, Mme. S asked her to lend her carriage to her that evening to go to the theatre. Mme. Le Brun consented, but when she ordered the carriage next morning at eleven oclock she was told that neither carriage, horses, nor coachman had come back. She sent at once to Mme. S, who had passed the night at the h?tel des Finances and had not yet returned. It was not for some days that Mme. Le Brun made this discovery by means of her coachman, who had been bribed to keep silent, but [68] had nevertheless told the story to several persons in the house.

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FORE:

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TWO:
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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.[175]Sire, a modest post in the octroi of my little town wouldOne of the odious, inevitable republican ftes was, of course, given to celebrate the events of Thermidor. Mme. Tallien opened a salon, where, as in the others then existing, the strange, uncouth figures of the sans-culottes mingled with others whose appearance and manners showed that they were renegades and traitors to their own order and blood.With the Vernet family, too, she was on intimate terms. The landscape painter, Joseph Vernet, was always a kind friend to her. His son Charles, or Carle, as he was called, was also an artist, and his daughter milie, the wife of M. Chalgrin, was constantly at her house.
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