THREE:Paul I.Terror he inspiredDeath of the mother of Mme. Le BrunMarriage of her daughterMoscowThe Tsarevitch AlexanderAssassination of Paul I.I salute my EmperorMme. Le Brun returns to ParisChangesLondonLife in EnglandParisSeparated from M. Le BrunSociety during the EmpireCaroline MuratSwitzerlandFall of the EmpireRestorationDeath of M. Le BrunOf her daughterTravels in FranceHer niecesConclusion.
THREE:I have painted real princesses and they have never tormented or kept me waiting.
THREE:It was celebrated in the parish church at midnight, and the day was publicly announced, and the young Countess and her harp consigned to the care of her husband.
TWO:M. de Montagu returns to ParisM. de BeauneRichmondDeath of NomiAix-la-ChapelleEscape of the Duc dAyen and Vicomte de NoaillesLa Fayette arrested in AustriaThe HagueCrossing the MeuseMargateRichmondHardships of povertyBrusselsLetter from Mme. de TessJoins her in SwitzerlandMurder of M. and Mme. de MouchyGoes to meet the Duc dAyenHe tells her of the murder of her grandmother, Mme. de Noailles, her mother, the Duchesse dAyen, and her eldest sister, the Vicomtesse de NoaillesMme. de la Fayette still in prison.The splendid ceremony of the benediction of the Neva by the Archimandrite, in the presence of the Empress, the Imperial family, and all the great dignitaries, deeply impressed her.
TWO:In 1768, a year after the birth of her youngest girl, she had another boy, and at the same time was dangerously ill of small-pox. The Duke, in terror for her life, would not allow her to be told what was [183] the matter, and even insisted on the children all being admitted to her room, for fear of arousing her suspicions and alarming her. However, she recovered and none of them took it. The baby lived and for some time appeared quite well; though after a few months it began to fade, and soon died of consumption.Fragonard, the Proven?al, had more depth and dramatic feeling, the passion of the south and the love of nature in his work gave a stronger, truer, more impressive tone to his pictures; but Boucher, the favourite painter of Louis XV., the Marquise de Pompadour, and the court would seem from his pictures to have looked upon everything in life as if it were a scene in a carnival or fte. His goddesses and saints, even the holy Virgin herself, were painted from models from the theatre, and looked as if they were; his gardens, roses, silks, satins, nymphs, fountains, and garlands were the supreme fashion; every one wanted him to paint their portrait; he had more commissions than he could execute, and his head was turned by the flattery lavished upon him.