ONE:In the carriage were Mademoiselle d��Orl��ans, Mme. de Genlis, her niece, and M. de Montjoye, a young officer who had escaped from France, and was very sensibly going to live in Switzerland, where he had relations. He spoke German very well, and it was agreed that he should say the others were English ladies he was escorting to Ostende. FORE:

ONE:Over the whole proceedings of Tallien and T��r��zia there was, in fact, an atmosphere and tone that can be best described as ��flash��; for no other word seems to be so thoroughly characteristic of themselves, their friends, their sentiments, their speech, and their lives at this time. FORE:��If she is guilty she belongs to justice. But you are too magnanimous to strike an unarmed enemy, above all, a woman.��

ONE:Early in November the Duc d��Orl��ans sent [430] M. Maret with a summons to Mme. de Genlis either to bring Mademoiselle back to France or to give her into his care as her escort. Mme. de Genlis, not liking to desert the young girl, though most unwilling to return to France, agreed to accompany her, and before they left, Sheridan, who had fallen violently in love with Pamela, proposed to her and was accepted. It was settled that they should be married in a fortnight, when Mme. de Genlis expected to be back in England.

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THREE:Amongst other old friends whom she now frequented was the Comtesse de S��gur, who equally disliked the alterations in social matters.

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ONE:Amongst the latter was the singer D��saugiers, a friend of Gr��try, well known for his quick and [55] ready answers. Being still in Paris during the Terror, although never of Republican opinions he was obliged, of course, to wear the tricolour cockade. One day he forgot to put it on and presented himself without it at the gate of the Tuileries in order to go into the gardens, but was brusquely stopped by the official, who asked why he was not wearing it; while a crowd of sinister faces at once began to gather round him. D��saugiers saw his danger, but with his usual presence of mind showed neither fear nor confusion. Taking off his hat he looked at it slowly with an air of surprise, saying as if to himself��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 f��te. 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.

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THREE:��Alas! Madame, the sight of you recalls to me a [472] recollection so fearful, that I would give my life to blot it out of my memory. I was one of those who beat the drums in the place de la R��volution on the 27th January.��

ONE:��Let me go!�� he cried. ��You are mistaken. I don��t know you.��

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��False! Your proof, Monsieur?��[33]

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