servants at the chateau as for those at Trianon. The concierge at the latter place had put up some regulations for the household, headed, "By order of the Queen." The same thing was done at St. Cloud. The Queen's livery at the door of a palace where it was expected none but that of the King would be seen, and the words "By order of the Queen" at the head of the printed papers pasted near the iron gates, caused a great sensation, and produced a very unfortunate effect, not only among the common people, but also. among persons of a superior class. They saw in it an attack upon the customs of monarchy, and customs are nearly equal to laws. The Queen heard of this, but she thought that her dignity would be compromised if she made any change in the form of these regulations, though they might have been altogether superseded without inconvenience. "My name is not out of place," said she, "in gardens belonging to myself; I may give orders there without infringing on the rights of the State." This was her only answer to the representations which a few faithful servants ventured to make on the subject. The discontent of the Parisians on this occasion probably induced M. d'Espremenil, upon the first troubles about the Parliament, to say that it was impolitic and immoral to see palaces belonging to a Queen of France.

[The Queen never forgot this affront of M. d'Espremenil's; she said that as it was offered at a time when social order had not yet been disturbed, she had felt the severest mortification at it. Shortly before the downfall of the throne M. Espremenil, having openly espoused the King's side, was insulted in the gardens of the Tuileries by the Jacobins, and so ill-treated that he was carried home very ill. Somebody recommended the Queen, on account of the royalist principles he then professed, to send and inquire for him. She replied that she was truly grieved at what had happened to M. d'Espremenil, but that mere policy should never induce her to show any particular solicitude about the man who had been the first to make so insulting an attack upon her character.—MADAME CAMPAN]

The Queen was very much dissatisfied with the manner in which M. de Calonne had managed this matter. The Abbe de Vermond, the most active and persevering of that minister's enemies, saw with delight that the expedients of those from whom alone new resources might be expected were gradually becoming exhausted, because the period when the Archbishop of Toulouse would be placed over the finances was thereby hastened.

The royal navy had resumed an imposing attitude during the war for the independence of America; glorious peace with England had compensated for the former attacks of our enemies upon the fame of France; and the throne was surrounded by numerous heirs. The sole ground of uneasiness was in the finances, but that uneasiness related only to the manner in which they were administered. In a word, France felt confident in its own strength and resources, when two events, which seem scarcely worthy of a place in history, but which have, nevertheless, an important one in that of the French Revolution, introduced a spirit of ridicule and contempt, not only against the highest ranks, but even against the most august personages. I allude to a comedy and a great swindling transaction.

Beaumarchais had long possessed a reputation in certain circles in Paris for his wit and musical talents, and at the theatres for dramas more or less indifferent, when his "Barbier de Seville" procured him a higher position among dramatic writers. His "Memoirs" against M. Goesman had amused Paris by the ridicule they threw upon a Parliament which was disliked; and his admission to an intimacy with M. de Maurepas procured him a degree of influence over important affairs. He then became ambitious of influencing public opinion by a kind of drama, in which established manners and customs should be held up to popular derision and the ridicule of the new philosophers. After several years of prosperity the minds of the French had become more generally critical; and when Beaumarchais had finished his monstrous but diverting "Mariage de Figaro," all people of any consequence were eager for the gratification of hearing it read, the censors having decided that it should not be performed. These readings of "Figaro" grew so numerous that people were daily heard to say, "I have been (or I am going to be) at the reading of Beaumarchais's play." The desire to see it performed became universal; an expression that he had the art to use compelled, as it were, the approbation of the nobility, or of persons in power, who aimed at ranking among the magnanimous; he made his "Figaro" say that "none but little minds dreaded little books." The Baron de Breteuil, and all the men of Madame de Polignac's circle, entered the lists as the warmest protectors of the comedy. Solicitations to the King became so pressing that his Majesty determined to judge for himself of a work which so much engrossed public attention, and desired me to ask M. Le Noir, lieutenant of police, for the manuscript of the "Mariage de Figaro." One morning I received a note from the Queen ordering me to be with her at three o'clock, and not to come without having dined, for she should detain me some time. When I got to the Queen's inner closet I found her alone with the King; a chair and a small table were ready placed opposite to them, and upon the table lay an enormous manuscript in several books. The King said to me, "There is Beaumarchais's comedy; you must read it to us. You will find several parts troublesome on account of the erasures and references. I have already run it over, but I wish the Queen to be acquainted with the work. You will not mention this reading to any one."

I began. The King frequently interrupted me by praise or censure, which was always just. He frequently exclaimed, "That's in bad taste; this man continually brings the Italian concetti on the stage." At that soliloquy of Figaro in which he attacks various points of government, and especially at the tirade against State prisons, the King rose up and said, indignantly:

"That's detestable; that shall never be played; the Bastille must be destroyed before the license to act this play can be any other than an act of the most dangerous inconsistency. This man scoffs at everything that should be respected in a government."

"It will not be played, then?" said the Queen.

"No, certainly," replied Louis XVI.; "you may rely upon that."

Still it was constantly reported that "Figaro" was about to be performed; there were even wagers laid upon the subject; I never should have laid any myself, fancying that I was better informed as to the probability than anybody else; if I had, however, I should have been completely deceived. The protectors of Beaumarchais, feeling certain that they would succeed in their scheme of making his work public in spite of the King's prohibition, distributed the parts in the "Mariage de Figaro" among the actors of the Theatre Francais. Beaumarchais had made them enter into the spirit of his characters, and they determined to enjoy at least one performance of this so-called chef d'oeuvre. The first gentlemen of the chamber agreed that M. de la Ferte should lend the theatre of the Hotel des Menus Plaisirs, at Paris, which was used for rehearsals of the opera; tickets were distributed to a vast number of leaders of society, and the day for the performance was fixed. The King heard of all this only on the very morning, and signed a 'lettre de cachet,'—[A 'lettre de cachet' was any written order proceeding from the King. The term was not confined merely to orders for arrest.]—which prohibited the performance. When the messenger who brought the order arrived, he found a part of the theatre already filled with spectators, and the streets leading to the Hotel des Menus Plaisirs filled with carriages; the piece was not performed. This