MEN AND WOMEN OF THE EIGHTEENTH CENTURY.

We have Louis Quinze chairs in our parlors, Louis Quinze carving and gilding about our mirrors, our ladies (in a double sense, of grace and utility), sweep past us in the streets or rustle in the ball-room in Louis Quinze brocades, with the boddice, if not the train, of pattern identical with that of Madame de Pompadour, as depicted in the excellent portrait before us in Mr. Redfield's elegant volumes, and we are, if scandal does not lie more than usual, making very practical acquaintance with Louis Quinze morals. It may be as well, therefore, to become more familiar with a period we find it so convenient to imitate. The great events of French history since 1789, their rapid sequence and ever varying character, have thrown into the shade the previous annals of the kingdom. Especially has this been the case with the period immediately preceding the days of terror. This period has been dispatched in a few sentences, in the opening chapters of works on the French Revolution—in some vague generalities on its profligacy and chaotic infamy. We have had glimpses, through the Œil de Bœuf, at groups of exquisite gentlemen and gay ladies; abbés who wrote every thing but sermons, and were free from the censure of not practising what they preached since they did not preach at all; generals who fought a campaign as deliberately and ceremoniously as they danced a minuet; statesmen whose diplomacy was more of the seraglio than the council; painters who improved on nature, applying the same tricks of art to the landscape as with powders to their curls; and simpering lips of the Marquise, and poets whose highest flights were a sonnet to Pompadour, or a pastoral to a sheep-tending Phillis. Our casual observations of all these people, however, have been vague and slight, for few have probably had patience to follow these worthies to their retirement, and look over their shoulders at the memoirs which every mother's son and daughter of the set, from the prime minister to the cook, found—it is impossible to tell how—time to scribble down for the edification of posterity. In the volumes of Arsene Houssaye before us, these gay but unsubstantial shadows take flesh and blood, and become the Men and Women—the living realities of the Eighteenth Century. We have here the most piquant adventures of the Memoirs and the choicest mots of the Anas, culled from the hundreds of volumes which weigh down the shelves of the French public libraries. Not only indeed have we the run of the petites soupers of Versailles, but we may wander at will in the coulisses of the Grand Opera, picking up the latest gossip of Camargo or Sophie Arnold, enter the foyer of the classic Theatre Française, or adjourn to the Café Procope to hear the last joke of Piron, or the latest news from Fernay. And better than all these, we may mount, au cinquième, au sexième, to the lofty yet humble garret of the author or the artist, and there find, in an age of sickening heartlessness, refreshing scenes of household sincerity, patient endurance of hardship, showing that even that depraved age was not utterly devoid of the heroic and the pure. M. Houssaye is no rigid moralist, he employs no historic pillory, and often displays the painful flippancy of the modern French school on religious points, but he does honor to these better traits of humanity when he meets them. And we are not sure but that the morality of the work is the more impressive for the absence of the didactic. Here is little danger of our falling in love with vice, seductive as she appears in the annals of Louis XV., for we see the rotten canvas as well as the brilliant scene. We remember with the gaudy blossoms of 1740-60, the ashen fruit of 1789-'95. It is as hard to select extracts from M. Houssaye's volumes on account of the embarras des richesses, as it would be to choose a gem or two for our drawing-room from a gallery of Watteau and Greuze, or a row of Laucret's passets. Much as the reader, we doubt not, will enjoy those we have picked for him, he will still find equal or greater pleasure in those we have left untouched.

Here are the first steps in the ascent of Madame de Pompadour to that "bad eminence" she attained of virtual though virtueless Queen of France. The entire sketch is the best life of this celebrated woman with which we are acquainted:

"Madame de Pompadour was born in Paris, in 1720. She always said it was 1722. It is affirmed, that Poisson, her father, at least the husband of her mother, was a sutler in the army; some historians state that he was the butcher of the Hospital of the Invalides, and was condemned to be hung; according to Voltaire, she was the daughter of a farmer of Ferté-sous-Jouarre. What matters it, since he who was truly a father to her was the farmer-general, Lenormant de Tourneheim. This gentleman, thinking her worthy of his fortune, took her to his home, and brought her up, as if she had been his own daughter. He gave her the name of Jeanne-Antoinette. She bore till she was sixteen years of age this sweet name of Jeanne. From her infancy, she exhibited a passion for music and drawing. All the first masters of the day were summoned to the hotel of Lenormant de Tourneheim. Her masters did not disgust Jeanne with the fine arts of which she was so fond. Her talent was soon widely known. Fontenelle, Duclos, and Crébillon, who were received at the hotel as men of wit, went about every where, talking of her beauty, her grace, and talent.

"Madame de Pompadour was an example of a woman that was both handsome and pretty; the lines of her face possessed all the harmony and elevation of a creation of Raphael's; but instead of the elevated sentiment with which that great master animated his faces, there was the smiling expression of a Parisian woman. She possessed in the highest degree all that gives to the face brilliancy, charm, and sportive gayety. No lady at court had then so noble and coquettish a bearing, such delicate and attractive features, so elegant and graceful a figure. Her mother used always to say, 'A king alone is worthy of my daughter.' Jeanne had an early presentiment of a throne! at first, from the ambitious longings of her mother; afterward, because she believed that she was in love with the king. 'She confessed to me,' says Voltaire, in his memoirs, 'that she had a secret presentiment that the king would fall in love with her, and that she had a violent inclination for him.' There is a time in life when destiny reveals itself. All those who have succeeded in climbing the rugged mountain of human vanity relate that, from their earliest youth, dazzling visions revealed to them their future glory.

"Well, how was the throne of France to be reached, the very idea of which made her head turn? In the mean time, full of genius, always admired, and always listened to, she familiarized herself with the life of a beautiful queen; she saw at her feet all the worshippers of the fortune of her father; she gathered about her poets, artists, and philosophers, over whom she already threw a royal protection.

"The farmer-general had a nephew, Lenormant d'Etioles. He was an amiable young man, and had the character and manners of a gentleman; he was heir to the immense fortune of the farmer-general, at least, according to law. Jeanne, on her side, had some claim to a share of this fortune. It was a very simple way of making all agreed, by marrying the young people. Jeanne, as we have seen, was already in love with the king; she married D'Etioles without shifting her point in view: Versailles, Versailles, that was her only horizon. Her young husband became desperately enamored of her; but this passion of his, which amounted almost to madness, she never felt in the least. She received it with resignation, as a misfortune that could not last long.

"The hotel of the newly-married couple, Rue-Croix-des-Petits-Champs, was established on a lordly footing; the best company in Paris left the fashionable salons for that of Madame D'Etioles until that time, there had never been such a gorgeous display of luxury in France. The young bride hoped by this means to make something of a noise at court, and thus excite the curiosity of the king. Day after day passed away in feasts and brilliant entertainments. Celebrated actors, poets, artists, and foreigners, all made their rendezvous at this hotel, the mistress of which was its life and ornament; all the world went there, in one word, except the king."

The painters are among the pleasantest personages of Mr. Houssaye's book, as they generally are in whatever society or whatever time we find them, all the world over. Watteau is familiar to us all, if not from his works, at second-hand in engravings, or those dainty little china shepherdesses and shepherds which we have seen on our grandmothers' mantel-pieces, and which are again emerging from the glass corner cupboard to the rosewood and mirrored étagère. The following passages descriptive of his early life, are full of animation:

"He was born in 1684, at the time the king of France was bombarding Luxembourg. His family was poor, as a matter of course. He was put to school just long enough not to learn any thing. He was never able to read and write without great difficulty, but it was not in that his strength lay. He learned early to discover genius in a picture, to copy with a happy touch the gay face of Nature. There had been painters in his family, among others, a great uncle, who had died at Antwerp, without leaving any property. The father of Watteau had little leaning toward painting; but he was one of those who let men and things here below take their course. Watteau, therefore, was permitted to take his. Now Watteau was born a painter. God had given him the fire of genius, if not genius. His first master was chance, the greatest of all masters after God. His father lived in the upper story of a house with its gable-end to the street. Watteau had his nose out of the window oftener than over a book; he loved to amuse himself with the varied spectacle of the street. Sometimes it was the fresh-looking Flemish peasant-girl, driving her donkey through the market-place, sometimes the little girls of the neighborhood, playing at shuttlecock during the fine evenings. Peasant-maid and little child were traced in original lines in the memory of the scholar; he already admired the indolent naïveté of the one, the prattling grace of the other. He had his eye also on some smiling female neighbor, such as are to be found every where; but the most attractive spectacle to him was that of some strolling troop of dancers or country-players. On fête-days sellers of elixirs, fortune-tellers, keepers of bears and rattlesnakes, halted under his window. They were sure of a spectator. Watteau suddenly fell into a profound revery at the sight of Gilles and Margot upon the stage; nothing could divert his attention from this amusement, not even the smile of his female neighbor: he smiled at the grotesque coquetries of Margot; he laughed till out of breath at the quips of Gilles. He was frequently seen seated in the window, his legs out, his head bent, holding on with difficulty, but not losing a word or a gesture. What would he not have given to have been the companion of Margot, to kiss the rusty spangles of her robe, to live with her the happy life of careless adventure? Alas! this happiness was not for him. Margot descended from the boards, Gilles became a man as before, the theatre was taken down, Watteau still on the watch; but by degrees he became sad; his friends were departing, departing without him, with their gauze dresses, their scarfs fringed with gold, their silver lace, their silk breeches, and their jokes.—"Those people are truly happy," said he, "they are going to wander gayly about the world, to play comedy wherever they may be, without cares and without tears!"—Watteau, with his twelve-year-old eyes, saw only the fair side of life. He did not guess, be it understood, that beneath every smile of Margot there was a stifled tear. Watteau seems to have always seen with the same eyes; his glance, diverted by the expression and the color, did not descend as far down as the soul. It was somewhat the fault of his times. What had he to do while painting queens of comedy, or dryads of the opera, with the heart, tears, or divine sentiment?

"After the strollers had departed, he sketched on the margins of the 'Lives of the Saints,' the profile of Gilles, a gaping clown, or some grotesque scene from the booth. As he often shut himself up in his room with this book, his father, having frequently surprised him in a dreamy and melancholy mood, imagined that he was becoming religious. He, however, soon discovered that Watteau's attachment to the folio was on account of the margin, and not of the text. He carried the book to a painter in the city. This painter, bad as he was, was struck with the original grace of certain of Watteau's figures, and solicited the honor of being his master. In the studio of this worthy man, Watteau did not unlearn all that he had acquired, although he painted for pedlers, male and female saints by the dozen. From this studio he passed to another, which was more profane and more to his taste. Mythology was the great book of the place. Instead of St. Peter, with his eternal keys, or the Magdalen, with her infinite tears, he found a dance of fauns and naiads, Venus, issuing from the waves, or from the net of Vulcan. Watteau bowed amorously before the gods and demigods of Olympus; he had found the gate to his Eden. He progressed daily, thanks to the profane gods, in the religion of art. He was already seen to grow pale under that love of beauty and of glory which swallows up all other loves. On his return from a journey to Antwerp, his friends were astonished at the enthusiasm with which he spoke of the wonders of art. He had beheld the masterpieces of Rubens and Vandyke, the ineffable grace of Murillo's Virgins, the ingenuously-grotesque pieces of Teniers and Van Ostade, the beautiful landscapes of Ruysdael. He returned with head bent and eyes fatigued, and his mind filled with lasting recollections.

"He was not twenty when he set out for Paris with his master. The opera, in its best days, enlisted the aid of all painters of gracefulness. At the opera, Watteau threw the lightning flashes of his pencil right and left: mountains, lakes, cascades, forests, nothing dismayed him, not even the Camargos, whom he had for models. He ended by taming himself down to this cage of gayly-singing and fluttering birds. A dancing-girl, who had not much to do, deigned to grant the little Flemish dauber, the favor of sitting for her portrait. Fleming as he was, Watteau made the progress of the portrait last longer than the scornfulness of Mademoiselle la Montagne. This was not all: the portrait was considered so graceful in the dancing-world, that sitters came to him every day, on the same terms.

"He left the opera with his master, as soon as the new decorations were finished. Besides Gillot, the great designer of fauns and naiads had returned there more flourishing than ever. The master returned to Valenciennes, Watteau remained at Paris, desiring to depend upon his fortune, good or bad. He passed from the opera into the studio of a painter of devotional subjects, who manufactured St. Nicholases for Paris and the provinces, to suit to the price. So Watteau manufactured St. Nicholases, 'My pencil,' he said, 'did penance.' The opera always attracted him; there he could give free scope to all the extravagance of his fancy, to all the charming caprices of his pencil; but at the opera, his master and himself had given way to Gillot; and the latter was not disposed to give way to any body."

An allegro morceau from the life of Grétry:

A MONK OF A BAD PATTERN.

"Other adventures also occurred, to convince Remacle that his fellow-travellers were worthy of him. Ever in dread of the before-mentioned officers, the old smuggler forced them to make a detour of some leagues, to see, as he said with a disinterested air, a superb monastery, where alms were bestowed once a week on all the poor of the country. On entering the great hall, in the midst of a noisy crowd, Grétry saw a fat monk, mounted on a platform, who was angrily superintending this Christian charity. He looked as if he would like rather to exterminate his fellow-creatures than aid them to live; he was just bullying a poor French vagabond who implored his aid. When he suddenly saw the noble face of Grétry he approached the young musician.—'It is curiosity which brings you here,' he remarked with vexation.—'It is true,' said Grétry, bowing; 'the beauty of your monastery, the sublimity of the scenery, and the desire of contemplating the asylum where the unfortunate traveller is received with so much humanity, have drawn us from our route. In beholding you, I have seen the angel of mercy. All the victims of sorrow should bless your edifying gentleness. Tell me, father, do you make as many happy every day as I have just witnessed?'

"The monk, irritated by this bantering, begged Grétry to return whence he came.—'Father,' retorted Grétry, 'have the evangelists taught you this mode of bestowing alms, giving with one hand and striking with the other?'—A low murmur was heard through the hall; the monk not knowing what to say, complained of the toothache; the cunning student lost no time, but running up to him with an air of touching compassion, 'I am a surgeon,' he said, as he forced him down on the bench. The monk tried to push him off, but he held on well. 'It is Heaven which has directed me to you, father.' Willing or not, the monk had to open his mouth. 'Courage, father, the great saints were all martyrs! the Saviour was crucified; and you may at least let me pull out a tooth.' The monk struggled: 'Never, never!' he exclaimed. The student turned with great coolness toward the bystanders, who were all laughing in their sleeves. 'My friends,' (he addressed crippled travellers, mountain-brigands, and poor people of every class,) 'my friends, for the love of God, who suffered, come and hold this good father: I do not want him to suffer any longer!'

"The beggars understood the joke; four of them separated from the group, and came to the surgeon's aid. The monk struggled furiously, but it was no use to kick and scream; he had to submit, Grétry was not the last to come to his friend's aid; the malicious student seized the first tooth he got hold of, and wrenched the head of the monk by a turn of his elbow, to the great joy of the beggars, who saw themselves revenged in a most opportune manner. 'Well, father, what do you think of it?' asked Grétry, after the operation; 'I am sure you do not now suffer at all!'—The monk shook with rage; the other monks attracted by his cries, soon arrived, but it was too late."

The following is among the most touching of narratives. It is exquisitely delivered:

GRÉTRY'S THREE DAUGHTERS

"Grétry was therefore happy. Happy in his wife and children, in his old mother, who had come to sanctify his house, with her sweet and venerable face. Happy in fortune, happy in reputation. The years passed quickly away! He was one day very much astonished to learn that his daughter Jenny was fifteen. Alas! a year afterward the poor child was no longer in the family, neither was happiness. But for this sad history we must return to the past. Grétry, during his sojourn at Rome, in the spring-time of his life, was fond of seeking religious inspiration in the garden of an almost deserted convent. He observed one day, in the summer-house, an old monk of venerable form, who was separating seeds with a meditative air, and at the same time observing them with a microscope. The absent-minded musician approached him in silence. 'Do you like flowers?' the monk asked him. 'Very much,' 'At your age, however, we only cultivate the flowers of life; the culture of the flowers of earth is pleasing only to the man who has fulfilled his task. It is then almost like cultivating his recollection. The flowers recall the birth, the natal land, the garden of the family, and what more? You know better than I who have thrown to forgetfulness all worldly enjoyments!' 'I do not see, father,' replied Grétry, 'why you separate these seeds which seem to me to be all alike. 'Look through this microscope, and see this black speck on those which I place aside; but I wish to carry the horticultural lesson still further.' He took a flower-pot, made six holes in the earth, and planted three of the good seeds, and three of the spotted ones. 'Recollect that the bad ones are on the side of the crack, and when you come and take a walk, do not forget to watch the stalks as they grow.'

"Grétry found a melancholy charm in returning frequently to the garden of the convent. As he passed, he each time cast a glance on the old flower-pot. The six stems at first shot up, each equally verdant. The spotted seeds soon grew the longest, to his great surprise. He was about to accuse the old monk of having lost his wits; but what was afterwards his sorrow, when he saw his three plants gradually fading away in their spring-time! With each setting sun a leaf fell and dried up, while the leaves of the other stems thrived more and more with every breeze, every ray of the sun, every drop of dew. He went to dream every day before his dear plants, with exceeding sadness. He soon saw them wither away, even to the last leaf. On the same day the others were in flower.

"This accident of nature was a cruel horoscope. Thirty years afterward poor Grétry saw three other flowers alike fated, fade and fall under the wintry wind of death. He had forgotten the name of the flowers of the Roman convent, but in dying he still repeated the names of the others. They were his three daughters, Jenny, Lucile, and Antoinette. 'Ah!' exclaimed the poor musician, in relating the death of his three daughters, 'I have violated the laws of nature to obtain genius. I have watered with my blood the most frivolous of my operas, I have nourished my old mother, I have seized on reputation by exhausting my heart and my soul; Nature has avenged herself on my children! My poor children, I foredoomed them to death!'

"Grétry's daughters all died at the age of sixteen. There is something strange in their life and in their death, which strikes the dreamer and the poet. This sport of destiny, this freak of death, this vengeance of Nature, appears here invested with all the charms of romance. You will see.

"Jenny had the pale, sweet countenance of a virgin. On seeing her, Greuze said one day, 'If I ever paint Purity, I shall paint Jenny.' 'Make haste!' murmured Grétry, already a prey to sad presentiments. 'Then she is going to be married?' said Greuze. Grétry did not answer. Soon, however, seeking to blind himself, he continued: 'She will be the staff of my old age; like Antigone, she will lead her father into the sun at the decline of life.'

"The next day Grétry came unexpectedly upon Jenny, looking more pale and depressed than ever. She was playing on the harpischord, but sweetly and slowly. As she was playing an air from Richard Cœur-de-Lion, in a melancholy strain, the poor father fancied that he was listening to the music of angels. One of her friends entered. 'Well, Jenny, you are going to-night to the ball?' 'Yes, yes, to the ball,' answered poor Jenny, looking toward heaven; and suddenly resuming, 'No, I shall not go, my dance is ended.' Grétry pressed his daughter to his heart, 'Jenny, are you suffering?' 'It is over!' said she.

"She bent her head and died instantly, without a struggle! Poor Grétry asked if she was asleep. She slept with the angels.

"Lucile was a contrast to Jenny; she was a beautiful girl, gay, enthusiastic, and frolicksome, with all the caprices of such a disposition. She was almost a portrait of her father, and possessed, besides, the same heart and the same mind. 'Who knows,' said poor Grétry, 'but that her gayety may save her.' She was unfortunately one of those precocious geniuses who devour their youth. At thirteen she had composed an opera which was played every where, Le Marriage d'Antonio. A journalist, a friend of Grétry, who one day found himself in Lucile's apartment, without her being aware of it, so much was she engrossed with her harp, has related the rage and madness which transported her during her contests with inspiration, that was often rebellious. 'She wept, she sang, she struck the harp with incredible energy. She either did not see me, or took no notice of me; for my own part, I wept with joy, in beholding this little girl transported with so glorious a zeal, and so noble an enthusiasm for music.'

"Lucile had learned to read music before she knew her alphabet. She had been so long lulled to sleep with Grétry's airs, that at the age when so many other young girls think only of hoops and dolls, she had found sufficient music in her soul for the whole of a charming opera. She was a prodigy. Had it not been for death, who came to seize her at sixteen like her sister, the greatest musician of the eighteenth century would, perhaps, have been a woman. But the twig, scarcely green, snapped at the moment when the poor bird commenced her song. Grétry had Lucile married at the solicitation of his friends. 'Marry her, marry her,' they incessantly repeated; 'if Love has the start of Death, Lucile is safe.' Lucile suffered herself to be married with the resignation of an angel, foreseeing that the marriage would not be of long duration. She suffered herself to be married to one of those artists of the worst order, who have neither the religion of art nor the fire of genius, and who have still less heart, for the heart is the home of genius. The poor Lucile saw at a glance the desert to which her family had exiled her. She consoled herself with a harp and a harpsichord; but her husband, who had been brought up like a slave, cruelly took delight, with a coward's vengeance, in making her feel all the chains of Hymen. She would have died, like Jenny, on her father's bosom, amidst her loving family, after having sung her farewell song; but thanks to this barbarous fellow, she died in his presence, that is to say, alone. At the hour of her death, 'Bring me my harp!' said she, raising herself a little. 'The doctor has forbidden it,' said this savage. She cast a bitter, yet a suppliant look upon him. 'But as I am dying!' said she. 'You will die very well without that.' She fell back on her pillow. 'My poor father,' murmured she, 'I wished to bid you adieu on my harp; but here I am not free except to die!' Lucile, it is the nurse who related the scene, suddenly extended her arms, called Jenny with a broken voice, and fell asleep like her for ever.

"Antoinette was sixteen. She was fair and smiling like the morn, but she was fated to die like the others. Grétry prayed and wept, as he saw her growing pale; but death was not stopped so easily. Cruel that he is, he stops his ears, there is no use to pray to him! Grétry, however, still hoped. 'God,' said he, 'will be touched by my thrice bitter tears.' He almost abandoned music, in order to have more time to consecrate to his dear Antoinette. He anticipated all her fancies, dresses, and ornaments, books and excursions,—in a word, she enjoyed to her heart's desire every pleasure the world could afford. At each new toy she smiled with that divine smile which seems formed for heaven. Grétry succeeded in deceiving himself; but she one day revealed to him all her ill-fortune in these words, which accidentally escaped from her: 'My godmother died on the scaffold: she was a godmother of bad augury, Jenny died at sixteen, Lucile died at sixteen, and I am now sixteen myself.' The godmother of Antoinette was the queen Maria Antoinette.

"Another day, Antoinette was meditating over a pink at the window. On seeing her with this flower in her hand, Grétry imagined that the poor girl was suffering herself to be carried away by a dream of love. It was the dream of death! He soon heard Antoinette murmur; 'I shall die this spring, this summer, this autumn, this winter!' She was at the last leaf. 'So much the worse,' she said; 'I should like the autumn better.' 'What do you say, my dear angel?' said Grétry, pressing her to his heart. 'Nothing, nothing! I was playing with death; why do you not let the children play?'

"Grétry thought that a southern journey would be a beneficial change; he took his daughter to Lyons, where she had friends. For a short time she returned to her gay and careless manner. Grétry went to work again, and finished Guillaume Tell. He went every morning, in search of inspiration, to the chamber of his daughter, who said to him one day, on awaking: 'Your music has always the odor of a poem; this will have that of wild thyme.'

"Towards autumn, she again lost her natural gayety. Grétry took his wife aside—'You see your daughter,' said he to her. At this single word, an icy shudder seized both. They shed a torrent of tears. The same day they thought of returning to Paris. 'So we are to go back to Paris', said Antoinette; 'it is well. I shall rejoin there those whom I love.' She spoke of her sisters. After reaching Paris, the poor, fated girl concealed all the ravages of death with care; her heart was sad, but her lips were smiling. She wished to conceal the truth from her father to the end. One day, while she was weeping and hiding her tears, she said to him with an air of gayety: 'You know that I am going to the ball to-morrow, and I want to appear well-dressed there. I want a pearl necklace, and shall look for it when I wake up to-morrow morning.'

"She went to the ball. As she set out with her mother, Rouget Delisle, a musician more celebrated at that time than Grétry, said rapturously: 'Ah, Grétry, you are a happy man! What a charming girl! what sweetness and grace!' 'Yes,' said Grétry, in a whisper, 'she is beautiful and still more amiable; she is going to the ball, but in a few weeks we shall follow her together to the cemetery!' 'What a horrible idea! You are losing your senses!' 'Would I were not losing my heart! I had three daughters; she is the only left to me, but already I must weep for her!'

"A few days after this ball, she took to her bed, and fell into a sad but beautiful delirium. She had found her sisters again in this world; she walked with them hand in hand; she waltzed in the same saloon; she danced in the same quadrille; she took them to the play: all the while recounting to them her imaginary loves. What a picture for Grétry! 'She had,' he says in his Memoirs, some serene moments before death.—She took my hand, and that of her mother, and with a sweet smile, 'I see well,' she murmured, 'that we must bear our destiny; I do not fear death; but what is to become of you two?' She was propped up by her pillow while she spoke with us for the last time. She was laid back, then closed her beautiful eyes, and went to join her sisters!

"Grétry is very eloquent in his grief. There Is in this part of his Memoirs a cry which came from his heart, and wrings our own. 'Oh, my friends,' he exclaims, throwing down the pen, 'a tear, a tear upon the beloved tomb of my three lovely flowers, predestined to die, like those of the good Italian monk.'"