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When she had painted the head and sketched out the arms and figure, Mme. Le Brun was obliged to go to Paris. She intended to come back to finish her work, but she found the murder of Foulon and Berthier had just taken place, and the state of [77] affairs was so alarming that her one object was to get out of France. The portrait fell into the hands of Count Louis de Narbonne, who restored it to her on her returnwhen she finished it.

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Well, citoyenne, I shall give orders for your trial to come on at once before the tribunal. If the citoyen Fontenay is not guilty you are not either. In consequence you will be able to go on and see your father at Madrid.For nothing was safe from her pencil: her books, her copy-books, even those of her schoolfellows, the walls of the dormitory, every available space was covered with heads, figures, and landscapes in crayon or charcoal, and when out in the playground she drew with a stick upon the sand.
ONE:The two sisters clung to each other in terror, but the man, who saw quite well that they were no grisettes, came forward respectfully, saying to Mme. de Marigny, Alas! Mme. la Comtesse, why consult destiny? It is pitiless. Nothing will succeed with you; you will die young.He answered immediately
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The Queen had no idea of economy, and the Comte dArtois was still more extravagant and heedless. [274] Many were the absurd stories told of him, harmless and otherwise. Of the first description is the affair of the wig of M. de Montyon. Arriving early one morning to speak to him, and seeing no servants about, he mistook the door and walked unannounced into a room where he saw a young man in his shirt sleeves, with his hair all rough and his toilette very incomplete, who, astonished at the sudden entrance of a magistrate in an enormous wig, asked him brusquely what he was doing there.[56]To divert his thoughts and attention from the rigours and cruelties, for the perpetration of which he had been sent to Bordeaux, she persuaded him to have his portrait done, and induced him and the artist to prolong the sittings on pretence of making the picture a chef d?uvre, but in reality to occupy his time and attention; in fact, he was found by some one who called to see him reclining comfortably in a boudoir, dividing his attention between the artist who was painting the portrait and Trzia, who was also present.
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