lasted during the evening. The assembled company were in convulsions of
suppressed laughter, which broke out when, at the moment of M. Barthe's
most ecstatic admiration and respect for his new patron, Sophie Arnould
lifted her glass, and, looking at the chevalier, said, in a clear voice,
"Your health, Jeannot!" The sensations of poor M. Barthe may readily be
imagined. The incident became the story of the day in all circles, and
the unlucky poet could not go anywhere for fear of being tormented about
"Jeannot."

At length she withdrew completely from the follies, passions, and
cares of the world, and bought an ancient monastic building, formerly
belonging to the monks of St. Francis, near Luzarches, eighteen or
twenty miles from Paris. This grim residence she decorated luxuriously
in its interior, and over the door inscribed the ecclesiastical motto,
"Ite missa est." Here she remained during the earlier storms of the
Revolution, though she occasionally went to Paris at the risk of her
head to gratify her curiosity about the republican management of opera,
which presented some very unique features. The reader will be interested
in some brief pictures of the revolutionary opera.

It was directed by four distinguished _sans culottes_--Henriot,
Chaumette, Le Rouxand, and Hébert. The nominal director, however, was
Francoeur, the same who first brought out Sophie Arnould in Louis XV.'s
time. Henriot, Danton, Hébert, and other chiefs of the Revolution would
hardly take a turn in the _coulisses_ or _foyer_ before they would say
to some actor or actress: "We are going to your room; see that we are
received properly." This of course meant a superb collation; and, after
emptying many bottles of the costliest wines, the virtuous republicans
would retire without troubling themselves on the score of expense. As
this was a nightly occurrence, and the poor actors had no money, the