face are far from being regular. Her mouth is large, her eyes hollow,
and her nose short. Her language is that of brothels, and her manners
correspond with her expressions. She is the daughter of a workman at a
silk manufactory at Lyons; she ceased to be a maid before she had
attained the age of a woman, and lived in a brothel in her native city,
kept by a Madame Thibault, where her husband first became acquainted with
her. She then had a tolerably good voice, was young and insinuating, and
he introduced her on the same stage where he was one of the inferior
dancers. Here in a short time she improved so much, that she was engaged
as a supernumerary; her salary in France as an actress was, however,
never above twelve hundred livres in the year--which was four hundred
livres more than her husband received.

He, with several other inferior and unprincipled actors and dancers,
quitted the stage in the beginning of the Revolution for the clubs; and
instead of diverting his audience, resolved to reform and regenerate his
nation. His name is found in the annals of the crimes perpetrated at
Lyons, by the side of that of a Fouche, a Collot d'Herbois, and other
wicked offsprings of rebellion. With all other terrorists, he was
imprisoned for some time after the death of Robespierre; as soon as
restored to liberty, he set out with his wife for Hamburg, where some
amateurs had constructed a French theatre.

It was in the autumn of 1795 when Madame Chevalier was first heard of in
the North of Europe, where her arrival occasioned a kind of theatrical
war between the French, American, and Hamburg Jacobins on one side, and
the English and emigrant loyalists on the other. Having no money to
continue her pretended journey to Sweden, she asked the manager of the
French theatre at Hamburg to allow her a benefit, and permission to play
on that night. She selected, of course, a part in which she could appear