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However, she allowed herself to be persuaded: she went with her aunt constantly to Raincy, the country place just bought by the Duc dOrlans; she was attracted by the gentle, charming Duchesse de Chartres, she listened to the representations of the advantages she might secure for her children, and at length she laid the case before Mme. de Puisieux, who, unselfishly putting away the consideration of her own grief at their separation, and thinking only of the advantages to Flicit and her family, advised her to accept the position offered her. [352]

The last at which Mme. Le Brun was present was the Mariage de Figaro, played by the actors of the Comdie Fran?aise; but, as she observes in one of her letters, Beaumarchais [26] must have intolerably tormented M. de Vaudreuil to induce him to allow the production of a piece so improper in every respect. Dialogue, couplets, all were directed against the court, many belonging to which were present, besides the Comte dArtois himself. Everybody was uncomfortable and embarrassed except Beaumarchais [27] himself, who had no manners and [63] was beside himself with vanity and conceit, running and fussing to and fro, giving himself absurd airs, and when some one complained of the heat, breaking the windows with his stick instead of opening them. No, said the Marchal, if she must go I will tell her myself.

Au banquet de la vie peine commenc About the former, who was deeply in love with her, and most anxious to make her his wife, she did not care at all. She found him tiresome, and even the prospect of being a princess could not induce her to marry him. Besides, she had taken a fancy to the Marquis de Fontenay, whom she had first met at the house of Mme. de Boisgeloup, who was much older than herself, and as deplorable a husband as a foolish young girl could choose.

Amongst the friends who frequented their house her surprising talent naturally excited much attention and interest. One of those she liked best was the historical painter, Doyen, [11] a man full of culture, information, and good sense, whose remarks upon persons and things, as well as upon painting, she found very useful.

She had written to ask a refuge of her uncle, the Duke of Modena, who sent her some money, but said political reasons prevented his receiving her in his duchy. The poor child, naturally merry and high-spirited, had grown quiet and sad, though she bore without complaining the hardships of her lot.

Early in 1789 she was dining at La Malmaison, which then belonged to the Comte de Moley, a rabid Radical; he and the Abb de Sieys and several others were present, and so fierce and violent was their talk that even the Abb de Sieys said after dinner