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She expressed her gratification by repairing forthwith to the region of the gasoline stove and rewarding her guest with the promised cup of coffee. The coffee and the biscuit accompanying it proved very acceptable to Edna, who had declined refreshment at Madame Lebrun's and was now beginning to feel hungry.
Madame Bonaparte was to be present not, to be sure, in the balcony of the clock-tower, that being evidently too royal, but at the window of Lebrun's apartment in the Pavilion of Flora.
In 1816 Emile Deschamps preluded to the after-triumphs of the Romantic School with his play the Tour de faveur, the latter being followed in 1820 by Lebrun's Marie Stuart. Alfred de Vigny was preparing his Eloa; Nodier was delighting everybody by his talents as a philologian, novelist, poet, and chemist. Beranger was continuing his songs, and paying for his boldness with imprisonment.
This work of Lebrun's is then the epitome of border. Greater than this hath no man done, to make a tapestry all border which yet so intensified the value of the small central design, that not even the royal patron, jealous of his own conspicuousness, discovered that art had replaced display. After that a great change came. As the picture ever regulates the border, that change was but logical.
In 1840 she added to her list of impersonations Laodie and Pauline in Corneille's "Nicomède" and "Polyeucte," and Marie Stuart in Lebrun's tragedy. In 1841 she played no new parts. In 1842 she first appeared as Chimène in "Le Cid," as Ariane, and as Frédégonde in a wretched tragedy by Le Mercier.
Later, Vaux forgotten, or at least a thing of the past, Lebrun's decorative genius found expression in the series called The Months or The Royal Residences, of which there were twelve hangings. In these last the scheme is the perfection of decoration, with the subject well subdued, yet so subtly placed that notwithstanding its modesty, the eye promptly seeks it.
The only point I wish to make is, that Lebrun's painting Louis Quatorze painting is not the perfunctory thing we are apt to assume it to be. That is not the same thing, I hope, as maintaining that M. Bouguereau is significant rather than insipid. Lebrun was assuredly not a strikingly original painter.
He wanted excitement, strife, competition; something to fill his mind. And naturally enough he had two places in mind Lebrun's and Milligan's. It is hard to relate the state of Donnegan's mind at this time. Chiefly, he was conscious of a peculiar and cruel pain that made him hollow; it was like homesickness raised to the nth degree.
The set of most renown, woven under Lebrun's generalship, was that splendid advertisement of the king's magnificence known as the History of the King. Louis demanded above all else that he should appear splendidly before men. He was jealous of the magnificence of all kings and emperors, whether living or dead. Even Solomon's glory was not to typify greater than his.
He put on his big straw hat, and taking his umbrella from the stand in the hall, followed the lady in black, never overtaking her. The little negro girl who worked Madame Lebrun's sewing-machine was sweeping the galleries with long, absent-minded strokes of the broom. Edna sent her up into the house to awaken Robert. "Tell him I am going to the Cheniere. The boat is ready; tell him to hurry."
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