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The reports of the Intendants to their respective Governments, of Luettichau in the forties, of Royer in Paris in 1861, show how far the authorities were from understanding the nature either of the work which they were undertaking or of the man with whom they had to deal.

Vaez and A. Royer will be of great assistance to you both for the translation and rearrangement of "Rienzi" and for the design of your new work. Associate and concur with them strictly for the realization of that plan from which you must not swerve: To give "Rienzi" during the winter of 1850 at the Paris Opera, whence it will take its flight to all the theatres of Germany, and perhaps of Italy.

But on a moment's reflection it will be evident that the leaving of Royer alone in Jaffa would have been to devote to certain death; and that a prompt and, cruel one, a man who was extremely useful to the army, and who was at the time in perfect health. It must be remembered that no guard could be left with him, and that the Turks were close at our heels.

It shut, and I was left alone again. For twenty minutes I sat there, wondering what I was to do next. I was still perfectly convinced that I was wanted, but when or how I had no notion. I kept looking at my watch, and as the time crept on to half-past ten I began to think that the conference must soon end. In a quarter of an hour Royer should be speeding along the road to Portsmouth ...

This Procureur-General was at the time M. de Royer, who had been keeper of the Seals for M. Bonaparte. Thence a new difficulty and a long debate. Would M. de Royer consent? M. Hardouin undertook to go and make the offer to him. He had only to cross the Mercière Gallery. M. de Royer was in his study. The proposal greatly embarrassed him. He remained speechless from the shock.

On the other side of me was Royer Collard, suffering with toothache and swelled face; but, notwithstanding the distortion of the swelling, the natural expression of his countenance and the strength and sincerity of his soul made their way, and the frankness of his character and plain superiority of his talents were manifest in five minutes' conversation.

All of the Royer boys noticed that Dan Baxter did not turn up at roll call, nor did the bully put in an appearance that night. "Got a day off," said Mumps, but that was all he could tell. Late on the following day Tom was walking toward the gymnasium when he caught sight of Baxter just entering the school grounds. He at once ran toward the bully.

At my house he will get a certain document from Whittaker, and after that he will be motored to Portsmouth where a destroyer will take him to Havre. His journey is too important for the ordinary boat-train. He will never be left unattended for a moment till he is safe on French soil. The same with Whittaker till he meets Royer.

"La Favorita," an opera in four acts, words by Royer and Waëtz, the subject taken from the French drama, "Le Comte de Commingues," was first produced at the Académie, Paris, Dec. 2, 1840, with Mme. Stolz as Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Its success in England, where it was first produced Feb. 16, 1847, was made by Grisi and Mario.

"I also saw an Englishman, named John Milton; he is a young man just come from Italy, and is returning to London. He scarcely speaks at all." "I don't know him not at all; but I'm sure he's some other Calvinist. And the Frenchmen, who were they?" "The young man who wrote Cinna, and who has been thrice rejected at the Academie Francaise; he was angry that Du Royer occupied his place there.