Before these days, a nobleman would have considered himself insulted and dishonored if he had been supposed to have become a comedian, or even to have assumed a comedian’s garb, were it but in the home-circle.  The queen by her example had now destroyed this prepossession, and it was now so much bon ton to act a comedy that even men of gravity, even the first magistrate of Paris, could so much forget the dignity of position as to commit to memory and even to act some of the parts of a buffoon. [Footnote:  Montjoie, “Histoire de Marie Antoinette, Reine de France.”]

It was also soon considered to be highly fashionable to set one’s self against the prejudice which had been hitherto fostered against actors; and, whereas the queen took lessons in singing from Garat, the opera-singer, and even sang duets with her, she threw down the wall of partition which had hitherto separated the artistes of the stage from good society.

Unfortunate queen, who, with the best qualities of the heart, was preparing her own ruin; who understood not that the freedom and license which she herself granted, would soon throw on the roof of the Tuileries the firebrand which reduced to dust and ashes the throne of the Bourbons!—­unfortunate queen, who in her modesty would so gladly forget her exaltation and her majesty, and who thereby taught her subjects to make light of majesty and to despise the throne!

She saw not yet the abyss opening under her feet; the flowers of Trianon hid it from her view!  She heard not the distant mutterings of the public mind, which, like the raging wave of the storm, swelled up nearer and nearer the throne to crush it one day under the howling thunders of the unshackled elements of the unloosed rage of the people!

The skies, arching over the fragrant blossoms of the charming Trianon, and over the cottages of the farming queen, were yet serene and cloudless, and the voice of public opinion was yet drowned in the joyous laughter which echoed from the cottages of Trianon, or in the sweet harmonies which waved in the concert-hall, when the queen, with Garat, or with the Baron de Vaudreuil, the most welcome favorite of the ladies, and the most accomplished courtier of his day, sang her duets.

Repose and peace prevailed yet in Trianon, and the loyal subjects of the King of France made their pilgrimages to Trianon, there to admire the idyls of the queen and to watch for the favorable opportunity of espying the queen, Marie Antoinette, in her rustic costume, with a basket of eggs on her arm, or the spindle in hand, and to be greeted by her with a salutation, a friendly word.  For Marie Antoinette in Trianon was only the lady of the mansion, or the farming-lady—­so much so, that she had allowed the very last duties of etiquette, which separated the subject from the queen, to be abandoned, that even when with her gay company she was in Trianon, the gates of the park and of the castle were not closed to visitors, but