2307 ([return])
[ The growth of sensibility is indicated by the following dates: Rousseau, "Sur l'influence des lettres et des arts," 1749; "Sur l'inégalité," 1753; "Nouvelle Héloise," 1759. Greuze, "Le Pére de Famille lisant la Bible," 1755; "L'Accordée de Village," 1761. Diderot, "Le fils natural," 1757; "Le Pére de Famille," 1758.]
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[ Mme. de Genlis, "Mémoires," chap. XVII.—George Sand, I. 72. The young Mme. de Francueil, on seeing Rousseau for the first time, burst into tears.]
2309 ([return])
[ This point has been brought out with as much skill as accuracy by Messieurs de Goncourt in "L'Art au dix-huitième siècle," I. 433-438.]
2310 ([return])
[ The number for August, 1792, contains "Les Rivaux d'eux-mêmes."—About the same time other pieces are inserted in the "Mercure," such as "The federal union of Hymen and Cupid," "Les Jaloux," "A Pastoral Romance," "Ode Anacréontique à Mlle. S. D. . . . "etc.]
2311 ([return])
[ Mme. de Genlis, "Adéle et Théodore," I. 312.—De Goncourt, "La Femme an dixhuitième siècle," 318.—Mme. d'Oberkirk, I. 56.—Description of the puff au sentiment of the Duchesse de Chartres (de Goncourt, 311): "In the background is a woman seated in a chair and holding an infant, which represents the Duc de Valois and his nurse. On the right is a parrot pecking at a cherry, and on the left a little Negro, the duchess's two pets: the whole is intermingled with locks of hair of all the relations of Mme. de Chartres, the hair of her husband, father and father-in-law.">[