His Majesty was himself the author of several political writings and an account of a "Journey to Coblentz." There are also attributed to him the text of the opera "The Caravan" and "The Lutenist of Lübeck," a prose play in one act, given at the Théâtre Français. He had a strong attachment for the Théâtre Français. He often went to that playhouse, and especially admired the acting of Talma. Whenever that great actor, happening to be on duty for the week, carried a torch before the King to his box, Louis would regularly stop to talk with him a long time. These conversations were in English, spoken by both as well as their own language. It was reported to me that Talma had said, "I prefer Louis XVIII.'s courtesy to Bonaparte's pension."
Courtesy, in fact, is the greatest charm of princes; it doubles the value of the slightest favour. In this regard His Highness the Count d'Artois was in no way behind his brother. By no means forgotten are the innumerable apt sayings, bearing the corner-mark of kindness, with which he won men's hearts. After his accession to the throne—upon the death of Louis XVIII.—I chanced to be at the Louvre the day he was giving medals to the painters and sculptors. Before presenting them he said, in the most sympathetic manner, "They are not encouragements, but rewards." All the artists were touched by the delicate compliment implied in these words.
As for the Duke de Berri, if he had not quite the same courtesy as his father, he was as clever, especially in that timely quickness of wit so useful to princes. I select one example out of a thousand. The first time he reviewed some troops he heard a few cries from the ranks of "Long live the Emperor!" "Quite right, my friends," was his immediate remark; "every one must live." Upon which the same soldiers exclaimed, "Long live the Duke de Berri!"
His goodness of heart went so far that not only did he interest himself in everything that concerned his friends, but behaved toward the domestics of his household as the father of a family might have done. He was worshipped by his servants, and employed his influence to encourage them in good conduct and in making whatever savings they could. One day, as he was about to enter his carriage, a little kitchen scullion came running up to him with, "Your Highness, I have saved fifteen francs this year!" "Well, my boy, that makes thirty," said the Duke, giving him the sum the boy had mentioned. The Duke de Berri kept his revenues in good order; his heaviest expenses were occasioned by his taste for the arts, a predilection shared by his amiable wife. The Duchess de Berri was fond of encouraging young artists; she would buy their pictures and often order more. Her liberality in paying never made her forget the duty of politeness incumbent upon rank. She showed model civility in all her dealings with men of talent.
Of the Duchess d'Angoulême I would not venture to speak. What could I say that would not fall short of the truth? The merits of this Princess are known to the whole world, and I fear I should but weaken the future verdict of history. It is equally well known that fate united her with a Prince whose high soul worthily appreciated her.
Such was the family brought back to us by the Restoration. It is for politicians to explain how so many virtues and excellencies were insufficient to preserve the throne to them—my grateful heart cannot but regret them.
Under Bonaparte, the large portrait I had made of the Queen and her children had been relegated to a corner of the palace of Versailles. I left Paris one morning to take a glance at it. Arrived at the royal gate, a guard escorted me to the room which contained the picture, and which was forbidden the public. The custodian who admitted us recognised me from having seen me in Rome, and exclaimed, "Oh, how glad I am to welcome Mme. Lebrun here!" He hastened to turn my picture round, which was facing the wall, since Bonaparte, after learning that many came to look at it, had ordered its removal. The order, as is plain, was very badly obeyed, since the exhibition of the picture continued, and this to such a degree that the custodian, when I wanted to give him a trifle, persisted in declining it, saying that I had earned him enough money. When the Restoration came, this picture was reëxhibited at the Salon. I was keeping for myself another picture representing the Queen, done during the reign of Bonaparte. I had painted Marie Antoinette ascending to heaven; to her left, on some clouds, are Louis XVI. and two angels, symbolising the two children he had lost.
LOUISE MARIE ADÉLAÏDE DE BOURBON.