[161] It was composed by one of the émigrés, M. de Limon, approved by the Emperor of Austria and the King of Prussia, and signed, against his better judgment, by the Duke of Brunswick.
[162] The numbers have been variously estimated from 100 to 5000 killed on the popular side.
[163] “Sew we, spin we, sew we well, behold the coats we have made for the winter that is coming. Soldiers of the Fatherland, ye shall want for nothing.”
[164] Inferno. XV. 76-78.—“In whom lives again the seed of those Romans who remained there when the nest (Florence) of so much wickedness was made.”
[165] Mdlle. Curchod, for whom Gibbon “sighed as a lover.”
[166] “We could rouse no enthusiasm,” said the head of a State Department to the writer at the time of the Fashoda incident, “even for a war for the recovery of Alsace and Lorraine, much less against England.”
[167] See p. 41.
[168] According to Sir Thomas Browne, bodies soon consumed there. “‘Tis all one to lie in St. Innocents’ churchyard as in the sands of Egypt, ready to be anything, in the ecstasy of being ever, and as content with six feet as the moles of Adrianus.”—Urn Burial, p. 351.
[169] The picture subsequently found its way to the apartments of Louis XVI., and followed him from Versailles to Paris. The attitude of this ill-fated monarch towards his advisers, says Michelet, was much influenced by a fixed idea that Charles I. lost his head for having made war on his people, and that James II. lost his crown for having abandoned them.
[170] French Painting in the Sixteenth Century, by L. Dimier. London, 1904.