soned for some time after the death of Robespierre; as soon as
restored to liberty, he set out with his wife for Hamburg, where some
amateurs had constructed a French theatre.

It was in the autumn of 1795 when Madame Chevalier was first heard of in
the North of Europe, where her arrival occasioned a kind of theatrical
war between the French, American, and Hamburg Jacobins on one side, and
the English and emigrant loyalists on the other. Having no money to
continue her pretended journey to Sweden, she asked the manager of the
French theatre at Hamburg to allow her a benefit, and permission to play
on that night. She selected, of course, a part in which she could appear
to the most advantage, and was deservedly applauded. The very next
evening the Jacobin cabal called the manager upon the stage, and insisted
that Madame Chevalier should be given a regular engagement. He replied
that no place suitable to her talents was vacant, and that it would be
ungenerous to turn away for her sake another actress with whom the public
had hitherto declared their satisfaction. The Jacobins continued
inflexible, and here, as well as everywhere else, supported injustice by
violence. As the patriotism of the husband, more than the charms of the
wife, was known to have produced this indecent fracas, which for upwards
of a week interrupted the plays, all anti-Jacobins united to restore
order. In this they would, perhaps, have finally succeeded, had not the
bayonets of the Hamburg soldiers interfered, and forced this precious
piece of revolutionary furniture upon the manager and upon the stage.

After displaying her gratitude in her own way to each individual of the
Jacobin levy en masse in her favour, she was taken into keeping by a then
rich and married Hamburg merchant, who made her a present of a richly and
elegantly furnished house, and expended besides ten thousand louis d'or
on her, before he had a mortifying conviction that some other had
partaken of those favours for which he had so dearly paid. A countryman
of yours then showed himself with more noise than honour upon the scene,
and made his debut with a phaeton and four, which he presented to his
theatrical goddess, together with his own dear portrait, set round with
large and valuable diamonds. Madame Chevalier, however, soon afterwards
hearing that her English gallant had come over to Germany for economy,
and that his credit with his banker was nearly exhausted, had his