f them had also experienced, and who thronged the streets
along which she passed on her departure, mingling tears of genuine sorrow
with their acclamations, and following her carriage to the outermost gate
of the city that they might gaze their last on the darling of many hearts.

Kehl was the last German town through which she was to pass, Strasburg was
the first French city which was to receive her, and, as the islands which
dot the Rhine at that portion of the noble boundary river were regarded as
a kind of neutral ground, the French monarch had selected the principal
one to be occupied by a pavilion built for the purpose and decorated with
great magnificence, that it might serve for another stage of the wedding
ceremony. In this pavilion she was to cease to be German, and was to
become French; she was to bid farewell to her Austrian attendants, and to
receive into her service the French officers of her household, male and
female, who were to replace them. She was even to divest herself of every
article of her German attire, and to apparel herself anew in garments of
French manufacture sent from Paris. The pavilion was divided into two
compartments. In the chief apartment of the German division, the Austrian
officials who had escorted her so far formally resigned their charge, and
surrendered her to the Comte de Noailles, who had been appointed
embassador extraordinary to receive her; and, when all the deeds necessary
to release from their responsibly the German nobles whose duties were now
terminated had been duly signed, the doors were thrown open, and Marie
Antoinette passed into the French division, as a French princess, to
receive the homage of a splendid train of French courtiers, who were
waiting in loyal eagerness to offer their first salutations to their new
mistress. Yet, as if at every period of her life she was to be beset with
omens, the celebrated German writer, Goethe, who was at that time pursuing
his studies at Strasburg, perceived one which he regarded as of most
inauspicious significance in the tapestry which decorated the walls of the
chief saloon. It represented the history of Jason and Medea. On one side
was portrayed the king's bride in the agonies of death; on the other, the
royal father was bewailing his murdered children. Above them both, Medea
was fleeing away in a car drawn by fire-breathing dragons, and driven by
the Furies; and the youthful poet could not avoid reflecting that a record
of