brought to his chamber. Such was her modesty, and
confusion that she dared not raise her eyes from the ground. The King
spoke kindly to her, and gave her two thousand crowns to take her back to
her own home. The Provost was instructed to restore all these different
articles to her, and as regarded myself, I willingly let her have the
portrait, though it was worth a good deal more than the ten louis
mentioned.

When she got back to her own country and the news of her safe arrival was
confirmed, the King sent her twenty thousand livres as a dowry, which
enabled her to make a marriage suitable to her good-natured disposition
and blameless conduct.

She made a marked impression upon his Majesty, and he was often wont to
speak about the chandelier on account of her, always alluding to her in
kindly, terms. If ever he returns to Holland, I am sure he will want to
see her, either from motives of attachment or curiosity. Her name, if I
remember rightly, was Flora.

CHAPTER LVIII.

The Observatory.--The King Visits the Carthusians.--How a Painter with
His Brush May Save a Convent.--The Guilty Monk.--Strange
Revelations.--The King's Kindness.--The Curate of Saint Domingo.

When it was proposed to construct in Paris that handsome building called
the Observatory, the King himself chose the site for this. Having a map
of his capital before him, he wished this fine edifice to be in a direct
line of perspective with the Luxembourg, to which it should eventually be
joined by the demolition of the Carthusian Monastery, which filled a
large gap.

The King was anxious that his idea should be carried out, but whenever he
mentioned it to M. Mansard and the other architects, they declared that
it was a great pity to lose Lesueur's admirable frescos in the cloisters,
which would have to be destroyed if the King's vast scheme were executed.

One day his Majesty resolved to see for himself, and without the least
announcement of his arrival, he went to the Carthusian Monastery in the
Rue d'Enfer. The King has great knowledge of art; he admired the whole
series of wall-paintings, in which the life of Saint Bruno is divinely
set forth.

[By a new process these frescos were subsequently transferred to canvas
in 1800 or 1802, at which date the vast property of the Carthusian monks
became part of the Luxembourg estates.--EDITOR'S NOTE.]

"Father," said he to the prior who showed him round, "these simple,
touching pictures are far