y carved rosettes, arabesques, garlands of fruits and flowers,
crowns and medallions.

The supreme ruler of Louis XV's affections--the amazing Madame
Dubarry--was lodged "in a suite of delectable boudoirs" facing the
Marble Court, above the private apartments of the King. Everywhere
appeared the initial _L_ linked with the torches of Love. One of the
objects most admired in the drawing-room was an English piano-forte,
with a case adorned with rosewood medallions, blue and white mosaics
and gilded metal. In this room there were chests of drawers of antique
lacquer and ebony, statues of marble, and garnishings of sculptured
bronze. At night all was ablaze with the lights of the great luster of
rock-crystal that hung from the center of the ceiling, and had cost, it
was said, a sum equaling three thousand American dollars. In varying
form, but with equal richness, all the apartments of Dubarry were
beautified at the King's behest.

In January, 1747, the "theater of the little apartments" of the King
was inaugurated by a representation of "_Tartuffe_" with Madame de
Pompadour in the cast. The King frequently permitted himself to be
distracted with music and the play in this hall in the Little Gallery.
Here was an orchestra of twenty-eight musicians, a ballet, and a chorus
of twenty-six, under the direction of Monsieur de Bury, Lully's
successor as master of the Court music. Actors, singers, dancers, all
were supplied with gorgeous costumes, and given the services of Sire
Notrelle, the most celebrated wig-maker in Paris, who had in his day a
prodigious vogue. One of his advertisements announced his ability to
imitate the coiffures of "gods, demons, heroes and shepherds, tritons,
cyclops, naiads and furies." Astounding were the head-dresses of the
actors and actresses that graced the stage of Versailles.

Invitations to a dramatic performance were given by the King himself,
and, for many years, to men guests only. Sometimes the Pompadour
played the comedies of Voltaire, whom she favored against the will of
all the royal family. Occasionally, performances were of necessity
postponed out of respect to a member of the Court that had been slain
in a duel; but not for long did the King and his train pause in their
restless pursuit of pleasure.

A new theater was installed, with more room for auditors, troupe and
musicians. Finally, in 1753, the Opera House was begun according to
designs submitted by Gabriel, first a