se faithful
constituents had sent him to the National Assembly, his brother-in-law
had been transferred to a regiment of zouaves, of which he became colonel
in 1875, whereupon he decided to remain in Africa during the rest of his
life.

But Tunis and Tonquin opened new horizons to him. Landing as a
brigadier-general at Haiphong, he was about to assume, at Bac-Ninh, his
third star, when the Minister of War, examining the brilliant record of
this officer who, since 1862, never had ceased his service to his
country, called him to take command of one of the infantry divisions of
the army of Paris, a place which he had occupied only a few months before
the events related in the preceding chapter.

CHAPTER XI

EUGENIE GONTIER

Few salons in Paris have so imposing an air as the foyer of the dramatic
artists of the Comedie Francaise, a rectangular room of fine proportions,
whose walls are adorned with portraits of great actors, representing the
principal illustrations of the plays that have been the glory of the
house Mademoiselle Duclos, by Largilliere; Fleury, by Gerard; Moliere
crowned, by Mignard; Baron, by De Troy, and many others.

At the left of the entrance, separated by a large, high mirror which
faced the fireplace, two other canvases, signed by Geffroy, represent the
foyer itself, in costumes of the classic repertoire, the greater part of
the eminent modern 'societaires', colleagues and contemporaries of the
great painter.

Between the windows, two pedestals, surmounted by busts of Mademoiselle
Clairon and Mademoiselle Dangeville, stood, one on each side of the great
regulator--made by Robin, clockmaker to the king--which dominated the
bust of Moliere--after Houdon--seeming to keep guard over all this
gathering of artistic glory.

Opposite this group, hanging above a large table of finely chiselled
iron, were two precious autographs under glass: a brevet of pension,
dated 1682, signed Louis and countersigned Colbert; an act of notary,
dated 1670, bearing the signature of Moliere, the master of the house.

Disposed about the room were sofas, armchairs, and tete-a-tete seats in
oak, covered with stamped green velvet.

Here, at the first representations of new plays, or at important revivals
of old ones, flocked literary notables and the regular frequenters of the
theatre, eager to compliment the performers; here, those favored
strangers who have the proper introduction, and who wish to see the place
a