very soon that head and sword would go together. The 18th Brumaire was contrived by Sieyès; but he was in his coach, outside S. Cloud, when Napoleon entered to dissolve the Council of the Five Hundred. In face of the tumult within Bonaparte lost his confidence and was thrust forth by the Deputies. He found Sieyès in his carriage, to which were harnessed six horses, ready to start at full gallop should the _coup_ fail. “Do they seek to outlaw you?” asked Sieyès. “Man, outlaw them yourself.” Napoleon recovered himself and re-entered the hall at the head of his soldiery. The situation was saved. Bonaparte, Sieyès, and Roger-Ducros were nominated Consuls. The Revolution had abdicated into the hands of the military. That same evening Sieyès said to his intimates, “We have given ourselves a master.” Afterwards, Bonaparte, as first Consul, took him into the Senate, and granted to him the domains of Crosne. Later, it was said— “Bonaparte à Sieyès a fait présent de Crosne, Sieyès à Bonaparte a fait présent de trône.” Under the empire Sieyès was created a count. During the Hundred Days, Sieyès took his place in the Chamber of Peers, but at the second restoration he was banished as one of the regicides. He went to Brussels, but after the Revolution of 1830 returned to Paris, where he died in 1836. To finish with one more worthy, of a character very different from the rest: Marc Antoine Désaugiers. Born at Féjus in 1772, he died in 1827. He was the soul of the _Caveau Moderne_. The old Caveau had been founded by Piron, Collé, and others. They met twice a month at the wine-shop of Landelle, where they produced songs, stories, and epigrams they had composed, dined and drank together. This réunion began in 1737, and lasted over ten years. After the 9th Thermidor, and the fall of Robespierre, the Terror was at an end. Men began to breathe freely, lift up their heads, and look about for amusements to indemnify themselves for the reign of horrors they had passed through. Then some choice spirits renewed the reminiscences of the old Caveau, and met near the Theatre of the Vaudeville, opened in 1792. The songs that were sung, the stories there told, flew about. The public desired to share in the merriment, and in Vendémiaire of the year V. (September, 1796) appeared the first number of the _Caveau Moderne_. The tavern at which the company met was “Le Rocher de Cancalle.” A complete edition of the songs was published in 1807. The tunes to which the songs were set were either well-known folk-melodies, or opera-house airs. Désaugiers was a large contributor. As a specimen of his style I give some stanzas of his “Carnaval.” “Momus agite ses grelots, Comus allume ses fourneaux, Bacchus s’enivre sur sa tonne, Palas déraisonne, Apollon détonne, Trouble divin, bruit infernal— V’là c’que c’est que l’Carnaval.