D’Eon seems, in fact, as his little diary shows, to have admired the charming hostess no less than he appreciated her suppers. He spent most of his evenings at her house, and when, occasionally, he did not make his appearance, the little coterie which he enlivened by his gaiety was quite anxious about his health. If news reached them that he was ill, all the ladies hastened to his house. “Princess Sapieha, inquiring after him, sends to him the calabash syrup which she has recommended to him, and she sincerely hopes it will help to cure him.” On another occasion the Marquis de Comeiras, major-general of the King’s armies, acted as spokesman for d’Eon’s intimate friends, and expressed their anxiety in the following terms:— I was more grieved than astonished, dear comrade, to hear, yesterday, that your throat was bad, that you had asked to be excused from going to Madame de Brige’s, and that she had sent you some broth. I told all that to Madame de Marchais last night: she at once wanted to send you some soup, another lady some beef-tea.... The Princesse de Montbarrey is very anxious to see you at her house; I have promised to mention this to you. They flatter me very much, my dear old comrade, by thinking that you are at my disposal. The fair sex, wishing to see their heroine, is constantly speaking to me of her. Indeed d’Eon’s popularity was at its height, and he did his best to sustain it. Conceiving the idea of handing down to posterity the record of his exploits, he set about composing a series of fantastic accounts of his resumption of feminine dress, and also some important notes relating to the negotiations in which he had taken part. These various projects were not published, and are contained in the voluminous collection of his papers, d’Eon contenting himself with offering to the admiration of his contemporaries _The Military, Political, and Private Life of Mademoiselle d’Eon, known until 1777 by the Name of Chevalier d’Eon_. He himself edited the greater part, which appeared in the _Fastes Militaires_; but the signature of M. de la Fortelle, which figures on the title-page of the work, enabled the Chevalier to sing his own praises—praises to which he considered himself honestly entitled—without infringing the laws of modesty. Three thousand copies were specially printed off and sold in England, or distributed among friends, to whom the donor also sent his portrait, either engraved or etched.