Early in the morning of the day of the funeral, July 12, Queen Victoria arrived at Camden House with her daughters Alice and Beatrice, and with her own hands laid a laurel wreath of gold upon the coffin. Many other royal and distinguished personages followed, and the expression of genuine sorrow visible on every face lent an air of remarkable solemnity to the occasion. The Archbishop of Southwark performed the burial rites for which some of the most famous opera singers had proffered their services. Those of Madame Caters and Christine Nilsson were accepted; but the latter, some of whose happiest memories were associated with the palmy days of the Empire, and who had then considered it her highest honor to sing before the now broken-hearted Empress, was for the first time unequal to her task. Her voice failed, and she burst into tears. * * * * * * * * Broken by mental and physical suffering, the ex-Empress Eugénie still lives on, awaiting the moment of release that shall reunite her with those dearest to her on earth. She made a pilgrimage to Zululand to see the spot where her son met his death. She has frequented various watering-places seeking relief from the physical infirmities from which she suffers. She visits many hospitals and charitable institutions to minister to the sick and wounded; yet these acts of mercy serve only to revive her sorrows, and emphasize the void in her lonely life. From Chiselhurst, which held so many painful memories, she moved to Farnborough, whither she also had the bodies of the Emperor and the Prince Imperial conveyed. With the Queen of England Eugénie enjoyed the same close friendship as in earlier years, and until the time of Victoria’s death she was a frequent visitor at Windsor, although she never appeared at any Court festivities. She still receives frequent proofs of loyalty from France, and every year on her birthday she is overwhelmed with flowers and good wishes. Yet nothing can rouse her from her melancholy. Whole days and nights she sits brooding over the past, haunted by faces and presentiments of death. At one time her attendants even found it necessary to remove all the portraits of her husband and son in order to preserve her reason. A sad change has also taken place in her appearance. Portraits of her in the early days of her widowhood show a still attractive figure whose unhappy fate is suggested only by her mourning and the lines about the eyes. But years such as she has since experienced count heavily. Her hair is now snowy white. The slender figure is bowed with age and grief. Scarce a trace is left of her wonderful charm and fascination, and in the pale mourner with sunken eyes and faltering step there is no longer the faintest resemblance to the once beautiful and splendor-loving Empress. [Illustration: _THE EMPRESS-WIDOW_]