"Voici la salle de l'Opéra," exclaims the guide, and he rattles off a voluble description, which falls upon your ear like the unintelligible moaning of the wind, as, lost in reverie, you recall to mind the scenes which have transpired in the theatre of Versailles. Sinking down upon the cushioned sofa, where Maria Antoinette often reclined in her days of bridal beauty and ambition, the vision of private theatricals rises before you. The deserted stage is again peopled. The nobles of the Bourbon court, in all the regalia of aristocratic pomp and pride, crowd the brilliant theatre, blazing with the illumination of ten thousand waxen lights. Maria, the queen of France, enacts a tragedy, little dreaming that she is soon to take a part in a real tragedy, the recital of which will bring tears into the eyes of all generations. Maria performs her part upon the stage with triumphant success. The courtiers fill the house with tumultuous applause. Her husband loves not to see his wife a play-actress. He hisses. The wife is deaf to every sound but that one piercing note of reproach. In the midst of resounding triumph she retires overwhelmed with sorrow and tears. [Illustration: OLD CHATEAU OF VERSAILLES] Suddenly the vision changes. The dark hours of the monarchy have come. The people, ragged, beggared, desperate, have thundered at the doors of the palace, declaring that they will starve no longer to support kings and nobles in such splendor. Poor Maria, educated in the palace, is amazed that the people should be so unreasonable and so insolent. She had supposed that as the horse is made to bear his rider, and the cow to give milk to her owner, so the _people_ were created to provide kings with luxury and splendor. But the maddened populace have lost all sense of mercy. They burn the chateaus of the nobles and hang their inmates at the lamp-posts. The high civil and military officers of the king rally at Versailles to protect the royal family. In this very theatre they hold a banquet to pledge to each other undying support. In the midst of their festivities, when chivalrous enthusiasm is at its height, the door opens, and Maria enters, pale, wan, and woe-stricken. The sight inflames the wine-excited enthusiasts to frenzy. The hall is filled with shoutings and with weeping; with acclamations and with oaths of allegiance. But we must no longer linger here. The hours are fast passing and there are hundreds of rooms, gorgeous with paintings and statues, and crowded with historical associations, yet to explore. We must not, however, forget to mention, in illustration of the atrocious extravagance of these kings, that the expense of every grand opera performed in that theatre was twenty-five thousand dollars.