“The few other clothes she had were in a deplorable state, and required constant repair. She was only permitted three shirts, but the revolutionary tribunal decided that but one of these should be given to the queen, and worn ten days before another was allowed her; even her handkerchiefs were only allowed one by one, and a strict account was kept of every article as it came from or entered her prison.” Not being allowed a chest of drawers she placed her clothes in a paper box that Rosalie brought her, “and which she received,” says Rosalie, “as if it had been the most beautiful piece of furniture in the world.” Rosalie also procured her a little looking-glass, bordered with red, with little Chinese figures painted on the sides. This too seemed much to please the queen; and doubtless it gave her more satisfaction than had done all the miles of gorgeous, gilded mirrors at Versailles. And now the 14th of October has come, and Marie Antoinette is summoned to appear before her judges. There are wretches present who cry as she enters, “_À bas l’Autrichienne!_” Yet even the fear of the guillotine is not able to check the visible signs of pity and deep-felt sympathy her appearance elicits in others. How startlingly the sorrowful present contrasts with the gay and brilliant past, when, in her bridal dress of satin, pearls, and diamonds, the Duc de Cossé-Brissac led her to the balcony of the Tuileries to gratify the eager desire of the dense multitude to see her, and bade her behold in them two hundred thousand adorers, while shouts of “_Vive la Dauphine!_” rent the air. Marie Antoinette was then a youthful bride. Twenty-three years have passed away, and she is now a widow. In a faded black dress, she stands in the theatre of that same palace of the Tuileries, amidst a throng of _canaille_, to be tried for her life by men whose own lives would be the forfeit, if either compassion or justice should move them to find her innocent. Alas! the daughter of the Cæsars, she whom Edmund Burke had seen, “glittering like the morning star, full of life, and splendor, and joy,” is hurled low indeed. And yet, to me, as she stands there in her frayed and patched black gown, with her widow’s cap upon her almost white hair, before her judges, and her jury, and the crowded tribunes, Marie Antoinette is a far nobler, far grander figure, than when a blooming bride she stood upon the Tuileries balcony, surrounded by the acclamations of the multitude, or when, as queen of France, blazing with diamonds, and in all the pomp and splendor of regality, she received the homage of her courtiers in the gilded galleries of Versailles.