France was on the eve of that Revolution which was destined to uproot the existing order of things, and the woman whom Marie Antoinette had made her companion was not likely to escape without opprobrium. Besides, had she not, in 1774, before her marriage, published a work entitled “_Amour des Français pour leur roi_?” When the Revolution broke out, Madame Le Brun perceived that she could no longer remain in France. The law protecting artists, and permitting them to travel in their vocation, was available for her departure. She resolved to go to Italy, and, with poignant grief, bade adieu to her home and friends. But the journey commenced so sadly proved a triumphant progress, crowned with tokens of respect and homage. In Bologna she was at once declared a member of the Academy. At Rome she was welcomed by a deputation of artists, who went to meet her; while the painter Menageot, who had just been appointed director of the French Academy, assigned her apartments in the palace of the institution. In Naples she was received with marks of distinction by the queen, the sister of Marie Antoinette, and here several residents of rank sat to her for their portraits--among others, the beautiful Lady Hamilton, whom the artist painted as a Bacchante reclining on the sea-shore. This picture was highly praised, and spread far and wide the fame of Madame Le Brun. In Florence she was requested to paint a portrait of herself for the collection of originals to which reference has already been made. She finished the portrait for this gallery, where it was placed in 1790, two years after that of Angelica Kauffman had been added to the collection. Goethe says of the portrait of Angelica Kauffman, comparing it with that of Madame Le Brun in the same gallery: “It has a truer tone in the coloring; the position is more pleasing, and the whole exhibits more correct taste and a higher spirit in art. But the work of Le Brun shows more careful execution; has more vigor in the drawing, and more delicate touches. It has, moreover, a clear, though somewhat exaggerated coloring. The Frenchwoman understands the art of adornment; the head-dress, the hair, the folds of lace on the bosom--all are arranged with care, and, as one might say, _con amore_. The piquant, handsome face, with its lively expression, its parted lips disclosing a row of pearly teeth, presents itself to the beholder’s gaze as if coquettishly challenging his admiration, while the hand holds the pencil as in the act of drawing. The picture of Angelica, with the head gently inclined, and the soft, intellectual melancholy of the countenance, evinces higher genius, even if, in point of artistic skill, the preference would be given to the other.”