At the first stage they stopped at an inn. The captives were conducted to a room up stairs; the door was locked, and their guards descended to the kitchen to refresh themselves. Presently a maid-servant was sent up to receive their orders for supper. In an instant, Madame de la Roche Jacquelein made herself understood by this woman. As soon as the supper was brought up, and the door closed, she effected an exchange of clothes, and, thus disguised, descended boldly, plates in hand, to the kitchen. She quickly deposited her burden on the dresser, and then, taking up the milk-pail, announced in the pretty _patois_ of the country her intention to fetch the milk from the dairy. It is said the lady looked so captivating in her new costume that a gallant sergeant made advances to her, which she was obliged to repress vigorously, so as to proceed unattended. She reached the dairy, went out at a back door, crossed some fields, and was soon out of reach. Mademoiselle de Fauveau remained quietly in her room, allowing the servant to sleep with her, so as to lull all suspicion, and give as much time as possible for the escape. The next morning the evasion of Madame was discovered, and caused great consternation. It was thought necessary to take the most rigid precautions, such as obliging Mademoiselle de Fauveau to have a guard in her sleeping-room, who was authorized to disturb her whenever he wished to make sure of her presence, to prevent her following her friend’s example. She was thus transferred to Angers, and remained seven months in prison. Her bold spirit and elastic temperament were not weakened or cast down by this destruction of her hopes. She took advantage of the forced seclusion to resume her occupations. In prison she modeled several small groups; one of them, composed of twelve figures, representing the duel of the Sire de Jarnee and the Count de la Chataignevaie in the presence of Henry II. and his court. She also designed a monument for Louis de Bonnechose, who had lately perished in an affray with some soldiers sent to arrest him. The background of this composition is architectural, in the Gothic style, adorned with the blazoned shields, achievements, and banners which belong peculiarly to the Vendean party. On the summit of the edifice is an angel, whose face is veiled, supporting the armorial shield of the deceased; in the foreground the Archangel Michael, terrible and victorious, has just killed the dragon. This dragon has a head like a cock--a type of the French republic. Michael bears in his right hand the avenging sword, and in his left holds a pair of crystal scales; in one of these are figures of judges, advocates, and magistrates; in the other, which weighs down these, is a single drop of blood, with this inscription: “Quam gravis est sanguis justi inultus.”