The attractions of this gifted being did not depart with the beauty of fleeting youth. At the age of sixty she fascinated the affections of the Sieur Le Hay, a gentleman about her own age, on whom she bestowed her hand, simply with the generous motive, it was said, of promoting his good fortune. Tradition reports that, when they came out of the church after the ceremony had been performed, the bride made a speech to her husband, implying that esteem, not romantic love, had influenced her choice. She is said to have alluded to him, under the name of Damon, in one of her poems. As of Madame Dacier, it might be said of this artist--the traits of a great and manly nature might be discerned in her face. Her features wore an expression of decision and firmness. Her hair, in her portrait, curls from the top and floats in ringlets. She was remarkable for the modesty and simplicity of her dress. Her large and sympathizing heart made her the protector and benefactor of needy artists, while her social qualities drew around her the brilliant circles that habitually were found at her house, including many of the most gifted and illustrious of that day. Her death took place in 1711, at the age of sixty-three, and she was buried at St. Sulpice. She was lamented by Fermelhuis in a canto of praise. The Abbé Bosquillon wrote the following lines to be inscribed under her portrait: “De deux talens exquis l’assemblage nouveau Rendra toujours Chéron l’ornement de la France; Rien ne peut de sa plume égaler l’excellence Que les graces de son pinceau.” For different gifts renowned, fair Chéron see, Ever of France the ornament and pride; Equaled by none her pen’s great works shall be, Save when her pencil triumphs at their side. Mademoiselle Chéron made many studies from Raphael and the Caracci. Among her historical tableaux are enumerated, “The Flight into Egypt”--the Virgin represented in a wearied sleep, with angels guarding the babe; “Cassandra inquiring of a god the doom of Troy;” “The Annunciation;” “Christ at the Sepulchre”--after Zumbo; with “The Demoiselles de la Croix”--her nieces and pupils; and a grand portrait of the Archbishop of Paris, placed in the Jacobin school of the Rue St. Jacques. Madelaine Masson was the daughter of Anthony Masson, a celebrated engraver, and was born in Paris, 1660. She received instruction from her father, and engraved portraits in his fine style. Among these is the picture of Maria Teresa, Queen of France, and of the Infanta of Spain. The Marchioness de Pompadour engraved and executed small plates after Boucher and others. She engraved one set of sixty-three prints, after gems by Gay. CHAPTER VIII. THE SEVENTEENTH CENTURY.