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× FORE:On the 4th of May, 1789, Versailles was crowded by immense masses of people from Paris and the country round, to see the grand procession of the deputies of the three Orders advancing from the church of Notre Dame to that of St. Louis. The whole of the costumes, the order of march, and the spectacle had been carefully studied by the Court, so as to impress deeply the distinctions of the three Orders, and to humiliate the Tiers ��tat. The evening before, the deputies had waited on the king, and even then he had greatly incensed those of the Tiers ��tat who came most favourably disposed to him. Even whilst he[359] hoped to obtain essential advantages from the people against the presumption of the privileged orders, Louis or his advisers could not refrain from humiliating the Third Estate. Instead of receiving the deputies in one body, they had been carefully separated; the clergy were received first, the nobles next, and then, not till after a considerable pause, the Tiers ��tat. Now, on the great morning, all Paris and the vicinity��thousands from distant towns��was astir. The streets of Versailles were lined with French and Swiss guards and made gay with garlands of flowers, and from the windows hung rich tapestries. The balconies and windows were crowded with spectators of all ages and both sexes��the handsomest ladies gorgeously attired. The deputies, instead of one thousand, amounted to one thousand two hundred. First marched the members of the Tiers ��tat, six hundred in number, all clad in plain black mantles, white cravats, and slouched hats. Next went the nobles in black coats, but the other garments of cloth of gold, silk cloak, lace cravat, plumed hat turned up �� la Henry IV.; then the clergy, in surplice, with mantle, and square cap; the bishops in their purple robes, with their rochets. Last came the Court, all ablaze with jewels and splendid robes; the king in good spirits, the queen anxious, and dimly conscious even then of the miseries that were to follow. Her eldest son, the Dauphin, was lying at the point of death in the palace, and her reputation was being daily murdered by atrocious calumnies. Yet still Marie Antoinette, the daughter of the great Maria Theresa, the once light-hearted, always kind and amiable woman, was the perfect queen in her stately beauty. Two things were remarked��the absence of Si��y��s, and the presence of Mirabeau, two men who had already become popular leaders. Si��y��s had not yet arrived; Mirabeau drew all eyes. His immense head of hair; his lion-like appearance, marked by an ugliness quite startling, almost terrifying; the spectators seemed fascinated by his look. He marched on visibly a man; the rest, compared with him, were mere shadows.Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.