Zamor, a Bengali from Chittagong, was a page of Madame Du Barry who would later turn revolutionary and be instrumental in the execution of his former mistress. See here a reproduction with different colors.
Music pavillion of Madame Du Barry at Louveciennes: the current owners have restored the place with the ‘progress of Love’ Fragonard’s paintings that Mme Du Barry had commissioned but never installed and instead preferred Joseph-Marie Vien’s neoclassical paintings.
Madame du Barry’s final struggle for life did not, therefore, reveal her mean origins, they revealed instead a too-tenacious grip on life and the despair of one who a moment before had believed herself saved. The merciful drug of resignation did not have time paralyze her senses. Neither emotionally nor physically did she go to the guillotine a dying woman. To the last moment she was alive and like a trapped animal every instinct caused her to struggle for life.