In the Courts of Memory

Paris, 1865

The Princess Mathilde receives every Sunday evening. Her salons are always crowded, and are what one might call cosmopolitan. In fact, it is the only salon in Paris where one can meet all nationalities. There are diplomats, royalists, imperialists, strangers of importance passing through Paris, and especially all the celebrated artists.

She has great taste, and has arranged her palace most charmingly. She has converted a small portion of the park behind it into a winter garden, which is filled with beautiful palms and flowering plants. In this attractive place she holds her receptions, and I sang there the other evening.

Rossini was, as a great exception, present. I fancy that he and his wife had dined with the Princess; therefore, when the Princess asked him to accompany me, saying that she desired so much to hear me sing, he could not well refuse to be amiable, and sat down to the piano with a good enough grace. I sang “Bel Raggio,” from “Semiramide,” as I knew it by heart (I had sung it often enough with Garcia). Rossini was kind enough not to condemn the cadenzas with which Garcia had interlarded it. I was afraid he would not like them, remembering what he had said to Patti about hers.

I was amused at his gala dress for royalty: a much-too-big redingote, a white tie tied a good deal to one side, and only one wig.

He says that he is seventy-three years old. I must say that this is difficult to believe, for he does not look it by ten years. He never accepts any invitations. I know I have never seen him anywhere outside his own house, and it was a great surprise to see him now. We once ventured to invite him and his wife to dinner one evening, when the Prince and Princess Metternich were dining with us; and we got this answer: “Merci, de votre invitation pour ma femme et moi. Nous regrettons de ne pouvoir l’accepter. Ma femme ne sort que pour aller à la messe, et moi je ne sors jamais de mes habitudes.” We felt snubbed, as no doubt we deserved to be.

Gounod played most enchantingly some selections from “Roméo et Juliette,” the opera he has just composed. I hear that he wants Christine Nilsson to sing it. The music seems to me even more beautiful than “Faust.” Rossini talked a long time with Gounod, and Auber told me that Rossini said, patting Gounod on the back, “Vous êtes le chevalier Bayard de la musique.”

Gounod answered, “Sans peur, non!”

Rossini said, “Dans tous les cas, sans reproche et sans égal.”

Gounod is, I think, the gentlest, the most modest, and the kindest-hearted man in the world. His music is like him, gentle and graceful. Princess Mathilde asked me to sing again; but, as I had not brought any music, Auber offered to accompany me in the “Song of the Djins,” from his new opera, which I had so often sung with him. It was not the song I should have selected; but, as Auber desired it, I was glad to gratify him, and was delighted when I saw Rossini compliment Auber, who (like the tenor before the drop-curtain, who waves his hand toward the soprano as if all the merit of the performance was due to her) waved his hand toward me, which suggested to Rossini to make me a reflected compliment.

This was a great occasion, seeing and hearing Rossini, Gounod, and Auber at the same time. I shall never forget that evening. I wonder that I had the courage to sing before them. Among the guests was an Indian Nabob dressed in all his orientals, who in himself would have been sufficient attraction for a whole evening, had he not been totally eclipsed by the three great artists. The Nabob probably expected more homage than he received; but people hardly looked at him.

I was presented to him, and he seemed glad to speak English, which was not of the best, but far better than his French. He told me a great deal about his journey, the attractions of Paris, and about his country and family.

I asked him, by way of saying something (I was not particularly interested in him or his family), how many children he had. He answered, “Quite a few, milady.”

“What does your Highness call a few?” I asked.

“Well, I think about forty,” he replied, nonchalantly.

“That would be considered quite a large family here,” I said.

The Nabob, of course, did not appreciate the profundity of this remark.

A few days after, the Princess Mathilde sent me a lovely fan which she had painted herself, and Mr. Moulton is going to have it mounted. I am very happy to have it as a souvenir of a memorable evening, besides being an exquisite specimen of the Princess’s talent as an artist. The Princess is what one might call miscellaneous. She has a Corsican father, a German mother, and a Russian husband, and as “cavaliere servente” (as they say in Italy), a Dutchman. She was born in Austria, brought up in Italy, and lives in France. She said once to Baron Haussmann, “If you go on making boulevards like that, you will shut me up like a vestal.”

“I will never make another, your Highness,” he answered.

Every one is very much excited about a young Swedish girl called Christine Nilsson, who has walked right into the star-light, for she really is a star of the first magnitude. She has studied with Wachtel only one year, and behold her now singing at the Théâtre Lyrique to crowded audiences in the “Flûte Enchantée.” Her voice has a wonderful charm; she sings without the slightest effort, and naturally as a bird. She has some phenomenal high notes, which are clear as bells. She makes that usually tedious grand aria, which every singer makes a mess of, quite lovely and musical, hovering as she does in the regions above the upper line like a butterfly and trilling like a canary-bird. A Chinese juggler does not play with his glass balls more dexterously than she plays with all the effects and tricks of the voice. What luck for her to have blossomed like that into a full-fledged prima-donna with so little effort. I have got to know her quite well, as Miss Haggerty, who was at some school with her in Paris, invites her often to lunch and asks me to meet her.

Nilsson is tall, graceful, slight, and very attractive, without being actually handsome. She acts well and naturally, and with intelligence, without exerting herself; she has the happy faculty of understanding and seizing things au vol, instead of studying them. She has a regal future before her. A second Jenny Lind! Their careers are rather similar. Jenny Lind was a singer in cafés, and Nilsson played the violin in cafés in Stockholm. She is clever, too! She has surrounded herself by a wall of propriety, in the shape of an English dame de compagnie, and never moves unless followed by her. This lady (Miss Richardson) is correctness and primness personified, and so comme il faut that it is actually oppressive to be in the same room with her. Nilsson herself is full of fun and jokes, but at the same time dignified and serious.

Christine Nilsson gave Mrs. Haggerty a box at the Théâtre Lyrique, where she is now playing “Traviata” (I think it was the director’s box), and I was invited to go with her and Clem. The box was behind the curtain and very small and very dark. But it was intensely amusing to see how things were done, and how prosaic and matter-of-fact everything was. If ever I thanked my stars that I was not a star myself it was then.

Everything looked so tawdry and claptrap: the dirty boards, the grossly painted scenery, the dingy workmen shuffling about grumbling and gruff, ordered and scolded by a vulgar superior. Of course the stars do not see all these things, because they only appear when the heavens are ready for them to shine in.

The overture, so it sounded to us, was a clash of drums, trumpets, and trombones all jumbled together. After the three knocks of the director, which started up the dust of ages into our faces until we were almost suffocated, the curtain rose slowly with great noise and rumbling.

The audience looked formidable as we saw it through the mist of cloudy gas-light, a sea of faces, of color and vagueness. The incongruity of costumes was a thing to weep over. If they had tried they could not have made it worse. The lady guests, walking and chatting, in a soi-disant elegant salon, were dressed, some in Louis XV. splendor, some in dogesses’ brocades, some in modern finery, with bows and ribbons and things looped up any way. Nilsson was dressed in quite modern style—flounces, laces, and fringes, and so forth, while Alfredo had donned a black velvet coat à la something, with a huge jabot which fell over a frilled shirt-front. He wore short velvet trousers, and black-silk stockings covered his thin legs without the least attempt at padding.

The “padre” was in a shooting-jacket, evidently just in from a riding-tour. He held a riding-stick, and wore riding-gantlets which he flourished about with such wide gesticulations that I thought he was going to hit Nilsson in the face.

We could not hear the singing so well from where we sat; but the orchestra was overpowering, and the applause deafening, like peals of thunder.

I laughed when the gang of workmen rushed on to the stage as soon as the curtain came down, and began sweeping and taking down one set of furniture and putting on another; especially in the last act, when Violetta’s bed came on and the men threw the pillows from one to the other, as if they were playing ball. They hung up a crucifix, which I thought was unnecessary, and brought in a candlestick. I wondered if they were going to put a warming-pan in the bed. A mat was laid down with great precision. Then Nilsson came in, dressed in a flounced petticoat trimmed with lace, a “matinée,” and black slippers, and got into the bed.

After the performance was over the curtain was raised and the artists came forward to bow; the stage was covered with flowers and wreaths. And Nilsson, in picking up her floral tributes, was wreathed in smiles; but they faded like mist before the sun the minute the curtain was lowered, and she looked tired and worn out. Her maid was there, waiting with a shawl to wrap around the shoulders of the hot prima-donna, and the prim Miss Richardson ready to escort her to her room, while the army of shirt-sleeved men invaded the stage like bees, with brooms which, though anything but new, I hope swept clean. Then everything was dark and dismal, lit only by one or two candles and a solitary lantern. All that was so brilliant a moment before was now only a confused mass of disillusions.

Nilsson and her duenna drove to Mrs. H——’s and had supper with us. One would never have dreamt that she had been dying of consumption an hour before, to see her stow away ham, salad, and pudding in great quantities. Then she embraced us all and drove off in her coupé. The star was going to set. I went home, glad that my life lay in other paths.

PARIS, March, 1865.

DEAR M.,—Do not be anxious about me. When Mrs. M—— wrote, I was really in danger of a fluxion de poitrine. I am sorry she worried you unnecessarily. I am much better; in fact, I am far on the road to recovery. If every one had such a nice time when they are ill as I had they would not be in a hurry to get well. When I was convalescent enough to come down-stairs, and the doctor had said his last word (the traditional “you must be careful”), I had my chaise-longue moved down into Henry’s studio, and Monsieur Gudin, who is the kindest man in the world, offered to come there and paint a picture in order to amuse and divert me.

Bierstadt, the American painter, who is in Paris, also proposed to come. Then those two artists ordered canvases of the same size, and Beaumont, not to be outdone, ordered a larger canvas, and Henry announced his intention of finishing an already commenced landscape.

Behold, then, your invalid, surrounded by these celebrated artists, reclining on a chaise-longue, a table with tisanes and remedies near by, and the four painters painting. Gudin is painting a seascape; Bierstadt, a picture of California; Beaumont, of course, his graceful ladies and cherubs. It amused me to see how differently they painted. Gudin spread his paints on a very large table covered with glass, and used a great many brushes; Bierstadt used a huge palette, and painted rather finically, whereas Beaumont had quite a small palette and used few brushes. I was very sorry when my convalescence came to an end and the pictures were finished; but I had the delight of receiving the four pictures, which the four artists begged me to accept as a souvenir of the “pleasant days in the studio.”

Another pleasant thing happened during “the pleasant days in the studio,” which was the gift of a beautiful gold medal which the Emperor sent me as a souvenir of the day I sang the Benedictus in the chapel of the Tuileries. It is a little larger than a five-franc piece, and has on one side the head of the Emperor encircled by “Chapelle des Tuileries,” and on the other side “Madame Moulton” and the date.

We are all dreadfully sad about the Duke de Morny’s death. He was very much appreciated, and a favorite with every one. They say that the Duchess cut off all her hair and put it into his coffin. I never heard before that she was such a loving wife. I only hope that she will not need her braids to keep on her next wedding-wreath.

We have just heard of the assassination of that good, kind President Lincoln. How dreadful!

I have a new teacher called Delsarte, the most unique specimen I have ever met. My first impression was that I was in the presence of a concierge in a second-class establishment; but I soon saw that he was the great master I had heard described so often. He is not a real singing teacher, for he does not think the voice worth speaking of; he has a theory that one can express more by the features and all the tricks he teaches, and especially by the manner of enunciation, than by the voice. We were (Aunty and I) first led into the salon, and then into the music-room, so called because the piano is there and the stand for music, but no other incumbrances as furniture.

On the walls were hung some awful diagrams to illustrate the master’s method of teaching. These diagrams are crayon-drawings of life-sized faces depicting every emotion that the human face is capable of expressing, such as love, sorrow, murder, terror, joy, surprise, etc.

It is Delsarte’s way, when he wants you to express one of these emotions in your voice, to point with a soiled forefinger to the picture in question which he expects you to imitate. The result lends expression to your voice.

The piano is of a pre-Raphaelite construction, and stands in the middle of the room like an island in a lake, with a footstool placed over the pedals (he considers the pedal as useless). The lid of the piano was absent, and, to judge from the inside, I should say that the piano was the receptacle for everything that belonged to the Delsarte homestead. There were inkstands, pens, pencils, knives, wire, matches, toothpicks, half-smoked cigars, even remnants of his luncheon, which seemed to have been black bread and cheese, and dust galore. Delsarte had on a pair of much-worn embroidered slippers, a velvet calotte, the tassels of which swayed with each of his emotions, and a dilapidated robe de chambre which opened at every movement, disclosing his soiled plaid foulard doing duty for a collar.

On my telling him that I desired to take some lessons of him, he asked me to sing something for him. Seeing the music of Duprato’s “Il était nuit déjà,” I proposed singing that, and he sat down at the pedal-less piano to accompany me. When I arrived at the phrase, “Un souffle d’air léger apportait jusqu’à nous l’odeur d’un oranger,” he interrupted me. “Repeat that!” he cried. “Il faut qu’on sente le souffle d’air et l’odeur de l’oranger.” I said to myself, “… no one could ‘sentir un oranger’ in this room; one could only smell Delsarte’s bad tobacco.”

He begged me to sing something else.

“Will you accompany Gounod’s ‘Medje’ for me?” I asked him.

“No,” he replied. “I will listen; you must accompany yourself. There are certain songs that cannot be accompanied by any one but the singer. This is one of them! You feel yourself, don’t you, that it is absolutely necessary for you to clutch something when singing this? A weak chord or a too powerful one struck in a wrong place would spoil entirely the effect, and even the best accompanist cannot foresee when that effect is going to be produced.” I think this is so clever! “‘Voi che sapete’ can be accompanied by any school girl,” he continued. “It is plain sailing; but in ‘Medje’ the piano must be part of the singer and breathe with him.” I sat down at the piano and sang. When I came to “Prends cette lame et plonges la dans mon coeur,” he stopped me short, and pointing to a horrible picture on the wall indicating bloody murder and terror (No. 6), he cried, “Voilà l’expression qu’il faut avoir.” I sang the phrase over again, trying to imagine what Medje’s lover must have felt; but I could not satisfy Delsarte. He said my voice ought to tremble; and, in fact, I ought to sing false when I say, “Ton image encore vivante dans mon coeur qui ne bat plus.” “No one,” he said, “in such a moment of emotion could keep on the right note.” I tried again, in vain! If I had had a dagger in my hand and a brigand before me, I might perhaps have been more successful. However, he let it pass; but to show that it could be done he sang it for me, and actually did sing it false. Curiously enough, it sounded quite right, tremolo and all. There is no doubt that he is a great artist. One can see that Faure and Coquelin (the actor) have both profited by his unique teaching. He assured me that there is no art like that of making people believe what you want them to. For instance, he pretends that he can sing “Il pleut, il pleut, bergère,” and make you hear the patter of the bergère’s heels on the wet sod, or wherever she was trying to rentrer ses blancs moutons. He sang it with the fullest conviction, and asked me what I thought of it. I shut my eyes and tried to conjure up the bergère and her heels. My head began to whirl with all this talk, and, on taking leave of my new master, I promised him that I would try to sing false until the next lesson. Another thing he said was: “Never try to accompany yourself when the accompaniment is difficult. There is nothing so painful as to see a singer struggling with tremolos and arpeggios.” How right he is!

He has one theory about the trembling of the chin. It certainly is very effective. When in “Medje” I say, “Tu n’as pas vu mes larmes, tout la nuit j’ai pleuré,” Delsarte says, “Make your chin tremble; just try it once,” pointing to a diagram, “and every one will be overcome.” I have tried it and have seen the effect. But I am letting you into all Delsarte’s most innermost secrets.

PARIS, July, 1865.

DEAR M.,—You must forgive me if I have not written lately; but we have been on a visit to the Duke and Duchess de Persigny for the past week. I did not have time to do more than dress for driving and drive, dress for afternoon tea, dress for dinner, and dine.

The estates of Chamarande are beautiful, the château itself is very magnificent and arranged with the Duchess’s taste, which is perfect though ultra-English.

The château has a moat around it, over which is a stone bridge which leads to the entrance on the side opposite the broad terraces bordered by cut trees, as in Versailles. The park is very large, filled with beautiful old trees, and most artistically laid out.

The Duke de Persigny is perfectly delightful, genial, kind, and certainly the cleverest man of the day, with a temper which is temper-proof. I never saw him out of it, and, well as I know him, I have never seen him ruffled in any way, and sometimes there were occasions, goodness knows!

The Duchess is still handsome and attractive; her pronounced originality lends her a peculiar charm. She has many admiring friends who are true to her, and I must say that when she is a friend she is a true one, and never fails you. Her originality frequently leads her beyond conventionality; for instance, the other day she took it into her head to dine out of doors. If she wanted to picnic al fresco, why did she not choose some pretty place in the park or in the woods? But no, she had the usual elaborate dinner served directly outside the château, and on the gravel walk. The servants, powdered and in short breeches as usual, served us in their customary solemnity; but they must have wondered why we preferred to sit on the gravel, with a draught of cold air on our backs, when we might have been comfortably seated in a big and airy room with a carpet under our feet. However, such was the wish of the châtelaine, and no one dared say a word, not even the Duke, though he protested meekly.

Later on the Duke had his revenge, for in the midst of our breezy repast there came a downpour of rain, accompanied by lightning and peals of thunder, which necessitated a hasty retreat.

The Duchess, who is very timid in thunder-storms, was the first to rush into the house, the guests following pell-mell, and our dinner was finished indoors.

After our return to Petit Val we had the visit of Auber’s protégé, a young man called Massenet. One day, in Paris, two months ago, Auber said to me:

“I am very much interested in a former pupil of the Conservatoire who took the Grand-Prix de Rome, and has just come back from his four years’ musical studies in Rome. As he is more or less a stranger in Paris, I should be very thankful if you would interest yourself for him. He really is a genius; but, as so often happens, geniuses don’t have pocket-money.”

I answered: “Please tell him to come and see me. I have some music I wish to have transposed. Do you think that he would be willing to do it?”

“Certainly; he would be glad to do anything,” was the answer.

The next day a pale young man presented himself. “You are Monsieur Massenet?” I inquired.

“Yes, Madame,” came the gentle answer.

Thereupon I gave him the music, and I showed him to a quiet little room in the upper part of the house, which contained a piano, writing-table, pen and ink, etc., and left him to his fate. He came two or three times before I heard him play, and then it was only by chance that I passed through the corridor, and imagine my astonishment at hearing the most divine music issuing from the room where the young man was working. I rushed in, saying:

“What is that?”

“Nothing,” he answered.

“Nothing!” I exclaimed. “I never heard anything so exquisite, Do play it again.”

“It was simply something that passed through my head,” he answered.

“Then let something else pass through your head. I must hear more.” I said. Then he played, and I sat and listened to the most bewildering and beautiful music that I ever heard. From that moment there was no more copying. What a genius he is! I wish you could hear him improvise!

We have invited him frequently, and when we are at Petit Val he comes often out to see us, and luxuriates in the repose and comfort of our life here. He has already written some lovely songs under its influence. He composed one called “l’Esclave,” and dedicated it to me for my birthday. He accompanies me as no one has ever done before.

Auber, who drives out occasionally, is delighted to see that “Our Massenet,” as he generally calls him, is getting color in his pale cheeks and his bright and eager eyes are brighter than ever, and he is actually getting fat.

PARIS, January, 1866.

We have just returned from Nice and Cannes, also from a very disappointing yachting cruise in the Mediterranean, which proved to be a complete fiasco. I must tell you about it. Lord Albert Gower had invited us to go to Spezia on his beautiful yacht. From there we were to go to Florence, and later make a little trip in Italy. We had all been asked to a dinner at the Duke de Vallombrosa’s villa at Cannes, and some of us to spend the night there.

The evening before we started there was a large dinner at the prefect’s given in honor of the Austrian Ambassador, Prince Metternich, who had come on an official visit concerning an archduke, at which Lord Albert proposed that we should take Cannes en route, spend the night there, and start the next day for Spezia.

I thought that I was going to have a beautiful time when we left Nice. The sun was shining brightly, and there was every prospect of a good breeze, and I settled down on deck with books and work, thinking how delightful it was all going to be, and how pleasant it was to get away from the fatiguing gaieties of Nice, where there had been a perfect avalanche of dinners, balls, and theater-parties which even surpassed Paris.

Well! A dead calm set in about an hour after we had started, and only a vestige of a breeze wafted us along on our way, and we never arrived at Cannes till seven o’clock, just in time to disembark, jump into a carriage, and reach the Duke de Vallombrosa’s villa. I thought that I was very expeditious over my toilette, notwithstanding which I found myself half an hour late for dinner. Fortunately, however, our hosts were lenient and accepted my excuses.

Lord and Lady Brougham, Duke de Croy, and many others were there. And who else do you think? No less a personage than Jenny Lind! You may imagine my delight at seeing her—“the Goddess of Song,” the idol of my youth—about whom still hung a halo.

She is neither handsome nor distinguished-looking; in fact, quite the contrary: plain features, a pert nose, sallow skin, and very yellow hair. However, when she smiled, which was not often, her face became almost handsome.

After dinner the Duchess de Vallombrosa begged her to sing; but she flatly refused, and there was no other music, thank heaven! I was presented to her, in spite of her too evident dislike for new acquaintances; but when she heard that I sang she seemed more amiable and interested. She even asked me to come to see her the next day. “That is,” she said, “if you can climb my hill.” I told her that I was sure I could climb her hill, and would, even if I had to climb on all fours.

After having been on the glaring Mediterranean all day I could hardly keep my eyes open, and retired before the last carriage had driven away. The next morning I looked out of my window and saw our yacht dancing on the sparkling waves. We expected to leave for Spezia that afternoon.

At eleven o’clock, the hour appointed, I commenced my pilgrimage to the hill of the “Swedish nightingale,” with what emotion, I can hardly tell you! I left the carriage at the foot of the hill, and climbed and climbed, until I reached the heaven where the angel lived. It was the reverse of Jacob’s dream. His angel climbed down to him, whereas I had to climb up to mine. She always used a donkey for her climbings.

She received me very cordially, saying, “I welcome you to my bicoque,” and led me through a few badly furnished rooms with hay-stuffed sofas and hard, uncompromising chairs and queer-looking tables painted in red and green out on to the veranda, which commanded a magnificent view over the sea and the Esterel Mountains.

I wish you could have seen her! She was dressed in a white brocade trimmed with a piece of red silk around the bottom, a red, blousy waist covered with gold heads sewed fantastically over it, perhaps odds and ends of old finery, and gold shoes!

Just fancy, at eleven o’clock in the morning! We talked music. She hated Verdi and all he had made, she hated Rossini and all he had made; she hated the French; she hated the Americans; she abhorred the very name of Barnum, who, she said, “exhibited me just as he did the big giant or any other of his monstrosities.”

“But,” said I, “you must not forget how you were idolized and appreciated in America. Even as a child I can remember how they worshiped Jenny Lind.”

“Worshiped or not,” she answered, sharply, “I was nothing more than a show in a showman’s hands; I can never forget that.”

We sat on her veranda, and she told me all about her early life and her musical career. She said she was born in 1820, and when only ten years old she used to sing in cafes in Stockholm. At seventeen she sang “Alice” in “Robert-le-Diable”! Then we talked of our mutual teacher, dear Garcia, of whom she took lessons in 1841 and whom, for a wonder, she liked.

At the Rhein-fest given for Queen Victoria in 1844 she said that she had had a great success, and that Queen Victoria had always been a friend to her since that time.

I asked her when she first sang in London.

“I think it was in 1847, or thereabouts,” she replied. “Then I went to Paris; but I do not wish to speak of that horrid place.”

“Is Paris such a horrid place?” I asked. “I wish you would come while I am there.”

“Never, never!” she cried. “They treated me so abominably I vowed that I would never set foot in Paris again, and although they have offered me every possible inducement I have always refused.”

“What a pity!” I exclaimed. “Would you not like to see the Exposition in Paris next year? I think it might interest you.”

“Yes, that might interest me; but Paris! Paris!”

“Do you know Auber?” I asked.

“Auber. No, I have always wanted to know him, but have never had an opportunity.”

“If you will come to Paris, I will arrange that you meet him.”

“I will! I will! And then I will sing for him!” she said, with almost girlish glee.

How delighted I was to think that I might be the medium to bring them together.

She asked me a great many questions about my singing. Suddenly she said, “Make a trill for me.”

I looked about for a piano to give me a note to start on. But a piano was evidently the thing where the Goldschmidts had drawn the line. I made as good a trill as I could without one.

“Very good!” said she, nodding her head approvingly. “I learned my trill this way.” And she made a trill for me, accentuating the upper note.

Pointing her finger at me, she said, “You try it.”

I tried it. Unless one has learned to trill so it is very difficult to do; but I managed it somehow.

Then she said, in her abrupt way, “What vocalizes do you sing?”

I replied that I had arranged Chopin’s waltz in five flats as a vocalize.

“In the original key?” she asked. “I know it well. It is one of Goldschmidt’s favorite concert pieces.”

“Not in the original key. I have transposed it two notes lower, and put some sort of words to it. I also sing as a vocalize the first sixteen bars of the overture of Mendelssohn’s ‘Midsummer Night’s Dream.’”

“I don’t think that I could do that,” she said.

“I am sure you could,” I answered, upon which she tried it. She sang it slowly but perfectly, shutting her eyes as if feeling her way cautiously, for the intonations are very difficult.

Twelve o’clock sounded from a cuckoo-clock in the next room, and I felt that my visit, fascinating as my angel was, must come to an end. I left her still standing on the veranda in her white brocade, and as I walked off she made the trill as an adieu.

I reached the villa in time for breakfast, after which our hosts drove us down to the pier, where the little rowboat was waiting to take us out to the yacht.

I said that our trip was a failure! It was more than a failure. It meant a gale, thunder, lightning, and sudden death, and everything in the Litany, and we finished ignominiously by taking refuge in the first port we could reach, and going on to our destination by train.

PARIS, February 12, 1866.

DEAR AUNTY,—There has been a regular deluge of balls in Paris this winter. The Minister of Marine gave a gorgeous one, the clou of which was the entrance at midnight precisely of Les Quatres Continents, being four long cortèges representing Europe, America, Africa, and Asia.

I was quite provoked that they did not ask me to be in the American cortège. I should have loved to have been an Indian squaw, except that a blanket is a rather warm toilette de bal. They wanted me to take a costume of a Spanish lady in the cortège of Europe, but I refused; if I could not be in the American I did not want to be in any of the others.

Taking part in the cortège meant waiting till midnight before appearing, and then, being in it, you did not see it. I had a banal and not a correct costume of an Amazone Louis XIII., and stayed in the ballroom all the evening, and saw the procession when it came in. It was very interesting and really beautifully arranged.

Africa (Mademoiselle de Sèvres) was brought in on a camel fresh from the jungle of the Jardin des Plantes, and followed by quantities of natives of every variety of shade, from sepia to chocolate, as near to nature as they dared go without spoiling their beauty. Some of the costumes were very fantastic. Ladies dressed in skirts made of feathers, and beads hanging everywhere, copied after well-known pictures, and especially after the costumes of “l’Africaine,” of the Opera. The men wore enormous wigs made of black wool, and black tricots, blacker than the most African of negroes.

Asia (Baronne Erlanger) was standing on a platform carried by menials hidden from view and smothered under tiger and other skins. She was poised with one foot on the head of a tiger, one hand was clutching a date-tree, and the other hand clinging to the back of a stuffed leopard, it must have been difficult for her to keep her balance; her platform seemed very shaky, and the date-tree waved as if it had been in a tornado. The natives who followed her were more beaded and feathery and multicolored than the Africans, otherwise they looked much alike.

America was represented by a pretty girl (a Miss Carter, of Boston). She was brought in reclining in a hammock of gay colors. The American natives were not of the kind one meets in New York and Boston; they were mostly the type taken from the most popular books. There was the sedate Puritan from Longfellow’s “Evangeline”; the red Indians from Cooper’s books; Hiawatha and Pocahontas, of course; and the type most beloved in the European market, that of the plantation tyrant who drags his victim to the whipping-post with pointed stakes and cudgels, à la Oncle Tom, and lastly the Mexican types with slouched hats and picturesque shirts and leather leggings, pistols bulging from their belts.

Europe (Madame d’Arjuson) was seated in a Roman chair, and looked very comfortable, in comparison with the other Continents; the platform on which she sat was loaded with flowers and dragged in on wheels. All the national costumes of Europe were extremely pretty and varied. The German peasants in great variety, the Italian ciociara, the Spanish toreador, and the Dutch fisherwoman with her wooden shoes—all were complete.

Worth and Bobergh had not slept for nights, thinking out the different costumes and worrying over the details. Worth had the most-brain work, and Bobergh was the sleepy partner.

The cotillon was superb; it commenced at two o’clock and finished at the break of day. The favors were of every nationality, imported from all over the world, and tied up with every imaginable national color. I danced with the Count Vogüé, who is by far the best dancer in Paris. He got masses of favors and gave them all to me, and I also received a great quantity; so that when I went to the carriage I almost needed a dray to carry them.

PARIS, March, 1866.

DEAR M.,—I think of your sitting in your Cambridge home and reading this account of the frivolities of your daughter. While the scene of last night is just in my mind, I will tell you about it.

Yesterday was Count Pourtales’s birthday, and Prince Metternich thought out a wonderful scheme for a surprise for Count Pourtales and the rest of us. Princess Metternich and Countess Pourtales were the only ones taken into his confidence.

There was a dinner at the Pourtales’ in honor of the occasion, and the guests were Baron Alphonse Rothschild, Count and Countess Moltke, Prince Sagan, the Duke de Croy, and ourselves.

On arriving at seven o’clock we were ushered into the salon, and later went in to dinner. All the lights were placed on the table, leaving the rest of the room in darkness. The servants seemed to me principally butlers with the traditional side-whiskers, or chasseurs with beards or mustaches. I thought that they might be extra servants brought in for the occasion.

The first course was served. A little awkward spilling of soup on the table-cloth was not remarked upon. The dish came on with its sauce. A startled cry came from a lady on receiving some drops of it on her bare neck, to which no one paid any particular attention. Then, a few moments later, some wine was carelessly spilled on one of the gentlemen’s heads. These things can so easily happen, no one said anything.

The filet was handed to me, and at the same time the sauce-dish was uncomfortably near my neck, and directly under my nose. This was too nonchalant, and my surprise was still greater when the servant, in an unnatural and gruff voice, said, “Do you want any of this stuff?” I looked up at the man, and recognized a twinkle in a familiar eye, and as the twinkle was accentuated by a powerful wink I began to understand and held my tongue.

Things might have gone on longer if one of the waiters had not been too bold, and on serving Countess Moltke, a very pretty American lady married to a Dane, pushed her arm a little roughly, and in an obviously disguised voice said, “Better take some of this, you won’t get another chance.”

She called out in an indignant voice, “Did you ever hear the like?” Count Pourtales seemed dazed, while his wife looked as unconcerned as if there was nothing unusual. Then the insolent waiters began talking across the table to each other. One said, “Don’t you see that lady with the rose has not got any salad?” The other answered, “Attend to your own affairs.” Count Pourtales, crimson with mortification, was about to get up and apologize, when he was suddenly pulled back into his seat, and the absurd waiters began throwing pellets of bread at him.

Imagine his feelings! To be treated in this way in one’s own house, by one’s own servants! Every one of them must have suddenly gone crazy, or else they were drunk. For a moment consternation was depicted on all the countenances; we thought the end of the world had come.

When things had gone so far, Prince Metternich stood up and made a pretty little speech for the host, and we all drank his health, and the waiters all took off their wigs and false beards and waved them in the air.

Six of the most fashionable young gentlemen of Paris had been serving us! The Pourtales’ own servants, who had kept aloof, now came in, and the ci-devant waiters drew up chairs between those at the table, and the dinner finished amidst great hilarity.

PARIS, August, 1866.

DEAR M.,—We were invited to go out to Fontainebleau yesterday for dinner. We found it a very hot ride from Paris, and really suffered in the crowded train. When we arrived at the station we found a coupé from the Imperial stables waiting for us, and an extra carriage for the maid, the valet, and the trunk, which contained our change of dress for dinner. I wished that the coupé had been an open carriage. I love to drive through those lovely avenues in the park. Princess Metternich suggested that we should take some green corn with us, as the Empress had expressed the wish to taste this American delicacy, and I took some from Petit Val.

On reaching the palace we were met by the Vicomte Walsh, who led the way to the apartment of the Baroness de Pierres, one of the dames d’honneur of the Empress (an American lady, formerly Miss Thorne, of New York), who was expecting us.

You may imagine my astonishment at seeing her smoking—what do you think? Nothing less than a real common clay pipe, and you may imagine her surprise at seeing me, followed by my servant, who carried a large basket containing the corn. I told her about it, and that I had brought some at the instigation of the Princess Metternich, in order that the Empress could try it. She seemed to be delighted at the idea, and exclaimed, “We must get hold of the chef at once and tell him how to cook it.” She rang her bell and gave the order. Promptly Monsieur Jean appeared in his fresh white apron and immaculate jacket and white couvre-chef. Baroness de Pierres and I surpassed ourselves in giving contradictory directions as to the cooking of it. She thought it ought to be boiled a long time, while I maintained that it required very little time.

“You must leave the silk on,” said she.

“Has it got silk?” asked the bewildered chef.

I was of the opinion that the husks should be taken off. “By no means!” she declared, and explained that in America the corn was always served in the husk.

The chef, trying to analyze this unusual article of food, lifted one of the ears from the basket and examined it.

“En robe de chambre, alors, Madame!” said he, and looked dismayed at these complications.

“Yes,” she replied, “just like a potato—en robe de chambre.”

We could hear him as he left the room, followed by the basket, muttering to himself, “Soie! robe de chambre! Soie! robe de chambre!” in his most satirical tone. I began to feel a little nervous about it myself, and wondered if for this broth there had not been too many cooks.

We went out before dinner to see the famous carp; I looked in vain for the one with the ring in its nose.

At dinner, besides the Household, were the Princess Mathilde, Monsieur Ollivier, Monsieur Perrière, the Duke de Persigny, Baron Haussmann, and several statesmen.

The corn came in due time served as légume.

I was mortified when I saw it appear, brought in on eight enormous silver platters, four ears on each. It looked pitiful! Silk, robe de chambre and all, steaming like a steam-engine. Every one looked aghast, and no one dared to touch it; and when I wanted to show them how it was eaten in its native land they screamed with laughter. Baron Haussmann asked me if the piece I was playing (he meant on the flute) was in la-bémol?

I looked to the Baroness de Pierres for support; but, alas! her eyes refused to meet mine and were fixed on her plate.

I tried to make the corn less objectionable by unwrapping the cobs and cutting off the corn. Then I added butter and salt, and it was passed about; first, of course, to the Emperor, who liked it very much; but the Empress pushed her plate aside with a grimace, saying, “I don’t like it; it smells like a baby’s flannels.”

The Emperor, seeing the crushed look on my face, raised his glass and said, with a kind glance at me, “Here’s to the American corn!” I reproached the Princess Metternich for having suggested my taking it there.

COMPIÈGNE, November 22, 1866.

DEAR A.,—You know it has always been my wish to see the life at Compiègne, and behold, here I am!

We received the invitation twelve days ago. It reads thus:

Maison de L’Empereur

Palais des Tuileries, le 10 Novembre 1866.

Premier Chambellan

Monsieur,

Par ordre de l’Empereur, j’ai l’honneur de vous prévenir que vous êtes invité, ainsi que Madame Charles Moulton, à passer huit jours au Palais de Compiègne, du 22 au 29 Novembre.

Des voitures de la Cour vous attendront le 22, à l’arrivée à Compiègne
    du train partant de Paris à 2 heures 1/2, pour vous conduire au
    Palais.

Agréez, Monsieur, l’assurance de ma considération très distinguée.

Le Premier Chambellan.
    V’te de Laferrière.
    Monsieur,
    Madame Charles Moulton.

This gave me plenty of time to order all my dresses, wraps, and everything else that I needed for this visit of a week to royalty.

I was obliged to have about twenty dresses, eight day costumes (counting my traveling suit), the green cloth dress for the hunt, which I was told was absolutely necessary, seven ball dresses, five gowns for tea. Such a quantity of boxes and bundles arrived at the house in Paris that Mademoiselle Wissembourg was in a blue fidget, fussing about, boring me with silly, unnecessary suggestions, and asking so many useless questions that I wished her at the bottom of the Red Sea.

A professional packer came to pack our trunks, of which I had seven and C—— had two; the maid and the valet each had one, making, altogether, quite a formidable pile of luggage. As we saw it on the wagon driven from the house, it seemed an absurdly large amount for only a week’s visit.

We arrived at the St. Lazare Station at 2.30, as indicated on the invitation.

We found the Vicomte Walsh (the Chamberlain of the Emperor) waiting to show the guests where the train was. It would have been rather difficult not to have seen it, as it was the only one in the station, and was marked “Extra and Imperial.”

There were several large salon carriages with large, comfortable fauteuils, and some tables covered with newspapers and journaux illustrés to beguile the time. It would take too much time to tell you the names of all the people I recognized at the station; but in the carriage with us were the Duke and Duchess Fernan Nuñez, Madame de Bourgogne (whose husband is Equerry of the Emperor), the two Princes Murat, Joachim and Achille, Monsieur Davilliers, Count Golz (the German Ambassador), Baron Haussmann and his daughter, and Mr. de Radowitz of the German embassy, who immediately stretched himself out contentedly in a comfortable arm-chair and fell fast asleep.

I should say there were about fifty or sixty guests.

We actually flew over land and dale. I never traveled so fast in all my life; but then I had never been in an Imperial train before. We did not stop until we reached the station of Compiègne.

I think the whole twelve thousand inhabitants of Compiègne were gathered there to stare at us, and they did stare persistently, until we had mounted the many equipages waiting for us and had driven away.

It certainly must have been very entertaining for them to see the long procession of carriages, the hundreds of trunks, the flurrying maids, and the self-important valets.

There were two landaus: one for the Metternichs and one for the German Ambassador.

The chars-à-bancs, of which there must have been at least ten, were dark green outlined with red, each with four prancing horses whose tails, jauntily braided with red cords, were tied to the saddles.

Each carriage had two postilions, who looked very trim in their short velvet jackets embroidered with gold and covered with endless buttons. They wore white breeches, long top-boots, black-velvet caps over their white wigs, and their little pigtails, tied with a black bow, hung down their backs, flapping up and down as they galloped.

The Princess Metternich had fourteen trunks and two maids; the Prince had his private secretary and valet, and a goodly number of trunks. This will give you a vague idea of the amount of baggage which had to be transported in the fourgons.

Don’t you think we must have made a very imposing spectacle, as we rattled through the quiet town of Compiègne, over its old stone pavement, the postilions blowing their horns, cracking their whips, the horses galloping full speed, the chars-à-bancs filled with handsomely dressed ladies, and after this long procession came the maids and the valets and mountainous piles of baggage?

When we entered the grande cour (inclosure), the sentinels grasped their guns and saluted, as we passed by them, before we pulled up in front of the grand staircase of the château, where an army of lackeys were waiting to help us alight.

The Grand Chamberlain received us at the head of the stairs with pleasant cordiality and waved us toward a huissier, who, dressed in a black livery with heavy chains around his neck, looked very important. He, in his turn, passed us on to the particular valet allotted to us, who pompously and with great dignity showed us the way to our apartments.

Our names were on the doors, and we entered the brilliantly lighted rooms, which, after our journey, seemed most welcome with their bright fires and cheerful aspect.

Tea and chocolate were on the table waiting us, and I regaled myself while the soldiers (who seem to be the men-of-all-work here) brought in the trunks and the maid and valet were unpacking.

I must describe our rooms. We have a large salon, two bedrooms, two servants’ rooms, and an antechamber. In the salon there are two long windows which reach to the floor and overlook the park. The walls are paneled with pink and mauve brocade. The covering of the furniture and the curtains are of the same stuff.

My bedroom is furnished in white and green with a delightful chaise longue and large fauteuils, which to me are more inviting than the stiff Empire style of the salon.

I made my toilette in a maze of excitement; my maid was confused and agitated, and I thought I should never be ready. I think you will be interested to hear what I wore to-night. It was light-green tulle, embroidered in silver, the waist trimmed with silver fringe. If one could see the waistband, one would read WORTH in big letters. I thought it was best to make a good impression at the start, so I put on my prettiest gown.

On leaving our apartment, a little before seven, we found the lackey waiting to show us the way to the Grande Salle des Fêtes, and we followed his plump white calves through the long corridors, arriving at last at the salon where the company was to assemble.

Here we found more white calves belonging to the gorgeous liveries and the powdered heads of the lackeys, who stood there to open the doors for all comers. We were not the last, but of the latest, to arrive.

The salon seemed immense to me. On one side the windows (or rather the doors) opened on to the terrace; on the opposite side of the walls, between the pillars, were mirrors resting on gilded consoles. At one end of the room was the statue of Laetitia Bonaparte (Madame Mère), and at the other end was one of Napoleon I. Banquettes and tabourets of Gobelins tapestry stood against the walls. The ceiling is a chef-d’oeuvre of Girodet—style Empire.

The Vicomte de Laferrière and the Duchesse de Bassano, the grande maîtresse, came forward to receive the guests.

My first feeling, when I entered the room, was that I knew no one in this numerous assemblage. There must have been a hundred people at least; but gradually the faces of my acquaintances loomed one by one out of the mist, and among them I recognized the lovely Marquise de Gallifet, who kindly beckoned me to come and stand by her, for which I felt very grateful.

The chamberlains—there were many of them—bustled about, constantly referring to some papers which they had in their hands, in order to tell each gentleman which lady he was to take in to dinner.

The Grand Chamberlain glanced round the room with an all-comprehensive look, and seemed intuitively to know when we were all present. He then disappeared into his Majesty’s private salon.

There was an ominous hush, a flutter of agitation, a stiff attitude of expectancy, the guests arranging themselves according to their own consciousness of their rank; and presently the doors of the salon were quietly opened and their Majesties entered. The gentlemen bowed reverentially; the ladies courtesied very low, and the sovereigns, responding with a gracious inclination of the head, advanced toward us.

The Empress turned to the ladies, the Emperor to the gentlemen, speaking a word of welcome to as many of the guests as the time allowed. Fifty or sixty bon soirs and charmé de vous voir’s occupy some time; but their Majesties kept their eyes on the Grand Maréchal, and he kept his eye on the clock.

The Empress looked lovely. She wore a beautiful gown, a white-spangled tulle, with a superb tiara of diamonds, and on her neck a collier of huge pearls.

The Emperor was in white culottes courtes, white-silk stockings and low shoes, as were the rest of the gentlemen. He wore the ribbon of the Légion d’honneur, and on his left breast the star of the same.

The Grand Maréchal, waiting his opportunity, approached his Majesty, who went up to the Empress and gave her his arm. The Grand Maréchal then led the way slowly and with due stateliness to the banqueting hall.

The gentlemen offered their arms to their respective ladies, and we marched in procession through the long gallery, trying to prevent ourselves from slipping on the waxed floor, and passed between the splendid Cent Gardes, who lined both sides of the entire length of this enormous hall. Their uniforms are magnificent and dazzling; they wear light-blue coats under their silver cuirasses, white breeches, and high, shiny top-boots; and on their heads silver helmets, from which flow long manes of white horsehair that hang down their backs.

There the men stood, motionless as statues, staring stolidly before them, without so much as a stolen side-glance at the beauty and elegance passing before their eyes.

This procession of ladies glittering with jewels, the officers and diplomats in their splendid uniforms covered with decorations and gay-colored cordons, made a sight never to be forgotten; at least, I shall never forget it.

When their Majesties entered the dining-room they separated, and took their places on opposite sides of the table, half-way down its length and exactly facing each other. The Emperor had Princess Metternich on his right hand, and the Duchess of Fernan Nuñez on his left. The Empress had the Austrian Ambassador, Prince Metternich, on her right, and the German Ambassador, Count Golz, on her left.

The other invités were placed according to their rank and position: all the gros bonnets were in their right places, you may be quite sure. I was such a little bonnet among all those great people that I was practically nowhere, and at the tail end of everything except the members of the Household and the ladyless gentlemen, who, of course, were below me.

There must have been about one hundred persons seated at the table. I never saw such a tremendous long stretch of white linen.

The flowers, stiffly arranged at intervals, alternated with white épergnes filled with bonbons, and larger fruit-dishes filled with the most delicious-looking fruit. All along the whole length of the table were placed, at regular intervals, the groups of pâte tendre representing the Hunt. These, as my cavalier (Count de Bourgogne) told me, are made only at the Sèvres manufactory, expressly for the French sovereigns. They were designed in the time of Louis XV. by an artist called Urbain, and have been reproduced ever since. It would seem as if nothing had been found worthy to replace them.

The service de table was of white Sèvres porcelain with only the letter “N” in gold surmounted by the Imperial crown; many of the courses were served on silver plates, in the center of which were engraved the arms of France.

A strip of red velvet carpet laid over the polished floor surrounded the table. On the outer side of this carpet were the chair, to be pushed forward as soon as people were ready to sit down. The lackeys stood in a line all the way down the room, making a very imposing sight in their red-and-white liveries; there must have been forty or fifty of them at least. The Emperor’s chasseur always stands behind his chair and serves him, and him alone, taking a dish of each course, as it is brought in, from the maître d’hôtel. No one but this privileged chasseur can hand anything in the way of food to his Majesty. When the Emperor has served himself, the chasseur hands the dish back to the maître d’hôtel, who passes it on to the other servants, who then serve the guests. The Empress is served in the same way.

I suppose this custom dates back to the time of the Borgias, when, in order to save their own lives, they were willing to risk those of their trusty menials by making them taste the food before it was put on the table.

A military band played during the dinner. It was placed in a large circular loggia having windows opening on to a courtyard, thus serving two purposes: to let in the air and let out the music, which, fortunately, it did, otherwise we could not have heard ourselves speak.

The dinner lasted about an hour. (The Emperor dislikes sitting long at table.) It seemed almost impossible that so much eating and drinking and changing of plates—in fact, such an elaborate repast—could be got through within such a short time. But it was!

When their Majesties had finished they rose, and everyone followed their example. All the chairs were drawn from under you, tant pis if you were in the act of eating a pear and had not yet washed your fingers; but, no matter, you had to skip across the red carpet in order to let their Majesties pass.

A rather amusing incident occurred at dinner. One of the foreign ministers, who is very vain of the smallness of his feet, had donned a pair of patent-leather shoes evidently much too tight for him. During the dinner he relieved his sufferings by slipping his aching toes out of them. All went well until his chair was suddenly drawn from underneath him, as their Majesties were about to pass. In utter despair he made the most frantic efforts to recover the wandering shoes from under the table; but, alas! the naughty things had made their escape far beyond reach (a little way shoes have of doing when left to themselves); consequently, he was obliged to trip across the red carpet as best he could without them. The Empress, who keenly appreciates a comical situation, had noticed with great amusement his manoeuvers and embarrassment, and (was it just for a little fun?) stopped in passing and spoke to him, much to his confusion, for it was impossible to prevent her from seeing his little, white shoeless feet.

On our returning to the salon the magnificent Cent Gardes stood just as we had left them, and I wondered if they had unbent for a moment all the time we had been at dinner.

The cercle began, and their Majesties circulated about among their guests. When the Empress was in front of me, she gave me her hand and said some very kind words to me. She noticed I wore the bracelet she had given me and seemed pleased. I do not know if you ever saw this handsome bracelet—it is composed of large rubies and diamonds set in three heavy gold coils. The date when the Empress gave it to me and her name are inscribed inside. The Prince Imperial spoke to every one he knew. He has a very sweet voice, such gentle manners and winning ways. He speaks excellent English and, of course, several other languages.

Waldteufel, le fabricant de valses, put himself at the piano (an upright one, standing at the extreme end of the immense ballroom), and played some of his charming entraînante music. But though he played as loudly as possible, it was difficult to distinguish what sort of music it was, the ballroom being so enormous. However it did not make much difference as there were only a few who wanted to dance and one could see that they were urged to do so by the chamberlains. Waldteufel has an apartment in the town of Compiègne, where he fabricates his waltzes by day and comes here to play them by night.

At ten o’clock their Majesties went into the Emperor’s private salon with a selected few; then the dancing become general and livelier. Tea and cakes were served at eleven o’clock and their Majesties reentered, conversed a few moments, bowed to every one and withdrew, turned round on reaching the door, and, with a sweeping inclination of the head, disappeared.

We bade good night to our friends about us and withdrew, as did every one else, and I, for one, was glad to go to my Royal couch. Good night!

SUNDAY, November 23, 1866.

DEAR M.,—When we came down this morning into the salon we found it almost deserted, and only realized the reason why when we saw the Empress and other ladies holding their prayer-books devoutly in their hands returning from mass, which is celebrated in the chapel of the château. They wore black-lace veils in place of hats, the Empress wearing hers draped in true Spanish fashion, which was infinitely becoming to her, being, as she is, “to the manner born.”

We remembered then that it was Sunday, and felt subdued, seeing so many who were more pious than we were. In fact, I felt so much so that I think it would have been impossible for me to have laughed during the déjeuner. Perhaps it was fortunate I sat next to the Duke de Fernan Nuñez, whose sedate and polished manners suited the occasion perfectly. He did not encourage any attempt at gaiety. Oh dear, no! Far from it! I felt myself gradually freezing, and our conversation was of the most uninteresting character and dry almost to parching.

I began talking to him about Spain. I said I thought it must be such a lovely country, so full of romance, sentiment, and so forth. But he nipped my enthusiasm in the bud by informing me that he was not Spanish.

“I thought you were,” I murmured.

“No; I am Italian.” This staggered me a little. He was certainly the husband of the Duchess de Fernan Nuñez, who was Spanish; why had he not the same name?

He told me that he was “Dei Principi Pio-Trivulzio,” one of the oldest families in Milan, and that when he married his wife (who is a Grande d’Espagne) he was obliged, according to the traditions of Spain, to take her name and give up his own.

The déjeuner finished, we returned to the salon, and after their Majesties had talked a little with their guests the programme for the afternoon, which was to be an excursion to Pierrefonds, was offered to those who wished to go. We hurried to our rooms to put on our hats, coats, and furs, reappearing equipped for the fray.

The chars-à-bancs and the carriages of their Majesties were drawn up on the garden side of the terrace. The Emperor took Prince Metternich in his dog-cart; the Empress drove herself in her English phaëton, accompanied by the Duchess de Fernan Nuñez. The rest of us were provided with big chars-à-bancs, each holding six or eight people, and had four horses ridden by two postilions. In the same carriage with me was the Duchess de Persigny, Count Golz, and others; and although it was very cold, we did not mind, as we were well wrapped in furs and had plenty of rugs. We enjoyed intensely the beautiful drive through the forest of Compiègne. Monsieur Davilliers told me that the forest contains about fifteen thousand hectares. I should think so, judging from the endless roads and cross-roads, the interminable avenues and wonderful vistas. There were sign-posts at every turn; those painted red pointed toward Compiègne.

It took us a long time to reach the forest at Pierrefonds, which joins that of Compiègne. By an abrupt turn of the road we came suddenly in view of the enormous castle of Pierrefonds and the little town, which is known for its sulphur baths, and only frequented in summer. No one need inform you what kind of baths they are, as their fumes pervade space and inform you themselves.

The imposing castle looks entirely out of place in its surroundings; the little hill on which it stands seems as if it had been put there in order to accommodate the castle.

We passed over two bridges and over a pont-levis at the foot of the castle; then through a second gateway into a court, and finally over a drawbridge to reach the entrance.

There we got out of the carriages, passed through a dark, vaulted chapel and mounted to the platform, where we had a splendid view of the town and the forest.

Viollet-le-Duc, who was with us, is the pet architect of the Emperor; he is working hard to restore these magnificent ruins, and has now been ten years about it, but says that they will never be finished in his lifetime. The Emperor is very proud of showing them as the work of his favorite architect, and Viollet-le-Duc is just as proud of having been chosen for this stupendous undertaking.

We were spared no details, you may be sure, from the smallest of gargoyles to the biggest of chimneys. There is a huge fireplace which reaches to the ceiling in the salle des gardes, with funny little squirrels peering at you with cunning eyes. I wish it had occurred to the great architect to have utilized this fireplace, for he could very well have put a few logs in it and prevented us poor visitors from freezing to death.

We walked (it must have been miles), examining everything in detail. We mounted two hundred steps to see the view, and then descended three hundred steps to see the arched cellars. The castle was first bought one hundred years ago as a ruin by some one, who only paid eight thousand francs for it; then Napoleon I. bought it, and now Napoleon III. is restoring it. It is seven thousand meters square. It has eight big towers, etc. I could go on forever, I am so brimful of statistics, but I spare you.

While the hampers brought from Compiègne were being unpacked we tried to rest our weary limbs in some prehistoric chairs, whose carvings pierced our bones to the marrow. I suppose this is what they call payer de sa personne. I consoled myself, while drinking my tea and eating my cake, with the thought that my personne was paying its little private tax to art.

After this interesting but fatiguing visit, and after the long drive through the cold, misty forest, the dead and dry leaves rustling under the horses’ feet as they galloped along, I was glad to rest a moment by my cozy fire before dressing for dinner.

I was a little dismayed when I was told that the famous poet, Théophile Gautier, was to be my dinner companion. I was awed at the idea of such a neighbor, and feared I should not be able to rise to the occasion. Would he talk poetry to me? And should I have to talk poetry to him?

I tried to remember, during our promenade down the hall, Longfellow’s “Psalm of Life,” in case he should expect anything in this line, and I tried to remember something he himself had written; but for the life of me I could think of nothing but a very improper book called Mademoiselle de Maupéon, which I had never been allowed to read, so that would be of no use as conversation.

I might have spared myself this worry, for, from the time he sat down at the table, he talked of little else than cats and dogs. He loves all animals. I liked him for that, and one could see that he preferred them to any other topic.

I can’t remember all the nonsense he talked. In appearance I think he must resemble Charles Dickens. I have only seen the latter’s photographs; but had he not rather a skimpy hair brushed any which way and a stringy beard? I fancied him so to myself. At any rate, Gautier looks like the Dickens of the photographs.

He said he had eight or ten cats who ate with him at the table; each had its own place and plate, and never by any chance made a mistake and sat in another cat’s place or ate off another cat’s plate. He was sure that they had a heaven and a hell of their own, where they went after their death, according to their deserts, and that they had souls and consciences. All his cats had classical names, and he talked to them as if they were human beings. He said they understood every word he said. He also quoted some of his conversation with them, which must have sounded very funny:

“Cleopatra, have you been in the kitchen drinking milk on the sly?

“Cleopatra puts her tail between her legs and her ears back and looks most guilty, and I know then what the cook told me was true.”

Then again: “Julius Caesar, you were out extremely late last night. What were you doing?” He said that when he made these reproaches Julius Caesar would get down from his chair and, with his tail high in the air, would rub himself against his legs, as much as to say he would never do it again.

“Depend upon it,” he added, “they know everything we do, and more.”

I asked, “When Julius Caesar comes from his nocturnal walks is he gris (tipsy)?”

“Gris! Que voulez-vous dire?”

“You once wrote a poem (how proud I was that I had recollected it), ‘A minuit tous les chats sont gris.’”

“C’est vrai, mais je parlais des Schahs de Perse.”

“Est-ce que tous les Schahs de Perse sont gris à minuit?”

“Madame, tous les Schahs de Perse que j’ai eu l’honneur de voir à minuit ont été gris comme des Polonais.”

“But the ‘chats’ you wrote about go mewing on roofs at midnight. Do the Schahs de Perse do that?”

“Did I write that?” said he. “Then I must have meant cats. You are very inquisitive, Madame.”

“I confess I am,” I answered. “You see, that poem of yours has been set to music, and I sing it; and you may imagine that I want to know what I am singing about. One must sing with an entirely different expression if one sings of gray cats or of tipsy Persian sovereigns.”

He laughed and asked, with an innocent look, “Do you think I could have meant that at midnight nothing has any particular color—that everything is gray?”

“I don’t know what you meant; but please tell me what you want me to believe, because I believe everything I am told. I am so naïve.”

“You naïve! You are the most blasée person I ever met.”

“I blasée! I! What an idea!”

Such an idea could only emanate from a poet’s brain with an extra-poetical poet’s license. I was very indignant, and told him so, and said, “Est-ce que tous les poètes sont fous à cette heure de la soirée?”

“Vous voyez,” he retorted, “you are not only blasée; you are sarcastic.”

I enjoyed my dinner immensely in spite of being blasée, and Gautier’s fun and amusing talk lasted until we were back in the salon. The Emperor approached us while we were still laughing, and began to talk to us. I told him that Monsieur Gautier had said that I was blasée. The Emperor exclaimed: “Vous blasée! Il faut y mettre beaucoup de bonne volonté pour être blasée à votre âge!”

I said I did not know whether to be angry or not with him.

“Be angry with him,” answered the Emperor. “He deserves it.”

Waldteufel began playing his delightful waltzes, and every one was boon whirling about. I never heard him play with so much dash; he really seemed inspired. Prince Metternich asked him to order a piano to be sent to his salon in the chateau. “I cannot exist without a piano,” said he. “It helps me to write my tiresome rapports.”

There were only two pianos, I believe, in the château; the one (upright) in the ballroom and the Erard in the salle de musique.

At eleven o’clock we went into the Emperor’s salon, where tea was served.

MONDAY, November 24, 1866.

DEAR M.,—At breakfast this morning I sat next to Prince Metternich. He told me that there was to be conseil de ministres to-day, and therefore there was no question of their Majesties’ presence at excursions, and no particular plans projected for this afternoon.

Thus we were left to our own devices. Prince Metternich’s fertile brain was already at work to imagine something amusing to divert their Majesties for the evening. He suggested charades. He is excellent at getting them up.

When we met in the salon he spoke to the different people who he thought would be helping elements.

The Marquise de Gallifet thought that tableaux would be better; Count de Vogüé suggested games (he knew several new ones, which he proposed). All in vain! Prince Metternich insisted on charades; therefore charades carried the day, of course.

The Prince had already thought of the word “Exposition,” and arranged in his mind what part each one of us was to have. The Vicomte de Laferrière, whom he was obliged to take into his confidence, told him that he would show us the room in which there was a stage for amateur performances.

As soon as their Majesties had departed we proceeded to the said room, where there was a little stage, a very little one, with red-velvet curtains. Next to this room was a long gallery, in which there was a quantity of chests containing every variety of costumes, wigs, pastiches, tinsel ornaments, and all sorts of appurtenances—enough to satisfy the most dramatic imagination.

Each garment, as it was held up to view, suggested endless possibilities; but the Prince stuck firmly to his first inspiration, and we were despatched to our different apartments to think out our rôles and to imagine how funny we were going to be.

The Empress is always present at the conseils de ministres, which to-day must have lasted an unusually long time, as no one was invited to her tea. So we took ours with the Metternichs. The Prince had just returned from town, and was childishly eager to display the various and extraordinary purchases he had made, which he considered absolutely necessary for the finishing touches to our toilettes. His requisites consisted of an oil-can, a feather duster, a watchman’s rattle, and wax enough to have made features for the whole Comédie Française, and paint and powder for us all. He would not tell us what he had procured for his own costume, as he said he wanted to surprise us, adding, what he could not buy he had borrowed.

Count Vogüé gave me his arm for dinner. Of course, we talked of little else but the charade.

Their Majesties were informed of the surprise which was awaiting them in the little theater. The Empress said to Prince Metternich, after dinner, “I hear you have prepared something to amuse us this evening. Do you not wish to go and make your arrangements? We will be ready to join you in half an hour.”

All of us who were to take part disappeared to dress, and returned to the gallery connecting with the stage in due time. Peeping through the hole in the curtain, we could see the imposing and elegant audience come in and take their seats with much ceremony and calmness. They little thought how impatient we were to begin and yet trembling with nervousness. Their Majesties, the guests, and all the ministers who had stayed for dinner more than filled the theater. It looked, indeed, uncomfortably crowded.

At last every one was seated, and the first syllable, “Ex,” was played with great success. It represented a scene at Aix-les-Bains.

Invalids met (glasses in hand) and discussed and compared their various and seemingly very complicated diseases. They made very funny remarks on the subject of getting their systems in order in view of the possible incidents which might come up during the Exposition of the next year.

The Marquis de Gallifet was one of the invalids, and seeing the Minister of the Interior in the audience, looked straight at him and said, “C’est à vous, Monsieur le Ministre, de remédier à tout cela (It is your business, Monsieur le Ministre, to cure all that),” which made every one roar with laughter, though Prince Metternich (our impresario) was very provoked, as he had particularly forbidden any one to address the audience.

The Princess Metternich looked very comical dressed as a Parisian coachman, with a coachman’s long coat of many capes; she wore top-boots, and had a whip in her hand and a pipe in her mouth, which she actually smoked, taking it out of her mouth every time she spoke and puffing the smoke right into the faces of the audience. She sang a very lively song, the words of which her husband had found time to write for her during the afternoon. It began, “C’est à Paris, qu’ ça s’est passé.” She cracked her whip and stamped her feet, and must have been very droll, to judge from the screams of delight in the audience. The song was full of quips and puns, and pleased so much that she had to repeat it.

The next word was “Position,” and acted only by gentlemen. An amateur, or rather a novice, was taking lessons in fencing, in order to defend himself against probable attacks upon him by the barbaric foreigners who next year would invade Paris, and he wished to be prepared sufficiently to resent all their insults.

When the curtain came down all the sky came with it, which put the public in great glee.

The whole word “Exposition” was what we call “Mrs. Jarley’s Wax Works.”

Count de Vogüé was the showman, and the servant assisting him was no less a person than the Austrian Ambassador himself, Prince Metternich. As the stage was small, it could not contain more than two couples at a time, so they were brought on in pairs.

First came Antony, and Cleopatra (the latter Marquise de Gallifet, beautiful as a dream) drank mechanically (having been wound up by the servant) an enormous pearl, and Antony (Prince Murat) looked on wonderingly and admiringly.

Madame de Bourgogne and Count Grammont were a Chinese chop-sticking couple. When wound up, their chop-sticks went everywhere except into their mouths. The Marquise de Chasselouplobat and the Marquis de Caux were shepherd and shepherdess, with the usual rakes, baskets, ribbons, etc.

I was a mechanical doll sent from America (the latest invention) for the Exposition. I was dressed as a Tyrolienne with a red skirt, a black bodice, and a hat with a ridiculous feather sticking out from the back of it, which Prince Metternich said I must have.

While the others were on the stage Princess Metternich wrapped a lot of silk paper around me and tied it with bows of wide ribbon, thus covering me completely, head and all. I was carried in and placed on a turning pedestal.

The showman explained the wonderful mechanism of this doll, unique of its kind, and capable of imitating the human voice to such a degree that no one could hear any difference.

When he had finished talking (I thought, as I stood there, motionless and stifling under my paper covering, he never would stop) he tore off the paper and called his assistant to wind me up.

I had so far been very successful in keeping my countenance; but I assure you, when I saw Prince Metternich’s get-up, my efforts to keep myself from bursting out laughing almost amounted to genius. He had said he wished his costume to be a surprise. Well! The surprise almost made the mechanical doll a failure, and had not Count de Vogüé quickly turned the pedestal around I don’t know how I should have saved myself from disaster.

Prince Metternich was dressed as a servant. He had a velvetine coat, red vest, knickerbockers, white stockings, and servant’s low shoes, and he wore a huge black beard and a black wig. He had made his eyebrows so bushy that they looked like mustaches; but his nose had preoccupied him more than anything else—I don’t know much time he had spent in making it. First, he made it hooked and then changed it to retroussé, then again back to hooked, which he thought suited his style best. He commenced it when the first scene was being acted, and had just got it at the right angle when it was time for him to go on the stage. The result of his afternoon’s labors must have been most gratifying, for he was a stupendous success.

He wound me up and I began singing; but everything went wrong. I sang snatches of well-known songs, cadences, trills, arpeggios, all pêle-mêle, until my exhibitors were in despair.

“Mais, c’est terrible,” cried Vogüé. “Ne pouvez-vous pas l’arrêter? Est-ce qu’il n’y a pas de vis?”

“Il n’y a pas le moindre vice, Monsieur,” shaking his head in despair.

Then I stopped short. How could I sing when I was convulsed with laughter?

“Il faut la remonter,” the showman said, with a resigned air, and, turning to the audience, he announced that such a thing had never happened before. “La poupée a été probablement dérangée pendant le voyage.” This caused much merriment. “Elle a besoin de l’huile,” said the Prince in a loud stage whisper, and took the oil-can and flourished it about my shoulders.

They made so many jokes and puns that they were continually interrupted by the peals of laughter which followed each joke.

“Faites-la donc chanter,” implored Vogüé. “N’y a-t-il pas un clou?”

“S’il y en avait eu un, je l’aurais trouvé, puisque c’est le clou de la soirée.”

“Mon Dieu! Que faire? Et tout le monde qui attend. Cherchez bien. Vous trouverez peut-être un bouton.”

The Prince answered, sadly, “Not a sign of a button, Monsieur.” And he added, in a loud voice, “We ought to have a button in gold, so that one can see it.”

He said this with intention, thinking it might suggest to the Emperor to give me the gold button which he only gives to those he wishes to make life-members of his Hunts. Ladies do not often get them. At last, the mortified assistant applied the rattle and wound me up again. I gave a little nod with my head; they both struck attitudes of satisfaction, and one said, “Now she is going to sing ‘Beware!’” which called forth a burst of applause from the audience. I sang “Beware!” and the Prince, thinking I made the trill too long, tried to stop me by using the rattle again, which was almost the death of me. I wore some long ribbons around my neck, and the more the Prince turned it, the tighter the ribbons choked me. Happily I had breath enough to go on singing; but I turned my head and fixed a glassy eye on my tormentor, and, instead of singing “Trust her not, she’s fooling thee,” I sang, “Trust him not, he’s choking me, he’s choking me.”

Luckily he understood, and the people who knew English understood and appreciated the situation.

When it was all finished the Empress came hurriedly toward me, exclaiming: “Thank Heaven! I thought the Prince was going to strangle you. I was so frightened.” She then kissed me on both cheeks, and the Emperor gallantly kissed my hand.

They both said they had never laughed so much in their lives, and were most profuse in their thanks, complimenting all those who had taken part in the charade; certainly Robert de Vogüé and the Prince Metternich both outdid themselves.

It was one o’clock when tea was served in the Emperor’s salon. You may imagine if I was tired.

November 25th.

DEAR M.,—As the programme announced this morning that there was to be a chasse à tir this afternoon, I put on my green costume brought for this purpose.

The Empress appeared also in a green dress, with a coquettish three-cornered hat trimmed with gold braid, and looked bewitchingly beautiful; the Emperor wore a shooting suit with leather gaiters, as did all the gentlemen. Every one looked very sportsmanlike.

M. Davilliers gave me his arm for déjeuner. He told me a great deal which I did not want to know about hunting-dogs.

For instance, “Les chiens anglais,” he said, “étaient très raillants, très perçants, mais hésitants dans les fourrés.” So much Greek to me, but I pretended to understand. He continued to say that the Emperor had an excellent trainer, who obtained the best results because he treated the dogs with kindness. I inwardly applauded the trainer.

He said it was better to let them have the entire use of their faculties; whereas, if the unhappy animals are stupefied by bad treatment they lose their initiative, being pursued by the thought of a beating, and they don’t know what to do, instead of following their natural instincts.

I agreed with him entirely, and thought that our conversation was an excellent preface to the afternoon’s sport.

As the Emperor passed me, before we started off, he said, handing me a little package he held in his hand, “Here is the gold button which you did not have last night; it makes you a life member of all Imperial hunts.” (So Prince Metternich’s ruse had succeeded.)

I bowed very low and thanked him, and asked if it would necessitate my hunting. “Certainly not, if you don’t want to,” his Majesty answered; “but have you ever seen a chasse à tir?”

At my answer that I had never seen one, nor anything nearer to one than people going out with a gun and coming back with nothing else, he laughed and said, “I must tell that to the Empress.”

It is the Emperor’s habit to say, when he hears anything which amuses him, “I must tell that to her Majesty.” She is always in his thoughts.

I said, looking at the button, “Last year your Majesty gave me a gold medal for singing a Benedictus; now I shall sing a hallelujah for this.”

“It is not worth so much,” the Emperor said, with a kind smile.

“Would you like to accompany me this afternoon,” he asked, “and see for yourself what a chasse à tir is?”

I answered that I should be delighted, and said, “Shall I come with a gun?”

“Oh dear, no! Please don’t!” the Emperor exclaimed, hurriedly. “But come with stout boots and a warm coat.”

The carriages were waiting, and we were soon packed in our rugs and started for the shooting.

The Emperor drove Baron Beyens in his dog-cart; the Empress drove with the Princess Metternich in a victoria to the field, where she left her and returned to the chateau. I fancy she was afraid of the dampness of this bleak November day.

We arrived at a great open place and found all the company assembled, and I should say the whole populace of Compiègne had turned into beaters and spectators. The gentlemen took their places in a long line, the Emperor being in the middle; on his right the person highest in rank (Prince Metternich), on his left Count Golz, and so forth.

Madame de Gallifet and I were a little behind the Emperor, between him and Prince Metternich. Behind us were the gamekeepers, loading and handing the guns to their masters as fast as they could. The three first gentlemen had their own chasseurs and two guns each. After the gamekeepers came the men whose duties were to pick up the dead and wounded victims and put them in the bags.

It was a dreadful sight! How I hate it! I am sure I shall not sleep for a week, for I shall always see the forms and faces of those quivering, dying creatures in my dreams. I never will go to a chasse again.

And the worst was, they had frightened the birds and animals into a sort of circle, where they could not escape; the butchery was awful. The victims numbered close on four thousand. Prince Metternich alone shot twelve hundred.

How happy I was when it all was over and I could get away from these horrors and this miserable sport! We were invited to the tea in the Empress’s salon. I had time to change my dress and put on the high silk gown prescribed for this function.

Such beautiful rooms! First an antechamber, with cabinets of Italian carving and vitrines and inlaid tables; then the Empress’s salon, a very large room filled with low arm-chairs, tables covered with knickknacks, books with paper-cutters still in them, as if they were just being read, screens with engravings à la Louis Seize, and beautiful fans on the walls, also splendid tapestries. It had a lovely ceiling, painted by some celebrated artist, mostly angels and smiling cherubs, who seemed to possess more than their share of legs and arms, floating about in the clouds.

The Empress generally has a distinguished person, or some kind of celebrity, either a traveler or an inventor, even a prestidigitateur (ugh, what a word!), always some one who is en vue for the moment. To-day it was a man who had invented a machine to count the pulse. He strapped a little band on your wrist and told you to concentrate your thought on one subject, then a little pencil attached to the leather handcuff began muffing up and down slowly or quickly, as your pulse indicated.

The Empress seemed much interested, and called those in the room whose pulse she wished to have tested. She said, “Now let us have an American pulse.” My pulse seemed to be very normal, and the exhibitor did not make any comments, neither did any one else.

“Shall we now have a Germanic pulse?” the Empress risked, and called Comte Solms. “Think of something pleasant,” said the inventor. “A ballet is a nice thing to think of,” said the Princess Metternich, in her shrill voice.

“Regarde, comme il va vite,” the inventor cried, and he showed the paper with the most extraordinary wavy lines. Every one laughed, and no one more than Comte Solms himself.

Six o’clock came very quickly, and the Empress, rising, gave the signal for our departure.

The Marquis de Caux took me in to dinner. He is the most popular and sought-after gentleman in all Paris. No ball is complete without him, and his presence at any dinner is sufficient to assure its success. He leads all the cotillons worth speaking of, and is a universal favorite. He allowed his secret to leak out (un secret de Polichinelle), which all Paris is talking about.

I swore secrecy; but I can tell you that it can be contained in one word, and that word is SIMPATICO, which is Italian for his rendezvous with HER at the American Doctor Sim’s house, for it is there he meets her. Devine qui peut! (Guess who can!) I have not said anything.

At nine o’clock we all adjourned to the theater in the Palace, to reach which we passed through many rooms we had never seen before, and through a long gallery. The theater is very handsome, and as large as most of the theaters in Paris. There is always one theatrical performance during each week while their Majesties are in Compiègne. The company of the Théâtre Français had been commanded to play this evening. The piece chosen was the latest one of Émile Augier, which has had a great success in Paris, called “Le fils Giboyer.” Émile Augier, who was invited specially, was present.

Madeleine Brohan, Coquelin, Breton, and Madame Favard had the principal rôles. Such distinguished artistes as those could not but give the greatest enjoyment. The theater is very handsome; there are only boxes and the parquet; the Imperial Loge reaches from the first tier of boxes to the last seats of the parquet in the shape of a shell. Any one standing up there could touch, on raising the arm, the velvet draperies of the Imperial box.

The theater is entirely lighted by wax candles, of which there must have been thousands, and all the scenery belonging to the play was sent especially from Paris.

Their Majesties sat in the center of the Imperial Loge, and the lady guests and the most important gentlemen, according to their rank, were placed beside and behind them.

The other gentlemen sat in the parquet, and circulated about between the acts.

In the boxes were places for the Court ladies, also the ladies invited from the neighboring château and from Compiègne.

The whole assemblage certainly presented the most dazzling and magnificent sight. The ladies in their beautiful toilettes and superb jewels showed to the greatest advantage in this brilliantly lighted theater. The Empress was gorgeous in yellow tulle covered with lace and jewels. She wore the famous Regent diamond, which belongs to the French Crown, in her corsage, and a superb diamond tiara and necklace. Princess Metternich, who is known to be the best dressed lady in Paris, had a black tulle dress embroidered in gold; she wore a tiara of diamonds and emeralds and a necklace of the same.

When their Majesties entered every one rose and courtesied deeply; their Majesties bowed graciously in response. The Master of Ceremonies gave the signal, and the curtain rose immediately.

The actors seemed inspired to do their best, as well they might, with such a brilliant audience before them.

I wondered if they did not miss the claque, to which actors are so accustomed in France. You know the claque is a set of men who are hired to clap at certain points in the play indicated beforehand to them, in order that the audience may appreciate the most salient points and join the applause, if they wish to.

Every one enjoyed the play immensely. There were portions of it which were very pathetic. I noticed the Emperor was visibly affected, and the Empress wiped from her eyes una furtiva lagrima, as Donizetti’s song has it.

I know I cried my lace handkerchief wet.

The representation lasted till about half-past ten, and after our return to the salon the Emperor sent for the artists, who had by this time changed their toilettes. Their Majesties talked long, and, I should say, familiarly with them, and, judging from the way they laughed and chatted, they seemed to feel quite at their ease, especially Coquelin, who apparently put the Emperor in a very good humor. At eleven o’clock refreshments were passed round, the carriages were announced, and making a deferential “reverence” the artists took their leave, carrying with them an ornament with the monograms of their Majesties as a souvenir of their visit.

I never saw the Empress look so beautiful as she did to-night. She certainly is the most exquisite creature, and what is so charming about her is her utter lack of self-consciousness. Her smile is bewitching beyond description, her complexion perfect, her hair of the Venetian type, and her profile classical. Her head is so beautifully put on her shoulders, her neck and shoulders are absolutely faultless. None of the many portraits painted of her, not even Winterhalter’s, do her the least justice; no brush can paint and no words can describe her charm. I think the famous beauty, Countess Castiglione, cannot begin to compare with her.

Their Majesties withdrew. The guests from the château and those from Compiègne took their departure, and we all dispersed to our several apartments.

I am beginning to learn the ways of the life of Compiègne.

At nine o’clock our tea, coffee, or chocolate (as we choose) is brought to our rooms by a white-stockinged and powdered valet.

If you are very energetic, you can go for a walk in the park, or (as I did to my sorrow) a visit to the town. But you are not energetic more than once, because you do not find it worth your while, as you must hurry back, and change your dress and shoes before appearing in the salon a little before eleven o’clock, the hour for breakfast. You remain in the same dress until you change for dinner or the Empress’s tea. You find every morning in your room a programme for the day.

Déjeuner à onze heures. Chasse à tir à deux heures. Comédie Française à neuf heures.

So you know what to wear and what to expect; but the invitation to tea is always made by the Empress’s private huissier, who knocks at your door toward five o’clock and announces, “Her Majesty the Empress desires your presence at five o’clock.”

The toilette de rigueur for this occasion is a high-necked long silk dress, and you generally remain until six o’clock.

If you are not summoned to her Majesty’s tea, tea is served in your own salon, where you can invite people to take tea with you, or you are invited to take tea with other people.

If there is a hunt, the ladies wear their green-cloth costumes and the gentlemen wear their hunting gear (a red coat, velvet cap, and top-boots). The gentlemen wear culottes courtes the first evening they arrive, and on such fine occasions as the curée, and at the Gala Theater, where outsiders are invited; otherwise they always wear pantalon collant, which is the most unbecoming thing one can imagine in the way of manly attire.

At six o’clock you dress for dinner, always in ball dress, and a little before seven you meet in the Grande Salle des Fêtes. At dinner the guests are placed according to their rank, but at déjeuner there is no ceremony, and you engage your partner after your heart’s desire. Those who are high up at dinner try to get as far down at the end of the table as possible.

With me it is all ups and downs; at breakfast I am ‘way up to the very top, and at dinner ‘way down.

After déjeuner the Master of Ceremonies inquires what you wish to do; that is to say, if there is nothing special mentioned on the programme, such as a review, or manoeuvers, or a chasse à courre, when all are expected to join.

Do you wish to walk? You can tramp up and down the one-thousand-metre-long trellis walk, sheltered from wind and rain.

Do you wish to drive? There are carriages of all descriptions, chars-à-bancs, landaus, pony-carriages, and even a donkey-cart, at your service.

Do you care to ride? There are one hundred and fifty horses eating their heads off in the Imperial stables waiting for you.

Do the gentlemen wish to go shooting? There are countless gamekeepers booted and spurred, with guns and game-bags on their shoulders, impatient to accompany you.

Whatever you do, you are expected to be in your rooms before four o’clock, which is the time the Empress will send for you, if she invites you for tea.

The cercle always follows each repast, and dancing or music always follows the cercle. Tea is served at the Emperor’s salon at eleven o’clock, after which their Majesties retire, and you do the same.

November 26th.

DEAR M.,—A very embarrassing thing happened to me this morning.

We thought we could manage an excursion to the town. I wanted to see the Cathedral, and it did not seem far away.

Therefore, bright and early, at nine o’clock we started on our trip.

We saw the Cathedral; but I had not counted on the time necessary for the change of toilette, which I had to make before déjeuner.

I found on my table an envelope containing this poetry, which I inclose, from Théophile Gautier. I suppose he considered it as a sort of amende honorable.

À Madame Charles Moulton

Vos prunelles ont bu la lumière et la vie; telle une mer sans fond boit l’infini des cieux, car rien ne peut remplir l’abîme de vos yeux, où, comme en un lotus, dort votre âme assouvie.

Pour vous plus de chimère ardemment poursuivie, quel que soit l’idéal, votre rêve vaut mieux, et vous avez surtout le biasement des Dieux, Psyché, qu’Éros lui-même à grand’peine eût ravi.

Votre satiété n’attend pas le banquet, et connaissant la coupe où le monde s’enivre, dédaigneuse à vos pieds vous le regardez vivre.

Et vous apparaissez par un geste coquet, rappelant Mnémosyné à son socle appuyée comme le souvenir d’une sphère oublié.

Théophile Gautier

Charles had gone long before, and I became absorbed in reading it, and forgot to look at the clock, when suddenly, seeing how late it was, I rushed down into the gallery, and what was my horror at finding myself alone with the Cent Gardes, who were standing at ease! It was the first time I had ever seen them look like mortal beings, and not like statues, and it signified, naturally, that every one was in the salle à manger, and that I was too late. However, I thought I could slip into the room unnoticed, and a place at the table would be offered to me; but, alas! it happened that just this morning the Emperor had desired me to sit next to him at the table, and the valet de chambre had been and was still, waiting for me at the door to conduct me to my place on the sovereign’s left hand.

I cannot tell you how I felt as I was being marshaled up the whole length of the room, stared at by every one, and criticized, probably, for this horrible breach of etiquette. I never was so mortified in all my life. I took my place, speechless and confused, and Prince Murat, who sat on the other side of me, kept saying, “The Emperor is piping mad.” The Prince Murat is half American (his mother was a Miss Frazier, from New Jersey), therefore I will forgive him for wanting to tease me.

I suppose I must have looked very red, and I certainly was very out of breath, for the Emperor, probably noticing my embarrassment, kindly said, “Don’t worry; you are not late.”

I told him I had been sight-seeing in Compiègne, and I hoped he would forgive me.

The Empress smiled and nodded to me in the most gracious manner across the table, as if to put me at my ease.

The Emperor told me that he had sent up to Paris for a game of croquet, having heard from Prince Metternich that we all loved so much to play it, adding that he would like to see the game himself. “We are going to have a mock battle this afternoon,” said he. “All these generals and officers who are here have come from everywhere to take part I think it will amuse you to see it, if you have never seen anything of the kind.”

I assured him I had never seen a battle, mock or otherwise, and had no idea what it could be like.

“Well, you shall see,” he said.

“Is there,” I inquired, “as much firing as yesterday?”

“Much more; but this time with cannons,” he replied.

“I hope the cannon-balls are also mock,” I ventured to say.

I told the Emperor of the poetry which Gautier had sent to me, and, having it in my hand, showed it to him, saying, “Ought I to forgive him?”

“You ought to forgive him,” he said. “This is the most exquisite thing I ever have read.”

“If your Majesty says so, I will.”

The manoeuvers were to commence at two o’clock. All the ladies wore their hunting-dresses, and I was proud to don my gold button.

The various equipages were waiting to take us to the field.

The Duchess de Persigny, Princess Murat, Baron Beyens, the Marquis de Caux, and I got in the same carriage; many of the ladies appeared on horseback. Princess Ghika rode one of the three horses she had brought with her to Compiègne. Madame de Vatry rode one of the Emperor’s.

All the carriages, on reaching the field where the manoeuvers were to take place, were drawn up in line, in order that every one should have a good view. Then the Emperor and Empress, on their beautiful horses, and the Prince Imperial, full of youthful dignity, on his cream-colored pony, arrived, accompanied by the staff of splendidly uniformed generals and officers, who took up their positions behind their Majesties before the manoeuvers commenced.

The Empress looked radiantly beautiful, her well fitting riding-habit showing her fine figure to the greatest advantage.

It was, as the Emperor had said, a mock battle, but it seemed to me, not having had much experience in battles, to be very real.

Officers careered over the field for dear life; orderlies with enormous flat, four-cornered things flapping across their backs, scurried to and fro; trumpeters sounded bugles, waved flags, and made signals…. What could look more real and less mock than this?

It was France versus an imaginary enemy.

It seemed as if the one thing France craved and coveted was a poor, lonely farm-house in the distance, apparently unprotected. All the stratagems of war, all the trumpeting and capering about, were brought to bear on conquering that little house. The artillery collided up against it; the infantry, with drums beating, marched boldly to the very door-steps; the cavalry pranced around it…. But for the life of me, though I was staring as hard as I could through my opera-glasses, I could not tell whether France had got it or not. However, there was so much smoke, it might have capitulated without my noticing. I suppose the generals knew.

It made me think of Tennyson’s “Charge of the Light Brigade.”

Cannon to right of them,
  Cannon to left of them,
  Cannon in front of them,
  Volley’d and thunder’d.

The guns and cannons kept up such a continual firing that the ground actually shook under our feet.

I wondered why so much powder and energy should be wasted on a helpless farm-house, and dreaded to think what the real thing must he, if this was only sham.

When it was apparently finished, and every one in the neighborhood had surrendered, they sounded a grand fanfare, and blew a mighty blast of trumpets, the officers dashed up full tilt to the Emperor, and announced, “Victory all along the line!”

I can’t tell you how sweet the little Prince looked when he distributed the médaille de mérite to the brave warriors, who received it with due modesty, saluting gravely.

The Emperor rode about among the carriages and asked us ladies how we had liked it, and if there had been too much noise.

The company at dinner to-night looked particularly brilliant; there must have been a hundred and fifty people present, as the generals and the officers were asked to remain to dinner. I had one general next to me at table, the famous General Changarnier, who my other neighbor said had one foot in the grave and the other dans le plat. He was so old and thin and bony that if his uniform had not kept him up he would have crumbled together before my eyes, and have become a zero instead of a hero. However, he kept together while dinner lasted, for which I was thankful, and I returned him safely to posterity and to the salon.

Their Majesties devoted themselves exclusively to the Army after dinner; but they sent word by a chamberlain that we were to commence dancing, though they had not finished the cercle.

Waldteufel was already seated at the piano, waiting.

The officers danced vigorously. The elder ones ventured on quadrilles, and danced them with great gusto.

Prince Murat, noticing the old general skipping about so youthfully, proposed a Virginia reel, with a view to giving them a little more exercise.

Every one entered into the spirit of it; but there were only a few who knew how to dance it.

Both Prince and Princess Metternich had learned it at Petit Val. Madame Gallifet knew it as “Sir Roger de Coverley” from her English days, and Prince Murat must have learned it from his American mother.

The Emperor danced with me, as he said he would only dance with an expert!

The Empress had Count Golz for her partner, and stood next to me; Princess Metternich (full of fun) chose one of the most ancient warriors. Madame de Persigny and Prince Murat were at the end of the line; the other guests filled the intermediate places.

Prince Metternich, knowing the music, thought he was absolutely necessary at the piano, consequently he took Waldteufel’s place there.

I, as “the expert,” led off. The Emperor tried to imitate me, but became confused by the constant shouting from his cousin (Prince Murat) at the other end. However, he and I managed to finish our part; but the Emperor refused to be swung, and we marched down the middle of the line, hand in hand, disregarding the rules in a truly royal manner. Then, having watched the Empress go through her part (she also marched down in a royal manner), the Emperor seemed bored at looking at the others, and called the Marquis de Caux to take his place. Next, Prince Metternich began improvising reels of his own invention, which turned into all sorts of fantastic measures, which were impossible to dance by. Madame de Persigny, in turning, fell flat on her back; every one rushed to her rescue, which caused great confusion, as people lost their places and could not find them again.

This brought our famous reel, which proved to be a dead failure, to an abrupt close; and the old generals, for whose sake we danced it, never got a chance to show what they could do; and we were thankful when Waldteufel returned to the piano and played a waltz, to which we could dance until it was time for the Emperor’s tea, and then,

Bonsoir!

November 27th.

DEAR M.,—Baron Haussmann took me in to déjeuner this morning. The Baron is the Préfet de Paris. He is very tall, bulky, and has an authoritative way of walking ahead and dragging his partner after him, which makes one feel as if one was a small tug being swept on by a man-of-war! I wondered if the Cent Gardes noticed how I tripped along, taking two steps to his one, until he reached his seat at the table, into which he dropped with a sigh of relief.

His body in profile defies any one’s looking around the corner, so to speak. I could only see at intervals Marquise Chasselouplobat’s shapely elbows and hands. Our conversation turned on the new improvements he intends to make in Paris. He asked me how I liked the boulevard of his name, just completed.

“I like it,” I answered, “though it has deprived us of a good part of our garden.” (It had cut off just half of it.)

“It brings you nearer the Bois,” he added. “I hope the Government paid you well for it.”

“I suppose the Government thinks it did; but our croquet-ground is gone forever.”

“Forever!” he repeated. “Where do you play now?”

“Sometimes at the Austrian embassy.”

“Is its garden large enough for that?”

I answered, “It is not large enough for a real croquet-ground; but the ambassador is such an ardent player that he has arranged a place under the trees where we play—sometimes at night with lamps on the ground.”

“I should think that would be very difficult; quite impossible, in fact.”

“What else can we do? We have no other place.”

After a moment’s hesitation he asked, “How would you like it if I put a piece of ground in the Bois at your disposal?”

I could have screamed with joy! What a piece of news to tell my friends after breakfast. I chanted a little Gloria under my breath, and asked him if he really meant it. He said, “Of course I mean it, and as soon as I return to Paris I will have the formal papers made out and sent to you, and you can claim the ground when you like.” He added, gallantly, “I will have the document made out in your name, Madame, in souvenir of our breakfast to-day.”

Is he not a very generous man? But if every time he sits next to a lady he gives her a slice of the Bois de Boulogne he will soon be out of the government books.

You can readily imagine the delight of my fellow-players when I told them all this after our return to the salon.

The weather looked unsettled; no one felt like driving or walking. However, later, the wind veered about, the sun came out of the heavy clouds, our spirits rose with the barometer, the elements seemed to point to outdoor amusements. What better than a game of croquet?

The Emperor, as I said before, had sent to Paris for the game, and Prince Metternich felt it would be rude not to use it. We have been playing it so much this year that we have quite got it on the brain, and we were very excited and most eager to play, and orders were given to have the box brought out on the terrace.

Both their Majesties were highly interested; they examined everything with the greatest curiosity, unwrapped the balls themselves, and were quite anxious to begin.

The question was, where should the game be put up, and where should the wickets be put down? The lawn was wet, the gravel walks were too narrow. The only place that could be found was under the charmille on the terrace, where stood a grove of old platane trees.

Prince Metternich was, of course, the moving spirit, and undertook to manage everything. He and d’Espeuilles got a meter measure and measured off the distances with great care and precision before placing the wickets. This took a long time. Then he distributed the mallets and the corresponding balls to each person, and we stood in front of our weapons ready to commence. Prince Metternich was so long and particular about telling the rules that he succeeded only in confusing all the beginners.

The Empress was to play with the Prince Metternich, the Marquis de Gallifet with the Princess Metternich. The Emperor was to play with the Marquise de Gallifet, Monsieur d’Espeuilles was to play with me:—eight people in all! Nothing is so dreadful as a game of croquet with people four of whom are beginners.

The Empress was the first to play; her ball was placed so near the wicket that nothing short of genius could have prevented her from going through, which she did with great triumph; her next stroke went far beyond, and she worried it back by a succession of several pushing knocks into its position. No one made any remarks. Then the Emperor made a timid stroke, which gently turned the ball over. Prince Metternich remarked that he (the Emperor) should hit harder, at which his Majesty gave such a whack to his ball that it flew into the next county.

“Never mind,” said Prince Metternich, and put another ball in front of the Emperor’s mallet, and somehow it got through the wicket.

Princess Metternich played next, and she was an adept, so all went well with her. I came after her, and managed to get his Majesty’s ball on its way a bit. Tiresome pauses and long explanations followed.

Prince Metternich shouted, trying to rally the players.

“Marquis, where are you?” disturbing the Marquis from a flirtation. “It is your turn to play.”

“Really; what shall I do?”

“Try to hit this ball.”

“Par exemple! Which ball? Where is it? I do not even see it.”

“Here it is behind this tree, if you caramboler against the tree you might hit it.” And in this way it went on until the Emperor, bored to death, slowly disappeared and the Empress suddenly discovered that her feet were cold and went away, and couples flirtatiously inclined began wandering off, and it was nearly dark and tea-time before Prince Metternich (who was worn out trying to make people understand or take any interest in the game) realized that there were only a few devotees left on the battle-field amid damaged trees and chipped balls.

So ended our game of croquet; we felt crushed and crestfallen.

At the Empress’s tea, to which we were bidden, we were not spared satirical gibes on the subject of our luckless game.

The Marquis de Gallifet, Officier d’Ordonnance de l’Empereur, whom I sat next to at dinner, is what one might call sarcastic—he actually tears people to pieces; he does not leave them with a shred of reputation, and what he does not say he implies. He thinks nothing of saying, “He! He’s an abominable scoundrel. She! She is a shameless coquette!” and so forth. He spares no one; nevertheless, he is most amusing, very intelligent, and an excellent talker. He told me of his awful experience in the war of Mexico. He had been shot in the intestines and left for dead on the field of battle. He managed, by creeping and crawling, “toujours tenant mes entrailles dans mon képi” to reach a peasant’s house, where the good people took care of him until he was able to be transported to a hospital. There he stayed through a dismal year of suffering. In order to keep the above-mentioned entrailles in their proper place, the doctors covered them with a silver plate. “I had my name engraved on it,” he said.

He asked me, “Did you ever hear anything like that?” I tried to fancy how any one would look placarded like that, but replied that I had never heard of anything quite so awful; but I had heard that every cloud had a silver lining. He laughed and said, “I shall call myself a cloud in future.”

The dinner to-night was very good. I give you the menu:

Potage tortue clair,
    Crème de volaille,
    Brisotins de foie gras,
    Saumon Napolitain,
    Filet de boeuf à la moderne,
    Suprême de perdreaux,
    Homards à la Parisienne,
    Gelinottes rôties,
    Salade,
    Petits pois à l’Anglaise,
    Ananas Montmorency,
    Glaces assorties,
    Café—Liqueur (both served at the table).

Dinner over, we filed before the Cent Gardes in their shining uniforms through the long gallery.

It was earlier than usual when we began to dance; but we were (at least I was) interrupted by receiving a message from their Majesties, asking me if I would kindly sing something for them. Of course I did not refuse, and we adjourned to the music-room, where the Erard piano was.

I did not exactly know what to sing; but Prince Metternich soon relieved my mind on that score by saying, “Don’t bother about singing anything serious, and especially don’t sing anything classical.” The Princess Metternich could accompany anything which was not too difficult; therefore we thought I had better sing “Ma mère était bohémienne,” of Massé, which I did. I saw directly that this melodramatic music, beautiful as it is, did not suit the occasion, for though the gaily attuned audience was visibly affected by the phrase, Et moi j’ai l’âme triste, they did not show more signs of emotion than by making a little dab at their eyes with their pocket-handkerchiefs.

The Princess remained at the piano, ready to accompany the other songs I had brought, which were of the same character, and I stood by her, trying to decide what I should sing next, when the Emperor came up and asked me for “Beware!” Charles accompanied that, and I sang it. The Empress asked me if I would sing some Spanish songs for her. I sang “Chiquita,” which I learned with Garcia, and the “Habañero.” She seemed very pleased, and made me many compliments. Then the Emperor begged me for some negro songs, and asked me if I knew “Massa’s in the Cold, Cold Ground,” or “Suwanee River,” or “Nelly Bly,” all of which he remembered having heard in America.

I sat down at the piano and commenced with “Suwanee River.” I fortunately knew the words of that.

(Oh, Delsarte! what would you have said had you seen your pupil singing this claptrap music before your sovereigns and their most distinguished guests?)

Delsarte says that one can force the tears into one’s eyes, one can make one’s lips tremble, one can express the most harrowing emotions in one’s voice, and not sing more than “do, re, mi, fa.” I tried to profit by his teachings, and brought them to bear upon the pathetic words of “Oh, darkies, how my heart grows weary,” and I could see that both their Majesties were deeply moved. I sang the word “weary” with such pathos that every one was more or less affected, and the phrase, “All the world is dark and dreary,” I rendered in the most heart-broken tones.

I was sorry that I could not remember the words of “Massa’s in the Cold, Cold Ground,” as the Emperor wanted it; but I could not. I knew the music of “Nelly Bly,” but had never known the words, so I tried to improvise some; but it was impossible for me to think of more than two words which rhymed with “Bly,” and those were “sly” and “eye.”

With shameful aplomb I sang these senseless words:

Nelly Bly wipes her eye,
   On her little frock,
  Nelly Bly, Nelly Bly,
   Dick a dick a dock.

Happily the Emperor did not notice anything wrong, and was delighted to hear those old songs again, and thanked me repeatedly.

Once seated at the piano, I was not allowed to leave it until my répertoire of music of this character had been exhausted.

This brought the evening to a close.

Tea was served; their Majesties withdrew, and I fled to my apartment feeling that metaphorically I was covered with laurels.

November 28th.

DEAR A.,—To-day I was very high up, ‘way up in the clouds, for I sat next to the Emperor.

Davilliers, one of the chamberlains, gave me his arm and conducted me to my place. The Emperor’s first words were:

“I can’t thank you enough for the pleasure you gave us last evening.”

I tried to express my pleasure at these kind words.

“Did you see how we were affected when you sang ‘Suwanee River’? I thought to laugh, instead of which I cried; how could you make it so pathetic?”

“That is my teacher’s art,” I replied.

“Who is your teacher?”

“Monsieur Delsarte. Your Majesty has perhaps heard of him?”

“No,” answered the Emperor. “I have never heard of him. Is he a great singer?”

“He cannot sing at all, your Majesty; but he has wonderful theories which go to prove that one does not need any voice at all to sing; one only needs features to express one’s emotions.”

“He must be wonderful,” the Emperor remarked.

“He is, your Majesty, and quite unique in his way. He says, for instance, when he sings, ‘J’ai du bon tabac dans ma tabatière,’ and comes to ‘Tu n’en auras pas,’ he can make people shed bitter tears, as though it were too much to bear.”

“His tobacco must be very good?” laughed the Emperor.

“It is the worst thing of its kind, your Majesty, one can imagine,” I answered.

“Is it perhaps Caporal?” said he, with a merry twinkle in his eye.

“I don’t know anything about military grades, but, if there were anything lower than a Caporal I should say it was the name of his tobacco.”

“Well,” he said, “if he taught you to sing as you sing, il mérite de la patrie.”

The Emperor was perfectly delightful, witty, amusing, and laughing continually, with such a keen appreciation he seemed really to enjoy himself.

As the programme in our room this morning read, chasse à courre, on went the green dress for the second time, and, of course, the button. The Duchess de Fernan Nuñez asked me to drive with her, which I was happy to do, as I like her very much. We sat on the front seat, so as to have the best view of the proceedings.

The Emperor and Empress were on horseback; all the gentlemen were in red coats, white breeches, top-boots, and velvet caps, which made them look very picturesque.

The rendezvous was at the Carrefour l’Étoile, and when we arrived the hunters and equipage, with the piqueurs and the chasseurs from the neighborhood, who belonged to the Imperial Hunt, were already there.

The Imperial équipage de chasse is composed of ten piqueurs, valets de chien, valets à pieds, valets à cheval, and valets de limiers, and one hundred English hounds. The hounds are trained by the use of drags, which are, as perhaps you know, bundles of something saturated in blood, which the horses drag and the scent of which the hounds follow. The carriages were drawn up on the side of the road to wait until their Majesties appeared.

The ladies dressed in rich furs and velvets, the riders in brilliant red coats on prancing horses, the attendant grooms, the piqueurs in their gay liveries, green and gold with green-velvet jockey caps, made a wonderful spectacle. The day was superb, the sun shone brilliantly through the autumn foliage, the hazy distances were of a tender hue, and everything had an exquisite tint. Never shall I forget it!

Unfortunately our coachman neglected to follow the other carriages, and we drove about a long time before we discovered that we were on the wrong road, and then he became quite bewildered and seemed to lose his head completely.

After driving from one cross-road to another, we at last chanced upon Monsieur de Bourgogne, who told us that he was just in advance of their Majesties, and that they would be there presently. He said that we had better wait where we were, as the stag would probably pass by that way.

It seemed as if, in fact, we must be near, as we could hear the dogs yelping and the horns sounding (they call it “hallali”). Count de Grammont rode up to us and said we had better follow him, as we would then soon come in sight of the hunters. Despite all these contradictory advices, our coachman managed to arrive on the scene of action just in time for us to see the poor stag, who had taken to the water for dear life (they call it bat l’eau), and the dogs in a frenzy of excitement barking furiously and plunging after him.

We could not see all that happened, thank heaven! as our carriage was behind the whole assembled crowd.

With my tenderness toward all animals, my heart ached for the poor beast, and I hoped sincerely that he would escape his cruel pursuers. I could not see any pleasure or excitement in watching this painful spectacle, and was glad when the time came to turn our backs on the whole thing and return to the château.

At the Empress’s tea no one talked of anything else but the events of the afternoon. I pretended that I had seen it all, even to the very end. Princess Ghika, beaming all over with joy, was given the foot, as she was in at the death.

Count de l’Aigle took me in to dinner. He is one of the neighbors, not one of the guests; but, as he belongs to the Imperial Hunt, he is always invited to this dinner.

The Empress looked superb in a brown tulle over satin, looped up with brooches of diamonds. She had had a diamond crescent in her hair like Diana. The Marquise de Gallifet was lovely in light-green tulle, with an aigret of diamonds in her blond hair.

The table was arranged most appropriately for the occasion, decorated by the whole biscuit de Sèvres service de chasse. Every one seemed gay and stimulated by the excitement of the day.

When the usual after-dinner ceremonies and the cercle in the salon were terminated, the Grand Chamberlain announced to his Majesty that all was ready for the curée, which was awaiting his permission to begin.

The Emperor and the Empress led the way into the long gallery, which overlooks the cour d’honneur. We ladies had provided ourselves with wraps and shawls, as we knew we should need them either on the balcony or at the windows of the gallery, of which there are about twenty.

The Empress braved the weather and stood out on the balcony with the Emperor, well wrapped in furs, for the night was cold; and the gentlemen, not finding sufficient room, went below and stood on the steps of the “Perron,” which gives on to the courtyard.

All the lackeys, valets, grooms, in fact, all the household servants, formed a large circle in the enormous cour d’honneur opposite the Imperial balcony, all bearing flaming torches made of tar, which lighted up the whole place. Behind these stood the populace of Compiègne, who are allowed to be present on these occasions.

At the farther side of the courtyard, and directly opposite their Majesties, the chief huntsman held up the skin of the stag, which contained the entrails, waving it backward and forward, in order to excite the hounds. The piqueurs stood in front of the “Perron,” holding the dogs back with great difficulty, for they were struggling to get loose, and yelping in their eagerness and greediness to rush forward.

As the chasseur waved the skin, the piqueurs let the hounds loose, and when they were half-way across the court, approaching the object of their desire, the piqueurs called them back, in order to show how well disciplined and under what complete control they were.

The tantalizing of the poor animals was repeated several times. At last the fanfare was sounded, and the hounds were allowed to rush forward midst the tooting of horns, the cracking of whips, and the cries and shouts of the crowd. The torches were waved high in the air, giving a weird light to the whole scene, and the entrails at last were thrown to the dogs, and before you could say “Jack Robinson” everything was devoured. You can picture to yourself what a unique and fantastic sight this must have been!

It was eleven o’clock when we returned to the salon, where tea and refreshments were served. Those returning to Paris took leave of their Majesties and drove to the station, where the special Imperial train provided for them was waiting.

Later their Majesties took leave of us.

We lingered a little, as it was our last evening.

On returning to my apartment, I saw on my table a package, on which was written, De la part de l’Empereur. You can imagine how eager I was to open it. Those magic words brought untold visions before my eyes. What might it not be?

I opened the package feverishly, and what was my surprise and disappointment to find a rather ordinary-looking tabatière and a package of tobacco, written on it, Du bon tabac pour le maître de chant de Madame Moulton.

Was it not a cruel blow?

November 30th.

Here we are again in Paris, glad to be at home after our gay week in Compiègne, charming and delightful as it was; there is always great fatigue and tension attending such visits. To-day I luxuriate in one dress; no changing five times a day. I allowed my maid to go out for the day, and we are going to dine at a restaurant…. What a contrast! It seems as if I had been away a month!

Before we left Compiègne yesterday, when we were taking our morning tea, we were interrupted by the coming in of the majordomo, who handed us a paper. We were not unprepared for this visit, as we had been told by one of the guests, who had been here before, that every one was expected to remain in their rooms until this important personage had made his rounds, in order to collect the pourboire. I say THE pourboire, because what one generally gives separately is lumped into one sum. This paper, which he handed to us almost at the point of his hallebarde, proved to be a già scritto receipt for six hundred francs—our pourboire!

During breakfast yesterday the Emperor took up his glass, and, looking at me across the table, drank my health. Among the guests there was a great deal of health-drinking.

Gustave Doré had made some very clever caricatures of some events which he had drawn beautifully and touched off with aquarelle, as he alone could do it. The little album was passed stealthily from hand to hand under the shelter of the table, with the strictest injunctions not to let any one see it except your immediate neighbor! With these injunctions it managed to travel about half-way down the table.

He had made a lovely sketch of her Majesty driving a chariot like the “Aurora” in the Rospigliosi Gallery, and had depicted the Emperor seated on an enormous white horse, leading a charge of cavalry, his arm uplifted.

The Princess Metternich was represented as the coachman in the charade, hat on one side, pipe in her mouth, and looking very débonnaire. Prince Metternich was shown standing in the middle of an arena, in full diplomatic uniform, with masses of decorations and cordons. He had a long whip, such as are used in circuses, and men and women (meaning us, I suppose) capering around doing their tricks.

The sketch of Madame de Persigny was very funny. A mass of tulle petticoats, in the midst of which two little feet in the air, and a crown rolling away in the distance.

The picture he made of me was the mechanical doll, ribbons floating all about, and on every turn of the ribbons was written “Beware!”

The diplomat’s shoe was not forgotten. There was a table a mile long, and at the very end of it a little shoe seen underneath.

We were in our traveling costumes, and on our return to the salon their Majesties went about saying pleasant and gracious things to every one. They hoped we would remember our visit with as much pleasure as they would, etc.

There was a greater animation than usual, and less ceremony; people talked louder and with less restraint; every one bade good-by to the ladies and gentlemen of the Household who remained. The Empress gave her hand to be kissed by the gentlemen (some of them, not all), kissed some ladies, and shook hands with others.

When their Majesties were ready to dismiss us they bowed, and we all departed to get our hats and wraps,

I gave a lingering look at the lovely rooms I was leaving, which were now devoid of our trunks and little personal trinkets, nodded a farewell to our particular valet, who was probably thinking already of our successors, descended l’Escalier d’honneur, and passed through the beautiful Galerie des Gardes to the colonnades, where the chars-à-bancs were ready waiting to carry us to the station. We were a rather subdued party in the train; the conversation mostly turned on the subject of pourboires. The huissier decides the exact amount that each ought to give. For instance, he knows an ambassador ought to give two thousand francs. For a minister of state one thousand francs suffices. Unofficial people like ourselves cannot be expected to be out of pocket more than six hundred francs. As for the poor nobility of France, they escape with five hundred!

Some were of opinion that it was pleasanter to give en masse, in one big sum, than to give in driblets; others thought it more satisfactory to hand one’s offering personally to the different servants; but we all, with one voice, voted the officious beadle an imposition.

The daily expenses of Compiègne, so the Gouverneur de la Maison told us, and he ought to know, are not less than ten thousand francs a day, and there are more than nine hundred people living in the Palace at a time, to be fed and warmed.

To-day, at five o’clock, the fourth série will come; it is called la série des oubliés, as ours was called la série élégante. The first is called la série obligatoire, the second les ennuyeux.

We found our carriage at the station. Our simple coupé seemed a great come-down from the beautiful carriages we had been driving in, and good Louis and the footman, in their quiet liveries, seemed in fierce contrast to the gorgeous creatures we had been familiar with so lately.

The family is at Petit Val, and we remain there quietly until January.

We found among our belongings an enormous bourriche, containing a quantity of game, hares, pheasants, and so forth.

Good night! I am tired.