The future mother-in-law was seated opposite, and to do me honour she filled a glass and offered it to me. Already identified with my part in the comedy, I put forth my hand to take the glass, but seeing that my hand was somewhat bent, she said to me,

"What is the matter with your hand, sir?"

"Nothing serious, madam; only a slight sprain which a little rest will soon cure."

At these words, Catinella, laughing heartily, said that she regretted the accident because it would deprive her friends of the pleasure they would have enjoyed in hearing me play the harpsichord.

"I am glad to find it a laughing matter, cousin."

"I laugh, because it reminds me of a sprained ankle which I once feigned to have in order not to dance."

After coffee, the mother-in-law, who evidently understood what was proper, said that most likely my cousin wanted to talk with me on family matters, and that we ought to be left alone.

Every one of the guests left the room.

As soon as I was alone with her in my room, which was next to her own she threw herself on a sofa, and gave way to a most immoderate fit of laughter.

"Although I only know you by name," she said to me, "I have entire confidence in you, but you will do well to go away to-morrow. I have been here for two months without any money. I have nothing but a few dresses and some linen, which I should have been compelled to sell to defray my expenses if I had not been lucky enough to inspire the son of the landlord with the deepest love. I have flattered his passion by promising to become his wife, and to bring him as a marriage portion twenty thousand crowns' worth of diamonds which I am supposed to have in Venice, and which my mother is expected to bring with her. But my mother has nothing and knows nothing of the affair, therefore she is not likely to leave Venice."

"But, tell me, lovely madcap, what will be the end of this extravaganza? I am afraid it will take a tragic turn at the last."

"You are mistaken; it will remain a comedy, and a very amusing one, too. I am expecting every hour the arrival of Count Holstein, brother of the Elector of Mainz. He has written to me from Frankfort; he has left that city, and must by this time have reached Venice. He will take me to the Fair of Reggio, and if my intended takes it into his head to be angry, the count will thrash him and pay my bill, but I am determined that he shall be neither thrashed nor paid. As I go away, I have only to whisper in his ear that I will certainly return, and it will be all right. I know my promise to become his wife as soon as I come back will make him happy."

"That's all very well! You are as witty as a cousin of Satan, but I shall not wait your return to marry you; our wedding must take place at once."

"What folly! Well, wait until this evening."

"Not a bit of it, for I can almost fancy I hear the count's carriage. If he should not arrive, we can continue the sport during the night."

"Do you love me?"

"To distraction! but what does it matter? However, your excellent comedy renders you worthy of adoration. Now, suppose we do not waste our time."

"You are right: it is an episode, and all the more agreeable for being impromptu."

I can well recollect that I found it a delightful episode. Towards evening all the family joined us again, a walk was proposed, and we were on the point of going out, when a carriage drawn by six post-horses noisily entered the yard. Catinella looked through the window, and desired to be left alone, saying that it was a prince who had come to see her. Everybody went away, she pushed me into my room and locked me in. I went to the window, and saw a nobleman four times as big as myself getting out of the carriage. He came upstairs, entered the room of the intended bride, and all that was left to me was the consolation of having seized fortune by the forelock, the pleasure of hearing their conversation, and a convenient view, through a crevice in the partition, of what Catinella contrived to do with that heavy lump of flesh. But at last the stupid amusement wearied me, for it lasted five hours, which were employed in amorous caresses, in packing Catinella's rags, in loading them on the carriage, in taking supper, and in drinking numerous bumpers of Rhenish wine. At midnight the count left the hotel, carrying away with him the beloved mistress of the landlord's son.

No one during those long hours had come to my room, and I had not called. I was afraid of being discovered, and I did not know how far the German prince would have been pleased if he had found out that he had an indiscreet witness of the heavy and powerless demonstrations of his tenderness, which were a credit to neither of the actors, and which supplied me with ample food for thoughts upon the miseries of mankind.

After the departure of the heroine, catching through the crevice a glimpse of the abandoned lover, I called out to him to unlock my door. The poor silly fellow told me piteously that, Catinella having taken the key with her, it would be necessary to break the door open. I begged him to have it done at once, because I was hungry. As soon as I was out of my prison I had my supper, and the unfortunate lover kept me company. He told me that Catinella had found a moment to promise him that she would return within six weeks, that she was shedding tears in giving him that assurance, and that she had kissed him with great tenderness.

"Has the prince paid her expenses?"

"Not at all. We would not have allowed him to do it, even if he had offered. My future wife would have felt offended, for you can have no idea of the delicacy of her feelings."

"What does your father say of her departure?"

"My father always sees the worst side of everything; he says that she will never come back, and my mother shares his opinion rather than mine. But you, signor maestro, what do you think?"

"That if she has promised to return, she will be sure to keep her word."

"Of course; for if she did not mean to come back, she would not have given me her promise."

"Precisely; I call that a good argument."

I had for my supper what was left of the meal prepared by the count's cook, and I drank a bottle of excellent Rhenish wine which Catinella had juggled away to treat her intended husband, and which the worthy fellow thought could not have a better destination than to treat his future cousin. After supper I took post-horses and continued my journey, assuring the unhappy, forlorn lover that I would do all I could to persuade my cousin to come back very soon. I wanted to pay my bill, but he refused to receive any money. I reached Bologna a few minutes after Catinella, and put up at the same hotel, where I found an opportunity of telling her all her lover had said. I arrived in Reggio before her, but I could not speak to her in that city, for she was always in the company of her potent and impotent lord. After the fair, during which nothing of importance occurred to me, I left Reggio with my friend Baletti and we proceeded to Turin, which I wanted to see, for the first time I had gone to that city with Henriette I had stopped only long enough to change horses.

I found everything beautiful in Turin, the city, the court, the theatre, and the women, including the Duchess of Savoy, but I could not help laughing when I was told that the police of the city was very efficient, for the streets were full of beggars. That police, however, was the special care of the king, who was very intelligent; if we are to believe history, but I confess that I laughed when I saw the ridiculous face of that sovereign.

I had never seen a king before in my life, and a foolish idea made me suppose that a king must be preeminent—a very rare being—by his beauty and the majesty of his appearance, and in everything superior to the rest of men. For a young Republican endowed with reason, my idea was not, after all, so very foolish, but I very soon got rid of it when I saw that King of Sardinia, ugly, hump-backed, morose and vulgar even in his manners. I then realized that it was possible to be a king without being entirely a man.

I saw L'Astrua and Gafarello, those two magnificent singers on the stage, and I admired the dancing of La Geofroi, who married at that time a worthy dancer named Bodin.

During my stay in Turin, no amorous fancy disturbed the peace of my soul, except an accident which happened to me with the daughter of my washerwoman, and which increased my knowledge in physics in a singular manner. That girl was very pretty, and, without being what might be called in love with her, I wished to obtain her favours. Piqued at my not being able to obtain an appointment from her, I contrived one day to catch her at the bottom of a back staircase by which she used to come to my room, and, I must confess, with the intention of using a little violence, if necessary.

Having concealed myself for that purpose at the time I expected her, I got hold of her by surprise, and, half by persuasion, half by the rapidity of my attack, she was brought to a right position, and I lost no time in engaging in action. But at the first movement of the connection a loud explosion somewhat cooled my ardour, the more so that the young girl covered her face with her hands as if she wished to hide her shame. However, encouraging her with a loving kiss, I began again. But, a report, louder even than the first, strikes at the same moment my ear and my nose. I continue; a third, a fourth report, and, to make a long matter short, each movement gives an explosion with as much regularity as a conductor making the time for a piece of music!

This extraordinary phenomenon, the confusion of the poor girl, our position—everything, in fact, struck me as so comical, that I burst into the most immoderate laughter, which compelled me to give up the undertaking. Ashamed and confused, the young girl ran away, and I did nothing to hinder her. After that she never had the courage to present herself before me. I remained seated on the stairs for a quarter of an hour after she had left me, amused at the funny character of a scene which even now excites my mirth. I suppose that the young girl was indebted for her virtue to that singular disease, and most likely, if it were common to all the fair sex, there would be fewer gallant women, unless we had different organs; for to pay for one moment of enjoyment at the expense both of the hearing and of the smell is to give too high a price.

Baletti, being in a hurry to reach Paris, where great preparations were being made for the birth of a Duke of Burgundy—for the duchess was near the time of her delivery—easily persuaded me to shorten my stay in Turin. We therefore left that city, and in five days we arrived at Lyons, where I stayed about a week.

Lyons is a very fine city in which at that time there were scarcely three or four noble houses opened to strangers; but, in compensation, there were more than a hundred hospitable ones belonging to merchants, manufacturers, and commission agents, amongst whom was to be found an excellent society remarkable for easy manners, politeness, frankness, and good style, without the absurd pride to be met with amongst the nobility in the provinces, with very few honourable exceptions. It is true that the standard of good manners is below that of Paris, but one soon gets accustomed to it. The wealth of Lyons arises from good taste and low prices, and Fashion is the goddess to whom that city owes its prosperity. Fashion alters every year, and the stuff, to which the fashion of the day gives a value equal, say to thirty, is the next year reduced to fifteen or twenty, and then it is sent to foreign countries where it is bought up as a novelty.

The manufacturers of Lyons give high salaries to designers of talent; in that lies the secret of their success. Low prices come from Competition—a fruitful source of wealth, and a daughter of Liberty. Therefore, a government wishing to establish on a firm basis the prosperity of trade must give commerce full liberty; only being careful to prevent the frauds which private interests, often wrongly understood, might invent at the expense of public and general interests. In fact, the government must hold the scales, and allow the citizens to load them as they please.

In Lyons I met the most famous courtezan of Venice. It was generally admitted that her equal had never been seen. Her name was Ancilla. Every man who saw her coveted her, and she was so kindly disposed that she could not refuse her favours to anyone; for if all men loved her one after the other, she returned the compliment by loving them all at once, and with her pecuniary advantages were only a very secondary consideration.

Venice has always been blessed with courtezans more celebrated by their beauty than their wit. Those who were most famous in my younger days were Ancilla and another called Spina, both the daughters of gondoliers, and both killed very young by the excesses of a profession which, in their eyes, was a noble one. At the age of twenty-two, Ancilla turned a dancer and Spina became a singer. Campioni, a celebrated Venetian dancer, imparted to the lovely Ancilla all the graces and the talents of which her physical perfections were susceptible, and married her. Spina had for her master a castrato who succeeded in making of her only a very ordinary singer, and in the absence of talent she was compelled, in order to get a living, to make the most of the beauty she had received from nature.

I shall have occasion to speak again of Ancilla before her death. She was then in Lyons with her husband; they had just returned from England, where they had been greatly applauded at the Haymarket Theatre. She had stopped in Lyons only for her pleasure, and, the moment she shewed herself, she had at her feet the most brilliant young men of the town, who were the slaves of her slightest caprice. Every day parties of pleasure, every evening magnificent suppers, and every night a great faro bank. The banker at the gaming table was a certain Don Joseph Marratti, the same man whom I had known in the Spanish army under the name of Don Pepe il Cadetto, and a few years afterwards assumed the name of Afflisio, and came to such a bad end. That faro bank won in a few days three hundred thousand francs. In a capital that would not have been considered a large sum, but in a commercial and industrial city like Lyons it raised the alarm amongst the merchants, and the Ultramontanes thought of taking their leave.

It was in Lyons that a respectable individual, whose acquaintance I made at the house of M. de Rochebaron, obtained for me the favour of being initiated in the sublime trifles of Freemasonry. I arrived in Paris a simple apprentice; a few months after my arrival I became companion and master; the last is certainly the highest degree in Freemasonry, for all the other degrees which I took afterwards are only pleasing inventions, which, although symbolical, add nothing to the dignity of master.

No one in this world can obtain a knowledge of everything, but every man who feels himself endowed with faculties, and can realize the extent of his moral strength, should endeavour to obtain the greatest possible amount of knowledge. A well-born young man who wishes to travel and know not only the world, but also what is called good society, who does not want to find himself, under certain circumstances, inferior to his equals, and excluded from participating in all their pleasures, must get himself initiated in what is called Freemasonry, even if it is only to know superficially what Freemasonry is. It is a charitable institution, which, at certain times and in certain places, may have been a pretext for criminal underplots got up for the overthrow of public order, but is there anything under heaven that has not been abused? Have we not seen the Jesuits, under the cloak of our holy religion, thrust into the parricidal hand of blind enthusiasts the dagger with which kings were to be assassinated! All men of importance, I mean those whose social existence is marked by intelligence and merit, by learning or by wealth, can be (and many of them are) Freemasons: is it possible to suppose that such meetings, in which the initiated, making it a law never to speak, 'intra muros', either of politics, or of religions, or of governments, converse only concerning emblems which are either moral or trifling; is it possible to suppose, I repeat, that those meetings, in which the governments may have their own creatures, can offer dangers sufficiently serious to warrant the proscriptions of kings or the excommunications of Popes?

In reality such proceedings miss the end for which they are undertaken, and the Pope, in spite of his infallibility, will not prevent his persecutions from giving Freemasonry an importance which it would perhaps have never obtained if it had been left alone. Mystery is the essence of man's nature, and whatever presents itself to mankind under a mysterious appearance will always excite curiosity and be sought, even when men are satisfied that the veil covers nothing but a cypher.

Upon the whole, I would advise all well-born young men, who intend to travel, to become Freemasons; but I would likewise advise them to be careful in selecting a lodge, because, although bad company cannot have any influence while inside of the lodge, the candidate must guard against bad acquaintances.

Those who become Freemasons only for the sake of finding out the secret of the order, run a very great risk of growing old under the trowel without ever realizing their purpose. Yet there is a secret, but it is so inviolable that it has never been confided or whispered to anyone. Those who stop at the outward crust of things imagine that the secret consists in words, in signs, or that the main point of it is to be found only in reaching the highest degree. This is a mistaken view: the man who guesses the secret of Freemasonry, and to know it you must guess it, reaches that point only through long attendance in the lodges, through deep thinking, comparison, and deduction. He would not trust that secret to his best friend in Freemasonry, because he is aware that if his friend has not found it out, he could not make any use of it after it had been whispered in his ear. No, he keeps his peace, and the secret remains a secret.

Everything done in a lodge must be secret; but those who have unscrupulously revealed what is done in the lodge, have been unable to reveal that which is essential; they had no knowledge of it, and had they known it, they certainly would not have unveiled the mystery of the ceremonies.

The impression felt in our days by the non-initiated is of the same nature as that felt in former times by those who were not initiated in the mysteries enacted at Eleusis in honour of Ceres. But the mysteries of Eleusis interested the whole of Greece, and whoever had attained some eminence in the society of those days had an ardent wish to take a part in those mysterious ceremonies, while Freemasonry, in the midst of many men of the highest merit, reckons a crowd of scoundrels whom no society ought to acknowledge, because they are the refuse of mankind as far as morality is concerned.

In the mysteries of Ceres, an inscrutable silence was long kept, owing to the veneration in which they were held. Besides, what was there in them that could be revealed? The three words which the hierophant said to the initiated? But what would that revelation have come to? Only to dishonour the indiscreet initiate, for they were barbarous words unknown to the vulgar. I have read somewhere that the three sacred words of the mysteries of Eleusis meant: Watch, and do no evil. The sacred words and the secrets of the various masonic degrees are about as criminal.

The initiation in the mysteries of Eleusis lasted nine days. The ceremonies were very imposing, and the company of the highest. Plutarch informs us that Alcibiades was sentenced to death and his property confiscated, because he had dared to turn the mysteries into ridicule in his house. He was even sentenced to be cursed by the priests and priestesses, but the curse was not pronounced because one of the priestesses opposed it, saying:

"I am a priestess to bless and not to curse!"

Sublime words! Lessons of wisdom and of morality which the Pope despises, but which the Gospel teaches and which the Saviour prescribes.

In our days nothing is important, and nothing is sacred, for our cosmopolitan philosophers.

Botarelli publishes in a pamphlet all the ceremonies of the Freemasons, and the only sentence passed on him is:

"He is a scoundrel. We knew that before!"

A prince in Naples, and M. Hamilton in his own house, perform the miracle of St. Januarius; they are, most likely, very merry over their performance, and many more with them. Yet the king wears on his royal breast a star with the following device around the image of St. Januarius: 'In sanguine foedus'. In our days everything is inconsistent, and nothing has any meaning. Yet it is right to go ahead, for to stop on the road would be to go from bad to worse.

We left Lyons in the public diligence, and were five days on our road to Paris. Baletti had given notice of his departure to his family; they therefore knew when to expect him. We were eight in the coach and our seats were very uncomfortable, for it was a large oval in shape, so that no one had a corner. If that vehicle had been built in a country where equality was a principle hallowed by the laws, it would not have been a bad illustration. I thought it was absurd, but I was in a foreign country, and I said nothing. Besides, being an Italian, would it have been right for me not to admire everything which was French, and particularly in France?—Example, an oval diligence: I respected the fashion, but I found it detestable, and the singular motion of that vehicle had the same effect upon me as the rolling of a ship in a heavy sea. Yet it was well hung, but the worst jolting would have disturbed me less.

As the diligence undulates in the rapidity of its pace, it has been called a gondola, but I was a judge of gondolas, and I thought that there was no family likeness between the coach and the Venetian boats which, with two hearty rowers, glide along so swiftly and smoothly. The effect of the movement was that I had to throw up whatever was on my stomach. My travelling companions thought me bad company, but they did not say so. I was in France and among Frenchmen, who know what politeness is. They only remarked that very likely I had eaten too much at my supper, and a Parisian abbe, in order to excuse me, observed that my stomach was weak. A discussion arose.

"Gentlemen," I said, in my vexation, and rather angrily, "you are all wrong, for my stomach is excellent, and I have not had any supper."

Thereupon an elderly man told me, with a voice full of sweetness, that I ought not to say that the gentlemen were wrong, though I might say that they were not right, thus imitating Cicero, who, instead of declaring to the Romans that Catilina and the other conspirators were dead, only said that they had lived.

"Is it not the same thing?"

"I beg your pardon, sir, one way of speaking is polite, the other is not." And after treating me to a long dissection on politeness, he concluded by saying, with a smile, "I suppose you are an Italian?"

"Yes, I am, but would you oblige me by telling me how you have found it out?"

"Oh! I guessed it from the attention with which you have listened to my long prattle."

Everybody laughed, and, I, much pleased with his eccentricity, began to coax him. He was the tutor of a young boy of twelve or thirteen years who was seated near him. I made him give me during the journey lessons in French politeness, and when we parted he took me apart in a friendly manner, saying that he wished to make me a small present.

"What is it?"

"You must abandon, and, if I may say so, forget, the particle 'non', which you use frequently at random. 'Non' is not a French word; instead of that unpleasant monosyllable, say, 'Pardon'. 'Non' is equal to giving the lie: never say it, or prepare yourself to give and to receive sword-stabs every moment."

"I thank you, monsieur, your present is very precious, and I promise you never to say non again."

During the first fortnight of my stay in Paris, it seemed to me that I had become the most faulty man alive, for I never ceased begging pardon. I even thought, one evening at the theatre, that I should have a quarrel for having begged somebody's pardon in the wrong place. A young fop, coming to the pit, trod on my foot, and I hastened to say,

"Your pardon, sir."

"Sir, pardon me yourself."

"No, yourself."

"Yourself!"

"Well, sir, let us pardon and embrace one another!" The embrace put a stop to the discussion.

One day during the journey, having fallen asleep from fatigue in the inconvenient gondola, someone pushed my arm.

"Ah, sir! look at that mansion!"

"I see it; what of it?"

"Ah! I pray you, do you not find it...."

"I find nothing particular; and you?"

"Nothing wonderful, if it were not situated at a distance of forty leagues from Paris. But here! Ah! would my 'badauds' of Parisians believe that such a beautiful mansion can be found forty leagues distant from the metropolis? How ignorant a man is when he has never travelled!"

"You are quite right."

That man was a Parisian and a 'badaud' to the backbone, like a Gaul in the days of Caesar.

But if the Parisians are lounging about from morning till night, enjoying everything around them, a foreigner like myself ought to have been a greater 'badaud' than they! The difference between us was that, being accustomed to see things such as they are, I was astonished at seeing them often covered with a mask which changed their nature, while their surprise often arose from their suspecting what the mask concealed.

What delighted me, on my arrival in Paris, was the magnificent road made by Louis XV., the cleanliness of the hotels, the excellent fare they give, the quickness of the service, the excellent beds, the modest appearance of the attendant, who generally is the most accomplished girl of the house, and whose decency, modest manners, and neatness, inspire the most shameless libertine with respect. Where is the Italian who is pleased with the effrontery and the insolence of the hotel-waiters in Italy? In my days, people did not know in France what it was to overcharge; it was truly the home of foreigners. True, they had the unpleasantness of often witnessing acts of odious despotism, 'lettres de cachet', etc.; it was the despotism of a king. Since that time the French have the despotism of the people. Is it less obnoxious?

We dined at Fontainebleau, a name derived from Fontaine-belle-eau; and when we were only two leagues from Paris we saw a berlin advancing towards us. As it came near the diligence, my friend Baletti called out to the postillions to stop. In the berlin was his mother, who offered me the welcome given to an expected friend. His mother was the celebrated actress Silvia, and when I had been introduced to her she said to me;

"I hope, sir, that my son's friend will accept a share of our family supper this evening."

I accepted gratefully, sat down again in the gondola, Baletti got into the berlin with his mother, and we continued our journey.

On reaching Paris, I found a servant of Silvia's waiting for me with a coach; he accompanied me to my lodging to leave my luggage, and we repaired to Baletti's house, which was only fifty yards distant from my dwelling.

Baletti presented me to his father, who was known under the name of Mario. Silvia and Mario were the stage names assumed by M. and Madame Baletti, and at that time it was the custom in France to call the Italian actors by the names they had on the stage. 'Bon jour', Monsieur Arlequin; 'bon jour', Monsieur Pantalon: such was the manner in which the French used to address the actors who personified those characters on the stage.



CHAPTER VI

My Apprenticeship in Paris—Portraits—Oddities—All Sorts of Things

To celebrate the arrival of her son, Silvia gave a splendid supper to which she had invited all her relatives, and it was a good opportunity for me to make their acquaintance. Baletti's father, who had just recovered from a long illness, was not with us, but we had his father's sister, who was older than Mario. She was known, under her theatrical name of Flaminia, in the literary world by several translations, but I had a great wish to make her acquaintance less on that account than in consequence of the story, known throughout Italy, of the stay that three literary men of great fame had made in Paris. Those three literati were the Marquis Maffei, the Abbe Conti, and Pierre Jacques Martelli, who became enemies, according to public rumour, owing to the belief entertained by each of them that he possessed the favours of the actress, and, being men of learning, they fought with the pen. Martelli composed a satire against Maffei, in which he designated him by the anagram of Femia.

I had been announced to Flaminia as a candidate for literary fame, and she thought she honoured me by addressing me at all, but she was wrong, for she displeased me greatly by her face, her manners, her style, even by the sound of her voice. Without saying it positively, she made me understand that, being herself an illustrious member of the republic of letters, she was well aware that she was speaking to an insect. She seemed as if she wanted to dictate to everybody around her, and she very likely thought that she had the right to do so at the age of sixty, particularly towards a young novice only twenty-five years old, who had not yet contributed anything to the literary treasury. In order to please her, I spoke to her of the Abbe Conti, and I had occasion to quote two lines of that profound writer. Madam corrected me with a patronizing air for my pronunciation of the word 'scevra', which means divided, saying that it ought to be pronounced 'sceura', and she added that I ought to be very glad to have learned so much on the first day of my arrival in Paris, telling me that it would be an important day in my life.

"Madam, I came here to learn and not to unlearn. You will kindly allow me to tell you that the pronunciation of that word 'scevra' with a v, and not 'sceura' with a u, because it is a contraction of 'sceverra'."

"It remains to be seen which of us is wrong."

"You, madam, according to Ariosto, who makes 'scevra' rhyme with 'persevra', and the rhyme would be false with 'sceura', which is not an Italian word."

She would have kept up the discussion, but her husband, a man eighty years of age, told her that she was wrong. She held her tongue, but from that time she told everybody that I was an impostor.

Her husband, Louis Riccoboni, better known as Lelio, was the same who had brought the Italian company to Paris in 1716, and placed it at the service of the regent: he was a man of great merit. He had been very handsome, and justly enjoyed the esteem of the public, in consequence not only of his talent but also of the purity of his life.

During supper my principal occupation was to study Silvia, who then enjoyed the greatest reputation, and I judged her to be even above it. She was then about fifty years old, her figure was elegant, her air noble, her manners graceful and easy; she was affable, witty, kind to everybody, simple and unpretending. Her face was an enigma, for it inspired everyone with the warmest sympathy, and yet if you examined it attentively there was not one beautiful feature; she could not be called handsome, but no one could have thought her ugly. Yet she was not one of those women who are neither handsome nor ugly, for she possessed a certain something which struck one at first sight and captivated the interest. Then what was she?

Beautiful, certainly, but owing to charms unknown to all those who, not being attracted towards her by an irresistible feeling which compelled them to love her, had not the courage to study her, or the constancy to obtain a thorough knowledge of her.

Silvia was the adoration of France, and her talent was the real support of all the comedies which the greatest authors wrote for her, especially of, the plays of Marivaux, for without her his comedies would never have gone to posterity. Never was an actress found who could replace her, and to find one it would be necessary that she should unite in herself all the perfections which Silvia possessed for the difficult profession of the stage: action, voice, intelligence, wit, countenance, manners, and a deep knowledge of the human heart. In Silvia every quality was from nature, and the art which gave the last touch of perfection to her qualities was never seen.

To the qualities which I have just mentioned, Silvia added another which surrounded her with a brilliant halo, and the absence of which would not have prevented her from being the shining star of the stage: she led a virtuous life. She had been anxious to have friends, but she had dismissed all lovers, refusing to avail herself of a privilege which she could easily have enjoyed, but which would have rendered her contemptible in her own estimation. The irreproachable conduct obtained for her a reputation of respectability which, at her age, would have been held as ridiculous and even insulting by any other woman belonging to the same profession, and many ladies of the highest rank honoured her with her friendship more even than with their patronage. Never did the capricious audience of a Parisian pit dare to hiss Silvia, not even in her performance of characters which the public disliked, and it was the general opinion that she was in every way above her profession.

Silvia did not think that her good conduct was a merit, for she knew that she was virtuous only because her self-love compelled her to be so, and she never exhibited any pride or assumed any superiority towards her theatrical sisters, although, satisfied to shine by their talent or their beauty, they cared little about rendering themselves conspicuous by their virtue. Silvia loved them all, and they all loved her; she always was the first to praise, openly and with good faith, the talent of her rivals; but she lost nothing by it, because, being their superior in talent and enjoying a spotless reputation, her rivals could not rise above her.

Nature deprived that charming woman of ten year of life; she became consumptive at the age of sixty, ten years after I had made her acquaintance. The climate of Paris often proves fatal to our Italian actresses. Two years before her death I saw her perform the character of Marianne in the comedy of Marivaux, and in spite of her age and declining health the illusion was complete. She died in my presence, holding her daughter in her arms, and she was giving her the advice of a tender mother five minutes before she breathed her last. She was honourably buried in the church of St. Sauveur, without the slightest opposition from the venerable priest, who, far from sharing the anti-christain intolerancy of the clergy in general, said that her profession as an actress had not hindered her from being a good Christian, and that the earth was the common mother of all human beings, as Jesus Christ had been the Saviour of all mankind.

You will forgive me, dear reader, if I have made you attend the funeral of Silvia ten years before her death; believe me I have no intention of performing a miracle; you may console yourself with the idea that I shall spare you that unpleasant task when poor Silvia dies.

Her only daughter, the object of her adoration, was seated next to her at the supper-table. She was then only nine years old, and being entirely taken up by her mother I paid no attention to her; my interest in her was to come.

After the supper, which was protracted to a late hour, I repaired to the house of Madame Quinson, my landlady, where I found myself very comfortable. When I woke in the morning, the said Madame Quinson came to my room to tell me that a servant was outside and wished to offer me his services. I asked her to send him in, and I saw a man of very small stature; that did not please me, and I told him so.

"My small stature, your honour, will be a guarantee that I shall never borrow your clothes to go to some amorous rendezvous."

"Your name?"

"Any name you please."

"What do you mean? I want the name by which you are known."

"I have none. Every master I serve calls me according to his fancy, and I have served more than fifty in my life. You may call me what you like."

"But you must have a family name."

"I never had any family. I had a name, I believe, in my young days, but I have forgotten it since I have been in service. My name has changed with every new master."

"Well! I shall call you Esprit."

"You do me a great honour."

"Here, go and get me change for a Louis."

"I have it, sir."

"I see you are rich."

"At your service, sir."

"Where can I enquire about you?"

"At the agency for servants. Madame Quinson, besides, can answer your enquiries. Everybody in Paris knows me."

"That is enough. I shall give you thirty sous a day; you must find your own clothes: you will sleep where you like, and you must be here at seven o'clock every morning."

Baletti called on me and entreated me to take my meals every day at his house. After his visit I told Esprit to take me to the Palais-Royal, and I left him at the gates. I felt the greatest curiosity about that renowned garden, and at first I examined everything. I see a rather fine garden, walks lined with big trees, fountains, high houses all round the garden, a great many men and women walking about, benches here and there forming shops for the sale of newspapers, perfumes, tooth-picks, and other trifles. I see a quantity of chairs for hire at the rate of one sou, men reading the newspaper under the shade of the trees, girls and men breakfasting either alone or in company, waiters who were rapidly going up and down a narrow staircase hidden under the foliage.

I sit down at a small table: a waiter comes immediately to enquire my wishes. I ask for some chocolate made with water; he brings me some, but very bad, although served in a splendid silver-gilt cup. I tell him to give me some coffee, if it is good.

"Excellent, I made it myself yesterday."

"Yesterday! I do not want it."

"The milk is very good."

"Milk! I never drink any. Make me a cup of fresh coffee without milk."

"Without milk! Well, sir, we never make coffee but in the afternoon. Would you like a good bavaroise, or a decanter of orgeat?"

"Yes, give me the orgeat."

I find that beverage delicious, and make up my mind to have it daily for my breakfast. I enquire from the waiter whether there is any news; he answers that the dauphine has been delivered of a prince. An abbe, seated at a table close by, says to him,—

"You are mad, she has given birth to a princess."

A third man comes forward and exclaims,—

"I have just returned from Versailles, and the dauphine has not been delivered either of a prince or of a princess."

Then, turning towards me, he says that I look like a foreigner, and when I say that I am an Italian he begins to speak to me of the court, of the city, of the theatres, and at last he offers to accompany me everywhere. I thank him and take my leave. The abbe rises at the same time, walks with me, and tells me the names of all the women we meet in the garden.

A young man comes up to him, they embrace one another, and the abbe presents him to me as a learned Italian scholar. I address him in Italian, and he answers very wittily, but his way of speaking makes me smile, and I tell him why. He expressed himself exactly in the style of Boccacio. My remark pleases him, but I soon prove to him that it is not the right way to speak, however perfect may have been the language of that ancient writer. In less than a quarter of an hour we are excellent friends, for we find that our tastes are the same.

My new friend was a poet as I was; he was an admirer of Italian literature, while I admired the French.

We exchanged addresses, and promise to see one another very often.

I see a crowd in one corner of the garden, everybody standing still and looking up. I enquire from my friend whether there is anything wonderful going on.

"These persons are watching the meridian; everyone holds his watch in his hand in order to regulate it exactly at noon."

"Is there not a meridian everywhere?"

"Yes, but the meridian of the Palais-Royal is the most exact."

I laugh heartily.

"Why do you laugh?"

"Because it is impossible for all meridians not to be the same. That is true 'badauderie'."

My friend looks at me for a moment, then he laughs likewise, and supplies me with ample food to ridicule the worthy Parisians. We leave the Palais-Royal through the main gate, and I observe another crowd of people before a shop, on the sign-board of which I read "At the Sign of the Civet Cat."

"What is the matter here?"

"Now, indeed, you are going to laugh. All these honest persons are waiting their turn to get their snuff-boxes filled."

"Is there no other dealer in snuff?"

"It is sold everywhere, but for the last three weeks nobody will use any snuff but that sold at the 'Civet Cat.'"

"Is it better than anywhere else?"

"Perhaps it is not as good, but since it has been brought into fashion by the Duchesse de Chartres, nobody will have any other."

"But how did she manage to render it so fashionable?"

"Simply by stopping her carriage two or three times before the shop to have her snuff-box filled, and by saying aloud to the young girl who handed back the box that her snuff was the very best in Paris. The 'badauds', who never fail to congregate near the carriage of princes, no matter if they have seen them a hundred times, or if they know them to be as ugly as monkeys, repeated the words of the duchess everywhere, and that was enough to send here all the snuff-takers of the capital in a hurry. This woman will make a fortune, for she sells at least one hundred crowns' worth of snuff every day."

"Very likely the duchess has no idea of the good she has done."

"Quite the reverse, for it was a cunning artifice on her part. The duchess, feeling interested in the newly-married young woman, and wishing to serve her in a delicate manner, thought of that expedient which has met with complete success. You cannot imagine how kind Parisians are. You are now in the only country in the world where wit can make a fortune by selling either a genuine or a false article: in the first case, it receives the welcome of intelligent and talented people, and in the second, fools are always ready to reward it, for silliness is truly a characteristic of the people here, and, however wonderful it may appear, silliness is the daughter of wit. Therefore it is not a paradox to say that the French would be wiser if they were less witty.

"The gods worshipped here although no altars are raised for them—are Novelty and Fashion. Let a man run, and everybody will run after him. The crowd will not stop, unless the man is proved to be mad; but to prove it is indeed a difficult task, because we have a crowd of men who, mad from their birth, are still considered wise.

"The snuff of the 'Civet Cat' is but one example of the facility with which the crowd can be attracted to one particular spot. The king was one day hunting, and found himself at the Neuilly Bridge; being thirsty, he wanted a glass of ratafia. He stopped at the door of a drinking-booth, and by the most lucky chance the poor keeper of the place happened to have a bottle of that liquor. The king, after he had drunk a small glass, fancied a second one, and said that he had never tasted such delicious ratafia in his life. That was enough to give the ratafia of the good man of Neuilly the reputation of being the best in Europe: the king had said so. The consequence was that the most brilliant society frequented the tavern of the delighted publican, who is now a very wealthy man, and has built on the very spot a splendid house on which can be read the following rather comic motto: 'Ex liquidis solidum,' which certainly came out of the head of one of the forty immortals. Which gods must the worthy tavern-keeper worship? Silliness, frivolity, and mirth."

"It seems to me," I replied, "that such approval, such ratification of the opinion expressed by the king, the princes of the blood, etc., is rather a proof of the affection felt for them by the nation, for the French carry that affection to such an extent that they believe them infallible."

"It is certain that everything here causes foreigners to believe that the French people adore the king, but all thinking men here know well enough that there is more show than reality in that adoration, and the court has no confidence in it. When the king comes to Paris, everybody calls out, 'Vive le Roi!' because some idle fellow begins, or because some policeman has given the signal from the midst of the crowd, but it is really a cry which has no importance, a cry given out of cheerfulness, sometimes out of fear, and which the king himself does not accept as gospel. He does not feel comfortable in Paris, and he prefers being in Versailles, surrounded by twenty-five thousand men who protect him against the fury of that same people of Paris, who, if ever they became wiser, might very well one day call out, 'Death to the King!' instead of, 'Long life to the King!' Louis XIV. was well aware of it, and several councillors of the upper chamber lost their lives for having advised the assembling of the states-general in order to find some remedy for the misfortunes of the country. France never had any love for any kings, with the exception of St. Louis, of Louis XII, and of the great and good Henry IV.; and even in the last case the love of the nation was not sufficient to defend the king against the dagger of the Jesuits, an accursed race, the enemy of nations as well as of kings. The present king, who is weak and entirely led by his ministers, said candidly at the time he was just recovering from illness, 'I am surprised at the rejoicings of the people in consequence of my health being restored, for I cannot imagine why they should love me so dearly.' Many kings might repeat the same words, at least if love is to be measured according to the amount of good actually done. That candid remark of Louis XV. has been highly praised, but some philosopher of the court ought to have informed him that he was so much loved because he had been surnamed 'le bien aime'."

"Surname or nickname; but are there any philosophers at the court of France?"

"No, for philosophers and courtiers are as widely different as light and darkness; but there are some men of intelligence who champ the bit from motives of ambition and interest."

As we were thus conversing, M. Patu (such was the name of my new acquaintance) escorted me as far as the door of Silvia's house; he congratulated me upon being one of her friends, and we parted company.

I found the amiable actress in good company. She introduced me to all her guests, and gave me some particulars respecting every one of them. The name of Crebillon struck my ear.

"What, sir!" I said to him, "am I fortunate enough to see you? For eight years you have charmed me, for eight years I have longed to know you. Listen, I beg 'of you."

I then recited the finest passage of his 'Zenobie et Rhadamiste', which I had translated into blank verse. Silvia was delighted to see the pleasure enjoyed by Crebillon in hearing, at the age of eighty, his own lines in a language which he knew thoroughly and loved as much as his own. He himself recited the same passage in French, and politely pointed out the parts in which he thought that I had improved on the original. I thanked him, but I was not deceived by his compliment.

We sat down to supper, and, being asked what I had already seen in Paris, I related everything I had done, omitting only my conversation with Patu. After I had spoken for a long time, Crebillon, who had evidently observed better than anyone else the road I had chosen in order to learn the good as well as the bad qualities by his countrymen, said to me,

"For the first day, sir, I think that what you have done gives great hopes of you, and without any doubt you will make rapid progress. You tell your story well, and you speak French in such a way as to be perfectly understood; yet all you say is only Italian dressed in French. That is a novelty which causes you to be listened to with interest, and which captivates the attention of your audience; I must even add that your Franco-Italian language is just the thing to enlist in your favour the sympathy of those who listen to you, because it is singular, new, and because you are in a country where everybody worships those two divinities—novelty and singularity. Nevertheless, you must begin to-morrow and apply yourself in good earnest, in order to acquire a thorough knowledge of our language, for the same persons who warmly applaud you now, will, in two or three months, laugh at you."

"I believe it, sir, and that is what I fear; therefore the principal object of my visit here is to devote myself entirely to the study of the French language. But, sir, how shall I find a teacher? I am a very unpleasant pupil, always asking questions, curious, troublesome, insatiable, and even supposing that I could meet with the teacher I require, I am afraid I am not rich enough to pay him."

"For fifty years, sir, I have been looking out for a pupil such as you have just described yourself, and I would willingly pay you myself if you would come to my house and receive my lessons. I reside in the Marais, Rue de Douze Portes. I have the best Italian poets. I will make you translate them into French, and you need not be afraid of my finding you insatiable."

I accepted with joy. I did not know how to express my gratitude, but both his offer and the few words of my answer bore the stamp of truth and frankness.

Crebillon was a giant; he was six feet high, and three inches taller than I. He had a good appetite, could tell a good story without laughing, was celebrated for his witty repartees and his sociable manners, but he spent his life at home, seldom going out, and seeing hardly anyone because he always had a pipe in his mouth and was surrounded by at least twenty cats, with which he would amuse himself all day. He had an old housekeeper, a cook, and a man-servant. His housekeeper had the management of everything; she never allowed him to be in need of anything, and she gave no account of his money, which she kept altogether, because he never asked her to render any accounts. The expression of Crebillon's face was that of the lion's or of the cat's, which is the same thing. He was one of the royal censors, and he told me that it was an amusement for him. His housekeeper was in the habit of reading him the works brought for his examination, and she would stop reading when she came to a passage which, in her opinion, deserved his censure, but sometimes they were of a different opinion, and then their discussions were truly amusing. I once heard the housekeeper send away an author with these words:

"Come again next week; we have had no time to examine your manuscript."

During a whole year I paid M. Crebillon three visits every week, and from him I learned all I know of the French language, but I found it impossible to get rid of my Italian idioms. I remark that turn easily enough when I meet with it in other people, but it flows naturally from my pen without my being aware of it. I am satisfied that, whatever I may do, I shall never be able to recognize it any more than I can find out in what consists the bad Latin style so constantly alleged against Livy.

I composed a stanza of eight verses on some subject which I do not recollect, and I gave it to Crebillon, asking him to correct it. He read it attentively, and said to me,

"These eight verses are good and regular, the thought is fine and truly poetical, the style is perfect, and yet the stanza is bad."

"How so?"

"I do not know. I cannot tell you what is wanting. Imagine that you see a man handsome, well made, amiable, witty-in fact, perfect, according to your most severe judgment. A woman comes in, sees him, looks at him, and goes away telling you that the man does not please her. 'But what fault do you find in him, madam?' 'None, only he does not please me.' You look again at the man, you examine him a second time, and you find that, in order to give him a heavenly voice, he has been deprived of that which constitutes a man, and you are compelled to acknowledge that a spontaneous feeling has stood the woman in good stead."

It was by that comparison that Crebillon explained to me a thing almost inexplicable, for taste and feeling alone can account for a thing which is subject to no rule whatever.

We spoke a great deal of Louis XIV., whom Crebillon had known well for fifteen years, and he related several very curious anecdotes which were generally unknown. Amongst other things he assured me that the Siamese ambassadors were cheats paid by Madame de Maintenon. He told us likewise that he had never finished his tragedy of Cromwell, because the king had told him one day not to wear out his pen on a scoundrel.

Crebillon mentioned likewise his tragedy of Catilina, and he told me that, in his opinion, it was the most deficient of his works, but that he never would have consented, even to make a good tragedy, to represent Caesar as a young man, because he would in that case have made the public laugh, as they would do if Madea were to appear previous to her acquaintances with Jason.

He praised the talent of Voltaire very highly, but he accused him of having stolen from him, Crebillon, the scene of the senate. He, however, rendered him full justice, saying that he was a true historian, and able to write history as well as tragedies, but that he unfortunately adulterated history by mixing with it such a number of light anecdotes and tales for the sake of rendering it more attractive. According to Crebillon, the Man with the Iron Mask was nothing but an idle tale, and he had been assured of it by Louis XIV. himself.

On the day of my first meeting with Crebillon at Silvia's, 'Cenie', a play by Madame de Graffigny, was performed at the Italian Theatre, and I went away early in order to get a good seat in the pit.

The ladies all covered with diamonds, who were taking possession of the private boxes, engrossed all my interest and all my attention. I wore a very fine suit, but my open ruffles and the buttons all along my coat shewed at once that I was a foreigner, for the fashion was not the same in Paris. I was gaping in the air and listlessly looking round, when a gentleman, splendidly dressed, and three times stouter than I, came up and enquired whether I was a foreigner. I answered affirmatively, and he politely asked me how I liked Paris. I praised Paris very warmly. But at that moment a very stout lady, brilliant with diamonds, entered the box near us. Her enormous size astonished me, and, like a fool, I said to the gentleman:

"Who is that fat sow?"

"She is the wife of this fat pig."

"Ah! I beg your pardon a thousand times!"

But my stout gentleman cared nothing for my apologies, and very far from being angry he almost choked with laughter. This was the happy result of the practical and natural philosophy which Frenchmen cultivate so well, and which insures the happiness of their existence under an appearance of frivolity!

I was confused, I was in despair, but the stout gentleman continued to laugh heartily. At last he left the pit, and a minute afterwards I saw him enter the box and speak to his wife. I was keeping an eye on them without daring to look at them openly, and suddenly the lady, following the example of her husband, burst into a loud laugh. Their mirth making me more uncomfortable, I was leaving the pit, when the husband called out to me, "Sir! Sir!"

"I could not go away without being guilty of impoliteness, and I went up to their box. Then, with a serious countenance and with great affability, he begged my pardon for having laughed so much, and very graciously invited me to come to his house and sup with them that same evening. I thanked him politely, saying that I had a previous engagement. But he renewed his entreaties, and his wife pressing me in the most engaging manner I told them, in order to prove that I was not trying to elude their invitation, that I was expected to sup at Silvia's house.

"In that case I am certain," said the gentleman, "of obtaining your release if you do not object. Allow me to go myself to Silvia."

It would have been uncourteous on my part to resist any longer. He left the box and returned almost immediately with my friend Baletti, who told me that his mother was delighted to see me making such excellent acquaintances, and that she would expect to see me at dinner the next day. He whispered to me that my new acquaintance was M. de Beauchamp, Receiver-General of Taxes.

As soon as the performance was over, I offered my hand to madame, and we drove to their mansion in a magnificent carriage. There I found the abundance or rather the profusion which in Paris is exhibited by the men of finance; numerous society, high play, good cheer, and open cheerfulness. The supper was not over till one o'clock in the morning. Madame's private carriage drove me to my lodgings. That house offered me a kind welcome during the whole of my stay in Paris, and I must add that my new friends proved very useful to me. Some persons assert that foreigners find the first fortnight in Paris very dull, because a little time is necessary to get introduced, but I was fortunate enough to find myself established on as good a footing as I could desire within twenty-four hours, and the consequence was that I felt delighted with Paris, and certain that my stay would prove an agreeable one.

The next morning Patu called and made me a present of his prose panegyric on the Marechal de Saxe. We went out together and took a walk in the Tuileries, where he introduced me to Madame du Boccage, who made a good jest in speaking of the Marechal de Saxe.

"It is singular," she said, "that we cannot have a 'De profundis' for a man who makes us sing the 'Te Deum' so often."

As we left the Tuileries, Patu took me to the house of a celebrated actress of the opera, Mademoiselle Le Fel, the favourite of all Paris, and member of the Royal Academy of Music. She had three very young and charming children, who were fluttering around her like butterflies.

"I adore them," she said to me.

"They deserve adoration for their beauty," I answered, "although they have all a different cast of countenance."

"No wonder! The eldest is the son of the Duke d'Anneci, the second of Count d'Egmont, and the youngest is the offspring of Maison-Rouge, who has just married the Romainville."

"Ah! pray excuse me, I thought you were the mother of the three."

"You were not mistaken, I am their mother."

As she said these words she looked at Patu, and both burst into hearty laughter which did not make me blush, but which shewed me my blunder.

I was a, novice in Paris, and I had not been accustomed to see women encroach upon the privilege which men alone generally enjoy. Yet mademoiselle Le Fel was not a bold-faced woman; she was even rather ladylike, but she was what is called above prejudices. If I had known the manners of the time better, I should have been aware that such things were every-day occurrences, and that the noblemen who thus sprinkled their progeny everywhere were in the habit of leaving their children in the hands of their mothers, who were well paid. The more fruitful, therefore, these ladies were, the greater was their income.

My want of experience often led me into serious blunders, and Mademoiselle Le Fel would, I have no doubt, have laughed at anyone telling her that I had some wit, after the stupid mistake of which I had been guilty.

Another day, being at the house of Lani, ballet-master of the opera, I saw five or six young girls of thirteen or fourteen years of age accompanied by their mothers, and all exhibiting that air of modesty which is the characteristic of a good education. I addressed a few gallant words to them, and they answered me with down-cast eyes. One of them having complained of the headache, I offered her my smelling-bottle, and one of her companions said to her,

"Very likely you did not sleep well last night."

"Oh! it is not that," answered the modest-looking Agnes, "I think I am in the family-way."

On receiving this unexpected reply from a girl I had taken for a maiden, I said to her,

"I should never have supposed that you were married, madam."

She looked at me with evident surprise for a moment, then she turned towards her friend, and both began to laugh immoderately. Ashamed, but for them more than myself, I left the house with a firm resolution never again to take virtue for granted in a class of women amongst whom it is so scarce. To look for, even to suppose, modesty, amongst the nymphs of the green room, is, indeed, to be very foolish; they pride themselves upon having none, and laugh at those who are simple enough to suppose them better than they are.

Thanks to my friend Patu, I made the acquaintance of all the women who enjoyed some reputation in Paris. He was fond of the fair sex, but unfortunately for him he had not a constitution like mine, and his love of pleasure killed him very early. If he had lived, he would have gone down to posterity in the wake of Voltaire, but he paid the debt of nature at the age of thirty.

I learned from him the secret which several young French literati employ in order to make certain of the perfection of their prose, when they want to write anything requiring as perfect a style as they can obtain, such as panegyrics, funeral orations, eulogies, dedications, etc. It was by surprise that I wrested that secret from Patu.

Being at his house one morning, I observed on his table several sheets of paper covered with dode-casyllabic blank verse.

I read a dozen of them, and I told him that, although the verses were very fine, the reading caused me more pain than pleasure.

"They express the same ideas as the panegyric of the Marechal de Saxe, but I confess that your prose pleases me a great deal more."

"My prose would not have pleased you so much, if it had not been at first composed in blank verse."

"Then you take very great trouble for nothing."

"No trouble at all, for I have not the slightest difficulty in writing that sort of poetry. I write it as easily as prose."

"Do you think that your prose is better when you compose it from your own poetry?"

"No doubt of it, it is much better, and I also secure the advantage that my prose is not full of half verses which flow from the pen of the writer without his being aware of it."

"Is that a fault?"

"A great one and not to be forgiven. Prose intermixed with occasional verses is worse than prosaic poetry."

"Is it true that the verses which, like parasites, steal into a funeral oration, must be sadly out of place?"

"Certainly. Take the example of Tacitus, who begins his history of Rome by these words: 'Urbem Roman a principio reges habuere'. They form a very poor Latin hexameter, which the great historian certainly never made on purpose, and which he never remarked when he revised his work, for there is no doubt that, if he had observed it, he would have altered that sentence. Are not such verses considered a blemish in Italian prose?"

"Decidedly. But I must say that a great many poor writers have purposely inserted such verses into their prose, believing that they would make it more euphonious. Hence the tawdriness which is justly alleged against much Italian literature. But I suppose you are the only writer who takes so much pains."

"The only one? Certainly not. All the authors who can compose blank verses very easily, as I can, employ them when they intend to make a fair copy of their prose. Ask Crebillon, the Abby de Voisenon, La Harpe, anyone you like, and they will all tell you the same thing. Voltaire was the first to have recourse to that art in the small pieces in which his prose is truly charming. For instance, the epistle to Madame du Chatelet, which is magnificent. Read it, and if you find a single hemistich in it I will confess myself in the wrong."

I felt some curiosity about the matter, and I asked Crebillon about it. He told me that Fatu was right, but he added that he had never practised that art himself.

Patu wished very much to take me to the opera in order to witness the effect produced upon me by the performance, which must truly astonish an Italian. 'Les Fetes Venitiennes' was the title of the opera which was in vogue just then—a title full of interest for me. We went for our forty sous to the pit, in which, although the audience was standing, the company was excellent, for the opera was the favourite amusement of the Parisians.

After a symphony, very fine in its way and executed by an excellent orchestra, the curtain rises, and I see a beautiful scene representing the small St. Mark's Square in Venice, taken from the Island of St. George, but I am shocked to see the ducal palace on my left, and the tall steeple on my right, that is to say the very reverse of reality. I laugh at this ridiculous mistake, and Patu, to whom I say why I am laughing, cannot help joining me. The music, very fine although in the ancient style, at first amused me on account of its novelty, but it soon wearied me. The melopaeia fatigued me by its constant and tedious monotony, and by the shrieks given out of season. That melopaeia, of the French replaces—at least they think so—the Greek melapaeia and our recitative which they dislike, but which they would admire if they understood Italian.

The action of the opera was limited to a day in the carnival, when the Venetians are in the habit of promenading masked in St. Mark's Square. The stage was animated by gallants, procuresses, and women amusing themselves with all sorts of intrigues. The costumes were whimsical and erroneous, but the whole was amusing. I laughed very heartily, and it was truly a curious sight for a Venetian, when I saw the Doge followed by twelve Councillors appear on the stage, all dressed in the most ludicrous style, and dancing a 'pas d'ensemble'. Suddenly the whole of the pit burst into loud applause at the appearance of a tall, well-made dancer, wearing a mask and an enormous black wig, the hair of which went half-way down his back, and dressed in a robe open in front and reaching to his heels. Patu said, almost reverently, "It is the inimitable Dupres." I had heard of him before, and became attentive. I saw that fine figure coming forward with measured steps, and when the dancer had arrived in front of the stage, he raised slowly his rounded arms, stretched them gracefully backward and forward, moved his feet with precision and lightness, took a few small steps, made some battements and pirouettes, and disappeared like a butterfly. The whole had not lasted half a minute. The applause burst from every part of the house. I was astonished, and asked my friend the cause of all those bravos.

"We applaud the grace of Dupres and, the divine harmony of his movements. He is now sixty years of age, and those who saw him forty years ago say that he is always the same."

"What! Has he never danced in a different style?"

"He could not have danced in a better one, for his style is perfect, and what can you want above perfection?"

"Nothing, unless it be a relative perfection."

"But here it is absolute. Dupres always does the same thing, and everyday we fancy we see it for the first time. Such is the power of the good and beautiful, of the true and sublime, which speak to the soul. His dance is true harmony, the real dance, of which you have no idea in Italy."

At the end of the second act, Dupres appeared again, still with a mask, and danced to a different tune, but in my opinion doing exactly the same as before. He advanced to the very footlights, and stopped one instant in a graceful attitude. Patu wanted to force my admiration, and I gave way. Suddenly everyone round me exclaimed,—

"Look! look! he is developing himself!"

And in reality he was like an elastic body which, in developing itself, would get larger. I made Patu very happy by telling him that Dupres was truly very graceful in all his movements. Immediately after him we had a female dancer, who jumped about like a fury, cutting to right and left, but heavily, yet she was applauded 'con furore'.

"This is," said Patu, "the famous Camargo. I congratulate you, my friend, upon having arrived in Paris in time to see her, for she has accomplished her twelfth lustre."

I confessed that she was a wonderful dancer.

"She is the first artist," continued my friend, "who has dared to spring and jump on a French stage. None ventured upon doing it before her, and, what is more extraordinary, she does not wear any drawers."

"I beg your pardon, but I saw...."

"What? Nothing but her skin which, to speak the truth, is not made of lilies and roses."

"The Camargo," I said, with an air of repentance, "does not please me. I like Dupres much better."

An elderly admirer of Camargo, seated on my left, told me that in her youth she could perform the 'saut de basque' and even the 'gargouillade', and that nobody had ever seen her thighs, although she always danced without drawers.

"But if you never saw her thighs, how do you know that she does not wear silk tights?"

"Oh! that is one of those things which can easily be ascertained. I see you are a foreigner, sir."

"You are right."

But I was delighted at the French opera, with the rapidity of the scenic changes which are done like lightning, at the signal of a whistle—a thing entirely unknown in Italy. I likewise admired the start given to the orchestra by the baton of the leader, but he disgusted me with the movements of his sceptre right and left, as if he thought that he could give life to all the instruments by the mere motion of his arm. I admired also the silence of the audience, a thing truly wonderful to an Italian, for it is with great reason that people complain of the noise made in Italy while the artists are singing, and ridicule the silence which prevails through the house as soon as the dancers make their appearance on the stage. One would imagine that all the intelligence of the Italians is in their eyes. At the same time I must observe that there is not one country in the world in which extravagance and whimsicalness cannot be found, because the foreigner can make comparisons with what he has seen elsewhere, whilst the natives are not conscious of their errors. Altogether the opera pleased me, but the French comedy captivated me. There the French are truly in their element; they perform splendidly, in a masterly manner, and other nations cannot refuse them the palm which good taste and justice must award to their superiority. I was in the habit of going there every day, and although sometimes the audience was not composed of two hundred persons, the actors were perfect. I have seen 'Le Misanthrope', 'L'Avare', 'Tartufe', 'Le Joueur', 'Le Glorieux', and many other comedies; and, no matter how often I saw them. I always fancied it was the first time. I arrived in Paris to admire Sarrazin, La Dangeville, La Dumesnil, La Gaussin, La Clairon, Preville, and several actresses who, having retired from the stage, were living upon their pension, and delighting their circle of friends. I made, amongst others, the acquaintance of the celebrated Le Vasseur. I visited them all with pleasure, and they related to me several very curious anecdotes. They were generally most kindly disposed in every way.

One evening, being in the box of Le Vasseur, the performance was composed of a tragedy in which a very handsome actress had the part of a dumb priestess.

"How pretty she is!" I said.

"Yes, charming," answered Le Vasseur, "She is the daughter of the actor who plays the confidant. She is very pleasant in company, and is an actress of good promise."

"I should be very happy to make her acquaintance."

"Oh! well; that is not difficult. Her father and mother are very worthy people, and they will be delighted if you ask them to invite you to supper. They will not disturb you; they will go to bed early, and will let you talk with their daughter as long as you please. You are in France, sir; here we know the value of life, and try to make the best of it. We love pleasure, and esteem ourselves fortunate when we can find the opportunity of enjoying life."

"That is truly charming, madam; but how could I be so bold as to invite myself to supper with worthy persons whom I do not know, and who have not the slightest knowledge of me?"

"Oh, dear me! What are you saying? We know everybody. You see how I treat you myself. After the performance, I shall be happy to introduce you, and the acquaintance will be made at once."

"I certainly must ask you to do me that honour, but another time."

"Whenever you like."



CHAPTER VII

My Blunders in the French Language, My Success, My Numerous Acquaintances—Louis XV.—My Brother Arrives in Paris.

All the Italian actors in Paris insisted upon entertaining me, in order to shew me their magnificence, and they all did it in a sumptuous style. Carlin Bertinazzi who played Harlequin, and was a great favourite of the Parisians, reminded me that he had already seen me thirteen years before in Padua, at the time of his return from St. Petersburg with my mother. He offered me an excellent dinner at the house of Madame de la Caillerie, where he lodged. That lady was in love with him. I complimented her upon four charming children whom I saw in the house. Her husband, who was present, said to me;

"They are M. Carlin's children."

"That may be, sir, but you take care of them, and as they go by your name, of course they will acknowledge you as their father."

"Yes, I should be so legally; but M. Carlin is too honest a man not to assume the care of his children whenever I may wish to get rid of them. He is well aware that they belong to him, and my wife would be the first to complain if he ever denied it."

The man was not what is called a good, easy fellow, far from it; but he took the matter in a philosophical way, and spoke of it with calm, and even with a sort of dignity. He was attached to Carlin by a warm friendship, and such things were then very common in Paris amongst people of a certain class. Two noblemen, Boufflers and Luxembourg, had made a friendly exchange of each other's wives, and each had children by the other's wife. The young Boufflers were called Luxembourg, and the young Luxembourg were called Boufflers. The descendants of those tiercelets are even now known in France under those names. Well, those who were in the secret of that domestic comedy laughed, as a matter of course, and it did not prevent the earth from moving according to the laws of gravitation.

The most wealthy of the Italian comedians in Paris was Pantaloon, the father of Coraline and Camille, and a well-known usurer. He also invited me to dine with his family, and I was delighted with his two daughters. The eldest, Coraline, was kept by the Prince of Monaco, son of the Duke of Valentinois, who was still alive; and Camille was enamoured of the Count of Melfort, the favourite of the Duchess of Chartres, who had just become Duchess of Orleans by the death of her father-in-law.

Coraline was not so sprightly as Camille, but she was prettier. I began to make love to her as a young man of no consequence, and at hours which I thought would not attract attention: but all hours belong by right to the established lover, and I therefore found myself sometimes with her when the Prince of Monaco called to see her. At first I would bow to the prince and withdraw, but afterwards I was asked to remain, for as a general thing princes find a tete-a-tete with their mistresses rather wearisome. Therefore we used to sup together, and they both listened, while it was my province to eat, and to relate stories.

I bethought myself of paying my court to the prince, and he received my advances very well. One morning, as I called on Coraline, he said to me,

"Ah! I am very glad to see you, for I have promised the Duchess of Rufe to present you to her, and we can go to her immediately."

Again a duchess! My star is decidedly in the ascendant. Well, let us go! We got into a 'diable', a sort of vehicle then very fashionable, and at eleven o'clock in the morning we were introduced to the duchess.

Dear reader, if I were to paint it with a faithful pen, my portrait of that lustful vixen would frighten you. Imagine sixty winters heaped upon a face plastered with rouge, a blotched and pimpled complexion, emaciated and gaunt features, all the ugliness of libertinism stamped upon the countenance of that creature relining upon the sofa. As soon as she sees me, she exclaims with rapid joy,

"Ah! this is a good-looking man! Prince, it is very amiable on your part to bring him to me. Come and sit near me, my fine fellow!"

I obeyed respectfully, but a noxious smell of musk, which seemed to me almost corpse-like, nearly upset me. The infamous duchess had raised herself on the sofa and exposed all the nakedness of the most disgusting bosom, which would have caused the most courageous man to draw back. The prince, pretending to have some engagement, left us, saying that he would send his carriage for me in a short time.

As soon as we were alone, the plastered skeleton thrust its arms forward, and, without giving me time to know what I was about, the creature gave me a horrible kiss, and then one of her hands began to stray with the most bare-faced indecency.

"Let me see, my fine cock," she said, "if you have a fine . . ."

I was shuddering, and resisted the attempt.

"Well, well! What a baby you are!" said the disgusting Messaline; "are you such a novice?"

"No, madam; but...."

"But what?"

"I have...."

"Oh, the villain!" she exclaimed, loosing her hold; "what was I going to expose myself to!"

I availed myself of the opportunity, snatched my hat, and took to my heels, afraid lest the door-keeper should stop me.

I took a coach and drove to Coraline's, where I related the adventure. She laughed heartily, and agreed with me that the prince had played me a nasty trick. She praised the presence of mind with which I had invented an impediment, but she did not give me an opportunity of proving to her that I had deceived the duchess.

Yet I was not without hope, and suspected that she did not think me sufficiently enamoured of her.

Three or four days afterwards, however, as we had supper together and alone, I told her so many things, and I asked her so clearly to make me happy or else to dismiss me, that she gave me an appointment for the next day.

"To-morrow," she said, "the prince goes to Versailles, and he will not return until the day after; we will go together to the warren to hunt ferrets, and have no doubt we shall come back to Paris pleased with one another."

"That is right."

The next day at ten o'clock we took a coach, but as we were nearing the gate of the city a vis-a-vis, with servants in a foreign livery came tip to us, and the person who was in it called out, "Stop! Stop!"

The person was the Chevalier de Wurtemburg, who, without deigning to cast even one glance on me, began to say sweet words to Coraline, and thrusting his head entirely out of his carriage he whispered to her. She answered him likewise in a whisper; then taking my hand, she said to me, laughingly,

"I have some important business with this prince; go to the warren alone, my dear friend, enjoy the hunt, and come to me to-morrow."

And saying those words she got out, took her seat in the vis-a-vis, and I found myself very much in the position of Lot's wife, but not motionless.

Dear reader, if you have ever been in such a predicament you will easily realize the rage with which I was possessed: if you have never been served in that way, so much the better for you, but it is useless for me to try to give you an idea of my anger; you would not understand me.

I was disgusted with the coach, and I jumped out of it, telling the driver to go to the devil. I took the first hack which happened to pass, and drove straight to Patu's house, to whom I related my adventure, almost foaming with rage. But very far from pitying me or sharing my anger, Patu, much wiser, laughed and said,

"I wish with all my heart that the same thing might happen to me; for you are certain of possessing our beautiful Coraline the very first time you are with her."

"I would not have her, for now I despise her heartily." "Your contempt ought to have come sooner. But, now that is too late to discuss the matter, I offer you, as a compensation, a dinner at the Hotel du Roule."

"Most decidedly yes; it is an excellent idea. Let us go."

The Hotel du Roule was famous in Paris, and I had not been there yet. The woman who kept it had furnished the place with great elegance, and she always had twelve or fourteen well-chosen nymphs, with all the conveniences that could be desired. Good cooking, good beds, cleanliness, solitary and beautiful groves. Her cook was an artist, and her wine-cellar excellent. Her name was Madame Paris; probably an assumed name, but it was good enough for the purpose. Protected by the police, she was far enough from Paris to be certain that those who visited her liberally appointed establishment were above the middle class. Everything was strictly regulated in her house and every pleasure was taxed at a reasonable tariff. The prices were six francs for a breakfast with a nymph, twelve for dinner, and twice that sum to spend a whole night. I found the house even better than its reputation, and by far superior to the warren.

We took a coach, and Patu said to the driver,

"To Chaillot."

"I understand, your honour."

After a drive of half an hour, we stopped before a gate on which could be read, "Hotel du Roule."

The gate was closed. A porter, sporting long mustachioes, came out through a side-door and gravely examined us. He was most likely pleased with our appearance, for the gate was opened and we went in. A woman, blind of one eye, about forty years old, but with a remnant of beauty, came up, saluted us politely, and enquired whether we wished to have dinner. Our answer being affirmative, she took us to a fine room in which we found fourteen young women, all very handsome, and dressed alike in muslin. As we entered the room, they rose and made us a graceful reverence; they were all about the same age, some with light hair, some with dark; every taste could be satisfied. We passed them in review, addressing a few words to each, and made our choice. The two we chose screamed for joy, kissed us with a voluptuousness which a novice might have mistaken for love, and took us to the garden until dinner would be ready. That garden was very large and artistically arranged to minister to the pleasures of love. Madame Paris said to us,

"Go, gentlemen, enjoy the fresh air with perfect security in every way; my house is the temple of peace and of good health."

The girl I had chosen was something like Coraline, and that made me find her delightful. But in the midst of our amorous occupations we were called to dinner. We were well served, and the dinner had given us new strength, when our single-eyed hostess came, watch in hand, to announce that time was up. Pleasure at the "Hotel du Roule" was measured by the hour.

I whispered to Patu, and, after a few philosophical considerations, addressing himself to madame la gouvernante, he said to her,

"We will have a double dose, and of course pay double."

"You are quite welcome, gentlemen."

We went upstairs, and after we had made our choice a second time, we renewed our promenade in the garden. But once more we were disagreeably surprised by the strict punctuality of the lady of the house. "Indeed! this is too much of a good thing, madam."

"Let us go up for the third time, make a third choice, and pass the whole night here."

"A delightful idea which I accept with all my heart."

"Does Madame Paris approve our plan?"

"I could not have devised a better one, gentlemen; it is a masterpiece."

When we were in the room, and after we had made a new choice, the girls laughed at the first ones who had not contrived to captivate us, and by way of revenge these girls told their companions that we were lanky fellows.

This time I was indeed astonished at my own choice. I had taken a true Aspasia, and I thanked my stars that I had passed her by the first two times, as I had now the certainty of possessing her for fourteen hours. That beauty's name was Saint Hilaire; and under that name she became famous in England, where she followed a rich lord the year after. At first, vexed because I had not remarked her before, she was proud and disdainful; but I soon proved to her that it was fortunate that my first or second choice had not fallen on her, as she would now remain longer with me. She then began to laugh, and shewed herself very agreeable.

That girl had wit, education and talent-everything, in fact, that is needful to succeed in the profession she had adopted. During the supper Patu told me in Italian that he was on the point of taking her at the very moment I chose her, and the next morning he informed me that he had slept quietly all night. The Saint Hilaire was highly pleased with me, and she boasted of it before her companions. She was the cause of my paying several visits to the Hotel du Roule, and all for her; she was very proud of my constancy.

Those visits very naturally cooled my ardour for Coraline. A singer from Venice, called Guadani, handsome, a thorough musician, and very witty, contrived to captivate her affections three weeks after my quarrel with her. The handsome fellow, who was a man only in appearance, inflamed her with curiosity if not with love, and caused a rupture with the prince, who caught her in the very act. But Coraline managed to coax him back, and, a short time after, a reconciliation took place between them, and such a good one, that a babe was the consequence of it; a girl, whom the prince named Adelaide, and to whom he gave a dowry. After the death of his father, the Duke of Valentinois, the prince left her altogether and married Mlle. de Brignole, from Genoa. Coraline became the mistress of Count de la Marche, now Prince de Conti. Coraline is now dead, as well as a son whom she had by the count, and whom his father named Count de Monreal.

Madame la Dauphine was delivered of a princess, who received the title of Madame de France.

In the month of August the Royal Academy had an exhibition at the Louvre, and as there was not a single battle piece I conceived the idea of summoning my brother to Paris. He was then in Venice, and he had great talent in that particular style. Passorelli, the only painter of battles known in France, was dead, and I thought that Francois might succeed and make a fortune. I therefore wrote to M. Grimani and to my brother; I persuaded them both, but Francois did not come to Paris till the beginning of the following year.

Louis XV., who was passionately fond of hunting, was in the habit of spending six weeks every year at the Chateau of Fontainebleau. He always returned to Versailles towards the middle of November. That trip cost him, or rather cost France, five millions of francs. He always took with him all that could contribute to the amusement of the foreign ambassadors and of his numerous court. He was followed by the French and the Italian comedians, and by the actors and actresses of the opera.

During those six weeks Fontainebleau was more brilliant than Versailles; nevertheless, the artists attached to the theatres were so numerous that the Opera, the French and Italian Comedies, remained open in Paris.

Baletti's father, who had recovered his health, was to go to Fontainebleau with Silvia and all his family. They invited me to accompany them, and to accept a lodging in a house hired by them.

It was a splendid opportunity; they were my friends, and I accepted, for I could not have met with a better occasion to see the court and all the foreign ministers. I presented myself to M. de Morosini, now Procurator at St. Mark's, and then ambassador from the Republic to the French court.

The first night of the opera he gave me permission to accompany him; the music was by Lulli. I had a seat in the pit precisely under the private box of Madame de Pompadour, whom I did not know. During the first scene the celebrated Le Maur gave a scream so shrill and so unexpected that I thought she had gone mad. I burst into a genuine laugh, not supposing that any one could possibly find fault with it. But a knight of the Order of the Holy Ghost, who was near the Marquise de Pompadour, dryly asked me what country I came from. I answered, in the same tone,

"From Venice."

"I have been there, and have laughed heartily at the recitative in your operas."

"I believe you, sir, and I feel certain that no one ever thought of objecting to your laughing."

My answer, rather a sharp one, made Madame de Pompadour laugh, and she asked me whether I truly came from down there.

"What do you mean by down there?"

"I mean Venice."

"Venice, madam, is not down there, but up there."

That answer was found more singular than the first, and everybody in the box held a consultation in order to ascertain whether Venice was down or up. Most likely they thought I was right, for I was left alone. Nevertheless, I listened to the opera without laughing; but as I had a very bad cold I blew my nose often. The same gentleman addressing himself again to me, remarked that very likely the windows of my room did not close well. That gentleman, who was unknown to me was the Marechal de Richelieu. I told him he was mistaken, for my windows were well 'calfoutrees'. Everyone in the box burst into a loud laugh, and I felt mortified, for I knew my mistake; I ought to have said 'calfeutrees'. But these 'eus' and 'ous' cause dire misery to all foreigners.

Half an hour afterwards M. de Richelieu asked me which of the two actresses pleased me most by her beauty.

"That one, sir."

"But she has ugly legs."

"They are not seen, sir; besides, whenever I examine the beauty of a woman, 'la premiere chose que j'ecarte, ce sont les jambes'."

That word said quite by chance, and the double meaning of which I did not understand, made at once an important personage of me, and everybody in the box of Madame de Pompadour was curious to know me. The marshal learned who I was from M. de Morosini, who told me that the duke would be happy to receive me. My 'jeu de mots' became celebrated, and the marshal honoured me with a very gracious welcome. Among the foreign ministers, the one to whom I attached myself most was Lord Keith, Marshal of Scotland and ambassador of the King of Prussia. I shall have occasion to speak of him.

The day after my arrival in Fontainebleau I went alone to the court, and I saw Louis XV., the handsome king, go to the chapel with the royal family and all the ladies of the court, who surprised me by their ugliness as much as the ladies of the court of Turin had astonished me by their beauty. Yet in the midst of so many ugly ones I found out a regular beauty. I enquired who she was.

"She is," answered one of my neighbours, "Madame de Brionne, more remarkable by her virtue even than by her beauty. Not only is there no scandalous story told about her, but she has never given any opportunity to scandal-mongers of inventing any adventure of which she was the heroine."

"Perhaps her adventures are not known."

"Ah, monsieur! at the court everything is known."

I went about alone, sauntering through the apartments, when suddenly I met a dozen ugly ladies who seemed to be running rather than walking; they were standing so badly upon their legs that they appeared as if they would fall forward on their faces. Some gentleman happened to be near me, curiosity impelled me to enquire where they were coming from, and where they were going in such haste.

"They are coming from the apartment of the queen who is going to dine, and the reason why they walk so badly is that their shoes have heels six inches high, which compel them to walk on their toes and with bent knees in order to avoid falling on their faces."

"But why do they not wear lower heels?"

"It is the fashion."

"What a stupid fashion!"

I took a gallery at random, and saw the king passing along, leaning with one arm on the shoulder of M. d'Argenson. "Oh, base servility!" I thought to myself. "How can a man make up his mind thus to bear the yoke, and how can a man believe himself so much above all others as to take such unwarrantable liberties!"

Louis XV. had the most magnificent head it was possible to see, and he carried it with as much grace as majesty. Never did even the most skilful painter succeed in rendering justice to the expression of that beautiful head, when the king turned it on one side to look with kindness at anyone. His beauty and grace compelled love at once. As I saw him, I thought I had found the ideal majesty which I had been so surprised not to find in the king of Sardinia, and I could not entertain a doubt of Madame de Pompadour having been in love with the king when she sued for his royal attention. I was greatly mistaken, perhaps, but such a thought was natural in looking at the countenance of Louis XV.