No: those things were well enough in the days of Philippe d'Orléans, who invented them, but they were only now as stupid as they were vulgar; anybody was let in for five francs.

Did she like the new weekly journal that was electrifying Paris?

No: she could see nothing in it: there was no wit now-a-days—only personalities, which grew more gross every year.

The Duc urged that personalities were as old as Cratinus and Archilochus, and that five hundred years before Christ the satires of Hipponax drove Bupalus to hang himself.

She answered that a bad thing was not the better for being old.

People were talking of a clever English novel translated everywhere, called "In a Hothouse," the hothouse being society—had she seen it?

No: what was the use of reading novels of society by people who never had been in it? The last English "society" novel she had read had described a cabinet minister in London as going to a Drawing-room in the crowd, with everybody else, instead of by the petite entrée; they were always full of such blunders.

Had she read the new French story "Le Bal de Mademoiselle Bibi?"

No: she had heard too much of it; it made you almost wish for a Censorship of the Press.

The Duc agreed that literature was terribly but truly described as "un tas d'ordures soigneusement enveloppé."

She said that the "tas d'ordures" without the envelope was sufficient for popularity, but that the literature of any age was not to be blamed—it was only a natural growth, like a mushroom; if the soil were noxious, the fungus was bad.

The Duc wondered what a censorship would let pass if there were one.

She said that when there was one it had let pass Crebillon, the Chevalier Le Clos, and the "Bijoux Indiscrets;" it had proscribed Marmontel, Helvetius, and Lanjuinais. She did not know how one man could be expected to be wiser than all his generation.

The Duc admired some majolica she had purchased.

She said she began to think that majolica was a false taste; the metallic lustre was fine, but how clumsy the forms! one might be led astray by too great love of old work.

The Duc praised a magnificent Sèvres panel, just painted by Riocreux and Goupil, and given to her by Princess Olga on the New Year.

She said it was well done, but what charm was there in it? All their modern iron and zinc colours, and hydrate of aluminum, and oxide of chromium, and purple of Cassius, and all the rest of it, never gave one-tenth the charm of those old painters who had only green greys and dull blues and tawny yellows, and never could get any kind of red whatever; Olga had meant to please her, but she, for her part, would much sooner have had a little panel of Abruzzi, with all the holes and defects in the pottery, and a brown contadina for a Madonna; there was some interest in that,—there was no interest in that gorgeous landscape and those brilliant hunting figures.

The Duc bore all the contradictions with imperturbable serenity and urbanity, smiled to himself, and bowed himself out in perfect good-humour.

"Tout va bien," he thought to himself; "Miladi must be very much in love to be so cross."

The Duc's personal experience amongst ladies had made him of opinion that love did not improve the temper.

"In love!" she echoed, with less languor and more of impetuosity than she had ever displayed, "are you ever in love, any of you, ever? You have senses and vanity and an inordinate fear of not being in the fashion—and so you take your lovers as you drink your stimulants and wear your wigs and tie your skirts back—because everybody else does it, and not to do it is to be odd, or prudish, or something you would hate to be called. Love! it is an unknown thing to you all. You have a sort of miserable hectic passion, perhaps, that is a drug you take as you take chlorodyne—just to excite you and make your jaded nerves a little alive again, and yet you are such cowards that you have not even the courage of passion, but label your drug Friendship, and beg Society to observe that you only keep it for family uses like arnica or like glycerine. You want notoriety; you want to indulge your fancies, and yet keep your place in the world. You like to drag a young man about by a chain, as if he were the dancing monkey that you depended upon for subsistence. You like other women to see that you are not too passée to be every whit as improper as if you were twenty. You like to advertise your successes as it were with drum and trumpet, because if you did not, people might begin to doubt that you had any. You like all that, and you like to feel there is nothing you do not know and no length you have not gone, and so you ring all the changes on all the varieties of intrigue and sensuality, and go over the gamut of sickly sentiment and nauseous license as an orchestra tunes its strings up every night! That is what all you people call love; I am content enough to have no knowledge of it."

"I would rather have the crudest original thing than the mere galvanism of the corpse of a dead genius. I would give a thousand paintings by Froment, Damousse, or any of the finest living artists of Sèvres, for one piece by old Van der Meer of Delft; but I would prefer a painting on Sèvres done yesterday by Froment or Damousse, or even any much less famous worker, provided only it had originality in it, to the best reproduction of a Van der Meer that modern manufacturers could produce."

"I think you are right; but I fear our old pottery-painters were not very original. They copied from the pictures and engravings of Mantegna, Raffaelle, Marcantonio, Marco di Ravenna, Beatricius, and a score of others."

"The application was original, and the sentiment they brought to it. Those old artists put so much heart into their work."

"Because when they painted a stemma on the glaze they had still feudal faith in nobility, and when they painted a Madonna or Ecce Homo they had still childlike belief in divinity. What does the pottery-painter of to-day care for the coat of arms or the religious subject he may be commissioned to execute for a dinner service or a chapel? It may be admirable painting—if you give a very high price—but it will still be only manufacture."

"Then what pleasant lives those pottery painters of the early days must have led! They were never long stationary. They wandered about decorating at their fancy, now here and now there; now a vase for a pharmacy, and now a stove for a king. You find German names on Italian ware, and Italian names on Flemish grès; the Nuremberger would work in Venice, the Dutchman would work in Rouen. Sometimes, however, they were accused of sorcery; the great potter, Hans Kraut, you remember, was feared by his townsmen as possessed by the devil, and was buried ignominiously outside the gates, in his nook of the Black Forest. But on the whole they were happy, no doubt; men of simple habits and of worthy lives."

"You care for art yourself, M. Della Rocca?"

There came a gleam of interest in her handsome, languid, hazel eyes, as she turned them upon him.

"Every Italian does," he answered her. "I do not think we are ever, or I think, if ever, very seldom connoisseurs in the way that your Englishman or Frenchman is so. We are never very learned as to styles and dates; we cannot boast the huckster's eye of the northern bric-à-brac hunter; it is quite another thing with us; we love art as children their nurses' tales and cradle-songs. It is a familiar affection with us, and affection is never very analytical. The Robbia over the chapel-door, the apostle-pot that the men in the stables drink out of; the Sodoma or the Beato Angelico that hangs before our eyes daily as we dine; the old bronze secchia that we wash our hands in as boys in the Loggia—these are all so homely and dear to us that we grow up with a love for them all as natural as our love for our mothers. You will say the children of all rich people see beautiful and ancient things from their birth: so they do, but not as we see them. Here they are too often degraded to the basest household uses, and made no more account of than the dust which gathers on them; but that very neglect of them makes them the more kindred to us. Art elsewhere is the guest of the salon—with us she is the playmate of the infant and the serving-maid of the peasant: the mules may drink from an Etruscan sarcophagus, and the pigeons be fed from a patina of the twelfth century."

Taste, mon cher Della Rocca, is the only sure guarantee in these matters. Women, believe me, never have any principle. Principle is a backbone, and no woman—except bodily—ever possesses any backbone. Their priests and their teachers and their mothers fill them with doctrines and conventionalities—all things of mere word and wind. No woman has any settled principles; if she have any vague ones, it is the uttermost she ever reaches, and those can always be overturned by any man who has any influence over her. But Taste is another matter altogether. A woman whose taste is excellent is preserved from all eccentricities and most follies. You never see a woman of good sense afficher her improprieties or advertise her liaisons as women of vulgarity do. Nay, if her taste be perfect, though she have weaknesses, I doubt if she will ever have vices. Vice will seem to her like a gaudy colour, or too much gold braid, or very large plaits, or buttons as big as saucers, or anything else such as vulgar women like. Fastidiousness, at any rate, is very good postiche for modesty: it is always decent, it can never be coarse. Good taste, inherent and ingrained, natural and cultivated, cannot alter. Principles—ouf!—they go on and off like a slipper; but good taste is indestructible; it is a compass that never errs. If your wife have it—well, it is possible she may be false to you; she is human, she is feminine; but she will never make you ridiculous, she will never compromise you, and she will not romp in a cotillon till the morning sun shows the paint on her face washed away in the rain of her perspiration. Virtue is, after all, as Mme. de Montespan said, "une chose tout purement géographique." It varies with the hemisphere like the human skin and the human hair; what is vile in one latitude is harmless in another. No philosophic person can put any trust in a thing which merely depends upon climate; but, Good Taste–

Gossip is like the poor devil in the legend of Fugger's Teufelspalast at Trent; it toils till cock-crow picking up the widely-scattered grains of corn by millions till the bushel measure is piled high; and lo!—the five grains that are the grains always escape its sight and roll away and hide themselves. The poor devil, being a primitive creature, shrieked and flew away in despair at his failure. Gossip hugs its false measure and says loftily that the five real grains are of no consequence whatever.

The Lady Hilda sighed. This dreadful age, which has produced communists, pétroleuses, and liberal thinkers, had communicated its vague restlessness even to her; although she belonged to that higher region where nobody ever thinks at all, and everybody is more or less devout in seeming at any rate, because disbelief is vulgar, and religion is an "affaire des mœurs," like decency, still the subtle philosophies and sad negations which have always been afloat in the air since Voltaire set them flying, had affected her slightly.

She was a true believer, just as she was a well-dressed woman, and had her creeds just as she had her bath in the morning, as a matter of course.

Still, when she did come to think of it, she was not so very sure. There was another world, and saints and angels and eternity; yes, of course—but how on earth would all those baccarat people ever fit into it? Who could, by any stretch of imagination, conceive Madame Mila and Maurice des Gommeux in a spiritual existence around the throne of Deity?

And as for punishment and torment and all that other side of futurity, who could even think of the mildest purgatory as suitable to those poor flipperty-gibbet inanities who broke the seventh commandment as gaily as a child breaks his indiarubber ball, and were as incapable of passion and crime as they were incapable of heroism and virtue?

There might be paradise for virtue and hell for crime, but what in the name of the universe was to be done with creatures that were only all Folly? Perhaps they would be always flying about like the souls Virgil speaks of, "suspensæ ad ventos," to purify themselves; as the sails of a ship spread out to dry. The Huron Indians pray to the souls of the fish they catch; well, why should they not? a fish has a soul if Modern Society has one; one could conceive a fish going softly through shining waters for ever and for ever in the ecstasy of motion; but who could conceive Modern Society in the spheres?

"One grows tired of everything," she answered with a little sigh.

"Everything that is artificial, you mean. People think Horace's love of the rural life an affectation. I believe it to be most sincere. After the strain of the conventionality and the adulation of the Augustan court, the natural existence of the country must have been welcome to him. I know it is the fashion to say that a love of Nature belongs only to the Moderns, but I do not think so. Into Pindar, Theocritus, Meleager, the passion for Nature must have entered very strongly; what is modern is the more subjective, the more fanciful feeling which makes Nature a sounding-board to echo all the cries of man."

"But that is always a northern feeling?"

"Inevitably. With us Nature is too riante for us to grow morbid about it. The sunshine that laughs around us nine months of every year, the fruits that grow almost without culture, the flowers that we throw to the oxen to eat, the very stones that are sweet with myrtle, the very sea sand that is musical with bees in the rosemary, everything we grow up amongst from infancy, makes our love of Nature only a kind of unconscious joy in it; but here even the peasant has that, and the songs of the men that cannot read or write are full of it. If a field labourer sing to his love he will sing of the narcissus and the crocus, as Meleager sang to Heliodora twenty centuries ago."

That is an Italian amorous fancy. Romeo and Othello are the typical Italian lovers. I never can tell how a northerner like Shakespeare could draw either. You are often very unfaithful; but while you are faithful you are ardent, and you are absorbed in the woman. That is one of the reasons why an Italian succeeds in love as no other man does. "L'art de brûler silencieusement ment le cœur d'un femme" is a supreme art with you. Compared with you, all other men are children. You have been the supreme masters of the great passion since the days of Ovid.

Boredom is the ill-natured pebble that always will get in the golden slipper of the pilgrim of pleasure.

"They say," the great assassin who slays as many thousands as ever did plague or cholera, drink or warfare; "they say," the thief of reputation, who steals, with stealthy step and coward's mask, to filch good names away in the dead dark of irresponsible calumny; "they say," a giant murderer, iron-gloved to slay you, a fleet, elusive, vaporous will-o'-the-wisp, when you would seize and choke it; "they say," mighty Thug though it be which strangles from behind the purest victim, had not been ever known to touch the Lady Hilda.

All her old philosophies seemed falling about her like shed leaves, and her old self seemed to her but a purposeless frivolous chilly creature. The real reason she would not face, and indeed as yet was not conscious of; the reason that love had entered into her, and that love, if it be worth the name, has always two handmaidens: swift sympathy, and sad humility, keeping step together.

The Femme Galante has passed through many various changes, in many countries. The dames of the Decamerone were unlike the fair athlete-seekers of the days of Horace; and the powdered coquettes of the years of Molière, were sisters only by the kinship of a common vice to the frivolous and fragile faggot of impulses, that is called Frou-frou.

The Femme Galante has always been a feature in every age; poets, from Juvenal to Musset, have railed at her; artists, from Titian to Winterhalter, have painted her; dramatists, from Aristophanes to Congreve and Dumas Fils, have pointed their arrows at her; satirists, from Archilochus and Simonides to Hogarth and Gavarni, have poured out their aqua-fortis for her. But the real Femme Galante of to-day has been missed hitherto.

Frou-frou, who stands for her, is not in the least the true type. Frou-frou is a creature that can love, can suffer, can repent, can die. She is false in sentiment and in art, but she is tender after all; poor, feverish, wistful, changeful morsel of humanity. A slender, helpless, breathless, and frail thing who, under one sad, short sin, sinks down to death.

But Frou-frou is in no sense the true Femme Galante of her day. Frou-frou is much more a fancy than a fact. It is not Frou-frou that Molière would have handed down to other generations in enduring ridicule, had he been living now. To her he would have doffed his hat with dim eyes; what he would have fastened for all time in his pillory would have been a very different, and far more conspicuous offender.

The Femme Galante, who has neither the scruples nor the follies of poor Frou-frou, who neither forfeits her place nor leaves her lord; who has studied adultery as one of the fine arts and made it one of the domestic virtues; who takes her wearied lover to her friends' houses as she takes her muff or her dog, and teaches her sons and daughters to call him by familiar names; who writes to the victim of her passions with the same pen that calls her boy home from school; and who smooths her child's curls with the same fingers that stray over her lover's lips; who challenges the world to find a flaw in her, and who smiles serene at her husband's table on a society she is careful to conciliate; who has woven the most sacred ties and most unholy pleasures into so deft a braid, that none can say where one commences or the other ends; who uses the sanctity of her maternity to cover the lawlessness of her license; and who, incapable alike of the self-abandonment of love or of the self-sacrifice of duty, has not even such poor, cheap honour as, in the creatures of the streets, may make guilt loyal to its dupe and partner.

This is the Femme Galante of the passing century, who, with her hand on her husband's arm, babbles of her virtue in complacent boast; and ignoring such a vulgar word as Sin, talks with a smile of Friendship. Beside her Frou-frou were innocence itself, Marion de l'Orme were honesty, Manon Lescaut were purity, Cleopatra were chaste, and Faustine were faithful.

She is the female Tartuffe of seduction, the Précieuse Ridicule of passion, the parody of Love, the standing gibe of Womanhood.

She was always in debt, though she admitted that her husband allowed her liberally. She had eighty thousand francs a year by her settlements to spend on herself, and he gave her another fifty thousand to do as she pleased with: on the whole about one half what he allowed to Blanche Souris, of the Château Gaillard theatre.

She had had six children, three were living and three were dead; she thought herself a good mother, because she gave her wet-nurses ever so many silk gowns, and when she wanted the children for a fancy ball or a drive, always saw that they were faultlessly dressed, and besides she always took them to Trouville.

She had never had any grief in her life, except the loss of the Second Empire, and even that she got over when she found that flying the Red Cross flag had saved her hotel, without so much as a teacup being broken in it, that MM. Worth and Offenbach were safe from all bullets, and that society, under the Septennate, promised to be every bit as leste as under the Empire.

In a word, Madame Mila was a type of the women of her time.

The women who go semi-nude in an age which has begun to discover that the nude in sculpture is very immoral; who discuss "Tue-la" in a generation which decrees Molière to be coarse, and Beaumont and Fletcher indecent; who have the Journal pour Rire on their tables in a day when no one who respects himself would name the Harlot's Progress; who read Beaudelaire and patronise Térésa and Schneider in an era which finds "Don Juan" gross, and Shakespeare far too plain; who strain all their energies to rival Miles. Rose Thé and La Petite Boulotte in everything; who go shrimping or oyster-hunting on fashionable sea-shores, with their legs bare to the knee; who go to the mountains with confections, high heels, and gold-tipped canes, shriek over their gambling as the dawn reddens over the Alps, and know no more of the glories of earth and sky, of sunrise and sunset, than do the porcelain pots that hold their paint, or the silver dressing-box that carries their hair-dye.

Women who are in convulsions one day, and on the top of a drag the next; who are in hysterics for their lovers at noon, and in ecstasies over baccarat at midnight; who laugh in little nooks together over each other's immoralities, and have a moral code so elastic that it will pardon anything except innocence; who gossip over each other's dresses, and each other's passions, in the self-same, self-satisfied chirp of contentment, and who never resent anything on earth, except any eccentric suggestion that life could be anything except a perpetual fête à la Watteau in a perpetual blaze of lime-light.

Pain?—Are there not chloral and a flattering doctor? Sorrow?—Are there not a course at the Baths, play at Monte Carlo, and new cases from Worth? Shame?—Is it not a famine fever which never comes near a well-laden table? Old Age?—Is there not white and red paint, and heads of dead hair, and even false bosoms? Death? Well, no doubt there is death, but they do not realise it; they hardly believe in it, they think about it so little.

There is something unknown somewhere to fall on them some day that they dread vaguely, for they are terrible cowards. But they worry as little about it as possible. They give the millionth part of what they possess away in its name to whatever church they belong to, and they think they have arranged quite comfortably for all possible contingencies hereafter.

If it make things safe, they will head bazaars for the poor, or wear black in holy week, turn lottery-wheels for charity, or put on fancy dresses in the name of benevolence, or do any little amiable trifle of that sort. But as for changing their lives,—pas si bête!

A bird in the hand they hold worth two in the bush; and though your birds may be winged on strong desire, and your bush the burning portent of Moses, they will have none of them.

These women are not all bad; oh, no! they are like sheep, that is all. If it were fashionable to be virtuous, very likely they would be so. If it were chic to be devout, no doubt they would pass their life on their knees. But, as it is, they know that a flavour of vice is as necessary to their reputation as great ladies, as sorrel-leaves to soup à la bonne femme. They affect a license if they take it not.

They are like the barber, who said, with much pride, to Voltaire, "Je ne suis qu'un pauvre diable de perruquier, mais je ne crois pas en Dieu plus que les autres."

They may be worth very little, but they are desperately afraid that you should make such a mistake as to think them worth anything at all. You are not likely, if you know them. Still, they are apprehensive.

Though one were to arise from the dead to preach to them, they would only make of him a nine days' wonder, and then laugh a little, and yawn a little, and go on in their own paths.

Out of the eater came forth meat, and from evil there may be begotten good; but out of nullity there can only come nullity. They have wadded their ears, and though Jeremiah wailed of desolation, or Isaiah thundered the wrath of heaven, they would not hear,—they would go on looking at each other's dresses.

What could Paul himself say that would change them?

You cannot make sawdust into marble; you cannot make sea-sand into gold. "Let us alone," is all they ask; and it is all that you could do, though the force and flame of Horeb were in you.

It is very curious, but loss of taste in the nobles has always been followed by a revolution of the mob. The décadence always ushers in the democracy.

Pleasure alone cannot content any one whose character has any force, or mind any high intelligence. Society is, as you say, a book we soon read through, and know by heart till it loses all interest. Art alone cannot fill more than a certain part of our emotions; and culture, however perfect, leaves us unsatisfied. There is only one thing that can give to life what your poet called the light that never was on sea or land—and that is human love.

"Yes, it is a curious thing that we do not succeed in fresco. The grace is gone out of it; modern painters have not the lightness of touch necessary; they are used to masses of colour, and they use the palette knife as a mason the trowel. The art, too, like the literature of our time, is all detail; the grand suggestive vagueness of the Greek drama and of the Umbrian frescoes are lost to us under a crowd of elaborated trivialities; perhaps it is because art has ceased to be spiritual or tragic, and is merely domestic or melodramatic; the Greeks knew neither domesticity nor melodrama, and the early Italian painters were imbued with a faith which, if not so virile as the worship of the Phidian Zeus, yet absorbed them and elevated them in a degree impossible in the tawdry Sadduceeism of our own day. By the way, when the weather is milder you must go to Orvieto; you have never been there, I think; it is the Prosodion of Signorelli. What a fine Pagan he was at heart! He admired masculine beauty like a Greek; he must have been a singularly happy man—few more happy–"