smoky chimneys. Leaning in the niche of a battlement, we gazed and listened, and breathed it all in, enjoying the beautiful sunshine and balmy air impregnated with the pungent odour of the ruins. And there, without thinking of anything in particular, without even phrasing inwardly about something, I dreamed of coats of mail as pliable as gloves, of shields of buffalo hide soaked with sweat, of closed visors through which shot bloodthirsty glances, of wild and desperate night attacks with torches that set fire to the walls, and hatchets that mutilated the bodies; and of Louis XI, of the lover's war, of D'Aubigné and of the charlocks, the birds, the polished ivy, the denuded brambles, tasting in my pensive and idle occupation—what is greatest in men, their memory;—and what is most beautiful in nature, her ironical encroachments and eternal youth.

In the garden, among the lilac-bushes and the shrubs that droop over the alleys, rises the chapel, a work of the sixteenth century, chiselled at every angle, a perfect jewel, even more intricately decorated inside than out, cut out like the paper covering of a bonbonnière, and cunningly sculptured like the handle of a Chinese parasol. On the door is a bas-relief which is very amusing and ingenuous. It represents the meeting of Saint Hubert with the mystic stag, which bears a cross between its antlers. The saint is on his knees; above him hovers an angel who is about to place a crown on his cap; near them stands the saint's horse, watching the scene with a surprised expression; the dogs are barking and on the mountain, the sides and facets of which are cut to represent crystals, creeps the serpent. You can see its flat head advancing toward some leafless trees that look like cauliflowers. They are the sort of trees one comes upon in old Bibles, spare of foliage, thick and clumsy, bearing blossoms and fruit but no leaves; the symbolical, theological, and devout trees that are almost fantastical on account of their impossible ugliness. A little further, Saint Christopher is carrying Jesus on his shoulders; Saint Antony is in his cell, which is built on a rock; a pig is retiring into its hole and shows only its hind-quarters and its corkscrew tail, while a rabbit is sticking its head out of its house.

Of course, it is all a little clumsy and the moulding is not faultless. But there is so much life and movement about the figure and the animals, so much charm in the details, that one would give a great deal to be able to carry it away and take it home.

Inside of the Château, the insipid Empire style is reproduced in every apartment. Almost every room is adorned with busts of Louis-Philippe and Madame Adélaïde. The present reigning family has a craze for being portrayed on canvas. It is the bad taste of a parvenu, the mania of a grocer who has accumulated money and who enjoys seeing himself in red, white, and yellow, with his watch-charms dangling over his stomach, his bewhiskered chin and his children gathered around him.

On one of the towers, and in spite of the most ordinary common sense, they have built a glass rotunda which is used for a dining-room. True, the view from it is magnificent. But the building presents so shocking an appearance from the outside, that one would, I should think, prefer to see nothing of the environs, or else to eat in the kitchen.

In order to go back to the city, we came down by a tower that was used by carriages to approach the Château. The sloping gravelled walk turns around a stone axle like the steps of a staircase. The arch is dark and lighted only by the rays that creep through the loop-holes. The columns on which the interior end of the vault rests, are decorated with grotesque or vulgar subjects. A dogmatic intention seems to have presided over their composition. It would be well for travellers to begin the inspection at the bottom, with the Aristoteles equitatus (a subject which has already been treated on one of the choir statues in the Cathedral of Rouen) and reach by degrees a pair embracing in the manner which both Lucretius and l'Amour Conjugal have recommended. The greater part of the intermediary subjects have been removed, to the despair of seekers of comical things, like ourselves; they have been removed in cold blood, with deliberate intent, for the sake of decency, and because, as one of the servants of his Majesty informed us convincingly, "a great many were improper for the lady visitors to see."

CHÂTEAU DE CHENONCEAUX.

A something of infinite suavity and aristocratic serenity pervades the Château de Chenonceaux. It is situated outside of the village, which keeps at a respectful distance. It can be seen through a large avenue of trees, and is enclosed by woods and an extensive park with beautiful lawns. Built on the water, it proudly uprears its turrets and its square chimneys. The Cher flows below, and murmurs at the foot of its arches, the pointed corners of which form eddies in the tide. It is all very peaceful and charming, graceful yet robust. Its calm is not wearying and its melancholy has no tinge of bitterness.

One enters through the end of a long, arched hallway, which used to be a fencing-room. It is decorated with some armours, which, in spite of the obvious necessity of their presence, do not shock one's taste or appear out of place. The whole scheme of interior decoration is tastefully carried out; the furniture and hangings of the period have been preserved and cared for intelligently. The great, venerable mantel-pieces of the sixteenth century do not shelter the hideous and economical German stoves, which might easily be hidden in some of them.

In the kitchen, situated in a wing of the castle, which we visited later, a maid was peeling vegetables and a scullion was washing dishes, while the cook was standing in front of the stove, superintending a reasonable number of shining saucepans. It was all very delightful, and bespoke the idle and intelligent home life of a gentleman. I like the owners of Chenonceaux.

In fact, have you not often seen charming old paintings that make you gaze at them indefinitely, because they portray the period in which their owners lived, the ballets in which the farthingales of all those beautiful pink ladies whirled around, and the sword-thrusts which those noblemen gave each other with their rapiers? Here are some temptations of history. One would like to know whether those people loved as we do, and what difference existed between their passions and our own. One would like them to open their lips and tell their history, tell us everything they used to do, no matter how futile, and what their cares and pleasures used to be. It is an irritating and seductive curiosity, a dreamy desire for knowledge, such as one feels regarding the past life of a mistress.... But they are deaf to the questions our eyes put to them, they remain dumb and motionless in their wooden frames, and we pass on. The moths attack their canvases, but the latter are revarnished; and the pictures will smile on when we are buried and forgotten. And others will come and gaze upon them, till the day they crumble to dust; then people will dream in the same old way before our own likenesses, and ask themselves what used to happen in our day, and whether life was not more alluring then.

I should not have spoken again of those handsome dames, if the large, full-length portrait of Madame Deshoulières, in an elaborate white dêshabille, (it was really a fine picture, and, like the much decried and seldom read efforts of the poetess, better at the second look than at the first), had not reminded me, by the expression of the mouth, which is large, full, and sensual, of the peculiar coarseness of Madame de Staël's portrait by Gérard. When I saw it two years ago, at Coppet, in bright sunshine, I could not help being impressed by those red, vinous lips and the wide, aspiring nostrils. George Sand's face offers a similar peculiarity. In all those women who