The life of Paris, indeed of the continent, is floral, to an extent of which the people in the United States can form no conception. Flowers are a part of all their lives. The churches are dressed with flowers, and on fête days are fragrant with them. A jardinière forms a part of the furniture of every parlor; a jardinière is a receptacle made in various fanciful forms for holding pots of flowers. These pots are bought at the daily flower market for a trifle, in full bloom and high condition; they are placed in the jardinière, the spaces around them filled with sand and covered with moss.
Again, there are little hanging baskets suspended from the ceilings, and filled with flowers. These things give a graceful and festive air to apartments. When the plants are out of bloom, the porter of the house takes them, waters, prunes, and tends them, then sells them again: meanwhile the parlor is ornamented with fresh ones. Along the streets on saints' days are little booths, where small vases of artificial flowers are sold to dress the altars. I stopped to look at one of these stalls, all brilliant with cheaply-made, showy vases of flowers, that sell for one or two sous.
We went also to the National Academy of Fine Arts, a government school for the gratuitous instruction of artists, a Grecian building, with a row of all the distinguished painters in front.
In the doorway, as we came in, was an antique, headless statue of Minerva; literally it was Minerva's gown standing up—a pillar of drapery, nothing more, and drapery soiled, tattered, and battered; but then it was an antique, and that is enough. Now, when antique things are ugly, I do not like them any better for being antique, and I should rather have a modern statue than Minerva's old gown. We went through all the galleries in this school, in one of which the prize pieces of scholars are placed. Whoever gets one of these prizes is sent to study in Rome at the expense of the government. We passed through the hall where the judges sit to decide upon pictures, and through various others that I cannot remember. I was particularly interested in the apartment devoted to the casts from the statuary in the Louvre and in other palaces. These casts are taken with mathematical exactness, and subjected to the inspection of a committee, who order any that are defective to be broken. Proof casts of all the best works, ancient and modern, are thus furnished at a small price, and so brought within the reach of the most moderate means.
This morning M. and Madame Belloc took me with them to call on Béranger, the poet. He is a charming old man, very animated, with a face full of feeling and benevolence, and with that agreeable simplicity and vivacity of manner which is peculiarly French. It was eleven o'clock, but he had not yet breakfasted; we entreated him to waive ceremony, and so his maid brought in his chop and coffee, and we all plunged into an animated conversation. Béranger went on conversing with shrewdness mingled with childlike simplicity, a blending of the comic, the earnest, and the complimentary. Conversation in a French circle seems to me like the gambols of a thistle down, or the rainbow changes in soap bubbles. One laughs with tears in one's eyes. One moment confounded with the absolute childhood of the simplicity, in the next one is a little afraid of the keen edge of the shrewdness. This call gave me an insight into a French circle which both amused and delighted me. Coming home, M. Belloc enlarged upon Beranger's benevolence and kindness of heart. "No man," he said, "is more universally popular with the common people. He has exerted himself much for the families of the unfortunate deportes to Cayenne." Then he added, laughing, "A mechanic, one of my model sitters, was dilating upon his goodness—'What a man! what sublime virtue! how is he beloved! Could I live to see his funeral! Quelle spectacle! Quelle grande emotion!'"
At tea, Madame M. commented on the manners of a certain English lady of our acquaintance.
"She's an actress; she's too affected!"
Madame Belloc and I defended her.
"Ah," said M. Belloc, "you cannot judge; the French are never natural in England, nor the English in France. Frenchmen in England are stupid and cross, trying to be dignified; and when the English come to France, it's all guitar playing and capering, in trying to have esprit."
But it is hard to give a conversation in which the salient points are made by a rapid pantomime, which effervesces like champagne.