Up to this hour we had conversed little in French. One is naturally diffident at first; for if one musters courage to commence a conversation with propriety, the problem is how to escape a Scylla in the second and a Charybdis in the third sentence. Said one of our fair entertainers, "When I first began I would think of some sentence till I could say it without stopping, and courageously deliver myself to some guest or acquaintance." But it was like pulling the string of a shower bath. Delighted at my correct sentence, and supposing me au fait, they poured upon me such a deluge of French that I held my breath in dismay. Considering, however, that nothing is to be gained by half-way measures, I resolved upon a desperate game. Launching in, I talked away right and left, up hill and down,—jumping over genders, cases, nouns, and adjectives, floundering through swamps and morasses, in a perfect steeple chase of words. Thanks to the proverbial politeness of my friends, I came off covered with glory; the more mistakes I made the more complacent they grew.
Nothing can surpass the ease, facility, and genial freedom of these soirées. Conceive of our excellent professor of Arabic and Sanscrit, Count M. fairly cornered by three wicked fairies, and laughing at their stories and swift witticisms till the tears roll down his cheeks. Behold yonder tall and scarred veteran, an old soldier of Napoleon, capitulating now before the witchery of genius and wit. Here the noble Russian exile forgets his sorrows in those smiles that, unlike the aurora, warm while they dazzle. And our celebrated composer is discomposed easily by alert and nimble-footed mischief. And our professor of Greek and Hebrew roots is rooted to the ground with astonishment at finding himself put through all the moods and tenses of fun in a twinkling. Ah, culpable sirens, if the pangs ye have inflicted were reckoned up unto you,—the heart aches and side aches,—how could ye repose o' nights?
Saturday, June 11. Versailles! When I have written that one word I have said all. I ought to stop. Description is out of the question. Describe nine miles of painting! Describe visions of splendor and gorgeousness that cannot be examined in months! Suffice it to say that we walked from hall to hall until there was no more soul left within us. Then, late in the afternoon we drove away, about three miles, to the villa of M. Belloc, directeur de l'Ecole Imperials de Dessein. Madame Belloc has produced, assisted by her friend, Mademoiselle Montgolfier, the best French translation of Uncle Tom's Cabin. At this little family party we enjoyed ourselves exceedingly, in the heart of genuine domestic life. Two beautiful married daughters were there, with their husbands, and the household seemed complete. Madame B. speaks English well; and thus, with our limited French, we got on delightfully together. I soon discovered that I had been sinning against all law in admiring any thing at Versailles. They were all bad paintings. There might be one or two good paintings at the Luxembourg, and one or two good modern paintings at the Louvre—the Méduse, by Géricault, for example: (How I rejoiced that I had admired it!) But all the rest of the modern paintings M. Belloc declared, with an inimitable shrug, are poor paintings. There is nothing safely admirable, I find, but the old masters. All those battles of all famous French generals, from Charles Hartel to Napoleon, and the battles in Algiers, by Horace Yernet, are wholly to be snuffed at. In painting, as in theology, age is the criterion of merit. Yet Vernet's paintings, though decried by M. le Directeur, I admired, and told him so. Said I, in French as lawless as the sentiment, "Monsieur, I do not know the rules of painting, nor whether the picture is according to them or not; I only know that I like it."
But who shall describe the social charms of our dinner? All wedged together, as we were, in the snuggest little pigeon hole of a dining room, pretty little chattering children and all, whom papa held upon his knee and fed with bonbons, all the while impressing upon them the absolute necessity of their leaving the table! There the salad was mixed by acclamation, each member of the party adding a word of advice, and each, gayly laughing at the advice of the other. There a gay, red lobster was pulled in pieces among us, with infinite gout; and Madame Belloc pathetically expressed her fears that we did not like French cooking. She might have saved herself the trouble; for we take to it as naturally as ducks take to the water. And then, when we returned to the parlor, we resolved ourselves into a committee of the whole on coffee, which was concocted in a trim little hydrostatic engine of latest modern invention, before the faces of all. And so we right merrily spent the evening. H. discussed poetry and art with our kind hosts to her heart's content, and at a late hour we drove to the railroad, and returned to Paris.
LETTER XXXI.
MY DEAR L.:—
At last I have come into dreamland; into the lotus-eater's paradise; into the land where it is always afternoon. I am released from care; I am unknown, unknowing; I live in a house whose arrangements seem to me strange, old, and dreamy. In the heart of a great city I am as still as if in a convent; in the burning heats of summer our rooms are shadowy and cool as a cave. My time is all my own. I may at will lie on a sofa, and dreamily watch the play of the leaves and flowers, in the little garden into which my room opens; or I may go into the parlor adjoining, whence I hear the quick voices of my beautiful and vivacious young friends. You ought to see these girls. Emma might look like a Madonna, were it not for her wicked wit; and as to Anna and Lizzie, as they glance by me, now and then, I seem to think them a kind of sprite, or elf, made to inhabit shady old houses, just as twinkling harebells grow in old castles; and then the gracious mamma, who speaks French, or English, like a stream of silver—is she not, after all, the fairest of any of them? And there is Caroline, piquant, racy, full of conversation—sharp as a quartz crystal: how I like to hear her talk! These people know Paris, as we say in America, "like a book." They have studied it aesthetically, historically, socially. They have studied French people and French literature,—and studied it with enthusiasm, as people ever should, who would truly understand. They are all kindness to me. Whenever I wish to see any thing, I have only to speak; or to know, I have only to ask. At breakfast every morning we compare notes, and make up our list of wants. My first, of course, was the Louvre. It is close by us. Think of it. To one who has starved all a life, in vain imaginings of what art might be, to know that you are within a stone's throw of a museum full of its miracles, Greek, Assyrian, Egyptian, Roman sculptors and modern painting, all there!
I scarcely consider myself to have seen any thing of art in England. The calls of the living world were so various and exigeant, I had so little leisure for reflection, that, although I saw many paintings, I could not study them; and many times I saw them in a state of the nervous system too jaded and depressed to receive the full force of the impression. A day or two before I left, I visited the National Gallery, and made a rapid survey of its contents. There were two of Turner's masterpieces there, which he presented on the significant condition that they should hang side by side with their two finest Claudes. I thought them all four fine pictures, but I liked the Turners best. Yet I did not think any of them fine enough to form an absolute limit to human improvement. But, till I had been in Paris a day or two, perfectly secluded, at full liberty to think and rest, I did not feel that my time for examining art had really come.
It was, then, with a thrill almost of awe that I approached the Louvre. Here, perhaps, said I to myself, I shall answer, fully, the question that has long wrought within my soul, What is art? and what can it do? Here, perhaps, these yearnings for the ideal will meet their satisfaction. The ascent to the picture gallery tends to produce a flutter of excitement and expectation. Magnificent staircases, dim perspectives of frescoes and carvings, the glorious hall of Apollo, rooms with mosaic pavements, antique vases, countless spoils of art, dazzle the eye of the neophyte, and prepare the mind for some grand enchantment. Then opens on one the grand hall of paintings arranged by schools, the works of each artist by themselves, a wilderness of gorgeous growths.
I first walked through the whole, offering my mind up aimlessly to see if there were any picture there great and glorious enough to seize and control my whole being, and answer, at once, the cravings of the poetic and artistic element. For any such I looked in vain. I saw a thousand beauties, as also a thousand enormities, but nothing of that overwhelming, subduing nature which I had conceived. Most of the men there had painted with dry eyes and cool hearts, thinking only of the mixing of their colors and the jugglery of their art, thinking little of heroism, faith, love, or immortality. Yet when I had resigned this longing; when I was sure I should not meet there what I sought, then I began to enjoy very heartily what there was.