It is very cold and foggy this morning, impossible to ride; we see all the grooms exercising the saddle horses in the Park. I went for tea as usual to Mdme. de Bylandt. He is still in his bed, and very bad I imagine. This evening we have been to "Venice," the great show at Olympia. We went a family party (Embassy), Florians, St. Genys, Pontavice, d'Agoult. It is really very prettily done; you must see it when you come over. We had a capital box directly in the centre of the house, but the director, hearing we were there, came to pay us a visit, and transferred us to the Royal box, which is very large and comfortable—seats twenty people easily. He sent us some ices, and said he would have two gondolas waiting at the end of the performance to take us through the lagoons. The performance was a sort of ballet—very pretty girls well got up in Venetian costume, very artistically grouped, and quantities of colour. As soon as it was over we went down to the "Canal," where we found two gondolas, the real thing, with Venetian gondoliers, who were much pleased when I spoke Italian to them. We went all around the show, passing under the Bridge of Sighs, and finally wound up at a Neapolitan café, where they were playing and singing all the well-known Italian songs, "Santa Lucia," "Bella Napoli," etc. Florian of course found a friend, one of the singers, who recognised him, having seen him in Rome when she was singing there; so of course we all fraternised, and we stayed there some time listening to all the familiar songs and accompaniment of guitar and mandoline. We had quite the impression of having spent our evening in Italy. W. was much amused when we told him of Florian's "connaissance," as he always says he knows more people than anyone he has ever seen, and is related to half France. He is always going to some cousin's funeral in Paris. French people are so particular about funerals—never fail to pay that last respect to their dead friends; also wear mourning much more than we do. They are constantly in real mourning (not merely fancy black) for three weeks or a month, for a very distant cousin.
Albert Gate,
Monday, March 9, 1892.
It is cold and snowing, not a very pleasant day for our excursion to Herkomer's studio, in the country; however, I had a line from Hilda saying they were quite willing to go if I didn't mind the weather, so I consulted with Lecomte, one of the secretaries who was going with us, and we thought we would go. It would be very difficult for me to find another day, as London is filling up for its avant-saison, and we have quantities of engagements. We met the Deichmanns at the station, and there discovered that we had 40 minutes to wait, so we breakfasted there in the big dining-room, and it wasn't bad at all. Deichmann knows everybody and is well known at Euston—so thanks to him we had a really excellent breakfast (and it turned out very well, as we only got to Herkomer's for tea, and we should have been half starved). We had about three-quarters of an hour by rail to our destination, Bushey, in the county of Herts. It was bright and beautiful when we got to the station, but the trees were white with frost and snow everywhere. We found our host in a temporary installation. He is building himself an enormous castle, and all the work, stone-cutting, wood-carving, painting, etc., is done on the spot by his pupils, Herkomer himself superintending and directing everything. He is most interesting; full of all sorts of knowledge and fancies. We went over the studios and saw everything. Some dull red wood they were using came from America he told me—I forget the name of the tree, I think a Californian. It would have amused you to see the eager, intelligent faces of the young workmen, especially when Herkomer was going about explaining his ideas and criticising or encouraging. It reminded me rather of an evening at Wilhelmj's (the great violinist) long ago in Germany. He had a villa near my sister-in-law's, Mdme. Charles de Bunsen, at Mosbach, near Biebrich-am-Rhein. We all went over there one night to a musical party when I was staying with my sister. His house was most artistically arranged, all "Alt Deutsch," with an enormous music-room. He was waiting for us there surrounded by all his pupils, about 10, with their violins and music-stands, and all looking so eager and anxious to begin. He played himself quite beautifully, and when he was accompanied by all the others it was a very pretty sight, he in the middle and all the young ones around him with their eyes fixed on him. He was one of Wagner's right-hand men and played often with him. They played among other things the prelude of "Parsifal," which haunted me for days afterward. You can't imagine anything more divine than those beautiful long notes of his and the soft arpeggio accompaniments of the violins. I couldn't hear anything else afterward. Someone asked him to play Schubert's "Ave Maria," which he did of course beautifully, but it sounded so tame after the other, which I told him; but he said I was quite wrong, that Schubert had written beautiful things, so melodious. All the same, I would have preferred remaining with the impression of that wonderful prelude. What reminded me of all this was the same sort of cadre—"Maître et apprentis," for Herkomer is quite the old-fashioned embodiment of the "Master" with his pupils. We had tea in the studio, where there were some fine portraits. I think I like his men better than his women. It is so difficult to make an interesting picture of a man in ordinary everyday dress. Herkomer has certainly succeeded in making some wonderful pictures, without uniform, or costume, or colour of any kind to appeal to the imagination. We got back late for dinner. I was rather tired and cold after my long day—we had started early, and I persuaded W. with some difficulty to go to Lord Salisbury's reception without me. However, he rather enjoyed himself. He didn't get much farther than the door, where he remained talking with Lady Salisbury, which he always likes. I don't think he was away more than an hour.
Albert Gate,
March 28, 1892.
We had a nice canter this morning. There were a good many people out. We had a pleasant dinner last night at Lady Winifred Gardner's, one of those curious mixtures one only sees in London. The Brownlows, Lord Carrington, Mr. and Mrs. Gladstone, Hare the actor and his wife, also various stray men. I found Mr. and Mrs. Gladstone both much changed—much older—but he is marvellous—talked, eat, and drank like a man of 50. Hare talked a great deal, and a great deal to W., who found him clever and original.
Wednesday, 30th.
Well, my Dear, I opened my bazaar yesterday, and you will be surprised to hear that I was rather nervous—only for one moment, I must say, when they asked me, after one or two speeches and a little "Marseillaise," if I would pronounce the sacramental phrase and declare the bazaar open. I, with the committee, was seated in a red chair on the platform. When I got up (the only person standing) and saw the crowd of faces beneath me looking hard at me, for a moment I was shy, but that didn't last. They all cheered me, so I recovered myself and made my statement, I think in a clear voice. W. jibed at me well afterward when I told him. I made a tour of the bazaar, buying something at each stall, Lecomte bringing up the rear, carrying a large doll. Do you remember what Lasteyrie used to say when he was W.'s Chef de Cabinet at l'Instruction Publique—that one of his principal functions was to accompany Madame Waddington to all the "Ventes de Charité" carrying a "paquet de chemises de femme," which means that I get so tired of all the fancy boxes, and pin-cushions, and screens I accumulate at the various sales that I finally asked for "layettes" and "vêtements de pauvres." Of course I can never have too many in the country. I was amused to hear one of my friends here who collects for the numerous "guilds" dilate upon the smallness of the objects sent her. She says she receives dresses and "brassières" (a sort of body with sleeves) that would go on no child of any age that she has ever seen. It is rather my own experience—people usually give me very minute garments, also in the most delicate colours, and my children work in the fields and at the "tourbières."
After we had visited all the stalls we had tea (not in a private room) at a round table at one end of the hall near the buffet. M. Dupoutet de la Harpe, the Protestant pasteur who got up the bazaar, explaining that the people would so like to see us. I am always very dressy on those occasions, so I was dressed in black satin with a great deal of jet, and light blue feathers in my bonnet. I had just time to get home, have some tea, and see that my "orgue Mustel" had arrived and was properly placed and tuned to go with the piano, and to assist at a small rehearsal with M. Guillemain (organist at La Trinité in Paris), for whom I am having a dinner to-night, Mérindol, and Miss Stuart, an American girl who has a fine voice. The "orgue Mustel" is small and looks like a harmonium, but it has wonderful tones, particularly when played by a master hand like Guillemain's.
My dinner interested me very much—I hope the guests had the same impression. I called it my "dinner of organists," and I tried to get as many of the great English organists as possible, but only two came (the notice was short), Dr. Stainer of St. Paul's and Dr. Bridge of Westminster Abbey. Both have splendid instruments, and it is a great pleasure to stay sometimes after a week-day service and hear a fugue rolling through those great vaulted aisles. I had only asked musical people, and warned them that it was serious. We were 24 at dinner, and about 100 in the evening. The music was in the ballroom and the organ sounded very well, quite a volume of sound. Guillemain played, of course, beautifully and made it give all it could. The duos, organ and piano, were charming. Miss Stuart sang very well. I found Dr. Bridge most sympathetic. He and Florence Williams made great friends, and he promised to play her a gavotte whenever she likes if she would dance. I think you would have liked the evening—it wasn't banal. Staal was sympathetic and interested, and asked me what was the next original entertainment I was contemplating.