nursery, who doesn't like any interference, and brings the children to
their mother at stated hours, doesn't exist in France.

Our party was very brilliant, all sorts of notabilities of all kinds,
and the leading Paris artists from the Grand Opera, Opera Comique, and
the Francais. As soon as the performance was over W. told me I must go
and thank the artists; he could not leave his princes. I started off to
the last of the long suite of salons where they were all assembled.
Comte de L., W.'s chef de cabinet, went with me, and we were preceded by
a huissier with sword and chain, who piloted us through the crowd. I
felt very shy when I arrived in the greenroom. The artists were drawn up
in two rows, the women on one side, the men on the other, all eyes of
course fixed upon madame la ministresse. Madame Carvalho, Sarah
Bernhardt, and Croizette were standing at the head of the long line of
women; Faure, Talazac, Delaunay, Coquelin, on the other side. I went
first all along the line of women, then came back by the men. I realised
instantly after the first word of thanks and interest how easy it is for
princes, or any one in high places, to give pleasure. They all responded
so smilingly and naturally to everything I said. After the first two or
three words, I didn't mind at all, and found myself discussing
acoustics, the difficulty of playing any well-known part without
costumes, scenery, etc., the inconvenience of having the public so near,
quite easily. We often had music and recitations at our parties, and
that was always a great pleasure to me. I remember so well one evening
when we had the chorus of the Conservatoire and they sang quite
beautifully the old "Plaisirs d'Amour" of our childhood. It had a great
success and they were obliged to repeat it. W. made one great innovation
in the dress of the ladies of the Conservatoire chorus. They were always
dressed in white, which was very well for the young, slight figures, but
was less happy for a stout middle-aged lady. So after much discussion it