them; is a humourist, very supercilious, and wrapt up in admiration of
his own country, as the only judge of his merit. His air and look are
cold and forbidding; but ask him to sing, or praise his works, his eyes
and smiles open and brighten up. In short, I can show him to you: the
self-applauding poet in Hogarth's Rake's Progress, the second print, is
so like his very features and very wig, that you would know him by it,
if you came hither--for he certainly will not go to you.

[Footnote 1: _"The famous Mme. Tencin._" "Infamous" would be more
appropriate. She had been the mistress of Dubois, and was the mother of
D'Alembert.]

[Footnote 2: His description of her on first making her acquaintance was
not altogether complimentary. In a letter of the preceding October he
calls her "an old blind debauchée of wit." In fact, she had been one of
the mistresses of the Regent, Duc d'Orléans, and at first his chief
inducement to court her society was to hear anecdotes of the Regent. But
gradually he became so enamoured of her society that he kept up an
intimacy with her till her death in 1783. There must be allowed to be
much delicate perception and delineation of character in this
description of the French fine ladies of the time.]

[Footnote 3: To the above portrait of Madame du Deffand it may be useful
to subjoin the able development of her character which appeared in the
_Quarterly Review_ for May, 1811, in its critique on her Letters to
Walpole:--"This lady seems to have united the lightness of the French
character with the solidity of the English. She was easy and volatile,
yet judicious and acute; sometimes profound and sometimes superficial.
She had a wit playful, abundant, and well-toned; an admirable conception
of the ridiculous, and great skill in exposing it; a turn for satire,