iply as love itself multiplies and magnifies her; next low
divans, and a bed which, like a secret, is divined, not shown. In this
coquettish chamber are fur-lined slippers for pretty feet, wax-candles
under glass with muslin draperies, by which to read at all hours of the
night, and flowers, not those oppressive to the head, and linen, the
fineness of which might have satisfied Anne of Austria.

Madame Jules had realized this charming programme, but that was nothing.
All women of taste can do as much, though there is always in the
arrangement of these details a stamp of personality which gives to this
decoration or that detail a character that cannot be imitated. To-day,
more than ever, reigns the fanaticism of individuality. The more our
laws tend to an impossible equality, the more we shall get away from it
in our manners and customs. Thus, rich people are beginning, in France,
to become more exclusive in their tastes and their belongings, than they
have been for the last thirty years. Madame Jules knew very well how
to carry out this programme; and everything about her was arranged in
harmony with a luxury that suits so well with love. Love in a cottage,
or "Fifteen hundred francs and my Sophy," is the dream of starvelings to
whom black bread suffices in their present state; but when love
really comes, they grow fastidious and end by craving the luxuries of
gastronomy. Love holds toil and poverty in horror. It would rather die
than merely live on from hand to mouth.

Many women, returning from a ball, impatient for their beds, throw off
their gowns, their faded flowers, their bouquets, the fragrance of which
has now departed. They leave their little shoes beneath a chair, the
white strings trailing; they take out their combs and let their hair
roll down as it will. Little they care if their husbands see the puffs,
the hairpins, the artful props which supported the elegant edifices
of the hair, and the garlands or the jewels that adorned it. No more
mysteries! all is over for the husband; no more painting or decoration
for him. The corset--half the time it is a corset of a reparative
kind--lies where it is thrown, if the maid is too sleepy to take it away
with her. The whalebone bustle, the oiled-silk protections round the
sleeves, the pads, the hair bought from a coiffeur, all the false woman
is there, scattered about in open sight. _Disjecta membra poetae_, the
artificial poesy, so much admired by those for whom it