shoulder, or to transport myself to the days when my grandmother made the life of these rooms? You two in all the world have been alone in loving me--you away at Maucombe, and she who survives only in my heart, the dear old lady, whose still youthful eyes used to open from sleep at my call. How well we understood each other! These memories suddenly changed my mood. What at first had seemed profanation, now breathed of holy association. It was sweet to inhale the faint odor of the powder she loved still lingering in the room; sweet to sleep beneath the shelter of those yellow damask curtains with their white pattern, which must have retained something of the spirit emanating from her eyes and breath. I told Philippe to rub up the old furniture and make the rooms look as if they were lived in; I explained to him myself how I wanted everything arranged, and where to put each piece of furniture. In this way I entered into possession, and showed how an air of youth might be given to the dear old things. The bedroom is white in color, a little dulled with time, just as the gilding of the fanciful arabesques shows here and there a patch of red; but this effect harmonizes well with the faded colors of the Savonnerie tapestry, which was presented to my grandmother by Louis XV. along with his portrait. The timepiece was a gift from the Marechal de Saxe, and the china ornaments on the mantelpiece came from the Marechal de Richelieu. My grandmother's portrait, painted at the age of twenty-five, hangs in an oval frame opposite that of the King. The Prince, her husband, is conspicuous by his absence. I like this frank negligence, untinged by hypocrisy--a characteristic touch which sums up her charming personality. Once when my grandmother was seriously ill, her confessor was urgent that the Prince, who was waiting in the drawing-room, should be admitted. "He can come in with the doctor and his drugs," was the reply. The bed has a canopy and well-stuffed back, and the curtains are looped up with fine wide bands. The furniture is of gilded wood, upholstered in the same yellow damask with white flowers which drapes the windows, and which is lined there with a white silk that looks as though it were watered. The panels over the doors have been painted, by what artist I can't say, but they represent one a sunrise, the other a moonlight scene. The fireplace is a very interesting feature in the room. It is easy to see that life in the last century centered largely round the hearth, where great events were enacted. The copper gilt grate is a marvel of workmanship, and the mantelpiece is most delicately finished; the fire-irons are beautifully chased; the bellows are a perfect gem. The tapestry of the screen comes from the Gobelins and is exquisitely mounted; charming fantastic figures run all over the frame, on the feet, the supporting bar, and the wings; the whole thing is wrought like a fan.