Thesuccessoftheoriginal"ChatNoir，"thefirstCABARETofthiskind，waslargelyowingtothesympatheticandattractivenatureofitsfounder，youngSalis，whodrewaroundhim，byhissunnydisposition，shypersonalitieswho，butforhim，wouldstillbe"mute，ingloriousMiltons。"Underhiskindlyanddiscriminatingrulemanyasuccessfulliterarycareerhasstarted。Salis’sgiftednaturecombinedadelicatetasteandcriticalacumenwithararebusinessability。Hisfirstventure，anobscurelittleCAFEontheBoulevardRochechouart，intheoutlyingquarterbeyondthePlacePigalle，quicklybecamefamous，itsever—increasingvogueforcingitshappyproprietortoseekmorecommodiousquartersintherueVictorMasse，wheretheworld—famous"ChatNoir"wasinstalledwithmuchpompandmanyjoyousceremonies。
　　TheoldwordCABARET，correspondingcloselytoourEnglish"inn，"waschosen，andtheestablishmentdecoratedinimitationofaLouisXIII。HOTELLERIE。Oakenbeamssupportedthelow—studdedceilings：Theplasterwallsdisappearedbehindtapestries，armor，oldFAIENCE。Beerandotherliquidswereservedinquaintporcelainorpewtermugs，andthewaitersweredressed（merryanachronism）inthecostumeofmembersoftheInstitute（theImmortalForty），whohadsolongledpoetryinchains。Thesuccessofthe"BlackCat"inhernewquarterswasimmense，allPariscrowdingthroughhermodestdoors。
　　SalishadfoundedMontmartre！—theruggedoldhillgivingbirthtoagenerationofwritersandpoets，andnourishingthisnewschoolathergranitebreasts。
　　Itwouldbedifficulttoimagineaformofentertainmentmoretemptingthanwasofferedinthispicturesqueinn。Inadditiontothefirst，theentiresecondfloorofthebuildinghadbeenthrownintoonelargeroom，thewallscoveredwithathousandsketches，caricatures，andcrayondrawingsbyhandssincecelebratedtheworldover。Apiano，withmanychairsandtables，completedtheunpretendinginstallation。Here，duringacoupleofhourseachevening，eitherbythepianoorsimplystandingintheirplaces，theyoungpoetsgaveutterancetothecreationsoftheirimagination，themusiciansplayedtheirlatestinspirations，theRACONTEURtoldhisneweststory。Theycalledeachotherandthebetterknownamongtheguestsbytheirnames，andjokedmutualweaknesses，eliminatingfromthesegatheringseveryshadeofaperfunctoryperformance。
　　Itisimpossibletogiveanideaofthedelicateflavorofsuchinformalevenings—thesensationofbeingathomethatthepicturesquesurroundingsproduced，thelowmurmurofconversation，theclinkofglasses，theswingofthewaltzmovementplayedbyamasterhand，interruptedonlywhensomeslenderformwouldleanagainstthepianoandpourforthburningwordsofinfinitepathos，—theinspiredyoungfacelightedupbythepassionandpowerofthelines。Theburstofapplausethathistalentcalledforthwouldhardlyhavediedawaybeforeanotherfigurewouldtakethepoet’splace，awaveoflaughterwelcomingthenew—comer，whosetwinklingeyesanddemuresmilepromisedatreatoffunandhumor。Sotheeveningwouldweargaylytoitsend，theyoungerelementintheaudience，fullofthefuture，drinkinginlongdraughtsofpoetryandart，theelderscharmedtoliveoveragainthedaysoftheiryouthandfeelintouchoncemorewiththepresent。
　　Inthisworldofroutineandconventionsaninnovationasbrilliantlysuccessfulasthiscouldhardlybeinauguratedwithoutraisingawhirlwindofjealousyandopposition。Thestrugglewaslongandarduous。Directorsoftheatresandconcerthalls，furioustoseeapartoftheirpublictemptedaway，raisedthecryofimmoralityagainstthenew—comers，andcalledtotheiraideveryresourceoflawandchicanery。AttheendofthefirstyearSalisfoundhimselfwithovereighthundredsummonsesandlawsuitsonhishands。Afterhavingmadeeveryeffort，knockedateverydoor，inhisstruggleforexistence，hefinallyconceivedthehappythoughtofappealingdirectlytoGrevy，thenPresidentoftheRepublic，andinhisaudiencewiththelattersucceededincharmingandinterestinghim，ashehadsomanyothers。Theinfluenceoftheheadofthestateoncebroughttobearontheaffair，Salishadthejoyofseeingoppositioncrushedandthestormblowitselfout。
　　Fromthismoment，thepoets，feelingthemselvesappreciatedandtheirrightsacknowledgedanddefended，flockedtothe"SacredMountain，"asMontmartrebegantobecalled；otherestablishmentsofthesamecharactersprangupintheneighborhood。Mostimportantamongthesewerethe"4z’Arts，"
　　BoulevarddeClichy，the"Tambourin，"andLaButte。
　　Trombert，who，togetherwithFragerolle，Goudezki，andMarcelLefevre，hadjustendedanartisticvoyageinthesouthofFrance，openedthe"4z’Arts，"towhichthenovelty—lovingpublicquicklyfounditsway，crowdingtoapplaudCoquelinCADET，Fragson，andotherbuddingcelebrities。ItwasherethatthepoetsfirsthadtheideaofproducingapieceinwhichrivalCABARETSwerereviewedandlaughinglycriticised。
　　Thesuccesswasbeyondallprecedent，inspiteofthedifficultyofgivingaplaywithoutastage，withoutsceneryoraccessoriesofanykind，theinterestcentringinthetalentwithwhichthelinesweredeclaimedbytheirauthors，whonexthadthepleasantthoughtofpassinginreviewthedifferentclassesofpopularsongs，ClovisHugues，atthesametimepoetandstatesman，discoursingoneachsubject，andintroducingthesinger；Brittanylocalsongs，Provencalballads，antthehalfSpanish，halfFrenchCHANSONSofthePyreneesweresungorrecitedbylocalpoetswiththecharmandabandonoftheirdistinctiveraces。
　　Thegreatcriticsdidnotdisdaintoattendtheseinformalgatherings，nortowritecolumnsofseriouscriticismonthesubjectintheirpapers。
　　AtthehourwhenallParistakesitsAPERITIFthe"4z’Arts"
　　becamethemeeting—placeofthepainters，poets，andwritersoftheday。MontmartregraduallyreplacedtheoldLatinQuarter；itisthereto—daythatonemustseekforthegayetyandhumor，thepathosandthemakeshiftsofBohemia。
　　The"4z’Arts，"nexttothe"ChatNoir，"hashadthegreatestinfluenceonthetasteofourtime，—thepleiadofpoetsthatgroupedthemselvesarounditinthebeginning，dispersinglatertoformothercentres，which，intheirturn，weretoinfluencethemindsandmoodsofthousands。
　　Anothercharmingformofentertainmentinauguratedbythisgroupofmenisthatof"shadowpictures，"conceivedoriginallybyCarand’Ache，andcarriedbyhimtoamarvellousperfection。Amedium—sizedframefilledwithgroundglassissuspendedatoneendofaroomandsurroundedbysombredraperies。Theroomisdarkened；againsttheluminousbackgroundoftheglassappearsmallblackgroups（shadowscastbyfigurescutoutofcardboard）。Thesefiguresmove，advancingandretreating，groupingorseparatingthemselvestothecadenceofthepoet’sverses，forwhichtheyformthemostoriginalandstrikingillustrations。Entirepoemsaregivenaccompaniedbytheseshadowpictures。
　　OneofCarand’Ache’sgreatestsuccessesinthislinewasanEPOPEEDENAPOLEON，—thegreatEmperorappearingonfootandonhorseback，thelonglinesofhisarmypassingbeforehimintheforegroundorsmallinthedistance。Theystormedheights，cheeredonbyhispresence，orformedhollowsquarestorepulsetheenemy。Duringtheirevolutions，theclearvoiceofthepoetrangoutfromthedarknesswiththrillingeffect。
　　Thenicestartisnecessarytocuttheselittlefigurestotherequiredperfection。Sogreatwasthetalentoftheirinventorthat，whenhegaveburlesquesofthetopicsoftheday，orpresentedthecelebritiesofthehourtohispublic，eachfigurewouldberecognizedwithaburstofdelightedapplause。ThegreatSarahwasrepresentedinposesofinfinitehumor，surroundedbyhermenagerieorreceivingthehomageoftheuniverse。Politicalleaders，foreignsovereigns，socialandoperaticstars，weremadetopassbeforealaughingpublic。Nonewerespared。Pariswentmadwithdelightatthisnew"art，"andformonthsitwasimpossibletofindaseatvacantinthehall。
　　AttheBoiteaMusique，theideawasfurtherdeveloped。Byaningeniousarrangementoflights，ofwhichthesecrethasbeencarefullykept，landscapesarerepresentedincolor；allthegradationsoflightaregiven，fromthevariedtwilighthuestopurplenight，untilthemoon，rising，lightsanewthepicture。Duringallthesevariationsofcolorlittlegroupscontinuetocomeandgo，actingoutthestoryofapoem，whichthepoetdeliversfromthesurroundingobscurityasonlyanauthorcanrenderhisownlines。
　　OneofthepillarsofthisattractivecentrewasJulesJouy，whomadealargeplaceforhimselfintheheartsofhiscontemporaries—atruepoet，whomneitherprivationsnorthedifficultbeginningsofanunknownwritercouldturnfromhisvocation。Hissongsarealternatelytender，gay，andbitinglysarcastic。Someofhisbetter—knownballadswerewrittenforandmarvellouslyinterpretedbyYvetteGuilbert。Thedifficultcritics，SarceyandJulesLemaitre，havesoundedhispraiseagainandagain。
　　ACABARETofanotherkindwhichenjoyedmuchcelebrity，moreonaccountofthepersonalityofthepoetwhofoundeditthanfromanyoriginalityorpicturesquenessinitsintallation，wasthe"Mirliton，"openedbyAristideBruantinthelittleroomsthathadshelteredtheoriginal"ChatNoir。"
　　Togiveanaccountofthe"Mirliton"istotellthestoryofBruant，themostpopularballad—writerinFranceto—day。Thisoriginalandeccentricpoetisaswell—knowntoaParisianastheboulevardsortheArcdeTriomphe。Hiscostumeofshabbyblackvelvet，Brittanywaistcoat，redshirt，top—boots，andenormoushatisafamiliarfeatureinthecaricaturesandprintsoftheday。HislittleCABARETremainsclosedduringtheday，openingitsdoorstowardevening。Thepersonalityoftheballad—writerpervadestheatmosphere。Hewalksaboutthetinyplacehailinghisacquaintanceswithsomegayepigram，receivingstrangerswitheasyfamiliarityorchillingdisdain，asthehumortakeshim；theninamoment，witharapidchangeofexpression，pouringouttheringinglinesofoneofhisballads—alwaysthestoryofthepoorandhumble，forhehasidentifiedhimselfwiththeoutcastandthedisinherited。HisvolumesDANSLARUEandSURLAROUTEhavehadanenormouspopularity，theircontentsbeingknownandsungalloverFrance。
　　In1892BruantwasreceivedasamemberofthesocietyofGENS
　　DELETTRES。ItmaybeofinteresttorecallapartofthespeechmadebyFrancoisCoppeeontheoccasion："ItiswiththegreatestpleasurethatIpresenttomyconfreresmygoodfriend，theballad—writer，AristideBruant。IvaluehighlytheauthorofDANSLARUE。WhenIclosehisvolumeofsadandcausticversesitiswiththeconsolingthoughtthatevenviceandcrimehavetheirconscience：thatifthereissufferingthereisapossibleredemption。Hehassoughthisinspirationinthegutter，itistrue，buthehasseenthereareflectionofthestars。"
　　IntheAvenueTrudaine，notfarfromtheotherCABARETS，the"AneRouge"wasnextopened，inaquietcorneroftheimmensesuburb，itsshady—littlegarden，onwhichtheroomsopen，makingitafavoritemeeting—placeduringthewarmmonths。OfasummereveningnomorecongenialspotcanbefoundinallParis。Thequaintchambershavebeencoveredwithmuralpaintingsorcharcoalcaricaturesofthepoetsthemselves，oroffamiliarfacesamongtheclientsandpatronsoftheplace。
　　OneofthemanytalentsthatclusteredaroundthisquietlittlegardenwasthebrilliantPaulVerlaine，themostBohemianofallinhabitantsofmodernPrague，whosedeathhasleftavoid，difficulttofill。Fameandhonorscametoolate。Hediedindestitution，ifnotabsolutelyofhunger；
　　to—dayhisadmirersareerectingabronzebustofhimintheGardenoftheLuxembourg，withmoneythatwouldhavegonefartowardmakinghislifehappy。
　　IntheoldhoteloftheLesdiguieresfamily，ruedelaTourd’Auvergne，the"Carillon"openeditsdoorsin1893，andquicklyconqueredaplaceinthepublicfavor，theinimitablefunandspiritsofTiercydrawingcrowdstotheplace。
　　Thefamous"TreteaudeTabarin，"whichtodayholdsundisputedprecedenceoveralltheCABARETSofParis，wasamongthelasttoappear。ItwasfoundedbythebrilliantFursyandagroupofhisfriends。Herenopainshavebeensparedtoformasettingworthyofthepoetsandtheirpublic。
　　Manyyearsago，inthedaysofthegoodkingLouisXIII。，astrollingpoet—actor，Tabarin，erectedhislittlecanvas—
　　coveredstagebeforethestatueofHenryIV。，onthePont—
　　Neuf，anddrewthecourtandthetownbyhisfunandpathos。
　　ThefoundersofthelatestandmostcompleteofParisianCABARETShavereconstructed，asfaraspossible，thishistoricscene。Onthewalloftheroomwheretheperformancesaregiven，ispaintedaviewofoldParis，theSeineanditsbridges，thetowersofNotreDameinthedistance，andthestatueofLouisXIII。’swarlikefatherintheforeground。Infrontofthispaintingstandsastagingofroughplanks，reproducingthelittletheatreofTabarin。Here，everyevening，theauthorsandpoetsplayintheirownpieces，recitetheirverses，andtelltheirstories。Notlongagoayoungmusician，whohasalreadygivenanoperatotheworld，sanganentireone—actoperettaofhiscomposition，changinghisvoiceforthedifferentparts，imitatingchorusesbyclevereffectsonthepiano。
　　MontmartreisnowsprinkledwithattractiveCABARETS，thetasteofthepublicforsuchinformalentertainmentshavinggrowneachyear；withreason，forthecarelessgraceofthesurroundings，theabsenceofanyuselessrestraintorobligationastohourorduration，hasacharmforthousandswhomalongconcertortheinevitablefiveactsattheFrancaiscouldnottempt。Itwouldbedifficulttooverratetheinfluencesuchanatmosphere，breathedinyouth，musthaveonthetasteandcharacter。Theabsenceofasordidspirit，thecurseofourmaterialdayandgeneration，thecontactwithintellectstrainedtoincasetheirthoughtsinserriedverseorcrispandlucidprose，cannotbutformthehearer’smindintoahigherandbettermould。ItisbothasatisfactionandahopeforthefuturetoknowthattheseinfluencesarebeingfeltalloverthecapitalandthroughoutthelengthandbreadthofFrance。ThereareatthismomentinParisalonethreeorfourhundredpoets，balladwriters，andRACONTEURS
　　whorecitetheirworksinpublic。
　　ItmustbehardfortheuntravelledAnglo—Saxontograsptheideathatapoetcan，withoutlossofprestige，recitehislinesinapublicCAFEbeforeamixedaudience。Ifsuchdoubtingsoulscould，however，bepresentatoneoftheseNOCTESAMBROSIANAE，theywouldacknowledgethattheLatintemperamentcanthrowagraceandchild—likeabandonaroundanactthatwouldcauseanEnglishmanoranAmericantoappearsupremelyridiculous。One’stasteandsenseoffitnessarenevershocked。Itseemsthemostnaturalthingintheworldtobesittingwithyourglassofbeerbeforeyou，whilesomerisingpoet，whosenametenyearslatermayfigureamongthe"ImmortalForty，"tellstoyouhislovesandhisambition，orbringstearsintoyoureyeswithadescriptionofsomehumbleheroormartyr。
　　FromthedaysofHomerpoetryhasbeentheinstructorofnations。IntheOrientto—daythepoetstory—tellerholdshisaudiencespellboundforhours，teachingthepeopletheirhistoryandsupplyingtheirmindswithfoodforthought，raisingthemabovethedulllevelofthebrutesbythecharmofhisverseandtheelevationofhisideas。Thepowerofpoetryisthesamenowasthreethousandyearsago。ModernskepticalParis，thatscoffsatallcreedsandchafesimpatientlyunderanyrule，willsitto—daydocileandcomplaisant，charmedbythemelodyofapoet’svoice；itspassionslulledorquickened，likeAlexander’sofold，atthewillofamodernTimotheus。
　　Chapter17—EtiquetteAtHomeandAbroadREADINGthatasentinelhadbeenpunishedtheotherdayatSt。
　　Petersburgforhavingomittedtopresentarms，asherImperialHighness，theGrandDuchessOlga，wasleavingthewinterpalace—inhernurse’sarms—Ismiledatwhatappearedtobeneedlesspunctilio；then，asismyhabit，beganturningthesubjectover，andgraduallycametotheconclusionthatwhileitcoulddoubtlessbewelltosuppressmuchoftheceremonialencumberingcourtlife，itmightnotbeamissifweengraftedalittlemoreetiquetteintoourintercoursewithstrangersandthehomerelations。Inourdearfreeandeasy—goingcountrythereisaconstanttendencytoloosenthetiesoffiresideetiquetteuntilanymannersarethoughtgoodenough，asanytoiletisconsideredsufficientlyattractiveforhomeuse。Asingularimpressionhasgrownupthatformalpolitenessandthesayingofgraciousandcomplimentarythingsbetraythetoadyandthehypocrite，bothifwhomareabhorrenttoAmericans。
　　Bytheforceofcircumstancesmostpeoplearecivilenoughingeneralsociety；whilemanyfailtokeeptotheirhighstandardintheintimacyofhomelifeandintheirintercoursewithinferiors，whichisapity，asthesearethetwocaseswhereself—restraintandamenityaremostrequired。
　　Politenessis，afterall，butthedictateofakindheart，andsuppliestheoilnecessarytomakethesocialmachineryrunsmoothly。Inhomelife，whichistheassociationduringmanyhourseachdayofpeopleofvaryingdispositions，views，andoccupations，frictionisinevitable；andthereisespecialneedoflubricationtolessenthewearandtearandeliminatejarring。
　　AmericansarealwaysmuchshockedtolearnthatwearenotpopularontheContinent。Suchadiscoverycomestoeitheranationoranindividuallikeadoucheofcoldwateronnice，warmconceit，andbringswithitafeelingofdiscouragement，ofbeingunjustlytreated，thatispainful，forwearevery"touchy"inAmerica，andcryoutwhenaforeignerexpressesanythingbutadmirationforourways，yetwearethelasttolendourselvestoforeigncustoms。
　　IthasbeenahomethrustformanyofustofindthatourdearfriendstheFrenchsympathizedwarmlywithSpainintherecentstruggle，andhadlittlebutsneersforus。Oneofthereasonsforthispartialityisnothardtodiscover。
　　TheSpanishwhotravelaremostlymembersofanaristocracycelebratedforitsgravecourtesy，whichhasgonealongwaytowardmakingthempopularontheContinent，whilewehaveforyearsbeenridingrough—shodoverthefeelingsandprejudicesoftheEuropeanpeoples，underthepleasingbutfallaciousillusionthatthemoneywespentsolavishlyinforeignlandswouldatoneforalloursins。Thelargemajorityofourtravellingcompatriotsforgetthatanelaborateetiquetteexistsabroadregulatingtheintercoursebetweenoneclassandanother，theresultofcenturiesofcivilization，andastheMedicandPersianlawsfordurability。Inourignorancewebreakmanyofthesesociallawsandgiveoffencewherenonewasintended。
　　Asingleillustrationwillexplainmymeaning。AyoungAmericangirloncewenttothemistressofaPENSIONwhereshewasstayingandcomplainedthattheCONCIERGEofthehousehadbeenimpertinent。WhentheproprietressaskedtheCONCIERGE
　　whatthismeant，thelatterburstoutwithherwrongs。"SinceMissB。hasbeeninthishouse，shehasneveroncebowedtome，oraddressedawordtoeithermyhusbandormyselfthatwasnotaquestionoranorder；shewalksinandoutofmyLOGEtolookforlettersortakeherkeyasthoughmyroomwerethestreet；Iwon’tstandsuchtreatmentfromanyone，muchlessfromagirl。TheduchesswholivesAUQUATRIEME
　　neverpasseswithoutakindwordoraninquiryafterthechildrenormyhealth。"
　　NowthisAmericangirlhaderredthroughignoranceofthefactthatinFranceservantsaretreatedashumblefriends。Themanwhobringsyourmatutinalcoffeesays"Goodmorning"onenteringtheroom，andinquiresif"Monsieurhassleptwell，"
　　expectingtobetreatedwiththesamepolitenessheshowstoyou。
　　TheladywhositsattheCAISSEoftherestaurantyoufrequentisassureofherpositionashercustomersareoftheirs，andexactsacourteoussalutationfromeveryoneenteringorleavingherpresence；logically，fornogentlemanwouldenteraladies’drawing—roomwithoutremovinghishat。Thefactthatawomanisobligedtokeepashopinnowayrelieveshimofthisobligation。
　　PeopleontheContinentknowtheirfriends’servantsbyname，andspeaktothemonarrivingatahouse，andthankthemforanopeneddoororofferedcoat；ifatipisgivenitisaccompaniedbyagraciousword。SorareisthisformofcivilityinAmericaandEngland（forBritonserrasgravelyinthismatterasourselves）thatourservantsaresurprisedandinclinedtoresentpoliteness，asinthecaseofanEnglishbutlerwhorecentlycametohismasterandsaidheshouldbe"obligedtoleave。"Onbeingquestioneditcameoutthatoneoftheguestswasinthehabitofchattingwithhim，"and，"
　　addedtheBriton，"Iwon’tstandbeingtooklibertieswithbynoone。"
　　SomeyearsagoIhappenedtobestandinginthevestibuleoftheHotelBristolasthePrincessofWalesandherdaughterswereleaving。Mr。Morlock，theproprietor，wasatthefootofthestairstotakeleaveofthoseladies，whoshookhandswithandthankedhimforhisattentionduringtheirstay，andfortheflowershehadsent。Nothingcouldhavebeenmoregraciousandfreerfromcondescensionthantheirmanner，anditundoubtedlyproducedthebestimpression。Thewaiterwhoservedmeatthattimewasalsoundertheircharm，andremarkedseveraltimesthat"therehadneverbeenladiessoeasytopleaseorsoconsiderateoftheservants。"
　　Myneighboratdinnertheothereveningconfidedtomethatshewas"wornoutbeingfitted。""Ihadsuchanunpleasantexperiencethismorning，"sheadded。"TheJUPIEREcouldnotgetoneofmyskirtstohangproperly。AfteradozenattemptsItoldhertosendfortheforewoman，when，tomyhorror，thegirlburstoutcrying，andsaidsheshouldloseherplaceifI
　　did。Iwasverysorryforher，butwhatelsecouldIdo？"Itdoesnotseemasifthatladycouldbeverypopularwithinferiors，doesit？
　　Thatitneedsalighterhandandmoretacttodealwithtradespeoplethanwithequalsiscertain，andwearesuretobetheloserswhenwefail。ThelasttimeIwasintheEastafriendtookmeintothebazaarstoseeacarpethewasanxioustobuy。Thepriceaskedwasoutofallproportiontoitsvalue，butweweregravelyinvitedbythemerchanttobeseatedandcoffeewasserved，thatbargaining（whichisthebackboneofOrientaltrade）mightbecarriedonatleisure。
　　Myfriend，nervousandimpatient，likeallourrace，turnedtomeandsaid，"What’sallthistomfoolery？TellhimI’llgivesomuchforhiscarpet；hecantakeitorleaveit。"Whenthiswasinterpretedtothebeardedtradesman，hesmiledandcamedownafewdollarsinhisprice，andorderedmorecoffee。
　　Bythistimewewereoutsidehisshop，andleftwithoutthecarpetsimplybecausemyfriendcouldnotconformtothecustomsofthecountryhewasvisiting。ThesaleofhiscarpetwasabigaffairfortheOriental；heintendedtocarryitthroughwithalltheceremonytheoccasionrequired，andwouldsoonernotmakeasalethanbehustledoutofhisstatelyroutine。
　　Itisnotonlyinintercoursewithinferiorsthattactisrequired。Thetreatmentofchildrenandyoungpeopleinafamilycallsfordelicatehandling。Thehabitoftakinglibertieswithyoungrelationsisacommonformofarelaxedsocialcodeandthebesettingsinofelderlypeople，who，havinglittletointerestthemintheirownlives，imaginethattheirmissionistoreformthewaysandmannersoftheirfamily。Ensconcedbehindtherespectwhichtheyoungaresupposedtopaythem，theygivefreeventtoinclination，andcarp，cavil，andcorrect。Thevictimsmayhavereachedmaturityorevenmiddleage，butremainalwayschildrentothesesocialpolicemen，tobereprovedandinstructedinandoutofseason。"Iamdoingthisforyourowngood，"isanexcusethatapparentlyfreestheveteransfromthenecessityofrespectingtheprejudicesandfeelingsoftheirpupils，andlendsaglossofunselfishnesstoactionswhicharesimplyimpertinent。Oddlyenough，amateur"schoolmarms"whofallintothisunpleasanthabitaregenerallyoversensitive，andresentasapersonalaffrontanyrestlessnessundercriticismonthepartoftheirvictims。Itiseasy，oncethehabitisacquired，tocarrythesuavityandconsiderationofgeneralsocietyintothehomecircle，yethowoftenisitdone？I
　　shouldliketoseetheprinciplethatorderedpresentationofarmstotheinfantprincessappliedtoourintimaterelations，andtherightsoftheyounganddependentscrupulouslyrespected。
　　InthethirdactofCASTE，whenoldEcclesstealsthe"coral"
　　fromhisgrandson’sneck，heexcusesthetheftbyagrandiloquentsoliloquy，andpersuadeshimselfthatheisprotecting"theweakandthehumble"（pointingtohimself）
　　"againstthepowerfulandthestrong"（pointingtothebaby）。
　　Alas，toomanyofustakelibertieswiththosewhomwedonotfear，andexcuseourlittleactsofcowardicewithargumentsasfallaciousasthoseofdrunkenoldEccles。
　　Chapter18—Whatis"Art"？
　　INformeryears，weinquiringyoungstersinforeignstudiosweremuchbewilderedbytherepetitionofacertainphrase。
　　Discussionofalmostanypictureorstatuewas（afterotherformsofcriticismhadbeenexhausted）prettysuretoconcludewith，"It’sallverywellinitsway，butit’snotArt。"Notonlyfoolishyouthsbutthe"masters"themselvesconstantlyadvancedthisopiniontocrusharivalorbelittleafriend。
　　Toardentmindsseekingforthelightandcatchingateverythreadthatmightserveasaguideoutofperplexity，thisvagueassertionwasconfusing。Accordingtoonemaster，theeighteenth—century"school"didnotexist。Whathadbeenproducedatthattimewaspleasingenoughtotheeye，but"wasnotArt！"Intheopinionofanother，Italianmusicmightamuseorcheertheignorant，butcouldnotberecognizedbyseriousmusicians。
　　Asmostofuswerelivingfarfromhomeandfriendsforthepurposeofacquiringtherudimentsofart，thiscontinualsweepingawayofourfoundationswasdiscouraging。Whatwastheuse，wesometimesaskedourselves，oftoiling，ifourworkwastobecastcontemptuouslyasidebythenext"school"asapleasingtrifle，notforamomenttobetakenseriously？Howwasonetofindoutthetruth？Whowastodecidewhendoctorsdisagreed？Wherewastherockonwhichanearneststudentmightlayhiscornerstonewithoutthemisgivingthatthenextwaveinpublicopinionwouldsapitsbaseandcasthimandhisidealsoutagainatsea？
　　Theeighteenth—centuryartistsandtheItaliancomposershadbeensincereandconvincedthattheywereproducingworksofart。Inourowndaytheidolofonemomentbecomesthejestofthenext。Wasthere，then，nofixedlaw？
　　Theshortperiod，forinstance，between1875andthepresenttimehasbeenlongenoughforthetalentofonepainter（Bastien—Lepage）tobediscovered，discussed，lauded，acclaimed，thengraduallyforgottenanddecried。DuringtheyearswhenwewerestudyinginParis，thatyoungpainter’sworkswerepronouncedbythecriticsandtheirfollowingtobethelastdevelopmentofArt。Museumsandamateursviedwitheachotherinacquiringhiscanvases。Yet，onlythisspring，whilediningwithtwoorthreeartcriticsintheFrenchcapital，IheardLepage’snamementionedandhisworksrecalledwiththesmilethatisaccordedtothosewhohavehoodwinkedthepublicandpassedoffspuriousmaterialastherealthing。
　　Ifanyonedoubtsthefleetingnatureofareputation，lethimgotoasaleofmodernpicturesandnotethepricesbroughtbythefavoritesoftwentyyearsago。Thepaintingsofthatarch—priest，Meissonier，nolongercommandthesumsthateagercollectorspaidforthemascoreofyearsback。WhenagreatEuropeancriticdaresassert，asonehasrecently，ofthemaster’s"1815，"that"everythinginthepictureappearsmetallic，exceptthecannonandthemen’shelmets，"themightyareindeedfallen！Itismuchthesamethingwiththeoldmasters。Therehavebeenfashionsinthemasinotherformsofart。FiftyyearsagoRembrandt’sworkbroughtbutsmallprices，anduntilHenriRochefort（duringhisexile）begantowriteuptheEnglishschool，Romneys，Lawrences，andGainsboroughshadlittlemarketvalue。
　　Theresultisthatmostofusareasfarawayfromthesolutionofthatvexedquestion"WhatisArt？"atfortyaswewerewhenboys。Themajorityhavearrangedacompromisewiththeirconsciences。Wehavefoundoutwhatwelike（initselfnomeanachievement），andbeyondsuchpersonalpreference，areshyofasserting（aswewerefondofdoingformerly）thatsuchandsuchworksare"Art，"andsuchothers，whilepleasingandpopular，lacktherequisitequalities。
　　Toenquiringminds，surethatananswertothisquestionexists，butuncertainwheretolookforit，thefactthatoneofthethinkersofthecenturyhas，inarecent"Evangel，"
　　giventotheworldadefinitionof"Art，"theresultofmanyyears’meditation，willbereceivedwithjoy。"Art，"saysTolstoi，"issimplyaconditionoflife。Itisanyformofexpressionthatahumanbeingemploystocommunicateanemotionhehasexperiencedtoafellow—mortal。"
　　Anauthorwho，intellinghishopesandsorrows，amusesorsaddensareader，hasinjustsomuchproducedaworkofart。
　　Aloverwho，bythesincerityofhisaccent，communicatestheflamethatisconsuminghimtotheobjectofhisadoration；
　　theshopkeeperwhoinspiresapurchaserwithhisownadmirationforanobjectonsale；thebabythatmakesitsjoyknowntoaparent—artists！artists！Brown，Jones，orRobinson，themomenthehasconsciouslyproducedonaneighbor’searoreyethesensationthatasoundoracombinationofcolorshaseffectedonhisownorgans，isanartist！
　　Ofcoursemuchofthishasbeenrecognizedthroughalltime。
　　TheformulainwhichTolstoihaspresentedhismeditationstotheworldis，however，sofreshthatitcomeslikearevelation，withtheadditionalmeritofbeingunderstood，withlittleornomentaleffort，byeitherthecasualreader，who，withhalf—attentionattractedbyaheadline，saystohimself，"`Whatisart？’Thatlooksinteresting！"andskimslightlydownthelines，orthethinkerwho，afterperusingTolstoi’slucidwords，laysdownthevolumewithasigh，andmurmursinhishumiliation，"WhyhaveIbeenalltheseyearsseekinginthecloudsforwhatwaslyingreadyatmyhand？"
　　Thewide—reachingdefinitionoftheRussianwriterhastheeffectofavigorousblowfromapickaxeatthefoundationsofashakyandtooelaborateedifice。Thewordysuperstructureofaphorismsandparadoxfallstotheground，disclosingfair"Truth，"solongacaptivewithinthetempleerectedinherhonor。As，however，thenewlyfreedgoddesssmilesontheignorantandthepedantsalike，theresultisthatwithoneaccordtheaesthetesraiseahowl！"Andthe`beautiful，’"
　　theysay，"thebeautiful？Cantherebeany`Art’withoutthe`Beautiful’？What！thelittlegreengroceratthecornerisanartistbecause，forsooth，hehasarrangedsomelettuceandtomatoesintoatemptingpile！Anathema！Artisasecretknownonlytotheinitiatedfew；thevulgarcanneitherunderstandnorappreciateit！Wearetheelect！OurmissionistoexplainwhatArtisandpointoutherbeautytoacoarseandheedlessworld。Onlythosewithasenseofthe`beautiful’shouldbeallowedtoenterintohersacredpresence。"
　　Heretheexpoundersof"Art"plungeintoaseaofwords，offeringadozendefinitionseachmoreobscurethanitspredecessor，allofwhichhaveservedinturnaswatchwordsofdifferent"schools。"Tolstoi’ssweepingtruthistoofar—
　　reachingtopleasethesegentry。Likethepriestsofpastreligions，theywouldhavepreferredtokeepsuchknowledgeastheyhadtothemselvesandexpoundit，littleatatime，totheignorant。ThegreatRussianhaskickedawaytheiraltarandroutedthefalsegods，whoseacolyteswillneverforgivehim。
　　Thoseofmyreaderswhohavebeenintimatewithpainters，actors，ormusicians，willrecallwithamusementhowlightlytheperformancesofanassociatearecondemnedbythebrotherhoodasfallingshortofthehighstandardwhichaccordingtothesewiseacres，"Art"exacts，andhowsureeachspeakerisofunderstandingjustwhereabrothercarrieshis"mote。"
　　Voltaireonceavoidedgivingadefinitionofthebeautifulbysaying，"Askatoadwhathisideasofbeautyare。Hewillindicatetheparticularfemaletoadhehappenstoadmireandpraisehergoggle—eyesandyellowbellyastheperfectionofbeauty！"AnegrofromGuianawillmakemuchthesameunsatisfactoryanswer，sotheoldphilosopherrecommendsusnottobedidacticonsubjectswherejudgmentsarerelative，andatthesametimewithoutappeal。
　　TolstoideniesthatanideaassubtleasadefinitionofArtcanbeclassifiedbypedants，andproceedstoformulatethefollowingdelightfulaxiom："Aprincipleuponwhichnotwopeoplecanagreedoesnotexist。"Atruthisprovedbyitsevidencetoall。Discussionoutsideofthatissimplybeatingtheair。Eachsucceeding"school"hassoundeditsdeath—knellbyassertingthatcertaincombinationsaloneproducedbeauty—
　　theweaknessofto—daybeinganinclinationtoseeartonlyintheobscureandtherecondite。Asaresultwedrifteachhourfurtherfromthetruth。Modernintellectualityhasformeditselfintoascornfularistocracywhosemembers，esteemingthemselvestheelite，withdrawfromthevulgarpublic，andliveinaworldoftheirown，looking（liketheLadyofShalott）intoamirroratdistortedimagesofnatureanddeclaringthatwhattheyseeisart！
　　Inliteraturethatwhichisdifficulttounderstandismuchadmiredbythesimple—minded，whoalsodecrypicturesthattelltheirownstory！Acertainclassofmindsenjoybeingmystified，andinconsequencewriters，painters，andmusicianshaveappearedwhoarewillingtojugglefortheiramusement。
　　ThesimpledefinitiongiventousbytheRussianwritercomeslikeabreathofwholesomeairtothosesuffocatinginanatmosphereofperfumesandartificialheat。Artisourcommoninheritance，notthepropertyofafavoredfew。Thewideworldweloveisfullofit，andeachofusinhishumblewayisanartistwhenwithafullhearthecommunicateshisdelightandhisjoytoanother。Tolstoihasgivenusbackourbirthright，solongwithheld，andcrownedwithhisagedhandsthetrueartist。
　　Chapter19—TheGenealogicalCrazeTHEREundoubtedlyissomethingintheAmericantemperamentthatpreventsourdoinganythinginmoderation。Ifwetakeupanidea，itisimmediatelyruntoexaggerationandthenabandoned，thatthenationmayflyatatangentaftersomenewfad。Doesthiscomefromourclimate，or（asIaminclinedtothink）fromthecuriouslyunclassifiedstateofsocietyinourcountry，wheresofewestablishedstandardsexistandsofewaresureoftheirownortheirneighbors’standing？Inconsequence，ifMrs。Brownstartsanything，Mrs。Jones，forfearofbeingleftbehind，immediately"goesheronebetter"
　　tobeinturn"raised"byMrs。Robinson。
　　Inotherlandsareasonableprideofbirthhasalwaysbeenoneofthebondsholdingcommunitiestogether，andisestimatedatitsjustvalue。We，afterhavingpracticallyignoredthesubjectforhalfacentury，suddenlyrushtotheotherextreme，anddevelopanentireforestofgenealogicaltreesatagrowth。
　　Chagrined，probably，atthesmallamountofconsiderationthattheirsuperiorbirthcommanded，anumberofaristocraticallymindedmatronsunitedafewyearsagoas"DaughtersoftheRevolution，"restrictingmembershiptowomendescendedfromofficersofWashington’sarmy。Theremayhavebeenareasonfortheformationofthissociety。Isay"may"becauseitdoesnotseemquiteclearwhatitsaimwas。Theoriginatorsdoubtlessimaginedtheywerefoundinganexclusivecircle，butthenumberswhoclamoredforadmittancequicklydispelledthisillusion。Soasmallgroupoftheelectwithdrewindisgustandbandedtogetherunderthecognomenof"ColonialDames。"
　　Theonlyresultofthesetwomovementswastoawakenenvy，hatred，andmaliceintheheartsofthoseexcludedfromthemysteriousrites，whichtooutsidersseemedtoconsistinblackballingasmanyaspirantsaspossible。Somevictimsofthisbadtreatment，thirstingforrevenge，struckonthehappythoughtofinauguratingan"Aztec"society。Asthattitleconveyedabsolutelynoideatoanyone，itsmemberswereforcedtoexplainthatonlydescendantsofofficerswhofoughtintheMexicanWarwereeligible。Whattheelectdidwhentheygotintothecirclewasnotspecified。
　　The"SocialOrderofForeignWars"wasthenextcreation，itsauthorsevidentlyconsideringtheMexicancampaignasadomesticarticle，asortoffamilysquabble。Thenthe"Childrenof1812"attractedattention，bothgroupshavingimmediatesuccess。Indeed，thevogueoftheseenterpriseshasbeenininverseratiototheirusefulnessorRAISOND’ETRE，peopleapparentlybeingreadytojoinanythingratherthangetleftoutinthecold。
　　Jealousprobablyofseeingwomenenjoyingallthefun，theirhusbandsandbrothersnextbandedtogetheras"SonsoftheRevolution。"Thewivesretaliatedbyinstitutingthe"GranddaughtersoftheRevolution"and"TheMayflowerOrder，"
　　the"priceofadmission"tothelatterbeingdescentfromsomeonewhocrossedinthatcelebratedship—whetherasoneofthecreworaspassengerisnotclear。
　　Itwasnot，however，intheAmericantemperamenttorestcontentwithmodestbeginnings，thenationalmottobeing，"Thebestisgoodenoughforme。"SowindwasquicklytakenoutoftheMayflower’ssailsby"TheRoyalOrderoftheCrown，"towhichnoneneedapplywhowerenotpreparedtoprovedescentfromoneormoreroyalancestors。ItwasnotstatedintheprospectuswhetherIrishsovereignsandFijiIslandkingscounted，butIhavebeentoldthatbarsinistersformaclassapart，andaredeprivedoftherighttovoteorholdoffice。
　　Descentfromanyoldkingwas，however，notsufficientforthehigh—tonedpeopleofourrepublic。Whenyoucometothinkofit，suchacirclemightbe"mixed。"Onereallymustdrawthelinesomewhere（astheBostonparvenurepliedwhenaskedwhyhehadnotinvitedhisbrothertoaball）。Sothefoundersofthe"CircleofHollandDamesoftheNewNetherlands"drewthelineatdescentfromasovereignoftheLowCountries。Itdoesnotseemasifthiscouldbealargesociety，althoughthoseoldDutchpashashadanunconscionablenumberofchildren。
　　Thepromotersofthisenterpriseseemneverthelesstohavebeenfairlysuccessful，fortheygaveafeterecentlyandcrownedaqueen。Tobeacclaimedtheirsovereignbyagroupofpeopleallofroyalbirthisindeedanhonor。Rumorsofthisceremonyhavecometousoutsiders。ItissaidthattheyemployedonlylinealdescendantsofVateltopreparetheirbanquet，andIamassuredthatanoffspringofGambrinusactedasbutler。
　　Butitiswrongtojokeonthissubject。Thestateofaffairsisbecomingtooserious。Whensanehumanbeingsforma"BaronialOrderofRunnymede，"andannounceintheirprospectusthatonlydescendantsthroughthemalelinefromone（ormore）ofthefortynoblemenwhoforcedKingJohntosigntheMagnaChartaarewhatourWashingtonMrs。Malapropwouldcall"legible，"theactionattestsadiseasedconditionofthecommunity。Anyonetakingthetroubletorememberthateightoftheoriginalbaronsdiedchildless，andthattheWarsoftheRosessweptawayninetenthsofwhatfamiliestheothersmayhavehad，thatonlyonemaninEngland（LorddeRos）canatthepresentdayPROVEmaledescentfurtherbackthantheeleventhcentury，mustappreciatetheabsurdityofourcompatriots’pretensions。Burke’sPeerageisacknowledgedtobethemost"faked"volumeintheEnglishlanguage，butthedescentsitattributesarelikemathematicaldemonstrationscomparedtothe"trees"thatmembersofthesenewAmericanordersclimb。
　　WhenmyclasswasgraduatedfromMr。McMullen’sschool，welittleboyshadthebrilliantideaofunitinginasociety，butweregreatlyputaboutforaneffectivename，hittingfinallyuponthatofAncientSeniors’Society。Foragroupofinfants，thismustbeacknowledgedtohavebeenaluminousinspiration。Wehadnovalidreasonforformingthatsociety，notbeingparticularlyfondofeachother。Livinginseveralcities，werarelymetafterleavingschoolandhadlittletosaytoeachotherwhenwedid。Butitsoundedsofinetobean"AncientSenior，"andwehopedinournextschooltoimpressnewcompanionswiththattitleandmakethemfeelproperrespectforusinconsequence。Pride，however，sustainedafallwhenitwaspointedoutthattheinitialsformedtheominousword"Ass。"
　　Ihaveashrewdsuspicionthatthemotiveswhichpromptedouryouthfulactionsarenotverydifferentfromthosenowincitingchildrenofalargergrowthtobandtogether，blackballtheirfriends，crownqueens，andperformothersenselessmummeries，suchashavingtheweathercockofadepartedmeeting—housebroughtinduringabanquet，anddressingrestaurantwaitersinknickerbockersfor"onenightonly。"
　　Thismalarialconditionofoursocialatmosphereaccountsforthequantityofgenealogicalquacksthathavetakentosendingtypewrittenletters，statingthattheinteresttheytakeinyourprivateaffairscompelsthemtoofferproofofyourdescentfromanycrownedheadtowhomyoumayhavetakenafancy。OnecorrespondentassuredmeonlythismonththathehadpapersinhispossessionshowingbeyondadoubtthatI
　　mightclaimacertainKingMcDougalofScotlandforanancestor。Ihavemisgivings，however，astothequalityoftheroyalbloodinmyveins，forthesamecorrespondentwasequallyconfidentsixmonthsagothatmypeoplecameindirectlinefromCharlemagne。AsIhavenodesireto"corner"themarketinkings，theselettershaveremainedunanswered。
　　Consideringthemaniatotracedescentfromillustriousmen，itastonishesmethataMysticBand，consistingoflinealdescendantsfromtheSevenSagesofGreece，hasnotbeforenowburstuponanastonishedworld。Ithasbeensuggestedthatifsomeonewantedtoorganizeatrulyrestrictedcircle，"TheGrandchildrenofourTripoliWar"wouldbeanexcellenttitle。
　　SofewAmericanstookpartinthatconflict—andstillfewerknowanythingaboutit—thatthesatisfactionofjoiningthesocietywouldbeimmensetoexclusively—mindedpeople。
　　Thereisonlyoneexplanationthatseemsinanywaytoaccountforthisvasttomfoolery。Alittlesentence，printedatthebottomofaprospectusrecentlysenttome，letstheambitiouscatoutofthegenealogicalbag。Itstatesthat"socialpositionisassuredtopeoplejoiningourorder。"Thankstotheidiotichabitsomenewspapershaveinauguratedofadvertising，gratis，anumberofself—electedsociety"leaders，"manyfeeble—mindedpeople，withmoreambitionthancash，andalargersupplyoffamilypapersthanbrains，havebeenbittenwithasocialmadness，andenterthesetraps，thinkingtheyaretheroadtopositionandhonors。Thenumberoffoolsislargerthanonewouldhavebelievedpossible，ifthesuccessofsomany"orders，""circles，""commanderies，"
　　and"regencies"werenottheretotestifytotheunendingfollyofthewould—be"smart。"
　　Thislastdecadeofthecenturyhasbroughttolightmanystrangefadsandsenselessmanias。This"descent"craze，however，surpassesthemallininanity。ThekeepersofinsaneasylumswilltellyouthatoneofthehopelessformsofmadnessisLAFOLIEDESGRANDEURS。Abreathofthisdeliriumseemstobeblowingoverourcountry。Crownsandsceptreshauntthedreamsofsimplerepublicanmenandwomen，troublingtheirslumbersandleadingthemawill—o’—the—wispdancebackacrossthecenturies。
　　Chapter20—AstheTwigisBentIKNEW，inmyyouth，aFrenchvillagefarupamongtheCevennesMountains，wheretheonecultivatedmanoftheplace，saddenedbytheunlovelylivesofthepeasantsaroundhimandbythebarewallsofthevillageschool，organizedeveningclassesfortheboys。Duringtheseinformalhours，hetalkedtothemofliteratureandartandshowedthemhisprintsandpaintings。Whentheyouths’interestwasarousedhelentthembooks，thattheymightreadaboutthestatuesandbuildingsthathadattractedtheirattention。Atfirstitappearedahopelesstasktoarouseanyinterestamongthesepeasantsinsubjectsnotbearingontheirabjectlives。Totalkwithboysoftheideal，whentheirpoorbodieswereinneedoffoodandraiment，seemedsuperfluous；butintimethecharmworked，asitalwayswill。Thebeautifulappealedtotheirsimplenatures，elevatingandrefiningthem，andopeningbeforetheireagereyesperspectivesofundreamed—ofinterest。Theself—
　　imposedtaskbecameadelightashispupils’mindsrespondedtohisefforts。Althoughdeathsoonendedhisusefullife，theseedplantedgrewandborefruitinmanyhumblehomes。
　　AtthismomentIknowmeninseveralwalksoflifewhoreverewithtouchingdevotionthememoryoftheonehumanbeingwhohadbroughttothem，atthemomentwhentheyweremostimpressionable，thegraciousmessagethatexistencewasnotmerelyastruggleforbread。Theboyshehadgatheredaroundhimrealizenowthattheencouragementandincentivereceivedfromthoseeveningglimpsesofnobleworksexistingintheworldwasthemainspringoftheirsubsequentdevelopmentandasourceofinfinitepleasurethroughallsucceedingyears。
　　Thisreferencetoanindividualefforttowardcultivatingthepoorhasbeenmadebecauseotherdelicatespiritsareattemptingsomesuchtaskinourcity，wherequiteasmuchasintheFrenchvillageschoolchildrenstandinneedofsomemessageofbeautyinadditiontotheinstructiontheyreceive，—somewindowopenedforthem，asitwere，uponthefieldsofart，thattheireyeswhenraisedfromstudyorplaymayrestonobjectsmoreinspiringthanblankwallsandthegracelesssurroundingsofstreetorschoolroom。
　　Wearefartooquickinassumingthatloveofthebeautifulisconfinedtothehighlyeducated；thatthepoorhavenodesiretosurroundthemselveswithgracefulformsandharmoniouscolors。Wewonderatanddeploretheircrudestandards，bewailingthegenerallackoftasteandthegradualreducingofeverythingtoacommonplacemoneybasis。Wesmileattheeffortstowardadornmentattemptedbythepoor，takingittooreadilyforgrantedthatonthispointtheyarebeyondredemption。Thiserroristhelessexcusableassolittlehasbeendonebywayofexperimentbeforeforminganopinion，—
　　wholeclassesbeingputdownasinferiorbeings，incapableofappreciation，beforetheyhavebeenallowedevenaglimpseoftheworksofartthatformthedailymentalfoodoftheirjudges。
　　Theportlycharladywhorulesdespoticallyinmychambersisanexample。Ithasbeenacuriousstudytowatchhergrowinginterestintheobjectsthathavehereforthefirsttimecomeunderhernotice；thedelightshehascometotakeindustingandarrangingmybelongings，andherenthusiasmatanynewacquisition。Knowinghowbareherownhomewas，Ifeltatfirstonlyastonishmentathervividinterestinwhatseemedbeyondhercomprehension，butnowrealizethatinsomeblindwaysheappreciatestherareandthedelicatequiteasmuchasmymorecultivatedvisitors。Attheendofonelaboriousmorning，wheneverythingwasarrangedtohersatisfaction，sheturnedtomeherpoor，plainface，lightedupwithanexpressionofdelight，andexclaimed，"Oh，sir，Idolovetoworkintheserooms！I’mneversohappyaswhenI’marrangingthemelegantthings！"And，althoughmypleasureinherpleasurewasmodifiedbythediscoverythatshehadtakenaneighteenth—centurycombtodisentanglethefringesofarug，andbrokenseveralofitsteethinherardor，thatsheinvariablyplacedacertainWhisteretchingupsidedown，andthenstoodinraptadmirationbeforeit，still，inwatchingherenthusiasm，Ifeltathrillofsatisfactionatseeinghowheruntaughttasterespondedtoacontactwithgoodthings。
　　HereinAmerica，andespeciallyinourcity，whichwehavebeenatsuchpainstomakeashideousaspossible，theschoolrooms，wherehundredsofthousandsofchildrenpassmanyhoursdaily，areonedegreemoregracelessthanthetownitself；themostartisticallyinclinedchildcanhardlyreceiveanybutunfortunateimpressions。TheotherdayafriendtookmeseverelytotaskforratingourAmericanwomenontheirloveofthebigshops，andgaveme，Iconfess，anentirelynewideaonthesubject。"Can’tyousee，"shesaid，"thattheshopsherearewhatthemuseumsabroadaretothepoor？Itisinthemonlythatcertainpeoplemaycatchglimpsesofthedaintyandexquisitemanufacturesofothercountries。Thelittleeducationtheireyesreceiveisobtainedduringvisitstotheseemporiums。"
　　Ifthisprovesso，anditseemsprobable，itonlyproveshowthehumblelongforsomethingmoregracefulthantheirmeagrehomesafford。
　　Inthehopeoftrainingtheyoungergenerationstobetterstandardsandlessvulgarideals，agroupofladiesaremakinganattempttosurroundourschoolchildrenduringtheirimpressionableyouthwithreproductionsofhistoricmasterpieces，andhavealreadydecoratedmanyschoolroomsinthisway。Foramodestsumitispossibletotintthebarewallsanattractivecolor—adelightinitself—andadornthemwithplastercastsofstatuesandsolarprintsofpicturesandbuildings。Thetransformationthatfiftyorsixtydollarsjudiciouslyexpendedinthiswayproducesinaschool—roomisbeyondbelief，and，astheadvertisementssay，"mustbeseentobeappreciated，"givinganairofcheerfulnessandrefinementtothedreariestapartment。
　　Itishardtomakepeopleunderstandtheenthusiasmthesedecorationshaveexcitedinbothteachersandpupils。Thedirectressofoneofourlargeschoolswastellingmeofthehelpandpleasuretheprintsandcastshadbeentoher；shehadgiventhemassubjectsfortheclasscompositions，andusedtheminahundreddifferentwaysasobject—lessons。Asthechildrenaregraduatedfromroomtoroom，agreatvarietyofhigh—classsubjectscanbebroughttotheirnoticebyvaryingthedecorations。
　　Itisbytheeyeprincipallythattasteiseducated。"WespeakwithadmirationoftheeighthsensecommonamongParisians，andenvythemtheirmagicpowerofcombiningsimplematerialsintoanartisticwhole。Thereasonisthatforgenerationstheeyesofthosepeoplehavebeenunconsciouslyeducatedbytheharmoniouslinesofwell—proportionedbuildings，finelyfinisheddetailofstatelycolonnade，andshadyperspectiveofquayandboulevard。Afteryearsofthissubtletrainingtheeyeinstinctivelyrevoltsfromthevulgarandthecrude。Thereislittleinthepoorerquartersofourcitytorejoiceorrefinethesenses；squalorandall—
　　pervadinguglinessarenotleastamongthecursesthatpovertyentails。
　　Ifyouhaveasubjectofinterestinyourmind，itoftenhappensthateverybookyouopen，everypersonyouspeakwith，referstothattopic。Ineverrememberhavingseenanexplanationofferedofthisphenomenon。
　　Theothermorning，whilethisarticlewaslyinghalffinishedonmydesk，IopenedthelastnumberofaParispaperandbeganreadinganaccountofthedrama，LESMAUVAISBERGERS
　　（treatingofthatperiloussubject，the"strikes"），whichSarahBernhardthadjusthadthecouragetoproducebeforetheParispublic。Inthethirdact，whentheownerofthefactoryreceivesthedisaffectedhands，andlistenstotheircomplaints，theleaderofthestrike（anintelligentyoungworkman），besidesshorterhoursandincreasedpay，demandsthatrecreationroomsbebuiltwherethetoilers，theirwives，andtheirchildrenmaypassunoccupiedhoursintheenjoymentofattractivesurroundings，andcriesinconclusion："We，thepoor，needsomepoetryandsomeartinourlives，mandoesnotlivebybreadalone。Hehasaright，liketherich，tothingsofbeauty！"
　　Incommendingtheuseofdecorationasameansofbringingpleasureintodull，crampedlives，oneistoooftenmetbythecuriousargumentthattasteisinnate。"Eitherpeoplehaveitortheyhaven’t，"likealongnoseorashortone，anditisuselesstowastegoodmoneyintryingtoimproveeither。"Itwouldbemuchmoretothepointtospendyourmoneyingivingthepoorchildrenagoodroast—beefdinneratChristmasthaninplacingthebustofClytiebeforethem。"Thatargumenthascrushedmoreattemptstoelevatethepoorthananyothereveradvanced。Ifitwerelistenedto，therewouldneverbeanyprogressmade，becausetherearealwaysthousandsofpeoplewhoarehungry。
　　Whenwereflecthowpainfullyill—arrangedroomsoruglycolorsaffectoursenses，andrememberthatlessfortunateneighborssufferasmuchaswedofromhideousenvironments，itseemslikekeepingsunlightfromaplant，orfreshairoutofasick—room，torefuseglimpsesofthebeautifultothepoorwhenitisinourpowertogivethemthissatisfactionwithaslighteffort。Nothingcanbemoreencouragingtothosewhooccasionallydespairofhumannaturethanthegoodresultsalreadyobtainedbythissmallattemptintheschools。
　　WefallintotheerrorofimaginingthatbecausetheApolloBelvedereandtheSquareofSt。Mark’shavebecomestaletousbyreproductiontheyarenecessarilysotoothers。Thegreatandthewealthyoftheworldformnoideaofthelongingthepoorfeelforalittlevarietyintheirlives。Theydonotknowwhattheywant。Theyhavenostandardstoguidethem，butthedesireisthere。Letusofferourselvesthesatisfaction，aswestartoffforpleasuretripsabroadortothemountains，ofknowingthatathometheroutineofstudyislightenedforthousandsofchildrenbythecounterfeitpresentmentofthescenesweareenjoying；that，aswefloatuptheGoldenHornorsitinthemoonlightbytheParthenon，farawayathomesomechildisdreamingofthosefairscenesassheraiseshereyesfromhertask，andisunconsciouslyimbibingaloveofthebeautiful，whichwilladdacharmtoherhumblelife，andmakethepresentlaborslighter。Ifthechildneverlivestoseetheoriginals，shewillbehappierforknowingthatsomewhereintheworlddomedmosquesmirrorthemselvesinstillwaters，andmarblegods，thehandiworkoflong—deadnations，standinthegoldensunlightandsilentlypreachthegospelofthebeautiful。
　　Chapter21—SevenSmallDuchessesSINCEthose"precious"dayswhenthehabituesoftheHotelRambouilletfirstraisedsocialintercoursetothelevelofafineart，themoralsandmanners，theamusementsandintriguesofgreatFrenchladieshaveinterestedtheworldandinfluencedthewaysofcivilizednations。ThankstoMemoirsandMaxims，weareabletoreconstructthelifeofaseventeenthoreighteenthcenturynoblewomanascompletelyasGermanarcheologistshaverebuiltthetempleoftheWinglessVictoryontheAcropolisfromsurroundingdebris。
　　InterestinFrenchsocietyhas，however，diminishedduringthiscentury，ceasingalmostentirelywiththeSecondEmpire，whenforeignwomengavethetonetoaparvenucourtfromwhichtheolderaristocracyheldaloofindisgustbehindtheclosedgatesoftheir"hotels"andhistoricchateaux。
　　WiththeexceptionofBalzac，fewwritershavedrawnauthenticpicturesofnineteenth—centurynoblewomeninFrance；andhisvividportrayalsaremorethecreationsofgeniusthancorrectdescriptionsofacaste。