ful village of Bakewell, and far-famed Haddon Hall-the antique residence of the dukes of Rutland, an unspoiled relic of the sixteenth century. Looking toward the north, the eye traverses the fertile and beautiful valley of the Derwent, with the quiet little villages of Pilsley, Hassop, and Baslow, consisting of groups of cottages and quiet homesteads, speaking of pastoral life in its most favorable aspect. The eye, following the direction of the stream, is carried over the village of Calver, beyond which the rocks of Stony Middleton converge and shut in the prospect, with their gates of stone; amid distant trees, the village of Eyam, celebrated for its mournful story of the plague, and the heroism of its pastor, is embosomed. The ridge of rock stretches around the plain to the right, and upon the moors are traces of the early Britons in circles of stones and tumuli, with various other singular and deeply-interesting relics of the far off past. Turning to the south, the prospect is bounded by the hills of Matlock; the villages of Darley-le-Dale, and Rowsley, reposing in mid-distance; the entire prospect comprising a series of picturesque mountains, fertile plains, wood, water, and rock, which cannot be surpassed in the world for variety and beauty. The noble domain in the foreground forming the grand centre of the whole:

"This palace, with wild prospects girded round,

Where the scorn'd Peak rivals proud Italy.' "It was evening when we ascended this charming hill, and stood beneath the shadow of its famous Hunting Tower. The sun had just set, leaving a landscape of immense extent sleeping beneath rose-colored clouds; the air was balmy and fragrant with the peculiar odor of the pinetrees which topped the summit of the promontory on which we stood. We were told of Taddington Hill-of Beeley Edge-of Brampton Moor-of Robin Hood's bar-of Froggat Edge-until our eyes ached from the desire to distinguish the one

from the other. There was Tor this, and Dale that, and such a hall and such a hamlet; but the stillness by which we were surrounded had be come so delicious that we longed to enjoy it in solitude.

"What pen can tell of the beams of light that played on the highlands, when, after the fading of that gorgeous sunset, the valley became steeped in a soft blue-gray color, so tender, and clear and pure, that it conveyed the idea of 'atmosphere' to perfection. Then, as the shadows, the soothing shadows of evening, increased around us, the woods seemed to melt into the mountains; the rivers veiled their course by their misty incense to the heavens-wreath after wreath of vapor creeping upwards; and as the distances faded into indistinctness, the bold headlands seemed to grow and prop the clouds; the heavens let down the pall of mystery and darkness with a tender, not terrific, power; earth and sky blended together, softly and gently; the coolness of the air refreshed us, and yet the stillness on that high point was so intense as to become almost painful. As we looked into the valley, lights sprung up in cottage dwellings; and then, softly on a wandering breeze, came at intervals the tolling of a deep bell from the venerable church at Edensor, a token that some one had been summoned to another homeperhaps in one of those pale stars that at first singly, but then in troops, were beaming on us from the pale blue sky.

"While slowly descending from our eyrie, amid the varied shadows of a most lustrous moonlight, our eyes fell upon the distant wood which surrounded Haddon Hall; its massive walls, its mouldering tapestries, its stately terrace, its quaint rooms and closets, its protected though decayed records of the olden time, its minstrel gallery-were again present to our minds; and it was a natural and most pleasing contrast-that of the deserted and half-ruined house, with the mansion happily in

habited, filled with so many art-treasures, and presided over by one of the best gentlemen a monarch ever ennobled and a people ever loved."

MEN AND WOMEN OF THE EIGHTEENTH

WE

CENTURY.

VE have Louis Quinze chairs in our parlors, Louis Quinze carving and gilding about our mirrors, our ladies (in a double sense, of grace and utility), sweep past us in the streets or rustle in the ball-room in Louis Quinze brocades, with the boddice, if not the train, of pattern identical with that of Madame de Pompadour, as depicted in the excellent portrait before us in Mr. Redfield's elegant volumes, and we are, if scandal does not lie more than usual, making very practical acquaintance with Louis Quinze morals. It may be as well, therefore, to become more familiar with a period we find it so convenient to imitate. The great events of French history since 1789, their rapid sequence and ever varying character, have thrown into the shade the previous annals of the kingdom. Especially has this been the case with the period immediately preceding the days of terror. This period has been dispatched in a few sentences, in the opening chapters of works on the French Revolution-in some vague generalities on its profligacy and chaotic infamy. We have had glimpses, through the Eil de Buaf, at groups of exquisite gentlemen and gay ladies; abbes who wrote every

thing but sermons, and were free from the censure of not practising what they preached since they did not preach at all; generals who fought a campaign as deliberately and ceremoniously as they danced a minuet; statesmen whose diplomacy was more of the seraglio than the council; painters who improv ed on nature, applying the same tricks of art to the landscape as with powders to their curls; and simpering lips of the Marquise, and poets whose highest flights were a sonnet to Pompadour, or a pastoral to a sheep-tending Philis. Our casual observations of all these people, however, have been vague and slight, for few have probably had patience to follow these worthies to their retirement, and look over their shoulders at the memoirs which every mother's son and daughter of the set, from the prime minister to the cook, foundit is impossible to tell how-time to scribble down for the edification of posterity. In the volumes of Arsene Houssaye before us, these gay but unsubstantial shadows take flesh and blood, and become the Men and Women-the living realities of the Eighteenth Century. We have here the most piquant adventures of the Memoirs and the choicest mots of the Anas, culled from the hundreds of volumes which weigh down the shelves of the French public libraries. Not only indeed have we the run of the petites soupers of Versailles, but we may wander at will in the coulisses of the Grand Opera, picking up the latest

emerging from the glass corner cupboard to the rosewood and mirrored étagère. The following passages descriptive of his early life, are full of animation:

"He was born in 1684, at the time the king of France was bombarding Luxembourg. His family was poor, as a matter of course. He was put to school just long enough not to learn any thing. He was never able to read and write without great difficulty, but it was not in that his strength lay. He learned early to discover genius in a picture, to copy with a happy touch the gay face of Nature. There had been painters in his family, among others, a great uncle, who had died at Antwerp, without leaving any property. The father of Watteau had little leaning toward painting; but he was one of those who let men and things here below take their course. Watteau, therefore, was permitted to take his. Now Watteau was born a painter. God had given him the fire of genius, if not genius. His first master was chance, the greatest of all masters after God. His father lived in the upper story of a house with its gable-end to the street. Watteau had his nose out of the window oftener than over a book; he loved to amuse himself with the varied spectacle of the street. Sometimes it was the fresh-looking Flemish peasant-girl, driving her donkey through the market-place, sometimes the little girls of the neighborhood, playing at shuttlecock during the fine evenings. Peasant-maid and little child were traced in original lines in the memory of the scholar; he already admired the indolent naivete of the one, the prattling grace of the other. He Lad his eye also on some smiling female neighbor, such as are to be found every where; but the most attractive spectacle to him was that of some strolling troop of dancers or country-players. On fete-days sellers of elixirs, fortune-tellers, keepers of bears and rattlesnakes, halted under his window. They were sure of a spectator. Watteau suddenly fell into a profound revery at the sight of Gilles and Margot upon the stage; nothing could divert his attention from this amusement, not even the smile of his female neighbor: he smiled at the grotesque coquetries of Margot; he laughed till out of breath at the quips of Gilles. He was frequently seen seated in the window, his legs out, his head bent, holding on with difficulty, but not losing a word or a gesture. What would he not have given to have been the companion of Margot, to kiss the rusty spangles of her robe, to live with her the happy life of careless adventure? Alas! this happiness was not for him. Margot descended from the boards, Gilles became a man as before, the theatre was taken down, Watteau still on the watch; but by degrees he became sad; his friends were departing, departing without him, with their gauze dresses, their scarfs fringed with gold, their silver lace, their silk breeches, and their jokes.—“Those people are truly happy," said he, "they are going to wander gayly about the world, to play comedy wherever they may be, without cares and without tears!"-Watteau, with his twelve-year-old eyes, saw only the fair side of life. He did not guess, be it understood, that beneath every smile of Margot there was a stifled tear. Watteau seems to have always seen with the same eyes; his glance, diverted by the expression and the color,

| did not descend as far down as the soul. It was somewhat the fault of his times. What had he to do while painting queens of comedy, or dryads of the opera, with the heart, tears, or divine senti ment?

"After the strollers had departed, he sketched on the margins of the Lives of the Saints,' the profile of Gilles, a gaping clown, or some grotesque scene from the booth. As he often shut himself up in his room with this book, his father, having frequently surprised him in a dreamy and melancholy mood, imagined that he was becoming religious. He, however, soon discovered that Watteau's attachment to the folio was on account of the margin, and not of the text. He carried the book to a painter in the city. This painter, bad as he was, was struck with the original grace of certain of Watteau's figures, and solicited the honor of being his master. In the studio of this worthy man, Watteau did not unlearn all that he had acquired, although he painted for pedlers, male and female saints by the dozen. From this studio he passed to another, which was more profane and more to his taste. Mythology was the great book of the place. Instead of St. Peter, with his eternal keys, or the Magdalen, with her infinite tears, he found a dance of fauns and naiads, Venus, issuing from the waves, or from the net of Vulcan. Watteau bowed amorously before the gods and demigods of Olympus; he had found the gate to his Eden. He progressed daily, thanks to the profane gods, in the religion of art. He was already seen to grow pale under that love of beauty and of glory which swallows up all other loves. On his return from a journey to Antwerp, his friends were astonished at the enthusiasm with which he spoke of the wonders of art. He had beheld the masterpieces of Rubens and Vandyke, the ineffable grace of Murillo's Virgins, the ingenuously-grotesque pieces of Teniers and Van Ostade, the beautiful landscapes of Ruysdael. He returned with head bent and eyes fatigued, and his mind filled with lasting recollections.

He was not twenty when he set out for Paris with his master. The opera, in its best days, enlisted the aid of all painters of gracefulness. At the opera, Watteau threw the lightning flashes of his pencil right and left: mountains, lakes, cascades, forests, nothing dismayed him, not even the Camargos, whom he had for models. He ended by taming himself down to this cage of gayly singing and fluttering birds. A dancing-girl, who had not much to do, deigned to grant the little Flemish dauber, the favor of sitting for her portrait. Fleming as he was, Watteau made the progress of the portrait last longer than the scornfulness of Mademoiselle la Montagne. This was not all: the portrait was considered so graceful in the dancing-world, that sitters came to him every day, on the same terms.

"He left the opera with his master, as soon as the new decorations were finished. Besides Gillot, the great designer of fauns and naiads had returned there more flourishing than ever. The master returned to Valenciennes, Watteau remained at Paris, desiring to depend upon his fortune, good or bad. He passed from the opera into the studio of a painter of devotional subjects, who manufactured St. Nicholases for Paris and the provinces, to suit to the price. So Watteau manu