[Illustration: THE MOORISH SUMMER HOUSE.]
[1] A quaint whim of the olden time is constructed near one of the walks; it is the model of a willow-tree in copper, which has all the appearance of a living one, situated on a raised mound of earth. From each branch, however, water suddenly bursts, and also small jets from the grassy borders around. It was considered a good jest some years ago to delude novices to examine this tree, and wet them thoroughly by suddenly turning on the water above and around them. This tree was originally made by a London plumber in 1693; but it has been recently repaired by a plumber in the neighborhood of Chesterfield, under the direction of Sir Joseph Paxton.
We 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 _Oeil de Boeuf_, at groups of exquisite gentlemen and gay ladies; abbés 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 improved 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 Phillis. 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, found--it 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 gossip of Camargo or Sophie Arnold, enter the foyer of the classic Theatre Française, or adjourn to the Café Procope to hear the last joke of Piron, or the latest news from Fernay. And better than all these, we may mount, _au cinquième, au sexième_, to the lofty yet humble garret of the author or the artist, and there find, in an age of sickening heartlessness, refreshing scenes of household sincerity, patient endurance of hardship, showing that even that depraved age was not utterly devoid of the heroic and the pure. M. Houssaye is no rigid moralist, he employs no historic pillory, and often displays the painful flippancy of the modern French school on religious points, but he does honor to these better traits of humanity when he meets them. And we are not sure but that the morality of the work is the more impressive for the absence of the didactic. Here is little danger of our falling in love with vice, seductive as she appears in the annals of Louis XV., for we see the rotten canvas as well as the brilliant scene. We remember with the gaudy blossoms of 1740-60, the ashen fruit of 1789-'95. It is as hard to select extracts from M. Houssaye's volumes on account of the _embarras des richesses_, as it would be to choose a gem or two for our drawing-room from a gallery of Watteau and Greuze, or a row of Laucret's _passets_.