Far more interesting than these semi-official affairs were the weekly Monday receptions held by the Empress in her own apartments. Only a select few were invited to these, and the Empress’s “Mondays” soon became famous all over Europe. Napoleon and Eugénie received their guests with the greatest cordiality, and conversed familiarly with all. Here Princess Metternich shone her brightest; here too were seen the beautiful Princess Murat, Duchess of Monchy; the gallant Count Walewski, who so closely resembled his father, the great Napoleon; the Emperor’s half-brother, the Duke de Morny; and his youthful friend and ally Duke Fialni de Persigny. Here Merimée’s inexhaustible fund of wit and humor found full play. Here the Emperor’s favorite, General Fleury, and the elegant Marquis de Caux (afterward the husband of Adelina Patti) led the cotillon and invented figures that made the rounds of Europe.
Scarcely less famous in their way were the hunting parties held by the court at Compiègne every autumn. To these only a few were invited at a time, and the weekly list of guests was prepared with as much care as if it had been some important affair of state. Fifteen new gowns of the costliest kind were regarded as indispensable by the feminine world for a visit to Compiègne. Many feigned illness to escape the expense of so many new _toilettes_, while others were almost ruined by accepting the invitations. Art, literature, and science were well represented at these gatherings; and once arrived at Compiègne, all received the most cordial welcome, no matter what their political opinions.
Next to court entertainments the most popular rendezvous for the world of fashion in the days of the Empire was the opera; and although it then had its home in the narrow _Rue Lepelletier_, instead of its present magnificent palace, this did not deter royalty and all the highest society from attending regularly. Full dress was required, and the costly gowns and the jewels of the ladies, with the brilliant uniforms of the men, lent an air of festivity to each performance that is usually seen only on some gala occasion. But if grand opera were the temple of art in which Eugénie showed herself most often, it was by no means her favorite place of amusement. She not only lacked all knowledge of the higher music, but it was distasteful to her; and even well written drama at the Théâtre Français had no interest for her. On the other hand, she adored anything amusing and had the greatest fondness for Offenbach’s lively airs. Her musical taste may be judged by the fact that during the Czar Alexander of Russia’s stay in Paris in 1867, she could think of no greater mark of attention than to send him tickets for a performance of the “Grande Duchesse de Gerolstein.”