I was rather surprised, for I knew she had told us on the occasion of her last party that she never had it in her house, it reminded her so much of scented soap. She always gave us Savoy biscuits. However, Mrs. Jamieson, kindly indulgent to Miss Barker's want of knowledge of the customs of high life, and to spare her feelings, ate three large pieces of seed-cake, with a placid, ruminating expression of countenance, not unlike a cow's.

After tea there was some little demur and difficulty. We were six in number; four could play at Preference, and for the other two there was Cribbage. But all except myself (I was rather afraid of the Cranford ladies at cards, for it was the most earnest and serious business they ever engaged in) were anxious to be of the "pool." Even Miss Barker, while declaring she did not know Spadille from Manille, was evidently hankering to take a hand. The dilemma was soon put an end to by a singular kind of noise. If a baron's daughter-in-law could ever be supposed to snore, I should have said Mrs. Jamieson did so then; for overcome by the heat of the room, and inclined to doze by nature, the temptation of that very comfortable arm-chair had been too much for her, and Mrs. Jamieson was nodding. Once or twice she opened her eyes with an effort, and calmly but unconsciously smiled upon us; but by-and-by even her benevolence was not equal to this exertion, and she was sound asleep.

"It is very gratifying to me," whispered Miss Barker at the card table to her three opponents, whom notwithstanding her ignorance of the game she was "basting" most unmercifully'very gratifying indeed, to see how completely Mrs. Jamieson feels at home in my poor little dwelling; she could not have paid me a greater compliment."

Miss Barker provided me with some literature, in the shape of three or four handsomely bound fashion-books ten or twelve years old; observing, as she put a little table and a candle for my special benefit, that she knew young people liked to look at pictures. Carlo lay and snorted and started at his mistress's feet. He too was quite at home.

The card table was an animated scene to watch: four ladies' heads, with niddle-noddling caps, all nearly meeting over the middle of the table in their eagerness to whisper quick enough and loud enough; and every now and then came Miss Barker's "Hush, ladies! if you please, hush! Mrs. Jamieson is asleep.»

It was very difficult to steer clear between Mrs. Forrester's deafness and Mrs. Jamieson's sleepiness. But Miss Barker man aged her arduous task well. She repeated the whisper to Mrs. Forrester, distorting her face considerably in order to show by the motions of her lips what was said; and then she smiled kindly all round at us, and murmured to herself, "Very gratifying indeed; I wish my poor sister had been alive to see this day."

Presently the door was thrown wide open; Carlo started to his feet with a loud snapping bark, and Mrs. Jamieson awoke; or perhaps she had not been asleep as she said almost directly, the room had been so light she had been glad to keep her eyes shut, but had been listening with great interest to all our amus. ing and agreeable conversation. Peggy came in once more, red with importance. Another tray! "O gentility!" thought I, “can you endure this last shock?". For Miss Barker had ordered (nay, I doubt not prepared, although she did say, "Why! Peggy, what have you brought us?" and looked pleasantly surprised at the unexpected pleasure) all sorts of good things for supper-scalloped oysters, potted lobsters, jelly, a dish called "little Cupids » (which was in great favor with the Cranford ladies, although too expensive to be given except on solemn and state occasionsmacaroons sopped in brandy, I should have called it, if I had not known its more refined and classical name). In short, we were evidently to be feasted with all that was sweetest and best; and we thought it better to submit graciously, even at the cost of our gentility-which never ate suppers in general, but which, like most non-supper-eaters, was particularly hungry on all special occasions.

Miss Barker in her former sphere had, I daresay, been made acquainted with the beverage they call cherry brandy. We none of us had ever seen such a thing, and rather shrank back when she proffered it us-"just a little, leetle glass, ladies; after the oysters and lobsters, you know. Shell-fish are sometimes thought not very wholesome." We all shook our heads like female mandarins; but at last Mrs. Jamieson suffered herself to be persuaded, and we followed her lead. It was not exactly unpalatable, though so hot and so strong that we thought ourselves bound to give evidence that we were not accustomed to such things by coughing terribly—almost as strangely as Miss Barker had done, before we were admitted by Peggy.

"It's very strong," said Miss Pole, as she put down her empty glass; "I do believe there's spirit in it."

"Only a little drop-just necessary to make it keep," said Miss Barker. "You know we put brandy paper over preserves to make them keep. I often feel tipsy myself from eating damson tart."

I question whether damson tart would have opened Mrs. Jamieson's heart as the cherry brandy did; but she told us of a coming event, respecting which she had been quite silent till that moment.

"My sister-in-law, Lady Glenmire, is coming to stay with me.", There was a chorus of "Indeed!" and then a pause. Each one rapidly reviewed her wardrobe, as to its fitness to appear in the presence of a baron's widow; for of course a series of small festivals were always held in Cranford on the arrival of a visitor at any of our friends' houses. We felt very pleasantly excited on the present occasion.

Not long after this, the maids and the lanterns were announced. Mrs. Jamieson had the sedan-chair, which squeezed itself into Miss Barker's narrow lobby with some difficulty, and most literally "stopped the way." It required some skillful manœuvring on the part of the old chairmen (shoemakers by day, but when summoned to carry the sedan, dressed up in a strange old livery -long greatcoats with small capes, coeval with the sedan and similar to the dress of the class in Hogarth's pictures) to edge, and back, and try at it again, and finally to succeed in carrying their burden out of Miss Barker's front door. Then we heard their pit-a-pat along the quiet little street, as we put on our calashes and pinned up our gowns; Miss Barker hovering about us with offers of help, which if she had not remembered her former occupation, and wished us to forget it, would have been much more pressing.

THEOPHILE GAUTIER

(1811-1872)

BY ROBERT SANDERSON

HEOPHILE GAUTIER was born in Tarbes (Department of the Hautes-Pyrénées) in Southern France, August 31st, 1811. Like all French boys, he was sent to the lycée (academy), where he promised to be a brilliant scholar; but his father was really his tutor, and to him Gautier attributed his instruction. Young Théophile showed marked preference for the so-called authors of the Decadence-Claudianus, Martial, Petronius, and others; also for the old French writers, especially Villon and Rabelais, whom he says he knew by heart. This is significant, in view of the young man's strong tendencies, later on, towards the new romantic school. The artistic temperament was very strong in him; and while still carrying on his studies at college he entered the painter Rioult's studio. His introduction to Victor Hugo in 1830 may be considered the decisive point in Gautier's career: from that day he gave up painting and became a fanatic admirer of the romantic leader.

THEOPHILE GAUTIER

A short time afterwards, the first representation of 'Hernani' took place (February 25th, 1830), an important date in the life of Gautier. It was on this occasion that he put on for the only time that famous red waistcoat, which, with his long black mane streaming down his back, so horrified the staid Parisian bourgeois. This red waistcoat turns out, after all, not to have been a waistcoat at all, but a doublet; nor was it red, but pink. No truer is the legend, according to Gautier, that on this memorable occasion, armed with his two formidable fists, he felled right and left the terrified bourgeois. He says that he was at that time rather delicate, and had not yet developed that prodigious strength which later on enabled him to strike a 520-pound blow on a Turk's-head. In appearance Gautier was a large corpulent man with a leonine countenance, swarthy complexion, long black hair falling over his shoulders, black beard, and brilliant black eyes; an Oriental in looks as well as

in some of his tastes. He had a passion for cats. His house was overrun by them, and he seldom wrote without having one on his lap. The privations he underwent during the siege of Paris, doubly hard to a man of Gautier's Gargantuesque appetite, no doubt hastened his death. He died on October 23d, 1872, of hypertrophy of the heart.

Gautier is one of those writers of whom one may say a vast deal of good and a vast deal of harm. His admirers think that justice has not been done him, that his fame will go on rising and his name will live as one of the great writers of France; others think that his name may perhaps not entirely disappear, but that if he is remembered at all it will be solely as the author of 'Émaux et Camées' (Enamels and Cameos). He wrote in his youth a book that did him great harm in the eyes of the public; but he has written something else besides 'Mademoiselle de Maupin,' and both in prose and poetry we shall find a good deal to admire in him. One thing is certain: he is a marvelous stylist. In his earliest poems Gautier already possesses that adinirable artistic skill that prompts him to choose his words as a painter his colors, or a jeweler his gems and stones, so as to produce the most brilliant effects: these first compositions also have a grace, a charm, that we shall find lacking later on, for as he proceeds with his work he pays more and more attention to form and finish.

'Albertus, or Soul and Sin,' the closing poem of Gautier's first collection, is a "semi-diabolic, semi-fashionable" legend. An old witch, Veronica, a second Meg Merrilies, transforms herself into a beautiful maiden and makes love to Albertus, a young artist - otherwise Gautier himself. He cares for nothing but his art, but falls a victim to the spell cast over him by the siren. At the stroke of midnight, Veronica, to the young man's horror, from a beautiful woman changes back to the old hag she was, and carries him off to a place where witches, sorcerers, hobgoblins, harpies, ghouls, and other frightful creatures are holding a monstrous saturnalia; at the end of which, Albertus is left for dead in a ditch of the Appian Way with broken back and twisted neck. What does it all mean? the reader may ask. That "the wages of sin is death" seems to be the moral contained in this poem, if indeed any moral is intended at all. Be that as it may, 'Albertus' is a literary gem in its way; a work in which the poet has given free scope to his brilliant imagination, and showered by the handful the gems and jewels in his literary casket. Gautier may be said to have possessed the poetry of Death-some would's say its horrors. This sentiment of horror at the repulsive manner of man's total destruction finds most vivid expression in The Comedy of Death,' a fantastic poem divided into two parts, 'Death in Life' and