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” ‘And still I cannot persuade myself that young Mme. du Bruel used to display her ankles, and the rest, to all Paris, with the light of a hundred gas-jets pouring upon her,’ Mme. Anselme Popinot remarked naively.

“From this point of view, July 1830 inaugurated an era not unlike the time of the Empire, when a waiting woman was received at Court in the person of Mme. Garat, a chief-justice’s ‘lady.’ Tullia had completely broken, as you may guess, with all her old associates; of her former acquaintances, she only recognized those who could not compromise her. At the time of her marriage she had taken a very charming little hotel between a court and a garden, lavishing money on it with wild extravagance and putting the best part of her furniture and du Bruel’s into it. Everything that she thought common or ordinary was sold. To find anything comparable to her sparkling splendor, you could only look back to the days when Sophie Arnould, a Guimard, or a Duthe, in all her glory, squandered the fortunes of princes.

“How far did this sumptuous existence affect du Bruel? It is a delicate question to ask, and a still more delicate one to answer. A single incident will suffice to give you an idea of Tullia’s crotchets. Her bed-spread of Brussels lace was worth ten thousand francs. A famous actress had another like it. As soon as Claudine heard this, she allowed her cat, a splendid Angora, to sleep on the bed. That trait gives you the woman. Du Bruel dared not say a word; he was ordered to spread abroad that challenge in luxury, so that it might reach the other. Tullia was very fond of this gift from the Duc de Rhetore; but one day, five years after her marriage, she played with her cat to such purpose that the coverlet–furbelows, flounces, and all–was torn to shreds, and replaced by a sensible quilt, a quilt that was a quilt, and not a symptom of the peculiar form of insanity which drives these women to make up by an insensate luxury for the childish days when they lived on raw apples, to quote the expression of a journalist. The day when the bed-spread was torn to tatters marked a new epoch in her married life.

“Cursy was remarkable for his ferocious industry. Nobody suspects the source to which Paris owes the patch-and-powder eighteenth century vaudevilles that flooded the stage. Those thousand-and-one vaudevilles, which raised such an outcry among the /feuilletonistes/, were written at Mme. du Bruel’s express desire. She insisted that her husband should purchase the hotel on which she had spent so much, where she had housed five hundred thousand francs’ worth of furniture. Wherefore Tullia never enters into explanations; she understands the sovereign woman’s reason to admiration.

” ‘People made a good deal of fun of Cursy,’ said she; ‘but, as a matter of fact, he found this house in the eighteenth century rouge- box, powder, puffs, and spangles. He would never have thought of it but for me,’ she added, burying herself in the cushions in her fireside corner.

“She delivered herself thus on her return from a first night. Du Bruel’s piece had succeeded, and she foresaw an avalanche of criticisms. Tullia had her At Homes. Every Monday she gave a tea- party; her society was as select as might be, and she neglected nothing that could make her house pleasant. There was a bouillotte in one room, conversation in another, and sometimes a concert (always short) in the large drawing-room. None but the most eminent artists performed in the house. Tullia had so much good sense, that she attained to the most exquisite tact, and herein, in all probability, lay the secret of her ascendency over du Bruel; at any rate, he loved her with the love which use and wont at length makes indispensable to life. Every day adds another thread to the strong, irresistible, intangible web, which enmeshes the most delicate fancies, takes captive every most transient mood, and binding them together, holds a man captive hand and foot, heart and head.