Lovely shepherdess! tell me where is the lovely spot thou callest thy home. From what far-off sheepfold didst thou set out at daybreak this morning? Could I not go thither and live with thee? But alas, the sweet tranquillity thou enjoyest will soon vanish! The demon of war, not content with desolating cities, will ere long carry anxiety and alarm to thy solitary retreat. Even now I see the soldiers advancing: they climb height after height, as they march upward towards the clouds. The cannons’ roar is heard high above the thunder-clap. Fly, O shepherdess! Urge on thy flock! Hide thee in the farthest caves, for no longer is repose to be found on this sad earth! XXIV. _Painting and Music._ I do not know how it is, but of late my chapters have always ended in a mournful strain. In vain do I begin by fixing my eyes on some agreeable object; in vain do I embark when all is calm: a sudden gale soon drifts me away. To put an end to an agitation which deprives me of the mastery of my ideas, and to quiet the beating of a heart too much disturbed by so many touching images, I see no remedy but a dissertation. Yes, thus will I steel my heart. And the dissertation shall be about painting, for I cannot at this moment expatiate upon any other subject. I cannot altogether descend from the point I just now reached. Besides, painting is to me what Uncle Toby’s hobby-horse was to him.[3] I would say a few words, by the way, upon the question of preëminence between the charming arts of painting and music. I would cast my grain into the balance, were it but a grain of sand, a mere atom. It is urged in favor of the painter, that he leaves his works behind him; that his pictures outlive him, and immortalize his memory. In reply to this we are reminded that musical composers also leave us their operas and oratorios. But music is subject to fashion, and painting is not. The musical passages that deeply affected our forefathers seem simply ridiculous to the amateurs of our own day; and they are placed in absurd farces to furnish laughter for the nephews of those whom they once made to weep. Raphael’s pictures will enchant our descendants as greatly as they did our forefathers. This is my grain of sand. XXV. _An Objection._ “But what,” said Madame de Hautcastel to me one day,--“what if the music of Cherubini or Cimarosa differs from that of their predecessors? What care I if the music of the past make me laugh, so long as that of the present day touch me by its charms? Is it at all essential to my happiness that my pleasures should resemble those of my great-grandmother? Why talk to me of painting, an art which is only enjoyed by a very small class of persons, while music enchants every living creature?” I hardly know at this moment how one could reply to this observation, which I did not foresee when I began my chapter.