small, shrill boy, who takes you from room to room and who has learned his lesson in perfection. The place is full of Catherine de'Medici, of Henry III., of memories, of ghosts, of echoes, of possible evocations and revivals. It is covered with crimson and gold. The fireplaces and the ceilings are magnificent; they look like expensive "sets" at the grand opera. I should have mentioned that below, in the court, the front of the wing of Gaston d'Orléans faces you as you enter, so that the place is a course of French history. Inferior in beauty and grace to the other portions of the castle, the wing is yet a nobler monument than the memory of Gaston deserves. The second of the sons of Henry IV.--who was no more fortunate as a father than as a husband--younger brother of Louis XIII. and father of the great Mademoiselle, the most celebrated, most ambitious, most self-complacent and most unsuccessful _fille à marier_ in French history, passed in enforced retirement at the castle of Blois the close of a life of clumsy intrigues against Cardinal Richelieu, in which his rashness was only equalled by his pusillanimity and his ill-luck by his inaccessibility to correction, and which, after so many follies and shames, was properly summed up in the project--begun, but not completed--of demolishing the beautiful habitation of his exile in order to erect a better one. With Gaston d'Orléans, however, who lived there without dignity, the history of the Château de Blois declines. Its interesting period is that of the wars of religion. It was the chief residence of Henry III., and the scene of the principal events of his depraved and dramatic rule. It has been restored more than enough, as I have said, by architects and decorators; the visitor, as he moves through its empty rooms, which are at once brilliant and ill-lighted (they have not been refurnished), undertakes a little restoration of his own. His imagination helps itself from the things that remain; he tries to see the life of the sixteenth century in its form and dress--its turbulence, its passions, its loves and hates, its treacheries, falsities, sincerities, faith, its latitude of personal development, its presentation of the whole nature, its nobleness of costume, charm of speech, splendour of taste, unequalled picturesqueness. The picture is full of movement, of contrasted light and darkness, full altogether of abominations. Mixed up with them all is the great theological motive, so that the drama wants little to make it complete. What episode was ever more perfect--looked at as a dramatic occurrence--than the murder of the Duke of Guise? The insolent prosperity of the victim; the weakness, the vices, the terrors, of the author of the deed; the perfect execution of the plot; the accumulation of horror in what followed it--render it, as a crime, one of the classic things.