It is therefore expedient, Saqui, to place your charming picture in this place, who forced the Great Emperor to raise his eyes to watch your aerial exploits, whom he called his _enragée_, whose chimerical daring he secretly admired for its [p216] resemblance to his own audacity. The astronomers of our time, less gallant than the ancient poets, have not yet placed you amidst the stars; yet, on the other hand, I fear that you have not been received into Paradise: for, little pagan, you once desecrated the sacred towers of Notre Dame with your little sabots. May this sin be remitted some day! I know, in one corner of Paris, an old centenarian Italian woman, who still has masses said for the repose of your restless soul, and believes that in expiation of your pride you are condemned to wander for two hundred years between heaven and earth, without any amusement except that of playing with the rainbow as a hoop when there is no storm. The pleasant memory of this peri is closely allied with the name of Émile Gravelet, called Blondin. Is there any place in the world where the famous crossing of Niagara has not been spoken of? The two Americas hastened to see the feat, and every day Blondin added some novelty to his performance. Sometimes, seated on a little chair, he would cook an omelet upon his cord, and eat it amidst shouts of applause. Sometimes he took his son on his back and ran from one bank to the other. One day Blondin caught sight of the Prince of Wales amongst the spectators. He was presented to him, and proposed that the Prince should make the journey across the Falls with him. His Royal Highness alleged that his rank obliged him to remain on the bank. This offer was one of Blondin’s favourite jokes. Pierre Véron told me that on the day that the rope-dancer crossed the Seine he suggested to Cham, who had come to make a sketch, that he should cross with him. [p217] [Illustration] “I am perfectly willing,” replied the caricaturist, “but I will carry you on my back.” “Nonsense! Monsieur Cham, you cannot think of doing that!” [p218] “You see you are the one to refuse,” coolly answered the unsmiling jester. [Illustration] The sudden discredit into which rope-dancing has fallen during the last few years dates from the appearance of Oceana. This young woman, anxious to adopt a “novelty” which [p219] would exhibit her beauty without too much exertion, chose a _wire_, which, hanging slacker than the cord, enabled her, with a little oscillation, to assume the attitude of reclining in a hammock, the voluptuous indolent postures of _Sarah la baigneuse_. But the genuine rope-dancers at once determined to reproduce all the exercises of the cord upon the wire, which Oceana had so easily brought into fashion, and, with the exception of the horse-spring, they can all be performed upon it. The difficulty of preserving the equilibrium on a support that is even more unstable than the cord delighted the equilibrists. [Illustration]