I began with a woman who at that time was introducing leading contemporary English and American writers to the French through the _Revue des deux Mondes_—Madame Blanc, her pen name Théodore Bentzon, a person of rare distinction and of gallant soul. She had been a lady in waiting at Napoleon III’s court, had made an unfortunate marriage, was now living on a small income and what she could earn by writing. In her salon there was a portrait taken in her young womanhood which charmed me, but when I spoke of it she shook her head as if she did not want to remember it. “Une femme qui n’existe plus,” she said. Hard worker as Madame Blanc was, she found time to start me on my rounds among the French women writers. I doubt if there was an American writer of our day who would have had both the kindness of heart and the sureness of herself to take so much trouble for an unknown woman. She started me off, and I turned out ten or a dozen little pieces before I was through. With one of my subjects I had an amusing flirtation—I think I may call it a flirtation. This was Madame Dieulafoy who with her husband had done eminent work in archaeology, and who had a roomful of exhibits in the Louvre to her credit—a very great person indeed. Madame Dieulafoy was the only woman I had ever seen at that time who wore men’s clothes. It had been found necessary to put her into trousers for excavating work, and she liked them so well and Monsieur Dieulafoy loved her so in them that they had obtained permission from the French Government for her to wear them in Paris. From more than one source I heard of the sensation she created among servants when she came to call. They abandoned their duties to peep from dark places at the woman in men’s clothes. Madame Dieulafoy and I grew friendly over the history of the exploits of women in the world, and it took no time at all for me to decide to write the history of women from Eve up, as if I had not already enough on my hands. She applauded my idea, gave me many suggestions, but it never went any further than my few visits, which as I say were more or less flirtations. She was such a pretty little man, so immaculate (the best tailors in Paris did her, I was told), that I could not keep admiring eyes off her. She used her eyes, too, and loved to pat me on the knee, partly I suppose because I always blushed when she did it. It was an amusing acquaintance and a profitable one to me, for she was as interested in my plans for articles as if I had been one of her own. Another woman who interested me greatly was Judith Gautier. My interest was stirred by my indignation that her name had been left off the list of living women distinguished in French literature sent to the Chicago Exposition of 1893. There was much speculation among my friends as to how it happened. My own conclusion was that it was because of her long and impassioned devotion to the music of Richard Wagner.