‘I suspect the reverse,’ replied Sidonia. ‘The tendency of advanced civilisation is in truth to pure Monarchy. Monarchy is indeed a government which requires a high degree of civilisation for its full development. It needs the support of free laws and manners, and of a widely-diffused intelligence. Political compromises are not to be tolerated except at periods of rude transition. An educated nation recoils from the imperfect vicariate of what is called a representative government. Your House of Commons, that has absorbed all other powers in the State, will in all probability fall more rapidly than it rose. Public opinion has a more direct, a more comprehensive, a more efficient organ for its utterance, than a body of men sectionally chosen. The Printing-press is a political element unknown to classic or feudal times. It absorbs in a great degree the duties of the Sovereign, the Priest, the Parliament; it controls, it educates, it discusses. That public opinion, when it acts, would appear in the form of one who has no class interests. In an enlightened age the Monarch on the throne, free from the vulgar prejudices and the corrupt interests of the subject, becomes again divine!’ At this moment they reached that part of the Boulevards which leads into the Place of the Madeleine, whither Sidonia was bound; and Coningsby was about to quit his companion, when Sidonia said: ‘I am only going a step over to the Rue Tronchet to say a few words to a friend of mine, M. P----s. I shall not detain you five minutes; and you should know him, for he has some capital pictures, and a collection of Limoges ware that is the despair of the dilettanti.’ So saying they turned down by the Place of the Madeleine, and soon entered the court of the hotel of M. P----s. That gentleman received them in his gallery. After some general conversation, Coningsby turned towards the pictures, and left Sidonia with their host. The collection was rare, and interested Coningsby, though unacquainted with art. He sauntered on from picture to picture until he reached the end of the gallery, where an open door invited him into a suite of rooms also full of pictures and objects of curiosity and art. As he was entering a second chamber, he observed a lady leaning back in a cushioned chair, and looking earnestly on a picture. His entrance was unheard and unnoticed, for the lady’s back was to the door; yet Coningsby, advancing in an angular direction, obtained nearly a complete view of her countenance. It was upraised, gazing on the picture with an expression of delight; the bonnet thrown back, while the large sable cloak of the gazer had fallen partly off. The countenance was more beautiful than the beautiful picture. Those glowing shades of the gallery to which love, and genius, and devotion had lent their inspiration, seemed without life and lustre by the radiant expression and expressive presence which Coningsby now beheld.