But art exhibitions, concerts, plays and books, however extraordinary, do not suffice for the æsthetic needs of elegant society. Novel sensations alone can satisfy it. It demands more intense stimulus, and hopes for it in spectacles, where different arts strive in new combinations to affect all the senses at once. Poets and artists strain every nerve incessantly to satisfy this craving. A painter, who for that matter is less occupied with new impressions than with old puffs, paints a picture indifferently well of the dying Mozart working at his _Requiem_, and exhibits it of an evening in a darkened room, while a dazzling ray of skilfully directed electric light falls on the painting, and an invisible orchestra softly plays the _Requiem_. A musician goes one step further. Developing to the utmost a Bayreuth usage, he arranges a concert in a totally darkened hall, and thus delights those of the audience who find opportunity, by happily chosen juxtapositions, to augment their musical sensations by hidden enjoyment of another sort. Haraucourt, the poet, has his paraphrase of the Gospel, written in spirited verse, recited on the stage by Sarah Bernhardt, while, as in the old-fashioned melodrama, soft music in unending melody accompanies the actress. Even the nose, hitherto basely ignored by the fine arts, attracts the pioneers, and is by them invited to take part in æsthetic delights. A hose is set up in the theatre, by which the spectators are sprayed with perfumes. On the stage a poem in approximately dramatic form is recited. In every division, act, scene, or however the thing is called, a different vowel-sound is made to preponderate; during each the theatre is illuminated with a differently tinted light, the orchestra discourses music in a different key, and the jet gives out a different perfume. This idea of accompanying verses with odours was thrown out years ago, half in jest, by Ernest Eckstein. Paris has carried it out in sacred earnest. The new school fetch the puppet theatre out of the nursery, and enact pieces for adults which, with artificial simplicity, pretend to hide or reveal a profound meaning, and with great talent and ingenuity execute a magic-lantern of prettily drawn and painted figures moving across surprisingly luminous backgrounds; and these living pictures make visible the process of thought in the mind of the author who recites his accompanying poem, while a piano endeavours to illustrate the leading emotion. And to enjoy such exhibitions as these society crowds into a suburban circus, the loft of a back tenement, a second-hand costumier’s shop, or a fantastic artist’s restaurant, where the performances, in some room consecrated to beery potations, bring together the greasy _habitué_ and the dainty aristocratic fledgling. CHAPTER III. DIAGNOSIS.