It is curious to find that during the events recorded in the last chapter, when, to put the matter mildly, Balzac's spare time was limited, he yet managed to conduct a sentimental correspondence with "Louise," a lady he never met and whose name he did not know. Apparently, in the midst of his troubles, he was seized by an overmastering desire to pour out his feelings in writing to some kindred soul. Madame Hanska was far away, and could not answer promptly; besides, though passionately loved, she was not always sympathetic, the solid quality of her mind not responding readily to the quickness and delicacy of Balzac's emotions. Louise, to whom in 1844 he dedicated "Facino Cane," was close at hand; she was evidently mournful, sentimental, and admiring; she sent him flowers when he was in prison, and at another time a sepia drawing. Besides, her shadowy figure was decked for him with the fascination of the unknown, and there was excitement in the wonder whether the veil enveloping her would ever be lifted, and, like Madame Hanska, she would emerge a divinity of flesh and blood. However, in spite of Balzac's entreaties she refused to reveal her identity; and after about a year's correspondence, during which time Louise suffered from a great misfortune, the nature of which she kept secret, the letters between them ceased altogether. Balzac had now left his garret, and was established in the drawing-room on the second floor of 13, Rue des Batailles, which is exactly described in "La Fille aux Yeux d'Or." The room was very luxurious, and the details had been thought out with much care.[*] One end of it had square corners, the other end was rounded, and the corners cut off to form the semicircle were connected by a narrow dark passage, and contained--one a camp bedstead, and the other a writing-table. A secret door led to this hiding-place, and here Balzac took refuge when pursued by emissaries from the Garde Nationale, creditors, or enraged editors. The scheme of colour in the room was white and flame-colour shading to the deepest pink, relieved by arabesques of black. A huge divan, fifty feet long and as broad as a mattress, ran round the horseshoe. This, like the rest of the furniture, was covered in white cashmere decked with flame-coloured and black bows, and the back of it was higher than the numerous cushions by which it was adorned. Above it the walls were hung with pink Indian muslin over red material, the flame-colour and black arabesques being repeated. The curtains were pink, the mantelpiece clock and candlesticks white marble and gold, the carpet and _portieres_ of rich Oriental design, and the chandelier and candelabra to light the divan of silver gilt. About the room were elegant baskets containing white and red flowers, and in the place of honour on the table in the middle was M. de Hanski's magnificent gold and malachite inkstand. Balzac showed the glories of this splendid apartment with infantile