When I was with the Johnsons everything was superficial, and, as regards life, everything was brought down to the question of right and wrong. They were eternally didactic; art should never be didactic; and what’s life but the finest of arts? Pater has said that so well somewhere. With the Johnsons I’m afraid I lost many opportunities; the whole outlook or at least the whole medium—of feeling, of appreciation—was grey and cottony, I might almost say woolly. Now, however, as I tell you, I’ve determined to take right hold for myself; to look right into European life and judge it without Johnsonian prejudices. I’ve taken up my residence in a French family, in a real Parisian house. You see I’ve the courage of my opinions; I don’t shrink from carrying out my theory that the great thing is to _live_. You know I’ve always been intensely interested in Balzac, who never shrank from the reality and whose almost _lurid_ pictures of Parisian life have often haunted me in my wanderings through the old wicked-looking streets on the other side of the river. I’m only sorry that my new friends—my French family—don’t live in the old city, _au cour de vieux Paris_, as they say here. They live only on the Boulevard Haussmann, which is a compromise, but in spite of this they have a great deal of the Balzac tone. Madame de Maisonrouge belongs to one of the oldest and proudest families in France, but has had reverses which have compelled her to open an establishment in which a limited number of travellers, who are weary of the beaten track, who shun the great caravanseries, who cherish the tradition of the old French sociability—she explains it herself, she expresses it so well—in short to open a “select” boarding-house. I don’t see why I shouldn’t after all use that expression, for it’s the correlative of the term pension bourgeoise, employed by Balzac in _Le Père Goriot_. Do you remember the pension bourgeoise of Madame Vauquer née de Conflans? But this establishment isn’t at all like that, and indeed isn’t bourgeois at all; I don’t quite know how the machinery of selection operates, but we unmistakably feel we’re select. The Pension Vauquer was dark, brown, sordid, graisseuse; but this is in quite a different tone, with high clear lightly-draped windows and several rather good Louis Seize pieces—family heirlooms, Madame de Maisonrouge explains. She recalls to me Madame Hulot—do you remember “la belle Madame Hulot”?—in _Les Parents Pauvres_. She has a great charm—though a little artificial, a little jaded and faded, with a suggestion of hidden things in her life. But I’ve always been sensitive to the seduction of an ambiguous fatigue.