Hilda and I have been half over London to-day for our stage scenes. We must have real ones representing a sort of wood where the market people have their stands, and the Queen and the ladies come to buy flowers--also sufficient space for the gavotte. The man promises to send it all the day before, as the children must rehearse at least once with the real scenes--for their entrees--that is always a little difficulty. The bigger girls do all right, but the little ones rush in--speak very quickly--and _always_ to Thenard, who stands at one side--looking hard at her to see if they are doing right--and paying no attention whatever to Her Gracious Majesty Queen Marie Antoinette. Muriel White is very good, very deliberate, very careful, and taking all the French nuances and intonations very well. Gay Edwardes, too, is very good--her French is pretty and easy, she learnt it so young in Paris. One of the others (I forget which one) was having a private lesson in a corner with Francis, who was trying to make her roll her Rs in a proper French fashion. She had a complaint to make of her garden--all about "carottes" et "giroflees," and the sentences had a true British ring. Francis is very important, takes himself quite "au serieux," and is most interested in the proper diction of all the young ladies. I sat some time in the drawing-room while St. Genys was painting his scenes. We had various visitors (even W., who was very complimentary over the decor), tea, and Thenard to settle about a rampe of flowers and tapestry curtain. Saturday, June 20, 1891.