drawing-room.” This drolly severe but, from a literary point of view, admirable writer seems to think that an Englishman is a sort of fox-terrier, or mastiff, which having been chained up for a length of time becomes, when you let him loose, extremely rampant and ill-conducted. “There are so many things the English would not do at home, that they do without scruple amongst foreigners. Once abroad they indemnify themselves for their national reserve; it is on the foreigner that they revenge themselves for the shackles of their own etiquette and social laws. In crossing the Channel they pitch their solemn vestments into the sea. In London they will not go to the opera dressed in anything but black; here they go in a tweed coat and a slouch hat.” After this Monsieur Lemoinne seems very much upset by the moustaches which Englishmen display as they promenade in the Boulevards. There was a time, he assures us, when a Frenchman crossing the Channel and wishing to have a fashionable air was obliged to sacrifice his moustache--a time when English caricaturists never represented a Frenchman without a pair of long, ill-combed moustaches. To-day the thing is reversed. It is the Englishman who wears this grotesque appendage which proclaims his nationality from afar. Thus moustached, the Englishman goes to Paris--so M. Lemoinne evidently thinks--to have his full fling. “Amongst us,” he says, “a grave man may occasionally dress up to go to a ball, wear fancy costume, or take part in a quadrille, and next morning resume his function as state councillor or referendary. So the Englishman precipitates himself into the French world as into a great masked ball, puts on a false nose, dances at Paris extravagant steps which he calls French dances, cuts capers, sups and gets maudlin, and when he has finished his French tour, tranquilly resumes his duties as member of parliament or no matter what.” To English ladies M. Lemoinne is a good deal more gallant. He is obliged to point out that they over-dress and stride along the Boulevards like dismounted dragoons. “Yet, make no mistake,” he adds. “In that still crude block there are all the elements of a superb work of art. What fine construction, what solid layers, what grand architecture! Wait till art has put her hand to these materials; wait till the Englishwoman has learned how to walk, carry herself, and dress, and until, to her native beauty, she has added acquired grace--then you will have the finest type of creation and of civilisation. The native Englishwoman who has become a naturalised Parisian is perfection.”