The second act has the following stage directions at the start: “_Le Théâtre représente un relais de chasse, on y voit un char doré, une Meute et une partie de l’equipage des Chasseurs._” One of the characters introduced is a young man, Lisidor, who is remarkable for his indifference to feminine charms, and might well be the origin of Watteau’s exquisite “L’Indifférent.” Another of the characters, Dorante, is counselled to imitate him; and in a discussion between Agatine and Cephise, the former is advised by the latter “_pour s’assurer de ce qu’on aime, la feinte indifférence est d’un puissant secours_.” In 1730, by the way, a play was produced at the theatre of the St. Laurent Fair called “L’Indifférence,” in which the hero preaches the doctrine of indifference to love! Watteau, of course, cannot have seen this play, but it is significant that both in 1716 and 1730, the stage should be found dealing with what was evidently a current type of character. [Illustration: Mlle. Desmares en habit de Pèlerine (_From the Jullienne engravings from Watteau, British Museum_).] [Illustration: L’Embarquement pour l’Ile de Cythère (_From a photograph, by E. Alinari, of Watteau’s painting in the Louvre_).] In the third act of Monteclair’s ballet, the opening directions are: “_Le Théâtre représente les Rives de la Seine. On voit le soleil prêt à se coucher_” (which might possibly account for the soft, warm tone of Watteau’s Embarquement) and one of the characters comes to warn some lovers with a song: “_Tendres amants, la Barque est prête_”; and the ballet concludes with a _dance divertissement_, as was usual at the period. One cannot dogmatically assert that these operas _did_ directly inspire the pictures named, but that Watteau caught his first suggestion of some from such performances as his own taste and his association with a theatrical and musical set would have led him to frequent, must seem, at the least, probable. CHAPTER XVI _THE SPECTATOR_ AND MR. WEAVER Queen Anne had long been dead, but she can never have been very lively when alive, for her period was one when political intrigue, theological controversy, and the War of Spanish Succession were the chief subjects that occupied everybody’s attention, especially her own, and--could anything be duller? Moreover, she was of somewhat portly proportions, had a solemn husband, and--unlike Queen Elizabeth--was really no dancer. With such a queen on the throne, at such a time of stress, can it be wondered at that theatrical dancing was at a comparatively low ebb? Why, there were only two theatres, Drury Lane and Lincoln’s Inn Fields! and they were striving hard to outdo each other--in dullness.