My face must have shown a trace of the suffocation I experienced at this plan of life, for M. Bogard became at once more impersonal. The country we are traversing now, he said, has known stirring times ... and he began an instructive travelogue, as though I were some stupid acquaintance, his hostess' son, and as though he were not, nor ever had been, a distinguished scholar. On arriving at the Villa we were met by the steward and shown to our rooms. The Villa had been a monastery for many years and in purchasing it Mlle. de Morfontaine had obtained likewise the adjoining church which still served the peasants of the hillside. She claimed that the Villa was the very one that Maecenas had given to Horace: local tradition affirmed it; the foundations were of the best opus reticulatum; and the location fulfilled the rather vague requirements of classical allusion; even onomatopoea testified, declared our hostess, asserting that from her window the waterfall could be literally heard to lisp "... domus Albuniae resonantis Et praeceps Anio ac Tibumi locus et uda Mobilibus pomaria rivis." In furnishing her monastery our hostess had combined, as best she could, a delight in æsthetic effects and a longing for severity. A long low rambling plaster building, without grace of line, was the Villa Horace. Disordered rose gardens surrounded it, with intentionally neglected gravel paths, and chipped marble benches. One entered a long hall at the end of which several steps descended to a library. The hall was lined with doors at regular intervals on both sides, doors to what had once been cells now thrown together into reception rooms. Many of these doors stood open during the day and the long corridor paved with russet tile, was striped with the sunshine that fell across it. The ceiling had been coffered, and like the doors touched with dark green and gilt, and with that rich wasted brick-red that is the color of Neapolitan tiles. The walls were yellow white, of caked and crumbling plaster, and the beauty of the view with the optical illusion of distance and the depth and the lightness of the library seen like some great green-golden well at the further end, appealed to that sense of balance and one's tactile imagination as do the vistas in the paintings of Raphael whose spell is said to reside in that secret. To the left lay the reception rooms, carpeted in one color, hung with tabernacles and Italian primitives, while huge candelabra, pots of flowers and tables covered with brocades and crystals and uncut jewels, relieved the severity of unfreshened walls. Towards the end of the hall at the right one ascended a few steps to the refectory, the barest room in the house. By day the refectory was a meaningless casual club-room. Luncheon was a negligible affair at the Villa; one's conversation must be saved for dinner; at luncheon one barely looked at one another, one talked about the last rains and the