some strolling troop of dancers or country-players. On fete-days sellers of elixirs, fortune-tellers, keepers of bears and rattlesnakes, halted under his window. They were sure of a spectator. Watteau suddenly fell into a profound revery at the sight of Gilles and Margot upon the stage; nothing could divert his attention from this amusement, not even the smile of his female neighbor: he smiled at the grotesque coquetries of Margot; he laughed till out of breath at the quips of Gilles. He was frequently seen seated in the window, his legs out, his head bent, holding on with difficulty, but not losing a word or a gesture. What would he not have given to have been the companion of Margot, to kiss the rusty spangles of her robe, to live with her the happy life of careless adventure? Alas! this happiness was not for him. Margot descended from the boards, Gilles became a man as before, the theatre was taken down, Watteau still on the watch; but by degrees he became sad; his friends were departing, departing without him, with their gauze dresses, their scarfs fringed with gold, their silver lace, their silk breeches, and their jokes.--"Those people are truly happy," said he, "they are going to wander gayly about the world, to play comedy wherever they may be, without cares and without tears!"--Watteau, with his twelve-year-old eyes, saw only the fair side of life. He did not guess, be it understood, that beneath every smile of Margot there was a stifled tear. Watteau seems to have always seen with the same eyes; his glance, diverted by the expression and the color, did not descend as far down as the soul. It was somewhat the fault of his times. What had he to do while painting queens of comedy, or dryads of the opera, with the heart, tears, or divine sentiment?