'At Easter we went to Paris and went about a good deal, seeing much of Gambetta, of Milner Gibson (who had completely left the world of English politics, and lived at Paris except when he was cruising in his yacht), Michel Chevalier, and the Franquevilles. We attended sittings of the Assembly at Versailles, drove over the battlefields, dined with the Louis Blancs to meet Louis's brother, Charles Blanc, the critic and great master of style, ... breakfasted with Evarts the American lawyer, to meet Caleb Gushing, his colleague on the American case on the Alabama claims; met at the Franquevilles' Henri de Pène and Robert Mitchell, the Conservative journalists; and saw "Mignon," Katie's favourite opera, and "Rabagas." This last famous piece, which was being played at the Vaudeville, where it was wonderfully acted, had been written during the premiership of Émile Ollivier, but being brought out when Ollivier was half forgotten, and when the name of Gambetta was in all men's mouths, was supposed by many to have been intended as a satire of the tribune, though it is far more applicable in every point to Ollivier's career.' Many years later Sir Charles was to form a friendship of lifelong duration with Louis Napoleon's Minister Ollivier. But from this visit to Paris dates the beginning of an intimacy between the young English member of Parliament and the leader of French democracy. He had already met Gambetta once in the end of 1871, and to renew this acquaintance was a special purpose in going to Paris. He had conceived the plan of writing a history of the nineteenth century. On the origin of the Franco-German War Gambetta was a high authority, and it was to discuss these questions that during this visit he for the first time came to see Sir Charles, who records: 'Had Gambetta to breakfast with us, when he stayed the whole day talking with me.' In five minutes the two men must have been in touch. Those who knew Sir Charles knew how his intense geniality of nature, masked sometimes for outsiders by a slight austerity, his _air boutonné_--as it was described by those who did not pass the barrier--showed immediately with those to whom he was drawn. That _rire enfantin_, described by Challemel-Lacour, would burst out at the first quick turn of talk, and he would give his whole self, with an almost boyish delight, to the encounter with a nature whose superabundant vitality and delight in life, as in Gambetta's case, equalled his own.