"You know the subject of course? Handsome Narcissus, son of the river Cephise and the nymph Liriope, scorns the love of the nymph Echo--Echo belonging to the suite of Juno whom she amused with her speeches while Jupiter visited the world--Echo, daughter of the Air and the Earth, as you know--" And he went into transports over the poetry of mythology. Then in a more confidential tone: "I thought I might give rein to my imagination. The nymph Echo leads handsome Narcissus before Venus, in a marine grotto, so that the goddess may inflame him with her fire. But the goddess remains powerless. The young man indicates by his attitude that he is not touched." The explanation was not out of place, for few of the spectators in the drawing-room understood the real meaning of the groups. When the prefect had named the personages in an undertone, the admiration increased. Mignon and Charrier continued staring with wide open eyes. They had not understood. [Illustration: THE TABLEAUX VIVANTS AT SACCARD'S MANSION IN THE PARC MONCEAUX.] A grotto was shown on the platform, between the red velvet curtains. The scenery was formed of silk with large irregular plaits imitating rocky anfractuosities on which shells, fish and large sea plants were painted. The broken ground rose up like a hillock, covered with the same silk, on which the scene painter had depicted fine sand constellated with pearls and silver spangles. It was a fitting retreat for a goddess. On the summit of the hillock stood Madame de Lauwerens figuring Venus; somewhat stout, wearing her pink tights with the dignity of a duchess of Olympus, she depicted the sovereign of love with large severe, all devouring eyes. Behind her, showing merely her malicious face, her wings and quiver, little Madame Daste lent her smile to that amiable personage Cupid. Then, on one side of the hillock, the three Graces, Mesdames de Guende, Teissière, and de Meinhold, all in muslin, smiled and entwined each other as in Pradier's group; whilst on the other side the Marchioness d'Espanet and Madame Haffner, enveloped in the same flow of lace, their arms round each other's waists and their hair mingled, lent something suggestive to the _tableau_, a souvenir of Lesbos which Monsieur Hupel de la Noue explained in a lower voice and for the gentlemen only, saying that he had wished by this to show the full extent of the power of Venus. Below the mound the Countess Vanska personated Voluptuousness; she stretched herself out, twisted by a last spasm, with her eyes half closed and languishing, as if weary; very dark, she had unloosened her black hair, and her tunic, spotted with tawny flames, was cut so as to allow glimpses of her glowing skin. The scale of colour which the costumes furnished, from the snowy whiteness of Venus's veil to the dark red of Voluptuousness's tunic, was soft, generally pink, and of a fleshy tinge. And under the electric ray, ingeniously cast