At the Tuileries the Prince de Joinville passes his time doing all sorts of wild things. One day he turned on all the taps and flooded the apartments. Another day he cut all the bell ropes. A sign that he is bored and does not know what to do with himself.

And what bores these poor princes most is to receive and talk to people ceremoniously. This is almost a daily obligation. They call it—for princes have their slang—“performing the function.” The Duke de Montpensier is the only one who performs it gracefully. One day the Duchess d’Orleans asked him the reason. He replied: “It amuses me.”

He is twenty years old, he is beginning.

When the marriage of M. de Montpensier with the Infanta was published, the King of the Belgians was sulky with the Tuileries. He is an Orleans, but he is a Coburg. It was as though his left hand had smitten his right cheek.

The wedding over, while the young couple were making their way from Madrid to Paris, King Leopold arrived at Saint Cloud, where King Louis Philippe was staying. The King of the Belgians wore an air of coldness and severity. Louis Philippe, after dinner, took him aside into a recess of the Queen’s drawing-room, and they conversed for fully an hour. Leopold’s face preserved its thoughtful and *English* expression. However at the conclusion of the conversation, Louis Philippe said to him:

“See Guizot.”

“He is precisely the man I do not want to see.”

“See him,” urged the King. “We will resume this conversation when you have done so.”

The next day M. Guizot waited upon King Leopold. He had with him an enormous portfolio filled with papers. The King received him. His manner was cold in the extreme. Both were reserved. It is probable that M. Guizot communicated to the King of the Belgians all the documents relative to the marriage and all the diplomatic papers. No one knows what passed between them. What is certain is that when M. Guizot left the King’s room Leopold’s air was gracious, though sad, and that he was heard to say to the Minister as he took leave of him: “I came here greatly dissatisfied with you. I shall go away satisfied. You have, in fact, in this affair acquired a new title to my esteem and to our gratitude. I intended to scold you; I thank you.”

These were the King’s own words.

The Prince de Joinville’s deafness increases. Sometimes it saddens him, sometimes he makes light of it. One day he said to me: “Speak louder, I am as deaf as a post.” On another occasion he bent towards me and said with a laugh:

“J’abaisse le pavillion de l’oreille.”

“It is the only one your highness will ever lower,” I replied.

M. de Joinville is of somewhat queer disposition. Now he is joyous to the point of folly, anon gloomy as a hypochondriac. He is silent for three days at a time, or his bursts of laughter are heard in the very attics of the Tuileries. When he is on a voyage he rises at four o’clock in the morning, wakes everybody up and performs his duties as a sailor conscientiously. It is as though he were to win his epaulettes afterwards.

He loves France and feels all that touches her. This explains his fits of moodiness. Since he cannot talk as he wants to, he keeps his thoughts to himself, and this sours him, He has spoken more than once, however, and bravely. He was not listened to and he was not heeded. “They needn’t talk about me,” he said to me one day, “it is they who are deaf!”

Unlike the late Duke d’Orleans, he has no princely coquettishness, which is such a victorious grace, and has no desire to appear agreeable. He rarely seeks to please individuals. He loves the nation, the country, his profession, the sea. His manner is frank, he has a taste for noisy pleasures, a fine appearance, a handsome face, with a kind heart, and a few feats of arms to his credit that have been exaggerated; he is popular.

M. de Nemours is just the contrary. At court they say: “There is something unlucky about the Duke de Nemours.”

M. de Montpensier has the good sense to love, to esteem and to honour profoundly the Duchess d’Orleans.

The other day there was a masked and costumed ball, but only for the family and the intimate court circle—the princesses and ladies of honour. M. de Joinville appeared all in rags, in complete Chicard costume. He was extravagantly gay and danced a thousand unheard-of dances. These capers, prohibited elsewhere, rendered the Queen thoughtful. “Wherever did he learn all this?” she asked, and added: “What naughty dances! Fie!” Then she murmured: “How graceful he is!”

Mme. de Joinville was dressed as a bargee and affected the manner of a street gamin. She likes to go to those places that the court detests the most, *the theatres and concerts of the boulevards*.

The other day she greatly shocked Mme. de Hall, the wife of an admiral, who is a Protestant and Puritan, by asking her: “Madame, have you seen the “Closerie des GenÊts”?”

The Prince de Joinville had imagined a nuisance that exasperated the Queen. He procured an old barrel organ somewhere, and would enter her apartments playing it and singing in a hoarse, grating voice. The Queen laughed at first. But it lasted a quarter of an hour, half an hour. “Joinville, stop it!” He continued to grind away. “Joinville, go away!” The prince, driven out of one door, entered by another with his organ, his songs and his hoarseness. Finally the Queen fled to the King’s apartments.

The Duchess d’Aumale did not speak French very fluently; but as soon as she began to speak Italian, the Italian of Naples, she thrilled like a fish that falls back into the water, and gesticulated with Neapolitan verve. “Put your hands in your pockets,” the Duke d’Aumale would say to her. “I shall have to have your hands tied. Why do you gesticulate like that?”

“I didn’t notice it,” the princess would reply.

“That is true, she doesn’t notice it,” said the Prince to me one day. “You wouldn’t believe it, but my mother, who is so dignified, so cold, so reserved when she is speaking French, begins gesticulating like Punchinello when by chance she speaks Neapolitan.”

The Duke de Montpensier salutes passers-by graciously and gaily. The Duke d’Aumale does not salute more often than he is compelled to; at Neuilly they say he is afraid of ruffling his hair. The Duke de Nemours manifests less eagerness than the Duke de Montpensier and less negligence than the Duke d’Aumale; moreover, women say that when saluting them he looks at them in a most embarrassing way.

Donizetti’s “Elixir of Love” was performed at court on February 5, 1847, by the Italian singers, the Persiani, Mario, Tagliafico. Ronconi acted (acted is the word, for he acted very well) the role of Dulcamara, usually represented by Lablache. It was in the matter of size, but not of talent, a giant in the place of a dwarf. The decoration of the theatre at the Tuileries was then still the same as it had been in the time of the Empire—designs in gold on a grey background, the ensemble being cold and pale.

There were few pretty women present. Mme. Cuvillier-Floury was the prettiest; Mme. V. H. the most handsome. The men were in uniform or full evening dress. Two officers of the Empire were conspicuous in their uniforms of that period. Count Dutaillis, a one-armed soldier of the Empire, wore the old uniform of a general of division, embroidered with oak leaves to the facings. The big straight collar reached to his occiput; his star of the Legion of Honour was all dented; his embroidery was rusty and dull. Count de Lagrange, an old beau, wore a white spangled waistcoat, black silk breeches, white, or rather pink, stockings; shoes with buckles on them, a sword at his side, a black dress coat, and a peer’s hat with white plumes in it. Count Dutaillis was a greater success than Count de Lagrange. The one recalled Monaco and Trenitz; the other recalled Wagram.

M. Thiers, who the previous day had made a somewhat poor speech, carried opposition to the point of wearing a black cravat.

The Duchess de Montpensier, who had attained her fifteenth birthday eight days before, wore a large crown of diamonds and looked very pretty. M. de Joinville was absent. The three other princes were there in lieutenant-general’s uniform with the star and grand cordon of the Legion of Honour. M. de Montpensier alone wore the order of the Golden Fleece.

Mme. Ronconi, a handsome person, but of a wild and savage beauty, was in a small box on the stage, in rear of the proscenium. She attracted much attention.

There was no applause, which chilled the singers and everybody else.

Five minutes before the piece terminated the King began to pack up. He folded his programme and put it in his pocket, then he wiped the glasses of his opera-glass, closed it up carefully, looked round for the case which he had laid on his chair, placed the glass in it and adjusted the hooks very scrupulously. There was a good deal of character in his methodical manner.

M. de Rambuteau was there. His latest “rambutisms” (the word was Alexis de Saint-Priest’s) were recounted among the audience. It was said that on the last day of the year M. de Rambuteau wrote on his card: “M. de Rambuteau et Venus,” or as a variation: “M. de Rambuteau, Venus en personne.”

Wednesday, February 24, the Duke de Nemours gave a concert at the Tuileries. The singers were Mlle. Grisi, Mme. Persiani, a Mme. Corbari, Mario, Lablache and Ronconi. M. Aubert, who conducted, did not put any of his own music on the programme: Rossini, Mozart, and Donizetti, that was all.

The guests arrived at half-past eight. The Duke de Nemours lives on the first floor of the Pavilion de Marsan, over the apartments of the Duchess d’Orleans. The guests waited in a first salon until the doors of the grand salon were opened, the women seated, the men standing. As soon as the prince and princess appeared the doors were thrown wide open and everybody went in. This grand salon is a very fine room. The ceiling is evidently of the time of Louis XIV. The wails are hung with green damask striped with gold. The inner window curtains are of red damask. The furniture is in green and gold damask. The ensemble is royal.

The King and Queen of the Belgians were at this concert. The Duke de Nemours entered with the Queen, his sister, upon his arm, the King giving his arm to the Duchess de Nemours. Mmes. d’Aumale and de Montpensier followed. The Queen of the Belgians resembles the Queen of the French, save in the matter of age. She wore a sky-blue toque, Mme. d’Aumale a wreath of roses, Mme. de Montpensier a diadem of diamonds, Mme. de Nemours her golden hair. The four princesses sat in high-backed chairs opposite the piano; all the other women sat behind them; the men were in the rear, filling the doorway and the first salon. The King of the Belgians has a rather handsome and grave face, and a delicate and agreeable smile; he was seated to the left of the princesses.

The Duke de Brogue sat on his left. Next to the Duke were Count Mole and M. Dupin senior. M. de Salvandy, seeing an empty chair to the right of the King, seated himself upon it. All five wore the red sash, including M. Dupin. These four men about the King of the Belgians represented the old military nobility, the parliamentary aristocracy, the pettifogging bourgeoisie, and moonshine literature; that is to say, a little of what France possesses that is illustrious, and a little of what she possesses that is ridiculous.

MM. d’Aumale and de Montpensier were to the right in the recess of a window with the Duke of Wurtemberg, whom they called their “brother Alexander.” All the princes wore the grand cordon and star of Leopold in honour of the King of the Belgians; MM. de Nemours and de Montpensier also wore the Golden Fleece. The Fleece of M. de Montpensier was of diamonds, and magnificent.

The Italian singers sang standing by the piano. When seated they occupied chairs with wooden backs.

The Prince de Joinville was absent, as was also his wife. It was said that lately he was the hero of a love affair. M. de Joinville is prodigiously strong. I heard a big lackey behind me say: “I shouldn’t care to receive a slap from him.” While he was strolling to his rendezvous M. de Joinville thought he noticed that he was being followed. He turned back, went up to the fellow and struck him.

After the first part of the concert MM. d’Aumale and de Montpensier came into the other salon where I had taken refuge with ThÉophile Gautier, and we chatted for fully an hour. The two princes spoke to me at length about literary matters, about “Les Burgraves,” “Ruy Blas,” “LucrÈce Borgia,” Mme. Halley, Mlle. Georges, and FrÉdÉrick Lemaitre. Also a good deal about Spain, the royal wedding, bull-fights, hand-kissings, and etiquette, that M. de Montpensier “detests.” “The Spaniards love royalty,” he added, “and especially etiquette. In politics as in religion they are bigots rather than believers. They were greatly shocked during the wedding fetes because the Queen one day dared to venture out afoot!”

MM. d’Aumale and de Montpensier are charming young men, bright, gay, gracious, witty, sincere, full of that ease that communicates itself to others. They have a fine air. They are princes; they are perhaps men of intellect. M. de Nemours is embarrassed and embarrassing. When he comes towards you with his blond whiskers, his blue eyes, his red sash, his white waistcoat and his melancholy air he perturbs you. He never looks you in the face. He always casts about for something to say and never knows what he does say.