Every thing in the house of Mademoiselle Mars bespeaks its mistress to be a woman of highly cultivated mind and of refined habits.

The boudoir is in the style of Louis XIV, and owes its tasteful decorations to the pencil of Ciceri.  The pictures that ornament it are by Gerard, and are highly creditable to his reputation.  The library serves also as a picture-gallery; and in it may be seen beautiful specimens of the talents of the most esteemed French artists, offered by them as a homage to this celebrated woman.  Gerard, Delacroix, Isabey, Lany, Grevedon, and other distinguished artists, have contributed to this valuable collection.  A fine portrait of Madame Pasta, and another of Talma, with two exquisite pictures of the mother of Mademoiselle Mars, not less remarkable for the rare beauty of the subject than for the merit of the artists, complete it.

One book-case in the library contains only the presentation copies of the pieces in which Mademoiselle Mars has performed, magnificently bound by the authors.

On a white marble console in this gallery is placed an interesting memorial of her brilliant theatrical career, presented to her by the most enthusiastic of its numerous admirers.  It consists of a laurel crown, executed in pure gold; on the leaves of which are engraved on one side, the name of each piece in which she appeared, and, on the other, the role which she acted in it.  A very fine statue of Moliere is placed in this apartment.

Never did two hours glide more rapidly away than those passed in the society of this fascinating woman, whose presence I left penetrated with the conviction that no one can know without admiring her; and that when she retires from the stage, “we shall not look upon her like again.”

Passed a very agreeable evening, at Madame Craufurd’s, Met there la Duchesse de la Force, and the usual circle of habitues.  Talking of theatres, some of la Vieille Cour, who happened to be present, remarked on the distinction always made between the female performers of the different ones.  Those of the Theatre Francais were styled “Les Dames de la Comedie Francaise”; “those of the Theatre Italien,” “Les Demoiselles du Theatre Italien;” and the dancers, “Les Filles de l’Opera.”  This last mode of naming les danseuses, though in later times considered as a reproach, was, originally, meant as an honourable distinction; the king, on establishing the Academie Royale de Musique, having obtained the privilege that the performers attached to it should be exempt from excommunication.  Hence they were named, “Les Filles de l’Opera,” as persons sometimes said “Les Filles de la Reine.”

A propos of the Opera, Madame Grassini, once no less celebrated for her beauty than for her voice, was of the party last night.  She is, and deservedly, a general favourite in Parisian society, in which her vivacity, good-nature, and amiability, are duly appreciated.  Her lively sallies and naive remarks are very amusing; and the frankness and simplicity she has preserved in a profession and position so calculated to induce the reverse, add to her attractions and give piquancy to her conversation.