Between these two women a friendship sprang up, which was due rather to a wish to like each other than to a real attraction or real fellow-feeling.  The Comtesse d’Agoult, with her blue eyes, her slender figure, and somewhat ethereal style, was a veritable Diana, an aristocrat and a society woman.  George Sand was her exact opposite.  But the Comtesse d’Agoult had just “sacrificed all the vanities of the world for the sake of an artist,” so that she deserved consideration.  The stay at Geneva was gay and animated.  The Piffoels (George Sand and her children) and the Fellows (Liszt and his pupil, Hermann Cohen) enjoyed scandalizing the whole hotel by their Bohemian ways.  They went for an excursion to the frozen lake.  At Lausanne Liszt played the organ.  On returning to Paris the friends did not want to separate.  In October, 1836, George Sand took up her abode on the first floor of the Hotel de France, in the Rue Laffitte, and Liszt and the Corntesse d’Agoult took a room on the floor above.  The trio shared, a drawing-room between them, but in reality it became more the Comtesse d’Agoult’s salon than George Sand’s.  Lamennais, Henri Heine, Mickiewicz, Michel of Bourges and Charles Didier were among their visitors, and we are told that this salon, improvised in a hotel was “a reunion of the elite, over which the Comtesse d’Agoult presided with exquisite grace.”  She was a true society woman, a veritable mistress of her home, one of those who could transform a room in a hotel, a travelling carriage, or even a prison into that exquisite thing, so dear to French polite society of yore—­a salon.

Among the habitues of Madame d’Agoult’s salon was Chopin.  This is a new chapter in George Sand’s life, and a little later on we shall be able to consider, as a whole, the importance of this intercourse with great artists as regards her intellectual development.

Before finishing our study of this epoch in her life, we must notice how much George Sand’s talent had developed and blossomed out. Mauprat was published in 1837, and is undoubtedly the first of her chefs-d’oeuvre.  In her uninterrupted literary production, which continued regularly in spite of and through all the storms of her private life, there is much that is strange and second-rate and much that is excellent. Jacques is an extraordinary piece of work.  It was written at Venice when she was with Pagello.  George Sand declared that she had neither put herself nor Musset into this book.  She was nevertheless inspired by their case, and she merely transposed their ideal of renunciation. Andre may be classed among the second-rate work.  It is the story of a young noble who seduces a girl of the working-class.  It is a souvenir of Berry, written in a home-sick mood when George Sand was at Venice. Simon also belongs to the second-rate category.  The portrait of Michel of Bourges can easily be traced in it.  George Sand had intended doing more for Michel than this.  She composed a revolutionary novel in three volumes, in his honour, entitled:  Engelwald with the high forehead.  Buloz neither cared for Engelwald nor for his high forehead, and this novel was never published.