and costly studies in botany, especially since she had succeeded in winning to her person the renowned botanist and learned Bonpland, and in having him appointed superintendent of her gardens and hot-houses.  It was Bonpland who cultivated Josephine’s inclination for botany, and exalted her passion into a science.  He filled the green-houses of Malmaison with the rarest plants, and taught Josephine at the same time their classifications and sexes, and she quickly proved herself to be a zealous and tractable pupil.  She soon learned the names of the plants, as well as their family names, as classified by the naturalists; she became acquainted with their origin and their virtues, and was extremely sad and dejected when, in one of her families, a single species was wanting.  But what a joy when this gap was filled!  No price was too exorbitant, then, to procure the missing species; and one day she paid for a small, insignificant plant from Chili the high price of three thousand francs, filling Bonpland with ecstasy, but the emperor with deep wrath as soon as he heard it. [Footnote:  Avrillon, “Memoires sur l’Imperatrice Josephine.”]

Next to botany, it was music which Josephine delighted in and cultivated.  Since the cares and the numerous relations of her diversified life claimed so much of her time, she had abandoned the exercises of music; and it was only at the hour of unusual serenity of mind, or of more lively recollections of the past, that she was heard singing softly one of the songs of her own native isle, even as Bonaparte himself, when he was meditating and deciding about some new campaign, would betray the drift of his thoughts by singing louder and louder the favorite melody of the day, Marlborough s’en va-t-en guerre.  But Josephine had the satisfaction that Hortense was not only an excellent performer on the piano and the harp, but that she could also write original compositions, whose softness and harmonious combinations made them popular throughout France.  Another satisfaction was, that Eugene sang, in a fine clear voice, with great talent, and that frequently he would by his excellent singing draw even the first consul into loud expressions of admiration.

Bonaparte was not easily satisfied as regards singing; it was seldom that music elicited any commendation from him.  The Italian music alone could excite his enthusiasm, and through its impassioned fervor rouse him up, or its humorous passages enliven him.  Therefore Bonaparte, when consul or emperor, always patronized the Italian music in preference to any other, and he constantly and publicly expressed this liking, without considering how much he might thereby wound the French artistes in their ambition and love of fame.  He therefore appointed an Italian to be first singer at the opera.  It is true this was Maestro Paesiello, whose operas were then making their way through Europe, and everywhere meeting with approbation.  Bonaparte also was extremely fond