COURTESANS.

By courtesans, I mean those ladies who, decked out in all the luxury

of dress, if not covered with diamonds, put up their favours to the

highest bidder, without having either more beauty or accomplishments,

perhaps, than the distressed female who sells hers at the lowest

price. But caprice, good fortune, intrigue, or artifice, sometimes

occasions an enormous distance between women who have the same views.

If the ancients made great sacrifices for the Phrynes, the Laïses, or

the Aspasias of the day, among the moderns, no nation has, in that

respect, surpassed the French. Every one has heard of the luxurious

extravagance of Mademoiselle Deschamps, the cushion of whose

_chaise-percée_, was trimmed with point-lace of very considerable

value, and the harness of whose carriage was studded with paste, in

imitation of diamonds. This woman, however, lived to repent of her

folly; and if she did not literally die in a poorhouse, she at least

ended her days in wretchedness.

Before the revolution, of all the gay ladies in Paris, Madame

Grandval displayed the greatest luxury in her equipage; and

Mademoiselle D'Hervieux, in her house. I knew them both. The former I

have seen at Longchamp, as well as at the annual review of the king's

household troops, in a splendid coach, as fine as that of any Lord

Mayor, drawn by a set of eight English grays, which cost a hundred

and twenty guineas a horse. She sat, like a queen, adorned with a

profusion of jewels; and facing her was a _dame de compagnie_,

representing a lady of the bedchamber. Behind the carriage, stood no

less than three tall footmen, besides a chasseur, in the style of

that of the Duke of Gloucester, in rich liveries, with swords, canes,

and bags.

As for the house of Mademoiselle D'Hervieux, it was every thing that

oriental luxury, combined with French taste, could unite on a small

scale. Although of very low origin, and by no means gifted with a

handsome person, this lady, after having, rather late in life,

obtained an introduction on the opera-stage as a common _figurante_,

contrived to insinuate herself into the good graces of some rich

protectors. On the _Chaussée d'Antin_, they built for her this palace

in miniature, which, twelve years ago, was the object of universal

admiration, and, in fact, was visited by strangers as one of the

curiosities of Paris.

At the present day, one neither sees nor hears of such favourites of

fortune; and, for want of subjects to paint under this head, I must

proceed to those of the next rank, who are styled

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