doctors ordered horseback exercise and the amusements of society.
Mademoiselle des Touches became, in consequence, an admirable
horsewoman, and recovered her health in a few months.

At the age of eighteen she appeared in the world, where she produced
so great a sensation that no one in Nantes called her anything else
than "the beautiful Mademoiselle des Touches." Led to enter society by
one of the imperishable sentiments in the heart of a woman, however
superior she may be, the worship she inspired found her cold and
unresponsive. Hurt by her aunt and her cousins, who ridiculed her
studies and teased her about her unwillingness for society, which they
attributed to a lack of the power of pleasing, Felicite resolved on
making herself coquettish, gay, volatile,--a woman, in short. But she
expected in return an exchange of ideas, seductions, and pleasures in
harmony with the elevation of her own mind and the extent of its
knowledge. Instead of that, she was filled with disgust for the
commonplaces of conversation, the silliness of gallantry; and more
especially was she shocked by the supremacy of military men, to whom
society made obeisance at that period. She had, not unnaturally,
neglected the minor accomplishments. Finding herself inferior to the
pretty dolls who played on the piano and made themselves agreeable by
singing ballads, she determined to be a musician. Retiring into her
former solitude she set to work resolvedly, under the direction of the
best master in the town. She was rich, and she sent for Steibelt when
the time came to perfect herself. The astonished town still talks of
this princely conduct. The stay of that master cost her twelve
thousand francs. Later, when she went to Paris, she studied harmony
and thorough-bass, and composed the music of two operas which have had
great success, though the public has never been admitted to the secret
of their authorship. Ostensibly these operas are by Conti, one of the