Poor Relations by Honore de Balzac (page 10)

a year, he says, and we are to go to live in the country a long way off, in the Vosges.”

At the word /Vosges/ the Baroness sat lost in reverie. It called up the vision of her native village. She was roused from her melancholy meditation by the entrance of the stove-fitter, who came to assure her of his prosperity.

“In a year’s time, madame, I can repay the money you lent us, for it is God’s money, the money of the poor and wretched. If ever I make a fortune, come to me for what you want, and I will render through you the help to others which you first brought us.”

“Just now,” said Madame Hulot, “I do not need your money, but I ask your assistance in a good work. I have just seen that little Judici, who is living with an old man, and I mean to see them regularly and legally married.”

“Ah! old Vyder; he is a very worthy old fellow, with plenty of good sense. The poor old man has already made friends in the neighborhood, though he has been here but two months. He keeps my accounts for me. He is, I believe, a brave Colonel who served the Emperor well. And how he adores Napoleon!–He has some orders, but he never wears them. He is waiting till he is straight again, for he is in debt, poor old boy! In fact, I believe he is hiding, threatened by the law–“

“Tell him that I will pay his debts if he will marry the child.”

“Oh, that will soon be settled.–Suppose you were to see him, madame; it is not two steps away, in the Passage du Soleil.”

So the lady and the stove-fitter went out.

“This way, madame,” said the man, turning down the Rue de la Pepiniere.

The alley runs, in fact, from the bottom of this street through to the Rue du Rocher. Halfway down this passage, recently opened through, where the shops let at a very low rent, the Baroness saw on a window, screened up to a height with a green, gauze curtain, which excluded the prying eyes of the passer-by, the words:

“ECRIVAIN PUBLIC”; and on the door the announcement:

BUSINESS TRANSACTED.

/Petitions Drawn Up, Accounts Audited, Etc./

/With Secrecy and Dispatch./

The shop was like one of those little offices where travelers by omnibus wait the vehicles to take them on to their destination. A private staircase led up, no doubt, to the living-rooms on the entresol which were let with the shop. Madame Hulot saw a dirty writing-table of some light wood, some letter-boxes, and a wretched second-hand chair. A cap with a peak and a greasy green shade for the eyes suggested either precautions for disguise, or weak eyes, which was not unlikely in an old man.

“He is upstairs,” said the stove-fitter. “I will go up and tell him to come down.”

Adeline lowered her veil and took a seat. A heavy step made the narrow stairs creak, and Adeline could not restrain a piercing cry when she saw her husband, Baron Hulot, in a gray knitted jersey, old gray flannel trousers, and slippers.

“What is your business, madame?” said Hulot, with a flourish.

She rose, seized Hulot by the arm, and said in a voice hoarse with emotion:

“At last–I have found you!”

“Adeline!” exclaimed the Baron in bewilderment, and he locked the shop door. “Joseph, go out the back way,” he added to the stove-fitter.

“My dear!” she said, forgetting everything in her excessive joy, “you can come home to us all; we are rich. Your son draws a hundred and sixty thousand francs a year! Your pension is released; there are fifteen thousand francs of arrears you can get on showing that you are alive. Valerie is dead, and left you three hundred thousand francs.

“Your name is quite forgotten by this time; you may reappear in the world, and you will find a fortune awaiting you at your son’s house. Come; our happiness will be complete. For nearly three years I have been seeking you, and I felt so sure of finding you that a room is ready waiting for you. Oh! come away from this, come away from the dreadful state I see you in!”

“I am very willing,” said the bewildered Baron, “but can I take the girl?”

“Hector, give her up! Do that much for your Adeline, who has never before asked you to make the smallest sacrifice. I promise you I will give the child a marriage portion; I will see that she marries well, and has some education. Let it be said of one of the women who have given you happiness that she too is happy; and do not relapse into vice, into the mire.”

“So it was you,” said the Baron, with a smile, “who wanted to see me married?–Wait a few minutes,” he added; “I will go upstairs and dress; I have some decent clothes in a trunk.”

Adeline, left alone, and looking round the squalid shop, melted into tears.

“He has been living here, and we rolling in wealth!” said she to herself. “Poor man, he has indeed been punished–he who was elegance itself.”

The stove-fitter returned to make his bow to his benefactress, and she desired him to fetch a coach. When he came back, she begged him to give little Atala Judici a home, and to take her away at once.

“And tell her that if she will place herself under the guidance of Monsieur the Cure of the Madeleine, on the day when she attends her first Communion I will give her thirty thousand francs and find her a good husband, some worthy young man.”

“My eldest son, then madame! He is two-and-twenty, and he worships the child.”

The Baron now came down; there were tears in his eyes.

“You are forcing me to desert the only creature who had ever begun to love me at all as you do!” said he in a whisper to his wife. “She is crying bitterly, and I cannot abandon her so–“

“Be quite easy, Hector. She will find a home with honest people, and I will answer for her conduct.”

“Well, then, I can go with you,” said the Baron, escorting his wife to the cab.

Hector, the Baron d’Ervy once more, had put on a blue coat and trousers, a white waistcoat, a black stock, and gloves. When the Baroness had taken her seat in the vehicle, Atala slipped in like an eel.

“Oh, madame,” she said, “let me go with you. I will be so good, so obedient; I will do whatever you wish; but do not part me from my Daddy Vyder, my kind Daddy who gives me such nice things. I shall be beaten–“

“Come, come, Atala,” said the Baron, “this lady is my wife–we must part–“

“She! As old as that! and shaking like a leaf!” said the child. “Look at her head!” and she laughingly mimicked the Baroness’ palsy.

The stove-fitter, who had run after the girl, came to the carriage door.

“Take her away!” said Adeline. The man put his arms round Atala and fairly carried her off.

“Thanks for such a sacrifice, my dearest,” said Adeline, taking the Baron’s hand and clutching it with delirious joy. “How much you are altered! you must have suffered so much! What a surprise for Hortense and for your son!”

Adeline talked as lovers talk who meet after a long absence, of a hundred things at once.

In ten minutes the Baron and his wife reached the Rue Louis-le-Grand, and there Adeline found this note awaiting her:–

“MADAME LA BARONNE,–

“Monsieur le Baron Hulot d’Ervy lived for one month in the Rue de Charonne under the name of Thorec, an anagram of Hector. He is now in the Passage du Soleil by the name of Vyder. He says he is an Alsatian, and does writing, and he lives with a girl named Atala Judici. Be very cautious, madame, for search is on foot; the Baron is wanted, on what score I know not.

“The actress has kept her word, and remains, as ever,

“Madame la Baronne, your humble servant, “J. M.”

The Baron’s return was hailed with such joy as reconciled him to domestic life. He forgot little Atala Judici, for excesses of profligacy had reduced him to the volatility of feeling that is characteristic of childhood. But the happiness of the family was dashed by the change that had come over him. He had been still hale when he had gone away from his home; he had come back almost a hundred, broken, bent, and his expression even debased.

A splendid dinner, improvised by Celestine, reminded the old man of the singer’s banquets; he was dazzled by the splendor of his home.

“A feast in honor of the return of the prodigal father?” said he in a murmur to Adeline.

“Hush!” said she, “all is forgotten.”

“And Lisbeth?” he asked, not seeing the old maid.

“I am sorry to say that she is in bed,” replied Hortense. “She can never get up, and we shall have the grief of losing her ere long. She hopes to see you after dinner.”

At daybreak next morning Victorin Hulot was informed by the porter’s wife that soldiers of the municipal guard were posted all round the premises; the police demanded Baron Hulot. The bailiff, who had followed the woman, laid a summons in due form before the lawyer, and asked him whether he meant to pay his father’s debts. The claim was for ten thousand francs at the suit of an usurer named Samanon, who had probably lent the Baron two or three thousand at most. Victorin desired the bailiff to dismiss his men, and paid.

“But is it the last?” he anxiously wondered.

Lisbeth, miserable already at seeing the family so prosperous, could not survive this happy event. She grew so rapidly worse that Bianchon gave her but a week to live, conquered at last in the long struggle in which she had scored so many victories.

She kept the secret of her hatred even through a painful death from pulmonary consumption. And, indeed, she had the supreme satisfaction of seeing Adeline, Hortense, Hulot, Victorin, Steinbock, Celestine, and their children standing in tears round her bed and mourning for her as the angel of the family.

Baron Hulot, enjoying a course of solid food such as he had not known for nearly three years, recovered flesh and strength, and was almost himself again. This improvement was such a joy to Adeline that her nervous trembling perceptibly diminished.

“She will be happy after all,” said Lisbeth to herself on the day before she died, as she saw the veneration with which the Baron regarded his wife, of whose sufferings he had heard from Hortense and Victorin.

And vindictiveness hastened Cousin Betty’s end. The family followed her, weeping, to the grave.

The Baron and Baroness, having reached the age which looks for perfect rest, gave up the handsome rooms on the first floor to the Count and Countess Steinbock, and took those above. The Baron by his son’s exertions found an official position in the management of a railroad, in 1845, with a salary of six thousand francs, which, added to the six thousand of his pension and the money left to him by Madame Crevel, secured him an income of twenty-four thousand francs. Hortense having enjoyed her independent income during the three years of separation from Wenceslas, Victorin now invested the two hundred thousand francs he had in trust, in his sister’s name and he allowed her twelve thousand francs.

Wenceslas, as the husband of a rich woman, was not unfaithful, but he was an idler; he could not make up his mind to begin any work, however trifling. Once more he became the artist /in partibus/; he was popular in society, and consulted by amateurs; in short, he became a critic, like all the feeble folk who fall below their promise.

Thus each household, though living as one family, had its own fortune. The Baroness, taught by bitter experience, left the management of matters to her son, and the Baron was thus reduced to his salary, in hope that the smallness of his income would prevent his relapsing into mischief. And by some singular good fortune, on which neither the mother nor the son had reckoned, Hulot seemed to have foresworn the fair sex. His subdued behaviour, ascribed to the course of nature, so completely reassured the family, that they enjoyed to the full his recovered amiability and delightful qualities. He was unfailingly attentive to his wife and children, escorted them to the play, reappeared in society, and did the honors to his son’s house with exquisite grace. In short, this reclaimed prodigal was the joy of his family.

He was a most agreeable old man, a ruin, but full of wit, having retained no more of his vice than made it an added social grace.

Of course, everybody was quite satisfied and easy. The young people and the Baroness lauded the model father to the skies, forgetting the death of the two uncles. Life cannot go on without much forgetting!

Madame Victorin, who managed this enormous household with great skill, due, no doubt, to Lisbeth’s training, had found it necessary to have a man-cook. This again necessitated a kitchen-maid. Kitchen-maids are in these days ambitious creatures, eager to detect the /chef’s/ secrets, and to become cooks as soon as they have learnt to stir a sauce. Consequently, the kitchen-maid is liable to frequent change.

At the beginning of 1845 Celestine engaged as kitchen-maid a sturdy Normandy peasant come from Isigny–short-waisted, with strong red arms, a common face, as dull as an “occasional piece” at the play, and hardly to be persuaded out of wearing the classical linen cap peculiar to the women of Lower Normandy. This girl, as buxom as a wet-nurse, looked as if she would burst the blue cotton check in which she clothed her person. Her florid face might have been hewn out of stone, so hard were its tawny outlines.

Of course no attention was paid to the advent in the house of this girl, whose name was Agathe–an ordinary, wide-awake specimen, such as is daily imported from the provinces. Agathe had no attractions for the cook, her tongue was too rough, for she had served in a suburban inn, waiting on carters; and instead of making a conquest of her chief and winning from him the secrets of the high art of the kitchen, she was the object of his great contempt. The /chef’s/ attentions were, in fact, devoted to Louise, the Countess Steinbock’s maid. The country girl, thinking herself ill-used, complained bitterly that she was always sent out of the way on some pretext when the /chef/ was finishing a dish or putting the crowning touch to a sauce.

“I am out of luck,” said she, “and I shall go to another place.”

And yet she stayed though she had twice given notice to quit.

One night, Adeline, roused by some unusual noise, did not see Hector in the bed he occupied near hers; for they slept side by side in two beds, as beseemed an old couple. She lay awake an hour, but he did not return. Seized with a panic, fancying some tragic end had overtaken him–an apoplectic attack, perhaps–she went upstairs to the floor occupied by the servants, and then was attracted to the room where Agathe slept, partly by seeing a light below the door, and partly by the murmur of voices. She stood still in dismay on recognizing the voice of her husband, who, a victim to Agathe’s charms, to vanquish this strapping wench’s not disinterested resistance, went to the length of saying:

“My wife has not long to live, and if you like you may be a Baroness.”

Adeline gave a cry, dropped her candlestick, and fled.

Three days later the Baroness, who had received the last sacraments, was dying, surrounded by her weeping family.

Just before she died, she took her husband’s hand and pressed it, murmuring in his ear:

“My dear, I had nothing left to give up to you but my life. In a minute or two you will be free, and can make another Baronne Hulot.”

And, rare sight, tears oozed from her dead eyes.

This desperateness of vice had vanquished the patience of the angel, who, on the brink of eternity, gave utterance to the only reproach she had ever spoken in her life.

The Baron left Paris three days after his wife’s funeral. Eleven months after Victorin heard indirectly of his father’s marriage to Mademoiselle Agathe Piquetard, solemnized at Isigny, on the 1st February 1846.

“Parents may hinder their children’s marriage, but children cannot interfere with the insane acts of their parents in their second childhood,” said Maitre Hulot to Maitre Popinot, the second son of the Minister of Commerce, who was discussing this marriage.

ADDENDUM

The following personages appear in other stories of the Human Comedy.

Beauvisage, Phileas
The Member for Arcis

Berthier (Parisian notary)
Cousin Pons

Bianchon, Horace
Father Goriot
The Atheist’s Mass
Cesar Birotteau
The Commission in Lunacy
Lost Illusions
A Distinguished Provincial at Paris A Bachelor’s Establishment
The Secrets of a Princess
The Government Clerks
Pierrette
A Study of Woman
Scenes from a Courtesan’s Life
Honorine
The Seamy Side of History
The Magic Skin
A Second Home
A Prince of Bohemia
Letters of Two Brides
The Muse of the Department
The Imaginary Mistress
The Middle Classes
The Country Parson
In addition, M. Bianchon narrated the following: Another Study of Woman
La Grande Breteche

Bixiou, Jean-Jacques
The Purse
A Bachelor’s Establishment
The Government Clerks
Modeste Mignon
Scenes from a Courtesan’s Life
The Firm of Nucingen
The Muse of the Department
The Member for Arcis
Beatrix
A Man of Business
Gaudissart II.
The Unconscious Humorists
Cousin Pons

Braulard
A Distinguished Provincial at Paris Cousin Pons

Bridau, Joseph
The Purse
A Bachelor’s Establishment
A Distinguished Provincial at Paris A Start in Life
Modeste Mignon
Another Study of Woman
Pierre Grassou
Letters of Two Brides
The Member for Arcis

Brisetout, Heloise
Cousin Pons
The Middle Classes

Cadine, Jenny
Beatrix
The Unconscious Humorists
The Member for Arcis

Chanor
Cousin Pons

Chocardelle, Mademoiselle
Beatrix
A Prince of Bohemia
A Man of Business
The Member for Arcis

Colleville, Flavie Minoret, Madame
The Government Clerks
The Middle Classes

Collin, Jacqueline
Scenes from a Courtesan’s Life
The Unconscious Humorists

Crevel, Celestin
Cesar Birotteau
Cousin Pons

Esgrignon, Victurnien, Comte (then Marquis d’) Jealousies of a Country Town
Letters of Two Brides
A Man of Business
The Secrets of a Princess

Falcon, Jean
The Chouans
The Muse of the Department

Graff, Wolfgang
Cousin Pons

Grassou, Pierre
Pierre Grassou
A Bachelor’s Establishment
The Middle Classes
Cousin Pons

Grindot
Cesar Birotteau
Lost Illusions
A Distinguished Provincial at Paris A Start in Life
Scenes from a Courtesan’s Life
Beatrix
The Middle Classes

Hannequin, Leopold
Albert Savarus
Beatrix
Cousin Pons

Herouville, Duc d’
The Hated Son
Jealousies of a Country Town
Modeste Mignon

Hulot (Marshal)
The Chouans
The Muse of the Department

Hulot, Victorin
The Member for Arcis

La Bastie la Briere, Madame Ernest de Modeste Mignon
The Member for Arcis

La Baudraye, Madame Polydore Milaud de The Muse of the Department
A Prince of Bohemia

La Chanterie, Baronne Henri le Chantre de The Seamy Side of History

Laginski, Comte Adam Mitgislas
Another Study of Woman
The Imaginary Mistress

La Palferine, Comte de
A Prince of Bohemia
A Man of Business
Beatrix
The Imaginary Mistress

La Roche-Hugon, Martial de
Domestic Peace
The Peasantry
A Daughter of Eve
The Member for Arcis
The Middle Classes

Lebas, Joseph
At the Sign of the Cat and Racket
Cesar Birotteau

Lebas, Madame Joseph (Virginie)
At the Sign of the Cat and Racket
Cesar Birotteau

Lebas
The Muse of the Department

Lefebvre, Robert
The Gondreville Mystery

Lenoncourt-Givry, Duc de
Letters of Two Brides
The Member for Arcis

Lora, Leon de
The Unconscious Humorists
A Bachelor’s Establishment
A Start in Life
Pierre Grassou
Honorine
Beatrix

Lousteau, Etienne
A Distinguished Provincial at Paris A Bachelor’s Establishment
Scenes from a Courtesan’s Life
A Daughter of Eve
Beatrix
The Muse of the Department
A Prince of Bohemia
A Man of Business
The Middle Classes
The Unconscious Humorists

Massol
Scenes from a Courtesan’s Life
The Magic Skin
A Daughter of Eve
The Unconscious Humorists

Montauran, Marquis de (younger brother of Alphonse de) The Chouans
The Seamy Side of History

Montcornet, Marechal, Comte de
Domestic Peace
Lost Illusions
A Distinguished Provincial at Paris Scenes from a Courtesan’s Life
The Peasantry
A Man of Business

Navarreins, Duc de
A Bachelor’s Establishment
Colonel Chabert
The Muse of the Department
The Thirteen
Jealousies of a Country Town
The Peasantry
Scenes from a Courtesan’s Life
The Country Parson
The Magic Skin
The Gondreville Mystery
The Secrets of a Princess

Nourrisson, Madame
Scenes from a Courtesan’s Life
The Unconscious Humorists

Nucingen, Baron Frederic de
The Firm of Nucingen
Father Goriot
Pierrette
Cesar Birotteau
Lost Illusions
A Distinguished Provincial at Paris Scenes from a Courtesan’s Life
Another Study of Woman
The Secrets of a Princess
A Man of Business
The Muse of the Department
The Unconscious Humorists

Paz, Thaddee
The Imaginary Mistress

Popinot, Anselme
Cesar Birotteau
Gaudissart the Great
Cousin Pons

Popinot, Madame Anselme
Cesar Birotteau
A Prince of Bohemia
Cousin Pons

Popinot, Vicomte
Cousin Pons

Rastignac, Eugene de
Father Goriot
A Distinguished Provincial at Paris Scenes from a Courtesan’s Life
The Ball at Sceaux
The Commission in Lunacy
A Study of Woman
Another Study of Woman
The Magic Skin
The Secrets of a Princess
A Daughter of Eve
The Gondreville Mystery
The Firm of Nucingen
The Member for Arcis
The Unconscious Humorists

Rivet, Achille
Cousin Pons

Rochefide, Marquis Arthur de
Beatrix

Ronceret, Madame Fabien du
Beatrix
The Muse of the Department
The Unconscious Humorists

Samanon
A Distinguished Provincial at Paris The Government Clerks
A Man of Business

Sinet, Seraphine
The Unconscious Humorists

Steinbock, Count Wenceslas
The Imaginary Mistress

Stidmann
Modeste Mignon
Beatrix
The Member for Arcis
Cousin Pons
The Unconscious Humorists

Tillet, Ferdinand du
Cesar Birotteau
The Firm of Nucingen
The Middle Classes
A Bachelor’s Establishment
Pierrette
Melmoth Reconciled
A Distinguished Provincial at Paris The Secrets of a Princess
A Daughter of Eve
The Member for Arcis
The Unconscious Humorists

Trailles, Comte Maxime de
Cesar Birotteau
Father Goriot
Gobseck
Ursule Mirouet
A Man of Business
The Member for Arcis
The Secrets of a Princess
The Member for Arcis
Beatrix
The Unconscious Humorists

Turquet, Marguerite
The Imaginary Mistress
The Muse of the Department
A Man of Business

Vauvinet
The Unconscious Humorists

Vernisset, Victor de
The Seamy Side of History
Beatrix

Vernou, Felicien
A Bachelor’s Establishment
Lost Illusions
A Distinguished Provincial at Paris Scenes from a Courtesan’s Life
A Daughter of Eve

Vignon, Claude
A Distinguished Provincial at Paris A Daughter of Eve
Honorine
Beatrix
The Unconscious Humorists

II

COUSIN PONS

BY

HONORE DE BALZAC

Translated by

Ellen Marriage

COUSIN PONS

Towards three o’clock in the afternoon of one October day in the year 1844, a man of sixty or thereabouts, whom anybody might have credited with more than his actual age, was walking along the Boulevard des Italiens with his head bent down, as if he were tracking some one. There was a smug expression about the mouth–he looked like a merchant who has just done a good stroke of business, or a bachelor emerging from a boudoir in the best of humors with himself; and in Paris this is the highest degree of self-satisfaction ever registered by a human countenance.

As soon as the elderly person appeared in the distance, a smile broke out over the faces of the frequenters of the boulevard, who daily, from their chairs, watch the passers-by, and indulge in the agreeable pastime of analyzing them. That smile is peculiar to Parisians; it says so many things–ironical, quizzical, pitying; but nothing save the rarest of human curiosities can summon that look of interest to the faces of Parisians, sated as they are with every possible sight.

A saying recorded of Hyacinthe, an actor celebrated for his repartees, will explain the archaeological value of the old gentleman, and the smile repeated like an echo by all eyes. Somebody once asked Hyacinthe where the hats were made that set the house in a roar as soon as he appeared. “I don’t have them made,” he said; “I keep them!” So also among the million actors who make up the great troupe of Paris, there are unconscious Hyacinthes who “keep” all the absurd freaks of vanished fashions upon their backs; and the apparition of some bygone decade will startle you into laughter as you walk the streets in bitterness of soul over the treason of one who was your friend in the past.

In some respects the passer-by adhered so faithfully to the fashions of the year 1806, that he was not so much a burlesque caricature as a reproduction of the Empire period. To an observer, accuracy of detail in a revival of this sort is extremely valuable, but accuracy of detail, to be properly appreciated, demands the critical attention of an expert /flaneur/; while the man in the street who raises a laugh as soon as he comes in sight is bound to be one of those outrageous exhibitions which stare you in the face, as the saying goes, and produce the kind of effect which an actor tries to secure for the success of his entry. The elderly person, a thin, spare man, wore a nut-brown spencer over a coat of uncertain green, with white metal buttons. A man in a spencer in the year 1844! it was as if Napoleon himself had vouchsafed to come to life again for a couple of hours.

The spencer, as its name indicates, was the invention of an English lord, vain, doubtless, of his handsome shape. Some time before the Peace of Amiens, this nobleman solved the problem of covering the bust without destroying the outlines of the figure and encumbering the person with the hideous boxcoat, now finishing its career on the backs of aged hackney cabmen; but, elegant figures being in the minority, the success of the spencer was short-lived in France, English though it was.

At the sight of the spencer, men of forty or fifty mentally invested the wearer with top-boots, pistachio-colored kerseymere small clothes adorned with a knot of ribbon; and beheld themselves in the costumes of their youth. Elderly ladies thought of former conquests; but the younger men were asking each other why the aged Alcibiades had cut off the skirts of his overcoat. The rest of the costume was so much in keeping with the spencer, that you would not have hesitated to call the wearer “an Empire man,” just as you call a certain kind of furniture “Empire furniture;” yet the newcomer only symbolized the Empire for those who had known that great and magnificent epoch at any rate /de visu/, for a certain accuracy of memory was needed for the full appreciation of the costume, and even now the Empire is so far away that not every one of us can picture it in its Gallo-Grecian reality.

The stranger’s hat, for instance, tipped to the back of his head so as to leave almost the whole forehead bare, recalled a certain jaunty air, with which civilians and officials attempted to swagger it with military men; but the hat itself was a shocking specimen of the fifteen-franc variety. Constant friction with a pair of enormous ears had left their marks which no brush could efface from the underside of the brim; the silk tissue (as usual) fitted badly over the cardboard foundation, and hung in wrinkles here and there; and some skin-disease (apparently) had attacked the nap in spite of the hand which rubbed it down of a morning.

Beneath the hat, which seemed ready to drop off at any moment, lay an expanse of countenance grotesque and droll, as the faces which the Chinese alone of all people can imagine for their quaint curiosities. The broad visage was as full of holes as a colander, honeycombed with the shadows of the dints, hollowed out like a Roman mask. It set all the laws of anatomy at defiance. Close inspection failed to detect the substructure. Where you expected to find a bone, you discovered a layer of cartilaginous tissue, and the hollows of an ordinary human face were here filled out with flabby bosses. A pair of gray eyes, red-rimmed and lashless, looked forlornly out of a countenance which was flattened something after the fashion of a pumpkin, and surmounted by a Don Quixote nose that rose out of it like a monolith above a plain. It was the kind of nose, as Cervantes must surely have explained somewhere, which denotes an inborn enthusiasm for all things great, a tendency which is apt to degenerate into credulity.

And yet, though the man’s ugliness was something almost ludicrous, it aroused not the slightest inclination to laugh. The exceeding melancholy which found an outlet in the poor man’s faded eyes reached the mocker himself and froze the gibes on his lips; for all at once the thought arose that this was a human creature to whom Nature had forbidden any expression of love or tenderness, since such expression could only be painful or ridiculous to the woman he loved. In the presence of such misfortune a Frenchman is silent; to him it seems the most cruel of all afflictions–to be unable to please!

The man so ill-favored was dressed after the fashion of shabby gentility, a fashion which the rich not seldom try to copy. He wore low shoes beneath gaiters of the pattern worn by the Imperial Guard, doubtless for the sake of economy, because they kept the socks clean. The rusty tinge of his black breeches, like the cut and the white or shiny line of the creases, assigned the date of the purchase some three years back. The roomy garments failed to disguise the lean proportions of the wearer, due apparently rather to constitution than to a Pythagorean regimen, for the worthy man was endowed with thick lips and a sensual mouth; and when he smiled, displayed a set of white teeth which would have done credit to a shark.

A shawl-waistcoat, likewise of black cloth, was supplemented by a white under-waistcoat, and yet again beneath this gleamed the edge of a red knitted under-jacket, to put you in mind of Garat’s five waistcoats. A huge white muslin stock with a conspicuous bow, invented by some exquisite to charm “the charming sex” in 1809, projected so far above the wearer’s chin that the lower part of his face was lost, as it were, in a muslin abyss. A silk watch-guard, plaited to resemble the keepsakes made of hair, meandered down the shirt front and secured his watch from the improbable theft. The greenish coat, though older by some three years than the breeches, was remarkably neat; the black velvet collar and shining metal buttons, recently renewed, told of carefulness which descended even to trifles.

The particular manner of fixing the hat on the occiput, the triple waistcoat, the vast cravat engulfing the chin, the gaiters, the metal buttons on the greenish coat,–all these reminiscences of Imperial fashions were blended with a sort of afterwaft and lingering perfume of the coquetry of the Incroyable–with an indescribable finical something in the folds of the garments, a certain air of stiffness and correctness in the demeanor that smacked of the school of David, that recalled Jacob’s spindle-legged furniture.

At first sight, moreover, you set him down either for the gentleman by birth fallen a victim to some degrading habit, or for the man of small independent means whose expenses are calculated to such a nicety that the breakage of a windowpane, a rent in a coat, or a visit from the philanthropic pest who asks you for subscriptions to a charity, absorbs the whole of a month’s little surplus of pocket-money. If you had seen him that afternoon, you would have wondered how that grotesque face came to be lighted up with a smile; usually, surely, it must have worn the dispirited, passive look of the obscure toiler condemned to labor without ceasing for the barest necessaries of life. Yet when you noticed that the odd-looking old man was carrying some object (evidently precious) in his right hand with a mother’s care; concealing it under the skirts of his coat to keep it from collisions in the crowd, and still more, when you remarked that important air always assumed by an idler when intrusted with a commission, you would have suspected him of recovering some piece of lost property, some modern equivalent of the marquise’s poodle; you would have recognized the assiduous gallantry of the “man of the Empire” returning in triumph from his mission to some charming woman of sixty, reluctant as yet to dispense with the daily visit of her elderly /attentif/.

In Paris only among great cities will you see such spectacles as this; for of her boulevards Paris makes a stage where a never-ending drama is played gratuitously by the French nation in the interests of Art.

In spite of the rashly assumed spencer, you would scarcely have thought, after a glance at the contours of the man’s bony frame, that this was an artist–that conventional type which is privileged, in something of the same way as a Paris gamin, to represent riotous living to the bourgeois and philistine mind, the most /mirific/ joviality, in short (to use the old Rabelaisian word newly taken into use). Yet this elderly person had once taken the medal and the traveling scholarship; he had composed the first cantata crowned by the Institut at the time of the re-establishment of the Academie de Rome; he was M. Sylvain Pons, in fact–M. Sylvain Pons, whose name appears on the covers of well-known sentimental songs trilled by our mothers, to say nothing of a couple of operas, played in 1815 and 1816, and divers unpublished scores. The worthy soul was now ending his days as the conductor of an orchestra in a boulevard theatre, and a music master in several young ladies’ boarding-schools, a post for which his face particularly recommended him. He was entirely dependent upon his earnings. Running about to give private lessons at his age! –Think of it. How many a mystery lies in that unromantic situation!

But the last man to wear the spencer carried something about him besides his Empire Associations; a warning and a lesson was written large over that triple waistcoat. Wherever he went, he exhibited, without fee or charge, one of the many victims of the fatal system of competition which still prevails in France in spite of a century of trial without result; for Poisson de Marigny, brother of the Pompadour and Director of Fine Arts, somewhere about 1746 invented this method of applying pressure to the brain. That was a hundred years ago. Try if you can count upon your fingers the men of genius among the prizemen of those hundred years.

In the first place, no deliberate effort of schoolmaster or administrator can replace the miracles of chance which produce great men: of all the mysteries of generation, this most defies the ambitious modern scientific investigator. In the second–the ancient Egyptians (we are told) invented incubator-stoves for hatching eggs; what would be thought of Egyptians who should neglect to fill the beaks of the callow fledglings? Yet this is precisely what France is doing. She does her utmost to produce artists by the artificial heat of competitive examination; but, the sculptor, painter, engraver, or musician once turned out by this mechanical process, she no more troubles herself about them and their fate than the dandy cares for yesterday’s flower in his buttonhole. And so it happens that the really great man is a Greuze, a Watteau, a Felicien David, a Pagnesi, a Gericault, a Decamps, an Auber, a David d’Angers, an Eugene Delacroix, or a Meissonier–artists who take but little heed of /grande prix/, and spring up in the open field under the rays of that invisible sun called Vocation.

To resume. The Government sent Sylvain Pons to Rome to make a great musician of himself; and in Rome Sylvain Pons acquired a taste for the antique and works of art. He became an admirable judge of those masterpieces of the brain and hand which are summed up by the useful neologism “bric-a-brac;” and when the child of Euterpe returned to Paris somewhere about the year 1810, it was in the character of a rabid collector, loaded with pictures, statuettes, frames, wood-carving, ivories, enamels, porcelains, and the like. He had sunk the greater part of his patrimony, not so much in the purchases themselves as on the expenses of transit; and every penny inherited from his mother had been spent in the course of a three-years’ travel in Italy after the residence in Rome came to an end. He had seen Venice, Milan, Florence, Bologna, and Naples leisurely, as he wished to see them, as a dreamer of dreams, and a philosopher; careless of the future, for an artist looks to his talent for support as the /fille de joie/ counts upon her beauty.

All through those splendid years of travel Pons was as happy as was possible to a man with a great soul, a sensitive nature, and a face so ugly that any “success with the fair” (to use the stereotyped formula of 1809) was out of the question; the realities of life always fell short of the ideals which Pons created for himself; the world without was not in tune with the soul within, but Pons had made up his mind to the dissonance. Doubtless the sense of beauty that he had kept pure and living in his inmost soul was the spring from which the delicate, graceful, and ingenious music flowed and won him reputation between 1810 and 1814.

Every reputation founded upon the fashion or the fancy of the hour, or upon the short-lived follies of Paris, produces its Pons. No place in the world is so inexorable in great things; no city of the globe so disdainfully indulgent in small. Pons’ notes were drowned before long in floods of German harmony and the music of Rossini; and if in 1824 he was known as an agreeable musician, a composer of various drawing-room melodies, judge if he was likely to be famous in 183l! In 1844, the year in which the single drama of this obscure life began, Sylvain Pons was of no more value than an antediluvian semiquaver; dealers in music had never heard of his name, though he was still composing, on scanty pay, for his own orchestra or for neighboring theatres.

And yet, the worthy man did justice to the great masters of our day; a masterpiece finely rendered brought tears to his eyes; but his religion never bordered on mania, as in the case of Hoffmann’s Kreislers; he kept his enthusiasm to himself; his delight, like the paradise reached by opium or hashish, lay within his own soul.

The gift of admiration, of comprehension, the single faculty by which the ordinary man becomes the brother of the poet, is rare in the city of Paris, that inn whither all ideas, like travelers, come to stay for awhile; so rare is it, that Pons surely deserves our respectful esteem. His personal failure may seem anomalous, but he frankly admitted that he was weak in harmony. He had neglected the study of counterpoint; there was a time when he might have begun his studies afresh and held his own among modern composers, when he might have been, not certainly a Rossini, but a Herold. But he was alarmed by the intricacies of modern orchestration; and at length, in the pleasures of collecting, he found such ever-renewed compensation for his failure, that if he had been made to choose between his curiosities and the fame of Rossini–will it be believed?–Pons would have pronounced for his beloved collection.

Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom–that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastian del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase. If he laid out as much as fifty francs, he was careful to assure himself beforehand that the object was worth three thousand. The most beautiful thing in the world, if it cost three hundred francs, did not exist for Pons. Rare had been his bargains; but he possessed the three qualifications for success–a stag’s legs, an idler’s disregard of time, and the patience of a Jew.

This system, carried out for forty years, in Rome or Paris alike, had borne its fruits. Since Pons returned from Italy, he had regularly spent about two thousand francs a year upon a collection of masterpieces of every sort and description, a collection hidden away from all eyes but his own; and now his catalogue had reached the incredible number of 1907. Wandering about Paris between 1811 and 1816, he had picked up many a treasure for ten francs, which would fetch a thousand or twelve hundred to-day. Some forty-five thousand canvases change hands annually in Paris picture sales, and these Pons had sifted through year by year. Pons had Sevres porcelain, /pate tendre/, bought of Auvergnats, those satellites of the Black Band who sacked chateaux and carried off the marvels of Pompadour France in their tumbril carts; he had, in fact, collected the drifted wreck of the seventeenth and eighteenth centuries; he recognized the genius of the French school, and discerned the merit of the Lepautres and Lavallee-Poussins and the rest of the great obscure creators of the Genre Louis Quinze and the Genre Louis Seize. Our modern craftsmen now draw without acknowledgment from them, pore incessantly over the treasures of the Cabinet des Estampes, borrow adroitly, and give out their /pastiches/ for new inventions. Pons had obtained many a piece by exchange, and therein lies the ineffable joy of the collector. The joy of buying bric-a-brac is a secondary delight; in the give-and-take of barter lies the joy of joys. Pons had begun by collecting snuff-boxes and miniatures; his name was unknown in bric-a-bracology, for he seldom showed himself in salesrooms or in the shops of well-known dealers; Pons was not aware that his treasures had any commercial value.

The late lamented Dusommerard tried his best to gain Pons’ confidence, but the prince of bric-a-brac died before he could gain an entrance to the Pons museum, the one private collection which could compare with the famous Sauvageot museum. Pons and M. Sauvageot indeed resembled each other in more ways than one. M. Sauvageot, like Pons, was a musician; he was likewise a comparatively poor man, and he had collected his bric-a-brac in much the same way, with the same love of art, the same hatred of rich capitalists with well-known names who collect for the sake of running up prices as cleverly as possible. There was yet another point of resemblance between the pair; Pons, like his rival competitor and antagonist, felt in his heart an insatiable craving after specimens of the craftsman’s skill and miracles of workmanship; he loved them as a man might love a fair mistress; an auction in the salerooms in the Rue des Jeuneurs, with its accompaniments of hammer strokes and brokers’ men, was a crime of /lese-bric-a-brac/ in Pons’ eyes. Pons’ museum was for his own delight at every hour; for the soul created to know and feel all the beauty of a masterpiece has this in common with the lover–to-day’s joy is as great as the joy of yesterday; possession never palls; and a masterpiece, happily, never grows old. So the object that he held in his hand with such fatherly care could only be a “find,” carried off with what affection amateurs alone know!

After the first outlines of this biographical sketch, every one will cry at once, “Why! this is the happiest man on earth, in spite of his ugliness!” And, in truth, no spleen, no dullness can resist the counter-irritant supplied by a “craze,” the intellectual moxa of a hobby. You who can no longer drink of “the cup of pleasure,” as it has been called through all ages, try to collect something, no matter what (people have been known to collect placards), so shall you receive the small change for the gold ingot of happiness. Have you a hobby? You have transferred pleasure to the plane of ideas. And yet, you need not envy the worthy Pons; such envy, like all kindred sentiments, would be founded upon a misapprehension.

With a nature so sensitive, with a soul that lived by tireless admiration of the magnificent achievements of art, of the high rivalry between human toil and the work of Nature–Pons was a slave to that one of the Seven Deadly Sins with which God surely will deal least hardly; Pons was a glutton. A narrow income, combined with a passion for bric-a-brac, condemned him to a regimen so abhorrent to a discriminating palate, that, bachelor as he was, he had cut the knot of the problem by dining out every day.

Now, in the time of the Empire, celebrities were more sought after than at present, perhaps because there were so few of them, perhaps because they made little or no political pretension. In those days, besides, you could set up for a poet, a musician, or a painter, with so little expense. Pons, being regarded as the probable rival of Nicolo, Paer, and Berton, used to receive so many invitations, that he was forced to keep a list of engagements, much as barristers note down the cases for which they are retained. And Pons behaved like an artist. He presented his amphitryons with copies of his songs, he “obliged” at the pianoforte, he brought them orders for boxes at the Feydeau, his own theatre, he organized concerts, he was not above taking the fiddle himself sometimes in a relation’s house, and getting up a little impromptu dance. In those days, all the handsome men in France were away at the wars exchanging sabre-cuts with the handsome men of the Coalition. Pons was said to be, not ugly, but “peculiar-looking,” after the grand rule laid down by Moliere in Eliante’s famous couplets; but if he sometimes heard himself described as a “charming man” (after he had done some fair lady a service), his good fortune went no further than words.

It was between the years 1810 and 1816 that Pons contracted the unlucky habit of dining out; he grew accustomed to see his hosts taking pains over the dinner, procuring the first and best of everything, bringing out their choicest vintages, seeing carefully to the dessert, the coffee, the liqueurs, giving him of their best, in short; the best, moreover, of those times of the Empire when Paris was glutted with kings and queens and princes, and many a private house emulated royal splendours.

People used to play at Royalty then as they play nowadays at parliament, creating a whole host of societies with presidents, vice-presidents, secretaries and what not–agricultural societies, industrial societies, societies for the promotion of sericulture, viticulture, the growth of flax, and so forth. Some have even gone so far as to look about them for social evils in order to start a society to cure them.

But to return to Pons. A stomach thus educated is sure to react upon the owner’s moral fibre; the demoralization of the man varies directly with his progress in culinary sapience. Voluptuousness, lurking in every secret recess of the heart, lays down the law therein. Honor and resolution are battered in breach. The tyranny of the palate has never been described; as a necessity of life it escapes the criticism of literature; yet no one imagines how many have been ruined by the table. The luxury of the table is indeed, in this sense, the courtesan’s one competitor in Paris, besides representing in a manner the credit side in another account, where she figures as the expenditure.

With Pons’ decline and fall as an artist came his simultaneous transformation from invited guest to parasite and hanger-on; he could not bring himself to quit dinners so excellently served for the Spartan broth of a two-franc ordinary. Alas! alas! a shudder ran through him at the mere thought of the great sacrifices which independence required him to make. He felt that he was capable of sinking to even lower depths for the sake of good living, if there were no other way of enjoying the first and best of everything, of guzzling (vulgar but expressive word) nice little dishes carefully prepared. Pons lived like a bird, pilfering his meal, flying away when he had taken his fill, singing a few notes by way of return; he took a certain pleasure in the thought that he lived at the expense of society, which asked of him–what but the trifling toll of grimaces? Like all confirmed bachelors, who hold their lodgings in horror, and live as much as possible in other people’s houses, Pons was accustomed to the formulas and facial contortions which do duty for feeling in the world; he used compliments as small change; and as far as others were concerned, he was satisfied with the labels they bore, and never plunged a too-curious hand into the sack.

This not intolerable phase lasted for another ten years. Such years! Pons’ life was closing with a rainy autumn. All through those years he contrived to dine without expense by making himself necessary in the houses which he frequented. He took the first step in the downward path by undertaking a host of small commissions; many and many a time Pons ran on errands instead of the porter or the servant; many a purchase he made for his entertainers. He became a kind of harmless, well-meaning spy, sent by one family into another; but he gained no credit with those for whom he trudged about, and so often sacrificed self-respect.

“Pons is a bachelor,” said they; “he is at a loss to know what to do with his time; he is only too glad to trot about for us.–What else would he do?”

Very soon the cold which old age spreads about itself began to set in; the communicable cold which sensibly lowers the social temperature, especially if the old man is ugly and poor. Old and ugly and poor–is not this to be thrice old? Pons’ winter had begun, the winter which brings the reddened nose, and frost-nipped cheeks, and the numbed fingers, numb in how many ways!

Invitations very seldom came for Pons now. So far from seeking the society of the parasite, every family accepted him much as they accepted the taxes; they valued nothing that Pons could do for them; real services from Pons counted for nought. The family circles in which the worthy artist revolved had no respect for art or letters; they went down on their knees to practical results; they valued nothing but the fortune or social position acquired since the year 1830. The bourgeoisie is afraid of intellect and genius, but Pons’ spirit and manner were not haughty enough to overawe his relations, and naturally he had come at last to be accounted less than nothing with them, though he was not altogether despised.

He had suffered acutely among them, but, like all timid creatures, he kept silence as to his pain; and so by degrees schooled himself to hide his feelings, and learned to take sanctuary in his inmost self. Many superficial persons interpret this conduct by the short word “selfishness;” and, indeed, the resemblance between the egoist and the solitary human creature is strong enough to seem to justify the harsher verdict; and this is especially true in Paris, where nobody observes others closely, where all things pass swift as waves, and last as little as a Ministry.

So Cousin Pons was accused of selfishness (behind his back); and if the world accuses any one, it usually finds him guilty and condemns him into the bargain. Pons bowed to the decision. Do any of us know how such a timid creature is cast down by an unjust judgment? Who will ever paint all that the timid suffer? This state of things, now growing daily worse, explains the sad expression on the poor old musician’s face; he lived by capitulations of which he was ashamed. Every time we sin against self-respect at the bidding of the ruling passion, we rivet its hold upon us; the more that passion requires of us, the stronger it grows, every sacrifice increasing, as it were, the value of a satisfaction for which so much has been given up, till the negative sum-total of renouncements looms very large in a man’s imagination. Pons, for instance, after enduring the insolently patronizing looks of some bourgeois, incased in buckram of stupidity, sipped his glass of port or finished his quail with breadcrumbs, and relished something of the savor of revenge, besides. “It is not too dear at the price!” he said to himself.

After all, in the eyes of the moralist, there were extenuating circumstances in Pons’ case. Man only lives, in fact, by some personal satisfaction. The passionless, perfectly righteous man is not human; he is a monster, an angel wanting wings. The angel of Christian mythology has nothing but a head. On earth, the righteous person is the sufficiently tiresome Grandison, for whom the very Venus of the Crosswords is sexless.

Setting aside one or two commonplace adventures in Italy, in which probably the climate accounted for his success, no woman had ever smiled upon Pons. Plenty of men are doomed to this fate. Pons was an abnormal birth; the child of parents well stricken in years, he bore the stigma of his untimely genesis; his cadaverous complexion might have been contracted in the flask of spirit-of-wine in which science preserves some extraordinary foetus. Artist though he was, with his tender, dreamy, sensitive soul, he was forced to accept the character which belonged to his face; it was hopeless to think of love, and he remained a bachelor, not so much of choice as of necessity. Then Gluttony, the sin of the continent monk, beckoned to Pons; he rushed upon temptation, as he had thrown his whole soul into the adoration of art and the cult of music. Good cheer and bric-a-brac gave him the small change for the love which could spend itself in no other way. As for music, it was his profession, and where will you find the man who is in love with his means of earning a livelihood? For it is with a profession as with marriage: in the long length you are sensible of nothing but the drawbacks.

Brillat-Savarin has deliberately set himself to justify the gastronome, but perhaps even he has not dwelt sufficiently on the reality of the pleasures of the table. The demands of digestion upon the human economy produce an internal wrestling-bout of human forces which rivals the highest degree of amorous pleasure. The gastronome is conscious of an expenditure of vital power, an expenditure so vast that the brain is atrophied (as it were), that a second brain, located in the diaphragm, may come into play, and the suspension of all the faculties is in itself a kind of intoxication. A boa constrictor gorged with an ox is so stupid with excess that the creature is easily killed. What man, on the wrong side of forty, is rash enough to work after dinner? And remark in the same connection, that all great men have been moderate eaters. The exhilarating effect of the wing of a chicken upon invalids recovering from serious illness, and long confined to a stinted and carefully chosen diet, has been frequently remarked. The sober Pons, whose whole enjoyment was concentrated in the exercise of his digestive organs, was in the position of chronic convalescence; he looked to his dinner to give him the utmost degree of pleasurable sensation, and hitherto he had procured such sensations daily. Who dares to bid farewell to old habit? Many a man on the brink of suicide has been plucked back on the threshold of death by the thought of the cafe where he plays his nightly game of dominoes.

In the year 1835, chance avenged Pons for the indifference of womankind by finding him a prop for his declining years, as the saying goes; and he, who had been old from his cradle, found a support in friendship. Pons took to himself the only life-partner permitted to him among his kind–an old man and a fellow-musician.

But for La Fontaine’s fable, /Les Deux Amis/, this sketch should have borne the title of /The Two Friends/; but to take the name of this divine story would surely be a deed of violence, a profanation from which every true man of letters would shrink. The title ought to be borne alone and for ever by the fabulist’s masterpiece, the revelation of his soul, and the record of his dreams; those three words were set once and for ever by the poet at the head of a page which is his by a sacred right of ownership; for it is a shrine before which all generations, all over the world, will kneel so long as the art of printing shall endure.

Pons’ friend gave lessons on the pianoforte. They met and struck up an acquaintance in 1834, one prize day at a boarding-school; and so congenial were their ways of thinking and living, that Pons used to say that he had found his friend too late for his happiness. Never, perhaps, did two souls, so much alike, find each other in the great ocean of humanity which flowed forth, in disobedience to the will of God, from its source in the Garden of Eden. Before very long the two musicians could not live without each other. Confidences were exchanged, and in a week’s time they were like brothers. Schmucke (for that was his name) had not believed that such a man as Pons existed, nor had Pons imagined that a Schmucke was possible. Here already you have a sufficient description of the good couple; but it is not every mind that takes kindly to the concise synthetic method, and a certain amount of demonstration is necessary if the credulous are to accept the conclusion.

This pianist, like all other pianists, was a German. A German, like the eminent Liszt and the great Mendelssohn, and Steibelt, and Dussek, and Meyer, and Mozart, and Doelher, and Thalberg, and Dreschok, and Hiller, and Leopold Hertz, Woertz, Karr, Wolff, Pixis, and Clara Wieck –and all Germans, generally speaking. Schmucke was a great musical composer doomed to remain a music master, so utterly did his character lack the audacity which a musical genius needs if he is to push his way to the front. A German’s naivete does not invariably last him through his life; in some cases it fails after a certain age; and even as a cultivator of the soil brings water from afar by means of irrigation channels, so, from the springs of his youth, does the Teuton draw the simplicity which disarms suspicion–the perennial supplies with which he fertilizes his labors in every field of science, art, or commerce. A crafty Frenchman here and there will turn a Parisian tradesman’s stupidity to good account in the same way. But Schmucke had kept his child’s simplicity much as Pons continued to wear his relics of the Empire–all unsuspectingly. The true and noble-hearted German was at once the theatre and the audience, making music within himself for himself alone. In this city of Paris he lived as a nightingale lives among the thickets; and for twenty years he sang on, mateless, till he met with a second self in Pons. [See /Une Fille d’Eve/.]

Both Pons and Schmucke were abundantly given, both by heart and disposition, to the peculiarly German sentimentality which shows itself alike in childlike ways–in a passion for flowers, in that form of nature-worship which prompts a German to plant his garden-beds with big glass globes for the sake of seeing miniature pictures of the view which he can behold about him of a natural size; in the inquiring turn of mind that sets a learned Teuton trudging three hundred miles in his gaiters in search of a fact which smiles up in his face from a wayside spring, or lurks laughing under the jessamine leaves in the back-yard; or (to take a final instance) in the German craving to endow every least detail in creation with a spiritual significance, a craving which produces sometimes Hoffmann’s tipsiness in type, sometimes the folios with which Germany hedges the simplest questions round about, lest haply any fool should fall into her intellectual excavations; and, indeed, if you fathom these abysses, you find nothing but a German at the bottom.

Both friends were Catholics. They went to Mass and performed the duties of religion together; and, like children, found nothing to tell their confessors. It was their firm belief that music is to feeling and thought as thought and feeling are to speech; and of their converse on this system there was no end. Each made response to the other in orgies of sound, demonstrating their convictions, each for each, like lovers.

Schmucke was as absent-minded as Pons was wide-awake. Pons was a collector, Schmucke a dreamer of dreams; Schmucke was a student of beauty seen by the soul, Pons a preserver of material beauty. Pons would catch sight of a china cup and buy it in the time that Schmucke took to blow his nose, wondering the while within himself whether the musical phrase that was ringing in his brain–the /motif/ from Rossini or Bellini or Beethoven or Mozart–had its origin or its counterpart in the world of human thought and emotion. Schmucke’s economies were controlled by an absent mind, Pons was a spendthrift through passion, and for both the result was the same–they had not a penny on Saint Sylvester’s day.

Perhaps Pons would have given way under his troubles if it had not been for this friendship; but life became bearable when he found some one to whom he could pour out his heart. The first time that he breathed a word of his difficulties, the good German had advised him to live as he himself did, and eat bread and cheese at home sooner than dine abroad at such a cost. Alas! Pons did not dare to confess that heart and stomach were at war within him, that he could digest affronts which pained his heart, and, cost what it might, a good dinner that satisfied his palate was a necessity to him, even as your gay Lothario must have a mistress to tease.

In time Schmucke understood; not just at once, for he was too much of a Teuton to possess that gift of swift perception in which the French rejoice; Schmucke understood and loved poor Pons the better. Nothing so fortifies a friendship as a belief on the part of one friend that he is superior to the other. An angel could not have found a word to say to Schmucke rubbing his hands over the discovery of the hold that gluttony had gained over Pons. Indeed, the good German adorned their breakfast-table next morning with delicacies of which he went in search himself; and every day he was careful to provide something new for his friend, for they always breakfasted together at home.

If any one imagines that the pair could not escape ridicule in Paris, where nothing is respected, he cannot know that city. When Schmucke and Pons united their riches and poverty, they hit upon the economical expedient of lodging together, each paying half the rent of the very unequally divided second-floor of a house in the Rue de Normandie in the Marais. And as it often happened that they left home together and walked side by side along their beat of boulevard, the idlers of the quarter dubbed them “the pair of nutcrackers,” a nickname which makes any portrait of Schmucke quite superfluous, for he was to Pons as the famous statue of the Nurse of Niobe in the Vatican is to the Tribune Venus.

Mme. Cibot, portress of the house in the Rue de Normandie, was the pivot on which the domestic life of the nutcrackers turned; but Mme. Cibot plays so large a part in the drama which grew out of their double existence, that it will be more appropriate to give her portrait on her first appearance in this Scene of Parisian Life.

One thing remains to be said of the characters of the pair of friends; but this one thing is precisely the hardest to make clear to ninety-nine readers out of a hundred in this forty-seventh year of the nineteenth century, perhaps by reason of the prodigious financial development brought about by the railway system. It is a little thing, and yet it is so much. It is a question, in fact, of giving an idea of the extreme sensitiveness of their natures. Let us borrow an illustration from the railways, if only by way of retaliation, as it were, for the loans which they levy upon us. The railway train of to-day, tearing over the metals, grinds away fine particles of dust, grains so minute that a traveler cannot detect them with the eye; but let a single one of those invisible motes find its way into the kidneys, it will bring about that most excruciating, and sometimes fatal, disease known as gravel. And our society, rushing like a locomotive along its metaled track, is heedless of the all but imperceptible dust made by the grinding of the wheels; but it was otherwise with the two musicians; the invisible grains of sand sank perpetually into the very fibres of their being, causing them intolerable anguish of heart. Tender exceedingly to the pain of others, they wept for their own powerlessness to help; and their own susceptibilities were almost morbidly acute. Neither age nor the continual spectacle of the drama of Paris life had hardened two souls still young and childlike and pure; the longer they lived, indeed, the more keenly they felt their inward suffering; for so it is, alas! with natures unsullied by the world, with the quiet thinker, and with such poets among the poets as have never fallen into any excess.

Since the old men began housekeeping together, the day’s routine was very nearly the same for them both. They worked together in harness in the fraternal fashion of the Paris cab-horse; rising every morning, summer and winter, at seven o’clock, and setting out after breakfast to give music lessons in the boarding-schools, in which, upon occasion, they would take lessons for each other. Towards noon Pons repaired to his theatre, if there was a rehearsal on hand; but all his spare moments were spent in sauntering on the boulevards. Night found both of them in the orchestra at the theatre, for Pons had found a place for Schmucke, and upon this wise.

At the time of their first meeting, Pons had just received that marshal’s baton of the unknown musical composer–an appointment as conductor of an orchestra. It had come to him unasked, by a favor of Count Popinot, a bourgeois hero of July, at that time a member of the Government. Count Popinot had the license of a theatre in his gift, and Count Popinot had also an old acquaintance of the kind that the successful man blushes to meet. As he rolls through the streets of Paris in his carriage, it is not pleasant to see his boyhood’s chum down at heel, with a coat of many improbable colors and trousers innocent of straps, and a head full of soaring speculations on too grand a scale to tempt shy, easily scared capital. Moreover, this friend of his youth, Gaudissart by name, had done not a little in the past towards founding the fortunes of the great house of Popinot. Popinot, now a Count and a peer of France, after twice holding a portfolio had no wish to shake off “the Illustrious Gaudissart.” Quite otherwise. The pomps and vanities of the Court of the Citizen-King had not spoiled the sometime druggist’s kind heart; he wished to put his ex-commercial traveler in the way of renewing his wardrobe and replenishing his purse. So when Gaudissart, always an enthusiastic admirer of the fair sex, applied for the license of a bankrupt theatre, Popinot granted it on condition that Pons (a parasite of the Hotel Popinot) should be engaged as conductor of the orchestra; and at the same time, the Count was careful to send certain elderly amateurs of beauty to the theatre, so that the new manager might be strongly supported financially by wealthy admirers of feminine charms revealed by the costume of the ballet.

Gaudissart and Company, who, be it said, made their fortune, hit upon the grand idea of operas for the people, and carried it out in a boulevard theatre in 1834. A tolerable conductor, who could adapt or even compose a little music upon occasion, was a necessity for ballets and pantomimes; but the last management had so long been bankrupt, that they could not afford to keep a transposer and copyist. Pons therefore introduced Schmucke to the company as copier of music, a humble calling which requires no small musical knowledge; and Schmucke, acting on Pons’ advice, came to an understanding with the /chef-de-service/ at the Opera-Comique, so saving himself the clerical drudgery.

The partnership between Pons and Schmucke produced one brilliant result. Schmucke being a German, harmony was his strong point; he looked over the instrumentation of Pons’ compositions, and Pons provided the airs. Here and there an amateur among the audience admired the new pieces of music which served as accompaniment to two or three great successes, but they attributed the improvement vaguely to “progress.” No one cared to know the composer’s name; like occupants of the /baignoires/, lost to view of the house, to gain a view of the stage, Pons and Schmucke eclipsed themselves by their success. In Paris (especially since the Revolution of July) no one can hope to succeed unless he will push his way /quibuscumque viis/ and with all his might through a formidable host of competitors; but for this feat a man needs thews and sinews, and our two friends, be it remembered, had that affection of the heart which cripples all ambitious effort.

Pons, as a rule, only went to his theatre towards eight o’clock, when the piece in favor came on, and overtures and accompaniments needed the strict ruling of the baton; most minor theatres are lax in such matters, and Pons felt the more at ease because he himself had been by no means grasping in all his dealings with the management; and Schmucke, if need be, could take his place. Time went by, and Schmucke became an institution in the orchestra; the Illustrious Gaudissart said nothing, but he was well aware of the value of Pons’ collaborator. He was obliged to include a pianoforte in the orchestra (following the example of the leading theatres); the instrument was placed beside the conductor’s chair, and Schmucke played without increase of salary–a volunteer supernumerary. As Schmucke’s character, his utter lack of ambition or pretence became known, the orchestra recognized him as one of themselves; and as time went on, he was intrusted with the often needed miscellaneous musical instruments which form no part of the regular band of a boulevard theatre. For a very small addition to his stipend, Schmucke played the viola d’amore, hautboy, violoncello, and harp, as well as the piano, the castanets for the /cachucha/, the bells, saxhorn, and the like. If the Germans cannot draw harmony from the mighty instruments of Liberty, yet to play all instruments of music comes to them by nature.

The two old artists were exceedingly popular at the theatre, and took its ways philosophically. They had put, as it were, scales over their eyes, lest they should see the offences that needs must come when a /corps de ballet/ is blended with actors and actresses, one of the most trying combinations ever created by the laws of supply and demand for the torment of managers, authors, and composers alike.

Every one esteemed Pons with his kindness and his modesty, his great self-respect and respect for others; for a pure and limpid life wins something like admiration from the worst nature in every social sphere, and in Paris a fair virtue meets with something of the success of a large diamond, so great a rarity it is. No actor, no dancer however brazen, would have indulged in the mildest practical joke at the expense of either Pons or Schmucke.

Pons very occasionally put in an appearance in the /foyer/; but all that Schmucke knew of the theatre was the underground passage from the street door to the orchestra. Sometimes, however, during an interval, the good German would venture to make a survey of the house and ask a few questions of the first flute, a young fellow from Strasbourg, who came of a German family at Kehl. Gradually under the flute’s tuition Schmucke’s childlike imagination acquired a certain amount of knowledge of the world; he could believe in the existence of that fabulous creature the /lorette/, the possibility of “marriages at the Thirteenth Arrondissement,” the vagaries of the leading lady, and the contraband traffic carried on by box-openers. In his eyes the more harmless forms of vice were the lowest depths of Babylonish iniquity; he did not believe the stories, he smiled at them for grotesque inventions. The ingenious reader can see that Pons and Schmucke were exploited, to use a word much in fashion; but what they lost in money they gained in consideration and kindly treatment.

It was after the success of the ballet with which a run of success began for the Gaudissart Company that the management presented Pons with a piece of plate–a group of figures attributed to Benvenuto Cellini. The alarming costliness of the gift caused talk in the green-room. It was a matter of twelve hundred francs! Pons, poor honest soul, was for returning the present, and Gaudissart had a world of trouble to persuade him to keep it.

“Ah!” said the manager afterwards, when he told his partner of the interview, “if we could only find actors up to that sample.”

In their joint life, outwardly so quiet, there was the one disturbing element–the weakness to which Pons sacrificed, the insatiable craving to dine out. Whenever Schmucke happened to be at home while Pons was dressing for the evening, the good German would bewail this deplorable habit.

“Gif only he vas ony fatter vor it!” he many a time cried.

And Schmucke would dream of curing his friend of his degrading vice, for a true friend’s instinct in all that belongs to the inner life is unerring as a dog’s sense of smell; a friend knows by intuition the trouble in his friend’s soul, and guesses at the cause and ponders it in his heart.

Pons, who always wore a diamond ring on the little finger of his right hand, an ornament permitted in the time of the Empire, but ridiculous to-day–Pons, who belonged to the “troubadour time,” the sentimental periods of the first Empire, was too much a child of his age, too much of a Frenchman to wear the expression of divine serenity which softened Schmucke’s hideous ugliness. From Pons’ melancholy looks Schmucke knew that the profession of parasite was growing daily more difficult and painful. And, in fact, in that month of October 1844, the number of houses at which Pons dined was naturally much restricted; reduced to move round and round the family circle, he had used the word family in far too wide a sense, as will shortly be seen.

M. Camusot, the rich silk mercer of the Rue des Bourdonnais, had married Pons’ first cousin, Mlle. Pons, only child and heiress of one of the well-known firm of Pons Brothers, court embroiderers. Pons’ own father and mother retired from a firm founded before the Revolution of 1789, leaving their capital in the business until Mlle. Pons’ father sold it in 1815 to M. Rivet. M. Camusot had since lost his wife and married again, and retired from business some ten years, and now in 1844 he was a member of the Board of Trade, a deputy, and what not. But the Camusot clan were friendly; and Pons, good man, still considered that he was some kind of cousin to the children of the second marriage, who were not relations, or even connected with him in any way.

The second Mme. Camusot being a Mlle. Cardot, Pons introduced himself as a relative into the tolerably numerous Cardot family, a second bourgeois tribe which, taken with its connections, formed quite as strong a clan as the Camusots; for Cardot the notary (brother of the second Mme. Camusot) had married a Mlle. Chiffreville; and the well-known family of Chiffreville, the leading firm of manufacturing chemists, was closely connected with the whole drug trade, of which M. Anselme Popinot was for many years the undisputed head, until the Revolution of July plunged him into the very centre of the dynastic movement, as everybody knows. So Pons, in the wake of the Camusots and Cardots, reached the Chiffrevilles, and thence the Popinots, always in the character of a cousin’s cousin.

The above concise statement of Pons’ relations with his entertainers explains how it came to pass that an old musician was received in 1844 as one of the family in the houses of four distinguished persons–to wit, M. le Comte Popinot, peer of France, and twice in office; M. Cardot, retired notary, mayor and deputy of an arrondissement in Paris; M. Camusot senior, a member of the Board of Trade and the Municipal Chamber and a peerage; and lastly, M. Camusot de Marville, Camusot’s son by his first marriage, and Pons’ one genuine relation, albeit even he was a first cousin once removed.

This Camusot, President of a Chamber of the Court of Appeal in Paris, had taken the name of his estate at Marville to distinguish himself from his father and a younger half brother.

Cardot the retired notary had married his daughter to his successor, whose name was Berthier; and Pons, transferred as part of the connection, acquired a right to dine with the Berthiers “in the presence of a notary,” as he put it.

This was the bourgeois empyrean which Pons called his “family,” that upper world in which he so painfully reserved his right to a knife and fork.

Of all these houses, some ten in all, the one in which Pons ought to have met with the kindest reception should by rights have been his own cousin’s; and, indeed, he paid most attention to President Camusot’s family. But, alas! Mme. Camusot de Marville, daughter of the Sieur Thirion, usher of the cabinet to Louis XVIII. and Charles X., had never taken very kindly to her husband’s first cousin, once removed. Pons had tried to soften this formidable relative; he wasted his time; for in spite of the pianoforte lessons which he gave gratuitously to Mlle. Camusot, a young woman with hair somewhat inclined to red, it was impossible to make a musician of her.

And now, at this very moment, as he walked with that precious object in his hand, Pons was bound for the President’s house, where he always felt as if he were at the Tuileries itself, so heavily did the solemn green curtains, the carmelite-brown hangings, thick piled carpets, heavy furniture, and general atmosphere of magisterial severity oppress his soul. Strange as it may seem, he felt more at home in the Hotel Popinot, Rue Basse-du-Rempart, probably because it was full of works of art; for the master of the house, since he entered public life, had acquired a mania for collecting beautiful things, by way of contrast no doubt, for a politician is obliged to pay for secret services of the ugliest kind.

President de Marville lived in the Rue de Hanovre, in a house which his wife had bought ten years previously, on the death of her parents, for the Sieur and Dame Thirion left their daughter about a hundred and fifty thousand francs, the savings of a lifetime. With its north aspect, the house looks gloomy enough seen from the street, but the back looks towards the south over the courtyard, with a rather pretty garden beyond it. As the President occupied the whole of the first floor, once the abode of a great financier of the time of Louis XIV., and the second was let to a wealthy old lady, the house wore a look of dignified repose befitting a magistrate’s residence. President Camusot had invested all that he inherited from his mother, together with the savings of twenty years, in the purchase of the splendid Marville estate; a chateau (as fine a relic of the past as you will find to-day in Normandy) standing in a hundred acres of park land, and a fine dependent farm, nominally bringing in twelve thousand francs per annum, though, as it cost the President at least a thousand crowns to keep up a state almost princely in our days, his yearly revenue, “all told,” as the saying is, was a bare nine thousand francs. With this and his salary, the President’s income amounted to about twenty thousand francs; but though to all appearance a wealthy man, especially as one-half of his father’s property would one day revert to him as the only child of the first marriage, he was obliged to live in Paris as befitted his official position, and M. and Mme. de Marville spent almost the whole of their incomes. Indeed, before the year 1834 they felt pinched.

This family schedule sufficiently explains why Mlle. de Marville, aged three-and-twenty, was still unwed, in spite of a hundred thousand francs of dowry and tempting prospects, frequently, skilfully, but so far vainly, held out. For the past five years Pons had listened to Mme. la Presidente’s lamentations as she beheld one young lawyer after another led to the altar, while all the newly appointed judges at the Tribunal were fathers of families already; and she, all this time, had displayed Mlle. de Marville’s brilliant expectations before the undazzled eyes of young Vicomte Popinot, eldest son of the great man of the drug trade, he of whom it was said by the envious tongues of the neighborhood of the Rue des Lombards, that the Revolution of July had been brought about at least as much for his particular benefit as for the sake of the Orleans branch.

Arrived at the corner of the Rue de Choiseul and the Rue de Hanovre, Pons suffered from the inexplicable emotions which torment clear consciences; for a panic terror such as the worst of scoundrels might feel at sight of a policeman, an agony caused solely by a doubt as to Mme. de Marville’s probable reception of him. That grain of sand, grating continually on the fibres of his heart, so far from losing its angles, grew more and more jagged, and the family in the Rue de Hanovre always sharpened the edges. Indeed, their unceremonious treatment and Pons’ depreciation in value among them had affected the servants; and while they did not exactly fail in respect, they looked on the poor relation as a kind of beggar.

Pons’ arch-enemy in the house was the ladies’-maid, a thin and wizened spinster, Madeleine Vivet by name. This Madeleine, in spite of, nay, perhaps on the strength of, a pimpled complexion and a viper-like length of spine, had made up her mind that some day she would be Mme. Pons. But in vain she dangled twenty thousand francs of savings before the old bachelor’s eyes; Pons had declined happiness accompanied by so many pimples. From that time forth the Dido of the ante-chamber, who fain had called her master and mistress “cousin,” wreaked her spite in petty ways upon the poor musician. She heard him on the stairs, and cried audibly, “Oh! here comes the sponger!” She stinted him of wine when she waited at dinner in the footman’s absence; she filled the water-glass to the brim, to give him the difficult task of lifting it without spilling a drop; or she would pass the old man over altogether, till the mistress of the house would remind her (and in what a tone!–it brought the color to the poor cousin’s face); or she would spill the gravy over his clothes. In short, she waged petty war after the manner of a petty nature, knowing that she could annoy an unfortunate superior with impunity.

Madeleine Vivet was Mme. de Marville’s maid and housekeeper. She had lived with M. and Mme. Camusot de Marville since their marriage; she had shared the early struggles in the provinces when M. Camusot was a judge at Alencon; she had helped them to exist when M. Camusot, President of the Tribunal of Mantes, came to Paris, in 1828, to be an examining magistrate. She was, therefore, too much one of the family not to wish, for reasons of her own, to revenge herself upon them. Beneath her desire to pay a trick upon her haughty and ambitious mistress, and to call her master her cousin, there surely lurked a long-stifled hatred, built up like an avalanche, upon the pebble of some past grievance.

“Here comes your M. Pons, madame, still wearing that spencer of his!” Madeleine came to tell the Presidente. “He really might tell me how he manages to make it look the same for five-and-twenty years together.”

Mme. Camusot de Marville, hearing a man’s footstep in the little drawing-room between the large drawing-room and her bedroom, looked at her daughter and shrugged her shoulders.

“You always make these announcements so cleverly that you leave me no time to think, Madeleine.”

“Jean is out, madame, I was all alone; M. Pons rang the bell, I opened the door; and as he is almost one of the family, I could not prevent him from coming after me. There he is, taking off his spencer.”

“Poor little puss!” said the Presidente, addressing her daughter, “we are caught. We shall have to dine at home now.–Let us see,” she added, seeing that the “dear puss” wore a piteous face; “must we get rid of him for good?”

“Oh! poor man!” cried Mlle. Camusot, “deprive him of one of his dinners?”

Somebody coughed significantly in the next room by way of warning that he could hear.

“Very well, let him come in!” said Mme. Camusot, looking at Madeleine with another shrug.

“You are here so early, cousin, that you have come in upon us just as mother was about to dress,” said Cecile Camusot in a coaxing tone. But Cousin Pons had caught sight of the Presidente’s shrug, and felt so cruelly hurt that he could not find a compliment, and contented himself with the profound remark, “You are always charming, my little cousin.”

Then, turning to the mother, he continued with a bow:

“You will not take it amiss, I think, if I have come a little earlier than usual, dear cousin; I have brought something for you; you once did me the pleasure of asking me for it.”

Poor Pons! Every time he addressed the President, the President’s wife, or Cecile as “cousin,” he gave them excruciating annoyance. As he spoke, he draw a long, narrow cherry-wood box, marvelously carved, from his coat-pocket.

“Oh, did I?–I had forgotten,” the lady answered drily.

It was a heartless speech, was it not? Did not those few words deny all merit to the pains taken for her by the cousin whose one offence lay in the fact that he was a poor relation?

“But it is very kind of you, cousin,” she added. “How much to I owe you for this little trifle?”

Pons quivered inwardly at the question. He had meant the trinket as a return for his dinners.

“I thought that you would permit me to offer it you—-” he faltered out.

“What?” said Mme. Camusot. “Oh! but there need be no ceremony between us; we know each other well enough to wash our linen among ourselves. I know very well that you are not rich enough to give more than you get. And to go no further, it is quite enough that you should have spent a good deal of time in running among the dealers–“

“If you were asked to pay the full price of the fan, my dear cousin, you would not care to have it,” answered poor Pons, hurt and insulted; “it is one of Watteau’s masterpieces, painted on both sides; but you may be quite easy, cousin, I did not give one-hundredth part of its value as a work of art.”

To tell a rich man that he is poor! you might as well tell the Archbishop of Granada that his homilies show signs of senility. Mme. la Presidente, proud of her husband’s position, of the estate of Marville, and her invitations to court balls, was keenly susceptible on this point; and what was worse, the remark came from a poverty-stricken musician to whom she had been charitable.

“Then the people of whom you buy things of this kind are very stupid, are they?” she asked quickly.

“Stupid dealers are unknown in Paris,” Pons answered almost drily.

“Then you must be very clever,” put in Cecile by way of calming the dispute.

“Clever enough to know a Lancret, a Watteau, a Pater, or Greuze when I see it, little cousin; but anxious, most of all, to please your dear mamma.”

Mme. de Marville, ignorant and vain, was unwilling to appear to receive the slightest trifle from the parasite; and here her ignorance served her admirably, she did not even know the name of Watteau. And, on the other hand, if anything can measure the extent of the collector’s passion, which, in truth, is one of the most deeply seated of all passions, rivaling the very vanity of the author–if anything can give an idea of the lengths to which a collector will go, it is the audacity which Pons displayed on this occasion, as he held his own against his lady cousin for the first time in twenty years. He was amazed at his own boldness. He made Cecile see the beauties of the delicate carving on the sticks of this wonder, and as he talked to her his face grew serene and gentle again. But without some sketch of the Presidente, it is impossible fully to understand the perturbation of heart from which Pons suffered.

Mme. de Marville had been short and fair, plump and fresh; at forty-six she was as short as ever, but she looked dried up. An arched forehead and thin lips, that had been softly colored once, lent a soured look to a face naturally disdainful, and now grown hard and unpleasant with a long course of absolute domestic rule. Time had deepened her fair hair to a harsh chestnut hue; the pride of office, intensified by suppressed envy, looked out of eyes that had lost none of their brightness nor their satirical expression. As a matter of fact, Mme. Camusot de Marville felt almost poor in the society of self-made wealthy bourgeois with whom Pons dined. She could not forgive the rich retail druggist, ex-president of the Commercial Court, for his successive elevations as deputy, member of the Government, count and peer of France. She could not forgive her father-in-law for putting himself forward instead of his eldest son as deputy of his arrondissement after Popinot’s promotion to the peerage. After eighteen years of services in Paris, she was still waiting for the post of Councillor of the Court of Cassation for her husband. It was Camusot’s own incompetence, well known at the Law Courts, which excluded him from the Council. The Home Secretary of 1844 even regretted Camusot’s nomination to the presidency of the Court of Indictments in 1834, though, thanks to his past experience as an examining magistrate, he made himself useful in drafting decrees.

These disappointments had told upon Mme. de Marville, who, moreover, had formed a tolerably correct estimate of her husband. A temper naturally shrewish was soured till she grew positively terrible. She was not old, but she had aged; she deliberately set herself to extort by fear all that the world was inclined to refuse her, and was harsh and rasping as a file. Caustic to excess she had few friends among women; she surrounded herself with prim, elderly matrons of her own stamp, who lent each other mutual support, and people stood in awe of her. As for poor Pons, his relations with this fiend in petticoats were very much those of a schoolboy with the master whose one idea of communication is the ferule.

The Presidente had no idea of the value of the gift. She was puzzled by her cousin’s sudden access of audacity.

“Then, where did you find this?” inquired Cecile, as she looked closely at the trinket.

“In the Rue de Lappe. A dealer in second-hand furniture there had just brought it back with him from a chateau that is being pulled down near Dreux, Aulnay. Mme. de Pompadour used to spend part of her time there before she built Menars. Some of the most splendid wood-carving ever known has been saved from destruction; Lienard (our most famous living wood-carver) had kept a couple of oval frames for models, as the /ne plus ultra/ of the art, so fine it is.–There were treasures in that place. My man found the fan in the drawer of an inlaid what-not, which I should certainly have bought if I were collecting things of the kind, but it is quite out of the question–a single piece of Riesener’s furniture is worth three or four thousand francs! People here in Paris are just beginning to find out that the famous French and German marquetry workers of the sixteenth, seventeenth, and eighteenth centuries composed perfect pictures in wood. It is a collector’s business to be ahead of the fashion. Why, in five years’ time, the Frankenthal ware, which I have been collecting these twenty years, will fetch twice the price of Sevres /pata tendre/.”

“What is Frankenthal ware?” asked Cecile.

“That is the name of the porcelain made by the Elector of the Palatinate; it dates further back than our manufactory at Sevres; just as the famous gardens at Heidelberg, laid waste by Turenne, had the bad luck to exist before the garden of Versailles. Sevres copied Frankenthal to a large extent.–In justice to the Germans, it must be said that they have done admirable work in Saxony and in the Palatinate.”

Mother and daughter looked at one another as if Pons were speaking Chinese. No one can imagine how ignorant and exclusive Parisians are; they only learn what they are taught, and that only when they choose.

“And how do you know the Frankenthal ware when you see it?”

“Eh! by the mark!” cried Pons with enthusiasm. “There is a mark on every one of those exquisite masterpieces. Frankenthal ware is marked with a C and T (for Charles Theodore) interlaced and crowned. On old Dresden china there are two crossed swords and the number of the order in gilt figures. Vincennes bears a hunting-horn; Vienna, a V closed and barred. You can tell Berlin by the two bars, Mayence by the wheel, and Sevres by the two crossed L’s. The queen’s porcelain is marked A for Antoinette, with a royal crown above it. In the eighteenth century, all the crowned heads of Europe had rival porcelain factories, and workmen were kidnaped. Watteau designed services for the Dresden factory; they fetch frantic prices at the present day. One has to know what one is about with them too, for they are turning out imitations now at Dresden. Wonderful things they used to make; they will never make the like again–“

“Oh! pshaw!”

“No, cousin. Some inlaid work and some kinds of porcelain will never be made again, just as there will never be another Raphael, nor Titian, nor Rembrandt, nor Van Eyck, nor Cranach. . . . Well, now! there are the Chinese; they are very ingenious, very clever; they make modern copies of their ‘grand mandarin’ porcelain, as it is called. But a pair of vases of genuine ‘grand mandarin’ vases of the largest size, are worth, six, eight, and ten thousand francs, while you can buy the modern replicas for a couple of hundred!”

“You are joking.”

“You are astonished at the prices, but that is nothing, cousin. A dinner service of Sevres /pate tendre/ (and /pate tendre/ is not porcelain)–a complete dinner service of Sevres /pate tendre/ for twelve persons is not merely worth a hundred thousand francs, but that is the price charged on the invoice. Such a dinner-service cost fifteen thousand francs at Sevres in 1750; I have seen the original invoices.”

“But let us go back to this fan,” said Cecile. Evidently in her opinion the trinket was an old-fashioned thing.

“You can understand that as soon as your dear mamma did me the honor of asking for a fan, I went round of all the curiosity shops in Paris, but I found nothing fine enough. I wanted nothing less than a masterpiece for the dear Presidente, and thought of giving her one that once belonged to Marie Antoinette, the most beautiful of all celebrated fans. But yesterday I was dazzled by this divine /chef-d’oeuvre/, which certainly must have been ordered by Louis XV. himself. Do you ask how I came to look for fans in the Rue de Lappe, among an Auvergnat’s stock of brass and iron and ormolu furniture? Well, I myself believe that there is an intelligence in works of art; they know art-lovers, they call to them–‘Cht-tt!'”

Mme. de Marville shrugged her shoulders and looked at her daughter; Pons did not notice the rapid pantomime.

“I know all those sharpers,” continued Pons, “so I asked him,