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No painter of manners has ventured to initiate us — perhaps out of modesty — into the really curious privacy of certain Parisian existences, into the secret of the dwellings whence emerge such fresh and elegant toilets, such brilliant women, who, rich on the surface, allow the signs of very doubtful comfort to peep out in every part of their home. If, here, the picture is too boldly drawn, if you find it tedious in places, do not blame the description, which is, indeed, part and parcel of my story; for the appearance of the rooms inhabited by his two neighbors had a great influence on the feelings and hopes of Hippolyte Schinner.

The house belonged to one of those proprietors in whom there is a foregone and profound horror of repairs and decoration, one of the men who regard their position as Paris houseowners as a business. In the vast chain of moral species, these people hold a middle place between the miser and the usurer. Optimists in their own interests, they are all faithful to the Austrian status quo. If you speak of moving a cupboard or a door, of opening the most indispensable air-hole, their eyes flash, their bile rises, they rear like a frightened horse. When the wind blows down a few chimney-pots they are quite ill, and deprive themselves of an evening at the Gymnase or the PorteSaint-Martin Theatre, "on account of repairs." Hippolyte, who had seen the performance gratis of a comical scene with Monsieur Molineux as concerning certain decorative repairs in his studio, was not surprised to see the dark greasy paint, the oily stains, spots, and other disagreeable accessories that varied the woodwork. And these stigmata of poverty are not altogether devoid of poetry in an artist's eyes.

Mademoiselle Leseigneur herself opened the door. On recognizing the young artist she bowed, and at the same time, with Parisian adroitness, and with the presence of mind that pride can lend, she turned round to shut a door in a glass partition through which Hippolyte might have caught sight of some linen hung by lines over patent ironing stoves, an old campbed, some wood embers, charcoal, irons, a filter, the household crockery, and all the utensils familiar to a small household. Muslin curtains, fairly white, carefully screened this lumberroom -- a capharnaüm, as the French call such a domestic

laboratory, - which was lighted by windows looking out on a neighboring yard.

Hippolyte, with the quick eye of an artist, saw the uses, the furniture, the general effect and condition of this first room, thus cut in half. The more honorable half, which served both as ante-room and dining room, was hung with an old salmonrose-colored paper, with a flock border, the manufacture of Reveillon, no doubt; the holes and spots had been carefully touched over with wafers. Prints representing the battles of Alexander, by Lebrun, in frames with the gilding rubbed off, were symmetrically arranged on the walls. In the middle stood a massive mahogany table, old-fashioned in shape, and worn at the edges. A small stove, whose thin straight pipe was scarcely visible, stood in front of the chimney-place, but the hearth was occupied by a cupboard. By a strange contrast the chairs showed some remains of former splendor; they were of carved mahogany, but the red morocco seats, the gilt nails and reeded backs, showed as many scars as an old sergeant of the Imperial Guard.

This room did duty as a museum of certain objects, such as are never seen but in this kind of amphibious household; nameless objects with the stamp at once of luxury and penury. Among other curiosities Hippolyte noticed a splendidly finished telescope, hanging over the small discolored glass that decorated the chimney. To harmonize with this strange collection of furniture there was, between the chimney and the partition, a wretched sideboard of painted wood, pretending to be mahogany, of all woods the most impossible to imitate. But the slippery red quarries, the shabby little rugs in front of the chairs, and all the furniture, shone with the hard-rubbing cleanliness which lends a treacherous luster to old things by making their defects, their age, and their long service still more conspicuous. An indescribable odor pervaded the room, a mingled smell of the exhalations from the lumber-room, and the vapors of the dining room, with those from the stairs, though the window was partly open. The air from the street fluttered the dusty curtains, which were carefully drawn so as to hide the window bay, where former tenants had testified to their presence by various ornamental additions — a sort of domestic fresco.

Adélaïde hastened to open the door of the inner room, where she announced the painter with evident pleasure. Hippolyte, who, of yore, had seen the same signs of poverty in his mother's home, noted them with the singular vividness of impression which characterizes the earliest acquisitions of memory, and entered into the details of this existence better than any one else would have done. As he recognized the facts of his life as a child, the kind young fellow felt neither scorn for disguised misfortune nor pride in the luxury he had lately conquered for his mother.

“Well, Monsieur, I hope you no longer feel the effects of your fall,” said the old lady, rising from an antique armchair that stood by the chimney, and offering him a seat.

“No, Madame. I have come to thank you for the kind care you gave me, and above all Mademoiselle, who heard me fall.”

As he uttered this speech, stamped with the exquisite stupidity given to the mind by the first disturbing symptoms of true love, Hippolyte looked at the young girl. Adélaïde was lighting the Argand lamp, no doubt, that she might get rid of a tallow candle fixed in a large copper flat candlestick, and graced with a heavy fluting of grease from its guttering. She answered with a slight bow, carried the flat candlestick into the ante-room, came back, and after placing the lamp on the chimney shelf, seated herself by her mother, a little behind the painter, so as to be able to look at him at her ease, while apparently much interested in the burning of the lamp; the flame, checked by the damp in a dingy chimney, sputtered as it struggled with a charred and badly trimmed wick. Hippolyte, seeing the large mirror that decorated the chimneypiece, immediately fixed his eyes on it to admire Adélaïde. Thus the girl's little stratagem only served to embarrass them both.

While talking with Madame Leseigneur, for Hippolyte called her so, on the chance of being right, he examined the room, but unobtrusively and by stealth.

The Egyptian figures on the iron fire-dogs were scarcely visible, the hearth was so heaped with cinders; two brands tried to meet in front of a sham log of fire-brick, as carefully buried as a miser's treasure could ever be. An old Aubusson carpet, very much faded, very much mended, and as worn as a pensioner's coat, did not cover the whole of the tiled floor, and the cold struck to his feet. The walls were hung with a reddish paper, imitating figured silk with a yellow pattern. In the middle of the wall opposite the windows the painter saw a crack, and the outline marked on the paper of double doors, shutting off a recess where Madame Leseigneur slept, no doubt, a fact ill disguised by a sofa in front of the door. Facing the chimney, above a mahogany chest of drawers of handsome and tasteful design, was the portrait of an officer of rank, which the dim light did not allow him to see well; but from what he could make out he thought that the fearful daub must have been painted in China. The window curtains of red silk were as much faded as the furniture, in red and yellow worsted work. On the marble top of the chest of drawers was a costly malachite tray, with a dozen coffee cups magnificently painted, and made, no doubt, at Sèvres. On the chimney shelf stood the omnipresent Empire clock: a warrior driving the four horses of a chariot, whose wheel bore the numbers of the hours on its spokes. The tapers in the tall candlesticks were yellow with smoke, and at each corner of the shelf stood a porcelain vase crowned with artificial flowers full of dust and stuck into moss.

In the middle of the room Hippolyte remarked a card-table ready for play, with new packs of cards. For an observer there was something heartrending in the sight of this misery painted up like an old woman who wants to falsify her face. At such a sight every man of sense must at once have stated to himself this obvious dilemma - either these two women are honesty itself, or they live by intrigue and gambling. But on looking at Adélaïde, a man so pure-minded as Schinner could not but believe in her perfect innocence, and ascribe the incoherence of the furniture to honorable causes.

“My dear,” said the old lady to the young one, “I am cold; make a little fire, and give me my shawl.”

Adélaïde went into a room next the drawing-room, where she no doubt slept, and returned bringing her mother a cashmere shawl, which when new must have been very costly; the pattern was Indian; but it was old, faded, and full of darns, and matched the furniture. Madame Leseigneur wrapped herself in it very artistically, and with the readiness of an old woman who wishes to make her words seem truth. The young girl ran lightly off to the lumber-room and reappeared with a bundle of small wood, which she gallantly threw on the fire to revive it.

It would be rather difficult to reproduce the conversation which followed among these three persons. Hippolyte, guided by the tact which is almost always the outcome of misfortune suffered in early youth, dared not allow himself to make the least remark as to his neighbors' situation, as he saw all about him the signs of ill-disguised poverty. The simplest question would have been an indiscretion, and could only be ventured on by old friendship. The painter was nevertheless absorbed in the thought of this concealed penury, it pained his generous soul; but knowing how offensive every kind of pity may be, even the friendliest, the disparity between his thoughts and his words made him feel uncomfortable.

The two ladies at first talked of painting, for women easily guess the secret embarrassment of a first call; they themselves feel it perhaps, and the nature of their mind supplies them with a thousand devices to put an end to it. By questioning the young man as to the material exercise of his art, and as to his studies, Adélaïde and her mother emboldened him to talk. The indefinable nothings of their chat, animated by kind feeling, naturally led Hippolyte to flash forth remarks or reflections which showed the character of his habits and of his mind. Trouble had prematurely faded the old lady's face, formerly handsome, no doubt; nothing was left but the more prominent features, the outline, in a word, the skeleton of a countenance of which the whole effect indicated great shrewdness with much grace in the play of the eyes, in which could be discerned the expression peculiar to women of the old Court; an expression that cannot be defined in words. Those fine and mobile features might quite as well indicate bad feelings, and suggest astuteness and womanly artifice carried to a high pitch of wickedness, as reveal the refined delicacy of a beautiful soul.

Indeed, the face of a woman has this element of mystery to puzzle the ordinary observer, that the difference between frankness and duplicity, the genius for intrigue and the genius of the

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