The Collection of Antiquities | Page 8

many worthy folk in the town, were of the opinion that all the best society thereof was to be found in the Marquis d'Esgrignon's salon. The prefect himself, the Emperor's chamberlain, made overtures to the d'Esgrignons, humbly sending his wife (a Grandlieu) as ambassadress.
Wherefore, those excluded from the miniature provincial Faubourg Saint-Germain nicknamed the salon "The Collection of Antiquities," and called the Marquis himself "M. Carol." The receiver of taxes, for instance, addressed his applications to "M. Carol (ci-devant des Grignons)," maliciously adopting the obsolete way of spelling.

"For my own part," said Emile Blondet, "if I try to recall my childhood memories, I remember that the nickname of 'Collection of Antiquities' always made me laugh, in spite of my respect--my love, I ought to say--for Mlle. d'Esgrignon. The Hotel d'Esgrignon stood at the angle of two of the busiest thoroughfares in the town, and not five hundred paces away from the market place. Two of the drawing-room windows looked upon the street and two upon the square; the room was like a glass cage, every one who came past could look through it from side to side. I was only a boy of twelve at the time, but I thought, even then, that the salon was one of those rare curiosities which seem, when you come to think of them afterwards, to lie just on the borderland between reality and dreams, so that you can scarcely tell to which side they most belong.
"The room, the ancient Hall of Audience, stood above a row of cellars with grated air-holes, once the prison cells of the old court-house, now converted into a kitchen. I do not know that the magnificent lofty chimney-piece of the Louvre, with its marvelous carving, seemed more wonderful to me than the vast open hearth of the salon d'Esgrignon when I saw it for the first time. It was covered like a melon with a network of tracery. Over it stood an equestrian portrait of Henri III., under whom the ancient duchy of appanage reverted to the crown; it was a great picture executed in low relief, and set in a carved and gilded frame. The ceiling spaces between the chestnut cross-beams in the fine old roof were decorated with scroll-work patterns; there was a little faded gilding still left along the angles. The walls were covered with Flemish tapestry, six scenes from the Judgment of Solomon, framed in golden garlands, with satyrs and cupids playing among the leaves. The parquet floor had been laid down by the present Marquis, and Chesnel had picked up the furniture at sales of the wreckage of old chateaux between 1793 and 1795; so that there were Louis Quatorze consoles, tables, clock-cases, andirons, candle-sconces and tapestry-covered chairs, which marvelously completed a stately room, large out of all proportion to the house. Luckily, however, there was an equally lofty ante-chamber, the ancient Salle des Pas Perdus of the presidial, which communicated likewise with the magistrate's deliberating chamber, used by the d'Esgrignons as a dining-room.
"Beneath the old paneling, amid the threadbare braveries of a bygone day, some eight or ten dowagers were drawn up in state in a quavering line; some with palsied heads, others dark and shriveled like mummies; some erect and stiff, others bowed and bent, but all of them tricked out in more or less fantastic costumes as far as possible removed from the fashion of the day, with be-ribboned caps above their curled and powdered 'heads,' and old discolored lace. No painter however earnest, no caricature however wild, ever caught the haunting fascination of 0those aged women; they come back to me in dreams; their puckered faces shape themselves in my memory whenever I meet an old woman who puts me in mind of them by some faint resemblance of dress or feature. And whether it is that misfortune has initiated me into the secrets of irremediable and overwhelming disaster; whether that I have come to understand the whole range of human feelings, and, best of all, the thoughts of Old Age and Regret; whatever the reason, nowhere and never again have I seen among the living or in the faces of the dying the wan look of certain gray eyes that I remember, nor the dreadful brightness of others that were black.
"Neither Hoffmann nor Maturin, the two weirdest imaginations of our time, ever gave me such a thrill of terror as I used to feel when I watched the automaton movements of those bodies sheathed in whalebone. The paint on actors' faces never caused me a shock; I could see below it the rouge in grain, the rouge de naissance, to quote a comrade at least as malicious as I can be. Years had leveled those women's faces, and at the same time furrowed them with wrinkles, till they