purchased. The income derived from this source was, however, but a meagre one. Apart from the woods there was only uncultivated land on the estate, marshes, patches of sand, and fields of stones; and for centuries past the opinion of the district had been that no agriculturist could ever turn the expanse to good account. The defunct army contractor alone had been able to picture there a romantic park, such as he had dreamt of creating around his regal abode. It was he, by the way, who had obtained an authorization to add to the name of Seguin that of Du Hordel – taken from a ruined tower called the Hordel which stood on the estate.
It was through Beauchene, one of the shareholders of the shooting rights, that Mathieu had made Seguin’s acquaintance, and had discovered the old hunting-box, the lonely, quiet pavilion, which had pleased him so much that he had rented it. Valentine, who good-naturedly treated Marianne as a poor friend, had even been amiable enough to visit her there, and had declared the situation of the place to be quite poetical, laughing the while over her previous ignorance of it like one who had known nothing of her property. In reality she herself would not have lived there for an hour. Her husband had launched her into the feverish life of literary, artistic, and social Paris, hurrying her to gatherings, studios, exhibitions, theatres, and other pleasure resorts – all those brasier-like places where weak heads and wavering hearts are lost. He himself, amid all his passion for show, felt bored to death everywhere, and was at ease only among his horses; and this despite his pretensions with respect to advanced literature and philosophy, his collections of curios, such as the bourgeois of to-day does not yet understand, his furniture, his pottery, his pewter-work, and particularly his bookbindings, of which he was very proud. And he was turning his wife into a copy of himself, perverting her by his extravagant opinions and his promiscuous friendships, so that the little devotee who had been confided to his keeping was now on the high road to every kind of folly. She still went to mass and partook of the holy communion; but she was each day growing more and more familiar with wrong-doing. A disaster must surely be at the end of it all, particularly as he foolishly behaved to her in a rough, jeering way, which greatly hurt her feelings, and led her to dream of being loved with gentleness.
When Mathieu entered the house, which displayed eight lofty windows on each of the stories of its ornate Renaissance facade, he laughed lightly as he thought: “These folks don’t have to wait for a monthly pittance of three hundred francs, with just thirty sous in hand.”
The hall was extremely rich, all bronze and marble. On the right hand were the dining-room and two drawing-rooms; on the left a billiard-room, a smoking-room, and a winter garden. On the first floor, in front of the broad staircase, was Seguin’s so-called “cabinet,” a vast apartment, sixteen feet high, forty feet long, and six-and-twenty feet wide, which occupied all the central part of the house; while the husband’s bed and dressing rooms were on the right, and those of the wife and children on the left hand. Up above, on the second floor, two complete suites of rooms were kept in reserve for the time when the children should have grown up.
A footman, who knew Mathieu, at once took him upstairs to the cabinet and begged him to wait there, while Monsieur finished dressing. For a moment the visitor fancied himself alone and glanced round the spacious room, feeling interested in its adornments, the lofty windows of old stained glass, the hangings of old Genoese velvet and brocaded silk, the oak bookcases showing the highly ornamented backs of the volumes they contained; the tables laden with bibelots, bronzes, marbles, goldsmith’s work, glass work, and the famous collection of modern pewter-work. Then Eastern carpets were spread out upon all sides; there were low seats and couches for every mood of idleness, and cosy nooks in which one could hide oneself behind fringes of lofty plants.
“Oh! so it’s you, Monsieur Froment,” suddenly exclaimed somebody in the direction of the table allotted to the pewter curios. And thereupon a tall young man of thirty, whom a screen had hitherto hidden from Mathieu’s view, came forward with outstretched hand.
“Ah!” said Mathieu, after a moment’s hesitation, “Monsieur Charles Santerre.”
This was but their second meeting. They had found themselves together once before in that same room. Charles Santerre, already famous as a novelist, a young master popular in Parisian drawing-rooms, had a fine brow, caressing brown eyes, and a large red mouth which his moustache and beard, cut in the Assyrian style and carefully curled, helped to conceal. He had made his way, thanks to women, whose society he sought under pretext of studying them, but whom he was resolved to use as instruments of fortune. As a matter of calculation and principle he had remained a bachelor and generally installed himself in the nests of others. In literature feminine frailty was his stock subject he had made it his specialty to depict scenes of guilty love amid elegant, refined surroundings. At first he had no illusions as to the literary value of his works; he had simply chosen, in a deliberate way, what he deemed to be a pleasant and lucrative trade. But, duped by his successes, he had allowed pride to persuade him that he was really a writer. And nowadays he posed as the painter of an expiring society, professing the greatest pessimism, and basing a new religion on the annihilation of human passion, which annihilation would insure the final happiness of the world.
“Seguin will be here in a moment,” he resumed in an amiable way. “It occurred to me to take him and his wife to dine at a restaurant this evening, before going to a certain first performance where there will probably be some fisticuffs and a rumpus to-night.”
Mathieu then for the first time noticed that Santerre was in evening dress. They continued chatting for a moment, and the novelist called attention to a new pewter treasure among Seguin’s collection. It represented a long, thin woman, stretched full-length, with her hair streaming around her. She seemed to be sobbing as she lay there, and Santerre declared the conception to be a masterpiece. The figure symbolized the end of woman, reduced to despair and solitude when man should finally have made up his mind to have nothing further to do with her. It was the novelist who, in literary and artistic matters, helped on the insanity which was gradually springing up in the Seguins’ home.
However, Seguin himself now made his appearance. He was of the same age as Santerre, but was taller and slimmer, with fair hair, an aquiline nose, gray eyes, and thin lips shaded by a slight moustache. He also was in evening dress.
“Ah! well, my dear fellow,” said he with the slight lisp which he affected, “Valentine is determined to put on a new gown. So we must be patient; we shall have an hour to wait.”
Then, on catching sight of Mathieu, he began to apologize, evincing much politeness and striving to accentuate his air of frigid distinction. When the young man, whom he called his amiable tenant, had acquainted him with the motive of his visit – the leak in the zinc roof of the little pavilion at Janville – he at once consented to let the local plumber do any necessary soldering. But when, after fresh explanations, he understood that the roofing was so worn and damaged that it required to be changed entirely, he suddenly departed from his lofty affability and began to protest, declaring that he could not possibly expend in such repairs a sum which would exceed the whole annual rental of six hundred francs.
“Some soldering,” he repeated; “some soldering; it’s understood. I will write to the plumber.” And wishing to change the subject he added: “Oh! wait a moment, Monsieur Froment. You are a man of taste, I know, and I want to show you a marvel.”
He really had some esteem for Mathieu, for he knew that the young fellow possessed a quick appreciative mind. Mathieu began to smile, outwardly yielding to this attempt to create a diversion, but determined at heart that he would not leave the place until he had obtained the promise of a new roof. He took hold of a book, clad in a marvellous binding, which Seguin had fetched from a bookcase and tendered with religious care. On the cover of soft snow-white leather was incrusted a long silver lily, intersected by a tuft of big violet thistles. The title of the work, “Beauty Imperishable,” was engraved up above, as in a corner of the sky.
“Ah! what a delightful conception, what delightful coloring!” declared Mathieu, who was really charmed. “Some bindings
