to begin with, that front door, the gilded grating of which we have all admired," said Madame Tiphaine, "opens upon a long corridor which divides the house unequally; on the right side there is one window, on the other, two. At the garden end, the corridor opens with a glass door upon a portico with steps to the lawn, where there's a sun dial and a plaster statue of Spartacus, painted to imitate bronze. Behind the kitchen, the builder has put the staircase, and a sort of larder which we are spared the sight of. The staircase, painted to imitate black marble with yellow veins, turns upon itself like those you see in cafes leading from the ground-floor to the entresol. The balustrade, of walnut with brass ornaments and dangerously slight, was pointed out to us as one of the seven wonders of the world. The cellar stairs run under it. On the other side of the corridor is the dining-room, which communicates by folding-doors with a salon of equal size, the windows of which look on the garden."
"Dear me, is there no ante-chamber?" asked Madame Auffray.
"The corridor, full of draughts, answers for an ante-chamber," replied Madame Tiphaine. "Our friends have had, they assured us, the eminently national, liberal, constitutional, and patriotic feeling to use none but French woods in the house; so the floor in the dining-room is chestnut, the sideboards, tables, and chairs, of the same. White calico window-curtains, with red borders, are held back by vulgar red straps; these magnificent draperies run on wooden curtain rods ending in brass lion's-paws. Above one of the sideboards hangs a dial suspended by a sort of napkin in gilded bronze—an idea that seemed to please the Rogrons hugely. They tried to make me admire the invention; all I could manage to say was that if it was ever proper to wrap a napkin round a dial it was certainly in a dining-room. On the sideboard were two huge lamps like those on the counter of a restaurant. Above the other sideboard hung a barometer, excessively ornate, which seems to play a great part in their existence; Rogron gazed at it as he might at his future wife. Between the two windows is a white porcelain stove in a niche overloaded with ornament. The walls glow with a magnificent paper, crimson and gold, such as you see in the same restaurants, where, no doubt, the Rogrons chose it. Dinner was served on white and gold china, with a dessert service of light blue with green flowers, but they showed us another service in earthenware for everyday use. Opposite to each sideboard was a large cupboard containing linen. All was clean, new, and horribly sharp in tone. However, I admit the dining-room; it has some character, though disagreeable; it represents that of the masters of the house. But there is no enduring the five engravings that hang on the walls; the Minister of the Interior ought really to frame a law against them. One was Poniatowski jumping into the Elster; the others, Napoleon pointing a cannon, the defence at Clichy, and the two Mazepas, all in gilt frames of the vulgarest description—fit to carry off the prize of disgust. Oh! how much I prefer Madame Julliard's pastels of fruit, those excellent Louis XV. pastels, which are in keeping with the old dining-room and its gray panels—defaced by age, it is true, but they possess the true provincial characteristics that go well with old family silver, precious china, and our simple habits. The provinces are provinces; they are only ridiculous when they mimic Paris. I prefer this old salon of my husband's forefathers, with its heavy curtains of green and white damask, the Louis XV. mantelpiece, the twisted pier-glasses, the old mirrors with their beaded mouldings, and the venerable card tables. Yes, I prefer my old Sevres vases in royal blue, mounted on copper, my clock with those impossible flowers, that rococco chandelier, and the tapestried furniture, to all the finery of the Rogron salon."
"What is the salon like?" said Monsieur Martener, delighted with the praise the handsome Parisian bestowed so adroitly on the provinces.
"As for the salon, it is all red—the red Mademoiselle Sylvie turns when she loses at cards."
"Sylvan-red," said Monsieur Tiphaine, whose sparkling saying long remained in the vocabulary of Provins.
"Window-curtains, red; furniture, red; mantelpiece, red, veined yellow, candelabra and clock ditto mounted on bronze, common and heavy in design—Roman standards with Greek foliage! Above the clock is that inevitable good-natured lion which looks at you with a simper, the lion of ornamentation, with a big ball under his feet, symbol of the decorative lion, who passes his life holding a black ball—exactly like a deputy of the Left. Perhaps it is meant as a constitutional myth. The face of the clock is curious. The glass over the chimney is framed in that new fashion of applied mouldings which is so trumpery and vulgar. From the ceiling hangs a chandelier carefully wrapped in green muslin, and rightly too, for it is in the worst taste, the sharpest tint of bronze with hideous ornaments. The walls are covered with a red flock paper to imitate velvet enclosed in panels, each panel decorated with a chromo-lithograph in one of those frames festooned with stucco flowers to represent wood-carving. The furniture, in cashmere and elm-wood, consists, with classic uniformity, of two sofas, two easy-chairs, two armchairs, and six common chairs. A vase in alabaster, called a la Medicis, kept under glass stands on a table between the windows; before the windows, which are draped with magnificent red silk curtains and lace curtains under them, are card-tables. The carpet is Aubusson, and you may be sure the Rogrons did not fail to lay hands on that most vulgar of patterns, large flowers on a red ground. The room looks as if no one ever lived there; there are no books, no engravings, none of those little knick-knacks we all have lying about," added Madame Tiphaine, glancing at her own table covered with fashionable trifles, albums, and little presents given to her by friends; "and there are no flowers—it is all cold and barren, like Mademoiselle Sylvie herself. Buffon says the style is the man, and certainly salons have styles of their own."
From this sketch everybody can see the sort of house the brother and sister lived in, though they can never imagine the absurdities into which a clever builder dragged the ignorant pair—new inventions, fantastic ornaments, a system for preventing smoky chimneys, another for preventing damp walls; painted marquetry panels on the staircase, colored glass, superfine locks—in short, all those vulgarities which make a house expensive and gratify the bourgeois taste.
No one chose to visit the Rogrons, whose social plans thus came to nothing. Their invitations were refused under various excuses—the evenings were already engaged to Madame Garceland and the other ladies of the Provins world. The Rogrons had supposed that all that was required to gain a position in society was to give a few dinners. But no one any longer accepted them, except a few young men who went to make fun of their host and hostess, and certain diners-out who went everywhere.
Frightened at the loss of forty thousand francs swallowed up without profit in what she called her "dear house," Sylvie now set to work to recover it by economy. She gave no more dinners, which had cost her forty or fifty francs without the wines, and did not fulfil her social hopes, hopes that are as hard to realize in the provinces as in Paris. She sent away her cook, took a country-girl to do the menial work, and did her own cooking, as she said, "for pleasure."
Fourteen months after their return to Provins, the brother and sister had fallen into a solitary and wholly unoccupied condition. Their banishment from society roused in Sylvie's heart a dreadful hatred against the Tiphaines, Julliards and all the other members of the social world of Provins, which she called "the clique," and with whom her personal relations became extremely cold. She would gladly have set up a rival clique, but the lesser bourgeoisie was made up of either small shopkeepers who were only free on Sundays and fete-days, or smirched individuals like the lawyer Vinet and Doctor Neraud, and wholly inadmissible Bonapartists like Baron Gouraud, with whom, however, Rogron thoughtlessly allied himself, though the upper bourgeoisie had warned him against them.
The brother and sister were, therefore, forced to sit by the fire of the stove in the dining-room, talking over their former business, trying to recall the faces of their customers and other matters they had intended to forget. By the end of the second winter ennui weighed heavily on them. They did not know how to get through each day; sometimes as they went to bed the words escaped them, "There's another over!" They dragged out the morning by staying in bed, and dressing slowly. Rogron shaved himself every day, examined his face, consulted his sister on any changes he thought he saw there, argued with the servant about the temperature of his hot water, wandered into the garden, looked to see if the shrubs
