grandeur; the courses of the facade define the storeys; panels of red brick recall the appearance of the stables at Versailles; the windows have masks carved as ornaments in the centre of their arches and below their sills. The door, of small panels in the upper half and plain below, through which, when open, the garden can be seen, is of that honest, unassuming style which was often employed in former days for the porter's lodges of the royal chateaux.
This building, with five windows to each course, rises two storeys above the ground-floor, and is particularly noticeable for a roof of four sides ending in a weather-vane, and broken here and there by tall, handsome chimneys, and oval windows. Perhaps this structure is the remains of some great mansion; but after examining all the existing old maps of Paris, we find nothing which bears out this conjecture. Moreover, the title-deeds of property under Louis XIV. was Petitot, the celebrated painter in miniature, who obtained it originally from President Lecamus. We may therefore believe that Lecamus lived in this building while he was erecting his more famous mansion in the rue de Thorigny.
So Art and the legal robe have passed this way in turn. How many instigations of needs and pleasures have led to the interior arrangement of the dwelling! To right, as we enter a square hall forming a closed vestibule, rises a stone staircase with two windows looking on the garden. Beneath the staircase opens a door to the cellar. From this vestibule we enter the dining-room, lighted from the courtyard, and the dining-room communicates at its side with the kitchen, which forms a continuation of the wing in which are the warerooms of Metivier and Barbet. Behind the staircase extends, on the garden side, a fine study or office with two large windows. The first and second floor form two complete apartments, and the servants' quarters are shown by the oval windows in the four-sided roof.
A large porcelain stove heats the square vestibule, the two glass doors of which, placed opposite to each other, light it. This room, paved in black and white marble, is especially noticeable for a ceiling of beams formerly painted and gilt, but which had since received, probably under the Empire, a coat of plain white paint. The three doors of the study, salon and dining-room, surmounted by oval panels, are awaiting a restoration that is more than needed. The wood-work is heavy, but the ornamentation is not without merit. The salon, panelled throughout, recalls the great century by its tall mantelpiece of Languedoc marble, its ceiling decorated at the corners, and by the style of its windows, which still retain their little panes. The dining-room, communicating with the salon by a double door, is floored with stone; the wood-work is oak, unpainted, and an atrocious modern wall-paper has been substituted for the tapestries of the olden time. The ceiling is of chestnut; and the study, modernized by Thuillier, adds its quota to these discordances.
The white and gold mouldings of the salon are so effaced that nothing remains of the gilding but reddish lines, while the white enamelling is yellow, cracked, and peeling off. Never did the Latin saying "Otium cum dignitate" have a greater commentary to the mind of a poet than in this noble building. The iron-work of the staircase baluster is worthy of the artist and the magistrate; but to find other traces of their taste to-day in this majestic relic, the eyes of an artistic observer are needed.
The Thuilliers and their predecessors have frequently degraded this jewel of the upper bourgeoisie by the habits and inventions of the lesser bourgeoisie. Look at those walnut chairs covered with horse-hair, that mahogany table with its oilcloth cover, that sideboard, also of mahogany, that carpet, bought at a bargain, beneath the table, those metal lamps, that wretched paper with its red border, those execrable engravings, and the calico curtains with red fringes, in a dining-room, where the friends of Petitot once feasted! Do you notice the effect produced in the salon by those portraits of Monsieur and Madame and Mademoiselle Thuillier by Pierre Grassou, the artist par excellence of the modern bourgeoisie. Have you remarked the card-tables and the consoles of the Empire, the tea-table supported by a lyre, and that species of sofa, of gnarled mahogany, covered in painted velvet of a chocolate tone? On the chimney-piece, with the clock (representing the Bellona of the Empire), are candelabra with fluted columns. Curtains of woollen damask, with under-curtains of embroidered muslin held back by stamped brass holders, drape the windows. On the floor a cheap carpet. The handsome vestibule has wooden benches, covered with velvet, and the panelled walls with their fine carvings are mostly hidden by wardrobes, brought there from time to time from the bedrooms occupied by the Thuilliers. Fear, that hideous divinity, has caused the family to add sheet-iron doors on the garden side and on the courtyard side, which are folded back against the walls in the daytime, and are closed at night.
It is easy to explain the deplorable profanation practised on this monument of the private life of the bourgeoisie of the seventeenth century, by the private life of the bourgeoisie of the nineteenth. At the beginning of the Consulate, let us say, some master-mason having bought the ancient building, took the idea of turning to account the ground which lay between it and the street. He probably pulled down the fine porte-cochere or entrance gate, flanked by little lodges which guarded the charming "sejour" (to use a word of the olden time), and proceeded, with the industry of a Parisian proprietor, to impress his withering mark on the elegance of the old building. What a curious study might be made of the successive title-deeds of property in Paris! A private lunatic asylum performs its functions in the rue des Batailles in the former dwelling of the Chevalier Pierre Bayard du Terrail, once without fear and without reproach; a street has now been built by the present bourgeois administration through the site of the hotel Necker. Old Paris is departing, following its kings who abandoned it. For one masterpiece of architecture saved from destruction by a Polish princess (the hotel Lambert, Ile Saint-Louis, bought and occupied by the Princess Czartoriska) how many little palaces have fallen, like this dwelling of Petitot, into the hands of such as Thuillier.
Here follows the causes which made Mademoiselle Thuillier the owner of the house.
Chapter II
At the fall of the Villele ministry, Monsieur Louis-Jerome Thuillier, who had then seen twenty-six years' service as a clerk in the ministry of finance, became sub-director of a department thereof; but scarcely had he enjoyed the subaltern authority of a position formerly his lowest hope, when the events of July, 1830, forced him to resign it. He calculated, shrewdly enough, that his pension would be honorably and readily given by the new-comers, glad to have another office at their disposal. He was right; for a pension of seventeen hundred francs was paid to him immediately.
When the prudent sub-director first talked of resigning, his sister, who was far more the companion of his life than his wife, trembled for his future.
"What will become of Thuillier?" was a question which Madame and Mademoiselle Thuillier put to each other with mutual terror in their little lodging on a third floor of the rue d'Argenteuil.
"Securing his pension will occupy him for a time," Mademoiselle Thuillier said one day; "but I am thinking of investing my savings in a way that will cut out work for him. Yes; it will be something like administrating the finances to manage a piece of property."
"Oh, sister! you will save his life," cried Madame Thuillier.
"I have always looked for a crisis of this kind in Jerome's life," replied the old maid, with a protecting air.
Mademoiselle Thuillier had too often heard her brother remark: "Such a one is dead; he only survived his retirement two years"; she had too often heard Colleville, her brother's intimate friend, a government employee like himself, say, jesting on this climacteric of bureaucrats, "We shall all come to it, ourselves," not to appreciate the danger her brother was running. The change from activity to leisure is, in truth, the critical period for government employees of all kinds.
Those of them who know not how to substitute, or perhaps cannot substitute other occupations for the work to which they have been accustomed,
