One of the worst corners in all Paris is undoubtedly that part of the rue Mazarin which lies between the rue Guenegard and its junction with the rue de Seine, behind the palace of the Institute. The high gray walls of the college and of the library which Cardinal Mazarin presented to the city of Paris, and which the French Academy was in after days to inhabit, cast chill shadows over this angle of the street, where the sun seldom shines, and the north wind blows. The poor ruined widow came to live on the third floor of a house standing at this damp, dark, cold corner. Opposite, rose the Institute buildings, in which were the dens of ferocious animals known to the bourgeoisie under the name of artists,--under that of tyro, or rapin, in the studios. Into these dens they enter rapins, but they may come forth prix de Rome. The transformation does not take place without extraordinary uproar and disturbance at the time of year when the examinations are going on, and the competitors are shut up in their cells. To win a prize, they were obliged, within a given time, to make, if a sculptor, a clay model; if a painter, a picture such as may be seen at the Ecole des Beaux-Arts; if a musician, a cantata; if an architect, the plans for a public building. At the time when we are penning the words, this menagerie has already been removed from these cold and cheerless buildings, and taken to the elegant Palais des Beaux-Arts, which stands near by.
From the windows of Madame Bridau's new abode, a glance could penetrate the depths of those melancholy barred cages. To the north, the view was shut in by the dome of the Institute; looking up the street, the only distraction to the eye was a file of hackney-coaches, which stood at the upper end of the rue Mazarin. After a while, the widow put boxes of earth in front of her windows, and cultivated those aerial gardens that police regulations forbid, though their vegetable products purify the atmosphere. The house, which backed up against another fronting on the rue de Seine, was necessarily shallow, and the staircase wound round upon itself. The third floor was the last. Three windows to three rooms, namely, a dining-room, a small salon, and a chamber on one side of the landing; on the other, a little kitchen, and two single rooms; above, an immense garret without partitions.
Madame Bridau chose this lodging for three reasons: economy, for it cost only four hundred francs a year, so that she took a lease of it for nine years; proximity to her sons' school, the Imperial Lyceum being at a short distance; thirdly, because it was in the quarter to which she was used.
The inside of the appartement was in keeping with the general look of the house. The dining-room, hung with a yellow paper covered with little green flowers, and floored with tiles that were not glazed, contained nothing that was not strictly necessary,--namely, a table, two sideboards, and six chairs, brought from the other appartement.
The salon was adorned with an Aubusson carpet given to Bridau when the ministry of the interior was refurnished. To the furniture of this room the widow added one of those commonplace mahogany sofas with the Egyptian heads that Jacob Desmalter manufactured by the gross in 1806, covering them with a silken green stuff bearing a design of white geometric circles. Above this piece of furniture hung a portrait of Bridau, done in pastel by the hand of an *******, which at once attracted the eye. Though art might have something to say against it, no one could fail to recognize the firmness of the noble and obscure citizen upon that brow. The serenity of the eyes, gentle, yet proud, was well given; the sagacious mind, to which the prudent lips bore testimony, the frank smile, the atmosphere of the man of whom the Emperor had said, "Justum et tenacem," had all been caught, if not with talent, at least with fidelity. Studying that face, an observer could see that the man had done his duty. His countenance bore signs of the incorruptibility which we attribute to several men who served the Republic. On the opposite wall, over a card-table, flashed a picture of the Emperor in brilliant colors, done by Vernet; Napoleon was riding rapidly, attended by his escort.
Agathe had bestowed upon herself two large birdcages; one filled with canaries, the other with Java sparrows. She had given herself up to this juvenile fancy since the loss of her husband, irreparable to her, as, in fact, it was to many others. By the end of three months, her widowed chamber had become what it was destined to remain until the appointed day when she left it forever,--a litter of confusion which words are powerless to describe. Cats were domiciled on the sofa. The canaries, occasionally let loose, left their commas on the furniture.
The poor dear woman scattered little heaps of millet and bits of chickweed about the room, and put tidbits for the cats in broken saucers. Garments lay everywhere. The room breathed of the provinces and of constancy. Everything that once belonged to Bridau was scrupulously preserved. Even the implements in his desk received the care which the widow of a paladin might have bestowed upon her husband's armor. One slight detail here will serve to bring the tender devotion of this woman before the reader's mind. She had wrapped up a pen and sealed the package, on which she wrote these words, "Last pen used by my dear husband." The cup from which he drank his last draught was on the fireplace; caps and false hair were tossed, at a later period, over the glass globes which covered these precious relics.
