The Deputy of Arcis [23]
of the windows and their external mouldings contribute to give a certain style to the house which contrasts strongly with the generally forlorn appearance of the houses of Arcis, constructed, as we have already said, of wood, and covered with plaster, imitating the solidity of stone. Still, these houses are not without a certain originality, through the fact that each architect, or each burgher, has endeavored to solve for himself the problem of styles of building.
The bridge at Arcis is of wood. About four hundred feet above the bridge the river is crossed by another bridge, on which rise the tall wooden sides of a mill with several sluices. The space between the public bridge and this private bridge forms a basin, on the banks of which are several large houses. By an opening between the roofs can be seen the height on which stands the chateau of Arcis with its park and gardens, its outer walls and trees which overhand the river above the bridges, and the rather scanty pastures of the left bank.
The sound of the water as it runs through the courses above the dam, the music of the wheels, from which the churned water falls back into the basin in sparkling cascades, animate the rue du Pont, contrasting in this respect with the tranquillity of the river flowing downward between the garden of Monsieur Grevin, whose house is at one angle of the bridge on the left bank, and the port where the boats and barges discharge their merchandise before a line of poor but picturesque houses.
Nothing can better express provincial life than the deep silence that envelops the little town and reigns in its busiest region. It is easy to imagine, therefore, how disquieting the presence of a stranger, if he only spends half a day there, may be to the inhabitants; with what attention faces protrude from the windows to observe him, and also the condition of espial in which all the residents of the little place stand to each other. Life has there become so conventional that, except on Sundays and fete-days, a stranger meets no one either on the boulevards or the Avenue of Sighs, not even, in fact, upon the streets.
It will now be readily understood why the ground-floor of the Beauvisage house is on a level with the street and square. The square serves as its courtyard. Sitting at his window the eyes of the late hosier could take in the whole of the Place de l'Eglise, the two squares of the bridge, and the road to Sezanne. He could see the coaches arriving and the travellers descending at the post-inn; and on court days he could watch the proceedings around the offices of the mayor and the justice of peace. For these reasons, Beauvisage would not have exchanged his house for the chateau, in spite of its lordly air, its stone walls, and its splendid situation.
VIII
IN WHICH THE DOT, ONE OF THE HEROINES OF THIS HISTORY, APPEARS
Entering the Beauvisage house we find a versatile, at the farther end of which rises the staircase. To right we enter a large salon with two windows opening on the square; to left is a handsome dining-room, looking on the street. The floor above is the one occupied by the family.
Notwithstanding the large fortune of the Beauvisage husband and wife, their establishment consisted of only a cook and a chamber-maid, the latter a peasant, who washed and ironed and frotted the floors rather than waited on her two mistresses, who were accustomed to spend their time in dressing and waiting upon each other. Since the sale of the business to Jean Violette, the horse and cabriolet used by Phileas, and kept at the Hotel de la Poste, had been relinquished and sold.
At the moment when Phileas reached his house after the Giguet meeting, his wife, already informed of the resolutions passed, had put on her boots and shawl and was preparing to go to her father; for she felt very sure that Madame Marion would, on that same evening, make her certain overtures relating to Simon and Cecile. After telling his wife of Charles Keller's death, Phileas asked her opinion with an artless "What do you think of that, wife?"
The bridge at Arcis is of wood. About four hundred feet above the bridge the river is crossed by another bridge, on which rise the tall wooden sides of a mill with several sluices. The space between the public bridge and this private bridge forms a basin, on the banks of which are several large houses. By an opening between the roofs can be seen the height on which stands the chateau of Arcis with its park and gardens, its outer walls and trees which overhand the river above the bridges, and the rather scanty pastures of the left bank.
The sound of the water as it runs through the courses above the dam, the music of the wheels, from which the churned water falls back into the basin in sparkling cascades, animate the rue du Pont, contrasting in this respect with the tranquillity of the river flowing downward between the garden of Monsieur Grevin, whose house is at one angle of the bridge on the left bank, and the port where the boats and barges discharge their merchandise before a line of poor but picturesque houses.
Nothing can better express provincial life than the deep silence that envelops the little town and reigns in its busiest region. It is easy to imagine, therefore, how disquieting the presence of a stranger, if he only spends half a day there, may be to the inhabitants; with what attention faces protrude from the windows to observe him, and also the condition of espial in which all the residents of the little place stand to each other. Life has there become so conventional that, except on Sundays and fete-days, a stranger meets no one either on the boulevards or the Avenue of Sighs, not even, in fact, upon the streets.
It will now be readily understood why the ground-floor of the Beauvisage house is on a level with the street and square. The square serves as its courtyard. Sitting at his window the eyes of the late hosier could take in the whole of the Place de l'Eglise, the two squares of the bridge, and the road to Sezanne. He could see the coaches arriving and the travellers descending at the post-inn; and on court days he could watch the proceedings around the offices of the mayor and the justice of peace. For these reasons, Beauvisage would not have exchanged his house for the chateau, in spite of its lordly air, its stone walls, and its splendid situation.
VIII
IN WHICH THE DOT, ONE OF THE HEROINES OF THIS HISTORY, APPEARS
Entering the Beauvisage house we find a versatile, at the farther end of which rises the staircase. To right we enter a large salon with two windows opening on the square; to left is a handsome dining-room, looking on the street. The floor above is the one occupied by the family.
Notwithstanding the large fortune of the Beauvisage husband and wife, their establishment consisted of only a cook and a chamber-maid, the latter a peasant, who washed and ironed and frotted the floors rather than waited on her two mistresses, who were accustomed to spend their time in dressing and waiting upon each other. Since the sale of the business to Jean Violette, the horse and cabriolet used by Phileas, and kept at the Hotel de la Poste, had been relinquished and sold.
At the moment when Phileas reached his house after the Giguet meeting, his wife, already informed of the resolutions passed, had put on her boots and shawl and was preparing to go to her father; for she felt very sure that Madame Marion would, on that same evening, make her certain overtures relating to Simon and Cecile. After telling his wife of Charles Keller's death, Phileas asked her opinion with an artless "What do you think of that, wife?"