“Bah!” said Emile, “idle talk! They have been robbing the general, and they will not be allowed to rob him any longer. These people are furious, that’s the whole of it. You must remember that the law and the government are always strongest everywhere, even in Burgundy. In case of an outbreak the general could bring a regiment of cavalry here, if necessary.”
The abbe made a sign to Madame Michaud from behind the countess, telling her to say no more about her fears, which were doubtless the effect of that second sight which true passion bestows. The soul, dwelling exclusively on one only being, grasps in the end the moral elements that surround it, and sees in them the makings of the future. The woman who loves feels the same presentiments that later illuminate her motherhood. Hence a certain melancholy, a certain inexplicable sadness which surprises men, who are one and all distracted from any such concentration of their souls by the cares of life and the continual necessity for action. All true love becomes to a woman an active contemplation, which is more or less lucid, more or less profound, according to her nature.
“Come, my dear, show your home to Monsieur Emile,” said the countess, whose mind was so pre-occupied that she forgot La Pechina, who was the ostensible object of her visit.
The interior of the restored pavilion was in keeping with its exterior. On the ground-floor the old divisions had been replaced, and the architect, sent from Paris with his own workmen (a cause of bitter complaint in the neighborhood against the master of Les Aigues), had made four rooms out of the space. First, an ante-chamber, at the farther end of which was a winding wooden staircase, behind which came the kitchen; on either side of the antechamber was a dining-room and a parlor panelled in oak now nearly black, with armorial bearings in the divisions of the ceilings. The architect chosen by Madame de Montcornet for the restoration of Les Aigues had taken care to put the furniture of this room in keeping with its original decoration.
At the time of which we write fashion had not yet given an exaggerated value to the relics of past ages. The carved settee, the high-backed chairs covered with tapestry, the consoles, the clocks, the tall embroidery frames, the tables, the lustres, hidden away in the second-hand shops of Auxerre and Ville-aux-Fayes were fifty per-cent cheaper than the modern, ready-made furniture of the faubourg Saint Antoine. The architect had therefore bought two or three cartloads of well-chosen old things, which, added to a few others discarded at the chateau, made the little salon of the gate of the Avonne an artistic creation. As to the dining-room, he painted it in browns and hung it with what was called a Scotch paper, and Madame Michaud added white cambric curtains with green borders at the windows, mahogany chairs covered with green cloth, two large buffets and a table, also in mahogany. This room, ornamented with engravings of military scenes, was heated by a porcelain stove, on each side of which were sporting-guns suspended on the walls. These adornments, which cost but little, were talked of throughout the whole valley as the last extreme of oriental luxury. Singular to say, they, more than anything else, excited the envy of Gaubertin, and whenever he thought of his fixed determination to bring Les Aigues to the hammer and cut it in pieces, he reserved for himself, “in petto,” this beautiful pavilion.