第14章 MONSIEUR DES LUPEAULX(4)

In person, Clement des Lupeaulx had the remains of a handsome man;five feet six inches tall, tolerably stout, complexion flushed with good living, powdered head, delicate spectacles, and a worn-out air;the natural skin blond, as shown by the hand, puffy like that of an old woman, rather too square, and with short nails--the hand of a satrap. His foot was elegant. After five o'clock in the afternoon des Lupeaulx was always to be seen in open-worked silk stockings, low shoes, black trousers, cashmere waistcoat, cambric handkerchief (without perfume), gold chain, blue coat of the shade called "king's blue," with brass buttons and a string of orders. In the morning he wore creaking boots and gray trousers, and the short close surtout coat of the politician. His general appearance early in the day was that of a sharp lawyer rather than that of a ministerial officer. Eyes glazed by the constant use of spectacles made him plainer than he really was, if by chance he took those appendages off. To real judges of character, as well as to upright men who are at ease only with honest natures, des Lupeaulx was intolerable. To them, his gracious manners only draped his lies; his amiable protestations and hackneyed courtesies, new to the foolish and ignorant, too plainly showed their texture to an observing mind. Such minds considered him a rotten plank, on which no foot should trust itself.

No sooner had the beautiful Madame Rabourdin decided to interfere in her husband's administrative advancement than she fathomed Clement des Lupeaulx's true character, and studied him thoughtfully to discover whether in this thin strip of deal there were ligneous fibres strong enough to let her lightly trip across it from the bureau to the department, from a salary of eight thousand a year to twelve thousand.

The clever woman believed she could play her own game with this political roue; and Monsieur des Lupeaulx was partly the cause of the unusual expenditures which now began and were continued in the Rabourdin household.

The rue Duphot, built up under the Empire, is remarkable for several houses with handsome exteriors, the apartments of which are skilfully laid out. That of the Rabourdins was particularly well arranged,--a domestic advantage which has much to do with the nobleness of private lives. A pretty and rather wide antechamber, lighted from the courtyard, led to the grand salon, the windows of which looked on the street. To the right of the salon were Rabourdin's study and bedroom, and behind them the dining-room, which was entered from the antechamber; to the left was Madame's bedroom and dressing-room, and behind them her daughter's little bedroom. On reception days the door of Rabourdin's study and that of his wife's bedroom were thrown open.

The rooms were thus spacious enough to contain a select company, without the absurdity which attends many middle-class entertainments, where unusual preparations are made at the expense of the daily comfort, and consequently give the effect of exceptional effort. The salon had lately been rehung in gold-colored silk with carmelite touches. Madame's bedroom was draped in a fabric of true blue and furnished in a rococo manner. Rabourdin's study had inherited the late hangings of the salon, carefully cleaned, and was adorned by the fine pictures once belonging to Monsieur Leprince. The daughter of the late auctioneer had utilized in her dining-room certain exquisite Turkish rugs which her father had bought at a bargain; panelling them on the walls in ebony, the cost of which has since become exorbitant. Elegant buffets made by Boulle, also purchased by the auctioneer, furnished the sides of the room, at the end of which sparkled the brass arabesques inlaid in tortoise-shell of the first tall clock that reappeared in the nineteenth century to claim honor for the masterpieces of the seventeenth. Flowers perfumed these rooms so full of good taste and of exquisite things, where each detail was a work of art well placed and well surrounded, and where Madame Rabourdin, dressed with that natural simplicity which artists alone attain, gave the impression of a woman accustomed to such elegancies, though she never spoke of them, but allowed the charms of her mind to complete the effect produced upon her guests by these delightful surroundings.

Thanks to her father, Celestine was able to make society talk of her as soon as the rococo became fashionable.

Accustomed as des Lupeaulx was to false as well as real magnificence in all their stages, he was, nevertheless, surprised at Madame Rabourdin's home. The charm it exercised over this Parisian Asmodeus can be explained by a comparison. A traveller wearied with the rich aspects of Italy, Brazil, or India, returns to his own land and finds on his way a delightful little lake, like the Lac d'Orta at the foot of Monte Rosa, with an island resting on the calm waters, bewitchingly simple; a scene of nature and yet adorned; solitary, but well surrounded with choice plantations and foliage and statues of fine effect. Beyond lies a vista of shores both wild and cultivated;tumultuous grandeur towers above, but in itself all proportions are human. The world that the traveller has lately viewed is here in miniature, modest and pure; his soul, refreshed, bids him remain where a charm of melody and poesy surrounds him with harmony and awakens ideas within his mind. Such a scene represents both life and a monastery.