rear dwelling; but since 1830, they had been converted into warerooms. The one on the right was let to a certain M. Metivier, jr., wholesale dealer in paper; that on the left to a bookseller named Barbet. The offices of each were above the warerooms; the bookseller occupying the first storey, and the paper-dealer the second storey of the house on the street. Metivier, jr., who was more of a commission merchant in paper than a regular dealer, and Barbet, much more of a money lender and discounter than a bookseller, kept these vast warerooms for the purpose of storing,—one, his stacks of paper, bought of needy manufacturers, the other, editions of books given as security for loans.

The shark of bookselling and the pike of paper-dealing lived on the best of terms, and their mutual operations, exempt from the turmoil of retail business, brought so few carriages into that tranquil courtyard that the concierge was obliged to pull up the grass between the paving stones. Messrs. Barbet and Metivier paid a few rare visits to their landlords, and the punctuality with which they paid their rent classed them as good tenants; in fact, they were looked upon as very honest men by the Thuillier circle.

As for the third floor on the street, it was made into two apartments; one of which was occupied by M. Dutocq, clerk of the justice of peace, a retired government employee, and a frequenter of the Thuillier salon; the other by the hero of this Scene, about whom we must content ourselves at the present moment by fixing the amount of his rent,—namely, seven hundred francs a year,—and the location he had chosen in the heart of this well-filled building, exactly three years before the curtain rises on the present domestic drama.

The clerk, a bachelor of fifty, occupied the larger of the two apartments on the third floor. He kept a cook, and the rent of the rooms was a thousand francs a year. Within two years of the time of her purchase, Mademoiselle Thuillier was receiving seven thousand two hundred francs in rentals, for a house which the late proprietor had supplied with outside blinds, renovated within, and adorned with mirrors, without being able to sell or let it. Moreover, the Thuilliers themselves, nobly lodged, as we shall see, enjoyed also a fine garden,—one of the finest in that quarter,—the trees of which shaded the lonely little street named the rue Neuve-Saint-Catherine.

Standing between the courtyard and the garden, the main building, which they inhabited, seems to have been the caprice of some enriched bourgeois in the reign of Louis XIV.; the dwelling, perhaps, of a president of the parliament, or that of a tranquil savant. Its noble free-stone blocks, damaged by time, have a certain air of Louis-the-Fourteenth 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,