As Werdet tells, the real work of composition, with Balzac, hardly commenced until he had a set of galley proofs. What he sent first to the printer, scribbled with his crow's-quill, was a mere sketch; and the sketch itself was a sort of Chinese puzzle, largely composed of scratched-out and interpolated sentences; passages and chapters being moved about in a curious _chasse-croise_, which the type-setters deciphered and arranged as they best could. Margins and inter-columnal spaces they found covered with interpolations; a long trailing line indicated the way here and the way there to the destination of the inserted passages. A cobweb was regular in comparison to the task which the printers had to tackle in the hope of finding beginning, middle, and end. In the various presses where his books were set up, the employees would never work longer than an hour on end at his manuscript. And the indemnity he had to pay for corrections reached sometimes the figure of forty francs per sixteen pages. Numerous were the difficulties caused on this score with publishers, editors, and printers. Balzac justified himself by quoting the examples of Chateaubriand, Ingres, and Meyerbeer in their various arts. To Buloz, of the _Revue de Paris_, who expostulated, he impatiently replied: "I will give up fifty francs per sheet to have my hands free. So say no more about the matter." It is true that Buloz paid him 250 francs per sheet for his contributions. Indeed, the novelist's own method of work was a reversal of the natural alternation of regular periods of activity and repose. He not only, as he told all his correspondents with wearisome iteration, burned the midnight oil, but would keep up these eighteen or twenty hours' daily labour for weeks altogether, until some novel that he was engaged on was finished. During these spells of composing he would see no one, read no letters, but write on and on, eating sparingly, sipping his coffee, and refreshing his jaded anatomy by taking a bath, in which he would lie for a whole hour, plunged in meditation. After his voluntary seclusions, he suddenly reappeared in his usual haunts, active and feverish as ever, note-book ready to hand, in which he jotted down his thoughts, discoveries, and observations for future use. On its pages were primitively outlined the features of most of the women of his fiction.