In the Rue des Lombards there dwelt a wealthy Jew, who put his money out at interest, and kept his daughter under lock and key at home. But the paternal Jew did not close his shutters, and the Lombard street Jessica, sitting all day at the window, attracted the homage of many passers-by. These were chiefly knights who came that way to be measured for pourpoints; and no knight was more attracted by the black eyes of the young lady in question, than the Chevalier Giles de Pontoise. That name indeed is one of a celebrated hero of a burlesque tragedy, but the original knight was “_my_ Beverley.” Giles wore the showiest pourpoint in the world; for which he had obtained long credit. It struck him that he would call upon the Jew to borrow a few hundred pistoles, and take the opportunity to also borrow the daughter. He felt sure of succeeding in both exploits; for, as he remarked, if he could not pay the money he was about to borrow, he could borrow it of his more prudent relatives, and so acquit himself of his debt. With regard to the lady, he had serenaded her, night after night, till she looked as ready to leap down to him as the Juliets who played to Barry’s Romeo;--and he had sung “Ecco ridente il sole,” or what was then equivalent to it, accompanied by his guitar, and looking as ridiculous the while, without being half so silvery-toned as Rubini in Almaviva, warbling his delicious nonsense to Rosina. Our Jew, like old Bartolo, was destined to pay the musician. Giles succeeded in extracting the money required from the usurer, and he had like success in inducing the daughter to trust to his promises. He took the latter to Pontoise, deceived her by a mock-marriage, and spent all that he had borrowed from the father, in celebrating his pretended nuptials with the daughter. There never was a more recreant knight than Giles de Pontoise. However, bills will become due, if noble or simple put their names to them, and the Jew claimed at once both his debt and his daughter. He failed in obtaining his money, but the lady he carried off by violence, she herself exhibiting considerable reluctance to leave the Château de Pontoise for the paternal dungeon in the Rue des Lombards. This step brought Giles to a course of reflection. It was not of that quality which his confessor would have recommended, but rather of a satanic aspect. “In the usurer’s house,” thought Giles, “live the tailor to whom I am indebted for my pourpoint, the Jew who holds my promise to pay, and the pretty daughter of whom I have been so unjustly deprived. I will set fire to the house. If I burn tailor, money-lender, and the proofs of my liabilities, I shall have done a good night’s work, if I therewith can carry off little Jessica.”