The interior of Gaubertin’s house was decorated with the unmeaning commonplaces of modern luxury. Rich papers with gold borders, bronze chandeliers, mahogany furniture of a new pattern, astral lamps, round tables with marble tops, white china with gilt lines for dessert, red morocco chairs and mezzo-tint engravings in the dining-room, and blue cashmere furniture in the salon,--all details of a chilling and perfectly unmeaning character, but which to the eyes of Ville-aux-Fayes seemed the last efforts of Sardanapalian luxury. Madame Gaubertin played the role of elegance with great effect; she assumed little airs and was lackadaisical at forty-five years of age, as though certain of the homage of her court. We ask those who really know France, if these houses--those of Rigou, Soudry, and Gaubertin--are not a perfect presentation of the village, the little town, and the seat of a sub-prefecture? Without being a man of mind, or a man of talent, Gaubertin had the appearance of being both. He owed the accuracy of his perception and his consummate art to an extreme keenness after gain. He desired wealth, not for his wife, not for his children, not for himself, not for his family, not for the reputation that money gives; after the gratification of his revenge (the hope of which kept him alive) he loved the touch of money, like Nucingen, who, it was said, kept fingering the gold in his pockets. The rush of business was Gaubertin’s wine; and though he had his belly full of it, he had all the eagerness of one who was empty. As with valets of the drama, intrigues, tricks to play, mischief to organize, deceptions, commercial over-reachings, accounts to render and receive, disputes, and quarrels of self-interest, exhilarated him, kept his blood in circulation, and his bile flowing. He went and came on foot, on horseback, in a carriage, by water; he was at all auctions and timber sales in Paris, thinking of everything, keeping hundreds of wires in his hands and never getting them tangled.