The Mysteries of Paris, illustrated with etchings, Vol. 3Sue, Eugène
General
The Mysteries of Paris, illustrated with etchings, Vol. 3
Sue, Eugène
Paris (France) -- Fiction
At the period when the events were passing which we are now relating, at
one end of the Rue du Sentier a long old wall extended, covered with a
coat of whitewash, and the top garnished with a row of broken
flint-glass bottles; this wall, bounding on one side the garden of
Jacques Ferrand, the notary, terminated with a _corps de logis_ facing
the street, only one story high, with garrets. Two large escutcheons of
gilt copper, emblems of the notarial residence, flanked the worm-eaten
_porte cochere_, of which the primitive colour was no longer to be
distinguished under the mud which covered it. This entrance led to an
open passage; on the right was the lodge of an old porter, almost deaf,
who was to the body of tailors what M. Pipelet was to the body of
boot-makers; on the left a stable, used as a cellar, washhouse,
woodhouse, and the establishment of a rising colony of rabbits belonging
to the porter, who was dissipating the sorrows of a recent widowhood by
bringing up these domestic animals. Beside the lodge was the opening of
a twisting staircase, narrow and dark, leading to the office, as was
announced to the clients by a hand painted black, whose forefinger was
directed towards these words, also painted in black upon the wall, "The
Office on the first floor."
On one side of a large paved court, overgrown with grass, were empty
stables; on the other side, a rusty iron gate, which shut in the garden;
at the bottom the pavilion, inhabited only by the notary. A flight of
eight or ten steps of disjointed stones, which were moss-grown and
time-worn, led to this square pavilion, consisting of a kitchen and
other underground offices, a ground floor, a first floor, and the top
rooms, in one of which Louise had slept. The pavilion also appeared in a
state of great dilapidation. There were deep chinks in the walls; the
window-frames and outside blinds, once painted gray, had become almost
black by time; the six windows on the first floor, looking out into the
courtyard, had no curtains; a sort of greasy and opaque deposit covered
the glass; on the ground floor there were visible through the
window-panes more transparent, faded yellow cotton curtains, with red
bindings.
On the garden side the pavilion had only four windows. The garden,
overgrown with parasitical plants, seemed wholly neglected. There was no
flower border, not a bush; a clump of elms; five or six large green
trees; some acacias and elder-trees; a yellowish grass-plat, half
destroyed by moss and the scorch of the sun; muddy paths, choked up with
weeds; at the bottom, a sort of half cellar; for horizon, the high,
naked, gray walls of the adjacent houses, having here and there
skylights barred like prison windows,--such was the miserable appearance
of the garden and dwelling of the notary.
Public-domain text, read in full here on John Shaqi.
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