Elisabeth, the only child, had toiled steadily from infancy in a home where the customs of life were rigid and the ideas ******. A new hat for Saillard was a matter of deliberation; the time a coat could last was estimated and discussed; umbrellas were carefully hung up by means of a brass buckle. Since 1804 no repairs of any kind had been done to the house. The Saillards kept the ground-floor in precisely the state in which their predecessor left it. The gilding of the pier-glasses was rubbed off; the paint on the cornices was hardly visible through the layers of dust that time had collected. The fine large rooms still retained certain sculptured marble mantel-pieces and ceilings, worthy of Versailles, together with the old furniture of the widow Bidault.
The latter consisted of a curious mixture of walnut armchairs, disjointed, and covered with tapestry; rosewood bureaus; round tables on single pedestals, with brass railings and cracked marble tops; one superb Boulle secretary, the value of which style had not yet been recognized; in short, a chaos of bargains picked up by the worthy widow,--pictures bought for the sake of the frames, china services of a composite order; to wit, a magnificent Japanese dessert set, and all the rest porcelains of various makes, unmatched silver plate, old glass, fine damask, and a four-post bedstead, hung with curtains and garnished with plumes.
Amid these curious relics, Madame Saillard always sat on a sofa of modern mahogany, near a fireplace full of ashes and without fire, on the mantel-shelf of which stood a clock, some antique bronzes, candelabra with paper flowers but no candles, for the careful housewife lighted the room with a tall tallow candle always guttering down into the flat brass candlestick which held it. Madame Saillard's face, despite its wrinkles, was expressive of obstinacy and severity, narrowness of ideas, an uprightness that might be called quadrangular, a religion without piety, straightforward, candid avarice, and the peace of a quiet conscience. You may see in certain Flemish pictures the wives of burgomasters cut out by nature on the same pattern and wonderfully reproduced on canvas; but these dames wear fine robes of velvet and precious stuffs, whereas Madame Saillard possessed no robes, only that venerable garment called in Touraine and Picardy "cottes," elsewhere petticoats, or skirts pleated behind and on each side, with other skirts hanging over them. Her bust was inclosed in what was called a "casaquin," another obsolete name for a short gown or jacket. She continued to wear a cap with starched wings, and shoes with high heels. Though she was now fifty-seven years old, and her lifetime of vigorous household work ought now to be rewarded with well-earned repose, she was incessantly employed in knitting her husband's stockings and her own, and those of an uncle, just as her countrywomen knit them, moving about the room, talking, pacing up and down the garden, or looking round the kitchen to watch what was going on.
The Saillard's avarice, which was really imposed on them in the first instance by dire necessity, was now a second nature. When the cashier got back from the office, he laid aside his coat, and went to work in the large garden, shut off from the courtyard by an iron railing, and which the family reserved to itself. For years Elisabeth, the daughter, went to market every morning with her mother, and the two did all the work of the house. The mother cooked well, especially a duck with turnips; but, according to Saillard, no one could equal Elisabeth in hashing the remains of a leg of mutton with onions. "You might eat your boots with those onions and not know it," he remarked.
As soon as Elisabeth knew how to hold a needle, her mother had her mend the household linen and her father's coats. Always at work, like a servant, she never went out alone. Though living close by the boulevard du Temple, where Franconi, La Gaite, and l'Ambigu-Comique were within a stone's throw, and, further on, the Porte-Saint-Martin, Elisabeth had never seen a comedy. When she asked to "see what it was like" (with the Abbe Gaudron's permission, be it understood), Monsieur Baudoyer took her--for the glory of the thing, and to show her the finest that was to be seen--to the Opera, where they were playing "The Chinese Laborer." Elisabeth thought "the comedy" as wearisome as the plague of flies, and never wished to see another. On Sundays, after walking four times to and fro between the place Royale and Saint-Paul's church (for her mother made her practise the precepts and the duties of religion), her parents took her to the pavement in front of the Cafe Ture, where they sat on chairs placed between a railing and the wall. The Saillards always made haste to reach the place early so as to choose the best seats, and found much entertainment in watching the passers-by. In those days the Cafe Ture was the rendezvous of the fashionable society of the Marais, the faubourg Saint-Antoine, and the circumjacent regions.
