Ten Years Later. Dumas Alexandre

had in his eye a little French girl, from whose parents he extorted a reasonable dowry by showing them what there was beneath the slab of the chimney.

      These two points accomplished, he went in search of the painter who was to paint the sign; and he was soon found. He was an old Italian, a rival of the Raphaels and the Caracci, but an unfortunate rival. He said he was of the Venetian school, doubtless from his fondness for color. His works, of which he had never sold one, attracted the eye at a distance of a hundred paces; but they so formidably displeased the citizens, that he had finished by painting no more.

      He boasted of having painted a bath-room for Madame la Marechale d'Ancre, and mourned over this chamber having been burnt at the time of the marechal's disaster.

      Cropoli, in his character of a compatriot, was indulgent towards Pittrino, which was the name of the artist. Perhaps he had seen the famous pictures of the bath-room. Be this as it may, he held in such esteem, we may say in such friendship, the famous Pittrino, that he took him in his own house.

      Pittrino, grateful, and fed with macaroni, set about propagating the reputation of this national dish, and from the time of its founder, he had rendered, with his indefatigable tongue, signal services to the house of Cropoli.

      As he grew old he attached himself to the son as he had done to the father, and by degrees became a kind of overlooker of a house in which his remarkable integrity, his acknowledged sobriety, and a thousand other virtues useless to enumerate, gave him an eternal place by the fireside, with a right of inspection over the domestics. Besides this, it was he who tasted the macaroni, to maintain the pure flavor of the ancient tradition; and it must be allowed that he never permitted a grain of pepper too much, or an atom of parmesan too little. His joy was at its height on that day when called upon to share the secret of Cropoli the younger, and to paint the famous sign.

      He was seen at once rummaging with ardor in an old box, in which he found some brushes, a little gnawed by the rats, but still passable; some colors in bladders almost dried up; some linseed-oil in a bottle, and a palette which had formerly belonged to Bronzino, that dieu de la pittoure, as the ultramontane artist, in his ever young enthusiasm, always called him.

      Pittrino was puffed up with all the joy of a rehabilitation.

      He did as Raphael had done – he changed his style, and painted, in the fashion of the Albanian, two goddesses rather than two queens. These illustrious ladies appeared so lovely on the sign, – they presented to the astonished eyes such an assemblage of lilies and roses, the enchanting result of the change of style in Pittrino – they assumed the poses of sirens so Anacreontically – that the principal echevin, when admitted to view this capital piece in the salle of Cropole, at once declared that these ladies were too handsome, of too animated a beauty, to figure as a sign in the eyes of passers-by.

      To Pittrino he added, "His royal highness, Monsieur, who often comes into our city, will not be much pleased to see his illustrious mother so slightly clothed, and he will send you to the oubliettes of the state; for, remember, the heart of that glorious prince is not always tender. You must efface either the two sirens or the legend, without which I forbid the exhibition of the sign. I say this for your sake, Master Cropole, as well as for yours, Signor Pittrino."

      What answer could be made to this? It was necessary to thank the echevin for his kindness, which Cropole did. But Pittrino remained downcast and said he felt assured of what was about to happen.

      The visitor was scarcely gone when Cropole, crossing his arms, said: "Well, master, what is to be done?"

      "We must efface the legend," said Pittrino, in a melancholy tone. "I have some excellent ivory-black; it will be done in a moment, and we will replace the Medici by the nymphs or the sirens, whichever you prefer."

      "No," said Cropole, "the will of my father must be carried out. My father considered – "

      "He considered the figures of the most importance," said Pittrino.

      "He thought most of the legend," said Cropole.

      "The proof of the importance in which he held the figures," said Pittrino, "is that he desired they should be likenesses, and they are so."

      "Yes; but if they had not been so, who would have recognized them without the legend? At the present day even, when the memory of the Blaisois begins to be faint with regard to these two celebrated persons, who would recognize Catherine and Mary without the words 'To the Medici'?"

      "But the figures?" said Pittrino, in despair; for he felt that young Cropole was right. "I should not like to lose the fruit of my labor."

      "And I should not wish you to be thrown into prison and myself into the oubliettes."

      "Let us efface 'Medici,'" said Pittrino, supplicatingly.

      "No," replied Cropole, firmly. "I have got an idea, a sublime idea – your picture shall appear, and my legend likewise. Does not 'Medici' mean doctor, or physician, in Italian?"

      "Yes, in the plural."

      "Well, then, you shall order another sign-frame of the smith; you shall paint six physicians, and write underneath 'Aux Medici' which makes a very pretty play upon words."

      "Six physicians! impossible! And the composition?" cried Pittrino.

      "That is your business – but so it shall be – I insist upon it – it must be so – my macaroni is burning."

      This reasoning was peremptory – Pittrino obeyed. He composed the sign of six physicians, with the legend; the echevin applauded and authorized it.

      The sign produced an extravagant success in the city, which proves that poetry has always been in the wrong, before citizens, as Pittrino said.

      Cropole, to make amends to his painter-in-ordinary, hung up the nymphs of the preceding sign in his bedroom, which made Madame Cropole blush every time she looked at it, when she was undressing at night.

      This is the way in which the pointed-gable house got a sign; and this is how the hostelry of the Medici, making a fortune, was found to be enlarged by a quarter, as we have described. And this is how there was at Blois a hostelry of that name, and had for painter-in-ordinary Master Pittrino.

      CHAPTER 6. The Unknown

      Thus founded and recommended by its sign, the hostelry of Master Cropole held its way steadily on towards a solid prosperity.

      It was not an immense fortune that Cropole had in perspective; but he might hope to double the thousand louis d'or left by his father, to make another thousand louis by the sale of his house and stock, and at length to live happily like a retired citizen.

      Cropole was anxious for gain, and was half-crazy with joy at the news of the arrival of Louis XIV.

      Himself, his wife, Pittrino, and two cooks, immediately laid hands upon all the inhabitants of the dove-cote, the poultry-yard, and the rabbit-hutches; so that as many lamentations and cries resounded in the yards of the hostelry of the Medici as were formerly heard in Rama.

      Cropole had, at the time, but one single traveler in his house.

      This was a man of scarcely thirty years of age, handsome, tall, austere, or rather melancholy, in all his gestures and looks.

      He was dressed in black velvet with jet trimmings; a white collar, as plain as that of the severest Puritan, set off the whiteness of his youthful neck; a small dark-colored mustache scarcely covered his curled, disdainful lip.

      He spoke to people looking them full in the face without affectation, it is true, but without scruple; so that the brilliancy of his black eyes became so insupportable, that more than one look had sunk beneath his like the weaker sword in a single combat.

      At this time, in which men, all created equal by God, were divided, thanks to prejudices, into two distinct castes, the gentleman and the commoner, as they are really divided into two races, the black and the white, – at this time, we say, he whose portrait we have just sketched could not fail of being taken for a gentleman, and of the best class. To ascertain this, there was no necessity to consult anything but his hands, long, slender, and white, of which every muscle, every vein, became apparent through the skin at the least movement, and eloquently