res and the higher officials, with a good
many worthy folk in the town, were of the opinion that all the best
society thereof was to be found in the Marquis d'Esgrignon's salon.
The prefect himself, the Emperor's chamberlain, made overtures to the
d'Esgrignons, humbly sending his wife (a Grandlieu) as ambassadress.

Wherefore, those excluded from the miniature provincial Faubourg
Saint-Germain nicknamed the salon "The Collection of Antiquities," and
called the Marquis himself "M. Carol." The receiver of taxes, for
instance, addressed his applications to "M. Carol (ci-devant des
Grignons)," maliciously adopting the obsolete way of spelling.

"For my own part," said Emile Blondet, "if I try to recall my
childhood memories, I remember that the nickname of 'Collection of
Antiquities' always made me laugh, in spite of my respect--my love, I
ought to say--for Mlle. d'Esgrignon. The Hotel d'Esgrignon stood at
the angle of two of the busiest thoroughfares in the town, and not
five hundred paces away from the market place. Two of the drawing-room
windows looked upon the street and two upon the square; the room was
like a glass cage, every one who came past could look through it from
side to side. I was only a boy of twelve at the time, but I thought,
even then, that the salon was one of those rare curiosities which
seem, when you come to think of them afterwards, to lie just on the
borderland between reality and dreams, so that you can scarcely tell
to which side they most belong.

"The room, the ancient Hall of Audience, stood above a row of cellars
with grated air-holes, once the prison cells of the old court-house,
now converted into a kitchen. I do not know that the magnificent lofty
chimney-piece of the Louvre, with its marvelous carving, seemed more
wonderful to me than the vast open hearth of the salon d'Esgrignon
when I saw it for the first time. It was covered like a melon with a
network of tracery. Over it stood an equestrian portrait of Henri
III., under whom the ancient duchy of appanage reverted to the crown;
it was a great picture executed in low relief, and set in a carved and
gilded frame. The ceiling spaces between the chestnut cross-beams in
the fine old roof were decorated with scroll-work patterns; there was
a little faded gilding still left along the angles. The walls were
covered with Flemish tapestry, six scenes from the Judgment of
Solomon, framed in golden garlands, with satyrs and cupids playing