preceding, was a girl of about the same
age as Nana Coupeau, whose companion she was in all kinds of mischief.
L'Assommoir.

BOCQUET (MADAME), mother of Clarisse. Pot-Bouille.

BOCQUET (CLARISSE), a woman on whom Duveyrier squandered large sums of
money. She ultimately gained such complete influence over him, and made
him so unhappy, that he attempted to commit suicide. Pot-Bouille.

BODIN (DOCTOR) was the regular medical attendant of Madame Helene
Grandjean and her daughter Jeanne. A sudden illness of Jeanne made it
necessary to call in Doctor Deberle, who subsequently met the older man
in consultation from time to time. Une Page d'Amour.

BOHAIN (MARQUIS DE), an elderly nobleman whose presence and manners were
of a kind to adorn a board of directors, and whose illustrious name was
of value on a prospectus. He was in consequence always in demand by new
companies. Since he began living by speculation, he and his wife had
been legally separated, so far as estate went, and he lived with her
only as a lodger, with nothing of his own except his clothes. "On two
occasions already he had refused to pay up what he owed; he pocketed as
long as he won, but as soon as he lost he did not pay." At the request
of Saccard, the Marquis became a director of the Universal Bank. When
the great gamble in the shares of the bank began, the Marquis followed
his usual plan; having played through Mazaud for a rise, he refused to
pay his losses, though he had gained two million francs through Jacoby,
through whom he had played for a fall. L'Argent.

BONGRAND, a great artist, painter of the _Village Wedding_. He was a
stout man, forty-five years old, with an expressive face and long grey
hair; recently he had become a member of the Institute and an officer
of the Legion of Honour. The grandson of a farmer in the Beauce country,
the son of a man risen to the middle classes, with peasant blood in his
veins, owing his culture to a mother of very artistic tastes, he was
rich, had no need to sell his pictures, and retained many tastes and
opinions of Bohemian life. His masterpiece, the _Village Wedding_, had
brought about a revolution in art only parallel with Courbet, and he
was acknowledged as Master by all the artists of the young school. The
picture remained, however, his greatest work, though he objected to have
it so designated, in the fear that it might be thought his powers were
failing. A later picture called the _Village Funeral_ was in