"Chestnuts!" cried Père Longuemare, smiling, "there is no more delicious dish. My father, sir, was a poor gentleman of the Limousin, whose whole estate consisted of a pigeon-cote in ruins, an orchard run wild and a clump of chestnut-trees. He fed himself, his wife and his twelve children on big green chestnuts, and we were all strong and sturdy. I was the youngest and the most turbulent; my father used to declare, by way of jesting, he would have to send me to America to be a filibuster.... Ah! sir, how fragrant your chestnut soup smells! It takes me back to the table where my mother sat smiling, surrounded by her troop of little ones."
The repast ended, Brotteaux set out for Joly's, the toy-merchant in the Rue Neuve-des-Petits-Champs, who took the dancing-dolls Caillou had refused, and ordered—not another gross of them like the latter, but a round twenty-four dozen to begin with.
On reaching the erstwhile Rue Royale and turning into the Place de la Révolution, Brotteaux caught sight of a steel triangle glittering between two wooden uprights; it was the guillotine. An immense crowd of light-hearted spectators pressed round the scaffold, waiting the arrival of the loaded carts. Women were hawking Nanterre cakes on a tray hung in front of them and crying their wares; sellers of cooling drinks were tinkling their little bells; at the foot of the Statue of Liberty an old man had a peep-show in a small booth surmounted by a swing on which a monkey played its antics. Underneath the scaffold some dogs were licking yesterday's blood, Brotteaux turned back towards the Rue Honoré.
Regaining his garret, where the Barnabite was reading his breviary, he carefully wiped the table and arranged his colour-box on it alongside the materials and tools of his trade.
"Father," he said, "if you do not deem the occupation unworthy of the sacred character with which you are invested, I will ask you to help me make my marionettes. A worthy tradesman, Joly by name, has this very morning given me a pretty heavy order. Whilst I am painting these figures already put together, you will do me a great service by cutting out heads, arms, legs, and bodies from the patterns here. Better you could not find; they are after Watteau and Boucher."
"I agree with you, sir," replied Longuemare, "that Watteau and Boucher were well fitted to create such-like baubles; it had been more to their glory if they had confined themselves to innocent figures like these. I should be delighted to help you, but I fear I may not be clever enough for that."
The Père Longuemare was right to distrust his own skill; after sundry unsuccessful attempts, the fact was patent that his genius did not lie in the direction of cutting out pretty shapes in thin cardboard with the point of a penknife. But when, at his suggestion, Brotteaux gave him some string and a bodkin, he showed himself very apt in endowing with motion the little creatures he had failed to make and teaching them to dance. He had a happy knack, by way of trying them afterwards, of making them each execute three or four steps of a gavotte, and when they rewarded his pains, a smile would flicker on his stern lips.
One time when he was pulling the string of a Scaramouch to a dance tune:
"Sir," he observed, "this little travesty reminds me of a quaint story. It was in 1746, when I was completing my noviciate under the care of the Père Magitot, a man well on in years, of deep learning and austere morals. At that period, you perhaps remember, dancing figures, intended in the first instance to amuse children, exercised over women and even over men, both young and old, an extraordinary fascination; they were all the rage in Paris. The fashionable shops were crammed with them; they were to be found in the houses of people of quality, and it was nothing out of the way to see a grave and reverend senior dancing his doll in the streets and public gardens. The Père Magitot's age, character, and sacred profession did not avail to guard him against infection. Every time he saw anyone busy jumping his cardboard mannikin, his fingers itched with impatience to be at the same game,—an impatience that soon grew well nigh intolerable. One day when he was paying a visit of importance on a matter involving the interests of the whole Order to Monsieur Chauvel, advocate in the courts of the Parlement, noticing one of these dancers hanging from the chimney-piece, he felt a terrible temptation to pull its string, which he only resisted at the cost of a tremendous effort. But this frivolous ambition pursued him everywhere and left him no peace. In his studies, in his meditations, in his prayers, at church, at chapter, in the confessional and in the pulpit, he was possessed by it. After some days of dreadful agony of mind, he laid bare his extraordinary case to the General of the Order, who happened fortunately to be in Paris at the moment. He was an eminent ecclesiastic of Milan, a Doctor and Prince of the Church. His counsel to the Père Magitot was to satisfy a craving, innocent in its inception, importunate in its consequences and inordinate in its excess, which threatened to super induce the gravest disorders in the soul which was afflicted with it. On the advice, or more strictly by the order of the General, the Père Magitot returned to Monsieur Chauvel's house, where the advocate received him, as on the first occasion, in his cabinet. There, finding the dancing figure still fastened in the same place, he ran excitedly to the chimney-piece and begged his host to do him a favour,—to let him pull the string. The lawyer gave him his permission very readily, and informed him in confidence that sometimes he set Scaramouch (that was the doll's name) dancing while he was studying his briefs, and that, only the night before, he had modulated on Scaramouch's movements the peroration of his speech in defence of a woman falsely accused of poisoning her husband. The Père Magitot seized the string with trembling fingers and saw Scaramouch throw his limbs wildly about under his manipulation like one possessed of devils in the agonies of exorcism."
"Your tale does not surprise me, father," Brotteaux told him, "We see such cases of obsession; but it is not always cardboard figures that occasion it."