Nothing could have been simpler, yet in better taste, than this abode of the duchess.
A cheap but exceedingly fresh and pretty chintz covered the walls and rather low ceiling of the room. In the daytime full draperies of the same material concealed a large alcove in which the bed stood, as well as two glass doors near it, one of which opened into a tiny dressing-room, and the other into the hall, a sort of antechamber about eight feet square.
Chintz curtains, lined with pink, veiled the windows, which were also decorated with pretty white muslin sash curtains, tied back with pink ribbons. A carpet, with a white ground, with small bouquets of pink roses dropped here and there,—this carpet had been the most expensive item in Herminie's furnishing,—covered the floor. The mantel drapery, beautifully embroidered by Herminie herself, was pale blue, with garlands of roses and jonquils. Two candlesticks of exquisite Pompeian design stood, one on either side of a white marble clock, surmounted by a statuette of Joan of Arc, while at each end of the mantel stood two tall vases of grès verni, a wonderful invention, by the way. These vases, which were of the purest Etruscan form, held big bunches of fresh roses, which filled the room with their delicious fragrance.
These modest mantel decorations, being all of the cheapest materials, were of slight intrinsic value, having cost not more than fifty or sixty francs, but from an artistic point of view they were irreproachable.
Opposite the fireplace stood Herminie's piano, her bread-winner. Between the two windows was a table, which also served as a bookcase, the duchess having arranged several works by her favourite authors upon it, as well as a few books which she had received as prizes during her school-days.
Here and there upon the wall, in plain pine frames, so highly polished that they looked like citron wood, hung a few well-chosen engravings, among them "Mignon Pining for Her Native Land," and "Mignon Longing for Heaven," both by Scheffer, hanging one on either side of Francesca da Rimini, by the same artist.
In two corners of the room small étagères held several plaster statuettes, reduced copies of famous antiques. A small rosewood cabinet, bought for a song from some second-hand furniture dealer in the Batignolles, two pretty tapestry-covered chairs,—Herminie's handiwork,—and a large armchair of green satin decorated with beautiful silk embroidery in brilliant hues, representing flowers and birds, completed the furniture of the room.
By means of industry and intelligence, combined with exquisite taste, Herminie had been able to create for herself this elegant and refined home at comparatively little expense.
Culinary duties or details may have been distasteful to this fastidious duchess. At all events, she had managed to escape that difficulty through the good offices of the portress, who, for a trifling compensation, brought her a glass of milk every morning, and in the evening a plate of excellent soup, accompanied with a dish of vegetables and some fruit,—a frugal repast rendered appetising enough by the exquisite daintiness of Herminie's dinner-table; for though the duchess possessed only two cups and half a dozen plates, they were of fine china, and when the girl had placed on her round table, covered with a napkin of dazzling whiteness, her carafe, her cut-glass tumbler, her two shining silver forks and spoons, and her pretty china plate decorated with tiny pink roses and forget-me-nots, the simplest food seemed wonderfully appetising.
But alas! to Herminie's intense chagrin, her silver spoons and forks, and her watch, the only really valuable article she possessed, were now in pawn at the mont de piété, where she had been obliged to send them by the portress, the poor girl having no other means of defraying the daily expenses of her illness, and of obtaining a small sum of money upon which she could live until she was able to resume the lessons interrupted by her illness, for a period of nearly two months.