There was also, among the prettiest of them, a charming girl of three and twenty, who was from the Isle de Bourbon, a descendant of the Chevalier Roze, whose name had been Mademoiselle Roze, and who was called Mother Assumption.
Mother Sainte-Mechtilde, intrusted with the singing and the choir, was fond of making use of the pupils in this quarter.
She usually took a complete scale of them, that is to say, seven, from ten to sixteen years of age, inclusive, of assorted voices and sizes, whom she made sing standing, drawn up in a line, side by side, according to age, from the smallest to the largest.
This presented to the eye, something in the nature of a reed-pipe of young girls, a sort of living Pan-pipe made of angels.
Those of the lay-sisters whom the scholars loved most were Sister Euphrasie, Sister Sainte-Marguerite, Sister Sainte-Marthe, who was in her dotage, and Sister Sainte-Michel, whose long nose made them laugh.
All these women were gentle with the children.
The nuns were severe only towards themselves.
No fire was lighted except in the school, and the food was choice compared to that in the convent. Moreover, they lavished a thousand cares on their scholars.
Only, when a child passed near a nun and addressed her, the nun never replied.
This rule of silence had had this effect, that throughout the whole convent, speech had been withdrawn from human creatures, and bestowed on inanimate objects.
Now it was the church-bell which spoke, now it was the gardener's bell.
A very sonorous bell, placed beside the portress, and which was audible throughout the house, indicated by its varied peals, which formed a sort of acoustic telegraph, all the actions of material life which were to be performed, and summoned to the parlor, in case of need, such or such an inhabitant of the house.
Each person and each thing had its own peal.
The prioress had one and one, the sub-prioress one and two.
Six-five announced lessons, so that the pupils never said "to go to lessons," but "to go to six-five." Four-four was Madame de Genlis's signal.
It was very often heard.
"C'est le diable a quatre,--it's the very deuce--said the uncharitable. Tennine strokes announced a great event.
It was the opening of the door of seclusion, a frightful sheet of iron bristling with bolts which only turned on its hinges in the presence of the archbishop.
With the exception of the archbishop and the gardener, no man entered the convent, as we have already said.
The schoolgirls saw two others:
one, the chaplain, the Abbe Banes, old and ugly, whom they were permitted to contemplate in the choir, through a grating; the other the drawing-master, M. Ansiaux, whom the letter, of which we have perused a few lines, calls M. Anciot, and describes as a frightful old hunchback.
It will be seen that all these men were carefully chosen.
Such was this curious house.
BOOK SIXTH.--LE PETIT-PICPUS
CHAPTER VIII
POST CORDA LAPIDES
After having sketched its moral face, it will not prove unprofitable to point out, in a few words, its material configuration. The reader already has some idea of it.
The convent of the Petit-Picpus-Sainte-Antoine filled almost the whole of the vast trapezium which resulted from the intersection of the Rue Polonceau, the Rue Droit-Mur, the Rue Petit-Picpus, and the unused lane, called Rue Aumarais on old plans. These four streets surrounded this trapezium like a moat. The convent was composed of several buildings and a garden. The principal building, taken in its entirety, was a juxtaposition of hybrid constructions which, viewed from a bird's-eye view, outlined, with considerable exactness, a gibbet laid flat on the ground. The main arm of the gibbet occupied the whole of the fragment of the Rue Droit-Mur comprised between the Rue Petit-Picpus and the Rue Polonceau; the lesser arm was a lofty, gray, severe grated facade which faced the Rue Petit-Picpus; the carriage entrance No. 62 marked its extremity.
Towards the centre of this facade was a low, arched door, whitened with dust and ashes, where the spiders wove their webs, and which was open only for an hour or two on Sundays, and on rare occasions, when the coffin of a nun left the convent. This was the public entrance of the church.
The elbow of the gibbet was a square hall which was used as the servants' hall, and which the nuns called the buttery.
In the main arm were the cells of the mothers, the sisters, and the novices.
In the lesser arm lay the kitchens, the refectory, backed up by the cloisters and the church.
Between the door No. 62 and the corner of the closed lane Aumarais, was the school, which was not visible from without. The remainder of the trapezium formed the garden, which was much lower than the level of the Rue Polonceau, which caused the walls to be very much higher on the inside than on the outside. The garden, which was slightly arched, had in its centre, on the summit of a hillock, a fine pointed and conical fir-tree, whence ran, as from the peaked boss of a shield, four grand alleys, and, ranged by twos in between the branchings of these, eight small ones, so that, if the enclosure had been circular, the geometrical plan of the alleys would have resembled a cross superposed on a wheel. As the alleys all ended in the very irregular walls of the garden, they were of unequal length.
They were bordered with currant bushes. At the bottom, an alley of tall poplars ran from the ruins of the old convent, which was at the angle of the Rue Droit-Mur to the house of the Little Convent, which was at the angle of the Aumarais lane. In front of the Little Convent was what was called the little garden. To this whole, let the reader add a courtyard, all sorts of varied angles formed by the interior buildings, prison walls, the long black line of roofs which bordered the other side of the Rue Polonceau for its sole perspective and neighborhood, and he will be able to form for himself a complete image of what the house of the Bernardines of the Petit-Picpus was forty years ago. This holy house had been built on the precise site of a famous tennis-ground of the fourteenth to the sixteenth century, which was called the "tennis-ground of the eleven thousand devils."
All these streets, moreover, were more ancient than Paris.
These names, Droit-Mur and Aumarais, are very ancient; the streets which bear them are very much more ancient still.
Aumarais Lane was called Maugout Lane; the Rue Droit-Mur was called the Rue des Eglantiers, for God opened flowers before man cut stones.
BOOK SIXTH.--LE PETIT-PICPUS
CHAPTER IX
A CENTURY UNDER A GUIMPE
Since we are engaged in giving details as to what the convent of the Petit-Picpus was in former times, and since we have ventured to open a window on that discreet retreat, the reader will permit us one other little digression, utterly foreign to this book, but characteristic and useful, since it shows that the cloister even has its original figures.
In the Little Convent there was a centenarian who came from the Abbey of Fontevrault.
She had even been in society before the Revolution. She talked a great deal of M. de Miromesnil, Keeper of the Seals under Louis XVI.
and of a Presidentess Duplat, with whom she had been very intimate.
It was her pleasure and her vanity to drag in these names on every pretext.
She told wonders of the Abbey of Fontevrault,-- that it was like a city, and that there were streets in the monastery.
She talked with a Picard accent which amused the pupils.
Every year, she solemnly renewed her vows, and at the moment of taking the oath, she said to the priest, "Monseigneur Saint-Francois gave it to Monseigneur Saint-Julien, Monseigneur Saint-Julien gave it to Monseigneur Saint-Eusebius, Monseigneur Saint-Eusebius gave it to Monseigneur Saint-Procopius, etc., etc.; and thus I give it to you, father."
And the school-girls would begin to laugh, not in their sleeves, but under their veils; charming little stifled laughs which made the vocal mothers frown.
On another occasion, the centenarian was telling stories.
She said that in her youth the Bernardine monks were every whit as good as the mousquetaires.
It was a century which spoke through her, but it was the eighteenth century.
She told about the custom of the four wines, which existed before the Revolution in Champagne and Bourgogne. When a great personage, a marshal of France, a prince, a duke, and a peer, traversed a town in Burgundy or Champagne, the city fathers came out to harangue him and presented him with four silver gondolas into which they had poured four different sorts of wine. On the first goblet this inscription could be read, monkey wine; on the second, lion wine; on the third, sheep wine; on the fourth, hog wine.
These four legends express the four stages descended by the drunkard; the first, intoxication, which enlivens; the second, that which irritates; the third, that which dulls; and the fourth, that which brutalizes.
In a cupboard, under lock and key, she kept a mysterious object of which she thought a great deal.
The rule of Fontevrault did not forbid this.
She would not show this object to anyone. She shut herself up, which her rule allowed her to do, and hid herself, every time that she desired to contemplate it. If she heard a footstep in the corridor, she closed the cupboard again as hastily as it was possible with her aged hands.
As soon as it was mentioned to her, she became silent, she who was so fond of talking.
The most curious were baffled by her silence and the most tenacious by her obstinacy.
Thus it furnished a subject of comment for all those who were unoccupied or bored in the convent. What could that treasure of the centenarian be, which was so precious and so secret?
Some holy book, no doubt?
Some unique chaplet? Some authentic relic?
They lost themselves in conjectures. When the poor old woman died, they rushed to her cupboard more hastily than was fitting, perhaps, and opened it.
They found the object beneath a triple linen cloth, like some consecrated paten. It was a Faenza platter representing little Loves flitting away pursued by apothecary lads armed with enormous syringes. The chase abounds in grimaces and in comical postures.
One of the charming little Loves is already fairly spitted.
He is resisting, fluttering his tiny wings, and still making an effort to fly, but the dancer is laughing with a satanical air.
Moral:
Love conquered by the colic.
This platter, which is very curious, and which had, possibly, the honor of furnishing Moliere with an idea, was still in existence in September, 1845; it was for sale by a bric-a-brac merchant in the Boulevard Beaumarchais.
This good old woman would not receive any visits from outside because, said she, the parlor is too gloomy.
BOOK SIXTH.--LE PETIT-PICPUS
CHAPTER X
ORIGIN OF THE PERPETUAL ADORATION
However, this almost sepulchral parlor, of which we have sought to convey an idea, is a purely local trait which is not reproduced with the same severity in other convents.
At the convent of the Rue du Temple, in particular, which belonged, in truth, to another order, the black shutters were replaced by brown curtains, and the parlor itself was a salon with a polished wood floor, whose windows were draped in white muslin curtains and whose walls admitted all sorts of frames, a portrait of a Benedictine nun with unveiled face, painted bouquets, and even the head of a Turk.
It is in that garden of the Temple convent, that stood that famous chestnut-tree which was renowned as the finest and the largest in France, and which bore the reputation among the good people of the eighteenth century of being the father of all the chestnut trees of the realm.
As we have said, this convent of the Temple was occupied by Benedictines of the Perpetual Adoration, Benedictines quite different from those who depended on Citeaux.
This order of the Perpetual Adoration is not very ancient and does not go back more than two hundred years. In 1649 the holy sacrament was profaned on two occasions a few days apart, in two churches in Paris, at Saint-Sulpice and at Saint-Jean en Greve, a rare and frightful sacrilege which set the whole town in an uproar.
M. the Prior and Vicar-General of Saint-Germain des Pres ordered a solemn procession of all his clergy, in which the Pope's Nuncio officiated.
But this expiation did not satisfy two sainted women, Madame Courtin, Marquise de Boucs, and the Comtesse de Chateauvieux.
This outrage committed on "the most holy sacrament of the altar," though but temporary, would not depart from these holy souls, and it seemed to them that it could only be extenuated by a "Perpetual Adoration" in some female monastery. Both of them, one in 1652, the other in 1653, made donations of notable sums to Mother Catherine de Bar, called of the Holy Sacrament, a Benedictine nun, for the purpose of founding, to this pious end, a monastery of the order of Saint-Benoit; the first permission for this foundation was given to Mother Catherine de Bar by M. de Metz, Abbe of Saint-Germain, "on condition that no woman could be received unless she contributed three hundred livres income, which amounts to six thousand livres, to the principal." After the Abbe of Saint-Germain, the king accorded letters-patent; and all the rest, abbatial charter, and royal letters, was confirmed in 1654 by the Chamber of Accounts and the Parliament.
Such is the origin of the legal consecration of the establishment of the Benedictines of the Perpetual Adoration of the Holy Sacrament at Paris.
Their first convent was "a new building" in the Rue Cassette, out of the contributions of Mesdames de Boucs and de Chateauvieux.
This order, as it will be seen, was not to be confounded with the Benedictine nuns of Citeaux.
It mounted back to the Abbe of Saint-Germain des Pres, in the same manner that the ladies of the Sacred Heart go back to the general of the Jesuits, and the sisters of charity to the general of the Lazarists.
It was also totally different from the Bernardines of the Petit-Picpus, whose interior we have just shown.
In 1657, Pope Alexander VII. had authorized, by a special brief, the Bernardines of the Rue Petit-Picpus, to practise the Perpetual Adoration like the Benedictine nuns of the Holy Sacrament.
But the two orders remained distinct none the less.
BOOK SIXTH.--LE PETIT-PICPUS
CHAPTER XI
END OF THE PETIT-PICPUS
At the beginning of the Restoration, the convent of the Petit-Picpus was in its decay; this forms a part of the general death of the order, which, after the eighteenth century, has been disappearing like all the religious orders.
