"Never mind, mamma; let papa do as he likes. The good God has always taken care of him," said Cesarine, kissing her mother and sitting down to the piano, to let the architect know that the perfumer's daughter was not ignorant of the fine arts.
When Grindot came in to measure the bedroom he was surprised and taken aback at the beauty of Cesarine. Just out of her dressing-room and wearing a pretty morning-gown, fresh and rosy as a young girl is fresh and rosy at eighteen, blond and slender, with blue eyes, Cesarine seemed to the young artist a picture of the elasticity, so rare in Paris, that fills and rounds the delicate cheek, and tints with the color adored of painters, the tracery of blue veins throbbing beneath the whiteness of her clear skin. Though she lived in the lymphatic atmosphere of a Parisian shop, where the air stagnates and the sun seldom shines, her habits gave her the same advantages which the open-
air life of Rome gives to the Transteverine peasant-woman. Her hair,--
which was abundant, and grew, like that of her father, in points upon her forehead,--was caught up in a twist which showed the lines of a well-set neck, and then rippled downward in curls that were scrupulously cared for, after the fashion of young shop-women, whose desire to attract attention inspires the truly English minutiae of their toilet. The beauty of this young girl was not the beauty of an English lady, nor of a French duchess, but the round and glowing beauty of a Flemish Rubens. Cesarine had the turned-up nose of her father, but it was piquant through the delicacy of its modelling,--
like those noses, essentially French, which have been so well reproduced by Largilliere. Her skin, of a firm full texture, bespoke the vitality of a virgin; she had the fine brow of her mother, but it was clear with the serenity of a young girl who knows no care. Her liquid blue eyes, bathed in rich fluid, expressed the tender grace of a glowing happiness. If that happiness took from her head the poetry which painters insist on giving to their pictures my making them a shade too pensive, the vague physical languor of a young girl who has never left her mother's side made up for it, and gave her a species of ideality. Notwithstanding the graceful lines of her figure, she was strongly built. Her feet betrayed the peasant origin of her father and her own defects of race, as did the redness of her hands, the sign of the thoroughly bourgeois life. Sooner or later she would grow stout.
She had caught the sentiment of dress from the elegant young women who came to the shop, and had learned from them certain movements of the head, certain ways of speaking and of moving; and she could play the well-bred woman in a way that turned the heads of all the young men, especially the clerks, in whose eyes she appeared truly distinguished.
Popinot swore that he would have no other wife than Cesarine. The liquid brightness of that eye, which a look, or a tone of reproach, might cause to overflow in tears, was all that kept him to a sense of masculine superiority. The charming girl inspired love without leaving time to ask whether she had mind enough to make it durable. But of what value is the thing they call in Paris /mind/ to a class whose principal element of happiness is virtue and good sense?
In her moral qualities Cesarine was like her mother, somewhat bettered by the superfluities of education; she loved music, drew the Madonna della Sedia in chalk, and read the works of Mmes. Cottin and Riccoboni, of Bernadin de Saint-Pierre, Fenelon, and Racine. She was never seen behind the counter with her mother except for a few moments before sitting down to dinner, or on some special occasion when she replaced her. Her father and mother, like all persons who have risen from small beginnings, and who cultivate the ingratitude of their children by putting them above themselves, delighted in deifying Cesarine, who happily had the virtues of her class, and took no advantage of their weakness.
Madame Birotteau followed the architect with an anxious and appealing eye, watching with terror, and pointing out to her daughter, the fantastic movements of the four-foot rule, that wand of architects and builders, with which Grindot was measuring. She saw in those mysterious weavings a conjuring spirit that augured evil; she wished the walls were less high, the rooms less large, and dared not question the young man on the effects of his sorcery.
"Do not be afraid, madame, I shall carry nothing off," said the artist, smiling.
Cesarine could not help smiling.
"Monsieur," said Constance, in a supplicating voice, not even noticing the tit-for-tat of the young man, "consider economy, and later we may be able to serve you--"
Before starting to see Monsieur Molineux, the owner of the adjoining house, Cesar wished to get from Roguin the private deed about the transference of the lease which Alexandre Crottat had been ordered to draw up. As he left the notary's house, he saw du Tillet at the window of Roguin's study. Although the /liaison/ of his former clerk with the lawyer's wife made it not unlikely that he should see du Tillet there at this hour when the negotiations about the Madeleine were going on, Birotteau, in spite of his extreme confidence, felt uneasy. The excited manner of du Tillet seemed the sign of a discussion. "Can he be in it?" thought Cesar, with a flash of commercial prudence. The suspicion passed like lightning through his mind. He looked again and saw Madame Roguin, and the presence of du Tillet was no longer suspicious. "Still, suppose Constance were right?" he said to himself.
"What a fool I am to listen to women's notions! I'll speak of it to my uncle Pillerault this morning; it is only a step from the Cour Batave, where Monsieur Molineux lives, to the Rue des Bourdonnais."
