Various - Blackwood's Edinburgh Magazine, Volume 59, No. 363, January, 1846

At this period of French history, and even up to a period much later, the bridges which crossed the Seine, and connected the two separate parts of the city of Paris, were built over with houses, and formed narrow streets across the stream. These houses, constructed almost entirely of wood, the beams of which were disposed in various directions, so as to form a sort of pattern, and ornamented with carved window-sills and main-beams, were jammed together like figs in a cask, and presented one gable to the confined gangway, the other to the water, which, in many cases, their upper story overhung with a seemingly hazardous spring outward. Towards the river, also, many were adorned with wooden balconies, sheltered by the far-advancing angles of the roofs; whilst beneath, upon the water, the piles of the bridge were encumbered by many water-mills, to the incessant noise of which, habit probably reconciled the inhabitants of the houses above.

In an upper room in one of the houses which, after this fashion, lined the Pont au Change , sat, on the evening of the day on which Philip de la Mole had escaped from the Louvre, three persons, the listlessness of whose attitudes showed that they were all more or less pre-occupied by painful reflections.

The principal personage of this group – a woman between fifty and sixty years of age – lay back on a large wooden chair, her eyes fixed on vacancy. Her dress was of simple dark stuff, very full upon the sleeves and below the waist, and relieved by a small white standing collar; a dark coif, of the fashion of the period, covered the grizzled hair, which was drawn back from the forehead and temples, leaving fully exposed a face, the rude features and heavy eyebrows of which gave it a stern character. But in spite of this severity of aspect, there naturally lurked an expression of goodness about the mouth and eyes, which spoke of a kindliness of disposition and tenderness of heart, combined with firmness and almost obstinacy of character. Those eyes, however, were now vacant and haggard in expression; and that mouth was contracted as if by some painful thought.

By her side, upon a low stool, was seated a fair girl, whose attire was as plain as that of the more aged woman; but that lovely form needed no aids of the toilet to enhance its beauty. The fair brown hair brushed off from the white brow, in the graceless mode of the day, hid nothing of a face which had all the purity of some beautiful Madonna; although the cheek was pale, and the lines of the physiognomy were already more sharpened than is usual at years so young. Her head, however, was now bent down over a large book which lay upon her knees, and from which she appeared to have been reading aloud to the elder woman; and, as she sat, a tear dropped into its pages, which she hastily brushed away with her fair hand.

The third person, who completed the group, was a young man scarcely beyond the years of boyhood. His good-looking round face was bronzed and ruddy with fresh colour, and his dark eyes and full mouth were expressive of natural gaiety and vivacity. But he, too, sat leaning his elbows upon his knees, and gazing intently, and with a look of anxiety, upon the fair girl before him; until, as he saw the tear fall from her eye, he turned impatiently upon his stool, and proceeded to polish, with an animation which was not that of industry, the barrel of a gun which lay between his knees.

The room which formed the groundwork to the picture composed of these three personages, was dark and gloomy, as was generally the interior of the houses of the time; a large wardrobe of black carved wood filled a great space of one of the walls; presses and chests of the same dark and heavy workmanship occupied considerable portions of the rest of the room. The low casement window, left open to admit the air of a bright May evening, looked out upon the course of the rapid Seine, and gave a cheering relief to the dark scene. The hazy rays from the setting sun streamed into the room; and from below rose up the sound of the rushing waters, and the wheels of the mills, mixed with occasional cries of men upon the river, and the more distant murmur of the city. The scene was one of calmness; and yet the calmness of those within that room was not the calmness of repose and peace.

It was the youth who first spoke.

"Jocelyne," he said in a low tone, approaching his stool nearer to that of the fair girl, and then continuing to polish his gun-barrel without looking her in the face – "if you knew how it grieves me to see you thus! You sit and droop like a bird upon the wintry branch, when I would fain see you lift your head and chirp, as in days gone by, now that summer begins to gladden around us."

The maiden thus addressed looked at him with a languid smile, and then faintly shook her head.

"How would you have me gay, Alayn," she said softly, "when our grandmother continues thus?"

Alayn made a gesture of doubt, as if he would have said, that solicitude for her grandmother was not the only cause of Jocelyne's sadness; but he made no observation to that effect, and, nodding his head towards the older woman, asked in a low tone —

"How is Dame Perrotte to-day? She did not answer my greeting on my entrance; and during your reading from that forbidden book of Scripture, she has uttered not a word."

"You may speak aloud," replied Jocelyne. "When she is in this state, she does not hear us. She is fully absorbed in her sad thoughts. I have seldom seen her more troubled than she has been for some few days past. One would suppose that the return of sunny summer days recalls more fearfully to her mind that epoch of carnage and destruction at the fête of St Bartholomew, when the heavens above were so joyous and bright, whilst below the earth was reeking with blood, and your poor father perished, Alayn, for his religion's sake. I have ever remarked, when the sun shines the cheeriest, her spirit is the darkest."

"Will she not speak to me?" enquired Alayn.

"No," replied his cousin. "When in these deepest moods of melancholy, she will not speak but upon the subject of those fatal days, or if her attention be aroused by the mention of her slaughtered kindred; and Heaven forbid that an unguarded word from me should excite so terrible a crisis as would ensue!"

"And she remains always thus now?" asked the youth.

"Not always," answered Jocelyne. "There are times when she is as of old, and speaks to me with calmness. But at these better hours she makes no mention of the past."

"She never talks, then, of returning to the palace?" continued Alayn, with an evident air of satisfaction upon his round ruddy face.