summit may still be seen an iron socket, from which a few weak plants are straggling.  This detail, in harmony with the vestiges of sculpture, proves to a practised eye that the mansion was built by a Venetian architect.  The graceful staff is like a signature revealing Venice, chivalry, and the exquisite delicacy of the thirteenth century.  If any doubts remained on this point, a feature of the ornamentation would dissipate them.  The trefoils of the hotel du Guaisnic have four leaves instead of three.  This difference plainly indicates the Venetian school depraved by its commerce with the East, where the semi-Saracenic architects, careless of the great Catholic thought, give four leaves to clover, while Christian art is faithful to the Trinity.  In this respect Venetian art becomes heretical.

If this ancient dwelling attracts your imagination, you may perhaps ask yourself why such miracles of art are not renewed in the present day.  Because to-day mansions are sold, pulled down, and the ground they stood on turned into streets.  No one can be sure that the next generation will possess the paternal dwelling; homes are no more than inns; whereas in former times when a dwelling was built men worked, or thought they worked, for a family in perpetuity.  Hence the grandeur of these houses.  Faith in self, as well as faith in God, did prodigies.

As for the arrangement of the upper rooms they may be imagined after this description of the ground-floor, and after reading an account of the manners, customs, and physiognomy of the family.  For the last fifty years the du Guaisnics have received their friends in the two rooms just described, in which, as in the court-yard and the external accessories of the building, the spirit, grace, and candor of the old and noble Brittany still survives.  Without the topography and description of the town, and without this minute depicting of the house, the surprising figures of the family might be less understood.  Therefore the frames have preceded the portraits.  Every one is aware that things influence beings.  There are public buildings whose effect is visible upon the persons living in their neighborhood.  It would be difficult indeed to be irreligious in the shadow of a cathedral like that of Bourges.  When the soul is everywhere reminded of its destiny by surrounding images, it is less easy to fail of it.  Such was the thought of our immediate grandfathers, abandoned by a generation which was soon to have no signs and no distinctions, and whose manners and morals were to change every decade.  If you do not now expect to find the Baron du Guaisnic sword in hand, all here written would be falsehood.

II

The baron, his wife, and sister

Early in the month of May, in the year 1836, the period when this scene opens, the family of Guenic (we follow henceforth the modern spelling) consisted of Monsieur and Madame du Guenic, Mademoiselle du Guenic the baron’s elder sister, and an only son, aged twenty-one, named, after an ancient family usage, Gaudebert-Calyste-Louis.  The father’s name was Gaudebert-Calyste-Charles.  Only the last name was ever varied.  Saint Gaudebert and Saint Calyste were forever bound to protect the Guenics.