The original design had been repainted in dazzling colors by the artist charged with restoring the church.

This alliance of the profane with the sacred had, it is true, scandalized the parish priest, but he did not dare say a word too much, as Madame Gobillot was one of his most important parishioners.

A woman in a rose-colored dress and large panniers, standing upon very high-heeled shoes, displayed upon this sign the rejuvenated costume of 1750; an enormous green fan, which she held in her hand, entirely concealed her face, and it was through this caprice of the painter that the tavern came to have the name it bore.
At the right of this original figure was painted, in a very appetizing manner, a pie out of whose crust peeped a trio of woodcocks' heads.

A little farther, upon a bed of watercresses, floated a sort of marine monster, carp or sturgeon, trout or crocodile.

The left of the sign was none the less tempting; it represented a roast chicken lying upon its back with its head under its wing, and raising its mutilated legs in the air with a piteous look; it had for its companion a cluster of crabs, of a little too fine a red to have been freshly caught.