CHAPTER VII.
"THE SWORD OF THE BRAVE CHEVALIER." During the conversation we have just related, night had begun to fall, enveloping the city with its damp mantle of fog.
Salcede dead, all the spectators were ready to leave the Place de Greve, and the streets were filled with people, hurrying toward their homes.
Near the Porte Bussy, where we must now transport our readers, to follow some of their acquaintances, and to make new ones, a hum, like that in a bee-hive at sunset, was heard proceeding from a house tinted rose color, and ornamented with blue and white pointings, which was known by the sign of "The Sword of the Brave Chevalier," and which was an immense inn, recently built in this new quarter.

This house was decorated to suit all tastes.

On the entablature was painted a representation of a combat between an archangel and a dragon breathing flame and smoke, and in which the artist, animated by sentiments at once heroic and pious, had depicted in the hands of "the brave chevalier," not a sword, but an immense cross, with which he hacked in pieces the unlucky dragon, of which the bleeding pieces were seen lying on the ground.

At the bottom of the picture crowds of spectators were represented raising their arms to heaven, while from above, angels were extending over the chevalier laurels and palms.

Then, as if to prove that he could paint in every style, the artist had grouped around gourds, grapes, a snail on a rose, and two rabbits, one white and the other gray.
Assuredly the proprietor must have been difficult to please, if he were not satisfied, for the artist had filled every inch of space--there was scarcely room to have added a caterpillar.