fat case at the station of the little town of Castel-le-Gâchis, and the omnibus carried them with their effects to the Hotel of the Black Head. This was a dismal, conventual building in a narrow street, capable of standing siege when once the gates were shut, and smelling strangely in the interior of straw and chocolate and old feminine apparel. Berthelini paused upon the threshold with a painful premonition. In some former state, it seemed to him, he had visited a hostelry that smelt not otherwise, and been ill received.
The landlord, a tragic person in a large felt hat, rose from a business table under the key-rack, and came forward, removing his hat with both hands as he did so.
"Sir, I salute you. May I inquire what is your charge for artists?" inquired Berthelini, with a courtesy at once splendid and insinuating.
"For artists?" said the landlord. His countenance fell and the smile of welcome disappeared. "Oh, artists!" he added, brutally; "four francs a day."
And he turned his back upon these inconsiderable customers.
A commercial traveler is received, he also, upon a reduction—yet is he welcome, yet can he command the fatted calf; but an artist, had he the manners of an Almaviva, were he dressed like Solomon in all his glory, is received like a dog and served like a timid lady traveling alone.
Accustomed as he was to the rubs of his profession, Berthelini was unpleasantly affected by the landlord's manner.
"Elvira," said he to his wife, "mark my words: Castel-le-Gâchis is a tragic folly."
"Wait till we see what we take," replied Elvira.
"We shall take nothing," returned Berthelini; "we shall feed upon insults. I have an eye, Elvira; I have a spirit of divination; and this place is accursed. The landlord has been discourteous, the Commissary will be brutal, the audience will be sordid and uproarious,
