The house in which he lived consisted， as we have said， of a ground floor， and one story above; three rooms on the ground floor， three chambers on the first， and an attic above. Behind the house was a garden， a quarter of an acre in extent. The two women occupied the first floor; the Bishop was lodged below. The first room， opening on the street， served him as dining-room， the second was his bedroom， and the third his oratory. There was no exit possible from this oratory， except by passing through the bedroom， nor from the bedroom， without passing through the dining-room. At the end of the suite， in the oratory， there was a detached alcove with a bed， for use in cases of hospitality. The Bishop offered this bed to country curates whom business or the requirements of their parishes brought to D——

The pharmacy of the hospital， a small building which had been added to the house， and abutted on the garden， had been transformed into a kitchen and cellar. In addition to this， there was in the garden a stable， which had formerly been the kitchen of the hospital， and in which the Bishop kept two cows. No matter what the quantity of milk they gave， he invariably sent half of it every morning to the sick people in the hospital. "I am paying my tithes，" he said.

His bedroom was tolerably large， and rather difficult to warm in bad weather. As wood is extremely dear at D——， he hit upon the idea of having a compartment of boards constructed in the cow-shed. Here he passed his evenings during seasons of severe cold: he called it his winter salon.

In this winter salon， as in the dining-room， there was no other furniture than a square table in white wood， and four straw-seated chairs. In addition to this the dining-room was ornamented with an antique sideboard， painted pink， in water colors. Out of a similar sideboard， properly draped with white napery and imitation lace， the Bishop had constructed the altar which decorated his oratory.

His wealthy penitents and the sainted women of D—— had more than once assessed themselves to raise the money for a new altar for Monseigneur's oratory; on each occasion he had taken the money and had given it to the poor. "The most beautiful of altars，" he said， "is the soul of an unhappy creature consoled and thanking God."

In his oratory there were two straw prie-Dieu， and there was an arm-chair， also in straw， in his bedroom. When， by chance， he received seven or eight persons at one time， the prefect， or the general， or the staff of the regiment in garrison， or several pupils from the little seminary， the chairs had to be fetched from the winter salon in the stable， the prie-Dieu from the oratory， and the arm-chair from the bedroom: in this way as many as eleven chairs could be collected for the visitors. A room was dismantled for each new guest.

It sometimes happened that there were twelve in the party; the Bishop then relieved the embarrassment of the situation by standing in front of the chimney if it was winter， or by strolling in the garden if it was summer.

There was still another chair in the detached alcove， but the straw was half gone from it， and it had but three legs， so that it was of service only when propped against the wall. Mademoiselle Baptistine had also in her own room a very large easy-chair of wood， which had formerly been gilded， and which was covered with flowered pekin; but they had been obliged to hoist this bergere up to the first story through the window， as the staircase was too narrow; it could not， therefore， be reckoned among the possibilities in the way of furniture.

Mademoiselle Baptistine's ambition had been to be able to purchase a set of drawing-room furniture in yellow Utrecht velvet， stamped with a rose pattern， and with mahogany in swan's neck style， with a sofa. But this would have cost five hundred francs at least， and in view of the fact that she had only been able to lay by forty-two francs and ten sous for this purpose in the course of five years， she had ended by renouncing the idea. However， who is there who has attained his ideal?

Nothing is more easy to present to the imagination than the Bishop's bedchamber. A glazed door opened on the garden; opposite this was the bed，--a hospital bed of iron， with a canopy of green serge; in the shadow of the bed， behind a curtain， were the utensils of the toilet， which still betrayed the elegant habits of the man of the world: there were two doors， one near the chimney， opening into the oratory; the other near the bookcase， opening into the dining-room. The bookcase was a large cupboard with glass doors filled with books; the chimney was of wood painted to represent marble， and habitually without fire. In the chimney stood a pair of firedogs of iron， ornamented above with two garlanded vases， and flutings which had formerly been silvered with silver leaf， which was a sort of episcopal luxury; above the chimney-piece hung a crucifix of copper， with the silver worn off， fixed on a background of threadbare velvet in a wooden frame from which the gilding had fallen; near the glass door a large table with an inkstand， loaded with a confusion of papers and with huge volumes; before the table an arm-chair of straw; in front of the bed a prie-Dieu， borrowed from the oratory.

Two portraits in oval frames were fastened to the wall on each side of the bed. Small gilt inscriptions on the plain surface of the cloth at the side of these figures indicated that the portraits represented， one the Abbe of Chaliot， bishop of Saint Claude; the other， the Abbe Tourteau， vicar-general of Agde， abbe of Grand-Champ， order of Citeaux， diocese of Chartres. When the Bishop succeeded to this apartment， after the hospital patients， he had found these portraits there， and had left them. They were priests， and probably donors--two reasons for respecting them. All that he knew about these two persons was， that they had been appointed by the king， the one to his bishopric， the other to his benefice， on the same day， the 27th of April， 1785. Madame Magloire having taken the pictures down to dust， the Bishop had discovered these particulars written in whitish ink on a little square of paper， yellowed by time， and attached to the back of the portrait of the Abbe of Grand-Champ with four wafers.

At his window he had an antique curtain of a coarse woollen stuff， which finally became so old， that， in order to avoid the expense of a new one， Madame Magloire was forced to take a large seam in the very middle of it. This seam took the form of a cross. The Bishop often called attention to it: "How delightful that is!"he said.

All the rooms in the house， without exception， those on the ground floor as well as those on the first floor， were white-washed， which is a fashion in barracks and hospitals.

However， in their latter years， Madame Magloire discovered beneath the paper which had been washed over， paintings， ornamenting the apartment of Mademoiselle Baptistine， as we shall see further on. Before becoming a hospital， this house had been the ancient parliament house of the Bourgeois. Hence this decoration. The chambers were paved in red bricks， which were washed every week， with straw mats in front of all the beds. Altogether， this dwelling， which was attended to by the two women， was exquisitely clean from top to bottom. This was the sole luxury which the Bishop permitted. He said， "That takes nothing from the poor."

It must be confessed， however， that he still retained from his former possessions six silver knives and forks and a soup-ladle， which Madame Magloire contemplated every day with delight， as they glistened splendidly upon the coarse linen cloth. And since we are now painting the Bishop of D—— as he was in reality， we must add that he had said more than once， "I find it difficult to renounce eating from silver dishes."

To this silverware must be added two large candlesticks of massive silver， which he had inherited from a great-aunt. These candlesticks held two wax candles， and usually figured on the Bishop's chimney-piece. When he had any one to dinner， Madame Magloire lighted the two candles and set the candlesticks on the table.

In the Bishop's own chamber， at the head of his bed， there was a small cupboard， in which Madame Magloire locked up the six silver knives and forks and the big spoon every night. But it is necessary to add， that the key was never removed.

The garden， which had been rather spoiled by the ugly buildings which we have mentioned， was composed of four alleys in cross-form， radiating from a tank. Another walk made the circuit of the garden， and skirted the white wall which enclosed it. These alleys left behind them four square plots rimmed with box. In three of these， Madame Magloire cultivated vegetables; in the fourth， the Bishop had planted some flowers; here and there stood a few fruit-trees. Madame Magloire had once remarked， with a sort of gentle malice: "Monseigneur， you who turn everything to account， have， nevertheless， one useless plot. It would be better to grow salads there than bouquets." "Madame Magloire，" retorted the Bishop， "you are mistaken. The beautiful is as useful as the useful." He added after a pause， "More so， perhaps."

This plot， consisting of three or four beds， occupied the Bishop almost as much as did his books. He liked to pass an hour or two there， trimming， hoeing， and making holes here and there in the earth， into which he dropped seeds. He was not as hostile to insects as a gardener could have wished to see him. Moreover， he made no pretensions to botany; he ignored groups and consistency; he made not the slightest effort to decide between Tournefort and the natural method; he took part neither with the buds against the cotyledons， nor with Jussieu against Linnaeus. He did not study plants; he loved flowers. He respected learned men greatly; he respected the ignorant still more; and， without ever failing in these two respects， he watered his flower-beds every summer evening with a tin watering-pot painted green.

The house had not a single door which could be locked. The door of the dining-room， which， as we have said， opened directly on the cathedral square， had formerly been ornamented with locks and bolts like the door of a prison. The Bishop had had all this ironwork removed， and this door was never fastened， either by night or by day， with anything except the latch. All that the first passerby had to do at any hour， was to give it a push. At first， the two women had been very much tried by this door， which was never fastened， but Monsieur de D—— had said to them， "Have bolts put on your rooms， if that will please you." They had ended by sharing his confidence， or by at least acting as though they shared it. Madame Magloire alone had frights from time to time. As for the Bishop， his thought can be found explained， or at least indicated， in the three lines which he wrote on the margin of a Bible， "This is the shade of difference: the door of the physician should never be shut， the door of the priest should always be open."

On another book， entitled Philosophy of the Medical Science， he had written this other note: "Am not I a physician like them? I also have my patients， and then， too， I have some whom I call my unfortunates."

Again he wrote: "Do not inquire the name of him who asks a shelter of you. The very man who is embarrassed by his name is the one who needs shelter."

It chanced that a worthy cure， I know not whether it was the cure of Couloubroux or the cure of Pompierry， took it into his head to ask him one day， probably at the instigation of Madame Magloire， whether Monsieur was sure that he was not committing an indiscretion， to a certain extent， in leaving his door unfastened day and night， at the mercy of any one who should choose to enter， and whether， in short， he did not fear lest some misfortune might occur in a house so little guarded. The Bishop touched his shoulder， with gentle gravity， and said to him， "Nisi Dominus custodierit domum， in vanum vigilant qui custodiunt eam，" Unless the Lord guard the house， in vain do they watch who guard it.

Then he spoke of something else.

He was fond of saying， "There is a bravery of the priest as well as the bravery of a colonel of dragoons，--only，" he added， "ours must be tranquil."

他住的房子，我们已经说过，是一所只有一层楼的楼房，楼下三间，楼上三间，顶上一间气楼，后面有一个四分之一亩大的园子。两位妇女住在楼上，主教住在楼下。临街的第一间是他的餐室，第二间是卧室。第三间是经堂。从经堂出来，必须经过卧室；从卧室出来，又必须经过餐室。经堂底里，有半间小暖房，仅容一张留备客人寄宿的床。主教常把那床让给那些因管辖区的事务或需要来到迪涅的乡村神甫们住宿。

原来医院的药房是间小房子，通正屋，盖在园子里，现在已改为厨房和贮藏食物的地方了。

此外，园里还有一个牲口棚，最初是救济院的厨房，现在主教在那里养着两头母牛。无论那两头牛供给多少奶，他每天早晨总分一半给医院里的病人。“这是我付的什一税。”他说。

他的房间相当大，在恶劣的季节里相当难于保暖。由于木柴在迪涅非常贵，他便设法在牛棚里用板壁隔出了一小间。严寒季节便成了他夜间生活的地方。他叫那做“冬斋”。

在冬斋里，和在餐室里一样，除了一张白木方桌和四张麦秸心椅子外，再也没有旁的家具。餐室里却还陈设着一个涂了淡红胶的旧碗橱。主教还把一张同样的碗橱，适当地罩上白布帷和假花边，作为祭坛，点缀着他的经堂。

迪涅的那些有钱的女忏悔者和虔诚的妇女，多次凑了些钱，要为主教的经堂修一座美观的新祭坛，他每次把钱收下，却都送给了穷人。

“最美丽的祭坛，”他说，“是一个因得到安慰而感谢上帝的受苦人的灵魂。”

他有两张麦秸心的祈祷椅在他的经堂里，卧室里还有一张有扶手的围椅，也是麦秸心的。万一他同时接见七八个人，省长、将军或是驻军的参谋，或是教士培养所的几个学生，他们就得到牛棚里去找冬斋的椅子，经堂里去找祈祷椅，卧室里去找围椅。这样，他们可以收集到十一张待客的坐具。每次有人来访，总得搬空一间屋子。

有时来了十二个人，主教为了遮掩那种窘境，如果是在冬天，他便自己立在壁炉边，如果是在夏天，他就建议到园里去兜个圈子。

在那小暖房里，的确还有一张椅子，但是椅上的麦秸已经脱了一半，并且只有三只脚，只是靠在墙上才能用。巴狄斯丁姑娘也还有一张很大的木靠椅，从前是漆过金的，并有锦缎的椅套，但是那靠椅由于楼梯太窄，已从窗口吊上楼了，因而它不能作为机动的家具。

巴狄斯丁姑娘的奢望是想买一套客厅里用的荷兰黄底团花丝绒的天鹅颈式紫檀座架的家具，再配上长沙发。但是这至少得花五百法郎。她为那样一套东西省吃节用，五年当中，只省下四十二个法郎和十个苏，于是也就不再作此打算。而且谁又能实现自己的理想呢？

去想象一下主教的卧室，再简单也没有了。一扇窗门朝着园子，对面是床棗一张医院用的病床，铁的，带着绿哔叽帷子。在床里的阴暗处，帷的后面，还摆着梳妆用具，残留着他旧时在繁华社会中做人的那些漂亮习气；两扇门，一扇靠近壁炉，通经堂，一扇靠近书橱，通餐室；那书橱是一个大玻璃橱，装满了书；壁炉的木框，描上了仿大理石的花纹，炉里通常是没有火的；壁炉里有一对铁炉篦，篦的两端装饰着两个瓶，瓶上绕着花串和槽形直条花纹，并贴过银箔，那是主教等级的一种奢侈品；上面，在通常挂镜子的地方，有一个银色已褪的铜十字架，钉在一块破旧的黑线上，装在一个金色暗敝的木框里。窗门旁边，有一张大桌子，摆了一个墨水瓶，桌上堆着零乱的纸张和大本的书籍。桌子前面，一张麦秸椅。床的前面，一张从经堂里搬来的祈祷椅。椭圆框里的两幅半身油画像挂在他床两旁的墙上。在画幅的素净的背景上有几个小金字写在像的旁边，标明一幅是圣克鲁的主教查里奥教士的像，一幅是夏尔特尔教区西多会大田修院院长阿格德的副主教杜尔多教士的像。主教在继医院病人之后住进那间房时，就已看见有这两幅画像，也就让它挂在原处。他们是神甫，也许是施主，这就是使他尊敬他们的两个理由。他所知道关于那两个人物的，只是他们在同一天，一七八五年四月二十七日，由王命，一个授以教区，一个授以采地。马格洛大娘曾把那两幅画取下来掸灰尘，主教才在大田修院院长的像的后面，看见在一张用四片胶纸粘着四角、年久发黄的小方纸上，用淡墨汁注出的这两位人物的出身。

窗门上，有一条古老的粗毛呢窗帷，已经破旧不堪，为了节省新买一条的费用，马格洛大娘只得在正中大大地缝补一番，缝补的纹恰成一个十字形。主教常常叫人看。

“这缝得多好！”他说。

那房子里所有的房间，无论楼下楼上，没有一间不是用灰浆刷的，营房和医院照例如此。

但是，后来的几年中，马格洛大娘在巴狄斯丁姑娘房间的裱墙纸下面（我们在下面还会谈到），发现了一些壁画。这所房子，在成为医院以前，曾是一些士绅们的聚会场所。所以会有那种装饰。每间屋子的地上都铺了红砖，每星期洗一次，床的前面都铺着麦秸席。总之，这住宅，经那两位妇女的照料，从上到下，都变得异常清洁。那是主教所许可的唯一的奢华。他说：

“这并不损害穷人的利益。”

但是我们得说清楚，在他从前有过的东西里，还留下六套银餐具和一只银的大汤勺，马格洛大娘每天都喜洋洋地望着那些银器在白粗布台毯上放射着灿烂夺目的光。我们既然要把迪涅的这位主教据实地写出来，就应当提到他曾几次这样说过：“叫我不用银器盛东西吃，我想是不容易做到的。”

在那些银器以外，还有两个粗重的银烛台，是从他一个姑祖母的遗产中得来的。那对烛台上插着两支烛，经常陈设在主教的壁炉上。每逢他留客进餐，马格洛大娘总点上那两支烛，连着蜡台放在餐桌上。

在主教的卧室里，床头边，有一张壁橱，每天晚上，马格洛大娘把那六套银器和大汤勺塞在橱里，橱门上的钥匙是从来不拿走的。

那个园子，在我们说过的那些相当丑陋的建筑物的陪衬下，也显得有些减色。园子里有四条小道，交叉成十字形，交叉处有一个水槽；另一条小道沿着白围墙绕园一周。小道与小道之间，形成四块方地，边沿上种了黄杨。马格洛大娘在三块方地上种着蔬菜，在第四块上，主教种了些花卉。几株果树散布在各处。

一次，马格洛大娘和蔼地打趣他说：“您处处都盘算，这儿却有一块方地没有用上。种上些生菜，不比花好吗？”“马格洛大娘，”主教回答说，“您弄错了。美和适用是一样有用的。”停了一会，他又加上一句：“也许更有用些。”

那块方地又分作三四畦，主教在那地上所费的劳力和他在书本里所费的劳力是一样的。他乐意在这里花上一两个钟头，修枝，除草，这儿那儿，在土里搠一些窟窿，摆下种子。他并不象园艺工作者那样仇视昆虫。对植物学他没有任何幻想；他不知道分科，也不懂骨肉发病说；他绝不研究在杜纳福尔①和自然操作法之间应当有何取舍，既不替胞囊反对子叶，也不替舒习尔②反对林内③。他不研究植物，而赞赏花卉。他非常敬重科学家，更敬重无知识的人，在双方并重之下，每当夏季黄昏，他总提着一把绿漆白铁喷壶去浇他的花畦。

①杜纳福尔（Tournefort），法国十世纪的植物学家。

②舒习尔（Jussieu），法国十八世纪植物学家。

③林内（Linné），瑞典十八世纪生物学家，是植物和动物分类学的鼻祖。

那所房子没有一扇门是锁得上的。餐室的门，我们已经说过，开出去便是天主堂前面的广场，从前是装了锁和铁闩的，正象一扇牢门。主教早已叫人把那些铁件取去了，因而那扇门，无论昼夜，都只用一个活梢扣着。任何过路的人，在任何时刻，都可以摇开。起初，那两位妇女为了那扇从来不关的门非常发愁，但是迪涅主教对她们说：“假如你们喜欢，不妨在你们的房门上装上铁闩。”到后来，她们看见他既然放心，也就放了心，或者说，至少她们装出放心的样子。马格洛大娘有时仍不免提心吊胆。主教的想法，已经在他在《圣经》边上所写的这三行字里说明了，至少是提出了：“这里只有最微小的一点区别：

医生的门，永不应关，教士的门，应常开着。”

在一本叫做《医学的哲学》的书上，他写了这样一段话：“难道我们不和他们一样是医生吗？我一样有我的病人。首先我有他们称为病人的病人，其次我还有我称为不幸的人的病人。”

在另一处，他还写道：“对向你求宿的人，不可问名问姓，不便把自己姓名告人的人也往往是最需要找地方住的人。”

有一天，忽然来了个大名鼎鼎的教士，我已经记不清是古娄布鲁教士，还是彭弼力教士，想起要问主教先生（那也许是受了马格洛大娘的指使），让大门日夜开着，人人都可以进来，主教是否十分有把握不至于发生某种意外，是否不怕在那防范如此松懈的家里，发生什么不幸的事。主教严肃而温和地在他肩上点了一下，对他说：“除非上帝要保护这家人，否则看守也徒然。”①他接着就谈旁的事。

①这两句话原文为拉丁文，即DisiDominuscustodieritdomum，invanumvigilantquicustodiunteam。

他常爱说：“教士有教士的勇敢，正如龙骑队长有龙骑队长的勇敢。”不过，他又加上一句：“我们的勇敢应当是宁静的。”