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Updated: May 8, 2025
The lieutenant dismounted before a shop in the Rue des Lombards, at the sign of the Pilon d'Or. A man of good appearance, wearing a white apron, and stroking his gray mustache with a large hand, uttered a cry of joy on perceiving the pied horse. "Monsieur le chevalier," said he, "ah, is that you?" "Bon jour, Planchet," replied D'Artagnan, stooping to enter the shop.
"Thirty-seven hundred and fifty-five dollars," snapped back L. W. venomously, "and I'd sell out for thirty-seven cents." "You won't have to," said Rimrock with business directness and flashed a great roll of bills. "There's four thousand," he said, peeling off four bills, "you can keep the change for pilon."
"I asked you where you lodged, for I cannot always send to M. le Comte de la Fere to seek you." "I lodge with M. Planchet, a grocer, Rue des Lombards, at the sign of the Pilon d'Or." "Go out but little, show yourself less, and await my orders." "And yet, sire, I must go for the money."
M. Pilon is as sympathetic as he is just in his critical estimates of the man and his work. There is not much to relate of the quotidian life of the artist. His was not a romantic or a graceful figure among his contemporaries, the pastellist La Tour, Fragonard, and the rest, nor had his personality a jot of the mysterious melancholy of Watteau.
He then swallowed a glass of white wine and began in these terms: "Planchet, I have an idea." "Ah! monsieur, I recognize you so well in that!" replied Planchet, panting with emotion. Of the Society which was formed in the Rue des Lombards, at the Sign of the Pilon d'Or, to carry out M. d'Artagnan's Idea
"I asked where you lodged, for I cannot always send to M. le Comte de la Fere to seek you." "I lodge with M. Planchet, a grocer, Rue des Lombards, at the sign of the Pilon d'Or." "Go out but little, show yourself less, and await my orders." "And yet, sire, I must go for the money."
And then these finds served as so many springs which, turned on by a question, played off an essay on Jean Goujon, Michel Columb, Germain Pilon, Boulle, Van Huysum, and Boucher, the great native painter of Le Berry; on Clodion, the carver of wood, on Venetian mirrors, on Brustolone, an Italian tenor who was the Michael-Angelo of boxwood and holm oak; on the thirteenth, fourteenth, fifteenth, sixteenth, and seventeenth centuries, on the glazes of Bernard de Palissy, the enamels of Petitot, the engravings of Albrecht Durer whom she called Dur; on illuminations on vellum, on Gothic architecture, early decorated, flamboyant and pure enough to turn an old man's brain and fire a young man with enthusiasm.
When D'Artagnan, as he entered the shop of the Pilon d'Or, announced to Planchet that M. du Vallon would be one of the privileged travelers, and as the plume in Porthos's hat made the wooden candles suspended over the front jingle together, a melancholy presentiment seemed to eclipse the delight Planchet had promised himself for the morrow.
To our L. is a masterpiece of the French renaissance, the tomb by Lescot and Pilon of Henry II. and Catherine de' Medici, who are represented twice, as in the monument to Louis XII. We ascend the steps to the ambulatory and below, to our L., are summarily shown some important Valois tombs: Philippe de Valois, John II., Charles V. and others, by contemporary sculptors, such as Andrieu Beaunepveu and Pierre de Chelles all of great interest to the traveller but utterly impossible of appreciation under the cursory glance permitted by the vergers.
Among the statuary are: 251, Virgin and Child, French work of early sixteenth century; 448, The Three Fates, attributed to Germain Pilon, and said to be portraits of Diana of Poitiers and her daughters. 449, The Forsaken Ariadne; 456, Sleep; 450, Venus and Cupid; 479, a small and beautiful entombment, are French work of the sixteenth century.
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