"The combination of various kinds of knowledge required to understand
such 'rubbish,' Cecile," he resumed, "is a science in itself, called
archaeology. Archaeology comprehends architecture, sculpture,
painting, goldsmiths' work, ceramics, cabinetmaking (a purely modern
art), lace, tapestry--in short, human handiwork of every sort and
description."
"Then Cousin Pons is learned?" said Cecile.
"Ah! by the by, why is he never to be seen nowadays?" asked the
President. He spoke with the air of a man in whom thousands of
forgotten and dormant impressions have suddenly begun to stir, and
shaping themselves into one idea, reach consciousness with a ricochet,
as sportsmen say.
"He must have taken offence at nothing at all," answered his wife. "I
dare say I was not as fully sensible as I might have been of the value
of the fan that he gave me. I am ignorant enough, as you know, of--"
"_You!_ One of Servin's best pupils, and you don't know Watteau?"
cried the President.
"I know Gerard and David and Gros and Griodet, and M. de Forbin and M.
Turpin de Crisse--"
"You ought--"
"Ought what, sir?" demanded the lady, gazing at her husband with the
air of a Queen of Sheba.
"To know a Watteau when you see it, my dear. Watteau is very much in
fashion," answered the President with meekness, that told plainly how
much he owed to his wife.
This conversation took place a few days before that night of first
performance of _The Devil's Betrothed_, when the whole orchestra
noticed how ill Pons was looking.
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