GRINGOIRE HAS MANY GOOD IDEAS IN SUCCESSION.--RUE DES BERNARDINS.
As soon as Pierre Gringoire had seen how this whole affair was turning， and that there would decidedly be the rope， hanging， and other disagreeable things for the principal personages in this comedy， he had not cared to identify himself with the matter further. The outcasts with whom he had remained， reflecting that， after all， it was the best company in Paris，--the outcasts had continued to interest themselves in behalf of the gypsy. He had thought it very ****** on the part of people who had， like herself， nothing else in prospect but Charmolue and Torterue， and who， unlike himself， did not gallop through the regions of imagination between the wings of Pegasus. From their remarks， he had learned that his wife of the broken crock had taken refuge in Notre-Dame， and he was very glad of it. But he felt no temptation to go and see her there. He meditated occasionally on the little goat， and that was all. Moreover， he was busy executing feats of strength during the day for his living， and at night he was engaged in composing a memorial against the Bishop of Paris， for he remembered having been drenched by the wheels of his mills， and he cherished a grudge against him for it. He also occupied himself with annotating the fine work of Baudry-le-Rouge， Bishop of Noyon and Tournay， _De Cupa Petrarum_， which had given him a violent passion for architecture， an inclination which had replaced in his heart his passion for hermeticism， of which it was， moreover， only a natural corollary， since there is an intimate relation between hermeticism and masonry. Gringoire had passed from the love of an idea to the love of the form of that idea.
One day he had halted near Saint Germain-l'Auxerrois， at the corner of a mansion called "For-l'Evêque " (the Bishop's Tribunal)， which stood opposite another called "For-le-Roi"(the King's Tribunal). At this For-l'Evêque， there was a charming chapel of the fourteenth century， whose apse was on the street. Gringoire was devoutly examining its exterior sculptures. He was in one of those moments of egotistical， exclusive， supreme， enjoyment when the artist beholds nothing in the world but art， and the world in art. All at once he feels a hand laid gravely on his shoulder. He turns round.
It was his old friend， his former master， monsieur the archdeacon.
He was stupefied. It was a long time since he had seen the archdeacon， and Dom Claude was one of those solemn and impassioned men， a meeting with whom always upsets the equilibrium of a sceptical philosopher.
The archdeacon maintained silence for several minutes， during which Gringoire had time to observe him. He found Dom Claude greatly changed； pale as a winter's morning， with hollow eyes， and hair almost white. The priest broke the silence at length， by saying， in a tranquil but glacial tone，--"How do you do， Master Pierre？"
"My health？" replied Gringoire. "Eh！ eh！ one can say both one thing and another on that score. Still， it is good， on the whole. I take not too much of anything. You know， master， that the secret of keeping well， according to Hippocrates； ~id est： cibi， potus， somni， venus， omnia moderata sint~.""So you have no care， Master Pierre？" resumed the archdeacon， gazing intently at Gringoire.
"None， i' faith！"
"And what are you doing now？"
"You see， master. I am examining the chiselling of these stones， and the manner in which yonder bas-relief is thrown out."The priest began to smile with that bitter smile which raises only one corner of the mouth.
"And that amuses you？"
"'Tis paradise！" exclaimed Gringoire. And leaning over the sculptures with the fascinated air of a demonstrator of living phenomena： "Do you not think， for instance， that yon metamorphosis in bas-relief is executed with much adroitness， delicacy and patience？ Observe that slender column. Around what capital have you seen foliage more tender and better caressed by the chisel. Here are three raised bosses of Jean Maillevin. They are not the finest works of this great master.
Nevertheless， the *****te， the sweetness of the faces， the gayety of the attitudes and draperies， and that inexplicable charm which is mingled with all the defects， render the little figures very diverting and delicate， perchance， even too much so. You think that it is not diverting？""Yes， certainly！" said the priest.
"And if you were to see the interior of the chapel！" resumed the poet， with his garrulous enthusiasm. "Carvings everywhere.
'Tis as thickly clustered as the head of a cabbage！ The apse is of a very devout， and so peculiar a fashion that I have never beheld anything like it elsewhere！"Dom Claude interrupted him，--
"You are happy， then？"
Gringoire replied warmly；--
"On my honor， yes！ First I loved women， then animals.
Now I love stones. They are quite as amusing as women and animals， and less treacherous."The priest laid his hand on his brow. It was his habitual gesture.
"Really？"
"Stay！" said Gringoire， "one has one's pleasures！" He took the arm of the priest， who let him have his way， and made him enter the staircase turret of For-l'Evêque. "Here is a staircase！ every time that I see it I am happy. It is of the ******st and rarest manner of steps in Paris. All the steps are bevelled underneath. Its beauty and simplicity consist in the interspacing of both， being a foot or more wide， which are interlaced， interlocked， fitted together， enchained enchased， interlined one upon another， and bite into each other in a manner that is truly firm and graceful.""And you desire nothing？"
"No."
"And you regret nothing？"
"Neither regret nor desire. I have arranged my mode of life.""What men arrange，" said Claude， "things disarrange.""I am a Pyrrhonian philosopher，" replied Gringoire， "and Ihold all things in equilibrium."
"And how do you earn your living？"