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