Observing the outline of the houses occupied respectively by Maitre Cornelius and by the Comte de Poitiers, it was easy to believe that the same architect had built them both and destined them for the use of tyrants.  Each was sinister in aspect, resembling a small fortress, and both could be well defended against an angry populace.  Their corners were upheld by towers like those which lovers of antiquities remark in towns where the hammer of the iconoclast has not yet prevailed.  The bays, which had little depth, gave a great power of resistance to the iron shutters of the windows and doors.  The riots and the civil wars so frequent in those tumultuous times were ample justification for these precautions.

As six o’clock was striking from the great tower of the Abbey Saint-Martin, the lover of the hapless countess passed in front of the hotel de Poitiers and paused for a moment to listen to the sounds made in the lower hall by the servants of the count, who were supping.  Casting a glance at the window of the room where he supposed his love to be, he continued his way to the adjoining house.  All along his way, the young man had heard the joyous uproar of many feasts given throughout the town in honor of the day.  The ill-joined shutters sent out streaks of light, the chimneys smoked, and the comforting odor of roasted meats pervaded the town.  After the conclusion of the church services, the inhabitants were regaling themselves, with murmurs of satisfaction which fancy can picture better than words can paint.  But at this particular spot a deep silence reigned, because in these two houses lived two passions which never rejoiced.  Beyond them stretched the silent country.  Beneath the shadow of the steeples of Saint-Martin, these two mute dwellings, separated from the others in the same street and standing at the crooked end of it, seemed afflicted with leprosy.  The building opposite to them, the home of the criminals of the State, was also under a ban.  A young man would be readily impressed by this sudden contrast.  About to fling himself into an enterprise that was horribly hazardous, it is no wonder that the daring young seigneur stopped short before the house of the silversmith, and called to mind the many tales furnished by the life of Maitre Cornelius,—­tales which caused such singular horror to the countess.  At this period a man of war, and even a lover, trembled at the mere word “magic.”  Few indeed were the minds and the imaginations which disbelieved in occult facts and tales of the marvellous.  The lover of the Comtesse de Saint-Vallier, one of the daughters whom Louis XI. had in Dauphine by Madame de Sassenage, however bold he might be in other respects, was likely to think twice before he finally entered the house of a so-called sorcerer.

The history of Maitre Cornelius Hoogworst will fully explain the security which the silversmith inspired in the Comte de Saint-Vallier, the terror of the countess, and the hesitation that now took possession of the lover.  But, in order to make the readers of this nineteenth century understand how such commonplace events could be turned into anything supernatural, and to make them share the alarms of that olden time, it is necessary to interrupt the course of this narrative and cast a rapid glance on the preceding life and adventures of Maitre Cornelius.