Conclusions:
Beyond a doubt, Edme Réstif's household was exceptionally large.
It surpassed all households that were enumerated by the census of 1836 in the Tart
villages. Its size and complexity attested to a farmer who was scarcely a typical peasant
or a mere "bon laboureur" [substantial farmer] of the day. Although his
actual economic standing was left purposely vague in the book, in reality his wealth alone
put him at the top of the village pyramid, well above the vast majority of his neighbors
and on a par with perhaps two or three others who made up the village elite.
Boilly's painting represents an idealized vision of rural
households. Compared to the census figures, even the sentimental portrait of
rural folk by Boilly represents a household of unusual size and complexity. Among
the 252 households in the Tart villages in 1836, only one or two households could claim to
have a dozen or so people living under the same roof. The six or seven children
portrayed in the painting--all adorable to be sure--serve to celebrate the child-centered
family, the sentimental ideal of the urban bourgeoisie. In reality, if the Tart
villages are somewhat indicative, to find six or seven children in one household was a
rare event.
Qualifying the results. At least one qualification is
in order, however. The census provides only a snapshot of an evolving process
of family formation and change. It enumerates the people living in a household at
one particular moment, and it omits household and family members who were not co-resident
at that time. Like Edme who left home at the age 14 or Nicolas who left at 11, the
children of peasants and farmers spent fewer years at home than might be thought.
The census, in other words, does not indicate reliably the size of the complete family.
Nonetheless, it does help remind us that rural families and households were neither
typically large nor typically complex with numerous co-residing servants or kin beyond the
nuclear core of husband, wife and children.
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