to the court, municipal counselor of Paris, and a member of the General Council of the Seine. (The Middle Classes)
POPINOT (Anselme), a poor orphan, and nephew of the preceding and of Madame Ragon (born Popinot), who took charge of him in his infancy. Small of stature, red-haired, and lame, he gladly became clerk to Cesar Birotteau, the Paris perfumer of the Reine des Roses, the successor of Ragon, with whom he did a great deal of work, in order to be able to show appreciation for the favor shown a part of his family, that was well-nigh ruined as a result of some bad investments (the Wortschin mines, 1818-19). Anselme Popinot, being secretly in love with Cesarine Birotteau, his employer's daughter—the feeling being reciprocated, moreover—brought about, so far as his means allowed, the rehabilitation of Cesar, thanks to the profits of his drug business, established on the rue des Cinq-Diamants, between 1819 and 1820. The beginning of his great fortune and of his domestic happiness dated from this time. (Cesar Birotteau) After Birotteau's death, about 1822, Popinot married Mademoiselle Birotteau, by whom he had three children, two sons and a daughter. The consequences of the Revolution of 1830 brought Anselme Popinot in the way of power and honors; he was twice deputy after the beginning of Louis Philippe's reign, and was also minister of commerce. (Gaudissart the Great) Anselme Popinot, twice secretary of state, had finally been made a count, and a peer of France. He owned a mansion on the rue Basse du Rempart. In 1834 he rewarded Felix Gaudissart for services formerly rendered on the rue des Cinq-Diamants, and entrusted to him the management of a boulevard theatre, where the opera, the drama, the fairy spectacle, and the ballet took turn and turn. (Cousin Pons) Four years later the Comte Popinot, again minister of commerce and agriculture, a lover of the arts and one who gladly acted the part of the refined Maecenas, bought for two thousand francs a copy of Steinbock's "Groupe de Samson" and stipulated that the mould should be destroyed that there might be only two copies, his own and the one belonging to Mademoiselle Hortense Hulot, the artist's fiancee.
