Rivière-du-Loup is a recurring point of contact beyond Touladi, linking the D’Anjou family’s effort to document its cameo with travel and family affairs. It is not the setting of these episodes so much as a nearby place through which people, services, and stories pass.

Photographs of the Cameo

After the family obtains the stone, Régis proposes making color photographs for insurance and taking copies to Rome, where comparisons with lapidary-art catalogues might help trace the family’s ancestor. Guillaume agrees to arrange the photographs and identifies a photographer in Rivière-du-Loup who can work in color. The town thus enters the cameo’s history through a specific practical role: its photographer can help create a record of an object the family wants to protect and understand.

A Point of Contact in a Family Emergency

Rivière-du-Loup is also connected to the night of Marie-Ange’s death. Alcide Bolduc has been unsuccessfully contacted there before he finally arrives in Touladi, drunk and shocked to find Guillaume in his house. The episode makes the town part of the strained geography between the family members: a place where Alcide has been sought, but from which no timely reply comes before the emergency unfolds.

A Destination in Local Anecdote

The town appears again in a comic story circulated about Touladi’s sheriff, Oscar Béland. In the tale, Béland takes a train to Rivière-du-Loup and, after an awkward mishap with his clothing, seeks medical help. The anecdote makes the town a destination in the surrounding community’s oral lore, rather than the focus of the joke itself. Across these references, Rivière-du-Loup remains at the edge of the principal action, yet repeatedly offers a route outward from Touladi—toward a photographer, a sought-after family member, or a story told at home.