old man of mean aspect, who wore a pair of blue spectacles.
"Ha! a nice fellow you are, Père Isaac! Here are three works cried down, destroyed! Everybody is laughing at me! People know what they are now! What do you want me to do with them? I'll have to send them off to California – or to the devil! Hold your tongue!"
The specialty of this old worthy consisted in attaching the signatures of the great masters at the bottom of these pictures. Arnoux refused to pay him, and dismissed him in a brutal fashion. Then, with an entire change of manner, he bowed to a gentleman of affectedly grave demeanour, who wore whiskers and displayed a white tie round his neck and the cross of the Legion of Honour over his breast.
With his elbow resting on the window-fastening, he kept talking to him for a long time in honeyed tones. At last he burst out:
"Ah! well, I am not bothered with brokers, Count."
The nobleman gave way, and Arnoux paid him down twenty-five louis. As soon as he had gone out:
"What a plague these big lords are!"
"A lot of wretches!" muttered Regimbart.
As it grew later, Arnoux was much more busily occupied. He classified articles, tore open letters, set out accounts in a row; at the sound of hammering in the warehouse he went out to look after the packing; then he went back to his ordinary work; and, while he kept his steel pen running over the paper, he indulged in sharp witticisms. He had an invitation to dine with his lawyer that evening, and was starting next day for Belgium.
The others chatted about the topics of the day – Cherubini's portrait, the hemicycle of the Fine Arts, and the next Exhibition. Pellerin railed at the Institute. Scandalous stories and serious discussions got mixed up together. The apartment with its low ceiling was so much stuffed up that one could scarcely move; and the light of the rose-coloured wax-tapers was obscured in the smoke of their cigars, like the sun's rays in a fog.
The door near the sofa flew open, and a tall, thin woman entered with abrupt movements, which made all the trinkets of her watch rattle under her black taffeta gown.
It was the woman of whom Frederick had caught a glimpse last summer at the Palais-Royal. Some of those present, addressing her by name, shook hands with her. Hussonnet had at last managed to extract from his employer the sum of fifty francs. The clock struck seven.
All rose to go.
Arnoux told Pellerin to remain, and accompanied Mademoiselle Vatnaz into the dressing-room.
Frederick could not hear what they said; they spoke in whispers. However, the woman's voice was raised:
"I have been waiting ever since the job was done, six months ago."
There was a long silence, and then Mademoiselle Vatnaz reappeared. Arnoux had again promised her something.
"Oh! oh! later, we shall see!"
"Good-bye! happy man," said she, as she was going out.
Arnoux quickly re-entered the dressing-room, rubbed some cosmetic over his moustaches, raised his braces, stretched his straps; and, while he was washing his hands:
"I would require two over the door at two hundred and fifty apiece, in Boucher's style. Is that understood?"
"Be it so," said the artist, his face reddening.
"Good! and don't forget my wife!"
Frederick accompanied Pellerin to the top of the Faubourg Poissonnière, and asked his permission to come to see him sometimes, a favour which was graciously accorded.
Pellerin read every work on æsthetics, in order to find out the true theory of the Beautiful, convinced that, when he had discovered it, he would produce masterpieces. He surrounded himself with every imaginable auxiliary – drawings, plaster-casts, models, engravings; and he kept searching about, eating his heart out. He blamed the weather, his nerves, his studio, went out into the street to find inspiration there, quivered with delight at the thought that he had caught it, then abandoned the work in which he was engaged, and dreamed of another which should be finer. Thus, tormented by the desire for glory, and wasting his days in discussions, believing in a thousand fooleries – in systems, in criticisms, in the importance of a regulation or a reform in the domain of Art – he had at fifty as yet turned out nothing save mere sketches. His robust pride prevented him from experiencing any discouragement, but he was always irritated, and in that state of exaltation, at the same time factitious and natural, which is characteristic of comedians.
On entering his studio one's attention was directed towards two large pictures, in which the first tones of colour laid on here and there made on the white canvas spots of brown, red, and blue. A network of lines in chalk stretched overhead, like stitches of thread repeated twenty times; it was impossible to understand what it meant. Pellerin explained the subject of these two compositions by pointing out with his thumb the portions that were lacking. The first was intended to represent "The Madness of Nebuchadnezzar," and the second "The Burning of Rome by Nero." Frederick admired them.
He admired academies of women with dishevelled hair, landscapes in which trunks of trees, twisted by the storm, abounded, and above all freaks of the pen, imitations from memory of Callot, Rembrandt, or Goya, of which he did not know the models. Pellerin no longer set any value on these works of his youth. He was now all in favour of the grand style; he dogmatised eloquently about Phidias and Winckelmann. The objects around him strengthened the force of his language; one saw a death's head on a prie-dieu, yataghans, a monk's habit. Frederick put it on.
When he arrived early, he surprised the artist in his wretched folding-bed, which was hidden from view by a strip of tapestry; for Pellerin went to bed late, being an assiduous frequenter of the theatres. An old woman in tatters attended on him. He dined at a cook-shop, and lived without a mistress. His acquirements, picked up in the most irregular fashion, rendered his paradoxes amusing. His hatred of the vulgar and the "bourgeois" overflowed in sarcasms, marked by a superb lyricism, and he had such religious reverence for the masters that it raised him almost to their level.
But why had he never spoken about Madame Arnoux? As for her son, at one time he called Pellerin a decent fellow, at other times a charlatan. Frederick was waiting for some disclosures on his part.
One day, while turning over one of the portfolios in the studio, he thought he could trace in the portrait of a female Bohemian some resemblance to Mademoiselle Vatnaz; and, as he felt interested in this lady, he desired to know what was her exact social position.
She had been, as far as Pellerin could ascertain, originally a schoolmistress in the provinces. She now gave lessons in Paris, and tried to write for the small journals.
According to Frederick, one would imagine from her manners with Arnoux that she was his mistress.
"Pshaw! he has others!"
Then, turning away his face, which reddened with shame as he realised the baseness of the suggestion, the young man added, with a swaggering air:
"Very likely his wife pays him back for it?"
"Not at all; she is virtuous."
Frederick again experienced a feeling of compunction, and the result was that his attendance at the office of the art journal became more marked than before.
The big letters which formed the name of Arnoux on the marble plate above the shop seemed to him quite peculiar and pregnant with significance, like some sacred writing. The wide footpath, by its
