order to save themselves from being knocked down; while the shop-keepers, standing open-mouthed on their doorsteps, believed in a revolution. The whole neighbourhood seemed topsy-turvy. In the Rue Jacob, such was the rush, so frightful were the yells, that several house shutters were hastily closed. As the Rue Bonaparte was, at last, being reached, one tall, fair fellow thought it a good joke to catch hold of a little servant girl who stood bewildered on the pavement, and drag her along with them, like a wisp of straw caught in a torrent.
‘Well,’ said Claude, ‘good-bye, then; I’ll see you to-night.’
‘Yes, to-night.’
The painter, out of breath, had stopped at the corner of the Rue des Beaux Arts. The court gates of the Art School stood wide open in front of him, and the procession plunged into the yard.
After drawing breath, Claude retraced his steps to the Rue de Seine. His bad luck was increasing; it seemed ordained that he should not be able to beguile a chum from work that morning. So he went up the street, and slowly walked on as far as the Place du Pantheon, without any definite aim. Then it occurred to him that he might just look into the Municipal Offices, if only to shake hands with Sandoz. That would, at any rate, mean ten minutes well spent. But he positively gasped when he was told by an attendant that M. Sandoz had asked for a day off to attend a funeral. However, he knew the trick of old. His friend always found the same pretext whenever he wanted to do a good day’s work at home. He had already made up his mind to join him there, when a feeling of artistic brotherliness, the scruple of an honest worker, made him pause; yes, it would be a crime to go and disturb that good fellow, and infect him with the discouragement born of a difficult task, at the very moment when he was, no doubt, manfully accomplishing his own work.
So Claude had to resign himself to his fate. He dragged his black melancholy along the quays until mid-day, his head so heavy, so full of thoughts of his lack of power, that he only espied the well-loved horizons of the Seine through a mist. Then he found himself once more in the Rue de la Femme-sans-Tete, where he breakfasted at Gomard’s wine shop, whose sign ‘The Dog of Montargis,’ inspired him with interest. Some stonemasons, in their working blouses, bespattered with mortar, were there at table, and, like them, and with them, he ate his eight sous’ ‘ordinary’—some beef broth in a bowl, in which he soaked some bread, followed by a slice of boiled soup-beef, garnished with haricot beans, and served up on a plate damp with dish-water. However, it was still too good, he thought, for a brute unable to earn his bread. Whenever his work miscarried, he undervalued himself, ranked himself lower than a common labourer, whose sinewy arms could at least perform their appointed task. For an hour he lingered in the tavern brutifying himself by listening to the conversation at the tables around him. Once outside he slowly resumed his walk in haphazard fashion.
When he got to the Place de l’Hotel de Ville, however, a fresh idea made him quicken his pace. Why had he not thought of Fagerolles? Fagerolles was a nice fellow, gay, and by no means a fool, although he studied at the School of Arts. One could talk with him, even when he defended bad painting. If he had lunched at his father’s, in the Rue Vieille-du-Temple, he must certainly still be there.
On entering the narrow street, Claude felt a sensation of refreshing coolness come over him. In the sun it had grown very warm, and moisture rose from the pavement, which, however bright the sky, remained damp and greasy beneath the constant tramping of the pedestrians. Every minute, when a push obliged Claude to leave the footwalk, he found himself in danger of being knocked down by trucks or vans. Still the street amused him, with its straggling houses out of line, their flat frontages chequered with signboards up to the very eaves, and pierced with small windows, whence came the hum of every kind of handiwork that can be carried on at home. In one of the narrowest parts of the street a small newspaper shop made him stop. It was betwixt a hairdresser’s and a tripeseller’s, and had an outdoor display of idiotic prints, romantic balderdash mixed with filthy caricatures fit for a barrack-room. In front of these ‘pictures,’ a lank hobbledehoy stood lost in reverie, while two young girls nudged each other and jeered. He felt inclined to slap their faces, but he hurried across the road, for Fagerolles’ house happened to be opposite. It was a dark old tenement, standing forward from the others, and was bespattered like them with the mud from the gutters. As an omnibus came up, Claude barely had time to jump upon the foot pavement, there reduced to the proportions of a simple ledge; the wheels brushed against his chest, and he was drenched to his knees.
M. Fagerolles, senior, a manufacturer of artistic zinc-work, had his workshops on the ground floor of the building, and having converted two large front rooms on the first floor into a warehouse, he personally occupied a small, dark, cellar-like apartment overlooking the courtyard. It was there that his son Henri had grown up, like a true specimen of the flora of the Paris streets, at the edge of that narrow pavement constantly struck by the omnibus wheels, always soddened by the gutter water, and opposite the print and newspaper shop, flanked by the barber’s and tripeseller’s. At first his father had made an ornamental draughtsman of him for personal use. But when the lad had developed higher ambition, taking to painting proper, and talking about the School of Arts, there had been quarrels, blows, a series of separations and reconciliations. Even now, although Henri had already achieved some successes, the manufacturer of artistic zinc-work, while letting him have his will, treated him harshly, like a lad who was spoiling his career.
After shaking off the water, Claude went up the deep archway entrance, to a courtyard, where the light was quite greenish, and where there was a dank, musty smell, like that at the bottom of a tank. There was an overhanging roofing of glass and iron at the foot of the staircase, which was a wide one, with a wrought-iron railing, eaten with rust. As the painter passed the warehouse on the first floor, he glanced through a glass door and noticed M. Fagerolles examining some patterns. Wishing to be polite, he entered, in spite of the artistic disgust he felt for all that zinc, coloured to imitate bronze, and having all the repulsive mendacious prettiness of spurious art.
‘Good morning, monsieur. Is Henri still at home?’
The manufacturer, a stout, sallow-looking man, drew himself straight amidst all his nosegay vases and cruets and statuettes. He had in his hand a new model of a thermometer, formed of a juggling girl who crouched and balanced the glass tube on her nose.
‘Henri did not come in to lunch,’ he answered drily.
This cool reception upset Claude. ‘Ah! he did not come back; I beg pardon for having disturbed you, then. Good-day, monsieur.’
‘Good-day.’
Once more outside, Claude began to swear to himself. His ill-luck was complete, Fagerolles escaped him also. He even felt vexed with himself for having gone there, and having taken an interest in that picturesque old street; he was infuriated by the romantic gangrene that ever sprouted afresh within him, do what he might. It was his malady, perhaps, the false principle which he sometimes felt like a bar across his skull. And when he had reached the quays again, he thought of going home to see whether his picture was really so very bad. But the mere idea made him tremble all over. His studio seemed a chamber of horrors, where he could no more continue to live, as if, indeed, he had left the corpse of some beloved being there. No, no; to climb the three flights of stairs, to open the door, to shut himself up face to face with ‘that,’ would have needed strength beyond his courage. So he crossed the Seine and went along the Rue St. Jacques. He felt too wretched and lonely; and, come what might, he would go to the Rue d’Enfer to turn Sandoz from his work.
Sandoz’s little fourth-floor flat consisted of a dining-room, a bedroom, and a strip of kitchen. It was tenanted by himself alone; his mother, disabled by paralysis, occupied on the other side of the landing a single room, where she lived in morose and voluntary solitude. The street was a deserted one; the windows of the rooms overlooked the gardens of the Deaf and Dumb Asylum, above which rose the rounded crest of a lofty tree, and the square tower of St. Jacques-du-Haut-Pas.
