Part 29

But furious exclamations cut him short. Oh, no! not that one. They knew him, that old combatant! A madman who had been persevering in his obstinacy for fifteen years past--a proud, stuck-up fellow who posed for being a genius, and who had talked about demolishing the Salon, without even sending a picture that it was possible to accept. All their hatred of independent originality, of the competition of the ‘shop over the way,’ which frightened them, of that invincible power which triumphs even when it is seemingly defeated, resounded in their voices. No, no; away with it!

Then Fagerolles himself made the mistake of getting irritated, yielding to the anger he felt at finding what little real influence he possessed.

‘You are unjust; at least, be impartial,’ he said.

Thereupon the tumult reached a climax. He was surrounded and jostled, arms waved about him in threatening fashion, and angry words were shot out at him like bullets.

‘You dishonour the committee, monsieur!’

‘If you defend that thing, it’s simply to get your name in the newspapers!’

‘You aren’t competent to speak on the subject!’

Then Fagerolles, beside himself, losing even the pliancy of his bantering disposition, retorted:

‘I’m as competent as you are.’

‘Shut up!’ resumed a comrade, a very irascible little painter with a fair complexion. ‘You surely don’t want to make us swallow such a turnip as that?’

Yes, yes, a turnip! They all repeated the word in tones of conviction--that word which they usually cast at the very worst smudges, at the pale, cold, glairy painting of daubers.

‘All right,’ at last said Fagerolles, clenching his teeth. ‘I demand the vote.’

Since the discussion had become envenomed, Mazel had been ringing his bell, extremely flushed at finding his authority ignored.

‘Gentlemen--come, gentlemen; it’s extraordinary that one can’t settle matters without shouting--I beg of you, gentlemen--’

At last he obtained a little silence. In reality, he was not a bad-hearted man. Why should not they admit that little picture, although he himself thought it execrable? They admitted so many others!

‘Come, gentlemen, the vote is asked for.’

He himself was, perhaps, about to raise his hand, when Bongrand, who had hitherto remained silent, with the blood rising to his cheeks in the anger he was trying to restrain, abruptly went off like a pop-gun, most unseasonably giving vent to the protestations of his rebellious conscience.

‘But, curse it all! there are not four among us capable of turning out such a piece of work!’

Some grunts sped around; but the sledge-hammer blow had come upon them with such force that nobody answered.

‘Gentlemen, the vote is asked for,’ curtly repeated Mazel, who had turned pale.

His tone sufficed to explain everything: it expressed all his latent hatred of Bongrand, the fierce rivalry that lay hidden under their seemingly good-natured handshakes.

Things rarely came to such a pass as this. They almost always arranged matters. But in the depths of their ravaged pride there were wounds which always bled; they secretly waged duels which tortured them with agony, despite the smile upon their lips.

Bongrand and Fagerolles alone raised their hands, and ‘The Dead Child,’ being rejected, could only perhaps be rescued at the general revision.

This general revision was the terrible part of the task. Although, after twenty days’ continuous toil, the committee allowed itself forty-eight hours’ rest, so as to enable the keepers to prepare the final work, it could not help shuddering on the afternoon when it came upon the assemblage of three thousand rejected paintings, from among which it had to rescue as many canvases as were necessary for the then regulation total of two thousand five hundred admitted works to be complete. Ah! those three thousand pictures, placed one after the other alongside the walls of all the galleries, including the outer one, deposited also even on the floors, and lying there like stagnant pools, between which the attendants devised little paths--they were like an inundation, a deluge, which rose up, streamed over the whole Palais de l’Industrie, and submerged it beneath the murky flow of all the mediocrity and madness to be found in the river of Art. And but a single afternoon sitting was held, from one till seven o’clock--six hours of wild galloping through a maze! At first they held out against fatigue and strove to keep their vision clear; but the forced march soon made their legs give way, their eyesight was irritated by all the dancing colours, and yet it was still necessary to march on, to look and judge, even until they broke down with fatigue. By four o’clock the march was like a rout--the scattering of a defeated army. Some committee-men, out of breath, dragged themselves along very far in the rear; others, isolated, lost amid the frames, followed the narrow paths, renouncing all prospect of emerging from them, turning round and round without any hope of ever getting to the end! How could they be just and impartial, good heavens? What could they select from amid that heap of horrors? Without clearly distinguishing a landscape from a portrait, they made up the number they required in pot-luck fashion. Two hundred, two hundred and forty--another eight, they still wanted eight more. That one? No, that other. As you like! Seven, eight, it was over! At last they had got to the end, and they hobbled away, saved--free!

In one gallery a fresh scene drew them once more round ‘The Dead Child,’ lying on the floor among other waifs. But this time they jested. A joker pretended to stumble and set his foot in the middle of the canvas, while others trotted along the surrounding little paths, as if trying to find out which was the picture’s top and which its bottom, and declaring that it looked much better topsy-turvy.

Fagerolles himself also began to joke.

‘Come, a little courage, gentlemen; go the round, examine it, you’ll be repaid for your trouble. Really now, gentlemen, be kind, rescue it; pray do that good action!’

They all grew merry in listening to him, but with cruel laughter they refused more harshly than ever. ‘No, no, never!’

‘Will you take it for your “charity”?’ cried a comrade.

This was a custom; the committee-men had a right to a ‘charity’; each of them could select a canvas among the lot, no matter how execrable it might be, and it was thereupon admitted without examination. As a rule, the bounty of this admission was bestowed upon poor artists. The forty paintings thus rescued at the eleventh hour, were those of the beggars at the door--those whom one allowed to glide with empty stomachs to the far end of the table.

‘For my “charity,”’ repeated Fagerolles, feeling very much embarrassed; ‘the fact is, I meant to take another painting for my “charity.” Yes, some flowers by a lady--’

He was interrupted by loud jeers. Was she pretty? In front of the women’s paintings the gentlemen were particularly prone to sneer, never displaying the least gallantry. And Fagerolles remained perplexed, for the ‘lady’ in question was a person whom Irma took an interest in. He trembled at the idea of the terrible scene which would ensue should he fail to keep his promise. An expedient occurred to him.

‘Well, and you, Bongrand? You might very well take this funny little dead child for your charity.’

Bongrand, wounded to the heart, indignant at all the bartering, waved his long arms:

‘What! _I_? _I_ insult a real painter in that fashion? Let him be prouder, dash it, and never send anything to the Salon!’

Then, as the others still went on sneering, Fagerolles, desirous that victory should remain to him, made up his mind, with a proud air, like a man who is conscious of his strength and does not fear being compromised.

‘All right, I’ll take it for my “charity,”’ he said.

The others shouted bravo, and gave him a bantering ovation, with a series of profound bows and numerous handshakes. All honour to the brave fellow who had the courage of his opinions! And an attendant carried away in his arms the poor derided, jolted, soiled canvas; and thus it was that a picture by the painter of ‘In the Open Air’ was at last accepted by the hanging committee of the Salon.

On the very next morning a note from Fagerolles apprised Claude, in a couple of lines, that he had succeeded in getting ‘The Dead Child’ admitted, but that it had not been managed without trouble. Claude, despite the gladness of the tidings, felt a pang at his heart; the note was so brief, and was written in such a protecting, pitying style, that all the humiliating features of the business were apparent to him. For a moment he felt sorry over this victory, so much so that he would have liked to take his work back and hide it. Then his delicacy of feeling, his artistic pride again gave way, so much did protracted waiting for success make his wretched heart bleed. Ah! to be seen, to make his way despite everything! He had reached the point when conscience capitulates; he once more began to long for the opening of the Salon with all the feverish impatience of a beginner, again living in a state of illusion which showed him a crowd, a press of moving heads acclaiming his canvas.

By degrees Paris had made it the fashion to patronise ‘varnishing day’--that day formerly set aside for painters only to come and finish the toilets of their pictures. Now, however, it was like a feast of early fruit, one of those solemnities which set the city agog and attract a tremendous crowd. For a week past the newspaper press, the streets, and the public had belonged to the artists. They held Paris in their grasp; the only matters talked of were themselves, their exhibits, their sayings or doings--in fact, everything connected with them. It was one of those infatuations which at last draw bands of country folk, common soldiers, and even nursemaids to the galleries on days of gratuitous admission, in such wise that fifty thousand visitors are recorded on some fine Sundays, an entire army, all the rear battalions of the ignorant lower orders, following society, and marching, with dilated eyes, through that vast picture shop.

That famous ‘varnishing day’ at first frightened Claude, who was intimidated by the thought of all the fine people whom the newspapers spoke about, and he resolved to wait for the more democratic day of the real inauguration. He even refused to accompany Sandoz. But he was consumed by such a fever, that after all he started off abruptly at eight o’clock in the morning, barely taking time to eat a bit of bread and cheese beforehand. Christine, who lacked the courage to go with him, kissed him again and again, feeling anxious and moved.

‘Mind, my dear, don’t worry, whatever happens,’ said she.

Claude felt somewhat oppressed as he entered the Gallery of Honour. His heart was beating fast from the swiftness with which he had climbed the grand staircase. There was a limpid May sky out of doors, and through the linen awnings, stretched under the glazed roof, there filtered a bright white light, while the open doorways, communicating with the garden gallery, admitted moist gusts of quivering freshness. For a moment Claude drew breath in that atmosphere which was already tainted with a vague smell of varnish and the odour of the musk with which the women present perfumed themselves. At a glance he took stock of the pictures on the walls: a huge massacre scene in front of him, streaming with carmine; a colossal, pallid, religious picture on his left; a Government order, the commonplace delineation of some official festivity, on the right; and then a variety of portraits, landscapes, and indoor scenes, all glaring sharply amid the fresh gilding of their frames. However, the fear which he retained of the folks usually present at this solemnity led him to direct his glances upon the gradually increasing crowd. On a circular settee in the centre of the gallery, from which sprang a sheaf of tropical foliage, there sat three ladies, three monstrously fat creatures, attired in an abominable fashion, who had settled there to indulge in a whole day’s backbiting. Behind him he heard somebody crushing harsh syllables in a hoarse voice. It was an Englishman in a check-pattern jacket, explaining the massacre scene to a yellow woman buried in the depths of a travelling ulster. There were some vacant spaces; groups of people formed, scattered, and formed again further on; all heads were raised; the men carried walking-sticks and had overcoats on their arms, the women strolled about slowly, showing distant profiles as they stopped before the pictures; and Claude’s artistic eye was caught by the flowers in their hats and bonnets, which seemed very loud in tint amid the dark waves of the men’s silk hats. He perceived three priests, two common soldiers who had found their way there no one knew whence, some endless processions of gentlemen decorated with the ribbon of the Legion of Honour, and troops of girls and their mothers, who constantly impeded the circulation. However, a good many of these people knew each other; there were smiles and bows from afar, at times a rapid handshake in passing. And conversation was carried on in a discreet tone of voice, above which rose the continuous tramping of feet.

Then Claude began to look for his own picture. He tried to find his way by means of the initial letters inscribed above the entrances of the galleries, but made a mistake, and went through those on the left hand. There was a succession of open entrances, a perspective of old tapestry door-hangings, with glimpses of the distant pictures. He went as far as the great western gallery, and came back by the parallel suite of smaller galleries without finding that allotted to the letter L. And when he reached the Gallery of Honour again, the crowd had greatly increased. In fact, it was now scarcely possible for one to move about there. Being unable to advance, he looked around, and recognised a number of painters, that nation of painters which was at home there that day, and was therefore doing the honours of its abode. Claude

## particularly remarked an old friend of the Boutin Studio--a young fellow

consumed with the desire to advertise himself, who had been working for a medal, and who was now pouncing upon all the visitors possessed of any influence and forcibly taking them to see his pictures. Then there was a celebrated and wealthy painter who received his visitors in front of his work with a smile of triumph on his lips, showing himself compromisingly gallant with the ladies, who formed quite a court around him. And there were all the others: the rivals who execrated one another, although they shouted words of praise in full voices; the savage fellows who covertly watched their comrades’ success from the corner of a doorway; the timid ones whom one could not for an empire induce to pass through the gallery where their pictures were hung; the jokers who hid the bitter mortification of their defeat under an amusing witticism; the sincere ones who were absorbed in contemplation, trying to understand the various works, and already in fancy distributing the medals. And the painters’ families were also there. One charming young woman was accompanied by a coquettishly bedecked child; a sour-looking, skinny matron of middle-class birth was flanked by two ugly urchins in black; a fat mother had foundered on a bench amid quite a tribe of dirty brats; and a lady of mature charms, still very good-looking, stood beside her grown-up daughter, quietly watching a hussy pass--this hussy being the father’s mistress. And then there were also the models--women who pulled one another by the sleeve, who showed one another their own forms in the various pictorial nudities, talking very loudly the while and dressed without taste, spoiling their superb figures by such wretched gowns that they seemed to be hump-backed beside the well-dressed dolls--those Parisiennes who owed their figures entirely to their dressmakers.

When Claude got free of the crowd, he enfiladed the line of doorways on the right hand. His letter was on that side; but he searched the galleries marked with an L without finding anything. Perhaps his canvas had gone astray and served to fill up a vacancy elsewhere. So when he had reached the large eastern gallery, he set off along a number of other little ones, a secluded suite visited by very few people, where the pictures seemed to frown with boredom. And there again he found nothing. Bewildered, distracted, he roamed about, went on to the garden gallery, searching among the superabundant exhibits which overflowed there, pallid and shivering in the crude light; and eventually, after other distant excursions, he tumbled into the Gallery of Honour for the third time.

There was now quite a crush there. All those who in any way create a stir in Paris were assembled together--the celebrities, the wealthy, the adored, talent, money and grace, the masters of romance, of the drama and of journalism, clubmen, racing men and speculators, women of every category, hussies, actresses and society belles. And Claude, angered by his vain search, grew amazed at the vulgarity of the faces thus massed together, at the incongruity of the toilets--but a few of which were elegant, while so many were common looking--at the lack of majesty which that vaunted ‘society’ displayed, to such a point, indeed, that the fear which had made him tremble was changed into contempt. Were these the people, then, who were going to jeer at his picture, provided it were found again? Two little reporters with fair complexions were completing a list of persons whose names they intended to mention. A critic pretended to take some notes on the margin of his catalogue; another was holding forth in professor’s style in the centre of a party of beginners; a third, all by himself, with his hands behind his back, seemed rooted to one spot, crushing each work beneath his august impassibility. And what especially struck Claude was the jostling flock-like behaviour of the people, their banded curiosity in which there was nothing youthful or passionate, the bitterness of their voices, the weariness to be read on their faces, their general appearance of suffering. Envy was already at work; there was the gentleman who makes himself witty with the ladies; the one who, without a word, looks, gives a terrible shrug of the shoulders, and then goes off; and there were the two who remain for a quarter of an hour leaning over the handrail, with their noses close to a little canvas, whispering very low and exchanging the knowing glances of conspirators.

But Fagerolles had just appeared, and amid the continuous ebb and flow of the groups there seemed to be no one left but him. With his hand outstretched, he seemed to show himself everywhere at the same time, lavishly exerting himself to play the double part of a young ‘master’ and an influential member of the hanging committee. Overwhelmed with praise, thanks, and complaints, he had an answer ready for everybody without losing aught of his affability. Since early morning he had been resisting the assault of the petty painters of his set who found their pictures badly hung. It was the usual scamper of the first moment, everybody looking for everybody else, rushing to see one another and bursting into recriminations--noisy, interminable fury. Either the picture was too high up, or the light did not fall upon it properly, or the paintings near it destroyed its effect; in fact, some talked of unhooking their works and carrying them off. One tall thin fellow was especially tenacious, going from gallery to gallery in pursuit of Fagerolles, who vainly explained that he was innocent in the matter and could do nothing. Numerical order was followed, the pictures for each wall were deposited on the floor below and then hung up without anybody being favoured. He carried his obligingness so far as to promise his intervention when the galleries were rearranged after the medals had been awarded; but even then he did not manage to calm the tall thin fellow, who still continued pursuing him.

Claude for a moment elbowed his way through the crowd to go and ask Fagerolles where his picture had been hung. But on seeing his friend so surrounded, pride restrained him. Was there not something absurd and painful about this constant need of another’s help? Besides, he suddenly reflected that he must have skipped a whole suite of galleries on the right-hand side; and, indeed, there were fresh leagues of painting there. He ended by reaching a gallery where a stifling crowd was massed in front of a large picture which filled the central panel of honour. At first he could not see it, there was such a surging sea of shoulders, such a thick wall of heads, such a rampart of hats. People rushed forward with gaping admiration. At length, however, by dint of rising on tiptoe, he perceived the marvel, and recognised the subject, by what had been told him.

It was Fagerolles’ picture. And in that ‘Picnic’ he found his own forgotten work, ‘In the Open Air,’ the same light key of colour, the same artistic formula, but softened, trickishly rendered, spoilt by skin-deep elegance, everything being ‘arranged’ with infinite skill to satisfy the low ideal of the public. Fagerolles had not made the mistake of stripping his three women; but, clad in the audacious toilets of women of society, they showed no little of their persons. As for the two gallant gentlemen in summer jackets beside them, they realised the ideal of everything most _distingué_; while afar off a footman was pulling a hamper off the box of a landau drawn up behind the trees. The whole of it, the figures, the drapery, the bits of still life of the repast, stood out gaily in full sunlight against the darkened foliage of the background; and the supreme skill of the painter lay in his pretended audacity, in a mendacious semblance of forcible treatment which just sufficed to send the multitude into ecstasies. It was like a storm in a cream-jug!

Claude, being unable to approach, listened to the remarks around him. At last there was a man who depicted real truth! He did not press his points like those fools of the new school; he knew how to convey everything without showing anything. Ah! the art of knowing where to draw the line, the art of letting things be guessed, the respect due to the public, the approval of good society! And withal such delicacy, such charm and art! He did not unseasonably deliver himself of passionate things of exuberant design; no, when he had taken three notes from nature, he gave those three notes, nothing more. A newspaper man who arrived went into raptures over the ‘Picnic,’ and coined the expression ‘a very Parisian style of painting.’ It was repeated, and people no longer passed without declaring that the picture was ‘very Parisian’ indeed.