Little French Masterpieces

II
CATHERINE LESCAULT

Three months after the meeting of Poussin and Porbus, the latter went to see Master Frenhofer. The old man was then in the depths of one of those periods of profound and sudden discouragement, the cause of which, if we are to believe the mathematicians of medicine, consists in bad digestion, the wind, the heat, or some disturbance in the hypochondriac region; and, according to the spiritualists, in the imperfection of our moral nature. The good man had simply tired himself out in finishing his mysterious picture. He was languidly reclining in an enormous chair of carved oak, upholstered in black leather; and without changing his depressed attitude, he darted at Porbus the glance of a man who had determined to make the best of his ennui.

"Well, master," said Porbus, "was the ultramarine, that you went to Bruges for, very bad? Haven't you been able to grind our new white? Is your oil poor, or are your brushes unmanageable?"

"Alas!" cried the old man, "I thought for a moment that my work was finished; but I certainly have gone astray in some details, and my mind will not be at rest until I have solved my doubts. I have almost decided to travel, to go to Turkey, to Greece, and to Asia, in search of a model, and to compare my picture with nature in different climes. It may be that I have up-stairs," he continued with a smile of satisfaction, "Nature herself. Sometimes I am almost afraid that a breath will awaken that woman and that she will disappear."

Then he rose abruptly, as if to go.

"Ah!" replied Porbus; "I have come just in time to save you the expense and the fatigue of the journey."

"How so?" asked Frenhofer in amazement.

"Young Poussin is loved by a woman whose incomparable beauty is absolutely without a flaw. But, my dear master, if he consents to lend her to you, you must at least let us see your picture."

The old man stood, perfectly motionless, in a state of utter stupefaction.

"What!" he cried at last, in a heartrending voice, "show my creation, my spouse? Tear away the veil with which I have modestly covered my happiness? Why, that would be the most shocking prostitution! For ten years I have lived with that woman; she is mine, mine alone, she loves me. Does she not smile at every stroke of the brush which I give her? She has a soul, the soul with which I have endowed her. She would blush if other eyes than mine should rest upon her. Show her! Where is the husband, the lover, base enough to lend his wife to dishonour? When you paint a picture for the court, you do not put your whole soul into it, you sell to the courtiers nothing more than coloured mannikins. My painting is not a painting; it is a sentiment, a passion! Born in my studio, it must remain there unsullied, and can not come forth until it is clothed. Poesy and women never abandon themselves naked to any but their lovers! Do we possess Raphael's model, Ariosto's Angelica, or Dante's Beatrice? No! We see only their shapes. Very well; the work which I have up-stairs under lock and key is an exception in our art. It is not a canvas, it is a woman; a woman with whom I weep, and laugh, and talk, and think. Do you expect me suddenly to lay aside a joy that has lasted ten years, as one lays aside a cloak? Do you expect me suddenly to cease to be father, lover, and God? That woman is not a creature, she is a creation. Let your young man come – I will give him my wealth; I will give him pictures by Correggio, Michelangelo, or Titian; I will kiss his footprints in the dust; but make him my rival? Shame! Ah! I am even more lover than painter. Yes, I shall have the strength to burn my Belle Noiseuse when I breathe my last; but to force her to endure the glance of a man, of a young man, of a painter? No, no! I would kill to-morrow the man who should sully her with a look! I would kill you on the instant, my friend, if you did not salute her on your knees! Do you expect me now to subject my idol to the insensible glances and absurd criticisms of fools? Ah! love is a mystery, it lives only in the deepest recesses of the heart, and all is lost when a man says, even to his friend: 'This is she whom I love!'"

The old man seemed to have become young again; his eyes gleamed with life; his pale cheeks flushed a bright red, and his hands shook. Porbus, surprised by the passionate force with which the words were spoken, did not know what reply to make to an emotion no less novel than profound. Was Frenhofer sane or mad? Was he under the spell of an artistic caprice, or did the ideas which he had expressed proceed from that strange fanaticism produced in us by the long gestation of a great work? Could one hope ever to come to an understanding with that extraordinary passion?

Engrossed by all these thoughts, Porbus said to the old man:

"But is it not woman for woman? Will not Poussin abandon his mistress to your eyes?"

"What mistress?" rejoined Frenhofer. "She will betray him sooner or later. Mine will always be faithful to me!"

"Very well!" said Porbus, "let us say no more about it. But, perhaps, before you find, even in Asia, a woman so lovely, so perfect as is she of whom I speak, you will die without finishing your picture."

"Ah! it is finished," said Frenhofer. "Whoever should see it would think that he was looking at a woman lying upon a velvet couch, behind a curtain. Beside her is a golden tripod containing perfumes. You would be tempted to seize the tassel of the cords which hold the curtain, and you would fancy that you saw the bosom of Catherine Lescault, a beautiful courtesan called La Belle Noiseuse, rise and fall with the movement of her breath. However, I should like to be certain – "

"Oh! go to Asia," Porbus replied, as he detected a sort of hesitation in Frenhofer's expression.

And Porbus walked towards the door of the room.

At that moment Gillette and Nicolas Poussin arrived at Frenhofer's house. When the girl was about to enter, she stepped back, as if she were oppressed by some sudden presentiment.

"Why have I come here, pray?" she asked her lover in a deep voice, gazing at him steadfastly.

"Gillette, I left you entirely at liberty, and I mean to obey you in everything. You are my conscience and my renown. Go back to the house; I shall be happier perhaps than if you – "

"Do I belong to myself when you speak to me thus? Oh no! I am nothing more than a child. Come," she added, apparently making a mighty effort; "if our love dies, and if I plant in my heart a never-ending regret, will not your fame be the reward of my compliance with your wishes? Let us go in; it will be like living again to be always present as a memory on your palette."

As they opened the door of the house, the two lovers met Porbus, who, startled by the beauty of Gillette, whose eyes were then filled with tears, seized her, trembling from head to foot as she was, and said, leading her into the old man's presence:

"Look! is she not above all the masterpieces on earth?"

Frenhofer started. Gillette stood there in the ingenuous and unaffected attitude of a young Georgian girl, innocent and timid, abducted by brigands and offered for sale to a slave-merchant. A modest flush tinged her cheeks, she lowered her eyes, her hands were hanging at her side, her strength seemed to abandon her, and tears protested against the violence done to her modesty. At that moment Poussin, distressed beyond words because he had taken that lovely pearl from his garret, cursed himself. He became more lover than artist, and innumerable scruples tortured his heart when he saw the old man's kindling eye, as, in accordance with the habit of painters, he mentally disrobed the girl, so to speak, divining her most secret forms. Thereupon the young man reverted to the savage jealousy of true love.

"Let us go, Gillette," he cried.

At that tone, at that outcry, his mistress looked up at him in rapture, saw his face and ran into his arms.

"Ah! you do love me then?" she replied, melting into tears.

Although she had mustered energy to impose silence upon her suffering, she lacked strength to conceal her joy.

"Oh! leave her with me for a moment," said the old painter, "and you may compare her to my Catherine. Yes, I consent."

There was love in Frenhofer's cry, too. He seemed to be acting the part of a coquette for his counterfeit woman, and to enjoy in advance the triumph which the beauty of his creation would certainly win over that of a girl of flesh and blood.

"Do not let him retract!" cried Porbus, bringing his hand down on Poussin's shoulder. "The fruits of love soon pass away, those of art are immortal."

"In his eyes," retorted Gillette, looking earnestly at Poussin and Porbus, "in his eyes am I nothing more than a woman?"

She tossed her head proudly; but when, after a flashing glance at Frenhofer, she saw her lover gazing at the portrait which he had formerly mistaken for a Giorgione, she said:

"Ah! let us go up! He never looked at me like that."

"Old man," said Poussin, roused from his meditation by Gillette's voice, "look at this sword: I will bury it in your heart at the first word of complaint that this girl utters; I will set fire to your house and no one shall leave it! Do you understand?"

Nicolas Poussin's face was dark, and his voice was terrible. The young painter's attitude, and above all his gesture, comforted Gillette, who almost forgave him for sacrificing her to painting and to his glorious future. Porbus and Poussin remained at the door of the studio, looking at each other in silence. Although, at first, the painter of Mary the Egyptian indulged in an exclamation or two: "Ah! she is undressing; he is telling her to stand in the light; now he is comparing her with the other!" he soon held his peace at the aspect of Poussin, whose face was profoundly wretched; and although the old painters had none of those scruples which seem so trivial in the presence of art, he admired them, they were so attractive and so innocent. The young man had his hand on the hilt of his dagger and his ear almost glued to the door. The two men, standing thus in the darkness, resembled two conspirators awaiting the moment to strike down a tyrant.

"Come in, come in," cried the old man, radiant with joy. "My work is perfect, and now I can show it with pride. Never will painter, brushes, colours, canvas, and light produce a rival to Catherine Lescault, the beautiful courtesan!"

Impelled by the most intense curiosity, Porbus and Poussin hurried to the centre of an enormous studio covered with dust, where everything was in disorder, and where they saw pictures hanging on the walls here and there. They paused at first in front of a life-size figure of a woman, half nude, which aroused their admiration.

"Oh, don't pay any attention to that," said Frenhofer; "that is a sketch that I dashed off to study a pose; it is worth nothing as a picture. There are some of my mistakes," he continued, pointing to a number of fascinating compositions hanging on the walls about them.

At those words, Porbus and Poussin, thunderstruck by his contempt for such works, looked about for the famous portrait, but could not discover it.

"Well, there it is!" said the old man, whose hair was dishevelled, whose face was inflamed by superhuman excitement, whose eyes sparkled, and who panted like a young man drunk with love. "Aha!" he cried, "you did not expect such absolute perfection! You are before a woman, and you are looking for a picture. There is so much depth on this canvas, the air is so real, that you cannot distinguish it from the air that surrounds us. Where is art? Lost, vanished! Behold the actual form of a young girl. Have I not obtained to perfection the colour, the sharpness of the line which seems to bound the body? Is it not the same phenomenon presented by objects in the atmosphere, as well as by fishes in the water? Observe how the outlines stand out from the background! Does it not seem to you that you could pass your hand over that back? Why, for seven years I studied the effects of the conjunction of light and of objects. And that hair, does not the light fairly inundate it? Why, she actually breathed, I believe! – Look at that bosom! Ah! who would not adore her on his knees? The flesh quivers. She is going to rise – wait!"

"Can you see anything?" Poussin asked Porbus.

"No. And you?"

"Nothing."

The two painters left the old man to his dreams, and looked to see whether the light, falling straight upon the canvas to which he was pointing, did not efface all the lines. They examined the picture from the right, from the left, and in front, alternately stooping and rising.

"Yes, yes, it's really canvas," said Frenhofer, mistaking the purpose of that careful scrutiny. "See, here is the frame and the easel, and here are my colours and my brushes."

And he seized a brush and handed it to them with an artless gesture.

"The old villain is making sport of us," said Poussin, returning to his position in front of the alleged picture. "I can see nothing but a confused mass of colours, surrounded by a multitude of curious lines which form a wall of painting."

"We were mistaken; look!" replied Porbus.

On going nearer, they saw in the corner of the canvas the end of a bare foot emerging from that chaos of vague colours and shades, that sort of shapeless mist; but a most lovely, a living foot! They stood speechless with admiration before that fragment, which had escaped a slow, relentless, incomprehensible destruction. That foot was like a bust of Venus in Parian marble, rising amid the ruins of a burned city.

"There is a woman underneath!" cried Porbus, calling Poussin's attention to the coats of paint which the old painter had laid on one after another, thinking that he was perfecting his work.

The two artists turned impulsively towards Frenhofer, beginning to understand, although but vaguely, the state of ecstasy in which he lived.

"He acts in perfect good faith," said Porbus.

"Yes, my friend," said the old man, rousing himself, "one must have faith, faith in art, and must live a long while with his work, to produce such a creation. Some of those shadows have cost me many hours of toil. See, on the cheek, just below the eye, there is a faint penumbra, which, if you notice it in nature, will seem to you almost beyond reproduction. Well, do you think that that effect did not cost me unheard-of trouble? But look closely at my work, my dear Porbus, and you will understand better what I said to you as to the method of treating modelling and outlines. Look at the light on the breast, and see how, by a succession of strongly emphasised touches and retouches, I have succeeded in reproducing the real light, and in combining it with the polished whiteness of the light tones; and how by the opposite means, by effacing the lumps and the roughness of the colours, I have been able, by softly retouching the outline of my figure, drowned in the half-tint, to take away even a suggestion of drawing and of artificial means, and to give it the aspect and the roundness of nature itself. Go nearer, and you will see the work better. At a distance it is imperceptible. Look, just here it is very remarkable, I think."

And with the end of his brush he pointed out to the two painters a layer of light paint.

Porbus laid his hand on the old man's shoulder and said, turning to Poussin:

"Do you know that we have before us a very great painter?"

"He is even more poet than painter," replied Poussin, gravely.

"Here," rejoined Porbus, pointing to the canvas, "here ends our art on earth."

"And from here it soars upwards and disappears in the skies," said Poussin.

"How much pleasure is concentrated on this piece of canvas!" cried Porbus.

The old man, completely distraught, did not listen to them; he was smiling at that ideal woman.

"But sooner or later he will discover that there is nothing on his canvas!" exclaimed Poussin.

"Nothing on my canvas!" cried Frenhofer, gazing at the two painters and at his alleged picture in turn.

"What have you done?" whispered Porbus to Poussin.

The old man grasped the young man's arm violently, and said to him:

"You see nothing, you clown! you boor! you idiot! you villain! Then why did you come up here? – My dear Porbus," he continued, turning towards the painter; "is it possible that you too would mock at me? I am your friend; tell me, have I spoiled my picture?"

Porbus hesitated, not daring to say anything; but the anxiety depicted on the old man's pale face was so heartrending that he pointed to the canvas, saying:

"Look!"

Frenhofer gazed at his picture for a moment, and staggered.

"Nothing! nothing! and after working ten years!"

He sat down and wept.

"So I am an idiot, a madman! I have neither talent nor capacity! I am nothing more than a rich man, who, when I walk, do nothing but walk! So I have produced nothing!"

He gazed at his canvas through his tears; suddenly he rose with a gesture of pride and cast a flashing glance at the two painters.

"By the blood, by the body, by the head of the Christ! you are jealous hounds who wish to make me believe that it is spoiled, in order to steal it from me! But I can see her!" he cried, "and she is wonderfully lovely!"

At that moment, Poussin heard Gillette crying in a corner where she was cowering, entirely forgotten.

"What is the matter, my angel?" asked the painter, suddenly become the lover once more.

"Kill me!" she said. "I should be a shameless creature to love you still, for I despise you. I admire you and I have a horror of you! I love you, and I believe that I hate you already."

While Poussin listened to Gillette. Frenhofer covered his Catherine with a green curtain, with the calm gravity of a jeweller closing his drawers when he thinks that he is in the company of clever thieves. He bestowed upon the two painters a profoundly cunning glance, full of contempt and suspicion, and silently ushered them out of his studio, with convulsive haste; then standing in his doorway, he said to them:

"Adieu, my little friends."

That "adieu" horrified the two painters. The next day Porbus, in his anxiety, went again to see Frenhofer, and learned that he had died in the night, after burning all his pictures.

1831.

A Seashore Drama

To

MADAME LA PRINCESSE CAROLINE GALITZIN DE

GENTHOD, NÉE COMTESSE WALEWSKA:

The author's homage and remembrances.

Young men almost always have a pair of compasses with which they delight to measure the future; when their will is in accord with the size of the angle which they make, the world is theirs. But this phenomenon of moral life takes place only at a certain age. That age, which in the case of all men comes between the years of twenty-two and twenty-eight, is the age of noble thoughts, the age of first conceptions, because it is the age of unbounded desires, the age at which one doubts nothing; he who talks of doubt speaks of impotence. After that age, which passes as quickly as the season for sowing, comes the age of execution. There are in a certain sense two youths: one during which one thinks, the other during which one acts; often they are blended, in men whom nature has favoured, and who, like Caesar, Newton, and Bonaparte, are the greatest among great men.

I was reckoning how much time a thought needs to develop itself; and, compasses in hand, standing on a cliff a hundred fathoms above the ocean, whose waves played among the reefs, I laid out my future, furnishing it with works, as an engineer draws fortresses and palaces upon vacant land. The sea was lovely; I had just dressed after bathing; I was waiting for Pauline, my guardian angel, who was bathing in a granite bowl full of white sand, the daintiest bath-tub that Nature ever designed for any of her sea-fairies. We were at the extreme point of Le Croisic, a tiny peninsula of Brittany; we were far from the harbour, in a spot which the authorities considered so inaccessible that the customs-officers almost never visited it. To swim in the air after swimming in the sea! Ah! who would not have swum into the future? Why did I think? Why does evil happen? Who knows? Ideas come to your heart, or your brain, without consulting you. No courtesan was ever more whimsical or more imperious than is conception in an artist; it must be caught, like fortune, by the hair, when it comes. Clinging to my thought, as Astolphe clung to his hippogriff, I galloped through the world, arranging everything therein to suit my pleasure.

When I looked about me in search of some omen favourable to the audacious schemes which my wild imagination advised me to undertake, a sweet cry, the cry of a woman calling in the silence of the desert, the cry of a woman coming from the bath, refreshed and joyous, drowned the murmur of the fringe of foam tossed constantly back and forth by the rising and falling of the waves in the indentations of the shore. When I heard that note, uttered by the soul, I fancied that I had seen on the cliff the foot of an angel, who, as she unfolded her wings, had called to me: "Thou shalt have success!" I descended, radiant with joy and light as air; I went bounding down, like a stone down a steep slope. When she saw me, she said to me: "What is the matter?" I did not answer, but my eyes became moist. The day before, Pauline had understood my pain, as she understood at that moment my joy, with the magical sensitiveness of a harp which follows the variations of the atmosphere. The life of man has some glorious moments! We walked silently along the shore. The sky was cloudless, the sea without a ripple; others would have seen only two blue plains, one above the other; but we who understood each other without need of speech, we who could discover between those two swaddling-cloths of infinity the illusions with which youth is nourished, we pressed each other's hand at the slightest change which took place either in the sheet of water or in the expanse of air; for we took those trivial phenomena for material interpretations of our twofold thought.

Who has not enjoyed that unbounded bliss in pleasure, when the soul seems to be released from the bonds of the flesh, and to be restored as it were to the world whence it came? Pleasure is not our only guide in those regions. Are there not times when the sentiments embrace each other as of their own motion, and fly thither, like two children who take each other's hands and begin to run without knowing why or whither? We walked along thus.

At the moment that the roofs of the town appeared on the horizon, forming a grayish line, we met a poor fisherman who was returning to Le Croisic. His feet were bare, his canvas trousers were ragged on the edges, with many holes imperfectly mended; he wore a shirt of sail-cloth, wretched list suspenders, and his jacket was a mere rag. The sight of that misery distressed us – a discord, as it were, in the midst of our harmony. We looked at each other, to lament that we had not at that moment the power to draw upon the treasury of Aboul-Cacem. We saw a magnificent lobster and a crab hanging by a cord which the fisherman carried in his right hand, while in the other he had his nets and his fishing apparatus. We accosted him, with the purpose of buying his fish, an idea which occurred to both of us, and which expressed itself in a smile, to which I replied by slightly pressing the arm which I held and drawing it closer to my heart. It was one of those nothings which the memory afterward transforms into a poem, when, sitting by the fire, we recall the time when that nothing moved us, the place where it happened, and that mirage, the effects of which have never been defined, but which often exerts an influence upon the objects which surround us, when life is pleasant and our hearts are full.

The loveliest places are simply what we make them. Who is the man, however little of a poet he may be, who has not in his memory a bowlder that occupies more space than the most famous landscape visited at great expense? Beside that bowlder what tempestuous thoughts! there, a whole life mapped out; here, fears banished; there, rays of hope entered the heart. At that moment, the sun, sympathising with these thoughts of love and of the future, cast upon the yellowish sides of that cliff an ardent beam; some mountain wild-flowers attracted the attention; the tranquillity and silence magnified that uneven surface, in reality dark of hue, but made brilliant by the dreamer; then it was beautiful, with its meagre vegetation, its warm-hued camomile, its Venus's hair, with the velvety leaves. A prolonged festivity, superb decorations, placid exaltation of human strength! Once before, the Lake of Bienne, seen from Île St. – Pierre, had spoken to me thus; perhaps the cliff of Le Croisic would be the last of those delights. But, in that case, what would become of Pauline?

"You have had fine luck this morning, my good man," I said to the fisherman.

"Yes, monsieur," he replied, stopping to turn towards us the tanned face of those who remain for hours at a time exposed to the reflection of the sun on the water.

That face indicated endless resignation; the patience of the fisherman, and his gentle manners. That man had a voice without trace of harshness, kindly lips, no ambition; an indefinably frail and sickly appearance. Any other type of face would have displeased us.

"Where are you going to sell your fish?"

"At the town."

"How much will you get for the lobster?"

"Fifteen sous."

"And for the crab?"

"Twenty sous."

"Why so much difference between the lobster and the crab?"

"The crab is much more delicate, monsieur; and then it's as cunning as a monkey, and don't often allow itself to be caught."

"Will you let us have both for a hundred sous?" said Pauline.

The man was thunderstruck.

"You sha'n't have them!" I said laughingly; "I will give ten francs. We must pay for emotions all that they are worth."

"Very well," she replied, "I propose to have them; I will give ten francs two sous."

"Ten sous."

"Twelve francs."

"Fifteen francs."

"Fifteen francs fifty," she said.

"One hundred francs."

"One hundred and fifty."

I bowed. At that moment we were not rich enough to carry the bidding any farther. The poor fisherman did not know whether he ought to be angry as at a practical joke, or to exult; we relieved him from his dilemma by giving him the name of our landlady and telling him to take the lobster and the crab to her house.

"Do you earn a living?" I asked him, in order to ascertain to what cause his destitution should be attributed.

"With much difficulty and many hardships," he replied. "Fishing on the seashore, when you have neither boat nor nets, and can fish only with a line, is a risky trade. You see you have to wait for the fish or the shell-fish to come, while the fishermen with boats can go out to sea after them. It is so hard to earn a living this way, that I am the only man who fishes on the shore. I pass whole days without catching anything. The only way I get anything is when a crab forgets himself and goes to sleep, as this one did, or a lobster is fool enough to stay on the rocks. Sometimes, after a high sea, the wolf-fish come in, and then I grab them."

"Well, take one day with another, what do you earn?"

"Eleven or twelve sous. I could get along with that if I were alone; but I have my father to support, and the poor man can't help me, for he's blind."

At that sentence, uttered with perfect simplicity, Pauline and I looked at each other without a word.

"You have a wife or a sweetheart?"

He cast at us one of the most pitiful glances that I ever saw, as he replied:

"If I had a wife, then I should have to let my father go; I couldn't support him, and a wife and children too."

"Well, my poor fellow, how is it that you don't try to earn more by carrying salt to the harbour, or by working in the salt marshes?"

"Oh? I couldn't do that for three months, monsieur. I am not strong enough; and if I should die, my father would have to beg. What I must have is a trade that requires very little skill and a great deal of patience."

"But how can two people live on twelve sous a day?"

"Oh, monsieur, we eat buckwheat cakes, and barnacles that I take off the rocks."

"How old are you?"

"Thirty-seven."

"Have you ever been away from here?"

"I went to Guérande once, to draw my lot in the draft, and I went to Savenay, to show myself to some gentlemen who measured me. If I had been an inch taller I should have been drafted. I should have died on the first long march, and my poor father would have been asking alms to-day."

I had thought out many dramas; Pauline was accustomed to intense emotions, living with a man in my condition of health; but neither of us had ever listened to more touching words than those of that fisherman. We walked some distance in silence, both of us measuring the silent depths of that unknown life, admiring the nobility of that self-sacrifice which was unconscious of itself; the strength of his weakness surprised us; that unconscious generosity made us small in our own eyes. I saw that poor creature, all instinct, chained to that rock as a galley-slave is chained to his ball, watching for twenty years for shell-fish to support himself, and sustained in his patience by a single sentiment. How many hours passed on the edge of that beach! how many hopes crushed by a squall, by a change of weather! He hung over the edge of a granite shelf, his arms stretched out like those of an Indian fakir, while his father, sitting on a stool, waited in silence and darkness for him to bring him the coarsest of shell-fish and of bread, if the sea were willing.

"Do you ever drink wine?" I asked him.

"Three or four times a year."

"Well, you shall drink some to-day, you and your father, and we will send you a white loaf."

"You are very kind, monsieur."

"We will give you your dinner, if you will guide us along the shore as far as Batz, where we are going, to see the tower which overlooks the basin and the coast between Batz and Le Croisic."

"With pleasure," he said. "Go straight ahead, follow the road you are now on; I will overtake you after I have got rid of my fish and my tackle."