Chapter III: The Desert (7)

Those who are curious to know whether José justified the hopes inspired by his childhood, may have their curiosity gratified by a perusal of the Second Part of his history.

SEQUEL TO THE HISTORY OF POOR JOSÉ.

How tranquil and pleasant is the life of the artist! He possesses an advantage which is denied even to the fortunate of this world,--an occupation always affording amusement and variety, together with an almost total indifference to everything which does not bear directly upon painting. The artist sees that all is quiet in the town in which he lives; this is enough for him: scarcely does he know the names of the ministers in office, and he is the last to learn what is going on around. Occupied the whole day with his art, his studio is his universe; and at night, in the midst of a re-union of friends, artists like himself, he still dwells upon his favourite idea, which is never absent from his mind, while he gains instruction, or is inspired with increased ardour by the conversation of his colleagues or rivals. These re-unions are gay, and abound in wit, as well as in mischief. Not a few of those caricatures which attract the loungers of the Boulevards and the Rue du Coq, have been sketched by a skilful hand during these moments of recreation. A few amiable women, authors, distinguished musicians, and poets, make a part of these seductive meetings: each one amuses himself according to his fancy; and if the mirth is sometimes a little noisy, and the wit a little too free, wit and mirth are at least always to be found in them.

But if the artist is happy, the student is even more so. The former, being no longer at an age in which he can advance much, is keenly alive to his own deficiencies, and, if it must be owned, often looks with a jealous eye on the success of his brother artists; while to the other, on the contrary the horizon of his hopes is unbounded, and emulation but a healthy stimulant, which does not degenerate into envy. The student tries to excel his companions, but he loves them all; he encourages the less skilful, frankly admires those who are superior to himself, and, while pursuing his laborious occupations, seldom fails to lay the foundation of one of those honourable and lasting friendships which embellish the remainder of his life. Little favoured by fortune, as a general rule, these young men endure privations with cheerfulness, or rather their simple habits prevent them from feeling them as such. The whole of their time and powers, being constantly directed towards the one object in view, there is no space left for the minor passions, which so often disturb the mind of youth. The pleasures of the toilet are unknown to him who spends his days in the studio, and public amusements are too expensive to be thought of more than once or twice a year.

Francisco and José, re-united as we have already said in the studio of a celebrated painter, led a life in every way consonant to their tastes; but José especially felt the happiness of a condition, to which he had never thought it possible to attain. He was no longer the hapless child, rescued from the street by the benevolence of a kind-hearted woman, but a fine young man, the honour and hope of Monsieur G----'s studio, and, what was still better, a good young man, always simple and modest, almost ashamed of being distinguished, and redoubling his attentions towards his first protectors, in proportion as his success rendered them less necessary to him. The excellent Gabri devoted a portion of the sum which had been destined for his instruction to the hire of a room in the house in which Dame Robert lived, where José could work without much inconvenience. He rose very early, and commenced the labours of the day by making pictures of everything that presented itself to his imagination, or copied drawings lent to him by his master. After a hasty breakfast, he repaired to the studio, worked until five o'clock, when, accompanied by Francisco, and conversing together on their projects and hopes, he quietly returned home. M. Enguehard often invited him to dinner, and took great pleasure in extending his knowledge in such a manner as might be useful to him. Thanks to the kind instruction of Madame Enguehard, and to his own natural abilities, he soon learned to read and write; while M. Enguehard especially endeavoured to make him acquainted with history and fable,--acquirements indispensable to a painter, who, in fact, ought not, if it were possible, to remain in ignorance of any branch of knowledge. Everything can and ought to tend to his advancement in art: travel, reading, science, the habits of different classes of society, solitude, happiness, and misery, all are useful and profitable to him who seeks to represent, with the utmost possible truth, the acts and passions of man.

Francisco and José had not yet reached what might be called the moral portion of their studies; but José could form some idea of it, and began to make, beforehand, his provisions for the future. During the winter evenings, the two friends used to draw by lamplight, from seven till ten, according to the custom of almost all the students. Each pay a trifling sum monthly for the hire of the room, the models, and the lights. The students of the various academies assemble together, and their masters often take pleasure in passing an hour with them, and aiding them with their counsel.

It may, perhaps, be thought that such constant occupation must be very fatiguing, but there are so many attractions, and so much novelty, in the study of art, that weariness is seldom felt, especially in the full vigour of youth; and those who have experienced it, can say whether a week in the life of a man of the world does not leave behind it more lassitude, more weariness, and more void, than one such as I have just described. Besides, all is not labour in these pursuits: they rest, they chat; ideas are exchanged and corrected; the rich are generous towards the poor, and never refuse to share with them their experience. The character even is improved in these studious reunions--images in miniature of the great world into which they will have, at a later period, to be thrown; it is no longer the rod and the rule of college, but it is still the salutary influence of companionship; it is emulation, and a something of the honours of renown, without that alloy which so often spoils it for man. But woe to the sullen and morose! woe to those who cherish absurd or bad propensities! for justice is speedily rendered either by bitter sarcasm or by force. There, as elsewhere, the most distinguished take the lead, and it can easily be understood that studies, whose aim in general is to trace the good and the beautiful, may tend to elevate the mind, and strengthen every generous sentiment of the heart.

José enjoyed, with intense delight, the idea of being something of himself, of seeing before him the almost certain prospect of an honourable subsistence, acquired by a great talent. He may one day, perhaps, be rich; the name of Berr may one day be uttered with respect, and his pictures placed with care in the cabinets of the most fastidious lovers of art; but I may confidently assert, in advance, that nothing will be so dear to him, that nothing will efface from his memory the remembrance of the time, when, on the Monday, accompanied by Francisco, each went to purchase his sheet of tinted paper, or when, before retiring to rest, once more turning his canvass to take another look at the morning's work, he ventured to hope for all that he might then possess.

Profoundly impressed with the obligations which he was under to Dame Robert and to Gabri, he made it a law to himself never to lose a single day during the whole four years of his pupilage. Always the first at the studio, he never left before the time of the lessons, as is sometimes done by those idlers who, having gossiped or wasted in play the whole of the morning, hide themselves at the arrival of the master, who supposes them absent. Still, José was not always in an equally favourable disposition; the games and boyish tricks of his companions possessed some attraction for him; but he rarely yielded to the temptation, and did all he could to prevent his too volatile friend Francisco from doing so. "What matters," said the latter, "losing a few hours? We have time enough!" and Francisco wasted his time without scruple. Nevertheless, his natural ability, and a few weeks' steadiness, always kept him pretty nearly in the second rank among his companions.

At the expiration of a year, José began to paint sufficiently well from nature to attempt some portraits; and he eagerly availed himself of this means of being less burdensome to his friend Gabri. At his express desire, Dame Robert persuaded one of her relations _to have her face drawn in colours_; at the same time assuring her, that her boy _was well skilled in his business_. José would certainly have been sadly distressed could he have heard her thus torture the language of art; but, happily, he was not present, and the good woman, with two or three phrases of this kind, persuaded her cousin, who merely stipulated that she should be painted with two eyes, and with her lace cap and coral ear-rings. This portrait was to be finished for her husband's birthday. José therefore left the studio a little earlier every day; and, as the likeness was very striking, and had but little shade, while the eyes looked full at the spectator, and the coral ear-rings seemed _as if they could be taken in the fingers_, the work was universally applauded. The young painter received innumerable compliments, twelve francs, and several commissions, which, although paid for below their value, so much increased his little store, that he had the satisfaction of being able, at the end of a year, to reimburse Gabri for the hire of his room, and Dame Robert for the trifling expense of his board. The greater his advancement, the more profitable did his talents become; and he at length followed the example of many other students of slender means, who, having the good sense not to be ashamed of employing their talents in sign-painting, adorn the shops of Paris with what might almost be called handsome pictures.

All Monsieur G----'s instructions were attentively listened to by José, who sometimes even wrote down the most remarkable passages before he went to bed. One phrase especially struck him as being the true definition of an artist. "Three things," said this clever master to his pupils, "are requisite for him who devotes his life to the fine arts,--genius to conceive, taste to select, and talent to execute." These conditions are equally applicable to the musician and to the poet; but who can flatter himself with being possessed at once of all these three qualifications? José dare not cherish such a hope; he dare not believe that he had genius; but taste and talent might be acquired, he thought; and, as our sage little friend was still but just emerged from childhood, he wrote in large letters, upon his table and upon his easel, the words which thus became to him a fundamental law of painting.

The excellent Gabri experienced the most heartfelt joy at the success of his _protégé_; he frequently visited him when at work in his room, and, for fear of disturbing him, would remain in perfect silence behind his chair, and then, after embracing him, he would go down to listen to Dame Robert's chat. As we have already observed, Gabri was no talker; their intercourse, therefore, was rather a monologue than a dialogue; but he was never weary of listening, so long as José was the theme; but when Dame Robert went on to any other subject, "Good evening, neighbour," he would say; "Madame Barbe is expecting me, and you know she is not one to make light of things."

One morning, at the class, Monsieur G---- said to his pupils, "Gentlemen, you will to-morrow have a new companion. I recommend him to your kindness. Not too many experiments or jokes, if you please. He is very young, and, doubtless, but little experienced in your ways; be, therefore, good boys. He is sent to me by the city of Angers. Berr, my friend, you will place him by you; and I beg that you, Enguehard, will not show off the Parisian too much." Francisco smiled, without replying; but Monsieur G----'s speech produced the ordinary effect, and which he very well knew himself. The desire of tormenting the new comer immediately seized all these young madcaps, and Francisco in particular. "Oh!" said he, "a pupil from the provinces! how odd that we have had none before. And they think I shall not amuse myself with this young Raphael from Angers! Stuff! our master very well knows the value of his recommendations in this line." And Francisco, encouraged by the laughter of his auditors, began to make a grotesque sketch upon the wall which he assured them was an exact portrait of the Angevin.

"Angevin! Yes, that must be his name," said another young rogue, the usual companion of Francisco's follies; "you know how that exasperates them."

"Oh! as to that," replied Francisco, "we have all our nicknames: am I not the Madcap, and Berr the Phoenix? But listen! I'll tell you what we must do;" and hereupon these two giddy brains began whispering in a corner. José hazarded a few words in favour of the provincial; but he was only laughed at, and was at last obliged to end by joining in their mirth, though he determined, nevertheless, to exert his influence to the utmost at the proper time, in order to save the new pupil from too much annoyance.

Many of the provincial towns had then, and still have, academies of painting, destined for the artistic education of children in humble circumstances; and the pupil who displayed the greatest amount of talent was sent to Paris, to continue his studies under a better master than could generally be obtained in a small town, the expenses of those studies being defrayed by the establishment which elected him. The youth, from whom Francisco and his mischievous companions expected so much diversion, had been chosen by the professors of the Academy of Angers as the most promising of its pupils. This, however, was not saying much; and it did not unfrequently happen, that those who occupied the first rank in the Departmental Schools, were, on entering those of Paris, immediately placed in the lowest; still, however, fortunate that the principles inculcated by their professors were not those of the time of Jouvenet and Boucher. The young student had, unhappily, been directed by an old master--an admirer of that age of absurdity and bad taste. He made his pupils copy figures in red chalk, portraits in pastel, and showed them with pride his prize picture--for he, too, had been to Rome. But we may judge of the merits of his rivals, and of the advantage he derived from his journey, when we learn that this picture, regarded by him thirty years afterwards as his best production, represented Cleobis and Biton; and that the Grecian characters wore Roman armour, and draperies of gauze and silk. To crown his misfortune, the poor candidate, small, ill-made, and more than plainly attired, not so much in conformity with the fashions of his province as with the length of his purse, presented an appearance not altogether unlike the caricature sketched by Francisco upon the wall; and it may, therefore, be easily imagined, that these young satirists did not lose so favourable an opportunity of exercising their humour.

Scarcely had the young man entered, than he was received with noisy acclamations; and two of the pupils, eagerly pressing forward to receive him, overwhelmed him with ironical and _outré_ compliments.

"Sir!" they exclaimed, "your reputation has preceded you; the admiration of your native city was insufficient for such distinguished merit. You are about to receive the homage of Paris, while you have ours already...."

"The name of the Angevin is already celebrated," added another; "and it will be handed down to posterity like that of Josepin."

"But, gentlemen," said the unfortunate victim,--speaking as if all the A's and E's had circumflex accents over them, according to the agreeable custom of his province,--"Gentlemen, I am not called the Angevin. My father's, as well as my own name, is Valentin lâ Grimâudière."[3]

This name, and especially the tone in which it was pronounced, a kind of sing-song, difficult of imitation to those unacquainted with the fair province of Anjou, excited fresh bursts of laughter; and Francisco again taking the word, "You must be aware, Sir," he said, gravely, and at the same time endeavouring to imitate the accent of the stranger, "that the great painters are rarely known by their true names. Thus we speak of Dominichino and Guercino, instead of Dominico Zampieri, and Barbieri da Cento. Assuredly then it is not surprising that you should be called the Angevin."

"But, gentlemen," replied the simple youth, "you are indeed too good; I do not deserve...."

"You deserve our most profound respect, illustrious companion," interrupted Francisco. "Gentlemen, I present to you the glory of the Angevin Academy, the hero of Pasticcio,[4] the conqueror of Stipling, and the favourite of the Rococos.[5] And to you, noble Angevin, I present my especial friends, Landort, Galvaudeur (the Disturber), La Picoterie (the Torment), Rubens the Younger, and myself, Le Braque (the Madcap), your very humble servant. Now, my worthy friend, you know us perfectly, so away with ceremony; take your place, my Gringalet, and let us see what you can do. At the first rest, you shall be made to read, to write, and to sing, and, after the model, you shall pay your welcome."

The unfortunate Angevin, bewildered by this torrent of bad jokes, dared neither reply nor resist. He had arrived early, in the hope of finding his future companions less numerous; but his precaution had proved a failure. Francisco, and the merry participators in his follies, had divined his intention, and their diligence surpassed his own. The more sober pupils had not yet arrived; and José, detained by a portrait which he had to finish that morning, did not arrive until late, so that the innocent victim remained unprotected in the midst of his persecutors. Although he had announced himself as having painted, Monsieur G---- made him commence by drawing, in order to judge of his power.

"Sit there," said Francisco, pointing to an empty seat between two of his companions; "the call has been made, but that is the place of honour, the best for the light, and the one always chosen by the first on the master's list;" and he pushed the poor lad towards the place which his mischief had destined for him.

As studios in repute are usually well attended, and as space is not always in proportion to the number of the pupils, they are often much inconvenienced, and press round the model in three or four rows of different elevations. Those of the first row are seated upon low wooden benches; those of the second upon chairs; others again upon high stools; while, behind these, upon still higher stools, or standing, come those who paint, with scarcely room for themselves and their light easels. The place pointed out by Francisco to the unfortunate competitor, was upon one of the little benches, so that above him were seated two pupils who amused themselves by resting their drawing-boards upon his head, and obliged him to hold it bent down, in a position by no means convenient, especially for looking at the model, which was placed upon a table two or three feet high. Besides, the disagreeable person above him, pretending to be obliged to touch and retouch his work again and again, crumbled up large pieces of bread, which he afterwards shook over the work of the patient Angevin. More than one bullet of bread was aimed at his nose, too, and by such well-practised hands, that their occupation seemed in no way interrupted. Conversation, however, flowed on as usual, while the elder students, busied with their work, thought no more of the stranger. He, poor fellow, tormented, crushed, with heavy drops of perspiration standing on his brow, and not daring to utter a syllable, smudged his paper at random, while tears rolled down his cheeks when he thought of the opinion Monsieur G---- would form of his talents. Summoning up his courage, however, he at length ventured to address his right-hand neighbour, and said gently, "Would you be so kind as to lend me your penknife, Sir?" No reply. "Sir;" he resumed in a somewhat louder tone, and gently touching him, "if you have a penknife...." The young man looked at him with astonishment, and pointing to his ear, gave him to understand that he was deaf. The Angevin sighed, not wishing to speak louder, for fear of again becoming an object of ridicule, and turning towards his left-hand neighbour, he again said, "Oblige me with a penknife, Sir, if you please." The student raised his head, and replied gravely, "_Non intelligo, domine; non sum Gallus._" "But, Sir, it is a penknife I want," continued the Angevin, at the same time making a movement with his fingers, as if cutting a pencil. His mischievous companion pretended not to understand him, and affecting to believe that he was making game of him, he pretended to be angry, and gave him so rude a push that he almost fell from his by no means steady seat. His portfolio escaped from his hold, and all the drawings and papers contained in it flew into the middle of the room. The Angevin, in despair, crept as softly as possible to pick them up, but his persecutors were not yet weary of the sport. "Get away from the model! Silence!" exclaimed those of the last row, who were disturbed by this commotion. "To the hunt! dog! hunt!" cried the others. At length the poor boy succeeded in returning to his place; but he found himself so much pressed, and so ill at ease, his companions having designedly drawn closer together, that, urged to extremes, his anger was on the point of triumphing over his timidity, when the door opened, and José appeared.

"Ah! Phoenix, Phoenix!" exclaimed the young students. "Good morning, my brave Phoenix," said Francisco; "you are late for a Monday morning, and will get no place for painting."--"I shall not paint this week," replied José, advancing towards the fire-place; then looking round him he said, "Who will give me his place, and I will give him my study?"--"I! I!" exclaimed several voices.

"Come, then!" said José, who had immediately observed the uncomfortable position of the Angevin, "it shall be you, Maurice;" and he pointed to the pupil seated beside the stranger, who had pretended to be deaf. "Bravo!" exclaimed Maurice, rising, "I shall have your study. Besides, I am not very industriously disposed. I shall do nothing this week. I'll be a gentleman at large!"

José took his place, and by a glance caused the drawing-boards which crushed his unfortunate _protégé_ to be removed: then, as if he had forgotten to bring paper with him, he asked him for a sheet. The Angevin hastened to comply with the request, and José having kindly addressed some questions to him, he began to feel a little more at his ease. At the hour of recreation, these mischief-loving urchins again met to decide whether some grand joke could not be played off upon their victim; but José, stepping into the midst of the group, exclaimed, "No! no! gentlemen, enough of this; let us leave the poor fellow in peace; he is not a Paris boy, and I demand an exception in his favour. I was far more of a foreigner among you than he is, yet have I found in you most excellent comrades."

José was so much beloved, and possessed so much influence over his companions, that their sport had no longer any interest for them the moment he disapproved of it; so the Angevin was abandoned to his young protector. The nickname alone adhered to him, and it was not long before they discovered in him so much kindness and good-nature, that they soon ceased to have any desire of tormenting him. He obtained the good opinion of all his fellow-students; but José was his friend, and to serve him he would have gone through fire and water.

Solon has, I think, said: "No praise before death;" and he said wisely, for one moment of forgetfulness might tarnish even the most irreproachable life. Who can boast of being infallible, especially in youth? José, the prudent José, learned this to his cost; for, unhappily, these reflections apply to him. It was his first fault; but it was a serious one, as we shall show.

Occasionally, during the summer, José's companions formed themselves into little parties, and spent the day in the country in an inexpensive manner; for they had both good legs and a good appetite, and required only simple fare. They went into the environs of Paris, and returned home in the evening, after spending a pleasant day. But José, though keenly alive to the pleasure of these parties, often refused to join them, as they occasioned a loss of time which to him was very precious. However, the fête of Saint Cloud was approaching, and Francisco proposed going to see the fountains play. This proposition was eagerly acceded to, and José felt a strong desire to accompany them. He had never seen the fountains play, and this sight possesses powerful attractions to a Parisian, and especially to a young man like José, who was ignorant of almost everything foreign to his studies. It was, therefore, decided that they should form a party of twelve, dine at Saint Cloud, and share the expenses between them. José communicated his project to Dame Robert, and this excellent woman loved him too tenderly to oppose what appeared likely to afford him so much pleasure; nevertheless, at the moment of his departure, she followed him to the door, recommending him not to lose his purse in the crowd, and not get into any quarrel with the boothkeepers at the fair. José smiled at her fears, and hastened to rejoin his friends, who were to meet him at the Tuileries.

The young people merrily pursued their way, already amused with the procession of carriages, horses, carts, and pedestrians, like themselves, all taking the same direction. On arriving at Saint Cloud, they commenced with a simple breakfast, the greater part of their little treasure being reserved for their evening meal. They then took a survey of the booths, admired the cascades, listened to the bands, marvelled at the conjurors, and even laughed at Punch's buffoonery, as the numerous spectators of this fête are annually accustomed to do at the same season of the year. They several times fell in with a troop of young men, pupils of a different master, and their rivals in glory and talent. These two studios were jealous and inimical, as well from party spirit as from a sentiment of attachment to their masters; and this animosity had been manifested in more than one encounter of class against class, for there existed between them no individual aversion. On this occasion, they looked at each other with an expression of irony.

"Oh, oh!" cried José's companions, "here are the Princes of _Babocheux_ and _Flou-flou_."[6]

"Yes, gentlemen," replied the others, "ready to admire your _Croûtes aux épinards_."[7]

Each made a grimace; but they separated without saying anything more.

Returned to the inn, after having wandered about for a considerable time, José and his companions were prepared to enjoy a repast, dainty to them, from their simple habits; and they contemplated it with a degree of satisfaction, which would have made many young people, spoiled either by fortune or by their parents, shrug their shoulders with contempt. Their table was laid in what was called the garden, a small enclosure surrounded by walls, and covered with a trellis work, ornamented with honey-suckle and vine. This spot was capable of containing five or six tables, separated by partitions, also of trellis work, and though very warm, still there was a little more air there than in the house; besides the circumstances of the guests permitted them no choice, and our young students were therefore very well satisfied at being so comfortably located.

As may be imagined, there was no lack of conversation; this turned at first upon their good cheer, which they had time enough to enjoy, as the waiters were so much occupied, that they allowed full half an hour to intervene between each course.

"Well! Angevin, my friend," said Francisco,--for José's protection had caused him to be received into the party,--"what do you think of this Marinade?[8] something better than your usual fare, hey!"

"I should think so," replied the Angevin, holding out his plate for the third or fourth time. "Plague take the stew, I shan't touch it to-morrow."

"What!" cried the young folks, laughing; "what do you mean by the stew?"

"Oh! nothing, nothing," replied the Angevin, already regretting his indiscretion; but his companions insisting, and José joining in their request, he told them, laughingly, that, finding it impossible to live in Paris in any other than the most economical manner, he had ended, after trying various plans, by purchasing a large stew-pan and an earthen stove. He filled it once a week with turnips, potatoes, and a few slices of bacon, which he boiled altogether, and this _ragout_, which was hot only for the first time, served him for dinner during the whole week. He was so much accustomed to call it his stew, that the word had inadvertently escaped him in the presence of his companions.

"My poor fellow!" said José, holding out his hand to him. "Poor Angevin!" repeated the others; and, so far from laughing, a momentary silence pervaded the whole party.

"Gentlemen," said Francisco, who blushed at the remembrance of the murmurs which often escaped him on account of what he called his father's unnecessary economy; "I am going to propose a toast: to the success of our worthy comrade! May he gain the prize, even though I should myself have to be left behind him."

The young friends rose, and eagerly touched their glasses, while the Angevin, deeply moved, repeated, in a tone of emotion, "Oh! Berr, Berr, it is to you that I owe all this!"

Their conversation then turned upon painting, and upon the hopes entertained by Francisco and José, who flattered themselves with being this year permitted to compete for the prize, not, however, with the presumptuous hope of obtaining it, for they were both very young, especially José; but the mere fact of being admitted to the competition counted for much, and they might perhaps deserve honourable mention. Francisco had, moreover, an additional motive for desiring, as soon as possible, to distinguish himself. Glory was not the only passion which agitated his breast; for some time past he had grieved at being without fortune or reputation, which prevented him from aspiring to an alliance which would have crowned his fondest wishes. But this prospect was so distant and so uncertain that he had never spoken of it, even to José, except once, and then very vaguely.

Whilst, then, they were conversing upon art, with an enthusiasm worthy of the subject, they were interrupted by a loud noise, which proceeded from a room on the first-floor, immediately above the spot where they were dining. As the window was open, it was easy to overhear what passed, and, by a natural feeling of curiosity, the young guests checked their conversation, in order to listen to their joyous neighbours.

"By the powers!" cried one, "here's a splendid _charge_[9] it ought to be hung up in Barbe's shop; the veriest _rapin_[10] would recognise it!"

"Yes," said another, "it is his very self, with his vagabond air! Ah! ah! my gentlemen of the green and yellow school! you fancy you are going to carry off the next prizes from us, do you? We shall see, my lads! we shall see!"

Our young friends looked at each other with indignation, and softly approached the window, in order to hear more, for they recognised their antagonists, who doubtless little imagined they were so near.

"For my part," said one of the rival students, "I fear neither Rivol nor Enguehard, nor even the famous Berr, about whom they make such a fuss; he is ready enough, and up to the tricks of the art, and that's all. Enguehard is an idle dog, who does no good, while Rivol is too well off ever to be anything more than an amateur and a dauber. So down with the Purists, and long life to the Colourists!"

"Long life to the Colourists!" shouted his companions, and they added many other jests so bitter and so personal, that José and his friends, already animated by a few glasses of wine, to which they were unaccustomed, could no longer restrain their indignation, and commenced the attack by throwing into the room plates, knives, and anything else which happened to come in their way. The enemy hastened to the window, and recognising their adversaries, uttered shouts of laughter, which completely exasperated the others. A decanter, thrown by José, struck the forehead of one of the Colourists, who in their turn became furious, and began to make a descent, by means of the trellis-work placed beneath the window, for the purpose of crushing their antagonists. A battle then ensued, amidst bitter insults. Fragments of broken chairs flew about in all directions, the women at the neighbouring tables screamed, the children cried, and the men rushed forward to separate the combatants, without being in the least able to understand the invectives with which they overwhelmed each other, under the names of Purists and Colourists. The landlord of the inn, attracted by the noise, ran towards the scene of action, followed by his waiters, and they succeeded, without much difficulty, in calming those who were only _soldiers_--for they fought solely for the honour of their corps. But the chiefs did not so readily listen to reason; Enguehard was stretched upon the ground, his arms pinioned by the two stout hands of a Colourist, and José, absolutely out of his senses, was stifling, with the weight of his knee, the young man who had spoken of him with so much contempt, and who had just been conquered by his impetuosity.

These four madmen would listen to nothing, and were at length obliged to be separated by main force; but José, while still struggling, slipped over some pieces of the broken plates, and gave himself so violent a twist that he was unable to rise, and was obliged to remain seated on the ground, suffering excruciating pain.

It being proved by the testimony of eye-witnesses, that the young people in the garden had commenced this memorable battle, by throwing plates into the room, and that the Colourists had only broken the trellis-work in descending, the landlord contented himself with a slight sum as indemnification, and allowed them to depart; but José and his friends had done considerable damage, and had been the first to commence the disturbance; they had only sufficient money to defray the expenses of their dinner, and the innkeeper declared that he would be paid, and that he should send for the police. Francisco increased the man's anger, by the rage into which he put himself; the poor Angevin employed prayers and tears, to soften the innkeeper; while José, ashamed, and in despair, maintained a gloomy silence, abandoning himself to the most melancholy reflections, when his name, pronounced by a severe and well-known voice, made him utter a cry, and hide his face in his hands.

The voice was that of the good and vigilant Gabri, who had been induced by his active friendship for José to follow him to the fête, and to watch over the inexperience which he very justly attributed to him. He had watched the young men from a distance, and determined not to make his appearance, except in case of accident; finally, having been able to find accommodation only at the farther end of the place occupied by them at the inn, he had been the last to arrive at the scene of action.

"Sir," he said coldly to the innkeeper, "estimate the damage done, and make out your account; I will discharge the debts of these madcaps, who are of my acquaintance, and we will afterwards settle matters together."

The host, who was no cheat, and who was, moreover, too happy to be paid without any further trouble, made out a tolerably reasonable account, which Gabri immediately discharged. Then telling Francisco and the Angevin to support José, who was unable to walk, he placed him in a carriage, and drove off with him, after having saluted the troop of students, who were still too much bewildered by what had taken place even to think of thanking him.

Gabri had placed José in the cabriolet in as convenient a position as possible for his injured leg, while he went upon the box himself, and during the whole of their way home never once addressed a single word to the poor sufferer, nor even turned his head towards him, notwithstanding the complaints which the constant jolting of the rude vehicle drew from the culprit. The well-paid coachman took them as far as Dame Robert's door. "There, there he is," said Gabri to the terrified woman, "and now good evening; I will see him again when he has recovered, and grown wiser;" and he turned away without listening to Dame Robert's exclamations, who in her trouble did not perceive that José had almost fainted. He was conveyed to bed, his dislocated ankle set, and his numerous bruises attended to: but the wine which he had taken, and the violent excitement which had followed an excess altogether new to him, brought on a somewhat severe illness, which lasted for several days; and even when it was subdued he was obliged to remain six weeks with his foot resting upon a chair, without being able to move. We may judge of his grief and remorse, which many circumstances contributed to augment. Gabri allowed his heart to be touched by his repentance, and consented to see him; but he was sad, and Dame Robert uneasy; and José was one day deeply grieved to see her, while thinking herself unobserved, lock up a bottle of brandy which was standing near him.

Soon afterwards he had to endure a far more bitter trial. The time for competing for the prizes arrived; Francisco was admitted for the sketches; while José, who was only just beginning to walk, and whose studies had, moreover, been too much interrupted, was obliged to give up all hope for that year, and endure the mortification of finding himself left behind by companions considerably less advanced than himself. Francisco, though sincerely grieved at his friend's misfortune, felt his ardour increased from not having to compete with so formidable a rival. He made astonishing efforts to sustain the honour of the school, but he only obtained the second prize, which did not send its possessor to Rome: the first was carried off by that same chief of the Colourists who had spoken of José with so much contempt: and thus the poor boy remained with the bitter remembrance of two months passed in suffering, of a triumph lost, and of a folly committed.

However, as it is not considered that a young man must necessarily be dishonoured because he has once been intoxicated and beaten, José, after having passed some time in a state of complete apathy, at length took courage. He perceived, that instead of abandoning himself to vain regrets he ought to endeavour to repair his fault, while that intimate consciousness of power, in which even the most modest cannot help believing, told him, that he _could_ repair everything. It usually happens after a first fault, that a young man either turns from the evil path, or pursues it for the rest of his life. José had too much superiority of nature not to profit by experience. Redoubling, therefore, both his assiduity and zeal, he made such marked progress during the course of the current year, that Monsieur G. decided that he also might compete as well as Francisco and Rivol.

The place in which the young people then worked at their prize pictures, was situated at the top of that same _Pavilion du Musée_, of which we have already spoken. It was divided into several little compartments, or cells, called _boxes_, in each of which a student was shut up, so as to allow him no communication with his companions, and still less with his master or with strangers. The subject for the picture was chosen by the professors of painting of the Institution; the programme was distributed to the candidates, and when their sketches were made, and received, they were all to commence their pictures at the same time, according to those sketches, without changing anything. Each morning, on arriving, they were rigidly searched, in order to make sure that they brought with them no drawings or engravings which could in any manner aid them. Thus left to their own resources, they passed two months in this manner, _en loge_, as it is termed; and these pictures, the figures in which were one third the size of life, were publicly exhibited during three days before the prizes were awarded. But although it was strictly forbidden for the pupils to see their respective works, in order, doubtless, to prevent the weak from being aided by the strong, or to take care that a happy idea should remain the sole property of its author--notwithstanding, I say, all these precautions, the students of that time, less sensible perhaps than those of the present day, found means of visiting each other without being perceived. The windows of their cells all looked in the same direction, upon a small, dirty, and almost unfrequented square, in which is now situated one of the gates leading to the quay. These temporary abodes were, as we have already said, situated in the roof, all the windows opening upon wide leads, unprotected by railings. These madcaps, at the imminent risk of breaking their necks by falling from an immense height, glided by this way from one cell to another. The more scrupulous closed their windows, so as to prevent intrusion; but two days before the expiration of the time allowed for the pictures, each student permitted, without difficulty, his work to be inspected by his companions, and the little Areopagus, with remarkable sagacity and impartiality, precisely anticipated the decrees of the greater one, and awarded the first and second prize in such a manner, that there is scarcely an example of their decisions having turned out erroneous.

José, who took the first rank in the sketches, now prepared to submit to this trial, so severe, but, at the same time, so important to him. Monsieur G. had recommended the reputation of his studio to his pupils. Three times had they competed, without any of them obtaining the first prize. It was necessary to repair this disgrace, and be avenged for the late success of the Colourists. In addition to two formidable rivals in the opposition school, José had to contend against his two friends, Francisco and Rivol, who, besides having already competed for the prize, had, also, the advantage of age--José was then only fifteen years and a half old; but these considerations by no means discouraged him; and fired by that enthusiastic and true love of art which overcomes all difficulties, he commenced, though not without emotion, the required picture, the subject of which was the "Death of Hippolytus."

Dame Robert, as may be imagined, was greatly excited, and her mind wholly absorbed by her darling boy's undertaking. Certainly, had she been consulted, José would have had nothing to fear; but neither the good woman's indulgence, nor Gabri's affection, could avail poor José anything--they must wait. "If," said Dame Robert, "I could only see what they are doing, I should soon find out whether José had not left them behind; but they are cloistered up like so many monks, and when the boy comes home at night, he does not even so much as give us a hint as to how things are going on."

Gabri, equally anxious, but more discreet than Dame Robert, did not seek to elicit anything from José; but he watched him carefully, sighed when the poor boy appeared depressed, and rubbed his hands with glee when he seemed happy.

The good-natured Angevin, who was not yet sufficiently advanced to compete for the prize, was deeply interested in the success of his friend; but he felt little uneasiness, for he knew that José was very far superior to his rivals. He too would have liked to have seen his work, but he was obliged to content himself with walking beneath the windows of the young captives, and see their heads pop out and in occasionally, like so many marionettes, with now and then a mahl-stick accompanying them, and serving to complete the resemblance.

Six weeks had passed away, the pictures were advancing, and as, with the exception of José and his companions, the competitors were of different schools, he had seen only the work of his friends; and his own was so far superior to theirs, that a hope which he scarcely dared own, even to himself, made his heart beat high within his breast. He had nothing to fear from the other students, as they were all inferior to Francisco and Rivol. He was standing, therefore, contemplating with a kind of secret pleasure the group of terrified horses which he had just completed, when Francisco tapped at his window, and immediately afterwards leaping into the room, told him, with a countenance expressive of the utmost concern, that he was in despair, and should never succeed with his figure of Aricia, which was in the programme distributed for the picture. Subjects are usually selected with but few female figures, these being more difficult for the young artists, as they cannot have models; and the unfortunate Aricia, which almost all of them had reserved till the last, had completely wrecked both the courage and talent of Francisco. He looked with admiration on José's Aricia, for he had been entirely successful, at least in his sketch. José, anxious to soothe the agitation of his friend, accompanied him across the leads to his cell, in order to examine the figure which so much distressed him: he found it awkward, ill-drawn, and in bad taste, and could not conceal from his friend that he thought it detestable. This, of course, served only to increase Francisco's despair. He dashed his palette to the ground, stamped upon it, broke his brushes, and ended by crying with rage. José embraced and tried to soothe him, and at length, by dint of kindness and encouragement, succeeded in persuading him that all was not yet lost, and that he could still repaint the figure during the week that yet remained to them. He pointed out to him what he had to avoid, and raised his courage by dwelling on the merits of the rest of the picture. At last, after having spent two hours in this manner, he left him, if not entirely consoled, at least sufficiently recovered to resume his work.

The following days Francisco repainted his unfortunate figure, but still without success; he effaced it, recommenced, again effaced it, and at last succeeded in completing it; but in a manner so far inferior to the other parts of the composition, that it formed a blemish which destroyed the general effect. Such was the opinion of his companions, when, according to the rule established among them, they visited each other to judge of the respective merits of their productions. They had still four days to remain at work, and the pictures were not completely finished, but it was easy to judge which would obtain the prize; and José was regarded as the conqueror, provided he completed the figure of Aricia as he had done the group of Hippolytus and his horses. Next to his, came Francisco's picture, then Rivol's, the others were very far from the mark, and need, therefore, cause them no anxiety.

Francisco, deprived of the last ray of hope by the decision of his companions, as well as by that of his own judgment, shut himself up in his cell, and would not allow José to enter, though he entreated for admittance. He gave no reply to these friendly solicitations, and the intensity of his annoyance had rendered him so unjust, that to avoid seeing José, who lay crouched upon the narrow ledge of the window, he took a large piece of linen, which served him for a blind, and fastened it before the window. José listened to him for some time pacing up and down and groaning with despair; but seeing that his perseverance was useless and importunate he retired, deeply grieved at his distress.

He passed a sleepless night, and the next morning no sooner had he reached his own cell than he ran to Francisco's; but he was not there, his picture still rested upon the easel, and for a moment José thought of retouching the figure of Aricia. But this would have been a palpable fraud, and his honour revolted from its commission. Francisco, moreover, would never have consented to triumph by such disgraceful means. José, therefore, laid down the brush which he had taken up, and with a heavy heart returned to his own cell.

Whilst painting the figure which had proved so fatal to poor Francisco, he vainly sought some method of serving him, and his tender friendship made him almost desire that his Aricia might not be better than his companion's. He worked with so little care, that, had any one else been in the case, his wishes would have been accomplished; but, as it often happens with artists, the very thing that he took the least pains with turned out the best; and, to make use of a familiar expression, this figure came so happily, that even an experienced painter would not have been ashamed to own it.

With a mind absorbed in reflection, José painted on almost without heeding what he did, and it was not until he rose up, when all was completed, that he perceived that the last touches seemed to have been given by the hand of a master, rather than by that of a pupil. His first feeling was one of intense joy, but it was soon overshadowed by the thought of Francisco. He felt that the prize was his, but soon one of those noble inspirations which elevated minds alone receive in their happiest moments, presented itself to his imagination, and showed him that the safety of his friend depended solely upon him.

By one of the old rules of the professors, the pupil who presented his picture with a figure completely erased, or otherwise defaced, was on this account excluded from the competition; his picture was exhibited with the others, but was not taken into account in the awarding of the prizes, even though it were a masterpiece in comparison with the rest. This rule, which it was found rarely necessary to apply, was unknown to most of the students. José had become informed of it during his residence at M. Barbe's, but he was quite sure that Francisco knew nothing about it. His friend's picture was the best, after his own; and by having the courage to destroy the figure of Aricia, which alone would have ensured the prize to a work of less merit, Francisco would remain without a rival.

At first José seized upon this idea with all the warmth of generous affection, but, on raising his eyes to his work, he began to think the sacrifice beyond his strength. Pacing his cell with agitation, he thought of the honour of being crowned at the age of sixteen, of the pleasure of going to Italy, and of the advantage his studies would derive from the journey.

"But," said he, turning his back upon his picture, "Francisco needs it almost as much as myself; the means of his parents are almost exhausted by the efforts they have made for his education; his mother's health requires a warmer climate; if Francisco gains the prize his family will follow him,..." and José again approached his easel.