Complete Works of Emile Zola (1479 page)

So saying Francois waved his hand towards all the day-schools and colleges and high schools beyond the Luxembourg garden, towards the Faculties of Law and Medicine, the Institute and its five Academies, the innumerable libraries and museums which made up the broad domain of intellectual labour. And Pierre, moved by it all, shaken in his theories of negation, thought that he could indeed hear a low but far-spreading murmur of the work of thousands of active minds, rising from laboratories, studies and class, reading and lecture rooms. It was not like the jerky, breathless trepidation, the loud clamour of factories where manual labour toils and chafes. But here, too, there were sighs of weariness, efforts as killing, exertion as fruitful in its results. Was it indeed true that the cultured young were still and ever in their silent forge, renouncing no hope, relinquishing no conquest, but in full freedom of mind forging the truth and justice of to-morrow with the invincible hammers of observation and experiment?

Francois, however, had raised his eyes to the palace clock to ascertain the time. “I’m going to Montmartre,” he said; “will you come part of the way with me?”

Pierre assented, particularly as the young man added that on his way he meant to call for his brother Antoine at the Museum of the Louvre. That bright afternoon the Louvre picture galleries were steeped in warm and dignified quietude, which one particularly noticed on coming from the tumult and scramble of the streets. The majority of the few people one found there were copyists working in deep silence, which only the wandering footsteps of an occasional tourist disturbed. Pierre and Francois found Antoine at the end of the gallery assigned to the Primitive masters. With scrupulous, almost devout care he was making a drawing of a figure by Mantegna. The Primitives did not impassion him by reason of any particular mysticism and ideality, such as fashion pretends to find in them, but on the contrary, and justifiably enough, by reason of the sincerity of their ingenuous realism, their respect and modesty in presence of nature, and the minute fidelity with which they sought to transcribe it. He spent days of hard work in copying and studying them, in order to learn strictness and probity of drawing from them — all that lofty distinction of style which they owe to their candour as honest artists.

Pierre was struck by the pure glow which a sitting of good hard work had set in Antoine’s light blue eyes. It imparted warmth and even feverishness to his fair face, which was usually all dreaminess and gentleness. His lofty forehead now truly looked like a citadel armed for the conquest of truth and beauty. He was only eighteen, and his story was simply this: as he had grown disgusted with classical studies and been mastered by a passion for drawing, his father had let him leave the Lycee Condorcet when he was in the third class there. Some little time had then elapsed while he felt his way and the deep originality within him was being evolved. He had tried etching on copper, but had soon come to wood engraving, and had attached himself to it in spite of the discredit into which it had fallen, lowered as it had been to the level of a mere trade. Was there not here an entire art to restore and enlarge? For his own part he dreamt of engraving his own drawings, of being at once the brain which conceives and the hand which executes, in such wise as to obtain new effects of great intensity both as regards perception and touch. To comply with the wishes of his father, who desired each of his sons to have a trade, he earned his bread like other engravers by working for the illustrated newspapers. But, in addition to this current work, he had already engraved several blocks instinct with wonderful power and life. They were simply copies of real things, scenes of everyday existence, but they were accentuated, elevated so to say, by the essential line, with a maestria which on the part of so young a lad fairly astonished one.

“Do you want to engrave that?” Francois asked him, as he placed his copy of Mantegna’s figure in his portfolio.

“Oh! no, that’s merely a dip into innocence, a good lesson to teach one to be modest and sincere. Life is very different nowadays.”

Then, while walking along the streets — for Pierre, who felt growing sympathy for the two young fellows, went with them in the direction of Montmartre, forgetful of all else, — Antoine, who was beside him, spoke expansively of his artistic dreams.

“Colour is certainly a power, a sovereign source of charm, and one may, indeed, say that without colour nothing can be completely represented. Yet, singularly enough, it isn’t indispensable to me. It seems to me that I can picture life as intensely and definitely with mere black and white, and I even fancy that I shall be able to do so in a more essential manner, without any of the dupery which lies in colour. But what a task it is! I should like to depict the Paris of to-day in a few scenes, a few typical figures, which would serve as testimony for all time. And I should like to do it with great fidelity and candour, for an artist only lives by reason of his candour, his humility and steadfast belief in Nature, which is ever beautiful. I’ve already done a few figures, I will show them to you. But ah! if I only dared to tackle my blocks with the graver, at the outset, without drawing my subject beforehand. For that generally takes away one’s fire. However, what I do with the pencil is a mere sketch; for with the graver I may come upon a find, some unexpected strength or delicacy of effect. And so I’m draughtsman and engraver all in one, in such a way that my blocks can only be turned out by myself. If the drawings on them were engraved by another, they would be quite lifeless.... Yes, life can spring from the fingers just as well as from the brain, when one really possesses creative power.”

They walked on, and when they found themselves just below Montmartre, and Pierre spoke of taking a tramcar to return to Neuilly, Antoine, quite feverish with artistic passion, asked him if he knew Jahan, the sculptor, who was working for the Sacred Heart. And on receiving a negative reply, he added: “Well, come and see him for a moment. He has a great future before him. You’ll see an angel of his which has been declined.”

Then, as Francois began to praise the angel in question, Pierre agreed to accompany them. On the summit of the height, among all the sheds which the building of the basilica necessitated, Jahan had been able to set up a glazed workshop large enough for the huge angel ordered of him. His three visitors found him there in a blouse, watching a couple of assistants, who were rough-hewing the block of stone whence the angel was to emerge. Jahan was a sturdy man of thirty-six, with dark hair and beard, a large, ruddy mouth and fine bright eyes. Born in Paris, he had studied at the Fine Art School, but his impetuous temperament had constantly landed him in trouble there.

“Ah! yes,” said he, “you’ve come to see my angel, the one which the Archbishop wouldn’t take. Well, there it is.”

The clay model of the figure, some three feet high, and already drying, looked superb in its soaring posture, with its large, outspread wings expanding as if with passionate desire for the infinite. The body, barely draped, was that of a slim yet robust youth, whose face beamed with the rapture of his heavenly flight.

“They found him too human,” said Jahan. “And after all they were right. There’s nothing so difficult to conceive as an angel. One even hesitates as to the sex; and when faith is lacking one has to take the first model one finds and copy it and spoil it. For my part, while I was modelling that one, I tried to imagine a beautiful youth suddenly endowed with wings, and carried by the intoxication of his flight into all the joy of the sunshine. But it upset them, they wanted something more religious, they said; and so then I concocted that wretched thing over there. After all, one has to earn one’s living, you know.”

So saying, he waved his hand towards another model, the one for which his assistants were preparing the stone. And this model represented an angel of the correct type, with symmetrical wings like those of a goose, a figure of neither sex, and commonplace features, expressing the silly ecstasy that tradition requires.

“What would you have?” continued Jahan. “Religious art has sunk to the most disgusting triteness. People no longer believe; churches are built like barracks, and decorated with saints and virgins fit to make one weep. The fact is that genius is only the fruit of the social soil; and a great artist can only send up a blaze of the faith of the time he lives in. For my part, I’m the grandson of a Beauceron peasant. My father came to Paris to set himself up in business as a marble worker for tombstones and so forth, just at the top of the Rue de la Roquette. It was there I grew up. I began as a workman, and all my childhood was spent among the masses, in the streets, without ever a thought coming to me of setting foot in a church. So few Parisians think of doing so nowadays. And so what’s to become of art since there’s no belief in the Divinity or even in beauty? We’re forced to go forward to the new faith, which is the faith in life and work and fruitfulness, in all that labours and produces.”

Then suddenly breaking off he exclaimed: “By the way, I’ve been doing some more work to my figure of Fecundity, and I’m fairly well pleased with it. Just come with me and I’ll show it you.”

Thereupon he insisted on taking them to his private studio, which was near by, just below Guillaume’s little house. It was entered by way of the Rue du Calvaire, a street which is simply a succession of ladder-like flights of steps. The door opened on to one of the little landings, and one found oneself in a spacious, well-lighted apartment littered with models and casts, fragments and figures, quite an overflow of sturdy, powerful talent. On a stool was the unfinished model of Fecundity swathed in wet cloths. These Jahan removed, and then she stood forth with her rounded figure, her broad hips and her wifely, maternal bosom, full of the milk which nourishes and redeems.

“Well, what do you think of her?” asked Jahan. “Built as she is, I fancy that her children ought to be less puny than the pale, languid, aesthetic fellows of nowadays!”

While Antoine and Francois were admiring the figure, Pierre, for his part, took most interest in a young girl who had opened the door to them, and who had now wearily reseated herself at a little table to continue a book she was reading. This was Jahan’s sister, Lise. A score of years younger than himself, she was but sixteen, and had been living alone with him since their father’s death. Very slight and delicate looking, she had a most gentle face, with fine light hair which suggested pale gold-dust. She was almost a cripple, with legs so weak that she only walked with difficulty, and her mind also was belated, still full of childish
naivete
. At first this had much saddened her brother, but with time he had grown accustomed to her innocence and languor. Busy as he always was, ever in a transport, overflowing with new plans, he somewhat neglected her by force of circumstances, letting her live beside him much as she listed.

Pierre had noticed, however, the sisterly impulsiveness with which she had greeted Antoine. And the latter, after congratulating Jahan on his statue, came and sat down beside her, questioned her and wished to see the book which she was reading. During the last six months the most pure and affectionate intercourse had sprung up between them. He, from his father’s garden, up yonder on the Place du Tertre, could see her through the huge window of that studio where she led so innocent a life. And noticing that she was always alone, as if forsaken, he had begun to take an interest in her. Then had come acquaintance; and, delighted to find her so simple and so charming, he had conceived the design of rousing her to intelligence and life, by loving her, by becoming at once the mind and the heart whose power fructifies. Weak plant that she was, in need of delicate care, sunshine and affection, he became for her all that her brother had, through circumstances, failed to be. He had already taught her to read, a task in which every mistress had previously failed. But him she listened to and understood. And by slow degrees a glow of happiness came to the beautiful clear eyes set in her irregular face. It was love’s miracle, the creation of woman beneath the breath of a young lover who gave himself entirely. No doubt she still remained very delicate, with such poor health that one ever feared that she might expire in a faint sigh; and her legs, moreover, were still too weak to admit of her walking any distance. But all the same, she was no longer the little wilding, the little ailing flower of the previous spring.

Jahan, who marvelled at the incipient miracle, drew near to the young people. “Ah!” said he, “your pupil does you honour. She reads quite fluently, you know, and understands the fine books you send her. You read to me of an evening now, don’t you, Lise?”

She raised her candid eyes, and gazed at Antoine with a smile of infinite gratitude. “Oh! whatever he’ll teach me,” she said, “I’ll learn it, and do it.”

The others laughed gently. Then, as the visitors were going off, Francois paused before a model which had cracked while drying. “Oh! that’s a spoilt thing,” said the sculptor. “I wanted to model a figure of Charity. It was ordered of me by a philanthropic institution. But try as I might, I could only devise something so commonplace that I let the clay spoil. Still, I must think it over and endeavour to take the matter in hand again.”

When they were outside, it occurred to Pierre to go as far as the basilica of the Sacred Heart in the hope of finding Abbe Rose there. So the three of them went round by way of the Rue Gabrielle and climbed the steps of the Rue Chape. And just as they were reaching the summit where the basilica reared its forest of scaffoldings beneath the clear sky, they encountered Thomas, who, on leaving the factory, had gone to give an order to a founder in the Rue Lamarck.

He, who as a rule was so silent and discreet, now happened to be in an expansive mood, which made him look quite radiant. “Ah! I’m so pleased,” he said, addressing Pierre; “I fancy that I’ve found what I want for our little motor. Tell father that things are going on all right, and that he must make haste to get well.”

At these words his brothers, Francois and Antoine, drew close to him with a common impulse. And they stood there all three, a valiant little group, their hearts uniting and beating with one and the same delight at the idea that their father would be gladdened, that the good news they were sending him would help him towards recovery. As for Pierre, who, now that he knew them, was beginning to love them and judge them at their worth, he marvelled at the sight of these three young giants, each so strikingly like the other, and drawn together so closely and so promptly, directly their filial affection took fire.