Complete Works of Emile Zola (907 page)

Claude spent his time under the Pont des Saints-Peres, which he had made his shelter, his home, his roof. The constant din of the vehicles overhead, similar to the distant rumbling of thunder, no longer disturbed him. Settling himself against the first abutment, beneath the huge iron arches, he took sketches and painted studies. The
employes
of the river navigation service, whose offices were hard by, got to know him, and, indeed, the wife of an inspector, who lived in a sort of tarred cabin with her husband, two children, and a cat, kept his canvases for him, to save him the trouble of carrying them to and fro each day. It became his joy to remain in that secluded nook beneath Paris, which rumbled in the air above him, whose ardent life he ever felt rolling overhead. He at first became passionately interested in Port St. Nicolas, with its ceaseless bustle suggesting that of a distant genuine seaport. The steam crane,
The Sophia
, worked regularly, hauling up blocks of stone; tumbrels arrived to fetch loads of sand; men and horses pulled, panting for breath on the big paving-stones, which sloped down as far as the water, to a granite margin, alongside which two rows of lighters and barges were moored. For weeks Claude worked hard at a study of some lightermen unloading a cargo of plaster, carrying white sacks on their shoulders, leaving a white pathway behind them, and bepowdered with white themselves, whilst hard by the coal removed from another barge had stained the waterside with a huge inky smear. Then he sketched the silhouette of a swimming-bath on the left bank, together with a floating wash-house somewhat in the rear, showing the windows open and the washerwomen kneeling in a row, on a level with the stream, and beating their dirty linen. In the middle of the river, he studied a boat which a waterman sculled over the stern; then, farther behind, a steamer of the towing service straining its chain, and dragging a series of rafts loaded with barrels and boards up stream. The principal backgrounds had been sketched a long while ago, still he did several bits over again — the two arms of the Seine, and a sky all by itself, into which rose only towers and spires gilded by the sun. And under the hospitable bridge, in that nook as secluded as some far-off cleft in a rock, he was rarely disturbed by anybody. Anglers passed by with contemptuous unconcern. His only companion was virtually the overseer’s cat, who cleaned herself in the sunlight, ever placid beneath the tumult of the world overhead.

At last Claude had all his materials ready. In a few days he threw off an outline sketch of the whole, and the great work was begun. However, the first battle between himself and his huge canvas raged in the Rue Tourlaque throughout the summer; for he obstinately insisted upon personally attending to all the technical calculations of his composition, and he failed to manage them, getting into constant muddles about the slightest deviation from mathematical accuracy, of which he had no experience. It made him indignant with himself. So he let it go, deciding to make what corrections might be necessary afterwards. He covered his canvas with a rush — in such a fever as to live all day on his steps, brandishing huge brushes, and expending as much muscular force as if he were anxious to move mountains. And when evening came he reeled about like a drunken man, and fell asleep as soon as he had swallowed his last mouthful of food. His wife even had to put him to bed like a child. From those heroic efforts, however, sprang a masterly first draught in which genius blazed forth amidst the somewhat chaotic masses of colour. Bongrand, who came to look at it, caught the painter in his big arms, and stifled him with embraces, his eyes full of tears. Sandoz, in his enthusiasm, gave a dinner; the others, Jory, Mahoudeau and Gagniere, again went about announcing a masterpiece. As for Fagerolles, he remained motionless before the painting for a moment, then burst into congratulations, pronouncing it too beautiful.

And, in fact, subsequently, as if the irony of that successful trickster had brought him bad luck, Claude only spoilt his original draught. It was the old story over again. He spent himself in one effort, one magnificent dash; he failed to bring out all the rest; he did not know how to finish. He fell into his former impotence; for two years he lived before that picture only, having no feeling for anything else. At times he was in a seventh heaven of exuberant joy; at others flung to earth, so wretched, so distracted by doubt, that dying men gasping in their beds in a hospital were happier than himself. Twice already had he failed to be ready for the Salon, for invariably, at the last moment, when he hoped to have finished in a few sittings, he found some void, felt his composition crack and crumble beneath his fingers. When the third Salon drew nigh, there came a terrible crisis; he remained for a fortnight without going to his studio in the Rue Tourlaque, and when he did so, it was as to a house desolated by death. He turned the huge canvas to the wall and rolled his steps into a corner; he would have smashed and burned everything if his faltering hands had found strength enough. Nothing more existed; amid a blast of anger he swept the floor clean, and spoke of setting to work at little things, since he was incapable of perfecting paintings of any size.

In spite of himself, his first idea of a picture on a smaller scale took him back to the Cite. Why should not he paint a simple view, on a moderate sized canvas? But a kind of shame, mingled with strange jealousy, prevented him from settling himself in his old spot under the Pont des Saints-Peres. It seemed to him as if that spot were sacred now; that he ought not to offer any outrage to his great work, dead as it was. So he stationed himself at the end of the bank, above the bridge. This time, at any rate, he would work directly from nature; and he felt happy at not having to resort to any trickery, as was unavoidable with works of a large size. The small picture, very carefully painted, more highly finished than usual, met, however, with the same fate as the others before the hanging committee, who were indignant with this style of painting, executed with a tipsy brush, as was said at the time in the studios. The slap in the face which Claude thus received was all the more severe, as a report had spread of concessions, of advances made by him to the School of Arts, in order that his work might be received. And when the picture came back to him, he, deeply wounded, weeping with rage, tore it into narrow shreds, which he burned in his stove. It was not sufficient that he should kill that one with a knife-thrust, it must be annihilated.

Another year went by for Claude in desultory toil. He worked from force of habit, but finished nothing; he himself saying, with a dolorous laugh, that he had lost himself, and was trying to find himself again. In reality, tenacious consciousness of his genius left him a hope which nothing could destroy, even during his longest crises of despondency. He suffered like some one damned, for ever rolling the rock which slipped back and crushed him; but the future remained, with the certainty of one day seizing that rock in his powerful arms and flinging it upward to the stars. His friends at last beheld his eyes light up with passion once more. It was known that he again secluded himself in the Rue Tourlaque. He who formerly had always been carried beyond the work on which he was engaged, by some dream of a picture to come, now stood at bay before that subject of the Cite. It had become his fixed idea — the bar that closed up his life. And soon he began to speak freely of it again in a new blaze of enthusiasm, exclaiming, with childish delight, that he had found his way and that he felt certain of victory.

One day Claude, who, so far, had not opened his door to his friends, condescended to admit Sandoz. The latter tumbled upon a study with a deal of dash in it, thrown off without a model, and again admirable in colour. The subject had remained the same — the Port St. Nicolas on the left, the swimming-baths on the right, the Seine and Cite in the background. But Sandoz was amazed at perceiving, instead of the boat sculled by a waterman, another large skiff taking up the whole centre of the composition — a skiff occupied by three women. One, in a bathing costume, was rowing; another sat over the edge with her legs dangling in the water, her costume partially unfastened, showing her bare shoulder; while the third stood erect and nude at the prow, so bright in tone that she seemed effulgent, like the sun.

‘Why, what an idea!’ muttered Sandoz. ‘What are those women doing there?’

‘Why, they are bathing,’ Claude quietly answered. ‘Don’t you see that they have come out of the swimming-baths? It supplies me with a motive for the nude; it’s a real find, eh? Does it shock you?’

His old friend, who knew him well by now, dreaded lest he should give him cause for discouragement.

‘I? Oh, no! Only I am afraid that the public will again fail to understand. That nude woman in the very midst of Paris — it’s improbable.’

Claude looked naively surprised.

‘Ah! you think so? Well, so much the worse. What’s the odds, as long as the woman is well painted? Besides, I need something like that to get my courage up.’

On the following occasions, Sandoz gently reverted to the strangeness of the composition, pleading, as was his nature, the cause of outraged logic. How could a modern painter who prided himself on painting merely what was real — how could he so bastardise his work as to introduce fanciful things into it? It would have been so easy to choose another subject, in which the nude would have been necessary. But Claude became obstinate, and resorted to lame and violent explanations, for he would not avow his real motive: an idea which had come to him and which he would have been at a loss to express clearly. It was, however, a longing for some secret symbolism. A recrudescence of romanticism made him see an incarnation of Paris in that nude figure; he pictured the city bare and impassioned, resplendent with the beauty of woman.

Before the pressing objections of his friend he pretended to be shaken in his resolutions.

‘Well, I’ll see; I’ll dress my old woman later on, since she worries you,’ he said. ‘But meanwhile I shall do her like that. You understand, she amuses me.’

He never reverted to the subject again, remaining silently obstinate, merely shrugging his shoulders and smiling with embarrassment whenever any allusion betrayed the general astonishment which was felt at the sight of that Venus emerging triumphantly from the froth of the Seine amidst all the omnibuses on the quays and the lightermen working at the Port of St. Nicolas.

Spring had come round again, and Claude had once more resolved to work at his large picture, when in a spirit of prudence he and Christine modified their daily life. She, at times, could not help feeling uneasy at seeing all their money so quickly spent. Since the supply had seemed inexhaustible, they had ceased counting. But, at the end of four years, they had woke up one morning quite frightened, when, on asking for accounts, they found that barely three thousand francs were left out of the twenty thousand. They immediately reverted to severe economy, stinting themselves as to bread, planning the cutting down of the most elementary expenses; and it was thus that, in the first impulse of self-sacrifice, they left the Rue de Douai. What was the use of paying two rents? There was room enough in the old drying-shed in the Rue Tourlaque — still stained with the dyes of former days — to afford accommodation for three people. Settling there was, nevertheless, a difficult affair; for however big the place was, it provided them, after all, with but one room. It was like a gipsy’s shed, where everything had to be done in common. As the landlord was unwilling, the painter himself had to divide it at one end by a partition of boards, behind which he devised a kitchen and a bedroom. They were then delighted with the place, despite the chinks through which the wind blew, and although on rainy days they had to set basins beneath the broader cracks in the roof. The whole looked mournfully bare; their few poor sticks seemed to dance alongside the naked walls. They themselves pretended to be proud at being lodged so spaciously; they told their friends that Jacques would at least have a little room to run about. Poor Jacques, in spite of his nine years, did not seem to be growing; his head alone became larger and larger. They could not send him to school for more than a week at a stretch, for he came back absolutely dazed, ill from having tried to learn, in such wise that they nearly always allowed him to live on all fours around them, crawling from one corner to another.

Christine, who for quite a long while had not shared Claude’s daily work, now once more found herself beside him throughout his long hours of toil. She helped him to scrape and pumice the old canvas of the big picture, and gave him advice about attaching it more securely to the wall. But they found that another disaster had befallen them — the steps had become warped by the water constantly trickling through the roof, and, for fear of an accident, Claude had to strengthen them with an oak cross-piece, she handing him the necessary nails one by one. Then once more, and for the second time, everything was ready. She watched him again outlining the work, standing behind him the while, till she felt faint with fatigue, and finally dropping to the floor, where she remained squatting, and still looking at him.

Ah! how she would have liked to snatch him from that painting which had seized hold of him! It was for that purpose that she made herself his servant, only too happy to lower herself to a labourer’s toil. Since she shared his work again, since the three of them, he, she, and the canvas, were side by side, her hope revived. If he had escaped her when she, all alone, cried her eyes out in the Rue de Douai, if he lingered till late in the Rue Tourlaque, fascinated as by a mistress, perhaps now that she was present she might regain her hold over him. Ah, painting, painting! in what jealous hatred she held it! Hers was no longer the revolt of a girl of the bourgeoisie, who painted neatly in water-colours, against independent, brutal, magnificent art. No, little by little she had come to understand it, drawn towards it at first by her love for the painter, and gained over afterwards by the feast of light, by the original charm of the bright tints which Claude’s works displayed. And now she had accepted everything, even lilac-tinted soil and blue trees. Indeed, a kind of respect made her quiver before those works which had at first seemed so horrid to her. She recognised their power well enough, and treated them like rivals about whom one could no longer joke. But her vindictiveness grew in proportion to her admiration; she revolted at having to stand by and witness, as it were, a diminution of herself, the blow of another love beneath her own roof.