His Masterpiece Émile Zola (e textbook reader TXT) 📖

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

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

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

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

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

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

Then Claude began to look for his own picture. He tried to find his way by means of the initial letters inscribed above the entrances of the galleries, but made a mistake, and went through those on the left hand. There was a succession of open entrances, a perspective of old tapestry door-hangings, with glimpses of the distant pictures. He