Vendetta - Honoré de Balzac (ebook reader computer txt) 📗

to the reader without this narrative of the foregoing circumstances.


CHAPTER II. THE STUDIO

Servin, one of our most distinguished artists, was the first to conceive of the idea of opening a studio for young girls who wished to take lessons in painting.

About forty years of age, a man of the purest morals, entirely given up to his art, he had married from inclination the dowerless daughter of a general. At first the mothers of his pupils bought their daughters themselves to the studio; then they were satisfied to send them alone, after knowing the master's principles and the pains he took to deserve their confidence.

It was the artist's intention to take no pupils but young ladies belonging to rich families of good position, in order to meet with no complaints as to the composition of his classes. He even refused to take girls who wished to become artists; for to them he would have been obliged to give certain instructions without which no talent could advance in the profession. Little by little his prudence and the ability with which he initiated his pupils into his art, the certainty each mother felt that her daughter was in company with none but well-bred young girls, and the fact of the artist's marriage, gave him an excellent reputation as a teacher in society. When a young girl wished to learn to draw, and her mother asked advice of her friends, the answer was, invariably: "Send her to Servin's."

Servin became, therefore, for feminine art, a specialty; like Herbault for bonnets, Leroy for gowns, and Chevet for eatables. It was recognized that a young woman who had taken lessons from Servin was capable of judging the paintings of the Musee conclusively, of making a striking portrait, copying an ancient master, or painting a genre picture. The artist thus sufficed for the educational needs of the aristocracy. But in spite of these relations with the best families in Paris, he was independent and patriotic, and he maintained among them that easy, brilliant, half-ironical tone, and that freedom of judgment which characterize painters.

He had carried his scrupulous precaution into the arrangements of the locality where his pupils studied. The entrance to the attic above his apartments was walled up. To reach this retreat, as sacred as a harem, it was necessary to go up a small spiral staircase made within his own rooms. The studio, occupying nearly the whole attic floor under the roof, presented to the eye those vast proportions which surprise inquirers when, after attaining sixty feet above the ground-floor, they expect to find an artist squeezed into a gutter.

This gallery, so to speak, was profusely lighted from above, through enormous panes of glass furnished with those green linen shades by means of which all artists arrange the light. A quantity of caricatures, heads drawn at a stroke, either in color or with the point of a knife, on walls painted in a dark gray, proved that, barring a difference in expression, the most distinguished young girls have as much fun and folly in their minds as men. A small stove with a large pipe, which described a fearful zigzag before it reached the upper regions of the roof, was the necessary and infallible ornament of the room. A shelf ran round the walls, on which were models in plaster, heterogeneously placed, most of them covered with gray dust. Here and there, above this shelf, a head of Niobe, hanging to a nail, presented her pose of woe; a Venus smiled; a hand thrust itself forward like that of a pauper asking alms; a few "ecorches," yellowed by smoke, looked like limbs snatched over-night from a graveyard; besides these objects, pictures, drawings, lay figures, frames without paintings, and paintings without frames gave to this irregular apartment that studio physiognomy which is distinguished for its singular jumble of ornament and bareness, poverty and riches, care and neglect. The vast receptacle of an "atelier," where all seems small, even man, has something of the air of an Opera "coulisse"; here lie ancient garments, gilded armor, fragments of stuffs, machinery. And yet there is something mysteriously grand, like thought, in it; genius and death are there; Diana and Apollo beside a skull or skeleton, beauty and destruction, poesy and reality, colors glowing in the shadows, often a whole drama, motionless and silent. Strange symbol of an artist's head!

At the moment when this history begins, a brilliant July sun was illuminating the studio, and two rays striking athwart it lengthwise, traced diaphanous gold lines in which the dust was shimmering. A dozen easels raised their sharp points like masts in a port. Several young girls were animating the scene by the variety of their expressions, their attitudes, and the differences in their toilets. The strong shadows cast by the green serge curtains, arranged according to the needs of each easel, produced a multitude of contrasts, and the piquant effects of light and shade. This group was the prettiest of all the pictures in the studio.

A fair young girl, very simply dressed, sat at some distance from her companions, working bravely and seeming to be in dread of some mishap. No one looked at her, or spoke to her; she was much the prettiest, the most modest, and, apparently, the least rich among them. Two principal groups, distinctly separated from each other, showed the presence of two sets or cliques, two minds even here, in this studio, where one might suppose that rank and fortune would be forgotten.

But, however that might be, these young girls, sitting or standing, in the midst of their color-boxes, playing with their brushes or preparing them, handling their dazzling palettes, painting, laughing, talking, singing, absolutely natural, and exhibiting their real selves, composed a spectacle unknown to man. One of them, proud, haughty, capricious, with black hair and beautiful hands, was casting the flame of her glance here and there at random; another, light-hearted and gay, a smile upon her lips, with chestnut hair and delicate white hands, was a typical French virgin, thoughtless, and without hidden thoughts, living her natural real life; a third was dreamy, melancholy, pale, bending her head like a drooping flower; her neighbor, on the contrary, tall, indolent, with Asiatic habits, long eyes, moist and black, said but little, and reflected, glancing covertly at the head of Antinous.

Among them, like the "jocoso" of a Spanish play, full of wit and epigrammatic sallies, another girl was watching the rest with a comprehensive glance, making them laugh, and tossing up her head, too lively and arch not to be pretty. She appeared to rule the first group of girls, who were the daughters of bankers, notaries, and merchants,--all rich, but aware of the imperceptible though cutting slights which another group belonging to the aristocracy put upon them. The latter were led by the daughter of one of the King's ushers, a little creature, as silly as she was vain, proud of being the daughter of a man with "an office at court." She was a girl who always pretended to understand the remarks of the master at the first word, and seemed to do her work as a favor to him. She used an eyeglass, came very much dressed, and always late, and entreated her companions to speak low.

In this second group were several girls with exquisite figures and distinguished features, but there was little in their glance or expression that was simple and candid. Though their attitudes were elegant and their movements graceful, their faces lacked frankness; it was easy to see that they belonged to a world where polite manners form the character from early youth, and the abuse of social pleasures destroys sentiment and develops egotism.

But when the whole class was here assembled, childlike heads were seen among this bevy of young girls, ravishingly pure and virgin, faces with lips half-opened, through which shone spotless teeth, and on which a virgin smile was flickering. The studio then resembled not a studio, but a group of angels seated on a cloud in ether.

By mid-day, on this occasion, Servin had not appeared. For some days past he had spent most of his time in a studio which he kept elsewhere, where he was giving the last touches to a picture for the Exposition. All of a sudden Mademoiselle Amelie Thirion, the leader of the aristocrats, began to speak in a low voice, and very earnestly, to her neighbor. A great silence fell on the group of patricians, and the commercial party, surprised, were equally silent, trying to discover the subject of this earnest conference. The secret of the young _ultras_ was soon revealed.

Amelie rose, took an easel which stood near hers, carried it to a distance from the noble group, and placed it close to a board partition which separated the studio from the extreme end of the attic, where all broken casts, defaced canvases and the winter supply of wood were kept. Amelie's action caused a murmur of surprise, which did not prevent her from accomplishing the change by rolling hastily to the side of the easel the stool, the box of colors, and even the picture by Prudhon, which the absent pupil was copying. After this coup d'etat the Right began to work in silence, but the Left discoursed at length.

"What will Mademoiselle Piombo say to that?" asked a young girl of Mademoiselle Matilde Roguin, the lively oracle of the banking group.

"She's not a girl to say anything," was the reply; "but fifty years hence she'll remember the insult as if it were done to her the night before, and revenge it cruelly. She is a person that I, for one, don't want to be at war with."

"The slight these young ladies mean to put upon her is all the more unkind," said another young girl, "because yesterday, Mademoiselle Ginevra was very sad. Her father, they say, has just resigned. They ought not to add to her trouble, for she was very considerate of them during the Hundred Days. Never did she say a word to wound them. On the contrary, she avoided politics. But I think our _ultras_ are acting more from jealousy than from party spite."

"I have a great mind to go and get Mademoiselle Piombo's easel and place it next to mine," said Matilde Roguin. She rose, but second thoughts made her sit down again.

"With a character like hers," she said, "one can't tell how she would take a civility; better wait events."

"Ecco la," said the young girl with the black eyes, languidly.

The steps of a person coming up the narrow stairway sounded through the studio. The words: "Here she comes!" passed from mouth to mouth, and then the most absolute silence reigned.

To understand the importance of the ostracism imposed by the act of Amelie Thirion, it is necessary to add that this scene took place toward the end of the month of July, 1815. The second return of the Bourbons had shaken many friendships which had held firm under the first Restoration. At this moment families, almost all divided in opinion, were renewing many of the deplorable scenes which stain the history of all countries in times of civil or religious wars. Children, young girls, old men shared the monarchial fever to which the country was then a victim. Discord glided beneath all roofs; distrust dyed with its gloomy colors the words and the actions of the most intimate friends.

Ginevra Piombo loved Napoleon to idolatry; how, then, could she hate him? The emperor was her compatriot and the benefactor of her father. The Baron di Piombo was among those of Napoleon's devoted servants who had co-operated most effectually in the return from Elba. Incapable of denying his political