His Masterpiece - Émile Zola (ebook reader 8 inch .txt) 📗

repeat that he had promised Dubuche on oath to bring Claude with him; the painter obstinately refused to go, as if he were frightened at the idea of again beholding Bennecourt, the Seine, the islands, all the stretch of country where his happy years lay dead and buried. It was necessary for Christine to interfere, and he finished by giving way, although full of repugnance to the trip. It precisely happened that on the day prior to the appointment he had worked at his painting until very late, being taken with the old fever again. And so the next morning⁠—it was Sunday⁠—being devoured with a longing to paint, he went off most reluctantly, tearing himself away from his picture with a pang. What was the use of returning to Bennecourt? All that was dead, it no longer existed. Paris alone remained, and even in Paris there was but one view, the point of the Cité, that vision which haunted him always and everywhere, that one corner where he ever left his heart.

Sandoz, finding him nervous in the railway carriage, and seeing that his eyes remained fixed on the window as if he had been leaving the city⁠—which had gradually grown smaller and seemed shrouded in mist⁠—for years, did all he could to divert his mind, telling him, for instance, what he knew about Dubuche’s real position. At the outset, old Margaillan, glorifying in his bemedalled son-in-law, had trotted him about and introduced him everywhere as his partner and successor. There was a fellow who would conduct business briskly, who would build houses more cheaply and in finer style than ever, for hadn’t he grown pale over books? But Dubuche’s first idea proved disastrous; on some land belonging to his father-in-law in Burgundy he established a brickyard in so unfavourable a situation, and after so defective a plan, that the venture resulted in the sheer loss of two hundred thousand francs. Then he turned his attention to erecting houses, insisting upon bringing personal ideas into execution, a certain general scheme of his which would revolutionise the building art. These ideas were the old theories he held from the revolutionary chums of his youth, everything that he had promised he would realise when he was free; but he had not properly reduced the theories to method, and he applied them unseasonably, with the awkwardness of a pupil lacking the sacred fire; he experimented with terra-cotta and pottery ornamentation, large bay windows, and especially with the employment of iron⁠—iron girders, iron staircases, and iron roofings; and as the employment of these materials increased the outlay, he again ended with a catastrophe, which was all the greater as he was a pitiful manager, and had lost his head since he had become rich, rendered the more obtuse, it seemed, by money, quite spoilt and at sea, unable even to revert to his old habits of industry. This time Margaillan grew angry; he for thirty years had been buying ground, building and selling again, estimating at a glance the cost and return of house property; so many yards of building at so much the foot having to yield so many suites of rooms at so much rent. He wouldn’t have anything more to do with a fellow who blundered about lime, bricks, millstones, and in fact everything, who employed oak when deal would have suited, and who could not bring himself to cut up a storey⁠—like a consecrated wafer⁠—into as many little squares as was necessary. No, no, none of that! He rebelled against art, after having been ambitious to introduce a little of it into his routine, in order to satisfy a longstanding worry about his own ignorance. And after that matters had gone from bad to worse, terrible quarrels had arisen between the son-in-law and the father-in-law, the former disdainful, intrenching himself behind his science, and the latter shouting that the commonest labourer knew more than an architect did. The millions were in danger, and one fine day Margaillan turned Dubuche out of his offices, forbidding him ever to set foot in them again, since he did not even know how to direct a building-yard where only four men worked. It was a disaster, a lamentable failure, the School of Arts collapsing, derided by a mason!

At this point of Sandoz’s story, Claude, who had begun to listen to his friend, inquired:

“Then what is Dubuche doing now?”

“I don’t know⁠—nothing probably,” answered Sandoz. “He told me that he was anxious about his children’s health, and was taking care of them.”

That pale woman, Madame Margaillan, as slender as the blade of a knife, had died of tubercular consumption, which was plainly the hereditary disease, the source of the family’s degeneracy, for her daughter, Régine, had been coughing ever since her marriage. She was now drinking the waters at Mont-Dore, whither she had not dared to take her children, as they had been very poorly the year before, after a season spent in that part, where the air was too keen for them. This explained the scattering of the family: the mother over yonder with her maid; the grandfather in Paris, where he had resumed his great building enterprises, battling amid his four hundred workmen, and crushing the idle and the incapable beneath his contempt; and the father in exile at La Richaudière, set to watch over his son and daughter, shut up there, after the very first struggle, as if it had broken him down for life. In a moment of effusion Dubuche had even let Sandoz understand that as his wife was so extremely delicate he now lived with her merely on friendly terms.

“A nice marriage,” said Sandoz, simply, by way of conclusion.

It was ten o’clock when the two friends rang at the iron gate of La Richaudière. The estate, with which they were not acquainted, amazed them. There was a superb park, a garden laid out in the French style, with balustrades and steps spreading away in regal fashion; three huge conservatories and a