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diff --git a/old/1230-h/1230-h.htm b/old/1230-h/1230-h.htm new file mode 100644 index 0000000..2f650b1 --- /dev/null +++ b/old/1230-h/1230-h.htm @@ -0,0 +1,1621 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Pierre Grassou, by Honore de Balzac + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Pierre Grassou, by Honore de Balzac + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Pierre Grassou + +Author: Honore de Balzac + +Translator: Katharine Prescott Wormeley + +Release Date: February 21, 2010 [EBook #1230] +Last Updated: April 3, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PIERRE GRASSOU *** + + + + +Produced by John Bickers, Dagny, and David Widger + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + PIERRE GRASSOU + </h1> + <p> + <br /><br /> + </p> + <h2> + By Honore De Balzac + </h2> + <p> + <br /><br /> + </p> + <h3> + Translated by Katharine Prescott Wormeley + </h3> + <p> + <br /><br /> <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h3> + Dedication <br /><br /> To The Lieutenant-Colonel of Artillery, Periollas,<br /> + As a Testimony of the Affectionate Esteem of the Author,<br /> <br /><br /> + De Balzac<br /> + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h3> + <a href="#link2H_4_0001"> PIERRE GRASSOU </a><br /><br /> <a + href="#link2H_4_0002"> ADDENDUM </a><br /><br /> + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + PIERRE GRASSOU + </h1> + <p> + Whenever you have gone to take a serious look at the exhibition of works + of sculpture and painting, such as it has been since the revolution of + 1830, have you not been seized by a sense of uneasiness, weariness, + sadness, at the sight of those long and over-crowded galleries? Since + 1830, the true Salon no longer exists. The Louvre has again been taken by + assault,—this time by a populace of artists who have maintained + themselves in it. + </p> + <p> + In other days, when the Salon presented only the choicest works of art, it + conferred the highest honor on the creations there exhibited. Among the + two hundred selected paintings, the public could still choose: a crown was + awarded to the masterpiece by hands unseen. Eager, impassioned discussions + arose about some picture. The abuse showered on Delacroix, on Ingres, + contributed no less to their fame than the praises and fanaticism of their + adherents. To-day, neither the crowd nor the criticism grows impassioned + about the products of that bazaar. Forced to make the selection for + itself, which in former days the examining jury made for it, the attention + of the public is soon wearied and the exhibition closes. Before the year + 1817 the pictures admitted never went beyond the first two columns of the + long gallery of the old masters; but in that year, to the great + astonishment of the public, they filled the whole space. Historical, + high-art, genre paintings, easel pictures, landscapes, flowers, animals, + and water-colors,—these eight specialties could surely not offer + more than twenty pictures in one year worthy of the eyes of the public, + which, indeed, cannot give its attention to a greater number of such + works. The more the number of artists increases, the more careful and + exacting the jury of admission ought to be. + </p> + <p> + The true character of the Salon was lost as soon as it spread along the + galleries. The Salon should have remained within fixed limits of + inflexible proportions, where each distinct specialty could show its + masterpieces only. An experience of ten years has shown the excellence of + the former institution. Now, instead of a tournament, we have a mob; + instead of a noble exhibition, we have a tumultuous bazaar; instead of a + choice selection we have a chaotic mass. What is the result? A great + artist is swamped. Decamps' "Turkish Cafe," "Children at a Fountain," + "Joseph," and "The Torture," would have redounded far more to his credit + if the four pictures had been exhibited in the great Salon with the + hundred good pictures of that year, than his twenty pictures could, among + three thousand others, jumbled together in six galleries. + </p> + <p> + By some strange contradiction, ever since the doors are open to every one + there has been much talk of unknown and unrecognized genius. When, twelve + years earlier, Ingres' "Courtesan," and that of Sigalon, the "Medusa" of + Gericault, the "Massacre of Scio" by Delacroix, the "Baptism of Henri IV." + by Eugene Deveria, admitted by celebrated artists accused of jealousy, + showed the world, in spite of the denials of criticism, that young and + vigorous palettes existed, no such complaint was made. Now, when the + veriest dauber of canvas can send in his work, the whole talk is of genius + neglected! Where judgment no longer exists, there is no longer anything + judged. But whatever artists may be doing now, they will come back in time + to the examination and selection which presents their works to the + admiration of the crowd for whom they work. Without selection by the + Academy there will be no Salon, and without the Salon art may perish. + </p> + <p> + Ever since the catalogue has grown into a book, many names have appeared + in it which still remain in their native obscurity, in spite of the ten or + a dozen pictures attached to them. Among these names perhaps the most + unknown to fame is that of an artist named Pierre Grassou, coming from + Fougeres, and called simply "Fougeres" among his brother-artists, who, at + the present moment holds a place, as the saying is, "in the sun," and who + suggested the rather bitter reflections by which this sketch of his life + is introduced,—reflections that are applicable to many other + individuals of the tribe of artists. + </p> + <p> + In 1832, Fougeres lived in the rue de Navarin, on the fourth floor of one + of those tall, narrow houses which resemble the obelisk of Luxor, and + possess an alley, a dark little stairway with dangerous turnings, three + windows only on each floor, and, within the building, a courtyard, or, to + speak more correctly, a square pit or well. Above the three or four rooms + occupied by Grassou of Fougeres was his studio, looking over to + Montmartre. This studio was painted in brick-color, for a background; the + floor was tinted brown and well frotted; each chair was furnished with a + bit of carpet bound round the edges; the sofa, simple enough, was clean as + that in the bedroom of some worthy bourgeoise. All these things denoted + the tidy ways of a small mind and the thrift of a poor man. A bureau was + there, in which to put away the studio implements, a table for breakfast, + a sideboard, a secretary; in short, all the articles necessary to a + painter, neatly arranged and very clean. The stove participated in this + Dutch cleanliness, which was all the more visible because the pure and + little changing light from the north flooded with its cold clear beams the + vast apartment. Fougeres, being merely a genre painter, does not need the + immense machinery and outfit which ruin historical painters; he has never + recognized within himself sufficient faculty to attempt high-art, and he + therefore clings to easel painting. + </p> + <p> + At the beginning of the month of December of that year, a season at which + the bourgeois of Paris conceive, periodically, the burlesque idea of + perpetuating their forms and figures already too bulky in themselves, + Pierre Grassou, who had risen early, prepared his palette, and lighted his + stove, was eating a roll steeped in milk, and waiting till the frost on + his windows had melted sufficiently to let the full light in. The weather + was fine and dry. At this moment the artist, who ate his bread with that + patient, resigned air that tells so much, heard and recognized the step of + a man who had upon his life the influence such men have on the lives of + nearly all artists,—the step of Elie Magus, a picture-dealer, a + usurer in canvas. The next moment Elie Magus entered and found the painter + in the act of beginning his work in the tidy studio. + </p> + <p> + "How are you, old rascal?" said the painter. + </p> + <p> + Fougeres had the cross of the Legion of honor, and Elie Magus bought his + pictures at two and three hundred francs apiece, so he gave himself the + airs of a fine artist. + </p> + <p> + "Business is very bad," replied Elie. "You artists have such pretensions! + You talk of two hundred francs when you haven't put six sous' worth of + color on a canvas. However, you are a good fellow, I'll say that. You are + steady; and I've come to put a good bit of business in your way." + </p> + <p> + "Timeo Danaos et dona ferentes," said Fougeres. "Do you know Latin?" + </p> + <p> + "No." + </p> + <p> + "Well, it means that the Greeks never proposed a good bit of business to + the Trojans without getting their fair share of it. In the olden time they + used to say, 'Take my horse.' Now we say, 'Take my bear.' Well, what do + you want, Ulysses-Lagingeole-Elie Magus?" + </p> + <p> + These words will give an idea of the mildness and wit with which Fougeres + employed what painters call studio fun. + </p> + <p> + "Well, I don't deny that you are to paint me two pictures for nothing." + </p> + <p> + "Oh! oh!" + </p> + <p> + "I'll leave you to do it, or not; I don't ask it. But you're an honest + man." + </p> + <p> + "Come, out with it!" + </p> + <p> + "Well, I'm prepared to bring you a father, mother, and only daughter." + </p> + <p> + "All for me?" + </p> + <p> + "Yes—they want their portraits taken. These bourgeois—they are + crazy about art—have never dared to enter a studio. The girl has a + 'dot' of a hundred thousand francs. You can paint all three,—perhaps + they'll turn out family portraits." + </p> + <p> + And with that the old Dutch log of wood who passed for a man and who was + called Elie Magus, interrupted himself to laugh an uncanny laugh which + frightened the painter. He fancied he heard Mephistopheles talking + marriage. + </p> + <p> + "Portraits bring five hundred francs apiece," went on Elie; "so you can + very well afford to paint me three pictures." + </p> + <p> + "True for you!" cried Fougeres, gleefully. + </p> + <p> + "And if you marry the girl, you won't forget me." + </p> + <p> + "Marry! I?" cried Pierre Grassou,—"I, who have a habit of sleeping + alone; and get up at cock-crow, and all my life arranged—" + </p> + <p> + "One hundred thousand francs," said Magus, "and a quiet girl, full of + golden tones, as you call 'em, like a Titian." + </p> + <p> + "What class of people are they?" + </p> + <p> + "Retired merchants; just now in love with art; have a country-house at + Ville d'Avray, and ten or twelve thousand francs a year." + </p> + <p> + "What business did they do?" + </p> + <p> + "Bottles." + </p> + <p> + "Now don't say that word; it makes me think of corks and sets my teeth on + edge." + </p> + <p> + "Am I to bring them?" + </p> + <p> + "Three portraits—I could put them in the Salon; I might go in for + portrait-painting. Well, yes!" + </p> + <p> + Old Elie descended the staircase to go in search of the Vervelle family. + To know to what extend this proposition would act upon the painter, and + what effect would be produced upon him by the Sieur and Dame Vervelle, + adorned by their only daughter, it is necessary to cast an eye on the + anterior life of Pierre Grassou of Fougeres. + </p> + <p> + When a pupil, Fougeres had studied drawing with Servin, who was thought a + great draughtsman in academic circles. After that he went to Schinner's, + to learn the secrets of the powerful and magnificent color which + distinguishes that master. Master and scholars were all discreet; at any + rate Pierre discovered none of their secrets. From there he went to + Sommervieux' atelier, to acquire that portion of the art of painting which + is called composition, but composition was shy and distant to him. Then he + tried to snatch from Decamps and Granet the mystery of their interior + effects. The two masters were not robbed. Finally Fougeres ended his + education with Duval-Lecamus. During these studied and these different + transformations Fougeres' habits and ways of life were tranquil and moral + to a degree that furnished matter of jesting to the various ateliers where + he sojourned; but everywhere he disarmed his comrades by his modesty and + by the patience and gentleness of a lamblike nature. The masters, however, + had no sympathy for the good lad; masters prefer bright fellows, eccentric + spirits, droll or fiery, or else gloomy and deeply reflective, which argue + future talent. Everything about Pierre Grassou smacked of mediocrity. His + nickname "Fougeres" (that of the painter in the play of "The Eglantine") + was the source of much teasing; but, by force of circumstances, he + accepted the name of the town in which he had first seen light. + </p> + <p> + Grassou of Fougeres resembled his name. Plump and of medium height, he had + a dull complexion, brown eyes, black hair, a turned-up nose, rather wide + mouth, and long ears. His gentle, passive, and resigned air gave a certain + relief to these leading features of a physiognomy that was full of health, + but wanting in action. This young man, born to be a virtuous bourgeois, + having left his native place and come to Paris to be clerk with a + color-merchant (formerly of Mayenne and a distant connection of the + Orgemonts) made himself a painter simply by the fact of an obstinacy which + constitutes the Breton character. What he suffered, the manner in which he + lived during those years of study, God only knows. He suffered as much as + great men suffer when they are hounded by poverty and hunted like wild + beasts by the pack of commonplace minds and by troops of vanities athirst + for vengeance. + </p> + <p> + As soon as he thought himself able to fly on his own wings, Fougeres took + a studio in the upper part of the rue des Martyrs, where he began to delve + his way. He made his first appearance in 1819. The first picture he + presented to the jury of the Exhibition at the Louvre represented a + village wedding rather laboriously copied from Greuze's picture. It was + rejected. When Fougeres heard of the fatal decision, he did not fall into + one of those fits of epileptic self-love to which strong natures give + themselves up, and which sometimes end in challenges sent to the director + or the secretary of the Museum, or even by threats of assassination. + Fougeres quietly fetched his canvas, wrapped it in a handkerchief, and + brought it home, vowing in his heart that he would still make himself a + great painter. He placed his picture on the easel, and went to one of his + former masters, a man of immense talent,—to Schinner, a kind and + patient artist, whose triumph at that year's Salon was complete. Fougeres + asked him to come and criticise the rejected work. The great painter left + everything and went at once. When poor Fougeres had placed the work before + him Schinner, after a glance, pressed Fougeres' hand. + </p> + <p> + "You are a fine fellow," he said; "you've a heart of gold, and I must not + deceive you. Listen; you are fulfilling all the promises you made in the + studios. When you find such things as that at the tip of your brush, my + good Fougeres, you had better leave colors with Brullon, and not take the + canvas of others. Go home early, put on your cotton night-cap, and be in + bed by nine o'clock. The next morning early go to some government office, + ask for a place, and give up art." + </p> + <p> + "My dear friend," said Fougeres, "my picture is already condemned; it is + not a verdict that I want of you, but the cause of that verdict." + </p> + <p> + "Well—you paint gray and sombre; you see nature being a crape veil; + your drawing is heavy, pasty; your composition is a medley of Greuze, who + only redeemed his defects by the qualities which you lack." + </p> + <p> + While detailing these faults of the picture Schinner saw on Fougeres' face + so deep an expression of sadness that he carried him off to dinner and + tried to console him. The next morning at seven o'clock Fougeres was at + his easel working over the rejected picture; he warmed the colors; he made + the corrections suggested by Schinner, he touched up his figures. Then, + disgusted with such patching, he carried the picture to Elie Magus. Elie + Magus, a sort of Dutch-Flemish-Belgian, had three reasons for being what + he became,—rich and avaricious. Coming last from Bordeaux, he was + just starting in Paris, selling old pictures and living on the boulevard + Bonne-Nouvelle. Fougeres, who relied on his palette to go to the baker's, + bravely ate bread and nuts, or bread and milk, or bread and cherries, or + bread and cheese, according to the seasons. Elie Magus, to whom Pierre + offered his first picture, eyed it for some time and then gave him fifteen + francs. + </p> + <p> + "With fifteen francs a year coming in, and a thousand francs for + expenses," said Fougeres, smiling, "a man will go fast and far." + </p> + <p> + Elie Magus made a gesture; he bit his thumbs, thinking that he might have + had that picture for five francs. + </p> + <p> + For several days Pierre walked down from the rue des Martyrs and stationed + himself at the corner of the boulevard opposite to Elie's shop, whence his + eye could rest upon his picture, which did not obtain any notice from the + eyes of the passers along the street. At the end of a week the picture + disappeared; Fougeres walked slowly up and approached the dealer's shop in + a lounging manner. The Jew was at his door. + </p> + <p> + "Well, I see you have sold my picture." + </p> + <p> + "No, here it is," said Magus; "I've framed it, to show it to some one who + fancies he knows about painting." + </p> + <p> + Fougeres had not the heart to return to the boulevard. He set about + another picture, and spent two months upon it,—eating mouse's meals + and working like a galley-slave. + </p> + <p> + One evening he went to the boulevard, his feet leading him fatefully to + the dealer's shop. His picture was not to be seen. + </p> + <p> + "I've sold your picture," said Elie Magus, seeing him. + </p> + <p> + "For how much?" + </p> + <p> + "I got back what I gave and a small interest. Make me some Flemish + interiors, a lesson of anatomy, landscapes, and such like, and I'll buy + them of you," said Elie. + </p> + <p> + Fougeres would fain have taken old Magus in his arms; he regarded him as a + father. He went home with joy in his heart; the great painter Schinner was + mistaken after all! In that immense city of Paris there were some hearts + that beat in unison with Pierre's; his talent was understood and + appreciated. The poor fellow of twenty-seven had the innocence of a lad of + sixteen. Another man, one of those distrustful, surly artists, would have + noticed the diabolical look on Elie's face and seen the twitching of the + hairs of his beard, the irony of his moustache, and the movement of his + shoulders which betrayed the satisfaction of Walter Scott's Jew in + swindling a Christian. + </p> + <p> + Fougeres marched along the boulevard in a state of joy which gave to his + honest face an expression of pride. He was like a schoolboy protecting a + woman. He met Joseph Bridau, one of his comrades, and one of those + eccentric geniuses destined to fame and sorrow. Joseph Bridau, who had, to + use his own expression, a few sous in his pocket, took Fougeres to the + Opera. But Fougeres didn't see the ballet, didn't hear the music; he was + imagining pictures, he was painting. He left Joseph in the middle of the + evening, and ran home to make sketches by lamp-light. He invented thirty + pictures, all reminiscence, and felt himself a man of genius. The next day + he bought colors, and canvases of various dimensions; he piled up bread + and cheese on his table, he filled a water-pot with water, he laid in a + provision of wood for his stove; then, to use a studio expression, he dug + at his pictures. He hired several models and Magus lent him stuffs. + </p> + <p> + After two months' seclusion the Breton had finished four pictures. Again + he asked counsel of Schinner, this time adding Bridau to the invitation. + The two painters saw in three of these pictures a servile imitation of + Dutch landscapes and interiors by Metzu, in the fourth a copy of + Rembrandt's "Lesson of Anatomy." + </p> + <p> + "Still imitating!" said Schinner. "Ah! Fougeres can't manage to be + original." + </p> + <p> + "You ought to do something else than painting," said Bridau. + </p> + <p> + "What?" asked Fougeres. + </p> + <p> + "Fling yourself into literature." + </p> + <p> + Fougeres lowered his head like a sheep when it rains. Then he asked and + obtained certain useful advice, and retouched his pictures before taking + them to Elie Magus. Elie paid him twenty-five francs apiece. At that price + of course Fougeres earned nothing; neither did he lose, thanks to his + sober living. He made a few excursions to the boulevard to see what became + of his pictures, and there he underwent a singular hallucination. His + neat, clean paintings, hard as tin and shiny as porcelain, were covered + with a sort of mist; they looked like old daubs. Magus was out, and Pierre + could obtain no information on this phenomenon. He fancied something was + wrong with his eyes. + </p> + <p> + The painter went back to his studio and made more pictures. After seven + years of continued toil Fougeres managed to compose and execute quite + passable work. He did as well as any artist of the second class. Elie + bought and sold all the paintings of the poor Breton, who earned + laboriously about two thousand francs a year while he spent but twelve + hundred. + </p> + <p> + At the Exhibition of 1829, Leon de Lora, Schinner, and Bridau, who all + three occupied a great position and were, in fact, at the head of the art + movement, were filled with pity for the perseverance and the poverty of + their old friend; and they caused to be admitted into the grand salon of + the Exhibition, a picture by Fougeres. This picture, powerful in interest + but derived from Vigneron as to sentiment and from Dubufe's first manner + as to execution, represented a young man in prison, whose hair was being + cut around the nape of the neck. On one side was a priest, on the other + two women, one old, one young, in tears. A sheriff's clerk was reading + aloud a document. On a wretched table was a meal, untouched. The light + came in through the bars of a window near the ceiling. It was a picture + fit to make the bourgeois shudder, and the bourgeois shuddered. Fougeres + had simply been inspired by the masterpiece of Gerard Douw; he had turned + the group of the "Dropsical Woman" toward the window, instead of + presenting it full front. The condemned man was substituted for the dying + woman—same pallor, same glance, same appeal to God. Instead of the + Dutch doctor, he had painted the cold, official figure of the sheriff's + clerk attired in black; but he had added an old woman to the young one of + Gerard Douw. The cruelly simple and good-humored face of the executioner + completed and dominated the group. This plagiarism, very cleverly + disguised, was not discovered. The catalogue contained the following:— + </p> +<pre xml:space="preserve"> + 510. Grassou de Fougeres (Pierre), rue de Navarin, 2. + Death-toilet of a Chouan, condemned to execution in 1809. +</pre> + <p> + Though wholly second-rate, the picture had immense success, for it + recalled the affair of the "chauffeurs," of Mortagne. A crowd collected + every day before the now fashionable canvas; even Charles X. paused to + look at it. "Madame," being told of the patient life of the poor Breton, + became enthusiastic over him. The Duc d'Orleans asked the price of the + picture. The clergy told Madame la Dauphine that the subject was + suggestive of good thoughts; and there was, in truth, a most satisfying + religious tone about it. Monseigneur the Dauphin admired the dust on the + stone-floor,—a huge blunder, by the way, for Fougeres had painted + greenish tones suggestive of mildew along the base of the walls. "Madame" + finally bought the picture for a thousand francs, and the Dauphin ordered + another like it. Charles X. gave the cross of the Legion of honor to this + son of a peasant who had fought for the royal cause in 1799. (Joseph + Bridau, the great painter, was not yet decorated.) The minister of the + Interior ordered two church pictures of Fougeres. + </p> + <p> + This Salon of 1829 was to Pierre Grassou his whole fortune, fame, future, + and life. Be original, invent, and you die by inches; copy, imitate, and + you'll live. After this discovery of a gold mine, Grassou de Fougeres + obtained his benefit of the fatal principle to which society owes the + wretched mediocrities to whom are intrusted in these days the election of + leaders in all social classes; who proceed, naturally, to elect themselves + and who wage a bitter war against all true talent. The principle of + election applied indiscriminately is false, and France will some day + abandon it. + </p> + <p> + Nevertheless the modesty, simplicity, and genuine surprise of the good and + gentle Fougeres silenced all envy and all recriminations. Besides, he had + on his side all of his clan who had succeeded, and all who expected to + succeed. Some persons, touched by the persistent energy of a man whom + nothing had discouraged, talked of Domenichino and said:— + </p> + <p> + "Perseverance in the arts should be rewarded. Grassou hasn't stolen his + successes; he has delved for ten years, the poor dear man!" + </p> + <p> + That exclamation of "poor dear man!" counted for half in the support and + the congratulations which the painter received. Pity sets up mediocrities + as envy pulls down great talents, and in equal numbers. The newspapers, it + is true, did not spare criticism, but the chevalier Fougeres digested them + as he had digested the counsel of his friends, with angelic patience. + </p> + <p> + Possessing, by this time, fifteen thousand francs, laboriously earned, he + furnished an apartment and studio in the rue de Navarin, and painted the + picture ordered by Monseigneur the Dauphin, also the two church pictures, + and delivered them at the time agreed on, with a punctuality that was very + discomforting to the exchequer of the ministry, accustomed to a different + course of action. But—admire the good fortune of men who are + methodical—if Grassou, belated with his work, had been caught by the + revolution of July he would not have got his money. + </p> + <p> + By the time he was thirty-seven Fougeres had manufactured for Elie Magus + some two hundred pictures, all of them utterly unknown, by the help of + which he had attained to that satisfying manner, that point of execution + before which the true artist shrugs his shoulders and the bourgeoisie + worships. Fougeres was dear to friends for rectitude of ideas, for + steadiness of sentiment, absolute kindliness, and great loyalty; though + they had no esteem for his palette, they loved the man who held it. + </p> + <p> + "What a misfortune it is that Fougeres has the vice of painting!" said his + comrades. + </p> + <p> + But for all this, Grassou gave excellent counsel, like those + feuilletonists incapable of writing a book who know very well where a book + is wanting. There was this difference, however, between literary critics + and Fougeres; he was eminently sensitive to beauties; he felt them, he + acknowledged them, and his advice was instinct with a spirit of justice + that made the justness of his remarks acceptable. After the revolution of + July, Fougeres sent about ten pictures a year to the Salon, of which the + jury admitted four or five. He lived with the most rigid economy, his + household being managed solely by an old charwoman. For all amusement he + visited his friends, he went to see works of art, he allowed himself a few + little trips about France, and he planned to go to Switzerland in search + of inspiration. This detestable artist was an excellent citizen; he + mounted guard duly, went to reviews, and paid his rent and provision-bills + with bourgeois punctuality. + </p> + <p> + Having lived all his life in toil and poverty, he had never had the time + to love. Poor and a bachelor, until now he did not desire to complicate + his simple life. Incapable of devising any means of increasing his little + fortune, he carried, every three months, to his notary, Cardot, his + quarterly earnings and economies. When the notary had received about three + thousand francs he invested them in some first mortgage, the interest of + which he drew himself and added to the quarterly payments made to him by + Fougeres. The painter was awaiting the fortunate moment when his property + thus laid by would give him the imposing income of two thousand francs, to + allow himself the otium cum dignitate of the artist and paint pictures; + but oh! what pictures! true pictures! each a finished picture! chouette, + Koxnoff, chocnosoff! His future, his dreams of happiness, the superlative + of his hopes—do you know what it was? To enter the Institute and + obtain the grade of officer of the Legion of honor; to side down beside + Schinner and Leon de Lora, to reach the Academy before Bridau, to wear a + rosette in his buttonhole! What a dream! It is only commonplace men who + think of everything. + </p> + <p> + Hearing the sound of several steps on the staircase, Fougeres rubbed up + his hair, buttoned his jacket of bottle-green velveteen, and was not a + little amazed to see, entering his doorway, a simpleton face vulgarly + called in studio slang a "melon." This fruit surmounted a pumpkin, clothed + in blue cloth adorned with a bunch of tintinnabulating baubles. The melon + puffed like a walrus; the pumpkin advanced on turnips, improperly called + legs. A true painter would have turned the little bottle-vendor off at + once, assuring him that he didn't paint vegetables. This painter looked at + his client without a smile, for Monsieur Vervelle wore a + three-thousand-franc diamond in the bosom of his shirt. + </p> + <p> + Fougeres glanced at Magus and said: "There's fat in it!" using a slang + term then much in vogue in the studios. + </p> + <p> + Hearing those words Monsieur Vervelle frowned. The worthy bourgeois drew + after him another complication of vegetables in the persons of his wife + and daughter. The wife had a fine veneer of mahogany on her face, and in + figure she resembled a cocoa-nut, surmounted by a head and tied in around + the waist. She pivoted on her legs, which were tap-rooted, and her gown + was yellow with black stripes. She proudly exhibited unutterable mittens + on a puffy pair of hands; the plumes of a first-class funeral floated on + an over-flowing bonnet; laces adorned her shoulders, as round behind as + they were before; consequently, the spherical form of the cocoa-nut was + perfect. Her feet, of a kind that painters call abatis, rose above the + varnished leather of the shoes in a swelling that was some inches high. + How the feet were ever got into the shoes, no one knows. + </p> + <p> + Following these vegetable parents was a young asparagus, who presented a + tiny head with smoothly banded hair of the yellow-carroty tone that a + Roman adores, long, stringy arms, a fairly white skin with reddish spots + upon it, large innocent eyes, and white lashes, scarcely any brows, a + leghorn bonnet bound with white satin and adorned with two honest bows of + the same satin, hands virtuously red, and the feet of her mother. The + faces of these three beings wore, as they looked round the studio, an air + of happiness which bespoke in them a respectable enthusiasm for Art. + </p> + <p> + "So it is you, monsieur, who are going to take our likenesses?" said the + father, assuming a jaunty air. + </p> + <p> + "Yes, monsieur," replied Grassou. + </p> + <p> + "Vervelle, he has the cross!" whispered the wife to the husband while the + painter's back was turned. + </p> + <p> + "Should I be likely to have our portraits painted by an artist who wasn't + decorated?" returned the former bottle-dealer. + </p> + <p> + Elie Magus here bowed to the Vervelle family and went away. Grassou + accompanied him to the landing. + </p> + <p> + "There's no one but you who would fish up such whales." + </p> + <p> + "One hundred thousand francs of 'dot'!" + </p> + <p> + "Yes, but what a family!" + </p> + <p> + "Three hundred thousand francs of expectations, a house in the rue + Boucherat, and a country-house at Ville d'Avray!" + </p> + <p> + "Bottles and corks! bottles and corks!" said the painter; "they set my + teeth on edge." + </p> + <p> + "Safe from want for the rest of your days," said Elie Magus as he + departed. + </p> + <p> + That idea entered the head of Pierre Grassou as the daylight had burst + into his garret that morning. + </p> + <p> + While he posed the father of the young person, he thought the + bottle-dealer had a good countenance, and he admired the face full of + violent tones. The mother and daughter hovered about the easel, marvelling + at all his preparations; they evidently thought him a demigod. This + visible admiration pleased Fougeres. The golden calf threw upon the family + its fantastic reflections. + </p> + <p> + "You must earn lots of money; but of course you don't spend it as you get + it," said the mother. + </p> + <p> + "No, madame," replied the painter; "I don't spend it; I have not the means + to amuse myself. My notary invests my money; he knows what I have; as soon + as I have taken him the money I never think of it again." + </p> + <p> + "I've always been told," cried old Vervelle, "that artists were baskets + with holes in them." + </p> + <p> + "Who is your notary—if it is not indiscreet to ask?" said Madame + Vervelle. + </p> + <p> + "A good fellow, all round," replied Grassou. "His name is Cardot." + </p> + <p> + "Well, well! if that isn't a joke!" exclaimed Vervelle. "Cardot is our + notary too." + </p> + <p> + "Take care! don't move," said the painter. + </p> + <p> + "Do pray hold still, Antenor," said the wife. "If you move about you'll + make monsieur miss; you should just see him working, and then you'd + understand." + </p> + <p> + "Oh! why didn't you have me taught the arts?" said Mademoiselle Vervelle + to her parents. + </p> + <p> + "Virginie," said her mother, "a young person ought not to learn certain + things. When you are married—well, till then, keep quiet." + </p> + <p> + During this first sitting the Vervelle family became almost intimate with + the worthy artist. They were to come again two days later. As they went + away the father told Virginie to walk in front; but in spite of this + separation, she overheard the following words, which naturally awakened + her curiosity. + </p> + <p> + "Decorated—thirty-seven years old—an artist who gets orders—puts + his money with our notary. We'll consult Cardot. Hein! Madame de Fougeres! + not a bad name—doesn't look like a bad man either! One might prefer + a merchant; but before a merchant retires from business one can never know + what one's daughter may come to; whereas an economical artist—and + then you know we love Art—Well, we'll see!" + </p> + <p> + While the Vervelle family discussed Pierre Grassou, Pierre Grassou + discussed in his own mind the Vervelle family. He found it impossible to + stay peacefully in his studio, so he took a walk on the boulevard, and + looked at all the red-haired women who passed him. He made a series of the + oddest reasonings to himself: gold was the handsomest of metals; a tawny + yellow represented gold; the Romans were fond of red-haired women, and he + turned Roman, etc. After two years of marriage what man would ever care + about the color of his wife's hair? Beauty fades,—but ugliness + remains! Money is one-half of all happiness. That night when he went to + bed the painter had come to think Virginie Vervelle charming. + </p> + <p> + When the three Vervelles arrived on the day of the second sitting the + artist received them with smiles. The rascal had shaved and put on clean + linen; he had also arranged his hair in a pleasing manner, and chosen a + very becoming pair of trousers and red leather slippers with pointed toes. + The family replied with smiles as flattering as those of the artist. + Virginie became the color of her hair, lowered her eyes, and turned aside + her head to look at the sketches. Pierre Grassou thought these little + affectations charming, Virginie had such grace; happily she didn't look + like her father or her mother; but whom did she look like? + </p> + <p> + During this sitting there were little skirmishes between the family and + the painter, who had the audacity to call pere Vervelle witty. This + flattery brought the family on the double-quick to the heart of the + artist; he gave a drawing to the daughter, and a sketch to the mother. + </p> + <p> + "What! for nothing?" they said. + </p> + <p> + Pierre Grassou could not help smiling. + </p> + <p> + "You shouldn't give away your pictures in that way; they are money," said + old Vervelle. + </p> + <p> + At the third sitting pere Vervelle mentioned a fine gallery of pictures + which he had in his country-house at Ville d'Avray—Rubens, Gerard + Douw, Mieris, Terburg, Rembrandt, Titian, Paul Potter, etc. + </p> + <p> + "Monsieur Vervelle has been very extravagant," said Madame Vervelle, + ostentatiously. "He has over one hundred thousand francs' worth of + pictures." + </p> + <p> + "I love Art," said the former bottle-dealer. + </p> + <p> + When Madame Vervelle's portrait was begun that of her husband was nearly + finished, and the enthusiasm of the family knew no bounds. The notary had + spoken in the highest praise of the painter. Pierre Grassou was, he said, + one of the most honest fellows on earth; he had laid by thirty-six + thousand francs; his days of poverty were over; he now saved about ten + thousand francs a year and capitalized the interest; in short, he was + incapable of making a woman unhappy. This last remark had enormous weight + in the scales. Vervelle's friends now heard of nothing but the celebrated + painter Fougeres. + </p> + <p> + The day on which Fougeres began the portrait of Mademoiselle Virginie, he + was virtually son-in-law to the Vervelle family. The three Vervelles + bloomed out in this studio, which they were now accustomed to consider as + one of their residences; there was to them an inexplicable attraction in + this clean, neat, pretty, and artistic abode. Abyssus abyssum, the + commonplace attracts the commonplace. Toward the end of the sitting the + stairway shook, the door was violently thrust open by Joseph Bridau; he + came like a whirlwind, his hair flying. He showed his grand haggard face + as he looked about him, casting everywhere the lightning of his glance; + then he walked round the whole studio, and returned abruptly to Grassou, + pulling his coat together over the gastric region, and endeavouring, but + in vain, to button it, the button mould having escaped from its capsule of + cloth. + </p> + <p> + "Wood is dear," he said to Grassou. + </p> + <p> + "Ah!" + </p> + <p> + "The British are after me" (slang term for creditors) "Gracious! do you + paint such things as that?" + </p> + <p> + "Hold your tongue!" + </p> + <p> + "Ah! to be sure, yes." + </p> + <p> + The Vervelle family, extremely shocked by this extraordinary apparition, + passed from its ordinary red to a cherry-red, two shades deeper. + </p> + <p> + "Brings in, hey?" continued Joseph. "Any shot in your locker?" + </p> + <p> + "How much do you want?" + </p> + <p> + "Five hundred. I've got one of those bull-dog dealers after me, and if the + fellow once gets his teeth in he won't let go while there's a bit of me + left. What a crew!" + </p> + <p> + "I'll write you a line for my notary." + </p> + <p> + "Have you got a notary?" + </p> + <p> + "Yes." + </p> + <p> + "That explains to me why you still make cheeks with pink tones like a + perfumer's sign." + </p> + <p> + Grassou could not help coloring, for Virginie was sitting. + </p> + <p> + "Take Nature as you find her," said the great painter, going on with his + lecture. "Mademoiselle is red-haired. Well, is that a sin? All things are + magnificent in painting. Put some vermillion on your palette, and warm up + those cheeks; touch in those little brown spots; come, butter it well in. + Do you pretend to have more sense than Nature?" + </p> + <p> + "Look here," said Fougeres, "take my place while I go and write that + note." + </p> + <p> + Vervelle rolled to the table and whispered in Grassou's ear:— + </p> + <p> + "Won't that country lout spoilt it?" + </p> + <p> + "If he would only paint the portrait of your Virginie it would be worth a + thousand times more than mine," replied Fougeres, vehemently. + </p> + <p> + Hearing that reply the bourgeois beat a quiet retreat to his wife, who was + stupefied by the invasion of this ferocious animal, and very uneasy at his + co-operation in her daughter's portrait. + </p> + <p> + "Here, follow these indications," said Bridau, returning the palette, and + taking the note. "I won't thank you. I can go back now to d'Arthez' + chateau, where I am doing a dining-room, and Leon de Lora the tops of the + doors—masterpieces! Come and see us." + </p> + <p> + And off he went without taking leave, having had enough of looking at + Virginie. + </p> + <p> + "Who is that man?" asked Madame Vervelle. + </p> + <p> + "A great artist," answered Grassou. + </p> + <p> + There was silence for a moment. + </p> + <p> + "Are you quite sure," said Virginie, "that he has done no harm to my + portrait? He frightened me." + </p> + <p> + "He has only done it good," replied Grassou. + </p> + <p> + "Well, if he is a great artist, I prefer a great artist like you," said + Madame Vervelle. + </p> + <p> + The ways of genius had ruffled up these orderly bourgeois. + </p> + <p> + The phase of autumn so pleasantly named "Saint Martin's summer" was just + beginning. With the timidity of a neophyte in presence of a man of genius, + Vervelle risked giving Fougeres an invitation to come out to his + country-house on the following Sunday. He knew, he said, how little + attraction a plain bourgeois family could offer to an artist. + </p> + <p> + "You artists," he continued, "want emotions, great scenes, and witty talk; + but you'll find good wines, and I rely on my collection of pictures to + compensate an artist like you for the bore of dining with mere merchants." + </p> + <p> + This form of idolatry, which stroked his innocent self-love, was charming + to our poor Pierre Grassou, so little accustomed to such compliments. The + honest artist, that atrocious mediocrity, that heart of gold, that loyal + soul, that stupid draughtsman, that worthy fellow, decorated by royalty + itself with the Legion of honor, put himself under arms to go out to Ville + d'Avray and enjoy the last fine days of the year. The painter went + modestly by public conveyance, and he could not but admire the beautiful + villa of the bottle-dealer, standing in a park of five acres at the summit + of Ville d'Avray, commanding a noble view of the landscape. Marry + Virginie, and have that beautiful villa some day for his own! + </p> + <p> + He was received by the Vervelles with an enthusiasm, a joy, a kindliness, + a frank bourgeois absurdity which confounded him. It was indeed a day of + triumph. The prospective son-in-law was marched about the grounds on the + nankeen-colored paths, all raked as they should be for the steps of so + great a man. The trees themselves looked brushed and combed, and the lawns + had just been mown. The pure country air wafted to the nostrils a most + enticing smell of cooking. All things about the mansion seemed to say: + </p> + <p> + "We have a great artist among us." + </p> + <p> + Little old Vervelle himself rolled like an apple through his park, the + daughter meandered like an eel, the mother followed with dignified step. + These three beings never let go for one moment of Pierre Grassou for seven + hours. After dinner, the length of which equalled its magnificence, + Monsieur and Madame Vervelle reached the moment of their grand theatrical + effect,—the opening of the picture gallery illuminated by lamps, the + reflections of which were managed with the utmost care. Three neighbours, + also retired merchants, an old uncle (from whom were expectations), an + elderly Demoiselle Vervelle, and a number of other guests invited to be + present at this ovation to a great artist followed Grassou into the + picture gallery, all curious to hear his opinion of the famous collection + of pere Vervelle, who was fond of oppressing them with the fabulous value + of his paintings. The bottle-merchant seemed to have the idea of competing + with King Louis-Philippe and the galleries of Versailles. + </p> + <p> + The pictures, magnificently framed, each bore labels on which was read in + black letters on a gold ground: + </p> +<pre xml:space="preserve"> + Rubens + Dance of fauns and nymphs + + Rembrandt + Interior of a dissecting room. The physician van Tromp + instructing his pupils. +</pre> + <p> + In all, there were one hundred and fifty pictures, varnished and dusted. + Some were covered with green baize curtains which were not undrawn in + presence of young ladies. + </p> + <p> + Pierre Grassou stood with arms pendent, gaping mouth, and no word upon his + lips as he recognized half his own pictures in these works of art. He was + Rubens, he was Rembrandt, Mieris, Metzu, Paul Potter, Gerard Douw! He was + twenty great masters all by himself. + </p> + <p> + "What is the matter? You've turned pale!" + </p> + <p> + "Daughter, a glass of water! quick!" cried Madame Vervelle. The painter + took pere Vervelle by the button of his coat and led him to a corner on + pretence of looking at a Murillo. Spanish pictures were then the rage. + </p> + <p> + "You bought your pictures from Elie Magus?" + </p> + <p> + "Yes, all originals." + </p> + <p> + "Between ourselves, tell me what he made you pay for those I shall point + out to you." + </p> + <p> + Together they walked round the gallery. The guests were amazed at the + gravity in which the artist proceeded, in company with the host, to + examine each picture. + </p> + <p> + "Three thousand francs," said Vervelle in a whisper, as they reached the + last, "but I tell everybody forty thousand." + </p> + <p> + "Forty thousand for a Titian!" said the artist, aloud. "Why, it is nothing + at all!" + </p> + <p> + "Didn't I tell you," said Vervelle, "that I had three hundred thousand + francs' worth of pictures?" + </p> + <p> + "I painted those pictures," said Pierre Grassou in Vervelle's ear, "and I + sold them one by one to Elie Magus for less than ten thousand francs the + whole lot." + </p> + <p> + "Prove it to me," said the bottle-dealer, "and I double my daughter's + 'dot,' for if it is so, you are Rubens, Rembrandt, Titian, Gerard Douw!" + </p> + <p> + "And Magus is a famous picture-dealer!" said the painter, who now saw the + meaning of the misty and aged look imparted to his pictures in Elie's + shop, and the utility of the subjects the picture-dealer had required of + him. + </p> + <p> + Far from losing the esteem of his admiring bottle-merchant, Monsieur de + Fougeres (for so the family persisted in calling Pierre Grassou) advanced + so much that when the portraits were finished he presented them + gratuitously to his father-in-law, his mother-in-law and his wife. + </p> + <p> + At the present day, Pierre Grassou, who never misses exhibiting at the + Salon, passes in bourgeois regions for a fine portrait-painter. He earns + some twenty thousand francs a year and spoils a thousand francs' worth of + canvas. His wife has six thousand francs a year in dowry, and he lives + with his father-in-law. The Vervelles and the Grassous, who agree + delightfully, keep a carriage, and are the happiest people on earth. + Pierre Grassou never emerges from the bourgeois circle, in which he is + considered one of the greatest artists of the period. Not a family + portrait is painted between the barrier du Trone and the rue du Temple + that is not done by this great painter; none of them costs less than five + hundred francs. The great reason which the bourgeois families have for + employing him is this:— + </p> + <p> + "Say what you will of him, he lays by twenty thousand francs a year with + his notary." + </p> + <p> + As Grassou took a creditable part on the occasion of the riots of May 12th + he was appointed an officer of the Legion of honor. He is a major in the + National Guard. The Museum of Versailles felt it incumbent to order a + battle-piece of so excellent a citizen, who thereupon walked about Paris + to meet his old comrades and have the happiness of saying to them:— + </p> + <p> + "The King has given me an order for the Museum of Versailles." + </p> + <p> + Madame de Fougeres adores her husband, to whom she has presented two + children. This painter, a good father and a good husband, is unable to + eradicate from his heart a fatal thought, namely, that artists laugh at + his work; that his name is a term of contempt in the studios; and that the + feuilletons take no notice of his pictures. But he still works on; he aims + for the Academy, where, undoubtedly, he will enter. And—oh! + vengeance which dilates his heart!—he buys the pictures of + celebrated artists who are pinched for means, and he substitutes these + true works of arts that are not his own for the wretched daubs in the + collection at Ville d'Avray. + </p> + <p> + There are many mediocrities more aggressive and more mischievous than that + of Pierre Grassou, who is, moreover, anonymously benevolent and truly + obliging. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ADDENDUM + </h2> + <h3> + The following personages appear in other stories of the Human Comedy. + </h3> +<pre xml:space="preserve"> + Bridau, Joseph + The Purse + A Bachelor's Establishment + A Distinguished Provincial at Paris + A Start in Life + Modeste Mignon + Another Study of Woman + Letters of Two Brides + Cousin Betty + The Member for Arcis + + Cardot (Parisian notary) + The Muse of the Department + A Man of Business + Jealousies of a Country Town + The Middle Classes + Cousin Pons + + Grassou, Pierre + A Bachelor's Establishment + Cousin Betty + The Middle Classes + Cousin Pons + + Lora, Leon de + The Unconscious Humorists + A Bachelor's Establishment + A Start in Life + Honorine + Cousin Betty + Beatrix + + Magus, Elie + The Vendetta + A Marriage Settlement + A Bachelor's Establishment + Cousin Pons + + Schinner, Hippolyte + The Purse + A Bachelor's Establishment + A Start in Life + Albert Savarus + The Government Clerks + Modeste Mignon + The Imaginary Mistress + The Unconscious Humorists +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Pierre Grassou, by Honore de Balzac + +*** END OF THIS PROJECT GUTENBERG EBOOK PIERRE GRASSOU *** + +***** This file should be named 1230-h.htm or 1230-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/2/3/1230/ + +Produced by John Bickers, Dagny, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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