His Masterpiece, Émile Zola [essential reading txt] 📗

of friends had all the work in the world to stretch properly by the aid of pincers. Then he just coated the canvas with ceruse, laid on with a palette-knife, refusing to size it previously, in order that it might remain absorbent, by which method he declared that the painting would be bright and solid. An easel was not to be thought of. It would not have been possible to move a canvas of such dimensions on it. So he invented a system of ropes and beams, which held it slightly slanting against the wall in a cheerful light. And backwards and forwards in front of the big white surface rolled the steps, looking like an edifice, like the scaffolding by means of which a cathedral is to be reared.

But when everything was ready, Claude once more experienced misgivings. An idea that he had perhaps not chosen the proper light in which to paint his picture fidgeted him. Perhaps an early morning effect would have been better? Perhaps, too, he ought to have chosen a dull day, and so he went back to the Pont des Saint-Pères, and lived there for another three months.

The Cité rose up before him, between the two arms of the river, at all hours and in all weather. After a late fall of snow he beheld it wrapped in ermine, standing above mud-coloured water, against a light slatey sky. On the first sunshiny days he saw it cleanse itself of everything that was wintry and put on an aspect of youth, when verdure sprouted from the lofty trees which rose from the ground below the bridge. He saw it, too, on a somewhat misty day recede to a distance and almost evaporate, delicate and quivering, like a fairy palace. Then, again, there were pelting rains, which submerged it, hid it as with a huge curtain drawn from the sky to the earth; storms, with lightning flashes which lent it a tawny hue, the opaque light of some cutthroat place half destroyed by the fall of the huge copper-coloured clouds; and there were winds that swept over it tempestuously, sharpening its angles and making it look hard, bare, and beaten against the pale blue sky. Then, again, when the sunbeams broke into dust amidst the vapours of the Seine, it appeared steeped in diffused brightness, without a shadow about it, lighted up equally on every side, and looking as charmingly delicate as a cut gem set in fine gold. He insisted on beholding it when the sun was rising and transpiercing the morning mists, when the Quai de l’Horloge flushes and the Quai des Orfèvres remains wrapt in gloom; when, up in the pink sky, it is already full of life, with the bright awakening of its towers and spires, while night, similar to a falling cloak, slides slowly from its lower buildings. He beheld it also at noon, when the sunrays fall on it vertically, when a crude glare bites into it, and it becomes discoloured and mute like a dead city, retaining nought but the life of heat, the quiver that darts over its distant housetops. He beheld it, moreover, beneath the setting sun, surrendering itself to the night which was slowly rising from the river, with the salient edges of its buildings still fringed with a glow as of embers, and with final conflagrations rekindling in its windows, from whose panes leapt tongue-like flashes. But in presence of those twenty different aspects of the Cité, no matter what the hour or the weather might be, he ever came back to the Cité that he had seen the first time, at about four o’clock one fine September afternoon, a Cité all serenity under a gentle breeze, a Cité which typified the heart of Paris beating in the limpid atmosphere, and seemingly enlarged by the vast stretch of sky which a flight of cloudlets crossed.

Claude spent his time under the Pont des Saints-Pères, 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 employees 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 washhouse 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