Rougon also came up, and Clorinde herself jumped off the table to get a better view. All three of them were delighted. The picture was excellent, they said. The artist had already covered the entire canvas with a thin coating of pink and white and yellow, as pale as though it were a mere water-colour wash. The face was wreathed into a pretty dollish smile, the lips were curved into a bow, and the eyebrows symmetrically arched, while the cheeks glowed with soft vermilion. It was a Diana, fit for the lid of some box of sweetmeats.

'Oh, just look at that little freckle close to the eye!' cried Clorinde, clapping her hands in admiration: 'Luigi forgets nothing!'

Rougon, whom pictures generally wearied, was charmed. Just then he appreciated art, and in a tone of earnest conviction he pronounced this judgment: 'It is admirably drawn.'

'And the colouring is excellent,' added M. de Plouguern. 'Those shoulders look like real flesh. And what arms! But the dear child has really got the most wonderful arms! I admire that full roundness below the bend of the arm immensely; it is perfect.' Then, turning to the artist, he added: 'Pray accept my compliments, Monsieur Pozzo. I have already seen a picture of a woman bathing by you. But this portrait will certainly excel it. Why don't you exhibit? I knew a diplomatist who played marvellously well upon the violin, and yet it didn't prevent him from attaining great success in his profession.'

Luigi bowed, feeling highly flattered. The daylight was now fast waning, and so, saying that he wished to finish an ear, he begged Clorinde to resume her position for another ten minutes. Meantime, M. de Plouguern and Rougon went on discussing art. The latter confessed that his special studies had prevented him from following the artistic movement of recent years, but he expressed great admiration for fine productions. He went on to say that he was not much affected by colour, but preferred good drawing—drawing which was capable of elevating the soul and inspiring it with great thoughts. M. de Plouguern, on his side, only cared about the old masters. He had visited all the galleries in Europe, and could not understand, said he, how the moderns had the hardihood to go on painting. All the same, he confessed that only the previous month he had had a little room of his decorated by an artist who was quite unknown, but who certainly possessed great genius.

'He has painted me some little cupids and flowers and foliage with extraordinary skill. You might positively think you could pluck the flowers. And there are some insects on them, butterflies, cockchafers, and flies, which you could almost swear were alive. It is very amusing. I like amusing pictures.'

'Art should not weary one,' retorted Rougon.

Just at this moment, as they were slowly pacing the room side by side, one of M. de Plouguern's boot-heels crushed something which gave out a sharp sound.

'Hallo! What's that?' he cried.

Then he picked up a chaplet, which had slipped off an arm-chair into which Clorinde had doubtless emptied her pockets. One of the glass beads near the cross had been shivered to atoms, and an arm of the cross itself, a very small silver one, was bent and flattened. The old man dangled the chaplet in his hand, and said with a slight snigger: 'My dear, why do you leave these playthings of yours lying about?'