The Three Cities Trilogy: Paris, Complete

by Émile Zola

Then, while walking along the streets—for Pierre, who felt growing sympathy for the two young fellows, went with them in the direction of Montmartre, forgetful of all else,—Antoine, who was beside him, spoke expansively of his artistic dreams.

“Colour is certainly a power, a sovereign source of charm, and one may, indeed, say that without colour nothing can be completely represented. Yet, singularly enough, it isn’t indispensable to me. It seems to me that I can picture life as intensely and definitely with mere black and white, and I even fancy that I shall be able to do so in a more essential manner, without any of the dupery which lies in colour. But what a task it is! I should like to depict the Paris of to-day in a few scenes, a few typical figures, which would serve as testimony for all time. And I should like to do it with great fidelity and candour, for an artist only lives by reason of his candour, his humility and steadfast belief in Nature, which is ever beautiful. I’ve already done a few figures, I will show them to you. But ah! if I only dared to tackle my blocks with the graver, at the outset, without drawing my subject beforehand. For that generally takes away one’s fire. However, what I do with the pencil is a mere sketch; for with the graver I may come upon a find, some unexpected strength or delicacy of effect. And so I’m draughtsman and engraver all in one, in such a way that my blocks can only be turned out by myself. If the drawings on them were engraved by another, they would be quite lifeless.... Yes, life can spring from the fingers just as well as from the brain, when one really possesses creative power.”

They walked on, and when they found themselves just below Montmartre, and Pierre spoke of taking a tramcar to return to Neuilly, Antoine, quite feverish with artistic passion, asked him if he knew Jahan, the sculptor, who was working for the Sacred Heart. And on receiving a negative reply, he added: “Well, come and see him for a moment. He has a great future before him. You’ll see an angel of his which has been declined.”

Then, as Francois began to praise the angel in question, Pierre agreed to accompany them. On the summit of the height, among all the sheds which the building of the basilica necessitated, Jahan had been able to set up a glazed workshop large enough for the huge angel ordered of him. His three visitors found him there in a blouse, watching a couple of assistants, who were rough-hewing the block of stone whence the angel was to emerge. Jahan was a sturdy man of thirty-six, with dark hair and beard, a large, ruddy mouth and fine bright eyes. Born in Paris, he had studied at the Fine Art School, but his impetuous temperament had constantly landed him in trouble there.

“Ah! yes,” said he, “you’ve come to see my angel, the one which the Archbishop wouldn’t take. Well, there it is.”

The clay model of the figure, some three feet high, and already drying, looked superb in its soaring posture, with its large, outspread wings expanding as if with passionate desire for the infinite. The body, barely draped, was that of a slim yet robust youth, whose face beamed with the rapture of his heavenly flight.

“They found him too human,” said Jahan. “And after all they were right. There’s nothing so difficult to conceive as an angel. One even hesitates as to the sex; and when faith is lacking one has to take the first model one finds and copy it and spoil it. For my part, while I was modelling that one, I tried to imagine a beautiful youth suddenly endowed with wings, and carried by the intoxication of his flight into all the joy of the sunshine. But it upset them, they wanted something more religious, they said; and so then I concocted that wretched thing over there. After all, one has to earn one’s living, you know.”

So saying, he waved his hand towards another model, the one for which his assistants were preparing the stone. And this model represented an angel of the correct type, with symmetrical wings like those of a goose, a figure of neither sex, and commonplace features, expressing the silly ecstasy that tradition requires.

“What would you have?” continued Jahan. “Religious art has sunk to the most disgusting triteness. People no longer believe; churches are built like barracks, and decorated with saints and virgins fit to make one weep. The fact is that genius is only the fruit of the social soil; and a great artist can only send up a blaze of the faith of the time he lives in. For my part, I’m the grandson of a Beauceron peasant. My father came to Paris to set himself up in business as a marble worker for tombstones and so forth, just at the top of the Rue de la Roquette. It was there I grew up. I began as a workman, and all my childhood was spent among the masses, in the streets, without ever a thought coming to me of setting foot in a church. So few Parisians think of doing so nowadays. And so what’s to become of art since there’s no belief in the Divinity or even in beauty? We’re forced to go forward to the new faith, which is the faith in life and work and fruitfulness, in all that labours and produces.”

Then suddenly breaking off he exclaimed: “By the way, I’ve been doing some more work to my figure of Fecundity, and I’m fairly well pleased with it. Just come with me and I’ll show it you.”