[16] "English Illustrated Magazine," l. c.
[17] So stated by M. Yves Guyot in conversation with the writer and others in the autumn of 1902. It ought to have been mentioned that it was M. Guyot who engaged Zola as dramatic critic of "Le Bien Public." See ante, p. 156.
[18] This woman had an extraordinary career. She was of German origin, her real name being Theresa Lachmann, but she was born in Russia, and first married a French tailor of Moscow, named Villoing. After eloping with Herz, the well-known pianist, she entered the Parisian demi-monde under the auspices of the notorious Esther Guimond. Finding herself in difficulties she proceeded to London, fascinated and half-ruined a member of an English ducal house, returned to Paris, ruined several French nobles there, and ultimately married Viscount Armijo de Païva of the Portuguese Legation, whom she also ruined and who committed suicide. Though her beauty, which had been great, was then fading, she captivated Count Henckel von Donnersmarck, a connection of the Bismarck family, and he ended by marrying her. She lived in a magnificent mansion in the Champs Élysées adorned by Baudry, Cabanel, Gérôme, and Clésinger; and Girardin, Gautier, About, Ponsard, Angier, Houssaye, and Goncourt were familiars of her drawing-room. She died in 1884 on her husband's estate in Silesia.
[19] Alexis, l. c., p. 118.
[20] Mr. R. H. Sherard in his "Émile Zola: a Biographical and Critical Study," London, 1903, prints several of Zola's letters on the above subjects. The following may be given as a specimen: "Médan, September 18, 1879: I have received your book on small-pox. That will evidently suffice for my purpose. I will devise a death mask by comparing the various documents. I am very much tempted to make the disease black pox which, in point of horror, is the strangest. Only I admit that if without taking too much trouble you could manage to see the corpse of a person who had died of that complaint—I say, that is a nice little task!—you would oblige me greatly. In that case mind you supply full details about the state of the eyes, nose and mouth, giving me a precise geographical chart, from which, of course, I should only take what I may need." This suggestion was not acted upon. In describing Nana's death Zola eventually had to rely on the statements he found in medical works.
[21] Sherard, l. c., p. 171.
[22] "Nana," Paris, Charpentier, 1880, 18mo, 528 pages; one hundred and sixty-sixth thousand on sale in 1893; one hundred and ninety-eighth thousand in 1903; some special copies on Japan, India, and Dutch papers. Illustrated edition: Marpon and Flammarion, n. d. but 1882, large 8vo titles, 456 pages, with sixty-six wood engravings after Bertall, Gill, Bellenger, Clairin, etc. A hundred copies printed on Dutch paper with impressions of the engravings on India paper, and a special frontispiece showing Nana on a sofa. The ordinary copies of the illustrated edition were priced at 6 francs, but were also sold very largely in fifty-seven parts at 10 centimes. From 1882 to the present time (1903) over two hundred thousand copies of the illustrated edition have been sold, bringing the total sales of the work (apart from translations) to nearly half a million copies.
[23] See his explanations on this subject in the preface to E. A. Vizetelly's translation of "Le Docteur Pascal," London, Chatto, 1893 et seq.
[24] "Documents Littéraires," p. 375 et seq.
[25] The first edition (Charpentier, 18mo, 301 pages) was accompanied by ten copies on India and fifty on Dutch paper. There was a special edition in 1890, small 8vo, 307 pages, six portraits etched by Fernand Desmoulin, and six illustrations etched by Muller after Jeanniot. Of this edition one copy was printed on Japan paper with three sets of the etchings; one copy on parchment with two sets of the etchings before lettering; and sixteen on Dutch paper with two sets of the etchings, both before and after lettering.