"Poor little angel! Ah, my God, what a misfortune!"
But gradually (the artist in him getting the upper hand) he declared that nothing could be made out of those yellowish eyes, that livid face, that it was a real case of still-life, and would, therefore, require very great talent to treat it effectively; and so he murmured:
"Oh, 'tisn't easy—'tisn't easy!"
"No matter, as long as it is life-like," urged Rosanette.
"Pooh! what do I care about a thing being life-like? Down with Realism! 'Tis the spirit that must be portrayed by the painter! Let me alone! I am going to try to conjure up what it ought to be!"
He reflected, with his left hand clasping his brow, and with his right hand clutching his elbow; then, all of a sudden:
"Ha, I have an idea! a pastel! With coloured mezzotints, almost spread out flat, a lovely model could be obtained with the outer surface alone!"
He sent the chambermaid to look for his box of colours; then, having a chair under his feet and another by his side, he began to throw out great touches with as much complacency as if he had drawn them in accordance with the bust. He praised the little Saint John of Correggio, the Infanta Rosa of Velasquez, the milk-white flesh-tints of Reynolds, the distinction of Lawrence, and especially the child with long hair that sits in Lady Gower's lap.
"Besides, could you find anything more charming than these little toads? The type of the sublime (Raphael has proved it by his Madonnas) is probably a mother with her child?"
Rosanette, who felt herself stifling, went away; and presently Pellerin said: