He mentioned his fears to his cousin, who laughed and answered: “Pshaw! Just pay them compliments, nothing but compliments, always compliments; in that way, if you say anything foolish it will be overlooked. Do you know Meissonier's paintings?”
“I should say I do.”
“Have you read the Rougon-Macquart series?”
“From first to last.”
“That's enough. Mention a painting from time to time, speak of a novel here and there and add:
“'Superb! Extraordinary! Delightful technique! Wonderfully powerful!' In that way you can always get along. I know that those two are very blase about everything, but admiration always pleases an artist.”
Sunday morning they left for Poissy.
Just a few steps from the station, at the end of the church square, they found Meissonier's property. After passing through a low door, painted red, which led into a beautiful alley of vines, the journalist stopped and, turning toward his companion, asked:
“What is your idea of Meissonier?”
Patissot hesitated. At last he decided: “A little man, well groomed, clean shaven, a soldierly appearance.” The other smiled: “All right, come along.” A quaint building in the form of a chalet appeared to the left; and to the right side, almost opposite, was the main house. It was a strange-looking building, where there was a mixture of everything, a mingling of Gothic fortress, manor, villa, hut, residence, cathedral, mosque, pyramid, a weird combination of Eastern and Western architecture. The style was complicated enough to set a classical architect crazy, and yet there was something whimsical and pretty about it. It had been invented and built under the direction of the artist.