So Garnier took a day off, and procured a turnip and a knife, some cochineal, and all the other necessary paraphernalia, and, with his work cut out before him, locked his door. This room of Garnier’s was close to the roof, and from its window one could see the spires of Notre Dame by standing on a chair. A desperate-looking cat lived here, whose life had been saved by the artist one morning as he was starting to work. It had repaid him lately by kittening under his bed. In one corner of the room lay a pile of newspapers, on the chimney-piece some books—Rousseau’s “Nouvelle Héloïse” in paper covers; a little book of German fairy tales, which he could not read, but which he treasured because of the delightful pictures; “The Mysteries of Paris,” which he had read four times; and a few others.
On this floor also there was a large atelier kept up by three young men from the South, who did their own cooking, so that the place was always filled with the sound of frying and the smell of garlic. They did their own washing, too, and so defied the laundress; they also at times defied the landlord when he threatened to turn them out. They had got an old banjo from somewhere, and, needless to say, they played on it. Garnier worked in this atelier when he was not working elsewhere. He loved its discords, and never painted better than when Castanet was playing the banjo, Lorillard accompanying him on a comb, and Floquet frying things over the stove, for then he imagined himself back in Provence, and the atelier became flooded with the light that never was in Paris except on the canvas of a Diaz or a Garnier.
Floquet had a sweetheart, who sat to him for love, and of course also to his friends. She darned Castanet’s stockings, for he wore them out in some miraculous way quicker than anyone else. As for Lorillard, he never wore stockings—at least, in summer—and laughed at people who did.
Altogether they were as disreputable a colony as one could find in the whole quarter, but as good-hearted as they were jolly. Castanet, be it observed, was a law student; he lived with the others just as the owl lives with the prairie-dogs, because he liked them.
All these people noticed a change that had come over Garnier during the last fortnight. He was abstracted, he sighed, he laughed at nothing, burst out laughing sometimes as he painted, in a happy manner, as if a child had performed some antic for his amusement, and then a few minutes later he would give a little groan. He no longer cast his brushes joyously aside when Floquet turned the shrieking and fizzing pan of fish stewed in garlic onto a dish; his appetite had diminished.
The fact was, the great Garnier was miraculously in love. When an elephant falls into a pit he does it in a whole-hearted manner; so fell Garnier into this passion. Célestin had been for him that dangerous thing—a revelation. She had eclipsed the Intransigèant, and robbed Henri Rochefort of his power; she had touched Prince Rudolph, and he had slunk back into his impossible mysteries; she had taken the charm from garlic, and even the wizard café lost its fascination.
Yet for all this he was not in love with Célestin in the ordinary acceptation of the term. He never dreamt of marriage with her, simply because during the last twelve days he had become miraculously married to her. She dwelt with him always now in that atelier he called his head. There she made her hats, trimming them with sunbeams, and turning to him for admiration with her celestial smile.
She was the wife of his soul. Never was there a purer passion begotten of man and woman; yet, strangely enough, it did not purify him. He talked of women in the same old free-and-easy way, and the jokes of Castanet, Lorillard, Floquet & Co. did not shock him.