Popular Tales

by Madame Guizot

Dame Robert, as may be imagined, was greatly excited, and her mind wholly absorbed by her darling boy's undertaking. Certainly, had she been consulted, José would have had nothing to fear; but neither the good woman's indulgence, nor Gabri's affection, could avail poor José anything—they must wait. "If," said Dame Robert, "I could only see what they are doing, I should soon find out whether José had not left them behind; but they are cloistered up like so many monks, and when the boy comes home at night, he does not even so much as give us a hint as to how things are going on."

Gabri, equally anxious, but more discreet than Dame Robert, did not seek to elicit anything from José; but he watched him carefully, sighed when the poor boy appeared depressed, and rubbed his hands with glee when he seemed happy.

The good-natured Angevin, who was not yet sufficiently advanced to compete for the prize, was deeply interested in the success of his friend; but he felt little uneasiness, for he knew that José was very far superior to his rivals. He too would have liked to have seen his work, but he was obliged to content himself with walking beneath the windows of the young captives, and see their heads pop out and in occasionally, like so many marionettes, with now and then a mahl-stick accompanying them, and serving to complete the resemblance.

Six weeks had passed away, the pictures were advancing, and as, with the exception of José and his companions, the competitors were of different schools, he had seen only the work of his friends; and his own was so far superior to theirs, that a hope which he scarcely dared own, even to himself, made his heart beat high within his breast. He had nothing to fear from the other students, as they were all inferior to Francisco and Rivol. He was standing, therefore, contemplating with a kind of secret pleasure the group of terrified horses which he had just completed, when Francisco tapped at his window, and immediately afterwards leaping into the room, told him, with a countenance expressive of the utmost concern, that he was in despair, and should never succeed with his figure of Aricia, which was in the programme distributed for the picture. Subjects are usually selected with but few female figures, these being more difficult for the young artists, as they cannot have models; and the unfortunate Aricia, which almost all of them had reserved till the last, had completely wrecked both the courage and talent of Francisco. He looked with admiration on José's Aricia, for he had been entirely successful, at least in his sketch. José, anxious to soothe the agitation of his friend, accompanied him across the leads to his cell, in order to examine the figure which so much distressed him: he found it awkward, ill-drawn, and in bad taste, and could not conceal from his friend that he thought it detestable. This, of course, served only to increase Francisco's despair. He dashed his palette to the ground, stamped upon it, broke his brushes, and ended by crying with rage. José embraced and tried to soothe him, and at length, by dint of kindness and encouragement, succeeded in persuading him that all was not yet lost, and that he could still repaint the figure during the week that yet remained to them. He pointed out to him what he had to avoid, and raised his courage by dwelling on the merits of the rest of the picture. At last, after having spent two hours in this manner, he left him, if not entirely consoled, at least sufficiently recovered to resume his work.

The following days Francisco repainted his unfortunate figure, but still without success; he effaced it, recommenced, again effaced it, and at last succeeded in completing it; but in a manner so far inferior to the other parts of the composition, that it formed a blemish which destroyed the general effect. Such was the opinion of his companions, when, according to the rule established among them, they visited each other to judge of the respective merits of their productions. They had still four days to remain at work, and the pictures were not completely finished, but it was easy to judge which would obtain the prize; and José was regarded as the conqueror, provided he completed the figure of Aricia as he had done the group of Hippolytus and his horses. Next to his, came Francisco's picture, then Rivol's, the others were very far from the mark, and need, therefore, cause them no anxiety.

Francisco, deprived of the last ray of hope by the decision of his companions, as well as by that of his own judgment, shut himself up in his cell, and would not allow José to enter, though he entreated for admittance. He gave no reply to these friendly solicitations, and the intensity of his annoyance had rendered him so unjust, that to avoid seeing José, who lay crouched upon the narrow ledge of the window, he took a large piece of linen, which served him for a blind, and fastened it before the window. José listened to him for some time pacing up and down and groaning with despair; but seeing that his perseverance was useless and importunate he retired, deeply grieved at his distress.

He passed a sleepless night, and the next morning no sooner had he reached his own cell than he ran to Francisco's; but he was not there, his picture still rested upon the easel, and for a moment José thought of retouching the figure of Aricia. But this would have been a palpable fraud, and his honour revolted from its commission. Francisco, moreover, would never have consented to triumph by such disgraceful means. José, therefore, laid down the brush which he had taken up, and with a heavy heart returned to his own cell.

Whilst painting the figure which had proved so fatal to poor Francisco, he vainly sought some method of serving him, and his tender friendship made him almost desire that his Aricia might not be better than his companion's. He worked with so little care, that, had any one else been in the case, his wishes would have been accomplished; but, as it often happens with artists, the very thing that he took the least pains with turned out the best; and, to make use of a familiar expression, this figure came so happily, that even an experienced painter would not have been ashamed to own it.

With a mind absorbed in reflection, José painted on almost without heeding what he did, and it was not until he rose up, when all was completed, that he perceived that the last touches seemed to have been given by the hand of a master, rather than by that of a pupil. His first feeling was one of intense joy, but it was soon overshadowed by the thought of Francisco. He felt that the prize was his, but soon one of those noble inspirations which elevated minds alone receive in their happiest moments, presented itself to his imagination, and showed him that the safety of his friend depended solely upon him.

By one of the old rules of the professors, the pupil who presented his picture with a figure completely erased, or otherwise defaced, was on this account excluded from the competition; his picture was exhibited with the others, but was not taken into account in the awarding of the prizes, even though it were a masterpiece in comparison with the rest. This rule, which it was found rarely necessary to apply, was unknown to most of the students. José had become informed of it during his residence at M. Barbe's, but he was quite sure that Francisco knew nothing about it. His friend's picture was the best, after his own; and by having the courage to destroy the figure of Aricia, which alone would have ensured the prize to a work of less merit, Francisco would remain without a rival.