Cosmopolis — Volume 2

by Paul Bourget

Perhaps this long and yet incomplete analysis will permit us the better to comprehend what emotions agitated the young man as he reascended the staircase of his house—of their house, Lincoln's and his—after his unexpected dispute with Boleslas Gorka. It will attenuate, at least with respect to him, the severity of simple minds. All passion, when developed in the heart, has the effect of etiolating around it the vigor of other instincts. Chapron was too fanatical a friend to be a very equitable brother. It seemed to him very simple and very legitimate that his sister should be at the service of the genius of Lincoln, as he himself was. Moreover, if, since the marriage with her brother's friend, his sister had been stirred by the tempest of a moral tragedy, Florent did not suspect it. When had he studied Lydia, the silent, reserved Lydia, of whom he had once for all formed an opinion, as is the almost invariable custom of relative with relative? Those who have seen us when young are like those who see us daily. The images which they trace of us always reproduce what we were at a certain moment—scarcely ever what we are. Florent considered his sister very good, because he had formerly found her so; very gentle, because she had never resisted him; not intelligent, because she did not seem sufficiently interested in the painter's work; as for the suffering and secret rebellion of the oppressed creature, crushed between his blind partiality and the selfishness of a scornful husband, he did not even suspect them, much less the terrible resolution of which that apparent resignation was capable.

If he had trembled when Madame Steno began to interest herself in Lincoln, it was solely for the work of the latter, so much the more as for a year he had perceived not a decline but a disturbance in the painting of that artist, too voluntary not to be unequal. Then Florent had seen, on the other hand, the nerve of Maitland reawakened in the warmth of that little intrigue.

The portrait of Alba promised to be a magnificent study, worthy of being placed beside the famous 'Femme en violet et en jaune,' which those envious of Lincoln always remembered. Moreover, the painter had finished with unparalleled ardor two large compositions partly abandoned. In the face of that proof of a fever of production more and more active, how would not Florent have blessed Madame Steno, instead of cursing her, so much the more that it sufficed him to close his eyes and to know that his conscience was in repose when opposite his sister? He knew all, however. The proof of it was in his shudder when Dorsenne announced to him the clandestine arrival in Rome of Madame Steno's other lover, and one proof still more certain, the impulse which had precipitated him upon Boleslas, who was parleying with the servant, and now it was he who had accepted the duel which an exasperated rival had certainly come to propose to his dear Lincoln, and he thought only of the latter.

"He must know nothing until afterward. He would take the affair upon himself, and I have a chance to kill him, that Gorka—to wound him, at least. In any case, I will arrange it so that a second duel will be rendered difficult to that lunatic…. But, first of all, let us make sure that we have not spoken too loudly and that they have not heard upstairs the ill-bred fellow's loud voice."

It was in such terms that he qualified his adversary of the morrow. For very little more he would have judged Gorka unpardonable not to thank Lincoln, who had done him the honor to supplant him in the Countess's favor!

In the meantime, let us cast a glance at the atelier! When the friend, devoted to complicity, but also to heroism, entered the vast room, he could see at the first glance that he had been mistaken and that no sound of voices had reached that peaceful retreat.

The atelier of the American painter was furnished with a harmonious sumptuousness which real artists know how to gather around them. The large strip of sky seen through the windows looked down upon a corner veritably Roman—of the Rome of to-day, which attests an uninterrupted effort toward forming a new city by the side of the old one. One could see an angle of the old garden and the fragment of an antique building, with a church steeple beyond. It was on a background of azure, of verdure and of ruins, in a horizon larger and more distant, but composed of the same elements, that was to arise the face of the young girl, designed after the manner, so sharp and so modelled, of the 'Pier della Francesca', with whom Maitland had been preoccupied for six months.

All great composers, of an originality more composite than genitive, have these infatuations.

Maitland was at his easel, dressed with that correct elegance which is the almost certain mark of Anglo-Saxon artists. With his little varnished shoes, his fine black socks, spotted with red, his coat of quilted silk, his light cravat and the purity of his linen, he had the air of a gentleman who applied himself to an amateur effort, and not of the patient and laborious worker he really was. But his canvases and his studies, hung on all sides, among tapestries, arms and trinkets, bespoke patient labor. It was the history of an energy bent upon the, acquisition of a personality constantly fleeting. Maitland manifested in a supreme degree the trait common to almost all his compatriots, even those who came in early youth to Europe, that intense desire not to lack civilization, which is explained by the fact that the American is a being entirely new, endowed with an activity incomparable, and deprived of traditional saturation. He is not born cultivated, matured, already fashioned virtually, if one may say so, like a child of the Old World. He can create himself at his will. With superior gifts, but gifts entirely physical, Maitland was a self-made man of art, as his grand father had been a self-made man of money, as his father had been a self- made man of war. He had in his eye and in his hand two marvellous implements for painting, and in his perseverence in developing a still more marvellous one. He lacked constantly the something necessary and local which gives to certain very inferior painters the inexpressible superiority of a savor of soil. It could not be said that he was not inventive and new, yet one experienced on seeing no matter which one of his paintings that he was a creature of culture and of acquisition. The scattered studies in the atelier first of all displayed the influence of his first master, of solid and simple Bonnat. Then he had been tempted by the English pre-Raphaelites, and a fine copy of the famous 'Song of Love', by Burne-Jones, attested that reaction on the side of an art more subtle, more impressed by that poetry which professional painters treat scornfully as literary. But Lincoln was too vigorous for the languors of such an ideal, and he quickly turned to other teachings. Spain conquered him, and Velasquez, the colorist of so peculiar a fancy that, after a visit to the Museum of the Prado, one carries away the idea that one has just seen the only painting worthy of the name.

The spirit of the great Spaniard, that despotic stroke of the brush which seems to draw the color in the groundwork of the picture, to make it stand out in almost solid lights, his absolute absence of abstract intentions and his newness which affects entirely to ignore the past, all in that formula of art, suited Maitland's temperament. To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca. Never would one have believed that the same hand which had wielded with so free a brush the color of the 'Femme en violet…' could be that which sketched the contour of the portrait of Alba with so severe, so rigid a drawing.