The march past was to take place in the Place Vendome, and the chancellor's offices were full of ladies of the official world, gathered round my mother. We dismounted for a moment to go and speak to them, and here again a moving scene took place. We had been able to send on an aide-de-camp to assure my mother and aunt and my sisters that we were safe and sound, but our messenger had not had time to learn the names of all the victims. So when we mounted the stairs of the chancellor's offices, some of us all bespattered with blood, all these women, their brilliant dresses contrasting sadly with their terrified eyes, rushed upon us to see whether those they loved were amongst us. Some of them were never to see their dear ones again!
Shortly after this bloody episode in our national history I joined the Didon frigate, Captain de Parseval, as enseigne de vaisseau. My new commanding officer, who had joined the navy at a very early age, had served as a midshipman on board Villeneuve's vessel, the Bucentaure, at Trafalgar. He was in command of the mizzentop, and saw Nelson's ship, the Victory, pass slowly astern of the Bucentaure—so close that her yards caught the other's ensign—while the fifty guns of the British ship poured their fire one after the other into the stern of the French one, sweeping her gun-deck from end to end, and laying low four hundred of her crew. After this commencement of his career, Commander de Parseval had spent his whole life in fighting and adventure. He had been in three shipwrecks, one specially terrible one on the Isle de Sable, near the coast of Nova Scotia, in which (he was a lieutenant at the time) he swam ashore to get help and save the crew of his frigate. He died with the rank of admiral, after having had the chief command of the Baltic Fleet during the Crimean War. He was a charming fellow, slight and smart-looking, very carefully dressed, as resolute in command as he was formal as to politeness, a consummate seaman, managing his ship in first-rate style. I sailed a great deal with him, and learned much from him, and from the very first I felt a personal affection for him, which was never belied, and which he reciprocated. An extra bond of sympathy existed between us—when I was just becoming deaf, he was deaf already.
We made a cruise for drill, on the Didon, doing a deal of navigation in all sorts of weathers, and I performed the duties of captain of the watch—my first attempt at command, my first trial in a responsible position.
The winter season of 1836 found me back in Paris, where I began my classes again, and gave myself up in particular to my passion for the fine arts. This taste of mine was the cause of a terrible blowing up I got from my father. The jury of the Salon of 1836 refused a picture of Marilhat's—I think it was his first. Some of the artists who had seen the young painter's work thought this decision unjust. They grumbled, and their grumbling got as far as the newspapers. I was curious enough to go and see the picture at Durand-Ruel's. It was a view of Rome by twilight, seen between great umbrella pines, I thought it a splendid picture, and spurred somewhat, I confess, by a spirit of contradiction, I was seized with an eager desire to acquire it. But I had not a halfpenny of my own, there was my difficulty! To overcome it, I laid siege to my aunt Adelaide, who doted on her brother's children as if they had been her own, and who never (and well the rogues knew it!) could resist their wheedling. I succeeded, as I had hoped, and Marilhat's picture became my property. But certain of the jury went and complained to the King, and I was greeted with, "Oho! so you are going to set yourself up in opposition! I've trouble enough already with those artists! It's the Civil List (that means it's me) that takes them in at the Louvre. I can't be the only judge as to what is accepted and what isn't. I have to have a jury, the Institute is good enough to undertake the job—all its members are dying of fright, and I shield them under my own responsibility, just as I do my ministers, although it's contrary to the letter of the law—and it's you, one of my own sons, who comes and sets an example of insubordination! Much obliged to you, sir!"
My picture was inspected all the same I need hardly say the grand-parents pronounced it frightful, a regular daub. I hung my head under this double-barrelled censure, and drooped my ears like a whipped spaniel, but I stuck to my opinion, and likewise to my Marilhat. I think it was shortly after this little adventure that I added another "daub" to my "gallery." One morning as I was busy modelling (for I dabbled in sculpture too) in my sister Marie's studio, Ary Scheffer came in, and began telling me about an unknown artist he had met, quite young, a man of undoubted talent, who was in a terribly poverty-stricken condition. Six hundred francs would take him out of his difficulties, and he would give two small pictures, pendants, which he had just finished, in exchange.
"What do they represent?" I inquired.
"They are both landscapes, connected with episodes in Walter Scott's novels. One represents the charge of Claverhouse in the Covenanters, and the other the Army of Charles the Bold crossing the Alps. Come!" added Scheffer, turning to me. "Be good-natured. If you have six hundred francs, give them to me!"
I chanced to have the money, and gave it him. "What's your protege's name?" asked I.
"Theodore Rousseau." Fancy that great artist selling his pictures in pairs, as furniture, in fact—for bread!
In 1836, too, on February 28, I was present at the first performance of Les Huguenots, an opera which enchanted me. The action, the music, the stage setting, the interpretation, made an ensemble that was unique, a work of art that defied comparison. Nothing on the stage to my mind, has ever surpassed the duet in the fourth act as created and sung by Nourrit and Mlle. Falcon. Inspired by the musical and dramatic situation, these two artists were completely carried away, and their emotion was as infectious as it was apparent. Mlle. Falcon had a way of interrupting her singing, to speak the words, "Raoul, ils te tueront!" with an expression into which her whole soul was thrown, which was the very embodiment of passion. Ah! Passion indeed! Passion it is that thrills in every page of that admirable book of Merimee's, La Chronique de Charles IX., which has given birth in succession to those two masterpieces, Le Pre aux Clercs and Les Huguenots. And what indeed would life be without passion? If Fieschi's crime marked the year 1835 with a crimson letter, 1836 was the year of Alibaud's attempt. The history of my father's reign is nothing but an innumerable succession of such attempts, some of which came to the birth, while others, again, miscarried. Alibaud, as my readers are aware, fired point-blank at the King with a walking-stick gun, which he steadied on the door of the carriage, as it passed slowly through the Tuileries archway, and missed him, except that his whiskers were singed by the wad. Neither my father's courage nor that of my mother and aunt, who were with him, failed them for a moment. I saw them get out of the carriage at Neuilly, without for an instant suspecting the risk they had run.