Some of the pictures were so large that they were brought in rolled up. One artist had made himself into a carpenter to mount his mammoth picture. Frightful and impossible paintings were numerous, but the painter of each expected a première médaille d'honneur.
It was nearing six o'clock, the closing hour. Chic demoiselle artistes came dashing up in cabs, bringing with them, to insure safe delivery, their everlasting still-life subjects.
Shortly before six the work in the building was suspended by a commotion outside. It was a contingent of students from the Beaux-Arts marching up the Champs-Elysées, yelling and dancing like maniacs and shaking their heavy sticks, the irresistible Sarah Brown leading as drum-maior. She was gorgeously arrayed in the most costly silks and laces, and looked a dashing Amazon. Then, as always, she was perfectly happy with her beloved étudiants, who worshipped her as a goddess. She halted them in front of the building, where they formed a circle round her, and there, as director of ceremonies, she required them to sing chansons, dance, make comic speeches, and "blaguer" the arriving artists.
The last van was unloaded; the great doors closed with a bang, and the stirring day was ended. All the students, even the porters, then joined hands and went singing, howling, and skipping down the Champs-Elysées, and wishing one another success at the coming exhibition. At the Place de la Concorde we met a wild-eyed artist running frantically toward the Salon with his belated picture. The howls of encouragement that greeted him lent swifter wings to his legs.
The pictures finally installed, a jury composed of France's greatest masters pass upon them. The endless procession of paintings is passed before them; the raising of their hands means approval, silence means condemnation; and upon those simple acts depends the happiness or despair of thousands. But depression does not long persist, and the judgment is generally accepted in the end as just and valuable. For the students, in great part, flock to the country on sketching tours, for which arrangements had been already made; and there the most deeply depressed spirits must revive and the habit of work and hope come into play. Year after year the same artists strive for recognition at the Salon; and finally, when they fail at that, they reflect that there is a great world outside of the Salon, where conscientious effort is acceptable. And, after all, a medal at the Salon is not the only reward that life has to offer.
And then, it is not always good for a student to be successful from the start. Just as his social environment in Paris tries his strength and determines the presence or absence of qualities that are as useful to a successful career as special artistic qualifications, so the trial by fire in the Salon exhibitions hardens and toughens him for the serious work of his life ahead. Too early success has ruined more artists than it has helped. It is interesting also to observe that, as a rule, the students who eventually secure the highest places in art are those whose difficulties have been greatest. The lad with the pluck to live on a crust in a garret, and work and study under conditions of poverty and self-denial that would break any but the stoutest heart, is the one from whom to expect renown in the years to come. Ah, old Paris is the harshest but wisest of mothers!
"H! ah! vive les Quat'z' Arts! Au Molin Rouge—en route!" the lamplit streets of Paris as cab after cab and bus after 'bus went thundering across town toward Montmartre, heavily freighted with brilliantly costumed revellers of les Quat'z' Arts. Parisians ran from their dinner- tables to the windows and balconies, blasé boulevardiers paused in their evening stroll or looked up from their papers at the café-tables, waiters and swearing cabbies and yelling newsboys stopped in the midst of their various duties, and all knowingly shook their heads, "Ah, ce sont les Quat'z' Arts!"?
For to-night was the great annual ball of the artists, when all artistic Paris crawls from its mysterious depths to revel in a splendid carnival possible only to the arts. Every spring, after the pictures have been sent to the Salon, and before the students have scattered for the summer vacation, the artists of Paris and the members of all the ateliers of the four arts—painting, sculpture, architecture, and engraving—combine their forces in producing a spectacle of regal splendor, seen nowhere else in the world; and long are the weeks and hard the work and vast the ingenuity devoted to preparations,—the designing of costumes and the building of gorgeous floats.
During the last three weeks the élèves of the Atelier Gérôme abandoned their studies, forgot all about the concours and the Prix de Rome, and devoted all their energies to the construction of a colossal figure of Gérôme's great war goddess, "Bel-lona." It was a huge task, but the students worked it out with a will. Yards of sackcloth, rags, old coats, paint rags, besides pine timbers, broken easels and stools, endless wire and rope, went into the making of the goddess's frame, and this was covered with plaster of Paris dexterously moulded into shape. Then it was properly tinted and painted and mounted on a chariot of gold. A Grecian frieze of galloping horses, mounted, the clever work of Siffert, was emblazoned on the sides of the chariot. And what a wreck the atelier was after all was finished! Sacré nom d'un chien! How the gardiens must have sworn when cleaning-day came round!
The ateliers in the Ecole are all rivals, and each had been secretly preparing its coup with which to capture the grand prix at the bal.