A Girl of the Commune Part 7

"Certainly, I did not show either of them to my master until I had finished them."

They were companion pictures. The one was a girl standing in a veranda covered with a grapevine, through which bright rays of suns.h.i.+ne shone, one of them falling full on her face. She was evidently listening, and there was a look of joyous expectancy in her face. Underneath, on the margin of the canvas, was written in charcoal, "Hope." The other represented the same figure, darkly dressed, with a wan, hopeless look in her face, standing on a rock at the edge of an angry sea, over which she was gazing; while the sky overhead was dark and sombre without a rift in the hurrying clouds. It was labelled "Despair."

For two or three minutes longer M. Goude looked silently at the pictures and then turning suddenly called out, "Attention, gentlemen. Regard these pictures, they are the work of this gentleman who desires to enter my studio. In the eight years I have been teaching I have had over two hundred canvases submitted to me, but not one like these. I need not say that I shall be glad to receive him. He has been well taught. His technique is good and he has genius. Gentlemen, I have the honor to present to you Monsieur Cuthbert Hartington, who is henceforth one of you."

The students crowded round the pictures with exclamations of surprise and admiration. It was not until M. Goude said sharply "to work," that they returned to their easels.

"You will find canvases in that cupboard if you like to set at work at once. Choose your own size and subject and sketch it out in chalk. I should like to see how you work. Ah, you have a portfolio. I will look through your sketches this afternoon if you will leave it here."

Cuthbert chose a canvas from a pile ready stretched, selected a sketch from his portfolio of a wayside inn in Normandy, pinned it on the easel above the canvas, and then began to work. M. Goude did not come near him until the work was finished for the morning, then he examined what he had just done.

"You work rapidly," he said, "and your eye is good. You preserve the exact proportions of the sketch, which is excellent, though it was evidently done hastily, and unless I mistake was taken before you had begun really to paint. You did not know how to use color, though the effect is surprisingly good, considering your want of method at the time. I will look through your portfolio while I am having my lunch. In an hour we resume work." So saying he took up the portfolio and left the room. The students now came up to Cuthbert and introduced themselves one by one.

"You see our master in his best mood to-day," one said. "I never have seen him so gracious, but no wonder. Now we have no ceremony here. I am Rene, and this is Pierre, and this Jean, and you will be Cuthbert."

"It is our custom in England," Cuthbert said, "that a new boy always pays his footing; so gentlemen, I hope you will sup with me this evening. I am a stranger and know nothing of Paris; at any rate nothing of your quarter, so I must ask two of you to act as a committee with me, and to tell me where we can get a good supper and enjoy ourselves."

From that time Cuthbert had been one of the brotherhood and shared in all their amus.e.m.e.nts, entering into them with a gayety and heartiness that charmed them and caused them to exclaim frequently that he could not be an Englishman, and that his accent was but a.s.sumed. Arnold Dampierre had been admitted two months later. He had, the master said, distinct talent, but his work was fitful and uncertain. Some days he would work earnestly and steadily, but more often he was listless and indolent, exciting M. Goude's wrath to fever heat.

Among the students he was by no means a favorite. He did not seem to understand a joke, and several times blazed out so pa.s.sionately that Cuthbert had much trouble in soothing matters down, explaining to the angry students that Dampierre was of hot southern blood and that his words must not be taken seriously. Americans, he said, especially in the south, had no idea of what the English call chaff, and he begged them as a personal favor to abstain from joking with him, or it would only lead to trouble in the studio.

CHAPTER V.

There was no more talk after the master had given the order for work.

Most of the easels were s.h.i.+fted round and fresh positions taken up, then there was a little pause.

"She is late," M. Goude said, with an impatient stamp of the foot. The words were scarcely out of his mouth when the door opened and a girl entered.

"Good-morning, messieurs," and she made a sweeping courtesy.

"You are five minutes late, Minette."

"Ma foi, master, what would you have with the Prussians in sight and all Paris in the streets--five minutes mean neither here nor there. I expected praise for having come at all."

"There, there," the artist said hastily, "run into your closet and change, we are all waiting."

She walked across the room to a door in the corner, with an expression of careless defiance in her face, and reappeared in five minutes in the dress of a Mexican peasant girl attired for a fete. The dress suited her admirably. She was rather above the middle height, her figure lithe and supple with exceptionally graceful curves; her head was admirably poised on her neck. Her hair was very dark, and her complexion Spanish rather than French. Her father was from Ma.r.s.eilles and her mother from Arles.

Minette was considered the best model in Paris, and M. Goude had the merit of having discovered her. Three years before, when pa.s.sing through a street inhabited by the poorer cla.s.s of workmen in Montmartre, he had seen her leaning carelessly against a doorway. He was struck with the easy grace of her pose. He walked up the street and then returned. As he did so he saw her spring out and encounter an older woman, and at once enter upon a fierce altercation with her. It was carried on with all the accompaniment of southern gesture and ceased as suddenly as it began; the girl, with a gesture of scorn and contempt turning and walking back to the post she had left with a mien as haughty as that of a Queen dismissing an insolent subject.

"That girl would be worth a fortune as a model," the artist muttered. "I must secure her; her action and gesture are superb." He walked up to her, lifted his broad hat, and said "Mademoiselle, I am an artist. My name is Goude. I have an academy for painting, and I need a model. The work is not hard, it is but to sit or stand for two or three hours of a morning, and the remuneration I should offer would be five francs a day for this. Have I your permission to speak to your parents?"

There was an angry glitter in her eye--a change in her pose that, slight as it was, reminded the artist of a cat about to spring.

"A model for a painter, monsieur? Is it that you dare to propose that I shall sit without clothes to be stared at by young men? I have heard of such things. Is this what monsieur wishes?"

"Not at all, not at all," Mr. Goude said hastily. "Mademoiselle would always be dressed. She would be sometimes a Roman lady, sometimes a Spanish peasant, a Moorish girl, a Breton, or other maiden. You would always be free to refuse any costume that you considered unsuitable."

Her expression changed again. "If that is all, I might do it," she said; "it is an easy way of earning money. How often would you want me?"

"I should say three times a week, and on the other three days you would have no difficulty in obtaining similar work among artists of my own acquaintance. Here is my card and address."

The girl took it carelessly.

"I will speak to my father about it this evening when he comes home from work. You are quite sure that I shall not have to undress at all?"

"I have a.s.sured mademoiselle already that nothing of the sort will be required of her. There are models indeed who pose for figure, but these are a cla.s.s apart, and I can a.s.sure mademoiselle that her feelings of delicacy will be absolutely respected."

The next day Minette Dufaure appeared at the studio and had ever since sat for all the female figures required. The air of disdain and defiance she had first shown soon pa.s.sed away, and she entered with zest and eagerness upon her work. She delighted in being prettily and becomingly dressed. She listened intelligently to the master's descriptions of the characters that she was to a.s.sume, and delighted him with the readiness with which she a.s.sumed suitable poses, and the steadiness with which she maintained them.

There was nothing of the stiffness of the model in her att.i.tudes. They had the charm of being unstudied and natural, and whether as a baccha.n.a.l, a peasant girl, or a Gaulish amazon, she looked the part equally well; her face was singularly mobile, and although this was an inferior consideration to the master, she never failed to represent the expression appropriate to the character she a.s.sumed.

Her reputation was soon established among the artists who occasionally dropped into Goude's studio, and her spare time was fully occupied, and that at much higher rates of pay than those she earned with him. After the first two or three months she came but twice a week there, as that amply sufficed for the needs of the studio. On his telling her that he should no longer require her to come three times a week, as his pupils had other things to learn besides drawing the female figure, the master said--

"I must pay you higher in future, Minette. I know that my friends are paying you five francs an hour."

"A bargain is a bargain," she said. "You came to me first, and but for you I should never have earned a penny. Now we have moved into a better street and have comfortable lodgings. We have everything we want, and I am laying by money fast. You have always treated me well, and I like you though your temper is even worse than my father's. I shall keep to my agreement as long as you keep to yours, and if you do not I shall not come here at all."

With the students Minette was a great favorite. In the pause of five minutes every half-hour to allow her to change her position, she chatted and laughed with them with the frankest good temper, more than holding her own in the sallies of chaff. When they occasionally made excursions in a body into the country to sketch and paint, she was always of the party, going in the capacity of comrade instead of that of a model, contributing a full share to the lunch basket, but ready to pose as a peasant girl with a f.a.got on her head, a gleaner, or a country-woman with a baby on her lap, according to the scene and requirements. It was a matter of course that Minette should be present at every supper party or little fete among the students, always being placed in the seat of honor at the head of the table, and joining in all the fun of those merry reunions. For a time she treated all alike as comrades, and accepted no compliments save those so extravagant as to provoke general laughter. Gradually, however, it came to be understood among the students that Minette made an exception in the case of Arnold Dampierre, and that on occasions when they happened to break up in pairs he was generally by her side.

"One never can tell what women will do," Rene Caillard said one evening, when five or six of them were sitting smoking together. "Now, Minette might have the pick of us."

"No, no, Rene," one of the others protested, "most of us are suited already."

"Well, several of us, then. I am at present unattached, and so are Andre, and Pierre, and Jean; so is Cuthbert. Now, putting us aside, no woman in her senses could hesitate between the Englishman and Dampierre.

He has a better figure, is stronger and better looking. He is cleverer, and is as good-tempered as the American is bad; and yet she takes a fancy for Dampierre, and treats all the rest of us, including the Englishman, as if we were boys."

"I fancy women like deference," Pierre Leroux said. "She is a good comrade with us all, she laughs and jokes with us as if she were one of ourselves. Now the American very seldom laughs and never jokes. He treats her as if she were a d.u.c.h.ess and takes her altogether seriously.

I believe he would be capable of marrying her."

The others all burst into a laugh.

"What are you laughing at?" Cuthbert asked, as he entered the room at the moment.

"Pierre is just saying that he thinks the American is capable of marrying Minette."

"I hope not," Cuthbert said, more seriously than he generally spoke.

"Minette is altogether charming as she is. She is full of fun and life; she is clever and sparkling. There is no doubt that in her style she is very pretty. As to her grace it needs no saying. I think she is an honest good girl, but the idea of marrying her would frighten me. We see the surface and it is a very pleasant one, but it is only the surface.

Do you think a woman could look as she does in some of her poses and not feel it? We have never seen her in a pa.s.sion, but if she got into one, it would be terrible. When she flashes out sometimes it is like a tongue of flame from a slumbering volcano. You would feel that there might be an eruption that would sweep everything before it. As you know, I gave up painting her after the first two months, but I sketch her in every pose; not always her whole figure, but her face, and keep the sketches for use some day. I was looking through them only yesterday and I said to myself, 'this woman is capable of anything.' She might be a Joan of Arc, or Lucraetzia Borghia. She is a puzzle to me altogether. Put her in a quiet, happy home and she might turn out one of the best of women. Let her be thrown into turbulent times and she might become a demon of mischief. At present she is altogether undeveloped. She is two and twenty in years, but a child, or rather a piquant, amusing young girl, in manner, and perhaps in disposition. She is an enigma of which I should be sorry to have to undertake the solution. As she seems, I like her immensely, but when I try to fathom what she really is, she frightens me."

The others laughed.

"Poor little Minette," Pierre Leroux said. "You are too hard upon her altogether, Cuthbert. The girl is a born actress and would make her fortune on the stage. She can represent, by the instinct of art, pa.s.sions which she has never felt. She can be simple and majestic, a laughing girl and a furious woman, a Christian martyr and a baccha.n.a.l, simply because she has mobile features, intelligence, sentiment, emotion, and a woman's instinct, that is all. She is a jolly little girl, and the only fault I have to find with her is that she has the bad taste to prefer that gloomy American to me."

"Well, I hope you are right, Pierre, though I hold my own opinion unchanged--at any rate I sincerely trust that Dampierre will not make a fool of himself with her. You men do not like him because you don't understand him. You are gay and light-hearted, you take life as it comes. You form connections easily and lightly, and break them off again a few months later just as easily. Dampierre takes life earnestly. He is indolent, but that is a matter of race and blood. He would not do a dishonorable action to save his life. I believe he is the heir to a large fortune, and he can, therefore, afford to work at his art in a dilettante sort of manner, and not like us poor beggars who look forward to earning our livelihood by it. He is pa.s.sionate, I grant, but that is the effect of his bringing up on a plantation in Louisiana, surrounded by his father's slaves, for though they are now free by law the nature of the negro is unchanged, and servitude is his natural position. The little white master is treated like a G.o.d, every whim is humored, and there being no restraining hand upon him, it would be strange if he did not become hasty and somewhat arrogant.