A Girl of the Commune

"By Jove, Dampierre," Cuthbert said, "if I hadn't made up my mind to join a corps before, this scene would decide me. It is pitiful to see all these poor people, who have no more to do with the war than the birds in the air, rendered homeless. A good many of the birds have been rendered homeless too, but fortunately for them it is autumn instead of spring, and they have neither nests nor nestlings to think of, and can fly away to the woods on the slopes below Meudon."

"What a fellow you are, Hartington, to be thinking of the birds when there are tens of thousands of people made miserable."

"I fancy the birds are just as capable of feeling misery as we are," Cuthbert said quietly, "not perhaps over trivial matters, though they do bicker and quarrel a good deal among themselves, but they have their great calamities, and die of thirst, of hunger, and of cold. I remember during a very hard frost some years ago our garden was full of dying birds, though my father had bushels of grain thrown to them every day. It was one of the most painful sights I ever saw, and I know I felt pretty nearly as much cut up at it as I do now. I hate to see dumb animals suffer. There is a sort of uncomplaining misery about them that appeals to one, at any rate appeals to me, infinitely. These poor fellows are suffering too, you will say. Yes, but they have their consolation. They promise themselves that as soon as they get into Paris they will join a corps and take vengeance on those who have hurt them. They may think, and perhaps with reason, that when the trouble is over, they will find their cottages still standing, and will take up life again as they left it. They have at least the consolation of swearing, a consolation which, as far as I know, is denied to animals and birds."

"You are a rum fellow, Hartington, and I never know when you are in earnest and when you are not."

"Let us go back," René Caillard, who, with the others, had been standing silently, said abruptly. "This is too painful; I feel suffocated to think that such a humiliation should fall on Paris. Surely all civilized Europe will rise and cry out against this desecration." He turned and with his comrades walked back towards the gate. Cuthbert followed with Arnold Dampierre.

"That is just the way with them," the former said, "it would have been no desecration had they encamped before Berlin, but now, because it is the other way, they almost expect a miracle from Heaven to interpose in their favor. Curious people the French. Their belief in themselves is firm and unshakable, and whatever happens it is the fault of others, and not of themselves. Now, in point of fact, from all we hear, the Germans are conducting the war in a very much more humane and civilized way than the French would have done if they had been the invaders, and yet they treat their misfortunes as if high Heaven had never witnessed such calamities. Why, the march of the Germans has been a peaceful procession in comparison with Sherman's march or Sheridan's forays. They have sacked no city, their path is not marked by havoc and conflagration; they fight our men, and maybe loot deserted houses, but as a rule unarmed citizens and peasants have little to complain of."

"That is true enough," the other agreed reluctantly.

"My opinion is," Cuthbert went on, "that all these poor people who are flocking into Paris are making a hideous mistake. If they stopped in their villages the betting is that no harm would have come to them; whereas now they have left their homes unguarded and untenanted—and it would not be human nature if the Germans did not occupy them—while in Paris they will have to go through all the privations and hardships of a siege and perhaps of a bombardment; besides there are so many more hungry mouths to feed. In my opinion Trochu and the Provisional Government would have acted very much more wisely had they issued an order that no strangers, save those whose houses have been destroyed, should be allowed to enter the city, and advising the inhabitants of all the villages round either to remain quietly in their homes, or to retire to places at a distance. Fighting men might, of course, come in, but all useless mouths will only hasten the date when famine will force the city to surrender."

"You seem very sure that it will surrender sooner or later, Hartington," Dampierre said, irritably. "My opinion is that all France will rise and come to her rescue."

"If Bazaine cuts his way out of Metz they may do it, but we have heard nothing of his moving, and the longer he stays the more difficulty he will have of getting out. He has a fine army with him, but if he once gives time to the Germans to erect batteries commanding every road out of the place, he will soon find it well-nigh impossible to make a sortie. Except that army France has nothing she can really rely upon. It is all very well to talk of a general rising, but you can't create an army in the twinkling of an eye; and a host of half-disciplined peasants, however numerous, would have no chance against an enemy who have shown themselves capable of defeating the whole of the trained armies of France. No, no, Dampierre, you must make up your mind beforehand that you are going in on the losing side. Paris may hold out long enough to secure reasonable terms, but I fancy that is about all that will come of it."

The other did not reply. He had something of the unreasoning faith that pervaded France, that a Republic was invincible, and that France would finally emerge from the struggle victorious.

"We shall try and find out to-night about the corps," René Caillard said, as the others overtook them some distance inside the gates. "After what we have seen to-day we are all determined to join without delay. I heard last night from some men at Veillant's that they and a good many others have put their names down for a corps that is to be called the Chasseurs des Écoles. They said they understood that it was to be composed entirely of students. Not all art, of course, but law and other schools."

"That would be just the thing," Cuthbert said, "if they can only get some good officers. One likes the men one has to work with to be a little of one's own class. Well, if the officers are all right you can put my name down. I suppose there is no occasion for me to go myself."

"Of course there is occasion, lazy one. You have to be sworn in."

Cuthbert nodded. "I suppose we shan't have to give up work altogether?"

"I should think not," René said. "I suppose we shall have two or three hours' drill in the morning and nothing more till the time for action comes. Of course the troops and the mobiles will do the work at the forts and walls, and we shall be only called out if the Prussians venture to attack us, or if we march out to attack them."

"So much the better. I came here to work, and I want to stick to it and not waste my time in parades and sentry duty. Well, we shall meet at the studio in the morning and you can give us your news then."

Some fifteen young men met on the following morning at Goudé's studio.

"Now, gentlemen," said the artist, a short man, with a large head, and an abundant crop of yellow hair falling on to his shoulders, "please to attend to business while you are here. Paint—you have plenty of time outside to discuss affairs."

M. Goudé was an artist of considerable talent, but of peppery temper. He had at one time gone to war with the Hanging Committee of the Salon because one of his paintings had been so badly hung that he declared it to be nothing short of an insult, and had forthwith proceeded to publish the most violent strictures upon them. The result was that on the following year his pictures were not hung at all, whereupon, after another onslaught upon them, he had declared his determination never again to submit a picture to the judgment of men whose natural stupidity was only equalled by their ignorance of art.

This vow he had for eight years adhered to, only occasionally painting a picture and selling it privately, but devoting himself almost entirely to the studio he had opened, when he ceased exhibiting. He was an admirable teacher and his list of pupils was always full. He was an exacting master and would take none but students who showed marked ability. As a preliminary picture had to be presented to him for examination, and at least three out of four of the canvases sufficed to ensure their authors' prompt rejection.

It was, therefore, considered an honor to be one of Goudé's pupils, but it had its drawbacks. His criticisms were severe and bitter; and he fell into violent passions when, as Leroux once observed, he looked like the yellow dwarf in a rage. Cuthbert had heard of him from Terrier, who said that Goudé had the reputation of being by far the best master in Paris. He had presented himself to him as soon as he arrived there; his reception had not been favorable.

"It is useless, Monsieur," the master had said, abruptly, "there are two objections. In the first place you are too old, in the second place you are a foreigner, and I do not care to teach foreigners. I never had but one here, and I do not want another. He was a Scotchman, and because I told him one day when he had produced an atrocious daub, that he was an imbecile pig, he seized me and shook me till my teeth chattered in my head, and then kicked over the easel and went out."

"You may call me an imbecile pig if you like," Cuthbert said with his quiet smile, "it would hurt me in no way. I have come over to learn, and I am told you are the best master in Paris. When a man is a great master he must be permitted to have his peculiarities, and if he likes to treat grown-up men as children, of course he can do so, for are we not children in art by his side."

Monsieur Goudé was mollified, but he did not show it.

"Have you brought any canvases with you?"

"I have brought the last two things I did before leaving London."

"Well, you can bring them if you like," the master said, ungraciously, "but I warn you it will be useless. You English cannot paint, even the best of you. You have no soul, you are monotonous, but you may bring them."

An hour later Cuthbert returned to the studio, which was now occupied by the students.

"You are prompt," the master said, looking round from the student whose work he was correcting with no small amount of grumbling and objurgation. "Put your things on those two spare easels, I will look at them presently."

Seeing that several of the other students were smoking, Cuthbert filled and lighted his pipe, calmly placed the pictures on the easels without taking off the cloths in which they were wrapped, and then put his hands into the pockets of his velvet jacket and looked round the room. After his experience of some of the luxuriously arranged studios at St. John's Wood, the room looked bare and desolate. There was no carpet and not a single chair or lounge of any description. Some fifteen young fellows were painting. All wore workmen's blouses. All had mustaches, and most of them had long hair. They appeared intent on their work, but smiles and winks were furtively exchanged, and the careless nonchalance of this tall young Englishman evidently amused them. In four or five minutes M. Goudé turned round and walked towards the easels. Cuthbert stepped to them and removed the cloths. The master stopped abruptly, looked at them without speaking for a minute or two, then walked up and closely examined them.

"They are entirely your own work?" he asked.

"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 sunshine 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. Goudé 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. Goudé 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. Goudé 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 René, 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 amusements, 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 assumed. 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. Goudé'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 passionately 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 shifted round and fresh positions taken up, then there was a little pause.

"She is late," M. Goudé 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 fête. 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 Marseilles and her mother from Arles.

Minette was considered the best model in Paris, and M. Goudé had the merit of having discovered her. Three years before, when passing through a street inhabited by the poorer class 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 Goudé. 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. Goudé 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 assured mademoiselle already that nothing of the sort will be required of her. There are models indeed who pose for figure, but these are a class apart, and I can assure 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 passed 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 assume, and delighted him with the readiness with which she assumed suitable poses, and the steadiness with which she maintained them.

There was nothing of the stiffness of the model in her attitudes. They had the charm of being unstudied and natural, and whether as a bacchanal, 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 assumed.

Her reputation was soon established among the artists who occasionally dropped into Goudé'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 fagot 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 fête 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," René Caillard said one evening, when five or six of them were sitting smoking together. "Now, Minette might have the pick of us."

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

"Well, several of us, then. I am at present unattached, and so are André, 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 duchess 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 passion, 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."