Читать книгу The Uncrowned King - Baroness Emmuska Orczy - Страница 9

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When next you are in Paris and happen to go one day up the Rue de Clichy—the street which is on the left of the large church of La Trinité—you will come, just before you reach the Place, on a new block of buildings, which look strangely incongruous in this old quarter of the city. They are a portion of the improvements which “le grand Préfet”—as Baron Haussmann was universally called—designed for the transformation of the ancient, insalubrious town into a Ville Lumière—ultra-modern, elegant, exquisite, but no longer picturesque, save in those out-of-the-way parts, which are sedulously avoided by the sightseer.

But in this year 1860 Haussmann had not yet tackled the problem of Montmartre, and where that block of new buildings now stands, there was a kind of Bohemian backwater beloved of artists and poets and of the under-dog. It was known as the Cité du Réaumur, and consisted of a square courtyard hemmed in by low buildings, all in a more or less dilapidated condition. A tumbledown archway gave access to the square. Exactly facing the archway there was a row of studios with tall windows on which lay the grime of ages. On the inside of each window there was a dark curtain hanging from an invisible rod, all crooked and torn. These curtains looked as if nothing on earth would induce them to move either up or down, but as the film of dirt on the windows effectually shut out the interior of the studios from the gaze of the curious, this inefficacy of the curtains did not seem to matter very much. On the right of the courtyard, at right angles to the studios, there was a row of shops, in the windows of which there was a display of miscellaneous articles such as no one could possibly want, boots that didn’t look as if they could fit any human foot, chignons that no self-respecting woman could possibly wear, pots of paste and bottles of liquid that defied usage, ribbons of colours that would never match or tone in with any gown. The stories above the shops were occupied respectively by a cobbler, a tailor, a dealer in scrap iron, a chimney sweep, and a barber. The dealer in scrap iron and the cobbler were guilty of the various noises peculiar to their trade; the tailor worked cross-legged on his table, in silence; the chimney sweep gave one loud cry of “Ramoneur,” when he emerged from his lair soon after dawn every morning; but no one ever seemed to enter the shops down below, the front doors of which were in the possession of frowsy ill-conditioned cats.

Facing these shops, on the left of the courtyard, there was an eating-house which called itself, grandiloquently, Restaurant des Trois Rois. It had the reputation of serving once a week for dinner, the best cassoulette Normande to be had in Paris. On that one evening in the week the passer-by who had been curious enough to venture under the crumbling masonry of the archway would be rewarded for his temerity by seeing some of the greatest men in the world of art or literature squaring their elbows to large platesful of cassoulette which they consumed by the uncertain light of gas burners hissing behind round wire cages. That same venturesome passer-by would see at one of the tables by the window Eugène Delacroix, painter of ethereal womanhood, burying his shaggy moustache at intervals in large tankards of beer, and opposite to him Horace Vernet in an old military coat, his chest covered with decorations, his white hair tousled, his chin unshaved, ogling the few women who from time to time dropped into the restaurant for a square meal. He would see Gustave Flaubert, whose recently published Madame Bovary had shocked the sensibilities of provincial France, discussing the respective merits of Saint-Emilien and Château-Yquem with Octave Feuillet, whose Roman d’un Jeune Homme Pauvre had set the young ladies of two continents dreaming of romance.

And in a corner at a small table, sitting by himself, Alexandre Dumas, the man with the fleshy lips and flat nose which betrayed his negroid origin; whilst in the far corner of the salle the young ’uns, very quiet, very modest, gazing in respectful silence on their elders who had already “got there”: Alphonse Daudet with the leonine head, the shabby velvet coat and delicate hands, and young Zola, saturnine, obstinate, with the shoulders of a butcher and a fist fashioned ready to smite.

They came and went, ate and drank copiously, engrossed in the important business of feeding and enjoying life. They entered the crowded salle without taking notice of anyone else there, though they were all friends, comrades together; but in the Restaurant des Trois Rois nobody ever greeted anybody else: the habitués just came in, sat down at their accustomed table and ordered their cassoulette without paying attention to any of the other customers. This was Bohemia par excellence. The motto above the entrance door might easily have been: “Abandon your manners all ye who enter here!”

They all wore shabby coats, and trousers immensely wide at the hips and tapering down into a tight band round the ankles, greasy black hats with pointed crowns and huge flat brims. They wore their hair long and their beards shaggy. They knew nothing about collars, and their ties were large and floppy. They talked with their mouths full and ate peas with their knife. They were rough, uncouth, quarrelsome, vulgar if you like, but they were giants, these men, giants whom the world did not ignore, and whom posterity will never forget.

“Eh bien! Cyril, mon petit, ça va?”

The man who spoke had just come in. Contrary to the usage of the place, everyone turned to look at him: he was small and malformed, with legs that were too short and hands that were too big. His eyes were small and his forehead narrow; his lips were thin and betrayed obstinacy allied with pride. He had entered the room with an air that commanded attention, crossed the salle over to a far corner where a young man who wore a very shabby velvet coat with shirt open wide at the neck, sat eating all alone. The newcomer hung up his hat and without more ceremony dragged a chair to the table and sat down opposite the young man.

“Comment ça va?” he reiterated.

The other shrugged and replied dolefully:

“Oh! pas très bien, Monsieur Ingres, vous savez.”

“Ah, bah!” the great little man retorted, “I rather liked that portrait, you know.”

The young man blushed furiously at this praise from the great master, but before he could frame a single word Jean Auguste Ingres had called the waiter and become absorbed in the study of the bill of fare.

“No cassoulette for me to-day, mon vieux,” he said with a sigh.

“But, Monsieur Ingres,” the waiter protested.

“I said no cassoulette,” the old artist reiterated. “What else have you got?”

And thereafter there followed a long discussion between the painter of “La Source” and the waiter as to what should take the place of the classical dish.

The young man at the table was apparently forgotten. He waited in vain for another word from the master.