Array The griffin classics - The Collected Works of Honore de Balzac

The rancorous enmity which existed between the Reyberts and the Moreaus came from a wound inflicted by Madame de Reybert upon Madame Moreau on the first occasion when the latter assumed precedence over the former on her first arrival at Presles, the wife of the steward being determined not to allow her supremacy to be undermined by a woman nee de Corroy. Madame de Reybert thereupon reminded, or, perhaps, informed the whole country-side of Madame Moreau’s former station. The words “waiting-maid” flew from lip to lip. The envious acquaintances of the Moreaus throughout the neighborhood from Beaumont to Moisselles, began to carp and criticize with such eagerness that a few sparks of the conflagration fell into the Moreau household. For four years the Reyberts, cut dead by the handsome Estelle, found themselves the objects of so much animadversion on the part of the adherents of the Moreaus that their position at Presles would not have been endurable without the thought of vengeance which had, so far, supported them.

The Moreaus, who were very friendly with Grindot the architect, had received notice from him of the early arrival of the two painters sent down to finish the decorations of the chateau, the principal paintings for which were just completed by Schinner. The great painter had recommended for this work the artist who was accompanied by Mistigris. For two days past Madame Moreau had been on the tiptoe of expectation, and had put herself under arms to receive him. An artist, who was to be her guest and companion for weeks, demanded some effort. Schinner and his wife had their own apartment at the chateau, where, by the count’s express orders, they were treated with all the consideration due to himself. Grindot, who stayed at the steward’s house, showed such respect for the great artist that neither the steward nor his wife had attempted to put themselves on familiar terms with him. Moreover, the noblest and richest people in the surrounding country had vied with each other in paying attention to Schinner and his wife. So, very well pleased to have, as it were, a little revenge of her own, Madame Moreau was determined to cry up the artist she was now expecting, and to present him to her social circle as equal in talent to the great Schinner.

Though for two days past Moreau’s pretty wife had arrayed herself coquettishly, the prettiest of her toilets had been reserved for this very Saturday, when, as she felt no doubt, the artist would arrive for dinner. A pink gown in very narrow stripes, a pink belt with a richly chased gold buckle, a velvet ribbon and cross at her throat, and velvet bracelets on her bare arms (Madame de Serizy had handsome arms and showed them much), together with bronze kid shoes and thread stockings, gave Madame Moreau all the appearance of an elegant Parisian. She wore, also, a superb bonnet of Leghorn straw, trimmed with a bunch of moss roses from Nattier’s, beneath the spreading sides of which rippled the curls of her beautiful blond hair.

After ordering a very choice dinner and reviewing the condition of her rooms, she walked about the grounds, so as to be seen standing near a flower-bed in the court-yard of the chateau, like the mistress of the house, on the arrival of the coach from Paris. She held above her head a charming rose-colored parasol lined with white silk and fringed. Seeing that Pierrotin merely left Mistigris’s queer packages with the concierge, having, apparently, brought no passengers, Estelle retired disappointed and regretting the trouble of making her useless toilet. Like many persons who are dressed in their best, she felt incapable of any other occupation than that of sitting idly in her salon awaiting the coach from Beaumont, which usually passed about an hour after that of Pierrotin, though it did not leave Paris till mid-day. She was, therefore, in her own apartment when the two artists walked up to the chateau, and were sent by Moreau himself to their rooms where they made their regulation toilet for dinner. The pair had asked questions of their guide, the gardener, who told them so much of Moreau’s beauty that they felt the necessity of “rigging themselves up” (studio slang). They, therefore, put on their most superlative suits and then walked over to the steward’s lodge, piloted by Jacques Moreau, the eldest son, a hardy youth, dressed like an English boy in a handsome jacket with a turned-over collar, who was spending his vacation like a fish in water on the estate where his father and mother reigned as aristocrats.

“Mamma,” he said, “here are the two artists sent down by Monsieur Schinner.”

Madame Moreau, agreeably surprised, rose, told her son to place chairs, and began to display her graces.

“Mamma, the Husson boy is with papa,” added the lad; “shall I fetch him?”

“You need not hurry; go and play with him,” said his mother.

The remark “you need not hurry” proved to the two artists the unimportance of their late travelling companion in the eyes of their hostess; but it also showed, what they did not know, the feeling of a step-mother against a step-son. Madame Moreau, after seventeen years of married life, could not be ignorant of the steward’s attachment to Madame Clapart and the little Husson, and she hated both mother and child so vehemently that it is not surprising that Moreau had never before risked bringing Oscar to Presles.

“We are requested, my husband and myself,” she said to the two artists, “to do you the honors of the chateau. We both love art, and, above all, artists,” she added in a mincing tone; “and I beg you to make yourselves at home here. In the country, you know, every one should be at their ease; one must feel wholly at liberty, or life is too insipid. We have already had Monsieur Schinner with us.”

Mistigris gave a sly glance at his companion.

“You know him, of course?” continued Estelle, after a slight pause.

“Who does not know him, madame?” said the painter.

“Knows him like his double,” remarked Mistigris.

“Monsieur Grindot told me your name,” said Madame Moreau to the painter. “But — ”

“Joseph Bridau,” he replied, wondering with what sort of woman he had to do.

Mistigris began to rebel internally against the patronizing manner of the steward’s wife; but he waited, like Bridau, for some word which might give him his cue; one of those words “de singe a dauphin” which artists, cruel, born-observers of the ridiculous — the pabulum of their pencils — seize with such avidity. Meantime Estelle’s clumsy hands and feet struck their eyes, and presently a word, or phrase or two, betrayed her past, and quite out of keeping with the elegance of her dress, made the two young fellows aware of their prey. A single glance at each other was enough to arrange a scheme that they should take Estelle seriously on her own ground, and thus find amusement enough during the time of their stay.

“You say you love art, madame; perhaps you cultivate it successfully,” said Joseph Bridau.

“No. Without being neglected, my education was purely commercial; but I have so profound and delicate a sense of art that Monsieur Schinner always asked me, when he had finished a piece of work, to give him my opinion on it.”

“Just as Moliere consulted La Foret,” said Mistigris.

Not knowing that La Foret was Moliere’s servant-woman, Madame Moreau inclined her head graciously, showing that in her ignorance she accepted the speech as a compliment.

“Didn’t he propose to ‘croquer’ you?” asked Bridau. “Painters are eager enough after handsome women.”

“What may you mean by such language?”

“In the studios we say croquer, craunch, nibble, for sketching,” interposed Mistigris, with an insinuating air, “and we are always wanting to croquer beautiful heads. That’s the origin of the expression, ‘She is pretty enough to eat.’”