And so during the third year he obstinately toiled on a work of revolt. He wanted the blazing sun, that Paris sun which, on certain days, turns the pavement to a white heat in the dazzling reflection from the house frontages. Nowhere is it hotter; even people from burning climes mop their faces; you would say you were in some region of Africa beneath the heavily raining glow of a sky on fire. The subject Claude chose was a corner of the Place du Carrousel, at one o’clock in the afternoon, when the sunrays fall vertically. A cab was jolting along, its driver half asleep, its horse steaming, with drooping head, vague amid the throbbing heat. The passers-by seemed, as it were, intoxicated, with the one exception of a young woman, who, rosy and gay under her parasol, walked on with an easy queen-like step, as if the fiery element were her proper sphere. But what especially rendered this picture terrible was a new interpretation of the effects of light, a very accurate decomposition of the sunrays, which ran counter to all the habits of eyesight, by emphasising blues, yellows and reds, where nobody had been accustomed to see any. In the background the Tuileries vanished in a golden shimmer; the paving-stones bled, so to say; the figures were only so many indications, sombre patches eaten into by the vivid glare. This time his comrades, while still praising, looked embarrassed, all seized with the same apprehensions. Such painting could only lead to martyrdom. He, amidst their praises, understood well enough the rupture that was taking place, and when the hanging committee had once more closed the Salon against him, he dolorously exclaimed, in a moment of lucidity: ‘All right; it’s an understood thing--I’ll die at the task.’