What was he to do? How defend himself to a man so very polite! "I would have preferred harshness," said the artist to me. "This gentleness disconcerted me." He returned to the monastery decided to renounce the enterprise. "Persevere!" again said the missionaries. The artist renewed his work. Two days after, in the street, where he now worked from choice, the curé again addressed him: "Have you, then, nothing to do at home?" "O Monsieur le Curé! one would think that you would turn me out of doors." This time the curé was disconcerted. {204} "No, no," said he eagerly, and slightly embarrassed. "Stay as long as you choose, but don't begin again!" ... The next day, seeing the curé so surrounded that he could not disengage himself, and in danger of leaving his cassock in the hands of the pilgrims, the artist ran to his relief and offered him his arm. "I constitute myself your bodyguard," said he gallantly. "Then I am emperor! ... But this is not the question. Do you know, I would like to excommunicate you?" "Really, Monsieur le Curé, what a tremendous word! Have I, then, committed so shocking a crime?" "Bah! you understand me well enough." "Well then, what?" "You cause me constant distraction; and when you think seriously, would it not be far better to take the head of the first dog you meet?" "O Monsieur le Curé!" And when the model was finished and the curé saw it, "Well," said he, "it is not a subject of rejoicing! Look at the poor Curé d'Ars! How odd it is," added he, "your power of giving life to plaster!" IV. I have given this dialogue at length, as it was repeated to me by the artist. If I am not deceived, it represents well the character of the good priest; his humility, his humor, his brusqueness touched with raillery, his politeness and goodness--all are well portrayed. All this is reproduced in the statue. It gives us the character of the dialogue, and the almost legendary figure that our contemporaries have seen, and which will pass to posterity. The Curé d'Ars is kneeling in his cassock, with the surplice, rabat, and stole. His hands are joined, his eyes uplifted to heaven. A sweet smile brightens his face. His hair, cut off square, falls on his neck in abundant locks, and shaven closely on the top of his head; his forehead is left free. The priest prays with such fervor and such faith, I may say a passion which makes us think of paradise. Angels must pray in this way. His hands are extended toward heaven with an intensity of emotion; the eyes have so much ardor in their expression that the spirit of prayer seems to lift the body from earth and carry it to heaven. I know no work with more life in it; there does not exist a more impassioned statue. Faith, love, and desire, transfigured in this marble block, animate it and give it a striking reality.