Our young man had not in any recent year failed to see the Salon, which
the general voice this season pronounced not particularly good. None the
less it was the present exhibition that, for some cause connected with
his "crisis," made him think fast, produced that effect he had spoken of
to his mother as a sense of artistic life. The precinct of the marbles
and bronzes spoke to him especially to-day; the glazed garden, not
florally rich, with its new productions alternating with perfunctory
plants and its queer, damp smell, partly the odour of plastic clay, of
the studios of sculptors, put forth the voice of old associations, of
other visits, of companionships now ended--an insinuating eloquence
which was at the same time somehow identical with the general sharp
contagion of Paris. There was youth in the air, and a multitudinous
newness, for ever reviving, and the diffusion of a hundred talents,
ingenuities, experiments. The summer clouds made shadows on the roof of
the great building; the white images, hard in their crudity, spotted the
place with provocations; the rattle of plates at the restaurant sounded
sociable in the distance, and our young man congratulated himself more
than ever that he had not missed his chance. He felt how it would help
him to settle something. At the moment he made this reflexion his eye
fell upon a person who appeared--just in the first glimpse--to carry out
the idea of help. He uttered a lively ejaculation, which, however, in
its want of finish, Biddy failed to understand; so pertinent, so
relevant and congruous, was the other party to this encounter.
Public-domain text, read in full here on John Shaqi.
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