The McCook tribune. (McCook, Neb.) 1886-1936, 1894-01-05
THAT

he affirmed should represent the cross
years this masterpiece Of color had been
obstinateIy refused by the jury at the
annual salon.
So, from force of habit in going and
coming SO often from the studio to the
musee and from the musee to the
studio, the picture knew the road so
well that, if n had set it on wheels, it
would have been able to go all alone to
the Louvre.
Marcel, who had ten times repainted
and re%arranged this canvas from top to
bottom, attributed to a personal hostil-
ity of the members of the jury against
himself the ostracism which rejected
it annually from the Square salon,
and in his idle moments he had COM
posed in honor of the Cerberuses of the
institute a little dictionary of curses
with some illustrations of a savage fe-
rocity. This collection, which had be-
come celebrated, had obtained in the
studios and at the School If the Fine
Arts the popular success which is at
tached to the immortal complaint of
Jean Belin, painter in ordinary to the
grand sultan of Turkey. All the daub-
ers of Paris had a copy of it in their
memory.
For a long time Marcel was not dis
couraged by the determined reflections
which he received at each annual ex-
h1hifio1 HI "o cop,fo,fob XIV co%t1oI
in the opinion that his picture was, in
its least proportions, the long sought
for pendant to the Marriage Feast at
Cana, that gigantic masterpiece whose
brilliant splendor the dust of three CEN
turtles has not been able to tarnish. So,
every year at the epoch of the salon,
Marcel sent his picture to be examined
by the jury. Only-in order TO throw
the examiners off the Scent and to try
to battle them in their precOnceived de-
termination to exclude it, which preju-
dice they seemed to have against the
Crossing of the Red Sea"-without
changing anything in the general COM
position Of the painting. he modified
certain details and changed the title of
his picture. Thus, One year it came
before the jury under the name of THE
Crossing OF the Rubicon." But Pha-
raoh, badly disguised under Caesars
mantle, was instantly recognized and re-
jected with all the honors due him.
The following year Marcel threw
upon the foreground Of his canvas a lay
er OF white paint to represent snow,
planted a tree in one corner. and dress
ing up an Egyptian in the uniform of
the imperial guard of France he bap-
tized his picture THE Crossing of the
Beresina.' The jury, which had rub
bed up its spectacles that day upon the
tails of its green palmed coats-o1
official occasions the members of the
institute wear dress coats having green
palms embroidered on the lapels and
collars-was not duped by this new
ruse. 1t recognized perfectly tho obsti-
nate canvas, especially by a Ing devil
Of d many colored horse that pranced
about on top of a W. of the Red sea.
The dressing of this horse served Mar
eel for all his experiments in coloring,
and in his everyday speech he called it
"a synoptical tableau of fine tones" be-
cause it reproduced all the most varied
combinations of color with their plays
Of light and shade. But once more,
unmoved by this fine detail, the jury
had not black balls enough to fully ex-
press their feelings in rejecting THE
Crossing of the Beresina."
Very we'll. said Marcel, III wait!
Next year l shall send 1t again under
the title of the Passage des Panora-
mas"
A few days later, and when, Macrel
had already forgotten terrible threats
of vengeance he had uttered against his
prosecutors, he received a visit from
Father Medicis. Thus the bohemians
had nicknamed a Jew named Solomon,
who at that epoch was we'll known to
all members of artistic and literary b.
heEia. with whom he was in perpetual
in all sorts of bric-a-brac. He sold COM
plete sets of furniture at from IL francs
up to 5000. He bought everything and
knew how to sell it again at a profit.
The exchange bank Of M. Proudhon
was a very little affair compared to the
system applied by Madicis, who pos
sessed the genius of traffic to a degree
V before attained by ever the most
able of his fellow believers. His shop,
which was situated in the Place du
C%arrousel, was a fairyland where one
found everything to be desired. All
the products of nature, all the creations
of art, all that comes forth from the
bowels of the earth and of genius, Med
icis made of it an object of negotiation.
His business touched everything, alb
%solutely everything that exists; he
dealt e. ia the ideal. Medicis bought
ideas in order to exploit them himself
or to sell them again. Known to all
the ~littefateurs and all the artists. an
intimate of the palette and a familiar
friend Of the writing desk, he was the
Asmodeus Of the art. He would sell
you come cigars for the plot Of a novel,
some slippers for a sonnet, some fresh
fish for paradoxes; he chatted "by the
hour" with writer's whose business it