Jeanne was a large, slow-moving Norman girl, stolidly handsome. One could picture her in a De Maupassant farmyard. In the clatter and bustle of Bredin's Parisian Café she appeared out of place, like a cow in a boiler-factory. To Paul, who worshipped her with all the fervour of a little man for a large woman, her deliberate methods seemed all that was beautiful and dignified. To his mind she lent a tone to the vulgar whirlpool of gorging humanity, as if she had been some goddess mixing in a Homeric battle. The whirlpool had other views-and expressed them. One coarse-fibred brute, indeed, once went so far as to address to her the frightful words, " 'Urry up, there, Tottie! Look slippy." It was wrong, of course, for Paul to slip and spill an order of scrambled eggs down the brute's coat-sleeve, but who can blame him?
Among those who did not always see eye to eye with Paul in his views on deportment in waitresses was M. Bredin himself, the owner of the Parisian Café; and it was this circumstance which first gave Paul the opportunity of declaring the passion which was gnawing him with the fierce fury of a Bredin customer gnawing a tough steak against time during the rush hour. He had long worshipped her from afar, but nothing more intimate than a "Good-morning, Miss Jeanne," had escaped him, till one day during a slack spell he came upon her in the little passage leading to the kitchen, her face hidden in her apron, her back jerking with sobs.
Business is business. Paul had a message to deliver to the cook respecting "two fried, coffee, and one stale." He delivered it and returned. Jeanne was still sobbing.
"Ah, Miss Jeanne," cried Paul, stricken, "what is the matter? What is it? Why do you weep?"
"The patron," sobbed Jeanne. "He-"
"My angel," said Paul, "he is a pig."
This was perfectly true. No conscientious judge of character could have denied that Paul had hit the bull's eye. Bredin was a pig. He looked like a pig; he ate like a pig; he grunted like a pig. He had the lavish embonpoint of a pig. Also a porcine soul. If you had tied a bit of blue ribbon round his neck you could have won prizes with him at a show.
Paul's eyes flashed with fury. "I will slap him in the eye," he roared.
"He called me a tortoise."
"And kick him in the stomach," added Paul.
Jeanne's sobs were running on second speed now. The anguish was diminishing. Paul took advantage of the improved conditions to slide an arm part of the way round her waist. In two minutes he had said as much as the ordinary man could have worked off in ten. All good stuff, too. No padding.
Jeanne's face rose from her apron like a full moon. She was too astounded to be angry.
Paul continued to babble. Jeanne looked at him with growing wrath. That she, who received daily the affectionate badinage of gentlemen in bowler hats and check suits, who had once been invited to the White City by a solicitor's clerk, should be addressed in this way by a waiter! It was too much. She threw off his hand.
"Wretched little man!" she cried, stamping angrily.
"My angel!" protested Paul.
Jeanne uttered a scornful laugh.
"You!" she said.
There are few more withering remarks than "You!" spoken in a certain way. Jeanne spoke it in just that way.
Paul wilted.
"On eighteen shillings a week," went on Jeanne, satirically, "you would support a wife, yes? Why-"
Paul recovered himself. He had an opening now, and proceeded to use it.
"Listen," he said. "At present, yes, it is true, I earn but eighteen shillings a week, but it will not always be so, no. I am not only a waiter. I am also an artist. I have painted a great picture. For a whole year I have worked, and now it is ready. I will sell it, and then, my angel-?"
Jeanne's face had lost some of its scorn. She was listening with some respect. "A picture?" she said, thoughtfully. "There is money in pictures."
For the first time Paul was glad that his arm was no longer round her waist. To do justice to the great work he needed both hands for purposes of gesticulation.
"There is money in this picture," he said. "Oh, it is beautiful. I call it 'The Awakening.' It is a woodland scene. I come back from my work here, hot and tired, and a mere glance at that wood refreshes me. It is so cool, so green. The sun filters in golden splashes through the foliage. On a mossy bank, between two trees, lies a beautiful girl asleep. Above her, bending fondly over her, just about to kiss that flower- like face, is a young man in the dress of a shepherd. At the last moment he has looked over his shoulder to make sure that there is nobody near to see. He is wearing an expression so happy, so proud, that one's heart goes out to him."
"Yes, there might be money in that," said Jeanne.
"There is, there is!" cried Paul. "I shall sell it for many francs to a wealthy connoisseur. And then, my angel-"
"You are a good little man," said the angel, patronisingly. "Perhaps. We will see."
Paul caught her hand and kissed it. She smiled indulgently.
"Yes," she said. "There might be money. These English pay much money for pictures."
It is pretty generally admitted that Geoffrey Chaucer, the eminent poet of the fourteenth century, though obsessed with an almost Rooseveltian passion for the new spelling, was there with the goods when it came to profundity of thought. It was Chaucer who wrote the lines:-
The lyfe so short, the craft so long to lerne,
Th' assay so hard, so sharpe the conquering.
Which means, broadly, that it is difficult to paint a picture, but a great deal more difficult to sell it.
Across the centuries Paul Boielle shook hands with Geoffrey Chaucer. "So sharpe the conquering" put his case in a nutshell.
The full story of his wanderings with the masterpiece would read like an Odyssey and be about as long. It shall be condensed.
There was an artist who dines at intervals at Bredin's Parisian Café, and, as the artistic temperament was too impatient to be suited by Jeanne's leisurely methods, it had fallen to Paul to wait upon him. It was to this expert that Paul, emboldened by the geniality of the artist's manner, went for information. How did monsieur sell his pictures? Monsieur said he didn't, except once in a blue moon. But when he did? Oh, he took the thing to the dealers. Paul thanked him. A friend of his, he explained, had painted a picture and wished to sell it.
"Poor devil!" was the artist's comment.
Next day, it happening to be a Thursday, Paul started on his travels. He started buoyantly, but by evening he was as a punctured balloon. Every dealer had the same remark to make-to wit, no room.
"Have you yet sold the picture?" inquired Jeanne, when they met.
"Not yet," said Paul. "But they are delicate matters, these negotiations. I use finesse. I proceed with caution."
He approached the artist again.
"With the dealers," he said, "my friend has been a little unfortunate. They say they have no room."
"I know," said the artist, nodding.
"Is there, perhaps, another way?"
"What sort of a picture is it?" inquired the artist.
Paul became enthusiastic.
"Ah! monsieur, it is beautiful. It is a woodland scene. A beautiful girl-"
"Oh! Then he had better try the magazines. They might use it for a cover."
Paul thanked him effusively. On the following Thursday he visited divers art editors. The art editors seemed to be in the same unhappy condition as the dealers. "Overstocked!" was their cry.
"The picture?" said Jeanne, on the Friday morning. "Is it sold?"
"Not yet," said Paul, "but-"
"Always but!"
"My angel!"
"Bah!" said Jeanne, with a toss of her large but shapely head.
By the end of the month Paul was fighting in the last ditch, wandering disconsolately among those who dwell in outer darkness and have grimy thumbs. Seven of these in all he visited on that black Thursday, and each of the seven rubbed the surface of the painting with a grimy thumb, snorted, and dismissed him. Sick and beaten, Paul took the masterpiece back to his skylight room.