At first Julio had tried to win renown with his brush, believing that it would prove an easy task. In true artist fashion, he collected his friends around him, South American boys with nothing to do but enjoy life, scattering money ostentatiously so that everybody might know of their generosity. With serene audacity, the young canvas-dauber undertook to paint portraits. He loved good painting, "distinctive" painting, with the cloying sweetness of a romance, that copied only the forms of women. He had money, a good studio, his father was standing behind him ready to help--why shouldn't he accomplish as much as many others who lacked his opportunities? . . .
So he began his work by coloring a canvas entitled, "The Dance of the Hours," a mere pretext for copying pretty girls and selecting buxom models. These he would sketch at a mad speed, filling in the outlines with blobs of multi-colored paint, and up to this point all went well. Then he would begin to vacillate, remaining idle before the picture only to put it in the corner in hope of later inspiration. It was the same way with his various studies of feminine heads. Finding that he was never able to finish anything, he soon became resigned, like one who pants with fatigue before an obstacle waiting for a providential interposition to save him. The important thing was to be a painter . . . even though he might not paint anything. This afforded him the opportunity, on the plea of lofty aestheticism, of sending out cards of invitation and asking light women to his studio. He lived during the night. Don Marcelo, upon investigating the artist's work, could not contain his indignation. Every morning the two Desnoyers were accustomed to greet the first hours of dawn--the father leaping from his bed, the son, on his way home to his studio to throw himself upon his couch not to wake till midday.
The credulous Dona Luisa would invent the most absurd explanations to defend her son. Who could tell? Perhaps he had the habit of painting during the night, utilizing it for original work. Men resort to so many devilish things! . . .
Desnoyers knew very well what these nocturnal gusts of genius were amounting to--scandals in the restaurants of Montmartre, and scrimmages, many scrimmages. He and his gang, who believed that at seven a full dress or Tuxedo was indispensable, were like a band of Indians, bringing to Paris the wild customs of the plains.
Champagne always made them quarrelsome. So they broke and paid, but their generosities were almost invariably followed by a scuffle. No one could surpass Julio in the quick slap and the ready card. His father heard with a heavy heart the news brought him by some friends thinking to flatter his vanity--his son was always victorious in these gentlemanly encounters; he it was who always scratched the enemy's skin. The painter knew more about fencing than art. He was a champion with various weapons; he could box, and was even skilled in the favorite blows of the prize fighters of the slums. "Useless as a drone, and as dangerous, too," fretted his father. And yet in the back of his troubled mind fluttered an irresistible satisfaction--an animal pride in the thought that this hare-brained terror was his own.
For a while, he thought that he had hit upon a way of withdrawing his son from such an existence. The relatives in Berlin had visited the Desnoyers in their castle of Villeblanche. With good-natured superiority, Karl von Hartrott had appreciated the rich and rather absurd accumulations of his brother-in-law. They were not bad; he admitted that they gave a certain cachet to the home in Paris and to the castle. They smacked of the possessions of titled nobility.
But Germany! . . . The comforts and luxuries in his country! . . .
He just wished his brother-in-law to admire the way he lived and the noble friendships that embellished his opulence. And so he insisted in his letters that the Desnoyers family should return their visit.
This change of environment might tone Julio down a little. Perhaps his ambition might waken on seeing the diligence of his cousins, each with a career. The Frenchman had, besides, an underlying belief in the more corrupt influence of Paris as compared with the purity of the customs in Patriarchal Germany.
They were there four months. In a little while Desnoyers felt ready to retreat. Each to his own kind; he would never be able to understand such people. Exceedingly amiable, with an abject amiability and evident desire to please, but constantly blundering through a tactless desire to make their grandeur felt. The high-toned friends of Hartrott emphasized their love for France, but it was the pious love that a weak and mischievous child inspires, needing protection. And they would accompany their affability with all manner of inopportune memories of the wars in which France had been conquered. Everything in Germany--a monument, a railroad station, a simple dining-room device, instantly gave rise to glorious comparisons. "In France, you do not have this," "Of course, you never saw anything like this in America."
Don Marcelo came away fatigued by so much condescension, and his wife and daughter refused to be convinced that the elegance of Berlin could be superior to Paris. Chichi, with audacious sacrilege, scandalized her cousins by declaring that she could not abide the corseted officers with immovable monocle, who bowed to the women with such automatic rigidity, blending their gallantries with an air of superiority.
Julio, guided by his cousins, was saturated in the virtuous atmosphere of Berlin. With the oldest, "The Sage," he had nothing to do. He was a poor creature devoted to his books who patronized all the family with a protecting air. It was the others, the sub-lieutenants or military students, who proudly showed him the rounds of German joy.
