A Small Boy and others, by Henry James


That autumn renewed, I make out, our long and beguiled walks, my own with W. J. in especial; at the same time that I have somehow the sense of the whole more broken appeal on the part of Paris, the scanter confidence and ease it inspired in us, the perhaps more numerous and composite, but obscurer and more baffled intimations. Not indeed — for all my brother’s later vision of an accepted flatness in it — that there was not some joy and some grasp; why else were we forever (as I seem to conceive we were) measuring the great space that separated us from the gallery of the Luxembourg, every step of which, either way we took it, fed us with some interesting, some admirable image, kept us in relation to something nobly intended? That particular walk was not prescribed us, yet we appear to have hugged it, across the Champs–Elysées to the river, and so over the nearest bridge and the quays of the left bank to the Rue de Seine, as if it somehow held the secret of our future; to the extent even of my more or less sneaking off on occasion to take it by myself, to taste of it with a due undiverted intensity and the throb as of the finest, which could only mean the most Parisian, adventure. The further quays, with their innumerable old bookshops and print-shops, the long cases of each of these commodities, exposed on the parapets in especial, must have come to know us almost as well as we knew them; with plot thickening and emotion deepening steadily, however, as we mounted the long, black Rue de Seine —such a stretch of perspective, such an intensity of tone as it offered in those days; where every low-browed vitrine waylaid us and we moved in a world of which the dark message, expressed in we couldn’t have said what sinister way too, might have been “Art, art, art, don’t you see? Learn, little gaping pilgrims, what that is!” Oh we learned, that is we tried to, as hard as ever we could, and were fairly well at it, I always felt, even by the time we had passed up into that comparatively short but wider and finer vista of the Rue de Tournon, which in those days more abruptly crowned the more compressed approach and served in a manner as a great outer vestibule to the Palace. Style, dimly described, looked down there, as with conscious encouragement, from the high grey-headed, clear-faced, straight-standing old houses — very much as if wishing to say “Yes, small staring jeune homme, we are dignity and memory and measure, we are conscience and proportion and taste, not to mention strong sense too: for all of which good things take us — you won’t find one of them when you find (as you’re going soon to begin to at such a rate) vulgarity.” This, I admit, was an abundance of remark to such young ears; but it did all, I maintain, tremble in the air, with the sense that the Rue de Tournon, cobbled and a little grass-grown, might more or less have figured some fine old street de province: I cherished in short its very name and think I really hadn’t to wait to prefer the then, the unmenaced, the inviolate Café Foyot of the left hand corner, the much-loved and so haunted Café Foyot of the old Paris, to its — well, to its roaring successor. The wide mouth of the present Boulevard Saint–Michel, a short way round the corner, had not yet been forced open to the exhibition of more or less glittering fangs; old Paris still pressed round the Palace and its gardens, which formed the right, the sober social antithesis to the “elegant” Tuileries, and which in fine, with these renewals of our young confidence, reinforced both in a general and in a particular way one of the fondest of our literary curiosities of that time, the conscientious study of Les Français Peints par Eux-Mêmes, rich in wood-cuts of Gavarni, of Grandville, of Henri–Monnier, which we held it rather our duty to admire and W. J. even a little his opportunity to copy in pen-and-ink. This gilt-edged and double-columned octavo it was that first disclosed to me, forestalling a better ground of acquaintance, the great name of Balzac, who, in common with every other “light” writer of his day, contributed to its pages: hadn’t I pored over his exposition there of the contrasted types of L’Habituée des Tuileries and L’Habituée du Luxembourg? — finding it very serré, in fact what I didn’t then know enough to call very stodgy, but flavoured withal and a trifle lubricated by Gavarni’s two drawings, which had somehow so much, in general, to say.

Let me not however dally by the way, when nothing, at those hours, I make out, so much spoke to us as the animated pictured halls within the Palace, primarily those of the Senate of the Empire, but then also forming, as with extensions they still and much more copiously form, the great Paris museum of contemporary art. This array was at that stage a comparatively (though only comparatively) small affair; in spite of which fact we supposed it vast and final — so that it would have shocked us to foreknow how in many a case, and of the most cherished cases, the finality was to break down. Most of the works of the modern schools that we most admired are begging their bread, I fear, from door to door — that is from one provincial museum or dim back seat to another; though we were on much-subsequent returns to draw a long breath for the saved state of some of the great things as to which our faith had been clearest. It had been clearer for none, I recover, than for Couture’s Romains de la Décadence, recently acclaimed, at that time, as the last word of the grand manner, but of the grand manner modernised, humanised, philosophised, redeemed from academic death; so that it was to this master’s school that the young American contemporary flutter taught its wings to fly straightest, and that I could never, in the long aftertime, face his masterpiece and all its old meanings and marvels without a rush of memories and a stir of ghosts. William Hunt, the New Englander of genius, the “Boston painter” whose authority was greatest during the thirty years from 1857 or so, and with whom for a time in the early period W. J. was to work all devotedly, had prolonged his studies in Paris under the inspiration of Couture and of Edouard Frère; masters in a group completed by three or four of the so finely interesting landscapists of that and the directly previous age, Troyon, Rousseau, Daubigny, even Lambinet and others, and which summed up for the American collector and in the New York and Boston markets the idea of the modern in the masterly. It was a comfortable time — when appreciation could go so straight, could rise, and rise higher, without critical contortions; when we could, I mean, be both so intelligent and so “quiet.” We were in our immediate circle to know Couture himself a little toward the end of his life, and I was somewhat to wonder then where he had picked up the æsthetic hint for the beautiful Page with a Falcon, if I have the designation right, his other great bid for style and capture of it — which we were long to continue to suppose perhaps the rarest of all modern pictures. The feasting Romans were conceivable enough, I mean as a conception; no mystery hung about them — in the sense of one’s asking one’s self whence they had come and by what romantic or roundabout or nobly-dangerous journey; which is that air of the poetic shaken out as from strong wings when great presences, in any one of the arts, appear to alight. What I remember, on the other hand, of the splendid fair youth in black velvet and satin or whatever who, while he mounts the marble staircase, shows off the great bird on his forefinger with a grace that shows him off, was that it failed to help us to divine, during that after-lapse of the glory of which I speak, by what rare chance, for the obscured old excelebrity we visited, the heavens had once opened. Poetry had swooped down, breathed on him for an hour and fled. Such at any rate are the see-saws of reputations — which it contributes to the interest of any observational lingering on this planet to have caught so repeatedly in their weird motion; the question of what may happen, under one’s eyes, in particular cases, before that motion sinks to rest, whether at the up or at the down end, being really a bribe to one’s own non-departure. Especially great the interest of having noted all the rises and falls and of being able to compare the final point — so far as any certainty may go as to that — either with the greatest or the least previous altitudes; since it is only when there have been exaltations (which is what is not commonest), that our attention is most rewarded.

If the see-saw was to have operated indeed for Eugène Delacroix, our next young admiration, though much more intelligently my brother’s than mine, that had already taken place and settled, for we were to go on seeing him, and to the end, in firm possession of his crown, and to take even, I think, a harmless pleasure in our sense of having from so far back been sure of it. I was sure of it, I must properly add, but as an effect of my brother’s sureness; since I must, by what I remember, have been as sure of Paul Delaroche — for whom the pendulum was at last to be arrested at a very different point. I could see in a manner, for all the queerness, what W. J. meant by that beauty and, above all, that living interest in La Barque du Dante, where the queerness, according to him, was perhaps what contributed most; see it doubtless in particular when he reproduced the work, at home, from a memory aided by a lithograph. Yet Les Enfants d’Edouard thrilled me to a different tune, and I couldn’t doubt that the long-drawn odd face of the elder prince, sad and sore and sick, with his wide crimped side-locks of fair hair and his violet legs marked by the Garter and dangling from the bed, was a reconstitution of far-off history of the subtlest and most “last word” modern or psychologic kind. I had never heard of psychology in art or anywhere else — scarcely anyone then had; but I truly felt the nameless force at play. Thus if I also in my way “subtly” admired, one’s noted practice of that virtue (mainly regarded indeed, I judge, as a vice) would appear to have at the time I refer to set in, under such encouragements, once for all; and I can surely have enjoyed up to then no formal exhibition of anything as I at one of those seasons enjoyed the commemorative show of Delaroche given, soon after his death, in one of the rather bleak salles of the École des Beaux–Arts to which access was had from the quay. There was reconstituted history if one would, in the straw-littered scaffold, the distracted ladies with three-cornered coifs and those immense hanging sleeves that made them look as if they had bath-towels over their arms; in the block, the headsman, the bandaged eyes and groping hands, of Lady Jane Grey — not less than in the noble indifference of Charles the First, compromised king but perfect gentleman, at his inscrutable ease in his chair and as if on his throne, while the Puritan soldiers insult and badger him: the thrill of which was all the greater from its pertaining to that English lore which the good Robert Thompson had, to my responsive delight, rubbed into us more than anything else and all from a fine old conservative and monarchical point of view. Yet of these things W. J. attempted no reproduction, though I remember his repeatedly laying his hand on Delacroix, whom he found always and everywhere interesting — to the point of trying effects, with charcoal and crayon, in his manner; and not less in the manner of Decamps, whom we regarded as more or less of a genius of the same rare family. They were touched with the ineffable, the inscrutable, and Delacroix in especial with the incalculable; categories these toward which we had even then, by a happy transition, begun to yearn and languish. We were not yet aware of style, though on the way to become so, but were aware of mystery, which indeed was one of its forms — while we saw all the others, without exception, exhibited at the Louvre, where at first they simply overwhelmed and bewildered me.

It was as if they had gathered there into a vast deafening chorus; I shall never forget how — speaking, that is, for my own sense — they filled those vast halls with the influence rather of some complicated sound, diffused and reverberant, than of such visibilities as one could directly deal with. To distinguish among these, in the charged and coloured and confounding air, was difficult — it discouraged and defied; which was doubtless why my impression originally best entertained was that of those magnificent parts of the great gallery simply not inviting us to distinguish. They only arched over us in the wonder of their endless golden riot and relief, figured and flourished in perpetual revolution, breaking into great high-hung circles and symmetries of squandered picture, opening into deep outward embrasures that threw off the rest of monumental Paris somehow as a told story, a sort of wrought effect or bold ambiguity for a vista, and yet held it there, at every point, as a vast bright gage, even at moments a felt adventure, of experience. This comes to saying that in those beginnings I felt myself most happily cross that bridge over to Style constituted by the wondrous Galerie d’Apollon, drawn out for me as a long but assured initiation and seeming to form with its supreme coved ceiling and inordinately shining parquet a prodigious tube or tunnel through which I inhaled little by little, that is again and again, a general sense of glory. The glory meant ever so many things at once, not only beauty and art and supreme design, but history and fame and power, the world in fine raised to the richest and noblest expression. The world there was at the same time, by an odd extension or intensification, the local present fact, to my small imagination, of the Second Empire, which was (for my notified consciousness) new and queer and perhaps even wrong, but on the spot so amply radiant and elegant that it took to itself, took under its protection with a splendour of insolence, the state and ancientry of the whole scene, profiting thus, to one’s dim historic vision, confusedly though it might be, by the unparalleled luxury and variety of its heritage. But who shall count the sources at which an intense young fancy (when a young fancy is intense) capriciously, absurdly drinks? — so that the effect is, in twenty connections, that of a love-philtre or fear-philtre which fixes for the senses their supreme symbol of the fair or the strange. The Galerie d’Apollon became for years what I can only term a splendid scene of things, even of the quite irrelevant or, as might be, almost unworthy; and I recall to this hour, with the last vividness, what a precious part it played for me, and exactly by that continuity of honour, on my awaking, in a summer dawn many years later, to the fortunate, the instantaneous recovery and capture of the most appalling yet most admirable nightmare of my life. The climax of this extraordinary experience — which stands alone for me as a dream-adventure founded in the deepest, quickest, clearest act of cogitation and comparison, act indeed of life-saving energy, as well as in unutterable fear — was the sudden pursuit, through an open door, along a huge high saloon, of a just dimly-descried figure that retreated in terror before my rush and dash (a glare of inspired reaction from irresistible but shameful dread,) out of the room I had a moment before been desperately, and all the more abjectly, defending by the push of my shoulder against hard pressure on lock and bar from the other side. The lucidity, not to say the sublimity, of the crisis had consisted of the great thought that I, in my appalled state, was probably still more appalling than the awful agent, creature or presence, whatever he was, whom I had guessed, in the suddenest wild start from sleep, the sleep within my sleep, to be making for my place of rest. The triumph of my impulse, perceived in a flash as I acted on it by myself at a bound, forcing the door outward, was the grand thing, but the great point of the whole was the wonder of my final recognition. Routed, dismayed, the tables turned upon him by my so surpassing him for straight aggression and dire intention, my visitant was already but a diminished spot in the long perspective, the tremendous, glorious hall, as I say, over the far-gleaming floor of which, cleared for the occasion of its great line of priceless vitrines down the middle, he sped for his life, while a great storm of thunder and lightning played through the deep embrasures of high windows at the right. The lightning that revealed the retreat revealed also the wondrous place and, by the same amazing play, my young imaginative life in it of long before, the sense of which, deep within me, had kept it whole, preserved it to this thrilling use; for what in the world were the deep embrasures and the so polished floor but those of the Galerie d’Apollon of my childhood? The “scene of something” I had vaguely then felt it? Well I might, since it was to be the scene of that immense hallucination.

Of what, at the same time, in those years, were the great rooms of the Louvre almost equally, above and below, not the scene, from the moment they so wrought, stage by stage, upon our perceptions? — literally on almost all of these, in one way and another; quite in such a manner, I more and more see, as to have been educative, formative, fertilising, in a degree which no other “intellectual experience” our youth was to know could pretend, as a comprehensive, conducive thing, to rival. The sharp and strange, the quite heart-shaking little prevision had come to me, for myself, I make out, on the occasion of our very first visit of all, my brother’s and mine, under conduct of the good Jean Nadali, before-mentioned, trustfully deputed by our parents, in the Rue de la Paix, on the morrow of our first arrival in Paris (July 1855) and while they were otherwise concerned. I hang again, appalled but uplifted, on brave Nadali’s arm — his professional acquaintance with the splendours about us added for me on the spot to the charm of his “European” character: I cling to him while I gape at Géricault’s Radeau de la Méduse, the sensation, for splendour and terror of interest, of that juncture to me, and ever afterwards to be associated, along with two or three other more or less contemporary products, Guérin’s Burial of Atala, Prudhon’s Cupid and Psyche, David’s helmetted Romanisms, Madame Vigée-Lebrun’s “ravishing” portrait of herself and her little girl, with how can I say what foretaste (as determined by that instant as if the hour had struck from a clock) of all the fun, confusedly speaking, that one was going to have, and the kind of life, always of the queer so-called inward sort, tremendously “sporting” in its way — though that description didn’t then wait upon it, that one was going to lead. It came of itself, this almost awful apprehension in all the presences, under our courier’s protection and in my brother’s company — it came just there and so; there was alarm in it somehow as well as bliss. The bliss in fact I think scarce disengaged itself at all, but only the sense of a freedom of contact and appreciation really too big for one, and leaving such a mark on the very place, the pictures, the frames themselves, the figures within them, the particular parts and features of each, the look of the rich light, the smell of the massively enclosed air, that I have never since renewed the old exposure without renewing again the old emotion and taking up the small scared consciousness. That, with so many of the conditions repeated, is the charm — to feel afresh the beginning of so much that was to be. The beginning in short was with Géricault and David, but it went on and on and slowly spread; so that one’s stretched, one’s even strained, perceptions, one’s discoveries and extensions piece by piece, come back, on the great premises, almost as so many explorations of the house of life, so many circlings and hoverings round the image of the world. I have dim reminiscences of permitted independent visits, uncorrectedly juvenile though I might still be, during which the house of life and the palace of art became so mixed and interchangeable — the Louvre being, under a general description, the most peopled of all scenes not less than the most hushed of all temples — that an excursion to look at pictures would have but half expressed my afternoon. I had looked at pictures, looked and looked again, at the vast Veronese, at Murillo’s moon-borne Madonna, at Leonardo’s almost unholy dame with the folded hands, treasures of the Salon Carré as that display was then composed; but I had also looked at France and looked at Europe, looked even at America as Europe itself might be conceived so to look, looked at history, as a still-felt past and a complacently personal future, at society, manners, types, characters, possibilities and prodigies and mysteries of fifty sorts; and all in the light of being splendidly “on my own,” as I supposed it, though we hadn’t then that perfection of slang, and of (in especial) going and coming along that interminable and incomparable Seine-side front of the Palace against which young sensibility felt itself almost rub, for endearment and consecration, as a cat invokes the friction of a protective piece of furniture. Such were at any rate some of the vague processes — I see for how utterly vague they must show — of picking up an education; and I was, in spite of the vagueness, so far from agreeing with my brother afterwards that we didn’t pick one up and that that never is done, in any sense not negligible, and also that an education might, or should, in particular, have picked us up, and yet didn’t — I was so far dissentient, I say, that I think I quite came to glorify such passages and see them as part of an order really fortunate. If we had been little asses, I seem to have reasoned, a higher intention driving us wouldn’t have made us less so — to any point worth mentioning; and as we extracted such impressions, to put it at the worst, from redemptive accidents (to call Louvres and Luxembourgs nothing better) why we weren’t little asses, but something wholly other: which appeared all I needed to contend for. Above all it would have been stupid and ignoble, an attested and lasting dishonour, not, with our chance, to have followed our straggling clues, as many as we could and disengaging as we happily did, I felt, the gold and the silver ones, whatever the others might have been — not to have followed them and not to have arrived by them, so far as we were to arrive. Instinctively, for any dim designs we might have nourished, we picked out the silver and the gold, attenuated threads though they must have been, and I positively feel that there were more of these, far more, casually interwoven, than will reward any present patience for my unravelling of the too fine tissue.


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