"While you are jollying the worthy Lazard, do me the favour of sending from time to time some of your friends to bargain for the two objects in question, and have them always make an offer, some of fifty, others of a hundred, others of twenty-five francs less than yours. After a fortnight of this manoeuvring, some fine morning Lazard will let you have them."And Balzac added a postscript to this little lesson in the fine art of bargaining: "Never become a collector, for if you do you give yourself into the keeping of a demon as exacting and jealous as the demon of gambling." But while warning his friends against his own ruling passion he surrendered himself to it with passionate delight. During his leisure hours he wandered at random through Paris, like a hunter on the trail of his quarry,--through Paris which he knew down to the remotest of its back alleys and which he loved even in its slums. When he ran across some rare and precious piece, or something that merely appealed to his individual taste, he derived an intense joy out of employing all his trickery, his readiness of speech, his persuasive powers, to beat down the price of the coveted object. It was a battle in which he chose to come out conqueror. It pleased him to be recognised as a man with the business instinct; and he threw out his chest when he repeated the remark of his publisher, Souverain, "M. de Balzac is better at figures than Rothschild!"In 1846, during a new trip to Italy with Mme. Hanska, her daughter Anna and the latter's husband, Count Georges Mniszech, he ransacked all Naples, Rome and Genoa, and no longer confined his attention to furniture and bric-a-brac, but had his eye open for paintings as well, because his latest ambition was to found a gallery. This taste for paintings came to him rather late in life, for his artistic appreciation had long been limited to the works of Girodet, a taste which called forth many a sarca** from the far better informed Theophile Gautier. In Rome Balzac purchased a Sebastiano del Piombo, a Bronzino and a Mierevelt, he hunted up some Hobbemas and Holbeins, he secured a Natoire and a Breughel,--which he decided to sell, as it proved not to be genuine,--for he wanted "pictures of the first rank or none at all"; furthermore, he brought back to Paris a Judgment of Paris, attributed to Giorgione, a Greuze,--a sketch of his wife,--a Van Dyck, a Paul Brill, The Sorceresses, a sketch of the birth of Louis XIVrepresenting the Adoration of the Shepherds, an Aurora by Guido, a Rape of Europa, by Annibale Carrachio or Domenichino,--and there we have the beginning of his gallery such as he described it in Cousin Pons. At the same time he did not neglect other forms of art for the sake of his paintings; he acquired a Saxon dinner service and a set of Dutch furniture from Amsterdam; Mme. Hanska sent him some porcelains from Germany; he sent to Tours for a writing desk and a commode of the Louis XVI period, he bought a bed supposed to have belonged to Mme. de Pompadour and which he intended for his guest chamber, besides a parlour set in carved woodwork, "of the last degree of magnificence,"and a dining-room fountain made by Bernard Palissy for Henry II or Charles IX. Little by little he accumulated these marvels, destined to adorn his home after the marriage.
And, in the hope of hastening the date, he made one supreme effort, with his brain as clear and as fertile as in the periods of his most furious production. Between 1844 and 1847 he produced, in addition to the works already mentioned, The Peasants, The Splendour and Misery of Courtezans (third part), Cousin Bette, The Involuntary Comedians, The Last Incarnation of Vautrin, Cousin Pons, The Deputy from Arcis, and The Lesser Bourgeoisie. He foresaw the dawn of his deliverance: he would be able to achieve his gigantic task in peace.
Balzac was fully conscious of his genius and of the greatness of the monument which he had already partly raised. He objected to being classed with the men of letters of his period, and for some time past had claimed recognition as standing on a higher level. Eugene de Mirecourt was witness of a scene which bore evidence to his justifiable pride:
"It was during the winter of 1843," he wrote, "that Messrs. Maulde and Renon published a Picture of the Great City, which was edited by Marc Fournier, the present manager of the Port-Saint-Martin theatre.
"One evening Balzac entered the publishers' office and said:
"'Our agreement, gentlemen, was that I should be paid for my Monograph on the Parisian Press at the rate of five hundred francs a page.'
"'That is so,' they replied.
"'I have received only fifteen hundred francs and there are four pages;accordingly you still owe me five hundred francs.'
"'But your corrections, M. de Balzac! Have you any idea what they amounted to?'
"'There was nothing said about my paying for corrections.'
"'That is true,' replied M. Renon, 'but I ought to tell you that Alexander Dumas's article, Filles, Lorettes et Courtisanes, also ran to four pages, yet we have not given him a centime more than we have given you.'
"Balzac started and turned pale. It is evident that he must have been in great financial need before he would have come to make such a request. But he quite forgot this in the face of the words he had just heard. For, without pressing his claim further, he arose, took his hat and said, with an accent of solemn dignity:
"'From the moment that you compare me with that negro I have the honour of wishing you good evening!'
