of light filtering through iron gratings, while in certain dark corners gas jets were burning. And Cadine and Marjolin rambled about as in the secret recesses of some castle of their own, secure from all interruption, and rejoicing in the buzzy silence, the murky glimmer, and subterranean secrecy, which imparted a touch of melodrama to their experiences. All sorts of smells were wafted through the hoarding from the neighbouring cellars; the musty smell of vegetables, the pungency of fish, the overpowering stench of cheese, and the warm reek of poultry.
At other times, on clear nights and fine dawns, they would climb on to the roofs, ascending thither by the steep staircases of the turrets at the angles of the pavilions. Up above they found fields of leads, endless promenades and squares, a stretch of undulating country which belonged to them. They rambled round the square roofs of the pavilions, followed the course of the long roofs of the covered ways, climbed and descended the slopes, and lost themselves in endless perambulations of discovery. And when they grew tired of the lower levels they ascended still higher, venturing up the iron ladders, on which Cadine’s skirts flapped like flags. Then they ran along the second tier of roofs beneath the open heavens. There was nothing save the stars above them. All sorts of sounds rose up from the echoing markets, a clattering and rumbling, a vague roar as of a distant tempest heard at nighttime. At that height the morning breeze swept away the evil smells, the foul breath of the awaking markets. They would kiss one another on the edge of the gutterings like sparrows frisking on the housetops. The rising fires of the sun illumined their faces with a ruddy glow. Cadine laughed with pleasure at being so high up in the air, and her neck shone with iridescent tints like a dove’s; while Marjolin bent down to look at the street still wrapped in gloom, with his hands clutching hold of the leads like the feet of a wood-pigeon. When they descended to earth again, joyful from their excursion in the fresh air, they would remark to one another that they were coming back from the country.
It was in the tripe market that they had made the acquaintance of Claude Lantier. They went there every day, impelled thereto by an animal taste for blood, the cruel instinct of urchins who find amusement in the sight of severed heads. A ruddy stream flowed along the gutters round the pavilion; they dipped the tips of their shoes in it, and dammed it up with leaves, so as to form large pools of blood. They took a strong interest in the arrival of the loads of offal in carts which always smelt offensively, despite all the drenchings of water they got; they watched the unloading of the bundles of sheep’s trotters, which were piled up on the ground like filthy paving-stones, of the huge stiffened tongues, bleeding at their torn roots, and of the massive bell-shaped bullocks’ hearts. But the spectacle which, above all others, made them quiver with delight was that of the big dripping hampers, full of sheep’s heads, with greasy horns and black muzzles, and strips of woolly skin dangling from bleeding flesh. The sight of these conjured up in their minds the idea of some guillotine casting into the baskets the heads of countless victims.
They followed the baskets into the depths of the cellar, watching them glide down the rails laid over the steps, and listening to the rasping noise which the casters of these osier waggons made in their descent. Down below there was a scene of exquisite horror. They entered into a charnelhouse atmosphere, and walked along through murky puddles, amidst which every now and then purple eyes seem to be glistening. At times the soles of their boots stuck to the ground, at others they splashed through the horrible mire, anxious and yet delighted. The gas jets burned low, like blinking, bloodshot eyes. Near the watertaps, in the pale light falling through the gratings, they came upon the blocks; and there they remained in rapture watching the tripe men, who, in aprons stiffened by gory splashings, broke the sheep’s heads one after another with a blow of their mallets. They lingered there for hours, waiting till all the baskets were empty, fascinated by the crackling of the bones, unable to tear themselves away till all was over. Sometimes an attendant passed behind them, cleansing the cellar with a hose; floods of water rushed out with a sluice-like roar, but although the violence of the discharge actually ate away the surface of the flagstones, it was powerless to remove the ruddy stains and stench of blood.
Cadine and Marjolin were sure of meeting Claude between four and five in the afternoon at the wholesale auction of the bullocks’ lights. He was always there amidst the tripe dealers’ carts backed up against the kerbstones and the blue-bloused, white-aproned men who jostled him and deafened his ears by their loud bids. But he never felt their elbows; he stood in a sort of ecstatic trance before the huge hanging lights, and often told Cadine and Marjolin that there was no finer sight to be seen. The lights were of a soft rosy hue, gradually deepening and turning at the lower edges to a rich carmine; and Claude compared them to watered satin, finding no other term to describe the soft silkiness of those flowing lengths of flesh which drooped in broad folds like ballet dancers’ skirts. He thought, too, of gauze and lace allowing a glimpse of pinky skin; and when a ray of sunshine fell upon the lights and girdled them with gold an expression of languorous rapture came into his eyes, and he felt happier than if he had been privileged to contemplate the Greek goddesses in their sovereign nudity, or the chatelaines of romance in their brocaded robes.
The artist became a great friend of the two young scapegraces. He loved beautiful animals, and such undoubtedly they were. For a long time he dreamt of a colossal picture which should represent the loves of Cadine and Marjolin in the central markets, amidst the vegetables, the fish, and the meat. He would have depicted them seated on some couch of food, their arms circling each other’s waists, and their lips exchanging an idyllic kiss. In this conception he saw a manifesto proclaiming the positivism of art — modern art, experimental and materialistic. And it seemed to him also that it would be a smart satire on the school which wishes every painting to embody an “idea,” a slap for the old traditions and all they represented. But during a couple of years he began study after study without succeeding in giving the particular “note” he desired. In this way he spoilt fifteen canvases. His failure filled him with rancour; however, he continued to associate with his two models from a sort of hopeless love for his abortive picture. When he met them prowling about in the afternoon, he often scoured the neighbourhood with them, strolling around with his hands in his pockets, and deeply interested in the life of the streets.
They all three trudged along together, dragging their heels over the footways and monopolising their whole breadth so as to force others to step down into the road. With their noses in the air they sniffed in the odours of Paris, and could have recognised every corner blindfold by the spirituous emanations of the wine shops, the hot puffs that came from the bakehouses and confectioners’, and the musty odours wafted from the fruiterers’. They would make the circuit of the whole district. They delighted in passing through the rotunda of the corn market, that huge massive stone cage where sacks of flour were piled up on every side, and where their footsteps echoed in the silence of the resonant roof. They were fond, too, of the little narrow streets in the neighbourhood, which had become as deserted, as black, and as mournful as though they formed part of an abandoned city. These were the Rue Babille, the Rue Sauval, the Rue des Deux Ecus, and the Rue de Viarmes, this last pallid from its proximity to the millers’ stores, and at four o’clock lively by reason of the corn exchange held there. It was generally at this point that they started on their round. They made their way slowly along the Rue Vauvilliers, glancing as they went at the windows of the low eating-houses, and thus reaching the miserably narrow Rue des Prouvaires, where Claude blinked his eyes as he saw one of the covered ways of the market, at the far end of which, framed round by this huge iron nave, appeared a side entrance of St. Eustache with its rose and its tiers of arched windows. And then, with an air of defiance, he would remark that all the middle ages and the Renaissance put together were less mighty than the central markets. Afterwards, as they paced the broad new streets, the Rue du Pont Neuf and the Rue des Halles, he explained modern life with its wide footways, its lofty houses, and its luxurious shops, to the two urchins. He predicted, too, the advent of new and truly original art, whose approach he could divine, and despair filled him that its revelation should seemingly be beyond his own powers.
Cadine and Marjolin, however, preferred the provincial quietness of the Rue des Bourdonnais, where one can play at marbles without fear of being run over. The girl perked her head affectedly as she passed the wholesale glove and hosiery stores, at each door of which bareheaded assistants, with their pens stuck in their ears, stood watching her with a weary gaze. And she and her lover had yet a stronger preference for such bits of olden Paris as still