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M. Trimolet has etched in a Dutch manner a landscape of Hobbema in the Louvre, but M. Gaucherel translates a Ruysdael from the Demidoff collection into an exquisite delicacy and airiness of line which is the language of etching in its most modern expression.
This so inflated Trimolet that he suggested it would be a good plan to keep right on with the arrangement, but the five objected. Steinheil was next appointed to feed the vestal fire. His picture was so-so, but would not sell. Daubigny came next, and lived so high that inspiration got clogged, fatty degeneration of the cerebrum set in, and after a week he ceased to paint doing nothing but dream.
They were to draw lots: the lucky member was to paint and the other five were to support him for a month. He was to be supplied his painting outfit and to be absolutely free from all responsibility as to the bread-and-butter question for a whole month. Trimolet was the first lucky man.
Straightway he married Steinheil's sister, with whom he had been some weeks in love, and the others feeling aggrieved that an extra mouth to feed, with danger of more, had been added to the "Commune," declared the compact void. Trimolet still thought well of the arrangement, though, and agreed, if Meissonier would support him, to secure fame and fortune for them both.
There were Steinheil, Trimolet, Daumier, Daubigny, Deschaumaes and Meissonier, all aged about twenty, strong, sturdy, sincere and innocently ignorant all bound they would be artists. Two of these young men were sign-painters, the others did odd jobs illustrating, and filled in the time at anything which chance offered.
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