The author of this bust, a work elaborated and modelled after the manner
of those executed by Pajou, Caffieri, and Falconnet in the eighteenth
century (see the reproduction at the beginning of this volume), may
congratulate himself on having given to Edmond de Goncourt's friends the
most exquisite semblance of their lost comrade. Carrière, on the other
hand, in his superb lithograph, where only the eyes are vivid, and Will
Rothenstein, in a sketch from nature which represents the master with a
high cravat round his throat, his chin resting on a hand of incomparable
form and distinction, have reproduced, with great intensity and
comprehension, Edmond de Goncourt grown old, but still robust, upright
and gallant, a soldier of art in whom the creative faculty is by no
means exhausted. Rothenstein's lithograph in particular, with the sort
of morbid languor that pervades it, the mournful fixity of the gaze, the
aristocratic slenderness of the hands and the features, surprises and
startles the spectator. "By nature and by education," says M. Paul
Bourget, "M. Ed. de Goncourt possesses an intelligence, the
overacuteness of which verges on disease in its comprehension of
infinitesimal gradations and of the infinitely subtle creature." Mr.
Rothenstein has made this intelligence flash from every line of his
drawing.
Frédéric Régamey, Bracquemond (in the fine drawing at the Luxembourg),
De Nittis (in pastel), Raffaelli (in an oil painting), Desboutins (in an
etching), and finally M. Helleu (in dry point), have striven to
penetrate and preserve the subtle psychology of the master's grave,
proud, and gentle countenance. With these distinguished names the
iconography of the Goncourts concludes. Perhaps, as a light and graceful
monument of memory, we might add the fine drawing made by Willette on
the occasion of the Edmond de Goncourt banquet, which represents the
elder brother standing, leaning against the pedestal of his brother's
statue, while at his feet three creatures, symbolizing the principal
forms of their inspiration, are grouped, superb and mournful. Who are
they? No doubt _Madame de Pompadour_, the _Geisha_ of Japanese art, and
finally, bestial and degraded, _La Fille Élisa_--types that symbolize
the most salient aspects of that genius--historic, æsthetic, and
fictional--which will keep green the precious memory of Edmond and Jules
de Goncourt.