The face resembled Camille. Laurent swiftly
effaced this drawing and tried another.
For an hour he struggled against futility, which drove along his
fingers. At each fresh attempt, he went back to the head of the drowned
man. He might indeed assert his will, and avoid the lines he knew so
well. In spite of himself, he drew those lines, he obeyed his muscles
and his rebellious nerves. He had first of all proceeded rapidly with
his sketches; he now took pains to pass the stick of charcoal slowly
over the canvas. The result was the same: Camille, grimacing and in
pain, appeared ceaselessly.
The artist sketched the most different heads successively: the heads of
angels, of virgins with aureoles, of Roman warriors with their helmets,
of fair, rosy children, of old bandits seamed with scars; and the
drowned man always, always reappeared; he became, in turn, angel,
virgin, warrior, child and bandit.
Then, Laurent plunged into caricature: he exaggerated the features,
he produced monstrous profiles, he invented grotesque heads, but
only succeeded in rendering the striking portrait of his victim more
horrible. He finished by drawing animals, dogs and cats; but even the
dogs and cats vaguely resembled Camille.
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