One clear November day Vincent wandered over to Marcasse empty handed, empty minded, and sat on a rusty, iron wheel outside the wall. An old miner came through the gate, his black cap forward over his eyes, shoulders hunched over, hands in pockets, and knees jerking out bonily. Something about the man, he could not tell exactly what, attracted Vincent. Idly, without particular interest, he reached into his pocket, pulled out the stub of a pencil and a letter from home, and on the back of the envelope quickly sketched the little figure tramping across the black field.

Vincent opened his father’s letter and saw that the writing covered only one side. After a few moments another miner came out of the gate, a young chap about seventeen. He stood taller, more erect, and there was a cheerful lift to the line of his shoulders as he struck out along the high stone wall of Marcasse toward the railroad tracks. Vincent had several full minutes to sketch him before he disappeared.

19

AT THE DENISES’, Vincent found several sheets of clean, white paper and a thick pencil. He put his two rough sketches on the desk and began copying them. His hand was clumsy and stiff; he could not get the line he had in mind on the paper. He used the eraser far more than the pencil, but kept plugging to reproduce his figures. He was so intent that he did not notice darkness creep across his room. He was startled when Madame Denis knocked on his door.

“Monsieur Vincent,” she called, “supper is on the table.”

“Supper!” exclaimed Vincent. “But it couldn’t be that late already.”

At the table he chatted animatedly with the Denises and there was a faint gleam in his eye. The Denises exchanged a significant look. After the light meal, Vincent excused himself and went immediately to his room. He lit the little lamp and pinned the two sketches on the wall, standing as far away from them as he could to get a perspective.

“They are bad,” he said to himself with a curious grin, “very bad. But perhaps tomorrow I shall be able to do a little better.”

He went to bed, placing the kerosene lamp on the floor beside him. He gazed at his two sketches without thinking about anything in particular; then his eyes saw the other prints he had on the wall. It was the first time he had actually seen them since that day, seven months ago, when he had taken them off the walls of the Salon. Suddenly he realized that he was homesick for the world of pictures. There once had been a time when he knew who Rembrandt was, who Millet, Jules Dupré, Delacroix and Maris were. He thought of all the lovely prints he had possessed at one time or another, the lithographs and etchings he had sent to Theo and his parents. He thought of all the beautiful canvases he had seen in the museums of London and Amsterdam, and in so thinking, he forgot to feel miserable, but fell into a deep, restful sleep. The kerosene lamp sputtered, burned bluely, and went out.

The following morning he awoke at two-thirty, thoroughly refreshed. He sprang lightly out of bed, dressed, took his big pencil and writing paper, found a piece of thin board in the bakery, and set out for Marcasse. He seated himself on the same rusty, iron wheel in the darkness and waited for the miners to begin coming in.

He sketched hastily and roughly, as he simply wanted to record his first impression of each personality. An hour later, when all the miners had gone down, he had five figures without faces. He walked briskly across the field, took a cup of coffee up to his room with him and when the light finally came, copied his sketches. He tried to put in all the strange little quirks of Borain appearance which his mind’s eye knew so well, but which he had not been able to catch in the dark, with his models walking out from under him.

His anatomy was all wrong, his proportions were grotesque, and his drawing was so outlandish as to be funny. And yet the figures came out as Borains and could have been mistaken for nothing else. Vincent, amused at his own clumsiness and gaucherie, tore up the sketches. Then he sat on the edge of the bed, opposite the Allebé of the little old woman carrying hot water and coals on a wintry street, and tried to copy it. He managed to suggest the woman, but he couldn’t get her into relation with either the street or the houses in the background. He crumpled up the sheet, flung it into a corner and sat his chair before the Bosboom study of a lone tree against a cloudy sky. It all looked so simple; just a tree, a bit of loam, and clouds at the top. But Bosboom’s values were precise and exquisite and Vincent learned that it is always the simplest piece of art which has practised the most rigid elimination and is therefore the most difficult to duplicate.