With the same enthusiasm, of course, she entered that bed, then took care of the appointment with the mayor, led Jonas to the town hall two years before his talent was at last recognized, and arranged the wedding trip so that they didn’t miss a museum. Not without having first found, in the midst of the housing shortage, a three-room apartment into which they settled on their return. Then she produced, in rapid succession, two children, a boy and a girl. Her intention of going up to three was realized soon after Jonas had left the publishing-house to devote himself to painting.
As soon as she had become a mother, it must be added, Louise devoted herself solely to her child, and later to her children. She still tried to help her husband, but didn’t have the time. To be sure, she [118] regretted her neglect of Jonas, but her resolute character kept her from wasting time in such regrets. “It can’t be helped,” she would say, “each of us has his workbench.” Jonas was, in any case, delighted with this expression, for, like all the artists of his epoch, he wanted to be looked upon as an artisan. Hence the artisan was somewhat neglected and had to buy his shoes himself. However, besides the fact that this was in the nature of things, Jonas was again tempted to rejoice. Of course, he had to make an effort to visit the shops, but that effort was rewarded by one of those hours of solitude that give such value to marital bliss.
The problem of living-space was, however, by far the greatest of their problems, for time and space shrank simultaneously around them. The birth of the children, Jonas’s new occupation, their restricted quarters, the modesty of the monthly remittance which prevented them from getting a larger apartment did not leave much room for the double activity of Louise and Jonas. The apartment was on the second floor of what had been a private house in the eighteenth century, in the old section of the capital. Many artists lived in that quarter, faithful to the principle that in art the pursuit of the new can take place only in an old [119] setting. Jonas, who shared that conviction, was delighted to live in that quarter.
There could be no question as to the apartment’s being old. But a few very modern arrangements had given it an original appearance resulting chiefly from the fact that it provided a great volume of air while occupying but a limited surface. The rooms, particularly high and graced with magnificent tall windows, had certainly been intended, to judge from their majestic proportions, for receptions and ceremonies. But the necessities of urban congestion and of income from real estate had forced the successive owners to cut up those over-large rooms with partitions and thus to multiply the stalls they rented at exorbitant prices to their flock of tenants. They nonetheless talked up what they called “the considerable cubic space.” No one could deny the advantage. It simply had to be attributed to the impossibility of partitioning the rooms horizontally as well. Otherwise the landlords would certainly not have hesitated to make the necessary sacrifices in order to provide a few more shelters for the rising generation, particularly inclined at that moment to marry and reproduce. Besides, the cubic air-space was not all to the good. It had the inconvenience of making the rooms hard [119] to heat in winter, and this unfortunately forced the landlords to increase the rent supplement for heat. In summer, because of the great window surface, the apartment was literally flooded with light, for there were no blinds. The landlords had neglected to put them in, doubtless discouraged by the height of the windows and the cost of carpentry. After all, thick draperies could perform the same service and presented no problem as to the cost, since they were the tenants’ responsibility. Furthermore, the landlords were not unwilling to help them by furnishing curtains from their own stores at cost prices. Real-estate philanthropy, in fact, was merely their avocation. In their regular daily life those new princes sold percale and velvet.
Jonas had gone into raptures over the apartment’s advantages and had accepted its drawbacks without difficulties. “Just as you say,” he said to the landlord about the supplement for heat. As for the curtains, he agreed with Louise that it was enough to provide them just for the bedroom and to leave the other windows bare. “We have nothing to hide,” that pure heart said. Jonas had been particularly entranced by the largest room, the ceiling of which was so high that there could be no question of installing a lighting system. The entrance [121] door opened directly into that room, which was joined by a narrow hall to the two others, much smaller and strung in a row. At the end of the hall were the kitchen, the water-closet, and a nook graced with the name of shower-room. Indeed, it might have been a shower if only the fixture had been installed, vertically of course, and one were willing to stand utterly motionless under the spray.
The really extraordinary height of the ceilings and the narrowness of the rooms made of the apartment an odd assortment of parallelepipeds almost entirely glassed in, all doors and windows, with no wall space for the furniture, and with the human beings floating about like bottle imps in a vertical aquarium. Furthermore, all the windows opened onto a court—in other words, onto other windows in the same style just across the way, behind which one could discern the lofty outline of other windows opening onto a second court. “It’s the hall of mirrors,” Jonas said in delight. On Rateau’s advice, it was decided to locate the master bedroom in one of the small rooms, the other to be for the already expected baby. The big room served as a studio for Jonas during the day, as a living-room in the evening and at mealtimes. They could also in a pinch eat in the kitchen, provided that Jonas or [122] Louise was willing to remain standing. For his part, Rateau had outdone himself in ingenious inventions. By means of sliding doors, retractable shelves, and folding tables, he had managed to make up for the paucity of furniture while emphasizing the jack-in-the-box appearance of that unusual apartment.
But when the rooms were full of paintings and children, they had to think up a new arrangement. Before the birth of the third child, in fact, Jonas worked in the big room, Louise knitted in the bedroom, while the two children occupied the last room, raised a great rumpus there, and also tumbled at will throughout the rest of the apartment. They agreed to put the newborn in a corner of the studio, which Jonas walled off by propping up his canvases like a screen; this offered the advantage of having the baby within earshot and being able to answer his calls. Besides, Jonas never needed to bestir himself, for Louise forestalled him. She wouldn’t wait until the baby cried before entering the studio, though with every possible precaution and always on tiptoe. Jonas, touched by such discretion, one day assured Louise that he was not so sensitive and could easily go on working despite the noise of her steps. Louise replied that she was also aiming not to waken the baby. Jonas, full of admiration for [123] the workings of the maternal instinct, laughed heartily at his misunderstanding. As a result, he didn’t dare confess that Louise’s cautious entries bothered him more than an out-and-out invasion. First, because they lasted longer, and secondly because they followed a pantomime in which Louise—her arms outstretched, her shoulders thrown back, and her leg raised high—could not go unnoticed. This method even went against her avowed intentions, since Louise constantly ran the risk of bumping into one of the canvases with which the studio was cluttered. At such moments the noise would waken the baby, who would manifest his displeasure according to his capacities, which were considerable. The father, delighted by his son’s pulmonary prowess, would rush to cuddle him and soon be relieved in this by his wife. Then Jonas would pick up his canvases and, brushes in hand, would listen ecstatically to his son’s insistent and sovereign voice.
This was just about the time that Jonas’s success brought him many friends. Those friends turned up on the telephone or in impromptu visits. The telephone, which, after due deliberation, had been put in the studio, rang often and always to the detriment of the baby’s sleep, who would then [124] mingle his cries with the urgent ringing of the phone. If it so happened that Louise was busy caring for the other children, she strove to get to the telephone with them, but most of the time she would find Jonas holding the baby in one arm and in his other hand his brushes and the receiver, which was extending a friendly invitation to lunch. Jonas was always amazed that anyone was willing to lunch with him, for his conversation was dull, but he preferred going out in the evening in order to keep his workday unbroken. Most of the time, unfortunately, the friend would be free only for lunch, and just for this particular lunch; he would insist upon holding it for his dear Jonas. His dear Jonas would accept: “Just as you say!” and after hanging up would add: “Isn’t he thoughtful!” while handing the baby to Louise. Then he would go back to work, soon interrupted by lunch or dinner. He had to move the canvases out of the way, unfold the special table, and sit down with the children. During the meal Jonas would keep an eye on the painting he was working on and occasionally, in the beginning at least, he would find his children rather slow in chewing and swallowing, so that each meal was excessively long. But he read in his newspaper that it was essential to eat slowly in order to [125] assimilate, and thenceforth each meal provided reasons for rejoicing at length.