rival

The salon was filled with the works of modern artists; there were landscapes by Dupré, with their long reeds and tall trees, their lowing oxen and marvellous skies; Delacroix’s Arabian cavaliers, with their long white burnouses, their shining belts, their damasked arms, their horses, who tore each other with their teeth while their riders contended fiercely with their maces; aquarelles of Boulanger, representing Notre Dame de Paris with that vigor that makes the artist the rival of the poet; there were paintings by Diaz, who makes his flowers more beautiful than flowers, his suns more brilliant than the sun; designs by Decamp, as vividly colored as those of Salvator Rosa, but more poetic; pastels by Giraud and Müller, representing children like angels and women with the features of a virgin; sketches torn from the album of Dauzats’ “Travels in the East,” that had been made in a few seconds on the saddle of a camel, or beneath the dome of a mosque—in a word, all that modern art can give in exchange and as recompense for the art lost and gone with ages long since past.

“Oh, there was no harm meant,” answered Danglars; “at first I certainly did feel somewhat uneasy as to what Fernand might be tempted to do; but when I saw how completely he had mastered his feelings, even so far as to become one of his rival’s attendants, I knew there was no further cause for apprehension.” Caderousse looked full at Fernand—he was ghastly pale.

“He had no rival?”

It told me that Drebber had already applied for the protection of the law against an old rival in love, named Jefferson Hope, and that this same Hope was at present in Europe.