Diary of Marie Bashkirtseff

My first wisdom tooth is coming in, lower left. On the first floor of 36, rue Vivienne there is a club, and it is in one of its salons that the studies and project for the panorama of Lourdes by Carrier-Belleuse — the son of the sculptor1 — are on display. I asked to buy; the gentleman came, very amiable and pleasant, cannot sell as he needs everything for the large-scale execution. My aunt and Brisbane were there; he came to visit us yesterday [blacked out] to say a great many flattering things… Yet those flatteries touched precisely on the points approved by Tony. But that is neither here nor there! Potain2 was sent for on Wednesday; he came today — in the meantime I might have died. I knew perfectly well he would send me to the South again, and I was already, in anticipation, teeth clenched, voice trembling, forcing back tears with considerable effort. Going to the Midi is surrendering. And my family's persecutions make it a point of honor to remain standing at any cost. Leaving is the triumph of all the vermin of the Mouzays and the atelier. She is very ill — they took her to the Midi. If I had another family, it might be done — but these people — look, [blacked out] for three days I have been telling my aunt: yes, I am ill, but if you want to care for me properly and not drive me to despair, please do not shout it from the rooftops. As far as you are concerned I look well and am on my feet — do not disabuse them; what can it matter to you? One often conceals things far graver. It is the plea of an invalid, a touch of madness if you like — but in short, do not go lamenting my health to all and sundry at every turn; care for me, but do not tell everyone. It is not even interesting — do you not understand what it means to me: how sad, how humiliating, how painful! Very well — Saint-Amand came to dine with us yesterday, and in the middle of the conversation: — "But you look splendid! Your aunt gave me a dreadful fright yesterday! I found her in tears, telling me you had a fever and were very ill — [blacked out] I nearly rushed over, thinking the child was in her death-rattle next door — not at all; out, at the atelier." That is one. The doorbell rings — [blacked out] — to the antechamber to see who

# Lundi 21 novembre 1881

— it is: the Gavinis come bursting in: — "What! Dear child, what on earth is the matter? Ah! Good God." — "But I am perfectly well — there is nothing the matter." Then a stupefied look from the couple to my aunt, who had had time to whisper that I was very ill. I warn you — they will drive me mad here. I cannot understand stupidities as malicious as these. I am going mad with rage, asking myself: but why, why, why? Why do they do it!

c'est, les Gavini se precipitent:" — Comment ! chere enfant qu'est-ce que vous avez donc? Ah ! Mon Dieu. — Mais je vais tres bien, je n'ai rien. Alors un regard stupefait du couple a ma tante qui avait eu le temps de souffler que je suis tres malade. Je vous en previens,on me rendra folle ici. Je ne comprends pas des stupidites aussi malfaisantes que ca. J'en deviens folle de rage a me demander, mais enfin pourquoi, pourquoi, pourquoi ? Pourquoi le fait-on !

Notes

Henri-Anatole Carrier-Belleuse (1851–1913), painter. His father, Albert-Ernest Carrier-Belleuse (1824–1887), was one of the most celebrated French sculptors of the Second Empire and Third Republic periods (he also employed the young Rodin). The Lourdes panorama was a commission for one of the fashionable 360-degree circular paintings that were popular entertainment in 1880s Paris.
Pierre-Carl Potain (1825–1901), eminent French physician and specialist in cardiac and pulmonary diseases. He was among the most sought-after doctors in Paris; his presence signals that Marie's family took her condition seriously, even if she did not.