TT THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES PQ2163 .01^13 1901 j OCT 14)3/^ my 3 i^'^ a 00000 42171 5 This book is due at the LOUIS R. WILSON LIBRARY on the last date stamped under "Date Due." If not on hold it may be renewed by bringing it to the library. DATE DUE RET. DATE DUE RET. J28J frffl— - JtC 1 6 '90 '♦?•? I'KtZ^ UUN fl f) Wr mt '"; iJiO MAR 3 8 200^ f 1 ', »( rarrt jj{jg|!i^^ z I mt m- i 6 '9U '"'H' Form No 513 Digitized by tine Internet Arcliive in 2011 witli funding from University of Nortli Carolina at Chapel Hill http://www.archive.org/details/unknownmasterpieOObalz THE TEMPLE EDITION OF THE COMÉDIE HUMAINE Edited by GEORGE SAINTSBURY THE'UNKNOWN MASTERPIECE (LE'CHEF-D'ŒUVRE'INCONNU) OTHER^STORIES H^DE'^BALZAC * ELLEN MARRIAGE ' Wiih'a'Frontispiece etched vby Wj^BOUCHER * ig oi ' THE^^MACMIli-'AN ,^ * COMPANY - 06 FIFTH /7-N V ^->^ AVENUE CONTENTS PREFACE THE UNKNOWN MASTERPIECE— I. GILLETTE . II. CATHERINE LESCAULT CHRIST IN FLANDERS . MELMOTH RECONCILED THE MARANAS . EL VERDUGO FAREWELL . THE CONSCRIPT . A SEASIDE TRAGEDY THE RED HOUSE . I. THE IDEA AND THE DEED II. A DOUBLE RETRIBUTION THE ELIXIR OF LIFE O X 22 33 54 no 184 197 248 267 291 295 320 334 PREFACE The volume of short stories which, in the first complete edition of the Comédie^ opens with Les Marana^ contains, with that in which La Recherche de t Absolu leads off, the very finest productions of the author on a small scale ; and they now appear together, La Recherche ex- cepted. Almost all the pieces herein contained were early work, written when Balzac was under the com- bined excitement of his emergence from the valley of the shadow in which he had toiled so long, and of the heat and stress of the political and literary Revolution of 1830. All of them show his very freshest matured power, not as yet in the slightest degree sicklied o'er by any exces- sive attempt to codify or systematise. It is true that they are called Etudes Philosophiques^ and that it puzzles the adroitest advocate to make out any very particular claim that they have to the title. But ' philo- sophy,' a term pretty freely abused in all languages, had in French been treated during the eighteenth century and earlier as a sort of * blessed word,' which might mean anything, from the misbeliefs and disbeliefs of those who did not believe in the devil to the pursuits of those who meddled with test-tubes and retorts. Balzac seems gener- ally to have meant by it something that was not mere surface-literature — that was intended to make the X Preface reader think and feel. In this sense very little of his own work is unworthy of the title, and we certainly need not refuse it to Les Marana and its companions. The only objection that I can think of to the title- tale is a kind of uncertainty in the plan of the character of Juana. It is perfectly proper that she should fall an unsophisticated victim to the inherited tendencies (let it be remembered that Balzac worked this vein with dis- cretion long before it was tediously overworked by literary Darwinians), to her own genuine affection, and to the wiles of Montefiore. It is quite right, as well as satisfactory, that she should refuse her seducer when she discovers the baseness of his motives. It is natural enough, especially in a southern damsel, that she should submit to the convenient cloak of marriage with Diard, and even make him a good and affectionate wife after- wards. But Balzac seems to me — perhaps I am wrong — to have left us in undue doubt whether she killed Diard purely out of Castilian honour, or partly as a sort of revenge for the sufferings she had undergone in endur- ing his love. A mixture of the two would be the finer and the truer touch, and therefore it is probable that Balzac meant it ; but I think he should have indicated it, not by any clumsy labelling or explanation, but by something * leading up.' It may, however, seem that this is a hypercriticism, and certainly the tale is fine enough. The fantastic horror of Adieu may seem even finer to some, but a trifle overwrought to others. Balzac, who had very little literary jealousy in his own way and school, made a confession of enthusiastic regret after- wards that he, Balzac, could not attain to the perfection Preface XI of description of the Russian retreat which Beyle had achieved. Both were observer-idealists, and required some touch of actual experience to set their imaginations working, an advantage which, in this case, Balzac did not possess, and Beyle did. But I do not think that any one can reasonably find fault with the scenes on the Beresina here. The induction (to use Sackville's good old word) of the story is excellent : and there is no part of a short story, hardly even the end, which is so im- portant as the beginning ; for if it fails to lay a grip on the reader, it is two to one that he will not go on with it. The character of Philippe de Sucy is finely touched, and the contrast of the unconscious selfishness of his love with the uncle's affection is excellent, and not in the least (as it might be) obtrusive. But the point of danger, of course, is in the representation of the pure animalised condition of the unhappy Countess, and her monkey-like tricks. It is never quite certain that a thing of this kind will not strike the reader, in some variable mood, with a sense of the disgusting, of the childish, of the merely fantastic, and any such sense in a tale appealing so strongly to the sense of ' the pity of it ' is fatal. I can only say that I have read Adieu at long intervals of time and in very different circumstances, and have not felt anything of the kind, or anything but the due pity and terror. The style, perhaps, is not entirely Balzac's own j the interest is a Httle simple and elementary for him ; but he shows that he can handle it as well as things more complicated and subtler. Le Réquîsitionnaire^ El Verdugo^ and Un Drame au bord de la Mer may be called, assuredly in no uncomplimentary or slighting sense, anecdotes rather than stories. The XII Preface hinge, the centre, the climax, or the catastrophe (as from different points of view we may call it), is in all cases more important than the details and the thread of narrative. They are all good, but El Verdugo is far the best : the great incident of the father blessing his son and executioner in the words * Marquis [his own title] frappe sans peur, tu es sans reproche,' being worthy of Hugo himself. I do not know that I admire V Auberge Rouge quite so much as some of the other contents of the volume. It has interest j and it may be observed that, as indicating the origin of Tailiefer's wealth, it connects itself with the general scheme of the Comédie^ as few of the others do. But it is an attempt, hke one or two others of Balzac's, at a style very popular in 1830, a sort of combination of humour and terror, of Sterne and Monk Lewis, which is a little doubtful in itself, which has very rarely been done well, and for which he himself was not quite completely equipped. UElixir de longue Vie^ in which Balzac acknowledges (I do not know whether by trick or not) indebtedness to Hoffmann or somebody else, is also 'style 1830,' and, to speak with perfect frankness, would have been done much better by Mérimée or Gautier than by Balzac. But it is done well. Maître Cornélius^ which, by the way, is interesting in its dedica- tion to Count Georges Mniszech, partakes of the char- acter of a ' Conte drolatique ' thrown out of the scheme of those Contes. But it very worthily completes in its own way one of the most remarkable volumes of the old collection. The tales now added take equal rank. The Chef- d''œuvre inconnu^ a masterpiece in two senses, has been Preface xiii noticed in connection with La Recherche. fesus-Christ en Flandre is good, and Melmoth réconcilié, inferior in itself, has a special and adventitious interest. Maturin, whose most famous book (quite recently reprinted after long forgetfulness, but one of European interest in its time, and of special influence on Balzac) can hardly be said to receive here a continuation which is exactly en suite, and the odd thing is that nothing was further from Balzac's mind than to parody his original. The thing, therefore, is a curious example of the difference of point of view, of the way in which an English conception travesties itself when it gets into French hands. Maturin was an infinitely smaller man than Shakespeare, and Balzac was an infinitely greater man than Ducis ; but * equals aquals,' as they say, or used to say, in Maturin's country, I do not know that Maturin fared much better at the hands of Balzac than Shakespeare has fared at the hands of Ducis and a long succession of adapters down to the present day in France. All the Marana group of stories appeared together in the fourth edition of the Etudes 'Philosophiques, 1835- 1837, and have not since been separated, with one exception (see below), either before or after their entry into the Comédie. Most of them, however, had earlier appearances in periodicals and in the Romans et Contes Philosophiques, which preceded the Etudes. And in these various appearances they were subjected to their author's usual processes of division and unification, of sub-titling and cancelling sub-titles. JLes Marana appeared first in the Revue de Paris for the last month of 1832 and the first of 1833 ; while it next made a show, oddly enough, as a Scene de la vie Parisienne. Adieu appeared in xiv Preface the Mode during June 1830, and was afterwards for a time a Scene de la vie privée. Le Réquisitionnaire was issued by the Revue de Paris of February 23, 1831 ; El Verdugo by the Mode for January 29, 1830 ; V Auberge Rouge in the Revue de Paris, August 1831 j UElixir de longue Vie, by the same periodical for October 1830 ; Maître Cornélius, again by the same for December 1831. Un Drame au bord de la Mer alone appeared nowhere except in book form with its com- panions; but in 1843 '^ ^^^' them for a time (afterwards to return), and as La "Justice Paternelle accompanied La Muse du Département, Albert Savarus, and Facino Cane in a separate publication. Of those here added, Jésus-Christ en Flandre was one of the Ro?nans et Contes Philosophiques, which Gosselin published in 1831, and remained as such till the con- stitution of the Comédie, It is a sort of Aaron's rod among Balzac's stories, and swallowed up a minor one called U Eglise. Melmoth réconcilié, dating from 1835, first appeared in a miscellany. Le Livre des Contes ; then it was an Etude Philosophique ; and in 1845 it received its class in the Comédie. Le Chef-d'œuvre inconnu appeared in the Artiste of 1831, before its present date, as a * Conte fantastique,' in two parts. It almost immediately became one of the Romans et Contes Philosophiques, passed in 1837 to the Études Philosophiques, was most unequally yoked for a time with Les Comédiens sans le savoir, and took definite rank in 1845 as usual. G.S. Note, — Maître Cornelius has been omitted, and post- poned to a future volume, owing to exigencies of space THE UNKNOWN MASTERPIECE To a Lord 1845 L GILLETTE On a cold December morning in the year 161 2, a young man, whose clothing was somewhat of the thinnest, was walking to and fro before a gateway in the Rue des Grands-Augustins in Paris. He went up and down the street before this house with the irresolution of a gallant who dares not venture into the presence of the mistress whom he loves for the first time, easy of access though she may be ; but after a sufficiently long interval of hesita- tion, he at last crossed the threshold and inquired of an old woman, who was sweeping out a large room on the ground floor, whether Master Porbus was within. Re- ceiving a reply in the affirmative, the young man went slowly up the staircase, like a gentleman but newly come to court, and doubtful as to his reception by the king. He came to a stand once more on the landing at the head of the stairs, and again he hesitated before raising his hand to the grotesque knocker on the door of the studio, where doubtless the painter was at work — Master Porbus, sometime painter in ordinary to Henri iv. till Mary de' Medici took Rubens into favour. The young man felt deeply stirred by an emotion that must thrill the hearts of all great artists when, in the A 2 The Unknown Masterpiece pride of their youth and their first love of art, they come into the presence of a master or stand before a master- piece. For all human sentiments there is a time of early blossoming, a day of generous enthusiasm that gradually fades until nothing is left of happiness but a memory, and glory is known for a delusion. Of all these delicate and short-lived emotions, none so resemble love as the passion of a young artist for his art, as he is about to enter on the blissful martyrdom of his career of glory and disaster, of vague expectations and real disappointments. Those v/ho have missed this experience in the early days of light purses ; who have not, in the dawn of their genius, stood in the presence of a master and felt the throbbing of their hearts, will always carry in their in- most souls a chord that has never been touched, and in their work an indefinable quality will be lacking, a some- thing in the stroke of the brush, a mysterious element that we call poetry. The swaggerers, so puffed up by self- conceit that they are confident oversoon of their success, can never be taken for men of talent save by fools. From this point of view, if youthful modesty is the measure of youthful genius, the stranger on the staircase might be allowed to have something in him ; for he seemed to possess the indescribable diffidence, the early timidity that artists are bound to lose in the course of a great career, even as pretty women lose it as they make progress in the arts of coquetry. Self-distrust vanishes as triumph succeeds to triumph, and modesty is, perhaps, distrust of self. The poor neophyte was so overcome by the conscious- ness of his own presumption and insignificance, that it began to look as if he was hardly likely to penetrate into the studio of the painter, to whom we owe the wonder- ful portrait of Henri iv. But fate was propitious; an old man came up the staircase. From the quaint costume of this new-comer, his collar of magnificent lace, The Unknown Masterpiece 3 and a certain serene gravity in his bearing, the first arrival thought that this personage must be either a patron or a friend of the court painter. He stood aside therefore upon the landing to allow the visitor to pass, scrutinising him curiously the while. Perhaps he might hope to find the good nature of an artist or to receive the good offices of an amateur not unfriendly to the arts ; but besides an almost diabolical expression in the face that met his gaze, there was that indescribable some- thing which has an irresistible attraction for artists. Picture that face. A bald high forehead and rugged jutting brows above a small flat nose turned up at the end, as in the portraits of Socrates and Rabelais, deep lines about the mocking mouth ; a short chin, carried proudly, covered with a grizzled pointed beard ; sea-green eyes that age might seem to have dimmed were it not for the contrast between the iris and the surrounding mother-of-pearl tints, so that it seemed as if under the stress of anger or enthusiasm there would be a magnetic power to quell or kindle in their glances. The face was withered beyond wont by the fatigue of years, yet it seemed aged still more by the thoughts that had worn away both soul and body. There were no lashes to the deep-set eyes, and scarcely a trace of the arching lines of the eyebrows above them. Set this head on a spare and feeble frame, place it in a frame of lace wrought Hke an engraved silver fish-slice, imagine a heavy gold chain over the old man's black doublet, and you will have some dim idea of this strange personage, who seemed still more fantastic in the sombre twilight of the staircase. One of Rembrandt's portraits might have stepped down from its frame to walk in an appro- priate atmosphere of gloom, such as the great painter loved. The older man gave the younger a shrewd glance, and knocked thrice at the door. It was opened by a man of forty or thereabouts, who seemed to be an invalid. 4 The Unknown Masterpiece * Good-day, Master.' Porbus bowed respectfully, and held the door open for the younger man to enter, thinking that the latter accompanied his visitor ; and when he saw that the neophyte stood awhile as if spellbound, feeling, as every artist-nature must feel, the fascinating influence of the first sight of a studio in which the material processes of art are revealed, Porbus troubled himself no more about this second comer. All the light in the studio came from a window in the roof, and was concentrated upon an easel, where a canvas stood untouched as yet save for three or four outlines in chalk. The daylight scarcely reached the remoter angles and corners of the vast room ; they were as dark as night, but the silver ornamented breastplate of a Reiter's corselet, that hung upon the wall, attracted a stray gleam to its dim abiding-place among the brown shadows ; or a shaft of light shot across the carved and glistening surface of an antique sideboard covered with curious silver-plate, or struck out a line of glittering dots among the raised threads of the golden warp of some old brocaded curtains, where the lines of the stiff heavy folds were broken, as the stufF had been flung carelessly down to serve as a model. Plaster ècorchés stood about the room ; and here and there, on shelves and tables, lay fragments of classical sculpture — torsos of antique goddesses, worn smooth as though all the years of the centuries that had passed over them had been lovers' kisses. The walls were covered, from floor to ceiling, with countless sketches in charcoal, red chalk, or pen and ink. Amid the litter and confusion of colour boxes, overturned stools, flasks of oil, and essences, there was just room to move so as to reach the illuminated circular space where the easel stood. The light from the window in the roof fell full upon Porbus's pale face and on the ivory-tinted forehead of his strange visitor. But in another moment the younger The Unknown Masterpiece 5 man heeded nothing but a picture that had akeady become famous even in those stormy days of poHtical and rehgious revolution, a picture that a few of the zealous worshippers, who have so often kept the sacred fire of art alive in evil days, were wont to go on pilgrimage to see. The beautiful panel represented a Saint Mary of Egypt about to pay her passage across the seas. It was a masterpiece destined for Mary de' Medici, who sold it in later years of poverty. ' I like your saint,' the old man remarked, addressing Porbus. * I would give you ten golden crowns for her over and above the price the Queen is paying ; but as for putting a spoke in that wheel . . . the devil take it ! ' * It is good then ? ' ' Hey ! hey ! ' said the old man ; * good, say you ? — Yes and no. Your good woman is not badly done, but she is not alive. You artists fancy that when a figure is correctly drawn, and everything in its place according to the rules of anatomy, there is nothing more to be done. You make up the flesh tints beforehand on your palettes according to your formulae, and fill in the outlines with due care that one side of the face shall be darker than the other ; and because you look from time to time at a naked woman who stands on the platform before you, you fondly imagine that you have copied nature, think yourselves to be painters, believe that you have wrested His secret from God. Pshaw ! You may know your syntax thoroughly and make no blunders in your gram- mar, but it takes that and something more to make a great poet. Look at your saint, Porbus ! At a first glance she is admirable j look at her again, and you see at once that she is glued to the background, and that you could not walk round her. She is a silhouette that turns but one side of her face to all beholders, a figure cut out of canvas, an image with no power to move nor change her position. I feel as if there were no air between that arm and the background, no space, no 6 The Unknown Masterpiece sense of distance in your canvas. The perspective is perfectly correct, the strength of the colouring is accurately diminished with the distance ; but, in spite of these praiseworthy efforts, I could never bring myself to believe that the warm breath of life comes and goes in that beautiful body. It seems to me that if I laid my hand on the firm rounded throat, it would be cold as marble to the touch. No, my friend, the blood does not flow beneath that ivory skin, the tide of life does not flush those delicate fibres, the purple veins that trace a network beneath the transparent amber of her brow and breast. Here the pulse seems to beat, there it is motion- less, life and death are at strife in every detail ; here you see a woman, there a statue, there again a corpse. Your creation is incomplete. You had only power to breathe a portion of your soul into your beloved work. The fire of Prometheus died out again and again in your hands; many a spot in your picture has not been touched by the divine flame.' * But how is it, dear master ? ' Porbus asked respect- fully, while the young man with difficulty repressed his strong desire to beat the critic. ' Ah ! ' said the old man, ' it is this ! You have halted between two manners. You have hesitated between drawing and colour, between the dogged atten- tion to detail, the stiff precision of the German masters and the dazzlirig glow, the joyous exuberance of Italian painters. You have set yourself to imitate Hans Holbein and Titian, Albrecht Durer and Paul Veronese in a single picture. A magnificent ambition truly, but what has come of it ? Your work has neither the severe charm of a dry execution nor the magical illusion of Italian chiaroscuro. Titian's rich golden colouring poured into Albrecht Diirer's austere outlines has shattered them, like molten bronze bursting through the mould that is not strong enough to hold it. In other places the out- lines have held firm, imprisoning and obscuring the The Unknown Masterpiece 7 magnificent glowing flood of Venetian colour. The drawing of the face is not perfect, the colouring is not perfect ; traces of that unlucky indecision are to be seen everywhere. Unless you felt strong enough to fuse the two opposed manners in the fire of your own genius, you should have cast in your lot boldly with the one or the other, and so have obtained the unity which simulates one of the conditions of life itself. Your work is only true in the centres ; your outlines are false, they project no- thing, there is no hint of anything behind them. There is truth here,' said the old man, pointing to the breast of the Saint, ' and again here,' he went on, indicating the rounded shoulder. ' But there,' once more returning to the column of the throat, ' everything is false. Let us go no farther into detail; you would be disheartened.' The old man sat down on a stool, and remained a while without speaking, with his face buried in his hands. ' Yet I studied that throat from the life, dear master,' Porbus began ; ' it happens sometimes, for our misfor- tune, that real effects in nature look improbable when transferred to canvas ' ' The aim of art is not to copy nature, but to express it. You are not a servile copyist, but a poet ! ' cried the old man sharply, cutting Porbus short with an imperious gesture. ' Otherwise a sculptor might make a plaster cast of a living woman and save himself all further trouble. Well^ try to make a cast of your mistress's hand, and set up the thing before you. You will see a monstrosity, a dead mass, bearing no resemblance to the living hand ; you would be compelled to have recourse to the chisel of a sculptor who, without making an exact copy, would represent for you its movement and its life. We must detect the spirit, the informing soul in the appearances of things and beings. Effects ! What are effects but the accidents of life, not life itself? A hand, since I have taken that example, is not only a part of a body, it is the expression and extension of a thought thai 8 The Unknown Masterpiece must be grasped and rendered. Neither painter nor poet nor sculptor may separate the effect from the cause, which are inevitably contained the one in the other. There begins the real struggle ! Many a painter achieves success instinctively, unconscious of the task that is set before art. You draw a woman, yet you do not see her! Not so do you succeed in wresting nature's secrets from her ! You are reproducing mechanically the model that you copied in your master's studio. You do not penetrate far enough into the ini?iost secrets of the mystery of form ; you do not seek w:th love enough and perseverance enough after the form that baffles and eludes you. Beauty is a thing severe and un- approachable, never to be won by a langu'd lover. You must lie in wait for her coming and take her unawares, press her hard and clasp her in a tight embrace, and force her to yield. Form is a Proteus more intangible and more manifold than the Proteus of the legend ; com- pelled, only after long wrestling, to stand forth manifest in his true aspect. Some of you are satisied with the first shape, or at most by the second or the third that appears. Not thus wrestle the victors, the unvinquished painters who never suffer themselves to be deluded by all those treacherous shadow-shapes; they persevere till nature at the last stands bare to their gaze, end her very soul is revealed. * In this manner worked Rafael,' said the old man, taking off his cap to express his reverence for the King of Art. ' His transcendent greatness came of the inti- mate sense that, in him, seems as if it would shatter external form. Form in his figures (as with us) is a symbol, a means of communicating sensations, ideas, the vast imaginings of a poet. Every face is a whole world. The subject of the portrait appeared for him bathed in the light of a divine vision ; it was revealed by an inner voice, the finger of God laid bare the sources of expression in the past of a whole life. The Unknown Masterpiece 9 * You clothe your women in fair raiment of flesh, in gracious veiling of hair; but where is the blood, the source of passion and of calm, the cause of the particular effect ? Why, this brown Egyptian of yours, my good Porbus, is a colourless creature ! These figures that you set before us are painted bloodless phantoms ; and you call that painting, you call that art ! * Because you have made something more like a woman than a house, you think that you have set your fingers on the goal ; you are quite proud that you need not to write currus venustus or pulcher homo beside your figures, as early painters were wont to do, and you fancy that you have done wonders. Ah ! my good friend, there is still something more to learn, and you will use up a great deal of chalk and cover many a canvas before you will learn it. Yes, truly, a woman carries her head in just such a way, so she holds her garments gathered into her hand ; her eyes grow dreamy and soft with that expres- sion of meek sweetness, and even so the quivering shadow of the lashes hovers upon her cheeks. It is all there, and yet it is not there. What is lacking ? A nothing, but that nothing is everything. ' There you have the semblance of life, but you do not express its fulness and eiBuence, that indescribable some- thing, perhaps the soul itself, that envelopes the outlines of the body like a haze ; that flower of life, in short, that Titian and Rafael caught. Your utmost achievement hitherto has only brought you to the starting-point. You might now perhaps begin to do excellent work, but you grow weary all too soon ; and the crowd admires, and those who know smile. ' Oh, Mabuse ! oh, my master ! ' cried the strange speaker, *• thou art a thief! Thou hast carried away the secret of life with thee ! ' Nevertheless,' he began again, ' this picture of yours is worth more than all the paintings of that rascal Rubens, with his mountains of Flemish flesh raddled lO The Unknown Masterpiece with vermilion, his torrents of red hair, his riot of colour. You, at least, have colour there, and feeling and drawing — the three essentials in art.' The young man roused himself from his deep musings. ' Why, my good man, the Saint is sublime ! ' he cried. * There is a subtlety of imagination about those two figures, the Saint Mary and the Shipman, that cannot be found among Italian masters ; I do not know a single one of them capable of imaging the Shipman's hesitation.' ' Did that little malapert come with you ? ' asked Porbus of the older man. 'Alas ! master, pardon my boldness,' cried the neophyte, and the colour mounted to his face. ' I am unknown — a dauber by instinct, and but lately come to this city — the fountainhead of all learning.' 'Set to work,' said Porbus, handing him a bit of red chalk and a sheet of paper. The new-comer quickly sketched the Saint Mary line for line. 'Aha!' exclaimed the old man. 'Your name?' he added. The young man wrote ' Nicolas Poussin ' below the sketch. ' Not bad that for a beginning,' said the strange speaker, who had discoursed so wildly. ' I see that we can talk of art in your presence. I do not blame you for admiring Porbus's saint. In the eyes of the world she is a masterpiece, and those alone who have been initiated into the inmost mysteries of art can discover her short- comings. But it is worth while to give you the lesson, for you are able to understand it, so I will show you how little it needs to complete this picture. You must be all eyes, all attention, for it may be that such a chance of learning will never come in your way again. — Porbus ! your palette.' Porbus went in search of palette and brushes. The little old man turned back his sleeves with impatient The Unknown Masterpiece 1 1 energy, seized the palette, covered with many hues, that Porbus handed to him, and snatched rather than took a handful of brushes of various sizes from the hands of his acquaintance. His pointed beard suddenly bristled — a menacing movement that expressed the prick of a lover's fancy. As he loaded his brush, he muttered between his teeth, 'These paints are only fit to fling out of the window, together with the fellow who ground them, their crudeness and falseness are disgusting ! How can one paint with this ? ' He dipped the tip of the brush with feverish eagerness in the different pigments, making the circuit of the palette several times more quickly than the organist of a cathedral sweeps the octaves on the keyboard of his clavier for the O Filii at Easter. Porbus and Poussin, on either side of the easel, stood stock-still, watching with intense interest. * Look, young man,' he began again, ' see how three or four strokes of the brush and a thin glaze of blue let in the free air to play about the head of the poor Saint, who must have felt stifled and oppressed by the close atmo- sphere! See how the drapery begins to flutter; you feel that it is lifted by the breeze ! A moment ago it hung as heavily and stiffly as if it were held out by pins. Do you see how the satin sheen that I have just given to the breast rends the pliant, silken softness of a young girl's skin, and how the brown red, blended with burnt ochre, brings warmth into the cold grey of the deep shadow where the blood lay congealed instead of coursing through the veins ? Young man, young man, no master could teach you how to do this that I am doing before your eyes. Mabuse alone possessed the secret of giving life to his figures ; Mabuse had but one pupil — that was I. I have had none, and I am old. You have suiSeient intel- ligence to imagine the rest from the glimp^^cb that I am giving you.' While the old man was speaking, he gave a touch here 12 The Unknown Masterpiece and there ; sometimes two strokes of the brush, sometimes a single one ; but every stroke told so well, that the whole picture seemed transfigured — the painting was flooded with light. He worked with such passionate fervour, that beads of sweat gathered upon his bare fore- head ; he worked so quickly, in brief, impatient jerks, that it seemed to young Poussin as if some familiar spirit inhabiting the body of this strange being took a grotesque pleasure in making use of the man's hands against his ow^n will. The unearthly glitter of his eyes, the convulsive movements that seemed like struggles, gave to this fancy a semblance of truth which could not but stir a young imagination. The old man continued, saying as he did so — * Paf ! paf ! that is how to lay it on, young man ! — Little touches ! come and bring a glow into those icy cold tones for me ! Just so ! Pon ! pon ! pon ! ' and those parts of the picture that he had pointed out as cold and lifeless flushed with warmer hues, a few bold strokes of colour brought all the tones of the pictures into the required harmony with the glowing tints of the Egyptian, and the differences in temperament vanished. 'Look you, youngster, the last touches make the picture. Porbus has given it a hundred strokes for every one of mine. No one thanks us for what lies beneath. Bear that in mind.' At last the restless spirit stopped, and turning to Porbus and Poussin, who were speechless with admiration, he spoke — ' This is not as good as my Belle Noiseuse ; still one might put one's name to such a thing as this. — Yes, I would put my name to it,' he added, rising to reach for a mirror, in which he looked at the picture. — ' And now,' he said, ' will you both come and breakfast with me. I have a smoked ham and some very fair wine ! . . . Eh ! eh ! the times may be bad, but we can still have some talk about art ! VVe can talk like equals. . . . Here is a The Unknown Masterpiece 13 little fellow who has aptitude,' he added, laying a hand on Nicolas Poussin's shoulder. In this way the stranger became aware of the thread- bare condition of the Norman's doublet. He drew a leather purse from his girdle, felt in it, found two gold coins, and held them out. * I will buy your sketch,' he said. * Take it,' said Porbus, as he saw the other start and flush with embarrassment, for Poussin had the pride of poverty. 'Pray take iti he has a couple of king's ransoms in his pouch ! ' The three came down together from the studio, and, talking of art by the way, reached a picturesque wooden house hard by the Pont Saint-Michel. Poussin wondered a moment at its ornament, at the knocker, at the frames of the casements, at the scroll-work designs, and in the next he stood in a vast low-ceiled room. A table, covered with tempting dishes, stood near the blazing fire, and (luck unhoped for) he was in the company of two great artists full of genial good humour. 'Do not look too long at that canvas, young man,' said Porbus, when he saw that Poussin was standing, struck with wonder, before a painting. * You would fall a victim to despair.' It was the Adam painted by Mabuse to purchase his release from the prison where his creditors had so long kept him. And as a matter of fact, the figure stood out so boldly and convincingly, that Nicolas Poussin began to understand the real meaning of the words poured out by the old artist, who was himself looking at the picture with apparent satisfaction, but without enthusiasm. 'I have done better than that ! ' he seemed to be saying to himself. ' There is life in it,' he said aloud ; ' in that respect my poor master here surpassed himself, but there is some lack of truth in the background. The man lives indeed ; he is rising, and will come towards us j but the atmo- 14 The Unknown Masterpiece sphere, the sky, the air, the breath of the breeze — you look and feel for them, but they are not there. And then the man himself is, after all, only a man ! Ah ! hut the one man in the world who came direct from the hands of God must have had a something divine about him that is wanting here. Mabuse himself would grind his teeth and say so when he was not drunk.' Poussin looked from the speaker to Porbus, and from Porbus to the speaker, with restless curiosity. He went up to the latter to ask for the name of their host ; but the painter laid a finger on his lips with an air of mystery. The young man's interest was excited ; he kept silence, but hoped that sooner or later some word might be let fall that would reveal the name of his entertainer. It was evident that he was a man of talent and very wealthy, for Porbus listened to him respectfully, and the vast room was crowded with marvels of art. A magnificent portrait of a woman, hung against the dark oak panels of the wall, next caught Poussin's attention. ' What a glorious Giorgione ! ' he cried. * No,' said his host, *■ it is an early daub of mine ' * Giamercy ! I am in the abode of the god of painting, it seems ! ' cried Poussin ingenuously. The old man smiled as if he had long grown familiar with such praise. ' Master Frenhofer ! ' said Porbus, ' do you think you could send me à little of your capital Rhine wine ? * A couple of pipes ! ' answered his host ; ' one to discharge a debt, for the pleasure of seeing your pretty sinner, the other as a present from a friend.' * Ah ! if I had my health,' returned Porbus, * and if you would but let me see your Belle Noiseuse^ I would paint some great picture, with breadth in it and depth ; the figures should be life-size.' ' Let you see my work ! ' cried the painter in agitation. * No, no ! it is not perfect yet ; something still remains The Unknown Masterpiece 15 for me to do. Yesterday, in the dusk,' he said, 'I thought I had reached the end. Her eyes seemed moist, the flesh quivered, something stirred the tresses of her hair. She breathed ! But though I have succeeded in reproducing Nature's roundness and relief on the flat surface of the canvas, this morning, by daylight, I found out my mistake. Ah ! to achieve that glorious result I have studied the works of the great masters of colour, stripping off coat after coat of colour from Titian's canvas, analysing the pigments of the king of light. Like that sovereign painter, I began the face in a slight tone with a supple and fat paste — for shadow is but an accident ; bear that in mind, youngster ! — Then I began afresh, and by half-tones and thin glazes of colour less and less transparent, I gradually deepened the tints to the deepest black of the strongest shadows. An ordinary painter makes his shadows some- thing entirely different in nature from the high lights ; they are wood or brass, or what you will, anything but flesh in shadow. You feel that even if those figures were to alter their position, those shadow stains would never be cleansed away, those parts of the picture would never glow with light. ' I have escaped one mistake, into which the most famous painters have sometimes fallen ; in my canvas the whiteness shines through the densest and most persistent shadow. I have not marked out the limits of my figure in hard, dry outlines, and brought every least anatomical detail into prominence (like a host of dunces, who fancy that they can draw because they can trace a line elaborately smooth and clean), for the human body is not contained within the limits of line. In this the sculptor can approach the truth more nearly than we painters. Nature's way is a complicated succession of curve within curve. Strictly speaking, there is no such thing as drawing. — Do not laugh, young man ; strange as that speech may seem to you, you will understand the truth in it some day. — A 1 6 The Unknown Masterpiece line is a method of expressing the effect of light upon an object ; but there are no lines in nature, everything is solid. We draw by modelling, that is to say, that we disengage an object from its setting ; the distribution of the light alone gives to a body the appearance by which we know it. So I have not defined the outlines ; I have suffused them with a haze of half-tints warm or golden, in such a sort that you cannot lay your finger on the exact spot vi^here background and contours meet. Seen from near, the picture looks a blur ; it seems to lack definition ; but step back two paces, and the whole thing becomes clear, distinct, and solid ; the body stands out, the rounded form comes into relief; you feel that the air plays round it. And yet — I am not satisfied ; I have misgivings. Perhaps one ought not to draw a single line ; perhaps it would be better to attack the face from the centre, taking the highest prominences first, proceed- ing from them through the whole range of shadows to the heaviest of all. Is not this the method of the sun, the divine painter of the world ? Oh, Nature, Nature ! who has surprised thee, fugitive ? But, after all, too much knowledge, like ignorance, brings you to a negation. I have doubts about my work.' There was a pause. Then the old man spoke again. ' I have been at work upon it for ten years, young man j but what are ten short years in a struggle v^^ith Nature ? Do we know how long Sir Pygmalion wrought at the one statue that came to life ? ' The old man fell into deep musings, and gazed before him with wide unseeing eyes, while he played unheed- ingly with his knife. ' Look, he is in converse with his damon ! ' murmured Porbus. At the word, Nicolas Poussin felt himself carried away by an unaccountable accession of artist's curiosity. For him the old man, at once intent and inert, the seer with the unseeing eyes, became something more than a The Unknown Masterpiece 17 man — a fantastic spirit living in a mysterious world, and countless vague thoughts awoke within his soul. The effect of this species of fascination upon his mind can no more be described in words than the passionate longing awakened in an exile's heart by the song that recalls his home. He thought of the scorn that the old man affected to display for the noblest efforts of art, of his wealth, his manners, of the deference paid to him by Por- bus. The mysterious picture, the work of patience on which he had wrought so long in secret, was doubtless a work of genius, for the head of the Virgin which young Poussin had admired so frankly was beautiful even beside Mabuse's Adam — there was no mistaking the imperial manner of one of the princes of art. Everything com- bined to set the old man beyond the limits of human nature. Out of the wealth of fancies in Nicolas Poussin's brain an idea grew, and gathered shape and clearness. He saw in this supernatural being a complete type of the artist nature, a nature mocking and kindly, barren and prolific, an erratic spirit intrusted with great and manifold powers which she too often abuses, leading sober reason, the Philistine, and sometimes even the amateur forth into a stony wilderness where they see nothing ; but the white- winged maiden herself, wild as her fancies may be, finds epics there and castles and works of art. For Poussin, the enthusiast, the old man, was suddenly transfigured, and became Art incarnate. Art with its mysteries, its vehement passion and its dreams. ' Yes, my dear Porbus,' Frenhofer continued, * hitherto I have never found a flawless model, a body with outlines of perfect beauty, the carnations — Ah ! where does she live ? ' he cried, breaking in upon himself, * the undiscover- able Venus of the older time, for whom we have sought so often, only to find the scattered gleams of her beauty here and there ? Oh ! to behold once and for one moment, Nature grown perfect and divine, the Ideal at fi 1 8 The Unknov/n Masterpiece last, I would give all that I possess. . . . Nay, Beauty divine, I would go to seek thee in the dim land of the dead ; like Orpheus, I would go down into the Hades of Art to bring back the life of art from among the shadows of death.' ' We can go now,' said Porbus to Poussin. ' He neither hears nor sees us any longer.' ' Let us go to his studio,' said young Poussin, wonder- ing greatly. * Oh ! the old fox takes care that no one shall enter it. His treasures are so carefully guarded that it is impossible for us to come at them. I have not waited for your suggestion and your fancy to attempt to lay hands on this mystery by force.' ' So there is a mystery ? ' *Yes,' answered Porbus. * Old Frenhofer is the only pupil Mabuse would take. Frenhofer became the painter's friend, deliverer, and father ; he sacrificed the greater part of his fortune to enable Mabuse to indulge in riotous extravagance, and in return Mabuse bequeathed to him the secret of relief, the power of giving to his figures the wonderful life, the flower of Nature, the eternal despair of art, the secret which Mabuse knew so well that one day when he had sold the flowered brocade suit in which he should have appeared at the Entry of Charles v., he accompanied his master in a suit of paper painted to resemble the brocade. The peculiar richness and splen- dour of the stuff struck the Emperor ; he complimented the old drunkard's patron on the artist's appearance, and so the trick was brought to light. Frenhofer is a passionate enthusiast, who sees above and beyond other painters. He has meditated profoundly on colour, and the absolute truth of line ; but by the way of much research he has come to doubt the very existence of the objects of his search. He says, in moments of despon- dency, that there is no such thing as drawing, and that by means of lines we can only reproduce geometrical The Unknown Masterpiece 19 figures ; but that is overshooting the mark, for by outline and shadow you can reproduce form without any colour at all, which shows that our art, like Nature, is composed of an infinite number of elements. Drawing gives you the skeleton, the anatomical framework, and colour puts the life into it ; but life without the skeleton is even more incomplete than a skeleton without life. But there is something else truer still, and it is this — for painters, practice and observation are everything ; and when theories and poetical ideas begin to quarrel with the brushes, the end is doubt, as has happened with our good friend, who is half crack-brained enthusiast, half painter. A sublime painter ! but, unluckily for him, he was born to riches, and so he has leisure to follow his fancies. Do not you follow his example ! Work ! painters have no business to think, except brush in hand.' ' We will find a way into his studio ! ' cried Poussin confidently. He had ceased to heed Porbus's remarks. The other smiled at the young painter's enthusiasm, asked him to come to see him again, and they parted. Nicolas Poussin went slowly back to the Rue de la Harpe, and passed the modest hostelry where he was lodging without noticing it. A feeling of uneasiness prompted him to hurry up the crazy staircase till he reached a room at the top, a quaint, airy recess under the steep, high-pitched roof common among houses in old Paris. In the one dingy window of the place sat a young girl, who sprang up at once when she heard some one at the door ; it was the prompting of love ; she had recognised the painter's touch on the latch. * What is the matter with you ? ' she asked. * The matter is . . . is . . . Oh ! I have felt that I am a painter ! Until to-day I have had doubts, but now I believe in myself! There is the making of a great man in me ! Never mind, Gillette, we shall be rich and happy ! There is gold at the tips of those brushes ' He broke off suddenly. The joy faded from his 20 The Unknown Masterpiece powerful and earnest face as he compared his vast hopes with his slender resources. The walls were covered with sketches in chalk on sheets of common paper. There were but four canvases in the room. Colours were very costly, and the young painter's palette was almost bare. Yet in the midst of his poverty he possessed and was conscious of the possession of inexhaustible treasures of the heart, of a devouring genius equal to all the tasks that lay before him. He had been brought to Paris by a nobleman among his friends, or perchance by the consciousness of his powers ; and in Paris he had found a mistress, one of those noble and generous souls who choose to suffer by a great man's side, who share his struggles and strive to understand his fancies, accepting their lot of poverty and love as bravely and dauntlessly as other women will set themselves to bear the burden of riches and make a parade of their insensibility. The smile that stole over Gillette's lips filled the garret with golden light, and rivalled the brightness of the sun in heaven. The sun, moreover, does not always shine in heaven, whereas Gillette was always in the garret, absorbed in her passion, occupied by Poussin's happiness and sorrow, con- soling the genius which found an outlet in love before art engrossed it. ' Listen, Gillette. Come here.' The girl obeyed joyously, and sprang upon the painter's knev°. Hers was perfect grace and beauty, and the loveliness of spring ; she was adorned with all luxuriant fairness of outward form, lighted up by the glow of a fair soul within. * Oh ! God,' he cried ; * I shall never dare to tell her ' * A secret ? ' she cried ; * I must know it ! ' Poussin was absorbed in his dreams. * Do tell it me ! ' * Gillette, . . . poor beloved heart ! , . .* The Unknown Masterpiece 21 ' Oh ! do you want something of me ? ' * Yes.' * If you wish me to sit once more for you as I did the other day,' she continued with playful petulance, ' I will never consent to do such a thing again, for your eyes say nothing all the while. You do not think of me at all, and yet you look at me ' * Would you rather have me draw another woman ? ' * Perhaps — if she were very ugly,' she said. * Well,' said Poussin gravely, ' and if, for the sake of my fame to come, if to make me a great painter, you must sit to some one else ? ' ' You may try me,' she said ; * you know quite well that I would not.' Poussin's head sank on her breast ; he seemed to be overpowered by some intolerable joy or sorrow. ' Listen,' she cried, plucking at the sleeve of Poussin's threadbare doublet. ' I told you, Nick, that I would lay down my life for you ; but I never promised you that I in my lifetime would lay down my love.' * Your love ? ' cried the young artist. * If I showed myself thus to another, you would love me no longer, and I should feel myself unworthy of you. Obedience to your fancies was a natural and simple thing, was it not ? Even against my own will, I am glad and even proud to do thy dear will. But for another, out upon it ! ' ' Forgive me, my Gillette,' said the painter, falling upon his knees ; ' I would rather be beloved than famous. You are fairer than success and honours. There; fling the pencils away, and burn these sketches ! I have made a mistake. I was meant to love and not to paint. Perish art and all its secrets ! ' Gillette looked admiringly at him, in an ecstasy of happiness ! She was triumphant ; she felt instinctively that art was laid aside for her sake, and flung like a grain of incense at her feet. 22 The Unknown Masterpiece ' Yet he is only an old man,' Poussin continued ; * for him you would be a woman, and nothing more. You — so perfect ! ' ' I must love you indeed ! ' she cried, ready to sacrifice even love's scruples to the lover who had given up so much for her sake ; * but I should bring about my own ruin. Ah ! to ruin myself, to lose everything for you ! ... It is a very glorious thought ! Ah ! but you will forget me. Oh ! what evil thought is this that has come to you ? ' ' I love you, and yet I thought of it,' he said, with something like remorse. * Am I so base a wretch ? ' ' Let us consult Père Hardouin,' she said. * No, no ! let it be a secret between us.' ' Very well ; I will do it. But you must not be there,* she said. * Stay at the door with your dagger in your hand ; and if I call, rush in and kill the painter.' Poussin forgot everything but art. He held Gillette tightly in his arms. 'He loves me no longer ! ' thought Gillette when she was alone. She repented of her resolution already. But to these misgivings there soon succeeded a sharper pain, and she strove to banish a hideous thought that arose in her own heart. It seemed to her that her own love had grown less already, with a vague suspicion that the painter had fallen somewhat in her eyes. II. CATHERINE LESCAULT Three months after Poussin and Porbus met, the latter went to see Master Frenhofer. The old man had fallen a victim to one of those profound and spontaneous fits of discouragement that are caused, according to medical logicians, by indigestion, flatulence, fever, or enlargement of the spleen j or, if you take the opinion The Unknown Masterpiece 23 of the Spiritualists, by the imperfections of our moral nature. The good man had simply overworked himself in putting the finishing touches to his mysterious picture. He was lounging in a huge carved oak chair, covered with black leather, and did not change his listless atti- tude, but glanced at Porbus like a man who has settled down into low spirits. ' Well, master,' said Porbus, ' was the ultramarine bad that you sent for to Bruges ? Is the new white difficult to grind ? Is the oil poor, or are the brushes recalcitrant ? ' ' Alas ! ' cried the old man, * for a moment I thought that my work was finished j but I am sure that I am mistaken in certain details, and I cannot rest until I have cleared my doubts. I am thinking of travelling. I am going to Turkey, to Greece, to Asia, in quest of a model, so as to compare my picture with the different living forms of Nature. Perhaps,' and a smile of contentment stole over his face, 'perhaps I have Nature herself up there. At times I am half afraid that a breath may waken her, and that she will escape me.' He rose to his feet as if to set out at once. * Aha ! ' said Porbus, ' I have come just in time to save you the trouble and expense of a journey.' 'What ? ' asked Frenhofer in amazement. ' Young Poussin is loved by a woman of incomparable and flawless beauty. But, dear master, if he consents to lend her to you, at the least you ought to let us see your work.' The old man stood motionless and completely dazed. ' What ! ' he cried piteously at last, ' show you my creation, my bride ? Rend the veil that has kept my happiness sacred ? It would be an infamous profanation. For ten years I have lived with her ; she is mine, mine alone ; she loves me. Has she not smiled at me, at each stroke of the brush upon the canvas ? She has a soul — the soul that I have given her. She would blush if any 24 The Unknown Masterpiece eyes but mine should rest on her. To exhibit her ! Where is the husband, the lover so vile as to bring the woman he loves to dishonour ? When you paint a picture for the court, you do not put your whole soul into it ; to courtiers you sell lay figures duly coloured. My painting is no painting, it is a sentiment, a passion. She was born in my studio, there she must dw^ell in maiden solitude, and only when clad can she issue thence. Poetry and women only lay the last veil aside for their lovers. Have we Rafael's model, Ariosto's Angelica, Dante's Beatrice ? Nay, only their form and semblance. But this picture, locked away above in my studio, is an exception in our art. It is not a canvas, it is a woman — a woman with whom I talk. I share her thoughts, her tears, her laughter. Would you have me fling aside these ten years of happiness like a cloak ? Would you have me cease at once to be father, lover, and creator ? She is not a creature, but a creation. ' Bring your young painter here. I will give him my treasures ; I will give him pictures by Correggio and Michel Angelo and Titian ; I will kiss his footprints in the dust ; but — make him my rival ! Shame on me. Ah ! ah ! I am a lover first, and then a painter. Yes, with my latest sigh I could find strength to burn my Belle Noiseuse ; but — compel her to endure the gaze of a stranger, a young man and a painter ! — Ah ! no, no ! I would kill him on the morrow who should sully her with a glance ! Nay, you, my friend, I would kill you with my own hands in a moment if you did not kneel in reverence before her ! Now, will you have me sub- mit my idol to the careless eyes and senseless criticisms of fools ? Ah ! love is a mystery ; it can only live hidden in the depths of the heart. You say, even to your friend, " Behold her whom I love," and there is an end of love.' The old man seemed to have grown young again ; there was light and life in his eyes, and a faint flush of The Unknown Masterpiece 25 red in his pale face. His hands shook. Porbus was so amazed by the passionate vehemence of Frenhofer's words that he knew not what to reply to this utterance of an emotion as strange as it was profound. Was Frenhofer sane or mad ? Had he fallen a victim to some freak of the artist's fancy ? or were these ideas of his produced by that strange lightheadedness which comes over us during the long travail of a work of art. Would it be possible to come to terms with this singular passion ? Harassed by all these doubts, Porbus spoke — * Is it not woman for woman ? ' he said. ' Does not Poussin submit his mistress to your gaze ? ' ' What is she ? ' retorted the other. * A mistress who will be false to him sooner or later. Mine will be faith- ful to me for ever.' ' Well, well,' said Porbus, * let us say no more about it. But you may die before you will find such flawless beauty as hers, even in Asia, and then your picture will be left unfinished. ' Oh ! it is finished,' said Frenhofer. * Standing before it you would think that it was a living woman lying on the velvet couch beneath the shadow of the curtains. Perfumes are burning on a golden tripod by her side. You would be tempted to lay your hand upon the tassel of the cord that holds back the curtains ; it would seem to you that you saw her breast rise and fall as she breathed ; that you beheld the living Catherine Lescault, the beautiful courtesan whom men called La Belle Notseuse. And yet — if I could but be sure ' ' Then go to Asia,' returned Porbus, noticing a certain indecision in Frenhofer's face. And with that Porbus made a few steps towards the door. By that time Gillette and Nicolas Poussin had reached Frenhofer's house. The girl drew away her arm from her lover's as she stood on the threshold, and shrank back as if some presentiment flashed through her mind. 20 The Unknown Masterpiece * Oh ! what have I come to do here ? ' she asked of her lover in low vibrating tones, with her eyes fixed on his. * Gillette, I have left you to decide ; I am ready to obey you in everything. You are my conscience and my glory. Go home again ; I shall be happier, perhaps, if you do not ' ' Am I my own when you speak to me like that ? No, no ; I am like a child. — Come,' she added, seemingly with a violent effort ; ' if our love dies, if I plant a long regret in my heart, your fame will be the reward of my obedience to your wishes, will it not ? Let us go in. I shall still live on as a memory on your palette ; that shall be life for me afterwards.' The door opened, and the two lovers encountered Porbus, who was surprised by the beauty of Gillette, whose eyes were full of tears. He hurried her, trembling from head to foot, into the presence of the old painter. * Here ! ' he cried, ' is she not worth all the master- pieces in the world ! ' Frenhofer trembled. There stood Gillette in the artless and childlike attitude of some timid and innocent Georgian, carried off by brigands, and confronted with a slave merchant. A shame-fast red flushed her face, her eyes drooped, her hands hung by her side, her strength seemed to have failed her, her tears protested against this outrage. Poussin cursed himself in despair that he should have brought his fair treasure from its hiding-place. The lover overcame the artist, and countless doubts assailed Poussin's heart when he saw youth dawn in the old man's eyes, as, like a painter, he discerned every line of the form hidden beneath the young girl's vesture. Then the lover's savage jealousy awoke. ' Gillette ! ' he cried, ' let us go.' The girl turned joyously at the cry and the tone in which it was uttered, raised her eyes to his, looked at him, and fled to his arms. The Unknown Masterpiece 27 'Ah ! then you love me,' she cried ; * you love me ! ' and she burst into tears. She had spirit enough to suffer in silence, but she had no strength to hide her joy. * Oh ! leave her with me for one moment,' said the old painter, *and you shall compare her with my Catherine . . . yes — I consent.' Frenhofer's words likewise came from him like a lover's cry. His vanity seemed to be engaged for his semblance of womanhood ; he anticipated the triumph of the beauty of his own creation over the beauty of the living girl. ' Do not give him time to change his mind ! ' cried Porbus, striking Poussin on the shoulder. *The flower of love soon fades, but the flower of art is immortal.' * Then am I only a woman now for him ? ' said Gillette. She was watching Poussin and Porbus closely. She raised her head proudly ; she glanced at Frenhofer, and her eyes flashed ; then as she saw how her lover had fallen again to gazing at the portrait which he had taken at first for a Giorgione — ' Ah ! ' she cried ; * let us go up to the studio. He never gave me such a look.' The sound of her voice recalled Poussin from his dreams. * Old man,' he said, ' do you see this blade ? I will plunge it into your heart at the first cry from this young girl ; I will set fire to your house, and no one shall leave it alive. Do you understand ? ' Nicolas Poussin scowled, every word was a menace. Gillette took comfort from the young painter's bearing, and yet more from that gesture, and almost forgave him for sacrificing her to his art and his glorious future. Porbus and Poussin stood at the door of the studio and looked at each other in silence. At first the painter of the Saint Mary of Egypt hazarded some exclamations : * Ah ! she has taken off her clothes ; he told her to come into the light— he is comparing the two ! ' but the sight 28 The Unknown Masterpiece of the deep distress in Poussin's face suddenly silenced him J and though old painters no longer feel these scruples, so petty in the presence of art, he admired them because they were so natural and gracious in the lover. The young man kept his hand on the hilt of his dagger, and his ear was almost glued to the door. The two men standing in the shadow might have been conspirators waiting for the hour when they might strike down a tyrant. ' Come in, come in,' cried the old man. He was radiant with delight. 'My work is perfect. I can show her now with pride. Never shall painter, brushes, colours, light, and canvas produce a rival for Catherine Lescault^ the beautiful courtesan ! ' Porbus and Poussin, burning vi^ith eager curiosity, hurried into a vast studio. Everything was in disorder and covered with dust, but they saw a few pictures here and there upon the wall. They stopped first of all in admiration before the life-sized figure of a woman partially draped. * Oh ! never mind that,' said Frenhofer j * that is a rough daub that I made, a study, a pose, it is nothing. These are my failures,' he went on, indicating the enchanting compositions upon the walls of the studio. This scorn for such works of art struck Porbus and Poussin dumb with amazement. They looked round for the picture of which he had spoken, and could not discover it. ' Look here ! ' said the old man. His hair was dis- ordered, his face aglow with a more than human exaltation, his eyes glittered, he breathed hard like a young lover fi^enzied by love. ' Aha ! ' he cried, ' you did not expect to see such perfection ! You are looking for a picture, and you see a woman before you. There is such depth in that canvas, the atmosphere is so true that you cannot dis- tinguish it from the air that surrounds us. Where is The Unknown Masterpiece 29 art ? Art has vanished, it is invisible ! It is the form of a living girl that you see before you. Have I not caught the very hues of life, the spirit of the living line that defines the figure. Is there not the effect produced there like that which all natural objects present in the atmo- sphere about them, or fishes in the water ? Do you see how the figure stands out against the background ? Does it not seem to you that you could pass your hand along the back ? But then for seven years I studied and watched how the daylight blends with the objects on which it falls. And the hair, the light pours over it like a flood, does it not ? . . . Ah ! she breathed, I am sure that she breathed ! Her breast — ah, see ! Who would not fall on his knees before her ? Her pulses throb. She will rise to her feet. Wait ! ' * Do you see anything ? ' Poussin asked of Porbus. * No ... do you ? ' * I see nothing.' The two painters left the old man to his ecstasy, and tried to ascertain whether the light that fell full upon the canvas had in some way neutrafised all the effect for them. They moved to the right and left of the picture j then they came in front, bending down and standing upright by turns. * Yes, yes, it is really canvas,' said Frenhofer, who mistook the nature of this minute investigation. ' Look ! the canvas is on a stretcher, here is the easel j indeed, here are my colours, my brushes,' and he took up a brush and held it out to them, all unsuspicious of their thought. * The old lansquenet is laughing at us,' said Poussin, coming once more towards the supposed picture. 'I can see nothing there but confused masses of colour and a multitude of fantastical lines that go to make a dead wall of paint.' ' We are mistaken, look ! ' said Porbus. In a corner of the canvas as they came nearer, they 3© The Unknown Masterpiece distinguished a bare foot emerging from the chaos of colour, half-tints and vague shadows that made up a dim formless fog. Its living delicate beauty held them spell- bound. This fragment that had escaped an incompre- hensible, slow, and gradual destruction seemed to them like the Parian marble torso of some Venus emerging from the ashes of a ruined town. ' There is a woman beneath,' exclaimed Porbus, calling Poussin's attention to the coats of paint with which the old artist had overlaid and concealed his work in the quest of perfection. Both artists turned involuntarily to Frenhofer. They began to have some understanding, vague though it was, of the ecstasy in which he lived. * He believes it in all good faith,' said Porbus. *Yes, my friend,' said the old man, rousing himself from his dreams, 'it needs faith, faith in art, and you must live for long with your work to produce such a creation. What toil some of those shadows have cost me. Look ! there is a faint shadow there upon the cheek beneath the eyes — if you saw that on a human face, it would seem to you that you could never render it with paint. Do you think that that effect has not cost unheard-of toil ? ' But not only so, dear Porbus. Look closely at my work, and you will understand more clearly what I was saying as to methods of modelling and outline. Look at the high lights on the bosom, and see how by touch on touch, thickly laid on, I have raised the surface so that it catches the light itself and blends it with the lustrous whiteness of the high lights, and how by an opposite process, by flattening the surface of the paint, and leaving no trace of the passage of the brush, I have succeeded in softening the contours of my figure and enveloping them in half-tints until the very idea of drawing, of the means by which the effect is produced, fades away, and the picture has the roundness and relief of nature. The Unknown Masterpiece 31 Come closer. You will see the manner of working better ; at a little distance it cannot be seen. There ! Just there, it is, I think, very plainly to be seen,' and with the tip of his brush he pointed out a patch of transparent colour to the two painters. Porbus, laying a hand on the old artist's shoulder, turned to Poussin with a ' Do you know that in him we see a very great painter ? ' ' He is even more of a poet than a painter,' Poussin answered gravely. ' There,' Porbus continued, as he touched the canvas, ' lies the utmost limit of our art on earth.' * Beyond that point it loses itself in the skies,' said Poussin. ' What joys lie there on that piece of canvas ! ' exclaimed Porbus. The old man, deep in his own musings, smiled at the woman he alone beheld, and did not hear. 'But sooner or later he will find out that there is nothing there ! ' cried Poussin. ' Nothing on my canvas ! ' said Frenhofer, looking in turn at either painter and at his picture. ' What have you done ? ' muttered Porbus, turning to Poussin. The old man clutched the young painter's arm and said, 'Do you see nothing? clod pate ! Huguenot! var- let ! cullion ! What brought you here into my studio ? — My good Porbus,' he went on, as he turned to the painter, ' are you also making a fool of me ? Answer ! I am your friend. Tell me, have I ruined my picture after all ? ' Porbus hesitated and said nothing, but there was such intolerable anxiety in the old man's white face that he pointed to the easel. 'Look ! ' he said. Frenhofer looked for a moment at his picture, and staggered back. 32 The Unknown Masterpiece * Nothing ! nothing ! After ten years of work . . .' He sat down and wept. ' So I am a dotard, a madman, I have neither talent nor power ! I am only a rich man, who works for his own pleasure, and makes no progress. I have done nothing after all ! ' He looked through his tears at his picture. Suddenly he rose and stood proudly before the two painters. ' By the body and blood of Christ,' he cried with flashing eyes, 'you are jealous ! You would have me think that my picture is a failure because you want to steal her from me ! Ah ! I see her, I see her,' he cried, *she is marvellously beautiful . . .' At that moment Poussin heard the sound of weeping j Gillette was crouching forgotten in a corner. All at once the painter once more became the lover. * What is it, my angel ? ' he asked her. * Kill me ! ' she sobbed. ' I must be a vile thing if I love you still, for I despise you. ... I admire you, and I loathe you ! I love you, and I feel that I hate you even now.' While Gillette's words sounded in Poussin's ears, Frenhofer drew a green serge covering over his Catherine with the sober deliberation of a jeweller who locks his drawers when he suspects his visitors to be expert thieves. He gave the two painters a profoundly astute glance that expressed to the full his suspicions and his contempt for them, saw them out of his studio with impetuous haste and in silence, until from the threshold of his house he bade them ' Good-bye, my young friends ! ' That farewell struck a chill of dread into the two painters. Porbus, in anxiety, went again on the morrow to see Frenhofer, and learned that he had died in the night after burning his canvases. Paris, February 1832. CHRIST IN FLANDERS To Marcelline Deshordes-Valmore^ a daughter of Flanders^ of whom thesi modern days may well be proud^ I dedicate this quaint legend of old Flanders. De Balzac. At a dirriiy remote period in the history of Brabant, communication between the Island of Cadzand and the Flemish coast was kept up by a boat which carried passengers from one shore to the other. Middelburg, the chief town in the island, destined to become so famous in the annals of Protestantism, at that time only numbered some two or three hundred hearths j and the prosperous town of Ostend was an obscure haven, a straggling village where pirates dwelt in security among the fishermen and the few poor merchants who lived in the place. But though the town of Ostend consisted altogether of some score of houses and three hundred cottages, huts or hovels built of the driftwood of wrecked vessels, it nevertheless rejoiced in the possession of a governor, a garrison, a forked gibbet, a convent, and a burgomaster, in short, in all the institutions of an advanced civilisation. Who reigned over Brabant and Flanders in those days ? On this point tradition is mute. Let us confess at once that this tale savours strongly of the marvellous, the mysterious, and the vague ; elements which Flemish narrators have infused into a story retailed so often to gatherings of workers on winter evenings, that the versions vary widely in poetic merit and incongruity of c 34 Christ in Flanders detail. It has been told by every generation, handed down by grandames at the fireside, narrated night and day, and the chronicle has changed its complexion some- what in every age. Like some great building that has suffered many modifications of successive generations of architects, some sombre weather-beaten pile, the delight of a poet, the story would drive the commentator and the industrious winnower of words, facts, and dates to despair. The narrator believes in it, as all superstitious minds in Flanders likewise believe ; and is not a whit wiser nor more credulous than his audience. But as it would be impossible to make a harmony of all the different renderings, here are the outlines of the story j stripped, it may be, of its picturesque quaintness, but with all its bold disregard of historical truth, and its moral teaching approved by religion — a myth, the blossom of imaginative fancy ; an allegory that the wise may in- terpret to suit themselves. To each his own pasturage, and the task of separating the tares from the wheat. The boat that served to carry passengers from the Island of Cadzand to Ostend was upon the point of departure ; but before the skipper loosed the chain that secured the shallop to the little jetty, where people embarked, he blew a horn several times, to warn late lingerers, this being his last journey that day. Night was falling. It -was scarcely possible to see the coast of Flanders by the dying fires of the sunset, or to make out upon the hither shore any forms of belated passengers hurrying along the wall of the dykes that surrounded the open country, or among the tall reeds of the marshes. The boat was full. * What are you waiting for ? Let us put off ! ' they cried. Just at that moment a man appeared a few paces from the jetty, to the surprise of the skipper, who had heard no sound of footsteps. The traveller seemed to have Christ in Flanders 35 sprung up from the earth, like a peasant who had laid himself down on the ground to wait till the boat should start, and had slept till the sound of the horn awakened him. Was he a thief? or some one belonging to the custom-house or the police ? As soon as the man appeared on the jetty to which the boat was moored, seven persons who were standing in the stern of the shallop hastened to sit down on the benches, so as to leave no room for the new-comer. It was the swift and instinctive working of the aristocratic spirit, an impulse of exclusiveness that comes from the rich man's heart. Four of the seven personages belonged to the most aristocratic families in Flanders. First among them was a young knight with two beautiful greyhounds ; his long hair flowed from beneath a jewelled cap ; he clanked his gilded spurs, curled the ends of his moustache from time to time with a swaggering grace, and looked round disdainfully on the rest of the crew. A high-born damsel, with a falcon on her wrist, only spoke with her mother or with a churchman of high rank, who was evidently a relation. All these persons made a great deal of noise, and talked among themselves as though there were no one else in the boat ; yet close beside them sat a man of great importance in the district, a stout burgher of Bruges, wrapped about with a vast cloak. His servant, armed to the teeth, had set down a couple of bags filled with gold at his side. Next to the burgher came a man of learning, a doctor of the Univer- sity of Louvain, who was travelling with his clerk. This little group of folk, who looked contemptuously at each other, was separated from the passengers in the forward part of the boat by the bench of rowers. The belated traveller glanced about him as he stepped on board, saw that there was no room for him in the stern, and went to the bows in quest of a seat. They were all poor people there. At first sight of the bare- headed man in the brown camlet coat and trunk-hose, ^6 Christ in Flanders and plain stiff linen collar, they noticed that he wore no ornaments, carried no cap nor bonnet in his hand, and had neither sword nor purse at his girdle, and one and all took him for a burgomaster sure of his autho- rity, a worthy and kindly burgomaster like so many a Fleming of old times, whose homely features and characters have been immortalised by Flemish painters. The poorer passengers, therefore, received him with demonstrations of respect that provoked scornful titter- ing at the other end of the boat. An old soldier, inured to toil and hardship, gave up his place on the bench to the new-comer, and seated himself on the edge of the vessel, keeping his balance by planting his feet against one of those transverse beams, like the backbone of a fish, that hold the planks of a boat together. A young mother, who bore her baby in her arms, and seemed to belong to the working class in Ostend, moved aside to make room for the stranger. There was neither servility nor scorn in her manner of doing this ; it was a simple sign of the goodwill by which the poor, who know by long experience the value of a service and the warmth that fellowship brings, give expression to the openhearted- ness and the natural impulses of their souls ; so artlessly do they reveal their good qualities and their defects. The stranger thanked her by a gesture full of gracious dignity, and took his place between the young mother and the old soldier. Immediately behind him sat a peasant and his son, a boy ten years of age. A beggar woman, old, wrinkled, and clad in rags, was crouching, with her almost empty wallet, on a great coil of rope that lay in the prow. One of the rowers, an old sailor, who had known her in th^ days of her beauty and prosperity, had let her come in ' for the love of God,' in the beautiful phrase that the common people use. * Thank you kindly, Thomas,' the old woman had said. * I will say two Paters and two Jves for you in my prayers to-night.' Christ in Flanders 37 The skipper blew his horn for the last time, looked along the silent shore, flung ofF the chain, ran along the side of the boat, and took up his position at the helm. He looked at the sky, and as soon as they were out in the open sea, he shouted to the men : * Pull away, pull with all your might ! The sea is smiling at a squall, the witch ! I can feel the swell by the way the rudder works, and the storm in my wounds.' The nautical phrases, unintelligible to ears unused to the sound of the sea, seemed to put fresh energy into the oars ; they kept time together, the rhythm of the move- ment was still even and steady, but quite unlike the previous manner of rowing ; it was as if a cantering horse had broken into a gallop. The gay company seated in the stern amused themselves by watching the brawny arms, the tanned faces, and sparkling eyes of the rowers, the play of the tense muscles, the physical and mental forces that were being exerted to bring them for a trifling toll across the channel. So far from pitying the rowers' distress, they pointed out the men's faces to each other, and laughed at the grotesque expressions on the faces of the crew who were straining every muscle ; but in the fore part of the boat the soldier, the peasant, and the old beggar woman watched the sailors with the sympathy naturally felt by toilers who live by the sweat of their brow and know the rough struggle, the strenuous excitement of effort. These folk, moreover, whose lives were spent in the open air, had all seen the warnings of danger in the sky, and their faces were grave. The young mother rocked her child, singing an old hymn of the Church for a lullaby. * If we ever get there at all,' the soldier remarked to the peasant, ' it will be because the Almighty is bent on keeping us alive.' ' Ah ! He is the Master,' said the old woman, ' but I think it will be His good pleasure to take us to Himself. 38 Christ in Flanders Just look at that light down there . . .' and she nodded her head as she spoke towards the sunset. Streaks of fiery red glared from behind the masses of crimson-flushed brown cloud that seemed about to un- loose a furious gale. There was a smothered murmur of the sea, a moaning sound that seemed to come from the depths, a low warning growl, such as a dog gives when he only means mischief as yet. After all, Ostend was not far away. Perhaps painting, like poetry, could not prolong the existence of the picture presented by sea and sky at that moment beyond the time of its actual dura- tion. Art demands vehement contrasts, wherefore artists usually seek out Nature's most striking effects, doubtless because they despair of rendering the great and glorious charm of her daily moods ; yet the human soul is often stirred as deeply by her calm as by her emotion, and by silence as by storm. For a moment no one spoke on board the boat. Every one watched that sea and sky, either with some presenti- ment of danger, or because they felt the influence of the religious melancholy that takes possession of nearly all of us at the close of the day, the hour of prayer, when all nature is hushed save for the voices of the bells. The sea gleamed pale and wan, but its hues changed, and the surface took all the colours of steel. The sky was almost overspread with livid grey, but down in the west there were long narrow bars like streaks of blood ; while lines of bright light in the eastern sky, sharp and clean as if drawn by the tip of a brush, were separated by folds of cloud, like the wrinkles on an old man's brow. The whole scene made a background of ashen greys and half- tints, in strong contrast to the bale-fires of the sunset. If written language might borrow of spoken language some of the bold figures of speech invented by the people, il might be said with the soldier that * the weather had been routed,' or, as the peasant would say, * the sky glowered like an executioner.' Suddenly a wind arose Christ in FJanders ^9 from the quarter of the sunset, and the skipper, who never took his eyes off the sea, saw the swell on the horizon line, and cried — ' Stop rowing ! ' The sailors stopped immediately, and let their oars lie on the water. ' The skipper is right,' said Thomas coolly. A great wave caught up the boat, carried it high on its crest, only to plunge it, as it were, into the trough of the sea that seemed to yawn for them. At this mighty upheaval, this sudden outbreak of the wrath of the sea, the company in the stern turned pale, and sent up a terrible cry, ' We are lost ! ' ' Oh, not yet ! ' said the skipper calmly. As he spoke, the clouds immediately above their heads were torn asunder by the vehemence of the wind. The grey mass was rent and scattered east and west with ominous speed, a dim uncertain light from the rift in the sky fell full upon the boat, and the travellers beheld each other's faces. All of them, the noble and the wealthy, the sailors and the poor passengers alike, were amazed for a moment by the appearance of the last comer. His golden hair, parted upon his calm, serene forehead, fell in thick curls about his shoulders ; and his face, sublime in its sweetness and radiant with divine love, stood out against the surrounding gloom. He had no contempt for death ; he knew that he should not die. But if at the first the company in the stern forgot for a moment the implacable fury of the storm that threatened their lives, selfishness and their habits of life soon prevailed again. ' How lucky that stupid burgomaster is, not to see the risks we are all running ! He is just like a dog, he will die without a struggle,' said the doctor. He had scarcely pronounced this highly judicious dictum when the storm unloosed all its legions. The wind blew from every quarter of the heavens, the boat span round Hke a top, and the sea broke in. 40 Christ in Flanders ' Oh ! my poor child ! My poor child ! . . . Who will save my baby ? ' the mother cried in a heartrending voice, * You yourself will save it,' the stranger said. The thrilling tones of that voice went to the young mother's heart and brought hope with them ; she heard the gracious v^ords through all the whistling of the wind and the shrieks of the passengers. * Holy Virgin of Good Help, who art at Antwerp, I promise thee a thousand pounds of wax and a statue, if thou v^^ilt rescue me from this!' cried the burgher, kneel- ing upon his bags of gold. ' The Virgin is no more at Antwerp than she is here,' was the doctor's comment on this appeal. ' She is in heaven,' said a voice that seemed to come from the sea.' * Who said that ? ' ' 'Tis the devil ! ' exclaimed the servant. * He is scoffing at the Virgin of Antwerp.' ' Let us have no more of your Holy Virgin at present,' the skipper cried to the passengers. * Put your hands to the scoops and bale the water out of the boat. — And the rest of you,' he w^ent on, addressing the sailors, * pull with all your might ! Now is the time ; in the name of the devil who is leaving you in this world, be your own Providence ! Every one knows that the channel is fear- fully dangerous ; I have been to and fro across it these thirty years. Am I facing a storm for the first time to-night ? ' He stood at the helm, and looked, as before, at his boat and at the sea and sky in turn. * The skipper always laughs at everything,' muttered Thomas. ' Will God leave us to perish along with those wretched creatures ? ' asked the haughty damsel of the handsome cavalier. * No, no, noble maiden. . . . Listen ! ' and he caught Christ in Flanders 41 her by the waist and said in her ear, * I can swim ; say nothing about it ! I will hold you by your fair hair and bring you safely to the shore ; but I can only save you.' The girl looked at her aged mother. The lady was on her knees entreating absolution of the Bishop, who did not heed her. In the beautiful eyes the knight read a vague feeling of filial piety, and spoke in a smothered voice. ' Submit yourself to the will of God. If it is His pleasure to take your mother to Himself, it will doubtless be for her happiness — in the other world,' he added, and his voice dropped still lower. ' And for ours in this,' he thought within himself. The Dame of Rupelmonde was lady of seven fiefs beside the barony of Gavres. The girl felt the longing for life in her heart, and for love that spoke through the handsome adventurer, a young miscreant who haunted churches in search of a prize, an heiress to marry, or ready money. The Bishop bestowed his benison on the waves, and bade them be calm ; it was all that he could do. He thought of his concubine, and of the delicate feast with which she would welcome him ; perhaps at that very moment she was bathing, perfuming herself, robing herself in velvet, fastening her necklace and her jewelled clasps, and the perverse Bishop so far from thinking of the power of Holy Church, of his duty to comfort Christians and exhort them to trust in God, that worldly regrets and lover's sighs mingled with the holy words of the breviary. By the dim light that shone on the pale faces of the company, it was possible to see their differing expres- sions as the boat was lifted high in air by a wave, to be cast back into the dark depths; the shallop quivered like a fragile leaf, the plaything of the north wind in the autumn; the hull creaked, it seemed ready to go to pieces. Fearful shrieks went up, followed by an awful silence. There was a strange difference between the behaviour 42 Christ in Flanders of the folk in the bows and that of the rich or great people at the other end of the boat. The young mother clasped her infant tightly to her breast every time that a great wave threatened to engulf the fragile vessel ; but she clung to the hope that the stranger's words had set in her heart. Each time that her eyes turned to his face she drew fresh faith at the sight, the strong faith of a helpless woman, a mother's faith. She lived by that divine promise, the loving words from his lips ; the simple crea- ture waited trustingly for them to be fulfilled, and scarcely feared the danger any longer. The soldier, holding fast to the vessel's side, never took his eyes off the strange visitor. He copied on his own rough and swarthy features the imperturbability of the other's face, applying to this task the whole strength of a will and intelligence but little corrupted in the course of a life of mechanical and passive obedience. So emulous was he of a calm and tranquil courage greater than his own, that at last, perhaps unconsciously, something of that mysterious nature passed into his own soul. His admira- tion became an instinctive zeal for this man, a boundless love for and belief in him, such a love as soldiers feel for their leader when he has the power of swaying other men, when the halo of victories surrounds him, and the magical fascination of genius is felt in all that he does. The poor outcast was murmuring to herself — ' Ah ! miserable wretch that I am ! Have I not suffered enough to expiate the sins of my youth ? Ah ! wretched woman, why did you lead the gay life of a frivolous Frenchwoman ? why did you devour the goods of God with churchmen, the substance of the poor with extortioners and fleecers of the poor ? Oh ! I have sinned indeed ! — Oh my God ! my God ! let me finish my time in hell here in this world of misery.' And again she cried, ' Holy Virgin, Mother of God, have pity upon me ! ' ' Be comforted, mother. God is not a Lombard Christ in Flanders 43 usurer. I may have killed people good and bad at ran- dom in my time, but I am not afraid of the resurrection.* ' Ah ! master lancepesade, how happy those fair ladies are, to be so near to a bishop, a holy man ! They will get absolution for their sins,' said the old woman. * Oh ! if I could only hear a priest say to me, " Thy sins are forgiven ! " I should believe it then.' The stranger turned towards her, and the goodness in his face made her tremble. ' Have faith,' he said, ' and you will be saved.' * May God reward you, good sir,' she answered. * If what you say is true, I will go on pilgrimage bare- footed to Our Lady of Loretto to pray to her for you and for me.' The two peasants, father and son, were silent, patient, and submissive to the will of God, like folk whose wont it is to fall in instinctively with the ways of Nature like cattle. At the one end of the boat stood riches, pride, learning, debauchery, and crime — human society, such as art and thought and education and worldly interests and laws have made it ; and at this end there was terror and wailing, innumerable different impulses all repressed by hideous doubts — at this end, and at this only, the agony of fear. Above all these human lives stood a strong man, the skipper ; no doubts assailed him, the chief, the king, the fatalist among them. He was trusting in himself rather than in Providence, crying, ' Bale away ! ' instead of ' Holy Virgin,' defying the storm, in fact, and struggling with the sea like a wrestler. But the helpless poor at the other end of the wherry ! The mother rocking on her bosom the little one who smiled at the storm, the woman once so frivolous and gay, and now tormented with bitter remorse ; the old soldier covered with scars, a mutilated life the sole reward of his unflagging loyalty and faithfulness. This veteran could scarcely count on the morsel of bread soaked in tears to keep the life in him, yet he was always 44 Christ in Flanders ready to laugh, and went his way merrily, happy when he could drown his glory in the depths of a pot of beer, or could tell tales of the wars to the children who admired him, leaving his future with a light heart in the hands of God. Lastly, there were the two peasants, used to hardships and toil, labour incarnate, the labour by which the world lives. These simple folk were indifferent to thought and its treasures, ready to sink them all in a belief; and their faith was but so much the more vig- orous because they had never disputed about it nor analysed it. Such a nature is a virgin soil, conscience has not been tampered with, feeling is deep and strong ; repentance, trouble, love, and work have developed, purified, concentrated, and increased their force of will a hundred times, the will — the one thing in man that resembles what learned doctors call the Soul. The boat, guided by the well-nigh miraculous skill of the steersman, came almost within sight of Ostend, when, not fifty paces from the shore, she was suddenly struck by a heavy sea and capsized. The stranger with the light about his head spoke to this little world of drowning creatures — ' Those who have faith shall be saved ; let them follow me!' He stood upright, and walked with a firm step upon the waves. The young mother at once took her child in her arms, and followed at his side across the sea. The soldier too sprang up, saying in his homely fashion, ' Ah ! nom d ^un pipe ! I would follow you to the devil ' ; and without seeming astonished by it, he walked on the water. The old worn-out sinner, believing in the omnipotence of God, also followed the stranger. The two peasants said to each other, ' If they are walking on the sea, why should we not do as they do ? ' and they also arose and hastened after the others. Thomas tried to follow, but his faith tottered ; he sank in the sea more than once, and rose again, but the third time he Christ in Flanders 45 also walked on the sea. The bold steersman clung like a rémora to the wreck of his boat. The miser had had faith, and had risen to go, but he tried to take his gold with him, and it was his gold that dragged him down to the bottom. The learned man had scoffed at the char- latan and at the fools who listened to him ; and when he heard the mysterious stranger propose to the passengers that they should walk on the waves, he began to laugh, and the ocean swallowed him. The girl was dragged down into the depths by her lover. The Bishop and the older lady went to the bottom, heavily laden with sins, it may be, but still more heavily laden with incredulity and confidence in idols, weighted down by devotion, into which alms-deeds and true religion entered but little. The faithful flock, who walked with a firm step high and dry above the surge, heard all about them the dread- ful whistling of the blast ; great billows broke across their path, but an irresistible force cleft a way for them through the sea. These believing ones saw through the spray a dim speck of light flickering in the window of a fisherman's hut on the shore, and each one, as he pushed on bravely towards the light, seemed to hear the voice of his fellow crying, ' Courage ! ' through all the roaring of the surf; yet no one had spoken a word — so absorbed was each by his own peril. In this way they reached the shore. When they were all seated near the fisherman's fire, they looked round in vain for their guide with the light about him. The sea washed up the steersman at the base of the cliff on which the cottage stood ; he was clinging with might and main to the plank as a sailor can cling when death stares him in the face ; the Man went down and rescued the almost exhausted seaman ; then he said, as he held out a succouring hand above the man's head — ' Good, for this once ; but do not try it again j the example would be too bad.' 46 Christ in Flanders He took the skipper on his shoulders, and carried him to the fisherman's door, knocked for admittance for the exhausted man ; then, when the door of the humble refuge opened, the Saviour disappeared. The Convent of Mercy was built for sailors on this spot, where for long afterwards (so it was said) the foot- prints of Jesus Christ could be seen in the sand ; but in 1793, at the time of the French invasion, the monks carried away this precious relic, that bore witness to the Saviour's last visit to earth. There at the convent I found myself shortly after the Revolution of 1830. I was weary of life. If you had asked me the reason of my despair, I should have found it almost impossible to give it, so languid had grown the soul that was melted within me. The west wind had slackened the springs of my intelligence. A cold, grey light poured down from the heavens, and the murky clouds that passed overhead gave a boding look to the land ; all these things, together with the immensity of the sea, said to me, * Die to-day or die to-morrow, still must we not die ? * And then . I wandered on, musing on the doubtful future, on my blighted hopes. Gnawed by these gloomy thoughts, I turned mechanically into the convent church, with the grey towers that loomed like ghosts through the sea mists. I looked round with no kindling of the imagination at the forest of columns, àt the slender arches set aloft upon the leafy capitals, a delicate labyrinth of sculpture. I walked with careless eyes along the side aisles that opened out before me like vast portals, ever turning upon their hinges. It was scarcely possible to see, by the dim light of the autumn day, the sculptured groinings of the roof, the delicate and clean-cut lines of the mouldings of the graceful pointed arches. The organ pipes were mute. There was no sound save the noise of my own footsteps to awaken the mournful echoes lurking in the dark Christ in Flanders 47 chapels. I sat down at the base of one of the four pillars that supported the tower, near the choir. Thence I could see the whole of the building. I gazed, and no ideas connected with it arose in my mind. I saw with- out seeing the mighty maze of pillars, the great rose windows that hung like a network suspended as by a miracle in air above the vast doorways. I saw the doors at the end of the side aisles, the aerial galleries, the stained glass windows framed in archways, divided by slender columns, fretted into flower forms and trefoil by fine filigree work of carved stone. A dome of glass at the end of the choir sparkled as if it had been built of precious stones set cunningly. In contrast to the roof with its alternating spaces of whiteness and colour, the two aisles lay to right and left in shadow so deep that the faint grey outlines of their hundred shafts were scarcely visible in the gloom. I gazed at the marvellous arcades, the scroll-work, the garlands, the curving lines, and arab- esques interwoven and interlaced, and strangely lighted, until by sheer dint of gazing my perceptions became con- fused, and I stood upon the borderland between illusion and reality, taken in the snare set for the eyes, and almost light-headed by reason of the multitudinous changes of the shapes about me. Imperceptibly a mist gathered about the carven stone- work, and I only beheld it through a haze of fine golden dust, like the motes that hover in the bars of sunHght slanting through the air of a chamber. Suddenly the stone lacework of the rose windows gleamed through this vapour that had made all forms so shadowy. Every moulding, the edges of every carving, the least detail of the sculpture was dipped in silver. The sunlight kindled fires in the stained wmdows, their rich colours sent out glowing sparks of light. The shafts began to tremble, the capitals were gently shaken. A light shudder as of delight ran through the building, the stones were loosened in their setting, the wall-spaces swayed with graceful 48 Christ in Flanders caution. Here and there a ponderous pier moved as solemnly as a dowager when she condescends to complete a quadrille at the close of a ball. A few slender and graceful columns, their heads adorned with wreaths of trefoil, began to laugh and dance here and there. Some of the pointed arches dashed at the tall lancet windows, who, like ladies of the Middle Ages, wore the armorial bearings of their houses emblazoned on their golden robes. The dance of the mitred arcades with the slender windows became like a fray at a tourney. In another moment every stone in the church vibrated, without leaving its place ; for the organ-pipes spoke, and I heard divine music mingling with the songs of angels, an unearthly harmony, accompanied by the deep notes of the bellsj that boomed as the giant towers rocked and swayed on their square bases. This strange sabbath seemed to me the most natural thing in the world ; and I, who had seen Charles x. hurled from his throne, was no longer amazed by anything. Nay, I myself was gently swaying with a see-saw movement that influenced my nerves pleasurably in a manner of which it is impos- sible to give any idea. Yet in the midst of this heated riot, the cathedral choir felt cold as if it were a winter day, and I became aware of a multitude of women, robed in white, silent, and impassive, sitting there. The sweet incense smoke that arose from the censers was grateful to my soul. The tall wax candles flickered. The lectern, gay as a chanter undone by the treachery of wine, was skipping about like a peal of Chinese bells. Then I knew that the whole cathedral was whirling round so fast that everything appeared to be undisturbed. The colossal Figure on the crucifix above the altar smiled upon me with a mingled malice and benevolence that frightened me ; I turned my eyes away, and marvelled at the bluish vapour that slid across the pillars, lendmg to them an indescribable charm. Then some graceful women's forms began to stir on the friezes. The cherubs Christ in Flanders 49 who upheld the heavy columns shook out their wings. I felt myself uplifted by some divine power that steeped me in infinite joy, in a sweet and languid rapture. I would have given my life, I think, to have prolonged these phantasmagoria for a little, but suddenly a shrill voice clamoured in my ears — ' Awake and follow me ! ' A withered woman took my hand in hers ; its icy cold- ness crept through every nerve. The bones of her face showed plainly through the sallow, almost olive-tinted wrinkles of the skin. The shrunken, ice-cold, old woman wore a black robe, which she trailed in the dust, and at her throat there was something white, which I dared not examine. I could scarcely see her wan and colourless eyes, for they were fixed in a stare upon the heavens. She drew me after her along the aisles, leaving a trace of her presence in the ashes that she shook from her dress. Her bones rattled as she vi^alked, like the bones of a skeleton ; and as we went I heard behind me the tinkling of a little bell, a thin, sharp sound that rang through my head like the notes of a harmonica. ' Suffer ! ' she cried, ' suiFer ! So it must be ! ' We came out of the church j we went through the dirtiest streets of the town, till we came at last to a dingy dwelling, and she bade me enter in. She dragged me with her, calling to me in a harsh, tuneless voice like a cracked bell — ' Defend me ! defend me ! ' Together we went up a winding staircase. She knocked at a door in the darkness, and a mute, like some familiar of the Inquisition, opened to her. In another moment we stood in a room hung with ancient, ragged tapestry, amid piles of old linen, crumpled muslin, and gilded brass. * Behold the wealth that shall endure for ever ! ' said she. I shuddered with horror j for just then, by the light of 50 Christ in Flanders à tall torch and two altar candles, I saw distinctly that this woman was fresh from the graveyard. She had no hair. I turned to fly. She raised her fleshless arm and encircled me with a band of iron set with spikes, and as she raised it a cry went up all about us, the cry of milHons of voices — the shouting of the dead ! 'It is my purpose to make thee happy for ever,' she said. 'Thou art my son.' We were sitting before the hearth, the ashes lay cold upon it ; the old shrunken woman grasped my hand so tightly in hers that 1 could not choose but stay. I looked fixedly at her, striving to read the story of her life from the things among which she was crouching. Had she indeed any life in her ? It was a mystery. Yet I saw plainly that once she must have been young and beauti- ful ; fair, with all the charm of simplicity, perfect as some Greek statue, with the brow of a vestal. ' Ah ! ah ! ' I cried, ' now I know thee ! Miserable woman, why hast thou prostituted thyself ? In the age of thy passions, in the time of thy prosperity, the grace and purity of thy youth were forgotten. Forgetful of thy heroic devotion, thy pure life, thy abundant faith, thou didst resign thy primitive power and thy spiritual supremacy for fleshly power. Thy Hnen vestments, thy couch of moss, the cell in the rock, bright with rays of the Light Divine, was forsaken ; thou hast sparkled with diamonds, and shone with the glitter of luxury and pride. Then, grown bold and insolent, seizing and overturning all things in thy course like a courtesan eager for pleasure in her days of splendour, thou hast steeped thyself in blood like some queen stupefied by empery. Dost thou not remember to have been dull and heavy at times, and the sudden marvellous lucidity of other moments ; as when Art emerges from an orgy ? Oh ! poet, painter, and singer, lover of splendid ceremonies and protector of the arts, was thy friendship for art perchance a caprice, that so thou shouldst sleep beneath magnificent canopies ? Christ in Flanders 51 Was there not a day when, in thy fantastic pride, though chastity and humility were prescribed to thee, thou hadst brought all things beneath thy feet, and set thy foot on the necks of princes ; when earthly dominion, and wealth, and the mind of man bore thy yoke ? Exulting in the abasement of humanity, joying to witness the uttermost lengths to which man's folly would go, thou hast bidden thy lovers walk on all fours, and required of them their lands and wealth, nay, even their wives if they were worth aught to thee. Thou hast devoured millions of men without a cause ; thou hast flung away lives like sand blown by the wind from West to East. Thou hast come down from the heights of thought to sit among the kings of men. Woman ! instead of comforting men, thou hast tormented and afflicted them ! Knowing that thou couldst ask and have, thou hast demanded — blood ! A little flour surely should have contented thee, accus- tomed as thou hadst been to live on bread and to mingle water with thy wine. Unlike all others in all things, formerly thou wouldst bid thy lovers fast, and they obeyed. Why should thy fancies have led thee to require things impossible ? Why, like a courtesan spoiled by her lovers, hast thou doted on follies, and left those undeceived who sought to explain and justify all thy errors ? Then came the days of thy later passions, terrible like the love of a woman of forty years, with a fierce cry thou hast sought to clasp the whole universe in one last embrace — and thy universe recoiled from thee ! * Then old men succeeded to thy young lovers ; decrepitude came to thy feet and made thee hideous. Yet, even then, men with the eagle power of vision said to thee in a glance, " Thou shalt perish ingloriously, because thou hast fallen away, because thou hast broken the vows of thy maidenhood. The angel with peace written on her forehead, who should have shed light and joy along her path, has been a Messalina, delighting in the circus, in debauchery, and abuse of power. The days of thy 52 Christ in Flanders virginity cannot return ; henceforward thou shalt be subject to a master. Thy hour has come ; the hand of death is upon thee. Thy heirs believe that thou art rich ; they will kill thee and find nothing. Yet try at least to fling away this raiment no longer in fashion ; be once more as in the days of old ! — Nay, thou art dead, and by thy own deed ! " * Is not this thy story ? ' so I ended. * Decrepit, toothless, shivering crone, now forgotten, going thy ways without so much as a glance from passers-by ! Why art thou still alive ? What doest thou in that beggar's garb, uncomely and desired of none ? Where are thy riches ? — for what were they spent ? Where are thy treasures ? — what great deeds hast thou done ? ' At this demand, the shrivelled woman raised her bony form, flung ofF her rags, and grew tall and radiant, smiling as she broke forth from the dark chrysaHd sheath. Then like a butterfly, this diaphanous creature emerged, fair and youthful, clothed in white linen, an Indian from creation issuing her palms. Her golden hair rippled over her shoulders, her eyes glowed, a bright mist clung about her, a ring of gold hovered above her head, she shook the flaming blade of a sword towards the spaces of heaven. ' See and believe ! ' she cried. And suddenly I saw, afar off, many thousands of cathedrals like the one that I had just quitted ; but these were covered with pictures and with frescoes, and I heard them echo with entrancing music. Myriads of human creatures flocked to these great buildings, swarming about them like ants on an ant-heap. Some were eager to rescue books from oblivion or to copy manuscripts, others were helping the poor, but nearly all were studying. Up above this countless multitude rose giant statues that they had erected in their midst, and by the gleams of a strange light from some luminary as powerful as the sun, I read the inscriptions on the bases of the statues — Science, History, Literature. Christ in Flanders ^^ The light died out. Again I faced the young girl. Gradually she slipped into the dreary sheath, into the ragged cere-cloths, and became an aged woman again. Her familiar brought her a little dust, and she stirred it into the ashes of her chafing-dish, for the weather was cold and stormy ; and then he lighted for her, whose palaces had been lit with thousands of wax-tapers, a little cresset, that she might see to read her prayers through the hours of night. ' There is no faith left in the earth ! . . .' she said. In such a perilous plight did I behold the fairest and the greatest, the truest and most life-giving of all Powers. *Wake up, sir, the doors are just about to be shut,' said a hoarse voice. I turned and beheld the beadle's ugly countenance ; the man was shaking me by the arm, and the cathedral lay wrapped in shadows as a man is wrapped in his cloak. 'Belief,' I said to myself, Ms Life! I have just witnessed the funeral of a monarchy, now we must defend the Church,' Paris, February 1831. MELMOTH RECONCILED To Monsieur le General Baron de Pommereul, a token of the friendship between our fathers^ which survives in their sons. De Balzac. There is a special variety of human nature obtained in the Social Kingdom by a process analogous to that of the gardener's craft in the Vegetable Kingdom, to wit, by the forcing-house — a species of hybrid which can be raised neither from seed nor from slips. This product is known as the Cashier, an anthropomorphous growth, watered by religious doctrine, trained up in fear of the guillotine, pruned by vice, to flourish on a third floor with an estimable wife by his side and an uninteresting family. The number of cashiers in Paris must always be a problem for the physiologist. Has any one as ytt been able to state correctly the terms of the proportion sum wherein the cashier figures as the unknown *■ ? Where will you find the man who shall live with wealth, like a cat with a caged mouse ? This man, for further qualification, shall be capable of sitting boxed in behind an iron grating for seven or eight hours a day during seven- eighths of the year, perched upon a cane-seated chair in a space as narrow as a lieutenant's cabin on board a man- of-war. Such a man must be able to defy anchylosis of the knee and thigh joints ; he must have a soul above meanness, in order to live meanly ; must lose all relish for money by dint of handling it. Demand this peculiar 64 Meimoth Reconciled 55 specimen of any creed, educational system, school, or institution you please, and select Paris, that city of fiery ordeals and branch establishment of hell, as the soil in which to plant the said cashier. So be it. Creeds, schools, institutions, and moral systems, all human rules and regulations, great and small, will, one after another, present much the same face that an intimate friend turns upon you when you ask him to lend you a thousand francs. With a dolorous dropping of the jaw, they indicate the guillotine, much as your friend aforesaid will furnish you with the address of the money-lender, point- ing you to one of the hundred gates by which a man comes to the last refuge of the destitute. Yet nature has her freaks in the making of a man's mind ; she indulges herself and makes a few honest folk now and again, and now and then a cashier. Wherefore, that race of corsairs whom we dignify with the title of bankers, the gentry who take out a license for which they pay a thousand crowns, as the privateer takes out his letters of marque, hold these rare products of the incubations of virtue in such esteem that they confine them in cages in their counting-houses, much as governments procure and maintain specimens of strange beasts at their own charges. If the cashier is possessed of an imagination or of a fervid temperament ; if, as will sometimes happen to the most complete cashier, he loves his wife, and that wife grows tired of her lot, has ambitions, or merely some vanity in her composition, the cashier is undone. Search the chronicles of the counting-house. You will not find a single instance of a cashier attaining a position^ as it is called. They are sent to the hulks ; they go to foreign parts ; they vegetate on a second floor in the Rue Saint- Louis among the market gardens of the Marais. Some day, when the cashiers of Paris come to a sense of their real value, a cashier will be hardly obtainable for money. Still, certain it is that there are people who are fit for 56 Melmoth Reconciled nothing but to be cashiers, just as the bent of a certain order of mind inevitably makes for rascality. But, oh marvel of our civilisation ! Society rew^ards virtue with an income of a hundred louis in old age, a dwelling on a second floor, bread sufficient, occasional new bandana handkerchiefs, an elderly wife and her offspring. So much for virtue. But for the opposite course, a little boldness, a faculty for keeping on the windward side of the law, as Turenne outflanked Montecuculli, and Society will sanction the theft of millions, shower ribands upon the thief, cram him with honours, and smother him with consideration. Government, moreover, works harmoniously with this profoundly illogical reasoner — Society. Government levies a conscription on the young intelligence of the kingdom at the age of seventeen or eighteen, a conscription of pre- cocious power. Great ability is prematurely exhausted by excessive brain-work before it is sent up to be submitted to a process of selection. Nurserymen sort and select seeds in much the same way. To this process the Government brings professional appraisers of talent, men who can assay brains as experts assay gold at the Mint. Five hundred such heads, set afire with hope, are sent up annually by the most progressive portion of the popu- lation ; and of these the Government takes one-third, puts them in sacks called the Ecoles, and shakes them up together for three years. Though every one of these young plants represents vast productive power, they are made, as one may say, into cashiers. They receive appointments ; the rank and file of engineers is made up of them; they are employed as captains of artillery; there is no (subaltern) grade to which they may not aspire. Finally, when these men, the pick of the youth of the nation, fattened on mathematics and stuffed with know- ledge, have attained the age of fifty years, they have their reward, and receive as the price of their services the third- floor lodging, the wife and family, and all the comforts Melmoth Reconciled 57 that sweeten life for mediocrity. If from among this race of dupes there should escape some five or six men of genius who climb the highest heights, is it not miraculous ? This is an exact statement of the relations between Talent and Probity on the one hand, and Government and Society on the other, in an age that considers itself to be progressive. Without this prefatory explanation a recent occurrence in Paris would seem improbable ; but preceded by this summing up of the situation, it will perhaps receive some thoughtful attention from minds capable of recognising the real plague-spots of our civilisation, a civilisation which since 18 15 has been moved by the spirit of gain rather than by principles of honour. About five o'clock, on a dull autumn afternoon, the cashier of one of the largest banks in Paris was still at his desk, working by the light of a lamp that had been lit for some time. In accordance with the use and wont of commerce, the counting-house was in the darkest corner of the low-ceiled and far from spacious mezzanine floor, and at the very end of a passage lighted only by borrowed lights. The office doors along this corridor, each with its label, gave the place the look of a bath- house. At four o'clock the stolid porter had proclaimed, according to his orders, ' The bank is closed.' And by this time the departments were deserted, the letters despatched, the clerks had taken their leave. The wives of the partners in the firm were expecting their lovers ; the two bankers dining with their mistresses. Everything was in order. The place where the strong boxes had been bedded in sheet-iron was just behind the little sanctum, where the cashier was busy. Doubtless he was balancing his books. The open front gave a glimpse of a safe of hammered iron, so enormously heavy (thanks to the science of the 58 Melmoth Reconciled modern inventor) that burglars could not carry it away. The door only opened at the pleasure of those who knew its password. The letter-lock was a warden who kept its own secret and could not be bribed; the mysterious word was an ingenious realisation of the ' Open sesame ! ' in the Arabian Nights. But even this was as nothing. A man might discover the password; but unless he knew the lock's final secret, the ultima ratio of this gold-guarding dragon of mechanical science, it discharged a blunderbuss at his head. The door of the room, the walls of the room, the shutters of the windows in the room, the whole place, in fact, was lined with sheet-iron a third of an inch in thickness, concealed behind the thin wooden panelling. The shutters had been closed, the door had been shut. If ever man could feel confident that he was absolutely alone, and that there was no remote possibility of being watched by prying eyes, that man was the cashier of the house of Nucingen and Company, in the Rue Saint- Lazare. Accordingly the deepest silence prevailed in that iron cave. The fire had died out in the stove, but the room was full of that tepid warmth which produces the dull heavy-headedness and nauseous queasiness of a morning after an orgy. The stove is a mesmerist that plays no small part in the reduction of bank clerks and porters to a state of idiocy. A room with a stove in it is a retort in which the power of strong men is evaporated, where their vitality is exhausted, and their wills enfeebled. Government offices are part of a great scheme for the manufacture of the mediocrity necessary for the maintenance of a Feudal System on a pecuniary basis — and money is the foundation of the Social Contract. (See Les Employés.) The mephitic vapours in the atmosphere of a crowded room contribute in no small degree to bring about a gradual deterioration of intelligences, the brain that Melmoth Reconciled 59 gives off the largest quantity of nitrogen asphyxiates the others, in the long run. The cashier was a man of five-and-forty or there- abouts. As he sat at the table, the light from a modera- tor lamp shining full on his bald head and glistening fringe of iron-grey hair that surrounded it — this baldness and the round outlines of his face made his head look very like a ball. His complexion was brick-red, a few wrinkles had gathered about his eyes, but he had the smooth, plump hands of a stout man. His blue cloth coat, a little rubbed and worn, and the creases and shininess of his trousers, traces of hard wear that the clothes-brush fails to remove, would impress a superficial observer with the idea that here was a thrifty and upright human being, sufficient of the philosopher or of the aristocrat to wear shabby clothes. But, unluckily, it is easy to find penny-wise people who will prove weak, wasteful, or incompetent in the capital things of life. The cashier wore the ribbon of the Legion of Honour at his button-hole, for he had been a major of dragoons in the time of the Emperor. M. de Nucingen, who had been a contractor before he became a banker, had had reason in those days to know the honourable disposition of his cashier, who then occupied a high position. Reverses of fortune had befallen the major, and the banker out of regard for him paid him five hundred francs a month. The soldier had become a cashier in the year 18 13, after his recovery from a wound received at Studzianka during the Retreat from Moscow, followed by six months of enforced idleness at Strasbourg, whither several officers had been transported by order of the Emperor, that they might receive skilled attention. This particular officer, Castanier by name, retired with the honorary grade of colonel, and a pension of two thousand four hundred francs. In ten years' time the cashier had completely effaced the soldier, and Castanier inspired the banker with such 6o Melmoth Reconciled trust in him, that he was associated in the transactions that went on in the private office behind his little counting-house. The baron himself had access to it by means of a secret staircase. There, matters of business were decided. It was the bolting-room where proposals were sifted ; the privy council chamber where the reports of the money market were analysed ; circular notes issued thence ; and finally, the private ledger and the journal which summarised the work of all the depart- ments were kept there. Castanier had gone himself to shut the door which opened on to a staircase that led to the parlour occupied by the two bankers on the first floor of their hôtel. This done, he had sat down at his desk again, and for a moment he gazed at a little collection of letters of credit drawn on the firm of Watschildine of London. Then he had taken up the pen and imitated the banker's signature upon each. Nucingen he wrote, and eyed the forged signa- tures critically to see which seemed the most perfect copy. Suddenly he looked up as if a needle had pricked him. ' You are not alone ! ' a boding voice seemed to cry in his heart ; and indeed the forger saw a man standing at the little grated window of the counting-house, a man whose breathing was so noiseless that he did not seem to breathe at all. Castanier looked, and saw that the door at the end of the passage was wide open j the stranger must have entered by that way. For the first time in his life the old soldier felt a sensation of dread that made him stare open-mouthed and wide-eyed at the man before him; and for that matter, the appearance of the apparition was sufficiently alarming even if unaccompanied by the mysterious circumstances of so sudden an entry. The rounded forehead, the harsh colouring of the long oval face, indicated quite as plainly as the cut of his clothes that the man was an Englishman, reeking of his native isle? Melmoth Reconciled 6i You had only to look at the collar of his overcoat, at the voluminous cravat which smothered the crushed frills of a shirt front so white that it brought out the changeless leaden hue of an impassive face, and the thin red line of the lips that seemed made to suck the blood of corpses ; and you could guess at once at the black gaiters buttoned up to the knee, and the half-puri- tanical costume of a wealthy Englishman dressed for a walking excursion. The intolerable glitter of the stranger's eyes produced a vivid and unpleasant impres- sion, which was only deepened by the rigid outlines of his features. The dried-up, emaciated creature seemed to carry within him some gnawing thought that con- sumed him and could not be appeased. He must have digested his food so rapidly that he could doubtless eat continually without bringing any trace of colour into his face or features. A tun of Tokay vin de succession would not have caused any faltering in that piercing glance that read men's inmost thoughts, nor dethroned the merciless reasoning faculty that always seemed to go to the bottom of things. There was something of the fell and tranquil majesty of a tiger about him. ' I have come to cash this bill of exchange, sir,' he said. Castanier felt the tones of his voice thrill through every nerve v/ith a violent shock similar to that given by a discharge of electricity. ' The safe is closed,' said Castanier. * It is open,' said the Englishman, looking round the counting-house. ' To-morrow is Sunday, and I cannot wait. The amount is for five hundred thousand francs. You have the money there, and I must have it.' ' But how did you come in, sir ? ' The Englishman smiled. That smile frightened Castanier. No words could have replied more fully nor more peremptorily than that scornful and imperial curl of the stranger's lips. Castanier turned away, took up fifty 62 Melmoth Reconciled packets, each containing ten thousand francs in bank- notes, and held them out to the stranger, receiving in exchange for them a bill accepted by the Baron de Nucingen. A sort of convulsive tremor ran through him as he saw a red gleam in the stranger's eyes when they fell on the forged signature on the letter of credit. ' It ... it wants your signature . . .' stammered Castanier, handing back the bill. * Hand me your pen,' answered the Englishman. Castanier handed him the pen with which he had just committed forgery. The stranger wrote John Melmoth^ then he returned the slip of paper and the pen to the cashier. Castanier looked at the handwriting, noticing that it sloped from right to left in the Eastern ' fashion, and Melmoth disappeared so noiselessly that when Castanier looked up again an exclamation broke from him, partly because the man was no longer there, partly because he felt a strange painful sensation such as our imagination might take for an effect of poison. The pen that Melmoth had handled sent the same sickening heat through him that an emetic produces. But it seemed impossible to Castanier that the English- man should have guessed his crime. His inward qualms he attributed to the palpitation of the heart that, according to received ideas, was sure to follow at once on such a * turn ' as the stranger had given him. ' The devil take it j I am very stupid. Providence is watching over me ; for if that brute had come round to see my gentlemen to-morrow, my goose would have been cooked ! ' said Castanier, and he burned the unsuccessful attempts at forgery in the stove. He put the bill that he meant to take with him in an envelope, and helped himself to five hundred thousand francs in French and English bank-notes from the safe, which he locked. Then he put everything in order, lit a candle, blew out the lamp, took up his hat and umbrella, and went out sedately, as usual, to leave one of the two Melmoth Reconciled 63 keys of the strong room with Madame de Nucingen, in the absence of her husband the Baron. ' You are in luck, M. Castanier/ said the banker's wife as he entered her room; 'we have a holiday on Monday ; you can go into the country, or to Soizy.' * Madame, will you be so good as to tell your husband that the bill of exchange on Watschildine, which was behind time, has just been presented ? The five hundred thousand francs have been paid ; so I shall not come back till noon on Tuesday.' ' Good-bye, Monsieur j I hope you will have a pleasant time.' 'The same to you, Madame,' replied the old dragoon as he went out. He glanced as he spoke at a young man well known in fashionable society at that time, a M. de Rastignac, who was regarded as Madame de Nucingen's lover. ' Madame,' remarked this latter, ' the old boy looks to me as if he meant to play you some ill turn.' ' Pshaw ! impossible j he is too stupid.' ' Piquoizeau,' said the cashier, walking into the porter's room, ' what made you let anybody come up after four o'clock ? ' ' I have been smoking a pipe here in the doorway ever since four o'clock,' said the man, ' and nobody has gone into the bank. Nobody has come out either except the gentlemen ' ' Are you quite sure ? ' ' Yes, upon my word and honour. Stay, though, at four o'clock M. Werbrust's friend came, a young fellow . from Messrs. du Tillet & Co., in the Rue Joubert.' ' All right,' said Castanier, and he hurried away. The sickening sensation of heat that he had felt when he took back the pen returned in greater intensity. ' Mille diables ! ' thought he, as he threaded his way along the Boulevard de Gand, ' haven't I taken proper 64 Melmoth Reconciled precautions ? Let me think ! Two clea| and Monday, then a day of uncertainty be to look for me ; altogether, three days ani respite. I have a couple of passports and disguises ; is not that enough to throw detective off the scent ? On Tuesday m^ draw a million francs in London before th picion has been aroused. My debts I am for the benefit of my creditors, who will p the bills, and I shall live comfortably in Ita of my days as the Conte Ferraro. I was a when he died, poor fellow, in the marsh of I shall slip into his skin. . . . Mille diables who is to follow after me might give t| Think of an old campaigner like me infat to tie myself to a petticoat tail ! . . . Wh must leave her behind. Yes, I could makel to it J but — I know myself — I should be ai go back for her. Still, nobody knows Aqui take her or leave her ? ' ' You will not take her ! ' cried a voi Castanier with sickening dread. He turned saw the Englishman. ' The devil is in it ! * cried the cashier alo Melmoth had passed his victim by this Castanier's first impulse had been to fasten a man who read his own thoughts, he was by opposing feelings that the immediate temporary paralysis. When he resumed his once more into that fever of irresolution those who are so carried away by passion t ready to commit a crime, but have not suffici of character to keep it to themselves witho terribly in the process. So, although Castani up his mind to reap the fruits of a crime already half executed, he hesitated to carry out 1 Protested, ,ys,Saliiin,asto ' jiess and gkestsicalcoun ir àe te 1 uaiTttis ttevft Melmoth Reconciled 65 ^s, Su him, as for many men of mixed character in whom they Ijcness and strength are equally blended, the least ™ ur ning consideration determines whether they shall con- difF2 upon them ; he had written to them himself. He m :e he/instructed an agent (chosen at random) to take his ike my rage in a vessel which was to leave Portsmouth with a as! lougllthy English family on board, who were going to |iiili Shy^ and the passage-money had been paid in the name of Conte Ferraro. The smallest details of the scheme oic( lat f been thought out. He had arranged matters so as d "plyjlivert the search that would be made for him into gium and Switzerland, while he himself was at sea in slou English vessel. Then, by the time that Nucingen isti j a^it flatter himself that he was on the track of his :eni larre fcashier, the said cashier, as the Conte Ferraro, hoped isso ich be safe in Naples. He had determined to disfigure ter( t wïface in order to disguise himself the more completely, hisi z he by means of an acid to imitate the scars of smallpox. n w|§i be:, in spite of all these precautions, which surely seemed heyf they must secure him complete immunity, his con- Scie^trennce tormented him ; he was afraid. The even and ffeceful life that he had led for so long had modified the ie id rrrality of the camp. His life was stainless as yet ; he ch Id not sully it without a pang. So for the last time lesigbandoned himself to all the influences of the better that strenuously resisted. £ 66 Melmoth Reconciled * Pshaw ! ' he said at last, at the corner of the Boulevard and the Rue Montmartre, 'I will take a cab after the play this evening and go out to Versailles. A post- chaise will be ready for me at my old quartermaster's place. He would keep my secret even if a dozen men were standing ready to shoot him down. The chances are all in my favour, so far as I see j so I shall take my little Naqui with me, and I will go.* * You will not go ! ' exclaimed the Englishman, and the strange tones of his voice drove all the cashier's blood back to his heart. Melmoth stepped into a tilbury which was waiting for him, and was whirled away so quickly, that when Castanier looked up he saw his foe some hundred paces away from him, and before it even crossed his mind to cut off the man's retreat the tilbury was far on its way up the Boulevard Montmartre. * Well, upon my word, there is something supernatural about this ! ' said he to himself. ' If I were fool enough to believe in God, I should think that He had set Saint Michael on my tracks. Suppose that the devil and the police should let me go on as I please, so as to nab me in the nick of time ? Did any one ever see the like ! But there, this is folly. . . .' Castanier went along the Rue du Faubourg-Mont- martre, slackening his pace as he neared the Rue Richer. There, on the second floor of a block of buildings which looked out upon some gardens, lived the unconscious cause of Castanier's crime — a young woman known in the quarter as Mme. de la Garde. A concise history of certain events in the cashier's past life must be given in order to explain these facts, and to give a complete presentment of the crisis when he yielded to temptation. Mme. de la Garde said that she was a Piedmontese. No one, not even Castanier, knew her real name. She was one of those young girls who are driven by dire misery, by inability to earn a living, or by fear of starva- Melmoth Reconciled 67 tion, to have recourse to a trade which most of them loathe, many regard with indifference, and some few follow in obedience to the laws of their constitution. But on the brink of the gulf of prostitution in Paris, the young girl of sixteen, beautiful and pure as the Madonna, had met with Castanier. The old dragoon was too rough and homely to make his way in society, and he was tired of tramping the boulevard at night and of the kind of conquests made there by gold. For some time past he had desired to bring a certain regularity into an irregular life. He was struck by the beauty of the poor child who had drifted by chance into his arms, and his determination to rescue her from the life of the streets was half benevolent, half selfish, as some of the thoughts of the best of men are apt to be. Social conditions mingle elements of evil with the promptings of natural goodness of heart, and the mixture of motives underlying a man's intentions should be leniently judged. Castanier had just cleverness enough to be very shrewd where his own interests were concerned. So he concluded to be a philanthropist on either count, and at first made her his mistress. * Hey ! hey ! ' he said to himself, in his soldierly fashion, * I am an old wolf, and a sheep shall not make a fool of me. Castanier, old man, before you set up housekeeping, reconnoitre the girl's character for a bit, and see if she is a steady sort.' This irregular union gave the Piedmontese a status the most nearly approaching respectability among those which the world declines to recognise. During the first year she took the nom de guerre of Aquilina, one of the characters in Venice Preserved which she had chanced to read. She fancied that she resembled the courtesan in face and general appearance, and in a certain precocity of heart and brain of which she was conscious. When Castanier found that her life was as well regulated and virtuous as was possible for a social outlaw, he manifested 6S Melmoth Reconciled a desire that they should live as husband and wife. So she took the name of Mme. de la Garde, in order to approach, as closely as Parisian usages permit, the con- ditions of a real marriage. As a matter of fact, many of these unfortunate girls have one fixed idea, to be looked upon as respectable middle-class women, who lead humdrum lives of faithfulness to their husbands ; women who would make excellent mothers, keepers of household accounts, and menders of household linen. This longing springs from a sentiment so laudable, that society should take it into consideration. But society, incorrigible as ever, will assuredly persist in regarding the married woman as a corvette duly auchorised by her flag and papers to go on her own course, while the woman who is a wife in all but name is a pirate and an outlaw for lack of a document. A day came when Mme. de la Garde would fain have signed herself * Mme. Castanier.' The cashier was put out by this. * So you do not love me well enough to marry me ? ' she said. Castanier did not answer ; he was absorbed by his thoughts. The poor girl resigned herself to her fate. The ex-dragoon was in despair. Naqui's heart softened towards him at the sight of his trouble ; she tried to soothe him, but what could she do when she did not know what ailed him ? When Naqui made up her mind to knovi^ the secret, although she never asked him a question, the cashier dolefully confessed to the exist- ence of a A4me. Castanier. This lawful wife, a thousand times accursed, was living in a humble way in Stras- bourg on a small property there ; he wrote to her twice a year, and kept the secret of her existence so well, that no one suspected that he was married. The reason of this reticence ? If it is familiar to many military men who may chance to be in a like predicament, it is perhaps worth while to give the story. Your genuine trooper (if it is allowable here to Melmoth Reconciled 69 employ the word which in the army signifies a man who is destined to die as a captain) is a sort of serf, a part and parcel of his regiment, an essentially simple creature, and Castanier was marked out by nature as a victim to the wiles of mothers with grown-up daughters left too long on their hands. It was at Nancy, during one of those brief intervals of repose when the Imperial armies were not on active service abroad, that Castanier was so unlucky as to pay some attention to a young lady with whom he danced at a ridotto, the provincial name for the entertainments often given by the military to the towns- folk, or vice versa^ in garrison towns. A scheme for inveigling the gallant captain into matrimony was im- mediately set on foot, one of those schemes by which mothers secure accomplices in a human heart by touching all its motive springs, while they convert all their friends into fellow-conspirators. Like all people possessed by one idea, these ladies press everything into the service of their great project, slowly elaborating their toils, much as the ant-lion excavates its funnel in the sand and lies in wait at the bottom for its victim. Suppose that no one strays, after all, into that carefully constructed labyrinth ? Suppose that the ant-lion dies of hunger and thirst in her pit ? Such things may be, but if any heed- less creature once enters in, it never comes out. All the wires which could be pulled to induce action on the captain's part were tried ; appeals were made to the secret interested motives that always come into play in such cases; they worked on Castanier's hopes and on the weaknesses and vanity of human nature. Unluckily, he had praised the daughter to her mother when he brought her back after a waltz, a little chat followed, and then an invitation in the most natural way in the world. Once introduced into the house, the dragoon was dazzled by the hospitality of a family who appeared to conceal their real wealth beneath a show of careful economy. He was skilfully flattered on all sides, and every one extolled for his benefit 7© Melmoth Reconciled the various treasures there displayed. A neatly timed dinner, served on plate lent by an uncle, the attention shown to him by the only daughter of the house, the gossip of the town, a well-to-do sub-lieutenant who seemed likely to cut the ground from under his feet — all the innumerable snares, in short, of the provincial ant-lion were set for him, and to such good purpose, that Castanier said five years later, * To this day I do not know how it came about ! ' The dragoon received fifteen thousand francs with the lady, who, after two years of marriage, became the ugliest and consequently the most peevish woman on earth. Luckily they had no children. The fair com- plexion (maintained by a Spartan regimen), the fresh, bright colour in her face, which spoke of an engaging modesty, became overspread with blotches and pimples ; her figure, which had seemed so straight, grew crooked, the angel became a suspicious and shrewish creature who drove Castanier frantic. Then the fortune took to itself wings. At length the dragoon, no longer recognising the woman whom he had wedded, left her to live on a little property at Strasbourg, until the time when it should please God to remove her to adorn Paradise. She was one of those virtuous women who, for want of other occupation, would weary the life out of an angel with complainings, who pray till (if their prayers are heard in heaven) they must exhaust the patience of the Almighty, and say everything that is bad of their husbands in dove- like murmurs over a game of boston with their neigh- bours. When Aquilina learned all these troubles she clung still more affectionately to Castanier, and made him so happy, varying with woman's ingenuity the pleasures with which she filled his life, that all un- wittingly she was the cause of the cashier's downfall. Like many women who seem by nature destined to sound all the depths of love, Mme. de la Garde was disinterested. She asked neither for gold nor for jewel- Melmoth Reconciled 71 lery, gave no thought to the future, lived entirely for the present and for the pleasures of the present. She accepted expensive ornaments and dresses, the carriage so eagerly coveted by women of her class, as one harmony the more in the picture of life. There w^s absolutely no vanity in her desire not to appear at a better advantage but to look the fairer, and, moreover, no v^roman could live v