Cosmopolis — Complete

CHAPTER VI. THE INCONSISTENCY OF AN OLD CHOUAN

While the madman, Boleslas, hastened to Ardea to ask his cooperation in the most unreasonable of encounters, with a species of savage delight, Florent Chapron was possessed by only one thought: at any price to prevent his brother-in-law from suspecting his quarrel with Madame Steno’s former lover and the duel which was to be the result. His passionate friendship for Lincoln was so strong that it prevented the nervousness which usually precedes a first duel, above all when he who appears upon the ground has all his life neglected practising with the sword or pistol. To a fencer, and to one accustomed to the use of firearms, a duel means a number of details which remove the thought of danger. The man conceives the possibilities of the struggle, of a deed to be bravely accomplished. That is sufficient to inspire him with a composure which absolute ignorance can not inspire, unless it is supported by one of those deep attachments often so strong within us. Such was the case with Florent.

Dorsenne’s instinct, which could so easily read the heart, was not mistaken there; the painter had in his wife’s brother a friend of self-sacrificing devotion. He could exact anything of the Mameluke, or, rather, of that slave, for it was the blood of the slaves, of his ancestors, which manifested itself in Chapron by so total an absorption of his personality. The atavism of servitude has these two effects which are apparently contradictory: it produces fathomless capacities of sacrifice or of perfidy. Both of these qualities were embodied in the brother and in the sister. As happens, sometimes, the two characteristics of their race were divided between them; one had inherited all the virtue of self-sacrifice, the other all the puissance of hypocrisy.

But the drama called forth by Madame Steno’s infidelity, and finally by Gorka’s rashness, would only expose to light the moral conditions which Dorsenne had foreseen without comprehending. He was completely ignorant of the circumstances under which Florent had developed, of those under which Maitland and he had met, of how Maitland had decided to marry Lydia; finally an exceptional and lengthy history which it is necessary to sketch here at least, in order to render clear the singular relations of those three beings.

As we have seen, the allusion coarsely made by Boleslas to negro blood marked the moment when Florent lost all self-control, to the point even of raising his cane to his insolent interlocutor. That blemish, hidden with the most jealous care, represented to the young man what it had represented to his father, the vital point of self-love, secret and constant humiliation. It was very faint, the trace of negro blood which flowed in their veins, so faint that it was necessary to be told of it, but it was sufficient to render a stay in America so much the more intolerable to both, as they had inherited all the pride of their name, a name which the Emperor mentioned at St. Helena as that of one of his bravest officers. Florent’s grandfather was no other, indeed, than the Colonel Chapron who, as Napoleon desired information, swam the Dnieper on horseback, followed a Cossack on the opposite shore, hunted him like a stag, laid him across his saddle and took him back to the French camp. When the Empire fell, that hero, who had compromised himself in an irreparable manner in the army of the Loire, left his country and, accompanied by a handful of his old comrades, went to found in the southern part of the United States, in Alabama, a sort of agricultural colony, to which they gave the name—which it still preserves—of Arcola, a naive and melancholy tribute to the fabulous epoch which, however, had been dear to them.

Who would have recognized the brilliant colonel, who penetrated by the side of Montbrun the heart of the Grande Redoute, in the planter of forty-five, busy with his cotton and his sugar-cane, who made a fortune in a short time by dint of energy and good sense? His success, told of in France, was the indirect cause of another emigration to Texas, led by General Lallemand, and which terminated so disastrously. Colonel Chapron had not, as can be believed, acquired in roaming through Europe very scrupulous notions an the relations of the two sexes. Having made the mother of his child a pretty and sweet-tempered mulattress whom he met on a short trip to New Orleans, and whom he brought back to Arcola, he became deeply attached to the charming creature and to his son, so much the more so as, with a simple difference of complexion and of hair, the child was the image of him. Indeed, the old warrior, who had no relatives in his native land, on dying, left his entire fortune to that son, whom he had christened Napoleon. While he lived, not one of his neighbors dared to treat the young man differently from the way in which his father treated him.

But it was not the same when the prestige of the Emperor’s soldier was not there to protect the boy against that aversion to race which is morally a prejudice, but socially interprets an instinct of preservation of infallible surety. The United States has grown only on that condition.

The mixture of blood would there have dissolved the admirable Anglo-Saxon energy which the struggle against a nature at once very rich and very mutinous has exalted to such surprising splendor. It is not necessary to ask those who are the victims of such an instinct to comprehend the legal injustice. They only feel its ferocity. Napoleon Chapron, rejected in several offers of marriage, thwarted in his plans, humiliated under twenty trifling circumstances by the Colonel’s former companions, became a species of misanthrope. He lived, sustained by a twofold desire, on the one hand to increase his fortune, and on the other to wed a white woman. It was not until 1857, at the age of thirty-five, that he realized the second of his two projects. In the course of a trip to Europe, he became interested on the steamer in a young English governess, who was returning from Canada, summoned home by family troubles. He met her again in London. He helped her with such delicacy in her distress, that he won her heart, and she consented to become his wife. From that union were born, one year apart, Florent and Lydia.

Lydia had cost her mother her life, at the moment when the War of Secession jeoparded the fortune of Chapron, who, fortunately for him, had, in his desire to enrich himself quickly, invested his money a little on all sides. He was only partly ruined, but that semi-ruin prevented him from returning to Europe, as he had intended. He was compelled to remain in Alabama to repair that disaster, and he succeeded, for at his death, in 1880, his children inherited more than four hundred thousand dollars each. The incomparable father’s devotion had not limited itself to the building up of a large fortune. He had the courage to deprive himself of the presence of the two beings whom he adored, to spare them the humiliation of an American school, and he sent them after their twelfth year to England, the boy to the Jesuits of Beaumont, the girl to the convent of the Sacred Heart, at Roehampton. After four years there, he sent them to Paris, Florent to Vaugirard, Lydia to the Rue de Varenne, and just at the time that he had realized the amount he considered requisite, when he was preparing to return to live near them in a country without prejudices, a stroke of apoplexy took him off suddenly. The double wear of toil and care had told upon one of those organisms which the mixture of the black and white races often produces, athletic in appearance, but of a very keen sensibility, in which the vital resistance is not in proportion to the muscular vigor.

Whatever care the man, so deeply grieved by the blemish upon his birth, had taken to preserve his children from a similar experience, he had not been able to do so, and soon after his son entered Beaumont his trials began. The few boys with whom Florent was thrown in contact, in the hotels or in his walks, during his sojourn in America, had already made him feel that humiliation from which his father had suffered so much. The youth of twelve, silent and absurdly sensitive, who made his appearance on the lawn of the peaceful English college on an autumn morning, brought with him a self-love already bleeding, to whom it was a delightful surprise to find himself among comrades of his age who did not even seem to suspect that any difference separated them from him. It required the perception of a Yankee to discern, beneath the nails of the handsome boy with the dark complexion, the tiny drops of negro blood, so far removed. Between an octoroon and a creole a European can never tell the difference. Florent had been represented as what he really was, the grandson of one of the Emperor’s best officers. His father had taken particular pains to designate him as French, and his companions only saw in him a pupil like themselves, coming from Alabama—that is to say, from a country almost as chimerical as Japan or China.

All who in early youth have known the torture of apprehension will be able to judge of the poor child’s agony when, after four months of a life amid the warmth of sympathy, one of the Jesuit fathers who directed the college announced to him, thinking it would afford him pleasure, the expected arrival of an American, of young Lincoln Maitland. This was to Florent so violent a shock that he had a fever for forty-eight hours. In after years he could remember what thoughts possessed him on the day when he descended from his room to the common refectory, sure that as soon as he was brought face to face with the new pupil he would have to sustain the disdainful glance suffered so frequently in the United States. There was no doubt in his mind that, his origin once discovered, the atmosphere of kindness in which he moved with so much surprise would soon be changed to hostility. He could again see himself crossing the yard; could hear himself called by Father Roberts—the master who had told him of the expected new arrival—and his surprise when Lincoln Maitland had given him the hearty handshake of one demi-compatriot who meets another. He was to learn later that that reception was quite natural, coming from the son of an Englishman, educated altogether by his mother, and taken from New York to Europe before his fifth year, there to live in a circle as little American as possible. Chapron did not reason in that manner. He had an infinitely tender heart. Gratitude entered it—gratitude as impassioned as had been his fear. One week later Lincoln Maitland and he were friends, and friends so intimate that they never parted.

The affection, which was merely to the indifferent nature of Maitland a simple college episode, became to Florent the most serious, most complete sentiment of his life. Those fraternities of election, the loveliest and most delicate of the heart of man, usually dawn thus in youth. It is the ideal age of passionate friendship, that period between ten and sixteen, when the spirit is so pure, so fresh, still so virtuous, so fertile in generous projects for the future. One dreams of a companionship almost mystical with the friend from whom one has no secret, whose character one sees in such a noble light, on whose esteem one depends as upon the surest recompense, whom one innocently desires to resemble. Indeed, they are, between the innocent lads who work side by side on a problem of geometry or a lesson in history, veritable poems of tenderness at which the man will smile later, finding so far different from him in all his tastes, him whom he desired to have for a brother. It happens, however, in certain natures of a sensibility particularly precocious and faithful at the same time, that the awakening of effective life is so strong, so encroaching, that the impassioned friendship persists, first through the other awakening, that of sensuality, so fatal to all the senses of delicacy, then through the first tumult of social experience, not less fatal to our ideal of youth.

That was the case with Florent Chapron, whether his character, at once somewhat wild and yet submissive, rendered him more qualified for that renunciation of his personality than friendship demands, whether, far from his father and his sister and not having any mother, his loving heart had need of attaching itself to some one who could fill the place of his relatives, or whether Maitland exercised over him a special prestige by his opposite qualities. Fragile and somewhat delicate, was he seduced by the strength and dexterity which his friend exhibited in all his exercises? Timid and naturally taciturn, was he governed by the assurance of that athlete with the loud laugh, with the invincible energy? Did the surprising tendency toward art which the other one showed conquer him, as well as sympathy for the misfortunes which were confided to him and which touched him more than they touched him who experienced them?

Gordon Maitland, Lincoln’s father, of an excellent family of New York, had been killed at the battle of Chancellorsville, during the same war which had ruined Florent’s father in part. Mrs. Maitland, the poor daughter of a small rector of a Presbyterian church at Newport, and who had only married her husband for his money, had but one idea, when once a widow—to go abroad. Whither? To Europe, vague and fascinating spot, where she fancied she would be distinguished by her intelligence and her beauty. She was pretty, vain and silly, and that voyage in pursuit of a part to play in the Old World caused her to pass two years first in one hotel and then in another, after which she married the second son of a poor Irish peer, with the new chimera of entering that Olympus of British aristocracy of which she had dreamed so much. She became a Catholic, and her son with her, to obtain the result which cost her dear, for not only was the lord who had given her his name brutal, a drunkard and cruel, but he added to all those faults that of being one of the greatest gamblers in the entire United Kingdom. He kept his stepson away from home, beat his wife, and died toward 1880, after dissipating the poor creature’s fortune and almost all of Lincoln’s. At that time the latter, whom his stepfather had naturally left to develop in his own way, and who, since leaving Beaumont, had studied painting at Venice, Rome and Paris, was in the latter city and one of the first pupils in Bonnat’s studio. Seeing his mother ruined, without resources at forty-four years of age, persuaded himself of his glorious future, he had one of those magnificent impulses such as one has in youth and which prove much less the generosity than the pride of life. Of the fifteen thousand francs of income remaining to him, he gave up to his mother twelve thousand five hundred. It is expedient to add that in less than a year afterward he married the sister of his college friend and four hundred thousand dollars. He had seen poverty and he was afraid of it. His action with regard to his mother seemed to justify in his own eyes the purely interested character of the combination which freed his brush forever. There are, moreover, such artistic consciences. Maitland would not have pardoned himself a concession of art. He considered rascals the painters who begged success by compromise in their style, and he thought it quite natural to take the money of Mademoiselle Chapron, whom he did not love, and for whom, now that he had grown to manhood and knew several of her compatriots, he likewise felt the prejudice of race. “The glory of the colonel of the Empire and friendship for that good Florent,” as he said, “covered all.”

Poor and good Florent! That marriage was to him the romance of his youth realized. He had desired it since the first week that Maitland had given him the cordial handshake which had bound them. To live in the shadow of his friend, become at once his brother-in-law and his ideal—he did not dream of any other solution of his own destiny. The faults of Maitland, developed by age, fortune, and success—we recall the triumph of his ‘Femme en violet et en jeune’ in the Salon of 1884—found Florent as blind as at the epoch when they played cricket together in the fields at Beaumont. Dorsenne very justly diagnosed there one of those hypnotisms of admiration such as artists, great or small, often inspire around them. But the author, who always generalized too quickly, had not comprehended that the admirer with Florent was grafted on a friend worthy to be painted by La Fontaine or by Balzac, the two poets of friendship, the one in his sublime and tragic Cousin Pons, the other in that short but fine fable, in which is this verse, one of the most tender in the French language:

Florent did not love Lincoln because he admired him; he admired him because he loved him. He was not wrong in considering the painter as one of the most gifted who had appeared for thirty years. But Lincoln would have had neither the bold elegance of his drawing, nor the vivid strength of coloring, nor the ingenious finesse of imagination if the other had lent himself with less ardor to the service of the work and to the glory of the artist. When Lincoln wanted to travel he found his brother-in-law the most diligent of couriers. When he had need of a model he had only to say a word for Florent to set about finding one. Did Lincoln exhibit at Paris or London, Florent took charge of the entire proceeding—seeing the journalists and picture dealers, composing letters of thanks for the articles, in a handwriting so like that of the painter that the latter had only to sign it. Lincoln desired to return to Rome. Florent had discovered the house on the Rue Leopardi, and he settled it even before Maitland, then in Egypt, had finished a large study begun at the moment of the departure of the other.

Florent had, by virtue of the affection felt for his brother-in-law, come to comprehend the paintings as well as the painter himself. These words will be clear to those who have been around artists and who know what a distance separates them from the most enlightened amateur. The amateur can judge and feel. The artist only, who has wielded the implements, knows, before a painting, how it is done, what stroke of the brush has been given, and why; in short, the trituration of the matter by the workman. Florent had watched Maitland work so much, he had rendered him so many effective little services in the studio, that each of his brother-in-law’s canvases became animated to him, even to the slightest details. When he saw them on the wall of the gallery they told him of an intimacy which was at once his greatest joy and his greatest pride. In short, the absorption of his personality in that of his former comrade was so complete that it had led to this anomaly, that Dorsenne himself, notwithstanding his indulgence for psychological singularities, had not been able to prevent himself from finding almost monstrous: Florent was Lincoln’s brother-in-law, and he seemed to find it perfectly natural that the latter should have adventures outside, if the emotion of those adventures could be useful to his talent!

Perhaps this long and yet incomplete analysis will permit us the better to comprehend what emotions agitated the young man as he reascended the staircase of his house—of their house, Lincoln’s and his—after his unexpected dispute with Boleslas Gorka. It will attenuate, at least with respect to him, the severity of simple minds. All passion, when developed in the heart, has the effect of etiolating around it the vigor of other instincts. Chapron was too fanatical a friend to be a very equitable brother. It seemed to him very simple and very legitimate that his sister should be at the service of the genius of Lincoln, as he himself was. Moreover, if, since the marriage with her brother’s friend, his sister had been stirred by the tempest of a moral tragedy, Florent did not suspect it. When had he studied Lydia, the silent, reserved Lydia, of whom he had once for all formed an opinion, as is the almost invariable custom of relative with relative? Those who have seen us when young are like those who see us daily. The images which they trace of us always reproduce what we were at a certain moment—scarcely ever what we are. Florent considered his sister very good, because he had formerly found her so; very gentle, because she had never resisted him; not intelligent, because she did not seem sufficiently interested in the painter’s work; as for the suffering and secret rebellion of the oppressed creature, crushed between his blind partiality and the selfishness of a scornful husband, he did not even suspect them, much less the terrible resolution of which that apparent resignation was capable.

If he had trembled when Madame Steno began to interest herself in Lincoln, it was solely for the work of the latter, so much the more as for a year he had perceived not a decline but a disturbance in the painting of that artist, too voluntary not to be unequal. Then Florent had seen, on the other hand, the nerve of Maitland reawakened in the warmth of that little intrigue.

The portrait of Alba promised to be a magnificent study, worthy of being placed beside the famous ‘Femme en violet et en jaune,’ which those envious of Lincoln always remembered. Moreover, the painter had finished with unparalleled ardor two large compositions partly abandoned. In the face of that proof of a fever of production more and more active, how would not Florent have blessed Madame Steno, instead of cursing her, so much the more that it sufficed him to close his eyes and to know that his conscience was in repose when opposite his sister? He knew all, however. The proof of it was in his shudder when Dorsenne announced to him the clandestine arrival in Rome of Madame Steno’s other lover, and one proof still more certain, the impulse which had precipitated him upon Boleslas, who was parleying with the servant, and now it was he who had accepted the duel which an exasperated rival had certainly come to propose to his dear Lincoln, and he thought only of the latter.

“He must know nothing until afterward. He would take the affair upon himself, and I have a chance to kill him, that Gorka—to wound him, at least. In any case, I will arrange it so that a second duel will be rendered difficult to that lunatic.... But, first of all, let us make sure that we have not spoken too loudly and that they have not heard upstairs the ill-bred fellow’s loud voice.”

It was in such terms that he qualified his adversary of the morrow. For very little more he would have judged Gorka unpardonable not to thank Lincoln, who had done him the honor to supplant him in the Countess’s favor!

In the meantime, let us cast a glance at the atelier! When the friend, devoted to complicity, but also to heroism, entered the vast room, he could see at the first glance that he had been mistaken and that no sound of voices had reached that peaceful retreat.

The atelier of the American painter was furnished with a harmonious sumptuousness which real artists know how to gather around them. The large strip of sky seen through the windows looked down upon a corner veritably Roman—of the Rome of to-day, which attests an uninterrupted effort toward forming a new city by the side of the old one. One could see an angle of the old garden and the fragment of an antique building, with a church steeple beyond. It was on a background of azure, of verdure and of ruins, in a horizon larger and more distant, but composed of the same elements, that was to arise the face of the young girl, designed after the manner, so sharp and so modelled, of the ‘Pier della Francesca’, with whom Maitland had been preoccupied for six months.

All great composers, of an originality more composite than genitive, have these infatuations.

Maitland was at his easel, dressed with that correct elegance which is the almost certain mark of Anglo-Saxon artists. With his little varnished shoes, his fine black socks, spotted with red, his coat of quilted silk, his light cravat and the purity of his linen, he had the air of a gentleman who applied himself to an amateur effort, and not of the patient and laborious worker he really was. But his canvases and his studies, hung on all sides, among tapestries, arms and trinkets, bespoke patient labor. It was the history of an energy bent upon the acquisition of a personality constantly fleeting. Maitland manifested in a supreme degree the trait common to almost all his compatriots, even those who came in early youth to Europe, that intense desire not to lack civilization, which is explained by the fact that the American is a being entirely new, endowed with an activity incomparable, and deprived of traditional saturation. He is not born cultivated, matured, already fashioned virtually, if one may say so, like a child of the Old World. He can create himself at his will. With superior gifts, but gifts entirely physical, Maitland was a self-made man of art, as his grand father had been a self-made man of money, as his father had been a self-made man of war. He had in his eye and in his hand two marvellous implements for painting, and in his perseverence in developing a still more marvellous one. He lacked constantly the something necessary and local which gives to certain very inferior painters the inexpressible superiority of a savor of soil. It could not be said that he was not inventive and new, yet one experienced on seeing no matter which one of his paintings that he was a creature of culture and of acquisition. The scattered studies in the atelier first of all displayed the influence of his first master, of solid and simple Bonnat. Then he had been tempted by the English pre-Raphaelites, and a fine copy of the famous ‘Song of Love’, by Burne-Jones, attested that reaction on the side of an art more subtle, more impressed by that poetry which professional painters treat scornfully as literary. But Lincoln was too vigorous for the languors of such an ideal, and he quickly turned to other teachings. Spain conquered him, and Velasquez, the colorist of so peculiar a fancy that, after a visit to the Museum of the Prado, one carries away the idea that one has just seen the only painting worthy of the name.

The spirit of the great Spaniard, that despotic stroke of the brush which seems to draw the color in the groundwork of the picture, to make it stand out in almost solid lights, his absolute absence of abstract intentions and his newness which affects entirely to ignore the past, all in that formula of art, suited Maitland’s temperament. To him, too, he owed his masterpiece, the ‘Femme en violet et en jaune’, but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca. Never would one have believed that the same hand which had wielded with so free a brush the color of the ‘Femme en violet...’ could be that which sketched the contour of the portrait of Alba with so severe, so rigid a drawing.

At the moment Florent entered the studio that work so completely absorbed the attention of the painter that he did not hear the door open any more than did Madame Steno, who was smoking cigarettes, reclining indolently and blissfully upon the divan, her half-closed eyes fixed upon the man she loved. Lincoln only divined another presence by a change in Alba’s face. God! How pale she was, seated in the immobility of her pose in a large, heraldic armchair, with a back of carved wood, her hands grasping the arms, her mouth so bitter, her eyes so deep in their fixed glance!... Did she divine that which she could not, however, know, that her fate was approaching with the visitor who entered, and who, having left the studio fifteen minutes before, had to justify his return by an excuse.

“It is I,” said he. “I forgot to ask you, Lincoln, if you wish to buy Ardea’s three drawings at the price they offer.”

“Why did you not tell me of it yesterday, my little Linco?” interrupted the Countess. “I saw Peppino again this morning.... I would have from him his lowest figure.”

“That would only be lacking,” replied Maitland, laughing his large laugh. “He does not acknowledge those drawings, dear dogaresse.... They are a part of the series of trinkets he carefully subtracted from his creditor’s inventory and put in different places. There are some at seven or eight antiquaries’, and we may expect that for the next ten years all the cockneys of my country will be allured by this phrase, ‘This is from the Palais Castagna. I have it by a little arrangement.’”

His eyes sparkled as he imitated one of the most celebrated bric-a-brac dealers in Rome, with the incomparable art of imitation which distinguishes all the old habitues of Parisian studios.

“At present these three drawings are at an antiquary’s of Babuino, and very authentic.”

“Except when they are represented as Vincis,” said Florent, “when Leonardo was left-handed, and their hatchings are made from left to right.”

“And you think Ardea would not agree with me in it?” resumed the Countess.

“Not even with you,” said the painter. “He had the assurance last night, when I mentioned them before him, to ask me the address in order to go to see them.”

“How did you learn their production?” questioned Madame Steno.

“Ask him,” said Maitland, pointing to Chapron with the end of his brush. “When there is a question of enriching his old Maitland’s collection, he becomes more of a merchant than the merchants themselves. They tell him all.... Vinci or no Vinci, it is the pure Lombard style. Buy them. I want them.”

“I will go, then,” replied Florent. “Countess.... Contessina.”

He bowed to Madame Steno and her daughter. The mother bestowed upon him her pleasantest smile. She was not one of those mistresses to whom their lovers’ intimate friends are always enemies. On the contrary, she enveloped them in the abundant and blissful sympathy which love awoke in her. Besides, she was too cunning not to feel that Florent approved of her love. But, on the other hand, the intense aversion which Alba at that moment felt toward her mother’s suspected intrigues was expressed by the formality with which she inclined her head in response to the farewell of the young man, who was too happy to have found that the dispute had not been heard.

“From now until to-morrow,” thought he, on redescending the staircase, “there will be no one to warn Lincoln.... The purchase of the drawings was an invention to demonstrate my tranquillity....Now I must find two discreet seconds.”

Florent was a very deliberate man, and a man who had at his command perfect evenness of temperament whenever it was not a question of his enthusiastic attachment to his brother-in-law. He had the power of observation habitual to persons whose sensitive amour propre has frequently been wounded. He therefore deferred until later his difficult choice and went to luncheon, as if nothing had happened, at the restaurant where he was expected. Certainly the proprietor did not mistrust, in replying to the questions of his guest relative to the most recent portraits of Lenbach, that the young man, so calm, so smiling, had on hand a duel which might cost him his life. It was only on leaving the restaurant that Florent, after mentally reviewing ten of his older acquaintances, resolved to make a first attempt upon Dorsenne. He recalled the mysterious intelligence given him by the novelist, whose sympathy for Maitland had been publicly manifested by an eloquent article. Moreover, he believed him to be madly in love with Alba Steno. That was one probability more in favor of his discretion.

Dorsenne would surely maintain silence with regard to a meeting in connection with which, if it were known, the cause of the contest would surely be mentioned. It was only too clear that Gorka and Chapron had no real reason to quarrel and fight a duel. But at ten-thirty, that is to say, three hours after the unreasonable altercation in the vestibule, Florent rang at the door of Julien’s apartments. The latter was at home, busy upon the last correction of the proofs of ‘Poussiere d’Idees’. His visitor’s confidence upset him to such a degree that his hands trembled as he arranged his scattered papers. He remembered the presence of Boleslas on that same couch, at the same time of the day, forty-eight hours before. How the drama would progress if that madman went away in that mood! He knew only too well that Maitland’s brother-in-law had not told him all.

“It is absurd,” he cried, “it is madness, it is folly!... You are not going to fight about an argument such as you have related to me? You talked at the corner of the street, you exchanged a few angry words, and then, suddenly, seconds, a duel.... Ah, it is absurd.”

“You forget that I offered him a violent insult in raising my cane to him,” interrupted Florent, “and since he demands satisfaction I must give it to him.”

“Do you believe,” said the writer, “that the public will be contented with those reasons? Do you think they will not look for the secret motives of the duel? Do I know the story of a woman?... You see, I ask no questions. I rely upon what you confide in me. But the world is the world, and you will not escape its remarks.”

“It is precisely for that reason that I ask absolute discretion of you,” replied Florent, “and for that reason that I have come to ask you to serve me as a second.... There is no one in whom I trust as implicitly as I do in you.... It is the only excuse for my step.”

“I thank you,” said Dorsenne. He hesitated a moment. Then the image of Alba, which had haunted him since the previous day, suddenly presented itself to his mind. He recalled the sombre anguish he had surprised in the young girl’s eyes, then her comforted glance when her mother smiled at once upon Gorka and Maitland. He recalled the anonymous letter and the mysterious hatred which impended over Madame Steno. If the quarrel between Boleslas and Florent became known, there was no doubt that it would be said generally that Florent was fighting for his brother-in-law on account of the Countess. No doubt, too, that the report would reach the poor Contessina. It was sufficient to cause the writer to reply: “Very well! I accept. I will serve you. Do not thank me. We are losing valuable time. You will require another second. Of whom have you thought?”

“Of no one,” returned Florent. “I confess I have counted on you to aid me.”

“Let us make a list,” said Julien. “It is the best way, and then cross off the names.”

Dorsenne wrote down a number of their acquaintances, and they indeed crossed them off, according to his expression, so effectually that after a minute examination they had rejected all of them. They were then as much perplexed as ever, when suddenly Dorsenne’s eyes brightened, he uttered a slight exclamation, and said brusquely:

“What an idea! But it is an idea!... Do you know the Marquis de Montfanon?” he asked Florent.

“He with one arm?” replied the latter. “I saw him once with reference to a monument I put up at Saint Louis des Francais.”

“He told me of it,” said Dorsenne. “For one of your relatives, was it not?”

“Oh, a distant cousin,” replied Florent; “one Captain Chapron, killed in ‘forty-nine in the trenches before Rome.”

“Now, to our business,” cried Dorsenne, rubbing his hands. “It is Montfanon who must be your second. First of all, he is an experienced duellist, while I have never been on the ground. That is very important. You know the celebrated saying: ‘It is neither swords nor pistols which kill; it is the seconds.’.... And then if the matter has to be arranged, he will have more prestige than your servant.”

“It is impossible,” said Florent; “Marquis de Montfanon.... He will never consent. I do not exist for him.”

“That is my affair,” cried Dorsenne. “Let me take the necessary steps in my own name, and then if he agrees you can make it in yours.... Only we have no time to lose. Do not leave your house until six o’clock. By that time I shall know upon what to depend.”

If, at first, the novelist had felt great confidence in the issue of his strange attempt with reference to his old friend, that confidence changed to absolute apprehension when he found himself, half an hour later, at the house which Marquis Claude Francois occupied in one of the oldest parts of Rome, from which location he could obtain an admirable view of the Forum. How many times had Julien come, in the past six months, to that Marquis who dived constantly in the sentiment of the past, to gaze upon the tragical and grand panorama of the historical scene! At the voice of the recluse, the broken columns rose, the ruined temples were rebuilt, the triumphal view was cleared from its mist. He talked, and the formidable epopee of the Roman legend was evoked, interpreted by the fervent Christian in that mystical and providential sense, which all, indeed, proclaims in that spot, where the Mamertine prison relates the trial of St. Peter, where the portico of the temple of Faustine serves as a pediment to the Church of St. Laurent, where Ste.-Marie-Liberatrice rises upon the site of the Temple of Vesta—‘Sancta Maria, libera nos a poenis inferni’—Montfanon always added when he spoke of it, and he pointed out the Arch of Titus, which tells of the fulfilment of the prophecies of Our Lord against Jerusalem, while, opposite, the groves reveal the out lines of a nunnery upon the ruins of the dwellings of the Caesars. And, at the extreme end, the Coliseum recalls to mind the ninety thousand spectators come to see the martyrs suffer.

Such were the sights where lived the former pontifical zouave, and, on ringing the bell of the third etage, Julien said to himself: “I am a simpleton to come to propose to such a man what I have to propose. Yet it is not to be a second in an ordinary duel, but simply to prevent an adventure which might cost the lives of two men in the first place, then the honor of Madame Steno, and, lastly, the peace of mind of three innocent persons, Madame Gorka, Madame Maitland and my little friend Alba.... He alone has sufficient authority to arrange all. It will be an act of charity, like any other.... I hope he is at home,” he concluded, hearing the footstep of the servant, who recognized the visitor and who anticipated all questions.

“The Marquis went out this morning before eight o’clock. He will not return until dinner-time.”

“Do you know where he has gone?”

“To hear mass in a catacomb, and to be present at a procession,” replied the footman, who took Dorsenne’s card, adding: “The Trappists of Saint Calixtus certainly know where the Marquis is.... He lunched with them.”

“We shall see,” said the young man to himself, somewhat disappointed. His carriage rolled in the direction of Porte St. Sebastien, near which was the catacomb and the humble dwelling contiguous to it—the last morsel of the Papal domains kept by the poor monks. “Montfanon will have taken communion this morning,” thought he, “and at the very word duel he will listen to nothing more. However, the matter must be arranged; it must be.... What would I not give to know the truth of the scene between Gorka and Florent? By what strange and diabolical ricochet did the Palatine hit upon the latter when his business was with the brother-in-law?... Will he be angry that I am his adversary’s second?... Bah!... After our conversation of the other day our friendship is ended.... Good, I am already at the little church of ‘Domine, quo vadis.’—[“Lord, whither art thou going?”]—I might say to myself: ‘Juliane, quo vadis?’ ‘To perform an act a little better than the majority of my actions,’ I might reply.”

That impressionable soul which vibrated at the slightest contact was touched by the souvenir of one of the innumerable pious legends which nineteen centuries of Catholicism have suspended at all the corners of Rome and its surrounding districts. He recalled the touching story of St. Peter flying from persecution and meeting our Lord: “Lord, whither art thou going?” asked the apostle. “To be crucified a second time,” replied the Saviour, and Peter was ashamed of his weakness and returned to martyrdom. Montfanon himself had related that episode to the novelist, who again began to reflect upon the Marquis’s character and the best means of approaching him. He forgot to glance at the vast solitude of the Roman suburbs before him, and so deep was his reverie that he almost passed unheeded the object of his search. Another disappointment awaited him at the first point in his voyage of exploration.

The monk who came at his ring to open the door of the inclosure contiguous to St. Calixtus, informed him that he of whom he was in search had left half an hour before.

“You will find him at the Basilica of Saint Neree and Saint Achilles,” added the Trappist; “it is the fete of those two saints, and at five o’clock there will be a procession in their catacombs.... It is a fifteen minutes’ ride from here, near the tower Marancia, on the Via Ardeatina.”

“Shall I miss him a third time?” thought Dorsenne, alighting from the carriage finally, and proceeding on foot to the opening which leads to the subterranean Necropolis dedicated to the two saints who were the eunuchs of Domitilla, the niece of Emperor Vespasian. A few ruins and a dilapidated house alone mark the spot where once stood the pious Princess’s magnificent villa. The gate was open, and, meeting no one who could direct him, the young man took several steps in the subterranean passage. He perceived that the long gallery was lighted. He entered there, saying to himself that the row of tapers, lighted every ten paces, assuredly marked the line which the procession would follow, and which led to the central basilica. Although his anxiety as to the issue of his undertaking was extreme, he could not help being impressed by the grandeur of the sight presented by the catacomb thus illuminated. The uneven niches reserved for the dead, asleep in the peace of the Lord for so many centuries, made recesses in the corridors and gave them a solemn and tragical aspect. Inscriptions were to be seen there, traced on the stone, and all spoke of the great hope which those first Christians had cherished, the same which believers of our day cherish.

Julien knew enough of symbols to understand the significance of the images between which the persecuted of the primitive church had laid their fathers. They are so touching and so simple! The anchor represents safety in the storm; the gentle dove and the ewe, symbols of the soul, which flies away and seeks its shepherd; the phoenix, whose wings announce the resurrection. Then there were the bread and the wine, the branches of the olive and the palm. The silent cemetery was filled with a faint aroma of incense, noticed by Dorsenne on entering. High mass, celebrated in the morning, left the sacred perfume diffused among those bones, once the forms of human beings who kneeled there amid the same holy aroma. The contrast was strong between that spot, where everything spoke of things eternal, and the drama of passion, worldly and culpable, the progress of which agitated even Dorsenne. At that moment he appeared to himself in the light of a profaner, although he was obeying generous and humane instincts. He experienced a sense of relief when, at a bend in one of the corridors which he had selected from among many others, he found himself face to face with a priest, who held in his hand a basket filled with the petals of flowers, destined, no doubt, for the procession. Dorsenne inquired of him the way to the Basilica in Italian, while the reply was given in perfect French.

“Perhaps you know the Marquis de Montfanon, father?” asked the novelist.

“I am one of the chaplains of Saint Louis,” said the priest, with a smile, adding: “You will find him in the Basilica.”

“Now, the moment has come,” thought Dorsenne, “I must be subtle.... After all, it is charity I am about to ask him to do.... Here I am. I recognize the staircase and the opening above.”

A corner of the sky, indeed, was to be seen, and a ray of light entered which permitted the writer to distinguish him whom he was seeking among the few persons assembled in the ruined chapel, the most venerable of all those which encircle Rome with a hidden girdle of sanctuaries. Montfanon, too recognizable, alas! by the empty sleeve of his black redingote, was seated on a chair, not very far from the altar, on which burned enormous tapers. Priests and monks were arranging baskets filled with petals, like those of the chaplain, whom Dorsenne had just met. A group of three curious visitors commented in whispers upon the paintings, scarcely visible on the discolored stucco of the ceiling. Montfanon was entirely absorbed in the book which he held in his one hand. The large features of his face, ennobled and almost transfigured by the ardor of devotion, gave him the admirable expression of an old Christian soldier. ‘Bonus miles Christi’—a good soldier of Christ—had been inscribed upon the tomb of the chief under whom he had been wounded at Patay. One would have taken him for a guardian layman of the tombs of the martyrs, capable of confessing his faith like them, even to the death. And when Julien determined to approach and to touch him lightly on the shoulder, he saw that, in the nobleman’s clear, blue eyes, ordinarily so gay, and sometimes so choleric, sparkled unshed tears. His voice, too, naturally sharp, was softened by the emotion of the thought which his reading, the place, the time, the occupation of his day had awakened within him.

“Ah, you here?” said he to his young friend, without any astonishment. “You have come for the procession. That is well. You will hear sung the lovely lines: ‘Hi sunt quos fatue mundus abhorruit.” He pronounced ou as u, ‘a l’Italienne’; for his liturgic training had been received in Rome. “The season is favorable for the ceremonies. The tourists have gone. There will only be people here who pray and who feel, like you.... And to feel is half of prayer. The other half is to believe. You will become one of us. I have always predicted it. There is no peace but here.”

“I would gladly have come only for the procession,” replied Dorsenne, “but my visit has another motive, dear friend,” said he, in a still lower tone. “I have been seeking for you for more than an hour, that you might aid me in rendering a great service to several people, in preventing a very great misfortune, perhaps.”

“I can help you to prevent a very great misfortune?” repeated Montfanon.

“Yes,” replied Dorsenne, “but this is not the place in which to explain to you the details of the long and terrible adventure.... At what hour is the ceremony? I will wait for you, and tell it to you on leaving here.”

“It does not begin until five o’clock-five-thirty,” said Montfanon, looking at his watch, “and it is now fifteen minutes past four. Let us leave the catacomb, if you wish, and you can repeat your story to me up above. A very great misfortune? Well,” he added, pressing the hand of the young man whom, personally, he liked as much as he detested his views, “rest assured, my dear child, we will prevent it!”

There was in the manner in which he uttered those words the tranquillity of a mind which knows not uneasiness, that of a believer who feels sure of always accomplishing all that he wishes to do. It would not have been Montfanon, that is to say, a species of visionary, who loved to argue with Dorsenne, because he knew that in spite of all he was understood, if he had not continued, as they walked along the lighted corridor, while remounting toward daylight:

“If it is all the same to you, sir apologist of the modern world, I should like to pause here and ask you frankly: Do you not feel yourself more contemporary with all the dead who slumber within these walls than with a radical elector or a free-mason deputy? Do you not feel that if these martyrs had not come to pray beneath these vaults eighteen hundred years ago, the best part of your soul would not exist? Where will you find a poetry more touching than that of these symbols and of these epitaphs? That admirable De Rossi showed me one at Saint Calixtus last year. My tears flow as I recall it. ‘Pete pro Phoebe et pro virginio ejus’. Pray for Phoebus and for—How do you translate the word ‘virginius’, the husband who has known only one wife, the virgin husband of a virgin spouse? Your youth will pass, Dorsenne. You will one day feel what I feel, the happiness which is wanting on account of bygone errors, and you will comprehend that it is only to be found in Christian marriage, whose entire sublimity is summed up in thus prayer: ‘Pro virginio ejus’.... You will be like me then, and you will find in this book,” he held up ‘l’Eucologe’, which he clasped in his hand, “something through which to offer up to God your remorse and your regrets. Do you know the hymn of the Holy Sacrament, ‘Adoro te, devote’? No. Yet you are capable of feeling what is contained in these lines. Listen. It is this idea: That on the cross one sees only the man, not the God; that in the host one does not even see the man, and that yet one believes in the real presence.