CHAPTER VIII. THE LADY OF THE BELLS
In her English cart, which she drove herself, Miss Bell had brought over the hills, from the railway station at Florence, the Countess Martin-Belleme and Madame Marmet to her pink-tinted house at Fiesole, which, crowned with a long balustrade, overlooked the incomparable city. The maid followed with the luggage. Choulette, lodged, by Miss Bell’s attention, in the house of a sacristan’s widow, in the shadow of the cathedral of Fiesole, was not expected until dinner. Plain and gentle, wearing short hair, a waistcoat, a man’s shirt on a chest like a boy’s, almost graceful, with small hips, the poetess was doing for her French friends the honors of the house, which reflected the ardent delicacy of her taste. On the walls of the drawing-room were pale Virgins, with long hands, reigning peacefully among angels, patriarchs, and saints in beautiful gilded frames. On a pedestal stood a Magdalena, clothed only with her hair, frightful with thinness and old age, some beggar of the road to Pistoia, burned by the suns and the snows, whom some unknown precursor of Donatello had moulded. And everywhere were Miss Bell’s chosen arms-bells and cymbals. The largest lifted their bronze clappers at the angles of the room; others formed a chain at the foot of the walls. Smaller ones ran along the cornices. There were bells over the hearth, on the cabinets, and on the chairs. The shelves were full of silver and golden bells. There were big bronze bells marked with the Florentine lily; bells of the Renaissance, representing a lady wearing a white gown; bells of the dead, decorated with tears and bones; bells covered with symbolical animals and leaves, which had rung in the churches in the time of St. Louis; table-bells of the seventeenth century, having a statuette for a handle; the flat, clear cow-bells of the Ruth Valley; Hindu bells; Chinese bells formed like cylinders—they had come from all countries and all times, at the magic call of little Miss Bell.
“You look at my speaking arms,” she said to Madame Martin. “I think that all these Misses Bell are pleased to be here, and I should not be astonished if some day they all began to sing together. But you must not admire them all equally. Reserve your purest and most fervent praise for this one.”
And striking with her finger a dark, bare bell which gave a faint sound:
“This one,” she said, “is a holy village-bell of the fifth century. She is a spiritual daughter of Saint Paulin de Nole, who was the first to make the sky sing over our heads. The metal is rare. Soon I will show to you a gentle Florentine, the queen of bells. She is coming. But I bore you, darling, with my babble. And I bore, too, the good Madame Marmet. It is wrong.”
She escorted them to their rooms.
An hour later, Madame Martin, rested, fresh, in a gown of foulard and lace, went on the terrace where Miss Bell was waiting for her. The humid air, warmed by the sun, exhaled the restless sweetness of spring. Therese, resting on the balustrade, bathed her eyes in the light. At her feet, the cypress-trees raised their black distaffs, and the olive-trees looked like sheep on the hills. In the valley, Florence extended its domes, its towers, and the multitudes of its red roofs, through which the Arno showed its undulating line. Beyond were the soft blue hills.
She tried to recognize the Boboli Gardens, where she had walked at her first visit; the Cascine, which she did not like; the Pitti Palace. Then the charming infinity of the sky attracted her. She looked at the forms in the clouds.
After a long silence, Vivian Bell extended her hand toward the horizon.
“Darling, I do not know how to say what I wish. But look, darling, look again. What you see there is unique in the world. Nature is nowhere else so subtle, elegant, and fine. The god who made the hills of Florence was an artist. Oh, he was a jeweller, an engraver, a sculptor, a bronze-founder, and a painter; he was a Florentine. He did nothing else in the world, darling. The rest was made by a hand less delicate, whose work was less perfect. How can you think that that violet hill of San Miniato, so firm and so pure in relief, was made by the author of Mont Blanc? It is not possible. This landscape has the beauty of an antique medal and of a precious painting. It is a perfect and measured work of art. And here is another thing that I do not know how to say, that I can not even understand, but which is a real thing. In this country I feel—and you will feel as I do, darling—half alive and half dead; in a condition which is sad, noble, and very sweet. Look, look again; you will realize the melancholy of those hills that surround Florence, and see a delicious sadness ascend from the land of the dead.”
The sun was low over the horizon. The bright points of the mountain-peaks faded one by one, while the clouds inflamed the sky. Madame Marmet sneezed.
Miss Bell sent for some shawls, and warned the French women that the evenings were fresh and that the night-air was dangerous.
Then suddenly she said:
“Darling, you know Monsieur Jacques Dechartre? Well, he wrote to me that he would be at Florence next week. I am glad Monsieur Jacques Dechartre is to meet you in our city. He will accompany us to the churches and to the museums, and he will be a good guide. He understands beautiful things, because he loves them. And he has an exquisite talent as a sculptor. His figures in medallions are admired more in England than in France. Oh, I am so glad Monsieur Jacques Dechartre and you are to meet at Florence, darling!”
CHAPTER IX. CHOULETTE FINDS A NEW FRIEND
She next day, as they were traversing the square where are planted, in imitation of antique amphitheatres, two marble pillars, Madame Marmet said to the Countess Martin:
“I think I see Monsieur Choulette.”
Seated in a shoemaker’s shop, his pipe in his hand, Choulette was making rhythmic gestures, and appeared to be reciting verses. The Florentine cobbler listened with a kind smile. He was a little, bald man, and represented one of the types familiar to Flemish painters. On a table, among wooden lasts, nails, leather, and wax, a basilic plant displayed its round green head. A sparrow, lacking a leg, which had been replaced by a match, hopped on the old man’s shoulder and head.
Madame Martin, amused by this spectacle, called Choulette from the threshold. He was softly humming a tune, and she asked him why he had not gone with her to visit the Spanish chapel.
He arose and replied:
“Madame, you are preoccupied by vain images; but I live in life and in truth.”
He shook the cobbler’s hand and followed the two ladies.
“While going to church,” he said, “I saw this old man, who, bending over his work, and pressing a last between his knees as in a vise, was sewing coarse shoes. I felt that he was simple and kind. I said to him, in Italian: ‘My father, will you drink with me a glass of Chianti?’ He consented. He went for a flagon and some glasses, and I kept the shop.”
And Choulette pointed to two glasses and a flagon placed on a stove.
“When he came back we drank together; I said vague but kind things to him, and I charmed him by the sweetness of sounds. I will go again to his shop; I will learn from him how to make shoes, and how to live without desire. After which, I shall not be sad again. For desire and idleness alone make us sad.”
The Countess Martin smiled.
“Monsieur Choulette, I desire nothing, and, nevertheless, I am not joyful. Must I make shoes, too?”
Choulette replied, gravely:
“It is not yet time for that.”
When they reached the gardens of the Oricellari, Madame Marmet sank on a bench. She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said:
“Madame, could you tell me whether it is true that the Pope’s gowns are made by Worth?”
Madame Marmet thought not. Nevertheless, Choulette had heard people say this in cafes. Madame Marmet was astonished that Choulette, a Catholic and a socialist, should speak so disrespectfully of a pope friendly to the republic. But he did not like Leo XIII.
“The wisdom of princes is shortsighted,” he said; “the salvation of the Church must come from the Italian republic, as Leo XIII believes and wishes; but the Church will not be saved in the manner which this pious Machiavelli thinks. The revolution will make the Pope lose his last sou, with the rest of his patrimony. And it will be salvation. The Pope, destitute and poor, will then become powerful. He will agitate the world. We shall see again Peter, Lin, Clet, Anaclet, and Clement; the humble, the ignorant; men like the early saints will change the face of the earth. If to-morrow, in the chair of Peter, came to sit a real bishop, a real Christian, I would go to him, and say: ‘Do not be an old man buried alive in a golden tomb; quit your noble guards and your cardinals; quit your court and its similacrums of power. Take my arm and come with me to beg for your bread among the nations. Covered with rags, poor, ill, dying, go on the highways, showing in yourself the image of Jesus. Say, “I am begging my bread for the condemnation of the wealthy.” Go into the cities, and shout from door to door, with a sublime stupidity, “Be humble, be gentle, be poor!” Announce peace and charity to the cities, to the dens, and to the barracks. You will be disdained; the mob will throw stones at you. Policemen will drag you into prison. You shall be for the humble as for the powerful, for the poor as for the rich, a subject of laughter, an object of disgust and of pity. Your priests will dethrone you, and elevate against you an anti-pope, or will say that you are crazy. And it is necessary that they should tell the truth; it is necessary that you should be crazy; the lunatics have saved the world. Men will give to you the crown of thorns and the reed sceptre, and they will spit in your face, and it is by that sign that you will appear as Christ and true king; and it is by such means that you will establish Christian socialism, which is the kingdom of God on earth.’”
Having spoken in this way, Choulette lighted one of those long and tortuous Italian cigars, which are pierced with a straw. He drew from it several puffs of infectious vapor, then he continued, tranquilly:
“And it would be practical. You may refuse to acknowledge any quality in me except my clear view of situations. Ah, Madame Marmet, you will never know how true it is that the great works of this world were always achieved by madmen. Do you think, Madame Martin, that if Saint Francis of Assisi had been reasonable, he would have poured upon the earth, for the refreshment of peoples, the living water of charity and all the perfumes of love?”
“I do not know,” replied Madame Martin; “but reasonable people have always seemed to me to be bores. I can say this to you, Monsieur Choulette.”
They returned to Fiesole by the steam tramway which goes up the hill. The rain fell. Madame Marmet went to sleep and Choulette complained. All his ills came to attack him at once: the humidity in the air gave him a pain in the knee, and he could not bend his leg; his carpet-bag, lost the day before in the trip from the station to Fiesole, had not been found, and it was an irreparable disaster; a Paris review had just published one of his poems, with typographical errors as glaring as Aphrodite’s shell.
He accused men and things of being hostile to him. He became puerile, absurd, odious. Madame Martin, whom Choulette and the rain saddened, thought the trip would never end. When she reached the house she found Miss Bell in the drawing-room, copying with gold ink on a leaf of parchment, in a handwriting formed after the Aldine italics, verses which she had composed in the night. At her friend’s coming she raised her little face, plain but illuminated by splendid eyes.
“Darling, permit me to introduce to you the Prince Albertinelli.”
The Prince possessed a certain youthful, godlike beauty, that his black beard intensified. He bowed.
“Madame, you would make one love France, if that sentiment were not already in our hearts.”
The Countess and Choulette asked Miss Bell to read to them the verses she was writing. She excused herself from reciting her uncertain cadence to the French poet, whom she liked best after Francois Villon. Then she recited in her pretty, hissing, birdlike voice.
“That is very pretty,” said Choulette, “and bears the mark of Italy softly veiled by the mists of Thule.”
“Yes,” said the Countess Martin, “that is pretty. But why, dear Vivian, did your two beautiful innocents wish to die?”
“Oh, darling, because they felt as happy as possible, and desired nothing more. It was discouraging, darling, discouraging. How is it that you do not understand that?”
“And do you think that if we live the reason is that we hope?”
“Oh, yes. We live in the hope of what to-morrow, tomorrow, king of the land of fairies, will bring in his black mantle studded with stars, flowers, and tears. Oh, bright king, To-morrow!”
BOOK 2.
CHAPTER X. DECHARTRE ARRIVES IN FLORENCE
They had dressed for dinner. In the drawing-room Miss Bell was sketching monsters in imitation of Leonard. She created them, to know what they would say afterward, sure that they would speak and express rare ideas in odd rhythms, and that she would listen to them. It was in this way that she often found her inspiration.
Prince Albertinelli strummed on the piano the Sicilian ‘O Lola’! His soft fingers hardly touched the keys.
Choulette, even harsher than was his habit, asked for thread and needles that he might mend his clothes. He grumbled because he had lost a needle-case which he had carried for thirty years in his pocket, and which was dear to him for the sweetness of the reminiscences and the strength of the good advice that he had received from it. He thought he had lost it in the hall devoted to historic subjects in the Pitti Palace; and he blamed for this loss the Medicis and all the Italian painters.
Looking at Miss Bell with an evil eye, he said:
“I compose verses while mending my clothes. I like to work with my hands. I sing songs to myself while sweeping my room; that is the reason why my songs have gone to the hearts of men, like the old songs of the farmers and artisans, which are even more beautiful than mine, but not more natural. I have pride enough not to want any other servant than myself. The sacristan’s widow offered to repair my clothes. I would not permit her to do it. It is wrong to make others do servilely for us work which we can do ourselves with noble pride.”
The Prince was nonchalantly playing his nonchalant music. Therese, who for eight days had been running to churches and museums in the company of Madame Marmet, was thinking of the annoyance which her companion caused her by discovering in the faces of the old painters resemblances to persons she knew. In the morning, at the Ricardi Palace, on the frescoes of Gozzoli, she had recognized M. Gamin, M. Lagrange, M. Schmoll, the Princess Seniavine as a page, and M. Renan on horseback. She was terrified at finding M. Renan everywhere. She led all her ideas back to her little circle of academicians and fashionable people, by an easy turn, which irritated her friend. She recalled in her soft voice the public meetings at the Institute, the lectures at the Sorbonne, the evening receptions where shone the worldly and the spiritualist philosophers. As for the women, they were all charming and irreproachable. She dined with all of them. And Therese thought: “She is too prudent. She bores me.” And she thought of leaving her at Fiesole and visiting the churches alone. Employing a word that Le Menil had taught her, she said to herself:
“I will ‘plant’ Madame Marmet.”
A lithe old man came into the parlor. His waxed moustache and his white imperial made him look like an old soldier; but his glance betrayed, under his glasses, the fine softness of eyes worn by science and voluptuousness. He was a Florentine, a friend of Miss Bell and of the Prince, Professor Arrighi, formerly adored by women, and now celebrated in Tuscany for his studies of agriculture. He pleased the Countess Martin at once. She questioned him on his methods, and on the results he obtained from them. He said that he worked with prudent energy. “The earth,” he said, “is like women. The earth does not wish one to treat it with either timidity or brutality.” The Ave Maria rang in all the campaniles, seeming to make of the sky an immense instrument of religious music. “Darling,” said Miss Bell, “do you observe that the air of Florence is made sonorous and silvery at night by the sound of the bells?”
“It is singular,” said Choulette, “we have the air of people who are waiting for something.”
Vivian Bell replied that they were waiting for M. Dechartre. He was a little late; she feared he had missed the train.
Choulette approached Madame Marmet, and said, gravely “Madame Marmet, is it possible for you to look at a door—a simple, painted, wooden door like yours, I suppose, or like mine, or like this one, or like any other—without being terror-stricken at the thought of the visitor who might, at any moment, come in? The door of one’s room, Madame Marmet, opens on the infinite. Have you ever thought of that? Does one ever know the true name of the man or woman, who, under a human guise, with a known face, in ordinary clothes, comes into one’s house?”
He added that when he was closeted in his room he could not look at the door without feeling his hair stand on end. But Madame Marmet saw the doors of her rooms open without fear. She knew the name of every one who came to see her—charming persons.
Choulette looked at her sadly, and said, shaking his head: “Madame Marmet, those whom you call by their terrestrial names have other names which you do not know, and which are their real names.”
Madame Martin asked Choulette if he thought that misfortune needed to cross the threshold in order to enter one’s life.
“Misfortune is ingenious and subtle. It comes by the window, it goes through walls. It does not always show itself, but it is always there. The poor doors are innocent of the coming of that unwelcome visitor.”
Choulette warned Madame Martin severely that she should not call misfortune an unwelcome visitor.
“Misfortune is our greatest master and our best friend. Misfortune teaches us the meaning of life. Madame, when you suffer, you know what you must know; you believe what you must believe; you do what you must do; you are what you must be. And you shall have joy, which pleasure expels. True joy is timid, and does not find pleasure among a multitude.”
Prince Albertinelli said that Miss Bell and her French friends did not need to be unfortunate in order to be perfect, and that the doctrine of perfection reached by suffering was a barbarous cruelty, held in horror under the beautiful sky of Italy. When the conversation languished, he prudently sought again at the piano the phrases of the graceful and banal Sicilian air, fearing to slip into an air of Trovatore, which was written in the same manner.
Vivian Bell questioned the monsters she had created, and complained of their absurd replies.
“At this moment,” she said, “I should like to hear speak only figures on tapestries which should say tender things, ancient and precious as themselves.”
And the handsome Prince, carried away by the flood of melody, sang. His voice displayed itself like a peacock’s plumage, and died in spasms of “ohs” and “ahs.”
The good Madame Marmet, her eyes fixed on the door, said:
“I think that Monsieur Dechartre is coming.”
He came in, animated, with joy on his usually grave face.
Miss Bell welcomed him with birdlike cries.
“Monsieur Dechartre, we were impatient to see you. Monsieur Choulette was talking evil of doors—yes, of doors of houses; and he was saying also that misfortune is a very obliging old gentleman. You have lost all these beautiful things. You have made us wait very long, Monsieur Dechartre. Why?”
He apologized; he had taken only the time to go to his hotel and change his dress. He had not even gone to bow to his old friend the bronze San Marco, so imposing in his niche on the San Michele wall. He praised the poetess and saluted the Countess Martin with joy hardly concealed.
“Before quitting Paris I went to your house, where I was told you had gone to wait for spring at Fiesole, with Miss Bell. I then had the hope of finding you in this country, which I love now more than ever.”
She asked him whether he had gone to Venice, and whether he had seen again at Ravenna the empresses wearing aureolas, and the phantoms that had formerly dazzled him.
No, he had not stopped anywhere.
She said nothing. Her eyes remained fixed on the corner of the wall, on the St. Paulin bell.
He said to her:
“You are looking at the Nolette.”
Vivian Bell laid aside her papers and her pencils.
“You shall soon see a marvel, Monsieur Dechartre. I have found the queen of small bells. I found it at Rimini, in an old building in ruins, which is used as a warehouse. I bought it and packed it myself. I am waiting for it. You shall see. It bears a Christ on a cross, between the Virgin and Saint John, the date of 1400, and the arms of Malatesta—Monsieur Dechartre, you are not listening enough. Listen to me attentively. In 1400 Lorenzo Ghiberti, fleeing from war and the plague, took refuge at Rimini, at Paola Malatesta’s house. It was he that modelled the figures of my bell. And you shall see here, next week, Ghiberti’s work.”
The servant announced that dinner was served.
Miss Bell apologized for serving to them Italian dishes. Her cook was a poet of Fiesole.
At table, before the fiascani enveloped with corn straw, they talked of the fifteenth century, which they loved. Prince Albertinelli praised the artists of that epoch for their universality, for the fervent love they gave to their art, and for the genius that devoured them. He talked with emphasis, in a caressing voice.
Dechartre admired them. But he admired them in another way.
“To praise in a becoming manner,” he said, “those men, who worked so heartily, the praise should be modest and just. They should be placed in their workshops, in the shops where they worked as artisans. It is there that one may admire their simplicity and their genius. They were ignorant and rude. They had read little and seen little. The hills that surround Florence were the boundary of their horizon. They knew only their city, the Holy Scriptures, and some fragments of antique sculptures, studied and caressed lovingly.”
“You are right,” said Professor Arrighi. “They had no other care than to use the best processes. Their minds bent only on preparing varnish and mixing colors. The one who first thought of pasting a canvas on a panel, in order that the painting should not be broken when the wood was split, passed for a marvellous man. Every master had his secret formulae.”
“Happy time,” said Dechartre, “when nobody troubled himself about that originality for which we are so avidly seeking to-day. The apprentice tried to work like the master. He had no other ambition than to resemble him, and it was without trying to be that he was different from the others. They worked not for glory, but to live.”
“They were right,” said Choulette. “Nothing is better than to work for a living.”
“The desire to attain fame,” continued Dechartre, “did not trouble them. As they did not know the past, they did not conceive the future; and their dream did not go beyond their lives. They exercised a powerful will in working well. Being simple, they made few mistakes, and saw the truth which our intelligence conceals from us.”
Choulette began to relate to Madame Marmet the incidents of a call he had made during the day on the Princess of the House of France to whom the Marquise de Rieu had given him a letter of introduction. He liked to impress upon people the fact that he, the Bohemian and vagabond, had been received by that royal Princess, at whose house neither Miss Bell nor the Countess Martin would have been admitted, and whom Prince Albertinelli prided himself on having met one day at some ceremony.
“She devotes herself,” said the Prince, “to the practices of piety.”
“She is admirable for her nobility, and her simplicity,” said Choulette. “In her house, surrounded by her gentlemen and her ladies, she causes the most rigorous etiquette to be observed, so that her grandeur is almost a penance, and every morning she scrubs the pavement of the church. It is a village church, where the chickens roam, while the ‘cure’ plays briscola with the sacristan.”
And Choulette, bending over the table, imitated, with his napkin, a servant scrubbing; then, raising his head, he said, gravely:
“After waiting in consecutive anterooms, I was at last permitted to kiss her hand.”
And he stopped.
Madame Martin asked, impatiently:
“What did she say to you, that Princess so admirable for her nobility and her simplicity?”
“She said to me: ‘Have you visited Florence? I am told that recently new and handsome shops have been opened which are lighted at night.’ She said also ‘We have a good chemist here. The Austrian chemists are not better. He placed on my leg, six months ago, a porous plaster which has not yet come off.’ Such are the words that Maria Therese deigned to address to me. O simple grandeur! O Christian virtue! O daughter of Saint Louis! O marvellous echo of your voice, holy Elizabeth of Hungary!”
Madame Martin smiled. She thought that Choulette was mocking. But he denied the charge, indignantly, and Miss Bell said that Madame Martin was wrong. It was a fault of the French, she said, to think that people were always jesting.
Then they reverted to the subject of art, which in that country is inhaled with the air.
“As for me,” said the Countess Martin, “I am not learned enough to admire Giotto and his school. What strikes me is the sensuality of that art of the fifteenth century which is said to be Christian. I have seen piety and purity only in the images of Fra Angelico, although they are very pretty. The rest, those figures of Virgins and angels, are voluptuous, caressing, and at times perversely ingenuous. What is there religious in those young Magian kings, handsome as women; in that Saint Sebastian, brilliant with youth, who seems merely the dolorous Bacchus of Christianity?”
Dechartre replied that he thought as she did, and that they must be right, she and he; since Savonarola was of the same opinion, and, finding no piety in any work of art, wished to burn them all.
“There were at Florence, in the time of the superb Manfred, who was half a Mussulman, men who were said to be of the sect of Epicurus, and who sought for arguments against the existence of God. Guido Cavalcanti disdained the ignorant folk who believed in the immortality of the soul. The following phrase by him was quoted: ‘The death of man is exactly similar to that of brutes.’ Later, when antique beauty was excavated from ruins, the Christian style of art seemed sad. The painters that worked in the churches and cloisters were neither devout nor chaste. Perugino was an atheist, and did not conceal it.”
“Yes,” said Miss Bell; “but it was said that his head was hard, and that celestial truths, could not penetrate his thick cranium. He was harsh and avaricious, and quite embedded in material interests. He thought only of buying houses.”
Professor Arrighi defended Pietro Vanucci of Perugia.
“He was,” he said, “an honest man. And the prior of the Gesuati of Florence was wrong to mistrust him. That monk practised the art of manufacturing ultramarine blue by crushing stones of burned lapis-lazuli. Ultramarine was then worth its weight in gold; and the prior, who doubtless had a secret, esteemed it more precious than rubies or sapphires. He asked Pietro Vanucci to decorate the two cloisters of his convent, and he expected marvels, less from the skilfulness of the master than from the beauty of that ultramarine in the skies. During all the time that the painter worked in the cloisters at the history of Jesus Christ, the prior kept by his side and presented to him the precious powder in a bag which he never quitted. Pietro took from it, under the saintly man’s eyes, the quantity he needed, and dipped his brush, loaded with color, in a cupful of water, before rubbing the wall with it. He used in that manner a great quantity of the powder. And the good father, seeing his bag getting thinner, sighed: ‘Jesus! How that lime devours the ultramarine!’ When the frescoes were finished, and Perugino had received from the monk the agreed price, he placed in his hand a package of blue powder: ‘This is for you, father. Your ultramarine which I took with my brush fell to the bottom of my cup, whence I gathered it every day. I return it to you. Learn to trust honest people.”
“Oh,” said Therese, “there is nothing extraordinary in the fact that Perugino was avaricious yet honest. Interested people are not always the least scrupulous. There are many misers who are honest.”
“Naturally, darling,” said Miss Bell. “Misers do not wish to owe anything, and prodigal people can bear to have debts. They do not think of the money they have, and they think less of the money they owe. I did not say that Pietro Vanucci of Perugia was a man without property. I said that he had a hard business head and that he bought houses. I am very glad to hear that he returned the ultramarine to the prior of the Gesuati.”
“Since your Pietro was rich,” said Choulette, “it was his duty to return the ultramarine. The rich are morally bound to be honest; the poor are not.”
At this moment, Choulette, to whom the waiter was presenting a silver bowl, extended his hands for the perfumed water. It came from a vase which Miss Bell passed to her guests, in accordance with antique usage, after meals.
“I wash my hands,” he said, “of the evil that Madame Martin does or may do by her speech, or otherwise.”
And he rose, awkwardly, after Miss Bell, who took the arm of Professor Arrighi.
In the drawing-room she said, while serving the coffee:
“Monsieur Choulette, why do you condemn us to the savage sadness of equality? Why, Daphnis’s flute would not be melodious if it were made of seven equal reeds. You wish to destroy the beautiful harmonies between masters and servants, aristocrats and artisans. Oh, I fear you are a sad barbarian, Monsieur Choulette. You are full of pity for those who are in need, and you have no pity for divine beauty, which you exile from this world. You expel beauty, Monsieur Choulette; you repudiate her, nude and in tears. Be certain of this: she will not remain on earth when the poor little men shall all be weak, delicate, and ignorant. Believe me, to abolish the ingenious grouping which men of diverse conditions form in society, the humble with the magnificent, is to be the enemy of the poor and of the rich, is to be the enemy of the human race.”
“Enemies of the human race!” replied Choulette, while stirring his coffee. “That is the phrase the harsh Roman applied to the Christians who talked of divine love to him.”
Dechartre, seated near Madame Martin, questioned her on her tastes about art and beauty, sustained, led, animated her admirations, at times prompted her with caressing brusquerie, wished her to see all that he had seen, to love all that he loved.
He wished that she should go in the gardens at the first flush of spring. He contemplated her in advance on the noble terraces; he saw already the light playing on her neck and in her hair; the shadow of laurel-trees falling on her eyes. For him the land and the sky of Florence had nothing more to do than to serve as an adornment to this young woman.
He praised the simplicity with which she dressed, the characteristics of her form and of her grace, the charming frankness of the lines which every one of her movements created. He liked, he said, the animated and living, subtle, and free gowns which one sees so rarely, which one never forgets.
Although she had been much lauded, she had never heard praise which had pleased her more. She knew she dressed well, with bold and sure taste. But no man except her father had made to her on the subject the compliments of an expert. She thought that men were capable of feeling only the effect of a gown, without understanding the ingenious details of it. Some men who knew gowns disgusted her by their effeminate air. She was resigned to the appreciation of women only, and these had in their appreciation narrowness of mind, malignity, and envy. The artistic admiration of Dechartre astonished and pleased her. She received agreeably the praise he gave her, without thinking that perhaps it was too intimate and almost indiscreet.
“So you look at gowns, Monsieur Dechartre?”
No, he seldom looked at them. There were so few women well dressed, even now, when women dress as well as, and even better, than ever. He found no pleasure in seeing packages of dry-goods walk. But if a woman having rhythm and line passed before him, he blessed her.
He continued, in a tone a little more elevated:
“I can not think of a woman who takes care to deck herself every day, without meditating on the great lesson which she gives to artists. She dresses for a few hours, and the care she has taken is not lost. We must, like her, ornament life without thinking of the future. To paint, carve, or write for posterity is only the silliness of conceit.”
“Monsieur Dechartre,” asked Prince Albertinelli, “how do you think a mauve waist studded with silver flowers would become Miss Bell?”
“I think,” said Choulette, “so little of a terrestrial future, that I have written my finest poems on cigarette paper. They vanished easily, leaving to my verses only a sort of metaphysical existence.”
He had an air of negligence for which he posed. In fact, he had never lost a line of his writing. Dechartre was more sincere. He was not desirous of immortality. Miss Bell reproached him for this.
“Monsieur Dechartre, that life may be great and complete, one must put into it the past and the future. Our works of poetry and of art must be accomplished in honor of the dead and with the thought of those who are to come after us. Thus we shall participate in what has been, in what is, and in what shall be. You do not wish to be immortal, Monsieur Dechartre? Beware, for God may hear you.”
Dechartre replied:
“It would be enough for me to live one moment more.”
And he said good-night, promising to return the next day to escort Madame Martin to the Brancacci chapel.
An hour later, in the aesthetic room hung with tapestry, whereon citron-trees loaded with golden fruit formed a fairy forest, Therese, her head on the pillow, and her handsome bare arms folded under her head, was thinking, seeing float confusedly before her the images of her new life: Vivian Bell and her bells, her pre-Raphaelite figures, light as shadows, ladies, isolated knights, indifferent among pious scenes, a little sad, and looking to see who was coming; she thought also of the Prince Albertinelli, Professor Arrighi, Choulette, with his odd play of ideas, and Dechartre, with youthful eyes in a careworn face.
She thought he had a charming imagination, a mind richer than all those that had been revealed to her, and an attraction which she no longer tried to resist. She had always recognized his gift to please. She discovered now that he had the will to please. This idea was delightful to her; she closed her eyes to retain it. Then, suddenly, she shuddered. She had felt a deep blow struck within her in the depth of her being. She had a sudden vision of Robert, his gun under his arm, in the woods. He walked with firm and regular step in the shadowy thicket. She could not see his face, and that troubled her. She bore him no ill-will. She was not discontented with him, but with herself. Robert went straight on, without turning his head, far, and still farther, until he was only a black point in the desolate wood. She thought that perhaps she had been capricious and harsh in leaving him without a word of farewell, without even a letter. He was her lover and her only friend. She never had had another. “I do not wish him to be unfortunate because of me,” she thought.
Little by little she was reassured. He loved her, doubtless; but he was not susceptible, not ingenious, happily, in tormenting himself. She said to herself:
“He is hunting and enjoying the sport. He is with his aunt, whom he admires.” She calmed her fears and returned to the charming gayety of Florence. She had seen casually, at the Offices, a picture that Dechartre liked. It was a decapitated head of the Medusa, a work wherein Leonardo, the sculptor said, had expressed the minute profundity and tragic refinement of his genius. She wished to see it again, regretting that she had not seen it better at first. She extinguished her lamp and went to sleep.
She dreamed that she met in a deserted church Robert Le Menil enveloped in furs which she had never seen him wear. He was waiting for her, but a crowd of priests had separated them. She did not know what had become of him. She had not seen his face, and that frightened her. She awoke and heard at the open window a sad, monotonous cry, and saw a humming-bird darting about in the light of early dawn. Then, without cause, she began to weep in a passion of self-pity, and with the abandon of a child.
CHAPTER XI. “THE DAWN OF FAITH AND LOVE”
She took pleasure in dressing early, with delicate and subtle taste. Her dressing-room, an aesthetic fantasy of Vivian Bell, with its coarsely varnished pottery, its tall copper pitchers, and its faience pavement, like a chess-board, resembled a fairy’s kitchen. It was rustic and marvellous, and the Countess Martin could have in it the agreeable surprise of mistaking herself for a fairy. While her maid was dressing her hair, she heard Dechartre and Choulette talking under her windows. She rearranged all the work Pauline had done, and uncovered the line of her nape, which was fine and pure. She looked at herself in the glass, and went into the garden.
Dechartre was there, reciting verses of Dante, and looking at Florence: “At the hour when our mind, a greater stranger to the flesh...”
Near him, Choulette, seated on the balustrade of the terrace, his legs hanging, and his nose in his beard, was still at work on the figure of Misery on his stick.
Dechartre resumed the rhymes of the canticle: “At the hour when our mind, a greater stranger to the flesh; and less under the obsession of thoughts, is almost divine in its visions,...”
She approached beside the boxwood hedge, holding a parasol and dressed in a straw-colored gown. The faint sunlight of winter enveloped her in pale gold.
Dechartre greeted her joyfully.
She said:
“You are reciting verses that I do not know. I know only Metastasio. My teacher liked only Metastasio. What is the hour when the mind has divine visions?”
“Madame, that hour is the dawn of the day. It may be also the dawn of faith and of love.”
Choulette doubted that the poet meant dreams of the morning, which leave at awakening vivid and painful impressions, and which are not altogether strangers to the flesh. But Dechartre had quoted these verses in the pleasure of the glorious dawn which he had seen that morning on the golden hills. He had been, for a long time, troubled about the images that one sees in sleep, and he believed that these images were not related to the object that preoccupies one the most, but, on the contrary, to ideas abandoned during the day.
Therese recalled her morning dream, the hunter lost in the thicket.
“Yes,” said Dechartre, “the things we see at night are unfortunate remains of what we have neglected the day before. Dreams avenge things one has disdained. They are reproaches of abandoned friends. Hence their sadness.”
She was lost in dreams for a moment, then she said:
“That is perhaps true.”
Then, quickly, she asked Choulette if he had finished the portrait of Misery on his stick. Misery had now become a figure of Piety, and Choulette recognized the Virgin in it. He had even composed a quatrain which he was to write on it in spiral form—a didactic and moral quatrain. He would cease to write, except in the style of the commandments of God rendered into French verses. The four lines expressed simplicity and goodness. He consented to recite them.
Therese rested on the balustrade of the terrace and sought in the distance, in the depth of the sea of light, the peaks of Vallambrosa, almost as blue as the sky. Jacques Dechartre looked at her. It seemed to him that he saw her for the first time, such was the delicacy that he discovered in her face, which tenderness and intelligence had invested with thoughtfulness without altering its young, fresh grace. The daylight which she liked, was indulgent to her. And truly she was pretty, bathed in that light of Florence, which caresses beautiful forms and feeds noble thoughts. A fine, pink color rose to her well-rounded cheeks; her eyes, bluish-gray, laughed; and when she talked, the brilliancy of her teeth set off her lips of ardent sweetness. His look embraced her supple bust, her full hips, and the bold attitude of her waist. She held her parasol with her left hand, the other hand played with violets. Dechartre had a mania for beautiful hands. Hands presented to his eyes a physiognomy as striking as the face—a character, a soul. These hands enchanted him. They were exquisite. He adored their slender fingers, their pink nails, their palms soft and tender, traversed by lines as elegant as arabesques, and rising at the base of the fingers in harmonious mounts. He examined them with charmed attention until she closed them on the handle of her umbrella. Then, standing behind her, he looked at her again. Her bust and arms, graceful and pure in line, her beautiful form, which was like that of a living amphora, pleased him.
“Monsieur Dechartre, that black spot over there is the Boboli Gardens, is it not? I saw the gardens three years ago. There were not many flowers in them. Nevertheless, I liked their tall, sombre trees.”
It astonished him that she talked, that she thought. The clear sound of her voice amazed him, as if he never had heard it.
He replied at random. He was awkward. She feigned not to notice it, but felt a deep inward joy. His low voice, which was veiled and softened, seemed to caress her. She said ordinary things:
“That view is beautiful, The weather is fine.”