The Revolt of the Angels Part 16

CHAPTER XXII

WHEREIN WE ARE SHOWN THE INTERIOR OF A BRIC-A-BRAC SHOP, AND SEE HOW PeRE GUINARDON'S GUILTY HAPPINESS IS MARRED BY THE JEALOUSY OF A LOVE-LORN DAME

Pere Guinardon (as Zephyrine had faithfully reported to Monsieur Sariette) smuggled out the pictures, furniture, and curios stored in his attic in the rue Princesse--his studio he called it--and used them to stock a shop he had taken in the rue de Courcelles. Thither he went to take up his abode, leaving Zephyrine, with whom he had lived for fifty years, without a bed or a saucepan or a penny to call her own, except eighteenpence the poor creature had in her purse. Pere Guinardon opened an old picture and curiosity shop, and in it he installed the fair Octavie.

The shop-front presented an attractive appearance: there were Flemish angels in green copes, after the manner of Gerard David, a Salome of the Luini school, a Saint Barbara in painted wood of French workmanship, Limoges enamel-work, Bohemian and Venetian gla.s.s, dishes from Urbino.

There were specimens of English point-lace which, if her tale was true, had been presented to Zephyrine, in the days of her radiant girlhood, by the Emperor Napoleon III. Within, there were golden articles that glinted in the shadows, while pictures of Christ, the Apostles, high-bred dames, and nymphs also presented themselves to the gaze. There was one canvas that was turned face to the wall so that it should only be looked at by connoisseurs; and connoisseurs are scarce. It was a replica of Fragonard's _Gimblette_, a brilliant painting that looked as if it had barely had time to dry. Papa Guinardon himself remarked on the fact. At the far end of the shop was a king-wood cabinet, the drawers of which were full of all manner of treasures: water-colours by Baudouin, eighteenth-century books of ill.u.s.trations, miniatures, and so forth.

But the real masterpiece, the marvel, the gem, the pearl of great price, stood upon an easel veiled from public view. It was a _Coronation of the Virgin_ by Fra Angelico, an exquisitely delicate thing in gold and blue and pink. Pere Guinardon was asking a hundred thousand francs for it.

Upon a Louis XV chair beside an Empire work-table on which stood a vase of flowers, sat the fair Octavie, broidery in hand. She, having left her glistering rags behind her in the garret in the rue Princesse, no longer presented the appearance of a touched-up Rembrandt, but shone, rather, with the soft radiance and limpidity of a Vermeer of Delft, for the delectation of the connoisseurs who frequented the shop of Papa Guinardon. Tranquil and demure, she remained alone in the shop all day, while the old fellow himself was up aloft working away at the deuce knows what picture. About five o'clock he used to come downstairs and have a chat with the habitues of the establishment.

The most regular caller was the Comte Desmaisons, a thin, cadaverous man. A strand of hair issued from the deep hollow under each cheek-bone, and, broadening as it descended, shed upon his chin and chest torrents of snow in which he was for ever trailing his long, fleshless, gold-ringed fingers. For twenty years he had been mourning the loss of his wife, who had been carried off by consumption in the flower of her youth and beauty. Since then he had spent his whole life in endeavouring to hold converse with the dead and in filling his lonely mansion with second-rate paintings. His confidence in Guinardon knew no bounds.

Another client who was a scarcely less frequent visitor to the shop was Monsieur Blancmesnil, a director of a large financial establishment. He was a florid, prosperous-looking man of fifty. He took no great interest in matters of art, and was perhaps an indifferent connoisseur, but, in his case, it was the fair Octavie, seated in the middle of the shop, like a song-bird in its cage, that offered the attraction.

Monsieur Blancmesnil soon established relations with her, a fact which Pere Guinardon alone failed to perceive, for the old fellow was still young in his love-affair with Octavie. Monsieur Gaetan d'Esparvieu used to pay occasional visits to Pere Guinardon's shop out of mere curiosity, for he strongly suspected the old man of being a first-rate "faker."

And then that doughty swordsman, Monsieur Le Truc de Ruffec, also came to see the old antiquary on one occasion, and acquainted him with a plan he had on foot. Monsieur Le Truc de Ruffec was getting up a little historical exhibition of small arms at the Pet.i.t Palais in aid of the fund for the education of the native children in Morocco and wanted Pere Guinardon to lend him a few of the most valuable articles in his collection.

"Our first idea," he said, "was to organise an exhibition to be called 'The Cross and the Sword.' The juxtaposition of the two words will make the idea which has prompted our undertaking sufficiently clear to you.

It was an idea pre-eminently patriotic and Christian which led us to a.s.sociate the Sword, which is the symbol of Honour, with the Cross, which is the symbol of Salvation. It was hoped that our work would be graced by the distinguished patronage of the Minister of War and Monseigneur Cachepot. Unfortunately there were difficulties in the way, and the full realisation of the project had to be deferred. In the meantime we are limiting our exhibition to 'The Sword.' I have drawn up an explanatory note indicating the significance of the demonstration."

Having delivered himself of these remarks, Monsieur Le Truc de Ruffec produced a pocket-case stuffed full of papers. Picking out from a medley of judgment summonses and other odds and ends a little piece of very crumpled paper, he exclaimed, "Ah, here it is," and proceeded to read as follows: "'The Sword is a fierce Virgin; it is _par excellence_ the Frenchman's weapon. And now, when patriotic sentiment, after suffering an all too protracted eclipse, is beginning to shine forth again more ardently than ever ...' and so forth; you see?"

And he repeated his request for some really fine specimen to be placed in the most conspicuous position in the exhibition to be held on behalf of the little native children of Morocco, of which General d'Esparvieu was to be honorary President.

Arms and armour were by no means Pere Guinardon's strong point. He dealt princ.i.p.ally in pictures, drawings, and books. But he was never to be taken unawares. He took down a rapier with a gilt colander-shaped hilt, a highly typical piece of workmanship of the Louis XIII-Napoleon III period, and presented it to the exhibition promoter, who, while contemplating it with respect, maintained a diplomatic silence.

"I have something better still in here," said the antiquary, and he produced from his inner shop--where it had been lying among the walking-sticks and umbrellas--a real demon of a sword, adorned with fleurs-de-lys, a genuine royal relic. It was the sword of Philippe-Auguste as worn by an actor at the _Odeon_ when _Agnes de Meranie_ was being performed in 1846. Guinardon held it point downwards, as though it were a cross, clasping his hands piously on the cross-bar.

He looked as loyal as the sword itself.

"Have her for your exhibition," said he. "The damsel is well worth it.

Bouvines is her name."

"If I find a buyer for it," said Monsieur Le True de Ruffec, twirling his enormous moustachios, "I suppose you will allow me a little commission?"

Some days later, Pere Guinardon was mysteriously displaying a picture to the Comte Desmaisons and Monsieur Blancmesnil. It was a newly discovered work of El Greco, an amazingly fine example of the Master's later style.

It represented a Saint Francis of a.s.sisi standing erect upon Mont Alverno. He was mounting heavenward like a column of smoke, and was plunging into the regions of the clouds a monstrously narrow head that the distance rendered smaller still. In fine it was a real, very real, nay, too real El Greco. The two collectors were attentively scrutinizing the work, while Pere Guinardon was belauding the depth of the shadows and the sublimity of the expression. He was raising his arms aloft to convey an idea of the greatness of Theotocopuli, who derived from Tintoretto, whom, however, he surpa.s.sed in loftiness by a hundred cubits.

"He was chaste and pure and strong; a mystic, a visionary."

Comte Desmaisons declared that El Greco was his favourite painter. In his inmost heart Blancmesnil was not so entirely struck with it.

The door opened, and Monsieur Gaetan quite unexpectedly appeared on the scene.

He gave a glance at the Saint Francis, and said:

"Bless my soul!"

Monsieur Blancmesnil, anxious to improve his knowledge, asked him what he thought of this artist who was now so much in vogue. Gaetan replied, glibly enough, that he did not regard El Greco as the eccentric, the madman that people used to take him for. It was rather his opinion that a defect of vision from which Theotocopuli suffered compelled him to deform his figures.

"Being afflicted with astigmatism and strabismus," Gaetan went on, "he painted the things he saw exactly as he used to see them."

Comte Desmaisons was not readily disposed to accept so natural an explanation, which, however, by its very simplicity, highly commended itself to Monsieur Blancmesnil.

Pere Guinardon, quite beside himself, exclaimed:

"Are you going to tell me, Monsieur d'Esparvieu, that Saint John was astigmatic because he beheld a woman clothed with the sun, crowned with stars, with the moon about her feet; the Beast with seven heads and ten horns, and the seven angels robed in white linen that bore the seven cups filled with the wrath of the Living G.o.d?"

"After all," said Monsieur Gaetan, by way of conclusion, "people are right in admiring El Greco if he had genius enough to impose his morbidity of vision upon them. By the same token, the contortions to which he subjects the human countenance may give satisfaction to those who love suffering,--a cla.s.s more numerous than is generally supposed."

"Monsieur," replied the Comte Desmaisons, stroking his luxuriant beard with his long, thin hand, "we must love those that love us. Suffering loves us and attaches itself to us. We must love it if life is to be supportable to us. In the knowledge of this truth lies the strength and value of Christianity. Alas! I do not possess the gift of Faith. It is that which drives me to despair."

The old man thought of her for whom he had been mourning twenty years, and forthwith his reason left him, and his thoughts abandoned themselves unresistingly to the morbid imaginings of gentle and melancholy madness.

Having, he said, made a study of psychic matters, and having, with the co-operation of a favourable medium, carried out experiments concerning the nature and duration of the soul, he had obtained some remarkable results, which, however, did not afford him complete satisfaction. He had succeeded in viewing the soul of his dead wife under the appearance of a transparent and gelatinous ma.s.s which bore not the slightest resemblance to his adored one. The most painful part about the whole experiment--which he had repeated over and over again--was that the gelatinous ma.s.s, which was furnished with a number of extremely slender tentacles, maintained them in constant motion in time to a rhythm apparently intended to make certain signs, but of what these movements were supposed to convey there was not the slightest clue.

During the whole of this narrative Monsieur Blancmesnil had been whispering in a corner with the youthful Octavie, who sat mute and still, with her eyes on the ground.

Now Zephyrine had by no means made up her mind to resign her lover into the hands of an unworthy rival. She would often go round of a morning, with her shopping-basket on her arm, and prowl about outside the curio shop. Torn betwixt grief and rage, tormented by warring ideas, she sometimes thought she would empty a saucepanful of vitriol on the head of the faithless one; at others that she would fling herself at his feet, and shower tears and kisses on his precious hands. One day, as she was thus eyeing her Michel--her beloved but guilty Michel--she noticed through the window the fair and youthful Octavie, who was sitting with her embroidery at a table upon which, in a vase of crystal, a rose was swooning to death. Zephyrine, in a transport of fury, brought down her umbrella on her rival's fair head, and called her a b.i.t.c.h and a trollop.

Octavie fled in terror, and ran for the police, while Zephyrine, beside herself with grief and love, kept digging away with her old gamp at the _Gimblette_ of Fragonard, the fuliginous Saint Francis of El Greco, the virgins, the nymphs, and the apostles, and knocked the gilt off the Fra Angelico, shrieking all the while:

"All those pictures there, the El Greco, the Beato Angelico, the Fragonard, the Gerard David, and the Baudouins--Guinardon painted the whole lot of them himself, the wretch, the scoundrel! That Fra Angelico there, why I saw him painting it on my ironing-board, and that Gerard David he executed on an old midwife's sign-board. You and that b.i.t.c.h of yours, why, I'll do for the pair of you just as I'm doing for these pictures."

And tugging away at the coat of an aged collector who, trembling all over, had hidden himself in the darkest corner of the shop, she called him to witness to the crimes of Guinardon, perjurer and impostor. The police had simply to tear her out of the ruined shop. As she was being taken off to the station, followed by a great crowd of people, she raised her fiery eyes to Heaven, crying in a voice choked with sobs:

"But don't you know Michel? If you knew him, you would understand that it is impossible to live without him. Michel! He is handsome and good and charming. He is a very G.o.d. He is Love itself. I love him! I love him! I love him! I have known men high up in the world--Dukes, Ministers of State, and higher still. Not one of them was worthy to clean the mud off Michel's boots. My good, kind sirs, give him back to me again."

CHAPTER XXIII

WHEREIN WE ARE PERMITTED TO OBSERVE THE ADMIRABLE CHARACTER OF BOUCHOTTE, WHO RESISTS VIOLENCE BUT YIELDS TO LOVE. AFTER THAT LET NO ONE CALL THE AUTHOR A MISOGYNIST

On coming away from the Baron Everdingen's, Prince Istar went to have a few oysters and a bottle of white wine at an eating-house in the Market.

Then, being prudent as well as powerful, he paid a visit to his friend, Theophile Belais, for his pockets were full of bombs, and he wanted to secrete them in the musician's cupboard. The composer of _Aline, Queen of Golconda_ was not at home. However, the Kerub found Bouchotte busily working up the role of Zigouille; for the young artiste was booked to play the princ.i.p.al part in _Les Apaches_, an operetta that was then being rehea.r.s.ed in one of the big music halls. The part in question was that of a street-walker who by her obscene gestures lures a pa.s.ser-by into a trap, and then, while her victim is being gagged and bound, repeats with fiendish cruelty the lascivious motions by which he had been led astray. The part required that she should appear both as mime and singer, and she was in a state of high enthusiasm about it.

The accompanist had just left. Prince Istar seated himself at the piano, and Bouchotte resumed her task. Her movements were unseemly and delicious. Her tawny hair was flying in all directions in wild disordered curls; her skin was moist, it exhaled a scent of violets and alkaline salts which made the nostrils throb; even she herself felt the intoxication. Suddenly, inebriated with her intoxicating presence, Prince Istar arose, and with never a word or a look, caught her into his arms and drew her on to the couch, the little couch with the flowered tapestry which Theophile had procured at one of the big shops by promising to pay ten francs a month for a long term of years. Now Istar might have solicited Bouchotte's favours; he might have invited her to a rapid, and, withal, a mutual embrace, and, despite her preoccupation and excitement, she would not have refused him. But Bouchotte was a girl of spirit. The merest hint of coercion awoke all her untamable pride. She would consent of her own accord, yes; but be mastered, never! She would readily yield to love, curiosity, pity, to less than that even, but she would die rather than yield to force. Her surprise immediately gave place to fury. She fought her aggressor with all her heart and soul.

With nails, to which fury lent an added edge, she tore at the cheeks and eyelids of the Kerub, and, though he held her as in a vice, she arched herself so stiffly and made such excellent play with knee and elbow, that the human-headed bull, blinded with blood and rage, was sent crashing into the piano which gave forth a prolonged groan, while the bombs, tumbling out of his pockets, fell on the floor with a noise like thunder. And Bouchotte, with dishevelled locks, and one breast bare, beautiful and terrible, stood brandishing the poker over the prostrate giant, crying:

"Be off with you, or I'll put your eyes out!"

Prince Istar went to wash himself in the kitchen, and plunged his gory visage into a basin where some haricot beans lay soaking; then he withdrew without anger or resentment, for he had a n.o.ble soul.

Scarcely had he gone when the door-bell rang. Bouchotte, calling upon the absent maid in vain, slipped on a dressing-gown and opened the door herself. A young man, very correct in appearance and rather good-looking, bowed politely, and apologising for having to introduce himself, gave his name. It was Maurice d'Esparvieu.