The Project Gutenberg Etext of Cosmopolis by Paul Bourget, v2 #51 in our series The French Immortals Crowned by the French Academy #3 in our series by Paul Bourget
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Title: Cosmopolis, v2
Author: Paul Bourget
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The Project Gutenberg Etext of Cosmopolis by Paul Bourget, v2
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COSMOPOLIS
By PAUL BOURGET
BOOK 2.
CHAPTER IV
APPROACHING DANGER
"I could not act differently," repeated Dorsenne on the evening of that eventful day. He had given his entire afternoon to caring for Gorka. He made him lunch. He made him lie down. He watched him. He took him in a closed carriage to Portonaccio, the first stopping-place on the Florence line. Indeed, he made every effort not to leave alone for a moment the man whose frenzy he had rather suspended than appeased, at the price, alas, of his own peace of mind! For, once left alone, in solitude and in the apartments on the Place de la Trinite, where twenty details testified to the visit of Gorka, the weight of the perjured word of honor became a heavy load to the novelist, so much the more heavy when he discovered the calculating plan followed by Boleslas. His tardy penetration permitted him to review the general outline of their conversation. He perceived that not one of his interlocutor's sentences, not even the most agitated, had been uttered at random. From reply to reply, from confidence to confidence, he, Dorsenne, had become involved in the dilemma without being able to foresee or to avoid it; he would either have had to accuse a woman or to lie with one of those lies which a manly conscience does not easily pardon. He did not forgive himself for it.
"It is so much worse," said he to himself, "as it will prevent nothing. A person vile enough to pen anonymous letters will not stop there. She will find the means of again unchaining the madman…. But who wrote those letters? Gorka may have forged them in order to have an opportunity to ask me the question he did…. And yet, no…. There are two indisputable facts—his state of jealousy and his extraordinary return. Both would lead one to suppose a third, a warning. But given by whom?…. He told me of twelve anonymous letters…. Let us assume that he received one or two…. But who is the author of those?"
The immediate development of the drama in which Julien found himself involved was embodied in the answer to the question. It was not easy to formulate. The Italians have a proverb of singular depth which the novelist recalled at that moment. He had laughed a great deal when he heard sententious Egiste Brancadori repeat it. He repeated it to himself, and he understood its meaning. 'Chi non sa fingersi amico, non sa essere nemico. "He who does not know how to disguise himself as a friend, does not know how to be an enemy." In the little corner of society in which Countess Steno, the Gorkas and Lincoln Maitland moved, who was hypocritical and spiteful enough to practise that counsel?
"It is not Madame Steno," thought Julien; "she has related all herself to her lover. I knew a similar case. But it involved degraded Parisians, not a Dogesse of the sixteenth century found intact in the Venice of today, like a flower of that period preserved. Let us strike her off. Let us strike off, too, Madame Gorka, the truthful creature who could not even condescend to the smallest lie for a trinket which she desires. It is that which renders her so easily deceived. What irony!…. Let us strike off Florent. He would allow himself to be killed, if necessary, like a Mameluke at the door of the room where his genial brother-in-law was dallying with the Countess…. Let us strike off the American himself. I have met such a case, a lover weary of a mistress, denouncing himself to her in order to be freed from his love-affair. But he was a roue, and had nothing in common with this booby, who has a talent for painting as an elephant has a trunk—what irony! He married this octoroon to have money. But it was a base act which freed him from commerce, and permitted him to paint all he wanted, as he wanted. He allows Steno to love him because she is diabolically pretty, notwithstanding her forty years, and then she is, in spite of all, a real noblewoman, which flattered him. He has not one dollar's-worth of moral delicacy in his heart. But he has an abundance of knavery…. Let us, too, strike out his wife. She is such a veritable slave whom the mere presence of a white person annihilates to such a degree that she dares not look her husband in the face…. It is not Hafner. The sly fox is capable of doing anything by cunning, but is he capable of undertaking a useless and dangerous piece of rascality? Never…. Fanny is a saint escaped from the Golden Legend, no matter what Montfanon thinks! I have now reviewed the entire coterie…. I was about to forget Alba…. It is too absurd even to think of her…. Too absurd? Why?"
Dorsenne was, on formulating that fantastic thought, upon the point of retiring. He took up, as was his habit, one of the books on his table, in order to read a few pages, when once in bed. He had thus within his reach the works by which he strengthened his doctrine of intransitive intellectuality; they were Goethe's Memoirs; a volume of George Sand's correspondence, in which were the letters to Flaubert; the 'Discours de la Methode' by Descartes, and the essay by Burckhart on the Renaissance.
But, after turning over the leaves of one of those volumes, he closed it without having read twenty lines. He extinguished his lamp, but he could not sleep. The strange suspicion which crossed his mind had something monstrous about it, applied thus to a young girl. What a suspicion and what a young girl! The preferred friend of his entire winter, she on whose account he had prolonged his stay in Rome, for she was the most graceful vision of delicacy and of melancholy in the framework of a tragical and solemn past. Any other than Dorsenne would not have admitted such an idea without being inspired with horror. But Dorsenne, on the contrary, suddenly began to dive into that sinister hypothesis, to help it forward, to justify it. No one more than he suffered from a moral deformity which the abuse of a certain literary work inflicts on some writers. They are so much accustomed to combining artificial characters with creations of their imaginations that they constantly fulfil an analogous need with regard to the individuals they know best. They have some friend who is dear to them, whom they see almost daily, who hides nothing from them and from whom they hide nothing. But if they speak to you of him you are surprised to find that, while continuing to love that friend, they trace to you in him two contradictory portraits with the same sincerity and the same probability.
They have a mistress, and that woman, even in the space sometimes of one day, sees them, with fear, change toward her, who has remained the same. It is that they have developed in them to a very intense degree the imagination of the human soul, and that to observe is to them only a pretext to construe. That infirmity had governed Julien from early maturity. It was rarely manifested in a manner more unexpected than in the case of charming Alba
"After all," he said to himself, for there is iconoclasm in the excessively intellectual, and they delight in destroying their dearest moral or sentimental idols, the better to prove their strength, "after all, have I really understood her relations toward her mother? When I came to Rome in November, when I was to be presented to the Countess, what did not only one, but nine or ten persons tell me? That Madame Steno had a liaison with the husband of her daughter's best friend, and that the little one was grieving about it. I went to the house. I saw the child. She was sad that evening. I had the curiosity to wish to read her heart…. It is six months since then. We have met almost daily, often twice a day. She is so hermetically sealed that I am no farther advanced than I was on the first day. I have seen her glance at her mother as she did this morning, with loving, admiring eyes. I have seen her turn pale at a word, a gesture, on her part. I have seen her embrace Maud Gorka, and play tennis with that same friend so gayly, so innocently. I have seen that she could not bear the presence of Maitland in a room, and yet she asked the American to take her portrait…. Is she guileless?…. Is she a hypocrite? Or is she tormented by doubt- divining, not divining-believing, not believing in-her mother? Is she underhand in any case, with her eyes the color of the sea? Has she the ambiguous mind at once of a Russian and an Italian?…. This would be a solution of the problem, that she was a girl of extraordinary inward energy, who, both aware of her mother's intrigues and detesting them with an equal hatred, had planned to precipitate the two men upon each other. For a young girl the undertaking is great. I will go to the Countess's to-morrow night, and I will amuse myself by watching Alba, to see. . . If she is innocent, my deed will be inoffensive. If perchance she is not?"
It is vain to profess to one's own heart a complaisant dandyism of misanthropy. Such reflections leave behind them a tinge of a remorse, above all when they are, as these, absolutely whimsical and founded on a simple paradox of dilettantism. Dorsenne experienced a feeling of shame when he awoke the following morning, and, thinking of the mystery of the letters received by Gorka, he recalled the criminal romance he had constructed around the charming and tender form of his little friend; happily for his nerves, which were strained by the consideration of the formidable problem. If it is not some one in the Countess's circle, who has written those letters? He received, on rising, a voluminous package of proofs with the inscription: "Urgent." He was preparing to give to the public a collection of his first articles, under the title of 'Poussiere d'Idees.'
Dorsenne was a faithful literary worker. Usually, involved titles serve to hide in a book-stall shop—made goods, and romance writers or dramatic authors who pride themselves on living to write, and who seek inspiration elsewhere than in regularity of habits and the work-table, have their efforts marked from the first by sterility. Obscure or famous, rich or poor, an artist must be an artisan and practise these fruitful virtues— patient application, conscientious technicality, absorption in work. When he seated himself at his table Dorsenne was heart and soul in his business. He closed his door, he opened no letters nor telegrams, and he spent ten hours without taking anything but two eggs and some black coffee, as he did on this particular day, when looking over the essays of his twenty-fifth year with the talent of his thirty-fifth, retouching here a word, rewriting an entire page, dissatisfied here, smiling there at his thought. The pen flew, carrying with it all the sensibility of the intellectual man who had completely forgotten Madame Steno, Gorka, Maitland, and the calumniated Contessina, until he should awake from his lucid intoxication at nightfall. As he counted, in arranging the slips, the number of articles prepared, he found there were twelve.
"Like Gorka's letters," said he aloud, with a laugh. He now felt coursing through his veins the lightness which all writers of his kind feel when they have labored on a work they believe good. "I have earned my evening," he added, still in a loud voice. "I must now dress and go to Madame Steno's. A good dinner at the doctor's. A half-hour's walk. The night promises to be divine. I shall find out if they have news of the Palatine,"—the name he gave Gorka in his moments of gayety. "I shall talk in a loud voice of anonymous letters. If the author of those received by Boleslas is there, I shall be in the best position to discover him; provided that it is not Alba…. Decidedly—that would be sad!"
It was ten o'clock in the evening, when the young man, faithful to his programme, arrived at the door of the large house on the Rue du Vingt Septembre occupied by Madame Steno. It was an immense modern structure, divided into two distinct parts; to the left a revenue building and to the right a house on the order of those which are to be seen on the borders of Park Monceau. The Villa Steno, as the inscription in gold upon the black marble door indicated, told the entire story of the Countess's fortune—that fortune appraised by rumor, with its habitual exaggeration, now at twenty, now at thirty, millions. She had in reality two hundred and fifty thousand francs' income. But as, in 1873, Count Michel Steno, her husband, died, leaving only debts, a partly ruined palace at Venice and much property heavily mortgaged, the amount of that income proved the truth of the title, "superior woman," applied by her friends to Alba's mother. Her friends likewise added: "She has been the mistress of Hafner, who has aided her with his financial advice," an atrocious slander which was so much the more false as it was before ever knowing the Baron that she had begun to amass her wealth. This is how she managed it:
At the close of 1873, when, as a young widow, living in retirement in the sumptuous and ruined dwelling on the Grand Canal, she was struggling with her creditors, one of the largest bankers in Rome came to propose to her a very advantageous scheme. It dealt with a large piece of land which belonged to the Steno estate, a piece of land in Rome, in one of the suburbs, between the Porta Salara and the Porta Pia, a sort of village which the deceased Cardinal Steno, Count Michel's uncle, had begun to lay out. After his demise, the land had been rented in lots to kitchen- gardeners, and it was estimated that it was worth about forty centimes a square metre. The financier offered four francs for it, under the pretext of establishing a factory on the site. It was a large sum of money. The Countess required twenty-four hours in which to consider, and, at the end of that time, she refused the offer, which won for her the admiration of the men of business who knew of the refusal. In 1882, less than ten years later, she sold the same land for ninety francs a metre. She saw, on glancing at a plan of Rome, and in recalling the history of modern Italy, first, that the new masters of the Eternal City would centre all their ambition in rebuilding it, then that the portion comprised between the Quirinal and the two gates of Salara and Pia would be one of the principal points of development; finally, that if she waited she would obtain a much greater sum than the first offer. And she had waited, applying herself to watching the administration of her possessions like the severest of intendants, depriving herself, stopping up gaps with unhoped-for profits. In 1875, she sold to the National Gallery a suite of four panels by Carpaccio, found in one of her country houses, for one hundred and twenty thousand francs. She had been as active and
At Rome, where she lived a portion of the year after the sale of her land, out of which she retained enough to build the double house, she continued to increase her fortune with the same intelligence. A very advantageous investment in Acqua Marcia enabled her to double in five years the enormous profits of her first operation. And what proved still more the exceptional good sense with which the woman was endowed, when love was not in the balance, she stopped on those two gains, just at the time when the Roman aristocracy, possessed by the delirium of speculation, had begun to buy stocks which had reached their highest value.
To spend the evening at the Villa Steno, after spending all the morning of the day before at the Palais Castagna, was to realize one of those paradoxes of contradictory sensations such as Dorsenne loved, for poor Ardea had been ruined in having attempted to do a few years later that which Countess Catherine had done at the proper moment. He, too, had hoped for an increase in the value of property. Only he had bought the land at seventy francs a metre, and in '90 it was not worth more than twenty-five. He, too, had calculated that Rome would improve, and on the high-priced land he had begun to build entire streets, imagining he could become like the Dukes of Bedford and of Westminster in London, the owner of whole districts. His houses finished, they did not rent, however. To complete the rest he had to borrow. He speculated in order to pay his debts, lost, and contracted more debts in order to pay the difference. His signature, as the proprietor of the Marzocco had said, was put to innumerable bills of exchange. The result was that on all the walls of Rome, including that of the Rue Vingt Septembre on which was the Villa Steno, were posted multi-colored placards announcing the sale, under the management of Cavalier Fossati, of the collection of art and of furniture of the Palais Castagna.
"To foresee is to possess power," said Dorsenne to himself, ringing at Madame Steno's door and summing up thus the invincible association of ideas which recalled to him the palace of the ruined Roman Prince at the door of the villa of the triumphant Venetian: "It is the real Alpha and Omega."
The comparison between the lot of Madame Steno and that of the heir of the Castagnas had almost caused the writer to forget his plan of inquiry as to the author of the anonymous letters. It was to be impressed upon him, however, when he entered the hall where the Countess received every evening. Ardea himself was there, the centre of a group composed of Alba Steno, Madame Maitland, Fanny Hafner and the wealthy Baron, who, standing aloof and erect, leaning against a console, seemed like a beneficent and venerable man in the act of blessing youth. Julien was not surprised on finding so few persons in the vast salon, any more than he was surprised at the aspect of the room filled with old tapestry, bric-a-brac, furniture, flowers, and divans with innumerable cushions.
He had had the entire winter in which to observe the interior of that house, similar to hundreds of others in Vienna, Madrid, Florence, Berlin, anywhere, indeed, where the mistress of the house applies herself to realizing an ideal of Parisian luxury. He had amused himself many an evening in separating from the almost international framework local features, those which distinguished the room from others of the same kind. No human being succeeds in being absolutely factitious in his home or in his writings. The author had thus noted that the salon bore a date, that of the Countess's last journey to Paris in 1880. It was to be seen in the plush and silk of the curtains. The general coloring, in which green predominated, a liberty egotistical in so brilliant a blonde, had too warm a tone and betrayed the Italian. Italy was also to be found in the painted ceiling and in the frieze which ran all around, as well as in several paintings scattered about. There were two panels by Moretti de Brescia in the second style of the master, called his silvery manner, on account of the delicate and transparent fluidity of the coloring; a 'Souper chez le Pharisien' and a 'Jesus ressuscite sur le rivage', which could only have come from one of the very old palaces of a very ancient family. Dorsenne knew all that, and he knew, too, for what reasons he found almost empty at that time of the year the hall so animated during the entire winter, the hall through which he had seen pass a veritable carnival of visitors: great lords, artists, political men, Russians and Austrians, English and French—pellmell. The Countess was far from occupying in Rome the social position which her intelligence, her fortune and her name should have assured her. For, having been born a Navagero, she combined on her escutcheon the cross of gold of the Sebastien Navagero who was the first to mount the walls of Lepante, with the star of the grand Doge Michel.
But one particular trait of character had always prevented her from succeeding on that point. She could not bear ennui nor constraint, nor had she any vanity. She was positive and impassioned, in the manner of the men of wealth to whom their meditated—upon combinations serve to assure the conditions of their pleasures. Never had Madame Steno displayed diplomacy in the changes of her passions, and they had been numerous before the arrival of Gorka, to whom she had remained faithful two years, an almost incomprehensible thing! Never had she, save in her own home, observed the slightest bounds when there was a question of reaching the object of her desire. Moreover, she had not in Rome to support her any member of the family to which she belonged, and she had not joined either of the two sets into which, since 1870, the society of the city was divided. Of too modern a mind and of a manner too bold, she had not been received by the admirable woman who reigns at the Quirinal, and who had managed to gather around her an atmosphere of such noble elevation.
These causes would have brought about a sort of semi-ostracism, had the Countess not applied herself to forming a salon of her own, the recruits for which were almost altogether foreigners. The sight of new faces, the variety of conversation, the freedom of manner, all in that moving world, pleased the thirst for diversion which, in that puissant, spontaneous, and almost manly immoral nature, was joined with very just clear- sightedness. If Julien paused for a moment surprised at the door of the hall, it was not, therefore, on finding it empty at the end of the season; it was on beholding there, among the inmates, Peppino Ardea, whom he had not met all winter. Truly, it was a strange time to appear in new scenes when the hammer of the appraiser was already raised above all which had been the pride and the splendor of his name. But the grand- nephew of Urban VII, seated between sublime Fanny Hafner, in pale blue, and pretty Alba Steno, in bright red, opposite Madame Maitland, so graceful in her mauve toilette, had in no manner the air of a man crushed by adversity.
The subdued light revealed his proud manly face, which had lost none of its gay hauteur. His eyes, very black, very brilliant, and very unsteady, seemed almost in the same glance to scorn and to smile, while his mouth, beneath its brown moustache, wore an expression of disdain, disgust, and sensuality. The shaven chin displayed a bluish shade, which gave to the whole face a look of strength, belied by the slender and nervous form. The heir of the Castagnas was dressed with an affectation of the English style, peculiar to certain Italians.
"Ah, Dorsenne! I thought you had gone away. We have not seen you at the club for fifteen days."
"He has been working," replied Hafner, "at some new masterpiece, at a romance which is laid in Roman society, I am sure. Mistrust him, Prince, and you, ladies, disarm the portrayer."
"I," resumed Ardea, laughing pleasantly, "will give him notes upon myself, if he wants them, as long as this, and I will illustrate his romance into the bargain with photographs which I once had a rage for taking…. See, Mademoiselle," he added, turning to Fanny, "that is how one ruins one's self. I had a mania for the instantaneous ones. It was very innocent, was it not? It cost me thirty thousand francs a year, for four years."
Dorsenne had heard that it was a watchword between Peppino Ardea and his friends to take lightly the disaster which came upon the Castagna family in its last and only scion. He was not expecting such a greeting. He was so disconcerted by it that he neglected to reply to the Baron's remark, as he would have done at any other time. Never did the founder of the 'Credit Austyr-Dalmate' fail to manifest in some such way his profound aversion for the novelist. Men of his species, profoundly cynical and calculating, fear and scorn at the same time a certain literature. Moreover, he had too much tact not to be aware of the instinctive repulsion with which he inspired Julien. But to Hafner, all social strength was tariffed, and literary success as much as any other. As he was afraid, as on the staircase of the Palais Castagna, that he had gone too far, he added, laying his hand with its long, supple fingers familiarly upon the author's shoulder:
"This is what I admire in him: It is that he allows profane persons, such as we are, to plague him, without ever growing angry. He is the only celebrated author who is so simple…. But he is better than an author; he is a veritable man-of-the-world."
"Is not the Countess here?" asked Dorsenne, addressing Alba Steno, and without replying any more to the action, so involuntarily insulting, of the Baron than he had to his sly malice or to the Prince's facetious offer. Madame Steno's absence had again inspired him with an apprehension which the young girl dissipated by replying:
"My mother is on the terrace…. We were afraid it was too cool for Fanny."…. It was a very simple phrase, which the Contessina uttered very simply, as she fanned herself with a large fan of white feathers. Each wave of it stirred the meshes of her fair hair, which she wore curled upon her rather high forehead. Julien understood her too well not to perceive that her voice, her gestures, her eyes, her entire being, betrayed a nervousness at that moment almost upon the verge of sadness.
Was she still reserved from the day before, or was she a prey to one of those inexplicable transactions, which had led Dorsenne in his meditations of the night to such strange suspicions? Those suspicions returned to him with the feeling that, of all the persons present, Alba was the only one who seemed to be aware of the drama which undoubtedly was brewing. He resolved to seek once more for the solution of the living enigma which that singular girl was. How lovely she appeared to him that evening with, those two expressions which gave her an almost tragical look! The corners of her mouth drooped somewhat; her upper lip, almost too short, disclosed her teeth, and in the lower part of her pale face was a bitterness so prematurely sad! Why? It was not the time to ask the question. First of all, it was necessary for the young man to go in search of Madame Steno on the terrace, which terminated in a paradise of Italian voluptuousness, the salon furnished in imitation of Paris. Shrubs blossomed in large terra-cotta vases. Statuettes were to be seen on the balustrade, and, beyond, the pines of the Villa Bonaparte outlined their black umbrellas against a sky of blue velvet, strewn with large stars. A vague aroma of acacias, from a garden near by, floated in the air, which was light, caressing, and warm. The soft atmosphere sufficed to convict of falsehood the Contessina, who had evidently wished to justify the tete-a-tete of her mother and of Maitland. The two lovers were indeed together in the perfume, the mystery and the solitude of the obscure and quiet terrace.
It took Dorsenne, who came from the bright glare of the salon, a moment to distinguish in the darkness the features of the Countess who, dressed all in white, was lying upon a willow couch with soft cushions of silk. She was smoking a cigarette, the lighted end of which, at each breath she drew, gave sufficient light to show that, notwithstanding the coolness of the night, her lovely neck, so long and flexible, about which was clasped a collar of pearls, was bare, as well as her fair shoulders and her perfect arms, laden with bracelets, which were visible through her wide, flowing sleeves. On advancing, Julien recognized, through the vegetable odors of that spring night, the strong scent of the Virginian tobacco which Madame Steno had used since she had fallen in love with Maitland, instead of the Russian "papyrus" to which Gorka had accustomed her. It is by such insignificant traits that amorous women recognize a love profoundly, insatiably sensual, the only one of which the Venetian was capable. Their passionate desire to give themselves up still more leads them to espouse, so to speak, the slightest habits of the men whom they love in that way. Thus are explained those metamorphoses of tastes, of thoughts, even of appearance, so complete, that in six months, in three months of separation they become like different people. By the side of that graceful and supple vision, Lincoln Maitland was seated on a low chair. But his broad shoulders, which his evening coat set off in their amplitude, attested that before having studied "Art"—and even while studying it—he had not ceased to practise the athletic sports of his English education. As soon as he was mentioned, the term "large" was evoked. Indeed, above the large frame was a large face, somewhat red, with a large, red moustache, which disclosed, in broad smiles, his large, strong teeth.
Large rings glistened on his large fingers. He presented a type exactly opposite to that of Boleslas Gorka. If the grandson of the Polish Castellan recalled the dangerous finesse of a feline, of a slender and beautiful panther, Maitland could be compared to one of those mastiffs in the legends, with a jaw and muscles strong enough to strangle lions. The painter in him was only in the eye and in the hand, in consequence of a gift as physical as the voice to a tenor. But that instinct, almost abnormal, had been developed, cultivated to excess, by the energy of will in refinement, a trait so marked in the Anglo-Saxons of the New World when they like Europe, instead of detesting it. For the time being, the longing for refinement seemed reduced to the passionate inhalations of that divine, fair rose of love which was Madame Steno, a rose almost too full-blown, and which the autumn of forty years had begun to fade. But she was still charming. And how little Maitland heeded the fact that his wife was in the room near by, the windows of which cast forth a light which caused to stand out more prominently the shadow of the voluptuous terrace! He held his mistress's hand within his own, but abandoned it when he perceived Dorsenne, who took particular pains to move a chair noisily on approaching the couple, and to say, in a loud voice, with a merry laugh:
"I should have made a poor gallant
"Ah, it is you, Dorsenne," replied Madame Steno, with a sharpness contrary to her habitual amiability, which proved to the novelist that first of all he was the "inconvenient third" of the classical comedies, then that Hafner had reported his imprudent remarks of the day before.
"So much the better," thought he, "I shall have forewarned her. On reflection she will be pleased. It is true that at this moment there is no question of reflection." As he said those words to himself, he talked aloud of the temperature of the day, of the probabilities of the weather for the morrow, of Ardea's good-humor. He made, indeed, twenty trifling remarks, in order to manage to leave the terrace and to leave the lovers to their tete-a-tete, without causing his withdrawal to become noticeable by indiscreet haste, as disagreeable as suggestive.
"When may we come to your atelier to see the portrait finished, Maitland?" he asked, still standing, in order the better to manage his retreat.
"Finished?" exclaimed the Countess, who added, employing a diminutive which she had used for several weeks: "Do you then not know that Linco has again effaced the head?"
"Not the entire head," said the painter, "but the face is to be done over. You remember, Dorsenne, those two canvases by Pier delta Francesca, which are at Florence, Duc Federigo d'Urbino and his wife Battista Sforza. Did you not see them in the same room with La Calomnie by Botticelli, with a landscape in the background? It is drawn like this," and he made a gesture with his thumb, "and that is what I am trying to obtain, the necessary curve on which all faces depend. There is no better painter in Italy."
"And Titian and Raphael?" interrupted Madame Steno.
"And the Sienese and the Lorenzetti, of whom you once raved? You wrote to me of them, with regard to my article on your exposition of 'eighty- six; do you remember?" inquired the writer.
"Raphael?" replied Maitland…. "Do you wish me to tell you what Raphael really was? A sublime builder. And Titian? A sublime upholsterer. It is true, I admired the Sienese very much," he added, turning toward Dorsenne. "I spent three months in copying the Simone Martini of the municipality, the Guido Riccio, who rides between two strongholds on a gray heath, where there is not a sign of a tree or a house, but only lances and towers. Do I remember Lorenzetti? Above all, the fresco at San Francesco, in which Saint Francois presents his order to the Pope, that was his best work…. Then, there is a cardinal, with his fingers on his lips, thus!" another gesture. "Well, I remember it, you see, because there is an anecdote. It is portrayed on a wall—oh, a grand portrayal, but without the subject, flutt!"…. and he made a hissing sound with his lips, "while Pier della Francesca, Carnevale, Melozzo,"…. he paused to find a word which would express the very complicated thought in his head, and he concluded: "That is painting."
"But the Assumption by Titian, and the Transfiguration by Raphael," resumed the Countess, who added in Italian, with an accent of enthusiasm: "Ah, the bellezza!"
"Do not worry, Countess," said Dorsenne, laughing heartily, "those are an artist's opinions. Ten years ago, I said that Victor Hugo was an amateur and Alfred de Musset a bourgeois. But," he added, "as I am not descended from the Doges nor the Pilgrim Fathers, I, a poor, degenerate Gallo- Roman, fear the dampness on account of my rheumatism, and ask your permission to reenter the house." Then, as he passed through the door of the salon: "Raphael, a builder! Titian, an upholsterer! Lorenzetti, a reproducer!" he repeated to himself. "And the descendant of the Doges, who listened seriously to those speeches, her ideal should be a madonna en chromo! Of the first order! As for Gorka, if he had not made me lose my entire day yesterday, I should think I had been dreaming, so little is there any question of him…. And Ardea, who continues to laugh at his ruin. He is not bad for an Italian. But he talks too much about his affairs, and it is in bad taste!"…. Indeed, as he turned toward the group assembled in a corner of the salon, he heard the Prince relating a story about Cavalier Fossati, to whom was entrusted the charge of the sale:
"How much do you think will be realized on all?" I asked him, finally. "Oh," he replied, "very little…. But a little and a little more end by making a great deal. With what an air he added: 'E gia il moschino e conte'—Already the gnat is a count.' The gnat was himself. 'A few more sales like yours, my Prince, and my son, the Count of Fossati, will have half a million. He will enter the club and address you with the familiar 'thou' when playing 'goffo' against you. That is what there is in this gia (already)…. On my honor, I have not been happier than since I have, not a sou."
"You are an optimist, Prince," said Hafner, "and whatsoever our friend
Dorsenne here present may claim, it is necessary to be optimistic."
"You are attacking him again, father," interrupted Fanny, in a tone of respectful reproach.
"Not the man," returned the Baron, "but his ideas—yes, and above all those of his school…. Yes, yes," he continued, either wishing to change the conversation, which Ardea persisted in turning upon his ruin, or finding very well organized a world in which strokes like that of the Credit Austro-Dalmate are possible, he really felt a deep aversion to the melancholy and pessimism with which Julien's works were tinged. And he continued: "On listening to you, Ardea, just now, and on seeing this great writer enter, I am reminded by contrast of the fashion now in vogue of seeing life in a gloomy light."
"Do you find it very gay?" asked Alba, brusquely.
"Good," said Hafner; "I was sure that, in talking against pessimism, I should make the Contessina talk…. Very gay?" he continued. "No. But when I think of the misfortunes which might have come to all of us here, for instance, I find it very tolerable. Better than living in another epoch, for example. One hundred and fifty years ago, Contessina, in Venice, you would have been liable to arrest any day under a warrant of the Council of Ten…. And you, Dorsenne, would have been exposed to the cudgel like Monsieur de Voltaire, by some jealous lord…. And Prince d'Ardea would have run the risk of being assassinated or beheaded at each change of Pope. And I, in my quality of Protestant, should have been driven from France, persecuted in Austria, molested in Italy, burned in Spain."
As can be seen, he took care to choose between his two inheritances. He had done so with an enigmatical good-nature which was almost ironical. He paused, in order not to mention what might have come to Madame Maitland before the suppression of slavery. He knew that the very pretty and elegant young lady shared the prejudices of her American compatriots against negro blood, and that she made every effort to hide the blemish upon her birth to the point of never removing her gloves. It may, however, in justice be added, that the slightly olive tinge in her complexion, her wavy hair, and a vague bluish reflection in the whites of her eyes would scarcely have betrayed the mixture of race. She did not seem to have heeded the Baron's pause, but she arranged, with an absent air, the folds of her mauve gown, while Dorsenne replied: "It is a fine and specious argument…. Its only fault is that it has no foundation. For I defy you to imagine yourself what you would have been in the epoch of which you speak. We say frequently, 'If I had lived a hundred years ago.' We forget
"One could very well imagine what it would be never to have been born," interrupted. Alba Steno.
She uttered the sentence in so peculiar a manner that the discussion begun by Hafner was nipped in the bud.
The words produced their effect upon the chatter of the idlers who only partly believed in the ideas they put forth. Although there is always a paradox in condemning life amid a scene of luxury when one is not more than twenty, the Contessina was evidently sincere. Whence came that sincerity? From what corner of her youthful heart, wounded almost to death? Dorsenne was the only person who asked himself the question, for the conversation turned at once, Lydia Maitland having touched with her fan the sleeve of Alba, who was two seats from her, to ask her this question with an irony as charming, after the young girl's words, as it was involuntary:
"It is silk muslin, is it not?"
"Yes," replied the Contessina, who rose and leaned over, to offer to the curious gaze of her pretty neighbor her arm, which gleamed frail, nervous, and softly fair through the transparent red material, with a bow of ribbon of the same color tied at her slender shoulder and her graceful wrist, while Ardea, by the side of Fanny, could be heard saying to the daughter of Baron Justus, more beautiful than ever that evening, in her pallor slightly tinged with pink by some secret agitation:
"You visited my palace yesterday, Mademoiselle?"
"No," she replied.
"Ask her why not, Prince," said Hafner.
"Father!" cried Fanny, with a supplication in her black eyes which Ardea had the delicacy to obey, as he resumed:
"It is a pity. Everything there is very ordinary. But you would have been interested in the chapel. Indeed, I regret that the most, those objects before which my ancestors have prayed so long and which end by being listed in a catalogue…. They even took the reliquary from me, because it was by Ugolina da Siena. I will buy it back as soon as I can. Your father applauds my courage. I could not part from those objects without real sorrow."
"But it is the feeling she has for the entire palace," said the Baron.
"Father!" again implored Fanny.
"Come, compose yourself, I will not betray you," said Hafner, while Alba, taking advantage of having risen, left the group. She walked toward a table at the other extremity of the room, set in the style of an English table, with tea and iced drinks, saying to Julien, who followed her:
"Shall I prepare your brandy and soda, Dorsenne?"
"What ails you, Contessina?" asked the young man, in a whisper, when they were alone near the plateau of crystal and the collection of silver, which gleamed so brightly in the dimly lighted part of the room.
"Yes," he persisted, "what ails you? Are you still vexed with me?"
"With you?" said she. "I have never been. Why should I be?" she repeated. "You have done nothing to me."
"Some one has wounded you?" asked Julien.
He saw that she was sincere, and that she scarcely remembered the ill- humor of the preceding day. "You can not deceive a friend such as I am," he continued. "On seeing you fan yourself, I knew that you had some annoyance. I know you so well."
"I have no annoyance," she replied, with an impatient frown. "I can not bear to hear lies of a certain kind. That is all!"
"And who has lied?" resumed Dorsenne.
"Did you not hear Ardea speak of his chapel just now, he who believes in God as little as Hafner, of whom no one knows whether he is a Jew or a Gentile!…. Did you not see poor Fanny look at him the while? And did you not remark with what tact the Baron made the allusion to the delicacy which had prevented his daughter from visiting the Palais Castagna with us? And did that comedy enacted between the two men give you no food for thought?"
"Is that why Peppino is here?" asked Julien. "Is there a plan on foot for the marriage of the heiress of Papa Hafner's millions and the grand- nephew of Pope Urban VII? That will furnish me with a fine subject of conversation with some one of my acquaintance!"…. And the mere thought of Montfanon learning such news caused him to laugh heartily, while he continued, "Do not look at me so indignantly, dear Contessina.
But I see nothing so sad in the story. Fanny to marry Peppino? Why not? You yourself have told me that she is partly Catholic, and that her father is only awaiting her marriage to have her baptized. She will be happy then. Ardea will keep the magnificent palace we saw yesterday, and the Baron will crown his career in giving to a man ruined on the Bourse, in the form of a dowry, that which he has taken from others."
"Be silent," said the young girl, in a very grave voice, "you inspire me with horror. That Ardea should have lost all scruples, and that he should wish to sell his title of a Roman prince at as high a price as possible, to no matter what bidder, is so much the more a matter of indifference, for we Venetians do not allow ourselves to be imposed upon by the Roman nobility. We all had Doges in our families when the fathers of these people were bandits in the country, waiting for some poor monk of their name to become Pope. That Baron Hafner sells his daughter as he once sold her jewels is also a matter of indifference to me. But you do not know her. You do not know what a creature, charming and enthusiastic, simple and sincere, she is, and who will never, never mistrust that, first of all, her father is a thief, and, then, that he is selling her like a trinket in order to have grand-children who shall be at the same time grandnephews of the Pope, and, finally, that Peppino does not love her, that he wants her dowry, and that he will have for her as little feeling as they have for her." She glanced at Madame Maitland. "It is worse than I can tell you," she said, enigmatically, as if vexed by her own words, and almost frightened by them.
"Yes," said Julien, "it would be very sad; but are you sure that you do not exaggerate the situation? There is not so much calculation in life. It is more mediocre and more facile. Perhaps the Prince and the Baron have a vague project."
"A vague project?" interrupted Alba, shrugging her shoulders. "There is never anything vague with a Hafner, you may depend. What if I were to tell you that I am positive—do you hear—positive that it is he who holds between his fingers the largest part of the Prince's debts, and that he caused the sale by Ancona to obtain the bargain?"
"It is impossible!" exclaimed Dorsenne. "You saw him yourself yesterday thinking of buying this and that object."
"Do not make me say any more," said Alba, passing over her brow and her eyes two or three times her hand, upon which no ring sparkled—that hand, very supple and white, whose movements betrayed extreme nervousness. "I have already said too much. It is not my business, and poor Fanny is only to me a recent friend, although I think her very attractive and affectionate…. When I think that she is on the point of pledging herself for life, and that there is no one, that there can be no one, to cry: They lie to you! I am filled with compassion. That is all. It is childish!"
It is always painful to observe in a young person the exact perception of the sinister dealings of life, which, once entered into the mind, never allows of the
The impression of premature disenchantment Alba Steno had many times given to Dorsenne, and it had indeed been the principal attraction to the curious observer of the feminine character, who still was struck by the terrible absence of illusion which such a view of the projects of Fanny's father revealed. Whence did she know them? Evidently from Madame Steno herself. Either the Baron and the Countess had talked of them before the young girl too openly to leave her in any doubt, or she had divined what they did not tell her, through their conversation. On seeing her thus, with her bitter mouth, her bright eyes, so visibly a prey to the fever of suppressed loathing, Dorsenne again was impressed by the thought of her perfect perspicacity. It was probable that she had applied the same force of thought to her mother's conduct. It seemed to him that on raising, as she was doing, the wick of the silver lamp beneath the large teakettle, that she was glancing sidewise at the terrace, where the end of the Countess's white robe could be seen through the shadow. Suddenly the mad thoughts which had so greatly agitated him on the previous day possessed him again, and the plan he had formed of imitating his model, Hamlet, in playing in Madame Steno's salon the role of the Danish prince before his uncle occurred to him. Absently, with his customary air of indifference, he continued:
"Rest assured, Ardea does not lack enemies. Hafner, too, has plenty of them. Some one will be found to denounce their plot, if there is a plot, to lovely Fanny. An anonymous letter is so quickly written."
He had no sooner uttered those words than he interrupted himself with the start of a man who handles a weapon which he thinks unloaded and which suddenly discharges.
It was, really, to discharge a duty in the face of his own scepticism that he had spoken thus, and he did not expect to see another shade of sadness flit across Alba's mobile and proud face.
There was in the corners of her mouth more disgust, her eyes expressed more scorn, while her hands, busy preparing the tea, trembled as she said, with an accent so agitated that her friend regretted his cruel plan:
"Ah! Do not speak of it! It would be still worse than her present ignorance. At least, now she knows nothing, and if some miserable person were to do as you say she would know in part without being sure…. How could you smile at such a supposition?…. No! Poor, gentle Fanny! I hope she will receive no anonymous letters. They are so cowardly and make so much trouble!"
"I ask your pardon if I have wounded you," replied Dorsenne. He had touched, he felt it, a tender spot in that heart, and perceived with grief that not only had Alba Steno not written the anonymous letters addressed to Gorka, but that, on the contrary, she had received some herself. From whom? Who was the mysterious denunciator who had warned in that abominable manner the daughter of Madame Steno after the lover? Julien shuddered as he continued: "If I smiled, it was because I believe Mademoiselle Hafner, in case the misfortune should come to her, sensible enough to treat such advice as it merits. An anonymous letter does not deserve to be read. Any one infamous enough to make use of weapons of that sort does not deserve that one should do him the honor even to glance at what he has written."
"Is it not so?" said the girl. There was in her eyes, the pupils of which suddenly dilated, a gleam of genuine gratitude which convinced her companion that he had seen correctly. He had uttered just the words of which she had need. In the face of that proof, he was suddenly overwhelmed by an access of shame and of pity—of shame, because in his thoughts he had insulted the unhappy girl—of pity, because she had to suffer a blow so cruel, if, indeed, her mother had been exposed to her. It must have been on the preceding afternoon or that very morning that she had received the horrible letter, for, during the visit to the Palais Castagna, she had been, by turns, gay and quiet, but so childish, while on that particular evening it was no longer the child who suffered, but the woman. Dorsenne resumed:
"You see, we writers are exposed to those abominations. A book which succeeds, a piece which pleases, an article which is extolled, calls forth from the envious unsigned letters which wound us or those whom we love. In such cases, I repeat, I burn them unread, and if ever in your life such come to you, listen to me, little Countess, and follow the advice of your friend, Dorsenne, for he is your friend; you know it, do you not, your true friend?"
"Why should I receive anonymous letters?" asked the girl, quickly. "I have neither fame, beauty, nor wealth, and am not to be envied."
As Dorsenne looked at her, regretting that he had said so much, she forced her sad lips to smile, and added: "If you are really my friend, instead of making me lose time by your advice, of which I shall probably never have need, for I shall never become a great authoress, help me to serve the tea, will you? It should be ready." And with her slender fingers she raised the lid of the kettle, saying: "Go and ask Madame Maitland if she will take some tea this evening, and Fanny, too…. Ardea takes whiskey and the Baron mineral water…. You can ring for his glass of vichy…. There…. You have delayed me…. There are more callers and nothing is ready…. Ah," she cried, "it is Maud!"—then, with surprise, "and her husband!"
Indeed, the folding doors of the hall opened to admit Maud Gorka, a robust British beauty, radiant with happiness, attired in a gown of black crepe de Chine with orange ribbons, which set off to advantage her fresh color. Behind her came Boleslas. But he was no longer the traveller who, thirty-six hours before, had arrived at the Place de la Trinite-des- Monts, mad with anxiety, wild with jealousy, soiled by the dust of travel, his hair disordered, his hands and face dirty. It was, though somewhat thinner, the elegant Gorka whom Dorsenne had known—tall, slender, and perfumed, in full dress, a bouquet in his buttonhole, his lips smiling. To the novelist, knowing what he knew, the smile and the composure had something in them more terrible than the frenzy of the day before. He comprehended it by the manner in which the Pole gave him his hand. One night and a day of reflection had undermined his work, and if Boleslas had enacted the comedy to the point of lulling his wife's suspicions and of deciding on the visit of that evening, it was because he had resolved not to consult any one and to lead his own inquiry. He was succeeding in the beginning; he had certainly perceived Madame Steno's white gown upon the terrace, while radiant Maud explained his unexpected return with her usual ingenuousness.
"This is what comes of sending to a doting father accounts of our boy's health…. I wrote him the other day that Luc had a little fever. He wrote to ask about its progress. I did not receive his letter. He became uneasy, and here he is."
"I will tell mamma," said Alba, passing out upon the terrace, but her haste seemed too slow to Dorsenne. He had such a presentiment of danger that he did not think of smiling, as he would have done on any other occasion, at the absolute success of the deception which he and Boleslas had planned on the preceding day, and of which the Count had said, with a fatuity now proven: "Maud will be so happy to see me that she will believe all."
It was a scene both simple and tragical—of that order in which in society the most horrible incidents occur without a sound, without a gesture, amid phrases of conventionality and in a festal framework! Two of the spectators, at least, besides Julien, understood its importance- Ardea and Hafner. For neither the
They knew of what presence of mind a courageous woman was capable, when surprised, as was the Venetian. All these have declared since that they had never imagined more admirable self-possession, a composure more superbly audacious, than that displayed by Madame Steno, at that decisive moment. She appeared on the threshold of the French window, surprised and delighted, just in the measure she conformably should be. Her fair complexion, which the slightest emotion tinged with carmine, was bewitchingly pink. Not a quiver of her long lashes veiled her deep blue eyes, which gleamed brightly. With her smile, which exhibited her lovely teeth, the color of the large pearls which were twined about her neck, with the emeralds in her fair hair, with her fine shoulders displayed by the slope of her white corsage, with her delicate waist, with the splendor of her arms from which she had removed the gloves to yield them to the caresses of Maitland, and which gleamed with more emeralds, with her carriage marked by a certain haughtiness, she was truly a woman of another age, the sister of those radiant princesses whom the painters of Venice evoke beneath the marble porticoes, among apostles and martyrs. She advanced to Maud Gorka, whom she embraced affectionately, then, pressing Boleslas's hand, she said in a voice so warm, in which at times there were deep tones, softened by the habitual use of the caressing dialect of the lagoon: