Complete Works of Emile Zola (1388 page)

But all at once Pierre was amazed to find himself face to face with Monsignor Nani, who had just left the Vatican on his way to the neighbouring Palace of the Inquisition, where, as Assessor, he had his residence.

“Ah! Monsignor,” said Pierre, “I am very pleased. My friend Monsieur Habert is going to present me to his cousin, Monsignor Gamba del Zoppo, and I think I shall obtain the audience I so greatly desire.”

Monsignor Nani smiled with his usual amiable yet keen expression. “Yes, yes, I know.” But, correcting himself as it were, he added: “I share your satisfaction, my dear son. Only, you must be prudent.” And then, as if fearing that the young priest might have understood by his first words that he had just seen Monsignor Gamba, the most easily terrified prelate of the whole prudent pontifical family, he related that he had been running about since an early hour on behalf of two French ladies, who likewise were dying of a desire to see the Pope. However, he greatly feared that the help he was giving them would not prove successful.

“I will confess to you, Monsignor,” replied Pierre, “that I myself was getting very discouraged. Yes, it is high time I should find a little comfort, for my sojourn here is hardly calculated to brace my soul.”

He went on in this strain, allowing it to be seen that the sights of Rome were finally destroying his faith. Such days as those which he had spent on the Palatine and along the Appian Way, in the Catacombs and at St. Peter’s, grievously disturbed him, spoilt his dream of Christianity rejuvenated and triumphant. He emerged from them full of doubt and growing lassitude, having already lost much of his usually rebellious enthusiasm.

Still smiling, Monsignor Nani listened and nodded approvingly. Yes, no doubt that was the fatal result. He seemed to have foreseen it, and to be well satisfied thereat. “At all events, my dear son,” said he, “everything is going on well, since you are now certain that you will see his Holiness.”

“That is true, Monsignor; I have placed my only hope in the very just and perspicacious Leo XIII. He alone can judge me, since he alone can recognise in my book his own ideas, which I think I have very faithfully set forth. Ah! if he be willing he will, in Jesus’ name and by democracy and science, save this old world of ours!”

Pierre’s enthusiasm was returning again, and Nani, smiling more and more affably with his piercing eyes and thin lips, again expressed approval: “Certainly; quite so, my dear son. You will speak to him, you will see.”

Then as they both raised their heads and looked towards the Vatican, Nani carried his amiability so far as to undeceive Pierre with respect to the Pope’s bed-room. No, the window where a light was seen every evening was simply that of a landing where the gas was kept burning almost all night. The window of his Holiness’s bed-chamber was the second one farther on. Then both relapsed into silence, equally grave as they continued to gaze at the facade.

“Well, till we meet again, my dear son,” said Nani at last. “You will tell me of your interview, I hope.”

As soon as Pierre was alone he went in by the bronze portal, his heart beating violently, as if he were entering some redoubtable sanctuary where the future happiness of mankind was elaborated. A sentry was on duty there, a Swiss guard, who walked slowly up and down in a grey-blue cloak, below which one only caught a glimpse of his baggy red, black, and yellow breeches; and it seemed as if this cloak of sober hue were purposely cast over a disguise in order to conceal its strangeness, which had become irksome. Then, on the right-hand, came the covered stairway conducting to the Court of San Damaso; but to reach the Sixtine Chapel it was necessary to follow a long gallery, with columns on either hand, and ascend the royal staircase, the Scala Regia. And in this realm of the gigantic, where every dimension is exaggerated and replete with overpowering majesty, Pierre’s breath came short as he ascended the broad steps.

He was much surprised on entering the Sixtine Chapel, for it at first seemed to him small, a sort of rectangular and lofty hall, with a delicate screen of white marble separating the part where guests congregate on the occasion of great ceremonies from the choir where the cardinals sit on simple oaken benches, while the inferior prelates remain standing behind them. On a low platform to the right of the soberly adorned altar is the pontifical throne; while in the wall on the left opens the narrow singing gallery with its balcony of marble. And for everything suddenly to spread out and soar into the infinite one must raise one’s head, allow one’s eyes to ascend from the huge fresco of the Last Judgment, occupying the whole of the end wall, to the paintings which cover the vaulted ceiling down to the cornice extending between the twelve windows of white glass, six on either hand.

Fortunately there were only three or four quiet tourists there; and Pierre at once perceived Narcisse Habert occupying one of the cardinals’ seats above the steps where the train-bearers crouch. Motionless, and with his head somewhat thrown back, the young man seemed to be in ecstasy. But it was not the work of Michael Angelo that he thus contemplated. His eyes never strayed from one of the earlier frescoes below the cornice; and on recognising the priest he contented himself with murmuring: “Ah! my friend, just look at the Botticelli.” Then, with dreamy eyes, he relapsed into a state of rapture.

Pierre, for his part, had received a great shock both in heart and in mind, overpowered as he was by the superhuman genius of Michael Angelo. The rest vanished; there only remained, up yonder, as in a limitless heaven, the extraordinary creations of the master’s art. That which at first surprised one was that the painter should have been the sole artisan of the mighty work. No marble cutters, no bronze workers, no gilders, no one of another calling had intervened. The painter with his brush had sufficed for all — for the pilasters, columns, and cornices of marble, for the statues and the ornaments of bronze, for the
fleurons
and roses of gold, for the whole of the wondrously rich decorative work which surrounded the frescoes. And Pierre imagined Michael Angelo on the day when the bare vault was handed over to him, covered with plaster, offering only a flat white surface, hundreds of square yards to be adorned. And he pictured him face to face with that huge white page, refusing all help, driving all inquisitive folks away, jealously, violently shutting himself up alone with his gigantic task, spending four and a half years in fierce solitude, and day by day adding to his colossal work of creation. Ah! that mighty work, a task to fill a whole lifetime, a task which he must have begun with quiet confidence in his own will and power, drawing, as it were, an entire world from his brain and flinging it there with the ceaseless flow of creative virility in the full heyday of its omnipotence.

And Pierre was yet more overcome when he began to examine these presentments of humanity, magnified as by the eyes of a visionary, overflowing in mighty sympathetic pages of cyclopean symbolisation. Royal grace and nobility, sovereign peacefulness and power — every beauty shone out like natural florescence. And there was perfect science, the most audacious foreshortening risked with the certainty of success — an everlasting triumph of technique over the difficulty which an arched surface presented. And, in particular, there was wonderful simplicity of medium; matter was reduced almost to nothingness; a few colours were used broadly without any studied search for effect or brilliancy. Yet that sufficed, the blood seethed freely, the muscles projected, the figures became animated and stood out of their frames with such energy and dash that it seemed as if a flame were flashing by aloft, endowing all those beings with superhuman and immortal life. Life, aye, it was life, which burst forth and triumphed — mighty, swarming life, miraculous life, the creation of one sole hand possessed of the supreme gift — simplicity blended with power.

That a philosophical system, a record of the whole of human destiny, should have been found therein, with the creation of the world, of man, and of woman, the fall, the chastisement, then the redemption, and finally God’s judgment on the last day — this was a matter on which Pierre was unable to dwell, at this first visit, in the wondering stupor into which the paintings threw him. But he could not help noticing how the human body, its beauty, its power, and its grace were exalted! Ah! that regal Jehovah, at once terrible and paternal, carried off amid the whirlwind of his creation, his arms outstretched and giving birth to worlds! And that superb and nobly outlined Adam, with extended hand, whom Jehovah, though he touch him not, animates with his finger — a wondrous and admirable gesture, leaving a sacred space between the finger of the Creator and that of the created — a tiny space, in which, nevertheless, abides all the infinite of the invisible and the mysterious. And then that powerful yet adorable Eve, that Eve with the sturdy flanks fit for the bearing of humanity, that Eve with the proud, tender grace of a woman bent on being loved even to perdition, that Eve embodying the whole of woman with her fecundity, her seductiveness, her empire! Moreover, even the decorative figures of the pilasters at the corners of the frescoes celebrate the triumph of the flesh: there are the twenty young men radiant in their nakedness, with incomparable splendour of torso and of limb, and such intensity of life that a craze for motion seems to carry them off, bend them, throw them over in superb attitudes. And between the windows are the giants, the prophets and the sibyls — man and woman deified, with inordinate wealth of muscle and grandeur of intellectual expression. There is Jeremiah with his elbow resting on his knee and his chin on his hand, plunged as he is in reflection — in the very depths of his visions and his dreams; there is the Sibylla Erithraea, so pure of profile, so young despite the opulence of her form, and with one finger resting on the open book of destiny; there is Isaiah with the thick lips of truth, virile and haughty, his head half turned and his hand raised with a gesture of command; there is the Sibylla Cumaea, terrifying with her science and her old age, her wrinkled countenance, her vulture’s nose, her square protruding chin; there is Jonah cast forth by the whale, and wondrously foreshortened, his torso twisted, his arms bent, his head thrown back, and his mouth agape and shouting: and there are the others, all of the same full-blown, majestic family, reigning with the sovereignty of eternal health and intelligence, and typifying the dream of a broader, loftier, and indestructible humanity. Moreover, in the lunettes and the arches over the windows other figures of grace, power, and beauty appear and throng, the ancestors of the Christ, thoughtful mothers with lovely nude infants, men with wondering eyes peering into the future, representatives of the punished weary race longing for the promised Redeemer; while in the pendentives of the four corners various biblical episodes, the victories of Israel over the Spirit of Evil, spring into life. And finally there is the gigantic fresco at the far end, the Last Judgment with its swarming multitude, so numerous that days and days are needed to see each figure aright, a distracted crowd, full of the hot breath of life, from the dead rising in response to the furious trumpeting of the angels, from the fearsome groups of the damned whom the demons fling into hell, even to Jesus the justiciar, surrounded by the saints and apostles, and to the radiant concourse of the blessed who ascend upheld by angels, whilst higher and still higher other angels, bearing the instruments of the Passion, triumph as in full glory. And yet, above this gigantic composition, painted thirty years subsequently, in the full ripeness of age, the ceiling retains its ethereality, its unquestionable superiority, for on it the artist bestowed all his virgin power, his whole youth, the first great flare of his genius.

And Pierre found but one word to express his feelings: Michael Angelo was the monster dominating and crushing all others. Beneath his immense achievement you had only to glance at the works of Perugino, Pinturicchio, Roselli, Signorelli, and Botticelli, those earlier frescoes, admirable in their way, which below the cornice spread out around the chapel.

Narcisse for his part had not raised his eyes to the overpowering splendour of the ceiling. Wrapt in ecstasy, he did not allow his gaze to stray from one of the three frescoes of Botticelli. “Ah! Botticelli,” he at last murmured; “in him you have the elegance and the grace of the mysterious; a profound feeling of sadness even in the midst of voluptuousness, a divination of the whole modern soul, with the most troublous charm that ever attended artist’s work.”

Pierre glanced at him in amazement, and then ventured to inquire: “You come here to see the Botticellis?”

“Yes, certainly,” the young man quietly replied; “I only come here for him, and five hours every week I only look at his work. There, just study that fresco, Moses and the daughters of Jethro. Isn’t it the most penetrating work that human tenderness and melancholy have produced?”

Then, with a faint, devout quiver in his voice and the air of a priest initiating another into the delightful but perturbing atmosphere of a sanctuary, he went on repeating the praises of Botticelli’s art; his women with long, sensual, yet candid faces, supple bearing, and rounded forms showing from under light drapery; his young men, his angels of doubtful sex, blending stateliness of muscle with infinite delicacy of outline; next the mouths he painted, fleshy, fruit-like mouths, at times suggesting irony, at others pain, and often so enigmatical with their sinuous curves that one knew not whether the words they left unuttered were words of purity or filth; then, too, the eyes which he bestowed on his figures, eyes of languor and passion, of carnal or mystical rapture, their joy at times so instinct with grief as they peer into the nihility of human things that no eyes in the world could be more impenetrable. And finally there were Botticelli’s hands, so carefully and delicately painted, so full of life, wantoning so to say in a free atmosphere, now joining, caressing, and even, as it were, speaking, the whole evincing such intense solicitude for gracefulness that at times there seems to be undue mannerism, though every hand has its particular expression, each varying expression of the enjoyment or pain which the sense of touch can bring. And yet there was nothing effeminate or false about the painter’s work: on all sides a sort of virile pride was apparent, an atmosphere of superb passionate motion, absolute concern for truth, direct study from life, conscientiousness, veritable realism, corrected and elevated by a genial strangeness of feeling and character that imparted a never-to-be-forgotten charm even to ugliness itself.