Complete Works of Emile Zola (1449 page)

“One first thought that it was merely indigestion,” continued Pierre, “but the Prince became so much worse, that one was alarmed, and the doctor was sent for—”

Ah! Prada’s eyes, they had become so despairing, so full of the most touching and weightiest things, that the priest could read in them all the decisive reasons which were about to stay his tongue. No, no, he would not strike an innocent old man, he had promised nothing, and to obey the last expression of the dead woman’s hatred would have seemed to him like charging her memory with a crime. The young Count, too, during those few minutes of anguish, had suffered a whole life of such abominable torture, that after all some little justice was done.

“And then,” Pierre concluded, “when the doctor arrived he at once recognised that it was a case of infectious fever. There can be no doubt of it. This morning I attended the funeral, it was very splendid and very touching.”

Orlando did not insist, but contented himself with saying that he also had felt much emotion all the morning on thinking of that funeral. Then, as he turned to set the papers on the table in order with his trembling hands, his son, icy cold with perspiration, staggering and clinging to the back of a chair in order that he might not fall, again gave Pierre a long glance, but a very soft one, full of distracted gratitude.

“I am leaving this evening,” resumed Pierre, who felt exhausted and wished to break off the conversation, “and I must now bid you farewell. Have you any commission to give me for Paris?”

“No, none,” replied Orlando; and then, with sudden recollection, he added, “Yes, I have, though! You remember that book written by my old comrade in arms, Theophile Morin, one of Garibaldi’s Thousand, that manual for the bachelor’s degree which he desired to see translated and adopted here. Well, I am pleased to say that I have a promise that it shall be used in our schools, but on condition that he makes some alterations in it. Luigi, give me the book, it is there on that shelf.”

Then, when his son had handed him the volume, he showed Pierre some notes which he had pencilled on the margins, and explained to him the modifications which were desired in the general scheme of the work. “Will you be kind enough,” he continued, “to take this copy to Morin himself? His address is written inside the cover. If you can do so you will spare me the trouble of writing him a very long letter; in ten minutes you can explain matters to him more clearly and completely than I could do in ten pages.... And you must embrace Morin for me, and tell him that I still love him, oh! with all my heart of the bygone days, when I could still use my legs and we two fought like devils side by side under a hail of bullets.”

A short silence followed, that pause, that embarrassment tinged with emotion which precedes the moment of farewell. “Come, good-bye,” said Orlando, “embrace me for him and for yourself, embrace me affectionately like that lad did just now. I am so old and so near my end, my dear Monsieur Froment, that you will allow me to call you my child and to kiss you like a grandfather, wishing you all courage and peace, and that faith in life which alone helps one to live.”

Pierre was so touched that tears rose to his eyes, and when with all his soul he kissed the stricken hero on either cheek, he felt that he likewise was weeping. With a hand yet as vigorous as a vice, Orlando detained him for a moment beside his arm-chair, whilst with his other hand waving in a supreme gesture, he for the last time showed him Rome, so immense and mournful under the ashen sky. And his voice came low, quivering and suppliant. “For mercy’s sake swear to me that you will love her all the same, in spite of all, for she is the cradle, the mother! Love her for all that she no longer is, love her for all that she desires to be! Do not say that her end has come, love her, love her so that she may live again, that she may live for ever!”

Pierre again embraced him, unable to find any other response, upset as he was by all the passion displayed by that old warrior, who spoke of his city as a man of thirty might speak of the woman he adores. And he found him so handsome and so lofty with his old blanched, leonine mane and his stubborn belief in approaching resurrection, that once more the other old Roman, Cardinal Boccanera, arose before him, equally stubborn in his faith and relinquishing nought of his dream, even though he might be crushed on the spot by the fall of the heavens. These twain ever stood face to face, at either end of their city, alone rearing their lofty figures above the horizon, whilst awaiting the future.

Then, when Pierre had bowed to Count Luigi, and found himself outside again in the Via Venti Settembre he was all eagerness to get back to the Boccanera mansion so as to pack up his things and depart. His farewell visits were made, and he now only had to take leave of Donna Serafina and the Cardinal, and to thank them for all their kind hospitality. For him alone did their doors open, for they had shut themselves up on returning from the funeral, resolved to see nobody. At twilight, therefore, Pierre had no one but Victorine to keep him company in the vast, black mansion, for when he expressed a desire to take supper with Don Vigilio she told him that the latter had also shut himself in his room. Desirous as he was of at least shaking hands with the secretary for the last time, Pierre went to knock at the door, which was so near his own, but could obtain no reply, and divined that the poor fellow, overcome by a fresh attack of fever and suspicion, desired not to see him again, in terror at the idea that he might compromise himself yet more than he had done already. Thereupon, it was settled that as the train only started at seventeen minutes past ten Victorine should serve Pierre his supper on the little table in his sitting-room at eight o’clock. She brought him a lamp and spoke of putting his linen in order, but he absolutely declined her help, and she had to leave him to pack up quietly by himself.

He had purchased a little box, since his valise could not possibly hold all the linen and winter clothing which had been sent to him from Paris as his stay in Rome became more and more protracted. However, the packing was soon accomplished; the wardrobe was emptied, the drawers were visited, the box and valise filled and securely locked by seven o’clock. An hour remained to him before supper and he sat there resting, when his eyes whilst travelling round the walls to make sure that he had forgotten nothing, encountered that old painting by some unknown master, which had so often filled him with emotion. The lamplight now shone full upon it; and this time again as he gazed at it he felt a blow in the heart, a blow which was all the deeper, as now, at his parting hour, he found a symbol of his defeat at Rome in that dolent, tragic, half-naked woman, draped in a shred of linen, and weeping between her clasped hands whilst seated on the threshold of the palace whence she had been driven. Did not that rejected one, that stubborn victim of love, who sobbed so bitterly, and of whom one knew nothing, neither what her face was like, nor whence she had come, nor what her fault had been — did she not personify all man’s useless efforts to force the doors of truth, and all the frightful abandonment into which he falls as soon as he collides with the wall which shuts the unknown off from him? For a long while did Pierre look at her, again worried at being obliged to depart without having seen her face behind her streaming golden hair, that face of dolorous beauty which he pictured radiant with youth and delicious in its mystery. And as he gazed he was just fancying that he could see it, that it was becoming his at last, when there was a knock at the door and Narcisse Habert entered.

Pierre was surprised to see the young
attache
, for three days previously he had started for Florence, impelled thither by one of the sudden whims of his artistic fancy. However, he at once apologised for his unceremonious intrusion. “Ah! there is your luggage!” he said; “I heard that you were going away this evening, and I was unwilling to let you leave Rome without coming to shake hands with you. But what frightful things have happened since we met! I only returned this afternoon, so that I could not attend the funeral. However, you may well imagine how thunderstruck I was by the news of those frightful deaths.”

Then, suspecting some unacknowledged tragedy, like a man well acquainted with the legendary dark side of Rome, he put some questions to Pierre but did not insist on them, being at bottom far too prudent to burden himself uselessly with redoubtable secrets. And after Pierre had given him such particulars as he thought fit, the conversation changed and they spoke at length of Italy, Rome, Naples, and Florence. “Ah! Florence, Florence!” Narcisse repeated languorously. He had lighted a cigarette and his words fell more slowly, as he glanced round the room. “You were very well lodged here,” he said, “it is very quiet. I had never come up to this floor before.”

His eyes continued wandering over the walls until they were at last arrested by the old painting which the lamp illumined, and thereupon he remained for a moment blinking as if surprised. And all at once he rose and approached the picture. “Dear me, dear me,” said he, “but that’s very good, that’s very fine.”

“Isn’t it?” rejoined Pierre. “I know nothing about painting but I was stirred by that picture on the very day of my arrival, and over and over again it has kept me here with my heart beating and full of indescribable feelings.”

Narcisse no longer spoke but examined the painting with the care of a connoisseur, an expert, whose keen glance decides the question of authenticity, and appraises commercial value. And the most extraordinary delight appeared upon the young man’s fair, rapturous face, whilst his fingers began to quiver. “But it’s a Botticelli, it’s a Botticelli! There can be no doubt about it,” he exclaimed. “Just look at the hands, and look at the folds of the drapery! And the colour of the hair, and the technique, the flow of the whole composition. A Botticelli, ah!
mon Dieu
, a Botticelli.”

He became quite faint, overflowing with increasing admiration as he penetrated more and more deeply into the subject, at once so simple and so poignant. Was it not acutely modern? The artist had foreseen our pain-fraught century, our anxiety in presence of the invisible, our distress at being unable to cross the portal of mystery which was for ever closed. And what an eternal symbol of the world’s wretchedness was that woman, whose face one could not see, and who sobbed so distractedly without it being possible for one to wipe away her tears. Yes, a Botticelli, unknown, uncatalogued, what a discovery! Then he paused to inquire of Pierre: “Did you know it was a Botticelli?”

“Oh no! I spoke to Don Vigilio about it one day, but he seemed to think it of no account. And Victorine, when I spoke to her, replied that all those old things only served to harbour dust.”

Narcisse protested, quite stupefied: “What! they have a Botticelli here and don’t know it! Ah! how well I recognise in that the Roman princes who, unless their masterpieces have been labelled, are for the most part utterly at sea among them! No doubt this one has suffered a little, but a simple cleaning would make a marvel, a famous picture of it, for which a museum would at least give—”

He abruptly stopped, completing his sentence with a wave of the hand and not mentioning the figure which was on his lips. And then, as Victorine came in followed by Giacomo to lay the little table for Pierre’s supper, he turned his back upon the Botticelli and said no more about it. The young priest’s attention was aroused, however, and he could well divine what was passing in the other’s mind. Under that make-believe Florentine, all angelicalness, there was an experienced business man, who well knew how to look after his pecuniary interests and was even reported to be somewhat avaricious. Pierre, who was aware of it, could not help smiling therefore when he saw him take his stand before another picture — a frightful Virgin, badly copied from some eighteenth-century canvas — and exclaim: “Dear me! that’s not at all bad! I’ve a friend, I remember, who asked me to buy him some old paintings. I say, Victorine, now that Donna Serafina and the Cardinal are left alone do you think they would like to rid themselves of a few valueless pictures?”

The servant raised her arms as if to say that if it depended on her, everything might be carried away. Then she replied: “Not to a dealer, sir, on account of the nasty rumours which would at once spread about, but I’m sure they would be happy to please a friend. The house costs a lot to keep up, and money would be welcome.”

Pierre then vainly endeavoured to persuade Narcisse to stay and sup with him, but the young man gave his word of honour that he was expected elsewhere and was even late. And thereupon he ran off, after pressing the priest’s hands and affectionately wishing him a good journey.

Eight o’clock was striking, and Pierre seated himself at the little table, Victorine remaining to serve him after dismissing Giacomo, who had brought the supper things upstairs in a basket. “The people here make me wild,” said the worthy woman after the other had gone, “they are so slow. And besides, it’s a pleasure for me to serve you your last meal, Monsieur l’Abbe. I’ve had a little French dinner cooked for you, a
sole au gratin
and a roast fowl.”

Pierre was touched by this attention, and pleased to have the company of a compatriot whilst he partook of his final meal amidst the deep silence of the old, black, deserted mansion. The buxom figure of Victorine was still instinct with mourning, with grief for the loss of her dear Contessina, but her daily toil was already setting her erect again, restoring her quick activity; and she spoke almost cheerfully whilst passing plates and dishes to Pierre. “And to think Monsieur l’Abbe,” said she, “that you’ll be in Paris on the morning of the day after to-morrow! As for me, you know, it seems as if I only left Auneau yesterday. Ah! what fine soil there is there; rich soil yellow like gold, not like their poor stuff here which smells of sulphur! And the pretty fresh willows beside our stream, too, and the little wood so full of moss! They’ve no moss here, their trees look like tin under that stupid sun of theirs which burns up the grass.
Mon Dieu
! in the early times I would have given I don’t know what for a good fall of rain to soak me and wash away all the dust. Ah! I shall never get used to their awful Rome. What a country and what people!”