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Imaginary Portraits
by Walter Pater
November, 2000 [Etext #2399]
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IMAGINARY PORTRAITS
by Walter Pater
4th edition
CONTENTS
CHAPTER I. A PRINCE OF COURT PAINTERS
CHAPTER II. DENYS L'AUXERROIS
CHAPTER III. SEBASTIAN VAN STORCK
CHAPTER IV. DUKE CARL OF ROSENMOLD
CHAPTER I. A PRINCE OF COURT PAINTERS
EXTRACTS FROM AN OLD FRENCH JOURNAL
Valenciennes, September 1701.
They have been renovating my father's large workroom. That delightful,
tumble-down old place has lost its moss-grown tiles and the green
weather-stains we have known all our lives on the high whitewashed wall,
opposite which we sit, in the little sculptor's yard, for the coolness,
in summertime. Among old Watteau's workpeople came his son, "the genius,"
my father's godson and namesake, a dark-haired youth, whose large, unquiet
eyes seemed perpetually wandering to the various drawings which lie exposed
here. My father will have it that he is a genius indeed, and a painter born.
We have had our September Fair in the Grande Place, a wonderful stir of
sound and colour in the wide, open space beneath our windows. And just where
the crowd was busiest young Antony was found, hoisted into one of those
empty niches of the old Hotel de Ville, sketching the scene to the life,
but with a kind of grace--a marvellous tact of omission, as my father
pointed out to us, in dealing with the vulgar reality seen from one's own
window--which has made trite old Harlequin, Clown, and Columbine, seem like
people in some fairyland; or like infinitely clever tragic actors, who, for
the humour of the thing, have put on motley for once, and are able to throw
a world of serious innuendo into their burlesque looks, with a sort of
comedy which shall be but tragedy seen from the other side. He brought his
sketch to our house to-day, and I was present when my father questioned him
and commended his work. But the lad seemed not greatly pleased, and left
untasted the glass of old Malaga which was offered to him. His father will
hear nothing of educating him as a painter. Yet he is not ill-to-do, and has
lately built himself a new stone house, big and grey and cold. Their old
plastered house with the black timbers, in the Rue des Cardinaux, was
prettier; dating from the time of the Spaniards, and one of the oldest in
Valenciennes.
October 1701.
Chiefly through the solicitations of my father, old Watteau has consented
to place Antony with a teacher of painting here. I meet him betimes on the
way to his lessons, as I return from Mass; for he still works with the
masons, but making the most of late and early hours, of every moment of
liberty. And then he has the feast-days, of which there are so many in this
old-fashioned place. Ah! such gifts as his, surely, may once in a way make
much industry seem worth while. He makes a wonderful progress. And yet, far
from being set-up, and too easily pleased with what, after all, comes to
him so easily, he has, my father thinks, too little self-approval for
ultimate success. He is apt, in truth, to fall out too hastily with himself
and what he produces. Yet here also there is the "golden mean." Yes! I
could fancy myself offended by a sort of irony which sometimes crosses the
half-melancholy sweetness of manner habitual with him; only that as I can
see, he treats himself to the same quality.
October 1701.
Antony Watteau comes here often now. It is the instinct of a natural
fineness in him, to escape when he can from that blank stone house,
with so little to interest, and that homely old man and woman. The rudeness
of his home has turned his feeling for even the simpler graces of life
into a physical want, like hunger or thirst, which might come to greed; and
methinks he perhaps overvalues these things. Still, made as he is, his hard
fate in that rude place must needs touch one. And then, he profits by the
experience of my father, who has much knowledge in matters of art beyond his
own art of sculpture; and Antony is not unwelcome to him. In these last
rainy weeks especially, when he can't sketch out of doors, when the wind only
half dries the pavement before another torrent comes, and people stay at home,
and the only sound from without is the creaking of a restless shutter on its
hinges, or the march across the Place of those weary soldiers, coming and
going so interminably, one hardly knows whether to or from battle with the
English and the Austrians, from victory or defeat:--Well! he has become like
one of our family. "He will go far!" my father declares. He would go far, in
the literal sense, if he might--to Paris, to Rome. It must be admitted that
our Valenciennes is a quiet, nay! a sleepy place; sleepier than ever since it
became French, and ceased to be so near the frontier. The grass is growing
deep on our old ramparts, and it is pleasant to walk there--to walk there
and muse; pleasant for a tame, unambitious soul such as mine.
December 1792.
Antony Watteau left us for Paris this morning. It came upon us quite suddenly.
They amuse themselves in Paris. A scene-painter we have here, well known in
Flanders, has been engaged to work in one of the Parisian play-houses; and
young Watteau, of whom he had some slight knowledge, has departed in his
company. He doesn't know it was I who persuaded the scene-painter to take him;
that he would find the lad useful. We offered him our little presents--fine
thread-lace of our own making for his ruffles, and the like; for one must make
a figure in Paris, and he is slim and well-formed. For myself, I presented him
with a silken purse I had long ago embroidered for another. Well! we shall
follow his fortunes (of which I for one feel quite sure) at a distance. Old
Watteau didn't know of his departure, and has been here in great anger.
December 1703.
Twelve months to-day since Antony went to Paris! The first struggle must be a
sharp one for an unknown lad in that vast, overcrowded place, even if he be as
clever as young Antony Watteau. We may think, however, that he is on the way
to his chosen end, for he returns not home; though, in truth, he tells those
poor old people very little of himself. The apprentices of the M. Metayer for
whom he works, labour all day long, each at a single part only,--coiffure, or
robe, or hand,--of the cheap pictures of religion or fantasy he exposes for
sale at a low price along the footways of the Pont Notre-Dame. Antony is
already the most skilful of them, and seems to have been promoted of late to
work on church pictures. I like the thought of that. He receives three livres
a week for his pains, and his soup daily.
May 1705.
Antony Watteau has parted from the dealer in pictures a bon marche and
works now with a painter of furniture pieces (those headpieces for doors
and the like, now in fashion) who is also concierge of the Palace of the
Luxembourg. Antony is actually lodged somewhere in that grand place, which
contains the king's collection of the Italian pictures he would so
willingly copy. Its gardens also are magnificent, with something, as we
understand from him, altogether of a novel kind in their disposition and
embellishment. Ah! how I delight myself, in fancy at least, in those
beautiful gardens, freer and trimmed less stiffly than those of other royal
houses. Methinks I see him there, when his long summer-day's work is over,
enjoying the cool shade of the stately, broad-foliaged trees, each of which
is a great courtier, though it has its way almost as if it belonged to that
open and unbuilt country beyond, over which the sun is sinking.
His thoughts, however, in the midst of all this, are not wholly away from
home, if I may judge by the subject of a picture he hopes to sell for as
much as sixty livres--Un Depart de Troupes, Soldiers Departing--one of
those scenes of military life one can study so well here at Valenciennes.
June 1705.
Young Watteau has returned home--proof, with a character so independent as
his, that things have gone well with him; and (it is agreed!) stays with
us, instead of in the stone-mason's house. The old people suppose he comes
to us for the sake of my father's instruction. French people as we are
become, we are still old Flemish, if not at heart, yet on the surface.
Even in French Flanders, at Douai and Saint Omer, as I understand, in the
churches and in people's houses, as may be seen from the very streets,
there is noticeable a minute and scrupulous air of care-taking and
neatness. Antony Watteau remarks this more than ever on returning to
Valenciennes, and savours greatly, after his lodging in Paris, our
Flemish cleanliness, lover as he is of distinction and elegance. Those
worldly graces he seemed when a young lad to hunger and thirst for, as
though truly the mere adornments of life were its necessaries, he already
takes as if he had been always used to them. And there is something
noble--shall I say?--in his half-disdainful way of serving himself with
what he still, as I think, secretly values over-much. There is an air of
seemly thought--le bel serieux--about him, which makes me think of one of
those grave old Dutch statesmen in their youth, such as that famous
William the Silent. And yet the effect of this first success of his (of
more importance than its mere money value, as insuring for the future the
full play of his natural powers) I can trace like the bloom of a flower
upon him; and he has, now and then, the gaieties which from time to time,
surely, must refresh all true artists, however hard-working and "painful."
July 1705.
The charm of all this--his physiognomy and manner of being--has touched
even my young brother, Jean-Baptiste. He is greatly taken with Antony,
clings to him almost too attentively, and will be nothing but a painter,
though my father would have trained him to follow his own profession. It
may do the child good. He needs the expansion of some generous sympathy or
sentiment in that close little soul of his, as I have thought, watching
sometimes how his small face and hands are moved in sleep. A child of ten
who cares only to save and possess, to hoard his tiny savings! Yet he is
not otherwise selfish, and loves us all with a warm heart. Just now it is
the moments of Antony's company he counts, like a little miser. Well! that
may save him perhaps from developing a certain meanness of character I
have sometimes feared for him.
August 1705.
We returned home late this summer evening--Antony Watteau, my father and
sisters, young Jean-Baptiste, and myself--from an excursion to Saint-Amand,
in celebration of Antony's last day with us. After visiting the great
abbey-church and its range of chapels, with their costly encumbrance of
carved shrines and golden reliquaries and funeral scutcheons in the
coloured glass, half seen through a rich enclosure of marble and
brasswork, we supped at the little inn in the forest. Antony, looking well
in his new-fashioned, long-skirted coat, and taller than he really is,
made us bring our cream and wild strawberries out of doors, ranging
ourselves according to his judgment (for a hasty sketch in that big
pocket-book he carries) on the soft slope of one of those fresh spaces in
the wood, where the trees unclose a little, while Jean-Baptiste and my
youngest sister danced a minuet on the grass, to the notes of some
strolling lutanist who had found us out. He is visibly cheerful at the
thought of his return to Paris, and became for a moment freer and more
animated than I have ever yet seen him, as he discoursed to us about the
paintings of Peter Paul Rubens in the church here. His words, as he spoke
of them, seemed full of a kind of rich sunset with some moving glory within
it. Yet I like far better than any of these pictures of Rubens a work of
that old Dutch master, Peter Porbus, which hangs, though almost out of
sight indeed, in our church at home. The patron saints, simple, and
standing firmly on either side, present two homely old people to Our Lady
enthroned in the midst, with the look and attitude of one for whom, amid
her "glories" (depicted in dim little circular pictures, set in the
openings of a chaplet of pale flowers around her) all feelings are over,
except a great pitifulness. Her robe of shadowy blue suits my eyes better
far than the hot flesh-tints of the Medicean ladies of the great Peter Paul,
in spite of that amplitude and royal ease of action under their stiff court
costumes, at which Antony Watteau declares himself in dismay.
August 1705.
I am just returned from early Mass. I lingered long after the office was
ended, watching, pondering how in the world one could help a small bird
which had flown into the church but could find no way out again. I
suspect it will remain there, fluttering round and round distractedly,
far up under the arched roof till it dies exhausted. I seem to have heard
of a writer who likened man's life to a bird passing just once only, on
some winter night, from window to window, across a cheerfully-lighted hall.
The bird, taken captive by the ill-luck of a moment, re-tracing its
issueless circle till it expires within the close vaulting of that great
stone church:--human life may be like that bird too!
Antony Watteau returned to Paris yesterday. Yes!--Certainly, great heights
of achievement would seem to lie before him; access to regions whither one
may find it increasingly hard to follow him even in imagination, and
figure to one's self after what manner his life moves therein.
January 1709.
Antony Watteau has competed for what is called the Prix de Rome, desiring
greatly to profit by the grand establishment founded at Rome by Lewis the
Fourteenth, for the encouragement of French artists. He obtained only the
second place, but does not renounce his desire to make the journey to
Italy. Could I save enough by careful economies for that purpose? It might
be conveyed to him in some indirect way that would not offend.
February 1712.
We read, with much pleasure for all of us, in the Gazette to-day, among
other events of the world, that Antony Watteau had been elected to the
Academy of Painting under the new title of Peintre des Fetes Galantes,
and had been named also Peintre du Roi. My brother, Jean-Baptiste, ran
to tell the news to old Jean-Philippe and Michelle Watteau.
A new manner of painting! The old furniture of people's rooms must needs
be changed throughout, it would seem, to accord with this painting; or
rather, the painting is designed exclusively to suit one particular kind
of apartment. A manner of painting greatly prized, as we understand, by
those Parisian judges who have had the best opportunity of acquainting
themselves with whatever is most enjoyable in the arts:--such is the
achievement of the young Watteau! He looks to receive more orders for
his work than he will be able to execute. He will certainly relish--he,
so elegant, so hungry for the colours of life--a free intercourse with
those wealthy lovers of the arts, M. de Crozat, M. de Julienne, the Abbe
de la Roque, the Count de Caylus, and M. Gersaint, the famous dealer in
pictures, who are so anxious to lodge him in their fine hotels, and to
have him of their company at their country houses. Paris, we hear, has
never been wealthier and more luxurious than now: and the great ladies
outbid each other to carry his work upon their very fans. Those vast
fortunes, however, seem to change hands very rapidly. And Antony's new
manner? I am unable even to divine it--to conceive the trick and effect
of it--at all. Only, something of lightness and coquetry I discern there,
at variance, methinks, with his own singular gravity and even sadness of
mien and mind, more answerable to the stately apparelling of the age of
Henry the Fourth, or of Lewis the Thirteenth, in these old, sombre Spanish
houses of ours.
March 1713.
We have all been very happy,--Jean-Baptiste as if in a delightful dream.
Antony Watteau, being consulted with regard to the lad's training as a
painter, has most generously offered to receive him for his own pupil.
My father, for some reason unknown to me, seemed to hesitate the first;
but Jean-Baptiste, whose enthusiasm for Antony visibly refines and
beautifies his whole nature, has won the necessary permission, and this
dear young brother will leave us to-morrow. Our regrets and his, at his
parting from us for the first time, overtook our joy at his good fortune
by surprise, at the last moment, as we were about to bid each other
good-night. For a while there had seemed to be an uneasiness under our
cheerful talk, as if each one present were concealing something with an
effort; and it was Jean-Baptiste himself who gave way at last. And then
we sat down again, still together, and allowed free play to what was in
our hearts, almost till morning, my sisters weeping much. I know better
how to control myself. In a few days that delightful new life will have
begun for him: and I have made him promise to write often to us. With how
small a part of my whole life shall I be really living at Valenciennes!
January 1714.
Jean-Philippe Watteau has received a letter from his son to-day. Old
Michelle Watteau, whose sight is failing, though she still works (half
by touch, indeed) at her pillow-lace, was glad to hear me read the letter
aloud more than once. It recounts--how modestly, and almost as a matter
of course!--his late successes. And yet!--does he, in writing to these
old people, purposely underrate his great good fortune and seeming
happiness, not to shock them too much by the contrast between the delicate
enjoyments of the life he now leads among the wealthy and refined, and
that bald existence of theirs in his old home? A life, agitated, exigent,
unsatisfying! That is what this letter really discloses, below so
attractive a surface. As his gift expands so does that incurable
restlessness one supposed but the humour natural to a promising youth
who had still everything to do. And now the only realised enjoyment he
has of all this might seem to be the thought of the independence it has
purchased him, so that he can escape from one lodging-place to another,
just as it may please him. He has already deserted, somewhat incontinently,
more than one of those fine houses, the liberal air of which he used so
greatly to affect, and which have so readily received him. Has he failed
truly to grasp the fact of his great success and the rewards that lie
before him? At all events, he seems, after all, not greatly to value that
dainty world he is now privileged to enter, and has certainly but little
relish for his own works--those works which I for one so thirst to see.
March 1714.
We were all--Jean-Philippe, Michelle Watteau, and ourselves--half in
expectation of a visit from Antony; and to-day, quite suddenly, he is
with us. I was lingering after early Mass this morning in the church of
Saint Vaast. It is good for me to be there. Our people lie under one of
the great marble slabs before the jube, some of the memorial brass
balusters of which are engraved with their names and the dates of their
decease. The settle of carved oak which runs all round the wide nave is
my father's own work. The quiet spaciousness of the place is itself like
a meditation, an "act of recollection," and clears away the confusions
of the heart. I suppose the heavy droning of the carillon had smothered
the sound of his footsteps, for on my turning round, when I supposed
myself alone, Antony Watteau was standing near me. Constant observer as
he is of the lights and shadows of things, he visits places of this kind
at odd times. He has left Jean-Baptiste at work in Paris, and will stay
this time with the old people, not at our house; though he has spent the
better part of to-day in my father's workroom. He hasn't yet put off, in
spite of all his late intercourse with the great world, his distant and
preoccupied manner--a manner, it is true, the same to every one. It is
certainly not through pride in his success, as some might fancy, for he
was thus always. It is rather as if, with all that success, life and its
daily social routine were somewhat of a burden to him.
April 1714.
At last we shall understand something of that new style of his-the
Watteau style--so much relished by the fine people at Paris. He has taken
it into his kind head to paint and decorate our chief salon--the room with
the three long windows, which occupies the first floor of the house.
The room was a landmark, as we used to think, an inviolable milestone and
landmark, of old Valenciennes fashion--that sombre style, indulging much
in contrasts of black or deep brown with white, which the Spaniards left
behind them here. Doubtless their eyes had found its shadows cool and
pleasant, when they shut themselves in from the cutting sunshine of their
own country. But in our country, where we must needs economise not the
shade but the sun, its grandiosity weighs a little on one's spirits.
Well! the rough plaster we used to cover as well as might be with morsels
of old figured arras-work, is replaced by dainty panelling of wood, with
mimic columns, and a quite aerial scrollwork around sunken spaces of a
pale-rose stuff and certain oval openings--two over the doors, opening
on each side of the great couch which faces the windows, one over the
chimney-piece, and one above the buffet which forms its vis-a-vis--four
spaces in all, to be filled by and by with "fantasies" of the Four
Seasons, painted by his own hand. He will send us from Paris arm-chairs
of a new pattern he has devised, suitably covered, and a clavecin. Our
old silver candlesticks look well on the chimney-piece. Odd,
faint-coloured flowers fill coquettishly the little empty spaces here and
there, like ghosts of nosegays left by visitors long ago, which paled thus,
sympathetically, at the decease of their old owners; for, in spite of its
new-fashionedness, all this array is really less like a new thing than the
last surviving result of all the more lightsome adornments of past times.
Only, the very walls seem to cry out:--No! to make delicate insinuation,
for a music, a conversation, nimbler than any we have known, or are likely
to find here. For himself, he converses well, but very sparingly. He
assures us, indeed, that the "new style" is in truth a thing of old days,
of his own old days here in Valenciennes, when, working long hours as a
mason's boy, he in fancy reclothed the walls of this or that house he was
employed in, with this fairy arrangement--itself like a piece of
"chamber-music," methinks, part answering to part; while no too trenchant
note is allowed to break through the delicate harmony of white and pale
red and little golden touches. Yet it is all very comfortable also, it
must be confessed; with an elegant open place for the fire, instead of
the big old stove of brown tiles. The ancient, heavy furniture of our
grandparents goes up, with difficulty, into the garrets, much against my
father's inclination. To reconcile him to the change, Antony is painting
his portrait in a vast perruque and with more vigorous massing of light
and shadow than he is wont to permit himself.
June 1714.
He has completed the ovals:--The Four Seasons. Oh! the summerlike grace,
the freedom and softness, of the "Summer"--a hayfield such as we visited
to-day, but boundless, and with touches of level Italian architecture in
the hot, white, elusive distance, and wreaths of flowers, fairy hayrakes
and the like, suspended from tree to tree, with that wonderful lightness
which is one of the charms of his work. I can understand through this, at
last, what it is he enjoys, what he selects by preference, from all that
various world we pass our lives in. I am struck by the purity of the room
he has re-fashioned for us--a sort of MORAL purity; yet, in the FORMS and
COLOURS of things. Is the actual life of Paris, to which he will soon
return, equally pure, that it relishes this kind of thing so strongly?
Only, methinks 'tis a pity to incorporate so much of his work, of himself,
with objects of use, which must perish by use, or disappear, like our own
old furniture, with mere change of fashion.
July 1714.
On the last day of Antony Watteau's visit we made a party to Cambrai.
We entered the cathedral church: it was the hour of Vespers, and it
happened that Monseigneur le Prince de Cambrai, the author of Telemaque,
was in his place in the choir. He appears to be of great age, assists
but rarely at the offices of religion, and is never to be seen in Paris;
and Antony had much desired to behold him. Certainly it was worth while
to have come so far only to see him, and hear him give his pontifical
blessing, in a voice feeble but of infinite sweetness, and with an
inexpressibly graceful movement of the hands. A veritable grand seigneur!
His refined old age, the impress of genius and honours, even his
disappointments, concur with natural graces to make him seem too
distinguished (a fitter word fails me) for this world. Omnia vanitas! he
seems to say, yet with a profound resignation, which makes the things we
are most of us so fondly occupied with look petty enough. Omnia vanitas!
Is that indeed the proper comment on our lives, coming, as it does in this
case, from one who might have made his own all that life has to bestow?
Yet he was never to be seen at court, and has lived here almost as an exile.
Was our "Great King Lewis" jealous of a true grand seigneur or grand
monarque by natural gift and the favour of heaven, that he could not endure
his presence?
July 1714.
My own portrait remains unfinished at his sudden departure. I sat for it
in a walking-dress, made under his direction--a gown of a peculiar silken
stuff, falling into an abundance of small folds, giving me "a certain air
of piquancy" which pleases him, but is far enough from my true self. My
old Flemish faille, which I shall always wear, suits me better.
I notice that our good-hearted but sometimes difficult friend said little
of our brother Jean-Baptiste, though he knows us so anxious on his
account--spoke only of his constant industry, cautiously, and not
altogether with satisfaction, as if the sight of it wearied him.
September 1714.
Will Antony ever accomplish that long-pondered journey to Italy? For his
own sake, I should be glad he might. Yet it seems desolately far, across
those great hills and plains. I remember how I formed a plan for providing
him with a sum sufficient for the purpose. But that he no longer needs.
With myself, how to get through time becomes sometimes the
question,--unavoidably; though it strikes me as a thing unspeakably sad
in a life so short as ours. The sullenness of a long wet day is yielding
just now to an outburst of watery sunset, which strikes from the far
horizon of this quiet world of ours, over fields and willow-woods, upon
the shifty weather-vanes and long-pointed windows of the tower on the
square--from which the Angelus is sounding-with a momentary promise of a
fine night. I prefer the Salut at Saint Vaast. The walk thither is a
longer one, and I have a fancy always that I may meet Antony Watteau
there again, any time; just as, when a child, having found one day a tiny
box in the shape of a silver coin, for long afterwards I used to try
every piece of money that came into my hands, expecting it to open.
September 1714.
We were sitting in the Watteau chamber for the coolness, this sultry
evening. A sudden gust of wind ruffled the lights in the sconces on the
walls: the distant rumblings, which had continued all the afternoon, broke
out at last; and through the driving rain, a coach, rattling across the
Place, stops at our door: in a moment Jean-Baptiste is with us once again;
but with bitter tears in his eyes;--dismissed!
October 1714.
Jean-Baptiste! he too, rejected by Antony! It makes our friendship and
fraternal sympathy closer. And still as he labours, not less sedulously
than of old, and still so full of loyalty to his old master, in that
Watteau chamber, I seem to see Antony himself, of whom Jean-Baptiste
dares not yet speak,--to come very near his work, and understand his great
parts. So Jean-Baptiste's work, in its nearness to his, may stand, for the
future, as the central interest of my life. I bury myself in that.
February 1715.
If I understand anything of these matters, Antony Watteau paints that
delicate life of Paris so excellently, with so much spirit, partly
because, after all, he looks down upon it or despises it. To persuade
myself of that, is my womanly satisfaction for his preference--his
apparent preference--for a world so different from mine. Those coquetries,
those vain and perishable graces, can be rendered so perfectly, only
through an intimate understanding of them. For him, to understand must be
to despise them; while (I think I know why) he nevertheless undergoes their
fascination. Hence that discontent with himself, which keeps pace with his
fame. It would have been better for him--he would have enjoyed a purer and
more real happiness--had he remained here, obscure; as it might have been
better for me!
It is altogether different with Jean-Baptiste. He approaches that life, and
all its pretty nothingness, from a level no higher than its own; and
beginning just where Antony Watteau leaves off in disdain, produces a solid
and veritable likeness of it and of its ways.
March 1715.
There are points in his painting (I apprehend this through his own
persistently modest observations) at which he works out his purpose more
excellently than Watteau; of whom he has trusted himself to speak at last,
with a wonderful self-effacement, pointing out in each of his pictures,
for the rest so just and true, how Antony would have managed this or that,
and, with what an easy superiority, have done the thing better--done the
impossible.
February 1716.
There are good things, attractive things, in life, meant for one and not
for another--not meant perhaps for me; as there are pretty clothes which
are not suitable for every one. I find a certain immobility of disposition
in me, to quicken or interfere with which is like physical pain. He, so
brilliant, petulant, mobile! I am better far beside Jean-Baptiste--in
contact with his quiet, even labour, and manner of being. At first he did
the work to which he had set himself, sullenly; but the mechanical labour
of it has cleared his mind and temper at last, as a sullen day turns quite
clear and fine by imperceptible change. With the earliest dawn he enters
his workroom, the Watteau chamber, where he remains at work all day. The
dark evenings he spends in industrious preparation with the crayon for the
pictures he is to finish during the hours of daylight. His toil is also his
amusement: he goes but rarely into the society whose manners he has to
re-produce. The animals in his pictures, pet animals, are mere toys: he
knows it. But he finishes a large number of works, door-heads, clavecin
cases, and the like. His happiest, his most genial moments, he puts, like
savings of fine gold, into one particular picture (true opus magnum, as he
hopes), The Swing. He has the secret of surprising effects with a certain
pearl-grey silken stuff of his predilection; and it must be confessed that
he paints hands--which a draughtsman, of course, should understand at least
twice as well other people--with surpassing expression.
March 1716.
Is it the depressing result of this labour, of a too exacting labour? I
know not. But at times (it is his one melancholy!) he expresses a strange
apprehension of poverty, of penury and mean surroundings in old age;
reminding me of that childish disposition to hoard, which I noticed in him
of old. And then--inglorious Watteau, as he is!--at times that steadiness,
in which he is so great a contrast to Antony, as it were accumulates,
changes, into a ray of genius, a grace, an inexplicable touch of truth,
in which all his heaviness leaves him for a while, and he actually goes
beyond the master; as himself protests to me, yet modestly. And still, it
is precisely at those moments that he feels most the difference between
himself and Antony Watteau. "In THAT country, ALL the pebbles are golden
nuggets," he says; with perfect good-humour.
June 1716.
'Tis truly in a delightful abode that Antony Watteau is just now
lodged--the hotel or town-house of M. de Crozat, which is not only a
comfortable dwelling-place, but also a precious museum lucky people go
far to see. Jean-Baptiste, too, has seen the place, and describes it.
The antiquities, beautiful curiosities of all sorts--above all, the
original drawings of those old masters Antony so greatly admires-are
arranged all around one there, that the influence, the genius, of those
things may imperceptibly play upon and enter into one, and form what one
does. The house is situated near the Rue Richelieu, but has a large
garden bout it. M. de Crozat gives his musical parties there, and Antony
Watteau has painted the walls of one of the apartments with the Four
Seasons, after the manner of ours, but doubtless improved by second
thoughts. This beautiful place is now Antony's home for a while. The
house has but one story, with attics in the mansard roofs, like those of
a farmhouse in the country. I fancy Antony fled thither for a few
moments, from the visitors who weary him; breathing the freshness of that
dewy garden in the very midst of Paris. As for me, I suffocate this
summer afternoon in this pretty Watteau chamber of ours, where
Jean-Baptiste is at work so contentedly.
May 1717.
In spite of all that happened, Jean-Baptiste has been looking forward to
a visit to Valenciennes which Antony Watteau had proposed to make. He
hopes always--has a patient hope--that Antony's former patronage of him
may be revived. And now he is among us, actually at his work-restless
and disquieting, meagre, like a woman with some nervous malady. Is it
pity, then, pity only, one must feel for the brilliant one? He has been
criticising the work of Jean-Baptiste, who takes his judgments generously,
gratefully. Can it be that, after all, he despises and is no true lover
of his own art, and is but chilled by an enthusiasm for it in another,
such as that of Jean-Baptiste? as if Jean-Baptiste over-valued it, or as
if some ignobleness or blunder, some sign that he has really missed his
aim, started into sight from his work at the sound of praise--as if such
praise could hardly be altogether sincere.
June 1717.
And at last one has actual sight of his work--what it is. He has brought
with him certain long-cherished designs to finish here in quiet, as he
protests he has never finished before. That charming Noblesse--can it be
really so distinguished to the minutest point, so naturally aristocratic?
Half in masquerade, playing the drawing-room or garden comedy of life,
these persons have upon them, not less than the landscape he composes,
and among the accidents of which they group themselves with such a perfect
fittingness, a certain light we should seek for in vain upon anything real.
For their framework they have around them a veritable architecture--a
tree-architecture--to which those moss-grown balusters, termes, statues,
fountains, are really but accessories. Only, as I gaze upon those windless
afternoons, I find myself always saying to myself involuntarily, "The
evening will be a wet one." The storm is always brooding through the massy
splendour of the trees, above those sun-dried glades or lawns, where
delicate children may be trusted thinly clad; and the secular trees
themselves will hardly outlast another generation.
July 1717.
There has been an exhibition of his pictures in the Hall of the Academy
of Saint Luke; and all the world has been to see.
Yes! Besides that unreal, imaginary light upon these scenes, these persons,
which is pure gift of his, there was a light, a poetry, in those persons
and things themselves, close at hand WE had not seen. He has enabled us to
see it: we are so much the better-off thereby, and I, for one, the better.
The world he sets before us so engagingly has its care for purity, its
cleanly preferences, in what one is to SEE--in the outsides of things-and
there is something, a sign, a memento, at the least, of what makes life
really valuable, even in that. There, is my simple notion, wholly womanly
perhaps, but which I may hold by, of the purpose of the arts.
August 1717.
And yet! (to read my mind, my experience, in somewhat different terms)
methinks Antony Watteau reproduces that gallant world, those patched and
powdered ladies and fine cavaliers, so much to its own satisfaction,
partly because he despises it; if this be a possible condition of
excellent artistic production. People talk of a new era now dawning upon
the world, of fraternity, liberty, humanity, of a novel sort of social
freedom in which men's natural goodness of heart will blossom at a
thousand points hitherto repressed, of wars disappearing from the world in
an infinite, benevolent ease of life--yes! perhaps of infinite littleness
also. And it is the outward manner of that, which, partly by anticipation,
and through pure intellectual power, Antony Watteau has caught, together
with a flattering something of his own, added thereto. Himself really of
the old time--that serious old time which is passing away, the impress of
which he carries on his physiognomy--he dignifies, by what in him is
neither more nor less than a profound melancholy, the essential
insignificance of what he wills to touch in all that, transforming its mere
pettiness into grace. It looks certainly very graceful, fresh, animated,
"piquant," as they love to say--yes! and withal, I repeat, perfectly pure,
and may well congratulate itself on the loan of a fallacious grace, not
its own. For in truth Antony Watteau is still the mason's boy, and deals
with that world under a fascination, of the nature of which he is
half-conscious methinks, puzzled at "the queer trick he possesses," to use
his own phrase. You see him growing ever more and more meagre, as he goes
through the world and its applause. Yet he reaches with wonderful sagacity
the secret of an adjustment of colours, a coiffure, a toilette, setting I
know not what air of real superiority on such things. He will never
overcome his early training; and these light things will possess for him
always a kind of representative or borrowed worth, as characterising that
impossible or forbidden world which the mason's boy saw through the closed
gateways of the enchanted garden. Those trifling and petty graces, the
insignia to him of that nobler world of aspiration and idea, even now that
he is aware, as I conceive, of their true littleness, bring back to him,
by the power of association, all the old magical exhilaration of his
dream--his dream of a better world than the real one. There, is the
formula, as I apprehend, of his success--of his extraordinary hold on
things so alien from himself. And I think there is more real hilarity in
my brother's fetes champetres--more truth to life, and therefore less
distinction. Yes! The world profits by such reflection of its poor,
coarse self, in one who renders all its caprices from the height of a
Corneille. That is my way of making up to myself for the fact that I
think his days, too, would have been really happier, had he remained
obscure at Valenciennes.
September 1717.
My own poor likeness, begun so long ago, still remains unfinished on the
easel, at his departure from Valenciennes--perhaps for ever; since the
old people departed this life in the hard winter of last year, at no
distant time from each other. It is pleasanter to him to sketch and plan
than to paint and finish; and he is often out of humour with himself
because he cannot project into a picture the life and spirit of his first
thought with the crayon. He would fain begin where that famous master
Gerard Dow left off, and snatch, as it were with a single stroke, what in
him was the result of infinite patience. It is the sign of this sort of
promptitude that he values solely in the work of another. To my thinking
there is a kind of greed or grasping in that humour; as if things were
not to last very long, and one must snatch opportunity. And often he
succeeds. The old Dutch painter cherished with a kind of piety his colours
and pencils. Antony Watteau, on the contrary, will hardly make any
preparations for his work at all, or even clean his palette, in the
dead-set he makes at improvisation. 'Tis the contrast perhaps between the
staid Dutch genius and the petulant, sparkling French temper of this new
era, into which he has thrown himself. Alas! it is already apparent that
the result also loses something of longevity, of durability--the colours
fading or changing, from the first, somewhat rapidly, as Jean-Baptiste
notes. 'Tis true, a mere trifle alters or produces the expression. But
then, on the other hand, in pictures the whole effect of which lies in a
kind of harmony, the treachery of a single colour must needs involve the
failure of the whole to outlast the fleeting grace of those social
conjunctions it is meant to perpetuate. This is what has happened, in part,
to that portrait on the easel. Meantime, he has commanded Jean-Baptiste to
finish it; and so it must be.
October 1717.
Antony Watteau is an excellent judge of literature, and I have been
reading (with infinite surprise!) in my afternoon walks in the little
wood here, a new book he left behind him--a great favourite of his; as
it has been a favourite with large numbers in Paris.* Those pathetic
shocks of fortune, those sudden alternations of pleasure and remorse,
which must always lie among the very conditions of an irregular and
guilty love, as in sinful games of chance:--they have begun to talk of
these things in Paris, to amuse themselves with the spectacle of them,
set forth here, in the story of poor Manon Lescaut--for whom fidelity is
impossible, vulgarly eager for the money which can buy pleasures, such
as hers--with an art like Watteau's own, for lightness and grace.
Incapacity of truth, yet with such tenderness, such a gift of tears, on
the one side: on the other, a faith so absolute as to give to an illicit
love almost the regularity of marriage! And this is the book those fine
ladies in Watteau's "conversations," who look so exquisitely pure, lay
down on the cushion when the children run up to have their laces righted.
Yet the pity of it! What floods of weeping! There is a tone about which
strikes me as going well with the grace of these leafless birch-trees
against the sky, the pale silver of their bark, and a certain delicate
odour of decay which rises from the soil. It is all one half-light; and
the heroine, nay! The hero himself also, that dainty Chevalier des
Grieux, with all his fervour, have, I think, but a half-life in them
truly, from the first. And I could fancy myself almost of their
condition sitting here alone this evening, in which a premature touch
of winter makes the world look but an inhospitable place of
entertainment for one's spirit. With so little genial warmth to hold it
there, one feels that the merest accident might detach that flighty guest
altogether. So chilled at heart things seem to me, as I gaze on that
glacial point in the motionless sky, like some mortal spot whence death
begins to creep over the body!
*Possibly written at this date, but almost certainly not printed till
many years later.--Note in Second Edition.
And yet, in the midst of this, by mere force of contrast, comes back to
me, very vividly, the true colour, ruddy with blossom and fruit, of the
past summer, among the streets and gardens of some of our old towns we
visited; when the thought of cold was a luxury, and the earth dry enough
to sleep on. The summer was indeed a fine one; and the whole country
seemed bewitched. A kind of infectious sentiment passed upon us, like an
efflux from its flowers and flowerlike architecture--flower-like to me at
least, but of which I never felt the beauty before.
And as I think of that, certainly I have to confess that there is a
wonderful reality about this lovers' story; an accordance between
themselves and the conditions of things around them, so deep as to make
it seem that the course of their lives could hardly have been other than
it was. That impression comes, perhaps, wholly of the writer's skill;
but, at all events, I must read the book no more.
June 1718.
And he has allowed that Mademoiselle Rosalba--"ce bel esprit"--who can
discourse upon the arts like a master, to paint his portrait: has painted
hers in return! She holds a lapful of white roses with her two hands.
Rosa Alba--himself has inscribed it! It will be engraved, to circulate
and perpetuate it the better.
One's journal, here in one's solitude, is of service at least in this,
that it affords an escape for vain regrets, angers, impatience. One puts
this and that angry spasm into it, and is delivered from it so.
And then, it was at the desire of M. de Crozat that the thing was done.
One must oblige one's patrons. The lady also, they tell me, is
consumptive, like Antony himself, and like to die. And he, who has
always lacked either the money or the spirits to make that long-pondered,
much-desired journey to Italy, has found in her work the veritable accent
and colour of those old Venetian masters he would so willingly have
studied under the sunshine of their own land. Alas! How little peace have
his great successes given him; how little of that quietude of mind,
without which, methinks, one fails in true dignity of character.
November 1718.
His thirst for change of place has actually driven him to England, that
veritable home of the consumptive. Ah me! I feel it may be the finishing
stroke. To have run into the native country of consumption! Strange
caprice of that desire to travel, which he has really indulged so little
in his life--of the restlessness which, they tell me, is itself a symptom
of this terrible disease!
January 1720.
As once before, after long silence, a token has reached us, a slight
token that he remembers--an etched plate, one of very few he has executed,
with that old subject: Soldiers on the March. And the weary soldier
himself is returning once more to Valenciennes, on his way from England
to Paris.
February 1720.
Those sharply-arched brows, those restless eyes which seem larger than
ever--something that seizes on one, and is almost terrible, in his
expression--speak clearly, and irresistibly set one on the thought of a
summing-up of his life. I am reminded of the day when, already with that
air of seemly thought, le bel serieux, he was found sketching, with so
much truth to the inmost mind in them, those picturesque mountebanks at
the Fair in the Grande Place; and I find, throughout his course of life,
something of the essential melancholy of the comedian. He, so fastidious
and cold, and who has never "ventured the representation of passion,"
does but amuse the gay world; and is aware of that, though certainly
unamused himself all the while. Just now, however, he is finishing a
very different picture--that too, full of humour--an English family-group,
with a little girl riding a wooden horse: the father, and the mother
holding his tobacco-pipe, stand in the centre.
March 1720.
To-morrow he will depart finally. And this evening the Syndics of the
Academy of Saint Luke came with their scarves and banners to conduct
their illustrious fellow-citizen, by torchlight, to supper in their
Guildhall, where all their beautiful old corporation plate will be
displayed. The Watteau salon was lighted up to receive them. There is
something in the payment of great honours to the living which fills one
with apprehension, especially when the recipient of them looks so like a
dying man. God have mercy on him!
April 1721.
We were on the point of retiring to rest last evening when a messenger
arrived post-haste with a letter on behalf of Antony Watteau, desiring
Jean-Baptiste's presence at Paris. We did not go to bed that night; and
my brother was on his way before daylight, his heart full of a strange
conflict of joy and apprehension.
May 1721.
A letter at last! from Jean-Baptiste, occupied with cares of all sorts at
the bedside of the sufferer. Antony fancying that the air of the country
might do him good, the Abbe Haranger, one of the canons of the Church of
Saint Germain l'Auxerrois, where he was in the habit of hearing Mass, has
lent him a house at Nogent-sur-Marne. There he receives a few visitors.
But in truth the places he once liked best, the people, nay! the very
friends, have become to him nothing less than insupportable. Though he
still dreams of change, and would fain try his native air once more, he
is at work constantly upon his art; but solely by way of a teacher,
instructing (with a kind of remorseful diligence, it would seem)
Jean-Baptiste, who will be heir to his unfinished work, and take up many
of his pictures where he has left them. He seems now anxious for one
thing only, to give his old "dismissed" disciple what remains of himself
and the last secrets of his genius. His property--9000 livres only--goes
to his relations. Jean-Baptiste has found these last weeks immeasurably
useful.
For the rest, bodily exhaustion perhaps, and this new interest in an old
friend, have brought him tranquillity at last, a tranquillity in which he
is much occupied with matters of religion. Ah! it was ever so with me.
And one lives also most reasonably so.--With women, at least, it is thus,
quite certainly. Yet I know not what there is of a pity which strikes deep,
at the thought of a man, a while since so strong, turning his face to the
wall from the things which most occupy men's lives. 'Tis that homely, but
honest cure of Nogent he has caricatured so often, who attends him.
July 1721.
Our incomparable Watteau is no more! Jean-Baptiste returned unexpectedly.
I heard his hasty footsteps on the stairs. We turned together into that
room; and he told his story there. Antony Watteau departed suddenly, in
the arms of M. Gersaint, on one of the late hot days of July. At the last
moment he had been at work upon a crucifix for the good cure of Nogent,
liking little the very rude one he possessed. He died with all the
sentiments of religion.
He has been a sick man all his life. He was always a seeker after
something in the world that is there in no satisfying measure, or not
at all.
CHAPTER II. DENYS L'AUXERROIS
Almost every people, as we know, has had its legend of a "golden age"
and of its return--legends which will hardly be forgotten, however
prosaic the world may become, while man himself remains the aspiring,
never quite contented being he is. And yet in truth, since we are no
longer children, we might well question the advantage of the return to
us of a condition of life in which, by the nature of the case, the
values of things would, so to speak, lie wholly on their surfaces,
unless we could regain also the childish consciousness, or rather
unconsciousness, in ourselves, to take all that adroitly and with the
appropriate lightness of heart. The dream, however, has been left for
the most part in the usual vagueness of dreams: in their waking hours
people have been too busy to furnish it forth with details. What follows
is a quaint legend, with detail enough, of such a return of a golden or
poetically-gilded age (a denizen of old Greece itself actually finding
his way back again among men) as it happened in an ancient town of
medieval France.
Of the French town, properly so called, in which the products of
successive ages, not with-out lively touches of the present, are blended
together harmoniously, with a beauty SPECIFIC--a beauty cisalpine and
northern, yet at the same time quite distinct from the massive German
picturesque of Ulm, or Freiburg, or Augsburg, and of which Turner has
found the ideal in certain of his studies of the rivers of France, a
perfectly happy conjunction of river and town being of the essence of
its physiognomy--the town of Auxerre is perhaps the most complete
realisation to be found by the actual wanderer. Certainly, for
picturesque expression it is the most memorable of a distinguished group
of three in these parts,--Auxerre, Sens, Troyes,--each gathered, as if
with deliberate aim at such effect, about the central mass of a huge
grey cathedral.
Around Troyes the natural picturesque is to be sought only in the rich,
almost coarse, summer colouring of the Champagne country, of which the
very tiles, the plaster and brickwork of its tiny villages and great,
straggling, village-like farms have caught the warmth. The cathedral,
visible far and wide over the fields seemingly of loose wild-flowers,
itself a rich mixture of all the varieties of the Pointed style down to
the latest Flamboyant, may be noticed among the greater French churches
for breadth of proportions internally, and is famous for its almost
unrivalled treasure of stained glass, chiefly of a florid, elaborate,
later type, with much highly conscious artistic contrivance in design as
well as in colour. In one of the richest of its windows, for instance,
certain lines of pearly white run hither and thither, with delightful
distant effect, upon ruby and dark blue. Approaching nearer you find it
to be a Travellers' window, and those odd lines of white the long
walking-staves in the hands of Abraham, Raphael, the Magi, and the other
saintly patrons of journeys. The appropriate provincial character of the
bourgeoisie of Champagne is still to be seen, it would appear, among the
citizens of Troyes. Its streets, for the most part in timber and
pargeting, present more than one unaltered specimen of the ancient hotel
or town-house, with forecourt and garden in the rear; and its more
devout citizens would seem even in their church-building to have sought
chiefly to please the eyes of those occupied with mundane affairs and
out of doors, for they have finished, with abundant outlay, only the
vast, useless portals of their parish churches, of surprising height and
lightness, in a kind of wildly elegant Gothic-on-stilts, giving to the
streets of Troyes a peculiar air of the grotesque, as if in some quaint
nightmare of the Middle Age.
At Sens, thirty miles away to the west, a place of far graver aspect,
the name of Jean Cousin denotes a more chastened temper, even in these
sumptuous decorations. Here all is cool and composed, with an almost
English austerity. The first growth of the Pointed style in England--the
hard "early English" of Canterbury--is indeed the creation of William, a
master reared in the architectural school of Sens; and the severity of
his taste might seem to have acted as a restraining power on all the
subsequent changes of manner in this place--changes in themselves for
the most part towards luxuriance. In harmony with the atmosphere of its
great church is the cleanly quiet of the town, kept fresh by little
channels of clear water circulating through its streets, derivatives of
the rapid Vanne which falls just below into the Yonne. The Yonne,
bending gracefully, link after link, through a never-ending rustle of
poplar trees, beneath lowly vine-clad hills, with relics of delicate
woodland here and there, sometimes close at hand, sometimes leaving an
interval of broad meadow, has all the lightsome characteristics of
French river-side scenery on a smaller scale than usual, and might pass
for the child's fancy of a river, like the rivers of the old
miniature-painters, blue, and full to a fair green margin. One notices
along its course a greater proportion than elsewhere of still untouched
old seignorial residences, larger or smaller. The range of old gibbous
towns along its banks, expanding their gay quays upon the water-side,
have a common character--Joigny, Villeneuve, Julien-du-Sault--yet tempt
us to tarry at each and examine its relics, old glass and the like, of
the Renaissance or the Middle Age, for the acquisition of real though
minor lessons on the various arts which have left themselves a central
monument at Auxerre.--Auxerre! A slight ascent in the winding road! and
you have before you the prettiest town in France--the broad framework of
vineyard sloping upwards gently to the horizon, with distant white
cottages inviting one to walk: the quiet curve of river below, with all
the river-side details: the three great purple-tiled masses of Saint
Germain, Saint Pierre, and the cathedral of Saint Etienne, rising out of
the crowded houses with more than the usual abruptness and irregularity
of French building. Here, that rare artist, the susceptible painter of
architecture, if he understands the value alike of line and mass of
broad masses and delicate lines, has "a subject made to his hand."
A veritable country of the vine, it presents nevertheless an expression
peaceful rather than radiant. Perfect type of that happy mean between
northern earnestness and the luxury of the south, for which we prize
midland France, its physiognomy is not quite happy--attractive in part
for its melancholy. Its most characteristic atmosphere is to be seen
when the tide of light and distant cloud is travelling quickly over it,
when rain is not far off, and every touch of art or of time on its old
building is defined in clear grey. A fine summer ripens its grapes into
a valuable wine; but in spite of that it seems always longing for a
larger and more continuous allowance of the sunshine which is so much to
its taste. You might fancy something querulous or plaintive in that
rustling movement of the vine-leaves, as blue-frocked Jacques Bonhomme
finishes his day's labour among them.
To beguile one such afternoon when the rain set in early and walking was
impossible, I found my way to the shop of an old dealer in bric-a-brac.
It was not a monotonous display, after the manner of the Parisian
dealer, of a stock-in-trade the like of which one has seen many times
over, but a discriminate collection of real curiosities. One seemed to
recognise a provincial school of taste in various relics of the
housekeeping of the last century, with many a gem of earlier times from
the old churches and religious houses of the neighbourhood. Among them
was a large and brilliant fragment of stained glass which might have
come from the cathedral itself. Of the very finest quality in colour and
design, it presented a figure not exactly conformable to any recognised
ecclesiastical type; and it was clearly part of a series. On my eager
inquiry for the remainder, the old man replied that no more of it was
known, but added that the priest of a neighbouring village was the
possessor of an entire set of tapestries, apparently intended for
suspension in church, and designed to portray the whole subject of which
the figure in the stained glass was a portion.
Next afternoon accordingly I repaired to the priest's house, in reality
a little Gothic building, part perhaps of an ancient manor-house, close
to the village church. In the front garden, flower-garden and potager in
one, the bees were busy among the autumn growths--many-coloured asters,
bignonias, scarlet-beans, and the old-fashioned parsonage flowers. The
courteous owner readily showed me his tapestries, some of which hung on
the walls of his parlour and staircase by way of a background for the
display of the other curiosities of which he was a collector. Certainly,
those tapestries and the stained glass dealt with the same theme. In
both were the same musical instruments--pipes, cymbals, long reed-like
trumpets. The story, indeed, included the building of an organ, just
such an instrument, only on a larger scale, as was standing in the old
priest's library, though almost soundless now, whereas in certain of the
woven pictures the hearers appear as if transported, some of them
shouting rapturously to the organ music. A sort of mad vehemence
prevails, indeed, throughout the delicate bewilderments of the whole
series--giddy dances, wild animals leaping, above all perpetual
wreathings of the vine, connecting, like some mazy arabesque, the
various presentations of one oft-repeated figure, translated here out of
the clear-coloured glass into the sadder, somewhat opaque and earthen
hues of the silken threads. The figure was that of the organ-builder
himself, a flaxen and flowery creature, sometimes wellnigh naked among
the vine-leaves, sometimes muffled in skins against the cold, sometimes
in the dress of a monk, but always with a strong impress of real
character and incident from the veritable streets of Auxerre. What is
it? Certainly, notwithstanding its grace, and wealth of graceful
accessories, a suffering, tortured figure. With all the regular beauty
of a pagan god, he has suffered after a manner of which we must suppose
pagan gods incapable. It was as if one of those fair, triumphant beings
had cast in his lot with the creatures of an age later than his own,
people of larger spiritual capacity and assuredly of a larger capacity
for melancholy. With this fancy in my mind, by the help of certain
notes, which lay in the priest's curious library, upon the history of
the works at the cathedral during the period of its finishing, and in
repeated examination of the old tapestried designs, the story shaped
itself at last.
Towards the middle of the thirteenth century the cathedral of Saint
Etienne was complete in its main outlines: what remained was the
building of the great tower, and all that various labour of final
decoration which it would take more than one generation to accomplish.
Certain circumstances, however, not wholly explained, led to a somewhat
rapid finishing, as it were out of hand, yet with a marvellous fulness
at once and grace. Of the result much has perished, or been transferred
elsewhere; a portion is still visible in sumptuous relics of stained
windows, and, above all, in the reliefs which adorn the western portals,
very delicately carved in a fine, firm stone from Tonnerre, of which
time has only browned the surface, and which, for early mastery in art,
may be compared with the contemporary work of Italy. They come nearer
than the art of that age was used to do to the expression of life; with
a feeling for reality, in no ignoble form, caught, it might seem, from
the ardent and full-veined existence then current in these actual
streets and houses. Just then Auxerre had its turn in that political
movement which broke out sympathetically, first in one, then in another
of the towns of France, turning their narrow, feudal institutions into a
free, communistic life--a movement of which those great centres of
popular devotion, the French cathedrals, are in many instances the
monument. Closely connected always with the assertion of individual
freedom, alike in mind and manners, at Auxerre this political stir was
associated also, as cause or effect, with the figure and character of a
particular personage, long remembered. He was the very genius, it would
appear, of that new, free, generous manner in art, active and potent as
a living creature.
As the most skilful of the band of carvers worked there one day, with a
labour he could never quite make equal to the vision within him, a
finely-sculptured Greek coffin of stone, which had been made to serve
for some later Roman funeral, was unearthed by the masons. Here, it
might seem, the thing was indeed done, and art achieved, as far as
regards those final graces, and harmonies of execution, which were
precisely what lay beyond the hand of the medieval workman, who for his
part had largely at command a seriousness of conception lacking in the
old Greek. Within the coffin lay an object of a fresh and brilliant
clearness among the ashes of the dead--a flask of lively green glass,
like a great emerald. It might have been "the wondrous vessel of the
Grail." Only, this object seemed to bring back no ineffable purity, but
rather the riotous and earthy heat of old paganism itself. Coated
within, and, as some were persuaded, still redolent with the tawny
sediment of the Roman wine it had held so long ago, it was set aside for
use at the supper which was shortly to celebrate the completion of the
masons' work. Amid much talk of the great age of gold, and some random
expressions of hope that it might return again, fine old wine of Auxerre
was sipped in small glasses from the precious flask as supper ended.
And, whether or not the opening of the buried vessel had anything to do
with it, from that time a sort of golden age seemed indeed to be
reigning there for a while, and the triumphant completion of the great
church was contemporary with a series of remarkable wine seasons. The
vintage of those years was long remembered. Fine and abundant wine was
to be found stored up even in poor men's cottages; while a new beauty, a
gaiety, was abroad, as all the conjoint arts branched out exuberantly in
a reign of quiet, delighted labour, at the prompting, as it seemed, of
the singular being who came suddenly and oddly to Auxerre to be the
centre of so pleasant a period, though in truth he made but a sad
ending.
A peculiar usage long perpetuated itself at Auxerre. On Easter Day the
canons, in the very centre of the great church, played solemnly at ball.
Vespers being sung, instead of conducting the bishop to his palace, they
proceeded in order into the nave, the people standing in two long rows
to watch. Girding up their skirts a little way, the whole body of
clerics awaited their turn in silence, while the captain of the
singing-boys cast the ball into the air, as high as he might, along the
vaulted roof of the central aisle to be caught by any boy who could, and
tossed again with hand or foot till it passed on to the portly chanters,
the chaplains, the canons themselves, who finally played out the game
with all the decorum of an ecclesiastical ceremony. It was just then,
just as the canons took the ball to themselves so gravely, that
Denys--Denys l'Auxerrois, as he was afterwards called--appeared for the
first time. Leaping in among the timid children, he made the thing
really a game. The boys played like boys, the men almost like madmen,
and all with a delightful glee which became contagious, first in the
clerical body, and then among the spectators. The aged Dean of the
Chapter, Protonotary of his Holiness, held up his purple skirt a little
higher, and stepping from the ranks with an amazing levity, as if
suddenly relieved of his burden of eighty years, tossed the ball with
his foot to the venerable capitular Homilist, equal to the occasion.
And then, unable to stand inactive any longer, the laity carried on the
game among themselves, with shouts of not too boisterous amusement; the
sport continuing till the flight of the ball could no longer be traced
along the dusky aisles.
Though the home of his childhood was but a humble one--one of those
little cliff-houses cut out in the low chalky hillside, such as are
still to be found with inhabitants in certain districts of France-there
were some who connected his birth with the story of a beautiful
country girl, who, about eighteen years before, had been taken from her
own people, not unwillingly, for the pleasure of the Count of Auxerre.
She had wished indeed to see the great lord, who had sought her
privately, in the glory of his own house; but, terrified by the strange
splendours of her new abode and manner of life, and the anger of the
true wife, she had fled suddenly from the place during the confusion of
a violent storm, and in her flight given birth prematurely to a child.
The child, a singularly fair one, was found alive, but the mother dead,
by lightning-stroke as it seemed, not far from her lord's chamber-door,
under the shelter of a ruined ivy-clad tower. Denys himself certainly
was a joyous lad enough. At the cliff-side cottage, nestling actually
beneath the vineyards, he came to be an unrivalled gardener, and, grown
to manhood, brought his produce to market, keeping a stall in the great
cathedral square for the sale of melons and pomegranates, all manner of
seeds and flowers (omnia speciosa camporum), honey also, wax tapers,
sweetmeats hot from the frying-pan, rough home-made pots and pans from
the little pottery in the wood, loaves baked by the aged woman in whose
house he lived. On that Easter Day he had entered the great church for
the first time, for the purpose of seeing the game.
And from the very first, the women who saw him at his business, or
watering his plants in the cool of the evening, idled for him. The men
who noticed the crowd of women at his stall, and how even fresh young
girls from the country, seeing him for the first time, always loitered
there, suspected--who could tell what kind of powers? hidden under the
white veil of that youthful form; and pausing to ponder the matter,
found themselves also fallen into the snare. The sight of him made old
people feel young again. Even the sage monk Hermes, devoted to study and
experiment, was unable to keep the fruit-seller out of his mind, and
would fain have discovered the secret of his charm, partly for the
friendly purpose of explaining to the lad himself his perhaps more than
natural gifts with a view to their profitable cultivation.
It was a period, as older men took note, of young men and their
influence. They took fire, no one could quite explain how, as if at his
presence, and asserted a wonderful amount of volition, of insolence, yet
as if with the consent of their elders, who would themselves sometimes
lose their balance, a little comically. That revolution in the temper
and manner of individuals concurred with the movement then on foot at
Auxerre, as in other French towns, for the liberation of the commune
from its old feudal superiors. Denys they called Frank, among many other
nicknames. Young lords prided themselves on saying that labour should
have its ease, and were almost prepared to take freedom, plebeian
freedom (of course duly decorated, at least with wild-flowers) for a
bride. For in truth Denys at his stall was turning the grave, slow
movement of politic heads into a wild social license, which for a while
made life like a stage-play. He first led those long processions,
through which by and by "the little people," the discontented, the
despairing, would utter their minds. One man engaged with another in
talk in the market-place; a new influence came forth at the contact;
another and then another adhered; at last a new spirit was abroad
everywhere. The hot nights were noisy with swarming troops of
dishevelled women and youths with red-stained limbs and faces, carrying
their lighted torches over the vine-clad hills, or rushing down the
streets, to the horror of timid watchers, towards the cool spaces by the
river. A shrill music, a laughter at all things, was everywhere. And the
new spirit repaired even to church to take part in the novel offices of
the Feast of Fools. Heads flung back in ecstasy--the morning sleep among
the vines, when the fatigue of the night was over--dew-drenched
garments--the serf lying at his ease at last: the artists, then so
numerous at the place, caught what they could, something, at least, of
the richness, the flexibility of the visible aspects of life, from all
this. With them the life of seeming idleness, to which Denys was
conducting the youth of Auxerre so pleasantly, counted but as the
cultivation, for their due service to man, of delightful natural things.
And the powers of nature concurred. It seemed there would be winter no
more. The planet Mars drew nearer to the earth than usual, hanging in
the low sky like a fiery red lamp. A massive but well-nigh lifeless vine
on the wall of the cloister, allowed to remain there only as a curiosity
on account of its immense age, in that great season, as it was long
after called, clothed itself with fruit once more. The culture of the
grape greatly increased. The sunlight fell for the first time on many a
spot of deep woodland cleared for vine-growing; though Denys, a lover of
trees, was careful to leave a stately specimen of forest growth here and
there.
When his troubles came, one characteristic that had seemed most amiable
in his prosperity was turned against him--a fondness for oddly grown or
even misshapen, yet potentially happy, children; for odd animals also:
he sympathised with them all, was skilful in healing their maladies,
saved the hare in the chase, and sold his mantle to redeem a lamb from
the butcher. He taught the people not to be afraid of the strange, ugly
creatures which the light of the moving torches drew from their
hiding-places, nor think it a bad omen that approached. He tamed a
veritable wolf to keep him company like a dog. It was the first of many
ambiguous circumstances about him, from which, in the minds of an
increasing number of people, a deep suspicion and hatred began to define
itself. The rich bestiary, then compiling in the library of the great
church, became, through his assistance, nothing less than a garden of
Eden--the garden of Eden grown wild. The owl alone he abhorred. A little
later, almost as if in revenge, alone of all animals it clung to him,
haunting him persistently among the dusky stone towers, when grown
gentler than ever he dared not kill it. He moved unhurt in the famous
menagerie of the castle, of which the common people were so much afraid,
and let out the lions, themselves timid prisoners enough, through the
streets during the fair. The incident suggested to the somewhat barren
pen-men of the day a "morality" adapted from the old pagan books--a
stage-play in which the God of Wine should return in triumph from the
East. In the cathedral square the pageant was presented, amid an
intolerable noise of every kind of pipe-music, with Denys in the chief
part, upon a gaily-painted chariot, in soft silken raiment, and, for
headdress, a strange elephant-scalp with gilded tusks.
And that unrivalled fairness and freshness of aspect:--how did he alone
preserve it untouched, through the wind and heat? In truth, it was not
by magic, as some said, but by a natural simplicity in his living. When
that dark season of his troubles arrived he was heard begging
querulously one wintry night, "Give me wine, meat; dark wine and brown
meat!"--come back to the rude door of his old home in the cliff-side.
Till that time the great vine-dresser himself drank only water; he had
lived on spring-water and fruit. A lover of fertility in all its forms,
in what did but suggest it, he was curious and penetrative concerning
the habits of water, and had the secret of the divining-rod. Long before
it came he could detect the scent of rain from afar, and would climb
with delight to the great scaffolding on the unfinished tower to watch
its coming over the thirsty vine-land, till it rattled on the great
tiled roof of the church below; and then, throwing off his mantle, allow
it to bathe his limbs freely, clinging firmly against the tempestuous
wind among the carved imageries of dark stone.
It was on his sudden return after a long journey (one of many
inexplicable disappearances), coming back changed somewhat, that he ate
flesh for the first time, tearing the hot, red morsels with his delicate
fingers in a kind of wild greed. He had fled to the south from the first
forbidding days of a hard winter which came at last. At the great
seaport of Marseilles he had trafficked with sailors from all parts of
the world, from Arabia and India, and bought their wares, exposed now
for sale, to the wonder of all, at the Easter fair--richer wines and
incense than had been known in Auxerre, seeds of marvellous new flowers,
creatures wild and tame, new pottery painted in raw gaudy tints, the
skins of animals, meats fried with unheard-of condiments. His stall
formed a strange, unwonted patch of colour, found suddenly displayed in
the hot morning.
The artists were more delighted than ever, and frequented his company in
the little manorial habitation, deserted long since by its owners and
haunted, so that the eyes of many looked evil upon it, where he had
taken up his abode, attracted, in the first instance, by its rich though
neglected garden, a tangle of every kind of creeping, vine-like plant.
Here, surrounded in abundance by the pleasant materials of his trade,
the vine-dresser as it were turned pedant and kept school for the
various artists, who learned here an art supplementary to their
own,--that gay magic, namely (art or trick) of his existence, till they
found themselves grown into a kind of aristocracy, like veritable gens
fleur-de-lises, as they worked together for the decoration of the great
church and a hundred other places beside. And yet a darkness had grown
upon him. The kind creature had lost something of his gentleness.
Strange motiveless misdeeds had happened; and, at a loss for other
causes, not the envious only would fain have traced the blame to Denys.
He was making the younger world mad. Would he make himself Count of
Auxerre? The lady Ariane, deserted by her former lover, had looked
kindly upon him; was ready to make him son-in-law to the old count her
father, old and not long for this world. The wise monk Hermes bethought
him of certain old readings in which the Wine-god, whose part Denys had
played so well, had his contrast, his dark or antipathetic side; was
like a double creature, of two natures, difficult or impossible to
harmonise. And in truth the much-prized wine of Auxerre has itself but a
fugitive charm, being apt to sicken and turn gross long before the
bottle is empty, however carefully sealed; as it goes indeed, at its
best, by hard names, among those who grow it, such as Chainette and
Migraine.
A kind of degeneration, of coarseness--the coarseness of satiety, and
shapeless, battered-out appetite--with an almost savage taste for
carnivorous diet, had come over the company. A rumour went abroad of
certain women who had drowned, in mere wantonness, their newborn babes.
A girl with child was found hanged by her own act in a dark cellar. Ah!
if Denys also had not felt himself mad! But when the guilt of a murder,
committed with a great vine-axe far out among the vineyards, was
attributed vaguely to him, he could but wonder whether it had been
indeed thus, and the shadow of a fancied crime abode with him. People
turned against their favourite, whose former charms must now be counted
only as the fascinations of witchcraft. It was as if the wine poured out
for them had soured in the cup. The golden age had indeed come back for
a while:--golden was it, or gilded only, after all? and they were too
sick, or at least too serious, to carry through their parts in it. The
monk Hermes was whimsically reminded of that after-thought in pagan
poetry, of a Wine-god who had been in hell. Denys certainly, with all
his flaxen fairness about him, was manifestly a sufferer. At first he
thought of departing secretly to some other place. Alas! his wits were
too far gone for certainty of success in the attempt. He feared to be
brought back a prisoner. Those fat years were over. It was a time of
scarcity. The working people might not eat and drink of the good things
they had helped to store away. Tears rose in the eyes of needy children,
of old or weak people like children, as they woke up again and again to
sunless, frost-bound, ruinous mornings; and the little hungry creatures
went prowling after scattered hedge-nuts or dried vine-tendrils.
Mysterious, dark rains prevailed throughout the summer. The great
offices of Saint John were fumbled through in a sudden darkness of
unseasonable storm, which greatly damaged the carved ornaments of the
church, the bishop reading his mid-day Mass by the light of the little
candle at his book. And then, one night, the night which seemed
literally to have swallowed up the shortest day in the year, a plot was
contrived by certain persons to take Denys as he went and kill him
privately for a sorcerer. He could hardly tell how he escaped, and found
himself safe in his earliest home, the cottage in the cliff-side, with
such a big fire as he delighted in burning upon the hearth. They made a
little feast as well as they could for the beautiful hunted creature,
with abundance of waxlights.
And at last the clergy bethought themselves of a remedy for this evil
time. The body of one of the patron saints had lain neglected somewhere
under the flagstones of the sanctuary. This must be piously exhumed, and
provided with a shrine worthy of it. The goldsmiths, the jewellers and
lapidaries, set diligently to work, and no long time after, the shrine,
like a little cathedral with portals and tower complete, stood ready,
its chiselled gold framing panels of rock crystal, on the great altar.
Many bishops arrived, with King Lewis the Saint himself accompanied by
his mother, to assist at the search for and disinterment of the sacred
relics. In their presence, the Bishop of Auxerre, with vestments of deep
red in honour of the relics, blessed the new shrine, according to the
office De benedictione capsarum pro reliquiis. The pavement of the
choir, removed amid a surging sea of lugubrious chants, all persons
fasting, discovered as if it had been a battlefield of mouldering human
remains. Their odour rose plainly above the plentiful clouds of incense,
such as was used in the king's private chapel. The search for the Saint
himself continued in vain all day and far into the night. At last from a
little narrow chest, into which the remains had been almost crushed
together, the bishop's red-gloved hands drew the dwindled body, shrunken
inconceivably, but still with every feature of the face traceable in a
sudden oblique ray of ghastly dawn.
That shocking sight, after a sharp fit as though a demon were going out
of him, as he rolled on the turf of the cloister to which he had fled
alone from the suffocating church, where the crowd still awaited the
Procession of the relics and the Mass De reliquiis quae continentur in
Ecclesiis, seemed indeed to have cured the madness of Denys, but
certainly did not restore his gaiety. He was left a subdued, silent,
melancholy creature. Turning now, with an odd revulsion of feeling, to
gloomy objects, he picked out a ghastly shred from the common bones on
the pavement to wear about his neck, and in a little while found his way
to the monks of Saint Germain, who gladly received him into their
workshop, though secretly, in fear of his foes.
The busy tribe of variously gifted artists, labouring rapidly at the
many works on hand for the final embellishment of the cathedral of St.
Etienne, made those conventual buildings just then cheerful enough to
lighten a melancholy, heavy even as that of our friend Denys. He took
his place among the workmen, a conventual novice; a novice also as to
whatever concerns any actual handicraft. He could but compound sweet
incense for the sanctuary. And yet, again by merely visible presence, he
made himself felt in all the varied exercise around him of those arts
which address themselves first of all to sight. Unconsciously he defined
a peculiar manner, alike of feeling and expression, to those skilful
hands at work day by day with the chisel, the pencil, or the needle, in
many an enduring form of exquisite fancy. In three successive phases or
fashions might be traced, especially in the carved work, the humours he
had determined. There was first wild gaiety, exuberant in a wreathing of
life-like imageries, from which nothing really present in nature was
excluded. That, as the soul of Denys darkened, had passed into obscure
regions of the satiric, the grotesque and coarse. But from this time
there was manifest, with no loss of power or effect, a well-assured
seriousness, somewhat jealous and exclusive, not so much in the
selection of the material on which the arts were to work, as in the
precise sort of expression that should be induced upon it. It was as if
the gay old pagan world had been BLESSED in some way; with effects to be
seen most clearly in the rich miniature work of the manuscripts of the
capitular library,--a marvellous Ovid especially, upon the pages of
which those old loves and sorrows seemed to come to life again in
medieval costume, as Denys, in cowl now and with tonsured head, leaned
over the painter, and led his work, by a kind of visible sympathy, often
unspoken, rather than by any formal comment.
Above all, there was a desire abroad to attain the instruments of a
freer and more various sacred music than had been in use hitherto--a
music that might express the whole compass of souls now grown to
manhood. Auxerre, then as afterwards, was famous for its liturgical
music. It was Denys, at last, to whom the thought occurred of combining
in a fuller tide of music all the instruments then in use. Like the
Wine-god of old, he had been a lover and patron especially of the music
of the pipe, in all its varieties. Here, too, there had been evident
those three fashions or "modes":--first, the simple and pastoral, the
homely note of the pipe, like the piping of the wind itself from off the
distant fields; then, the wild, savage din, that had cost so much to
quiet people, and driven excitable people mad. Now he would compose all
this to sweeter purposes; and the building of the first organ became
like the book of his life: it expanded to the full compass of his
nature, in its sorrow and delight. In long, enjoyable days of wind and
sun by the river-side, the seemingly half-witted "brother" sought and
found the needful varieties of reed. The carpenters, under his
instruction, set up the great wooden passages for the thunder; while the
little pipes of pasteboard simulated the sound of the human voice
singing to the victorious notes of the long metal trumpets. At times
this also, as people heard night after night those wandering sounds,
seemed like the work of a madman, though they awoke sometimes in wonder
at snatches of a new, an unmistakable new music. It was the triumph of
all the various modes of the power of the pipe, tamed, ruled, united.
Only, on the painted shutters of the organ-case Apollo with his lyre in
his hand, as lord of the strings, seemed to look askance on the music of
the reed, in all the jealousy with which he put Marsyas to death so
cruelly.
Meantime, the people, even his enemies, seemed to have forgotten him.
Enemies, in truth, they still were, ready to take his life should the
opportunity come; as he perceived when at last he ventured forth on a
day of public ceremony. The bishop was to pronounce a blessing upon the
foundations of a new bridge, designed to take the place of the ancient
Roman bridge which, repaired in a thousand places, had hitherto served
for the chief passage of the Yonne. It was as if the disturbing of that
time-worn masonry let out the dark spectres of departed times. Deep
down, at the core of the central pile, a painful object was exposed--the
skeleton of a child, placed there alive, it was rightly surmised, in the
superstitious belief that, by way of vicarious substitution, its death
would secure the safety of all who should pass over. There were some who
found themselves, with a little surprise, looking round as if for a
similar pledge of security in their new undertaking. It was just then
that Denys was seen plainly, standing, in all essential features
precisely as of old, upon one of the great stones prepared for the
foundation of the new building. For a moment he felt the eyes of the
people upon him full of that strange humour, and with characteristic
alertness, after a rapid gaze over the grey city in its broad green
framework of vineyards, best seen from this spot, flung himself down
into the water and disappeared from view where the stream flowed most
swiftly below a row of flour-mills. Some indeed fancied they had seen
him emerge again safely on the deck of one of the great boats, loaded
with grapes and wreathed triumphantly with flowers like a floating
garden, which were then bringing down the vintage from the country; but
generally the people believed their strange enemy now at last departed
for ever. Denys in truth was at work again in peace at the cloister,
upon his house of reeds and pipes. At times his fits came upon him
again; and when they came, for his cure he would dig eagerly, turned
sexton now, digging, by choice, graves for the dead in the various
churchyards of the town. There were those who had seen him thus employed
(that form seeming still to carry something of real sun-gold upon it)
peering into the darkness, while his tears fell sometimes among the grim
relics his mattock had disturbed.
In fact, from the day of the exhumation of the body of the Saint in the
great church, he had had a wonderful curiosity for such objects, and one
wintry day bethought him of removing the body of his mother from the
unconsecrated ground in which it lay, that he might bury it in the
cloister, near the spot where he was now used to work. At twilight he
came over the frozen snow. As he passed through the stony barriers of
the place the world around seemed curdled to the centre--all but
himself, fighting his way across it, turning now and then right-about
from the persistent wind, which dealt so roughly with his blond hair and
the purple mantle whirled about him. The bones, hastily gathered, he
placed, awefully but without ceremony, in a hollow space prepared
secretly within the grave of another.
Meantime the winds of his organ were ready to blow; and with difficulty
he obtained grace from the Chapter for a trial of its powers on a
notable public occasion, as follows. A singular guest was expected at
Auxerre. In recompense for some service rendered to the Chapter in times
gone by, the Sire de Chastellux had the hereditary dignity of a canon of
the church. On the day of his reception he presented himself at the
entrance of the choir in surplice and amice, worn over the military
habit. The old count of Chastellux was lately dead, and the heir had
announced his coming, according to custom, to claim his ecclesiastical
privilege. There had been long feud between the houses of Chastellux and
Auxerre; but on this happy occasion an offer of peace came with a
proposal for the hand of the Lady Ariane.
The goodly young man arrived, and, duly arrayed, was received into his
stall at vespers, the bishop assisting. It was then that the people
heard the music of the organ, rolling over them for the first time, with
various feelings of delight. But the performer on and author of the
instrument was forgotten in his work, and there was no re-instatement of
the former favourite. The religious ceremony was followed by a civic
festival, in which Auxerre welcomed its future lord. The festival was to
end at nightfall with a somewhat rude popular pageant, in which the
person of Winter would be hunted blindfold through the streets. It was
the sequel to that earlier stage-play of the Return from the East in
which Denys had been the central figure. The old forgotten player saw
his part before him, and, as if mechanically, fell again into the chief
place, monk's dress and all. It might restore his popularity: who could
tell? Hastily he donned the ashen-grey mantle, the rough haircloth about
the throat, and went through the preliminary matter. And it happened
that a point of the haircloth scratched his lip deeply, with a long
trickling of blood upon the chin. It was as if the sight of blood
transported the spectators with a kind of mad rage, and suddenly
revealed to them the truth. The pretended hunting of the unholy creature
became a real one, which brought out, in rapid increase, men's evil
passions. The soul of Denys was already at rest, as his body, now borne
along in front of the crowd, was tossed hither and thither, torn at last
limb from limb. The men stuck little shreds of his flesh, or, failing
that, of his torn raiment, into their caps; the women lending their long
hairpins for the purpose. The monk Hermes sought in vain next day for
any remains of the body of his friend. Only, at nightfall, the heart of
Denys was brought to him by a stranger, still entire. It must long since
have mouldered into dust under the stone, marked with a cross, where he
buried it in a dark corner of the cathedral aisle.
So the figure in the stained glass explained itself. To me, Denys seemed
to have been a real resident at Auxerre. On days of a certain
atmosphere, when the trace of the Middle Age comes out, like old marks
in the stones in rainy weather, I seemed actually to have seen the
tortured figure there--to have met Denys l'Auxerrois in the streets.
CHAPTER III. SEBASTIAN VAN STORCK
It was a winter-scene, by Adrian van de Velde, or by Isaac van Ostade.
All the delicate poetry together with all the delicate comfort of the
frosty season was in the leafless branches turned to silver, the furred
dresses of the skaters, the warmth of the red-brick house fronts under
the gauze of white fog, the gleams of pale sunlight on the cuirasses of
the mounted soldiers as they receded into the distance. Sebastian van
Storck, confessedly the most graceful performer in all that skating
multitude, moving in endless maze over the vast surface of the frozen
water-meadow, liked best this season of the year for its expression of a
perfect impassivity, or at least of a perfect repose. The earth was, or
seemed to be, at rest, with a breathlessness of slumber which suited the
young man's peculiar temper. The heavy summer, as it dried up the
meadows now lying dead below the ice, set free a crowded and competing
world of life, which, while it gleamed very pleasantly russet and yellow
for the painter Albert Cuyp, seemed wellnigh to suffocate Sebastian van
Storck. Yet with all his appreciation of the national winter, Sebastian
was not altogether a Hollander. His mother, of Spanish descent and
Catholic, had given a richness of tone and form to the healthy freshness
of the Dutch physiognomy, apt to preserve its youthfulness of aspect far
beyond the period of life usual with other peoples. This mixed
expression charmed the eye of Isaac van Ostade, who had painted his
portrait from a sketch taken at one of those skating parties, with his
plume of squirrel's tail and fur muff, in all the modest pleasantness of
boyhood. When he returned home lately from his studies at a place far
inland, at the proposal of his tutor, to recover, as the tutor
suggested, a certain loss of robustness, something more than that
cheerful indifference of early youth had passed away. The learned man,
who held, as was alleged, the doctrines of a surprising new philosophy,
reluctant to disturb too early the fine intelligence of the pupil
entrusted to him, had found it, perhaps, a matter of honesty to send
back to his parents one likely enough to catch from others any sort of
theoretic light; for the letter he wrote dwelt much on the lad's
intellectual fearlessness. "At present," he had written, "he is
influenced more by curiosity than by a care for truth, according to the
character of the young. Certainly, he differs strikingly from his equals
in age, by his passion for a vigorous intellectual gymnastic, such as
the supine character of their minds renders distasteful to most young
men, but in which he shows a fearlessness that at times makes me fancy
that his ultimate destination may be the military life; for indeed the
rigidly logical tendency of his mind always leads him out upon the
practical. Don't misunderstand me! At present, he is strenuous only
intellectually; and has given no definite sign of preference, as regards
a vocation in life. But he seems to me to be one practical in this
sense, that his theorems will shape life for him, directly; that he will
always seek, as a matter of course, the effective equivalent to--the
line of being which shall be the proper continuation of--his line of
thinking. This intellectual rectitude, or candour, which to my mind has
a kind of beauty in it, has reacted upon myself, I confess, with a
searching quality." That "searching quality," indeed, many others also,
people far from being intellectual, had experienced--an agitation of
mind in his neighbourhood, oddly at variance with the composure of the
young man's manner and surrounding, so jealously preserved.
In the crowd of spectators at the skating, whose eyes followed, so
well-satisfied, the movements of Sebastian van Storck, were the mothers
of marriageable daughters, who presently became the suitors of this rich
and distinguished youth, introduced to them, as now grown to man's
estate, by his delighted parents. Dutch aristocracy had put forth all
its graces to become the winter morn: and it was characteristic of the
period that the artist tribe was there, on a grand footing,--in waiting,
for the lights and shadows they liked best. The artists were, in truth,
an important body just then, as a natural consequence of the nation's
hard-won prosperity; helping it to a full consciousness of the genial
yet delicate homeliness it loved, for which it had fought so bravely,
and was ready at any moment to fight anew, against man or the sea.
Thomas de Keyser, who understood better than any one else the kind of
quaint new Atticism which had found its way into the world over those
waste salt marshes, wondering whether quite its finest type as he
understood it could ever actually be seen there, saw it at last, in
lively motion, in the person of Sebastian van Storck, and desired to
paint his portrait. A little to his surprise, the young man declined the
offer; not graciously, as was thought.
Holland, just then, was reposing on its laurels after its long contest
with Spain, in a short period of complete wellbeing, before troubles of
another kind should set in. That a darker time might return again, was
clearly enough felt by Sebastian the elder--a time like that of William
the Silent, with its insane civil animosities, which would demand
similarly energetic personalities, and offer them similar opportunities.
And then, it was part of his honest geniality of character to admire
those who "get on" in the world. Himself had been, almost from boyhood,
in contact with great affairs. A member of the States-General which had
taken so hardly the kingly airs of Frederick Henry, he had assisted at
the Congress of Munster, and figures conspicuously in Terburgh's picture
of that assembly, which had finally established Holland as a first-rate
power. The heroism by which the national wellbeing had been achieved was
still of recent memory--the air full of its reverberation, and great
movement. There was a tradition to be maintained; the sword by no means
resting in its sheath. The age was still fitted to evoke a generous
ambition; and this son, from whose natural gifts there was so much to
hope for, might play his part, at least as a diplomatist, if the present
quiet continued. Had not the learned man said that his natural
disposition would lead him out always upon practice? And in truth, the
memory of that Silent hero had its fascination for the youth. When,
about this time, Peter de Keyser, Thomas's brother, unveiled at last his
tomb of wrought bronze and marble in the Nieuwe Kerk at Delft, the young
Sebastian was one of a small company present, and relished much the cold
and abstract simplicity of the monument, so conformable to the great,
abstract, and unuttered force of the hero who slept beneath.
In complete contrast to all that is abstract or cold in art, the home of
Sebastian, the family mansion of the Storcks--a house, the front of
which still survives in one of those patient architectural pieces by Jan
van der Heyde--was, in its minute and busy wellbeing, like an epitome of
Holland itself with all the good-fortune of its "thriving genius"
reflected, quite spontaneously, in the national taste. The nation had
learned to content itself with a religion which told little, or not at
all, on the outsides of things. But we may fancy that something of the
religious spirit had gone, according to the law of the transmutation of
forces, into the scrupulous care for cleanliness, into the grave,
old-world, conservative beauty of Dutch houses, which meant that the
life people maintained in them was normally affectionate and pure.
The most curious florists of Holland were ambitious to supply the
Burgomaster van Storck with the choicest products of their skill for the
garden spread below the windows on either side of the portico, and along
the central avenue of hoary beeches which led to it. Naturally this
house, within a mile of the city of Haarlem, became a resort of the
artists, then mixing freely in great society, giving and receiving hints
as to the domestic picturesque. Creatures of leisure--of leisure on both
sides--they were the appropriate complement of Dutch prosperity, as it
was understood just then. Sebastian the elder could almost have wished
his son to be one of them: it was the next best thing to the being an
influential publicist or statesman. The Dutch had just begun to see what
a picture their country was--its canals, and boompjis, and endless,
broadly-lighted meadows, and thousands of miles of quaint water-side:
and their painters, the first true masters of landscape for its own
sake, were further informing them in the matter. They were bringing
proof, for all who cared to see, of the wealth of colour there was all
around them in this, supposably, sad land. Above all, they developed the
old Low-country taste for interiors. Those innumerable genre
pieces--conversation, music, play--were in truth the equivalent of
novel-reading for that day; its own actual life, in its own proper
circumstances, reflected in various degrees of idealisation, with no
diminution of the sense of reality (that is to say) but with more and
more purged and perfected delightfulness of interest. Themselves
illustrating, as every student of their history knows, the
good-fellowship of family life, it was the ideal of that life which
these artists depicted; the ideal of home in a country where the
preponderant interest of life, after all, could not well be out of
doors. Of the earth earthy--genuine red earth of the old Adam--it was an
ideal very different from that which the sacred Italian painters had
evoked from the life of Italy, yet, in its best types, was not without a
kind of natural religiousness. And in the achievement of a type of
beauty so national and vernacular, the votaries of purely Dutch art
might well feel that the Italianisers, like Berghem, Boll, and Jan
Weenix went so far afield in vain.
The fine organisation and acute intelligence of Sebastian would have
made him an effective connoisseur of the arts, as he showed by the
justice of his remarks in those assemblies of the artists which his
father so much loved. But in truth the arts were a matter he could but
just tolerate. Why add, by a forced and artificial production, to the
monotonous tide of competing, fleeting existence? Only, finding so much
fine art actually about him, he was compelled (so to speak) to adjust
himself to it; to ascertain and accept that in it which should least
collide with, or might even carry forward a little, his own
characteristic tendencies. Obviously somewhat jealous of his
intellectual interests, he loved inanimate nature, it might have been
thought, better than man. He cared nothing, indeed, for the warm
sandbanks of Wynants, nor for those eerie relics of the ancient Dutch
woodland which survive in Hobbema and Ruysdael, still less for the
highly-coloured sceneries of the academic band at Rome, in spite of the
escape they provide one into clear breadth of atmosphere. For though
Sebastian van Storck refused to travel, he loved the distant--enjoyed
the sense of things seen from a distance, carrying us, as on wide wings
of space itself, far out of one's actual surrounding. His preference in
the matter of art was, therefore, for those prospects a vol d'oiseau--of
the caged bird on the wing at last--of which Rubens had the secret, and
still more Philip de Koninck, four of whose choicest works occupied the
four walls of his chamber; visionary escapes, north, south, east, and
west, into a wide-open though, it must be confessed, a somewhat sullen
land. For the fourth of them he had exchanged with his mother a
marvellously vivid Metsu, lately bequeathed to him, in which she herself
was presented. They were the sole ornaments he permitted himself. From
the midst of the busy and busy-looking house, crowded with the furniture
and the pretty little toys of many generations, a long passage led the
rare visitor up a winding staircase, and (again at the end of a long
passage) he found himself as if shut off from the whole talkative Dutch
world, and in the embrace of that wonderful quiet which is also possible
in Holland at its height all around him. It was here that Sebastian
could yield himself, with the only sort of love he had ever felt, to the
supremacy of his difficult thoughts.--A kind of EMPTY place! Here, you
felt, all had been mentally put to rights by the working-out of a long
equation, which had zero is equal to zero for its result. Here one did,
and perhaps felt, nothing; one only thought. Of living creatures only
birds came there freely, the sea-birds especially, to attract and detain
which there were all sorts of ingenious contrivances about the windows,
such as one may see in the cottage sceneries of Jan Steen and others.
There was something, doubtless, of his passion for distance in this
welcoming of the creatures of the air. An extreme simplicity in their
manner of life was, indeed, characteristic of many a distinguished
Hollander--William the Silent, Baruch de Spinosa, the brothers de Witt.
But the simplicity of Sebastian van Storck was something different from
that, and certainly nothing democratic. His mother thought him like one
disembarrassing himself carefully, and little by little, of all
impediments, habituating himself gradually to make shift with as little
as possible, in preparation for a long journey.
The Burgomaster van Storck entertained a party of friends, consisting
chiefly of his favourite artists, one summer evening. The guests were
seen arriving on foot in the fine weather, some of them accompanied by
their wives and daughters, against the light of the low sun, falling red
on the old trees of the avenue and the faces of those who advanced along
it:--Willem van Aelst, expecting to find hints for a flower-portrait in
the exotics which would decorate the banqueting-room; Gerard Dow, to
feed his eye, amid all that glittering luxury, on the combat between
candle-light and the last rays of the departing sun; Thomas de Keyser,
to catch by stealth the likeness of Sebastian the younger. Albert Cuyp
was there, who, developing the latent gold in Rembrandt, had brought
into his native Dordrecht a heavy wealth of sunshine, as exotic as those
flowers or the eastern carpets on the Burgomaster's tables, with Hooch,
the indoor Cuyp, and Willem van de Velde, who painted those shore-pieces
with gay ships of war, such as he loved, for his patron's cabinet.
Thomas de Keyser came, in company with his brother Peter, his niece, and
young Mr. Nicholas Stone from England, pupil of that brother Peter, who
afterwards married the niece. For the life of Dutch artists, too, was
exemplary in matters of domestic relationship, its history telling many
a cheering story of mutual faith in misfortune. Hardly less exemplary
was the comradeship which they displayed among themselves, obscuring
their own best gifts sometimes, one in the mere accessories of another
man's work, so that they came together to-night with no fear of falling
out, and spoiling the musical interludes of Madame van Storck in the
large back parlour. A little way behind the other guests, three of them
together, son, grandson, and the grandfather, moving slowly, came the
Hondecoeters--Giles, Gybrecht, and Melchior. They led the party before
the house was entered, by fading light, to see the curious poultry of
the Burgomaster go to roost; and it was almost night when the
supper-room was reached at last. The occasion was an important one to
Sebastian, and to others through him. For (was it the music of the
duets? he asked himself next morning, with a certain distaste as he
remembered it all, or the heady Spanish wines poured out so freely in
those narrow but deep Venetian glasses?) on this evening he approached
more nearly than he had ever yet done to Mademoiselle van Westrheene, as
she sat there beside the clavecin looking very ruddy and fresh in her
white satin, trimmed with glossy crimson swans-down.
So genially attempered, so warm, was life become, in the land of which
Pliny had spoken as scarcely dry land at all. And, in truth, the sea
which Sebastian so much loved, and with so great a satisfaction and
sense of wellbeing in every hint of its nearness, is never far distant
in Holland. Invading all places, stealing under one's feet, insinuating
itself everywhere along an endless network of canals (by no means such
formal channels as we understand by the name, but picturesque rivers,
with sedgy banks and haunted by innumerable birds) its incidents present
themselves oddly even in one's park or woodland walks; the ship in full
sail appearing suddenly among the great trees or above the garden wall,
where we had no suspicion of the presence of water. In the very
conditions of life in such a country there was a standing force of
pathos. The country itself shared the uncertainty of the individual
human life; and there was pathos also in the constantly renewed,
heavily-taxed labour, necessary to keep the native soil, fought for so
unselfishly, there at all, with a warfare that must still be maintained
when that other struggle with the Spaniard was over. But though
Sebastian liked to breathe, so nearly, the sea and its influences, those
were considerations he scarcely entertained. In his passion for
Schwindsucht--we haven't the word--he found it pleasant to think of the
resistless element which left one hardly a foot-space amidst the
yielding sand; of the old beds of lost rivers, surviving now only as
deeper channels in the sea; of the remains of a certain ancient town,
which within men's memory had lost its few remaining inhabitants, and,
with its already empty tombs, dissolved and disappeared in the flood.
It happened, on occasion of an exceptionally low tide, that some
remarkable relics were exposed to view on the coast of the island of
Vleeland. A countryman's waggon overtaken by the tide, as he returned
with merchandise from the shore! you might have supposed, but for a
touch of grace in the construction of the thing--lightly wrought
timber-work, united and adorned by a multitude of brass fastenings, like
the work of children for their simplicity, while the rude, stiff chair,
or throne, set upon it, seemed to distinguish it as a chariot of state.
To some antiquarians it told the story of the overwhelming of one of the
chiefs of the old primeval people of Holland, amid all his gala array,
in a great storm. But it was another view which Sebastian preferred;
that this object was sepulchral, namely, in its motive--the one
surviving relic of a grand burial, in the ancient manner, of a king or
hero, whose very tomb was wasted away.--Sunt metis metae! There came
with it the odd fancy that he himself would like to have been dead and
gone as long ago, with a kind of envy of those whose deceasing was so
long since over.
On more peaceful days he would ponder Pliny's account of those primeval
forefathers, but without Pliny's contempt for them. A cloyed Roman might
despise their humble existence, fixed by necessity from age to age, and
with no desire of change, as "the ocean poured in its flood twice a day,
making it uncertain whether the country was a part of the continent or
of the sea." But for his part Sebastian found something of poetry in all
that, as he conceived what thoughts the old Hollander might have had at
his fishing, with nets themselves woven of seaweed, waiting carefully
for his drink on the heavy rains, and taking refuge, as the flood rose,
on the sand-hills, in a little hut constructed but airily on tall
stakes, conformable to the elevation of the highest tides, like a
navigator, thought the learned writer, when the sea was risen, like a
ship-wrecked mariner when it was retired. For the fancy of Sebastian he
lived with great breadths of calm light above and around him, influenced
by, and, in a sense, living upon them, and surely might well complain,
though to Pliny's so infinite surprise, on being made a Roman citizen.
And certainly Sebastian van Storck did not felicitate his people on the
luck which, in the words of another old writer, "hath disposed them to
so thriving a genius." Their restless ingenuity in making and
maintaining dry land where nature had willed the sea, was even more like
the industry of animals than had been that life of their forefathers.
Away with that tetchy, feverish, unworthy agitation! with this and that,
all too importunate, motive of interest! And then, "My son!" said his
father, "be stimulated to action!" he, too, thinking of that heroic
industry which had triumphed over nature precisely where the contest had
been most difficult.
Yet, in truth, Sebastian was forcibly taken by the simplicity of a great
affection, as set forth in an incident of real life of which he heard
just then. The eminent Grotius being condemned to perpetual
imprisonment, his wife determined to share his fate, alleviated only by
the reading of books sent by friends. The books, finished, were returned
in a great chest. In this chest the wife enclosed the husband, and was
able to reply to the objections of the soldiers who carried it
complaining of its weight, with a self-control, which she maintained
till the captive was in safety, herself remaining to face the
consequences; and there was a kind of absoluteness of affection in that,
which attracted Sebastian for a while to ponder on the practical forces
which shape men's lives. Had he turned, indeed, to a practical career it
would have been less in the direction of the military or political life
than of another form of enterprise popular with his countrymen. In the
eager, gallant life of that age, if the sword fell for a moment into its
sheath, they were for starting off on perilous voyages to the regions of
frost and snow in search after that "North-Western passage," for the
discovery of which the States-General had offered large rewards.
Sebastian, in effect, found a charm in the thought of that still,
drowsy, spellbound world of perpetual ice, as in art and life he could
always tolerate the sea. Admiral-general of Holland, as painted by Van
der Helst, with a marine background by Backhuizen:--at moments his
father could fancy him so.
There was still another very different sort of character to which
Sebastian would let his thoughts stray, without check, for a time. His
mother, whom he much resembled outwardly, a Catholic from Brabant, had
had saints in her family, and from time to time the mind of Sebastian
had been occupied on the subject of monastic life, its quiet, its
negation. The portrait of a certain Carthusian prior, which, like the
famous statue of Saint Bruno, the first Carthusian, in the church of
Santa Maria degli Angeli at Rome, could it have spoken, would have said,
"Silence!" kept strange company with the painted visages of men of
affairs. A great theological strife was then raging in Holland. Grave
ministers of religion assembled sometimes, as in the painted scene by
Rembrandt, in the Burgomaster's house, and once, not however in their
company, came a renowned young Jewish divine, Baruch de Spinosa, with
whom, most unexpectedly, Sebastian found himself in sympathy, meeting
the young Jew's far-reaching thoughts half-way, to the confirmation of
his own; and he did not know that his visitor, very ready with the
pencil, had taken his likeness as they talked on the fly-leaf of his
note-book. Alive to that theological disturbance in the air all around
him, he refused to be moved by it, as essentially a strife on small
matters, anticipating a vagrant regret which may have visited many other
minds since, the regret, namely, that the old, pensive, use-and-wont
Catholicism, which had accompanied the nation's earlier struggle for
existence, and consoled it therein, had been taken from it. And for
himself, indeed, what impressed him in that old Catholicism was a kind
of lull in it--a lulling power--like that of the monotonous organ-music,
which Holland, Catholic or not, still so greatly loves. But what he
could not away with in the Catholic religion was its unfailing drift
towards the concrete--the positive imageries of a faith, so richly beset
with persons, things, historical incidents.
Rigidly logical in the method of his inferences, he attained the poetic
quality only by the audacity with which he conceived the whole sublime
extension of his premises. The contrast was a strange one between the
careful, the almost petty fineness of his personal surrounding--all the
elegant conventionalities of life, in that rising Dutch family--and the
mortal coldness of a temperament, the intellectual tendencies of which
seemed to necessitate straightforward flight from all that was positive.
He seemed, if one may say so, in love with death; preferring winter to
summer; finding only a tranquillising influence in the thought of the
earth beneath our feet cooling down for ever from its old cosmic heat;
watching pleasurably how their colours fled out of things, and the long
sand-bank in the sea, which had been the rampart of a town, was washed
down in its turn. One of his acquaintance, a penurious young poet, who,
having nothing in his pockets but the imaginative or otherwise barely
potential gold of manuscript verses, would have grasped so eagerly, had
they lain within his reach, at the elegant outsides of life, thought the
fortunate Sebastian, possessed of every possible opportunity of that
kind, yet bent only on dispensing with it, certainly a most puzzling and
comfortless creature. A few only, half discerning what was in his mind,
would fain have shared his intellectual clearness, and found a kind of
beauty in this youthful enthusiasm for an abstract theorem. Extremes
meeting, his cold and dispassionate detachment from all that is most
attractive to ordinary minds came to have the impressiveness of a great
passion. And for the most part, people had loved him; feeling
instinctively that somewhere there must be the justification of his
difference from themselves. It was like being in love: or it was an
intellectual malady, such as pleaded for forbearance, like bodily
sickness, and gave at times a resigned and touching sweetness to what he
did and said. Only once, at a moment of the wild popular excitement
which at that period was easy to provoke in Holland, there was a certain
group of persons who would have shut him up as no well-wisher to, and
perhaps a plotter against, the common-weal. A single traitor might cut
the dykes in an hour, in the interest of the English or the French. Or,
had he already committed some treasonable act, who was so anxious to
expose no writing of his that he left his very letters unsigned, and
there were little stratagems to get specimens of his fair manuscript?
For with all his breadth of mystic intention, he was persistent, as the
hours crept on, to leave all the inevitable details of life at least in
order, in equation. And all his singularities appeared to be summed up
in his refusal to take his place in the life-sized family group (tres
distingue et tres soigne remarks a modern critic of the work) painted
about this time. His mother expostulated with him on the matter:--she
must needs feel, a little icily, the emptiness of hope, and something
more than the due measure of cold in things for a woman of her age, in
the presence of a son who desired but to fade out of the world like a
breath--and she suggested filial duty. "Good mother," he answered,
"there are duties towards the intellect also, which women can but rarely
understand."
The artists and their wives were come to supper again, with the
Burgomaster van Storck. Mademoiselle van Westrheene was also come, with
her sister and mother. The girl was by this time fallen in love with
Sebastian; and she was one of the few who, in spite of his terrible
coldness, really loved him for himself. But though of good birth she was
poor, while Sebastian could not but perceive that he had many suitors of
his wealth. In truth, Madame van Westrheene, her mother, did wish to
marry this daughter into the great world, and plied many arts to that
end, such as "daughterful" mothers use. Her healthy freshness of mien
and mind, her ruddy beauty, some showy presents that had passed, were of
a piece with the ruddy colouring of the very house these people lived
in; and for a moment the cheerful warmth that may be felt in life seemed
to come very close to him,--to come forth, and enfold him. Meantime the
girl herself taking note of this, that on a former occasion of their
meeting he had seemed likely to respond to her inclination, and that his
father would readily consent to such a marriage, surprised him on the
sudden with those coquetries and importunities, all those little arts of
love, which often succeed with men. Only, to Sebastian they seemed
opposed to that absolute nature we suppose in love. And while, in the
eyes of all around him to-night, this courtship seemed to promise him,
thus early in life, a kind of quiet happiness, he was coming to an
estimate of the situation, with strict regard to that ideal of a calm,
intellectual indifference, of which he was the sworn chevalier. Set in
the cold, hard light of that ideal, this girl, with the pronounced
personal views of her mother, and in the very effectiveness of arts
prompted by a real affection, bringing the warm life they prefigured so
close to him, seemed vulgar! And still he felt himself bound in honour;
or judged from their manner that she and those about them thought him
thus bound. He did not reflect on the inconsistency of the feeling of
honour (living, as it does essentially, upon the concrete and minute
detail of social relationship) for one who, on principle, set so slight
a value on anything whatever that is merely relative in its character.
The guests, lively and late, were almost pledging the betrothed in the
rich wine. Only Sebastian's mother knew; and at that advanced hour,
while the company were thus intently occupied, drew away the Burgomaster
to confide to him the misgiving she felt, grown to a great height just
then. The young man had slipped from the assembly; but certainly not
with Mademoiselle van Westrheene, who was suddenly withdrawn also. And
she never appeared again in the world. Already, next day, with the
rumour that Sebastian had left his home, it was known that the expected
marriage would not take place. The girl, indeed, alleged something in
the way of a cause on her part; but seemed to fade away continually
afterwards, and in the eyes of all who saw her was like one perishing of
wounded pride. But to make a clean breast of her poor girlish
worldliness, before she became a beguine, she confessed to her mother
the receipt of the letter--the cruel letter that had killed her. And in
effect, the first copy of this letter, written with a very deliberate
fineness, rejecting her--accusing her, so natural, and simply loyal! of
a vulgar coarseness of character--was found, oddly tacked on, as their
last word, to the studious record of the abstract thoughts which had
been the real business of Sebastian's life, in the room whither his
mother went to seek him next day, littered with the fragments of the one
portrait of him in existence.
The neat and elaborate manuscript volume, of which this letter formed
the final page (odd transition! by which a train of thought so abstract
drew its conclusion in the sphere of action) afforded at length to the
few who were interested in him a much-coveted insight into the curiosity
of his existence; and I pause just here to indicate in outline the kind
of reasoning through which, making the "Infinite" his beginning and his
end, Sebastian had come to think all definite forms of being, the warm
pressure of life, the cry of nature itself, no more than a troublesome
irritation of the surface of the one absolute mind, a passing vexatious
thought or uneasy dream there, at its height of petulant importunity in
the eager, human creature.
The volume was, indeed, a kind of treatise to be:--a hard, systematic,
well-concatenated train of thought, still implicated in the
circumstances of a journal. Freed from the accidents of that particular
literary form with its unavoidable details of place and occasion, the
theoretic strain would have been found mathematically continuous. The
already so weary Sebastian might perhaps never have taken in hand, or
succeeded in, this detachment of his thoughts; every one of which,
beginning with himself as the peculiar and intimate apprehension of this
or that particular day and hour, seemed still to protest against such
disturbance, as if reluctant to part from those accidental associations
of the personal history which had prompted it, and so become a purely
intellectual abstraction.
The series began with Sebastian's boyish enthusiasm for a strange, fine
saying of Doctor Baruch de Spinosa, concerning the Divine Love:--That
whoso loveth God truly must not expect to be loved by him in return. In
mere reaction against an actual surrounding of which every circumstance
tended to make him a finished egotist, that bold assertion defined for
him the ideal of an intellectual disinterestedness, of a domain of
unimpassioned mind, with the desire to put one's subjective side out of
the way, and let pure reason speak.
And what pure reason affirmed in the first place, as the "beginning of
wisdom," was that the world is but a thought, or a series of thoughts:
that it exists, therefore, solely in mind. It showed him, as he fixed
the mental eye with more and more of self-absorption on the phenomena of
his intellectual existence, a picture or vision of the universe as
actually the product, so far as he really knew it, of his own lonely
thinking power--of himself, there, thinking: as being zero without him:
and as possessing a perfectly homogeneous unity in that fact. "Things
that have nothing in common with each other," said the axiomatic reason,
"cannot be understood or explained by means of each other." But to pure
reason things discovered themselves as being, in their essence,
thoughts:--all things, even the most opposite things, mere
transmutations, of a single power, the power of thought. All was but
conscious mind. Therefore, all the more exclusively, he must minister to
mind, to the intellectual power, submitting himself to the sole
direction of that, whithersoever it might lead him. Everything must be
referred to, and, as it were, changed into the terms of that, if its
essential value was to be ascertained. "Joy," he said, anticipating
Spinosa--that, for the attainment of which men are ready to surrender
all beside--"is but the name of a passion in which the mind passes to a
greater perfection or power of thinking; as grief is the name of the
passion in which it passes to a less."
Looking backward for the generative source of that creative power of
thought in him, from his own mysterious intellectual being to its first
cause, he still reflected, as one can but do, the enlarged pattern of
himself into the vague region of hypothesis. In this way, some, at all
events, would have explained his mental process. To him that process was
nothing less than the apprehension, the revelation, of the greatest and
most real of ideas--the true substance of all things. He, too, with his
vividly-coloured existence, with this picturesque and sensuous world of
Dutch art and Dutch reality all around that would fain have made him the
prisoner of its colours, its genial warmth, its struggle for life, its
selfish and crafty love, was but a transient perturbation of the one
absolute mind; of which, indeed, all finite things whatever, time
itself, the most durable achievements of nature and man, and all that
seems most like independent energy, are no more than petty accidents or
affections. Theorem and corollary! Thus they stood:
"There can be only one substance: (corollary) it is the greatest of
errors to think that the non-existent, the world of finite things seen
and felt, really is: (theorem): for, whatever is, is but in that:
(practical corollary): one's wisdom, therefore, consists in hastening,
so far as may be, the action of those forces which tend to the
restoration of equilibrium, the calm surface of the absolute, untroubled
mind, to tabula rasa, by the extinction in one's self of all that is but
correlative to the finite illusion--by the suppression of ourselves."
In the loneliness which was gathering round him, and, oddly enough, as a
somewhat surprising thing, he wondered whether there were, or had been,
others possessed of like thoughts, ready to welcome any such as his
veritable compatriots. And in fact he became aware just then, in
readings difficult indeed, but which from their all-absorbing interest
seemed almost like an illicit pleasure, a sense of kinship with certain
older minds. The study of many an earlier adventurous theorist satisfied
his curiosity as the record of daring physical adventure, for instance,
might satisfy the curiosity of the healthy. It was a tradition--a
constant tradition--that daring thought of his; an echo, or haunting
recurrent voice of the human soul itself, and as such sealed with
natural truth, which certain minds would not fail to heed; discerning
also, if they were really loyal to themselves, its practical
conclusion.--The one alone is: and all things beside are but its passing
affections, which have no necessary or proper right to be.
As but such "accidents" or "affections," indeed, there might have been
found, within the circumference of that one infinite creative thinker,
some scope for the joy and love of the creature. There have been
dispositions in which that abstract theorem has only induced a renewed
value for the finite interests around and within us. Centre of heat and
light, truly nothing has seemed to lie beyond the touch of its perpetual
summer. It has allied itself to the poetical or artistic sympathy, which
feels challenged to acquaint itself with and explore the various forms
of finite existence all the more intimately, just because of that sense
of one lively spirit circulating through all things--a tiny particle of
the one soul, in the sunbeam, or the leaf. Sebastian van Storck, on the
contrary, was determined, perhaps by some inherited satiety or fatigue
in his nature, to the opposite issue of the practical dilemma. For him,
that one abstract being was as the pallid Arctic sun, disclosing itself
over the dead level of a glacial, a barren and absolutely lonely sea.
The lively purpose of life had been frozen out of it. What he must
admire, and love if he could, was "equilibrium," the void, the tabula
rasa, into which, through all those apparent energies of man and nature,
that in truth are but forces of disintegration, the world was really
settling. And, himself a mere circumstance in a fatalistic series, to
which the clay of the potter was no sufficient parallel, he could not
expect to be "loved in return." At first, indeed, he had a kind of
delight in his thoughts--in the eager pressure forward, to whatsoever
conclusion, of a rigid intellectual gymnastic, which was like the making
of Euclid. Only, little by little, under the freezing influence of such
propositions, the theoretic energy itself, and with it his old eagerness
for truth, the care to track it from proposition to proposition, was
chilled out of him. In fact, the conclusion was there already, and might
have been foreseen, in the premises. By a singular perversity, it seemed
to him that every one of those passing "affections"--he too, alas! at
times--was for ever trying to be, to assert ITSELF, to maintain its
isolated and petty self, by a kind of practical lie in things; although
through every incident of its hypothetic existence it had protested that
its proper function was to die. Surely! those transient affections
marred the freedom, the truth, the beatific calm, of the absolute
selfishness, which could not, if it would, pass beyond the circumference
of itself; to which, at times, with a fantastic sense of wellbeing, he
was capable of a sort of fanatical devotion. And those, as he conceived,
were his moments of genuine theoretic insight, in which, under the
abstract "perpetual light," he died to self; while the intellect, after
all, had attained a freedom of its own through the vigorous act which
assured him that, as nature was but a thought of his, so himself also
was but the passing thought of God.
No! rather a puzzle only, an anomaly, upon that one, white, unruffled
consciousness! His first principle once recognised, all the rest, the
whole array of propositions down to the heartless practical conclusion,
must follow of themselves. Detachment: to hasten hence: to fold up one's
whole self, as a vesture put aside: to anticipate, by such individual
force as he could find in him, the slow disintegration by which nature
herself is levelling the eternal hills:--here would be the secret of
peace, of such dignity and truth as there could be in a world which
after all was essentially an illusion. For Sebastian at least, the world
and the individual alike had been divested of all effective purpose.
The most vivid of finite objects, the dramatic episodes of Dutch
history, the brilliant personalities which had found their parts to play
in them, that golden art, surrounding us with an ideal world, beyond
which the real world is discernible indeed, but etherealised by the
medium through which it comes to one: all this, for most men so powerful
a link to existence, only set him on the thought of escape--means of
escape--into a formless and nameless infinite world, quite evenly grey.
The very emphasis of those objects, their importunity to the eye, the
ear, the finite intelligence, was but the measure of their distance from
what really is. One's personal presence, the presence, such as it is, of
the most incisive things and persons around us, could only lessen by so
much, that which really is. To restore tabula rasa, then, by a continual
effort at self-effacement! Actually proud at times of his curious,
well-reasoned nihilism, he could but regard what is called the business
of life as no better than a trifling and wearisome delay. Bent on making
sacrifice of the rich existence possible for him, as he would readily
have sacrificed that of other people, to the bare and formal logic of
the answer to a query (never proposed at all to entirely healthy minds)
regarding the remote conditions and tendencies of that existence, he did
not reflect that if others had inquired as curiously as himself the
world could never have come so far at all--that the fact of its having
come so far was itself a weighty exception to his hypothesis. His odd
devotion, soaring or sinking into fanaticism, into a kind of religious
mania, with what was really a vehement assertion of his individual will,
he had formulated duty as the principle to hinder as little as possible
what he called the restoration of equilibrium, the restoration of the
primary consciousness to itself--its relief from that uneasy, tetchy,
unworthy dream of a world, made so ill, or dreamt so weakly--to forget,
to be forgotten.
And at length this dark fanaticism, losing the support of his pride in
the mere novelty of a reasoning so hard and dry, turned round upon him,
as our fanaticism will, in black melancholy. The theoretic or
imaginative desire to urge Time's creeping footsteps, was felt now as
the physical fatigue which leaves the book or the letter unfinished, or
finishes eagerly out of hand, for mere finishing's sake, unimportant
business. Strange! that the presence to the mind of a metaphysical
abstraction should have had this power over one so fortunately endowed
for the reception of the sensible world. It could hardly have been so
with him but for the concurrence of physical causes with the influences
proper to a mere thought. The moralist, indeed, might have noted that a
meaner kind of pride, the morbid fear of vulgarity, lent secret strength
to the intellectual prejudice, which realised duty as the renunciation
of all finite objects, the fastidious refusal to be or do any limited
thing. But besides this it was legible in his own admissions from time
to time, that the body, following, as it does with powerful
temperaments, the lead of mind and the will, the intellectual
consumption (so to term it) had been concurrent with, had strengthened
and been strengthened by, a vein of physical phthisis--by a merely
physical accident, after all, of his bodily constitution, such as might
have taken a different turn, had another accident fixed his home among
the hills instead of on the shore. Is it only the result of disease? he
would ask himself sometimes with a sudden suspicion of his intellectual
cogency--this persuasion that myself, and all that surrounds me, are but
a diminution of that which really is?--this unkindly melancholy?
The journal, with that "cruel" letter to Mademoiselle van Westrheene
coming as the last step in the rigid process of theoretic deduction,
circulated among the curious; and people made their judgments upon it.
There were some who held that such opinions should be suppressed by law;
that they were, or might become, dangerous to society. Perhaps it was
the confessor of his mother who thought of the matter most justly. The
aged man smiled, observing how, even for minds by no means superficial,
the mere dress it wears alters the look of a familiar thought; with a
happy sort of smile, as he added (reflecting that such truth as there
was in Sebastian's theory was duly covered by the propositions of his
own creed, and quoting Sebastian's favourite pagan wisdom from the lips
of Saint Paul) "in Him, we live, and move, and have our being."
Next day, as Sebastian escaped to the sea under the long, monotonous
line of wind-mills, in comparative calm of mind--reaction of that
pleasant morning from the madness of the night before--he was making
light, or trying to make light, with some success, of his late distress.
He would fain have thought it a small matter, to be adequately set at
rest for him by certain well-tested influences of external nature, in a
long visit to the place he liked best: a desolate house, amid the sands
of the Helder, one of the old lodgings of his family property now,
rather, of the sea-birds, and almost surrounded by the encroaching tide,
though there were still relics enough of hardy, sweet things about it,
to form what was to Sebastian the most perfect garden in Holland. Here
he could make "equation" between himself and what was not himself, and
set things in order, in preparation towards such deliberate and final
change in his manner of living as circumstances so clearly necessitated.
As he stayed in this place, with one or two silent serving people, a
sudden rising of the wind altered, as it might seem, in a few dark,
tempestuous hours, the entire world around him. The strong wind changed
not again for fourteen days, and its effect was a permanent one; so that
people might have fancied that an enemy had indeed cut the dykes
somewhere--a pin-hole enough to wreck the ship of Holland, or at least
this portion of it, which underwent an inundation of the sea the like of
which had not occurred in that province for half a century. Only, when
the body of Sebastian was found, apparently not long after death, a
child lay asleep, swaddled warmly in his heavy furs, in an upper room of
the old tower, to which the tide was almost risen; though the building
still stood firmly, and still with the means of life in plenty. And it
was in the saving of this child, with a great effort, as certain
circumstances seemed to indicate, that Sebastian had lost his life.
His parents were come to seek him, believing him bent on
self-destruction, and were almost glad to find him thus. A learned
physician, moreover, endeavoured to comfort his mother by remarking that
in any case he must certainly have died ere many years were passed,
slowly, perhaps painfully, of a disease then coming into the world;
disease begotten by the fogs of that country--waters, he observed, not
in their place, "above the firmament"--on people grown somewhat
over-delicate in their nature by the effects of modern luxury.
CHAPTER IV. DUKE CARL OF ROSENMOLD
One stormy season about the beginning of the present century, a great
tree came down among certain moss-covered ridges of old masonry which
break the surface of the Rosenmold heath, exposing, together with its
roots, the remains of two persons. Whether the bodies (male and female,
said German bone-science) had been purposely buried there was
questionable. They seemed rather to have been hidden away by the
accident, whatever it was, which had caused death--crushed, perhaps,
under what had been the low wall of a garden--being much distorted, and
lying, though neatly enough discovered by the upheaval of the soil, in
great confusion. People's attention was the more attracted to the
incident because popular fancy had long run upon a tradition of buried
treasures, golden treasures, in or about the antiquated ruin which the
garden boundary enclosed; the roofless shell of a small but
solidly-built stone house, burnt or overthrown, perhaps in the time of
the wars at the beginning of the eighteenth century. Many persons went
to visit the remains lying out on the dark, wild plateau, which
stretches away above the tallest roofs of the old grand-ducal town, very
distinctly outlined, on that day, in deep fluid grey against a sky still
heavy with coming rain. No treasure, indeed, was forthcoming among the
masses of fallen stone. But the tradition was so far verified, that the
bones had rich golden ornaments about them; and for the minds of some
long-remembering people their discovery set at rest an old query. It had
never been precisely known what was become of the young Duke Carl, who
disappeared from the world just a century before, about the time when a
great army passed over those parts, at a political crisis, one result of
which was the final absorption of his small territory in a neighbouring
dominion. Restless, romantic, eccentric, had he passed on with the
victorious host, and taken the chances of an obscure soldier's life?
Certain old letters hinted at a different ending--love-letters which
provided for a secret meeting, preliminary perhaps to the final
departure of the young Duke (who, by the usage of his realm, could only
with extreme difficulty go whither, or marry whom, he pleased) to
whatever worlds he had chosen, not of his own people. The minds of those
still interested in the matter were now at last made up, the disposition
of the remains suggesting to them the lively picture of a sullen night,
the unexpected passing of the great army, and the two lovers rushing
forth wildly at the sudden tumult outside their cheerful shelter, caught
in the dark and trampled out so, surprised and unseen, among the horses and
heavy guns.
Time, at the court of the Grand-duke of Rosenmold, at the beginning of
the eighteenth century might seem to have been standing still almost
since the Middle Age--since the days of the Emperor Charles the Fifth,
at which period, by the marriage of the hereditary Grand-duke with a
princess of the Imperial house, a sudden tide of wealth, flowing through
the grand-ducal exchequer, had left a kind of golden architectural
splendour on the place, always too ample for its population. The sloping
Gothic roofs for carrying off the heavy snows still indented the sky--a
world of tiles, with space uncurtailed for the awkward gambols of that
very German goblin, Hans Klapper, on the long, slumberous, northern
nights. Whole quarryfuls of wrought stone had been piled along the
streets and around the squares, and were now grown, in truth, like
nature's self again, in their rough, time-worn massiveness, with weeds
and wild flowers where their decay accumulated, blossoming, always the
same, beyond people's memories, every summer, as the storks came back to
their platforms on the remote chimney-tops. Without, all was as it had
been on the eve of the Thirty Years' War: the venerable dark-green
mouldiness, priceless pearl of architectural effect, was unbroken by a
single new gable. And within, human life--its thoughts, its habits,
above all, its etiquette--had keen put out by no matter of excitement,
political or intellectual, ever at all, one might say, at any time. The
rambling grand-ducal palace was full to overflowing with furniture,
which, useful or useless, was all ornamental, and none of it new.
Suppose the various objects, especially the contents of the haunted old
lumber-rooms, duly arranged and ticketed, and their Highnesses would
have had a historic museum, after which those famed "Green Vaults" at
Dresden would hardly have counted as one of the glories of Augustus the
Strong. An immense heraldry, that truly German vanity, had grown,
expatiating, florid, eloquent, over everything, without and
within--windows, house-fronts, church walls, and church floors. And
one-half of the male inhabitants were big or little State functionaries,
mostly of a quasi decorative order--the treble-singer to the
town-council, the court organist, the court poet, and the like--each
with his deputies and assistants, maintaining, all unbroken, a sleepy
ceremonial, to make the hours just noticeable as they slipped away. At
court, with a continuous round of ceremonies, which, though early in the
day, must always take place under a jealous exclusion of the sun, one
seemed to live in perpetual candle-light.
It was in a delightful rummaging of one of those lumber-rooms, escaped
from that candle-light into the broad day of the uppermost windows, that
the young Duke Carl laid his hand on an old volume of the year 1486,
printed in heavy type, with frontispiece, perhaps, by Albert Duerer--Ars
Versificandi: The Art of Versification: by Conrad Celtes. Crowned poet
of the Emperor Frederick the Third, he had the right to speak on that
subject; for while he vindicated as best he might old German literature
against the charge of barbarism, he did also a man's part towards
reviving in the Fatherland the knowledge of the poetry of Greece and
Rome; and for Carl, the pearl, the golden nugget, of the volume was the
Sapphic ode with which it closed--To Apollo, praying that he would come
to us from Italy, bringing his lyre with him: Ad Apollinem, Ut ab Italis
cum lyra ad Germanos veniat. The god of light, coming to Germany from
some more favoured world beyond it, over leagues of rainy hill and
mountain, making soft day there: that had ever been the dream of the
ghost-ridden yet deep-feeling and certainly meek German soul; of the
great Duerer, for instance, who had been the friend of this Conrad
Celtes, and himself, all German as he was, like a gleam of real day amid
that hyperborean German darkness--a darkness which clave to him, too, at
that dim time, when there were violent robbers, nay, real live devils,
in every German wood. And it was precisely the aspiration of Carl
himself. Those verses, coming to the boy's hand at the right moment,
brought a beam of effectual daylight to a whole magazine of observation,
fancy, desire, stored up from the first impressions of childhood. To
bring Apollo with his lyre to Germany! It was precisely that he, Carl,
desired to do--was, as he might flatter himself, actually doing.
The daylight, the Apolline aurora, which the young Duke Carl claimed to
be bringing to his candle-lit people, came in the somewhat questionable
form of the contemporary French ideal, in matters of art and
literature--French plays, French architecture, French
looking-glasses--Apollo in the dandified costume of Lewis the
Fourteenth. Only, confronting the essentially aged and decrepit graces
of his model with his own essentially youthful temper, he invigorated
what he borrowed; and with him an aspiration towards the classical
ideal, so often hollow and insincere, lost all its affectation. His
doating grandfather, the reigning Grand-duke, afforded readily enough,
from the great store of inherited wealth which would one day be the
lad's, the funds necessary for the completion of the vast unfinished
Residence, with "pavilions" (after the manner of the famous Mansard)
uniting its scattered parts; while a wonderful flowerage of
architectural fancy, with broken attic roofs, passed over and beyond the
earlier fabric; the later and lighter forms being in part carved
adroitly out of the heavy masses of the old, honest, "stump Gothic"
tracery. One fault only Carl found in his French models, and was
resolute to correct. He would have, at least within, real marble in
place of stucco, and, if he might, perhaps solid gold for gilding.
There was something in the sanguine, floridly handsome youth, with his
alertness of mind turned wholly, amid the vexing preoccupations of an
age of war, upon embellishment and the softer things of life, which
soothed the testy humours of the old Duke, like the quiet physical
warmth of a fire or the sun. He was ready to preside with all ceremony
at a presentation of Marivaux's Death of Hannibal, played in the
original, with such imperfect mastery of the French accent as the lovers
of new light in Rosenmold had at command, in a theatre copied from that
at Versailles, lined with pale yellow satin, and with a picture, amid
the stucco braveries of the ceiling, of the Septentrional Apollo
himself, in somewhat watery red and blue. Innumerable wax lights in
cut-glass lustres were a thing of course. Duke Carl himself, attired
after the newest French fashion, played the part of Hannibal. The old
Duke, indeed, at a council-board devoted hitherto to matters of state,
would nod very early in certain long discussions on matters of
art--magnificent schemes, from this or that eminent contractor, for
spending his money tastefully, distinguishings of the rococo and the
baroque. On the other hand, having been all his life in close
intercourse with select humanity, self-conscious and arrayed for
presentation, he was a helpful judge of portraits and the various
degrees of the attainment of truth therein--a phase of fine art which
the grandson could not value too much. The sergeant-painter and the
deputy sergeant-painter were, indeed, conventional performers enough; as
mechanical in their dispensation of wigs, finger-rings, ruffles, and
simpers, as the figure of the armed knight who struck the bell in the
Residence tower. But scattered through its half-deserted rooms, state
bed-chambers and the like, hung the works of more genuine masters, still
as unadulterate as the hock, known to be two generations old, in the
grand-ducal cellar. The youth had even his scheme of inviting the
illustrious Antony Coppel to the court; to live there, if he would, with
the honours and emoluments of a prince of the blood. The illustrious
Mansard had actually promised to come, had not his sudden death taken
him away from earthly glory.
And at least, if one must forgo the masters, masterpieces might be had
for their price. For ten thousand marks--day ever to be remembered!--a
genuine work of "the Urbinate," from the cabinet of a certain
commercially-minded Italian grand-duke, was on its way to Rosenmold,
anxiously awaited as it came over rainy mountain-passes, and along the
rough German roads, through doubtful weather. The tribune, the throne
itself, were made ready in the presence-chamber, with hangings in the
grand-ducal colours, laced with gold, together with a speech and an ode.
Late at night, at last, the waggon was heard rumbling into the
courtyard, with the guest arrived in safety, but, if one must confess
one's self, perhaps forbidding at first sight. From a comfortless
portico, with all the grotesqueness of the Middle Age, supported by
brown, aged bishops, whose meditations no incident could distract, Our
Lady looked out no better than an unpretending nun, with nothing to say
the like of which one was used to hear. Certainly one was not stimulated
by, enwrapped, absorbed in the great master's doings; only, with much
private disappointment, put on one's mettle to defend him against
critics notoriously wanting in sensibility, and against one's self. In
truth, the painter whom Carl most unaffectedly enjoyed, the real vigour
of his youthful and somewhat animal taste finding here its proper
sustenance, was Rubens--Rubens reached, as he is reached at his best, in
well-preserved family portraits, fresh, gay, ingenious, as of privileged
young people who could never grow old. Had not he, too, brought
something of the splendour of a "better land" into those northern
regions; if not the glowing gold of Titian's Italian sun, yet the
carnation and yellow of roses or tulips, such as might really grow there
with cultivation, even under rainy skies? And then, about this time
something was heard at the grand-ducal court of certain mysterious
experiments in the making of porcelain; veritable alchemy, for the
turning of clay into gold. The reign of Dresden china was at hand, with
one's own world of little men and women more delightfully diminutive
still, amid imitations of artificial flowers. The young Duke braced
himself for a plot to steal the gifted Herr Boettcher from his enforced
residence, as if in prison, at the fortress of Meissen. Why not bring
pots and wheels to Rosenmold, and prosecute his discoveries there? The
Grand-duke, indeed, preferred his old service of gold plate, and would
have had the lad a virtuoso in nothing less costly than gold--gold
snuff-boxes.
For, in truth, regarding what belongs to art or culture, as elsewhere,
we may have a large appetite and little to feed on. Only, in the things
of the mind, the appetite itself counts for so much, at least in
hopeful, unobstructed youth, with the world before it. "You are the
Apollo you tell us of, the northern Apollo," people were beginning to
say to him, surprised from time to time by a mental purpose beyond their
guesses--expressions, liftings, softly gleaming or vehement lights, in
the handsome countenance of the youth, and his effective speech, as he
roamed, inviting all about him to share the honey, from music to
painting, from painting to the drama, all alike florid in style, yes!
and perhaps third-rate. And so far consistently throughout he had held
that the centre of one's intellectual system must be understood to be in
France. He had thoughts of proceeding to that country, secretly, in
person, there to attain the very impress of its genius.
Meantime, its more portable flowers came to order in abundance. That the
roses, so to put it, were but excellent artificial flowers, redolent
only of musk, neither disproved for Carl the validity of his ideal nor
for our minds the vocation of Carl himself in these matters. In art, as
in all other things of the mind, again, much depends on the receiver;
and the higher informing capacity, if it exist within, will mould an
unpromising matter to itself, will realise itself by selection, and. The
preference of the better in what is bad or indifferent, asserting its
prerogative under the most unlikely conditions. People had in Carl,
could they have understood it, the spectacle, under those superficial
braveries, of a really heroic effort of mind at a disadvantage. That
rococo seventeenth-century French imitation of the true Renaissance,
called out in Carl a boundless enthusiasm, as the Italian original had
done two centuries before. He put into his reception of the aesthetic
achievements of Lewis the Fourteenth what young France had felt when
Francis the First brought home the great Da Vinci and his works. It was
but himself truly, after all, that he had found, so fresh and real,
among those artificial roses.
He was thrown the more upon such outward and sensuous products of
mind--architecture, pottery, presently on music--because for him, with
so large intellectual capacity, there was, to speak properly, no
literature in his mother-tongue. Books there were, German books, but of
a dulness, a distance from the actual interests of the warm, various,
coloured life around and within him, to us hardly conceivable. There was
more entertainment in the natural train of his own solitary thoughts,
humoured and rightly attuned by pleasant visible objects, than in all
the books he had hunted through so carefully for that all-searching
intellectual light, of which a passing gleam of interest gave fallacious
promise here or there. And still, generously, he held to the belief,
urging him to fresh endeavour, that the literature which might set heart
and mind free must exist somewhere, though court librarians could not
say where. In search for it he spent many days in those old book-closets
where he had lighted on the Latin ode of Conrad Celtes. Was German
literature always to remain no more than a kind of penal apparatus for
the teasing of the brain? Oh for a literature set free, conterminous
with the interests of life itself.
In music, it might be thought, Germany had already vindicated its
spiritual liberty. One and another of those North-german towns were
already aware of the youthful Sebastian Bach. The first notes had been
heard of a music not borrowed from France, but flowing, as naturally as
springs from their sources, out of the ever musical soul of Germany
itself. And the Duke Carl was a sincere lover of music, himself playing
melodiously on the violin to a delighted court. That new Germany of the
spirit would be builded, perhaps, to the sound of music. In those other
artistic enthusiasms, as the prophet of the French drama or the
architectural taste of Lewis the Fourteenth, he had contributed himself
generously, helping out with his own good-faith the inadequacy of their
appeal. Music alone hitherto had really helped HIM, and taken him out of
himself. To music, instinctively, more and more he was dedicate; and in
his desire to refine and organise the court music, from which, by leave
of absence to official performers enjoying their salaries at a distance,
many parts had literally fallen away, like the favourite notes of a
worn-out spinet, he was ably seconded by a devoted youth, the deputy
organist of the grand-ducal chapel. A member of the Roman Church amid a
people chiefly of the Reformed religion, Duke Carl would creep sometimes
into the curtained court pew of the Lutheran Church, to which he had
presented its massive golden crucifix, to listen to the chorales, the
execution of which he had managed to time to his liking, relishing, he
could hardly explain why, those passages of a pleasantly monotonous and,
as it might seem, unending melody--which certainly never came to what
could rightly be called an ending here on earth; and having also a
sympathy with the cheerful genius of Dr. Martin Luther, with his good
tunes, and that ringing laughter which sent dull goblins flitting.
At this time, then, his mind ran eagerly for awhile on the project of
some musical and dramatic development of a fancy suggested by that old
Latin poem of Conrad Celtes--the hyperborean Apollo, sojourning, in the
revolutions of time, in the sluggish north for a season, yet Apollo
still, prompting art, music, poetry, and the philosophy which interprets
man's life, making a sort of intercalary day amid the natural darkness;
not meridian day, of course, but a soft derivative daylight, good enough
for us. It would be necessarily a mystic piece, abounding in fine
touches, suggestions, innuendoes. His vague proposal was met half-way by
the very practical executant power of his friend or servant, the deputy
organist, already pondering, with just a satiric flavour (suppressible
in actual performance, if the time for that should ever come) a musical
work on Duke Carl himself; Balder, an Interlude. He was contented to
re-cast and enlarge the part of the northern god of light, with a now
wholly serious intention. But still, the near, the real and familiar,
gave precision to, or actually superseded, the distant and the ideal.
The soul of the music was but a transfusion from the fantastic but so
interesting creature close at hand. And Carl was certainly true to his
proposed part in that he gladdened others by an intellectual radiance
which had ceased to mean warmth or animation for himself. For him the
light was still to seek in France, in Italy, above all in old Greece,
amid the precious things which might yet be lurking there unknown, in
art, in poetry, perhaps in very life, till Prince Fortunate should come.
Yes! it was thither, to Greece, that his thoughts were turned during
those romantic classical musings while the opera was made ready. That,
in due time, was presented, with sufficient success. Meantime, his
purpose was grown definite to visit that original country of the Muses,
from which the pleasant things of Italy had been but derivative; to
brave the difficulties in the way of leaving home at all, the
difficulties also of access to Greece, in the present condition of the
country.
At times the fancy came that he must really belong by descent to a
southern race, that a physical cause might lie beneath this strange
restlessness, like the imperfect reminiscence of something that had
passed in earlier life. The aged ministers of heraldry were set to work
(actually prolonging their days by an unexpected revival of interest in
their too well-worn function) at the search for some obscure rivulet of
Greek descent--later Byzantine Greek, perhaps,--in the Rosenmold
genealogy. No! with a hundred quarterings, they were as indigenous,
incorruptible heraldry reasserted, as the old yew-trees' asquat on the
heath.
And meantime those dreams of remote and probably adventurous travel lent
the youth, still so healthy of body, a wing for more distant expeditions
than he had ever yet inclined to, among his own wholesome German
woodlands. In long rambles, afoot or on horseback, by day and night, he
flung himself, for the resettling of his sanity, on the cheerful
influences of their simple imagery; the hawks, as if asleep on the air
below him; the bleached crags, evoked by late sunset among the dark
oaks; the water-wheels, with their pleasant murmur, in the foldings of
the hillside.
Clouds came across his heaven, little sudden clouds, like those which in
this northern latitude, where summer is at best but a flighty visitor,
chill out the heart, though but for a few minutes at a time, of the
warmest afternoon. He had fits of the gloom of other people--their dull
passage through and exit from the world, the threadbare incidents of
their lives, their dismal funerals--which, unless he drove them away
immediately by strenuous exercise, settled into a gloom more properly
his own. Yet at such times outward things also would seem to concur
unkindly in deepening the mental shadow about him, almost as if there
were indeed animation in the natural world, elfin spirits in those
inaccessible hillsides and dark ravines, as old German poetry pretended,
cheerfully assistant sometimes, but for the most part troublesome, to
their human kindred. Of late these fits had come somewhat more
frequently, and had continued. Often it was a weary, deflowered face
that his favourite mirrors reflected. Yes! people were prosaic, and
their lives threadbare:---all but himself and organist Max, perhaps, and
Fritz the treble-singer. In return, the people in actual contact with
him thought him a little mad, though still ready to flatter his madness,
as he could detect. Alone with the doating old grandfather in their
stiff, distant, alien world of etiquette, he felt surrounded by
flatterers, and would fain have tested the sincerity even of Max, and
Fritz who said, echoing the words of the other, "Yourself, Sire, are the
Apollo of Germany!"
It was his desire to test the sincerity of the people about him, and
unveil flatterers, which in the first instance suggested a trick he
played upon the court, upon all Europe. In that complex but wholly
Teutonic genealogy lately under research, lay a much-prized thread of
descent from the fifth Emperor Charles, and Carl, under direction, read
with much readiness to be impressed all that was attainable concerning
the great ancestor, finding there in truth little enough to reward his
pains. One hint he took, however. He determined to assist at his own
obsequies.
That he might in this way facilitate that much-desired journey occurred
to him almost at once as an accessory motive, and in a little while
definite motives were engrossed in the dramatic interest, the pleasing
gloom, the curiosity, of the thing itself. Certainly, amid the living
world in Germany, especially in old, sleepy Rosenmold, death made great
parade of itself. Youth even, in its sentimental mood, was ready to
indulge in the luxury of decay, and amuse itself with fancies of the
tomb; as in periods of decadence or suspended progress, when the world
seems to nap for a time, artifices for the arrest or disguise of old age
are adopted as a fashion, and become the fopperies of the young. The
whole body of Carl's relations, saving the drowsy old grandfather,
already lay buried beneath their expansive heraldries: at times the
whole world almost seemed buried thus--made and re-made of the dead--its
entire fabric of politics, of art, of custom, being essentially heraldic
"achievements," dead men's mementoes such as those. You see he was a
sceptical young man, and his kinsmen dead and gone had passed certainly,
in his imaginations of them, into no other world, save, perhaps, into
some stiffer, slower, sleepier, and more pompous phase of ceremony--the
last degree of court etiquette--as they lay there in the great,
low-pitched, grand-ducal vault, in their coffins, dusted once a year for
All Souls' Day, when the court officials descended thither, and Mass for
the dead was sung, amid an array of dropping crape and cobwebs. The lad,
with his full red lips and open blue eyes, coming as with a great cup in
his hands to life's feast, revolted from the like of that, as from
suffocation. And still the suggestion of it was everywhere. In the
garish afternoon, up to the wholesome heights of the Heiligenberg
suddenly from one of the villages of the plain came the grinding
death-knell. It seemed to come out of the ugly grave itself, and
enjoyment was dead. On his way homeward sadly, an hour later, he enters
by chance the open door of a village church, half buried in the tangle
of its churchyard. The rude coffin is lying there of a labourer who had
but a hovel to live in. The enemy dogged one's footsteps! The young Carl
seemed to be flying, not from death simply, but from assassination.
And as these thoughts sent him back in the rebounding power of youth,
with renewed appetite, to life and sense, so, grown at last familiar,
they gave additional purpose to his fantastic experiment. Had it not
been said by a wise man that after all the offence of death was in its
trappings? Well! he would, as far as might be, try the thing, while,
presumably, a large reversionary interest in life was still his. He
would purchase his freedom, at least of those gloomy "trappings," and
listen while he was spoken of as dead. The mere preparations gave
pleasant proof of the devotion to him of a certain number, who entered
without question into his plans. It is not difficult to mislead the
world concerning what happens to those who live at the artificial
distance from it of a court, with its high wall of etiquette. However
the matter was managed, no one doubted, when, with a blazon of
ceremonious words, the court news went forth that, after a brief
illness, according to the way of his race, the hereditary Grand-duke was
deceased. In momentary regret, bethinking them of the lad's taste for
splendour, those to whom the arrangement of such matters belonged (the
grandfather now sinking deeper into bare quiescence) backed by the
popular wish, determined to give him a funeral with even more than
grand-ducal measure of lugubrious magnificence. The place of his repose
was marked out for him as officiously as if it had been the delimitation
of a kingdom, in the ducal burial vault, through the cobwebbed windows
of which, from the garden where he played as a child, the young Duke had
often peered at the faded glories of the immense coroneted coffins, the
oldest shedding their velvet tatters around them. Surrounded by the
whole official world of Rosenmold, arrayed for the occasion in almost
forgotten dresses of ceremony as if for a masquerade, the new coffin
glided from the fragrant chapel where the Requiem was sung, down the
broad staircase lined with peach-colour and yellow marble, into the
shadows below. Carl himself, disguised as a strolling musician, had
followed it across the square through a drenching rain, on which
circumstance he overheard the old people congratulate the "blessed" dead
within, had listened to a dirge of his own composing brought out on the
great organ with much bravura by his friend, the new court organist, who
was in the secret, and that night turned the key of the garden entrance
to the vault, and peeped in upon the sleepy, painted, and bewigged
young pages whose duty it would be for a certain number of days to come
to watch beside their late master's couch.
And a certain number of weeks afterwards it was known that "the mad
Duke" had reappeared, to the dismay of court marshals. Things might have
gone hard with the youth had the strange news, at first as fantastic
rumour, then as matter of solemn enquiry, lastly as ascertained fact,
pleasing or otherwise, been less welcome than it was to the grandfather,
too old, indeed, to sorrow deeply, but grown so decrepit as to propose
that ministers should possess themselves of the person of the young
Duke, proclaim him of age and regent. From those dim travels, presenting
themselves to the old man, who had never been fifty miles away from
home, as almost lunar in their audacity, he would come back--come back
"in time," he murmured faintly, eager to feel that youthful, animating
life on the stir about him once more.
Carl himself, now the thing was over, greatly relishing its satiric
elements, must be forgiven the trick of the burial and his still greater
enormity in coming to life again. And then, duke or no duke, it was
understood that he willed that things should in no case be precisely as
they had been. He would never again be quite so near people's lives as
in the past--a fitful, intermittent visitor--almost as if he had been
properly dead; the empty coffin remaining as a kind of symbolical
"coronation incident," setting forth his future relations to his
subjects. Of all those who believed him dead one human creature only,
save the grandfather, had sincerely sorrowed for him; a woman, in tears
as the funeral train passed by, with whom he had sympathetically
discussed his own merits. Till then he had forgotten the incident which
had exhibited him to her as the very genius of goodness and strength;
how, one day, driving with her country produce into the market, and,
embarrassed by the crowd, she had broken one of a hundred little police
rules, whereupon the officers were about to carry her away to be fined,
or worse, amid the jeers of the bystanders, always ready to deal hardly
with "the gipsy," at which precise moment the tall Duke Carl, like the
flash of a trusty sword, had leapt from the palace stair and caused her
to pass on in peace. She had half detected him through his disguise; in
due time news of his reappearance had been ceremoniously carried to her
in her little cottage, and the remembrance of her hung about him not
ungratefully, as he went with delight upon his way.
The first long stage of his journey over, in headlong flight night and
day, he found himself one summer morning under the heat of what seemed a
southern sun, at last really at large on the Bergstrasse, with the rich
plain of the Palatinate on his left hand; on the right hand vineyards,
seen now for the first time, sloping up into the crisp beeches of the
Odenwald. By Weinheim only an empty tower remained of the Castle of
Windeck. He lay for the night in the great whitewashed guest-chamber of
the Capuchin convent.
The national rivers, like the national woods, have a family likeness:
the Main, the Lahn, the Moselle, the Neckar, the Rhine. By help of such
accommodation as chance afforded, partly on the stream itself, partly
along the banks, he pursued the leisurely winding course of one of the
prettiest of these, tarrying for awhile in the towns, grey, white, or
red, which came in his way, tasting their delightful native "little"
wines, peeping into their old overloaded churches, inspecting the church
furniture, or trying the organs. For three nights he slept, warm and
dry, on the hay stored in a deserted cloister, and, attracted into the
neighbouring minster for a snatch of church music, narrowly escaped
detection. By miraculous chance the grimmest lord of Rosenmold was there
within, recognised the youth and his companions--visitors naturally
conspicuous, amid the crowd of peasants around them--and for some hours
was upon their traces. After unclean town streets the country air was a
perfume by contrast, or actually scented with pinewoods. One seemed to
breathe with it fancies of the woods, the hills, and water--of a sort of
souls in the landscape, but cheerful and genial now, happy souls! A
distant group of pines on the verge of a great upland awoke a violent
desire to be there--seemed to challenge one to proceed thither. Was
their infinite view thence? It was like an outpost of some far-off fancy
land, a pledge of the reality of such. Above Cassel, the airy hills
curved in one black outline against a glowing sky, pregnant, one could
fancy, with weird forms, which might be at their old diableries again on
those remote places ere night was quite come there. At last in the
streets, the hundred churches, of Cologne, he feels something of a
"Gothic" enthusiasm, and all a German's enthusiasm for the Rhine.
Through the length and breadth of the Rhine country the vintage was
begun. The red ruins on the heights, the white-walled villages, white
Saint Nepomuc upon the bridges, were but isolated high notes of contrast
in a landscape, sleepy and indistinct under the flood of sunshine, with
a headiness in it like that of must, of the new wine. The noise of the
vineyards came through the lovely haze, still, at times, with the sharp
sound of a bell--death-bell, perhaps, or only a crazy summons to the
vintagers. And amid those broad, willowy reaches of the Rhine at length,
from Bingen to Mannheim, where the brown hills wander into airy, blue
distance, like a little picture of paradise, he felt that France was at
hand. Before him lay the road thither, easy and straight.--That well of
light so close! But, unexpectedly, the capricious incidence of his own
humour with the opportunity did not suggest, as he would have wagered it
must, "Go, drink at once!" Was it that France had come to be of no
account at all, in comparison of Italy, of Greece? or that, as he passed
over the German land, the conviction had come, "For you, France, Italy,
Hellas, is here!"--that some recognition of the untried spiritual
possibilities of meek Germany had for Carl transferred the ideal land
out of space beyond the Alps or the Rhine, into future time, whither he
must be the leader? A little chilly of humour, in spite of his manly
strength, he was journeying partly in search of physical heat. To-day
certainly, in this great vineyard, physical heat was about him in
measure sufficient, at least for a German constitution. Might it be not
otherwise with the imaginative, the intellectual, heat and light; the
real need being that of an interpreter--Apollo, illuminant rather as the
revealer than as the bringer of light? With large belief that the
Eclaircissement, the Aufklaerung (he had already found the name for the
thing) would indeed come, he had been in much bewilderment whence and
how. Here, he began to see that it could be in no other way than by
action of informing thought upon the vast accumulated material of which
Germany was in possession: art, poetry, fiction, an entire imaginative
world, following reasonably upon a deeper understanding of the past, of
nature, of one's self--an understanding of all beside through the
knowledge of one's self. To understand, would be the indispensable first
step towards the enlargement of the great past, of one's little present,
by criticism, by imagination. Then, the imprisoned souls of nature would
speak as of old. The Middle Age, in Germany, where the past has had such
generous reprisals, never far from us, would reassert its mystic spell,
for the better understanding of our Raffaelle. The spirits of distant
Hellas would reawake in the men and women of little German towns.
Distant times, the most alien thoughts, would come near together, as
elements in a great historic symphony. A kind of ardent, new patriotism
awoke in him, sensitive for the first time at the words NATIONAL poesy,
NATIONAL art and literature, GERMAN philosophy. To the resources of the
past, of himself, of what was possible for German mind, more and more
his mind opens as he goes on his way. A free, open space had been
determined, which something now to be created, created by him, must
occupy. "Only," he thought, "if I had coadjutors! If these thoughts
would awake in but one other mind?"
At Strasbourg, with its mountainous goblin houses, nine stories high,
grouped snugly, in the midst of that inclement plain, like a great
stork's nest around the romantic red steeple of its cathedral, Duke Carl
became fairly captive to the Middle Age. Tarrying there week after week
he worked hard, but (without a ray of light from others) in one long
mistake, at the chronology and history of the coloured windows.
Antiquity's very self seemed expressed there, on the visionary images of
king or patriarch, in the deeply incised marks of character, the hoary
hair, the massive proportions, telling of a length of years beyond what
is lived now. Surely, past ages, could one get at the historic soul of
them, were not dead but living, rich in company, for the entertainment,
the expansion, of the present; and Duke Carl was still without suspicion
of the cynic afterthought that such historic soul was but an arbitrary
substitution, a generous loan of one's self.
The mystic soul of Nature laid hold on him next, saying, "Come!
understand, interpret me!" He was awakened one morning by the jingle of
sledge-bells along the street beneath his windows. Winter had descended
betimes from the mountains: the pale Rhine below the bridge of boats on
the long way to Kehl was swollen with ice, and for the first time he
realised that Switzerland was at hand. On a sudden he was captive to the
enthusiasm of the mountains, and hastened along the valley of the Rhine
by Alt Breisach and Basle, unrepelled by a thousand difficulties, to
Swiss farmhouses and lonely villages, solemn still, and untouched by
strangers. At Grindelwald, sleeping at last in the close neighbourhood
of the greater Alps, he had the sense of an overbrooding presence, of
some strange new companions around him. Here one might yield one's self
to the unalterable imaginative appeal of the elements in their highest
force and simplicity--light, air, water, earth. On very early spring
days a mantle was suddenly lifted; the Alps were an apex of natural
glory, towards which, in broadening spaces of light, the whole of Europe
sloped upwards. Through them, on the right hand, as he journeyed on,
were the doorways to Italy, to Como or Venice, from yonder peak Italy's
self was visible!--as, on the left hand, in the South-german towns, in a
high-toned, artistic fineness, in the dainty, flowered ironwork for
instance, the overflow of Italian genius was traceable. These things
presented themselves at last only to remind him that, in a new
intellectual hope, he was already on his way home. Straight through
life, straight through nature and man, with one's own self-knowledge as
a light thereon, not by way of the geographical Italy or Greece, lay the
road to the new Hellas, to be realised now as the outcome of home-born
German genius. At times, in that early fine weather, looking now not
southwards, but towards Germany, he seemed to trace the outspread of a
faint, not wholly natural, aurora over the dark northern country. And it
was in an actual sunrise that the news came which finally put him on the
directest road homewards. One hardly dared breathe in the rapid uprise
of all-embracing light which seemed like the intellectual rising of the
Fatherland, when up the straggling path to his high beech-grown summit
(was one safe nowhere?) protesting over the roughness of the way, came
the too familiar voices (ennui itself made audible) of certain high
functionaries of Rosenmold, come to claim their new sovereign, close
upon the runaway.
Bringing news of the old Duke's decease! With a real grief at his heart,
he hastened now over the ground which lay between him and the bed of
death, still trying, at quieter intervals, to snatch profit by the way;
peeping, at the most unlikely hours, on the objects of his curiosity,
waiting for a glimpse of dawn through glowing church windows,
penetrating into old church treasuries by candle-light, taxing the old
courtiers to pant up, for "the view," to this or that conspicuous point
in the world of hilly woodland. From one such at last, in spite of
everything with pleasure to Carl, old Rosenmold was visible--the attic
windows of the Residence, the storks on the chimneys, the green copper
roofs baking in the long, dry German summer. The homeliness of true old
Germany! He too felt it, and yearned towards his home.
And the "beggar-maid" was there. Thoughts of her had haunted his mind
all the journey through, as he was aware, not unpleased, graciously
overflowing towards any creature he found dependent upon him. The mere
fact that she was awaiting him, at his disposition, meekly, and as
though through his long absence she had never quitted the spot on which
he had said farewell, touched his fancy, and on a sudden concentrated
his wavering preference into a practical decision. "King Cophetua" would
be hers. And his goodwill sunned her wild-grown beauty into majesty,
into a kind of queenly richness. There was natural majesty in the heavy
waves of golden hair folded closely above the neck, built a little
massively; and she looked kind, beseeching also, capable of sorrow. She
was like clear sunny weather, with bluebells and the green leaves,
between rainy days, and seemed to embody Die Ruh auf dem Gipfel--all
the restful hours he had spent of late in the wood-sides and on the
hilltops. One June day, on which she seemed to have withdrawn into
herself all the tokens of summer, brought decision to our lover of
artificial roses, who had cared so little hitherto for the like of her.
Grand-duke perforce, he would make her his wife, and had already
re-assured her with lively mockery of his horrified ministers. "Go
straight to life!" said his new poetic code; and here was the
opportunity;--here, also, the real "adventure," in comparison of which
his previous efforts that way seemed childish theatricalities, fit only
to cheat a little the profound ennui of actual life. In a hundred stolen
interviews she taught the hitherto indifferent youth the art of love.
Duke Carl had effected arrangements for his marriage, secret, but
complete and soon to be made public. Long since he had cast complacent
eyes on a strange architectural relic, an old grange or hunting-lodge on
the heath, with he could hardly have defined what charm of remoteness
and old romance. Popular belief amused itself with reports of the wizard
who inhabited or haunted the place, his fantastic treasures, his immense
age. His windows might be seen glittering afar on stormy nights, with a
blaze of golden ornaments, said the more adventurous loiterer. It was
not because he was suspicious still, but in a kind of wantonness of
affection, and as if by way of giving yet greater zest to the luxury of
their mutual trust that Duke Carl added to his announcement of the
purposed place and time of the event a pretended test of the girl's
devotion. He tells her the story of the aged wizard, meagre and wan, to
whom she must find her way alone for the purpose of asking a question
all-important to himself. The fierce old man will try to escape with
terrible threats, will turn, or half turn, into repulsive animals. She
must cling the faster; at last the spell will be broken; he will yield,
he will become a youth once more, and give the desired answer.
The girl, otherwise so self-denying, and still modestly anxious for a
private union, not to shame his high position in the world, had wished
for one thing at least--to be loved amid the splendours habitual to him.
Duke Carl sends to the old lodge his choicest personal possessions. For
many days the public is aware of something on hand; a few get delightful
glimpses of the treasures on their way to "the place on the heath." Was
he preparing against contingencies, should the great army, soon to pass
through these parts, not leave the country as innocently as might be
desired?
The short grey day seemed a long one to those who, for various reasons,
were waiting anxiously for the darkness; the court people fretful and on
their mettle, the townsfolk suspicious, Duke Carl full of amorous
longing. At her distant cottage beyond the hills, Gretchen kept herself
ready for the trial. It was expected that certain great military
officers would arrive that night, commanders of a victorious host making
its way across Northern Germany, with no great respect for the rights of
neutral territory, often dealing with life and property too rudely to
find the coveted treasure. It was but one episode in a cruel war. Duke
Carl did not wait for the grandly illuminated supper prepared for their
reception. Events precipitated themselves. Those officers came as
practically victorious occupants, sheltering themselves for the night in
the luxurious rooms of the great palace. The army was in fact in motion
close behind its leaders, who (Gretchen warm and happy in the arms, not
of the aged wizard, but of the youthful lover) are discussing terms for
the final absorption of the duchy with those traitorous old councillors.
At their delicate supper Duke Carl amuses his companion with caricature,
amid cries of cheerful laughter, of the sleepy courtiers entertaining
their martial guests in all their pedantic politeness, like people in
some farcical dream. A priest, and certain chosen friends to witness the
marriage, were to come ere nightfall to the grange. The lovers heard, as
they thought, the sound of distant thunder. The hours passed as they
waited, and what came at last was not the priest with his companions.
Could they have been detained by the storm? Duke Carl gently re-assures
the girl--bids her believe in him, and wait. But through the wind, grown
to tempest, beyond the sound of the violent thunder--louder than any
possible thunder--nearer and nearer comes the storm of the victorious
army, like some disturbance of the earth itself, as they flee into the
tumult, out of the intolerable confinement and suspense, dead-set upon
them.
The Enlightening, the Aufklaerung, according to the aspiration of Duke
Carl, was effected by other hands; Lessing and Herder, brilliant
precursors of the age of genius which centered in Goethe, coming well
within the natural limits of Carl's lifetime. As precursors Goethe
gratefully recognised them, and understood that there had been a
thousand others, looking forward to a new era in German literature with
the desire which is in some sort a "forecast of capacity," awakening
each other to the permanent reality of a poetic ideal in human life,
slowly forming that public consciousness to which Goethe actually
addressed himself. It is their aspirations I have tried to embody in the
portrait of Carl.
"A hard winter had covered the Main with a firm footing of ice. The
liveliest social intercourse was quickened thereon. I was unfailing from
early morning onwards; and, being lightly clad, found myself, when my
mother drove up later to look on, fairly frozen. My mother sat in the
carriage, quite stately in her furred cloak of red velvet, fastened on
the breast with thick gold cord and tassels.
"'Dear mother,' I said, on the spur of the moment, 'give me your furs, I
am frozen.'
"She was equally ready. In a moment I had on the cloak. Falling below
the knee, with its rich trimming of sables, and enriched with gold, it
became me excellently. So clad I made my way up and down with a cheerful
heart."
That was Goethe, perhaps fifty years later. His mother also related the
incident to Bettina Brentano;--"There, skated my son, like an arrow
among the groups. Away he went over the ice like a son of the gods.
Anything so beautiful is not to be seen now. I clapped my hands for joy.
Never shall I forget him as he darted out from one arch of the bridge,
and in again under the other, the wind carrying the train behind him as
he flew." In that amiable figure I seem to see the fulfilment of the
Resurgam on Carl's empty coffin--the aspiring soul of Carl himself, in
freedom and effective, at last.
End of Project Gutenberg Etext of Imaginary Portraits, by Walter Pater