The Three Cities Trilogy: Chapter 6

Chapter 6

VI

PIERRE had been in Rome for a fortnight, and yet the affair of his book
was no nearer solution. He was still possessed by an ardent desire to see
the Pope, but could in no wise tell how to satisfy it, so frequent were
the delays and so greatly had he been frightened by Monsignor Nani's
predictions of the dire consequences which might attend any imprudent
action. And so, foreseeing a prolonged sojourn, he at last betook himself
to the Vicariate in order that his "celebret" might be stamped, and
afterwards said his mass each morning at the Church of Santa Brigida,
where he received a kindly greeting from Abbe Pisoni, Benedetta's former
confessor.

One Monday evening he resolved to repair early to Donna Serafina's
customary reception in the hope of learning some news and expediting his
affairs. Perhaps Monsignor Nani would look in; perhaps he might be lucky
enough to come across some cardinal or domestic prelate willing to help
him. It was in vain that he had tried to extract any positive information
from Don Vigilio, for, after a short spell of affability and willingness,
Cardinal Pio's secretary had relapsed into distrust and fear, and avoided
Pierre as if he were resolved not to meddle in a business which, all
considered, was decidedly suspicious and dangerous. Moreover, for a
couple of days past a violent attack of fever had compelled him to keep
his room.

Thus the only person to whom Pierre could turn for comfort was Victorine
Bosquet, the old Beauceronne servant who had been promoted to the rank of
housekeeper, and who still retained a French heart after thirty years'
residence in Rome. She often spoke to the young priest of Auneau, her
native place, as if she had left it only the previous day; but on that
particular Monday even she had lost her wonted gay vivacity, and when she
heard that he meant to go down in the evening to see the ladies she
wagged her head significantly. "Ah! you won't find them very cheerful,"
said she. "My poor Benedetta is greatly worried. Her divorce suit is not
progressing at all well."

All Rome, indeed, was again talking of this affair. An extraordinary
revival of tittle-tattle had set both white and black worlds agog. And so
there was no need for reticence on Victorine's part, especially in
conversing with a compatriot. It appeared, then, that, in reply to
Advocate Morano's memoir setting forth that the marriage had not been
consummated, there had come another memoir, a terrible one, emanating
from Monsignor Palma, a doctor in theology, whom the Congregation of the
Council had selected to defend the marriage. As a first point, Monsignor
Palma flatly disputed the alleged non-consummation, questioned the
certificate put forward on Benedetta's behalf, and quoted instances
recorded in scientific text-books which showed how deceptive appearances
often were. He strongly insisted, moreover, on the narrative which Count
Prada supplied in another memoir, a narrative well calculated to inspire
doubt; and, further, he so turned and twisted the evidence of Benedetta's
own maid as to make that evidence also serve against her. Finally he
argued in a decisive way that, even supposing the marriage had not been
consummated, this could only be ascribed to the resistance of the
Countess, who had thus set at defiance one of the elementary laws of
married life, which was that a wife owed obedience to her husband.

Next had come a fourth memoir, drawn up by the reporter of the
Congregation, who analysed and discussed the three others, and
subsequently the Congregation itself had dealt with the matter, opining
in favour of the dissolution of the marriage by a majority of one
vote--such a bare majority, indeed, that Monsignor Palma, exercising his
rights, had hastened to demand further inquiry, a course which brought
the whole /procedure/ again into question, and rendered a fresh vote
necessary.

"Ah! the poor Contessina!" exclaimed Victorine, "she'll surely die of
grief, for, calm as she may seem, there's an inward fire consuming her.
It seems that Monsignor Palma is the master of the situation, and can
make the affair drag on as long as he likes. And then a deal of money had
already been spent, and one will have to spend a lot more. Abbe Pisoni,
whom you know, was very badly inspired when he helped on that marriage;
and though I certainly don't want to soil the memory of my good mistress,
Countess Ernesta, who was a real saint, it's none the less true that she
wrecked her daughter's life when she gave her to Count Prada."

The housekeeper paused. Then, impelled by an instinctive sense of
justice, she resumed. "It's only natural that Count Prada should be
annoyed, for he's really being made a fool of. And, for my part, as there
is no end to all the fuss, and this divorce is so hard to obtain, I
really don't see why the Contessina shouldn't live with her Dario without
troubling any further. Haven't they loved one another ever since they
were children? Aren't they both young and handsome, and wouldn't they be
happy together, whatever the world might say? Happiness, /mon Dieu/! one
finds it so seldom that one can't afford to let it pass."

Then, seeing how greatly surprised Pierre was at hearing such language,
she began to laugh with the quiet composure of one belonging to the
humble classes of France, whose only desire is a quiet and happy life,
irrespective of matrimonial ties. Next, in more discreet language, she
proceeded to lament another worry which had fallen on the household,
another result of the divorce affair. A rupture had come about between
Donna Serafina and Advocate Morano, who was very displeased with the ill
success of his memoir to the congregation, and accused Father
Lorenza--the confessor of the Boccanera ladies--of having urged them into
a deplorable lawsuit, whose only fruit could be a wretched scandal
affecting everybody. And so great had been Morano's annoyance that he had
not returned to the Boccanera mansion, but had severed a connection of
thirty years' standing, to the stupefaction of all the Roman
drawing-rooms, which altogether disapproved of his conduct. Donna
Serafina was, for her part, the more grieved as she suspected the
advocate of having purposely picked the quarrel in order to secure an
excuse for leaving her; his real motive, in her estimation, being a
sudden, disgraceful passion for a young and intriguing woman of the
middle classes.

That Monday evening, when Pierre entered the drawing-room, hung with
yellow brocatelle of a flowery Louis XIV pattern, he at once realised
that melancholy reigned in the dim light radiating from the lace-veiled
lamps. Benedetta and Celia, seated on a sofa, were chatting with Dario,
whilst Cardinal Sarno, ensconced in an arm-chair, listened to the
ceaseless chatter of the old relative who conducted the little Princess
to each Monday gathering. And the only other person present was Donna
Serafina, seated all alone in her wonted place on the right-hand side of
the chimney-piece, and consumed with secret rage at seeing the chair on
the left-hand side unoccupied--that chair which Morano had always taken
during the thirty years that he had been faithful to her. Pierre noticed
with what anxious and then despairing eyes she observed his entrance, her
glance ever straying towards the door, as though she even yet hoped for
the fickle one's return. Withal her bearing was erect and proud; she
seemed to be more tightly laced than ever; and there was all the wonted
haughtiness on her hard-featured face, with its jet-black eyebrows and
snowy hair.

Pierre had no sooner paid his respects to her than he allowed his own
worry to appear by inquiring whether they would not have the pleasure of
seeing Monsignor Nani that evening. Thereupon Donna Serafina could not
refrain from answering: "Oh! Monsignor Nani is forsaking us like the
others. People always take themselves off when they can be of service."

She harboured a spite against the prelate for having done so little to
further the divorce in spite of his many promises. Beneath his outward
show of extreme willingness and caressing affability he doubtless
concealed some scheme of his own which he was tenaciously pursuing.
However, Donna Serafina promptly regretted the confession which anger had
wrung from her, and resumed: "After all, he will perhaps come. He is so
good-natured, and so fond of us."

In spite of the vivacity of her temperament she really wished to act
diplomatically, so as to overcome the bad luck which had recently set in.
Her brother the Cardinal had told her how irritated he was by the
attitude of the Congregation of the Council; he had little doubt that the
frigid reception accorded to his niece's suit had been due in part to the
desire of some of his brother cardinals to be disagreeable to him.
Personally, he desired the divorce, as it seemed to him the only means of
ensuring the perpetuation of the family; for Dario obstinately refused to
marry any other woman than his cousin. And thus there was an accumulation
of disasters; the Cardinal was wounded in his pride, his sister shared
his sufferings and on her own side was stricken in the heart, whilst both
lovers were plunged in despair at finding their hopes yet again deferred.

As Pierre approached the sofa where the young folks were chatting he
found that they were speaking of the catastrophe. "Why should you be so
despondent?" asked Celia in an undertone. "After all, there was a
majority of a vote in favour of annulling the marriage. Your suit hasn't
been rejected; there is only a delay."

But Benedetta shook her head. "No, no! If Monsignor Palma proves
obstinate his Holiness will never consent. It's all over."

"Ah! if one were only rich, very rich!" murmured Dario, with such an air
of conviction that no one smiled. And, turning to his cousin, he added in
a whisper: "I must really have a talk with you. We cannot go on living
like this."

In a breath she responded: "Yes, you are right. Come down to-morrow
evening at five. I will be here alone."

Then dreariness set in; the evening seemed to have no end. Pierre was
greatly touched by the evident despair of Benedetta, who as a rule was so
calm and sensible. The deep eyes which illumined her pure, delicate,
infantile face were now blurred as by restrained tears. He had already
formed a sincere affection for her, pleased as he was with her equable if
somewhat indolent disposition, the semblance of discreet good sense with
which she veiled her soul of fire. That Monday even she certainly tried
to smile while listening to the pretty secrets confided to her by Celia,
whose love affairs were prospering far more than her own. There was only
one brief interval of general conversation, and that was brought about by
the little Princess's aunt, who, suddenly raising her voice, began to
speak of the infamous manner in which the Italian newspapers referred to
the Holy Father. Never, indeed, had there been so much bad feeling
between the Vatican and the Quirinal. Cardinal Sarno felt so strongly on
the subject that he departed from his wonted silence to announce that on
the occasion of the sacrilegious festivities of the Twentieth of
September, celebrating the capture of Rome, the Pope intended to cast a
fresh letter of protest in the face of all the Christian powers, whose
indifference proved their complicity in the odious spoliation of the
Church.

"Yes, indeed! what folly to try and marry the Pope and the King,"
bitterly exclaimed Donna Serafina, alluding to her niece's deplorable
marriage.

The old maid now seemed quite beside herself; it was already so late that
neither Monsignor Nani nor anybody else was expected. However, at the
unhoped-for sound of footsteps her eyes again brightened and turned
feverishly towards the door. But it was only to encounter a final
disappointment. The visitor proved to be Narcisse Habert, who stepped up
to her, apologising for making so late a call. It was Cardinal Sarno, his
uncle by marriage, who had introduced him into this exclusive /salon/,
where he had received a cordial reception on account of his religious
views, which were said to be most uncompromising. If, however, despite
the lateness of the hour, he had ventured to call there that evening, it
was solely on account of Pierre, whom he at once drew on one side.

"I felt sure I should find you here," he said. "Just now I managed to see
my cousin, Monsignor Gamba del Zoppo, and I have some good news for you.
He will see us to-morrow at about eleven in his rooms at the Vatican."
Then, lowering his voice: "I think he will endeavour to conduct you to
the Holy Father. Briefly, the audience seems to me assured."

Pierre was greatly delighted by this promised certainty, which came to
him so suddenly in that dreary drawing-room, where for a couple of hours
he had been gradually sinking into despair! So at last a solution was at
hand!

Meantime Narcisse, after shaking hands with Dario and bowing to Benedetta
and Celia, approached his uncle the Cardinal, who, having rid himself of
the old relation, made up his mind to talk. But his conversation was
confined to the state of his health, and the weather, and sundry
insignificant anecdotes which he had lately heard. Not a word escaped him
respecting the thousand complicated matters with which he dealt at the
Propaganda. It was as though, once outside his office, he plunged into
the commonplace and the unimportant by way of resting from the anxious
task of governing the world. And after he had spoken for a time every one
got up, and the visitors took leave.

"Don't forget," Narcisse repeated to Pierre, "you will find me at the
Sixtine Chapel to-morrow at ten. And I will show you the Botticellis
before we go to our appointment."

At half-past nine on the following morning Pierre, who had come on foot,
was already on the spacious Piazza of St. Peter's; and before turning to
the right, towards the bronze gate near one corner of Bernini's
colonnade, he raised his eyes and lingered, gazing at the Vatican.
Nothing to his mind could be less monumental than the jumble of buildings
which, without semblance of architectural order or regularity of any
kind, had grown up in the shadow cast by the dome of the basilica. Roofs
rose one above the other and broad, flat walls stretched out chance-wise,
just as wings and storeys had been added. The only symmetry observable
above the colonnade was that of the three sides of the court of San
Damaso, where the lofty glass-work which now encloses the old /loggie/
sparkled in the sun between the ruddy columns and pilasters, suggesting,
as it were, three huge conservatories.

And this was the most beautiful palace in the world, the largest of all
palaces, comprising no fewer than eleven thousand apartments and
containing the most admirable masterpieces of human genius! But Pierre,
disillusioned as he was, had eyes only for the lofty facade on the right,
overlooking the piazza, for he knew that the second-floor windows there
were those of the Pope's private apartments. And he contemplated those
windows for a long time, and remembered having been told that the fifth
one on the right was that of the Pope's bed-room, and that a lamp could
always be seen burning there far into the night.

What was there, too, behind that gate of bronze which he saw before
him--that sacred portal by which all the kingdoms of the world
communicated with the kingdom of heaven, whose august vicar had secluded
himself behind those lofty, silent walls? From where he stood Pierre
gazed on that gate with its metal panels studded with large square-headed
nails, and wondered what it defended, what it concealed, what it shut off
from the view, with its stern, forbidding air, recalling that of the gate
of some ancient fortress. What kind of world would he find behind it,
what treasures of human charity jealously preserved in yonder gloom, what
revivifying hope for the new nations hungering for fraternity and
justice? He took pleasure in fancying, in picturing the one holy pastor
of humanity, ever watching in the depths of that closed palace, and,
while the nations strayed into hatred, preparing all for the final reign
of Jesus, and at last proclaiming the advent of that reign by
transforming our democracies into the one great Christian community
promised by the Saviour. Assuredly the world's future was being prepared
behind that bronze portal; assuredly it was that future which would issue
forth.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pierre's stupefaction, however, increased as he listened to Narcisse,
whose somewhat studied elegance, whose curly hair cut in the Florentine
fashion, and whose blue, mauvish eyes paling with enthusiasm he now for
the first time remarked. "Botticelli," he at last said, "was no doubt a
marvellous artist, only it seems to me that here, at any rate, Michael
Angelo--"

But Narcisse interrupted him almost with violence. "No! no! Don't talk of
him! He spoilt everything, ruined everything! A man who harnessed himself
to his work like an ox, who laboured at his task like a navvy, at the
rate of so many square yards a day! And a man, too, with no sense of the
mysterious and the unknown, who saw everything so huge as to disgust one
with beauty, painting girls like the trunks of oak-trees, women like
giant butchers, with heaps and heaps of stupid flesh, and never a gleam
of a divine or infernal soul! He was a mason--a colossal mason, if you
like--but he was nothing more."

Weary "modern" that Narcisse was, spoilt by the pursuit of the original
and the rare, he thus unconsciously gave rein to his fated hate of health
and power. That Michael Angelo who brought forth without an effort, who
had left behind him the most prodigious of all artistic creations, was
the enemy. And his crime precisely was that he had created life, produced
life in such excess that all the petty creations of others, even the most
delightful among them, vanished in presence of the overflowing torrent of
human beings flung there all alive in the sunlight.

"Well, for my part," Pierre courageously declared, "I'm not of your
opinion. I now realise that life is everything in art; that real
immortality belongs only to those who create. The case of Michael Angelo
seems to me decisive, for he is the superhuman master, the monster who
overwhelms all others, precisely because he brought forth that
magnificent living flesh which offends your sense of delicacy. Those who
are inclined to the curious, those who have minds of a pretty turn, whose
intellects are ever seeking to penetrate things, may try to improve on
the equivocal and invisible, and set all the charm of art in some
elaborate stroke or symbolisation; but, none the less, Michael Angelo
remains the all-powerful, the maker of men, the master of clearness,
simplicity, and health."

At this Narcisse smiled with indulgent and courteous disdain. And he
anticipated further argument by remarking: "It's already eleven. My
cousin was to have sent a servant here as soon as he could receive us. I
am surprised to have seen nobody as yet. Shall we go up to see the
/stanze/ of Raffaelle while we wait?"

Once in the rooms above, he showed himself perfect, both lucid in his
remarks and just in his appreciations, having recovered all his easy
intelligence as soon as he was no longer upset by his hatred of colossal
labour and cheerful decoration.

It was unfortunate that Pierre should have first visited the Sixtine
Chapel; for it was necessary he should forget what he had just seen and
accustom himself to what he now beheld in order to enjoy its pure beauty.
It was as if some potent wine had confused him, and prevented any
immediate relish of a lighter vintage of delicate fragrance. Admiration
did not here fall upon one with lightning speed; it was slowly,
irresistibly that one grew charmed. And the contrast was like that of
Racine beside Corneille, Lamartine beside Hugo, the eternal pair, the
masculine and feminine genius coupled through centuries of glory. With
Raffaelle it is nobility, grace, exquisiteness, and correctness of line,
and divineness of harmony that triumph. You do not find in him merely the
materialist symbolism so superbly thrown off by Michael Angelo; he
introduces psychological analysis of deep penetration into the painter's
art. Man is shown more purified, idealised; one sees more of that which
is within him. And though one may be in presence of an artist of
sentimental bent, a feminine genius whose quiver of tenderness one can
feel, it is also certain that admirable firmness of workmanship confronts
one, that the whole is very strong and very great. Pierre gradually
yielded to such sovereign masterliness, such virile elegance, such a
vision of supreme beauty set in supreme perfection. But if the "Dispute
on the Sacrament" and the so-called "School of Athens," both prior to the
paintings of the Sixtine Chapel, seemed to him to be Raffaelle's
masterpieces, he felt that in the "Burning of the Borgo," and
particularly in the "Expulsion of Heliodorus from the Temple," and "Pope
St. Leo staying Attila at the Gates of Rome," the artist had lost the
flower of his divine grace, through the deep impression which the
overwhelming grandeur of Michael Angelo had wrought upon him. How
crushing indeed had been the blow when the Sixtine Chapel was thrown open
and the rivals entered! The creations of the monster then appeared, and
the greatest of the humanisers lost some of his soul at sight of them,
thenceforward unable to rid himself of their influence.

From the /stanze/ Narcisse took Pierre to the /loggie/, those glazed
galleries which are so high and so delicately decorated. But here you
only find work which pupils executed after designs left by Raffaelle at
his death. The fall was sudden and complete, and never had Pierre better
understood that genius is everything--that when it disappears the school
collapses. The man of genius sums up his period; at a given hour he
throws forth all the sap of the social soil, which afterwards remains
exhausted often for centuries. So Pierre became more particularly
interested in the fine view that the /loggie/ afford, and all at once he
noticed that the papal apartments were in front of him, just across the
Court of San Damaso. This court, with its porticus, fountain, and white
pavement, had an aspect of empty, airy, sunlit solemnity which surprised
him. There was none of the gloom or pent-up religious mystery that he had
dreamt of with his mind full of the surroundings of the old northern
cathedrals. Right and left of the steps conducting to the rooms of the
Pope and the Cardinal Secretary of State four or five carriages were
ranged, the coachmen stiffly erect and the horses motionless in the
brilliant light; and nothing else peopled that vast square desert of a
court which, with its bareness gilded by the coruscations of its
glass-work and the ruddiness of its stones, suggested a pagan temple
dedicated to the sun. But what more particularly struck Pierre was the
splendid panorama of Rome, for he had not hitherto imagined that the Pope
from his windows could thus behold the entire city spread out before him
as if he merely had to stretch forth his hand to make it his own once
more.

While Pierre contemplated the scene a sound of voices caused him to turn;
and he perceived a servant in black livery who, after repeating a message
to Narcisse, was retiring with a deep bow. Looking much annoyed, the
/attache/ approached the young priest. "Monsignor Gamba del Zoppo," said
he, "has sent word that he can't see us this morning. Some unexpected
duties require his presence." However, Narcisse's embarrassment showed
that he did not believe in the excuse, but rather suspected some one of
having so terrified his cousin that the latter was afraid of compromising
himself. Obliging and courageous as Habert himself was, this made him
indignant. Still he smiled and resumed: "Listen, perhaps there's a means
of forcing an entry. If your time is your own we can lunch together and
then return to visit the Museum of Antiquities. I shall certainly end by
coming across my cousin and we may, perhaps, be lucky enough to meet the
Pope should he go down to the gardens."

At the news that his audience was yet again postponed Pierre had felt
keenly disappointed. However, as the whole day was at his disposal, he
willingly accepted the /attache's/ offer. They lunched in front of St.
Peter's, in a little restaurant of the Borgo, most of whose customers
were pilgrims, and the fare, as it happened, was far from good. Then at
about two o'clock they set off for the museum, skirting the basilica by
way of the Piazza della Sagrestia. It was a bright, deserted, burning
district; and again, but in a far greater degree, did the young priest
experience that sensation of bare, tawny, sun-baked majesty which had
come upon him while gazing into the Court of San Damaso. Then, as he
passed the apse of St. Peter's, the enormity of the colossus was brought
home to him more strongly than ever: it rose like a giant bouquet of
architecture edged by empty expanses of pavement sprinkled with fine
weeds. And in all the silent immensity there were only two children
playing in the shadow of a wall. The old papal mint, the Zecca, now an
Italian possession, and guarded by soldiers of the royal army, is on the
left of the passage leading to the museums, while on the right, just in
front, is one of the entrances of honour to the Vatican where the papal
Swiss Guard keeps watch and ward; and this is the entrance by which,
according to etiquette, the pair-horse carriages convey the Pope's
visitors into the Court of San Damaso.

Following the long lane which ascends between a wing of the palace and
its garden wall, Narcisse and Pierre at last reached the Museum of
Antiquities. Ah! what a museum it is, with galleries innumerable, a
museum compounded of three museums, the Pio-Clementino, Chiaramonti, and
the Braccio-Nuovo, and containing a whole world found beneath the soil,
then exhumed, and now glorified in full sunlight. For more than two hours
Pierre went from one hall to another, dazzled by the masterpieces,
bewildered by the accumulation of genius and beauty. It was not only the
celebrated examples of statuary, the Laocoon and the Apollo of the
cabinets of the Belvedere, the Meleager, or even the torso of
Hercules--that astonished him. He was yet more impressed by the
/ensemble/, by the innumerable quantities of Venuses, Bacchuses, and
deified emperors and empresses, by the whole superb growth of beautiful
or August flesh celebrating the immortality of life. Three days
previously he had visited the Museum of the Capitol, where he had admired
the Venus, the Dying Gaul,* the marvellous Centaurs of black marble, and
the extraordinary collection of busts, but here his admiration became
intensified into stupor by the inexhaustible wealth of the galleries.
And, with more curiosity for life than for art, perhaps, he again
lingered before the busts which so powerfully resuscitate the Rome of
history--the Rome which, whilst incapable of realising the ideal beauty
of Greece, was certainly well able to create life. The emperors, the
philosophers, the learned men, the poets are all there, and live such as
they really were, studied and portrayed in all scrupulousness with their
deformities, their blemishes, the slightest peculiarities of their
features. And from this extreme solicitude for truth springs a wonderful
wealth of character and an incomparable vision of the past. Nothing,
indeed, could be loftier: the very men live once more, and retrace the
history of their city, that history which has been so falsified that the
teaching of it has caused generations of school-boys to hold antiquity in
horror. But on seeing the men, how well one understands, how fully one
can sympathise! And indeed the smallest bits of marble, the maimed
statues, the bas-reliefs in fragments, even the isolated limbs--whether
the divine arm of a nymph or the sinewy, shaggy thigh of a satyr--evoke
the splendour of a civilisation full of light, grandeur, and strength.

* Best known in England, through Byron's lines, as the
Dying Gladiator, though that appellation is certainly
erroneous.--Trans.

At last Narcisse brought Pierre back into the Gallery of the Candelabra,
three hundred feet in length and full of fine examples of sculpture.
"Listen, my dear Abbe," said he. "It is scarcely more than four o'clock,
and we will sit down here for a while, as I am told that the Holy Father
sometimes passes this way to go down to the gardens. It would be really
lucky if you could see him, perhaps even speak to him--who can tell? At
all events, it will rest you, for you must be tired out."

Narcisse was known to all the attendants, and his relationship to
Monsignor Gamba gave him the run of almost the entire Vatican, where he
was fond of spending his leisure time. Finding two chairs, they sat down,
and the /attache/ again began to talk of art.

How astonishing had been the destiny of Rome, what a singular, borrowed
royalty had been hers! She seemed like a centre whither the whole world
converged, but where nothing grew from the soil itself, which from the
outset appeared to be stricken with sterility. The arts required to be
acclimatised there; it was necessary to transplant the genius of
neighbouring nations, which, once there, however, flourished
magnificently. Under the emperors, when Rome was the queen of the earth,
the beauty of her monuments and sculpture came to her from Greece. Later,
when Christianity arose in Rome, it there remained impregnated with
paganism; it was on another soil that it produced Gothic art, the
Christian Art /par excellence/. Later still, at the Renascence, it was
certainly at Rome that the age of Julius II and Leo X shone forth; but
the artists of Tuscany and Umbria prepared the evolution, brought it to
Rome that it might thence expand and soar. For the second time, indeed,
art came to Rome from without, and gave her the royalty of the world by
blossoming so triumphantly within her walls. Then occurred the
extraordinary awakening of antiquity, Apollo and Venus resuscitated
worshipped by the popes themselves, who from the time of Nicholas V
dreamt of making papal Rome the equal of the imperial city. After the
precursors, so sincere, tender, and strong in their art--Fra Angelico,
Perugino, Botticelli, and so many others--came the two sovereigns,
Michael Angelo and Raffaelle, the superhuman and the divine. Then the
fall was sudden, years elapsed before the advent of Caravaggio with power
of colour and modelling, all that the science of painting could achieve
when bereft of genius. And afterwards the decline continued until Bernini
was reached--Bernini, the real creator of the Rome of the present popes,
the prodigal child who at twenty could already show a galaxy of colossal
marble wenches, the universal architect who with fearful activity
finished the facade, built the colonnade, decorated the interior of St.
Peter's, and raised fountains, churches, and palaces innumerable. And
that was the end of all, for since then Rome has little by little
withdrawn from life, from the modern world, as though she, who always
lived on what she derived from others, were dying of her inability to
take anything more from them in order to convert it to her own glory.

"Ah! Bernini, that delightful Bernini!" continued Narcisse with his
rapturous air. "He is both powerful and exquisite, his verve always
ready, his ingenuity invariably awake, his fecundity full of grace and
magnificence. As for their Bramante with his masterpiece, that cold,
correct Cancelleria, we'll dub him the Michael Angelo and Raffaelle of
architecture and say no more about it. But Bernini, that exquisite
Bernini, why, there is more delicacy and refinement in his pretended bad
taste than in all the hugeness and perfection of the others! Our own age
ought to recognise itself in his art, at once so varied and so deep, so
triumphant in its mannerisms, so full of a perturbing solicitude for the
artificial and so free from the baseness of reality. Just go to the Villa
Borghese to see the group of Apollo and Daphne which Bernini executed
when he was eighteen,* and in particular see his statue of Santa Teresa
in ecstasy at Santa Maria della Vittoria! Ah! that Santa Teresa! It is
like heaven opening, with the quiver that only a purely divine enjoyment
can set in woman's flesh, the rapture of faith carried to the point of
spasm, the creature losing breath and dying of pleasure in the arms of
the Divinity! I have spent hours and hours before that work without
exhausting the infinite scope of its precious, burning symbolisation."

* There is also at the Villa Borghese Bernini's /Anchises carried
by Aeneas/, which he sculptured when only sixteen. No doubt his
faults were many; but it was his misfortune to belong to a
decadent period.--Trans.

Narcisse's voice died away, and Pierre, no longer astonished at his
covert, unconscious hatred of health, simplicity, and strength, scarcely
listened to him. The young priest himself was again becoming absorbed in
the idea he had formed of pagan Rome resuscitating in Christian Rome and
turning it into Catholic Rome, the new political, sacerdotal, domineering
centre of earthly government. Apart from the primitive age of the
Catacombs, had Rome ever been Christian? The thoughts that had come to
him on the Palatine, in the Appian Way, and in St. Peter's were gathering
confirmation. Genius that morning had brought him fresh proof. No doubt
the paganism which reappeared in the art of Michael Angelo and Raffaelle
was tempered, transformed by the Christian spirit. But did it not still
remain the basis? Had not the former master peered across Olympus when
snatching his great nudities from the terrible heavens of Jehovah? Did
not the ideal figures of Raffaelle reveal the superb, fascinating flesh
of Venus beneath the chaste veil of the Virgin? It seemed so to Pierre,
and some embarrassment mingled with his despondency, for all those
beautiful forms glorifying the ardent passions of life, were in
opposition to his dream of rejuvenated Christianity giving peace to the
world and reviving the simplicity and purity of the early ages.

All at once he was surprised to hear Narcisse, by what transition he
could not tell, speaking to him of the daily life of Leo XIII. "Yes, my
dear Abbe, at eighty-four* the Holy Father shows the activity of a young
man and leads a life of determination and hard work such as neither you
nor I would care for! At six o'clock he is already up, says his mass in
his private chapel, and drinks a little milk for breakfast. Then, from
eight o'clock till noon, there is a ceaseless procession of cardinals and
prelates, all the affairs of the congregations passing under his eyes,
and none could be more numerous or intricate. At noon the public and
collective audiences usually begin. At two he dines. Then comes the
siesta which he has well earned, or else a promenade in the gardens until
six o'clock. The private audiences then sometimes keep him for an hour or
two. He sups at nine and scarcely eats, lives on nothing, in fact, and is
always alone at his little table. What do you think, eh, of the etiquette
which compels him to such loneliness? There you have a man who for
eighteen years has never had a guest at his table, who day by day sits
all alone in his grandeur! And as soon as ten o'clock strikes, after
saying the Rosary with his familiars, he shuts himself up in his room.
But, although he may go to bed, he sleeps very little; he is frequently
troubled by insomnia, and gets up and sends for a secretary to dictate
memoranda or letters to him. When any interesting matter requires his
attention he gives himself up to it heart and soul, never letting it
escape his thoughts. And his life, his health, lies in all this. His mind
is always busy; his will and strength must always be exerting themselves.
You may know that he long cultivated Latin verse with affection; and I
believe that in his days of struggle he had a passion for journalism,
inspired the articles of the newspapers he subsidised, and even dictated
some of them when his most cherished ideas were in question."

* The reader should remember that the period selected for this
narrative is the year 1894. Leo XIII was born in 1810.--Trans.

Silence fell. At every moment Narcisse craned his neck to see if the
little papal /cortege/ were not emerging from the Gallery of the
Tapestries to pass them on its way to the gardens. "You are perhaps
aware," he resumed, "that his Holiness is brought down on a low chair
which is small enough to pass through every doorway. It's quite a
journey, more than a mile, through the /loggie/, the /stanze/ of
Raffaelle, the painting and sculpture galleries, not to mention the
numerous staircases, before he reaches the gardens, where a pair-horse
carriage awaits him. It's quite fine this evening, so he will surely
come. We must have a little patience."

Whilst Narcisse was giving these particulars Pierre again sank into a
reverie and saw the whole extraordinary history pass before him. First
came the worldly, ostentatious popes of the Renascence, those who
resuscitated antiquity with so much passion and dreamt of draping the
Holy See with the purple of empire once more. There was Paul II, the
magnificent Venetian who built the Palazzo di Venezia; Sixtus IV, to whom
one owes the Sixtine Chapel; and Julius II and Leo X, who made Rome a
city of theatrical pomp, prodigious festivities, tournaments, ballets,
hunts, masquerades, and banquets. At that time the papacy had just
rediscovered Olympus amidst the dust of buried ruins, and as though
intoxicated by the torrent of life which arose from the ancient soil, it
founded the museums, thus reviving the superb temples of the pagan age,
and restoring them to the cult of universal admiration. Never had the
Church been in such peril of death, for if the Christ was still honoured
at St. Peter's, Jupiter and all the other gods and goddesses, with their
beauteous, triumphant flesh, were enthroned in the halls of the Vatican.
Then, however, another vision passed before Pierre, one of the modern
popes prior to the Italian occupation--notably Pius IX, who, whilst yet
free, often went into his good city of Rome. His huge red and gold coach
was drawn by six horses, surrounded by Swiss Guards and followed by Noble
Guards; but now and again he would alight in the Corso, and continue his
promenade on foot, and then the mounted men of the escort galloped
forward to give warning and stop the traffic. The carriages drew up, the
gentlemen had to alight and kneel on the pavement, whilst the ladies
simply rose and devoutly inclined their heads, as the Holy Father,
attended by his Court, slowly wended his way to the Piazza del Popolo,
smiling and blessing at every step. And now had come Leo XIII, the
voluntary prisoner, shut up in the Vatican for eighteen years, and he,
behind the high, silent walls, in the unknown sphere where each of his
days flowed by so quietly, had acquired a more exalted majesty, instinct
with sacred and redoubtable mysteriousness.

Ah! that Pope whom you no longer meet or see, that Pope hidden from the
common of mankind like some terrible divinity whom the priests alone dare
to approach! It is in that sumptuous Vatican which his forerunners of the
Renascence built and adorned for giant festivities that he has secluded
himself; it is there he lives, far from the crowd, in prison with the
handsome men and the lovely women of Michael Angelo and Raffaelle, with
the gods and goddesses of marble, with the whole of resplendent Olympus
celebrating around him the religion of life and light. With him the
entire Papacy is there steeped in paganism. What a spectacle when the
slender, weak old man, all soul, so purely white, passes along the
galleries of the Museum of Antiquities on his way to the gardens. Right
and left the statues behold him pass with all their bare flesh. There is
Jupiter, there is Apollo, there is Venus the /dominatrix/, there is Pan,
the universal god in whose laugh the joys of earth ring out. Nereids
bathe in transparent water. Bacchantes roll, unveiled, in the warm grass.
Centaurs gallop by carrying lovely girls, faint with rapture, on their
steaming haunches. Ariadne is surprised by Bacchus, Ganymede fondles the
eagle, Adonis fires youth and maiden with his flame. And on and on passes
the weak, white old man, swaying on his low chair, amidst that splendid
triumph, that display and glorification of the flesh, which shouts aloud
the omnipotence of Nature, of everlasting matter! Since they have found
it again, exhumed it, and honoured it, that it is which once more reigns
there imperishable; and in vain have they set vine leaves on the statues,
even as they have swathed the huge figures of Michael Angelo; sex still
flares on all sides, life overflows, its germs course in torrents through
the veins of the world. Near by, in that Vatican library of incomparable
wealth, where all human science lies slumbering, there lurks a yet more
terrible danger--the danger of an explosion which would sweep away
everything, Vatican and St. Peter's also, if one day the books in their
turn were to awake and speak aloud as speak the beauty of Venus and the
manliness of Apollo. But the white, diaphanous old man seems neither to
see nor to hear, and the huge heads of Jupiter, the trunks of Hercules,
the equivocal statues of Antinous continue to watch him as he passes on!

However, Narcisse had become impatient, and, going in search of an
attendant, he learnt from him that his Holiness had already gone down. To
shorten the distance, indeed, the /cortege/ often passes along a kind of
open gallery leading towards the Mint. "Well, let us go down as well,"
said Narcisse to Pierre; "I will try to show you the gardens."

Down below, in the vestibule, a door of which opened on to a broad path,
he spoke to another attendant, a former pontifical soldier whom he
personally knew. The man at once let him pass with Pierre, but was unable
to tell him whether Monsignor Gamba del Zoppo had accompanied his
Holiness that day.

"No matter," resumed Narcisse when he and his companion were alone in the
path; "I don't despair of meeting him--and these, you see, are the famous
gardens of the Vatican."

They are very extensive grounds, and the Pope can go quite two and a half
miles by passing along the paths of the wood, the vineyard, and the
kitchen garden. Occupying the plateau of the Vatican hill, which the
medieval wall of Leo IV still girdles, the gardens are separated from the
neighbouring valleys as by a fortified rampart. The wall formerly
stretched to the castle of Sant' Angelo, thereby forming what was known
as the Leonine City. No inquisitive eyes can peer into the grounds
excepting from the dome of St. Peter's, which casts its huge shadow over
them during the hot summer weather. They are, too, quite a little world,
which each pope has taken pleasure in embellishing. There is a large
parterre with lawns of geometrical patterns, planted with handsome palms
and adorned with lemon and orange trees in pots; there is a less formal,
a shadier garden, where, amidst deep plantations of yoke-elms, you find
Giovanni Vesanzio's fountain, the Aquilone, and Pius IV's old Casino;
then, too, there are the woods with their superb evergreen oaks, their
thickets of plane-trees, acacias, and pines, intersected by broad
avenues, which are delightfully pleasant for leisurely strolls; and
finally, on turning to the left, beyond other clumps of trees, come the
kitchen garden and the vineyard, the last well tended.

Whilst walking through the wood Narcisse told Pierre of the life led by
the Holy Father in these gardens. He strolls in them every second day
when the weather allows. Formerly the popes left the Vatican for the
Quirinal, which is cooler and healthier, as soon as May arrived; and
spent the dog days at Castle Gandolfo on the margins of the Lake of
Albano. But nowadays the only summer residence possessed by his Holiness
is a virtually intact tower of the old rampart of Leo IV. He here spends
the hottest days, and has even erected a sort of pavilion beside it for
the accommodation of his suite. Narcisse, like one at home, went in and
secured permission for Pierre to glance at the one room occupied by the
Pope, a spacious round chamber with semispherical ceiling, on which are
painted the heavens with symbolical figures of the constellations; one of
the latter, the lion, having two stars for eyes--stars which a system of
lighting causes to sparkle during the night. The walls of the tower are
so thick that after blocking up a window, a kind of room, for the
accommodation of a couch, has been contrived in the embrasure. Beside
this couch the only furniture is a large work-table, a dining-table with
flaps, and a large regal arm-chair, a mass of gilding, one of the gifts
of the Pope's episcopal jubilee. And you dream of the days of solitude
and perfect silence, spent in that low donjon hall, where the coolness of
a tomb prevails whilst the heavy suns of August are scorching overpowered
Rome.

An astronomical observatory has been installed in another tower,
surmounted by a little white cupola, which you espy amidst the greenery;
and under the trees there is also a Swiss chalet, where Leo XIII is fond
of resting. He sometimes goes on foot to the kitchen garden, and takes
much interest in the vineyard, visiting it to see if the grapes are
ripening and if the vintage will be a good one. What most astonished
Pierre, however, was to learn that the Holy Father had been very fond of
"sport" before age had weakened him. He was indeed passionately addicted
to bird snaring. Broad-meshed nets were hung on either side of a path on
the fringe of a plantation, and in the middle of the path were placed
cages containing the decoys, whose songs soon attracted all the birds of
the neighbourhood--red-breasts, white-throats, black-caps, nightingales,
fig-peckers of all sorts. And when a numerous company of them was
gathered together Leo XIII, seated out of sight and watching, would
suddenly clap his hands and startle the birds, which flew up and were
caught by the wings in the meshes of the nets. All that then remained to
be done was to take them out of the nets and stifle them by a touch of
the thumb. Roast fig-peckers are delicious.*

* Perhaps so; but what a delightful pastime for the Vicar of the
Divinity!--Trans.

As Pierre came back through the wood he had another surprise. He suddenly
lighted on a "Grotto of Lourdes," a miniature imitation of the original,
built of rocks and blocks of cement. And such was his emotion at the
sight that he could not conceal it. "It's true, then!" said he. "I was
told of it, but I thought that the Holy Father was of loftier mind--free
from all such base superstitions!"

"Oh!" replied Narcisse, "I fancy that the grotto dates from Pius IX, who
evinced especial gratitude to our Lady of Lourdes. At all events, it must
be a gift, and Leo XIII simply keeps it in repair."

For a few moments Pierre remained motionless and silent before that
imitation grotto, that childish plaything. Some zealously devout visitors
had left their visiting cards in the cracks of the cement-work! For his
part, he felt very sad, and followed his companion with bowed head,
lamenting the wretched idiocy of the world. Then, on emerging from the
wood, on again reaching the parterre, he raised his eyes.

Ah! how exquisite in spite of everything was that decline of a lovely
day, and what a victorious charm ascended from the soil in that part of
the gardens. There, in front of that bare, noble, burning parterre, far
more than under the languishing foliage of the wood or among the fruitful
vines, Pierre realised the strength of Nature. Above the grass growing
meagrely over the compartments of geometrical pattern which the pathways
traced there were barely a few low shrubs, dwarf roses, aloes, rare tufts
of withering flowers. Some green bushes still described the escutcheon of
Pius IX in accordance with the strange taste of former times. And amidst
the warm silence one only heard the faint crystalline murmur of the water
trickling from the basin of the central fountain. But all Rome, its
ardent heavens, sovereign grace, and conquering voluptuousness, seemed
with their own soul to animate this vast rectangular patch of decorative
gardening, this mosaic of verdure, which in its semi-abandonment and
scorched decay assumed an aspect of melancholy pride, instinct with the
ever returning quiver of a passion of fire that could not die. Some
antique vases and statues, whitely nude under the setting sun, skirted
the parterres. And above the aroma of eucalyptus and of pine, stronger
even than that of the ripening oranges, there rose the odour of the
large, bitter box-shrubs, so laden with pungent life that it disturbed
one as one passed as if indeed it were the very scent of the fecundity of
that ancient soil saturated with the dust of generations.

"It's very strange that we have not met his Holiness," exclaimed
Narcisse. "Perhaps his carriage took the other path through the wood
while we were in the tower."

Then, reverting to Monsignor Gamba del Zoppo, the /attache/ explained
that the functions of /Copiere/, or papal cup-bearer, which his cousin
should have discharged as one of the four /Camerieri segreti
partecipanti/ had become purely honorary since the dinners offered to
diplomatists or in honour of newly consecrated bishops had been given by
the Cardinal Secretary of State. Monsignor Gamba, whose cowardice and
nullity were legendary, seemed therefore to have no other /role/ than
that of enlivening Leo XIII, whose favour he had won by his incessant
flattery and the anecdotes which he was ever relating about both the
black and the white worlds. Indeed this fat, amiable man, who could even
be obliging when his interests were not in question, was a perfect
newspaper, brimful of tittle-tattle, disdaining no item of gossip
whatever, even if it came from the kitchens. And thus he was quietly
marching towards the cardinalate, certain of obtaining the hat without
other exertion than that of bringing a budget of gossip to beguile the
pleasant hours of the promenade. And Heaven knew that he was always able
to garner an abundant harvest of news in that closed Vatican swarming
with prelates of every kind, in that womanless pontifical family of old
begowned bachelors, all secretly exercised by vast ambitions, covert and
revolting rivalries, and ferocious hatreds, which, it is said, are still
sometimes carried as far as the good old poison of ancient days.

All at once Narcisse stopped. "Ah!" he exclaimed, "I was certain of it.
There's the Holy Father! But we are not in luck. He won't even see us; he
is about to get into his carriage again."

As he spoke a carriage drew up at the verge of the wood, and a little
/cortege/ emerging from a narrow path, went towards it.

Pierre felt as if he had received a great blow in the heart. Motionless
beside his companion, and half hidden by a lofty vase containing a
lemon-tree, it was only from a distance that he was able to see the white
old man, looking so frail and slender in the wavy folds of his white
cassock, and walking so very slowly with short, gliding steps. The young
priest could scarcely distinguish the emaciated face of old diaphanous
ivory, emphasised by a large nose which jutted out above thin lips.
However, the Pontiff's black eyes were glittering with an inquisitive
smile, while his right ear was inclined towards Monsignor Gamba del
Zoppo, who was doubtless finishing some story at once rich and short,
flowery and dignified. And on the left walked a Noble Guard; and two
other prelates followed.

It was but a familiar apparition; Leo XIII was already climbing into the
closed carriage. And Pierre, in the midst of that large, odoriferous,
burning garden, again experienced the singular emotion which had come
upon him in the Gallery of the Candelabra while he was picturing the Pope
on his way between the Apollos and Venuses radiant in their triumphant
nudity. There, however, it was only pagan art which had celebrated the
eternity of life, the superb, almighty powers of Nature. But here he had
beheld the Pontiff steeped in Nature itself, in Nature clad in the most
lovely, most voluptuous, most passionate guise. Ah! that Pope, that old
man strolling with his Divinity of grief, humility, and renunciation
along the paths of those gardens of love, in the languid evenings of the
hot summer days, beneath the caressing scents of pine and eucalyptus,
ripe oranges, and tall, acrid box-shrubs! The whole atmosphere around him
proclaimed the powers of the great god Pan. How pleasant was the thought
of living there, amidst that magnificence of heaven and of earth, of
loving the beauty of woman and of rejoicing in the fruitfulness of all!
And suddenly the decisive truth burst forth that from a land of such joy
and light it was only possible for a temporal religion of conquest and
political domination to rise; not the mystical, pain-fraught religion of
the North--the religion of the soul!

However, Narcisse led the young priest away, telling him other anecdotes
as they went--anecdotes of the occasional /bonhomie/ of Leo XIII, who
would stop to chat with the gardeners, and question them about the health
of the trees and the sale of the oranges. And he also mentioned the
Pope's former passion for a pair of gazelles, sent him from Africa, two
graceful creatures which he had been fond of caressing, and at whose
death he had shed tears. But Pierre no longer listened. When they found
themselves on the Piazza of St. Peter's, he turned round and gazed at the
Vatican once more.

His eyes had fallen on the gate of bronze, and he remembered having
wondered that morning what there might be behind these metal panels
ornamented with big nails. And he did not yet dare to answer the
question, and decide if the new nations thirsting for fraternity and
justice would really find there the religion necessary for the
democracies of to-morrow; for he had not been able to probe things, and
only carried a first impression away with him. But how keen it was, and
how ill it boded for his dreams! A gate of bronze! Yes, a hard,
impregnable gate, so completely shutting the Vatican off from the rest of
the world that nothing new had entered the palace for three hundred
years. Behind that portal the old centuries, as far as the sixteenth,
remained immutable. Time seemed to have stayed its course there for ever;
nothing more stirred; the very costumes of the Swiss Guards, the Noble
Guards, and the prelates themselves were unchanged; and you found
yourself in the world of three hundred years ago, with its etiquette, its
costumes, and its ideas. That the popes in a spirit of haughty protest
should for five and twenty years have voluntarily shut themselves up in
their palace was already regrettable; but this imprisonment of centuries
within the past, within the grooves of tradition, was far more serious
and dangerous. It was all Catholicism which was thus imprisoned, whose
dogmas and sacerdotal organisation were obstinately immobilised. Perhaps,
in spite of its apparent flexibility, Catholicism was really unable to
yield in anything, under peril of being swept away, and therein lay both
its weakness and its strength. And then what a terrible world was there,
how great the pride and ambition, how numerous the hatreds and rivalries!
And how strange the prison, how singular the company assembled behind the
bars--the Crucified by the side of Jupiter Capitolinus, all pagan
antiquity fraternising with the Apostles, all the splendours of the
Renascence surrounding the pastor of the Gospel who reigns in the name of
the humble and the poor!

The sun was sinking, the gentle, luscious sweetness of the Roman evenings
was falling from the limpid heavens, and after that splendid day spent
with Michael Angelo, Raffaelle, the ancients, and the Pope, in the finest
palace of the world, the young priest lingered, distracted, on the Piazza
of St. Peter's.

"Well, you must excuse me, my dear Abbe," concluded Narcisse. "But I will
now confess to you that I suspect my worthy cousin of a fear that he
might compromise himself by meddling in your affair. I shall certainly
see him again, but you will do well not to put too much reliance on him."

It was nearly six o'clock when Pierre got back to the Boccanera mansion.
As a rule, he passed in all modesty down the lane, and entered by the
little side door, a key of which had been given him. But he had that
morning received a letter from M. de la Choue, and desired to communicate
it to Benedetta. So he ascended the grand staircase, and on reaching the
anteroom was surprised to find nobody there. As a rule, whenever the
man-servant went out Victorine installed herself in his place and busied
herself with some needlework. Her chair was there, and Pierre even
noticed some linen which she had left on a little table when probably
summoned elsewhere. Then, as the door of the first reception-room was
ajar, he at last ventured in. It was almost night there already, the
twilight was softly dying away, and all at once the young priest stopped
short, fearing to take another step, for, from the room beyond, the large
yellow /salon/, there came a murmur of feverish, distracted words, ardent
entreaties, fierce panting, a rustling and a shuffling of footsteps. And
suddenly Pierre no longer hesitated, urged on despite himself by the
conviction that the sounds he heard were those of a struggle, and that
some one was hard pressed.

And when he darted into the further room he was stupefied, for Dario was
there, no longer showing the degenerate elegance of the last scion of an
exhausted race, but maddened by the hot, frantic blood of the Boccaneras
which had bubbled up within him. He had clasped Benedetta by the
shoulders in a frenzy of passion and was scorching her face with his hot,
entreating words: "But since you say, my darling, that it is all over,
that your marriage will never be dissolved--oh! why should we be wretched
for ever! Love me as you do love me, and let me love you--let me love
you!"

But the Contessina, with an indescribable expression of tenderness and
suffering on her tearful face, repulsed him with her outstretched arms,
she likewise evincing a fierce energy as she repeated: "No, no; I love
you, but it must not, it must not be."

At that moment, amidst the roar of his despair, Dario became conscious
that some one was entering the room. He turned and gazed at Pierre with
an expression of stupefied insanity, scarce able even to recognise him.
Then he carried his two hands to his face, to his bloodshot eyes and his
cheeks wet with scalding tears, and fled, heaving a terrible,
pain-fraught sigh in which baffled passion mingled with grief and
repentance.

Benedetta seated herself, breathing hard, her strength and courage
wellnigh exhausted. But as Pierre, too much embarrassed to speak, turned
towards the door, she addressed him in a calmer voice: "No, no, Monsieur
l'Abbe, do not go away--sit down, I pray you; I should like to speak to
you for a moment."

He thereupon thought it his duty to account for his sudden entrance, and
explained that he had found the door of the first /salon/ ajar, and that
Victorine was not in the ante-room, though he had seen her work lying on
the table there.

"Yes," exclaimed the Contessina, "Victorine ought to have been there; I
saw her there but a short time ago. And when my poor Dario lost his head
I called her. Why did she not come?" Then, with sudden expansion, leaning
towards Pierre, she continued: "Listen, Monsieur l'Abbe, I will tell you
what happened, for I don't want you to form too bad an opinion of my poor
Dario. It was all in some measure my fault. Last night he asked me for an
appointment here in order that we might have a quiet chat, and as I knew
that my aunt would be absent at this time to-day I told him to come. It
was only natural--wasn't it?--that we should want to see one another and
come to an agreement after the grievous news that my marriage will
probably never be annulled. We suffer too much, and must form a decision.
And so when he came this evening we began to weep and embrace, mingling
our tears together. I kissed him again and again, telling him how I
adored him, how bitterly grieved I was at being the cause of his
sufferings, and how surely I should die of grief at seeing him so
unhappy. Ah! no doubt I did wrong; I ought not to have caught him to my
heart and embraced him as I did, for it maddened him, Monsieur l'Abbe; he
lost his head, and would have made me break my vow to the Blessed
Virgin."

She spoke these words in all tranquillity and simplicity, without sign of
embarrassment, like a young and beautiful woman who is at once sensible
and practical. Then she resumed: "Oh! I know my poor Dario well, but it
does not prevent me from loving him; perhaps, indeed, it only makes me
love him the more. He looks delicate, perhaps rather sickly, but in truth
he is a man of passion. Yes, the old blood of my people bubbles up in
him. I know something of it myself, for when I was a child I sometimes
had fits of angry passion which left me exhausted on the floor, and even
now, when the gusts arise within me, I have to fight against myself and
torture myself in order that I may not act madly. But my poor Dario does
not know how to suffer. He is like a child whose fancies must be
gratified. And yet at bottom he has a good deal of common sense; he waits
for me because he knows that the only real happiness lies with the woman
who adores him."

As Pierre listened he was able to form a more precise idea of the young
prince, of whose character he had hitherto had but a vague perception.
Whilst dying of love for his cousin, Dario had ever been a man of
pleasure. Though he was no doubt very amiable, the basis of his
temperament was none the less egotism. And, in particular, he was unable
to endure suffering; he loathed suffering, ugliness, and poverty, whether
they affected himself or others. Both his flesh and his soul required
gaiety, brilliancy, show, life in the full sunlight. And withal he was
exhausted, with no strength left him but for the idle life he led, so
incapable of thought and will that the idea of joining the new /regime/
had not even occurred to him. Yet he had all the unbounded pride of a
Roman; sagacity--a keen, practical perception of the real--was mingled
with his indolence; while his inveterate love of woman, more frequently
displayed in charm of manner, burst forth at times in attacks of frantic
sensuality.

"After all he is a man," concluded Benedetta in a low voice, "and I must
not ask impossibilities of him." Then, as Pierre gazed at her, his
notions of Italian jealousy quite upset, she exclaimed, aglow with
passionate adoration: "No, no. Situated as we are, I am not jealous. I
know very well that he will always return to me, and that he will be mine
alone whenever I please, whenever it may be possible."

Silence followed; shadows were filling the room, the gilding of the large
pier tables faded away, and infinite melancholy fell from the lofty, dim
ceiling and the old hangings, yellow like autumn leaves. But soon, by
some chance play of the waning light, a painting stood out above the sofa
on which the Contessina was seated. It was the portrait of the beautiful
young girl with the turban--Cassia Boccanera the forerunner, the
/amorosa/ and avengeress. Again was Pierre struck by the portrait's
resemblance to Benedetta, and, thinking aloud, he resumed: "Passion
always proves the stronger; there invariably comes a moment when one
succumbs--"

But Benedetta violently interrupted him: "I! I! Ah! you do not know me; I
would rather die!" And with extraordinary exaltation, all aglow with
love, as if her superstitious faith had fired her passion to ecstasy, she
continued: "I have vowed to the Madonna that I will belong to none but
the man I love, and to him only when he is my husband. And hitherto I
have kept that vow, at the cost of my happiness, and I will keep it
still, even if it cost me my life! Yes, we will die, my poor Dario and I,
if it be necessary; but the holy Virgin has my vow, and the angels shall
not weep in heaven!"

She was all in those words, her nature all simplicity, intricate,
inexplicable though it might seem. She was doubtless swayed by that idea
of human nobility which Christianity has set in renunciation and purity;
a protest, as it were, against eternal matter, against the forces of
Nature, the everlasting fruitfulness of life. But there was more than
this; she reserved herself, like a divine and priceless gift, to be
bestowed on the one being whom her heart had chosen, he who would be her
lord and master when God should have united them in marriage. For her
everything lay in the blessing of the priest, in the religious
solemnisation of matrimony. And thus one understood her long resistance
to Prada, whom she did not love, and her despairing, grievous resistance
to Dario, whom she did love, but who was not her husband. And how
torturing it was for that soul of fire to have to resist her love; how
continual was the combat waged by duty in the Virgin's name against the
wild, passionate blood of her race! Ignorant, indolent though she might
be, she was capable of great fidelity of heart, and, moreover, she was
not given to dreaming: love might have its immaterial charms, but she
desired it complete.

As Pierre looked at her in the dying twilight he seemed to see and
understand her for the first time. The duality of her nature appeared in
her somewhat full, fleshy lips, in her big black eyes, which suggested a
dark, tempestuous night illumined by flashes of lightning, and in the
calm, sensible expression of the rest of her gentle, infantile face. And,
withal, behind those eyes of flame, beneath that pure, candid skin, one
divined the internal tension of a superstitious, proud, and self-willed
woman, who was obstinately intent on reserving herself for her one love.
And Pierre could well understand that she should be adored, that she
should fill the life of the man she chose with passion, and that to his
own eyes she should appear like the younger sister of that lovely, tragic
Cassia who, unwilling to survive the blow that had rendered self-bestowal
impossible, had flung herself into the Tiber, dragging her brother Ercole
and the corpse of her lover Flavio with her.

However, with a gesture of kindly affection Benedetta caught hold of
Pierre's hands. "You have been here a fortnight, Monsieur l'Abbe," said
she, "and I have come to like you very much, for I feel you to be a
friend. If at first you do not understand us, at least pray do not judge
us too severely. Ignorant as I may be, I always strive to act for the
best, I assure you."

Pierre was greatly touched by her affectionate graciousness, and thanked
her whilst for a moment retaining her beautiful hands in his own, for he
also was becoming much attached to her. A fresh dream was carrying him
off, that of educating her, should he have the time, or, at all events,
of not returning home before winning her soul over to his own ideas of
future charity and fraternity. Did not that adorable, unoccupied,
indolent, ignorant creature, who only knew how to defend her love,
personify the Italy of yesterday? The Italy of yesterday, so lovely and
so sleepy, instinct with a dying grace, charming one even in her
drowsiness, and retaining so much mystery in the fathomless depths of her
black, passionate eyes! And what a /role/ would be that of awakening her,
instructing her, winning her over to truth, making her the rejuvenated
Italy of to-morrow such as he had dreamt of! Even in that disastrous
marriage with Count Prada he tried to see merely a first attempt at
revival which had failed, the modern Italy of the North being over-hasty,
too brutal in its eagerness to love and transform that gentle, belated
Rome which was yet so superb and indolent. But might he not take up the
task? Had he not noticed that his book, after the astonishment of the
first perusal, had remained a source of interest and reflection with
Benedetta amidst the emptiness of her days given over to grief? What! was
it really possible that she might find some appeasement for her own
wretchedness by interesting herself in the humble, in the happiness of
the poor? Emotion already thrilled her at the idea, and he, quivering at
the thought of all the boundless love that was within her and that she
might bestow, vowed to himself that he would draw tears of pity from her
eyes.

But the night had now almost completely fallen, and Benedetta rose to ask
for a lamp. Then, as Pierre was about to take leave, she detained him for
another moment in the gloom. He could no longer see her; he only heard
her grave voice: "You will not go away with too bad an opinion of us,
will you, Monsieur l'Abbe? We love one another, Dario and I, and that is
no sin when one behaves as one ought. Ah! yes, I love him, and have loved
him for years. I was barely thirteen, he was eighteen, and we already
loved one another wildly in those big gardens of the Villa Montefiori
which are now all broken up. Ah! what days we spent there, whole
afternoons among the trees, hours in secret hiding-places, where we
kissed like little angels. When the oranges ripened their perfume
intoxicated us. And the large box-plants, ah, /Dio!/ how they enveloped
us, how their strong, acrid scent made our hearts beat! I can never smell
then nowadays without feeling faint!"

A man-servant brought in the lamp, and Pierre ascended to his room. But
when half-way up the little staircase he perceived Victorine, who started
slightly, as if she had posted herself there to watch his departure from
the /salon/. And now, as she followed him up, talking and seeking for
information, he suddenly realised what had happened. "Why did you not go
to your mistress instead of running off," he asked, "when she called you,
while you were sewing in the ante-room?"

At first she tried to feign astonishment and reply that she had heard
nothing. But her good-natured, frank face did not know how to lie, and
she ended by confessing, with a gay, courageous air. "Well," she said,
"it surely wasn't for me to interfere between lovers! Besides, my poor
little Benedetta is simply torturing herself to death with those ideas of
hers. Why shouldn't they be happy, since they love one another? Life
isn't so amusing as some may think. And how bitterly one regrets not
having seized hold of happiness when the time for it has gone!"

Once alone in his room, Pierre suddenly staggered, quite overcome. The
great box-plants, the great box-plants with their acrid, perturbing
perfume! She, Benedetta, like himself, had quivered as she smelt them;
and he saw them once more in a vision of the pontifical gardens, the
voluptuous gardens of Rome, deserted, glowing under the August sun. And
now his whole day crystallised, assumed clear and full significance. It
spoke to him of the fruitful awakening, of the eternal protest of Nature
and life, Venus and Hercules, whom one may bury for centuries beneath the
soil, but who, nevertheless, one day arise from it, and though one may
seek to wall them up within the domineering, stubborn, immutable Vatican,
reign yet even there, and rule the whole, wide world with sovereign
power!

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