A fiacre brought her, the next day, to a populous street, half sad, half gay, with walls of gardens in the intervals of new houses, and stopped at the point where the sidewalk passes under the arcade of a mansion of the Regency, covered now with dust and oblivion, and fantastically placed across the street. Here and there green branches lent gayety to that city corner. Therese, while ringing at the door, saw in the limited perspective of the houses a pulley at a window and a gilt key, the sign of a locksmith. Her eyes were full of this picture, which was new to her. Pigeons flew above her head; she heard chickens cackle. A servant with a military look opened the door. She found herself in a yard covered with sand, shaded by a tree, where, at the left, was the janitor's box with bird-cages at the windows. On that side rose, under a green trellis, the mansard of the neighboring house. A sculptor's studio backed on it its glass-covered roof, which showed plaster figures asleep in the dust. At the right, the wall that closed the yard bore debris of monuments, broken bases of columnettes. In the rear, the house, not very large, showed the six windows of its facade, half hidden by vines and rosebushes.
Philippe Dechartre, infatuated with the architecture of the fifteenth century in France, had reproduced there very cleverly the characteristics of a private house of the time of Louis XII. That house, begun in the middle of the Second Empire, had not been finished. The builder of so many castles died without being able to finish his own house. It was better thus. Conceived in a manner which had then its distinction and its value, but which seems to-day banal and outlandish, having lost little by little its large frame of gardens, cramped now between the walls of the tall buildings, Philippe Dechartre's little house, by the roughness of its stones, by the naive heaviness of its windows, by the simplicity of the roof, which the architect's widow had caused to be covered with little expense, by all the lucky accidents of the unfinished and unpremeditated, corrected the lack of grace of its new and affected antiquity and archeologic romanticism, and harmonized with the humbleness of a district made ugly by progress of population.
In fine, notwithstanding its appearance of ruin and its green drapery, that little house had its charm. Suddenly and instinctively, Therese discovered in it other harmonies. In the elegant negligence which extended from the walls covered with vines to the darkened panes of the studio, and even in the bent tree, the bark of which studded with its shells the wild grass of the courtyard, she divined the mind of the master, nonchalant, not skilful in preserving, living in the long solitude of passionate men. She had in her joy a sort of grief at observing this careless state in which her lover left things around him. She found in it a sort of grace and nobility, but also a spirit of indifference contrary to her own nature, opposite to the interested and careful mind of the Montessuys. At once she thought that, without spoiling the pensive softness of that rough corner, she would bring to it her well-ordered activity; she would have sand thrown in the alley, and in the angle wherein a little sunlight came she would put the gayety of flowers. She looked sympathetically at a statue which had come there from some park, a Flora, lying on the earth, eaten by black moss, her two arms lying by her sides. She thought of raising her soon, of making of her a centrepiece for a fountain. Dechartre, who for an hour had been watching for her coming, joyful, anxious, trembling in his agitated happiness, descended the steps. In the fresh shade of the vestibule, wherein she divined confusedly the severe splendor of bronze and marble statues, she stopped, troubled by the beatings of her heart, which throbbed with all its might in her chest. He pressed her in his arms and kissed her. She heard him, through the tumult of her temples, recalling to her the short delights of the day before. She saw again the lion of the Atlas on the carpet, and returned to Jacques his kisses with delicious slowness. He led her, by a wooden stairway, into the vast hall which had served formerly as a workshop, where he designed and modelled his figures, and, above all, read; he liked reading as if it were opium.
Pale-tinted Gothic tapestries, which let one perceive in a marvellous forest a lady at the feet of whom a unicorn lay on the grass, extended above cabinets to the painted beams of the ceiling. He led her to a large and low divan, loaded with cushions covered with sumptuous fragments of Spanish and Byzantine cloaks; but she sat in an armchair. "You are here! You are here! The world may come to an end."
She replied "Formerly I thought of the end of the world, but I was not afraid of it. Monsieur Lagrange had promised it to me, and I was waiting for it. When I did not know you, I felt so lonely." She looked at the tables loaded with vases and statuettes, the tapestries, the confused and splendid mass of weapons, the animals, the marbles, the paintings, the ancient books. "You have beautiful things."
"Most of them come from my father, who lived in the golden age of collectors. These histories of the unicorn, the complete series of which is at Cluny, were found by my father in 1851 in an inn."
But, curious and disappointed, she said: "I see nothing that you have done; not a statue, not one of those wax figures which are prized so highly in England, not a figurine nor a plaque nor a medal."
"If you think I could find any pleasure in living among my works! I know my figures too well--they weary me. Whatever is without secret lacks charm." She looked at him with affected spite.
"You had not told me that one had lost all charm when one had no more secrets."
He put his arm around her waist.
"Ah! The things that live are only too mysterious; and you remain for me, my beloved, an enigma, the unknown sense of which contains the light of life. Do not fear to give yourself to me. I shall desire you always, but I never shall know you. Does one ever possess what one loves? Are kisses, caresses, anything else than the effort of a delightful despair? When I embrace you, I am still searching for you, and I never have you; since I want you always, since in you I expect the impossible and the infinite. What you are, the devil knows if I shall ever know! Because I have modelled a few bad figures I am not a sculptor; I am rather a sort of poet and philosopher who seeks for subjects of anxiety and torment in nature. The sentiment of form is not sufficient for me. My colleagues laugh at me because I have not their simplicity. They are right. And that brute Choulette is right too, when he says we ought to live without thinking and without desiring. Our friend the cobbler of Santa Maria Novella, who knows nothing of what might make him unjust and unfortunate, is a master of the art of living. I ought to love you naively, without that sort of metaphysics which is passional and makes me absurd and wicked. There is nothing good except to ignore and to forget. Come, come, I have thought of you too cruelly in the tortures of your absence; come, my beloved! I must forget you with you. It is with you only that I can forget you and lose myself."
He took her in his arms and, lifting her veil, kissed her on the lips.
A little frightened in that vast, unknown hall, embarrassed by the look of strange things, she drew the black tulle to her chin.
"Here! You can not think of it."
He said they were alone.
"Alone? And the man with terrible moustaches who opened the door?"
"That is Fusellier, my father's former servant. He and his wife take charge of the house. Do not be afraid. They remain in their box. You shall see Madame Fusellier; she is inclined to familiarity. I warn you."
"My friend, why has Monsieur Fusellier, a janitor, moustaches like a Tartar?"
"My dear, nature gave them to him. I am not sorry that he has the air of a sergeant-major and gives me the illusion of being a country neighbor."
Seated on the corner of the divan, he drew her to his knees and gave to her kisses which she returned.
She rose quickly.
"Show me the other rooms. I am curious. I wish to see everything."
He escorted her to the second story. Aquarelles by Philippe Dechartre covered the walls of the corridor. He opened the door and made her enter a room furnished with white mahogany:
It was his mother's room. He kept it intact in its past. Uninhabited for nine years, the, room had not the air of being resigned to its solitude. The mirror waited for the old lady's glance, and on the onyx clock a pensive Sappho was lonely because she did not hear the noise of the pendulum.
There were two portraits on the walls. One by Ricard represented Philippe Dechartre, very pale, with rumpled hair, and eyes lost in a romantic dream. The other showed a middle-aged woman, almost beautiful in her ardent slightness. It was Madame Philippe Dechartre.
"My poor mother's room is like me," said Jacques; "it remembers."
"You resemble your mother," said Therese; "you have her eyes. Paul Vence told me she adored you."
"Yes," he replied, smilingly. "My mother was excellent, intelligent, exquisite, marvellously absurd. Her madness was maternal love. She did not give me a moment of rest. She tormented herself and tormented me."
Therese looked at a bronze figure by Carpeaux, placed on the chiffonier.
"You recognize," said Dechartre, "the Prince Imperial by his ears, which are like the wings of a zephyr, and which enliven his cold visage. This bronze is a gift of Napoleon III. My parents went to Compiegne. My father, while the court was at Fontainebleau, made the plan of the castle, and designed the gallery. In the morning the Emperor would come, in his frock-coat, and smoking his meerschaum pipe, to sit near him like a penguin on a rock. At that time I went to day-school. I listened to his stories at table, and I have not forgotten them. The Emperor stayed there, peaceful and quiet, interrupting his long silence with few words smothered under his big moustache; then he roused himself a little and explained his ideas of machinery. He was an inventor. He would draw a pencil from his pocket and make drawings on my father's designs. He spoiled in that way two or three studies a week. He liked my father a great deal, and promised works and honors to him which never came. The Emperor was kind, but he had no influence, as mamma said. At that time I was a little boy. Since then a vague sympathy has remained in me for that man, who was lacking in genius, but whose mind was affectionate and beautiful, and who carried through great adventures a simple courage and a gentle fatalism. Then he is sympathetic to me because he has been combated and insulted by people who were eager to take his place, and who had not, as he had, in the depths of their souls, a love for the people. We have seen them in power since then. Heavens, how ugly they are! Senator Loyer, for instance, who at your house, in the smoking-room, filled his pockets with cigars, and invited me to do likewise. That Loyer is a bad man, harsh to the unfortunate, to the weak, and to the humble. And Garain, don't you think his mind is disgusting? Do you remember the first time I dined at your house and we talked of Napoleon? Your hair, twisted above your neck, and shot through by a diamond arrow, was adorable. Paul Vence said subtle things. Garain did not understand. You asked for my opinion."
"It was to make you shine. I was already conceited for you."
"Oh, I never could say a single phrase before people who are so serious. Yet I had a great desire to say that Napoleon III pleased me more than Napoleon I; that I thought him more touching; but perhaps that idea would have produced a bad effect. But I am not so destitute of talent as to care about politics."
He looked around the room, and at the furniture with familiar tenderness. He opened a drawer:
"Here are mamma's eye-glasses. How she searched for these eye-glasses! Now I will show you my room. If it is not in order you must excuse Madame Fusellier, who is trained to respect my disorder."
The curtains at the windows were down. He did not lift them. After an hour she drew back the red satin draperies; rays of light dazzled her eyes and fell on her floating hair. She looked for a mirror and found only a looking-glass of Venice, dull in its wide ebony border. Rising on the tips of her toes to see herself in it, she said:
"Is that sombre and far-away spectre I? The women who have looked at themselves in this glass can not have complimented you on it."
As she was taking pins from the table she noticed a little bronze figure which she had not yet seen. It was an old Italian work of Flemish taste: a nude woman, with short legs and heavy stomach, who apparently ran with an arm extended. She thought the figure had a droll air. She asked what she was doing.
"She is doing what Madame Mundanity does on the portal of the cathedral at Basle."
But Therese, who had been at Basle, did not know Madame Mundanity. She looked at the figure again, did not understand, and asked:
"Is it something very bad? How can a thing shown on the portal of a church be so difficult to tell here?"
Suddenly an anxiety came to her:
"What will Monsieur and Madame Fusellier think of me?"
Then, discovering on the wall a medallion wherein Dechartre had modelled the profile of a girl, amusing and vicious:
"What is that?"
"That is Clara, a newspaper girl. She brought the Figaro to me every morning. She had dimples in her cheeks, nests for kisses. One day I said to her: 'I will make your portrait.' She came, one summer morning, with earrings and rings which she had bought at the Neuilly fair. I never saw her again. I do not know what has become of her. She was too instinctive to become a fashionable demi-mondaine. Shall I take it out?"
"No; it looks very well in that corner. I am not jealous of Clara."
It was time to return home, and she could not decide to go. She put her arms around her lover's neck.
"Oh, I love you! And then, you have been to-day good-natured and gay. Gayety becomes you so well. I should like to make you gay always. I need joy almost as much as love; and who will give me joy if you do not?"
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