Part 58

Until then, I had still preserved my faith in humanity, and blindly devoted myself to this belief. Impressed with the best works of the greatest minds of our time, I had lulled myself into happy illusions. I had believed mankind much more humane and freer from the bonds of barbarism. Indeed, I was the subject of the most lauded monarch of the world, and France called the reign of Louis XIV. her Golden Age. Alas! Montreval was one of his governors, and the Palm Sunday of 1703, a day of that Golden Age. About 200 men were burnt alive and shot on that day, and even the infant on its mother’s breast was not spared. All the property of the murdered was confiscated, and Montreval’s cruelty was crowned with laurels by the royal hand.

When I had recovered my consciousness and could discover the objects around, I found myself among strangers, and my wounded head bandaged. Now and then, during my insensibility, I felt pain, and dimly perceived that people were employed about me; but this consciousness soon left me, and I relapsed again into stupor as into a heavy sleep.

“By my faith thou hast a tough life.” These were the first words I heard, as they were uttered by a dirty old fellow, who was standing by me offering medicine.

I did not see Clementine. I was in a narrow chamber, on a hard, coarse bed.

“Where am I then?” I asked.

“Thou art with me,” said the fellow. I now, for the first time, remembered the fatal event to which I owed my present situation.

“Am I then a prisoner?”

“To be sure, and quite right too!” answered my keeper.

“Does Madame de Sonnes know of this? Has she not sent here? May I not see her?”

“Dost thou know any one here? Where does she live?”

“In the Rue de Martin. The house Albertas.”

“Thou fool! there is no Rue de Martin in all Marseilles. Thou art still feverish, I think, or dost thou not know that thou art in Marseilles?”

“In Marseilles? What, in Marseilles am I? Am I not in Nismes? How long have I been here?”

“May be three weeks. I can easily believe that thou, poor devil, dost not know of it. Thou hast been raving in a burning fever till last night. Thou must have a strong constitution. We thought we should have to bury thee to-day.”

“What am I to do here?”

“When thou art recovered thou wilt put on that dress; dost thou know it?”

“That is a galley slave’s dress. What? pray tell me, am I then--I will--I cannot believe--have I been sentenced?”

“Perhaps so; only for twenty-nine years to the oars, as they say.”

The fellow spoke too truly. As soon as I recovered, my terrible sentence was announced to me. I was condemned to punishment in the galleys for twenty-nine years, for menaces, and murderous attempts on the life of the Mareschale de Montreval; also for the crime of being a secret Protestant, and for having committed sundry peculations, for the benefit of the heretics, in the office where I had influence, by virtue of my situation.

I sighed, yet conscious of my innocence, put on the dress without pain. My tears flowed only for the fate of Clementine. I endeavoured to send her a few lines, which I wrote as a farewell, on a scrap of paper, with a pencil I borrowed. But alas! I was too poor to bribe my keeper; he took the paper, read it, and laughing, tore it to pieces, saying, “There is no post for love letters here.”

I was now put in chains, and led, together with some companions in misfortune, to the galley appointed for us in the harbour. It was a beautiful evening, and the city displayed its splendour in the radiance of the setting sun. Amidst the dark green of the sloping mountains surrounding the harbour, which was crowded with the vessels of all nations, glistened innumerable snow-white villas, and between the almond and olive trees of the Bastides, waved a thousand silken pennons, displaying all the colours of the rainbow; while through the mouth of the harbour, the view was lost in the immeasurable expanse of the ocean.

The splendour of this spectacle dazzled me, and filled me with melancholy. The shores of my native land seemed to display all their glory, only to make me feel more vividly what I had lost. All around breathed joy, I only was for ever joyless, and I saw no limits to my misery, except on the brink of the distant grave.

I passed the night sleepless; with the early dawn our galley left the harbour and when the sun arose above the ruddy waves, I lost sight of Marseilles. I and five other slaves were chained to the oars.

What a fate! To be for ever separated from all the friends and playmates of my youth,--to be separated alas! from thee, Clementine, cast from the lap of wealth upon the hard bench, forgotten by all the happy, dishonoured, and among malefactors, to hear now, instead of Clementine’s delightful conversation, only the curses and ribaldry of low thieves, murderers, smugglers, and robbers;--to be without books, without information as to the progress of science, my mind left the prey of itself, without hope;--to hear the terrible clanking of my chains instead of the magic of music and Clementine’s harp! Surely, death itself is not so bitter as this dreadful change.

“But I will bear it,” said I to myself; “there is a God, and my spirit knows its divine origin. I have not lost myself. I shall remain faithful to virtue, and though mistaken by the world, I carry with me across the sea the esteem which innocent souls feel for themselves. I have only been compelled to forsake that which was not my own, and what I suffer is but the pain of a body which hitherto has not been accustomed to deny itself.”

Thus my mind, after one year had passed, obtained the victory; thus did I live the greater part of my life, joyless, and in solitude. I have grown old in misfortune, and have never again heard any thing of those who once loved me. The only cheerful feelings I have had were when, in my leisure hours, I could write down my thoughts, and look back with tears on the long passed paradise of my youth. Often during the monotonous sound of the oars, grief recalled to my mind the visions of the happy past. Then it seemed as if Clementine floated on the waves of the sea, and encouraged me with her smiles, like an angel of consolation. I gazed with moistened eyes at the beloved vision, and felt all the wounds of my heart again opened. Still I despaired not, but rowed cheerfully on.

I should sometimes have taken all the felicities of my youth as the effect of imagination, had not the melancholy farewell letter which Madame Bertollon had written from the convent, by some chance remained with me. I preserved it with veneration, as the last sacred remnant of what I formerly possessed. I often read it in distant seas, and on the burning coasts of Africa; and I always drew from it unspeakable consolation, and rowed cheerfully onwards, nearer and nearer to the end of my life.

Thus nine-and-twenty years have now elapsed. What are they?

Death, my ardently wished for friend comes to release me. Ah! sir, you have shown much compassion for me in making the last hours of my life so sweet. Our minds are congenial, and will, perhaps, meet again.

* * * * *

[The preceding narrative, according to the author, is related to some friends by the Abbé Dillon, who was with Alamontade the last days of his life, after his liberation from the galleys.

Shortly before his death, Alamontade learns that Clementine is still living, and is much delighted to hear that she has remained faithfully attached to him. His only wish and consolation now is, that his days may be prolonged till she arrives; but she does not come till the day after his death; aged and infirm herself, she soon follows him to the grave.

The whole of Alamontade is divided into two books in the original, the first containing Zschokhe’s[3] views on religion and moral philosophy. The following are the author’s prefatory remarks:

“The following narrative was composed during the winter of 1801-2, at Berne, where the author having retired from public affairs, wished to devote his leisure hours to some useful purpose, having, by frequent intercourse become acquainted with many of those diseased minds who, being entangled in doubts, have lost their God and the joys of life. He therefore was desirous of making an attempt to raise again in them a holy faith and courage for virtue. He was inspired by the affecting dream of one night; it was an angelic but transient vision, which he in vain endeavoured to hold fast. However imperfect the original narrative was, yet it went through four editions during the first ten years after its appearance. This circumstance makes the author believe that he has not altogether failed in his object.”]

C. A. F.

[1] One of the most lovely walks near Montpellier.

[2] The Calvinists in Nismes had, in the night after Michaelmas day, 1567, murdered in their fanatic rage, about thirty magistrates, deans, and monks. This slaughter gave rise to the word _Michelade_.

[3] It will be remembered that he is the author of _Die Stunden der Andacht_.

THE JESUITS’ CHURCH IN G----.

BY E. T. W. HOFFMANN.

Packed up in a wretched post-chaise, which the moths had left from instinct--as the rats left Prospero’s vessel--I at last, after a break-neck journey, stopped half dislocated, at the inn in the G---- market-place. All the possible misfortune that might have befallen me had lighted on my carriage, which lay, shattered, with the postmaster at the last stage. Four skinny, jaded horses, after a lapse of many hours, dragged up the crazy vehicle, with the help of several peasants and my own servant; knowing folks came up, shook their heads, and thought that a thorough repair, which might occupy two, or even three days would be necessary. The place seemed to me agreeable, the country pretty, and yet I felt not a little horror-struck at the delay with which I was threatened. If, gentle reader, you were ever compelled to stop three days in a little town, where you did not know a soul, but were forced to remain a stranger to every body, and if some deep pain did not destroy the inclination for social converse, you will be able to appreciate my annoyance. In words alone does the spirit of life manifest itself in all around us; but the inhabitants of your small towns are like a secluded orchestra, which has worked into its own way of playing and singing by hard practice, so that the tone of the foreigner is discordant to their ears, and at once puts them to silence. I was walking up and down my room, in a thorough ill-humour, when it at once struck me that a friend at home, who had once passed two years at G----, had often spoken of a learned, clever man, with whom he had been intimate. His name, I recollected, was Aloysius Walter, professor at the Jesuits’ college. I now resolved to set out, and turn my friend’s acquaintance to my own advantage. They told me at the college that Professor Walter was lecturing, but would soon have finished, and as they gave me the choice of calling again or waiting in the outer rooms, I chose the latter. The cloisters, colleges, and churches of the Jesuits are everywhere built in that Italian style which, based upon the antique form and manner, prefers splendour and elegance to holy solemnity and religious dignity. In this case the lofty, light, airy halls were adorned with rich architecture and the images of saints, which were here placed against the walls, between Ionic pillars, were singularly contrasted by the carving over the doorways, which invariably represented a dance of genii, or fruit and the dainties of the kitchen.

The professor entered--I reminded him of my friend, and claimed his hospitality for the period of my forced sojourn in the place. I found him just as my friend had described him; clear in his discourse, acquainted with the world, in short, quite in the style of the higher class priest, who has been scientifically educated, and peeping over his breviary into life, has often sought to know what is going on there. When I found his room furnished with modern elegance, I returned to my former reflections in the halls, and uttered them to the professor aloud.

“You are right,” said he, “we have banished from our edifices that gloomy solemnity, that strange majesty of the crushing tyrant, who oppresses our bosoms in Gothic architecture, and causes a certain unpleasant sensation, and we have very properly endowed our works with the lively cheerfulness of the ancients.”

“But,” said I, “does not that sacred dignity, that lofty majesty of Gothic architecture which seems, as it were, striving after Heaven, proceed from the true spirit of Christianity, which, supersensual itself, is directly opposed to that sensual spirit of the antique world which remains in the circle of the earthly?”

The professor smiled: “The higher kingdom,” said he, “should be recognised in this world, and this recognition can be awakened by cheerful symbols, such as life--nay, the spirit which descends from that kingdom into earthly life--presents. Our home is above, but while we dwell here, our kingdom is of this world also.”

“Ay,” thought I, “in every thing that you have done you have indeed shown that your kingdom is of this world--nay, of this world only;” but I did not communicate my thoughts to Professor Aloysius Walter, who proceeded thus:

“What you say of the magnificence of our buildings in this place can only refer properly to the pleasant appearance of the form. Here, where we cannot afford marble, and great masters in painting will not work for us, we are--in conformity with the modern fashion--obliged to make use of substitutes. If we get as high as polished plaster we have done a great deal, and our different kinds of marble are often nothing more than the work of the painter. This is the case in our church, which, thanks to the liberality of our patrons, has been newly decorated.”

I expressed a desire to see the church; the professor led me down, and when I entered the Corinthian colonnade, which formed the nave of the church, I felt the pleasing--too pleasing impression of the graceful proportions. To the left of the principal altar a lofty scaffolding had been erected, upon which a man stood, who was painting over the walls in the antique style.

“Now! how are you going on, Berthold?” cried the professor.

The painter turned round to us, but immediately proceeded with his work, saying in an indistinct, and almost inaudible voice: “Great deal of trouble--crooked, confused stuff--no rule to make use of--beasts--apes--human faces--human faces--miserable fool that I am!”

These last words he cried aloud in a voice, that nothing but the deepest agony working in the soul could produce. I felt strangely affected;--these words, the expression of face, the glance which he had previously cast at the professor, brought before my eyes the whole struggling life of an unfortunate artist. The man could have been scarcely more than forty years old; his form, though disfigured by the unseemly, dirty costume of a painter, had something in it indescribably noble, and deep grief could only discolour his face, but could not extinguish the fire that sparkled in his black eyes. I asked the professor for particulars respecting this painter: “He is a foreign artist,” was the reply, “who came here just at the time when the repair of the church had been resolved upon. He undertook the work we offered him with pleasure, and indeed his arrival was for us a stroke of good fortune, since neither here, nor for a great distance round, could we find a painter so admirably fitted for all that we require. Besides, he is the most good-natured creature in the world, and we all love him heartily; for that reason he got on well in our college. Beside giving him a considerable salary for his work, we board him, which, by the way, does not entail a very heavy burden upon us, for he is abstemious almost to excess, though perhaps it may accord with the weakness of his constitution.

“But,” said I, “he seemed to-day so peevish--so irritable.”

“That,” replied the professor, “is owing to a particular cause. But let us look at some fine pictures on the side altars, which by a lucky chance we obtained some time ago. There is only a single original--a Dominichino--among them, the rest are by unknown masters of the Italian school; but if you are free from prejudice, you will be forced to confess that every one of them might bear the most celebrated name.”

I found it was exactly as the professor had said. Strangely enough, the only original was one of the weakest--if not the very, weakest of the collection, while the beauty of many of the anonymous pictures had for me an irresistible charm. The picture on one of the altars was covered up, and I asked the cause of this: “This picture,” said the professor, “is the finest that we possess,--it is the work of a young artist of modern times--certainly his last, for his flight is checked. At this time we are obliged, for certain reasons, to cover it up, but to-morrow, or the day after, I shall perhaps be in a condition to show it you.”

I wished to make further inquiries, but the professor hurried swiftly through the passage, and that was enough to show his unwillingness to answer more. We went back to the college, and I readily accepted the invitation of the professor, who wished me, in the afternoon, to go with him to some public gardens in the neighbourhood. We returned home late, a storm had risen, and I had scarcely reached my dwelling than the rain began to pour down. About midnight the sky cleared up, and the thunder only murmured in the distance. Through the open windows the warm air, laden with scents, entered the room, and though I was weary I could not resist the temptation to take a walk. I succeeded in waking the surly man-servant, who had been snoring for about two hours; and in showing him that there was no madness in walking at midnight. Soon I found myself in the street. When I passed the Jesuits’ church, I was struck by the dazzling light that beamed through a window. The little side-door was ajar, so I entered and saw a wax-taper burning before a niche. When I had come nearer, I observed that before this niche a pack-thread net had been spread, behind which a dark form was running up and down the ladder, and seemed to be designing something on the niche. It was Berthold, who was accurately tracing the shadow of the net with black colour. On a tall easel, by the ladder, stood the drawing of an altar. I was much struck at the ingenious contrivance. If, gentle reader, you are in the least acquainted with the noble art of painting, you will once know, without further explanation, the use of the net, the shadow of which Berthold was sketching. Berthold was about to paint a projecting altar on the niche, and that he might make a large copy of the small drawing with due correctness, he was obliged to put a net, in the usual manner, over both the sketch and the surface on which the sketch was to be completed. In this instance he had to paint not on a flat surface but on a semicircular one; and the correspondence of the squares which the curved lines of the net formed on the concave surface, with the straight ones of the sketch, together with accuracy in the architectural proportions which were to be brought forward in perspective, could not be otherwise obtained than by that simple and ingenious contrivance. I was cautious enough not to step before the taper, lest I might betray myself by my shadow, but I stood near enough to his side to observe the painter closely. He appeared to me quite another man. Perhaps it was the effect of the taper, but his face had a good colour, his eyes sparkled with internal satisfaction, and when he had completed the lines he placed himself before the screen, with his hands resting on his sides, and looking at his work, whistled a merry tune. He now turned round, and tore down the net. Suddenly he was struck by my figure, and cried aloud:

“Halloah! halloah! is that you, Christian?”

I went up to him, explained how I had been attracted into the church, and praising the ingenious contrivance of the net, gave him to understand that I was but a connoisseur and practiser of the noble art of painting. Without making me any further answer, Berthold said:

“Christian is neither more nor less than a sluggard. He was to have kept with me faithfully through the whole night, and now he is certainly snoring somewhere! I must get on with my work, for probably it will be bad to paint here on the screen to-morrow--and yet I can do nothing by myself.”

I offered my assistance, upon which he laughed aloud, laid hold of both my shoulders, and cried:

“That is a capital joke! What will Christian say, when he finds to-morrow that he is an ass, and that I have done without him? So, come hither, stranger, help me to build a little.”

He lit several tapers, we ran through the church, pulled together a number of blocks and planks, and a lofty scaffold was soon raised within the screen.

“Now hand up quickly,” cried Berthold, as he ascended.

I was astonished at the rapidity with which Berthold made a large copy of the drawing; he drew his lines boldly, and always clearly and correctly, without a single fault. Having been accustomed to such matters in my early youth, I was of good service to him, for standing, now above him, now below him, I fixed the long rulers at the points he indicated, and held them fast, pointed the charcoal, and handed it to him, and so on.

“You are a capital assistant,” cried Berthold, quite delighted.

“And you,” I retorted, “are one of the best architectural painters possible. But tell me, have you applied your bold, ready hand to no sort of painting but this?--Pardon the question.”

“What do you mean?” said Berthold.

“Why, I mean,” replied I, “that you are fit for something better than painting church walls with marble pillars. Architectural painting is, after all, something subordinate; the historical painter, the landscape painter, stands infinitely higher. With them, mind and fancy, no longer confined to the narrow limits of geometrical lines, take a higher flight. Even the only fantastic part of your painting, that perspective, which deceives the senses, depends upon accurate calculation, and the result therefore is the product not of genius, but of mathematical speculation.” While I was speaking thus, the painter laid aside his pencil, and rested his head on his hand.