Part 5

On that evening he was dressed in an elegant manner; that is to say, he was an exact copy of a fashion plate in the last number of the "Journal des Modes." But he seemed to me ill at ease in his clothes; he was as stiff as a post in his velvet collar, and could only turn all of a piece. In striking contrast to his costume were his large sunburnt hands and blunt nails. They were a laborer's hands issuing from the sleeves of an exquisite. Moreover, though he examined me in my quality of Parisian most curiously from head to foot, he only spoke to me once during the whole evening, and that was to ask me where I had bought my watch-chain.

As the supper was drawing to an end M. de Peyrehorade said to me: "Ah! my dear guest, you belong to me now you are here. I shall not let go of you until you have seen everything of interest in our mountains. You must learn to know our Roussillon, and to do it justice. You do not suspect all that we have to show you, Phenician, Celtic, Roman, Arabian, and Byzantine monuments; you shall see them all from the cedar to the hyssop. I shall drag you everywhere, and will not spare you a single stone."

A fit of coughing obliged him to pause. I took advantage of it to tell him that I should be sorry to disturb him on an occasion of so much interest to his family. If he would but give me his excellent advice about the excursions to be made, I could go without his taking the trouble to accompany me.

"Ah! you mean the marriage of that boy there," he exclaimed, interrupting me; "stuff and nonsense, it will be over the day after to-morrow. You will go to the wedding with us, which is to be informal, as the bride is in mourning for an aunt whose heiress she is. Therefore, there will be no festivities, no ball. It is a pity, though; you might have seen our Catalans dance. They are pretty, and might have given you the desire to imitate Alphonse. One marriage, they say, leads to another. The young people once married I shall be free, and we will bestir ourselves. I beg your pardon for boring you with a provincial wedding. For a Parisian tired of entertainments--and a wedding without a ball at that! Still, you will see a bride--a bride--well, you shall tell me what you think of her. But you are a thinker and no longer notice women. I have better than that to show you. You shall see something; in fact, I have a fine surprise in store for you to-morrow."

"Good heavens!" said I; "it is difficult to have a treasure in the house without the public being aware of it. I think I know the surprise in reserve for me. But if it is your statue which is in question, the description my guide gave me of it only served to excite my curiosity and prepared me to admire."

"Ah! So he spoke to you about the idol, as he calls my beautiful Venus Tur: but I will tell you nothing. To-morrow you shall see her by daylight and tell me if I am right in thinking the statue a masterpiece. You could not have arrived more opportunely. There are inscriptions on it which I, poor ignoramus that I am, explain after my own fashion; but you a Parisian erudite, will probably laugh at my interpretation: for I have actually written a paper about it--I, an old provincial antiquary, have launched myself in literature. I wish to make the press groan. If you would kindly read and correct it I might have some hope. For example, I am very anxious to know how you translate this inscription from the base of the statue: 'CAVE.' But I do not wish to ask you yet! Wait until to-morrow. Not a word more about the Venus to-day!"

"You are right, Peyrehorade," said his wife: "drop your idol. Can you not see that you prevent our guest from eating? You may be sure that he has seen in Paris much finer statues than yours. In the Tuileries there are dozens, and they also are in bronze."

"There you have the saintly ignorance of the provinces!" interrupted M. de Peyrehorade. "The idea of comparing an admirable antique to the insipid figures of Coustou!

"'How irreverent my housekeeper Speaks of the gods!"

Do you know that my wife wanted me to melt my statue into a bell for our church? She would have been the godmother. Just think of it, to melt a masterpiece by Myron, sir!"

"Masterpiece! Masterpiece! A charming masterpiece she is! to break a man's leg."

"Madam, do you see that?" said M. de Peyrehorade, in a resolute tone, extending toward her his right leg in its changeable silk stocking; "if my Venus had broken that leg there for me I should not regret it."

"Good gracious! Peyrehorade, how can you say such a thing? Fortunately, the man is better. And yet I can not bring myself to look at a statue which has caused so great a disaster. Poor Jean Coll!"

"Wounded by Venus, sir," said M. de Peyrehorade, with a loud laugh; "wounded by Venus, and the churl complains!

"'Veneris nee præmia noris.'

Who has not been wounded by Venus?"

M. Alphonse, who understood French better than Latin, winked one eye with an air of intelligence, and looked at me as if to ask, "And you, Parisian, do you understand?"

The supper came to an end. I had ceased eating an hour before. I was weary, and I could not manage to hide the frequent yawns which escaped me. Madame de Peyrehorade was the first to notice them, and remarked that it was time to go to bed. Then followed fresh apologies for the poor accommodations I would have. I would not be as well off as in Paris. It was so uncomfortable in the provinces! Indulgence was needed for the Roussillonnais. Notwithstanding my protests that after a tramp in the mountains a bundle of straw would seem to me a delicious couch, they continued begging me to pardon poor country people if they did not treat me as well as they could have wished.

Accompanied by M. de Peyrehorade I ascended at last to the room arranged for me. The staircase, the upper half of which was in wood, ended in the centre of a hall, out of which opened several rooms.

"To the right," said my host, "is the apartment which I propose to give the future Madame Alphonse. Your room is at the opposite end of the corridor. You understand," he added in a manner which he meant to be sly--"you understand that newly married people must be alone. You are at one end of the house, they at the other."

We entered a well-furnished room where the first object on which my gaze rested was a bed seven feet long, six wide, and so high that one needed a chair to climb up into it. Having shown me where the bell was, and assured himself that the sugar-bowl was full and the cologne bottles duly placed on the toilet-stand, my host asked me a number of times if anything was lacking, wished me good-night, and left me alone.

The windows were closed. Before undressing I opened one to breathe the fresh night air so delightful after a long supper. Facing me was the Canigou. Always magnificent, it appeared to me on that particular evening, lighted as it was by a resplendent moon, as the most beautiful mountain in the world. I remained a few minutes contemplating its marvelous silhouette, and was about to close the window when, lowering my eyes, I perceived, a dozen yards from the house, the statue on its pedestal. It was placed at the corner of a hedge that separated a small garden from a vast, perfectly level quadrangle, which I learned later was the racquet court of the town. This ground was the property of M. de Peyrehorade, and had been given by him to the parish at the solicitation of his son.

Owing to the distance it was difficult for me to distinguish the attitude of the statue; I could only judge of its height, which seemed to be about six feet. At that moment two scamps of the town, whistling the pretty Roussillon tune, "Montagnes régalades," were crossing the racquet court quite near the hedge. They paused to look at the statue, and one of them even apostrophized it aloud. He spoke Catalonian, but I had been long enough in Roussillon to understand pretty well what he said.

"There you are, you wench!" (The Catalonian word was much more forcible.) "There you are!" he said. "It was you, then, who broke Jean Coll's leg! If you belonged to me I'd break your neck."

"Bah! what with?" said the other youth. "It is of the copper of pagan times, and harder than I don't know what."

"If I had my chisel" (it seems he was a locksmith's apprentice), "I would soon force out its big white eyes, as I would pop an almond from its shell. There are more than a hundred pennies' worth of silver in them."

They went on a few steps.

"I must wish the idol good-night," said the taller of the apprentices, stopping suddenly.

He stooped and probably picked up a stone. I saw him unbend his arm and throw something. A blow resounded on the bronze, and immediately the apprentice raised his hand to his head with a cry of pain.

"She threw it back at me!" he exclaimed. And my two rascals ran off as fast as they could. It was evident that the stone had rebounded from the metal and had punished the wag for the outrage he had done the goddess. Laughing heartily, I shut the window.

Another Vandal punished by Venus! May all the desecrators of our old monuments thus get their due!

With this charitable wish I fell asleep.

When I awoke it was broad day. On one side of my bed stood M. de Peyrehorade in a dressing-gown; a servant sent by his wife was on the other side with a cup of chocolate in his hand.

"Come, come, you Parisian, get up! This is quite the laziness of the capital!" said my host, while I dressed in haste. "It is eight o'clock, and you are still in bed! I have been up since six. This is the third time I have been to your door. I approached on tiptoe: no one, not a sign of life. It is bad for you to sleep too much at your age. And my Venus, which you have not yet seen! Come, hurry up and take this cup of Barcelona chocolate. It is real contraband chocolate, such as can not be found in Paris. Prepare yourself, for when you are once before my Venus no one will be able to tear you away from her."

I was ready in five minutes, that is to say, I was half shaved, half dressed, and burned by the boiling chocolate I had swallowed. I descended to the garden and saw an admirable statue before me. It was truly a Venus, and of marvelous beauty. The upper part of the body was nude, as great divinities were usually represented by the ancients. The right hand was raised as high as the breast, the palm turned inward, the thumb and two first fingers extended, and the others slightly bent. The other hand, drawn close to the hip, held the drapery which covered the lower half of the body. The attitude of this statue reminded one of that of the _mourre_ player which is called, I hardly know why, by the name of Germanicus. Perhaps it had been intended to represent the goddess as playing at _mourre_. However that may be, it is impossible to find anything more perfect than the form of this Venus, anything softer and more voluptuous than her outlines, or more graceful and dignified than her drapery. I had expected a work of the decadence; I saw a masterpiece of statuary's best days.

What struck me most was the exquisite reality of the figure; one might have thought it molded from life, that is, if Nature ever produced such perfect models.

The hair, drawn back from the brow, seemed once to have been gilded. The head was small, like nearly all those Greek statues, and bent slightly forward. As to the face, I shall never succeed in describing its strange character; it was of a type belonging to no other Greek statue which I can remember. It had not the calm, severe beauty of the Greek sculptors, who systematically gave a majestic immobility to all the features. On the contrary, I noticed here, with surprise, a marked intention on the artist's part to reproduce malice verging on viciousness. All the features were slightly contracted. The eyes were rather oblique, the mouth raised at the corners, the nostrils a trifle dilated. Disdain, irony, and cruelty were to be read in the nevertheless beautiful face.

Truly, the more one gazed at the statue the more one experienced a feeling of pain that such wonderful beauty could be allied to such an absence of all sensibility.

"If the model ever existed," I said to M. de Peyrehorade, "and I doubt if heaven ever produced such a woman, how I pity her lovers! She must have taken pleasure in making them die of despair. There is something ferocious in her expression, and yet I have never seen anything more beautiful."

"'C'est Venus tout entière à sa proie attachée!'" cried M. de Peyrehorade, delighted with my enthusiasm.

But the expression of demoniac irony was perhaps increased by the contrast of the bright silver eyes with the dusky green hue which time had given to the statue. The shining eyes produced a sort of illusion which simulated reality and life. I remembered what my guide had said, that those who looked at her were forced to lower their eyes. It was almost true, and I could not prevent a movement of anger at myself when I felt ill at ease before this bronze figure.

"Now that you have seen everything in detail, my dear colleague in antiquities, let us, if you please, open a scientific conference. What do you say to this inscription which you have not yet noticed?" He pointed to the base of the statue, and I read these words:

CAVE AMANTEM.

"Quid dicis doctissime?" he asked, rubbing his hands. "Let us see if we agree as to the meaning of _cave amantem_!"

"But," I replied, "it has two meanings. You can translate it: 'Guard against him who loves thee,' that is, 'distrust lovers.' But in this sense I do not know if _cave amantem_ would be good Latin. After seeing the diabolical expression of the lady I should sooner believe that the artist meant to warn the spectator against this terrible beauty. I should then translate it: 'Take care of thyself if _she_ loves thee.'"

"Humph!" said M. de Peyrehorade; "yes, it is an admissible meaning: but, if you do not mind, I prefer the first translation, which I would, however, develop. You know Venus's lover?"

"There are several."

"Yes; but the first is Vulcan. Why should it not mean: 'Notwithstanding all thy beauty, thine air of disdain, thou wilt have a blacksmith, a wretched cripple, for a lover'? A profound lesson, sir, for coquettes!"

The explication seemed so far-fetched that I could not help smiling.

To avoid formally contradicting my antiquarian friend, I observed, "Latin is a terrible language in its conciseness," and I drew back several steps to better contemplate the statue.

"Wait a moment, colleague!" said M. de Peyrehorade, catching hold of my arm; "you have not seen all. There is another inscription. Climb up on the pedestal and look at the right arm." So saying, he helped me up, and without much ceremony I clung to the neck of the Venus, with whom I was becoming more familiar. For a second I even looked her straight in the eyes, and on close inspection she appeared more wicked, and, if possible, more beautiful than before. Then I noticed that on the arm were engraved, as it seemed to me, characters in ancient script. With the aid of my spectacles I spelled out what follows, and M. de Peyrehorade, approving with voice and gesture, repeated each word as I uttered it. Thus I read:

VENERI TVRBVL ... EVTVCHES MYRO. IMPERIO FECIT.

After the word 'Tvrbvl' in the first line it looked to me as if there were several letters effaced; but 'Tvrbvl' was perfectly legible.

"Which means to say?" my host asked radiantly, with a mischievous smile, for he thought the 'Tvrbvl' would puzzle me.

"There is one word which I do not yet understand," I answered; "all the rest is simple. Eutyches Myron has made this offering to Venus by her command."

"Quite right. But 'Tvrbvl,' what do you make of it? What does it mean?"

"'Tvrbvl' perplexes me very much. I am trying to think of one of Venus's familiar characteristics which may enlighten me. But what do you say to 'Tvrbvlenta'? The Venus who troubles, agitates. You see I am still preoccupied by her wicked expression. 'Tvrbvlenta' is not too bad a quality for Venus," I added modestly, for I was not too well satisfied with my explanation.

"A turbulent Venus! A noisy Venus! Ah! then you think my Venus is a public-house Venus? Nothing of the kind, sir; she is a Venus of good society. I will explain 'Tvrbvl' to you--that is, if you promise me not to divulge my discovery before my article appears in print. Because, you see, I pride myself on such a find, and, after all, you Parisian erudites are rich enough to leave a few ears for us poor devils of provincials to glean!"

From the top of the pedestal, where I was still perched, I promised him solemnly that I would never be so base as to filch from him his discovery.

"'Tvrbvl'--sir," said he, coming nearer and lowering his voice for fear some one besides myself might hear him, "read 'Tvrbvlneræ.'"

"I understand no better."

"Listen to me attentively. Three miles from here, at the foot of the mountain, is a village called Boulternère. The name is a corruption of the Latin word 'Tvrbvlnera.' Nothing is more common than these transpositions. Boulternère was a Roman town. I always suspected it, but I could get no proof till now, and here it is. This Venus was the local goddess of the city of Boulternére; and the word Boulternére, which I have shown is of ancient origin, proves something very curious, namely, that Boulternére was a Phenician town before it was Roman!"

He paused a moment to take breath and enjoy my surprise. I succeeded in overcoming a strong inclination to laugh.

"'Tvrbvlnera' is, in fact, pure Phenician," he continued. "'Tvr,' pronounce 'tour'--'Tour' and 'Sour' are the same word, are they not? 'Sour' is the Phenician name of Tyr; I do not need to recall the meaning to you. 'Bvl' is Baal; Bal, Bel, Bui are slight differences of pronunciation. As to 'Nera,' that troubles me a little. I am tempted to believe, for want of a Phenician word, that it comes from the Greek νηρόϛ, moist, marshy. In that case, it is a mongrel word. To justify νηρόϛ I will show you at Boulternère how the mountain streams form stagnant pools. Then, again, the ending 'Nera' may have been added much later in honor of Nera Pivesuvia, wife of Tetricus, who may have benefited the city of Turbul. But on account of the marshes, I prefer the etymology of νηρόϛ."

He took a pinch of snuff in a complacent way, and continued:

"But let us leave the Phenicians and return to the inscription. I translate it then: 'To Venus of Boulternère Myron dedicates by her order this statue, his work.'"

I took good care not to criticize his etymology, but I wished in my turn to give a proof of penetration, so I said:

"Stop a moment, M. de Peyrehorade. Myron has dedicated something, but I by no means see that it is this statue."

"What!" he cried, "was not Myron a famous Greek sculptor? The talent was perpetuated in his family, and it must have been one of his descendants who executed this statue. Nothing can be more certain."

"But," I replied, "on this arm I see a small hole. I think it served to fasten something, a bracelet for example, which this Myron, being an unhappy lover, gave to Venus as an expiatory offering. Venus was irritated against him; he appeased her by consecrating to her a gold bracelet. Notice that 'fecit' is often used for 'consecravit.' The terms are synonymous. I could show you more than one example if I had at hand Gruter or Orellius. It is natural that a lover should see Venus in a dream and imagine that she commands him to give a gold bracelet to her statue. Myron consecrated the bracelet to her. Then the barbarians or some other sacrilegious thieves--"

"Ah! it is easy to see you have written romances!" cried my host, helping me down from the pedestal. "No, sir; it is a work of Myron's school. You have only to look at the workmanship to be convinced of that."

Having made it a rule never to contradict self-opinionated antiquarians, I bowed with an air of conviction, saying:

"It is an admirable piece of work."

"Good heavens!" exclaimed M. de Peyrehorade, "another act of vandalism! Some one must have thrown a stone at my statue!"

He had just perceived a white mark a little above the bosom of the Venus. I noticed a similar mark on the fingers of the right hand. I supposed it had been touched by the stone as it passed, or that a bit of the stone had been broken off as it struck the statue, and had rebounded on the hand. I told my host of the insult I had witnessed, and the prompt punishment which had followed it.

He laughed heartily, and, comparing the apprentice to Diomede, wished he might, like the Greek hero, see all his comrades turned into white birds.

The breakfast bell interrupted this classical conversation, and, as on the preceding evening, I was obliged to eat enough for four. Then came M. de Peyrehorade's farmers, and, while he was giving them an audience, his son led me to inspect an open carriage, which he had bought at Toulouse for his betrothed, and which it is needless to say I duly admired. After that I went into the stable with him, where he kept me a half-hour, boasting about his horses, giving me their genealogy, and telling me of the prizes they had won at the county races. At last he began to talk to me about his betrothed in connection with a gray mare which he intended for her.

"We will see her to-day," he said. "I do not know if you will find her pretty. In Paris people are hard to please. But every one here and in Perpignan thinks her lovely. The best of it is that she is very rich. Her aunt from Prades left her a fortune. Oh! I shall be very happy."

I was profoundly shocked to see a young man appear more affected by the dower than by the beauty of his bride.

"You are a judge of jewels," continued M. Alphonse; "what do you think of this? Here is the ring I shall give her to-morrow."