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Honore de Balzac

• Herausgeber: Books on Demand
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 321

Beschreibung

There is a house at Douai in the rue de Paris, whose aspect, interior arrangements, and details have preserved, to a greater degree than those of other domiciles, the characteristics of the old Flemish buildings, so naively adapted to the patriarchal manners and customs of that excellent land. Before describing this house it may be well, in the interest of other writers, to explain the necessity for such didactic preliminaries,-since they have roused a protest from certain ignorant and voracious readers who want emotions without undergoing the generating process, the flower without the seed, the child without gestation. Is Art supposed to have higher powers than Nature? The events of human existence, whether public or private, are so closely allied to architecture that the majority of observers can reconstruct nations and individuals, in their habits and ways of life, from the remains of public monuments or the relics of a home. Archaeology is to social nature what comparative anatomy is to organized nature. A mosaic tells the tale of a society, as the skeleton of an ichthyosaurus opens up a creative epoch. All things are linked together, and all are therefore deducible. Causes suggest effects, effects lead back to causes. Science resuscitates even the warts of the past ages.

Leseprobe

Alkaest

AlkaestCHAPTER ICHAPTER IICHAPTER IIICHAPTER IVCHAPTER VCHAPTER VICHAPTER VIICHAPTER VIIICHAPTER IXCHAPTER XCHAPTER XICHAPTER XIICHAPTER XIIICHAPTER XIV CHAPTER XVCHAPTER XVICopyright

Alkaest

Honore De Balzac

CHAPTER I

There is a house at Douai in the rue de Paris, whose aspect, interior arrangements, and details have preserved, to a greater degree than those of other domiciles, the characteristics of the old Flemish buildings, so naively adapted to the patriarchal manners and customs of that excellent land. Before describing this house it may be well, in the interest of other writers, to explain the necessity for such didactic preliminaries,—since they have roused a protest from certain ignorant and voracious readers who want emotions without undergoing the generating process, the flower without the seed, the child without gestation. Is Art supposed to have higher powers than Nature? The events of human existence, whether public or private, are so closely allied to architecture that the majority of observers can reconstruct nations and individuals, in their habits and ways of life, from the remains of public monuments or the relics of a home. Archaeology is to social nature what comparative anatomy is to organized nature. A mosaic tells the tale of a society, as the skeleton of an ichthyosaurus opens up a creative epoch. All things are linked together, and all are therefore deducible. Causes suggest effects, effects lead back to causes. Science resuscitates even the warts of the past ages. Hence the keen interest inspired by an architectural description, provided the imagination of the writer does not distort essential facts. The mind is enabled by rigid deduction to link it with the past; and to man, the past is singularly like the future; tell him what has been, and you seldom fail to show him what will be. It is rare indeed that the picture of a locality where lives are lived does not recall to some their dawning hopes, to others their wasted faith. The comparison between a present which disappoints man's secret wishes and a future which may realize them, is an inexhaustible source of sadness or of placid content. Thus, it is almost impossible not to feel a certain tender sensibility over a picture of Flemish life, if the accessories are clearly given. Why so? Perhaps, among other forms of existence, it offers the best conclusion to man's uncertainties. It has its social festivities, its family ties, and the easy affluence which proves the stability of its comfortable well-being; it does not lack repose amounting almost to beatitude; but, above all, it expresses the calm monotony of a frankly sensuous happiness, where enjoyment stifles desire by anticipating it. Whatever value a passionate soul may attach to the tumultuous life of feeling, it never sees without emotion the symbols of this Flemish nature, where the throbbings of the heart are so well regulated that superficial minds deny the heart's existence. The crowd prefers the abnormal force which overflows to that which moves with steady persistence. The world has neither time nor patience to realize the immense power concealed beneath an appearance of uniformity. Therefore, to impress this multitude carried away on the current of existence, passion, like a great artist, is compelled to go beyond the mark, to exaggerate, as did Michael Angelo, Bianca Capello, Mademoiselle de la Valliere, Beethoven, and Paganini. Far-seeing minds alone disapprove such excess, and respect only the energy represented by a finished execution whose perfect quiet charms superior men. The life of this essentially thrifty people amply fulfils the conditions of happiness which the masses desire as the lot of the average citizen. A refined materialism is stamped on all the habits of Flemish life. English comfort is harsh in tone and arid in color; whereas the old-fashioned Flemish interiors rejoice the eye with their mellow tints, and the feelings with their genuine heartiness. There, work implies no weariness, and the pipe is a happy adaptation of Neapolitan "far-niente." Thence comes the peaceful sentiment in Art (its most essential condition), patience, and the element which renders its creations durable, namely, conscience. Indeed, the Flemish character lies in the two words, patience and conscience; words which seem at first to exclude the richness of poetic light and shade, and to make the manners and customs of the country as flat as its vast plains, as cold as its foggy skies. And yet it is not so. Civilization has brought her power to bear, and has modified all things, even the effects of climate. If we observe attentively the productions of various parts of the globe, we are surprised to find that the prevailing tints from the temperate zones are gray or fawn, while the more brilliant colors belong to the products of the hotter climates. The manners and customs of a country must naturally conform to this law of nature. Flanders, which in former times was essentially dun-colored and monotonous in tint, learned the means of irradiating its smoky atmosphere through its political vicissitudes, which brought it under the successive dominion of Burgundy, Spain, and France, and threw it into fraternal relations with Germany and Holland. From Spain it acquired the luxury of scarlet dyes and shimmering satins, tapestries of vigorous design, plumes, mandolins, and courtly bearing. In exchange for its linen and its laces, it brought from Venice that fairy glass-ware in which wine sparkles and seems the mellower. From Austria it learned the ponderous diplomacy which, to use a popular saying, takes three steps backward to one forward; while its trade with India poured into it the grotesque designs of China and the marvels of Japan. And yet, in spite of its patience in gathering such treasures, its tenacity in parting with no possession once gained, its endurance of all things, Flanders was considered nothing more than the general storehouse of Europe, until the day when the discovery of tobacco brought into one smoky outline the scattered features of its national physiognomy. Thenceforth, and notwithstanding the parcelling out of their territory, the Flemings became a people homogeneous through their pipes and beer.[*] [*] Flanders was parcelled into three divisions; of which Eastern Flanders, capital Ghent, and Western Flanders, capital Bruges, are two provinces of Belgium. French Flanders, capital Lille, is the Departement du Nord of France. Douai, about twenty miles from Lille, is the chief town of the arrondissement du Nord. After assimilating, by constant sober regulation of conduct, the products and the ideas of its masters and its neighbors, this country of Flanders, by nature so tame and devoid of poetry, worked out for itself an original existence, with characteristic manners and customs which bear no signs of servile imitation. Art stripped off its ideality and produced form alone. We may seek in vain for plastic grace, the swing of comedy, dramatic action, musical genius, or the bold flight of ode and epic. On the other hand, the people are fertile in discoveries, and trained to scientific discussions which demand time and the midnight oil. All things bear the ear-mark of temporal enjoyment. There men look exclusively to the thing that is: their thoughts are so scrupulously bent on supplying the wants of this life that they have never risen, in any direction, above the level of this present earth. The sole idea they have ever conceived of the future is that of a thrifty, prosaic statecraft: their revolutionary vigor came from a domestic desire to live as they liked, with their elbows on the table, and to take their ease under the projecting roofs of their own porches. The consciousness of well-being and the spirit of independence which comes of prosperity begot in Flanders, sooner than elsewhere, that craving for liberty which, later, permeated all Europe. Thus the compactness of their ideas, and the tenacity which education grafted on their nature made the Flemish people a formidable body of men in the defence of their rights. Among them nothing is half-done,—neither houses, furniture, dikes, husbandry, nor revolutions; and they hold a monopoly of all that they undertake. The manufacture of linen, and that of lace, a work of patient agriculture and still more patient industry, are hereditary like their family fortunes. If we were asked to show in human form the purest specimen of solid stability, we could do no better than point to a portrait of some old burgomaster, capable, as was proved again and again, of dying in a commonplace way, and without the incitements of glory, for the welfare of his Free-town. Yet we shall find a tender and poetic side to this patriarchal life, which will come naturally to the surface in the description of an ancient house which, at the period when this history begins, was one of the last in Douai to preserve the old-time characteristics of Flemish life. Of all the towns in the Departement du Nord, Douai is, alas, the most modernized: there the innovating spirit has made the greatest strides, and the love of social progress is the most diffused. There the old buildings are daily disappearing, and the manners and customs of a venerable past are being rapidly obliterated. Parisian ideas and fashions and modes of life now rule the day, and soon nothing will be left of that ancient Flemish life but the warmth of its hospitality, its traditional Spanish courtesy, and the wealth and cleanliness of Holland. Mansions of white stone are replacing the old brick buildings, and the cosy comfort of Batavian interiors is fast yielding before the capricious elegance of Parisian novelties. The house in which the events of this history occurred stands at about the middle of the rue de Paris, and has been known at Douai for more than two centuries as the House of Claes. The Van Claes were formerly one of the great families of craftsmen to whom, in various lines of production, the Netherlands owed a commercial supremacy which it has never lost. For a long period of time the Claes lived at Ghent, and were, from generation to generation, the syndics of the powerful Guild of Weavers. When the great city revolted under Charles V., who tried to suppress its privileges, the head of the Claes family was so deeply compromised in the rebellion that, foreseeing a catastrophe and bound to share the fate of his associates, he secretly sent wife, children, and property to France before the Emperor invested the town. The syndic's forebodings were justified. Together with other burghers who were excluded from the capitulation, he was hanged as a rebel, though he was, in reality, the defender of the liberties of Ghent. The death of Claes and his associates bore fruit. Their needless execution cost the King of Spain the greater part of his possessions in the Netherlands. Of all the seed sown in the earth, the blood of martyrs gives the quickest harvest. When Philip the Second, who punished revolt through two generations, stretched his iron sceptre over Douai, the Claes preserved their great wealth by allying themselves in marriage with the very noble family of Molina, whose elder branch, then poor, thus became rich enough to buy the county of Nourho which they had long held titularly in the kingdom of Leon. At the beginning of the nineteenth century, after vicissitudes which are of no interest to our present purpose, the family of Claes was represented at Douai in the person of Monsieur Balthazar Claes-Molina, Comte de Nourho, who preferred to be called simply Balthazar Claes. Of the immense fortune amassed by his ancestors, who had kept in motion over a thousand looms, there remained to him some fifteen thousand francs a year from landed property in the arrondissement of Douai, and the house in the rue de Paris, whose furniture in itself was a fortune. As to the family possessions in Leon, they had been in litigation between the Molinas of Douai and the branch of the family which remained in Spain. The Molinas of Leon won the domain and assumed the title of Comtes de Nourho, though the Claes alone had a legal right to it. But the pride of a Belgian burgher was superior to the haughty arrogance of Castile: after the civil rights were instituted, Balthazar Claes cast aside the ragged robes of his Spanish nobility for his more illustrious descent from the Ghent martyr. The patriotic sentiment was so strongly developed in the families exiled under Charles V. that, to the very close of the eighteenth century, the Claes remained faithful to the manners and customs and traditions of their ancestors. They married into none but the purest burgher families, and required a certain number of aldermen and burgomasters in the pedigree of every bride-elect before admitting her to the family. They sought their wives in Bruges or Ghent, in Liege or in Holland; so that the time-honored domestic customs might be perpetuated around their hearthstones. This social group became more and more restricted, until, at the close of the last century, it mustered only some seven or eight families of the parliamentary nobility, whose manners and flowing robes of office and magisterial gravity (partly Spanish) harmonized well with the habits of their life. The inhabitants of Douai held the family in a religious esteem that was well-nigh superstition. The sturdy honesty, the untainted loyalty of the Claes, their unfailing decorum of manners and conduct, made them the objects of a reverence which found expression in the name,—the House of Claes. The whole spirit of ancient Flanders breathed in that mansion, which afforded to the lovers of burgher antiquities a type of the modest houses which the wealthy craftsmen of the Middle Ages constructed for their homes. The chief ornament of the facade was an oaken door, in two sections, studded with nails driven in the pattern of a quineunx, in the centre of which the Claes pride had carved a pair of shuttles. The recess of the doorway, which was built of freestone, was topped by a pointed arch bearing a little shrine surmounted by a cross, in which was a statuette of Sainte-Genevieve plying her distaff. Though time had left its mark upon the delicate workmanship of portal and shrine, the extreme care taken of it by the servants of the house allowed the passers-by to note all its details. The casing of the door, formed by fluted pilasters, was dark gray in color, and so highly polished that it shone as if varnished. On either side of the doorway, on the ground-floor, were two windows, which resembled all the other windows of the house. The casing of white stone ended below the sill in a richly carved shell, and rose above the window in an arch, supported at its apex by the head-piece of a cross, which divided the glass sashes in four unequal parts; for the transversal bar, placed at the height of that in a Latin cross, made the lower sashes of the window nearly double the height of the upper, the latter rounding at the sides into the arch. The coping of the arch was ornamented with three rows of brick, placed one above the other, the bricks alternately projecting or retreating to the depth of an inch, giving the effect of a Greek moulding. The glass panes, which were small and diamond-shaped, were set in very slender leading, painted red. The walls of the house, of brick jointed with white mortar, were braced at regular distances, and at the angles of the house, by stone courses. The first floor was pierced by five windows, the second by three, while the attic had only one large circular opening in five divisions, surrounded by a freestone moulding and placed in the centre of the triangular pediment defined by the gable-roof, like the rose-window of a cathedral. At the peak was a vane in the shape of a weaver's shuttle threaded with flax. Both sides of the large triangular pediment which formed the wall of the gable were dentelled squarely into something like steps, as low down as the string-course of the upper floor, where the rain from the roof fell to right and left of the house through the jaws of a fantastic gargoyle. A freestone foundation projected like a step at the base of the house; and on either side of the entrance, between the two windows, was a trap-door, clamped by heavy iron bands, through which the cellars were entered,—a last vestige of ancient usages. From the time the house was built, this facade had been carefully cleaned twice a year. If a little mortar fell from between the bricks, the crack was instantly filled up. The sashes, the sills, the copings, were dusted oftener than the most precious sculptures in the Louvre. The front of the house bore no signs of decay; notwithstanding the deepened color which age had given to the bricks, it was as well preserved as a choice old picture, or some rare book cherished by an amateur, which would be ever new were it not for the blistering of our climate and the effect of gases, whose pernicious breath threatens our own health. The cloudy skies and humid atmosphere of Flanders, and the shadows produced by the narrowness of the street, sometimes diminished the brilliancy which the old house derived from its cleanliness; moreover, the very care bestowed upon it made it rather sad and chilling to the eye. A poet might have wished some leafage about the shrine, a little moss in the crevices of the freestone, a break in the even courses of the brick; he would have longed for a swallow to build her nest in the red coping that roofed the arches of the windows. The precise and immaculate air of this facade, a little worn by perpetual rubbing, gave the house a tone of severe propriety and estimable decency which would have driven a romanticist out of the neighborhood, had he happened to take lodgings over the way. When a visitor had pulled the braided iron wire bell-cord which hung from the top of the pilaster of the doorway, and the servant-woman, coming from within, had admitted him through the side of the double-door in which was a small grated loop-hole, that half of the door escaped from her hand and swung back by its own weight with a solemn, ponderous sound that echoed along the roof of a wide paved archway and through the depths of the house, as though the door had been of iron. This archway, painted to resemble marble, always clean and daily sprinkled with fresh sand, led into a large court-yard paved with smooth square stones of a greenish color. On the left were the linen-rooms, kitchens, and servants' hall; to the right, the wood-house, coal-house, and offices, whose doors, walls, and windows were decorated with designs kept exquisitely clean. The daylight, threading its way between four red walls chequered with white lines, caught rosy tints and reflections which gave a mysterious grace and fantastic appearance to faces, and even to trifling details. A second house, exactly like the building on the street, and called in Flanders the "back-quarter," stood at the farther end of the court-yard, and was used exclusively as the family dwelling. The first room on the ground-floor was a parlor, lighted by two windows on the court-yard, and two more looking out upon a garden which was of the same size as the house. Two glass doors, placed exactly opposite to each other, led at one end of the room to the garden, at the other to the court-yard, and were in line with the archway and the street door; so that a visitor entering the latter could see through to the greenery which draped the lower end of the garden. The front building, which was reserved for receptions and the lodging-rooms of guests, held many objects of art and accumulated wealth, but none of them equalled in the eyes of a Claes, nor indeed in the judgment of a connoisseur, the treasures contained in the parlor, where for over two centuries the family life had glided on. The Claes who died for the liberties of Ghent, and who might in these days be thought a mere ordinary craftsman if the historian omitted to say that he possessed over forty thousand silver marks, obtained by the manufacture of sail-cloth for the all-powerful Venetian navy,—this Claes had a friend in the famous sculptor in wood, Van Huysum of Bruges. The artist had dipped many a time into the purse of the rich craftsman. Some time before the rebellion of the men of Ghent, Van Huysum, grown rich himself, had secretly carved for his friend a wall-decoration in ebony, representing the chief scenes in the life of Van Artevelde,—that brewer of Ghent who, for a brief hour, was King of Flanders. This wall-covering, of which there were no less than sixty panels, contained about fourteen hundred principal figures, and was held to be Van Huysum's masterpiece. The officer appointed to guard the burghers whom Charles V. determined to hang when he re-entered his native town, proposed, it is said, to Van Claes to let him escape if he would give him Van Huysum's great work; but the weaver had already despatched it to Douai. The parlor, whose walls were entirely panelled with this carving, which Van Huysum, out of regard for the martyr's memory, came to Douai to frame in wood painted in lapis-lazuli with threads of gold, is therefore the most complete work of this master, whose least carvings now sell for nearly their weight in gold. Hanging over the fire-place, Van Claes the martyr, painted by Titian in his robes as president of the Court of Parchons, still seemed the head of the family, who venerated him as their greatest man. The chimney-piece, originally in stone with a very high mantle-shelf, had been made over in marble during the last century; on it now stood an old clock and two candlesticks with five twisted branches, in bad taste, but of solid silver. The four windows were draped by wide curtains of red damask with a flowered black design, lined with white silk; the furniture, covered with the same material, had been renovated in the time of Louis XIV. The floor, evidently modern, was laid in large squares of white wood bordered with strips of oak. The ceiling, formed of many oval panels, in each of which Van Huysum had carved a grotesque mask, had been respected and allowed to keep the brown tones of the native Dutch oak. In the four corners of this parlor were truncated columns, supporting candelabra exactly like those on the mantle-shelf; and a round table stood in the middle of the room. Along the walls card-tables were symmetrically placed. On two gilded consoles with marble slabs there stood, at the period when this history begins, two glass globes filled with water, in which, above a bed of sand and shells, red and gold and silver fish were swimming about. The room was both brilliant and sombre. The ceiling necessarily absorbed the light and reflected none. Although on the garden side all was bright and glowing, and the sunshine danced upon the ebony carvings, the windows on the court-yard admitted so little light that the gold threads in the lapis-lazuli scarcely glittered on the opposite wall. This parlor, which could be gorgeous on a fine day, was usually, under the Flemish skies, filled with soft shadows and melancholy russet tones, like those shed by the sun on the tree-tops of the forests in autumn. It is unnecessary to continue this description of the House of Claes, in other parts of which many scenes of this history will occur: at present, it is enough to make known its general arrangement.

CHAPTER II

Towards the end of August, 1812, on a Sunday evening after vespers, a woman was sitting in a deep armchair placed before one of the windows looking out upon the garden. The sun's rays fell obliquely upon the house and athwart the parlor, breaking into fantastic lights on the carved panellings of the wall, and wrapping the woman in a crimson halo projected through the damask curtains which draped the window. Even an ordinary painter, had he sketched this woman at this particular moment, would assuredly have produced a striking picture of a head that was full of pain and melancholy. The attitude of the body, and that of the feet stretched out before her, showed the prostration of one who loses consciousness of physical being in the concentration of powers absorbed in a fixed idea: she was following its gleams in the far future, just as sometimes on the shores of the sea, we gaze at a ray of sunlight which pierces the clouds and draws a luminous line to the horizon. The hands of this woman hung nerveless outside the arms of her chair, and her head, as if too heavy to hold up, lay back upon its cushions. A dress of white cambric, very full and flowing, hindered any judgment as to the proportions of her figure, and the bust was concealed by the folds of a scarf crossed on the bosom and negligently knotted. If the light had not thrown into relief her face, which she seemed to show in preference to the rest of her person, it would still have been impossible to escape riveting the attention exclusively upon it. Its expression of stupefaction, which was cold and rigid despite hot tears that were rolling from her eyes, would have struck the most thoughtless mind. Nothing is more terrible to behold than excessive grief that is rarely allowed to break forth, of which traces were left on this woman's face like lava congealed about a crater. She might have been a dying mother compelled to leave her children in abysmal depths of wretchedness, unable to bequeath them to any human protector. The countenance of this lady, then about forty years of age and not nearly so far from handsome as she had been in her youth, bore none of the characteristics of a Flemish woman. Her thick black hair fell in heavy curls upon her shoulders and about her cheeks. The forehead, very prominent, and narrow at the temples, was yellow in tint, but beneath it sparkled two black eyes that were capable of emitting flames. Her face, altogether Spanish, dark skinned, with little color and pitted by the small-pox, attracted the eye by the beauty of its oval, whose outline, though slightly impaired by time, preserved a finished elegance and dignity, and regained at times its full perfection when some effort of the soul restored its pristine purity. The most noticeable feature in this strong face was the nose, aquiline as the beak of an eagle, and so sharply curved at the middle as to give the idea of an interior malformation; yet there was an air of indescribable delicacy about it, and the partition between the nostrils was so thin that a rosy light shone through it. Though the lips, which were large and curved, betrayed the pride of noble birth, their expression was one of kindliness and natural courtesy. The beauty of this vigorous yet feminine face might indeed be questioned, but the face itself commanded attention. Short, deformed, and lame, this woman remained all the longer unmarried because the world obstinately refused to credit her with gifts of mind. Yet there were men who were deeply stirred by the passionate ardor of that face and its tokens of ineffable tenderness, and who remained under a charm that was seemingly irreconcilable with such personal defects. She was very like her grandfather, the Duke of Casa-Real, a grandee of Spain. At this moment, when we first see her, the charm which in earlier days despotically grasped the soul of poets and lovers of poesy now emanated from that head with greater vigor than at any former period of her life, spending itself, as it were, upon the void, and expressing a nature of all-powerful fascination over men, though it was at the same time powerless over destiny. When her eyes turned from the glass globes, where they were gazing at the fish they saw not, she raised them with a despairing action, as if to invoke the skies. Her sufferings seemed of a kind that are told to God alone. The silence was unbroken save for the chirp of crickets and the shrill whirr of a few locusts, coming from the little garden then hotter than an oven, and the dull sound of silver and plates, and the moving of chairs in the adjoining room, where a servant was preparing to serve the dinner. At this moment, the distressed woman roused herself from her abstraction and listened attentively; she took her handkerchief, wiped away her tears, attempted to smile, and so resolutely effaced the expression of pain that was stamped on every feature that she presently seemed in the state of happy indifference which comes with a life exempt from care. Whether it were that the habit of living in this house to which infirmities confined her enabled her to perceive certain natural effects that are imperceptible to the senses of others, but which persons under the influence of excessive feeling are keen to discover, or whether Nature, in compensation for her physical defects, had given her more delicate sensations than better organized beings,—it is certain that this woman had heard the steps of a man in a gallery built above the kitchens and the servants' hall, by which the front house communicated with the "back-quarter." The steps grew more distinct. Soon, without possessing the power of this ardent creature to abolish space and meet her other self, even a stranger would have heard the foot-fall of a man upon the staircase which led down from the gallery to the parlor. The sound of that step would have startled the most heedless being into thought; it was impossible to hear it coolly. A precipitate, headlong step produces fear. When a man springs forward and cries, "Fire!" his feet speak as loudly as his voice. If this be so, then a contrary gait ought not to cause less powerful emotion. The slow approach, the dragging step of the coming man might have irritated an unreflecting spectator; but an observer, or a nervous person, would undoubtedly have felt something akin to terror at the measured tread of feet that seemed devoid of life, and under which the stairs creaked loudly, as though two iron weights were striking them alternately. The mind recognized at once either the heavy, undecided step of an old man or the majestic tread of a great thinker bearing the worlds with him. When the man had reached the lowest stair, and had planted both feet upon the tiled floor with a hesitating, uncertain movement, he stood still for a moment on the wide landing which led on one side to the servants' hall, and on the other to the parlor through a door concealed in the panelling of that room,—as was another door, leading from the parlor to the dining-room. At this moment a slight shudder, like the sensation caused by an electric spark, shook the woman seated in the armchair; then a soft smile brightened her lips, and her face, moved by the expectation of a pleasure, shone like that of an Italian Madonna. She suddenly gained strength to drive her terrors back into the depths of her heart. Then she turned her face to the panel of the wall which she knew was about to open, and which in fact was now pushed in with such brusque violence that the poor woman herself seemed jarred by the shock. Balthazar Claes suddenly appeared, made a few steps forward, did not look at the woman, or if he looked at her did not see her, and stood erect in the middle of the parlor, leaning his half-bowed head on his right hand. A sharp pang to which the woman could not accustom herself, although it was daily renewed, wrung her heart, dispelled her smile, contracted the sallow forehead between the eyebrows, indenting that line which the frequent expression of excessive feeling scores so deeply; her eyes filled with tears, but she wiped them quickly as she looked at Balthazar. It was impossible not to be deeply impressed by this head of the family of Claes. When young, he must have resembled the noble family martyr who had threatened to be another Artevelde to Charles V.; but as he stood there at this moment, he seemed over sixty years of age, though he was only fifty; and this premature old age had destroyed the honorable likeness. His tall figure was slightly bent,—either because his labors, whatever they were, obliged him to stoop, or that the spinal column was curved by the weight of his head. He had a broad chest and square shoulders, but the lower parts of his body were lank and wasted, though nervous; and this discrepancy in a physical organization evidently once perfect puzzled the mind which endeavored to explain this anomalous figure by some possible singularities of the man's life. His thick blond hair, ill cared-for, fell over his shoulders in the Dutch fashion, and its very disorder was in keeping with the general eccentricity of his person. His broad brow showed certain protuberances which Gall identifies with poetic genius. His clear and full blue eyes had the brusque vivacity which may be noticed in searchers for occult causes. The nose, probably perfect in early life, was now elongated, and the nostrils seemed to have gradually opened wider from an involuntary tension of the olfactory muscles. The cheek-bones were very prominent, which made the cheeks themselves, already withered, seem more sunken; his mouth, full of sweetness, was squeezed in between the nose and a short chin, which projected sharply. The shape of the face, however, was long rather than oval, and the scientific doctrine which sees in every human face a likeness to an animal would have found its confirmation in that of Balthazar Claes, which bore a strong resemblance to a horse's head. The skin clung closely to the bones, as though some inward fire were incessantly drying its juices. Sometimes, when he gazed into space, as if to see the realization of his hopes, it almost seemed as though the flames that devoured his soul were issuing from his nostrils. The inspired feelings that animate great men shone forth on the pale face furrowed with wrinkles, on the brow haggard with care like that of an old monarch, but above all they gleamed in the sparkling eye, whose fires were fed by chastity imposed by the tyranny of ideas and by the inward consecration of a great intellect. The cavernous eyes seemed to have sunk in their orbits through midnight vigils and the terrible reaction of hopes destroyed, yet ceaselessly reborn. The zealous fanaticism inspired by an art or a science was evident in this man; it betrayed itself in the strange, persistent abstraction of his mind expressed by his dress and bearing, which were in keeping with the anomalous peculiarities of his person. His large, hairy hands were dirty, and the nails, which were very long, had deep black lines at their extremities. His shoes were not cleaned and the shoe-strings were missing. Of all that Flemish household, the master alone took the strange liberty of being slovenly. His black cloth trousers were covered with stains, his waistcoat was unbuttoned, his cravat awry, his greenish coat ripped at the seams,—completing an array of signs, great and small, which in any other man would have betokened a poverty begotten of vice, but which in Balthazar Claes was the negligence of genius. Vice and Genius too often produce the same effects; and this misleads the common mind. What is genius but a long excess which squanders time and wealth and physical powers, and leads more rapidly to a hospital than the worst of passions? Men even seem to have more respect for vices than for genius, since to the latter they refuse credit. The profits accruing from the hidden labors of the brain are so remote that the social world fears to square accounts with the man of learning in his lifetime, preferring to get rid of its obligations by not forgiving his misfortunes or his poverty. If, in spite of this inveterate forgetfulness of the present, Balthazar Claes had abandoned his mysterious abstractions, if some sweet and companionable meaning had revisited that thoughtful countenance, if the fixed eyes had lost their rigid strain and shone with feeling, if he had ever looked humanly about him and returned to the real life of common things, it would indeed have been difficult not to do involuntary homage to the winning beauty of his face and the gracious soul that would then have shone from it. As it was, all who looked at him regretted that the man belonged no more to the world at large, and said to one another: "He must have been very handsome in his youth." A vulgar error! Never was Balthazar Claes's appearance more poetic than at this moment. Lavater, had he seen him, would fain have studied that head so full of patience, of Flemish loyalty, and pure morality,—where all was broad and noble, and passion seemed calm because it was strong. The conduct of this man could not be otherwise than pure; his word was sacred, his friendships seemed undeviating, his self-devotedness complete: and yet the will to employ those qualities in patriotic service, for the world or for the family, was directed, fatally, elsewhere. This citizen, bound to guard the welfare of a household, to manage property, to guide his children towards a noble future, was living outside the line of his duty and his affections, in communion with an attendant spirit. A priest might have thought him inspired by the word of God; an artist would have hailed him as a great master; an enthusiast would have taken him for a seer of the Swedenborgian faith. At the present moment, the dilapidated, uncouth, and ruined clothes that he wore contrasted strangely with the graceful elegance of the woman who was sadly admiring him. Deformed persons who have intellect, or nobility of soul, show an exquisite taste in their apparel. Either they dress simply, convinced that their charm is wholly moral, or they make others forget their imperfections by an elegance of detail which diverts the eye and occupies the mind. Not only did this woman possess a noble soul, but she loved Balthazar Claes with that instinct of the woman which gives a foretaste of the communion of angels. Brought up in one of the most illustrious families of Belgium, she would have learned good taste had she not possessed it; and now, taught by the desire of constantly pleasing the man she loved, she knew how to clothe herself admirably, and without producing incongruity between her elegance and the defects of her conformation. The bust, however, was defective in the shoulders only, one of which was noticeably much larger than the other. She looked out of the window into the court-yard, then towards the garden, as if to make sure she was alone with Balthazar, and presently said, in a gentle voice and with a look full of a Flemish woman's submissiveness,—for between these two love had long since driven out the pride of her Spanish nature:— "Balthazar, are you so very busy? this is the thirty-third Sunday since you have been to mass or vespers." Claes did not answer; his wife bowed her head, clasped her hands, and waited: she knew that his silence meant neither contempt nor indifference, only a tyrannous preoccupation. Balthazar was one of those beings who preserve deep in their souls and after long years all their youthful delicacy of feeling; he would have thought it criminal to wound by so much as a word a woman weighed down by the sense of physical disfigurement. No man knew better than he that a look, a word, suffices to blot out years of happiness, and is the more cruel because it contrasts with the unfailing tenderness of the past: our nature leads us to suffer more from one discord in our happiness than pleasure coming in the midst of trouble can bring us joy. Presently Balthazar appeared to waken; he looked quickly about him, and said,— "Vespers? Ah, yes! the children are at vespers." He made a few steps forward, and looked into the garden, where magnificent tulips were growing on all sides; then he suddenly stopped short as if brought up against a wall, and cried out,— "Why should they not combine within a given time?" "Is he going mad?" thought the wife, much terrified. To give greater interest to the present scene, which was called forth by the situation of their affairs, it is absolutely necessary to glance back at the past lives of Balthazar Claes and the granddaughter of the Duke of Casa-Real. Towards the year 1783, Monsieur Balthazar Claes-Molina de Nourho, then twenty-two years of age, was what is called in France a fine man. He came to finish his education in Paris, where he acquired excellent manners in the society of Madame d'Egmont, Count Horn, the Prince of Aremberg, the Spanish ambassador, Helvetius, and other Frenchmen originally from Belgium, or coming lately thence, whose birth or wealth won them admittance among the great seigneurs who at that time gave the tone to social life. Young Claes found several relations and friends ready to launch him into the great world at the very moment when that world was about to fall. Like other young men, he was at first more attracted by glory and science than by the vanities of life. He frequented the society of scientific men, particularly Lavoisier, who at that time was better known to the world for his enormous fortune as a "fermier-general" than for his discoveries in chemistry,—though later the great chemist was to eclipse the man of wealth.