“And you forgive my seeming rudeness?”
“Oh, certainly! But you have aroused my curiosity. I should like to know more about this strange medicine of yours.”
“You shall know more if you wish,” said Cellini, his usual equable humour and good spirits now quite restored. “You shall know everything; but not to-day. We have too little time. I have not yet commenced your picture. And I forgot — you were thirsty, and I was, as you said, inhospitable. You must permit me to repair my fault.”
And with a courteous salute he left the room, to return almost immediately with a tumbler full of some fragrant, golden-coloured liquid, in which lumps of ice glittered refreshingly. A few loose rose-leaves were scattered on the top of this dainty-looking beverage.
“You may enjoy this without fear,” said he, smiling; “it will do you good. It is an Eastern wine, unknown to trade, and therefore untampered with. I see you are looking at the rose-leaves on the surface. That is a Persian custom, and I think a pretty one. They float away from your lips in the action of drinking, and therefore they are no obstacle.”
I tasted the wine and found it delicious, soft and mellow as summer moonlight. While I sipped it the big Newfoundland, who had stretched himself in a couchant posture on the hearth-rug ever since Cellini had first entered the room, rose and walked majestically to my side and rubbed his head caressingly against the folds of my dress.
“Leo has made friends with you, I see,” said Cellini. “You should take that as a great compliment, for he is most particular in his choice of acquaintance, and most steadfast when he has once made up his mind. He has more decision of character than many a statesman.”
“How is it we have never seen him before?” I inquired. “You never told us you had such a splendid companion.”
“I am not his master,” replied the artist. “He only favours me with a visit occasionally. He arrived from Paris last night, and came straight here, sure of his welcome. He does not confide his plans to me, but I suppose he will return to his home when he thinks it advisable. He knows his own business best.”
I laughed.
“What a clever dog! Does he journey on foot, or does he take the train?”
“I believe he generally patronizes the railway. All the officials know him, and he gets into the guard’s van as a matter of course. Sometimes he will alight at a station en route, and walk the rest of the way. But if he is lazily inclined, he does not stir till the train reaches its destination. At the end of every six months or so, the railway authorities send the bill of Leo’s journeyings in to his master, when it is always settled without difficulty.”
“And who IS his master?” I ventured to ask.
Cellini’s face grew serious and absorbed, and his eyes were full of grave contemplation as he answered:
“His master, mademoiselle, is MY master — one who among men, is supremely intelligent; among teachers, absolutely unselfish; among thinkers, purely impersonal; among friends, inflexibly faithful. To him I owe everything — even life itself. For him no sacrifice, no extreme devotion would be too great, could I hope thereby to show my gratitude. But he is as far above human thanks or human rewards as the sun is above the sea. Not here, not now, dare I say to him, MY FRIEND, BEHOLD HOW MUCH I LOVE THEE! such language would be all too poor and unmeaning; but hereafter — who knows? — —” and he broke off abruptly with a half-sigh. Then, as if forcing himself to change the tenor of his thoughts, he continued in a kind tone: “But, mademoiselle, I am wasting your time, and am taking no advantage of the favour you have shown me by your presence to-day. Will you seat yourself here?” and he placed an elaborately carved oaken settee in one corner of the studio, opposite his own easel. “I should be sorry to fatigue you at all,” he went on; “do you care for reading?”
I answered eagerly in the affirmative, and he handed me a volume bound in curiously embossed leather, and ornamented with silver clasps. It was entitled “Letters of a Dead Musician.”
“You will find clear gems of thought, passion, and feeling in this book,” said Cellini; “and being a musician yourself, you will know how to appreciate them. The writer was one of those geniuses whose work the world repays with ridicule and contempt. There is no fate more enviable!”
I looked at the artist with some surprise as I took the volume he recommended, and seated myself in the position he indicated; and while he busied himself in arranging the velvet curtains behind me as a background, I said:
“Do you really consider it enviable, Signor Cellini, to receive the world’s ridicule and contempt?”
“I do indeed,” he replied, “since it is a certain proof that the world does not understand you. To achieve something that is above human comprehension, THAT is greatness. To have the serene sublimity of the God-man Christ, and consent to be crucified by a gibing world that was fated to be afterwards civilized and dominated by His teachings, what can be more glorious? To have the magnificent versatility of a Shakespeare, who was scarcely recognized in his own day, but whose gifts were so vast and various that the silly multitudes wrangle over his very identity and the authenticity of his plays to this hour — what can be more triumphant? To know that one’s own soul can, if strengthened and encouraged by the force of will, rise to a supreme altitude of power — is not that sufficient to compensate for the little whining cries of the common herd of men and women who have forgotten whether they ever had a spiritual spark in them, and who, straining up to see the light of genius that burns too fiercely for their earth-dimmed eyes, exclaim: ‘WE see nothing, therefore there CAN be nothing.’ Ah, mademoiselle, the knowledge of one’s own inner Self-Existence is a knowledge surpassing all the marvels of art and science!”
Cellini spoke with enthusiasm, and his countenance seemed illumined by the eloquence that warmed his speech. I listened with a sort of dreamy satisfaction; the visual sensation of utter rest that I always experienced in this man’s presence was upon me, and I watched him with interest as he drew with quick and facile touch the outline of my features on his canvas.
Gradually he became more and more absorbed in his work; he glanced at me from time to time, but did not speak, and his pencil worked rapidly. I turned over the “Letters of a Dead Musician” with some curiosity. Several passages struck me as being remarkable for their originality and depth of thought; but what particularly impressed me as I read on, was the tone of absolute joy and contentment that seemed to light up every page. There were no wailings over disappointed ambition, no regrets for the past, no complaints, no criticism, no word for or against the brothers of his art; everything was treated from a lofty standpoint of splendid equality, save when the writer spoke of himself, and then he became the humblest of the humble, yet never abject, and always happy.
“O Music!” he wrote, “Music, thou Sweetest Spirit of all that serve God, what have I done that thou shouldst so often visit me? It is not well, O thou Lofty and Divine One, that thou shouldst stoop so low as to console him who is the unworthiest of all thy servants. For I am too feeble to tell the world how soft is the sound of thy rustling pinions, how tender is the sighing breath of thy lips, how beyond all things glorious is the vibration of thy lightest whisper! Remain aloft, thou Choicest Essence of the Creator’s Voice, remain in that pure and cloudless ether, where alone thou art fitted to dwell. My touch must desecrate thee, my voice affright thee. Suffice it to thy servant, O Beloved, to dream of thee and die!”
Meeting Cellini’s glance as I finished reading these lines, I asked:
“Did you know the author of this book, signor?”
“I knew him well,” he replied; “he was one of the gentlest souls that ever dwelt in human clay. As ethereal in his music as John Keats in his poetry, he was one of those creatures born of dreams and rapture that rarely visit this planet. Happy fellow! What a death was his!”
“How did he die?” I inquired.
“He was playing the organ in one of the great churches of Rome on the day of the Feast of the Virgin. A c
hoir of finely trained voices sang to his accompaniment his own glorious setting of the “Regina Coeli.” The music was wonderful, startling, triumphant — ever rising in power and majesty to a magnificent finale, when suddenly a slight crash was heard; the organ ceased abruptly, the singers broke off. The musician was dead. He had fallen forward on the keys of the instrument, and when they raised him, his face was fairer than the face of any sculptured angel, so serene was its expression, so rapt was its smile. No one could tell exactly the cause of his death — he had always been remarkably strong and healthy. Everyone said it was heart-disease — it is the usual reason assigned by medical savants for these sudden departures out of the world. His loss was regretted by all, save myself and one other who loved him. We rejoiced, and still do rejoice, at his release.”
I speculated vaguely on the meaning of these last words, but I felt disinclined to ask any more questions, and Cellini, probably seeing this, worked on at his sketch without further converse. My eyes were growing heavy, and the printed words in the “Dead Musician’s Letters” danced before my sight like active little black demons with thin waving arms and legs. A curious yet not unpleasant drowsiness stole over me, in which I heard the humming of the bees at the open window, the singing of the birds, and the voices of people in the hotel gardens, all united in one continuous murmur that seemed a long way off. I saw the sunshine and the shadow — I saw the majestic Leo stretched full length near the easel, and the slight supple form of Raffaello Cellini standing out in bold outline against the light; yet all seemed shifting and mingling strangely into a sort of wide radiance in which there was nothing but varying tints of colour. And could it have been my fancy, or did I actually SEE the curtain fall gradually away from my favourite picture, just enough for the face of the “Angel of Life” to be seen smiling down upon me? I rubbed my eyes violently, and started to my feet at the sound of the artist’s voice.
“I have tried your patience enough for to-day,” he said, and his words sounded muffled, as though they were being spoken through, a thick wall. “You can leave me now if you like.”
I stood before him mechanically, still holding the book he had lent me clasped in my hand. Irresolutely I raised my eyes towards the “Lords of our Life and Death.” It was closely veiled. I had then experienced an optical illusion. I forced myself to speak — to smile — to put back the novel sensations that were overwhelming me.
“I think,” I said, and I heard myself speak as though I were somebody else at a great distance off— “I think, Signor Cellini, your Eastern wine has been too potent for me. My head is quite heavy, and I feel dazed.”
“It is mere fatigue and the heat of the day,” he replied quietly. “I am sure you are not too DAZED, as you call it, to see your favourite picture, are you?”
I trembled. Was not that picture veiled? I looked — there was no curtain at all, and the faces of the two Angels shone out of the canvas with intense brilliancy! Strange to say, I felt no surprise at this circumstance, which, had it occurred a moment previously, would have unquestionably astonished and perhaps alarmed me. The mistiness of my brain suddenly cleared; I saw everything plainly; I heard distinctly; and when I spoke, the tone of my voice sounded as full and ringing as it had previously seemed low and muffled. I gazed steadfastly at the painting, and replied, half smiling:
“I should be indeed ‘far gone,’ as the saying is, if I could not see that, signor! It is truly your masterpiece. Why have you never exhibited it?”
“Can YOU ask that?” he said with impressive emphasis, at the same time drawing nearer and fixing upon me the penetrating glance of his dark fathomless eyes. It then seemed to me that some great inner force compelled me to answer this half-inquiry, in words of which I had taken no previous thought, and which, as I uttered them, conveyed no special meaning to my own ears.
“Of course,” I said slowly, as if I were repeating a lesson, “you would not so betray the high trust committed to your charge.”
“Well said!” replied Cellini; “you are fatigued, mademoiselle. Au revoir! Till to-morrow!” And, throwing open the door of his studio, he stood aside for me to pass out. I looked at him inquiringly.
“Must I come at the same time to-morrow?” I asked.
“If you please.”
I passed my hand across my forehead perplexedly, I felt I had something else to say before I left him. He waited patiently, holding back with one hand the curtains of the portiere.
“I think I had a parting word to give you,” I said at last, meeting his gaze frankly; “but I seem to have forgotten what it was.” Cellini smiled gravely.
“Do not trouble to think about it, mademoiselle. I am unworthy the effort on your part.”
A flash of vivid light crossed my eyes for a second, and I exclaimed eagerly:
“I remember now! It was ‘Dieu vous garde’ signor!”
He bent his head reverentially.
“Merci mille fois, mademoiselle! Dieu vous garde — vous aussi. Au revoir.”
And clasping my hand with a light yet friendly pressure, he closed the door of his room behind me. Once alone in the passage, the sense of high elation and contentment that had just possessed me began gradually to decrease. I had not become actually dispirited, but a languid feeling of weariness oppressed me, and my limbs ached as though I had walked incessantly for many miles. I went straight to my own room. I consulted my watch; it was half-past one, the hour at which the hotel luncheon was usually served. Mrs. Everard had evidently not returned from her drive. I did not care to attend the table d’hote alone; besides, I had no inclination to eat. I drew down the window-blinds to shut out the brilliancy of the beautiful Southern sunlight, and throwing myself on my bed I determined to rest quietly till Amy came back. I had brought the “Letters of a Dead Musician” away with me from Cellini’s studio, and I began to read, intending to keep myself awake by this means. But I found I could not fix my attention on the page, nor could I think at all connectedly. Little by little my eyelids closed; the book dropped from my nerveless hand; and in a few minutes I was in a deep and tranquil slumber.
CHAPTER III.
THREE VISIONS.
Roses, roses! An interminable chain of these royal blossoms, red and white, wreathed by the radiant fingers of small rainbow-winged creatures as airy as moonlight mist, as delicate as thistledown! They cluster round me with smiling faces and eager eyes; they place the end of their rose-garland in my hand, and whisper, “FOLLOW!” Gladly I obey, and hasten onward. Guiding myself by the fragrant chain I hold, I pass through a labyrinth of trees, whose luxuriant branches quiver with the flight and song of birds. Then comes a sound of waters; the riotous rushing of a torrent unchecked, that leaps sheer down from rocks a thousand feet high, thundering forth the praise of its own beauty as it tosses in the air triumphant crowns of silver spray. How the living diamonds within it shift, and change, and sparkle! Fain would I linger to watch this magnificence; but the coil of roses still unwinds before me, and the fairy voices still cry, “FOLLOW!” I press on. The trees grow thicker; the songs of the birds cease; the light around me grows pale and subdued. In the far distance I see a golden crescent that seems suspended by some invisible thread in the air. Is it the young moon? No; for as I gaze it breaks apart into a thousand points of vivid light like wandering stars. These meet; they blaze into letters of fire. I strain my dazzled eyes to spell out their meaning. They form one word — HELIOBAS. I read it. I utter it aloud. The rose-chain breaks at my feet, and disappears. The fairy voices die away on my ear. There is utter silence, utter darkness, — save where that one NAME writes itself in burning gold on the blackness of the heavens.
The interior of a vast cathedral is opened before my gaze. The lofty white marble columns support a vaulted roof painted in fresco, from which are suspended a thousand lamps that emit a mild and steady effulgence. The great altar is illuminated; the priests, in glittering raiment, pace slowly to and fro. The large voice of the organ, murmuring to itself awhile, breaks
forth in a shout of melody; and a boy’s clear, sonorous treble tones pierce the incense-laden air. “Credo!” — and the silver, trumpet-like notes fall from the immense height of the building like a bell ringing in a pure atmosphere— “Credo in unum Deum; Patrem omni-potentum, factorem coeli et terrae, visibilium omnium et invisibilium.”
The cathedral echoes with answering voices; and, involuntarily kneeling, I follow the words of the grand chant. I hear the music slacken; the notes of rejoicing change to a sobbing and remorseful wail; the organ shudders like a forest of pines in a tempest, “Crucifixus etiam pro nobis; passus et sepultus est.” A darkness grows up around me; my senses swim. The music altogether ceases; but a brilliant radiance streams through a side-door of the church, and twenty maidens, clad in white and crowned with myrtle, pacing two by two, approach me. They gaze at me with joyous eyes. “Art thou also one of us?” they murmur; then they pass onward to the altar, where again the lights are glimmering. I watch them with eager interest; I hear them uplift their fresh young voices in prayer and praise. One of them, whose deep blue eyes are full of lustrous tenderness, leaves her companions, and softly approaches me. She holds a pencil and tablet in her hand.
“Write!” she says, in a thrilling whisper; “and write quickly! for whatsoever thou shalt now inscribe is the clue to thy destiny.”
I obey her mechanically, impelled not by my own will, but by some unknown powerful force acting within and around me. I trace upon the tablet one word only; it is a name that startles me even while I myself write it down — HELIOBAS. Scarcely have I written it when a thick white cloud veils the cathedral from my sight; the fair maiden vanishes, and all is again still.
I am listening to the accents of a grave melodious voice, which, from its slow and measured tones, would seem to be in the action of reading or reciting aloud. I see a small room sparely furnished, and at a table covered with books and manuscripts is seated a man of noble features and commanding presence. He is in the full prime of life; his dark hair has no thread of silver to mar its luxuriance; his face is unwrinkled; his forehead unfurrowed by care; his eyes, deeply sunk beneath his shelving brows, are of a singularly clear and penetrating blue, with an absorbed and watchful look in them, like the eyes of one accustomed to gaze far out at sea. His hand rests on the open pages of a massive volume; he is reading, and his expression is intent and earnest — as if he were littering his own thoughts aloud, with the conviction and force of an orator who knows the truth of which he speaks:
Delphi Collected Works of Marie Corelli (Illustrated) (Delphi Series Eight Book 22) Page 3
