Part 11 (1/2)
The portrait of Alba promised to be a magnificent study, worthy of being placed beside the famous 'Femme en violet et en jaune,' which those envious of Lincoln always remembered. Moreover, the painter had finished with unparalleled ardor two large compositions partly abandoned. In the face of that proof of a fever of production more and more active, how would not Florent have blessed Madame Steno, instead of cursing her, so much the more that it sufficed him to close his eyes and to know that his conscience was in repose when opposite his sister? He knew all, however. The proof of it was in his shudder when Dorsenne announced to him the clandestine arrival in Rome of Madame Steno's other lover, and one proof still more certain, the impulse which had precipitated him upon Boleslas, who was parleying with the servant, and now it was he who had accepted the duel which an exasperated rival had certainly come to propose to his dear Lincoln, and he thought only of the latter.
”He must know nothing until afterward. He would take the affair upon himself, and I have a chance to kill him, that Gorka--to wound him, at least. In any case, I will arrange it so that a second duel will be rendered difficult to that lunatic.... But, first of all, let us make sure that we have not spoken too loudly and that they have not heard upstairs the ill-bred fellow's loud voice.”
It was in such terms that he qualified his adversary of the morrow. For very little more he would have judged Gorka unpardonable not to thank Lincoln, who had done him the honor to supplant him in the Countess's favor!
In the meantime, let us cast a glance at the atelier! When the friend, devoted to complicity, but also to heroism, entered the vast room, he could see at the first glance that he had been mistaken and that no sound of voices had reached that peaceful retreat.
The atelier of the American painter was furnished with a harmonious sumptuousness which real artists know how to gather around them. The large strip of sky seen through the windows looked down upon a corner veritably Roman--of the Rome of to-day, which attests an uninterrupted effort toward forming a new city by the side of the old one. One could see an angle of the old garden and the fragment of an antique building, with a church steeple beyond. It was on a background of azure, of verdure and of ruins, in a horizon larger and more distant, but composed of the same elements, that was to arise the face of the young girl, designed after the manner, so sharp and so modelled, of the 'Pier della Francesca', with whom Maitland had been preoccupied for six months.
All great composers, of an originality more composite than genitive, have these infatuations.
Maitland was at his easel, dressed with that correct elegance which is the almost certain mark of Anglo-Saxon artists. With his little varnished shoes, his fine black socks, spotted with red, his coat of quilted silk, his light cravat and the purity of his linen, he had the air of a gentleman who applied himself to an amateur effort, and not of the patient and laborious worker he really was. But his canvases and his studies, hung on all sides, among tapestries, arms and trinkets, bespoke patient labor. It was the history of an energy bent upon the acquisition of a personality constantly fleeting. Maitland manifested in a supreme degree the trait common to almost all his compatriots, even those who came in early youth to Europe, that intense desire not to lack civilization, which is explained by the fact that the American is a being entirely new, endowed with an activity incomparable, and deprived of traditional saturation. He is not born cultivated, matured, already fas.h.i.+oned virtually, if one may say so, like a child of the Old World.
He can create himself at his will. With superior gifts, but gifts entirely physical, Maitland was a self-made man of art, as his grand father had been a self-made man of money, as his father had been a self-made man of war. He had in his eye and in his hand two marvellous implements for painting, and in his perseverence in developing a still more marvellous one. He lacked constantly the something necessary and local which gives to certain very inferior painters the inexpressible superiority of a savor of soil. It could not be said that he was not inventive and new, yet one experienced on seeing no matter which one of his paintings that he was a creature of culture and of acquisition. The scattered studies in the atelier first of all displayed the influence of his first master, of solid and simple Bonnat. Then he had been tempted by the English pre-Raphaelites, and a fine copy of the famous 'Song of Love', by Burne-Jones, attested that reaction on the side of an art more subtle, more impressed by that poetry which professional painters treat scornfully as literary. But Lincoln was too vigorous for the languors of such an ideal, and he quickly turned to other teachings. Spain conquered him, and Velasquez, the colorist of so peculiar a fancy that, after a visit to the Museum of the Prado, one carries away the idea that one has just seen the only painting worthy of the name.
The spirit of the great Spaniard, that despotic stroke of the brush which seems to draw the color in the groundwork of the picture, to make it stand out in almost solid lights, his absolute absence of abstract intentions and his newness which affects entirely to ignore the past, all in that formula of art, suited Maitland's temperament. To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca.
Never would one have believed that the same hand which had wielded with so free a brush the color of the 'Femme en violet...' could be that which sketched the contour of the portrait of Alba with so severe, so rigid a drawing.
At the moment Florent entered the studio that work so completely absorbed the attention of the painter that he did not hear the door open any more than did Madame Steno, who was smoking cigarettes, reclining indolently and blissfully upon the divan, her half-closed eyes fixed upon the man she loved. Lincoln only divined another presence by a change in Alba's face. G.o.d! How pale she was, seated in the immobility of her pose in a large, heraldic armchair, with a back of carved wood, her hands grasping the arms, her mouth so bitter, her eyes so deep in their fixed glance!... Did she divine that which she could not, however, know, that her fate was approaching with the visitor who entered, and who, having left the studio fifteen minutes before, had to justify his return by an excuse.
”It is I,” said he. ”I forgot to ask you, Lincoln, if you wish to buy Ardea's three drawings at the price they offer.”
”Why did you not tell me of it yesterday, my little Linco?” interrupted the Countess. ”I saw Peppino again this morning.... I would have from him his lowest figure.”
”That would only be lacking,” replied Maitland, laughing his large laugh. ”He does not acknowledge those drawings, dear dogaresse.... They are a part of the series of trinkets he carefully subtracted from his creditor's inventory and put in different places. There are some at seven or eight antiquaries', and we may expect that for the next ten years all the c.o.c.kneys of my country will be allured by this phrase, 'This is from the Palais Castagna. I have it by a little arrangement.'”
His eyes sparkled as he imitated one of the most celebrated bric-a-brac dealers in Rome, with the incomparable art of imitation which distinguishes all the old habitues of Parisian studios.
”At present these three drawings are at an antiquary's of Babuino, and very authentic.”
”Except when they are represented as Vincis,” said Florent, ”when Leonardo was left-handed, and their hatchings are made from left to right.”
”And you think Ardea would not agree with me in it?” resumed the Countess.
”Not even with you,” said the painter. ”He had the a.s.surance last night, when I mentioned them before him, to ask me the address in order to go to see them.”
”How did you learn their production?” questioned Madame Steno.
”Ask him,” said Maitland, pointing to Chap.r.o.n with the end of his brush.
”When there is a question of enriching his old Maitland's collection, he becomes more of a merchant than the merchants themselves. They tell him all.... Vinci or no Vinci, it is the pure Lombard style. Buy them. I want them.”
”I will go, then,” replied Florent. ”Countess.... Contessina.”
He bowed to Madame Steno and her daughter. The mother bestowed upon him her pleasantest smile. She was not one of those mistresses to whom their lovers' intimate friends are always enemies. On the contrary, she enveloped them in the abundant and blissful sympathy which love awoke in her. Besides, she was too cunning not to feel that Florent approved of her love. But, on the other hand, the intense aversion which Alba at that moment felt toward her mother's suspected intrigues was expressed by the formality with which she inclined her head in response to the farewell of the young man, who was too happy to have found that the dispute had not been heard.
”From now until to-morrow,” thought he, on redescending the staircase, ”there will be no one to warn Lincoln.... The purchase of the drawings was an invention to demonstrate my tranquillity....Now I must find two discreet seconds.”
Florent was a very deliberate man, and a man who had at his command perfect evenness of temperament whenever it was not a question of his enthusiastic attachment to his brother-in-law. He had the power of observation habitual to persons whose sensitive amour propre has frequently been wounded. He therefore deferred until later his difficult choice and went to luncheon, as if nothing had happened, at the restaurant where he was expected. Certainly the proprietor did not mistrust, in replying to the questions of his guest relative to the most recent portraits of Lenbach, that the young man, so calm, so smiling, had on hand a duel which might cost him his life. It was only on leaving the restaurant that Florent, after mentally reviewing ten of his older acquaintances, resolved to make a first attempt upon Dorsenne. He recalled the mysterious intelligence given him by the novelist, whose sympathy for Maitland had been publicly manifested by an eloquent article. Moreover, he believed him to be madly in love with Alba Steno.
That was one probability more in favor of his discretion.
Dorsenne would surely maintain silence with regard to a meeting in connection with which, if it were known, the cause of the contest would surely be mentioned. It was only too clear that Gorka and Chap.r.o.n had no real reason to quarrel and fight a duel. But at ten-thirty, that is to say, three hours after the unreasonable altercation in the vestibule, Florent rang at the door of Julien's apartments. The latter was at home, busy upon the last correction of the proofs of 'Poussiere d'Idees'. His visitor's confidence upset him to such a degree that his hands trembled as he arranged his scattered papers. He remembered the presence of Boleslas on that same couch, at the same time of the day, forty-eight hours before. How the drama would progress if that madman went away in that mood! He knew only too well that Maitland's brother-in-law had not told him all.