Poor Relations. Оноре де Бальзак

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СКАЧАТЬ was evidently startled as she met the Baron's astonished eye, and she responded with a prudish dropping of her eyelids.

      "A pretty woman," exclaimed he, "for whom a man would do many foolish things."

      "Indeed, monsieur?" said she, turning suddenly, like a woman who has just come to some vehement decision, "you are Monsieur le Baron Hulot, I believe?"

      The Baron, more and more bewildered, bowed assent.

      "Then, as chance has twice made our eyes meet, and I am so fortunate as to have interested or puzzled you, I may tell you that, instead of doing anything foolish, you ought to do justice.—My husband's fate rests with you."

      "And how may that be?" asked the gallant Baron.

      "He is employed in your department in the War Office, under Monsieur Lebrun, in Monsieur Coquet's room," said she with a smile.

      "I am quite disposed, Madame—Madame——?"

      "Madame Marneffe."

      "Dear little Madame Marneffe, to do injustice for your sake.—I have a cousin living in your house; I will go to see her one day soon—as soon as possible; bring your petition to me in her rooms."

      "Pardon my boldness, Monsieur le Baron; you must understand that if I dare to address you thus, it is because I have no friend to protect me——"

      "Ah, ha!"

      "Monsieur, you misunderstand me," said she, lowering her eyelids.

      Hulot felt as if the sun had disappeared.

      "I am at my wits' end, but I am an honest woman!" she went on. "About six months ago my only protector died, Marshal Montcornet—"

      "Ah! You are his daughter?"

      "Yes, monsieur; but he never acknowledged me."

      "That was that he might leave you part of his fortune."

      "He left me nothing; he made no will."

      "Indeed! Poor little woman! The Marshal died suddenly of apoplexy. But, come, madame, hope for the best. The State must do something for the daughter of one of the Chevalier Bayards of the Empire."

      Madame Marneffe bowed gracefully and went off, as proud of her success as the Baron was of his.

      "Where the devil has she been so early?" thought he watching the flow of her skirts, to which she contrived to impart a somewhat exaggerated grace. "She looks too tired to have just come from a bath, and her husband is waiting for her. It is strange, and puzzles me altogether."

      Madame Marneffe having vanished within, the Baron wondered what his daughter was doing in the shop. As he went in, still staring at Madame Marneffe's windows, he ran against a young man with a pale brow and sparkling gray eyes, wearing a summer coat of black merino, coarse drill trousers, and tan shoes, with gaiters, rushing away headlong; he saw him run to the house in the Rue du Doyenne, into which he went.

      Hortense, on going into the shop, had at once recognized the famous group, conspicuously placed on a table in the middle and in front of the door. Even without the circumstances to which she owed her knowledge of this masterpiece, it would probably have struck her by the peculiar power which we must call the brio—the go—of great works; and the girl herself might in Italy have been taken as a model for the personification of Brio.

      Not every work by a man of genius has in the same degree that brilliancy, that glory which is at once patent even to the most ignoble beholder. Thus, certain pictures by Raphael, such as the famous Transfiguration, the Madonna di Foligno, and the frescoes of the Stanze in the Vatican, do not at first captivate our admiration, as do the Violin-player in the Sciarra Palace, the portraits of the Doria family, and the Vision of Ezekiel in the Pitti Gallery, the Christ bearing His Cross in the Borghese collection, and the Marriage of the Virgin in the Brera at Milan. The Saint John the Baptist of the Tribuna, and Saint Luke painting the Virgin's portrait in the Accademia at Rome, have not the charm of the Portrait of Leo X., and of the Virgin at Dresden.

      And yet they are all of equal merit. Nay, more. The Stanze, the Transfiguration, the panels, and the three easel pictures in the Vatican are in the highest degree perfect and sublime. But they demand a stress of attention, even from the most accomplished beholder, and serious study, to be fully understood; while the Violin-player, the Marriage of the Virgin, and the Vision of Ezekiel go straight to the heart through the portal of sight, and make their home there. It is a pleasure to receive them thus without an effort; if it is not the highest phase of art, it is the happiest. This fact proves that, in the begetting of works of art, there is as much chance in the character of the offspring as there is in a family of children; that some will be happily graced, born beautiful, and costing their mothers little suffering, creatures on whom everything smiles, and with whom everything succeeds; in short, genius, like love, has its fairer blossoms.

      This brio, an Italian word which the French have begun to use, is characteristic of youthful work. It is the fruit of an impetus and fire of early talent—an impetus which is met with again later in some happy hours; but this particular brio no longer comes from the artist's heart; instead of his flinging it into his work as a volcano flings up its fires, it comes to him from outside, inspired by circumstances, by love, or rivalry, often by hatred, and more often still by the imperious need of glory to be lived up to.

      This group by Wenceslas was to his later works what the Marriage of the Virgin is to the great mass of Raphael's, the first step of a gifted artist taken with the inimitable grace, the eagerness, and delightful overflowingness of a child, whose strength is concealed under the pink-and-white flesh full of dimples which seem to echo to a mother's laughter. Prince Eugene is said to have paid four hundred thousand francs for this picture, which would be worth a million to any nation that owned no picture by Raphael, but no one would give that sum for the finest of the frescoes, though their value is far greater as works of art.

      Hortense restrained her admiration, for she reflected on the amount of her girlish savings; she assumed an air of indifference, and said to the dealer:

      "What is the price of that?"

      "Fifteen hundred francs," replied the man, sending a glance of intelligence to a young man seated on a stool in the corner.

      The young man himself gazed in a stupefaction at Monsieur Hulot's living masterpiece. Hortense, forewarned, at once identified him as the artist, from the color that flushed a face pale with endurance; she saw the spark lighted up in his gray eyes by her question; she looked on the thin, drawn features, like those of a monk consumed by asceticism; she loved the red, well-formed mouth, the delicate chin, and the Pole's silky chestnut hair.

      "If it were twelve hundred," said she, "I would beg you to send it to me."

      "It is antique, mademoiselle," the dealer remarked, thinking, like all his fraternity, that, having uttered this ne plus ultra of bric-a-brac, there was no more to be said.

      "Excuse me, monsieur," she replied very quietly, "it was made this year; I came expressly to beg you, if my price is accepted, to send the artist to see us, as it might be possible to procure him some important commissions."

      "And if he is to have the twelve hundred francs, what am I to get? I am the dealer," said the man, with candid good-humor.

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