The Three Cities Trilogy: Rome, Volume 5

by Émile Zola

He had purchased a little box, since his valise could not possibly hold all the linen and winter clothing which had been sent to him from Paris as his stay in Rome became more and more protracted. However, the packing was soon accomplished; the wardrobe was emptied, the drawers were visited, the box and valise filled and securely locked by seven o'clock. An hour remained to him before supper and he sat there resting, when his eyes whilst travelling round the walls to make sure that he had forgotten nothing, encountered that old painting by some unknown master, which had so often filled him with emotion. The lamplight now shone full upon it; and this time again as he gazed at it he felt a blow in the heart, a blow which was all the deeper, as now, at his parting hour, he found a symbol of his defeat at Rome in that dolent, tragic, half-naked woman, draped in a shred of linen, and weeping between her clasped hands whilst seated on the threshold of the palace whence she had been driven. Did not that rejected one, that stubborn victim of love, who sobbed so bitterly, and of whom one knew nothing, neither what her face was like, nor whence she had come, nor what her fault had been—did she not personify all man's useless efforts to force the doors of truth, and all the frightful abandonment into which he falls as soon as he collides with the wall which shuts the unknown off from him? For a long while did Pierre look at her, again worried at being obliged to depart without having seen her face behind her streaming golden hair, that face of dolorous beauty which he pictured radiant with youth and delicious in its mystery. And as he gazed he was just fancying that he could see it, that it was becoming his at last, when there was a knock at the door and Narcisse Habert entered.

Pierre was surprised to see the young /attache/, for three days previously he had started for Florence, impelled thither by one of the sudden whims of his artistic fancy. However, he at once apologised for his unceremonious intrusion. "Ah! there is your luggage!" he said; "I heard that you were going away this evening, and I was unwilling to let you leave Rome without coming to shake hands with you. But what frightful things have happened since we met! I only returned this afternoon, so that I could not attend the funeral. However, you may well imagine how thunderstruck I was by the news of those frightful deaths."

Then, suspecting some unacknowledged tragedy, like a man well acquainted with the legendary dark side of Rome, he put some questions to Pierre but did not insist on them, being at bottom far too prudent to burden himself uselessly with redoubtable secrets. And after Pierre had given him such particulars as he thought fit, the conversation changed and they spoke at length of Italy, Rome, Naples, and Florence. "Ah! Florence, Florence!" Narcisse repeated languorously. He had lighted a cigarette and his words fell more slowly, as he glanced round the room. "You were very well lodged here," he said, "it is very quiet. I had never come up to this floor before."

His eyes continued wandering over the walls until they were at last arrested by the old painting which the lamp illumined, and thereupon he remained for a moment blinking as if surprised. And all at once he rose and approached the picture. "Dear me, dear me," said he, "but that's very good, that's very fine."

"Isn't it?" rejoined Pierre. "I know nothing about painting but I was stirred by that picture on the very day of my arrival, and over and over again it has kept me here with my heart beating and full of indescribable feelings."

Narcisse no longer spoke but examined the painting with the care of a connoisseur, an expert, whose keen glance decides the question of authenticity, and appraises commercial value. And the most extraordinary delight appeared upon the young man's fair, rapturous face, whilst his fingers began to quiver. "But it's a Botticelli, it's a Botticelli! There can be no doubt about it," he exclaimed. "Just look at the hands, and look at the folds of the drapery! And the colour of the hair, and the technique, the flow of the whole composition. A Botticelli, ah! /mon Dieu/, a Botticelli."

He became quite faint, overflowing with increasing admiration as he penetrated more and more deeply into the subject, at once so simple and so poignant. Was it not acutely modern? The artist had foreseen our pain-fraught century, our anxiety in presence of the invisible, our distress at being unable to cross the portal of mystery which was for ever closed. And what an eternal symbol of the world's wretchedness was that woman, whose face one could not see, and who sobbed so distractedly without it being possible for one to wipe away her tears. Yes, a Botticelli, unknown, uncatalogued, what a discovery! Then he paused to inquire of Pierre: "Did you know it was a Botticelli?"

"Oh no! I spoke to Don Vigilio about it one day, but he seemed to think it of no account. And Victorine, when I spoke to her, replied that all those old things only served to harbour dust."

Narcisse protested, quite stupefied: "What! they have a Botticelli here and don't know it! Ah! how well I recognise in that the Roman princes who, unless their masterpieces have been labelled, are for the most part utterly at sea among them! No doubt this one has suffered a little, but a simple cleaning would make a marvel, a famous picture of it, for which a museum would at least give—"

He abruptly stopped, completing his sentence with a wave of the hand and not mentioning the figure which was on his lips. And then, as Victorine came in followed by Giacomo to lay the little table for Pierre's supper, he turned his back upon the Botticelli and said no more about it. The young priest's attention was aroused, however, and he could well divine what was passing in the other's mind. Under that make-believe Florentine, all angelicalness, there was an experienced business man, who well knew how to look after his pecuniary interests and was even reported to be somewhat avaricious. Pierre, who was aware of it, could not help smiling therefore when he saw him take his stand before another picture—a frightful Virgin, badly copied from some eighteenth-century canvas—and exclaim: "Dear me! that's not at all bad! I've a friend, I remember, who asked me to buy him some old paintings. I say, Victorine, now that Donna Serafina and the Cardinal are left alone do you think they would like to rid themselves of a few valueless pictures?"