There was no need for the precaution. The danger that threatened Massignac did not come from the crowd, which preserved a religious silence, as though it were preparing to celebrate some solemn ritual. Massignac was received with neither applause nor invective. The spectators waited gravely for what was about to happen, though no one guessed that that was on the point of happening. Those seated on the upper tiers, of whom I was one, often turned their heads upwards. In the clear sky, shimmering with gold, shone Venus, the Evening Star.
What a moment! For the first time in the world's history men felt certain that they were being contemplated by eyes which were not human eyes and watched by minds which differed from their own minds. For the first time they were connected in a tangible fashion with that beyond, formerly peopled by their dreams and their hopes alone, from which the friendly gaze of their new brothers now fell upon them. These were not legends and phantoms projected into the empty heavens by our thirsting souls, but living beings who were addressing us in the living and natural language of the pictures, until the hour, now near at hand, when we should talk together like friends who had lost and found one another.
Their eyes, their Three Eyes, were infinitely gentle that day, filled with a tenderness which seemed born of love and which thrilled us with an equal tenderness, with the same love. What were they presaging, those women's eyes, those eyes of many women that quivered before us so attractively and with such smiles and such delightful promise? Of what happy and charming scenes of our past were we to be the astonished witnesses?
I watched my neighbours. All, like myself, were leaning towards the screen. The sight affected their faces before it occurred. I noticed the pallor of two young men beside me. A woman whose face was hidden from my eyes by a thick mourning-veil sat with her handkerchief in her hand, ready to shed tears.
The first scene represented a landscape, full of glaring light, which appeared to be an Italian landscape, with a dusty road along which cavalry-men, wearing the uniform of the revolutionary armies, were galloping around a travelling-carriage drawn by four horses. Then, immediately afterwards, we saw in a shady garden, at the end of an avenue of dark cypresses, a house with closed shutters standing on a flower-decked terrace.
The carriage stopped at the foot of the terrace and drove off again after setting down an officer who ran up to the door and knocked at it with the pommel of his sword.
The door was opened almost at once. A tall young woman rushed out of the house, with her arms outstretched towards the officer. But, at the moment when they were about to embrace, they both took a few steps backwards, as though to delay their happiness and in so doing to taste its delights more fully.
Then the screen showed us the woman's face; and words cannot depict the expression of joy and headlong love that turned this face, which was neither very beautiful nor very young, into something more alive with youth and beauty than anything in this world.
After that, the lovers flung themselves into each others' arms, as though their lives, too long separated, were striving to make but one. Their lips united.
We saw nothing more of the French officer and his Italian lover. A new picture followed, less bright but equally clear, the picture of a long, battlemented rampart, marked with a series of round, machicolated towers. Below and in the centre, among the ruins of a bastion, were trees growing in a semicircle around an ancient oak-tree.