It was a stronghold originally; built on these heights for the greater security of the islanders against Saracenic inroads. When a more peaceful era drew night the population began to decline; they found it more convenient to establish themselves in the new settlement lower down. Then came the Good Duke Alfred—that potentate who, as Mr. Eames was wont to say, NIHIL QUOD TETIGIT NON ORNAVIT. He took a fancy to this quaint old citadel which, before his day, could only be reached b a rough mule-track easily defended against invaders. After constructing a fine road of access with many twists and turnings, wide enough to admit the passage of two of his roomy state carriages driving abreast, he turned his mind to other improvements. Professing to be an admirer of the good old times, he decided to keep up its traditional character—it was to remain a fortress, in appearance if not reality. A massive crenellated rampart, furnished with four gateways and watch-towers at convenient intervals but serving no purpose in particular, grew up around the place; every one of its houses which failed to fit in with the design of this battlemented structure—and there were a good many of them—was ruthlessly demolished. The Old Town was enclosed in a ring.
Desirous, next, of putting an end to the annoying exodus of the natives, he fixed by law the number of inhabitants; there were to be five hundred souls, neither more nor less. If in any one year the population exceeded that figure, the surplus was taken away, from among the adult males, to work as galley-slaves in his fleet; a deficiency in the requisite number was met by giving new husbands from the lower town, often three or four at a time "with a view to ensuring good results," to those of the native women who had hitherto failed to produce offspring. The system worked well. With some trifling but reprehensive fluctuations, the birth-rate and the death-rate remained even; things were at a standstill; a fact which caused His Highness to be compared, by a courtly panegyrist, to Joshua who bade the sun arrest his march across the heavens. Another of these gentlemen calls the Duke's action a "triumph of art over nature," adding, not without a grain of malice, that "never have the generative capacities of mankind adapted themselves with more conspicuous success to the shape of an unnecessary wall." Monsignor Perrelli, unfortunately, has nothing whatever to say on the subject. For reasons which will appear anon, he is remarkably silent on all that concerns the reign of his great contemporary.
Even so the Prince was not satisfied. The fastness was yet imperfect; he disliked the variegated hues of the buildings—they reminded him of the garish brilliance in the lower town. Something different had to be contrived. He took thought and, being a man of taste and a decorist where picturesque effects were concerned, decreed that the entire place—walls, houses, the two convents (Benedictine and Carthusian), the church, and even stables and pigsties—was to be painted a uniform pink: "pink," he ordained, "without the slightest admixture of blue." He desired, in fact, a kind of rose or flesh colour, a particular tint which, he foresaw, would look well among the luscious verdure of the surroundings. His behest, as usual, was obeyed without much loss of time.
Then he surveyed his work, and saw that it was good. He had created a gem. The Old Town was a symphony in emerald and coral.
So it remained. The inhabitants grew to be proud of their rosy citadel; it was an unwritten law among them that every new house should adapt itself to this tone. For the rest, there was not much building done after his death, with the exception of a few isolated villas that sprang up, despite his old commands, in the neighbourhood. And the decline in population once more set in. Men forsook the place—all save the peasantry who tilled the surrounding fields. Towers and battlements crumbled to earth; roadways heaved uneasily with grassy tufts that sprouted in the chinks of the old paving-blocks. Sometimes at decline of day a creaking hay-waggon would lumber along, bending towards a courtyard in whose moss-grown recesses you discerned stacks of golden maize and pumpkins; apples and plum-trees, nodding drowsily over walls, littered the streets with snowy blossoms or fallen leaves. Commercial life was extinct. The few remaining shopkeepers wore an air of slumberous benevolence. The very stones suggested peace. A mellow and aristocratic flavour clung to those pink dwellings that nestled, world—forgotten, in a green content….
One of those few modern houses was the Villa Mon Repos. There was a curious history attached to the place. It had been built about a century ago at the orders of an eccentric French lady, a lyric poetess, who professed to be tired of life. She had heard that somewhere on Nepenthe was a towering precipice, unique of its kind and convenient for suicidal purposes. She thought she would like to live near that precipice—it might come in handy. There was nothing of the right sort in Paris, she declared; only five-storey hotels and suchlike; the notion of casting herself down from one of those artificial eminences did not appeal to her high-strung temperament; she craved to die like Sappho, her ideal. An architect was despatched, the ground purchased, the house built and furnished. That done, she settled up her affairs in France and established herself at Mon Repos. On the evening of her arrival she climbed the little height at the back of her domain and looked southward, down a sheer wall of rock eight or nine hundred feet high, over the wrinkled ocean. It made her feel queer. Further familiarity with the precipice did not breed contempt; her visits to the site became rarer and rarer. She died, at a patriarchal age, in her bed, after writing a scholarly pamphlet to prove that the tale of Sappho's leap over her famous silvery crag was a myth, the "purest sensationalism," a fable of the grammarians "hopelessly irreconcilable with what we know of that great woman's character."
This much the bishop had learnt from Mr. Keith. That gentleman liked the Sappho story; he called it absolutely true to human nature and so creditable to the old lady's intelligence that he would have insisted upon paying his respects to her had she not expired a good many years before his arrival on the island. And he, of course, got it from Eames who, as annotator of Perrelli's ANTIQUITIES, was in the habit of garnering old details anent private houses and so forth, and had possessed himself, in the course of his researches, of this particular pamphlet which he intended to reprint, together with others of its kind, in an appendix entitled, "Contemporary Social History."
The driving road terminated at the Old Town. Mr. Heard, descending from his carriage, followed a pathway which had been described to him by Denis and soon found himself at the entrance of the Villa Mon Repos. It was an inconspicuous little place, surrounded by three or four chestnut trees and a rose garden. A steep incline at the back of the property ended, abruptly, in air. He concluded that the precipice must be on the other side of that slope and that, if so, it was rather too near the house for his taste. Mr. Heard thoroughly understood the feelings of the French poetess. He, too, was not fond of precipices. It was as much as he could do to look down from a church tower without growing dizzy.
On the house-steps, beside an empty cradle, sat a shrivelled hag—a gaunt, forbidding anatomy, with hooked nose and brown skin. Tousled grey hair, like that of a Skye terrier, hung over her forehead, half concealing a pair of coal-black eyes. She rose up, barred the entrance with one claw-like hand, and scrutinized him distrustfully.
"A Cerberus!" he thought. "This must be the old lady who understands
Hindustani. Now I wonder if she knows English?"