Now, had the Saint and his brother Dominican not been waylaid on their journey, they would have passed by this very fence, and would have stooped, as we do, to decipher the scroll, and would have very much wondered who was Bellinus, and what it was that he had done. The woodmen and the shepherd in the olive-grove by the roadside, the cowherds by the well, yonder—they have seen the scroll, I dare say, but they are not scholars enough to have read its letters. Cavina and his comrade in arms, lying in wait here, probably did not observe it, so intent were they for that pious and terrible Inquisitor who was to pass by. How their hearts must have leapt when they saw him, at length, with his companion, coming across that little arched bridge from the town—a conspicuous, unmistakable figure, clad in the pied frock of his brotherhood and wearing the familiar halo above his closely-shorn pate.
Cavina stands now over the fallen Saint, planting the short dagger in his heart. The other Dominican is being chased by Cavina's comrade, his face wreathed in a bland smile, his hands stretched childishly before him. Evidently he is quite unconscious how grave his situation is. He seems to think that this pursuit is merely a game, and that if he touch the wood of the olive-trees first, he will have won, and that then it will be his turn to run after this man in the helmet. Or does he know perhaps that this is but a painting, and that his pursuer will never be able to strike him, though the chase be kept up for many centuries? In any case, his smile is not at all seemly or dramatic. And even more extraordinary is the behaviour of the woodmen and the shepherd and the cowherds. Murder is being done within a yard or two of them, and they pay absolutely no attention. How Tacitus would have delighted in this example of the 'inertia rusticorum'! It is a great mistake to imagine that dwellers in quiet districts are more easily excited by any event than are dwellers in packed cities. On the contrary, the very absence of 'sensations' produces an atrophy of the senses. It is the constant supply of 'sensations' which creates a real demand for them in cities. Suppose that in our day some specially unpopular clergyman were martyred 'at the corner of Fenchurch Street,' how the 'same old crush' would be intensified! But here, in this quiet glade 'twixt Milan and Como, on this quiet, sun-steeped afternoon in early Spring, with a horrible outrage being committed under their very eyes, these callous clowns pursue their absurd avocations, without so much as resting for one moment to see what is going on.
Cavina plants the dagger methodically, and the Inquisitor himself is evidently filled with that intense self-consciousness which sustains all martyrs in their supreme hour and makes them, it may be, insensible to actual pain. One feels that this martyr will write his motto in the dust with a firm hand. His whole comportment is quite exemplary. What irony that he should be unobserved! Even we, posterity, think far less of St. Peter than of Bellini when we see this picture; St. Peter is no more to us than the blue harmony of those little hills beyond, or than that little sparrow perched on a twig in the foreground. After all, there have been so many martyrs—and so many martyrs named Peter—but so few great painters. The little screed on the fence is no mere vain anachronism. It is a sly, rather malicious symbol. PERIIT PETRUS: BILLINUS FECIT, as who should say.
'L'OISEAU BLEU'
A PAINTING ON SILK BY CHARLES CONDER
Over them, ever over them, floats the Blue Bird; and they, the ennuye'es and the ennuyants, the ennuyantes and the ennuye's, these Parisians of 1830, are lolling in a charmed, charming circle, whilst two of their order, the young Duc de Belhabit et Profil-Perdu with the girl to whom he has but recently been married, move hither or thither vaguely, their faces upturned, making vain efforts to lure down the elusive creature. The haze of very early morning pervades the garden which is the scene of their faint aspiration. One cannot see very clearly there. The ladies' furbelows are blurred against the foliage, and the lilac-bushes loom through the air as though they were white clouds full of rain. One cannot see the ladies' faces very clearly. One guesses them, though, to be supercilious and smiling, all with the curved lips and the raised eyebrows of Experience. For, in their time, all these ladies, and all their lovers with them, have tried to catch this same Blue Bird, and have been full of hope that it would come fluttering down to them at last. Now they are tired of trying, knowing that to try were foolish and of no avail. Yet it is pleasant for them to see, as here, others intent on the old pastime. Perhaps—who knows?—some day the bird will be trapped... Ah, look! Monsieur Le Duc almost touched its wing! Well for him, after all, that he did not more than that! Had he caught it and caged it, and hung the gilt cage in the boudoir of Madame la Duchesse, doubtless the bird would have turned out to be but a moping, drooping, moulting creature, with not a song to its little throat; doubtless the blue colour is but dye, and would soon have faded from wings and breast. And see! Madame la Duchesse looks a shade fatigued. She must not exert herself too much. Also, the magic hour is all but over. Soon there will be sunbeams to dispel the dawn's vapour; and the Blue Bird, with the sun sparkling on its wings, will have soared away out of sight. Allons! The little rogue is still at large.