And why these birds are there is the result of a little domestic disagreement between the artist Henri Verbruggen and his wife Martha Van Meeren, whom he married, hoping to find a tenth muse, but who only proved a prosaic everyday somebody, who fretted herself to death because Henri loved pleasure even more than art, and, while amusing himself with his friends, forgot there was no money in the house, nothing in the larder, nothing wherewith to dress Mme. and Mlle. Verbruggen. Poor Martha, who loved order, and would have been the treasure of some honest burgher, only provoked and irritated Henri by her occasional plain statement of facts. Affairs were in this sad condition when the Jesuits of Louvain, knowing the splendid talent of Verbruggen, ordered a pulpit for their church. The artist was enchanted. Here was a field for his genius; he immediately conceived an admirable work, which should contain, as in a book, the whole history of the Christian religion.
Said he, “I will make a globe, which will represent the earth, under which I will place Adam and Eve, the moment after their fatal disobedience, which entailed on us such misery. This globe will be the pulpit, the canopy of heaven will cover it, the tree of knowledge will overshadow it, around which will creep the serpent, and above, Mary, crowned with stars, the moon at her feet, her infant Son before her, will bruise the serpent's head with the cross. By the side of the man I will place the cherubim with the flaming sword; near the woman, young and beautiful, hideous death—that will be a contrast!”
The artist commenced his work with ardor. The wood grew animated beneath his fingers. But pleasure for ever distracted him; the more people admired, the more he amused himself. Martha was miserable; she could see no hope of order and plenty. Irritated by the complaints of his wife, Verbruggen determined to revenge himself in his chef-d'œuvre, and so perpetuate his vengeance. He was making the stairs of the pulpit. In his angry malice, Verbruggen thought he would punish Martha by placing satirical emblems to characterize women. On the staircase, by the side of Eve, who has just sinned, and who still holds the apple, he placed, as symbols, a peacock for pride, a squirrel for destructiveness, a cock for noise, an ape for malice—four defects of which poor Martha was totally innocent.
Man he made with pleasure. On his side he placed, first, an eagle, to typify genius—but just then Martha bade adieu to the world and her troubles, and Verbruggen was a happy widower. Too late, the sculptor understood his loss; the gentle, patient wife was gone, and now he only remembered her good qualities; his courage and energy forsook him; he could not work. Months rolled on; his friends pitied him, and tried to rouse him from his deep despondency.
“You weep for Martha,” said they; “there are others as good; you are only thirty-six—marry Cecile Byns. She is joyous and lively like you. She will be a mother to your daughter, a charming companion for you.”
Verbruggen listened to the good advice; he asked the hand of Cecile Byns, who was one of those women that rule while laughing, that carry the point while appearing to submit. Cecile knew her power over Verbruggen, and made him obey.
“I love you,” said she, “but I will not marry you until the work which will make me proud of the name of Verbruggen is finished.”
“Only say the word,” replied Henri, “and I will complete it.”
Accompanied by her mother, she visited his atelier. She asked the explanation of the emblems he had placed on the side of Eve. The sculptor blushed.
“When I made what astonishes you,” he stammered, “I did not know Cecile Byns.”