Imaginary Portraits

by Walter Pater

In fact, from the day of the exhumation of the body of the Saint in the great church, he had had a wonderful curiosity for such objects, and one wintry day bethought him of removing the body of his mother from the unconsecrated ground in which it lay, that he might bury it in the cloister, near the spot where he was now used to work. At twilight he came over the frozen snow. As he passed through the stony barriers of the place the world around seemed curdled to the centre—all but himself, fighting his way across it, turning now and then right-about from the persistent wind, which dealt so roughly with his blond hair and the purple mantle whirled about him. The bones, hastily gathered, he placed, awefully but without ceremony, in a hollow space prepared secretly within the grave of another.

Meantime the winds of his organ were ready [75] to blow; and with difficulty he obtained grace from the Chapter for a trial of its powers on a notable public occasion, as follows. A singular guest was expected at Auxerre. In recompense for some service rendered to the Chapter in times gone by, the Sire de Chastellux had the hereditary dignity of a canon of the church. On the day of his reception he presented himself at the entrance of the choir in surplice and amice, worn over the military habit. The old count of Chastellux was lately dead, and the heir had announced his coming, according to custom, to claim his ecclesiastical privilege. There had been long feud between the houses of Chastellux and Auxerre; but on this happy occasion an offer of peace came with a proposal for the hand of the Lady Ariane.

The goodly young man arrived, and, duly arrayed, was received into his stall at vespers, the bishop assisting. It was then that the people heard the music of the organ, rolling over them for the first time, with various feelings of delight. But the performer on and author of the instrument was forgotten in his work, and there was no re-instatement of the former favourite. The religious ceremony was followed by a civic festival, in which Auxerre welcomed its future lord. The festival was to end at nightfall with a somewhat rude popular pageant, in which the person of Winter would be hunted blindfold through the streets. It was the sequel [76] to that earlier stage-play of the Return from the East in which Denys had been the central figure. The old forgotten player saw his part before him, and, as if mechanically, fell again into the chief place, monk's dress and all. It might restore his popularity: who could tell? Hastily he donned the ashen-grey mantle, the rough haircloth about the throat, and went through the preliminary matter. And it happened that a point of the haircloth scratched his lip deeply, with a long trickling of blood upon the chin. It was as if the sight of blood transported the spectators with a kind of mad rage, and suddenly revealed to them the truth. The pretended hunting of the unholy creature became a real one, which brought out, in rapid increase, men's evil passions. The soul of Denys was already at rest, as his body, now borne along in front of the crowd, was tossed hither and thither, torn at last limb from limb. The men stuck little shreds of his flesh, or, failing that, of his torn raiment, into their caps; the women lending their long hairpins for the purpose. The monk Hermes sought in vain next day for any remains of the body of his friend. Only, at nightfall, the heart of Denys was brought to him by a stranger, still entire. It must long since have mouldered into dust under the stone, marked with a cross, where he buried it in a dark corner of the cathedral aisle.

So the figure in the stained glass explained [77] itself. To me, Denys seemed to have been a real resident at Auxerre. On days of a certain atmosphere, when the trace of the Middle Age comes out, like old marks in the stones in rainy weather, I seemed actually to have seen the tortured figure there—to have met Denys l'Auxerrois in the streets.

III. SEBASTIAN VAN STORCK

[81] It was a winter-scene, by Adrian van de Velde, or by Isaac van Ostade. All the delicate poetry together with all the delicate comfort of the frosty season was in the leafless branches turned to silver, the furred dresses of the skaters, the warmth of the red-brick house-fronts under the gauze of white fog, the gleams of pale sunlight on the cuirasses of the mounted soldiers as they receded into the distance. Sebastian van Storck, confessedly the most graceful performer in all that skating multitude, moving in endless maze over the vast surface of the frozen water-meadow, liked best this season of the year for its expression of a perfect impassivity, or at least of a perfect repose. The earth was, or seemed to be, at rest, with a breathlessness of slumber which suited the young man's peculiar temper. The heavy summer, as it dried up the meadows now lying dead below the ice, set free a crowded and competing world of life, which, while it gleamed very pleasantly russet and [82] yellow for the painter Albert Cuyp, seemed wellnigh to suffocate Sebastian van Storck.

Yet with all his appreciation of the national winter, Sebastian was not altogether a Hollander. His mother, of Spanish descent and Catholic, had given a richness of tone and form to the healthy freshness of the Dutch physiognomy, apt to preserve its youthfulness of aspect far beyond the period of life usual with other peoples. This mixed expression charmed the eye of Isaac van Ostade, who had painted his portrait from a sketch taken at one of those skating parties, with his plume of squirrel's tail and fur muff, in all the modest pleasantness of boyhood. When he returned home lately from his studies at a place far inland, at the proposal of his tutor, to recover, as the tutor suggested, a certain loss of robustness, something more than that cheerful indifference of early youth had passed away. The learned man, who held, as was alleged, the doctrines of a surprising new philosophy, reluctant to disturb too early the fine intelligence of the pupil entrusted to him, had found it, perhaps, a matter of honesty to send back to his parents one likely enough to catch from others any sort of theoretic light; for the letter he wrote dwelt much on the lad's intellectual fearlessness. "At present," he had written, "he is influenced more by curiosity than by a care for truth, according to the character of the [83] young. Certainly, he differs strikingly from his equals in age, by his passion for a vigorous intellectual gymnastic, such as the supine character of their minds renders distasteful to most young men, but in which he shows a fearlessness that at times makes me fancy that his ultimate destination may be the military life; for indeed the rigidly logical tendency of his mind always leads him out upon the practical. Don't misunderstand me! At present, he is strenuous only intellectually; and has given no definite sign of preference, as regards a vocation in life. But he seems to me to be one practical in this sense, that his theorems will shape life for him, directly; that he will always seek, as a matter of course, the effective equivalent to—the line of being which shall be the proper continuation of—his line of thinking. This intellectual rectitude, or candour, which to my mind has a kind of beauty in it, has reacted upon myself, I confess, with a searching quality." That "searching quality," indeed, many others also, people far from being intellectual, had experienced—an agitation of mind in his neighbourhood, oddly at variance with the composure of the young man's manner and surrounding, so jealously preserved.

In the crowd of spectators at the skating, whose eyes followed, so well-satisfied, the movements of Sebastian van Storck, were the mothers [84] of marriageable daughters, who presently became the suitors of this rich and distinguished youth, introduced to them, as now grown to man's estate, by his delighted parents. Dutch aristocracy had put forth all its graces to become the winter morn: and it was characteristic of the period that the artist tribe was there, on a grand footing,—in waiting, for the lights and shadows they liked best. The artists were, in truth, an important body just then, as a natural consequence of the nation's hard-won prosperity; helping it to a full consciousness of the genial yet delicate homeliness it loved, for which it had fought so bravely, and was ready at any moment to fight anew, against man or the sea. Thomas de Keyser, who understood better than any one else the kind of quaint new Atticism which had found its way into the world over those waste salt marshes, wondering whether quite its finest type as he understood it could ever actually be seen there, saw it at last, in lively motion, in the person of Sebastian van Storck, and desired to paint his portrait. A little to his surprise, the young man declined the offer; not graciously, as was thought.

Holland, just then, was reposing on its laurels after its long contest with Spain, in a short period of complete wellbeing, before troubles of another kind should set in. That a darker time might return again, was clearly enough felt by Sebastian the elder—a time [85] like that of William the Silent, with its insane civil animosities, which would demand similarly energetic personalities, and offer them similar opportunities. And then, it was part of his honest geniality of character to admire those who "get on" in the world. Himself had been, almost from boyhood, in contact with great affairs. A member of the States-General which had taken so hardly the kingly airs of Frederick Henry, he had assisted at the Congress of Munster, and figures conspicuously in Terburgh's picture of that assembly, which had finally established Holland as a first-rate power. The heroism by which the national wellbeing had been achieved was still of recent memory—the air full of its reverberation, and great movement. There was a tradition to be maintained; the sword by no means resting in its sheath. The age was still fitted to evoke a generous ambition; and this son, from whose natural gifts there was so much to hope for, might play his part, at least as a diplomatist, if the present quiet continued. Had not the learned man said that his natural disposition would lead him out always upon practice?