The shop-front presented an attractive appearance: there were Flemish angels in green copes, after the manner of Gérard David, a Salomé of the Luini school, a Saint Barbara in painted wood of French workmanship, Limoges enamel-work, Bohemian and Venetian glass, dishes from Urbino. There were specimens of English point-lace which, if her tale was true, had been presented to Zéphyrine, in the days of her radiant girlhood, by the Emperor Napoleon III. Within, there were golden articles that glinted in the shadows, while pictures of Christ, the Apostles, high-bred dames, and nymphs also presented themselves to the gaze. There was one canvas that was turned face to the wall so that it should only be looked at by connoisseurs; and connoisseurs are scarce. It was a replica of Fragonard's Gimblette, a brilliant painting that looked as if it had barely had time to dry. Papa Guinardon himself remarked on the fact. At the far end of the shop was a king-wood cabinet, the drawers of which were full of all manner of treasures: water-colours by Baudouin, eighteenth-century books of illustrations, miniatures, and so forth.

But the real masterpiece, the marvel, the gem, the pearl of great price, stood upon an easel veiled from public view. It was a Coronation of the Virgin by Fra Angelico, an exquisitely delicate thing in gold and blue and pink. Père Guinardon was asking a hundred thousand francs for it. Upon a Louis XV chair beside an Empire work-table on which stood a vase of flowers, sat the fair Octavie, broidery in hand. She, having left her glistering rags behind her in the garret in the rue Princesse, no longer presented the appearance of a touched-up Rembrandt, but shone, rather, with the soft radiance and limpidity of a Vermeer of Delft, for the delectation of the connoisseurs who frequented the shop of Papa Guinardon. Tranquil and demure, she remained alone in the shop all day, while the old fellow himself was up aloft working away at the deuce knows what picture. About five o'clock he used to come downstairs and have a chat with the habitués of the establishment.

The most regular caller was the Comte Desmaisons, a thin, cadaverous man. A strand of hair issued from the deep hollow under each cheek-bone, and, broadening as it descended, shed upon his chin and chest torrents of snow in which he was for ever trailing his long, fleshless, gold-ringed fingers. For twenty years he had been mourning the loss of his wife, who had been carried off by consumption in the flower of her youth and beauty. Since then he had spent his whole life in endeavouring to hold converse with the dead and in filling his lonely mansion with second-rate paintings. His confidence in Guinardon knew no bounds. Another client who was a scarcely less frequent visitor to the shop was Monsieur Blancmesnil, a director of a large financial establishment. He was a florid, prosperous-looking man of fifty. He took no great interest in matters of art, and was perhaps an indifferent connoisseur, but, in his case, it was the fair Octavie, seated in the middle of the shop, like a song-bird in its cage, that offered the attraction.

Monsieur Blancmesnil soon established relations with her, a fact which Père Guinardon alone failed to perceive, for the old fellow was still young in his love-affair with Octavie. Monsieur Gaétan d'Esparvieu used to pay occasional visits to Père Guinardon's shop out of mere curiosity, for he strongly suspected the old man of being a first-rate "faker."

And then that doughty swordsman, Monsieur Le Truc de Ruffec, also came to see the old antiquary on one occasion, and acquainted him with a plan he had on foot. Monsieur Le Truc de Ruffec was getting up a little historical exhibition of small arms at the Petit Palais in aid of the fund for the education of the native children in Morocco and wanted Père Guinardon to lend him a few of the most valuable articles in his collection.

"Our first idea," he said, "was to organise an exhibition to be called 'The Cross and the Sword.' The juxtaposition of the two words will make the idea which has prompted our undertaking sufficiently clear to you. It was an idea pre-eminently patriotic and Christian which led us to associate the Sword, which is the symbol of Honour, with the Cross, which is the symbol of Salvation. It was hoped that our work would be graced by the distinguished patronage of the Minister of War and Monseigneur Cachepot. Unfortunately there were difficulties in the way, and the full realisation of the project had to be deferred. In the meantime we are limiting our exhibition to 'The Sword.' I have drawn up an explanatory note indicating the significance of the demonstration."

Having delivered himself of these remarks, Monsieur Le Truc de Ruffec produced a pocket-case stuffed full of papers. Picking out from a medley of judgment summonses and other odds and ends a little piece of very crumpled paper, he exclaimed, "Ah, here it is," and proceeded to read as follows: "'The Sword is a fierce Virgin; it is par excellence the Frenchman's weapon. And now, when patriotic sentiment, after suffering an all too protracted eclipse, is beginning to shine forth again more ardently than ever ...' and so forth; you see?"

And he repeated his request for some really fine specimen to be placed in the most conspicuous position in the exhibition to be held on behalf of the little native children of Morocco, of which General d'Esparvieu was to be honorary President.

Arms and armour were by no means Père Guinardon's strong point. He dealt principally in pictures, drawings, and books. But he was never to be taken unawares. He took down a rapier with a gilt colander-shaped hilt, a highly typical piece of workmanship of the Louis XIII-Napoleon III period, and presented it to the exhibition promoter, who, while contemplating it with respect, maintained a diplomatic silence.

"I have something better still in here," said the antiquary, and he produced from his inner shop—where it had been lying among the walking-sticks and umbrellas—a real demon of a sword, adorned with fleurs-de-lys, a genuine royal relic. It was the sword of Philippe-Auguste as worn by an actor at the Odéon when Agnès de Méranie was being performed in 1846. Guinardon held it point downwards, as though it were a cross, clasping his hands piously on the cross-bar. He looked as loyal as the sword itself.

"Have her for your exhibition," said he. "The damsel is well worth it. Bouvines is her name."

"If I find a buyer for it," said Monsieur Le True de Ruffec, twirling his enormous moustachios, "I suppose you will allow me a little commission?"

Some days later, Père Guinardon was mysteriously displaying a picture to the Comte Desmaisons and Monsieur Blancmesnil. It was a newly discovered work of El Greco, an amazingly fine example of the Master's later style. It represented a Saint Francis of Assisi standing erect upon Mont Alverno. He was mounting heavenward like a column of smoke, and was plunging into the regions of the clouds a monstrously narrow head that the distance rendered smaller still. In fine it was a real, very real, nay, too real El Greco. The two collectors were attentively scrutinizing the work, while Père Guinardon was belauding the depth of the shadows and the sublimity of the expression. He was raising his arms aloft to convey an idea of the greatness of Theotocopuli, who derived from Tintoretto, whom, however, he surpassed in loftiness by a hundred cubits.

"He was chaste and pure and strong; a mystic, a visionary."

Comte Desmaisons declared that El Greco was his favourite painter. In his inmost heart Blancmesnil was not so entirely struck with it.

The door opened, and Monsieur Gaétan quite unexpectedly appeared on the scene.

He gave a glance at the Saint Francis, and said:

"Bless my soul!"

Monsieur Blancmesnil, anxious to improve his knowledge, asked him what he thought of this artist who was now so much in vogue. Gaétan replied, glibly enough, that he did not regard El Greco as the eccentric, the madman that people used to take him for. It was rather his opinion that a defect of vision from which Theotocopuli suffered compelled him to deform his figures.

"Being afflicted with astigmatism and strabismus," Gaétan went on, "he painted the things he saw exactly as he used to see them."

Comte Desmaisons was not readily disposed to accept so natural an explanation, which, however, by its very simplicity, highly commended itself to Monsieur Blancmesnil.

Père Guinardon, quite beside himself, exclaimed:

"Are you going to tell me, Monsieur d'Esparvieu, that Saint John was astigmatic because he beheld a woman clothed with the sun, crowned with stars, with the moon about her feet; the Beast with seven heads and ten horns, and the seven angels robed in white linen that bore the seven cups filled with the wrath of the Living God?"

"After all," said Monsieur Gaétan, by way of conclusion, "people are right in admiring El Greco if he had genius enough to impose his morbidity of vision upon them. By the same token, the contortions to which he subjects the human countenance may give satisfaction to those who love suffering,—a class more numerous than is generally supposed."

"Monsieur," replied the Comte Desmaisons, stroking his luxuriant beard with his long, thin hand, "we must love those that love us. Suffering loves us and attaches itself to us. We must love it if life is to be supportable to us. In the knowledge of this truth lies the strength and value of Christianity. Alas! I do not possess the gift of Faith. It is that which drives me to despair."

The old man thought of her for whom he had been mourning twenty years, and forthwith his reason left him, and his thoughts abandoned themselves unresistingly to the morbid imaginings of gentle and melancholy madness.

Having, he said, made a study of psychic matters, and having, with the co-operation of a favourable medium, carried out experiments concerning the nature and duration of the soul, he had obtained some remarkable results, which, however, did not afford him complete satisfaction. He had succeeded in viewing the soul of his dead wife under the appearance of a transparent and gelatinous mass which bore not the slightest resemblance to his adored one. The most painful part about the whole experiment—which he had repeated over and over again—was that the gelatinous mass, which was furnished with a number of extremely slender tentacles, maintained them in constant motion in time to a rhythm apparently intended to make certain signs, but of what these movements were supposed to convey there was not the slightest clue.

During the whole of this narrative Monsieur Blancmesnil had been whispering in a corner with the youthful Octavie, who sat mute and still, with her eyes on the ground.

Now Zéphyrine had by no means made up her mind to resign her lover into the hands of an unworthy rival. She would often go round of a morning, with her shopping-basket on her arm, and prowl about outside the curio shop. Torn betwixt grief and rage, tormented by warring ideas, she sometimes thought she would empty a saucepanful of vitriol on the head of the faithless one; at others that she would fling herself at his feet, and shower tears and kisses on his precious hands. One day, as she was thus eyeing her Michel—her beloved but guilty Michel—she noticed through the window the fair and youthful Octavie, who was sitting with her embroidery at a table upon which, in a vase of crystal, a rose was swooning to death. Zéphyrine, in a transport of fury, brought down her umbrella on her rival's fair head, and called her a bitch and a trollop. Octavie fled in terror, and ran for the police, while Zéphyrine, beside herself with grief and love, kept digging away with her old gamp at the Gimblette of Fragonard, the fuliginous Saint Francis of El Greco, the virgins, the nymphs, and the apostles, and knocked the gilt off the Fra Angelico, shrieking all the while:

"All those pictures there, the El Greco, the Beato Angelico, the Fragonard, the Gérard David, and the Baudouins—Guinardon painted the whole lot of them himself, the wretch, the scoundrel! That Fra Angelico there, why I saw him painting it on my ironing-board, and that Gérard David he executed on an old midwife's sign-board. You and that bitch of yours, why, I'll do for the pair of you just as I'm doing for these pictures."

And tugging away at the coat of an aged collector who, trembling all over, had hidden himself in the darkest corner of the shop, she called him to witness to the crimes of Guinardon, perjurer and impostor. The police had simply to tear her out of the ruined shop. As she was being taken off to the station, followed by a great crowd of people, she raised her fiery eyes to Heaven, crying in a voice choked with sobs:

"But don't you know Michel? If you knew him, you would understand that it is impossible to live without him. Michel! He is handsome and good and charming. He is a very god. He is Love itself. I love him! I love him! I love him! I have known men high up in the world—Dukes, Ministers of State, and higher still. Not one of them was worthy to clean the mud off Michel's boots. My good, kind sirs, give him back to me again."

---

CHAPTER XXIII

The accompanist had just left. Prince Istar seated himself at the piano, and Bouchotte resumed her task. Her movements were unseemly and delicious. Her tawny hair was flying in all directions in wild disordered curls; her skin was moist, it exhaled a scent of violets and alkaline salts which made the nostrils throb; even she herself felt the intoxication. Suddenly, inebriated with her intoxicating presence, Prince Istar arose, and with never a word or a look, caught her into his arms and drew her on to the couch, the little couch with the flowered tapestry which Théophile had procured at one of the big shops by promising to pay ten francs a month for a long term of years. Now Istar might have solicited Bouchotte's favours; he might have invited her to a rapid, and, withal, a mutual embrace, and, despite her preoccupation and excitement, she would not have refused him. But Bouchotte was a girl of spirit. The merest hint of coercion awoke all her untamable pride. She would consent of her own accord, yes; but be mastered, never! She would readily yield to love, curiosity, pity, to less than that even, but she would die rather than yield to force. Her surprise immediately gave place to fury. She fought her aggressor with all her heart and soul.

With nails, to which fury lent an added edge, she tore at the cheeks and eyelids of the Kerûb, and, though he held her as in a vice, she arched herself so stiffly and made such excellent play with knee and elbow, that the human-headed bull, blinded with blood and rage, was sent crashing into the piano which gave forth a prolonged groan, while the bombs, tumbling out of his pockets, fell on the floor with a noise like thunder. And Bouchotte, with dishevelled locks, and one breast bare, beautiful and terrible, stood brandishing the poker over the prostrate giant, crying:

"Be off with you, or I'll put your eyes out!"

Prince Istar went to wash himself in the kitchen, and plunged his gory visage into a basin where some haricot beans lay soaking; then he withdrew without anger or resentment, for he had a noble soul.

Scarcely had he gone when the door-bell rang. Bouchotte, calling upon the absent maid in vain, slipped on a dressing-gown and opened the door herself. A young man, very correct in appearance and rather good-looking, bowed politely, and apologising for having to introduce himself, gave his name. It was Maurice d'Esparvieu.

Maurice was still seeking his guardian angel. Upheld by a desperate hope, he sought him in the queerest places. He enquired for him at the houses of sorcerers, magicians, and thaumaturgists, who in filthy hovels lay bare the ineffable secrets of the future, and who, though masters of all the treasures of the earth, wear trousers without any seats to them, and eat pigs' brains. That very day, having been to a back street in Montmartre to consult a priest of Satan, who practised black magic by piercing waxen images, Maurice had gone on to Bouchotte's, having been sent by Madame de la Verdelière, who, being about to give a fête in aid of the fund for the Preservation of Country Churches, was anxious to secure Bouchotte's services, since she had suddenly become—no one knew why—a fashionable artiste.

Bouchotte invited the visitor to sit down on the little flowered couch; at his request she seated herself beside him, and our young man of fashion explained to the singer what Madame de la Verdelière desired of her. The lady wished Bouchotte to sing one of those apache songs which were giving such delight in the fashionable world. Unfortunately Madame de la Verdelière could only offer a very modest fee, one out of all proportion to the merits of the artiste, but then it was for a good cause.

Bouchotte agreed to take part, and accepted the reduced fee with the accustomed liberality of the poor towards the rich and of artists towards society people. Bouchotte was not a selfish girl; the work for the preservation of country churches interested her. She remembered with sobs and tears her first communion, and she still retained her faith. When she passed by a church she wanted to enter it, especially in the evening. And so she did not love the Republic which had done its utmost to destroy both the Church and the Army. Her heart rejoiced to see the re-birth of national sentiment. France was lifting up her head. What was most applauded in the music halls were songs about the soldiers and the kind nuns. Meanwhile Maurice inhaled the odour of her tawny hair, the subtle bitter perfume of her body, all the odours of her person, and desire grew in him. He felt her near him on the little couch, very warm and very soft. He complimented the artiste on her great talent. She asked him what he liked best in all her repertory. He knew nothing about it, still he made replies that satisfied her. She had dictated them herself without knowing it. The vain creature spoke of her talent, of her success, as she wished others to speak of them. She never ceased talking of her triumphs, yet withal she was candour itself. Maurice in all sincerity praised Bouchotte's beauty, her fresh skin, her purity of line. She attributed this advantage to the fact that she never made up and never "put messes on her face." As to her figure, she admitted that there was enough everywhere and none too much, and to illustrate this assertion she passed her hand over all the contours of her charming body, rising lightly to follow the delightful curves on which she reposed.

Maurice was quite moved by it. It began to grow dark; she offered to light up. He begged her to do nothing of the sort.

Their talk, at first gay and full of laughter, grew more intimate and very sweet, with a certain languor in its tone. It seemed to Bouchotte that she had known Monsieur Maurice d'Esparvieu for a long time, and holding him for a man of delicacy, she gave him her confidence. She told him that she was by nature a good woman, but that she had had a grasping and unscrupulous mother. Maurice recalled her to the consideration of her own beauty, and exalted by subtle flattery the excellent opinion she had of herself. Patient and calculating, in spite of the burning desire growing in him, he aroused and increased in the desired one the longing to be still further admired. The dressing-gown opened and slipped down of its own accord, the living satin of her shoulders gleamed in the mysterious light of evening. He—so prudent, so clever, so adroit,—let her sink in his arms, ardent and half swooning before she had even perceived she had granted anything at all. Their breath and their murmurs intermingled. And the little flowery couch sighed in sympathy with them.

When they recovered the power to express their feelings in words, she whispered in his ear that his cheek was even softer than her own.

He answered, holding her embraced:

"It is charming to hold you like this. One would think you had no bones."

She replied, closing her eyes:

"It is because I love you. Love seems to dissolve my bones; it makes me as soft and melting as a pig's foot à la Ste. Menebould."

Hereupon Théophile came in, and Bouchotte called upon him to thank Monsieur Maurice d'Esparvieu, who had been amiable enough to be the bearer of a handsome offer from Madame la Comtesse de la Verdelière.

The musician was happy, feeling the quiet and peace of the house after a day of fruitless applications, of colourless lessons, of failure and humiliation. Three new collaborators had been thrust upon him who would add their signatures to his on his operetta, and receive their share of the author's rights, and he had been told to introduce the tango into the Court of Golconda. He pressed young d'Esparvieu's hand and dropped wearily on to the little couch, which, being now at the end of its strength, gave way at the four legs and suddenly collapsed.

And the angel, precipitated to the ground, rolled terror-struck on to the watch, match-box and cigarette-case that had fallen from Maurice's pocket, and on to the bombs Prince Istar had left behind him.

---

CHAPTER XXIV

And as it did not figure on any list of goods received it remained shut up in a cupboard, from which Léger-Massieu's son, the youthful Ernest, one day surreptitiously abstracted it, and slipped it into his pocket. Ernest was in love with a neighbouring seamstress whose name was Rose. Rose was fond of the country, and liked to hear the birds singing in the woods, and in order to procure the wherewithal to take her to Chatou one Sunday and give her a dinner, Ernest parted with the Lucretius for ten francs to old Moranger, a second-hand dealer in the rue Saint X——, who displayed no great curiosity regarding the origin of his acquisitions. Old Moranger handed over the volume, the very same day, to Monsieur Poussard, an expert in books, of the faubourg Saint Germain, for sixty francs. The latter removed the stamp which disclosed the ownership of the matchless copy, and sold it for five hundred francs to Monsieur Joseph Meyer, the well-known collector, who handed it straight away for three thousand francs to Monsieur Ardon, the bookseller, who immediately transferred it to Monsieur R——, the great Parisian bibliopolist, who gave six thousand for it, and sold it again a fortnight later at a handsome profit to Madame la Comtesse de Gorce. Well known in the higher ranks of Parisian society, the lady in question is what was called in the seventeenth century a "curieuse," that is to say, a lover of pictures, books, and china. In her mansion in the Avenue d'Jéna she possesses collections of works of art which bear witness to the diversity of her knowledge and the excellence of her taste. During the month of July, while the Comtesse de Gorce was away at her château at Sarville in Normandy, the house in the Avenue d'Jéna, being unoccupied, was visited one night by a thief said to belong to a gang known as "The Collectors," who made works of art the special objects of their raids.

The police enquiry elicited the fact that the marauder had reached the first floor by means of the waste-pipe, that he had then climbed over the balcony, forced a shutter with a jemmy, broken a pane of glass, turned the window-fastener, and made his way into the long gallery. There he broke open several cupboards and possessed himself of whatever took his fancy. His booty consisted for the most part of small but valuable articles, such as gold caskets, a few ivory carvings of the fourteenth century, two splendid fifteenth-century manuscripts, and a volume which the Countess's secretary briefly described as "a morocco-bound book with a coat of arms on it," and which was none other than the Lucretius from the d'Esparvieu library.

The malefactor, who was supposed to be an English cook, was never discovered. But, two months or so after the theft, a well-dressed, clean-shaven young man passed down the rue de Courcelles, in the dimness of twilight, and went to offer the Prior de Vendôme's Lucretius to Père Guinardon. The antiquary gave him four shillings for it, examined it carefully, recognised its interest and its beauty, and put it in the king-wood cabinet, where he kept his special treasures.

Such were the vicissitudes which, in the course of a single season, befel this thing of beauty.

---

CHAPTER XXV

"Now, then, ladies and gentlemen," she rattled on derisively, "just put a penny in the box for the young lady's marriage-portion, and she'll let you feel her legs,—all made of marble!"

Then, with an angry glance at the admiring throng, she exclaimed: "Come, off you go! Look alive!"

She sent them all packing, her sweetheart Théophile among them,—the pale-faced, long-haired, gentle, melancholy, short-sighted, and dreamy Théophile.

But recognizing her little Maurice, she gave him a smile. He approached her, and leaning over the back of the chair on which she was seated, congratulated her on her playing and singing, duly performing a kiss at the end of every compliment. She did not let him escape thus, and with reiterated enquiries, pressing solicitations, feigned incredulity, obliged him to repeat his stock panegyrics three or four times over, and when he stopped she seemed so disappointed that he was forced to take up the strain again immediately. He found it trying, for he was no connoisseur, but he had the pleasure of kissing her plump curved shoulders all golden in the light, and of catching glimpses of her pretty face in the mirror over the toilet-table.

"You were delicious."

"Really?... you think so?"

"Adorable ... div——"

Suddenly he gave a loud cry. His eyes had seen in the mirror a face appear at the back of the dressing-room. He turned swiftly round, flung his arms about Arcade, and drew him into the corridor.

"What manners!" exclaimed Bouchotte, gasping.

But, pushing his way through a troop of performing dogs, and a family of American acrobats, young d'Esparvieu dragged his angel towards the exit.

He hurried him forth into the cool darkness of the boulevard, delirious with joy and wondering whether it was all too good to be true.

"Here you are!" he cried; "here you are! I have been looking for you a long time, Arcade,—or Mirar if you like,—and I have found you at last. Arcade, you have taken my guardian angel from me. Give him back to me. Arcade, do you love me still?"

Arcade replied that in accomplishing the super-angelic task he had set himself he had been forced to crush under foot friendship, pity, love, and all those feelings which tend to soften the soul; but that, on the other hand, his new state, by exposing him to suffering and privation, disposed him to love Humanity, and that he felt a certain mechanical friendship for his poor Maurice.

"Well, then," exclaimed Maurice, "if only you love me, come back to me, stay with me. I cannot do without you. While I had you with me I was not aware of your presence. But no sooner did you depart than I felt a horrible blank. Without you I am like a body without a soul. Do you know that in the little flat in the rue de Rome, with Gilberte by my side, I feel lonely, I miss you sorely, and long to see you and to hear you as I did that day when you made me so angry. Confess I was right, and that your behaviour on that occasion was not that of a gentleman. That you, you of so high an origin, so noble a mind, could commit such an indiscretion is extraordinary, when one comes to think about it. Madame des Aubels has not yet forgiven you. She blames you for having frightened her by appearing at such an inconvenient moment, and for being insolent and forward while hooking her dress and tying her shoes. I, I have forgotten everything. I only remember that you are my celestial brother, the saintly companion of my childhood. No, Arcade, you must not, you cannot leave me. You are my angel; you are my property."

Arcade explained to young d'Esparvieu that he could no longer be guiding angel to a Christian, having himself gone down into the pit. And he painted a horrible picture of himself; he described himself as breathing hatred and fury; in fact, an infernal spirit.

"All nonsense!" said Maurice, smiling, his eyes big with tears.

"Alas! our ideas, our destiny, everything tends to part us, Maurice. But I cannot stifle the tenderness I feel for you, and your candour forces me to love you."

"No," sighed Maurice. "You do not love me. You have never loved me. In a brother or a sister such indifference would be natural; in a friend it would be ordinary; in a guardian angel it is monstrous. Arcade, you are an abominable being. I hate you."

"I have loved you dearly, Maurice, and I still love you. You trouble my heart which I deemed encased in triple bronze. You show me my own weakness. When you were a little innocent boy I loved you as tenderly and purely as Miss Kate, your English governess, who caressed you with so much fervour. In the country, when the thin bark of the plane trees peels off in long strips and discloses the tender green trunk, after the rains which make the fine sand run on the sloping paths, I showed you how with that sand, those strips of bark, a few wild flowers, and a spray of maidenhair fern to make rustic bridges, rustic shelters, terraces, and those gardens of Adonis, which last but an hour. During the month of May in Paris we raised an altar to the Virgin, and we burnt incense before it, the scent of which, permeating all the house, reminded Marcelline, the cook, of her village church and her lost innocence, and drew from her floods of tears; it also gave your mother a headache, your mother who, with all her wealth, was crushed with the ennui that is common to the fortunate ones of this world. When you went to college I interested myself in your progress, I shared your work and your play, I pondered with you over arduous problems in arithmetic, I sought the impenetrable meaning of a phrase of Julius Cæsar's. What fine games of prisoners' base and football we had together! More than once did we know the intoxication of victory, and our young laurels were not soaked in blood or tears. Maurice, I did all I could to protect your innocence, but I could not prevent your losing it at the age of fourteen. Afterwards I regretfully saw you loving women of all sorts, of divers ages, by no means beautiful, at least in the eyes of an angel. Saddened at the sight, I devoted myself to study; a fine library offered me resources rarely met with. I delved into the history of religions; you know the rest."

"But now, my dear Arcade," concluded young d'Esparvieu, "you have lost your position, your situation, you are entirely without resource. You have lost caste, you are off the lines, a vagabond, a bare-footed wanderer."

The Angel replied bitterly that, after all, he was a little better clad at present than when he was wearing the slops of a suicide.

Maurice alleged in excuse that when he dressed his naked angel in a suicide's slops, he was irritated with that angel's infidelity. But it was useless to dwell on the past or to recriminate. What was really needful was to consider what steps to take in future.

And he asked:

"Arcade, what do you think of doing?"

"Have I not already told you, Maurice? To fight with Him who reigns in the heavens, dethrone Him, and set up Satan in His stead."

"You will not do it. To begin with it is not the opportune moment. Opinion is not with you. You will not be in the swim, as papa says. Conservatism and authority are all the go nowadays. We like to be ruled, and the President of the Republic is going to parley with the Pope. Do not be obstinate, Arcade. You are not as bad as you say. At bottom you are like the rest of the world, you adore the good God."

"I thought I had already explained to you, Maurice, that He whom you consider God is actually but a demiurge. He is absolutely ignorant of the divine world above him, and in all good faith believes himself to be the true and only God. You will find in the History of the Church, by Monsignor Duchesne—Vol. I, page 162—that this proud and narrow-minded demiurge is named Ialdabaoth. My child, so as not to ruffle your prejudices and to deal gently with your feelings in future, that is the name I shall give him. If it should happen that I should speak of him to you, I shall call him Ialdabaoth. I must leave you. Adieu."

"Stay——"

"I cannot."

"I shall not let you go thus. You have deprived me of my guardian angel. It is for you to repair the injury you have caused me. Give me another one."

Arcade objected that it was difficult for him to satisfy such a demand. That having quarrelled with the sovereign dispenser of guardian Spirits, he could obtain nothing from that quarter.

"My dear Maurice," he added, smiling, "ask for one yourself from Ialdabaoth."

"No,—no,—no," exclaimed Maurice. "You have taken away my guardian angel,—give him back to me."

"Alas! I cannot."

"Is it, Arcade, because you are a revolutionary that you cannot?"

"Yes."

"An enemy of God?"

"Yes."

"A Satanic spirit?"

"Yes."

"Well, then," exclaimed young Maurice, "I will be your guardian angel,—I will not leave you."

And Maurice d'Esparvieu took Arcade to have some oysters at P——'s.

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CHAPTER XXVI

When Prince Istar asked the assembly to form its Committee, and first of all to elect a President, the name that was renowned throughout the world entered the minds of all present, but a religious respect sealed their lips; and after a moment's silence, the absent Nectaire was elected by acclamation. Having been invited to take the chair between Zita and an angel of Japan, Arcade immediately began as follows:

"Sons of Heaven! My comrades! You have freed yourselves from the bonds of celestial servitude—you have shaken off the thrall of him called Iahveh, but to whom we should here accord his veritable name of Ialdabaoth, for he is not the creator of the worlds, but merely an ignorant and barbarous demiurge, who having obtained possession of a minute portion of the Universe has therein sown suffering and death. Sons of Heaven, tell me, I charge you, whether you will combat and destroy Ialdabaoth?"

All with one voice made answer:

"We will!"

And many speaking all together swore they would scale the mountain of Ialdabaoth, and hurl down the walls of jasper and porphyry, and plunge the tyrant of Heaven into eternal darkness.

But a voice of crystal pierced through the sullen murmur.

"Tremble, ye impious, sacrilegious madmen! The Lord hath already lifted his dread arm to smite you!"

It was a loyal angel who, with an impulse of faith and love, envying the glory of confessors and martyrs, jealous and eager, like his God himself, to emulate man in the beauty of sacrifice, had flung himself in the midst of the blasphemers, to brave them, to confound them, and to fall beneath their blows. The assembly turned upon him with furious unanimity. Those nearest to him overwhelmed him with blows. He continued to cry, in a clear, ringing voice, "Glory to God! Glory to God! Glory to God!"

A rebel seized him by the neck and strangled his praises of the Almighty in his throat. He was thrown to the ground, trampled underfoot. Prince Istar picked him up, took him by the wings between his fingers, then rising like a column of smoke, opened a ventilator, which no one else could have reached, and passed the faithful angel through it. Order was immediately restored.

"Comrades," continued Arcade, "now that we have affirmed our stern resolve, we must examine the possible plans of campaign, and choose the best. You will therefore have to consider if we should attack the enemy in full force, or whether it were better, by a lengthy and assiduous propaganda, to win the inhabitants of Heaven to our cause."

"War! War!" shouted the assembled host.

And it seemed as if one could hear the sound of trumpets and the rolling of drums.

Théophile, whom Prince Istar had dragged to the meeting, rose, pale and unstrung, and, speaking with emotion, said:

"Brethren, do not take ill what I am about to say; for it is the friendship I have for you that inspires me. I am but a poor musician. But, believe me, all your plans will come to naught before the Divine Wisdom which has foreseen everything."

Théophile Belais sat down amid hisses. And Arcade continued:

"Ialdabaoth foresees everything. I do not contest it. He foresees everything, but in order to leave us our free will he acts towards us absolutely as if he foresaw nothing. Every instant he is surprised, disconcerted; the most probable events take him unawares. The obligation which he has undertaken, to reconcile with his prescience the liberty of both men and angels, throws him constantly into inextricable difficulties and terrible dilemmas. He never sees further than the end of his nose. He did not expect Adam's disobedience, and so little did he anticipate the wickedness of men that he repented having made them, and drowned them in the waters of the Flood, and all the animals as well, though he had no fault to find with the animals. For blindness he is only to be compared with Charles X, his favourite king. If we are prudent it will be easy to take him by surprise. I think that these observations will be calculated to reassure my brother."

Théophile made no reply. He loved God, but he was fearful of sharing the fate of the faithful angel.

One of the best-informed Spirits of the assembly, Mammon, was not altogether reassured by the remarks of his brother Arcade.

"Bethink you," said this Spirit, "Ialdabaoth has little general culture, but he is a soldier—to the marrow of his bones. The organisation of Paradise is a thoroughly military organisation. It is founded on hierarchy and discipline. Passive obedience is imposed there as a fundamental law. The angels form an army. Compare this spot with the Elysian Fields which Virgil depicts for you. In the Elysian Fields reign liberty, reason, and wisdom. The happy shades hold converse together in the groves of myrtle. In the Heaven of Ialdabaoth there is no civil population. Everyone is enrolled, numbered, registered. It is a barracks and a field for manœuvres. Remember that."

Arcade replied that they must look at their adversary in his true colours, and that the military organisation of Paradise was far more reminiscent of the villages of King Koffee than of the Prussia of Frederick the Great.

"Already," said he, "at the time of the first revolt, before the beginning of Time, the conflict raged for two days, and Ialdabaoth's throne was made to totter. Nevertheless, the demiurge gained the victory. But to what did he owe it? To the thunderstorm which happened to come on during the conflict. The thunderbolts falling on Lucifer and his angels struck them down, bruised and blackened, and Ialdabaoth owed his victory to the thunderbolts. Thunder is his sole weapon. He abuses its power. In the midst of thunder and lightning he promulgates his laws. 'Fire goeth before him,' says the Prophet. Now Seneca, the philosopher, said that the thunderbolt in its fall brings peril to very few, but fear to all. This remark was true enough for men of the first century of the Christian era; it is no longer so for the angels of the twentieth; all of which goes to prove that, in spite of his thunder, he is not very powerful; it was acute terror that made men rear him a tower of unbaked brick and bitumen. When myriads of celestial spirits, furnished with machines which modern science puts at their disposal, make an assault upon the heavens, think you, comrades, that the old master of the solar system surrounded with his angels, armed as in the time of Abraham, will be able to resist them? To this day the warriors of the demiurge wear helmets of gold and shields of diamond. Michael, his best captain, knows no other tactics than the hand-to-hand combat. To him Pharaoh's chariots are still the latest thing, and he has never heard of the Macedonian phalanx."

And young Arcade lengthily prolonged the parallel between the armed herds of Ialdabaoth and the intelligent fighting men of the rebel army. Then the question of pecuniary resources arose.

Zita asserted that there was enough money to commence war, that the electrophores were in order, that an initial victory would obtain them credit.

The discussion continued, amid turbulence and confusion. In this parliament of angels, as in the synods of men, empty words flowed in abundance. Disturbances grew more violent and more frequent as the time for putting the resolution drew near. It was beyond question that supreme command would be entrusted to him who had first raised the flag of revolt. But as everyone aspired to act as Lucifer's Lieutenant, each in describing the kind of fighting man to be preferred drew a portrait of himself. Thus Alcor, the youngest of the rebellious angels, arose and spoke rapidly as follows:

"In Ialdabaoth's army, happily for us, the officers obtain their posts by seniority. This being the case, there is little likelihood of the command falling into the hands of a military genius, for men are not made leaders by prolonged habits of obedience, and close attention to minutiæ is not a good apprenticeship for the evolution of vast plans of campaign. If we consult ancient and modern history, we shall see that the greatest leaders were kings like Alexander and Frederick, aristocrats like Cæsar and Turenne, or men impatient of red-tape like Bonaparte. A routine man will always be poor or second-rate. Comrades, let us appoint intelligent leaders, men in the prime of life, to command us. An old man may retain the habit of winning victories, but only a young man can acquire it!"

Alcor then gave place to an angel of the philosophic order, who mounted the rostrum and spoke thus:

"War never was an exact science, a clearly defined art. The genius of the race, or the brain of the individual, has ever modified it. Now how are we to define the qualities necessary for a general in command in the war of the future, where one must consider greater masses and a larger number of movements than the intelligence of man can conceive? The multiplication of technical means, by infinitely multiplying the opportunities for mistake, paralyses the genius of those in command. At a certain stage in the progress of military science, a stage which our models, the Europeans, are about to reach, the cleverest leader and the most ignorant become equalized by reason of their incapacity. Another result of great modern armaments is, that the law of numbers tends to rule with inflexible rigour. It is of course true that ten angels in revolt are worth more than ten angels of Ialdabaoth; it is not at all certain that a million rebellious angels are worth more than a million of Ialdabaoth's angels. Great numbers, in war as elsewhere, annihilate intelligence and individual superiority in favour of a sort of exceedingly rudimentary collective soul."

A buzz of conversation drowned the voice of the philosophic angel, and he concluded his speech in an atmosphere of general indifference.

The tribune then resounded with calls to arms and promises of victory. The sword was held up to praise, the sword which defends the right. The triumph of the angels in revolt was celebrated twenty times beforehand, to the plaudits of a delirious crowd.

Cries of "War!" rose to the silent heavens; "Give us war!"

In the midst of these transports Prince Istar hoisted himself on to the platform, and the floor creaked under his weight.

"Comrades," said he, "you wish for victory, and it is a very natural desire, but you must be mouldy with literature and poetry if you expect to obtain it from war. The idea of making war can nowadays only enter the brain of a sottish bourgeois or a belated romantic. What is war? A burlesque masquerade in the midst of which fatuous patriots sing their stupid dithyrambs. Had Napoleon possessed a practical mind he would not have made war; but he was a dreamer, intoxicated with Ossian. You cry, 'Give us war!' You are visionaries. When will you become thinkers? The thinkers do not look for power and strength from any of the dreams which constitute military art: tactics, strategy, fortifications, artillery, and all that rubbish. They do not believe in war, which is a phantasy; they believe in chemistry, which is a science. They know the way to put victory into an algebraic formula."

And drawing from his pocket a small bottle, which he held up to the meeting, Prince Istar exclaimed:

"Victory—it is here!"

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CHAPTER XXVII