The Master-Christian. Marie Corelli
quietly away together down the windings of the river out of sight;—the silence following the clangour of the chimes was deep and impressive—and the great Sun had all the heaven to himself as he went down. Through the beautiful rose-window of the Cathedral of Notre Dame, he flashed his parting rays, weaving bright patterns of ruby, gold and amethyst on the worn pavement of the ancient pile which enshrines the tomb of Richard the Lion-Hearted, as also that of Henry the Second, husband to Catherine de Medicis and lover of the brilliant Diane de Poitiers,—and one broad beam fell purpling aslant into the curved and fretted choir-chapel especially dedicated to the Virgin, there lighting up with a warm glow the famous alabaster tomb known as "Le Mourant" or "The Dying One." A strange and awesome piece of sculpture truly, is this same "Mourant"!—showing, as it does with deft and almost appalling exactitude, the last convulsion of a strong man's body gripped in the death-agony. No delicate delineator of shams and conventions was the artist of olden days whose ruthless chisel shaped these stretched sinews, starting veins, and swollen eyelids half-closed over the tired eyes!—he must have been a sculptor of truth,—truth downright and relentless,—truth divested of all graceful coverings, and nude as the "Dying One" thus realistically portrayed. Ugly truth too,—unpleasant to the sight of the worldly and pleasure-loving tribe who do not care to be reminded of the common fact that they all, and we all, must die. Yet the late sunshine flowed very softly on and over the ghastly white, semi-transparent form, outlining it with as much tender glory as the gracious figure of Mary Virgin herself, bending with outstretched hands from a grey niche, fine as a cobweb of old lace on which a few dim jewels are sewn. Very beautiful, calm and restful at this hour was "Our Lady's Chapel," with its high, dark intertwisting arches, mutilated statues, and ancient tattered battle-banners hanging from the black roof and swaying gently with every little breath of wind. The air, perfumed with incense-odours, seemed weighted with the memory of prayers and devotional silences,—and in the midst of it all, surrounded by the defaced and crumbling emblems of life and death, and the equally decaying symbols of immortality, with the splendours of the sinking sun shedding roseate haloes about him, walked one for whom eternal truths outweighed all temporal seemings,—Cardinal Felix Bonpre, known favourably, and sometimes alluded to jestingly at the Vatican, as "Our good Saint Felix." Tall and severely thin, with fine worn features of ascetic and spiritual delicacy, he had the indefinably removed air of a scholar and thinker, whose life was not, and never could be in accordance with the latter-day customs of the world; the mild blue eyes, clear and steadfast, most eloquently suggested "the peace of God that passeth all understanding";—and the sensitive intellectual lines of the mouth and chin, which indicated strength and determined will, at the same time declared that both strength and will were constantly employed in the doing of good and the avoidance of evil. No dark furrows of hesitation, cowardice, cunning, meanness or weakness marred the expressive dignity and openness of the Cardinal's countenance,—the very poise of his straight spare figure and the manner in which he moved, silently asserted that inward grace of spirit without which there is no true grace of body,—and as he paused in his slow pacing to and fro to gaze half-wistfully, half-mournfully upon the almost ghastly artistic achievement of "Le Mourant" he sighed, and his lips moved as if in prayer. For the brief, pitiful history of human life is told in that antique and richly-wrought alabaster,—its beginning, its ambition, and its end. At the summit of the shrine, an exquisite bas-relief shows first of all the infant clinging to its mother's breast,—a stage lower down is seen the boy in the eager flush of youth, speeding an arrow to its mark from the bent bow,—then, on a still larger, bolder scale of design is depicted the proud man in the zenith of his career, a noble knight riding forth to battle and to victory, armed cap-a-pie, his war-steed richly caparisoned, his lance in rest,—and finally, on the sarcophagus itself is stretched his nude and helpless form, with hands clenched in the last gasping struggle for breath, and every muscle strained and fighting against the pangs of dissolution.
"But," said the Cardinal half aloud, with the gentle dawning of a tender smile brightening the fine firm curve of his lips,—"it is not the end! The end here, no doubt;—but the beginning—THERE!"
He raised his eyes devoutly, and instinctively touched the silver crucifix hanging by its purple ribbon at his breast. The orange-red glow of the sun encompassed him with fiery rings, as though it would fain consume his thin, black-garmented form after the fashion in which flames consumed the martyrs of old,—the worn figures of mediaeval saints in their half-broken niches stared down upon him stonily, as though they would have said,—"So we thought,—even we!—and for our thoughts and for our creed we suffered willingly,—yet lo, we have come upon an age of the world in which the people know us not,—or knowing, laugh us all to scorn."
But Cardinal Bonpre being only conscious of a perfect faith, discovered no hints of injustice or despair in the mutilated shapes of the Evangelists surrounding him,—they were the followers of Christ,—and being such, they were bound to rejoice in the tortures which made their glory. It was only the unhappy souls who suffered not for Christ at all, whom he considered were truly to be compassionated.
"And if," he murmured as he moved on—"this knight of former days, who is now known to us chiefly, alas! as 'Le Mourant', was a faithful servant of our Blessed Lord, why then it is as well with him as with any of the holy martyrs. May his soul rest in peace!"
Stopping an instant at the next sculptural wonder in his way—the elaborately designed tomb of Cardinal Amboise, concerning the eternal fate of which "brother in Christ" the good Felix had no scruples or fears whatever, he stepped softly down from the choir-chapel where he had been wandering to and fro for some time in solitary musings, and went towards the great central nave. It was quite empty,—not even a weary silk-weaver, escaped from one of the ever-working looms of the city, had crept in to tell her beads. Broad, vacant, vast, and suggestive of a sublime desolation, the grand length and width of the Latin Cross which shapes the holy precincts, stretched into vague distance, one or two lamps were burning dimly at little shrines set in misty dark recesses,—a few votive candles, some lit, some smouldered out, leaned against each other crookedly in their ricketty brass stand, fronting a battered statue of the Virgin. The Angelus had ceased ringing some ten minutes since,—and now one solemn bell, swinging high up in the Cathedral towers, tolled forth the hour of six, slowly and with a strong pulsating sound which seemed to shake the building down to its very vaults and deep foundations. As the last stroke shivered and thundered through the air, a strain of music, commencing softly, then swelling into fuller melody, came floating from aloft, following the great bell's vibration. Half way down the nave, just as he was advancing slowly towards the door of egress, this music overtook the Cardinal like an arresting angel, bringing him to a sudden pause.
"The organist practises late," he said aloud, as though speaking to some invisible companion, and then was silent, listening. Round him and above him surged the flood of rich and dulcet harmony,—the sunset light through the blue and red stained-glass windows grew paler and paler—the towering arches which sprang, as it were, from slender stem-like side-columns up to full-flowering boughs of Gothic ornamentation, crossing and re-crossing above the great High Altar, melted into a black dimness,—and then—all at once, without any apparent cause, a strange, vague suggestion of something supernatural and unseen began suddenly to oppress the mind of the venerable prelate with a curious sense of mingled awe and fear. Trembling a little, he knew not why, he softly drew a chair from one of the shadowy corners, where all such seats were piled away out of sight so that they might not disfigure the broad and open beauty of the nave, and, sitting down, he covered his eyes with one hand and strove to rouse himself from the odd, half-fainting sensation which possessed him. How glorious now was the music that poured like a torrent from the hidden organ-loft! How full of searching and potential proclamation!—the proclamation of an eternal, unguessed mystery, for which no merely human speech might ever find fit utterance! Some divine declaration of God's absolute omnipresence,—or of Heaven's sure nearness,—touched the heart of Felix Bonpre, as he sat like an enchanted dreamer among the tender interweavings of solemn and soothing sound;—carried out of himself and beyond his own existence, he could neither pray nor think, till, all at once, upon the peaceful and devout silence of his soul, some very old, very familiar words struck sharply as though they were quite new,—as though they were invested suddenly with strange and startling significance—
"When the son of Man cometh, think ye He shall find faith