Уилки Коллинз - Stories By English Authors - France (Selected by Scribners)

The horse, terrified and snorting blood, plunged and trampled the ground; his fore foot struck the child’s golden head and stamped its face out of all human likeness. Some peasants pulled Margot from the lashing hoofs; she was quite dead, though neither wound nor bruise was on her.

Reine Allix neither looked nor paused. With all her strength she had begun to drag the body of Bernadou across the threshold of his house. “He shall lie at home, he shall lie at home,” she muttered. She would not believe that already he was dead. With all the force of her earliest womanhood she lifted him, and half drew, half bore him into the house that he had loved, and laid him down upon the hearth, and knelt by him, caressing him as though he were once more a child, and saying softly, “Hush!”—for her mind was gone, and she fancied that he only slept.

Without, the tumult of the soldiery increased. They found the arms hidden under the altar on the hill; they seized five peasants to slay them for the dire offence. The men struggled, and would not go as the sheep to the shambles. They were shot down in the street, before the eyes of their children. Then the order was given to fire the place in punishment, and leave it to its fate. The torches were flung with a laugh on the dry thatched roofs; brands snatched from the house fires on the hearths were tossed among the dwelling-houses and the barns. The straw and timber flared alight like tow.

An old man, her nearest neighbour, rushed to the cottage of Reine Allix and seized her by the arm. “They fire the Berceau,” he screamed. “Quick! quick! or you will be burned alive!”

Reine Allix looked up with a smile. “Be quiet! Do you not see! He sleeps.”

The old man shook her, implored her, strove to drag her away; in desperation pointed to the roof above, which was already in flames.

Reine Allix looked. At that sight her mind cleared, and regained consciousness; she remembered all, she understood all; she knew that he was dead. “Go in peace and save yourself,” she said, in the old, sweet, strong tone of an earlier day. “As for me, I am very old. I and my dead will stay together at home.”

The man fled, and left her to her choice.

The great curled flames and the livid vapours closed around her; she never moved. The death was fierce, but swift, and even in death she and the one whom she had loved and reared were not divided. The end soon came. From hill to hill the Berceau de Dieu broke into flames. The village was a lake of fire, into which the statue of the Christ, burning and reeling, fell. Some few peasants, with their wives and children, fled to the woods, and there escaped one torture to perish more slowly of cold and famine. All other things perished. The rapid stream of the flame licked up all there was in its path. The bare trees raised their leafless branches, on fire at a thousand points. The stores of corn and fruit were lapped by millions of crimson tongues. The pigeons flew screaming from their roosts, and sank into the smoke. The dogs were suffocated on the thresholds they had guarded all their lives. The sheep ran bleating with the wool burning on their living bodies. The little caged birds fluttered helpless, and then dropped, scorched to cinders. The aged and the sick were stifled in their beds. All things perished.

The Berceau de Dieu was as one vast furnace, in which every living creature was caught and consumed and changed to ashes. The tide of war has rolled on, and left it a blackened waste, a smoking ruin, wherein not so much as a mouse may creep or a bird may nestle. It is gone, and its place can know it nevermore.

Nevermore. But who is there to care? It was but as a leaf which the great storm swept away as it passed.

Before I begin, by the aid of my wife’s patient attention and ready pen, to relate any of the stories which I have heard at various times from persons whose likenesses I have been employed to take, it will not be amiss if I try to secure the reader’s interest in the following pages by briefly explaining how I became possessed of the narrative matter which they contain.

Of myself I have nothing to say, but that I have followed the profession of a travelling portrait-painter for the last fifteen years. The pursuit of my calling has not only led me all through England, but has taken me twice to Scotland and once to Ireland. In moving from district to district, I am never guided beforehand by any settled plan. Sometimes the letters of recommendation which I get from persons who are satisfied with the work I have done for them determine the direction in which I travel. Sometimes I hear of a new neighbourhood in which there is no resident artist of ability, and remove thither on speculation. Sometimes my friends among the picture-dealers say a good word on my behalf to their rich customers, and so pave the way for me in the large towns. Sometimes my prosperous and famous brother artists, hearing of small commissions which it is not worth their while to accept, mention my name, and procure me introductions to pleasant country houses. Thus I get on, now in one way and now in another, not winning a reputation or making a fortune, but happier, perhaps, on the whole, than many men who have got both the one and the other. So, at least, I try to think now, though I started in my youth with as high an ambition as the best of them. Thank God, it is not my business here to speak of past times and their disappointments. A twinge of the old hopeless heartache comes over me sometimes still, when I think of my student days.

One peculiarity of my present way of life is, that it brings me into contact with all sorts of characters. I almost feel, by this time, as if I had painted every civilised variety of the human race. Upon the whole, my experience of the world, rough as it has been, has not taught me to think unkindly of my fellow-creatures. I have certainly received such treatment at the hands of some of my sitters as I could not describe without saddening and shocking any kind-hearted reader; but, taking one year and one place with another, I have cause to remember with gratitude and respect, sometimes even with friendship and affection, a very large proportion of the numerous persons who have employed me.

Some of the results of my experience are curious in a moral point of view. For example, I have found women almost uniformly less delicate in asking me about my terms, and less generous in remunerating me for my services, than men. On the other hand, men, within my knowledge, are decidedly vainer of their personal attractions, and more vexatiously anxious to have them done full justice to on canvas, than women. Taking both sexes together, I have found young people, for the most part, more gentle, more reasonable, and more considerate than old. And, summing up, in a general way, my experience of different ranks (which extends, let me premise, all the way down from peers to publicans), I have met with most of my formal and ungracious receptions among rich people of uncertain social standing; the highest classes and the lowest among my employers almost always contrive—in widely different ways, of course—to make me feel at home as soon as I enter their houses.

The one great obstacle that I have to contend against in the practice of my profession is not, as some persons may imagine, the difficulty of making my sitters keep their heads still while I paint them, but the difficulty of getting them to preserve the natural look and the every-day peculiarities of dress and manner. People will assume an expression, will brush up their hair, will correct any little characteristic carelessness in their apparel—will, in short, when they want to have their likenesses taken, look as if they were sitting for their pictures. If I paint them under these artificial circumstances, I fail, of course, to present them in their habitual aspect; and my portrait, as a necessary consequence, disappoints everybody, the sitter always included. When we wish to judge of a man’s character by his handwriting, we want his customary scrawl dashed off with his common workaday pen, not his best small text traced laboriously with the finest procurable crow-quill point. So it is with portrait-painting, which is, after all, nothing but a right reading of the externals of character recognisably presented to the view of others.