From this sea of stars the face of the Virgin swam up to him somehow vaguely familiar. It was as if he had seen it in life. Or, was it a kind of universal human memory?—something learned so far back in childhood, perhaps from the face of his mother, or before, that it had been consciously forgotten? The expression of the features was so deeply brooding, and yet so universal, that it had produced in him that distinct and unplaceable sensation of having often seen them somewhere else. Those clear brows, those wide-open eyes, the slightly distended nostrils and the archaic smile; there was a hint of something sphinx-like, yes, distinctly Egyptian about it. And yet the poise of the head was Greek. He was at a loss at first to place it. Now he looked more closely at the stiff, jewelled robe.
It was made of small pieces of coloured stones with the glint of a jewel-chip here and there. It was set with seed pearls about the hems, and ennobled with a gilt pattern of some papyrus-like plant. Florentine mosaic work before the grand dukes, early Medici! He could also see it was attached to the statue by minute, extended silver wires; a new coat given to her by some pious owner long ago. It rose out and away from her body, to fall lower down into a stiff, jewelled skirt such as medieval royalties once wore. He could even see behind the robe, for it stood out from her like a herald's tabard. Beneath the bodice her breasts sloped down in pointed ovals that suggested sleep, and dreaming there, in utter peace, held in the crook of her arm was the infant. He thought of Dionysius on the arm of Apollo at first. And yet, as he peered again, almost fearfully now, since the thing had become so real, there was something too intimate and tender about this child in its mother's arms to be pagan. No, it was undoubtedly the Christ-child on Mary's breast. It must have been modelled in Alexandria an age ago, the statue itself. It would have taken a Christian born a pagan to have done it, an Egyptian Greek, some artist who could combine various old gods and humanity into something new; something old but something new.
It had always been a theory of the marquis that it is in the miniature masterpieces, those which can be put into a glass cabinet, that the arts of civilization culminate. First come your gigantic architecture and your monoliths; then something more human, more livable, realism, perhaps, gradually becoming beautifully conventional; then medallions, engravings, miniatures, cameos, and statuettes. And here was a nice illustration of the thing, he liked to think. He stroked his beard.
In Byzantium this single shrine would have been part of a triptych. He could still see that the right side of it had once fitted on to something else. He put it back on the table and slipped the glass into his pocket. The gilded sun-burst, that almost imperial sun-crown upon the head of the Virgin; that had Constantinople written all over it. Some devout Arian had once owned it. He leaned back and let his imagination supply the two missing panels:—God the Father most elevated in the middle, on one side of Him the dove descending out of the clouds from the Father's bosom, on the other the little shrine he held in his hands. The triptych was perfect again. How easily he had restored it! But was it necessary ?
This shrine he actually held—why, it alone represented the entire Trinity and humanity, too! The cosmos for that matter; there were the stars. Had not the Holy Ghost descended upon the woman ? The Son of God and man was in her arms. And the Father?—why He was there by necessary implication, invisible as always, but the creator of all. How huge, how universal was this little symbol he could hold in one hand. For a moment he was humble before it. He came as near to worship as he could. Then his natural pride reasserted itself. His logical and theological mind laughed in his skull to think that out of that Arian triptych only this remained. How literal and how elaborate was heresy! The other panels had been unnecessary. Only the Catholic symbol was required and everything essential was there. Ah, a nice point! Something even the Jansenists could scarcely refute. A fit subject for a monograph.
And yet artistically was the statue perfect? Weren't those fluted mother-of-pearl inlays about her feet a little tawdry; about 1700, no doubt. But no, narrow your eyes and you could see the eternal stars mirrored in them. She was standing before the universe at the pearly gates. Seventeen centuries had contrived to make something perfect. Don Luis conferred upon them the greatest compliment of his own. Drawing a small gold box from his waistcoat he sprung back the lid, tapped his fingers lightly in a kind of salutation, and took a large pinch of snuff.
The resulting sneeze so startled a valet who had just entered the room that the marquis laughed. It would never do to have all these servants afraid of him. Fear could make an antelope awkward. The marquis bade the man good evening and began to ask questions about the chateau. Presently the valet was at his ease and the work of revamping Don Luis proceeded comfortably enough. A small silver basin filled with hot water served to refresh him as, with the wig and cravat removed, a warm sponge was passed over his shaven head and neck. He soaked his hands in the water. A fresh, lace jabot was then wound about his neck and the frill carefully made to stand out from his shirt. A larger and more comfortable bag wig was taken out of its box and slipped onto his head. It was scarcely necessary to use the brush at all, and the bow on the queue was kept clean of powder. To Don Luis that was the test. No whisking off afterward! He preferred to beat servants rather than be beaten by them, if it came to that. A small dash of verbena on his handkerchief, and with the cushions carefully, even solicitously rearranged on the leg stand by the butler himself, the marquis felt at home, ready for dinner in fact.
The man threw a few more logs on the fire, drew up a table before Don Luis, carefully avoiding his bandaged limb, and began to lay covers for two. The napery was ivory-smooth, the candles were carefully shaded, and the plate was not only good but positively inviting. "If the chef can do the appointments justice," thought Don Luis, "I am prepared to be convinced that M. de Besance was not merely trying to cure his homesickness by a vicarious visit in my person to his ancestral halls." He preferred to remain cynical, however. Nevertheless the variety and nice arrangement of the wine glasses tended to confirm the claims of his absent host. The butler now lit a small lamp under a brazier and announced that dinner was ready when madame should be announced. "Tell her," said the marquis.
The logs crackled in the grate and in some distant part of the house a clock began to chime. The room was a large one. The table was set under the last chandelier next to the fireplace. The candlelight from the sconces and chandeliers reflected themselves and their crystals with long splashes of yellow light on the polished floor. As Maria entered the apartment from the opposite door, it seemed to her that the Httle table was at an immense distance. The silver and glass twinkled upon it like stars caught in a fleecy cloud, and over the edge of it, looking like the moon itself, shone the scarlet face of her husband. To a light splashing of silk she seemed to float to him over the lake of the floor in her wide panniered skirts, moving her feet invisibly like those of a swan. "Madame la Marquise." The man with the injured arm should have been at the door to announce. With some well-concealed embarrassment the butler also hastened forward to seat her.