The Four Horsemen of the Apocalypse

She, nevertheless, began to evince a mute hostility toward her sister. Until now, she had been tolerating her enthusiasms in favor of her husband’s country because she always considered family ties of more importance than the rivalries of nations. Just because Desnoyers happened to be a Frenchman and Karl a German, she was not going to quarrel with Elena. But suddenly this forbearance had vanished. Her son was now in danger. . . . Better that all the von Hartrotts should die than that Julio should receive the most insignificant wound! . . . She began to share the bellicose sentiments of her daughter, recognizing in her an exceptional talent for appraising events, and now desiring all of Chichi’s dagger thrusts to be converted into reality.

Fortunately La Romantica took herself off before this antipathy crystallized. She was accustomed to pass the afternoons somewhere outside, and on her return would repeat the news gleaned from friends unknown to the rest of the family.

This made Don Marcelo wax very indignant because of the spies still hidden in Paris. What mysterious world was his sister-in-law frequenting? . . .

Suddenly she announced that she was leaving the following morning; she had obtained a passport to Switzerland, and from there she would go to Germany. It was high time for her to be returning to her own; she was most appreciative of the hospitality shown her by the family. . . . And Desnoyers bade her good-bye with aggressive irony. His regards to von Hartrott; he was hoping to pay him a visit in Berlin as soon as possible.

One morning Dona Luisa, instead of entering the neighboring church as usual, continued on to the rue de la Pompe, pleased at the thought of seeing the studio once more. It seemed to her that in this way she might put herself more closely in touch with her son. This would be a new pleasure, even greater than poring over his photograph or re-reading his last letter.

She was hoping to meet Argensola, the friend of good counsels, for she knew that he was still living in the studio. Twice he had come to see her by the service stairway as in the old days, but she had been out.

As she went up in the elevator, her heart was palpitating with pleasure and distress. It occurred to the good lady that the “foolish virgins” must have had feelings like this when for the first time they fell from the heights of virtue.

The tears came to her eyes when she beheld the room whose furnishings and pictures so vividly recalled the absent. Argensola hastened from the door at the end of the room, agitated, confused, and greeting her with expressions of welcome at the same time that he was putting sundry objects out of sight. A woman’s sweater lying on the divan, he covered with a piece of Oriental drapery—a hat trimmed with flowers, he sent flying into a far-away corner. Dona Luisa fancied that she saw a bit of gauzy feminine negligee embroidered in pink, flitting past the window frame. Upon the divan were two big coffee cups and bits of toast evidently left from a double breakfast. These artists! . . . The same as her son! And she was moved to compassion over the bad life of Julio’s counsellor.

“My honored Dona Luisa. . . . My DEAR Madame Desnoyers. . . .”

He was speaking in French and at the top of his voice, looking frantically at the door through which the white and rosy garments had flitted. He was trembling at the thought that his hidden companion, not understanding the situation, might in a jealous fit, compromise him by a sudden apparition.

Then he spoke to his unexpected guest about the soldier, exchanging news with her. Dona Luisa repeated almost word for word the paragraphs of his letters so frequently read. Argensola modestly refrained from displaying his; the two friends were accustomed to an epistolary style which would have made the good lady blush.

“A valiant man!” affirmed the Spaniard proudly, looking upon the deeds of his comrade as though they were his own. “A true hero! and I, Madame Desnoyers, know something about what that means. . . . His chiefs know how to appreciate him.” . . .

Julio was a sergeant after having been only two months in the campaign. The captain of his company and the other officials of the regiment belonged to the fencing club in which he had had so many triumphs.

“What a career!” he enthused. “He is one of those who in youth reach the highest ranks, like the Generals of the Revolution. . . . And what wonders he has accomplished!”

The budding officer had merely referred in the most casual way to some of exploits, with the indifference of one accustomed to danger and expecting the same attitude from his comrades; but his chum exaggerated them, enlarging upon them as though they were the culminating events of the war. He had carried an order across an infernal fire, after three messengers, trying to accomplish the same feat, had fallen dead. He had been the first to attack many trenches and had saved many of his comrades by means of the blows from his bayonet and hand to hand encounters. Whenever his superior officers needed a reliable man, they invariably said, “Let Sergeant Desnoyers be called!”

He rattled off all this as though he had witnessed it, as if he had just come from the seat of war, making Dona Luisa tremble and pour forth tears of joy mingled with fear over the glories and dangers of her son. That Argensola certainly possessed the gift of affecting his hearers by the realism with which he told his stories!

In gratitude for these eulogies, she felt that she ought to show some interest in his affairs. . . . What had he been doing of late?

“I, Madame, have been where I ought to be. I have not budged from this spot. I have witnessed the siege of Paris.”

In vain, his reason protested against the inexactitude of that word, “siege.” Under the influence of his readings about the war of 1870, he had classed as a siege all those events which had developed near Paris during the course of the battle of the Marne.

He pointed modestly to a diploma in a gold frame hanging above the piano against a tricolored flag. It was one of the papers sold in the streets, a certificate of residence in the Capital during the week of danger. He had filled in the blanks with his name and description of his person; and at the foot were very conspicuous the signatures of two residents of the rue de la Pompe—a tavern-keeper, and a friend of the concierge. The district Commissary of Police, with stamp and seal, had guaranteed the respectability of these honorable witnesses. Nobody could remain in doubt, after such precautions, as to whether he had or had not witnessed the siege of Paris. He had such incredulous friends! . . .

In order to bring the scene more dramatically before his amiable listener, he recalled the most striking of his impressions for her special benefit. Once, in broad daylight, he had seen a flock of sheep in the boulevard near the Madeleine. Their tread had resounded through the deserted streets like echoes from the city of the dead. He was the only pedestrian on the sidewalks thronged with cats and dogs.

His military recollections excited him like tales of glory.

“I have seen the march of the soldiers from Morocco. . . . I have seen the Zouaves in automobiles!”

The very night that Julio had gone to Bordeaux, he had wandered around till sunrise, traversing half of Paris, from the Lion of Belfort, to the Gare de l’Est. Twenty thousand men, with all their campaign outfit, coming from Morocco, had disembarked at Marseilles and arrived at the Capital, making part of the trip by rail and the rest afoot. They had come to take part in the great battle then beginning. They were troops composed of Europeans and Africans. The vanguard, on entering through the Orleans gate, had swung into rhythmic pace, thus crossing half Paris toward the Gare de l’Est where the trains were waiting for them.

The people of Paris had seen squadrons from Tunis with theatrical uniforms, mounted on horses, nervous and fleet, Moors with yellow turbans, Senegalese with black faces and scarlet caps, colonial artillerymen, and light infantry from Africa. These were professional warriors, soldiers who in times of peace, led a life of continual fighting in the colonies—men with energetic profiles, bronzed faces and the eyes of beasts of prey. They had remained motionlesss in the streets for hours at a time, until room could be found for them in the military trains. . . . And Argensola had followed this armed, impassive mass of humanity from the boulevards, talking with the officials, and listening to the primitive cries of the African warriors who had never seen Paris, and who passed through it without curiosity, asking where the enemy was.

They had arrived in time to attack von Kluck on the banks of the Ourq, obliging him to fall back or be completely overwhelmed.

A fact which Argensola did not relate to his sympathetic guest was that his nocturnal excursion the entire length of this division of the army had been accompanied by the amiable damsel within, and two other friends—an enthusiastic and generous coterie, distributing flowers and kisses to the swarthy soldiers, and laughing at their consternation and gleaming white teeth.

Another day he had seen the most extraordinary of all the spectacles of the war. All the taxicabs, some two thousand vehicles, conveying battalions of Zouaves, eight men to a motor car, had gone rolling past him at full speed, bristling with guns and red caps. They had presented a most picturesque train in the boulevards, like a kind of interminable wedding procession. And these soldiers got out of the automobiles on the very edge of the battle field, opening fire the instant that they leaped from the steps. Gallieni had launched all the men who knew how to handle a gun against the extreme right of the adversary at the supreme moment when the most insignificant weight might tip the scales in favor of the victory which was hanging in the balance. The clerks and secretaries of the military offices, the orderlies of the government and the civil police, all had marched to give that final push, forming a mass of heterogenous colors.

And one Sunday afternoon when, with his three companions of the “siege” he was strolling with thousands of other Parisians through the Bois de Boulogne, he had learned from the extras that the combat which had developed so near to the city was turning into a great battle, a victory.

“I have seen much, Madame Desnoyers. . . . I can relate great events.”

And she agreed with him. Of course Argensola had seen much! . . . And on taking her departure, she offered him all the assistance in her power. He was the friend of her son, and she was used to his petitions. Times had changed; Don Marcelo’s generosity now knew no bounds . . . but the Bohemian interrupted her with a lordly gesture; he was living in luxury. Julio had made him his trustee. The draft from America had been honored by the bank as a deposit, and he had the use of the interest in accordance with the regulations of the moratorium. His friend was sending him regularly whatever money was needed for household expenses. Never had he been in such prosperous condition. War had its good side, too . . . but not wishing to break away from old customs, he announced that once more he would mount the service stairs in order to bear away a basket of bottles.

After her sister’s departure, Dona Luisa went alone to the churches until Chichi in an outburst of devotional ardor, suddenly surprised her with the announcement:

“Mama, I am going with you!”

The new devotee was no longer agitating the household by her rollicking, boyish joy; she was no longer threatening the enemy with imaginary dagger thrusts. She was pale, and with dark circles under her eyes. Her head was drooping as though weighed down with a set of serious, entirely new thoughts on the other side of her forehead.

Dona Luisa observed her in the church with an almost indignant jealousy. Her headstrong child’s eyes were moist, and she was praying as fervently as the mother . . . but it was surely not for her brother. Julio had passed to second place in her remembrance. Another man was now completely filling her thoughts.

The last of the Lacours was no longer a simple soldier, nor was he now in Paris. Upon her return from Biarritz, Chichi had listened anxiously to the reports from her little sugar soldier. Throbbing with eagerness, she wanted to know all about the dangers which he had been experiencing; and the young warrior “in the auxiliary service” told her of his restlessness in the office during the interminable days in which the troops were battling around Paris, hearing afar off the boom of the artillery. His father had wished to take him with him to Bordeaux, but the administrative confusion of the last hour had kept him in the capital.

He had done something more. On the day of the great crisis, when the acting governor had sent out all the available men in automobiles, he had, unasked, seized a gun and occupied a motor with others from his office. He had not seen anything more than smoke, burning houses, and wounded men. Not a single German had passed before his eyes, excepting a band of Uhlan prisoners, but for some hours he had been shooting on the edge of the road . . . and nothing more.

For a while, that was enough for Chichi. She felt very proud to be the betrothed of a hero of the Marne, even though his intervention had lasted but a few hours. In a few days, however, her enthusiasm became rather clouded.

It was becoming annoying to stroll through the streets with Rene, a simple soldier and in the auxiliary service, besides. . . . The women of the town, excited by the recollection of their men fighting at the front, or clad in mourning because of the death of some loved one, would look at them with aggressive insolence. The refinement and elegance of the Republican Prince seemed to irritate them. Several times, she overheard uncomplimentary words hurled against the “embusques.”

The fact that her brother who was not French was in the thick of the fighting, made the Lacour situation still more intolerable. She had an “embusque” for a lover. How her friends would laugh at her! . . .

The senator’s son soon read her thoughts and began to lose some of his smiling serenity. For three days he did not present himself at the Desnoyers’ home, and they all supposed that he was detained by work at the office.

One morning as Chichi was going toward the Bois de Boulogne, escorted by one of the nut-brown maids, she noticed a soldier coming toward her. He was wearing a bright uniform of the new gray-blue, the “horizon blue” just adopted by the French army. The chin strap of his kepi was gilt, and on his sleeve there was a little strip of gold. His smile, his outstretched hands, the confidence with which he advanced toward her made her recognize him. Rene an officer! Her betrothed a sub-lieutenant!

“Yes, of course! I could do nothing else. . . . I had heard enough!”

Without his father’s knowledge, and assisted by his friends, he had in a few days, wrought this wonderful transformation. As a graduate of the Ecole Centrale, he held the rank of a sub-lieutenant of the Reserve Artillery, and he had requested to be sent to the front. Good-bye to the auxiliary service! . . . Within two days, he was going to start for the war.

“You have done this!” exclaimed Chichi. “You have done this!”

Although very pale, she gazed fondly at him with her great eyes—eyes that seemed to devour him with admiration.

“Come here, my poor boy. . . . Come here, my sweet little soldier! . . . I owe you something.”

And turning her back on the maid, she asked him to come with her round the corner. It was just the same there. The cross street was just as thronged as the avenue. But what did she care for the stare of the curious! Rapturously she flung her arms around his neck, blind and insensible to everything and everybody but him.

“There. . . . There!” And she planted on his face two vehement, sonorous, aggressive kisses.

Then, trembling and shuddering, she suddenly weakened, and fumbling for her handkerchief, broke down in desperate weeping.

CHAPTER II

IN THE STUDIO

Upon opening the studio door one afternoon, Argensola stood motionless with surprise, as though rooted to the ground.

An old gentleman was greeting him with an amiable smile.

“I am the father of Julio.”

And he walked into the apartment with the confidence of a man entirely familiar with his surroundings.

By good luck, the artist was alone, and was not obliged to tear frantically from one end of the room to the other, hiding the traces of convivial company; but he was a little slow in regaining his self-control. He had heard so much about Don Marcelo and his bad temper, that he was very uncomfortable at this unexpected appearance in the studio. . . . What could the fearful man want?

His tranquillity was restored after a furtive, appraising glance. His friend’s father had aged greatly since the beginning of the war. He no longer had that air of tenacity and ill-humor that had made him unapproachable. His eyes were sparkling with childish glee; his hands were trembling slightly, and his back was bent. Argensola, who had always dodged him in the street and had thrilled with fear when sneaking up the stairway in the avenue home, now felt a sudden confidence. The transformed old man was beaming on him like a comrade, and making excuses to justify his visit.

He had wished to see his son’s home. Poor old man! He was drawn thither by the same attraction which leads the lover to lessen his solitude by haunting the places that his beloved has frequented. The letters from Julio were not enough; he needed to see his old abode, to be on familiar terms with the objects which had surrounded him, to breathe the same air, to chat with the young man who was his boon companion.

His fatherly glance now included Argensola. . . . “A very interesting fellow, that Argensola!” And as he thought this, he forgot completely that, without knowing him, he had been accustomed to refer to him as “shameless,” just because he was sharing his son’s prodigal life.

Desnoyers’ glance roamed delightedly around the studio. He knew well these tapestries and furnishings, all the decorations of the former owner. He easily remembered everything that he had ever bought, in spite of the fact that they were so many. His eyes then sought the personal effects, everything that would call the absent occupant to mind; and he pored over the miserably executed paintings, the unfinished dabs which filled all the corners.

Were they all Julio’s? . . . Many of the canvases belonged to Argensola, but affected by the old man’s emotion, the artist displayed a marvellous generosity. Yes, everything was Julio’s handiwork . . . and the father went from canvas to canvas, halting admiringly before the vaguest daubs as though he could almost detect signs of genius in their nebulous confusion.

“You think he has talent, really?” he asked in a tone that implored a favorable reply. “I always thought him very intelligent . . . a little of the diable, perhaps, but character changes with years. . . . Now he is an altogether different man.”

And he almost wept at hearing the Spaniard, with his ready, enthusiastic speech, lauding the departed “diable,” graphically setting forth the way in which his great genius was going to take the world when his turn should come.

The painter of souls finally worked himself up into feeling as much affected as the father, and began to admire this old Frenchman with a certain remorse, not wishing to remember how he had ranted against him not so very long ago. What injustice! . . .

Don Marcelo clasped his hand like an old comrade. All of his son’s friends were his friends. He knew the life that young men lived. . . . If at any time, he should be in any difficulties, if he needed an allowance so as to keep on with his painting—there he was, anxious to help him! He then and there invited him to dine at his home that very night, and if he would care to come every evening, so much the better. He would eat a family dinner, entirely informal. War had brought about a great many changes, but he would always be as welcome to the intimacy of the hearth as though he were in his father’s home.

Then he spoke of Spain, in order to place himself on a more congenial footing with the artist. He had never been there but once, and then only for a short time; but after the war, he was going to know it better. His father-in-law was a Spaniard, his wife had Spanish blood, and in his home the language of the family was always Castilian. Ah, Spain, the country with a noble past and illustrious men! . . .

Argensola had a strong suspicion that if he had been a native of any other land, the old gentleman would have praised it in the same way. All this affection was but a reflex of his love for his absent son, but it so pleased the impressionable fellow that he almost embraced Don Marcelo when he took his departure.

After that, his visits to the studio were very frequent. The artist was obliged to recommend his friends to take a good long walk after lunch, abstaining from reappearing in the rue de la Pompe until nightfall. Sometimes, however, Don Marcelo would unexpectedly present himself in the morning, and then the soulful impressionist would have to scurry from place to place, hiding here, concealing there, in order that his workroom should preserve its appearance of virtuous labor.

“Youth . . . youth!” the visitor would murmur with a smile of tolerance.

And he actually had to make an effort to recall the dignity of his years, in order not to ask Argensola to present him to the fair fugitives whose presence he suspected in the interior rooms. Perhaps they had been his boy’s friends, too. They represented a part of his past, anyway, and that was enough to make him presume that they had great charms which made them interesting.

These surprises, with their upsetting consequences, finally made the painter rather regret this new friendship; and the invitations to dinner which he was constantly receiving bored him, too. He found the Desnoyers table most excellent, but too tedious—for the father and mother could talk of nothing but their absent son. Chichi scarcely looked at her brother’s friend. Her attention was entirely concentrated on the war. The irregularity in the mails was exasperating her so that she began composing protests to the government whenever a few days passed by without bringing any letter from sub-Lieutenant Lacour.

Argensola excused himself on various pretexts from continuing to dine in the avenue Victor Hugo. It pleased him far more to haunt the cheap restaurants with his female flock. His host accepted his negatives with good-natured resignation.

“Not to-day, either?”

And in order to compensate for his guest’s non-appearance, he would present himself at the studio earlier than ever on the day following.

It was an exquisite pleasure for the doting father to let the time slip by seated on the divan which still seemed to guard the very hollow made by Julio’s body, gazing at the canvases covered with color by his brush, toasting his toes by the beat of a stove which roared so cosily in the profound, conventual silence. It certainly was an agreeable refuge, full of memories in the midst of monotonous Paris so saddened by the war that he could not meet a friend who was not preoccupied with his own troubles.

His former purchasing dissipations had now lost all charm for him. The Hotel Drouot no longer tempted him. At that time, the goods of German residents, seized by the government, were being auctioned off;—a felicitous retaliation for the enforced journey which the fittings of the castle of Villeblanche had taken on the road to Berlin; but the agents told him in vain of the few competitors which he would now meet. He no longer felt attracted by these extraordinary bargains. Why buy anything more? . . . Of what use was such useless stuff? Whenever he thought of the hard life of millions of men in the open field, he felt a longing to lead an ascetic life. He was beginning to hate the ostentatious splendors of his home on the avenue Victor Hugo. He now recalled without a regretful pang, the destruction of the castle. No, he was far better off there . . . and “there” was always the studio of Julio.

Argensola began to form the habit of working in the presence of Don Marcelo. He knew that the resolute soul abominated inactive people, so, under the contagious influence of dominant will-power, he began several new pieces. Desnoyers would follow with interest the motions of his brush and accept all the explanations of the soulful delineator. For himself, he always preferred the old masters, and in his bargains had acquired the work of many a dead artist; but the fact that Julio had thought as his partner did was now enough for the devotee of the antique and made him admit humbly all the Spaniard’s superior theories.