piece of opium can produce.
But this
apparition had appeared in Paris, on the Quai Voltaire, and
in the nineteenth century; the time and place made sorcery impossible.
The idol of French scepticism had died in the house just opposite, the
disciple of Gay-Lussac and Arago, who had held the charlatanism of
intellect in
contempt. And yet the stranger submitted himself to the
influence of an
imaginative spell, as all of us do at times, when we
wish to escape from an
inevitablecertainty, or to tempt the power of
Providence. So some
mysteriousapprehension of a strange force made
him tremble before the old man with the lamp. All of us have been
stirred in the same way by the sight of Napoleon, or of some other
great man, made
illustrious by his
genius or by fame.
"You wish to see Raphael's
portrait of Jesus Christ, monsieur?" the
old man asked
politely. There was something
metallic in the clear,
sharp ring of his voice.
He set the lamp upon a broken
column, so that all its light might fall
on the brown case.
At the
sacred names of Christ and Raphael the young man showed some
curiosity. The merchant, who no doubt looked for this, pressed a
spring, and suddenly the
mahogany panel slid
noiselessly back in its
groove, and discovered the
canvas to the stranger's admiring gaze. At
sight of this deathless
creation, he forgot his fancies in the show-
rooms and the freaks of his dreams, and became himself again. The old
man became a being of flesh and blood, very much alive, with nothing
chimerical about him, and took up his
existence at once upon solid
earth.
The
sympathy and love, and the gentle serenity in the
divine face,
exerted an
instant sway over the younger
spectator. Some influence
falling from heaven bade cease the burning
torment that consumed the
marrow of his bones. The head of the Saviour of mankind seemed to
issue from among the shadows represented by a dark
background; an
aureole of light shone out
brightly from his hair; an impassioned
belief seemed to glow through him, and to
thrill every feature. The
word of life had just been uttered by those red lips, the
sacredsounds seemed to
linger still in the air; the
spectatorbesought the
silence for those captivating parables, hearkened for them in the
future, and had to turn to the teachings of the past. The untroubled
peace of the
divine eyes, the comfort of sorrowing souls, seemed an
interpretation of the Evangel. The sweet
triumphant smile revealed the
secret of the Catholic religion, which sums up all things in the
precept, "Love one another." This picture
breathed the spirit of
prayer, enjoined
forgiveness,
overcame self, caused
sleeping powers of
good to waken. For this work of Raphael's had the
imperious charm of
music; you were brought under the spell of memories of the past; his
triumph was so
absolute that the artist was forgotten. The witchery of
the lamplight heightened the wonder; the head seemed at times to
flicker in the distance, enveloped in cloud.
"I covered the surface of that picture with gold pieces," said the
merchant carelessly.
"And now for death!" cried the young man, awakened from his musings.
His last thought had recalled his fate to him, as it led him
imperceptibly back from the
forlorn hopes to which he had clung.
"Ah, ha! then my suspicions were well founded!" said the other, and
his hands held the young man's wrists in a grip like that of a vice.
The younger man smiled
wearily at his mistake, and said gently:
"You, sir, have nothing to fear; it is not your life, but my own that
is in question. . . . But why should I hide a
harmless fraud?" he went