The portrait created a furore in the city. The lady exhibited it to her friends, and all admired the skill with which the artist had preserved the likeness, and at the same time conferred more beauty on the original. The last remark, of course, was prompted by a slight tinge of envy. The artist was suddenly overwhelmed with work. It seemed as if the whole city wanted to be painted by him. The door-bell rang incessantly.
From one point of view, this might be considered advantageous, as presenting to him endless practice in variety and number of faces. But, unfortunately, they were all people who were hard to get along with, either busy, hurried people, or else belonging to the fashionable world, and consequently more occupied than any one else, and therefore impatient to the last degree. In all quarters, the demand was merely that the likeness should be good and quickly executed. The artist perceived that it was a simple impossibility to finish his work; that it was necessary to exchange power of treatment for lightness and rapidity, to catch only the general expression, and not waste labour on delicate details.
Moreover, nearly all of his sitters made stipulations on various points.
The ladies required that mind and character should be represented in their portraits; that all angles should be rounded, all unevenness smoothed away, and even removed entirely if possible; in short, that their faces should be such as to cause every one to stare at them with admiration, if not fall in love with them outright. When they sat to him, they sometimes a.s.sumed expressions which greatly amazed the artist; one tried to express melancholy; another, meditation; a third wanted to make her mouth appear small on any terms, and puckered it up to such an extent that it finally looked like a spot about as big as a pinhead.
And in spite of all this, they demanded of him good likenesses and unconstrained naturalness. The men were no better: one insisted on being painted with an energetic, muscular turn to his head; another, with upturned, inspired eyes; a lieutenant of the guard demanded that Mars should be visible in his eyes; an official in the civil service drew himself up to his full height in order to have his uprightness expressed in his face, and that his hand might rest on a book bearing the words in plain characters, "He always stood up for the right."
At first such demands threw the artist into a cold perspiration. Finally he acquired the knack of it, and never troubled himself at all about it. He understood at a word how each wanted himself portrayed. If a man wanted Mars in his face, he put in Mars: he gave a Byronic turn and att.i.tude to those who aimed at Byron. If the ladies wanted to be Corinne, Undine, or Aspasia, he agreed with great readiness, and threw in a sufficient measure of good looks from his own imagination, which does no harm, and for the sake of which an artist is even forgiven a lack of resemblance. He soon began to wonder himself at the rapidity and dash of his brush. And of course those who sat to him were in ecstasies, and proclaimed him a genius.
Tchartkoff became a fashionable artist in every sense of the word.
He began to dine out, to escort ladies to picture galleries, to dress foppishly, and to a.s.sert audibly that an artist should belong to society, that he must uphold his profession, that artists mostly dress like showmakers, do not know how to behave themselves, do not maintain the highest tone, and are lacking in all polish. At home, in his studio, he carried cleanliness and spotlessness to the last extreme, set up two superb footmen, took fashionable pupils, dressed several times a day, curled his hair, practised various manners of receiving his callers, and busied himself in adorning his person in every conceivable way, in order to produce a pleasing impression on the ladies. In short, it would soon have been impossible for any one to have recognised in him the modest artist who had formerly toiled unknown in his miserable quarters in the Vasilievsky Ostroff.
He now expressed himself decidedly concerning artists and art; declared that too much credit had been given to the old masters; that even Raphael did not always paint well, and that fame attached to many of his works simply by force of tradition: that Michael Angelo was a braggart because he could boast only a knowledge of anatomy; that there was no grace about him, and that real brilliancy and power of treatment and colouring were to be looked for in the present century. And there, naturally, the question touched him personally. "I do not understand,"
said he, "how others toil and work with difficulty: a man who labours for months over a picture is a dauber, and no artist in my opinion; I don"t believe he has any talent: genius works boldly, rapidly. Here is this portrait which I painted in two days, this head in one day, this in a few hours, this in little more than an hour. No, I confess I do not recognise as art that which adds line to line; that is a handicraft, not art." In this manner did he lecture his visitors; and the visitors admired the strength and boldness of his works, uttered exclamations on hearing how fast they had been produced, and said to each other, "This is talent, real talent! see how he speaks, how his eyes gleam! There is something really extraordinary in his face!"
It flattered the artist to hear such reports about himself. When printed praise appeared in the papers, he rejoiced like a child, although this praise was purchased with his money. He carried the printed slips about with him everywhere, and showed them to friends and acquaintances as if by accident. His fame increased, his works and orders multiplied.
Already the same portraits over and over again wearied him, by the same att.i.tudes and turns, which he had learned by heart. He painted them now without any great interest in his work, brushing in some sort of a head, and giving them to his pupil"s to finish. At first he had sought to devise a new att.i.tude each time. Now this had grown wearisome to him.
His brain was tired with planning and thinking. It was out of his power; his fashionable life bore him far away from labour and thought. His work grew cold and colourless; and he betook himself with indifference to the reproduction of monotonous, well-worn forms. The eternally spick-and-span uniforms, and the so-to-speak b.u.t.toned-up faces of the government officials, soldiers, and statesmen, did not offer a wide field for his brush: it forgot how to render superb draperies and powerful emotion and pa.s.sion. Of grouping, dramatic effect and its lofty connections, there was nothing. In face of him was only a uniform, a corsage, a dress-coat, and before which the artist feels cold and all imagination vanishes. Even his own peculiar merits were no longer visible in his works, yet they continued to enjoy renown; although genuine connoisseurs and artists merely shrugged their shoulders when they saw his latest productions. But some who had known Tchartkoff in his earlier days could not understand how the talent of which he had given such clear indications in the outset could so have vanished; and strove in vain to divine by what means genius could be extinguished in a man just when he had attained to the full development of his powers.
But the intoxicated artist did not hear these criticisms. He began to attain to the age of dignity, both in mind and years: to grow stout, and increase visibly in flesh. He often read in the papers such phrases as, "Our most respected Andrei Petrovitch; our worthy Andrei Petrovitch."
He began to receive offers of distinguished posts in the service, invitations to examinations and committees. He began, as is usually the case in maturer years, to advocate Raphael and the old masters, not because he had become thoroughly convinced of their transcendent merits, but in order to snub the younger artists. His life was already approaching the period when everything which suggests impulse contracts within a man; when a powerful chord appeals more feebly to the spirit; when the touch of beauty no longer converts virgin strength into fire and flame, but when all the burnt-out sentiments become more vulnerable to the sound of gold, hearken more attentively to its seductive music, and little by little permit themselves to be completely lulled to sleep by it. Fame can give no pleasure to him who has stolen it, not won it; so all his feelings and impulses turned towards wealth. Gold was his pa.s.sion, his ideal, his fear, his delight, his aim. The bundles of bank-notes increased in his coffers; and, like all to whose lot falls this fearful gift, he began to grow inaccessible to every sentiment except the love of gold. But something occurred which gave him a powerful shock, and disturbed the whole tenor of his life.
One day he found upon his table a note, in which the Academy of Painting begged him, as a worthy member of its body, to come and give his opinion upon a new work which had been sent from Italy by a Russian artist who was perfecting himself there. The painter was one of his former comrades, who had been possessed with a pa.s.sion for art from his earliest years, had given himself up to it with his whole soul, estranged himself from his friends and relatives, and had hastened to that wonderful Rome, at whose very name the artist"s heart beats wildly and hotly. There he buried himself in his work from which he permitted nothing to entice him. He visited the galleries unweariedly, he stood for hours at a time before the works of the great masters, seizing and studying their marvellous methods. He never finished anything without revising his impressions several times before these great teachers, and reading in their works silent but eloquent counsels. He gave each impartially his due, appropriating from all only that which was most beautiful, and finally became the pupil of the divine Raphael alone, as a great poet, after reading many works, at last made Homer"s "Iliad"
his only breviary, having discovered that it contains all one wants, and that there is nothing which is not expressed in it in perfection. And so he brought away from his school the grand conception of creation, the mighty beauty of thought, the high charm of that heavenly brush.
When Tchartkoff entered the room, he found a crowd of visitors already collected before the picture. The most profound silence, such as rarely settles upon a throng of critics, reigned over all. He hastened to a.s.sume the significant expression of a connoisseur, and approached the picture; but, O G.o.d! what did he behold!
Pure, faultless, beautiful as a bride, stood the picture before him.
The critics regarded this new hitherto unknown work with a feeling of involuntary wonder. All seemed united in it: the art of Raphael, reflected in the lofty grace of the grouping; the art of Correggio, breathing from the finished perfection of the workmanship. But more striking than all else was the evident creative power in the artist"s mind. The very minutest object in the picture revealed it; he had caught that melting roundness of outline which is visible in nature only to the artist creator, and which comes out as angles with a copyist. It was plainly visible how the artist, having imbibed it all from the external world, had first stored it in his mind, and then drawn it thence, as from a spiritual source, into one harmonious, triumphant song. And it was evident, even to the uninitiated, how vast a gulf there was fixed between creation and a mere copy from nature. Involuntary tears stood ready to fall in the eyes of those who surrounded the picture. It seemed as though all joined in a silent hymn to the divine work.
Motionless, with open mouth, Tchartkoff stood before the picture. At length, when by degrees the visitors and critics began to murmur and comment upon the merits of the work, and turning to him, begged him to express an opinion, he came to himself once more. He tried to a.s.sume an indifferent, everyday expression; strove to utter some such commonplace remark as; "Yes, to tell the truth, it is impossible to deny the artist"s talent; there is something in it;" but the speech died upon his lips, tears and sobs burst forth uncontrollably, and he rushed from the room like one beside himself.
In a moment he stood in his magnificent studio. All his being, all his life, had been aroused in one instant, as if youth had returned to him, as if the dying sparks of his talent had blazed forth afresh.
The bandage suddenly fell from his eyes. Heavens! to think of having mercilessly wasted the best years of his youth, of having extinguished, trodden out perhaps, that spark of fire which, cherished in his breast, might perhaps have been developed into magnificence and beauty, and have extorted too, its meed of tears and admiration! It seemed as though those impulses which he had known in other days re-awoke suddenly in his soul.
He seized a brush and approached his canvas. One thought possessed him wholly, one desire consumed him; he strove to depict a fallen angel.
This idea was most in harmony with his frame of mind. The perspiration started out upon his face with his efforts; but, alas! his figures, att.i.tudes, groups, thoughts, arranged themselves stiffly, disconnectedly. His hand and his imagination had been too long confined to one groove; and the fruitless effort to escape from the bonds and fetters which he had imposed upon himself, showed itself in irregularities and errors. He had despised the long, wearisome ladder to knowledge, and the first fundamental law of the future great man, hard work. He gave vent to his vexation. He ordered all his later productions to be taken out of his studio, all the fashionable, lifeless pictures, all the portraits of hussars, ladies, and councillors of state.
He shut himself up alone in his room, would order no food, and devoted himself entirely to his work. He sat toiling like a scholar. But how pitifully wretched was all which proceeded from his hand! He was stopped at every step by his ignorance of the very first principles: simple ignorance of the mechanical part of his art chilled all inspiration and formed an impa.s.sable barrier to his imagination. His brush returned involuntarily to hackneyed forms: hands folded themselves in a set att.i.tude; heads dared not make any unusual turn; the very garments turned out commonplace, and would not drape themselves to any unaccustomed posture of the body. And he felt and saw this all himself.
"But had I really any talent?" he said at length: "did not I deceive myself?" Uttering these words, he turned to the early works which he had painted so purely, so unselfishly, in former days, in his wretched cabin yonder in lonely Vasilievsky Ostroff. He began attentively to examine them all; and all the misery of his former life came back to him. "Yes,"
he cried despairingly, "I had talent: the signs and traces of it are everywhere visible--"
He paused suddenly, and shivered all over. His eyes encountered other eyes fixed immovably upon him. It was that remarkable portrait which he had bought in the Shtchukinui Dvor. All this time it had been covered up, concealed by other pictures, and had utterly gone out of his mind.
Now, as if by design, when all the fashionable portraits and paintings had been removed from the studio, it looked forth, together with the productions of his early youth. As he recalled all the strange events connected with it; as he remembered that this singular portrait had been, in a manner, the cause of his errors; that the h.o.a.rd of money which he had obtained in such peculiar fashion had given birth in his mind to all the wild caprices which had destroyed his talent--madness was on the point of taking possession of him. At once he ordered the hateful portrait to be removed.
But his mental excitement was not thereby diminished. His whole being was shaken to its foundation; and he suffered that fearful torture which is sometimes exhibited when a feeble talent strives to display itself on a scale too great for it and cannot do so. A horrible envy took possession of him--an envy which bordered on madness. The gall flew to his heart when he beheld a work which bore the stamp of talent. He gnashed his teeth, and devoured it with the glare of a basilisk. He conceived the most devilish plan which ever entered into the mind of man, and he hastened with the strength of madness to carry it into execution. He began to purchase the best that art produced of every kind. Having bought a picture at a great price, he transported it to his room, flung himself upon it with the ferocity of a tiger, cut it, tore it, chopped it into bits, and stamped upon it with a grin of delight.
The vast wealth he had ama.s.sed enabled him to gratify this devilish desire. He opened his bags of gold and unlocked his coffers. No monster of ignorance ever destroyed so many superb productions of art as did this raging avenger. At any auction where he made his appearance, every one despaired at once of obtaining any work of art. It seemed as if an angry heaven had sent this fearful scourge into the world expressly to destroy all harmony. Scorn of the world was expressed in his countenance. His tongue uttered nothing save biting and censorious words. He swooped down like a harpy into the street: and his acquaintances, catching sight of him in the distance, sought to turn aside and avoid a meeting with him, saying that it poisoned all the rest of the day.
Fortunately for the world and art, such a life could not last long: his pa.s.sions were too overpowering for his feeble strength. Attacks of madness began to recur more frequently, and ended at last in the most frightful illness. A violent fever, combined with galloping consumption, seized upon him with such violence, that in three days there remained only a shadow of his former self. To this was added indications of hopeless insanity. Sometimes several men were unable to hold him. The long-forgotten, living eyes of the portrait began to torment him, and then his madness became dreadful. All the people who surrounded his bed seemed to him horrible portraits. The portrait doubled and quadrupled itself; all the walls seemed hung with portraits, which fastened their living eyes upon him; portraits glared at him from the ceiling, from the floor; the room widened and lengthened endlessly, in order to make room for more of the motionless eyes. The doctor who had undertaken to attend him, having learned something of his strange history, strove with all his might to fathom the secret connection between the visions of his fancy and the occurrences of his life, but without the slightest success. The sick man understood nothing, felt nothing, save his own tortures, and gave utterance only to frightful yells and unintelligible gibberish. At last his life ended in a final attack of unutterable suffering. Nothing could be found of all his great wealth; but when they beheld the mutilated fragments of grand works of art, the value of which exceeded a million, they understood the terrible use which had been made of it.
PART II
A THRONG of carriages and other vehicles stood at the entrance of a house in which an auction was going on of the effects of one of those wealthy art-lovers who have innocently pa.s.sed for Maecenases, and in a simple-minded fashion expended, to that end, the millions ama.s.sed by their thrifty fathers, and frequently even by their own early labours.
The long saloon was filled with the most motley throng of visitors, collected like birds of prey swooping down upon an unburied corpse.
There was a whole squadron of Russian shop-keepers from the Gostinnui Dvor, and from the old-clothes mart, in blue coats of foreign make.
Their faces and expressions were a little more natural here, and did not display that fict.i.tious desire to be subservient which is so marked in the Russian shop-keeper when he stands before a customer in his shop.
Here they stood upon no ceremony, although the saloons were full of those very aristocrats before whom, in any other place, they would have been ready to sweep, with reverence, the dust brought in by their feet.
They were quite at their ease, handling pictures and books without ceremony, when desirous of ascertaining the value of the goods, and boldly upsetting bargains mentally secured in advance by n.o.ble connoisseurs. There were many of those infallible attendants of auctions who make it a point to go to one every day as regularly as to take their breakfast; aristocratic connoisseurs who look upon it as their duty not to miss any opportunity of adding to their collections, and who have no other occupation between twelve o"clock and one; and n.o.ble gentlemen, with garments very threadbare, who make their daily appearance without any selfish object in view, but merely to see how it all goes off.
A quant.i.ty of pictures were lying about in disorder: with them were mingled furniture, and books with the cipher of the former owner, who never was moved by any laudable desire to glance into them. Chinese vases, marble slabs for tables, old and new furniture with curving lines, with griffins, sphinxes, and lions" paws, gilded and ungilded, chandeliers, sconces, all were heaped together in a perfect chaos of art.
The auction appeared to be at its height.
The surging throng was competing for a portrait which could not but arrest the attention of all who possessed any knowledge of art. The skilled hand of an artist was plainly visible in it. The portrait, which had apparently been several times restored and renovated, represented the dark features of an Asiatic in flowing garments, and with a strange and remarkable expression of countenance; but what struck the buyers more than anything else was the peculiar liveliness of the eyes. The more they were looked at, the more did they seem to penetrate into the gazer"s heart. This peculiarity, this strange illusion achieved by the artist, attracted the attention of nearly all. Many who had been bidding gradually withdrew, for the price offered had risen to an incredible sum. There remained only two well-known aristocrats, amateurs of painting, who were unwilling to forego such an acquisition. They grew warm, and would probably have run the bidding up to an impossible sum, had not one of the onlookers suddenly exclaimed, "Permit me to interrupt your compet.i.tion for a while: I, perhaps, more than any other, have a right to this portrait."
These words at once drew the attention of all to him. He was a tall man of thirty-five, with long black curls. His pleasant face, full of a certain bright nonchalance, indicated a mind free from all wearisome, worldly excitement; his garments had no pretence to fashion: all about him indicated the artist. He was, in fact, B. the painter, a man personally well known to many of those present.
"However strange my words may seem to you," he continued, perceiving that the general attention was directed to him, "if you will listen to a short story, you may possibly see that I was right in uttering them.
Everything a.s.sures me that this is the portrait which I am looking for."
A natural curiosity illuminated the faces of nearly all present; and even the auctioneer paused as he was opening his mouth, and with hammer uplifted in the air, prepared to listen. At the beginning of the story, many glanced involuntarily towards the portrait; but later on, all bent their attention solely on the narrator, as his tale grew gradually more absorbing.
"You know that portion of the city which is called Kolomna," he began.
"There everything is unlike anything else in St. Petersburg. Retired officials remove thither to live; widows; people not very well off, who have acquaintances in the senate, and therefore condemn themselves to this for nearly the whole of their lives; and, in short, that whole list of people who can be described by the words ash-coloured--people whose garments, faces, hair, eyes, have a sort of ashy surface, like a day when there is in the sky neither cloud nor sun. Among them may be retired actors, retired t.i.tular councillors, retired sons of Mars, with ruined eyes and swollen lips.
"Life in Kolomna is terribly dull: rarely does a carriage appear, except, perhaps, one containing an actor, which disturbs the universal stillness by its rumble, noise, and jingling. You can get lodgings for five rubles a month, coffee in the morning included. Widows with pensions are the most aristocratic families there; they conduct themselves well, sweep their rooms often, chatter with their friends about the dearness of beef and cabbage, and frequently have a young daughter, a taciturn, quiet, sometimes pretty creature; an ugly dog, and wall-clocks which strike in a melancholy fashion. Then come the actors whose salaries do not permit them to desert Kolomna, an independent folk, living, like all artists, for pleasure. They sit in their dressing-gowns, cleaning their pistols, gluing together all sorts of things out of cardboard, playing draughts and cards with any friend who chances to drop in, and so pa.s.s away the morning, doing pretty nearly the same in the evening, with the addition of punch now and then. After these great people and aristocracy of Kolomna, come the rank and file.
It is as difficult to put a name to them as to remember the mult.i.tude of insects which breed in stale vinegar. There are old women who get drunk, who make a living by incomprehensible means, like ants, dragging old clothes and rags from the Kalinkin Bridge to the old clothes-mart, in order to sell them for fifteen kopeks--in short, the very dregs of mankind, whose conditions no beneficent, political economist has devised any means of ameliorating.
"I have mentioned them in order to point out how often such people find themselves under the necessity of seeking immediate temporary a.s.sistance and having recourse to borrowing. Hence there settles among them a peculiar race of money-lenders who lend small sums on security at an enormous percentage. Among these usurers was a certain... but I must not omit to mention that the occurrence which I have undertaken to relate occurred the last century, in the reign of our late Empress Catherine the Second. So, among the usurers, at that epoch, was a certain person--an extraordinary being in every respect, who had settled in that quarter of the city long before. He went about in flowing Asiatic garb; his dark complexion indicated a Southern origin, but to what particular nation he belonged, India, Greece, or Persia, no one could say with certainty. Of tall, almost colossal stature, with dark, thin, ardent face, heavy overhanging brows, and an indescribably strange colour in his large eyes of unwonted fire, he differed sharply and strongly from all the ash-coloured denizens of the capital.
"His very dwelling was unlike the other little wooden houses. It was of stone, in the style of those formerly much affected by Genoese merchants, with irregular windows of various sizes, secured with iron shutters and bars. This usurer differed from other usurers also in that he could furnish any required sum, from that desired by the poor old beggar-woman to that demanded by the extravagant grandee of the court.
The most gorgeous equipages often halted in front of his house, and from their windows sometimes peeped forth the head of an elegant high-born lady. Rumour, as usual, reported that his iron coffers were full of untold gold, treasures, diamonds, and all sorts of pledges, but that, nevertheless, he was not the slave of that avarice which is characteristic of other usurers. He lent money willingly, and on very favourable terms of payment apparently, but, by some curious method of reckoning, made them mount to an incredible percentage. So said rumour, at any rate. But what was strangest of all was the peculiar fate of those who received money from him: they all ended their lives in some unhappy way. Whether this was simply the popular superst.i.tion, or the result of reports circulated with an object, is not known. But several instances which happened within a brief s.p.a.ce of time before the eyes of every one were vivid and striking.
"Among the aristocracy of that day, one who speedily drew attention to himself was a young man of one of the best families who had made a figure in his early years in court circles, a warm admirer of everything true and n.o.ble, zealous in his love for art, and giving promise of becoming a Maecenas. He was soon deservedly distinguished by the Empress, who conferred upon him an important post, fully proportioned to his deserts--a post in which he could accomplish much for science and the general welfare. The youthful dignitary surrounded himself with artists, poets, and learned men. He wished to give work to all, to encourage all. He undertook, at his own expense, a number of useful publications; gave numerous orders to artists; offered prizes for the encouragement of different arts; spent a great deal of money, and finally ruined himself. But, full of n.o.ble impulses, he did not wish to relinquish his work, sought to raise a loan, and finally betook himself to the well-known usurer. Having borrowed a considerable sum from him, the man in a short time changed completely. He became a persecutor and oppressor of budding talent and intellect. He saw the bad side in everything produced, and every word he uttered was false.
"Then, unfortunately, came the French Revolution. This furnished him with an excuse for every kind of suspicion. He began to discover a revolutionary tendency in everything; to concoct terrible and unjust accusations, which made scores of people unhappy. Of course, such conduct could not fail in time to reach the throne. The kind-hearted Empress was shocked; and, full of the n.o.ble spirit which adorns crowned heads, she uttered words still engraven on many hearts. The Empress remarked that not under a monarchical government were high and n.o.ble impulses persecuted; not there were the creations of intellect, poetry, and art contemned and oppressed. On the other hand, monarchs alone were their protectors. Shakespeare and Moliere flourished under their magnanimous protection, while Dante could not find a corner in his republican birthplace. She said that true geniuses arise at the epoch of brilliancy and power in emperors and empires, but not in the time of monstrous political apparitions and republican terrorism, which, up to that time, had never given to the world a single poet; that poet-artists should be marked out for favour, since peace and divine quiet alone compose their minds, not excitement and tumult; that learned men, poets, and all producers of art are the pearls and diamonds in the imperial crown: by them is the epoch of the great ruler adorned, and from them it receives yet greater brilliancy.
"As the Empress uttered these words she was divinely beautiful for the moment, and I remember old men who could not speak of the occurrence without tears. All were interested in the affair. It must be remarked, to the honour of our national pride, that in the Russian"s heart there always beats a fine feeling that he must adopt the part of the persecuted. The dignitary who had betrayed his trust was punished in an exemplary manner and degraded from his post. But he read a more dreadful punishment in the faces of his fellow-countrymen: universal scorn. It is impossible to describe what he suffered, and he died in a terrible attack of raving madness.
"Another striking example also occurred. Among the beautiful women in which our northern capital a.s.suredly is not poor, one decidedly surpa.s.sed the rest. Her loveliness was a combination of our Northern charms with those of the South, a gem such as rarely makes its appearance on earth. My father said that he had never beheld anything like it in the whole course of his life. Everything seemed to be united in her, wealth, intellect, and wit. She had throngs of admirers, the most distinguished of them being Prince R., the most n.o.ble-minded of all young men, the finest in face, and an ideal of romance in his magnanimous and knightly sentiments. Prince R. was pa.s.sionately in love, and was requited by a like ardent pa.s.sion.
"But the match seemed unequal to the parents. The prince"s family estates had not been in his possession for a long time, his family was out of favour, and the sad state of his affairs was well known to all.
Of a sudden the prince quitted the capital, as if for the purpose of arranging his affairs, and after a short interval reappeared, surrounded with luxury and splendour. Brilliant b.a.l.l.s and parties made him known at court. The lady"s father began to relent, and the wedding took place.
Whence this change in circ.u.mstances, this unheard-of-wealth, came, no one could fully explain; but it was whispered that he had entered into a compact with the mysterious usurer, and had borrowed money of him.
However that may have been, the wedding was a source of interest to the whole city, and the bride and bridegroom were objects of general envy.