Vendetta - Honoré de Balzac (ebook reader computer txt) 📗

faith, anxious even to confess it, the old baron remained in Paris in the midst of his enemies. Ginevra Piombo was all the more open to condemnation because she made no secret of the grief which the second Restoration caused to her family. The only tears she had so far shed in life were drawn from her by the twofold news of Napoleon's captivity on the "Bellerophon," and Labedoyere's arrest.

The girls of the aristocratic group of pupils belonged to the most devoted royalist families in Paris. It would be difficult to give an idea of the exaggerations prevalent at this epoch, and of the horror inspired by the Bonapartists. However insignificant and petty Amelie's action may now seem to be, it was at that time a very natural expression of the prevailing hatred. Ginevra Piombo, one of Servin's first pupils, had occupied the place that was now taken from her since the first day of her coming to the studio. The aristocratic circle had gradually surrounded her. To drive her from a place that in some sense belonged to her was not only to insult her, but to cause her a species of artistic pain; for all artists have a spot of predilection where they work.

Nevertheless, political prejudice was not the chief influence on the conduct of the Right clique of the studio. Ginevra, much the ablest of Servin's pupils, was an object of intense jealousy. The master testified as much admiration for the talents as for the character of his favorite pupil, who served as a conclusion to all his comparisons. In fact, without any one being able to explain the ascendancy which this young girl obtained over all who came in contact with her, she exercised over the little world around her a prestige not unlike that of Bonaparte upon his soldiers.

The aristocracy of the studio had for some days past resolved upon the fall of this queen, but no one had, as yet, ventured to openly avoid the Bonapartist. Mademoiselle Thirion's act was, therefore, a decisive stroke, intended by her to force the others into becoming, openly, the accomplices of her hatred. Though Ginevra was sincerely loved by several of these royalists, nearly all of whom were indoctrinated at home with their political ideas, they decided, with the tactics peculiar to women, that they should do best to keep themselves aloof from the quarrel.

On Ginevra's arrival she was received, as we have said, in profound silence. Of all the young women who had, so far, come to Servin's studio, she was the handsomest, the tallest, and the best made. Her carriage and demeanor had a character of nobility and grace which commanded respect. Her face, instinct with intelligence, seemed to radiate light, so inspired was it with the enthusiasm peculiar to Corsicans,--which does not, however, preclude calmness. Her long hair and her black eyes and lashes expressed passion; the corners of her mouth, too softly defined, and the lips, a trifle too marked, gave signs of that kindliness which strong beings derive from the consciousness of their strength.

By a singular caprice of nature, the charm of her face was, in some degree, contradicted by a marble forehead, on which lay an almost savage pride, and from which seemed to emanate the moral instincts of a Corsican. In that was the only link between herself and her native land. All the rest of her person, her simplicity, the easy grace of her Lombard beauty, was so seductive that it was difficult for those who looked at her to give her pain. She inspired such keen attraction that her old father caused her, as matter of precaution, to be accompanied to and from the studio. The only defect of this truly poetic creature came from the very power of a beauty so fully developed; she looked a woman. Marriage she had refused out of love to her father and mother, feeling herself necessary to the comfort of their old age. Her taste for painting took the place of the passions and interests which usually absorb her sex.

"You are very silent to-day, mesdemoiselles," she said, after advancing a little way among her companions. "Good-morning, my little Laure," she added, in a soft, caressing voice, approaching the young girl who was painting apart from the rest. "That head is strong,--the flesh tints a little too rosy, but the drawing is excellent."

Laure raised her head and looked tenderly at Ginevra; their faces beamed with the expression of a mutual affection. A faint smile brightened the lips of the young Italian, who seemed thoughtful, and walked slowly to her easel, glancing carelessly at the drawings and paintings on her way, and bidding good-morning to each of the young girls of the first group, not observing the unusual curiosity excited by her presence. She was like a queen in the midst of her court; she paid no attention to the profound silence that reigned among the patricians, and passed before their camp without pronouncing a single word. Her absorption seemed so great that she sat down before her easel, opened her color-box, took up her brushes, drew on her brown sleeves, arranged her apron, looked at her picture, examined her palette, without, apparently, thinking of what she was doing. All heads in the group of the bourgeoises were turned toward her. If the young ladies in the Thirion camp did not show their impatience with the same frankness, their sidelong glances were none the less directed on Ginevra.

"She hasn't noticed it!" said Mademoiselle Roguin.

At this instant Ginevra abandoned the meditative attitude in which she had been contemplating her canvas, and turned her head toward the group of aristocrats. She measured, at a glance, the distance that now separated her from them; but she said nothing.

"It hasn't occurred to her that they meant to insult her," said Matilde; "she neither colored nor turned pale. How vexed these girls will be if she likes her new place as well as the old! You are out of bounds, mademoiselle," she added, aloud, addressing Ginevra.

The Italian pretended not to hear; perhaps she really did not hear. She rose abruptly; walked with a certain deliberation along the side of the partition which separated the adjoining closet from the studio, and seemed to be examining the sash through which her light came,--giving so much importance to it that she mounted a chair to raise the green serge, which intercepted the light, much higher. Reaching that height, her eye was on a level with a slight opening in the partition, the real object of her efforts, for the glance that she cast through it can be compared only to that of a miser discovering Aladdin's treasure. Then she sprang down hastily and returned to her place, changed the position of her picture, pretended to be still dissatisfied with the light, pushed a table close to the partition, on which she placed a chair, climbed lightly to the summit of this erection, and again looked through the crevice. She cast but one glance into the space beyond, which was lighted through a skylight; but what she saw produced so strong an effect upon her that she tottered.

"Take care, Mademoiselle Ginevra, you'll fall!" cried Laure.

All the young girls gazed at the imprudent climber, and the fear of their coming to her gave her courage; she recovered her equilibrium, and replied, as she balanced herself on the shaking chair:--

"Pooh! it is more solid than a throne!"

She then secured the curtain and came down, pushed the chair and table as far as possible from the partition, returned to her easel, and seemed to be arranging it to suit the volume of light she had now thrown upon it. Her picture, however, was not in her mind, which was wholly bent on getting as near as possible to the closet, against the door of which she finally settled herself. Then she began to prepare her palette in the deepest silence. Sitting there, she could hear, distinctly, a sound which had strongly excited her curiosity the evening before, and had whirled her young imagination across vast fields of conjecture. She recognized the firm and regular breathing of a man whom she had just seen asleep. Her curiosity was satisfied beyond her expectations, but at the same time she felt saddled by an immense responsibility. Through the opening in the wall she had seen the Imperial eagle; and upon the flock bed, faintly lighted from above, lay the form of an officer of the Guard. She guessed all. Servin was hiding a proscribed man!

She now trembled lest any of her companions should come near here to examine her picture, when the regular breathing or some deeper breath might reveal to them, as it had to her, the presence of this political victim. She resolved to keep her place beside that door, trusting to her wits to baffle all dangerous chances that might arise.

"Better that I should be here," thought she, "to prevent some luckless accident, than leave that poor man at the mercy of a heedless betrayal."

This was the secret of the indifference which Ginevra had apparently shown to the removal of her easel. She was inwardly enchanted, because the change had enabled her to gratify her curiosity in a natural manner; besides, at this moment, she was too keenly preoccupied to perceive the reason of her removal.

Nothing is more mortifying to young girls, or, indeed, to all the world, than to see a piece of mischief, an insult, or a biting speech, miss its effect through the contempt or the indifference of the intended victim. It seems as if hatred to an enemy grows in proportion to the height that enemy is raised above us. Ginevra's behavior was an enigma to all her companions; her friends and enemies were equally surprised; for the former claimed for her all good qualities, except that of forgiveness of injuries. Though, of course, the occasions for displaying that vice of nature were seldom afforded to Ginevra in the life of a studio, still, the specimens she had now and then given of her vindictive disposition had left a strong impression on the minds of her companions.

After many conjectures, Mademoiselle Roguin came to the conclusion that the Italian's silence showed a grandeur of soul beyond all praise; and the banking circle, inspired by her, formed a project to humiliate the aristocracy. They succeeded in that aim by a fire of sarcasms which presently brought down the pride of the Right coterie.

Madame Servin's arrival put a stop to the struggle. With the shrewdness that usually accompanies malice, Amelie Thirion had noticed, analyzed, and mentally commented on the extreme preoccupation of Ginevra's mind, which prevented her from even hearing the bitterly polite war of words of which she was the object. The vengeance Mademoiselle Roguin and her companions were inflicting on Mademoiselle Thirion and her group had, therefore, the fatal effect of driving the young _ultras_ to search for the cause of the silence so obstinately maintained by Ginevra di Piombo. The beautiful Italian became the centre of all glances, and she was henceforth watched by friends and foes alike.

It is very difficult to hide even a slight emotion or sentiment from fifteen inquisitive and unoccupied young girls, whose wits and mischief ask for nothing better than secrets to guess, schemes to create or baffle, and who know how to find too many interpretations for each gesture, glance, and word, to fail in discovering the right one.

At this moment, however, the presence of Madame Servin produced an interlude in the drama thus played below the surface in these various young hearts, the sentiments, ideas, and progress of which were expressed by phrases that were almost allegorical, by mischievous