His Masterpiece — Chapter 12, Part B

And she dragged him from the execrated painting, she carried him off triumphantly.

The candle, now nearly consumed, flared up for a minute behind them on the steps, before the big painting, and then went out.

It was victory, yes, but could it last?

Daylight was about to break, and Christine lay asleep beside Claude.

She was breathing softly, and a smile played upon her lips.

He had closed his eyes; and yet, despite himself, he opened them afresh and gazed into the darkness.

Sleep fled from him, and confused ideas again ascended to his brain.

As the dawn appeared, yellowishly dirty, like a splash of liquid mud on the window-panes, he started, fancying that he heard a loud voice calling to him from the far end of the studio.

Then, irresistibly, despite a few brief hours’ forgetfulness, all his old thoughts returned, overflowing and torturing him, hollowing his cheeks and contracting his jaws in the disgust he felt for mankind.

Two wrinkles imparted intense bitterness to the expression of his face, which looked like the wasted countenance of an old man.

And suddenly the loud voice from the far end of the studio imperiously summoned him a second time.

Then he quite made up his mind: it was all over, he suffered too much, he could no longer live, since everything was a lie, since there was nothing left upon earth.

Love!

what was it?

Nought but a passing illusion.

This thought at last mastered him, possessed him entirely; and soon the craving for nothingness as his only refuge came on him stronger than ever.

At first he let Christine’s head slip down from his shoulder on which it rested.

And then, as a third summons rang out in his mind, he rose and went to the studio, saying: ‘Yes, yes, I’m coming,’ The sky did not clear, it still remained dirty and mournful--it was one of those lugubrious winter dawns; and an hour later Christine herself awoke with a great chilly shiver.

She did not understand at first.

How did it happen that she was alone?

Then she remembered: she had fallen asleep with her cheek against his.

How was it then that he had left her?

Where could he be?

Suddenly, amid her torpor, she sprang out of bed and ran into the studio.

Good God!

had he returned to the other then?

Had the other seized hold of him again, when she herself fancied that she had conquered him for ever?

She saw nothing at the first glance she took; in the cold and murky morning twilight the studio seemed to her to be deserted.

But whilst she was tranquillising herself at seeing nobody there, she raised her eyes to the canvas, and a terrible cry leapt from her gaping mouth: ‘Claude!

oh, Claude!

’ Claude had hanged himself from the steps in front of his spoilt work.

He had simply taken one of the cords which held the frame to the wall, and had mounted the platform, so as to fasten the rope to an oaken crosspiece, which he himself had one day nailed to the uprights to consolidate them.

Then from up above he had leapt into space.

He was hanging there in his shirt, with his feet bare, looking horrible, with his black tongue protruding, and his bloodshot eyes starting from their orbits; he seemed to have grown frightfully tall in his motionless stiffness, and his face was turned towards the picture, close to the nude woman, as if he had wished to infuse his soul into her with his last gasp, and as if he were still looking at her with his expressionless eyes.

Christine, however, remained erect, quite overwhelmed with the grief, fright, and anger which dilated her body.

Only a continuous howl came from her throat.

She opened her arms, stretched them towards the picture, and clenched both hands.

‘Oh, Claude!

oh, Claude!

’ she gasped at last, ‘she has taken you back--the hussy has killed you, killed you, killed you!

’ Then her legs gave way.

She span round and fell all of a heap upon the tiled flooring.

Her excessive suffering had taken all the blood from her heart, and, fainting away, she lay there, as if she were dead, like a white rag, miserable, done for, crushed beneath the fierce sovereignty of Art.

Above her the nude woman rose radiant in her symbolic idol’s brightness; painting triumphed, alone immortal and erect, even when mad.

At nine o’clock on the Monday morning, when Sandoz, after the formalities and delay occasioned by the suicide, arrived in the Rue Tourlaque for the funeral, he found only a score of people on the footway.

Despite his great grief, he had been running about for three days, compelled to attend to everything.

At first, as Christine had been picked up half dead, he had been obliged to have her carried to the Hôpital de Lariboisière; then he had gone from the municipal offices, to the undertaker’s and the church, paying everywhere, and full of indifference so far as that went, since the priests were willing to pray over that corpse with a black circle round its neck.

Among the people who were waiting he as yet only perceived some neighbours, together with a few inquisitive folk; while other people peered out of the house windows and whispered together, excited by the tragedy.

Claude’s friends would, no doubt, soon come.

He, Sandoz, had not been able to write to any members of the family, as he did not know their addresses.

However, he retreated into the background on the arrival of two relatives, whom three lines in the newspapers had roused from the forgetfulness in which Claude himself, no doubt, had left them.

There was an old female cousin,* with the equivocal air of a dealer in second-hand goods, and a male cousin, of the second degree, a wealthy man, decorated with the Legion of Honour, and owning one of the large Paris drapery shops.

He showed himself good-naturedly condescending in his elegance, and desirous of displaying an enlightened taste for art.

The female cousin at once went upstairs, turned round the studio, sniffed at all the bare wretchedness, and then walked down again, with a hard mouth, as if she were irritated at having taken the trouble to come.

The second cousin, on the contrary, drew himself up and walked first behind the hearse, filling the part of chief mourner with proud and pleasant fitness.

* Madame Sidonie, who figures in M. Zola’s novel, ‘La Curee.

’ The male cousin, mentioned immediately afterwards, is Octave Mouret, the leading character of ‘Pot-Bouille’ and ‘Au Bonheur des Dames.

’--ED.

As the procession was starting off, Bongrand came up, and, after shaking hands with Sandoz, remained beside him.

He was gloomy, and, glancing at the fifteen or twenty strangers who followed, he murmured: ‘Ah!

poor chap!

What!

are there only we two?

’ Dubuche was at Cannes with his children.

Jory and Fagerolles kept away, the former hating the deceased and the latter being too busy.

Mahoudeau alone caught the party up at the rise of the Rue Lepic, and he explained that Gagnière must have missed the train.

The hearse slowly ascended the steep thoroughfare which winds round the flanks of the height of Montmartre; and now and then cross streets, sloping downward, sudden gaps amid the houses, showed one the immensity of Paris as deep and as broad as a sea.

When the party arrived in front of the Church of St. Pierre, and the coffin was carried up the steps, it overtopped the great city for a moment.

There was a grey wintry sky overhead, large masses of clouds swept along, carried away by an icy wind, and in the mist Paris seemed to expand, to become endless, filling the horizon with threatening billows.

The poor fellow who had wished to conquer it, and had broken his neck in his fruitless efforts, now passed in front of it, nailed under an oaken board, returning to the earth like one of the city’s muddy waves.

On leaving the church the female cousin disappeared, Mahoudeau likewise;

while the second cousin again took his position behind the hearse.

Seven other unknown persons decided to follow, and they started for the new cemetery of St. Ouen, to which the populace has given the disquieting and lugubrious name of Cayenne.

There were ten mourners in all.

‘Well, we two shall be the only old friends,’ repeated Bongrand as he walked on beside Sandoz.

The procession, preceded by the mourning coach in which the priest and the choirboy were seated, now descended the other side of the height, along winding streets as precipitous as mountain paths.

The horses of the hearse slipped over the slimy pavement; one could hear the wheels jolting noisily.

Right behind, the ten mourners took short and careful steps, trying to avoid the puddles, and being so occupied with the difficulty of the descent that they refrained from speaking.

But at the bottom of the Rue du Ruisseau, when they reached the Porte de Clignancourt and the vast open spaces, where the boulevard running round the city, the circular railway, the talus and moat of the fortifications are displayed to view, there came sighs of relief, a few words were exchanged, and the party began to straggle.

Sandoz and Bongrand by degrees found themselves behind all the others, as if they had wished to isolate themselves from those folk whom they had never previously seen.

Just as the hearse was passing the city gate, the painter leant towards the novelist.

‘And the little woman, what is going to be done with her?

’ ‘Ah!

how dreadful it is!

’ replied Sandoz.

‘I went to see her yesterday at the hospital.

She has brain fever.

The house doctor maintains that they will save her, but that she will come out of it ten years older and without any strength.

Do you know that she had come to such a point that she no longer knew how to spell.

Such a crushing fall, a young lady abased to the level of a drudge!

Yes, if we don’t take care of her like a cripple, she will end by becoming a scullery-maid somewhere.

’ ‘And not a copper, of course?

’ ‘Not a copper.

I thought I should find the studies Claude made from nature for his large picture, those superb studies which he afterwards turned to such poor account.

But I ferreted everywhere; he gave everything away; people robbed him.

No, nothing to sell, not a canvas that could be turned to profit, nothing but that huge picture, which I demolished and burnt with my own hands, and right gladly, I assure you, even as one avenges oneself.

’ They became silent for a moment.

The broad road leading to St. Ouen stretched out quite straight as far as the eye could reach; and over the plain went the procession, pitifully small, lost, as it were, on that highway, along which there flowed a river of mud.

A line of palings bordered it on either side, waste land extended both to right and left, while afar off one only saw some factory chimneys and a few lofty white houses, standing alone, obliquely to the road.

They passed through the Clignancourt fête, with booths, circuses, and roundabouts on either side, all shivering in the abandonment of winter, empty dancing cribs, mouldy swings, and a kind of stage homestead, ‘The Picardy Farm,’ looking dismally sad between its broken fences.

‘Ah!

his old canvases,’ resumed Bongrand, ‘the things he had at the Quai de Bourbon, do you remember them?

There were some extraordinary bits among them.

The landscapes he brought back from the south and the academy studies he painted at Boutin’s--a girl’s legs and a woman’s trunk, for instance.

Oh, that trunk!

Old Malgras must have it.

A

magisterial study it was, which not one of our “young masters” could paint.

Yes, yes, the fellow was no fool--simply a great painter.

’ ‘When I think,’ said Sandoz, ‘that those little humbugs of the School and the press accused him of idleness and ignorance, repeating one after the other that he had always refused to learn his art.

Idle!

good heavens!

why, I have seen him faint with fatigue after sittings ten hours long; he gave his whole life to his work, and killed himself in his passion for toil!

And they call him ignorant--how idiotic!

They will never understand that the individual gift which a man brings in his nature is superior to all acquired knowledge.

Delacroix also was ignorant of his profession in their eyes, simply because he could not confine himself to hard and fast rules!

Ah!

the ninnies, the slavish pupils who are incapable of painting anything incorrectly!

’ He took a few steps in silence, and then he added: ‘A heroic worker, too--a passionate observer whose brain was crammed with science--the temperament of a great artist endowed with admirable gifts.

And to think that he leaves nothing, nothing!

’ ‘Absolutely nothing, not a canvas,’ declared Bongrand.

‘I know nothing of his but rough drafts, sketches, notes carelessly jotted down, as it were, all that artistic paraphernalia which can’t be submitted to the public.

Yes, indeed, it is really a dead man, dead completely, who is about to be lowered into the grave.

’ However, the painter and the novelist now had to hasten their steps, for they had got far behind the others while talking; and the hearse, after rolling past taverns and shops full of tombstones and crosses, was turning to the right into the short avenue leading to the cemetery.

They overtook it, and passed through the gateway with the little procession.

The priest in his surplice and the choirboy carrying the holy water receiver, who had both alighted from the mourning coach, walked on ahead.

It was a large flat cemetery, still in its youth, laid out by rule and line in the suburban waste land, and divided into squares by broad symmetrical paths.

A few raised tombs bordered the principal avenues, but most of the graves, already very numerous, were on a level with the soil.

They were hastily arranged temporary sepulchres, for five-year grants were the only ones to be obtained, and families hesitated to go to any serious expense.

Thus, the stones sinking into the ground for lack of foundations, the scrubby evergreens which had not yet had time to grow, all the provisional slop kind of mourning that one saw there, imparted to that vast field of repose a look of poverty and cold, clean, dismal bareness like that of a barracks or a hospital.

There was not a corner to be found recalling the graveyard nooks sung of in the ballads of the romantic period, not one leafy turn quivering with mystery, not a single large tomb speaking of pride and eternity.

You were in the new style of Paris cemetery, where everything is set out straight and duly numbered--the cemetery of democratic times, where the dead seem to slumber at the bottom of an office drawer, after filing past one by one, as people do at a fête under the eyes of the police, so as to avoid obstruction.

‘Dash it!

’ muttered Bongrand, ‘it isn’t lively here.

’ ‘Why not?

’ asked Sandoz.

‘It’s commodious; there is plenty of air.

And even although there is no sun, see what a pretty colour it all has.

’ In fact, under the grey sky of that November morning, in the penetrating quiver of the wind, the low tombs, laden with garlands and crowns of beads, assumed soft tints of charming delicacy.

There were some quite white, and others all black, according to the colour of the beads.

But the contrast lost much of its force amid the pale green foliage of the dwarfish trees.

Poor families exhausted their affection for the dear departed in decking those five-year grants; there were piles of crowns and blooming flowers--freshly brought there on the recent Day of the Dead.

Only the cut flowers had as yet faded, between their paper collars.

Some crowns of yellow immortelles shone out like freshly chiselled gold.

But the beads predominated to such a degree that at the first glance there seemed to be nothing else; they gushed forth everywhere, hiding the inscriptions and covering the stones and railings.

There were beads forming hearts, beads in festoons and medallions, beads framing either ornamental designs or objects under glass, such as velvet pansies, wax hands entwined, satin bows, or, at times, even photographs of women--yellow, faded, cheap photographs, showing poor, ugly, touching faces that smiled awkwardly.

As the hearse proceeded along the Avenue du Rond Point, Sandoz, whose last remark--since it was of an artistic nature--had brought him back to Claude, resumed the conversation, saying: ‘This is a cemetery which he would have understood, he who was so mad on modern things.

No doubt he suffered physically, wasted away by the over-severe lesion that is so often akin to genius, “three grains too little, or three grains too much, of some substance in the brain,” as he himself said when he reproached his parents for his constitution.

However, his disorder was not merely a personal affair, he was the victim of our period.

Yes, our generation has been soaked in romanticism, and we have remained impregnated with it.

It is in vain that we wash ourselves and take baths of reality, the stain is obstinate, and all the scrubbing in the world won’t take it away.

’ Bongrand smiled.

‘Oh!

as for romanticism,’ said he, ‘I’m up to my ears in it.

It has fed my art, and, indeed, I’m impenitent.

If it be true that my final impotence is due to that, well, after all, what does it matter?

I can’t deny the religion of my artistic life.

However, your remark is quite correct; you other fellows, you are rebellious sons.

Claude, for instance, with his big nude woman amid the quays, that extravagant symbol--’ ‘Ah, that woman!

’ interrupted Sandoz, ‘it was she who throttled him!

If you knew how he worshipped her!

I was never able to cast her out of him.

And how can one possibly have clear perception, a solid, properly-balanced brain when such phantasmagoria sprouts forth from your skull?

Though coming after yours, our generation is too imaginative to leave healthy work behind it.

Another generation, perhaps two, will be required before people will be able to paint and write logically, with the high, pure simplicity of truth.

Truth, nature alone, is the right basis, the necessary guide, outside of which madness begins; and the toiler needn’t be afraid of flattening his work, his temperament is there, which will always carry him sufficiently away.

Does any one dream of denying personality, the involuntary thumb-stroke which deforms whatever we touch and constitutes our poor creativeness?

’ However, he turned his head, and involuntarily added: ‘Hallo!

what’s burning?

Are they lighting bonfires here?

’ The procession had turned on reaching the Rond Point, where the ossuary was situated--the common vault gradually filled with all the remnants removed from the graves, and the stone slab of which, in the centre of a circular lawn, disappeared under a heap of wreaths, deposited there by the pious relatives of those who no longer had an individual resting-place.

And, as the hearse rolled slowly to the left in transversal Avenue No. 2, there had come a sound of crackling, and thick smoke had risen above the little plane trees bordering the path.

Some distance ahead, as the party approached, they could see a large pile of earthy things beginning to burn, and they ended by understanding.

The fire was lighted at the edge of a large square patch of ground, which had been dug up in broad parallel furrows, so as to remove the coffins before allotting the soil to other corpses; just as the peasant turns the stubble over before sowing afresh.

The long empty furrows seemed to yawn, the mounds of rich soil seemed to be purifying under the broad grey sky; and the fire thus burning in that corner was formed of the rotten wood of the coffins that had been removed--slit, broken boards, eaten into by the earth, often reduced to a ruddy humus, and gathered together in an enormous pile.

They broke up with faint detonations, and being damp with human mud, they refused to flame, and merely smoked with growing intensity.

Large columns of the smoke rose into the pale sky, and were beaten down by the November wind, and torn into ruddy shreds, which flew across the low tombs of quite one half of the cemetery.

Sandoz and Bongrand had looked at the scene without saying a word.

Then, having passed the fire, the former resumed: ‘No, he did not prove to be the man of the formula he laid down.

I mean that his genius was not clear enough to enable him to set that formula erect and impose it upon the world by a definite masterpiece.

And now see how other fellows scatter their efforts around him, after him!

They go no farther than roughing off, they give us mere hasty impressions, and not one of them seems to have strength enough to become the master who is awaited.

Isn’t it irritating, this new notion of light, this passion for truth carried as far as scientific analysis, this evolution begun with so much originality, and now loitering on the way, as it were, falling into the hands of tricksters, and never coming to a head, simply because the necessary man isn’t born?

But pooh!

the man will be born; nothing is ever lost, light must be.

’ ‘Who knows?

not always,’ said Bongrand.

‘Life miscarries, like everything else.

I listen to you, you know, but I’m a despairer.

I am dying of sadness, and I feel that everything else is dying.

Ah!

yes, there is something unhealthy in the atmosphere of the times--this end of a century is all demolition, a litter of broken monuments, and soil that has been turned over and over a hundred times, the whole exhaling a stench of death!

Can anybody remain in good health amid all that?

One’s nerves become unhinged, the great neurosis is there, art grows unsettled, there is general bustling, perfect anarchy, all the madness of self-love at bay.

Never have people quarrelled more and seen less clearly than since it is pretended that one knows everything.

’ Sandoz, who had grown pale, watched the large ruddy coils of smoke rolling in the wind.

‘It was fated,’ he mused in an undertone.

‘Our excessive activity and pride of knowledge were bound to cast us back into doubt.

This century, which has already thrown so much light over the world, was bound to finish amid the threat of a fresh flow of darkness--yes, our discomfort comes from that!

Too much has been promised, too much has been hoped for; people have looked forward to the conquest and explanation of everything, and now they growl impatiently.

What!

don’t things go quicker than that?

What!

hasn’t science managed to bring us absolute certainty, perfect happiness, in a hundred years?

Then what is the use of going on, since one will never know everything, and one’s bread will always be as bitter?

It is as if the century had become bankrupt, as if it had failed; pessimism twists people’s bowels, mysticism fogs their brains; for we have vainly swept phantoms away with the light of analysis, the supernatural has resumed hostilities, the spirit of the legends rebels and wants to conquer us, while we are halting with fatigue and anguish.

Ah!

I certainly don’t affirm anything; I myself am tortured.

Only it seems to me that this last convulsion of the old religious terrors was to be foreseen.

We are not the end, we are but a transition, a beginning of something else.

It calms me and does me good to believe that we are marching towards reason, and the substantiality of science.

’ His voice had become husky with emotion, and he added: ‘That is, unless madness plunges us, topsy-turvy, into night again, and we all go off throttled by the ideal, like our old friend who sleeps there between his four boards.

’ The hearse was leaving transversal Avenue No. 2 to turn, on the right, into lateral Avenue No. 3, and the painter, without speaking, called the novelist’s attention to a square plot of graves, beside which the procession was now passing.

There was here a children’s cemetery, nothing but children’s tombs, stretching far away in orderly fashion, separated at regular intervals by narrow paths, and looking like some infantile city of death.

There were tiny little white crosses, tiny little white railings, disappearing almost beneath an efflorescence of white and blue wreaths, on a level with the soil; and that peaceful field of repose, so soft in colour, with the bluish tint of milk about it, seemed to have been made flowery by all the childhood lying in the earth.

The crosses recorded various ages, two years, sixteen months, five months.

One poor little cross, destitute of any railing, was out of line, having been set up slantingly across a path, and it simply bore the words: ‘Eugenie, three days.

’ Scarcely to exist as yet, and withal to sleep there already, alone, on one side, like the children who on festive occasions dine at a little side table!

However, the hearse had at last stopped, in the middle of the avenue;

and when Sandoz saw the grave ready at the corner of the next division, in front of the cemetery of the little ones, he murmured tenderly: ‘Ah!

my poor old Claude, with your big child’s heart, you will be in your place beside them.

’ The under-bearers removed the coffin from the hearse.

The priest, who looked surly, stood waiting in the wind; some sextons were there with their shovels.

Three neighbours had fallen off on the road, the ten had dwindled into seven.

The second cousin, who had been holding his hat in his hand since leaving the church, despite the frightful weather, now drew nearer.

All the others uncovered, and the prayers were about to begin, when a loud piercing whistle made everybody look up.

Beyond this corner of the cemetery as yet untenanted, at the end of lateral Avenue No. 3, a train was passing along the high embankment of the circular railway which overlooked the graveyard.

The grassy slope rose up, and a number of geometrical lines, as it were, stood out blackly against the grey sky; there were telegraph-posts, connected by thin wires, a superintendent’s box, and a red signal plate, the only bright throbbing speck visible.

When the train rolled past, with its thunder-crash, one plainly distinguished, as on the transparency of a shadow play, the silhouettes of the carriages, even the heads of the passengers showing in the light gaps left by the windows.

And the line became clear again, showing like a simple ink stroke across the horizon;

while far away other whistles called and wailed unceasingly, shrill with anger, hoarse with suffering, or husky with distress.

Then a guard’s horn resounded lugubriously.

‘_Revertitur in terram suam unde erat_,’ recited the priest, who had opened a book and was making haste.

But he was not heard, for a large engine had come up puffing, and was manoeuvring backwards and forwards near the funeral party.

It had a loud thick voice, a guttural whistle, which was intensely mournful.

It came and went, panting; and seen in profile it looked like a heavy monster.

Suddenly, moreover, it let off steam, with all the furious blowing of a tempest.

‘_Requiescat in pace_,’ said the priest.

‘Amen,’ replied the choirboy.

But the words were again lost amid the lashing, deafening detonation, which was prolonged with the continuous violence of a fusillade.

Bongrand, quite exasperated, turned towards the engine.

It became silent, fortunately, and every one felt relieved.

Tears had risen to the eyes of Sandoz, who had already been stirred by the words which had involuntarily passed his lips, while he walked behind his old comrade, talking as if they had been having one of their familiar chats of yore;

and now it seemed to him as if his youth were about to be consigned to the earth.

It was part of himself, the best part, his illusions and his enthusiasm, which the sextons were taking away to lower into the depths.

At that terrible moment an accident occurred which increased his grief.

It had rained so hard during the preceding days, and the ground was so soft, that a sudden subsidence of soil took place.

One of the sextons had to jump into the grave and empty it with his shovel with a slow rhythmical movement.

There was no end to the matter, the funeral seemed likely to last for ever amid the impatience of the priest and the interest of the four neighbours who had followed on to the end, though nobody could say why.

And up above, on the embankment, the engine had begun manoeuvring again, retreating and howling at each turn of its wheels, its fire-box open the while, and lighting up the gloomy scene with a rain of sparks.

At last the pit was emptied, the coffin lowered, and the aspergillus passed round.

It was all over.

The second cousin, standing erect, did the honours with his correct, pleasant air, shaking hands with all these people whom he had never previously seen, in memory of the relative whose name he had not remembered the day before.

‘That linen-draper is a very decent fellow,’ said Bongrand, who was swallowing his tears.

‘Quite so,’ replied Sandoz, sobbing.

All the others were going off, the surplices of the priest and the choirboy disappeared between the green trees, while the straggling neighbours loitered reading the inscriptions on the surrounding tombs.

Then Sandoz, making up his mind to leave the grave, which was now half filled, resumed: ‘We alone shall have known him.

There is nothing left of him, not even a name!

’ ‘He is very happy,’ said Bongrand; ‘he has no picture on hand, in the earth where he sleeps.

It is as well to go off as to toil as we do merely to turn out infirm children, who always lack something, their legs or their head, and who don’t live.

’ ‘Yes, one must really be wanting in pride to resign oneself to turning out merely approximate work and resorting to trickery with life.

I,

who bestow every care on my books--I despise myself, for I feel that, despite all my efforts, they are incomplete and untruthful.

’ With pale faces, they slowly went away, side by side, past the children’s white tombs, the novelist then in all the strength of his toil and fame, the painter declining but covered with glory.

‘There, at least, lies one who was logical and brave,’ continued Sandoz;

‘he confessed his powerlessness and killed himself.

’ ‘That’s true,’ said Bongrand; ‘if we didn’t care so much for our skins we should all do as he has done, eh?

’ ‘Well, yes; since we cannot create anything, since we are but feeble copyists, we might as well put an end to ourselves at once.

’ Again they found themselves before the burning pile of old rotten coffins, now fully alight, sweating and crackling; but there were still no flames to be seen, the smoke alone had increased--a thick acrid smoke, which the wind carried along in whirling coils, so that it now covered the whole cemetery as with a cloud of mourning.

‘Dash it!

Eleven o’clock!

’ said Bongrand, after pulling out his watch.

‘I must get home again.

’ Sandoz gave an exclamation of surprise: ‘What, already eleven?

’ Over the low-lying graves, over the vast bead-flowered field of death, so formal of aspect and so cold, he cast a long look of despair, his eyes still bedimmed by his tears.

And then he added: ‘Let’s go to work.

’ THE END

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