THE Emir of the Lebanon and his English friend did not depart from the desert city until the morrow, Fakredeen being so wearied by his journey that he required repose.
Unsustained by his lively conversation, Tancred felt all the depression natural to his position; and, restless and disquieted, wandered about the valley in the moonlight, recalling the vanished images of the past. After some time, unable himself to sleep, and finding Baroni disinclined to slumber, he reminded his attendant of the promise he had once given at Jerusalem, to tell something of his history. Baroni was a lively narrator, and, accompanied by his gestures, his speaking glance, and all the pantomime of his energetic and yet controlled demeanour, the narrative, as he delivered it, would have been doubtless much more amusing than the calmer form in which, upon reflection, we have thought fit to record some incidents which the reader must not in any degree suppose to form merely an episode in this history. With this observation we solicit attention to
The history of the Baroni family.
Being a Chapter in the life of Sidonia.
1.
‘I had no idea that you had a garrison here,’ said Sidonia, as the distant sounds of martial music were wafted down a long, ancient street, that seemed narrower than it was from the great elevation of its fantastically-shaped houses, into the principal square in which was situate his hotel. The town was one of the least frequented of Flanders; and Sidonia, who was then a youth, scarcely of twenty summers, was on his rambling way to Frankfort, where he then resided.
‘It is not the soldiers,’ said the Flemish maiden in attendance, and who was dressed in one of those pretty black silk jackets that seem to blend so well with the sombre yet picturesque dwellings of the Spanish Netherlands. ‘It is not the soldiers, sir; it is only the Baroni family.’
‘And who are the Baroni family?’
‘They are Italians, sir, and have been here this week past, giving some representations.’
‘Of what kind?’
‘I hardly know, sir, only I have heard that they are very beautiful. There is tumbling, I know for certain; and there was the Plagues of Egypt; but I believe it changes every night.’
‘And you have not yet seen them?’
‘Oh no, sir, it is not for such as me; the second places are half a franc!’
‘And what is your name?’ said Sidonia.
‘Thérèse; at your service, sir.’
‘You shall go and see the Baroni family to-night, Thérèse, if your mistress will let you.’
‘I am sure she would if you would ask her, sir,’ said Thérèse, looking down and colouring with delight. The little jacket seemed very agitated.
‘Here they come!’ said Sidonia, looking out of the window on the great square.
A man, extremely good-looking and well made, in the uniform of a marshal of France, his cocked hat fringed and plumed, and the colour of his coat almost concealed by its embroidery, played a clarionet like a master; four youths of a tender age, remarkable both for their beauty and their grace, dressed in very handsome scarlet uniforms, with white scarfs, performed upon French horns and similar instruments with great energy and apparent delight; behind them an honest Blouse, hired for the occasion, beat the double drum.
‘Two of them are girls,’ said Thérèse; ‘and they are all the same family, except the drummer, who belongs, I hear, to Ypres. Sometimes there are six of them, two little ones, who, I suppose, are left at home today; they look quite like little angels; the boy plays the triangle and his sister beats a tambourine.’
‘They are great artists,’ murmured Sidonia to himself, as he listened to their performance of one of Donizetti’s finest compositions. The father stood in the centre of the great square, the other musicians formed a circle round him; they continued their performance for about ten minutes to a considerable audience, many of whom had followed them, while the rest had collected at their appearance. There was an inclination in the curious multitude to press around the young performers, who would have been in a great degree hidden from general view by this discourteous movement, and even the sound of their instruments in some measure suppressed. Sidonia marked with interest the calm and commanding manner with which, under these circumstances, the father controlled the people. They yielded in an instant to his will: one tall blacksmith seemed scarcely to relish his somewhat imperious demeanour, and stood rooted to the ground; but Baroni, placing only one hand on the curmudgeon’s brawny shoulder, while he still continued playing on his instrument with the other, whirled him away like a puppet. The multitude laughed, and the disconcerted blacksmith slunk away.
When the air was finished, Baroni took off his grand hat, and in a loud voice addressed the assembled people, informing them that this evening, in the largest room of the Auberge of St. Nicholas, there would be a variety of entertainments, consisting of masterpieces of strength and agility, dramatic recitations, dancing and singing, to conclude with the mystery of the Crucifixion of our blessed Lord and Saviour; in which all the actors in that memorable event, among others the blessed Virgin, the blessed St. Mary Magdalene, the Apostles, Pontius Pilate, the High Priest of the Jews, and many others, would appear, all to be represented by one family.
The speaker having covered himself, the band again formed and passed the window of Sidonia’s hotel, followed by a stream of idle amateurs, animated by the martial strain, and attracted by the pleasure of hearing another fine performance at the next quarter of the town, where the Baroni family might halt to announce the impending amusements of the evening.
The moon was beginning to glitter, when Sidonia threw his cloak around him, and asked the way to the Auberge of St. Nicholas. It was a large, ungainly, whitewashed house, at the extremity of a suburb where the straggling street nearly ceased, and emptied itself into what in England would have been called a green. The many windows flared with lights, the doorway was filled with men smoking, and looking full of importance, as if, instead of being the usual loungers of the tavern, they were about to perform a principal part in the exhibition; they made way with respectful and encouraging ceremony to any one who entered to form part of the audience, and rated with sharp words, and sometimes a ready cuff, a mob of little boys who besieged the door, and implored every one who entered to give them tickets to see the Crucifixion. ‘It’s the last piece,’ they perpetually exclaimed, ‘and we may come in for five sous a head.’
Sidonia mounted the staircase, and, being a suitor for a ticket for the principal seats, was received with a most gracious smile by a pretty woman, fair-faced and arch, with a piquant nose and a laughing blue eye, who sat at the door of the room. It was a long and rather narrow apartment; at the end, a stage of rough planks, before a kind of curtain, the whole rudely but not niggardly lighted. Unfortunately for the Baroni family, Sidonia found himself the only first-class spectator. There was a tolerable sprinkling of those who paid half a franc for their amusement. These were separated from the first row, which Sidonia alone was to occupy; in the extreme distance was a large space not fitted up with benches, where the miscellaneous multitude, who could summon up five sous apiece later in the evening, to see the Crucifixion, were to be stowed.
‘It hardly pays the lights,’ said the pretty woman at the door. ‘We have not had good fortune in this town. It seems hard, when there is so much for the money, and the children take such pains in going the rounds in the morning.’
‘And you are Madame Baroni?’ said Sidonia.
‘Yes; I am the mother,’ she replied.
‘I should have thought you had been their sister,’ said Sidonia.
‘My eldest son is fifteen! I often wish that he was anything else but what he is, but we do not like to separate. We are all one family, sir, and that makes us bear many things.’
‘Well, I think I know a way to increase your audience,’ said Sidonia.
‘Indeed! I am sure it is very kind of you to say so much; we have not met with a gentleman like you the whole time we have been here.’
Sidonia descended the stairs; the smoking amateurs made way for him with great parade, and pushed back with equal unkindness the young and wistful throng who still hovered round the portal.
‘Don’t you see the gentleman wants to go by? Get back, you boys!’
Sidonia halted on the doorway, and, taking advantage of a momentary pause, said, ‘All the little boys are to come in free.’
What a rush!
The performances commenced by the whole of the Baroni family appearing in a row, and bowing to the audience. The father was now dressed in a Greek costume, which exhibited to perfection his compact frame: he looked like the captain of a band of Palikari; on his left appeared the mother, who, having thrown off her cloak, seemed a sylph or a sultana, for her bonnet had been succeeded by a turban. The three girls were on her left hand, and on the right of her husband were their three brothers. The eldest son, Francis, resembled his father, or rather was what his father must have been in all the freshness of boyhood; the same form of blended strength and symmetry; the same dark eye, the same determined air and regular features which in time would become strongly marked. The second boy, Alfred, about eleven, was delicate, fair, and fragile, like his mother; his sweet countenance, full of tenderness, changed before the audience with a rapid emotion. The youngest son, Michel, was an infant of four years, and with his large blue eyes and long golden hair, might have figured as one of the seraphs of Murillo.
There was analogy in the respective physical appearances of the brothers and the sisters. The eldest girl, Josephine, though she had only counted twelve summers, was in stature, and almost in form, a woman. She was strikingly handsome, very slender, and dark as night. Adelaide, in colour, in look, in the grace of every gesture, and in the gushing tenderness of her wild, yet shrinking glance, seemed the twin of Alfred. The little Carlotta, more than two years older than Michel, was the miniature of her mother, and had a piquant coquettish air, mixed with an expression of repose in one so young quite droll, like a little opera dancer. The father clapped his hands, and all, except himself, turned round, bowed to the audience, and retired, leaving Baroni and his two elder children. Then commenced a variety of feats of strength. Baroni stretched forth his right arm, and Josephine, with a bound, instantly sprang upon his shoulder; while she thus remained, balancing herself only on her left leg, and looking like a flying Victory, her father stretched forth his left arm, and Francis sprang upon the shoulder opposite to his sister, and formed with her a group which might have crowned a vase. Infinite were the postures into which, for more than half an hour, the brother and sister threw their flexible forms, and all alike distinguished for their agility, their grace, and their precision. At length, all the children, with the exception of Carlotta, glided from behind the curtain, and clustered around their father with a quickness which baffled observation. Alfred and Adelaide suddenly appeared, mounted upon Josephine and Francis, who had already resumed their former positions on the shoulders of their father, and stood immovable with outstretched arms, while their brother and sister balanced themselves above. This being arranged, Baroni caught up the young Michel, and, as it were, flung him up on high; Josephine received the urchin, and tossed him up to Adelaide, and in a moment the beautiful child was crowning the living pyramid, his smiling face nearly touching the rough ceiling of the chamber, and clapping his little hands with practised triumph, as Baroni walked about the stage with the breathing burden.
He stopped, and the children disappeared from his shoulders, like birds from a tree when they hear a sound. He clapped his hands, they turned round, bowed, and vanished.
‘As this feat pleases you,’ said the father, ‘and as we have a gentleman here to-night who has proved himself a liberal patron of artists, I will show you something that I rarely exhibit; I will hold the whole of the Baroni family with my two hands;’ and hereupon addressing some stout-looking fellows among his audience, he begged them to come forward and hold each end of a plank that was leaning against the wall, one which had not been required for the quickly-constructed stage. This they did with some diffidence, and with that air of constraint characteristic of those who have been summoned from a crowd to perform something which they do not exactly comprehend.
‘Be not afraid, my good friends,’ said Baroni to them, as Francis lightly sprang on one end of the plank, and Josephine on the other; then Alfred and Adelaide skipped up together at equal distances; so that the four children were now standing in attitude upon the same basis, which four stout men endeavoured, with difficulty, to keep firm. At that moment Madame Baroni, with the two young children, came from behind the curtain, and vaulted exactly on the middle of the board, so that the bold Michel on the one side, and the demure Carlotta on the other, completed the group. ‘Thank you, my friends,’ said Baroni, slipping under the plank, which was raised to a height which just admitted him to pass under it, ‘I will release you,’ and with his outstretched hands he sustained the whole burthen, the whole of the Baroni family supported by the father.
After this there was a pause of a few minutes, the stage was cleared and Baroni, in a loose great-coat, appeared at its side with a violin. He played a few bars, then turning to the audience, said with the same contemptuous expression, which always distinguished him when he addressed them, ‘Now you are going to hear a scene from a tragedy of the great Racine, one of the greatest tragedy writers that ever existed, if you may never have heard him; but if you were at Paris, and went to the great theatre, you would find that what I am telling you is true.’ And Josephine advanced, warmly cheered by the spectators, who thought that they were going to have some more tumbling. She advanced, however, as Andromache. It seemed to Sidonia that he had never listened to a voice more rich and passionate, to an elocution more complete; he gazed with admiration on her lightning glance and all the tumult of her noble brow. As she finished, he applauded her with vehemence. He was standing near to her father leaning against the wall.
‘Your daughter is a great actress,’ he said to Baroni.
‘I sometimes think so,’ said the father, turning round with some courtesy to Sidonia, whom he recognised as the liberal stranger who had so kindly increased his meagre audience; ‘I let her do this to please herself. She is a good girl, but very few of the respectable savages here speak French. However, she likes it. Adelaide is now going to sing; that will suit them better.’
Then there were a few more bars scraped on the violin, and Adelaide, glowing rather than blushing, with her eyes first on the ground and then on the ceiling, but in all her movements ineffable grace, came forward and courtesied. She sang an air of Auber and of Bellini: a voice of the rarest quality, and, it seemed to Sidonia, promising almost illimitable power.
‘Your family is gifted,’ he said to Baroni, as he applauded his second daughter as warmly as the first; and the audience applauded her too.
‘I sometimes think so. They are all very good. I am afraid, however, that this gift will not serve her much. The good-natured savages seem pleased. Carlotta now is going to dance; that will suit them better. She has had good instruction. Her mother was a dancer.’
And immediately, with her lip a little curling, a look of complete self-possession, willing to be admired, yet not caring to conceal her disgust, the little Carlotta advanced, and, after pointing her toe, threw a glance at her father to announce that he might begin. He played with more care and energy than for the other sisters, for Carlotta was exceedingly wilful and imperious, and, if the music jarred, would often stop, shrug her shoulders, and refuse to proceed. Her mother doted on her; even the austere Baroni, who ruled his children like a Pasha, though he loved them, was a little afraid of Carlotta.
The boards were coarse and rough, some even not sufficiently tightened, but it seemed to Sidonia, experienced as he was in the schools of Paris, London, and Milan, that he had never witnessed a more brilliant facility than that now displayed by this little girl. Her soul, too, was entirely in her art; her countenance generally serious and full of thought, yet occasionally, when a fine passage had been successfully achieved, radiant with triumph and delight. She was cheered, and cheered, and cheered; but treated the applause, when she retired, with great indifference. Fortunately, Sidonia had a rose in his button-hole, and he stepped forward and presented it to her. This gratified Carlotta, who bestowed on him a glance full of coquetry.
‘And now,’ said Baroni, to the people, ‘you are going to see the crucifixion of Jesus Christ: all the tableaux are taken from pictures by the most famous artists that ever lived, Raphael, Rubens, and others. Probably you never heard of them. I can’t help that; it is not my fault; all I can say is, that if you go to the Vatican and other galleries, you may see them. There will be a pause of ten minutes, for the children want rest.’
Now there was a stir and a devouring of fruit; Baroni, who was on the point of going behind the curtain, came forward, and there was silence again to listen to him.
‘I understand,’ he said, roughly, ‘there is a collection going to be made for the children; mind, I ask no one to subscribe to it; no one obliges me by giving anything to it; it is for the children and the children alone, they have it to spend, that is all.’
The collectors were Michel and Adelaide. Michel was always successful at a collection. He was a great favourite, and wonderfully bold; he would push about in the throng like a Hercules, whenever anyone called out to him to fetch a Hard. Adelaide, who carried the box, was much too retiring, and did not like the business at all; but it was her turn, and she could not avoid it. No one gave them more than a sou. It is due, however, to the little boys who were admitted free, to state that they contributed handsomely; indeed, they expended all the money they had in the exhibition room, either in purchasing fruit, or in bestowing backsheesh on the performers.
‘Encore un liard pour Michel,’ was called out by several of them, in order to make Michel rush back, which he did instantly at the exciting sound, ready to overwhelm the hugest men in his resistless course.
At last, Adelaide, holding the box in one hand and her brother by the other, came up to Sidonia, and cast her eyes upon the ground.
‘For Michel,’ said Sidonia, dropping a five-franc piece into the box.
‘A piece of a hundred sous!’ said Michel.
‘And a piece of a hundred sous for yourself and each of your brothers and sisters, Adelaide,’ said Sidonia, giving her a purse.
Michel gave a shout, but Adelaide blushed very much, kissed his hand, and skipped away. When she had got behind the curtain, she jumped on her father’s neck, and burst into tears. Madame Baroni, not knowing what had occurred, and observing that Sidonia could command from his position a view of what was going on in their sanctuary, pulled the curtain, and deprived Sidonia of a scene which interested him.
About ten minutes after this, Baroni again appeared in his rough great-coat, and with his violin. He gave a scrape or two, and the audience became orderly. He played an air, and then turning to Sidonia, looking at him with great scrutiny, he said, ‘Sir, you are a prince.’
‘On the contrary,’ said Sidonia, ‘I am nothing; I am only an artist like yourself.’
‘Ah!’ said Baroni, ‘an artist like myself! I thought so. You have taste. And what is your line? Some great theatre, I suppose, where even if one is ruined, one at least has the command of capital. ’Tis a position. I have none. But I have no rebels in my company, no traitors. With one mind and heart we get on, and yet sometimes ——’ and here a signal near him reminded him that he must be playing another air, and in a moment the curtain separated in the middle, and exhibited a circular stage on which there were various statues representing the sacred story.
There were none of the usual means and materials of illusion at hand; neither space, nor distance, nor cunning lights; it was a confined tavern room with some glaring tapers, and Sidonia himself was almost within arm’s reach of the performers. Yet a representation more complete, more finely conceived, and more perfectly executed, he had never witnessed. It was impossible to credit that these marble forms, impressed with ideal grace, so still, so sad, so sacred, could be the little tumblers, who, but half-an-hour before, were disporting on the coarse boards at his side.
The father always described, before the curtain was withdrawn, with a sort of savage terseness, the subject of the impending scene. The groups did not continue long; a pause of half a minute, and the circular stage revolved, and the curtain again closed. This rapidity of representation was necessary, lest delay should compromise the indispensable immovableness of the performers.
‘Now,’ said Baroni, turning his head to the audience, and slightly touching his violin, ‘Christ falls under the weight of the cross.’ And immediately the curtain parted, and Sidonia beheld a group in the highest style of art, and which though deprived of all the magic of ............