style="font-size:15px;"> The escutcheon was at the foot of the panel, and it was not this that first attracted attention. It was of the bizarre shape of German escutcheons of the fifteenth century. It was perpendicular and rested, although rounded at the base, upon a worn, moss covered stone. Of the two upper angles, one bent to the left and curled back upon itself like the turned down corner of a page of an old book; the other, which curled upward, bore at its extremity an immense and magnificent morion in profile, the chinpiece of which protruded further than the visor, making the helm look like a horrible head of a fish. The crest was formed of two great spreading wings of an eagle, one black, the other red, and amid the feathers of these wings were the membranous, twisted and almost living branches of a huge seaweed which bore more resemblance to a polypus than to a plume. From the middle of the plume rose a buckled strap, which reached to the angle of a rough wooden pitchfork, the handle of which was stuck in the ground, and from there descended to a hand, which held it.
To the left of the escutcheon was the figure of a woman, standing. It was an enchanting vision. She was tall and slim, and wore a robe of brocade which fell in ample folds about her feet, a ruff of many pleats and a necklace of large gems. On her head was an enormous and superb turban of blond hair on which rested a crown of filigree that was not round, and that followed all the undulations of the hair. The face, although somewhat too round and large, was exquisite. The eyes were those of an angel, the mouth was that of a virgin; but in those heavenly eyes there was a terrestrial look and on that virginal mouth was the smile of a woman. In that place, at that hour, on that tapestry, this mingling of divine ecstasy and human voluptuousness had something at once charming and awful about it.
Behind the woman, bending towards her as though whispering in her ear, appeared a man.
Was he a man? All that could be seen of his body – legs, arms and chest – was as hairy as the skin of an ape; his hands and feet were crooked, like the claws of a tiger. As to his visage, nothing more fantastic and frightful could be imagined. Amid a thick, bristling beard, a nose like an owl’s beak and a mouth whose corners were drawn by a wild-beast-like rictus were just discernible. The eyes were half hidden by his thick, bushy, curly hair. Each curl ended in a spiral, pointed and twisted like a gimlet, and on peering at them closely it could be seen that each of these gimlets was a little viper.
The man was smiling at the woman. It was disquieting and sinister, the contact of these two equally chimerical beings, the one almost an angel, the other almost a monster; a revolting clash of the two extremes of the ideal. The man held the pitchfork, the woman grasped the strap with her delicate pink fingers.
As to the escutcheon itself, it was sable, that is to say, black, and in the middle of it appeared, with the vague whiteness of silver, a fleshless, deformed thing, which, like the rest, at length became distinct. It was a death’s head. The nose was lacking, the orbits of the eyes were hollow and deep, the cavity of the ear could be seen on the right side, all the seams of the cranium could be traced, and there only remained two teeth in the jaws.
But this black escutcheon, this livid death’s head, designed with such minuteness of detail that it seemed to stand out from the tapestry, was less lugubrious than the two personages who held up the hideous blazon and who seemed to be whispering to each other in the shadow.
At the bottom of the panel in a corner was the date: 1503.
V. THE EASTER DAISY. May 29, 1841
A few days ago I was passing along the Rue de Chartres.2 A palisade of boards, which linked two islands of high six-story houses, attracted my attention. It threw upon the pavement a shadow which the sunshine, penetrating between the badly joined boards, striped with beautiful parallel streaks of gold, such as one sees on the fine black satins of the Renaissance. I strolled over to it and peered through the cracks.
This palisade encloses the site on which was built the Vaudeville Theatre, that was destroyed by fire two years ago, in June, 1839.
It was two o’clock in the afternoon, the sun shone hotly, the street was deserted.
A sort of house door, painted grey, still ornamented with rococo carving and which a hundred years ago probably was the entrance to the boudoir of some little mistress, had been adjusted to the palisade. There was only a latch to raise, and I entered the enclosure.
Nothing could be sadder or more desolate. A chalky soil. Here and there blocks of stone that the masons had begun to work upon, but had abandoned, and which were at once white as the stones of sepulchres and mouldy as the stones of ruins. No one in the enclosure. On the walls of the neighbouring houses traces of flame and smoke still visible.
However, since the catastrophe two successive springtides had softened the ground, and in a corner of the trapezium, behind an enormous stone that was becoming tinted with the green of moss, and beneath which were haunts of woodlice, millepeds, and other insects, a little patch of grass had grown in the shadow.
I sat on the stone and bent over the grass.
Oh! my goodness! there was the prettiest little Easter daisy in the world, and flitting about it was a charming microscopical gnat.
This flower of the fields was growing peaceably and in accordance with the sweet law of nature, in the open, in the centre of Paris, between a couple of streets, two paces from the Palais-Royal, four paces from the Carrousel, amid passers-by, omnibuses and the King’s carriages.
This wild flower, neighbour of the pavement, opened up a wide field of thought. Who could have foreseen, two years ago, that a daisy would be growing on this spot! If, as on the ground adjoining, there had never been anything but houses, that is to say, proprietors, tenants, and hail porters, careful residents extinguishing candle and fire at night before going to sleep, never would there have been a wild flower here.
How many things, how many plays that failed or were applauded, how many ruined families, how many incidents, how many adventures, how many catastrophes were summed up in this flower! To all those who lived upon the crowd that was nightly summoned here, what a spectre this flower would have been had it appeared to them two years ago! What a labyrinth is destiny and what mysterious combinations there were that led up to the advent of this enchanting little yellow sun with its white rays. It required a theatre and a conflagration, which are the gaiety and the terror of a city, one of the most joyous inventions of man and one of the most terrible visitations of God, bursts of laughter for thirty years and whirlwinds of flame for thirty horn’s to produce this Easter daisy, the delight of a gnat.
THEATER
JOANNY. March 7, 1830, Midnight
They have been playing “Hernani” at the Théâtre-Français since February 25. The receipts for each performance have been five thousand francs. The public every night hisses all the verses. It is a rare uproar. The parterre hoots, the boxes burst with laughter. The actors are abashed and hostile; most of them ridicule what they have to say. The press has been practically unanimous every morning in making fun of the piece and the author. If I enter a reading room I cannot pick up a paper without seeing: “Absurd as ‘Hernani’; silly, false, bombastic, pretentious, extravagant and nonsensical as ‘Hernani’.” If I venture into the corridors of the theatre while the performance is in progress I see spectators issue from their boxes and slam the doors indignantly. Mlle. Mars plays her part honestly and faithfully, but laughs at it, even in my presence. Michelot plays his resignedly and laughs at it behind my back. There is not a scene shifter, not a super, not a lamp lighter but points his finger at me.
To-day I dined with Joanny, who had invited me. Joanny plays Ruy Gomez. He lives at No. 1 Rue du Jardinet, with a young seminarist, his nephew. The dinner party was sober and cordial. There were some journalists
The little Rue de Chartres was situated on the site now occupied by the Pavilion de Rohan. It extended from the open ground of the Carrousel to the Place du Palais-Royal. The old Vaudeville Theatre was situated in it.
