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Short Story Classics




Ella D'Arcy


The Death Mask

by Ella D'Arcy


The Master was dead; and Peschi, who had come round to the studio to see about some repairs--part of the ceiling had fallen owing to the too lively proceedings of Dubourg and his eternal visitors overhead--Peschi displayed a natural pride that it was he who had been selected from among the many mouleurs of the Quarter, to take a mask of the dead man.

All Paris was talking of the Master, although not, assuredly, under that title. All Paris was talking of his life, of his genius, of his misery, and of his death. Peschi, for the moment, was sole possessor of valuable unedited details, to the narration of which Hiram P. Corner, who had dropped in to pass the evening with me, listened with keenly attentive ears.

Corner was a recent addition to the American Art Colony; ingenuous as befitted his eighteen years, and of a more than improbable innocence. Paris, to him, represented the Holiest of Holies; the dead Master, by the adorable impeccability of his writings, figuring therein as one of the High Priests. Needless to say, he had never come in contact with that High Priest, had never even seen him; while the Simian caricatures which so frequently embellished the newspapers, made as little impression on the lad's mind as did the unequivocal allusions, jests, and epigrams, for ever flung up like sea-spray against the rock of his unrevered name.

The absorbing interest Corner felt glowed visibly on his fresh young western face, and it was this, I imagine, which led Peschi to propose that we should go back with him to his atelier and see the mask for ourselves.

Peschi is a Genoese; small, lithe, very handsome; a skilled workman, a little demon of industry; full of enthusiasms, with the real artist-soul. He works for Felon the sculptor, and it was Felon who had been commissioned to do the bust for which the death mask would serve as model.

It is always pleasant to hear Peschi talk; and to-night, as we walked from the Rue Fleurus to the Rue Notre-Dame-des-Champs he told us something of mask-taking in general, with illustrations from this particular case.

On the preceding day, barely two hours after death had taken place, Rivereau, one of the dead man's intimates, had rushed into Peschi's workroom, and carried him off, with the necessary materials, to the Rue Monsieur, in a cab. Rivereau, though barely twenty, is perhaps the most notorious of the bande. Peschi described him to Corner as having dark, evil, narrow eyes set too close together in a perfectly white face, framed by falling, lustreless black hair; and with the stooping shoulders, the troubled walk, the attenuated hands common to his class.

Arrived at the house, Rivereau led the way up the dark and dirty staircase to the topmost landing, and as they paused there an instant, Peschi could hear the long-drawn, hopeless sobs of a woman within the door.

On being admitted he found himself in an apartment consisting of two small, inconceivably squalid rooms, opening one from the other.

In the outer room, five or six figures, the disciples, friends, and lovers of the dead poet, conversed together; a curious group in a medley of costumes. One in an opera-hat, shirt-sleeves, and soiled grey trousers tied up with a bit of stout string; another in a black coat buttoned high to conceal the fact that he wore no shirt at all; a third in clothes crisp from the tailor, with an immense bunch of Parma violets in his buttonhole. But all were alike in the strangeness of their eyes, their voices, their gestures.

Seen through the open door of the further room, lay the corpse under a sheet, and by the bedside knelt the stout, middle-aged mistress, whose sobs had reached the stairs.

Madame Germaine, as she was called in the Quarter, had loved the Master with that complete, self-abnegating, sublime love of which certain women are capable--a love uniting that of the mother, the wife, and the nurse all in one. For years she had cooked for him, washed for him, mended for him; had watched through whole nights by his bedside when he was ill; had suffered passively his blows, his reproaches, and his neglect, when, thanks to her care, he was well again. She adored him dumbly, closed her eyes to his vices, and magnified his gifts, without in the least comprehending them. She belonged to the ouvrière class, could not read, could not write her own name; but with a characteristic which is as French as it is un-British, she paid her homage to intellect, where an Englishwoman only gives it to inches and muscle. Madame Germaine was prouder perhaps of the Master's greatness, worshipped him more devoutly, than any one of the super-cultivated, ultra-corrupt group, who by their flatteries and complaisances had assisted him to his ruin.

It was with the utmost difficulty, Peschi said, that Rivereau and the rest had succeeded in persuading the poor creature to leave the bedside and go into the other room while the mask was being taken.

The operation, it seems, is a sufficiently horrible one, and no relative is permitted to be present. As you cover the dead face over with the plaster, a little air is necessarily forced back again into the lungs, and this air as it passes along the windpipe causes strange rattlings, sinister noises, so that you might swear that the corpse was returned to life. Then, as the mould is removed, the muscles of the face drag and twitch, the mouth opens, the tongue lolls out; and Peschi declared that this always remains for him a gruesome moment. He has never accustomed himself to it; on every recurring occasion it fills him with the same repugnance; and this, although he has taken so many masks, is so deservedly celebrated for them, that la bande had instantly selected him to perpetuate the Master's lineaments.

"But it's an excellent likeness," said Peschi; "you see they sent for me so promptly that he had not changed at all. He does not look as though he were dead, but just asleep."

Meanwhile we had reached the unshuttered shop-front, where Peschi displays, on Sundays and week-days alike, his finished works of plastic art to the gamins and filles of the Quarter.

Looking past the statuary, we could see into the living-room beyond, it being separated from the shop only by a glass partition. It was lighted by a lamp set in the centre of the table, and in the circle of light thrown from beneath its green shade, we saw a charming picture: the young head of Madame Peschi bent over her baby, whom she was feeding at the breast. She is eighteen, pretty as a rose, and her story and Peschi's is an idyllic one; to be told, perhaps, another time. She greeted us with the smiling, cordial, unaffected kindliness which in France warms your blood with the constant sense of brotherhood; and, giving the boy to his father--a delicious opalescent trace of milk hanging about the little mouth--she got up to see about another lamp which Peschi had asked for.

Holding this lamp to guide our steps, he preceded us now across a dark yard to his workshop at the further end, and while we went we heard the young mother's exquisite nonsense-talk addressed to the child, as she settled back in her place again to her nursing.

Peschi, unlocking a door, flashed the light down a long room, the walls of which, the trestle-tables, the very floor, were hung, laden, and encumbered with a thousand heterogeneous objects. Casts of every description and dimension, finished, unfinished, broken; scrolls for ceilings; caryatides for chimney-pieces; cornucopias for the entablatures of buildings; chubby Cupids jostling emaciated Christs; broken columns for Père Lachaise, or consolatory upward-pointing angels; hands, feet, and noses for the Schools of Art; a pensively posed échorché contemplating a Venus of Milo fallen upon her back; these, and a crowd of nameless, formless things, seemed to spring at our eyes, as Peschi raised or lowered the lamp, moved it this way or the other.

"There it is," said he, pointing forwards; and I saw lying flat upon a modelling-board, with upturned features, a grey, immobile simulacrum of the curiously mobile face I remembered so well.

"Of course you must understand," said Peschi, "it's only in the rough, just exactly as it came from the creux. Fifty copies are to be cast altogether, and this is the first one. But I must prop it up for you. You can't judge of it as it is."

He looked about him for a free place on which to set the lamp. Not finding any, he put it down on the floor. For a few moments he stood busied over the mask with his back to us.

"Now you can see it properly," said he, and stepped aside.

The lamp threw its rays upwards, illuminating strongly the lower portion of the cast, throwing the upper portion into deepest shadow, with the effect that the inanimate mask was become suddenly a living face, but a face so unutterably repulsive, so hideously bestial, that I grew cold to the roots of my hair. . . . . A fat, loose throat, a retreating chinless chin, smeared and bleared with the impressions of the meagre beard; a vile mouth, lustful, flaccid, the lower lip disproportionately great; ignoble lines; hateful puffiness; something inhuman and yet worse than inhuman in its travesty of humanity; something that made you hate the world and your fellows, that made you hate yourself for being ever so little in this image. A more abhorrent spectacle I have never seen. . . . .

So soon as I could turn my eyes from the ghastly thing, I looked at Corner. He was white as the plaster faces about him. His immensely opened eyes showed his astonishment and his terror. For what I experienced was intensified in his case by the unexpected and complete disillusionment. He had opened the door of the tabernacle, and out had crawled a noisome spider; he had lifted to his lips the communion cup, and therein squatted a toad. A sort of murmur of frantic protestation began to rise in his throat; but Peschi, unconscious of our agitation, now lifted the lamp, passed round with it behind the mask, held it high, and let the rays stream downwards from above.

The astounding way the face changed must have been seen to be believed in. It was exactly as though, by some cunning sleight of hand, the mask of a god had been substituted for that of a satyr. . . . . You saw a splendid dome-like head, Shakespearean in contour; a broad, smooth, finely-modelled brow; thick, regular horizontal eyebrows, casting a shadow which diminished the too great distance separating them from the eyes; while the deeper shadow thrown below the nose altered its character entirely. Its snout-like appearance was gone, its deep, wide-open, upturned nostrils were hidden, but you noticed the well-marked transition from forehead to nose-base, the broad ridge denoting extraordinary mental power. Over the eyeballs the lids had slidden down smooth and creaseless; the little tell-tale palpebral wrinkles which had given such libidinous lassitude to the eye had vanished away. The lips no longer looked gross, and they closed together in a beautiful, sinuous line, now first revealed by the shadow on the upper one. The prominence of the jaws, the muscularity of the lower part of the face, which gave it so painfully microcephalous an appearance, were now unnoticeable; on the contrary, the whole face looked small beneath the noble head and brow. You remarked the medium-sized and wellformed ears, with the "swan" distinct in each, the gently-swelling breadth of head above them, the full development of the forehead over the orbits of the eyes. You discerned the presence of those higher qualities which might have rendered him an ascetic or a saint; which led him to understand the beauty of self-denial, to appreciate the wisdom of self-restraint: and you did not see how these qualities remained inoperative in him, being completely overbalanced by the size of the lower brain, the thick, bull throat, and the immense length from the ear to the base of the skull at the back.

I had often seen the Master in life: I had seen him sipping absinthe at the d'Harcourt; reeling, a Silemus-like figure, among the nocturnal Bacchantes of the Boul' Miche; lying in the gutter outside his house, until his mistress should come to pick him up and take him in. I had seen in the living man more traces than a few of the bestiality which the death-mask had completely verified; but never in the living man had I suspected anything of the beauty, of the splendour, that I now saw.

For that the Master had somewhere a beautiful soul you divined from his works; from the exquisite melody of all of them, from the pure, the ecstatic, the religious altitude of some few. But in actual daily life, his loose and violent will-power, his insane passions, held that soul bound down so close a captive, that those who knew him best were the last to admit its existence.

And here, a mere accident of lighting displayed not only that existence, but its visible, outward expression as well. In these magnificent lines and arches of head and brow, you saw what the man might have been, what God had intended him to be; what his mother had foreseen in him, when, a tiny infant like Peschi's yonder, she had cradled the warm, downy, sweet-smelling little head upon her bosom, and dreamed day-dreams of all the high, the great, the wonderful things her boy later on was to do. You saw what the poor, purblind, middle-aged mistress was the only one to see in the seamed and ravaged face she kissed so tenderly for the last time before the coffin-lid was closed.

You saw the head of gold; you could forget the feet of clay, or, remembering them, you found for the first time some explanation of the anomalies of his career.

You understood how he who could pour out passionate protestations of love and devotion to God in the morning, offering up body and soul, flesh and blood in his service; dedicating his brow as a footstool for the Sacred Feet; his hands as censers for the glowing coals, the precious incense; condemning his eyes, misleading lights, to be extinguished by the tears of prayer; you understood how, nevertheless, before evening was come, he would set every law of God and decency at defiance, use every member, every faculty, in the service of sin.

It was given to him, as it is given to few, to see the Best, to reverence it, to love it; and the blind, groping hesitatingly forward in the darkness, do not stray as far as he strayed.

He knew the value of work, its imperative necessity; that in the sweat of his brow the artist, like the day-labourer, must produce, must produce: and he spent his slothful days shambling from cafe to cafe.

He never denied his vices; he recognised them and found excuses for them, high moral reasons even, as the intellectual man can always do. To indulge them was but to follow out the dictates of Nature, who in herself is holy; cynically to expose them to the world was but to be absolutely sincere.

And his disciples, going further, taught with a vague poetic mysticism that he was a fresh Incarnation of the Godhead; that what was called his immorality was merely his scorn of truckling to the base contentions of the world. But in his saner moments he described himself more accurately as a man blown hither and thither by the winds of evil chance, just as a withered leaf is blown in autumn; and having received great and exceptional gifts, with Shakespeare's length of years in which to turn them to account, he had chosen instead to wallow in such vileness that his very name was anathema among honourable men.

Chosen? Did he choose? Can one say after all that he chose to resemble the leaf rather than the tree? The gates of gifts close on the child with the womb, and all we possess comes to us from afar, and is collected from a thousand diverging sources.

If that splendid head and brow were contained in the seed, so also were the retreating chin, the debased jaw, the animal mouth. One as much as the other was the direct inheritance of former generations. Considered in a certain aspect, it seems that a man by taking thought, may as little hope to thwart the implanted propensities of his character, as to alter the shape of his skull or the size of his jawbone.

I lost myself in mazes of predestination and free-will. Life appeared to me as a huge kaleidoscope turned by the hand of Fate. The atoms of glass coalesce into patterns, fall apart, unite together again, are always the same, but always different, and, shake the glass never so slightly, the precise combination you have just been looking at is broken up for ever. It can never be repeated. This particular man, with his faults and his virtues, his unconscious brutalities, his unexpected gentlenesses, his furies of remorse; this man with the lofty brain, the perverted tastes, the weak, irresolute, indulgent heart, will never again be met with to the end of time; in all the endless combinations to come, this precise combination will never be found. Just as of all the faces the world will see, a face like the mask there will never again exchange glances with it. . . . .

I looked at Corner, and saw his countenance once more aglow with the joy of a recovered ideal; while Peschi's voice broke in on my reverie, speaking with the happy pride of the artist in a good and conscientious piece of work.

"Eh bien, how do you find it?" said he; "it is beautiful, is it not?"



Last updated:
January 23, 2004
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