My dream was broken. Life did not seem worth living.... But youth soon forgets. "We are not even capable of being unhappy a long time," Pascal said.

I spent two months in Bayonne and Biarritz, wrote every week to my parents, and received nearly every day long and delightful letters from my father.

Then, suddenly, I heard that my father had died. While drinking a gla.s.s of icy water he had fallen stone dead... of heart failure. It was on November 14th, 1888. I was nineteen years old. I thought I should lose my reason. They put me in the train and I reached Beaucourt, too late, alas, to see once more the beloved face of my father. He had already been laid in his coffin.

My father had been loved by all, and the Beaucourt temple was crowded at his funeral. All the musical societies of the neighbourhood came to pay him a last honour, and, ma.s.sed together, they played Chopin's funeral march.... My poor mother was so prostrated with grief that she was unable to attend the funeral.... I will not say any more about a day which was one of the most painful in my life.... Besides, I was so numb with grief that my memory of it is blurred.

During the days that followed, everything at home was thrown into such confusion, and the sight of all that my father had touched or loved was so distressing to me, that I begged my mother to let me leave Beaucourt for a while.... She raised her tear-stained face and said pitifully: "And I?" I felt ashamed of my selfishness, and we fell into each other's arms... and, of course, I thought no more of going away....

Mimi, my younger sister, was ill, and I should have fallen ill too, had I not had to nurse her and my mother. When they recovered, I spent whole days in the woods and by the lakes in our estate, in all those hallowed spots where my father and I spent so many unforgettable hours together.

For a year I was unable to take my violin from its case, or to open the piano. Everything was changed, and I felt like a lost soul.

Towards the end of the summer of 1889, I went to Paris with my sisters, to visit the Exhibition. Mme. Herr, who had come to Beaucourt to fetch me, had spoken a great deal to my mother about a great friend of hers, a certain M. Steinheil, a nephew of Meissonier, and I had been asked to go to Bayonne later on with the Herrs.

We stayed six weeks in Paris and as true "Provincials," anxious to see everything, we entered the Exhibition as soon as the gates were thrown open and left it at night only when we found ourselves almost too tired to stand. This lasted for a month, and then it occurred to me that there was something else to see in Paris besides the Exhibition.

I had not been in Paris since the time when I had gone there with my father to see a live elephant, and I drank in the beauties of the capital with avidity, under the happy guidance of a friend who was both an artist and antiquarian.

We went, on a certain Sunday, to a concert, and I heard for the first time Beethoven's Ninth Symphony, of which my father used to say: "If the whole of music were to be destroyed and forgotten, and only one work left, that work ought to be the 'Ninth.'"

When I returned to Beaucourt I found my mother had started on the building of large, sumptuous and extremely expensive greenhouses. We begged her in vain to have the work stopped. My mother loved building, and, as she said herself: "Every human being has his disease. Your father's was loving to suffer. I have the 'stone' disease. I love bricks, cement, sand, stone. To build has become my pa.s.sion and at my age, you don't get cured of your pa.s.sions."

A few days later, my mother, somewhat anxious about my health, suggested that I should go to Bayonne with the Herrs, and spend a few weeks in the South.

During the journey, they told me all kinds of wonderful things about M.

Steinheil, to whom, they admitted, they had often spoken of me, and who was now in Bayonne, decorating the cathedral there.

At my sister's I was shown the photograph of the painter, a shortish man of at least forty, thin, with small eyes, a dark moustache, and a pointed beard. "No, thank you!" I exclaimed, "I'd never dream of marrying a man like that. Why, I'd look as though I were his daughter!"

I was, however, persuaded to meet him. One day, my sister said to me: "To-morrow, we'll go to Biarritz to have tea with some friends."

"All right," I replied, "while you are with your friends, I will play with my nieces on the sands."

The next day, just as we were going to board the narrow-gauge train which connects Bayonne with Biarritz, I saw my brother-in-law walk up to a small man, clean-shaven save for his moustache, and wearing a frock-coat that was far too long for him. I did not recognise him as the painter of the photographs. The two men came towards me and M. Herr introduced M. Steinheil to me. At that time I was still as frank and as impulsive as a child, and could not help remarking on the artist's changed appearance. Quite confused, he explained: "My beard was getting grey and I decided to shave it--yesterday."

In the train, my sister scolded me. "You have laughed at this poor M.

Steinheil, and you have hurt his feelings. He is abnormally shy, but he is a charming fellow, a great artist, and the pupil of his uncle Meissonier whose talent you admire so much."

I rose and walked straight to M. Steinheil: "It appears I have hurt you," I said quite simply. "Please forgive me. You must not be angry. I always say what I think, and after all, what do I care whether you wear a beard or not!"

My sister, in despair, tugged at my skirt, but the painter said: "I admire your sincerity, Mademoiselle. Frank and impulsive people are becoming so rare nowadays."

He didn't please me at all.

I saw M. Steinheil very often after this first, uneventful meeting. And then, one day, I was persuaded to go to the Cathedral to see him at work. His conversation interested me very much, but I could not help teasing him.

I had pictured him wearing a black velvet coat or in ordinary attire, but this is what I saw when I entered the Cathedral: a tiny man lost in a white smock, like a house-painter, holding a gigantic palette, and perched on the top of a huge scaffolding.

I burst out laughing in spite of the solemnity of the place. M.

Steinheil wheeled round, saw us, dropped his brushes and his palette, which fell noisily on to the flagstones beneath, came down from the scaffolding at top speed, and, when he reached the ground, greeted me with a number of quick, jerky little bows, all of the same depth, just as I had seen President Carnot bow in Paris a few weeks before.

Meanwhile, my little nieces and I were forcing our handkerchiefs in our mouths.

Disconcerted, M. Steinheil took off his smock... and we had a fresh surprise. I thought that underneath that smock he was dressed like any man, but no, he wore a thick knitted brown sweater over his waistcoat, and that sweater reached down to his knees and gave him a most comical appearance.

We went slowly round the Cathedral, and the painter described to me all the frescoes, those that were the work of his father and those he had himself just completed. He spoke about his father with such feeling that, remembering my own father, I became quite serious, and thenceforth listened with keen attention to all that M. Steinheil said.

Afterwards, we examined the stained gla.s.s windows. "That is a branch of art," he said, "to which I have devoted many months. My father was master of it, and handed me his secrets. There is, for instance, a certain antique red which he alone knew how to produce--and now I am the only person who knows. It was my father who restored the windows of Strasburg Cathedral and of that Gothic gem, the Sainte Chapelle in Paris." And with obvious joy he added: "The great Ruskin himself wrote about my father's windows in the Sainte Chapelle where the whole story of the Bible is painted: 'So well has M. Steinheil matched the colours that it is not easy to distinguish between the modern gla.s.s and the little that still remains of the thirteenth century.'"

I began gradually to be interested in the artist.... He came and dined with my sister and I tried to be more kind to him and promised I would never tease him when he spoke to me on art.... A few days later, M.

Steinheil added himself to my list of suitors, which already included two officers, a barrister, a wealthy n.o.bleman, a lecturer, and a stout manufacturer. I felt no affection for any of them, but it was undoubtedly with M. Steinheil that I preferred to talk. We chatted not only of art and of Paris, but of Beaucourt and my mother. He told me the story of his life, of his career.... I heard he had "brought up" his sisters, and soon found that his timidity and reserve did not mean--far from it--a lack of intelligence and generous feelings.

He gave me painting lessons and spent more time at my sister's house than at the Cathedral. He became smarter in his dress: changed his necktie every day and shortened his frock-coat.

I was given to understand that he had intended to leave Bayonne for his home--at No. 6, Impa.s.se Ronsin in Paris--eight days after my arrival. I remained six weeks in Bayonne, and he did not leave the town until the day after my departure. His friends chaffed him about this constantly protracted delay, but he replied with his usual far-away voice: "There is a fold in the cloak of my Saint Martin which is not yet finished."

That never-completed fold almost became a proverb afterwards.

I returned to Beaucourt with my brother-in-law, and was overjoyed at being once more near my mother.... Alas, during my absence, she had not only gone on with the building of the great greenhouses, but had started upon a luxurious piggery, large enough for hundreds of pigs, and I heard she had been with an architect to an estate near Mulhausen, where she had inspected the famous model farm of a German prince, an exact replica of which she wanted to have built at Beaucourt.

Twice a week I received painting lessons by post. I sent my work to M.

Steinheil, in Paris, and he returned it to me duly corrected and with pages of comment, which I eagerly read. The "Parisian painter," as my mother said, "had already a place in my thoughts."

Then, without warning, his letters ceased... after one in which he had mentioned that he was unwell.

In January 1890, my mother was visited by my aunt, Mme. Octave j.a.py, who brought a letter from M. Boch, an intimate friend of the Steinheils and the Meissoniers. In his letter M. Boch said, that after having seen how ill Adolphe (Steinheil) was, he had talked with the Steinheil family and had discovered that the painter "had no longer any desire to live," that he was desperately in love with Mlle. j.a.py, but dared not ask for her hand, as he knew only too well "that she would receive such a proposal with a shout of laughter." M. Boch's letter--which was handed to me--contained warm eulogies of M. Steinheil and ended as follows: "I should be glad to know whether Mlle. j.a.py might, some day, consent to become the wife of my old friend, or whether he must give up such hopes."

I was moved, but frankly told my mother that I had never seriously thought of M. Steinheil as a husband. Thereupon my aunt offered to go to Paris "to investigate things."

When she returned, she spoke of M. Steinheil, of his house, his position. Then, gaily, she confessed that she had been rather disconcerted when she had arrived at the villa in the Impa.s.se Ronsin. "I found M. Steinheil," she exclaimed, "wearing a blue sweater and...

wooden shoes. It was raining and he was about to walk across the garden to the studio of his brother-in-law who makes stained gla.s.s.... He was most sympathetic, however.... Of course he is furious that his little secret has been discovered. He loves you with all his heart and says he would do anything to make you happy.... I promised to talk to you and plead in his favour. I have done so."

I had several long talks with my mother and my aunt.... They both declared that happiness was far safer and lasting with a man of mature years than with the average young man.... And then, I wondered what my father would have thought of such a marriage, and it seemed to me that he would have approved of it.... M. Steinheil seemed grave and kind, two qualities which my father thought essential, and he was a talented artist, to which my father would certainly not have objected. Again, he used to tell me that an ideal married life is only possible when the husband and wife can be a good deal together.... Now M. Steinheil being a painter would spend much of his time at home, in his studio.... And then, the prospect of living in Paris appealed to me, as it did to every girl in our distant province. Finally, every one seemed in favour of that marriage....

Gradually, I saw this projected union in a new light; I grew used to the idea that I _might_ become Mme. Steinheil, and at length I consented to meet the painter in Beaucourt.

He arrived a few days later, put up at my grandmother's, called on us every day and made the acquaintance of the whole family. He pleased every one, and his slow, serene and dignified ways, were in such perfect accord with my mother's character that she asked me how I could hesitate to marry such an ideal man. M. Steinheil's timidity was taken as the delightful sign of a deep love.

He was most attentive to me, spoke so convincingly, though without any pa.s.sion--of the happiness that would be ours, and seemed so desperately anxious to hear me say "yes" after he had proposed, that I had not the heart to say "no."

Our engagement lasted four months, during which we exchanged letters that became longer and more frequent as the weeks pa.s.sed by. Such n.o.ble feelings were expressed in his letters that I grew more and more happy at the thought of becoming the wife of Adolphe Steinheil.

Towards the end of June my fiance reached Beaucourt with his family, whom I had met in Paris a few weeks before, when I had gone there with my mother to purchase my trousseau. M. Steinheil at once set to work on a portrait of me--a small oil-painting on wood--_a la_ Meissonier, which was never to be completed. I was to discover later on, that my husband seldom went to the end of an idea or a plan, and was possessed of an unconquerable dread of all final decisions.

Our marriage took place in July at the Beaucourt Temple--the dear temple where I had spent so many hours, including the most tragic one of my short life.

M. Steinheil was a Catholic, but had consented to our marriage being celebrated in a Protestant church and had also agreed that our children, if we had any, were to be brought up in the Protestant faith. The j.a.py family--all staunch Huguenots--had been most strict on this point.

Two days before the wedding, I received the following letter, which is worth mentioning, for it recalls a pretty tradition, which, like most pretty traditions, is on the wane or has already disappeared.