as the thunders of a tempest; a chorus of seraphim without rhythm or cadence, unknown harmony of heaven which only the imagination understands; soaring hymns, that seem to mount to the throne of God like a fountain of light and sound—all this was expressed by the organ’s hundred voices, with more vigor, more mystic poetry, more weird coloring than had ever been known before.
When the organist came down from the loft, the crowd which pressed up to the stairway was so great, and their eagerness to see and praise him so intense, that the prefect, fearing, and not without reason, that he would be suffocated among them all, commanded some of the police to open, by their staves, a path for him that he might reach the High Altar where the prelate waited his arrival.
“You perceive,” said the archbishop, when the musician was brought into his presence, “that I have come all the way from my palace hither only to hear you. Will you be as cruel as Master Pérez, who would never save me the journey by playing the Midnight Mass in the cathedral?”
“Next year,” responded the organist, “I promise to give you that pleasure, for not all the gold of the earth would induce me to play this organ again.”
“And why not?” interrupted the prelate.
“Because,” replied the organist, striving to repress the agitation revealed in the pallor of his face,—“because it is old and poor, and one cannot express on it all that one would.”
The archbishop retired, followed by his attendants. One by one, the litters of the great folk went filing away, lost to sight in the windings of the neighboring streets; the groups of the portico melted, as the faithful dispersed in different directions; and already the lay-sister who acted as gate-keeper was about to lock the vestibule doors, when there appeared two women, who, after crossing themselves and muttering a prayer before the arched shrine of Saint Philip, went their way, turning into Dueñas alley.
“What would you have, my dear Doña Baltasara?” one of them was saying. “That’s the way I’m made. Every fool has his fancy. The barefooted Capuchins might assure me that it was so and I wouldn’t believe it in the least. That man cannot have played what we have just been hearing. A thousand times have I heard him in San Bartolomé, his parish church, from which the priest had to send him away for his bad playing,—enough to make you stop your ears with cotton. Besides, all you need is to look at his face, which, they say, is the mirror of the soul. I remember, poor dear man, as if I were seeing him now,—I remember Master Pérez’s look when, on a night like this, he would come down from the organ loft, after having entranced the audience with his marvels. What a gracious smile, what a happy glow on his face! Old as he was, he seemed like an angel. But this fellow came plunging down the stairs as if a dog were barking at him on the landing, his face the color of the dead, and—come now, my dear Doña Baltasara, believe me, believe me with all your soul. I suspect a mystery in this.”
With these last words, the two women turned the corner of the street and disappeared.
We count it needless to inform our readers who one of them was.
IV.
Another year had gone by. The abbess of the convent of Santa Inés and the daughter of Master Pérez, half hidden in the shadows of the church choir, were talking in low tones. The peremptory voice of the bell was calling from its tower to the faithful, and occasionally an individual would cross the portico, silent and deserted now, and after taking the holy water at the door, would choose a place in a corner of the nave, where a few residents of the neighborhood were quietly waiting for the Midnight Mass to begin.
“There, you see,” the mother superior was saying, “your fear is excessively childish. There is nobody in the church. All Seville is trooping to the cathedral to-night. Play the organ and play it without the least uneasiness. We are only the sisterhood here. Well? Still you are silent, still your breaths are like sighs. What is it? What is the matter?”
“I am—afraid,” exclaimed the girl, in a tone of the deepest agitation.
“Afraid? Of what?”
“I don’t know—of something supernatural. Last night, see, I had heard you say that you earnestly wished me to play the organ for the mass and, pleased with this honor, I thought I would look to the stops and tune it, so as to give you a surprise to-day. I went into the choir—alone—I opened the door which leads to the organ-loft. At that moment the clock of the cathedral struck the hour—what hour, I do not know. The peals were exceedingly mournful, and many—many. They kept on sounding all the time that I stood as if nailed to the threshold, and that time seemed to me a century.
“The church was empty and dark. Far away, in the hollow depth, there gleamed, like a single star lost in the sky of night, a feeble light, the light of the lamp which burns on the High Altar. By its faint rays, which only served to make more visible all the deep horror of the darkness, I saw—I saw—mother, do not disbelieve it—I saw a man who, in silence and with his back turned toward the place where I stood, was running over the organ-keys with one hand, while he tried the stops with the other. And the organ sounded, but it sounded in a manner indescribable. It seemed as if each of its notes were a sob smothered within the metal tube which vibrated with its burden of compressed air, and gave forth a muffled tone, almost inaudible, yet exact and true.
“And the cathedral clock kept on striking, and that man kept on running over the keys. I heard his very breathing.
“The horror of it had frozen the blood in my veins. In my body I felt an icy chill and in my temples fire. Then I longed to cry out, but could not. That man had turned his face and looked at me,—no, not looked at me, for he was blind. It was my father.”
“Bah, sister! Put away these fancies with which the wicked enemy tries to trouble weak imaginations. Pray a Pater Noster and an Ave Maria to the archangel Saint Michael, captain of the celestial hosts, that he may aid you to resist the evil spirits. Wear on your neck a scapulary which has been touched to the relics of Saint Pacomio, our advocate against temptations, and go, go in power to the organ-loft. The mass is about to begin, and the faithful are growing impatient. Your father is in heaven, and thence, instead of giving you a fright, he will descend to inspire his daughter in this solemn service which he so especially loved.”
The prioress went to occupy her seat in the choir in the centre of the sisterhood. The daughter of Master Pérez opened the door of the loft with trembling hand, sat down at the organ, and the mass began.
The mass began, and continued without any unusual occurrence until the consecration. Then the organ sounded, and at the same time came a scream from the daughter of Master Pérez.
The mother superior, the nuns, and some of the faithful rushed up to the organ-loft.
“Look at him! look at him!” cried the girl, fixing her eyes, starting from their sockets, upon the organ-bench, from which she had risen in terror, clinging with convulsed hands to the railing of the organ-loft.
All eyes were fixed upon the spot to which her gaze was turned. No one was at the organ, yet it went on sounding—sounding as the archangels sing in their raptures of mystic ecstasy.
“Didn’t I tell you so a thousand times, my dear Doña Baltasara—didn’t I tell you so? There is a mystery here. What? You were not at the Christmas Eve Mass last night? But, for all that, you must know what happened. Nothing else is talked about in all Seville. The archbishop is furious, and with good reason. To have missed going to Santa Inés—to have missed being present at the miracle! And for what? To hear a charivari, a rattle-go-bang, for people who heard it tell me that what the inspired organist of San Bartolomé did in the cathedral was just that. I told you so. The squint-eye could never have played that divine music of last year, never. There is mystery about all this, a mystery that is, in truth, the soul of Master Pérez.”
THE EMERALD EYES
FOR