The Collected Works of Oscar Wilde: 250+ Titles in One Edition. Оскар Уайльд

bloom. How different it was with material things! Where had they gone to? Where was the great crocus-colored robe, on which the gods fought against the giants, that had been worked for Athena? Where the huge velarium that Nero had stretched across the Colosseum at Rome, on which were represented the starry sky, and Apollo driving a chariot drawn by white gilt-reined steeds? He longed to see the curious table-napkins wrought for Elagabalus, on which were displayed all the dainties and viands that could be wanted for a feast; the mortuary cloth of King Chilperic, with its three hundred golden bees; the fantastic robes that excited the indignation of the Bishop of Pontus, and were figured with “lions, panthers, bears, dogs, forests, rocks, hunters, — all, in fact, that a painter can copy from nature;” and the coat that Charles of Orleans once wore, on the sleeves of which were embroidered the verses of a song beginning “Madame, je suis tout joyeux,” the musical accompaniment of the words being wrought in gold thread, and each note, a square shape in those days, formed with four pearls. He read of the room that was prepared at the palace at Rheims for the use of Queen Joan of Burgundy, and was decorated with “thirteen hundred and twenty-one parrots, made in broidery, and blazoned with the king’s arms, and five hundred and sixty-one butterflies, whose wings were similarly ornamented with the arms of the queen, the whole worked in gold.” Catherine de Médicis had a mourning-bed made for her of black velvet powdered with crescents and suns. Its curtains were of damask, with leafy wreaths and garlands, figured upon a gold and silver ground, and fringed along the edges with broideries of pearls, and it stood in a room hung with rows of the queen’s devices in cut black velvet upon cloth of silver. Louis XIV. had gold-embroidered caryatides fifteen feet high in his apartment. The state bed of Sobieski, King of Poland, was made of Smyrna gold brocade embroidered in turquoises with verses from the Koran. Its supports were of silver gilt, beautifully chased, and profusely set with enamelled and jewelled medallions. It had been taken from the Turkish camp before Vienna, and the standard of Mohammed had stood under it.

      And so, for a whole year, he sought to accumulate the most exquisite specimens that he could find of textile and embroidered work, getting the dainty Delhi muslins, finely wrought, with gold-threat palmates, and stitched over with iridescent beetles’ wings; the Dacca gauzes, that from their transparency are known in the East as “woven air,” and “running water,” and “evening dew;” strange figured cloths from Java; elaborate yellow Chinese hangings; books bound in tawny satins or fair blue silks and wrought with fleurs de lys, birds, and images; veils of lacis worked in Hungary point; Sicilian brocades, and stiff Spanish velvets; Georgian work with its gilt coins, and Japanese Foukousas with their green-toned golds and their marvellously-plumaged birds.

      He had a special passion, also, for ecclesiastical vestments, as indeed he had for everything connected with the service of the Church. In the long cedar chests that lined the west gallery of his house he had stored away many rare and beautiful specimens of what is really the raiment of the Bride of Christ, who must wear purple and jewels and fine linen that she may hide the pallid macerated body that is worn by the suffering that she seeks for, and wounded by self-inflicted pain. He had a gorgeous cope of crimson silk and gold-thread damask, figured with a repeating pattern of golden pomegranates set in six-petalled formal blossoms, beyond which on either side was the pineapple device wrought in seed-pearls. The orphreys were divided into panels representing scenes from the life of the Virgin, and the coronation of the Virgin was figured in colored silks upon the hood. This was Italian work of the fifteenth century. Another cope was of green velvet, embroidered with heart-shaped groups of acanthus-leaves, from which spread long-stemmed white blossoms, the details of which were picked out with silver thread and colored crystals. The morse bore a seraph’s head in gold-thread raised work. The orphreys were woven in a diaper of red and gold silk, and were starred with medallions of many saints and martyrs, among whom was St. Sebastian. He had chasubles, also, of amber-colored silk, and blue silk and gold brocade, and yellow silk damask and cloth of gold, figured with representations of the Passion and Crucifixion of Christ, and embroidered with lions and peacocks and other emblems; dalmatics of white satin and pink silk damask, decorated with tulips and dolphins and fleurs de lys; altar frontals of crimson velvet and blue linen; and many corporals, chalice-veils, and sudaria. In the mystic offices to which these things were put there was something that quickened his imagination.

      For these things, and everything that he collected in his lovely house, were to be to him means of forgetfulness, modes by which he could escape, for a season, from the fear that seemed to him at times to be almost too great to be borne. Upon the walls of the lonely locked room where he had spent so much of his boyhood, he had hung with his own hands the terrible portrait whose changing features showed him the real degradation of his life, and had draped the purple-and-gold pall in front of it as a curtain. For weeks he would not go there, would forget the hideous painted thing, and get back his light heart, his wonderful joyousness, his passionate pleasure in mere existence. Then, suddenly, some night he would creep out of the house, go down to dreadful places near Blue Gate Fields, and stay there, day after day, until he was driven away. On his return he would sit in front of the picture, sometimes loathing it and himself, but filled, at other times, with that pride of rebellion that is half the fascination of sin, and smiling, with secret pleasure, at the misshapen shadow that had to bear the burden that should have been his own.

      After a few years he could not endure to be long out of England, and gave up the villa that he had shared at Trouville with Lord Henry, as well as the little white walled-in house at Algiers where he had more than once spent his winter. He hated to be separated from the picture that was such a part of his life, and he was also afraid that during his absence some one might gain access to the room, in spite of the elaborate bolts and bars that he had caused to be placed upon the door.

      He was quite conscious that this would tell them nothing. It was true that the portrait still preserved, under all the foulness and ugliness of the face, its marked likeness to himself; but what could they learn from that? He would laugh at any one who tried to taunt him. He had not painted it. What was it to him how vile and full of shame it looked? Even if he told them, would they believe it?

      Yet he was afraid. Sometimes when he was down at his great house in Nottinghamshire, entertaining the fashionable young men of his own rank who were his chief companions, and astounding the county by the wanton luxury and gorgeous splendor of his mode of life, he would suddenly leave his guests and rush back to town to see that the door had not been tampered with and that the picture was still there. What if it should be stolen? The mere thought made him cold with horror. Surely the world would know his secret then. Perhaps the world already suspected it.

      For, while he fascinated many, there were not a few who distrusted him. He was blackballed at a West End club of which his birth and social position fully entitled him to become a member, and on one occasion, when he was brought by a friend into the smoking-room of the Carlton, the Duke of Berwick and another gentleman got up in a marked manner and went out. Curious stories became current about him after he had passed his twenty-fifth year. It was said that he had been seen brawling with foreign sailors in a low den in the distant parts of Whitechapel, and that he consorted with thieves and coiners and knew the mysteries of their trade. His extraordinary absences became notorious, and, when he used to reappear again in society, men would whisper to each other in corners, or pass him with a sneer, or look at him with cold searching eyes, as if they were determined to discover his secret.

      Of such insolences and attempted slights he, of course, took no notice, and in the opinion of most people his frank debonair manner, his charming boyish smile, and the infinite grace of that wonderful youth that seemed never to leave him, were in themselves a sufficient answer to the calumnies (for so they called them) that were circulated about him. It was remarked, however, that those who had been most intimate with him appeared, after a time, to shun him. Of all his friends, or so-called friends, Lord Henry Wotton was the only one who remained loyal to him. Women who had wildly adored him, and for his sake had braved all social censure and set convention at defiance, were seen to grow pallid with shame or horror if Dorian Gray entered the room.

      Yet these whispered scandals only lent him, in the eyes of many, his strange and dangerous charm. His great wealth was a certain element of security. Society, civilized society at least, is never very ready to believe anything to the detriment of those who are both rich and charming. It feels instinctively that manners are of more importance