A Vintage From Atlantis Page 4

  “I shall not try to hold you,” Moriamis sighed. “But I shall miss you, and remember you as a worthy lover and a pleasant playmate. Here is the philter.”

  The green essence was cold and almost hueless in the moonlight, as Moriamis poured it into a little cup and gave it to Ambrose.

  “Are you sure of its precise efficacy?” the monk inquired. “Are you sure that I shall return to the Inn of Bonne Jouissance, at a time not far subsequent to that of my departure therefrom?”

  “Yea,” said Moriamis, “for the potion is infallible. But stay, I have also brought along the other vial—the vial of the past. Take it with you—for who knows, you may sometime wish to return and visit me again.”

  Ambrose accepted the red vial and placed it in his robe beside the ancient manual of Hyperborean sorcery. Then, after an appropriate farewell to Moriamis, he drained with sudden resolution the contents of the cup.

  The moonlit glade, the grey altar, and Moriamis, all vanished in a swirl of flame and shadow. It seemed to Ambrose that he was soaring endlessly through phantasmagoric gulfs, amid the ceaseless shifting and melting of unstable things, the transient forming and fading of irresoluble worlds.

  At the end, he found himself sitting once more in the Inn of Bonne Jouissance, at what he assumed to be the very same table before which he had sat with the Sieur des Émaux. It was daylight, and the room was full of people, among whom he looked in vain for the rubicund face of the inn-keeper, or the servants and fellow-guests he had previously seen. All were unfamiliar to him; and the furniture was strangely worn, and was grimier than he remembered it.

  Perceiving the presence of Ambrose, the people began to eye him with open curiosity and wonderment. A tall man with dolorous eyes and lantern jaws came hastily forward and bowed before him with an air that was half-servile but full of a prying impertinence.

  “What do you wish?” he asked.

  “Is this the Inn of Bonne Jouissance?”

  The inn-keeper stared at Ambrose. “Nay, it is the Inn of Haute Espérance, of which I have been the taverner these thirty years. Could you not read the sign? It was called the Inn of Bonne Jouissance in my father’s time, but the name was changed after his death.”

  Ambrose was filled with consternation. “But the inn was differently named, and was kept by another man when I visited it not long ago,” he cried in bewilderment. “The owner was a stout, jovial man, not in the least like you.”

  “That would answer the description of my father,” said the taverner, eyeing Ambrose more dubiously than ever. “He has been dead for the full thirty years of which I speak; and surely you were not even born at the time of his decease.”

  Ambrose began to realize what had happened. The emerald potion, by some error or excess of potency, had taken him many years beyond his own time into the future!

  “I must resume my journey to Vyônes,” he said in a bewildered voice, without fully comprehending the implications of his situation. “I have a message for the Archbishop Clément—and must not delay longer in delivering it.”

  “But Clément has been dead even longer than my father,” exclaimed the inn-keeper. “From whence do you come, that you are ignorant of this?” It was plain from his manner that he had begun to doubt the sanity of Ambrose. Others, overhearing the strange discussion, had begun to crowd about, and were plying the monk with jocular and sometimes ribald questions.

  “And what of Azédarac, the Bishop of Ximes? Is he dead, too?” inquired Ambrose, desperately.

  “You mean St. Azédarac, no doubt. He outlived Clément, but nevertheless he has been dead and duly canonized for thirty-two years. Some say that he did not die, but was transported to heaven alive, and that his body was never buried in the great mausoleum reared for him at Ximes. But that is probably a mere legend.”

  Ambrose was overwhelmed with unspeakable desolation and confusion. In the meanwhile, the crowd about him had increased, and in spite of his monkish robe, he was being made the subject of rude remarks and jeers.

  “The good Brother has lost his wits,” cried some. “The wines of Averoigne are too strong for him,” said others.

  “What year is this?” demanded Ambrose, in his desperation.

  “The year of our Lord, 1230,” replied the taverner, breaking into a derisive laugh. “And what year did you think it was?”

  “It was the year 1175 when I last visited the Inn of Bonne Jouissance,” admitted Ambrose.

  His declaration was greeted with fresh jeers and laughter. “Hola, young sir, you were not even conceived at that time,” the taverner said. Then, seeming to remember something, he went on in a more thoughtful tone: “When I was a child, my father told me of a young monk, about your age, who came to the Inn of Bonne Jouissance one evening in the summer of 1175, and vanished inexplicably after drinking a draught of red wine. I believe his name was Ambrose. Perhaps you are Ambrose, and have only just returned from a visit to nowhere.” He gave a derisory wink, and the new jest was taken up and bandied from mouth to mouth among the frequenters of the tavern.

  Ambrose was trying to realize the full import of his predicament. His mission was now useless, through the death or disappearance of Azédarac; and no one would remain in all Averoigne to recognize him or believe his story. He felt the hopelessness of his alienation among unknown years and people.

  Suddenly he remembered the red vial given him at parting by Moriamis. The potion, like the green philter, might prove uncertain in its effect; but he was seized by an all-consuming desire to escape from the weird embarrassment and wilderment of his present position. Also, he longed for Moriamis like a lost child for its mother; and the charm of his sojourn in the past was upon him with an irresistible spell. Ignoring the ribald faces and voices about him, he drew the vial from his bosom, uncorked it, and swallowed the contents… .

  V

  He was back in the forest glade, by the gigantic altar. Moriamis was beside him again, lovely and warm and breathing; and the moon was still rising above the pine-tops. It seemed that no more than a few moments could have elapsed since he had said farewell to the beloved enchantress.

  “I thought you might return,” said Moriamis. “And I waited a little while.”

  Ambrose told her of the singular mishap that had attended his journey in time.

  Moriamis nodded gravely. “The green philter was more potent than I had supposed,” she remarked. “It is fortunate, though, that the red philter was equivalently strong, and could bring you back to me through all those added years. You will have to remain with me now, for I possessed only the two vials. I hope you are not sorry.”

  Ambrose proceeded to prove, in a somewhat unmonastic manner, that her hope was fully justified.

  Neither then nor at any other time did Moriamis tell him that she herself had strengthened slightly and equally the two philters by means of the private formula which she had also stolen from Azédarac.

  THE MAKER OF GARGOYLES

  I

  Among the many gargoyles that frowned or leered from the roof of the new-built cathedral of Vyônes, two were pre-eminent above the rest by virtue of their fine workmanship and their supreme grotesquery. These two had been wrought by the stone-carver Blaise Reynard, a native of Vyônes, who had lately returned from a long sojourn in the cities of Provence, and had secured employment on the cathedral when the three years’ task of its construction and ornamentation was well-nigh completed. In view of the wonderful artistry shown by Reynard, it was regretted by Ambrosius, the Archbishop, that it had not been possible to commit the execution of all the gargoyles to this delicate and accomplished workman; but other people, with less liberal tastes than Ambrosius, were heard to express a different opinion.

  This opinion, perhaps, was tinged by the personal dislike that had been generally felt toward Reynard in Vyônes even from his boyhood; and which had been revived with some virulence on his return. Whether rightly or unjustly, his very physiognomy had always marked him out for public disfavor: he was inord
inately dark, with hair and beard of a preternatural bluish-black, and slanting, ill-matched eyes that gave him a sinister and cunning air. His taciturn and saturnine ways were such as a superstitious people would identify with necromantic knowledge or complicity; and there were those who covertly accused him of being in league with Satan; though the accusations were little more than vague, anonymous rumors, even to the end, through lack of veritable evidence.

  However, the people who suspected Reynard of diabolic affiliations, were wont for awhile to instance the two gargoyles as sufficient proof. No man, they contended, who was not inspired by the Arch-Enemy, could have carven anything so sheerly evil and malignant, could have embodied so consummately in mere stone the living lineaments of the most demoniacal of all the deadly Sins.

  The two gargoyles were perched on opposite corners of a high tower of the cathedral. One was a snarling, murderous, cat-headed monster, with retracted lips revealing formidable fangs, and eyes that glared intolerable hatred from beneath ferine brows. This creature had the claws and wings of a griffin, and seemed as if it were poised in readiness to swoop down on the city of Vyônes, like a harpy on its prey. Its companion was a horned satyr, with the vans of some great bat such as might roam the nether caverns, with sharp, clenching talons, and a look of Satanically brooding lust, as if it were gloating above the helpless object of its unclean desire. Both figures were complete, even to the hindquarters, and were not mere conventional adjuncts of the roof. One would have expected them to start at any moment from the stone in which they were mortised.

  Ambrosius, a lover of art, had been openly delighted with these creations, because of their high technical merit and their verisimilitude as works of sculpture. But others, including many humbler dignitaries of the Church, were more or less scandalized, and said that the workman had informed these figures with the visible likeness of his own vices, to the glory of Belial rather than of God, and had thus perpetrated a sort of blasphemy. Of course, they admitted, a certain amount of grotesquery was requisite in gargoyles; but in this case, the allowable bounds had been egregiously overpassed.

  However, with the completion of the cathedral, and in spite of all this adverse criticism, the high-poised gargoyles of Blaise Reynard, like all other details of the building, were soon taken for granted through mere everyday familiarity; and eventually they were almost forgotten. The scandal of opposition died down, and the stone-carver himself, though the town-folk continued to eye him askance, was able to secure other work through the favor of discriminating patrons. He remained in Vyônes; and paid his addresses, albeit without visible success, to a taverner’s daughter, one Nicolette Villom, of whom, it was said, he had long been enamored in his own surly and reticent fashion.

  But Reynard himself had not forgotten the gargoyles. Often, in passing the superb pile of the cathedral, he would gaze up at them with a secret satisfaction whose cause he could hardly have assigned or delimited. They seemed to retain for him a rare and mystical meaning, to signalize an obscure but pleasurable triumph.

  He would have said, if asked for the reason for his satisfaction, that he was proud of a skillful piece of handiwork. He would not have said, and perhaps would not even have known, that in one of the gargoyles he had imprisoned all his festering rancor, all his answering spleen and hatred toward the people of Vyônes, who had always hated him; and had set the image of this rancor to peer venomously down forever from a lofty place. And perhaps he would not even have dreamt that in the second gargoyle he had somehow expressed his own dour and satyr-like passion for the girl Nicolette—a passion that had brought him back to the detested city of his youth after years of wandering; a passion singularly tenacious of one object, and differing in this regard from the ordinary lusts of a nature so brutal as Reynard’s.

  Always to the stone-cutter, even more than to those who had criticized and abhorred his productions, the gargoyles were alive, they possessed a vitality and a sentiency of their own. And most of all did they seem to live when the summer drew to an end and the autumn rains had gathered upon Vyônes. Then, when the full cathedral gutters poured above the streets, one might have thought that the actual spittle of a foul malevolence, the very slaver of an impure lust, had somehow been mingled with the water that ran in rills from the mouths of the gargoyles.

  II

  At that time, in the year of our Lord, 1138, Vyônes was the principal town of the province of Averoigne. On two sides the great, shadow-haunted forest, a place of equivocal legends, of loupsgarous and phantoms, approached to the very walls and flung its umbrage upon them at early forenoon and evening. On the other sides there lay cultivated fields, and gentle streams that meandered among willows or poplars, and roads that ran through an open plain to the high châteaux of noble lords and to regions beyond Averoigne.

  The town itself was prosperous, and had never shared in the ill-fame of the bordering forest. It had long been sanctified by the presence of two nunneries and a monastery; and now, with the completion of the long-planned cathedral, it was thought that Vyônes would have henceforward the additional protection of a more august holiness; that demon and stryge and incubus would keep their distance from its heaven-favored purlieus with a more meticulous caution than before.

  Of course, as in all medieval towns, there had been occasional instances of alleged sorcery or demoniacal possession; and, once or twice, the perilous temptations of succubi had made their inroads on the pious virtue of Vyônes. But this was nothing more than might be expected, in a world where the Devil and his works were always more or less rampant. No one could possibly have anticipated the reign of infernal horrors that was to make hideous the latter months of autumn, following the cathedral’s erection.

  To make the matter even more inexplicable, and more blasphemously dreadful than it would otherwise have been, the first of these horrors occurred in the neighborhood of the cathedral itself and almost beneath its sheltering shadow.

  Two men, a respectable clothier named Guillaume Maspier and an equally reputable cooper, one Gérôme Mazzal, were returning to their lodgings in the late hours of a November eve, after imbibing both the red and white wines of the countryside in more than one tavern. According to Maspier, who alone survived to tell the tale, they were passing along a street that skirted the cathedral square, and could see the bulk of the great building against the stars, when a flying monster, black as the soot of Abaddon, had descended upon them from the heavens and assailed Gérôme Mazzal, beating him down with its heavily flapping wings and seizing him with its inch-long teeth and talons.

  Maspier was unable to describe the creature with minuteness, for he had seen it but dimly and partially in the unlit street; and moreover, the fate of his companion, who had fallen to the cobblestones with the black devil snarling and tearing at his throat, had not induced Maspier to linger in that vicinity. He had betaken himself from the scene with all the celerity of which he was capable, and had stopped only at the house of a priest, many streets away, where he had related his adventure between shudderings and hiccoughings.

  Armed with holy water and aspergillus, and accompanied by many of the towns-people carrying torches and staves and halberds, the priest was led by Maspier to the place of the horror; and there they had found the body of Mazzal, with fearfully mangled face, and throat and bosom lined with bloody lacerations. The demoniac assailant had flown; and it was not seen or encountered again that night; but those who had beheld its work returned aghast to their homes, feeling that a creature of nethermost hell had come to visit the city, and perchance to abide therein.

  Consternation was rife on the morrow, when the story became generally known; and rites of exorcism against the invading demon were performed by the clergy in all public places and before thresholds. But the sprinkling of holy water and the mumbling of stated forms were futile; for the evil spirit was still abroad, and its malignity was proven once more, on the night following the ghastly death of Gérôme Mazzal.

  This time, it claimed tw
o victims, burghers of high probity and some consequence, on whom it descended in a narrow alley, slaying one of them instantaneously, and dragging down the other from behind as he sought to flee. The shrill cries of the helpless men, and the guttural growling of the demon, were heard by people in the houses along the alley; and some, who were hardy enough to peer from their windows, had seen the departure of the infamous assailant, blotting out the autumn stars with the sable and misshapen foulness of its wings, and hovering in execrable menace above the house-tops.

  After this, few people would venture abroad at night, unless in case of dire and exigent need; and those who did venture went in armed companies and were all furnished with flambeaux, thinking thus to frighten away the demon, which they adjudged a creature of darkness that would abhor the light and shrink therefrom, through the nature of its kind. But the boldness of this fiend was beyond measure, for it proceeded to attack more than one company of worthy citizens, disregarding the flaring torches that were thrust in its face, or putting them out with the stenchful wind of its wide vans.

  Evidently it was a spirit of homicidal hate; for all the people on whom it seized were grievously mangled or torn to numberless shreds by its teeth and talons. Those who saw it, and survived, were wont to describe it variously and with much ambiguity; but all agreed in attributing to it the head of a ferocious animal and the wings of a monstrous bird. Some, the most learned in demonology, were fain to identify it with Modo, the spirit of murder; and others took it for one of the great lieutenants of Satan, perhaps Amaimon or Alastor, gone mad with exasperation at the impregnable supremacy of Christ in the holy city of Vyônes.