Willa Cather - Death Comes for the Archbishop [3]
"Listen," said the host, "and I will relate a little story, while the Bishop does me the compliment to drink my champagne. I have a reason for asking this question which you have answered so finally. In my family house in Valencia I have a number of pictures by the great Spanish painters, collected chiefly by my great-grandfather, who was a man of perception in these things and, for his time, rich. His collection of El Greco is, I believe, quite the best in Spain. When my progenitor was an old man, along came one of these missionary priests from New Spain, begging. All missionaries from the Americas were inveterate beggars, then as now, Bishop Ferrand. This Franciscan had considerable success, with his tales of pious Indian converts and struggling missions. He came to visit at my great-grandfather's house and conducted devotions in the absence of the Chaplain. He wheedled a good sum of money out of the old man, as well as vestments and linen and chalices—he would take anything—and he implored my grandfather to give him a painting from his great collection, for the ornamentation of his mission church among the Indians. My grandfather told him to choose from the gallery, believing the priest would covet most what he himself could best afford to spare. But not at all; the hairy Franciscan pounced upon one of the best in the collection; a young St. Francis in meditation, by El Greco, and the model for the saint was one of the very handsome Dukes of Albuquerque. My grandfather protested; tried to persuade the fellow that some picture of the Crucifixion, or a martyrdom, would appeal more strongly to his redskins. What would a St. Francis, of almost feminine beauty, mean to the scalp- takers?
"All in vain. The missionary turned upon his host with a reply which has become a saying in our family: 'You refuse me this picture because it is a good picture. It is too good for God, but it is not too good for you.'
"He carried off the painting. In my grandfather's manuscript catalogue, under the number and title of the St. Francis, is written: Given to Fray Teodocio, for the glory of God, to enrich his mission church at Pueblo de Cia, among the savages of New Spain.
"It is because of this lost treasure, Father Ferrand, that I happened to have had some personal correspondence with the Bishop of Durango. I once wrote the facts to him fully. He replied to me that the mission at Cia was long ago destroyed and its furnishings scattered. Of course the painting may have been ruined in a pillage or massacre. On the other hand, it may still be hidden away in some crumbling sacristy or smoky wigwam. If your French priest had a discerning eye, now, and were sent to this Vicarate, he might keep my El Greco in mind."
The Bishop shook his head. "No, I can't promise you—I do not know. I have noticed that he is a man of severe and refined tastes, but he is very reserved. Down there the Indians do not dwell in wigwams, your Eminence," he added gently.
"No matter, Father. I see your redskins through Fenimore Cooper, and I like them so. Now let us go to the terrace for our coffee and watch the evening come on."
The Cardinal led his guests up the narrow stairway. The long gravelled terrace and its balustrade were blue as a lake in the dusky air. Both sun and shadows were gone. The folds of russet country were now violet. Waves of rose and gold throbbed up the sky from behind the dome of the Basilica.
As the churchmen walked up and down the promenade, watching the stars come out, their talk touched upon many matters, but they avoided politics, as men are apt to do in dangerous times. Not a word was spoken of the Lombard war, in which the Pope's position was so anomalous. They talked instead of a new opera by young Verdi, which was being sung in Venice; of the case of a Spanish dancing-girl who had lately become a religious and was said to be working miracles in Andalusia. In this conversation the missionary took no part, nor could