Death Comes for the Archbishop Read Free

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 he even follow it with much interest. He asked himself whether he had been on the frontier so long that he had quite lost his taste for the talk of clever men. But before they separated for the night María de Allande spoke a word in his ear, in English.
    “You are distrait, Father Ferrand. Are you wishing to unmake your new Bishop already? It is too late. Jean Marie Latour—am I right?”

BOOK ONE
    THE VICAR APOSTOLIC

1
    THE CRUCIFORM TREE
     
    One afternoon in the autumn of 1851 a solitary horseman, followed by a pack-mule, was pushing through an arid stretch of country somewhere in central New Mexico. He had lost his way, and was trying to get back to the trail, with only his compass and his sense of direction for guides. The difficulty was that the country in which he found himself was so featureless—or rather, that it was crowded with features, all exactly alike. As far as he could see, on every side, the landscape was heaped up into monotonous red sand-hills, not much larger than haycocks, and very much the shape of haycocks. One could not have believed that in the number of square miles a man is able to sweep with the eye there could be so many uniform red hills. He had been riding among them since early morning, and the look of the country had no more changed than if he had stood still. He must have travelled through thirty miles of these conical red hills, winding his way in the narrow cracks between them, and he had begun to think that he would never see anything else. They were so exactly like one another that he seemed to be wandering in some geometrical nightmare; flattened cones, they were, more the shape of Mexican ovens than haycocks— yes, exactly the shape of Mexican ovens, red as brick-dust, and naked of vegetation except for small juniper