The Death of the Gods: (Christ and Antichrist, 1 of 3)Merezhkovsky, Dmitry Sergeyevich
History
The Death of the Gods: (Christ and Antichrist, 1 of 3)
Merezhkovsky, Dmitry Sergeyevich
Biographical fiction; Julian, Emperor of Rome, 331-363 -- Fiction; Rome -- History -- Julian, 361-363 -- Fiction
A great bunch of rusty keys was brought up and the treasure-room
opened. The monks had carried off everything of value. Precious stones
encrusted on the sacrificial cups were gone, the gold and purple
adornments on the vestments had been torn off. When the splendid
sacrificial robe was displayed a brown cloud of moths escaped from its
folds. At the bottom of the hollow of a tripod, Gnyphon saw a handful
of ashes, the remains of myrrh burned before the triumph of the
Christians by the last priest during the last sacrifice.
From this heap of sacred rubbish, poor rags, and broken goblets, rose
a perfume of death and mildew, a sad and tender odour, as of incense
to gods profaned.
A gentle melancholy came over Gnyphon's heart. He smiled, remembering
something perhaps of his childhood; sweet cakes of barley and thyme,
field daisies and jessamine which he used to carry with his mother to
the altar of the village goddess; his childish prayers, not to the
distant God, but to the little gods polished by the frequent touch of
hands, carven in beechwood--the holy Penates. He pitied the vanished
gods, and sighed sadly, but suddenly returned to himself and
muttered--
"Suggestions of the Devil!"
The workmen were carrying up a heavy slab of marble, an antique
bas-relief, stolen many years before and discovered in the hovel of a
cobbler whose kitchen oven it had served to repair. Philomena, the old
wife of a neighbouring clothier, a devout Christian, hated the
cobbler's wife, who used to let her ass stray into Philomena's
cabbage-yard. War had been maintained between them for years, but the
Christian woman was in the end triumphant; for acting on her
information the workmen had penetrated into the cobbler's house, and
in order to carry off the bas-relief and slab had been obliged to
demolish the oven.
This was a terrible blow to the cobbler's wife. Brandishing her
shovel, she called down vengeance from all the gods on the impious;
pulled her hair out in handfuls, groaning over her scattered pots and
pans while her children squealed round her like the young birds of a
devastated nest. But the bas-relief was carried off, despite her
struggles, and Philomena set about the work of cleansing it. The
draper's wife zealously scrubbed the marble which had been blackened
by smoke and made greasy with spilt broth. Little by little the severe
lines of the divine sculpture became visible. The young Dionysus,
naked and proud, lay half-reclined, as if fatigued by Bacchic
feasting, letting his hand, which held a cup, fall idly. A leopardess
was licking up the last drops from the goblet, and the god, giver of
joy to all living things, was gazing with a benign smile at the
strength of the beast subdued by the grape. The bas-relief was hauled
into position. The jeweller, clambering up before the image of
Dionysus, inlaid the orbits of the god with two splendid sapphires, to
serve as eyes.
"What's he doing there?" asked Gnyphon.
"Can't you see? They are eyes."
Public-domain text, read in full here on John Shaqi.
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