Willa Cather - Death Comes for the Archbishop [80]
Bernard returned that afternoon to say that the Archbishop would be delighted if Father Latour would remain the rest of the winter with him. Magdalena had already begun to air his study and put it in order, and she would be in special attendance upon him during his visit. The Archbishop would send his new carriage to fetch him, as Father Latour had only an open buggy.
"Not to-day, mon fils," said the Bishop. "We will choose a day when I am feeling stronger; a fair day, when we can go in my own buggy, and you can drive me. I wish to go late in the afternoon, toward sunset."
Bernard understood. He knew that once, long ago, at that hour of the day, a young Bishop had ridden along the Albuquerque road and seen Santa Fé for the first time… . And often, when they were driving into town together, the Bishop had paused with Bernard on that hill-top from which Father Vaillant had looked back on Santa Fé, when he went away to Colorado to begin the work that had taken the rest of his life and made him, too, a Bishop in the end.
The old town was better to look at in those days, Father Latour used to tell Bernard with a sigh. In the old days it had an individuality, a style of its own; a tawny adobe town with a few green trees, set in a half-circle of carnelian-coloured hills; that and no more. But the year 1880 had begun a period of incongruous American building. Now, half the plaza square was still adobe, and half was flimsy wooden buildings with double porches, scrollwork and jack-straw posts and banisters painted white. Father Latour said the wooden houses which had so distressed him in Ohio, had followed him. All this was quite wrong for the Cathedral he had been so many years in building,—the Cathedral that had taken Father Vaillant's place in his life after that remarkable man went away.
Father Latour made his last entry into Santa Fé at the end of a brilliant February afternoon; Bernard stopped the horses at the foot of the long street to await the sunset.
Wrapped in his Indian blankets, the old Archbishop sat for a long while, looking at the open, golden face of his Cathedral. How exactly young Molny, his French architect, had done what he wanted! Nothing sensational, simply honest building and good stone- cutting,—good Midi Romanesque of the plainest. And even now, in winter, when the acacia trees before the door were bare, how it was of the South, that church, how it sounded the note of the South!
No one but Molny and the Bishop had ever seemed to enjoy the beautiful site of that building,—perhaps no one ever would. But these two had spent many an hour admiring it. The steep carnelian hills drew up so close behind the church that the individual pine trees thinly wooding their slopes were clearly visible. From the end of the street where the Bishop's buggy stood, the tawny church seemed to start directly out of those rose-coloured hills—with a purpose so strong that it was like action. Seen from this distance, the Cathedral lay against the pine-splashed slopes as against a curtain. When Bernard drove slowly nearer, the backbone of the hills sank gradually, and the towers rose clear into the blue air, while the body of the church still lay against the mountain.
The young architect used to tell the Bishop that only in Italy, or in the opera, did churches leap out of mountains and black pines like that. More than once Molny had called the Bishop from his study to look at the unfinished building when a storm was coming up; then the sky above the mountain grew black, and the carnelian rocks became an intense lavender, all their pine trees strokes of dark purple; the hills drew nearer, the whole background approached like a dark threat.
"Setting," Molny used to tell Father Latour, "is accident. Either a building is a part of a place, or it is not. Once that kinship is there, time will only make it stronger."
The Bishop was recalling this saying of Molny's when a voice out of the present sounded in his ear. It was Bernard.
"A fine sunset, Father. See how red the mountains are growing; Sangre de Cristo."
Yes, Sangre de Cristo; but no matter how scarlet the sunset, those red hills never became vermilion, but a more and more intense rose- carnelian; not the colour of living blood, the Bishop had often reflected, but the colour of the dried blood of saints and martyrs preserved in old churches in Rome, which liquefies upon occasion.