The Pocket Bible; or, Christian the Printer: A Tale of the Sixteenth Century. Эжен СюЧитать онлайн книгу.
occupy the center of Paris towards St. Denis Street; the manufacturers are found in the eastern, the shabbiest of all the quarters, where, for one liard, workingmen can find lodging for the night. The larger number of the bourgeois houses as well as all the convents are now built of stone, and are no longer frame structures as they formerly were. These modern buildings, topped with slate or lead roofs and ornamented with sculptured facades, become every day more numerous.
Likewise with crimes of all natures; their increase is beyond measure. With nightfall, murderers and bandits take possession of the streets. Their numbers rise to twenty-five or thirty thousand, all organized into bands—the Guilleris, the Plumets, the Rougets, the Tire-Laines,[1] the latter of whom rob bourgeois, who are inhibited from carrying arms. The Tire-Soies,[2] a more daring band, fall upon the noblemen, who are always armed. The Barbets disguise themselves as artisans of several trades, or as monks of several Orders and introduce themselves into the houses for the purpose of stealing. Besides these there are the bands of Mattes or Fins-Mattois, skilled cut-purses and pick-pockets; and finally the Mauvais-Garçons,[3] the most redoubtable of all, who publicly, for a price chaffered over and finally agreed upon, offer their daggers to whomsoever wishes to rid himself of an enemy.
Nor is this the worst aspect presented by the crowded city. Paris runs over with lost women and courtesans of all degrees. Never yet did immorality, to which the royal court, the Church and the seigniory set so shocking a pace, cause such widespread ravages. A repulsive disease imported from America by the Spaniards since the conquests of Christopher Columbus poisons life at its very source.
Finally, Paris presents a nameless mixture of fanaticism, debauchery and ferocity. Above the doors of houses of ill fame, images of male and female saints are seen in their niches, before which thieves, murderers and courtesans uncover and bend the knee as they hurry by, bent on their respective pursuits. The Tire-Laines, the Guilleris and other brigands burn candles at the altars of the Virgin or pay for masses for the success of their crimes in contemplation. Superstition spreads in even step with criminality. Pious physicians are cited who regularly take the weekly communion, and who, bought by impatient heirs, poison with their pharmaceutical concoctions the rich patients, whose decease is too slow in arriving. The most horrid felonies have lost their dreadfulness, especially since the papal indulgences, sold for cash, insure absolution and impunity to the criminals. The virtues of the hearth and all good morals seem to have fled to the bosom of those families only who have discarded the paganism of Rome and, although styled heretics, practice the simplicity of evangelical morality. One of these families is that of Christian the Printer, the great-grandchild of Jocelyn the Champion's son, who, due to the rapid progress made by the printing press, which rendered manuscript books useless and unnecessarily expensive, found it ever more difficult to earn his living at his trade of copyist and illuminator of manuscripts.
Accordingly, after the death of his father, who was the son of Jocelyn the Champion and continued to live at Vaucouleurs after witnessing the martyrdom of Joan of Arc, Allan Lebrenn moved to Paris, induced thereto by John Saurin, a master-printer of this city who, having during a short sojourn at Vaucouleurs been struck by the young man's intelligence at his trade, promised to aid him in finding work in the large city. He accepted the offer and speedily succeeded in his new field. He married in 1465, died in 1474, and left a son, Melar Lebrenn, who was born in 1466 and was the father of Christian the Printer.
Melar Lebrenn followed his father's occupation, and worked long after his father's death in John Saurin's establishment, where his services were highly appreciated. But after John Saurin's death, Melar Lebrenn, who had in the meantime married and had three children, Christian and two daughters, was dismissed by Saurin's successor, a man named Noel Compaign. Compaign was a religious bigot. He was incensed at what he termed Melar Lebrenn's unbelief, hounded him with odious calumnies, and spoke of him to the other members of the guild as dishonest and otherwise unfit. Melar Lebrenn soon felt the effect of these calumnies; his trade went down; his savings were consumed; his family was breadless; he had nothing left to him but the legends and relics of his family, that were handed down from generation to generation.
Under these circumstances Melar Lebrenn made one more and desperate effort to rise to his feet. He knew by reputation Henry Estienne, the most celebrated printer of the last century. Estienne's goodness of heart as well as his knowledge were matters of common repute. Melar Lebrenn decided to turn to him, but he found Estienne strongly prejudiced against him through the calumnies that Compaign had circulated. But Melar Lebrenn was not yet discouraged. He explained to Estienne circumstantially the reason of Compaign's hatred, and offered Estienne to serve him on trial. The offer was accepted, and Melar Lebrenn soon acquitted himself so well both as a typesetter and a reader of proof, that Master Henry Estienne, judging from the falseness of the accusations concerning Melar Lebrenn's skill at his trade, concluded he was equally wronged in his private character. From that time on, Estienne took a deep interest in Melar and was soon singularly attached to him, as much by reason of his skill, as for the probity of his character and the kindness of his heart.
The two daughters of Melar Lebrenn were carried away by the pest that swept over Paris in 1512; his wife survived them only a short time; and Melar himself died in 1519. His only surviving child, Christian, married Bridget Ardouin, an embroiderer in gold and silver thread. Christian entered the printing establishment of Henry Estienne as an apprentice at his twelfth year. After the death of the venerated Henry Estienne, Christian remained under the employ of Robert Estienne, his father's heir in virtue and his superior in scientific acquirements. The editions that Robert Estienne issued of the old Greek, Hebrew or Latin authors are the admiration of the learned by the correctness of the text, the beauty of the type, and the perfection of the printing. Among other things he published a pocket edition of the New Testament, translated into French, a veritable masterpiece of typography. The bonds that united Master Robert Estienne and his workman Christian Lebrenn became of the closest.
Three children were born of the marriage of Christian Lebrenn with Bridget Ardouin—a boy, born in 1516, and at the commencement of this history eighteen years of age; a girl in 1518, and a boy in 1520. The latter is named Odelin; he is an apprentice in the establishment of Master Raimbaud, one of the most celebrated armorers of Paris. The eldest son is named Hervé, in memory of his mother's father, and he follows his father Christian's profession of printer. The girl is named Hena in remembrance of the Virgin of the Isle of Sen.
CHAPTER I.
THE THEFT.
It was one evening towards the middle of the month of August of 1534. Christian Lebrenn occupied a modest house situated at about the center of the Exchange Bridge. Almost all the other bridges thrown over the two arms of the Seine are, like this one, lined with houses and constitute a street under which the river flows. The kitchen, where the meals were taken, was on the first floor, even with the street; behind this room, the door and window of which opened upon the public thoroughfare, was a smaller one, used for bed chamber by Hervé, Christian's eldest son, and the younger brother Odelin, the apprentice at Master Raimbaud's. At the time, however, when this narrative opens, Odelin was absent from Paris, traveling in Italy with his master, who had gone to Milan in order to study the process by which the Milanese armors, as celebrated as those of Toledo, were manufactured. The upper floor of Christian's house consisted of two rooms. One of these he occupied himself with his wife Bridget; his daughter Hena occupied the other. Finally, a garret that served as storeroom for winter provisions, topped the house and had a window that opened upon the river.
On this evening Christian was in an animated conversation with his wife. It was late. The children were both asleep. A lamp lighted the room of the husband and wife. Near the window, with its small lozenge-shaped panes fastened between ribs of lead, lay the embroideries at which Bridget and Hena had been at work. In the rear of this rather spacious chamber stood the conjugal bed, surmounted with its canopy and enclosed by its curtains of orange serge. A little