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The Project Gutenberg EBook of Maitre Cornelius, by Honore de Balzac This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Maitre Cornelius Author: Honore de Balzac Translator: Katharine Prescott Wormeley Release Date: September, 1998 [Etext #1454] Posting Date: February 25, 2010 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MAITRE CORNELIUS *** Produced by John Bickers, and Dagny MAITRE CORNELIUS By Honore De Balzac Translated by Katharine Prescott Wormeley DEDICATION To Monsieur le Comte Georges Mniszech: Some envious being may think on seeing this page illustrated by one of the most illustrious of Sarmatian names, that I am striving, as the goldsmiths do, to enhance a modern work with an ancient jewel,--a fancy of the fashions of the day,--but you and a few others, dear count, will know that I am only seeking to pay my debt to Talent, Memory, and Friendship. MAITRE CORNELIUS CHAPTER I. A CHURCH SCENE OF THE FIFTEENTH CENTURY In 1479, on All Saints' day, the moment at which this history begins, vespers were ending in the cathedral of Tours. The archbishop Helie de Bourdeilles was rising from his seat to give the benediction himself to the faithful. The sermon had been long; darkness had fallen during the service, and in certain parts of the noble church (the towers of which were not yet finished) the deepest obscurity prevailed. Nevertheless a goodly number of tapers were burning in honor of the saints on the triangular candle-trays destined to receive such pious offerings, the merit and signification of which have never been sufficiently explained. The lights on each altar and all the candelabra in the choir were burning. Irregularly shed among a forest of columns and arcades which supported the three naves of the cathedral, the gleam of these masses of candles barely lighted the immense building, because the strong shadows of the columns, projected among the galleries, produced fantastic forms which increased the darkness that already wrapped in gloom the arches, the vaulted ceilings, and the lateral chapels, always sombre, even at mid-day. The cr
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