The Black Tulip, Alexandre Dumas [portable ebook reader .txt] 📗

same fancy, and who was in ecstasies at the mere mention of the word “tulban,” which (as we are assured by the Floriste Française, the most highly considered authority in matters relating to this flower) is the first word in the Cingalese tongue which was ever used to designate that masterpiece of floriculture which is now called the tulip.

Boxtel had not the good fortune of being rich, like Van Baerle. He had therefore, with great care and patience, and by dint of strenuous exertions, laid out near his house at Dort a garden fit for the culture of his cherished flower; he had mixed the soil according to the most approved prescriptions, and given to his hotbeds just as much heat and fresh air as the strictest rules of horticulture exact.

Isaac knew the temperature of his frames to the twentieth part of a degree. He knew the strength of the current of air, and tempered it so as to adapt it to the wave of the stems of his flowers. His productions also began to meet with the favour of the public. They were beautiful, nay, distinguished. Several fanciers had come to see Boxtel’s tulips. At last he had even started amongst all the Linnaeuses and Tourneforts a tulip which bore his name, and which, after having travelled all through France, had found its way into Spain, and penetrated as far as Portugal; and the King, Don Alfonso VI⁠—who, being expelled from Lisbon, had retired to the island of Terceira, where he amused himself, not, like the great Condé, with watering his carnations, but with growing tulips⁠—had, on seeing the Boxtel tulip, exclaimed, “Not so bad, by any means!”

All at once, Cornelius van Baerle, who, after all his learned pursuits, had been seized with the tulipomania, made some changes in his house at Dort, which, as we have stated, was next door to that of Boxtel. He raised a certain building in his courtyard by a story, which shutting out the sun, took half a degree of warmth from Boxtel’s garden, and, on the other hand, added half a degree of cold in winter; not to mention that it cut the wind, and disturbed all the horticultural calculations and arrangements of his neighbour.

After all, this mishap appeared to Boxtel of no great consequence. Van Baerle was but a painter, a sort of fool who tried to reproduce and disfigure on canvas the wonders of nature. The painter, he thought, had raised his studio by a story to get better light, and thus far he had only been in the right. Mynheer van Baerle was a painter, as Mynheer Boxtel was a tulip-grower; he wanted somewhat more sun for his paintings, and he took half a degree from his neighbour’s tulips.

The law was for Van Baerle, and Boxtel had to abide by it.

Besides, Isaac had made the discovery that too much sun was injurious to tulips, and that this flower grew quicker, and had a better colouring, with the temperate warmth of morning, than with the powerful heat of the midday sun. He therefore felt almost grateful to Cornelius van Baerle for having given him a screen gratis.

Maybe this was not quite in accordance with the true state of things in general, and of Isaac Boxtel’s feelings in particular. It is certainly astonishing what rich comfort great minds, in the midst of momentous catastrophes, will derive from the consolations of philosophy.

But alas! What was the agony of the unfortunate Boxtel on seeing the windows of the new story set out with bulbs and seedlings of tulips for the border, and tulips in pots; in short, with everything pertaining to the pursuits of a tulip-monomaniac!

There were bundles of labels, cupboards, and drawers with compartments, and wire guards for the cupboards, to allow free access to the air whilst keeping out slugs, mice, dormice, and rats, all of them very curious fanciers of tulips at two thousand francs a bulb.

Boxtel was quite amazed when he saw all this apparatus, but he was not as yet aware of the full extent of his misfortune. Van Baerle was known to be fond of everything that pleases the eye. He studied Nature in all her aspects for the benefit of his paintings, which were as minutely finished as those of Gerard Dow, his master, and of Mieris, his friend. Was it not possible, that, having to paint the interior of a tulip-grower’s, he had collected in his new studio all the accessories of decoration?

Yet, although thus consoling himself with illusory suppositions, Boxtel was not able to resist the burning curiosity which was devouring him. In the evening, therefore, he placed a ladder against the partition wall between their gardens, and, looking into that of his neighbour Van Baerle, he convinced himself that the soil of a large square bed, which had formerly been occupied by different plants, was removed, and the ground disposed in beds of loam mixed with river mud (a combination which is particularly favourable to the tulip), and the whole surrounded by a border of turf to keep the soil in its place. Besides this, sufficient shade to temper the noonday heat; aspect south-southwest; water in abundant supply, and at hand; in short, every requirement to insure not only success but also progress. There could not be a doubt that Van Baerle had become a tulip-grower.

Boxtel at once pictured to himself this learned man, with a capital of four hundred thousand and a yearly income of ten thousand guilders, devoting all his intellectual and financial resources to the cultivation of the tulip. He foresaw his neighbour’s success, and he felt such a pang at the mere idea of this success that his hands dropped powerless, his knees trembled, and he fell in despair from the ladder.

And thus it was not for the sake of painted tulips, but for real ones, that Van Baerle took from him half a degree of warmth. And thus Van Baerle was to have the most admirably