Possessed by this idea, he had been strolling aimlessly along the streets, when suddenly he found himself gazing at the very object of his wishes. There, in a shop window on the Palais Royal, lay a huge tortoise in a large basin. He had purchased it. Then he had sat a long time, with eyes half-shut, studying the effect.

Decidedly, the Ethiopic black, the harsh Sienna tone of this shell dulled the rug's reflections without adding to it. The dominant silver gleams in it barely sparkled, crawling with lack-lustre tones of dead zinc against the edges of the hard, tarnished shell.

He bit his nails while he studied a method of removing these discords and reconciling the determined opposition of the tones. He finally discovered that his first inspiration, which was to animate the fire of the weave by setting it off against some dark object, was erroneous. In fact, this rug was too new, too petulant and gaudy. The colors were not sufficiently subdued. He must reverse the process, dull the tones, and extinguish them by the contrast of a striking object, which would eclipse all else and cast a golden light on the pale silver. Thus stated, the problem was easier to solve. He therefore decided to glaze the shell of the tortoise with gold.

The tortoise, just returned by the lapidary, shone brilliantly, softening the tones of the rug and casting on it a gorgeous reflection which resembled the irradiations from the scales of a barbaric Visigoth shield.

At first Des Esseintes was enchanted with this effect. Then he reflected that this gigantic jewel was only in outline, that it would not really be complete until it had been incrusted with rare stones.

From a Japanese collection he chose a design representing a cluster of flowers emanating spindle-like, from a slender stalk. Taking it to a jeweler, he sketched a border to enclose this bouquet in an oval frame, and informed the amazed lapidary that every petal and every leaf was to be designed with jewels and mounted on the scales of the tortoise.

The choice of stones made him pause. The diamond has become notoriously common since every tradesman has taken to wearing it on his little finger. The oriental emeralds and rubies are less vulgarized and cast brilliant, rutilant flames, but they remind one of the green and red antennæ of certain omnibuses which carry signal lights of these colors. As for topazes, whether sparkling or dim, they are cheap stones, precious only to women of the middle class who like to have jewel cases on their dressing-tables. And then, although the Church has preserved for the amethyst a sacerdotal character which is at once unctuous and solemn, this stone, too, is abused on the blood-red ears and veined hands of butchers' wives who love to adorn themselves inexpensively with real and heavy jewels. Only the sapphire, among all these stones, has kept its fires undefiled by any taint of commercialism. Its sparks, crackling in its limpid, cold depths have in some way protected its shy and proud nobility from pollution. Unfortunately, its fresh fire does not sparkle in artificial light: the blue retreats and seems to fall asleep, only awakening to shine at daybreak.

None of these satisfied Des Esseintes at all. They were too civilized and familiar. He let trickle through his fingers still more astonishing and bizarre stones, and finally selected a number of real and artificial ones which, used together, should produce a fascinating and disconcerting harmony.

This is how he composed his bouquet of flowers: the leaves were set with jewels of a pronounced, distinct green; the chrysoberyls of asparagus green; the chrysolites of leek green; the olivines of olive green. They hung from branches of almandine and ouwarovite of a violet red, darting spangles of a hard brilliance like tartar micas gleaming through forest depths.

For the flowers, separated from the stalk and removed from the bottom of the sheaf, he used blue cinder. But he formally waived that oriental turquoise used for brooches and rings which, like the banal pearl and the odious coral, serves to delight people of no importance. He chose occidental turquoises exclusively, stones which, properly speaking, are only a fossil ivory impregnated with coppery substances whose sea blue is choked, opaque, sulphurous, as though yellowed by bile.

This done, he could now set the petals of his flowers with transparent stones which had morbid and vitreous sparks, feverish and sharp lights.

He composed them entirely with Ceylon snap-dragons, cymophanes and blue chalcedony.

These three stones darted mysterious and perverse scintillations, painfully torn from the frozen depths of their troubled waters.

The snap-dragon of a greenish grey, streaked with concentric veins which seem to stir and change constantly, according to the dispositions of light.

The cymophane, whose azure waves float over the milky tint swimming in its depths.

The blue chalcedony which kindles with bluish phosphorescent fires against a dead brown, chocolate background.

The lapidary made a note of the places where the stones were to be inlaid. "And the border of the shell?" he asked Des Esseintes.

At first he had thought of some opals and hydrophanes; but these stones, interesting for their hesitating colors, for the evasions of their flames, are too refractory and faithless; the opal has a quite rheumatic sensitiveness; the play of its rays alters according to the humidity, the warmth or cold; as for the hydrophane, it only burns in water and only consents to kindle its embers when moistened.

He finally decided on minerals whose reflections vary; for the Compostelle hyacinth, mahogany red; the beryl, glaucous green; the balas ruby, vinegar rose; the Sudermanian ruby, pale slate. Their feeble sparklings sufficed to light the darkness of the shell and preserved the values of the flowering stones which they encircled with a slender garland of vague fires.

Des Esseintes now watched the tortoise squatting in a corner of the dining room, shining in the shadow.