| Transcriber's note: although a number of obvious typographical errors in the printed work have been corrected, the original orthography of the book has been retained. This includes a number of compound words, normally hyphenated, which retain their hyphenlessness. |
|
The CHILD OF PLEASURE GABRIELE D'ANNUNZIO TRANSLATED BY GEORGINA HARDING VERSES TRANSLATED BY ARTHUR SYMONS INTRODUCTION BY ERNEST BOYD THE MODERN LIBRARY PUBLISHERS :: :: NEW YORK |
| The CHILD OF PLEASURE |
GABRIELE D'ANNUNZIO |
| TRANSLATED BY GEORGINA HARDING VERSES TRANSLATED BY ARTHUR SYMONS |
INTRODUCTION BY ERNEST BOYD |
|
|
| THE MODERN LIBRARY |
| PUBLISHERS :: :: NEW YORK |
Manufactured in the United States of America Bound for the modern library by H. Wolff
CONTENTS
INTRODUCTION
It is characteristic of the atmosphere of legend in which Gabriele d'Annunzio has lived that even the authenticity of his name has been disputed. It was said that his real name was Gaetano Rapagnetta, and the curious will find amongst the Letters of James Huneker the boast that he was the first person to reveal to America the fact that d'Annunzio's name was "Rapagnetto"—a purely personal contribution to the legend. Yet, the plain fact, as proven by his birth certificate, is that the author of "The Child of Pleasure" was born at Pescara, on the 12th of March, 1863, the son of Francesco Paolo d'Annunzio and Luisa de Benedictis. Il Piacere, to give this novel its Italian name, was published when d'Annunzio was only twenty-six years of age, and except for an unimportant and imitative volume of short stories, it was his first sustained prose work. It is the book which at once made the novelist famous in his own country and very soon afterwards in England and France, where it was the first of his works to be translated. In America d'Annunzio was already known as the author of a powerful realistic novelette, "Episcopo & Co.," which was published in Chicago in 1896, two years before "The Child of Pleasure" appeared in London. As has so often happened since, America led the way in introducing into the English language a writer who is one of the foremost figures in Continental European literature.
In order to realize the sensation which Gabriele d'Annunzio created, it is necessary to glance back at the opinions of some of his early champions in foreign countries. Ouida claims, I think rightly, that her article in the Fortnightly Review, which was reprinted in her "Critical Studies," was the first account in English of the author and his work. In the main, although besprinkled with moral asides, it is, with one exception, as good an essay as any that has since been written on the subject. Ouida was sure that the wickedness of d'Annunzio was such that the only work of his which will become known to the English public in general will be the Vergini delle Rocce, because "(as far as it has gone) it is not indecent. The other works could not be reproduced in English." In proof of her contentions Ouida disclosed the fact that the French versions of the trilogy, "The Child of Pleasure," "The Victim," and "The Triumph of Death," were bowdlerized. At the same time she obligingly referred her readers to some of the choicer passages in the original, such as Chapter X of "The Child of Pleasure," where she claimed that "ingenuities of indecency" had been gratuitously introduced. For the guidance of those interested in such matters I may explain that, by a coincidence, the "ingenuity" in question is almost identical with that which was cited in the earlier part of La Garçonne as proof that Victor Margueritte was unworthy of the Legion of Honor.
After Ouida in England came the venerable Vicomte Melchior de Vogüé in France, who is best known to readers in this country for his standard tome on the Russian novel. In the austere pages of the Revue des Deux Mondes he carefully explained to his readers that d'Annunzio's lewdness must not be confused with the obscenities of Zola, whereat Ouida protested that they were alike in their complacent preoccupation with mere filth. The Frenchman is the sounder critic, it must be said, for while d'Annunzio frequently parallels some of the most unclean—in the literal, not the moral sense—scenes and incidents in Zola, his attitude about sex is as unlike Zola's as that of the late W. D. Howells. Only in "Nana" did Zola describe the life and emotions of a woman whose whole life is given up to love, and then, as we know, he chose a singularly crude and professional person, using her career as a symbol of the Second Empire. D'Annunzio has never described women with any other reason for existence but love, yet none of his heroines has poor Nana's uninspiring motives. They are amateurs with a skill undreamed of in Nana's philosophy; they believe in love for art's sake. Consequently, the French critic was right in insisting that Zola and d'Annunzio are two very different persons, although confounded in an identical obloquy by the moralists. He is, however, not quite so subtle when he tries to argue from this that, in the conventional sense, d'Annunzio is more moral.
At this point I will cite an unexpectedly intelligent witness, one of the early admirers of d'Annunzio in English, and the author of an essay on him which is assuredly the best which has appeared in that language. This is what Henry James has to say of "The Child of Pleasure" in his "Notes on Novelists": "Count Andrea Sperelli is a young man who pays, pays heavily, as we take it we are to understand, for an unbridled surrender to the life of the senses; whereby it is primarily a picture of that life that the story gives us. He is represented as inordinately, as quite monstrously, endowed for the career that from the first absorbs and that finally is to be held, we suppose to engulf him; and it is a tribute to the truth with which his endowment is presented that we should scarce know where else to look for so complete and convincing an account of such adventures. Casanova de Seingalt is of course infinitely more copious, but his autobiography is cheap loose journalism compared with the directed, finely-condensed iridescent epic of Count Andrea."
It would be difficult to find, couched in such euphemistically appreciative language, so accurate a summary of the intention and quality of this book. Casanova is pale, diffuse, and unconvincing, indeed, beside the d'Annunzio who so early gave his full measure as the supreme novelist of sensual pleasure in this book. As Arthur Symons so well says, "Gabriele d'Annunzio comes to remind us, very definitely, as only an Italian can, of the reality and the beauty of sensation, of the primary sensations; the sensations of pain and pleasure as these come to us from our actual physical conditions; the sensation of beauty as it comes to us from the sight of our eyes and the tasting of our several senses; the sensation of love, which, to the Italian, comes up from a root in Boccaccio, through the stem of Petrarch, to the very flower of Dante. And so he becomes the idealist of material things, while seeming to materialize spiritual things. He accepts, as no one else of our time does, the whole physical basis of life, the spirit which can be known only through the body."
D'Annunzio has declared that the central male character in all three novels, Andrea Sperelli in "The Child of Pleasure," Tullio Hermil in "The Intruder" and Giorgio Aurispa in "The Triumph of Death," are projections of himself. They are as autobiographical as Stelio Effrena in "The Fire of Life," which is generally accepted as an elaboration of the poet's life with Eleonora Duse. His attitude, therefore, is clearly defined in the passage where he says: "In the tumult of contradictory impulses Sperelli had lost all sense of will power and all sense of morality. In abdicating, his will had surrendered the sceptre to his instincts; the æsthetic was substituted for the moral sense. This æsthetic sense, which was very subtle, very powerful and always active, maintained a certain equilibrium in the mind of Sperelli. Intellectuals such as he, brought up in the religion of Beauty, always preserve a certain kind of order, even in their worst depravities. The conception of Beauty is the axis of their inmost being: all their passions turn upon that axis." He is, in other words, the re-incarnation of Don Juan, pursuing in woman an elusive and impossible ideal.
If d'Annunzio had not gone into the adventure of the war, with its sequel at Fiume, we might have continued to enjoy the spectacle of the adventures of this restless soul amongst feminine masterpieces. As a soldier and a statesman his prestige in the English-speaking world is low, and we are apt to forget while reading the political bombast of the years of the war and the period after the Armistice that it differs in no respect from all other patriotic claptrap, except that it is the work of the greatest living master of Italian prose. Of this fact his early novels are a needed reminder to a generation which is making its acquaintance with Italian writers of to-day through the intermediary of a converted anti-clerical, who cannot even retell the story of Christ without branding himself a vulgarian. In the prim days when young d'Annunzio first flaunted his carnal delights and sorrows before a world not yet released from Victorian stuffiness, the word "vulgar" was a polite English epithet for "fleshly," an adjective much beloved by indignant gentlemen who were permitting their wrath to triumph over their desire to be respectable. It is a word which we apply nowadays to the writings of a vulgarian like Papini, whose name is now as familiar to the general public as d'Annunzio's was when "The Child of Pleasure" was first translated. That is a measure of progress in this connection which justifies the hope that the "idealist of material things" will find again an audience which can understand and appreciate his quest.
D'Annunzio has nothing to offer the sterile theorists of the new illiterate literature, who are as incapable of appreciating his refined and subtle perversities as they are of admiring the beautiful form in which his full-blooded and exuberant imagination clothes his conceptions. He is an æsthete, but his æstheticism has never expressed itself in barren theory, but has always turned to life itself. He realized at the outset of his career that life is a physical thing, which we must compel to surrender all that it can offer us, which the artist must bend and shape to his own creative purposes. It has been said that d'Annunzio had a philosophy and Nietzsche and Tolstoy were invoked as influences, but there is as little of Tolstoy's moralizing in "The Intruder" as of Nietzsche's pessimistic idealism in "The Child of Pleasure" or "The Triumph of Death." Whatever conclusions may be drawn from the problem of the Eternal Feminine as postulated in all his novels—and that is the only problem which he confronts—it is hardly to be dignified by the name of a philosophy. One gathers that men can be exalted and destroyed by the attraction of women, but the author remains to the end—as late certainly as 1910, when the last of the novels in the first mood, Forse che si, forse che no, appeared—of the opinion that they are the one legitimate preoccupation of the artist in living. Elena Muti in "The Child of Pleasure," Foscarina in "The Flame of Life," Ippolita in "The Triumph of Death" are superb incarnations of the one and ever varied problem which troubles the world in which d'Annunzio lives.
An American critic, Mr. Henry Dwight Sedgwick, once demanded in tones of passionate scorn that d'Annunzio be tried before a jury of "English-speaking men," and he called the tale: "Colonel Newcome! Adam Bede! Bailie Jarvie! Tom Brown! Sam Weller!"—notes of exclamation included, from which one was to conclude that the creator of Sperelli, Hermil and Aurispa would slink away discomfited at the very sound of those names. Yet, on the other hand, can one imagine Andrea and Elena, Giorgio and Ippolita arguing with our advanced thinkers of the moment: Is Monogamy Feasible? or Can Men and Women be Friends? D'Annunzio is not to be approached either in a mood of radical earnestness or of evangelical fervor. He must be regarded as an artist of sensations, an Italian of the Renaissance set down in the middle of a drab century. He began his life by a quest for perfect physical pleasure through all the senses, and inaugurated its last phase with a gesture of military courage which was not only a retort to those who, like Croce, had called him a dilettante, but an earnest of his conviction that he was a great artist of the lineage which bred men who were simultaneously great men of action.
Ernest Boyd.
BOOK I
[CHAPTER I]
Andrea Sperelli dined regularly every Wednesday with his cousin the Marchesa d'Ateleta.
The salons of the Marchesa in the Palazzo Roccagiovine were much frequented. She attracted specially by her sparkling wit and gaiety and her inextinguishable good humour. Her charming and expressive face recalled certain feminine profiles of the younger Moreau and in the vignettes of Gravelot. There was something Pompadouresque in her manner, her tastes, her style of dress, which she no doubt heightened purposely, tempted by her really striking resemblance to the favourite of Louis xv.
One Tuesday evening, in a box at the Valle Theatre, she said laughingly to her cousin, 'Be sure, you come to-morrow, Andrea. Among the guests there will be an interesting, not to say fatal, personage. Forewarned is forearmed—Beware of her spells—you are in a very weak frame of mind just now.'
He laughed. 'If you don't mind, I prefer to come unarmed,' he replied, 'or rather in the guise of a victim. It is a character I have assumed for many an evening lately, but alas, without result so far.'
'Well, the sacrifice will soon be consummated, cugino mio.'
'The victim is ready!'
The next evening, he arrived at the palace a few minutes earlier than usual, with a wonderful gardenia in his button-hole and a vague uneasiness in his mind. His coupé had to stop in front of the entrance, the portico being occupied by another carriage, from which a lady was alighting. The liveries, the horses, the ceremonial which accompanied her arrival all proclaimed a great position. The Count caught a glimpse of a tall and graceful figure, a scintillation of diamonds in dark hair and a slender foot on the step. As he went upstairs he had a back view of the lady.
She ascended in front of him with a slow and rhythmic movement; her cloak, lined with fur as white as swan's-down, was unclasped at the throat, and slipping back, revealed her shoulders, pale as polished ivory, the shoulder-blades disappearing into the lace of the corsage with an indescribably soft and fleeting curve as of wings. The neck rose slender and round, and the hair, twisted into a great knot on the crown of her head, was held in place by jewelled pins.
The harmonious gait of this unknown lady gave Andrea such sincere pleasure that he stopped a moment on the first landing to watch her. Her long train swept rustling over the stairs; behind her came a servant, not immediately in the wake of his mistress on the red carpet, but at the side along the wall with irreproachable gravity. The absurd contrast between the magnificent creature and the automaton following her brought a smile to Andrea's lips.
In the anteroom while the servant was relieving her of her cloak, the lady cast a rapid glance at the young man who entered.
The servant announced—'Her Excellency the Duchess of Scerni!' and immediately afterwards—'Count Sperelli-Fieschi d'Ugenta!' It pleased Andrea that his name should be coupled so closely with that of the lady in question.
In the drawing-room were already assembled the Marchese and Marchesa d'Ateleta, the Baron and Baroness d'Isola and Don Filippo del Monte. The fire burned cheerily on the hearth, and several low seats were invitingly disposed within range of its warmth, while large leaf plants spread their red-veined foliage over the low backs.
The Marchesa, advanced to meet the two new arrivals with her delightful ready laugh.
'Ah,' she said, 'a happy chance has forestalled me and made it unnecessary for me to tell you one another's names. Cousin Sperelli, make obeisance before the divine Elena.'
Andrea bowed profoundly. The Duchess held out her hand with a frank and graceful gesture.
'I am very glad to know you, Count,' she said, looking him full in the face. 'I heard so much about you last summer at Lucerne from one of your friends—Giulio Musellaro. I must confess I was rather curious—Besides, Musellaro lent me your exquisite "Story of the Hermaphrodite" and made me a present of your etching "Sleep"—a proof copy—a real gem. You have a most ardent admirer in me—please remember that.'
She spoke with little pauses in between. Her voice was so warm and insinuating in tone that it almost had the effect of a caress, and her glance had that unconsciously voluptuous and disturbing expression which instantly kindles the desire of every man on whom it rests.
'Cavaliere Sakumi!' announced the servant, as the eighth and last guest made his appearance.
He was one of the secretaries to the Japanese Legation, very small and yellow, with prominent cheek-bones and long, slanting, bloodshot eyes over which the lids blinked incessantly. His body was disproportionately large for his spindle legs, and he turned his toes in as he walked. The skirts of his coat were too wide, there was a multitude of wrinkles in his trousers, his necktie bore visible evidence of an unpractised hand. It was as if a daimio had been taken out of one of those cuirasses of iron and lacquer, so like the shell of some monstrous crustacean, and thrust into the clothes of a European waiter. And yet, with all his ungainliness and apparent stupidity there was a glint of malice in his slits of eyes and a sort of ironical cunning about the corners of his mouth.
Arrived in the middle of the room, he bowed low. His gibus slipped from his hand and rolled over the floor.
At this, the Baroness d'Isola, a tiny blonde with a cloud of fluffy curls all over her forehead, vivacious and grimacing as a young monkey, called to him in her piping voice:
'Come over here, Sakumi—here, beside me.'
The Japanese cavalier advanced with a succession of bows and smiles.
'Shall we see the Princess Issé this evening?' asked Donna Francesca d'Ateleta, who had a mania for gathering in her drawing-rooms all the most grotesque specimens of the exotic colonies of Rome, out of pure love of variety and the picturesque.
The Asiatic replied in a barbarous jargon, a scarcely intelligible compound of English, French, and Italian.
For a moment everybody was speaking at once—a chorus through which now and then the fresh laughter of the Marchesa rang like silver bells.
'I am sure I have seen you before—I cannot remember when and I cannot remember where, but I am certain I have seen you,' Andrea Sperelli was saying to the duchess as he stood before her. 'When I saw you going upstairs in front of me, a vague recollection rose up in my mind, something that took shape from the rhythm of your movements as a picture grows out of a melody. I did not succeed in making the recollection clear, but when you turned round, I felt that your profile answered incontestably to that picture. It could not have been a divination, therefore it must have been some obscure phenomenon of memory. I must have seen you somewhere before—who knows—perhaps in a dream—perhaps in another world, a previous existence—'
As he pronounced this last decidedly hackneyed, not to say silly remark, Andrea laughed frankly as if to forestall the lady's smile, whether of incredulity or irony. But Elena remained perfectly serious. Was she listening, or was she thinking of something else? Did she accept that kind of speech, or was she, by her gravity, amusing herself at his expense? Did she intend assisting him in the scheme of seduction he had begun with so much care, or was she going to shut herself up in indifference and silence? In short, was she or was she not the sort of woman to succumb to his attack? Perplexed, disconcerted, Andrea examined the mystery from all sides. Most men, especially those who adopt bold methods of warfare, are well acquainted with this perplexity which certain women excite by their silence.
A servant threw open the great doors leading to the dining-room.
The Marchesa took the arm of Don Filippo del Monte and led the way.
'Come,' said Elena, and it seemed to Andrea that she leaned upon his arm with a certain abandon—or was it merely an illusion of his desire?—perhaps. He continued in doubt and suspense, but every moment that passed drew him deeper within the sweet enchantment, and with every instant he became more desperately anxious to read the mystery of this woman's heart.
'Here, cousin,' said Francesca, pointing him to a place at one end of the oval table, between the Baron d'Isola and the Duchess of Scerni with the Cavaliere Sakumi as his vis-à-vis. Sakumi sat between the Baroness d'Isola and Filippo del Monte. The Marchesa and her husband occupied the two ends of the table, which glittered with rare china, silver, crystal and flowers.
Very few women could compete with the Marchesa d'Ateleta in the art of dinner giving. She expended more care and forethought in the preparation of a menu than of a toilette. Her exquisite taste was patent in every detail, and her word was law in the matter of elegant conviviality. Her fantasies and her fashions were imitated on every table of the Roman upper ten. This winter, for instance, she had introduced the fashion of hanging garlands of flowers from one end of the table to the other, on the branches of great candelabras, and also that of placing in front of each guest, among the group of wine glasses, a slender opalescent Murano vase with a single orchid in it.
'What a diabolical flower!' said Elena Muti, taking up the vase and examining the orchid which seemed all blood-stained.
Her voice was of such rich full timbre that even her most trivial remarks acquired a new significance, a mysterious grace, like that King of Phrygia whose touch turned everything to gold.
'A symbolical flower—in your hands,' murmured Andrea, gazing at his neighbour, whose beauty in that attitude was really amazing.
She was dressed in some delicate tissue of palest blue, spangled with silver dots which glittered through antique Burano lace of an indefinable tint of white inclining to yellow. The flower, like something evil generated by a malignant spell, rose quivering on its slender stalk out of the fragile tube which might have been blown by some skilful artificer from a liquid gem.
'Well, I prefer roses,' observed Elena, replacing the orchid with a gesture of repulsion, very different from her former one of curiosity. She then joined in the general conversation.
Donna Francesca was speaking of the last reception at the Austrian Embassy.
'Did you see Madame de Cahen?' asked Elena. 'She had on a dress of yellow tulle covered with humming birds with ruby eyes—a gorgeous dancing bird-cage. And Lady Ouless—did you notice her?—in a white gauze skirt draped with sea-weed and little red fishes, and under the sea-weed and fish another skirt of sea-green gauze—Did you see it?—a most effective aquarium!' and she laughed merrily.
Andrea was at a loss to understand this sudden volubility These frivolous and malicious things were uttered by the same voice which, but a few moments, ago had stirred his soul to its very depths; they came from the same lips which, in silence, had seemed to him like the mouth of the Medusa of Leonardo, that human flower of the soul rendered divine by the fire of passion and the anguish of death. What then was the true essence of this creature? Had she perception and consciousness of her manifold changes, or was she impenetrable to herself and shut from her own mystery? In her expression, her manifestation of herself, how much was artificial and how much spontaneous? The desire to fathom this secret pierced him even through the delight experienced by the proximity of the woman whom he was beginning to love. But his wretched habit of analysis for ever prevented him losing sight of himself, though every time he yielded to its temptation he was punished, like Psyche for her curiosity, by the swift withdrawal of love, the frowns of the beloved object and the cessation of all delights. Would it not be better to abandon oneself frankly to the first ineffable sweetness of new-born love? He saw Elena in the act of placing her lips to a glass of pale gold wine like liquid honey. He selected from among his own glasses the one the servant had filled with the same wine, and drank at the same moment that she did. They replaced their glasses on the table together. The similarity of the action made them turn to one another, and the glance they exchanged inflamed them far more than the wine.
'You are very silent,' said Elena, affecting a lightness of tone which somewhat disguised her voice. 'You have the reputation of being a brilliant conversationalist—exert yourself therefore a little!'
'Oh cousin! cousin!' exclaimed Donna Francesca with a comical air of commiseration, while Filippo del Monte whispered something in his ear.
Andrea burst out laughing.
'Cavaliere Sakumi; we are the silent members of this party—we must wake up!'
The long narrow eyes of the Asiatic—redder than ever now that the wine had kindled a deeper crimson on his high cheek-bones—glittered with malice. All this time he had done nothing but gaze at the Duchess of Scerni with the ecstatic look of a bonze in presence of the divinity. His broad flat face, which might have come straight out of a page of O-kou-sai, the great classical humorist, gleamed red among the chains of flowers like a harvest moon.
'Sakumi is in love,' said Andrea in a low voice, and leaning over towards Elena.
'With whom?'
'With you—have you not observed it yet?'
'No.'
'Well, look at him.'
Elena looked across at him. The amorous gaze of the disguised daimio suddenly affected her with such ill-disguised mirth that the Japanese felt deeply hurt and humiliated.
'See,' she said, and to console him she detached a white camellia and threw it across the table to the envoy of the Rising Sun,—'find some comparison in praise of me!'
The Oriental carried the flower to his lips with a ludicrous air of devotion.
'Ah—ah—Sakumi!' cried the little Baroness d'Isola, 'you are unfaithful to me!'
He stammered a few words while his face flamed. Everybody laughed unrestrainedly, as if the foreigner had been invited solely to provide entertainment for the other guests. Andrea turned laughing towards Elena.
Her head was raised and a little thrown back, and she was gazing furtively at the young man under her eyelashes with one of those indescribably feminine glances which seem to absorb—almost one would say drink in—all that is most desirable, most delectable in the man of their choice. The long lashes veiled the soft dark eyes which were looking at him a little side-long, and her lower lip had a scarcely perceptible tremor. The full ray of her glance seemed to rest upon his lips as the most attractive point about him.
And in truth his mouth was very attractive. Pure and youthful in outline and rich in colouring, a little cruel when firmly closed, it reminded one irresistibly of that portrait of an unknown gentleman in the Borghese gallery, that profound and mysterious work of art in which the fascinated imagination has sought to recognise the features of the divine Cesare Borgia depicted by the divine Sanzio. As soon as the lips parted in a smile the resemblance vanished, and the square, even dazzlingly white teeth lit up a mouth as fresh and jocund as a child's.
The moment Andrea turned, Elena withdrew her eyes, though not so quickly but that the young man caught the flash. His delight was so poignant that it sent the blood flaming to his face.
'She is attracted by me!' he thought to himself, inwardly exulting in the assurance of having found favour in the eyes of this rare creature. 'This is a joy I have never experienced before!' he said to himself.
There are certain glances from a woman's eye which a lover would not exchange for anything else she can offer him later. He who has not seen that first love-light kindle in a limpid eye has never touched the highest point of human bliss. No future moment can ever approach that one.
The conversation around them grew more animated, and Elena asked him—'Are you staying the winter in Rome?'
'The whole winter—and longer,' was Andrea's reply, to whom the simple question seemed to open up a promise.
'Ah, then you have set up a home here?'
'Yes, in the Casa Zuccari—domus aurea.'
'At the Trinità de' Monti?—Lucky being!'
'Why lucky?'
'Because you live on a spot I have a great liking for.'
'You are quite right I always think—don't you?—that there the most perfect essence of Rome is concentrated as in a cup.'
'Quite true! I have hung up my heart—both Catholic and Pagan—as an ex-voto between the obelisk of the Trinità and the column of the Conception.'
She laughed as she spoke. A sonnet to this suspended heart rose instantly to his lips, but he did not give it utterance, for he was in no mood to continue their conversation in this light vein of false sentiment, which broke the sweet spell she had been weaving about him. He was silent therefore.
She, too, remained a moment pensive, and then threw herself with renewed vivacity into the general conversation, prodigal of wit and laughter, flashing her teeth and her bon mots at all in turn. Francesca was retailing spicily a piece of gossip about the Princess di Ferentino on the subject of a recent, and somewhat risky, adventure of hers with Giovanella Daddi.
'By the by—the Ferentino announces another charity bazaar for Epiphany,' said the Baroness d'Isola. 'Does anybody know anything about it yet?'
'I am one of the patronesses,' said Elena Muti.
'And you are a most valuable patroness,' broke in Don Filippo del Monte, a man of about forty, almost bald, a keen sharpener of epigrams, whose face seemed a sort of Socratic mask; the right eye was forever on the move, and flashed with a thousand changing expressions, while the left remained stationary and glazed behind the single eye-glass, as if he used the one for expressing himself and the other for seeing. 'At the May bazaar, you brought in a perfect shower of gold.'
'Oh, the May bazaar—what a mad affair that was!' exclaimed the Marchesa.
While the servants were filling the glasses with iced champagne, she added, 'Do you remember, Elena, our stalls were close together?'
'Five louis d'or a drink—five louis d'or a bite!' Don Filippo called, in the voice of a street-hawker. Elena and the Marchesa burst out laughing.
'Why yes, of course, Filippo, you cried the wares,' said Donna Francesca. 'Now what a pity you were not there, cugino mio! For five louis you might have eaten fruit out of which I had had the first bite, and have drunk champagne out of the hollow of Elena's hands for five more.'
'How scandalous!' broke in the Baroness d'Isola, with a horrified grimace.
'Ah, Mary, I like that! And did you not sell cigarettes that you lighted up first yourself for a louis?' cried Francesca through her laughter. Then she became suddenly grave. 'Every deed, with a charitable object in view, is sacred,' she observed sententiously. 'By merely biting into fruit, I collected at least two hundred louis.'
'And you?' Andrea Sperelli turned to Elena with as constrained smile—'With your human drinking-cup—how much did you get?'
'I?—oh, two hundred and seventy louis.'
Everybody was full of fun and laughter, excepting the Marchese d'Ateleta, who was old, and afflicted with incurable deafness; was padded and painted—in a word, artificial from head to foot. He was very like one of the figures one sees at a wax work show. From time to time—usually the wrong one—he would give vent to a little dry cackling laugh, like the rattle of some rusty mechanism inside him.
'However,' Elena resumed, 'you must know, that after a certain point in the evening, the price rose to ten louis, and at last, that lunatic of a Galeazzo Secinaro came and offered me a five hundred lire note, if I would dry my hands on his great golden beard!'
As was ever the case at the d'Ateletas', the dinner increased in splendour towards the end; for the true luxury of the table is shown in the dessert. A multitude of choice and exquisite things, delighting the eye no less than the palate, were disposed with consummate art in various crystal and silver-mounted dishes. Festoons of camellias and violets hung between the vine-wreathed eighteenth century candelabras, round which sported fairies and nymphs, and on the wall-hangings more fairies and nymphs, and all the charming figures of the pastoral mythology—the Corydons, the Phylises, the Rosalinds—animated with their sylvan loves one of those sunny Cytherean landscapes originated by the fanciful imagination of Antoine Watteau.
The slightly erotic excitement, which is apt to take hold upon the spirits at the end of a dinner graced by fair women and flowers, betrayed itself in the tone of the conversations, and the reminiscences of this bazaar, at which the ladies—urged on by a noble spirit of emulation in collecting the largest sums—employed the most unheard of audacities to attract buyers.
'And did you accept it?' asked Andrea of the Duchess.
'I sacrificed my hands on the altar of Benevolence,' she replied. 'Twenty-five louis more to my account!'
'All the perfumes of Arabia will not sweeten this little hand.' He laughed as he quoted Lady Macbeth's words, but, in reality, his heart was sore with a confused, ill-defined pain, that bore a strong resemblance to jealousy. And suddenly he became aware of something excessive, almost—it might be—a touch of the courtesan, defacing the manners of the great lady. Certain inflections of her voice, certain tones of her laughter, here a gesture, there an attitude, certain glances, exhaled a charm that was perhaps a trifle too Aphrodisiac. She was, besides, somewhat over-lavish with the visible favours of her graces, and the air she breathed was continually surcharged with the desire she herself excited.
Andrea's heart swelled with bitterness; he could not take his eyes off Elena's hands. Out of those hands, so delicately, ideally white and transparent, with their faint tracery of azure veins—from those rosy hollowed palms, wherein a chiromancer would have discovered many an intricate crossing of lines, ten, twenty different men had drunk at a price. He could see the heads of these unknown men bending over her and drinking the wine. But Secinaro was one of his friends—a great handsome jovial fellow, imperially bearded like a very Lucius Verus, and a most formidable rival to have. He felt as if the dinner would never come to an end.
'You are such an innovator,' Elena was saying to Donna Francesca, as she dipped her fingers into warm water in a pale blue finger-glass rimmed with silver, 'Why do you not revive the ancient fashion of having the water offered to one after dinner with a basin and ewer? The modern arrangement is very ugly, do you not think so, Sperelli?'
Donna Francesca rose. Every one followed her example. Andrea, with a bow, offered his arm to Elena and she looked at him without smiling as she slowly laid her hand on his arm. Her last words were gaily and lightly spoken, but her gaze was so grave and profound that the young man felt it sink into his very soul.
'Are you going to the French Embassy to-morrow evening?' she asked him.
'Are you?' Andrea asked in return.
'I am.'
'So am I.'
They smiled at one another like two lovers.
'Sit down,' she added as she sank into a seat.
The seat was far from the fire, with its back to the curve of a grand piano which was partially draped in some rich stuff. At one end of the divan, a tall bronze crane held in his beak a tray hanging by three chains like one side of a pair of scales, and on it lay a new book and a little Japanese scimitar—a waki-gashi—the scabbard and hilt encrusted with silver chrysanthemums.
Elena took up the book, which was only half cut, read the title, and then replaced it on the tray which swung to and fro. The scimitar fell to the ground. As both she and Andrea stooped to pick it up, their hands met. She straightened herself up and examined the beautiful weapon with some curiosity, retaining it in her hand while Andrea talked about the new novel, insinuating into his remarks general arguments upon love; and her fingers wandered absently over the chasing of the weapon, her polished nails seeming a repetition of the delicate gems that sparkled in her rings.
Presently, after a pause, Elena said without looking at him: 'You are very young—have you often been in love?'
He answered by another question—'Which do you consider the truest, noblest way of love—to imagine you have discovered every aspect of the eternal Feminine combined in one woman, or to run rapidly over the lips of woman as you run your fingers over the keys of a piano, till, at last, you find the sublime chord of harmony?'
'I really cannot say—and you?'
'Nor I either—I am unable to solve the great problem of sentiment. However, by personal instinct, I have followed the latter plan and have now, I fear, struck the grand chord—judging, at least, by an inward premonition.'
'You fear?'
'Je crains ce que j'espère.'
He instinctively employed this language of affected sentiment to cloak his really strong emotion, and Elena felt herself caught by his voice as in a golden net and drawn forcibly out of the life surrounding them.
'Her Excellency the Princess di Micigliano!' announced a footman.
'Count di Gissi!'
'Madame Chrysoloras!'
'The Marchese and the Marchesa Massa d'Alba!'
The rooms began to fill rapidly. Long shimmering trains swept over the deep red carpet, white shoulders emerged from bodices starred with diamonds, embroidered with pearls, covered with flowers, and in nearly every coiffure glittered those marvellous hereditary gems for which the Roman nobility are so much envied.
'Her Excellency the Princess of Ferentino!'
'His Excellency the Duke of Grimiti!'
The guests formed themselves in various groups, the rallying points of gossip and of flirtation. The chief group, composed exclusively of men, was in the vicinity of the piano, gathered round the Duchess of Scerni, who had risen to her feet, the better to hold her own against her besiegers. The Princess of Ferentino came over to greet her friend with a reproach.
'Why did you not come to Nini Santamarta's to-day? We all expected you.'
She was tall and thin with extraordinary green eyes sunk deep in their shadowy sockets. Her dress was black, the bodice open in a point back and front, and in her hair, which was blond cendré, she wore a great diamond crescent like Diana. She waved a huge fan of red feathers hastily to and fro as she spoke.
'Nini is at Madame Van Hueffel's this evening.'
'I am going there later on for a little while, so I shall see her,' answered the Duchess.
'Oh, Ugenta,' said the Princess turning to Andrea, 'I was looking for you to remind you of our appointment. To-morrow is Thursday and Cardinal Immenraet's sale begins at twelve. Will you fetch me at one?'
'I shall not fail, Princess.'
'I simply must have that rock crystal.'
'Then you must be prepared for competition.'
'From whom?'
'My cousin for one.'
'And who else?'
'From me,' said Elena.
'You?—Well, we shall see.'
Several of the gentlemen asked for further enlightenment.
'It is a contest between ladies of the 19th century for a rock crystal vase which belonged to Niccolo Niccoli,' Andrea explained with solemnity; 'a vase, on which is engraved the Trojan Anchises untying one of the sandals of Venus Aphrodite. The entertainment will be given gratis, at one o'clock to-morrow afternoon, in the Public Sale-rooms of the Via Sistina. Contending parties—the Princess of Ferentino, the Duchess of Scerni and the Marchesa d'Ateleta.'
Everybody laughed, and Grimiti asked, 'Is betting permitted?'
'The odds! The odds!' yelled Don Filippo del Monte, imitating the strident voice of the bookmaker Stubbs.
The Princess gave him an admonitory tap on the arm with her red fan, but the joke seemed to amuse them hugely and the betting began at once. Hearing the bursts of laughter, other ladies and gentlemen joined the group in order to share the fun. The news of the approaching contest spread like lightning and soon assumed the proportions of a society event.
'Give me your arm and let us take a turn through the rooms,' said Elena to Andrea Sperelli.
As soon as they were in the west room, away from the noisy crowd, Andrea pressed her arm and murmured, 'Thanks.'
She leaned on him, stopping now and again to reply to some greeting. She seemed fatigued, and was as pale as the pearls of her necklace. Each gentleman addressed her with some hackneyed compliment.
'How stupid they all are! it makes me feel quite ill,' she said.
As they turned, she saw Sakumi was following them noiselessly, her camellia in his button-hole, his eyes full of yearning not daring to come nearer. She threw him a compassionate smile.
'Poor Sakumi!'
'Did you not notice him before?' asked Andrea.
'No.'
'While we were sitting by the piano, he was in the recess of the window, and never took his eyes off your hands when you were playing with the weapon of his native country—now reduced to being a paper-cutter for a European novel.'
'Just now, do you mean?'
'Yes, just now. Perhaps he was thinking how sweet it would be to perform Hara-Kiri with that little scimitar, the chrysanthemums on which seemed to blossom out of the lacquer and steel under the touch of your fingers.'
She did not smile. A veil of sadness, almost of suffering, seemed to have fallen over her face; her eyes, faintly luminous under the white lids, seemed drowned in shadow, the corners of her mouth drooped wearily, her right arm hung straight and languid at her side. She no longer held out her hand to those who greeted her; she listened no longer to their speeches.
'What is the matter?' asked Andrea.
'Nothing—I must go to the Van Hueffels' now. Take me to Francesca to say good-bye, and then come with me down to my carriage.'
They returned to the first drawing-room, where Luigi Gulli, a young man, swarthy and curly-haired as an Arab, who had left his native Calabria in search of fortune, was executing, with much feeling, Beethoven's sonata in C# minor. The Marchesa d'Ateleta, a patroness of his, was standing near the piano, with her eyes fixed on the keys. By degrees, the sweet and grave music drew all these frivolous spirits within its magic circle, like a slow-moving but irresistible whirlpool.
'Beethoven!' exclaimed Elena in a tone of almost religious fervour, as she stood still and drew her arm from Andrea's.
She had halted beside one of the great palms and, extending her left hand, began very slowly to put on her glove. In that attitude her whole figure, continued by the train, seemed taller and more erect; the shadow of the palm veiled and, so to speak, spiritualised the pallor of her skin. Andrea gazed at her in a kind of rapture, increased by the pathos of the music.
As if drawn by the young man's impetuous desire, Elena turned her head a little, and smiled at him—a smile so subtle, so spiritual, that it seemed rather an emanation of the soul than a movement of the lips, while her eyes remained sad and as if lost in a far away dream. Thus overshadowed they were verily the eyes of the Night, such as Leonardo da Vinci might have imagined for an allegorical figure after having seen Lucrezia Crevelli at Milan.
During the second that the smile lasted, Andrea felt himself absolutely alone with her in the crowd. An immense wave of pride flooded his heart.
Elena now prepared to put on the other glove.
'No, not that one,' he entreated in a low voice.
She understood, and left her hand bare.
He was hoping to kiss that hand before she left. And suddenly he had a vision of the May Bazaar, and the men drinking champagne out of those hollowed palms, and for the second time that night he felt the keen stab of jealousy.
'We will go now,' she said, taking his arm once more.
The sonata over, conversation was resumed with fresh vigour. Three or four new names were announced, amongst them that of the Princess Issé, who entered smiling, with funny little tottering steps, in European dress, her oval face as white and tiny as a little netske figurine. A stir of curiosity ran round the room.
'Good-night, Francesca,' said Elena, taking leave of her hostess, 'I shall see you to-morrow.'
'Going so soon?'
'I am due at the Van Hueffels'. I promised to go.'
'What a pity! Mary Dyce is just going to sing.'
'I must go—good-bye!'
'Well, take this, and good-bye. Most amiable of cousins, please look after her.'
The Marchesa pressed a bunch of double violets into her hand and hurried away to receive the Princess Issé very graciously. Mary Dyce, in a red dress, slender and undulating as a tongue of fire, began to sing.
'I am so tired!' murmured Elena, leaning wearily on Andrea's arm. 'Please ask for my cloak.'
He took her cloak from the attendant, and in helping her to put it on, touched her shoulder with the tips of his fingers, and felt her shiver. The words of one of Schumann's songs was borne to them on Mary Dyce's passionate soprano, Ich kann's nicht fassen, nicht glauben!
They descended the stairs in silence. A footman preceded them to call the duchess's carriage. The stamping of the horses rang through the echoing portico. At every step, Andrea felt the pressure of Elena's arm grow heavier; she held her head high, and her eyes were half closed.
'As you ascended these stairs, my admiration followed you, unknown to you. Now, as you come down, my love accompanies you,' he said softly, almost humbly, faltering a little between the two last words.
She made no reply, but she lifted the bunch of violets to her face, and inhaled the perfume. In so doing, the wide sleeve of her evening cloak slipped back over her arm beyond her elbow, thrilling the young man's senses almost beyond control. His lips trembled, and he with difficulty restrained the burning words that rose to them.
The carriage was standing at the foot of the great stairway; a footman held open the door.
'To Madame Van Hueffel's,' said the duchess to him, while Andrea helped her in.
The man left the door and returned to his seat beside the coachman. The horses stamped, striking out sparks from the stones.
'Take care!' cried Elena, holding out her hand to the young man. Her eyes and her diamonds flashed through the gloom.
'Oh, to be in there with her in the shadow—to press my lips to her satin neck under the perfumed fur of her mantle!'
'Take me with you!' he would like to have cried.
But the horses plunged. 'Oh, take care!' Elena repeated.
He kissed her hand—pressing his lips to it as if to leave the mark of his burning passion. He closed the door and the carriage rolled rapidly away under the porch, and out to the Forum.
And thus ended Andrea Sperelli's first meeting with the Duchess of Scerni.
[CHAPTER II]
The gray deluge of democratic mud, which swallows up so many beautiful and rare things, is likewise gradually engulfing that particular class of the old Italian nobility in which from generation to generation were kept alive certain family traditions of eminent culture, refinement and art.
To this class, which I should be inclined to denominate Arcadian because it shone with greatest splendour in the charming atmosphere of the eighteenth century life, belonged the Sperelli. Urbanity, hellenism, love of all that was exquisite, a predilection for out-of-the-way studies, an æsthetic curiosity, a passion for archæology, and an epicurean taste in gallantry were hereditary qualities of the house of Sperelli. An Alessandro Sperelli brought in 1466 to Frederic of Aragon, son of Ferdinand King of Naples, and brother to Alfonso Duke of Calabria, a manuscript in folio containing the 'less rude' poems of the old Tuscan writers which Lorenzo de Medici had promised him at Pisa in 1465; and in concert with the most erudite scholars of his time, that same Alessandro wrote a Latin elegy on the death of the divine Simonetta—sad and melting numbers after the manner of Tibullus. Another Sperelli—Stefano,—was during the same century in Flanders, in the midst of all the pomp, the extravagant elegance, the almost fabulous magnificence of the court of Charles the Bold, Duke of Burgundy, where he remained, having allied himself with a Flemish family. A son of his, named Giusto, learned painting under the direction of Gossaert, in whose company he came to Italy in the suite of Philip of Burgundy, the ambassador of the Emperor Maximilian to Pope Julius ii. in 1508. He settled in Florence, where the chief branch of his family continued to flourish, and had for his second master Piero di Cosimo, that jocund and facile painter and vivid and harmonious colourist, under whose brush the pagan deities came to life again. This Giusto was by no means a mediocre artist, but he consumed all his forces in the vain effort to reconcile his primary Gothic education with the newly awakened spirit of the Renaissance. Towards the middle of the seventeenth century the Sperelli family migrated to Naples. There a Bartolomeo Sperelli published in 1679 an astrological treatise: De Nativitatibus; in 1720 a Giovanni Sperelli wrote for the theatre an opera bouffe entitled La Faustina and also a lyrical tragedy entitled Progne; 1756 a Carlo Sperelli brought out a book of amatory verses in which much licentious persiflage was expressed with the Horatian elegance so much affected at that period. A better poet, and moreover a man of exquisite gallantry, was Luigi Sperelli, attached to the court of the lazzaroni king of Naples and his queen Caroline. His Muse was very charming, and affected a certain epicurean melancholy. He loved much and with a fine discrimination, and had innumerable adventures—some of them famous—as, for instance, that with the Marchesa di Bugnano who poisoned herself out of jealousy, and with the Countess of Chesterfield who died of consumption, and whom he mourned in a series of odes, sonnets and elegies—very moving, if perhaps somewhat overladen with metaphor.
Count Andrea Sperelli-Fieschi d'Ugenta, sole heir to the family, carried on its traditions. He was, in truth, the ideal type of the young Italian nobleman of the nineteenth century, a true representative of a race of chivalrous gentlemen and graceful artists, the last scion of an intellectual line.
He was, so to speak, thoroughly impregnated with art. His early youth, nourished as it was by the most varied and profound studies, promised wonders. Up to his twentieth year, he alternated between severe study and long journeys, in company with his father, and could thus complete his extraordinary æsthetic education under paternal direction, without the restrictions and constraints imposed by tutors. And it was to his father that he owed his taste for everything pertaining to art, his passionate cult of the Beautiful, his paradoxical disdain of prejudice, and his keen appetite for the sensuous.
That father, who had grown up in the midst of the last expiring splendours of the Bourbon court of Naples, understood life on a large scale, was profoundly initiated into all the arts of the voluptuary, combined with a certain Byronic leaning towards fantastic romanticism. His marriage had occurred under quasi tragic circumstances, the finale of a mad passion; then, after disturbing and undermining the conjugal peace in every possible fashion, he had separated from his wife, and, keeping his son always with him, had travelled about the whole of Europe.
Andrea's education had thus been a living one; that is to say, derived less from books than from the study of life as he had seen it. His mind was corrupted not only by over-refined culture, but also by actual experiments, and in him curiosity grew keener in proportion as his knowledge grew wider. From the beginning, he had ever been prodigal of his powers, for the great nervous force with which nature had endowed him was inexhaustible in providing him with the treasures he dispensed so lavishly. But the expansion of that energy caused in him the destruction of another force: the moral one, which his own father had not scrupled to repress in him. And he never perceived that his whole life was a steady retrogression of all his faculties, of his hopes, his joys—a species of gradual renunciation—and that the circle was slowly but inexorably narrowing round him.
Among other fundamental maxims his father had given him the following: You must make your own life as you would any other work of art. The life of a man of intellect should be of his own designing. Herein lies the only true superiority.
Again: Never, let it cost what it may, lose the mastery over yourself even in the most intoxicating rapture of the senses. Habere non haberi is the rule from which the man of intellect should never swerve.
And again—Regret is the idle pastime of an unoccupied mind. The best method, therefore, to avoid regret is to keep the mind constantly occupied with new fancies, fresh sensations.
Unfortunately, however, these voluntary axioms, which from their ambiguity might just as easily be interpreted as lofty moral rules, fell upon an involuntary nature; that is to say, one in which the will power was extremely feeble.
Another seed sown by the paternal hand had borne evil fruit in Andrea's spirit—the seed of sophistry. Sophistry, said this imprudent teacher, is at the bottom of all human pleasure or pain. Therefore, quicken and multiply your sophisms and you quicken and multiply your own pleasure or your own pain. It is possible that the whole science of life consists in obscuring the truth. The word is a very profound matter in which inexhaustible treasure is concealed for the man who knows how to use it. The Greeks, who were artists in words, were the most refined voluptuaries of antiquity. The sophists flourished in the greatest number during the age of Pericles, the Golden Age of pleasure.
This germ had found a favourable soil in the unhealthy culture of the young man's mind. By degrees, insincerity—rather towards himself than towards others—became such a habit of Andrea's mind, that finally he was incapable of being wholly sincere or of regaining dominion over himself.
The death of his father left him alone at the age of twenty, master of a considerable fortune, separated from his mother, and at the mercy of his passions and his tastes. He spent fifteen months in England. His mother married again, and he returned to Rome from choice.
Rome was his passion—not the Rome of the Cæsars, but the Rome of the Popes—not the Rome of the Triumphal Arches, the Forums, the Baths, but the Rome of the Villas, the Fountains, the Churches. He would have given all the Colosseums in the world for the Villa Medici, the Campo Vaccino for the Piazza di Spagna, the Arch of Titus for the Fountain of the Tortoises. The princely magnificence of the Colonnas, the Dorias, the Barberinis, attracted him far more than the ruins of imperial grandeur. It was his dream to possess a palace crowned by a cornice of Michael Angelo's, and with frescos by the Carracci like the Farnese palace—a gallery of Raphaels, Titians and Domenichini like the Borghese; a villa like that of Alessandro Albani, where deep shadowy groves, red granite of the East, white marble from Luni, Greek statues and Renaissance pictures should weave an enchantment round some sumptuous amour of his. In an album of 'Confessions' at his cousin's, the Marchesa d'Ateleta, against the question—'What would you most like to be?' he had written, 'A Roman prince.'
Arriving in Rome about the end of September, he set up his 'home' in the Palazzo Zuccari, near the Trinità de' Monti, where the obelisk of Pius vi. marks with its shadow the passing hours. The whole of October was devoted to furnishing them. When the rooms were all finished and decorated to his taste, he passed some days of invincible melancholy and loneliness in his new abode. It was a St. Martin's summer, a 'Springtime of the Dead,' calmly sad and sweet, in which Rome lay all golden, like a city of the Far East, under a milk-white sky, diaphanous as the firmament reflected in Southern seas.
All this languor of atmosphere and light, in which things seemed to lose their substance and reality, oppressed the young man with an infinite weariness, an inexpressible sense of discontent, of discomfort, of solitude, emptiness and home-sickness, mostly, no doubt, the result of the change of climate and customs.
It was just this, that he was entering upon a new phase of life. Would he find therein the woman and the work capable of dominating his heart and becoming an object in life to him? Within himself he felt neither the conviction of power nor the presage of fame or happiness. Though penetrated, impregnated with art, as yet he had not produced anything remarkable. Eager in the pursuit of pleasure and of love, he had never yet really loved or really enjoyed whole-heartedly. Tortured by aspirations after an Ideal, and abhorring pain both by nature and education, he was vulnerable on every side, accessible to pain at every point.
In the tumult of his conflicting inclinations, he had lost all guiding will-power and moral perception. Will, in abdicating had yielded the sceptre to instinct and the æsthetic sense was substituted for the moral. But, it was nevertheless precisely to his æsthetic sense—in him most subtle and powerful—that he owed a certain strength and equilibrium of mind, so that one might say his existence was a perpetual struggle between contrary forces, enclosed within the limits of that equilibrium. Men of intellect, educated in the cult of the beautiful, preserve a certain sense of order even in their worst depravities. The conception of the beautiful is, so to speak, the axis of their being, round which all their passions revolve.
Over this sadness, the recollection of Constance Landbrooke still floated like a faded perfume. His love for Conny had been a very delicate affair, for she was a very sweet little creature. She was like one of Lawrence's creations, with all the dainty feminine graces so dear to that painter of furbelows and laces and velvets, of lustrous eyes and pouting lips, a very re-incarnation of the little Countess of Shaftesbury. Lively, chattering, never still, lavish of infantile diminutives and silvery peals of laughter, easily moved to sudden caresses and as sudden melancholies and quick bursts of anger, she contributed to her share of love a vast amount of movement, much variety and many caprices. But Conny Landbrooke's melodious twitterings had left no more mark on Andrea's heart than the light musical echo left in one's ear for a time by some gay ritornella. More than once in some pensive hour of twilight melancholy, she had said to him with a mist of tears before her eyes—'I know you do not love me.' And in truth he did not love her, she did not by any means satisfy his longings. His ideal was less northern in character. Ideally he felt himself attracted by those courtesans of the sixteenth century, over whose faces there would appear to be drawn some indefinable veil of sorcery, some transparent mask of enchantment, some divine nocturnal spell.
The moment Andrea set eyes on the Duchess of Scerni, he said to himself—'This is my Ideal Woman!' and his whole soul went out to her in a transport of joy, in the presentiment of the future.
[CHAPTER III]
The next day the public sale-room of the Via Sistina was thronged with fashionable people, come to look on at the famous contest.
It was raining hard; the light in the low-roofed damp rooms was dull and gray. Along the walls were ranged various pieces of carved furniture, several large diptychs and triptychs of the Tuscan school of the fourteenth century; four pieces of Flemish tapestry representing the Story of Narcissus hung from ceiling to floor; Metaurensian majolicas occupied two long shelves; stuffs—for the most part ecclesiastical—lay spread out on chairs or heaped up on tables; antiquities of the rarest kind—ivories, enamels, crystals, engraved gems, medals, coins, breviaries, illuminated manuscripts, silver of delicate workmanship were massed together in high cabinets behind the auctioneer's table. A peculiar musty odour, arising from the clamminess of the atmosphere and this collection of ancient things, pervaded the air.
When Andrea Sperelli entered the room with the Princess di Ferentino, he looked about him rapidly with a secret tremor—Is she here? he said to himself.
She was there, seated at the table between the Cavaliere Davila and Don Filippo del Monte. Before her on the table lay her gloves and her muff, to which a little bunch of violets was fastened. She held in her hand a little bas-relief in silver, attributed to Caradosso Foppa, which she was examining with great attention. Each article passed from hand to hand along the table while the auctioneer proclaimed its merits in a loud voice, those standing behind the line of chairs leaning over to look.
The sale began.
'Make your bids, gentlemen! make your bids!' cried the auctioneer from time to time.
Some amateur encouraged by this cry bid a higher sum with his eye on his competitors. The auctioneer raised his hammer.
'Going—Going—Gone!'
He rapped the table. The article fell to the last bidder. A murmur went round the assemblage, then the bidding recommenced. The Cavaliere Davila, a Neapolitan gentleman of gigantic stature and almost femininely gentle manners, a noted collector and connoisseur of majolica, gave his opinion on each article of importance. Three lots in this sale of the Cardinal's effects were really of 'superior' quality: the Story of Narcissus, the rock-crystal goblet, and an embossed silver helmet by Antonio del Pollajuolo presented by the City of Florence to the Count of Urbino in 1472 for services rendered during the taking of Volterra.
'Here is the Princess,' said Filippo del Monte to the Duchess.
Elena rose and shook hands with her friend.
'Already in the field!' exclaimed the Princess.
'Already.'
'And Francesca?'
'She has not come yet.'
Four or five young men—the Duke of Grimiti, Roberto Casteldieri, Ludovico Barbarisi, Gianetto Rutolo—drew up round them. Others joined them. The rattle of the rain against the windows almost drowned their voices.
Elena held out her hand frankly to Sperelli as to everybody else, but somehow he felt that that handshake set him at a distance from her. Elena seemed to him cold and grave. That instant sufficed to freeze and destroy all his dreams; his memories of the preceding evening grew confused and dim, the torch of hope was extinguished. What had happened to her?—She was not the same woman. She was wrapped in the folds of a long otter-skin coat, and wore a toque of the same fur on her head. There was something hard, almost contemptuous, in the expression of her face.
'The goblet will not come on for some time yet,' she observed to the Princess, as she resumed her seat.
Every object passed through her hands. She was much tempted by a centaur cut in a sardonyx, a very exquisite piece of workmanship, part, perhaps, of the scattered collection of Lorenzo the Magnificent. She took part in the bidding, communicating her offers to the auctioneer in a low voice without raising her eyes to him. Presently the competition stopped; she obtained the intaglio for a good price.
'A most admirable acquisition,' observed Andrea Sperelli from behind her chair.
Elena could not repress a slight start. She took up the sardonyx and handed it to him to look at over her shoulder without turning round. It was really a very beautiful thing.
'It might be the centaur copied by Donatello,' Andrea added.
And in his heart, with his admiration for the work of art, there rose up also a sincere admiration for the noble taste of the lady who now filled all his thoughts. 'What a rare creature both in mind and body!' he thought. But the higher she rose in his imagination, the further she seemed removed from him in reality. All the security of the preceding evening was transformed into uneasiness, and his first doubts re-awoke. He had dreamed too much last night with waking eyes, bathed in a felicity that knew no bounds, while the memory of a gesture, a smile, a turn of the head, a fold of her raiment held him captive as in a net. Now all this imaginary world had tumbled miserably about his ears at the touch of reality. In Elena's eyes there had been no sign of that special greeting to which he had so ardently looked forward; she had in no wise singled him out from the crowd, had offered him no mark of favour. Why not? He felt himself slighted, humiliated. All these fatuous people irritated him, he was exasperated by the things which seemed to engross Elena's attention, and more particularly by Filippo del Monte, who leaned towards her every now and then to whisper something to her—scandal no doubt. The Marchesa d'Ateleta now arrived, cheerful as ever. Her laugh, out of the centre of the circle of men who hastened to surround her, caused Don Filippo to turn round.
'Ah—so the trinity is complete!' he exclaimed, rising from his seat.
Andrea instantly slipped into it at Elena Muti's side. As the subtle perfume of the violets reached him, he murmured—
'These are not those of last night, are they?'
'No,' she answered coldly.
In all her varying moods, changeful and caressing as the waves of the sea, there always lay a hidden menace of rebuff. She was often taken with fits of cold restraint. Andrea held his tongue, bewildered.
'Make your bids, gentlemen,' cried the auctioneer.
The bids rose higher. Antonio del Pollajuolo's silver helmet was being hotly contested. Even the Cavaliere Davila entered the lists. The very air seemed gradually to become hotter; the feverish desire to possess so beautiful an object seemed to spread like a contagion.
In that year the craze for bibelots and bric-à-brac reached the point of madness. The drawing-rooms of the nobility and the upper middle classes were crammed with curios; every lady must needs cover the cushions of her sofas and chairs with some piece of church vestment, and put her roses into an Umbrian ointment pot, or a chalcedony jar. The sale-rooms were the favourite meeting-places, and every sale crowded. It was the fashion for the ladies when they dropped in anywhere for tea in the afternoon, to enter with some such remark as—'I have just come from the sale of the painter Campos' things. Tremendous bidding! Such Hispano-Moresque plaques! I secured a jewel belonging to Maria Leczinska. Look!'
The bidding continued. Fashionable purchasers crowded round the table, vieing with each other in artistic and critical comparisons between the Giottoesque Nativities and Annunciations. Into this atmosphere of mustiness and antiquity the ladies brought the perfume of their furs, and more especially of the violets which each one wore on her muff, according to the then prevailing charming fashion, and their presence diffused a delicious air of warmth and fragrance. Outside, the rain continued to fall, and the light to fade. Here and there a little flame of gas struggled feebly with such daylight as remained.
'Going—going—gone!' The stroke of the hammer put Lord Humphrey Heathfield in possession of the Florentine helmet. The bidding then began for smaller articles, which passed in turn from hand to hand down the long table. Elena handled them carefully, examined them, and placed them in front of Andrea without remark. There were enamels, ivories, eighteenth century watches, Milanese goldsmiths' work of the time of Ludovico the Moor, Books of Hours inscribed in gold letters on pale blue vellum. These precious things seemed to increase in value under the touch of Elena's fingers; her little hands had a faint tremor of eagerness when they came in contact with some specially desirable object. Andrea watched them intently, and his imagination transformed every movement of her hands into a caress. 'But why did she place each thing upon the table instead of passing it to him?'
He forestalled her next time by holding out his hand. And from thenceforth the ivories, the enamels, the ornaments passed from the hands of the lady to those of her lover, to whom they communicated an ineffable thrill of delight. He felt that thus some particle of the charm of the beloved woman entered into these objects, just as a portion of the virtue of the magnet enters into the iron. It was, in truth, the magnetic sense of love—one of those acute and profound sensations which are rarely felt but at love's beginning, and which, differing essentially from all others, seem to have no physical or moral seat, but to exist in some neutral element of our being—an element that is intermediate, and the nature of which is unknown.
'Here again is a rapture I have never felt before,' thought Andrea.
A kind of torpor seemed creeping over him. Little by little, he was losing consciousness of time and place.
'I recommend this clock to your notice,' Elena was saying to him, with a look the full significance of which he did not for the first moment understand.
It was a small Death's-head, carved in ivory with extraordinary power and anatomical skill. Each jaw was furnished with a row of diamonds, and two rubies flashed from the deep eye-sockets. On the forehead was engraved, Ruit Hora; and on the occiput Tibi, Hippolyta. It opened like a box, the hinging being almost imperceptible, and the ticking inside lent an indescribable air of life to the diminutive skull. This sepulchral jewel, the offering of some unknown artist to his mistress, had doubtless marked many an hour of rapture, and served as a warning symbol to their amorous souls.
Could a lover wish for anything more exquisite and more suggestive? 'Has she any special reason for recommending this to me?' thought Andrea, all his hopes reviving on the instant. He threw himself into the bidding with a sort of fury. Two or three others bid against him, notably Giannetto Rutolo, who, being in love with Donna Ippolita Albonico, was attracted by the dedication: Tibi, Hippolyta.
Presently Rutolo and Sperelli were left alone in the contest. The bidding rose higher than the actual value of the article, which forced a smile from the auctioneer. At last, vanquished by his adversary's determination, Giannetto Rutolo was silent.
'Going—going—!'
Donna Ippolita's lover, a little pale, cried one last sum. Sperelli named a higher—there was a moment's silence. The auctioneer looked from one to the other, then he raised his hammer and slowly, still looking at the two—'Going—going—gone!'
The Death's-head fell to the Conte d'Ugenta. A murmur ran round the room. A sudden flood of light burst through the windows, lit up the gleaming gold backgrounds of the triptychs, and played over the sorrowfully patient brow of the Siennese Madonna and the glittering steel scales on the Princess di Ferentino's little grey hat.
'When is the goblet coming on?' asked the princess impatiently.
Her friends consulted the catalogue. There was no hope of the goblet for that day. The unusual amount of competition made the sale go slowly. There was still a long list of smaller articles—cameos, medallions, coins. Several antiquaries and Prince Stroganow disputed each piece hotly. The rest felt considerably disappointed. The Duchess of Scerni rose to go.
'Good-bye, Sperelli,' she said. 'I shall see you again this evening—perhaps.'
'Why perhaps?'
'I do not feel well.'
'What is the matter?'
She turned away without replying, and took leave of the others. Many of them followed her example and left with her. The young men were making fun of the 'spectacle manqué.' The Marchesa d'Ateleta laughed, but the princess was evidently thoroughly out of temper. The footmen waiting in the hall called for the carriages as if at the door of a theatre or concert hall.
'Are you not coming on to Laura Miano's?' Francesca asked the duchess.
'No, I am going home.'
She waited on the pavement for her brougham to come up. The rain was passing over; patches of blue were beginning to appear between the great banks of white cloud; a shaft of sunshine made the wet flags glitter. Flooded by this pale rose splendour, her magnificent furs falling in straight symmetrical folds to her feet, Elena was very beautiful. As Andrea caught a glimpse of the inside of her brougham, all cosily lined with white satin like a little boudoir, with its shining silver foot-warmer for the comfort of her small feet, his dream of the preceding evening came back to him—'Oh, to be there with her alone, and feel the warm perfume of her breath mingling with the violets—behind the mist-dimmed windows through which one hardly sees the muddy streets, the gray houses, the dull crowd!'
But she only bowed slightly to him at the door, without even a smile, and the next moment the carriage had flashed away in the direction of the Palazzo Barberini, leaving the young man with a dim sense of depression and heartache.
She only said 'perhaps,' so it was quite possible that she would not be at the Palazzo Farnese that evening. What should he do then? The thought that he might not see her was intolerable; already every hour he passed far from her weighed heavily on his spirits. 'Am I then so deeply in love with her already?' he asked himself. His spirit seemed imprisoned within a circle in which the phantoms of all his sensations in presence of this woman surged and wheeled around him. Suddenly there would emerge from this tangle of memory, with singular precision, some phrase of hers, an inflection of her voice, an attitude, a glance, the seat where they had sat, the finale of the Beethoven sonata, a burst of melody from Mary Dyce, the face of the footman who had held back the portière—anything that happened to have caught his attention at the moment—and these images obscured by their extreme vividness the actual life around him. He pleaded with her; said to her in thought what he would say to her in reality by and by.
Arrived in his own rooms, he ordered tea of his man-servant, installed himself in front of the fire and gave himself up to the fictions of his hope and his desire. He took the little jewelled skull out of its case and examined it carefully. The tiny diamond teeth flashed back at him in the firelight, and the rubies lit up the shadowy orbits. Behind the smooth ivory brow time pulsed unceasingly—Ruit Hora. Who was the artist who had contrived for his Hippolyta so superb and bold a fantasy of Death, at a period too when the masters of enamelling had been wont to ornament with tender idylls the little watches destined to warn Coquette of the time of the rendezvous in the parks of Watteau? The modelling gave evidence of a masterly hand—vigorous and full of admirable style; altogether it was worthy of a fifteenth century artist as forcible as Verrocchio.
'I recommend this clock to your consideration.' Andrea could not help smiling a little at Elena's words uttered in so peculiar a tone after so cold a silence. He was assured that she intended him to put the construction upon her words which he had afterwards done, but then why retire into impenetrable reserve again—why take no further notice of him—what ailed her? Andrea lost himself in a maze of conjecture. Nevertheless, the warm atmosphere of the room, the luxurious chair, the shaded lamp, the fitful gleams of firelight, the aroma of the tea—all these soothing influences combined to mitigate his pain. He went on dreamingly, aimlessly, as if wandering through a fantastic labyrinth. With him reverie sometimes had the effect of opium—it intoxicated him.
'May I take the liberty of reminding the Signor Conte that he is expected at the Casa Doria at seven o'clock,' observed his valet in a subdued and discreet murmur, one of his offices being to jog his master's memory. 'Everything is ready.'
He went into an adjoining octagonal room to dress, the most luxurious and comfortable dressing-room any young man of fashion could possibly desire. On a great Roman sarcophagus, transformed with much taste into a toilet table, were ranged a selection of cambric handkerchiefs, evening gloves, card and cigarette cases, bottles of scent, and five or six fresh gardenias in separate little pale blue china vases—all these frivolous and fragile things on this mass of stone, on which a funeral cortège was sculptured by a masterly hand!
[CHAPTER IV]
At the Casa Doria, speaking of one thing and another, the Duchess Angelieri remarked—'It seems that Laura Miano and Elena Muti have quarrelled.'
'About Giorgio perhaps?' returned another lady laughing.
'So they say. The story began this summer at Lucerne—'
'But Laura was not at Lucerne,'
'Exactly—but her husband was—'
'I believe it is a pure invention,' broke in the Florentine countess Donna Bianca Dolcebuono—'Giorgio is in Paris now.'
Andrea heard it all in spite of the chattering of the little Contessa Starnina, who sat at his right hand, and never gave him a moment's peace. Bianca Dolcebuono's words did little to ease the smart of his wound. At least, he would have liked to know the whole story. But the Duchess Angelieri did not resume the thread of her discourse, and other conversations crossed and recrossed the table under the great gorgeous roses from the Villa Pamfili.
Who was this Giorgio? A former lover? Elena had spent part of the summer at Lucerne,—she had just come from Paris. After the sale she had refused to go to Laura Miano's. A fierce desire assailed him to see her, to speak to her again. The invitation at the Palazzo Farnese was for ten o'clock—half past ten found him there waiting anxiously.
He waited long. The rooms filled rapidly; the dancing began. In the Carracci gallery the divinities of fashionable Rome vied in beauty with the Ariadnes, the Galateas, the Auroras, the Dianas of the frescos; couples whirled past; heads glittering with jewels drooped or raised themselves, bosoms panted, the breath came fast through parted crimson lips.
'You are not dancing, Sperelli?' asked Gabriella Barbarisi, a girl brown as the oliva speciosa, as she passed him on the arm of her partner, fanning herself and smiling to show a dimple she had at the corner of her mouth.
'Yes—later on,' Andrea responded hastily—'later on.'
Heedless of introductions or greetings, his torment increased with every moment of this fruitless expectation, and he roamed aimlessly from room to room. That 'perhaps' made him sadly afraid that Elena would not come. And supposing she really did not? When was he likely to see her again? Donna Bianca Dolcebuono passed, and, almost without knowing why, he attached himself to her side, saying a thousand agreeable things to her, feeling some slight comfort in her society. He had the greatest desire to speak to her about Elena, to question her, to reassure himself; but the orchestra struck up a languorous mazurka and the Florentine countess was carried off by her partner.
Thereupon, Andrea joined a group of young men near one of the doors—Ludovico Barbarisi, the Duke di Beffi, Filippo del Gallo and Gino Bomminaco. They were watching the couples, and exchanging observations not over refined in quality. One of them turned to Andrea as he came up.
'Why, what has become of you this evening? Your cousin was looking for you a moment ago. There she is dancing with my brother now.'
'Look!' exclaimed Filippo del Gallo—'the Albonico has come back, she is dancing with Giannetto.'
'The Duchess of Scerni came back last week,' said Ludovico; 'what a lovely creature!'
'Is she here?'
'I have not seen her yet,'
Andrea's heart stopped beating for a moment, fearing that something would be said against her by one or other of these malicious tongues. But the passing of the Princess Issé on the arm of the Danish Minister diverted their attention. Nevertheless, his desire for further knowledge was so intense, that it almost drove him to lead back the conversation to the name of his lady-love. But he was not quite bold enough. The mazurka was over; the group broke up. 'She is not coming! She is not coming!' His secret anxiety rose to such a pitch that he half thought of leaving the place altogether; the contact of this laughing, careless throng was intolerable.
As he turned away, he saw the Duchess of Scerni entering the gallery on the arm of the French ambassador. For one instant their eyes met, but that one glance seemed to draw them to each other, to penetrate to the very depths of their souls. Both knew that each had only been looking for the other, and at that moment there seemed to fall a silence upon both hearts, even in the midst of the babel of voices, and all their surroundings to vanish and be swept away by the force of their own absorbing thought.
She advanced along the frescoed gallery where the crowd was thinnest, her long white train rippling like a wave over the floor behind her. All white and simple, she passed slowly along, turning from side to side in answer to the numerous greetings, with an air of manifest fatigue and a somewhat strained smile which drew down the corners of her mouth, while her eyes looked larger than ever under the low white brow, her extreme pallor imparting to her whole face a look so ethereal and delicate as to be almost ghostly. This was not the same woman who had sat beside him at the Ateleta's table, nor the one of the Sale Rooms, nor the one standing waiting for a moment on the pavement of the Via Sistina. Her beauty at this moment was of ideal nobility, and shone with additional splendour among all these women heated with the dance, over-excited and restless in their manner. The men looked at her and grew thoughtful; no mind was so obtuse or empty that she did not exercise a disturbing influence upon it, inspire some vague and indefinable hope. He whose heart was free imagined with a thrill what such a woman's love would be; he who loved already conceived a vague regret, and dreamed of raptures hitherto unknown; he who bore a wound dealt by some woman's jealousy or faithlessness suddenly felt that he might easily recover.
Thus she advanced amid the homage of the men, enveloped by their gaze. Arrived at the end of the gallery, she joined a group of ladies who were talking and fanning themselves excitedly under the fresco of Perseus turning Phineus to stone. They were the Princess di Ferentino, Hortensa Massa d'Alba, the Marchesa Daddi-Tosinghi and Bianca Dolcebuono.
'Why so late?' asked the latter.
'I hesitated very much whether to come at all—I don't feel well.'
'Yes, you look very pale.'
'I believe I am going to have neuralgia badly again, like last year.'
'Heaven forefend!'
'Elena, do look at Madame de la Boissière,' exclaimed Giovanella Daddi in her queer husky voice; 'doesn't she look like a camel with a yellow wig!'
'Mademoiselle Vanloo is losing her head over your cousin,' said Hortensa Massa d'Alba to the Princess as Sophie Vanloo passed on Ludovico Barbarisi's arm. 'I heard her say just now when they passed me in the mazurka—Ludovic, ne faites plus ça en dansant; je frissonne toute—'
The ladies laughed in chorus, fluttering their fans. The first notes of a Hungarian waltz floated in from the next room. The gentlemen came to claim their partners. At last Andrea was able to offer Elena his arm and carry her off.
'I thought I should have died waiting for you! If you had not come I should have gone to find you—anywhere. When I saw you come in I could scarcely repress a cry. This is only the second evening I have met you, and yet I feel as if I had loved you for years. The thought of you and you alone is now the life of my life.'
He uttered his burning words of love in a low voice, looking straight before him, and she listened in a similar attitude, apparently quite impassive, almost stony. Only a sprinkling of people remained in the gallery. Between the busts of the Cæsars along the walls, lamps with milky globes shaped like lilies shed an even, tempered light. The profusion of palms and flowering plants gave the whole place the look of a sumptuous conservatory. The music floated through the warm-scented air under the vaulted roof and over all this mythology like a breeze though an enchanted garden.
'Can you love me?' he asked: 'tell me if you think you can ever love me.'
'I came only for you,' she returned slowly.
'Tell me that you will love me,' he repeated, while every drop of blood seemed to rush in a tumult of joy to his heart.
'Perhaps——' she answered, and she looked into his face with that same look which, on the preceding evening, had seemed to hold a divine promise, that ineffable gaze which acts like the velvet touch of a loving hand. Neither of them spoke; they listened to the sweet and fitful strains of the music, now slow and faint as a zephyr, now loud and rushing like a sudden tempest.
'Shall we dance?' he asked with a secret tremor of delight at the prospect of encircling her with his arm.
She hesitated a moment before replying. 'No; I would rather not.'
Then, seeing the Duchess of Bugnare, her aunt, entering the gallery with the Princess Alberoni and the French ambassadress, she added hurriedly, 'Now—be prudent, and leave me.'
She held out her gloved hand to him and advanced alone to meet the ladies with a light firm step. Her long white train lent an additional grace to her figure, the wide and heavy folds of brocade serving to accentuate the slenderness of her waist. Andrea, as he followed her with his eyes, kept repeating her words to himself, 'I came for you alone—I came for you alone!' The orchestra suddenly took up the waltz measure with a fresh impetus. And never, through all his life, did he forget that music, nor the attitude of the woman he loved, nor the sumptuous folds of the brocade trailing over the floor, nor the faintest shadow on the rich material, nor one single detail of that supreme moment.
[CHAPTER V]
Elena left the Farnese palace very soon after this, almost stealthily, without taking leave of Andrea or of any one else. She had therefore not stayed more than half an hour at the ball. Her lover searched for her through all the rooms in vain. The next morning, he sent a servant to the Palazzo Barberini to inquire after the duchess, and learned from him that she was ill. In the evening he went in person, hoping to be received; but a maid informed him that her mistress was in great pain and could see no one. On the Saturday, towards five o'clock, he came back once more, still hoping for better luck.
He left his house on foot. The evening was chill and gray, and a heavy leaden twilight was settling over the city. The lamps were already lighted round the fountain in the Piazza Barberini like pale tapers round a funeral bier, and the Triton, whether being under repair or for some other reason, had ceased to spout water. Down the sloping roadway came a line of carts drawn by two or three horses harnessed in single file, and bands of workmen returning home from the new buildings. A group of these came swaying along arm in arm, singing a lewd song at the pitch of their voices.
Andrea stopped to let them pass. Two or three of the debased, weather-beaten faces impressed themselves on his memory. He noticed that a carter had his hand wrapped in a blood-stained bandage, and that another, who was kneeling in his cart, had the livid complexion, deep sunken eyes and convulsively contracted mouth of a man who has been poisoned. The words of the song were mingled with guttural cries, the cracking of whips, the grinding of wheels, the jingling of horse bells and shrill discordant laughter.
His mental depression increased. He found himself in a very curious mood. The sensibility of his nerves was so acute that the most trivial impression conveyed to them by external means assumed the gravity of a wound. While one fixed thought occupied and tormented his spirit, the rest of his being was left exposed to the rude jostling of surrounding circumstances. Groups of sensations rushed with lightning rapidity across his mental field of vision, like the phantasmagoria of a magic lantern, startling and alarming him. The banked-up clouds of evening, the form of the Triton surrounded by the cadaverous lights, this sudden descent of savage looking men and huge animals, these shouts and songs and curses aggravated his condition, arousing a vague terror in his heart, a foreboding of disaster.
A closed carriage drove out of the palace garden. He caught a glimpse of a lady bowing to him, but he failed to recognise her. The palace rose up before him, vast as some royal residence. The windows of the first floor gleamed with violet reflections, a pale strip of sunset sky rested just above it; a brougham was turning away from the door.
'If I could but see her!' he thought to himself, standing still for a moment. He lingered, purposely to prolong his uncertainty and his hope. Shut up in this immense edifice she seemed to him immeasurably far away—lost to him.
The brougham stopped, and a gentleman put his head out of the window and called—'Andrea!'
It was the Duke of Grimiti, a near relative of his.
'Going to call on the Scerni?' asked the duke with a significant smile.
'Yes,' answered Andrea, 'to inquire after her—she is ill, you know.'
'Yes, I know—I have just come from there. She is better.'
'Does she receive?'
'Me—no. But she may perhaps receive you.' And Grimiti laughed maliciously through the smoke of his cigarette.
'I don't understand,' Andrea answered coldly.
'Bah!' said the duke. 'Report says you are high in favour. I heard it last night at the Pallavicinis', from a lady, a great friend of yours—give you my word!'
Andrea turned on his heel with a gesture of impatience.
'Bonne chance!' cried the duke.
Andrea entered the portico. In reality he was delighted and flattered that such a report should be circulated already. Grimiti's words had suddenly revived his courage like a draught of some cordial. As he mounted the steps, his hopes rose high. He waited for a moment at the door to allow his excitement to calm down a little. Then he rang.
The servant recognised him and said at once: 'If the Signor Conte will have the kindness to wait a moment I will go and inform Mademoiselle.'
He nodded assent, and began pacing the vast ante-chamber, which seemed to echo the violent beating of his heart. Hanging lamps of wrought iron shed an uncertain light over the stamped leather panelling of the walls, the carved oak chests, the antique busts on pedestals. Under a magnificently embroidered baldachin blazed the ducal arms: a unicorn on a field gules. A bronze card-tray, heaped with cards, stood in the middle of a table, and happening to cast his eye over them, Andrea noticed the one which Grimiti had just left lying on the top—Bonne chance!—The ironical augury still rang in his ears.
Mademoiselle now made her appearance. 'The duchess is feeling a little better,' she said. 'I think the Signor Conte might see her for a moment. This way, if you please.'
She was a woman past her first youth, rather thin and dressed in black, with a pair of gray eyes that glittered curiously under the curls of her false fringe. Her step and her movements generally were light, not to say furtive, as of one who is in the habit of attending upon invalids or of executing secret orders.
'This way, Signor Conte.'
She preceded Andrea though the long flight of dimly-lighted rooms, the thick soft carpets deadening every sound; and even through the almost uncontrollable tumult of his soul, the young man was conscious of an instinctive feeling of repulsion against her, without being able to assign an adequate reason for it.
Arrived in front of a door concealed by two pieces of tapestry of the Medicean period, bordered with deep red velvet, she stopped.
'I will go first and announce you. Please to wait here.'
A voice from within, which he recognised as Elena's, called, 'Christina!'
At the sound of her voice coming thus unexpectedly, Andrea began to tremble so violently that he thought to himself—'I am sure I am going to faint.' He had a dim presentiment of some more than mortal happiness in store for him which should exceed his utmost expectations, his wildest dreams—almost beyond his powers to support. She was there—on the other side of that door. All perception of reality deserted him. It seemed to him that he had already imagined—in some picture, some poem—a similar adventure, under the self-same circumstances, with these identical surroundings and enveloped in the same mystery, but of which another—some fiction of his own brain—was the hero. And now, by some strange trick of the imagination, the fictitious was confounded with the real, causing him an indescribable sense of confusion and bewilderment. On each of the pieces of tapestry was a large symbolical figure—Silence and Slumber—two Genii, tall and slender, which might have been designed by Primaticcio of Bologna, guarding the door. And he—he himself—stood before the door waiting, and on the other side of it was his divine lady. He almost thought he could hear her breathe.
At last Mademoiselle returned. Holding back the heavy draperies she smiled, and in a low voice said:
'Please go in.'
She effaced herself, and Andrea entered the room.
He noticed first of all that the air was very hot, almost stifling, and that there was a strong odour of chloroform. Then, through the semi-darkness, he became aware of something red—the crimson of the wall paper and the curtains of the bed—and then he heard Elena's languid voice murmuring, 'Thank you so much for coming, Andrea—I feel better now.'
He made his way to her with some difficulty, being unable to distinguish things very clearly in the half light.
She smiled wanly at him from among the pillows out of the gloom. Across her forehead and round her face, like a nun's wimple, lay a band of white linen which was scarcely whiter than the cheeks it encircled, such was her extreme pallor. The outer angles of her eyelids were contracted by the pain of her inflamed nerves, the lower lids quivering spasmodically from time to time, and the eyes were dewy and infinitely melting as if veiled by a mist of unshed tears under the trembling lashes.
A flood of pity and tenderness swept over the young man's heart when he came close to her and could see her clearly. Very slowly she drew one hand from under the coverlet and held it out to him. He bent over it till he half knelt on the edge of the couch and rained kisses thick and fast upon that burning, fevered hand, and the white wrist with its hurrying pulse.
'Elena—Elena—my love!'
Elena had closed her eyes, as if to resign herself more wholly to the ecstasy that penetrated to the most hidden fibre of her being. Then she turned her hand over that she might feel those kisses on her palm, on each finger, all round her wrist, on every vein, in every pore.
'Enough!' she murmured at last, opening her eyes again, and passed her languid hand softly over Andrea's hair.
Her caress, though light, was so ineffably tender, that to the lover's soul it had the effect of a rose leaf falling into a full cup of water. His passion brimmed over. His lips trembled under a confused torrent of words which rose to them but which he could not express. He had the violent and divine sensation as of a new life spreading in widening circles round him beyond all physical perception.
'What bliss!' said Elena, repeating her fond gesture, and a tremor ran through her whole person, visible through the coverlet.
But when Andrea made as if to take her hand again—'No,' she entreated, 'do not move—stay as you are, I like to have you so.'
She gently pressed his head down till his cheek lay against her knee. She gazed at him a little, still with that caressing touch upon his head, and then in a voice that seemed to faint with ecstasy she murmured, lingering over the syllables—
'How I love you!'
There was an ineffable seduction in the way she pronounced the words—so liquid, so enthralling on a woman's lips.
'Again!' whispered her lover, whose senses were languishing with passion under the touch of those hands, the sound of that caressing voice. 'Say it again—go on speaking.'
'I love you,' repeated Elena, noticing that his eyes were fixed upon her lips, and being perhaps aware of the fascination that emanated from them while pronouncing the words.
With a sudden movement she raised herself from the pillows, and taking Andrea's head between her two hands, she drew him to her, and their lips met in a long and passionate kiss.
Afterwards she fell back again, and lying with her arms stretched straight along the coverlet at her sides, she gazed at Andrea with wide open eyes, while one by one the great tears gathered slowly, and silently rolled down her cheeks.
'What is it, Elena—tell me—What is it?' asked her lover, clasping her hands and leaning over her to kiss away the tears.
She clenched her teeth and bit her lips to keep back the sobs.
'Nothing—nothing—go now, leave me—please! You shall see me to-morrow—go now.'
Her voice and her look were so imploring that Andrea obeyed.
'Good-bye,' he said, and kissed her tenderly on the lips, carrying away upon his own the taste of her salt tears. 'Good-bye! Love me—and do not forget.'
As he crossed the threshold, he seemed to hear her break into sobs behind him. He went on a little unsteadily, like a man who is not sure of his sight. The odour of chloroform lingered in his nostrils like the fumes of an intoxicating vapour; but, with every step he took, some virtue seemed to go out of him, to be dissipated in the air. The rooms lay empty and silent before him. 'Mademoiselle' appeared at a door without any warning sound of steps or rustle of garments, like a ghost.
'This way Signor Conte, you will not be able to find your way.'
She smiled in an ambiguous and irritating manner, her gray eyes glittering with ill-concealed curiosity. Andrea did not speak. Once more the presence of this woman annoyed and disturbed him, arousing an undefined sense of repulsion and anger in him.
No sooner was he outside the door than he drew a deep breath like a man relieved from some heavy burden. The gentle splash of the fountain came through the trees, broken now and then by some clearer, louder sound; the whole firmament glittered with stars, veiled here and there by long trailing strips of cloud like tresses of pale hair; carriage lamps flitted rapidly hither and thither, the life of the great city sent up its breath into the keen air, bells were ringing far and near. At last, he had the full consciousness of his overwhelming felicity.
[CHAPTER VI]
Thus began for them a bliss that was full, frenzied, for ever changing and for ever new; a passion that wrapped them round and rendered them oblivious of all that did not minister immediately to their mutual delight.
'What a strange love!' Elena said once, recalling those first days—her illness, her rapid surrender—'My heart was yours from the first moment I saw you.'
She felt a certain pride in the fact.
'And when, on that evening, I heard my name announced immediately after yours,' her lover replied, 'I don't know why, but I suddenly had the firm conviction that my life was bound to yours—for ever!'
And they really believed what they said. Together they re-read Goethe's Roman elegy—Lass dich, Geliebte, nicht reu'n, dass du mir so schnell dich ergeben!—Have no regrets, my Beloved, that thou didst yield thee so soon—'Believe me, dearest, I do not attribute one base or impure thought to you. Cupid's darts have varying effects—some inflict but a slight scratch, and the poison they insinuate lingers for years before it really touches the heart, while others, well feathered and armed with a sharp and penetrating point, pierce to the heart's core at once and send the fever racing through the blood. In the old heroic days of the loves of the gods and goddesses desire followed upon sight. Think you that the goddess of Love considered long in the grove of Ida that day Anchises found favour in her eyes? And Luna?—had she hesitated, envious Aurora would soon have wakened her handsome shepherd.'
For them, as for Faustina's divine singer, Rome was illumined by a new light. Wherever their footsteps strayed they left a memory of love. The forgotten churches of the Aventine—Santa Sabina with its wonderful columns of Parian marble, the charming garden of Santa Maria del Priorata, the campanile of Santa Maria in Cosmedin piercing the azure with its slender rose-coloured spire grew to know them well. The villas of the cardinals and the princes—the Villa Pamfili mirrored in its fountains and its lakes, all sweetness and grace, where every shady grove seems to harbour some noble idyll; the Villa Albani, cold and silent as a church, with its avenues of sculptured marble and centenarian trees; where in the vestibules, under the porticos and between the granite pillars, Caryatides and Hermes, symbols of immobility, gaze at the immutable symmetry of the verdant lawns; and the Villa Medici—like a forest of emerald green spreading away in a fairy tale, and the Villa Ludovici—a little wild—redolent of violets, consecrated by the presence of that Juno adored by Goethe in the days when the plane-trees and the cypresses, that one might well have thought immortal, had already begun to tremble with the foreboding of sale and death—all the patrician villas, the crowning glory of Rome, became well acquainted with their love. The picture and sculpture galleries too—the room in the Borghese where, before Correggio's 'Danae' Elena smiled as at her own reflection; and the Mirror Room, where her image glided among the Cupids of Ciro Ferri and the garlands of Mario de' Fiori; the chamber of Heliodorus, where Raphael has succeeded in making the dull walls throb and palpitate with life; and the apartments of the Borgias, where the great fantasia of Penturicchio unfolds its marvellous web of history, fable, dreams, caprices and audacities; and the Galatea Room, through which is diffused an ineffable freshness, a perennial serenity of light and grace; and the room where the Hermaphrodite, that gentle monster, offspring of the loves of a nymph and a demi-god, extends his ambiguous form amidst the sparkle of polished stone—all these unfrequented abodes of Beauty were well acquainted with them.
They echoed fervently the sublime cry of the poet—Eine Welt zwar bist du, O Rom! Thou art a world in thyself, oh Rome! But as without love the world would not be the world, so Rome without love would not be Rome, and the stairway of the Trinità, glorified by the slow ascension of the Day, became the Stairway of Felicity by the ascent of Elena the Fair on her way to the Palazzo Zuccari.
'At times,' Elena said to him, 'my feeling for you is so delicate, so profound, that it becomes—how shall I describe it?—maternal almost!'
Andrea laughed, for she was his senior by barely three years.
'And at times,' he rejoined, 'I feel the communion of our spirits to be so chaste that I could call you sister while I kiss your hands.'
These fallacious ideas of purity and loftiness of sentiment were but the reaction after more carnal delights, when the soul experiences a vague yearning for the ideal. At such times too, the young man's aspirations towards the art he so much loved were apt to revive. The desire to give pleasure to his mistress by his literary or artistic efforts drove him to work. He accordingly wrote La Simona, and executed his two engravings: The Zodiac and Alexander's Bowl.
For the execution of his art, he chose by preference, the most difficult, exact, and incorruptible vehicles—verse and engraving; and he aimed at adhering strictly to, and reviving, the traditional Italian methods, by going back to the poets of the stil novo, and the painters who were precursors of the Renaissance. His tendencies were essentially towards form; his mind more occupied by the expression of his thought than the thought itself. Like Taine, he considered it a greater achievement to write three really fine lines, than to win a pitched battle. His Story of the Hermaphrodite imitated in its structure Poligiano's Story of Orpheus and contained lines of extraordinary delicacy, power and melody, particularly in the choruses of hybrid monsters—the Centaurs, Sirens and Sphinxes. His new tragedy, La Simona, of moderate length, possessed a most singular charm. Written and rhymed though it was, on the ancient Tuscan rules, it might have been conceived by an English poet of Elizabeth's time, after a story from the Decameron, and it breathed something of the strange and delicious charm of certain of the minor dramas of Shakespeare.
On the frontispiece of the single copy, the author had signed his work: A. S. Calcographus Aqua Forti Sibi Tibi Fecit.
Copper had greater attractions for him than paper, nitric acid than ink, the graving-tool than the pen. One of his ancestors before him, Giusto Sperelli, had tried his hand at engraving. Certain plates of his, executed about 1520, showed distinct evidences of the influence of Antonio del Pollajuolo by the depth and acidity, so to speak, of the design. Andrea used the Rembrandt method a tratti liberi and the maniera nera so much affected by the English engravers of the school of Green, Dixon, and Earlom. He had formed himself on all models, had studied separately the effects sought after by each engraver, had schooled himself under Albrecht Dürer and Parmigianino, Marc' Antonio and Holbein, Hannibal Carracci, MacArdell, Guido, Toschi and Audran; but once his copper plate before him, his one aim was to light up, by Rembrandtesque effects, the elegance in design of the fifteenth-century Florentines of the second generation, such as Botticelli, Ghirlandajo and Filippino Lippi.
One of Andrea's most precious possessions was a bed-cover of finest silk in faded blue, round the border of which circled the twelve signs of the Zodiac, each with its appropriate legend: Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces—in gothic characters. A flaming golden sun occupied the centre; the animal figures, drawn in somewhat archaic style, as one sees in mosaics, were extraordinarily brilliant. The whole thing was worthy to grace an Emperor's bed, and had, in fact, formed part of the trousseau of Bianca Maria Sforza, niece of Ludovico the Moor, when she espoused the Emperor Maximilian.
One of the engravings represented Elena asleep under this celestial counterpane. The rounded limbs appeared outlined under the silken folds, the head thrown carelessly back towards the edge of the couch, the hair rippling in a torrent to the floor, one arm hanging down, the other stretched along her side. The parts which were left uncovered, the face, the neck, the shoulders, and the arms, were extremely luminous, and the stile had reproduced most effectively the glitter of the embroidery in the half-light and the mysterious quality of the symbols. A tall white hound, Famulus, brother to the one which lays its head on the knee of the Countess of Arundel in Rubens' picture, stretched his muzzle towards the lady, guarding her slumbers, and was designed with much felicitous boldness of foreshortening. The background of the room was sumptuous and shadowy.
The other engraving referred to an immense silver basin which Elena had inherited from her aunt Flaminia.
This basin was historical, and was known as Alexander's Bowl. It had been given to the Princess of Bisenti by Caesar Borgia on his departure for France, when he went to carry the Papal Bill of divorce and dispensation to Louis xii. The design for the figures running round it and the two which rose over the edge at either side were attributed to Raphael.
It was called the Bowl of Alexander because it purported to be a reproduction of the prodigious vessel out of which the famous King of Macedonia was wont to drink at his splendid festivals. Groups of archers surrounded its base, their bows stretched, in the admirable attitudes of those painted by Raphael aiming their arrows at Hermes in the fresco of that room in the Borghese decorated by John of Bologna. They were in pursuit of a great Chimera, which emerged over the edge of the bowl in guise of a handle, while on the opposite side bounded the youthful Bellerophon, his bow at full stretch against the monster. The ornaments of the base and the edge were of rare elegance. The inside was gilded, the metal sonorous as a bell, and weighed three hundred pounds. Its shape was extremely harmonious.
Never had Andrea Sperelli experienced so intensely both the delight and the anxiety of the artist who watches the blind and irreparable action of the acid; never before had he brought so much patience to bear upon the delicate work of the dry point. The fact was, that like Lucas of Leyden, he was a born engraver, possessed of an admirable knowledge, or, more properly speaking, a rare instinct as to the most minute particularity of time and degree, which may aid in varying the efficacy of the acid on copper. It was not only practice, industry, and intelligence, but more especially this inborn, well-nigh infallible instinct which warned him of the exact instant at which the corrosion had proceeded far enough to give such and such a value to the shadows as, in the artist's intention, the engraving required. It was just this triumph of mind over matter, this power of infusing an æsthetic spirit into it, as it were, this mysterious correspondence between the throb of his pulses and the progressive gnawing of the acid that was his pride, his torment, and his joy.
In his dedication of these works to her, Elena felt herself deified by her lover as was Isotta di Rimini by the medals which Sigismondo Malatesta caused to be struck in her honour; and yet, on those days when Andrea was at work, she would become moody and taciturn, as if under the influence of some secret grief, or she would give way to such sudden bursts of tenderness, mingled with tears and half-suppressed sobs, that the young man was startled and, not understanding her, became suspicious.
One evening, they were returning on horseback from the Aventine down the Via di Santa Sabina, their eyes still filled with a vision of imperial palaces flaming under the setting sun that burned red through the cypresses and seemed to cover them with golden dust. They rode in silence, for Elena seemed out of spirits, and her depression had communicated itself to her lover. As they passed the church of Santa Sabina, Andrea reined up his horse.
'Do you remember?' he said.
Some fowls, picking about peacefully in the grass, skurried away at the barking of Famulus. The whole place was as quiet and unassuming as the purlieus of a village church, but the walls had that singular luminous glow which the buildings of Rome seem to give out at 'Titian's hour.'
Elena drew up beside him.
'That day—how long ago it seems now!' she said with a little tremor in her voice.
In truth, the memory of it had already dropped away into the gulf of time as if their love had endured for years. Elena's words raised that illusion in Andrea's mind, but, at the same time, a certain uneasiness. She began recalling the details of their visit to Santa Sabina one afternoon in January under a prematurely mild sun. She dwelt insistently upon the most trivial incidents, breaking off from time to time as if following a separate train of thought, distinct from the words she uttered. Andrea fancied he caught a note of regret in her voice. Yet, what had she to regret? Surely their love had many a sweeter day before it still—the Spring had come again to Rome. Doubting and perplexed, he ceased to listen to her. The horses went on down the hill at a walk, side by side, snorting noisily from time to time, and putting their heads together, as if exchanging confidences. Famulus sped on before, or bounded after them, perpetually on the gallop.
'Do you remember,' Elena went on, 'do you remember the Brother who came to open the gates for us when we rang the bell?'
'Yes—yes.'
'And how perfectly aghast he looked when he saw who it was? He was such a little, little red-faced man without any beard. When he went to get the keys of the church, he left us alone in the vestibule—and you kissed me—do you remember?'
'Yes.'
'And all those barrels in the vestibule! And the smell of wine while the Brother was explaining the legends carved on the cypress-wood door. And then about the Madonna of the Rosary—do you remember?—his explanation made you laugh, and I could not help laughing too, and the poor man was so put out, that he would not open his mouth again, not even to thank you at the last—'
There was a little pause. Then she began again.
'And at Sant' Alexio, where you would not let me look at the cupola through the keyhole. How we laughed then too!'
Renewed silence. Along the road towards them came a party of men carrying a coffin, and followed by a hired conveyance full of tearful relatives. They were on their way to the Jewish cemetery. It was a grim and silent funeral. The men with their hooked noses and rapacious eyes were all as like one another as brothers. The two horses separated to let the procession pass, keeping close to the wall on either side, and the lovers looked at each other across the dead, their spirits sinking lower with every moment.
When presently they rejoined one another, Andrea said—'Tell me—what is the matter? What is on your mind?'
She hesitated a moment before replying, keeping her eyes on her horse's neck and stroking it with the end of her riding whip, irresolute and very pale.
'You have something on your mind,' persisted the young man.
'Very well then—yes—and I had better tell you and get it over. I am going away next Wednesday. I do not know for how long—perhaps for a long time—perhaps for ever. I cannot say. We must break with one another. It is entirely my fault. But do not ask me why—do not ask me anything, I entreat you—I could not answer you.'
Andrea looked at her incredulously. The thing seemed to him so utterly impossible that it did not affect him painfully.
'Of course you are only joking, Elena?'
She shook her head; there was a lump in her throat, and she could not speak. She suddenly set her horse into a trot.
Behind them the bells of Santa Sabina and Santa Prisca began to ring through the twilight. They trotted on in silence, awakening the echoes under the arches and among the temples—all the solitary and desolate ruins on their way. They passed San Giorgio in Velabo on their left, which still retained a gleam of rosy light on its campanile; they passed the Roman Forum, the Forum of Nerva already full of blue shadow like that which hovers over the glaciers at night, and stopped at last at the Arco dei Pantani, where their grooms and carriages awaited them.
Hardly was Elena out of the saddle, than she held out her hand to Andrea without meeting his eyes. She seemed in a great hurry to be gone.
'Well?' said Andrea as he helped her into the carriage.
'To-morrow—not this evening—I cannot——'
[CHAPTER VII]
The Campagna stretched away before them under an ideal light, as a landscape seen in dreams, where the objects seem visible at a great distance by virtue of some inward irradiation which magnifies their outlines.
The closed carriage rolled along smoothly at a brisk trot; the walls of ancient patrician villas, grayish-white and dim, slid past the windows with a continuous and gentle motion. Great iron gateways came in view from time to time, through which you caught a glimpse of an avenue of lofty beech trees, or some verdant cloister inhabited by antique statues, or a long green arcade pierced here and there by a laughing ray of pale sunshine.
Wrapped in her ample furs, her veil drawn down, her hands encased in thick chamois leather gloves, Elena sat and mutely watched the passing landscape. Andrea breathed with delight the subtle perfume of heliotrope exhaled by the costly fur, while he felt Elena's arm warm against his own. They felt themselves far from the haunts of men—alone—although from time to time the black carriage of a priest would flit past them, or a drover on horseback, or a herd of cattle.
Just before they reached the bridge she said—'Let us get out here.'
Here in the open country the light was translucent and cold as the waters of a spring, and when the trees waved in the wind their undulation seemed to communicate itself to all the surrounding objects.
She clung close to his arm, stumbling a little on the uneven ground. 'I am going away this evening,' she said,—'this is the last time——'
There was a moment's silence; then in plaintive tones, and with frequent pauses in between, she began to speak of the necessity of her departure, the necessity of their rupture. The wind wrenched the words from her lips, but she continued in spite of it, till Andrea interrupted her by seizing her hand.
'Don't!' he cried—'be quiet.'
They walked on struggling against the fierce gusts of wind.
'Don't go—don't leave me! I want you—want you always.'
He had managed to unfasten her glove and laid hold of her bare wrist with a caressing insistent clasp that was full of tormenting desire.
She threw him one of those glances that intoxicate like wine. They were quite near the bridge now, all rosy under the setting sun. The river looked motionless and steely throughout its sinuous length. Reeds swayed and shivered on the banks, and some stakes, fixed in the clay of the river-bed to fasten nets, shook with the motion of the water.
He then endeavoured to move her by reminiscences. He recalled those first days—the ball at the Farnese palace, a certain hunting party out in the Campagna, their early morning meetings in the Piazza di Spagna in front of the jewellers' windows, or in the quiet and aristocratic Via Sistina when she came out of the Barberini palace followed by the flower girls offering her baskets of roses.
'Do you remember—do you remember?'
'Yes.'
'And that evening—quite at the beginning, when I brought in such a mass of flowers.—You were alone—beside the window—reading. You remember?'
'Yes—yes.'
'I came in. You scarcely turned your head and you spoke quite harshly to me—what was the matter?—I do not know. I laid the flowers upon the tables and waited. You spoke of trivial things at first, with indifference—without interest. I thought to myself bitterly—"She is tired of me already—she does not love me." But the scent of the flowers was very strong—the room was full of it. I can see you now—how you suddenly seized the whole mass in your two hands and buried your face in it, drinking in the perfume. When you lifted it again all the blood seemed to have left your face, and your eyes were swimming in a kind of ecstasy——'
'Go on—go on!' said Elena feverishly, as she leaned over the parapet fascinated by the rushing waters below.
'Afterwards, you remember on the sofa—I smothered you in flowers—your face, your bosom, your shoulders, and you raised yourself out of them every moment to offer me your lips, your throat, your half closed lids. And between your skin and my lips I felt the rose leaves soft and cool. I kissed your throat and a shiver ran through you, and you put out your hands to keep me away.—Oh, then—your head was sunk in the cushions, your breast hidden under the roses, your arms bare to the elbow—nothing in this world could be so dear and sweet as the little tremor of your white hands upon my temples—do you remember?'
'Yes—go on.'
He went on with ever-increasing fervour. Carried away by his own eloquence, he was hardly conscious of what he said. Elena, her back turned to the light, leaned nearer and nearer to him. Under them the river flowed cold and silent; long slender rushes, like strands of hair, bent with every gust and trailed on the surface of the water.
He had ceased to speak, but they were gazing into one another's eyes and their ears were filled with a low continuous murmur which seemed to carry away part of their life's being—as if something sonorous had escaped from their very brains and were spreading away in waves of sound till it filled the whole air about them.
Elena rose from her stooping posture. 'Let us go on,' she said. 'I am so thirsty—where can we get some water?' They crossed the bridge to a little inn on the other side, in front of which some carters were unharnessing their horses with much lively invective. The setting sun lit up the group of men and beasts vividly.
The people at the inn showed not the faintest sign of surprise at the entry of the two strangers. Two or three men shivering with ague, morose and jaundiced, were crouching round a square brazier. A red-haired bullock-driver was snoring in a corner, his empty pipe still between his teeth. A pair of haggard, ill-conditioned young vagabonds were playing at cards, fixing one another in the pauses with a look of tigerish eagerness. The woman of the inn, corpulent to obesity, carried in her arms a child which she rocked heavily to and fro.
While Elena drank the water out of a rude earthenware mug, the woman, with wails and plaints, drew her attention to the wretched infant.
'Look, signora mia—look at it!'
The poor little creature was wasted to a skeleton, its lips purple and broken out, the inside of its mouth coated with a white eruption. It looked as if life had abandoned the miserable little body, leaving but a little substance for fungoid growths to flourish in.
'Feel, dear lady,—its hands are icy cold. It cannot eat, it cannot drink—it does not sleep any more——'
The mother broke into loud sobs. The ague-stricken men looked on with eyes full of utter prostration, while the sound of the weeping only drew an impatient movement from the two youths.
'Come away—come away!' said Andrea, taking Elena by the arm and dragging her away, after throwing a piece of money on the table.
They returned over the bridge. The river was lighted up by the flames of the dying day, and in the distance the water looked smooth and glistening as if great spots of oil or bitumen were floating on it. The Campagna, stretching away like an ocean of ruins, was of a uniform violet tint. Nearer the town the sky flushed a deep crimson.
'Poor little thing!' murmured Elena in a tone of heartfelt compassion, and pressing closer to Andrea.
The wind had risen to a gale. A flock of crows swept across the burning heavens, very high up, croaking hoarsely.
A sudden passionate exaltation suddenly filled the souls of the two at sight of this vast solitude. Something tragic and heroic seemed to enter into their love and the hill-tops of their passion to catch the blaze of the stormy sunset. Elena stood still.
'I can go no further,' she gasped.
The carriage was still at some distance, standing motionless where they had left it.
'A little further, Elena, just a step or two! Shall I carry you?'
Then, seized with a sort of frenzy, he burst out again—Why was she going away? Why did she want to break with him? Surely their destinies were indissolubly knit together now? He could not live without her—without her eyes, her voice, the constant thought of her. He was saturated through and through with love of her—his whole blood was on fire as with some deadly poison. Why was she running away from him?—He would hold her fast—would suffocate her on his heart first——No—it could not, must not be—never!
Elena listened, with bent head to meet the blast, but she did not answer. Presently she raised her hand and beckoned to the coachman. The horses pawed and pranced as they started.
'Stop at the Porta Pia,' she called to the man, and entered the carriage with her lover. Then she turned and with a sudden gesture yielded herself to his desire, and he kissed her greedily—her lips, her brow, her hair, her eyes—rapidly, without giving himself time to breathe.
'Elena! Elena!'
A vivid gleam of crimson light reflected from the red brick houses penetrated the carriage. The ringing trot of several horses came nearer along the road.
Leaning against her lover's shoulder with ineffable tenderness she said—'Good-bye, dear love—good-bye—good-bye!'
As she raised herself again, ten or twelve red-coated horsemen passed to right and left of the carriage returning from a fox hunt. One of them, the Duke di Beffi, bent low over his saddle to peer in at the window as he rode by.
Andrea said no more. His whole soul was weighed down by hopeless depression. The first impulse of revolt over, the childish weakness of his nature almost led him to give way to tears. He wanted to cast himself at her feet, to humble himself, to beg and entreat, to move this woman to pity by his tears. He felt giddy and confused; a subtle sensation of cold seemed to grip the back of his head and penetrate to the roots of his hair.
'Good-bye,' repeated Elena for the last time, and the carriage stopped under the archway of the Porta Pia to let him get out.
[CHAPTER VIII]
Their final farewells au grand air, by Elena's desire, did nothing towards dissipating Andrea's suspicions. 'What could be her secret reasons for this abrupt departure?' He tried in vain to penetrate the mystery; he was oppressed with doubt and fear.
During the first days, the anguish of his loss was so cruelly poignant that he thought he must die of it. His jealousy, lulled to sleep by the persistent ardour of Elena's affection, awoke now with redoubled vigour, and the suspicion that a man was at the bottom of this enigmatical affair increased his sufferings a hundredfold. Sometimes he would be seized with sullen anger against the absent woman, a bitter rancour, almost a desire for revenge, as if she had mystified and duped him in order to give herself to another. Then again he would feel that he did not long for her, did not love her any more, had never loved her. But these fits of oblivion were but of short duration. The Spring had come again to Rome in a riot of colour and sunshine. The city of limestone and brick absorbed the light as a parched forest the rain, the papal fountains rose into a limpid sapphire sky, the Piazza di Spagna was fragrant as a rose-garden, and above the great flight of steps, alive with little children, the Trinità de' Monti shone in a blaze of gold.
Excited by the re-awakened beauty of Rome, all that still remained of Elena's fascination in his blood and his spirit revived and re-kindled. He was stirred to his very depths by sudden invincible pain, by implacable inward tumults, by indefinable languors, almost like some strange renewal of his adolescence.
Andrea's liaison with Elena Muti had been perfectly well known, as sooner or later every adventure and every flirtation becomes known in Roman society, or the society of any other city for the matter of that. Precautions are useless. To the initiated a look, a gesture, a smile suffices to betray the secret. Besides which, in every society there are certain persons who make it their business in life to ferret out and follow up the traces of a love affair with an assiduity only to be equalled by the hunter of rare game. They are ever on the watch, though not apparently so; never, by any chance, miss a murmured word, the faintest smile, a tremor, a blush, a lightning glance. At balls or any large gatherings, where there is more probability of imprudence, they are ubiquitous, with ear stretched to catch a fragment of dialogue, and eye keenly on the watch to note a stolen hand-clasp, a tremulous sigh, the nervous pressure of delicate fingers on a partner's shoulder.
One such terrible trapper, for example, was Don Filippo del Monte. But to tell the truth, Elena Muti did not trouble herself overmuch about what society said of her covering her every audacity with the mantle of her beauty, her wealth, and her ancient name; and she went on her way serenely, surrounded by adulation and homage, by reason of a certain good-natured tolerance which is one of the most pleasing qualities of Roman society, amounting almost to an article of faith.
In any case, Andrea's connection with the Duchess of Scerni had instantly raised him enormously in the estimation of the women. An atmosphere of favour surrounded him and his successes became astonishing. Moreover, he owed something to his reputation as a mysterious artist, and two sonnets which he wrote in the Princess di Ferentino's album became famous, in which, as in an ambiguous diptych, he lauded in turn a diabolical and an angelic mouth—the one that destroys souls and the other that sings 'Ave!'
He responded, without a moment's hesitation, to every advance. No longer restrained by Elena's complete dominion over him, his energies returned to their original state of disorder. He passed from one liaison to another with incredible frivolity, carrying on several at the same time, and weaving without scruple a great net of deceptions and lies, in which to catch as much prey as possible. The habit of duplicity undermined his conscience, but one instinct remained alive, implacably alive in him—the repugnance at all this which attracted without holding him captive. His will, as useless to him now as a sword of indifferently tempered steel, hung as if at the side of an inebriated or paralysed man.
One evening, at the Dolcebuonos', when he had outstayed the rest of the guests in the drawing-room, full of flowers and still vibrating with a Cachoucha of Raff's, he had spoken of love to Bianca. He did it almost without thinking, attracted instinctively by the reflected charm of her being a friend of Elena's. Maybe too, that the little germ of sympathy sown in his heart by her kindly championship at the dinner in the Doria palace was now bearing fruit. Who can say by what mysterious process some contact—whether spiritual or material—- between a man and a woman may generate and nourish in them a sentiment which, latent and unsuspected for long, may suddenly wake to life through unforeseen circumstances? It is the same phenomenon so often encountered in our mental world, when the germ of an idea or a shadowy fancy suddenly reappears before us after a long interval of unconscious development as a finished picture, a complex thought. The same law governs all the varying activities of our being; and the activities of which we are conscious form but a small part of the whole.
Donna Bianca Dolcebuono was the ideal type of Florentine beauty, such as Ghirlandajo has given us in the portrait of Giovanna Tornabuoni at Santa Maria Novella. Her face was fair and oval, with a broad white brow, a sweet and expressive mouth, a nose a trifle retroussé and eyes of that deep hazel so dear to Firenzuola. She was fond of wearing her hair parted and arranged in full puffs half way over her cheeks in the quaint old style. Her name suited her admirably for into the artificial life of fashionable society she brought a great natural sweetness of temper, much indulgence for the failings of others, courtesy accorded impartially to high and low, and a most melodious voice.
On hearing Andrea's hackneyed phrases, she exclaimed in graceful surprise—
'What, have you forgotten Elena so soon?'
Then after a few days of engaging hesitation, it pleased her to yield to his solicitations, and she often spoke of Elena to the faithless young lover, but with perfect frankness and without jealousy.
'But why did she go away sooner than usual this year?' she asked him one day with a smile.
'I have no idea,' answered Andrea, not without a touch of impatience and bitterness.
'Then it is all over between you—quite over?'
'For pity's sake, Bianca, let us talk about ourselves,' he retorted sharply. The subject disturbed and irritated him.
She remained pensive for a moment, as if seeking to unravel some enigma, then she smiled and shook her head with a little fugitive shadow of melancholy in her eyes.
'Such is love!' she sighed, and returned Andrea's kisses.
In her he seemed to possess all those charming women of whom Lorenzo the Magnificent sang:
'And on every side we find,
Absence, as men say, estranges,
Fancy ranges as the eye ranges,
Out of sight is out of mind.
Love departs and is not love:
As from sight the eye departs
Even so do hearts from hearts;
And at other hands we prove
Fancies love as the eyes rove,
Parted pleasures come again.'
When the summer came, and she was on the point of leaving Rome, she said to him, without seeking to conceal her gentle emotion—
'When we meet again I know you will not love me any more. That is love. But think of me always as a friend.'
He did not love her, certainly; nevertheless during the heat and tedium of the days that followed, certain cadences of that dulcet voice returned to him like a haunting melody, suggesting visions of a garden, fresh with splashing fountains, where Bianca wandered in company with other fair women playing on the viol and singing as in a vignette of the 'Dream of Polyphilo.'
And Bianca passed and was succeeded by others—sometimes two at a time; but it was finally the little ivory Death's-head which had belonged to the Cardinal Immenraet, the funereal jewel dedicated to an unknown Ippolita, that suggested to him the caprice of tempting Donna Ippolita Albonico.
[CHAPTER IX]
Donna Ippolita Albonico had a great air of princely nobility in her whole person, and bore some resemblance to Maria Maddalena of Austria, wife of Cosimo ii. of Medici, whose portrait by Suttermans is at Florence in the possession of the Corsinis. She affected a sumptuous style of dress—brocades, velvets, laces—and the high Medici collars which seemed the most appropriate setting to her superb and imperial head.
One day at the races, when seated beside her, Andrea was suddenly seized with the whim to get her to promise to come to the Palazzo Zuccari and receive the mysterious little clock dedicated to her namesake. Hearing his audacious words, she frowned, wavering between curiosity and prudence; but as he, nothing daunted, persevered in the attack, an irrepressible smile quivered on her lips. Under the shadow of her large hat with its white plumes, and with her lace-flounced parasol as a background, she was marvellously handsome.
'Tibi, Hippolyta! Then you will come? I shall be on the look-out for you all the afternoon, from two o'clock till evening—Is that settled?'
'You must be mad!'
'What have you to fear? I swear that I will not rob Your Majesty of so much as a glove. You shall remain seated as on a throne, as befits your regal state, and even in taking a cup of tea, you shall not lay aside the invisible sceptre you carry for ever in your imperial right hand. On these conditions is the grace accorded?'
But she smiled nevertheless, flattered by this exaltation of the regal aspect of her beauty, wherein she gloried. And Sperelli continued to tempt her, always in a tone of banter or entreaty, but adding to the seduction of his voice a gaze so subtle, so penetrating and disturbing that, at length, Donna Ippolita, half offended and blushing faintly, said to him—
'I will not have you look at me like that.'
Few persons besides themselves remained upon the stand. Ladies and gentlemen strolled up and down across the grass, along the barrier, or surrounded the victorious horse or the yelling bookmakers, under the inconstant rays of the sun that came and went between the floating archipelago of clouds.
'Let us go down,' she said, unaware of Giannetto Rutolo leaning with watchful eyes upon the railing of the staircase.
As they passed him, Sperelli called back over his shoulder—
'Addio, Marchese—see you again soon. Our race is on directly.'
Rutolo bowed profoundly to Donna Ippolita, and a deep flush rose suddenly to his face. He seemed to have caught a touch of derision in Sperelli's greeting. Leaning on the railing, he followed the retreating couple with hungry eyes. He was obviously suffering.
'Rutolo, be on your guard!' said the Contessa di Lucoli with a malicious laugh as she passed down the stairs on the arm of Don Filippo del Monte.
The blow struck home. Donna Ippolita and the Conte d'Ugenta having penetrated as far as the umpire's stand were now retracing their steps. The lady held her sunshade over her shoulder, twirling the handle languidly in her fingers; the white cupola stood out round her head like a halo, and the lace frills rose and fluttered incessantly. Within this revolving circle, she laughed from time to time at what her companion said, and a delicate flush stained the noble pallor of her face. Sometimes they would both stand still.
Under pretext of examining the horses now entering the race-course, Giannetto turned his field-glass upon the two. His hands trembled visibly. Every smile, every movement, every glance of Ippolita's was a sword-thrust in his heart. When he dropped his glass, he was deadly pale. He had surprised a look in the eyes that met Sperelli's which he knew full well of old. Everything seemed crumbling to ruins around him. The love of years was over—irrevocably lost—slain by that glance. The sun was the sun no longer, life was not life any more.
The grand stand was rapidly refilling; the signal for the third race was about to be given. The ladies stood up on their seats. A murmur ran along the tiers like a breeze over a sloping garden. The bell rang. The horses started like a flight of arrows.
'I shall ride in your honour, Donna Ippolita,' said Andrea Sperelli as he look leave of her to get ready for the next race, which was for gentlemen riders—'Tibi, Hippolyta, Semper!'
She pressed his hand warmly for luck, never remembering that Giannetto Rutolo was also among the competitors. When, a moment later, she noticed him going down the stairs, pale and alone, the unconcealed cruelty of indifference shone in her beautiful dark eyes. The old love had fallen away from her like a useless garment, and had given place to the new. This man was nothing to her, had no claims of any kind upon her now that she no longer loved him. It is inconceivable how quickly a woman regains entire possession of her own heart once she has ceased to love a man.
'He has stolen her from me!' he thought to himself, as he made his way to the Jockey Club tent, and the grass seemed to give beneath his feet like sand. At a little distance in front of him walked the other with a firm and elastic step. In his long gray overcoat his tall and shapely figure had that peculiar and inimitable air of elegance which only breeding can give. He was smoking, and Giannetto Rutolo, coming up behind him, caught the delicate aroma of the cigarette with every puff, causing him an intolerable nausea as if it had been poison.
The Duke di Beffi and Paolo Caligaro were at the entrance, already in racing dress. The duke was making gymnastic movements to test the elasticity of his leather breeches and the strength of his knees. Little Caligaro was execrating last night's rain, which had made the ground heavy.
'You have a very good chance with Miching Mallecho, I consider,' he remarked to Sperelli when he came up.
Giannetto Rutolo heard this forecast with a bitter pang. He had founded a vague hope on the event of his own victory. He represented to himself the advantage he might gain over his enemy by a victorious race and a successful duel. As he changed his clothes his every movement betrayed his preoccupation.
'Here is a man who before getting on horseback sees the grave open before him,' said the duke, laying his hand on the young man's shoulder with a serio-comic air—'Ecce homo novus.'
Andrea Sperelli, who felt in the best of spirits at that moment, gave vent to one of those frank bursts of laughter which were the most engaging trait of his youth.
'What are you laughing at?' demanded Rutolo, lividly pale, glaring at him from under frowning brows.
'It seems to me, my dear fellow,' returned Sperelli unmoved 'that you are a little out of temper——'
'And if I am?'
'You are at liberty to think what you like about my laughing.'
'Then I think it is idiotic.'
Sperelli bounded to his feet and made a stride forward with uplifted whip. By a miracle, Paolo Caligaro managed to catch his arm. Violent words followed. Don Marc Antonio Spada appeared upon the scene and heard the altercation.
'That's enough, boys—you both know what you have to do to-morrow—you've got to ride now.'
The two adversaries finished their dressing in silence and then went out. The news of the quarrel had already spread through the enclosure and up to the grand stand, increasing the excitement of the race. With a refinement of perfidy, the Contessa di Lucoli repeated it to Donna Ippolita.
The latter gave no sign of inward perturbation. 'I am sorry to hear that,' was her only comment, 'I thought they were friends.'
The crowd surged round the bookmakers. Miching Mallecho, the horse of the Conte d'Ugenta, and Brummel, that of the Marchese Rutolo, were the favourites; then came the Duke di Beffi's Satirist and Caligaro's Carbonilla. However, the best judges had not overmuch confidence in the two first, thinking that the nervous excitement of their riders must inevitably tell upon the racing.
But Andrea Sperelli was perfectly calm, not to say gay.
His sense of superiority over his rival gave him assurance; moreover, his romantic taste for any adventure savouring of peril, inherited from his Byronic father, shed a halo of glory round the situation, and all the inborn generosity of his young blood awoke at the prospect of danger.
With a beating heart, he went forward to meet his horse as to a friend who was bringing him the news of some great good fortune. He stroked its nose fondly, and the glances of the animal's eye, an eye that flashed with the inextinguishable fire of noblest breeding, intoxicated him like a woman's magnetic gaze.
'Mallecho,' he whispered as he caressed the horse, 'this is a great day—we must win!'
His trainer, a little red-faced man, who was engaged in scrutinising the other horses as they were led past by their grooms, answered in his rough husky voice,—'There's no doubt but you will!'
Miching Mallecho was a superb bay from the stables of the Baron de Soubeyran, and combined extreme elegance of build with extraordinary strength of muscle. His fine and shining coat, under which the tracery of veins was distinctly visible on chest and flank, seemed almost to exhale a fiery vapour, so intense was the creature's vitality. A splendid jumper, he had often carried his master in the hunting-field over every obstacle of the Roman countryside, irrespective of the nature of the ground, never refusing the highest gate, the most forbidding wall, for ever at the tail of the hounds. A word from his rider had more effect on him than the spur, a caress made him quiver with delight.
Before mounting, Andrea carefully examined every strap and buckle, then with a smile he vaulted into the saddle. As he watched his master move away the trainer expressed his confidence in an eloquent gesture.
A crowd of bettors pressed round the indicator. Andrea felt that every eye was upon him. Gazing eagerly at the stand to the right, he tried to catch sight of Ippolita Albonico, but could distinguish no one among the multitude of ladies. The Marchesa d'Ateleta, who had heard of the quarrel, made him a sign of reproof from afar.
'How is the betting on Mallecho?' he asked of Ludovico Barbarisi.
As he moved towards the starting-post, he reflected calmly on the means he would employ for winning, and considered his three rivals critically, calculating the strength and science of each of them. Paolo Caligaro was a tricky devil, as thoroughly versed in all the knavery of the stable as any jockey; but Carbonilla, although fast, had little staying power. The Duke di Beffi, a rider of the 'haute école' style, who had come off victorious in more than one race in England, was mounted on an animal of uncertain temper which would probably refuse some of the jumps. Giannetto Rutolo, on the contrary, was riding a well-bred and well-trained horse, but though he was a very capable rider he was too impetuous; moreover, this was the first time he had taken part in a public race. Besides, he must be in a terrible state of nervous irritation, as was apparent from numerous signs.
As he looked at him, Andrea thought to himself—'I have no doubt that my victory to-day would influence the course of the duel to-morrow. In both instances, he will lose his head—it behoves me to keep calm on both fields——' Then—'I wonder what Donna Ippolita feels about it?' There seemed to be an unusual silence round about him. With his eye he measured the distance that separated him from the first hurdle; he noticed a shining stone on the course; he observed that Rutolo was watching him, and a tremor ran through him from head to foot.
The bell gave the signal, but Brummel was off too soon and the start was no good. The second time too they made a false start, and again through Brummel's fault. Sperelli and the duke exchanged a furtive smile.
The third start was successful. Brummel instantly detached himself from the group and swept along by the palings. The other three horses followed abreast for a moment or so, and cleared the first hurdle and then the second very well. Each of the three riders played a different game. The Duke di Beffi tried to keep with the group, so that Satirist might be induced to follow the example of the other horses at the obstacles; Caligaro moderated Carbonilla's pace in order to save up her strength for the last five hundred yards. Sperelli increased his speed gradually with the intention of catching up with his adversary in the neighbourhood of the most difficult obstacle. In effect, Mallecho soon distanced his two companions and began to press Brummel very closely.
Rutolo heard the rapidly approaching hoof-thuds behind him and was seized with such nervousness that his sight seemed to fail him. Everything swam before his eyes as if he were on the point of swooning. He made a frightful effort to keep his spurs at his horse's sides, overcome by terror at the thought that his senses might leave him. There was a muffled roar in his ears, and through that roar he caught the hard, clear sound of Andrea Sperelli's 'Hi!'
More susceptible to the voice than any other mode of urging, Mallecho simply devoured the intervening space; he was not more than two or three lengths behind Brummel—was on the point of joining—of passing him.
'Hi!'
A high barrier intersected the course. Rutolo actually did not see it, having lost all sense of his surroundings, and only preserved a furious instinct to remain glued to his horse and force it along, never mind how. Brummel jumped, but receiving no aid from his rider, caught his hind legs against the barrier, and came down so awkwardly on the other side that the rider lost his stirrups, without, however, coming out of the saddle, and he continued to run. Andrea Sperelli now took the lead, Giannetto Rutolo, without having recovered his stirrups, being second, with Paolo Caligaro close upon his heels; the duke, retarded by a refusal from Satirist, came last. In this order they passed the grand stand. They heard a confused clamour but it soon died away.
The spectators held their breath in suspense. From time to time, somebody would remark aloud on the various incidents of the running. At every change in the order of the horses numerous exclamations sounded through the continuous murmur, and the ladies thrilled visibly. Donna Ippolita Albonico, mounted on a seat, with her hands on the shoulders of her husband who stood below her, watched the race with marvellous self-control and without a trace of apparent emotion, unless the over-tight compression of her lips and a scarcely perceptible furrow between her brows might have revealed the effort to an observant eye. At a certain moment, however, she drew her hands away from her husband's shoulder, fearful of betraying herself by some involuntary movement.
'Sperelli is down!' announced the Contessa di Lucoli in a loud voice.
Mallecho, in jumping, had slipped on the wet grass and come down on his knees, but recovered himself in an instant. Andrea had gone over his head, but was none the worse, and with lightning rapidity was back in the saddle as Rutolo and Caligaro came up with him. Brummel performed prodigies, in spite of the wounded leg, and showed the quality of his blood. Carbonilla was at last putting out all her speed, guided with consummate skill by her rider. There were still about eight hundred yards to the winning post.
Sperelli saw victory escaping him and gathered up all his forces to grasp it again. Standing in the stirrups, bent low over his horse's neck, he uttered from time to time that short, sharp, ringing word which always acted so effectively upon the noble creature. While Brummel and Carbonilla, fatigued by the heaviness of the ground, began to lose the pace, Mallecho steadily increased the vehemence of his rush and had nearly reconquered his former position, scenting victory already with his fiery nostrils. Flying over the last obstacle, he passed Brummel—his head was level with Carbonilla's shoulder—a hundred yards from the post he skirted the barrier—on—on—leaving Caligaro's black mare ten lengths behind. The bell rang—a furious clapping of hands, like the pelting of hail-stones, and then a dull roar spread through the great crowd on the green sward under the flood of brilliant sunshine.
As he entered the enclosure, Andrea Sperelli thought to himself—'Fortune is with me to-day, but how will it be to-morrow?' And feeling the breath of triumph surge round him, a vague sense of resentment rose up in him against the possibilities of the morrow. He would have preferred to face it to-day and get it over, that he might enjoy a double victory and then taste the fruit offered to him by the hand of Ippolita Albonico. He was possessed, for the moment, by that inexplicable intoxication which results—with certain men of intellect—from the exercise of their physical powers, the experience of their courage and the revelation of their inherent brutality. The substratum of primitive ferocity which exists at the bottom of most of us rushes to the surface, on occasion, with curious vehemence, and under the skin-deep varnish of modern civilisation, our hearts swell sometimes with a nameless sanguinary fury, and visions of carnage rise up before us. Inhaling the hot and acrid exhalations of his horse, Andrea Sperelli felt that none of the delicate perfumes affected by him up till now, had ever afforded him such intense enjoyment.
He had scarcely quitted the saddle, before he found himself surrounded by friends of both sexes, eager to congratulate him. Mallecho, breathing hard, smoking and covered with foam, snorted and stretched his neck, shaking the bridle. His sides rose and fell with a deep continuous movement, as if they must burst; his muscles vibrated under skin like a bow-string after the shot; his eyes, dilated and bloodshot, had the cruel glare of those of a beast of prey; his coat, now showing great patches of darker colour, ran down with rivulets of perspiration. The incessant trembling of his whole body was pitiable to see, like the suffering of a human being.
'Poor fellow!' murmured one of the ladies.
Andrea examined his knees to see if he had taken any hurt from his fall. They were sound. Then patting him softly on the neck, he said in an indefinable tone of gentleness—'Go, Mallecho, go——'
And he followed him with his eyes till he disappeared.
Directly he had changed his clothes, he went in search of Ludovico Barbarisi and the Baron di Santa Margherita.
Both instantly accepted the office of arranging preliminaries with Rutolo. He begged them to hasten matters as much as possible.
'Fix it all by this evening. To-morrow by one o'clock I absolutely must be free. But let me sleep till nine to-morrow morning. I dine with the Ferentinos, then I shall look in at the Palazzo Giustiniani, and after that I shall go to the Club, but it will be late—You will know where to find me. Many thanks, my dear fellows, and a rividerci.'
He repaired to the grand stand, but avoided approaching Donna Ippolita at once. He smiled, feeling every feminine eye upon him. Many a fair hand was held out, many a sweet voice called him familiarly—'Andrea'—some of them even a little ostentatiously. The ladies who had bet upon his horses told him the amount of their winnings, others asked curiously if he were really going to fight.
It seemed to him that in one day he had reached the summit of adventurous glory. He had come out victor in a record race, had gained the graces of a new love, magnificent and serene as a Venetian Dogaressa, had provoked a man to mortal combat and now was passing calm and courteous—but neither more so nor less than usual—amid the openly adoring smiles of all these fair women.
'See the conquering hero comes!' cried Ippolita's husband with outstretched hand and pressing Andrea's with unusual warmth.
'Yes, indeed; quite a hero!' echoed Donna Ippolita in the superficial tone of necessary compliment, affecting ignorance of the real drama.
Sperelli bowed and passed on, feeling strangely embarrassed by Albonico's excessive friendliness. A suspicion crossed his mind that he was grateful to him for having provoked a quarrel with his wife's lover, and the cowardice of the man brought a supercilious smile to his lips.
Returning from the races on the Prince di Ferentino's mail coach, he espied Giannetto Rutolo tearing back to Rome in a little two-wheeled trap behind a great fast-trotting roan; bending forward with head down, a cigar between his teeth and utterly regardless of the injunctions of the police to keep in the line. Rome rose up before them, black against a band of saffron light, and in the violet sky above that light the statues on the Basilica of San Giovanni stood out exaggeratedly large. And Andrea then fully realised the pain he was inflicting on this man's soul.
[CHAPTER X]
At the Palazzo Giustiniani that evening, Andrea said to Ippolita Albonico, 'Well then, it is a fixed thing that I expect you to-morrow between two and five?'
She would like to have said: 'Then you are not going to fight to-morrow?' but she did not dare.
'I have promised,' she replied.
A minute or two afterwards, her husband came up to Andrea and taking his arm with much effusion, began asking particulars about the duel. He was a youngish man, slim, with very thin fair hair and colourless eyes and projecting teeth. He had a slight stammer.
'Well, well—so it is to come off to-morrow, is it?'
Andrea could not repress his disgust, and let his arm hang loosely at his side to show that he was in no mood for these familiarities. Seeing the Baron di Santa Margherita enter the room, he disengaged himself quickly.
'Excuse me, Count,' he said, 'I want to speak to Santa Margherita.'
The Baron met him with the assurance that all was in order. 'Very good—at what hour?'
'Half-past ten at the Villa Sciarra. Rapiers and fencing-gloves, à outrance.'
'Whom else have you got for seconds?'
'Roberto Casteldieri and Carlo de Souza. We settled everything as quickly as possible, avoiding formalities. Giannetto had got his seconds already. We arranged the proceedings at the Club without any fuss. Try not to be too late in going to bed—you must be dead tired.'
But, heedless of this good advice, on leaving the Palazzo Giustiniani, Andrea betook himself to the Club, where Santa Margherita came upon him at two o'clock in the morning, and, forcing him to leave the card-tables, bore him off on foot to the Palazzo Zuccari.
'My dear boy,' he said reproachfully as they walked along, 'you are really foolhardy. In a case like this, the smallest imprudence might lead to fatal results. To preserve his full strength and activity, a good swordsman should have as much care for his person as a tenor has for his voice. The wrist is as delicate an organ as the throat—the articulations of the legs as sensitive as the vocal chords. The mechanism suffers from the smallest disturbance; the instrument gets out of gear and will not answer to the player. After a night of play or drink, Camillo Agrippa himself could not thrust straight, and his parries were neither sure nor rapid. An error of a hair's breadth will suffice to let three inches of steel into one's body.' They were at the top of the Via Condotti, and in the distance they could see the Piazza di Spagna, lighted up by the full moon, the stairway bathed in silver, and the Trinità de' Monti rising into the soft blue.
'Certainly,' continued the Baron, 'you have great advantages over your adversary, amongst others, a cool head—also you have been out before. I saw you in Paris in your affair with Gauvaudan—you remember? A grand duel that! You fought like a god!'
Andrea laughed, much gratified. The praise of this unrivalled duellist made his heart swell with pride, and infused fresh vigour into his muscles. Instinctively, he grasped his walking stick, and repeated the famous pass which pierced the arm of the Marquis de Gauvaudan the previous winter.
'Yes,' he said, 'it was a direct return hit after a parry of "contre de tierce."'
'On the floor, Giannetto Rutolo is a skilful swordsman, but in the open he gets confused. He has only been out once before with my cousin Cassibile, and he came off badly. He does far too much of the one, two,—one, two, three business in attacking. Stop thrusts and hits with a half volte would be useful to you. It was just in that way that my cousin touched him in the second round. And those thrusts are your special forte. Keep a sharp look-out and try to keep your distance. And do not forget that you have to do with a man whom, as I hear, you have robbed of his mistress, and to whom you lifted your whip.'
They had reached the Piazza di Spagna. The Barcaccia splashed and gurgled softly, glistening under the moon that was mirrored in its waters. Four or five hackney carriages stood in a line with their lamps lighted. From the Via del Babuino came a tinkle of bells, and the dull tramp of hoofs, as of a herd in motion.
At the foot of the steps the Baron took leave of him.
'Good-bye then, till to-morrow. I shall be with you a little before nine with Ludovico. You must make a pass or so, just to unstiffen the muscles. We will see about the doctor. Off with you now and get a good sleep.'
Andrea mounted the steps. At the first broad landing, he stood still to listen to the tinkle of the approaching bells. In truth, he did feel rather tired, and even a little heartsick. Now that the excitement called up by the conversation on fencing, and the recollection of his former doughty deeds in that line had subsided, a sense of dissatisfaction had come upon him, confusedly, as yet, and mingled with doubt and regret. After being on the stretch throughout the violent feverish incidents of the day, his nerves relaxed under the balmy influences of the spring night. Why should he, without any excuse of passion, out of mere caprice, from pure vanity and arrogance, have taken pleasure in awakening the hatred, and deeply wounding the heart of a fellow man? The thought of the horrid pain that must be torturing his adversary filled him with a sort of compassion. Elena's image flashed before him, and he called to mind the anguish he had endured the year before, what time he had lost her—his jealousy, his anger, his nameless torments. Then, as now, the nights were serene and calm, and filled with perfume, and yet how they weighed upon his spirit! He inhaled the fragrant breath of the roses blooming in the little gardens about, and watched the flock of sheep passing through the Piazza below.
The mass of thick white fleece advanced with a continuous undulating motion, a compact and unbroken surface, like a muddy wave pouring over the pavement. A sharp quavering bleat would mingle with the tinkling bells to be answered by other voices, fainter and more timid; from time to time, the mounted shepherds, riding at either side or behind the flock, gave a sharp word of command, or used their long staves. The splendour of the moonlight lent to this passage of flocks through the midst of the slumbering city the mystery of things seen in a dream.
Andrea recalled one serene February night when, on coming away from a ball at the English Embassy, he and Elena had met a flock of sheep in the Via Venti Settembre which obliged their carriage to stop. Elena, her face pressed to the window, watched the sheep crowding against the carriage wheels, and pointed to the little lambs with childish delight; and he with his face close to hers, his eyes half closed, listened to the pattering hoofs, the bleating, the tinkling bells.
Why should these recollections of Elena come back to him just now?—He resumed his way slowly up the steps, his feet heavy with fatigue, his knees giving way beneath him. Suddenly the thought of death flashed across his mind. 'What if I were killed, or received such a wound as to maim me for life?' But his thirst for life and pleasure caused his whole being to revolt against such a sinister possibility. 'I must come off victorious!' he said to himself. And he began reviewing all the advantages that would fall to him from this second victory: the prestige of his success, the fame of his prowess, Ippolita's kisses, new loves, new pleasures, the gratification of new whims.
Presently, however, he bethought him of the necessary precautions for insuring his bodily vigour. He went to bed and slept soundly till he was awakened by the arrival of his seconds; took his customary shower-bath; had a strip of linoleum laid down and invited Santa Margherita and then Barbarisi to exchange a few passes with him, during which he executed with precision several stop thrusts.
'In capital form!' the Baron congratulated him.
Sperelli then took two cups of tea and some biscuits, donned a very easy pair of trousers, comfortable shoes with low heels and a very slightly starched shirt; he prepared his gloves by moistening the palm slightly and rubbing in powdered resin; arranged a leather strap for fastening the guard to his wrist; examined the blade and the point of both rapiers; omitted no precaution, no detail.
When all was to his satisfaction—'Let us be going now,' he said; 'better be on the ground before the others. What about the doctor?'
'He will be waiting for us there.'
On the way down stairs they met Grimiti, who had come on behalf of the Marchesa d'Ateleta.
'I shall follow you to the Villa and then bring the news as quickly as possible to Francesca,' said he.
They all went down together. The Duke jumped into his buggy and the others entered a closed carriage. Andrea made no show of indifference or good spirits—to make jokes before engaging in a serious duel seemed to him execrably bad taste—but he was perfectly calm. He smoked and listened composedly to Santa Margherita and Barbarisi, who were discussing—apropos of a recent case in France—whether it was legitimate or not to use the left hand against an adversary. Now and again, he leaned forward to look out of the window.
On this May morning Rome shone resplendent under the caressing sun. Here a fountain lit up with its silvery laughter a little piazzetta still plunged in shadow; there the open gates of a palace disclosed a vista of courtyard with a background of portico and statues; from the baroque architecture of a brick church hung the decorations for the month of Mary. Under the bridge, the Tiber gleamed and glistened as it hurried away between the gray-green houses towards the island of San Bartolomeo. After a short ascent, the whole city spread out before them, immense, imperial, radiant, bristling with spires and columns and obelisks, crowned with cupolas and rotundas, clean cut out of the blue like a citadel.
'Ave Roma, moriturus te salutat!' exclaimed Andrea Sperelli, throwing away the end of his cigarette. 'Though, to tell the truth, my dear fellows.' he added, 'a sword-thrust would decidedly inconvenience me this morning.'
They had reached the Villa Sciarra, already partially profaned by the builders of modern houses, and were passing through an avenue of tall and slender laurels bordered by hedges of roses. Santa Margherita, putting his head out of the window, caught sight of another carriage standing in the drive before the villa.
'They are waiting for us,' he said.
He consulted his watch—ten minutes yet to the hour agreed upon. He got out of the carriage and went across with the other seconds and the surgeons to the opponents. Andrea stayed behind in the avenue. He went over, in his own mind, certain points of attack and defence he hoped to employ successfully, but the miracles of light and shadow playing fitfully through the interlacing laurels distracted his attention. While his mind was occupied with the position of the wound he intended inflicting, his eyes were attracted by the reeds shivering in the morning breeze, and the trees, tender as the amorous allegories of Petrarch, sighed gently over a head that was wholly absorbed in plans of dealing a mortal blow.
Barbarisi came to call him.
'Everything is ready,' he said. 'The caretaker has opened the villa for us—we have the rooms on the ground floor at our disposal—most convenient. Come and undress.'
Andrea followed him. While he undressed, the two surgeons opened their surgical cases and displayed the array of glittering steel instruments within. One of them was a youngish man, pale, bald, and with feminine hands and a hard mouth, with a continual and visible contraction of the lower jaw, which was extraordinarily developed. The other was a thickset man of mature years with a freckled face, bushy red beard and the neck of an ox. The one seemed the antithesis of the other, and their disparity excited Sperelli's curiosity and attention. They set out upon a table bandages and carbolic acid for disinfecting the weapons. The smell of the acid diffused itself through the room.
As soon as Sperelli was ready, he went out accompanied by his second and the surgeons. Once again, the view of Rome seen through the laurels attracted his eyes and made his heart beat fast. He was full of impatience. He wished he could put himself on guard at that very instant, and hear the signal for the attack. He seemed to have the decisive thrust, the victory in his hand.
'Ready?' asked Santa Margherita advancing to meet him.
'Quite ready.'
The spot chosen for the encounter was a path at the side of the villa, in the shade, and covered with fine rolled gravel. Rutolo was already stationed there, at the further end, with Roberto Casteldieri and Carlo di Souza. Everybody wore a grave, not to say solemn, air. The two adversaries were placed opposite to one another and their eyes met. Santa Margherita, who had the direction of the combat, noticed that Rutolo's shirt was very stiffly starched and the collar too high. He remarked upon it to Casteldieri who exchanged a few words with his principal, and Sperelli saw the blood rush to his adversary's face while he proceeded resolutely to divest himself of his shirt. Andrea with cold composure followed his example. He then turned up his trousers and Santa Margherita handed him the glove, the strap and the rapier. He armed himself with scrupulous care, and shook his weapon slightly to see that he had it well in hand. The movement brought out the play of his biceps very visibly bearing witness to long practice of the arm and the strength it had thereby acquired.
When the two combatants measured their swords for the distance, that of Giannetto Rutolo shook convulsively. After the usual set phrases as to the honour and good faith of the combatants, Santa Margherita gave the word in a ringing powerful voice.
'Gentlemen—on guard!'
The duellists threw themselves on guard simultaneously; Rutolo, with a stamp of the foot, Sperelli, bending forward lightly. Rutolo was of medium height, very slender, all nerves, with an olive face, to which the curled moustaches and the little pointed beard à la Charles i. in Van Dyck's pictures lent a certain piquant and dashing air. Sperelli was taller, more dignified, admirable of attitude, calm and collected, perfectly balanced between grace and strength, his whole person proclaiming the grand seigneur. They looked each other full in the eye, and each experienced a curious internal thrill at the sight of the bare flesh against which he pointed his sharp blade. Through the silence came the fresh murmur of the fountain mingled with the rustle of the breeze among the climbing rose-bushes, where innumerable yellow and white roses nodded their fragrant heads.
'Play!' cried the Baron.
Andrea was prepared for an impetuous attack from Rutolo, but the latter did not move. For about a minute, they stood watching each other closely without ever crossing swords, almost motionless. Sperelli bending his knees still more, on guard with the point low, assumed the tierce guard and sought to provoke his adversary by the insolent challenge of his eyes and by stamping his foot. Rutolo made a step forward with a menace of straight thrust, accompanying it with a cry after the manner of certain Sicilian fencers. The duel began.
Sperelli avoided any decisive movement, restricting himself to parrying only, forcing his opponent to discover his intentions, to exhaust all his methods, to bring out his whole repertoire of sword-play. His parries were neat and rapid, never yielding a foot of ground, admirable in precision, as if he were taking part in a fencing match in the school with blunt foils; whereas Rutolo attacked him warmly, accompanying each thrust with a hoarse cry like that of the wood-cutters when they use their hatchets.
'Halt!' cried Santa Margherita, whose vigilant eye marked every flash of the blades.
He went up to Rutolo, 'You are touched, if I am not mistaken,' he said.
True, Rutolo had a scratch on the forearm, but so slight that there was no need even of sticking-plaster. Nevertheless, he was breathing hard, and his livid pallor bore witness to his suppressed anger.
'I know my man thoroughly now,' whispered Sperelli with a smile to Barbarisi. 'You watch the second round. I mean to pink him on the right breast.'
As he spoke, he absently rested the point of his rapier on the ground. The bald young surgeon with the strong jaw immediately came up to him with a sponge soaked in carbolic acid and proceeded to purify the weapon again.
'Good heavens!' Andrea exclaimed in a low voice to Barbarisi, 'he has all the air of a jettatore. This rapier is certain to break.'
A thrush began to sing somewhere in the trees. Here and there a rose scattered its petals on the breeze. Some low-lying fleecy clouds rose to meet the sun, broke up into airy flakes and gradually dispersed.
'On guard!'
Conscious of his inferiority, Rutolo determined to hamper his opponent's play, to attack him at close quarters and so break his continuity of action. For this he enjoyed the advantage of shorter stature and a frame which, being wiry, thin and flexible, offered but little mark to the other's weapon.
Andrea foresaw that Rutolo would adopt this plan. He stood on guard, bent like a taut bow, watching for the right moment.
'Halt!' cried Santa Margherita.
A streak of blood showed on Rutolo's breast. The rapier had penetrated, just under the right breast, almost to the rib. The surgeons hurried over, but the wounded man instantly turned to Casteldieri, and with a tremor of anger in his voice said roughly:—
'It is a mere scratch. I shall go on.'
He refused to go inside to have the wound-dressed. The bald doctor, after squeezing the small hole, which scarcely bled, and sponging it with antiseptic lotion, applied a simple piece of lint and said:—
'You may go on now.'
At Casteldieri's invitation, the Baron gave the word without delay for the third round.
'On guard!'
Sperelli perceived his danger. Directly in front of him stood his adversary, his knees firmly bent, masked, as it were, behind his rapier, his whole strength resolutely collected for one supreme effort. His eyes had a singular glitter, and the calf of his left leg quivered perceptibly under the excessive tension of the muscles. This time, in order to avoid the shock of his opponent's impetus, Andrea determined to throw himself to one side and repeat the thrust which Cassibile had employed so successfully, the white patch of lint on Rutolo's breast serving him as a mark. It was there he proposed wounding him again, but, this time, the rapier should enter the intercostal space and not be deterred by the rib. The silence all about them deepened, the spectators felt the homicidal desire that animated the two men, and were seized with apprehension, their hearts sinking at the thought that doubtless they would have to carry away a dead or dying man. The sun, veiled by fleecy cloudlets, shed a milky light over the scene, the trees rustled fitfully, the thrush sang on invisible.
'Play!'
Rutolo charged his adversary with a double derobe. Sperelli parried and returned, giving way a step. Rutolo followed up furiously with a rush of rapid thrusts, nearly all in the low line, without uttering the usual cries. Sperelli, nothing daunted by this onslaught, and wishing to avoid an actual hand-to-hand fight, parried vigorously, and returned with such directness that he might, had he so wished, have run his adversary through the body each time. Rutolo's leg was bleeding near the groin.
'Halt!' cried Santa Margherita the moment he perceived it.
But in the same instant Sperelli, parrying low quarte and not encountering his adversary's blade, received a thrust full in the breast. He fell back into Barbarisi's arms and fainted.
'Wound penetrating the thorax through the fourth intercostal space on the right side with superficial wound of the lung,' pronounced the bull-necked surgeon, after his examination in the room to which they had conveyed the wounded man.
BOOK II
[CHAPTER I]
Convalescence is a purification, a new birth. Never is life so sweet as after the pangs of physical suffering, and never is the human soul so inclined towards purity and faith as after having had a glimpse into the abyss of death.
After his terrible wound, after a long, slow, agonising struggle, Andrea Sperelli came back to life renewed in body and spirit—like another man, like a creature risen out of the icy waters of death, with a mind swept bare of all that has gone before. The past had receded into the dim perspective, the troubled waters had calmed, the mud sunk to the bottom; his soul was cleansed. He returned to the bosom of Mother Nature, and he felt her re-inforce him maternally with goodness and with strength.
The guest of his cousin at her villa of Schifanoja, Andrea returned to life again in sight of the sea. The convalescent drew his breath in harmony with the deep, calm breath of the ocean; his mind was tranquillised by the serenity of the horizon. Little by little, in these hours of enforced idleness and retirement, his spirit expanded, bloomed out, erected itself slowly, like the grass trodden under foot on the pathway, and he returned to truth and simple faith, became natural and free of heart, open to the knowledge and disposed to the contemplation of pure things.
August was drawing to a close. An ecstatic serenity reigned over the sea; the waters were so transparent that they repeated every image with absolute fidelity, and their ultimate line melted so imperceptibly into the sky that the two elements seemed as one, impalpable and supernatural. The wide amphitheatre of hills, clothed with olives, oranges and pines and all the noblest forms of Italian vegetation, embraced the silent sea, and seemed not a multiplicity of things, but a single vast object under the all-pervading sunshine.
Lying on the grass, or sitting on a rock or under a tree, the young man felt the river of life flow within him; as in a trance, he seemed to feel the whole universe throb and palpitate in his breast; in a species of religious rapture, he felt that he possessed the infinite. That which he experienced was ineffable, divine. The vista before him opened out by degrees into a profound and long continued vision, the branches of the trees overhead supported the firmament, filling the blue, and shining like the garlands of immortal poets. And he gazed and listened and breathed with the sea and the earth, placid as a god.
Where were now all his vanities and his cruelties, his schemes and his duplicities? What had become of all his loves and his illusions, his disappointments and his disgusts, and the implacable reaction after pleasure? He remembered none of them. His spirit had renounced them all, and with the absence of desire, he had found peace.
Desire had abandoned its throne and intellect was free to follow its proper course, and reflect the objective world purely from the outside point of view; things appeared clearly and precisely under their true form, in their true colours, in all their real significance and beauty; every personal sentiment was in abeyance.
'Die Sterne, die begehrt man nicht—Man freut sich ihrer Pracht.'
One desires not the stars, but rejoices in their splendour—and for the first time in his life the young man really recognised the poetic harmony of summer skies at night.
These were the last nights of August, and there was no moon. Innumerable in the deep starry vault, the constellations throbbed and palpitated with ardent life. The two Bears, Hercules, Cassiopeia, glittered with so rapid a palpitation that they seemed almost to approach the earth, to penetrate the terrestrial atmosphere. The Milky Way flowed wide like a regal aërian river, a confluence of the waters of Paradise, over a bed of crystal between starry banks. Brilliant meteors cleft the motionless air from time to time, gliding lightly and silently as a drop of water over a sheet of glass. The slow and solemn respiration of the sea sufficed to measure the peace of the night without disturbing it, and the pauses were almost sweeter than the music.
In every aspect of the things around him he beheld some analogy to his own inner life. The landscape became to him a symbol, an emblem, a sign to guide him through the labyrinthine passes of his own soul. He discovered secret affinities between the visible life around him and the intimate life of his desires and memories. 'To me, high mountains are a feeling'—and as the mountains were to Byron, so the sea was to him a sentiment.
Oh, that limpid September sea! Calm and guileless as a sleeping child, it lay outstretched beneath the pearly sky—now green, the delicate and precious green of malachite, the little red sails upon it like flickering tongues of fire, now intensely—almost one might call it heraldically—blue, and veined with gold like lapis-lazuli, with pictured sails upon it as in a church procession. At other times, it took on a dull metallic lustre as polished silver mingled with the greenish-yellow tint of ripe lemons, indefinable, strange and delicate, and the sails would come crowding like the wings of the cherubim in the background of a Giotto picture.
Forgotten sensations of early youth came back to him, that impression of freshness which the salt breath of the sea infuses into young blood, the indescribable effects produced by the changing lights and shadows, the tints, the smell of the salt water upon the unsullied soul. The sea was not only a delight to his eyes, but also an inexhaustible wellspring of peace, a magic fount of youth wherein his body regained health, and his spirit nobility. The ocean had for him the mysterious attraction of a mother country, and he abandoned himself to it with filial confidence, as a feeble child might sink into the arms of an omnipotent mother. And he received comfort and encouragement; for who ever confided his pain, his yearnings or his dreams to her in vain?
For him the sea had ever a profound word, some sudden revelation, some unlocked for enlightenment, some unexpected significance. She revealed to him, in the secret recesses of his soul, a wound still gaping though quiescent, and she made it bleed again, but only to heal it with balm that was doubly sweet. She re-awakened the dragon that slumbered within him, till he felt once more the terrible grip of its claws, and then she slew it once for all and buried it deep in his heart never to rise again. No corner of his being but lay open to the great Consolatrix.
But at times, under the continuous dominion of this influence, under the persistent tyranny of this fascination, the convalescent was conscious of a sort of bewilderment and fear, as if both the dominion and fascination were insupportable to his weak state. The incessant colloquy between him and the sea gave him a vague sense of prostration, as if the sublime language were beyond his restricted powers, so eager to grasp the meaning of the incomprehensible.
But this period of visions, of abstractions, of pure contemplativeness was of short duration. By degrees, he began to resume his attitude of self-consciousness, to recover the sensation of his personality, to return to his original frame of mind. One day at the hour of high noon, the vast and terrible silence when all life seems suspended, a sudden glimpse into his own heart revealed shuddering abysses, inextinguishable desires, ineffaceable memories, accumulations of suffering and regret—all the wretchedness he had gone through, all the inevitable scars of his vices, all the results of his passions. He seemed to be witnessing the shipwreck of his whole life. A thousand voices cried to him for succour, imploring aid, cursing death—voices that he knew, that he had listened to in days gone by. But they cried and implored and cursed in vain, feeling that they were perishing, choked by the hungry waves; then the voices grew faint, broken, irrecognisable—and died away into silence.
He was alone. Of all his youth, of all his boasted fulness of inner life, of all his ideality, not a vestige remained; within—a black and yawning abyss, around him—impassive nature, endless source of pain to solitary souls. Every hope was dead, every voice mute, every anchor gone—what use was life?
Suddenly the image of Elena rose up before him, then that of other women whom he had known and loved. Each of them smiled a hostile smile, and each one, as she vanished, seemed to carry away something of him—what, he could not definitely say. An unspeakable distress weighed upon him, an icy breath of age swept over him, a tragic, warning voice rang through his heart—Too late! Too late!
All his recent comfort and peace seemed now a vain delusion, a dream that had flown, a pleasure enjoyed by some other spirit. Every wound he had ruthlessly dealt to his soul's dignity bled afresh; every degradation he had inflicted upon his conscience started out and spread like a leprosy. Every violation he had committed upon his ideality roused an endless, despairing, terrible remorse in him. He had lied too flagrantly, had deceived, debased himself beyond all power of redress. He loathed himself and all his evil works—Shame! Shame! Nothing could wipe out those dishonouring stains, no balm could ever heal those wounds, he must for ever endure the torment of that self-loathing.—Shame!——
His eyes filled with tears, and dropping his head upon his arms he abandoned himself to the weight of his misery, prostrate as a man who has no hope of salvation.
With the new day, he awoke to new life, one of those awakenings, so fresh and limpid, that are only vouchsafed to adolescence in its triumphant springtide. It was a marvellous morning—only to breathe the air was pure delight. The whole earth rejoiced in the living light; the hills were wrapped about with a diaphanous silvery veil and seemed to quiver with life, the sea appeared to be traversed by rivulets of milk, by rivers of crystal and of emerald, by a thousand currents forming the rippling intricacies of a watery labyrinth. A sense of nuptial joy and religious grace emanated from the concord between earth and sky.
And he breathed and gazed and listened, not a little surprised During his sleep the fever had left him. He had slumbered, lulled by the voice of the waters as if by the voice of a faithful friend—and he who sleeps to the sound of that lullaby enjoys a repose that is full of healing peace.
He gazed and listened mutely, fondly, letting the flood of immortal life penetrate to his heart's core. Never had the sacred music of a great master—an Offertory of Haydn, a Te Deum of Mozart—produced in him the emotion caused now by the simple chimes of the distant village churches, as they greeted the rising of the sun into the heavens. His soul swelled and overflowed with unspeakable emotion. Some vision, vague but sublime, hovered over him like a rippling veil through which gleamed the splendour of the mysterious treasure of ultimate felicity. Up till now, he had always known exactly what he wished for, and had never found any pleasure in desiring vainly. Now, he could not have named his desire, but he had no doubts that the thing wished for was infinitely sweet, since the very act of wishing was bliss. The words of the Chimera in 'The King of Cyprus'—old world, half-forgotten verses, recurred to him with all the force of a caressing appeal—
'Would'st thou fight?
Would'st kill? would'st thou behold rivers of blood?
Great heaps of gold? white herds of captive women?
Slaves? other, and far other spoils? Would'st thou
Bid marble breathe? Would'st thou set up a temple?
Would'st fashion an immortal hymn? Would'st (hearken,
Hearken, O youth, hearken!)—would'st thou divinely
Love?'
He smiled faintly to himself. 'Whom should I love?—Art?—a woman?—what woman?' Elena seemed far removed from him, lost to him, a stranger—dead. The others—still further off, dead for evermore. Therefore he was free. But why renew a pursuit so useless and so perilous? Why stretch out his hand again towards the tree of knowledge? 'The tree of knowledge has been plucked—all's known!' as Byron said in Don Juan. What he desired, at the bottom of his heart, was to give himself freely, gratefully to some higher and purer being. But where to find that being was the question.
Truly his salvation in the future lay rather in the practice of caution, prudence, sagacity. His tone of mind seemed to him admirably expressed in a sonnet of a contemporary poet, whom, from a certain affinity of literary tastes and similar æsthetic education, he particularly affected—
'I am as one who lays himself to rest
Under the shadow of a laden tree;
Above his head hangs the ripe fruit, and he
Is weary of drawing bow or arbalest.
He shakes not the fair bough that lowliest
Droops, neither lifts he hand, nor turns to see;
But lies, and gathers to him indolently
The fruits that drop into his very breast.
In that juiced sweetness, over-exquisite,
He bites not deep; he fears the bitterness;
Yet sets it to his lips, that he may smell,
Sucks it with pleasure, not with greediness,
And he is neither grieved nor glad at it.
This is the ending of the parable.'
Art! Art! She was the only faithful mistress—forever young—immortal; there was the Fountain of all pure joys, closed to the multitude but freely open to the elect; that was the precious Food which makes a man like unto a god! How could he have quaffed from other cups after having pressed his lips to that one?—how have followed after other joys when he had tasted that supreme one?
'But what if my intellect has become decadent?—if my hand has lost its cunning? What if I am no longer worthy?' He was seized with such panic at the thought, that he set himself wildly to find some immediate means of proving to himself the irrational nature of his fears. He would instantly compose some difficult verses, draw a figure, engrave a plate, solve some problem of form. Well—and what then? Might not the result be entirely fallacious? The slow decay of power may be imperceptible to the possessor—that is the terrible thing about it. The artist who loses his genius little by little is unaware of his progressive feebleness, for as he loses his power of production he also loses his critical faculty, his judgment. He no longer perceives the defects of his work—does not know that it is mediocre or bad. That is the horror of it! The artist who has fallen from his original high estate is no more conscious of his failings than the lunatic is aware of his mental aberration.
Andrea was seized with terror. Better—far better be dead! Never, as at this moment, had he so fully grasped the divine nature of that gift, never had the spark of genius appeared to him so sacred. His whole being was shaken to its foundations by the mere suggestion that that gift might be destroyed, that spark extinguished. Better to die!
He lifted his head and shook off his inertia, then he went down to the park and walked slowly under the trees, unable to form a definite plan. A light breeze rippled through the tree tops, now and again the leaves rustled as if a band of squirrels were passing through them; patches of blue sky gleamed between the branches like eyes beneath their lids. Arrived at a favourite spot of his, a sort of tiny lucus presided over by a four-fronted Hermes plunged in quadruple meditation, he stopped and seated himself on the grass, with his back against the pedestal of the statue and his face turned to the sea. Before him the tree-trunks, straight but of uneven height, like the pipes of the great god Pan, intercepted his view of the sea; all around him the acanthus spread the exquisite grace of its foliage, symmetrical as the capitals of Callimachus.
He thought of the words of Salamis in the Story of the Hermaphrodite,
'Noble acanthus, in the woods of Earth
Tokens of peace, high-flowering coronals,
Of most pure form; O ye, the slender basket
That Silence weaves with light, untroubled hand
To gather up the flowers of woody dreams,
What virtue have ye poured on this fair youth
Out of those dusky and sweet-smelling leaves?
Naked he sleeps; his arm supports his head.'
Other lines came back to him, and yet others—a riot of verse. His soul was filled with the music of rhymes and rhythmic measures. He was overjoyed; coming to him thus spontaneously and unexpectedly, this poetic agitation caused him inexpressible happiness. And he gave ear to the music, delighting himself in rich imagery, in rare epithets, in the luminous metaphors, the exquisite harmonies, the subtle refinements which distinguished his metrical style and the mysterious artifices of the endecasyllabic verse learned from the admirable poets of the fourteenth century, and more especially from Petrarch. Once more the magic spell of versification subjugated his soul, and he felt the full force of the sentiment of a contemporary poet—Verse is everything!
A perfect line of verse is absolute, immutable, deathless. It encloses a thought as within a clearly marked circle which no force can break; it belongs no more to the poet, it belongs to all and yet to none, as do space, light, all things intransitory and perpetual. When the poet is about to bring forth one of these deathless lines he is warned by a divine torrent of joy which sweeps over his soul.
Andrea half closed his eyes to prolong this delicious tremor which with him was ever the forerunner of inspiration, and more especially of poetic inspiration, and he determined in a moment upon the metrical form into which he would pour his thoughts, like wine into a cup—the sonnet.
While composing Andrea studied himself curiously. It was long since he had made verses. Had this interval of idleness been harmful to his technical capacities? It seemed to him that the lines, rising one by one out of the depths of his brain, had a new grace. The consonance came of itself, and ideas were born of the rhymes. Then suddenly some obstacle would intercept the flow, a line would rebel and the whole verse would be displaced like a shaken puzzle; the syllables would struggle against the constraint of the measure; a musical and luminous word which had taken his fancy had to be excluded by the severity of the rhythm, do what he would to retain it, and the verse was like a medal which has turned out imperfect through the inexperience of the caster, who has not calculated the proper quantity of metal necessary for filling the mould. With ingenious patience he poured the metal back into the crucible and began all over again. Finally the verse came out full and clear, and the whole sonnet lived and breathed like a free and perfect creature.
Thus he composed—now slow, now fast—with a delight never felt before. As the day grew, the sea cast luminous darts between the trees as between the columns of a jasper portico. Here Alma Tadema would have depicted a Sappho with hyacinthine locks, seated at the foot of the marble Hermes, singing to a seven-stringed lyre and surrounded by a chorus of maidens with locks of flame, all pallid and intent, drinking in the pure harmony of the verses.
Having accomplished the four sonnets, he heaved a sigh and proceeded to recite them silently but with inward emphasis. Then he wrote them on the quadrangular pedestal of the Hermes, one on each surface in the following order—