Noemi trembled at the strange ring in her friend’s voice. She herself had not noticed the figure standing erect in the shadow of the wall.
“Who?” she asked.
The monk, who, in the meantime, had opened the gate, misunderstood her, and thought she referred to something that had been said before.
“No,” he answered. “The authentic portrait of St. Francis is not here. Lower down there is a St. Francis painted by the Cavalier Manente. You will see it presently. Please come in.”
“What is it?” Noemi said softly to Jeanne. Her friend having answered in a calmer voice, “Nothing,” she passed her, entering the chapel, and listened to the monk’s explanations. Then the black figure moved away from the wall. Jeanne saw it slowly mounting in the dim light, under the pointed arches. On the upper landing the figure turned to the right, and disappeared, to reappear almost immediately on an arm of the stair, crossing the slanting background of the scene, and brilliant in the light of an invisible window. The figure mounted slowly, almost wearily. Before it vanished behind the enormous flank of an arch, it bent its head and looked down. Jeanne recognised the face!
On the instant, as if in obedience to a lightning will impelling her, as if borne along by the rush of her destiny, pale, resolute, without knowing what she would say, what she would do, she started upwards. Having crossed the upper landing, she was about to place her foot on the lighter stairway, when she stumbled and fell, remaining for a moment prostrate. Thus Noemi, on leaving the chapel, did not see her, and concluded she had gone down in search of the portrait of St. Francis, Jeanne rose and started forward; she was a poor creature torn by passions, to whom the images of celestial peace, grown rigid on the sacred walls, called in vain. All before her was silence and void. She was following paths unknown to her, swiftly, securely, as one in an hypnotic trance. She passed through dark and narrow places, through light and broad places, never hesitating, never looking to right or left, all her senses sharpened and concentrated in her hearing, following little sounds of distant whisperings, the faint complaining of one door, the breath of wind from another, the brushing of a robe against the frame. Thus, through the wide-open wings of the last door she passed rapidly, and found herself face to face with him.
He also had recognised her, at the last moment, on the Scala Santa. He felt almost certain he himself had not been recognised, nevertheless he had sought to avoid the path usually followed by visitors. Upon hearing a swift rustle of woman’s drapery approaching that mysterious hall, he understood all, and, facing the entrance, he waited. She perceived him and stopped suddenly, in the very act of entering, standing as though turned to stone, between the wings of the door; her eyes fixed on his eyes, which no longer wore the look of Piero Maironi.
He was transfigured. His form, owing perhaps to the black habit, appeared slighter. His pale, fleshless face, his brow, which seemed to have become higher, expressed a dignity, a gravity, a sad sweetness which Jeanne had never known in him. And the eyes were totally different eyes; in them shone a something ineffable and divine, much humility, much power, the power of a transcendent love, springing not from his heart, but from a mystic fount within his heart; a love reaching beyond her heart, but seeking her in the inner, mysterious regions of the soul, regions unknown to her. Slowly, slowly she clasped her hands and sank upon her knees.
Benedetto carried the forefinger of his left hand to his lips, while with his other hand he pointed to the wall facing the balcony, which opens to the hornbeams of the Francolano hill and to the roar of the river far below. In the centre of the wall, showing black and large, was the word
SILENTIUM.