He had drawn only one plan on heavy paper, in strong black lines. An architect would have seen at once that it represented a part of the foundations of a very large building; and two or three persons then living in Rome might have recognized the plan of the cellars under the north-west corner of the Palazzo Conti—certainly not more than two or three, one of whom was the snuffy expert who had come from beyond the Tiber, and another was Baron Volterra. Toto, the mason, could have threaded the intricate ways in the dark, but could assuredly have made nothing of the drawings. On the other hand, the persons who were acquainted with them did not know what Toto knew, and he was not at all inclined to impart his knowledge to any one, for reasons best known to himself.
Furthermore, an architect would have understood at a glance that the plan was incomplete, and that there was some reason why it could not be completed. A part of it was quite blank, but in one place the probable continuation of a main wall not explored, or altogether inaccessible, was indicated by dotted lines.
Besides this main drawing, Malipieri had several others made on tracing paper to the same scale, which he laid over the first, and moved about, trying to make the one fit the other, and in each of these the part which was blank in the one underneath was filled in according to different imaginary plans. Lastly, he had a large transparent sheet on which were accurately laid out the walls and doors of the ground floor of the palace at the north-west corner, and in this there was marked a square piece of masonry, shaded as if to represent a solid pilaster, and which came over the unexplored part of the cellars. Sometimes Malipieri placed this drawing over the first, and then one of the others on both, trying to make the three agree. It was like an odd puzzle, and there was not a word written on any of the plans to explain what they meant. On most of the thin ones there were blue lines, indicating water, or at least its possible course.
The imaginary architect, if he could have watched the real one, would have understood before long that the latter was theorizing about the probable construction of what was hitherto inaccessible, and about the probable position of certain channels through which water flowed, or might be expected to flow. He would also have gathered that Malipieri could reach no definite conclusion unless he could break through one of two walls in the cellar, or descend through an opening in the floor above, which would be by far the easiest way. He might even have wondered why Malipieri did not at once adopt the latter expedient. It is not a serious matter to make an aperture through a vault, large enough to allow the passage of a man's body, and it could not be attended with any danger to the building. It would be much less safe and far more difficult to cut a hole through one of the main foundation walls, which might be many feet thick and yet not wholly secure. Nevertheless the movements made by the point of Malipieri's pencil showed that he was contemplating that method of gaining an entrance.
CHAPTER VII
Sabina had been more than two months in Baron Volterra's house, when she at last received a line from her mother. The short letter was characteristic and was, after all, what the girl had expected, neither more nor less. The Princess told her that for the present she must stay with the "kind friends" who had offered her a home; that everything would be right before long; that if she needed any advice she had better send for Sassi, who had always served the family faithfully; that gowns were going to be short next year, which would be becoming to Sabina when she "came out," because she had small feet and admirable ankles; and that the weather was heavenly. The Princess added that she would send her some pocket-money before long, and that she was trying to find the best way of sending it.
In spite of her position Sabina smiled at the last sentence. It was so like her mother to promise what she would never perform, that it amused her. She sat still for some time with the letter in her hand and then took it to the Baroness, for she felt that it was time to speak out and that the interview could not be put off any longer. The Baroness was writing in her boudoir. She wrote her letters on large sheets of an especial paper, stamped with her initials, over which appeared a very minute Italian baron's coronet, with seven points; it was so small that one might easily have thought that it had nine, like a count's, but it was undeniably smart and suggested an assured position in the aristocracy. No one quite remembered why the late King had made Volterra a baron, but he undoubtedly had done so, and no one disputed Volterra's right to use the title.
Sabina read her letter aloud, and the Baroness listened attentively, with a grave expression.
"Your dear mother—" she began in a soothing tone.
"She is not my 'dear mother' at all," said Sabina, interrupting her.
"She is not any more 'dear' to me than I am to her."