"Ah, and what a night that was," he cried, "when the Duke re-entered Milan with them! Since I do not hurt thee by the recollection, messer, let me tell thee, it was a splendid sight, that night the Duke returned. I live a quiet life, as an artist may do, even in Milan. I know little, I care little for the wars of princes. They tell me the Visconti's crimes outnumber the stars; but, messer, his shadow has not fallen across my house, and what one does not see one does not fear—but when he returned from Verona! that was a sight, messer. It was late. Our house overlooks the western gates, and all day long the messengers had come and sped, bringing the news the Duke was here. Toward evening—we leaning from the window as did everyone—Alberic da Salluzzo comes galloping to the walls—red-hot upon some report that the Visconti has been slain—to look to the arming of the citizens. Even as we strain from the window, following the flash of his plumes—back he comes in madder haste—the Visconti is alive! The people shout and yell, and some cry 'tis not the Visconti's army on the road, but Della Scala's. Meanwhile a mob, with Napoleone della Torre at their head, begins to agitate, to threaten riot. With a strong hand Alberic puts them down—the streets are cleared, Graziosa and I on the balcony, all is dark, silent, save now and then the clink of the armor of the sentries on the walls. I am too excited for sleep, messer, all so hushed, so subdued, waiting, waiting. All at once it comes. Oh, the rattle, the roar! The great gates clatter back, the streets fill with crowds no man can keep back. The victorious army pelts through them; two men on every horse, great flaring torches throwing their yellow light on the torn banners and the wild faces of the soldiers, and then the cannon, leaping over the rough stones, drawn by the smoke-blackened gunners, all tearing, rushing through the street, a mass of light and shade, wonderful, wonderful! In the midst, the Visconti, the ragged light streaming over his tattered armor, and Isotta d'Este, guarded between two soldiers, swaying on her black horse, and above all the shouts of the frenzied triumph of the Milanese.... Ah!"
Agnolo paused now for want of breath, and glanced at his companion.
But Francisco offered no response. His face was turned away, and his hands were clenched. The little painter had a vague sense of having allowed a mere artist's enthusiasm to carry him too far into a dangerous theme.
"Ah, well," he continued in a deprecating tone, "a splendid sight truly, and one to fire the blood, but I am a man of peace, and I greatly grieve Della Scala should have perished. He was a noble prince."
The stranger rose abruptly.
"Do not speak of Della Scala," he said harshly. "I love to hear his name as little as Visconti's. His was the crime of failure."
"Failure! Who would not have failed?" said Agnolo gently, for he thought he spoke to one who must have lost his all in the sacked town. "I know little of such things, but 'twas here and there asserted he fell by craft as well as force, and he was a great soldier and an honorable man, Messer Francisco."
"He had all the virtues, doubtless," said Francisco, "and lost Verona."
"And his life!" replied the painter. "Ah, well, these things are grievous! The saints protect my daughter from all share in them," and he glanced affectionately toward Graziosa, returning through the gray-green willows with lilies in her hands.
"For my pictures," said the painter, pointing to them. "I am painting an altar-piece—for the lunettes. I shall have Graziosa as St. Katherine, and Ambrogio (her betrothed, messer) as St. Michael. These flowers will make the border."