‘But I don’t see why you should be so much put out,’ said Kate, in an undertone, as they reached Lady Caryisfort’s door.
What did it mean? This little incident plunged her into a sea of thoughts. Up to this moment she had supposed Bertie Eldridge to be her cousin’s favourite, and had acquiesced in that arrangement. Somehow she did not like this so well. Kate had ceased for a long time to call Bertie Hardwick ‘my Bertie,’ as she had once done so frankly; but still she could not quite divest herself of the idea that he was more her own property than anyone else’s—her oldest friend, whom she had known before any of them. And he had been so kind the other morning, when the others had deserted her. It gave her a strange, dull, uncomfortable sensation to find him thus appropriated by her cousin. ‘I ought not to mind—it can be nothing to me,’ she said to herself; but, nevertheless, she did not like it. She was glad when they came to Lady Caryisfort’s door, and her tête-à-tête with Ombra was over; and it was even agreeable to her wounded amour-propre when Count Antonio came to her side, beaming with smiles and self-congratulations at having something to show her. He kept by Lady Caryisfort as they went on to the palazzo, which was close by, with the strictest Italian propriety; but when they had entered his own house the young Count did not hesitate to show that his chief motive was Kate. He shrugged his shoulders as he led them in through the great doorway into the court, which was full of myrtles and greenness. There was a fountain in the centre, which trickled shrilly in the air just touched with frost, and oleanders planted in great vases along a terrace with a low balustrade of marble. The tall house towered above, with all its multitudinous windows twinkling in the sun. There was a handsome loggia, or balcony, over the terrace on the first floor. It was there that the sunshine dwelt the longest, and there it was still warm, notwithstanding the frost. This balcony had been partially roofed in with glass, and there were some chairs placed in it and a small white covered table.
‘This is the best of my old house,’ said Count Antonio, leading them in, hat in hand, with the sun shining on his black hair. ‘Such as it is, it is at the service of ces dames; but its poor master must beg them to be very indulgent—to make great allowances for age and poverty.’ And then he turned and caught Kate’s eye, and bowed to the ground, and said, ‘Sia padrona!’ with the pretty extravagance of Italian politeness, with a smile for the others, but with a look for herself which made her heart flutter. ‘Sia padrona—consider yourself the mistress of everything,’—words which meant nothing at all, and yet might mean so much! And Kate, poor child, was wounded, and felt herself neglected. She was left out by others—banished from the love and confidence that were her due—her very rights invaded. It soothed her to feel that the young Italian, in himself as romantic a figure as heart could desire, who had been ‘out’ for his country, whose pedigree ran back to Noah, and perhaps a good deal further, was laying his half-ruined old house and his noble history at her feet. And the signs of poverty, which were not to be concealed, and which Count Antonio made no attempt to conceal, went to Kate’s heart, and conciliated her. She began to look at him, smiling over the wreck of greatness with respect as well as interest; and when he pointed to a great empty space in one of the noble rooms, Kate’s heart melted altogether.
‘There was our Raphael—the picture he painted for us. That went off in ’48, when my father fitted out the few men who were cut to pieces with him at Novara. I remember crying my eyes out, half for our Madonna, half because I was too small to go with him. Nevare mind’ (he said this in English—it was one of his little accomplishments of which he was proud). ‘The country is all the better; but no other picture shall ever hang in that place—that we have sworn, my mother and I.’
Kate stood and gazed up at the vacant place with an enthusiasm which perhaps the picture itself would scarcely have called from her. Her eyes grew big and luminous, ‘each about to have a tear.’ Something came into her throat which prevented her from speaking; she heard a little flutter of comments, but she could not betray the emotion she felt by trying to add to them. ‘Oh!’ she said to herself with that consciousness of her wealth which was at times a pleasure to her—‘oh! if I could find that Madonna, and buy it and send it back!’ And then other thoughts involuntarily rushed after that one—fancies, gleams of imagination, enough to cover her face with blushes. Antonio turned back when the party went on, and found her still looking up at the vacant place.
‘It is a sad blank, is it not?’ he said.
‘It is the most beautiful thing in all the house,’ said Kate; and one of the tears fell as she looked at him, a big blob of dew upon her glove. She looked at it in consternation, blushing crimson, ashamed of herself.
Antonio did what any young Italian would have done under the circumstances. Undismayed by the presence of an audience, he put one knee to the ground, and touched the spot upon Kate’s little gloved thumb with his lips; while she stood in agonies of shame, not knowing what to do.
‘The Signorina’s tear was for Italy,’ he said, as he rose; ‘and there is not an Italian living who would not thank her for it on his knees.’
He was perfectly serious, without the least sense that there could be anything ridiculous or embarrassing in the situation; but it may be imagined what was the effect upon the English party, all with a natural horror of a scene.