Complete Works of F Marion Crawford

by F. Marion Crawford

  There was no tinge of sarcasm in Gouache’s voice as he imputed to Del Ferice the savage enthusiasm of a revolutionist. But when Gouache, who was by no means calm by nature, said anything in a particularly gentle tone, there was generally a sting in it, and Del Ferice reflected upon the mean traffic in stolen information by which he got his livelihood, and was ashamed. Somehow, too, Donna Tullia felt that the part she fancied herself playing was contemptible enough when compared with the hard work, the earnest purpose, and the remarkable talent of the young artist. But though she felt her inferiority, she would have died rather than own it, even to Del Ferice. She knew that for months she had talked with Del Ferice, with Valdarno, with Casalverde, even with the melancholy and ironical Spicca, concerning conspiracies and deeds of darkness of all kinds, and she knew that she and they might go on talking for ever in the same strain without producing the smallest effect on events; but she never to the very end relinquished the illusion she cherished so dearly, that she was really and truly a conspirator, and that if any one of her light-headed acquaintance betrayed the rest, they might all be ordered out of Rome in four-and-twenty hours, or might even disappear into that long range of dark buildings to the left of the colonnade of St. Peter’s, martyrs to the cause of their own self-importance and semi-theatrical vanity. There were many knots of such self-fancied conspirators in those days, whose wildest deed of daring was to whisper across a glass of champagne in a ball-room, or over a tumbler of Velletri wine in a Trasteverine cellar, the magic and awe-inspiring words, “Viva Garibaldi! Viva Vittorio!” They accomplished nothing. The same men and women are now grumbling and regretting the flesh-pots of the old Government, or whispering in impotent discontent “Viva la Repubblica!” and they and their descendants will go on whispering something to each other to the end of time, while mightier hands than theirs are tearing down empires and building up irresistible coalitions, and drawing red pencil-marks through the geography of Europe.

  The conspirators of those days accomplished nothing after Pius IX. returned from Gaeta; the only men who were of any use at all were those who, like Del Ferice, had sources of secret information, and basely sold their scraps of news. But even they were of small importance. The moment had not come, and all the talking and whispering and tale-bearing in the world could not hasten events, nor change their course. But Donna Tullia was puffed up with a sense of her importance, and Del Ferice managed to attract just as much attention to his harmless chatter about progress as would permit him undisturbed to carry on his lucrative traffic in secret information.

  Donna Tullia, who was not in the least artistic, and who by no means appreciated the merits of the portrait Gouache was painting, was very far from comprehending his definition of artistic comparison; but Del Ferice understood it very well. Donna Tullia had much foreign blood in her veins, like most of her class; but Del Ferice’s obscure descent was in all probability purely Italian, and he had inherited the common instinct in matters of art which is a part of the Italian birthright. He had recognised Gouache’s wonderful talent, and had first brought Donna Tullia to his studio — a matter of little difficulty when she had learned that the young artist had already a reputation. It pleased her to fancy that by telling him to paint her portrait she might pose as his patroness, and hereafter reap the reputation of having influenced his career. For fashion, and the desire to be the representative of fashion, led Donna Tullia hither and thither as a lapdog is led by a string; and there is nothing more in the fashion than to patronise a fashionable portrait-painter.

  But after Anastase Gouache had thus delivered himself of his views upon Del Ferice and the faculty of artistic comparison, the conversation languished, and Donna Tullia grew restless. “She had sat enough,” she said; and as her expression was not favourable to the portrait, Anastase did not contradict her, but presently suffered her to depart in peace with her devoted adorer at her heels. And when they were gone, Anastase lighted a cigarette, and took a piece of charcoal and sketched a caricature of Donna Tullia in a liberty cap, in a fine theatrical attitude, invoking the aid of Del Ferice, who appeared as the Angel of Death, with the guillotine in the background. Having put the finishing touches to this work of art, Anastase locked his studio and went to breakfast, humming an air from the “Belle Hélène.”

  CHAPTER VIII.

  WHEN CORONA REACHED home she went to her own small boudoir, with the intention of remaining there for an hour if she could do so without being disturbed. There was a prospect of this; for on inquiry she ascertained that her husband was not yet dressed, and his dressing took a very long time. He had a cosmopolitan valet, who alone of living men understood the art of fitting the artificial and the natural Astrardente together. Corona believed this man to be an accomplished scoundrel; but she never had any proof that he was anything worse than a very clever servant, thoroughly unscrupulous where his master’s interests or his own were concerned. The old Duca believed in him sincerely and trusted him alone, feeling that since he could never be a hero in his valet’s eyes, he might as well take advantage of that misfortune in order to gain a confident.

  Corona found three or four letters upon her table, and sat down to read them, letting her fur mantle drop to the floor, and putting her small feet out towards the fire, for the pavement of the church had been cold.

  She was destined to pass an eventful day, it seemed. One of the letters was from Giovanni Saracinesca. It was the first time he had ever written to her, and she was greatly surprised on finding his name at the foot of the page. He wrote a strong clear handwriting, entirely without adornment of penmanship, close and regular and straight: there was an air of determination about it which was sympathetic, and a conciseness of expression which startled Corona, as though she had heard the man himself speaking to her.

  “I write, dear Duchessa, because I covet your good opinion, and my motive is therefore before all things an interested one. I would not have you think that I had idly asked your advice about a thing so important to me as my marriage, in order to discard your counsel at the first opportunity. There was too much reason in the view you took of the matter to admit of my not giving your opinion all the weight I could, even if I had not already determined upon the very course you advised. Circumstances have occurred, however, which have almost induced me to change my mind. I have had an interview with my father, who has put the matter very plainly before me. I hardly know how to tell you this, but I feel that I owe it to you to explain myself, however much you may despise me for what I am going to say. It is very simple, nevertheless. My father has informed me that by my conduct I have caused my name to be coupled in the mouth of the gossips with that of a person very dear to me, but whom I am unfortunately prevented from marrying. He has convinced me that I owe to this lady, who, I confess, takes no interest whatever in me, the only reparation possible to be made — that of taking a wife, and thus publicly demonstrating that there was never any truth in what has been said. As a marriage will probably be forced upon me some day, it is as well to let things take their course at once, in order that a step so disagreeable to myself may at least distantly profit one whom I love in removing me from the appearance of being a factor in her life. The gossip about me has never reached your ears, but if it should, you will be the better able to understand my position.

  “Do not think, therefore, that if I do not follow your advice I am altogether inconsistent, or that I wantonly presumed to consult you without any intention of being guided by you. Forgive me also this letter, which I am impelled to write from somewhat mean motives of vanity, in the hope of not altogether forfeiting your opinion; and especially I beg you to believe that I am at all times the most obedient of your servants,

  “GIOVANNI SARACINESCA.”

  Of what use was it that she had that morning determined to forget Giovanni, since he had the power of thus bringing himself before her by means of a scrap of paper? Corona’s hand closed upon the letter convulsively, and for a moment the room seemed to swim around her.
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  So there was some one whom he loved, some one for whose fair name he was willing to sacrifice himself even to the extent of marrying against his will. Some one, too, who not only did not love him, but took no interest whatever in him. Those were his own words, and they must be true, for he never lied. That accounted for his accompanying Donna Tullia to the picnic. He was going to marry her after all. To save the woman he loved so hopelessly from the mere suspicion of being loved by him, he was going to tie himself for life to the first who would marry him. That would never prevent the gossips from saying that he loved this other woman as much as ever. It could do her no great harm, since she took no interest whatever in him. Who could she be, this cold creature, whom even Giovanni could not move to interest? It was absurd — the letter was absurd — the whole thing was absurd! None but a madman would think of pursuing such a course; and why should he think it necessary to confide his plans — his very foolish plans — to her, Corona d’Astrardente, — why? Ah, Giovanni, how different things might have been!

  Corona rose angrily from her seat and leaned against the broad chimney-piece, and looked at the clock — it was nearly mid-day. He might marry whom he pleased, and be welcome — what was it to her? He might marry and sacrifice himself if he pleased — what was it to her?

  She thought of her own life. She, too, had sacrificed herself; she, too, had tied herself for life to a man she despised in her heart, and she had done it for an object she had thought good. She looked steadily at the clock, for she would not give way, nor bend her head and cry bitter tears again; but the tears were in her eyes, nevertheless.

  “Giovanni, you must not do it — you must not do it!” Her lips formed the words without speaking them, and repeated the thought again and again. Her heart beat fast and her cheeks flushed darkly. She spread out the crumpled letter and read it once more. As she read, the most intense curiosity seized her to know who this woman might be whom Giovanni so loved; and with her curiosity there was a new feeling — an utterly hateful and hating passion — something so strong, that it suddenly dried her tears and sent the blood from her cheeks back to her heart. Her white hand was clenched, and her eyes were on fire. Ah, if she could only find that woman he loved! if she could only see her dead — dead with Giovanni Saracinesca there upon the floor before her! As she thought of it, she stamped her foot upon the thick carpet, and her face grew paler. She did not know what it was that she felt, but it completely overmastered her. Padre Filippo would be pleased, she thought, for she knew how in that moment she hated Giovanni Saracinesca.

  With a sudden impulse she again sat down and opened the letter next to her hand. It was a gossiping epistle from a friend in Paris, full of stories of the day, exclamations upon fashion and all kinds of emptiness; she was about to throw it down impatiently and take up the next when her eyes caught Giovanni’s name.

  “Of course it is not true that Saracinesca is to marry Madame Mayer…” were the words she read. But that was all. There chanced to have been just room for the sentence at the foot of the page, and by the time her friend had turned over the leaf, she had already forgotten what she had written, and was running on with a different idea. It seemed as though Corona were haunted by Giovanni at every turn; but she had not reached the end yet, for one letter still remained. She tore open the envelope, and found that the contents consisted of a few lines penned in a small and irregular hand, without signature. There was an air of disguise about the whole, which was unpleasant; it was written upon a common sort of paper, and had come through the city post. It ran as follows: —

  “The Duchessa d’Astrardente reminds us of the fable of the dog in the horse’s manger, for she can neither eat herself nor let others eat. She will not accept Don Giovanni Saracinesca’s devotion, but she effectually prevents him from fulfilling his engagements to others.”

  If Corona had been in her ordinary mood, she would very likely have laughed at the anonymous communication. She had formerly received more than one passionate declaration, not signed indeed, but accompanied always by some clue to the identity of the writer, and she had carelessly thrown them into the fire. But there was no such indication here whereby she might discover who it was who had undertaken to criticise her, to cast upon her so unjust an accusation. Moreover, she was very angry and altogether thrown out of her usually calm humour. Her first impulse was to go to her husband, and in the strength of her innocence to show him the letter. Then she laughed bitterly as she thought how the selfish old dandy would scoff at her sensitiveness, and how utterly incapable he would be of discovering the offender or of punishing the offence. Then again her face was grave, and she asked herself whether it was true that she was innocent; whether she were not really to be blamed, if perhaps she had really prevented Giovanni from marrying Donna Tullia.

  But if that were true, she must herself be the woman he spoke of in his letter. Any other woman would have suspected as much. Corona went to the window, and for an instant there was a strange light of pleasure in her face. Then she grew very thoughtful, and her whole mood changed. She could not conceive it possible that Giovanni so loved her as to marry for her sake. Besides, no one could ever have breathed a word of him in connection with herself — until this abominable anonymous letter was written.

  The thought that she might, after all, be the “person very dear to him,” the one who “took no interest whatever in him,” had nevertheless crossed her mind, and had given her for one moment a sense of wild and indescribable pleasure. Then she remembered what she had felt before; how angry, how utterly beside herself, she had been at the thought of another woman being loved by him, and she suddenly understood that she was jealous of her. The very thought revived in her the belief that it was not she herself who was thus influencing the life of Giovanni Saracinesca, but another, and she sat silent and pale.

  Of course it was another! What had she done, what word had she spoken, whereby the world might pretend to believe that she controlled this man’s actions? “Fulfilling his engagements,” the letter said, too. It must have been written by an ignorant person — by some one who had no idea of what was passing, and who wrote at random, hoping to touch a sensitive chord, to do some harm, to inflict some pain, in petty vengeance for a fancied slight. But in her heart, though she crushed down the instinct, she would have believed the anonymous jest well founded, for the sake of believing, too, that Giovanni Saracinesca was ready to lay his life at her feet — although in that belief she would have felt that she was committing a mortal sin.

  She went back to her interview that morning with Padre Filippo, and thought over all she had said and all he had answered; how she had been willing to admit the possibility of Giovanni’s love, and how sternly the confessor had ruled down the clause, and told her there should never arise such a doubt in her mind; how she had scorned herself for being capable of seeking love where there was none, and how she had sworn that there should be no perhaps in the matter. It seemed very hard to do right, but she would try to see where the right lay. In the first place, she should burn the anonymous letter, and never condescend to think of it; and she should also burn Giovanni’s, because it would be an injustice to him to keep it. She looked once more at the unsigned, ill-written page, and, with a little scornful laugh, threw it from where she sat into the fire with its envelope; then she took Giovanni’s note, and would have done the same, but her hand trembled, and the crumpled bit of paper fell upon the hearth. She rose from her chair quickly, and took it up again, kneeling before the fire, like some beautiful dark priestess of old feeding the flames of a sacred altar. She smoothed the paper out once more, and once more read the even characters, and looked long at the signature, and back again to the writing.

  “This lady, who, I confess, takes no interest whatever in me….”

  “How could he say it!” she exclaimed aloud. “Oh, if I knew who she was!” With an impatient movement she thrust the letter among the coals, and watched the fire curl it and burn it, from white to brown and from br
own to black, till it was all gone. Then she rose to her feet and left the room.

  Her husband certainly did not guess that the Duchessa d’Astrardente had spent so eventful a morning; and if any one had told him that his wife had been through a dozen stages of emotion, he would have laughed, and would have told his informant that Corona was not of the sort who experience violent passions. That evening they went to the opera together, and the old man was in an unusually cheerful humour. A new coat had just arrived from Paris, and the padding had attained a higher degree of scientific perfection than heretofore. Corona also looked more beautiful than even her husband ever remembered to have seen her; she wore a perfectly simple gown of black satin without the smallest relief of colour, and upon her neck the famous Astrardente necklace of pearls, three strings of even thickness, each jewel exquisitely white and just lighted in its shadow by a delicate pink tinge — such a necklace as an empress might have worn. In the raven masses of her hair there was not the least ornament, nor did any flower enhance the rich blackness of its silken coils. It would be impossible to imagine greater simplicity than Corona showed in her dress, but it would be hard to conceive of any woman who possessed by virtue of severe beauty a more indubitable right to dispense with ornament.

  The theatre was crowded. There was a performance of “Norma” for which several celebrated artists had been engaged — an occurrence so rare in Rome, that the theatre was absolutely full. The Astrardente box was upon the second tier, just where the amphitheatre began to curve. There was room in it for four or five persons to see the stage.

  The Duchessa and her husband arrived in the middle of the first act, and remained alone until it was over. Corona was extremely fond of “Norma,” and after she was seated never took her eyes from the stage. Astrardente, on the other hand, maintained his character as a man of no illusions, and swept the house with his small opera-glass. The instrument itself was like him, and would have been appropriate for a fine lady of the First Empire; it was of mother-of-pearl, made very small and light, the metal-work upon it heavily gilt and ornamented with turquoises. The old man glanced from time to time at the stage, and then again settled himself to the study of the audience, which interested him far more than the opera.