Complete Works of F Marion Crawford

by F. Marion Crawford

  Gouache was received very well by Giovanni, and rather coldly by Corona, who knew him but slightly.

  “I congratulate you,” said Giovanni, noticing the stripes on the young man’s sleeves; “I see that you have risen in grade.”

  “Yes. I hold an important command of six men. I spend much time in studying the strategy of Condé and Napoleon. By the bye, I am here on a very important mission.”

  “Indeed!”

  “I suppose you give yourselves the luxury of never reading the papers in this delightful retreat. The day before yesterday the Cardinal attempted to arrest our friend Del Ferice — have you heard that?”

  “No — what — has he escaped?” asked Giovanni and Corona in a breath. But their tones were different. Giovanni had anticipated the news, and was disgusted at the idea that the fellow had got off. Corona was merely surprised.

  “Yes. Heaven knows how — he has escaped. I am here to cut him off if he tries to get to the Serra di Sant’ Antonio.”

  Giovanni laughed.

  “He will scarcely try to come this way — under the very walls of my house,” he said.

  “He may do anything. He is a slippery fellow.” Gouache proceeded to tell all he knew of the circumstances.

  “That is very strange,” said Corona, thoughtfully. Then after a pause, she added, “We are going to visit our road, Monsieur Gouache. Will you not come with us? My husband will give you a horse.”

  Gouache was charmed. He preferred talking to Giovanni and looking at Corona’s face to returning to his six Zouaves, or patrolling the hills in search of Del Ferice. In a few minutes the three were mounted, and riding slowly along the level stretch towards the works. As they entered the new road Giovanni and Corona unconsciously fell into conversation, as usual, about what they were doing, and forgot their visitor. Gouache dropped behind, watching the pair and admiring them with true artistic appreciation. He had a Parisian’s love of luxury and perfect appointments as well as an artist’s love of beauty, and his eyes rested with unmitigated pleasure on the riders and their horses, losing no detail of their dress, their simple English accoutrements, their firm seats and graceful carriage. But at a turn of the grade the two riders suddenly slipped from his field of vision, and his attention was attracted to the marvellous beauty of the landscape, as looking down the valley towards Astrardente he saw range on range of purple hills rising in a deep perspective, crowned with jagged rocks or sharply defined brown villages, ruddy in the lowering sun. He stopped his horse and sat motionless, drinking in the loveliness before him. So it is that accidents in nature make accidents in the lives of men.

  But Giovanni and Corona rode slowly down the gentle incline, hardly noticing that Gouache had stopped behind, and talking of the work. As they again turned a curve of the grade Corona, who was on the inside, looked up and caught sight of Gouache’s motionless figure at the opposite extremity of the gradient they had just descended. Giovanni looked straight before him, and was aware of a pale-faced Capuchin friar who with downcast eyes was toiling up the road, seemingly exhausted; a particularly weather-stained and dilapidated friar even for those wild mountains.

  “Gouache is studying geography,” remarked Corona.

  “Another of those Capuccini!” exclaimed Giovanni, instinctively feeling in his pocket for coppers. Then with a sudden movement he seized his wife’s arm. She was close to him as they rode slowly along side by side.

  “Good God! Corona,” he cried, “it is Del Ferice!” Corona looked quickly at the monk. His cowl was raised enough to show his features; but she would, perhaps, not have recognised his smooth shaven face had Giovanni not called her attention to it.

  Del Ferice had recognised them too, and, horror-struck, he paused, trembling and uncertain what to do. He had taken the wrong turn from the main road below; unaccustomed to the dialect of the hills, he had misunderstood the peasant who had told him especially not to take the bridle-path if he wished to avoid Saracinesca. He stopped, hesitated, and then, pulling his cowl over his face, walked steadily on. Giovanni glanced up and saw that Gouache was slowly descending the road, still absorbed in contemplating the landscape.

  “Let him take his chance,” muttered Saracinesca. “What should I care?”

  “No — no! Save him, Giovanni, — he looks so miserable,” cried Corona, with ready sympathy. She was pale with excitement.

  Giovanni looked at her one moment and hesitated, but her pleading eyes were not to be refused.

  “Then gallop back, darling. Tell Gouache it is cold in the valley — anything. Make him go back with you — I will save him since you wish it.”

  Corona wheeled her horse without a word and cantered up the hill again. The monk had continued his slow walk, and was now almost at Giovanni’s saddle-bow. The latter drew rein, staring hard at the pale features under the cowl.

  “If you go on you are lost,” he said, in low distinct tones. “The Zouaves are waiting for you. Stop, I say!” he exclaimed, as the monk attempted to pass on. Leaping to the ground Giovanni seized his arm and held him tightly. Then Del Ferice broke down.

  “You will not give me up — for the love of Christ!” he whined. “Oh, if you have any pity — let me go — I never meant to harm you—”

  “Look here,” said Giovanni. “I would just as soon give you up to the Holy

  Office as not; but my wife asked me to save you—”

  “God bless her! Oh, the saints bless her! God render her kindness!” blubbered Del Ferice, who, between fear and exhaustion, was by this time half idiotic.

  “Silence!” said Giovanni, sternly. “You may thank her if you ever have a chance. Come with me quietly. I will send one of the workmen round the hill with you. You must sleep at Trevi, and then get over the Serra as best you can.” He ran his arm through the bridle of his horse and walked by his enemy’s side.

  “You will not give me up,” moaned the wretched man. “For the love of heaven do not betray me — I have come so far — I am so tired.”

  “The wolves may make a meal of you, for all I care,” returned Giovanni. “I will not. I give you my word that I will send you safely on, if you will stop this whining and behave like a man.”

  At that moment Del Ferice was past taking offence, but for many a year afterwards the rough words rankled in his heart. Giovanni was brutal for once; he longed to wring the fellow’s neck, or to give him up to Gouache and the Zouaves. The tones of Ugo’s voice reminded him of injuries not so old as to be yet forgotten. But he smothered his wrath and strode on, having promised his wife to save the wretch, much against his will. It was a quarter of an hour before they reached the works, the longest quarter of an hour Del Ferice remembered in his whole life. Neither spoke a word. Giovanni hailed a sturdy-looking fellow who was breaking stones by the roadside.

  “Get up, Carluccio,” he said. “This good monk has lost his way. You must take him round the mountain, above Ponza to Arcinazzo, and show him the road to Trevi. It is a long way, but the road is good enough after Ponza — it is shorter than to go round by Saracinesca, and the good friar is in a hurry.”

  Carluccio started up with alacrity. He greatly preferred roaming about the hills to breaking stones, provided he was paid for it. He picked up his torn jacket and threw it over one shoulder, setting his battered hat jauntily on his thick black curls.

  “Give us a benediction, padre mio, and let us be off — non è mica un passo — it is a good walk to Trevi.”

  Del Ferice hesitated. He hardly knew what to do or say, and even if he had wished to speak he was scarcely able to control his voice. Giovanni cut the situation short by turning on his heel and mounting his horse. A moment later he was cantering up the road again, to the considerable astonishment of the labourers, who were accustomed to see him spend at least half an hour in examining the work done. But Giovanni was in no humour to talk about roads. He had spent a horrible quarter of an hour, between his desire to see Del Ferice punished and the promise he had given his wife to save him. He
felt so little sure of himself that he never once looked back, lest he should be tempted to send a second man to stop the fugitive and deliver him up to justice. He ground his teeth together, and his heart was full of bitter curses as he rode up the hill, hardly daring to reflect upon what he had done. That, in the eyes of the law, he had wittingly helped a traitor to escape, troubled his conscience little. His instinct bade him destroy Del Ferice by giving him up, and he would have saved himself a vast deal of trouble if he had followed his impulse. But the impulse really arose from a deep-rooted desire for revenge, which, having resisted, he regretted bitterly — very much as Shakespeare’s murderer complained to his companion that the devil was at his elbow bidding him not murder the duke. Giovanni spared his enemy solely to please his wife, and half-a-dozen words from her had produced a result which no consideration of mercy or pity could have brought about.

  Corona and Gouache had halted at the top of the road to wait for him. By an imperceptible nod, Giovanni informed his wife that Del Ferice was safe.

  “I am sorry to have cut short our ride,” he said, coldly. “My wife found it chilly in the valley.”

  Anastase looked curiously at Giovanni’s pale face, and wondered whether anything was wrong. Corona herself seemed strangely agitated.

  “Yes,” answered Gouache, with his gentle smile; “the mountain air is still cold.”

  So the three rode silently back to the castle, and at the gate Gouache dismounted and left them, politely declining a rather cold invitation to come in. Giovanni and Corona went silently up the staircase together, and on into a small apartment which in that cold season they had set apart as a sitting-room. When they were alone, Corona laid her hands upon Giovanni’s shoulders and gazed long into his angry eyes. Then she threw her arms round his neck and drew him to her.

  “My beloved,” she cried, proudly, “you are all I thought — and more too.”

  “Do not say that,” answered Giovanni. “I would not have lifted a finger to save that hound, but for you.”

  “Ah, but you did it, dear, all the same,” she said, and kissed him.

  On the following evening, without any warning, old Saracinesca arrived, and was warmly greeted. After dinner Giovanni told him the story of Del Ferice’s escape. Thereupon the old gentleman flew into a towering rage, swearing and cursing in a most characteristic manner, but finally declaring that to arrest spies was the work of spies, and that Giovanni had behaved like a gentleman, as of course he could not help doing, seeing that he was his own son.

  * * * * *

  And so the curtain falls upon the first act. Giovanni and Corona are happily married. Del Ferice is safe across the frontier among his friends in Naples, and Donna Tullia is waiting still for news of him, in the last days of Lent, in the year 1866. To carry on the tale from this point would be to enter upon a new series of events more interesting, perhaps, than those herein detailed, and of like importance in the history of the Saracinesca family, but forming by their very nature a distinct narrative — a second act to the drama, if it may be so called. I am content if in the foregoing pages I have so far acquainted the reader with those characters which hereafter will play more important parts, as to enable him to comprehend the story of their subsequent lives, and in some measure to judge of their future by their past, regarding them as acquaintances, if not sympathetic, yet worthy of some attention.

  Especially I ask for indulgence in matters political. I am not writing the history of political events, but the history of a Roman family during times of great uncertainty and agitation. If any one says that I have set up Del Ferice as a type of the Italian Liberal party, carefully constructing a villain in order to batter him to pieces with the artillery of poetic justice, I answer that I have done nothing of the kind. Del Ferice is indeed a type, but a type of a depraved class which very unjustly represented the Liberal party in Rome before 1870, and which, among those who witnessed its proceedings, drew upon the great political body which demanded the unity of Italy an opprobrium that body was very far from deserving. The honest and upright Liberals were waiting in 1866. What they did, they did from their own country, and they did it boldly. To no man of intelligence need I say that Del Ferice had no more affinity with Massimo D’Azeglio, with the great Cavour, with Cavour’s great enemy Giuseppe Mazzini, or with Garibaldi, than the jackal has with the lion. Del Ferice represented the scum which remained after the revolution of 1848 had subsided. He was one of those men who were used and despised by their betters, and in using whom Cavour himself was provoked into writing “Se noi facessimo per noi quel che faciamo per l’Italia, saremmo gran bricconi” — if we did for ourselves what we do for Italy, we should be great blackguards. And that there were honourable and just men outside of Rome will sufficiently appear in the sequel to this veracious tale.

  THE END

  End of the

  Marzio’s Crucifix

  CONTENTS

  CHAPTER I

  CHAPTER II

  CHAPTER III

  CHAPTER IV

  CHAPTER V

  CHAPTER VI

  CHAPTER VII

  CHAPTER VIII

  CHAPTER IX

  CHAPTER X

  CHAPTER XI

  CHAPTER I

  “THE WHOLE OF this modern fabric of existence is a living lie!” cried Marzio Pandolfi, striking his little hammer upon the heavy table with an impatient rap. Then he dropped it and turning on his stool rested one elbow upon the board while he clasped his long, nervous fingers together and stared hard at his handsome apprentice. Gianbattista Bordogni looked up from his work without relinquishing his tools, nodded gravely, stared up at the high window, and then went on hammering gently upon his little chisel, guiding the point carefully among the delicate arabesques traced upon the silver.

  “Yes,” he said quietly, after a few seconds, “it is all a lie. But what do you expect, Maestro Marzio? You might as well talk to a stone wall as preach liberty to these cowards.”

  “Nevertheless, there are some — there are half a dozen—” muttered Marzio, relapsing into sullen discontent and slowly turning the body of the chalice beneath the cord stretched by the pedal on which he pressed his foot. Having brought under his hand a round boss which was to become the head of a cherub under his chisel, he rubbed his fingers over the smooth silver, mechanically, while he contemplated the red wax model before him. Then there was silence for a space, broken only by the quick, irregular striking of the two little hammers upon the heads of the chisels.

  Maestro Marzio Pandolfi was a skilled workman and an artist. He was one of the last of those workers in metals who once sent their masterpieces from Rome to the great cathedrals of the world; one of the last of the artistic descendants of Caradosso, of Benvenuto Cellini, of Claude Ballin, and of all their successors; one of those men of rare talent who unite the imagination of the artist with the executive skill of the practised workman. They are hard to find nowadays. Of all the twenty chisellers of various ages who hammered from morning till night in the rooms outside, one only — Gianbattista Bordogni — had been thought worthy by his master to share the privacy of the inner studio. The lad had talent, said Maestro Marzio, and, what was more, the lad had ideas — ideas about life, about the future of Italy, about the future of the world’s society. Marzio found in him a pupil, an artist and a follower of his own political creed.

  It was a small room in which they worked together. Plain wooden shelves lined two of the walls from the floor to the ceiling. The third was occupied by tables and a door, and in the fourth high grated windows were situated, from which the clear light fell upon the long bench before which the two men sat upon high stools. Upon the shelves were numerous models in red wax, of chalices, monstrances, marvellous ewers and embossed basins for the ablution of the priests’ hands, crucifixes, crowns, palm and olive branches — in a word, models of all those things which pertain to the service and decoration of the church, and upon which it has been the privilege of the silversmith to expend his ar
t and labour from time immemorial until the present day. There were some few casts in plaster, but almost all were of that deep red, strong-smelling wax which is the most fit medium for the temporary expression and study of very fine and intricate designs. There is something in the very colour which, to one acquainted with the art, suggests beautiful fancies. It is the red of the Pompeian walls, and the rich tint seems to call up the matchless traceries of the ancients. Old chisellers say that no one can model anything wholly bad in red wax, and there is truth in the saying. The material is old — the older the better; it has passed under the hand of the artist again and again; it has taken form, served for the model of a lasting work, been kneaded together in a lump, been worked over and over by the boxwood tool. The workman feels that it has absorbed some of the qualities of the master’s genius, and touches it with the certainty that its stiff substance will yield new forms of beauty in his fingers, rendering up some of its latent capacity of shape at each pressure and twist of the deftly-handled instrument.

  At the extremities of the long bench huge iron vices were fixed by staples that ran into the ground. In one of these was fastened the long curved tool which serves to beat out the bosses of hollow and small-necked vessels. Each of the workmen had a pedal beneath his foot from which a soft cord ascended, passed through the table, and pressed the round object on which he was working upon a thick leather cushion, enabling him to hold it tightly in its place, or by lifting his foot to turn it to a new position. In pots full of sand were stuck hundreds of tiny chisels, so that the workmen could select at a glance the exact form of tool needful for the moment. Two or three half balls of heavy stone stood in leathern collars, their flat surfaces upwards and covered with a brown composition of pitch and beeswax an inch thick, in which small pieces of silver were firmly embedded in position to be chiselled.

  The workshop was pervaded by a smell of wax and pitch, mingled with the curious indefinable odour exhaled from steel tools in constant use, and supplemented by the fumes of Marzio’s pipe. The red bricks in the portion of the floor where the two men sat were rubbed into hollows, but the dust had been allowed to accumulate freely in the rest of the room, and the dark corners were full of cobwebs which had all the air of being inhabited by spiders of formidable dimensions.