Don Paolo had not found much time to collect his thoughts before he reached the scene of battle, but his opinion of the matter in hand was well formed. He loved his niece, and he had begun to like Gianbattista. He knew the lawyer, Carnesecchi, by reputation, and what he had heard of him did not prejudice him in the man’s favour. It would have been the same had Marzio chosen any one else. In the priest’s estimation, Gianbattista had a right to expect the fulfilment of the many promises which had been made to him. To break those promises for no ostensible reason, just as Gianbattista seemed to be growing up to be a sensible man, was an act of injustice which Don Paolo would not permit if he could help it. Gianbattista was not, perhaps, a model man, but, by contrast with Marzio, he seemed almost saintly. He had a good disposition and no vices; married to Lucia and devoted to his art, much might be expected of him. On the other hand, Gasparo Carnesecchi represented the devil in person. He was known to be an advanced freethinker, a radical, and, perhaps, worse than a radical — a socialist. He was certainly not very rich, and Lucia’s dowry would be an object to him; he would doubtless spend the last copper of the money in attempting to be elected to the Chambers. If he succeeded, he would represent another unit in that ill-guided minority which has for its sole end the subversion of the existing state of things. He would probably succeed in getting back the money he had spent, and more also, by illicit means. If he failed, the money would be lost, and he would go from bad to worse, intriguing and mixing himself up with the despicable radical press, in the hope of getting a hearing and a place.
There is a scale in the meaning of the word socialist. In France it means about the same thing as a communist, when one uses plain language. When one uses the language of Monsieur Dramont, it means a Jew. In England a socialist is equal to a French conservative republican. In America it means a thief. In Germany it means an ingenious individual of restricted financial resources, who generally fails to blow up some important personage with wet dynamite. In Italy a socialist is an anarchist pure and simple, who wishes to destroy everything existing for the sake of dividing a wealth which does not exist at all. It also means a young man who orders a glass of water and a toothpick at a café, and is able to talk politics for a considerable time on this slender nourishment. Signor Succi and Signor Merlatti have discovered nothing new. Their miracles of fasting may be observed by the curious at any time in a Roman café.
Don Paolo regarded the mere idea of an alliance with Gasparo Carnesecchi as an outrage upon common sense, and when he entered Marzio’s workshop he was determined to say so. Marzio looked up with an air of inquiry, and Gianbattista foresaw what was coming. He nodded to the priest, and brought forward the old straw chair from the corner; then he returned to his work in silence.
“You will have guessed my errand,” Don Paolo began, by way of introducing his subject.
“No,” answered Marzio doggedly. “Something about the crucifix, I suppose.”
“Not at all,” returned the priest, folding his hands over the handle of his umbrella. “A much more delicate matter. You suggested last night an improbable scheme for marrying Lucia.”
“You had better say that I told you plainly what I mean to do. If you have come to talk about that, you had better talk to the workmen outside. They may answer you. I will not!”
Don Paolo was not to be so easily put off. He waited a moment as though to give Marzio time to change his mind, and then proceeded.
“There are three reasons why this marriage will not take place,” he said. “In the first place, it is wrong — that is my point of view. In the second place, it is impossible — and that is the view the law takes of it. Thirdly, it will not take place because you will not attempt to push it. What do you say of my reasons, Marzio?”
“They are worthy of you,” answered the artist. “In the first place, I do not care a fig for what you think is wrong, or right either. Secondly, I will take the law into my own hands. Thirdly, I will bring it about and finish it in a fortnight; and fourthly, you may go to the devil! What do you think of my reasons, Paolo? They are better than yours, and much more likely to prevail.”
“My dear Marzio,” returned the priest quietly, “you may say anything you please, I believe, in these days of liberty. But the law will not permit you to act upon your words. If you can persuade your daughter to marry Gasparo Carnesecchi of her own free will, well and good. If you cannot, there is a statute, I am quite sure, which forbids your dragging her up the steps of the Capitol, and making her sign her name by force or violence in the presence of the authorities. You may take my word for it; and so you had better dismiss the matter from your mind at once, and think no more about it.”
“I remember that you told her so last night,” growled Marzio, growing pale with anger.
“Certainly.”
“You — you — you priest!” cried the chiseller, unable in his rage to find an epithet which he judged more degrading. Don Paolo smiled.
“Yes, I am a priest,” he answered calmly.
“Yea, you are a priest,” yelled Marzio, “and what is to become of paternal authority in a household where such fellows as you are listening at the keyholes? Is a man to have no more rights? Are we to be ruled by women and creatures in petticoats? Viper! Poisoning my household, teaching my daughter to disobey me, my wife to despise me, my paid workmen to—”
“Silence!” cried Gianbattista in ringing tones, and with the word he sprang to his feet and clapped his hand on Marzio’s mouth.
The effect was sudden and unexpected. Marzio was utterly taken by surprise. It was incredible to him that any one should dare to forcibly prevent him from indulging in the language he had used with impunity for so many years. He leaned back pale and astonished, and momentarily dumb with amazement. Gianbattista stood over him, his young cheeks flushed with anger, and his broad fist clenched.
“If you dare to talk in that way to Don Paolo, I will kill you with my hands!” he said, his voice sinking lower with concentrated determination. “I have had enough of your foul talk. He is a better man than you, as I told you last night, and I repeat it now — take care—”
Marzio made a movement as though he would rise, and at the same instant Gianbattista seized the long, fine-pointed punch, which served for the eyes of the cherubs — a dangerous weapon in a determined hand.
Don Paolo had risen from his chair, and was trying to push himself between the two. But Gianbattista would not let him.
“For heaven’s sake,” cried the priest in great distress, “no violence, Tista — I will call the men—”
“Never fear,” answered the apprentice quietly; “the man is a coward.”
“To me — you dare to say that to me!” exclaimed Marzio, drawing back at the same time.
“Yes — it is quite true. But do not suppose that I think any the worse of you on that account, Sor Marzio.”
With this taunt, delivered in a voice that expressed the most profound contempt, Gianbattista went back to his seat and took up his hammer as though nothing had happened. Don Paolo drew a long breath of relief. As for Marzio, his teeth chattered with rage. His weakness had been betrayed at last, and by Gianbattista. All his life he had succeeded in concealing the physical fear which his words belied. He had cultivated the habit of offering to face danger, speaking of it in a quiet way, as he had observed that brave men did. He had found it good policy to tell people that he was not afraid of them, and his bearing had hitherto saved him from physical violence. Now he felt as though all his nerves had been drawn out of his body. He had been terrified, and he knew that he had shown it. Gianbattista’s words stung in his ears like the sting of wasps.
“You shall never enter this room again,” he hissed out between his teeth. The young man shrugged his shoulders as though he did not care. Don Paolo sat down again and grasped his umbrella.
“Gianbattista,” said the priest, “I am grateful to you for your friendship, my boy. But it is very wrong to be violent—”
“It
is one of the seven deadly sins!” cried Marzio, finding his voice at last, and by a strange accident venting his feelings in a sentence which might have been spoken by a confessor to a penitent.
Gianbattista could not help laughing, but he shook his head as though to explain that it was not his fault if he was violent with such a man.
“It is very wrong to threaten people, Tista,” repeated Don Paolo; “and besides it does not hurt me, what Marzio says. Let us all be calm. Marzio, let us discuss this matter reasonably. Tista, do not be angry at anything that is said. There is nothing to be done but to look at the question quietly.”
“It is very well for you to talk like that,” grumbled Marzio, pretending to busy himself over his model in order to cover his agitation.
“It is of no use to talk in any other way,” answered the priest “I return to the subject. I only want to convince you that you will find it impossible to carry out your determination by force. You have only to ask the very man you have hit upon, the Avvocato Garnesecchi, and he will tell you the same thing. He knows the law better than you or I. He will refuse to be a party to such an attempt. Ask him, if you do not believe me.”
“Yes; a pretty position you want to put me in, by the body of a dog! To ask a man to marry my daughter by force! A fine opinion he would conceive of my domestic authority! Perhaps you will take upon yourself to go and tell him — won’t you, dear Paolo? It would save me the trouble.”
“I think that is your affair,” answered Don Paolo, taking him in earnest. “Nevertheless, if you wish it—”
“Oh, this is too much!” cried Marzio, his anger rising again. “It is not enough that you thwart me at every turn, but you come here to mock me, to make a figure of me! Take care, Paolo, take care! You may go too far.”
“I would not advise you to go too far, Sor Marzio,” put in Gianbattista, turning half round on his stool.
“Cannot I speak without being interrupted? Go on with your work, Tista, and let us talk this matter out. I tell you, Paolo, that I do not want your advice, and that I have had far too much of your interference. I will inquire into this matter, so far as it concerns the law, and I will show you that I am right, in spite of all your surmises and prophecies. A man is master in his own house and must remain so, whatever laws are made. There is no law which can force a man to submit to the dictation of his brother — even if his brother is a priest.”
Marzio spoke more calmly than he had done hitherto, in spite of the sneer in the last sentence. He had broken down, and he felt that Paolo and Gianbattista were too much for him. He desired no repetition of the scene which had passed, and he thought the best thing to be done was to temporise for a while.
“I am glad you are willing to look into the matter,” answered Don Paolo. “I am quite sure you will soon be convinced.”
Marzio was silent, and it was evident that the interview was at an end. Don Paolo was tolerably well satisfied, for he had gained at least one point in forcing his brother to examine the question. He remained a moment in his seat, reviewing the situation, and asking himself whether there was anything more to be said. He wished indeed that he could produce some deeper impression on the artist. It was not enough, from the moral point of view, that Marzio should be made to see the impossibility of his scheme, although it was as much as could be expected. The good man wished with all his heart that Marzio could be softened a little, that he might be made to consider his daughter’s feelings, to betray some sign of an affection which seemed wholly dead, to show some more human side of his character. But the situation at present forbade Don Paolo from making any further effort. The presence of Gianbattista, who had suddenly constituted himself the priest’s defender, was a constraint. Alone with his brother, Marzio might possibly have exhibited some sensibility, but while the young man who had violently silenced him a few moments earlier was looking on, the chiseller would continue to be angry, and would not forget the humiliation he had suffered. There was nothing more to be done at present, and Don Paolo prepared to take his departure, gathering his cloak around him, and smoothing the felt of his three-cornered hat while he held his green umbrella under his arm.
“Are you going already, Don Paolo?” asked Gianbattista, rising to open the door.
“Yes, I must go. Good-bye, Marzio. Bear me no ill-will for pressing you to be cautious. Good-bye, Tista.” He pressed the young man’s hand warmly, as though to thank him for his courageous defence, and then left the workshop. Marzio paid no attention to his departure. When the door was closed, and as Gianbattista was returning to his bench, the artist dropped his modelling tools and faced his apprentice.
“You may go too,” he said in a low tone, as though he were choking. “I mean you may go for good. I do not need you any longer.”
He felt in his pocket for his purse, opened it, and took out some small notes.
“I give you an hour to take your things from my house,” he continued. “There are your wages — you shall not tell the priest that I cheated you.”
Gianbattista stood still in the middle of the room while Marzio held out the money to him. A hot flush rose to his young forehead, and he seemed on the point of speaking, but the words did not pass his lips. With a quick step he came forward, took the notes from Marzio’s hand, and crumpling them in his fingers, threw them in his face with all his might. Then he turned on his heel, spat on the floor of the room, and went out before Marzio could find words to resent the fresh insult.
The door fell back on the latch and Marzio was alone. He was very pale, and for a moment his features worked angrily. Then a cruel smile passed over his face. He stooped down, picked up the crumpled notes, counted them, and replaced them in his purse. The economical instinct never forsook him, and he did the thing mechanically. Glancing at the bench his eyes fell on the pointed punch which Gianbattista had taken up in his anger. He felt it carefully, handled it, looked at it, smiled again and put it into his pocket.
“It is not a bad one,” he muttered. “How many cherubs’ eyes I have made with that thing!”
He turned to the slate and examined the rough model he had made in wax, flat still, and only indicated by vigorous touches, the red material smeared on the black surface all around it by his fingers. There was force in the figure, even in its first state, and there was a strange pathos in the bent head, the only part as yet in high relief. But Marzio looked at it angrily. He turned it to the light, closed his eyes a moment, looked at it again, and then, with an incoherent oath, his long, discoloured hand descended on the model, and, with a heavy pressure and one strong push, flattened out what he had done, and smeared it into a shapeless mass upon the dark stone.
“I shall never do it,” he said in a low voice. “They have destroyed my idea.”
For some minutes he rested his head in his hand in deep thought. At last he rose and went to a corner of the workshop in which stood a heavily ironed box. Marzio fumbled in his pocket till he found a key, bright from always being carried about with him, and contrasting oddly with the rusty lock into which he thrust it. It turned with difficulty in his nervous fingers, and he raised the heavy lid. The coffer was full of packages wrapped in brown paper. He removed one after another till he came to a wooden case which filled the whole length and breadth of the safe. He lifted it out carefully and laid it on the end of the bench. The cover was fastened down by screws, and he undid them one by one until it moved and came off in his hands. The contents were wrapped carefully in a fine towel, which had once been white, but which had long grown yellow with age. Marzio unfolded the covering with a delicate touch as though he feared to hurt what was within. He took out a large silver crucifix, raising it carefully, and taking care not to touch the figure. He stood it upon the bench before him, and sat down to examine it.
It was a work of rare beauty, which he had made more than ten years before. With the strange reticent instinct which artists sometimes feel about their finest works, he had finished it in secret, working at night alone, and when it
was done he had put it away. It was his greatest feat, he had said to himself, and, as from time to time he took it out and looked at it, he gradually grew less and less inclined to show it to any one, resolving to leave it in its case, until it should be found after his death. It had seemed priceless to him, and he would not sell it. With a fantastic eccentricity of reasoning he regarded it as a sacred thing, to part with which would be a desecration. So he kept it. Then, taking it out again, it had seemed less good to him, as his mind became occupied with other things, and he had fancied he should do better yet. At last he screwed it up in a wooden case and put it at the bottom of his strong box, resolving never to look at it again. Many years had passed since he had laid eyes upon it.
The idea which had come to him when Paolo had communicated the order to him on the previous evening, had seemed absolutely new. It had appeared to him as a glorification of the work he had executed in secret so long ago. Time, and the habit of dissatisfaction had effaced from his mind the precise image of the work of the past, and the emotions of the present had seemed something new to him. He had drawn and modelled during many hours, and yet he was utterly disappointed with the new result. He felt the innate consciousness of having done it before, and of having done it better.
And now the wonderful masterpiece of his earlier years stood before him — the tall and massive ebony cross, bearing the marvellous figure of the dead Saviour. A ray of sunlight fell through the grated window upon the dying head, illuminating the points of the thorns in the crown, the falling locks of hair, the tortured hands, and casting a shadow of death beneath the half-closed eyes.
For several minutes Marzio sat motionless on his stool, realising the whole strength and beauty of what he had done ten years before. Then he wanted to get a better view of it. It was not high enough above him, for it was meant to stand upon an altar. He could not see the face. He looked about for something upon which to make it stand, but nothing was near. He pushed away his stool, and turning the cross a little, so that the sunlight should strike it at a better angle, he kneeled down on the floor, his hands resting on the edge of the bench, and he looked up at the image of the dead Christ.
Complete Works of F Marion Crawford Page 245
