"Come, come, Francesco, you are out of humour with waiting," said the conciliatory Nello. "Let me stop your mouth with a little lather. I must not have my friend Cronaca made angry: I have a regard for his chin; and his chin is in no respect altered since he became a Piagnone. And for my own part, I confess, when the Frate was preaching in the Duomo last Advent, I got into such a trick of slipping in to listen to him that I might have turned Piagnone too, if I had not been hindered by the liberal nature of my art; and also by the length of the sermons, which are sometimes a good while before they get to the moving point. But, as Messer Niccolo here says, the Frate lays hold of the people by some power over and above his prophetic visions. Monks and nuns who prophesy are not of that rareness. For what says Luigi Pulci? 'Dombruno's sharp-cutting scimitar had the fame of being enchanted; but,' says Luigi, 'I am rather of opinion that it cut sharp because it was of strongly-tempered steel.' Yes, yes; Paternosters may shave clean, but they must be said over a good razor."

"See, Nello!" said Macchiavelli, "what doctor is this advancing on his Bucephalus? I thought your piazza was free from those furred and scarlet-robed lackeys of death. This man looks as if he had had some such night adventure as Boccaccio's Maestro Simone, and had his bonnet and mantle pickled a little in the gutter; though he himself is as sleek as a miller's rat."

"A-ah!" said Nello, with a low long-drawn intonation, as he looked up towards the advancing figure—a round-headed, round-bodied personage, seated on a raw young horse, which held its nose out with an air of threatening obstinacy, and by a constant effort to back and go off in an oblique line showed free views about authority very much in advance of the age.

"And I have a few more adventures in pickle for him," continued Nello, in an undertone, "which I hope will drive his inquiring nostrils to another quarter of the city. He's a doctor from Padua; they say he has been at Prato for three months, and now he's come to Florence to see what he can net. But his great trick is making rounds among the contadini. And do you note those great saddle-bags he carries? They are to hold the fat capons and eggs and meal he levies on silly clowns with whom coin is scarce. He vends his own secret medicines, so he keeps away from the doors of the druggists; and for this last week he has taken to sitting in my piazza for two or three hours every day, and making it a resort for asthmas and squalling bambini. It stirs my gall to see the toad-faced quack fingering the greasy quattrini, or bagging a pigeon in exchange for his pills and powders. But I'll put a few thorns in his saddle, else I'm no Florentine. Laudamus! he is coming to be shaved; that's what I've waited for. Messer Domenico, go not away: wait; you shall see a rare bit of fooling, which I devised two days ago. Here, Sandro!"

Nello whispered in the ear of Sandro, who rolled his solemn eyes, nodded, and, following up these signs of understanding with a slow smile, took to his heels with surprising rapidity.

"How is it with you, Maestro Tacco?" said Nello, as the doctor, with difficulty, brought his horse's head round towards the barber's shop. "That is a fine young horse of yours, but something raw in the mouth, eh?"

"He is an accursed beast, the vermocane seize him!" said Maestro Tacco, with a burst of irritation, descending from his saddle and fastening the old bridle, mended with string, to an iron staple in the wall. "Nevertheless," he added, recollecting himself, "a sound beast and a valuable, for one who wanted to purchase, and get a profit by training him. I had him cheap."

"Rather too hard riding for a man who carries your weight of learning: eh, Maestro?" said Nello. "You seem hot."

"Truly, I am likely to be hot," said the doctor, taking off his bonnet, and giving to full view a bald low head and flat broad face, with high ears, wide lipless mouth, round eyes, and deep arched lines above the projecting eyebrows, which altogether made Nello's epithet "toad-faced" dubiously complimentary to the blameless batrachian. "Riding from Peretola, when the sun is high, is not the same thing as kicking your heels on a bench in the shade, like your Florence doctors. Moreover, I have had not a little pulling to get through the carts and mules into the Mercato, to find out the husband of a certain Monna Ghita, who had had a fatal seizure before I was called in; and if it had not been that I had to demand my fees—"

"Monna Ghita!" said Nello, as the perspiring doctor interrupted himself to rub his head and face. "Peace be with her angry soul! The Mercato will want a whip the more if her tongue is laid to rest."

Tito, who had roused himself from his abstraction, and was listening to the dialogue, felt a new rush of the vague half-formed ideas about Tessa, which had passed through his mind the evening before: if Monna Ghita were really taken out of the way, it would be easier for him to see Tessa again—whenever he wanted to see her.

"Gnaffe, Maestro," Nello went on, in a sympathising tone, "you are the slave of rude mortals, who, but for you, would die like brutes, without help of pill or powder. It is pitiful to see your learned lymph oozing from your pores as if it were mere vulgar moisture. You think my shaving will cool and disencumber you? One moment and I have done with Messer Francesco here. It seems to me a thousand years till I wait upon a man who carries all the science of Arabia in his head and saddle-bags. Ecco!"

Nello held up the shaving-cloth with an air of invitation, and Maestro Tacco advanced and seated himself under a preoccupation with his heat and his self-importance, which made him quite deaf to the irony conveyed in Nello's officiously polite speech.

"It is but fitting that a great medicus like you," said Nello, adjusting the cloth, "should be shaved by the same razor that has shaved the illustrious Antonio Benevieni, the greatest master of the chirurgic art."

"The chirurgic art!" interrupted the doctor, with an air of contemptuous disgust. "Is it your Florentine fashion to put the masters of the science of medicine on a level with men who do carpentry on broken limbs, and sew up wounds like tailors, and carve away excrescences as a butcher trims meat? Via! A manual art, such as any artificer might learn, and which has been practised by simple barbers like yourself—on a level with the noble science of Hippocrates, Galen, and Avicenna, which penetrates into the occult influences of the stars and plants and gems!—a science locked up from the vulgar!"

"No, in truth, Maestro," said Nello, using his lather very deliberately, as if he wanted to prolong the operation to the utmost, "I never thought of placing them on a level: I know your science comes next to the miracles of Holy Church for mystery. But there, you see, is the pity of it,"—here Nello fell into a tone of regretful sympathy—"your high science is sealed from the profane and the vulgar, and so you become an object of envy and slander. I grieve to say it, but there are low fellows in this city—mere sgherri, who go about in nightcaps and long beards, and make it their business to sprinkle gall in every man's broth who is prospering. Let me tell you—for you are a stranger—this is a city where every man had need carry a large nail ready to fasten on the wheel of Fortune when his side happens to be uppermost. Already there are stories—mere fables doubtless—beginning to be buzzed about concerning you, that make me wish I could hear of your being well on your way to Arezzo. I would not have a man of your metal stoned, for though San Stefano was stoned, he was not great in medicine like San Cosmo and San Damiano..."

"What stories? what fables?" stammered Maestro Tacco. "What do you mean?"

"Lasso! I fear me you are come into the trap for your cheese, Maestro. The fact is, there is a company of evil youths who go prowling about the houses of our citizens carrying sharp tools in their pockets;—no sort of door, or window, or shutter, but they will pierce it. They are possessed with a diabolical patience to watch the doings of people who fancy themselves private. It must be they who have done it—it must be they who have spread the stories about you and your medicines. Have you by chance detected any small aperture in your door, or window-shutter? No? Well, I advise you to look; for it is now commonly talked of that you have been seen in your dwelling at the Canto di Paglia, making your secret specifics by night: pounding dried toads in a mortar, compounding a salve out of mashed worms, and making your pills from the dried livers of rats which you mix with saliva emitted during the utterance of a blasphemous incantation—which indeed these witnesses profess to repeat."

"It is a pack of lies!" exclaimed the doctor, struggling to get utterance, and then desisting in alarm at the approaching razor.

"It is not to me, or any of this respectable company, that you need to say that, doctor. We are not the heads to plant such carrots as those in. But what of that? What are a handful of reasonable men against a crowd with stones in their hands? There are those among us who think Cecco d'Ascoli was an innocent sage—and we all know how he was burnt alive for being wiser than his fellows. Ah, doctor, it is not by living at Padua that you can learn to know Florentines. My belief is, they would stone the Holy Father himself, if they could find a good excuse for it; and they are persuaded that you are a necromancer, who is trying to raise the pestilence by selling secret medicines—and I am told your specifics have in truth an evil smell."

"It is false!" burst out the doctor, as Nello moved away his razor; "it is false! I will show the pills and the powders to these honourable signori—and the salve—it has an excellent odour—an odour of—of salve." He started up with the lather on his chin, and the cloth round his neck, to search in his saddle-bag for the belied medicines, and Nello in an instant adroitly shifted the shaving-chair till it was in the close vicinity of the horse's head, while Sandro, who had now returned, at a sign from his master placed himself near the bridle.

"Behold, Messeri!" said the doctor, bringing a small box of medicines and opening it before them.

"Let any signor apply this box to his nostrils and he will find an honest odour of medicaments—not indeed of pounded gems, or rare vegetables from the East, or stones found in the bodies of birds; for I practise on the diseases of the vulgar, for whom heaven has provided cheaper and less powerful remedies according to their degree: and there are even remedies known to our science which are entirely free of cost— as the new tussis may be counteracted in the poor, who can pay for no specifics, by a resolute holding of the breath. And here is a paste which is even of savoury odour, and is infallible against melancholia, being concocted under the conjunction of Jupiter and Venus; and I have seen it allay spasms."

"Stay, Maestro," said Nello, while the doctor had his lathered face turned towards the group near the door, eagerly holding out his box, and lifting out one specific after another; "here comes a crying contadina with her baby. Doubtless she is in search of you; it is perhaps an opportunity for you to show this honourable company a proof of your skill. Here, buona donna! here is the famous doctor. Why, what is the matter with the sweet bimbo?"

This question was addressed to a sturdy-looking, broad-shouldered contadina, with her head-drapery folded about her face so that little was to be seen but a bronzed nose and a pair of dark eyes and eyebrows. She carried her child packed up in the stiff mummy-shaped case in which Italian babies have been from time immemorial introduced into society, turning its face a little towards her bosom, and making those sorrowful grimaces which women are in the habit of using as a sort of pulleys to draw down reluctant tears.

"Oh, for the love of the Holy Madonna!" said the woman, in a wailing voice; "will you look at my poor bimbo? I know I can't pay you for it, but I took it into the Nunziata last night, and it's turned a worse colour than before; it's the convulsions. But when I was holding it before the Santissima Nunziata, I remembered they said there was a new doctor come who cured everything; and so I thought it might be the will of the Holy Madonna that I should bring it to you."

"Sit down, Maestro, sit down," said Nello. "Here is an opportunity for you; here are honourable witnesses who will declare before the Magnificent Eight that they have seen you practising honestly and relieving a poor woman's child. And then if your life is in danger, the Magnificent Eight will put you in prison a little while just to insure your safety, and after that, their sbirri will conduct you out of Florence by night, as they did the zealous Frate Minore who preached against the Jews. What! our people are given to stone-throwing; but we have magistrates."

The doctor, unable to refuse, seated himself in the shaving-chair, trembling, half with fear and half with rage, and by this time quite unconscious of the lather which Nello had laid on with such profuseness. He deposited his medicine-case on his knees, took out his precious spectacles (wondrous Florentine device!) from his wallet, lodged them carefully above his flat nose and high ears, and lifting up his brows, turned towards the applicant.

"O Santiddio! look at him," said the woman, with a more piteous wail than ever, as she held out the small mummy, which had its head completely concealed by dingy drapery wound round the head of the portable cradle, but seemed to be struggling and crying in a demoniacal fashion under this imprisonment. "The fit is on him! Ohime! I know what colour he is; it's the evil eye—oh!"

The doctor, anxiously holding his knees together to support his box, bent his spectacles towards the baby, and said cautiously, "It may be a new disease; unwind these rags, Monna!"

The contadina, with sudden energy, snatched off the encircling linen, when out struggled—scratching, grinning, and screaming—what the doctor in his fright fully believed to be a demon, but what Tito recognised as Vaiano's monkey, made more formidable by an artificial blackness, such as might have come from a hasty rubbing up the chimney.

Up started the unfortunate doctor, letting his medicine-box fall, and away jumped the no less terrified and indignant monkey, finding the first resting-place for his claws on the horse's mane, which he used as a sort of rope-ladder till he had fairly found his equilibrium, when he continued to clutch it as a bridle. The horse wanted no spur under such a rider, and, the already loosened bridle offering no resistance, darted off across the piazza, with the monkey, clutching, grinning, and blinking, on his neck.

"Il cavallo! Il Diavolo!" was now shouted on all sides by the idle rascals who gathered from all quarters of the piazza, and was echoed in tones of alarm by the stall-keepers, whose vested interests seemed in some danger; while the doctor, out of his wits with confused terror at the Devil, the possible stoning, and the escape of his horse, took to his heels with spectacles on nose, lathered face, and the shaving-cloth about his neck, crying—"Stop him! stop him! for a powder—a florin— stop him for a florin!" while the lads, outstripping him, clapped their hands and shouted encouragement to the runaway.

The cerretano, who had not bargained for the flight of his monkey along with the horse, had caught up his petticoats with much celerity, and showed a pair of parti-coloured hose above his contadina's shoes, far in advance of the doctor. And away went the grotesque race up the Corso degli Adimari—the horse with the singular jockey, the contadina with the remarkable hose, and the doctor in lather and spectacles, with furred mantle outflying.

It was a scene such as Florentines loved, from the potent and reverend signor going to council in his lucco, down to the grinning youngster, who felt himself master of all situations when his bag was filled with smooth stones from the convenient dry bed of the torrent. The grey-headed Domenico Cennini laughed no less heartily than the younger men, and Nello was triumphantly secure of the general admiration.

"Aha!" he exclaimed, snapping his fingers when the first burst of laughter was subsiding. "I have cleared my piazza of that unsavoury fly-trap, mi pare. Maestro Tacco will no more come here again to sit for patients than he will take to licking marble for his dinner."

"You are going towards the Piazza della Signoria, Messer Domenico," said Macchiavelli. "I will go with you, and we shall perhaps see who has deserved the palio among these racers. Come, Melema, will you go too?"

It had been precisely Tito's intention to accompany Cennini, but before he had gone many steps, he was called back by Nello, who saw Maso approaching.

Maso's message was from Romola. She wished Tito to go to the Via de' Bardi as soon as possible. She would see him under the loggia, at the top of the house, as she wished to speak to him alone.



CHAPTER SEVENTEEN.

UNDER THE LOGGIA.

The loggia at the top of Bardo's house rose above the buildings on each side of it, and formed a gallery round quadrangular walls. On the side towards the street the roof was supported by columns; but on the remaining sides, by a wall pierced with arched openings, so that at the back, looking over a crowd of irregular, poorly-built dwellings towards the hill of Bogoli, Romola could at all times have a walk sheltered from observation. Near one of those arched openings, close to the door by which he had entered the loggia, Tito awaited her, with a sickening sense of the sunlight that slanted before him and mingled itself with the ruin of his hopes. He had never for a moment relied on Romola's passion for him as likely to be too strong for the repulsion created by the discovery of his secret; he had not the presumptuous vanity which might have hindered him from feeling that her love had the same root with her belief in him. But as he imagined her coming towards him in her radiant beauty, made so loveably mortal by her soft hazel eyes, he fell into wishing that she had been something lower, if it were only that she might let him clasp her and kiss her before they parted. He had had no real caress from her—nothing but now and then a long glance, a kiss, a pressure of the hand; and he had so often longed that they should be alone together. They were going to be alone now; but he saw her standing inexorably aloof from him. His heart gave a great throb as he saw the door move: Romola was there. It was all like a flash of lightning: he felt, rather than saw, the glory about her head, the tearful appealing eyes; he felt, rather than heard, the cry of love with which she said, "Tito!"

And in the same moment she was in his arms, and sobbing with her face against his.

How poor Romola had yearned through the watches of the night to see that bright face! The new image of death; the strange bewildering doubt infused into her by the story of a life removed from her understanding and sympathy; the haunting vision, which she seemed not only to hear uttered by the low gasping voice, but to live through, as if it had been her own dream, had made her more conscious than ever that it was Tito who had first brought the warm stream of hope and gladness into her life, and who had first turned away the keen edge of pain in the remembrance of her brother. She would tell Tito everything; there was no one else to whom she could tell it. She had been restraining herself in the presence of her father all the morning; but now, that long-pent-up sob might come forth. Proud and self-controlled to all the world beside, Romola was as simple and unreserved as a child in her love for Tito. She had been quite contented with the days when they had only looked at each other; but now, when she felt the need of clinging to him, there was no thought that hindered her.

"My Romola! my goddess!" Tito murmured with passionate fondness, as he clasped her gently, and kissed the thick golden ripples on her neck. He was in paradise: disgrace, shame, parting—there was no fear of them any longer. This happiness was too strong to be marred by the sense that Romola was deceived in him; nay, he could only rejoice in her delusion; for, after all, concealment had been wisdom. The only thing he could regret was his needless dread; if, indeed, the dread had not been worth suffering for the sake of this sudden rapture.

The sob had satisfied itself, and Romola raised her head. Neither of them spoke; they stood looking at each other's faces with that sweet wonder which belongs to young love—she with her long white hands on the dark-brown curls, and he with his dark fingers bathed in the streaming gold. Each was so beautiful to the other; each was experiencing that undisturbed mutual consciousness for the first time. The cold pressure of a new sadness on Romola's heart made her linger the more in that silent soothing sense of nearness and love; and Tito could not even seek to press his lips to hers, because that would be change.

"Tito," she said at last, "it has been altogether painful, but I must tell you everything. Your strength will help me to resist the impressions that will not be shaken off by reason."

"I know, Romola—I know he is dead," said Tito; and the long lustrous eyes told nothing of the many wishes that would have brought about that death long ago if there had been such potency in mere wishes. Romola only read her own pure thoughts in their dark depths, as we read letters in happy dreams.

"So changed, Tito! It pierced me to think that it was Dino. And so strangely hard: not a word to my father; nothing but a vision that he wanted to tell me. And yet it was so piteous—the struggling breath, and the eyes that seemed to look towards the crucifix, and yet not to see it. I shall never forget it; it seems as if it would come between me and everything I shall look at."

Romola's heart swelled again, so that she was forced to break off. But the need she felt to disburden her mind to Tito urged her to repress the rising anguish. When she began to speak again, her thoughts had travelled a little.

"It was strange, Tito. The vision was about our marriage, and yet he knew nothing of you."

"What was it, my Romola? Sit down and tell me," said Tito, leading her to the bench that stood near. A fear had come across him lest the vision should somehow or other relate to Baldassarre; and this sudden change of feeling prompted him to seek a change of position.

Romola told him all that had passed, from her entrance into San Marco, hardly leaving out one of her brother's words, which had burnt themselves into her memory as they were spoken. But when she was at the end of the vision, she paused; the rest came too vividly before her to be uttered, and she sat looking at the distance, almost unconscious for the moment that Tito was near her. His mind was at ease now; that vague vision had passed over him like white mist, and left no mark. But he was silent, expecting her to speak again.

"I took it," she went on, as if Tito had been reading her thoughts; "I took the crucifix; it is down below in my bedroom."

"And now, my Romola," said Tito, entreatingly, "you will banish these ghastly thoughts. The vision was an ordinary monkish vision, bred of fasting and fanatical ideas. It surely has no weight with you."

"No, Tito; no. But poor. Dino, he believed it was a divine message. It is strange," she went on meditatively, "this life of men possessed with fervid beliefs that seem like madness to their fellow-beings. Dino was not a vulgar fanatic; and that Fra Girolamo—his very voice seems to have penetrated me with a sense that there is some truth in what moves them: some truth of which I know nothing."

"It was only because your feelings were highly wrought, my Romola. Your brother's state of mind was no more than a form of that theosophy which has been the common disease of excitable dreamy minds in all ages; the same ideas that your father's old antagonist, Marsilio Ficino, pores over in the New Platonists; only your brother's passionate nature drove him to act out what other men write and talk about. And for Fra Girolamo, he is simply a narrow-minded monk, with a gift of preaching and infusing terror into the multitude. Any words or any voice would have shaken you at that moment. When your mind has had a little repose, you will judge of such things as you have always done before."

"Not about poor Dino," said Romola. "I was angry with him; my heart seemed to close against him while he was speaking; but since then I have thought less of what was in my own mind and more of what was in his. Oh, Tito! it was very piteous to see his young life coming to an end in that way. That yearning look at the crucifix when he was gasping for breath—I can never forget it. Last night I looked at the crucifix a long while, and tried to see that it would help him, until at last it seemed to me by the lamplight as if the suffering face shed pity."

"My Romola, promise me to resist such thoughts; they are fit for sickly nuns, not for my golden-tressed Aurora, who looks made to scatter all such twilight fantasies. Try not to think of them now; we shall not long be alone together."

The last words were uttered in a tone of tender beseeching, and he turned her face towards him with a gentle touch of his right-hand.

Romola had had her eyes fixed absently on the arched opening, but she had not seen the distant hill; she had all the while been in the chapter house, looking at the pale images of sorrow and death.

Tito's touch and beseeching voice recalled her; and now in the warm sunlight she saw that rich dark beauty which seemed to gather round it all images of joy—purple vines festooned between the elms, the strong corn perfecting itself under the vibrating heat, bright winged creatures hurrying and resting among the flowers, round limbs beating the earth in gladness with cymbals held aloft, light melodies chanted to the thrilling rhythm of strings—all objects and all sounds that tell of Nature revelling in her force. Strange, bewildering transition from those pale images of sorrow and death to this bright youthfulness, as of a sun-god who knew nothing of night! What thought could reconcile that worn anguish in her brother's face—that straining after something invisible—with this satisfied strength and beauty, and make it intelligible that they belonged to the same world? Or was there never any reconciling of them, but only a blind worship of clashing deities, first in mad joy and then in wailing? Romola for the first time felt this questioning need like a sudden uneasy dizziness and want of something to grasp; it was an experience hardly longer than a sigh, for the eager theorising of ages is compressed, as in a seed, in the momentary want of a single mind. But there was no answer to meet the need, and it vanished before the returning rush of young sympathy with the glad loving beauty that beamed upon her in new radiance, like the dawn after we have looked away from it to the grey west.

"Your mind lingers apart from our love, my Romola," Tito said, with a soft reproachful murmur. "It seems a forgotten thing to you."

She looked at the beseeching eyes in silence, till the sadness all melted out of her own.

"My joy!" she said, in her full clear voice.

"Do you really care for me enough, then, to banish those chill fancies, or shall you always be suspecting me as the Great Tempter?" said Tito, with his bright smile.

"How should I not care for you more than for everything else? Everything I had felt before in all my life—about my father, and about my loneliness—was a preparation to love you. You would laugh at me, Tito, if you knew what sort of man I used to think I should marry—some scholar with deep lines in his face, like Alamanno Rinuccini, and with rather grey hair, who would agree with my father in taking the side of the Aristotelians, and be willing to live with him. I used to think about the love I read of in the poets, but I never dreamed that anything like that could happen to me here in Florence in our old library. And then you came, Tito, and were so much to my father, and I began to believe that life could be happy for me too."

"My goddess! is there any woman like you?" said Tito, with a mixture of fondness and wondering admiration at the blended majesty and simplicity in her.

"But, dearest," he went on, rather timidly, "if you minded more about our marriage, you would persuade your father and Messer Bernardo not to think of any more delays. But you seem not to mind about it."

"Yes, Tito, I will, I do mind. But I am sure my godfather will urge more delay now, because of Dino's death. He has never agreed with my father about disowning Dino, and you know he has always said that we ought to wait until you have been at least a year in Florence. Do not think hardly of my godfather. I know he is prejudiced and narrow, but yet he is very noble. He has often said that it is folly in my father to want to keep his library apart, that it may bear his name; yet he would try to get my father's wish carried out. That seems to me very great and noble—that power of respecting a feeling which he does not share or understand."

"I have no rancour against Messer Bernardo for thinking you too precious for me, my Romola," said Tito: and that was true. "But your father, then, knows of his son's death?"

"Yes, I told him—I could not help it. I told him where I had been, and that I had seen Dino die; but nothing else; and he has commanded me not to speak of it again. But he has been very silent this morning, and has had those restless movements which always go to my heart; they look as if he were trying to get outside the prison of his blindness. Let us go to him now. I had persuaded him to try to sleep, because he slept little in the night. Your voice will soothe him, Tito: it always does."

"And not one kiss? I have not had one," said Tito, in his gentle reproachful tone, which gave him an air of dependence very charming in a creature with those rare gifts that seem to excuse presumption.

The sweet pink blush spread itself with the quickness of light over Romola's face and neck as she bent towards him. It seemed impossible that their kisses could ever become common things.

"Let us walk once round the loggia," said Romola, "before we go down."

"There is something grim and grave to me always about Florence," said Tito, as they paused in the front of the house, where they could see over the opposite roofs to the other side of the river, "and even in its merriment there is something shrill and hard—biting rather than gay. I wish we lived in Southern Italy, where thought is broken, not by weariness, but by delicious languors such as never seem to come over the 'ingenia acerrima Florentina.' I should like to see you under that southern sun, lying among the flowers, subdued into mere enjoyment, while I bent over you and touched the lute and sang to you some little unconscious strain that seemed all one with the light and the warmth. You have never known that happiness of the nymphs, my Romola."

"No; but I have dreamed of it often since you came. I am very thirsty for a deep draught of joy—for a life all bright like you. But we will not think of it now, Tito; it seems to me as if there would always be pale sad faces among the flowers, and eyes that look in vain. Let us go."



CHAPTER EIGHTEEN.

THE PORTRAIT.

When Tito left the Via de' Bardi that day in exultant satisfaction at finding himself thoroughly free from the threatened peril, his thoughts, no longer claimed by the immediate presence of Romola and her father, recurred to those futile hours of dread in which he was conscious of having not only felt but acted as he would not have done if he had had a truer foresight. He would not have parted with his ring; for Romola, and others to whom it was a familiar object, would be a little struck with the apparent sordidness of parting with a gem he had professedly cherished, unless he feigned as a reason the desire to make some special gift with the purchase-money; and Tito had at that moment a nauseating weariness of simulation. He was well out of the possible consequences that might have fallen on him from that initial deception, and it was no longer a load on his mind; kind fortune had brought him immunity, and he thought it was only fair that she should. Who was hurt by it? The results to Baldassarre were too problematical to be taken into account. But he wanted now to be free from any hidden shackles that would gall him, though ever so little, under his ties to Romola. He was not aware that that very delight in immunity which prompted resolutions not to entangle himself again, was deadening the sensibilities which alone could save him from entanglement.

But, after all, the sale of the ring was a slight matter. Was it also a slight matter that little Tessa was under a delusion which would doubtless fill her small head with expectations doomed to disappointment? Should he try to see the little thing alone again and undeceive her at once, or should he leave the disclosure to time and chance? Happy dreams are pleasant, and they easily come to an end with daylight and the stir of life. The sweet, pouting, innocent, round thing! It was impossible not to think of her. Tito thought he should like some time to take her a present that would please her, and just learn if her step-father treated her more cruelly now her mother was dead. Or, should he at once undeceive Tessa, and then tell Romola about her, so that they might find some happier lot for the poor thing? No: that unfortunate little incident of the cerretano and the marriage, and his allowing Tessa to part from him in delusion, must never be known to Romola, and since no enlightenment could expel it from Tessa's mind, there would always be a risk of betrayal; besides even little Tessa might have some gall in her when she found herself disappointed in her love—yes, she must be a little in love with him, and that might make it well that he should not see her again. Yet it was a trifling adventure such as a country girl would perhaps ponder on till some ruddy contadino made acceptable love to her, when she would break her resolution of secrecy and get at the truth that she was free. Dunque—good-bye, Tessa! kindest wishes! Tito had made up his mind that the silly little affair of the cerretano should have no further consequences for himself; and people are apt to think that resolutions taken on their own behalf will be firm. As for the fifty-five florins, the purchase-money of the ring, Tito had made up his mind what to do with some of them; he would carry out a pretty ingenious thought which would set him more at ease in accounting for the absence of his ring to Romola, and would also serve him as a means of guarding her mind from the recurrence of those monkish fancies which were especially repugnant to him; and with this thought in his mind, he went to the Via Gualfonda to find Piero di Cosimo, the artist who at that time was pre-eminent in the fantastic mythological design which Tito's purpose required.

Entering the court on which Piero's dwelling opened, Tito found the heavy iron knocker on the door thickly bound round with wool and ingeniously fastened with cords. Remembering the painter's practice of stuffing his ears against obtrusive noises, Tito was not much surprised at this mode of defence against visitors' thunder, and betook himself first to tapping modestly with his knuckles, and then to a more importunate attempt to shake the door. In rain! Tito was moving away, blaming himself for wasting his time on this visit, instead of waiting till he saw the painter again at Nello's, when a little girl entered the court with a basket of eggs on her arm, went up to the door, and standing on tiptoe, pushed up a small iron plate that ran in grooves, and putting her mouth to the aperture thus disclosed, called out in a piping voice, "Messer Piero!"

In a few moments Tito heard the sound of bolts, the door opened, and Piero presented himself in a red night-cap and a loose brown serge tunic, with sleeves rolled up to the shoulder. He darted a look of surprise at Tito, but without further notice of him stretched out his hand to take the basket from the child, re-entered the house, and presently returning with the empty basket, said, "How much to pay?"

"Two grossoni, Messer Piero; they are all ready boiled, my mother says."

Piero took the coin out of the leathern scarsella at his belt, and the little maiden trotted away, not without a few upward glances of awed admiration at the surprising young signor.

Piero's glance was much less complimentary as he said—

"What do you want at my door, Messer Greco? I saw you this morning at Nello's; if you had asked me then, I could have told you that I see no man in this house without knowing his business and agreeing with him beforehand."

"Pardon, Messer Piero," said Tito, with his imperturbable good-humour; "I acted without sufficient reflection. I remembered nothing but your admirable skill in inventing pretty caprices, when a sudden desire for something of that sort prompted me to come to you."

The painter's manners were too notoriously odd to all the world for this reception to be held a special affront; but even if Tito had suspected any offensive intention, the impulse to resentment would have been less strong in him than the desire to conquer goodwill.

Piero made a grimace which was habitual with him when he was spoken to with flattering suavity. He grinned, stretched out the corners of his mouth, and pressed down his brows, so as to defy any divination of his feelings under that kind of stroking.

"And what may that need be?" he said, after a moment's pause. In his heart he was tempted by the hinted opportunity of applying his invention.

"I want a very delicate miniature device taken from certain fables of the poets, which you will know how to combine for me. It must be painted on a wooden case—I will show you the size—in the form of a triptych. The inside may be simple gilding: it is on the outside I want the device. It is a favourite subject with you Florentines—the triumph of Bacchus and Ariadne; but I want it treated in a new way. A story in Ovid will give you the necessary hints. The young Bacchus must be seated in a ship, his head bound with clusters of grapes, and a spear entwined with vine-leaves in his hand: dark-berried ivy must wind about the masts and sails, the oars must be thyrsi, and flowers must wreathe themselves about the poop; leopards and tigers must be crouching before him, and dolphins must be sporting round. But I want to have the fair-haired Ariadne with him, made immortal with her golden crown—that is not in Ovid's story, but no matter, you will conceive it all—and above there must be young Loves, such as you know how to paint, shooting with roses at the points of their arrows—"

"Say no more!" said Piero. "I have Ovid in the vulgar tongue. Find me the passage. I love not to be choked with other men's thoughts. You may come in."

Piero led the way through the first room, where a basket of eggs was deposited on the open hearth, near a heap of broken egg-shells and a bank of ashes. In strange keeping with that sordid litter, there was a low bedstead of carved ebony, covered carelessly with a piece of rich oriental carpet, that looked as if it had served to cover the steps to a Madonna's throne; and a carved cassone, or large chest, with painted devices on its sides and lid. There was hardly any other furniture in the large room, except casts, wooden steps, easels and rough boxes, all festooned with cobwebs.

The next room was still larger, but it was also much more crowded. Apparently Piero was keeping the Festa, for the double door underneath the window which admitted the painter's light from above, was thrown open, and showed a garden, or rather thicket, in which fig-trees and vines grew in tangled trailing wildness among nettles and hemlocks, and a tall cypress lifted its dark head from a stifling mass of yellowish mulberry-leaves. It seemed as if that dank luxuriance had begun to penetrate even within the walls of the wide and lofty room; for in one corner, amidst a confused heap of carved marble fragments and rusty armour, tufts of long grass and dark feathery fennel had made their way, and a large stone vase, tilted on one side, seemed to be pouring out the ivy that streamed around. All about the walls hung pen and oil-sketches of fantastic sea-monsters; dances of satyrs and maenads; Saint Margaret's resurrection out of the devouring dragon; Madonnas with the supernal light upon them; studies of plants and grotesque heads; and on irregular rough shelves a few books were scattered among great drooping bunches of corn, bullocks' horns, pieces of dried honeycomb, stones with patches of rare-coloured lichen, skulls and bones, peacocks' feathers, and large birds' wings. Rising from amongst the dirty litter of the floor were lay figures: one in the frock of a Vallombrosan monk, strangely surmounted by a helmet with barred visor, another smothered with brocade and skins hastily tossed over it. Amongst this heterogeneous still life, several speckled and white pigeons were perched or strutting, too tame to fly at the entrance of men; three corpulent toads were crawling in an intimate friendly way near the door-stone; and a white rabbit, apparently the model for that which was frightening Cupid in the picture of Mars and Venus placed on the central easel, was twitching its nose with much content on a box full of bran.

"And now, Messer Greco," said Piero, making a sign to Tito that he might sit down on a low stool near the door, and then standing over him with folded arms, "don't be trying to see everything at once, like Messer Domeneddio, but let me know how large you would have this same triptych."

Tito indicated the required dimensions, and Piero marked them on a piece of paper.

"And now for the book," said Piero, reaching down a manuscript volume.

"There's nothing about the Ariadne there," said Tito, giving him the passage; "but you will remember I want the crowned Ariadne by the side of the young Bacchus: she must have golden hair."

"Ha!" said Piero, abruptly, pursing up his lips again. "And you want them to be likenesses, eh?" he added, looking down into Tito's face.

Tito laughed and blushed. "I know you are great at portraits, Messer Piero; but I could not ask Ariadne to sit for you, because the painting is a secret."

"There it is! I want her to sit to me. Giovanni Vespucci wants me to paint him a picture of Oedipus and Antigone at Colonos, as he has expounded it to me: I have a fancy for the subject, and I want Bardo and his daughter to sit for it. Now, you ask them; and then I'll put the likeness into Ariadne."

"Agreed, if I can prevail with them. And your price for the Bacchus and Ariadne?"

"Baie! If you get them to let me paint them, that will pay me. I'd rather not have your money: you may pay for the case."

"And when shall I sit for you?" said Tito; "for if we have one likeness, we must have two."

"I don't want your likeness; I've got it already," said Piero, "only I've made you look frightened. I must take the fright out of it for Bacchus."

As he was speaking, Piero laid down the book and went to look among some paintings, propped with their faces against the wall. He returned with an oil-sketch in his hand.

"I call this as good a bit of portrait as I ever did," he said, looking at it as he advanced. "Yours is a face that expresses fear well, because it's naturally a bright one. I noticed it the first time I saw you. The rest of the picture is hardly sketched; but I've painted you in thoroughly."

Piero turned the sketch, and held it towards Tito's eyes. He saw himself with his right-hand uplifted, holding a wine-cup, in the attitude of triumphant joy, but with his face turned away from the cup with an expression of such intense fear in the dilated eyes and pallid lips, that he felt a cold stream through his veins, as if he were being thrown into sympathy with his imaged self.

"You are beginning to look like it already," said Piero, with a short laugh, moving the picture away again. "He's seeing a ghost—that fine young man. I shall finish it some day, when I've settled what sort of ghost is the most terrible—whether it should look solid, like a dead man come to life, or half transparent, like a mist."

Tito, rather ashamed of himself for a sudden sensitiveness strangely opposed to his usual easy self-command, said carelessly—

"That is a subject after your own heart, Messer Piero—a revel interrupted by a ghost. You seem to love the blending of the terrible with the gay. I suppose that is the reason your shelves are so well furnished with death's-heads, while you are painting those roguish Loves who are running away with the armour of Mars. I begin to think you are a Cynic philosopher in the pleasant disguise of a cunning painter."

"Not I, Messer Greco; a philosopher is the last sort of animal I should choose to resemble. I find it enough to live, without spinning lies to account for life. Fowls cackle, asses bray, women chatter, and philosophers spin false reasons—that's the effect the sight of the world brings out of them. Well, I am an animal that paints instead of cackling, or braying, or spinning lies. And now, I think, our business is done; you'll keep to your side of the bargain about the Oedipus and Antigone?"

"I will do my best," said Tito—on this strong hint, immediately moving towards the door.

"And you'll let me know at Nello's. No need to come here again."

"I understand," said Tito, laughingly, lifting his hand in sign of friendly parting.



CHAPTER NINETEEN.

THE OLD MAN'S HOPE.

Messer Bernardo del Nero was as inexorable as Romola had expected in his advice that the marriage should be deferred till Easter, and in this matter Bardo was entirely under the ascendancy of his sagacious and practical friend. Nevertheless, Bernardo himself, though he was as far as ever from any susceptibility to the personal fascination in Tito which was felt by others, could not altogether resist that argument of success which is always powerful with men of the world. Tito was making his way rapidly in high quarters. He was especially growing in favour with the young Cardinal Giovanni de' Medici, who had even spoken of Tito's forming part of his learned retinue on an approaching journey to Rome; and the bright young Greek who had a tongue that was always ready without ever being quarrelsome, was more and more wished for at gay suppers in the Via Larga, and at Florentine games in which he had no pretension to excel, and could admire the incomparable skill of Piero de' Medici in the most graceful manner in the world. By an unfailing sequence, Tito's reputation as an agreeable companion in "magnificent" society made his learning and talent appear more lustrous: and he was really accomplished enough to prevent an exaggerated estimate from being hazardous to him. Messer Bernardo had old prejudices and attachments which now began to argue down the newer and feebler prejudice against the young Greek stranger who was rather too supple. To the old Florentine it was impossible to despise the recommendation of standing well with the best Florentine families, and since Tito began to be thoroughly received into that circle whose views were the unquestioned standard of social value, it seemed irrational not to admit that there was no longer any check to satisfaction in the prospect of such a son-in-law for Bardo, and such a husband for Romola. It was undeniable that Tito's coming had been the dawn of a new life for both father and daughter, and the first promise had even been surpassed. The blind old scholar—whose proud truthfulness would never enter into that commerce of feigned and preposterous admiration which, varied by a corresponding measurelessness in vituperation, made the woof of all learned intercourse—had fallen into neglect even among his fellow-citizens, and when he was alluded to at all, it had long been usual to say that, though his blindness and the loss of his son were pitiable misfortunes, he was tiresome in contending for the value of his own labours; and that his discontent was a little inconsistent in a man who had been openly regardless of religious rites, and who in days past had refused offers made to him from various quarters, on the slight condition that he would take orders, without which it was not easy for patrons to provide for every scholar. But since Tito's coming, there was no longer the same monotony in the thought that Bardo's name suggested; the old man, it was understood, had left off his plaints, and the fair daughter was no longer to be shut up in dowerless pride, waiting for a parentado. The winning manners and growing favour of the handsome Greek who was expected to enter into the double relation of son and husband helped to make the new interest a thoroughly friendly one, and it was no longer a rare occurrence when a visitor enlivened the quiet library. Elderly men came from that indefinite prompting to renew former intercourse which arises when an old acquaintance begins to be newly talked about; and young men whom Tito had asked leave to bring once, found it easy to go again when they overtook him on his way to the Via de' Bardi, and, resting their hands on his shoulder, fell into easy chat with him. For it was pleasant to look at Romola's beauty; to see her, like old Firenzuola's type of womanly majesty, "sitting with a certain grandeur, speaking with gravity, smiling with modesty, and casting around, as it were, an odour of queenliness;" [Note 1] and she seemed to unfold like a strong white lily under this genial breath of admiration and homage; it was all one to her with her new bright life in Tito's love.

Tito had even been the means of strengthening the hope in Bardo's mind that he might before his death receive the longed-for security concerning his library: that it should not be merged in another collection; that it should not be transferred to a body of monks, and be called by the name of a monastery; but that it should remain for ever the Bardi Library, for the use of Florentines. For the old habit of trusting in the Medici could not die out while their influence was still the strongest lever in the State; and Tito, once possessing the ear of the Cardinal Giovanni de' Medici, might do more even than Messer Bernardo towards winning the desired interest, for he could demonstrate to a learned audience the peculiar value of Bardi's collection. Tito himself talked sanguinely of such a result, willing to cheer the old man, and conscious that Romola repaid those gentle words to her father with a sort of adoration that no direct tribute to herself could have won from her.

This question of the library was the subject of more than one discussion with Bernardo del Nero when Christmas was turned and the prospect of the marriage was becoming near—but always out of Bardo's hearing. For Bardo nursed a vague belief, which they dared not disturb, that his property, apart from the library, was adequate to meet all demands. He would not even, except under a momentary pressure of angry despondency, admit to himself that the will by which he had disinherited Dino would leave Romola the heir of nothing but debts; or that he needed anything from patronage beyond the security that a separate locality should be assigned to his library, in return for a deed of gift by which he made it over to the Florentine Republic.

"My opinion is," said Bernardo to Romola, in a consultation they had under the loggia, "that since you are to be married, and Messer Tito will have a competent income, we should begin to wind up the affairs, and ascertain exactly the sum that would be necessary to save the library from being touched, instead of letting the debts accumulate any longer. Your father needs nothing but his shred of mutton and his macaroni every day, and I think Messer Tito may engage to supply that for the years that remain; he can let it be in place of the morgen-cap."

"Tito has always known that my life is bound up with my father's," said Romola; "and he is better to my father than I am: he delights in making him happy."

"Ah, he's not made of the same clay as other men, is he?" said Bernardo, smiling. "Thy father has thought of shutting woman's folly out of thee by cramming thee with Greek and Latin; but thou hast been as ready to believe in the first pair of bright eyes and the first soft words that have come within reach of thee, as if thou couldst say nothing by heart but Paternosters, like other Christian men's daughters."

"Now, godfather," said Romola, shaking her head playfully, "as if it were only bright eyes and soft words that made me love Tito! You know better. You know I love my father and you because you are both good, and I love Tito too because he is so good. I see it, I feel it, in everything he says and does. And if he is handsome, too, why should I not love him the better for that? It seems to me beauty is part of the finished language by which goodness speaks. You know you must have been a very handsome youth, godfather,"—she looked up with one of her happy, loving smiles at the stately old man—"you were about as tall as Tito, and you had very fine eyes; only you looked a little sterner and prouder, and—"

"And Romola likes to have all the pride to herself?" said Bernardo, not inaccessible to this pretty coaxing. "However, it is well that in one way Tito's demands are more modest than those of any Florentine husband of fitting rank that we should have been likely to find for you; he wants no dowry."

So it was settled in that way between Messer Bernardo del Nero, Romola, and Tito. Bardo assented with a wave of the hand when Bernardo told him that he thought it would be well now to begin to sell property and clear off debts; being accustomed to think of debts and property as a sort of thick wood that his imagination never even penetrated, still less got beyond. And Tito set about winning Messer Bernardo's respect by inquiring, with his ready faculty, into Florentine money-matters, the secrets of the Monti or public funds, the values of real property, and the profits of banking.

"You will soon forget that Tito is not a Florentine, godfather," said Romola. "See how he is learning everything about Florence."

"It seems to me he is one of the demoni, who are of no particular country, child," said Bernardo, smiling. "His mind is a little too nimble to be weighted with all the stuff we men carry about in our hearts."

Romola smiled too, in happy confidence.

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Note 1. "Quando una donna e grande, ben formata, porta ben sua persona, siede con una certa grandezza, parla con gravita, ride con modestia, e finalmente getta quasi un odor di Regina; allora noi diciamo quella donna pare una maesta, ella ha una maesta."—Firenzuola: Della Bellezza delle Donne.



CHAPTER TWENTY.

THE DAY OF THE BETROTHAL.

It was the last week of the Carnival, and the streets of Florence were at their fullest and noisiest: there were the masqued processions, chanting songs, indispensable now they had once been introduced by Lorenzo the Magnificent; there was the favourite rigoletto, or round dance, footed "in piazza" under the blue frosty sky; there were practical jokes of all sorts, from throwing comfits to throwing stones— especially stones. For the boys and striplings, always a strong element in Florentine crowds, became at the height of Carnival-time as loud and unmanageable as tree-crickets, and it was their immemorial privilege to bar the way with poles to all passengers, until a tribute had been paid towards furnishing those lovers of strong sensations with suppers and bonfires: to conclude with the standing entertainment of stone-throwing, which was not entirely monotonous, since the consequent maiming was various, and it was not always a single person who was killed. So that the pleasures of the Carnival were of a checkered kind, and if a painter were called upon to represent them truly, he would have to make a picture in which there would be so much grossness and barbarity that it must be turned with its face to the wall, except when it was taken down for the grave historical purpose of justifying a reforming zeal which, in ignorance of the facts, might be unfairly condemned for its narrowness. Still there was much of that more innocent picturesque merriment which is never wanting among a people with quick animal spirits and sensitive organs: there was not the heavy sottishness which belongs to the thicker northern blood, nor the stealthy fierceness which in the more southern regions of the peninsula makes the brawl lead to the dagger-thrust.

It was the high morning, but the merry spirits of the Carnival were still inclined to lounge and recapitulate the last night's jests, when Tito Melema was walking at a brisk pace on the way to the Via de' Bardi. Young Bernardo Dovizi, who now looks at us out of Raphael's portrait as the keen-eyed Cardinal da Bibbiena, was with him; and, as they went, they held animated talk about some subject that had evidently no relation to the sights and sounds through which they were pushing their way along the Por' Santa Maria. Nevertheless, as they discussed, smiled, and gesticulated, they both, from time to time, cast quick glances around them, and at the turning towards the Lung' Arno, leading to the Ponte Rubaconte, Tito had become aware, in one of these rapid surveys, that there was some one not far off him by whom he very much desired not to be recognised at that moment. His time and thoughts were thoroughly preoccupied, for he was looking forward to a unique occasion in his life: he was preparing for his betrothal, which was to take place on the evening of this very day. The ceremony had been resolved upon rather suddenly; for although preparations towards the marriage had been going forward for some time—chiefly in the application of Tito's florins to the fitting up of rooms in Bardo's dwelling, which, the library excepted, had always been scantily furnished—it had been intended to defer both the betrothal and the marriage until after Easter, when Tito's year of probation, insisted on by Bernardo del Nero, would have been complete. But when an express proposition had come, that Tito should follow the Cardinal Giovanni to Rome to help Bernardo Dovizi with his superior knowledge of Greek in arranging a library, and there was no possibility of declining what lay so plainly on the road to advancement, he had become urgent in his entreaties that the betrothal might take place before his departure: there would be the less delay before the marriage on his return, and it would be less painful to part if he and Romola were outwardly as well as inwardly pledged to each other—if he had a claim which defied Messer Bernardo or any one else to nullify it. For the betrothal, at which rings were exchanged and mutual contracts were signed, made more than half the legality of marriage, to be completed on a separate occasion by the nuptial benediction. Romola's feeling had met Tito's in this wish, and the consent of the elders had been won.

And now Tito was hastening, amidst arrangements for his departure the next day, to snatch a morning visit to Romola, to say and hear any last words that were needful to be said before their meeting for the betrothal in the evening. It was not a time when any recognition could be pleasant that was at all likely to detain him; still less a recognition by Tessa. And it was unmistakably Tessa whom he had caught sight of moving along, with a timid and forlorn look, towards that very turn of the Lung' Arno which he was just rounding. As he continued his talk with the young Dovizi, he had an uncomfortable undercurrent of consciousness which told him that Tessa had seen him and would certainly follow him: there was no escaping her along this direct road by the Arno, and over the Ponte Rubaconte. But she would not dare to speak to him or approach him while he was not alone, and he would continue to keep Dovizi with him till they reached Bardo's door. He quickened his pace, and took up new threads of talk; but all the while the sense that Tessa was behind him, though he had no physical evidence of the fact, grew stronger and stronger; it was very irritating—perhaps all the more so because a certain tenderness and pity for the poor little thing made the determination to escape without any visible notice of her, a not altogether agreeable resource. Yet Tito persevered and carried his companion to the door, cleverly managing his "addio" without turning his face in a direction where it was possible for him to see an importunate pair of blue eyes; and as he went up the stone steps, he tried to get rid of unpleasant thoughts by saying to himself that after all Tessa might not have seen him, or, if she had, might not have followed him.

But—perhaps because that possibility could not be relied on strongly— when the visit was over, he came out of the doorway with a quick step and an air of unconsciousness as to anything that might be on his right-hand or his left. Our eyes are so constructed, however, that they take in a wide angle without asking any leave of our will; and Tito knew that there was a little figure in a white hood standing near the doorway—knew it quite well, before he felt a hand laid on his arm. It was a real grasp, and not a light, timid touch; for poor Tessa, seeing his rapid step, had started forward with a desperate effort. But when he stopped and turned towards her, her face wore a frightened look, as if she dreaded the effect of her boldness.

"Tessa!" said Tito, with more sharpness in his voice than she had ever heard in it before. "Why are you here? You must not follow me—you must not stand about door-places waiting for me."

Her blue eyes widened with tears, and she said nothing. Tito was afraid of something worse than ridicule, if he were seen in the Via de' Bardi with a girlish contadina looking pathetically at him. It was a street of high silent-looking dwellings, not of traffic; but Bernardo del Nero, or some one almost as dangerous, might come up at any moment. Even if it had not been the day of his betrothal, the incident would have been awkward and annoying. Yet it would be brutal—it was impossible—to drive Tessa away with harsh words. That accursed folly of his with the cerretano—that it should have lain buried in a quiet way for months, and now start up before him as this unseasonable crop of vexation! He could not speak harshly, but he spoke hurriedly.

"Tessa, I cannot—must not talk to you here. I will go on to the bridge and wait for you there. Follow me slowly."

He turned and walked fast to the Ponte Rubaconte, and there leaned against the wall of one of the quaint little houses that rise at even distances on the bridge, looking towards the way by which Tessa would come. It would have softened a much harder heart than Tito's to see the little thing advancing with her round face much paled and saddened since he had parted from it at the door of the "Nunziata." Happily it was the least frequented of the bridges, and there were scarcely any passengers on it at this moment. He lost no time in speaking as soon as she came near him.

"Now, Tessa, I have very little time. You must not cry. Why did you follow me this morning? You must not do so again."

"I thought," said Tessa, speaking in a whisper, and struggling against a sob that would rise immediately at this new voice of Tito's—"I thought you wouldn't be so long before you came to take care of me again. And the patrigno beats me, and I can't bear it any longer. And always when I come for a holiday I walk about to find you, and I can't. Oh, please don't send me away from you again! It has been so long, and I cry so now, because you never come to me. I can't help it, for the days are so long, and I don't mind about the goats and kids, or anything—and I can't—"

The sobs came fast now, and the great tears. Tito felt that he could not do otherwise than comfort her. Send her away—yes; that he must do, at once. But it was all the more impossible to tell her anything that would leave her in a state of hopeless grief. He saw new trouble in the background, but the difficulty of the moment was too pressing for him to weigh distant consequences.

"Tessa, my little one," he said, in his old caressing tones, "you must not cry. Bear with the cross patrigno a little longer. I will come back to you. But I'm going now to Rome—a long, long way off. I shall come back in a few weeks, and then I promise you to come and see you. Promise me to be good and wait for me."

It was the well-remembered voice again, and the mere sound was half enough to soothe Tessa. She looked up at him with trusting eyes, that still glittered with tears, sobbing all the while, in spite of her utmost efforts to obey him. Again he said, in a gentle voice—

"Promise me, my Tessa."

"Yes," she whispered. "But you won't be long?"

"No, not long. But I must go now. And remember what I told you, Tessa. Nobody must know that you ever see me, else you will lose me for ever. And now, when I have left you, go straight home, and never follow me again. Wait till I come to you. Good-bye, my little Tessa: I will come."

There was no help for it; he must turn and leave her without looking behind him to see how she bore it, for he had no time to spare. When he did look round he was in the Via de' Benci, where there was no seeing what was happening on the bridge; but Tessa was too trusting and obedient not to do just what he had told her.

Yes, the difficulty was at an end for that day; yet this return of Tessa to him, at a moment when it was impossible for him to put an end to all difficulty with her by undeceiving her, was an unpleasant incident to carry in his memory. But Tito's mind was just now thoroughly penetrated with a hopeful first love, associated with all happy prospects flattering to his ambition; and that future necessity of grieving Tessa could be scarcely more to him than the far-off cry of some little suffering animal buried in the thicket, to a merry cavalcade in the sunny plain. When, for the second time that day, Tito was hastening across the Ponte Rubaconte, the thought of Tessa caused no perceptible diminution of his happiness. He was well muffled in his mantle, less, perhaps, to protect him from the cold than from the additional notice that would have been drawn upon him by his dainty apparel. He leaped up the stone steps by two at a time, and said hurriedly to Maso, who met him—

"Where is the damigella?"

"In the library; she is quite ready, and Monna Brigida and Messer Bernardo are already there with Ser Braccio, but none of the rest of the company."

"Ask her to give me a few minutes alone; I will await her in the salotto."

Tito entered a room which had been fitted up in the utmost contrast with the half-pallid, half-sombre tints of the library. The walls were brightly frescoed with "caprices" of nymphs and loves sporting under the blue among flowers and birds. The only furniture besides the red leather seats and the central table were two tall white vases, and a young faun playing the flute, modelled by a promising youth named Michelangelo Buonarotti. It was a room that gave a sense of being in the sunny open air.

Tito kept his mantle round him, and looked towards the door. It was not long before Romola entered, all white and gold, more than ever like a tall lily. Her white silk garment was bound by a golden girdle, which fell with large tassels; and above that was the rippling gold of her hair, surmounted by the white mist of her long veil, which was fastened on her brow by a band of pearls, the gift of Bernardo del Nero, and was now parted off her face so that it all floated backward.

"Regina mia!" said Tito, as he took her hand and kissed it, still keeping his mantle round him. He could not help going backward to look at her again, while she stood in calm delight, with that exquisite self-consciousness which rises under the gaze of admiring love.

"Romola, will you show me the next room now?" said Tito, checking himself with the remembrance that the time might be short. "You said I should see it when you had arranged everything."

Without speaking, she led the way into a long narrow room, painted brightly like the other, but only with birds and flowers. The furniture in it was all old; there were old faded objects for feminine use or ornament, arranged in an open cabinet between the two narrow windows; above the cabinet was the portrait of Romola's mother; and below this, on the top of the cabinet, stood the crucifix which Romola had brought from San Marco.

"I have brought something under my mantle," said Tito, smiling; and throwing off the large loose garment, he showed the little tabernacle which had been painted by Piero di Cosimo. The painter had carried out Tito's intention charmingly, and so far had atoned for his long delay. "Do you know what this is for, my Romola?" added Tito, taking her by the hand, and leading her towards the cabinet. "It is a little shrine, which is to hide away from you for ever that remembrancer of sadness. You have done with sadness now; and we will bury all images of it—bury them in a tomb of joy. See!"

A slight quiver passed across Romola's face as Tito took hold of the crucifix. But she had no wish to prevent his purpose; on the contrary, she herself wished to subdue certain importunate memories and questionings which still flitted like unexplained shadows across her happier thought.

He opened the triptych and placed the crucifix within the central space; then closing it again, taking out the key, and setting the little tabernacle in the spot where the crucifix had stood, said—

"Now, Romola, look and see if you are satisfied with the portraits old Piero has made of us. Is it not a dainty device? and the credit of choosing it is mine."

"Ah! it is you—it is perfect!" said Romola, looking with moist joyful eyes at the miniature Bacchus, with his purple clusters. "And I am Ariadne, and you are crowning me! Yes, it is true, Tito; you have crowned my poor life."

They held each other's hands while she spoke, and both looked at their imaged selves. But the reality was far more beautiful; she all lily-white and golden, and he with his dark glowing beauty above the purple red-bordered tunic.

"And it was our good strange Piero who painted it?" said Romola. "Did you put it into his head to paint me as Antigone, that he might have my likeness for this?"

"No, it was he who made my getting leave for him to paint you and your father, a condition of his doing this for me."

"Ah! I see now what it was you gave up your precious ring for. I perceived you had some cunning plan to give me pleasure."

Tito did not blench. Romola's little illusions about himself had long ceased to cause him anything but satisfaction. He only smiled and said—

"I might have spared my ring; Piero will accept no money from me; he thinks himself paid by painting you. And now, while I am away, you will look every day at those pretty symbols of our life together—the ship on the calm sea, and the ivy that never withers, and those Loves that have left off wounding us and shower soft petals that are like our kisses; and the leopards and tigers, they are the troubles of your life that are all quelled now; and the strange sea-monsters, with their merry eyes— let us see—they are the dull passages in the heavy books, which have begun to be amusing since we have sat by each other."

"Tito mio!" said Romola, in a half-laughing voice of love; "but you will give me the key?" she added, holding out her hand for it.

"Not at all!" said Tito, with playful decision, opening his scarsella and dropping in the little key. "I shall drown it in the Arno."

"But if I ever wanted to look at the crucifix again?"

"Ah! for that very reason it is hidden—hidden by these images of youth and joy."

He pressed a light kiss on her brow, and she said no more, ready to submit, like all strong souls, when she felt no valid reason for resistance.

And then they joined the waiting company, which made a dignified little procession as it passed along the Ponte Rubaconte towards Santa Croce. Slowly it passed, for Bardo, unaccustomed for years to leave his own house, walked with a more timid step than usual; and that slow pace suited well with the gouty dignity of Messer Bartolommeo Scala, who graced the occasion by his presence, along with his daughter Alessandra. It was customary to have very long troops of kindred and friends at the sposalizio, or betrothal, and it had even been found necessary in time past to limit the number by law to no more than four hundred—two hundred on each side; for since the guests were all feasted after this initial ceremony, as well as after the nozze, or marriage, the very first stage of matrimony had become a ruinous expense, as that scholarly Benedict, Leonardo Bruno, complained in his own case. But Bardo, who in his poverty had kept himself proudly free from any appearance of claiming the advantages attached to a powerful family name, would have no invitations given on the strength of mere friendship; and the modest procession of twenty that followed the sposi were, with three or four exceptions, friends of Bardo's and Tito's selected on personal grounds.

Bernardo del Nero walked as a vanguard before Bardo, who was led on the right by Tito, while Romola held her father's other hand. Bardo had himself been married at Santa Croce, and had insisted on Romola's being betrothed and married there, rather than in the little church of Santa Lucia close by their house, because he had a complete mental vision of the grand church where he hoped that a burial might be granted him among the Florentines who had deserved well. Happily the way was short and direct, and lay aloof from the loudest riot of the Carnival, if only they could return before any dances or shows began in the great piazza of Santa Croce. The west was red as they passed the bridge, and shed a mellow light on the pretty procession, which had a touch of solemnity in the presence of the blind father. But when the ceremony was over, and Tito and Romola came out on to the broad steps of the church, with the golden links of destiny on their fingers, the evening had deepened into struggling starlight, and the servants had their torches lit.

While they came out, a strange dreary chant, as of a Miserere, met their ears, and they saw that at the extreme end of the piazza there seemed to be a stream of people impelled by something approaching from the Borgo de' Greci.

"It is one of their masqued processions, I suppose," said Tito, who was now alone with Romola, while Bernardo took charge of Bardo.

And as he spoke there came slowly into view, at a height far above the heads of the onlookers, a huge and ghastly image of Winged Time with his scythe and hour-glass, surrounded by his winged children, the Hours. He was mounted on a high car completely covered with black, and the bullocks that drew the car were also covered with black, their horns alone standing out white above the gloom; so that in the sombre shadow of the houses it seemed to those at a distance as if Time and his children were apparitions floating through the air. And behind them came what looked like a troop of the sheeted dead gliding above blackness. And as they glided slowly, they chanted in a wailing strain.

A cold horror seized on Romola, for at the first moment it seemed as if her brother's vision, which could never be effaced from her mind, was being half fulfilled. She clung to Tito, who, divining what was in her thoughts, said—

"What dismal fooling sometimes pleases your Florentines! Doubtless this is an invention of Piero di Cosimo, who loves such grim merriment."

"Tito, I wish it had not happened. It will deepen the images of that vision which I would fain be rid of."

"Nay, Romola, you will look only at the images of our happiness now. I have locked all sadness away from you."

"But it is still there—it is only hidden," said Romola, in a low tone, hardly conscious that she spoke.

"See, they are all gone now!" said Tito. "You will forget this ghastly mummery when we are in the light, and can see each other's eyes. My Ariadne must never look backward now—only forward to Easter, when she will triumph with her Care-dispeller."



PART TWO.



CHAPTER TWENTY ONE.

FLORENCE EXPECTS A GUEST.

It was the 17th of November 1494: more than eighteen months since Tito and Romola had been finally united in the joyous Easter time, and had had a rainbow-tinted shower of comfits thrown over them, after the ancient Greek fashion, in token that the heavens would shower sweets on them through all their double life.

Since that Easter a great change had come over the prospects of Florence; and as in the tree that bears a myriad of blossoms, each single bud with its fruit is dependent on the primary circulation of the sap, so the fortunes of Tito and Romola were dependent on certain grand political and social conditions which made an epoch in the history of Italy.

In this very November, little more than a week ago, the spirit of the old centuries seemed to have re-entered the breasts of Florentines. The great bell in the palace tower had rung out the hammer-sound of alarm, and the people had mustered with their rusty arms, their tools and impromptu cudgels, to drive out the Medici. The gate of San Gallo had been fairly shut on the arrogant, exasperating Piero, galloping away towards Bologna with his hired horsemen frightened behind him, and shut on his keener young brother, the cardinal, escaping in the disguise of a Franciscan monk: a price had been set on both their heads. After that, there had been some sacking of houses, according to old precedent; the ignominious images, painted on the public buildings, of the men who had conspired against the Medici in days gone by, were effaced; the exiled enemies of the Medici were invited home. The half-fledged tyrants were fairly out of their splendid nest in the Via Larga, and the Republic had recovered the use of its will again.

But now, a week later, the great palace in the Via Larga had been prepared for the reception of another tenant; and if drapery roofing the streets with unwonted colour, if banners and hangings pouring out of the windows, if carpets and tapestry stretched over all steps and pavement on which exceptional feet might tread, were an unquestionable proof of joy, Florence was very joyful in the expectation of its new guest. The stream of colour flowed from the palace in the Via Larga round by the Cathedral, then by the great Piazza della Signoria, and across the Ponte Vecchio to the Porta San Frediano—the gate that looks towards Pisa. There, near the gate, a platform and canopy had been erected for the Signoria; and Messer Luca Corsini, doctor of law, felt his heart palpitating a little with the sense that he had a Latin oration to read; and every chief elder in Florence had to make himself ready, with smooth chin and well-lined silk lucco, to walk in procession; and the well-born youths were looking at their rich new tunics after the French mode which was to impress the stranger as having a peculiar grace when worn by Florentines; and a large body of the clergy, from the archbishop in his effulgence to the train of monks, black, white, and grey, were consulting betimes in the morning how they should marshal themselves, with their burden of relics and sacred banners and consecrated jewels, that their movements might be adjusted to the expected arrival of the illustrious visitor, at three o'clock in the afternoon.

An unexampled visitor! For he had come through the passes of the Alps with such an army as Italy had not seen before: with thousands of terrible Swiss, well used to fight for love and hatred as well as for hire; with a host of gallant cavaliers proud of a name; with an unprecedented infantry, in which every man in a hundred carried an arquebus; nay, with cannon of bronze, shooting not stones but iron balls, drawn not by bullocks but by horses, and capable of firing a second time before a city could mend the breach made by the first ball. Some compared the new-comer to Charlemagne, reputed rebuilder of Florence, welcome conqueror of degenerate kings, regulator and benefactor of the Church, some preferred the comparison to Cyrus, liberator of the chosen people, restorer of the Temple. For he had come across the Alps with the most glorious projects: he was to march through Italy amidst the jubilees of a grateful and admiring people; he was to satisfy all conflicting complaints at Rome; he was to take possession, by virtue of hereditary right and a little fighting, of the kingdom of Naples; and from that convenient starting-point he was to set out on the conquest of the Turks, who were partly to be cut to pieces and partly converted to the faith of Christ. It was a scheme that seemed to befit the Most Christian King, head of a nation which, thanks to the devices of a subtle Louis the Eleventh who had died in much fright as to his personal prospects ten years before, had become the strongest of Christian monarchies; and this antitype of Cyrus and Charlemagne was no other than the son of that subtle Louis—the young Charles the Eighth of France.

Surely, on a general statement, hardly anything could seem more grandiose, or fitter to revive in the breasts of men the memory of great dispensations by which new strata had been laid in the history of mankind. And there was a very widely spread conviction that the advent of the French king and his army into Italy was one of those events at which marble statues might well be believed to perspire, phantasmal fiery warriors to fight in the air, and quadrupeds to bring forth monstrous births—that it did not belong to the usual order of Providence, but was in a peculiar sense the work of God. It was a conviction that rested less on the necessarily momentous character of a powerful foreign invasion than on certain moral emotions to which the aspect of the times gave the form of presentiments: emotions which had found a very remarkable utterance in the voice of a single man.

That man was Fra Girolamo Savonarola, Prior of the Dominican convent of San Marco in Florence. On a September morning, when men's ears were ringing with the news that the French army had entered Italy, he had preached in the Cathedral of Florence from the text, "Behold I, even I, do bring a flood of waters upon the earth." He believed it was by supreme guidance that he had reached just so far in his exposition of Genesis the previous Lent; and he believed the "flood of water"—emblem at once of avenging wrath and purifying mercy—to be the divinely— indicated symbol of the French army. His audience, some of whom were held to be among the choicest spirits of the age—the most cultivated men in the most cultivated of Italian cities—believed it too, and listened with shuddering awe. For this man had a power rarely paralleled, of impressing his beliefs on others, and of swaying very various minds. And as long as four years ago he had proclaimed from the chief pulpit of Florence that a scourge was about to descend on Italy, and that by this scourge the Church was to be purified. Savonarola appeared to believe, and his hearers more or less waveringly believed, that he had a mission like that of the Hebrew prophets, and that the Florentines amongst whom his message was delivered were in some sense a second chosen people. The idea of prophetic gifts was not a remote one in that age: seers of visions, circumstantial heralds of things to be, were far from uncommon either outside or inside the cloister; but this very fact made Savonarola stand out the more conspicuously as a grand exception. While in others the gift of prophecy was very much like a farthing candle illuminating small corners of human destiny with prophetic gossip, in Savonarola it was like a mighty beacon shining far out for the warning and guidance of men. And to some of the soberest minds the supernatural character of his insight into the future gathered a strong attestation from the peculiar conditions of the age.

At the close of 1492, the year in which Lorenzo de' Medici died and Tito Melema came as a wanderer to Florence, Italy was enjoying a peace and prosperity unthreatened by any near and definite danger. There was no fear of famine, for the seasons had been plenteous in corn, and wine, and oil; new palaces had been rising in all fair cities, new villas on pleasant slopes and summits; and the men who had more than their share of these good things were in no fear of the larger number who had less. For the citizens' armour was getting rusty, and populations seemed to have become tame, licking the hands of masters who paid for a ready-made army when they wanted it, as they paid for goods of Smyrna. Even the fear of the Turk had ceased to be active, and the Pope found it more immediately profitable to accept bribes from him for a little prospective poisoning than to form plans either for conquering or for converting him.

Altogether this world, with its partitioned empire and its roomy universal Church, seemed to be a handsome establishment for the few who were lucky or wise enough to reap the advantages of human folly: a world in which lust and obscenity, lying and treachery, oppression and murder, were pleasant, useful, and when properly managed, not dangerous. And as a sort of fringe or adornment to the substantial delights of tyranny, avarice, and lasciviousness, there was the patronage of polite learning and the fine arts, so that flattery could always be had in the choicest Latin to be commanded at that time, and sublime artists were at hand to paint the holy and the unclean with impartial skill. The Church, it was said, had never been so disgraced in its head, had never shown so few signs of renovating, vital belief in its lower members; nevertheless it was much more prosperous than in some past days. The heavens were fair and smiling above; and below there were no signs of earthquake.

Yet at that time, as we have seen, there was a man in Florence who for two years and more had been preaching that a scourge was at hand; that the world was certainly not framed for the lasting convenience of hypocrites, libertines, and oppressors. From the midst of those smiling heavens he had seen a sword hanging—the sword of God's justice—which was speedily to descend with purifying punishment on the Church and the world. In brilliant Ferrara, seventeen years before, the contradiction between men's lives and their professed beliefs had pressed upon him with a force that had been enough to destroy his appetite for the world, and at the age of twenty-three had driven him into the cloister. He believed that God had committed to the Church the sacred lamp of truth for the guidance and salvation of men, and he saw that the Church, in its corruption, had become a sepulchre to hide the lamp. As the years went on scandals increased and multiplied, and hypocrisy seemed to have given place to impudence. Had the world, then, ceased to have a righteous Ruler? Was the Church finally forsaken? No, assuredly: in the Sacred Book there was a record of the past in which might be seen as in a glass what would be in the days to come, and the book showed that when the wickedness of the chosen people, type of the Christian Church, had become crying, the judgments of God had descended on them. Nay, reason itself declared that vengeance was imminent, for what else would suffice to turn men from their obstinacy in evil? And unless the Church were reclaimed, how could the promises be fulfilled, that the heathens should be converted and the whole world become subject to the one true law? He had seen his belief reflected in visions—a mode of seeing which had been frequent with him from his youth up.

But the real force of demonstration for Girolamo Savonarola lay in his own burning indignation at the sight of wrong; in his fervent belief in an Unseen Justice that would put an end to the wrong, and in an Unseen Purity to which lying and uncleanness were an abomination. To his ardent, power-loving soul, believing in great ends, and longing to achieve those ends by the exertion of its own strong will, the faith in a supreme and righteous Ruler became one with the faith in a speedy divine interposition that would punish and reclaim.

Meanwhile, under that splendid masquerade of dignities sacred and secular which seemed to make the life of lucky Churchmen and princely families so luxurious and amusing, there were certain conditions at work which slowly tended to disturb the general festivity. Ludovico Sforza— copious in gallantry, splendid patron of an incomparable Leonardo da Vinci—holding the ducal crown of Milan in his grasp, and wanting to put it on his own head rather than let it rest on that of a feeble nephew who would take very little to poison him, was much afraid of the Spanish-born old King Ferdinand and the Crown Prince Alfonso of Naples, who, not liking cruelty and treachery which were useless to themselves, objected to the poisoning of a near relative for the advantage of a Lombard usurper; the royalties of Naples again were afraid of their suzerain, Pope Alexander Borgia; all three were anxiously watching Florence, lest with its midway territory it should determine the game by underhand backing; and all four, with every small state in Italy, were afraid of Venice—Venice the cautious, the stable, and the strong, that wanted to stretch its arms not only along both sides of the Adriatic but across to the ports of the western coast, Lorenzo de' Medici, it was thought, did much to prevent the fatal outbreak of such jealousies, keeping up the old Florentine alliance with Naples and the Pope, and yet persuading Milan that the alliance was for the general advantage. But young Piero de' Medici's rash vanity had quickly nullified the effect of his father's wary policy, and Ludovico Sforza, roused to suspicion of a league against him, thought of a move which would checkmate his adversaries: he determined to invite the French king to march into Italy, and, as heir of the house of Anjou, take possession of Naples. Ambassadors—"orators," as they were called in those haranguing times— went and came; a recusant cardinal, determined not to acknowledge a Pope elected by bribery (and his own particular enemy), went and came also, and seconded the invitation with hot rhetoric; and the young king seemed to lend a willing ear. So that in 1493 the rumour spread and became louder and louder that Charles the Eighth of France was about to cross the Alps with a mighty army; and the Italian populations, accustomed, since Italy had ceased to be the heart of the Roman empire, to look for an arbitrator from afar, began vaguely to regard his coming as a means of avenging their wrongs and redressing their grievances.

And in that rumour Savonarola had heard the assurance that his prophecy was being verified. What was it that filled the ears of the prophets of old but the distant tread of foreign armies, coming to do the work of justice? He no longer looked vaguely to the horizon for the coming storm: he pointed to the rising cloud. The French army was that new deluge which was to purify the earth from iniquity; the French king, Charles the Eighth, was the instrument elected by God, as Cyrus had been of old, and all men who desired good rather than evil were to rejoice in his coming. For the scourge would fall destructively on the impenitent alone. Let any city of Italy, let Florence above all—Florence beloved of God, since to its ear the warning voice had been specially sent— repent and turn from its ways, like Nineveh of old, and the storm-cloud would roll over it and leave only refreshing raindrops.

Fra Girolamo's word was powerful; yet now that the new Cyrus had already been three months in Italy, and was not far from the gates of Florence, his presence was expected there with mixed feelings, in which fear and distrust certainly predominated. At present it was not understood that he had redressed any grievances; and the Florentines clearly had nothing to thank him for. He held their strong frontier fortresses, which Piero de' Medici had given up to him without securing any honourable terms in return; he had done nothing to quell the alarming revolt of Pisa, which had been encouraged by his presence to throw off the Florentine yoke; and "orators," even with a prophet at their head, could win no assurance from him, except that he would settle everything when he was once within the walls of Florence. Still, there was the satisfaction of knowing that the exasperating Piero de' Medici had been fairly pelted out for the ignominious surrender of the fortresses, and in that act of energy the spirit of the Republic had recovered some of its old fire.