Acting a part gave him Agostino's catching manner of speech. The waiter, who knew him now, took this for an order to say 'Yes.' He had evidently a respect for Ammiani's name: Carlo supposed that he was one of Milan's fighting men. A sort of answer leading to 'Yes' by a circuit and the assistance of the hearer, was conveyed to the, sbirri. They were true Neapolitans quick to suspect, irresolute upon their suspicions. He was soon aware that they were not to be feared more than are the general race of bunglers, whom the Gods sometimes strangely favour. They perplexed him: for why were they after him? and what had made them ask whether he had a brother? He was followed, but not molested, on his way to La Scala.

Ammiani's heart was in full play as he looked at the curtain of the stage. The Night of the Fifteenth had come. For the first few moments his strong excitement fronting the curtain, amid a great host of hearts thumping and quivering up in the smaller measures like his own, together with the predisposing belief that this was to be a night of events, stopped his consciousness that all had been thwarted; that there was nothing but plot, plot, counterplot and tangle, disunion, silly subtlety, jealousy, vanity, a direful congregation of antagonistic elements; threads all loose, tongues wagging, pressure here, pressure there, like an uncertain rage in the entrails of the undirected earth, and no master hand on the spot to fuse and point the intense distracted forces.

The curtain, therefore, hung like any common opera-screen; big only with the fate of the new prima donna. He was robbed even of the certainty that Vittoria would appear. From the blank aspect of the curtain he turned to the house, which was crowding fast, and was not like listless Milan about to criticize an untried voice. The commonly empty boxes of the aristocracy were full of occupants, and for a wonder the white uniforms were not in excess, though they were to be seen. The first person whom Ammiani met was Agostino, who spoke gruffly. Vittoria had been invisible to him. Neither the maestro, nor the impresario, nor the waiting-woman had heard of her. Uncertainty was behind the curtain, as well as in front; but in front it was the uncertainty which is tipped with expectation, hushing the usual noisy chatter, and setting a daylight of eyes forward. Ammiani spied about the house, and caught sight of Laura Piaveni with Colonel Corte by her side. The Lenkensteins were in the Archduke's box. Antonio-Pericles, and the English lady and Captain Gambier, were next to them. The appearance of a white uniform in his mother's box over the stage caused Ammiani to shut up his glass. He was making his way thither for the purpose of commencing the hostilities of the night, when Countess Ammiani entered the lobby, and took her son's arm with a grave face and a trembling touch.



CHAPTER XIX

THE PRIMA DONNA

'Whover is in my box is my guest,' said the countess, adding a convulsive imperative pressure on Carlo's arm, to aid the meaning of her deep underbreath. She was a woman who rarely exacted obedience, and she was spontaneously obeyed. No questions could be put, no explanations given in the crash, and they threaded on amid numerous greetings in a place where Milanese society had habitually ceased to gather, and found itself now in assembly with unconcealed sensations of strangeness. A card lay on the table of the countess's private retiring-room: it bore the name of General Pierson. She threw off her black lace scarf. 'Angelo Guidascarpi is in Milan,' she said. 'He has killed one of the Lenkensteins, sword to sword. He came to me an hour after you left; the sbirri were on his track; he passed for my son. He is now under the charge of Barto Rizzo, disguised; probably in this house. His brother is in the city. Keep the cowl on your head as long as possible; if these hounds see and identify you, there will be mischief.' She said no more, satisfied that she was understood, but opening the door of the box, passed in, and returned a stately acknowledgement of the salutations of two military officers. Carlo likewise bent his head to them; it was like bending his knee, for in the younger of the two intruders he recognized Lieutenant Pierson. The countess accepted a vacated seat; the cavity of her ear accepted the General's apologies. He informed her that he deeply regretted the intrusion; he was under orders to be present at the opera, and to be as near the stage as possible, the countess's box being designated. Her face had the unalterable composure of a painted head upon an old canvas. The General persisted in tendering excuses. She replied, 'It is best, when one is too weak to resist, to submit to an outrage quietly.' General Pierson at once took the position assigned to him; it was not an agreeable one. Between Carlo and the lieutenant no attempt at conversation was made.

The General addressed his nephew in English. 'Did you see the girl behind the scenes, Wilfrid?'

The answer was 'No.'

'Pericles has her fast shut up in the Tyrol: the best habitat for her if she objects to a whipping. Did you see Irma?'

'No; she has disappeared too.'

'Then I suppose we must make up our minds to an opera without head or tail. As Pat said of the sack of potatoes, "'twould be a mighty fine beast if it had them."'

The officers had taken refuge in their opera-glasses, and spoke while gazing round the house.

'If neither this girl nor Irma is going to appear, there is no positive necessity for my presence here,' said the General, reduced to excuse himself to himself. 'I'll sit through the first scene and then beat a retreat. I might be off at once; the affair looks harmless enough only, you know, when there's nothing to see, you must report that you have seen it, or your superiors are not satisfied.'

The lieutenant was less able to cover the irksomeness of his situation with easy talk. His glance rested on Countess Len a von Lenkenstein, a quick motion of whose hand made him say that he should go over to her.

'Very well,' said the General; 'be careful that you give no hint of this horrible business. They will hear of it when they get home: time enough!'

Lieutenant Pierson touched at his sister's box on the way. She was very excited, asked innumerable things,—whether there was danger? whether he had a whole regiment at hand to protect peaceable persons? 'Otherwise,' she said, 'I shall not be able to keep that man (her husband) in Italy another week. He refused to stir out to-night, though we know that nothing can happen. Your prima donna celestissima is out of harm's way.'

'Oh, she is safe,—ze minx'; cried Antonio-Pericles, laughing and saluting the Duchess of Graatli, who presented herself at the front of her box. Major de Pyrmont was behind her, and it delighted the Greek to point them out to the English lady, with a simple intimation of the character of their relationship, at which her curls shook sadly.

'Pardon, madame,' said Pericles. 'In Italy, a husband away, ze friend takes title: it is no more.'

'It is very disgraceful,' she said.

'Ze morales, madame, suit ze sun.'

Captain Gambier left the box with Wilfrid, expressing in one sentence his desire to fling Pericles over to the pit, and in another his belief that an English friend, named Merthyr Powys, was in the house.

'He won't be in the city four-and-twenty hours,' said Wilfrid.

'Well; you'll keep your tongue silent.'

'By heavens! Gambier, if you knew the insults we have to submit to! The temper of angels couldn't stand it. I'm sorry enough for these fellows, with their confounded country, but it's desperate work to be civil to them; upon my honour, it is! I wish they would stand up and let us have it over. We have to bear more from the women than the men.'

'I leave you to cool,' said Gambier.

The delayed absence of the maestro from his post at the head of the orchestra, where the musicians sat awaiting him, seemed to confirm a rumour that was now circling among the audience, warning all to prepare for a disappointment. His baton was brought in and laid on the book of the new overture. When at last he was seen bearing onward through the music-stands, a low murmur ran round. Rocco paid no heed to it. His demeanour produced such satisfaction in the breast of Antonio-Pericles that he rose, and was guilty of the barbarism of clapping his hands. Meeting Ammiani in the lobby, he said, 'Come, my good friend, you shall help me to pull Irma through to-night. She is vinegar—we will mix her with oil. It is only for to-night, to save that poor Rocco's opera.'

'Irma!' said Ammiani; 'she is by this time in Tyrol. Your Irma will have some difficulty in showing herself here within sixty hours.'

'How!' cried Pericles, amazed, and plucking after Carlo to stop him. 'I bet you—'

'How much?'

'I bet you a thousand florins you do not see la Vittoria to-night.'

'Good. I bet you a thousand florins you do not see Irma.'

'No Vittoria, I say!'

'And I say, no Lazzeruola!'

Agostino, who was pacing the lobby, sent Pericles distraught with the same tale of the rape of Irma. He rushed to Signora Piaveni's box and heard it repeated. There he beheld, sitting in the background, an old English acquaintance, with whom Captain Gambier was conversing.

'My dear Powys, you have come all the way from England to see your favourite's first night. You will be shocked, sir. She has neglected her Art. She is exiled, banished, sent away to study and to compose her mind.'

'I think you are mistaken,' said Laura. 'You will see her almost immediately.'

'Signora, pardon me; do I not know best?'

'You may have contrived badly.'

Pericles blinked and gnawed his moustache as if it were food for patience.

'I would wager a milliard of francs,' he muttered. With absolute pathos he related to Mr. Powys the aberrations of the divinely-gifted voice, the wreck which Vittoria strove to become, and from which he alone was striving to rescue her. He used abundant illustrations, coarse and quaint, and was half hysterical; flashing a white fist and thumping the long projection of his knee with a wolfish aspect. His grotesque sincerity was little short of the shedding of tears.

'And your sister, my dear Powys?' he asked, as one returning to the consideration of shadows.

'My sister accompanies me, but not to the opera.'

'For another campaign—hein?'

'To winter in Italy, at all events.'

Carlo Ammiani entered and embraced Merthyr Powys warmly. The Englishman was at home among Italians: Pericles, feeling that he was not so, and regarding them all as a community of fever-patients without hospital, retired. To his mind it was the vilest treason, the grossest selfishness, to conspire or to wink at the sacrifice of a voice like Vittoria's to such a temporal matter as this, which they called patriotism. He looked on it as one might look on the Hindoo drama of a Suttee. He saw in it just that stupid action of a whole body of fanatics combined to precipitate the devotion of a precious thing to extinction. And worse; for life was common, and women and Hindoo widows were common; but a Vittorian voice was but one in a generation—in a cycle of years. The religious belief of the connoisseur extended to the devout conception that her voice was a spiritual endowment, the casting of which priceless jewel into the bloody ditch of patriots was far more tragic and lamentable than any disastrous concourse of dedicated lives. He shook the lobby with his tread, thinking of the great night this might have been but for Vittoria's madness. The overture was coming to an end. By tightening his arms across his chest he gained some outward composure, and fixed his eyes upon the stage.

While sitting with Laura Piaveni and Merthyr Powys, Ammiani saw the apparition of Captain Weisspriess in his mother's box. He forgot her injunction, and hurried to her side, leaving the doors open. His passion of anger spurned her admonishing grasp of his arm, and with his glove he smote the Austrian officer on the face. Weisspriess plucked his sword out; the house rose; there was a moment like that of a wild beast's show of teeth. It passed: Captain Weisspriess withdrew in obedience to General Pierson's command. The latter wrote on a slip of paper that two pieces of artillery should be placed in position, and a squad of men about the doors: he handed it out to Weisspriess.

'I hope,' the General said to Carlo, 'we shall be able to arrange things for you without the interposition of the authorities.'

Carlo rejoined, 'General, he has the blood of our family on his hands. I am ready.'

The General bowed. He glanced at the countess for a sign of maternal weakness, saw none, and understood that a duel was down in the morrow's bill of entertainments, as well as a riot possibly before dawn. The house had revealed its temper in that short outburst, as a quivering of quick lightning-flame betrays the forehead of the storm.

Countess Ammiani bade her son make fast the outer door. Her sedate energies could barely control her agitation. In helping Angelo Guidascarpi to evade the law, she had imperilled her son and herself. Many of the Bolognese sbirri were in pursuit of Angelo. Some knew his person; some did not; but if those two before whom she had identified Angelo as being her son Carlo chanced now to be in the house, and to have seen him, and heard his name, the risks were great and various.

'Do you know that handsome young Count Ammiani?' Countess Lena said to Wilfrid. 'Perhaps you do not think him handsome? He was for a short time a play-fellow of mine. He is more passionate than I am, and that does not say a little; I warn you! Look how excited he is. No wonder. He is—everybody knows it—he is la Vittoria's lover.'

Countess Lena uttered that sentence in Italian. The soft tongue sent it like a coiling serpent through Wilfrid's veins. In English or in German it would not have possessed the deadly meaning.

She may have done it purposely, for she and her sister Countess Anna studied his face. The lifting of the curtain drew all eyes to the stage.

Rocco Ricci's baton struck for the opening of one of his spirited choruses; a chorus of villagers, who sing to the burden that Happiness, the aim of all humanity, has promised to visit the earth this day, that she may witness the union of the noble lovers, Camillo and Camilla. Then a shepherd sings a verse, with his hand stretched out to the impending castle. There lives Count Orso: will he permit their festivities to pass undisturbed? The puling voice is crushed by the chorus, which protests that the heavens are above Count Orso. But another villager tells of Orso's power, and hints at his misdeeds. The chorus rises in reply, warning all that Count Orso has ears wherever three are congregated; the villagers break apart and eye one another distrustfully, reuniting to the song of Happiness before they disperse. Camillo enters solus. Montini, as Camillo, enjoyed a warm reception; but as he advanced to deliver his canzone, it was seen that he and Rocco interchanged glances of desperate resignation. Camillo has had love passages with Michiella, Count Orso's daughter, and does not hesitate to declare that he dreads her. The orphan Camilla, who has been reared in yonder castle with her, as her sister, is in danger during all these last minutes which still retain her from his arms.

'If I should never see her—I who, like a poor ghost upon the shores of the dead river, have been flattered with the thought that she would fall upon my breast like a ray of the light of Elysium—if I should never see her more!' The famous tenore threw his whole force into that outcry of projected despair, and the house was moved by it: there were many in the house who shared his apprehension of a foul mischance.

Thenceforward the opera and the Italian audience were as one. All that was uttered had a meaning, and was sympathetically translated. Camilla they perceived to be a grave burlesque with a core to it. The quick-witted Italians caught up the interpretation in a flash. 'Count Orso' Austria; 'Michiella' is Austria's spirit of intrigue; 'Camillo' is indolent Italy, amorous Italy, Italy aimless; 'Camilla' is YOUNG ITALY!

Their eagerness for sight of Vittoria was now red-hot, and when Camillo exclaimed 'She comes!' many rose from their seats.

A scrap of paper was handed to Antonio-Pericles from Captain Weisspriess, saying briefly that he had found Irma in the carriage instead of the little 'v,' thanked him for the joke, and had brought her back. Pericles was therefore not surprised when Irma, as Michiella, came on, breathless, and looking in an excitement of anger; he knew that he had been tricked.

Between Camillo and Michiella a scene of some vivacity ensued—reproaches, threats of calamity, offers of returning endearment upon her part; a display of courtly scorn upon his. Irma made her voice claw at her quondam lover very finely; it was a voice with claws, that entered the hearing sharp-edged, and left it plucking at its repose. She was applauded relishingly when, after vainly wooing him, she turned aside and said—

'What change is this in one who like a reed Bent to my twisting hands? Does he recoil? Is this the hound whom I have used to feed With sops of vinegar and sops of oil?'

Michiella's further communications to the audience make it known that she has allowed the progress toward the ceremonies of espousal between Camillo and Camilla, in order, at the last moment, to show her power over the youth and to plunge the detested Camilla into shame and wretchedness.

Camillo retires: Count Orso appears. There is a duet between father and daughter: she confesses her passion for Camillo, and entreats her father to stop the ceremony; and here the justice of the feelings of Italians, even in their heat of blood, was noteworthy. Count Orso says that he would willingly gratify his daughter, as it would gratify himself, but that he must respect the law. 'The law is of your own making,' says Michiella. 'Then, the more must I respect it,' Count Orso replies.

The audience gave Austria credit for that much in a short murmur.

Michiella's aside, 'Till anger seizes him I wait!' created laughter; it came in contrast with an extraordinary pomposity of self-satisfaction exhibited by Count Orso—the flower-faced, tun-bellied basso, Lebruno. It was irresistible. He stood swollen out like a morning cock. To make it further telling, he took off his yellow bonnet with a black-gloved hand, and thumped the significant colours prominently on his immense chest—an idea, not of Agostino's, but Lebruno's own; and Agostino cursed with fury. Both he and Rocco knew that their joint labour would probably have only one night's display of existence in the Austrian dominions, but they grudged to Lebruno the chief merit of despatching it to the Shades.

The villagers are heard approaching. 'My father!' cries Michiella, distractedly; 'the hour is near: it will be death to your daughter! Imprison Camillo: I can bring twenty witnesses to prove that he has sworn you are illegally the lord of this country. You will rue the marriage. Do as you once did. Be bold in time. The arrow-head is on the string-cut the string!'

'As I once did?' replies Orso with frown terrific, like a black crest. He turns broadly and receives the chorus of countrymen in paternal fashion—an admirably acted bit of grave burlesque.

By this time the German portion of the audience had, by one or other of the senses, dimly divined that the opera was a shadow of something concealed—thanks to the buffo-basso Lebruno. Doubtless they would have seen this before, but that the Austrian censorship had seemed so absolute a safeguard.

'My children! all are my children in this my gladsome realm!' Count Orso says, and marches forth, after receiving the compliment of a choric song in honour of his paternal government. Michiella follows him.

Then came the deep suspension of breath. For, as upon the midnight you count bell-note after bell-note of the toiling hour, and know not in the darkness whether there shall be one beyond it, so that you hang over an abysm until Twelve is sounded, audience and actors gazed with equal expectation at the path winding round from the castle, waiting for the voice of the new prima donna.

'Mia madre!' It issued tremblingly faint. None could say who was to appear.

Rocco Ricci struck twice with his baton, flung a radiant glance across his shoulders for all friends, and there was joy in the house. Vittoria stood before them.



CHAPTER XX

THE OPERA OF CAMILLA

She was dressed like a noble damsel from the hands of Titian. An Italian audience cannot but be critical in their first glance at a prima donna, for they are asked to do homage to a queen who is to be taken on her merits: all that they have heard and have been taught to expect of her is compared swiftly with the observation of her appearance and her manner. She is crucially examined to discover defects. There is no boisterous loyalty at the outset. And as it was now evident that Vittoria had chosen to impersonate a significant character, her indications of method were jealously watched for a sign of inequality, either in her, motion, or the force of her eyes. So silent a reception might have seemed cruel in any other case; though in all cases the candidate for laurels must, in common with the criminal, go through the ordeal of justification. Men do not heartily bow their heads until they have subjected the aspirant to some personal contest, and find themselves overmatched. The senses, ready to become so slavish in adulation and delight, are at the beginning more exacting than the judgement, more imperious than the will. A figure in amber and pale blue silk was seen, such as the great Venetian might have sketched from his windows on a day when the Doge went forth to wed the Adriatic a superb Italian head, with dark banded hair-braid, and dark strong eyes under unabashed soft eyelids! She moved as, after long gazing at a painting of a fair woman, we may have the vision of her moving from the frame. It was an animated picture of ideal Italia. The sea of heads right up to the highest walls fronted her glistening, and she was mute as moonrise. A virgin who loosens a dove from her bosom does it with no greater effort than Vittoria gave out her voice. The white bird flutters rapidly; it circles and takes its flight. The voice seemed to be as little the singer's own.

The theme was as follows:—Camilla has dreamed overnight that her lost mother came to her bedside to bless her nuptials. Her mother was folded in a black shroud, looking formless as death, like very death, save that death sheds no tears. She wept, without change of voice, or mortal shuddering, like one whose nature weeps: 'And with the forth-flowing of her tears the knowledge of her features was revealed to me.' Behold the Adige, the Mincio, Tiber, and the Po!—such great rivers were the tears pouring from her eyes. She threw apart the shroud: her breasts and her limbs were smooth and firm as those of an immortal Goddess: but breasts and limbs showed the cruel handwriting of base men upon the body of a martyred saint. The blood from those deep gashes sprang out at intervals, mingling with her tears. She said:

'My child! were I a Goddess, my wounds would heal. Were I a Saint, I should be in Paradise. I am no Goddess, and no Saint: yet I cannot die. My wounds flow and my tears. My tears flow because of no fleshly anguish: I pardon my enemies. My blood flows from my body, my tears from my soul. They flow to wash out my shame. I have to expiate my soul's shame by my body's shame. Oh! how shall I tell you what it is to walk among my children unknown of them, though each day I bear the sun abroad like my beating heart; each night the moon, like a heart with no blood in it. Sun and moon they see, but not me! They know not their mother. I cry to God. The answer of our God is this:—"Give to thy children one by one to drink of thy mingled tears and blood:—then, if there is virtue in them, they shall revive, thou shaft revive. If virtue is not in them, they and thou shall continue prostrate, and the ox shall walk over you." From heaven's high altar, O Camilla, my child, this silver sacramental cup was reached to me. Gather my tears in it, fill it with my blood, and drink.'

The song had been massive in monotones, almost Gregorian in its severity up to this point.

'I took the cup. I looked my mother in the face. I filled the cup from the flowing of her tears, the flowing of her blood; and I drank!'

Vittoria sent this last phrase ringing out forcefully. From the inveterate contralto of the interview, she rose to pure soprano in describing her own action. 'And I drank,' was given on a descent of the voice: the last note was in the minor key—it held the ear as if more must follow: like a wail after a triumph of resolve. It was a masterpiece of audacious dramatic musical genius addressed with sagacious cunning and courage to the sympathizing audience present. The supposed incompleteness kept them listening; the intentness sent that last falling (as it were, broken) note travelling awakeningly through their minds. It is the effect of the minor key to stir the hearts of men with this particular suggestiveness. The house rose, Italians—and Germans together. Genius, music, and enthusiasm break the line of nationalities. A rain of nosegays fell about Vittoria; evvivas, bravas, shouts—all the outcries of delirious men surrounded her. Men and women, even among the hardened chorus, shook together and sobbed. 'Agostino!' and 'Rocco!' were called; 'Vittoria!' 'Vittoria!' above all, with increasing thunder, like a storm rushing down a valley, striking in broad volume from rock to rock, humming remote, and bursting up again in the face of the vale. Her name was sung over and over—'Vittoria! Vittoria!' as if the mouths were enamoured of it.

'Evviva la Vittoria a d' Italia!' was sung out from the body of the house.

An echo replied—'"Italia a il premio della VITTORIA!"' a well-known saying gloriously adapted, gloriously rescued from disgrace.

But the object and source of the tremendous frenzy stood like one frozen by the revelation of the magic the secret of which she has studiously mastered. A nosegay, the last of the tributary shower, discharged from a distance, fell at her feet. She gave it unconsciously preference over the rest, and picked it up. A little paper was fixed in the centre. She opened it with a mechanical hand, thinking there might be patriotic orders enclosed for her. It was a cheque for one thousand guineas, drawn upon an English banker by the hand of Antonio-Pericles Agriolopoulos; freshly drawn; the ink was only half dried, showing signs of the dictates of a furious impulse. This dash of solid prose, and its convincing proof that her Art had been successful, restored Vittoria's composure, though not her early statuesque simplicity. Rocco gave an inquiring look to see if she would repeat the song. She shook her head resolutely. Her opening of the paper in the bouquet had quieted the general ebullition, and the expression of her wish being seen, the chorus was permitted to usurp her place. Agostino paced up and down the lobby, fearful that he had been guilty of leading her to anticlimax.

He met Antonio-Pericles, and told him so; adding (for now the mask had been seen through, and was useless any further) that he had not had the heart to put back that vision of Camilla's mother to a later scene, lest an interruption should come which would altogether preclude its being heard. Pericles affected disdain of any success which Vittoria had yet achieved. 'Wait for Act the Third,' he said; but his irritable anxiousness to hold intercourse with every one, patriot or critic, German, English, or Italian, betrayed what agitation of exultation coursed in his veins. 'Aha!' was his commencement of a greeting; 'was Antonio-Pericles wrong when he told you that he had a prima donna for you to amaze all Christendom, and whose notes were safe and firm as the footing of the angels up and down Jacob's ladder, my friends? Aha!'

'Do you see that your uncle is signalling to you?' Countess Lena said to Wilfrid. He answered like a man in a mist, and looked neither at her nor at the General, who, in default of his obedience to gestures, came good-humouredly to the box, bringing Captain Weisspriess with him.

'We 're assisting at a pretty show,' he said.

'I am in love with her voice,' said Countess Anna.

'Ay; if it were only a matter of voices, countess.'

'I think that these good people require a trouncing,' said Captain Weisspriess.

'Lieutenant Pierson is not of your opinion,' Countess Anna remarked. Hearing his own name, Wilfrid turned to them with a weariness well acted, but insufficiently to a jealous observation, for his eyes were quick under the carelessly-dropped eyelids, and ranged keenly over the stage while they were affecting to assist his fluent tongue.

Countess Lena levelled her opera-glass at Carlo Ammiani, and then placed the glass in her sister's hand. Wilfrid drank deep of bitterness. 'That is Vittoria's lover,' he thought; 'the lover of the Emilia who once loved me!'

General Pierson may have noticed this by-play: he said to his nephew in the brief military tone: 'Go out; see that the whole regiment is handy about the house; station a dozen men, with a serjeant, at each of the backdoors, and remain below. I very much mistake, or we shall have to make a capture of this little woman to-night.'

'How on earth,' he resumed, while Wilfrid rose savagely and went out with his stiffest bow, 'this opera was permitted to appear, I can't guess! A child could see through it. The stupidity of our civil authorities passes my understanding—it's a miracle! We have stringent orders not to take any initiative, or I would stop the Fraulein Camilla from uttering another note.'

'If you did that, I should be angry with you, General,' said Countess Anna.

'And I also think the Government cannot do wrong,' Countess Lena joined in.

The General contented himself by saying: 'Well, we shall see.'

Countess Lena talked to Captain Weisspriess in an undertone, referring to what she called his dispute with Carlo Ammiani. The captain was extremely playful in rejoinders.

'You iron man!' she exclaimed.

'Man of steel would be the better phrase,' her sister whispered.

'It will be an assassination, if it happens.'

'No officer can bear with an open insult, Lena.'

'I shall not sit and see harm done to my old playmate, Anna.'

'Beware of betraying yourself for one who detests you.'

A grand duo between Montini and Vittoria silenced all converse. Camilla tells Camillo of her dream. He pledges his oath to discover her mother, if alive; if dead, to avenge her. Camilla says she believes her mother is in the dungeons of Count Orso's castle. The duo tasked Vittoria's execution of florid passages; it gave evidence of her sound artistic powers.

'I was a fool,' thought Antonio-Pericles; 'I flung my bouquet with the herd. I was a fool! I lost my head!'

He tapped angrily at the little ink-flask in his coat-pocket. The first act, after scenes between false Camillo and Michiella, ends with the marriage of Camillo and Camilla;—a quatuor composed of Montini, Vittoria, Irma, and Lebruno. Michiella is in despair; Count Orso is profoundly sonorous with paternity and devotion to the law. He has restored to Camilla a portion of her mother's sequestrated estates. A portion of the remainder will be handed over to her when he has had experience of her husband's good behaviour. The rest he considers legally his own by right of (Treaties), and by right of possession and documents his sword. Yonder castle he must keep. It is the key of all his other territories. Without it, his position will be insecure. (Allusion to the Austrian argument that the plains of Lombardy are the strategic defensive lines of the Alps.)

Agostino, pursued by his terror of anticlimax, ran from the sight of Vittoria when she was called, after the fall of the curtain. He made his way to Rocco Ricci (who had given his bow to the public from his perch), and found the maestro drinking Asti to counteract his natural excitement. Rocco told Agostino, that up to the last moment, neither he nor any soul behind the scenes knew Vittoria would be able to appear, except that she had sent a note to him with a pledge to be in readiness for the call. Irma had come flying in late, enraged, and in disorder, praying to take Camilla's part; but Montini refused to act with the seconda donna as prima donna. They had commenced the opera in uncertainty whether it could go on beyond the situation where Camilla presents herself. 'I was prepared to throw up my baton,' said Rocco, 'and publicly to charge the Government with the rape of our prima donna. Irma I was ready to replace. I could have filled that gap.' He spoke of Vittoria's triumph. Agostino's face darkened. 'Ha!' said he, 'provided we don't fall flat, like your Asti with the cork out. I should have preferred an enthusiasm a trifle more progressive. The notion of travelling backwards is upon me forcibly, after that tempest of acclamation.'

'Or do you think that you have put your best poetry in the first Act?' Rocco suggested with malice.

'Not a bit of it!' Agostino repudiated the idea very angrily, and puffed and puffed. Yet he said, 'I should not be lamenting if the opera were stopped at once.'

'No!' cried Rocco; 'let us have our one night. I bargain for that. Medole has played us false, but we go on. We are victims already, my Agostino.'

'But I do stipulate,' said Agostino, 'that my jewel is not to melt herself in the cup to-night. I must see her. As it is, she is inevitably down in the list for a week's or a month's incarceration.'

Antonio-Pericles had this, in his case, singular piece of delicacy, that he refrained from the attempt to see Vittoria immediately after he had flung his magnificent bouquet of treasure at her feet. In his intoxication with the success which he had foreseen and cradled to its apogee, he was now reckless of any consequences. He felt ready to take patriotic Italy in his arms, provided that it would succeed as Vittoria had done, and on the spot. Her singing of the severe phrases of the opening chant, or hymn, had turned the man, and for a time had put a new heart in him. The consolation was his also, that he had rewarded it the most splendidly—as it were, in golden italics of praise; so that her forgiveness of his disinterested endeavour to transplant her was certain, and perhaps her future implicit obedience or allegiance bought. Meeting General Pierson, the latter rallied him.

'Why, my fine Pericles, your scheme to get this girl out of the way was capitally concerted. My only fear is that on another occasion the Government will take another view of it and you.'

Pericles shrugged. 'The Gods, my dear General, decree. I did my best to lay a case before them; that is all.'

'Ah, well! I am of opinion you will not lay many other cases before the Gods who rule in Milan.'

'I have helped them to a good opera.'

'Are you aware that this opera consists entirely of political allusions?'

General Pierson spoke offensively, as the urbane Austrian military permitted themselves to do upon occasion when addressing the conquered or civilians.

'To me,' returned Pericles, 'an opera—it is music. I know no more.'

'You are responsible for it,' said the General, harshly. 'It was taken upon trust from you.'

'Brutal Austrians!' Pericles murmured. 'And you do not think much of her voice, General?'

'Pretty fair, sir.'

'What wonder she does not care to open her throat to these swine!' thought the changed Greek.

Vittoria's door was shut to Agostino. No voice within gave answer. He tried the lock of the door, and departed. She sat in a stupor. It was harder for her to make a second appearance than it was to make the first, when the shameful suspicion cruelly attached to her had helped to balance her steps with rebellious pride; and more, the great collected wave of her ambitious years of girlhood had cast her forward to the spot, as in a last effort for consummation. Now that she had won the public voice (love, her heart called it) her eyes looked inward; she meditated upon what she had to do, and coughed nervously. She frightened herself with her coughing, and shivered at the prospect of again going forward in the great nakedness of stagelights and thirsting eyes. And, moreover, she was not strengthened by the character of the music and the poetry of the second Act:—a knowledge of its somewhat inferior quality may possibly have been at the root of Agostino's dread of an anticlimax. The seconda donna had the chief part in it—notably an aria (Rocco had given it to her in compassion) that suited Irma's pure shrieks and the tragic skeleton she could be. Vittoria knew how low she was sinking when she found her soul in the shallows of a sort of jealousy of Irma. For a little space she lost all intimacy with herself; she looked at her face in the glass and swallowed water, thinking that she had strained a dream and confused her brain with it. The silence of her solitary room coming upon the blaze of light the colour and clamour of the house, and the strange remembrance of the recent impersonation of an ideal character, smote her with the sense of her having fallen from a mighty eminence, and that she lay in the dust. All those incense-breathing flowers heaped on her table seemed poisonous, and reproached her as a delusion. She sat crouching alone till her tirewomen called; horrible talkative things! her own familiar maid Giacinta being the worst to bear with.

Now, Michiella, by making love to Leonardo, Camillo's associate, discovers that Camillo is conspiring against her father. She utters to Leonardo very pleasant promises indeed, if he will betray his friend. Leonardo, a wavering baritono, complains that love should ask for any return save in the coin of the empire of love. He is seduced, and invokes a malediction upon his head should he accomplish what he has sworn to perform. Camilla reposes perfect confidence in this wretch, and brings her more doubtful husband to be of her mind.

Camillo and Camilla agree to wear the mask of a dissipated couple. They throw their mansion open; dicing, betting, intriguing, revellings, maskings, commence. Michiella is courted ardently by Camillo; Camilla trifles with Leonardo and with Count Orso alternately. Jealous again of Camilla, Michiella warns and threatens Leonardo; but she becomes Camillo's dupe, partly from returning love, partly from desire for vengeance on her rival. Camilla persuades Orso to discard Michiella. The infatuated count waxes as the personification of portentous burlesque; he is having everything his own way. The acting throughout—owing to the real gravity of the vast basso Lebruno's burlesque, and Vittoria's archness—was that of high comedy with a lurid background. Vittoria showed an enchanting spirit of humour. She sang one bewitching barcarole that set the house in rocking motion. There was such melancholy in her heart that she cast herself into all the flippancy with abandonment. The Act was weak in too distinctly revealing the finger of the poetic political squib at a point here and there. The temptation to do it of an Agostino, who had no other outlet, had been irresistible, and he sat moaning over his artistic depravity, now that it stared him in the face. Applause scarcely consoled him, and it was with humiliation of mind that he acknowledged his debt to the music and the singers, and how little they owed to him.

Now Camillo is pleased to receive the ardent passion of his wife, and the masking suits his taste, but it is the vice of his character that he cannot act to any degree subordinately in concert; he insists upon positive headship!—(allusion to an Italian weakness for sovereignties; it passed unobserved, and chuckled bitterly over his excess of subtlety). Camillo cannot leave the scheming to her. He pursues Michiella to subdue her with blandishments. Reproaches cease upon her part. There is a duo between them. They exchange the silver keys, which express absolute intimacy, and give mutual freedom of access. Camillo can now secrete his followers in the castle; Michiella can enter Camilla's blue-room, and ravage her caskets for treasonable correspondence. Artfully she bids him reflect on what she is forfeiting for him; and so helps him to put aside the thought of that which he also may be imperilling.

Irma's shrill crescendos and octave-leaps, assisted by her peculiar attitudes of strangulation, came out well in this scene. The murmurs concerning the sour privileges to be granted by a Lazzeruola were inaudible. But there has been a witness to the stipulation. The ever-shifting baritono, from behind a pillar, has joined in with an aside phrase here and there. Leonardo discovers that his fealty to Camilla is reviving. He determines to watch over her. Camillo now tosses a perfumed handkerchief under his nose, and inhales the coxcombical incense of the idea that he will do all without Camilla's aid, to surprise her; thereby teaching her to know him to be somewhat a hero. She has played her part so thoroughly that he can choose to fancy her a giddy person; he remarks upon the frequent instances of girls who in their girlhood were wild dreamers becoming after marriage wild wives. His followers assemble, that he may take advantage of the exchanged key of silver. He is moved to seek one embrace of Camilla before the conflict:—she is beautiful! There was never such beauty as hers! He goes to her in the fittest preparation for the pangs of jealousy. But he has not been foremost in practising the uses of silver keys. Michiella, having first arranged with her father to be before Camillo's doors at a certain hour with men-at-arms, is in Camilla's private chamber, with her hand upon a pregnant box of ebony wood, when she is startled by a noise, and slips into concealment. Leonardo bursts through the casement window. Camilla then appears. Leonardo stretches the tips of his fingers out to her; on his knees confesses his guilt and warns her. Camillo comes in. Thrusting herself before him, Michiella points to the stricken couple 'See! it is to show you this that I am here.' Behold occasion for a grand quatuor!

While confessing his guilt to Camilla, Leonardo has excused it by an emphatic delineation of Michiella's magic sway over him. (Leonardo, in fact, is your small modern Italian Machiavelli, overmatched in cunning, for the reason that he is always at a last moment the victim of his poor bit of heart or honesty: he is devoid of the inspiration of great patriotic aims.) If Michiella (Austrian intrigue) has any love, it is for such a tool. She cannot afford to lose him. She pleads for him; and, as Camilla is silent on his account, the cynical magnanimity of Camillo is predisposed to spare a fangless snake. Michiella withdraws him from the naked sword to the back of the stage. The terrible repudiation scene ensues, in which Camillo casts off his wife. If it was a puzzle to one Italian half of the audience, the other comprehended it perfectly, and with rapture. It was thus that YOUNG ITALY had too often been treated by the compromising, merely discontented, dallying aristocracy. Camilla cries to him, 'Have faith in me! have faith in me! have faith in me!' That is the sole answer to his accusations, his threats of eternal loathing, and generally blustering sublimities. She cannot defend herself; she only knows her innocence. He is inexorable, being the guilty one of the two. Turning from him with crossed arms, Camilla sings:

'Mother! it is my fate that I should know Thy miseries, and in thy footprints go. Grief treads the starry places of the earth: In thy long track I feel who gave me birth. I am alone; a wife without a lord; My home is with the stranger—home abhorr'd!—But that I trust to meet thy spirit there. Mother of Sorrows! joy thou canst not share: So let me wander in among the tombs, Among the cypresses and the withered blooms. Thy soul is with dead suns: there let me be; A silent thing that shares thy veil with thee.'

The wonderful viol-like trembling of the contralto tones thrilled through the house. It was the highest homage to Vittoria that no longer any shouts arose nothing but a prolonged murmur, as when one tells another a tale of deep emotion, and all exclamations, all ulterior thoughts, all gathered tenderness of sensibility, are reserved for the close, are seen heaping for the close, like waters above a dam. The flattery of beholding a great assembly of human creatures bound glittering in wizard subservience to the voice of one soul, belongs to the artist, and is the cantatrice's glory, pre-eminent over whatever poor glory this world gives. She felt it, but she felt it as something apart. Within her was the struggle of Italy calling to Italy: Italy's shame, her sadness, her tortures, her quenchless hope, and the view of Freedom. It sent her blood about her body in rebellious volumes. Once it completely strangled her notes. She dropped the ball of her chin in her throat; paused without ceremony; and recovered herself. Vittoria had too severe an artistic instinct to court reality; and as much as she could she from that moment corrected the underlinings of Agostino's libretto.

On the other hand, Irma fell into all his traps, and painted her Austrian heart with a prodigal waste of colour and frank energy:

'Now Leonardo is my tool: Camilla is my slave: And she I hate goes forth to cool Her rage beyond the wave. Joy! joy! Paid am I in full coin for my caressing; I take, but give nought, ere the priestly blessing.'

A subtle distinction. She insists upon her reverence for the priestly (papistical) blessing, while she confides her determination to have it dispensed with in Camilla's case. Irma's known sympathies with the Austrian uniform seasoned the ludicrousness of many of the double-edged verses which she sang or declaimed in recitative. The irony of applauding her vehemently was irresistible.

Camilla is charged with conspiracy, and proved guilty by her own admission.

The Act ends with the entry of Count Orso and his force; conspirators overawed; Camilla repudiated; Count Orso imperially just; Leonardo chagrined; Camillo pardoned; Michiella triumphant. Camillo sacrifices his wife for safety. He holds her estates; and therefore Count Orso, whose respect for law causes him to have a keen eye for matrimonial alliances, is now paternally willing, and even anxious to bestow Michiella upon him when the Pontifical divorce can be obtained; so that the long-coveted fruitful acres may be in the family. The chorus sings a song of praise to Hymen, the 'builder of great Houses.' Camilla goes forth into exile. The word was not spoken, but the mention of 'bread of strangers, strange faces, cold climes,' said sufficient.

'It is a question whether we ought to sit still and see a firebrand flashed in our faces,' General Pierson remarked as the curtain fell. He was talking to Major de Pyrmont outside the Duchess of Graatli's box. Two General officers joined them, and presently Count Serabiglione, with his courtly semi-ironical smile, on whom they straightway turned their backs. The insult was happily unseen, and the count caressed his shaven chin and smiled himself onward. The point for the officers to decide was, whether they dared offend an enthusiastic house—the fiery core of the population of Milan—by putting a stop to the opera before worse should come.

Their own views were entirely military; but they were paralyzed by the recent pseudo-liberalistic despatches from Vienna; and agreed, with some malice in their shrugs, that the odium might as well be left on the shoulders of the bureau which had examined the libretto. In fact, they saw that there would be rank peril in attempting to arrest the course of things within the walls of the house.

'The temper this people is changeing oddly,' said General Pierson. Major de Pyrmont listened awhile to what they had to say, and returned to the duchess. Amalia wrote these lines to Laura:—'If she sings that song she is to be seized on the wings of the stage. I order my carriage to be in readiness to take her whither she should have gone last night. Do you contrive only her escape from the house. Georges de P. will aid you. I adore the naughty rebel!'

Major de Pyrmont delivered the missive at Laura's box. He went down to the duchess's chasseur, and gave him certain commands and money for a journey. Looking about, he beheld Wilfrid, who implored him to take his place for two minutes. De Pyrmont laughed. 'She is superb, my friend. Come up with me. I am going behind the scenes. The unfortunate impresario is a ruined man; let us both condole with him. It is possible that he has children, and children like bread.'

Wilfrid was linking his arm to De Pyrmont's, when, with a vivid recollection of old times, he glanced at his uniform with Vittoria's eyes. 'She would spit at me!' he muttered, and dropped behind.

Up in her room Vittoria held council with Rocco, Agostino, and the impresario, Salvolo, who was partly their dupe. Salvolo had laid a freshly-written injunction from General Pierson before her, bidding him to exclude the chief solo parts from the Third Act, and to bring it speedily to a termination. His case was, that he had been ready to forfeit much if a rising followed; but that simply to beard the authorities was madness. He stated his case by no means as a pleader, although the impression made on him by the prima donna's success caused his urgency to be civil.

'Strike out what you please,' said Vittoria.

Agostino smote her with a forefinger. 'Rogue! you deserve an imperial crown. You have been educated for monarchy. You are ready enough to dispense with what you don't care for, and what is not your own.'

Much of the time was lost by Agostino's dispute with Salvolo. They haggled and wrangled laughingly over this and that printed aria, but it was a deplorable deception of the unhappy man; and with Vittoria's stronger resolve to sing the incendiary song, the more necessary it was for her to have her soul clear of deceit. She said, 'Signor Salvolo, you have been very kind to me, and I would do nothing to hurt your interests. I suppose you must suffer for being an Italian, like the rest of us. The song I mean to sing is not written or printed. What is in the book cannot harm you, for the censorship has passed it; and surely I alone am responsible for singing what is not in the book—I and the maestro. He supports me. We have both taken precautions' (she smiled) 'to secure our property. If you are despoiled, we will share with you. And believe, oh! in God's name, believe that you will not suffer to no purpose!'

Salvolo started from her in a horror of amazement. He declared that he had been miserably deceived and entrapped. He threatened to send the company to their homes forthwith. 'Dare to!' said Agostino; and to judge by the temper of the house, it was only too certain, that if he did so, La Scala would be a wrecked tenement in the eye of morning. But Agostino backed his entreaty to her to abjure that song; Rocco gave way, and half shyly requested her to think of prudence. She remembered Laura, and Carlo, and her poor little frightened foreign mother. Her intense ideal conception of her duty sank and danced within her brain as the pilot-star dances on the bows of a tossing vessel. All were against her, as the tempest is against the ship. Even light above (by which I would image that which she could appeal to pleading in behalf of the wisdom of her obstinate will) was dyed black in the sweeping obscuration; she failed to recollect a sentence that was to be said to vindicate her settled course. Her sole idea was her holding her country by an unseen thread, and of the everlasting welfare of Italy being jeopardized if she relaxed her hold. Simple obstinacy of will sustained her.

You mariners batten down the hatchways when the heavens are dark and seas are angry. Vittoria, with the same faith in her instinct, shut the avenues to her senses—would see nothing, hear nothing. The impresario's figure of despair touched her later. Giacinta drove him forth in the act of smiting his forehead with both hands. She did the same for Agostino and Rocco, who were not demonstrative.

They knew that by this time the agents of the Government were in all probability ransacking their rooms, and confiscating their goods.

'Is your piano hired?' quoth the former.

'No,' said the latter, 'are your slippers?'

They went their separate ways, laughing.



CHAPTER XXI

THE THIRD ACT

The libretto of the Third Act was steeped in the sentiment of Young Italy. I wish that I could pipe to your mind's hearing any notion of the fine music of Rocco Ricci, and touch you to feel the revelations which were in this new voice. Rocco and Vittoria gave the verses a life that cannot belong to them now; yet, as they contain much of the vital spirit of the revolt, they may assist you to some idea of the faith animating its heads, and may serve to justify this history.

Rocco's music in the opera of Camilla had been sprung from a fresh Italian well; neither the elegiac-melodious, nor the sensuous-lyrical, nor the joyous buffo; it was severe as an old masterpiece, with veins of buoyant liveliness threading it, and with sufficient distinctness of melody to enrapture those who like to suck the sugarplums of sound. He would indeed have favoured the public with more sweet things, but Vittoria, for whom the opera was composed, and who had been at his elbow, was young, and stern in her devotion to an ideal of classical music that should elevate and never stoop to seduce or to flatter thoughtless hearers. Her taste had directed as her voice had inspired the opera. Her voice belonged to the order of the simply great voices, and was a royal voice among them. Pure without attenuation, passionate without contortion, when once heard it exacted absolute confidence. On this night her theme and her impersonation were adventitious introductions, but there were passages when her artistic pre-eminence and the sovereign fulness and fire of her singing struck a note of grateful remembered delight. This is what the great voice does for us. It rarely astonishes our ears. It illumines our souls, as you see the lightning make the unintelligible craving darkness leap into long mountain ridges, and twisting vales, and spires of cities, and inner recesses of light within light, rose-like, toward a central core of violet heat.

At the rising of the curtain the knights of the plains, Rudolfo, Romualdo, Arnoldo, and others, who were conspiring to overthrow Count Orso at the time when Camillo's folly ruined all, assemble to deplore Camilla's banishment, and show, bereft of her, their helplessness and indecision. They utter contempt of Camillo, who is this day to be Pontifically divorced from his wife to espouse the detested Michiella. His taste is not admired.

They pass off. Camillo appears. He is, as he knows, little better than a pensioner in Count Orso's household. He holds his lands on sufferance. His faculties are paralyzed. He is on the first smooth shoulder-slope of the cataract. He knows that not only was his jealousy of his wife groundless, but it was forced by a spleenful pride. What is there to do? Nothing, save resignedly to prepare for his divorce from the conspiratrix Camilla and espousals with Michiella. The cup is bitter, and his song is mournful. He does the rarest thing a man will do in such a predicament—he acknowledges that he is going to get his deserts. The faithfulness and purity of Camilla have struck his inner consciousness. He knows not where she may be. He has secretly sent messengers in all directions to seek her, and recover her, and obtain her pardon: in vain. It is as well, perhaps, that he should never see her more. Accursed, he has cast off his sweetest friend. The craven heart could never beat in unison with hers.

'She is in the darkness: I am in the light. I am a blot upon the light; she is light in the darkness.'

Montini poured this out with so fine a sentiment that the impatience of the house for sight of its heroine was quieted. But Irma and Lebruno came forward barely under tolerance.

'We might as well be thumping a tambourine,' said Lebruno, during a caress. Irma bit her underlip with mortification. Their notes fell flat as bullets against a wall.

This circumstance aroused the ire of Antonio-Pericles against the libretto and revolutionists. 'I perceive,' he said, grinning savagely, 'it has come to be a concert, not an opera; it is a musical harangue in the marketplace. Illusion goes: it is politics here!'

Carlo Ammiani was sitting with his mother and Luciano breathlessly awaiting the entrance of Vittoria. The inner box-door was rudely shaken: beneath it a slip of paper had been thrust. He read a warning to him to quit the house instantly. Luciano and his mother both counselled his departure. The detestable initials 'B. R.,' and the one word 'Sbirri,' revealed who had warned, and what was the danger. His friend's advice and the commands of his mother failed to move him. 'When I have seen her safe; not before,' he said.

Countess Ammiani addressed Luciano: 'This is a young man's love for a woman.'

'The woman is worth it,' Luciano replied.

'No woman is worth the sacrifice of a mother and of a relative.'

'Dearest countess,' said Luciano, 'look at the pit; it's a cauldron. We shall get him out presently, have no fear: there will soon be hubbub enough to let Lucifer escape unseen. If nothing is done to-night, he and I will be off to the Lago di Garda to-morrow morning, and fish and shoot, and talk with Catullus.'

The countess gazed on her son with sorrowful sternness. His eyes had taken that bright glazed look which is an indication of frozen brain and turbulent heart—madness that sane men enamoured can be struck by. She knew there was no appeal to it.

A very dull continuous sound, like that of an angry swarm, or more like a rapid mufed thrumming of wires, was heard. The audience had caught view of a brown-coated soldier at one of the wings. The curious Croat had merely gratified a desire to have a glance at the semicircle of crowded heads; he withdrew his own, but not before he had awakened the wild beast in the throng. Yet a little while and the roar of the beasts would have burst out. It was thought that Vittoria had been seized or interdicted from appearing. Conspirators—the knights of the plains—meet: Rudolfos, Romualdos, Arnoldos, and others,—so that you know Camilla is not idle. She comes on in the great scene which closes the opera.

It is the banqueting hall of the castle. The Pontifical divorce is spread upon the table. Courtly friends, guards, and a choric bridal company, form a circle.

'I have obtained it,' says Count Orso: 'but at a cost.'

Leonardo, wavering eternally, lets us know that it is weighted with a proviso: IF Camilla shall not present herself within a certain term, this being the last day of it. Camillo comes forward. Too late, he has perceived his faults and weakness. He has cast his beloved from his arms to clasp them on despair. The choric bridal company gives intervening strophes. Cavaliers enter. 'Look at them well,' says Leonardo. They are the knights of the plains. 'They have come to mock me,' Camillo exclaims, and avoids them.

Leonardo, Michiella, and Camillo now sing a trio that is tricuspidato, or a three-pointed manner of declaring their divergent sentiments in harmony. The fast-gathering cavaliers lend masculine character to the choric refrains at every interval. Leonardo plucks Michiella entreatingly by the arm. She spurns him. He has served her; she needs him no more; but she will recommend him in other quarters, and bids him to seek them. 'I will give thee a collar for thy neck, marked "Faithful." It is the utmost I can do for thy species.' Leonardo thinks that he is insulted, but there is a vestige of doubt in him still. 'She is so fair! she dissembles so magnificently ever!' She has previously told him that she is acting a part, as Camilla did. Irma had shed all her hair from a golden circlet about her temples, barbarian-wise. Some Hunnish grandeur pertained to her appearance, and partly excused the infatuated wretch who shivered at her disdain and exulted over her beauty and artfulness.

In the midst of the chorus there is one veiled figure and one voice distinguishable. This voice outlives the rest at every strophe, and contrives to add a supplemental antiphonic phrase that recalls in turn the favourite melodies of the opera. Camillo hears it, but takes it as a delusion of impassioned memory and a mere theme for the recurring melodious utterance of his regrets. Michiella hears it. She chimes with the third notes of Camillo's solo to inform us of her suspicions that they have a serpent among them. Leonardo hears it. The trio is formed. Count Orso, without hearing it, makes a quatuor by inviting the bridal couple to go through the necessary formalities. The chorus changes its measure to one of hymeneals. The unknown voice closes it ominously with three bars in the minor key. Michiella stalks close around the rank singers like an enraged daughter of Attila. Stopping in front of the veiled figure, she says: 'Why is it thou wearest the black veil at my nuptials?'

'Because my time of mourning is not yet ended.'

'Thou standest the shadow in my happiness.'

'The bright sun will have its shadow.'

'I desire that all rejoice this day.'

'My hour of rejoicing approaches.'

'Wilt thou unveil?'

'Dost thou ask to look the storm in the face?'

'Wilt thou unveil?'

'Art thou hungry for the lightning?'

'I bid thee unveil, woman!'

Michiella's ringing shriek of command produces no response.

'It is she!' cries Michiella, from a contracted bosom; smiting it with clenched hands.

'Swift to the signatures. O rival! what bitterness hast thou come hither to taste.'

Camilla sings aside: 'If yet my husband loves me and is true.'

Count Orso exclaims: 'Let trumpets sound for the commencement of the festivities. The lord of his country may slumber while his people dance and drink!'

Trumpets flourish. Witnesses are called about the table. Camillo, pen in hand, prepares for the supreme act. Leonardo at one wing watches the eagerness of Michiella. The chorus chants to a muted measure of suspense, while Camillo dips pen in ink.

'She is away from me: she scorns me: she is lost to me. Life without honour is the life of swine. Union without love is the yoke of savage beasts. O me miserable! Can the heavens themselves plumb the depth of my degradation?'

Count Orso permits a half-tone of paternal severity to point his kindly hint that time is passing. When he was young, he says, in the broad and benevolently frisky manner, he would have signed ere the eye of the maiden twinkled her affirmative, or the goose had shed its quill.

Camillo still trifles. Then he dashes the pen to earth.

'Never! I have but one wife. Our marriage is irrevocable. The dishonoured man is the everlasting outcast. What are earthly possessions to me, if within myself shame faces me? Let all go. Though I have lost Camilla, I will be worthy of her. Not a pen no pen; it is the sword that I must write with. Strike, O count! I am here: I stand alone. By the edge of this sword, I swear that never deed of mine shall rob Camilla of her heritage; though I die the death, she shall not weep for a craven!'

The multitude break away from Camilla—veiled no more, but radiant; fresh as a star that issues through corrupting vapours, and with her voice at a starry pitch in its clear ascendency:

'Tear up the insufferable scroll!— O thou, my lover and my soul! It is the Sword that reunites; The Pen that our perdition writes.'

She is folded in her husband's arms.

Michiella fronts them, horrid of aspect:— 'Accurst divorced one! dost thou dare To lie in shameless fondness there? Abandoned! on thy lying brow Thy name shall be imprinted now.'

Camilla parts from her husband's embrace:

'My name is one I do not fear; 'Tis one that thou wouldst shrink to hear. Go, cool thy penitential fires, Thou creature, foul with base desires!'

CAMILLO (facing Count Orso).

'The choice is thine!'

COUNT ORSO (draws).

'The choice is made!'

CHORUS (narrowing its circle).

'Familiar is that naked blade. Of others, of himself, the fate How swift 'tis Provocation's mate!'

MICHIELLA (torn with jealous rage).

'Yea; I could smite her on the face. Father, first read the thing's disgrace. I grudge them, honourable death. Put poison in their latest breath!'

ORSO (his left arm extended).

'You twain are sundered: hear with awe The judgement of the Source of Law.'

CAMILLA (smiling confidently).

'Not such, when I was at the Source, It said to me;—but take thy course.'

ORSO (astounded).

'Thither thy steps were bent?'

MICHIELLA (spurning verbal controversy).

'She feigns! A thousand swords are in my veins. Friends! soldiers I strike them down, the pair!'

CAMILLO (on guard, clasping his wife).

''Tis well! I cry, to all we share. Yea, life or death, 'tis well! 'tis well!'

MICHIELLA (stamps her foot).

'My heart 's a vessel tossed on hell!'

LEONARDO (aside).

'Not in glad nuptials ends the day.'

ORSO (to Camilla).

'What is thy purpose with us?—say!'

CAMILLA (lowly). 'Unto my Father I have crossed For tidings of my Mother lost.'

ORSO. 'Thy mother dead!'

CAMILLA. 'She lives!'

MICHIELLA. 'Thou liest! The tablets of the tomb defiest! The Fates denounce, the Furies chase The wretch who lies in Reason's face.'

CAMILLA. 'Fly, then; for we are match'd to try Which is the idiot, thou or I'

MICHIELLA. Graceless Camilla!'

ORSO 'Senseless girl! I cherished thee a precious pearl, And almost owned thee child of mine.'

CAMILLA. 'Thou kept'st me like a gem, to shine, Careless that I of blood am made; No longer be the end delay'd. 'Tis time to prove I have a heart— Forth from these walls of mine depart! The ghosts within them are disturb'd Go forth, and let thy wrath be curb'd, For I am strong: Camillo's truth Has arm'd the visions of our youth. Our union by the Head Supreme Is blest: our severance was the dream. We who have drunk of blood and tears, Knew nothing of a mortal's fears. Life is as Death until the strife In our just cause makes Death as Life.'

ORSO ''Tis madness?'

LEONARDO. 'Is it madness?'

CAMILLA. 'Men! 'Tis Reason, but beyond your ken. There lives a light that none can view Whose thoughts are brutish:—seen by few, The few have therefore light divine Their visions are God's legions!—sign, I give you; for we stand alone, And you are frozen to the bone. Your palsied hands refuse their swords. A sharper edge is in my words, A deadlier wound is in my cry. Yea, tho' you slay us, do we die? In forcing us to bear the worst, You made of us Immortals first. Away! and trouble not my sight.'

Chorus of Cavaliers: RUDOLFO, ROMUALDO, ARNOLDO, and others.

'She moves us with an angel's might. What if his host outnumber ours! 'Tis heaven that gives victorious powers.'

[They draw their steel. ORSO, simulating gratitude for their devotion to him, addresses them as to pacify their friendly ardour.]

MICHIELLA to LEONARDO (supplicating). 'Ever my friend I shall I appeal In vain to see thy flashing steel?'

LEONARDO (finally resolved). 'Traitress! pray, rather, it may rest, Or its first home will be thy breast.'

Chorus of Bridal Company. 'The flowers from bright Aurora's head We pluck'd to strew a happy bed, Shall they be dipp'd in blood ere night? Woe to the nuptials! woe the sight!'

Rudolfo, Romualdo, Arnoldo, and the others, advance toward Camillo. Michiella calls to them encouragingly that it were well for the deed to be done by their hands. They bid Camillo to direct their lifted swords upon his enemies. Leonardo joins them. Count Orso, after a burst of upbraidings, accepts Camillo's offer of peace, and gives his bond to quit the castle. Michiella, gazing savagely at Camilla, entreats her for an utterance of her triumphant scorn. She assures Camilla that she knows her feelings accurately.

'Now you think that I am overwhelmed; that I shall have a restless night, and lie, after all my crying's over, with my hair spread out on my pillow, on either side my face, like green moss of a withered waterfall: you think you will bestow a little serpent of a gift from my stolen treasures to comfort me. You will comfort me with a lock of Camillo's hair, that I may have it on my breast to-night, and dream, and wail, and writhe, and curse the air I breathe, and clasp the abominable emptiness like a thousand Camillos. Speak!'

The dagger is seen gleaming up Michiella's wrist; she steps on in a bony triangle, faced for mischief: a savage Hunnish woman, with the hair of a Goddess—the figure of a cat taking to its forepaws. Close upon Camilla she towers in her whole height, and crying thrice, swift as the assassin trebles his blow, 'Speak,' to Camilla, who is fronting her mildly, she raises her arm, and the stilet flashes into Camilla's bosom.

'Die then, and outrage me no more.'

Camilla staggers to her husband. Camillo receives her falling. Michiella, seized by Leonardo, presents a stiffened shape of vengeance with fierce white eyes and dagger aloft. There are many shouts, and there is silence.

CAMILLA, supported by CAMILLO. 'If this is death, it is not hard to bear. Your handkerchief drinks up my blood so fast It seems to love it. Threads of my own hair Are woven in it. 'Tis the one I cast That midnight from my window, when you stood Alone, and heaven seemed to love you so! I did not think to wet it with my blood When next I tossed it to my love below.'

CAMILLO (cherishing her). 'Camilla, pity! say you will not die. Your voice is like a soul lost in the sky.'

CAMILLA.

'I know not if my soul has flown; I know My body is a weight I cannot raise: My voice between them issues, and I go Upon a journey of uncounted days. Forgetfulness is like a closing sea; But you are very bright above me still. My life I give as it was given to me I enter on a darkness wide and chill.'

CAMILLO. 'O noble heart! a million fires consume The hateful hand that sends you to your doom.'

CAMILLA. 'There is an end to joy: there is no end To striving; therefore ever let us strive In purity that shall the toil befriend, And keep our poor mortality alive. I hang upon the boundaries like light Along the hills when downward goes the day I feel the silent creeping up of night. For you, my husband, lies a flaming way.'

CAMILLO. 'I lose your eyes: I lose your voice: 'tis faint. Ah, Christ! see the fallen eyelids of a saint.'

CAMILLA. 'Our life is but a little holding, lent To do a mighty labour: we are one With heaven and the stars when it is spent To serve God's aim: else die we with the sun.'

She sinks. Camillo droops his head above her.

The house was hushed as at a veritable death-scene. It was more like a cathedral service than an operatic pageant. Agostino had done his best to put the heart of the creed of his Chief into these last verses. Rocco's music floated them in solemn measures, and Vittoria had been careful to articulate throughout the sacred monotony so that their full meaning should be taken.

In the printed book of the libretto a chorus of cavaliers, followed by one harmless verse of Camilla's adieux to them, and to her husband and life, concluded the opera.

'Let her stop at that—it's enough!—and she shall be untouched,' said General Pierson to Antonio-Pericles.

'I have information, as you know, that an extremely impudent song is coming.'

The General saw Wilfrid hanging about the lobby, in flagrant disobedience to orders. Rebuking his nephew with a frown, he commanded the lieutenant to make his way round to the stage and see that the curtain was dropped according to the printed book.

'Off, mon Dieu! off!' Pericles speeded him; adding in English, 'Shall she taste prison-damp, zat voice is killed.'

The chorus of cavaliers was a lamentation: the keynote being despair: ordinary libretto verses.

Camilla's eyes unclose. She struggles to be lifted, and, raised on Camillo's arm, she sings as if with the last pulsation of her voice, softly resonant in its rich contralto. She pardons Michiella. She tells Count Orso that when he has extinguished his appetite for dominion, he will enjoy an unknown pleasure in the friendship of his neighbours. Repeating that her mother lives, and will some day kneel by her daughter's grave—not mournfully, but in beatitude—she utters her adieu to all.

At the moment of her doing so, Montini whispered in Vittoria's ear. She looked up and beheld the downward curl of the curtain. There was confusion at the wings: Croats were visible to the audience. Carlo Ammiani and Luciano Romara jumped on the stage; a dozen of the noble youths of Milan streamed across the boards to either wing, and caught the curtain descending. The whole house had risen insurgent with cries of 'Vittoria.' The curtain-ropes were in the hands of the Croats, but Carlo, Luciano, and their fellows held the curtain aloft at arm's length at each side of her. She was seen, and she sang, and the house listened.

The Italians present, one and all, rose up reverently and murmured the refrain. Many of the aristocracy would, doubtless, have preferred that this public declaration of the plain enigma should not have rung forth to carry them on the popular current; and some might have sympathized with the insane grin which distorted the features of Antonio-Pericles, when he beheld illusion wantonly destroyed, and the opera reduced to be a mere vehicle for a fulmination of politics. But the general enthusiasm was too tremendous to permit of individual protestations. To sit, when the nation was standing, was to be a German. Nor, indeed, was there an Italian in the house who would willingly have consented to see Vittoria silenced, now that she had chosen to defy the Tedeschi from the boards of La Scala. The fascination of her voice extended even over the German division of the audience. They, with the Italians, said: 'Hear her! hear her!' The curtain was agitated at the wings, but in the centre it was kept above Vittoria's head by the uplifted arms of the twelve young men:—

'I cannot count the years, That you will drink, like me, The cup of blood and tears, Ere she to you appears:— Italia, Italia shall be free!'

So the great name was out, and its enemies had heard it.

'You dedicate your lives To her, and you will be The food on which she thrives, Till her great day arrives Italia, Italia shall be free!

'She asks you but for faith! Your faith in her takes she As draughts of heaven's breath, Amid defeat and death:— Italia, Italia shall be free!'

The prima donna was not acting exhaustion when sinking lower in Montini's arms. Her bosom rose and sank quickly, and she gave the terminating verse:—

'I enter the black boat Upon the wide grey sea, Where all her set suns float; Thence hear my voice remote Italia, Italia shall be free!'

The curtain dropped.



CHAPTER XXII

WILFRID COMES FORWARD

An order for the immediate arrest of Vittoria was brought round to the stage at the fall of the curtain by Captain Weisspriess, and delivered by him on the stage to the officer commanding, a pothered lieutenant of Croats, whose first proceeding was dictated by the military instinct to get his men in line, and who was utterly devoid of any subsequent idea. The thunder of the house on the other side of the curtain was enough to disconcert a youngster such as he was; nor have the subalterns of Croat regiments a very signal reputation for efficiency in the Austrian Service. Vittoria stood among her supporters apart; pale, and 'only very thirsty,' as she told the enthusiastic youths who pressed near her, and implored her to have no fear. Carlo was on her right hand; Luciano on her left. They kept her from going off to her room. Montini was despatched to fetch her maid Giacinta with cloak and hood for her mistress. The young lieutenant of Croats drew his sword, but hesitated. Weisspriess, Wilfrid, and Major de Pyrmont were at one wing, between the Italian gentlemen and the soldiery. The operatic company had fallen into the background, or stood crowding the side places of exit. Vittoria's name was being shouted with that angry, sea-like, horrid monotony of iteration which is more suggestive of menacing impatience and the positive will of the people, than varied, sharp, imperative calls. The people had got the lion in their throats. One shriek from her would bring them, like a torrent, on the boards, as the officers well knew; and every second's delay in executing the orders of the General added to the difficulty of their position. The lieutenant of Croats strode up to Weisspriess and Wilfrid, who were discussing a plan of action vehemently; while, amid hubbub and argument, De Pyrmont studied Vittoria's features through his opera-glass, with an admirable simple languor.

Wilfrid turned back to him, and De Pyrmont, without altering the level of his glass, said, 'She's as cool as a lemon-ice. That girl will be a mother of heroes. To have volcanic fire and the mastery of her nerves at the same time, is something prodigious. She is magnificent. Take a peep at her. I suspect that the rascal at her right is seizing his occasion to plant a trifle or so in her memory—the animal! It's just the moment, and he knows it.'

De Pyrmont looked at Wilfrid's face.

'Have I hit you anywhere accidentally?' he asked, for the face had grown dead-white.

'Be my friend, for heaven's sake!' was the choking answer. 'Save her! Get her away! She is an old acquaintance of mine—of mine, in England. Do; or I shall have to break my sword.'

'You know her? and you don't go over to her?' said De Pyrmont.

'I—yes, she knows me.'

'Then, why not present yourself?'

'Get her away. Talk Weisspriess down. He is for seizing her at all hazards. It 's madness to provoke a conflict. Just listen to the house! I may be broken, but save her I will. De Pyrmont, on my honour, I will stand by you for ever if you will help me to get her away.'

'To suggest my need in the hour of your own is not a bad notion,' said the cool Frenchman. 'What plan have you?'

Wilfrid struck his forehead miserably.

'Stop Lieutenant Zettlisch. Don't let him go up to her. Don't—'

De Pyrmont beheld in astonishment that a speechlessness such as affects condemned wretches in the supreme last minutes of existence had come upon the Englishman.

'I'm afraid yours is a bad case,' he said; 'and the worst of it is, it's just the case women have no compassion for. Here comes a parlementaire from the opposite camp. Let's hear him.'

It was Luciano Romara. He stood before them to request that the curtain should be raised. The officers debated together, and deemed it prudent to yield consent.

Luciano stipulated further that the soldiers were to be withdrawn.

'On one wing, or on both wings?' said Captain Weisspriess, twinkling eyes oblique.

'Out of the house,' said Luciano.

The officers laughed.

'You must confess,' said De Pyrmont, affably, 'that though the drum does issue command to the horse, it scarcely thinks of doing so after a rent in the skin has shown its emptiness. Can you suppose that we are likely to run when we see you empty-handed? These things are matters of calculation.'

'It is for you to calculate correctly,' said Luciano.

As he spoke, a first surge of the exasperated house broke upon the stage and smote the curtain, which burst into white zigzags, as it were a breast stricken with panic.

Giacinta came running in to her mistress, and cloaked and hooded her hurriedly.

Enamoured; impassioned, Ammiani murmured in Vittoria's ear: 'My own soul!'

She replied: 'My lover!'

So their first love-speech was interchanged with Italian simplicity, and made a divine circle about them in the storm.

Luciano returned to his party to inform them that they held the key of the emergency.

'Stick fast,' he said. 'None of you move. Whoever takes the first step takes the false step; I see that.'

'We have no arms, Luciano.'

'We have the people behind us.'

There was a fiercer tempest in the body of the house, and, on a sudden, silence. Men who had invaded the stage joined the Italian guard surrounding Vittoria, telling that the lights had been extinguished; and then came the muffled uproar of universal confusion. Some were for handing her down into the orchestra, and getting her out through the general vomitorium, but Carlo and Luciano held her firmly by them. The theatre was a rageing darkness; and there was barely a light on the stage. 'Santa Maria!' cried Giacinta, 'how dreadful that steel does look in the dark! I wish our sweet boys would cry louder.' Her mistress, almost laughing, bade her keep close, and be still. 'Oh! this must be like being at sea,' the poor creature whined, stopping her ears and shutting her eyes. Vittoria was in a thick gathering of her defenders; she could just hear that a parley was going on between Luciano and the Austrians. Luciano made his way back to her. 'Quick!' he said; 'nothing cows a mob like darkness. One of these officers tells me he knows you, and gives his word of honour—he's an Englishman—to conduct you out: come.'

Vittoria placed her hands in Carlo's one instant. Luciano cleared a space for them. She heard a low English voice.

'You do not recognize me? There is no time to lose. You had another name once, and I have had the honour to call you by it.'

'Are you an Austrian?' she exclaimed, and Carlo felt that she was shrinking back.

'I am the Wilfrid Pole whom you knew. You are entrusted to my charge; I have sworn to conduct you to the doors in safety, whatever it may cost me.'

Vittoria looked at him mournfully. Her eyes filled with tears. 'The night is spoiled for me!' she murmured.

'Emilia!'

'That is not my name.'

'I know you by no other. Have mercy on me. I would do anything in the world to serve you.'

Major de Pyrmont came up to him and touched his arm. He said briefly: 'We shall have a collision, to a certainty, unless the people hear from one of her set that she is out of the house.'

Wilfrid requested her to confide her hand to him.

'My hand is engaged,' she said.

Bowing ceremoniously, Wilfrid passed on, and Vittoria, with Carlo and Luciano and her maid Giacinta, followed between files of bayonets through the dusky passages, and downstairs into the night air.

Vittoria spoke in Carlo's ear: 'I have been unkind to him. I had a great affection for him in England.'

'Thank him; thank him,' said Carlo.

She quitted her lover's side and went up to Wilfrid with a shyly extended hand. A carriage was drawn up by the kerbstone; the doors of it were open. She had barely made a word intelligible; when Major de Pyrmont pointed to some officers approaching. 'Get her out of the way while there's time,' he said in French to Luciano. 'This is her carriage. Swiftly, gentlemen, or she's lost.'

Giacinta read his meaning by signs, and caught her mistress by the sleeve, using force. She and Major de Pyrmont placed Vittoria, bewildered, in the carriage; De Pyrmont shut the door, and signalled to the coachman. Vittoria thrust her head out for a last look at her lover, and beheld him with the arms of dark-clothed men upon him. La Scala was pouring forth its occupants in struggling roaring shoals from every door. Her outcry returned to her deadened in the rapid rolling of the carriage across the lighted Piazza. Giacinta had to hold her down with all her might. Great clamour was for one moment heard by them, and then a rushing voicelessness. Giacinta screamed to the coachman till she was exhausted. Vittoria sank shuddering on the lap of her maid, hiding her face that she might plunge out of recollection.

The lightnings shot across her brain, but wrote no legible thing; the scenes of the opera lost their outlines as in a white heat of fire. She tried to weep, and vainly asked her heart for tears, that this dry dreadful blind misery of mere sensation might be washed out of her, and leave her mind clear to grapple with evil; and then, as the lurid breaks come in a storm-driven night sky, she had the picture of her lover in the hands of enemies, and of Wilfrid in the white uniform; the torment of her living passion, the mockery of her passion by-gone. Recollection, when it came back, overwhelmed her; she swayed from recollection to oblivion, and was like a caged wild thing. Giacinta had to be as a mother with her. The poor trembling girl, who had begun to perceive that the carriage was bearing them to some unknown destination, tore open the bands of her corset and drew her mistress's head against the full warmth of her bosom, rocked her, and moaned over her, mixing comfort and lamentation in one offering, and so contrived to draw the tears out from her, a storm of tears; not fitfully hysterical, but tears that poured a black veil over the eyeballs, and fell steadily streaming. Once subdued by the weakness, Vittoria's nature melted; she shook piteously with weeping; she remembered Laura's words, and thought of what she had done, in terror and remorse, and tried to ask if the people would be fighting now, but could not. Laura seemed to stand before her like a Fury stretching her finger at the dear brave men whom she had hurled upon the bayonets and the guns. It was an unendurable anguish. Giacinta was compelled to let her cry, and had to reflect upon their present situation unaided. They had passed the city gates. Voices on the coachman's box had given German pass-words. She would have screamed then had not the carriage seemed to her a sanctuary from such creatures as foreign soldiers, whitecoats; so she cowered on. They were in the starry open country, on the high-road between the vine-hung mulberry trees. She held the precious head of her mistress, praying the Saints that strength would soon come to her to talk of their plight, or chatter a little comfortingly at least; and but for the singular sweetness which it shot thrilling to her woman's heart, she would have been fretted when Vittoria, after one long-drawn wavering sob, turned her lips to the bared warm breast, and put a little kiss upon it, and slept.



CHAPTER XXIII

FIRST HOURS OF THE FLIGHT

Vittoria slept on like an outworn child, while Giacinta nodded over her, and started, and wondered what embowelled mountain they might be passing through, so cold was the air and thick the darkness; and wondered more at the old face of dawn, which appeared to know nothing of her agitation. But morning was better than night, and she ceased counting over her sins forward and backward; adding comments on them, excusing some and admitting the turpitude of others, with 'Oh! I was naughty, padre mio! I was naughty—she huddled them all into one of memory's spare sacks, and tied the neck of it, that they should keep safe for her father-confessor. At such times, after a tumult of the blood, women have tender delight in one another's beauty. Giacinta doted on the marble cheek, upturned on her lap, with the black unbound locks slipping across it; the braid of the coronal of hair loosening; the chance flitting movement of the pearly little dimple that lay at the edge of the bow of the joined lips, like the cradling hollow of a dream. At whiles it would twitch; yet the dear eyelids continued sealed.

Looking at shut eyelids when you love the eyes beneath, is more or less a teazing mystery that draws down your mouth to kiss them. Their lashes seem to answer you in some way with infantine provocation; and fine eyelashes upon a face bent sideways, suggest a kind of internal smiling. Giacinta looked till she could bear it no longer; she kissed the cheek, and crooned over it, gladdened by a sense of jealous possession when she thought of the adored thing her mistress had been overnight. One of her hugs awoke Vittoria, who said, 'Shut my window, mother,' and slept again fast. Giacinta saw that they were nearer to the mountains. Mountain-shadows were thrown out, and long lank shadows of cypresses that climbed up reddish-yellow undulations, told of the sun coming. The sun threw a blaze of light into the carriage. He shone like a good friend, and helped Giacinta think, as she had already been disposed to imagine, that the machinery by which they had been caught out of Milan was amicable magic after all, and not to be screamed at. The sound medicine of sleep and sunlight was restoring livelier colour to her mistress. Giacinta hushed her now, but Vittoria's eyes opened, and settled on her, full of repose.

'What are you thinking about?' she asked.

'Signorina, my own, I was thinking whether those people I see on the hill-sides are as fond of coffee as I am.'

Vittoria sat up and tumbled questions out headlong, pressing her eyes and gathering her senses; she shook with a few convulsions, but shed no tears. It was rather the discomfort of their position than any vestige of alarm which prompted Giacinta to project her head and interrogate the coachman and chasseur. She drew back, saying, 'Holy Virgin! they are Germans. We are to stop in half-an-hour.' With that she put her hands to use in arranging and smoothing Vittoria's hair and dress—the dress of Camilla—of which triumphant heroine Vittoria felt herself an odd little ghost now. She changed her seat that she might look back on Milan. A letter was spied fastened with a pin to one of the cushions. She opened it, and read in pencil writing:

'Go quietly. You have done all that you could do for good or for ill. The carriage will take you to a safe place, where you will soon see your friends and hear the news. Wait till you reach Meran. You will see a friend from England. Avoid the lion's jaw a second time. Here you compromise everybody. Submit, or your friends will take you for a mad girl. Be satisfied. It is an Austrian who rescues you. Think yourself no longer appointed to put match to powder. Drown yourself if a second frenzy comes. I feel I could still love your body if the obstinate soul were out of it. You know who it is that writes. I might sign "Michiella" to this: I have a sympathy with her anger at the provoking Camilla. Addio! From La Scala.'

The lines read as if Laura were uttering them. Wrapping her cloak across the silken opera garb, Vittoria leaned back passively until the carriage stopped at a village inn, where Giacinta made speedy arrangements to satisfy as far as possible her mistress's queer predilection for bathing her whole person daily in cold water. The household service of the inn recovered from the effort to assist her sufficiently to produce hot coffee and sweet bread, and new green-streaked stracchino, the cheese of the district, which was the morning meal of the fugitives. Giacinta, who had never been so thirsty in her life, became intemperately refreshed, and was seized by the fatal desire to do something: to do what she could not tell; but chancing to see that her mistress had silken slippers on her feet, she protested loudly that stouter foot-gear should be obtained for her, and ran out to circulate inquiries concerning a shoemaker who might have a pair of country overshoes for sale. She returned to say that the coachman and his comrade, the German chasseur, were drinking and watering their horses, and were not going to start until after a rest of two hours, and that she proposed to walk to a small Bergamasc town within a couple of miles of the village, where the shoes could be obtained, and perhaps a stuff to replace the silken dress. Receiving consent, Giacinta whispered, 'A man outside wishes to speak to you, signorina. Don't be frightened. He pounced on me at the end of the village, and had as little breath to speak as a boy in love. He was behind us all last night on the carriage. He mentioned you by name. He is quite commonly dressed, but he's a gallant gentleman, and exactly like our Signor Carlo. My dearest lady, he'll be company for you while I am absent. May I beckon him to come into the room?'

Vittoria supposed at once that this was a smoothing of the way for the entrance of her lover and her joy. She stood up, letting all her strength go that he might the more justly take her and cherish her. But it was not Carlo who entered. So dead fell her broken hope that her face was repellent with the effort she made to support herself. He said, 'I address the Signorina Vittoria. I am a relative of Countess Ammiani. My name is Angelo Guidascarpi. Last night I was evading the sbirri in this disguise by the private door of La Scala, from which I expected Carlo to come forth. I saw him seized in mistake for me. I jumped up on the empty box-seat behind your carriage. Before we entered the village I let myself down. If I am seen and recognized, I am lost, and great evil will befall Countess Ammiani and her son; but if they are unable to confront Carlo and me, my escape ensures his safety!