Part 3

While the Cavaliere was speaking it was evident that his sister was listening with great attention. The interest that she manifested, and the singular attraction that Inglesant felt towards her, so occupied his thoughts that he could scarcely attend to what the other was saying, though he continued speaking for some time. It is possible that the Cavaliere noticed this, for Inglesant was suddenly conscious that he was regarding him fixedly and with a peculiar expression. He apologized for his inattention on the ground of ill-health, and soon after took his leave, having invited the Cavaliere to visit him at his lodgings.

As Inglesant walked back through the streets of the city, he was perplexed at his own sensations, which appeared so different from any he had previously known. The attraction he experienced towards the lady he had just seen was quite different from the affection he had felt for Mary Collet. That was a sentiment which commended itself to his reason and his highest feelings. In her company he felt himself soothed, elevated above himself, safe from danger and from temptation. In this latter attraction he was conscious of a half-formed fear, of a sense of glamour and peril, and of an alluring force independent of his own free-will. The opinion he had formed of her brother's character may have had something to do with these feelings, and the sense of perpetual danger and insecurity with which he walked this land of mystery and intrigue no doubt increased it. He half resolved not to visit the old nobleman again; but even while forming the resolution he knew that he should break it.

The circumstances in which he was placed, indeed, almost precluded such a course. The very remarkable beauty of the young lady, and the extraordinary unreserve with which he had been introduced to her--unreserve so unusual in Italy--while it might increase the misgiving he felt, made it very difficult for him to decline the acquaintance. The girl's beauty was of a kind unusual in Italy, though not unknown there, her hair being of a light brown, contrasting with her magnificent eyes, which were of the true Italian splendour and brilliancy. She had doubtless been kept in the strictest seclusion, and Inglesant could only wonder what could have induced the old Count to depart from his usual caution.

The next day, being Ash Wednesday, Inglesant was present at the Duomo at the ceremony of the day, when the vast congregation received the emblematic ashes upon their foreheads. The Cavaliere was also present with his sister, whose name Inglesant discovered to be Lauretta. Don Agostino, to whom Inglesant had related the adventure, and the acquaintance to which it had led, was inclined to suspect these people of some evil purpose, and made what inquiries he could concerning them; but he could discover nothing to their discredit, further than that the Cavaliere was a well-known debauchee, and that he had been involved in some intrigue, in connection with some of the present Papal family, which had not proved successful. He was in consequence then in disgrace with Donna Olympia and her faction,--a disappointment which it was said had rendered his fortunes very desperate, as he was very deeply involved in debts of all kinds. Don Agostino, the Carnival being over, was desirous of returning to Sienna, unless Inglesant made up his mind to go at once to Venice, in which case he offered to accompany him. His friend, however, did not appear at all desirous of quitting Florence, at any rate hastily, and Don Agostino left him and returned home, the two friends agreeing to meet again before proceeding to Venice.

His companion gone, Inglesant employed himself in frequenting all those churches to which Lauretta was in the habit of resorting during the Holy Season; and as every facility appeared to be given him by her friends, he became very intimate with her, and she on her part testified no disinclination to his society. It will probably occur to the reader that this conduct was not consistent with the cautious demeanour which Inglesant had resolved upon; but such resolutions have before now proved ineffectual under similar circumstances, and doubtless the like will occur again. Lauretta looked round as a matter of course, as she came out of the particular church she had that day chosen, for the handsome cavalier who was certain to be ready to offer the drop of holy water; and more than one rival whom the beautiful devotee had attracted to the service, noticed with envy the kindly look of the masked eyes which acknowledged the courtesy; and, indeed, it is not often that ladies' eyes have rested upon a lover more attractive to a girl of a refined nature than did Lauretta's, when, in the dawn of the March mornings, she saw John Inglesant waiting for her on the marble steps. It is true that she thought the Cavaliere Inglese somewhat melancholy and sad, but her own disposition was reserved and pensive; and in her presence Inglesant's melancholy was so far charmed away that it became only an added grace of sweetness of manner, and of tender deference and protection. The servant of the polished King of England, the companion of Falkland and of Caernarvon, the French Princess's favourite page, trained in every art that makes life attractive, that makes life itself the finest art, with a memory and intellect stored with the poetry and learning of the antique world,--it would have been strange if, where once his fancy was touched, Inglesant had not made a finished and attractive lover.

The familiar streets of Florence, the bridges, or the walks by the Arno, assumed a new charm to the young girl, when she saw them in company with her pleasant and courteous friend; and whether in the early morning it was a few spring flowers that he brought her, or a brilliant jewel that he placed upon her finger as he parted in the soft Italian night, it was the giver, and the grace with which the gift was made, that won the romantic fancy of the daughter of the south. Their talk was not of the kind that lovers often use. He would indeed begin with relating stories of the English Court, in the bright fleeting days before the war, of the courtly refined revels, of the stately dances and plays, and of the boating parties on the wooded Thames; but most often the narrative changed its tone instinctively, and went on to speak of sadder and higher things; of self-denial and devotion of ladies and children, who suffered for their King without complaint; of the Ferrars and their holy life; of the martyred Archbishop and of the King's death; and sometimes perhaps of some sight of battle and suffering the narrator himself had seen, as when the evening sun was shining upon the glassy slope of Newbury, and he knelt beside the dying Caernarvon, unmindful of the bullets that fell around.

"You have deserved well of the King," he whispered: "have you no request that I may make to him, nothing for your children, or your wife?"

And with his eyes fixed upon the western horizon the Earl replied,--

"No, I will go hence with no request upon my lips but to the King of kings."

How all this pleasant dalliance would have terminated, had it continued, we have no means of knowing, for a sudden and unexpected end was put to it, at any rate for a time.

Easter was over, and the Cavaliere had invited Inglesant to join in a small party to spend a day or two at his vineyard and country house among the Apennines, assuring him that at that time of the year the valleys and hill-slopes were very delightful.

The evening before the day on which the little company was to start, Inglesant had an engagement at one of the theatres in Florence, where a comedy or pantomime was being performed. The comedies in Italy at this time were paltry in character in everything except the music, which was very good. Inglesant accompanied a Signore Gabriotto, a violin player, who was engaged at the theatre, and of whom Inglesant had taken lessons, and with whom he had become intimate. This man was not only an admirable performer on the violin, but was a man of cultivation and taste. He had given much study to the music of the ancients, and especially to their musical instruments, as they are to be seen in the hands of the Apollos, muses, fauns, satyrs, bacchanals, and shepherds of the classic sculptors. As they walked through the streets in the evening sunlight, he favoured his companion, whom he greatly admired as an excellent listener, with a long discourse on this subject, showing how useful such an inquiry was, not only to obtain a right notion of the ancient music, but also to help us to obtain pleasanter instruments if possible than those at present in use.

"Not, signore," he said, "that I think we have much to learn from the ancients; for if we are to judge their instruments by the appearance they make in marble, there is not one that is comparable to our violins; for they seem, as far as I can make out, all to have been played on either by the bare fingers or the plectrum, so that they could not add length to their notes, nor could they vary them by that insensible swelling and dying away of sound upon the same string which gives so wonderful a sweetness to our modern music. And as far as I can see, their stringed instruments must have had very low and feeble voices from the small proportion of wood used (though it is difficult to judge of this, seeing that all our examples are represented in marble), which would prevent the instruments containing sufficient air to render the strokes full or sonorous. Now my violin," continued the Italian with enthusiasm, "does not speak only with the strings, it speaks all over, as though it were a living creature that was all voice, or, as is really the case, as though it were full of sound."

"You have a wonderful advantage," said Inglesant, "you Italians, that is, in the cultivation of the art of life; for you have the unbroken tradition, and habit and tone of mind, from the old world of pleasure and art--a world that took the pleasures of life boldly, and had no conscience to prevent its cultivating and enjoying them to the full. But I must say that you have not, to my mind, improved during the lapse of centuries, nor is the comedy we shall see to-night what might be expected of a people who are the descendants of the old Italians who applauded Terence."

"The comedy to-night," said the Italian, "would be nothing without the music, the acting is a mere pretence."

"The comedy itself," said Inglesant, "would be intolerable but for the buffoons, and the people show their sense in demanding that place shall be found in every piece for these worthies. The play itself is stilted and unreal, but there is always something of irony and wit in these characters, which men have found full of satire and humour for four thousand years: Harlequin the reckless fantastic youth, Pantaleone the poor old worn-out 'Senex,' and Corviello the rogue. In their absurd impertinences, in their impossible combinations, in their mistakes and tumbles, in their falling over queens and running up against monarchs, men have always seemed to see some careless, light-hearted, half-indifferent sarcasm and satire upon their own existence."

When they reached the theatre, the slant rays of the setting sun were shining between the lofty houses, and many people were standing about the doors. Inglesant accompanied the violinist to the door of the playhouse, and took his place near the orchestra, at either end of which were steps leading up on to the stage. The evening sunlight penetrated into the house through Venetian blinds, lighting up the fittings and the audience with a sort of mystic haze. The sides of the stage were crowded with gentlemen, some standing, others sitting on small stools. Many of the audience were standing, the rest seated on benches. The part occupied in modern theatres by the boxes was furnished with raised seats, on which ladies and people of distinction were accommodated. There was no gallery.

As the first bars of the overture struck upon Inglesant's ear, with a long-drawn tremor of the bass viols and a shrill plaintive note of the treble violins, an irresistible sense of loneliness and desolation and a strange awe crept over him and weighed down his spirits. As the fantastic music continued, in which gaiety and sadness were mysteriously mingled, the reverberation seemed to excite each moment a clearer perception of those paths of intrigue and of danger in which he seemed to walk. The uneasy sentiment which accompanied, he knew not why, his attachment to Lauretta, and the insidious friendship of the Cavaliere, the sense of insecurity which followed his footsteps in this land of dark and sinful deeds, passed before his mind. It seemed to his excited fancy at that moment that the end was drawing very near, and amid the fascination of the lovely music he seemed to await the note of the huntsman's horn which would announce that the toils were set, and that the chase was up. From the kind of trance in which he stood he was aroused by hearing a voice, distinct to his ear and perfectly audible, though apparently at some considerable distance, say--

"Who is that man by the curtain, in black satin, with the Point de Venice lace?"

And another voice, equally clear, answered, "His name is Inglesant, an agent of the Society of the Gesu."

Inglesant turned; but, amid the crowd of faces behind him, he could discern nothing that indicated the speakers, nor did any one else seem to have noticed anything unusual. The next moment the music ceased, and with a scream of laughter Harlequin bounded on the stage, followed by Pantaleone in an eager and tottering step, and after them a wild rout of figures, of all orders and classes, who flitted across the stage amid the applause of the people, and suddenly disappeared; while Harlequin and Pantaleone as suddenly reappearing, began a lively dialogue, accompanied by a quick movement of the violins. As Inglesant took his eyes off the stage for a moment, they fell on the figure of a man standing on the flight of steps at the farther end of the orchestra, who regarded him with a fixed and scrutinizing gaze. It was a tall and dark man, whose expression would have been concealed from Inglesant but for the fiery brilliancy of his eyes. Inglesant's glance met his as in a dream, and remained fixed as though fascinated, at which the gaze of the other became, if possible, more intense, as though he too were spell-bound and unable to turn away. At this moment the dialogue on the stage ceased, and a girl advanced to the footlights with a song, accompanied by the band in an air adapted from the overture, and containing a repetition of the opening bars. The association of sound broke the spell, and Inglesant turned his eyes upon the singer; when he looked again his strange examiner was gone.

The girl who was singing was a Roman, reputed the best treble singer then in Italy. The sun by this time was set, and the short twilight over. The theatre was sparsely lighted by candles, nearly the whole of the available light being concentrated upon the stage. This arrangement produced striking effects of light and shade, more pleasing than are the brilliantly lighted theatres of modern days. The figures on the stage came forward into full and clear view, and faded again into obscurity in a mysterious way very favourable to romantic illusion, and the theatrical arrangements were not seen too clearly. The house itself was shadowy, and the audience unreal and unsubstantial; the whole scene wore an aspect of glamour and romance wanting at the present day.

When the girl's song was over there was a movement among the gentlemen on the stage, several coming down into the house. Inglesant took advantage of this, and went up on the stage, from which he might hope to see something of the stranger who had been watching him so closely, if he were still in the theatre.

Several of the actors who were waiting for their turn mingled with the gentlemen, talking to their acquaintance. The strange light thrown on the centre of the stage in which two or three figures were standing, the multitude of dark forms in the surrounding shadow, the dim recesses of the theatre itself full of figures, the exquisite music, now soft and plaintive, anon gay and dance-like, then solemn and melancholy, formed a singular and attractive whole. Lauretta had declined to come that night, but Inglesant thought it was not improbable that the Cavaliere would be there, and he was curious to see whether he could detect him in company with the mysterious stranger. From the moment that he had heard the distant voice inquiring his name, the familiar idea had again occurred to his mind that this could be none other than the murderer of his brother, of whom he was in search; but this thought had occurred so often, and in connection with so many persons, that had it not been for the fixed and peculiar glance with which the stranger had regarded him, he would have thought little of it. He was, however, unable to distinguish either of the persons of whom he was in search from the crowd that filled the theatre; and his attention was so much diverted by the constantly changing scene before him that he soon ceased to attempt to do so. At that moment the opening movement of the overture was again repeated by the band, and was made the theme of an elaborate variation, in which the melancholy idea of the music was rendered in every variety of shade by the plaintive violins. Every phase of sorrow, every form and semblance of grief that Inglesant had ever known, seemed to float through his mind, in sympathy with the sounds which, inarticulate to the ear, possessed a power stronger than that of language to the mental sense. The anticipation of coming evil naturally connected itself with the person of Lauretta, and he seemed to see her lying dead before him upon the lighted stage, or standing in an attitude of grief, looking at him with wistful eyes. This last image was so strongly presented to his imagination that it partook almost of the character of an apparition; and before it the crowded theatre, the gaily dressed forms upon the stage, the fantastic actors, seemed to fade, and alone on the deserted boards the figure of Lauretta, as he had last seen it, slight and girl-like, yet of noble bearing, stood gazing at him with wild and apprehensive eyes. Curiously too, as his fancy dwelt upon this figure, it saw in her hand a sealed letter fastened with a peculiarly twisted cord.

The burden of sorrow and of anticipated evil became at last too heavy to be borne, and Inglesant left the theatre and returned to his lodgings. But here he could not rest. Though he had no reason to visit the Count that night, and though it was scarcely seemly, indeed, that he should do so, yet, impelled by a restless discomfort which he sought to quiet, he wandered again into the streets, and found himself not unnaturally before the old nobleman's dwelling. Once here, the impulse was too strong to be denied, and he knocked at the low sunken door. The house seemed strangely quiet and deserted, and it was some time before an old servant who belonged to the lower part of the establishment, devoted to the sale of the wine, appeared at the wicket, and, on being assured whom it was who knocked at that unseasonable hour, opened the door.

The house was empty, he averred. The family had suddenly departed, whither he knew not. If the signore was pleased to go upstairs, he believed he would find some letters for him left by the Cavaliere.

Inglesant followed the old man, who carried a common brass lamp, which cast an uncertain and flickering glare, the sense of evil growing stronger at every step he took. His guide led him into the room in which he had first seen Lauretta, which appeared bare and deserted, but showed no sign of hasty departure. Upon a marble table inlaid with coloured stones were two letters, both directed to Inglesant. The one was from the Cavaliere, excusing their departure on the ground of sudden business of the highest political importance, the other from Lauretta, written in a hasty trembling hand. It contained but a few lines--"that she was obliged to follow her father;" but Inglesant hesitated a moment before he broke the seal, for it was tied round with a curiously twisted cord of blue and yellow silk, as he had seen in the vision his fancy had created.

*CHAPTER II.*

Lauretta's letter had informed Inglesant that she would endeavour to let him know where she was; and with that hope he was obliged to be content, as by no effort he could make could he discover any trace of the fugitive's route. Florence, however, became distasteful to him, and he would have left it sooner but for an attack of fever which prostrated him for some time. Few foreigners were long in Italy, in those days, without suffering from the climate and the miasmas and unhealthy vapours, which, especially at night, were so hurtful even to those accustomed to the country. In his illness Inglesant was carefully nursed by some of the Jesuit fathers, and those whom they recommended; and it is possible that they took care that he should not be left too much to the care of the physicians, whose attentions, at that period at any rate, were so often fatal to their patients. In the course of a few weeks he was sufficiently recovered to think of leaving Florence, and he despatched a messenger to Don Agostino, begging him to meet him at Lucca, where they might decide either to visit Venice or go on straight to Rome. It was not without some lingering hope that he might find Lauretta in the town of her birth, that he set out for Lucca, but misfortune followed his path. It was reported that the plague had broken out in Florence, and travellers who were known to have come from thence were regarded with great suspicion. Inglesant's appearance, recently recovered from sickness, was not in his favour; and at Fucecchio, a small town on the road to Lucca, he was arrested by the authorities, and confined by them in the pest-house for forty days. It was a building which had formerly been a gentleman's house, and possessed a small garden surrounded by a high wall. In this dreary abode Inglesant passed many solitary days, the other inmates being three or four unfortunates like himself,--travellers on business through the country,--who, their affairs being injured by their detention, were melancholy and despondent. He was short of money, and for some time was unable to communicate with any of his friends either in Florence or Sienna. With nothing but his own misfortunes to brood upon, and with the apprehension of the future, which almost amounted to religious melancholy, frequently before his mind, it is surprising that he kept his reason. To add to his misfortunes, when the greater portion of the time fixed for his detention was expired, one of the inmates of the pest-house suddenly died; and although the physicians pronounced his disease not to be the plague, yet the authorities decreed that all should remain another forty days within its dreary walls. The death of this person greatly affected Inglesant, as he was the only one of the inmates with whom he had contracted any intimacy.