Romola

It belongs to every large nature, when it is not under the immediate power of some strong unquestioning emotion, to suspect itself, and doubt the truth of its own impressions, conscious of possibilities beyond its own horizon. And Romola was urged to doubt herself the more by the necessity of interpreting her disappointment in her life with Tito so as to satisfy at once her love and her pride. Disappointment? Yes, there was no other milder word that would tell the truth. Perhaps all women had to suffer the disappointment of ignorant hopes, if she only knew their experience. Still, there had been something peculiar in her lot: her relation to her father had claimed unusual sacrifices from her husband. Tito had once thought that his love would make those sacrifices easy; his love had not been great enough for that. She was not justified in resenting a self-delusion. No! resentment must not rise: all endurance seemed easy to Romola rather than a state of mind in which she would admit to herself that Tito acted unworthily. If she had felt a new heartache in the solitary hours with her father through the last months of his life, it had been by no inexcusable fault of her husband’s; and now—it was a hope that would make its presence felt even in the first moments when her father’s place was empty—there was no longer any importunate claim to divide her from Tito; their young lives would flow in one current, and their true marriage would begin.

But the sense of something like guilt towards her father in a hope that grew out of his death, gave all the more force to the anxiety with which she dwelt on the means of fulfilling his supreme wish. That piety towards his memory was all the atonement she could make now for a thought that seemed akin to joy at his loss. The laborious simple life, pure from vulgar corrupting ambitions, embittered by the frustration of the dearest hopes, imprisoned at last in total darkness—a long seed-time without a harvest—was at an end now, and all that remained of it besides the tablet in Sante Croce and the unfinished commentary on Tito’s text, was the collection of manuscripts and antiquities, the fruit of half a century’s toil and frugality. The fulfilment of her father’s lifelong ambition about this library was a sacramental obligation for Romola.

The precious relic was safe from creditors, for when the deficit towards their payment had been ascertained, Bernardo del Nero, though he was far from being among the wealthiest Florentines, had advanced the necessary sum of about a thousand florins—a large sum in those days—accepting a lien on the collection as a security.

“The State will repay me,” he had said to Romola, making light of the service, which had really cost him some inconvenience. “If the cardinal finds a building, as he seems to say he will, our Signoria may consent to do the rest. I have no children, I can afford the risk.”

But within the last ten days all hopes in the Medici had come to an end: and the famous Medicean collections in the Via Larga were themselves in danger of dispersion. French agents had already begun to see that such very fine antique gems as Lorenzo had collected belonged by right to the first nation in Europe; and the Florentine State, which had got possession of the Medicean library, was likely to be glad of a customer for it. With a war to recover Pisa hanging over it, and with the certainty of having to pay large subsidies to the French king, the State was likely to prefer money to manuscripts.

To Romola these grave political changes had gathered their chief interest from their bearing on the fulfilment of her father’s wish. She had been brought up in learned seclusion from the interests of actual life, and had been accustomed to think of heroic deeds and great principles as something antithetic to the vulgar present, of the Pnyx and the Forum as something more worthy of attention than the councils of living Florentine men. And now the expulsion of the Medici meant little more for her than the extinction of her best hope about her father’s library. The times, she knew, were unpleasant for friends of the Medici, like her godfather and Tito: superstitious shopkeepers and the stupid rabble were full of suspicions; but her new keen interest in public events, in the outbreak of war, in the issue of the French king’s visit, in the changes that were likely to happen in the State, was kindled solely by the sense of love and duty to her father’s memory. All Romola’s ardour had been concentrated in her affections. Her share in her father’s learned pursuits had been for her little more than a toil which was borne for his sake; and Tito’s airy brilliant faculty had no attraction for her that was not merged in the deeper sympathies that belong to young love and trust. Romola had had contact with no mind that could stir the larger possibilities of her nature; they lay folded and crushed like embryonic wings, making no element in her consciousness beyond an occasional vague uneasiness.

But this new personal interest of hers in public affairs had made her care at last to understand precisely what influence Fra Girolamo’s preaching was likely to have on the turn of events. Changes in the form of the State were talked of, and all she could learn from Tito, whose secretaryship and serviceable talents carried him into the heart of public business, made her only the more eager to fill out her lonely day by going to hear for herself what it was that was just now leading all Florence by the ears. This morning, for the first time, she had been to hear one of the Advent sermons in the Duomo. When Tito had left her, she had formed a sudden resolution, and after visiting the spot where her father was buried in Santa Croce, had walked on to the Duomo. The memory of that last scene with Dino was still vivid within her whenever she recalled it, but it had receded behind the experience and anxieties of her married life. The new sensibilities and questions which it had half awakened in her were quieted again by that subjection to her husband’s mind which is felt by every wife who loves her husband with passionate devotedness and full reliance. She remembered the effect of Fra Girolamo’s voice and presence on her as a ground for expecting that his sermon might move her in spite of his being a narrow-minded monk. But the sermon did no more than slightly deepen her previous impression, that this fanatical preacher of tribulations was after all a man towards whom it might be possible for her to feel personal regard and reverence. The denunciations and exhortations simply arrested her attention. She felt no terror, no pangs of conscience: it was the roll of distant thunder, that seemed grand, but could not shake her. But when she heard Savonarola invoke martyrdom, she sobbed with the rest: she felt herself penetrated with a new sensation—a strange sympathy with something apart from all the definable interests of her life. It was not altogether unlike the thrill which had accompanied certain rare heroic touches in history and poetry; but the resemblance was as that between the memory of music, and the sense of being possessed by actual vibrating harmonies.

But that transient emotion, strong as it was, seemed to lie quite outside the inner chamber and sanctuary of her life. She was not thinking of Fra Girolamo now; she was listening anxiously for the step of her husband. During these three months of their double solitude she had thought of each day as an epoch in which their union might begin to be more perfect. She was conscious of being sometimes a little too sad or too urgent about what concerned her father’s memory—a little too critical or coldly silent when Tito narrated the things that were said and done in the world he frequented—a little too hasty in suggesting that by living quite simply as her father had done, they might become rich enough to pay Bernardo del Nero, and reduce the difficulties about the library. It was not possible that Tito could feel so strongly on this last point as she did, and it was asking a great deal from him to give up luxuries for which he really laboured. The next time Tito came home she would be careful to suppress all those promptings that seemed to isolate her from him. Romola was labouring, as a loving woman must, to subdue her nature to her husband’s. The great need of her heart compelled her to strangle, with desperate resolution, every rising impulse of suspicion, pride, and resentment; she felt equal to any self-infliction that would save her from ceasing to love. That would have been like the hideous nightmare in which the world had seemed to break away all round her, and leave her feet overhanging the darkness. Romola had never distinctly imagined such a future for herself; she was only beginning to feel the presence of effort in that clinging trust which had once been mere repose.

She waited and listened long, for Tito had not come straight home after leaving Niccolò Caparra, and it was more than two hours after the time when he was crossing the Ponte Rubaconte that Romola heard the great door of the court turning on its hinges, and hastened to the head of the stone steps. There was a lamp hanging over the stairs, and they could see each other distinctly as he ascended. The eighteen months had produced a more definable change in Romola’s face than in Tito’s; the expression was more subdued, less cold, and more beseeching, and, as the pink flush overspread her face now, in her joy that the long waiting was at an end, she was much lovelier than on the day when Tito had first seen her. On that day, any on-looker would have said that Romola’s nature was made to command, and Tito’s to bend; yet now Romola’s mouth was quivering a little, and there was some timidity in her glance.

He made an effort to smile, as she said—

“My Tito, you are tired; it has been a fatiguing day: is it not true?”

Maso was there, and no more was said until they had crossed the ante-chamber and closed the door of the library behind them. The wood was burning brightly on the great dogs; that was one welcome for Tito, late as he was, and Romola’s gentle voice was another.

He just turned and kissed her when she took off his mantle; then he went towards a high-backed chair placed for him near the fire, threw himself into it, and flung away his cap, saying, not peevishly, but in a fatigued tone of remonstrance, as he gave a slight shudder—

“Romola, I wish you would give up sitting in this library. Surely our own rooms are pleasanter in this chill weather.”

Romola felt hurt. She had never seen Tito so indifferent in his manner; he was usually full of lively solicitous attention. And she had thought so much of his return to her after the long day’s absence! He must be very weary.

“I wonder you have forgotten, Tito,” she answered, looking at him anxiously, as if she wanted to read an excuse for him in the signs of bodily fatigue. “You know I am making the catalogue on the new plan that my father wished for; you have not time to help me, so I must work at it closely.”

Tito, instead of meeting Romola’s glance, closed his eyes and rubbed his hands over his face and hair. He felt he was behaving unlike himself, but he would make amends to-morrow. The terrible resurrection of secret fears, which, if Romola had known them, would have alienated her from him for ever, caused him to feel an alienation already begun between them—caused him to feel a certain repulsion towards a woman from whose mind he was in danger. The feeling had taken hold of him unawares, and he was vexed with himself for behaving in this new cold way to her. He could not suddenly command any affectionate looks or words; he could only exert himself to say what might serve as an excuse.

“I am not well, Romola; you must not be surprised if I am peevish.”

“Ah, you have had so much to tire you to-day,” said Romola, kneeling down close to him, and laying her arm on his chest while she put his hair back caressingly.

Suddenly she drew her arm away with a start, and a gaze of alarmed inquiry.

“What have you got under your tunic, Tito? Something as hard as iron.”

“It is iron—it is chain-armour,” he said at once. He was prepared for the surprise and the question, and he spoke quietly, as of something that he was not hurried to explain.

“There was some unexpected danger to-day, then?” said Romola, in a tone of conjecture. “You had it lent to you for the procession?”

“No; it is my own. I shall be obliged to wear it constantly, for some time.”

“What is it that threatens you, my Tito?” said Romola, looking terrified, and clinging to him again.

“Every one is threatened in these times, who is not a rabid enemy of the Medici. Don’t look distressed, my Romola—this armour will make me safe against covert attacks.”

Tito put his hand on her neck and smiled. This little dialogue about the armour had broken through the new crust, and made a channel for the sweet habit of kindness.

“But my godfather, then,” said Romola; “is not he, too, in danger? And he takes no precautions—ought he not? since he must surely be in more danger than you, who have so little influence compared with him.”

“It is just because I am less important that I am in more danger,” said Tito, readily. “I am suspected constantly of being an envoy. And men like Messer Bernardo are protected by their position and their extensive family connections, which spread among all parties, while I am a Greek that nobody would avenge.”

“But, Tito, is it a fear of some particular person, or only a vague sense of danger, that has made you think of wearing this?” Romola was unable to repel the idea of a degrading fear in Tito, which mingled itself with her anxiety.

“I have had special threats,” said Tito, “but I must beg you to be silent on the subject, my Romola. I shall consider that you have broken my confidence, if you mention it to your godfather.”

“Assuredly I will not mention it,” said Romola, blushing, “if you wish it to be a secret. But, dearest Tito,” she added, after a moment’s pause, in a tone of loving anxiety, “it will make you very wretched.”

“What will make me wretched?” he said, with a scarcely perceptible movement across his face, as from some darting sensation.

“This fear—this heavy armour. I can’t help shuddering as I feel it under my arm. I could fancy it a story of enchantment—that some malignant fiend had changed your sensitive human skin into a hard shell. It seems so unlike my bright, light-hearted Tito!”

“Then you would rather have your husband exposed to danger, when he leaves you?” said Tito, smiling. “If you don’t mind my being poniarded or shot, why need I mind? I will give up the armour—shall I?”

“No, Tito, no. I am fanciful. Do not heed what I have said. But such crimes are surely not common in Florence? I have always heard my father and godfather say so. Have they become frequent lately?”

“It is not unlikely they will become frequent, with the bitter hatreds that are being bred continually.”

Romola was silent a few moments. She shrank from insisting further on the subject of the armour. She tried to shake it off.

“Tell me what has happened to-day,” she said, in a cheerful tone. “Has all gone off well?”

“Excellently well. First of all, the rain came and put an end to Luca Corsini’s oration, which nobody wanted to hear, and a ready-tongued personage—some say it was Gaddi, some say it was Melema, but really it was done so quickly no one knows who it was—had the honour of giving the Cristianissimo the briefest possible welcome in bad French.”

“Tito, it was you, I know,” said Romola, smiling brightly, and kissing him. “How is it you never care about claiming anything? And after that?”

“Oh! after that, there was a shower of armour and jewels, and trappings, such as you saw at the last Florentine giostra, only a great deal more of them. There was strutting, and prancing, and confusion, and scrambling, and the people shouted, and the Cristianissimo smiled from ear to ear. And after that there was a great deal of flattery, and eating, and play. I was at Tornabuoni’s. I will tell you about it to-morrow.”

“Yes, dearest, never mind now. But is there any more hope that things will end peaceably for Florence, that the Republic will not get into fresh troubles?”

Tito gave a shrug. “Florence will have no peace but what it pays well for; that is clear.”

Romola’s face saddened, but she checked herself, and said, cheerfully, “You would not guess where I went to-day, Tito. I went to the Duomo, to hear Fra Girolamo.”

Tito looked startled; he had immediately thought of Baldassarre’s entrance into the Duomo; but Romola gave his look another meaning.

“You are surprised, are you not? It was a sudden thought. I want to know all about the public affairs now, and I determined to hear for myself what the Frate promised the people about this French invasion.”

“Well, and what did you think of the prophet?”

“He certainly has a very mysterious power, that man. A great deal of his sermon was what I expected; but once I was strangely moved—I sobbed with the rest.”

“Take care, Romola,” said Tito, playfully, feeling relieved that she had said nothing about Baldassarre; “you have a touch of fanaticism in you. I shall have you seeing visions, like your brother.”

“No; it was the same with every one else. He carried them all with him; unless it were that gross Dolfo Spini, whom I saw there making grimaces. There was even a wretched-looking man, with a rope round his neck—an escaped prisoner, I should think, who had run in for shelter—a very wild-eyed old man: I saw him with great tears rolling down his cheeks, as he looked and listened quite eagerly.”

There was a slight pause before Tito spoke.

“I saw the man,” he said,—“the prisoner. I was outside the Duomo with Lorenzo Tornabuoni when he ran in. He had escaped from a French soldier. Did you see him when you came out?”

“No, he went out with our good old Piero di Cosimo. I saw Piero come in and cut off his rope, and take him out of the church. But you want rest, Tito? You feel ill?”

“Yes,” said Tito, rising. The horrible sense that he must live in continual dread of what Baldassarre had said or done pressed upon him like a cold weight.

Chapter Twenty Eight.

The Painted Record

Four days later, Romola was on her way to the house of Piero di Cosimo, in the Via Gualfonda. Some of the streets through which she had to pass were lined with Frenchmen who were gazing at Florence, and with Florentines who were gazing at the French, and the gaze was not on either side entirely friendly and admiring. The first nation in Europe, of necessity finding itself, when out of its own country, in the presence of general inferiority, naturally assumed an air of conscious pre-eminence; and the Florentines, who had taken such pains to play the host amiably, were getting into the worst humour with their too superior guests.

For after the first smiling compliments and festivities were over—after wondrous Mysteries with unrivalled machinery of floating clouds and angels had been presented in churches—after the royal guest had honoured Florentine dames with much of his Most Christian ogling at balls and suppers, and business had begun to be talked of—it appeared that the new Charlemagne regarded Florence as a conquered city, inasmuch as he had entered it with his lance in rest, talked of leaving his viceroy behind him, and had thoughts of bringing back the Medici. Singular logic this appeared to be on the part of an elect instrument of God! since the policy of Piero de’ Medici, disowned by the people, had been the only offence of Florence against the majesty of France. And Florence was determined not to submit. The determination was being expressed very strongly in consultations of citizens inside the Old Palace, and it was beginning to show itself on the broad flags of the streets and piazza wherever there was an opportunity of flouting an insolent Frenchman. Under these circumstances the streets were not altogether a pleasant promenade for well-born women; but Romola, shrouded in her black veil and mantle, and with old Maso by her side, felt secure enough from impertinent observation.

And she was impatient to visit Piero di Cosimo. A copy of her father’s portrait as Oedipus, which he had long ago undertaken to make for her, was not yet finished; and Piero was so uncertain in his work—sometimes, when the demand was not peremptory, laying aside a picture for months; sometimes thrusting it into a corner or coffer, where it was likely to be utterly forgotten—that she felt it necessary to watch over his progress. She was a favourite with the painter, and he was inclined to fulfil any wish of hers, but no general inclination could be trusted as a safeguard against his sudden whims. He had told her the week before that the picture would perhaps be finished by this time; and Romola was nervously anxious to have in her possession a copy of the only portrait existing of her father in the days of his blindness, lest his image should grow dim in her mind. The sense of defect in her devotedness to him made her cling with all the force of compunction as well as affection to the duties of memory. Love does not aim simply at the conscious good of the beloved object: it is not satisfied without perfect loyalty of heart; it aims at its own completeness.

Romola, by special favour, was allowed to intrude upon the painter without previous notice. She lifted the iron slide and called Piero in a flute-like tone, as the little maiden with the eggs had done in Tito’s presence. Piero was quick in answering, but when he opened the door he accounted for his quickness in a manner that was not complimentary.

“Ah, Madonna Romola, is it you? I thought my eggs were come; I wanted them.”

“I have brought you something better than hard eggs, Piero. Maso has got a little basket full of cakes and confetti for you,” said Romola, smiling, as she put back her veil. She took the basket from Maso, and stepping into the house, said—

“I know you like these things when you can have them without trouble. Confess you do.”

“Yes, when they come to me as easily as the light does,” said Piero, folding his arms and looking down at the sweetmeats as Romola uncovered them and glanced at him archly. “And they are come along with the light now,” he added, lifting his eyes to her face and hair with a painter’s admiration, as her hood, dragged by the weight of her veil, fell backward.

“But I know what the sweetmeats are for,” he went on; “they are to stop my mouth while you scold me. Well, go on into the next room, and you will see I’ve done something to the picture since you saw it, though it’s not finished yet. But I didn’t promise, you know: I take care not to promise:—

“‘Chi promette e non mantieneL’anima sua non va mai bene.’”

The door opening on the wild garden was closed now, and the painter was at work. Not at Romola’s picture, however. That was standing on the floor, propped against the wall, and Piero stooped to lift it, that he might carry it into the proper light. But in lifting away this picture, he had disclosed another—the oil-sketch of Tito, to which he had made an important addition within the last few days. It was so much smaller than the other picture, that it stood far within it, and Piero, apt to forget where he had placed anything, was not aware of what he had revealed as, peering at some detail in the painting which he held in his hands, he went to place it on an easel. But Romola exclaimed, flushing with astonishment—

“That is Tito!”

Piero looked round, and gave a silent shrug. He was vexed at his own forgetfulness.

She was still looking at the sketch in astonishment; but presently she turned towards the painter, and said with puzzled alarm—

“What a strange picture! When did you paint it? What does it mean?”

“A mere fancy of mine,” said Piero, lifting off his skull-cap, scratching his head, and making the usual grimace by which he avoided the betrayal of any feeling. “I wanted a handsome young face for it, and your husband’s was just the thing.”

He went forward, stooped down to the picture, and lifting it away with its back to Romola, pretended to be giving it a passing examination, before putting it aside as a thing not good enough to show.

But Romola, who had the fact of the armour in her mind, and was penetrated by this strange coincidence of things which associated Tito with the idea of fear, went to his elbow and said—

“Don’t put it away; let me look again. That man with the rope round his neck—I saw him—I saw you come to him in the Duomo. What was it that made you put him into a picture with Tito?”