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'Wait a minute. There are other sculptors besides him in the studio. There is, first, his brother, the priest-Father Rocco, who passes all his spare time with the master. He is a good sculptor in his way-has cast statues and made a font for his church-a holy man, who devotes all his work in the studio to the cause of piety.'
'Ah, bah! we should think him a droll priest in France. (More pins.) You don't expect him to put money in your pocket, surely?'
'Wait, I say again. There is a third sculptor in the studio-actually a nobleman! His name is Fabio d'Ascoli. He is rich, young, handsome, an only child, and little better than a fool. Fancy his working at sculpture, as if he had his bread to get by it-and thinking that an amusement! Imagine a man belonging to one of the best families in Pisa mad enough to want to make a reputation as an artist! Wait! wait! the best is to come. His father and mother are dead-he has no near relations in the world to exercise authority over him-he is a bachelor, and his fortune is all at his own disposal; going a-begging, my friend; absolutely going a-begging for want of a clever woman to hold out her hand and take it from him.'
'Yes, yes-now I understand. The goddess Minerva is a clever woman, and she will hold out her hand and take his fortune from him with the utmost docility.'
'The first thing is to get him to offer it. I must tell you that I am not going to sit to him, but to his master, Luca Lomi, who is doing the statue of Minerva. The face is modeled from his daughter; and now he wants somebody to sit for the bust and arms. Maddalena Lomi and I are as nearly as possible the same height, I hear-the difference between us being that I have a good figure and she has a bad one. I have offered to sit, through a friend who is employed in the studio. If the master accepts, I am sure of an introduction to our rich young gentleman; and then leave it to my good looks, my various accomplishments, and my ready tongue, to do the rest.'
'Stop! I won't have the lace doubled, on second thoughts. I'll have it single, and running all round the dress in curves-so. Well, and who is this friend of yours employed in the studio? A fourth sculptor?'
'No, no; the strangest, simplest little creature-'
Just then a faint tap was audible at the door of the room.
Brigida laid her finger on her lips, and called impatiently to the person outside to come in.
The door opened gently, and a young girl, poorly but very neatly dressed, entered the room. She was rather thin and under the average height; but her head and figure were in perfect proportion. Her hair was of that gorgeous auburn color, her eyes of that deep violet-blue, which the portraits of Giorgione and Titian have made famous as the type of Venetian beauty. Her features possessed the definiteness and regularity, the 'good modeling' (to use an artist's term), which is the rarest of all womanly charms, in Italy as elsewhere. The one serious defect of her face was its paleness. Her cheeks, wanting nothing in form, wanted every-thing in color. That look of health, which is the essential crowning-point of beauty, was the one attraction which her face did not possess.
She came into the room with a sad and weary expression in her eyes, which changed, however, the moment she observed the magnificently-dressed French forewoman, into a look of astonishment, and almost of awe. Her manner became shy and embarrassed; and after an instant of hesitation, she turned back silently to the door.
'Stop, stop, Nanina,' said Brigida, in Italian. 'Don't be afraid of that lady. She is our new forewoman; and she has it in her power to do all sorts of kind things for you. Look up, and tell us what you want. You were sixteen last birthday, Nanina, and you behave like a baby of two years old!'
'I only came to know if there was any work for me to-day,' said the girl, in a very sweet voice, that trembled a little as she tried to face the fashionable French forewoman again.
'No work, child, that is easy enough for you to do,' said Brigida. 'Are you going to the studio to-day?'
Some of the color that Nanina's cheeks wanted began to steal over them as she answered 'Yes.'
'Don't forget my message, darling. And if Master Luca Lomi asks where I live, answer that you are ready to deliver a letter to me; but that you are forbidden to enter into any particulars at first about who I am, or where I live.'
'Why am I forbidden?' inquired Nanina, innocently.
'Don't ask questions, baby! Do as you are told. Bring me back a nice note or message to-morrow from the studio, and I will intercede with this lady to get you some work. You are a foolish child to want it, when you might make more money here and at Florence, by sitting to painters and sculptors; though what they can see to paint or model in you I never could understand.'
'I like working at home better than going abroad to sit,' said Nanina, looking very much abashed as she faltered out the answer, and escaping from the room with a terrified farewell obeisance, which was an eccentric compound of a start, a bow, and a courtesy.
'That awkward child would be pretty,' said Mademoiselle Virginie, making rapid progress with the cutting-out of her dress, 'if she knew how to give herself a complexion, and had a presentable gown on her back. Who is she?'
'The friend who is to get me into Master Luca Lomi's studio,' replied Brigida, laughing. 'Rather a curious ally for me to take up with, isn't she?'
'Where did you meet with her?'
'Here, to be sure; she hangs about this place for any plain work she can get to do, and takes it home to the oddest little room in a street near the Campo Santo. I had the curiosity to follow her one day, and knocked at her door soon after she had gone in, as if I was a visitor. She answered my knock in a great flurry and fright, as you may imagine. I made myself agreeable, affected immense interest in her affairs, and so got into her room. Such a place! A mere corner of it curtained off to make a bedroom. One chair, one stool, one saucepan on the fire. Before the hearth the most grotesquely hideous unshaven poodle-dog you ever saw; and on the stool a fair little girl plaiting dinner-mats. Such was the household-furniture and all included. “Where is your father?” I asked. “He ran away and left us years ago,” answers my awkward little friend who has just left the room, speaking in that simple way of hers, with all the composure in the world. “And your mother?”-“Dead.” She went up to the little mat-plaiting girl as she gave that answer, and began playing with her long flaxen hair. “Your sister, I suppose,” said I. “What is her name?”-“They call me La Biondella,” says the child, looking up from her mat (La Biondella, Virginie, means The Fair). “And why do you let that great, shaggy, ill-looking brute lie before your fireplace?” I asked. “Oh!” cried the little mat-plaiter, “that is our dear old dog, Scarammuccia. He takes care of the house when Nanina is not at home. He dances on his hind legs, and jumps through a hoop, and tumbles down dead when I cry Bang! Scarammuccia followed us home one night, years ago, and he has lived with us ever since. He goes out every day by himself, we can't tell where, and generally returns licking his chops, which makes us afraid that he is a thief; but nobody finds him out, because he is the cleverest dog that ever lived!” The child ran on in this way about the great beast by the fireplace, till I was obliged to stop her; while that simpleton Nanina stood by, laughing and encouraging her. I asked them a few more questions, which produced some strange answers. They did not seem to know of any relations of theirs in the world. The neighbors in the house had helped them, after their father ran away, until they were old enough to help themselves; and they did not seem to think there was anything in the least wretched or pitiable in their way of living. The last thing I heard, when I left them that day, was La Biondella crying “Bang!”-then a bark, a thump on the floor, and a scream of laughter. If it was not for their dog, I should go and see them oftener. But the ill-conditioned beast has taken a dislike to me, and growls and shows his teeth whenever I come near him.'
'The girl looked sickly when she came in here. Is she always like that?'
'No. She has altered within the last month. I suspect our interesting young nobleman has produced an impression. The oftener the girl has sat to him lately, the paler and more out of spirits she has become.'
'Oh! she has sat to him, has she?'
'She is sitting to him now. He is doing a bust of some Pagan nymph or other, and prevailed on Nanina to let him copy from her head and face. According to her own account the little fool was frightened at first, and gave him all the trouble in the world before she would consent.'
'And now she has consented, don't you think it likely she may turn out rather a dangerous rival? Men are such fools, and take such fancies into their heads-'
'Ridiculous! A thread-paper of a girl like that, who has no manner, no talk, no intelligence; who has nothing to recommend her but an awkward, babyish prettiness! Dangerous to me? No, no! If there is danger at all, I have to dread it from the sculptor's daughter. I don't mind confessing that I am anxious to see Maddalena Lomi. But as for Nanina, she will simply be of use to me. All I know already about the studio and the artists in it, I know through her. She will deliver my message, and procure me my introduction; and when we have got so far, I shall give her an old gown and a shake of the hand; and then, good-bye to our little innocent!'
'Well, well, for your sake I hope you are the wiser of the two in this matter. For my part, I always distrust innocence. Wait one moment, and I shall have the body and sleeves of this dress ready for the needle-women. There, ring the bell, and order them up; for I have directions to give, and you must interpret for me.'
While Brigida went to the bell, the energetic Frenchwoman began planning out the skirt of the new dress. She laughed as she measured off yard after yard of the silk.
'What are you laughing about?' asked Brigida, opening the door and ringing a hand-bell in the passage.
'I can't help fancying, dear, in spite of her innocent face and her artless ways, that your young friend is a hypocrite.'
'And I am quite certain, love, that she is only a simpleton.'
Chapter II
The studio of the master-sculptor, Luca Lomi, was composed of two large rooms unequally divided by a wooden partition, with an arched doorway cut in the middle of it.
While the milliners of the Grifoni establishment were industriously shaping dresses, the sculptors in Luca Lomi's workshop were, in their way, quite as hard at work shaping marble and clay. In the smaller of the two rooms the young nobleman (only addressed in the studio by his Christian name of Fabio) was busily engaged on his bust, with Nanina sitting before him as a model. His was not one of those traditional Italian faces from which subtlety and suspicion are always supposed to look out darkly on the world at large. Both countenance and expression proclaimed his character frankly and freely to all who saw him. Quick intelligence looked brightly from his eyes; and easy good humor laughed out pleasantly in the rather quaint curve of his lips. For the rest, his face expressed the defects as well as the merits of his character, showing that he wanted resolution and perseverance just as plainly as it showed also that he possessed amiability and intelligence.
At the end of the large room, nearest to the street door, Luca Lomi was standing by his life-size statue of Minerva; and was issuing directions, from time to time, to some of his workmen, who were roughly chiseling the drapery of another figure. At the opposite side of the room, nearest to the partition, his brother, Father Rocco, was taking a cast from a statuette of the Madonna; while Maddalena Lomi, the sculptor's daughter, released from sitting for Minerva's face, walked about the two rooms, and watched what was going on in them.
There was a strong family likeness of a certain kind between father, brother and daughter. All three were tall, handsome, dark-haired, and dark-eyed; nevertheless, they differed in expression, strikingly as they resembled one another in feature. Maddalena Lomi's face betrayed strong passions, but not an ungenerous nature. Her father, with the same indications of a violent temper, had some sinister lines about his mouth and forehead which suggested anything rather than an open disposition. Father Rocco's countenance, on the other hand, looked like the personification of absolute calmness and invincible moderation; and his manner, which, in a very firm way, was singularly quiet and deliberate, assisted in carrying out the impression produced by his face. The daughter seemed as if she could fly into a passion at a moment's notice, and forgive also at a moment's notice. The father, appearing to be just as irritable, had something in his face which said, as plainly as if in words, 'Anger me, and I never pardon.' The priest looked as if he need never be called on either to ask forgiveness or to grant it, for the double reason that he could irritate nobody else, and that nobody else could irritate him.
'Rocco,' said Luca, looking at the face of his Minerva, which was now finished, 'this statue of mine will make a sensation.'
'I am glad to hear it,' rejoined the priest, dryly.
'It is a new thing in art,' continued Luca, enthusiastically. 'Other sculptors, with a classical subject like mine, limit themselves to the ideal classical face, and never think of aiming at individual character. Now I do precisely the reverse of that. I get my handsome daughter, Maddalena, to sit for Minerva, and I make an exact likeness of her. I may lose in ideal beauty, but I gain in individual character. People may accuse me of disregarding established rules; but my answer is, that I make my own rules. My daughter looks like a Minerva, and there she is exactly as she looks.'
'It is certainly a wonderful likeness,' said Father Rocco, approaching the statue.
'It the girl herself,' cried the other. 'Exactly her expression, and exactly her features. Measure Maddalena, and measure Minerva, and from forehead to chin, you won't find a hair-breadth of difference between them.'
'But how about the bust and arms of the figure, now the face is done?' asked the priest, returning, as he spoke, to his own work.
'I may have the very model I want for them to-morrow. Little Nanina has just given me the strangest message. What do you think of a mysterious lady admirer who offers to sit for the bust and arms of my Minerva?'
'Are you going to accept the offer?' inquired the priest.
'I am going to receive her to-morrow; and if I really find that she is the same height as Maddalena, and has a bust and arms worth modeling, of course I shall accept her offer; for she will be the very sitter I have been looking after for weeks past. Who can she be? That's the mystery I want to find out. Which do you say, Rocco-an enthusiast or an adventuress?'
'I do not presume to say, for I have no means of knowing.'
'Ah, there you are with your moderation again. Now, I do presume to assert that she must be either one or the other-or she would not have forbidden Nanina to say anything about her in answer to all my first natural inquiries. Where is Maddalena? I thought she was here a minute ago.'
'She is in Fabio's room,' answered Father Rocco, softly. 'Shall I call her?'
'No, no!' returned Luca. He stopped, looked round at the workmen, who were chipping away mechanically at their bit of drapery; then advanced close to the priest, with a cunning smile, and continued in a whisper, 'If Maddalena can only get from Fabio's room here to Fabio's palace over the way, on the Arno-come, come, Rocco! don't shake your head. If I brought her up to your church door one of these days, as Fabio d'Ascoli's betrothed, you would be glad enough to take the rest of the business off my hands, and make her Fabio d'Ascoli's wife. You are a very holy man, Rocco, but you know the difference between the clink of the money-bag and the clink of the chisel for all that!'
'I am sorry to find, Luca,' returned the priest, coldly, 'that you allow yourself to talk of the most delicate subjects in the coarsest way. This is one of the minor sins of the tongue which is growing on you. When we are alone in the studio, I will endeavor to lead you into speaking of the young man in the room there, and of your daughter, in terms more becoming to you, to me, and to them. Until that time, allow me to go on with my work.'
Luca shrugged his shoulders, and went back to his statue. Father Rocco, who had been engaged during the last ten minutes in mixing wet plaster to the right consistency for taking a cast, suspended his occupation; and crossing the room to a corner next the partition, removed from it a cheval-glass which stood there. He lifted it away gently, while his brother's back was turned, carried it close to the table at which he had been at work, and then resumed his employment of mixing the plaster. Having at last prepared the composition for use, he laid it over the exposed half of the statuette with a neatness and dexterity which showed him to be a practiced hand at cast-taking. Just as he had covered the necessary extent of surface, Luca turned round from his statue.
'How are you getting on with the cast?' he asked. 'Do you want any help?'
'None, brother, I thank you,' answered the priest. 'Pray do not disturb either yourself or your workmen on my account.'
Luca turned again to the statue; and, at the same moment, Father Rocco softly moved the cheval-glass toward the open doorway between the two rooms, placing it at such an angle as to make it reflect the figures of the persons in the smaller studio. He did this with significant quickness and precision. It was evidently not the first time he had used the glass for purposes of secret observation.
Mechanically stirring the wet plaster round and round for the second casting, the priest looked into the glass, and saw, as in a picture, all that was going forward in the inner room. Maddalena Lomi was standing behind the young nobleman, watching the progress he made with his bust. Occasionally she took the modeling tool out of his hand, and showed him, with her sweetest smile, that she, too, as a sculptor's daughter, understood something of the sculptor's art; and now and then, in the pauses of the conversation, when her interest was especially intense in Fabio's work, she suffered her hand to drop absently on his shoulder, or stooped forward so close to him that her hair mingled for a moment with his. Moving the glass an inch or two, so as to bring Nanina well under his eye, Father Rocco found that he could trace each repetition of these little acts of familiarity by the immediate effect which they produced on the girl's face and manner. Whenever Maddalena so much as touched the young nobleman-no matter whether she did so by premeditation, or really by accident-Nanina's features contracted, her pale cheeks grew paler, she fidgeted on her chair, and her fingers nervously twisted and untwisted the loose ends of the ribbon fastened round her waist.
'Jealous,' thought Father Rocco; 'I suspected it weeks ago.'
He turned away, and gave his whole attention for a few minutes to the mixing of the plaster. When he looked back again at the glass, he was just in time to witness a little accident which suddenly changed the relative positions of the three persons in the inner room.
He saw Maddalena take up a modeling tool which lay on a table near her, and begin to help Fabio in altering the arrangement of the hair in his bust. The young man watched what she was doing earnestly enough for a few moments; then his attention wandered away to Nanina. She looked at him reproachfully, and he answered by a sign which brought a smile to her face directly. Maddalena surprised her at the instant of the change; and, following the direction of her eyes, easily discovered at whom the smile was directed. She darted a glance of contempt at Nanina, threw down the modeling tool, and turned indignantly to the young sculptor, who was affecting to be hard at work again.
'Signor Fabio,' she said, 'the next time you forget what is due to your rank and yourself, warn me of it, if you please, beforehand, and I will take care to leave the room.' While speaking the last words, she passed through the doorway. Father Rocco, bending abstractedly over his plaster mixture, heard her continue to herself in a whisper, as she went by him, 'If I have any influence at all with my father, that impudent beggar-girl shall be forbidden the studio.'
'Jealousy on the other side,' thought the priest. 'Something must be done at once, or this will end badly.'
He looked again at the glass, and saw Fabio, after an instant of hesitation, beckon to Nanina to approach him. She left her seat, advanced half-way to his, then stopped. He stepped forward to meet her, and, taking her by the hand, whispered earnestly in her ear. When he had done, before dropping her hand, he touched her cheek with his lips, and then helped her on with the little white mantilla which covered her head and shoulders out-of-doors. The girl trembled violently, and drew the linen close to her face as Fabio walked into the larger studio, and, addressing Father Rocco, said:
'I am afraid I am more idle, or more stupid, than ever to-day. I can't get on with the bust at all to my satisfaction, so I have cut short the sitting, and given Nanina a half-holiday.'
At the first sound of his voice, Maddalena, who was speaking to her father, stopped, and, with another look of scorn at Nanina standing trembling in the doorway, left the room. Luca Lomi called Fabio to him as she went away, and Father Rocco, turning to the statuette, looked to see how the plaster was hardening on it. Seeing them thus engaged, Nanina attempted to escape from the studio without being noticed; but the priest stopped her just as she was hurrying by him.
'My child,' said he, in his gentle, quiet way, 'are you going home?'
Nanina's heart beat too fast for her to reply in words; she could only answer by bowing her head.
'Take this for your little sister,' pursued Father Rocco, putting a few silver coins in her hand; 'I have got some customers for those mats she plaits so nicely. You need not bring them to my rooms; I will come and see you this evening, when I am going my rounds among my parishioners, and will take the mats away with me. You are a good girl, Nanina-you have always been a good girl-and as long as I am alive, my child, you shall never want a friend and an adviser.'
Nanina's eyes filled with tears. She drew the mantilla closer than ever round her face, as she tried to thank the priest. Father Rocco nodded to her kindly, and laid his hand lightly on her head for a moment, then turned round again to his cast.
'Don't forget my message to the lady who is to sit to me to-morrow,' said Luca to Nanina, as she passed him on her way out of the studio.
After she had gone, Fabio returned to the priest, who was still busy over his cast.
'I hope you will get on better with the bust to-morrow,' said Father Rocco, politely; 'I am sure you cannot complain of your model.'
'Complain of her!' cried the young man, warmly; 'she has the most beautiful head I ever saw. If I were twenty times the sculptor that I am, I should despair of being able to do her justice.'
He walked into the inner room to look at his bust again-lingered before it for a little while-and then turned to retrace his steps to the larger studio. Between him and the door-way stood three chairs. As he went by them, he absently touched the backs of the first two, and passed the third; but just as he was entering the larger room, stopped, as if struck by a sudden recollection, returned hastily, and touched the third chair. Raising his eyes, as he approached the large studio again after doing this, he met the eyes of the priest fixed on him in unconcealed astonishment.
'Signor Fabio!' exclaimed Father Rocco, with a sarcastic smile, 'who would ever have imagined that you were superstitious?'
'My nurse was,' returned the young man, reddening, and laughing rather uneasily. 'She taught me some bad habits that I have not got over yet.' With those words he nodded and hastily went out.
'Superstitious,' said Father Rocco softly to himself. He smiled again, reflected for a moment, and then, going to the window, looked into the street. The way to the left led to Fabio's palace, and the way to the right to the Campo Santo, in the neighborhood of which Nanina lived. The priest was just in time to see the young sculptor take the way to the right.
After another half-hour had elapsed, the two workmen quitted the studio to go to dinner, and Luca and his brother were left alone.
'We may return now,' said Father Rocco, 'to that conversation which was suspended between us earlier in the day.'
'I have nothing more to say,' rejoined Luca, sulkily.
'Then you can listen to me, brother, with the greater attention,' pursued the priest. 'I objected to the coarseness of your tone in talking of our young pupil and your daughter; I object still more strongly to your insinuation that my desire to see them married (provided always that they are sincerely attached to each other) springs from a mercenary motive.'
'You are trying to snare me, Rocco, in a mesh of fine phrases; but I am not to be caught. I know what my own motive is for hoping that Maddalena may get an offer of marriage from this wealthy young gentleman-she will have his money, and we shall all profit by it. That is coarse and mercenary, if you please; but it is the true reason why I want to see Maddalena married to Fabio. You want to see it, too-and for what reason, I should like to know, if not for mine?'
'Of what use would wealthy relations be to me? What are people with money-what is money itself-to a man who follows my calling?'
'Money is something to every body.'
'Is it? When have you found that I have taken any account of it? Give me money enough to buy my daily bread, and to pay for my lodging and my coarse cassock, and though I may want much for the poor, for myself I want no more. Then have you found me mercenary? Do I not help you in this studio, for love of you and of the art, without exacting so much as journeyman's wages? Have I ever asked you for more than a few crowns to give away on feast-days among my parishioners? Money! money for a man who may be summoned to Rome to-morrow, who may be told to go at half an hour's notice on a foreign mission that may take him to the ends of the earth, and who would be ready to go the moment when he was called on! Money to a man who has no wife, no children, no interests outside the sacred circle of the Church! Brother, do you see the dust and dirt and shapeless marble chips lying around your statue there? Cover that floor instead with gold, and, though the litter may have changed in color and form, in my eyes it would be litter still.'
'A very noble sentiment, I dare say, Rocco, but I can't echo it. Granting that you care nothing for money, will you explain to me why you are so anxious that Maddalena should marry Fabio? She has had offers from poorer men-you knew of them-but you have never taken the least interest in her accepting or rejecting a proposal before.'
'I hinted the reason to you, months ago, when Fabio first entered the studio.'
'It was rather a vague hint, brother; can't you be plainer to-day?'
'I think I can. In the first place, let me begin by assuring you that I have no objection to the young man himself. He may be a little capricious and undecided, but he has no incorrigible faults that I have discovered.'
'That is rather a cool way of praising him, Rocco.'
'I should speak of him warmly enough, if he were not the representative of an intolerable corruption, and a monstrous wrong. Whenever I think of him I think of an injury which his present existence perpetuates; and if I do speak of him coldly, it is only for that reason.'
Luca looked away quickly from his brother, and began kicking absently at the marble chips which were scattered over the floor around him.
'I now remember,' he said, 'what that hint of yours pointed at. I know what you mean.'
'Then you know,' answered the priest, 'that while part of the wealth which Fabio d'Ascoli possesses is honestly and incontestably his own; part, also, has been inherited by him from the spoilers and robbers of the Church-'
'Blame his ancestors for that; don't blame him.'
'I blame him as long as the spoil is not restored.'
'How do you know that it was spoil, after all?'
'I have examined more carefully than most men the records of the civil wars in Italy; and I know that the ancestors of Fabio d'Ascoli wrung from the Church, in her hour of weakness, property which they dared to claim as their right. I know of titles to lands signed away, in those stormy times, under the influence of fear, or through false representations of which the law takes no account. I call the money thus obtained spoil, and I say that it ought to be restored, and shall be restored, to the Church from which it was taken.'
'And what does Fabio answer to that, brother?'
