so much about mediaeval seals that I believe I am qualified to become a Fellow of the Society of Antiquaries, if women were admitted to fellowship."
"They will be one day, my dear, if the Suffragettes are allowed their own way," he laughed.
And then, during the full hour they strolled together, their conversation mostly consisted of questions asked by her father concerning some improvements being made in one of the farms which she had visited on the previous day, and her description of what had been done.
The stable-clock had struck half-past ten on its musical chimes before they re-entered the big hall, and, being relieved by Hill of the wraps, passed together into the library, where, from a locked cabinet in a corner, Gabrielle took a number of business papers and placed them upon the writing-table before her father.
"No," he said, running his thin white hands over them, "not business to-night, dear, but pleasure. Where is that box from the Professor?"
"It's here, dad. Shall I open it?"
"Yes," he replied. "That dear old fellow never forgets his old friend. Never a seal finds its way into the collection at Cambridge but he first sends it to me for examination before it is catalogued. He knows what pleasure it is to me to decipher them and make out their history—almost, alas! the only pleasure left to me, except you, my darling."
"Professor Moyes adopts your opinion always, dad. He knows, as every other antiquary knows, that you are the greatest living authority on the subject which you have made a lifetime study—that of the bronze seals of the Middle Ages."
"Ah!" sighed the old man, "if I could only write my great book! It is the pleasure debarred me. Years ago I started to collect material; but my affliction came, and now I can only feel the matrices and picture them in my mind. I see through your eyes, dear Gabrielle. To me, the world I loved so much is only a blank darkness, with your dear voice sounding out of it—the only voice, my child, that is music to my ears."
The girl said nothing. She only glanced at the sad, expressionless face, and, cutting the string of the small packet, displayed three bronze seals—two oval, about two inches long, and the third round, about one inch in diameter, and each with a small kind of handle on the reverse. With them were sulphur-casts or impressions taken from them, ready to be placed in the museum at Cambridge.
The old man's nervous fingers travelled over the surfaces quickly, an expression of complete satisfaction in his face.
"Have you the magnifying-glass, dear? Tell me what you make of the inscriptions," he said, at the same time carefully feeling the curious mediaeval lettering of one of the casts.
At the same instant she started, rose quickly from her chair, and held her breath.
A man, tall, dark-faced, and wearing a thin black overcoat, had entered noiselessly from the lawn by the open window, and stood there, with his finger upon his lips, indicating silence. Then he pointed outside, with a commanding gesture that she should follow.
Her eyes met his in a glance of fierce resentment, and instinctively she placed her hand upon her breast, as though to stay the beating of her heart.
Again he pointed in silent authority, and she as though held in some mysterious thraldom, made excuse to the blind man, and, rising, followed in his noiseless footsteps.
CHAPTER III
SEALS OF DESTINY
Ten minutes later she returned, panting, her face pale and haggard, her mouth hard-set. For a moment she stood in silence upon the threshold of the open doors leading to the grounds, her hand pressed to her breast in a strenuous endeavour to calm herself. She feared that her father might detect her agitation, for he was so quick in discovering in her the slightest unusual emotion. She glanced behind her with an expression full of fear, as though dreading the reappearance of that man who had compelled her to follow him out into the night. Then she looked at her father, who, still seated motionless with his back to her, was busy with his fingers upon something on the blotting-pad before him.
In that brief absence her countenance had entirely changed. She was pale to the lips, with drawn brows, while about her mouth played a hard, bitter expression, as though her mind were bent upon some desperate resolve.
That the man who had come there by stealth was no stranger was evident; yet that between them was some deep-rooted enmity was equally apparent. Nevertheless, he held her irresistibly within his toils. His clean-shaven face was a distinctly evil one. His eyes were set too close together, and in his physiognomy was something unscrupulous and relentless. He was not the man for a woman to trust.
She stepped back from the threshold, and for a few seconds halted outside, her ears strained to catch any sound. Then, as though reassured, she pushed the chestnut hair from her hot, fevered brow, held her breath with strenuous effort, and, re-entering the library, advanced to her father's side.
"I wondered where you had gone, dear," he said in his low, calm voice, as he detected her presence. "I hoped you would not leave me for long, for it is not very often we enjoy an evening so entirely alone as to-night."
"Leave you, dear old dad! Why, of course not!" She laughed gaily, as though nothing had occurred to disturb her peace of mind. "We were just about to look at those seals Professor Moyes sent you to-day, weren't we? Here they are;" and she placed them before the helpless and afflicted man, endeavouring to remain undisturbed, and taking a chair at his side, as was her habit when they sat together.
"Yes," he said cheerfully. "Let us see what they are."
The first of the yellow sulphur-casts which he examined bore the full-length figure of an abbot, with mitre and crosier, in the act of giving his blessing. Behind him were three circular towers with pointed roofs surmounted by crosses, while around, in bold early Gothic letters, ran the inscription
+ S. BENEDITI . ABBATIS . SANTI . AMBROSII . D'RANCIA +
Slowly and with great care his fingers travelled over the raised letters and design of the oval cast. Then, having also examined the battered old bronze matrix, he said, "A most excellent specimen, and in first-class preservation, too! I wonder where it has been found? In Italy, without doubt."
"What do you make it out to be, dad?" asked the girl, seated in the chair at his side and as interested in the little antiquity as he was himself.
"Thirteenth century, my dear—early thirteenth century," he declared without hesitation. "Genuine, quite genuine, no doubt. The matrix shows signs of considerable wear. Is there much patina upon it?" he asked.
She turned it over, displaying that thick green corrosion which bronze acquires only by great age.
"Yes, quite a lot, dad. The raised portion at the back is pierced by a hole very much worn."
"Worn by the thong by which it was attached to the girdle of successive abbots through centuries," he declared. "From its inscription, it is the seal of the Abbot Benedict of the Monastery of St. Ambrose, of Rancia, in Lombardy. Let me think, now. We should find the history of that house probably in Sassolini's Memorials. Will you get it down, dear?—top shelf of the fifth case, on the left."
Though blind, he knew just where he could put his hand upon all his most cherished volumes, and woe betide any one who put a volume back in its wrong place!
Gabrielle rose, and, obtaining the steps, reached down the great leather-bound quarto book, which she carried to a reading-desk and at once searched the index.
The work was in Italian, a language which she knew fairly well; and after ten minutes or so, during which time the blind man continued slowly to trace the inscription with his finger-tips, she said, "Here it is, dad. 'Rancia, near Cremona. The religious brotherhood was founded there in 1132, and the Abbot Benedict was third abbot, from 1218 to 1231. The church still exists. The magnificent pulpit in marble, embellished with mosaics, presented in 1272, rests on six columns supported by lions, with an inscription: "Nicolaus de Montava marmorarius hoc opus fecit." Opposite it is the ambo (1272), in a simple style, with a representation of Jonah being swallowed by a whale. In the choir is the throne adorned by mosaics, and the Cappella di San Pantaleone contains the blood of the saint, together with some relics of the Abbot