sky above him. The bridge was deserted. His black figure rose up erect, motionless, and spectral, with the white still light falling solemnly all around it. Standing so for some minutes, his first movement was to drop his hand angrily on the parapet of the bridge. He then turned round slowly in the direction by which the two women had walked away.
“Donna Brigida,” he said, “I will lay you the price of fifty new dresses that Fabio d’Ascoli never marries again!”
He set his face once more toward the studio, and walked on without stopping until he arrived at the master-sculptor’s door.
“Marry again?” he thought to himself, as he rang the bell. “Donna Brigida, was your first failure not enough for you? Are you going to try a second time?”
Luca Lomi himself opened the door. He drew Father Rocco hurriedly into the studio toward a single lamp burning on a stand near the partition between the two rooms.
“Have you heard anything of our poor child?” he asked. “Tell me the truth! tell me the truth at once!”
“Hush! compose yourself. I have heard,” said Father Rocco, in low, mournful tones.
Luca tightened his hold on the priest’s arm, and looked into his face with breathless, speechless eagerness.
“Compose yourself,” repeated Father Rocco. “Compose yourself to hear the worst. My poor Luca, the doctors have given up all hope.”
Luca dropped his brother’s arm with a groan of despair. “Oh, Maddalena! my child — my only child!”
Reiterating these words again and again, he leaned his head against the partition and burst into tears. Sordid and coarse as his nature was, he really loved his daughter. All the heart he had was in his statues and in her.
After the first burst of his grief was exhausted, he was recalled to himself by a sensation as if some change had taken place in the lighting of the studio. He looked up directly, and dimly discerned the priest standing far down at the end of the room nearest the door, with the lamp in his hand, eagerly looking at something.
“Rocco!” he exclaimed, “Rocco, why have you taken the lamp away? What are you doing there?”
There was no movement and no answer. Luca advanced a step or two, and called again. “Rocco, what are you doing there?”
The priest heard this time, and came suddenly toward his brother, with the lamp in his hand — so suddenly that Luca started.
“What is it?” he asked, in astonishment. “Gracious God, Rocco, how pale you are!”
Still the priest never said a word. He put the lamp down on the nearest table. Luca observed that his hand shook. He had never seen his brother violently agitated before. When Rocco had announced, but a few minutes ago, that Maddalena’s life was despaired of, it was in a voice which, though sorrowful, was perfectly calm. What was the meaning of this sudden panic — this strange, silent terror?
The priest observed that his brother was looking at him earnestly. “Come!” he said in a faint whisper, “come to her bedside: we have no time to lose. Get your hat, and leave it to me to put out the lamp.”
He hurriedly extinguished the light while he spoke. They went down the studio side by side toward the door. The moonlight streamed through the window full on the place where the priest had been standing alone with the lamp in his hand. As they passed it, Luca felt his brother tremble, and saw him turn away his head.
. . … …
Two hours later, Fabio d’Ascoli and his wife were separated in this world forever; and the servants of the palace were anticipating in whispers the order of their mistress’s funeral procession to the burial-ground of the Campo Santo.
Part Third
Chapter I
About eight months after the Countess d’Ascoli had been laid in her grave in the Campo Santo, two reports were circulated through the gay world of Pisa, which excited curiosity and awakened expectation everywhere.
The first report announced that a grand masked ball was to be given at the Melani Palace, to celebrate the day on which the heir of the house attained his majority. All the friends of the family were delighted at the prospect of this festival; for the old Marquis Melani had the reputation of being one of the most hospitable, and, at the same time, one of the most eccentric men in Pisa. Every one expected, therefore, that he would secure for the entertainment of his guests, if he really gave the ball, the most whimsical novelties in the way of masks, dances, and amusements generally, that had ever been seen.
The second report was, that the rich widower, Fabio d’Ascoli, was on the point of returning to Pisa, after having improved his health and spirits by traveling in foreign countries; and that he might be expected to appear again in society, for the first time since the death of his wife, at the masked ball which was to be given in the Melani Palace. This announcement excited special interest among the young ladies of Pisa. Fabio had only reached his thirtieth year; and it was universally agreed that his return to society in his native city could indicate nothing more certainly than his desire to find a second mother for his infant child. All the single ladies would now have been ready to bet, as confidently as Brigida had offered to bet eight months before, that Fabio d’Ascoli would marry again.
For once in a way, report turned out to be true, in both the cases just mentioned. Invitations were actually issued from the Melani Palace, and Fabio returned from abroad to his home on the Arno.
In settling all the arrangements connected with his masked ball, the Marquis Melani showed that he was determined not only to deserve, but to increase, his reputation for oddity. He invented the most extravagant disguises, to be worn by some of his more intimate friends; he arranged grotesque dances, to be performed at stated periods of the evening by professional buffoons, hired from Florence. He composed a toy symphony, which included solos on every noisy plaything at that time manufactured for children’s use. And not content with thus avoiding the beaten track in preparing the entertainments at the ball, he determined also to show decided originality, even in selecting the attendants who were to wait on the company. Other people in his rank of life were accustomed to employ their own and hired footmen for this purpose; the marquis resolved that his attendants should be composed of young women only; that two of his rooms should be fitted up as Arcadian bowers; and that all the prettiest girls in Pisa should be placed in them to preside over the refreshments, dressed, in accordance with the mock classical taste of the period, as shepherdesses of the time of Virgil.
The only defect of this brilliantly new idea was the difficulty of executing it. The marquis had expressly ordered that not fewer than thirty shepherdesses were to be engaged — fifteen for each bower. It would have been easy to find double this number in Pisa, if beauty had been the only quality required in the attendant damsels. But it was also absolutely necessary, for the security of the marquis’s gold and silver plate, that the shepherdesses should possess, besides good looks, the very homely recommendation of a fair character. This last qualification proved, it is sad to say, to be the one small merit which the majority of the ladies willing to accept engagements at the palace did not possess. Day after day passed on; and the marquis’s steward only found more and more difficulty in obtaining the appointed number of trustworthy beauties. At last his resources failed him altogether; and he appeared in his master’s presence about a week before the night of the ball, to make the humiliating acknowledgment that he was entirely at his wits’ end. The total number of fair shepherdesses with fair characters whom he had been able to engage amounted only to twenty-three.
“Nonsense!” cried the marquis, irritably, as soon as the steward had made his confession. “I told you to