At that moment a loud bell startled Caterina from her trance of bliss. It was the summons to prayers in the chapel, and she hastened away, leaving Captain Wybrow to follow slowly.
It was a pretty sight, that family assembled to worship in the little chapel, where a couple of wax-candles threw a mild faint light on the figures kneeling there. In the desk was Mr. Gilfil, with his face a shade graver than usual. On his right hand, kneeling on their red velvet cushions, were the master and mistress of the household, in their elderly dignified beauty. On his left, the youthful grace of Anthony and Caterina, in all the striking contrast of their colouring—he, with his exquisite outline and rounded fairness, like an Olympian god; she, dark and tiny, like a gypsy changeling. Then there were the domestics kneeling on red-covered forms,—the women headed by Mrs. Bellamy, the natty little old housekeeper, in snowy cap and apron, and Mrs. Sharp, my lady’s maid, of somewhat vinegar aspect and flaunting attire; the men by Mr. Bellamy the butler, and Mr. Warren, Sir Christopher’s venerable valet.
A few collects from the Evening Service was what Mr. Gilfil habitually read, ending with the simple petition, ‘Lighten our darkness.’
And then they all rose, the servants turning to curtsy and bow as they went out. The family returned to the drawing-room, said good-night to each other, and dispersed—all to speedy slumber except two. Caterina only cried herself to sleep after the clock had struck twelve. Mr. Gilfil lay awake still longer, thinking that very likely Caterina was crying.
Captain Wybrow, having dismissed his valet at eleven, was soon in a soft slumber, his face looking like a fine cameo in high relief on the slightly indented pillow.
Chapter III.
The last chapter has given the discerning reader sufficient insight into the state of things at Cheverel Manor in the summer of 1788. In that summer, we know, the great nation of France was agitated by conflicting thoughts and passions, which were but the beginning of sorrows. And in our Caterina’s little breast, too, there were terrible struggles. The poor bird was beginning to flutter and vainly dash its soft breast against the hard iron bars of the inevitable, and we see too plainly the danger, if that anguish should go on heightening instead of being allayed, that the palpitating heart may be fatally bruised.
Meanwhile, if, as I hope, you feel some interest in Caterina and her friends at Cheverel Manor, you are perhaps asking, How came she to be there? How was it that this tiny, dark-eyed child of the south, whose face was immediately suggestive of olive-covered hills and taper-lit shrines, came to have her home in that stately English manor-house, by the side of the blonde matron, Lady Cheverel—almost as if a humming-bird were found perched on one of the elm-trees in the park, by the side of her ladyship’s handsomest pouter-pigeon? Speaking good English, too, and joining in Protestant prayers! Surely she must have been adopted and brought over to England at a very early age. She was.
During Sir Christopher’s last visit to Italy with his lady, fifteen years before, they resided for some time at Milan, where Sir Christopher, who was an enthusiast for Gothic architecture, and was then entertaining the project of metamorphosing his plain brick family mansion into the model of a Gothic manor-house, was bent on studying the details of that marble miracle, the Cathedral. Here Lady Cheverel, as at other Italian cities where she made any protracted stay, engaged a maestro to give her lessons in singing, for she had then not only fine musical taste, but a fine soprano voice. Those were days when very rich people used manuscript music, and many a man who resembled Jean Jacques in nothing else, resembled him in getting a livelihood ‘à copier la musique à tant la page’. Lady Cheverel having need of this service, Maestro Albani told her he would send her a poveraccio of his acquaintance, whose manuscript was the neatest and most correct he knew of. Unhappily, the poveraccio was not always in his best wits, and was sometimes rather slow in consequence; but it would be a work of Christian charity worthy of the beautiful Signora to employ poor Sarti.
The next morning, Mrs. Sharp, then a blooming abigail of three-and-thirty, entered her lady’s private room and said, ‘If you please, my lady, there’s the frowsiest, shabbiest man you ever saw, outside, and he’s told Mr. Warren as the singing-master sent him to see your ladyship. But I think you’ll hardly like him to come in here. Belike he’s only a beggar.’
‘O yes, show him in immediately.’
Mrs. Sharp retired, muttering something about ‘fleas and worse’. She had the smallest possible admiration for fair Ausonia and its natives, and even her profound deference for Sir Christopher and her lady could not prevent her from expressing her amazement at the infatuation of gentlefolks in choosing to sojourn among ‘Papises, in countries where there was no getting to air a bit o’ linen, and where the people smelt o’ garlick fit to knock you down.’
However she presently reappeared, ushering in a small meagre man, sallow and dingy, with a restless wandering look in his dull eyes, and an excessive timidity about his deep reverences, which gave him the air of a man who had been long a solitary prisoner. Yet through all this squalor and wretchedness there were some traces discernible of comparative youth and former good looks. Lady Cheverel, though not very tender-hearted, still less sentimental, was essentially kind, and liked to dispense benefits like a goddess, who looks down benignly on the halt, the maimed, and the blind that approach her shrine. She was smitten with some compassion at the sight of poor Sarti, who struck her as the mere battered wreck of a vessel that might have once floated gaily enough on its outward voyage to the sound of pipes and tabors. She spoke gently as she pointed out to him the operatic selections she wished him to copy, and he seemed to sun himself in her auburn, radiant presence, so that when he made his exit with the music-books under his arm, his bow, though not less reverent, was less timid.
It was ten years at least since Sarti had seen anything so bright and stately and beautiful as Lady Cheverel. For the time was far off in which he had trod the stage in satin and feathers, the primo tenore of one short season. He had completely lost his voice in the following winter, and had ever since been little better than a cracked fiddle, which is good for nothing but firewood. For, like many Italian singers, he was too ignorant to teach, and if it had not been for his one talent of penmanship, he and his young helpless wife might have starved. Then, just after their third child was born, fever came, swept away the sickly mother and the two eldest children, and attacked Sarti himself, who rose from his sick-bed with enfeebled brain and muscle, and a tiny baby on his hands, scarcely four months old. He lodged over a fruit-shop kept by a stout virago, loud of tongue and irate in temper, but who had had children born to her, and so had taken care of the tiny yellow, black-eyed bambinetta, and tended Sarti himself through his sickness. Here he continued to live, earning a meagre subsistence for himself and his little one by the work of copying music, put into his hands chiefly by Maestro Albani. He seemed to exist for nothing but the child: he tended it, he dandled it, he chatted to it, living with it alone in his one room above the fruit-shop, only asking his landlady to take care of the marmoset during his short absences in fetching and carrying home work. Customers frequenting that fruit-shop might often see the tiny Caterina seated on the floor with her legs in a heap of pease, which it was her delight to kick about; or perhaps deposited, like a kitten, in a large basket out of harm’s way.
Sometimes, however, Sarti left his little one with another kind of protectress. He was very regular in his devotions, which he paid thrice a-week in the great cathedral, carrying Caterina with him. Here, when the high morning sun was warming the myriad glittering pinnacles without, and struggling against the massive gloom within, the shadow of a man with a child on his arm might be seen flitting across the more stationary shadows of pillar and mullion, and making its way towards a little tinsel Madonna hanging in a retired spot near the choir. Amid all the sublimities of the mighty cathedral, poor Sarti had fixed on this tinsel Madonna as the symbol of divine mercy and protection,—just as a child, in the presence of a great landscape, sees none of the glories of wood and sky, but sets its heart on a floating feather or insect that happens to be on a level with its eye. Here, then, Sarti worshipped and prayed, setting Caterina on the floor by his side;