Paolina was industriously pursuing her task in the chapel of the Cardinal's palace. Ludovico was not so frequently with her there as he had been while she was at work in San Vitale. But there were evident reasons why this was necessarily the case. The chapel in question is a private one, and is accessible only by passing through a portion of the Cardinal's residence. At San Vitale Ludovico needed to take nobody into his confidence, when he climbed to Paolina's scaffolding to be by her side while she worked, save the old sacristan. But to have joined her at her work in the Cardinal's palace, he must have knocked at the door of the residence, and told the servants what he wanted.
And that would have been obviously inconvenient, even without mentioning the fact that the Lady Violante, to whom the gentleman ought to have been addressing himself, passed much of her time at the palace, and might very possibly have been met by him there.
It was true that, ever since the ball at the Castelmare palazzo, on the second day of the year, Ludovico had felt pretty nearly sure that Violante was as desirous of escaping from the marriage which had been arranged as he was himself. But it did not at all follow that it would be an easy matter to break it off. Of course it was not to be expected that Violante herself could take any active step towards refusing to fulfil the promise that her family had made for her. That would be for him to do. And except as regarded his intercourse with the lady, and her personal feelings, the task of doing so was hardly rendered any the easier by the knowledge that he would be consulting her wishes as well as his own.
It would hardly, therefore, have done in any way for him to have been visiting the young artist in the Cardinal Legate's chapel.
The intercourse, however, between Ludovico and Paolina was much pleasanter and more unrestrained than it had been before that explanation, which had ensued between them. He was a frequent visitor at the house in the Via di Sta. Eufemia in the evening; and the happy hours were passed by them on the perfectly understood footing of mutual betrothal.
And Ludovico was perfectly honest and sincere in all that he said to Paolina. He said nothing to her that he did not equally say to himself. And if his conduct under the circumstances was not exactly what a father or brother of Paolina might have desired it to be, the fault arose from the indecision of character, which belonged to a weak man accustomed to self-indulgence. There was difficulty and annoyance before him; and instead of meeting it, as a strong man would have done, he turned from it, and was content to put off the evil day, contenting himself with the enjoyment of that which was passing. He marvelled somewhat at the ease, with which he was permitted to pass evening after evening with his mistress,—at the absence of surveillance, of which he was conscious,—and at the silence of his uncle as to both his visits to Via di Sta. Eufemia, and his no visits to the Lady Violante. But he troubled himself little to account for this, or to question the reason of the goods the gods provided him. It was not in his character to do so. Paolina, on her side, was, upon the whole, trustful and contented. Yet there had been moments at which she had suffered a passing pang from little gossipings which had been, perhaps injudiciously, repeated to her by Orsola Steno. Of course the great prima donna, the celebrated Lalli, who was blessing Ravenna by her presence, was often talked of in the Via di Sta. Eufemia, as she was in every other house in the city. That was quite a matter of course. And then Orsola would speak of the strict conduct of the lady; of the fact that no one of the young nobles of the place was permitted to visit her—except, indeed, the young Marchese Ludovico; and how people did say that half-a-dozen would be safer company than one; and that the young Marchese was finishing the sowing of his wild oats before becoming a married man by a flirtation with one of the most celebrated beauties of Italy.
There was very little cause for this gossip beyond what the reader is aware of. Still, upon the whole, it might have been better if Ludovico had seen less of the fascinating singer. He had given cause enough for spiteful tongues to make mischief if they could do so; and it may probably be supposed that he was not insensible to the fascinations of Bianca—perhaps not to the glory of the fact that he was the only young man admitted to her society, and that he had occasionally done that which, being repeated, might not unnaturally give umbrage to Paolina.
It was now within ten days or so of the end of Carnival; and, while almost everybody else was amusing themselves in some way or other, Paolina stuck close to her work in the chapel, intent on her silent and solitary task, while, from time to time, the voices of revellers in the streets would reach her in her seclusion.
But all her hours of work there had not passed in utter solitude.
The Contessa Violante was in the habit of spending much of her time in the palace of her great-uncle the Cardinal Legate. It presented, among other advantages, that of being pretty well the only place in which she could escape for awhile from the companionship of the Signora Assunta Fagiani, her duenna. Certainly, it would not have been consistent with that lady's conception of her duty to allow her charge to visit any other house whatever in the city, without the protection of her companionship, but the palace of a Cardinal Legate—and that Legate her great-uncle. Besides that, her great-aunt, the Cardinal's sister, was also often at her brother's residence; and, having this facility close at hand, Violante was wont very frequently to avail herself of the privacy, comfort, and warmth of her uncle's chapel for the morning's devotions, which she never missed.
One morning she found a small portable scaffold or estrade of deals standing in one corner of the chapel; and, on inquiring for what purpose it had been placed there, she was told that it was to enable an artist to make a copy of some of the mosaics on the vault of the little apartment. She learned further that the artist in question was a young Venetian lady: that she was a protegee of the Marchese Lamberto; and that the permission to execute the copies in question, and to have that scaffolding placed there, had been obtained by him.
Then Violante knew right well who the Venetian artist was. The worthy Assunta Fagiani had taken care that all the gossip of Ravenna which connected this girl's name with that of Ludovico di Castelmare should reach her ears. And she was glad of the easy opportunity which thus offered itself to her of gratifying her natural curiosity respecting the stranger—the girl who could win that love which had been promised to her; but which she had been unable to inspire.
This Paolina Foscarelli—she well knew her name—was, in some sense, her rival. Ludovico di Castelmare was bidden to love her, the Contessa Violante, and instead of doing so, had given his love, as she had been assured, to this Venetian. She knew, indeed, quite well that had the stranger never come near Ravenna, Ludovico would not have loved her the more. She did not love Ludovico. She was anxious to be quit of the engagement it had been proposed to make between them; and it might be very likely that this girl might be serviceable to her, rather than otherwise, in helping to bring about such a consummation.
Nevertheless, there was a certain amount of bitterness—such bitterness, more akin to self-depreciation, as could find place in the gentle heart of Violante—in the thought of what might have been; in the thought that she was irrevocably excluded from that which it had been so easy for this poor stranger artist to attain; and, above all, there was a strong curiosity to see the beauty which had accomplished this; to hear the voice which had been able to charm; and, further, in her own interest, to ascertain, if that should be possible, whether the tie which she had been told existed between this girl and the man who had been assigned to her for a husband, was, or was not, of a nature likely to lead to a marriage between them.
At first sight this would have seemed impossible to the aristocratic notions of the Cardinal Legate's niece. But Assunta Fagiani, whose object had been simply to convince Violante that no union between herself and Ludovico would ever take place, despite all appearances to the contrary, had given her to understand that it was whispered as a thing not impossible—such was Ludovico's infatuation—that he might even go the length of making such an alliance.
One morning, soon after the commencement of her work in the chapel, whither she had been escorted on her first going thither by the Marchese Lamberto himself in person, in accordance with his promise, Violante, on entering the chapel, saw that the little scaffold had been pulled out from its corner and placed immediately under one of the medallion portraits of the Apostles, on the vault of the building. She looked up, and perceiving the artist above her at her work, paused, hesitating before kneeling at the footstool in front of the altar.
In an instant a light step tripped down the steps of the wooden erection, and a little figure, clad in a brown holland frock, which wrapped it from head to foot, stood by her side.
Paolina knew very well who the lady that had entered the chapel was: and, as may be easily imagined, she too was not without her share of curiosity.
"Do I disturb you, Signorina?" said Paolina, in a sweet, gentle voice. "If you would prefer it, I will wait till you have finished your prayer. I can kneel here too the while."
Violante looked at the girlish face, bright not only with the elements of material beauty, but with the animation of intelligence and the informing expression of talent. One would have said that nothing could well be less becoming than such a long shapeless wrapper as that which the artist wore. There was the band at the waist, which showed that the figure was slight and slender; but, for the rest, a less ornamental costume could not well be imagined. Nevertheless, Violante perfectly well perceived and understood at a glance that this girl had what she had not—a something by virtue of which it was possible for her to win a man's love, while for herself it was, or seemed to her appreciation of herself, impossible.
"Oh, no, Signorina," answered Violante, gently, "the knowledge that you were painting up there would not suffice to distract my thoughts. But will you not let me look at your work? It must be very difficult to copy these strange old wall-paintings. May I climb up? I know your friend the Marchese Lamberto well. Do you know who I am?"
"Pray, come up, Signorina, if you have any curiosity. Oh, yes, I know your ladyship. I saw you once in the Cardinal's carriage. You are his niece, the Contessa Violante," replied Paolina, blushing a little at the name of the Marchese Lamberto, only because, though assuredly not the rose, he lived close to it.
So the two girls climbed the steps of the estrade together.
"How came you to know the Marchese Lamberto?" asked Violante, after they had matured their acquaintanceship by a little talk about the subject of Paolina's work.
"Only because the Englishman, who employed me to copy these mosaics, gave me a letter to him. He seems to be very highly esteemed."
"More so than any other man in all Ravenna,—except my uncle the Cardinal, I suppose I ought to say; he is a most excellent man in all ways. But you know his nephew also, the Marchese Ludovico? non e vero?" said Violante, looking down on the ground, while a pale blush came over her white cheeks.
"Yes," replied Paolina, flushing crimson, and similarly looking down, but stealing a side-glance under her eyelashes at her companion,—"yes; I became acquainted with him also in the same manner—at least, on the same occasion; and, in truth, I have seen more of him than of his uncle, for the Marchese Lamberto is always so busy, and he commissioned his nephew to do all that he could to assist us, when we were first settling ourselves here."
"And you found him kind, too; as kind as his uncle?" said Violante, stealing a sidelong glance at Paolina.
"Yes, indeed, Signorina," said she, feeling not a little embarrassment.
"Paolina—you see I know your name, and I think it such a pretty one—Paolina," said the Contessa Violante, yielding to a sudden impulse, and taking the hand of the blushing girl, who kept her eyes fixed on the ground, "shall we be friends, and speak openly to each other? I should like to."
"Oh, Signorina! so should I, so much. There is nothing I should like so much—almost nothing," replied Paolina, looking up into her face, with her own still crimson.
"Tell me, then, if you ever heard my name mentioned in connection with that of the Marchese Ludovico?" said Violante, looking with a rather sad and subdued, but yet arch, smile into Paolina's eyes.
"Yes, Signorina, I have so heard," said Paolina, raising her head with a proud movement, and looking, with well-opened eyes and clear brow, into Violante's face as she spoke. "I have heard that it was intended by both your families that you and the Marchese Ludovico should be married."
"Yes; everybody in Ravenna, I believe, expects to see such a marriage before long; do you? We are to be friends, you know, and speak frankly to each other; do you expect it, Paolina?" asked Violante, still holding her hand, and looking with a smile, half shrewd, half sad, into her face.
Paolina remained silent a minute or two, again dropping her clear honest eyes to the ground. Then raising them again, she said in an almost whispered voice, but looking straight at her companion,
"No, Signorina, I do not expect that; for he has promised to marry me."
"Ah—h! it is a relief to hear you say so. My dear Paolina, I am so glad," said the elder girl, putting a hand on each of Paolina's shoulders, and kissing her on the forehead—"I am so glad; much for your own sake, somewhat, too, for his, and much for my own sake. For, Paolina, I could not marry Ludovico. If he asked me to do so, it would be only done in obedience to the will of his uncle. He does not—no, 'tis no fault of yours, my child—never has loved me."
"Signora, when first I—allowed him to teach me to love him, I knew nothing of any duty that he owed elsewhere. And when I did know it I determined, even if it should break my heart, to refuse any such love as should have been stolen from a wife," said Paolina.
"That was the part of a good and honest girl. And for me, I have to thank you for it. Paolina, I hope you may be happy. We shall often meet here, shall we not?"
"Not often here, Signora. My task here is not a long one; and I hope by the end of Carnival to have finished it, so that I may go to St. Apollinare, outside the town, where I have to make several copies. It is very desirable not to go there later; because when the warm weather comes it becomes so unhealthy there."
"Yes; but we have some days yet before the end of the Carnival; and till then you will be at work every day here?"
"Si, Signora; I hope so."
"Then I hope we shall have several more opportunities of seeing each other. And now I must not keep you from your work any longer. Shall we be friends?"
"Oh, Signorina; it is too good of you to ask me, a poor artist. And when—it would be my greatest pride to have such a friend."
And then the girls kissed and parted: Violante to kneel for her daily devotions, at the footstool before the altar; and Paolina to continue her copying. And after that they had frequent meetings in the little chapel, and learned to become fast friends.
The Carnival was now drawing near its end; and the city had been promised that before the time of cakes and ale should be over, and that of sackcloth and ashes should begin, the divine prima donna should appear in one more new part. And, after much deliberation and debate, it had been decided that this should be Bellini's masterpiece, La Sonnambula. She was to sing it on one night only—the last Sunday of the Carnival; and the attraction on that night was proportionably great. The Sonnambula, then in the first blush of its immense popularity, had never yet been heard in Ravenna. It was one of the favourite parts of the Diva; and all the city was on the tiptoe of expectation.
It was a matter of course that all the "society" would be there. The entire first row of the boxes,—the "piano nobile," as it is called in Italian theatres,—was the private property of the various noble families of the city, which each had its box, with its coat of arms duly emblazoned on the door thereof, in that tier. Nobody who did not belong to "the society" of the town could in any way show his intruding face in the "piano nobile." But above this sacred hemicycle there was another range of boxes; equally private boxes; as all the boxes of an Italian theatre are;—and the key of one of these upper "loggie" had been secured by Ludovico, and presented to Signora Orsola and Paolina for the great evening.
Of course he himself would be obliged to be in his proper place in the Castelmare box, which was the stage box on the left hand of the stage.
"Whether I may be able to run up and pay you a little visit in the course of the evening, I don't know. You may be very sure I shall if I can; but there will be all the world there, of course, and lo zio in the box—unless, indeed, he should choose to go behind the scenes. Talking of that," he added, as he was on the point of leaving the room, "I don't know what to make of lo zio of late."
"Has he said anything?"
"Not a word; but I don't like the look of him. He never was more amiable as far as I am concerned; but he is not well; I never saw him as he is now. He is haggard, feverish, restless; an older man in appearance by a dozen years than he was at the beginning of Carnival."
"I suppose he has been raking too much, and wants a little rest. Lent will be good for him."
"What, he! The Marchese Lamberto raking! You don't know him. But he seems quite broken down; I should say, that he had got something on his mind, if it was not impossible. He never had any trouble in his life; and never did anything he ought not to do, I believe. But I confess he puzzles me now. Good-night. God bless you, Paolina mia!"
That was on the Friday; and the Diva's last appearance was to take place on the following Sunday.
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