PART II.--_Continued._ GLORIA DALRYMPLE 1

PART III.

DONNA FRANCESCA CAMPODONICO 227

LIST OF ILl.u.s.tRATIONS.

VOL. II.

PAGE "Gloria--forgive me!" 50

Stefanone and Gloria 100

"The horror of poverty smote him" 123

"Let us not speak of the dead" 203

"The last great, true note died away" 219

"As he stood there repeating the name" 331

Part II.--_Continued._

_GLORIA DALRYMPLE._

CASA BRACCIO.

PART II.--_Continued._

_GLORIA DALRYMPLE._

CHAPTER XXIV.

DURING the first few months of their marriage Reanda and Gloria believed themselves happy, and really were, since there is no true criterion of man's happiness but his own belief in it. They took a small furnished apartment at the corner of the Macel de' Corvi, with an iron balcony overlooking the Forum of Trajan. They would have had no difficulty in obtaining other rooms adjoining the two Reanda had so long occupied in the Palazzetto Borgia, but Gloria was opposed to the arrangement, and Reanda did not insist upon it. The Forum of Trajan was within a convenient distance of the palace, and he went daily to his work.

"Besides," said Gloria, "you will not always be painting frescoes for Donna Francesca. I want you to paint a great picture, and send it to Paris and get a medal."

She was ambitious for him, and dreamed of his winning world-wide fame.

She loved him, and she felt that Francesca had caged him, as Francesca herself had once felt. She wished to remove him altogether from the latter's influence, both because she was frankly jealous of his friendship for the older woman, and wished to have him quite to herself, and also in the belief that he could do greater things if he were altogether freed from the task of decorating the palace, which had kept him far too long in one limited sequence of production. There was, moreover, a selfish consideration of vanity in her view, closely linked with her unbounded admiration for her husband. She knew that she was beautiful, and she wished his greatest work to be a painting of herself.

Gloria, however, wished also to take a position in Roman society, and the only person who could help her and her husband to cross the line was Francesca Campodonico. It was therefore impossible for Gloria to break up the intimacy altogether, however much she might wish to do so.

Meanwhile, too, Reanda had not finished his frescoes.

Soon after the marriage, which took place in the summer, Dalrymple left Rome, intending to be absent but a few months in Scotland, where his presence was necessary on account of certain family affairs and arrangements consequent upon the death of Lord Redin, the head of his branch of the Dalrymples, and of Lord Redin's son only a few weeks later, whereby the t.i.tle went to an aged great-uncle of Angus Dalrymple's, who was unmarried, so that Dalrymple's only brother became the next heir.

Gloria was therefore quite alone with her husband. Paul Griggs had also left Rome for a time on business connected with his journalistic career.

He had in reality been unwilling to expose himself to the unnecessary suffering of witnessing Gloria's happiness, and had taken the earliest opportunity of going away. Gloria herself was at first pleased by his departure. Later, however, she wished that he would come back. She had no one to whom she could turn when she was in need of any advice on matters which Reanda could not or would not decide.

Reanda himself was at first as absolutely happy as he had expected to be, and Francesca Campodonico congratulated herself on having brought about a perfectly successful match. While he continued to work at the Palazzetto Borgia, the two were often together for hours, as in former times. Gloria had at first come regularly in the course of the morning and sat in the hall while her husband was painting, but she had found it a monotonous affair after a while. Reanda could not talk perpetually.

More than once, indeed, he introduced his wife's face amongst the many he painted, and she was pleased, though not satisfied. He could not make her one of the central figures which appeared throughout the series, because the greater part of the work was done already, and it was necessary to preserve the continuity of each resemblance. Gloria wished to be the first everywhere, though she did not say so.

Little by little, she came less regularly in the mornings. She either stayed at home and studied seriously the soprano parts of the great operas then fashionable, or invented small errands which kept her out of doors. She sometimes met Reanda when he left the palace, and they walked home together to their midday breakfast.

Little by little, also, Francesca fell into the habit of visiting Reanda in the great hall at hours when she was sure that Gloria would not be there. It was not that she disliked to see them together, but rather because she felt that Gloria was secretly antagonistic. There was a small, perpetual, unexpressed hostility in Gloria's manner which could not escape so sensitive a woman as Francesca. Reanda felt it, too, but said nothing. He was almost foolishly in love with his wife, and he was devotedly attached to Francesca herself. For the present he was very simple in his dealings with himself, and he quietly shut his eyes to the possibility of a disagreement between the two women, though he felt that it was in the air.

Instead of diminishing with his marriage, the obligations under which he was placed towards Donna Francesca were constantly increasing. She saw and understood his wife's social ambition, and gave herself trouble to satisfy it. Reanda felt this keenly, and while his grat.i.tude increased, he inwardly wished that each kindness might be the last. But Gloria had the ambition and the right to be received in society on a footing of equality, and no one but Francesca Campodonico could then give her what she wanted.

She did not obtain what is commonly called social success, though many people received her and her husband during the following winter. She got admiration in plenty, and she herself believed that it was friendship.

Of the two, Reanda, who had no social ambition at all, was by far the more popular. He was, as ever, quiet and una.s.suming, as became a man of his extraordinary talent. He so evidently preferred in society to talk with intelligent people rather than to make himself agreeable to the very great, that the very great tried to attract him to themselves, in order to appear intelligent in the eyes of others. They altogether forgot that he was the son of the steward of Gerano, though he sometimes spoke unaffectedly of his boyhood.

But Gloria reminded people too often that she had a right to be where she was, as the daughter of Angus Dalrymple, who might some day be Lord Redin. Fortunately for her, no one knew that Dalrymple had begun life as a doctor, and very far from such prospects as now seemed quite within the bounds of realization. But even as the possible Lord Redin, her father's existence did not interest the Romans at all. They were not accustomed to people who thought it necessary to justify their social position by allusions to their parentage, and since Francesca Campodonico had a.s.sured them that Dalrymple was a gentleman, they had no further questions to ask, and raised their eyebrows when Gloria volunteered information on the subject of her ancestors. They listened politely, and turned the subject as soon as they could, because it bored them.

But the admiration she got was genuine of its kind, as admiration and as nothing else. Her magnificent voice was useful to ancient and charitable princesses who wished to give concerts for the benefit of the deserving poor, but her face disturbed the hearts of those excellent ladies who had unmarried sons, and of other excellent ladies who had gay husbands.

Her beauty and her voice together were a danger, and must be admired from a distance. Gloria and her husband were asked to many houses on important occasions. Gloria went to see the princesses and d.u.c.h.esses, and found them at home. Their cards appeared regularly at the small house in the Macel de' Corvi, but there was always a mystery as to how they got there, for the princesses and the d.u.c.h.esses themselves did not appear, except once or twice when Francesca Campodonico brought one of her friends with her, gently insisting that there should be a proper call. Gloria understood, and said bitter things about society when she was alone, and by degrees she began to say them to her husband.

"These Romans!" she exclaimed at last. "They believe that there is n.o.body like themselves!"

Angelo Reanda's face had a pained look, as he laid his long thin hand upon hers.

"My dear," he said gently. "You have married an artist. What would you have? I am sure, people have received us very well."

"Very well! Of course--as though we had not the right to be received well. But, Angelo--do not say such things--that I have married an artist--"

"It is quite true," he answered, with a smile. "I work with my hands.

They do not. There is the difference."

"But you are the greatest artist in the world!" she cried enthusiastically, throwing her arms round his neck, and kissing him again and again. "It is ridiculous. In any other city, in London, in Paris, people would run after you, people would not be able to do enough for you. But it is not you; it is I. They do not like me, Angelo, I know that they do not like me! They want me at their big parties, and they want me to sing for them--but that is all. Not one of them wants me for a friend. I am so lonely, Angelo."

Her eyes filled with tears, and he tried to comfort her.

"What does it matter, my heart?" he asked, soothingly. "We have each other, have we not? I, who adore you, and you, who love me--"

"Love you? I worship you! That is why I wish you to have everything the world holds, everything at your feet."

"But I am quite satisfied," objected Reanda, with unwise truth. "Do not think of me."