"Well, good-bye, Paolo," said Marzio. "Here is your umbrella."

As Don Paolo turned away to leave the room, the artist looked curiously at the tonsure on his head, and his eyes followed it until Paolo had covered it with his hat. Then he closed the door and went back to the bench.

CHAPTER VIII

Lucia hastened homewards with the good news she bore. Her young nature was elastic, and, in the sudden happiness of having secured Gianbattista's recall, she quickly recovered from the shock she had received. She did not reflect very much, for she had not the time. It had all happened so quickly that her senses were confused, and she only knew that the man she loved must be in despair, and that the sooner she reached him the sooner she would be able to relieve him from what he must be suffering. Her breath came fast as she reached the top of the stairs, and she panted as she rang the bell of the lodging. Apparently she had rung so loud in her excitement as to rouse the suspicions of old a.s.sunta, who cautiously peered through the little square that opened behind a grating in the door, before she raised the latch. On seeing Lucia she began to laugh, and opened quickly.

"So loud!" chuckled the old thing. "I thought it was the police or Sor Marzio in a rage."

Lucia did not heed her, but ran quickly on to the sitting-room, where the Signora Pandolfi was alone, seated on her straight chair and holding her bonnet in her hand, the bonnet with the purple gla.s.s grapes; she was the picture of despair. Lucia made haste to comfort her.

"Do not cry, mamma," she said quickly. "I have arranged it all. I have seen papa. I have brought Tista's money. Papa wants him to stay after all. Yes-I know you cannot guess how it all happened. I went in to ask about the chickens, and then I asked about Tista, and he told me that I should not see him any more, and then-then I felt this pa.s.sion-here in the chest, and everything went round and round and round like a whirligig at the Termini, and I fell right down, mamma, down upon the bricks-I know, my frock is all dusty still, here, look, and here, but what does it matter? Patience! I fell down like a sack of flour-pata tunfate!"

"T-t-t-t!" exclaimed the Signora Pandolfi, holding up her hands and drawing in her breath as she clacked her tongue against the roof of her mouth. "T-t-t-t! What a pity!"

"And when I came to my senses-I had fainted, you understand-I was sitting on the old straw chair and papa was holding my hands in his and calling me his angel! Capperi! But it was worth while. You can imagine the situation when he called me an angel! It is the first time I have ever fainted, mamma-you have no idea-it was so curious!"

"Ah, my dear, it must have softened his heart!" cried Maria Luisa. "If I could only faint away like that once in a while! Who knows? He might be converted. But what would you have?" The signora glanced down sadly at her figure, which certainly suggested no such weakness as she seemed to desire. "Well, Lucia," she continued, "and then?"

"Yes, I talked to him, I implored him, I told him I should probably faint again, and, indeed, I felt like it. So he said I might have my way, and he told me to come home and tell Tista at once. Where is Tista?"

"Eh! He is in his room, packing up his things. I will go and call him. Oh dear! What a wonderful day this is, my child! To think that it is not yet eleven o'clock, and all that has happened! It is enough to make a woman crazy, fit to send to Santo Spirito. First you are to be married, and then you are not to be married! Then Gianbattista is sent away-after all these years, and such a good boy! And then he is taken back! And then-but the chickens, Lucia, you forgot to ask about the chickens-"

"Not a bit of it," answered the young girl. "I asked first, before he told me. Afterwards, I don't know-I should not have had the strength to speak of chickens. He said roasted, mamma. Poor Tista! He likes them with rice. Well, one cannot have everything in this world."

The Signora Pandolfi had reached the door, and called out at the top of her voice to the young man.

"Tista! Tista!" She could have been heard in the street.

"Eh, Sora Luisa! We are not in the Piazza Navona," said Gianbattista, appearing at the door of his little room. "What has happened?"

"Go and talk to Lucia," answered the good lady, hurrying off in search of a.s.sunta to tell her the decision concerning the dinner.

Gianbattista entered the sitting-room, and, from the young girl's radiant expression, he guessed that some favourable change had taken place in his position, or in the positions of them both. Lucia began to tell him what had pa.s.sed, and gave much the same account as she had given to her mother, though some of the intonations were softer, and accompanied by looks which told her happiness. When she had explained the situation she paused for an answer. Gianbattista stood beside her and held her hand, but he looked out of the window, as though uncertain what to say.

"Here is the money," said Lucia. "You will take it, won't you? Then it will be all settled. What is the matter, Tista? Are you not glad?"

"I do not trust him," answered the young man. "It is not like him to change his mind like that, all in a minute. He means some mischief."

"What can he do?"

"I do not know. I feel as if some evil were coming. Patience! Who knows? You are an angel, Lucia, darling."

"Everybody is telling me so to-day," answered the young girl. "Papa, you-"

"Of course. It is quite true, my heart, and so every one repeats it. What do you think? Will he come home to dinner? It is only eleven o'clock-perhaps I ought to go back and work at the ewer. Somehow I do not want to see him just now-"

"Stay with me, Tista. Besides, you were packing up your belongings to go away. You have a right to take an hour to unpack them. Tell me, what is this idea you have that papa is not in earnest? I want to understand it. He was quite in earnest just now-so good, so good, like sugar! Is it because you are still angry with him, that you do not want to see him?"

"No-why should I still be angry? He has made reparation. After all, I took a certain liberty with him."

"That is all the more reason. If he is willing to forget it-but I could tell you something, Tista, something that would persuade you."

"What is it, my treasure?" asked Gianbattista with a smile, bending down to look into her eyes.

"Oh, something very wonderful, something of which you would never dream. I could scarcely believe my eyes. Imagine, when I went to find him just now, the door was open. I looked through before I went in, to see if you were there. Do you know what papa was doing? He was kneeling on the floor before a beautiful crucifix, such a beautiful one. I think he was saying prayers, but I could not see his face. He stayed a long time, and then when I knocked he covered it up, was not that strange? That is the reason why I persuaded him so easily to change his mind."

Gianbattista smiled incredulously. He had often seen Marzio kneel on the floor to get a different view of a large piece of work.

"He was only looking at the work," he answered. "I have seen him do it very often. He would laugh if he could hear you, Lucia. Do you imagine he is such a man as that? Perhaps it would not do him any harm-a little praying. But it is a kind of medicine he does not relish. No, Lucia, you have been deceived, believe me."

The girl's expression changed. She had quite persuaded herself that a great moral change had taken place in her father that morning, and had built many hopes upon it. To her sanguine imagination it seemed as though his whole nature must have changed. She had seen visions of him as she had always wished he might be, and the visions had seemed likely to be realised. She had doubted whether she should tell any one the story of what she regarded as Marzio's conversion, but she had made an exception in favour of Gianbattista. Gianbattista simply laughed, and explained the matter away in half a dozen words. Lucia was more deeply disappointed than any one, listening to her light talk, could have believed possible. Her face expressed the pain she felt, and she protested against the apprentice's explanation.

"It is too bad of you, Tista," she said in hurt tones. "But I do not think you are right. You have no idea how quietly he knelt, and his hands were folded on the bench. He bent his head once, and I believe he kissed the feet-I wish you could have seen it, you would not doubt me. You think I have invented a silly tale, I am sure you do."

The tears filled her eyes as she turned away and stared vacantly out of the window at the dark houses opposite. The sun, which had been shining until that moment, disappeared behind a ma.s.s of driving clouds, and a few drops of rain began to beat against the panes of gla.s.s. The world seemed suddenly more dreary to Lucia. Gianbattista, who was sensitive where she was concerned, looked at her, and understood that he had destroyed something in which she had wished to believe.

"Well, well, my heart, perhaps you are right," he said softly, putting his arm round her.

"No, you do not believe it," she answered.

"For you, I will believe in anything, in everything-even in Sor Marzio's devotions," he said, pressing her to his side. "Only-you see, darling, he was talking in such a way a few moments before-that it seemed impossible-"

"Nothing is quite impossible," replied Lucia. "The heart beats fast. There may be a whole world between one beat and the next."

"Yes, my love," a.s.sented Gianbattista, looking tenderly into her eyes. "But do you think that between all the beatings of our two hearts there could ever be a world of change?"

"Ah-that is different, Tista. Why should we change? We could only change for worse if we began to love each other less, and that is impossible. But papa! Why should he not change for the better? Who can tell you, Tista, dear, that in a moment, in a second, after you were gone, he was not sorry for all he had done? It may have been in an instant. Why not?"

"Things done so very quickly are not done well," answered the young man. "I know that from my art. You may stamp a thing in a moment with the die-it is rough, unfinished. It takes weeks to chisel it-"

"The good G.o.d is not a chiseller, Tista."

The words fell very simply from the young girl's lips, and the expression of her face did not change. Only the tone of her voice was grave and quiet, and there was a depth of conviction in it which struck Gianbattista forcibly. In a short sentence she had defined the difference between his mode of thought and her own. To her mind omnipotence was a reality. To him, it was an inconceivable power, the absurdity of which he sought to demonstrate by comparing the magnitude claimed for it with the capacities of man. He remained silent for a moment, as though seeking an answer. He found none, and what he said expressed an aspiration and not a retort.

"I sometimes wish that I could believe as you do," he said. "I am sure I could do much greater things, make much more beautiful angels, if I were quite sure that they existed."

"Of course you could," answered Lucia. Then, with a tact beyond her years, she changed the subject of their talk. She would not endanger the durability of his aspiration by discussing it. "To go back to what we were speaking of," she said, "you will go to the workshop this afternoon, Tista, won't you?"

"Yes," he said mechanically. "What else should I do? Oh, Lucia, my darling, I cannot bear this uncertainty," he cried, suddenly giving vent to his feelings. "Where will it end? He may have changed, he may be all you say he is to-day, all that he was not yesterday, but do you really believe he has given up his wild idea? It is not all as it should be, and that is not his nature. It will come upon us suddenly with something we do not expect. He will do something-I cannot tell what, but I know him better than you do. He is cruel, he plots over his work, and then, when all seems calm, the storm breaks. It will not end well."

"We must love each other, Tista. Then all will end well. Who can divide us?"

"No one," answered the young maid firmly. "But many things may happen before we are united for ever."

He was not subject to presentiments, and his self-confident nature abhorred the prospect of trouble. He had arrived at his conclusion by a logical process, and there seemed no escape from it. As he had told Lucia, he knew the character of the chiseller better than the women of the household could know it, for he had been his constant companion for years, and was not to be deceived in his estimate of Marzio's temper. A man's natural disposition shows itself most clearly when he is in his natural element, at his work, busied in the ordinary occupations of his life. To such a man as Marzio, the workshop is more sympathetic than the house. Disagreeing on most points with his family, obliged to be absent during the whole day, wholly absorbed in the production of works which the women of his household could not thoroughly appreciate, because they did not thoroughly understand the ideas which originated them, nor the methods employed in their execution-under these combined circ.u.mstances it was to be expected that the artist's real feelings would find expression at the work-bench rather than in the society of his wife and daughter. Seated by Marzio's side, and learning from him all that could be learned, Gianbattista had acquired at the same time a thorough knowledge of his instincts and emotions, which neither Maria Luisa nor Lucia was able to comprehend.

Marzio was tenacious of his ideas and of his schemes. Deficient in power of initiative and in physical courage, he was obstinate beyond all belief in his adherence to his theories. That he should suddenly yield to a devotional impulse, fall upon his knees before a crucifix and cry mea culpa over his whole past life, was altogether out of the question. In Gianbattista's opinion it was almost as impossible that he should abandon in a moment the plan which he had announced with so much resolution on the previous evening. It was certain that before declaring his determination to marry his daughter to the lawyer he must have ruminated and planned during many days, as it was his habit to do in all the matters of his life, without consulting any one, or giving the slightest hint of his intention. Some part of his remarkable talent depended upon this faculty of thoroughly considering a resolution before proceeding to carry it out; and it is a part of every really great talent in every branch of creative art, for it is the result of a great continuity in the action of the mind combined with the power of concentration and the virtue of reticence. Many a work has appeared to the world to be the spontaneous creation of transcendent genius, which has, in reality, been conceived, studied, and elaborated during years of silence. Reticence, concentration, and continuity, are characteristics which cannot influence one part of a man's life without influencing the rest as well. The habit of studying before proceeding is co-existent with the necessity of considering before acting; and a man who is reticent concerning one half of his thoughts is not communicative about the other half. Nature does not do things by halves, and the nerves which animate the gesture at the table are the same which guide the chisel at the work-bench.