And then when Paolo was buried deep under the damp stones, who would be the first to ask for him? For two or three days no one would be much surprised if he did not come to the house. Marzio would say that he had met him in the street, and that Paolo had excused himself for not coming, on the ground of extreme pressure of work. But the Cardinal, whom he served as secretary, would ask for the missing man. He would be the first. The Cardinal would be told that Paolo had not slept at home, in his lodging high up in the old palace, and he would send at once to Marzio's house to know where his secretary was. Well, he might send, Marzio would answer that he did not know, and the matter would end there.

It would be hard to sit calmly at the bench all day with Gianbattista at his side. He would probably look very often at the iron-bound box. Gianbattista would notice that, and in time he would grow curious, and perhaps explore the cellar. It would be a miserable ending to such a drama to betray himself by his own weakness after it was all done, and Paolo was gone for ever-a termination unworthy of Marzio, the strong-minded freethinker. To kill a priest, and then be as nervous and conscious as a boy in a sc.r.a.pe! The chiseller tried to laugh aloud in his old way, but the effort was ineffectual, and ended in a painful twisting of the lips, accompanied by a glance at the corner. It would not do; he was weak, and was forced to submit to the humiliation of acknowledging the fact to himself. With a bitter scorn of his incapacity, he began to wonder whether he could ever get so far as to kill Paolo in the first instance. He foresaw that if he did kill him, he could never get rid of him afterwards.

Where do people go when they die? The question rose suddenly in the mind of the unbeliever, and seemed to demand an answer. He had answered often enough over a pint of wine at the inn, with Gaspare Carnesecchi the lawyer and the rest of his friends. Nowhere. That was the answer, clear enough. When a man dies he goes to the ground, as a slaughtered ox to the butcher's stall, or a dead horse to the knacker's. That is the end of him, and it is of no use asking any more questions. You might as well ask what becomes of the pins that are lost by myriads of millions, to the weight of many tons in a year. You might as well inquire what becomes of anything that is old, or worn out, or broken. A man is like anything else, an agglomeration of matter, capable of a few more tricks than a monkey, and capable of a few less than a priest. He dies, and is swallowed up by the earth and gives no more trouble. These were the answers Marzio was accustomed to give to the question, "Where do people go to when they die?" Hitherto they had satisfied him, as they appear to satisfy a very small minority of idiots.

But what would became of Paolo when Marzio had killed him? Well, in time his body would become earth, that was all. There was something else, however. Marzio was conscious to certainty that Paolo would in some way or other be at his elbow ever afterwards, just as he seemed to feel his presence this afternoon in the workshop. What sort of presence would it be? Marzio could not tell, but he knew he should feel it. It did not matter whether it were real to others or not, it would be too real to him. He could never get rid of the sensation; it would haunt him and oppress him for the rest of his life, and he should have no peace.

How could it, if it were not a real thing? Even the priests said that the spirits of dead men did not come back to earth; how much more impossible must it be in Marzio's view, since he denied that man had a soul. It would then only be the effect of his imagination recalling constantly the past deed, and a thing which only existed in imagination did not exist at all. If it did not exist, it could not be feared by a sensible man. Consequently there was nothing to fear.

The conclusion contradicted the given facts from which he had argued, and the chiseller was puzzled. For the first time his method of reasoning did not satisfy him, and he tried to find out the cause. Was it, he asked to himself, because there lingered in his mind some early tradition of the wickedness of doing murder? Since there was no soul, there was no absolute right and wrong, and everything must be decided by the standard of expediency. It was a mistake to allow people to murder each other openly, of course, because people of less intellectual capacity would take upon themselves to judge such cases in their own way. But provided that public morality, the darling of the real freethinker, were not scandalised, there would be no inherent wrong in doing away with Paolo. On the contrary, his death would be a benefit to the community at large, and an advantage to Marzio in particular. Not a pecuniary advantage either, for in Marzio's strange system there would have been an immorality in murdering Paolo for his money if he had ever had any, though it seemed right enough to kill him for an idea. That is, to a great extent, the code of those persons who believe in nothing but what they call great ideas. The individuals who murdered the Czar would doubtless have scrupled to rob a gentleman in the street of ten francs. The same reasoning developed itself in Marzio's brain. If his brothel had been rich, it would have been a crime to murder him for his wealth. It was no crime to murder him for an idea. Marzio said to himself that to get rid of Paolo would be to emanc.i.p.ate himself and his family from the rule and interference of a priest, and that such a proceeding was only the ill.u.s.tration on a small scale of what he desired for his country; consequently it was just, and therefore it ought to be done.

Unfortunately for his logic, the continuity of his deductions was blocked by a consideration which he had not antic.i.p.ated. That consideration could only be described as fear for the future, and it had been forcibly thrust upon him by the fright he had received while he was examining the hole in the floor. In order to neutralise it, Marzio had tried the experiment of braving what he considered to be a momentary terror by obstinately studying the details of the plan he intended to execute. To his surprise he found that he returned to the same conclusion as before. He came back to that unaccountable fear of the future as surely as a body thrown upwards falls again to the earth. He went over it all in his mind again, twice, three times, twenty times. As often as he reached the stage at which he imagined Paolo dead, hidden, and buried in a cellar, the same shiver pa.s.sed through him as he glanced involuntarily behind him. Why? What power could a dead body possibly exercise over a living man in the full possession of his senses?

Here was something which Marzio could not understand, but of which he was made aware by his own feelings. The difficulty only increased in magnitude as he faced it, considered it, and tried to view it from all its horrible aspects. But he could not overcome it. He might laugh at the existence of the soul and jest about the future state after death; he could not escape from the future in this life if he did the deed he contemplated. He should see the dead man's face by day and night as long as he lived.

This forced conclusion was in logical accordance with his original nature and developed character, for it was the result of that economical, cautious disposition which foresees the consequences of action and guides itself accordingly. Even in the moment when he had nearly killed Paolo that morning he had not been free from this tendency. In the instant when he had raised the tool to strike he had thought of the means of disposing of the body and of hindering suspicion. The panorama of coming circ.u.mstances had presented itself to his mind with the rapidity of a flash of lightning, but in that infinitesimal duration of time Paolo had turned round, and the opportunity was gone. His mind had worked quickly, but it had not gone to the end of its reasoning. Now in the solitude of his studio he had found leisure to follow out the results to the last link of the chain. He saw clearly that even if he eluded discovery after the crime, he could never escape from the horror of his dead brother's presence.

He laid the silver figure of the Christ straight before him upon the leathern pad, and looked intently at it, while his hands played idly with the tools upon the table. His deep-set, heavy eyes gazed fixedly at the wonderful face, with an expression which had not yet been there. There was no longer any smile upon his thin lips, and his dark emaciated features were restful and quiet, almost solemn in their repose.

"I am glad I did not do it," he said aloud after some minutes.

Still he gazed at his work, and the impression stole over him that but for a slight thing he might yet have killed his brother. If he had left the figure more securely propped upon the pad, it could not have slipped upon the bench; it could not have made that small distinct sound just as he was examining the place which was to have been his brother's grave; he would not have been suddenly frightened; he would not have gone over the matter in his mind as he had done, from the point of view of a future fear; he would have waited anxiously for another opportunity, and when it presented itself he would have struck the blow, and Paolo would have been dead, if not to-day, to-morrow. There would have been a search which might or might not have resulted in the discovery of the body. Then there would have been, the heartrending grief of his wife, of Lucia, and the black suspicious looks of Gianbattista. The young man had heard him express a wish that Paolo might disappear. His home would have been a h.e.l.l, instead of being emanc.i.p.ated from tyranny as he had at first imagined. Discovery and conviction would have come at last, the galleys for life for himself, dishonour and contempt for his family.

He remembered Paolo's words as he stood contemplating the crucifix just before that moment which had nearly been his last. Qui propter nos homines et propter nostram salutem-"Who for us men and for our salvation came down from Heaven." In a strange revulsion of feeling Marzio applied the words to himself, with an odd simplicity that was at once pathetic and startling.

"If Christ had not died," he said to himself, "I should not have made this crucifix. If I had not made it, it would not have frightened me. I should have killed my brother. It has saved me. 'For us men and for our salvation'-those are the words-for my salvation, it is very strange. Poor Paolo! If he knew to what he owed his life he would be pleased. Who can believe such things? Who would have believed this if I had told it? And yet it is true."

For some minutes still he gazed at the figure. Then he shook himself as though to rouse his mind from a trance, and took up his tools. He did not glance behind him again, and, for the time at least, his nervous dislike of the box in the corner seemed to have ceased. He laboured with patient care, touching and re-touching, believing that each tap of the hammer should be the last, and yet not wholly satisfied.

The light waned, and he took down the curtain to admit the last glows of the evening. He could do no more, art itself could have done no more to beautify and perfect the masterpiece that lay upon the cushion before him. The many hours he had spent in putting the last finish upon the work had produced their result. His hand had imparted something to the features of the dying head which had not been there before, and as he stood over the bench he knew that he had surpa.s.sed his greatest work. He went and fetched the black cross from the shelf, and polished its smooth surface carefully with a piece of silk. Then he took the figure tenderly in his hands and laid it in its position. The small screws turned evenly in the threads, fitting closely into their well-concealed places, and the work was finished. Marzio placed the whole crucifix upon the bench and sat down to look at it.

It made a strong impression upon him, this thing of his own hands, and again he remained a long time resting his chin upon his folded fingers and gazing up at the drooping lids. The shadows lay softly on the modelled silver, so softly that the metal itself seemed to tremble and move, and in his reverie Marzio could almost have expected the divine eyes to open and look into his face. And gradually the shadows deepened more and more, and gathered into gloom till in the dark the black arms of the cross scarcely stood out from the darkness, and in the last lingering twilight he could see only the clear outline of the white head and outstretched hands, that seemed to emit a soft radiance gathered from the brightness of the departed day.

Marzio struck a match and lit his lamp. His thoughts were so wholly absorbed that he had not remembered the workmen, nor wondered why they had not come back. After all, most of them lived in the direction of the church, and if they had finished their work late they would very probably go home without returning to the shop. The chiseller wrapped the crucifix in the old white cloth, and laid it in its plain wooden box, but he did not screw the cover down, merely putting it on loosely so that it could be removed in a moment. He laid his tools in order, mechanically, as he did every evening, and then he extinguished the light and made his way to the door, carrying the box under his arm.

The boy who alone had remained at work had lighted a tallow candle, and was sitting dangling his heels from his stool as Marzio came out.

"Still here!" exclaimed the artist.

"Eh! You did not tell me to go," answered the lad.

Marzio locked the heavy outer door and crossed over to his house, while the boy went whistling down the street in the dusk. Slowly the artist mounted the stairs, pondering, as he went, on the many emotions of the day, and at last repeating his conclusion, that he was glad that he had not killed Paolo.

By a change of feeling which he did not wholly realise, he felt for the first time in many years that he would be glad to see his brother alive and well. He had that day so often fancied him dead, lying on the floor of the workshop, or buried in a dark corner of the cellar, that the idea of meeting him, calm and well as ever, had something refreshing in it. It was like the waking from a hideous dream of evil to find that the harm is still undone, to experience that sense of unutterable relief which every one knows when the dawn suddenly touches the outlines of familiar objects in the room, and dispels in an instant the visions of the night.

Paolo might not come that evening, but at least Maria Luisa and Lucia would speak of him, and it would be a comfort to hear his name spoken aloud. Marzio's step quickened with the thought, and in another moment he was at the door. To his surprise it was opened before he could ring, and old a.s.sunta came forward with her wrinkled fingers raised to her lips.

"Hist! hist!" she whispered. "It goes a little better-or at least-"

"What? Who?" asked Marzio, instinctively whispering also.

"Eh! You have not heard? Don Paolo-they have killed him!"

"Paolo!" exclaimed Marzio, staggering and leaning against the door-post.

"He is not dead-not dead yet at least," went on the old woman in low, excited tones. "He was in the church with Tista-a ladder-"

Marzio did not stop to hear more, but pushed past a.s.sunta with his burden under his arm, and entered the pa.s.sage. The door at the end was open, and he saw his wife standing in the bright light in the sitting-room, anxiously looking towards him as though she had heard his coming.

"For G.o.d's sake, Gigia," he said, addressing her by her old pet name, "tell me quickly what has happened!"

The Signora Pandolfi explained as well as she could, frequently giving way to her grief in pa.s.sionate sobs. She was incoherent, but the facts were so simple that Marzio understood them. He was standing by the table, his hand resting upon the wooden case he had brought, and his face was very pale.

"Let me understand," he said at last. "Tista was on the ladder. The ladder slipped, Paolo ran to catch it, and it fell on him. He is badly hurt, but not dead; is that it, Gigia?"

Maria Luisa nodded in the midst of a fit of weeping.

"The surgeon has been, you say? Yes. And where is Paolo lying?"

"In Tista's room," sobbed his wife. "They are with him now."

Marzio stood still and hesitated. He was under the influence of the most violent emotion, and his face betrayed something of what he felt. The idea of Paolo's death had played a tremendous part in his thoughts during the whole day, and he had firmly believed that he had got rid of that idea, and was to realise in meeting his brother that it had all been a dream. The news he now heard filled him with horror. It seemed as if the intense wish for Paolo's death had in some way produced a material result without his knowledge; it was as though he had killed his brother by a thought-as though he had had a real share in his death.

He could hardly bear to go and see the wounded man, so strong was the impression that gained possession of him. His fancy called up pictures of Paolo lying wounded in bed, and he dreaded to face the sight. He turned away from the table and began to walk up and down the little room. In a corner his foot struck against something-the drawing board on which he had begun to sketch the night before. Marzio took it up and brought it to the light. Maria Luisa stared at him sorrowfully, as though reproaching him with indifference in the general calamity. But Marzio looked intently at the drawing. It was only a sketch, but it was very beautifully done. He saw that his ideal was still the same, and that upon the piece of paper he had only reproduced the features he had chiselled ten years ago, with an added beauty of expression, with just those additions which to-day he had made upon the original. The moment he was sure of the fact he laid aside the board and opened the wooden case.

Maria Luisa, who was very far from guessing what an intimate connection existed between the crucifix and Paolo in her husband's mind, looked on with increasing astonishment as he took out the beautiful object and Bet it upon the table in the light. But when she saw it her admiration overcame her sorrow for one moment.

"Dio mio! What a miracle!" she exclaimed.

"A miracle?" repeated her husband, with a strange expression. "Who knows? Perhaps!"

At that moment Gianbattista and Lucia entered through the open door, and stood together watching the scene without understanding what was pa.s.sing. The young girl recognised the crucifix at once. She supposed that her father did not realise Paolo's condition, and was merely showing the masterpiece to her mother.

"That is the one I saw," she whispered to Gianbattista. The young man said nothing, but fixed his eyes upon the cross.

"Papa," said Lucia timidly, "do you know?"

"Yes. Is he alone?" asked Marzio in a tone which was not like his own.

"There is a.s.sunta," answered the young girl.

"I will go to him," said the artist, and without further words he lifted the crucifix from the table and went out. His face was very grave, and his features had something in them that none of the three had seen before-something almost of grandeur. Gianbattista and Lucia followed him.

"I will be alone with him," said Marzio, looking back at the pair as he reached the door of the sick chamber. He entered and a moment afterwards old a.s.sunta came out and shuffled away, holding her ap.r.o.n to her eyes.

Marzio went in. There was a small shaded lamp on the deal table, which illuminated the room with a soft light. Marzio felt that he could not trust himself at first to look at his brother's face. He set the crucifix upon the old chest of drawers, and put the lamp near it. Then he remained standing before it with his back to the bed, and his hands in the pockets of his blouse. He could hear the regular breathing which told that Paolo was still alive. For a long time he could not turn round; it was as though an unseen power held him motionless in his position. He looked at the crucifix.

"If he wakes," he thought, "he will see it. It will comfort him if he is going to die!"