Amidst the most fearful cursing and swearing of the real Capuzzi, the one on the stage dished up one fine anecdote after the other about him.

"You'd better attempt," shouted at last the fict.i.tious Capuzzi, "you only dare, Pasquale, you amorous old ape, to interfere with the happiness of these two young people, whom Heaven has destined for each other."

At this moment there appeared at the back of the stage Antonio Scacciati and Marianna locked in each other's arms. Albeit the old gentleman was at other times somewhat feeble on his legs, yet now fury gave him strength and agility. With a single bound he was on the stage, had drawn his sword, and was charging upon the pretended Antonio. He found, however, that he was held fast behind. An officer of the Papal guard had stopped him, and said in a serious voice, "Recollect where you are, Signor Pasquale; you are in Nicolo Musso's theatre. Without intending it, you have today played a most ridiculous _role_. You will not find either Antonio or Marianna here." The two persons whom Capuzzi had taken for his niece and her lover now drew near, along with the rest of the actors. The faces were all completely strange to him. His rapier escaped from his trembling hand; he took a deep breath as if awakening out of a bad dream; he grasped his brow with both hands; he opened his eyes wide. The presentiment of what had happened suddenly struck him, and he shouted, "Marianna!" in such a stentorian voice that the walls rang again.

But she was beyond reach of his shouts. Antonio had taken advantage of the opportunity whilst Pasquale, oblivious of all about him and even of himself, was quarrelling with his double, to make his way to Marianna, and back with her through the audience, and out at a side door, where a carriage stood ready waiting; and away they went as fast as their horses could gallop towards Florence.

"Marianna!" screamed the old man again, "Marianna! she is gone. She has fled. That knave Antonio has stolen her from me. Away! after them! Have pity on me, good people, and take torches and help me to look for my little darling. Oh! you serpent!"

And he tried to make for the door. But the officer held him fast, saying, "Do you mean that pretty young lady who sat beside you?

I believe I saw her slip out with a young man--I think Antonio Scacciati--a long time ago, when you began your idle quarrel with one of the actors who wore a mask like your face. You needn't make a trouble of it; every inquiry shall at once be set on foot, and Marianna shall be brought back to you as soon as she is found. But as for yourself, Signor Pasquale, your behaviour here and your murderous attempt upon the life of that actor compel me to arrest you."

Signor Pasquale, his face as pale as death, incapable of uttering a single word or even a sound, was led away by the very same gendarmes who were to have protected him against masked devils and spectres. Thus it came to pa.s.s that on the selfsame night on which he had hoped to celebrate his triumph, he was plunged into the midst of trouble and of all the frantic despondency which amorous old fools feel when they are deceived.

VI.

_Salvator Rosa leaves Rome and goes to Florence. Conclusion of the history._

Everything here below beneath the sun is subject to continual change; and perhaps there is nothing which can be called more inconstant than human opinion, which turns round in an everlasting circle like the wheel of fortune. He who reaps great praise to-day is overwhelmed with biting censure to-morrow; to-day we trample under foot the man who to-morrow will be raised far above us.

Of all those who in Rome had ridiculed and mocked at old Pasquale Capuzzi, with his sordid avarice, his foolish amorousness, his insane jealousy, who did not wish poor tormented Marianna her liberty? But now that Antonio had successfully carried off his mistress, all their ridicule and mockery was suddenly changed into pity for the old fool, whom they saw wandering about the streets of Rome with his head hanging on his breast, utterly disconsolate. Misfortunes seldom come singly; and so it happened that Signor Pasquale, soon after Marianna had been taken from him, lost his best bosom-friends also. Little Pitichinaccio choked himself in foolishly trying to swallow an almond-kernel in the middle of a cadenza; but a sudden stop was put to the life of the ill.u.s.trious Pyramid Doctor Signor Splendiano Accoramboni by a slip of the pen, for which he had only himself to blame. Michele's drubbing made such work with him that he fell into a fever. He determined to make use of a remedy which he claimed to have discovered, so, calling for pen and ink, he wrote down a prescription in which, by employing a wrong sign, he increased the quant.i.ty of a powerful substance to a dangerous extent. But scarcely had he swallowed the medicine than he sank back on the pillows and died, establishing, however, by his own death in the most splendid and satisfactory manner the efficacy of the last tincture which he ever prescribed.

As already remarked, all those whose laughter had been the loudest, and who had repeatedly wished Antonio success in his schemes, had now nothing but pity for the old gentleman; and the bitterest blame was heaped, not so much upon Antonio, as upon Salvator Rosa, whom, to be sure, they regarded as the instigator of the whole plan.

Salvator's enemies, of whom he had a goodly number, exerted all their efforts to fan the flame. "See you," they said, "he was one of Masaniello's doughty partisans, and is ready to turn his hand to any deed of mischief, to any disreputable enterprise; we shall be the next to suffer from his presence in the city; he is a dangerous man."

And the jealous faction who had leagued together against Salvator did actually succeed in stemming the tide of his prosperous career. He sent forth from his studio one picture after the other, all bold in conception, and splendidly executed; but the so-called critics shrugged their shoulders, now pointing out that the hills were too blue, the trees too green, the figures now too long, now too broad, finding fault everywhere where there was no fault to be found, and seeking to detract from his hard-earned reputation in all the ways they could think of.

Especially bitter in their persecution of him were the Academicians of St. Luke, who could not forget how he took them in about the surgeon; they even went beyond the limits of their own profession, and decried the clever stanzas which Salvator at that time wrote, hinting very plainly that he did not cultivate his fruit on his own garden soil, but plundered that of his neighbours. For these reasons, therefore, Salvator could not manage to surround himself with the splendour which he had lived amidst formerly in Rome. Instead of being visited by the most eminent of the Romans in a large studio, he had to remain with Dame Caterina and his green fig-tree; but amid these poor surroundings he frequently found both consolation and tranquillity of mind.

Salvator took the malicious machinations of his enemies to heart more than he ought to have done; he even began to feel that an insidious disease, resulting from chagrin and dejection, was gnawing at his vitals. In this unhappy frame of mind he designed and executed two large pictures which excited quite an uproar in Rome. Of these one represented the transitoriness of all earthly things, and in the princ.i.p.al figure, that of a wanton female bearing all the indications of her degrading calling about her, was recognised the mistress of one of the cardinals; the other portrayed the G.o.ddess of Fortune dispensing her rich gifts. But cardinals' hats, bishops' mitres, gold medals, decorations of orders, were falling upon bleating sheep, braying a.s.ses, and other such like contemptible animals, whilst well-made men in ragged clothes were vainly straining their eyes upwards to get even the smallest gift. Salvator had given free rein to his embittered mood, and the animals' heads bore the closest resemblance to the features of various eminent persons. It is easy to imagine, therefore, how the tide of hatred against him rose, and that he was more bitterly persecuted than ever.

Dame Caterina warned him, with tears in her eyes, that as soon as it began to be dark she had observed suspicious characters lurking about the house and apparently d.o.g.g.i.ng his every footstep. Salvator saw that it was time to leave Rome; and Dame Caterina and her beloved daughters were the only people whom it caused him pain to part from. In response to the repeated invitations of the Duke of Tuscany,[6.1] he went to Florence; and here at length he was richly indemnified for all the mortification and worry which he had had to struggle against in Rome, and here all the honour and all the fame which he so truly deserved were freely conferred upon him. The Duke's presents and the high prices which he received for his pictures soon enabled him to remove into a large house and to furnish it in the most magnificent style. There he was wont to gather round him the most ill.u.s.trious authors and scholars of the day, amongst whom it will be sufficient to mention Evangelista Toricelli,[6.2] Valerio Chimentelli, Battista Ricciardi, Andrea Cavalcanti, Pietro Salvati, Filippo Apolloni, Volumnio Bandelli, Francesco Rovai. They formed an a.s.sociation for the prosecution of artistic and scientific pursuits, whilst Salvator was able to contribute an element of whimsicality to the meetings, which had a singular effect in animating and enlivening the mind. The banqueting-hall was like a beautiful grove with fragrant bushes and flowers and splashing fountains; and the dishes even, which were served up by pages in eccentric costumes, were very wonderful to look at, as if they came from some distant land of magic. These meetings of writers and savans in Salvator Rosa's house were called at that time the Accademia de' Percossi.

Though Salvator's mind was in this way devoted to science and art, yet his real true nature came to life again when he was with his friend Antonio Scacciati, who, along with his lovely Marianna, led the pleasant _sans souci_ life of an artist. They often recalled poor old Signor Pasquale whom they had deceived, and all that had taken place in Nicolo Musso's theatre. Antonio asked Salvator how he had contrived to enlist in his cause the active interest not only of Mus...o...b..t of the excellent Formica, and of Agli too. Salvator replied that it had been very easy, for Formica was his most intimate friend in Rome, so that it had been a work of both pleasure and love to him to arrange everything on the stage in accordance with the instructions Salvator gave him.

Antonio protested that, though still he could not help laughing over the scene which had paved the way to his happiness, he yet wished with all his heart to be reconciled to the old gentleman, even if he should never touch a penny of Marianna's fortune, which the old gentleman had confiscated; the practice of his art brought him in a sufficient income. Marianna too was often unable to restrain her tears when she thought that her father's brother might go down to his grave without having forgiven her the trick which she had played upon him; and so Pasquale's hatred overshadowed like a dark cloud the brightness of their happiness. Salvator comforted them both--Antonio and Marianna--by saying that time had adjusted still worse difficulties, and that chance would perhaps bring the old gentleman near them in some less dangerous way than if they had remained in Rome, or were to return there now.

We shall see that a prophetic spirit spoke in Salvator.

A considerable time elapsed, when one day Antonio burst into Salvator's studio breathless and pale as death. "Salvator!" he cried, "Salvator, my friend, my protector! I am lost if you do not help me. Pasquale Capuzzi is here; he has procured a warrant for my arrest for the seduction of his niece."

"But what can Signor Pasquale do against you now?" asked Salvator.

"Have you not been united to Marianna by the Church?"

"Oh!" replied Antonio, giving way completely to despair, "the blessing of the Church herself cannot save me from ruin. Heaven knows by what means the old man has been able to approach the Pope's nephew.[6.3] At any rate the Pope's nephew has taken the old man under his protection, and has infused into him the hope that the Holy Father will declare my marriage with Marianna to be null and void; nay, yet further, that he will grant him (the old man) dispensation to marry his niece."

"Stop!" cried Salvator, "now I see it all; now I see it all. What threatens to be your ruin, Antonio, is this man's hatred against me.

For I must tell you that this nephew of the Pope's, a proud, coa.r.s.e, boorish clown, was amongst the animals in my picture to whom the G.o.ddess of Fortune is dispensing her gifts. That it was I who helped you to win your Marianna, though indirectly, is well known, not only to this man, but to all Rome,--which is quite reason enough to persecute you since they cannot do anything to me. And so, Antonio, having brought this misfortune upon you, I must make every effort to a.s.sist you, and all the more that you are my dearest and most intimate friend.

But, by the saints! I don't see in what way I can frustrate your enemies' little game"----

Therewith Salvator, who had continued to paint at a picture all the time, laid aside brush, palette, and maulstick, and, rising up from his easel, began to pace the room backwards and forwards, his arms crossed over his breast, Antonio meanwhile being quite wrapt up in his own thoughts, and with his eyes fixed unchangeably upon the floor.

At length Salvator paused before him and said with a smile, "See here, Antonio, I cannot do anything myself against your powerful enemies, but I know one who can help you, and who will help you, and that is--Signor Formica."

"Oh!" said Antonio, "don't jest with an unhappy man, whom nothing can save."

"What! you are despairing again?" exclaimed Salvator, who was now all at once in the merriest humour, and he laughed aloud. "I tell you, Antonio, my friend Formica shall help you in Florence as he helped you in Rome. Go away quietly home and comfort your Marianna, and calmly wait and see how things will turn out. I trust you will be ready at the shortest notice to do what Signor Formica, who is really here in Florence at the present time, shall require of you." This Antonio promised most faithfully, and hope revived in him again, and confidence.

Signor Pasquale Capuzzi was not a little astonished at receiving a formal invitation from the Accademia de' Percossi. "Ah!" he exclaimed, "Florence is the place then where a man's merits are recognised, where Pasquale Capuzzi di Senigaglia, a man gifted with the most excellent talents, is known and valued." Thus the thought of his knowledge and his art, and the honour that was shown him on their account, overcame the repugnance which he would otherwise have felt against a society at the head of which stood Salvator Rosa. His Spanish gala-dress was more carefully brushed than ever; his conical hat was equipped with a new feather; his shoes were provided with new ribbons; and so Signor Pasquale appeared at Salvator's as brilliant as a rose-chafer,[6.4] and his face all sunshine. The magnificence which he saw on all sides of him, even Salvator himself, who had received him dressed in the richest apparel, inspired him with deep respect, and, after the manner of little souls, who, though at first proud and puffed up, at once grovel in the dust whenever they come into contact with what they feel to be superior to themselves, Pasquale's behaviour towards Salvator, whom he would gladly have done a mischief to in Rome, was nothing but humility and submissive deference.

So much attention was paid to Signor Pasquale from all sides, his judgment was appealed to so unconditionally, and so much was said about his services to art, that he felt new life infused into his veins; and an unusual spirit was awakened within him, so that his utterances on many points were more sensible than might have been expected. If it be added that never in his life before had he been so splendidly entertained, and never had he drunk such inspiriting wine, it will readily be conceived that his pleasure was intensified from moment to moment, and that he forgot all the wrong which had been done him at Rome as well as the unpleasant business which had brought him to Florence. Often after their banquets the Academicians were wont to amuse themselves with short impromptu dramatic representations, and so this evening the distinguished playwright and poet Filippo Apolloni called upon those who generally took part in them to bring the festivities to a fitting conclusion with one of their usual performances. Salvator at once withdrew to make all the necessary preparations.

Not long afterwards the bushes at the farther end of the banqueting-hall began to move, the branches with their foliage were parted, and a little theatre provided with seats for the spectators became visible.

"By the saints!" exclaimed Pasquale Capuzzi, terrified, "where am I?

Surely that's Nicolo Musso's theatre."

Without heeding his exclamation, Evangelista Toricelli and Andrea Cavalcanti--both of them grave, respectable, venerable men--took him by the arm and led him to a seat immediately in front of the stage, taking their places on each side of him.

This was no sooner done than there appeared on the boards--Formica in the character of Pasquarello.

"You reprobate, Formica!" shouted Pasquale, leaping to his feet and shaking his doubled fist at the stage. Toricelli and Cavalcanti's stern, reproving glances bade him sit still and keep quiet.

Pasquarello wept and sobbed, and cursed his destiny, which brought him nothing but grief and heart-breaking, declared he didn't know how he should ever set about it if he wanted to laugh again, and concluded by saying that if he could look upon blood without fainting, he should certainly cut his throat, or should throw himself in the Tiber if he could only let that cursed swimming alone when he got into the water.

Doctor Gratiano now joined him, and inquired what was the cause of his trouble.

Whereupon Pasquarello asked him whether he did not know anything about what had taken place in the house of his master, Signor Pasquale Capuzzi di Senigaglia, whether he did not know that an infamous scoundrel had carried off pretty Marianna, his master's niece?

"Ah!" murmured Capuzzi, "I see you want to make your excuses to me, Formica; you wish for my pardon--well, we shall see."

Doctor Gratiano expressed his sympathy, and observed that the scoundrel must have gone to work very cunningly to have eluded all the inquiries which had been inst.i.tuted by Capuzzi.

"Ho! ho!" rejoined Pasquarello. "The Doctor need not imagine that the scoundrel, Antonio Scacciati, had succeeded in escaping the sharpness of Signor Pasquale Capuzzi, supported as he was, moreover, by powerful friends. Antonio had been arrested, his marriage with Marianna annulled, and Marianna herself had again come into Capuzzi's power.

"Has he got her again?" shouted Capuzzi, beside himself; "has he got her again, good Pasquale? Has he got his little darling, his Marianna?

Is the knave Antonio arrested? Heaven bless you, Formica!"

"You take a too keen interest in the play, Signor Pasquale," said Cavalcanti, quite seriously. "Pray permit the actors to proceed with their parts without interrupting them in this disturbing fashion."

Ashamed of himself, Signor Pasquale resumed his seat, for he had again risen to his feet.

Doctor Gratiano asked what had taken place then.

A wedding, continued Pasquarello, a wedding had taken place. Marianna had repented of what she had done; Signor Pasquale had obtained the desired dispensation from the Holy Father, and had married his niece.

"Yes, yes," murmured Pasquale Capuzzi to himself, whilst his eyes sparkled with delight, "yes, yes, my dear, good Formica; he will marry his sweet Marianna, the happy Pasquale. He knew that the dear little darling had always loved him, and that it was only Satan who had led her astray."