CHAPTER XI
LAURA PIAVENI
After dark on the same day antecedent to the outbreak, Vittoria, with her faithful Beppo at her heels, left her mother to run and pass one comforting hour in the society of the Signora Laura Piaveni and her children.
There were two daughters of a parasitical Italian nobleman, of whom one had married the patriot Giacomo Piaveni, and one an Austrian diplomatist, the Commendatore Graf von Lenkenstein. Count Serabiglione was traditionally parasitical. His ancestors all had moved in Courts. The children of the House had illustrious sponsors. The House itself was a symbolical sunflower constantly turning toward Royalty. Great excuses are to be made for this, the last male descendant, whose father in his youth had been an Imperial page, and who had been nursed in the conception that Italy (or at least Lombardy) was a natural fief of Austria, allied by instinct and by interest to the holders of the Alps. Count Serabiglione mixed little with his countrymen,—the statement might be inversed,—but when, perchance, he was among them, he talked willingly of the Tedeschi, and voluntarily declared them to be gross, obstinate, offensive-bears, in short. At such times he would intimate in any cordial ear that the serpent was probably a match for the bear in a game of skill, and that the wisdom of the serpent was shown in his selection of the bear as his master, since, by the ordination of circumstances, master he must have. The count would speak pityingly of the poor depraved intellects which admitted the possibility of a coming Kingdom of Italy united: the lunatics who preached of it he considered a sort of self-elected targets for appointed files of Tyrolese jagers. But he was vindictive against him whom he called the professional doctrinaire, and he had vile names for the man. Acknowledging that Italy mourned her present woes, he charged this man with the crime of originating them:—and why? what was his object? He was, the count declared in answer, a born intriguer, a lover of blood, mad for the smell of it!—an Old Man of the Mountain; a sheaf of assassins; and more—the curse of Italy! There should be extradition treaties all over the world to bring this arch-conspirator to justice. The door of his conscience had been knocked at by a thousand bleeding ghosts, and nothing had opened to them. What was Italy in his eyes? A chess-board; and Italians were the chessmen to this cold player with live flesh. England nourished the wretch, that she might undermine the peace of the Continent.
Count Serabiglione would work himself up in the climax of denunciation, and then look abroad frankly as one whose spirit had been relieved. He hated bad men; and it was besides necessary for him to denounce somebody, and get relief of some kind. Italians edged away from him. He was beginning to feel that he had no country. The detested title 'Young Italy' hurried him into fits of wrath. 'I am,' he said, 'one of the Old Italians, if a distinction is to be made.' He assured his listeners that he was for his commune, his district, and aired his old-Italian prejudices delightedly; clapping his hands to the quarrels of Milan and Brescia; Florence and Siena—haply the feuds of villages—and the common North-Italian jealousy of the chief city. He had numerous capital tales to tell of village feuds, their date and origin, the stupid effort to heal them, and the wider consequent split; saying, 'We have, all Italians, the tenacity, the unforgiveness, the fervent blood of pure Hebrews; and a little more gaiety, perhaps; together with a love of fair things. We can outlive ten races of conquerors.'
In this fashion he philosophized, or forced a kind of philosophy. But he had married his daughter to an Austrian, which was what his countrymen could not overlook, and they made him feel it. Little by little, half acquiescing, half protesting, and gradually denationalized, the count was edged out of Italian society, save of the parasitical class, which he very much despised. He was not a happy man. Success at the Imperial Court might have comforted him; but a remorseless sensitiveness of his nature tripped his steps.
Bitter laughter rang throughout Lombardy when, in spite of his efforts to save his daughter's husband, Giacomo Piaveni suffered death. No harder blow had ever befallen the count: it was as good as a public proclamation that he possessed small influence. To have bent the knee was not afflicting to this nobleman's conscience: but it was an anguish to think of having bent the knee for nothing.
Giacomo Piaveni was a noble Italian of the young blood, son of a General loved by Eugene. In him the loss of Italy was deplorable. He perished by treachery at the age of twenty-three years. So splendid was this youth in appearance, of so sweet a manner with women, and altogether so-gentle and gallant, that it was a widowhood for women to have known him: and at his death the hearts of two women who had loved him in rivalry became bound by a sacred tie of friendship. He, though not of distinguished birth, had the choice of an almost royal alliance in the first blush of his manhood. He refused his chance, pleading in excuse to Count Serabiglione, that he was in love with that nobleman's daughter, Laura; which it flattered the count to hear, but he had ever after a contempt for the young man's discretion, and was observed to shrug, with the smooth sorrowfulness of one who has been a prophet, on the day when Giacomo was shot. The larger estates of the Piaveni family, then in Giacomo's hands, were in a famous cheese-making district, producing a delicious cheese:—'white as lambkins!' the count would ejaculate most dolefully; and in a rapture of admiration, 'You would say, a marble quarry when you cut into it.' The theme was afflicting, for all the estates of Giacomo were for the time forfeit, and the pleasant agitation produced among his senses by the mention of the cheese reminded him at the same instant that he had to support a widow with two children. The Signora Piaveni lived in Milan, and the count her father visited her twice during the summer months, and wrote to her from his fitful Winter residences in various capital cities, to report progress in the settled scheme for the recovery of Giacomo's property, as well for his widow as for the heirs of his body. 'It is a duty,' Count Serabiglione said emphatically. 'My daughter can entertain no proposal until her children are duly established; or would she, who is young and lovely and archly capricious, continue to decline the very best offers of the Milanese nobility, and live on one flat in an old quarter of the city, instead of in a bright and handsome street, musical with equipages, and full of the shows of life?'
In conjunction with certain friends of the signora, the count worked diligently for the immediate restitution of the estates. He was ably seconded by the young princess of Schyll-Weilingen,—by marriage countess of Fohrendorf, duchess of Graatli, in central Germany, by which title she passed,—an Austrian princess; she who had loved Giacomo, and would have given all for him, and who now loved his widow. The extreme and painful difficulty was that the Signora Piaveni made no concealment of her abhorrence of the House of Austria, and hatred of Austrian rule in Italy. The spirit of her dead husband had come to her from the grave, and warmed a frame previously indifferent to anything save his personal merits. It had been covertly communicated to her that if she performed due submission to the authorities, and lived for six months in good legal, that is to say, nonpatriotic odour, she might hope to have the estates. The duchess had obtained this mercy for her, and it was much; for Giacomo's scheme of revolt had been conceived with a subtlety of genius, and contrived on a scale sufficient to incense any despotic lord of such a glorious milch-cow as Lombardy. Unhappily the signora was more inspired by the remembrance of her husband than by consideration for her children. She received disaffected persons: she subscribed her money ostentatiously for notoriously patriotic purposes; and she who, in her father's Como villa, had been a shy speechless girl, nothing more than beautiful, had become celebrated for her public letters, and the ardour of declamation against the foreigner which characterized her style. In the face of such facts, the estates continued to be withheld from her governance. Austria could do that: she could wreak her spite against the woman, but she respected her own law even in a conquered land: the estates were not confiscated, and not absolutely sequestrated; and, indeed, money coming from them had been sent to her for the education of her children. It lay in unopened official envelopes, piled one upon another, quarterly remittances, horrible as blood of slaughter in her sight. Count Serabiglione made a point of counting the packets always within the first five minutes of a visit to his daughter. He said nothing, but was careful to see to the proper working of the lock of the cupboard where the precious deposits were kept, and sometimes in forgetfulness he carried off the key. When his daughter reclaimed it, she observed, 'Pray believe me quite as anxious as yourself to preserve these documents.' And the count answered, 'They represent the estates, and are of legal value, though the amount is small. They represent your protest, and the admission of your claim. They are priceless.'
In some degree, also, they compensated him for the expense he was put to in providing for his daughter's subsistence and that of her children. For there, at all events, visible before his eyes, was the value of the money, if not the money expended. He remonstrated with Laura for leaving it more than necessarily exposed. She replied,
'My people know what that money means!' implying, of course, that no one in her house would consequently touch it. Yet it was reserved for the count to find it gone.
The discovery was made by the astounded nobleman on the day preceding Vittoria's appearance at La Scala. His daughter being absent, he had visited the cupboard merely to satisfy an habitual curiosity. The cupboard was open, and had evidently been ransacked. He rang up the domestics, and would have charged them all with having done violence to the key, but that on reflection he considered this to be a way of binding faggots together, and he resolved to take them one by one, like the threading Jesuit that he was, and so get a Judas. Laura's return saved him from much exercise of his peculiar skill. She, with a cool 'Ebbene!' asked him how long he had expected the money to remain there. Upon which, enraged, he accused her of devoting the money to the accursed patriotic cause. And here they came to a curious open division.
'Be content, my father,' she said; 'the money is my husband's, and is expended on his behalf.'
'You waste it among the people who were the cause of his ruin!' her father retorted.
'You presume me to have returned it to the Government, possibly?'
'I charge you with tossing it to your so-called patriots.'
'Sir, if I have done that, I have done well.'
'Hear her!' cried the count to the attentive ceiling; and addressing her with an ironical 'madame,' he begged permission to inquire of her whether haply she might be the person in the pay of Revolutionists who was about to appear at La Scala, under the name of the Signorina Vittoria. 'For you are getting dramatic in your pose, my Laura,' he added, familiarizing the colder tone of his irony. 'You are beginning to stand easily in attitudes of defiance to your own father.'
'That I may practise how to provoke a paternal Government, you mean,' she rejoined, and was quite a match for him in dialectics.
The count chanced to allude further to the Signorina Vittoria.
'Do you know much of that lady?' she asked.
'As much as is known,' said he.
They looked at one another; the count thinking, 'I gave to this girl an excess of brains, in my folly!'
Compelled to drop his eyes, and vexed by the tacit defeat, he pursued, 'You expect great things from her?'
'Great,' said his daughter.
'Well, well,' he murmured acquiescingly, while sounding within himself for the part to play. 'Well-yes! she may do what you expect.'
'There is not the slightest doubt of her capacity,' said his daughter, in a tone of such perfect conviction that the count was immediately and irresistibly tempted to play the part of sagacious, kindly, tolerant but foreseeing father; and in this becoming character he exposed the risks her party ran in trusting anything of weight to a woman. Not that he decried women. Out of their sphere he did not trust them, and he simply objected to them when out of their sphere: the last four words being uttered staccato.
'But we trust her to do what she has undertaken to do,' said Laura.
The count brightened prodigiously from his suspicion to a certainty; and as he was still smiling at the egregious trap his clever but unskilled daughter had fallen into, he found himself listening incredulously to her plain additional sentence:—'She has easy command of three octaves.'
By which the allusion was transformed from politics to Art. Had Laura reserved this cunning turn a little further, yielding to the natural temptation to increase the shock of the antithetical battery, she would have betrayed herself: but it came at the right moment: the count gave up his arms. He told her that this Signorina Vittoria was suspected. 'Whom will they not suspect!' interjected Laura. He assured her that if a conspiracy had ripened it must fail. She was to believe that he abhorred the part of a spy or informer, but he was bound, since she was reckless, to watch over his daughter; and also bound, that he might be of service to her, to earn by service to others as much power as he could reasonably hope to obtain. Laura signified that he argued excellently well. In a fit of unjustified doubt of her sincerity, he complained, with a querulous snap:
'You have your own ideas; you have your own ideas. You think me this and that. A man must be employed.'
'And this is to account for your occupation?' she remarked.
'Employed, I say!' the count reiterated fretfully. He was unmasking to no purpose, and felt himself as on a slope, having given his adversary vantage.
'So that there is no choice for you, do you mean?'
The count set up a staggering affirmative, but knocked it over with its natural enemy as soon as his daughter had said, 'Not being for Italy, you must necessarily be against her:—I admit that to be the position!'
'No!' he cried; 'no: there is no question of “for” or “against,” as you are aware. “Italy, and not Revolution”: that is my motto.'
'Or, in other words, “The impossible,”' said Laura. 'A perfect motto!'
Again the count looked at her, with the remorseful thought: 'I certainly gave you too much brains.'
He smiled: 'If you could only believe it not impossible!'
'Do you really imagine that “Italy without Revolution” does not mean “Austria”?' she inquired.
She had discovered how much he, and therefore his party, suspected, and now she had reasons for wishing him away. Not daring to show symptoms of restlessness, she offered him the chance of recovering himself on the crutches of an explanation. He accepted the assistance, praising his wits for their sprightly divination, and went through a long-winded statement of his views for the welfare of Italy, quoting his favourite Berni frequently, and forcing the occasion for that jolly poet. Laura gave quiet attention to all, and when he was exhausted at the close, said meditatively, 'Yes. Well; you are older. It may seem to you that I shall think as you do when I have had a similar, or the same, length of experience.'
This provoking reply caused her father to jump up from his chair and spin round for his hat. She rose to speed him forth.
'It may seem to me!' he kept muttering. 'It may seem to me that when a daughter gets married—addio! she is nothing but her husband.'
'Ay! ay! if it might be so!' the signora wailed out.
The count hated tears, considering them a clog to all useful machinery. He was departing, when through the open window a noise of scuffling in the street below arrested him.
'Has it commenced?' he said, starting.
'What?' asked the signora, coolly; and made him pause.
'But-but-but!' he answered, and had the grace to spare her ears. The thought in him was: 'But that I had some faith in my wife, and don't admire the devil sufficiently, I would accuse him point-blank, for, by Bacchus! you are as clever as he.'
It is a point in the education of parents that they should learn to apprehend humbly the compliment of being outwitted by their own offspring.
Count Serabiglione leaned out of the window and saw that his horses were safe and the coachman handy. There were two separate engagements going on between angry twisting couples.
'Is there a habitable town in Italy?' the count exclaimed frenziedly. First he called to his coachman to drive away, next to wait as if nailed to the spot. He cursed the revolutionary spirit as the mother of vices. While he was gazing at the fray, the door behind him opened, as he knew by the rush of cool air which struck his temples. He fancied that his daughter was hurrying off in obedience to a signal, and turned upon her just as Laura was motioning to a female figure in the doorway to retire.
'Who is this?' said the count.
A veil was over the strange lady's head. She was excited, and breathed quickly. The count brought forward a chair to her, and put on his best court manner. Laura caressed her, whispering, ere she replied: 'The Signorina Vittoria Romana!—Biancolla!—Benarriva!' and numerous other names of inventive endearment. But the count was too sharp to be thrown off the scent. 'Aha!' he said, 'do I see her one evening before the term appointed?' and bowed profoundly. 'The Signorina Vittoria!'
She threw up her veil.
'Success is certain,' he remarked and applauded, holding one hand as a snuff-box for the fingers of the other to tap on.
'Signor Conte, you—must not praise me before you have heard me.'
'To have seen you!'
'The voice has a wider dominion, Signor Conte.'
'The fame of the signorina's beauty will soon be far wider. Was Venus a cantatrice?'
She blushed, being unable to continue this sort of Mayfly-shooting dialogue, but her first charming readiness had affected the proficient social gentleman very pleasantly, and with fascinated eyes he hummed and buzzed about her like a moth at a lamp. Suddenly his head dived: 'Nothing, nothing, signorina,' he said, brushing delicately at her dress; 'I thought it might be paint.' He smiled to reassure her, and then he dived again, murmuring: 'It must be something sticking to the dress. Pardon me.' With that he went to the bell. 'I will ring up my daughter's maid. Or Laura—where is Laura?'
The Signora Piaveni had walked to the window. This antiquated fussiness of the dilettante little nobleman was sickening to her.
'Probably you expect to discover a revolutionary symbol in the lines of the signorina's dress,' she said.
'A revolutionary symbol!—my dear! my dear!' The count reproved his daughter. 'Is not our signorina a pure artist, accomplishing easily three octaves? aha! Three!' and he rubbed his hands. 'But, three good octaves!' he addressed Vittoria seriously and admonishingly. 'It is a fortune-millions! It is precisely the very grandest heritage! It is an army!'
'I trust that it may be!' said Vittoria, with so deep and earnest a ring of her voice that the count himself, malicious as his ejaculations had been, was astonished. At that instant Laura cried from the window: 'These horses will go mad.'
The exclamation had the desired effect.
'Eh?—pardon me, signorina,' said the count, moving half-way to the window, and then askant for his hat. The clatter of the horses' hoofs sent him dashing through the doorway, at which place his daughter stood with his hat extended. He thanked and blessed her for the kindly attention, and in terror lest the signorina should think evil of him as 'one of the generation of the hasty,' he said, 'Were it anything but horses! anything but horses! one's horses!—ha!' The audible hoofs called him off. He kissed the tips of his fingers, and tripped out.
The signora stepped rapidly to the window, and leaning there, cried a word to the coachman, who signalled perfect comprehension, and immediately the count's horses were on their hind-legs, chafing and pulling to right and left, and the street was tumultuous with them. She flung down the window, seized Vittoria's cheeks in her two hands, and pressed the head upon her bosom. 'He will not disturb us again,' she said, in quite a new tone, sliding her hands from the cheeks to the shoulders and along the arms to the fingers'-ends, which they clutched lovingly. 'He is of the old school, friend of my heart! and besides, he has but two pairs of horses, and one he keeps in Vienna. We live in the hope that our masters will pay us better! Tell me! you are in good health? All is well with you? Will they have to put paint on her soft cheeks to-morrow? Little, if they hold the colour as full as now? My Sandra! amica! should I have been jealous if Giacomo had known you? On my soul, I cannot guess! But, you love what he loved. He seems to live for me when they are talking of Italy, and you send your eyes forward as if you saw the country free. God help me! how I have been containing myself for the last hour and a half!'
The signora dropped in a seat and laughed a languid laugh.
'The little ones? I will ring for them. Assunta shall bring them down in their night-gowns if they are undressed; and we will muffle the windows, for my little man will be wanting his song; and did you not promise him the great one which is to raise Italy-his mother, from the dead? Do you remember our little fellow's eyes as he tried to see the picture? I fear I force him too much, and there's no need-not a bit.'
The time was exciting, and the signora spoke excitedly. Messing and Reggio were in arms. South Italy had given the open signal. It was near upon the hour of the unmasking of the great Lombard conspiracy, and Vittoria, standing there, was the beacon-light of it. Her presence filled Laura with transports of exultation; and shy of displaying it, and of the theme itself, she let her tongue run on, and satisfied herself by smoothing the hand of the brave girl on her chin, and plucking with little loving tugs at her skirts. In doing this she suddenly gave a cry, as if stung.
'You carry pins,' she said. And inspecting the skirts more closely, 'You have a careless maid in that creature Giacinta; she lets paper stick to your dress. What is this?'
Vittoria turned her head, and gathered up her dress to see.
'Pinned with the butterfly!' Laura spoke under her breath.
Vittoria asked what it meant.
'Nothing—nothing,' said her friend, and rose, pulling her eagerly toward the lamp.
A small bronze butterfly secured a square piece of paper with clipped corners to her dress. Two words were written on it:—
CHAPTER XII
THE BRONZE BUTTERFLY
The two women were facing one another in a painful silence when Carlo Ammiani was announced to them. He entered with a rapid stride, and struck his hands together gladly at sight of Vittoria.
Laura met his salutation by lifting the accusing butterfly attached to Vittoria's dress.
'Yes; I expected it,' he said, breathing quick from recent exertion. 'They are kind—they give her a personal warning. Sometimes the dagger heads the butterfly. I have seen the mark on the Play-bills affixed to the signorina's name.'
'What does it mean?' said Laura, speaking huskily, with her head bent over the bronze insect. 'What can it mean?' she asked again, and looked up to meet a covert answer.
'Unpin it.' Vittoria raised her arms as if she felt the thing to be enveloping her.
The signora loosened the pin from its hold; but dreading lest she thereby sacrificed some possible clue to the mystery, she hesitated in her action, and sent an intolerable shiver of spite through Vittoria's frame, at whom she gazed in a cold and cruel way, saying, 'Don't tremble.' And again, 'Is it the doing of that 'garritrice magrezza,' whom you call 'la Lazzeruola?' Speak. Can you trace it to her hand? Who put the plague-mark upon you?'
Vittoria looked steadily away from her.
'It means just this,' Carlo interposed; 'there! now it 's off; and, signorina, I entreat you to think nothing of it,—it means that any one who takes a chief part in the game we play, shall and must provoke all fools, knaves, and idiots to think and do their worst. They can't imagine a pure devotion. Yes, I see—“Sei sospetta.” They would write their 'Sei sospetta' upon St. Catherine in the Wheel. Put it out of your mind. Pass it.'
'But they suspect her; and why do they suspect her?' Laura questioned vehemently. 'I ask, is it a Conservatorio rival, or the brand of one of the Clubs? She has no answer.'
'Observe.' Carlo laid the paper under her eyes.
Three angles were clipped, the fourth was doubled under. He turned it back and disclosed the initials B. R. 'This also is the work of our man-devil, as I thought. I begin to think that we shall be eternally thwarted, until we first clear our Italy of its vermin. Here is a weazel, a snake, a tiger, in one. They call him the Great Cat. He fancies himself a patriot,—he is only a conspirator. I denounce him, but he gets the faith of people, our Agostino among them, I believe. The energy of this wretch is terrific. He has the vigour of a fasting saint. Myself—I declare it to you, signora, with shame, I know what it is to fear this man. He has Satanic blood, and the worst is, that the Chief trusts him.'
'Then, so do I,' said Laura.
'And I,' Vittoria echoed her.
A sudden squeeze beset her fingers. 'And I trust you,' Laura said to her. 'But there has been some indiscretion. My child, wait: give no heed to me, and have no feelings. Carlo, my friend—my husband's boy—brother-in-arms! let her teach you to be generous. She must have been indiscreet. Has she friends among the Austrians? I have one, and it is known, and I am not suspected. But, has she? What have you said or done that might cause them to suspect you? Speak, Sandra mia.'
It was difficult for Vittoria to speak upon the theme, which made her appear as a criminal replying to a charge. At last she said, 'English: I have no foreign friends but English. I remember nothing that I have done.—Yes, I have said I thought I might tremble if I was led out to be shot.'
'Pish! tush!' Laura checked her. 'They flog women, they do not shoot them. They shoot men.'
'That is our better fortune,' said Ammiani.
'But, Sandra, my sister,' Laura persisted now, in melodious coaxing tones. 'Can you not help us to guess? I am troubled: I am stung. It is for your sake I feel it so. Can't you imagine who did it, for instance?'
'No, signora, I cannot,' Vittoria replied.
'You can't guess?'
I cannot help you.'
'You will not!' said the irritable woman. 'Have you noticed no one passing near you?'
'A woman brushed by me as I entered this street. I remember no one else. And my Beppo seized a man who was spying on me, as he said. That is all I can remember.'
Vittoria turned her face to Ammiani.
'Barto Rizzo has lived in England,' he remarked, half to himself. 'Did you come across a man called Barto Rizzo there, signorina? I suspect him to be the author of this.'
At the name of Barto Rizzo, Laura's eyes widened, awakening a memory in Ammiani; and her face had a spectral wanness.
'I must go to my chamber,' she said. 'Talk of it together. I will be with you soon.'
She left them.
Ammiani bent over to Vittoria's ear. 'It was this man who sent the warning to Giacomo, the signora's husband, which he despised, and which would have saved him.
It is the only good thing I know of Barto Rizzo. Pardon her.'
'I do,' said the girl, now weeping.
'She has evidently a rooted superstitious faith in these revolutionary sign-marks. They are contagious to her. She loves you, and believes in you, and will kneel to you for forgiveness by-and-by. Her misery is a disease. She thinks now, “If my husband had given heed to the warning!”
'Yes, I see how her heart works,' said Vittoria. 'You knew her husband, Signor Carlo?'
'I knew him. I served under him. He was the brother of my love. I shall have no other.'
Vittoria placed her hand for Ammiani to take it. He joined his own to the fevered touch. The heart of the young man swelled most ungovernably, but the perils of the morrow were imaged by him, circling her as with a tragic flame, and he had no word for his passion.
The door opened, when a noble little boy bounded into the room; followed by a little girl in pink and white, like a streamer in the steps of her brother. With shouts, and with arms thrown forward, they flung themselves upon Vittoria, the boy claiming all her lap, and the girl struggling for a share of the kingdom. Vittoria kissed them, crying, 'No, no, no, Messer Jack, this is a republic, and not an empire, and you are to have no rights of “first come”; and Amalia sits on one knee, and you on one knee, and you sit face to face, and take hands, and swear to be satisfied.'
'Then I desire not to be called an English Christian name, and you will call me Giacomo,' said the boy.
Vittoria sang, in mountain-notes, 'Giacomo!—Giacomo—Giac-giac-giac.. como!'
The children listened, glistening up at her, and in conjunction jumped and shouted for more.
'More?' said Vittoria; 'but is the Signor Carlo no friend of ours? and does he wear a magic ring that makes him invisible?'
'Let the German girl go to him,' said Giacomo, and strained his throat to reach at kisses.
'I am not a German girl,' little Amalia protested, refusing to go to Carlo Ammiani under that stigma, though a delightful haven of open arms and knees, and filliping fingers, invited her.
'She is not a German girl, O Signor Giacomo,' said Vittoria, in the theatrical manner.
'She has a German name.'
'It's not a German name!' the little girl shrieked.
Giacomo set Amalia to a miauling tune.
'So, you hate the Duchess of Graatli!' said Vittoria. 'Very well. I shall remember.'
The boy declared that he did not hate his mother's friend and sister's godmother: he rather liked her, he really liked her, he loved her; but he loathed the name 'Amalia,' and could not understand why the duchess would be a German. He concluded by miauling 'Amalia' in the triumph of contempt.
'Cat, begone!' said Vittoria, promptly setting him down on his feet, and little Amalia at the same time perceiving that practical sympathy only required a ring at the bell for it to come out, straightway pulled the wires within herself, and emitted a doleful wail that gave her sole possession of Vittoria's bosom, where she was allowed to bring her tears to an end very comfortingly. Giacomo meanwhile, his body bent in an arch, plucked at Carlo Ammiani's wrists with savagely playful tugs, and took a stout boy's lesson in the art of despising what he coveted. He had only to ask for pardon. Finding it necessary, he came shyly up to Vittoria, who put Amalia in his way, kissing whom, he was himself tenderly kissed.
'But girls should not cry!' Vittoria reproved the little woman.
'Why do you cry?' asked Amalia simply.
'See! she has been crying.' Giacomo appropriated the discovery, perforce of loudness, after the fashion of his sex.
'Why does our Vittoria cry?' both the children clamoured.
'Because your mother is such a cruel sister to her,' said Laura, passing up to them from the doorway. She drew Vittoria's head against her breast, looked into her eyes, and sat down among them. Vittoria sang one low-toned soft song, like the voice of evening, before they were dismissed to their beds. She could not obey Giacomo's demand for a martial air, and had to plead that she was tired.
When the children had gone, it was as if a truce had ended. The signora and Ammiani fell to a brisk counterchange of questions relating to the mysterious suspicion which had fallen upon Vittoria. Despite Laura's love for her, she betrayed her invincible feeling that there must be some grounds for special or temporary distrust.
'The lives that hang on it knock at me here,' she said, touching under her throat with fingers set like falling arrows.
But Ammiani, who moved in the centre of conspiracies, met at their councils, and knew their heads, and frequently combated their schemes, was not possessed by the same profound idea of their potential command of hidden facts and sovereign wisdom. He said, 'We trust too much to one man. We are compelled to trust him, but we trust too much to him. I mean this man, this devil, Barto Rizzo. Signora, signora, he must be spoken of. He has dislocated the plot. He is the fanatic of the revolution, and we are trusting him as if he had full sway of reason. What is the consequence? The Chief is absent he is now, as I believe, in Genoa. All the plan for the rising is accurate; the instruments are ready, and we are paralyzed. I have been to three houses to-night, and where, two hours previously, there was union and concert, all are irresolute and divided. I have hurried off a messenger to the Chief. Until we hear from him, nothing can be done. I left Ugo Corte storming against us Milanese, threatening, as usual, to work without us, and have a Bergamasc and Brescian Republic of his own. Count Medole is for a week's postponement. Agostino smiles and chuckles, and talks his poetisms.'
'Until you hear from the Chief, nothing is to be done?' Laura said passionately. 'Are we to remain in suspense? Impossible! I cannot bear it. We have plenty of arms in the city. Oh, that we had cannon! I worship cannon! They are the Gods of battle! But if we surprise the citadel;—one true shock of alarm makes a mob of an army. I have heard my husband say so. Let there be no delay. That is my word.'
'But, signora, do you see that all concert about the signal is lost?'
'My friend, I see something'; Laura nodded a significant half-meaning at him. 'And perhaps it will be as well. Go at once. See that another signal is decided upon. Oh! because we are ready—ready. Inaction now is uttermost anguish—kills the heart. What number of the white butchers have we in the city to-night?'
'They are marching in at every gate. I saw a regiment of Hungarians coming up the Borgo della Stella. Two fresh squadrons of Uhlans in the Corso Francesco. In the Piazza d'Armi artillery is encamped.'
'The better for Brescia, for Bergamo, for Padua, for Venice!' exclaimed Laura. 'There is a limit to their power. We Milanese can match them. For days and days I have had a dream lying in my bosom that Milan was soon to breathe. Go, my brother; go to Barto Rizzo; gather him and Count Medole, Agostino, and Colonel Corte—to whom I kiss my fingers—gather them together, and squeeze their brains for the one spark of divine fire in this darkness which must exist where there are so many thorough men bent upon a sacred enterprise. And, Carlo,'—Laura checked her nervous voice, 'don't think I am declaiming to you from one of my “Midnight Lamps.”' (She spoke of the title of her pamphlets to the Italian people.) 'You feel among us women very much as Agostino and Colonel Corte feel when the boy Carlo airs his impetuosities in their presence. Yes, my fervour makes a philosopher of you. That is human nature. Pity me, pardon me, and do my bidding.'
The comparison of Ammiani's present sentiments to those of the elders of the conspiracy, when his mouth was open in their midst, was severe and masterful, for the young man rose instantly without a thought in his head.
He remarked: 'I will tell them that the signorina does not give the signal.'
'Tell them that the name she has chosen shall be Vittoria still; but say, that she feels a shadow of suspicion to be an injunction upon her at such a crisis, and she will serve silently and humbly until she is rightly known, and her time comes. She is willing to appear before them, and submit to interrogation. She knows her innocence, and knowing that they work for the good of the country, she, if it is their will, is content to be blotted out of all participation:—all! She abjures all for the common welfare. Say that. And say, to-morrow night the rising must be. Oh! to-morrow night! It is my husband to me.'
Laura Piaveni crossed her arms upon her bosom.
Ammiani was moving from them with a downward face, when a bell-note of Vittoria's voice arrested him.
'Stay, Signor Carlo; I shall sing to-morrow night.'
The widow heard her through that thick emotion which had just closed her' speech with its symbolical sensuous rapture. Divining opposition fiercely, like a creature thwarted when athirst for the wells, she gave her a terrible look, and then said cajolingly, as far as absence of sweetness could make the tones pleasant, 'Yes, you will sing, but you will not sing that song.'
'It is that song which I intend to sing, signora.'
'When it is interdicted?'
'There is only one whose interdict I can acknowledge.'
'You will dare to sing in defiance of me?'
'I dare nothing when I simply do my duty.'
Ammiani went up to the window, and leaned there, eyeing the lights leading down to the crowding Piazza. He wished that he were among the crowd, and might not hear those sharp stinging utterances coming from Laura, and Vittoria's unwavering replies, less frequent, but firmer, and gravely solid. Laura spent her energy in taunts, but Vittoria spoke only of her resolve, and to the point. It was, as his military instincts framed the simile, like the venomous crackling of skirmishing rifles before a fortress, that answered slowly with its volume of sound and sweeping shot. He had the vision of himself pleading to secure her safety, and in her hearing, on the Motterone, where she had seemed so simple a damsel, albeit nobly enthusiastic: too fair, too gentle to be stationed in any corner of the conflict at hand. Partly abased by the remembrance of his brainless intercessions then, and of the laughter which had greeted them, and which the signora had recently recalled, it was nevertheless not all in self-abasement (as the momentary recognition of a splendid character is commonly with men) that he perceived the stature of Vittoria's soul. Remembering also what the Chief had spoken of women, Ammiani thought 'Perhaps he has known one such as she.' The passion of the young man's heart magnified her image. He did not wonder to see the signora acknowledge herself worsted in the conflict.
'She talks like the edge of a sword,' cried Laura, desperately, and dropped into a chair. 'Take her home, and convince her, if you can, on the way, Carlo. I go to the Duchess of Graatli to-night. She has a reception. Take this girl home. She says she will sing: she obeys the Chief, and none but the Chief. We will not suppose that it is her desire to shine. She is suspected; she is accused; she is branded; there is no general faith in her; yet she will hold the torch to-morrow night:—and what ensues? Some will move, some turn back, some run headlong over to treachery, some hang irresolute all are for the shambles! The blood is on her head.'
'I will excuse myself to you another time,' said Vittoria. 'I love you, Signora Laura.'
'You do, you do, or you would not think of excusing yourself to me,' said Laura. 'But now, go. You have cut me in two. Carlo Ammiani may succeed where I have failed, and I have used every weapon; enough to make a mean creature hate me for life and kiss me with transports. Do your best, Carlo, and let it be your utmost.'
It remained for Ammiani to assure her that their views were different.
'The signorina persists in her determination to carry out the programme indicated by the Chief, and refuses to be diverted from her path by the false suspicions of subordinates.' He employed a sententious phraseology instinctively, as men do when they are nervous, as well as when they justify the cynic's definition of the uses of speech. 'The signorina is, in my opinion, right. If she draws back, she publicly accepts the blot upon her name. I speak against my own feelings and my wishes.'
'Sandra, do you hear?' exclaimed Laura. 'This is a friend's interpretation of your inconsiderate wilfulness.'
Vittoria was content to reply, 'The Signor Carlo judges of me differently.'
'Go, then, and be fortified by him in this headstrong folly.' Laura motioned her hand, and laid it on her face.
Vittoria knelt and enclosed her with her arms, kissing her knees.
'Beppo waits for me at the house-door,' she said; but Carlo chose not to hear of this shadow-like Beppo.
'You have nothing to say for her save that she clears her name by giving the signal,' Laura burst out on his temperate 'Addio,' and started to her feet. 'Well, let it be so. Fruitless blood again! A 'rivederla' to you both. To-night I am in the enemy's camp. They play with open cards. Amalia tells me all she knows by what she disguises. I may learn something. Come to me to-morrow. My Sandra, I will kiss you. These shudderings of mine have no meaning.'
The signora embraced her, and took Ammiani's salute upon her fingers.
'Sour fingers!' he said. She leaned her cheek to him, whispering, 'I could easily be persuaded to betray you.'
He answered, 'I must have some merit in not betraying myself.'
'At each elbow!' she laughed. 'You show the thumps of an electric battery at each elbow, and expect your Goddess of lightnings not to see that she moves you. Go. You have not sided with me, and I am right, and I am a woman. By the way, Sandra mia, I would beg the loan of your Beppo for two hours or less.'
Vittoria placed Beppo at her disposal.
'And you run home to bed,' continued Laura. 'Reason comes to you obstinate people when you are left alone for a time in the dark.'
She hardly listened to Vittoria's statement that the chief singers in the new opera were engaged to attend a meeting at eleven at night at the house of the maestro Rocco Ricci.