Уилки Коллинз
The Yellow Mask / Желтая маска

© ООО «Издательство АСТ», 2024

The Traveller's Story of a Terribly Strange Bed

Shortly after my education at college was finished, I happened to be staying at Paris with an English friend. We were both young men then, and lived, I am afraid, rather a wild life, in the delightful city of our sojourn. One night we were idling about the neighborhood of the Palais Royal, doubtful to what amusement we should next betake ourselves. My friend proposed a visit to Frascati's; but his suggestion was not to my taste. I knew Frascati's, as the French saying is, by heart; had lost and won plenty of five-franc pieces there, merely for amusement's sake, until it was amusement no longer, and was thoroughly tired, in fact, of all the ghastly respectabilities of such a social anomaly as a respectable gambling-house. 'For Heaven's sake,' said I to my friend, 'let us go somewhere where we can see a little genuine, blackguard, poverty-stricken gaming with no false gingerbread glitter thrown over it all. Let us get away from fashionable Frascati's, to a house where they don't mind letting in a man with a ragged coat, or a man with no coat, ragged or otherwise.' 'Very well,' said my friend, 'we needn't go out of the Palais Royal to find the sort of company you want. Here's the place just before us; as blackguard a place, by all report, as you could possibly wish to see.' In another minute we arrived at the door, and entered the house, the back of which you have drawn in your sketch.

When we got up stairs, and had left our hats and sticks with the doorkeeper, we were admitted into the chief gambling-room. We did not find many people assembled there. But, few as the men were who looked up at us on our entrance, they were all types-lamentably true types-of their respective classes.

We had come to see blackguards; but these men were something worse. There is a comic side, more or less appreciable, in all blackguardism-here there was nothing but tragedy-mute, weird tragedy. The quiet in the room was horrible. The thin, haggard, long-haired young man, whose sunken eyes fiercely watched the turning up of the cards, never spoke; the flabby, fat-faced, pimply player, who pricked his piece of pasteboard perseveringly, to register how often black won, and how often red-never spoke; the dirty, wrinkled old man, with the vulture eyes and the darned great-coat, who had lost his last sou, and still looked on desperately, after he could play no longer-never spoke. Even the voice of the croupier sounded as if it were strangely dulled and thickened in the atmosphere of the room. I had entered the place to laugh, but the spectacle before me was something to weep over. I soon found it necessary to take refuge in excitement from the depression of spirits which was fast stealing on me. Unfortunately I sought the nearest excitement, by going to the table and beginning to play. Still more unfortunately, as the event will show, I won-won prodigiously; won incredibly; won at such a rate that the regular players at the table crowded round me; and staring at my stakes with hungry, superstitious eyes, whispered to one another that the English stranger was going to break the bank.

The game was Rouge et Noir. I had played at it in every city in Europe, without, however, the care or the wish to study the Theory of Chances-that philosopher's stone of all gamblers! And a gambler, in the strict sense of the word, I had never been. I was heart-whole from the corroding passion for play. My gaming was a mere idle amusement. I never resorted to it by necessity, because I never knew what it was to want money. I never practiced it so incessantly as to lose more than I could afford, or to gain more than I could coolly pocket without being thrown off my balance by my good luck. In short, I had hitherto frequented gambling-tables-just as I frequented ball-rooms and opera-houses-because they amused me, and because I had nothing better to do with my leisure hours.

But on this occasion it was very different-now, for the first time in my life, I felt what the passion for play really was. My success first bewildered, and then, in the most literal meaning of the word, intoxicated me. Incredible as it may appear, it is nevertheless true, that I only lost when I attempted to estimate chances, and played according to previous calculation. If I left everything to luck, and staked without any care or consideration, I was sure to win-to win in the face of every recognized probability in favor of the bank. At first some of the men present ventured their money safely enough on my color; but I speedily increased my stakes to sums which they dared not risk. One after another they left off playing, and breathlessly looked on at my game.

Still, time after time, I staked higher and higher, and still won. The excitement in the room rose to fever pitch. The silence was interrupted by a deep-muttered chorus of oaths and exclamations in different languages, every time the gold was shoveled across to my side of the table-even the imperturbable croupier dashed his rake on the floor in a (French) fury of astonishment at my success. But one man present preserved his self-possession, and that man was my friend. He came to my side, and whispering in English, begged me to leave the place, satisfied with what I had already gained. I must do him the justice to say that he repeated his warnings and entreaties several times, and only left me and went away after I had rejected his advice (I was to all intents and purposes gambling drunk) in terms which rendered it impossible for him to address me again that night.

Shortly after he had gone, a hoarse voice behind me cried: 'Permit me, my dear sir-permit me to restore to their proper place two napoleons which you have dropped. Wonderful luck, sir! I pledge you my word of honor, as an old soldier, in the course of my long experience in this sort of thing, I never saw such luck as yours-never! Go on, sir-Sacre mille bombes! Go on boldly, and break the bank!'

I turned round and saw, nodding and smiling at me with inveterate civility, a tall man, dressed in a frogged and braided surtout.

If I had been in my senses, I should have considered him, personally, as being rather a suspicious specimen of an old soldier. He had goggling, bloodshot eyes, mangy mustaches, and a broken nose. His voice betrayed a barrack-room intonation of the worst order, and he had the dirtiest pair of hands I ever saw-even in France. These little personal peculiarities exercised, however, no repelling influence on me. In the mad excitement, the reckless triumph of that moment, I was ready to 'fraternize' with anybody who encouraged me in my game. I accepted the old soldier's offered pinch of snuff; clapped him on the back, and swore he was the honestest fellow in the world-the most glorious relic of the Grand Army that I had ever met with. 'Go on!' cried my military friend, snapping his fingers in ecstasy-'Go on, and win! Break the bank-Mille tonnerres! my gallant English comrade, break the bank!'

And I did go on-went on at such a rate, that in another quarter of an hour the croupier called out, 'Gentlemen, the bank has discontinued for to-night.' All the notes, and all the gold in that 'bank,' now lay in a heap under my hands; the whole floating capital of the gambling-house was waiting to pour into my pockets!

'Tie up the money in your pocket-handkerchief, my worthy sir,' said the old soldier, as I wildly plunged my hands into my heap of gold. 'Tie it up, as we used to tie up a bit of dinner in the Grand Army; your winnings are too heavy for any breeches-pockets that ever were sewed. There! that's it-shovel them in, notes and all! Credié! what luck! Stop! another napoleon on the floor! Ah! sacré petit polisson de Napoleon! have I found thee at last? Now then, sir-two tight double knots each way with your honorable permission, and the money's safe. Feel it! feel it, fortunate sir! hard and round as a cannon-ball-Ah, bah! if they had only fired such cannon-balls at us at Austerlitz-nom d'une pipe! if they only had! And now, as an ancient grenadier, as an ex-brave of the French army, what remains for me to do? I ask what? Simply this: to entreat my valued English friend to drink a bottle of Champagne with me, and toast the goddess Fortune in foaming goblets before we part!'

Excellent ex-brave! Convivial ancient grenadier! Champagne by all means! An English cheer for an old soldier! Hurrah! hurrah! Another English cheer for the goddess Fortune! Hurrah! hurrah! hurrah!

'Bravo! the Englishman; the amiable, gracious Englishman, in whose veins circulates the vivacious blood of France! Another glass? Ah, bah! – the bottle is empty! Never mind! Vive le vin! I, the old soldier, order another bottle, and half a pound of bonbons with it!'

'No, no, ex-brave; never-ancient grenadier! Your bottle last time; my bottle this. Behold it! Toast away! The French Army! the great Napoleon! the present company! the croupier! the honest croupier's wife and daughters-if he has any! the Ladies generally! everybody in the world!'

By the time the second bottle of Champagne was emptied, I felt as if I had been drinking liquid fire-my brain seemed all aflame. No excess in wine had ever had this effect on me before in my life. Was it the result of a stimulant acting upon my system when I was in a highly excited state? Was my stomach in a particularly disordered condition? Or was the Champagne amazingly strong?

'Ex-brave of the French Army!' cried I, in a mad state of exhilaration, 'I am on fire! how are you? You have set me on fire! Do you hear, my hero of Austerlitz? Let us have a third bottle of Champagne to put the flame out!'

The old soldier wagged his head, rolled his goggle-eyes, until I expected to see them slip out of their sockets; placed his dirty forefinger by the side of his broken nose; solemnly ejaculated 'Coffee!' and immediately ran off into an inner room.

The word pronounced by the eccentric veteran seemed to have a magical effect on the rest of the company present. With one accord they all rose to depart. Probably they had expected to profit by my intoxication; but finding that my new friend was benevolently bent on preventing me from getting dead drunk, had now abandoned all hope of thriving pleasantly on my winnings. Whatever their motive might be, at any rate they went away in a body. When the old soldier returned, and sat down again opposite to me at the table, we had the room to ourselves. I could see the croupier, in a sort of vestibule which opened out of it, eating his supper in solitude. The silence was now deeper than ever.

A sudden change, too, had come over the 'ex-brave.' He assumed a portentously solemn look; and when he spoke to me again, his speech was ornamented by no oaths, enforced by no finger-snapping, enlivened by no apostrophes or exclamations.

'Listen, my dear sir,' said he, in mysteriously confidential tones-'listen to an old soldier's advice. I have been to the mistress of the house (a very charming woman, with a genius for cookery!) to impress on her the necessity of making us some particularly strong and good coffee. You must drink this coffee in order to get rid of your little amiable exaltation of spirits before you think of going home-you must, my good and gracious friend! With all that money to take home to-night, it is a sacred duty to yourself to have your wits about you. You are known to be a winner to an enormous extent by several gentlemen present to-night, who, in a certain point of view, are very worthy and excellent fellows; but they are mortal men, my dear sir, and they have their amiable weaknesses. Need I say more? Ah, no, no! you understand me! Now, this is what you must do-send for a cabriolet when you feel quite well again-draw up all the windows when you get into it-and tell the driver to take you home only through the large and well-lighted thoroughfares. Do this; and you and your money will be safe. Do this; and to-morrow you will thank an old soldier for giving you a word of honest advice.'

Just as the ex-brave ended his oration in very lachrymose tones, the coffee came in, ready poured out in two cups. My attentive friend handed me one of the cups with a bow. I was parched with thirst, and drank it off at a draught. Almost instantly afterwards, I was seized with a fit of giddiness, and felt more completely intoxicated than ever. The room whirled round and round furiously; the old soldier seemed to be regularly bobbing up and down before me like the piston of a steam-engine. I was half deafened by a violent singing in my ears; a feeling of utter bewilderment, helplessness, idiocy, overcame me. I rose from my chair, holding on by the table to keep my balance; and stammered out that I felt dreadfully unwell-so unwell that I did not know how I was to get home.

'My dear friend,' answered the old soldier-and even his voice seemed to be bobbing up and down as he spoke-'my dear friend, it would be madness to go home in your state; you would be sure to lose your money; you might be robbed and murdered with the greatest ease. I am going to sleep here; do you sleep here, too-they make up capital beds in this house-take one; sleep off the effects of the wine, and go home safely with your winnings to-morrow-to-morrow, in broad daylight.'

I had but two ideas left: one, that I must never let go hold of my handkerchief full of money; the other, that I must lie down somewhere immediately, and fall off into a comfortable sleep. So I agreed to the proposal about the bed, and took the offered arm of the old soldier, carrying my money with my disengaged hand. Preceded by the croupier, we passed along some passages and up a flight of stairs into the bedroom which I was to occupy. The ex-brave shook me warmly by the hand, proposed that we should breakfast together, and then, followed by the croupier, left me for the night.

I ran to the wash-hand stand; drank some of the water in my jug; poured the rest out, and plunged my face into it; then sat down in a chair and tried to compose myself. I soon felt better. The change for my lungs, from the fetid atmosphere of the gambling-room to the cool air of the apartment I now occupied, the almost equally refreshing change for my eyes, from the glaring gaslights of the 'salon' to the dim, quiet flicker of one bedroom-candle, aided wonderfully the restorative effects of cold water. The giddiness left me, and I began to feel a little like a reasonable being again. My first thought was of the risk of sleeping all night in a gambling-house; my second, of the still greater risk of trying to get out after the house was closed, and of going home alone at night through the streets of Paris with a large sum of money about me. I had slept in worse places than this on my travels; so I determined to lock, bolt, and barricade my door, and take my chance till the next morning.

Accordingly, I secured myself against all intrusion; looked under the bed, and into the cupboard; tried the fastening of the window; and then, satisfied that I had taken every proper precaution, pulled off my upper clothing, put my light, which was a dim one, on the hearth among a feathery litter of wood-ashes, and got into bed, with the handkerchief full of money under my pillow.

I soon felt not only that I could not go to sleep, but that I could not even close my eyes. I was wide awake, and in a high fever. Every nerve in my body trembled-every one of my senses seemed to be preternaturally sharpened. I tossed and rolled, and tried every kind of position, and perseveringly sought out the cold corners of the bed, and all to no purpose. Now I thrust my arms over the clothes; now I poked them under the clothes; now I violently shot my legs straight out down to the bottom of the bed; now I convulsively coiled them up as near my chin as they would go; now I shook out my crumpled pillow, changed it to the cool side, patted it flat, and lay down quietly on my back; now I fiercely doubled it in two, set it up on end, thrust it against the board of the bed, and tried a sitting posture. Every effort was in vain; I groaned with vexation as I felt that I was in for a sleepless night.

What could I do? I had no book to read. And yet, unless I found out some method of diverting my mind, I felt certain that I was in the condition to imagine all sorts of horrors; to rack my brain with forebodings of every possible and impossible danger; in short, to pass the night in suffering all conceivable varieties of nervous terror.

I raised myself on my elbow, and looked about the room-which was brightened by a lovely moonlight pouring straight through the window-to see if it contained any pictures or ornaments that I could at all clearly distinguish. While my eyes wandered from wall to wall, a remembrance of Le Maistre's delightful little book, 'Voyage autour de ma Chambre,' occurred to me. I resolved to imitate the French author, and find occupation and amusement enough to relieve the tedium of my wakefulness, by making a mental inventory of every article of furniture I could see, and by following up to their sources the multitude of associations which even a chair, a table, or a wash-hand stand may be made to call forth.

In the nervous unsettled state of my mind at that moment, I found it much easier to make my inventory than to make my reflections, and thereupon soon gave up all hope of thinking in Le Maistre's fanciful track-or, indeed, of thinking at all. I looked about the room at the different articles of furniture, and did nothing more.

There was, first, the bed I was lying in; a four-post bed, of all things in the world to meet with in Paris-yes, a thorough clumsy British four-poster, with the regular top lined with chintz-the regular fringed valance all round-the regular stifling, unwholesome curtains, which I remembered having mechanically drawn back against the posts without particularly noticing the bed when I first got into the room. Then there was the marble-topped wash-hand stand, from which the water I had spilled, in my hurry to pour it out, was still dripping, slowly and more slowly, on to the brick floor. Then two small chairs, with my coat, waistcoat, and trousers flung on them. Then a large elbow-chair covered with dirty-white dimity, with my cravat and shirt collar thrown over the back. Then a chest of drawers with two of the brass handles off, and a tawdry, broken china inkstand placed on it by way of ornament for the top. Then the dressing-table, adorned by a very small looking-glass, and a very large pincushion. Then the window-an unusually large window. Then a dark old picture, which the feeble candle dimly showed me. It was a picture of a fellow in a high Spanish hat, crowned with a plume of towering feathers. A swarthy, sinister ruffian, looking upward, shading his eyes with his hand, and looking intently upward-it might be at some tall gallows at which he was going to be hanged. At any rate, he had the appearance of thoroughly deserving it.

This picture put a kind of constraint upon me to look upward too-at the top of the bed. It was a gloomy and not an interesting object, and I looked back at the picture. I counted the feathers in the man's hat-they stood out in relief-three white, two green. I observed the crown of his hat, which was of conical shape, according to the fashion supposed to have been favored by Guido Fawkes. I wondered what he was looking up at. It couldn't be at the stars; such a desperado was neither astrologer nor astronomer. It must be at the high gallows, and he was going to be hanged presently. Would the executioner come into possession of his conical crowned hat and plume of feathers? I counted the feathers again-three white, two green.

While I still lingered over this very improving and intellectual employment, my thoughts insensibly began to wander. The moonlight shining into the room reminded me of a certain moonlight night in England-the night after a picnic party in a Welsh valley. Every incident of the drive homeward, through lovely scenery, which the moonlight made lovelier than ever, came back to my remembrance, though I had never given the picnic a thought for years; though, if I had tried to recollect it, I could certainly have recalled little or nothing of that scene long past. Of all the wonderful faculties that help to tell us we are immortal, which speaks the sublime truth more eloquently than memory? Here was I, in a strange house of the most suspicious character, in a situation of uncertainty, and even of peril, which might seem to make the cool exercise of my recollection almost out of the question; nevertheless, remembering, quite involuntarily, places, people, conversations, minute circumstances of every kind, which I had thought forgotten forever; which I could not possibly have recalled at will, even under the most favorable auspices. And what cause had produced in a moment the whole of this strange, complicated, mysterious effect? Nothing but some rays of moonlight shining in at my bedroom window.

I was still thinking of the picnic-of our merriment on the drive home-of the sentimental young lady who would quote 'Childe Harold' because it was moonlight. I was absorbed by these past scenes and past amusements, when, in an instant, the thread on which my memories hung snapped asunder; my attention immediately came back to present things more vividly than ever, and I found myself, I neither knew why nor wherefore, looking hard at the picture again.

Looking for what?

Good God! the man had pulled his hat down on his brows! No! the hat itself was gone! Where was the conical crown? Where the feathers-three white, two green? Not there! In place of the hat and feathers, what dusky object was it that now hid his forehead, his eyes, his shading hand?

Was the bed moving?

I turned on my back and looked up. Was I mad? drunk? dreaming? giddy again? or was the top of the bed really moving down-sinking slowly, regularly, silently, horribly, right down throughout the whole of its length and breadth-right down upon me, as I lay underneath?

My blood seemed to stand still. A deadly paralysing coldness stole all over me as I turned my head round on the pillow and determined to test whether the bed-top was really moving or not, by keeping my eye on the man in the picture.

The next look in that direction was enough. The dull, black, frowzy outline of the valance above me was within an inch of being parallel with his waist. I still looked breathlessly. And steadily and slowly-very slowly-I saw the figure, and the line of frame below the figure, vanish, as the valance moved down before it.

I am, constitutionally, anything but timid. I have been on more than one occasion in peril of my life, and have not lost my self-possession for an instant; but when the conviction first settled on my mind that the bed-top was really moving, was steadily and continuously sinking down upon me, I looked up shuddering, helpless, panic-stricken, beneath the hideous machinery for murder, which was advancing closer and closer to suffocate me where I lay.

I looked up, motionless, speechless, breathless. The candle, fully spent, went out; but the moonlight still brightened the room. Down and down, without pausing and without sounding, came the bed-top, and still my panic-terror seemed to bind me faster and faster to the mattress on which I lay-down and down it sank, till the dusty odor from the lining of the canopy came stealing into my nostrils.

At that final moment the instinct of self-preservation startled me out of my trance, and I moved at last. There was just room for me to roll myself sidewise off the bed. As I dropped noiselessly to the floor, the edge of the murderous canopy touched me on the shoulder.

Without stopping to draw my breath, without wiping the cold sweat from my face, I rose instantly on my knees to watch the bed-top. I was literally spellbound by it. If I had heard footsteps behind me, I could not have turned round; if a means of escape had been miraculously provided for me, I could not have moved to take advantage of it. The whole life in me was, at that moment, concentrated in my eyes.

It descended-the whole canopy, with the fringe round it, came down-down-close down; so close that there was not room now to squeeze my finger between the bed-top and the bed. I felt at the sides, and discovered that what had appeared to me from beneath to be the ordinary light canopy of a four-post bed was in reality a thick, broad mattress, the substance of which was concealed by the valance and its fringe. I looked up and saw the four posts rising hideously bare. In the middle of the bed-top was a huge wooden screw that had evidently worked it down through a hole in the ceiling, just as ordinary presses are worked down on the substance selected for compression. The frightful apparatus moved without making the faintest noise. There had been no creaking as it came down; there was now not the faintest sound from the room above. Amid a dead and awful silence I beheld before me-in the nineteenth century, and in the civilized capital of France-such a machine for secret murder by suffocation as might have existed in the worst days of the Inquisition, in the lonely inns among the Hartz Mountains, in the mysterious tribunals of Westphalia! Still, as I looked on it, I could not move, I could hardly breathe, but I began to recover the power of thinking, and in a moment I discovered the murderous conspiracy framed against me in all its horror.

My cup of coffee had been drugged, and drugged too strongly. I had been saved from being smothered by having taken an overdose of some narcotic. How I had chafed and fretted at the fever fit which had preserved my life by keeping me awake! How recklessly I had confided myself to the two wretches who had led me into this room, determined, for the sake of my winnings, to kill me in my sleep by the surest and most horrible contrivance for secretly accomplishing my destruction! How many men, winners like me, had slept, as I had proposed to sleep, in that bed, and had never been seen or heard of more! I shuddered at the bare idea of it.

But, ere long, all thought was again suspended by the sight of the murderous canopy moving once more. After it had remained on the bed-as nearly as I could guess-about ten minutes, it began to move up again. The villains who worked it from above evidently believed that their purpose was now accomplished. Slowly and silently, as it had descended, that horrible bed-top rose towards its former place. When it reached the upper extremities of the four posts, it reached the ceiling, too. Neither hole nor screw could be seen; the bed became in appearance an ordinary bed again-the canopy an ordinary canopy-even to the most suspicious eyes.

Now, for the first time, I was able to move-to rise from my knees-to dress myself in my upper clothing-and to consider of how I should escape. If I betrayed by the smallest noise that the attempt to suffocate me had failed, I was certain to be murdered. Had I made any noise already? I listened intently, looking towards the door.

No! no footsteps in the passage outside-no sound of a tread, light or heavy, in the room above-absolute silence everywhere. Besides locking and bolting my door, I had moved an old wooden chest against it, which I had found under the bed. To remove this chest (my blood ran cold as I thought of what its contents might be!) without making some disturbance was impossible; and, moreover, to think of escaping through the house, now barred up for the night, was sheer insanity. Only one chance was left me-the window. I stole to it on tiptoe.

My bedroom was on the first floor, above an entresol, and looked into a back street, which you have sketched in your view. I raised my hand to open the window, knowing that on that action hung, by the merest hair-breadth, my chance of safety. They keep vigilant watch in a House of Murder. If any part of the frame cracked, if the hinge creaked, I was a lost man! It must have occupied me at least five minutes, reckoning by time-five hours, reckoning by suspense-to open that window. I succeeded in doing it silently-in doing it with all the dexterity of a house-breaker-and then looked down into the street. To leap the distance beneath me would be almost certain destruction! Next, I looked round at the sides of the house. Down the left side ran a thick water-pipe which you have drawn-it passed close by the outer edge of the window. The moment I saw the pipe I knew I was saved. My breath came and went freely for the first time since I had seen the canopy of the bed moving down upon me!

To some men the means of escape which I had discovered might have seemed difficult and dangerous enough-to me the prospect of slipping down the pipe into the street did not suggest even a thought of peril. I had always been accustomed, by the practice of gymnastics, to keep up my school-boy powers as a daring and expert climber; and knew that my head, hands, and feet would serve me faithfully in any hazards of ascent or descent. I had already got one leg over the window-sill, when I remembered the handkerchief filled with money under my pillow. I could well have afforded to leave it behind me, but I was revengefully determined that the miscreants of the gambling-house should miss their plunder as well as their victim. So I went back to the bed and tied the heavy handkerchief at my back by my cravat.

Just as I had made it tight and fixed it in a comfortable place, I thought I heard a sound of breathing outside the door. The chill feeling of horror ran through me again as I listened. No! dead silence still in the passage-I had only heard the night air blowing softly into the room. The next moment I was on the window-sill-and the next I had a firm grip on the water-pipe with my hands and knees.

I slid down into the street easily and quietly, as I thought I should, and immediately set off at the top of my speed to a branch 'Prefecture' of Police, which I knew was situated in the immediate neighborhood. A 'Sub-prefect,' and several picked men among his subordinates, happened to be up, maturing, I believe, some scheme for discovering the perpetrator of a mysterious murder which all Paris was talking of just then. When I began my story, in a breathless hurry and in very bad French, I could see that the Sub-prefect suspected me of being a drunken Englishman who had robbed somebody; but he soon altered his opinion as I went on, and before I had anything like concluded, he shoved all the papers before him into a drawer, put on his hat, supplied me with another (for I was bareheaded), ordered a file of soldiers, desired his expert followers to get ready all sorts of tools for breaking open doors and ripping up brick flooring, and took my arm, in the most friendly and familiar manner possible, to lead me with him out of the house. I will venture to say that when the Sub-prefect was a little boy, and was taken for the first time to the play, he was not half as much pleased as he was now at the job in prospect for him at the gambling-house!

Away we went through the streets, the Sub-prefect cross-examining and congratulating me in the same breath as we marched at the head of our formidable posse comitatus. Sentinels were placed at the back and front of the house the moment we got to it; a tremendous battery of knocks was directed against the door; a light appeared at a window; I was told to conceal myself behind the police-then came more knocks and a cry of 'Open in the name of the law!' At that terrible summons bolts and locks gave way before an invisible hand, and the moment after the Sub-prefect was in the passage, confronting a waiter half-dressed and ghastly pale. This was the short dialogue which immediately took place:

'We want to see the Englishman who is sleeping in this house?'

'He went away hours ago.'

'He did no such thing. His friend went away; he remained. Show us to his bedroom!'

'I swear to you, Monsieur le Sous-prefect, he is not here! he-'

'I swear to you, Monsieur le Garçon, he is. He slept here-he didn't find your bed comfortable-he came to us to complain of it-here he is among my men-and here am I ready to look for a flea or two in his bedstead. Renaudin! (calling to one of the subordinates, and pointing to the waiter) collar that man and tie his hands behind him. Now, then, gentlemen, let us walk upstairs!'

Every man and woman in the house was secured-the 'Old Soldier' the first. Then I identified the bed in which I had slept, and then we went into the room above.

No object that was at all extraordinary appeared in any part of it. The Sub-prefect looked round the place, commanded everybody to be silent, stamped twice on the floor, called for a candle, looked attentively at the spot he had stamped on, and ordered the flooring there to be carefully taken up. This was done in no time. Lights were produced, and we saw a deep raftered cavity between the floor of this room and the ceiling of the room beneath. Through this cavity there ran perpendicularly a sort of case of iron thickly greased; and inside the case appeared the screw, which communicated with the bed-top below. Extra lengths of screw, freshly oiled; levers covered with felt; all the complete upper works of a heavy press-constructed with infernal ingenuity so as to join the fixtures below, and when taken to pieces again, to go into the smallest possible compass-were next discovered and pulled out on the floor. After some little difficulty the Sub-prefect succeeded in putting the machinery together, and, leaving his men to work it, descended with me to the bedroom. The smothering canopy was then lowered, but not so noiselessly as I had seen it lowered. When I mentioned this to the Sub-prefect, his answer, simple as it was, had a terrible significance. 'My men,' said he, 'are working down the bed-top for the first time-the men whose money you won were in better practice.'

We left the house in the sole possession of two police agents-every one of the inmates being removed to prison on the spot. The Sub-prefect, after taking down my 'procès verbal' in his office, returned with me to my hotel to get my passport. 'Do you think,' I asked, as I gave it to him, 'that any men have really been smothered in that bed, as they tried to smother me?'

'I have seen dozens of drowned men laid out at the Morgue,' answered the Sub-prefect, 'in whose pocket-books were found letters stating that they had committed suicide in the Seine, because they had lost everything at the gaming table. Do I know how many of those men entered the same gambling-house that you entered? won as you won? took that bed as you took it? slept in it? were smothered in it? and were privately thrown into the river, with a letter of explanation written by the murderers and placed in their pocket-books? No man can say how many or how few have suffered the fate from which you have escaped. The people of the gambling-house kept their bedstead machinery a secret from us-even from the police! The dead kept the rest of the secret for them. Good-night, or rather good-morning, Monsieur Faulkner! Be at my office again at nine o'clock-in the meantime, au revoir!'

The rest of my story is soon told. I was examined and re-examined; the gambling-house was strictly searched all through from top to bottom; the prisoners were separately interrogated; and two of the less guilty among them made a confession. I discovered that the Old Soldier was the master of the gambling-house-justice discovered that he had been drummed out of the army as a vagabond years ago; that he had been guilty of all sorts of villainies since; that he was in possession of stolen property, which the owners identified; and that he, the croupier, another accomplice, and the woman who had made my cup of coffee, were all in the secret of the bedstead. There appeared some reason to doubt whether the inferior persons attached to the house knew anything of the suffocating machinery; and they received the benefit of that doubt, by being treated simply as thieves and vagabonds. As for the Old Soldier and his two head myrmidons, they went to the galleys; the woman who had drugged my coffee was imprisoned for I forget how many years; the regular attendants at the gambling-house were considered 'suspicious' and placed under 'surveillance'; and I became, for one whole week (which is a long time) the head 'lion' in Parisian society. My adventure was dramatized by three illustrious play-makers, but never saw theatrical daylight; for the censorship forbade the introduction on the stage of a correct copy of the gambling-house bedstead.

One good result was produced by my adventure, which any censorship must have approved: it cured me of ever again trying 'Rouge et Noir' as an amusement. The sight of a green cloth, with packs of cards and heaps of money on it, will henceforth be forever associated in my mind with the sight of a bed canopy descending to suffocate me in the silence and darkness of the night.

Just as Mr. Faulkner pronounced these words he started in his chair, and resumed his stiff, dignified position in a great hurry. 'Bless my soul!' cried he, with a comic look of astonishment and vexation, 'while I have been telling you what is the real secret of my interest in the sketch you have so kindly given to me, I have altogether forgotten that I came here to sit for my portrait. For the last hour or more I must have been the worst model you ever had to draw from!'

'On the contrary, you have been the best,' said I. 'I have been trying to catch your likeness; and, while telling your story, you have unconsciously shown me the natural expression I wanted to insure my success.'

The Professor's Story of the Yellow Mask

Part First

Chapter I

About a century ago, there lived in the ancient city of Pisa a famous Italian milliner, who, by way of vindicating to all customers her familiarity with Paris fashions, adopted a French title, and called herself the Demoiselle Grifoni. She was a wizen little woman with a mischievous face, a quick tongue, a nimble foot, a talent for business, and an uncertain disposition. Rumor hinted that she was immensely rich, and scandal suggested that she would do anything for money.

The one undeniable good quality which raised Demoiselle Grifoni above all her rivals in the trade was her inexhaustible fortitude. She was never known to yield an inch under any pressure of adverse circumstances. Thus the memorable occasion of her life on which she was threatened with ruin was also the occasion on which she most triumphantly asserted the energy and decision of her character. At the height of the demoiselle's prosperity her skilled forewoman and cutter-out basely married and started in business as her rival. Such a calamity as this would have ruined an ordinary milliner; but the invincible Grifoni rose superior to it almost without an effort, and proved incontestably that it was impossible for hostile Fortune to catch her at the end of her resources. While the minor milliners were prophesying that she would shut up shop, she was quietly carrying on a private correspondence with an agent in Paris. Nobody knew what these letters were about until a few weeks had elapsed, and then circulars were received by all the ladies in Pisa, announcing that the best French forewoman who could be got for money was engaged to superintend the great Grifoni establishment. This master-stroke decided the victory. All the demoiselle's customers declined giving orders elsewhere until the forewoman from Paris had exhibited to the natives of Pisa the latest fashions from the metropolis of the world of dress.

The Frenchwoman arrived punctual to the appointed day-glib and curt, smiling and flippant, tight of face and supple of figure. Her name was Mademoiselle Virginie, and her family had inhumanly deserted her. She was set to work the moment she was inside the doors of the Grifoni establishment. A room was devoted to her own private use; magnificent materials in velvet, silk, and satin, with due accompaniment of muslins, laces, and ribbons were placed at her disposal; she was told to spare no expense, and to produce, in the shortest possible time, the finest and nearest specimen dresses for exhibition in the show-room. Mademoiselle Virginie undertook to do every-thing required of her, produced her portfolios of patterns and her book of colored designs, and asked for one assistant who could speak French enough to interpret her orders to the Italian girls in the work-room.

'I have the very person you want,' cried Demoiselle Grifoni. 'A work-woman we call Brigida here-the idlest slut in Pisa, but as sharp as a needle-has been in France, and speaks the language like a native. I'll send her to you directly.'

Mademoiselle Virginie was not left long alone with her patterns and silks. A tall woman, with bold black eyes, a reckless manner, and a step as firm as a man's, stalked into the room with the gait of a tragedy-queen crossing the stage. The instant her eyes fell on the French forewoman, she stopped, threw up her hands in astonishment, and exclaimed, 'Finette!'

'Teresa!' cried the Frenchwoman, casting her scissors on the table, and advancing a few steps.

'Hush! call me Brigida.'

'Hush! call me Virginie.'

These two exclamations were uttered at the same moment, and then the two women scrutinized each other in silence. The swarthy cheeks of the Italian turned to a dull yellow, and the voice of the Frenchwoman trembled a little when she spoke again.

'How, in the name of Heaven, have you dropped down in the world as low as this?' she asked. 'I thought you were provided for when-'

'Silence!' interrupted Brigida. 'You see I was not provided for. I have had my misfortunes; and you are the last woman alive who ought to refer to them.'

'Do you think I have not had my misfortunes, too, since we met?' (Brigida's face brightened maliciously at those words.) 'You have had your revenge,' continued Mademoiselle Virginie, coldly, turning away to the table and taking up the scissors again.

Brigida followed her, threw one arm roughly round her neck, and kissed her on the cheek. 'Let us be friends again,' she said. The Frenchwoman laughed. 'Tell me how I have had my revenge,' pursued the other, tightening her grasp. Mademoiselle Virginie signed to Brigida to stoop, and whispered rapidly in her ear. The Italian listened eagerly, with fierce, suspicious eyes fixed on the door. When the whispering ceased, she loosened her hold, and, with a sigh of relief, pushed back her heavy black hair from her temples. 'Now we are friends,' she said, and sat down indolently in a chair placed by the worktable.

'Friends,' repeated Mademoiselle Virginie, with another laugh. 'And now for business,' she continued, getting a row of pins ready for use by putting them between her teeth. 'I am here, I believe, for the purpose of ruining the late forewoman, who has set up in opposition to us? Good! I will ruin her. Spread out the yellow brocaded silk, my dear, and pin that pattern on at your end, while I pin at mine. And what are your plans, Brigida? (Mind you don't forget that Finette is dead, and that Virginie has risen from her ashes.) You can't possibly intend to stop here all your life? (Leave an inch outside the paper, all round.) You must have projects? What are they?'

'Look at my figure,' said Brigida, placing herself in an attitude in the middle of the room.

'Ah,' rejoined the other, 'it's not what it was. There's too much of it. You want diet, walking, and a French stay-maker,' muttered Mademoiselle Virginie through her chevaux-de-frise of pins.

'Did the goddess Minerva walk, and employ a French stay-maker? I thought she rode upon clouds, and lived at a period before waists were invented.'

'What do you mean?'

'This-that my present project is to try if I can't make my fortune by sitting as a model for Minerva in the studio of the best sculptor in Pisa.'

'And who is he! (Unwind me a yard or two of that black lace.)'

'The master-sculptor, Luca Lomi-an old family, once noble, but down in the world now. The master is obliged to make statues to get a living for his daughter and himself.'

'More of the lace-double it over the bosom of the dress. And how is sitting to this needy sculptor to make your fortune?'

'Wait a minute. There are other sculptors besides him in the studio. There is, first, his brother, the priest-Father Rocco, who passes all his spare time with the master. He is a good sculptor in his way-has cast statues and made a font for his church-a holy man, who devotes all his work in the studio to the cause of piety.'

'Ah, bah! we should think him a droll priest in France. (More pins.) You don't expect him to put money in your pocket, surely?'

'Wait, I say again. There is a third sculptor in the studio-actually a nobleman! His name is Fabio d'Ascoli. He is rich, young, handsome, an only child, and little better than a fool. Fancy his working at sculpture, as if he had his bread to get by it-and thinking that an amusement! Imagine a man belonging to one of the best families in Pisa mad enough to want to make a reputation as an artist! Wait! wait! the best is to come. His father and mother are dead-he has no near relations in the world to exercise authority over him-he is a bachelor, and his fortune is all at his own disposal; going a-begging, my friend; absolutely going a-begging for want of a clever woman to hold out her hand and take it from him.'

'Yes, yes-now I understand. The goddess Minerva is a clever woman, and she will hold out her hand and take his fortune from him with the utmost docility.'

'The first thing is to get him to offer it. I must tell you that I am not going to sit to him, but to his master, Luca Lomi, who is doing the statue of Minerva. The face is modeled from his daughter; and now he wants somebody to sit for the bust and arms. Maddalena Lomi and I are as nearly as possible the same height, I hear-the difference between us being that I have a good figure and she has a bad one. I have offered to sit, through a friend who is employed in the studio. If the master accepts, I am sure of an introduction to our rich young gentleman; and then leave it to my good looks, my various accomplishments, and my ready tongue, to do the rest.'

'Stop! I won't have the lace doubled, on second thoughts. I'll have it single, and running all round the dress in curves-so. Well, and who is this friend of yours employed in the studio? A fourth sculptor?'

'No, no; the strangest, simplest little creature-'

Just then a faint tap was audible at the door of the room.

Brigida laid her finger on her lips, and called impatiently to the person outside to come in.

The door opened gently, and a young girl, poorly but very neatly dressed, entered the room. She was rather thin and under the average height; but her head and figure were in perfect proportion. Her hair was of that gorgeous auburn color, her eyes of that deep violet-blue, which the portraits of Giorgione and Titian have made famous as the type of Venetian beauty. Her features possessed the definiteness and regularity, the 'good modeling' (to use an artist's term), which is the rarest of all womanly charms, in Italy as elsewhere. The one serious defect of her face was its paleness. Her cheeks, wanting nothing in form, wanted every-thing in color. That look of health, which is the essential crowning-point of beauty, was the one attraction which her face did not possess.

She came into the room with a sad and weary expression in her eyes, which changed, however, the moment she observed the magnificently-dressed French forewoman, into a look of astonishment, and almost of awe. Her manner became shy and embarrassed; and after an instant of hesitation, she turned back silently to the door.

'Stop, stop, Nanina,' said Brigida, in Italian. 'Don't be afraid of that lady. She is our new forewoman; and she has it in her power to do all sorts of kind things for you. Look up, and tell us what you want. You were sixteen last birthday, Nanina, and you behave like a baby of two years old!'

'I only came to know if there was any work for me to-day,' said the girl, in a very sweet voice, that trembled a little as she tried to face the fashionable French forewoman again.

'No work, child, that is easy enough for you to do,' said Brigida. 'Are you going to the studio to-day?'

Some of the color that Nanina's cheeks wanted began to steal over them as she answered 'Yes.'

'Don't forget my message, darling. And if Master Luca Lomi asks where I live, answer that you are ready to deliver a letter to me; but that you are forbidden to enter into any particulars at first about who I am, or where I live.'

'Why am I forbidden?' inquired Nanina, innocently.

'Don't ask questions, baby! Do as you are told. Bring me back a nice note or message to-morrow from the studio, and I will intercede with this lady to get you some work. You are a foolish child to want it, when you might make more money here and at Florence, by sitting to painters and sculptors; though what they can see to paint or model in you I never could understand.'

'I like working at home better than going abroad to sit,' said Nanina, looking very much abashed as she faltered out the answer, and escaping from the room with a terrified farewell obeisance, which was an eccentric compound of a start, a bow, and a courtesy.

'That awkward child would be pretty,' said Mademoiselle Virginie, making rapid progress with the cutting-out of her dress, 'if she knew how to give herself a complexion, and had a presentable gown on her back. Who is she?'

'The friend who is to get me into Master Luca Lomi's studio,' replied Brigida, laughing. 'Rather a curious ally for me to take up with, isn't she?'

'Where did you meet with her?'

'Here, to be sure; she hangs about this place for any plain work she can get to do, and takes it home to the oddest little room in a street near the Campo Santo. I had the curiosity to follow her one day, and knocked at her door soon after she had gone in, as if I was a visitor. She answered my knock in a great flurry and fright, as you may imagine. I made myself agreeable, affected immense interest in her affairs, and so got into her room. Such a place! A mere corner of it curtained off to make a bedroom. One chair, one stool, one saucepan on the fire. Before the hearth the most grotesquely hideous unshaven poodle-dog you ever saw; and on the stool a fair little girl plaiting dinner-mats. Such was the household-furniture and all included. “Where is your father?” I asked. “He ran away and left us years ago,” answers my awkward little friend who has just left the room, speaking in that simple way of hers, with all the composure in the world. “And your mother?”-“Dead.” She went up to the little mat-plaiting girl as she gave that answer, and began playing with her long flaxen hair. “Your sister, I suppose,” said I. “What is her name?”-“They call me La Biondella,” says the child, looking up from her mat (La Biondella, Virginie, means The Fair). “And why do you let that great, shaggy, ill-looking brute lie before your fireplace?” I asked. “Oh!” cried the little mat-plaiter, “that is our dear old dog, Scarammuccia. He takes care of the house when Nanina is not at home. He dances on his hind legs, and jumps through a hoop, and tumbles down dead when I cry Bang! Scarammuccia followed us home one night, years ago, and he has lived with us ever since. He goes out every day by himself, we can't tell where, and generally returns licking his chops, which makes us afraid that he is a thief; but nobody finds him out, because he is the cleverest dog that ever lived!” The child ran on in this way about the great beast by the fireplace, till I was obliged to stop her; while that simpleton Nanina stood by, laughing and encouraging her. I asked them a few more questions, which produced some strange answers. They did not seem to know of any relations of theirs in the world. The neighbors in the house had helped them, after their father ran away, until they were old enough to help themselves; and they did not seem to think there was anything in the least wretched or pitiable in their way of living. The last thing I heard, when I left them that day, was La Biondella crying “Bang!”-then a bark, a thump on the floor, and a scream of laughter. If it was not for their dog, I should go and see them oftener. But the ill-conditioned beast has taken a dislike to me, and growls and shows his teeth whenever I come near him.'

'The girl looked sickly when she came in here. Is she always like that?'

'No. She has altered within the last month. I suspect our interesting young nobleman has produced an impression. The oftener the girl has sat to him lately, the paler and more out of spirits she has become.'

'Oh! she has sat to him, has she?'

'She is sitting to him now. He is doing a bust of some Pagan nymph or other, and prevailed on Nanina to let him copy from her head and face. According to her own account the little fool was frightened at first, and gave him all the trouble in the world before she would consent.'

'And now she has consented, don't you think it likely she may turn out rather a dangerous rival? Men are such fools, and take such fancies into their heads-'

'Ridiculous! A thread-paper of a girl like that, who has no manner, no talk, no intelligence; who has nothing to recommend her but an awkward, babyish prettiness! Dangerous to me? No, no! If there is danger at all, I have to dread it from the sculptor's daughter. I don't mind confessing that I am anxious to see Maddalena Lomi. But as for Nanina, she will simply be of use to me. All I know already about the studio and the artists in it, I know through her. She will deliver my message, and procure me my introduction; and when we have got so far, I shall give her an old gown and a shake of the hand; and then, good-bye to our little innocent!'

'Well, well, for your sake I hope you are the wiser of the two in this matter. For my part, I always distrust innocence. Wait one moment, and I shall have the body and sleeves of this dress ready for the needle-women. There, ring the bell, and order them up; for I have directions to give, and you must interpret for me.'

While Brigida went to the bell, the energetic Frenchwoman began planning out the skirt of the new dress. She laughed as she measured off yard after yard of the silk.

'What are you laughing about?' asked Brigida, opening the door and ringing a hand-bell in the passage.

'I can't help fancying, dear, in spite of her innocent face and her artless ways, that your young friend is a hypocrite.'

'And I am quite certain, love, that she is only a simpleton.'

Chapter II

The studio of the master-sculptor, Luca Lomi, was composed of two large rooms unequally divided by a wooden partition, with an arched doorway cut in the middle of it.

While the milliners of the Grifoni establishment were industriously shaping dresses, the sculptors in Luca Lomi's workshop were, in their way, quite as hard at work shaping marble and clay. In the smaller of the two rooms the young nobleman (only addressed in the studio by his Christian name of Fabio) was busily engaged on his bust, with Nanina sitting before him as a model. His was not one of those traditional Italian faces from which subtlety and suspicion are always supposed to look out darkly on the world at large. Both countenance and expression proclaimed his character frankly and freely to all who saw him. Quick intelligence looked brightly from his eyes; and easy good humor laughed out pleasantly in the rather quaint curve of his lips. For the rest, his face expressed the defects as well as the merits of his character, showing that he wanted resolution and perseverance just as plainly as it showed also that he possessed amiability and intelligence.

At the end of the large room, nearest to the street door, Luca Lomi was standing by his life-size statue of Minerva; and was issuing directions, from time to time, to some of his workmen, who were roughly chiseling the drapery of another figure. At the opposite side of the room, nearest to the partition, his brother, Father Rocco, was taking a cast from a statuette of the Madonna; while Maddalena Lomi, the sculptor's daughter, released from sitting for Minerva's face, walked about the two rooms, and watched what was going on in them.

There was a strong family likeness of a certain kind between father, brother and daughter. All three were tall, handsome, dark-haired, and dark-eyed; nevertheless, they differed in expression, strikingly as they resembled one another in feature. Maddalena Lomi's face betrayed strong passions, but not an ungenerous nature. Her father, with the same indications of a violent temper, had some sinister lines about his mouth and forehead which suggested anything rather than an open disposition. Father Rocco's countenance, on the other hand, looked like the personification of absolute calmness and invincible moderation; and his manner, which, in a very firm way, was singularly quiet and deliberate, assisted in carrying out the impression produced by his face. The daughter seemed as if she could fly into a passion at a moment's notice, and forgive also at a moment's notice. The father, appearing to be just as irritable, had something in his face which said, as plainly as if in words, 'Anger me, and I never pardon.' The priest looked as if he need never be called on either to ask forgiveness or to grant it, for the double reason that he could irritate nobody else, and that nobody else could irritate him.

'Rocco,' said Luca, looking at the face of his Minerva, which was now finished, 'this statue of mine will make a sensation.'

'I am glad to hear it,' rejoined the priest, dryly.

'It is a new thing in art,' continued Luca, enthusiastically. 'Other sculptors, with a classical subject like mine, limit themselves to the ideal classical face, and never think of aiming at individual character. Now I do precisely the reverse of that. I get my handsome daughter, Maddalena, to sit for Minerva, and I make an exact likeness of her. I may lose in ideal beauty, but I gain in individual character. People may accuse me of disregarding established rules; but my answer is, that I make my own rules. My daughter looks like a Minerva, and there she is exactly as she looks.'

'It is certainly a wonderful likeness,' said Father Rocco, approaching the statue.

'It the girl herself,' cried the other. 'Exactly her expression, and exactly her features. Measure Maddalena, and measure Minerva, and from forehead to chin, you won't find a hair-breadth of difference between them.'

'But how about the bust and arms of the figure, now the face is done?' asked the priest, returning, as he spoke, to his own work.

'I may have the very model I want for them to-morrow. Little Nanina has just given me the strangest message. What do you think of a mysterious lady admirer who offers to sit for the bust and arms of my Minerva?'

'Are you going to accept the offer?' inquired the priest.

'I am going to receive her to-morrow; and if I really find that she is the same height as Maddalena, and has a bust and arms worth modeling, of course I shall accept her offer; for she will be the very sitter I have been looking after for weeks past. Who can she be? That's the mystery I want to find out. Which do you say, Rocco-an enthusiast or an adventuress?'

'I do not presume to say, for I have no means of knowing.'

'Ah, there you are with your moderation again. Now, I do presume to assert that she must be either one or the other-or she would not have forbidden Nanina to say anything about her in answer to all my first natural inquiries. Where is Maddalena? I thought she was here a minute ago.'

'She is in Fabio's room,' answered Father Rocco, softly. 'Shall I call her?'

'No, no!' returned Luca. He stopped, looked round at the workmen, who were chipping away mechanically at their bit of drapery; then advanced close to the priest, with a cunning smile, and continued in a whisper, 'If Maddalena can only get from Fabio's room here to Fabio's palace over the way, on the Arno-come, come, Rocco! don't shake your head. If I brought her up to your church door one of these days, as Fabio d'Ascoli's betrothed, you would be glad enough to take the rest of the business off my hands, and make her Fabio d'Ascoli's wife. You are a very holy man, Rocco, but you know the difference between the clink of the money-bag and the clink of the chisel for all that!'

'I am sorry to find, Luca,' returned the priest, coldly, 'that you allow yourself to talk of the most delicate subjects in the coarsest way. This is one of the minor sins of the tongue which is growing on you. When we are alone in the studio, I will endeavor to lead you into speaking of the young man in the room there, and of your daughter, in terms more becoming to you, to me, and to them. Until that time, allow me to go on with my work.'

Luca shrugged his shoulders, and went back to his statue. Father Rocco, who had been engaged during the last ten minutes in mixing wet plaster to the right consistency for taking a cast, suspended his occupation; and crossing the room to a corner next the partition, removed from it a cheval-glass which stood there. He lifted it away gently, while his brother's back was turned, carried it close to the table at which he had been at work, and then resumed his employment of mixing the plaster. Having at last prepared the composition for use, he laid it over the exposed half of the statuette with a neatness and dexterity which showed him to be a practiced hand at cast-taking. Just as he had covered the necessary extent of surface, Luca turned round from his statue.

'How are you getting on with the cast?' he asked. 'Do you want any help?'

'None, brother, I thank you,' answered the priest. 'Pray do not disturb either yourself or your workmen on my account.'

Luca turned again to the statue; and, at the same moment, Father Rocco softly moved the cheval-glass toward the open doorway between the two rooms, placing it at such an angle as to make it reflect the figures of the persons in the smaller studio. He did this with significant quickness and precision. It was evidently not the first time he had used the glass for purposes of secret observation.

Mechanically stirring the wet plaster round and round for the second casting, the priest looked into the glass, and saw, as in a picture, all that was going forward in the inner room. Maddalena Lomi was standing behind the young nobleman, watching the progress he made with his bust. Occasionally she took the modeling tool out of his hand, and showed him, with her sweetest smile, that she, too, as a sculptor's daughter, understood something of the sculptor's art; and now and then, in the pauses of the conversation, when her interest was especially intense in Fabio's work, she suffered her hand to drop absently on his shoulder, or stooped forward so close to him that her hair mingled for a moment with his. Moving the glass an inch or two, so as to bring Nanina well under his eye, Father Rocco found that he could trace each repetition of these little acts of familiarity by the immediate effect which they produced on the girl's face and manner. Whenever Maddalena so much as touched the young nobleman-no matter whether she did so by premeditation, or really by accident-Nanina's features contracted, her pale cheeks grew paler, she fidgeted on her chair, and her fingers nervously twisted and untwisted the loose ends of the ribbon fastened round her waist.

'Jealous,' thought Father Rocco; 'I suspected it weeks ago.'

He turned away, and gave his whole attention for a few minutes to the mixing of the plaster. When he looked back again at the glass, he was just in time to witness a little accident which suddenly changed the relative positions of the three persons in the inner room.

He saw Maddalena take up a modeling tool which lay on a table near her, and begin to help Fabio in altering the arrangement of the hair in his bust. The young man watched what she was doing earnestly enough for a few moments; then his attention wandered away to Nanina. She looked at him reproachfully, and he answered by a sign which brought a smile to her face directly. Maddalena surprised her at the instant of the change; and, following the direction of her eyes, easily discovered at whom the smile was directed. She darted a glance of contempt at Nanina, threw down the modeling tool, and turned indignantly to the young sculptor, who was affecting to be hard at work again.

'Signor Fabio,' she said, 'the next time you forget what is due to your rank and yourself, warn me of it, if you please, beforehand, and I will take care to leave the room.' While speaking the last words, she passed through the doorway. Father Rocco, bending abstractedly over his plaster mixture, heard her continue to herself in a whisper, as she went by him, 'If I have any influence at all with my father, that impudent beggar-girl shall be forbidden the studio.'

'Jealousy on the other side,' thought the priest. 'Something must be done at once, or this will end badly.'

He looked again at the glass, and saw Fabio, after an instant of hesitation, beckon to Nanina to approach him. She left her seat, advanced half-way to his, then stopped. He stepped forward to meet her, and, taking her by the hand, whispered earnestly in her ear. When he had done, before dropping her hand, he touched her cheek with his lips, and then helped her on with the little white mantilla which covered her head and shoulders out-of-doors. The girl trembled violently, and drew the linen close to her face as Fabio walked into the larger studio, and, addressing Father Rocco, said:

'I am afraid I am more idle, or more stupid, than ever to-day. I can't get on with the bust at all to my satisfaction, so I have cut short the sitting, and given Nanina a half-holiday.'

At the first sound of his voice, Maddalena, who was speaking to her father, stopped, and, with another look of scorn at Nanina standing trembling in the doorway, left the room. Luca Lomi called Fabio to him as she went away, and Father Rocco, turning to the statuette, looked to see how the plaster was hardening on it. Seeing them thus engaged, Nanina attempted to escape from the studio without being noticed; but the priest stopped her just as she was hurrying by him.

'My child,' said he, in his gentle, quiet way, 'are you going home?'

Nanina's heart beat too fast for her to reply in words; she could only answer by bowing her head.

'Take this for your little sister,' pursued Father Rocco, putting a few silver coins in her hand; 'I have got some customers for those mats she plaits so nicely. You need not bring them to my rooms; I will come and see you this evening, when I am going my rounds among my parishioners, and will take the mats away with me. You are a good girl, Nanina-you have always been a good girl-and as long as I am alive, my child, you shall never want a friend and an adviser.'

Nanina's eyes filled with tears. She drew the mantilla closer than ever round her face, as she tried to thank the priest. Father Rocco nodded to her kindly, and laid his hand lightly on her head for a moment, then turned round again to his cast.

'Don't forget my message to the lady who is to sit to me to-morrow,' said Luca to Nanina, as she passed him on her way out of the studio.

After she had gone, Fabio returned to the priest, who was still busy over his cast.

'I hope you will get on better with the bust to-morrow,' said Father Rocco, politely; 'I am sure you cannot complain of your model.'

'Complain of her!' cried the young man, warmly; 'she has the most beautiful head I ever saw. If I were twenty times the sculptor that I am, I should despair of being able to do her justice.'

He walked into the inner room to look at his bust again-lingered before it for a little while-and then turned to retrace his steps to the larger studio. Between him and the door-way stood three chairs. As he went by them, he absently touched the backs of the first two, and passed the third; but just as he was entering the larger room, stopped, as if struck by a sudden recollection, returned hastily, and touched the third chair. Raising his eyes, as he approached the large studio again after doing this, he met the eyes of the priest fixed on him in unconcealed astonishment.

'Signor Fabio!' exclaimed Father Rocco, with a sarcastic smile, 'who would ever have imagined that you were superstitious?'

'My nurse was,' returned the young man, reddening, and laughing rather uneasily. 'She taught me some bad habits that I have not got over yet.' With those words he nodded and hastily went out.

'Superstitious,' said Father Rocco softly to himself. He smiled again, reflected for a moment, and then, going to the window, looked into the street. The way to the left led to Fabio's palace, and the way to the right to the Campo Santo, in the neighborhood of which Nanina lived. The priest was just in time to see the young sculptor take the way to the right.

After another half-hour had elapsed, the two workmen quitted the studio to go to dinner, and Luca and his brother were left alone.

'We may return now,' said Father Rocco, 'to that conversation which was suspended between us earlier in the day.'

'I have nothing more to say,' rejoined Luca, sulkily.

'Then you can listen to me, brother, with the greater attention,' pursued the priest. 'I objected to the coarseness of your tone in talking of our young pupil and your daughter; I object still more strongly to your insinuation that my desire to see them married (provided always that they are sincerely attached to each other) springs from a mercenary motive.'

'You are trying to snare me, Rocco, in a mesh of fine phrases; but I am not to be caught. I know what my own motive is for hoping that Maddalena may get an offer of marriage from this wealthy young gentleman-she will have his money, and we shall all profit by it. That is coarse and mercenary, if you please; but it is the true reason why I want to see Maddalena married to Fabio. You want to see it, too-and for what reason, I should like to know, if not for mine?'

'Of what use would wealthy relations be to me? What are people with money-what is money itself-to a man who follows my calling?'

'Money is something to every body.'

'Is it? When have you found that I have taken any account of it? Give me money enough to buy my daily bread, and to pay for my lodging and my coarse cassock, and though I may want much for the poor, for myself I want no more. Then have you found me mercenary? Do I not help you in this studio, for love of you and of the art, without exacting so much as journeyman's wages? Have I ever asked you for more than a few crowns to give away on feast-days among my parishioners? Money! money for a man who may be summoned to Rome to-morrow, who may be told to go at half an hour's notice on a foreign mission that may take him to the ends of the earth, and who would be ready to go the moment when he was called on! Money to a man who has no wife, no children, no interests outside the sacred circle of the Church! Brother, do you see the dust and dirt and shapeless marble chips lying around your statue there? Cover that floor instead with gold, and, though the litter may have changed in color and form, in my eyes it would be litter still.'

'A very noble sentiment, I dare say, Rocco, but I can't echo it. Granting that you care nothing for money, will you explain to me why you are so anxious that Maddalena should marry Fabio? She has had offers from poorer men-you knew of them-but you have never taken the least interest in her accepting or rejecting a proposal before.'

'I hinted the reason to you, months ago, when Fabio first entered the studio.'

'It was rather a vague hint, brother; can't you be plainer to-day?'

'I think I can. In the first place, let me begin by assuring you that I have no objection to the young man himself. He may be a little capricious and undecided, but he has no incorrigible faults that I have discovered.'

'That is rather a cool way of praising him, Rocco.'

'I should speak of him warmly enough, if he were not the representative of an intolerable corruption, and a monstrous wrong. Whenever I think of him I think of an injury which his present existence perpetuates; and if I do speak of him coldly, it is only for that reason.'

Luca looked away quickly from his brother, and began kicking absently at the marble chips which were scattered over the floor around him.

'I now remember,' he said, 'what that hint of yours pointed at. I know what you mean.'

'Then you know,' answered the priest, 'that while part of the wealth which Fabio d'Ascoli possesses is honestly and incontestably his own; part, also, has been inherited by him from the spoilers and robbers of the Church-'

'Blame his ancestors for that; don't blame him.'

'I blame him as long as the spoil is not restored.'

'How do you know that it was spoil, after all?'

'I have examined more carefully than most men the records of the civil wars in Italy; and I know that the ancestors of Fabio d'Ascoli wrung from the Church, in her hour of weakness, property which they dared to claim as their right. I know of titles to lands signed away, in those stormy times, under the influence of fear, or through false representations of which the law takes no account. I call the money thus obtained spoil, and I say that it ought to be restored, and shall be restored, to the Church from which it was taken.'

'And what does Fabio answer to that, brother?'

'I have not spoken to him on the subject.'

'Why not?'

'Because I have, as yet, no influence over him. When he is married, his wife will have influence over him, and she shall speak.'

'Maddalena, I suppose? How do you know that she will speak?'

'Have I not educated her? Does she not understand what her duties are toward the Church, in whose bosom she has been reared?'

Luca hesitated uneasily, and walked away a step or two before he spoke again.

'Does this spoil, as you call it, amount to a large sum of money?' he asked, in an anxious whisper.

'I may answer that question, Luca, at some future time,' said the priest. 'For the present, let it be enough that you are acquainted with all I undertook to inform you of when we began our conversation. You now know that if I am anxious for this marriage to take place, it is from motives entirely unconnected with self-interest. If all the property which Fabio's ancestors wrongfully obtained from the Church were restored to the Church to-morrow, not one paulo of it would go into my pocket. I am a poor priest now, and to the end of my days shall remain so. You soldiers of the world, brother, fight for your pay; I am a soldier of the Church, and I fight for my cause.'

Saying these words, he returned abruptly to the statuette; and refused to speak, or leave his employment again, until he had taken the mold off, and had carefully put away the various fragments of which it consisted. This done, he drew a writing-desk from the drawer of his working-table, and taking out a slip of paper wrote these lines:

'Come down to the studio to-morrow. Fabio will be with us, but Nanina will return no more.'

Without signing what he had written, he sealed it up, and directed it to 'Donna Maddalena'; then took his hat, and handed the note to his brother.

'Oblige me by giving that to my niece,' he said.

'Tell me, Rocco,' said Luca, turning the note round and round perplexedly between his finger and thumb; 'do you think Maddalena will be lucky enough to get married to Fabio?'

'Still coarse in your expressions, brother!'

'Never mind my expressions. Is it likely?'

'Yes, Luca, I think it is likely.'

With those words he waved his hand pleasantly to his brother, and went out.

Chapter III

From the studio Father Rocco went straight to his own rooms, hard by the church to which he was attached. Opening a cabinet in his study, he took from one of its drawers a handful of small silver money, consulted for a minute or so a slate on which several names and addresses were written, provided himself with a portable inkhorn and some strips of paper, and again went out.

He directed his steps to the poorest part of the neighborhood; and entering some very wretched houses, was greeted by the inhabitants with great respect and affection. The women, especially, kissed his hands with more reverence than they would have shown to the highest crowned head in Europe. In return, he talked to them as easily and unconstrainedly as if they were his equals; sat down cheerfully on dirty bedsides and rickety benches; and distributed his little gifts of money with the air of a man who was paying debts rather than bestowing charity. Where he encountered cases of illness, he pulled out his inkhorn and slips of paper, and wrote simple prescriptions to be made up from the medicine-chest of a neighboring convent, which served the same merciful purpose then that is answered by dispensaries in our days. When he had exhausted his money, and had got through his visits, he was escorted out of the poor quarter by a perfect train of enthusiastic followers. The women kissed his hand again, and the men uncovered as he turned, and, with a friendly sign, bade them all farewell.

As soon as he was alone again, he walked toward the Campo Santo, and, passing the house in which Nanina lived, sauntered up and down the street thoughtfully for some minutes. When he at length ascended the steep staircase that led to the room occupied by the sisters, he found the door ajar. Pushing it open gently, he saw La Biondella sitting with her pretty, fair profile turned toward him, eating her evening meal of bread and grapes. At the opposite end of the room, Scarammuccia was perched up on his hindquarters in a corner, with his mouth wide open to catch the morsel of bread which he evidently expected the child to throw to him. What the elder sister was doing, the priest had not time to see; for the dog barked the moment he presented himself, and Nanina hastened to the door to ascertain who the intruder might be. All that he could observe was that she was too confused, on catching sight of him, to be able to utter a word. La Biondella was the first to speak.

'Thank you, Father Rocco,' said the child, jumping up, with her bread in one hand and her grapes in the other-'thank you for giving me so much money for my dinner-mats. There they are, tied up together in one little parcel, in the corner. Nanina said she was ashamed to think of your carrying them; and I said I knew where you lived, and I should like to ask you to let me take them home!'

'Do you think you can carry them all the way, my dear?' asked the priest.

'Look, Father Rocco, see if I can't carry them!' cried La Biondella, cramming her bread into one of the pockets of her little apron, holding her bunch of grapes by the stalk in her mouth, and hoisting the packet of dinner-mats on her head in a moment. 'See, I am strong enough to carry double,' said the child, looking up proudly into the priest's face.

'Can you trust her to take them home for me?' asked Father Rocco, turning to Nanina. 'I want to speak to you alone, and her absence will give me the opportunity. Can you trust her out by herself?'

'Yes, Father Rocco, she often goes out alone.' Nanina gave this answer in low, trembling tones, and looked down confusedly on the ground.

'Go then, my dear,' said Father Rocco, patting the child on the shoulder; 'and come back here to your sister, as soon as you have left the mats.'

La Biondella went out directly in great triumph, with Scarammuccia walking by her side, and keeping his muzzle suspiciously close to the pocket in which she had put her bread. Father Rocco closed the door after them, and then, taking the one chair which the room possessed, motioned to Nanina to sit by him on the stool.

'Do you believe that I am your friend, my child, and that I have always meant well toward you?' he began.

'The best and kindest of friends,' answered Nanina.

'Then you will hear what I have to say patiently, and you will believe that I am speaking for your good, even if my words should distress you?' (Nanina turned away her head.) 'Now, tell me; should I be wrong, to begin with, if I said that my brother's pupil, the young nobleman whom we call “Signor Fabio,” had been here to see you to-day?' (Nanina started up affrightedly from her stool.) 'Sit down again, my child; I am not going to blame you. I am only going to tell you what you must do for the future.'

He took her hand; it was cold, and it trembled violently in his.

'I will not ask what he has been saying to you,' continued the priest; 'for it might distress you to answer, and I have, moreover, had means of knowing that your youth and beauty have made a strong impression on him. I will pass over, then, all reference to the words he may have been speaking to you; and I will come at once to what I have now to say, in my turn. Nanina, my child, arm yourself with all your courage, and promise me, before we part to-night, that you will see Signor Fabio no more.'

Nanina turned round suddenly, and fixed her eyes on him, with an expression of terrified incredulity. 'No more?'

'You are very young and very innocent,' said Father Rocco; 'but surely you must have thought before now of the difference between Signor Fabio and you. Surely you must have often remembered that you are low down among the ranks of the poor, and that he is high up among the rich and the nobly born?'

Nanina's hands dropped on the priest's knees. She bent her head down on them, and began to weep bitterly.

'Surely you must have thought of that?' reiterated Father Rocco.

'Oh, I have often, often thought of it!' murmured the girl 'I have mourned over it, and cried about it in secret for many nights past. He said I looked pale, and ill, and out of spirits to-day, and I told him it was with thinking of that!'

'And what did he say in return?'

There was no answer. Father Rocco looked down. Nanina raised her head directly from his knees, and tried to turn it away again. He took her hand and stopped her.

'Come!' he said; 'speak frankly to me. Say what you ought to say to your father and your friend. What was his answer, my child, when you reminded him of the difference between you?'

'He said I was born to be a lady,' faltered the girl, still struggling to turn her face away, 'and that I might make myself one if I would learn and be patient. He said that if he had all the noble ladies in Pisa to choose from on one side, and only little Nanina on the other, he would hold out his hand to me, and tell them, “This shall be my wife.” He said love knew no difference of rank; and that if he was a nobleman and rich, it was all the more reason why he should please himself. He was so kind, that I thought my heart would burst while he was speaking; and my little sister liked him so, that she got upon his knee and kissed him. Even our dog, who growls at other strangers, stole to his side and licked his hand. Oh, Father Rocco! Father Rocco!' The tears burst out afresh, and the lovely head dropped once more, wearily, on the priest's knee.

Father Rocco smiled to himself, and waited to speak again till she was calmer.

'Supposing,' he resumed, after some minutes of silence, 'supposing Signor Fabio really meant all he said to you-'

Nanina started up, and confronted the priest boldly for the first time since he had entered the room.

'Supposing!' she exclaimed, her cheeks beginning to redden, and her dark blue eyes flashing suddenly through her tears 'Supposing! Father Rocco, Fabio would never deceive me. I would die here at your feet, rather than doubt the least word he said to me!'

The priest signed to her quietly to return to the stool. 'I never suspected the child had so much spirit in her,' he thought to himself.

'I would die,' repeated Nanina, in a voice that began to falter now. 'I would die rather than doubt him.'

'I will not ask you to doubt him,' said Father Rocco, gently; 'and I will believe in him myself as firmly as you do. Let us suppose, my child, that you have learned patiently all the many things of which you are now ignorant, and which it is necessary for a lady to know. Let us suppose that Signor Fabio has really violated all the laws that govern people in his high station and has taken you to him publicly as his wife. You would be happy then, Nanina; but would he? He has no father or mother to control him, it is true; but he has friends-many friends and intimates in his own rank-proud, heartless people, who know nothing of your worth and goodness; who, hearing of your low birth, would look on you, and on your husband too, my child, with contempt. He has not your patience and fortitude. Think how bitter it would be for him to bear that contempt-to see you shunned by proud women, and carelessly pitied or patronized by insolent men. Yet all this, and more, he would have to endure, or else to quit the world he has lived in from his boyhood-the world he was born to live in. You love him, I know-'

Nanina's tears burst out afresh. 'Oh, how dearly-how dearly!' she murmured.

'Yes, you love him dearly,' continued the priest; 'but would all your love compensate him for every-thing else that he must lose? It might, at first; but there would come a time when the world would assert its influence over him again; when he would feel a want which you could not supply-a weariness which you could not solace. Think of his life then, and of yours. Think of the first day when the first secret doubt whether he had done rightly in marrying you would steal into his mind. We are not masters of all our impulses. The lightest spirits have their moments of irresistible depression; the bravest hearts are not always superior to doubt. My child, my child, the world is strong, the pride of rank is rooted deep, and the human will is frail at best! Be warned! For your own sake and for Fabio's, be warned in time.'

Nanina stretched out her hands toward the priest in despair.

'Oh, Father Rocco! Father Rocco!' she cried, 'why did you not tell me this before?'

'Because, my child, I only knew of the necessity for telling you to-day. But it is not too late; it is never too late to do a good action. You love Fabio, Nanina? Will you prove that love by making a great sacrifice for his good?'

'I would die for his good!'

'Will you nobly cure him of a passion which will be his ruin, if not yours, by leaving Pisa to-morrow?'

'Leave Pisa!' exclaimed Nanina. Her face grew deadly pale; she rose and moved back a step or two from the priest.

'Listen to me,' pursued Father Rocco; 'I have heard you complain that you could not get regular employment at needle-work. You shall have that employment, if you will go with me-you and your little sister too, of course-to Florence to-morrow.'

'I promised Fabio to go to the studio,' began Nanina, affrightedly. 'I promised to go at ten o'clock. How can I-'

She stopped suddenly, as if her breath were failing her.

'I myself will take you and your sister to Florence,' said Father Rocco, without noticing the interruption. 'I will place you under the care of a lady who will be as kind as a mother to you both. I will answer for your getting such work to do as will enable you to keep yourself honestly and independently; and I will undertake, if you do not like your life at Florence, to bring you back to Pisa after a lapse of three months only. Three months, Nanina. It is not a long exile.'

'Fabio! Fabio!' cried the girl, sinking again on the seat, and hiding her face.

'It is for his good,' said Father Rocco, calmly: 'for Fabio's good, remember.'

'What would he think of me if I went away? Oh, if I had but learned to write! If I could only write Fabio a letter!'

'Am I not to be depended on to explain to him all that he ought to know?'

'How can I go away from him! Oh! Father Rocco, how can you ask me to go away from him?'

'I will ask you to do nothing hastily. I will leave you till to-morrow morning to decide. At nine o'clock I shall be in the street; and I will not even so much as enter this house, unless I know beforehand that you have resolved to follow my advice. Give me a sign from your window. If I see you wave your white mantilla out of it, I shall know that you have taken the noble resolution to save Fabio and to save yourself. I will say no more, my child; for, unless I am grievously mistaken in you, I have already said enough.'

He went out, leaving her still weeping bitterly.

Not far from the house, he met La Biondella and the dog on their way back. The little girl stopped to report to him the safe delivery of her dinner-mats; but he passed on quickly with a nod and a smile. His interview with Nanina had left some influence behind it, which unfitted him just then for the occupation of talking to a child.

Nearly half an hour before nine o'clock on the following morning, Father Rocco set forth for the street in which Nanina lived. On his way thither he overtook a dog walking lazily a few paces ahead in the roadway; and saw, at the same time, an elegantly-dressed lady advancing toward him. The dog stopped suspiciously as she approached, and growled and showed his teeth when she passed him. The lady, on her side, uttered an exclamation of disgust, but did not seem to be either astonished or frightened by the animal's threatening attitude. Father Rocco looked after her with some curiosity as she walked by him. She was a handsome woman, and he admired her courage. 'I know that growling brute well enough,' he said to himself, 'but who can the lady be?'

The dog was Scarammuccia, returning from one of his marauding expeditions. The lady was Brigida, on her way to Luca Lomi's studio.

Some minutes before nine o'clock the priest took his post in the street, opposite Nanina's window. It was open; but neither she nor her little sister appeared at it. He looked up anxiously as the church-clocks struck the hour; but there was no sign for a minute or so after they were all silent. 'Is she hesitating still?' said Father Rocco to himself.

Just as the words passed his lips, the white mantilla was waved out of the window.

Part Second

Chapter I

Even the master-stroke of replacing the treacherous Italian forewoman by a French dressmaker, engaged direct from Paris, did not at first avail to elevate the great Grifoni establishment above the reach of minor calamities. Mademoiselle Virginie had not occupied her new situation at Pisa quite a week before she fell ill. All sorts of reports were circulated as to the cause of this illness; and the Demoiselle Grifoni even went so far as to suggest that the health of the new forewoman had fallen a sacrifice to some nefarious practices of the chemical sort, on the part of her rival in the trade. But, however the misfortune had been produced, it was a fact that Mademoiselle Virginie was certainly very ill, and another fact that the doctor insisted on her being sent to the baths of Lucca as soon as she could be moved from her bed.

Fortunately for the Demoiselle Grifoni, the Frenchwoman had succeeded in producing three specimens of her art before her health broke down. They comprised the evening-dress of yellow brocaded silk, to which she had devoted herself on the morning when she first assumed her duties at Pisa; a black cloak and hood of an entirely new shape; and an irresistibly fascinating dressing-gown, said to have been first brought into fashion by the princesses of the blood-royal of France. These articles of costume, on being exhibited in the showroom, electrified the ladies of Pisa; and orders from all sides flowed in immediately on the Grifoni establishment. They were, of course, easily executed by the inferior work-women, from the specimen designs of the French dressmaker. So that the illness of Mademoiselle Virginie, though it might cause her mistress some temporary inconvenience, was, after all, productive of no absolute loss.

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