The Valley of Decision

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Title: The Valley Of Decision

Author: Edith Wharton

Release Date: August, 2003 [Etext# 4327]

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THE VALLEY OF DECISION

BY

EDITH WHARTON

Author of “A Gift from the Grave,” “Crucial Instances,” etc.

“Multitudes, multitudes in the valley of decision.”

TO

MY FRIENDS

PAUL AND MINNIE BOURGET

IN REMEMBRANCE OF

ITALIAN DAYS TOGETHER.

CONTENTS.

BOOK I. THE OLD ORDER.

BOOK II. THE NEW LIGHT.

BOOK III. THE CHOICE.

BOOK IV. THE REWARD.

BOOK I.

THE OLD ORDER.

Prima che incontro alla festosa fronte I lugubri suoi lampi il ver baleni.

1.1.

It was very still in the small neglected chapel. The noises of the farm came faintly through closed doors—voices shouting at the oxen in the lower fields, the querulous bark of the old house-dog, and Filomena’s angry calls to the little white-faced foundling in the kitchen.

The February day was closing, and a ray of sunshine, slanting through a slit in the chapel wall, brought out the vision of a pale haloed head floating against the dusky background of the chancel like a water-lily on its leaf. The face was that of the saint of Assisi—a sunken ravaged countenance, lit with an ecstasy of suffering that seemed not so much to reflect the anguish of the Christ at whose feet the saint knelt, as the mute pain of all poor down-trodden folk on earth.

When the small Odo Valsecca—the only frequenter of the chapel—had been taunted by the farmer’s wife for being a beggar’s brat, or when his ears were tingling from the heavy hand of the farmer’s son, he found a melancholy kinship in that suffering face; but since he had fighting blood in him too, coming on the mother’s side of the rude Piedmontese stock of the Marquesses di Donnaz, there were other moods when he turned instead to the stout Saint George in gold armour, just discernible through the grime and dust of the opposite wall.

The chapel of Pontesordo was indeed as wonderful a storybook as fate ever unrolled before the eyes of a neglected and solitary child. For a hundred years or more Pontesordo, a fortified manor of the Dukes of Pianura, had been used as a farmhouse; and the chapel was never opened save when, on Easter Sunday, a priest came from the town to say mass. At other times it stood abandoned, cobwebs curtaining the narrow windows, farm tools leaning against the walls, and the dust deep on the sea-gods and acanthus volutes of the altar. The manor of Pontesordo was very old.

The country people said that the great warlock Virgil, whose dwelling-place was at Mantua, had once shut himself up for a year in the topmost chamber of the keep, engaged in unholy researches; and another legend related that Alda, wife of an early lord of Pianura, had thrown herself from its battlements to escape the pursuit of the terrible Ezzelino. The chapel adjoined this keep, and Filomena, the farmer’s wife, told Odo that it was even older than the tower and that the walls had been painted by early martyrs who had concealed themselves there from the persecutions of the pagan emperors.

On such questions a child of Odo’s age could obviously have no pronounced opinion, the less so as Filomena’s facts varied according to the seasons or her mood, so that on a day of east wind or when the worms were not hatching well, she had been known to affirm that the pagans had painted the chapel under Virgil’s instruction, to commemorate the Christians they had tortured. In spite of the distance to which these conflicting statements seemed to relegate them, Odo somehow felt as though these pale strange people—youths with ardent faces under their small round caps, damsels with wheat-coloured hair and boys no bigger than himself, holding spotted dogs in leash—were younger and nearer to him than the dwellers on the farm: Jacopone the farmer, the shrill Filomena, who was Odo’s foster-mother, the hulking bully their son and the abate who once a week came out from Pianura to give Odo religious instruction and who dismissed his questions with the invariable exhortation not to pry into matters that were beyond his years. Odo had loved the pictures in the chapel all the better since the abate, with a shrug, had told him they were nothing but old rubbish, the work of the barbarians.

Life at Pontesordo was in truth not very pleasant for an ardent and sensitive little boy of nine, whose remote connection with the reigning line of Pianura did not preserve him from wearing torn clothes and eating black bread and beans out of an earthen bowl on the kitchen doorstep.

“Go ask your mother for new clothes!” Filomena would snap at him, when his toes came through his shoes and the rents in his jacket-sleeves had spread beyond darning. “These you are wearing are my Giannozzo’s, as you well know, and every rag on your back is mine, if there were any law for poor folk, for not a copper of pay for your keep or a stitch of clothing for your body have we had these two years come Assumption—. What’s that? You can’t ask your mother, you say, because she never comes here?

True enough—fine ladies let their brats live in cow-dung, but they must have Indian carpets under their own feet. Well, ask the abate, then—he has lace ruffles to his coat and a naked woman painted on his snuff box—What? He only holds his hands up when you ask? Well, then, go ask your friends on the chapel-walls—maybe they’ll give you a pair of shoes—though Saint Francis, for that matter, was the father of the discalced, and would doubtless tell you to go without!” And she would add with a coarse laugh: “Don’t you know that the discalced are shod with gold?”

It was after such a scene that the beggar-noble, as they called him at Pontesordo, would steal away to the chapel and, seating himself on an upturned basket or a heap of pumpkins, gaze long into the face of the mournful saint.

There was nothing unusual in Odo’s lot. It was that of many children in the eighteenth century, especially those whose parents were cadets of noble houses, with an appanage barely sufficient to keep their wives and themselves in court finery, much less to pay their debts and clothe and educate their children. All over Italy at that moment, had Odo Valsecca but known it, were lads whose ancestors, like his own, had been dukes and crusaders, but who, none the less, were faring, as he fared, on black bread and hard blows, and the half-comprehended taunts of unpaid foster-parents. Many, doubtless, there were who cared little enough, as long as they might play morro with the farmer’s lads and ride the colt bareback through the pasture and go bird-netting and frog-hunting with the village children; but some perhaps, like Odo, suffered in a dumb animal way, without understanding why life was so hard on little boys.

Odo, for his part, had small taste for the sports in which Gianozzo and the village lads took pleasure. He shrank from any amusement associated with the frightening or hurting of animals, and his bosom swelled with the fine gentleman’s scorn of the clowns who got their fun in so coarse a way. Now and then he found a moment’s glee in a sharp tussle with one of the younger children who had been tormenting a frog or a beetle; but he was still too young for real fighting, and could only hang on the outskirts when the bigger boys closed, and think how some day he would be at them and break their lubberly heads. There were thus many hours when he turned to the silent consolations of the chapel. So familiar had he grown with the images on its walls that he had a name for every one: the King, the Knight, the Lady, the children with guinea-pigs, basilisks and leopards, and lastly the Friend, as he called Saint Francis. An almond-faced lady on a white palfrey with gold trappings represented his mother, whom he had seen too seldom for any distinct image to interfere with the illusion; a knight in damascened armour and scarlet cloak was the valiant captain, his father, who held a commission in the ducal army; and a proud young man in diadem and ermine, attended by a retinue of pages, stood for his cousin, the reigning Duke of Pianura.

A mist, as usual at that hour, was rising from the marshes between Pontesordo and Pianura, and the light soon ebbed from the saint’s face, leaving the chapel in obscurity. Odo had crept there that afternoon with a keener sense than usual of the fact that life was hard on little boys; and though he was cold and hungry and half afraid, the solitude in which he cowered seemed more endurable than the noisy kitchen where, at that hour, the farm hands were gathering for their polenta, and Filomena was screaming at the frightened orphan who carried the dishes to the table.

He knew, of course, that life at Pontesordo would not last for ever—that in time he would grow up and be mysteriously transformed into a young gentleman with a sword and laced coat, who would go to court and perhaps be an officer in the Duke’s army or in that of some neighbouring prince; but, viewed from the lowliness of his nine years, that dazzling prospect was too remote to yield much solace for the cuffs and sneers, the ragged shoes and sour bread of the present. The fog outside had thickened, and the face of Odo’s friend was now discernible only as a spot of pallor in the surrounding dimness. Even he seemed farther away than usual, withdrawn into the fog as into that mist of indifference which lay all about Odo’s hot and eager spirit. The child sat down among the gourds and medlars on the muddy floor and hid his face against his knees.

He had sat there a long time when the noise of wheels and the crack of a postillion’s whip roused the dogs chained in the stable. Odo’s heart began to beat. What could the sounds mean? It was as though the flood-tide of the unknown were rising about him and bursting open the chapel door to pour in on his loneliness. It was, in fact, Filomena who opened the door, crying out to him in an odd Easter Sunday voice, the voice she used when she had on her silk neckerchief and gold chain or when she was talking to the bailiff.

Odo sprang up and hid his face in her lap. She seemed, of a sudden, nearer to him than any one else—a last barrier between himself and the mystery that awaited him outside.

“Come, you poor sparrow,” she said, dragging him across the threshold of the chapel, “the abate is here asking for you;” and she crossed herself, as though she had named a saint.

Odo pulled away from her with a last wistful glance at Saint Francis, who looked back at him in an ecstasy of commiseration.

“Come, come,” Filomena repeated, dropping to her ordinary key as she felt the resistance of the little boy’s hand. “Have you no heart, you wicked child? But, to be sure, the poor innocent doesn’t know! Come cavaliere, your illustrious mother waits.”

“My mother?” The blood rushed to his face; and she had called him “cavaliere”!

“Not here, my poor lamb! The abate is here; don’t you see the lights of the carriage? There, there, go to him. I haven’t told him, your reverence; it’s my silly tender-heartedness that won’t let me. He’s always been like one of my own creatures to me—” and she confounded Odo by bursting into tears.

The abate stood on the doorstep. He was a tall stout man with a hooked nose and lace ruffles. His nostrils were stained with snuff and he took a pinch from a tortoiseshell box set with the miniature of a lady; then he looked down at Odo and shrugged his shoulders.

Odo was growing sick with apprehension. It was two days before the appointed time for his weekly instruction and he had not prepared his catechism. He had not even thought of it—and the abate could use the cane. Odo stood silent and envied girls, who are not disgraced by crying. The tears were in his throat, but he had fixed principles about crying. It was his opinion that a little boy who was a cavaliere might weep when he was angry or sorry, but never when he was afraid; so he held his head high and put his hand to his side, as though to rest it on his sword.

The abate sneezed and tapped his snuff-box.

“Come, come, cavaliere, you must be brave—you must be a man; you have duties, you have responsibilities. It’s your duty to console your mother—the poor lady is plunged in despair. Eh? What’s that? You haven’t told him? Cavaliere, your illustrious father is no more.”

Odo stared a moment without understanding; then his grief burst from him in a great sob, and he hid himself against Filomena’s apron, weeping for the father in damascened armour and scarlet cloak.

“Come, come,” said the abate impatiently. “Is supper laid? for we must be gone as soon as the mist rises.” He took the little boy by the hand.

“Would it not distract your mind to recite the catechism?” he inquired.

“No, no!” cried Odo with redoubled sobs.

“Well, then, as you will. What a madman!” he exclaimed to Filomena. “I warrant it hasn’t seen its father three times in its life. Come in, cavaliere; come to supper.”

Filomena had laid a table in the stone chamber known as the bailiff’s parlour, and thither the abate dragged his charge and set him down before the coarse tablecloth covered with earthen platters. A tallow dip threw its flare on the abate’s big aquiline face as he sat opposite Odo, gulping the hastily prepared frittura and the thick purple wine in its wicker flask. Odo could eat nothing. The tears still ran down his cheeks and his whole soul was possessed by the longing to steal back and see whether the figure of the knight in the scarlet cloak had vanished from the chapel wall. The abate sat in silence, gobbling his food like the old black pig in the yard. When he had finished he stood up, exclaiming: “Death comes to us all, as the hawk said to the chicken. You must be a man, cavaliere.” Then he stepped into the kitchen, and called out for the horses to be put to.

The farm hands had slunk away to one of the outhouses, and Filomena and Jacopone stood bowing and curtseying as the carriage drew up at the kitchen door. In a corner of the big vaulted room the little foundling was washing the dishes, heaping the scraps in a bowl for herself and the fowls. Odo ran back and touched her arm. She gave a start and looked at him with frightened eyes. He had nothing to give her, but he said: “Good-bye, Momola”; and he thought to himself that when he was grown up and had a sword he would surely come back and bring her a pair of shoes and a panettone. The abate was calling him, and the next moment he found himself lifted into the carriage, amid the blessings and lamentations of his foster-parents; and with a great baying of dogs and clacking of whipcord the horses clattered out of the farmyard, and turned their heads toward Pianura.

The mist had rolled back and fields and vineyards lay bare to the winter moon. The way was lonely, for it skirted the marsh, where no one lived; and only here and there the tall black shadow of a crucifix ate into the whiteness of the road. Shreds of vapour still hung about the hollows, but beyond these fold on fold of translucent hills melted into a sky dewy with stars. Odo cowered in his corner, staring out awestruck at the unrolling of the strange white landscape. He had seldom been out at night, and never in a carriage; and there was something terrifying to him in this flight through the silent moon-washed fields, where no oxen moved in the furrows, no peasants pruned the mulberries, and not a goat’s bell tinkled among the oaks. He felt himself alone in a ghostly world from which even the animals had vanished, and at last he averted his eyes from the dreadful scene and sat watching the abate, who had fixed a reading-lamp at his back, and whose hooked-nosed shadow, as the springs jolted him up and down, danced overhead like the huge Pulcinella at the fair of Pontesordo.

1.2.

The gleam of a lantern woke Odo. The horses had stopped at the gates of Pianura, and the abate giving the pass-word, the carriage rolled under the gatehouse and continued its way over the loud cobblestones of the ducal streets. These streets were so dark, being lit but by some lantern projecting here and there from the angle of a wall, or by the flare of an oil-lamp under a shrine, that Odo, leaning eagerly out, could only now and then catch a sculptured palace-window, the grinning mask on the keystone of an archway, or the gleaming yellowish facade of a church inlaid with marbles. Once or twice an uncurtained window showed a group of men drinking about a wineshop table, or an artisan bending over his work by the light of a tallow dip; but for the most part doors and windows were barred and the streets disturbed only by the watchman’s cry or by a flash of light and noise as a sedan chair passed with its escort of linkmen and servants. All this was amazing enough to the sleepy eyes of the little boy so unexpectedly translated from the solitude of Pontesordo; but when the carriage turned under another arch and drew up before the doorway of a great building ablaze with lights, the pressure of accumulated emotions made him fling his arms about his preceptor’s neck.

“Courage, cavaliere, courage! You have duties, you have responsibilities,” the abate admonished him; and Odo, choking back his fright, suffered himself to be lifted out by one of the lacqueys grouped about the door. The abate, who carried a much lower crest than at Pontesordo, and seemed far more anxious to please the servants than they to oblige him, led the way up a shining marble staircase where beggars whined on the landings and powdered footmen in the ducal livery were running to and fro with trays of refreshments. Odo, who knew that his mother lived in the Duke’s palace, had vaguely imagined that his father’s death must have plunged its huge precincts into silence and mourning; but as he followed the abate up successive flights of stairs and down long corridors full of shadow he heard a sound of dance music below and caught the flash of girandoles through the antechamber doors.

The thought that his father’s death had made no difference to any one in the palace was to the child so much more astonishing than any of the other impressions crowding his brain, that these were scarcely felt, and he passed as in a dream through rooms where servants were quarrelling over cards and waiting-women rummaged in wardrobes full of perfumed finery, to a bedchamber in which a lady dressed in weeds sat disconsolately at supper.

“Mamma! Mamma!” he cried, springing forward in a passion of tears.

The lady, who was young, pale and handsome, pushed back her chair with a warning hand.

“Child,” she exclaimed, “your shoes are covered with mud; and, good heavens, how you smell of the stable! Abate, is it thus you teach your pupil to approach me?”

“Madam, I am abashed by the cavaliere’s temerity. But in truth I believe excessive grief has clouded his wits—‘tis inconceivable how he mourns his father!”

Donna Laura’s eyebrows rose in a faint smile. “May he never have worse to grieve for!” said she in French; then, extending her scented hand to the little boy, she added solemnly: “My son, we have suffered an irreparable loss.”

Odo, abashed by her rebuke and the abate’s apology, had drawn his heels together in a rustic version of the low bow with which the children of that day were taught to approach their parents.

“Holy Virgin!” said his mother with a laugh, “I perceive they have no dancing-master at Pontesordo. Cavaliere, you may kiss my hand.

So—that’s better; we shall make a gentleman of you yet. But what makes your face so wet? Ah, crying, to be sure. Mother of God! as for crying, there’s enough to cry about.” She put the child aside and turned to the preceptor. “The Duke refuses to pay,” she said with a shrug of despair.

“Good heavens!” lamented the abate, raising his hands. “And Don Lelio?”

he faltered.

She shrugged again, impatiently. “As great a gambler as my husband.

They’re all alike, abate: six times since last Easter has the bill been sent to me for that trifle of a turquoise buckle he made such a to-do about giving me.” She rose and began to pace the room in disorder. “I’m a ruined woman,” she cried, “and it’s a disgrace for the Duke to refuse me.”

The abate raised an admonishing finger. “Excellency…excellency…”

She glanced over her shoulder.

“Eh? You’re right. Everything is heard here. But who’s to pay for my mourning the saints alone know! I sent an express this morning to my father, but you know my brothers bleed him like leeches. I could have got this easily enough from the Duke a year ago—it’s his marriage has made him so stiff. That little white-faced fool—she hates me because Lelio won’t look at her, and she thinks it’s my fault. As if I cared whom he looks at! Sometimes I think he has money put away…all I want is two hundred ducats…a woman of my rank!” She turned suddenly on Odo, who stood, very small and frightened, in the corner to which she had pushed him. “What are you staring at, child? Eh! the monkey is dropping with sleep. Look at his eyes, abate! Here, Vanna, Tonina, to bed with him; he may sleep with you in my dressing-closet, Tonina. Go with her, child, go; but for God’s sake wake him if he snores. I’m too ill to have my rest disturbed.” And she lifted a pomander to her nostrils.

The next few days dwelt in Odo’s memory as a blur of strange sights and sounds. The super-acute state of his perceptions was succeeded after a night’s sleep by the natural passivity with which children accept the improbable, so that he passed from one novel impression to another as easily and with the same exhilaration as if he had been listening to a fairy tale. Solitude and neglect had no surprises for him, and it seemed natural enough that his mother and her maids should be too busy to remember his presence.

For the first day or two he sat unnoticed on his little stool in a corner of his mother’s room, while packing-chests were dragged in, wardrobes emptied, mantua-makers and milliners consulted, and troublesome creditors dismissed with abuse, or even blows, by the servants lounging in the antechamber. Donna Laura continued to show the liveliest symptoms of concern, but the child perceived her distress to be but indirectly connected with the loss she had suffered, and he had seen enough of poverty at the farm to guess that the need of money was somehow at the bottom of her troubles. How any one could be in want, who slept between damask curtains and lived on sweet cakes and chocolate, it exceeded his fancy to conceive; yet there were times when his mother’s voice had the same frightened angry sound as Filomena’s on the days when the bailiff went over the accounts at Pontesordo.

Her excellency’s rooms, during these days, were always crowded, for besides the dressmakers and other merchants there was the hairdresser, or French Monsu—a loud, important figure, with a bag full of cosmetics and curling-irons—the abate, always running in and out with messages and letters, and taking no more notice of Odo than if he had never seen him, and a succession of ladies brimming with condolences, and each followed by a servant who swelled the noisy crowd of card-playing lacqueys in the antechamber.

Through all these figures came and went another, to Odo the most noticeable,—that of a handsome young man with a high manner, dressed always in black, but with an excess of lace ruffles and jewels, a clouded amber head to his cane, and red heels to his shoes. This young gentleman, whose age could not have been more than twenty, and who had the coldest insolent air, was treated with profound respect by all but Donna Laura, who was for ever quarrelling with him when he was present, yet could not support his absence without lamentations and alarm. The abate appeared to act as messenger between the two, and when he came to say that the Count rode with the court, or was engaged to sup with the Prime Minister, or had business on his father’s estate in the country, the lady would openly yield to her distress, crying out that she knew well enough what his excuses meant: that she was the most cruelly outraged of women, and that he treated her no better than a husband.

For two days Odo languished in his corner, whisked by the women’s skirts, smothered under the hoops and falbalas which the dressmakers unpacked from their cases, fed at irregular hours, and faring on the whole no better than at Pontesordo. The third morning, Vanna, who seemed the most good-natured of the women, cried out on his pale looks when she brought him his cup of chocolate. “I declare,” she exclaimed, “the child has had no air since he came in from the farm. What does your excellency say? Shall the hunchback take him for a walk in the gardens?”

To this her excellency, who sat at her toilet under the hairdresser’s hands, irritably replied that she had not slept all night and was in no state to be tormented about such trifles, but that the child might go where he pleased.

Odo, who was very weary of his corner, sprang up readily enough when Vanna, at this, beckoned him to the inner antechamber. Here, where persons of a certain condition waited (the outer being given over to servants and tradesmen), they found a lean humpbacked boy, shabbily dressed in darned stockings and a faded coat, but with an extraordinary keen pale face that at once attracted and frightened the child.

“There, go with him; he won’t eat you,” said Vanna, giving him a push as she hurried away; and Odo, trembling a little, laid his hand in the boy’s. “Where do you come from?” he faltered, looking up into his companion’s face.

The boy laughed and the blood rose to his high cheekbones. “I?—From the Innocenti, if your Excellency knows where that is,” said he.

Odo’s face lit up. “Of course I do,” he cried, reassured. “I know a girl who comes from there—the Momola at Pontesordo.”

“Ah, indeed?” said the boy with a queer look. “Well, she’s my sister, then. Give her my compliments when you see her, cavaliere. Oh, we’re a large family, we are!”

Odo’s perplexity was returning. “Are you really Momola’s brother?” he asked.

“Eh, in a way—we’re children of the same house.”

“But you live in the palace, don’t you?” Odo persisted, his curiosity surmounting his fear. “Are you a servant of my mother’s?”

“I’m the servant of your illustrious mother’s servants; the abatino of the waiting-women. I write their love-letters, do you see, cavaliere, I carry their rubbish to the pawnbroker’s when their sweethearts have bled them of their savings; I clean the birdcages and feed the monkeys, and do the steward’s accounts when he’s drunk, and sleep on a bench in the portico and steal my food from the pantry…and my father very likely goes in velvet and carries a sword at his side.”

The boy’s voice had grown shrill, and his eyes blazed like an owl’s in the dark. Odo would have given the world to be back in his corner, but he was ashamed to betray his lack of heart; and to give himself courage he asked haughtily: “And what is your name, boy?”

The hunchback gave him a gleaming look. “Call me Brutus,” he cried, “for Brutus killed a tyrant.” He gave Odo’s hand a pull. “Come along,” said he, “and I’ll show you his statue in the garden—Brutus’s statue in a prince’s garden, mind you!” And as the little boy trotted at his side down the long corridors he kept repeating under his breath in a kind of angry sing-song, “For Brutus killed a tyrant.”

The sense of strangeness inspired by his odd companion soon gave way in Odo’s mind to emotions of delight and wonder. He was, even at that age, unusually sensitive to external impressions, and when the hunchback, after descending many stairs and winding through endless back-passages, at length led him out on a terrace above the gardens, the beauty of the sight swelled his little heart to bursting.

A Duke of Pianura had, some hundred years earlier, caused a great wing to be added to his palace by the eminent architect Carlo Borromini, and this accomplished designer had at the same time replanted and enlarged the ducal gardens. To Odo, who had never seen plantations more artful than the vineyards and mulberry orchards about Pontesordo, these perspectives of clipped beech and yew, these knots of box filled in with multi-coloured sand, appeared, with the fountains, colonnades and trellised arbours surmounted by globes of glass, to represent the very pattern and Paradise of gardens. It seemed indeed too beautiful to be real, and he trembled, as he sometimes did at the music of the Easter mass, when the hunchback, laughing at his amazement, led him down the terrace steps.

It was Odo’s lot in after years to walk the alleys of many a splendid garden, and to pace, often wearily enough, the paths along which he was now led; but never after did he renew the first enchanted impression of mystery and brightness that remained with him as the most vivid emotion of his childhood.

Though it was February the season was so soft that the orange and lemon trees had been put out in their earthen vases before the lemon-house, and the beds in the parterres were full of violets, daffodils and auriculas; but the scent of the orange-blossoms and the bright colours of the flowers moved Odo less than the noble ordonnance of the pleached alleys, each terminated by a statue or a marble seat; and when he came to the grotto where, amid rearing sea-horses and Tritons, a cascade poured from the grove above, his wonder passed into such delicious awe as hung him speechless on the hunchback’s hand.

“Eh,” said the latter with a sneer, “it’s a finer garden than we have at our family palace. Do you know what’s planted there?” he asked, turning suddenly on the little boy. “Dead bodies, cavaliere! Rows and rows of them; the bodies of my brothers and sisters, the Innocents who die like flies every year of the cholera and the measles and the putrid fever.”

He saw the terror in Odo’s face and added in a gentler tone: “Eh, don’t cry, cavaliere; they sleep better in those beds than in any others they’re like to lie on. Come, come, and I’ll show your excellency the aviaries.”

From the aviaries they passed to the Chinese pavilion, where the Duke supped on summer evenings, and thence to the bowling-alley, the fish-stew and the fruit-garden. At every step some fresh surprise arrested Odo; but the terrible vision of that other garden planted with the dead bodies of the Innocents robbed the spectacle of its brightness, dulled the plumage of the birds behind their gilt wires and cast a deeper shade over the beech-grove, where figures of goat-faced men lurked balefully in the twilight. Odo was glad when they left the blackness of this grove for the open walks, where gardeners were working and he had the reassurance of the sky. The hunchback, who seemed sorry that he had frightened him, told him many curious stories about the marble images that adorned the walks; and pausing suddenly before one of a naked man with a knife in his hand, cried out in a frenzy: “This is my namesake, Brutus!” But when Odo would have asked if the naked man was a kinsman, the boy hurried him on, saying only: “You’ll read of him some day in Plutarch.”

1.3.

Odo, next morning, under the hunchback’s guidance, continued his exploration of the palace. His mother seemed glad to be rid of him, and Vanna packing him off early, with the warning that he was not to fall into the fishponds or get himself trampled by the horses, he guessed, with a thrill, that he had leave to visit the stables. Here in fact the two boys were soon making their way among the crowd of grooms and strappers in the yard, seeing the Duke’s carriage-horses groomed, and the Duchess’s cream-coloured hackney saddled for her ride in the chase; and at length, after much lingering and gazing, going on to the harness-rooms and coach-house. The state-carriages, with their carved and gilt wheels, their panels gay with flushed divinities and their stupendous velvet hammer-cloths edged with bullion, held Odo spellbound.

He had a born taste for splendour, and the thought that he might one day sit in one of these glittering vehicles puffed his breast with pride and made him address the hunchback with sudden condescension. “When I’m a man I shall ride in these carriages,” he said; whereat the other laughed and returned good-humouredly: “Eh, that’s not so much to boast of, cavaliere; I shall ride in a carriage one of these days myself.” Odo stared, not over-pleased, and the boy added: “When I’m carried to the churchyard, I mean,” with a chuckle of relish at the joke.

From the stables they passed to the riding-school, with its open galleries supported on twisted columns, where the duke’s gentlemen managed their horses and took their exercise in bad weather. Several rode there that morning; and among them, on a fine Arab, Odo recognised the young man in black velvet who was so often in Donna Laura’s apartments.

“Who’s that?” he whispered, pulling the hunchback’s sleeve, as the gentleman, just below them, made his horse execute a brilliant balotade.

“That? Bless the innocent! Why, the Count Lelio Trescorre, your illustrious mother’s cavaliere servente.”

Odo was puzzled, but some instinct of reserve withheld him from further questions. The hunchback, however, had no such scruples. “They do say, though,” he went on, “that her Highness has her eye on him, and in that case I’ll wager your illustrious mamma has no more chance than a sparrow against a hawk.”

The boy’s words were incomprehensible, but the vague sense that some danger might be threatening his mother’s friend made Odo whisper: “What would her Highness do to him?”

“Make him a prime-minister, cavaliere,” the hunchback laughed.

Odo’s guide, it appeared, was not privileged to conduct him through the state apartments of the palace, and the little boy had now been four days under the ducal roof without catching so much as a glimpse of his sovereign and cousin. The very next morning, however, Vanna swept him from his trundle-bed with the announcement that he was to be received by the Duke that day, and that the tailor was now waiting to try on his court dress. He found his mother propped against her pillows, drinking chocolate, feeding her pet monkey and giving agitated directions to the maidservants on their knees before the open carriage-trunks. Her excellency informed Odo that she had that moment received an express from his grandfather, the old Marquess di Donnaz; that they were to start next morning for the castle of Donnaz, and that he was to be presented to the Duke as soon as his Highness had risen from dinner. A plump purse lay on the coverlet, and her countenance wore an air of kindness and animation which, together with the prospect of wearing a court dress and travelling to his grandfather’s castle in the mountains, so worked on Odo’s spirits that, forgetting the abate’s instructions, he sprang to her with an eager caress.

“Child, child,” was her only rebuke; and she added, with a tap on his cheek: “It is lucky I shall have a sword to protect me.”

Long before the hour Odo was buttoned into his embroidered coat and waistcoat. He would have on the sword at once, and when they sat down to dinner, though his mother pressed him to eat with more concern than she had before shown, it went hard with him to put his weapon aside, and he cast longing eyes at the corner where it lay. At length a chamberlain summoned them and they set out down the corridors, attended by two servants. Odo held his head high, with one hand leading Donna Laura (for he would not appear to be led by her) while the other fingered his sword. The deformed beggars who always lurked about the great staircase fawned on them as they passed, and on a landing they crossed the humpbacked boy, who grinned mockingly at Odo; but the latter, with his chin up, would not so much as glance at him.

A master of ceremonies in short black cloak and gold chain received them in the antechamber of the Duchess’s apartments, where the court played lansquenet after dinner; the doors of her Highness’s closet were thrown open, and Odo, now glad enough to cling to his mother’s hand, found himself in a tall room, with gods and goddesses in the clouds overhead and personages as supra-terrestrial seated in gilt armchairs about a smoking brazier. Before one of these, to whom Donna Laura swept successive curtsies in advancing, the frightened cavaliere found himself dragged with his sword between his legs. He ducked his head like the old drake diving for worms in the puddle at the farm, and when at last he dared look up, it was to see an odd sallow face, half-smothered in an immense wig, bowing back at him with infinite ceremony—and Odo’s heart sank to think that this was his sovereign.

The Duke was in fact a sickly narrow-faced young man with thick obstinate lips and a slight lameness that made his walk ungainly; but though no way resembling the ermine-cloaked king of the chapel at Pontesordo, he yet knew how to put on a certain majesty with his state wig and his orders. As for the newly married Duchess, who sat at the other end of the cabinet caressing a toy spaniel, she was scant fourteen and looked a mere child in her great hoop and jewelled stomacher. Her wonderful fair hair, drawn over a cushion and lightly powdered, was twisted with pearls and roses, and her cheeks excessively rouged, in the French fashion; so that as she arose on the approach of the visitors she looked to Odo for all the world like the wooden Virgin hung with votive offerings in the parish church at Pontesordo. Though they were but three months married the Duke, it was rumoured, was never with her, preferring the company of the young Marquess of Cerveno, his cousin and heir-presumptive, a pale boy scented with musk and painted like a comedian, whom his Highness would never suffer away from him and who now leaned with an impertinent air against the back of the ducal armchair.

On the other side of the brazier sat the dowager Duchess, the Duke’s grandmother, an old lady so high and forbidding of aspect that Odo cast but one look at her face, which was yellow and wrinkled as a medlar, and surmounted, in the Spanish style, with black veils and a high coif. What these alarming personages said and did, the child could never recall; nor were his own actions clear to him, except for a furtive caress that he remembered giving the spaniel as he kissed the Duchess’s hand; whereupon her Highness snatched up the pampered animal and walked away with a pout of anger. Odo noticed that her angry look followed him as he and Donna Laura withdrew; but the next moment he heard the Duke’s voice and saw his Highness limping after them.

“You must have a furred cloak for your journey, cousin,” said he awkwardly, pressing something in the hand of Odo’s mother, who broke into fresh compliments and curtsies, while the Duke, with a finger on his thick lip, withdrew hastily into the closet.

The next morning early they set out on their journey. There had been frost in the night and a cold sun sparkled on the palace windows and on the marble church-fronts as their carriage lumbered through the streets, now full of noise and animation. It was Odo’s first glimpse of the town by daylight, and he clapped his hands with delight at sight of the people picking their way across the reeking gutters, the asses laden with milk and vegetables, the servant-girls bargaining at the provision-stalls, the shop-keepers’ wives going to mass in pattens and hoods, with scaldini in their muffs, the dark recessed openings in the palace basements, where fruit sellers, wine-merchants and coppersmiths displayed their wares, the pedlars hawking books and toys, and here and there a gentleman in a sedan chair returning flushed and disordered from a night at bassett or faro. The travelling-carriage was escorted by half-a-dozen of the Duke’s troopers and Don Lelio rode at the door followed by two grooms. He wore a furred coat and boots, and never, to Odo, had he appeared more proud and splendid; but Donna Laura had hardly a word for him, and he rode with the set air of a man who acquits himself of a troublesome duty.

Outside the gates the spectacle seemed tame in comparison; for the road bent toward Pontesordo, and Odo was familiar enough with the look of the bare fields, set here and there with oak-copses to which the leaves still clung. As the carriage skirted the marsh his mother raised the windows, exclaiming that they must not expose themselves to the pestilent air; and though Odo was not yet addicted to general reflections, he could not but wonder that she should display such dread of an atmosphere she had let him breathe since his birth. He knew of course that the sunset vapours on the marsh were unhealthy: everybody on the farm had a touch of the ague, and it was a saying in the village that no one lived at Pontesordo who could buy an ass to carry him away; but that Donna Laura, in skirting the place on a clear morning of frost, should show such fear of infection, gave a sinister emphasis to the ill-repute of the region.

The thought, he knew not why, turned his mind to Momola, who often on damp evenings sat shaking and burning in the kitchen corner. He reflected with a pang that he might never see her again, and leaning forward he strained his eyes for a glimpse of Pontesordo. They were passing through a patch of oaks; but where these ended the country opened, and beyond a belt of osiers and the mottled faded stretches of the marsh the keep stood up like a beckoning finger. Odo cried out as though in answer to its call; but that moment the road turned a knoll and bent across rising ground toward an unfamiliar region.

“Thank God!” cried his mother, lowering the window, “we’re rid of that poison and can breath the air.”

As the keep vanished Odo reproached himself for not having begged a pair of shoes for Momola. He had felt very sorry for her since the hunchback had spoken so strangely of life at the foundling hospital; and he had a sudden vision of her bare feet, pinched with cold and cut with the pebbles of the yard, perpetually running across the damp stone floors, with Filomena crying after her : “Hasten then, child of iniquity! You are slower than a day without bread!” He had almost resolved to speak of the foundling to his mother, who still seemed in a condescending humour; but his attention was unexpectedly distracted by a troop of Egyptians, who came along the road leading a dancing bear; and hardly had these passed when the chariot of an itinerant dentist engaged him. The whole way, indeed, was alive with such surprises; and at Valsecca, where they dined, they found the yard of the inn crowded with the sumpter-mules and servants of a cardinal travelling to Rome, who was to lie there that night and whose bedstead and saucepans had preceded him.

Here, after dinner, Don Lelio took leave of Odo’s mother, with small show of regret on either side; the lady high and sarcastic, the gentleman sullen and polite; and both, as it seemed, easier when the business was despatched and the Count’s foot in the stirrup. He had so far taken little notice of Odo, but he now bent from the saddle and tapped the boy’s cheek, saying in his cold way: “In a few years I shall see you at court;” and with that rode away toward Pianura.

1.4.

Lying that night at Pavia, the travellers set forward next morning for the city of Vercelli. The road, though it ran for the most part through flat mulberry orchards and rice-fields reflecting the pale blue sky in their sodden channels, would yet have appeared diverting enough to Odo, had his mother been in the mood to reply to his questions; for whether their carriage overtook a party of strolling jugglers, travelling in a roofed-in waggon, with the younger children of the company running alongside in threadbare tights and trunkhose decked with tinsel; or whether they drove through a village marketplace, where yellow earthen crocks and gaudy Indian cottons, brass pails and braziers and platters of bluish pewter, filled the stalls with a medley of colour—at every turn was something that excited the boy’s wonder; but Donna Laura, who had fallen into a depression of spirits, lamenting the cold, her misfortunes and the discomfort of the journey, was at no more pains than the abate to satisfy the promptings of his curiosity.

Odo had indeed met but one person who cared to listen to him, and that was the strange hunchback who had called himself Brutus. Remembering how entertainingly this odd guide had explained all the wonders of the ducal grounds, Odo began to regret that he had not asked his mother to let him have Brutus for a body-servant. Meanwhile no one attended to his questions and the hours were beginning to seem long when, on the third day, they set out from Vercelli toward the hills. The cold increased as they rose; and Odo, though he had often wished to see the mountains, was yet dismayed at the gloomy and menacing aspect of the region on which they were entering. Leafless woods, prodigious boulders and white torrents foaming and roaring seemed a poor exchange for the pleasantly-ordered gardens of Pianura. Here were no violets and cowslips in bloom; hardly a green blade pierced the sodden roadside, and snowdrifts lingered in the shaded hollows.

Donna Laura’s loudly expressed fear of robbers seemed to increase the loneliness of the way, which now traversed tracts of naked moorland, now plunged again into forest, with no sign of habitation but here and there a cowherd’s hut under the trees or a chapel standing apart on some grassy eminence. When night fell the waters grew louder, a stinging wind swept the woods, and the carriage, staggering from rut to rut, seemed every moment about to land them in some invisible ravine. Fear and cold at last benumbed the little boy, and when he woke he was being lifted from his seat and torches were flashing on a high escutcheoned doorway set in battlemented walls. He was carried into a hall lit with smoky oil-lamps and hung with armour and torn banners.

Here, among a group of rough-looking servants, a tall old man in a nightcap and furred gown was giving orders in a loud passionate voice.

This personage, who was of a choleric complexion, with a face like mottled red marble, seized Odo by the wrist and led him up a flight of stairs so worn and slippery that he tripped at every step; thence down a corridor and into a gloomy apartment where three ladies shivered about a table set with candles. Bidden by the old gentleman to salute his grandmother and great-aunts, Odo bowed over three wrinkled hands, one fat and soft as a toad’s stomach, the others yellow and dry as lemon-skins. His mother embraced the ladies in the same humble manner, and the Marquess, first furiously calling for supper, thrust Odo down on a stool in the ingle.

From this point of observation the child, now vividly awake, noted the hangings of faded tapestry that heaved in the draught, the ceiling of beams and the stone floor strewn with rushes. The candle-light flickering on the faces of his aged relatives showed his grandmother to be a pale heavy-cheeked person with little watchful black eyes which she dropped at her husband’s approach; while the two great-aunts, seated side by side in high-backed chairs with their feet on braziers, reminded Odo of the narrow elongated saints squeezed into the niches of a church-door. The old Marchioness wore the high coif and veil of the previous century; the aunts, who, as Odo afterwards learned, were canonesses of a noble order, were habited in a semi-conventual dress, with crosses hanging on their bosoms; and none spoke but when the Marquess addressed them.

Their timidity appeared to infect Odo’s mother, who, from her habitual volubility of temper, sank to a mood of like submissiveness. A supper of venison and goat’s cheese was not designed to restore her spirits, and when at length she and Odo had withdrawn to their cavernous bedchamber, she flung herself weeping on the bed and declared she must die if she remained long in this prison.

Falling asleep under such influences, it was the more wonderful to Odo to wake with the sun on his counterpane, a sweet noise of streams through the casement and the joyous barking of hounds in the castle court. From the window-seat he looked out on a scene extraordinarily novel to his lowland eyes. The chamber commanded the wooded steep below the castle, with a stream looping its base; beyond, the pastures sloped pleasantly under walnut trees, with here and there a clearing ploughed for the spring crops and a sunny ledge or two planted with vines. Above this pastoral landscape, bare crags upheld a snowpeak; and, as if to lend a human interest to the scene, the old Marquess, his flintlock on his shoulder, his dogs and beaters at his heels, now rode across the valley.

Wonder succeeded to wonder that first morning; for there was the castle to be seen, with the kennels and stables roughly kept, but full of dogs and horses; and Odo, in the Marquess’s absence, was left free to visit every nook of his new home. Pontesordo, though perhaps as ancient as Donnaz, was but a fortified manor in the plain; but here was the turreted border castle, bristling at the head of the gorge like the fangs in a boar’s throat: its walls overhung by machicolations, its portcullis still dropped at nightfall, and the loud stream forming a natural moat at its base. Through the desert spaces of this great structure Odo wandered at will, losing himself in its network of bare chambers, some now put to domestic uses, with smoked meats hanging from the rafters, cheeses ranged on shelves and farmer’s implements stacked on the floor; others abandoned to bats and spiders, with slit-like openings choked by a growth of wild cherries, and little animals scurrying into their holes as Odo opened the unused doors. At the next turn he mounted by a winding stair to the platform behind the battlements, whence he could look down on the inner court, where horses were being groomed, dogs fed, harnesses mended, and platters of smoking food carried from the kitchen to the pantry; or, leaning another way, discovered, between the cliff and the rampart a tiny walled garden with fruit-trees and a sundial.

The ladies kept to themselves in a corner of the castle, where the rooms were hung with tapestry and a few straight-backed chairs stood about the hearth; but even here no fires were suffered till nightfall, nor was there so much as a carpet in the castle. Odo’s grandmother, the old Marchioness, a heavy woman who would doubtless have enjoyed her ease in a cushioned seat, was afoot all day attending to her household; for besides the dairy and the bakehouse and the stillroom where fruits were stewed and pastes prepared, there was the great spinning-room full of distaffs and looms, where the women spun and wove all the linen used in the castle and the coarse stuffs worn by its inmates; with workshops for the cobbler and tailor who clothed and shod the Marquess and his household. All these the Marchioness must visit, and attend to her devotions between; the ladies being governed by a dark-faced priest, their chaplain and director, who kept them perpetually running along the cold stone corridors to the chapel in a distant wing, where they knelt without so much as a brazier to warm them or a cushion to their knees.

As to the chapel, though larger and loftier than that of Pontesordo, with a fine carved and painted tabernacle and many silver candlesticks, it seemed to Odo, by reason of its bare walls, much less beautiful than that deserted oratory; nor did he, amid all the novelty of his surroundings, cease to regret the companionship of his familiar images.

His delight was the greater, therefore, when, exploring a part of the castle now quite abandoned, he came one day on a vaulted chamber used as a kind of granary, where, under layers of dirt and cobwebs, lovely countenances flowered from the walls. The scenes depicted differed indeed from those of Pontesordo, being less animated and homely and more difficult for a child to interpret; for here were naked laurel-crowned knights on prancing horses, nimble goat-faced creatures grouped in adoration round a smoking altar and youths piping to saffron-haired damsels on grass-banks set with poplars. The very strangeness of the fable set forth perhaps engaged the child’s fancy; or the benignant mildness of the countenances, so unlike the eager individual faces of the earlier artist; for he returned again and again to gaze unweariedly on the inhabitants of that tranquil grassy world, studying every inch of the walls and with much awe and fruitless speculation deciphering on the hem of a floating drapery the inscription: Bernardinus Lovinus pinxit.

His impatience to know more of the history of these paintings led him to question an old man, half house-servant, half huntsman, now too infirm for service and often to be found sunning himself in the court with an old hound’s chin on his knee. The old man, whose name was Bruno, told him the room in question had been painted for the Marquess Gualberto di Donnaz, who had fought under the Duke of Milan hundreds of years before: a splendid and hospitable noble, patron of learning and the arts, who had brought the great Milanese painter to Donnaz and kept him there a whole summer adorning the banqueting-room. “But I advise you, little master,” Bruno added, “not to talk too loudly of your discovery; for we live in changed days, do you see, and it seems those are pagan sorcerers and witches painted on the wall, and because of that, and their nakedness, the chaplain has forbidden all the young boys and wenches about the place to set foot there; and the Marchioness herself, I’m told, doesn’t enter without leave.”

This was the more puzzling to Odo that he had seen so many naked pagans, in colours and marble, at his cousin’s palace of Pianura, where they were praised as the chief ornament of that sumptuous fabric; but he kept Bruno’s warning in mind and so timed his visits that they escaped the chaplain’s observation. Whether this touch of mystery added charm to the paintings; or whether there was already forming in him what afterward became an instinctive resistance to many of the dictates of his age; certain it is that, even after he had been privileged to admire the stupendous works of the Caracci at Parma and of the immortal Giulio Romano at Mantua, Odo’s fancy always turned with peculiar fondness to the clear-limbed youths moving in that world of untroubled beauty.

Odo, the day after his arrival at Donnaz, learned that the chaplain was to be his governor; and he was not long in discovering that the system of that ecclesiastic bore no resemblance to the desultory methods of his former pedagogue. It was not that Don Gervaso was a man of superior acquirements: in writing, ciphering and the rudiments of Latin he seemed little likely to carry Odo farther than the other; but in religious instruction he suffered no negligence or inattention. His piety was of a stamp so different from the abate’s that it vivified the theological abstractions over which Odo had formerly languished, infusing a passionate meaning into the formulas of the textbooks. His discourse breathed the same spirit, and had his religion been warmed by imagination or tempered by charity the child had been a ductile substance in his hands; but the shadow of the Council of Trent still hung over the Church in Savoy, making its approach almost as sombre and forbidding as that of the Calvinist heresy. As it was, the fascination that drew Odo to the divine teachings was counteracted by a depressing awe: he trembled in God’s presence almost as much as in his grandfather’s, and with the same despair of discovering what course of action was most likely to call down the impending wrath. The beauty of the Church’s offices, now for the first time revealed to him in the well-ordered services of the chapel, was doubly moving in contrast with the rude life at Donnaz; but his confessions tortured him and the penances which the chaplain inflicted abased without reforming his spirit.

Next to the mass, the books Don Gervaso lent him were his chief pleasure: the Lives of the Saints, Cardinal Bellarmine’s Fables and The Mirror of true Penitence. The Lives of the Saints fed at once his imagination and his heart, and over the story of Saint Francis, now first made known to him, he trembled with delicious sympathy. The longing to found a hermitage like the Portiuncula among the savage rocks of Donnaz, and live there in gentle communion with plants and animals, alternated in him with the martial ambition to ride forth against the Church’s enemies, as his ancestors had ridden against the bloody and pestilent Waldenses; but whether his piety took the passive or the aggressive form, it always shrank from the subtleties of doctrine. To live like the saints, rather than to reason like the fathers, was his ideal of Christian conduct; if indeed a vague pity for suffering creatures and animals was not the source of his monastic yearnings, and a desire to see strange countries the secret of his zeal against the infidel.

The chaplain, though reproving his lukewarmness in matters of dogma, could not but commend his devotion to the saints; and one day his grandmother, to reward him for some act of piety, informed him with tears of joy that he was destined for holy orders, and that she had good hopes of living to see him a bishop. This news had hardly the intended effect; for Odo’s dream was of the saint’s halo rather than the bishop’s mitre; and throwing himself on his knees before the old Marquess, who was present, he besought that he might be allowed to join the Franciscan order. The Marquess at this flew into so furious a rage, cursing the meddlesomeness of women and the chaplain’s bigotry, that the ladies burst into tears and Odo’s swelling zeal turned small. There was indeed but one person in the castle who seemed not to regard its master’s violences, and that was the dark-faced chaplain, who, when the Marquess had paused out of breath, tranquilly returned that nothing could make him repent of having brought a soul to Christ, and that, as to the cavaliere Odo, if his maker designed him for a religious, the Pope himself could not cross his vocation.

“Ay, ay! vocation,” snarled the Marquess. “You and the women here shut the child up between you and stuff his ears full of monkish stories and miracles and the Lord knows what, and then talk of the simpleton’s vocation. His vocation, nom de Dieu, is to be an abbot first, and then a monsignore, and then a bishop, if he can—and to the devil with your cowls and cloisters!” And he gave orders that Odo should hunt with him next morning.

The chaplain smiled. “Hubert was a huntsman,” said he, “and yet he died a saint.”

From that time forth the old Marquess kept Odo oftener at his side, making his grandson ride with him about his estates and on such hunting-parties as were not beyond the boy’s strength. The domain of Donnaz included many a mile of vine and forest, over which, till the fifteenth century, its lords had ruled as sovereign Marquesses. They still retained a part of their feudal privileges, and Odo’s grandfather, tenacious of these dwindling rights, was for ever engaged in vain contests with his peasantry. To see these poor creatures cursed and brow-beaten, their least offences punished, their few claims disputed, must have turned Odo’s fear of his grandfather to hatred, had he not observed that the old man gave with one hand what he took with the other, so that, in his dealings with his people, he resembled one of those torrents which now devastate and now enrich their banks. The Marquess, in fact, while he held obstinately to his fishing rights, prosecuted poachers, enforced the corvee and took toll at every ford, yet laboured to improve his lands, exterminated the wild beasts that preyed on them, helped his peasants in sickness, nourished them in old age and governed them with a paternal tyranny doubtless less insufferable than the negligence of the great land-owners who lived at court.

To Odo, however, these rides among the tenantry were less agreeable than the hunting-expeditions which carried them up the mountain in the solitude of morning. Here the wild freshness of the scene and the exhilaration of pursuit roused the fighting strain in the boy’s blood, and so stirred his memory with tales of prowess that sometimes, as they climbed the stony defiles in the clear shadow before sunrise, he fancied himself riding forth to exterminate the Waldenses who, according to the chaplain, still lurked like basilisks and dragons in the recesses of the mountains. Certain it is that his rides with the old Marquess, if they inflamed his zeal against heresy, cooled the ardour of his monastic vocation; and if he pondered on his future, it was to reflect that doubtless he would some day be a bishop, and that bishops were territorial lords, we might hunt the wolf and boar in their own domains.

1.5.

Reluctantly, every year about the Epiphany, the old Marquess rode down from Donnaz to spend two months in Turin. It was a service exacted by King Charles Emanuel, who viewed with a jealous eye those of his nobles inclined to absent themselves from court and rewarded their presence with privileges and preferments. At the same time the two canonesses descended to their abbey in the plain, and thus with the closing in of winter the old Marchioness, Odo and his mother were left alone in the castle.

To the Marchioness this was an agreeable period of spiritual compunction and bodily repose; but to Donna Laura a season of despair. The poor lady, who had been early removed from the rough life at Donnaz to the luxurious court of Pianura, and was yet in the fulness of youth and vivacity, could not resign herself to an existence no better, as she declared, than that of any herdsman’s wife upon the mountains. Here was neither music nor cards, scandal nor love-making; no news of the fashions, no visits from silk-mercers or jewellers, no Monsu to curl her hair and tempt her with new lotions, or so much as a strolling soothsayer or juggler to lighten the dullness of the long afternoons.

The only visitors to the castle were the mendicant friars drawn thither by the Marchioness’s pious repute; and though Donna Laura disdained not to call these to her chamber and question them for news, yet their country-side scandals were no more to her fancy than the two-penny wares of the chapmen who unpacked their baubles on the kitchen hearth.

She pined for some word of Pianura; but when a young abate, who had touched there on his way from Tuscany, called for a night at the castle to pay his duty to Don Gervaso, the word he brought with him of the birth of an heir to the duchy was so little to Donna Laura’s humour that she sprang up from the supper-table, and crying out to the astonished Odo, “Ah, now you are for the Church indeed,” withdrew in disorder to her chamber. The abate, who ascribed her commotion to a sudden seizure, continued to retail the news of Pianura, and Odo, listening with his elders, learned that Count Lelio Trescorre had been appointed Master of the Horse, to the indignation of the Bishop, who desired the place for his nephew, Don Serafino; that the Duke and Duchess were never together; that the Duchess was suspected of being in secret correspondence with the Austrians, and that the young Marquess of Cerveno was gone to the baths of Lucca to recover from an attack of tertian fever contracted the previous autumn at the Duke’s hunting-lodge near Pontesordo. Odo listened for some mention of his humpbacked friend, or of Momola the foundling; but the abate’s talk kept a higher level and no one less than a cavaliere figured on his lips. He was the only visitor of quality who came that winter to Donnaz, and after his departure a fixed gloom settled on Donna Laura’s spirits. Dusk at that season fell early in the gorge, fierce winds blew off the glaciers, and Donna Laura sat shivering and lamenting on one side of the hearth, while the old Marchioness, on the other, strained her eyes over an embroidery in which the pattern repeated itself like the invocations of a litany, and Don Gervaso, near the smoking oil-lamp, read aloud from the Glories of Mary or the Way of Perfection of Saint Theresa.

On such evenings Odo, stealing from the tapestry parlour, would seek out Bruno, who sat by the kitchen hearth with the old hound’s nose at his feet. The kitchen, indeed, on winter nights, was the pleasantest place in the castle. The fire-light from its great stone chimney shone on the strings of maize and bunches of dried vegetables that hung from the roof and on the copper kettles and saucepans ranged along the wall. The wind raged against the shutters of the unglazed windows, and the maidservants, distaff in hand, crowded closer to the blaze, listening to the songs of some wandering fiddler or to the stories of a ruddy-nosed Capuchin monk who was being regaled, by the steward’s orders, on a supper of tripe and mulled wine. The Capuchin’s tales, told in the Piedmontese jargon, and seasoned with strange allusions and boisterous laughter, were of little interest to Odo, who would creep into the ingle beside Bruno and beg for some story of his ancestors. The old man was never weary of rehearsing the feats and gestures of the lords of Donnaz, and Odo heard again and again how they had fought the savage Switzers north of the Alps and the Dauphin’s men in the west; how they had marched with Savoy against Montferrat and with France against the Republic of Genoa. Better still he liked to hear of the Marquess Gualberto, who had been the Duke of Milan’s ally and had brought home the great Milanese painter to adorn his banqueting-room at Donnaz. The lords of Donnaz had never been noted for learning, and Odo’s grandfather was fond of declaring that a nobleman need not be a scholar; but the great Marquess Gualberto, if himself unlettered, had been the patron of poets and painters and had kept learned clerks to write down the annals of his house on parchment painted by the monks. These annals were locked in the archives, under Don Gervaso’s care; but Odo learned from the old servant that some of the great Marquess’s books had lain for years on an upper shelf in the vestry off the chapel; and here one day, with Bruno’s aid, the little boy dislodged from a corner behind the missals and altar-books certain sheepskin volumes clasped in blackened silver. The comeliest of these, which bore on their title-page a dolphin curled about an anchor, were printed in unknown characters; but on opening the smaller volumes Odo felt the same joyous catching of the breath as when he had stepped out on the garden-terrace at Pianura. For here indeed were gates leading to a land of delectation: the country of the giant Morgante, the enchanted island of Avillion, the court of the Soldan and the King’s palace at Camelot.

In this region Odo spent many blissful hours. His fancy ranged in the wake of heroes and adventurers who, for all he knew, might still be feasting and fighting north of the Alps, or might any day with a blast of their magic horns summon the porter to the gates of Donnaz. Foremost among them, a figure towering above even Rinaldo, Arthur and the Emperor Frederic, was that Conrad, father of Conradin, whose sayings are set down in the old storybook of the Cento Novelle, “the flower of gentle speech.” There was one tale of King Conrad that the boy never forgot: how the King, in his youth, had always about him a company of twelve lads of his own age; how when Conrad did wrong, his governors, instead of punishing him, beat his twelve companions; and how, on the young King’s asking what the lads were being punished for, the pedagogues replied:

“For your Majesty’s offences.”

“And why do you punish my companions instead of me?”

“Because you are our lord and master,” he was told.

At this the King fell to thinking, and thereafter, it is said, in pity for those who must suffer in his stead he set close watch on himself, lest his sinning should work harm to others. This was the story of King Conrad; and much as Odo loved the clash of arms and joyous feats of paladins rescuing fair maids in battle, yet Conrad’s seemed to him, even then, a braver deed than these.

In March of the second year the old Marquess, returning from Turin, was accompanied, to the surprise of all, by the fantastical figure of an elderly gentleman in the richest travelling dress, with one of the new French toupets, a thin wrinkled painted face, and emitting with every movement a prodigious odour of millefleurs. This visitor, who was attended by his French barber and two or three liveried servants, the Marquess introduced as the lord of Valdu, a neighbouring seigneurie of no great account. Though his lands marched with the Marquess’s, it was years since the Count had visited Donnaz, being one of the King’s chamberlains and always in attendance on his Majesty; and it was amazing to see with what smirks and grimaces, and ejaculations in Piedmontese French, he complimented the Marchioness on her appearance, and exclaimed at the magnificence of the castle, which must doubtless have appeared to him little better than a cattle-grange. His talk was unintelligible to Odo, but there was no mistaking the nature of the glances he fixed on Donna Laura, who, having fled to her room on his approach, presently descended in a ravishing new sacque, with an air of extreme surprise, and her hair curled (as Odo afterward learned) by the Count’s own barber.

Odo had never seen his mother look handsomer. She sparkled at the Count’s compliments, embraced her father, playfully readjusted her mother’s coif, and in the prettiest way made their excuses to the Count for the cold draughts and bare floors of the castle. “For having lived at court myself,” said she, “I know to what your excellency is accustomed, and can the better value your condescension in exposing yourself, at this rigorous season, to the hardships of our mountain-top.”

The Marquess at this began to look black, but seeing the Count’s pleasure in the compliment, contented himself with calling out for dinner, which, said he, with all respect to their visitor, would stay his stomach better than the French kick-shaws at his Majesty’s table.

Whether the Count was of the same mind, it was impossible to say, though Odo could not help observing that the stewed venison and spiced boar’s flesh seemed to present certain obstacles either to his jaws or his palate, and that his appetite lingered on the fried chicken-livers and tunny-fish in oil; but he cast such looks at Donna Laura as seemed to declare that for her sake he would willingly have risked his teeth on the very cobblestones of the court. Knowing how she pined for company, Odo was not surprised at his mother’s complaisance; yet wondered to see the smile with which she presently received the Count’s half-bantering disparagement of Pianura. For the duchy, by his showing, was a place of small consequence, an asylum of superannuated fashions; whereas no Frenchman of quality ever visited Turin without exclaiming on its resemblance to Paris, and vowing that none who had the entree of Stupinigi need cross the Alps to see Versailles. As to the Marquess’s depriving the court of Donna Laura’s presence, their guest protested against it as an act of overt disloyalty to the sovereign; and what most surprised Odo, who had often heard his grandfather declaim against the Count as a cheap jackanapes that hung about the court for what he could make at play, was the indulgence with which the Marquess received his visitor’s sallies. Father and daughter in fact vied in amenities to the Count. The fire was kept alight all day in his rooms, his Monsu waited on with singular civility by the steward, and Donna Laura’s own woman sent down by her mistress to prepare his morning chocolate.

Next day it was agreed the gentlemen should ride to Valdu; but its lord being as stiff-jointed as a marionette, Donna Laura, with charming tact, begged to be of the party, and thus enabled him to attend her in her litter. The Marquess thereupon called on Odo to ride with him; and setting forth across the mountain they descended by a long defile to the half-ruined village of Valdu. Here, for the first time, Odo saw the spectacle of a neglected estate, its last penny wrung from it for the absent master’s pleasure by a bailiff who was expected to extract his pay from the sale of clandestine concessions to the tenants. Riding beside the Marquess, who swore under his breath at the ravages of the undyked stream and the sight of good arable land run wild and choked with underbrush, the little boy obtained a precocious insight into the evils of a system which had long outlived its purpose, and the idea of feudalism was ever afterward embodied for him in his glimpse of the peasants of Valdu looking up sullenly from their work as their suzerain and protector thrust an unfamiliar painted smile between the curtains of his litter.

What his grandfather thought of Valdu (to which the Count on the way home referred with smirking apologies as the mountain-lair of his barbarous ancestors) was patent enough even to Odo’s undeveloped perceptions; but it would have required a more experienced understanding to detect the motive that led the Marquess, scarce two days after their visit, to accord his daughter’s hand to the Count. Odo felt a shock of dismay on learning that his beautiful mother was to become the property of an old gentleman whom he guessed to be of his grandfather’s age, and whose enamoured grimaces recalled the antics of her favourite monkey, and the boy’s face reflected the blush of embarrassment with which Donna Laura imparted the news; but the children of that day were trained to a passive acquiescence, and had she informed him that she was to be chained in the keep on bread and water, Odo would have accepted the fact with equal philosophy. Three weeks afterward his mother and the old Count were married in the chapel of Donnaz, and Donna Laura, with many tears and embraces, set out for Turin, taking her monkey but leaving her son behind. It was not till later that Odo learned of the social usage which compelled young widows to choose between remarriage and the cloister; and his subsequent views were unconsciously tinged by the remembrance of his mother’s melancholy bridal.

Her departure left no traces but were speedily repaired by the coming of spring. The sun growing warmer, and the close season putting an end to the Marquess’s hunting, it was now Odo’s chief pleasure to carry his books to the walled garden between the castle and the southern face of the cliff. This small enclosure, probably a survival of medieval horticulture, had along the upper ledge of its wall a grass walk commanding the flow of the stream, and an angle turret that turned one slit to the valley, the other to the garden lying below like a tranquil well of scent and brightness: its box trees clipped to the shape of peacocks and lions, its clove pinks and simples set in a border of thrift, and a pear tree basking on its sunny wall. These pleasant spaces, which Odo had to himself save when the canonesses walked there to recite their rosary, he peopled with the knights and ladies of the novelle, and the fantastic beings of Pulci’s epic: there walked the Fay Morgana, Regulus the loyal knight, the giant Morgante, Trajan the just Emperor and the proud figure of King Conrad; so that, escaping thither from the after-dinner dullness of the tapestry parlour, the boy seemed to pass from the most oppressive solitude to a world of warmth and fellowship.

1.6.

Odo, who, like all neglected children, was quick to note in the demeanour of his elders any hint of a change in his own condition, had been keenly conscious of the effect produced at Donnaz by the news of the Duchess of Pianura’s deliverance. Guided perhaps by his mother’s exclamation, he noticed an added zeal in Don Gervaso’s teachings and an unction in the manner of his aunts and grandmother, who embraced him as though they were handling a relic; while the old Marquess, though he took his grandson seldomer on his rides, would sit staring at him with a frowning tenderness that once found vent in the growl—“Morbleu, but he’s too good for the tonsure!” All this made it clear to Odo that he was indeed meant for the Church, and he learned without surprise that the following spring he was to be sent to the seminary at Asti.

With a view to prepare him for this change, the canonesses suggested his attending them that year on their annual pilgrimage to the sanctuary of Oropa. Thither, for every feast of the Assumption, these pious ladies travelled in their litter; and Odo had heard from them many tales of the miraculous Black Virgin who drew thousands to her shrine among the mountains. They set forth in August, two days before the feast, ascending through chestnut groves to the region of bare rocks; thence downward across torrents hung with white acacia and along park-like grassy levels deep in shade. The lively air, the murmur of verdure, the perfume of mown grass in the meadows and the sweet call of the cuckoos from every thicket made an enchantment of the way; but Odo’s pleasure redoubled when, gaining the high-road to Oropa, they mingled with the long train of devotees ascending from the plain. Here were pilgrims of every condition, from the noble lady of Turin or Asti (for it was the favourite pilgrimage of the Sardinian court), attended by her physician and her cicisbeo, to the half-naked goatherd of Val Sesia or Salluzzo; the cheerful farmers of the Milanese, with their wives, in silver necklaces and hairpins, riding pillion on plump white asses; sick persons travelling in closed litters or carried on hand-stretchers; crippled beggars obtruding their deformities; confraternities of hooded penitents, Franciscans, Capuchins and Poor Clares in dusty companies; jugglers, pedlars, Egyptians and sellers of drugs and amulets. From among these, as the canonesses’ litter jogged along, an odd figure advanced toward Odo, who had obtained leave to do the last mile of the journey on foot. This was a plump abate in tattered ecclesiastical dress, his shoes white as a miller’s and the perspiration streaking his face as he laboured along in the dust. He accosted Odo in a soft shrill voice, begging leave to walk beside the young cavaliere, whom he had more than once had the honour of seeing at Pianura; and, in reply to the boy’s surprised glance, added, with a swelling of the chest and an absurd gesture of self-introduction, “But perhaps the cavaliere is not too young to have heard of the illustrious Cantapresto, late primo soprano of the ducal theatre of Pianura?”

Odo being obliged to avow his ignorance, the fat creature mopped his brow and continued with a gasp—“Ah, your excellency, what is fame? From glory to obscurity is no farther than from one milestone to another! Not eight years ago, cavaliere, I was followed through the streets of Pianura by a greater crowd than the Duke ever drew after him! But what then? The voice goes—it lasts no longer than the bloom of a flower—and with it goes everything: fortune, credit, consideration, friends and parasites! Not eight years ago, sir—would you believe me?—I was supping nightly in private with the Bishop, who had nearly quarrelled with his late Highness for carrying me off by force one evening to his casino; I was heaped with dignities and favours; all the poets in the town composed sonnets in my honour; the Marquess of Trescorre fought a duel about me with the Bishop’s nephew, Don Serafino; I attended his lordship to Rome; I spent the villeggiatura at his villa, where I sat at play with the highest nobles in the land; yet when my voice went, cavaliere, it was on my knees I had to beg of my heartless patron the paltry favour of the minor orders!” Tears were running down the abate’s cheeks, and he paused to wipe them with a corner of tattered bands.

Though Odo had been bred in an abhorrence of the theatre, the strange creature’s aspect so pricked his compassion that he asked him what he was now engaged in; at which Cantapresto piteously cried, “Alas, what am I not engaged in, if the occasion offers? For whatever a man’s habit, he will not wear it long if it cover an empty belly; and he that respects his calling must find food enough to continue in it. But as for me, sir, I have put a hand to every trade, from composing scenarios for the ducal company of Pianura, to writing satirical sonnets for noblemen that desire to pass for wits. I’ve a pretty taste, too, in compiling almanacks, and when nothing else served I have played the public scrivener at the street corner; nay, sir, necessity has even driven me to hold the candle in one or two transactions I would not more actively have mixed in; and it was to efface the remembrance of one of these—for my conscience is still over-nice for my condition—that I set out on this laborious pilgrimage.”

Much of this was unintelligible to Odo; but he was moved by any mention of Pianura, and in the abate’s first pause he risked the question—“Do you know the humpbacked boy Brutus?”

His companion stared and pursed his soft lips.

“Brutus?” says he. “Brutus? Is he about the Duke’s person?”

“He lives in the palace,” said Odo doubtfully.

The fat ecclesiastic clapped a hand to his thigh.

“Can it be your excellency has in mind the foundling boy Carlo Gamba?

Does the jackanapes call himself Brutus now? He was always full of his classical allusions! Why, sir, I think I know him very well; he is even rumoured to be a brother of Don Lelio Trescorre’s, and I believe the Duke has lately given him to the Marquess of Cerveno, for I saw him not long since in the Marquess’s livery at Pontesordo.”

“Pontesordo?” cried Odo. “It was there I lived.”

“Did you indeed, cavaliere? But I think you will have been at the Duke’s manor of that name; and it was the hunting-lodge on the edge of the chase that I had in mind. The Marquess uses it, I believe, as a kind of casino; though not without risk of a distemper. Indeed, there is much wonder at his frequenting it, and ‘tis said he does so against the Duke’s wishes.”

The name of Pontesordo had set Odo’s memories humming like a hive of bees, and without heeding his companion’s allusions he asked—“And did you see the Momola?”

The other looked his perplexity.

“She’s an Innocent too,” Odo hastened to explain. “She is Filomena’s servant at the farm.”

The abate at this, standing still in the road, screwed up his eyelids and protruded a relishing lip. “Eh, eh,” said he, “the girl from the farm, you say?” And he gave a chuckle. “You’ve an eye, cavaliere, you’ve an eye,” he cried, his soft body shaking with enjoyment; but before Odo could make a guess at his meaning their conversation was interrupted by a sharp call from the litter. The abate at once disappeared in the crowd, and a moment later the litter had debouched on the grassy quadrangle before the outer gates of the monastery. This space was set in beech-woods, amid which gleamed the white-pillared chapels of the Way of the Cross; and the devouter pilgrims, dispersed beneath the trees, were ascending from one chapel to another, preparatory to entering the church.

The quadrangle itself was crowded with people, and the sellers of votive offerings, in their booths roofed with acacia-boughs, were driving a noisy trade in scapulars and Agnus Deis, images of the Black Virgin of Oropa, silver hearts and crosses, and phials of Jordan water warranted to effect the immediate conversion of Jews and heretics. In one corner a Carmelite missionary had set up his portable pulpit, and, crucifix in hand, was exhorting the crowd; in another, an improvisatore intoned canticles to the miraculous Virgin; a barefoot friar sat selling indulgences at the monastery gate, and pedlars with trays of rosaries and religious prints pushed their way among the pilgrims. Young women of less pious aspect solicited the attention of the better-dressed travellers, and jugglers, mountebanks and quacks of every description hung on the outskirts of the square. The sight speedily turned Odo’s thought from his late companion, and the litter coming to a halt he was leaning forward to observe the antics of a tumbler who had spread his carpet beneath the trees, when the abate’s face suddenly rose to the surface of the throng and his hand thrust a crumpled paper between the curtains of the litter. Odo was quick-witted enough to capture this missive without attracting the notice of his grand-aunts, and stealing a glance at it, he read—“Cavaliere, I starve. When the illustrious ladies descend, for Christ’s sake beg a scudo of them for the unhappy Cantapresto.”

By this the litter had disengaged itself and was moving toward the outer gates. Odo, aware of the disfavour with which the theatre was viewed at Donnaz, and unable to guess how far the soprano’s present habit would be held to palliate the scandal of his former connection, was perplexed how to communicate his petition to the canonesses. A moment later, however, the question solved itself; for as the aunts descended at the door of the rector’s lodging, the porter, running to meet them, stumbled on a black mass under the arcade, and raised the cry that here was a man dropped dead. A crowd gathering, some one called out that it was an ecclesiastic had fallen; whereat the great-aunts were hurrying forward when Odo whispered the eldest, Donna Livia, that the sick man was indeed an abate from Pianura. Donna Livia immediately bid her servants lift him into the porter’s lodge, where, with the administering of spirits, the poor soprano presently revived and cast a drowning glance about the chamber.

“Eight years ago, illustrious ladies,” he gurgled, “I had nearly died one night of a surfeit of ortolans; and now it is of a surfeit of emptiness that I am perishing.”

The ladies at this, with exclamations of pity, called on the lay-brothers for broth and cordials, and bidding the porter enquire more particularly into the history of the unhappy ecclesiastic, hastened away with Odo to the rector’s parlour.

Next morning betimes all were afoot for the procession, which the canonesses were to witness from the monastery windows. The apothecary had brought word that the abate, whose seizure was indeed the result of hunger, was still too weak to rise; and Donna Livia, eager to open her devotions with an act of pity, pressed a sequin in the man’s hand, and bid him spare no care for the sufferer’s comfort.

This sent Odo in a cheerful mood to the red-hung windows, whence, peering between the folds of his aunts’ gala habits, he admired the great court enclosed in nobly-ordered cloisters and strewn with fresh herbs and flowers. Thence one of the rector’s chaplains conducted them to the church, placing them, in company with the monastery’s other noble guests, in a tribune constructed above the choir. It was Odo’s first sight of a great religious ceremony, and as he looked down on the church glimmering with votive offerings and gold-fringed draperies, and seen through rolling incense in which the altar-candles swam like stars reflected in a river, he felt an almost sensual thrill of pleasure at the thought that his life was to be passed amid scenes of such mystic beauty. The sweet singing of the choir raised his spirit to a higher view of the scene; and the sight of the huddled misery on the floor of the church revived in him the old longing for the Franciscan cowl.

From these raptures he was speedily diverted by the sight awaiting him at the conclusion of the mass. Hardly had the spectators returned to the rector’s windows when, the doors of the church swinging open, a procession headed by the rector himself descended the steps and began to make the circuit of the court. Odo’s eyes swam with the splendour of this burst of banners, images and jewelled reliquaries, surmounting the long train of tonsured heads and bathed in a light almost blinding after the mild penumbra of the church. As the monks advanced, the pilgrims, pouring after them, filled the court with a dark undulating mass through which the procession wound like a ray of sunlight down the brown bosom of a torrent. Branches of oleander swung in the air, devout cries hailed the approach of the Black Madonna’s canopy, and hoarse voices swelled to a roar the measured litanies of the friars.

The ceremonies over, Odo, with the canonesses, set out to visit the chapels studding the beech-knoll above the monastic buildings. Passing out of Juvara’s great portico they stood a moment above the grassy common, which presented a scene in curious contrast to that they had just quitted. Here refreshment-booths had been set up, musicians were fiddling, jugglers unrolling their carpets, dentists shouting out the merits of their panaceas, and light women drinking with the liveried servants of the nobility. The very cripples who had groaned the loudest in church now rollicked with the mountebanks and dancers; and no trace remained of the celebration just concluded but the medals and relics strung about the necks of those engaged in these gross diversions.

It was strange to pass from this scene to the solitude of the grove, where, in a twilight rustling with streams, the chapels lifted their white porches. Peering through the grated door of each little edifice, Odo beheld within a group of terra-cotta figures representing some scene of the Passion—here a Last Supper, with a tigerish Judas and a Saint John resting his yellow curls on his Master’s bosom, there an Entombment or a group of stricken Maries. These figures, though rudely modelled and daubed with bright colours, yet, by a vivacity of attitude and gesture which the mystery of their setting enhanced, conveyed a thrilling impression of the sacred scenes set forth; and Odo was yet at an age when the distinction between flesh-and-blood and its plastic counterfeits is not clearly defined, or when at least the sculptured image is still a mysterious half-sentient thing, denizen of some strange borderland between art and life. It seemed to him, as he gazed through the chapel gratings, that those long-distant episodes of the divine tragedy had been here preserved in some miraculous state of suspended animation, and as he climbed from one shrine to another he had the sense of treading the actual stones of Gethsemane and Calvary.

As was usual with him, the impressions of the moment had effaced those preceding it, and it was almost with surprise that, at the rector’s door, he beheld the primo soprano of Pianura totter forth to the litter and offer his knee as a step for the canonesses. The charitable ladies cried out on him for this imprudence, and his pallor still giving evidence of distress, he was bidden to wait on them after supper with his story. He presented himself promptly in the parlour, and being questioned as to his condition at once rashly proclaimed his former connection with the ducal theatre of Pianura. No avowal could have been more disastrous to his cause. The canonesses crossed themselves with horror, and the abate, seeing his mistake, hastened to repair it by exclaiming—“What, ladies, would you punish me for following a vocation to which my frivolous parents condemned me when I was too young to resist their purpose? And have not my subsequent sufferings, my penances and pilgrimages, and the state to which they have reduced me, sufficiently effaced the record of an involuntary error?”

Seeing the effect of this appeal the abate made haste to follow up his advantage. “Ah, illustrious ladies,” he cried, “am I not a living example of the fate of those who leave all to follow righteousness? For while I remained on the stage, among the most dissolute surroundings, fortune showered me with every benefit she heaps on her favourites. I had my seat at every table in Pianura; the Duke’s chair to carry me to the theatre; and more money than I could devise how to spend; while now that I have resigned my calling to embrace the religious life, you see me reduced to begging a crust from the very mendicants I formerly nourished. For,” said he, moved to tears by his own recital, “my superfluity was always spent in buying the prayers of the unfortunate, and to judge how I was esteemed by those acquainted with my private behaviour you need only learn that, on my renouncing the stage, ‘twas the Bishop of Pianura who himself accorded me the tonsure.”

This discourse, which Odo admired for its adroitness, visibly excited the commiseration of the ladies; but at mention of the Bishop, Donna Livia exchanged a glance with her sister, who enquired, with a quaint air of astuteness, “But how comes it, abate, that with so powerful a protector you have been exposed to such incredible reverses?”

Cantapresto rolled a meaning eye.

“Alas, madam, it was through my protector that misfortune attacked me; for his lordship having appointed me secretary to his favourite nephew, Don Serafino, that imprudent nobleman required of me services so incompatible with my cloth that disobedience became a duty; whereupon, not satisfied with dismissing me in disgrace, he punished me by blackening my character to his uncle. To defend myself was to traduce Don Serafino; and rather than reveal his courses to the Bishop I sank to the state in which you see me; a state,” he added with emotion, “that I have travelled this long way to commend to the adorable pity of Her whose Son had not where to lay His head.”

This stroke visibly touched the canonesses, still soft from the macerations of the morning; and Donna Livia compassionately asked how he had subsisted since his rupture with the Bishop.

“Madam, by the sale of my talents in any service not at odds with my calling: as the compiling of pious almanacks, the inditing of rhymed litanies and canticles, and even the construction of theatrical pieces”—the ladies lifted hands of reprobation—“of theatrical pieces,”

Cantapresto impressively repeated, “for the use of the Carmelite nuns of Pianura. But,” said he with a deprecating smile, “the wages of virtue are less liberal than those of sin, and spite of a versatility I think I may honestly claim, I have often had to subsist on the gifts of the pious, and sometimes, madam, to starve on their compassion.”

This ready discourse, and the soprano’s evident distress, so worked on the canonesses that, having little money at their disposal, it was fixed, after some private consultation, that he should attend them to Donnaz, where Don Gervaso, in consideration of his edifying conduct in renouncing the stage, might be interested in helping him to a situation; and when the little party set forth from Oropa, the abate Cantapresto closed the procession on one of the baggage-mules, with Odo riding pillion at his back. Good fortune loosened the poor soprano’s tongue, and as soon as the canonesses’ litter was a safe distance ahead he began to beguile the way with fragments of reminiscence and adventure. Though few of his allusions were clear to Odo, the glimpse they gave of the motley theatrical life of the north Italian cities—the quarrels between Goldoni and the supporters of the expiring commedia dell’ arte—the rivalries of the prime donne and the arrogance of the popular comedians—all these peeps into a tinsel world of mirth, cabal and folly, enlivened by the recurring names of the Four Masks, those lingering gods of the older dispensation, so lured the boy’s fancy and set free his vagrant wonder, that he was almost sorry to see the keep of Donnaz reddening in the second evening’s sunset.

Such regrets, however, their arrival at the castle soon effaced; for in the doorway stood the old Marquess, a letter in hand, who springing forward caught his grandson by the shoulders, and cried with his great boar-hunting shout, “Cavaliere, you are heir-presumptive of Pianura!”

1.7.

The Marquess of Cerveno had succumbed to the tertian ague contracted at the hunting-lodge of Pontesordo; and this unforeseen calamity left but one life, that of the sickly ducal infant, between Odo and the succession to the throne of Pianura. Such was the news conveyed post-haste from Turin by Donna Laura; who added the Duke’s express wish that his young kinsman should be fitted for the secular career, and the information that Count Valdu had already entered his stepson’s name at the Royal Academy of Turin.

The Duke of Pianura being young and in good health, and his wife having already given him an heir, the most sanguine imagination could hardly view Odo as being brought much nearer the succession; yet the change in his condition was striking enough to excuse the fancy of those about him for shaping the future to their liking. The priestling was to turn courtier and perhaps soldier; Asti was to be exchanged for Turin, the seminary for the academy; and even the old chief of Donnaz betrayed in his grumbling counsels to the boy a sense of the exalted future in which they might some day serve him.

The preparations of departure and the wonder of his new state left Odo little space wherein to store his thought with impressions of what he was leaving; and it was only in after years, when the accretion of superficial incident had dropped from his past, that those last days at Donnaz gained their full distinctness. He saw them then, heavy with the warmth of the long summer, from the topmost pine-belt to the bronzed vineyards turning their metallic clusters to the sun; and in the midst his small bewildered figure, netted in a web of association, and seeming, as he broke away, to leave a shred of himself in every corner of the castle.

Sharpest of all, there remained with him the vision of his last hour with Don Gervaso. The news of Odo’s changed condition had been received in silence by the chaplain. He was not the man to waste words and he knew the futility of asserting the Church’s claim to the heir-presumptive of a reigning house. Therefore if he showed no enthusiasm he betrayed no resentment; but, the evening before the boy’s departure, led him, still in silence, to the chapel. Here the priest knelt with Odo; then, raising him, sat on one of the benches facing the high altar, and spoke a few grave words.

“You are setting out,” said he, “on a way far different from that in which it has been my care to guide you; yet the high road and the mountain path may, by diverse windings, lead to the same point; and whatever walk a man chooses, it will surely carry him to the end that God has appointed. If you are called to serve Him in the world, the journey on which you are now starting may lead you to the throne of Pianura; but even so,” he went on, “there is this I would have you remember: that should this dignity come to you it may come as a calamity rather than a joy; for when God confers earthly honours on a child of His predilection, He sometimes deigns to render them as innocuous as misfortune; and my chief prayer for you is that you should be raised to this eminence, it may be at a moment when such advancement seems to thrust you in the dust.”

The words burned themselves into Odo’s heart like some mystic writing on the walls of memory, long afterward to start into fiery meaning. At the time he felt only that the priest spoke with a power and dignity no human authority could give; and for a moment all the stored influences of his faith reached out to him from the dimly-gleaming altar.

The next sun rose on a new world. He was to set out at daylight, and dawn found him at the casement, footing it in thought down the road as yet undistinguishable in a dying glimmer of stars. Bruno was to attend him to Turin; but one of the women presently brought word that the old huntsman’s rheumatism had caught him in the knee, and that the Marquess, resolved not to delay his grandson’s departure, had chosen Cantapresto as the boy’s companion. The courtyard, when Odo descended, fairly bubbled with the voluble joy of the fat soprano, who was giving directions to the servants, receiving commissions and instructions from the aunts, assuring everybody of his undying devotion to the heir-presumptive of Pianura, and citing impressive instances of the responsibilities with which the great of the earth had formerly entrusted him.

As a companion for Odo the abate was clearly not to Don Gervaso’s taste; but he stood silent, turning the comment of a cool eye on the soprano’s protestations, and saying only, as Cantapresto swept the company into the circle of an obsequious farewell:—“Remember, signor abate, it is to your cloth this business is entrusted.” The abate’s answer was a rush of purple to the forehead; but Don Gervaso imperturbably added, “And you lie but one night on the road.”

Meanwhile the old Marquess, visibly moved, was charging Odo to respect his elders and superiors, while in the same breath warning him not to take up with the Frenchified notions of the court, but to remember that for a lad of his condition the chief virtues were a tight seat in the saddle, a quick hand on the sword and a slow tongue in counsel. “Mind your own business,” he concluded, “and see that others mind theirs.”

The Marchioness thereupon, with many tears, hung a scapular about Odo’s neck, bidding him shun the theatre and be regular at confession; one of the canonesses reminded him not to omit a visit to the chapel of the Holy Winding-sheet, while the other begged him to burn a candle for her at the Consolata; and the servants pressed forward to embrace and bless their little master.

Day was high by this, and as the Marquess’s travelling-chariot rumbled down the valley the shadows seemed to fly before it. Odo at first lay numb; but presently his senses woke to the call of the brightening landscape. The scene was such as Salvator might have painted: wild blocks of stone heaped under walnut-shade; here the white plunge of water down a wall of granite, and there, in bluer depths, a charcoal burner’s hut sending up its spiral of smoke to the dark raftering of branches. Though it was but a few hours since Odo had travelled from Oropa, years seemed to have passed over him, and he saw the world with a new eye. Each sound and scent plucked at him in passing: the roadside started into detail like the foreground of some minute Dutch painter; every pendent mass of fern, dark dripping rock, late tuft of harebell called out to him: “Look well, for this is your last sight of us!” His first sight too, it seemed: since he had lived through twelve Italian summers without sense of the sun-steeped quality of atmosphere that, even in shade, gives each object a golden salience. He was conscious of it now only as it suggested fingering a missal stiff with gold-leaf and edged with a swarming diversity of buds and insects. The carriage moved so slowly that he was in no haste to turn the pages; and each spike of yellow foxglove, each clouding of butterflies about a patch of speedwell, each quiver of grass over a hidden thread of moisture, became a marvel to be thumbed and treasured.

From this mood he was detached by the next bend of the road. The way, hitherto winding through narrow glens, now swung to a ledge overhanging the last escarpment of the mountains; and far below, the Piedmontese plain unrolled to the southward its interminable blue-green distances mottled with forest. A sight to lift the heart; for on those sunny reaches Ivrea, Novara, Vercelli lay like sea-birds on a summer sea. It was the future unfolding itself to the boy; dark forests, wide rivers, strange cities and a new horizon: all the mystery of the coming years figured to him in that great plain stretching away to the greater mystery of heaven.

To all this Cantapresto turned a snoring countenance. The lively air of the hills, the good fare of Donnaz, and the satisfaction, above all, of rolling on cushions over a road he had thought to trudge on foot, had lapped the abate in Capuan slumber. The midday halt aroused him. The travellers rested at an inn on the edge of the hills, and here Cantapresto proved to his charge that, as he phrased it, his belly had as short a memory for food as his heart for injuries. A flask of Asti put him in the talking mood, and as they drove on he regaled Odo with a lively picture of the life on which he was about to enter.

“You are going,” said he, “to one of the first cities of Europe; one that has all the beauty and elegance of the French capital without its follies and excesses. Turin is blessed with a court where good manners and a fine tone are more highly prized than the extravagances of genius; and I have heard it said of his Majesty that he was delighted to see his courtiers wearing the French fashions outside their heads, provided they didn’t carry the French ideas within. You are too young, doubtless, cavaliere, to have heard of the philosophers who are raising such a pother north of the Alps: a set of madmen that, because their birth doesn’t give them the entree of Versailles, are preaching that men should return to a state of nature, great ladies suckle their young like animals, and the peasantry own their land like nobles. Luckily you’ll hear little of this infectious talk in Turin: the King stamps out the philosophers like vermin or packs them off to splutter their heresies in Milan or Venice. But to a nobleman mindful of the privileges of his condition there is no more agreeable sojourn in Europe. The wines are delicious, the women—er—accomplished—and though the sbirri may hug one a trifle close now and then, why, with money and discretion, a friend or two in the right quarters, and the wit to stand well with the Church, there’s no city in Europe where a man may have pleasanter sins to confess.”

The carriage, by this, was descending the last curves above the valley, and before them, in a hollow of the hills, blinked the warm shimmer of maize and vine, like some bright vintage brimming its cup. The soprano waved a convivial hand.

“Look,” he cried, “what Nature has done for this happy region! Where herself has spread the table so bountifully, should her children hang back from the feast? I vow, cavaliere, if the mountains were built for hermits and ascetics, then the plain was made level for dancing, banqueting and the pleasures of the villeggiatura. If God had meant us to break our teeth on nuts and roots, why did He hang the vine with fruit and draw three crops of wheat from this indulgent soil? I protest when I look on such a scene as this, it is sufficient incentive to lowliness to remember that the meek shall inherit the earth!”

This mood held Cantapresto till his after-dinner sleep overtook him; and when he woke again the chariot was clattering across the bridge of Chivasso. The Po rolled its sunset crimson between flats that seemed dull and featureless after the broken scenery of the hills; but beyond the bridge rose the towers and roofs of the town, with its cathedral-front catching the last slant of light. In the streets dusk had fallen and a lamp flared under the arch of the inn before which the travellers halted. Odo’s head was heavy, and he hardly noticed the figures thronging the caffe into which they were led; but presently there rose a shout of “Cantapresto!” and a ring of waving arms and flashing teeth encircled his companion.

These appendages belonged to a troop of men and women, some masked and in motley, others in discoloured travel-stained garments, who pressed about the soprano with cries of joyous recognition. He was evidently an old favourite of the band, for a duenna in tattered velvet fell on his neck with genial unreserve, a pert soubrette caught him by the arm the duenna left free, and a terrific Matamor with a nose like a scimitar slapped him on the back with a tin sword.

Odo’s glimpse of the square at Oropa told him that here was a band of strolling players such as Cantapresto had talked of on the ride back to Donnaz. Don Gervaso’s instructions and the old Marchioness’s warning against the theatre were present enough in the boy’s mind to add a touch of awe to the curiosity with which he observed these strange objects of the Church’s reprobation. They struck him, it must be owned, as more pitiable than alarming, for the duenna’s toes were coming through her shoes, and one or two of the children who hung on the outskirts of the group looked as lean and hungry under their spangles as the foundling-girl of Pontesordo. Spite of this they seemed a jolly crew, and ready (at Cantapresto’s expense) to celebrate their encounter with the ex-soprano in unlimited libations of Asti and Val Pulicello. The singer, however, hung back with protesting gestures.

“Gently, then, gently, dear friends—dear companions! When was it we parted? In the spring of the year—and we meet now in the late summer.

As the seasons change so do our conditions: if the spring is a season of folly, then is the harvest-time the period for reflection. When we last met I was a strolling poet, glad to serve your gifted company within the scope of my talents—now, ladies and gentlemen, now”—he drew himself up with pride—“now you behold in me the governor and friend of the heir-presumptive of Pianura.”

Cries of incredulity and derision greeted this announcement, and one of the girls called out laughingly, “Yet you have the same old cassock to your back!”

“And the same old passage from your mouth to your belly,” added an elastic Harlequin, reaching an arm across the women’s shoulders. “Come, Cantapresto, we’ll help you line it with good wine, to the health of his most superlatively serene Highness, the heir-presumptive of Pianura; and where is that fabulous personage, by the way?”

Odo at this retreated hastily behind the soprano; but a pretty girl catching sight of him, he found himself dragged into the centre of the company, who hailed him with fantastic obeisances. Supper meanwhile was being laid on the greasy table down the middle of the room. The Matamor, who seemed the director of the troupe, thundered out his orders for maccaroni, fried eels and sausages; the inn-servants flanked the plates with wine-flasks and lumps of black bread, and in a moment the hungry comedians, thrusting Odo into a high seat at the head of the table, were falling on the repast with a prodigious clatter of cutlery.

Of the subsequent incidents of the feast—the banter of the younger women, the duenna’s lachrymose confidences, the incessant interchange of theatrical jargon and coarse pleasantry—there remained to Odo but a confused image, obscured by the smoke of guttering candles, the fumes of wine and the stifling air of the low-ceilinged tavern. Even the face of the pretty girl who had dragged him from his concealment, and who now sat at his side, plying him with sweets from her own plate, began to fade into the general blur; and his last impression was of Cantapresto’s figure dilating to immense proportions at the other end of the table, as the soprano rose with shaking wine-glass to favour the company with a song. The chorus, bursting forth in response, surged over Odo’s drowning senses, and he was barely aware, in the tumult of noise and lights, of an arm slipped about him, a softly-heaving pillow beneath his head, and the gradual subsidence into dark delicious peace.

So, on the first night of his new life, the heir-presumptive of Pianura fell asleep with his head in a dancing-girl’s breast.

1.8.

The travellers were to journey by Vettura from Chivasso to Turin; and when Odo woke next morning the carriage stood ready in the courtyard.

Cantapresto, mottled and shamefaced, with his bands awry and an air of tottering dignity, was gathering their possessions together, and the pretty girl who had pillowed Odo’s slumbers now knelt by his bed and laughingly drew on his stockings. She was a slim brown morsel, not much above his age, with a glance that flitted like a bird, and round shoulders slipping out of her kerchief. A wave of shyness bathed Odo to the forehead as their eyes met: he hung his head stupidly and turned away when she fetched the comb to dress his hair.

His toilet completed, she called out to the abate to go below and see that the cavaliere’s chocolate was ready; and as the door closed she turned and kissed Odo on the lips.

“Oh, how red you are!” she cried laughing. “Is that the first kiss you’ve ever had? Then you’ll remember me when you’re Duke of Pianura—Mirandolina of Chioggia, the first girl you ever kissed!” She was pulling his collar straight while she talked, so that he could not get away from her. “You will remember me, won’t you?” she persisted. “I shall be a great actress by that time, and you’ll appoint me prima amorosa to the ducal theatre of Pianura, and throw me a diamond bracelet from your Highness’s box and make all the court ladies ready to poison me for rage!” She released his collar and dropped away from him. “Ah, no, I shall be a poor strolling player, and you a great prince,” she sighed, “and you’ll never, never think of me again; but I shall always remember that I was the first girl you ever kissed!”

She hung back in a dazzle of tears, looking so bright and tender that Odo’s bashfulness melted like a spring frost.

“I shall never be Duke,” he cried, “and I shall never forget you!” And with that he turned and kissed her boldly and then bolted down the stairs like a hare. And all that day he scorched and froze with the thought that perhaps she had been laughing at him.

Cantapresto was torpid after the feast, and Odo detected in him an air of guilty constraint. The boy was glad enough to keep silence, and they rolled on without speaking through the wide glowing landscape. Already the nearness of a great city began to make itself felt. The bright champaign was scattered over with farmhouses, their red-tiled pigeon-cots and their granges latticed with openwork terra-cotta pleasantly breaking the expanse of maize and mulberry; villages lay along the banks of the canals intersecting the plain; and the hills beyond the Po were planted with villas and monasteries.

All the afternoon they drove between umbrageous parks and under the walls of terraced vineyards. It was a region of delectable shade, with glimpses here and there of gardens flashing with fountains and villa roofs decked with statues and vases; and at length, toward sunset, a bend of the road brought them out on a fair-spreading city, so flourishing in buildings, so beset with smiling hills, that Odo, springing from his seat, cried out in sheer joy of the spectacle.

They had still the suburbs to traverse; and darkness was falling when they entered the gates of Turin. This brought the fresh amazement of wide lamplit streets, clean and bright as a ball-room, lined with palaces and filled with well-dressed loungers: officers in the brilliant Sardinian uniforms, fine gentlemen in French tie-wigs and narrow-sleeved coats, merchants hurrying home from business, ecclesiastics in high-swung carriages, and young bloods dashing by in their curricles.

The tables before the coffee-houses were thronged with idlers taking their chocolate and reading the gazettes; and here and there the arched doorway of a palace showed some gay party supping al fresco in a garden hung with lamps.

The flashing of lights and the noise of the streets roused Cantapresto, who sat up with a sudden assumption of dignity.

“Ah, cavaliere,” said he, “you now see a great city, a famous city, a city aptly called ‘the Paris of Italy.’ Nowhere else shall you find such well-lit streets, such fair pavements, shops so full of Parisian wares, promenades so crowded with fine carriages and horses. What a life a young gentleman may lead here! The court is hospitable, society amiable, the theatres are the best-appointed in Italy.”

Here Cantapresto paused with a deprecating cough.

“Only one thing is necessary,” he went on, “to complete enjoyment of the fruits of this garden of Eden; and that is”—he coughed again—“discretion. His Majesty, cavaliere, is a father to his subjects; the Church is their zealous mother; and between two such parents, and the innumerable delegates of their authority, why, you may fancy, sir, that a man has to wear his eyes on all sides of his head. Discretion is a virtue the Church herself commends; it is natural, then, that she should afford her children full opportunity to practise it. And look you, cavaliere, it is like gymnastics: the younger you acquire it, the less effort it costs. Our Maker Himself has taught us the value of silence by putting us speechless into the world: if we learn to talk later we do it at our own risk! But for your own part, cavaliere—since the habit cannot too early be exercised—I would humbly counsel you to say nothing to your illustrious parents of our little diversion of last evening.”

The Countess Valdu lived on the upper floor of a rococo palace near the Piazza San Carlo; and here Odo, led by Cantapresto, presently found himself shown into an apartment where several ladies and gentlemen sat at cards. His mother, detaching herself from the group, embraced him with unusual warmth, and the old Count, more painted and perfumed than ever, hurried up with an obsequious greeting. Odo for the first time found himself of consequence in the world; and as he was passed from guest to guest, questioned about his journey, praised for his good colour and stout looks, complimented on his high prospects, and laughingly entreated not to forget his old friends when fortune should advance him to the duchy, he began to feel himself a reigning potentate already.

His mother, as he soon learned, had sunk into a life almost as dull and restricted as that she had left Donnaz to escape. Count Valdu’s position at court was more ornamental than remunerative, the income from his estates was growing annually smaller, and he was involved in costly litigation over the sale of some entailed property. Such conditions were little to the Countess’s humour, and the society to which her narrow means confined her offered few distractions to her vanity. The frequenters of the house were chiefly poor relations and hangers-on of the Count’s, the parasites who in those days were glad to subsist on the crumbs of the slenderest larder. Half-a-dozen hungry Countesses, their lean admirers, a superannuated abate or two, and a flock of threadbare ecclesiastics, made up Donna Laura’s circle; and even her cicisbeo, selected in family council under the direction of her confessor, was an austere gentleman of middle age, who collected ancient coins and was engaged in composing an essay on the Martellian verse.

This company, which devoted hours to the new French diversion of the parfilage, and spent the evenings in drinking lemonade and playing basset for small stakes, found its chief topic of conversation in the only two subjects safely discussed in Turin at that day—the doings of the aristocracy and of the clergy. The fashion of the Queen’s headdress at the last circle, the marked manner in which his Majesty had lately distinguished the brilliant young cavalry officer, Count Roberto di Tournanches, the third marriage of the Countess Alfieri of Asti, the incredibility of the rumour that the court ladies of Versailles had taken to white muslin and Leghorn hats, the probable significance of the Vicar-general’s visit to Rome, the subject of the next sacred representation to be given by the nuns of Santa Croce—such were the questions that engaged the noble frequenters of Casa Valdu.

This was the only society that Donna Laura saw; for she was too poor to dress to her taste and too proud to show herself in public without the appointments becoming her station. Her sole distraction consisted in visits to the various shrines—the Sudario, the Consolata, the Corpus Domini—at which the feminine aristocracy offered up its devotions and implored absolution for sins it had often no opportunity to commit: for though fashion accorded cicisbei to the fine ladies of Turin, the Church usually restricted their intercourse to the exchange of the most harmless amenities.

Meanwhile the antechamber was as full of duns as the approach to Donna Laura’s apartment at Pianura; and Odo guessed that the warmth of the maternal welcome sprang less from natural affection than from the hope of using his expectations as a sop to her creditors. The pittance which the ducal treasury allowed for his education was scarce large enough to be worth diverting to other ends; but a potential prince is a shield to the most vulnerable fortunes. In this character Odo for the first time found himself flattered, indulged, and made the centre of the company.

The contrast to his life of subjection at Donnaz; the precocious initiation into motives that tainted the very fount of filial piety; the taste of this mingled draught of adulation and disillusionment, might have perverted a nature more self-centred than his. From this perversion, and from many subsequent perils he was saved by a kind of imaginative sympathy, a wondering joy in the mere spectacle of life, that tinged his most personal impressions with a streak of the philosophic temper. If this trait did not save him from sorrow, it at least lifted him above pettiness; if it could not solve the difficulties of life it could arm him to endure them. It was the best gift of the past from which he sprang; but it was blent with another quality, a deep moral curiosity that ennobled his sensuous enjoyment of the outward show of life; and these elements were already tending in him, as in countless youths of his generation, to the formation of a new spirit, the spirit that was to destroy one world without surviving to create another.

Of all this none could have been less conscious than the lad just preparing to enter on his studies at the Royal Academy of Turin. That institution, adjoining the royal palace, was a kind of nursery or forcing-house for the budding nobility of Savoy. In one division of the sumptuous building were housed his Majesty’s pages, a corps of luxurious indolent young fops; another wing accommodated the regular students of the Academy, sons of noblemen and gentlemen destined for the secular life, while a third was set aside for the “forestieri” or students from foreign countries and from the other Italian states. To this quarter Odo Valsecca was allotted; though it was understood that on leaving the Academy he was to enter the Sardinian service.

It was customary for a young gentleman of Odo’s rank to be attended at the Academy not only by a body-servant but by a private governor or pedant, whose business it was to overlook his studies, attend him abroad, and have an eye to the society he frequented. The old Marquess of Donnaz had sent his daughter, by Odo’s hand, a letter recommending her to select her son’s governor with particular care, choosing rather a person of grave behaviour and assured morality than one of your glib ink-spatterers who may know the inside of all the folios in the King’s library without being the better qualified for the direction of a young gentleman’s conduct; and to this letter Don Gervaso appended the terse postcript: “Your excellency is especially warned against according this or any other position of trust to the merry-andrew who calls himself the abate Cantapresto.”

Donna Laura, with a shrug, handed the letter to her husband; Count Valdu, adjusting his glasses, observed it was notorious that people living in the depths of the country thought themselves qualified to instruct their city relatives on all points connected with the social usages; and the cicisbeo suggested that he could recommend an abate who was proficient in the construction of the Martellian verse, and who would made no extra charge for that accomplishment.

“Charges!” the Countess cried. “There’s a matter my father doesn’t deign to consider. It’s not enough, nowadays, to give the lads a governor, but they must maintain their servants too, an idle gluttonous crew that prey on their pockets and get a commission off every tradesman’s bill.”

Count Valdu lifted a deprecating hand.

“My dear, nothing could be more offensive to his Majesty than any attempt to reduce the way of living of the pupils of the Academy.”

“Of course,” she shrugged— “But who’s to pay? The Duke’s beggarly pittance hardly clothes him.”

The cicisbeo suggested that the cavaliere Odo had expectations; at which Donna Laura flushed and turned uneasy; while the Count, part of whose marital duty it was to intervene discreetly between his lady and her knight, now put forth the remark that the abate Cantapresto seemed a shrewd serviceable fellow.

“Nor do I like to turn him adrift,” cried the Countess instantly, “after he has obliged us by attending my son on his journey.”

“And I understand,” added the Count, “that he would be glad to serve the cavaliere in any capacity you might designate.”

“Why not in all?” said the cicisbeo thoughtfully. “There would be undoubted advantages to the cavaliere in possessing a servant who would explain the globes while powdering his hair and not be above calling his chair when he attended him to a lecture.”

And the upshot of it was that when Odo, a few days later, entered on his first term at the Academy, he was accompanied by the abate Cantapresto, who had agreed, for a minimum of pay, to serve him faithfully in the double capacity of pedagogue and lacquey.

The considerable liberty accorded the foreign students made Odo’s first year at the Academy at once pleasanter and less profitable than had he been one of the regular pupils. The companions among whom he found himself were a set of lively undisciplined young gentlemen, chiefly from England, Russia and the German principalities; all in possession of more or less pocket-money and attended by governors either pedantic and self-engrossed or vulgarly subservient. These young sprigs, whose ambition it was to ape the dress and manners of the royal pages, led a life of dissipation barely interrupted by a few hours of attendance at the academic classes. From the ill-effects of such surroundings Odo was preserved by an intellectual curiosity that flung him ravening on his studies. It was not that he was of a bookish habit, or that the drudgery of the classes was less irksome to him than to the other pupils; but not even the pedantic methods then prevailing, or the distractions of his new life, could dull the flush of his first encounter with the past. His imagination took fire over the dry pages of Cornelius Nepos, glowed with the mild pastoral warmth of the Georgics and burst into flame at the first hexameters of the Aeneid. He caught but a fragment of meaning here and there, but the sumptuous imagery, the stirring names, the glimpses into a past where Roman senators were mingled with the gods of a gold-pillared Olympus, filled his mind with a misty pageant of immortals. These moments of high emotion were interspersed with hours of plodding over the Latin grammar and the textbooks of philosophy and logic. Books were unknown ground to Cantapresto, and among masters and pupils there was not one who could help Odo to the meaning of his task, or who seemed aware that it might have a meaning. To most of the lads about him the purpose of the Academy was to fit young gentlemen for the army or the court; to give them the chance of sweating a shirt every morning with the fencing-master and of learning to thread the intricacies of the court minuet. They modelled themselves on the dress and bearing of the pages, who were always ruffling it about the quadrangle in court dress and sword, or booted and spurred for a day’s hunting at the King’s chase of Stupinigi. To receive a nod or a word from one of these young demigods on his way to the King’s opera-box or just back from a pleasure-party at her Majesty’s villa above the Po—to hear of their tremendous exploits and thrilling escapades—seemed to put the whole school in touch with the fine gentleman’s world of intrigue, cards and duelling: the world in which ladies were subjugated, fortunes lost, adversaries run through and tradesmen ruined with that imperturbable grace which distinguished the man of quality from the plebeian.

Among the privileges of the foreign pupils were frequent visits to the royal theatre; and here was to Odo a source of unimagined joys. His superstitious dread of the stage (a sentiment, he soon discovered, that not even his mother’s director shared) made his heart beat oppressively as he first set foot in the theatre. It was a gala night, boxes and stalls were thronged, and the audience-hall unfolded its glittering curves like some poisonous flower enveloping him in rich malignant fragrance. This impression was dispelled by the rising of the curtain on a scene of such Claude-like loveliness as it would have been impossible to associate with the bugbear tales of Donnaz or with the coarse antics of the comedians at Chivasso. A temple girt with mysterious shade, lifting its colonnade above a sunlit harbour; and before the temple, vine-wreathed nymphs waving their thyrsi through the turns of a melodious dance—such was the vision that caught up Odo and swept him leagues away from the rouged and starred assemblage gathered in the boxes to gossip, flirt, eat ices and chocolates, and incidentally, in the pauses of their talk, to listen for a moment to the ravishing airs of Metastasio’s Achilles in Scyros.

The distance between such performances—magic evocations of light and colour and melody—and the gross buffoonery of the popular stage, still tainted with the obscenities of the old commedia dell’ arte, in a measure explains the different points from which at that period the stage was viewed in Italy: a period when in such cities as Milan, Venice, Turin, actors and singers were praised to the skies and loaded with wealth and favours, while the tatterdemalion players who set up their boards in the small towns at market-time or on feast-days were despised by the people and flung like carrion into unconsecrated graves.

The impression Odo had gathered from Don Gervaso’s talk was of the provincial stage in all its pothouse license; but here was a spectacle as lofty and harmonious as some great religious pageant. As the action developed and the beauty of the verse was borne to Odo on the light hurrying ripples of Caldara’s music he turned instinctively to share his pleasure with those about him. Cantapresto, in a new black coat and ruffles, was conspicuously taking snuff from the tortoiseshell box which the Countess’s cicisbeo had given him; but Odo saw that he took less pleasure in the spectacle than in the fact of accompanying the heir-presumptive of Pianura to a gala performance at the royal theatre; and the lads about them were for the most part engaged either with their own dress and appearance, or in exchanging greetings with the royal pages and the older students. A few of these sat near Odo, disdainfully superior in their fob-chains and queues; and as the boy glanced about him he met the fixed stare of one of the number, a tall youth seated at his elbow, and conspicuous, even in that modish company, for the exaggerated elegance of his dress. This young man, whose awkward bearing and long lava-hued face crowned with flamboyant hair contrasted oddly with his finical apparel, returned Odo’s look with a gaze of eager comprehension. He too, it was clear, felt the thrill and wonder, or at least relived them in the younger lad’s emotion; and from that moment Odo felt himself in mute communion with his neighbour.

The quick movement of the story—the succession of devices by which the wily Ulysses lures Achilles to throw off his disguise, while Deidamia strives to conceal his identity; the scenic beauties of the background, shifting from sculpture-gallery to pleasance, from pleasance to banquet-hall; the pomp and glitter of the royal train, the melting graces of Deidamia and her maidens; seemed, in their multiple appeal, to develop in Odo new faculties of perception. It was his first initiation into Italian poetry, and the numbers, now broken, harsh and passionate, now flowing into liquid sweetness, were so blent with sound and colour that he scarce knew through which sense they reached him. Deidamia’s strophes thrilled him like the singing-girl’s kiss, and at the young hero’s cry-Ma lo so ch’ io sono Achille,

E mi sento Achille in sen-his fists tightened and the blood hummed in his ears.

In the scene of the banquet-hall, where the followers of Ulysses lay before Lycomedes the offerings of the Greek chieftains, and, while the King and Deidamia are marvelling at the jewels and the Tyrian robes, Achilles, unmindful of his disguise, bursts out Ah, chi vide finora armi piu belle?

—at this supreme point Odo again turned to his neighbour. They exchanged another look, and at the close of the act the youth leaned forward to ask with an air of condescension: “Is this your first acquaintance with the divine Metastasio?”

“I have never been in a play-house before,” said Odo reddening.

The other smiled. “You are fortunate in having so worthy an introduction to the stage. Many of our operas are merely vulgar and ridiculous; but Metastasio is a great poet.” Odo nodded a breathless assent. “A great poet,” his new acquaintance resumed, “and handling a great theme. But do you not suffer from the silly songs that perpetually interrupt the flow of the verse? To me they are intolerable. Metastasio might have been a great tragic dramatist if Italy would have let him. But Italy does not want tragedies—she wishes to be sung to, danced to, made eyes at, flattered and amused! Give her anything, anything that shall help her to forget her own abasement. Panem et circenses! that is always her cry.

And who can wonder that her sovereigns and statesmen are willing to humour her, when even her poets stoop to play the mountebank for her diversion?” The speaker, ruffling his locks with a hand that scattered the powder, turned on the brilliant audience his strange corrugated frown. “Fools! simpletons!” he cried, “not to see that in applauding the Achilles of Metastasio they are smiling at the allegory of their own abasement! What are the Italians of today but men tricked out in women’s finery, when they should be waiting full-armed to rally at the first signal of revolt? Oh, for the day when a poet shall arise who dares tell them the truth, not disguised in sentimental frippery, not ending in a maudlin reconciliation of love and glory—but the whole truth, naked, cold and fatal as a patriot’s blade; a poet who dares show these bedizened courtiers they are no freer than the peasants they oppress, and tell the peasants they are entitled to the same privileges as their masters!” He paused and drew back with a supercilious smile. “But doubtless, sir,” said he, “I offend you in thus arraigning your sacred caste; for unless I mistake you belong to the race of demigods—the Titans whose downfall is at hand?” He swept the boxes with a contemptuous eye.

Little of this tirade was clear to Odo; but something in the speaker’s tone moved him to answer, with a quick lifting of his head: “My name is Odo Valsecca, of the Dukes of Pianura;” when, fearing he had seemed to parade his birth before one evidently of inferior station, he at once added with a touch of shyness: “And you, sir, are perhaps a poet, since you speak so beautifully?”

At which, with a stare and a straightening of his long awkward body, the other haughtily returned: “A poet, sir? I am the Count Vittorio Alfieri of Asti.”

1.9.

The singular being with whom chance had thus brought him acquainted was to have a lasting influence on the formation of Odo’s character.

Vittorio Alfieri, then just concluding, at the age of sixteen, his desultory years of academic schooling, was probably the most extraordinary youth in Charles Emmanuel’s dominion. Of the future student, of the tragic poet who was to prepare the liberation of Italy by raising the political ideals of his generation, this moody boy with his craze for dress and horses, his pride of birth and contempt for his own class, his liberal theories and insolently aristocratic practice, must have given small promise to the most discerning observer. It seems indeed probable that none thought him worth observing and that he passed among his townsmen merely as one of the most idle and extravagant young noblemen in a society where idleness and extravagance were held to be the natural attributes of the great. But in the growth of character the light on the road to Damascus is apt to be preceded by faint premonitory gleams; and even in his frivolous days at the Academy Alfieri carried a Virgil in his pocket and wept and trembled over Ariosto’s verse.

It was the instant response of Odo’s imagination that drew the two together. Odo, as one of the foreign pupils, was quartered in the same wing of the Academy with the students of Alfieri’s class, and enjoyed an almost equal freedom. Thus, despite the difference of age, the lads found themselves allied by taste and circumstances. Among the youth of their class they were perhaps the only two who already felt, however obscurely, the stirring of unborn ideals, the pressure of that tide of renovation that was to sweep them, on widely-sundered currents, to the same uncharted deep. Alfieri, at any rate, represented to the younger lad the seer who held in his hands the keys of knowledge and beauty. Odo could never forget the youth who first leant him Annibale Caro’s Aeneid and Metastasio’s opera libretti, Voltaire’s Zaire and the comedies of Goldoni; while Alfieri perhaps found in his companion’s sympathy with his own half-dormant tastes the first incentive to a nobler activity.

Certain it is that, in the interchange of their daily comradeship, the elder gave his friend much that he was himself unconscious of possessing, and perhaps first saw reflected in Odo’s more vivid sensibility an outline of the formless ideals coiled in the depths of his own sluggish nature.

The difference in age, and the possession of an independent fortune, which the laws of Savoy had left Alfieri free to enjoy since his fifteenth year, gave him an obvious superiority over Odo; but if Alfieri’s amusements separated him from his young friend, his tastes were always drawing them together; and Odo was happily of those who are more engaged in profiting by what comes their way than in pining for what escapes them. Much as he admired Alfieri, it was somehow impossible for the latter to condescend to him; and the equality of intercourse between the two was perhaps its chief attraction to a youth surfeited with adulation.

Of the opportunities his new friendship brought him, none became in after years a pleasanter memory to Odo than his visits with Vittorio to the latter’s uncle, the illustrious architect Count Benedetto Alfieri.

This accomplished and amiable man, who had for many years devoted his talents to the King’s service, was lodged in a palace adjoining the Academy; and thither, one holiday afternoon, Vittorio conducted his young friend.

Ignorant as Odo was of all the arts, he felt on the very threshold the new quality of his surroundings. These tall bare rooms, where busts and sarcophagi were ranged as in the twilight of a temple, diffused an influence that lowered the voice and hushed the step. In the semi-Parisian capital where French architects designed the King’s pleasure-houses and the nobility imported their boudoir-panellings from Paris and their damask hangings from Lyons, Benedetto Alfieri represented the old classic tradition, the tradition of the “grand manner,” which had held its own through all later variations of taste, running parallel with the barocchismo of the seventeenth century and the effeminate caprices of the rococo period. He had lived much in Rome, in the company of men like Winckelmann and Maffei, in that society where the revival of classical research was being forwarded by the liberality of Princes and Cardinals and by the indefatigable zeal of the scholars in their pay. From this centre of aesthetic reaction Alfieri had returned to the Gallicized Turin, with its preference for the graceful and ingenious rather than for the large, the noble, the restrained; bringing to bear on the taste of his native city the influence of a view raised but perhaps narrowed by close study of the past: the view of a generation of architects in whom archeological curiosity had stifled the artistic instinct, and who, instead of assimilating the spirit of the past like their great predecessors, were engrossed in a sterile restoration of the letter. It may be said of this school of architects that they were of more service to posterity than to their contemporaries; for while they opened the way to modern antiquarian research, their pedantry checked the natural development of a style which, if left to itself, might in time have found new and more vigorous forms of expression.

To Odo, happily, Count Benedetto’s surroundings spoke more forcibly than his theories. Every object in the calm severe rooms appealed to the boy with the pure eloquence of form. Casts of the Vatican busts stood against the walls and a niche at one end of the library contained a marble copy of the Apollo Belvedere. The sarcophagi with their winged genii, their garlands and bucranes, and porphyry tazzas, the fragments of Roman mosaic and Pompeian fresco-painting, roused Odo’s curiosity as if they had been the scattered letters of a new alphabet; and he saw with astonishment his friend Vittorio’s indifference to these wonders.

Count Benedetto, it was clear, was resigned to his nephew’s lack of interest. The old man doubtless knew that he represented to the youth only the rich uncle whose crotchets must be humoured for the sake of what his pocket may procure; and such kindly tolerance made Odo regret that Vittorio should not at least affect an interest in his uncle’s pursuits.

Odo’s eagerness to see and learn filled Count Benedetto with a simple joy. He brought forth all his treasures for the boy’s instruction and the two spent many an afternoon poring over Piranesi’s Roman etchings, Maffei’s Verona Illustrata, and Count Benedetto’s own elegant pencil-drawings of classical remains. Like all students of his day he had also his cabinet of antique gems and coins, from which Odo obtained more intimate glimpses of that buried life so marvellously exhumed before him: hints of traffic in far-off marketplaces and familiar gestures of hands on which those very jewels might have sparkled. Nor did the Count restrict the boy’s enquiries to that distant past; and for the first time Odo heard of the masters who had maintained the great classical tradition on Latin soil: Sanmichele, Vignola, Sansovino, and the divine Michael Angelo, whom the old architect never named without baring his head. From the works of these architects Odo formed his first conception of the earlier, more virile manner which the first contact with Graeco-Roman antiquity had produced. The Count told him, too, of the great painters whose popularity had been lessened, if their fame had not been dimmed, by the more recent achievements of Correggio, Guido, Guercino, and the Bolognese school. The splendour of the stanze of the Vatican, the dreadful majesty of the Sistine ceiling, revealed to Odo the beauty of that unmatched moment before grandeur broke into bombast.

His early association with the expressive homely art of the chapel at Pontesordo and with the half-pagan beauty of Luini’s compositions had formed his taste on soberer lines than the fashion of the day affected; and his imagination breathed freely on the heights of the Latin Parnassus. Thus, while his friend Vittorio stormed up and down the quiet rooms, chattering about his horses, boasting of his escapades, or ranting against the tyranny of the Sardinian government, Odo, at the old Count’s side, was entering on the great inheritance of the past.

Such an initiation was the more precious to him from the indifference of those about him to all forms of liberal culture. Among the greater Italian cities, Turin was at that period the least open to new influences, the most rigidly bound up in the formulas of the past. While Milan, under the Austrian rule, was becoming a centre of philosophic thought; while Naples was producing a group of economists such as Galiani, Gravina and Filangieri; while ecclesiastical Rome was dedicating herself to the investigation of ancient art and polity, and even flighty Venice had her little set of “liberals,” who read Voltaire and Hume and wept over the rights of man, the old Piedmontese capital lay in the grasp of a bigoted clergy and of a reigning house which was already preparing to superimpose Prussian militarism on the old feudal discipline of the border. Generations of hard fighting and rigorous living had developed in the nobles the qualities which were preparing them for the great part their country was to play; and contact with the Waldensian and Calvinist heresies had stiffened Piedmontese piety into a sombre hatred of schism and a minute observance of the mechanical rules of the faith. Such qualities could be produced only at the expense of intellectual freedom; and if Piedmont could show a few nobles like Massimo d’Azeglio’s father, who “made the education of his children his first and gravest thought” and supplemented the deficiencies of his wife’s conventual training by “consecrating to her daily four hours of reading, translating and other suitable exercises,” the commoner view was that of Alfieri’s own parents, who frequently repeated in their son’s hearing “the old maxim of the Piedmontese nobility” that there is no need for a gentleman to be a scholar. Such at any rate was the opinion of the old Marquess of Donnaz, and of all the frequenters of Casa Valdu. Odo’s stepfather was engrossed in the fulfilment of his duties about the court, and Donna Laura, under the influence of poverty and ennui, had sunk into a state of rigid pietism; so that the lad, on his visits to his mother, found himself in a world where art was represented by the latest pastel-portrait of a court beauty, literature by Liguori’s Glories of Mary or the blessed Battista’s Mental Sorrows of Christ, and history by the conviction that Piedmont’s efforts to stamp out the enemies of the Church had distinguished her above every other country of Europe. Donna Laura’s cicisbeo was indeed a member of the local Arcadia, and given to celebrating in verse every incident in the noble household of Valdu, from its lady’s name-day to the death of a pet canary; but his own tastes inclined to the elegant Bettinelli, whose Lettere Virgiliane had so conclusively shown Dante to be a writer of barbarous doggerel; and among the dilettanti of the day one heard less of Raphael than of Carlo Maratta, less of Ariosto and Petrarch than of the Jesuit poet Padre Cevo, author of the sublime “heroico-comic” poem on the infancy of Jesus.

It was in fact mainly to the Jesuits that Italy, in the early part of the eighteenth century, owed her literature and her art, as well as the direction of her religious life. Though the reaction against the order was everywhere making itself felt, though one Italian sovereign after another had been constrained to purchase popularity or even security by banishing the Society from his dominions, the Jesuits maintained their hold on the aristocracy, whose pretentions they flattered, whose tastes they affected, and to whom they represented the spirit of religious and political conservatism, against which invisible forces were already felt to be moving. For the use of their noble supporters, the Jesuits had devised a religion as elaborate and ceremonious as the social usages of the aristocracy: a religion which decked its chapels in imitation of great ladies’ boudoirs and prescribed observances in keeping with the vapid and gossiping existence of their inmates.

To Odo, fresh from the pure air of Donnaz, where the faith of his kinsfolk expressed itself in charity, self-denial and a noble decency of life, there was something stifling in the atmosphere of languishing pietism in which his mother’s friends veiled the emptiness of their days. Under the instruction of the Countess’s director the boy’s conscience was enervated by the casuistries of Liguorianism and his devotion dulled by the imposition of interminable “pious practices.” It was in his nature to grudge no sacrifice to his ideals, and he might have accomplished without question the monotonous observances his confessor exacted, but for the changed aspect of the Deity in whose name they were imposed.

As with most thoughtful natures, Odo’s first disillusionment was to come from discovering not what his God condemned, but what He condoned.

Between Cantapresto’s coarse philosophy of pleasure and the refined complaisances of his new confessor he felt the distinction to be one rather of taste than of principle; and it seemed to him that the religion of the aristocracy might not unfairly be summed up in the ex-soprano’s cynical aphorism: “As respectful children of our Heavenly Father it behoves us not to speak till we are spoken to.”

Even the religious ceremonies he witnessed did not console him for that chill hour of dawn, when, in the chapel at Donnaz, he had served the mass for Don Gervaso, with a heart trembling at its own unworthiness yet uplifted by the sense of the Divine Presence. In the churches adorned like aristocratic drawing-rooms, of which some Madonna, wreathed in artificial flowers, seemed the amiable and indulgent hostess, and where the florid passionate music of the mass was rendered by the King’s opera singers before a throng of chattering cavaliers and ladies, Odo prayed in vain for a reawakening of the old emotion. The sense of sonship was gone. He felt himself an alien in the temple of this affable divinity, and his heart echoed no more than the cry which had once lifted him on wings of praise to the very threshold of the hidden glory-Domine, dilexi decorem domus tuae et locum habitationis gloriae tuae!

It was in the first reaction from this dimly felt loss that he lit one day on a volume which Alfieri had smuggled into the Academy—the Lettres Philosophiques of Francois Arouet de Voltaire.

BOOK II. THE NEW LIGHT.

Zu neuen Ufern lockt ein neuer Tag.

2.1.

One afternoon of April in the year 1774, Odo Valsecca, riding down the hillside below the church of the Superga, had reined in his horse at a point where a group of Spanish chestnuts overhung the way. The air was light and pure, the shady turf invited him, and dismounting he bid his servant lead the horses to the wayside inn half way down the slope.

The spot he had chosen, though secluded as some nook above the gorge of Donnaz, commanded a view of the Po rolling at his feet like a flood of yellowish metal, and beyond, outspread in clear spring sunshine, the great city in the bosom of the plain. The spectacle was fair enough to touch any fancy: brown domes and facades set in new-leaved gardens and surrounded by vineyards extending to the nearest acclivities; country-houses glancing through the fresh green of planes and willows; monastery-walls cresting the higher ridges; and westward the Po winding in sunlit curves toward the Alps.

Odo had lost none of his sensitiveness to such impressions; but the sway of another mood turned his eye from the outstretched beauty of the city to the vernal solitude about him. It was the season when old memories of Donnaz worked in his blood; when the banks and hedges of the fresh hill-country about Turin cheated him with a breath of budding beech-groves and the fragrance of crushed fern in the glens of the high Pennine valleys. It was a mere waft, perhaps, from some clod of loosened earth, or the touch of cool elastic moss as he flung himself face downward under the trees; but the savour, the contact filled his nostrils with mountain air and his eyes with dim-branched distances. At Donnaz the slow motions of the northern spring had endeared to him all those sweet incipiencies preceding the full choral burst of leaf and flower: the mauve mist over bare woodlands, the wet black gleams in frost-bound hollows, the thrust of fronds through withered bracken, the primrose-patches spreading like pale sunshine along wintry lanes. He had always felt a sympathy for these delicate unnoted changes; but the feeling which had formerly been like the blind stir of sap in a plant was now a conscious sensation that groped for speech and understanding.

He had grown up among people to whom such emotions were unknown. The old Marquess’s passion for his fields and woods was the love of the agriculturist and the hunter, not that of the naturalist or the poet; and the aristocracy of the cities regarded the country merely as so much soil from which to draw their maintenance. The gentlefolk never absented themselves from town but for a few weeks of autumn, when they went to their villas for the vintage, transporting thither all the diversions of city life and venturing no farther afield than the pleasure-grounds that were but so many open-air card-rooms, concert-halls and theatres. Odo’s tenderness for every sylvan function of renewal and decay, every shifting of light and colour on the flying surface of the year, would have been met with the same stare with which a certain enchanting Countess had received the handful of wind-flowers that, fresh from a sunrise on the hills, he had laid one morning among her toilet-boxes.

The Countess Clarice had stared and laughed, and every one of his acquaintance, Alfieri even, would have echoed her laugh; but one man at least had felt the divine commotion of nature’s touch, had felt and interpreted it, in words as fresh as spring verdure, in the pages of a volume that Odo now drew from his pocket.

“I longed to dream, but some unexpected spectacle continually distracted me from my musings. Here immense rocks hung their ruinous masses above my head; there the thick mist of roaring waterfalls enveloped me; or some unceasing torrent tore open at my very feet an abyss into which the gaze feared to plunge. Sometimes I was lost in the twilight of a thick wood; sometimes, on emerging from a dark ravine, my eyes were charmed by the sight of an open meadow…Nature seemed to revel in unwonted contrasts; such varieties of aspect had she united in one spot. Here was an eastern prospect bright with spring flowers, while autumn fruits ripened to the south and the northern face of the scene was still locked in wintry frosts…Add to this the different angles at which the peaks took the light, the chiaroscuro of sun and shade, and the variations of light resulting from it at morning and evening…sum up the impressions I have tried to describe and you will be able to form an idea of the enchanting situation in which I found myself…The scene has indeed a magical, a supernatural quality, which so ravishes the spirit and senses that one seems to lose all exact notion of one’s surroundings and identity.”

This was a new language to eighteenth-century readers. Already it had swept through the length and breadth of France, like a spring storm-wind bursting open doors and windows, and filling close candle-lit rooms with wet gusts and the scent of beaten blossoms; but south of the Alps the new ideas travelled slowly, and the Piedmontese were as yet scarce aware of the man who had written thus of their own mountains. It was true that, some thirty years earlier, in one of the very monasteries on which Odo now looked down, a Swiss vagrant called Rousseau had embraced the true faith with the most moving signs of edification; but the rescue of Helvetian heretics was a favourite occupation of the Turinese nobility and it is doubtful if any recalled the name of the strange proselyte who had hastened to signalise his conversion by robbing his employers and slandering an innocent maidservant. Odo in fact owed his first acquaintance with the French writers to Alfieri, who, in the intervals of his wandering over Europe, now and then reappeared in Turin laden with the latest novelties in Transalpine literature and haberdashery.

What his eccentric friend failed to provide, Odo had little difficulty in obtaining for himself; for though most of the new writers were on the Index, and the Sardinian censorship was notoriously severe, there was never yet a barrier that could keep out books, and Cantapresto was a skilled purveyor of contraband dainties. Odo had thus acquainted himself with the lighter literature of England and France; and though he had read but few philosophical treatises, was yet dimly aware of the new standpoint from which, north of the Alps, men were beginning to test the accepted forms of thought. The first disturbance of his childish faith, and the coincident reading of the Lettres Philosophiques, had been followed by a period of moral perturbation, during which he suffered from that sense of bewilderment, of inability to classify the phenomena of life, that is one of the keenest trials of inexperience. Youth and nature had their way with him, however, and a wholesome reaction of indifference set in. The invisible world of thought and conduct had been the frequent subject of his musings; but the other, tangible world was close to him too, spreading like a rich populous plain between himself and the distant heights of speculation. The old doubts, the old dissatisfactions, hung on the edge of consciousness; but he was too profoundly Italian not to linger awhile in that atmosphere of careless acquiescence that is so pleasant a medium for the unhampered enjoyment of life. Some day, no doubt, the intellectual curiosity and the moral disquietude would revive; but what he wanted now were books which appealed not to his reason but to his emotions, which reflected as in a mirror the rich and varied life of the senses: books that were warm to the touch, like the little volume in his hand.

For it was not only of nature that the book spoke. Amid scenes of such rustic freshness were set human passions as fresh and natural: a great romantic love, subdued to duty, yet breaking forth again and again as young shoots spring from the root of a felled tree. To eighteenth-century readers such a picture of life was as new as its setting. Duty, in that day, to people of quality, meant the observance of certain fixed conventions: the correct stepping of a moral minuet; as an inner obligation, as a voluntary tribute to Diderot’s “divinity on earth,” it had hardly yet drawn breath. To depict a personal relation so much purer and more profound than any form of sentiment then in fashion, and then to subordinate it, unflinchingly, to the ideal of those larger relations that link the individual to the group—this was a stroke of originality for which it would be hard to find a parallel in modern fiction. Here at last was an answer to the blind impulses agrope in Odo’s breast—the loosening of those springs of emotion that gushed forth in such fresh contrast to the stagnant rills of the sentimental pleasure-garden. To renounce a Julie would be more thrilling than-Odo, with a sigh, thrust the book in his pocket and rose to his feet. It was the hour of the promenade at the Valentino and he had promised the Countess Clarice to attend her. The old high-roofed palace of the French princess lay below him, in its gardens along the river: he could figure, as he looked down on it, the throng of carriages and chairs, the modishly dressed riders, the pedestrians crowding the footpath to watch the quality go by. The vision of all that noise and glitter deepened the sweetness of the woodland hush. He sighed again. Suddenly voices sounded in the road below—a man’s speech flecked with girlish laughter. Odo hung back listening: the girl’s voice rang like a bird-call through his rustling fancies. Presently she came in sight: a slender black-mantled figure hung on the arm of an elderly man in the sober dress of one of the learned professions—a physician or a lawyer, Odo guessed. Their being afoot, and the style of the man’s dress, showed that they were of the middle class; their demeanour, that they were father and daughter.

The girl moved with a light forward flowing of her whole body that seemed the pledge of grace in every limb: of her face Odo had but a bright glimpse in the eclipse of her flapping hat-brim. She stood under his tree unheeded; but as they rose abreast of him the girl paused and dropped her companion’s arm.

“Look! The cherry flowers!” she cried, and stretched her arms to a white gush of blossoms above the wall across the road. The movement tilted back her hat, and Odo caught her small fine profile, wide-browed as the head on some Sicilian coin, with a little harp-shaped ear bedded in dark ripples.

“Oh,” she wailed, straining on tiptoe, “I can’t reach them!”

Her father smiled. “May temptation,” said he philosophically, “always hang as far out of your reach.”

“Temptation?” she echoed.

“Is it not theft you’re bent on?”

“Theft? This is a monk’s orchard, not a peasant’s plot.”

“Confiscation, then,” he humorously conceded.

“Since they pay no taxes on their cherries they might at least,” she argued, “spare a few to us poor taxpayers.”

“Ah,” said her father, “I want to tax their cherries, not to gather them.” He slipped a hand through her arm. “Come, child,” said he, “does not the philosopher tell us that he who enjoys a thing possesses it? The flowers are yours already!”

“Oh, are they?” she retorted. “Then why doesn’t the loaf in the baker’s window feed the beggar that looks in at it?”

“Casuist!” he cried and drew her up the bend of the road.

Odo stood gazing after them. Their words, their aspect, seemed an echo of his reading. The father in his plain broadcloth and square-buckled shoes, the daughter with her unpowdered hair and spreading hat, might have stepped from the pages of the romance. What a breath of freshness they brought with them! The girl’s cheek was clear as the cherry-blossoms, and with what lovely freedom did she move! Thus Julie might have led Saint Preux through her “Elysium.” Odo crossed the road and, breaking one of the blossoming twigs, thrust it in the breast of his uniform. Then he walked down the hill to the inn where the horses waited. Half an hour later he rode up to the house where he lodged in the Piazza San Carlo.

In the archway Cantapresto, heavy with a nine years’ accretion of fat, laid an admonishing hand on his bridle.

“Cavaliere, the Countess’s black boy—”

“Well?”

“Three several times has battered the door down with a missive.”

“Well?”

“The last time, I shook him off with the message that you would be there before him.”

“Be where?”

“At the Valentino; but that was an hour ago!”

Odo slipped from the saddle.

“I must dress first. Call a chair; or no—write a letter for me first.

Let Antonio carry it.”

The ex-soprano, wheezing under the double burden of flesh and consequence, had painfully laboured after Odo up the high stone flights to that young gentleman’s modest lodgings, and they stood together in a study lined with books and hung with prints and casts from the antique.

Odo threw off his dusty coat and called the servant to remove his boots.

“Will you read the lady’s letters, cavaliere?” Cantapresto asked, obsequiously offering them on a lacquered tray.

“No—no: write first. Begin ‘My angelic lady’—”

“You began the last letter in those terms, cavaliere,” his scribe reminded him with suspended pen.

“The devil! Well, then—wait. ‘Throned goddess’—”

“You ended the last letter with ‘throned goddess.’”

“Curse the last letter! Why did you send it?” Odo sprang up and slipped his arms into the dress-tunic his servant had brought him. “Write anything. Say that I am suddenly summoned by—”

“By the Count Alfieri?” Cantapresto suggested.

“Count Alfieri? Is he here? He has returned?”

“He arrived an hour ago, cavaliere. He sent you this Moorish scimitar with his compliments. I understand he comes recently from Spain.”

“Imbecile, not to have told me before! Quick, Antonio—my gloves, my sword.” Odo, flushed and animated, buckled his sword-belt with impatient hands. “Write anything—anything to free my evening. Tomorrow morning—tomorrow morning I shall wait on the lady. Let Antonio carry her a nosegay with my compliments. Did you see him Cantapresto? Was he in good health? Does he sup at home? He left no message? Quick, Antonio, a chair!” he cried with his hand on the door.

Odo had acquired, at twenty-two, a nobility of carriage not incompatible with the boyish candour of his gaze, and becomingly set off by the brilliant dress-uniform of a lieutenant in one of the provincial regiments. He was tall and fair, and a certain languor of complexion, inherited from his father’s house, was corrected in him by the vivacity of the Donnaz blood. This now sparkled in his grey eye, and gave a glow to his cheek, as he stepped across the threshold, treading on a sprig of cherry-blossom that had dropped unnoticed to the floor.

Cantapresto, looking after him, caught sight of the flowers and kicked them aside with a contemptuous toe. “I sometimes think he botanises,” he murmured with a shrug. “The Lord knows what queer notions he gets out of all these books!”

2.2.

As an infusion of fresh blood to Odo were Alfieri’s meteoric returns to Turin. Life moved languidly in the strait-laced city, even to a young gentleman a-tiptoe for adventure and framed to elicit it as the hazel-wand draws water. Not that vulgar distractions were lacking. The town, as Cantapresto had long since advised him, had its secret leniencies, its posterns opening on clandestine pleasure; but there was that in Odo which early turned him from such cheap counterfeits of living. He accepted the diversions of his age, but with a clear sense of their worth; and the youth who calls his pleasures by their true name has learned the secret of resisting them.

Alfieri’s coming set deeper springs in motion. His follies and extravagances were on a less provincial scale than those of Odo’s daily associates. The breath of a freer life clung to him and his allusions were so many glimpses into a larger world. His political theories were but the enlargement of his private grievances, but the mere play of criticism on accepted institutions was an exercise more novel and exhilirating than the wildest ride on one of his half-tamed thoroughbreds. Still chiefly a man of pleasure, and the slave, as always, of some rash infatuation, Alfieri was already shaking off the intellectual torpor of his youth; and the first stirrings of his curiosity roused an answering passion in Odo. Their tastes were indeed divergent, for to that external beauty which was to Odo the very bloom of life, Alfieri remained insensible; while of its imaginative counterpart, its prolongation in the realm of thought and emotion, he had but the most limited conception. But his love of ringing deeds woke the chivalrous strain in Odo, and his vague celebration of Liberty, that unknown goddess to whom altars were everywhere building, chimed with the other’s scorn of oppression and injustice. So far, it is true, their companionship had been mainly one of pleasure; but the temper of both gave their follies that provisional character which saves them from vulgarity.

Odo, who had slept late on the morning after his friend’s return, was waked by the pompous mouthing of certain lines just then on every lip in Italy:- Meet was it that, its ancient seats forsaking, An Empire should set forth with dauntless sail, And braving tempests and the deep’s betrayal, Break down the barriers of inviolate worlds-That Cortez and Pizarro should esteem The blood of man a trivial sacrifice When, flinging down from their ancestral thrones Incas and Mexicans of royal line,

They wrecked two kingdoms to refresh thy palate-They were the verses in which the abate Parini, in his satire of The Morning, apostrophizes the cup of chocolate which the lacquey presents to his master. Cantapresto had in fact just entered with a cup of this beverage, and Alfieri, who stood at his friend’s bedside with unpowdered locks and a fashionable undress of Parisian cut, snatching the tray from the soprano’s hands presented it to Odo in an attitude of mock servility.

The young man sprang up laughing. It was the fashion to applaud Parini’s verse in the circles at which his satire was aimed, and none recited his mock heroics with greater zest than the young gentlemen whose fopperies he ridiculed. Odo’s toilet was indeed a rite almost as elaborate as that of Parini’s hero; and this accomplished, he was on his way to fulfil the very duty the poet most unsparingly derides: the morning visit of the cicisbeo to his lady; but meanwhile he liked to show himself above the follies of his class by joining in the laugh against them. When he issued from the powder-room in his gold-laced uniform, with scented gloves and carefully-adjusted queue, he presented the image of a young gentleman so clearly equal to the most flattering emergencies that Alfieri broke into a smile of half-ironical approval. “I see, my dear cavaliere, that it were idle to invite you to try one of the new Arabs I have brought with me from Spain, since it is plain other duties engage you; but I come to lay claim to your evening.”

Odo hesitated. “The Queen holds a circle this evening,” he said.

“And her lady-in-waiting is in attendance?” returned Alfieri. “And the lady-in-waiting’s gentleman-in-waiting also?”

Odo made an impatient movement. “What inducements do you offer?” said he carelessly.

Alfieri stepped close and tapped him on the sleeve. “Meet me at ten o’clock at the turn of the lane behind the Corpus Domini. Wear a cloak and a mask, and leave this gentleman at home with a flask of Asti.” He glanced at Cantapresto.

Odo hesitated a moment. He knew well enough where such midnight turnings led, and across the vision evoked by his friend’s words a girl’s face flitted suddenly.

“Is that all?” he said with a shrug. “You find me, I fear, in no humour for such exploits.”

Alfieri smiled. “And if I say that I have promised to bring you?”

“Promised—?”

“To one as chary of exacting such pledges as I of giving them. If I say that you stake your life on the adventure, and that the stake is not too great for the reward—?”

His sallow face had reddened with excitement, and Odo’s forehead reflected the flush. Was it possible—? But the thought set him tingling with disgust.

“Why, you say little,” he cried lightly, “at the rate at which I value my life.”

Alfieri turned on him. “If your life is worthless; make it worth something!” he exclaimed. “I offer you the opportunity tonight.”

“What opportunity?”

“The sight of a face that men have laid down their lives to see.”

Odo laughed and buckled on his sword. “If you answer for the risk, I agree to take it,” said he. “At ten o’clock then, behind the Corpus Domini.”

If the ladies whom gallant gentlemen delight to serve could guess what secret touchstones of worth these same gentlemen sometimes carry into the adored presence, many a handsome head would be carried with less assurance, and many a fond exaction less confidently imposed. If, for instance, the Countess Clarice di Tournanches, whose high-coloured image reflected itself so complacently in her Venetian toilet-glass, could have known that the Cavaliere Odo Valsecca’s devoted glance saw her through the medium of a countenance compared to which her own revealed the most unexpected shortcomings, she might have received him with less airy petulance of manner. But how could so accomplished a mistress doubt the permanence of her rule? The Countess Clarice, in singling out young Odo Valsecca (to the despair of a score of more experienced cavaliers) had done him an honour that she could no more imagine his resigning than an adventurer a throne to which he is unexpectedly raised. She was a finished example of the pretty woman who views the universe as planned for her convenience. What could go wrong in a world where noble ladies lived in palaces hung with tapestry and damask, with powdered lacqueys to wait on them, a turbaned blackamoor to tend their parrots and monkeys, a coronet-coach at the door to carry them to mass or the ridotto, and a handsome cicisbeo to display on the promenade? Everything had combined to strengthen the Countess Clarice’s faith in the existing order of things. Her husband, Count Roberto di Tournanches, was one of the King’s equerries and distinguished for his brilliant career as an officer of the Piedmontese army—a man marked for the highest favours in a society where military influences were paramount. Passing at sixteen from an aristocratic convent to the dreary magnificence of the Palazzo Tournanches, Clarice had found herself a lady-in-waiting at the dullest court in Europe and the wife of an army officer engrossed in his profession, and pledged by etiquette to the service of another lady. Odo Valsecca represented her escape from this bondage—the dash of romance and folly in a life of elegant formalities; and the Countess, who would not have sacrificed to him one of her rights as a court-lady or a nobil donna of the Golden Book, regarded him as the reward which Providence accords to a well-regulated conduct.

Her room, when Odo entered it on taking leave of Alfieri, was crowded, as usual at that hour, with the hangers-on of the noble lady’s lever: the abatino in lace ruffles, handing about his latest rhymed acrostic, the jeweller displaying a set of enamelled buckles newly imported from Paris, and the black-breeched doctor with white bands who concocted remedies for the Countess’s vapours and megrims. These personages, grouped about the toilet-table where the Countess sat under the hands of a Parisian hairdresser, were picturesquely relieved against the stucco panelling and narrow mirrors of the apartment, with its windows looking on a garden set with mossy statues. To Odo, however, the scene suggested the most tedious part of his day’s routine. The compliments to be exchanged, the silly verses to be praised, the gewgaws from Paris to be admired, were all contrasted in his mind with the vision of that other life which had come to him on the hillside of the Superga. On this mood the Countess Clarice’s sarcasms fell without effect. To be pouted at because he had failed to attend the promenade of the Valentino was to Odo but a convenient pretext for excusing himself from the Queen’s circle that evening. He had engaged with little ardour to join Alfieri in what he guessed to be a sufficiently commonplace adventure; but as he listened to the Countess’s chatter about the last minuet-step, and the relative merits of sanspareil water and oil-of-lilies, of gloves from Blois and Vendome, his impatience hailed any alternative as a release.

Meanwhile, however, long hours of servitude intervened. The lady’s toilet completed, to the adjusting of the last patch, he must attend her to dinner, where, placed at her side, he was awarded the honour of carving the roast; must sit through two hours of biribi in company with the abatino, the doctor, and half-a-dozen parasites of the noble table; and for two hours more must ride in her gilt coach up and down the promenade of the Valentino.

Escaping from this ceremonial, with the consciousness that it must be repeated on the morrow, Odo was seized with that longing for freedom that makes the first street-corner an invitation to flight. How he envied Alfieri, whose travelling-carriage stood at the beck of such moods! Odo’s scant means forbade evasion, even had his military duties not kept him in Turin. He felt himself no more than a puppet dancing to the tune of Parini’s satire, a puny doll condemned, as the strings of custom pulled, to feign the gestures of immortal passions.

2.3.

The night was moonless, with cold dashes of rain, and though the streets of Turin were well-lit no lantern-ray reached the windings of the lane behind the Corpus Domini.

As Odo, alone under the wall of the church, awaited his friend’s arrival, he wondered what risk had constrained the reckless Alfieri to such unwonted caution. Italy was at that time a vast network of espionage, and the Piedmontese capital passed for one of the best-policed cities in Europe; but even on a moonless night the law distinguished between the noble pleasure-seeker and the obscure delinquent whose fate it was to pay the other’s shot. Odo knew that he would probably be followed and his movements reported to the authorities; but he was almost equally certain that there would be no active interference in his affairs. What chiefly puzzled him was Alfieri’s insistence that Cantapresto should not be privy to the adventure. The soprano had long been the confidant of his pupil’s escapades, and his adroitness had often been of service in intrigues such as that on which Odo now fancied himself engaged. The place, again, perplexed him: a sober quarter of convents and private dwellings, in the very eye of the royal palace, scarce seeming the theatre for a light adventure. These incongruities revived his former wonder; nor was this dispelled by Alfieri’s approach.

The poet, masked and unattended, rejoined his friend without a word; and Odo guessed in him an eye and ear alert for pursuit. Guided by the pressure of his arm, Odo was hurried round the bend of the lane, up a transverse alley and across a little square lost between high shuttered buildings. Alfieri, at his first word, gripped his arm with a backward glance; then urged him on under the denser blackness of an arched passageway, at the end of which an oil-light glimmered. Here a gate in a wall confronted them. It opened at Alfieri’s tap and Odo scented wet box-borders and felt the gravel of a path under foot. The gate was at once locked behind them and they entered the ground-floor of a house as dark as the garden. Here a maidservant of close aspect met them with a lamp and preceded them upstairs to a bare landing hung with charts and portulani. On Odo’s flushed anticipations this antechamber, which seemed the approach to some pedant’s cabinet, had an effect undeniably chilling; but Alfieri, heedless of his surprise, had cast off cloak and mask, and now led the way into a long conventual-looking room lined with book-shelves. A knot of middle-aged gentlemen of sober dress and manner, gathered about a cabinet of fossils in the centre of this apartment, looked up at the entrance of the two friends; then the group divided, and Odo with a start recognised the girl he had seen on the road to the Superga.

She bowed gravely to the young men. “My father,” said she, in a clear voice without trace of diffidence, “has gone to his study for a book, but will be with you in a moment.”

She wore a dress in keeping with her manner, its black stuff folds and the lawn kerchief crossed on her bosom giving height and authority to her slight figure. The dark unpowdered hair drawn back over a cushion made a severer setting for her face than the fluctuating brim of her shade-hat; and this perhaps added to the sense of estrangement with which Odo gazed at her; but she met his look with a smile, and instantly the rosy girl flashed through her grave exterior.

“Here is my father,” said she; and her companion of the previous day stepped into the room with several folios under his arm.

Alfieri turned to Odo. “This, my dear Odo,” said he, “is my distinguished friend, Professor Vivaldi, who has done us the honour of inviting us to his house.” He took the Professor’s hand. “I have brought you,” he continued, “the friend you were kind enough to include in your invitation—the Cavaliere Odo Valsecca.”