On the following morning all Rome rang with the news that the Saracinesca had lost their title, and that Faustina Montevarchi had murdered her father. No one connected the two events, but the shock to the public mind was so tremendous that almost any incredible tale would have been believed. The story, as it was generally told, set forth that Faustina had gone mad and had strangled her father in his sleep. Every one agreed in affirming that he had been found dead with her handkerchief tied round his neck. It was further stated that the young girl was no longer in the Palazzo Montevarchi, but had been transferred to the women's prison at the Termini, pending further examination into the details of the case. The Palazzo Montevarchi was draped in black, and before night funeral hatchments were placed upon the front of the parish church bearing the Montevarchi arms. No one was admitted to the palace upon any pretext whatever, though it was said that San Giacinto and Flavia had spent the night there. No member of the family had been seen by any one, and nobody seemed to know exactly whence the various items of information had been derived.
Strange to say, every word of what was repeated so freely was true, excepting that part of the tale which accused Faustina of having done the deed. What had taken place up to the time when Corona and Giovanni had come may be thus briefly told.
Prince Montevarchi had been found dead by the servant who came to bring a lamp to the study, towards evening, when it grew dark. As soon as the alarm was given a scene of indescribable confusion followed, which lasted until the prefect of police arrived, accompanied by a party of police officials. The handkerchief was examined and identified. Thereupon, in accordance with the Roman practice of that day, the prefect had announced his determination of taking Faustina into custody. The law took it for granted that the first piece of circumstantial evidence which presented itself must be acted upon with the utmost promptitude. A few questions had shown immediately that Faustina was the last person who had seen Montevarchi alive. The young girl exhibited a calmness which surprised every one. She admitted that her father had been angry with her and had struck her, but she denied all knowledge of his death. It is sufficient to say that she fearlessly told the truth, so fearlessly as to prejudice even her own family with regard to her. Even the blood on the handkerchief was against her, though she explained that it was her own, and although the bruise on her lip bore out the statement. The prefect was inexorable. He explained that Faustina could be taken privately to the Termini, and that the family might use its influence on the next day to procure her immediate release, but that his duty compelled him for the present to secure her person, that he was responsible, that he was only doing his duty, and so forth and so on.
The consternation of the family may be imagined. The princess broke down completely under what seemed very like a stroke of paralysis. San Giacinto and Flavia were not to be found at their house, and as the carriage had not returned, nobody knew where they were. The wives of Faustina's brothers shut themselves up in their rooms and gave way to hysterical tears, while the brothers themselves seemed helpless to do anything for their sister.
Seeing herself abandoned by every one Faustina had sent for Corona Saracinesca. It was the wisest thing she could have done. In a quarter of an hour Corona and her husband entered the room together. The violent scene which followed has been already described, in which Giovanni promised the prefect of police that if he persisted in his intention of arresting Faustina he should himself be lodged in the Carceri Nuove in twelve hours. But the prefect had got the better of the situation, being accompanied by an armed force which Giovanni was powerless to oppose. All that could be obtained had been that Giovanni and Corona should take Faustina to the Termini in their carriage, and that Corona should stay with the unfortunate young girl all night if she wished to do so. Giovanni could not be admitted.
The prison of the Termini was under the administration of an order of nuns devoted especially to the care of prisoners. The prefect arrived in his own carriage simultaneously with the one which conveyed his prisoner and her friends. As the gate was opened and one of the sisters appeared, he whispered a few words into her ear. She looked grave at first, and then, when she saw Faustina's angel face, she shook her head incredulously. The prefect had accomplished his duty, however. The prison-gates closed after the two ladies, and the sentinel outside resumed his walk, while the carriages drove away, the one containing the officer of the law and the other Giovanni, who had himself driven at once to the Vatican, in spite of the late hour. The great cardinal received him but, to his amazement, refused an order of release.
The sister who admitted Corona and Faustina took the latter's hand kindly and looked into her face by the light of the small lantern she carried.
"It is some dreadful mistake, my child," she said. "But I have no course but to obey. You are Donna Faustina Montevarchi?"
"Yes—this is the Princess Sant' Ilario."
"Will you come with me? I will give you the best room we have—it is not very like a prison."
"This is," said Faustina, shuddering at the sight of the massive stone walls, quite as much as from the dampness of the night air.
"Courage, dear!" whispered Corona, drawing the girl's slight figure close to her and arranging the mantle upon her shoulders. But Corona herself was uneasy as to the result of the ghastly adventure, and she looked anxiously forward into the darkness beyond the nun's lantern.
At last they found themselves in a small whitewashed chamber, so small that it was brightly lighted by the two wicks of a brass oil-lamp on the table. The nun left them alone, at Corona's request, promising to return in the course of an hour. Faustina sat down upon the edge of the little bed, and Corona upon a chair beside her. Until now, the unexpected excitement of what had passed during the last three or four hours had sustained the young girl. Everything that had happened had seemed to be a part of a dream until she found herself at last in the cell of the Termini prison, abandoned by every one save Corona. Her courage broke down. She threw herself back upon the pillow and burst into tears. Corona did not know what to do, but tried to comfort her as well as she could, wondering inwardly what would have happened had the poor child been brought to such a place alone.
"What have I done, that such things should happen to me?" cried Faustina at last, sitting up and staring wildly at her friend. Her small white hands lay helplessly in her lap and her rich brown hair was beginning to be loosened and to fall upon her shoulders.
The tears stood in Corona's eyes. It seemed to her infinitely pathetic that this innocent creature should have been chosen as the victim to expiate so monstrous a crime.
"It will be all cleared up in the morning," she answered, trying to speak cheerfully or at least hopefully. "It is an abominable mistake of the prefect's. I will not leave you, dear—take heart, we will talk—the nun will bring you something to eat—the night will soon pass."
"In prison!" exclaimed Faustina, in a tone of horror and despair, not heeding what Corona said.
"Try and fancy it is not—"
"And my father dead!" She seemed suddenly to realise that he was gone for ever. "Poor papa! poor papa!" she moaned. "Oh, I did not mean to be undutiful—indeed I did not—and I can never tell you so now—"
"You must not reproach yourself, darling," said Corona, trying to soothe her and to draw the pitiful pale face to her shoulder, while she wound her arm tenderly about the young girl's waist. "Pray for him, Faustina, but do not reproach yourself too much. After all, dear, he was unkind to you—"
"Oh, do not say that—he is dead!" She lowered her voice almost to a whisper as she spoke, and an expression of awe came over her features. "He is dead, Corona. I shall never see him again—oh, why did I not love him more? I am frightened when I think that he is dead—who did it?"
The question came suddenly, and Faustina started and shuddered. Corona pressed her to her side and smoothed her hair gently. She felt that she must say something, but she hardly expected that Faustina would understand reason. She gathered her energy, however, to make the best effort in her power.
"Listen to me, Faustina," she said, in a tone of quiet authority, "and try and see all this as I see it. It is not right that you should reproach yourself, for you have had no share in your father's death, and if you parted in anger it was his fault, not yours. He is dead, and there is nothing for you to do but to pray that he may rest in peace. You have been accused unjustly of a deed which any one might see you were physically incapable of doing. You will be released from this place to-morrow morning, if not during the night. One thing is absolutely necessary—you must be calm and quiet, or you will have brain fever in a few hours. Do not think I am heartless, dear. A worse thing might have happened to you. You have been suspected by an ignorant man who will pay dearly for his mistake; you might have been suspected by those you love."
Corona sighed, and her voice trembled with the last words. To her, Faustina was suffering far more from the shock to her sensibilities than from any real grief. She knew that she had not loved her father, but the horror of his murder and the fright at being held accountable for it were almost enough to drive her mad. And yet she could not be suffering what Corona had suffered in being suspected by Giovanni, she had not that to lose which Corona had lost, the dominating passion of her life had not been suddenly burnt out in the agony of an hour, she was only the victim of a mistake which could have no consequences, which would leave no trace behind. But Faustina shivered and turned paler still at Corona's words.
"By those I love? Ah no! Not by him—by them!" The blood rushed to her white face, and her hand fell on her friend's shoulder.
Corona heard and knew that the girl was thinking of Anastase. She wondered vaguely whether the hot-headed soldier artist had learned the news and what he would do when he found that Faustina was lodged in a prison.
"And yet—perhaps—oh no! It is impossible!" Her sweet, low voice broke again, and was lost in passionate sobbing.
For a long time Corona could do nothing to calm her. The tears might be a relief to the girl's overwrought faculties, but they were most distressing to hear and see.
"Do you love him very much, dear?" asked Corona, when the paroxysm began to subside.
"I would die for him, and he would die for me," answered Faustina simply, but a happy smile shone through her grief that told plainly how much dearer to her was he who was left than he who was dead.
"Tell me about him," said Corona softly. "He is a friend of mine—"
"Indeed he is! You do not know how he worships you. I think that next to me in the world—but then, of course, he could not love you—besides, you are married."
Corona could not help smiling, and yet there was a sting in the words, of which Faustina could not dream. Why could not Giovanni have taken this child's straight-forward, simple view, which declared such a thing impossible—because Corona was married. What a wealth of innocent belief in goodness was contained in that idea! The princess began to discover a strange fascination in finding out what Faustina felt for this man, whom she, Corona, had been suspected of loving. What could it be like to love such a man? He was good-looking, clever, brave, even interesting, perhaps; but to love him—Corona suddenly felt that interest in the analysis of his character which is roused in us when we are all at once brought into the confidence of some one who can tell by experience what we should have felt with regard to a third person, who has come very near to our lives, if he or she had really become a part of our existence. Faustina's present pain and sense of danger momentarily disappeared as she was drawn into talking of what absorbed her whole nature, and Corona saw that by leading the conversation in that direction she might hope to occupy the girl's thoughts.
Faustina seemed to forget her misfortunes in speaking of Gouache, and Corona listened, and encouraged her to go on. The strong woman who had suffered so much saw gradually unfolded before her a series of pictures, constituting a whole that was new to her. She comprehended for the first time in her life the nature of an innocent girl's love, and there was something in what she learned that softened her and brought the moisture into her dark eyes. She looked at the delicate young creature beside her, seated upon the rough bed, her angelic loveliness standing out against the cold background of the whitewashed wall. The outline seemed almost vaporous, as though melting into the transparency of the quiet air; the gentle brown eyes were at once full of suffering and full of love; the soft, thick hair fell in disorder upon her shoulders, in that exquisite disorder that belongs to beautiful things in nature when they are set free and fall into the position which is essentially their own; her white fingers, refined and expressive, held Corona's slender olive hand, pressing it and moving as they touched it, with every word she spoke. Corona almost felt that some spiritual, half divine being had glided down from another world to tell her of an angel's love.
The elder woman thought of her own life and compared it with what she saw. Sold to a decrepit old husband who had worshipped her in strange, pathetic fashion of his own, she had spent five years in submitting to an affection she loathed, enduring it to the very end, and sacrificing every instinct of her nature in the performance of her duty. Liberated at last, she had given herself up to her love for Giovanni, in a passion of the strong kind that never comes in early youth. She asked herself what had become of that passion, and whether it could ever be revived. In any case it was something wholly different from the love of which Faustina was speaking. She had fought against it when it came, with all her might; being gone, it had left her cold and indifferent to all she could still command, incapable of even pretending to love. It had passed through her life as a whirlwind through a deep forest, and its track was like a scar. What Faustina knew, she could never have known, the sudden growth within her of something beautiful against which there was no need to struggle, the whole-hearted devotion from the first, the joy of a love that had risen suddenly like the dawn of a fair day, the unspeakable happiness of loving intensely in perfect innocence of the world, of giving her whole soul at once and for ever, unconscious that there could be anything else to give.
"I would die for him, and he would die for me," Faustina had said, knowing that her words were true. Corona would die for Giovanni now, no doubt, but not because she loved him any longer. She would sacrifice herself for what had been, for the memory of it, for the bitterness of having lost it and of feeling that it could not return. That was a state very different from Faustina's; it was pain, not happiness, despair, not joy, emptiness, not fulness. Her eyes grew sad, and she sighed bitterly as though oppressed by a burden from which she could not escape. Faustina's future seemed to her to be like a beautiful vision among the clouds of sunrise, her own like the reflection of a mournful scene in a dark pool of stagnant water. The sorrow of her life rose in her eyes, until the young girl saw it and suddenly ceased speaking. It was like a reproach to her, for her young nature had already begun to forget its trouble in the sweetness of its own dream. Corona understood the sudden silence, and her expression changed, for she felt that if she dwelt upon what was nearest to her heart she could give but poor consolation.
"You are sad," said Faustina. "It is not for me—what is it?"
"No. It is not for you, dear child."
Corona looked at the young girl for a moment and tried to smile. Then she rose from the chair and turned away, pretending to trim the brass oil-lamp with the little metal snuffers that hung from it by a chain. The tears blinded her. She rested her hands upon the table and bent her head. Faustina watched her in surprise, then slipped from her place on the bed and stood beside her, looking up tenderly into the sad dark eyes from which the crystal drops welled up and trickled down, falling upon the rough deal boards.
"What is it, dear?" asked the young girl. "Will you not tell me!"
Corona turned and threw her arms round her, pressing her to her breast, almost passionately. Faustina did not understand what was happening.
"I never saw you cry before!" she exclaimed in innocent astonishment, as she tried to brush away the tears from her friend's face.
"Ah Faustina! There are worse things in the world than you are suffering, child!"
Then she made a great effort and overcame the emotion that had taken possession of her. She was ashamed to have played such a part when she had come to the place to give comfort to another.
"It is nothing," she said, after a moment's pause. "I think I am nervous—at least, I am very foolish to let myself cry when I ought to be taking care of you."
A long silence followed, which was broken at last by the nun, who entered the room, bringing such poor food as the place afforded. She repeated her assurance that Faustina's arrest was the result of a mistake, and that she would be certainly liberated in the morning. Then, seeing that the two friends appeared to be preoccupied, she bade them good-night and went away.
It was the longest night Corona remembered to have ever passed. For a long time they talked a little, and at length Faustina fell asleep, exhausted by all she had suffered, while Corona sat beside her, watching her regular breathing and envying her ability to rest. She herself could not close her eyes, though she could not explain her wakefulness. At last she lay down upon the other bed and tried to forget herself. After many hours she lost consciousness for a time, and then awoke suddenly, half stifled by the sickening smell of the lamp which had gone out, filling the narrow room with the odour of burning oil. It was quite dark, and the profound silence was broken only by the sound of Faustina's evenly-drawn breath. The poor child was too weary to be roused by the fumes that had disturbed Corona's rest. But Corona rose and groped her way to the window, which she opened as noiselessly as she could. Heavy iron bars were built into the wall upon the outside, and she grasped the cold iron with a sense of relief as she looked out at the quiet stars, and tried to distinguish the trees which, as she knew, were planted on the other side of the desolate grass-grown square, along the old wall that stood there, at that time, like a fortification between the Termini and the distant city. Below the window the sentry tramped slowly up and down in his beat, his steps alone breaking the intense stillness of the winter night. Corona realised that she was in a prison. There was something in the discomfort which was not repugnant to her, as she held the grating in her fingers and let the cold air blow upon her face.
After all, she thought, her life would seem much the same in such a place, in a convent, perhaps, where she could be alone all day, all night, for ever. She could not be more unhappy behind those bars than she had often been in the magnificent palaces in which her existence had been chiefly passed. Nothing gave her pleasure, nothing interested her, nothing had the power to distract her mind from the aching misery that beset it. She said to herself a hundred times a day that such apathy was unworthy of her, and she blamed herself when she found that even the loss of the great Saracinesca suit left her indifferent. She did no good to herself and none to any one else, so far as she could see, unless it were good to allow Giovanni to love her, now that she no longer felt a thrill of pleasure at his coming nor at the sound of his voice. At least she had been honest. She could say that, for she had not deceived him. She had forgiven him, but was it her fault if he had destroyed that which he now most desired? Was it her fault that forgiveness did not mean love? Her suffering was not the selfish pain of wounded vanity, for Giovanni's despair would have healed such a wound by showing her the strength of his passion. There was no resentment in her heart, either, for she longed to love him. But even the habit of loving was gone, broken away and forgotten in the sharp agony of an hour. She had done her best to bring it back, she had tried to repeat phrases that had once come from her heart with the conviction of great joy, each time they had been spoken. But the words were dead and meant nothing, or if they had a meaning they told her of the change in herself. She was willing to argue against it, to say again and again that she had no right to be so changed, that there had been enough to make any man suspicious, that she would have despised him had he overlooked such convincing evidence. Could a man love truly and not have some jealousy in his nature? Could a man have such overwhelming proof given him of guilt in the woman he adored and yet show nothing, any more than if she had been a stranger? But the argument was not satisfactory, nor conclusive. If human ills could be healed by the use of logic, there would long since have been no unhappiness left in the world. Is there anything easier than to deceive one's self when one wishes to be deceived? Nothing, surely, provided that the inner reality of ourselves which we call our hearts consents to the deception. But if it will not consent, then there is no help in all the logic that has been lavished upon the philosophy of a dozen ages.
Her slender fingers tightened upon the freezing bars, and once more, in the silent night, her tears flowed down as she looked up at the stars through the prison window. The new condition of her life sought an expression she had hitherto considered as weak and despicable, and against which she struggled even now. There was no relief in weeping, it brought her no sense of rest, no respite from the dull consciousness of her situation; and yet she could not restrain the drops that fell so fast upon her hands. She suffered always, without any intermittence, as people do who have little imagination, with few but strong passions and a constant nature. There are men and women whose active fancy is able to lend a romantic beauty to misfortune, which gives some pleasure even to themselves, or who can obtain some satisfaction, if they are poets, by expressing their pain in grand or tender language. There are others to whom sorrow is but a reality, for which all expression seems inadequate.
Corona was such a woman, too strong to suffer little, too unimaginative to suffer poetically. There are those who might say that she exaggerated the gravity of the position, that, since Giovanni had always been faithful to her, had acknowledged his error and repented of it so sincerely, there was no reason why she should not love him as before. The answer is very simple. The highest kind of love not only implies the highest trust in the person loved, but demands it in return; the two conditions are as necessary to each other as body and soul, so that if one is removed from the other, the whole love dies. Our relations with our fellow-creatures are reciprocal in effect, whatever morality may require in theory, from the commonest intercourse between mere acquaintances to the bond between man and wife. An honest man will always hesitate to believe another unless he himself is believed. Humanity gives little, on the whole, unless it expects a return; still less will men continue to give when their gifts have been denounced to them as false, no matter what apology is offered after the mistake has been discovered. Corona was very human, and being outwardly cold, she was inwardly more sensitive to suspicion than very expansive women can ever be. With women who express very readily what they feel, the expression often assumes such importance as to deceive them into believing their passions to be stronger than they are. Corona had given all, love, devotion, faithfulness, and yet, because appearances had been against her, Giovanni had doubted her. He had cut the plant down at the very root, and she had nothing more to give.
Faustina moved in her sleep. Corona softly closed the window and once more lay down to rest. The hours seemed endless as she listened for the bells. At last the little room grew gray and she could distinguish the furniture in the gloom. Then all at once the door opened, and the nun entered, bearing her little lantern and peering over it to try and see whether the occupants of the chamber were awake. In the shadow behind her Corona could distinguish the figure of a man.
"The prince is here," said the sister in a low voice, as she saw that Corona's eyes were open. The latter glanced at Faustina, whose childlike sleep was not interrupted. She slipped from the bed and went out into the corridor.
The nun would have led the two down to the parlour, but Corona would not go so far from Faustina. At their request she opened an empty cell a few steps farther on, and left Giovanni and his wife alone in the gray dawn. Corona looked eagerly into his eyes for some news concerning the young girl. He took her hand and kissed it.
"My darling—that you should have spent the night in such a place as this!" he exclaimed.
"Never mind me. Is Faustina at liberty? Did you see the cardinal?"
"I saw him." Giovanni shook his head.
"And do you mean to say that he would not give the order at once?"
"Nothing would induce him to give it. The prefect got there before me, and I was kept waiting half an hour while they talked the matter over. The cardinal declared to me that he knew there had been an enmity between Faustina and her father concerning her love for Gouache—"
"Her love for Gouache!" repeated Corona slowly, looking into his eyes. She could not help it. Giovanni turned pale and looked away as he continued.
"Yes, and he said that the evidence was very strong, since no one had been known to enter the house, and the servants were clearly innocent—not one of them betrayed the slightest embarrassment."
"In other words, he believes that Faustina actually did it?"
"It looks like it," said Giovanni in a low voice.
"Giovanni!" she seized his arm. "Do you believe it, too?"
"I will believe whatever you tell me."
"She is as innocent as I!" cried Corona, her eyes blazing with indignation. Giovanni understood more from the words than she meant to convey.
"Will you never forgive?" he asked sadly.
"I did not mean that—I meant Faustina. Giovanni—you must get her away from here. You can, if you will."
"I will do much for you," he answered quietly.
"It is not for me. It is for an unfortunate child who is the victim of a horrible mistake. I have comforted her by promising that she should be free this morning. She will go mad if she is kept here."
"Whatever I do, I do for you, and I will do nothing for any one else.For you or for no one, but I must know that it is really for you."
Corona understood and turned away. It was broad daylight now, as she looked through the grating of the window, watching the people who passed, without seeing them.
"What is Faustina Montevarchi to me, compared with your love?" Giovanni asked.
Something in the tone of his voice made her look at him. She saw the intensity of his feeling in his eyes, and she wondered that he should try to tempt her to love him with, such an insignificant bribe—with the hope of liberating the young girl. She did not understand that he was growing desperate. Had she known what was in his mind she might have made a supreme effort to deceive herself into the belief that he was still to her what he had been so long. But she did not know.
"For the sake of her innocence, Giovanni!" she exclaimed. "Can you let a child like that suffer so? I am sure, if you really would you could manage it, with your influence. Do you not see that I am suffering too, for the girl's sake?"
"Will you say that it is for your sake?"
"For my sake—if you will," she cried almost impatiently.
"For your sake, then," he answered. "Remember that it is for you,Corona."
Before she could answer, he had left the room, without another word, without so much as touching her hand. Corona gazed sadly at the open door, and then returned to Faustina.
An hour later the nun entered the cell, with a bright smile on her face.
"Your carriage is waiting for you—for you both," she said, addressing the princess. "Donna Faustina is free to return to her mother."
When Giovanni Saracinesca had visited Cardinal Antonelli on the previous evening, he had been as firmly persuaded that Faustina was innocent, as Corona herself, and was at first very much astonished by the view the great man took of the matter. But as the latter developed the case, the girl's guilt no longer seemed impossible, or even improbable. The total absence of any ostensible incentive to the murder gave Faustina's quarrel with her father a very great importance, which was further heightened by the nature of the evidence. There had been high words, in the course of which the Princess Montevarchi had left the room, leaving her daughter alone with the old man. No one had seen him alive after that moment, and he had been found dead, evidently strangled with her handkerchief. The fact that Faustina had a bruise on her arm and a cut on her lip pointed to the conclusion that a desperate struggle had taken place. The cardinal argued that, although she might not have had the strength to do the deed if the contest had begun when both were on their feet, it was by no means impossible that so old a man might have been overcome by a young and vigorous girl, if she had attacked him when he was in his chair, and was prevented from rising by the table before him. As for the monstrosity of the act, the cardinal merely smiled when Giovanni alluded to it. Had not fathers been murdered by their children before, and in Rome? The argument had additional weight, when Giovanni remembered Faustina's wild behaviour on the night of the insurrection. A girl who was capable of following a soldier into action, and who had spent hours in searching for him after such an appalling disaster as the explosion of the Serristori barracks, might well be subject to fits of desperate anger, and it was by no means far from likely, if her father had struck her in the face from his place at the table, that she should have laid violent hands upon him, seizing him by the throat and strangling him with her handkerchief. Her coolness afterwards might be only a part of her odd nature, for she was undoubtedly eccentric. She might be mad, said the cardinal, shaking his head, but there was every probability that she was guilty. In those days there was no appeal from the statesman's decisions in such matters. Faustina would remain a prisoner until she could be tried for the crime.
His Eminence was an early riser, and was not altogether surprised that Giovanni should come to him at such an hour, especially as he knew that the Princess Sant' Ilario had spent the night with Faustina in the Termini prison. He was altogether taken aback, however, by Giovanni's manner, and by the communication he made.
"I had the honour of telling your Eminence last night, that Donna Faustina Montevarchi was innocent," began Giovanni, who refused the offer of a seat. "I trusted that she might be liberated immediately, but you have determined otherwise. I am not willing that an innocent person should suffer unjustly. I have come, therefore, to surrender myself to justice in this case."
The cardinal stared, and an expression of unmitigated astonishment appeared upon his delicate olive features, while his nervous hands grasped the arms of his chair.
"You!" he cried.
"I, your Eminence. I will explain myself. Yesterday the courts delivered their verdict, declaring that my cousin San Giacinto is Prince Saracinesca, instead of my father, and transferring to him all our hereditary property. The man who found out that there was a case against us, and caused it to be brought to trial, was Prince Montevarchi. You may perhaps understand my resentment against him. If you recollect the evidence which was detailed to you last night you will see that it was quite possible for me to go to him without being observed. The door chanced to be open, and there was no one in the hall. I am perfectly acquainted with the house. Several hours elapsed between the time when Donna Faustina left her father and the moment when he was found dead in his chair. You can understand how I could enter the room unseen, how angry words naturally must have arisen between us, and how, losing my self-control, I could have picked up Donna Faustina's handkerchief which, as she says, lay upon the floor, and knotted it effectually round the old man's neck. What could he do in my hands? The study is far from the other rooms the family inhabit, and is near the hall. To go quietly out would not have been a difficult matter for any one who knew the house. Your Eminence knows as well as I the shallowness of circumstantial evidence."
"And do you tell me, calmly, like this, that you murdered a helpless old man out of revenge?" asked the cardinal, half-indignantly, half-incredulously.
"Would I surrender myself as the murderer, for a caprice?" inquiredGiovanni, who was very pale.
The cardinal looked at him and was silent for a few moments. He was puzzled by what he heard, and yet his common sense told him that he had no course but to liberate Faustina and send Giovanni to prison. He felt, too, that he ought to experience an instinctive repulsion, for the man before him, who, by his own showing, had been guilty of such a horrible crime; but he was conscious of no such sensation. He was a man of exceedingly quick and true intuitions, who judged the persons with whom he had business very accurately. There was a lack of correspondence between his intelligence and his feelings which roused his curiosity.
"You have told me a very strange story," he said.
"Less strange than the one your Eminence has believed since last night," returned Giovanni calmly.
"I do not know. It is more easy for me to believe that the girl was momentarily out of her mind than that you, whom I have known all my life, should have done such a thing. Besides, in telling me your story, you have never once positively asserted that you did it. You have only explained that it would have been possible for a man so disposed to accomplish the murder unsuspected."
"Is a man obliged to incriminate himself directly? It seems to me that in giving myself up I have done all that a man's conscience can possibly require—outside of the confessional. I shall be tried, and my lawyer will do what he can to obtain my acquittal."
"That is poor logic. Whether you confess or not, you have accused yourself in a way that must tell against you very strongly. You really leave me no choice."
"Your Eminence has only to do what I request, to liberate DonnaFaustina and to send me to prison."
"You are a very strange man," said the cardinal in a musing tone, as he leaned back in his chair and scrutinised Giovanni's pale, impenetrable face.
"I am a desperate man, that is all."
"Will you give me your word of honour that Faustina Montevarchi is innocent?"
"Yes," answered Giovanni without the slightest hesitation, and meeting the gaze of the cardinal's bright eyes unflinchingly.
The latter paused a moment, and then turned in his chair, and taking a piece of paper wrote a few words upon it. Then he rang a little hand-bell that stood beside him. His servant entered, as he was folding and sealing the note.
"To the Termini prison," he said.
"The messenger had better take my carriage," observed Giovanni. "I shall not need it again."
"Take Prince Sant' Ilario's carriage," added the cardinal, and the man left the room. "And now," he continued, "will you be good enough to tell me what I am to do with you?"
"Send me to the Carceri Nuove, or to any convenient place."
"I will do nothing that can be an injury to you hereafter," answered the statesman. "Something tells me that you have had nothing to do with this dreadful murder. But you must know that though you may deceive me—I am not omniscient—I will not tolerate any contempt of the ways of justice. You have surrendered yourself as the criminal, and I intend to take you at your word."
"I ask for nothing else. Put me where you please, do what you please with me. It matters very little."
"You act like a man who has had an unfortunate love affair," remarked the cardinal. "It is true that you have just lost your fortune, and that may account for it. But I repeat that, whatever your motives may be, you shall not trifle with the law. You wish to be a prisoner. The law will oblige you so far as to comply with your request. I warn you that, after this, you can only obtain your freedom through a proper trial."
"Pray let it be so. My motives can be of no importance. The law shall judge the facts and give its verdict."
"The law will certainly do so. In the meantime, you will spend the day in a room of my apartments, and this evening, when it is dark, you will be quietly transferred to a place of safety—and secrecy. If the real murderer is ever found, I do not wish your life to have been ruined by such a piece of folly as I believe you are committing. You say you are a desperate man, and you are acting, I think, as though you were. Your family affairs may have led to this state, but they do not concern me. You will, however, be good enough to swear, here, solemnly, laying your hand upon this book, that you will not attempt to destroy yourself."
"I swear," said Giovanni, touching the volume which the cardinal presented to him.
"Very good. Now follow me, if you please, to the room where you must spend the day."
Giovanni found himself in a small chamber which contained only a large writing-table and a couple of chairs, and which seemed to have been destined for some sort of office. The cardinal closed the door, and Giovanni heard him turn the key and remove it from the lock. Then, for the first time, he reflected upon what he had done. He had spoken the truth when he had said that he was desperate. No other word could describe his state. A sort of madness had taken possession of him while he was talking with Corona, and he was still under its influence. There had been something in her manner which had seemed to imply that he was not doing his best to liberate Faustina, and indeed, when he remembered that the girl's innocence was by no means clear to him, he ought not to have been surprised at Corona's imputation. And yet, he had now pledged his word to the cardinal that Faustina had not done the deed. Corona's unwillingness to admit that it was for her own sake she asked his help had driven him nearly out of his mind, and when she had at last said it, even reluctantly, he had immediately resolved to show her what he was willing to do for one word of hers when she chose to speak it. He had from that moment but one thought, to free Faustina at any cost, and no plan suggested itself to him but to surrender himself in the girl's place. As a matter of fact, he could not have accomplished his purpose so quickly or surely in any other way, and perhaps he could not have otherwise accomplished it at all. It had been quite clear to him from the first that the cardinal was prejudiced against Faustina, owing, no doubt, to the representations of the prefect of police. Giovanni had carried the evidence against her clearly in his mind, and as soon as he thought of the expedient he saw how it would have been quite possible for himself, or for any other man who knew the house, to commit the murder. As for the detail concerning the doors being open, there was nothing improbable in it, seeing that there were many servants in the establishment, and that each one would suspect and accuse one of his companions of the carelessness. Nothing was easier than to construct the story, and he had supposed that nothing would be simpler than to make the cardinal believe it. He had been surprised to find himself mistaken upon this point, but he felt a thrill of triumph that more than repaid him for what he had done, when he saw the messenger leave the room with the order to liberate Faustina. Corona had spoken, had asked him to do a hard thing for her sake, and her caprice was satisfied, it mattered little at what cost. She had given him an opportunity of showing what he would do for her, and that opportunity had not been thrown away.
But as he sat alone in the little room the cardinal had assigned to him, he began to realise the magnitude of what he had been doing, and to see how his actions would be judged by others. He had surrendered himself as a murderer, and was to be treated as one. When the time came for the trial, might it not happen with him as with many another innocent man who has put himself into a false position? Might he not be condemned? Nothing that he could say hereafter could remove the impression created by his giving himself up to justice. Any denial hereafter would be supposed to proceed from fear and not from innocence. And if he were condemned, what would become of Corona, of his father, of little Orsino? He shuddered at the thought.
What, he asked himself, would be the defence? Yesterday afternoon he had been out of the house during several hours, and had walked alone, he hardly remembered where. Since the crisis in his life which had separated him from Corona in fact, if not in appearance, he often walked alone, wandering aimlessly through the streets. Would any of his acquaintance come forward and swear to having seen him at the time Montevarchi was murdered? Probably not. And if not, how could it be proved, in the face of his own statement to the cardinal, that he might not have gone to the palace, seeking an opportunity of expending his wrath on the old prince, that he might not have lost his self-control in a fit of anger and strangled the old man as he sat in his chair? As he himself had said, there was far more reason to believe that the Saracinesca had killed Montevarchi out of revenge, than that a girl like Faustina should have strangled her own father because he had interfered in her love affairs. If the judges took this view of the case, it was clear that Giovanni would have little chance of an acquittal. The thing looked so possible that even Corona might believe it—even Corona, for whose sake he had rushed madly into such desperate danger.
And to-day she would not see him; very possibly she would not know where he was. And to-morrow? And the next day? And all the days after that? He supposed that he would be allowed to write to her, perhaps to see her, but it would be hard to explain his position. She did not love him any longer, and she would not understand. He wondered how much she would care, if she really cared at all, beyond a discreet anxiety for his safety. She would certainly not comprehend a love like his, which had chosen such a sacrifice, rather than allow her wish to remain ungratified. How could she, since she did not love him? And yet, it was imperatively necessary that she should be informed of what had happened. She might otherwise suppose, naturally enough, that some accident had befallen him, and she would in that case apply to the police, perhaps to the cardinal himself, to find out where he was. Such a contingency must be prevented, by some means, before night. Until then, she would not be frightened by his absence. There would be time, perhaps, when he was removed to the prison—to the place of safety and secrecy, of which the cardinal had spoken, and which in all probability was the Holy Office. No questions were asked there.
There were writing materials on the broad table, and Giovanni began a letter to his wife. After a few minutes, however, he stopped, for he saw from what he had written that he was in no condition to attempt such a task. The words came quickly and fluently, but they expressed what he had no intention of telling Corona again. His love for her was still uppermost in his mind, and instead of trying to explain what had occurred, he found himself setting down phrases that told of nothing but a mad passion. The thought of her cold face when she should read the lines arrested his hand, and he threw down the pen impatiently, and returned to his meditations for a while. What he wanted to do was to tell her in the fewest possible words that he was alive and well. What else should he tell her? The statement would allay any anxiety she might feel, and his absence would doubtless be a relief to her. The thought was bitter, but he knew that nothing exasperates a woman like the constant presence of a man she has loved, who loves her more than ever, and for whom she no longer feels anything. At last he took another sheet of paper and tried again.
"Dear Corona—When you get this, Faustina will be at liberty, according to your wish. Do not be anxious if you do not see me for a few days, as I am called away on urgent business. Tell my father, and any of our friends who ask about me, that I am at Saracinesca, superintending the removal of such effects as are not to go to San Giacinto. I will let you know when I am coming back—Your affectionate GIOVANNI."
He read the note over twice, and then folded it, addressing it to his wife. His face expressed the most profound dejection when he had finished his task, and for a long time he leaned back in his chair, gazing at the morning sunlight that slowly crept across the floor, while his hands lay folded passively upon the table. The end of his love seemed very bitter as he thought of the words he had written. A few weeks ago to leave Corona thus unexpectedly would have caused her the greatest pain. Now, he felt that he need say nothing, that it would be useless to say anything, more than he had said. It was nothing to her, whether he stayed in Rome or went to the ends of the earth; indeed, he suspected that she would be glad to be left alone—unless she should discover why he had gone, and whither. This last consideration recalled to him his situation, and for a moment he was horrified at his own rashness. But the thought did not hold him long, and presently he asked himself apathetically what it could matter in the end. The hours passed slowly, and still he sat motionless by the table, the folded letter lying before him.
The cardinal had scarcely returned to his study when a second card was brought to him. The gentleman, said the servant, had assured him that his Eminence would receive him, as he had important information to give concerning the murder of Prince Montevarchi. The cardinal could not repress a smile as he read the name of Anastase Gouache.
The young man entered the room, and advanced in obedience to the cardinal's friendly gesture. He was as pale as death, and his soft dark eyes had an expression of despair in them such as the great man had rarely seen. For the rest, he wore his uniform, and was as carefully dressed as usual.
"Your Eminence has doubtless heard of this dreadful murder?" beganGouache, forgetting all formality in the extremity of his excitement.
"Yes," said the cardinal, sitting down. "You have something to communicate concerning it, I understand."
"Donna Faustina Montevarchi has been charged with the crime, and is in the prison of the Termini," answered the Zouave, speaking hurriedly. "I am here to ask your Eminence to order her release without delay—-"
"On what grounds?" inquired the statesman, raising his eyebrows a little as though surprised by the way in which the request was made.
"Because she is innocent, because her arrest was due to the mistake of the prefect of police—the evidence was against her, but it was absurd to suppose that she could have done it—-"
"The prefect of police received my approval. Have you any means of showing that she is innocent?"
"Showing it?" repeated Gouache, who looked dazed for a moment, but recovered himself immediately, turning white to the lips. "What could be easier?" he exclaimed. "The murderer is before you—I saw the prince, I asked him for his daughter's hand in marriage, he insulted me. I left the room, but I returned soon afterwards. I found him alone, and I killed him—I do not know how I did it—-"
"With Donna Faustina's handkerchief," suggested the cardinal. "Perhaps you do not remember that it was lying on the floor and that you picked it up and knotted it—-"
"Yes, yes! Round his neck," cried Gouache nervously. "I remember. But I saw red, everything swam, the details are gone. Here I am—your Eminence's prisoner—I implore you to send the order at once!"
The cardinal had hitherto maintained a grave expression. His features suddenly relaxed and he put out his hand.
"My dear Monsieur Gouache, I like you exceedingly," he said. "You are a man of heart."
"I do not understand—-" Anastase was very much bewildered, but he saw that his plan for freeing Faustina was on the point of failure.
"I appreciate your motives," continued the statesman. "You love the young lady to distraction, she is arrested on a capital charge, you conceive the idea of presenting yourself as the murderer in her place—"
"But I assure your Eminence, I swear—"
"No," interrupted the other, raising his hand. "Do not swear. You are incapable of such a crime. Besides, Donna Faustina is already at liberty, and the author of the deed has already confessed his guilt."
Anastase staggered against the projecting shelf of the bookcase. The blood rushed to his face and for a moment he was almost unconscious of where he was. The cardinal's voice recalled him to himself.
"If you doubt what I tell you, you need only go to the Palazzo Montevarchi and inquire. Donna Faustina will return with the Princess Sant' Ilario. I am sorry that circumstances prevent me from showing you the man who has confessed the crime. He is in my apartments at the present moment, separated from us only by two or three rooms."
"His name, Eminence?" asked Gouache, whose whole nature seemed to have changed in a moment.
"Ah, his name must for the present remain a secret in my keeping, unless, indeed, you have reason to believe that some one else did the murder. Have you no suspicions? You know the family intimately, it seems. You would probably have heard the matter mentioned, if the deceased prince had been concerned in any quarrel—in any transaction which might have made him an object of hatred to any one we know. Do you recall anything of the kind? Sit down, Monsieur Gouache. You are acquitted, you see. Instead of being a murderer you are the good friend who once painted my portrait in this very room. Do you remember our charming conversations about Christianity and the universal republic?"
"I shall always remember your Eminence's kindness," answered Gouache, seating himself and trying to speak as quietly as possible. His nervous nature was very much unsettled by what had occurred. He had come determined that Faustina should be liberated at any cost, overcome by the horror of her situation, ready to lay down his life for her in the sincerity of his devotion. His conduct had been much more rational than Giovanni's. He had nothing to lose but himself, no relations to be disgraced by his condemnation, none to suffer by his loss. He had only to sacrifice himself to set free for ever the woman he loved, and he had not hesitated a moment in the accomplishment of his purpose. But the revulsion of feeling, when he discovered that Faustina was already known to be innocent, and that there was no need for his intervention, was almost more than he could bear. The tears of joy stood in his eyes while he tried to be calm.
"Have you any suspicions?" asked the cardinal again, in his gentle voice.
"None, Eminence. The only thing approaching to a quarrel, of which I have heard, is the suit about the title of the Saracinesca. But of course that can have nothing to do with the matter. It was decided yesterday without opposition."
"It could have nothing to do with the murder, you think?" inquired the statesman with an air of interest.
"No. How could it?" Gouache laughed at the idea. "The Saracinesca could not murder their enemies as they used to do five hundred years ago. Besides, your Eminence has got the murderer and must be able to guess better than I what were the incentives to the crime."
"That does not follow, my friend. A man who confesses a misdeed is not bound to incriminate any one else, and a man whose conscience is sensitive enough to make him surrender himself naturally assumes the blame. He suffers remorse, and does not attempt any defence, excepting such as you yourself just now gave me, when you said that the prince had insulted you. Enough to give a semblance of truth to the story. By the bye, is that true?"
"It is and it is not," answered Gouache, blushing a little. "The poor man, when I began to explain my position, thought—how shall I say? He thought I wanted to sell him a picture. It was not his fault."
"Poor man!" sighed the cardinal. "He had not much tact. And so, Monsieur Gouache, you think that the great Saracinesca suit has had nothing to do with the murder?"
"It seems to me impossible. It looks rather as though he had been murdered by a servant, out of spite. It is hard to believe that any one not belonging to the house could have done it."
"I think the public will agree with you. I will occupy myself with the matter. Perhaps I have got the man safe in that room, but who knows? If you had come first, you might have gone to the Carceri Nuove instead of him. After all, he may be in love too."
The cardinal smiled, but Gouache started at the suggestion, as though it hurt him.
"I doubt that," he said quickly.
"So do I. It would be a strange coincidence, if two innocent men had accused themselves of the same crime, out of love, within twenty-four hours of its being committed. But now that you are calm—yes, you were beside yourself with excitement—I must tell you that you have done a very rash thing indeed. If I had not chanced to be a friend of yours, what would have become of you? I cannot help liking your courage and devotion—you have shown it in sterner matters, and in the face of the enemy—but you might have destroyed yourself. That would have been a great sin."
"Is there no case in which a man may destroy himself deliberately?"
"You speak of suicide? It was almost that you contemplated. No. The church teaches that a man who takes his own life goes straight to hell. So does Mohammed, for that matter."
"In any case?"
"In any case. It is a mortal sin."
"But," objected Gouache, "let us suppose me a very bad man, exercising a destroying influence on many other people. Suppose, in short, for the sake of argument, that my life caused others to lose their own souls, and that by killing myself I knew that they would all become good again. Suppose then, that I suddenly repented and that there was no way of saving these people but by my own suicide. Would it not be more honourable in me to say, 'Very well, I will submit to damnation rather than send all those others to eternal flames?' Should I not be justified in blowing out my brains?"
The cardinal did not know whether to smile or to look grave. He was neither a priest nor a theologian, but a statesman.
"My dear friend," he answered at last. "The ingenuity of your suppositions passes belief. I can only say that, when you find yourself in such a bad case as you describe, I will submit the matter for you to the Holy Father himself. But I would strongly advise you to avoid the situation if you possibly can."
Gouache took his leave with a light heart, little guessing as he descended the great marble staircase that Giovanni Saracinesca was the prisoner of whom the cardinal had spoken so mysteriously, still less that he, too, had falsely accused himself of having killed poor old Montevarchi. He wondered, as he walked rapidly along the streets in the bright morning sunshine, who the man was, and why he had done such a thing, but his thoughts were really with Faustina, and he longed to see her and to hear from her own lips the true version of what had happened.
Arnoldo Meschini was fully conscious of what he had done when he softly closed the door of the study behind him and returned to the library; but although he knew and realised that he had murdered his employer, he could not explain the act to himself. His temples throbbed painfully and there was a bright red spot in each of his sallow cheeks. He shuffled about from one bookcase to another, and his hands trembled violently as he touched the big volumes. Now and then he glanced towards one or the other of the doors expecting at every moment that some one would enter to tell him the news, if indeed any one at such a time should chance to remember the existence of the humble librarian. His brain was on fire and seemed to burn the sockets of his eyes. And yet the time passed, and no one came. The suspense grew to be unbearable, and he felt that he would do anything to escape from it. He went to the door and laid his hand upon the latch.
For an instant the flush disappeared from his cheeks, as a great fear took possession of him. He was not able to face the sight of Montevarchi's body lying across that table in the silent study. His hand fell to his side and he almost ran to the other side of the library; then, as though ashamed of his weakness he came back slowly and listened at the door. It was scarcely possible that any distant echo could reach his ears, if the household had been already roused, for the passage was long and tortuous, interrupted by other doors and by a winding staircase. But in his present state he fancied that his senses must be preternaturally sharpened and he listened eagerly. All was still. He went back to the books.
There was nothing to be done but to make a desperate effort to occupy himself and to steady his nerves. If any one came now, he thought, his face would betray him. There must be a light in his eyes, an uncertainty in his manner which would speak plainly enough to his guilt. He tried to imagine what would take place when the body was found. Some one would enter the room and would see the body. He, or she, would perhaps think that the prince was in a fit, or asleep—who could tell? But he would not answer the voice that called him. Then the person would come forward and touch him—Meschini forced himself to think of it—would touch the dead hand and would feel that it was cold. With a cry of horror the person would hasten from the room. He might hear that cry, if he left the door open. Again he laid his hand upon the latch. His fingers seemed paralysed and the cold sweat stood on his face, but he succeeded in mastering himself enough to turn the handle and look out. The cry came, but it was from his own lips. He reeled back from the entrance in horror, his eyes starting from his head. There stood the dead man, in the dusky passage, shaking at him the handkerchief.
It was only his fancy. He passed his hand across his forehead and a sickly look of relief crept over his face. He had been frightened by his own coat, that hung on a peg outside, long and thin and limp, a white handkerchief depending from the wide pocket. There was not much light in the corridor. He crept cautiously out and took the garment from its place with a nervous, frightened gesture. Dragging it after him, he hastily re-entered the library and rolled up the coat into a shape that could not possibly resemble anything which might frighten him. He laid it upon the table in the brightest place, where the afternoon sun fell upon it. There was a sort of relief in making sure that the thing could not again look like the dead man. He looked up and saw with renewed terror that he had left the door open. There was nothing but air between him and the place where that awful shadow had been conjured up by his imagination. The door must be shut. If it remained open he should go mad. He tried to think calmly, but it was beyond his power. He attempted to say that there was nothing there and that the door might as well remain open as be shut. But even while making the effort to reason with himself, he was creeping cautiously along the wall, in the direction of the entrance. By keeping his eyes close to the wooden panelling he could advance without seeing into the corridor. He was within a foot of the opening. Convulsed with fear, he put out his hand quickly and tried to pull the heavy oak on its hinges by the projecting bevel, but it was too heavy—he must look out in order to grasp the handle. The cold drops trickled down from his brow and he breathed hard, but he could not go back and leave the door unclosed. With a suppressed sob of agony he thrust out his head and arm. In a moment it was over, but the moral effort had been terrible, and his strength failed him, so that he staggered against the wainscot and would have fallen but for its support.
Some moments elapsed before he could get to a chair, and when he at last sat down in a ray of sunshine to rest, his eyes remained fixed upon the sculptured brass handle of the latch. He almost expected that it would turn mysteriously of itself and that the dead prince would enter the room. He realised that in his present condition he could not possibly face the person who before long would certainly bring him the news. He must have something to stimulate him and deaden his nerves. He had no idea how long a time had elapsed since he had done the deed, but it seemed that three or four hours must certainly have passed. In reality it was scarcely five and twenty minutes since he had left the study. He remembered suddenly that he had some spirits in his room at the top of the palace. Slowly and painfully he rose to his feet and went towards the other exit from the library, which, as in many ancient houses, opened upon the grand staircase, so as to give free access to visitors from without. He had to cross the broad marble landing, whence a masked door led to the narrow winding steps by which he ascended to the upper story. He listened to hear whether any one was passing, and then went out. Once on his way he moved more quickly than seemed possible for a man so bent and mis-shapen.
The bright afternoon sun streamed in through the window of his little chamber, a relief from the sombre gloominess of the lofty library, where the straggling rays seemed to make the great hall more shadowy by contrast. But Meschini did not stop to look about him. In a closet in the wall he kept his stores, his chemicals, his carefully-composed inks, his bits of prepared parchment, and, together with many other articles belonging to his illicit business, he had a bottle of old brandy, which the butler had once given him out of the prince's cellar, in return for a bit of legal advice which had saved the servant a lawyer's fee. Arnoldo Meschini had always been a sober man, like most Italians, and the bottle had stood for years unopened in the cupboard. He had never thought of it, but, having been once placed there, it had been safe. The moment had come when the stimulant was precious. His fingers shook as he put the bottle to his lips; when he set it down they were steady. The liquor acted like an enchantment, and the sallow-faced man smiled as he sat alone by his little table and looked at the thing that had restored him. The bottle had been full when he began to drink; the level of the liquid was now a good hand's breadth below the neck. The quantity he had swallowed would have made a temperate man, in his normal state, almost half drunk.
He sat still for a long time, waiting to see whether the draught would produce any other effect. He felt a pleasant warmth in his face and hands, the perspiration had disappeared from his brow, and he was conscious that he could now look out of the open door of the library without fear, even if his coat were hanging on the peg. It was incredible to him that he should have been so really terrified by a mere shadow. He had killed Prince Montevarchi, and the body was lying in the study. Yes, he could think of it without shuddering, almost without an unpleasant sensation. In the dead man's own words, it had been an act of divine justice and retribution, and since nobody could possibly discover the murderer, there was matter for satisfaction in the idea that the wicked old man no longer cumbered the earth with his presence. Strange, that he should have suffered such an agony of fear half an hour earlier. Was it half an hour? How pleasantly the sun shone in to the little room where he had laboured during so many years, and so profitably! Now that the prince was dead it would be amusing to look at those original documents for which he had made such skilfully-constructed substitutes. He would like to assure himself, however, that the deed had been well done. There was magic in that old liquor. Another little draught and he would go down to the study as though nothing had happened. If he should meet anybody his easy manner would disarm suspicion. Besides, he could take the bottle with him in the pocket of his long coat—the bottle of courage, he said to himself with a smile, as he set it to his lips. This time he drank but little, and very slowly. He was too cautious a man to throw away his ammunition uselessly.
With a light heart he descended the winding stair and crossed the landing. One of Ascanio Bellegra's servants passed at that moment. Meschini looked at the fellow quietly, and even gave him a friendly smile, to test his own coolness, a civility which was acknowledged by a familiar nod. The librarian's spirits rose. He did not resent the familiarity of the footman, for, with all his learning, he was little more than a servant himself, and the accident had come conveniently as a trial of his strength. The man evidently saw nothing unusual in his appearance. Moreover, as he walked, the brandy bottle in his coat tail pocket beat reassuringly against the calves of his legs. He opened the door of the library and found himself in the scene of his terror.
There lay the old coat, wrapped together on the table, as he had left it. The sun had moved a little farther during his absence, and the heap of cloth looked innocent enough. Meschini could not understand how it had frightened him so terribly. He still felt that pleasant warmth about his face and hands. That was the door before which he had been such a coward. What was beyond it? The empty passage. He would go and hang the coat where it had hung always, where he always left it when he came in the morning, unless he needed it to keep himself warm. What could be simpler, or easier? He took the thing in one hand, turned the handle and looked out. He was not afraid. The long, silent corridor stretched away into the distance, lighted at intervals by narrow windows that opened upon an inner court of the palace. Meschini suspended the coat upon the peg and stood looking before him, a contemptuous smile upon his face, as though he despised himself for his former fears. Then he resolutely walked towards the study, along the familiar way, down a flight of steps, then to the right—he stood before the door and the dead man was on the other side of it. He paused and listened. All was silent.
It was clear to him, as he stood before the table and looked at the body, that no one had been there. Indeed, Meschini now remembered that it was a rule in the house never to disturb the prince unless a visitor came. He had always liked to spend the afternoon in solitude over his accounts and his plans. The librarian, paused opposite his victim and gazed at the fallen head and the twisted, whitened fingers. He put out his hand timidly and touched them, and was surprised to find that they were not quite cold. The touch, however, sent a very unpleasant thrill through his own frame, and he drew back quickly with a slight shiver. But he was not terrified as he had been before. The touch, only, was disagreeable to him. He took a book that lay at hand and pushed it against the dead man's arm. There was no sign, no movement. He would have liked to go behind the chair and untie the handkerchief, but his courage was not quite equal to that. Besides, the handkerchief was Faustina's. He had seen her father snatch it from her and throw it upon the floor, as he watched the pair through the keyhole. A strange fascination kept him in the study, and he would have yielded to it had he not been fortified against any such morbid folly by the brandy he had swallowed. He thought, as he turned to go, that it was a pity the prince never kept money in the house, for, in that case, he might have helped himself before leaving. To steal a small value was not worth while, considering the danger of discovery.
He moved on tiptoe, as though afraid of disturbing the rest of his old employer, and once or twice he looked back. Then at last he closed the door and retraced his steps through the corridor till he gained the library. He was surprised at his own boldness as he went, and at the indifference with which he passed by the coat that hung, limp as ever, upon its peg. He was satisfied, too, with the result of his investigations. The prince was certainly dead. As a direct consequence of his death, the secret of the Saracinesca suit was now his own, no one had a share in it, and it was worth money. He pulled out a number of volumes from the shelves and began to make a pretence of working upon the catalogue. But though he surrounded himself with the implements and necessaries for his task, his mind was busy with the new scheme that unfolded itself to his imagination.
He and he alone, knew that San Giacinto's possession of the Saracinesca inheritance rested upon a forgery. The fact that this forgery must be revealed, in order to reinstate the lawful possessors in their right, did not detract in the least from the value of the secret. Two courses were open to him. He might go to old Leone Saracinesca and offer the original documents for sale, on receiving a guarantee for his own safety. Or he might offer them to San Giacinto, who was the person endangered by their existence. Montevarchi had promised him twenty thousand scudi for the job, and had never paid the money. He had cancelled his debt with his life, however, and had left the secret behind him. Either Saracinesca or San Giacinto would give five times twenty thousand, ten times as much, perhaps, for the original documents, the one in order to recover what was his own, the other to keep what did not belong to him. The great question to be considered was the way of making the offer. Meschini sat staring at the opposite row of books, engaged in solving the problem. Just then, one of the open volumes before him slipped a little upon another and the page turned slowly over. The librarian started slightly and glanced at the old-fashioned type. The work was a rare one, which he had often examined, and he knew it to be of great value. A new thought struck him. Why should he not sell this and many other volumes out of the collection, as well as realise money by disposing of his secret? He might as well be rich as possess a mere competence.