When Hilda and himself turned away from the unfinished bust, the sculptor’s mind still dwelt upon the reminiscences which it suggested. “You have not seen Donatello recently,” he remarked, “and therefore cannot be aware how sadly he is changed.”
“No wonder!” exclaimed Hilda, growing pale.
The terrible scene which she had witnessed, when Donatello’s face gleamed out in so fierce a light, came back upon her memory, almost for the first time since she knelt at the confessional. Hilda, as is sometimes the case with persons whose delicate organization requires a peculiar safeguard, had an elastic faculty of throwing off such recollections as would be too painful for endurance. The first shock of Donatello’s and Miriam’s crime had, indeed, broken through the frail defence of this voluntary forgetfulness; but, once enabled to relieve herself of the ponderous anguish over which she had so long brooded, she had practised a subtile watchfulness in preventing its return.
“No wonder, do you say?” repeated the sculptor, looking at her with interest, but not exactly with surprise; for he had long suspected that Hilda had a painful knowledge of events which he himself little more than surmised. “Then you know!—you have heard! But what can you possibly have heard, and through what channel?”
“Nothing!” replied Hilda faintly. “Not one word has reached my ears from the lips of any human being. Let us never speak of it again! No, no! never again!”
“And Miriam!” said Kenyon, with irrepressible interest. “Is it also forbidden to speak of her?”
“Hush! do not even utter her name! Try not to think of it!” Hilda whispered. “It may bring terrible consequences!”
“My dear Hilda!” exclaimed Kenyon, regarding her with wonder and deep sympathy. “My sweet friend, have you had this secret hidden in your delicate, maidenly heart, through all these many months! No wonder that your life was withering out of you.”
“It was so, indeed!” said Hilda, shuddering. “Even now, I sicken at the recollection.”
“And how could it have come to your knowledge?” continued the sculptor. “But no matter! Do not torture yourself with referring to the subject. Only, if at any time it should be a relief to you, remember that we can speak freely together, for Miriam has herself suggested a confidence between us.”
“Miriam has suggested this!” exclaimed Hilda. “Yes, I remember, now, her advising that the secret should be shared with you. But I have survived the death struggle that it cost me, and need make no further revelations. And Miriam has spoken to you! What manner of woman can she be, who, after sharing in such a deed, can make it a topic of conversation with her friends?”
“Ah, Hilda,” replied Kenyon, “you do not know, for you could never learn it from your own heart, which is all purity and rectitude, what a mixture of good there may be in things evil; and how the greatest criminal, if you look at his conduct from his own point of view, or from any side point, may seem not so unquestionably guilty, after all. So with Miriam; so with Donatello. They are, perhaps, partners in what we must call awful guilt; and yet, I will own to you,—when I think of the original cause, the motives, the feelings, the sudden concurrence of circumstances thrusting them onward, the urgency of the moment, and the sublime unselfishness on either part,—I know not well how to distinguish it from much that the world calls heroism. Might we not render some such verdict as this?—‘Worthy of Death, but not unworthy of Love! ‘”
“Never!” answered Hilda, looking at the matter through the clear crystal medium of her own integrity. “This thing, as regards its causes, is all a mystery to me, and must remain so. But there is, I believe, only one right and one wrong; and I do not understand, and may God keep me from ever understanding, how two things so totally unlike can be mistaken for one another; nor how two mortal foes, as Right and Wrong surely are, can work together in the same deed. This is my faith; and I should be led astray, if you could persuade me to give it up.”
“Alas for poor human nature, then!” said Kenyon sadly, and yet half smiling at Hilda’s unworldly and impracticable theory. “I always felt you, my dear friend, a terribly severe judge, and have been perplexed to conceive how such tender sympathy could coexist with the remorselessness of a steel blade. You need no mercy, and therefore know not how to show any.”
“That sounds like a bitter gibe,” said Hilda, with the tears springing into her eyes. “But I cannot help it. It does not alter my perception of the truth. If there be any such dreadful mixture of good and evil as you affirm,—and which appears to me almost more shocking than pure evil,—then the good is turned to poison, not the evil to wholesomeness.”
The sculptor seemed disposed to say something more, but yielded to the gentle steadfastness with which Hilda declined to listen. She grew very sad; for a reference to this one dismal topic had set, as it were, a prison door ajar, and allowed a throng of torturing recollections to escape from their dungeons into the pure air and white radiance of her soul. She bade Kenyon a briefer farewell than ordinary, and went homeward to her tower.
In spite of her efforts to withdraw them to other subjects, her thoughts dwelt upon Miriam; and, as had not heretofore happened, they brought with them a painful doubt whether a wrong had not been committed on Hilda’s part, towards the friend once so beloved. Something that Miriam had said, in their final conversation, recurred to her memory, and seemed now to deserve more weight than Hilda had assigned to it, in her horror at the crime just perpetrated. It was not that the deed looked less wicked and terrible in the retrospect; but she asked herself whether there were not other questions to be considered, aside from that single one of Miriam’s guilt or innocence; as, for example, whether a close bond of friendship, in which we once voluntarily engage, ought to be severed on account of any unworthiness, which we subsequently detect in our friend. For, in these unions of hearts,—call them marriage, or whatever else,—we take each other for better for worse. Availing ourselves of our friend’s intimate affection, we pledge our own, as to be relied upon in every emergency. And what sadder, more desperate emergency could there be, than had befallen Miriam? Who more need the tender succor of the innocent, than wretches stained with guilt! And must a selfish care for the spotlessness of our own garments keep us from pressing the guilty ones close to our hearts, wherein, for the very reason that we are innocent, lies their securest refuge from further ill?
It was a sad thing for Hilda to find this moral enigma propounded to her conscience; and to feel that, whichever way she might settle it, there would be a cry of wrong on the other side. Still, the idea stubbornly came back, that the tie between Miriam and herself had been real, the affection true, and that therefore the implied compact was not to be shaken off.
“Miriam loved me well,” thought Hilda remorsefully, “and I failed her at her sorest need.”
Miriam loved her well; and not less ardent had been the affection which Miriam’s warm, tender, and generous characteristics had excited in Hilda’s more reserved and quiet nature. It had never been extinguished; for, in part, the wretchedness which Hilda had since endured was but the struggle and writhing of her sensibility, still yearning towards her friend. And now, at the earliest encouragement, it awoke again, and cried out piteously, complaining of the violence that had been done it.
Recurring to the delinquencies of which she fancied (we say “fancied,” because we do not unhesitatingly adopt Hilda’s present view, but rather suppose her misled by her feelings)—of which she fancied herself guilty towards her friend, she suddenly remembered a sealed packet that Miriam had confided to her. It had been put into her hands with earnest injunctions of secrecy and care, and if unclaimed after a certain period, was to be delivered according to its address. Hilda had forgotten it; or, rather, she had kept the thought of this commission in the background of her consciousness, with all other thoughts referring to Miriam.
But now the recollection of this packet, and the evident stress which Miriam laid upon its delivery at the specified time, impelled Hilda to hurry up the staircase of her tower, dreading lest the period should already have elapsed.
No; the hour had not gone by, but was on the very point of passing. Hilda read the brief note of instruction, on a corner of the envelope, and discovered, that, in case of Miriam’s absence from Rome, the packet was to be taken to its destination that very day.
“How nearly I had violated my promise!” said Hilda. “And, since we are separated forever, it has the sacredness of an injunction from a dead friend. There is no time to be lost.”
So Hilda set forth in the decline of the afternoon, and pursued her way towards the quarter of the city in which stands the Palazzo Cenci. Her habit of self-reliance was so simply strong, so natural, and now so well established by long use, that the idea of peril seldom or never occurred to Hilda, in her lonely life.
She differed, in this particular, from the generality of her sex, —although the customs and character of her native land often produce women who meet the world with gentle fearlessness, and discover that its terrors have been absurdly exaggerated by the tradition of mankind. In ninety-nine cases out of a hundred, the apprehensiveness of women is quite gratuitous. Even as matters now stand, they are really safer in perilous situations and emergencies than men; and might be still more so, if they trusted themselves more confidingly to the chivalry of manhood. In all her wanderings about Rome, Hilda had gone and returned as securely as she had been accustomed to tread the familiar street of her New England village, where every face wore a look of recognition. With respect to whatever was evil, foul, and ugly, in this populous and corrupt city, she trod as if invisible, and not only so, but blind. She was altogether unconscious of anything wicked that went along the same pathway, but without jostling or impeding her, any more than gross substance hinders the wanderings of a spirit. Thus it is, that, bad as the world is said to have grown, innocence continues to make a paradise around itself, and keep it still unfallen.
Hilda’s present expedition led her into what was—physically, at least—the foulest and ugliest part of Rome. In that vicinity lies the Ghetto, where thousands of Jews are crowded within a narrow compass, and lead a close, unclean, and multitudinous life, resembling that of maggots when they over-populate a decaying cheese.
Hilda passed on the borders of this region, but had no occasion to step within it. Its neighborhood, however, naturally partook of characteristics ‘like its own. There was a confusion of black and hideous houses, piled massively out of the ruins of former ages; rude and destitute of plan, as a pauper would build his hovel, and yet displaying here and there an arched gateway, a cornice, a pillar, or a broken arcade, that might have adorned a palace. Many of the houses, indeed, as they stood, might once have been palaces, and possessed still a squalid kind of grandeur. Dirt was everywhere, strewing the narrow streets, and incrusting the tall shabbiness of the edifices, from the foundations to the roofs; it lay upon the thresholds, and looked out of the windows, and assumed the guise of human life in the children that Seemed to be engendered out of it. Their father was the sun, and their mother—a heap of Roman mud.
It is a question of speculative interest, whether the ancient Romans were as unclean a people as we everywhere find those who have succeeded them. There appears to be a kind of malignant spell in the spots that have been inhabited by these masters of the world, or made famous in their history; an inherited and inalienable curse, impelling their successors to fling dirt and defilement upon whatever temple, column, mined palace, or triumphal arch may be nearest at hand, and on every monument that the old Romans built. It is most probably a classic trait, regularly transmitted downward, and perhaps a little modified by the better civilization of Christianity; so that Caesar may have trod narrower and filthier ways in his path to the Capitol, than even those of modern Rome.
As the paternal abode of Beatrice, the gloomy old palace of the Cencis had an interest for Hilda, although not sufficiently strong, hitherto, to overcome the disheartening effect of the exterior, and draw her over its threshold. The adjacent piazza, of poor aspect, contained only an old woman selling roasted chestnuts and baked squash-seeds; she looked sharply at Hilda, and inquired whether she had lost her way.
“No,” said Hilda; “I seek the Palazzo Cenci.”
“Yonder it is, fair signorina,” replied the Roman matron. “If you wish that packet delivered, which I see in your hand, my grandson Pietro shall run with it for a baiocco. The Cenci palace is a spot of ill omen for young maidens.”
Hilda thanked the old dame, but alleged the necessity of doing her errand in person. She approached the front of the palace, which, with all its immensity, had but a mean appearance, and seemed an abode which the lovely shade of Beatrice would not be apt to haunt, unless her doom made it inevitable. Some soldiers stood about the portal, and gazed at the brown-haired, fair-cheeked Anglo-Saxon girl, with approving glances, but not indecorously. Hilda began to ascend the staircase, three lofty flights of which were to be surmounted, before reaching the door whither she was bound.
Between Hilda and the sculptor there had been a kind of half-expressed understanding, that both were to visit the galleries of the Vatican the day subsequent to their meeting at the studio. Kenyon, accordingly, failed not to be there, and wandered through the vast ranges of apartments, but saw nothing of his expected friend. The marble faces, which stand innumerable along the walls, and have kept themselves so calm through the vicissitudes of twenty centuries, had no sympathy for his disappointment; and he, on the other hand, strode past these treasures and marvels of antique art, with the indifference which any preoccupation of the feelings is apt to produce, in reference to objects of sculpture. Being of so cold and pure a substance, and mostly deriving their vitality more from thought than passion, they require to be seen through a perfectly transparent medium.
And, moreover, Kenyon had counted so much upon Hilda’s delicate perceptions in enabling him to look at two or three of the statues, about which they had talked together, that the entire purpose of his visit was defeated by her absence. It is a delicious sort of mutual aid, when the united power of two sympathetic, yet dissimilar, intelligences is brought to bear upon a poem by reading it aloud, or upon a picture or statue by viewing it in each other’s company. Even if not a word of criticism be uttered, the insight of either party is wonderfully deepened, and the comprehension broadened; so that the inner mystery of a work of genius, hidden from one, will often reveal itself to two. Missing such help, Kenyon saw nothing at the Vatican which he had not seen a thousand times before, and more perfectly than now.
In the chili of his disappointment, he suspected that it was a very cold art to which he had devoted himself. He questioned, at that moment, whether sculpture really ever softens and warms the material which it handles; whether carved marble is anything but limestone, after all; and whether the Apollo Belvedere itself possesses any merit above its physical beauty, or is beyond criticism even in that generally acknowledged excellence. In flitting glances, heretofore, he had seemed to behold this statue, as something ethereal and godlike, but not now.
Nothing pleased him, unless it were the group of the Laocoon, which, in its immortal agony, impressed Kenyon as a type of the long, fierce struggle of man, involved in the knotted entanglements of Error and Evil, those two snakes, which, if no divine help intervene, will be sure to strangle him and his children in the end. What he most admired was the strange calmness diffused through this bitter strife; so that it resembled the rage of the sea made calm by its immensity,’ or the tumult of Niagara which ceases to be tumult because it lasts forever. Thus, in the Laocoon, the horror of a moment grew to be the fate of interminable ages. Kenyon looked upon the group as the one triumph of sculpture, creating the repose, which is essential to it, in the very acme of turbulent effort; but, in truth, it was his mood of unwonted despondency that made him so sensitive to the terrible magnificence, as well as to the sad moral, of this work. Hilda herself could not have helped him to see it with nearly such intelligence.
A good deal more depressed than the nature of the disappointment warranted, Kenyon went to his studio, and took in hand a great lump of clay. He soon found, however, that his plastic cunning had departed from him for the time. So he wandered forth again into the uneasy streets of Rome, and walked up and down the Corso, where, at that period of the day, a throng of passers-by and loiterers choked up the narrow sidewalk. A penitent was thus brought in contact with the sculptor.
It was a figure in a white robe, with a kind of featureless mask over the face, through the apertures of which the eyes threw an unintelligible light. Such odd, questionable shapes are often seen gliding through the streets of Italian cities, and are understood to be usually persons of rank, who quit their palaces, their gayeties, their pomp and pride, and assume the penitential garb for a season, with a view of thus expiating some crime, or atoning for the aggregate of petty sins that make up a worldly life. It is their custom to ask alms, and perhaps to measure the duration of their penance by the time requisite to accumulate a sum of money out of the little droppings of individual charity. The avails are devoted to some beneficent or religious purpose; so that the benefit accruing to their own souls is, in a manner, linked with a good done, or intended, to their fellow-men. These figures have a ghastly and startling effect, not so much from any very impressive peculiarity in the garb, as from the mystery which they bear about with them, and the sense that there is an acknowledged sinfulness as the nucleus of it.
In the present instance, however, the penitent asked no alms of Kenyon; although, for the space of a minute or two, they stood face to face, the hollow eyes of the mask encountering the sculptor’s gaze. But, just as the crowd was about to separate them, the former spoke, in a voice not unfamiliar to Kenyon, though rendered remote and strange by the guilty veil through which it penetrated.
“Is all well with you, Signore?” inquired the penitent, out of the cloud in which he walked.
“All is well,” answered Kenyon. “And with you?”
But the masked penitent returned no answer, being borne away by the pressure of the throng.
The sculptor stood watching the figure, and was almost of a mind to hurry after him and follow up the conversation that had been begun; but it occurred to him that there is a sanctity (or, as we might rather term it, an inviolable etiquette) which prohibits the recognition of persons who choose to walk under the veil of penitence.
“How strange!” thought Kenyon to himself. “It was surely Donatello! What can bring him to Rome, where his recollections must be so painful, and his presence not without peril? And Miriam! Can she have accompanied him?”
He walked on, thinking of the vast change in Donatello, since those days of gayety and innocence, when the young Italian was new in Rome, and was just beginning to be sensible of a more poignant felicity than he had yet experienced, in the sunny warmth of Miriam’s smile. The growth of a soul, which the sculptor half imagined that he had witnessed in his friend, seemed hardly worth the heavy price that it had cost, in the sacrifice of those simple enjoyments that were gone forever. A creature of antique healthfulness had vanished from the earth; and, in his stead, there was only one other morbid and remorseful man, among millions that were cast in the same indistinguishable mould.
The accident of thus meeting Donatello the glad Faun of his imagination and memory, now transformed into a gloomy penitent—contributed to deepen the cloud that had fallen over Kenyon’s spirits. It caused him to fancy, as we generally do, in the petty troubles which extend not a hand’s-breadth beyond our own sphere, that the whole world was saddening around him. It took the sinister aspect of an omen, although he could not distinctly see what trouble it might forebode.
If it had not been for a peculiar sort of pique, with which lovers are much conversant, a preposterous kind of resentment which endeavors to wreak itself on the beloved object, and on one’s own heart, in requital of mishaps for which neither are in fault, Kenyon might at once have betaken himself to Hilda’s studio, and asked why the appointment was not kept. But the interview of to-day was to have been so rich in present joy, and its results so important to his future life, that the bleak failure was too much for his equanimity. He was angry with poor Hilda, and censured her without a hearing; angry with himself, too, and therefore inflicted on this latter criminal the severest penalty in his power; angry with the day that was passing over him, and would not permit its latter hours to redeem the disappointment of the morning.
To confess the truth, it had been the sculptor’s purpose to stake all his hopes on that interview in the galleries of the Vatican. Straying with Hilda through those long vistas of ideal beauty, he meant, at last, to utter himself upon that theme which lovers are fain to discuss in village lanes, in wood paths, on seaside sands, in crowded streets; it little matters where, indeed, since roses are sure to blush along the way, and daisies and violets to spring beneath the feet, if the spoken word be graciously received. He was resolved to make proof whether the kindness that Hilda evinced for him was the precious token of an individual preference, or merely the sweet fragrance of her disposition, which other friends might share as largely as himself. He would try if it were possible to take this shy, yet frank, and innocently fearless creature captive, and imprison her in his heart, and make her sensible of a wider freedom there, than in all the world besides.
It was hard, we must allow, to see the shadow of a wintry sunset falling upon a day that was to have been so bright, and to find himself just where yesterday had left him, only with a sense of being drearily balked, and defeated without an opportunity for struggle. So much had been anticipated from these now vanished hours, that it seemed as if no other day could bring back the same golden hopes.
In a case like this, it is doubtful whether Kenyon could have done a much better thing than he actually did, by going to dine at the Cafe Nuovo, and drinking a flask of Montefiascone; longing, the while, for a beaker or two of Donatello’s Sunshine. It would have been just the wine to cure a lover’s melancholy, by illuminating his heart with tender light and warmth, and suggestions of undefined hopes, too ethereal for his morbid humor to examine and reject them.
No decided improvement resulting from the draught of Montefiascone, he went to the Teatro Argentino, and sat gloomily to see an Italian comedy, which ought to have cheered him somewhat, being full of glancing merriment, and effective over everybody’s disabilities except his own. The sculptor came out, however, before the close of the performance, as disconsolate as he went in.
As he made his way through the complication of narrow streets, which perplex that portion of the city, a carriage passed him. It was driven rapidly, but not too fast for the light of a gas-lamp to flare upon a face within—especially as it was bent forward, appearing to recognize him, while a beckoning hand was protruded from the window. On his part, Kenyon at once knew the face, and hastened to the carriage, which had now stopped.
“Miriam! you in Rome?” he exclaimed “And your friends know nothing of it?”
“Is all well with you?” she asked.
This inquiry, in the identical words which Donatello had so recently addressed to him from beneath the penitent’s mask, startled the sculptor. Either the previous disquietude of his mind, or some tone in Miriam’s voice, or the unaccountableness of beholding her there at all, made it seem ominous.
“All is well, I believe,” answered he doubtfully. “I am aware of no misfortune. Have you any to announce’?”
He looked still more earnestly at Miriam, and felt a dreamy uncertainty whether it was really herself to whom he spoke. True; there were those beautiful features, the contour of which he had studied too often, and with a sculptor’s accuracy of perception, to be in any doubt that it was Miriam’s identical face. But he was conscious of a change, the nature of which he could not satisfactorily define; it might be merely her dress, which, imperfect as the light was, he saw to be richer than the simple garb that she had usually worn. The effect, he fancied, was partly owing to a gem which she had on her bosom; not a diamond, but something that glimmered with a clear, red lustre, like the stars in a southern sky. Somehow or other, this colored light seemed an emanation of herself, as if all that was passionate and glowing in her native disposition had crystallized upon her breast, and were just now scintillating more brilliantly than ever, in sympathy with some emotion of her heart.
Of course there could be no real doubt that it was Miriam, his artist friend, with whom and Hilda he had spent so many pleasant and familiar hours, and whom he had last seen at Perugia, bending with Donatello beneath the bronze pope’s benediction. It must be that selfsame Miriam; but the sensitive sculptor felt a difference of manner, which impressed him more than he conceived it possible to be affected by so external a thing. He remembered the gossip so prevalent in Rome on Miriam’s first appearance; how that she was no real artist, but the daughter of an illustrious or golden lineage, who was merely playing at necessity; mingling with human struggle for her pastime; stepping out of her native sphere only for an interlude, just as a princess might alight from her gilded equipage to go on foot through a rustic lane. And now, after a mask in which love and death had performed their several parts, she had resumed her proper character.
“Have you anything to tell me?” cried he impatiently; for nothing causes a more disagreeable vibration of the nerves than this perception of ambiguousness in familiar persons or affairs. “Speak; for my spirits and patience have been much tried to-day.”
Miriam put her finger on her lips, and seemed desirous that Kenyon should know of the presence of a third person. He now saw, indeed, that, there was some one beside her in the carriage, hitherto concealed by her attitude; a man, it appeared, with a sallow Italian face, which the sculptor distinguished but imperfectly, and did not recognize.
“I can tell you nothing,” she replied; and leaning towards him, she whispered,—appearing then more like the Miriam whom he knew than in what had before passed,—“Only, when the lamp goes out do not despair.”
The carriage drove on, leaving Kenyon to muse over this unsatisfactory interview, which seemed to have served no better purpose than to fill his mind with more ominous forebodings than before. Why were Donatello and Miriam in Rome, where both, in all likelihood, might have much to dread? And why had one and the other addressed him with a question that seemed prompted by a knowledge of some calamity, either already fallen on his unconscious head, or impending closely over him?
“I am sluggish,” muttered Kenyon, to himself; “a weak, nerveless fool, devoid of energy and promptitude; or neither Donatello nor Miriam could have escaped me thus! They are aware of some misfortune that concerns me deeply. How soon am I to know it too?”
There seemed but a single calamity possible to happen within so narrow a sphere as that with which the sculptor was connected; and even to that one mode of evil he could assign no definite shape, but only felt that it must have some reference to Hilda.
Flinging aside the morbid hesitation, and the dallyings with his own wishes, which he had permitted to influence his mind throughout the day, he now hastened to the Via Portoghese. Soon the old palace stood before him, with its massive tower rising into the clouded night; obscured from view at its midmost elevation, but revealed again, higher upward, by the Virgin’s lamp that twinkled on the summit. Feeble as it was, in the broad, surrounding gloom, that little ray made no inconsiderable illumination among Kenyon’s sombre thoughts; for; remembering Miriam’s last words, a fantasy had seized him that he should find the sacred lamp extinguished.
And even while he stood gazing, as a mariner at the star in which he put his trust, the light quivered, sank, gleamed up again, and finally went out, leaving the battlements of Hilda’s tower in utter darkness. For the first time in centuries, the consecrated and legendary flame before the loftiest shrine in Rome had ceased to burn.
Kenyon knew the sanctity which Hilda (faithful Protestant, and daughter of the Puritans, as the girl was) imputed to this shrine. He was aware of the profound feeling of responsibility, as well earthly as religious, with which her conscience had been impressed, when she became the occupant of her aerial chamber, and undertook the task of keeping the consecrated lamp alight. There was an accuracy and a certainty about Hilda’s movements, as regarded all matters that lay deep enough to have their roots in right or wrong, which made it as possible and safe to rely upon the timely and careful trimming of this lamp (if she were in life, and able to creep up the steps), as upon the rising of to-morrow’s sun, with lustre-undiminished from to-day.
The sculptor could scarcely believe his eyes, therefore, when he saw the flame flicker and expire. His sight had surely deceived him. And now, since the light did not reappear, there must be some smoke wreath or impenetrable mist brooding about the tower’s gray old head, and obscuring it from the lower world. But no! For right over the dim battlements, as the wind chased away a mass of clouds, he beheld a star, and moreover, by an earnest concentration of his sight, was soon able to discern even the darkened shrine itself. There was no obscurity around the tower; no infirmity of his own vision. The flame had exhausted its supply of oil, and become extinct. But where was Hilda?
A man in a cloak happened to be passing; and Kenyon—anxious to distrust the testimony of his senses, if he could get more acceptable evidence on the other side—appealed to him.
“Do me the favor, Signore,” said he, “to look at the top of yonder tower, and tell me whether you see the lamp burning at the Virgin’s shrine.”
“The lamp, Signore?” answered the man, without at first troubling himself to look up. “The lamp that has burned these four hundred years! How is it possible, Signore, that it should not be burning now?” “But look!” said the sculptor impatiently. With good-natured indulgence for what he seemed to consider as the whim of an eccentric Forestiero, the Italian carelessly threw his eyes upwards; but, as soon as he perceived that there was really no light, he lifted his hands with a vivid expression of wonder and alarm.
“The lamp is extinguished!” cried he. “The lamp that has been burning these four hundred years! This surely must portend some great misfortune; and, by my advice, Signore, you will hasten hence, lest the tower tumble on our heads. A priest once told me that, if the Virgin withdrew her blessing and the light went out, the old Palazzo del Torte would sink into the earth, with all that dwell in it. There will be a terrible crash before morning!”
The stranger made the best of his way from the doomed premises; while Kenyon—who would willingly have seen the tower crumble down before his eyes, on condition of Hilda’s safety—determined, late as it was, to attempt ascertaining if she were in her dove-cote.
Passing through the arched entrance,—which, as is often the case with Roman entrances, was as accessible at midnight as at noon,—he groped his way to the broad staircase, and, lighting his wax taper, went glimmering up the multitude of steps that led to Hilda’s door. The hour being so unseasonable, he intended merely to knock, and, as soon as her voice from within should reassure him, to retire, keeping his explanations and apologies for a fitter time. Accordingly, reaching the lofty height where the maiden, as he trusted, lay asleep, with angels watching over her, though the Virgin seemed to have suspended her care, he tapped lightly at the door panels,—then knocked more forcibly,—then thundered an impatient summons. No answer came; Hilda, evidently, was not there.
After assuring himself that this must be the fact, Kenyon descended the stairs, but made a pause at every successive stage, and knocked at the door of its apartment, regardless whose slumbers he might disturb, in his anxiety to learn where the girl had last been seen. But, at each closed entrance, there came those hollow echoes, which a chamber, or any dwelling, great or small, never sends out, in response to human knuckles or iron hammer, as long as there is life within to keep its heart from getting dreary.
Once indeed, on the lower landing-place, the sculptor fancied that there was a momentary stir inside the door, as if somebody were listening at the threshold. He hoped, at least, that the small iron-barred aperture would be unclosed, through which Roman housekeepers are wont to take careful cognizance of applicants for admission, from a traditionary dread, perhaps, of letting in a robber or assassin. But it remained shut; neither was the sound repeated; and Kenyon concluded that his excited nerves had played a trick upon his senses, as they are apt to do when we most wish for the clear evidence of the latter.
There was nothing to be done, save to go heavily away, and await whatever good or ill to-morrow’s daylight might disclose.
Betimes in the morning, therefore, Kenyon went back to the Via Portoghese, before the slant rays of the sun had descended halfway down the gray front of Hilda’s tower. As he drew near its base, he saw the doves perched in full session, on the sunny height of the battlements, and a pair of them—who were probably their mistress’s especial pets, and the confidants of her bosom secrets, if Hilda had any—came shooting down, and made a feint of alighting on his shoulder. But, though they evidently recognized him, their shyness would not yet allow so decided a demonstration. Kenyon’s eyes followed them as they flew upward, hoping that they might have come as joyful messengers of the girl’s safety, and that he should discern her slender form, half hidden by the parapet, trimming the extinguished lamp at the Virgin’s shrine, just as other maidens set about the little duties of a household. Or, perhaps, he might see her gentle and sweet face smiling down upon him, midway towards heaven, as if she had flown thither for a day or two, just to visit her kindred, but had been drawn earthward again by the spell of unacknowledged love.
But his eyes were blessed by no such fair vision or reality; nor, in truth, were the eager, unquiet flutterings of the doves indicative of any joyful intelligence, which they longed to share with Hilda’s friend, but of anxious inquiries that they knew not how to utter. They could not tell, any more than he, whither their lost companion had withdrawn herself, but were in the same void despondency with him, feeling their sunny and airy lives darkened and grown imperfect, now that her sweet society was taken out of it.
In the brisk morning air, Kenyon found it much easier to pursue his researches than at the preceding midnight, when, if any slumberers heard the clamor that he made, they had responded only with sullen and drowsy maledictions, and turned to sleep again. It must be a very dear and intimate reality for which people will be content to give up a dream. When the sun was fairly up, however, it was quite another thing. The heterogeneous population, inhabiting the lower floor of the old tower, and the other extensive regions of the palace, were now willing to tell all they knew, and imagine a great deal more. The amiability of these Italians, assisted by their sharp and nimble wits, caused them to overflow with plausible suggestions, and to be very bounteous in their avowals of interest for the lost Hilda. In a less demonstrative people, such expressions would have implied an eagerness to search land and sea, and never rest till she were found. In the mouths that uttered them they meant good wishes, and were, so far, better than indifference. There was little doubt that many of them felt a genuine kindness for the shy, brown-haired, delicate young foreign maiden, who had flown from some distant land to alight upon their tower, where she consorted only with the doves. But their energy expended itself in exclamation, and they were content to leave all more active measures to Kenyon, and to the Virgin, whose affair it was to see that the faithful votary of her lamp received no harm.
In a great Parisian domicile, multifarious as its inhabitants might be, the concierge under the archway would be cognizant of all their incomings and issuings forth. But except in rare cases, the general entrance and main staircase of a Roman house are left as free as the street, of which they form a sort of by-lane. The sculptor, therefore, could hope to find information about Hilda’s movements only from casual observers.
On probing the knowledge of these people to the bottom, there was various testimony as to the period when the girl had last been seen. Some said that it was four days since there had been a trace of her; but an English lady, in the second piano of the palace, was rather of opinion that she had met her, the morning before, with a drawing-book in her hand. Having no acquaintance with the young person, she had taken little notice and might have been mistaken. A count, on the piano next above, was very certain that he had lifted his hat to Hilda, under the archway, two afternoons ago. An old woman, who had formerly tended the shrine, threw some light upon the matter, by testifying that the lamp required to be replenished once, at least, in three days, though its reservoir of oil was exceedingly capacious.
On the whole, though there was other evidence enough to create some perplexity, Kenyon could not satisfy himself that she had been visible since the afternoon of the third preceding day, when a fruit seller remembered her coming out of the arched passage, with a sealed packet in her hand. As nearly as he could ascertain, this was within an hour after Hilda had taken leave of the sculptor at his own studio, with the understanding that they were to meet at the Vatican the next day. Two nights, therefore, had intervened, during which the lost maiden was unaccounted for.
The door of Hilda’s apartments was still locked, as on the preceding night; but Kenyon sought out the wife of the person who sublet them, and prevailed on her to give him admittance by means of the duplicate key which the good woman had in her possession. On entering, the maidenly neatness and simple grace, recognizable in all the arrangements, made him visibly sensible that this was the daily haunt of a pure soul, in whom religion and the love of beauty were at one.
Thence, the sturdy Roman matron led the sculptor across a narrow passage, and threw open the door of a small chamber, on the threshold of which he reverently paused. Within, there was a bed, covered with white drapery, enclosed with snowy curtains like a tent, and of barely width enough for a slender figure to repose upon it. The sight of this cool, airy, and secluded bower caused the lover’s heart to stir as if enough of Hilda’s gentle dreams were lingering there to make him happy for a single instant. But then came the closer consciousness of her loss, bringing along with it a sharp sting of anguish.
“Behold, Signore,” said the matron; “here is the little staircase by which the signorina used to ascend and trim the Blessed Virgin’s lamp. She was worthy to be a Catholic, such pains the good child bestowed to keep it burning; and doubtless the Blessed Mary will intercede for her, in consideration of her pious offices, heretic though she was. What will become of the old palazzo, now that the lamp is extinguished, the saints above us only know! Will you mount, Signore, to the battlements, and see if she have left any trace of herself there?”
The sculptor stepped across the chamber and ascended the little staircase, which gave him access to the breezy summit of the tower. It affected him inexpressibly to see a bouquet of beautiful flowers beneath the shrine, and to recognize in them an offering of his own to Hilda, who had put them in a vase of water, and dedicated them to the Virgin, in a spirit partly fanciful, perhaps, but still partaking of the religious sentiment which so profoundly influenced her character. One rosebud, indeed, she had selected for herself from the rich mass of flowers; for Kenyon well remembered recognizing it in her bosom when he last saw her at his studio.
“That little part of my great love she took,” said he to himself. “The remainder she would have devoted to Heaven; but has left it withering in the sun and wind. Ah! Hilda, Hilda, had you given me a right to watch over you, this evil had not come!”
“Be not downcast, signorino mio,” said the Roman matron, in response to the deep sigh which struggled out of Kenyon’s breast. “The dear little maiden, as we see, has decked yonder blessed shrine as devoutly as I myself, or any Other good Catholic woman, could have done. It is a religious act, and has more than the efficacy of a prayer. The signorina will as surely come back as the sun will fall through the window to-morrow no less than to-day. Her own doves have often been missing for a day or two, but they were sure to come fluttering about her head again, when she least expected them. So will it be with this dove-like child.”
“It might be so,” thought Kenyon, with yearning anxiety, “if a pure maiden were as safe as a dove, in this evil world of ours.”
As they returned through the studio, with the furniture and arrangements of which the sculptor was familiar, he missed a small ebony writing-desk that he remembered as having always been placed on a table there. He knew that it was Hilda’s custom to deposit her letters in this desk, as well as other little objects of which she wished to be specially careful.
“What has become of it?” he suddenly inquired, laying his hand on the table.
“Become of what, pray?” exclaimed the woman, a little disturbed. “Does the Signore suspect a robbery, then?”
“The signorina’s writing-desk is gone,” replied Kenyon; “it always stood on this table, and I myself saw it there only a few days ago.”
“Ah, well!” said the woman, recovering her composure, which she seemed partly to have lost. “The signorina has doubtless taken it away with her. The fact is of good omen; for it proves that she did not go unexpectedly, and is likely to return when it may best suit her convenience.”
“This is very singular,” observed Kenyon. “Have the rooms been entered by yourself, or any other person, since the signorina’s disappearance?”
“Not by me, Signore, so help me Heaven and the saints!” said the matron. “And I question whether there are more than two keys in Rome that will suit this strange old lock. Here is one; and as for the other, the signorina carlies it in her pocket.”
The sculptor had no reason to doubt the word of this respectable dame. She appeared to be well meaning and kind hearted, as Roman matrons generally are; except when a fit of passion incites them to shower horrible curses on an obnoxious individual, or perhaps to stab him with the steel stiletto that serves them for a hairpin. But Italian asseverations of any questionable fact, however true they may chance to be, have no witness of their truth in the faces of those who utter them. Their words are spoken with strange earnestness, and yet do not vouch for themselves as coming from any depth, like roots drawn out of the substance of the soul, with some of the soil clinging to them. There is always a something inscrutable, instead of frankness, in their eyes. In short, they lie so much like truth, and speak truth so much as if they were telling a lie, that their auditor suspects himself in the wrong, whether he believes or disbelieves them; it being the one thing certain, that falsehood is seldom an intolerable burden to the tenderest of Italian consciences.
“It is very strange what can have become of the desk!” repeated Kenyon, looking the woman in the face.
“Very strange, indeed, Signore,” she replied meekly, without turning away her eyes in the least, but checking his insight of them at about half an inch below the surface. “I think the signorina must have taken it with her.”
It seemed idle to linger here any longer. Kenyon therefore departed, after making an arrangement with the woman, by the terms of which she was to allow the apartments to remain in their present state, on his assuming the responsibility for the rent.
He spent the day in making such further search and investigation as he found practicable; and, though at first trammelled by an unwillingness to draw public attention to Hilda’s affairs, the urgency of the circumstances soon compelled him to be thoroughly in earnest. In the course of a week, he tried all conceivable modes of fathoming the mystery, not merely by his personal efforts and those of his brother artists and friends, but through the police, who readily undertook the task, and expressed strong confidence of success. But the Roman police has very little efficiency, except in the interest of the despotism of which it is a tool. With their cocked hats, shoulder belts, and swords, they wear a sufficiently imposing aspect, and doubtless keep their eyes open wide enough to track a political offender, but are too often blind to private outrage, be it murder or any lesser crime. Kenyon counted little upon their assistance, and profited by it not at all.
Remembering the mystic words which Miriam had addressed to him, he was anxious to meet her, but knew not whither she had gone, nor how to obtain an interview either with herself or Donatello. The days wore away, and still there were no tidings of the lost one; no lamp rekindled before the Virgin’s shrine; no light shining into the lover’s heart; no star of Hope—he was ready to say, as he turned his eyes almost reproachfully upward—in heaven itself!