Chapter 1

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_ CHAPTER I

The Senator Michele Pignaver, being a childless widower of several years' standing and a personage of wealth and worth in Venice, made up his mind one day that he would marry his niece Ortensia, as soon as her education was completed. For he was a man of culture and of refined tastes, fond of music, much given to writing sonnets and to reading the works of the elegant Politian, as well as to composing sentimental airs for the voice and lute. He patronised arts and letters with vast credit and secret economy; for he never gave anything more than a supper and a recommendation to the poets, musicians, and artists who paid their court to him and dedicated to him their choicest productions. The supper was generally a frugal affair, but his reputation in aesthetic matters was so great that a word from him to a leader of fashion, or a letter of introduction to a Venetian Ambassador abroad, often proved to be worth more than the gold he abstained from giving. He spoke Latin, he could read Greek, and his taste in poetry was so highly cultivated that he called Dante's verse rough, uncouth, and vulgar--precisely as Horace Walpole, seventy or eighty years later, could not conceive how any one could prefer Shakespeare's rude lines to the elegant verses of Mr. Pope. For the Senator lived in the age when Louis XIV. was young, and Charles II. had been restored to the throne only a few years before the beginning of this story.

Pignaver was about fifty years old. There is no good reason why a widower of that age, robust and temperate, and hardly grey, should not take a wife; perhaps there is really no reason, either, why he should not marry a girl of eighteen, if she will have him, and where neither usage nor ecclesiastical ordinances are opposed to it, the young lady may even be his niece. Besides, in the present case, the Senator would appear to his peers and associates to be conferring a favour on the object of his elderly affections, and to be crowning the series of favours he had already conferred. For Ortensia was the penniless child of his brother-in-law, a scapegrace who had come to a bad end in Crete. The Senator's wife had taken the child to her heart, having none of her own, and had brought her up lovingly and wisely, little dreaming that she was educating her own successor. If she had known it, she might have behaved differently, for her lord had never succeeded in winning her affections, and she regarded him to the end with mingled distrust and dislike, while he looked upon her as an affliction and a thorn in his side. Yet they were both very good people in their way. She died comparatively young, and he deemed it only just that after enduring the thorn so long, he should enjoy the rose for the rest of his life.

When Ortensia was seventeen and a half her uncle announced his matrimonial intentions to her, fastened a fine string of pearls round her throat, kissed her on the forehead, and left her alone to meditate on her good fortune.

Her reflections were of a mixed character, however, and not all pleasant. The idea that she could disobey or resist did not occur to her, of course, for the Senator had always appeared to her as the absolute lord of his household, against whose will it was useless to make any opposition, and she knew what an important person he was considered to be amongst his equals.

But in her inmost heart she knew that he was not really what he made people think he was. She had a ready sense of humour, and she felt that under his ponderous disguise of importance he was quite a ridiculous person. He was miserly to meanness; he was as vain as an ape; he was a man who had flattered himself, and had been flattered by others, into a sort of artificially inflated doll that imposed on many people and deceived almost all. And yet Ortensia was aware of something in him that frightened her a little, though she could not quite tell what it was. Possibly, like many externally artificial people, there was a cruel side to his character. There are men who become ridiculous as soon as they cease to be dangerous, and who are most dangerous when they fear that they are just going to become a laughing-stock.

Ortensia reflected on these things after her uncle had given her the pearls and had kissed her on the forehead. The pearls were very beautiful, but the kiss had been distinctly disagreeable. The Senator waxed his moustaches to make them stay up, as many men did then, and she thought that if a cold hard-boiled egg, surrounded with bristles like a hair-brush, had touched her forehead, the sensation would have been very much the same, and she shook her delicate shoulders in disgust at the thought, and slowly rubbed the offended spot with two fingers, while her other hand played with the string of pearls in her lap.

It would be a great thing, of course, to be a senator's wife and the mistress of such a house as the Palazzo Pignaver, which she had first entered as a little orphan waif ten years ago. But to be kissed daily, even on the forehead, by her Uncle Michele, would be a high price to pay for greatness. She supposed that he would kiss her every day when she was married, for that was probably a part of marriage, which had always seemed to her a mysterious affair at best. Young girls looked forward to it with delight, and old women seemed to look back on it with disappointment, while those who were neither old nor young never said anything about it, but often seemed to be on bad terms with their husbands.

But Ortensia was a fatalist, like most Venetian maidens of her time. Whatever the master of the house and the head of the family decided would be done, and there could be no question of resistance. In due course she would marry her uncle, she would hold her tongue like other married women while he lived, and when he was dead she would be at liberty to tell her friends that her marriage had been a disappointment. Of course Uncle Michele would die long before her--that was one consolation--and the position of a rich widow in Venice was enviable.

Happily she had six months before her, during which time her education was to be completed; happily, too, a large part of it now consisted in music lessons, for she had a sweet voice, and the Senator meant that she should astound Venetian society by singing his own compositions to them, accompanying herself. She had great beauty, as well as some real talent, and he judged that the effect of his verses and music, when rendered by her, would be much enhanced by the magic light in her hazel eyes, by the contrasted splendour of her auburn hair and ivory complexion, and by the pretty motion of her taper fingers as they fluttered over the strings. He looked forward to exhibiting the loveliest young woman in Venice, who should sing his own songs divinely to an admiring circle of envious friends. That would be a magnificent and well-deserved triumph, after his long career as a gifted amateur and critic--and it would cost nothing. Why should a wife be more expensive than a niece? His first wife's brocades and velvets could easily be made over for Ortensia; and for that matter the young girl expected nothing better, since she had no family of her own to give her a great carved chest full of beautiful new clothes and laces.

Uncle Michele did not condescend to honour her with another kiss, after the formal occasion on which he had announced her betrothal to himself. But he showed a growing interest in her music-lessons as the weeks passed, and he frequently made her sing pieces of his own to him, correcting each shade of expression most fastidiously, and occasionally performing the more difficult passages himself, with many affected gestures and self-approving waggings of his head, though his voice was tuneless and harsh, and his ear anything but perfect.

'Of course,' he would say, 'it is only to give you an idea!'

The idea which he conveyed to Ortensia was that of a performing bear eating strawberries; but she managed to keep her countenance, and not to mimic him when she repeated the passage herself, profiting by his instruction. It was the sort of music that rich amateurs used to write by the ream, subject to the unacknowledged 'corrections' of a well-paid professional; but the girl's sweet voice and genuine talent made the airs sound passable, while her dreamy eyes and her caressing pronunciation of the trivial words did the rest. It was mere talent, for she hardly understood what she was saying, or singing, and she felt not the least emotion, but she seemed to kiss the syllables as they passed her lips.

The first bloom of young womanhood was already on her cheek, but the frosts of childhood's morning had not melted from her maiden heart.

One day she was sitting just at the edge of the sunshine that poured upon the eastern carpet from the high loggia. The room overlooked the garden court of the palace, and the palms and young orange-trees, in vast terra-cotta pots, laden with yellow fruit, had already been brought out and set in their places, for it was the spring-time; the sunshine fell slanting on the headless Ariadne, which was one of the Senator's chief treasures of art, and the rays sparkled in the clear water in the beautiful sarcophagus below. The lilies had already put out young leaves too, that lay rocking on the ripples made by the tiny jet of the fountain. There were long terra-cotta troughs full of white violets, arranged as borders along the small paved paths, and red flower-pots were set symmetrically in squares and rings and curves with roses just blooming, and mignonette, and carnations that still lingered in the bud. It was a formal little garden, but in the midst of its regularity, neither in the centre, nor at any of the artificially planned corners and curves, but out of line with all, one cypress reared up its height. Even as Ortensia saw it, looking out from her loggia, it overtopped the high wall that divided the garden from the canal and the low houses on the other side, showing its dark plume sharp and clear against the sunlit sky; but when the morning and the evening breezes blew in spring and summer, it swayed lazily, and the feathery top waved from side to side, and bent to the caressing air like a live thing. Ortensia loved the tree better than anything else in the garden; even better than the beautiful Greek Ariadne, which her uncle had himself brought from Crete in one of his ships.

She was watching it now, and where the sunlight played in the tip, she could see the golden and reddish lights of the cypress twigs through the deep green. On her knees she held a large musical instrument all made of ivory, and inlaid with black, a lute with eleven strings, but of the shorter kind with the head of the keyboard turned back at a right angle. It lay in her lap, in the ample straw-coloured folds of her silk skirt, and its broad white ribband was passed over her shoulder, and pressed on her lace collar on the left side of her neck.

At a considerable distance from her, a small, middle-aged woman in grey sat in a high chair, bending forward over the little green pillow on which she was making bobbin lace.

There was a good deal of furniture in the large room, and it belonged to different periods; some of it was carved, some inlaid, some gilt in the new French fashion. A great Persian carpet of most exquisite colours softened and blended by age lay on the floor, and the curtains of the doors were of rich old Genoa velvet, with palm leaves woven in gold thread on a faded claret ground.

The time lacked about an hour of noon, and in the deep stillness the trickling of the tiny fountain came up distinctly from the garden.

Something had just happened which Ortensia did not understand, and she had let her lute sink in her lap, to lean back and think, and wonder, watching the familiar outline of the dark cypress against the open sky.

She had been learning a song by a new composer, of whom she had never heard till now, and the manuscript lay open on a cushioned stool beside her. For a time she had followed the notes and words carefully with her voice, picking out the accompaniment on her lute from the figured bass, as musicians did in those days. At first it had not meant much to her; it was difficult, the intervals were unexpected and strange, she could not find the right chords, the words would not quite make sense, and some of them were unfamiliar to her.

But she was patient, and she had talent, and she had tried again and again, very soft and low, so that the woman in grey had nearly fallen asleep over her lace, nodding visibly and recovering herself each time with a little grunt.

Then, all at once, the breath of spring came in, like the breath of life, with the warm scent of the garden below, and the sunlight had stolen across the Persian carpet to her feet. She turned from the manuscript she had been studying, and without it her fingers suddenly found the chords, and her lips the words, and the melody floated out with them into the stillness, low, trembling, and passionate as the burden of a love-dream, a wonder to hear.

But she scarcely heard it herself, for it came unconsciously. The meaning had dawned upon her unawares, and she understood without ears, as if the music were all in her heart, and much nearer to her life than it could come by hearing alone.

It stirred delicious depths within her; the spring and the sun and the melody waked that in her which had slept the long sleep of childhood, while her beautiful outward self was maturing to the blossom.

She understood, and yet she did not; it was a bewildering joy, but it was a longing; it was an exquisite satisfaction, yet it was also a secret, unspeakable wish; it was the first thrill of a feeling too exquisite for words to describe, but with it there came a mysterious forelightening of something unknown that troubled her maiden peace.

Her lips quivered, her voice died away to a whisper, while her body vibrated still, like the last string she touched on the lute; a sudden warmth came to her face then, and sank suddenly away, and all at once it was all past, and she was gazing at the dark top of the cypress, and a strange, listless, half-sweet loneliness had come upon her, wherein nothing mattered any more, nor could anything ever matter again.

That was what had just happened. But the woman in grey had not noticed it, though she was wide awake now and busily plying her bobbins.

Then the heavy velvet curtain before the door was lifted, and a man's footstep was heard on the marble floor, and there was another step after it. Ortensia turned her head carelessly against the back of the chair to see who was coming, and then rose quickly to her feet.

The Senator had entered and was ushering in a man she had never seen, a handsome young man of five-and-twenty or so, with a thoughtful face and deep-set eyes, of a rather dark complexion, as if he came from the south; his manner was grave, and he was soberly dressed in a black velvet coat with purple silk facings, and wore a plain broad collar of linen instead of the fashionable lace; he was a man of middle height and well made, and he moved easily. In his left hand he carried a musical instrument in a purple bag.

[Illustration: '"This is the celebrated Maestro Alessandro Stradella of Naples"']

He bowed very low as soon as the Senator stood still before Ortensia.

'This,' said the master of the house, 'is the celebrated Maestro Alessandro Stradella of Naples, by far the greatest musician and composer in Italy, who has very kindly consented to hear you sing, and to give you a few lessons if he finds you sufficiently advanced.'

Ortensia was surprised, and anything but displeased, but she showed no emotion. The young man before her was the composer of the song she had been studying, the very one that had so strongly disturbed her a few minutes ago; this of itself would have been interesting, even if he had not been such a singularly handsome young man.

The woman in grey, who was her nurse, had risen too, and was looking at the musician with more curiosity than might have been expected in a sober person of her years.

Ortensia bent her head a little, in acknowledgment of the introduction, but said nothing. She saw, however, that Stradella had already noticed the manuscript of his own music on the stool beside her.

'You may sing "Amor mi dice" to the Maestro,' said the Senator, taking a seat. 'A little composition of my own,' he added, with a self-satisfied smile, for the musician's information. 'I have taught it to my niece myself.'

For one instant Stradella's eyes met the young girl's and she returned their glance. It was enough; they already understood each other. Doubtless the composer had met his patron more than once and knew his weakness and what to expect now. Ortensia resumed her seat, and drew her full skirt into folds on her knee, for her lute to rest on. Stradella sat down at a little distance and looked at the Persian carpet, and she could not help seeing that he had remarkably well-turned legs and ankles, and wore very well-made shoes of soft purple leather with handsome chiselled silver buckles. She felt inclined to raise her eyes to his face again, but resisted the temptation, and turned resolutely towards her uncle as she struck the opening chords of the accompaniment.

The musician now looked up and watched her. At first he put on the amiable smile which professionals keep especially for amateurs, and as a matter of politeness he listened attentively, till he had convinced himself that the song, as he had expected, belonged to that large class of which the chief characteristic is a general resemblance to everything of the kind that was ever written before, and will ever be written hereafter. This being settled after hearing a few bars, Stradella quietly gave himself up to the pleasure of looking at the young girl, though he often turned towards the Senator, who expected admiration at every full close, and meant to get it.

He thought he did; for the effect of watching Ortensia was to bring to the musician's own face an expression of such genuine delight that Pignaver could not fail to be pleased, since he attributed it to the charm of his composition. He was in the seventh heaven. Here, at last, was a true genius, able to appreciate his talent as it deserved. Here was a master fit to teach such noble music, as it should really be sung. Ortensia should profit by the opportunity, even if Stradella asked a silver ducat for each lesson. For once, money was no object to the Senator. The triumph his young bride would certainly bring him, in singing his songs after being taught by Alessandro Stradella, would be worth much more than gold.

She sang the stuff as creditably as it deserved, her voice was fresh and true, and her touch on the lute was at once light and sure. With such a face, what did it matter that the song was exactly like a thousand others? The musician praised it so enthusiastically that the Senator was almost satisfied for once.

'You flatter me,' he said, bowing a little in his chair, spreading out his hands in a gesture of deprecation and grinning like a pleased monkey.

'Not in the least, my lord, I assure you,' answered Stradella with great emphasis. 'If I were capable of flattering you, I should not deserve the confidence you place in me, in desiring me to give this gifted young lady a few lessons.'

Ortensia pretended to be busy with her lute, bending over it and softly trying the upper strings, though they were already perfectly in tune. But she was listening to the young master, and she thought she had rarely heard a voice that had more winning tones in speaking, or an accent that pleased her better. And as she bent down she could just see his well-turned ankles and purple leather shoes.

'It would be my wish,' the Senator said, 'that you should give her some hints as to the performance of a number of my songs. Yes, I have devoted much time to your art as well as to poetry. Hitherto I have written ninety-seven songs, both words and music. Yes, I have been industrious. If my niece had my industry she would know them all by this time.'

Ortensia bent still lower, till her face almost touched the frets of the instrument, and she was biting her lip; but Stradella was imperturbable.

'I trust you may be spared to contribute many more beautiful compositions to the art treasures of our country,' he said politely.

'I hope so,' answered Pignaver with gravity.

And then--Ortensia looked up, and for the second time her eyes met the musician's, and she felt that he and she already understood each other.

With many patronising smiles on the Senator's part, and many flattering expressions of admiration and respectful salutations from Stradella, the two parted and Pignaver took himself off, leaving his niece to take her first lesson under the guardianship of the nurse, who moved her chair so that she could watch the pair while she was busy with her lace.

For a few seconds neither spoke, and they looked at each other in silence as if making better acquaintance through their eyes alone, by which they had quickly reached a first degree of understanding. Stradella's face was quite grave, while Ortensia's lips were just parted, as if she were ready to smile, if he would. But he would not, and he was the first to speak.

'How shall we begin?' he asked.

Ortensia hesitated and touched the strings of her lute idly, as it lay across her knee, just kept from slipping down by the broad ribband.

'When you came,' she said at last, 'I had been trying to learn a song of yours. It is beautiful. Will you show me how to sing it?'

She blushed faintly, and he smiled; but he shook his head.

'I saw it lying there as soon as I came in,' he said. 'But I understand it to be the Senator's wish that we should study his music rather than mine.'

She was disappointed, and did not try to hide it; but she was not used to asserting her own will, and her uncle's word had always been law in his house, to be obeyed whether he were present or not. As for Stradella, he would have sung his own song for her with delight, but he distrusted the woman in grey, who might be a spy for all he knew. He carefully withdrew his lute from the purple bag and began to tune the strings. It was a fine instrument, made in Cremona, but by no means so handsome in appearance as Ortensia's ivory one. It was differently designed, too, being much longer, with a double fret-board and no less than nineteen strings.

'Let me see,' Stradella said, when he was ready. 'That song of the Senator's you just sang--how was it?'

He struck chords, bent low over the lute, softly hummed a few snatches of the melody, and then, to Ortensia's surprise, he began to sing the piece as if he knew it well. He sang softly, without the least effort, and his voice seemed neither high nor deep, but there was a tone in it that the young girl had never heard before, and that sent a thrill to her heart at the very first note. She bent forwards, watching him with parted lips and eyes full of wonder, scarcely breathing till he finished the stanza and spoke to her again.

'Is that it?' he asked quietly, and he smiled as he looked at her.

'But you know it!' she cried. 'If I had ever heard you I should not have dared to try to sing before you!'

'I never heard it before,' Stradella answered, 'but I catch any tune easily. Shall we study it a little?' he went on, before she could speak again. 'I will accompany you at first, and I will stop you now and then, where I think you might do better. Shall we?'

Again he smiled, but this time it was by way of encouragement, and he at once began a little prelude on the lute.

'You will sing better if you stand up,' he suggested.

She rose, took her own lute from her neck, and stood resting one hand on the high back of her chair, turning her face from him; for she was afraid, now that she had heard him. It was as bad as the worst stage-fright; her tongue was paralysed, her limbs shook under her, she shivered with cold in the sunshine, and her forehead was damp. Yet she had not felt the slightest shyness a quarter of an hour earlier, when she had first sung the piece.

'Sing with me,' he said quietly, and he began the song again.

Presently she took courage and the notes came, unsteadily at first, but then true and clear; and Stradella's own voice died to a whisper, and she went on alone, to the accompaniment he played.

'You see,' he said, as she paused, 'it is better to stand. Now I will show you how to make one or two little improvements.'

So the lesson went on, and she conscientiously tried to do exactly what he taught her; and their eyes met often, but that could not be helped, for he showed her how to vary the quality of her tone by movements of the mouth, and to do this she had to watch his lips and he was obliged to look at hers, which is sometimes a dangerous exercise for young people, even at a first meeting. For acquaintance grows and ripens precociously when two people are busy together so that they depend on each other at every instant, as teacher and pupil, or as the chief actor and actress in a play, or as a man and a woman who are suddenly thrown together in adventure or danger.

When Stradella put his lute back into the purple bag at last, telling Ortensia that she had sung enough for one morning and that she must not tire her voice, she felt as if this could not possibly have been her first meeting with him. His face, his tone, his gestures, the way he held his lute, were all as familiar to her already as if he had given her half-a-dozen lessons; and when he was gone and she sat once more in her chair looking at the top of the cypress tree against the noonday sky, she saw and heard all again, and then again; but she neither saw nor heard her nurse, who had laid aside the lace-pillow and was standing at her elbow telling her that it was time for the mid-day meal and that her uncle did not like to be kept waiting. The nurse spoke three times before Ortensia heard her and looked up.

'They say well that music is a thief,' observed the middle-aged woman in grey, enigmatically, as she stood with her hands folded under her black apron, gazing intently at Ortensia's face.

The young girl laughed as she rose.

'Poor old Pina!' she answered, tapping her forehead with one finger as if to say that the nurse was weak-minded.

But Pina smiled, and made three gestures, without saying a word: first she pointed to herself, then she shook her forefinger, and lastly she jerked her thumb back in the direction of the door that led to the Senator's apartments. The weak-minded body was not Pina, but her master, since he had brought that handsome singer to teach Ortensia, who had never before exchanged two words with any young man, handsome or plain, except under the nose of the Senator himself; and that had always been at those great festivals to which the Venetian nobles took their wives and daughters, even when the latter were very young, to show off their fine clothes and jewels, though it meant comparing them publicly with quite another class of beauties.

For the Venetian maxim was that women and girls were safe in public or under lock and key, but that there was no salvation for them between those two extremes.

But, in the eyes of Pignaver, a musician was not a man, any more than a servant or a gondolier could be. Where a Venetian lady was concerned, nothing was a man that had not a seat in the Grand Council; that was the limit, below which the male population consisted of sexless creatures like domestics, shopkeepers, and workmen.

Furthermore, the vanity of Pignaver raised him above all other competitors as high as the Campanile stood above Saint Mark's and the Ducal Palace, not to mention the rest of Venice, and the idea that Ortensia, who had been informed that she was to be the wife of his transcendently gifted and desirable self, could stoop to look at a Sicilian music-master, would have struck him as superlatively comic, though his sense of humour was imperfect, to say the least of it.

Even if the great man could have set aside all these considerations for a moment, so as to look upon Stradella as a possible rival, he would still have believed that the presence of Pina during the lessons was a trustworthy safeguard against any 'accident to Ortensia's affections,' as he would have expressed the danger. He had unbounded faith in Pina's devotion to him and in her severity as a chaperon. On the rare occasions when the young girl was allowed to leave the palace without her uncle, Pina accompanied her in the gondola, and sometimes on foot as far as the church of the Frari, where she went to confession once a month; but, as a rule, she had her daily airing with the Senator himself, meekly sitting on his left, and pretending to keep her eyes fixed on an imaginary point directly ahead, as he insisted that she must, lest she should look at any of the handsome young nobles who were only too anxious to pass as near as possible on her side of the gondola.

For, though she was not eighteen years old, the reputation of her beauty was already abroad; and as it was said that she was to inherit her uncle's vast wealth, there were at least three hundred young gentlemen of high degree who desired her now, since no one knew that the Senator had determined to marry her himself. Their offers were constantly presented to him, sometimes by their fathers or mothers, and sometimes by ingenious elderly friends who undertook such negotiations for a financial consideration. But Pignaver always returned the same answer, politely expressing his thanks for the honour done his niece, but saying that he had 'other views for her.'

Pina, however, hated him for reasons of her own, which he had either forgotten, or which he disregarded because, in his opinion, she was under the greatest obligation to the house. Pina's hatred of her master was more sincere, if possible, than her affection for Ortensia, and her contempt for his intelligence was almost as profound as his own belief in its superiority over that of other men.

These facts explain why Pina acted as she did, though they could not possibly excuse her evil conduct in the eyes of righteous persons like the Senator and others of his class, who would have thought it a monstrous and unnatural thing that a noble Venetian girl should fall in love with a music-master, though he were the most talented and famous musician of his day.

This was what Pina did. In the middle of the fourth lesson she deliberately laid aside her lace-pillow and left the room, well knowing that her master would have her thrown out of the house at once, and ducked in the canal besides, if he ever heard of it. But he was a man of unchanging habits. Each time that Stradella came he led him in, sat down, listened while Ortensia sang one of his own pieces, and then went away, not to return that morning. So when Pina was quite sure that his coming and going had settled to a habit, she boldly ran the risk, if it was one, and left the two together.

Alessandro Stradella was a Sicilian on both sides, though he had been born in Naples, and he wasted no time when his chance came. He tried no little trick of word or glance, he did not gaze into Ortensia's eyes and sigh, still less did he boldly try to take her hand and pour out a fervid declaration of his love; for by this time, without the exchange of a word, the girl had taken hold of his heart, and he saw her eyes before him everywhere, in the sunlit streets and canals, and at night, in the dark, and in his dreams.

He did none of these things. He was the master singer of his age, and he himself had made divine melodies that still live; he knew his power, and he trusted to that alone. The velvet curtain had scarcely fallen behind Pina as she went out, when he bent over his lute, and with one look at Ortensia began to sing. But it was not one of those ninety-seven compositions on which the Senator prided himself: it was a love-song of Stradella's own that he had made within the week in the secrecy of his own room, and no one had heard it yet; and it was his masterpiece.

Ortensia felt that it was hers. That strange voice of his that was not deep, yet never seemed high-pitched, breathed softly through and through her being, as a spring breeze through young leaves, more felt than heard, yet a wonder to hear. The notes vibrated, but did not tremble; they swelled and grew strong and rang out fiercely, but were never loud; and again they died away, but were not quite silent, and lingered musically in the air, though a whisper would have drowned them.

The girl's eyes grew dark under their drooping lids, and her face was luminously pale; her delicate young lips moved now and then unconsciously, and they were icy cold; but she felt a wild pulse beating at her throat, as if her heart were there and breaking to be free.

She felt his look on her too, but she could not answer it, and when the song ended she turned from him and laid her white cheek against the high back of the chair, looking out at the cypress against the sky. She could not tell whether it was pain or pleasure she felt, but it was almost more than she could bear, and her hands strained upon each other, clasped together just on her two knees.

In the silence the velvet curtain was lifted and fell again, and Pina's step was heard on the marble floor.

'I have brought you some water to drink,' said the nurse quietly; and speaking to both, 'Your throats must be dry with so much singing!'

Ortensia took one of the tall glasses and drank eagerly before she turned her face from the window.

'Thank you,' she said, recovering herself and smiling at Pina.

'And you, Maestro?' asked the latter, offering Stradella the drink.

'Thank you,' he said, 'but it is too much. With your permission!'

And then, with the effrontery of youth in love, he deliberately took the almost empty glass from which Ortensia had drunk, poured a little into it from the other, and drank out of it with a look of undisguised gratitude on his handsome face. Thereupon a little colour came to Ortensia's ivory-pale cheek, and Pina smiled pleasantly. Instead of setting down the salver, however, she took it away, leaving the room again.

'How beautiful that song is!' Ortensia said in a low voice, and glancing at Stradella almost timidly, when they were again alone. 'How more than beautiful!'

'It is yours,' answered the musician. 'I made it for you--it is not even written down yet.'

'For me!' The exquisite colour deepened twice in her face and faded again as her heart fluttered.

'For you,' Stradella answered, so softly that she barely heard.

The nurse came back just then, having merely left the salver outside to be taken away. In her judgment things had gone far enough for the present. Then the mid-day bells clanged out, and it was time to end the lesson, and Stradella put his lute into its purple bag and bowed himself out as he always did; but to-day he kept his eyes on Ortensia's, and hers did not turn from him while she could see his face. _

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