Chapter 13

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_ CHAPTER XIII

A month had passed since Stradella and Ortensia had fled from Venice, and after their adventure in Ferrara no hand had been raised against them on their way to Rome. They had at first lodged in the ancient hostelry at the Sign of the Bear, which still stands, and is not only called the Orso inn as it was hundreds of years ago, but has given its name to the street in which it is situated. It stands at the entrance to that part of the city which was in old times dominated by the Orsini, who undoubtedly got their name from some ancient stone or marble bear that was built into the outer wall of their stronghold; but whether the old inn was called after the image itself, or after the Orsini badge, no one can tell.

Stradella and his wife lodged for a few days in that large upper room, of which the beautiful loggia may still be seen from the new embankment; but in those days, and much later, another row of tall houses stood on the opposite side of the street, between the Orso and the river, making an unbroken line as far as the Nona tower at the Bridge of Sant' Angelo, and completely cutting off the view. It was the best of the Roman inns, even when Rome had more hostelries than any city in Europe. Philippe de Commines lodged there, and Montaigne, and many another famous man who visited Rome before and after Stradella's time.

It was there, in that upper chamber, that the happy lovers first tasted peace and rest after the trials and fatigues of their long journey; for though they were man and wife it is but right to call them lovers, who loved so truly till they died. It was there that they first learned to know and understand each other, and to see why they had loved at first sight and had fled together, wresting their happiness violently from an adverse fate, when they had been alone scarcely one whole hour in all during their brief acquaintance, and had kissed but twice.

For as they lived those first days together they found all they had dreamed of, each in the other, and more too; and every fresh discovery was a sweet new world, till many worlds made up the universe of their new being that circled round love's sun in a firmament of joy. Love had been great from the first, but now he grew to be all-powerful; there had been hours when one or the other might have been persuaded to draw back for some weighty reason, but no reason was strong enough to part them now, not even the great last argument of death himself.

Surely, say you, the course of true love should have run smooth for them, if ever. But know you not that the gods envy no small thing, nor are angry at any humdrum happiness of common men? Know you not that the god of war spares the coward and slays the brave? That in the race for fortune Jove often trips the swiftest runners and lets the dull plodder creep past the winning post alone? Know you not that whom the gods love die young?

Ortensia and Stradella knew none of these things. He had grown famous almost without an effort when scarcely more than a boy, and fame did not desert him; and now that he had overcome obstacles and passed through danger to be happy, he believed with child-like faith that such happiness, once got, must be safe from outward harm, since it dwelt in the heart, where no one could see it, to envy it as men envied worldly glory. As for Ortensia, she neither thought of the future nor remembered the near past, but lived only in each present dazzling day.

For a whole week they scarcely showed themselves, though Stradella's return was known in Rome, and he received many invitations to rich men's houses and requests for new compositions, and pressing offers of money if he would but sing at mass or vespers in this basilica or that. If he had needed gold, he could have had it for an hour's trouble, or for an effort of a few minutes which was no effort at all. But for the moment he had enough, and nothing should disturb the first days of his golden honeymoon.

Trombin and Gambardella also lodged in the Orso, but in rooms far from the happy pair, whom they chose to leave in peace for the present, never asking to see them nor inviting them to their well-spread table. Indeed, any such invitation might have come better from the other side now, for never did a young runaway couple incur a heavier debt of gratitude than Stradella and Ortensia owed to the two cut-throats who meant to murder them, and were even then living under the same roof and on the best of everything with money advanced to them for that very purpose.

But the time and the conditions were not now suited for the deed, which might have been done easily enough a dozen times between Ferrara and Rome. Moreover, the Bravi had not yet come to a definite agreement as to the plan they should pursue, and Trombin's scheme, which seemed the best, was far less easy to carry out than a common murder, and very much more expensive; for it meant kidnapping both Stradella and his wife, and taking them all the way back to Venice as close prisoners, without exciting suspicion by the way, so that the inns at which they had all stopped on their journey southwards would have to be scrupulously avoided on their return.

There was no hurry, however, for they had not spent the two hundred ducats advanced to them; or, to be accurate, they had played at the French Ambassador's gambling-tables with a part of the money and had won a good deal. For in those days every foreign ambassador in Rome claimed the right to keep a public gambling-room in his embassy, for his own profit, which was often large, and was always a regular source of income. But the Bravi had already written to Pignaver as well as to the lady for more funds, on the ground that forty days had passed without affording them the opportunity they sought, and at two ducats a day their account thus came to eighty ducats, already gone for unavoidable expenses. Since they were paid twice over, it was quite natural that their expenses should sometimes be doubled.

Meanwhile they watched their prey closely, and without any apparent intention of disturbing the peace of the lovers' paradise they were very often just strolling out or coming in exactly when Stradella and Ortensia were passing through the gate in one direction or the other. In this way Trombin saw Ortensia almost every day, and all four generally exchanged a few friendly words before going on their way.

The beautiful Venetian and her husband were in the habit of going out together either early in the morning, when they were sure not to meet any of Stradella's fashionable acquaintances, or late in the June afternoons, when all society congregated in certain fixed gathering places and nowhere else, such as the gardens of the French Embassy, which was established in the Villa Medici, or in the vast grounds of the Villa Riario, which is now called Corsini, where Queen Christina of Sweden had finally taken up her abode, and was giving herself airs right royally as the chief living patroness and critic of all the arts and sciences. To her, too, and to her court, Stradella had sung more than once when he had last been in Rome, at which time she had lived there little more than a year. Again, the precincts of the Vatican were to be avoided, and the news-mongering Banchi Vecchi, where every smart gossip in town resorted twice or thrice in the week to replenish his stock of facts and anecdotes, true and untrue, and where he could buy the sensational account of the latest execution, or elopement, or fraud.

The young couple avoided all such places carefully. Stradella knew the city well, and led Ortensia to many lovely spots unknown to fashion, and into many dim old churches, more than one of which had echoed to his own music on great feast-days, from the Lateran and Santa Croce and Santa Maria in Domnica, far away beyond the Colosseum, in the wilderness within the southern wall of the city, to the fashionable Santa Maria in Via, and San Marcello and the Pantheon.

Sometimes, if they had turned and looked into the distance behind them, they might have seen Trombin's pink cheeks and well-turned figure not very far away. For he was a susceptible creature, as he often confessed to his companion, and the very first sight of Ortensia on the morning of her marriage had made a deep impression on him. It was not only her face and her hair, which resembled that of the late lamented Titian's Beauty; there was something in her figure and walk that made him half mad when he watched her; hers was not the stately stride of the black-eyed plebeian beauty, balancing her huge copper 'conca' on her classic head, still less was it the swaying, hip-dislocating, self-advertising gait of some of those handsome and fashionable ladies who frequented the Villa Medici on Sunday afternoons, and progressed through a running fire of compliments from pale-faced young gentlemen of wealth and noble lineage. Perhaps, after all, it was not Ortensia's walk in itself, but also every movement of her beautiful body that made the Bravo's pulses throb; it was not her step only, with all the mystery the moving draperies could mean, but the grace in the half-turn of her head too, the undulating motion of her hand and wrist and half-bent arm when she fanned herself, the resistless seduction in her flexible figure when she turned quickly to Stradella, while leaning on his arm and still walking on, to ask some new question, or in pleased surprise at something he had just told her.

The end of their first days of peace at the Orso came one afternoon quite suddenly in the queer round church of San Stefano Rotondo, which is not like any other in the world, and is entirely decorated, if the word may be so misused, with representations of the awful tortures undergone by early martyrs. If Stradella himself had ever been there, he would not have taken his wife to see such sights, but the church was not more often open then than now, and the two went in from pure curiosity.

As they entered the vast circular aisle and turned to the right, they came suddenly upon a group of fashionable people listening to the explanations of an imposing gentleman with perfectly white hair, who indicated the points of interest in a picture with a heavy stick made of a narwhale's ivory horn. He was describing minutely and realistically the sufferings of a virgin martyr, and his chief hearer followed what he said with absorbed interest.

Stradella instantly recognised the ex-Queen of Sweden. There was no mistaking the daughter of Gustavus Adolphus, with her square face and red cheeks, her disagreeable eyes and her black wig, her short green skirt and her mannish bearing. She was forty-four years old at that time. The fine-looking old man was Bernini, the sculptor; at her elbow, and not much above it in height, stood a misshapen youth with the face of a sad angel, the poet Guidi; he was evidently pained and disgusted by the lecture. Three other gentlemen stood at a little distance behind the Queen, but there was nothing to distinguish them from ninety-nine out of a hundred other fine gentlemen of fashionable society who wore extremely good coats, cut and curled their hair in the latest style, and proved that they were not absolute fools by holding their tongues when men like Bernini or Guidi were speaking.

At the sharp click of Ortensia's little heels on the stone pavement the Queen turned her head and instantly recognised Stradella, who bowed low as she nodded to him, and extended her hand in a gesture that bade him wait. He had no choice, and she looked at the picture again and listened with evident satisfaction to the great sculptor's explanation of the unpleasant subject. Guidi, however, tried not to hear; he also knew Stradella, who had set some of his verses to music, and he exchanged a glance of intelligence with him, wondering who his lady companion might be.

Stradella was already bending to whisper in her ear and tell her who the lady was, and that it was impossible to run away. Ortensia had never seen a queen before, and looked at her critically. Queen Christina, she thought, was anything but a fine-looking woman, though she looked intelligent, and Ortensia remembered scores of Venetian ladies who were much more queenly in appearance.

When Bernini had brought his poor little martyr to her last gasp, he added that, while he declined to disparage the work of a late fellow-artist, he considered Pomarancio's paintings beneath criticism; he then paused and took snuff. The Queen smiled sarcastically at his last words.

'Without speaking well of you, Cavaliere,' she said, 'I consider you as agreeable as you are famous.'

Bernini shut his snuff-box with a sharp snap and bowed low, though he quite understood the rebuke. Meanwhile Stradella led Ortensia forward, and the Queen turned to them as they came up.

'I am overjoyed to see you, Maestro,' she said, graciously giving him her hand to kiss while he touched the ground with one knee, and Ortensia executed a ceremonious courtesy. 'And who is this lady?' the Queen asked almost at once.

'My wife, Madam,' answered Stradella proudly. 'We are lately married.'

'Surely you are not a Roman, my dear child?' the Queen said inquiringly.

'No, Madam,' answered Ortensia, meeting the penetrating gaze of the disagreeable eyes without any nervousness. 'I am a Venetian, and was born a Grimani.'

The Queen smiled still more graciously at the ancient name, though she was a little surprised that a Grimani should have married a singer. Bernini and Guidi greeted Stradella while the Queen exchanged these few words with his wife, and the three gentlemen also came forward and pressed his hand, asking him questions about his journey, his marriage, and his present lodgings.

'What?' cried young Paluzzo Altieri. 'Lodging at the Orso? At an inn? My uncle will never allow that, nor her Majesty either!' He glanced at the Queen, who was still talking with Ortensia. 'You are the Pope's guests in Rome, Maestro, and I shall see that you are treated as such! Where will you be pleased to lodge, my dear Stradella? The whole Altieri palace is at your disposal, and you have but to choose your apartments----'

'Surely,' interrupted the Queen, who was listening now, 'I have a prior right to lodge a great artist in my house! Will you come and stay awhile with me, my dear?' she asked, turning to Ortensia again, with a sudden smile.

Ortensia was not at all overcome by the invitation, as the Queen perhaps expected that she would be, and she answered with demure caution.

'Your Majesty is too kind,' she said, without committing herself.

'Very well, my dear Altieri,' the Queen went on at once, as if Ortensia had already refused the proffered hospitality, 'I yield, but to His Holiness only, not to you!'

She laughed that strangely hard ringing laugh of hers, that reminded northern men of the sound of sharp skates cutting the smooth ice of a frozen river, where leafless birches and frost-bound banks send the notes echoing away between them till they are lost in the distance.

'The Pope owes your Majesty thanks,' the young courtier answered, bending his head a little, though he could hardly take his eyes from Ortensia.

Her Majesty Christina was out on one of her sight-seeing expeditions, in which old Bernini felt himself highly honoured to play guide, though she sometimes, as now, insisted on seeing sights which he would not willingly have shown her, and on hearing explanations which he would willingly have omitted. For though she set herself up as a profound critic and a super-refined aesthetic, her real nature was at once coarse and slightly Sadie, and she took pleasure in tales of bloodshed and suffering which would have disgusted a healthy-minded woman of ordinary sensitiveness. Indeed, as her Italian contemporaries knew her during those long years she spent in Rome, she was very far from being the royal Christina of the playwrights and poets. Her knowledge of art was not that of the critic, but of the professional dealer in antiquities, and though her opinion on the beauty of anything, from a picture to an inlaid cabinet, was often mere nonsense, she was never mistaken as to the price of the object. She was not an amateur, but an expert, and though anything that was really fashionable pleased her, she would buy nothing that had not an intrinsic value. In those first years of her permanent residence in Rome she was rich, for in voluntarily abdicating the throne she had reserved to herself a liberal income, which afterwards dwindled to very little, and she kept up a considerable state in the Palazzo Riario, that overlooks the river from the Trastevere side. There was hardly an artist or a literary man in Rome, or a student of science or a musician, who did not regularly pay his court to her, and dedicate to her something of his best work. Not rarely, too, she gave her advice; Bernini should finish his last statue in such and such a way, Guidi should avoid one rhyme and introduce another, on pain of her displeasure. Bernini yielded politely, because of all Italy's artists of genius he was the most thoroughly cynical in following the fashion of his time; Guidi obeyed because a dinner was always a dinner to a starving youth of twenty, and a rhyme was no great price to pay for it; but he quietly enclosed her suggestions in quotation marks, thereby disclaiming any responsibility for them.

The young Paluzzo Altieri was nephew to the Cardinal who governed Rome as the 'real' Pope, while the octogenarian Clement X., who was called the 'nominal' Pope, spent most of his days more or less in his bed. The Cardinal and all his relations had been adopted by him as 'nephews,' and as he was the last of his race he had bestowed on them and their heirs all his vast private possessions instead of enriching them out of the treasury, as many popes did by their families.

Alberto Paluzzo Altieri was good-for-nothing, and like most really worthless young men he exercised an extraordinary charm on every one who knew him, both women and men. For to be a real good-for-nothing, without being a criminal, implies a native genius for wasting other people's time as agreeably as one's own, and for helping rich men to get rid of their money with infinite pleasure and no profit at all, and for making every woman believe that she can certainly convert and reform the prodigal by the simple process of allowing him to fall in love with her, which, of course, must elevate him to her moral and intellectual level.

There was nothing very remarkable about Alberto except that charm of his. He was dark, he had straight black hair, and tolerably regular features, like many young Romans; he was neither tall nor short, nor exceptionally well made, and of the three young gentlemen who accompanied the ex-Queen on her sight-seeing excursion, he was the least ostentatiously dressed. But he had a wonderfully pleasant voice in speaking, with the smile of a happy and phenomenally innocent boy, and his bright brown eyes had the most guileless expression in the world. At the present time it amused him to be Queen Christina's favourite, perhaps because she was a genuine queen, or possibly because her cold-blooded murder of Monaldeschi was still so fresh in every one's memory that there was a spice of danger in the situation; but in any case he was prepared for the first pleasant opportunity of changing his allegiance which might present itself.

When he saw Stradella's young wife it occurred to him at once that such a chance was within his reach, and he was not satisfied till he had made the musician promise to move from the inn to the Altieri palace on the next day but one; for Alberto was the eldest son, and neither his father, who was old, nor his mother, who was a slave to her perpetual devotions, ever attempted to oppose his wishes in such matters. Was he not a model son? Could anything surpass his sweet-tempered affection for his parents? Why should he not have what he liked? Good-for-nothings are often their mothers' favourites; but Alberto had long ago won over his father as well, and not him only, but his uncle also, the Cardinal, who ruled Rome and the States of the Church like a despot. The great man was really not sorry that one of his own family should occupy the most important position in Queen Christina's household; for it is the instinct of all ex-sovereigns to meddle in politics, and it was not possible to predict what such a woman might do if she were bored.

Ortensia was a mere girl still, but her eyes had been opened of late, and she did not fail to notice the impression she had made on the young man; she was far too much in love with her husband, however, to care for such admiration, or even to be pleased by it, and somehow the present case seemed to be of bad omen.

The Queen and her party had already been long in the church, for they had begun their round on the other side of the entrance, and were just ending it when Stradella and his wife appeared; now, therefore, after a few more words, they took themselves off amidst much bowing and scraping on the part of all except the Queen herself. She smiled to Ortensia, and nodded familiarly to Stradella, making a beckoning and inviting gesture to him over her shoulder with her right hand as she turned away. Alberto looked quickly at the musician, not so much taking him for a possible rival as for a convenient successor; but the faintly contemptuous smile that flickered in the musician's face as he saw the careless signal assuredly did not mean that he was either flattered or attracted. Ortensia saw the gesture too, and resented it; but a moment later she smiled to herself at the thought that such a woman as the Queen could ever win so much as a second thought from Alessandro.

The two had seen enough of San Stefano, and were glad to escape from the nightmare of horrors depicted on its walls; but before going out they waited a few minutes in the vestibule to allow the party time to get out of sight.

'So that is the famous Queen Christina!' Ortensia said, expressing her surprise and disappointment as soon as they were alone. 'Pina looks more like a lady!' _

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