Chapter II: Part 2

His companion gone, Inglesant employed himself in frequenting all those churches to which Lauretta was in the habit of resorting during the Holy Season; and as every facility appeared to be given him by her friends, he became very intimate with her, and she on her part testified no disinclination to his society. It will probably occur to the reader that this conduct was not consistent with the cautious demeanour which Inglesant had resolved upon; but such resolutions have before now proved ineffectual under similar circumstances, and doubtless the like will occur again. Lauretta looked round as a matter of course, as she came out of the particular church she had that day chosen, for the handsome cavalier who was certain to be ready to offer the drop of holy water; and more than one rival whom the beautiful devotee had attracted to the service, noticed with envy the kindly look of the masked eyes which acknowledged the courtesy; and, indeed, it is not often that ladies' eyes have rested upon a lover more attractive to a girl of a refined nature than did Lauretta's, when, in the dawn of the March mornings, she saw John Inglesant waiting for her on the marble steps. It is true that she thought the Cavaliere Inglese somewhat melancholy and sad, but her own disposition was reserved and pensive; and in her presence Inglesant's melancholy was so far charmed away that it became only an added grace of sweetness of manner, and of tender deference and protection. The servant of the polished King of England, the companion of Falkland and of Caernarvon, the French Princess's favourite page, trained in every art that makes life attractive, that makes life itself the finest art, with a memory and intellect stored with the poetry and learning of the antique world,--it would have been strange if, where once his fancy was touched, Inglesant had not made a finished and attractive lover.

The familiar streets of Florence, the bridges, or the walks by the Arno, assumed a new charm to the young girl, when she saw them in company with her pleasant and courteous friend; and whether in the early morning it was a few spring flowers that he brought her, or a brilliant jewel that he placed upon her finger as he parted in the soft Italian night, it was the giver, and the grace with which the gift was made, that won the romantic fancy of the daughter of the south. Their talk was not of the kind that lovers often use. He would indeed begin with relating stories of the English Court, in the bright fleeting days before the war, of the courtly refined revels, of the stately dances and plays, and of the boating parties on the wooded Thames; but most often the narrative changed its tone instinctively, and went on to speak of sadder and higher things; of self-denial and devotion of ladies and children, who suffered for their King without complaint; of the Ferrars and their holy life; of the martyred Archbishop and of the King's death; and sometimes perhaps of some sight of battle and suffering the narrator himself had seen, as when the evening sun was shining upon the glassy slope of Newbury, and he knelt beside the dying Caernarvon, unmindful of the bullets that fell around.

"You have deserved well of the King," he whispered: "have you no request that I may make to him, nothing for your children, or your wife?"

And with his eyes fixed upon the western horizon the Earl replied,--

"No, I will go hence with no request upon my lips but to the King of kings."

How all this pleasant dalliance would have terminated, had it continued, we have no means of knowing, for a sudden and unexpected end was put to it, at any rate for a time.

Easter was over, and the Cavaliere had invited Inglesant to join in a small party to spend a day or two at his vineyard and country house among the Apennines, assuring him that at that time of the year the valleys and hill-slopes were very delightful.

The evening before the day on which the little company was to start, Inglesant had an engagement at one of the theatres in Florence, where a comedy or pantomime was being performed. The comedies in Italy at this time were paltry in character in everything except the music, which was very good. Inglesant accompanied a Signore Gabriotto, a violin player, who was engaged at the theatre, and of whom Inglesant had taken lessons, and with whom he had become intimate. This man was not only an admirable performer on the violin, but was a man of cultivation and taste. He had given much study to the music of the ancients, and especially to their musical instruments, as they are to be seen in the hands of the Apollos, muses, fauns, satyrs, bacchanals, and shepherds of the classic sculptors. As they walked through the streets in the evening sunlight, he favoured his companion, whom he greatly admired as an excellent listener, with a long discourse on this subject, showing how useful such an inquiry was, not only to obtain a right notion of the ancient music, but also to help us to obtain pleasanter instruments if possible than those at present in use.

"Not, signore," he said, "that I think we have much to learn from the ancients; for if we are to judge their instruments by the appearance they make in marble, there is not one that is comparable to our violins; for they seem, as far as I can make out, all to have been played on either by the bare fingers or the plectrum, so that they could not add length to their notes, nor could they vary them by that insensible swelling and dying away of sound upon the same string which gives so wonderful a sweetness to our modern music. And as far as I can see, their stringed instruments must have had very low and feeble voices from the small proportion of wood used (though it is difficult to judge of this, seeing that all our examples are represented in marble), which would prevent the instruments containing sufficient air to render the strokes full or sonorous. Now my violin," continued the Italian with enthusiasm, "does not speak only with the strings, it speaks all over, as though it were a living creature that was all voice, or, as is really the case, as though it were full of sound."

"You have a wonderful advantage," said Inglesant, "you Italians, that is, in the cultivation of the art of life; for you have the unbroken tradition, and habit and tone of mind, from the old world of pleasure and art--a world that took the pleasures of life boldly, and had no conscience to prevent its cultivating and enjoying them to the full. But I must say that you have not, to my mind, improved during the lapse of centuries, nor is the comedy we shall see to-night what might be expected of a people who are the descendants of the old Italians who applauded Terence."

"The comedy to-night," said the Italian, "would be nothing without the music, the acting is a mere pretence."

"The comedy itself," said Inglesant, "would be intolerable but for the buffoons, and the people show their sense in demanding that place shall be found in every piece for these worthies. The play itself is stilted and unreal, but there is always something of irony and wit in these characters, which men have found full of satire and humour for four thousand years: Harlequin the reckless fantastic youth, Pantaleone the poor old worn-out 'Senex,' and Corviello the rogue. In their absurd impertinences, in their impossible combinations, in their mistakes and tumbles, in their falling over queens and running up against monarchs, men have always seemed to see some careless, light-hearted, half-indifferent sarcasm and satire upon their own existence."

When they reached the theatre, the slant rays of the setting sun were shining between the lofty houses, and many people were standing about the doors. Inglesant accompanied the violinist to the door of the playhouse, and took his place near the orchestra, at either end of which were steps leading up on to the stage. The evening sunlight penetrated into the house through Venetian blinds, lighting up the fittings and the audience with a sort of mystic haze. The sides of the stage were crowded with gentlemen, some standing, others sitting on small stools. Many of the audience were standing, the rest seated on benches. The part occupied in modern theatres by the boxes was furnished with raised seats, on which ladies and people of distinction were accommodated. There was no gallery.

As the first bars of the overture struck upon Inglesant's ear, with a long-drawn tremor of the bass viols and a shrill plaintive note of the treble violins, an irresistible sense of loneliness and desolation and a strange awe crept over him and weighed down his spirits. As the fantastic music continued, in which gaiety and sadness were mysteriously mingled, the reverberation seemed to excite each moment a clearer perception of those paths of intrigue and of danger in which he seemed to walk. The uneasy sentiment which accompanied, he knew not why, his attachment to Lauretta, and the insidious friendship of the Cavaliere, the sense of insecurity which followed his footsteps in this land of dark and sinful deeds, passed before his mind. It seemed to his excited fancy at that moment that the end was drawing very near, and amid the fascination of the lovely music he seemed to await the note of the huntsman's horn which would announce that the toils were set, and that the chase was up. From the kind of trance in which he stood he was aroused by hearing a voice, distinct to his ear and perfectly audible, though apparently at some considerable distance, say--

"Who is that man by the curtain, in black satin, with the Point de Venice lace?"

And another voice, equally clear, answered, "His name is Inglesant, an agent of the Society of the Gesu."

Inglesant turned; but, amid the crowd of faces behind him, he could discern nothing that indicated the speakers, nor did any one else seem to have noticed anything unusual. The next moment the music ceased, and with a scream of laughter Harlequin bounded on the stage, followed by Pantaleone in an eager and tottering step, and after them a wild rout of figures, of all orders and classes, who flitted across the stage amid the applause of the people, and suddenly disappeared; while Harlequin and Pantaleone as suddenly reappearing, began a lively dialogue, accompanied by a quick movement of the violins. As Inglesant took his eyes off the stage for a moment, they fell on the figure of a man standing on the flight of steps at the farther end of the orchestra, who regarded him with a fixed and scrutinizing gaze. It was a tall and dark man, whose expression would have been concealed from Inglesant but for the fiery brilliancy of his eyes. Inglesant's glance met his as in a dream, and remained fixed as though fascinated, at which the gaze of the other became, if possible, more intense, as though he too were spell-bound and unable to turn away. At this moment the dialogue on the stage ceased, and a girl advanced to the footlights with a song, accompanied by the band in an air adapted from the overture, and containing a repetition of the opening bars. The association of sound broke the spell, and Inglesant turned his eyes upon the singer; when he looked again his strange examiner was gone.

The girl who was singing was a Roman, reputed the best treble singer then in Italy. The sun by this time was set, and the short twilight over. The theatre was sparsely lighted by candles, nearly the whole of the available light being concentrated upon the stage. This arrangement produced striking effects of light and shade, more pleasing than are the brilliantly lighted theatres of modern days. The figures on the stage came forward into full and clear view, and faded again into obscurity in a mysterious way very favourable to romantic illusion, and the theatrical arrangements were not seen too clearly. The house itself was shadowy, and the audience unreal and unsubstantial; the whole scene wore an aspect of glamour and romance wanting at the present day.

When the girl's song was over there was a movement among the gentlemen on the stage, several coming down into the house. Inglesant took advantage of this, and went up on the stage, from which he might hope to see something of the stranger who had been watching him so closely, if he were still in the theatre.

Several of the actors who were waiting for their turn mingled with the gentlemen, talking to their acquaintance. The strange light thrown on the centre of the stage in which two or three figures were standing, the multitude of dark forms in the surrounding shadow, the dim recesses of the theatre itself full of figures, the exquisite music, now soft and plaintive, anon gay and dance-like, then solemn and melancholy, formed a singular and attractive whole. Lauretta had declined to come that night, but Inglesant thought it was not improbable that the Cavaliere would be there, and he was curious to see whether he could detect him in company with the mysterious stranger. From the moment that he had heard the distant voice inquiring his name, the familiar idea had again occurred to his mind that this could be none other than the murderer of his brother, of whom he was in search; but this thought had occurred so often, and in connection with so many persons, that had it not been for the fixed and peculiar glance with which the stranger had regarded him, he would have thought little of it. He was, however, unable to distinguish either of the persons of whom he was in search from the crowd that filled the theatre; and his attention was so much diverted by the constantly changing scene before him that he soon ceased to attempt to do so. At that moment the opening movement of the overture was again repeated by the band, and was made the theme of an elaborate variation, in which the melancholy idea of the music was rendered in every variety of shade by the plaintive violins. Every phase of sorrow, every form and semblance of grief that Inglesant had ever known, seemed to float through his mind, in sympathy with the sounds which, inarticulate to the ear, possessed a power stronger than that of language to the mental sense. The anticipation of coming evil naturally connected itself with the person of Lauretta, and he seemed to see her lying dead before him upon the lighted stage, or standing in an attitude of grief, looking at him with wistful eyes. This last image was so strongly presented to his imagination that it partook almost of the character of an apparition; and before it the crowded theatre, the gaily dressed forms upon the stage, the fantastic actors, seemed to fade, and alone on the deserted boards the figure of Lauretta, as he had last seen it, slight and girl-like, yet of noble bearing, stood gazing at him with wild and apprehensive eyes. Curiously too, as his fancy dwelt upon this figure, it saw in her hand a sealed letter fastened with a peculiarly twisted cord.

The burden of sorrow and of anticipated evil became at last too heavy to be borne, and Inglesant left the theatre and returned to his lodgings. But here he could not rest. Though he had no reason to visit the Count that night, and though it was scarcely seemly, indeed, that he should do so, yet, impelled by a restless discomfort which he sought to quiet, he wandered again into the streets, and found himself not unnaturally before the old nobleman's dwelling. Once here, the impulse was too strong to be denied, and he knocked at the low sunken door. The house seemed strangely quiet and deserted, and it was some time before an old servant who belonged to the lower part of the establishment, devoted to the sale of the wine, appeared at the wicket, and, on being assured whom it was who knocked at that unseasonable hour, opened the door.

The house was empty, he averred. The family had suddenly departed, whither he knew not. If the signore was pleased to go upstairs, he believed he would find some letters for him left by the Cavaliere.

Inglesant followed the old man, who carried a common brass lamp, which cast an uncertain and flickering glare, the sense of evil growing stronger at every step he took. His guide led him into the room in which he had first seen Lauretta, which appeared bare and deserted, but showed no sign of hasty departure. Upon a marble table inlaid with coloured stones were two letters, both directed to Inglesant. The one was from the Cavaliere, excusing their departure on the ground of sudden business of the highest political importance, the other from Lauretta, written in a hasty trembling hand. It contained but a few lines--"that she was obliged to follow her father;" but Inglesant hesitated a moment before he broke the seal, for it was tied round with a curiously twisted cord of blue and yellow silk, as he had seen in the vision his fancy had created.

*CHAPTER II.*

Lauretta's letter had informed Inglesant that she would endeavour to let him know where she was; and with that hope he was obliged to be content, as by no effort he could make could he discover any trace of the fugitive's route. Florence, however, became distasteful to him, and he would have left it sooner but for an attack of fever which prostrated him for some time. Few foreigners were long in Italy, in those days, without suffering from the climate and the miasmas and unhealthy vapours, which, especially at night, were so hurtful even to those accustomed to the country. In his illness Inglesant was carefully nursed by some of the Jesuit fathers, and those whom they recommended; and it is possible that they took care that he should not be left too much to the care of the physicians, whose attentions, at that period at any rate, were so often fatal to their patients. In the course of a few weeks he was sufficiently recovered to think of leaving Florence, and he despatched a messenger to Don Agostino, begging him to meet him at Lucca, where they might decide either to visit Venice or go on straight to Rome. It was not without some lingering hope that he might find Lauretta in the town of her birth, that he set out for Lucca, but misfortune followed his path. It was reported that the plague had broken out in Florence, and travellers who were known to have come from thence were regarded with great suspicion. Inglesant's appearance, recently recovered from sickness, was not in his favour; and at Fucecchio, a small town on the road to Lucca, he was arrested by the authorities, and confined by them in the pest-house for forty days. It was a building which had formerly been a gentleman's house, and possessed a small garden surrounded by a high wall. In this dreary abode Inglesant passed many solitary days, the other inmates being three or four unfortunates like himself,--travellers on business through the country,--who, their affairs being injured by their detention, were melancholy and despondent. He was short of money, and for some time was unable to communicate with any of his friends either in Florence or Sienna. With nothing but his own misfortunes to brood upon, and with the apprehension of the future, which almost amounted to religious melancholy, frequently before his mind, it is surprising that he kept his reason. To add to his misfortunes, when the greater portion of the time fixed for his detention was expired, one of the inmates of the pest-house suddenly died; and although the physicians pronounced his disease not to be the plague, yet the authorities decreed that all should remain another forty days within its dreary walls. The death of this person greatly affected Inglesant, as he was the only one of the inmates with whom he had contracted any intimacy.

During the first part of his sojourn here, there was brought to the house, as an inmate, a wandering minstrel, who, the first evening of his stay, attracted the whole of the gloomy society around him by his playing. He played upon a small and curiously shaped instrument called a vielle, somewhat like a child's toy, with four strings, and a kind of small wheel instead of a bow. It was commonly used by blind men and beggars in the streets, and was considered a contemptible instrument, though some of these itinerant performers attained to such skill upon it that they could make their hearers laugh and dance, and it was said even weep, as they stood around them in the crowded streets. Inglesant soon perceived that the man was no contemptible musician, and after his performance was over he entered into conversation with him, asking him why he, who could play so well, was content with so poor an instrument. The man, who appeared to have a great deal of intelligence and humour, said that he was addicted to a wandering and unsettled life, among the poorer and disorderly classes in the low quarters of cities, in mountain villages, and in remote hostelries and forest inns; that the possession of a valuable viol, or other instrument, even if he should practice sufficient self-denial to enable him to save money to purchase such a one, would be a constant anxiety to him, and a source of danger among the wild companions with whom he often associated. "Besides, signore," he said, "I am attached to this poor little friend of mine, who will speak to me though to none else. I have learnt the secrets of its heart, and by what means it may be made to discourse eloquently of human life. You may despise my instrument, but I can assure you it is far superior to the guitar, though that is so high bred and genteel a gentleman, found in all romances and ladies' bowers. For any music that depends upon the touch of a string, and is limited in the duration of the distinct sounds, is far inferior to this little fellow's voice."

"You seemed trained to the profession of music," said Inglesant.

"I was serving-lad to an old musician in Rome, who not only played on several instruments, but gave a great deal of time to the study of the science of harmony, and of the mysteries of music. He was fond of me, and taught me the viol, as I was apt to learn."

"I have heard of musicians," said Inglesant, "who have written on the philosophy of sound. He was doubtless one of them."

"There are things concerning musical instruments," said the man, "very wonderful; such as the laws concerning the octaves of flutes, which, make them how you will, you can never alter, and which show how the principles of harmony prevail in the dead things of the world, which we think so blockish and stupid; and what is more wonderful still, the passions of men's souls, which are so wild and untamable, are all ruled and kept in a strict measure and mean, for they are all concerned in and wrought upon by music. And what can be more wonderful than that a maestro in the art can take delight in sound, though he does not hear it; and when he looks at some black marks upon paper, he hears intellectually, and by the power of the soul alone?"

"You speak so well of these things," said Inglesant, "that I wonder you are content to wander about the world at village fairs and country weddings, and do not rather establish yourself in some great town, where you might follow your genius and earn a competence and fame."

"I have already told you," replied the man, "that I am wedded to this kind of life; and if you could accompany me for some months, with your viol d'amore, across the mountains, and through the deep valleys, and into the old towns where no travellers ever come, and where all stands still from century to century, you would never leave it, any more than I shall. I could tell you of many strange sights I have witnessed, and if we stay long in this place, perhaps you will be glad to hear some tales to while away the time."

"You spoke but now," said Inglesant, "of the power that music has over the passions of men. I should like to hear somewhat more of this."

"I will tell you a curious tale of that also," said the man.

THE VIELLE-PLAYER'S STORY.

"Some twenty-five years ago there lived in Rome two friends, who were both musicians, and greatly attached to each other. The elder, whose name was Giacomo Andria, was maestro di capella of one of the churches, the other was an accomplished lutinist and singer. The elder was a cavaliere and a man of rank; the younger of respectable parentage, of the name of Vanneo. The style of music in which each was engaged was sufficiently different to allow of much friendly contention; and many lively debates took place as to the respective merits of 'Sonate da Chiesa' and 'Sonate da Camera.' Their respective instruments also afforded ground for friendly dispute. Vanneo was very desirous that his friend should introduce viols and other instruments into the service, in concert with the voices, in the Church in which Vanneo himself sang in the choir; but the Cavaliere, who considered this a practice derived from the theatre, refused to avail himself of any instrument save the organ. Vanneo was more successful in inducing his friend to practice upon his favourite instrument the lute, though Andria pretended at first to despise it as a ladies' toy, and liable to injure the shape of the performer. His friend, however, though devoted to secular music, brought to the performance and composition of it so much taste and correct feeling, that Andria was ravished in spite of himself, and of his preference to the solemn music of the Church. Vanneo excelled in contrasting melancholy and pensive music with bright and lively cords, mingling weeping and laughter in some of the sweetest melodies that imagination ever suggested. He accompanied his own voice on the lute, or he composed pieces for a single voice with accompaniment for violins. In a word, he won his friend over to this grave chamber music, in some respects more pathetic and serious than the more monotonous masses and sonatas of the Church composers. Vanneo composed expressly for this purpose fantasies on the chamber organ, interposed, now and then, with stately and sweet dance music, such as Pavins (so named from the walk of a peacock) Allemaines, and other delightful airs, upon the violins and lute. In these fancies he blended, as it were, pathetic stories, gay festivities, and sublime and subtle ideas, all appealing to the secret and intellectual faculties, so that the music became not only an exponent of life but a divine influence. After these delightful meetings had continued for several years, circumstances obliged Vanneo to accompany a patron to France, and from thence he went over into England, to the great King of that nation, as one of his private musicians; for the Queen of England was a French Princess, and was fond of the lute. His departure was a great grief to the Cavaliere, who devoted himself more than ever to Church music and to the offices of religion. He was a man of very devout temper, and was distinguished for his benevolent disposition, and especially for his compassion for the poor, whom he daily relieved in crowds at his own door, and in the prisons of Rome, which he daily visited. From time to time he heard from his friend, to whom he continued strongly attached."

"I was brought up at the English Court," said Inglesant, "and have been trying to recall such a man, but cannot recollect the name you mention, though I remember several lutinists and Italians."

"I tell the story as I heard it," replied the other. "The man may have changed his name in a foreign country. One day the Cavaliere had received a letter from his friend, brought to him by some English gentleman travelling to Rome. Having read it, and spent some time with the recollections that its perusal suggested to his mind, he set himself to the work in which he was engaged--the composition of a motet for some approaching festival of the Church; but although he attempted to fix his mind upon his occupation, and was very anxious to finish his work, he found himself unable to do so. The remembrance of his friend took complete possession of his mind; and his imagination, instead of dwelling on the solemn music of the motet, wandered perversely into the alluring world of phantasied melody which Vanneo had composed. Those sad and pensive adagios, passing imperceptibly into the light gaiety of a festival, never seemed so delightful as at that moment. He rose from time to time, and walked to and fro in his chamber, and as he did so he involuntarily took up a lute which Vanneo had left with him as a parting gift, and which always lay within reach. As he carelessly touched the strings, something of his friend's spirit seemed to have inspired him, and the lute breathed again with something of the old familiar charm. Each time that he took it up, the notes formed themselves again under his hand into the same melody, and at last he took up a sheet of paper, intended for the motet, and scored down the air he had involuntarily composed. His fancy being pleased with the occurrence, he elaborated it into a lesson, and showed it to several of his associates. He gave it the name of 'gli amici,' and it became very popular among the masters in Rome as a lesson for their pupils on the lute. Among those who thus learnt it was a youth who afterwards became page to a Florentine gentleman, one Bernard Guasconi, who went into England and took service under the King of that country, who, as you doubtless know better than I do, was at war with his people."

"I know the Cavaliere Guasconi," said Inglesant, "and saw him lately in Florence, where he is training running horses for the Grand Duke."

"This war," continued the man, "appears to have been the ruin of Vanneo; for the English people, besides hating their King, took to hating all kinds of music, and all churches and choristers. Vanneo lost his place as one of the King's musicians, and not being able to earn his living by teaching music where so few cared to learn, he was forced to enlist as a soldier in one of the King's armies, and was several times near losing his life. He escaped these dangers, however; but the army in which he served being defeated and dispersed, he wandered about the country, wounded, and suffering from sickness and want of food. He supported himself miserably, partly by charity, especially among the Loyalist families, and partly by giving singing lessons to such as desired them. He was without friends, or any means of procuring money to enable him to return to Italy. As he was walking in this manner one day in the streets of London, without any hope, and with scarcely any life, he heard the sound of music. It was long since the melody of a lute, once so familiar, had fallen on his ear; and as he stopped to listen, the notes came to him through the thick moist air like an angelic and divine murmur from another world. The music seemed to come from a small room on the ground-floor of a poor inn, and Vanneo opened the door and went in. He found a young man, plainly dressed, playing on a double-necked theorbo-lute, which, from the number of its strings, enables, as you know, the skilful lutinist to play part music, with all the varieties of fugues and other graces and ornaments of the Italian manner. The piece which the young man was playing consisted of an allegro and yet sweet movement on the tenor strings, with a sustained harmony in thorough bass. The melody, being carefully distributed through the parts, spoke to Vanneo of gaiety and cheerfulness, as of his old Italian life, strangely combined at the same time with a soothing and pathetic melancholy, like a corpse carried through the streets of a gay city, strewn with flowers and accompanied with tapers and singing of boys. The whole piece finished with a pastorale, or strain of low and sweet notes. As Vanneo listened he was transported out of himself. It was not alone the beauty of the music which ravished him, but he was conscious that a mysterious presence, as of his friend the Cavaliere, was with him, and that at last the perfect sympathy which he had sought so long was established; and that in the music he had heard a common existence and sphere of life was at last created, in which they both lived, not any longer separate from each other, but enjoying as it were one common being of melody and ecstatic life of sound. When the music ceased Vanneo accosted the lutinist, and inquired the name of the composer; but this the young man could not tell him. He only knew it was a favourite lesson for skilful pupils among the music-masters in Rome, and as such he had learnt it. Vanneo was confident the piece had been written by Andria, and by none other, and told the young man so. By this time they had discovered that they were fellow-countrymen, and the lutinist sent for refreshments, of which Vanneo stood very much in need. He also told him that his name was Scacchi, and that he was page to the Signore Bernard Guasconi, who was then in arms for the King, and was besieged in some town of which I have forgotten the English name."

"It was Colchester," said Inglesant; "I was in prison at the time of the siege; but I know the history of it and its sad ending."

"Becoming very familiar with Vanneo, he advised him to accompany him to Colchester. His master, he said, would doubtless be set at liberty immediately as a foreigner and a friend of the Grand Duke's, and he could accompany him home to Italy as a domestic. As no better prospect was open to Vanneo of returning to his native country, he gladly accepted the page's offer, and agreed to accompany him next day. The besiegers of the town which you call Colchester were engaging persons from all parts of the country to work their trenches, and the town not being far from London, many persons went from that place to earn the wages offered. Many of the Loyalists also took advantage of this pretext, intending to join the besieged if a favourable opportunity offered. To one of these parties Vanneo and the page joined themselves. You may wonder that I know so much of these matters, but I have heard the story several times repeated by the page himself. The weather was very cold and wet, and the companions underwent much hardship on their march. They travelled through a flat and marshy country, full of woods and groves of trees, and crossed with dykes and streams. Vanneo, however, who had endured so much privation and suffering, began to sink under his fatigues. After travelling for more than two days they arrived at the leaguer. They were told that the besieged were expected every day to surrender at discretion; but they were sent into the trenches with several other volunteers to relieve those already there, many of whom were exhausted with the work, and were deserting. As they arrived at the extreme limit of the lines the besiegers had planted four great pieces of battering cannon against the town, and fired great shot all the forenoon, without, however, doing much damage. The Royalists mustered all their troops upon the line, intending, as it afterwards appeared, to break out at night and force their way through the leaguer. The lines were so close that the soldiers could throw stones at each other as they lay in the trenches; and Vanneo and the page could see the King's officers plainly upon the city walls. The Royalists did not fire, being short of ammunition, and in the night a mutiny took place among some of the foot-soldiers, which prevented the project of cutting their way out from taking effect. The soldiers of both armies were now already mixed on many places upon the line, and no fire was given on either side, as though the Royalists were already prisoners. The page left Vanneo, who was worn-out and ill, and easily made his way into the town, where he found his master. When he returned to the trenches he found Vanneo very ill, and a physician with him, a doctor of the town, named Gibson, as I remember, who told the page that he thought his companion was dying. Vanneo, in fact, appeared to be insensible, his eyes were closed, and he was perfectly pale. He lay in a small house, just within the lines, which had been deserted by its inhabitants, who were weavers. The gentlemen were under arrest in the town, and it was reported that several were to be immediately shot, of whom it was whispered the Signore Guasconi was to be one. About two in the afternoon the general of the besieging army entered the town, and a great rabble of the soldiers with him. The latter broke into many houses to search for plunder, and among them into that in which Vanneo was lying. As they came into the room and saw the dying man, they stopped and began to question the page as to who he was. Before he could reply Vanneo opened his eyes with a smile, raised himself suddenly from the straw on which he lay, and, stretching out his hand eagerly as one who welcomes a friend, exclaimed in Italian, 'Cavaliere, the consonance is complete;' and having said this he fell back upon the straw again, and, the smile still upon his face, he died."

The musician stopped a moment, and then glancing at Inglesant with a curious look said, "It is confidently said that about that very moment the Cavaliere Andria died at Rome; at any rate when the page returned to Italy and inquired for him at Rome, he was dead. He caught a fever in one of his visits to the prisons, and died in a few days."

"Did the page tell you of the two gentlemen who were shot at Colchester?" said Inglesant.

"Yes, he told me that Guasconi stood by with his doublet off expecting his turn; but when the others were shot he was taken back to his prison. They only found out he was an Italian by his asking leave to write to the Grand Duke."

"I have been told," he continued, "that this poor King was a great lover of music, and played the bass viol himself."

"He was a great admirer of Church music," said Inglesant; "I have often seen him appoint the service and anthems himself."

As the conversation of this man was a great entertainment to Inglesant, so his sudden and unexpected death was a great shock to him. The physician could give no clear explanation of his decease, and the general opinion was that he died of the plague, though it was, of course, the interest of every one in the pest-house that this should not be acknowledged.

A few days after the burial two of the Jesuit Fathers arrived from Florence, accompanied by Don Agostino, who, having in vain waited for his friend at Lucca, had sought him at Florence, and finally traced him to his dreary prison. By their influence Inglesant was allowed to depart; and actuated still by his desire to see Venice, set out, accompanied by Don Agostino, in the hope of reaching that city. They crossed the Apennines, and journeyed by Modena, Mantua, Verona, and Padua. These places, which at other times would have excited in Inglesant the liveliest interest, were passed by him now as in a dream. The listless indifference which grew day by day, developed at Padua into absolute illness; and Agostino took lodgings for his friend in one of the deserted palaces of which the city was full. A few days' rest from travel, and from the excitement produced by novel scenes and by the scorching plains, had a soothing and beneficent effect; but Venice being reported to be at that time peculiarly unhealthy, and Inglesant becoming sensible that he was physically unable to prosecute any inquiries there, the friends resolved to abandon their journey in that direction, and to return towards Rome. At this juncture Don Agostino received letters which compelled him to return hastily to Sienna, and after spending a few days with his friend, he left, promising to return shortly and accompany Inglesant to Rome, when he was sufficiently recruited by a few weeks' repose.

The failure of the silk trade, owing to the importation of silk from India into Europe, had destroyed the prosperity of many parts of Italy; and in Padua long streets of deserted mansions attested by their beauty the wealth and taste of the nobility, whom the loss of the rents of their mulberry groves had reduced to ruin. Many houses being empty, rents were exceedingly cheap, and the country being very plentiful in produce, and the air very good, a little money went a long way in Padua. There was something about the quiet gloomy town, with its silent narrow streets and its long and dim arcades,--by which you might go from one end of the city to the other under a shady covert,--that soothed Inglesant's weary senses and excited brain.

His was that sad condition in which the body and the mind, being equally, like the several strings of an ill-kept lute, out of tune, jarred upon each other, the pains of the body causing phantasms and delusions of the mind. His disappointment and illness at Florence, his long confinement in the pest-house, and the sudden death of his friend the poor musician, preyed upon his spirits and followed him even in his dreams; and his body being weakened by suffering, and his mind depressed by these gloomy events and images, the old spiritual terrors returned with augmented force. Nature herself, in times of health and happiness so alluring and kind, turns against the wretch thus deprived of other comfort. The common sights and events of life, at one time so full of interest, became hateful to him; and amid the solemn twilights and gorgeous sunsets of Italy, his imagination was oppressed by an intolerable presentiment of coming evil. Finally, he despaired of himself, his past life became hateful to him, and nothing in the future promised a hope of greater success. He saw himself the mere tool of a political faction, and to his disordered fancy as little better than a hireling bravo and mercenary. The rustling of leaves, the falling of water, the summer breeze, uttered a pensive and melancholy voice, which was not soothing, but was like the distant moaning of sad spirits foreboding disaster and disgrace. On his first arrival in Padua Don Agostino had introduced him to two or three ecclesiastics, whose character and conversation he thought would please his friend; but Inglesant made little effort to cultivate their acquaintance. His principal associate was the Prior of the Benedictine monastery, a mile or two beyond the Ferrara Gate, who, becoming at last distressed at his condition, advised him to consult a famous physician named Signore Jovanni Zecca.

This man had the reputation of a wit, maintained chiefly by a constant study of Boccalini's "Parnassus," with quotations from which work he constantly adorned his discourse. He found Inglesant prostrate on a couch in his apartment, with the Prior by his side. The room had been the state reception room of the former possessor, and the windows, which were open, looked upon the wide space within one of the gates. It was the most busy part of the city, and for that reason the rooms had been chosen by Don Agostino, as commanding the most agreeable and lively prospect.

The Prior having explained to the physician the nature of Inglesant's malady, as far as he was acquainted with it, inquired whether the situation of the rooms seemed suitable to the doctor, or whether it would be well to remove to some country house. The scene from the windows indeed was very lively, and might be considered too distracting for an invalid. The prospect commanded the greater part of the Piazza, or Place d'Armes, the gate and drawbridges and the glacis outside, with a stretch of country road beyond, lined with poplars. This extensive stage was occupied by ever-varying groups,--soldiers on guard in stiff and picturesque uniform, men carrying burdens, pack-horses, oxen, now and then a carriage with a string of horses and with running footmen, peasant women, priests, children, and beggars, with sometimes a puppet-show, or a conjuror with apes, and side by side with these last, in strange incongruity, the procession of the Host.

"From what I know of this gentleman's malady and disposition," said the physician, "I should suppose that these sights and sounds, though perhaps hurtful to his physical nature, are so dear to his moral nature that to speak against them were useless. These sounds, though physically unpleasant, contain to the philosophic mind such moral beauty as to be attractive in the highest degree, and to such a nature as this my patient possesses offer a fascination which it would be unwise to contend against."

"If," said the Prior to Inglesant with a smile, "your case requires philosophic treatment, you are fortunate in having secured the advice of Signore Zecca, who has the reputation of a philosopher and wit, as well as that of a most skilful physician."

"With respect to my calling as a physician, I may make some claim certainly," said the doctor, "if descent has any title to confer excellence, for my great-grandfather was that celebrated Jovanni Zecca, after whom I am named, the Physician of Bologna, whom you will find mentioned in the most witty 'Ragguagli' of Messere Tragano Boccalini; therefore, if I fail in my profession, it is not for want of generations of experience and precept; but as regards my proficiency as a philosopher, I have no one to depend upon but myself, and my proficiency is indeed but small."

"You are pleased to say so, Signore Fisico," said Inglesant languidly, "with the modesty usual with great minds; nevertheless the remark which you have just made shows you to be familiar with the deepest of all philosophy, that of human life. It is my misfortune that I am too deeply impressed already with the importance of this philosophy, and it is my inadequate following of its teaching which is killing me."

"It is a subject of curious study," said the physician, "for perplexity perhaps, certainly for much satire, but scarcely, I should think, for martyrdom. The noblest things in life are mixed with the most ignoble, great pretence with infinite substance, vain-glory with solidness. The fool of one moment, the martyr of the next: as in the case of that Spaniard mentioned by Messere Boccalini, whose work doubtless you know, signore, but if not, I should recommend its perusal as certain to do much to work your cure. This man--the Spaniard, I mean--dying most gallantly upon the field of honour, entreated his friend to see him buried without unclothing him; and with these words died. His body, being afterwards examined, it was found that he who was so sprucely dressed, and who had a ruff about his neck so curiously wrought as to be of great value, had never a shirt on his back. This discovery caused great laughter among the vulgar sort of mankind; but by order of Apollo, the great ruler of learning and philosophy, this Spaniard was given a public and splendid funeral, equal to a Roman triumph; and an oration was pronounced over him, who was so happy that, in his great calamity, he was careful of his reputation before his life. His noble funeral seems to me rather to proclaim the fact that our worst meannesses cannot deprive us of the dignity of that pity which is due to human nature standing by the brink of an open grave. A man has mistaken the secret of human life who does not look for greatness in the midst of folly, for sparks of nobility in the midst of meanness; and the well-poised mind distributes with impartiality the praise and the blame."

"It is my misfortune," replied Inglesant, "that my mind is incapable of this well-poised impartiality, but is worn out by the unworthy conflict which the spirit within us wages with the meannesses of life. As the Psalmist says, 'The very abjects make mouths at me, and cease not.'

"You are like those people, signore," said the physician, "mentioned by Messere Boccalini, whom the greatest physicians failed to cure, but who were immediately restored to active health by the simple and common remedies of a quack. You seek for remedies among the stars and the eternal verities of creation, whereas your ailment of mind arises doubtless from some physical derangement, which perchance a learner in healing might overcome."

"The fatal confusion of human life," said Inglesant, "is surely too obvious a fact to be accounted for by the delusions of physical disease."

The physician looked at Inglesant for a moment and said,--

"Some time, signore, I will tell you a story, not out of Boccalini, which perchance will convince you that, strange as it may seem, the realities of life and the delusions of disease are not so dissimilar as you think."

"If it be so," said Inglesant, "your prescription is more terrible than my complaint."

"I do not see that," replied the other. "I have said nothing but what should show you how unwise you will be, if you overlook the bodily ailment in searching into the diseases of the soul."

"I am well aware," replied Inglesant, "that my ailment is one of the body as well as of the mind; but were my body made perfectly whole and sound, my cure could scarcely be said to be begun."

"I hold that most of the sorrows and perplexities of the mind are to be traced to a diseased body," replied the physician, not paying much attention to what his patient said; "the passion of the heart, heavy and dull spirits, vain imaginations, the vision of spectres and phantoms, grief and sorrow without manifest cause,--all these things may be cured by purging away melancholy humours from the body, especially as I conceive from the meseraic veins; and the heart will then be comforted, in the taking away the material cause of sorrow, which is not to be looked for in the world of spirits, nor in any providential government of God, nor even in outward circumstances and perplexities, but in the mechanism of the body itself."

"What cures do you propound that may be hoped to work such happy results?" said the Prior, for Inglesant did not speak.

"We have many such cures in physics--physics studied by the light of the heavenly science," said the physician; "such as the Saturica Sancti Juliani, which grows plentifully on the rough cliffs of the Tyrrhenian Sea, as the old Greek chronographers called it, called St. Julian's Rock; the Epithymum, or thyme, which is under Saturn, and therefore very fitted for melancholy men; the Febrifuga, or, in our Italian tongue, Artemisia Tenuifolia, good for such as be melancholy, sad, pensive, and without power of speech; the distilled water of the Fraga, or Strawberry, drunk with white wine reviveth the spirits, and as the holy Psalmist says, 'Laetificat cor hominis;' and the herb Panax, which grows on the top of the Apennine, and is cherished in all the gardens of Italy for its wonderful healing qualities; but the liquor of it, which you may buy in Venice, is not distilled in Italy, but is brought from Alexandria, a city of Egypt."

"You do not speak of the chemical medicines," said Inglesant, "which were much thought of in England when I was in Oxford; and many wonderful cures were worked by them, though I remember hearing that the young doctor who first introduced them, and wrought some great cures, died himself soon after."

"I have indeed no faith in the new doctrine of chemical compositions and receipts," said the physician, "which from mere empirics must needs be very dangerous, but from a man that is well grounded in the old way may do strange things. The works of God are freely given to man. His medicines are common and cheap; it is the medicines of the new physicians that are so dear and scarce to find."