Casa Braccio Part 26

"But I did not except Raphael, nor any one," persisted Gloria, before Reanda could speak.

"Really, Signorina, though I am mortal and susceptible, you go a little too far. Flattery is not appreciation, you know."

"It is not flattery," she answered, and the colour rose in her face. "I am quite in earnest. n.o.body ever painted anything better than your Cupid and Psyche. Raphael's is dull and uninteresting compared with it."

"I blush, but I cannot accept so much," said the Italian, smiling politely, but still trying to discover whether she meant what she said or not.

In spite of himself, as before, he continued to believe her, though his judgment told him that hers could not be worth much. But he was pleased to have made such an impression, and by quick degrees his prejudice against her began to disappear. What had seemed like boldness in her no longer shocked him, and he described it to himself as the innocent frankness of a foreign girl. It was not possible that any one so like the dead Maria Braccio could be vulgar or bold. From that moment he began to rank Gloria as belonging to the higher sphere from which his birth excluded him. It was a curious and quick transition, and he would not have admitted that it was due to her exaggerated praise of his work.

Strange as it must seem to those not familiar with the almost impa.s.sable barriers of old Italian society, Reanda had that evening, for the first time in his life, the sensation of being liked, admired, and talked with by a woman of Francesca Campodonico's cla.s.s; stranger still, it was one of the most delicious sensations he had ever experienced. Yet the woman in question was but a girl not yet seventeen years old. Before he rose to go home, he unconsciously resented Griggs's silent admiration for Gloria. To the average Italian, such silence is a sign that a man is in love, and Reanda was the more attracted to Gloria because she treated Griggs with such perfect indifference.

It was nearly one o'clock when he lighted his taper to descend the stairs. Griggs was also ready to go. It was a relief to know that he was not going to stay behind and talk with Gloria. They went down in silence.

"I wanted to ask you a question," said the American, as they came out upon the street, and blew out their tapers. "We live in opposite directions, so I must ask it now. Should you mind, if I wrote an article on your frescoes for a London paper?"

"Mind!" exclaimed the artist, with a sudden revulsion of feeling in favour of the journalist. "I should be delighted--flattered."

"No," said Griggs, coldly. "I shall not write as Miss Dalrymple talks.

But I shall try and do you justice, and that is a good deal, when one is a serious artist, as you are."

Reanda was struck by the cool moderation of the words, which expressed his own modest judgment of himself almost too exactly to be agreeable after Gloria's unlimited praise. He thanked Griggs warmly, however, and they shook hands before they parted.

CHAPTER XXII.

THREE months pa.s.sed, and Reanda was intimate with the Dalrymples. It was natural enough, considering the circ.u.mstances. They lived much alone, and Reanda was like them in this respect, for he rarely went where he was obliged to talk. During the day he saw much of Donna Francesca, but when it grew dark in the early afternoons of midwinter, the artist was thrown upon his own resources. In former years he had now and then done as many of the other artists did, and had sometimes for a month or two spent most of his evenings at the eating-house where he dined, in company with half-a-dozen others who frequented the same establishment.

Each dropped in, at any hour that chanced to suit him, ate his supper, pushed back his chair, and joined in the general conversation, smoking, and drinking coffee or a little wine, until it was time to go home.

There were grey-headed painters who had hardly been absent more than a few days in five and twenty years from their accustomed tables at such places as the Falcone, the Gabbione, or the Genio. But Reanda had never joined in any of these little circles for longer than a month or two, by which time he had exhausted the stock of his companions' ideas, and returned to solitude and his own thoughts. For he had something which they had not, besides his greater talent, his broader intelligence, and his deeper artistic insight. Donna Francesca's refining influence exerted itself continually upon him, and made much of the common conversation tiresome or disagreeable to him. A man whose existence is penetrated by the presence of a rarely refined woman seldom cares much for the daily society of men. He prefers to be alone, when he cannot be with her.

Reanda believed that what he felt for Francesca was a devoted and almost devout friends.h.i.+p. The fact that before many weeks had pa.s.sed after his first meeting with Gloria he was perceptibly in love with the girl, while he felt not the smallest change in his relations with Donna Francesca, satisfactorily proved to him that he was right. It would not have been like an Italian and a Latin to compare his feelings for the two women by imaginary tests, as, for instance, by asking himself for which of the two he would make the greater sacrifice. He took it for granted that the one sentiment was friends.h.i.+p and the other love, and he acted accordingly.

He was distrustful, indeed, and very suspicious, but not of himself.

Gloria treated him too well. Her eyes told him more than he felt able to believe. It was not natural that a girl so young and fresh and beautiful, with the world before her, should fall in love with a man of his age. That, at least, was what he thought. But the fact that it was unnatural did not prevent it from taking place.

Reanda ignored certain points of great importance. In the first place, Gloria had not really the world before her. Her little sphere was closely limited by her father's morose selfishness, which led him to keep her in Rome because he liked the place himself, and to keep away from his countrymen, whom he detested as heartily as Britons living abroad sometimes do. On the other hand, a vague dread lest the story of his marriage might some day come to the light kept him away from Roman society. He had fallen back upon artistic Bohemia for such company as he wanted, which was little enough, and as his child grew up he had not understood that she was developing early and coming to womanhood while she was still under the care of the governess he had provided. He had not even made any plans for her future, for he did not love her, though he indulged her as a selfish and easy means of fulfilling his paternal obligations. It was to get rid of her importunity that he began to take her to the houses of some of the married artists when she was only sixteen years old, though she looked at least two years older.

But in such society as that, Reanda was easily first, apart from the talent which placed him at the head of the whole artistic profession. He had been brought up, taught, and educated among gentlemen, sons of one of the oldest and most fastidious aristocracies in Europe, and he had their manners, their speech, their quiet air of superiority, and especially that exterior gentleness and modesty of demeanour which most touches some women. In Gloria's opinion, he even had much of their appearance, being tall, thin, and dark. Accustomed as she was to living with her father, who was gloomy and morose, and to seeing much of Paul Griggs, whose powers of silence were phenomenal at that time, Reanda's easy grace of conversation charmed and flattered her. He was, by many degrees, the superior in talent, in charm, in learning, to any one she had ever met, and it must not be forgotten that although he was twenty years older than she, he was not yet forty, and that, as he had not a grey hair in his head, he could still pa.s.s for a young man, though his grave disposition made him feel older than he was. Of the three melancholic men in whose society she chiefly lived, her father was selfish and morose; Griggs was gentle, but silent and incomprehensible, though he exerted an undoubted influence over her; Reanda alone, though naturally melancholy, was at once gentle, companionable, and talkative with her.

Dalrymple accepted the intimacy with indifference and even with a certain satisfaction. In his reflexions, he characterized Reanda as a rare combination of the great artist and the gentleman. Since Gloria had known him she had grown more quiet. She admired him and imitated his manner. It was a good thing. He was glad, too, that Reanda was not married, for it would have been a nuisance, thought Dalrymple, to have the man's wife always about and expecting to be amused.

It began to occur to him that Reanda might be falling in love with Gloria, and he did not resent the idea. In fact, though at first sight it should have seemed strange to an Englishman, he looked upon the idea with favour. He wished to live out his life in Italy, for he had got that fierce affection for the country which has overcome and bound many northern men, from Sir John Hawkwood to Landor and Browning. Though he did not love Gloria, he was attached to her in his own way, and did not wish to lose sight of her altogether. But, in consequence of his own irregular marriage, he could not marry her to a man of his own rank in Rome, who would not fail to make inquiries about her mother. It was most natural that he should look upon such a man as Reanda with favour.

Reanda had many good qualities. Dalrymple's judgment was generally keen enough about people, and he had understood that such a woman as Donna Francesca Campodonico would certainly not make a personal friend of a painter, and allow him to occupy rooms in her palace, unless his character were altogether above suspicion.

Gloria was, of course, too young to be married yet, though she seemed to be so entirely grown up and altogether a woman. In this respect Dalrymple was not prejudiced. His own mother had been married at the age of seventeen, and he had lived long in Italy, where early marriages were common enough. There could certainly be no serious objection to the match on that score, when another year should have pa.s.sed.

Dalrymple's only anxiety about his daughter concerned her strong inclination to be a public singer. The prejudice was by no means extraordinary, and as a Scotchman, it had even more weight with him than it could have had, for instance, with an Italian. Reanda entirely agreed with him on this point, and when Gloria spoke of it, he never failed to draw a lively picture of the drawbacks attending stage life. The artist spoke very strongly, for one of Gloria's earliest and chiefest attractions in his eyes had been the certainty he felt that she belonged to Francesca's cla.s.s. For that reason her flattering admiration had brought with it a peculiar savour, especially delightful to the taste of a man of humble origin. Dalrymple did not understand that, but he knew that if Gloria married the great painter, the latter would effectually keep her from the stage.

As for Griggs, the Scotchman was well aware that the poor young journalist might easily fall in love with the beautiful girl. But this did not deter him at all from having Griggs constantly at the house.

Griggs was the only man he had ever met who did not bore him, who could be silent for an hour at a time, who could swallow as much strong wine as he without the slightest apparent effect upon his manner, who understood all he said, though sometimes saying things which he could not understand--in short, Griggs was a necessity to him. The young man was perhaps aware of the fact, and he found Dalrymple congenial to his own temper; but he was as excessively proud as he was extremely poor, at that time, and he managed to refuse the greater part of the hospitality offered to him, simply because he could not return it. It was very rarely that he accepted an invitation to a meal, though he now generally came in the evening, besides meeting Dalrymple almost every morning when they went to the bookseller's together.

He puzzled the Scotchman strangely. He was an odd combination of a thinker and an athlete, half literary man, half gladiator. The common phrase 'an old head on young shoulders' described him as well as any phrase could. The shoulders were perhaps the more remarkable, but the head was not to be despised. A man who could break a horseshoe and tear in two a pack of cards, and who spent his spare time in studying Hegel and Kant, when he was not writing political correspondence for newspapers, deserved to be considered an exception. He seemed to have no material wants, and yet he had the animal power of enjoying material things even in excess, which is rare. He had a couple of rooms in the Via della Frezza, between the Corso and the Ripetta, where he lived in a rather mysterious way, though he made no secret about it. Occasionally an acquaintance climbed the steep stairs, but no one ever got him to open the door nor to give any sign that he was at home, if he were within. A one-eyed cobbler acted as porter downstairs, from morning till night, astride upon his bench and ever at work, an ill-savoured old pipe in his mouth.

"You may try," he answered, when any one asked for Griggs. "Who knows?

Perhaps Sor Paolo will open. Try a little, if you have patience."

Patience being exhausted, the visitor came down the five flights again, and remonstrated with the cobbler.

"I did not say anything," he would reply, in a cloud of smoke. "Many have tried. I told you to try. Am I to tell you that no one has ever got in? Why? To disoblige you? If you want anything of Sor Paolo, say it to me. Or come again."

"But he will not open," objected the visitor.

"Oh, that is true," returned the man of one eye. "But if you wish to try, I am not here to hinder you. This is the truth."

Now and then, some one more inquisitive suggested that there might be a lady in the question. The one eye then fixed itself in a vacant stare.

"Females?" the cobbler would exclaim. "Not even cats. What pa.s.ses through your head? He is alone always. If you do not believe me, you can try. I do not say Sor Paolo will not open the door. A door is a door, to be opened."

"But since I have tried!"

"And I, what can I do? You have come, you have seen, you have knocked, and no one has opened. May the Madonna accompany you! I can do nothing."

So even the most importunate of visitors departed at last. But Griggs had taken Dalrymple up to his lodgings more than once, and they had sat there for an hour talking over books. Dalrymple observed, indeed, that Griggs was more inclined to talk in his own rooms than anywhere else, and that his manner then changed so much as to make him almost seem to be a different man. There was a look of interest in the stony mask, and there was a light in the deep-set eyes which neither wine nor wit could bring there at other times. The man wore his armour against the world, as it were, a tough sh.e.l.l made up of a poor man's pride, and solid with that sense of absolute physical superiority which is an element in the character of strong men, and which the Scotchman understood. He himself had been of the strong, but not always the strongest. Paul Griggs had never yet been matched by any man since he had first got his growth. He was the equal of many in intellect, but his bodily strength was not equalled by any in his youth and manhood. The secret of his one well-hidden vanity lay in that. His moral power showed itself in his a.s.sumed modesty about it, for it was almost impossible to prevail upon him to make exhibition of it. Gloria alone seemed able to induce him, for her especial amus.e.m.e.nt, to break a silver dollar with his fingers, or tear a pack of cards, and then only in the presence of her father or Reanda, but never before other people.

"You are the strongest man in the world, are you not?" she asked him once.

"Yes," he answered. "I probably am, if it is I. I am vain of it, but not proud of it. That makes me think sometimes that I am two men in one.

That might account for it, you know."

"What nonsense!" Gloria laughed.

"Is it? I daresay it is." And he relapsed into indifference, so far as she could see.

"What is the other man like?" she asked. "Not the strong man of the two, but the other?"

"He is a good man. The strong man is bad. They fight, and the result is insignificance. Some day one of the two will get the better of the other."

"What will happen then?" she asked lightly, and still inclined to laugh.

"One or the other, or both, will die, I suppose," he answered.

"How very unpleasant!"

She did not at all understand what he meant. At the same time she could not help feeling that he was eminently a man to whom she would turn in danger or trouble. Girl though she was, she could not mistake his great admiration of her, and by degrees, as the winter wore on, she trusted him more, though he still repelled her a little, for his saturnine calm was opposed to her violent vitality, as a black rock to a tawny torrent.

Griggs had neither the manner nor the temper which wins women's hearts as a rule. Such men are sometimes loved by women when their sorrow has chained them to the rock of horror, and grief insatiable tears out their broken hearts. But in their strength they are not loved. They cannot give themselves yet, for their strength hinders them, and women think them miserly of words and of love's little coin of change. If they get love at last, it is as the pity which the unhurt weak feel for the ruined strong.

Gloria was not above irritating Griggs occasionally, when the fancy took her to seek amus.e.m.e.nt in that way. She knew how to do it, and he rarely turned upon her, even in the most gentle way.