Marzio's Crucifix, and Zoroaster by F. Marion Crawford (easy readers txt) 📕

"I give you an hour to take your things from my house," he continued. "There are your wages—you shall not tell the priest that I cheated you."

Gianbattista stood still in the middle of the room while Marzio held out the money to him. A hot flush rose to his young forehead, and he seemed on the point of speaking, but the words did not pass his lips. With a quick step he came forward, took the notes from Marzio's hand, and crumpling them in his fingers, threw them in his face with all his might. Then he turned on his heel, spat on the floor of the room, and went out before Marzio could find words to resent the fresh insult.

The door fell back on the latch and Marzio was alone. He was very pale, and for a moment his features worked angrily. Then a cruel smile passed over his face. He stooped down, picked up the crumpled notes, counted them, and replaced them in his purse. The economical instinct never forsook him, and he did the thing mechanically. Glancing at the bench his eyes fell on the pointed punch which Gianbattista had taken up in his anger. He felt it carefully, handled it, looked at it, smiled again and put it into his pocket.

"It is not a bad one," he muttered. "How many cherubs' eyes I have made with that thing!"

He turned to the slate and examined the rough model he had made in wax, flat still, and only indicated by vigorous touches, the red material smeared on the black surface all around it by his fingers. There was force in the figure, even in its first state, and there was a strange pathos in the bent head, the only part as yet in high relief. But Marzio looked at it angrily. He turned it to the light, closed his eyes a moment, looked at it again, and then, with an incoherent oath, his long, discoloured hand descended on the model, and, with a heavy pressure and one strong push, flattened out what he had done, and smeared it into a shapeless mass upon the dark stone.

"I shall never do it," he said in a low voice. "They have destroyed my idea."

For some minutes he rested his head in his hand in deep thought. At last he rose and went to a corner of the workshop in which stood a heavily ironed box. Marzio fumbled in his pocket till he found a key, bright from always being carried about with him, and contrasting oddly with the rusty lock into which he thrust it. It turned with difficulty in his nervous fingers, and he raised the heavy lid. The coffer was full of packages wrapped in brown paper. He removed one after another till he came to a wooden case which filled the whole length and breadth of the safe. He lifted it out carefully and laid it on the end of the bench. The cover was fastened down by screws, and he undid them one by one until it moved and came off in his hands. The contents were wrapped carefully in a fine towel, which had once been white, but which had long grown yellow with age. Marzio unfolded the covering with a delicate touch as though he feared to hurt what was within. He took out a large silver crucifix, raising it carefully, and taking care not to touch the figure. He stood it upon the bench before him, and sat down to examine it.

It was a work of rare beauty, which he had made more than ten years before. With the strange reticent instinct which artists sometimes feel about their finest works, he had finished it in secret, working at night alone, and when it was done he had put it away. It was his greatest feat, he had said to himself, and, as from time to time he took it out and looked at it, he gradually grew less and less inclined to show it to any one, resolving to leave it in its case, until it should be found after his death. It had seemed priceless to him, and he would not sell it. With a fantastic eccentricity of reasoning he regarded it as a sacred thing, to part with which would be a desecration. So he kept it. Then, taking it out again, it had seemed less good to him, as his mind became occupied with other things, and he had fancied he should do better yet. At last he screwed it up in a wooden case and put it at the bottom of his strong box, resolving never to look at it again. Many years had passed since he had laid eyes upon it.

The idea which had come to him when Paolo had communicated the order to him on the previous evening, had seemed absolutely new. It had appeared to him as a glorification of the work he had executed in secret so long ago. Time, and the habit of dissatisfaction had effaced from his mind the precise image of the work of the past, and the emotions of the present had seemed something new to him. He had drawn and modelled during many hours, and yet he was utterly disappointed with the new result. He felt the innate consciousness of having done it before, and of having done it better.

And now the wonderful masterpiece of his earlier years stood before him—the tall and massive ebony cross, bearing the marvellous figure of the dead Saviour. A ray of sunlight fell through the grated window upon the dying head, illuminating the points of the thorns in the crown, the falling locks of hair, the tortured hands, and casting a shadow of death beneath the half-closed eyes.

For several minutes Marzio sat motionless on his stool, realising the whole strength and beauty of what he had done ten years before. Then he wanted to get a better view of it. It was not high enough above him, for it was meant to stand upon an altar. He could not see the face. He looked about for something upon which to make it stand, but nothing was near. He pushed away his stool, and turning the cross a little, so that the sunlight should strike it at a better angle, he kneeled down on the floor, his hands resting on the edge of the bench, and he looked up at the image of the dead Christ.

When Don Paolo left the workshop, he immediately crossed over and entered the street door of Marzio's house, intending to tell Maria Luisa and Lucia the result of the interview. He had not got to the top of the first flight of stairs when he heard Gianbattista's step behind him, and turning he saw the young man's angry face.

"What is the matter, Tista?" asked the priest, stopping on the steps and laying his hand on the iron railing.

"I am discharged, turned out, insulted by that animal!" answered the apprentice hotly. "He is like a piece of wood! You might as well talk to a wall! You had only just closed the door when he pulled out his purse, counted my wages, and told me to take my things from his house in an hour. I threw the money in his face—the beast!"

"Hush, Tista," said Don Paolo. "Do not be angry—we will arrange it all before night. He cannot do without you, and after all it is my fault. Calm yourself, Tista, my boy—we will soon set that straight."

"Yes—in an hour I will have left the house. Then it will be straight enough, as you call it. Oh! I would like to strangle him! Dear Don Paolo, nobody but you can arrange this affair—"

"Hush, hush, Tista. I cannot hear you talk in this way. Come, we will go back to Marzio. He will listen to reason—"

"Do you know what he said to me not a quarter of an hour before you came in?" asked Gianbattista quickly, laying his hand on the priest's arm. "He said I might have Lucia and welcome if I would kill you! Do you understand? I wish you could have seen the look in his eyes!"

"No, no, my boy—he was angry. He did not mean it."

"Mean it! Bacchus! He would kill you himself if he were not such a dastardly coward!"

Don Paolo shook his head with an incredulous smile, and looked kindly into the young man's eyes.

"You have all lost your heads over this unfortunate affair, Tista. You are all talking of killing each other and yourselves as though it were as simple as 'good-morning.' It is very wrong to talk of such things, and besides, you know, it is not really worth while—"

"It seems simple enough to me," answered the young man, frowning and clenching his hand.

"Come with me," urged the other, making as though he would descend the steps. "Come back to the workshop, and we will talk it all over."

"Wait a minute, Don Paolo. There is one thing—one favour I want to ask of you." Gianbattista lowered his voice. "You can do it for us—I am sure you will. I will call Lucia, and we will go with you—"

"Where?" asked the priest, not understanding the look of the young man.

"To church, of course. You can marry us in ten minutes, and the thing will be all over. Then we can laugh at Sor Marzio."

Don Paolo smiled.

"My dear boy," he answered, "those things are not done in a moment like roasting chestnuts. There are banns to be published. There is a civil marriage at the Capitol—"

"I should be quite satisfied with your benediction—a Pater Noster, an Oremus properly said—eh? Would it not be all right?"

"Really, Tista!" exclaimed the good man, holding up his hands in horror. "I had no idea that your religious education had been so neglected! My dear child, marriage is a very solemn thing."

"By Diana! I should think so! But that need not make it such a long ceremony. A man dies in a moment—paff!—the light is out!—you are dead. It is very solemn. The same thing for marriage. The priest looks at you, says Oremus—paff! You are married, and it cannot be undone! I know it is very serious, but it is only the affair of a moment."

Don Paolo did not know whether to laugh or to look grave at this exposition of Gianbattista's views of death and matrimony. He put it down to the boy's excitement.

"There is another reason, Tista. The law does not allow a girl of seventeen to be married without her father's consent."

"The law again!" exclaimed Gianbattista in disgust. "I thought the law protected Lucia from her father. You said so last night, and you repeated it this morning."

"Certainly, my boy. But the law also protects parents against any rashness their children may meditate. It would be no marriage if Lucia had not Marzio's consent."

"I wish there were no laws," grumbled the young man. "How do you come to know so much about marriage, Don Paolo?"

"It is my profession. Come along; we will talk to Marzio."

"What can we say to him? You do not suppose I will go and beg to be taken back?"

"You must be forgiving—"

"I believe in forgiveness when the other side begins," said Gianbattista.

"Perhaps Marzio will forgive too," argued the priest.

"He has nothing to forgive," answered the young man. The reasoning seemed to him beyond refutation.

"But if he says he has no objection, if he begs you to come back, I think you might make some advance on your side, Tista. Besides, you were very rough with him this morning."

"He turned me out like a dog—after all these years," said Gianbattista. "I will go back and work for him on one condition. He must give me Lucia at once."

"I am afraid that as a basis of negotiations that plan leaves much to be desired," replied Don Paolo, in a meditative tone. "Of course, we are all determined that you shall marry her in the end; but unless Providence is pleased to change Marzio's state of mind, you may have to wait until she is of age. He will never consent at present."

"In that case I had better go and take my things away from his house," returned the apprentice. "And say good-bye to Lucia—for a day or two," he added in a low voice.

"Of course, if you will not agree to be conciliatory it is of no use for you to come with me," said Don Paolo rather sadly. "Dear me! Here comes Maria Luisa with Suntarella!"

"Ah, dear Paolo, dear Paolo!" cried the stout lady, puffing up the stairs with the old woman close behind her. "How good you are! And what did he say? We asked if you had gone at the