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

Of course he was right. Those people always are. But one hates to be set right by a priest. It is humiliating!"

"Well, it is better than not to be set right at all," said Lucia. "You see, if you had strangled poor papa, it would have been dreadful! Oh, Tista, promise me that you will not do anything violent! Of course he is very unkind, I know. But it would be terrible if you were to be angry and hurt him. You will not, Tista? Tell me you will not?"

"We shall see; we shall see, my love!"

"You do not love me if you will not promise."

"Oh, if that is all, my love, I will promise never to lay a finger on him until you are actually married to some one else. But then—" Gianbattista made the gesture which means driving the knife into an enemy.

"Then you may do anything you please," answered Lucia, with a laugh. "He will never make me marry any one but you. You know that, my heart!"

"In that case we ought to be married very soon," argued the young man. "We need not live here, you know. Indeed, it would be out of the question. We will take one of those pretty little places in the new quarter—"

"That is so far away," interrupted the girl.

"Yes, but there is the tramway, and there are omnibuses. It only takes a quarter of an hour."

"But you would be so far from me all day, my love. I could not run into the studio at all hours, and you would not come home for dinner. Oh! I could not bear it!"

"Very well, we will try and find something near here," said Gianbattista, yielding the point. "We will get a little apartment near the Minerva, where there is sun."

"And we will have a terrace on the top of the house, with pots of carnations."

"And red curtains on rings, that we can draw; it is such a pretty light when the sun shines through them."

"And green wall paper with blue furniture," suggested Lucia. "It is so gay."

"Or perhaps the furniture of the same colour as the paper—you know they have it so in all fashionable houses."

"Well, if it is really the fashion, I suppose we must," assented the girl rather regretfully.

"Yes, it is the fashion, my heart, and you must have everything in the fashion. But I must be going," added the young man, rising from his seat.

"Already? It is early, Tista—" she hesitated, "Dear Tista," she began again, her dark eyes resting anxiously on his face, "what will you say to him in the workshop? You will tell him that I would rather die than marry Carnesecchi, that we are solemnly promised, that nothing shall part us! You will make him see reason, Tista, will you not? I cannot go to him, or I would; and mamma, poor mamma, is so afraid of him when he is in his humours. There are only you and Uncle Paolo to manage him; and after the way he insulted Uncle Paolo last night, it will be all the harder. Think of it, Tista, while you are at work, and bring me word when you come to dinner."

"Never fear, love," replied Gianbattista confidently; "what else should I think of while I am hammering away all day? A little kiss, to give me courage."

In a moment he was gone, and his quick step resounded on the stairs as he ran down, leaving Lucia at the door above, to catch the last good-bye he called up to her when he reached the bottom. His fresh voice came up to her mingled with the rattle of the lumbering carts in the street. She answered the cry and went in.

Just then the sleepy Signora Pandolfi emerged from her chamber, clad in the inevitable skirt and white cotton jacket, her heavy black hair coiled in an irregular mass on the top of her head, and held in place by hair-pins that seemed to be on the point of dropping out.

"Ah, Lucia, my darling! Such a night as I have passed!" she moaned, sinking into a chair beside the table, on which the coffee-pot and the empty cups were still standing. "Such a night, my dear! I have not closed an eye. I am sure it is the last judgment! And this scirocco, too, it is enough to kill one!"

"Courage, mamma," answered Lucia gaily. "Things are never so bad as they seem."

"Oh, that monster, that monster!" groaned the fat lady. "He would make an angel lose his patience! Imagine, my dear, he insists that you shall be married in a fortnight, and he has left me money to go and buy things for your outfit! Oh dear! What are we to do? I shall go mad, my dear, and you will all have to take me to Santo Spirito! Oh dear! Oh dear! This scirocco!"

"I think papa will go mad first," said Lucia. "I never heard of such an insane proposition in my life. All in a moment too—I think I am to marry Tista—papa gets into a rage and—patatunfate! a new husband—like a conjuror's trick, such a comedy! I expected to see the door open at every minute, Pulcinella walk in and beat everybody with a blown bladder! But Uncle Paolo did quite as well."

"Oh, my head!" complained the Signora Pandolfi. "I have not slept a wink!"

"And then it was shameful to see the way papa grew quiet and submissive when Uncle Paolo gave him the order for the crucifix! If it had been anybody but papa, I should have said that a miracle had been performed. But poor papa! No—the miracle of the soldi—that is the truth. I would like to catch sight of the saint who could work a miracle on papa! Capers, what a saint he would have to be!"

"Bacchus!" ejaculated Maria Luisa, "San Filippo Neri would be nowhere! The Holy Father would have to make a saint on purpose to convert that monster! A saint who should have nothing else to do. Oh, how hot it is! My head is splitting. What are we to do, Lucia, my heart? Tell me a little what we are to do—two poor women—all alone—oh dear!"

"In the first place, it needs courage, mamma," answered Lucia, "and a cup of coffee. It is still hot, and you have not had any—"

"Coffee! Who thinks of coffee?" cried the Signora Pandolfi, taking the cup from her daughter's hands, and drinking the liquid with more calmness than might have been anticipated.

"That is right," continued the girl. "Drink, mamma, it will do you good. And then, and then—let me see. And then you must talk to Suntarella about the dinner. That old woman has no head—"

"Dinner!" cried the mother, "who thinks of dinner at such a time? And he left me the money for the outfit, too! Lucia, my love, I have the fever—I will go to bed."

"Eh! What do you suppose? That is a way out of all difficulties," answered Lucia philosophically.

"But you cannot go out alone—"

"I will stay at home in that case."

"And then he will come to dinner, and ask to see the things—"

"There will be no things to show him," returned the young girl.

"Well? And then where should we be?" inquired the Signora Pandolfi. "I see him, my husband, coming back and finding that nothing has been done! He would tear his hair! He would kill us! He would bring his broomstick of a lawyer here to marry you this very afternoon, and what should we have gained then? It needs judgment, Lucia, my heart—judgment, judgment!" repeated the fat lady, tapping her forehead.

"Eh! If you have not enough for two, mamma, I do not know what we shall do."

"At the same time, something must be done," mused Maria Luisa. "My head is positively bursting! We might go out and buy half a dozen handkerchiefs, just to show him that we have begun. Do you think a few handkerchiefs would quiet him, my love? You could always use them afterwards—a dozen would be too many—"

"Bacchus!" exclaimed Lucia, "I have only one nose."

"It is a pity," answered her mother rather irrelevantly. "After all, handkerchiefs are the cheapest things, and if we spread them out, all six, on the green sofa, they will make a certain effect—these men! One must deceive them, my child."

"Suppose we did another thing," began Lucia, looking out of the window. "We might get some things—in earnest, good things. They will always do for the wedding with Tista. Meanwhile, papa will of course have to change his mind, and then it will be all right."

"What genius!" cried the Signora Pandolfi. "Oh, Lucia! You have found it! And then we can just step into the workshop on our way—that will reassure your father."

"Perhaps, after all, it would be better to go and tell him the truth," said Lucia, beginning to walk slowly up and down the room. "He must know it, sooner or later."

"Are you mad, Lucia?" exclaimed her mother, holding up her hands in horror. "Just think how he would act if you went and faced him!"

"Then why not go and find Uncle Paolo?" suggested the girl. "He will know what is best to be done, and will help us, you may be sure. Of course, he expected to see us before anything was done in the matter. But I am not afraid to face papa all alone. Besides, Tista is talking to him at this very minute. I told him all he was to say, and he has so much courage!"

"I wish I had as much," moaned the Signora Pandolfi, lapsing into hesitation.

"Come, mamma, I will decide for you," said Lucia. "We will go and find Uncle Paolo, and we will do exactly as he advises."

"After all, that is best," assented her mother, rising slowly from her seat.

Half an hour later they left the house upon their errand, but they did not enter the workshop on their way. Indeed, if they had, they would have been surprised to find that Marzio was not there, and that Gianbattista was consequently not talking to him as Lucia had supposed.

When Gianbattista reached the workshop, he was told that Marzio had only remained five minutes, and had gone away so soon as everybody was at work. He hesitated a moment, wondering whether he might not go home again and spend another hour in Lucia's company; but it was not possible to foretell whether Marzio would be absent during the whole morning, and Gianbattista decided to remain. Moreover, the peculiar smell of the studio brought with it the idea of work, and with the idea came the love of the art, not equal, perhaps, to the love of the woman but more familiar from the force of habit.

All men feel such impressions, and most of all those who follow a fixed calling, and are accustomed to do their work in a certain place every day. Th�ophile Gautier confessed in his latter days that he could not work except in the office of the Moniteur—elsewhere, he said, he missed the smell of the printers' ink, which brought him ideas. Artists know well the effect of the atmosphere of the studio. Five minutes of that paint-laden air suffice to make the outer world a mere dream, and to recall the reality of work. There was an old dressing-gown to which Thackeray was attached as to a friend, and which he believed indispensable to composition. Balzac had his oval writing-room, when he grew rich, and the creamy white colour of the tapestries played a great part in his thoughts. The blacksmith loves the smoke of the forge and the fumes of hot iron on the anvil, and the chiseller's fingers burn to handle the tools that are strewn on the wooden bench.

Gianbattista stood at the door of the studio, and had he been master instead of apprentice, he could not have resisted the desire to go to his place and take up the work he had left on the previous evening. In a few minutes he was hammering away as busily as though there were no such thing as marriage in the world, and nothing worth living for but the chiselling of beautiful arabesques on a silver ewer. His head was bent over his hands, his eyes followed intently the smallest movements of the tool he held, he forgot everything else, and became wholly absorbed in his occupation.

Nevertheless, much of a chiseller's work is mechanical, and as the smooth iron ran in and out of the tiny curves under the gentle tap of the hammer, the young man's thoughts went back to the girl he had left at the top of the stairs a quarter of an hour earlier; he thought of her, as he did daily, as his promised wife, and he fell to wondering when it