Transcriber's Note:
A Table of Contents has been added.

CORLEONE

THE NOVELS OF F. MARION CRAWFORD.

New Uniform Edition. Crown 8vo. 3s. 6d. each.

Mr. Isaacs: A Tale of Modern India.
Doctor Claudius: A True Story.
Roman Singer.
Zoroaster.
Tale of a Lonely Parish.
Khaled: A Tale of Arabia.
Witch of Prague.
Three Fates.
Marion Darche: A Story without Comment.
Children of the King.
Katherine Lauderdale.
Marzio's Crucifix.
Paul Patoff.
With the Immortals.
Greifenstein.
Sant' Ilario.
Cigarette-Maker's Romance.
Pietro Ghisleri.
Don Orsino.
Ralstons.
Casa Braccio.
Adam Johnstone's Son.
Rose of Yesterday.
Taquisara. A Novel.
Corleone.
Via Crucis. A Romance of the Second Crusade. Crown 8vo. 6s.
In the Palace of the King. Crown 8vo. 6s.
Marietta: A Maid of Venice. Crown 8vo. 6s.
Whosoever Shall Offend. Crown 8vo. 6s.
The Heart of Rome: A Tale of the "Lost Water." Crown 8vo. 6s.
Cecilia: A Story of Modern Rome. Crown 8vo. 6s.
Love in Idleness. A Bar Harbour Tale. Fcap. 8vo. 2s.

MACMILLAN AND CO., Ltd., LONDON.

CORLEONE

A Tale of Sicily

By F. MARION CRAWFORD

London
MACMILLAN AND CO., Limited
NEW YORK: THE MACMILLAN COMPANY
1905

All rights reserved

COPYRIGHT
1896
BY
F. MARION CRAWFORD

First Edition (2 Vols. Globe 8vo) 1897
Second Edition (Crown 8vo) 1898
Reprinted 1902, 1905

CONTENTS

CHAPTER I

'If you never mean to marry, you might as well turn priest, too,' said Ippolito Saracinesca to his elder brother, Orsino, with a laugh.

'Why?' asked Orsino, without a smile. 'It would be as sensible to say that a man who had never seen some particular thing, about which he has heard much, might as well put out his eyes.'

The young priest laughed again, took up the cigar he had laid upon the edge of the piano, puffed at it till it burned freely, and then struck two or three chords of a modulation. A sheet of ruled paper on which several staves of music were roughly jotted down in pencil stood on the rack of the instrument.

Orsino stretched out his long legs, leaned back in his low chair, and stared at the old gilded rosettes in the square divisions of the carved ceiling. He was a discontented man, and knew it, which made his discontent a matter for self-reproach, especially as it was quite clear to him that the cause of it lay in himself.

He had made two great mistakes at the beginning of life, when barely of age, and though neither of them had ultimately produced any serious material consequences, they had affected his naturally melancholic temper and had brought out his inherited hardness of disposition. At the time of the great building speculations in Rome, several years earlier, he had foolishly involved himself with his father's old enemy, Ugo del Ferice, and had found himself at last altogether in the latter's power, though not in reality his debtor. At the same time, he had fallen very much in love with a young widow, who, loving him very sincerely in her turn, but believing, for many reasons, that if she married him she would be doing him an irreparable injury, had sacrificed herself by marrying Del Ferice instead, selling herself to the banker for Orsino's release, without the latter's knowledge. When it was all over, Orsino had found himself a disappointed man at an age when most young fellows are little more than inexperienced boys, and the serious disposition which he inherited from his mother made it impossible for him to throw off the impression received, and claim the youth, so to speak, which was still his.

Since that time, he had been attracted by women, but never charmed; and those that attracted him were for the most part not marriageable, any more than the few things which sometimes interested and amused him were in any sense profitable. He spent a good deal of money in a careless way, for his father was generous; but his rather bitter experience when he had attempted to occupy himself with business had made him cool and clear-headed, so that he never did anything at all ruinous. The hot temper which he had inherited from his father and grandfather now rarely, if ever, showed itself, and it seemed as though nothing could break through the quiet indifference which had become a second outward nature to him. He had travelled much, of late years, and when he made an effort his conversation was not uninteresting, though the habit of looking at both sides of every question made it cold and unenthusiastic. Perhaps it was a hopeful sign that he generally had a definite opinion as to which of two views he preferred, though he would not take any trouble to convince others that he was right.

In his own family, he liked the company of Ippolito best. The latter was about two years younger than he, and very different from him in almost every way. Orsino was tall, strongly built, extremely dark; Ippolito was of medium height, delicately made, and almost fair by comparison. Orsino had lean brown hands, well knit at the base, and broad at the knuckles; Ippolito's were slender and white, and rather nervous, with blue veins at the joints, the tips of the fingers pointed, the thumb unusually delicate and long, the nails naturally polished. The elder brother's face, with its large and energetic lines, its gravely indifferent expression and dusky olive hue, contrasted at every point with the features of the young priest, soft in outline, modelled in wax rather than chiselled in bronze, pale and a little transparent, instead of swarthy,—feminine, perhaps, in the best sense of the word, as it can be applied to a man. Ippolito had the clear, soft brown eyes which very gifted people so often have, especially musicians and painters of more talent than power. But about the fine, even, and rather pale lips there was the unmistakable stamp of the ascetic temperament, together with an equally sure indication of a witty humour which could be keen, but would rather be gentle. Ippolito was said to resemble his mother's mother, and was notably different in appearance and manner from the rest of the numerous family to which he belonged.

He was a priest by vocation rather than by choice. Had he chosen deliberately a profession congenial to his gifts, he would certainly have devoted himself altogether to music, though he would probably never have become famous as a composer; for he lacked the rough creative power which hews out great conceptions, though he possessed in a high degree the taste and skill which can lightly and lovingly and wisely impart fine detail to the broad beauty of a well-planned whole. But by vocation he was a priest, and the strength of the conviction of his conscience left the gifts of his artistic intelligence no power to choose. He was a churchman with all his soul, and a musician with all his heart.

Between the two brothers there was that sort of close friendship which sometimes exists between persons who are too wholly different to understand each other, but whose non-understanding is a constant stimulant of interest on both sides. In the midst of the large and peaceable patriarchal establishment in which they lived, and in which each member made for himself or herself an existence which had in it a certain subdued individuality, Orsino and Ippolito were particularly associated, and the priest, when he was at home, was generally to be found in his elder brother's sitting-room, and kept a good many of his possessions there.

It was a big room, with an old carved and gilded ceiling, three tall windows opening to the floor, two doors, a marble fireplace, a thick old carpet, and a great deal of furniture of many old and new designs, arranged with no regard to anything except usefulness, since Orsino was not afflicted with artistic tastes, nor with any undue appreciation of useless objects. Ippolito's short grand piano occupied a prominent position near the middle window, and not far from it was Orsino's deep chair, beside which stood a low table covered with books and reviews. For, like most discontented and disappointed people who have no real object in life, Orsino Saracinesca read a good deal, and hankered after interest in fiction because he found none in reality. Ippolito, on the contrary, read little, and thought much.

After Orsino had answered his remark about marriage, the priest busied himself for some time with his music, while his brother stared at the ceiling in silence, listening to the modulations and the fragments of tentative melody and experimental harmony, without in the least understanding what the younger man was trying to express. He was fond of any musical sound, in an undefined way, as most Italians are, and he knew by experience that if he let Ippolito alone something pleasant to hear would before long be evolved. But Ippolito stopped suddenly and turned half round on the piano stool, with a quick movement habitual to him. He leaned forward towards Orsino, tapping the ends of his fingers lightly against one another, as his wrists rested on his knees.

'It is absurd to suppose that in all Rome, or in all Europe, for that matter, there is nobody whom you would be willing to marry.'

'Quite absurd, I suppose,' answered Orsino, not looking at his brother.

'Then you have not really looked about you for a wife. That is clear.'

'Perfectly clear. I do not argue the point. Why should I? There is plenty of time, and besides, there is no reason in the world why I should ever marry at all, any more than you. There are our two younger brothers. Let them take wives and continue the name.'

'Most people think that marriage may be regarded as a means of happiness,' observed Ippolito.

'Most people are imbeciles,' answered Orsino gloomily.

Ippolito laughed, watching his brother's face, but he said nothing in reply.

'As a general rule,' Orsino continued presently, 'talking is a question of height and not of intelligence. The shorter men and women are, the more they talk; the taller they are, the more silent they are, in nine cases out of ten. Of course there are exceptions, but you can generally tell at a glance whether any particular person is a great talker. Brains are certainly not measurable by inches. Therefore conversation has nothing to do with brains. Therefore most people are fools.'

'Do you call that an argument?' asked the priest, still smiling.

'No. It is an observation.'

'And what do you deduce from it?'

'From it, and from a great many other things, I deduce and conclude that what we call society is a degrading farce. It encourages talking, when no one has anything to say. It encourages marriage, without love. It sets up fashion against taste, taste against sense, and sense against heart. It is a machinery for promoting emotion among the unfeeling. It is a—'

Orsino stopped, hesitating.

'Is it anything else?' asked Ippolito mildly.

'It is a hell on earth.'

'That is exactly what most of the prophets and saints have said since David,' remarked the priest, moving again in order to find his half-smoked cigar, and then carefully relighting it. 'Since that is your opinion, why not take orders? You might become a prophet or a saint, you know. The first step towards sanctity is to despise the pomps and vanities of this wicked world. You seem to have taken the first step at a jump, with both feet. And it is the first step that costs the most, they say. Courage! You may go far.'

'I am thinking of going further before long,' said Orsino gravely, as though his brother had spoken in earnest. 'At all events, I mean to get away from all this,' he added, as though correcting himself.

'Do you mean to travel again?' inquired Ippolito.

'I mean to find something to do. Provided it is respectable, I do not care what it is. If I had talent, like you, I would be a musician, but I would not be an amateur, or I would be an artist, or a literary man. But I have no talent for anything except building tenement houses, and I shall not try that again. I would even be an actor, if I had the gift. Perhaps I should make a good farmer, but our father will not trust me now, for he is afraid that I should make ruinous experiments if he gave me the management of an estate. This is certainly not the time for experiments. Half the people we know are ruined, and the country is almost bankrupt. I do not wish to try experiments. I would work, and they tell me to marry. You cannot understand. You are only an amateur yourself, after all, Ippolito.'

'An amateur musician—yes.'

'No. You are an amateur priest. You support your sensitive soul on a sort of religious ambrosia, with a good deal of musical nectar. Your ideal is to be Cardinal-Protector of the Arts. You are clever and astonishingly good by nature, and you deserve no credit for either. That is probably why I like you. I hate people who deserve credit, because I deserve none myself. But you do not take your clerical profession seriously, and you are an amateur, a dilettante of the altar. If you do not have distractions about the vestments you wear when you are saying mass, it is because you have an intimate, unconscious artistic conviction that they are beautiful and becoming to you. But if the choir responded a flat "Amen" to your "per omnia sæcula sæculorum," it would set your teeth on edge and upset your devout intention at the beginning of the Preface. Do you think that a professional musician would be disturbed in conducting a great orchestra by the fact that his coat collar did not fit?'

Ippolito smiled good humouredly, but did not answer.

'Very well,' continued Orsino at once, 'you are only an amateur priest. It does not matter, since you are happy. You get through life very well. You do not even pretend that you do any real work. Your vocation, as you call it, was a liking for the state of priesthood, not for the work of a priest. Now I do not care about any state in particular, but I want work of some sort, at any cost. I was never happy but once, during that time when I worked with Contini and got into trouble. I preferred it to this existence, even when we got into Del Ferice's clutches. Anything rather than this.'

'I thought you had grown indifferent,' said Ippolito.

'Indifferent? Yes, I am indifferent—as a machine is indifferent when the fire is out and there is no steam. But if the thing could think, it would want work, as I do. It would not be satisfied to rust to pieces. You ought to know a little theology. Are we put into the world with a purpose, or not? Is there an intention in our existence, or is there not? Am I to live through another forty or fifty years of total inactivity because I happen to be born rich, and in a position—well, a position which is really about as enviable as that of a fly in a pot of honey? We are stuck in our traditions, just as the fly is in the honey—'

'I like them,' said Ippolito quietly.

'I know you do. So does our father. They suit you both. Our father is really a very intelligent man, but too much happiness and too much money have paralysed him. His existence seems to have been a condition of perpetual adoration of our mother.'

'He has made her happy. That is worth something.'

'She has made him happy. They have made each other happy. They have devoured a lifetime of happiness together in secret, as though it were their lawful prey. As they never wanted anything else, they never found out that the honey of traditions is sticky, and that they could not move if they would.'

'They are fond of us—'

'Of course. We have none of us done anything very bad. We are a part of their happiness. We are also a part of their dulness; for they are dull, and their happiness makes us dull too.'

'What an idea!'

'It is true. What have we accomplished, any of us four brothers? What shall we ever accomplish? We are ornaments on the architecture of our father's and mother's happiness. It is rather a negative mission in life, you must admit. I am glad that they are happy, but I should like to be something more than a gargoyle on their temple.'

'Then marry, and have a temple of your own!' laughed Ippolito. 'And gargoyles of your own, too.'

'But I do not want that sort of happiness. Marriage is not a profession. It is not a career.

'No. At least you might not turn a dilettante husband, as you say that I am an amateur priest.' Ippolito laughed again.

Orsino laughed dryly, but did not answer, not being in a humour for jesting. He leaned back in his chair again, and looked at the carved ceiling and thought of what it meant, for it was one of those ceilings which are only to be found in old Roman palaces, and belong intimately to the existence which those old dwellings suggest. Orsino thought of the grim dark walls outside, of the forbidding gateway, of the heavily barred windows on the lower story, of the dark street at the back of the palace, and the mediævalism of it all was as repugnant to him as the atmosphere of a prison.

He had never understood his father nor his grandfather, who both seemed born for such an existence, and who certainly thrived in it; for the old Prince was over ninety years of age, and his son, Sant' Ilario, though now between fifty and sixty, was to all intents and purposes still a young man. Orsino was perhaps as strong as either of them. But he did not believe that he could last as long. In the midst of an enforced idleness he felt the movement of the age about him, and he said to himself that he was in the race of which they were only spectators, and that he was born in times when it was impossible to stand still. It is true that, like many young men of to-day, he took movement for progress and change for improvement, and he had no very profound understanding of the condition of his own or of other countries. But the movement and the change are facts from which no one can escape who has had a modern education.

Giovanni Saracinesca, Orsino's father, known as Prince of Sant' Ilario, since the old Prince Saracinesca was still living, had not had a modern education, and his mother had died when he was a mere child. Brought up by men, among men, he had reached manhood early, in close daily association with his father and with a strong natural admiration for him, though with an equally strong sense of personal independence.

Orsino's youth had been different. He was not an only son as Sant' Ilario had been, but the eldest of four brothers, and he had been brought up by his mother as well as by his father and grandfather. There had been less room for his character to develop freely, since the great old house had been gradually filled by a large family. At the same time there had also been less room for old-fashioned prejudices and traditions than formerly, and a good deal less respect for them, as there had been, too, a much more lively consciousness of the outer world's movements. The taking of Rome in 1870 was the death-blow of mediævalism; and the passing away of King Victor Emmanuel and of Pope Pius the Ninth was the end of Italian romanticism, if one may use the expression to designate all that concatenation of big and little events which make up the thrilling story of the struggle for Italian unity. After the struggle for unity, began the struggle for life,—more desperate, more dangerous, but immeasurably less romantic. There is all the difference which lies between banking and fighting.

And Orsino was aware of qualities and feelings and opinions in his father and mother which he did not possess, but which excited in him a sort of envy of what he regarded as their simplicity. Each seemed to have wanted but one thing in life since he could remember them, and that was the other's love, in possessing which each was satisfied and happy. Times might change as they would, popes might die, kings might be crowned, parties might wrangle in political strife, and the whole country might live through its perilous joys of sudden prosperity and turn sour again in the ferment that follows failure,—it was all the same to Giovanni and Corona. As Orsino had told his brother, they had devoured a lifetime of happiness together in secret. He would have added that they had left none for others, and in a sense it might have been true. But he preferred not to say it, even to Ippolito; for it would have sounded bitter, whereas Orsino believed himself to be only indifferent.

Proud men and women hide their griefs and sufferings, when they have any. But there are some who are so very proud that they will hide their happiness also, as though it might lose some of its strength if anyone else could see it, or as if it could be spoiled by the light like a photograph not yet fixed. People sometimes call that instinct the selfishness of love, but it is more like a sort of respect for love itself which is certainly not vulgar, as all selfishness is.

It was not probable that either Giovanni or Corona should change in this respect, nor, indeed, in any other, for they had never been changeable or capricious people, and time had made solid their lives. To each other they were as they had always been, but to others Giovanni was a man advanced in middle life and the beautiful Corona Saracinesca was a rose of yesterday.

She could never be anything but beautiful, even if she should live to extreme old age; but those who had known her in her youth had begun to shake their heads sadly, lamenting the glory departed, and seeing only in recollection a vision of it, while they could not see the value of what remained nor appreciate something which had come with years. Strangers who came to Rome and saw the Princess of Sant' Ilario for the first time, gazed in silent surprise at the woman who for nearly a quarter of a century had been the most beautiful in Europe, and they wondered whether, even now, anyone could be compared with her.

The degeneration of age had not taken hold upon her. The perfect features were as calm and regular as fate, the dark skin had still its clear, warm, olive tint, which very rarely changed at all perceptibly; her splendid eyes were truthful and direct still, beneath the strong black eyebrows. There were silver threads in the magnificent hair, but they were like the lights on a raven's wing. She was straight and strong and graceful still, she had been compared to velvet and steel—slighter perhaps than in her full perfection, for she had in her some of that good Saracen blood of the south, which seems to nourish only the stronger and the finer tissues, consuming in time all that is useless; wearing away the velvet, but leaving the steel intact almost to the very last.

There could be but one such woman in one race, and it seemed in some way natural that she should have been sisterless, and should have borne only sons. But as though nature would not be altogether defeated and stayed out of balance, the delicate feminine element had come to the surface in one of the Saracinesca men. It was too fine to be womanish, too high to be effeminate, as it showed itself in Ippolito, the priest-musician. But it was unmistakably something which was neither in the old Prince, nor in Giovanni, nor in any of the other three brothers, and it made between him and his mother a bond especially their own, which the rest acknowledged without understanding, and respected without feeling that Ippolito was preferred before them. For it was not a preference, but a stronger mutual attraction, in which there was no implied unfairness to the rest.

It is one of the hardest things in the world to explain, and yet almost everyone understands it, for it has nothing to do with language, and everything to do with feeling. We human beings need language most to explain what is most remote from our humanity, and those who talk the most of feeling are often those that feel the least. For conveying a direct impression, what is the sharpened conciseness of Euclid, or the polished eloquence of Demosthenes, what is the sledgehammer word blow of Æschylus, or the lightning thrust of Dante's two-edged tongue, compared with a kiss, or a girl's blush, or the touch of a mother's hand—or the silent certainty of two-fold thought in one, which needs neither blush, nor touch, nor kiss to say that love is all, and all is love?

And that bond which is sometimes between mother and son is of this kind. It is not strange, either, that the father who looks on should misunderstand it, since it is the most especially human feeling which is often the least comprehensible to those who do not feel it, for the very reason that language cannot convey the impression of it to others. Nothing is less ridiculous than love, except death. Yet a man in love is very frequently ridiculous in the eyes of his friends and of the world, the more so in proportion as he shows the more plainly what he feels. Yet most of those who laugh at him have probably been in love themselves. A cynic would say that the humour of it lies in the grim certainty which others feel that it cannot last. Fear is terribly real to him who feels it, but a man who is frightened without cause is always laughable and generally contemptible. It is true that whereas we are all human and feel humanly, humanity is very hard to understand—because understanding is not feeling, any more than the knowledge of evil is temptation, or than the knowledge of good is virtue. The best description of a sunset cannot convey much to a man born blind, though it may awaken longings in him, and sharpen the edge of his old suffering upon the roughness of a new regret. And yet a description means very much more to most people than an explanation.

Sant' Ilario had long ago accepted the fact that his wife was in some mysterious way drawn to her second son, more than to the others. It would be saying too much, perhaps, to assert that Corona was glad when Ippolito took orders and the vow of celibacy. She was not an imaginative woman, nor nervous, nor in any way not normal. Nor were the Saracinesca by any means an excessively devout family, nor connected with the history of the Church, as many Roman families are. On the contrary, they had in former times generally opposed the popes when they had not been strong enough to make one of their own, and the absence of any womanly element in the great house, between the untimely death of the old Prince's wife, and Giovanni Saracinesca's marriage with the Duchessa d'Astrardente nearly thirty years later, had certainly not favoured a tendency to devotional practices. When young Ippolito made up his mind to be a priest, the aged head of the family growled out a few not very edifying remarks in his long white beard. Even ten years earlier, he might have gone into a rage about it, which might have endangered his life, for he had a terrible temper; but he was near the end, now, and it would have taken more than that to rouse him. As for Giovanni, he was not especially pleased either, for he had never been fond of priests, and he assuredly did not care to have any in the family. Yet, in spite of this prejudice, there seemed to him to be a certain fitness in the event, against which it would be useless to argue, and after a little discussion with his wife, he accepted it as more or less inevitable.

But Corona was satisfied, if not glad, and what she felt was very like gladness, for, without reasoning at all, she knew that she should be jealous of any woman who came between her and Ippolito. She had never been able to think of a possible wife for him—as she often thought of wives for her other sons—without a sharp thrust of pain which could not be anything but jealousy. It was not exactly like what she should have felt, or fancied that she should have felt, if Giovanni had been momentarily attracted by some other woman. But it was not at all like anything else in the world.

She did not know how far Ippolito was aware of this, but she knew beyond doubt that he was instinctively drawn to her, as she was to him. She had that intuitive certainty, which women know so well, that in a moment of danger he would think first of her, precisely as her husband would. Such instincts are, perhaps, but shadowy inklings of the gray primeval past, when women and children knew to whom they must look for protection against man and beast; but they are known to us all in connection with those we love best, though they may never cross our thoughts when we are alone.

There was between her and Ippolito a sort of constant mutual echoing of thought and feeling; that sort of sympathy which, between people of sensitive and unhealthy organisation, leads to those things, not easily explained, to which the name of telepathy has lately been attached as a tentative definition. But these two were not unhealthy, nor morbidly sensitive, nor otherwise different from normal human beings. Corona had never been ill in her life, and if Ippolito had been thought delicate in his boyhood, it was by contrast with the rest of a family remarkable for most uncommon health and strength.

All this has seemed necessary in order to explain the events which at this time took place in the Saracinesca household. Nothing unusual had occurred in the family for many years, excepting Orsino's rather foolish and most unlucky attempt to occupy himself in business at the time of the great building speculation, and his first love affair, to which reference was made in the beginning of this somewhat explanatory chapter.

CHAPTER II

When the notorious Prince of Corleone died without much ceremony in a small second-class hotel in Nice, and was buried with no ceremony at all worth mentioning, at the expense of the hotel keeper, his titles and what was left of his lands and other belongings went to his brother's children, since his brother was dead also. The Corleone people were never long-lived, nor had their alliances as a rule conduced to long life in others, who had been their wives and husbands. Superstitious persons said that there was upon the whole family the curse of a priest whom they had caused to be shot as a spy in order to save themselves during the wars of Napoleon in Italy. It was even said that they saw, or thought they saw, this priest when they were about to die. But as priests are plentiful in the south of Italy, it might very well be that their vision was not a vision at all, but simply some quite harmless living ecclesiastic who chanced to be passing at the time. It is true that they were said to notice always a small red hole in his forehead and another in his left cheek, but this also might have been only an effect of imagination. Nevertheless they were unfortunate, as a race, and several of them had come to violent or otherwise untimely ends within the century.

The name, Corleone, was only a title, and the town from which it was taken had long ago passed into other hands. The family name was Pagliuca d'Oriani. As often happens in Italy, they went by whichever one of the three names happened to be most familiar to the speaker who mentioned them.

At the time of the Prince's death there were living his brother's widow and four children, consisting of three sons and one daughter; and there was another branch of the family, calling themselves Pagliuca di Bauso, with whom this history is not at present concerned.

The widowed lady was known in Sicily as Donna Maria Carolina Pagliuca. Her eldest son was Tebaldo, to whom came from his uncle the title, Prince of Corleone; and his two brothers were named Francesco and Ferdinando. Their sister, a girl seventeen years of age, was Vittoria, and was the youngest.

In the ordinary course of events, being of the south, the three sons as well as their father and mother would have each borne a distinctive title. Corleone, however, had begun life by quarrelling with his younger brother; and when the latter had died, and the property had been divided according to the code introduced after the annexation of Naples and Sicily, he had absolutely refused to allow his brother any title whatsoever. He could not prevent the division of the lands, of which, however, he had by far the larger share; but he could keep the titles, with which the law of succession does not concern itself, and he did so out of spite. Moreover, he injured and defrauded his brother by every means in his power, which was at that time considerable; and the result was that the said brother and his family became very poor indeed, and retired to live in a somewhat barbarous region of Sicily, very much in the manner of farmers and very little in the style of gentlefolks. He died of the cholera when his eldest son, Tebaldo, was barely of age, and Vittoria was a little girl at a convent in Palermo.

The three young men lived almost in the surroundings of Sicilian peasants, but with the pride and more than the ordinary vanity of a race of nobles. There might not have been much difference had their uncle been generous to them, instead of at once transferring and continuing to them his hatred of their father. But as they were placed, and with their characters, the result was inevitable. They grew up to be at once idle and vindictive, grasping and improvident, half cunning and half fierce, physically brave and morally mean. The many faults and the few virtues were not evenly distributed among them, it is true, for each had some greater or less share of them all. Tebaldo was the most cunning, Francesco the most licentious, Ferdinando was the boldest and the most rash of them all,—perhaps the best, or, at all events, the least bad.

The house which remained to them, with a little land around it, was known as Camaldoli to the peasants and the people of the neighbourhood, though its original name had been Torre del Druso—the Tower of the Druse, or of the fiend, as one chooses to interpret it. It was a good-sized, rambling, half-fortified old monastery, looking down from a gentle elevation in the high valley on one side, and having a deep gorge at the back, through which a torrent tumbled along over dark stones during three-quarters of the year. There was a sort of rampart above this chasm, and at one end rose a square tower with ruined crenellations, built of almost black tufo. It was evidently this tower which had given the place its more ancient name, before the monks had built their white plastered building against it and the rampart, with the little church in the inner court. The village of Santa Vittoria was about three-quarters of a mile distant, hidden by the spur of the hill, and separated from Camaldoli by a barren stretch of burnt lava and scoriæ, which had descended long ago from some lower crater of the volcano.

Far above all, Etna's enormous cone rose against the dark blue eastern sky like a monstrous, streaked sugar loaf. On each side of the great burnt strip between Santa Vittoria and Camaldoli, the woods and fields stretched north and south towards Messina and Catania, and westwards beyond the valley rose a great range of mountains covered high with forests of chestnut trees. No houses were visible from Camaldoli, nor any shed nor hut which could have served for a human habitation, for it was a wild and lonely country.

The three brothers lived with their mother at Camaldoli, and were served in a rough fashion by three men and four women, almost all of whom were expected to do almost anything, from stable work to cooking and waiting at table. There was a sort of slovenly abundance of coarse food and drink, but there was little else, and many a well-to-do peasant lived better than the sister-in-law and the nephews of Prince Corleone. Donna Maria Carolina scarcely ever left the house in winter or summer. She had been married from a convent, a mere child, had enjoyed a brief taste of luxury and something of happiness at the beginning of life, and had spent the years of subsequent poverty between spasmodic attempts to make gentlemen of her wild sons, bitter outbursts of regret for her marriage, and an apathetic indifference such as only comes upon women of southern races when placed in such hopeless situations as hers. She was a thin, dark woman, with traces of beauty, dressed generally in shabby black, but strangely fond of cheap and tasteless ornaments, which contrasted horribly with her worn-out mourning. As her sons grew up they acquired the habit of contradicting everything she said. Sometimes she argued her point, whatever it might be, and generally in total ignorance of the subject. Her arguments frequently ended in a passionate appeal to the justice of Heaven, and the right feeling of the saints, though the matter under discussion might not be more important than the planting of a cabbage, or the dressing of a dish of greens. Or else, as sometimes happened, she silently bent her brows, while her once handsome mouth curled scornfully, and from her scarcely parted lips one word came in an injured and dramatic tone.

'Villani!' she would exclaim.

The word may be translated 'boors,' and the three boys did not like it, for it is an outrageous insult from a man to a man. But it is worth noting that such rudeness to their mother did not go beyond flat contradiction in argument, and when she called her sons boors, they bore it in silence, and generally went away without a retort. There are no Italians without some traces of manners and of that submission to parents which belonged to the old patriarchal system of the Romans. It must be remembered, too, so far as this and the rest of their behaviour may be concerned, that although their father died when they were young, he had lived long enough to give them something, though not much, in the way of education, chiefly by the help of the parish priest of Santa Vittoria, and to teach them the rudimentary outward manners of young gentlemen. And these they were quite able to assume when they pleased. He had succeeded in having them taught at least enough to pass the very easy examination which entitles young men to serve but a year and a few weeks in the army, instead of the regular term; and he had taken first Tebaldo, then Tebaldo and Francesco, and then all three in successive years to Messina and Palermo for a fortnight at a time, so that they were not wholly ignorant of the world beyond Camaldoli, Santa Vittoria, and the one or two larger towns which lay within a day's ride of their remote abode.

It must not be forgotten, either, in order to understand how the brothers were able afterwards to make a tolerably decent appearance in Rome, that Italians have great powers of social adaptation; and, secondly, that the line between the nobility and the people is very clearly drawn in most parts of the country, especially in the matter of manners and speech, so that what little the young men learned from their father and mother belonged distinctively to their own class and to no other. Even had they been outwardly less polished than they really knew how to appear, their name alone would have admitted them to society, though society might have treated them coolly after a nearer acquaintance.

Vittoria, their sister, remained at the convent in Palermo after their father's death. He, poor man, seeing that his house did not promise to be a very fit place for a young girl, and especially not for one delicately organised as his daughter seemed to be, had placed her with the nuns while still a young child; and under the circumstances this was by far the wisest thing he could do. The nuns were ladies, and the convent was relatively rich. Possibly these facts had too much weight with Pagliuca, or perhaps he honestly believed that he should be able to pay regularly for Vittoria's education and living. Indeed, so long as he lived he managed to send small sums of money from time to time, and even after his death Donna Maria Carolina twice remitted a little money to the nuns. But after that nothing more was sent for a long time. Fortunately for herself, Vittoria was extremely unlike her turbulent brothers and her disappointed mother, and by the time she was ten years old she was the idol of the religious household in which she had been placed. Even had she been very different, of low birth, and of bad temper, the nuns would have kept her, and would have treated her as kindly as they could, and would have done their best by her, though they would very justly have required her to do something towards earning her living under their roof when she grew older. But apart from the child's rare charm and lovable disposition, being of an old and noble name, they would have considered her unfit for menial work, though cast adrift and helpless, and they would have thought her quite as worthy of their sympathy as though she had belonged to the family of one among themselves. All this, however, was quite forgotten in their almost exaggerated affection for the child. They showed their love for her as only such women could; for though there were a dozen other daughters of nobles under their care, of ranging ages, the nuns let no one know that Vittoria was brought up by their charity after her father's death. They gave her all she needed of the best, and they even gave her little presents which she might think had been sent from home. They told her that 'her mother desired her to have' a Book of Hours, or a writing-case, or a silk handkerchief, or any such trifles. Her mother, poor lady, doubtless did desire it, though she never said so. It was a pious and a gentle fraud, and it prevented the other girls from looking down upon her as a charity scholar, as one or two of them might have done. In dress there was no difference, of course, for they all dressed alike, and Vittoria supposed that her parents paid for her things.

She was a very lovely girl as she grew up, and exquisite in all ways, and gentle as she was exquisite. She was not dark as her brothers were, nor as her mother. It is commonly said that all the region about Palermo is Saracen, but that the ancient Greek blood survives from Messina to Catania; and the girl certainly seemed to be of a type that differed from that of her family, which had originally come from the other side of the island. Vittoria had soft brown hair and clear brown eyes of precisely the same colour as the delicate, arched eyebrows above them, a matching which always helps the harmony of any face. There was a luminous clearness, too, in the skin, which both held and gave back the light like the sheen of fine satin in shadow. There was about all her face the dream-like softness of well-defined outline which one occasionally sees in the best cut gems of the Greeks, when the precious stone itself has a golden tinge. The features were not faultless by any standard of beauty which we call perfect, but one would not have changed the faults that were there to suit rule and canon. Such as they were, they will appear more clearly hereafter. It is enough to say now that Vittoria d'Oriani had grace and charm and gentleness, and, withal, a share of beauty by no means small. And she was well educated and well cared for, as has been seen, and was brought up very differently from her brothers.

The existence of the Pagliuca at Camaldoli was not only tolerably wild and rough, as has been seen; it was, in a measure, equivocal; and it may be doubted whether all the doings of the three brothers, as they grew up, could have borne the scrutiny of the law. Sicily is not like other countries in this respect, and, at the risk of wearying the reader, it is better that something should be said at the outset concerning outlawry and brigandage, in order that what follows may be more clearly understood.

Brigandage in Sicily has a sort of intermittent permanence which foreigners cannot easily explain. The mere question which is so often asked—whether it cannot be stamped out of existence—shows a total ignorance of its nature. You may knock off a lizard's tail in winter with a switch, as most people know, but you cannot prevent the tail from growing again in the spring and summer unless you kill the lizard outright.

Brigandage is not a profession, as most people suppose. A man does not choose it as a career. It is the occasional but inevitable result of the national character under certain conditions which are sure to renew themselves from time to time. No one can change national character. The success of brigandage, whenever it manifests itself, depends primarily upon the almost inaccessible nature of some parts of the island, and, secondly, upon the helplessness of the peasants to defend themselves in remote places. It is manifestly impossible to arm a whole population, especially with weapons fit to cope with the first-rate repeating rifles and army revolvers which brigands almost invariably carry. It is equally impossible to picket troops all over the country, at distances not exceeding half a mile from station to station, in every direction, like cabbages in a field. No army would suffice. Therefore when a band is known to have formed, a large force is sent temporarily to the neighbourhood to hunt it down; and this is all that any government could do. The 'band,' as it is always called, may be very small. One man has terrorised a large district before now, and the famous Leone, when at last surrounded, slew nearly a score of men before he himself was killed, though he was quite alone.

Almost every band begins with a single individual, and he, as a rule, has turned outlaw to escape the consequences of a murder done in hot blood, and is, in all probability, a man of respectable birth and some property. It is part of the national character to proceed instantly to bloodshed in case of a quarrel, and quarrels are, unfortunately, common enough. The peasants break one another's heads and bones with their hoes and spades, and occasionally stab each other with inefficient knives, but rarely kill, because the carabineers are constantly making search for weapons, even in the labourers' pockets, and confiscate them without question when found. But the man of some property rarely goes abroad without a shot-gun, or a revolver, or both, and generally knows how to use them. He may go through life without a serious quarrel, but should he find himself involved in one, he usually kills his man at once, or is killed. If there are witnesses present to prove beyond doubt that he has killed in self-defence, he may give himself up to the nearest station of carabineers, and he is sure of acquittal. Otherwise, if he can get away, his only course is to escape to the woods without delay. This seems to be the simple explanation of the fact that such a large proportion of brigands are by no means of the lowest class, but have often been farmers and men of property, who can not only afford good weapons, but are able to get licenses to carry them. Brigands are certainly not, as a rule, from the so-called criminal classes, as foreigners suppose, though when a band becomes very large, a few common criminals may be found in the whole number; but the brigands despise and distrust them.

These things also account for the still more notable fact that the important bands have always had friends among the well-to-do landed proprietors. Indeed, they have not only friends, but often near relations, who will make great sacrifices and run considerable risks to save them from the law. And when any considerable number of brigands are caught, they have generally been betrayed into an ambush by these friends or relations. Sometimes they are massacred by them for the sake of a large reward. But to the honour of the Sicilian character, it must be said that such cases are rare, though a very notable one occurred in the year 1894, when a rich man and his two sons deliberately drugged six brigands at a sort of feast of friendship, and shot them all in their sleep, a massacre which, however, has by no means ended the existence of that particular band.

As for the practices of the bandits, they have three main objects in view: namely, personal safety, provisions wherewith to support life, and then, if possible, money in large sums, which, when obtained, may afford them the means of leaving the country secretly and for ever. With regard to the first of these ends, they are mostly young men, or men still in the prime of strength, good walkers, good riders, good shots, and not rendered conspicuous marks at a distance by a uniform. As for their provisions, when their friends do not supply them, they take what they need wherever they find it, chiefly by intimidating the peasants. In the third matter they have large views. An ordinary person is usually quite safe from them, especially if armed, for they will not risk their lives for anything so mean as highway robbery. It is their object to get possession of the persons of the richest nobles and gentlemen, from whom they can extort a really large ransom. And if they once catch such a personage they generally get the money, for the practice of sending an ear or a piece of nose as a reminder to relations is not extinct. Few Sicilian gentlemen who have lands in the interior dare visit their estates without a military escort when a 'band' is known to be in existence, as happens to be the case at the present time of writing.

It chanced that such a band was gathered together, though not a large one, within a few years of Pagliuca's death, and was leading a precarious and nomadic life for a time not far from Santa Vittoria. It was said that the Pagliuca men were on good terms with these brigands, though of course their mother knew nothing about it. In the neighbourhood no one thought much the worse of the brothers for this. When brigands were about every man had to do the best he could for himself. The Corleone, as many of the peasants called them, were well armed it is true, but they were few, and could not have resisted any depredations of the brigands by force. On the other hand, they had the reputation of being brave and very reckless young men, and even against odds might send a bullet through anyone who tried to carry off a couple of their sheep, or one of their mules. They knew the country well, too, and might be valuable allies to the carabineers, which meant that they could be useful friends to the outlaws if they chose. Everyone knew that they were poor, and that it would not be worth while to take one of them in the hope of a ransom, and no one was surprised when it was hinted that they sold provisions to the brigands for cash when they could get it, and for credit when the brigands had no money, a credit which was perfectly good until the outlaws should be taken.

There was very little direct proof of this alliance, and the Pagliuca denied it in terms which did not invite further questioning. To make a brilliant show of their perfect innocence, they led a dozen carabineers about for two days through a labyrinth of forest paths and hill passes, and brought them three times in forty-eight hours to places where a fire was still smouldering, and remains of half-cooked meat were scattered about, as though the brigands had fled suddenly at an alarm. It was very well done, and they received the officer's thanks for their efforts, with sincere expressions of regret that they should have been unsuccessful. In one of the camps they even found the skin of a sheep which they identified as one of their own, with many loud-spoken curses, by the brand on the back. It was all very well done, and the result of it was that the carabineers often applied for news of the brigands at Camaldoli, a proceeding which of course kept the d'Oriani well informed as to the whereabouts of the carabineers themselves.

It was certainly as well in the end that Vittoria should have stayed at the convent in Palermo during those years, until the death of the old Corleone suddenly changed the existence of her mother and brothers.

He died, as has been said, without much ceremony in a small hotel at Nice. He died childless and intestate, as well as ruined, so far as he knew at the time of his death. The news reached Camaldoli in the shape of a demand for money in payment of one of his just debts, from a money-lender in Palermo who was aware of the existence of the three Pagliuca brothers, and knew that they were the Prince's heirs-at-law.

It took a whole year to unravel the ruin of the dead man's estate. What he had not sold was mortgaged, and the mortgages had changed hands repeatedly during the tremendous financial crisis which began in 1888. There were debts of all kinds, just and unjust, and creditors by the hundred. The steward of the principal estate absconded with such cash as he happened to have in hand as soon as he heard of Corleone's death. An obscure individual shot himself because the steward owed him money, and this also was talked of in the newspapers, and a good deal of printed abuse was heaped upon the dead rake. But one day Ferdinando Pagliuca entered the office of one of the papers in Palermo, struck the editor in the face, forced him into a duel, and ran him through the lungs the next morning. The editor ultimately recovered, but the Pagliuca had asserted themselves, and there was no more scurrilous talk in the press about poor dead Corleone.

Things turned out to be not quite so bad as he had imagined. Here and there a little property had escaped, perhaps because he hardly knew of its existence. There was a small house in Rome, in the new quarter, which he had bought for a young person in whom he had been temporarily interested, and which, by some miracle, was not mortgaged. The mortgages on some of the principal estates in Sicily had found their way to the capacious desk of the Marchese di San Giacinto, whose name was Giovanni Saracinesca, and who represented a branch of that family. San Giacinto was enormously rich, and was a singular combination of old blood and modern instincts; a man of honour, but of terrible will and a good enemy; a man of very large views and of many great projects, some of which were already successfully carried out, some in course of execution, some as yet only planned. In the great crisis, he had neither lost much nor profited immediately by the disasters of others. No one called him grasping, and yet everything worth having that came within his long reach came sooner or later into his possession. When land and houses lost value, and everything in the way of business was dull and dead, San Giacinto was steadily buying. When all had been excitement and mad speculation, he had quietly saved his money and waited. And in the course of his investments he had picked up the best of the Corleone mortgages, without troubling himself much as to whether the interest were very regularly paid or not. Before long he knew very well that it would not be paid at all, and that the lands would fall to him when Corleone should have completely ruined himself.

The Pagliuca family moved to Rome before the settlement of the inheritance was finished, and Vittoria was at last taken from the convent and accompanied her mother. Ferdinando alone remained at Camaldoli. The family established themselves in an apartment in the new quarter, and began to live well, if not extravagantly, on what was still a very uncertain income. Tebaldo, who managed all the business himself, succeeded in selling the house in Rome advantageously. Through San Giacinto he made acquaintance with a few Romans, who treated him courteously and regarded him with curiosity as the nephew of the notorious Prince Corleone. As for the title, San Giacinto advised him not to assume it at once, as it would not be of any especial advantage to him.

San Giacinto was on excellent terms with all his Saracinesca relations, and very naturally spoke to them about the d'Oriani. In his heart he did not like and did not trust Tebaldo, and thought his brother Francesco little better; but, in spite of this, he could not help feeling a sort of pity for the two young men, whose story reminded him of his own romantic beginnings. San Giacinto was a giant in strength and stature, and it is undoubtedly true that in all giants a tendency to good-nature and kindliness will sooner or later assert itself. He was advancing in years now, and the initial hardness of his rough nature had been tempered by years of success and of almost phenomenal domestic felicity. He was strong still in body and mind, and not easily deceived; but he had grown kind. He pitied the Pagliuca tribe, and took his wife to see Donna Maria Carolina. He persuaded the Princess of Sant' Ilario to receive her and make acquaintance, and the Marchesa di San Giacinto brought her to the palace one afternoon with Vittoria.

Corona thought the mother pretentious, and guessed that she was at once bad-tempered and foolish; but she saw at a glance that the young girl was of a very different type, and a few kindly questions, while Donna Maria Carolina talked with the Marchesa, explained to Corona the mystery. Vittoria had never been at home, even for a visit, during the ten years which had elapsed since she had been placed at the convent, and her mother was almost a stranger to her. She was not exactly timid, as Corona could see, but her young grace was delicately nurtured, and shrank and froze in the presence of her mother's coarse-grained self-assertion.

'Shall we marry her in Rome, do you think, Princess?' asked Donna Maria Carolina, nodding her head indicatively towards her daughter, while her eyes looked at Corona, and she smiled with much significance.

Vittoria's soft brown eyes grew suddenly bright and hard, and the blood sprang up in her face as though she had been struck, and her small hands tightened quietly on her parasol; but she said nothing, and looked down.

'I hope that your daughter may marry very happily,' said Corona, with a kind intonation, for she saw the girl's embarrassment and understood it.

The Marchesa di San Giacinto laughed quite frankly. Her laughter was good-humoured, not noisy, and distinctly aristocratic, it is true; but Vittoria resented it, because she knew that it was elicited by her mother's remark, which had been in bad taste. Corona saw this also.

'You always laugh at the mention of marriage, Flavia,' said the Princess, 'and yet you are the most happily married woman I know.'

'Oh, that is true!' answered the Marchesa. 'My giant is good to me, even now that my hair is gray.'

It was true that there were many silver threads in the thick and waving hair that grew low over her forehead, but her face had lost none of its freshness, and her eyes had all their old vivacity. She was of the type of women who generally live to a great age.

Donna Maria Carolina rose to go. In saying good-bye, Corona took Vittoria's hand.

'I am sorry that it is so late in the season, my dear,' she said. 'You will have little to amuse you until next year. But you must come to dinner with your mother. Will you come, and bring her?' she asked, turning to Donna Maria Carolina.

The Marchesa di San Giacinto stared in well-bred surprise, for Corona was not in the habit of asking people to dinner at first sight. Of course her invitation was accepted.

CHAPTER III

San Giacinto and his wife came to the dinner, and two or three others, and the d'Oriani made a sort of formal entry into Roman society under the best possible auspices. In spite of Corona's good taste and womanly influence, festivities at the Palazzo Saracinesca always had an impressive and almost solemn character. Perhaps there were too many men in the family, and they were all too dark and grave, from the aged Prince to his youngest grandson, who was barely of age, and whose black eyebrows met over his Roman nose and seemed to shade his eyes too much. Ippolito, the exception in his family, as Vittoria d'Oriani was in hers, did not appear at table, but came into the drawing-room in the evening. The Prince himself sat at the head of the table, and rarely spoke. Corona could see that he was not pleased with the Pagliuca tribe, and she did her best to help on conversation and to make Flavia San Giacinto talk, as she could when she chose.

From time to time, she looked at Orsino, whose face that evening expressed nothing, but whose eyes were almost constantly turned towards Vittoria. It had happened naturally enough that he sat next to her, and it was an unusual experience for him. Of course, in the round of society, he occasionally found himself placed next to a young girl at dinner, and he generally was thoroughly bored on such occasions. It was either intentional or accidental on the part of his hosts, whoever they might be. If it was intentional, he had been made to sit next to some particularly desirable damsel of great birth and fortune in the hope that he might fall in love with her and make her the future Princess Saracinesca. And he resented in gloomy silence every such attempt to capture him. If, on the other hand, he chanced to be accidentally set down beside a young girl, it happened according to the laws of precedence; and it was ten to one that the young lady had nothing to recommend her, either in the way of face, fortune, or conversation. But neither case occurred often.

The present occasion was altogether exceptional. Vittoria d'Oriani had never been to a dinner-party before, and everything was new to her. It was quite her first appearance in society, and Orsino Saracinesca was the first man who could be called young, except her brothers, with whom she had ever exchanged a dozen words. It was scarcely two months since she had left the convent, and during that time her mind had been constantly crowded with new impressions, and as constantly irritated by her mother's manner and conversation. Her education was undoubtedly very limited, though in this respect it only differed in a small degree from that of many young girls whom Orsino had met; but it was liberal as compared with her mother's, as her ideas upon religion were broad in comparison with Donna Maria Carolina's complicated system of superstition.

Vittoria's brown eyes were very wide open, as she sat quietly in her place, listening to what was said, and tasting a number of things which she had never seen before. She looked often at Corona, and wished that she might be like her some day, which was quite impossible. And she glanced at Orsino from time to time, and answered his remarks briefly and simply. She could not help seeing that he was watching her, and now and then the blood rose softly in her cheeks. On her other side sat Gianbattista Pietrasanta, whose wife was a Frangipani, and who was especially amused and interested by Vittoria's mother, his other neighbour, but paid little attention to the young girl herself.

A great writer has very truly said that psychological analysis, in a book, can never be more than a series of statements on the part of the author, telling what he himself fancies that he might have felt, could he have been placed in the position of the particular person whom he is analysing. It is extremely doubtful whether any male writer can, by the greatest effort of imagination, clothe himself in the ingenuous purity of thought and intention which is the whole being of such a young girl as Vittoria d'Oriani when she first enters the world, after having spent ten years in a religious community of refined women.

The creature we imagine, when we try to understand such maiden innocence, is colourless and dull. Her mind and heart are white as snow, but blankly white, as the snow on a boundless plain, without so much as a fence or a tree to relieve the utter monotony. There is no beauty in such whiteness in nature, except when it blushes at dawn and sunset. Alone on snow, and with nothing but snow in sight, men often go mad; for snow-madness is a known and recognised form of insanity.

Evidently our imagination fails to evoke a true image in such a case. We are aware that maiden innocence is a state, and not a form of character. The difficulty lies in representing to ourselves a definite character in just that state. For to the word innocence we attach no narrow meaning; it extends to every question that touches humanity, to every motive in all dealings, and to every purpose which, in that blank state, a girl attributes to all human beings, living and dead. It is a magic window through which all good things appear clearly, though not often truly, and all bad things are either completely invisible, or seen in a dull, neutral, and totally uninteresting shadow of uniform misunderstanding. We judge that it must be so, from our observation. This is not analysis, but inspection.

Behind the blank lies, in the first place, the temperament, then the character, then the mind, and then that great, uncertain element of heredity, monstrous or god-like, which animates and moves all three in the gestation of unborn fate, and which is fate itself in later life, so far as there is any such thing as fatality.

Behind the blank there may be turbulent and passionate blood, there may be a character of iron and a man-ruling mind. But the blank is a blank, for all that. Catherine of Russia was once an innocent and quiet little German girl, with empty, wondering eyes, and school-girl sentimentalities. Goethe might have taken her for Werther's Charlotte. Good, bad, or indifferent, the future woman is at the magic window, and all that she is to be is within her already.

Vittoria d'Oriani was certainly not to be a Catherine, but there was no lack of conflicting heredities beneath her innocence. Orsino had thought more than most young men of his age, and he was aware of the fact, as he looked at her and talked with her, and carried on one of those apparently empty conversations, of which the recollection sometimes remains throughout a lifetime, while he quietly studied her face, and tried to find out the secret of its rare charm.

He began by treating her almost as a foreigner. He remembered long afterwards how he smiled as he asked her the first familiar question, as though she had been an English girl, or Miss Lizzie Slayback, the heiress from Nevada.

'How do you like Rome?'

'It is a great city,' answered Vittoria.

'But you do not like it? You do not think it is beautiful?'

'Of course, it is not Palermo,' said the young girl, quite naturally. 'It has not the sea; it has not the mountains—'

'No mountains?' interrupted Orsino smiling. 'But there are mountains all round Rome.'

'Not like Palermo,' replied Vittoria, soberly. 'And then it has not the beautiful streets.'

'Poor Rome!' Orsino laughed a little. 'Not even fine streets! Have you seen nothing that pleases you here!'

'Oh yes,—there are fine houses, and I have seen the Tiber, and the Queen, and—' she stopped short.

'And what else?' inquired Orsino, very much amused.

Vittoria turned her brown eyes full upon him, and paused a moment before she answered.

'You are making me say things which seem foolish to you, though they seem sensible to me,' she said quietly.

'They seem original, not foolish. It is quite true that Palermo is a beautiful city, but we Romans forget it. And if you have never seen another river, the Tiber is interesting, I suppose. That is what you mean. No, it is quite reasonable.'

Vittoria blushed a little, and looked down, only half reassured. It was her first attempt at conversation, and she had said what she thought, naturally and simply. She was not sure whether the great dark young man, who had eyes exactly like his mother's, was laughing at her or not. But he did not know that she had never been to a party in her life.

'Is the society in Palermo amusing?' he inquired carelessly.

'I do not know,' she answered, again blushing, for she was a little ashamed of being so very young. 'I left the convent on the day we started to come to Rome. And my mother did not live in Palermo,' she added.

'No—I had forgotten that.'

Orsino relapsed into silence for a while. He would willingly have given up the attempt at conversation, so far as concerned any hope of making it interesting. But he liked the sound of Vittoria's voice, and he wished she would speak again. On his right hand was Tebaldo, who, as the head of a family, and not a Roman, sat next to Corona. He seemed to be making her rather bold compliments. Orsino caught a phrase.

'You are certainly the most beautiful woman in Italy, Princess,' the Sicilian was saying.

Orsino raised his head, and turned slowly towards the speaker. As he did so, he saw his mother's look. Her brows were a little contracted, which was unusual, but she was just turning away to speak to San Giacinto on her other side, with an otherwise perfectly indifferent expression. Orsino laughed.

'My mother has been the most beautiful woman in Europe since before I was born,' he said, addressing Tebaldo rather pointedly, for the latter's remark had been perfectly audible to him.

Tebaldo had a thin face, with a square, narrow forehead, and heavy jaws that came to an overpointed chin. His upper lip was very short, and his moustache was unusually small, black and glossy, and turned up at the ends in aggressive points. His upper teeth were sharp, long, and regular, and he showed them when he smiled. The smile did not extend upwards above the nostrils, and there was something almost sinister in the still black eyes. In the front view the lower part of the face was triangular, and the low forehead made the upper portion seem square. He was a man of bilious constitution, of an even, yellow-brown complexion, rather lank and bony in frame, but of a type which is often very enduring. Such men sometimes have violent and uncontrolled tempers, combined with great cunning, quickness of intelligence, and an extraordinary power of taking advantage of circumstances.

Tebaldo smiled at Orsino's remark, not at all acknowledging that it might be intended as a rebuke.

'It is hard to believe that she can be your mother,' he said quietly, and with such frankness as completely disarmed resentment.

But Orsino in his thoughts contrasted Tebaldo's present tone with the sound of his voice when speaking to the Princess an instant earlier, and he forthwith disliked the man, and believed him to be false and double. Corona either had not heard, or pretended not to hear, and talked indifferently with San Giacinto, whose vast, lean frame seemed to fill two places at the table, while his energetic gray head towered high above everyone else. Orsino turned to Vittoria again.

'Should you be pleased if someone told you that you were the most beautiful young lady in Italy?' he enquired.

Vittoria looked at him wonderingly.

'No,' she answered. 'It would not be true. How should I be pleased?'

'But suppose, for the sake of argument, that it were true. I am imagining a case. Should you be pleased?'

'I do not know—I think—' She hesitated and paused.

'I am very curious to know what you think,' said Orsino, pressing her for an answer.

'I think it would depend upon whether I liked the person who told me so.' Again the blood rose softly in her face.

'That is exactly what I should think,' answered Orsino gravely. 'Were you sorry to leave the convent?'

'Yes, I cried a great deal. It was my home for so many years, and I was so happy there.'

The girl's eyes grew dreamy as she looked absently across the table at Guendalina Pietrasanta. She was evidently lost in her recollections of her life with the nuns. Orsino was almost amused at his own failure.

'Should you have liked to stay and be a nun yourself?' he inquired, with a smile.

'Yes, indeed! At least—when I came away I wished to stay.'

'But you have changed your mind since? You find the world pleasanter than you expected? It is not a bad place, I daresay.'

'They told me that it was very bad,' said Vittoria seriously. 'Of course they must know, but I do not quite understand what they mean. Can you tell me something about it, and why it is bad, and what all the wickedness is?'

Orsino looked at her quietly for a moment, realising very clearly the whiteness of her life's unwritten page.

'Your nuns may be right,' he said at last. 'I am not in love with the world, but I do not believe that it is so very wicked. At least, there are many good people in it, and one can find them if one chooses. No doubt, we are all miserable sinners in a theological sense, but I am not a theologian. I have a brother who is a priest, and you will see him after dinner; but though he is a very good man, he does not give one the impression of believing that the world is absolutely bad. It is true that he is rather a dilettante priest.'

Vittoria was evidently shocked, for her face grew extraordinarily grave and a shade paler. She looked at Orsino in a startled way and then at her plate.

'What is the matter?' he asked quickly. 'Have I shocked you?'

'Yes,' she answered, almost in a whisper and still looking down. 'That is,' she added with hesitation, 'perhaps I did not quite understand you.'

'No, you did not, if you are shocked. I merely meant that although my brother is a very good man, and a very religious man, and believes that he has a vocation, and does his best to be a good priest, he has other interests in life for which I am sure that he cares more, though he may not know it.'

'What other interests?' asked Vittoria, rather timidly.

'Well, only one, perhaps—music. He is a musician first, and a priest afterwards.'

The young girl's face brightened instantly. She had expected something very terrible, perhaps, though quite undefined.

'He says mass in the morning,' continued Orsino, 'and it may take him an hour or so to read his breviary conscientiously in the afternoon. The rest of his time he spends over the piano.'

'But it is not profane music?' asked Vittoria, growing anxious again.

'Oh no!' Orsino smiled. 'He composes masses and symphonies and motetts.'

'Well, there is no harm in that,' said Vittoria, indifferently, being again reassured.

'Certainly not. I wish I had the talent and the interest in it to do it myself. I believe that the chief real wickedness is doing nothing at all.'

'Sloth is one of the capital sins,' observed Vittoria, who knew the names of all seven.

'It is also the most tiresome sin imaginable, especially when one is condemned to it for life, as I am.'

The young girl looked at him anxiously, and there was a little pause.

'What do you mean?' she asked. 'No one is obliged to be idle.'

'Will you find me an occupation?' Orsino asked in his turn, and with some bitterness. 'I shall be gratified.'

'Is not doing good an occupation? I am sure that there must be plenty of opportunities for that.'

She felt more sure of herself when upon such ground. Orsino did not smile.

'Yes. It might take up a man's whole life, but it is not a career—'

'It was the career of many of the saints!' interrupted Vittoria, cheerfully, for she was beginning to feel at her ease at last. 'Saint Francis of Assisi—Saint Clare—Saint—'

'Pray for us!' exclaimed Orsino, as though he were responding in a litany.

Vittoria's face fell instantly, and he regretted the words as soon as he had spoken them. She was like a sensitive plant, he thought; and yet she had none of the appearance of an over-impressionable, nervous girl. It was doubtless her education.

'I have shocked you again,' he said gravely. 'I am sorry, but I am afraid that you will often be shocked, at first. Yes; I have no doubt that to the saints doing good was a career, and that a saint might make a career of it nowadays. But you see I am not one. What I should like would be to have a profession of some sort, and to work at it with all my might.'

'What a strange idea!' Vittoria looked at him in surprise; for though her three brothers had been almost beggars for ten years, it had never struck them that they could possibly have a profession. 'But you are a noble,' she added thoughtfully. 'You will be the Prince Saracinesca some day.'

Orsino laughed.

'We do not think so much of those things as we did once,' he answered. 'I would be a doctor, if I could, or a lawyer, or a man of business. I do not think that I should like to be a shopkeeper, though it is only a matter of prejudice—'

'I should think not!' cried Vittoria, startled again.

'It would be much more interesting than the life I lead. Almost any life would be, for that matter. Of course, if I had my choice—' He stopped.

Vittoria waited, her eyes fixed earnestly on his face, but she said nothing. Somehow she was suddenly anxious to know what his choice would be. He felt that she was watching him, and turned towards her. Their eyes met in silence, and he smiled, but her face remained grave. He was thinking that this must certainly be one of the most absurd conversations in which he had ever been engaged, but that somehow it did not appear absurd to himself, and he wondered why.

'If I had my choice—' He paused again. 'I would be a leader,' he added suddenly.

He was still young, and there was ambition in him. His dark eyes flashed like his mother's, a warmer colour rose for one instant under his olive skin; the fine, firm mouth set itself.

'I think you could be,' said Vittoria, almost under her breath and half unconsciously.

Then, all at once, she blushed scarlet, and turned her face away to hide her colour. If there is one thing in woman which more than any other attracts a misunderstood man, it is the conviction that she believes him capable of great deeds; and if there is one thing beyond others which leads a woman to love a man, it is her own certainty that he is really superior to those around him, and really needs woman's sympathy. Youth, beauty, charm, eloquence, are all second to these in their power to implant genuine love, or to maintain it, if they continue to exist as conditions.

It mattered little to Vittoria that she had as yet no means whatever of judging whether Orsino Saracinesca had any such extraordinary powers as might some day make him a leader among men. She had been hardly conscious of the strong impression she had received, and which had made her speak, and she was far too young and simple to argue with herself about it. And he, on his part, with a good deal of experience behind him and the memory of one older woman's absolute devotion and sacrifice, felt a keen and unexpected pleasure, quite different from anything he remembered to have felt before now. Nor did he reason about it at first, for he was not a great reasoner and his pleasures in life were really very few.

A moment or two after Vittoria had spoken, and when she had already turned away her face, Orsino shook his head almost imperceptibly, as though trying to throw something off which annoyed him. It was near the end of dinner before the two spoke to each other again, though Vittoria half turned towards him twice in the mean time, as though expecting him to speak, and then, disappointed, looked at her plate again.

'Are you going to stay in Rome, or shall you go back to Sicily?' he asked suddenly, not looking at her, but at the small white hand that touched the edge of the table beside him.

Vittoria started perceptibly at the sound of his voice, as though she had been in a reverie, and her hand disappeared at the same instant. Orsino found himself staring at the tablecloth, at the spot where it had lain.

'I think—I hope we shall stay in Rome,' she answered. 'My brother has a great deal of business here.'

'Yes. I know. He sees my cousin San Giacinto about it almost every day.'

'Yes.'

Her face grew thoughtful again, but not dreamily so as before, and she seemed to hesitate, as though she had more to say.

'What is it?' asked Orsino, encouraging her to go on.

'Perhaps I ought not to tell you. The Marchese wishes to buy Camaldoli of us.'

'What is Camaldoli?'

'It is the old country house where my mother and my brothers lived so long, while I was in the convent, after my father died. There is a little land. It was all we had until now.'

'Shall you be glad if it is sold, or sorry?' asked Orsino, thoughtfully, and watching her face.

'I shall be glad, I suppose,' she answered. 'It would have to be divided among us, they say. And it is half in ruins, and the land is worth nothing, and there are always brigands.'

Orsino laughed.

'Yes. I should think you might be very glad to get rid of it. There is no difficulty about it, is there?'

'Only—I have another brother. He likes it and has remained there. His name is Ferdinando. No one knows why he is so fond of the place. They need his consent, in order to sell it, and he will not agree.'

'I understand. What sort of a man is your brother Ferdinando?'

'I have not seen him for ten years. They are afraid of—I mean, he is afraid of nothing.'

There was something odd, Orsino thought, about the way the young girl shut her lips when she checked herself in the middle of the sentence, but he had no idea what she had been about to say. Just then Corona nodded slightly to the aged Prince at the other end of the table, and dinner was over.

'I should think it would be necessary for San Giacinto to see this other brother of yours,' observed Orsino, finishing the conversation as he rose and stood ready to take Vittoria out.

The little ungloved hand lay like a white butterfly on his black sleeve, and she had to raise her arm a little to take his, though she was not short. Just before them went San Giacinto, darkening the way like a figure of fate. Vittoria looked up at him, almost awe-struck at his mere size.

'How tall he is!' she exclaimed in a very low voice. 'How very tall he is!' she said again.

'We are used to him,' answered Orsino, with a short laugh. 'But he has a big heart, though he looks so grim.'

Half an hour later, when the men were smoking in a room by themselves, San Giacinto came and sat down by Orsino in the remote corner where the latter had established himself, with a cigarette. The giant, as ever of old, had a villainous-looking black cigar between his teeth.

'Do you want something to do?' he asked bluntly.

'Yes.'

'Do you care to live in Sicily for a time?'

'Anywhere—Japan, if you like.'

'You are easily pleased. That means that you are not in love just at present, I suppose.'

San Giacinto looked hard at his young cousin for some time, in silence. Orsino met his glance quietly, but with some curiosity.

'Do you ever go to see the Countess Del Ferice?' asked the big man at last.

Orsino straightened himself in his chair and frowned a little, and then looked away as he answered by a cross-question, knocking the ash off his cigarette upon a little rock crystal dish at his elbow.

'Why do you ask me that?' he inquired rather sternly.

'Because you were very much attracted by her once, and I wished to know whether you had kept up the acquaintance since her marriage.'

'I have kept up the acquaintance—and no more,' answered Orsino, meeting his cousin's eyes again. 'I go to see the Countess from time to time. I believe we are on very good terms.'

'Will you go to Sicily with me if I need you, and stay there, and get an estate in order for me?'

'With pleasure. When?'

'I do not know yet. It may be in a week, or it may be in a month. It will be hot there, and you will have troublesome things to do.'

'So much the better.'

'There are brigands in the neighbourhood just now.'

'That will be very amusing. I never saw one.'

'You may tell Ippolito if you like, but please do not mention it to anyone else until we are ready to go. You know that your mother will be anxious about you, and your father is a conservative—and your grandfather is a firebrand, if he dislikes an idea. One would think that at his age his temper should have subsided.'

'Not in the least!' Orsino smiled, for he loved the old man, and was proud of his great age.

'But you may tell Ippolito if you like, and if you warn him to be discreet. Ippolito would let himself be torn in pieces rather than betray a secret. He is by far the most discreet of you all.'

'Yes. You are right, as usual. You have a good eye for a good man. What do you think of all these Pagliuca people, or Corleone, or d'Oriani—or whatever they call themselves?' Orsino looked keenly at his cousin as he asked the question.

'Did you ever meet Corleone? I mean the one who married Norba's daughter,—the uncle of these boys.'

'I met him once. From all accounts, he must have been a particularly disreputable personage.'

'He was worse than that, I think. I never blamed his wife. Well—these boys are his nephews. I do not see that any comment is necessary.' San Giacinto smiled thoughtfully.

'This young girl is also his niece,' observed Orsino rather sharply.

'Who knows what Tebaldo Pagliuca might have been if he had spent ten years amongst devout old women in a convent?' The big man's smile developed into an incredulous laugh, in which Orsino joined.

'There has certainly been a difference of education,' he admitted. 'I like her.'

'You would confer a great benefit upon a distressed family, by falling in love with her,' said San Giacinto. 'That worthy mother of hers was watching you two behind Pietrasanta's head, during dinner.'

'Another good reason for going to Sicily,' answered Orsino. 'The young lady is communicative. She told me, this evening, that you were trying to buy some place of theirs,—I forget the name,—and that one of her brothers objects.'

'That is exactly the place I want you to manage. The name is Camaldoli.'

'Then there is no secret about it,' observed Orsino. 'If she has told me, she may tell the next man she meets.'

'Certainly. And mysteries are useless, as a rule. I do not wish to make any with you, at all events. Here are the facts. I am going to build a light railway connecting all those places; and I am anxious to get the land into my possession, without much talk. Do you understand? This place of the Corleone is directly in my line, and is one of the most important, because it is at a point through which I must pass, to make the railway at all, short of an expensive tunnel. Your management will simply consist in keeping things in order until the railway makes the land valuable. Then I shall sell it, of course.'

'I see. Very well. Could you not give my old architect something to do? Andrea Contini is his name. The houses we built for Del Ferice have all turned out well, you know.' Orsino laughed rather bitterly.

'Remind me of him at the proper time,' said San Giacinto. 'Tell him to learn something about building small railway stations. There will be between fifteen and twenty, altogether.'

'I will. But—do you expect that a railway in Sicily will ever pay you?'

'No. I am not an idiot.'

'Then why do you build one, if that is not an indiscreet question?'

'The rise in the value of all the land I buy will make it worth while, several times over. It is quite simple.'

'It must take an enormous capital,' said Orsino, thoughtfully.

'It needs a large sum of ready money. But the lands are generally mortgaged for long periods, and almost to two-thirds of their selling value. The holders of the mortgages do not care who owns the land. So I pay about one-third in cash.'

'What becomes of the value of a whole country, when all the land is mortgaged for two-thirds of what it is worth?' asked Orsino, carelessly, and half laughing.

But San Giacinto did not laugh.

'I have thought about that,' he answered gravely. 'When the yield of the land is not enough to pay the interest on the mortgages, the taxes to the government, and some income to the owners, they starve outright, or emigrate. There is a good deal of starvation nowadays, and a good deal of emigration in search of bread.'

'And yet they say that the value of land is increasing almost all over the country,' objected Orsino. 'You count on it yourself.'

'The value rises wherever railways and roads are built.'

'And what pays for the railways?'

'The taxes.'