The Eternal City. Sir Hall Caine
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and then you'll send for the child, and for me too, I daresay.' But I could see that the doctor was not listening. 'Let us slip away now,' I said, and we stole out somehow."
Roma's eyes were moistening, and the little tool was trembling in her hand.
There was silence for some moments, and then from without, muffled by the walls it passed through, there came the sound of voices. The nuns and children of Trinità de' Monti were singing their Benediction—Ora pro nobis!
"I don't think I'll do any more to-day," said Roma. "The light is failing me, and my eyes. … "
"The day after to-morrow, then," said Rossi, rising.
"But do you really wish to go to the opera to-morrow night?"
He looked steadfastly into her face and answered "Yes."
She understood him perfectly. He had sinned against her and he meant to atone. She could not trust herself to look at him, so she took the damp cloth and turned to cover up the clay. When she turned back he was gone.
After dinner she replied to the Baron's letter of the day before.
"Dear Baron—I have misgivings about being on the right track, and feel sorry you have set Minghelli to work so soon. Do Prime Ministers appoint people at the mere mention of their names by wards, second cousins, and lady friends generally? Wouldn't it have been wise to make inquiries? What was the fault for which Minghelli was dismissed in London?
"As for D. R., I must have been mistaken about his knowing me. He doesn't seem to know me at all, and I believe his shot at me by way of my father was a fluke. At all events, I'm satisfied that it is going in the wrong direction to set Minghelli on his trail. Leave him to me alone.—Yours,
Roma.
"P.S.—Princess Potiphar and Don Saint Joseph are to take me to the new opera to-morrow night. D. R. is also to be there, so he will be seen with me in public!
"I have begun work on King David for a bust. He is not so wonderfully good-looking when you look at him closely."
IV
The little Princess called for Roma the following night, and they drove to the opera in her magnificent English carriage. Already the theatre was full and the orchestra was tuning up. With the movement of people arriving and recognising each other there was an electrical atmosphere which affected everybody. Don Camillo came, oiled and perfumed, and when he had removed the cloaks of the ladies and they took their places in the front of the box, there was a slight tingling all over the house. This pleased the little Princess immensely, and she began to sweep the place with her opera-glass.
"Crowded already!" she said. "And every face looking up at my box! That's what it is to have for your companion the most beautiful and the most envied girl in Rome. What a sensation! Nothing to what it will be, though, when your illustrious friend arrives."
At that moment David Rossi appeared at the back, and the Princess welcomed him effusively.
"So glad! So honoured! Gi-gi, let me introduce you—Honourable Rossi, Don Camillo Luigi Murelli."
Roma looked at him—he had an air of distinction in a dress coat such as comes to one man in a thousand. He looked at Roma—she wore a white gown with violets on one shoulder and two rows of pearls about her beautiful white throat. The Princess looked at both of them, and her little eyes twinkled.
"Never been here before, Mr. Rossi? Then you must allow me to explain everything. Take this chair between Roma and myself. No, you must not sit back. You can't mind observation—so used to it, you know."
Without further ado David Rossi took his place in front of the box, and then a faint commotion passed over the house. There were looks of surprise and whispered comments, and even some trills of laughter.
He bore it without flinching, as if he had come for it and expected it, and was taking it as a penance.
Roma dropped her head and felt ashamed, but the little Princess went on talking. "These boxes on the first tier are occupied by Roman society generally, those on the second tier mainly by the diplomatic corps, and the stalls are filled by all sorts and conditions of people—political people, literary people, even trades-people if they're rich enough or can pretend to be."
"And the upper circles?" asked Rossi.
"Oh," in a tired voice, "professional people, I think—Collegio Romano and University of Rome, you know."
"And the gallery?"
"Students, I suppose." Then eagerly, after bowing to somebody below, "Gi-gi, there's Lu-lu. Don't forget to ask him to supper. … All the beautiful young men of Rome are here to-night, Mr. Rossi, and presently they'll pay a round of calls on the ladies in the boxes."
The voice of the Princess was suddenly drowned by the sharp tap of the conductor, followed by the opening blast of the overture. Then the lights went down and the curtain rose, but still the audience kept up a constant movement in the lower regions of the house, and there was an almost unbroken chatter.
The curtain fell on the first act without anybody knowing what the opera had been about, except that Samson loved a woman named Delilah, and the lords of the Philistines were tempting her to betray him. Students in the gallery, recognisable by their thin beards, shouted across at each other for the joy of shouting, and spoke by gestures to their professors below. People all over the house talked gaily on social subjects, and there was much opening and shutting of the doors of boxes. The beautiful young man called Lu-lu came to pay his respects to the Princess, and there was a good deal of gossip and laughter.
The second act was more dramatic than the first, showing Samson in his character as a warrior, and when the curtain came down again, General Morra, the Minister of War, visited the Princess's box.
"So you're taking lessons in the art of war from the professor who slew an army with the jaw-bone of an ass?" said Don Camillo.
"Wish we could enlist a few thousands of him—jaw-bones as well," said the General. "The gentleman might be worth having at the War Office, if it was only as a jettatura." And then in a low voice to the Princess, with a glance at Roma, "Your beautiful young friend doesn't look so well to-night."
The Princess shrugged her shoulders. "Of the pains of love one suffers but does not die," she whispered.
"You surely cannot mean. … "
The Princess put the tip of her fan to his lips and laughed.
Roma was conscious of a strange conflict of feelings. The triumph she had promised herself by David Rossi's presence with her in public—the triumph over the envious ones who would have rejoiced in her downfall—brought her no pleasure.
The third act dealt with the allurements of Delilah, and was received with a good deal of laughter.
"Ah, these sweet, round, soft things—they can do anything they like with the giants," said Don Camillo.
The Baron, who had dined with the King, came round at the end of the next act, wearing a sash diagonally across his breast, with crosses, stars, and other decorations. He bowed to David Rossi with ceremonious politeness, greeted Don Camillo familiarly, kissed the hand of the Princess, and offered his arm to Roma to take her into the corridor to cool—she was flushed and overheated.
"I see you are getting on, my child! Excellent idea to bring him here! Everybody is saying you cannot be the person he intended, so his trumpet has brayed to no purpose."
"You received my letters?" she said in a faltering voice.
"Yes, but don't be uneasy. I'm neither the prophet nor the son of a prophet if we are not on the right track. What a fortunate thought about the man Minghelli! An inspiration! You asked what his fault was in London—forgery,