Marzio's Crucifix, and Zoroaster by F. Marion Crawford (classic reads .TXT) 📖

which was not half an hour old, and the love for his child, which had been so quickly roused during the last five minutes.

"Well—Lucia, my dear—I do not know—" he stopped short in his walk and looked at her. She leaned forward as though to catch his words.

"Do you think you could not—that you would be so very unhappy, I mean, if he lived out of the house—I mean to say, if he had lodgings, somewhere, and came back to work?"

"Oh, papa—I should faint away again—and I should die. I am quite sure of it."

Marzio looked anxiously at her, as though he expected to see her fall to the ground a second time. It went against the grain of his nature to take Gianbattista back, although he had discharged him hastily in the anger of the moment. He turned away and glanced at the bench. There were the young man's tools, the hammer as he had left it, the piece of work on the leathern pad. The old impulse of foresight for the future acted in Marzio's mind. He could never find such another workman. In the uncertainty of the moment, as often happens, details rose to his remembrance and produced their effect. He recollected the particular way in which Gianbattista used to hold the blunt chisel in first tracing over the drawing on a silver plate. He had never seen any one do it in the same way.

"Well, Lucia—don't faint away. If you can make him stay, I will take him back. But I am afraid you will have hard work. He will make difficulties. He threw the money in my face, Lucia—in your father's face, girl! Think of that. Well, well, do what you like. He is a good workman. Go away, child, and leave me to myself. What will you say to him?"

Lucia threw her arms round her father's neck and kissed him in her sudden joy. Then she stood a moment in thought.

"Give me his money," she said. "If he will take the money he will come back."

Marzio hesitated, slowly drew out his purse, and began to take out the notes.

"Well—if you will have it so," he grumbled. "After all, as he threw it away, I do not see that he has much right to it. There it is. If he says anything about that ten-franc note being torn, tell him he tore it himself. Go home, Lucia, and manage things as you can."

Lucia put the money in her glove, and busied herself for a moment in brushing the dust from her clothes. Mechanically, her father helped her.

"You are quite sure you did not hurt yourself?" he asked. The whole occurrence seemed indistinct, as though some one had told something which he had not understood—as we sometimes listen to a person reading aloud, and, missing by inattention the verb of the sentence, remain confused, and ask ourselves what the words mean.

"No—not at all. It is nothing," answered Lucia, and in a moment she was at the door.

Opening it to go out, she saw the tall figure of Don Paolo at the other end of the passage coming rapidly towards her. She raised her finger to her lips and nodded, as though to explain that everything was settled, and that the priest should not speak to Marzio. She, of course, did not know that he had been talking with Gianbattista and her mother, nor that he knew anything about the apprentice's dismissal. She only feared fresh trouble, now that the prospect looked so much clearer, in case Don Paolo should again attack her father upon the subject of the marriage. But her uncle came forward and made as though he would enter the workshop.

"It is all settled," she said quietly. Don Paolo looked at her in astonishment. At that moment Marzio caught sight of him over the girl's shoulder, in the dusky entrance.

"Come in, Paolo," he called out "I have something to show you. Go home, Lucia, my child."

Not knowing what to expect, and marvelling at the softened tone of his brother's voice, Don Paolo entered the room, waited till Lucia was out of the passage, and then closed the door behind him. He stood in the middle of the floor, grasping his umbrella in his hand and wondering upon what new phase the business was entering.

"I have something to show you," Marzio repeated, as though to check any question which the priest might be going to put to him. "You asked me for a crucifix last night. I have one here. Will it do! Look at it."

While speaking, Marzio had uncovered the cross and lifted it up, so that it stood on the bench where he had at first placed it to examine it himself. Then he stepped back and made way for Don Paolo. The priest stood for a moment speechless before the masterpiece, erect, his hands folded before him. Then, as though recollecting himself, he took off his hat, which he had forgotten to remove on entering the workshop.

"What a miracle!" he exclaimed, in a low voice.

Marzio stood a little behind him, his hands in the pockets of his woollen blouse. A long silence followed. Don Paolo could not find words to express his admiration, and his wonder was mixed with a profound feeling of devotion. The amazing reality of the figure, clothed at the same time in a sort of divine glory, impressed itself upon him as he gazed, and roused that mystical train of religious contemplation which is both familiar and dear to devout persons. He lost himself in his thoughts, and his refined features showed as in a mirror the current of his meditation. The agony of the Saviour of mankind was renewed before him, culminating in the sacrifice upon the cross. Involuntarily Paolo bent his head and repeated in low tones the words of the Creed, "Qui propter nos homines et propter nostram, salutem descendit de coelis," and then, "Crucifixus etiam pro nobis."

Marzio stood looking on, his hands in his pockets. His fingers grasped the long sharp punch he had taken from the table after Gianbattista's departure. His eyes fixed themselves upon the smooth tonsure at the back of Paolo's head, and slowly his right hand issued from his pocket with the sharp instrument firmly clenched in it. He raised it to the level of his head, just above that smooth shaven circle in the dark hair. His eyes dilated and his mouth worked nervously as the pale lips stretched themselves across the yellow teeth.

Don Paolo moved, and turned to speak to his brother concerning the work of art. Seeing Marzio's attitude, he started with a short cry and stretched out his arm as though to parry a blow.

"Marzio!"

The artist had quickly brought his hand to his forehead, and the ghastly affectation of a smile wreathed about his white lips. His voice was thick.

"I was only shading my eyes from the sun. Don't you see how it dazzles me, reflected from the silver? What did you imagine, Paolo? You look frightened."

"Oh, nothing," answered the priest bravely. "Perhaps I am a little nervous to-day."

"Bacchus! It looks like it," said Marzio, with an attempt to laugh. Then he tossed the tool upon the table among the rest with an impatient gesture. "What do you think of the crucifix?"

"It is very wonderful," said Paolo, controlling himself by an effort. "When did you make it, Marzio? You have not had time—"

"I made it years ago," answered the chiseller, turning his face away to hide his pallor. "I made it for myself. I never meant to show it, but I believe I cannot do anything better. Will it do for your cardinal? Look at the work. It is as fine as anything of the kind in the world, though I say it. Yes—it is cast. Of course, you do not understand the art, Paolo, but I will explain it all to you in a few minutes—"

Marzio talked very fast, almost incoherently, and he was evidently struggling with an emotion. Paolo, standing back a little from the bench, nodded his head from time to time.

"It is all very simple," continued the artist, as though he dared not pause for breath. "You see one sometimes makes little figures of real repouss�, half and half, done in cement and then soldered together so that they look like one piece, but it is impossible to do them well unless you have dies to press the plate into the first shape—and the die always makes the same figure, though you can vary the face and twist the arms and legs about. Cheap silver crucifixes and angels and those things are all made in that way, and with care a great deal can be done, of course, to give them an artistic look."

"Of course," assented Don Paolo, in a low voice. He thought he understood the cause of his brother's eloquence.

"Yes, of course," continued Marzio, as rapidly as before. "But to make a really good thing like this, is a different matter. A very different matter. Here you must model your figure in wax, and make moulds of the parts of it, and chisel each part separately, copying the model. And then you must join all the parts together with silver-soldering, and go over the lines carefully. It needs the most delicate handling, for although the casting is very heavy it is not like working on a chalice that is filled with cement and all arranged for you, that can be put in the fire, melted out, softened, cooled, and worked over as often as you please. There is no putting in the fire here—not more than once after you have joined the pieces. Do you understand me? Why do you look at me in that way, Paolo? You look as though you did not follow me."

"On the contrary," said the priest, "I think I understand it very well—as well as an outsider can understand such a process. No—I merely look at the finished work. It is superb, Marzio—magnificent! I have never seen anything like it."

"Well, you may have it to-night," said Marzio, turning away, and walking about the room. "I will touch it over. I can improve it a little. I have learned something in ten years. I will work all to-day, and I will bring it home this evening to show Maria Luisa. Then you may take it away."

"And the price? I must be able to tell the Cardinal."

"Oh, never mind the price. I will be content to take whatever he gives me, since it is going. No price would represent the labour. Indeed, Paolo, if it were any one but you, I would not let it go. Nothing but my affection for you would make me give it to you. It is the gem of my studio. Ah, how I worked at it ten years ago!"

"Thank you. I think I understand," answered the priest. "I am very much obliged to you, Marzio, and I assure you it will be appreciated. I must be going. Thank you for showing it to me. I will come and get it to-night."

"Well, good-bye, Paolo," said Marzio. "Here is your umbrella."

As Don Paolo turned away to leave the room, the artist looked curiously at the tonsure on his head, and his eyes followed it until Paolo had covered it with his hat. Then he closed the door and went back to the bench.

CHAPTER VIII

Lucia hastened homewards with the good news she bore. Her young nature was elastic, and, in the sudden happiness of having secured Gianbattista's recall, she quickly recovered from the shock she had received. She did not reflect very much, for she had not the time. It had all happened so quickly that her senses were confused, and she only knew that the man she loved must be in despair, and that the sooner she reached him the sooner she would be able to relieve him from what he must be suffering. Her breath came fast as she reached the top of the stairs, and she panted as she rang the bell of the lodging. Apparently she had rung so loud in her excitement as to rouse the suspicions of old Assunta, who cautiously peered through the little square that opened behind a grating in the door, before she raised the latch. On seeing Lucia she began to laugh, and opened quickly.

"So loud!" chuckled the old thing. "I thought it was the police or Sor Marzio in a rage."

Lucia did not heed her, but ran quickly on to the sitting-room, where the Signora Pandolfi was alone, seated on her straight chair and holding her bonnet in her hand, the bonnet with the purple glass grapes; she was the picture of despair. Lucia made haste to comfort her.

"Do not cry, mamma," she said quickly. "I have arranged