In those days the Trovatore was not an old-fashioned opera. It was not 'threshed-out,' to borrow the vigorous German phrase. Wagner had not eclipsed melody with 'tone-poetry,' nor made men feel more than they could hear. Many of the great things of this century-ending had not been done then, nor even dreamed of, and even musicians listened to the Trovatore with pleasure, not dreaming of the untried strength that lay waiting in Verdi's vast reserve. It was then the music of youth. To us it seems but the music of childhood. Many of us cannot listen to Manrico's death-song from the tower without hearing the grind-organ upon which its passion has grown so pathetically poor. But one could understand that music. The mere statement that it was comprehensible raises a smile to-day. It appealed to simple feelings. We are no longer satisfied with such simplicity, and even long for powers that do not appeal, but twist us with something stronger than our hardened selves, until we ourselves appeal to the unknown, in a sort of despairing ecstasy of unsatisfied delight, asking of possibility to stretch itself out to the impossible. We are in a strange phase of development. We see the elaborately artificial world-scape painted by Science on the curtain close before our eyes, but our restless hands are thrust through it and beyond, opening eagerly and shutting on nothing, though we know that something is there.

Angelo Reanda was passionately fond of what was called music in Italy more than thirty years ago. He had the true ear and the facile memory for melody common to Italians, who are a singing people, if not a musical race, and which constituted a talent for music when music was considered to be a succession of sounds rather than a series of sensuous impressions. He could listen to an opera, understand it without thought, enjoy it simply, and remember it without difficulty, like thousands of other Romans. Most of us would willingly go back to such childlike amusements if we could. A few possess the power even now, and are looked upon with friendly contempt by their more cultured, and therefore more tortured, musical acquaintances, whose dream it is to be torn to very rags in the delirium of orchestral passion.

Reanda went to the Apollo Theatre in search of merely pleasurable sensations, and he got exactly what he wanted. The old house was brilliant even in those days, less with light than with jewels, it is true, but perhaps that illumination was as good as any other. The Roman ladies and the ladies of the great embassies used then to sit through the whole evening in their boxes, and it was the privilege, as it is still in Rome, of the men in the stalls and pit to stand up between the acts and admire them and their diamonds as much as they pleased. The light was dim enough, compared with what we have nowadays; for gas was but just introduced in a few of the principal streets, and the lamps in the huge chandelier at the Apollo, and in the brackets around the house, were filled with the olive oil which to-day dresses the world's salad. But it was a soft warm light, with rich yellow in it, which penetrated the shadows and beautified all it touched.

Reanda, like the others, stood up and looked about him after the first act. His eyes were instantly arrested by Gloria's splendid hair, which caught the light from above. She was seated in the front of a box on the third tier, the second row of boxes being almost exclusively reserved in those days. Dalrymple was beside his daughter, and the dark, still face of Paul Griggs was just visible in the shadow.

Gloria saw the artist almost immediately, for he could not help looking at her curiously, comparing her face with the mad sketch he had made on the wall. She nodded to him, and then spoke to her father, evidently calling his attention to Reanda, for Dalrymple looked down at once, and also nodded, while Griggs leaned forward a little and stared vacantly into the pit.

"It is an obsession to-day," said Reanda to himself, reflecting that though the girl lived in Rome he had never noticed her before, and had now seen her twice on the same day.

He mentally added the reflexion that she must have good nerves, and that most young girls would be at home with a headache after such a narrow escape as hers. She was quite as handsome as he had thought, however, and even more so, now that he saw her in her girlish evening gown, which was just a little open at the throat, and without even the simplest of ornaments. The white material and the shadow around and behind her threw her head into strong relief.

The curtain went up again, and Reanda sat down and watched the performance and listened to the simple, stirring melodies. But he was uncomfortably conscious that Gloria was looking at the back of his head from her box. Nervous people know the unpleasant sensation which such a delusion can produce. Reanda moved uneasily in his seat, and looked round more than once, just far enough to catch sight of Gloria's hair without looking up into her eyes.

His thoughts were disturbed, and he recalled vividly the face of the dead nun, which he had seen long ago. The resemblance was certainly strong. Maria Addolorata had sometimes had a strange expression which was quite her own, and which he had not yet seen in Gloria. But he felt that he should see it some day. He was sure of it, so sure that he had thrown its full force into the sketch on the wall, knowing that it would startle Donna Francesca. It was not possible that two women should be so much alike and yet that one of them should never have that look. Perhaps Gloria had it now and was staring at the back of his head.

An unaccountable nervousness took possession of the sensitive man, and he suffered as he sat there. After the curtain dropped he rose and left the theatre without looking up, and crossed the narrow street to a little coffee shop familiar to him for many years. He drank a cup of coffee, broke off the end of a thin black Roman cigar, and smoked for a few minutes before he returned.

Gloria had not moved, but Griggs was either gone or had retired further back into the shadow. Dalrymple was leaning back in his chair, bony and haggard, one of his great hands hanging listlessly over the front of the box. Reanda sat down again, and determined that he would not turn round before the end of the act. But it was of no use. He irritated his neighbours on each side by his restlessness, and his forehead was moist as though he were suffering great pain. Again he faced about and stared upwards at the box. Gloria, to his surprise, was not looking at him, but in the shadow he met the inscrutable eyes of Paul Griggs, fixed upon him as though they would never look away. But he cared very little whether Griggs looked at him or not. He faced the stage again and was more quiet.

It was a good performance, and he began to be glad that he had come. The singers were young, the audience was inclined to applaud, and everything went smoothly. Reanda thought the soprano rather weak in the great tower scene.

Reanda sighed, for she made no impression on him, and he remembered that he had been deeply impressed, even thrilled, when he had first heard the phrase. He had realized the situation then and had felt with Leonora. Perhaps he had grown too old to feel that sort of young emotion any more. He sighed regretfully as he rose from his seat. Looking up once more, he saw that Gloria was putting on her cloak, her back turned to the theatre. He waited a moment and then moved on with the crowd, to get his coat from the cloak-room.

He went out and walked slowly up the Via di Tordinona. It was a dark and narrow street in those days. The great old-fashioned lanterns were swung up with their oil lamps in them, by long levers held in place by chains locked to the wall. Here and there over a low door a red light showed that wine was sold in a basement which was almost a cellar. The crowd from the theatre hurried along close by the walls, in constant danger from the big coaches that dashed past, bringing the Roman ladies home, for all had to pass through that narrow street. Landaus were not yet invented, and the heavy carriages rumbled loudly through the darkness, over the small paving-stones. But the people on foot were used to them, and stood pressed against the walls as they went by, or grouped for a moment on the low doorsteps of the dark houses.

Reanda went with the rest. He might have gone the other way, by the Banchi Vecchi, from the bridge of Sant' Angelo, and it would have been nearer, but he had a curious fancy that the Dalrymples might walk home, and that he might see Gloria again. Though it was not yet winter, the night was bright and cold, and it was pleasant to walk. The regular season at the Apollo Theatre did not begin until Christmas, but there were often good companies there at other times of the year.

The artist walked on, glancing at the groups he passed in the dim street, but neither pausing nor hurrying. He meant to let fate have her own way with him that night.

Fate was not far off. He had gone on some distance, and the crowd had dispersed in various directions, till he was almost alone as he emerged into the open space where the Via del Clementino intersects the Ripetta. At that moment he heard a wild and thrilling burst of song.

The great soprano rang out upon the midnight silence, like the voice of a despairing archangel, and there was nothing more.

"Hush!" exclaimed a man's voice energetically.

Two or three windows were opened high up, for no one had ever heard such a woman's voice in the streets before. Reanda peered before him through the gloom, saw three people standing at the next corner, and hastened his long steps. An instinct he could not explain told him that Gloria had sung the short strain, which had left him cold and indifferent when he had heard it in the theatre. He was neither now, and he was possessed by the desire to be sure that it had been she.

He was not mistaken. Griggs had recognized him first, and they had waited for him at the corner.

"It is an unexpected pleasure to meet twice in the same day," said Reanda.

"The pleasure is ours," answered Dalrymple, in the correct phrase, but with his peculiar accent. "I suppose you heard my daughter's screams," he added drily. "She was explaining to us how a particular phrase should be sung."

"Was I not right?" asked Gloria, quickly appealing to Reanda with the certainty of support.

"A thousand times right," he answered. "How could one be wrong with such a voice?"

Gloria was pleased, and they all walked on together till they reached the door of Dalrymple's lodging.

"Come in and have supper with us," said the Scotchman, who seemed to be less gloomy than usual. "I suppose you live in our neighbourhood?"

"No. In the Palazzetto Borgia, where I work."

"This is not exactly on your way home, then," observed Gloria. "You may as well rest and refresh yourself."

Reanda accepted the invitation, wondering inwardly at the assurance of the foreign girl. With her Italian speech she should have had Italian manners, he thought. The three men all carried tapers, as was then customary, and they all lit them before they ascended the dark staircase.

"This is an illumination," said Dalrymple, looking back as he led the way.

Gloria stopped suddenly, and looked round. She was following her father, and Reanda came after her, Griggs being the last.

"One, two, three," she counted, and her eyes met Reanda's.

Without the slightest hesitation, she blew out the taper he held in his hand. But, for one instant, he had seen in her face the expression of the dead nun, distinct in the clear light, and close to his eyes.

"Why did you do that?" asked Dalrymple, who had turned his head again, as the taper was extinguished.

"Three lights mean death," said Gloria, promptly; and she laughed, as she went quickly up the steps.

"It is true," answered Reanda, in a low voice, as he followed her; and it occurred to him that in a flash he had seen death written in the brilliant young face.

Ten minutes later, they were seated around the table in the Dalrymples' small dining-room. Reanda noticed that everything he saw there evidently belonged to the hired lodging, from the old-fashioned Italian silver forks, battered and crooked at the prongs, to the heavy cut-glass decanters, stained with age and use, at the neck, and between the diamond-shaped cuttings. There was supper enough for half-a-dozen people, however, and an extraordinary quantity of wine. Dalrymple swallowed a big tumbler of it before he ate anything. Paul Griggs filled his glass to the brim, and looked at it. He had hardly spoken since Reanda had joined the party.

The artist made an effort to be agreeable, feeling that the invitation had been a very friendly one, considering the slight acquaintance he had with the Dalrymples, an acquaintance not yet twenty-four hours old. Presently he asked Gloria if she had felt no ill effects from her extraordinary accident in the afternoon.

"I had not thought about it again," she answered. "I have thought of nothing but your painting all the evening, until that woman sang that phrase as though she were asking the Conte di Luna for more strawberries and cream."

She laughed, but her eyes were fixed on his face.

Then she laughed again, and Reanda smiled at the absurd words—"A few more strawberries, and give me some more cream." But even the few notes, a lazy parody of the prima donna's singing of the phrase, charmed his simple love of melody.

"Don't look so grim, papa," she said in English. "Nobody can hear me here, you know."

"I should not think anybody would wish to," answered the Scotchman; but he spoke in Italian, in consideration of his guest, who did not understand English.

"I do not know why you are always so angry if I sing anything foolish," said the young girl, going back to Italian. "One cannot be always serious. But I was talking about your frescoes, Signor Reanda. I have thought of nothing else."

Again her eyes met the artist's, but fell before his. He was too great a painter not to know the value of such flattering speeches in general, and in a way he was inclined to resent the girl's boldness. But at the same time, it was hard to believe that she was not really in earnest, for she had that power of sudden gravity which lends great weight to little speeches. In spite of himself, and perhaps rightly, he believed her. Paul Griggs did not, and he watched her curiously.

"Why do you look at me like that?" she asked, turning upon him with a little show of temper.

"If your father will allow me to say so, you are the object most worth looking at in the room," answered the young man, calmly.

"You will make her vain with your pretty speeches, Griggs," said Dalrymple.

"I doubt that," answered Griggs.

He relapsed into silence, and drained a big tumbler of wine. Reanda suspected, with a shrewd intuition, that the American admired Gloria, but that she did not like him much.

"Miss Dalrymple is doing her best to make me vain with her praise," said Reanda.

"I never flattered any one in my life," answered Gloria. "Signor Reanda is the greatest painter in Italy. Everybody says so. It would be foolish of me to even pretend that after seeing him at work I had thought of anything else. We have all said, this evening, that the frescoes were wonderful, and that no one, not even Raphael, who did the same thing, has ever had a more beautiful idea of the history of Cupid and Psyche. Why should we not tell the truth, just because he happens to be here? How illogical you are!"

"I believe I excepted Raphael," said Dalrymple, with his national accuracy. "But Signor Reanda will not quarrel with me on that account, I am sure."

"But I did not except Raphael, nor any one," persisted Gloria, before Reanda could speak.

"Really, Signorina, though I am mortal and susceptible, you go a little too far. Flattery is not appreciation, you know."

"It is not flattery," she answered, and the colour rose in her face. "I am quite in earnest. Nobody ever painted anything better than your Cupid and Psyche. Raphael's is dull and uninteresting compared with it."

"I blush, but I cannot accept so much," said the Italian, smiling politely, but still trying to discover whether she meant what she said or not.

In spite of himself, as before, he continued to believe her, though his judgment told him that hers could not be worth much. But he was pleased to have made such an impression, and by quick degrees his prejudice against her began to disappear. What had seemed like boldness in her no longer shocked him, and he described it to himself as the innocent frankness of a foreign girl. It was not possible that any one so like the dead Maria Braccio could be vulgar or bold. From that moment he began to rank Gloria as belonging to the higher sphere from which his birth excluded him. It was a curious and quick transition, and he would not have admitted that it was due to her exaggerated praise of his work. Strange as it must seem to those not familiar with the almost impassable barriers of old Italian society, Reanda had that evening, for the first time in his life, the sensation of being liked, admired, and talked with by a woman of Francesca Campodonico's class; stranger still, it was one of the most delicious sensations he had ever experienced. Yet the woman in question was but a girl not yet seventeen years old. Before he rose to go home, he unconsciously resented Griggs's silent admiration for Gloria. To the average Italian, such silence is a sign that a man is in love, and Reanda was the more attracted to Gloria because she treated Griggs with such perfect indifference.

It was nearly one o'clock when he lighted his taper to descend the stairs. Griggs was also ready to go. It was a relief to know that he was not going to stay behind and talk with Gloria. They went down in silence.

"I wanted to ask you a question," said the American, as they came out upon the street, and blew out their tapers. "We live in opposite directions, so I must ask it now. Should you mind, if I wrote an article on your frescoes for a London paper?"

"Mind!" exclaimed the artist, with a sudden revulsion of feeling in favour of the journalist. "I should be delighted—flattered."

"No," said Griggs, coldly. "I shall not write as Miss Dalrymple talks. But I shall try and do you justice, and that is a good deal, when one is a serious artist, as you are."

Reanda was struck by the cool moderation of the words, which expressed his own modest judgment of himself almost too exactly to be agreeable after Gloria's unlimited praise. He thanked Griggs warmly, however, and they shook hands before they parted.