"Just fancy, my dear," exclaimed Donna Maria Boccapaduli to the Marchesa di San Giacinto on the evening of the following day, "Pietro Ghisleri is going to marry Laura Arden, after all! That horrid, spiteful, wicked Adele will die of rage. And they say that the old uncle is dead and has left Laura one of those enormous English fortunes one reads about, and they are going to take the first floor of your brother's palace—your husband says he will buy it some day—I hope he will—and Laura is going to rebuild Ghisleri's queer little castle in Tuscany. What a delightful series of surprises! And two days ago every one believed he was on the point of being sent to prison for ever so many years. But I was always sure he was innocent, though of course one did not like to have him about while the thing was going on."

"Giovanni said from the first that it was all an abominable lie," answered the Marchesa. "And Giovanni is generally right. What a charming house it will be! Of course they will give balls."

"They say that in the confession there was a full account of the way in which she started the story of the evil eye—what nonsense it was! You have only to look into Laura Arden's eyes—do you think she is as beautiful as Corona Saracinesca ever could have been?"

"No, no," exclaimed the Marchesa, who had known the Princess of Sant' Ilario more than twenty years earlier. "No one was ever so beautiful as Corona. Laura is much shorter, too, and that makes a difference. Laura reminds one of a saint, and Corona looked an empress—or what empresses are supposed to be like. But Laura is a beautiful woman. There is no one to compare with her now but Christina Campodonico, and she is too thin. What a good looking couple Ghisleri and his wife will make. He has grown younger during the last two years."

"No wonder—when one thinks of the life he used to lead. Every time he quarrelled with Maddalena he used to get at least five pounds thinner. I wonder how she takes it."

"She is far too clever a woman to show what she thinks. But I know she has not cared for him for a long time. They have not quarrelled for two years at least, so of course there cannot be any love left on either side. They still sit in corners occasionally. I suppose they like each other. It is very odd. But I shall never understand those things."

The last remark was very true, for Flavia Saracinesca loved her giant husband with all her heart and always had, and she knew also that Maria Boccapaduli was the best of wives and mothers, if she was also the greatest of gossips.

What the two ladies said to each other represented very well the world's opinion, hastily formed, on the spur of the moment, to meet the exigencies of the altered situation, but immutable now. It shrugged its shoulders as it referred to its past errors of judgment, and said that it could not have been expected to know that Adele Savelli was raving mad when she was allowed to go everywhere just like a sane being, although her eyes had undeniably had a wild look for some time, and she might have been taken for a galvanised corpse. For of course it was now quite certain that she had been out of her mind from the very beginning, seeing that she had concocted her dreadful plot without the slightest reason. As for the old story that Laura Arden loved Francesco, that was downright nonsense! It was another of Adele's scandalous falsehoods—or insane delusions, if you chose to be so good-natured as to use that expression. If anything, it was Francesco who loved Laura, and he ought to be ashamed of himself, considering what a fortune his wife had brought him. But human nature was very ungrateful, especially when it bore the name of Savelli. They did not seem at all thankful for that dear Ghisleri's forbearance. He could have brought an action against them for any number of things—defamation, false imprisonment—almost anything. But he had acted with his usual generosity, and told every one that he had always believed Adele to be insane, and bore no one the least ill-will, since he had been put to no inconvenience whatever, thanks to San Giacinto's timely action. And, said the world, when a man consistently behaved as Pietro Ghisleri had done, he was certain to get his reward. What could any man desire more than to have that dear, beautiful, good Laura Arden for his wife, especially since she was so immensely rich? Doubt the justice of Heaven after that, if you could! As for the world, it meant to tell them both how sorry it was that it had misunderstood them. Of course it would be sinful not to hope that Adele might some day get well, but she had her deserts, and if she ever came back to society, people would not care to meet her. She might go mad again at any moment and try to ruin some one else, and might succeed the next time, too.

That was the way in which most people talked during the season, and the world acted up to its words as it generally does when there are balls and dinners to be got by merely being consistent. It was much more agreeable, too, to live on terms of pleasant intercourse with Laura and her betrothed, and much easier, because it is always tiresome to keep up a prejudice against really charming people.

But Adele was not mad as people said, and as the two families gave out. There had undoubtedly been a strain of insanity through all her conduct, and that might, some day, develop into real madness. She was sane enough still, however, to suffer, and no such merciful termination to her sufferings as the loss of her reason would be seemed at all imminent. The strong will and acute intelligence had survived, for the poisonous drug she loved had attacked the body, which was the weaker portion of her being. Adele was hopelessly paralysed. The last great effort had been too much for the over-strung nerves. Her hands still moved convulsively, but she could not direct them at all. Her jaw had dropped, as it almost always does in advanced cases of morphinism, and her lower limbs were useless. Day after day she sat or lay before the fire in her room at Castel Savello, as she might remain for years, tended by paid nurses, and helpless to do the slightest thing for herself—through the short days and the long nights of winter, hardly cheered by the sunshine when spring came at last, longing for the end. It was indeed a dreadful existence. Nothing to do, nothing to think of but the terrible black past, nothing to occupy her, save the monotonous tracing back of her present state to her first misdeeds, step by step, inch by inch, in the cold light of an inexorable logic. It was hard to believe what her confessor told her, that she should be grateful for having time and reason left to repent of what she had done, and to expiate, in a measure, the evil of her life. As yet, that was the only comfort she got from any one. She had disgraced the name of Savelli, she was told, and no suffering could atone for that. She felt that she was hated and despised, and that although everything which money could do was done to prolong her wretched being, her death was anticipated as a relief from her detested presence in the household upon which she had brought such shame. It would be hard to conceive a more fearful punishment than she was made to undergo, forcibly kept alive by the constant care and forethought of the most experienced persons, and allowed only just so much of the morphia as was positively necessary. She had no longer the power to grasp the little instrument. If she had been able to do that, she would have found rest for ever, as she told herself. And they cruelly diminished the dose, though they would not tell her by how much. She would live longer, they said, if the quantity could be greatly reduced. She begged, implored, entreated them not to torture her. But they could hardly understand what she said, for the paralysis had made her speech indistinct, and even if they could have distinguished the meaning of all her words they would have paid no attention to them. The orders were strict and were rigidly obeyed in every particular. She was to be made to live as long as possible, and life meant torment, unceasing, passing words to describe. How long it might last she had no idea. She could only hope against hope that it might end soon. The news of Laura's engagement and approaching marriage had been kept from her for some time, it being feared that it might agitate her, but she was told at last, and the knowledge of her step-sister's happiness was an added bitterness in what remained to her of life. Vividly she saw them before her, Laura in her fresh beauty, Ghisleri in his strength, little Herbert with his father's eyes—the eyes that haunted Adele Savelli by night and gazed upon her by day out of the shadowy corners of her room. The three were ever before her moving, as she fancied, through a garden of exquisite flowers, in a clear, bright light. That was doubtless the way in which her diseased brain represented their happiness, for she had loved flowers in the old days, and had associated everything that was pleasant with them in her thoughts. But she hated them now, as she hated everything, even to her own children, whom she refused to see because they reminded her of better times, and her step-mother, whom she was obliged to receive because the good lady would take no denial. The Princess was, indeed, one of her most regular and kindly visitors. A very constant and good woman, she would not and could not turn upon Adele as all the rest had done, even to her own father, who in the bitterness of his heart, had said that he would never see his daughter again, alive or dead. But Adele hated her none the less, and dreaded her long homilies and exhortations to be penitent, and the little printed prayers and books of devotion she generally brought with her. For the Princess was deeply concerned for the welfare of Adele's soul, and being very much in earnest in the matter of religion, she did what she could to save it according to her own views. Possibly her sermons might hereafter bear fruit, but for the present the wretched woman who was forced to listen to them found them almost unbearable. And so her unhappy days dragged on without prospect of relief or termination, no longer in any real meaning of the word a life at all, but only a consequence, the result of what she had made herself when she had been really alive.

The Princess of Gerano was the last person won over to a good opinion of Ghisleri, but before the wedding day she had formally avowed to Laura that she had been mistaken in him. She had been most of all impressed by his dignity during the very great difficulties in which he had been placed, and by his gentle forbearance when his innocence had been established and when no one would have blamed him if he had cursed the whole Savelli and Gerano tribe by every devil in Satan's calendar. Instead, he had uniformly said that he had believed Donna Adele to be mad, and that what had happened had therefore not come about by any one's fault. She told Laura that there must be more good than any one had dreamt of in a man who could act as Pietro did under the circumstances, and perhaps she was right. At all events, she was convinced and having once reached conviction she took him to her heart and found that he was a man much more to her taste, and much more worthy of Laura than she had supposed. For the rest, the match was an admirable one. Ghisleri was certainly very far from rich, but he was by no means a pauper, and what he possessed had been wisely administered. He was neither a prince, nor the son of a princely house, but there was many a prince of Europe, and more than one of the Holy Empire, too, whose forefathers had been trudging behind the plough long after the Nobili Ghisleri had built their tower and held their own in it for generations. Then, too, whatever the Princess might think of his past and of his reputation, he had rather a singular position in society, and was respected as many were not, who possessed ten times as many virtues as he. She admitted quite frankly that she had been wrong, and she made ample amends for her former cold treatment of him by the liking she now showed.

"I shall never be able to think of you as a serious married man, my dear friend," said Gouache one day when Ghisleri was lounging in the studio with a cigarette, after they had breakfasted together.

"I hope you will," was the laconic answer.

"No, I never shall. I have always had a sort of artistic satisfaction in your character—for there was much that was really artistic about you, especially as regards your taste in sin, which was perfect and perhaps is still. But marriage is not at all artistic, my dear Ghisleri, until it becomes unhappy, and the husband goes about with a revolver in every pocket, and the wife with a scent bottle full of morphia in hers, and they treat each other with distant civility in private, and with effusive affection when a third person is present, especially the third person who has contributed the most to producing the artistic effect in question. Then the matter becomes interesting."

"Like your own marriage," suggested Ghisleri, with a laugh. Gouache and Donna Faustina had not had an unkind thought for one another in nearly twenty years of cloudless happiness.

"Ah, my friend, you must not take my case as an instance. There is something almost comic in being as happy as I am. We should never make a subject for a play writer, my wife and I, nor for a novelist either. No man would risk his reputation for truthfulness by describing our life as it is. But then, is there anything artistic about me? Nothing, except that I am an artist. If I had any money I should be called an amateur. To be an artist it is essential to starve—at one time or another. The public never believe that a man who has not been dangerously hungry can paint a picture, or play the fiddle, or write a book. If I had money I would still paint—subjects like Michael Angelo's Last Judgment with the souls of Donna Tullia, Del Ferice, and Donna Adele Savelli frying prominently on the left, and portraits of my wife and myself in the foreground on the right with perfectly new crowns of glory and beatific smiles from ear to ear. If you go on as you have been living since the reformation set in, you will have to bore yourself on our side too, with a little variation in your crown to show what a sinner you have been."

"I am quite willing to be bored in your way," answered Ghisleri, laughing again.

The marriage took place late in February, to the immense delight of the world, and with the unanimous applause of all society. The newspapers gave minute accounts of all the gowns, and of all the people who wore them, and surprised Ghisleri by informing him that his ancestors had been Guelphs, whereas he had some reason to believe that they had been Ghibellines, and by creating him a commander of the order of Saint Maurice and Saint Lazarus, whereas he was an hereditary Knight of Malta.

The description of Laura was an extraordinary contribution to the literature of beauty, and left nothing to be desired except a positive or two to contrast with the endless string of superlatives.

Ghisleri and Laura left Rome with a little caravan of servants. Neither the faithful Donald nor the equally faithful Bonifazio could be left behind, and there was Laura's maid, and little Herbert's nurse, both indispensable. The boy was overjoyed by the arrangement which gave him the advantage of Pietro's society "for every day," as he expressed it, and especially at the prospect of living all the summer in a real castle. He was three years old and talked fluently, when he talked at all—a strong, brave-looking little fellow, with clear brown eyes and a well-shaped head, set on a sturdy frame that promised well for his coming manhood. Ghisleri delighted in him, though he was not generally amused by very small children. But they always came to him of their own accord, which some people say is a sign of a good disposition in a man, for children and animals are rarely mistaken in their likes and dislikes.

San Giacinto and Gianforte Campodonico went to the station to see them off after the wedding, and threw armfuls of roses and lilies of the valley into the carriage before the door was finally shut by the guard as the preliminary bell was sounded.

"Without you two, we two should not be here," said Ghisleri, as he shook hands with them both.

"No," added Laura happily. "But we should have been together, if it had been in prison. Good-bye, dear friends."

The train moved away, and the two men were left on the platform, waving their hats to the last.

"That is a good thing well done," said San Giacinto, lighting a cigar. "They will be happy together."

"Yes," said Gianforte, thoughtfully. "I think they will. Women love that man, and he knows how to love them."

San Giacinto looked down at him and said nothing. He knew something of Bianca Corleone's short, sad life, and of what had passed between her brother and Ghisleri. He liked them both more than almost any of the younger men he knew, and he honestly admired them for their behaviour towards each other. He guessed what thoughts were passing through Campodonico's mind as he looked after the train that was bearing away Pietro Ghisleri, a married man at last.

For Gianforte was saying to himself that though he could neither wholly forget nor freely forgive the past, he could have loved him had fate been different. If ten years ago Ghisleri could have married Bianca, and if Bianca could have lived, the two would have been happy, for even Gianforte admitted that both had loved truly and well until the end. But that was a dream and reality had raised the impassable barrier between men who might have been firm friends. Their hands might stretch across it, and grasp one another from time to time, and their eyes might read good faith and the will to be generous each in the other's soul, but nearer than that they could never be, for the sake of the beautiful dead woman who would not be forgotten by either.

One more picture and one word more, and the curtain must fall at last.

In the early summer Laura and her husband were at Torre de' Ghisleri in the Tuscan hills. The small castle was very habitable as compared with its former condition, and small as it was by comparison with such fortresses as Gerano, was by no means the mere ruined tower which many people supposed it to be. The square grey keep from which it took its name was flanked by a mass of smaller buildings, irregular and of different epochs, all more or less covered with ivy or with creepers now in bloom. The wide castle yard, in the midst of which stood the ancient well with its wonderfully wrought yoke of iron, its heavy chain, and its two buckets, had been converted into a garden long ago for the bride of some Ghisleri of those days, and the plants and trees had run almost wild for a hundred years, irregularly, as some had survived and others had perished in the winter storms. Here a cypress, there an oak, further on again three laurels, of the Laura Regia kind, side by side in a row, then two cypresses again, growing up straight and slim and dark out of a plot of close-cut grass. And there were roses everywhere, and stiff camelia trees and feathery azaleas and all manner of bright, growing things without order or symmetry, beautiful in their wildness. But in and out there were narrow paths, in which two might walk together, and these were now swept and cared for as they had never been in Pietro's bachelor days. Other things were changed too, but not much, and for the better. A woman's hand had touched, had waked a sweet new life in the old place.

The afternoon sun, still above the low surrounding hills, cast the shadow of the tower across the lawn and upon the flowers beyond. There were chairs before the arched doorway, and a garden table. Laura sat watching the swallows as they flew down from the keep to the garden and upwards again in their short, circling flight. A book she had not even thought of reading lay beside her. At her elbow sat Ghisleri in a white jacket, with a straw hat tilted over his eyes which little Herbert was trying to get at, as he rode on Pietro's knee. The man's face had changed wonderfully during the last six months. All the hardness was gone from it, and the contemptuous, discontented look that had once come so readily was never seen now.

"You never told me it was so beautiful," said Laura, still watching the swallows and gazing at the flowers. "When we first came, and I looked out of the window in the morning, I thought I had never seen any place so lovely. You used to talk of it in such a careless way."

"It is you who make it beautiful for me," answered Ghisleri. "A year ago it seemed dull and ugly enough, when I used to sit here and think of you."

"I was not the first woman you had thought of, on this very spot, I daresay," said Laura, with a happy laugh.

"No, dear, you were not." He smiled as he admitted the fact. "But you were the last, and unless you turn out to be as bad as you seem to be good, you will have no successor."

"What's successor mean?" lisped Herbert, desisting from his attempt to get at the hat and listening.

"Somebody who comes after another," answered Laura. "I will try to be good, dear," she said to Ghisleri, laughing again.

"So'll I," exclaimed Herbert promptly, doubtless supposing that it was expected of him.

"Yes," said Ghisleri, thoughtfully. "I have sat here many a time for hours, dreaming about you, and wishing for you, and trying to see you just as you are now, in a chair beside me. Yes, I have thought of other women here, but it is very long since I wished to see one there—if I ever did. I hardly ever came here when I was very young."

There was a pause. His voice had a little sadness in it as he spoke the last words—not the sadness of regret, but of reverence. He was thinking of Bianca Corleone. Then Laura laid her hand upon his arm, and her eyes met his, for he turned as he felt her touch.

"Dear, you would have been happy with her," she said very gravely. "But I will be all to you that woman can be to man, if I live to show you how I love you."

"No woman ever was what you are to me already," he answered. "No woman, living or dead. You have done everything for me since I first knew you well, and you did much more than you know before I knew what you really were. There can be nothing in the world beyond what you have given, and give me."

"I wish I were quite, quite sure of that," said Laura, still looking into his face.

"You must be—you shall be!" he said, with sudden energy, and his glance lightened with passion. "You must. Words are not much, I know, nor oaths, nor anything of that sort. But I will tell you this—and by the light and goodness of God, it is true. If I could doubt for one moment that I love you beyond any love I have ever dreamed of, I would tear out my heart with my hands!"

"What's love?" asked little Herbert timidly, for he was afraid that it must be something very dreadful as he watched Ghisleri's pale face and blazing eyes.

But the lips that might have answered could not; they were sealing the truth they had spoken, upon others that had uttered a doubt for the last time.

THE END.

LIST OF WORKS

BY

MR. F. MARION CRAWFORD.

IN THE PRESS. A NEW NOVEL.

PIETRO GHISLERI.

12mo, cloth, $1.00. In the uniform edition of Mr. Crawford's Novels.

THE NOVEL. WHAT IT IS.

By F. Marion Crawford, author of "Children of the King," "Saracinesca," etc., etc. Uniform with the pocket edition of William Winter's Works. With photogravure portrait. 18mo, cloth, 75 cents.