SECOND BOOK

“Antichrist shall go from land to land and give bread to the poor”

I A GREAT MAN’S WIFE

It was in February, and the almond-trees were beginning to blossom on the black lava about Diamante.

Cavaliere Palmeri had taken a walk up Etna and had brought home a big almond branch, full of buds and flowers and put it in a vase in the music-room.

Donna Micaela started when she saw it. So they had already come, the almond-blossoms. And for a whole month, for six long weeks, they would be everywhere.

They would stand on the altar in the church; they would lie on the graves, and they would be worn on the breast, on the hat, in the hair. They would blossom over the roads, in the heaps of ruins, on the black lava. And every almond-flower would remind her of the day when the bells rang, when Gaetano was free and happy, and when she dreamed of passing her whole life with him.

It seemed to her as if she never before fully understood what it meant that he was shut in and gone, that she should never see him again.

She had to sit down in order not to fall; her heart seemed to stop, and she shut her eyes.

While she was sitting thus she had a strange experience.

She is all at once at home in the palace in Catania. She is sitting in the lofty hall reading, and she is a happy young girl, Signorina Palmeri. A servant brings in a wandering salesman to her. He is a handsome young fellow with a sprig of almond-blossoms in his button-hole; on his head he carries a board full of little images of the saints, carved in wood.

She buys some of the images, while the young man’s eyes drink in all the works of art in the hall. She asks him if he would like to see their collections. Yes, that he would. And she herself goes with him and shows him.

He is so delighted with what he sees that she thinks that he must be a real artist, and she says to herself that she will not forget him. She asks where his home is. He answers: “In Diamante.”—“Is that far away?”—“Four hours in the post-carriage.”—“And with the railway?”—“There is no railway to Diamante, signorina.”—“You must build one.”—“We! we are too poor. Ask the rich men in Catania to build us a railway!”

When he has said that he starts to go, but he turns at the door and comes and gives her his almond-blossoms. It is in gratitude for all the beautiful things she has let him see.

When Donna Micaela opened her eyes she did not know whether she had been dreaming or whether perhaps once some such thing had really happened. Gaetano could really have been some time in the Palazzo Palmeri to sell his images, although she had forgotten it; but now the almond-blossoms had recalled it.

But it was no matter, no matter. The important thing was that the young wood-carver was Gaetano. She felt as if she had been talking to him. She thought she heard the door close behind him.

And it was after that that it occurred to her to build a railway between Catania and Diamante.

Gaetano had surely come to her to ask her to do it. It was a command from him, and she felt that she must obey.

She made no attempt to struggle against it. She was certain that Diamante needed a railway more than anything else. She had once heard Gaetano say that if Diamante only possessed a railway, so that it could easily send away its oranges and its wine and its honey and its almonds, and so that travellers could come there conveniently, it would soon be a rich town.

She was also quite certain that she could succeed with the railway. She must try at all events. It never occurred to her not to. When Gaetano wished it, she must obey.

She began to think how much money she herself could give. It would not go very far. She must get more money. That was the first thing she had to do.

Within the hour she was at Donna Elisa’s, and begged her to help her arrange a bazaar. Donna Elisa lifted her eyes from her embroidery. “Why do you want to arrange a bazaar?”—“I mean to collect money for a railway.”—“That is like you, Donna Micaela; no one else would have thought of such a thing.”—“What, Donna Elisa? What do you mean?”—“Oh, nothing.”

And Donna Elisa went on embroidering.

“You will not help me, then, with my bazaar?”—“No, I will not.”—“And you will not give a little contribution towards it?”—“One who has so lately lost her husband,” answered Donna Elisa, “ought not to trifle.”

Donna Micaela saw that Donna Elisa was angry with her for some reason or other, and that she therefore would not help her. But there must be others who would understand; and it was a beautiful plan, which would save Diamante.

But Donna Micaela wandered in vain from door to door. However much she talked and begged, she gained no partisans.

She tried to explain, she used all her eloquence to persuade. No one was interested in her plans.

Wherever she came, people answered her that they were too poor, too poor.

The syndic’s wife answered no. Her daughters were not allowed to sell at the bazaar. Don Antonio Greco, who had the marionette theatre, would not come with his dolls. The town-band would not play. None of the shop-keepers would give any of their wares. When Donna Micaela was gone they laughed at her.

A railroad, a railroad! She did not know what she was thinking of. There would have to be a company, shares, statutes, concessions. How should a woman manage such things?

While some were content to laugh at Donna Micaela, some were angry with her.

She went to the cellar-like shop near the old Benedictine monastery, where Master Pamphilio related romances of chivalry. She came to ask him if he would come to her bazaar and entertain the public with Charlemagne and his paladins; but as he was in the midst of a story, she had to sit down on a bench and wait.

Then she noticed Donna Concetta, Master Pamphilio’s wife, who was sitting on the platform at his feet knitting a stocking. As long as Master Pamphilio was speaking, Donna Concetta’s lips moved. She had heard his romances so many times that she knew them by heart, and said the words before they had passed Master Pamphilio’s lips. But it was always the same pleasure to her to hear him, and she wept, and she laughed, as she had done when she heard him for the first time.

Master Pamphilio was an old man, who had spoken much in his day, so that his voice sometimes failed him in the big battle-scenes, when he had to speak loud and fast. But Donna Concetta, who knew it all by heart, never took the word from Master Pamphilio. She only made a sign to the audience to wait until his voice came back. But if his memory failed him, Donna Concetta pretended that she had dropped a stitch, raised the stocking to her eyes, and threw him the word behind it, so that no one noticed it. And every one knew that although Donna Concetta perhaps could have told the romances better than Master Pamphilio, she would never have been willing to do such a thing, not only because it was not fitting for a woman, but also because it would not give her half so much pleasure as to listen to dear Master Pamphilio.

When Donna Micaela saw Donna Concetta, she fell to dreaming. Oh, to sit so on the platform, where her beloved was speaking; to sit so day in and day out and worship. She knew whom that would have suited.

When Master Pamphilio had finished speaking Donna Micaela went forward and asked him to help her. It was hard for him to say no, on account of the thousand prayers that were written in her eyes. But Donna Concetta came to his rescue. “Master Pamphilio,” she said, “tell Donna Micaela of Guglielmo the Wicked.” And Master Pamphilio began.

“Donna Micaela,” he said, “do you know that once there was a king in Sicily whose name was Guglielmo the Wicked? He was so covetous that he took all his subjects’ money. He commanded that every one possessing gold coins should give them to him. And he was so severe and so cruel that they all had to obey him.

“Well, Donna Micaela, Guglielmo the Wicked wished to know if any one had gold hidden in his house. Therefore he sent one of his servants along the Corso in Palermo with a beautiful horse. And the man offered the horse for sale, and cried loudly: ‘Will be sold for a piece of gold; will be sold for a piece of gold!’ But there was no one who could buy the horse.

“Yet it was a very beautiful horse, and a young nobleman, the Duke of Montefiascone, was much taken by him. ‘There is no joy for me if I cannot buy the horse,’ said he to his steward. ‘Signor Duca,’ answered his steward, ‘I can tell you where you can find a piece of gold. When your noble father died and was carried away by the Capucins, according to the ancient custom I put a piece of gold in his mouth. You can take that, signor.’

“For you must know, Donna Micaela, that in Palermo they do not bury the dead in the ground. They carry them to the monastery of the Capucins, and the monks hang them up in their vaults. Ah, there are so many hanging in those vaults!—so many ladies, dressed in silk and cloth of silver; so many noble gentlemen, with orders on their breasts; and so many priests, with cloak and cap over skeleton and skull.

“The young duke followed his advice. He went to the Capucin monastery, took the piece of gold from his father’s mouth and bought the horse with it.

“But you understand that the king had only sent his servant with the horse in order to find out if any one still had any money. And now the duke was taken before the king. ‘How does it happen that you still have gold pieces?’ said Guglielmo the Wicked.—‘Sire, it was not mine; it was my father’s.’ And he told how he had got the piece of gold. ‘It is true,’ said the king. ‘I had forgotten that the dead still had money.’ And he sent his servants to the Capucins and had them take all the gold pieces out of the mouths of the dead.”

Here old Master Pamphilio finished his story. And now Donna Concetta turned to Donna Micaela with wrathful eyes. “It is you who are out with the horse,” she said.

“Am I? am I?”

“You, you, Donna Micaela! The government will say: ‘They are building a railway in Diamante. They must be rich.’ And they will increase our taxes. And God knows that we cannot pay the tax with which we are already loaded down, even if we should go and plunder our ancestors.”

Donna Micaela tried to calm her.

“They have sent you out to find out if we still have any money. You are spying for the rich; you are in league with the government. Those bloodsuckers in Rome have paid you.”

Donna Micaela turned away from her.

“I came to talk to you, Master Pamphilio,” she said to the old man.

“But I shall answer you,” replied Donna Concetta; “for this is a disagreeable matter, and such things are my affair. I know what is the duty of the wife of a great man, Donna Micaela.”

Donna Concetta became silent, for the fine lady gave her a look which was so full of jealous longing that it made her sorry for her. Heavens, yes, there had been a difference in their husbands; Don Ferrante and Master Pamphilio!

II PANEM ET CIRCENSES

In Diamante travellers are often shown two palaces that are falling into ruins without ever having been completed. They have big window-openings without frames, high walls without a roof, and wide doors closed with boards and straw. The two palaces stand opposite each other on the street, both equally unfinished and equally in ruins. There are no scaffoldings about them, and no one can enter them. They seem to be only built for the doves.

Listen to what is told of them.

What is a woman, O signore? Her foot is so little that she goes through the world without leaving a trace behind her. For man she is like his shadow. She has followed him through his whole life without his having noticed her.

Not much can be expected of a woman. She has to sit all day shut in like a prisoner. She cannot even learn to spell a love-letter correctly. She cannot do anything of permanence. When she is dead there is nothing to write on her tombstone. All women are of the same height.

But once a woman came to Diamante who was as much above all other women as the century-old palm is above the grass. She possessed lire by thousands, and could give them away or keep them, as she pleased. She turned aside for no one. She was not afraid of being hated. She was the greatest marvel that had ever been seen.

Of course she was not a Sicilian. She was an Englishwoman. And the first thing she did when she came was to take the whole first floor of the hotel for herself alone. What was that for her? All Diamante would not have been enough for her.

No, all Diamante was not enough for her. But as soon as she had come she began to govern the town like a queen. The syndic had to obey her. Was it not she who made him put stone benches in the square? Was it not at her command that the streets were swept every day?

When she woke in the morning all the young men of Diamante stood waiting outside her door, to be allowed to accompany her on some excursion. They had left shoemaker’s awl and stone-cutter’s chisel to act as guides to her. Each had sold his mother’s silk dress to buy a side-saddle for his donkey, so that she might ride on it to the castle or to Tre Castagni. They had divested themselves of house and home in order to buy a horse and carriage to drive her to Randazzo and Nicolosi.

We were all her slaves. The children began to beg in English, and the old blind women at the hotel door, Donna Pepa and Donna Tura, draped themselves in dazzlingly white veils to please her.

Everything moved round her; industries and trades grew up about her. Those who could do nothing else dug in the earth for coins and pottery to offer her. Photographers moved to the town and began to work for her. Coral merchants and hawkers of tortoise-shell grew out of the earth about her. The priests of Santa Agnese dug up the old Dionysius theatre, that lay hidden behind their church, for her sake; and every one who owned a ruined villa unearthed in the darkness of the cellar remains of mosaic floors and invited her by big posters to come and see.

There had been foreigners before in Diamante, but they had come and gone, and no one had enjoyed such power. There was soon not a man in the town who did not put all his trust in the English signorina. She even succeeded in putting a little life into Ugo Favara. You know Ugo Favara, the advocate, who was to have been a great man, but had reverses and came home quite broken. She employed him to take care of her affairs. She needed him, and she took him.

There has never been a woman in Diamante who has done so much business as she. She spread out like green-weed in the spring. One day no one knows that there is any, and the next it is a great clump. Soon it was impossible to go anywhere in Diamante without coming on her traces. She bought country houses and town houses; she bought almond-groves and lava-streams. The best places on Etna to see the view were hers as well as the thirsting earth on the plain. And in town she began to build two big palaces. She was to live in them and rule her kingdom.

We shall never see a woman like her again. She was not content with all that. She wished also to fight the fight with poverty, O signore, with Sicilian poverty! How much she gave out each day, and how much she gave away on feast-days! Wagons, drawn by two pairs of oxen, went down to Catania and came back piled up with all sorts of clothing. She was determined that they should have whole clothes in the town where she reigned.

But listen to what happened to her; how the struggle with poverty ended and what became of the kingdom and the palace.

She gave a banquet for the poor people of Diamante, and after the banquet an entertainment in the Grecian theatre. It was what an old emperor might have done. But who has ever before heard of a woman doing such a thing?

She invited all the poor people. There were the two blind women from the hotel-door, and old Assunta from the Cathedral steps. There was the man from the post-house, who had his chin bound up in a red cloth on account of cancer of the face; and there was the idiot who opens the iron doors of the Grecian theatre. All the donkey-boys were there, and the handless brothers, who exploded a bomb in their childhood and lost their fingers; and the man with the wooden leg, and the old chair-maker who had grown too old to work, both were there.

It was strange to see them creep out of their holes, all the poor in Diamante. The old women who sit and spin with distaffs in the dark alleys were there, and the organ-grinder, who has an instrument as big as a church-organ, a wandering young mandolinist from Naples with a body full of all possible deviltries. All those with diseased eyes and all the decrepit; those without a roof over their heads; those who used to collect sorrel by the roadside for dinner; the stone-cutter, who earned one lira a day and had six children to provide for,—they had all been invited and were present at the feast.

It was poverty marshalling its troops for the English signorina. Who has such an army as poverty? But for once the English signorina could conquer it.

She had something to fight with too and to conquer with. She filled the whole square with loaded tables. She had wine-skins arranged along the stone bench that lines the wall of the Cathedral. She had turned the deserted convent into a larder and kitchen. She had all the foreign colony in Diamante dressed in white aprons, to serve the courses. She had all of Diamante who are used to eating their fill, wandering to and fro as spectators.

Ah, spectators, what did she not have for spectators? She had great Etna and the dazzling sun. She had the red peaks of the inland mountains and the old temple of Vulcan, that was now consecrated to San Pasquale. And none of them had ever seen a satisfied Diamante. None of them had ever before happened to think how much more beautiful they themselves would be if the people could look at them without hunger hissing in their ears and trampling on their heels.

But mark one thing! Although that signorina was so wonderful and so great, she was not beautiful. And in spite of all her power, she was neither charming nor attractive. She did not rule with jests, and she did not reward with smiles. She had a heavy, clumsy body, and a heavy, clumsy disposition.

The day she gave food to the poor she became a different person. A chivalrous people live in our noble island. Among all those poor people there was not one who let her feel that she was exercising charity. They worshipped her, but they worshipped her as a woman. They sat down at the table as with an equal. They behaved to her as guests to their hostess. “To-day I do you the honor to come to you; to-morrow you do me the honor to come to me. So and not otherwise.” She stood on the high steps of the town-hall and looked down at all the tables. And when the old chair-maker, who sat at the head of the table, had got his glass filled, he rose, bowed to her and said: “I drink to your prosperity, signorina.”

So did they all. They laid their hands on their hearts and bowed to her. It would have perhaps been good for her if she had met with such chivalry earlier in life. Why had the men in her native land let her forget that women exist to be worshipped?

Here they all looked as if they were burning with a quiet adoration. Thus are women treated in our noble island. What did they not give in return for the food and the wine that she had offered them? They gave youth and light-heartedness and all the dignity of being worth coveting. They made speeches for her. “Noble-hearted signorina, you who have come to us from over the sea, you who love Sicily,” and so on, and so on. She showed that she could blush. She no longer hid her power to smile. When they had finished speaking, the lips of the English signorina began to tremble. She became twenty years younger. It was what she needed.

The donkey-boy was there, who carries the English ladies up to Tre Castagni, and who always falls in love with them before he parts from them. Now his eyes were suddenly opened to the great benefactress. It is not only a slender, delicate body and a soft cheek that are worthy to be adored, but also strength and force. The donkey-boy suddenly dropped knife and fork, leaned his elbows on the table, and sat and looked at her. And all the other donkey-boys did the same. It spread like a contagion. It grew hot with burning glances about the English signorina.

It was not only the poor people who adored her. The advocate, Ugo Favara, came and whispered to her that she had come as a providence to his poor land and to him. “If only I had met such a woman as you before,” he said.

Fancy an old bird which has sat in a cage for many years and become rough and lost all the gloss of his feathers. And then some one comes and straightens them out and smooths them back. Think of it, signore!

There was that boy from Naples. He took his mandolin and began to sing his very best. You know how he sings; he pouts with his big mouth and says ugly words. He usually is like a grinning mask. But have you seen the angel in his eyes? An angel which seems to weep over his fall and is filled with a holy frenzy. That evening he was only an angel. He raised his head like one inspired by God, and his drooping body became elastic and full of proud vitality. Color came into his livid cheeks. And he sang; he sang so that the notes seemed to fly like fireflies from his lips and fill the air with joy and dance.

When it grew dark they all went over to the Grecian theatre. That was the finishing touch to the entertainment. What did she not have to offer there!

She had the Russian singer and the German variété artists. She had the English wrestlers and the American magician. But what was that compared to all the rest: the silvery moonlight and the place and its memories? Those poor people seemed to feel like the Greeks and leaders of fashion when they once more took their places on the stone-benches of their own old theatre and from between the tottering pillars looked out at the most beautiful panorama.

Those poor people did not stint; they shared all the pleasure they received. They did not spare jubilation; there was no stopping their hand-clapping. The performers left the platform with a wealth of praise.

Some one begged the English signorina to appear. All the adoration was meant for her. She ought to stand face to face with it and feel it. And they told her how intoxicating it was, how elevating, how inflaming.

She liked the proposal. She immediately agreed. She had sung in her youth, and the English never seem to be afraid to sing. She would not have done it if she had not been in a good mood, and she wished to sing for those who loved her.

She came as the last number. Fancy what it was to stand on such an old stage! It was where Antigone had been buried alive and Iphigenia had been sacrificed. The English signorina stepped forward there to receive every conceivable honor.

It stormed to meet her as soon as she showed herself. They seemed to wish to stamp the earth to pieces to honor her.

It was a proud moment. She stood there with Etna as a background and the Mediterranean as wings. Before her on the grass-grown benches was sitting conquered poverty, and she felt that she had all Diamante at her feet.

She chose “Bellini,” our own “Bellini.” She too wished to be amiable and so she sang “Bellini,” who was born here under Etna; “Bellini” whom we know by heart, note for note.

Of course, O signore, of course she could not sing. She had mounted the tribune only to receive homage. She had come in order to let the love of the people find an outlet. And now she sang false and feebly. And the people knew every note.

It was that mandolinista from Naples. He was the first to grimace and to take a note as false as that of the English signorina. Then it was the man with the cancer, who laughed till he laughed his neckcloth off. Then it was the donkey-boy, who began to clap his hands.

Then they all began. It was madness, but that they did not understand. It is not in the land of the old Greeks that people can bear barbarians who sing false. Donna Pepa and Donna Tura laughed as they had never done before in their lives. “Not one true note! By the Madonna and San Pasquale, not one true note!”

They had eaten their fill for once in their lives. It was natural that intoxication and madness should take hold of them. And why should they not laugh? She had not given them food in order to torture their ears with files and saws. Why should they not defend themselves by laughing? Why should they not mimic and hiss and scream? Why should they not lean backward and split their sides with laughter? They were not the English signorina’s slaves, I suppose.

It was a terrible blow to her. It was too great a blow for her to understand. Were they hissing her? It must be something happening among them; something that she could not see. She sang the aria to its end. She was convinced that the laughter was for something with which she had nothing to do.

When she had finished a sort of storm of applause roared over her. At last she understood. Torches and the moonlight made the night so bright that she could see the rows of people twisting with laughter. She heard the scoffs and the jests now, when she was not singing. They were for her. Then she fled from the stage. It seemed to her that Etna itself heaved with laughter, and that the sea sparkled with merriment.

But it grew worse and worse. They had had such a good time, those poor people; they had never had such a good time before, and they wished to hear her once again. They called for her; they cried: “Bravo! Bis! Da capo!” They could not lose such a pleasure. She, she was almost unconscious. There was a storm about her. They screamed; they roared to get her in. She saw them lift their arms and threaten her to get her in. All at once it was all turned into an old circus. She had to go in to be devoured by monsters.

It went on; it went on; it became wilder and wilder. The other performers were frightened and begged her to yield. And she herself was frightened. It looked as if they would have killed her if she did not do what they wished.

She dragged herself on the stage and stood face to face with the crowd. There was no pity. She sang because they all wished to be amused. That was the worst. She sang because she was afraid of them and did not dare not to. She was a foreigner and alone, and she had no one to protect her, and she was afraid. And they laughed and laughed.

Screams and cries, crowing and whistling accompanied the whole aria. No one had mercy on her. For the first time in her life she felt the need of mercy.

Well, the next day she resolved to depart. She could not endure Diamante any longer. But when she told the advocate, Favara, he implored her to stay for his sake and made her an offer of marriage.

He had chosen his time well. She said yes, and was married to him. But after that time she built no more on her palaces; she made no struggle against poverty; she cared nothing to be queen in Diamante. Would you believe it? She never showed herself on the street; she lived indoors like a Sicilian.

Her little house stood hidden away behind a big building, and of herself no one knew anything. They only knew that she was quite changed. No one knew whether she was happy or unhappy; whether she shut herself in because she hated the people, or because she wished to be as a Sicilian wife ought to be.

Does it not always end so with a woman? When they build their palaces they are never finished. Women can do nothing that has permanence.

III THE OUTCAST

When Donna Micaela heard how the poor people had hooted Miss Tottenham out, she hurried to the hotel to express her condolence. She wished to beg her not to judge those poor creatures by what they had done when they had been put out of their heads with pleasure and wine. She would beg her not to take her hand from Diamante. She herself did not care very much for Miss Tottenham, but for the sake of the poor—She would say anything to pacify her.

When she came to the hotel Etna, she saw the whole street filled with baggage-wagons. So there was no hope. The great benefactress was going away.

Outside the hotel there was much sorrow and despair. The two old blind women, Donna Pepa and Donna Tura, who had always sat in the hotel court-yard, were now shut out, and they were kneeling before the door. The young donkey-driver, who loved all young English ladies, stood with his face pressed against the wall and wept.

Inside the hotel the landlord walked up and down the long corridor, raging at Providence for sending him this misfortune. “Signor Dio,” he mumbled, “I am beggared. If you let this happen, I will take my wife by the hand and my children in my arms and throw myself with them down into Etna.”

The landlady was very pale and humble. She scarcely dared to lift her eyes from the ground. She would have liked to creep about on her knees to prevail upon the rich signorina to remain.

“Do you dare to speak to her, Donna Micaela?” she said. “May God help you to speak to her! Alas! tell her that the Neapolitan boy, who was the cause of the whole misfortune, has been turned out of the town. Tell her that they all wish to make amends. Speak to her, signora!”

The landlady took Donna Micaela to the Englishwoman’s drawing-room and went in with her card. She came back immediately and asked her to wait a few minutes. Signorina Tottenham was having a business talk with Signor Favara.

It was the very moment when the advocate Favara asked Miss Tottenham’s hand in marriage; and while Donna Micaela waited she heard him say quite loud: “You must not go away, signorina! What will become of me if you go away? I love you; I cannot let you go. I should not have dared to speak if you had not threatened to go away. But now—”

He lowered his voice again, but Donna Micaela would hear no more and went away. She saw that she was superfluous. If Signor Favara could not succeed in keeping the great benefactress, no one could.

When she went out again through the gateway the landlord was standing there quarrelling with the old Franciscan, Fra Felice. He was so irritated that he not only quarrelled with Fra Felice, he also drove him from his house.

“Fra Felice,” he cried, “you come to make more trouble with our great benefactress. You will only make her more angry. Go away, I tell you! You wolf, you man-eater, go away!”

Fra Felice was quite as enraged as the landlord, and tried to force his way past him. But then the latter took him by the arm, and without further notice marched him down the steps.

Fra Felice was a man who had received a great gift from his Creator. In Sicily, where everybody plays in the lottery, there are people who have the power to foretell what numbers will win at the next drawing. He who has such second sight is called “polacco,” and is most often found in some old begging monk. Fra Felice was such a monk. He was the greatest polacco in the neighborhood of Etna.

As every one wished him to tell them a winning tern or quartern, he was always treated with great consideration. He was not used to be taken by the arm and be thrown into the street, Fra Felice.

He was nearly eighty years old and quite dried-up and infirm. As he staggered away between the wagons, he stumbled, trod on his cloak, and almost fell. But none of the porters and drivers that stood by the door talking and lamenting had time that day to think of Fra Felice.

The old man tottered along in his heavy homespun cloak. He was so thin and dry that there seemed to be more stiffness in the cloak than in the monk. It seemed to be the old cloak that held him up.

Donna Micaela caught up with him and gently drew the old man’s arm through her own. She could not bear to see how he struck against the lamp-posts and fell over steps. But Fra Felice never noticed that she was looking after him. He walked and mumbled and cursed, and did not know but that he was as much alone as if he sat in his cell.

Donna Micaela wondered why Fra Felice was so angry with Miss Tottenham. Had she been out to his monastery and taken down frescos from the walls, or what had she done?

Fra Felice had lived for sixty years in the big Franciscan monastery outside the Porta Etnea, wall to wall with the old church San Pasquale.

Fra Felice had been monk there for thirty years, when the monastery was given up and sold to a layman. The other monks moved away, but Fra Felice remained because he could not understand what selling the house of San Francisco could mean.

If laymen were to come there, it seemed to Fra Felice almost more essential that at least one monk should remain. Who else would attend to the bell-ringing, or prepare medicines for the peasant women, or give bread to the poor of the monastery? And Fra Felice chose a cell in a retired corner of the monastery, and continued to go in and out as he had always done.

The merchant who owned the monastery never visited it. He did not care about the old building; he only wanted the vineyards belonging to it. So Fra Felice still reigned in the old monastery, and fastened up the fallen cornices and whitewashed the walls. As many poor people as had received food at the monastery in former days, still received it. For his gift of prophecy Fra Felice got such large alms as he wandered through the towns of Etna that he could have been a rich man; but every bit of it went to the monastery.

Fra Felice had suffered an even greater grief than for the monastery on account of the monastery church. It had been desecrated during war, with bloody fights and other atrocities, so that mass could never be held there. But that he could not understand either. The church, where he had made his vows, was always holy to Fra Felice.

It was his greatest sorrow that his church had fallen entirely into ruin. He had looked on when Englishmen had come and bought pulpit and lectern and choir chairs. He had not been able to prevent collectors from Palermo coming and taking the chandeliers and pictures and brass hooks. However much he had wished it, he had not been able to do anything to save his church. But he hated those church-pillagers; and when Donna Micaela saw him so angry, she thought that Miss Tottenham had wished to take some of his treasures from him.

But the fact was that now, when Fra Felice’s church was emptied, and no one came any more to plunder there, he had begun to think of doing something to embellish it once more, and he had had his eye on the collection of images of the saints in the possession of the rich English lady. At her entertainment, when she had been kind and gentle towards every one, he had dared to ask her for her beautiful Madonna, who had a dress of velvet and eyes like the sky. And his request had been granted.

That morning Fra Felice had swept and dusted the church, and put flowers on the altar, before he went to fetch the image. But when he came to the hotel, the Englishwoman had changed her mind; she had not been at all willing to give him the valuable Madonna. In its stead she had given him a little ragged, dirty image of the Christchild, which she thought she could spare without regret.

Ah, what joy and expectation old Fra Felice had felt, and then had been so disappointed! He could not be satisfied; he came back time after time to beg for the other image. It was such a valuable image that he could not have bought it with all that he begged in a whole year. At last the great benefactress had dismissed him; and it was then that Donna Micaela had found him.

As they went along the street, she began to talk to the old man and won his story from him. He had the image with him, and right in the street he stopped, showed it to her, and asked her if she had ever seen a more miserable object.

Donna Micaela looked at the image for a moment with stupefaction. Then she smiled and said: “Lend me the image for a few days, Fra Felice!”

“You can take it and keep it,” said the old man. “May it never come before my eyes again!”

Donna Micaela took the image home and worked on it for two days. When she then sent it to Fra Felice it shone with newly polished shoes; it had a fresh, clean dress; it was painted, and in its crown shone bright stones of many colors.

He was so beautiful, the outcast, that Fra Felice placed him on the empty altar in his church.

It was very early one morning. The sun had not risen, and the broad sea was scarcely visible. It was really very early. The cats were still roaming about the roofs; no smoke rose from the chimneys; and the mists lay and rolled about in the low valley round the steep Monte Chiaro.

Old Fra Felice came running towards the town. He ran so fast that he thought he felt the mountain tremble beneath him. He ran so fast that the blades of grass by the roadside had no time to sprinkle his cloak with dew; so fast that the scorpions had no time to lift their tails and sting him.

As the old man ran, his cloak flapped unfastened about him, and his rope swung unknotted behind. His wide sleeves waved like wings, and his heavy hood pounded up and down on his back, as if it wished to urge him on.

The man in the custom-office, who was still asleep, woke and rubbed his eyes as Fra Felice rushed by, but he had no time to recognize him. The pavements were slippery with dampness; beggars lay and slept by the high stone steps with their legs heedlessly stretched out into the street; exhausted domino-players were going home from the Café reeling with sleep. But Fra Felice hastened onward regardless of all obstructions.

Houses and gateways, squares and arched-over alleys disappeared behind old Fra Felice. He ran half-way up the Corso before he stopped.

He stopped in front of a big house with many heavy balconies. He seized the door-knocker and pounded until a servant awoke. He would not be quiet till the servant called up a maid, and the maid waked the signora.

“Donna Micaela, Fra Felice is downstairs. He insists on speaking to you.”

When Donna Micaela at last came down to Fra Felice, he was still panting and breathless, but there was a fire in his eyes, and little pale roses in his cheeks.

It was the image, the image. When Fra Felice had rung the four-o’clock matins that morning he had gone into the church to look at him.

Then he had discovered that big stones had loosened from the dome just over the image. They had fallen on the altar and broken it to pieces, but the image had stood untouched. And none of the plaster and dust that had tumbled down had fallen on the image; it was quite uninjured.

Fra Felice took Donna Micaela’s hand and told her that she must go with him to the church and see the miracle. She should see it before any one, because she had taken care of the image.

And Donna Micaela went with him through the gray, chilly morning to his monastery, while her heart throbbed with eagerness and expectation.

When she arrived and saw that Fra Felice had told the truth, she said to him that she had recognized the image as soon as she had caught sight of it, and that she knew that it could work miracles. “He is the greatest and gentlest of miracle-workers,” she said.

Fra Felice went up to the image and looked into its eyes. For there is a great difference in images, and the wisdom of an old monk is needed to understand which has power and which has not. Now Fra Felice saw that this image’s eyes were deep and glowing, as if they had life; and that on its lips hovered a mysterious smile.

Then old Fra Felice fell on his knees and stretched his clasped hands towards the image, and his old shrivelled face was lighted by a great joy.

It seemed to Fra Felice all at once as if the walls of his church were covered with pictures and purple hangings; candles shone on the altar; song sounded from the gallery; and the whole floor was covered with kneeling, praying people.

All imaginary glory would fall to the lot of his poor old church, now that it possessed one of the great miracle-working images.

IV THE OLD MARTYRDOM

From the summer-palace in Diamante many letters were sent during that time to Gaetano Alagona, who was in prison in Como. But the letter-carrier never had a letter in his bag from Gaetano addressed to the summer-palace.

For Gaetano had gone into his life-long imprisonment as if it had been a grave. The only thing he asked or desired was that it should give him the grave’s forgetfulness and peace.

He felt as if he were dead; and he said to himself that he did not wish to hear the laments and wails of the survivors. Nor did he wish to be deceived with hopes, or be tempted by tender words to long for family and friends. Nor did he wish to hear anything of what was happening in the world, when he had no power to take part and to lead.

He found work in the prison, and carved beautiful works of art, as he had always done. But he never would receive a letter, nor a visitor. He thought that in that way he could cease to feel the bitterness of his misfortunes. He believed that he would be able to teach himself to live a whole life within four narrow walls.

And for that reason Donna Micaela never had a word of answer from him.

Finally she wrote to the director of the prison and asked if Gaetano was still alive. He answered that the prisoner she asked about never read a letter. He had asked to be spared all communications from the outside world.

So she wrote no more. Instead she continued to work for her railway. She hardly dared to speak of it in Diamante, but nevertheless she thought of nothing else. She herself sewed and embroidered, and she had all her servants make little cheap things that she could sell at her bazaar. In the shop she looked up old wares for the tombola. She had Piero, the gate-keeper, prepare colored lanterns; she persuaded her father to paint signs and placards; and she had her maid, Lucia, who was from Capri, arrange coral necklaces and shell boxes.

She was not at all sure that even one person would come to her entertainment. Every one was against her; no one would help her. They did not even like her to show herself on the streets or to talk business. It was not fitting for a well-born lady.

Old Fra Felice tried to assist her, for he loved her because she had helped him with the image.

One day, when Donna Micaela was lamenting that she could not persuade any one that the people ought to build the railway, he lifted his cap from his head and pointed to his bald temples.

“Look at me, Donna Micaela,” he said. “So bald will that railway make your head if you go on as you have begun.”

“What do you mean, Fra Felice?”

“Donna Micaela,” said the old man, “would it not be folly to start on a dangerous undertaking without having a friend and helper?”

“I have tried enough to find friends, Fra Felice.”

“Yes, men!” said the old man. “But how do men help? If any one is going fishing, Donna Micaela, he knows that he must call on San Pietro; if any one wishes to buy a horse, he can ask help of San Antonio Abbate. But if I want to pray for your railway, I do not know to whom I shall turn.”

Fra Felice meant that the trouble was that she had chosen no patron saint for her railway. He wished her to choose the crowned child that stood out in his old church as its first friend and promoter. He told her that if she only did that she would certainly be helped.

She was so touched that any one was willing to stand by her that she instantly promised to pray for her railway to the child at San Pasquale.

Fra Felice got a big collection-box and painted on it in bright, distinct letters: “Gifts for the Etna Railway,” and he hung it in his church beside the altar.

It was not more than a day after that that Don Antonio Greco’s wife, Donna Emilia, came out to the old, deserted church to consult San Pasquale, who is the wisest of all the saints.

During the autumn Don Antonio’s theatre had begun to fare ill, as was to be expected when no one had any money.

Don Antonio thought to run the theatre with less expense than before. He had cut off a couple of lamps and did not have such big and gorgeously painted play-bills.

But that had been great folly. It is not at the moment when people are losing their desire to go to the theatre that it will answer to shorten the princesses’ silk trains and economize on the gilding of the king’s crowns.

Perhaps it is not so dangerous at another theatre, but at a marionette theatre it is a risk to make any changes, because it is chiefly half-grown boys who go to the marionette theatre. Big people can understand that sometimes it is necessary to economize, but children always wish to have things in the same way.

Fewer and fewer spectators came to Don Antonio, and he went on economizing and saving. Then it occurred to him that he could dispense with the two blind violin-players, Father Elia and Brother Tommaso, who also used to play during the interludes and in the battle-scenes.

Those blind men, who earned so much by singing in houses of mourning, and who took in vast sums on feast-days, were expensive. Don Antonio dismissed them and got a hand-organ.

That caused his ruin. All the apprentices and shop-boys in Diamante ceased to go to the theatre. They would not sit and listen to a hand-organ. They promised one another not to go to the theatre till Don Antonio had taken back the fiddlers, and they kept their promise. Don Antonio’s dolls had to perform to empty walls.

The young boys who otherwise would rather go without their supper than the theatre, stayed away night after night. They were convinced that they could force Don Antonio to arrange everything as before.

But Don Antonio comes of a family of artists. His father and his brother have marionette theatres; his brothers-in-law, all his relations are of the profession. And Don Antonio understands his art. He can change his voice indefinitely; he can manœuvre at the same time a whole army of dolls; and he knows by heart the whole cycle of plays founded on the chronicles of Charlemagne.

And now Don Antonio’s artistic feelings were hurt. He would not be forced to take back the blind men. He wished to have the people come to his theatre for his sake, and not for that of the musicians.

He changed his tactics and began to play big dramas with elaborate mountings. But it was futile.

There is a play called “The Death of the Paladin,” which treats of Roland’s fight at Ronceval. It requires so much machinery that a puppet theatre has to be kept shut for two days for it to be set up. It is so dear to the public that it is generally played for double price and to full houses for a whole month. Don Antonio now had that play mounted, but he did not need to play it; he had no spectators.

After that his spirit was broken. He tried to get Father Elia and Brother Tommaso back, but they now knew what their value was to him.

They demanded such a price that it would have been ruin to pay them. It was impossible to come to any agreement.

In the small rooms back of the marionette theatre they lived as in a besieged fortress. They had nothing else to do but to starve.

Donna Emilia and Don Antonio were both gay young people, but now they never laughed. They were in great want, but Don Antonio was a proud man, and he could not bear to think that his art no longer had the power to draw.

So, as I said, Donna Emilia went down to the church of San Pasquale to ask the saint for good advice. It had been her intention to repeat nine prayers to the great stone-image standing outside of the church, and then to go; but before she had begun to pray she had noticed that the church-door stood open. “Why is San Pasquale’s church-door open?” said Donna Emilia. “That has never happened in my time,”—and she went into the church.

The only thing to be seen there was Fra Felice’s beloved image and the big collection-box. The image looked so beautiful in his crown and his rings that Donna Emilia was tempted forward to him, but when she came near enough to look into his eyes, he seemed to her so tender and so cheering that she knelt down before him and prayed. She promised that if he would help her and Don Antonio in their need, she would put the receipts of a whole evening in the big box that hung beside him.

After her prayers were over, Donna Emilia concealed herself behind the church-door, and tried to catch what the passers-by were saying. For if the image was willing to help her, he would let her hear a word which would tell her what to do.

She had not stood there two minutes before old Assunta of the Cathedral steps passed by with Donna Pepa and Donna Tura. And she heard Assunta say in her solemn voice: “That was the year when I heard ‘The Old Martyrdom’ for the first time.” Donna Emilia heard quite distinctly. Assunta really said “The Old Martyrdom.”

Donna Emilia thought that she would never reach her home. It was as if her legs could not carry her fast enough, and the distance increased as she ran. When she finally saw the corner of the theatre with the red lanterns under the roof and the big illustrated play-bills, she felt as if she had gone many miles.

When she came in to Don Antonio, he sat with his big head leaning on his hand and stared at the table. It was terrible to see Don Antonio. In those last weeks he had begun to lose his hair; on the very top of his head it was so thin that the skin shone through. Was it strange, when he was in such trouble? While she had been away he had taken all his puppets out and inspected them. He did that now every day. He used to sit and look at the puppet that played Armida. Was she no longer beautiful and beguiling? he would ask. And he tried to polish up Roland’s sword and Charlemagne’s crown. Donna Emilia saw that he had gilded the emperor’s crown again; it was for at least the fifth time. But then he had stopped in the midst of his work and had sat down to brood. He had noticed it himself. It was not gilding that was lacking; it was an idea.

As Donna Emilia came into the room, she stretched out her hands to her husband.

“Look at me, Don Antonio Greco,” she said. “I bear in my hands golden bowls full of ripe figs!”

And she told how she had prayed, and what she had vowed, and what she had been advised.

When she said that to Don Antonio, he sprang up. His arms fell stiffly beside his body, and his hair raised itself from his head. He was seized with an unspeakable terror. “‘The Old Martyrdom’!” he screamed, “‘The Old Martyrdom’!”

For “The Old Martyrdom” is a miracle-play, which in its time was given in all Sicily. It drove out all other oratorios and mysteries, and was played every year in every town for two centuries. It was the greatest day of the year, when “The Old Martyrdom” was performed. But now it is never played; now it only lives in the people’s memory as a legend.

In the old days it was also played in the marionette theatres. But now it has come to be considered old-fashioned and out-of-date. It has probably not been played for thirty years.

Don Antonio began to roar and scream at Donna Emilia, because she tortured him with such folly. He struggled with her as with a demon, who had come to seize him. It was amazing; it was heartrending, he said. How could she get hold of such a word? But Donna Emilia stood quiet and let him rave. She only said that what she had heard was God’s will.

Soon Don Antonio began to be uncertain. The great idea gradually took possession of him. Nothing had ever been so loved and played in Sicily, and did not the same people still live on the noble isle? Did they not love the same earth, the same mountains, the same skies as their forefathers had loved? Why should they not also love “The Old Martyrdom”?

He resisted as long as he could. He said to Donna Emilia that it would cost too much. Where could he get apostles with long hair and beards? He had no table for the Last Supper; he had none of the machinery required for the entry, and carrying of the cross.

But Donna Emilia saw that he was going to give in, and before night he actually went to Fra Felice and renewed her vow to put the receipts of one evening in the box of the little image, if it proved to be good advice.

Fra Felice told Donna Micaela about the vow, and she was glad, and at the same time anxious how it would turn out.

Through all the town it was known that Don Antonio was mounting “The Old Martyrdom,” and every one laughed at him. Don Antonio had lost his mind.

The people would have liked well enough to see “The Old Martyrdom,” if they could have seen it as it was played in former days. They would have liked to see it given as in Aci, where the noblemen of the town played the kings and the servants, and the artisans took the parts of the Jews and the apostles; and where so many scenes from the Old Testament were added that the spectacle lasted the whole day.

They would have also liked to see those wonderful days in Castelbuoco, when the whole town was transformed into Jerusalem. There the mystery was given so that Jesus came riding to the town, and was met with palms at the town-gate. There the church represented the temple at Jerusalem and the town-hall Pilate’s palace. There Peter warmed himself at a fire in the priest’s court-yard; the crucifixion took place on a mountain above the town; and Mary looked for the body of her son in the grottoes of the syndic’s garden.

When the people had such things in their memory how could they be content to see the great mystery in Don Antonio’s theatre?

But in spite of everything, Don Antonio worked with the greatest eagerness to prepare the actors and to arrange the elaborate machinery.

And behold, in a few days came Master Battista, who painted placards, and presented him with a play-bill. He had been glad to hear that Don Antonio was going to play “The Old Martyrdom;” he had seen it in his youth, and had great pleasure in it.

So there now stood in large letters on the corner of the theatre: “‘The Old Martyrdom’ or ‘The Resurrected Adam,’ tragedy in three acts by Cavaliere Filippo Orioles.”

Don Antonio wondered and wondered what the people’s mood would be. The donkey-boys and apprentices who passed by his theatre read the notice with scoffs and derision. It looked very black for Don Antonio, but in spite of it he went on faithfully with his work.

When the appointed evening came, and the “Martyrdom” was to be played, no one was more anxious than Donna Micaela. “Is the little image going to help me?” she asked herself incessantly.

She sent out her maid, Lucia, to look about. Were there any groups of boys in front of the theatre? Did it look as if there were going to be a crowd? Lucia might go to Donna Emilia, sitting in the ticket-office, and ask her if it looked hopeful.

But when Lucia came back she had not the slightest hope to offer. There was no crowd outside the theatre. The boys had resolved to crush Don Antonio.

Towards eight o’clock Donna Micaela could no longer endure sitting at home and waiting. She persuaded her father to go with her to the theatre. She knew well that a signora had never set her foot in Don Antonio’s theatre, but she needed to see how it was going to be. It would be such a dizzily great success for her railway if Don Antonio succeeded.

When Donna Micaela came to the theatre it was a few minutes before eight, and Donna Emilia had not sold a ticket.

But she was not depressed; “Go in, Donna Micaela!” she said; “we shall play at any rate, it is so beautiful. Don Antonio will play it for you and your father and me. It is the most beautiful thing he has ever performed.”

Donna Micaela came into the little hall. It was hung with black, as the big theatres always were in the old days when “The Old Martyrdom” was given. There were dark, silver-fringed curtains on the stage, and the little benches were covered with black.

Immediately after Donna Micaela came in, Don Antonio’s bushy eyebrows appeared in a little hole in the curtain. “Donna Micaela,” he cried, as Donna Emilia had done, “we shall play at any rate. It is so beautiful, it needs no spectators.”

Just then came Donna Emilia herself, and opened the door, and courtesying, held it back. It was the priest, Don Matteo, who entered.

“What do you say to me, Donna Micaela?” he said, laughing. “But you understand; it is ‘The Old Martyrdom.’ I saw it in my youth at the big opera in Palermo; and I believe that it was that old play that made me become a priest.”

The next time the door opened it was Father Elia and Brother Tommaso, who came with their violins under their arms and felt their way to their usual places, as quietly as if they had never had any disagreement with Don Antonio.

The door opened again. It was an old woman from the alley above the house of the little Moor. She was dressed in black, and made the sign of the cross as she came in.

After her came four, five other old women; and Donna Micaela looked at them almost resentfully, as they gradually filled the theatre. She knew that Don Antonio would not be satisfied till he had his own public back again,—till he had his self-willed, beloved boys to play for.

Suddenly she heard a hurricane or thunder. The doors flew open,—all at the same time! It was the boys. They threw themselves down in their usual places, as if they had come back to their home.

They looked at one another, a little ashamed. But it had been impossible for them to see one old woman after another go into their theatre to see what was being played for them. It had been quite impossible to see the whole street full of old distaff-spinners in slow procession toward the theatre, and so they had rushed in.

But hardly had the gay young people reached their places before they noticed that they had come under a severe master. Ah, “The Old Martyrdom,” “The Old Martyrdom!”

It was not given as in Aci and in Castelbuoco; it was not played as at the opera in Palermo; it was only played with miserable marionettes with immovable faces and stiff bodies; but the old play had not lost its power.

Donna Micaela noticed it already in the second act during the Last Supper. The boys began to hate Judas. They shouted threats and insults at him.

As the story of the Passion went on, they laid aside their hats and clasped their hands. They sat quite still, with their beautiful brown eyes turned towards the stage. Now and then a few tears dropped. Now and then a fist was clenched in indignation.

Don Antonio spoke with tears in his voice; Donna Emilia was on her knees at the entrance. Don Matteo looked with a gentle smile at the little puppets and remembered the wonderful spectacle in Palermo that had made him a priest.

But when Jesus was cast into prison and tortured, the young people were ashamed of themselves. They too had hated and persecuted. They were like those pharisees, like those Romans. It was a shame to think of it. Could Don Antonio forgive them?

V THE LADY WITH THE IRON RING

Donna Micaela often thought of a poor little dressmaker whom she had seen in her youth in Catania. She dwelt in the house next to the Palazzo Palmeri, sitting always in the gateway with her work, so that Donna Micaela had seen her a thousand times. She always sat and sang, and she had certainly only known a single canzone. Always, always she sang the same song.

“I have cut a curl from my black hair,” she had sung. “I have unfastened my black, shining braids, and cut a curl from my hair. I have done it to gladden my friend, who is in trouble. Alas, my beloved is sitting in prison; my beloved will never again twine my hair about his fingers. I have sent him a lock of my hair to remind him of the silken chains that never more will bind him.”

Donna Micaela remembered the song well. It seemed as if it had sounded through all her childhood to warn her of the suffering that awaited her.

Donna Micaela often sat at that time on the stone steps of the church of San Pasquale. She saw wonderful events take place far off on that Etna so rich in legends.

Over the black lava glided a railway train on newly laid shining rails. It was a festival train; flags waved along the road; there were wreaths on the carriages; the seats were covered with purple cushions. At the stations the people stood and shouted: “Long live the king! long live the queen! long live the new railway!”

She heard it so well; she herself was on the train. Ah, how honored, how honored she was! She was summoned before the king and queen; and they thanked her for the new railway. “Ask a favor of us, princess!” said the king, giving her the title that the ladies of the race of Alagona had formerly borne.

“Sire,” she answered, as people answer in stories, “give freedom to the last Alagona!”

And it was granted to her. The king could not say no to a prayer from her who had built that fine railway, which was to give riches to all Etna.

When Donna Micaela lifted her arm so that her dress-sleeve slid up, one saw that she wore as a bracelet a ring of rusty iron. She had found it in the street, forced it over her hand, and now she always wore it. Whenever she happened to see or touch it, she grew pale, and her eyes no longer saw anything of the world about her. She saw a prison like that of Foscari in the doge’s palace in Venice. It was a dark, narrow, cellar-like hole; light filtered in through a grated aperture; and from the wall hung a great bunch of chains, which wound like serpents round the prisoner’s legs and arms and neck.

May the saint work a miracle! May the people work! May she herself soon have such praise that she can beg freedom for her prisoner! He will die if she does not hurry. May the iron ring eat incessantly into her arm, so that she shall not forget him for a second.

VI FRA FELICE’S LEGACY

When Donna Emilia opened the ticket-office to sell tickets for the second performance of “The Old Martyrdom,” the people stood in line to get places; the second evening the theatre was so overcrowded that people fainted in the crush, and the third evening people came from both Adernó and Paternó to see the beloved tragedy. Don Antonio foresaw that he would be able to play it a whole month for double price, and with two performances every evening.

How happy they were, he and Donna Emilia, and with what joy and gratitude they laid twenty-five lire in the collection-box of the little image!

In Diamante the incident caused great surprise, and many came to Donna Elisa to find out if she believed that the saint wished them to support Donna Micaela.

“Have you heard, Donna Elisa,” they said, “that Don Antonio Greco has been helped by the Christchild in San Pasquale, because he promised to give the receipts of one evening to Donna Micaela’s railway?”

But when they asked Donna Elisa about it, she shut her mouth and looked as if she could not think of anything but her embroidery.

Fra Felice himself came in and told her of the two miracles the image had already worked.

“Signorina Tottenham was very stupid to let the image go, if it is such a miracle-worker,” said Donna Elisa.

So they all thought. Signorina Tottenham had owned the image many years, and she had not noticed anything. It probably could not work miracles; it was only a coincidence.

It was unfortunate that Donna Elisa would not believe. She was the only one of the old Alagonas left in Diamante, and the people followed her, more than they themselves knew. If Donna Elisa had believed, the whole town would have helped Donna Micaela.

But Donna Elisa could not believe that God and the saints wished to aid her sister-in-law.

She had watched her since the festival of San Sebastiano. Whenever any one spoke of Gaetano, she turned pale, and looked very troubled. Her features became like those of a sinful man, when he is racked with the pangs of conscience.

Donna Elisa sat and thought of it one morning, and it was so engrossing that she let her needle rest. “Donna Micaela is no Etna woman,” she said to herself. “She is on the side of the government; she is glad that Gaetano is in prison.”

Out in the street at that same moment people came carrying a great stretcher. On it lay heaped up a mass of church ornaments; chandeliers and shrines and reliquaries. Donna Elisa looked up for a moment, then returned to her thoughts.

“She would not let me adorn the house of the Alagonas on the festival of San Sebastiano,” she thought. “She did not wish the saint to help Gaetano.”

Two men came by dragging a rattling dray on which lay a mountain of red hangings, richly embroidered stoles, and altar pictures in broad, gilded frames.

Donna Elisa struck out with her hand as if to push away all doubts. It could not be an actual miracle which had happened. The saint must know that Diamante could not afford to build a railway.

People now came past driving a yellow cart, packed full of music-stands, prayer-books, praying-desks and confessionals.

Donna Elisa woke up. She looked out between the rosaries that hung in garlands over the window panes. That was the third load of church furnishings that had passed. Was Diamante being plundered? Had the Saracens come to the town?

She went to the door to see better. Again came a stretcher, and on it lay mourning-wreaths of tin, tablets with long inscriptions, and coats of arms, such as are hung up in churches in memory of the dead.

Donna Elisa asked the bearers, and learned what was happening. They were clearing out the church of Santa Lucia in Gesù. The syndic and the town council had ordered it turned into a theatre.

After the uprising there had been a new syndic in Diamante. He was a young man from Rome, who did not know the town, but nevertheless wished to do something for it. He had proposed to the town-council that Diamante should have a theatre like Taormina and other towns. They could quite easily fit up one of the churches as a play-house. They certainly had more than enough, with five town churches and seven monastery churches; they could easily spare one of them.

There was for instance the Jesuits’ church, Santa Lucia in Gesù. The monastery surrounding it was already changed to a barracks, and the church was practically deserted. It would make an excellent theatre.

That was what the new syndic had proposed, and the town-council had agreed to it.

When Donna Elisa heard what was going on she threw on her mantilla and veil, and hurried to the Lucia church, with the same haste with which one hurries to the house where one knows that some one is dying.

“What will become of the blind?” thought Donna Elisa. “How can they live without Santa Lucia in Gesù?”

When Donna Elisa reached the silent little square, round which the Jesuits’ long, ugly monastery is built, she saw on the broad stone steps that extend the whole length of the church front, a row of ragged children and rough-haired dogs. All of them were leaders of the blind, and they cried and whined as loud as they could.

“What is the matter with you all?” asked Donna Elisa. “They want to take our church away from us,” wailed the children. And thereupon all the dogs howled more piteously than ever, for the dogs of the blind are almost human.

At the church-door Donna Elisa met Master Pamphilio’s wife, Donna Concetta. “Ah, Donna Elisa,” she said, “never in all your life have you seen anything so terrible. You had better not go in.”

But Donna Elisa went on.

In the church at first she saw nothing but a white cloud of dust. But hammer-strokes thundered through the cloud, for some workmen were busy breaking away a big stone knight, lying in a window niche.

“Lord God!” said Donna Elisa, and clasped her hands together; “they are tearing down Sor Arrigo!” And she thought how tranquilly he had lain in his niche. Every time she had seen him she had wished that she might be as remote from disturbance and change as old Sor Arrigo.

In the church of Lucia there was still another big monument. It represented an old Jesuit, lying on a black marble sarcophagus with a scourge in his hand and his cap drawn far down over his forehead. He was called Father Succi, and the people used to frighten their children with him in Diamante.

“Would they also dare to touch Father Succi?” thought Donna Elisa. She felt her way through the plaster dust to the choir, where the sarcophagus stood, in order to see if they had dared to move the old Jesuit.

Father Succi still lay on his stone bed. He lay there dark and hard, as he had been in life; and one could almost believe that he was still alive. Had there been doctors and tables with medicine-bottles and burning candles beside the bed, one would have believed that Father Succi lay sick in the choir of his church, waiting for his last hour.

The blind sat round about him, like members of the family who gather round a dying man, and rocked their bodies in silent grief. There were both the women from the hotel court-yard, Donna Pepa and Donna Tura; there was old Mother Saraedda, who ate the bread of charity at the house of the Syndic Voltaro; there were blind beggars, blind singers, blind of all ages and conditions. All the blind of Diamante were there, and in Diamante there is an incredible number who no longer see the light of the sun.

They all sat silent most of the time, but every now and then one of them burst into a wail. Sometimes one of them felt his way forward to the monk, Father Succi, and threw himself weeping aloud across him.

It made it all the more like a death-bed that the priest and Father Rossi from the Franciscan monastery were there and were trying to comfort the despairing people.

Donna Elisa was much moved. Ah, so often she had seen those people happy in her garden, and now to meet them in such misery! They had won pleasant tears from her when they had sung mourning-songs over her husband, Signor Antonelli, and over her brother, Don Ferrante. She could not bear to see them in such need.

Old Mother Saraedda began to speak to Donna Elisa.

“I knew nothing when I came, Donna Elisa,” said the old woman. “I left my dog outside on the steps and went in through the church door. Then I stretched out my arm to push aside the curtain over the door, but the curtain was gone. I put my foot down as if there were a step to mount before the threshold, but there was no step. I stretched out my hand to take the holy water; I courtesied as I went by the high altar; and I listened for the little bell that always rings when Father Rossi comes to the mass. Donna Elisa, there was no holy water, no altar, no bell; there was nothing!”

“Poor thing, poor thing,” said Donna Elisa.

“Then I hear how they are hammering and pounding up in a window. ‘What are you doing with Sor Arrigo?’ I cry, for I hear instantly that it is in Sor Arrigo’s window.

“‘We are going to carry him away,’ they answer me.

“Just then the priest, Don Matteo, comes to me, takes me by the hand, and explains everything. And I am almost angry with the priest when he says that it is for a theatre. They want our church for a theatre!

“‘Where is Father Succi?’ I say instantly. ‘Is Father Succi still here?’ And he leads me to Father Succi. He has to lead me, for I cannot find my way. Since they have taken away all the chairs and praying-desks and carpets and platforms and folding steps, I cannot find my way. Before, I found my way about here as well as you.”

“The priest will find you another church,” said Donna Elisa. “Donna Elisa,” said the old woman, “what are you saying? You might as well say that the priest can give us sight. Can Don Matteo give us a church where we see, as we saw in this? None of us needed a guide here. There, Donna Elisa, stood an altar; the flowers on it were red as Etna at sunset, and we saw it. We counted sixteen wax-lights over the high altar on Sundays, and thirty on festival days. We could see when Father Rossi held the mass here. What shall we do in another church, Donna Elisa? There we shall not be able to see anything. They have extinguished the light of our eyes anew.”

Donna Elisa’s heart grew as warm as if molten lava had run over it. It was certainly a great wrong they were doing to those blind unfortunates.

So Donna Elisa went over to Don Matteo.

“Your Reverence,” she said, “have you spoken to the syndic?”

“Alas, alas, Donna Elisa,” said Don Matteo, “it is better for you to try to talk to him than for me.”

“Your Reverence, the syndic is a stranger; perhaps he has not heard of the blind.”

“Signor Voltaro has been to him; Father Rossi has been to him; and I too, I too. He answers nothing but that he cannot change what is decided in the town Junta. We all know, Donna Elisa, that the town Junta cannot take back anything. If it has decided that your cat shall hold mass in the Cathedral, it cannot change it.”

Suddenly there was a movement in the church. A large blind man came in. “Father Elia!” the people whispered, “Father Elia!”

Father Elia was the head man of the company of blind singers, who always collected there. He had long white hair and beard, and was beautiful as one of the holy patriarchs.

He, like all the others, went forward to Father Succi. He sat down beside him, and leaned his head against the coffin.

Donna Elisa went up to Father Elia and spoke to him. “Father Elia,” she said, “you ought to go to the syndic.”

The old man recognized Donna Elisa’s voice, and he answered her, in his thick, old-man’s tones:—

“Do you suppose that I have waited to have you say that to me? Don’t you know that my first thought was to go to the syndic?”

He spoke with such a hard and distinct voice that the workmen stopped hammering and listened, thinking some one had begun to preach.

“I told him that we blind singers are a company, and that the Jesuits opened their church for us more than three hundred years ago, and gave us the right to gather here to select new members and try new songs.

“And I said to him that there are thirty of us in the company; and that the holy Lucia is our patroness; and that we never sing in the streets, only in courts and in rooms; and that we sing legends of the saints and mourning-songs, but never a wanton song; and that the Jesuit, Father Succi, opened the church for us, because the blind are Our Lord’s singers.

“I told him that some of us are recitatori, who can sing the old songs, but others are trovatori, who compose new ones. I said to him that we give pleasure to many on the noble isle. I asked him why he wished to deprive us of life. For the homeless cannot live.

“I said to him that we wander from town to town through all Etna, but the church of Lucia is our home, and mass is held here for us every morning. Why should he refuse us the comfort of God’s word?

“I told him that the Jesuits once changed their attitude towards us and wished to drive us away from their church, but they did not succeed. We received a letter from the Viceroy that we might hold our meetings in perpetuity in Santa Lucia in Gesù. And I showed him the letter.”

“What did he answer?”

“He laughed at me.”

“Can none of the other gentlemen help you?”

“I have been to them, Donna Elisa. All the morning I have been sent from Herod to Pilatus.”

“Father Elia,” said Donna Elisa with lowered voice, “have you forgotten to call on the saints?”

“I have called on both the black Madonna and San Sebastiano and Santa Lucia. I have prayed to as many as I could name.”

“Do you think, Father Elia,” said Donna Elisa, and lowered her voice still more, “that Don Antonio Greco was helped, because he promised money to Donna Micaela’s railway?”

“I have no money to give,” said the old man, disconsolately.

“Still, you ought to think of it, Father Elia,” said Donna Elisa, “since you are in such straits. You ought to try if, by promising the Christ-image that you yourself and all who belong to your company will speak and sing of the railway, and persuade people to give contributions to it, you may keep your church. We do not know if it can help, but one ought to try every possible thing, Father Elia. It costs nothing to promise.”

“I will promise anything for your sake,” said the old man.

He laid his old blind head again against the black coffin, and Donna Elisa understood that he had given the promise in his desire to be left in peace with his sorrow.

“Shall I present your vow to the Christ-image?” she said.

“Do as you will, Donna Elisa,” said the old man.

That same day old Fra Felice had risen at five o’clock in the morning and begun to sweep out his church. He felt quite active and well; but while he was working it seemed as if San Pasquale, sitting with his bag of stones outside the church-door, had something to say to him. He went out, but there was nothing the matter with San Pasquale; quite the contrary. Just then the sun glided up from behind Etna, and down the dark mountain-sides the rays came hurrying, many-colored as harp-strings. When the rays reached Fra Felice’s old church they turned it rosy red; rosy red were also the old barbaric pillars that held up the canopy over the image, and San Pasquale with his bag of stones, and Fra Felice himself. “We look like young boys,” thought the old man; “we have still long years to live.”

But as he was going back into the church, he felt a sharp pressure at his heart, and it came into his mind that San Pasquale had called him out to say farewell. At the same time his legs became so heavy that he could hardly move them. He felt no pain, but a weariness which could mean nothing but death. He was scarcely able to put his broom away behind the door of the sacristy; then he dragged himself up the choir, lay down on the platform in front of the high altar, and wrapped his cloak about him.

The Christ-image seemed to nod to him and say: “Now I need you, Fra Felice.” He lay and nodded back: “I am ready; I shall not fail you.”

It was only to lie and wait; and it was beautiful, Fra Felice thought. He had never before in all his life had time to feel how tired he was. Now at last he might rest. The image would keep up the church and the monastery without him.

He lay and smiled at the thought that old San Pasquale had called him out to say good-morning to him.

Fra Felice lay thus till late in the day, and dozed most of the time. No one was with him, and a feeling came over him that it would not do to creep in this way out of life. It was as if he had cheated somebody of something. That woke him time after time. He ought of course to get the priests, but he had no one to send for them.

While he lay there he thought that he shrank together more and more. Every time he awoke he thought that he had grown smaller. He felt as if he were quite disappearing. Now he could certainly wind his cloak four times about him.

He would have died quite by himself if Donna Elisa had not come to ask help for the blind of the little image. She was in a strange mood when she came, for she wished of course to get help for the blind, but yet she did not wish Donna Micaela’s plans to be promoted.

When she came into the church she saw Fra Felice lying on the platform under the altar, and she went forward and knelt beside him.

Fra Felice turned his eyes towards her and smiled quietly. “I am going to die,” he said, hoarsely; but he corrected himself and said: “I am permitted to die.”

Donna Elisa asked what the matter was, and said that she would fetch help.

“Sit down here,” he said, and made a feeble attempt to wipe away the dust on the platform with his sleeve.

Donna Elisa said that she wished to fetch the priests and sisters of charity.

He seized her skirt and held her back.

“I want to speak to you first, Donna Elisa.”

It was hard for him to talk, and he breathed heavily after each word. Donna Elisa sat down beside him and waited.

He lay for a while and panted; then a flush rose to his cheeks; his eyes began to shine, and he spoke with ease and eagerness.

“Donna Elisa,” said Fra Felice, “I have a legacy to give away. It has troubled me all day. I do not know to whom I shall give it.”

“Fra Felice,” said Donna Elisa, “do not concern yourself with such a thing. There is no one who does not need a good gift.”

But now when Fra Felice’s strength had returned, he wished, before he made up his mind about the legacy, to tell Donna Elisa how good God had been to him.

“Has not God been great in his grace to make me a polacco?” he said.

“Yes, it is a great gift,” said Donna Elisa.

“Only to be a little, little polacco is a great gift,” said Fra Felice; “it is especially useful since the monastery has been given up, and when my comrades are gone or dead. It means having a bag full of bread before one even stretches out one’s hand to beg. It means always seeing bright faces, and being greeted with deep reverences. I know no greater gift for a poor monk, Donna Elisa.”

Donna Elisa thought how revered and loved Fra Felice had been, because he had been able to predict what numbers would come out in the lottery. And she could not help agreeing with him.

“If I came wandering along the road in the heat,” said Fra Felice, “the shepherd came to me and went with me a long way, and held his umbrella over me as shelter against the sun. And when I came to the laborers in the cool stone-quarries, they shared their bread and their bean-soup with me. I have never been afraid of brigands nor of carabinieri. The official at the custom-house has shut his eyes when I went by with my bag. It has been a good gift, Donna Elisa.”

“True, true,” said Donna Elisa.

“It has not been an arduous profession,” said Fra Felice. “They spoke to me, and I answered them; that was all. They knew that every word has its number, and they noticed what I said and played accordingly. I never knew how it happened, Donna Elisa; it was a gift from God.”

“You will be a great loss to the poor people, Fra Felice,” said Donna Elisa.

Fra Felice smiled. “They care nothing for me on Sunday and Monday, when there has just been a drawing,” he said. “But they come on Thursday and Friday and on Saturday morning, because there is a drawing every Saturday.”

Donna Elisa began to be anxious, because the dying man thought of nothing but that. Suddenly there flashed across her memory thoughts of one and another who had lost in the lottery, and she remembered several who had played away all their prosperity. She wished to turn his thoughts from that sinful lottery business.

“You said that you wished to speak of your will, Fra Felice.”

“But it is because I have so many friends that it is hard for me to know to whom I shall give the legacy. Shall I give it to those who have baked sweet cakes for me, or to those who have offered me artichokes, browned in sweet oil? Or shall I bequeath it to the sisters of charity who nursed me when I was ill?”

“Have you much to give away, Fra Felice?”

“It will do, Donna Elisa. It will do.”

Fra Felice seemed to be worse again; he lay silent with panting breast.

“I had also wished to give it to all poor, homeless monks, who had lost their monasteries,” he whispered.

And then after thinking for a while: “I should also have liked to give it to the good old man in Rome. He, you know, who watches over us all.”

“Are you so rich, Fra Felice?” said Donna Elisa.

“I have enough, Donna Elisa; I have enough.”

He closed his eyes, and rested for a while; then he said:—

“I want to give it to everybody, Donna Elisa.”

He acquired new strength at the thought; a slight flush was again visible in his cheeks, and he raised himself on his elbow.

“See here, Donna Elisa,” he said, while he thrust his hand into his cloak and drew out a sealed envelope, which he handed to her, “you shall go and give this to the syndic, to the syndic of Diamante.

“Here, Donna Elisa,” said Fra Felice, “here are the five numbers that win next Saturday. They have been revealed to me, and I have written them down. And the syndic shall take these numbers and have them fastened up on the Roman Gate, where everything of importance is published. And he shall let the people know that it is my testament. I bequeath it to the people. Five winning numbers, a whole quintern, Donna Elisa!”

Donna Elisa took the envelope and promised to give it to the syndic. She could do nothing else, for poor Fra Felice had not many minutes left to live.

“When Saturday comes,” said Fra Felice, “there will be many who will think of Fra Felice. ‘Can old Fra Felice have deceived us?’ they will ask themselves. ‘Can it be possible for us to win the whole quintern?’

“On Saturday evening there is a drawing on the balcony of the town-hall in Catania, Donna Elisa. Then they carry out the lottery-wheel and table, and the managers of the lottery are there, and the pretty little poor-house child. And one number after another is put into the lucky wheel until they are all there, the whole hundred.

“All the people stand below and tremble in expectation, as the sea trembles before the storm-wind.

“Everybody from Diamante will be there, and they will stand quite pale and hardly daring to look one another in the face. Before, they have believed, but not now. Now they think that old Fra Felice has deceived them. No one dares to cherish the smallest hope.

“Then the first number is drawn, and I was right. Ah, Donna Elisa, they will be so astonished they will scarcely be able to rejoice. For they have all expected disappointment. When the second number comes out, there is the silence of death. Then comes the third. The lottery managers will be astonished that everything is so quiet. ‘To-day they are not winning anything,’ they will say. ‘To-day the state has all the prizes.’ Then comes the fourth number. The poor-house child takes the roll from the wheel; and the marker opens the roll, and shows the number. Down among the people it is almost terrible; no one is able to say a word for joy. Then the last number comes. Donna Elisa, the people scream, they cry, they fall into one another’s arms and sob. They are rich. All Diamante is rich—”