Part 61

“She has therefore come?” cried Corilla, with an outburst of joy.

“She is now here,” he laconically said.

Corilla no longer listened to him, she walked back and forth with a triumphant mien, a cruel, malicious smile playing upon her lips.

At this moment there was a slight knock at the door, which was opened, and a man who appeared upon the threshold glanced into the room with a grinning laugh.

Corilla gave him a sign, and at the same time pointed at Carlo, who, having his back toward her, seemed to have no suspicion of what was occurring behind him. But he saw it, nevertheless, in the tall mirror that stood in the middle of the room; he saw Corilla make signs of intelligence with that man who was in the livery of Cardinal Francesco Albani; he saw the man make answer with his fingers, and then draw forth a dagger, which he threateningly swung over his head.

Oh, Carlo had very well understood what that man said, as he also did that language of the fingers, this much-used language of the Romans and Neapolitans.

The man had said: “She is here, that beautiful lady! She can no longer escape us!”

“You will strike her?” had Corilla asked.

The man had swung the dagger over his head and held up two fingers of his right hand. That signified: “In two hours she will be dead.”

“Good! you shall be satisfied with me,” had been Corilla’s answer.

The door was again closed. Corilla turned smiling to Carlo, her former rancor seemed to have vanished; she was in high spirits.

“Carlo,” said she, “how good you are not to leave me! Let us now begin. I feel myself glowing with inspiration. Ah, I shall enrapture these good Romans, I think!”

“How long will this improvisation last?” Carlo gruffly asked.

“Well, one or two hours, according to the delight we give our public.”

“If this farce continues longer than an hour and a half, I shall throw down my harp and go away,” said Carlo, in a tone of severity. “I swear it to you by the spirit of my mother! Remember it; I shall show you the time every quarter of an hour.”

“You are a tyrant,” said she, laughing. “But I suppose I must submit. Give, therefore, the signal that we are ready.”

THE IMPROVISATRICE

All the guests of the cardinal were assembled in the gigantic hall, and all eyes were anxiously bent upon the mysterious curtain, which still remained closed.

Now resounded a little bell, and Cardinal Bernis smilingly turned to Natalie, who sat by his side.

“I think this mystery is about to be unveiled,” said he.

“And I am quite anxious about it,” said the young maiden, gracefully laying her hand upon her heart. “My heart beats as violently as if a mystery were about to be unveiled in my own breast. Do you believe in presentiments, Sir Cardinal?”

Bernis had not time to answer her. Just at that moment the curtain drew up, a general “Ah!” of admiration was heard, and, suddenly carried away by their feelings, the whole audience broke into extravagant and long-enduring applause, crying and shouting, “Evviva Corilla! l’improvisatrice Corilla!”

And in fact it was an admirable picture which was there presented to the audience. Those flower-strewed steps led up to an altar, upon the centre of which, between wreaths of flowers, shot up two dark-red flames. Against that altar leaned, exalted and august as a Grecian priestess, the improvisatrice Corilla. Her eyes raised to the heavens, her features lighted up with a rosy glow by the red flames, her half-raised right arm resting upon an urn, while her left arm was stretched upward toward heaven, she thus resembled an inspired priestess, just receiving a message from on high, listening with ecstasy, with suppressed breath and parted lips, to the voice of the Deity, and forgetting the world in a blissful intoxication, she seemed about to take her flight to the empyrean!

And while Corilla, as if absorbed in spiritual contemplation, continued to stand immovable there, began the low notes of a harp, which, gradually becoming fuller and stronger, at length resounded in powerfully rushing and exultant tones. From Corilla all eyes were now turned upon Carlo, who, in the light dress of a Greek youth, his harp upon his arm, was leaning against a pomegranate tree placed in the background of the stage, and with his pale, serious face, with his noble, manly features, formed a beautiful contrast to the inspired and love-beaming priestess Corilla.

Natalie, feeling something like a slight puncture in her heart, involuntarily carried her hand to her bosom. It was a strange, a wonderful feeling, which stirred within her, partly partaking of joy at seeing and hearing her friend Carlo, as people were murmuring praises of his beauty, and of his great skill upon the harp, and partly a feeling of painful emotion. She knew not why, but as her glance met his, it quickly turned toward Corilla, and quite sadly she said to herself: “She is much handsomer than I!”

Carlo now opened his lips, and to a beautifully simple melody he sweetly sang an introductory song, as it were to prepare the audience for the coming solemnity. Having finished this, two lovely amourettes came forward, with silver vases in their hands, and hastened down the steps to the audience, politely requesting them to furnish themes for the great improvisatrice Corilla.

Then, returning to the altar, they threw into the urn the small scraps of paper on which the guests has proposed themes. The harp again resounded, and with a solemn earnestness, her face and glance still directed upward, Corilla drew one of the little strips of paper from the urn. Accident, or perhaps her own dexterity, had favored her.

“Sappho’s lament before throwing herself from the rocks”--that was the theme proposed.