The Yellow Mask / Желтая маска. Уилки Коллинз

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      Luca shrugged his shoulders, and went back to his statue. Father Rocco, who had been engaged during the last ten minutes in mixing wet plaster to the right consistency for taking a cast, suspended his occupation; and crossing the room to a corner next the partition, removed from it a cheval-glass which stood there. He lifted it away gently, while his brother's back was turned, carried it close to the table at which he had been at work, and then resumed his employment of mixing the plaster. Having at last prepared the composition for use, he laid it over the exposed half of the statuette with a neatness and dexterity which showed him to be a practiced hand at cast-taking. Just as he had covered the necessary extent of surface, Luca turned round from his statue.

      'How are you getting on with the cast?' he asked. 'Do you want any help?'

      'None, brother, I thank you,' answered the priest. 'Pray do not disturb either yourself or your workmen on my account.'

      Luca turned again to the statue; and, at the same moment, Father Rocco softly moved the cheval-glass toward the open doorway between the two rooms, placing it at such an angle as to make it reflect the figures of the persons in the smaller studio. He did this with significant quickness and precision. It was evidently not the first time he had used the glass for purposes of secret observation.

      Mechanically stirring the wet plaster round and round for the second casting, the priest looked into the glass, and saw, as in a picture, all that was going forward in the inner room. Maddalena Lomi was standing behind the young nobleman, watching the progress he made with his bust. Occasionally she took the modeling tool out of his hand, and showed him, with her sweetest smile, that she, too, as a sculptor's daughter, understood something of the sculptor's art; and now and then, in the pauses of the conversation, when her interest was especially intense in Fabio's work, she suffered her hand to drop absently on his shoulder, or stooped forward so close to him that her hair mingled for a moment with his. Moving the glass an inch or two, so as to bring Nanina well under his eye, Father Rocco found that he could trace each repetition of these little acts of familiarity by the immediate effect which they produced on the girl's face and manner. Whenever Maddalena so much as touched the young nobleman-no matter whether she did so by premeditation, or really by accident-Nanina's features contracted, her pale cheeks grew paler, she fidgeted on her chair, and her fingers nervously twisted and untwisted the loose ends of the ribbon fastened round her waist.

      'Jealous,' thought Father Rocco; 'I suspected it weeks ago.'

      He turned away, and gave his whole attention for a few minutes to the mixing of the plaster. When he looked back again at the glass, he was just in time to witness a little accident which suddenly changed the relative positions of the three persons in the inner room.

      He saw Maddalena take up a modeling tool which lay on a table near her, and begin to help Fabio in altering the arrangement of the hair in his bust. The young man watched what she was doing earnestly enough for a few moments; then his attention wandered away to Nanina. She looked at him reproachfully, and he answered by a sign which brought a smile to her face directly. Maddalena surprised her at the instant of the change; and, following the direction of her eyes, easily discovered at whom the smile was directed. She darted a glance of contempt at Nanina, threw down the modeling tool, and turned indignantly to the young sculptor, who was affecting to be hard at work again.

      'Signor Fabio,' she said, 'the next time you forget what is due to your rank and yourself, warn me of it, if you please, beforehand, and I will take care to leave the room.' While speaking the last words, she passed through the doorway. Father Rocco, bending abstractedly over his plaster mixture, heard her continue to herself in a whisper, as she went by him, 'If I have any influence at all with my father, that impudent beggar-girl shall be forbidden the studio.'

      'Jealousy on the other side,' thought the priest. 'Something must be done at once, or this will end badly.'

      He looked again at the glass, and saw Fabio, after an instant of hesitation, beckon to Nanina to approach him. She left her seat, advanced half-way to his, then stopped. He stepped forward to meet her, and, taking her by the hand, whispered earnestly in her ear. When he had done, before dropping her hand, he touched her cheek with his lips, and then helped her on with the little white mantilla which covered her head and shoulders out-of-doors. The girl trembled violently, and drew the linen close to her face as Fabio walked into the larger studio, and, addressing Father Rocco, said:

      'I am afraid I am more idle, or more stupid, than ever to-day. I can't get on with the bust at all to my satisfaction, so I have cut short the sitting, and given Nanina a half-holiday.'

      At the first sound of his voice, Maddalena, who was speaking to her father, stopped, and, with another look of scorn at Nanina standing trembling in the doorway, left the room. Luca Lomi called Fabio to him as she went away, and Father Rocco, turning to the statuette, looked to see how the plaster was hardening on it. Seeing them thus engaged, Nanina attempted to escape from the studio without being noticed; but the priest stopped her just as she was hurrying by him.

      'My child,' said he, in his gentle, quiet way, 'are you going home?'

      Nanina's heart beat too fast for her to reply in words; she could only answer by bowing her head.

      'Take this for your little sister,' pursued Father Rocco, putting a few silver coins in her hand; 'I have got some customers for those mats she plaits so nicely. You need not bring them to my rooms; I will come and see you this evening, when I am going my rounds among my parishioners, and will take the mats away with me. You are a good girl, Nanina-you have always been a good girl-and as long as I am alive, my child, you shall never want a friend and an adviser.'

      Nanina's eyes filled with tears. She drew the mantilla closer than ever round her face, as she tried to thank the priest. Father Rocco nodded to her kindly, and laid his hand lightly on her head for a moment, then turned round again to his cast.

      'Don't forget my message to the lady who is to sit to me to-morrow,' said Luca to Nanina, as she passed him on her way out of the studio.

      After she had gone, Fabio returned to the priest, who was still busy over his cast.

      'I hope you will get on better with the bust to-morrow,' said Father Rocco, politely; 'I am sure you cannot complain of your model.'

      'Complain of her!' cried the young man, warmly; 'she has the most beautiful head I ever saw. If I were twenty times the sculptor that I am, I should despair of being able to do her justice.'

      He walked into the inner room to look at his bust again-lingered before it for a little while-and then turned to retrace his steps to the larger studio. Between him and the door-way stood three chairs. As he went by them, he absently touched the backs of the first two, and passed the third; but just as he was entering the larger room, stopped, as if struck by a sudden recollection, returned hastily, and touched the third chair. Raising his eyes, as he approached the large studio again after doing this, he met the eyes of the priest fixed on him in unconcealed astonishment.

      'Signor Fabio!' exclaimed Father Rocco, with a sarcastic smile, 'who would ever have imagined that you were superstitious?'

      'My nurse was,' returned the young man, reddening, and laughing rather uneasily. 'She taught me some bad habits that I have not got over yet.' With those words he nodded and hastily went out.

      'Superstitious,' said Father Rocco softly to himself. He smiled again, reflected for a moment, and then, going to the window, looked into the street. The way to the left led to Fabio's palace, and the way to the right to the Campo Santo, in the neighborhood of which Nanina lived. The priest was just in time to see the young sculptor take the way to the right.

      After another half-hour had elapsed, the two workmen quitted the studio to go СКАЧАТЬ