Rule of the Monk; Or, Rome in the Nineteenth Century. Garibaldi Giuseppe

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СКАЧАТЬ was their only child, and was entitled by the people, "The Pearl of Trastevere." She inherited, in addition to her beauty, the angelic heart of her mother, with that firmness and strength of character which distinguished her father.

      This happy family resided in the street that ascends from Lungara to Monte Gianicolo, not far from the fountain of Montono, and, unfortunately for them, they lived there in this, the nineteenth century, when the power of the Papacy is, for the time, supreme.

      Now, the Pope professes to regard the Bible as the word of God, yet the Papal throne is surrounded by cardinals, to whom marriage is forbidden, notwithstanding the Scriptural declaration that "it is not good for man to dwell alone," and that "woman was formed to be a helpmeet for him."

      Matrimony being thus interdicted, contrary to the law of God and man, the enormous wealth, the irresponsible power, and the state of languid luxury in which, as Princes of the Church, they are compelled to live, have ever combined, in the case of these cardinals, every temptation to corruption and libertinism of the very worst kinds (see Note 2). As the spirit of the master always pervades the household, plenty of willing tools are to be found in these large establishments ready to pander to their employers' vices.

      The beauty of Clelia had unhappily attracted the eye of Cardinal Procopio, the most powerful of these prelates, and the favorite of his Holiness, whom he flattered to his face, and laughed at as an old dotard behind his back.

      One day, feeling jaded by his enforced attendance at the Vatican, he summoned Gianni, one of his creatures, to his presence, and informed him of the passion he had conceived for Clelia, ordering him, at whatever cost, and by any means, to obtain possession of the girl, and conduct her to his palace.

      It was in furtherance of the nefarious plot thereupon concocted that the agent of his Eminence on the evening of the 8th of February, 1866, presented himself at the studio of Signor Manlio, but not without some trepidation, for, like most of his class, he was an arrant coward, and already in fancy trembled at the terrific blows which the strong arm of the sculptor would certainly bestow should the real object of the visit be suspected. He was, however, somewhat reassured by the calm expression of the Roman's face, and, plucking up courage, he entered the studio.

      "Good-evening, Signor Manlio," he commenced, with a smooth and flattering voice.

      "Good-evening," replied the artist, not looking up, but continuing an examination of his chisels, for he cared little to encourage the presence of an individual whom he recognized as belonging to the household of the Cardinal, the character of that establishment being well known to him.

      "Good-evening, Signor," repeated Gianni, in a timid voice; and, observing that at last the other raised his head, he thus continued—"his Eminence, the Cardinal Procopio, desires me to tell you he wishes to have two small statues of saints to adorn the entrance to his oratory."

      "And of what size does the Cardinal require them?" asked Manlio.

      "I think it would be better for you, Signor, to call on his Eminence at the palace, to see the position in which he wishes them to be placed, and then consult with him respecting their design."

      A compression of the sculptor's lips showed that this proposal was but little to his taste; but how can an artist exist in Rome, and maintain his family in comfort, without ecclesiastical protection and employment? One of the most subtle weapons used by the Roman Church has always been its patronage of the fine arts. It has ever employed the time and talent of the first Italian masters to model statues, and execute paintings from subjects calculated to impress upon the people the doctrines inculcated by its teaching (see Note 3), receiving demurely the homage of Christendom for its "protection of genius," and the encouragement it thereby afforded to artists from all nations to settle in Rome.

      Manlio, therefore, who would have sacrificed his life a hundred times over for his two beloved ones, after a few moments' reflection, bluntly answered, "I will go." Gianni, with a profound salutation, retired. "The first step is taken," he murmured; "and now I must endeavor to find a safe place of observation for Cencio." This fellow was a subordinate of Gianni's, to whom the Cardinal had intrusted the second section of the enterprise; and for whom it was now necessary to hire a room in sight of the studio. This was not difficult to achieve in that quarter, for in Rome, where the priests occupy themselves with the spiritual concerns of the people, and but little with their temporal prosperity (though they never neglect their own), poverty abounds. Were it not for the enforced neglect of its commerce, the ancient activity of Rome might be restored, and might rival even its former palmiest days.

      After engaging a room suitable for the purpose, Gianni returned home, humming a song, and with a conscience any thing but oppressed, comprehending well that all ruffianism is absolved by the priests when committed for the benefit of mother Church.

CHAPTER II. ATTILIO

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      In the same street, and opposite Manlio's house, was another studio, occupied by an artist, named Attilio, already of some celebrity, although he had only attained his twentieth year. In it he worked the greater part of the day; but, studious as he was, he found himself unable to refrain from glancing lovingly, from time to time, at the window on the first floor, where Clelia was generally occupied with her needle, seated by her mother's side. Without her knowledge—almost without his own—she had become for him the star of his sky, the loveliest among the beauties of Rome—his hope, his life, his all. Now, Attilio had watched with a penetrating eye the manner in which the emissary of the Cardinal had come and gone. He saw him looking doubtful and irresolute, and, with the quick instincts of love, a suspicion of the truth entered his mind; a terrible fear for the safety of his beloved took possession of him. When Gianni quitted Manlio's house, Attilio stole forth, following cautiously in his footsteps, but stopping now and then to elude observation by gazing at the curiosities in the shop-windows, or at the monuments which one encounters at every turn in the Eternal City. He clutched involuntarily, now and then, at the dagger carefully concealed in his breast, especially when he saw Gianni enter a house, and heard him bargain for the use of a room.

      Not until Gianni reached the magnificent Palazzo Corsini, where his employer lived, and had disappeared therein from sight, did Attilio turn aside.

      "Then it is Cardinal Procopio," muttered he to himself; "Procopio, the Pope's favorite—the vilest and most licentious of the evil band of Church Princes!"—and he continued his gloomy reflections without heeding whither his steps went.

CHAPTER III. THE CONSPIRACY

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      It is the privilege of the slave to conspire against his oppressors—for liberty is God's gift, and the birthright of all. Therefore, Italians of past and present days, under various forms of servitude, have constantly conspired, and, as the despotism of tiaraed priests is the most hateful and degrading of all, so the conspiracies of the Romans date thickest from that rule. We are asked to believe that the government of the Pope is mild, that his subjects are contented, and have ever been so. Yet, if this be true, how is it that they who claim to be the representatives of Christ upon earth—of Him who said, "My kingdom is not of this world"—have, since the institution of the temporal power, supplicated French intervention sixteen times, German intervention fifteen times, Austrian intervention seven times, and Spanish intervention three times; while the Pope of our day holds his throne only by СКАЧАТЬ