Don Orsino

f he did not follow the course of study and pass the examinations required of every Italian subject who wishes to hold office in his own country. Accordingly, though he had not been sen

he necessary residence, but in order that he might perfect himself in the English language, associate with young men of his own age and social

geography in the practical, continental manner, by being obliged to draw maps from memory. He had been instructed in history, not by parallels, but as it were by tangents, a method productive of odd results, and he had advanced just far enough in the study of mathematics to be thoroughly confused by the terms "differentiation" and "integration." Besides these subjects, a multitude of moral and natural sciences had been made to pass in a sort of

over Giovanni Saracinesca saw that the abolition of primogeniture had put an end to hereditary idleness, and that although his sons would be rich enough to do nothing if they pleased, yet his grandchildren would probably have to choose between work and genteel poverty, if it pleased the fates to multiply the race. He could indeed leave one half of his wealth intact to Orsino, but the law required that the other half should be equally divided among all; and as the same thing would take place in the second generati

ent and opportunity for personal distinction than had been afforded him in spending an afternoon on horseback, listening to the singing of bullets overhead. His amateur soldiering was over long ago, but he was strong, brave and intelligent, and if he had been convinced that a second and more radical revolution could accomplish any good result, he would have been capable of devoting himself to its

t look small in a good-sized church, the doors would admit a carriage and pair, the tapestries upon the walls would cover the front of a modern house. Everything is on a grand scale, of the best period, of the most genuine description. Three or four originals of great masters, of Titian, of Reubens, of Van Dyck, stand on huge easels in the most favourable lights. Some scores of matchless antique fragments, both of bronze and marble, are placed here and there upon superb carved tables and shelves of the sixteenth century. The only reproduction visible in the place is a very perfect cast of the Hermes of Olympia. The carpets are all of Shiraz, Sinna, Gjordez or old Baku-no common thing of Smyrna, no unclean aniline production of Russo-Asiatic commerce disturbs the universal harmony. In a full light upon the wall hangs a single silk carpet of wonderful tints, famous in the history of Eastern c

ore his canvas, palette and brushes in hand, considering the nature

dark man, and your mother is the olive type of a dark woman. They are no more alike than a Red Indian and an Arab, but you are like both. Are you brown or

arkably solid set of teeth. But

uth about your complexion,"

for being angry," answered Or

ge! Is it

ards with you if you like

pened to win much, I should be in a diabolical scrape. But I wish you would fal

ther shor

only real happiness in life lay in getting into tr

ou changed

s astonishing how a man may love his

a pint of Nüremberg beer, and Greuse or Mignard would have resorted to their snuff-boxes. We do not know what Michelangelo or Perugino did under the circumstances, but it is tolerably evident tha

" remarked the latter, who was not old enough

happiness has been so very exceptional. The world is a good place, full of happy

to be good as well as happy t

only way to be good is to abjure earthly happiness. If you will believe me, you will never commit the supreme error of choosing between the two meth

tuous amusement. At twenty, happiness is a d

got everything by fighting for it, and you advise

you naturally-fortune, rank-everything, inc

hirty years old," answered Orsino with conviction. "How do

omewhat thoughtfully, as though th

rtist, it would

gree with you." Anastase

talent-and a talent is

ave talent," Gouache a

n that when a man has a talent it makes

k than either you or I would at first thin

ve cared to show if he had been talking to a woman. "What is talent but a combination of the d

eflection

cretly pleased that a man of the artist's experie

I agree with you

d a little. He was disappo

composer after the first performance of his opera? 'I like your opera-I will write music to it.' Tha

en he made the remark," obser

ne that you are already an ancestor contemplating posterity from the height of a nobler age-you understand. Try

tion and scowled at Ana

o murdered the Colonna in a street brawl-I forget how long ago. You have his portrait. But I fancy the Princess would prefer-

affected admiration of his mother which contrasted pleasantly with his youthful affectation of c

eem to have difficulty in managing their mouths. Some draw in their lips with that air of unnatural sternness observable in rough weather among passengers on board ship, just before they relinquish the struggle and retire from public life. Others contract their mouths to the shape of a heart, while there are yet others who lose control o

e most beautiful dark woman in the world. For myself-well in the first place, you are her son, and s

y about my mother?" asked

cess represents my classical ideal, but not my p

tina?" enqu

ou see. That always makes a great dif

irection," Orsino observed i

tick, while he used his thumb on the canvas. The modern painter paints with everything, not excepti

marriage," he said quiet

s possible, before I do. It is

ulties there were. But Faustina was brave and I caught a little courage from her. Do you know that when the Serristori barracks were blown up

that. She wa

t Faustina to the church and drove us to the station in her own carriage-in the face of society. They say that Ascanio Bellegra hung about the door of the church while we were being married, but he had not the courage to come in, for fear of his mother. We went to Naples and lived on salad and love-and we had very little else for a year or two. I was not much known, then, except in Rome, and Roman society refused to have its portrait painted by the adventurer who had run away with a daughter of Casa Montevarchi. Perhaps, if we had been rich, we should have hated each other by this time. But we had to live for each other in those days, for every one was against us. I painted, and she k

l he said, his chief object was to distract the young man's attention, so as to bring out his natural expression. H

inking about?" a

ld to become an artist?"

he times are too old.

ot unde

few years I shall be out of fashion. I know it. Then we will go back to first principles. A garret to live in, bread a

ittle song as he squeezed a few colours from the

ly asked the question to be sure that you would answer it just as everybody an

do anything? Y

rich men, or we men who are to be rich, ar

perpetual Angelus, bread and milk for supper. I adore milk. A nymph here a

a little, in sp

is an artist's i

armer's idea of art, I da

e-but that is not the question. Whatever I propose, I get the same ans

rgument, only," sa

. I will try diplomacy. 'What? Sacrifice your convictions? Become the blind instrument of a scheming, dishonest ministry? It is unworthy of a Saracinesca!' I will think no more about it. Let me be a lawyer and enter public life. 'A lawyer indeed! Will you wrangle in public with notaries' sons, defend murderers and burglars, and take fees like the old men who write letters for the peasants under a, green umbrella in the street? It would be almost better to turn musician and give concerts.' 'The Church, perhaps?' I suggest. 'The Church? Are you not the heir, and will you not be the head of the family some day? You must be mad.' 'Then give me a sum of money and let me try my luck with my cousin San Giacinto.' 'Business? If you make money it is a degradation

uache who had listened to the detached Jeremiah wi

for you to fall in love wit

ghed a lit

our, I assure yo

waiting for?" enquired

ections, of course. That is rather

with a laugh. "A lady is coming, whose portrait I am painting-an interesting woman-tolerably beaut

another in its place, considerably further advanced in execution. Orsino l

king the graceful lines from the throat to the soft white hand, of which the pointed fingers hung carelessly over the carved extremity of the arm of the chair. The lady's hair was auburn, her eyes distinctly yellow. The face was an unusual one and not without attraction, very pale, with a full red mouth too wide for perfect beauty, but well modelled-almost too well, Gouache thought. The nose was of no distinct type, and was the least significant feature in the

nconcern, but in reality he was oddly fascinated

a smile. "She will be here in a few minutes and y

ked Orsino, paying no

f names ending in Aragona. I call her Madame d'Arag

d? And

widow I believe. She is not Italian a

ter their names-some cousins of ours, among others-they are

deed I am sure of it, for Faustina rem

r being in Rome-and I am not sure w

el, and she comes alone, except when I need the dress and then she brings her m

mind if I stay till she comes? We

r. The relationship would be

ought of that; and

ed a moment in the middle of the room when she saw that the artist was not alone. He went forward to meet her and asked leave to

ue to any error of Gouache's drawing. He recognised each feature in turn in the one look he gave at the

," he said. "My father's moth

lm indifference, looking critic

said the young man, watchin

ucceeding. He has reproduced my hideous nose and my dreadful mouth with a masterly exactness. No-my dear Monsieur Gouache-it is a compliment I pay you. I am in earnest. I do not want a portrait of the Venus of Milo with red hair, nor of the

ous to others," said Gouache, gallantly. Madame d'Ar

g, is he not?" she said with a l

the assurance of his years. "It would