Scenes of Clerical Life

Caterina drew out the table and placed the cards; then, with her rapid fairy suddenness of motion, threw herself on her knees, and clasped Sir Christopher's knee. He bent down, stroked her cheek and smiled.

'Caterina, that is foolish,' said Lady Cheverel. 'I wish you would leave off those stage-players' antics.'

She jumped up, arranged the music on the harpsichord, and then, seeing the Baronet and his lady seated at picquet, quietly glided out of the room.

Captain Wybrow had been leaning near the harpsichord during the singing, and the chaplain had thrown himself on a sofa at the end of the room. They both now took up a book. Mr. Gilfil chose the last number of the 'Gentleman's Magazine'; Captain Wybrow, stretched on an ottoman near the door, opened 'Faublas'; and there was perfect silence in the room which, ten minutes before, was vibrating to the passionate tones of Caterina.

She had made her way along the cloistered passages, now lighted here and there by a small oil-lamp, to the grand-staircase, which led directly to a gallery running along the whole eastern side of the building, where it was her habit to walk when she wished to be alone. The bright moonlight was streaming through the windows, throwing into strange light and shadow the heterogeneous objects that lined the long walls Greek statues and busts of Roman emperors; low cabinets filled with curiosities, natural and antiquarian; tropical birds and huge horns of beasts; Hindoo gods and strange shells; swords and daggers, and bits of chain-armour; Roman lamps and tiny models of Greek temples; and, above all these, queer old family portraits—of little boys and girls, once the hope of the Cheverels, with close-shaven heads imprisoned in stiff ruffs—of faded, pink-faced ladies, with rudimentary features and highly-developed head-dresses—of gallant gentlemen, with high hips, high shoulders, and red pointed beards.

Here, on rainy days, Sir Christopher and his lady took their promenade, and here billiards were played; but, in the evening, it was forsaken by all except Caterina—and, sometimes, one other person.

She paced up and down in the moonlight, her pale face and thin white-robed form making her look like the ghost of some former Lady Cheverel come to revisit the glimpses of the moon.

By-and-by she paused opposite the broad window above the portico, and looked out on the long vista of turf and trees now stretching chill and saddened in the moonlight.

Suddenly a breath of warmth and roses seemed to float towards her, and an arm stole gently round her waist, while a soft hand took up her tiny fingers. Caterina felt an electric thrill, and was motionless for one long moment; then she pushed away the arm and hand, and, turning round, lifted up to the face that hung over her eyes full of tenderness and reproach. The fawn-like unconsciousness was gone, and in that one look were the ground tones of poor little Caterina's nature—intense love and fierce jealousy.

'Why do you push me away, Tina?' said Captain Wybrow in a half-whisper; 'are you angry with me for what a hard fate puts upon me? Would you have me cross my uncle—who has done so much for us both—in his dearest wish? You know I have duties—we both have duties—before which feeling must be sacrificed.'

'Yes, yes,' said Caterina, stamping her foot, and turning away her head; 'don't tell me what I know already.'

There was a voice speaking in Caterina's mind to which she had never yet given vent. That voice said continually. 'Why did he make me love him—why did he let me know he loved me, if he knew all the while that he couldn't brave everything for my sake?' Then love answered, 'He was led on by the feeling of the moment, as you have been, Caterina; and now you ought to help him to do what is right.' Then the voice rejoined, 'It was a slight matter to him. He doesn't much mind giving you up. He will soon love that beautiful woman, and forget a poor little pale thing like you.'

Thus love, anger, and jealousy were struggling in that young soul.

'Besides, Tina,' continued Captain Wybrow in still gentler tones, 'I shall not succeed. Miss Assher very likely prefers some one else; and you know I have the best will in the world to fail. I shall come back a hapless bachelor—perhaps to find you already married to the good-looking chaplain, who is over head and ears in love with you. Poor Sir Christopher has made up his mind that you're to have Gilfil.

'Why will you speak so? You speak from your own want of feeling. Go away from me.'

'Don't let us part in anger, Tina. All this may pass away. It's as likely as not that I may never marry any one at all. These palpitations may carry me off, and you may have the satisfaction of knowing that I shall never be anybody's bride-groom. Who knows what may happen? I may be my own master before I get into the bonds of holy matrimony, and be able to choose my little singing-bird. Why should we distress ourselves before the time?'

'It is easy to talk so when you are not feeling,' said Caterina, the tears flowing fast. 'It is bad to bear now, whatever may come after. But you don't care about my misery.'

'Don't I, Tina?' said Anthony in his tenderest tones, again stealing his arm round her waist, and drawing her towards him. Poor Tina was the slave of this voice and touch. Grief and resentment, retrospect and foreboding, vanished—all life before and after melted away in the bliss of that moment, as Anthony pressed his lips to hers.

Captain Wybrow thought, 'Poor little Tina! it would make her very happy to have me. But she is a mad little thing.'

At that moment a loud bell startled Caterina from her trance of bliss. It was the summons to prayers in the chapel, and she hastened away, leaving Captain Wybrow to follow slowly.

It was a pretty sight, that family assembled to worship in the little chapel, where a couple of wax-candles threw a mild faint light on the figures kneeling there. In the desk was Mr. Gilfil, with his face a shade graver than usual. On his right hand, kneeling on their red velvet cushions, were the master and mistress of the household, in their elderly dignified beauty. On his left, the youthful grace of Anthony and Caterina, in all the striking contrast of their colouring—he, with his exquisite outline and rounded fairness, like an Olympian god; she, dark and tiny, like a gypsy changeling. Then there were the domestics kneeling on red-covered forms,—the women headed by Mrs. Bellamy, the natty little old housekeeper, in snowy cap and apron, and Mrs. Sharp, my lady's maid, of somewhat vinegar aspect and flaunting attire; the men by Mr. Bellamy the butler, and Mr. Warren, Sir Christopher's venerable valet.

A few collects from the Evening Service was what Mr. Gilfil habitually read, ending with the simple petition, 'Lighten our darkness.'

And then they all rose, the servants turning to curtsy and bow as they went out. The family returned to the drawing-room, said good-night to each other, and dispersed—all to speedy slumber except two. Caterina only cried herself to sleep after the clock had struck twelve. Mr. Gilfil lay awake still longer, thinking that very likely Caterina was crying.

Captain Wybrow, having dismissed his valet at eleven, was soon in a soft slumber, his face looking like a fine cameo in high relief on the slightly indented pillow.

Chapter 3

The last chapter has given the discerning reader sufficient insight into the state of things at Cheverel Manor in the summer of 1788. In that summer, we know, the great nation of France was agitated by conflicting thoughts and passions, which were but the beginning of sorrows. And in our Caterina's little breast, too, there were terrible struggles. The poor bird was beginning to flutter and vainly dash its soft breast against the hard iron bars of the inevitable, and we see too plainly the danger, if that anguish should go on heightening instead of being allayed, that the palpitating heart may be fatally bruised.

Meanwhile, if, as I hope, you feel some interest in Caterina and her friends at Cheverel Manor, you are perhaps asking, How came she to be there? How was it that this tiny, dark-eyed child of the south, whose face was immediately suggestive of olive-covered hills and taper-lit shrines, came to have her home in that stately English manor-house, by the side of the blonde matron, Lady Cheverel—almost as if a humming-bird were found perched on one of the elm-trees in the park, by the side of her ladyship's handsomest pouter-pigeon? Speaking good English, too, and joining in Protestant prayers! Surely she must have been adopted and brought over to England at a very early age. She was.

During Sir Christopher's last visit to Italy with his lady, fifteen years before, they resided for some time at Milan, where Sir Christopher, who was an enthusiast for Gothic architecture, and was then entertaining the project of metamorphosing his plain brick family mansion into the model of a Gothic manor-house, was bent on studying the details of that marble miracle, the Cathedral. Here Lady Cheverel, as at other Italian cities where she made any protracted stay, engaged a maestro to give her lessons in singing, for she had then not only fine musical taste, but a fine soprano voice. Those were days when very rich people used manuscript music, and many a man who resembled Jean Jacques in nothing else, resembled him in getting a livelihood 'a copier la musique a tant la page'. Lady Cheverel having need of this service, Maestro Albani told her he would send her a poveraccio of his acquaintance, whose manuscript was the neatest and most correct he knew of. Unhappily, the poveraccio was not always in his best wits, and was sometimes rather slow in consequence; but it would be a work of Christian charity worthy of the beautiful Signora to employ poor Sarti.

The next morning, Mrs. Sharp, then a blooming abigail of three-and-thirty, entered her lady's private room and said, 'If you please, my lady, there's the frowsiest, shabbiest man you ever saw, outside, and he's told Mr. Warren as the singing-master sent him to see your ladyship. But I think you'll hardly like him to come in here. Belike he's only a beggar.'

'O yes, show him in immediately.'

Mrs. Sharp retired, muttering something about 'fleas and worse'. She had the smallest possible admiration for fair Ausonia and its natives, and even her profound deference for Sir Christopher and her lady could not prevent her from expressing her amazement at the infatuation of gentlefolks in choosing to sojourn among 'Papises, in countries where there was no getting to air a bit o' linen, and where the people smelt o' garlick fit to knock you down.'

However she presently reappeared, ushering in a small meagre man, sallow and dingy, with a restless wandering look in his dull eyes, and an excessive timidity about his deep reverences, which gave him the air of a man who had been long a solitary prisoner. Yet through all this squalor and wretchedness there were some traces discernible of comparative youth and former good looks. Lady Cheverel, though not very tender-hearted, still less sentimental, was essentially kind, and liked to dispense benefits like a goddess, who looks down benignly on the halt, the maimed, and the blind that approach her shrine. She was smitten with some compassion at the sight of poor Sarti, who struck her as the mere battered wreck of a vessel that might have once floated gaily enough on its outward voyage to the sound of pipes and tabors. She spoke gently as she pointed out to him the operatic selections she wished him to copy, and he seemed to sun himself in her auburn, radiant presence, so that when he made his exit with the music-books under his arm, his bow, though not less reverent, was less timid.

It was ten years at least since Sarti had seen anything so bright and stately and beautiful as Lady Cheverel. For the time was far off in which he had trod the stage in satin and feathers, the primo tenore of one short season. He had completely lost his voice in the following winter, and had ever since been little better than a cracked fiddle, which is good for nothing but firewood. For, like many Italian singers, he was too ignorant to teach, and if it had not been for his one talent of penmanship, he and his young helpless wife might have starved. Then, just after their third child was born, fever came, swept away the sickly mother and the two eldest children, and attacked Sarti himself, who rose from his sick-bed with enfeebled brain and muscle, and a tiny baby on his hands, scarcely four months old. He lodged over a fruit-shop kept by a stout virago, loud of tongue and irate in temper, but who had had children born to her, and so had taken care of the tiny yellow, black-eyed bambinetto, and tended Sarti himself through his sickness. Here he continued to live, earning a meagre subsistence for himself and his little one by the work of copying music, put into his hands chiefly by Maestro Albani. He seemed to exist for nothing but the child: he tended it, he dandled it, he chatted to it, living with it alone in his one room above the fruit-shop, only asking his landlady to take care of the marmoset during his short absences in fetching and carrying home work. Customers frequenting that fruit-shop might often see the tiny Caterina seated on the floor with her legs in a heap of pease, which it was her delight to kick about; or perhaps deposited, like a kitten, in a large basket out of harm's way.

Sometimes, however, Sarti left his little one with another kind of protectress. He was very regular in his devotions, which he paid thrice a-week in the great cathedral, carrying Caterina with him. Here, when the high morning sun was warming the myriad glittering pinnacles without, and struggling against the massive gloom within, the shadow of a man with a child on his arm might be seen flitting across the more stationary shadows of pillar and mullion, and making its way towards a little tinsel Madonna hanging in a retired spot near the choir. Amid all the sublimities of the mighty cathedral, poor Sarti had fixed on this tinsel Madonna as the symbol of divine mercy and protection,—just as a child, in the presence of a great landscape, sees none of the glories of wood and sky, but sets its heart on a floating feather or insect that happens to be on a level with its eye. Here, then, Sarti worshipped and prayed, setting Caterina on the floor by his side; and now and then, when the cathedral lay near some place where he had to call, and did not like to take her, he would leave her there in front of the tinsel Madonna, where she would sit, perfectly good, amusing herself with low crowing noises and see-sawings of her tiny body. And when Sarti came back, he always found that the Blessed Mother had taken good care of Caterina.

That was briefly the history of Sarti, who fulfilled so well the orders Lady Cheverel gave him, that she sent him away again with a stock of new work. But this time, week after week passed, and he neither reappeared nor sent home the music intrusted to him. Lady Cheverel began to be anxious, and was thinking of sending Warren to inquire at the address Sarti had given her, when one day, as she was equipped for driving out, the valet brought in a small piece of paper, which, he said, had been left for her ladyship by a man who was carrying fruit. The paper contained only three tremulous lines, in Italian:—'Will the Eccelentissima, for the love of God, have pity on a dying man, and come to him?'

Lady Cheverel recognized the handwriting as Sarti's in spite of its tremulousness, and, going down to her carriage, ordered the Milanese coachman to drive to Strada Quinquagesima, Numero 10. The coach stopped in a dirty narrow street opposite La Pazzini's fruit-shop, and that large specimen of womanhood immediately presented herself at the door, to the extreme disgust of Mrs. Sharp, who remarked privately to Mr. Warren that La Pazzini was a 'hijeous porpis'. The fruit-woman, however, was all smiles and deep curtsies to the Eccelentissima, who, not very well understanding her Milanese dialect, abbreviated the conversation by asking to be shown at once to Signor Sarti. La Pazzini preceded her up the dark narrow stairs, and opened a door through which she begged her ladyship to enter. Directly opposite the door lay Sarti, on a low miserable bed. His eyes were glazed, and no movement indicated that he was conscious of their entrance.

On the foot of the bed was seated a tiny child, apparently not three years old, her head covered by a linen cap, her feet clothed with leather boots, above which her little yellow legs showed thin and naked. A frock, made of what had once been a gay flowered silk, was her only other garment. Her large dark eyes shone from out her queer little face, like two precious stones in a grotesque image carved in old ivory. She held an empty medicine-bottle in her hand, and was amusing herself with putting the cork in and drawing it out again, to hear how it would pop.

La Pazzini went up to the bed and said, 'Ecco la nobilissima donna;' but directly after screamed out, 'Holy mother! he is dead!'

It was so. The entreaty had not been sent in time for Sarti to carry out his project of asking the great English lady to take care of his Caterina. That was the thought which haunted his feeble brain as soon as he began to fear that his illness would end in death. She had wealth—she was kind—she would surely do something for the poor orphan. And so, at last, he sent that scrap of paper which won the fulfilment of his prayer, though he did not live to utter it. Lady Cheverel gave La Pazzini money that the last decencies might be paid to the dead man, and carried away Caterina, meaning to consult Sir Christopher as to what should be done with her. Even Mrs. Sharp had been so smitten with pity by the scene she had witnessed when she was summoned up-stairs to fetch Caterina, as to shed a small tear, though she was not at all subject to that weakness; indeed, she abstained from it on principle, because, as she often said, it was known to be the worst thing in the world for the eyes.

On the way back to her hotel, Lady Cheverel turned over various projects in her mind regarding Caterina, but at last one gained the preference over all the rest. Why should they not take the child to England, and bring her up there? They had been married twelve years, yet Cheverel Manor was cheered by no children's voices, and the old house would be all the better for a little of that music. Besides, it would be a Christian work to train this little Papist into a good Protestant, and graft as much English fruit as possible on the Italian stem.

Sir Christopher listened to this plan with hearty acquiescence. He loved children, and took at once to the little black-eyed monkey—his name for Caterina all through her short life. But neither he nor Lady Cheverel had any idea of adopting her as their daughter, and giving her their own rank in life. They were much too English and aristocratic to think of anything so romantic. No! the child would be brought up at Cheverel Manor as a protegee, to be ultimately useful, perhaps, in sorting worsteds, keeping accounts, reading aloud, and otherwise supplying the place of spectacles when her ladyship's eyes should wax dim.

So Mrs. Sharp had to procure new clothes, to replace the linen cap, flowered frock, and leathern boots; and now, strange to say, little Caterina, who had suffered many unconscious evils in her existence of thirty moons, first began to know conscious troubles. 'Ignorance,' says Ajax, 'is a painless evil;' so, I should think, is dirt, considering the merry faces that go along with it. At any rate, cleanliness is sometimes a painful good, as any one can vouch who has had his face washed the wrong way, by a pitiless hand with a gold ring on the third finger. If you, reader, have not known that initiatory anguish, it is idle to expect that you will form any approximate conception of what Caterina endured under Mrs. Sharp's new dispensation of soap-and-water. Happily, this purgatory came presently to be associated in her tiny brain with a passage straightway to a seat of bliss—the sofa in Lady Cheverel's sitting-room, where there were toys to be broken, a ride was to be had on Sir Christopher's knee, and a spaniel of resigned temper was prepared to undergo small tortures without flinching.